Kawasakiho ruze (Kawasaki's Rose) (2010)
A drama about family and politics, the role of memory in relationships, and that of jealousy, arrogance, love, loyalty and betrayal. Pavel, a distinguished psychiatrist is about to receive an award for his life's work and his role as a dissident; his handsome wife and adoring grown daughter are pleased the honor is coming his way. But Ludek, his son-in-law, employed on a documentary crew filming Pavel, resents that his own family, rooted in Czechoslovakia's Communist past, ended up on the wrong side of history --- while his wife's is now la crčme de la crčme. When Ludek discovers that Pavel may have corroborated with the secret police in order to silence a romantic rival, the plot thickens immeasurably. KAWASAKI'S ROSE considers the ways in which the past never stops informing the present, especially in societies where secrets were the way of life, and professional or personal success could depend upon a single well-placed piece of information, be it true or false. -- (C) Menemsha … More
as Pavel, Lucie's Fathe...
as Jana, Lucie's Mother
as Ludek, Lucie's Husba...
as Radka, TV Reporter
as Kafka, an ex-secret ...
as Kristian, Television...
as Mr. Kawasaki
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Critic Reviews for Kawasakiho ruze (Kawasaki's Rose)
This intricate, powerful, unsettling film brings us into a world of profound moral complexities where facile judgments must be suspended because even the best people can become complicit in evil.
I haven't seen so much information so lazily and clunkily delivered since the finale of the 2007 French film Tell No One. It doesn't matter if you've not seen it; just know that it should have really been called: Tell Everyone. Everything. Ever.
The first film to confront the ghosts of government collaboration in communist Czechoslovakia may be new for Czechs, but otherwise it's a familiar invocation of a problematically buried past.
Occasionally loses its focus and drags, but it nonetheless remains compelling, provocative and, for the most part, emotionally resonating thanks to raw performances and a delicately woven, character-driven screenplay.
Rose cleverly uses its contemporary fictional narrative to depict documentary filmmaking's process of revealing truth.
The point of this thoughtful, moving film is that the motives and actions that define human ethics are never simple and that the Communist regime was especially adept at exploiting this complexity for its own ends.
History is written by the winners, but even after the ink dries, everyone-including the losers-still has to live with it.
Kawasaki's Rose is at least two films in one compact film-a domestic drama and a Cold War conundrum, the latter more fluid than the former.
A film that recognizes life as a tumultuous mess of both noble and base intensions and actions, as well as one that understands the thorny tragedies such chaos often leaves in its wake.
The problem with Kawasaki's Rose is that the theme is far more compelling than the movie.
A meticulous, bittersweet Czech drama about the importance of memory and the need for forgiveness.
A soul-searching and brilliantly-acted Czech drama that plunges us into a confrontation with our own ideas and feelings about memory, idealism, and forgiveness.
Audience Reviews for Kawasakiho ruze (Kawasaki's Rose)
In "Kawasaki's Rose," Lucie(Lenka Vlasakova), a middle-aged woman, is ecstatic to hear that the large tumor removed from her is benign. So, she does not really care that she will be written up in a medical journal. However, she is definitely less than thrilled to hear that while she was sick, her husband Ludek(Milan Mikulcik) had returned to his former lover Radka(Petra Hrebickova), despite their trying to make amends with a large amount of eastern philosophy. Radka is also a producer on a television special about Pavel(Martin Huba), Lucie's father and a psychiatrist, who is about to be awarded the Memory of a Nation Award for his work as a dissident under the Communists.
"Kawasaki's Rose" is a worthwhile movie but not an easy one to get a handle on, as the focus and literally the terrain shift so much. The movie starts out political, then turns into a family drama, before getting back into politics with two separate sides of the same story, before eventually settling on family again. If there is a central character, then it is Lucie who is not only caught in the middle of the generations but also the family itself. Through all of this, the one thing that does not change is the movie's interest in memory and how it is recalled, not remembered.(Speaking of which, I had forgotten all about Charter 77.) And in the end, no matter how perfect or evil we may think a person is, the truth is that much more complicated.
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