WEBVTT 1 00:00:00.040 --> 00:00:07.719 Oh yeh is bot it's shut. 2 00:00:08.640 --> 00:00:11.279 People say good money to see this movie when they 3 00:00:11.320 --> 00:00:14.119 go out to a theater. They are cold sodas, hot 4 00:00:14.199 --> 00:00:17.199 popcorn and no monsters in the protection booth. 5 00:00:17.359 --> 00:00:44.119 Everyone pretend podcasting isn't boring a Diagnosa Jodensa Naples ad 6 00:00:44.359 --> 00:00:52.240 Horace Bolotchnowski, mister Justice Lupus labna to hold, not to 7 00:00:53.079 --> 00:00:54.320 dizzily have a regime. 8 00:00:55.039 --> 00:01:01.719 Dizzily have Miss Sammi Rannie the hanaka. 9 00:01:06.519 --> 00:01:12.519 Not Boy. Welcome to the projection booth. I'm your host, 10 00:01:12.560 --> 00:01:15.239 Mike White join me once again. Is mister Jonathan Owen. 11 00:01:15.480 --> 00:01:16.879 Hello, happy check Timber. 12 00:01:17.680 --> 00:01:19.760 Also back in the booth is ms Angela Mack. 13 00:01:20.719 --> 00:01:21.439 Very nice to be that. 14 00:01:21.719 --> 00:01:22.000 Thank you. 15 00:01:23.040 --> 00:01:27.359 Check Tember continues with one from Slovakian filmmaker Dushan Hannok 16 00:01:27.599 --> 00:01:31.359 three twenty two. Released in nineteen sixty nine, the film 17 00:01:31.480 --> 00:01:34.920 was banned immediately after its premiere. We'll be discussing why 18 00:01:35.120 --> 00:01:37.079 and ruining the film as we go along, So if 19 00:01:37.079 --> 00:01:39.400 you don't want anything ruined, please turn off the podcast 20 00:01:39.480 --> 00:01:41.840 and come back after you've seen it. Pro tip. The 21 00:01:41.920 --> 00:01:45.599 movie is available in full with English subtitles on archive 22 00:01:45.680 --> 00:01:48.959 dot org. So Jonathan when was the first time you 23 00:01:49.040 --> 00:01:51.079 saw three twenty two and what did you think? 24 00:01:51.920 --> 00:01:54.799 I think I saw it maybe about fifteen years ago, 25 00:01:55.280 --> 00:01:59.480 and I've seen quite a lot of the Czechoslovak New 26 00:01:59.560 --> 00:02:03.159 wave film by then, and it was probably the second 27 00:02:03.200 --> 00:02:07.280 film that I saw by Hanak. I must admit that 28 00:02:07.439 --> 00:02:09.599 the first time I saw it, I don't think it 29 00:02:09.759 --> 00:02:13.719 fully landed with me, because I think there's so much 30 00:02:13.800 --> 00:02:17.680 going on in it, and I think, in comparison with 31 00:02:17.800 --> 00:02:21.639 some of the other Slovak films of that time, it 32 00:02:22.039 --> 00:02:27.159 quite subtle and restrained, and I probably just found it 33 00:02:27.360 --> 00:02:29.919 a little difficult to get a handle on when I 34 00:02:30.000 --> 00:02:33.280 first saw it. I was impressed though by the visuals, 35 00:02:33.319 --> 00:02:37.360 I think, by the editing, the composition. I think I 36 00:02:37.439 --> 00:02:40.520 was just also really taken by the fact that there 37 00:02:40.560 --> 00:02:45.280 were hippies in Ratislava in nineteen sixty nine, and subsequently 38 00:02:45.439 --> 00:02:48.120 other films I've seen have confirmed that. And so yeah, 39 00:02:48.120 --> 00:02:50.680 I think I was very taken with the Vladco character 40 00:02:51.479 --> 00:02:51.919 and angel. 41 00:02:51.960 --> 00:02:53.879 But how about yourself? Was this the first time viewing? 42 00:02:53.960 --> 00:02:54.120 For you? 43 00:02:54.560 --> 00:02:56.520 God, this's feel familiar. And then I got to the 44 00:02:57.599 --> 00:03:01.680 slaughterhouse part, it was like, oh, I have started to 45 00:03:01.759 --> 00:03:04.439 watch this before, and then I thought it getting into 46 00:03:04.479 --> 00:03:07.560 like cannibal holocaust territory or something and turned it off. 47 00:03:08.280 --> 00:03:11.560 I had only watched the bad parts and then miss 48 00:03:11.599 --> 00:03:13.280 the rest of the movie. So I was glad that 49 00:03:13.439 --> 00:03:16.520 you steered me towards it, because I'm glad I watched it. 50 00:03:16.879 --> 00:03:20.360 It certainly lingers in your mind, and honestly, I don't 51 00:03:20.479 --> 00:03:24.719 know if we could actually spoil even though you could 52 00:03:24.759 --> 00:03:30.240 tell a person everything about it. It's an experience, certainly, it. 53 00:03:30.319 --> 00:03:33.639 Definitely is, And yeah, I think it might be better 54 00:03:33.759 --> 00:03:36.840 this one might be better to listen to our episode first, 55 00:03:37.159 --> 00:03:39.240 just because yeah, there's a lot of stuff going on 56 00:03:39.479 --> 00:03:42.039 in here. This was a first time watch for me, 57 00:03:42.599 --> 00:03:44.599 so you guys both have one up on me. I 58 00:03:45.479 --> 00:03:48.680 first heard of this film because even though I found 59 00:03:48.719 --> 00:03:52.680 an article where this was voted the best Slovakian film 60 00:03:52.800 --> 00:03:56.240 of all time, and a lot of those films it's nicer. 