Alois Nebel

What is the best thing about "Alois Nebel"? I want to say that it is the song "Půlnoční" by Václav Neckář. There is a lot of talk about this film, mainly because of the animation, which is incredibly well-crafted, but I have to admit that I don't feel like watching it in the cinema. It makes my head spin a bit. However, I acknowledge that it takes courage and determination to create something so demanding. In this aspect, "Alois Nebel" did not disappoint. What is an absolute disappointment is the rest of the film, mainly the story. The performances are good. Miroslav Krobot employs absolute minimalism for his role, but people will remember Leoš Noha as Wachek, who is a perfect example of a cunning Czech, who would do anything to improve his situation. Alois Švehlík also plays brilliantly. But what do they play? "Alois Nebel" basically has no plot, but it is a collection of interconnected scenes, which are linked by the character of Alois Nebel and his fate. There are flashbacks, there are episodes, but everything is just a demonstration of what a similar film with a proper story could look like. It is just another example of our alibism. We give it a great form, which should be enough. It's not enough. It simply isn't enough. More: http://www.filmovy-denik.cz/2012/07/happy-feet-2-bobr-cislo-4-musketyri.html (2013-02-23)

I could argue that the very unresolved relationships between the characters, and thus the incoherent tangles of their motivations, are the director’s intent, but I doubt that Negativ would pump $80 million crowns into a technically courageous animated film whose target audience can only be found in art house movie theaters. (2013-12-30)

I would like to go back to the original trilogy because otherwise, I have to say that the film Alois Nebel passed me by. The beauty of Prague's, formerly Wilson's, train station is unusually opulent and Krobot's minimalist acting is in perfect symbiosis with the pace of the narrative, but I miss the point of the memories of the German expulsion in 1945 and the present around 1989. (2012-05-27)

Comic book adaptations come in many different forms. 1) Literally at the risk of not succeeding with anyone but fans of the source material (Watchmen); 2) Literally entertainingly, with a stellar cast and in such a way that you don't actually need to know the comic book (Sin City); 3) "Disrespectfully" by ripping out a few of the most appealing lines from the source material, which comic book fans will hate you for (From Hell)... And there is a fourth way, which is actually the same as the last one, but the effect is completely different - while the fans of the comic book will lie at your feet, the Czech mass audience, for whom you simplified everything, will not care about you. And this is the case of Alois Nebel. The creators of this great comic book really trimmed the living organism of (its) comic book to the max and filmed with only a skeleton left. But the skeleton is still nimble, still has something to say and plays out (un)pleasantly suggestive human fates on the screen(s). At one point it focuses on trauma, then wades into the black waters of utter hopelessness, from where it emerges into the light, which, however, may not always shine. As far as I'm concerned, I say that everything important that the comic says, the movie says. My only regret is the short runtime. If it had been twenty minutes longer, it would have carried a lot more of the ash cargo.__P.S. And yes, it looks great. (2012-04-19)

A film that pretends to have a script, but is just a sort of existential character study that is more another foggy Jesenice hill than anything else. The form triumphs, and it makes it all too clear that it’s about the atmosphere – otherwise I can't explain why the corridor of the sanitarium is still in the shot nearly 10 seconds after one of the characters has passed through it. However, it was clear to me from the start that I wanted to see the film live-action, in color, and shot on roughly the same material as Wolf's Hole, where that atmosphere would be on full display. Otherwise, the horribly overheated trend of throwing singing songs into the film to "enhance" a scene is really in poor taste here. And someone kill Muchow, his "melancholy" strumming is making my adrenaline boil. P.S.: the orderlies in the madhouse were funny -) PPS: the comic is about ten times more atmospheric (2011-10-06)