The Shop on Main Street

Obchod na korze; war drama, Slovakia, 1965; D: Ján Kadár, Elmar Klos, S: Jozef Kroner, Ida Kamińska, Hana Slivková, Martin Hollý, František Zvarík

A small town in Slovakia during the Nazi dictatorship and World War II. Carpenter Tono Brtko is annoyed by his wife Evelina who tries to persuade him to collaborate with the Nazis to help him get more jobs. One day, Tono's brother-in-law Markuš, a Nazi officer, gives him a document that allows Tono to take over a haberdasher shop from a Jewish old woman, Rosa Lautmann. He thus runs the shop jointly with her, while the local Jews pay him to keep it afloat and be kind towards Mrs. Lautmann. As an order is given to round up all the Jews who will be deported to an unknown destination, Mrs. Lautmann's name is missing from the list. A drunk Tono at one point order Mrs. Lautmann to pack her luggage and join the deported Jews, but then changes his mind and throws her inside the basement to hide her from the Nazi officers who pass by the shop. When Tono finds out he accidentally killed her when she fell, he hangs himself.

One of the most critically acclaimed films from Slovak cinema, this Holocaust drama shows a dark past in Europe during World War II presented through the Slovak perspective, though some clumsy omissions disrupt it from reaching its highest potentials. The opening act contemplates about what makes ordinary people agree to support a totalitarian dictatorship—when they think they can get some personal gain out of it. The protagonist Tono struggles to find jobs in the town, while his wife Evelina chastizes him: ''Would it hurt you to use the fascist greeting every once in a while, or what?'' - ''I am not a parrot.'' The directors Jan Kadar and Elmar Klos use a lot of details in said opening act to make it colorful and help it come to life: for instance, the point-of-view of a stork on the rooftop observing convicts walking around a prison and then people walking on the street next to it; or a conductor conducting a choir, while a little girl is waving her index finger behind his back, pretending she is also conducting the choir. Upon hearing he will be awarded the shop of a Jewish old lady, Rosa Lautmann, Tono is suddenly much more enthusiastic—he gets wealth and reward for supporting the dictatorship. 

This leads to the film's theme, namely how torn Slovaks were between collaborationism, which was encouraged, and their conscience, which was discouraged. Tono meets an acquaintance, Kuchar, who tells him about how Rosa became a widow in the last war while looking at the photo of her late husband: ''I could have been looking down from that picture and old Lautmann could have been standing here with you. I still remember that day in the trenches, bullets whistling past my head. One of us had to stick his head out. Lautmann did, and I am here.'' The cruel fact that a widow of a World War I veteran can just like that be discarded by its own country is not lost on the authors. As the Jewish barber Katz observes: ''When the laws go against innocent people, that's the end. The end of those who passed them.'' The finale where the local Nazi officers assemble all the Jews on the main square to be deported, while a nervous Tono looks through the shop window, is the most intense and best segment of the film, reaching dramatic intensity. However, his sudden, inexplicable drunk caprice where he randomly wants to force Rosa out of the store to join the other Jews on the square, but then changes his mind, is badly done, too heavy handed to work, and thus the planned cathartic ending is not earned. Another big error is the lack of Rosa's character development—she is terribly underused, too little joint scenes show her interact with Tono, and thus the viewers do not get an impression that the two of them bond, which inhibits the emotional dimension in the finale.

Grade:+++

Run Lola Run

Lola rennt; action crime, Germany, 1998; D: Tom Tykwer, S: Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nina Petri, Joachim Król, Armin Rohde, Heino Ferch, Suzanne von Borsody, Sebastian Schipper

Berlin. Lola receives a phone call from her boyfriend Manni: after a deal, he was supposed to deliver 100,000 Deutsche Mark to his boss, but he lost the bag in the metro train. He has 20 minutes to find the money or his boss will kill him. Lola decides to run to her dad, a banker, and ask 100,000 DM from him, but he refuses. Manni decides to rob a shopping store, but the police show up and accidentally shoot Lola... 2nd option. Lola runs, takes a gun and her dad as hostage and robs the money from the bank. Manni runs towards Lola, but an ambulance van runs him over... 3rd option. Lola runs and invests all her money into a casino roulette. She screams and her sound causes her to win the jackpot. Manni finds the homeless man who stole his money and retrieves it, and is thus able to give it to his boss. Manni and Lola meet and now have a surplus of money. 

