Po strnisku bosý
Regie:
Jan SvěrákDrehbuch:
Jan SvěrákKamera:
Vladimír SmutnýMusik:
Michal NovinskiBesetzung:
Ondřej Vetchý, Tereza Ramba, Alois Grec, Jan Tříska, Viera Pavlíková, Oldřich Kaiser, Zuzana Stivínová, Hynek Čermák, Petra Špalková, Zdeněk Svěrák (mehr)Inhalte(1)
Eight-years-old Eda is a long-desired and anxiously protected child by parents who had lost one baby before. Now Eda became backup child; he even has the same name. After his father rejects to affiliate with Nazi invadors of Czechoslovakia in 1939, the family is forced to leave Prague and spend war times living with relatives in the countryside. Little town where Eda used to spend short holiday only, becomes his home for a while. The war provides mysterious adventures to Eda whose childish eyes can not percieve danger of difficult times. For him life feels strange but beautiful now – city boy lives in a tiny town, joins local boyish crew to spend days walking barefoot, notices beauty of girls for the first time and discovers both deep family secrets and his own bravery. Barefoot is lyrical feature film about childhood and heroism of ourselves. Chronologicaly and thematicaly, the film is the first episode of a tetralogy of movies Elementary School (1991), Kolya (1996) and Empties (2007) that were created and produced by family duo Jan Sverak and Zdenek Sverak. (Bioscop)
(mehr)Kritiken (11)
It has some magical moments that prove that Svěrák Jr. is a really good director. I appreciate the view of the war through children's eyes, but the story is too disjointed; it needed a unifying line. The story of Uncle Wolf, which was supposed to cement the narrative, isn't enough to pull the whole film together. It's a shame, I really wanted to love this film.
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You know that you are watching a very well done film from the 2nd WW period, but at the same time you feel that there is basically no story. And I would be ok with that if only the character played by Oldřich Kaiser (who is getting better with every role) wasn’t made the most interesting one and basically holds the whole story together but then it is killed off in the most disgusting manner towards the end of the film. And this end was my biggest Czech movie disappointment in a very long time.
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I wanted to like it so badly. I was ready to enjoy the expected heartwarming drama and vise-like kindness, but unfortunately I got a film where that is completely absent. In fact, there's almost nothing there. It looks nice, and as far as the production design and costumes goes, I can't fault Barefoot at all, but in all other respects it's wretched. And a mess. The film goes from nowhere to nowhere, and although it is framed by a period and bites into some interesting conflicts, eighty percent of the running time is ultimately completely useless. Trying to cram in as many "flashbacks" as possible results in there being no time for anything and because of that, the humor doesn't work, the drama doesn't work, and the poignancy doesn't work. Most of the time I felt like someone had dropped two minutes of a scene that should have been fifteen minutes long, and I have little idea why I should be watching the boys tackle a classmate, that Eda might get a slap on the wrist, that the dad is at odds with his brother, and that a pigeon has gone missing. There's never time to pay attention to anything properly and the result is such a nice looking film where there's an awful lot going on, but for most of it you'll probably ask yourself why you don't really care about any of it. Too bad.
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The already abbreviated original looks more like an initial hint and outline for a much more extensive material, but it is saved by Sverak's language mastery and wrapped in a precisely matched captivating mix of a boy's mostly summer adventure full of smiling, every day and dramatic moments from growing up in the countryside during the occupation. It´s just a more dramatic variation on There Were Five of Us or Les récrés du petit Nicolas. Although the adaptation largely slavishly and with no context illustrates the scenes from the short story, but what is missing is a safety net made of kind humor and playful Czech language. In addition, there is no dramatic framework and, what is most reprehensible, is that a life vest in the form of a distinctive children's point of view through the adventures of “us, boys, who go out together and experience all kinds of adventures" is completely missing. The result is a nice and incoherent patchwork of better and worse fragments of scenes that is captured in a “watchable" way, nothing more and nothing less.
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Filming is something Jan Svěrák hasn't forgotten how to do, but creating picturesque images and working with a retro atmosphere alone is not enough for a fulfilling cinematic experience. You also need a functional screenplay. I don't know why Jan didn't utilize his father's abilities, who is one of the best screenwriters of the last decades. Barefoot does not work, and when I use this term, I really mean it doesn't work from a dramaturgical standpoint. Even though Jan Svěrák fills his film with plenty of stuff, in the end, it is incredibly empty. You don't just need memories, you have to piece them together properly. This film is helped to a considerable extent by sentiment, but I won't assist it in that, as there are plenty of others who can. Overall impression: 45%. I can't help but have a reservation about Oldřich Kaiser's casting. Even though there is not a big age difference between Vetchý and Kaiser, the years when Kaiser was drinking heavily have unfortunately taken their toll on him, so he could actually play Vetchý's father. By the way, both he and Ondřej Vetchý are slightly too old for Tereza Voříšková and their little son... The scene by the pond, where Voříšková and Kaiser exchange a long, emotionally charged gaze, and in which it is evident that the director wants to evoke in the viewer the impression of either a platonic or fulfilled past relationship, brings to mind associations with pedophilia more than anything else.