61 00:03:56.319 --> 00:03:59.400 All from the sixties my sweet spot with this stuff. 62 00:03:59.439 --> 00:04:01.439 But it give me a lot of good things to 63 00:04:01.520 --> 00:04:04.360 look up. I hadn't heard of it until I watched 64 00:04:04.719 --> 00:04:09.680 Martin Sulik did that whole series of the Golden Sixties, 65 00:04:09.879 --> 00:04:12.520 but plus he also did one called twenty five from 66 00:04:12.560 --> 00:04:16.439 the sixties or the Czechoslovak New Wave that he directed 67 00:04:16.560 --> 00:04:20.639 and Jan Lucas wrote, and that's where I first heard 68 00:04:20.680 --> 00:04:22.879 of this film, and just the visuals from it were 69 00:04:22.959 --> 00:04:25.000 so striking that I wrote it down was just like 70 00:04:25.199 --> 00:04:28.120 I have to see this movie. I want to talk 71 00:04:28.160 --> 00:04:31.560 about it in check timber because it just feels right 72 00:04:31.639 --> 00:04:35.120 up my street. And it didn't disappoint. This is a 73 00:04:35.279 --> 00:04:38.000 movie where I was like, Okay, these are the kind 74 00:04:38.040 --> 00:04:41.360 of things. It's almost we talk about the Czech New Wave, 75 00:04:41.480 --> 00:04:45.120 we talk about our front Guard films, but this feels 76 00:04:45.319 --> 00:04:47.959 really out there. It's maybe not as out there as 77 00:04:48.000 --> 00:04:51.560 something like Daisies, but it's very avant garde. 78 00:04:52.399 --> 00:04:55.279 One of the interesting things about the way that the 79 00:04:55.360 --> 00:04:59.720 two different parts of Czechoslovak cinema develop during that time 80 00:05:00.720 --> 00:05:04.759 is that obviously, people I think generally are more familiar 81 00:05:04.879 --> 00:05:07.920 with the Czech side, and I guess Czech cinema has 82 00:05:08.519 --> 00:05:14.199 a longer history as an institutionalized film industry, and Slovakia 83 00:05:14.360 --> 00:05:16.920 is often seen as the one that was slower to 84 00:05:17.079 --> 00:05:20.480 develop as a set of institutions. And yet in the 85 00:05:20.560 --> 00:05:23.759 sixties you see this development where I guess by the 86 00:05:23.879 --> 00:05:26.439 end of the sixties, I would say some of the 87 00:05:26.519 --> 00:05:30.079 things that the Slovak filmmakers are doing are almost about 88 00:05:30.160 --> 00:05:32.600 doing what the Czech filmmakers were doing in terms of 89 00:05:32.800 --> 00:05:36.800 just their commitment to the avant garde and to experimentation. 90 00:05:37.120 --> 00:05:41.399 And it's just people like Hanak Yakabisco in a more 91 00:05:41.480 --> 00:05:44.680 kind of overt or extravagant way. They're just really throwing 92 00:05:44.839 --> 00:05:48.600 things at you that are very experimental, and as you say, 93 00:05:48.680 --> 00:05:51.319 it really delivers. If you want that kind of avant 94 00:05:51.360 --> 00:05:54.120 garde's sixties experience, this really does deliver. 95 00:05:54.279 --> 00:05:58.160 As that speaking as an American, there's just so much 96 00:05:58.240 --> 00:06:02.600 propaganda about the communism and the Eastern Bloc and just 97 00:06:03.160 --> 00:06:08.079 the oppression that it almost paints everything gray and drab, 98 00:06:08.560 --> 00:06:11.079 that you just assume the books are great and dred 99 00:06:11.160 --> 00:06:14.920 like you hear about like war and Peace and things 100 00:06:15.040 --> 00:06:17.759 like that, that you're not really jumping at the bit 101 00:06:17.920 --> 00:06:21.079 to read or it's not going to be this exciting 102 00:06:21.319 --> 00:06:26.160 psychedelic experience. And yet all of this was being created. 