One of the most famous and best German movies from the 90s, ''Run Lola Run'' is built around the iconic cinematic character of a red-haired girl in a teal t-shirt running across the street, and even though it is just a stylistic exercise in a blend of action and experimental film, it works marvelously smooth until the end. The story is simplistic—the title heroine has 20 minutes to find 100,000 DM for her boyfriend—but it is the way the director Tom Tykwer directs all this that makes it inventive, creative and unusual. He uses various cinematic techniques to make the film tantalizing: animated segments; split screen; match cut; over the shoulder shots; slow motion or the fact that the story is told in three different alternatives all help this movie to look modern and hip. In the opening act, the narrator says: ''In the end, isn't it always the same question. And always the same answer?'' Then the main cast is introduced through some sort of gallery of mughshots. As Lola hears about the pinch her boyfriend found himself in, the camera rotates 360 degress around her as she thinks of all the people who could help her, until the camera stops and she consolidates the one person who could be the main candidate: dad. Cue to a short clip of her dad looking into the camera, but then shaking his head when he hears that. 

Even more peculiar, as Lola runs into some people on the street, a quick montage of stills shows what will happen to them in the future—in one such example, Lola runs by a cyclist, and the montage shows him being beaten up by thugs, then meeting a nurse in the hospital, and finally getting married to her. Tykwer creates a pace that is furious, but never aggressive—instead, it is optimistic, happy, funny and effervescent. Franka Potente is excellent as the leading heroine, proving that she can be not only agile, energetic and powerful, but also humane and emotional at times. For instance, she comes off as very fragile when her father admits she is his ''cuckoo's child'' or when she has a wonderful random flashback moment with her boyfriend Manni in bed: ''Because you are the best.'' - ''The best what?'' - ''The best woman.'' - ''Of all and all the women?'' ''Run Lola Run'' certainly is a patchwork with several excessive and superflous moments that were inserted just there for the random sake of it. And the resolution of the third story revolving around the casino is unconvincing and a bit too naive. However, it shows such a wonderful playfulness in including all those different, disparate elements that ultimately nothing else matters besides such a wonderful playfulness.

Grade:+++

Victoria

Victoria; crime drama, Germany, 2015; D: Sebastian Schipper, S: Laia Costa, Frederick Lau, Franz Rogowski, Max Mauff, Burak Yiğit, André Hennicke

Berlin. Spanish girl Victoria is dancing in a night club, decides to go back home at 4:30 am, but bumps into four alcoholic guys lead by Sonne, and joins them on a walk in the streets. Victoria goes to a cafe to open it, and plays a piano for Sonne, before he departs. A few minutes later, Sonne returns with his friends and asks Victoria for a favor: she should just drive them in a car and back. At an underground parking garage, criminal Andi coerces Sonne and his friends to rob 50,000€ from a man who will enter a bank. They steal the money, Victoria drives them away in a car, but later the police tracks them down and a shootout ensues. Sonne is wounded, so Victoria takes a baby from an apartment and just walks past a police officer downstairs. The couple hide at a hotel, but Sonne dies from his wound, so Victoria walks away on the street.

"Victoria" is one of those movies that work only and exclusively thanks to one gimmick. The gimmick here is outstanding: this entire 120 minute film is filmed in only one take. This shows huge focus and craftmanship of the director Sebastian Schipper, but only on that one level. The camera follows the title heroine Victoria exiting from a night club, walking on the streets with four alcoholic guys, going to the rooftop of a residential building, then to her cafe, to an underground garage, driving a car in front of a bank for the guys to make a robbery, running away through the park from the police, hiding in an apartment and a hotel. Throughout this entire time and various locations, the camera is able to keep its focus and avoid any technical errors, which is a feat. However, the entire script was only 12 pages long, and it shows, since Schipper did not invest that much attention or care towards writing a concise storyline, leaving the film too banal or heavily overstretched and improvised by the actors, who seem to lead the story more than the director in this instance. Too many of these scenes and dialogue are routine, reducing the enjoyment value. Without this gimmick, this would have been a rather standard crime flick about people on the margins.

