A story of a girl moving into adulthood. Valerie (Jaraslova Schallerova), a 13 year old girl, living with her grandmoma in a remote village in a 19th century Eastern European setting, has her first period. Valerie is surrounded by adults, pale and on the verge of death (or perhaps already dead). She then seemingly enters a world of dream-logic, where her suitor (or later as we learn, perhaps long-lost brother) Orlik (Petr Kopriva), attempts to protect her from adult subversion. A band of carnivalesque actors and missionaries arrive in the village - images reminiscent to the vaudevillian grotesques of Jodorowsky - like minstrels carrying in forbidden cultures to a drab medieval location.
Valeries' Grandmoma (Helena Anyzova), is already acquainted with the lead of this group, Tchor (Jiri Prymek) a very pale-faced haunting looking man who is later revealed to possibly be the father of Valerie. His make-up design is very obviously an imitation of the vampire in Nosferatu (1922); a startling image borrowed again in 1979 by both Werner Herzog (for his literal remake of Nosferatu), and Tobe Hooper's TV mini-series of Stephen King's Salems Lot (1979). Valerie's Grandmoma wishes eternal youth from Tchor, who abides.
These vampiric undertones are felt throughout the film. Cliches are abound. But this is certainly not the main element of the film. This is a story steeped in eastern European folklore, the dark fairytales of the brothers Grimm. Valerie wonders through a dream landscape of exciting, dark, and sometimes disturbing imagination. In this nightmare universe of vampires, religious hypocrisy and sexual lust, we are led to question even the nature of her psychological state.
In one episode, a Reverend approaches the young Valerie in her bedroom as she is undressing, only to force himself upon her, in an attempt to seduce her. After her protestation against this act, he publically denounces her as a witch and she is burned to death at the stake; whilst this occurs she playfully mocks the Reverend. This sequence is possibly (or though not necessarily), a comment on the ease in which persons are branded witches in a dark age of mysticism. The obvious parallel is the Salem witch trials. Later to be interpreted by Arthur Miller, in his cold war, communist/McCarthyism inspired play the Crucible. This would have obvious relevance in Soviet occupied Czechoslovakia.
There is no absolute linear narrative to the film. It is simply a lyrical, and beautifully shot dream/nightmare that conjures up the quite obvious Lewis Carroll/Alice in Wonderland connection, but also plays with some of the imagistic dream ideas of Jean Cocteau's Orphee (1950). There are certain elements of story and character that are not fully developed, but this does not hinder the piece whatsoever. The dream logic quality of the film actually draws you in further; the high quality of imagery backs this notion. We are all a part of the rich tapestry of allegorical nightmare.
Jaromil Jires' film was made during the Czech New Wave. Much like the rest of Europe, it was experiencing a new-found experimentalism in art, and particularly cinema (such as the most obvious French New Wave of Godard and Truffault et al). But unlike its western European artists, Czechoslovakia was under a strictly soviet-controlled censorship since the occupation in 1968. Therefore, filmmakers were either forced to move abroad to make films (such as the highly successful Hollywood director Milos Forman), or to make fantasy films that would seem innocuous on paper, but when released, display ambiguous political statements.
Valerie's parents - who are absent through the film until the end - are peripherally brought back, now not dead (as her Grandmoma had told), who are artists. This could possibly represent the wealth of parents who had to leave Soviet occupied Czechoslovakia due to restrictions made on expression.
Valerie's parents - who are absent through the film until the end - are peripherally brought back, now not dead (as her Grandmoma had told), who are artists. This could possibly represent the wealth of parents who had to leave Soviet occupied Czechoslovakia due to restrictions made on expression.
Valerie's 'week of wonder' is a fantasy; a dream that is out of the participants control. It is also the story of a girl on the brink of adulthood. Her 'trip' into this fantasy world is a trigger into the adult world of sexuality. The images and actions she views are of the obscure, the depraved and sometimes negative side of sexual promiscuity. Her actions are simply to voyeuristically watch, as even her now young looking grandmoma seduces young men and a blood lust to maintain her youthful appearance.
Valerie's naivety is unprepared for the depravity that is displayed to her. (as an aside, I have point out that these descriptions are more lurid than they are on-screen. I serve to just perpetuate the ideas involved). There are many ambiguities in this film. Ambiguities always win in me. I'm a fan! What can be more pleasing in a film than beautiful imagery, a story that seems to make no sense? Art should raise more questions than it should answer, and this is what lies beneath this stunningly sumptuous cinematic dream. After all, aren't films the dream makers? And aren't dreams illogical narratives of complete ambiguity?
Valerie's naivety is unprepared for the depravity that is displayed to her. (as an aside, I have point out that these descriptions are more lurid than they are on-screen. I serve to just perpetuate the ideas involved). There are many ambiguities in this film. Ambiguities always win in me. I'm a fan! What can be more pleasing in a film than beautiful imagery, a story that seems to make no sense? Art should raise more questions than it should answer, and this is what lies beneath this stunningly sumptuous cinematic dream. After all, aren't films the dream makers? And aren't dreams illogical narratives of complete ambiguity?
Directed by: Jaromil Jires
Starring: Jaroslava Schallerová, Helena Anýzová, Petr Kopriva
Country: Czechoslovakia
Rating: *****
Marc Ivamy
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