103 00:06:26.600 --> 00:06:29.279 It's just such a travesty that it was buried for 104 00:06:29.439 --> 00:06:32.040 so long, not being able to get out into the 105 00:06:32.120 --> 00:06:35.480 rest of the world, into what the late eighties, and 106 00:06:36.279 --> 00:06:39.199 I'm so glad that the projection booth can cover things 107 00:06:39.279 --> 00:06:41.079 like this and get it out there. 108 00:06:42.040 --> 00:06:44.480 Not a ton of podcasts on three twenty two, as 109 00:06:44.560 --> 00:06:46.959 far as I've found. There might be a whole group 110 00:06:47.040 --> 00:06:49.199 that's doing that, but I haven't found them yet. 111 00:06:49.759 --> 00:06:54.199 They're probably are rated. Something that I love about sixties 112 00:06:54.240 --> 00:06:58.079 European cinema is the Americans did too, but I think 113 00:06:58.319 --> 00:07:02.439 a little more different angle. So it's surprising to me 114 00:07:02.560 --> 00:07:06.839 to see it that the sexuality that's discussed is just 115 00:07:07.560 --> 00:07:11.439 so much more cansually brought to bear. There are so 116 00:07:11.639 --> 00:07:15.279 many nods to sexuality in this, just a alide from 117 00:07:15.279 --> 00:07:19.519 the cuckholding, but seeing so many ladies bending over and 118 00:07:20.360 --> 00:07:24.319 nods to things that people would find arousing. Western cinema 119 00:07:24.439 --> 00:07:28.079 has to ham fist those things or shy away from them. 120 00:07:28.519 --> 00:07:33.120 It's like they're either blatant or skirted around. So it 121 00:07:33.240 --> 00:07:35.920 was nice to see it through it, and especially that 122 00:07:36.600 --> 00:07:41.040 grappling with oppression through sexuality in a way. 123 00:07:41.920 --> 00:07:45.279 It's very striking. And just the visuals for this, and 124 00:07:45.399 --> 00:07:48.000 of course I love visual rhymes, and I'm just seeing 125 00:07:48.079 --> 00:07:52.480 visual rhymes throughout this whole thing, even from the attack 126 00:07:52.600 --> 00:07:56.759 on our main character in the beginning of this film, 127 00:07:57.120 --> 00:08:02.160 and how these thugs you put shaving cream all over 128 00:08:02.240 --> 00:08:05.199 his face. And then later on we see his ex 129 00:08:05.319 --> 00:08:08.680 wife in how she's putting cold cream on her face, 130 00:08:08.720 --> 00:08:10.720 and there's a moment where she moves from one room 131 00:08:11.040 --> 00:08:13.600 I think, into another room and she's got the cold 132 00:08:13.639 --> 00:08:16.519 cream on both places. But I think they're separated by 133 00:08:16.759 --> 00:08:21.000 time and space, but the cold cream ties the rooms together, 134 00:08:21.079 --> 00:08:21.920 which is interesting. 135 00:08:22.720 --> 00:08:25.920 When he gets the cream on his face, it's not 136 00:08:26.000 --> 00:08:29.399 a good end and it's compromising to him, but he's 137 00:08:29.480 --> 00:08:32.200 accepting of it, whereas when she has the cold cream 138 00:08:32.279 --> 00:08:36.840 on her face, she's expecting happiness from it, like she 139 00:08:37.080 --> 00:08:39.519 has a totally different sett and she's not going to 140 00:08:39.600 --> 00:08:42.360 accept any or she's at least not going to feel 141 00:08:42.399 --> 00:08:46.840 satisfied with anything less than that. It was so smartly done, 142 00:08:47.320 --> 00:08:48.279 how brilliantly done. 143 00:08:48.919 --> 00:08:51.440 Yeah, that's really interesting, isn't it with the shaving cream 144 00:08:51.480 --> 00:08:54.799 at the beginning, And I think it takes maybe a 145 00:08:54.840 --> 00:08:57.360 couple of viewings to get what's going on there, isn't it? 146 00:08:57.480 --> 00:09:00.240 And you have the yeah one of the third she's 147 00:09:00.279 --> 00:09:03.000 carrying the shaving brush on the top of his head 148 00:09:03.120 --> 00:09:05.919 at the beginning, and then he's actually like lathering it 149 00:09:06.080 --> 00:09:09.440 on Loudcow's face, and it's easy to miss that. You 150 00:09:09.600 --> 00:09:12.159 just see the scream on his face and you think, like, 151 00:09:12.200 --> 00:09:14.679 where has that come from? And then yes, second viewing, 152 00:09:14.720 --> 00:09:16.919 you get what they're doing because it's such a strange 153 00:09:16.960 --> 00:09:19.720 thing as a sort of a method of assault. It's 154 00:09:19.840 --> 00:09:23.519 very original, isn't It's very strange thing to do. And 155 00:09:23.600 --> 00:09:27.559 then yet he's forced to thank them, And yeah, I 156 00:09:27.600 --> 00:09:30.320 guess you get that idea of like masks, don't you really? 