Grade:++

Cries and Whispers

Viskningar och rop; art-film / drama, Sweden, 1972; D: Ingmar Bergman, S: Ingrid Thulin, Liv Ullmann, Harriet Andersson, Kari Sylwan

A rural house at the turn of the 19th and 20th century. Agnes is dying from a terminal stomach illness and is nurtured by maid Anna. Agnes' two sisters, Karin and Maria, are also there to keep he company. Agnes dies, causing Karin and Maria to reflect on their lives. Maria had an affair with the doctor, even though she is married to Joakim. Karin, on the other hand, is cold and distant. Anna is still devoutly religious despite the death of Agnes, and reads her diary.

Included in Roger Ebert's list of Great Movies, Ingmar Bergman's art-film is still mysterious, challenging and demanding psychological drama tackling some of the most taboo topics—the last days of a person dying on their deathbed; and the effect this leaves on the living who stay behind. Bergman is very elegant, smooth and minimalist in crafting this thin story—the opening act consists only out of aesthetic images of sunrays behind a tree; close-ups of clocks which signal that time is running out; and the terminally ill character of Agnes who wakes up in her bed and starts writing in her journal. By the time the first dialogue appears, already 9 minutes of the film have passed. There is no spectacle here, it is all very intimate and quiet. Agnes dies already halfway into the film, in a very painstaking and painful sequence, and the rest of the film revolves around her sisters Karin (Ingrid Thulin) and Maria (excellent Liv Ullmann), showing how each of them is an island for herself, how all of them are isolated and different despite being related. 

Karin is cold, distant and is afraid of human touch: in the most gruesome moment, she takes a piece of broken glass and slashes herself between her legs, under the dress, even placing blood on her lips, just to keep her husband away from herself. Maria, on the other hand, longs for warmth and human touch, and even has an affair with the doctor treating Agnes. Towards the end, when Agnes confronts Maria for touching her, almost incestously, they have this exchange: "You touched me. Dont you remember that?" - "I don't remember every stupid thing I've done, and I won't be made to account for them". Bergman has problems with articulating the content, since he is not quite sure what he wants to say (one unusual surreal sequence near the finale stands out stylistically from the rest of the story), but he crafts a very cozy mood thanks to huge close-ups of faces and Sven Nykvist's fine cinematography. As the movie contemplates, the theme is comfort in life, and the lack of it. When Maria and Karin reach their final days, who or what will comfort them? Agnes found comfort in religion and human compassion, even despite her pain and dying. Conversely, Maria and Karin are healthy, but have not found comfort neither in religion nor in human relationships. The ultimate point is that solace needs to be found even in small moments of happiness, as the final dialogue displays.  

Grade:+++  

Superman

Superman; fantasy, USA, 2025; D: James Gunn, S: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Sara Sampaio, María Gabriela de Faría, Zlatko Burić

Superman intervened by stopping the country of Boravia from invading the country of Jarhanpur. Since billionaire Lex Luthor has a secret pact with Boravia's dictator Ghurkos, since he plans to get a hold of half of Jarhanpur's land, Luthor starts a whole media smear campaign against Superman. In the meantime, Superman's real identity, Clark Kent, has troubles in his relationship with Lois Lane. When Superman is arrested by the US government and sent to a pocket universe, Luthor captures him thanks to alien Metamorpho who assembles Kryptonite, an element that weakens Superman. However, Metamorpho teams up with Superman, and thanks to Mr. Terrific, Green Lantern and Hawkgirl, they manage to defeat Luthor and stop his pocket universe from deteriorating into a black hole.

James Gunn is the best director of superhero movies. While other directors limit their involvment to only one superhero, Gunn repeats this several times (the "Guardians of the Galaxy" trilogy, "The Suicide Squad"), but always stays faithful to his specific comic taste and wild, untrammelled energy, which isn't "reigned in" even in those big budget mainstream productions which usually stray away from risky stuff. Congruent to the principle of "Chekhov's gun", almost all of little details play a role later on and deliver a pay-off (for instance, a random scene of assistant Eve doing a selfie of Superman being beaten up by an adversary in the background plays a role in the finale, when Eve sends all her private selfies to Jimmy Olsen, revealing Lex Luthor's plan), while Gunn inserts Superman in more complex and logical socio-political subtexts of modern times, expanding his role in the world (in a surprising twist, the hero stops an invasion of a (fictional) country from another country, Boravia, preventing a war), and even giving him a mini character-arc at the end (at the beginning, Superman was only ever watching video recordings of his biological parents from Krypton, but after a revelation, he watches video recording of his adoptive, Earth parents who raised him on a farm, signalling his shift from respect towards idealistic strength to respect towards imperfect humanity). 

