By Peter Cowie
Translator: Issac
Revised: Onegin
Origin: "Normative Collection"
In the past thirty years, Milos Foreman has emitted a reverential smell, solemn and prestigious. He was short and quirky, his jaw was shallow and concave, his words were slab and eye-catching, his voice was hoarse and depressed, and he had never changed, and the imprint of the New Wave of Czechoslovakia in sixty years was more than visible in him, influencing the quick decision.
Milos Foreman
The first time I met him was in Pu Yue in 1966. His second feature film, The Blonde's Love Affair, has just opened at the Paris-Pullman Mini Cinema in South Kensington, London.
The Blonde's Love Affair (1965)
Our reporters squeezed into a small office in the background of the theater to attend the after-screening cocktail party. Foreman was like a prince without a shelf, standing over there, with his old friend and co-screenwriter Ivan Passer in the middle.
Over the next few decades, I had many encounters with them, from Switzerland to the United States, and it was Foreman who persuaded me to publish in England the English version of Joseph Schwarecki's All the Bright Young Men and Women, a fascinating book about the Czechoslovak New Wave.
In the late 1950s and early 1960s, Polish cinema was dominated by the most of the art theater screens, but by 1965, Czech cinema had become the leader and dismissed the communist power system that controlled its cinematic wonders, so much so that it faced them with a taunted stance.
At the time, there were many strongmen - Vera Hitilova, Ewald Scholm, Jan Niemetz, Iger Weiss, Carl Kachena, Carl Ziman, Otaka Vafra, Jorah Hertz, Eli Manzo, Ivan Passer, Irma Cross and Jan Kadar...
Vera Chitilova (center), Milos Foreman (second from right), Ewald Scholm (third from right), Eli Manzo (back row, right)
However, the only ever-changing Foreman, as a particularly outstanding author and director, may have been evergreen for more than forty years. Like a chameleon, he is able to adapt to divergent civilizations and meteorological air. He made only a dozen feature films, but even his short films were extraordinarily admirable (for example, the passage in the documentary "Eight Perspectives" for the 1972 Winter Olympics).
When Russian tanks drove into Brugg, and then triggered the Prague Spring in August 1968, Foreman was in Paris.
Later, because of the poor state of his company's planning and the subsequent authoritarian era, he moved to the United States. He made French-language films and Spanish-language films in the United States, and of course, initially returned to the Czech Republic to make the most famous "Mozart".
Who would have thought that a thoroughly European would be nominated for his films and performances across eight Oscars. (Don't forget that "Blonde's Love Affair" and "Firefighter's Ball" were both nominated for Best Foreign Language Film.) ）
The Firefighter's Ball (1967)
In 1950, for several years after Foreman arrived at the establishment of the Czech film and television academy (FAMU), which was soon established and soon became famous, he spent several years shooting documentaries for the national television network. He divided the work into scripts and was also in charge of the director of the Magic Shade Theatre.
In 2002, he told me that from 1956, after Khrushchev came to power and was lifted from the dictatorship of Joseph Stalin, "the political air was somewhat corrupted, which created an absolutely realistic environment." We were able to make movies based on the asanas we wanted, and we were the bosses ourselves."
Although cloudy, he waited scrupulously for some time until the first film was made thirty years later; at the same time, in 1963, with behind-the-scenes footage of "Audition" and "If Only They Ain't Had Them Bands", Foreman immediately showed his endowment to inspect ordinary people, just as Emano Ormi, who was progressing in Italy at the time, was full of sympathy.
Audition (1963)
Fuhrman and Polanski, along with voluminous others, died in Nazi concentration camps during World War II. However, his later works escaped the heavy responsibility of fighting and had a sense of humor from the beginning.
One of his last inventions—he appeared in Auditions, Pete and Pauler (1963), and The Blonde's Love Affair (1965)—his feet were witty and sad, the exemplary Foremanian good man, and teenagers wondered about adult survival.
Pete and Bowler (1963)
Miloslav Andric, a young cinematographer for these late-stage films, initially collaborated with Foreman on several feature films, including The Biography of Mozart.