157 00:09:30.440 --> 00:09:33.879 And I guess shaving is an ambiguous image. It's a 158 00:09:33.919 --> 00:09:36.919 way of revealing the face, isn't it. Whereas what she's doing, 159 00:09:37.080 --> 00:09:39.840 she's like masking her face. And it's all about the 160 00:09:40.000 --> 00:09:44.159 display and the consumption. And yeah, there's a lot of 161 00:09:44.240 --> 00:09:47.919 those loaded motifs like that. Really, there's a lot of 162 00:09:47.960 --> 00:09:50.799 imagery of like eyes and of covered eyes as well, 163 00:09:50.879 --> 00:09:53.960 isn't there. I think you get the eyes of the cattle, 164 00:09:54.519 --> 00:09:57.000 you get like image that you get of course Joseph 165 00:09:57.000 --> 00:10:01.360 Abraham with those joke glasses that he's wearing. You get 166 00:10:01.600 --> 00:10:06.519 the sunglasses that Mata weez when she crashes, and you 167 00:10:06.600 --> 00:10:09.639 get the blindfolded cow. And yeah, there's a lot of 168 00:10:09.720 --> 00:10:13.480 imagery of light COVID eyes and there's a paratly multiple 169 00:10:14.039 --> 00:10:15.240 meanings that you can get from that. 170 00:10:15.960 --> 00:10:18.519 What was that odd at the beginning that one of 171 00:10:18.600 --> 00:10:23.120 the thugs was female. It almost looked like pieces of 172 00:10:23.279 --> 00:10:27.919 paper instead of eyelashes that she had glued on. It 173 00:10:28.039 --> 00:10:31.240 was so bizarre, and I was hoping they'd be an explanationally. 174 00:10:34.720 --> 00:10:37.679 And yeah, in one scene, josepher Brown is walking around 175 00:10:37.759 --> 00:10:41.320 with sunglasses on that only have one lens in it. 176 00:10:41.879 --> 00:10:44.919 And then later on you see a still image of 177 00:10:45.480 --> 00:10:48.919 Lauca's wife and she's got the sunglasses on with one 178 00:10:49.480 --> 00:10:52.919 glass in it. Because we should probably say this right 179 00:10:53.000 --> 00:10:55.320 here at the beginning, this movie, like I said, it's 180 00:10:55.320 --> 00:10:57.440 avant garde, so they're doing a lot of interesting things 181 00:10:57.480 --> 00:11:02.559 in here. There's a lot of still frames, there's some animation, 182 00:11:02.960 --> 00:11:05.360 which we'll talk about in a bit, but the little 183 00:11:05.440 --> 00:11:09.320 things like the apple disintegrating, that's actually Jan Swankmier. I 184 00:11:09.360 --> 00:11:12.879 didn't realize that that he did that, and that actually 185 00:11:13.200 --> 00:11:17.200 covers some material that was cut out of the film. 186 00:11:17.320 --> 00:11:21.519 So what we're watching is actually slightly censored version. That 187 00:11:22.120 --> 00:11:26.720 original version does exist, but with burned in subtitles on 188 00:11:26.879 --> 00:11:30.399 their German subtitles. I believe, which is also interesting because 189 00:11:30.440 --> 00:11:33.799 you get a lot of languages in here. Even during 190 00:11:33.840 --> 00:11:38.320 the opening credits, there's people talking and it's not subtitled, 191 00:11:38.360 --> 00:11:40.679 and I'm just like okay. And then throughout the movie, 192 00:11:40.720 --> 00:11:42.200 I kept and I don't know if this was just 193 00:11:42.279 --> 00:11:44.840 a bad subtitling job or not, but there were a 194 00:11:44.879 --> 00:11:47.080 lot of times where people would say things and they 195 00:11:47.120 --> 00:11:50.000 weren't being subtitled, which was a real pain, but especially 196 00:11:50.120 --> 00:11:53.919 like on screen titles and quotes and things like that. 197 00:11:54.279 --> 00:11:58.240 Even during the opening credits, you have those very stark 198 00:11:58.440 --> 00:12:04.159 stenciled credit letter and then you have the fragmented body 199 00:12:04.279 --> 00:12:06.080 parts that look like they're being taken right out of 200 00:12:06.159 --> 00:12:09.879 like Gray's Anatomy or something, and you have the whispering 201 00:12:09.919 --> 00:12:11.840 stuff going on, and I'm just like, oh, I'm in 202 00:12:12.000 --> 00:12:14.879 for a ride with this movie. It's already presenting me 203 00:12:15.000 --> 00:12:18.200 with three very disparate things just right here in the 204 00:12:18.240 --> 00:12:19.080 opening credits. 