As opposed to other reboots or entries, "Superman's" origin story is luckily skipped here since everyone already knows his mythology, throwing the film in medias res, whereas all the situations and relations are eventually extrapolated and caught up by viewers along the run of the storyline. Besides several comical moments, some even staying true to the director's grotesque or black humor (Superman saves a squirrel from a monster's tail; Luthor imprisoning an ex-girlfriend because she wrote a negative blog about him; the citizens of the fictional country of Boravia speak in Croatian language (!); a villain getting eliminated by being dropped from a high altitude to the ground is followed by a match cut of an aspirin falling and dissolving into a glass of water...), Gunn is also able to craft a grandiose satire on these modern times: the story is basically about an illegal migrant who is arrested by a paramilitary and sent to an unknown, undisclosed detention center without any indictment or charges, tortured and abused, because an envious billionaire has such a fragile ego that the only thing he can counter his feeling of inferiority is to implement a social network media campaign that obfuscates everything and distorts reality to always present Superman in a negative light, and even collaborate with an enemy nation for personal benefits. That Gunn is able to make such subversive stories in big budget productions is astonishing. Some flaws are the undeveloped, unorganized finale; the underused Isabela Merced as Hawkgirl; Superman's unnecessary dog Krypto; and even some lack of character development or charm in Superman here and there. Still, "Superman" is one of the most refreshing superhero movies, offering a super-James Gunn with style.

Grade:+++

Investigation of a Citizen Above Suspicion

Indagine su un cittadino al di sopra di ogni sospetto; crime / satire, Italy, 1970; D: Elio Petri, S: Gian Maria Volonté, Florinda Bolkan, Gianni Santuccio, Orazio Orlando, Sergio Tramonti, Arturo Dominici

Rome. A Police Inspector kills his mistress, Augusta, with a blade while in bed, then takes a shower, calls the police to report the crime, and then exits her apartment. He goes to the police station and then returns to the scene of the crime with the police, ostensibly to investigate the apartment. The police question Augusta's gay husband, but the Inspector let's him go. A forensic expert finds the Inspector's fingerprints all over the apartment, but brushes it off since he was there to check the apartment, while the Inspector even admits to his superior he had an affair with Augusta, but he is nontheless not considered a suspect. Augusta's communist student lover, Pace, is brought for questioning. The Inspector has a dream that he confessed his crime to his superiors, but they won't believe him. As he wakes up on his couch, the superiors really enter his apartment.

Not only catchy through its snappy title, "Investigation of a Citizen Above Suspicion" is a memorable and bizarre satire on two concepts: "Who watches the watchmen?" ("Quis custodiet ipsos custodes?") and the spoiled arrogance of absolute power. The first concept is a meditation on the ultimate arbitrators who can abuse this power, in this case the nameless Police Inspector who oversees the investigation of his own murder (!), but the second notion is even more fascinating and daring, showing how authoritarianism at one point becomes so overconfident in itself, that it is able to explicitly reveal its criminal nature, which will then be ignored, whitewashed or explained away by the masses who are too afraid to admit they are controlled by evil, either due to their passivity or their obedience to the hierarchy of power. The Inspector in the story seems to enjoy exploring how far he can go with his hierarchical impunity, noticeable in the sequence where the gay husband of the killed woman is interrogated at the police station, claiming he didn't kill her, so the Inspector, in front of over twenty homicide employees, says out loud: "Everyone is innocent here. There's only one guilty party... and that's me!", upon which everyone in the room laughs. 

Another exchange with a suspect and the Inspector goes like this: "I want my lawyer!" - "We're not in America." - "I want my lawyer!" - "As soon as the law changes, I'll send him to you." At this point, the anti-hero demonstrates his philosophy that he himself is the law, and that he can do whatever he wants. During a speech, the Inspector shouts: "Repression is our vaccine! Repression is civilization!" Another crucial moment appears in a flashback, when the Inspector drives in the car with his mistress, and she incites him to drive through the red light—but as a police attendant stops him and asks for his papers, the Inspector just shows him he is from the police, and is given instant impunity, as the mistress looks at him with excitement: "You can commit any crime you want." The director Elio Petri crafts the film with huge close-ups of faces, sometimes even filmed in telephoto lens, to create a feeling of the weight and intimidation of these figures, though the movie does lose steam in the second half since the script was not that well written, suffering from pacing issues due to its overlong running time of two hours, especially in some didactic moralization. Despite these omissions, "Investigation" is a dark warning on the abuse of power, and the people who allow it to be abused.

