Competition (film)
| Movie | |
|---|---|
| German title | competition |
| Original title | bankruptcy |
| Country of production | Czechoslovakia |
| original language | Czech |
| Publishing year | 1963 |
| length | 47 minutes |
| Rod | |
| Director | Miloš Forman |
| script | Miloš Forman, Ivan Passer |
| music | Jiří Šlitr |
| camera | Miroslav Ondříček |
| cut | Miroslav Hájek |
| occupation | |
| |
Competition , original Czech title: Konkurs , is an early, 47-minute film by the Czechoslovak director Miloš Forman from 1963.
Origin and plot
Forman was friends with Jiři Suchý and Jiří Šlitr , the founders of the Prague cabaret Semafor , who brought pop music and cabaret to the stage. He often filmed her everyday life. He experienced a public audition in which a singer was wanted. Forman noticed a transformation in the women who appeared as soon as they stood in front of the microphone and exposed their longings. He wanted to relentlessly capture this “cruel phenomenon” in a documentary. He received a small team, simple equipment and a small budget from the Barrandov Studio. The studio professionals were so excited about the project that they put in unpaid overtime. The editor Miroslav Hájek was particularly challenged because the camera and the tape recorder were not running in sync and no flap was used during the shoot.
To attract candidates, they held a competition at the Semafor Theater, in which the theater was allegedly looking for a vocalist. Forman woven some plot into the documentary material. This highlights two young women from the large number of more or less talented candidates who appear. One is a podiatrist and dupes a court date for her manager in order to take part in the competition. She combines this with the hope of being able to give up her previous job. The other first appears with a rock group in a student club, but when she stands solo in front of the competition committee, she makes no sound.
The actress who played the rock singer, 18-year-old Věra Křesadlová , was indeed one. Forman's attention was drawn to the “tall, pouty, dark-haired beauty” in his words at the first rock concert permitted at the time in 1961 . He offered her the role, which she accepted on condition that the whole group could perform. In his film he allows her many close-ups. She became his girlfriend and moved in with him; later they married.
The producers thought the result was incomparable, but didn't know what to do with it because it was too long for a short film and too short for a feature film. In order to avoid destruction through cuts, Forman suggested making a second, additional short film. So the competition was performed in a double pack with If there were no musicians . Forman called the two works "semi-documentary pieces " .
The competition bears the characteristics of the subsequent Czechoslovakian feature films Formans: a curious figure drawing that reveals its weaknesses with both tenderness and cruelty; young people who don't get along with adults; and a penchant for fashionable music. For Poizot (1987) it was a kind of “poor art” that tries to move the audience by glorifying ordinary life and relying on the trivial in order to gain something impressive from it. Goulding (1994) judged that the two films draw their strength from their cinéma vérité approach, with simple narrative elements ensuring further development. The advantages would be a witty, ironic and sympathetic observation of the characters and the authentic atmosphere of the rehearsals.
literature
- Miloš Forman, flashback. Memories , Hamburg 1994
Web links
- Competition in the Internet Movie Database (English)
Individual evidence
- ↑ Miloš Forman: Flashback. Memories . Hoffmann and Campe, Hamburg 1994, ISBN 3-455-08599-7 , pp. 180-182
- ↑ Forman 1994, p. 181
- ↑ Forman 1994, pp. 181-182
- ↑ Forman 1994, p. 182
- ↑ Forman 1994, pp. 182-183
- ↑ Forman 1994, p. 183
- ↑ La Saison Cinématographique , No. 219, September / October 1968, printed in: Dominique Bax (ed.): Miloš Forman, Franz Kafka. Publié à l'occasion du 8è festival, 25 février - 14 mars 1997 à Bobigny . Magic Cinéma, Bobigny 1997, ISBN 2-9504521-9-1 , p. 24
- ↑ Claude Poizot: Milos Forman . Dis voir, Paris 1987. ISBN 2-906571-03-2 , p. 30
- ^ Daniel J. Goulding: Five filmmakers: Tarkovsky, Forman, Polanski, Szabó, Makavejev . Indiana University Press, Bloomington 1994, ISBN 0-253-32609-5 , p. 54