205 00:12:20.639 --> 00:12:23.360 The opening credits, even though I had that grating sound, 206 00:12:24.279 --> 00:12:27.480 there was like a tension sound for grinding I don't 207 00:12:27.480 --> 00:12:30.399 know how, but grinding your nerves. But it was exciting 208 00:12:30.519 --> 00:12:33.519 that it was like, oh, this is something that's. 209 00:12:34.240 --> 00:12:35.759 It probably takes a second viewing. 210 00:12:35.840 --> 00:12:38.440 At least it did for me to realize that kind 211 00:12:38.480 --> 00:12:41.440 of harsh sound over the credit is actually the sound 212 00:12:41.559 --> 00:12:45.919 of the machine during his scans, isn't it later in 213 00:12:46.000 --> 00:12:49.159 the hospital there's that there's like an interplay I think 214 00:12:50.159 --> 00:12:54.360 in his work between diagetic and non diagetic sounds. So 215 00:12:54.360 --> 00:12:57.440 are the sounds that could be part of the movie's 216 00:12:57.480 --> 00:12:59.840 world and then the sounds that are just being layered 217 00:12:59.840 --> 00:13:04.000 off on as part of the kind of formal arrangement, 218 00:13:04.159 --> 00:13:07.600 And it's sometimes difficult to know, and often it happens, 219 00:13:07.639 --> 00:13:09.720 I think, Mike you mentioned this in your notes, that 220 00:13:09.840 --> 00:13:12.519 it's sometimes difficult to tell where voices are coming from 221 00:13:12.600 --> 00:13:18.080 and who's speaking. And the sound really is very playfully used, 222 00:13:18.120 --> 00:13:18.919 isn't it really? 223 00:13:19.039 --> 00:13:19.320 Sound? 224 00:13:19.480 --> 00:13:23.720 And voices and captions they are an element in their 225 00:13:23.759 --> 00:13:27.960 own right, As you said, like with the captions, they're 226 00:13:28.000 --> 00:13:31.639 not really designed to illustrate or clarify the action, but 227 00:13:31.759 --> 00:13:35.399 they are texts that I guess work in interesting ways 228 00:13:35.440 --> 00:13:37.720 with the images, so you're meant to think about them 229 00:13:38.000 --> 00:13:41.320 and can compare or contrast with what's happening on screen, 230 00:13:42.039 --> 00:13:43.879 and they're never really doing a sort of just a 231 00:13:43.919 --> 00:13:47.679 simple thing. They may be quoting sometimes from the dialogue, 232 00:13:47.799 --> 00:13:50.679 but that in itself is interesting because you think, what 233 00:13:50.840 --> 00:13:53.879 is it doing there? Why is it highlighting this line 234 00:13:54.000 --> 00:13:56.919 or this idea? And one of the ones that I 235 00:13:57.039 --> 00:13:59.720 find particularly amusing for some reason is you get that 236 00:14:00.039 --> 00:14:03.360 action that says the influences of literature, which comes at twice, 237 00:14:03.440 --> 00:14:05.000 and I still haven't worked. 238 00:14:04.759 --> 00:14:06.759 Out what is the point of that. 239 00:14:07.039 --> 00:14:09.960 I'm wondering, maybe because I guess the sort of whole 240 00:14:10.039 --> 00:14:15.399 Marter plot is the part that comes most directly from 241 00:14:15.480 --> 00:14:18.799 the original story, so maybe it's indicating that that was 242 00:14:19.679 --> 00:14:23.039 closer to the original text. But even that doesn't seem 243 00:14:23.080 --> 00:14:26.000 satisfying really, So yeah, there is that constant, sort of 244 00:14:26.399 --> 00:14:29.919 playful juxta position. It reminds me a lot of macave 245 00:14:30.120 --> 00:14:33.360 of actually, although I think they have quite different techniques. 246 00:14:33.440 --> 00:14:36.480 But I was thinking a lot of the Switchboard Operator, 247 00:14:36.559 --> 00:14:39.840 especially as I was watching this, and there was even 248 00:14:39.879 --> 00:14:42.440 specific things that reminded me. I think one of the 249 00:14:42.480 --> 00:14:47.200 things especially was the when you have that couple, they 250 00:14:47.240 --> 00:14:51.000 seem to be on stage performing and there although it's 251 00:14:51.000 --> 00:14:53.799 black and white, they seem to be painted gold. And 252 00:14:54.120 --> 00:14:58.480 I've been various kind of tableau and there's like elderly 253 00:14:58.559 --> 00:15:01.639 people in the audience watching in a kind of amused way. 254 00:15:01.960 --> 00:15:05.200 And Yeah, that really reminded me of the Switchboard Operator. 