The Biography of Mozart (1984)
In their later films, Andric plays two telephoto-open-myras in the streets and in the ballrooms of northern Bohemia, like a real-life drama, a brass band that reflects the ambient air of the communist era.
After Fuhrman went to the United States, he accelerated the rhythm of his film and drama narrative, thus expanding the audience limitations of his works. In his 1971 Book The Runaway, he revealed the astonishing talents, the scripts by John Gehr and Jean-Claude Carrier, which he used to make fun of the symbolism of reality, and he also used this film to embody the puns from the Bohemian Music Hall to the alleys of Manhattan.
The Escape (1971)
In addition, he invented Buck Henry, an actor who reflects the dazed, short-sighted characteristics of Foreman's years in the Czech Republic. Flying Over the Insane Asylum (1975) was a big flop at the Oscars. Foreman's next scenes in the United States are not always able to hit the bull's eye again and again, but they also hit the target.
Flying Over the Madhouse (1975, after committing to each new project, it seems that the late Czech comedy of the soul is most clearly embodied in the most obvious docile depiction of young people trying to live in a totalitarian regime encountering magic and forgiving their clumsy love asanas because they do not yet have the obstinate habits of their predecessors.
His romantic scenes open with a fast but inactive beat. Dark but technically dazzling works like "Audition" and "Blonde Love Like a Shadowy Play" by young Andrei Tarkovsky are light-years apart from what they once were.
Blonde Love Affair (1965)
Foreman always felt that his characters struggled to survive their lives under the manipulation of a complex and often unique system of social standards. Everyone, not even Mozart, Goya, let alone Larry Flint, would be with whom they would strictly follow the opening period to produce a confrontational firefighter's ball (1967), where a provincial fire brigade member congratulated them on the annual ball, where there were lottery tickets and another beauty queen was supposed to be a heart-wrenching farce.
The firefighters' "Committee of Fucheng prevents people from reminiscent of the Politburo of the time of the people, and the action of stealing prizes from the bride price display reflects what Forman said was the widespread theft of the Firefighters' Ball in the Czech Republic under communism" made Prague party officials very shocked by the opening of Alexander Dubček when he took power, secretly took a copy of the film out of the Czech Republic, to the context of the Cannes Moon Storm, the Cannes Film Festival could not withstand the pressure of the rebels, Foreman told me, It was an absurd day because at the film festival, I was with people who not only admired but also respected the filmmakers along the way."
Suddenly, I saw the filmmakers trying to put up a banner, and all the young common sensers in the communist country were trying to tear it off! Fuhrman was puzzled and approved his withdrawal from the game.
The themes expressed in Foreman's late works resurfaced over the next forty years in all of his premier cinematic cities.
Young people struggling to prevent conformity ("The Early Years of the Fugitive Rich Man") ("The Biography of Mozart", "The Soul of Goya"),the creative outsider in Puritan society ("Flying Over the Madhouse", "The Year of jazz"),the artistic popular cooperation of the Jade Wheel Man", "The Biography of Mozart").
In 2002, I interviewed the film and theater industry and was always under pressure. In communist countries, you are not under the pressure of trade, but under the pressure of growing the shape of cognition. In the United States, your foundation is not under pressure to recognize shape, but to trade. To be honest, I love trade pressure Because of that, I just think about the stomach of some audiences and the pressure of knowing the shape, I can only listen to one or two nerds or so filmmakers with special and generous flesh, in order to grasp the pity and kindness of the clouds, and contact with people like Mozart, Pimp, publisher of Larry Flint laugh actor Andy Kaufman, and other very divergent characters. If things are very patient, he interviewed more than 1,000 actors in Vietnam War Hair (1979).
Vietnam War Hair (1979 We first spoke at the Zurich Film Festival in 2010. In the early days of his professional life, he was able to recall his work with a variety of actors: "The unusually weak object of the actor is that my philosophy is that the less I talk to the actor, the less I will make them feel that the inferior cigar victory can provide luxury survival to make one of the few concessions, until the end of life has remained elegant and tolerant.
Foreman never had a crush on common sense circles, and he avoided the abstraction of wealthy and attractive men and women. His characters are good and full, slim and dirty, and they seek strong growth in Foreman's usual fallacy and kindness.