In a Florence pensione circa 1900 with English guests, George and his dad offer their rooms with views to Lucy and her chaperone. Lucy and George get acquainted but Lucy returns to England. George and Lucy meet again but now she's engaged.
Helena Bonham Carter,
Tomas is a doctor and a lady-killer in 1960s Czechoslovakia, an apolitical man who is struck with love for the bookish country girl Tereza; his more sophisticated sometime lover Sabina eventually accepts their relationship and the two women form an electric friendship. The three are caught up in the events of the Prague Spring (1968), until the Soviet tanks crush the non-violent rebels; their illusions are shattered and their lives change forever.Written by
Dan Hartung <firstname.lastname@example.org>
Milos Forman personally offered to Philip Kaufman the opportunity to direct the movie after hearing that studios were interested in making a film adaptation of Milan Kundera's successful novel. Forman had to pass the chance to direct it himself because he had family in Czechoslovakia and he feared for them in case of a possible negative reaction from the Soviet government, who were occupying the country at the time. See more »
When Tereza is on the train after returning to Czechoslovakia, she surrenders her passport and a camera. The camera is a Leica-style rangefinder, not the Praktica SLR she has been using. See more »
First Title Card:
In Prague, in 1968, there lived a young doctor named Tomas...
Take off your clothes.
[line recurs several times during film]
See more »
Milan Kundera's masterwork is one of the most profound, powerful and perspicacious work of literary fiction of all-time. However, as one either already knows or soon discovers: a novel and a film are completely different media.
Kaufman's vision is elegant, eloquent and enigmatic. This is necessary to translate the directness and deepness of Kundera's prose. The film unable to delve into the innermost feelings and proclivities of its characters tries to say more by saying less. The movie takes the essence and uses powerful, calculated imagery as its driving motor. This is how this strongly resembles the late Stanley Kubrick's work: meticulous, hard on the actors and often also demanding on the viewers.
Kundera is heard throughout by having some of its most essential prose and ideas integrated into the dialog now and then, but as you've probably guessed, the film cannot capture the sublime subtleties and evocative expansions of the novel. Franz's and Sabina's "dictionary of incomprehension" is only hinted at, while Tomas' son is nonexistent and Tereza's turning moment at the mountain foregone. The focus is highly on the sensuality and, primate, playful to intimate, infidelity. This was a good choice as this dichotomy requires little words to be heard. However, when the characters do speak, the dialog dashes across the screen and dances in your head to be sure. The political overtone is also present with the departure and return to Prague being treated as almost opposite end of a colour spectrum. Kundera hypothesizes on how politics and nudity are one and the same, but Kaufman shows it with vivid imagery on both sides and emblematic parallelism.
The acting and editing make it all work together although there are a few low points in both instances. The two female leads are pretty much incredible. The classic music is charming and appropriate. The writing and directing are on point and the philosophy and melancholy of Kundera finds an appropriate echo in this visceral art medium.
With a slow beginning, the movie quickly builds momentum and the viewer hardly realizes its long running time. The character interactions and tensions, the stunning cinematography and succession of memorable scenes and dialog inspired greatly by the original work, make the viewer actually wish the movie would go on a little longer, whisper something more to its ear. Tomas sums it up by stating his general happiness despite his unforeseen and unwanted condition. After all life is light, you cannot take it too seriously.
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