255 00:15:05.759 --> 00:15:08.399 And I think just as you do in Switchboard Operator, 256 00:15:08.519 --> 00:15:12.720 you have that feeling of it's like a society itself 257 00:15:12.799 --> 00:15:15.799 that's almost like a collage too, because it's this juxtaposition 258 00:15:16.039 --> 00:15:21.519 of you have very traditional styles and traditional ways of life, 259 00:15:21.639 --> 00:15:24.799 and then you have this very modern element, very kind 260 00:15:24.840 --> 00:15:29.919 of sixties style Western style clothing or cosmetics or kind 261 00:15:29.919 --> 00:15:32.720 of commercial products, and then you have the sense of 262 00:15:32.759 --> 00:15:36.200 this older, more traditional society where you have chickens wandering 263 00:15:36.240 --> 00:15:39.480 around and people in the kind of the traditional costume, 264 00:15:39.879 --> 00:15:43.240 and it's almost like the society itself is this hodgepodge 265 00:15:43.279 --> 00:15:45.440 of different things, just as the style is. 266 00:15:46.279 --> 00:15:49.080 Yeah, whenever I talk about visual rhymes, I always think 267 00:15:49.120 --> 00:15:51.120 of macave of in just the way that he would 268 00:15:51.519 --> 00:15:54.200 bring in things and then you had because he would 269 00:15:54.200 --> 00:15:57.639 always have multi media stuff going on, so like you 270 00:15:57.679 --> 00:16:01.639 would introduce documentaries in introduced still images and all of 271 00:16:01.720 --> 00:16:04.000 these things, and you could pick up on, oh, that 272 00:16:04.200 --> 00:16:06.519 thing from that documentary is very similar to this, or 273 00:16:06.559 --> 00:16:09.600 you'd have fake documentaries like in Switchboard Operator, where you 274 00:16:09.679 --> 00:16:13.240 had the little movie about ridding the city of rats, 275 00:16:13.279 --> 00:16:16.080 and then you find out that the boyfriend in that 276 00:16:16.320 --> 00:16:20.080 is a rat catcher, and oh, he's actually in the documentary. 277 00:16:20.639 --> 00:16:22.679 I think that was all stage. I thought it was 278 00:16:22.759 --> 00:16:25.480 real at first, or even man is not a bird, 279 00:16:25.519 --> 00:16:30.080 where you get like the ideal Soviet images countered with 280 00:16:30.360 --> 00:16:33.000 what people are actually doing and just how slovenly and 281 00:16:33.159 --> 00:16:35.080 just trying to get along in life that they are. 282 00:16:35.159 --> 00:16:38.039 They're not these men of marble to coin a phrase, 283 00:16:39.879 --> 00:16:44.000 and with this one, it's a simple story at the 284 00:16:44.240 --> 00:16:47.559 heart of this. For me, it's really a story of 285 00:16:48.399 --> 00:16:53.679 a relationship and a man with cancer. But as far 286 00:16:53.720 --> 00:16:55.879 as I can tell, and now please correct me if 287 00:16:55.879 --> 00:17:01.440 I'm wrong, Lauko, our main character, played by vaklav Lo Lonninsky, 288 00:17:02.399 --> 00:17:05.799 he doesn't get told throughout the entire film that he 289 00:17:06.000 --> 00:17:08.880 has cancer, and does he even have cancer? Does he 290 00:17:08.960 --> 00:17:10.759 come out with a clean bill of health at the end. 291 00:17:11.039 --> 00:17:15.319 I assume he had the gallstones and that was just 292 00:17:15.440 --> 00:17:19.359 spreading infection in his system. I assume at the end 293 00:17:19.480 --> 00:17:23.640 he is healthy. But I wasn't one hundred percent on this, 294 00:17:24.359 --> 00:17:28.599 which I think is the problem. That maybe the truth 295 00:17:28.720 --> 00:17:31.640 of the communism is that they'll tell you what they 296 00:17:31.720 --> 00:17:35.559 want and you have to take it. So three two two. 297 00:17:35.640 --> 00:17:36.559 But he wasn't even told. 298 00:17:37.079 --> 00:17:39.799 He wasn't told that because three two two. The title 299 00:17:39.880 --> 00:17:42.599 of this is the medical coding at this time for 300 00:17:42.759 --> 00:17:46.960 cancer And yeah, I think it's our old from Miroslav 301 00:17:47.039 --> 00:17:52.680 matcha match a check from Fifth Horseman is fear in here. 302 00:17:52.920 --> 00:17:56.920 Great seeing him show up again, and he doesn't seem 303 00:17:56.960 --> 00:18:00.519 to be a very his bedside manner would be better 304 00:18:00.599 --> 00:18:01.240 as a doctor. 