Grade:+++

A Close Shave

A Close Shave; stop-motion animated comedy short, UK, 1995; D: Nick Park, S: Peter Sallis, Anne Reid

One evening, as a truck stops at a traffic light, a sheep escapes from it and hides in the house of window washer and inventor Wallace and his dog Gromit. As Wallace and Gromit wash a window of a wool store, Wallace becomes friends with its owner Wendolene, but her dog Preston secretly steals sheep to have wool and make dog food out of them. Wallace and Gromit team up with Wendolene to save a whole herd of sheep from slaughter in Preston's factory. Preston turns out to be a robot, but is crunched in its own mincing machine. As Wendolene reveals she doesn't like cheese, Wallace ends their relationship.

Compared to the excellent "The Wrong Trousers", every other "Wallace and Gromit" film is a step below in creativty, including the 3rd one, "A Close Shave", where the writer and director Nick Park simply wasn't that highly inspired. It again received critical acclaim due to its meticulous stop-motion animation and the friendship between Wallace and his dog Gromit, but "A Close Shave" is still only moderately fun. Only two moments truly stand out by some higher ingenuity: in one, while in prison, Gromit is piecing together a puzzle, and as it is completed it reveals a message: "Friday night 8 PM be ready. A Friend." Gromit looks at the calendar and his clock, and realizes it is Friday at 8 PM right now, as a sheep appears on the window and starts slicing the bars using a cutting machine. In the other, just as all the sheep escape from the back of a truck via a ladder to Wallace's motorcycle right behind it, the driver, dog Preston, hits the breaks of the truck, which causes the motorcycle to crash behind it and catapult all the sheep back into the truck. Other jokes are solid and fine, yet never really attempt to reach a higher level by conjuring up something more imaginative, as the movie slowly and steadily consolidates itself only into a movie for kids, and not a movie for both kids and grown ups.

Garde:++

Nine Lives

Ni liv; war drama, Norway, 1957; D: Arne Skouen, S: Jack Fjeldstad, Alf Malland, Henny Moan, Joachim Holst-Jensen

Norway during the Nazi occupation. Jan Baalsrud is a resistance member who arrives with his friend to Hansen, a shoemaker, for underground contact, but it turns out the previous Hansen was arrested by the German army, and that the new Hansen doesn't want to have anything to do with the resistance. Hansen secretly snitches them to the Nazis. While Jan and his crew were smuggling arms from the British Shetland islands to Norway's north, their ship is attacked and sunk by the Nazis. Only Jan survives, who walks through the snow landscape and reaches the house of Agnes and Martin, who nurture him. Jan is hidden in a barn, and then under a snowy slope, since the Nazis are searching for every house for him. Finally, a Sami reindeer herder transports Jan in a sleigh over to the neutral Swedish territory, where he is saved.

Based on real life events of Norwegian World War II resistance member Jan Baalsrud, "Nine Lives" is one of the wildest survival and escape stories of its kind, offering moments of surprise and that feeling of persecution from which a person has to escape to another country to safety. Despite its simple and conventional directing, "Nine Lives" still works even today, but it is narrowed down only to this one episode from Baalsrud's life, and does not show his military career before or after it. Nonetheless, his plight and flight depicted here are astonishing, as if he is the original "Norwegian Chuck Norris": he survives in the cold snow mountains; suffers from snow blindness and thus has to throw snowballs in front of himself and tap with his ski pole to find them, blindfolded; he falls down an avalanche; in the barn, since the doctor cannot arrive due to a snow storm, he disinfects a knife on a candle fire and cuts some of his toes infected with gangrene... Indeed, his ability to endure all this hardship while trying to reach Swedish neutral territory is a story that deserves to be told. It is thus not far fetched when the farmers who nurture him have this exchange: "He must have nine lives!" - "And he will need them all." The exteriors of the snow landscapes have a certain aesthetic, and one stylistic idea is interesting: some 14 minutes into the film, the camera pans up through seven different mountains, all showing either Jan's footsteps left on the snow or the Nazi army in a search mission. Some moments are clumsy or heavy handed, and it is somewhat undignified showing Jan in such a unworthy situation, relying too much on others, yet the movie works both as a piece of history and an adventure drama.