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Eine bezaubernde und malerische Geschichte aus der Feder von Zdeněk Svěrák, die auf den Erinnerungen seiner Kindheit basiert. Was könnte man sich mehr wünschen? Die ideale Form eines idealen Stoffes. Es würde keinen Sinn ergeben, dieses Projekt nicht in Jan Svěráks Kino zu berücksichtigen. So ist das in Ordnung.
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Es ist für mich schwer, diesen Film zu bewerten. Das Buch sowie das Hörbuch mag ich sehr. Sie haben eine schöne Stimmung der Erinnerungen an die Kindheit und übermitteln Wärme. Die Ansichten eines kleinen Jungen, welche große Dinge betreffen, sind fast magisch. Zdeněk Svěrák als Autor konnte die Geschichte gut aufschreiben, Zdeněk Svěrák als Schauspieler kann sie auch gut erzählen… Aber während Jan Svěrák als Regisseur wusste, wie er es aufnehmen soll, erzählte leider Jan Svěrák als Drehbuchautor die Geschichte nicht so gut wie sein Vater. Schwer zu sagen, ob es überhaupt möglich war… Manche Szenen sollten entweder länger sein oder man sollte sie ganz weglassen. Manche Situationen sollte man den Zuschauer*innen bestimmt zeigen, damit sie zusammen mit Eda einige Dinge nicht nur aus zweiter Hand erfahren (wenigstens "die Oma, die entgegengekommen ist“ oder "Péťa, der weggeflogen ist“). Dann wäre der Film angenehmer, abgerundeter. Und den Sinn der Szene, in der die Mutter und Eda am Teich jemanden ganz anderen treffen und welche es im Buch so nicht gibt, habe ich eigentlich nicht verstanden. Um aber nicht nur zu kritisieren, möchte ich die Schauspieler*innen (Ondřej Vetchý ist besonders exakt, Tereza Voříšková wirkt meistens sehr natürlich, Oldřich Kaiser ist immer gut und Jan Tříska genauso), die Musik von Michal Novinski, die glaubhafte Stimmung der damaligen Zeit, das schön dargestellte Land und die Handlung, welche Szenen aus den Vorstellungen von Eda belebt, loben. Dreieinhalb.
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If you are a fan of Svěrák, you’ll survive Barefoot unscathed and even with a pleasant smile. It’s a cute, poetic view of the world through the eyes of a child that is too cute and too loosely poetic – the story lacks a core conflict that would help give shape to the characters and the pleasant episodes of life are supported by several sub-plots, but lack a solid frame and give the impression that they could last another hour. Other than Eda, the character with the most interesting story is Kaiser’s Wolf, the rest have a more or less subordinate position and guide the protagonist through a world driven mainly by family values and the beauty and pitfalls of boyhood, with the war taking a secondary role. It’s not a bad film, it has solid direction and several nicely delivered humour motifs, but the result is too shoddy and inconsistent. 65%
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Es wird für mich einfacher sein, denn mein Kommentar wird ähnlich wie der zu Garden Store ausfallen. Svěrák und Hřebejk können sich die Hand reichen - ich sah ein duftendes, lockeres, aufgedonnertes NICHTS. Über die Geschichte müssen wir uns überhaupt nicht unterhalten, es gibt keine, die meisten Gestalten sind überflüssig, die einzig interessante ist Vlk in der Interpretation des immer hervorragenden Kaiser. Haben wir denn in Tschechien wirklich keine Schauspielerin, die die Partnerin von Vetchý spielen und nicht seine Tochter sein könnte? Na ja, aber wenn der Herr Regisseur Tereza Voříšková ausziehen muss, dann haben wir wohl keine. Ich sehe das Jahr 2017 als eines der schlimmsten für den tschechischen Film der letzten X Jahre. Das Ehrenbanner halten Krobot mit seinem The Quartette und Sláma mit Ice Mother hoch, sonst ist das eine Katastrophe, schrecklich und fürchterlich langweilig.
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I was expecting to laugh a bit more, but the mood of the film was rather melancholy. I was okay with that as soon as I realized that this wasn't going to be one of Svěrák’s typical comedies, and I quite enjoyed the film. I really liked the atmosphere of rural idyll spiced up with war events. What I loved were the performances of Oldřich Kaiser and Tereza Voříšková and the film’s subtle humor. It was an incredibly relaxing and feel-good film.
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The film didn't disappoint me outright, but I had hoped it would be even funnier, with more humor from Zdeněk Svěrák, but it's a bit weaker in that regard. As a nostalgic film, it works, especially thanks to the great child characters. The storyline revolving around the character of Vlk (Oldřich Kaiser) had much more potential within it.
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