305 00:18:03.920 --> 00:18:07.160 I love the fact that he asked Lauco about smoking, 306 00:18:07.279 --> 00:18:09.480 and then in the same scene he himself is actually 307 00:18:09.480 --> 00:18:11.200 smoking and he has a big bottle of I think 308 00:18:11.279 --> 00:18:12.319 maybe whiskey. 309 00:18:12.079 --> 00:18:13.960 Or something on his desk. 310 00:18:14.119 --> 00:18:18.839 And yeah, slightly rather relaxed approach in regard to the illness. 311 00:18:19.039 --> 00:18:22.640 I got the same feeling. I think that probably he's 312 00:18:22.720 --> 00:18:25.960 okay at the end. But yes, it leaves you hanging. 313 00:18:26.039 --> 00:18:29.559 It doesn't have that big moment of relief, and I 314 00:18:29.599 --> 00:18:32.559 guess there is a tone. The tone is one of 315 00:18:32.720 --> 00:18:36.759 relief of affirmation, but it doesn't link that explicitly to 316 00:18:37.160 --> 00:18:39.440 him having a clean bill of health. But yes, I 317 00:18:39.480 --> 00:18:41.440 think we are meant to construe that it was just 318 00:18:41.519 --> 00:18:44.799 the gallstones and that those are past, and I think 319 00:18:44.880 --> 00:18:46.640 by the time you get to the end of the movie, 320 00:18:47.079 --> 00:18:50.920 it's preoccupied with another level. Really, I think it's more 321 00:18:51.279 --> 00:18:54.440 I guess we might say like a spiritual, psychological kind 322 00:18:54.519 --> 00:18:57.839 of relief that he's going through at the end. And yes, 323 00:18:57.920 --> 00:19:00.079 it doesn't really give you that kind of moment and 324 00:19:00.319 --> 00:19:05.319 of clarification really, And yeah, I think that use of 325 00:19:05.359 --> 00:19:07.519 the number is really interesting too. Isn't it the three 326 00:19:07.599 --> 00:19:10.319 two two, Because I think that's another kind of recurring 327 00:19:10.440 --> 00:19:12.680 motif throughout the film. I think, isn't it the idea 328 00:19:12.720 --> 00:19:17.400 of numbers and bureaucracy and the way people and things 329 00:19:17.440 --> 00:19:20.920 are categorized or codified. And you have the I guess, 330 00:19:20.920 --> 00:19:22.759 you have the children with the number tags, you have 331 00:19:22.880 --> 00:19:26.319 the cattle with the number tags. And one of my 332 00:19:26.359 --> 00:19:29.400 favorite things is that you have the hippie character of 333 00:19:29.480 --> 00:19:32.559 lad Coo who has the his I believe it's like 334 00:19:32.640 --> 00:19:36.200 identity number that he's painted on the back of his coat. 335 00:19:36.359 --> 00:19:40.839 So he's taken that principle of like classification and turned 336 00:19:40.839 --> 00:19:43.279 it into a kind of art object. And that's a 337 00:19:43.319 --> 00:19:45.960 beautiful piece of subversion I think. 338 00:19:46.759 --> 00:19:49.599 So we've got the whole story of the cancer with Laco. 339 00:19:49.759 --> 00:19:52.279 And then we also find out that Laco, who works 340 00:19:52.319 --> 00:19:57.440 in a restaurant, he lives with his ex wife, and again, 341 00:19:57.559 --> 00:19:59.839 please correct me if I'm wrong at any of the stuff. 342 00:20:00.000 --> 00:20:02.759 He lives with his ex wife and she's having an 343 00:20:02.799 --> 00:20:08.480 affair with Joseph Abram, who plays Peter, and they're pretty 344 00:20:08.720 --> 00:20:12.000 open about it. She's definitely an older woman for him. 345 00:20:12.559 --> 00:20:14.799 I'd love seeing him show up and stuff, and I 346 00:20:14.960 --> 00:20:18.039 just I was finding him to be such a great actor, 347 00:20:18.240 --> 00:20:20.599 and at this point in his career, he's just so handsome, 348 00:20:20.680 --> 00:20:24.039 I think, and I just I always find him very captivating. 349 00:20:24.480 --> 00:20:27.559 So those two going at it together, and then there's 350 00:20:27.599 --> 00:20:30.440 also at one point another woman that shows up and 351 00:20:30.599 --> 00:20:33.720 he is maybe I should go with this younger woman. 