Slnko v sieti (The Sun in a Net) (1962)
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In The Sun in a Net (Slnko v sieti; dir. ?tefan Uher, 1963), almost no information is received by any of the characters directly from its source. Instead, their perceptions of things must be mediated through something else, and they rely on this mediation to experience life as they know it. This is reflected in the title?s position in the film, as well: the time that the audience is shown the sun the most directly?despite a lot of references to it throughout the film?is through a fisherman?s net. The net, then, acts as a kind of ?middleman? between the sun and the viewer. That is to say, it is only through something else?the fishing net?that the sun can be perceived.
The most direct instances of one-on-one intermediation in the film are the interactions between the blind mother character, Stanislava Bla?ejová (Eli?ka Nosá?ová), and her two children, Bela (Jana Beláková) and Milo (Peter Lobotka). In a move that can speak more largely to how trustworthy facts are when received from a secondary source, Milo lies to his mother about how much he can see the solar eclipse?which he attempts to look at through a piece of burnt glass, another intermediary device. In reality, the solar eclipse was not very perceptible through the overcast sky. But, since she was unable to discern this herself, he instead gave her the type of information that he thought she would like to hear?that the sky was clear and beautiful. He lies to make conditions seem better to someone who has no way of knowing for herself whether or not the conditions are good or bad?a strategy that can be compared to the practice of government officials of making it seem like the state of the country is better than it actually is. Average citizens of Czechoslovakia would have to rely on superficial testimony from the government that everything was going good, rather than investigating the issues themselves. The Czechoslovakian people are as ?blind? as Mrs. Bla?ejová.
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