Grade:+++

The Pinchcliffe Grand Prix

Flåklypa Grand Prix; stop-motion animated sports film, Norway, 1975; D: Ivo Caprino, S: Frank Robert, Kari Simonsen, Toralv Maurstad, Rolf Just Nilsen, Harald Heide-Steen Jr.

Flåklypa is a small village where poor inventor Reodor works as a cycilist repairman, employing penguin Solan and hedgehog Ludvig in his workshop. When Reodor's former employer Rudolf mocks him on TV and shows how he stole Reodor's invention to help him win in car races, Solan manages to persuade a sheikh to finance Reodor's new race car, Il Tempo Gigante. A jealous Rudolf slices an oval device inside the car to sabotage it. During the race, Reodor's car starts malfunctioning, but Ludvig enters the car and holds the sliced oval device to keep it intact, and thus Reodor's race car wins the race and surpasses Rudolf's car.

Even though it enjoys a cult reputation in Norwegian cinema, since among others it sold over 5 million tickets at the local box office, stop-motion animated film "The Pinchcliffe Grand Prix" is still heavily overrated, basically nothing more than a solid kids film. It confirms the old maxim that often some of the most popular local films lose their ostensible greatness or are difficult to understand when viewed outside the borders of their countries. The film is meticulous in technical aspects, especially in painstaking stop-motion animation and work with puppets, and eye for details, but its creative aspects are severely lacking, since it doesn't even attempt to be funny or especially creative. The director Ivo Caprino is only interested in setting up the final 20-minute race car sequence, but the first 60 minutes drag as an overlong set-up, whereas the character of the hedgehog (?) anthropomorphic animal Ludvig is disturbing looking, with a bizarre giant nose/beak placed above its mouth. The humor appears only intermittently, though it has sparse charm: for instance, when the penguin Solan is watching the sheikh through binoculars, commenting how rich he is: "Gosh, he's using dollar bills as fly-swatters!"; the image of a woman playing a harp composed out of two bicycle tires; or when the names of Italian and German race car drivers are revealed: Gassolini and Schnellfahrt. The movie needed more jokes and inspiration, since it seems it just settled at being good, never truly attempting to go beyond that. The final race car tournament is the highlight, but even that is a weaker highlight than, for instance, the wonderfully creative chariot race sequence at the end of "Asterix vs. Caesar" or the chase sequence in "The Wrong Trousers".

Grade:++

The Fabulous Baron Munchausen

Baron Prášil; fantasy adventure, Czechia, 1962; D: Karel Zeman, S: Miloš Kopecký, Jana Brejchová, Rudolf Jelínek, Rudolf Hrušínský, Karel Höger

Tonik, an astronaut on the Moon, is surprised to find Cyrano de Bergerac and Baron Munchausen there, who mistake him for a "Moonman". Munchausen decides to show Tonik his world, so they board a ship carried by horses with wings that bring them to Earth, to a city in Ottoman Empire. Munchausen and Tonik free princess Bianca from the Sultan and escape on horses. The three see a ship in the sea and swim to it to safety, but it sinks in a sea battle. Munchausen, Tonik and Bianca are swalloved by a giant fish and find another ship inside its stomach. The fish gets stranded and the people escape from it. Munchausen, Tonik and Bianca help save a castle from a siege, but Tonik is sent to prison for suspicion that he wants to blow up the castle. Munchausen throws a candle on gunpowder which causes an explosion that catapults the castle to the Moon. 