352 00:20:34.200 --> 00:20:35.559 But we get to see a little bit of him 353 00:20:35.599 --> 00:20:40.119 at work, and mostly it's him and Marda just going 354 00:20:40.200 --> 00:20:42.640 out and dating and doing their thing. And you do 355 00:20:42.759 --> 00:20:45.440 get to see them, not necessarily in flagrante, but you 356 00:20:45.599 --> 00:20:48.519 see them sharing a bed together, and at one point 357 00:20:48.599 --> 00:20:51.119 Laco even walks in on them, and like you were saying, 358 00:20:51.160 --> 00:20:53.839 Angela with the cuckholding He's just like, oh, hey, yeah, 359 00:20:53.880 --> 00:20:56.119 you left your light on or whatever I thought. Sorry, 360 00:20:56.279 --> 00:21:01.079 I didn't realize anybody was up. It's okay, just walks 361 00:21:01.200 --> 00:21:05.079 right out and then yeah, you've mentioned Vodko a few times. 362 00:21:05.160 --> 00:21:08.440 Vlodko's the wild card for me because there are times 363 00:21:08.519 --> 00:21:11.079 with v Loodko the hippie, where I'm just like, is 364 00:21:11.160 --> 00:21:14.680 this guy even real? Is he a spirit that's been 365 00:21:14.799 --> 00:21:16.960 conjured up? Because he just seems to like show up. 366 00:21:17.119 --> 00:21:20.680 He hangs out with Lauco at times. Laco's in the hospital, 367 00:21:20.720 --> 00:21:23.400 all of a sudden, v Loadko's there as well, talking 368 00:21:23.440 --> 00:21:26.400 about glasses and eye stuff. He puts on the one 369 00:21:26.559 --> 00:21:30.680 patience really super thick coke bottle glasses, and he's wandering 370 00:21:30.759 --> 00:21:33.759 around in the room with his arms outstretched like Frankenstein. 371 00:21:33.880 --> 00:21:36.960 You're just like, is he does anybody else see this guy? 372 00:21:38.240 --> 00:21:41.000 Like I wrote my notes, is he a ghost? I 373 00:21:41.079 --> 00:21:41.880 don't get this guy. 374 00:21:43.079 --> 00:21:49.799 There was an interview with Slush Michael's tripping over all 375 00:21:49.880 --> 00:21:55.880 these names and Okay, the director, so he has a 376 00:21:55.960 --> 00:22:01.039 strong background in doing documentaries, and I guess it kind 377 00:22:01.119 --> 00:22:04.079 of merges, which makes sense. You wouldn't have thought it 378 00:22:04.240 --> 00:22:07.440 watching it, but thinking about it after and reading about it. 379 00:22:08.279 --> 00:22:15.000 Vlad Co, in reality, the actor was a hippie nearby 380 00:22:15.279 --> 00:22:19.400 and some nudist hippies hanging out in the woods, kind 381 00:22:19.440 --> 00:22:23.799 of commune Panac liked, he wanted to film them and 382 00:22:23.920 --> 00:22:28.839 wanted to just capture that freedom on film. So I 383 00:22:29.039 --> 00:22:33.359 guess the character of lad Coo is a mixture of 384 00:22:33.559 --> 00:22:38.519 basically him just being given a very small directive and 385 00:22:38.680 --> 00:22:43.960 doing his thing, which seems right because he's so whimsical 386 00:22:44.200 --> 00:22:48.680 and just so captivating, And then it seems so right 387 00:22:49.200 --> 00:22:51.799 that's him, and there's so little like I tried to 388 00:22:52.160 --> 00:22:55.279 look up things about there's nothing, like he's into movies 389 00:22:55.359 --> 00:23:00.519 and doesn't exist otherwise, and he was so wanted him 390 00:23:00.559 --> 00:23:02.119 film like I would have loved to have seen more. 391 00:23:02.240 --> 00:23:05.440 But yeah, he's such a just naturally sympathetic presence, isn't 392 00:23:05.440 --> 00:23:08.480 he really? And that's right about the Yeah, the documentary. 393 00:23:08.480 --> 00:23:10.640 I think that's a really important point to bring up, 394 00:23:10.680 --> 00:23:15.599 really because ya Hanakh by this point had only made documentaries. 395 00:23:15.680 --> 00:23:16.720 This was his first. 396 00:23:18.000 --> 00:23:21.440 Feature film, his first narrative feature. And despite the fact 397 00:23:21.480 --> 00:23:23.480 that at the beginning it's clear to tell you that 398 00:23:23.720 --> 00:23:25.880 this is a work of fiction, it is very much 399 00:23:26.079 --> 00:23:30.480 like an integration of documentary and fictional techniques, And I 400 00:23:30.559 --> 00:23:33.640 guess interesting in terms of Hannah's career, because I think 401 00:23:33.759 --> 00:23:36.920