Whichever fantasy story 'Czech Méliès' Karel Zeman decides to make into a movie, he makes it even more imaginative due to his unusual syncretism of live action and cutout animation. One of his most critically recognized films, "The Fabulous Baron Munchausen" is a charming and elegant fairytale and ode to escapism from reality, due to the title character who lies about his stories that are so over-the-top that the viewers have to chuckle at the absurdity of it all. Zeman is closer to von Baky's "Munchausen" than he is to Gilliam's dark and grotesque "The Adventures of Baron Munchausen", meaning that it is a movie with adventures, escape, danger and threats, but it's all harmless and relaxed. The storyline meanders from one episode to another, making it highly arbitrary, yet by setting people in the background of his paper set-designs, Zeman is able to create a little cult film. It starts with a comical opening where an astronaut on the Moon is surprised to find footsteps there, leading him to a crashed rocket with five people without spacesuits, including Munchausen and Cyrano de Bergerac. Using his cutout animation, Zeman conjures up a whole array of creatures: horses with wings carrying a ship from the Moon to Earth; a giant fish that swallows a ship; a giant eagle; a swordfish holding a jacket; a mermaid... But he is also able to insert a lot of humor with some moments that border on comedy. 

For instance, during the night, Munchausen has a duel with the Ottoman harem guard both with a sword and a chess board game, allowing him to move chess pieces. At one point, a dozen Ottoman soldiers enter the room, so the harem guard moves a chess piece and says: "Check!", while Munchausen replies with: "Mate!", as he stretches his hand out behind his back and shoots at the light on the ceiling, creating darkness which confuses all the guards, as he defeats them. Another guard is hitting the alarm bell, Tonik shows up and takes away his drumstick to keep quiet, then the guard throws him at the giant bell, but it swings back and makes one last alarm sound when it hits and knocks out the guard on the head. Munchausen wants to close the window with his leg, but it gets stuck, so he takes off his boot, which is left hanging on the window, as he takes care of Bianca. A steam ship shakes so much that even apples from a painted tree start falling off from the painting. Zeman doesn't have that Spielbergian sense for excitement and weight when introducing these fantasy creatures which sometimes just come and go in a minute, which feels almost superficial, and the characters are not as important as just being pawns in this giant set-up designed to create a fantasy world. Nontheless, "Munchausen" is a refreshing and imaginative non-Hollywood fantasy film.

Grade:+++

Man of the East

...e poi lo chiamarono il magnifico; western comedy, Italy / France, 1972; D: E.B. Clucher, S: Terence Hill, Gregory Walcott, Dominic Barto, Harry Carrey Jr., Yanti Somer, Enzo Fiermonte

19th century. Englishman Thomas Moore arrives to the United States to inherit a real estate from his late father. His stagecoach is robbed by three men wearing bandit scarves: Bull, Monkey and Joe. Later, when they meet again and Moore tells him who his father was, the three bandits become his friends since they worked for his father. However, criminals want to chase them away and take their land. Moore falls in love with a beauty from the nearby town, Candida, but a rough ranch administrator, Morton, wants to marry her, so he beats up Moore. Bull, Monkey and Joe train Moore, who becomes skillful enough to win against Morton in a shooting duel, and thus Candida stays with Moore.

E.B. Clucher's third cooperation with comedian Terence Hill, "Man of the East" is a fun western comedy, but it doesn't have a single unforgettable joke as did their first two films, "They Call Me Trinity" and "Trinity is Still My Name". As is the case with Italian 'Spaghetti Westerns", even comical ones, the Italian film crew again pretends to be somewhere in the Wilde West of the United States while never setting foot off Europe (in this case, the exteriors of the Plitvice Lakes). The meandering story is all over the place, not really able to decide what its plot tangle is, but Hill's physical jokes and Clucher's sense for comedy manage to carry this (overlong) film. Some jokes really do work: for instance, bandit Monkey is introduced behind bars in a prison, stealing money from the pocket of the prison guard (!) behind his back. His friend, Bull, is introduced as a mute worker at a stagecoach station, but suddenly speaks up in defiance as two bounty hunters sitting at the table badmouth his late friend, an Englishman, calling the latter a "bastard". Hill isn't in top-notch shape and is rather "subdued" as the late Englishman's awfully polite son, which works badly for him in the rough Wild West. In one of the most insane gags, after some criminals wanted to buy off their land and house, Hill's character Moore picks up some rubbery molasses from the ground, pressing it with his fingers, saying how the soil here is very fertile and that they could expect a good harvest, but then Bull tells him he is actually holding horse's faeces in his hand. The concept of the story that Moore should stop being polite and become a "tough man" is misguided, yet the actors all are fine, especially Yanti Somer as Candida, Moore's love interest, the opening song is catchy, the running gag involving the two bounty hunters always forgetting about the third member of the bandits who sneaks up behind them is amusing, as is the allegorical final scene about the end of the Wild West.

Grade:++