Marketa Lazarová - Movie Reviews - Rotten Tomatoes

Marketa Lazarová Reviews

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December 23, 2015
A mixture of Tarkovsky's Andrey Rublev and abstract storytelling. Beautiful and mysterious B&W cinematography. Stunning music.
September 28, 2015
Visually stunning film that challenges the viewer to witness medieval life in all its contemplative and occasionally drifting glory.
½ July 28, 2015
Once Frantisek Vlácil's experimental adaptation of Vladislav Vancura's novel starts, I'm never able to look away. And with a running time of just under 3 hours -- that is saying a great deal.

Bed?ich Ba?ka's cinematography, Zden?k Lika's odd musical score and Vlácil's own seemingly painstaking attention to even the smallest details create an atmosphere that doesn't just feel like The Middle Ages, after a short while you feel like you are in The Middle Earth. Forget about Peter Jackson's hyper-reality. This feels like the real-deal.

The story is very simple, but it is told in fragments. The character of "Marketa" is obviously the focus point of the film, but she almost slips in and out of our story as her would-be and often very real abusers take the center position.

Considering this Czechoslovakia was filmed in 1966, nothing about the film feels like it is from that date. The movie plays within the confines of the world in which it is placed, but this is a world filled with superstition and vengeance. Witchery is at foot and the reality sometimes gives sway to the hallucinatory. Even Marketa's beauty is treated in an almost surreal way. Filmed in stunning black and white there is no concern about false colored blood -- and there is bloodshed. Sometimes pushed to the level of gruesome.

Despite all the ugliness, this film is almost magical to me. I just get lost in it. I'm not alone. Many consider this to be the most important film to ever come out of Czechoslovakia. I'm not sure if this is true, but this is a film experience you do not want to miss.

It is a slow-burn start and the fragmentary way in which the story unfolds can be a bit confusing. The fist time I saw this movie was on DVD, I had to stop it and re-watch the first 45 minutes to be sure I understood what was happening. But the concentration is well worth it.
½ July 9, 2015
A very expressionistic variant of the dark middle ages. Compared to the other more modern middle-age period films of this golden age 1966, Rivette's Diderot "The Nun" or Miklos Jansca's "The Round-Up", it looks more like Janzco's and Tarkowskjis later excesses in "Red Psalm" and "Rubljow", or the older expressionistic German films.
A vastly overrated film, the word "teutonic bombast" comes to my mind.
June 2, 2015
While it may be termed a masterpiece and Avant Garde it is quite unlike the Czech New Wave film of its time, it does suffer from the inability to adequately synch the dialogue with the scene. The director filmed the story in tableau format to be faithful to Vladislav Vancura's novel of the same name but I think this is done at the expense of the storyline.
½ May 3, 2015
Whoever said that life in the Middle Ages was nasty, brutish, and short could have been thinking of Marketa Lazarova. Director Frantisek Vlacil evokes the same dank world as Tarkovsky's Andrei Rublev with the kind of stunning black and white cinematography favoured by Bergman or Bela Tarr. Evoking these masters is not out of line, given that the film was voted the best Czech movie of all time. Two neighbouring families take to waylaying travellers as they journey past their land, but when one gang accidentally attacks the King's men, trouble unfolds. The families (Christian and pagan respectively) are set upon by the Captain of the King's troops and also have cause to fight each other -- until all or most are dead. Marketa Lazarova herself is abducted from her family on the eve of becoming a nun, finding a more difficult fate in store for her. The plot here (though discernible) is less the point than the creation of the context through the piling on of episodes and anecdotes and even symbols (one suspects). Enthralling throughout its necessarily epic length.
March 6, 2015
A god's-eye view of the violent folly of man, this film is riveting in its sweeping scale and hallucinogenic in its layered dualities. Our titular character is holy until she becomes whole, finding liberation and love in her own violation by her father's enemy. Once returned to her sworn monastery, the wolf had already awoken a burning carnality inside her. Tis better to live a pagan sinner than die a Lordly saint.
Imagine Game of Thrones directed my Ingmar Bergman, this could almost be a companion piece to his own The Seventh Seal.
Is this the greatest Czech film ever? It is still too soon for me to compare, but I will say this. This film is unapologetically poetic and viscerally brutal. It is heavy with all the weights great art can provide.
January 7, 2015
A heroic masterpiece.
this is definitly my best new wave czechoslovakian film
Cameron W. Johnson
Super Reviewer
½ July 18, 2014
It's gritty, black-and-white melodrama set in deep snow, and it features wolves, so I don't suppose cinema gets too much more Central Europe than this. Mix that all in with hyper-experimental storytelling which more-or-less ensures that the film is not quite as exciting as its subject matter, and you have yourself one classic European snoozefest. Oh yeah, who would have guessed that the idea behind 162 minutes of the Middle Ages, entirely in Czech, could be made into a boring movie? No, people, this film is reasonably engaging, and at any rate, I think that some respect is due here. I mean, seriously, people we're looking at what the people agree is... [b][u]the greatest Czech film of all time[/u][/b] (time, time, tim, ti, echo...), which would seem more like a high honor if, you know, this wasn't the only Czech film that people see. No one seems to keep up with Czech cinema, and yet, it's surprisingly busy, so how do you know that this, of all Czech films, is the best? I hope not, because even though this film is decent, it doesn't set too high of a standard for Czech filmmaking for me, for a number of reasons.

Clocking in at about two hours and three quarters, this film promises to be an epic, and in terms of its being so heavily layered with its narrative, I suppose it is, yet there's hardly enough scope or dynamicity to justify a relatively sprawling length which is achieved largely through near-monotonous filler, and an even greater excess in material. The many narrative layers of this drama should fit reasonably snug in the context of the plot's progression, but if there is a sense of excess to the material, then it is stressed by a sense of episodicity, which sees the film spending too much time with each segment, yet not enough to flesh them out enough to make the eventual focal shifts smooth. The film is seriously uneven with its focus, just as its uneven with its pacing and, yes, even its style, which is often grounded, or at least highly atmospheric, until jarring into a touch of abstractionism which is not realized enough for the film to flow with its themes. As if that's not aggravating enough, on top of being uneven, the style of the film is already pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive. The combination of an overblown narrative and an overwrought style, and neither structure aspect's being as realized as they should be, render the film, well, sort of monotonous, at least when pacing is further stiffened by a chilled directorial atmosphere which dull things down, occasionally as tedious. When I say that tedium is occasional, I mean that the 160-smomething-minute runtime comes in handy by allowing the dramatic lowlights to be spread out few and far between, although, with that said, the film never abandons its problems, challenging them time and again with solid strengths, but not quite formidably enough for the final product to be memorable for anything beyond its aesthetic value. Still, as much as the film tries your patience, it shouldn't completely overpower it, because as artistically unrealized as this drama is, it has plenty to commend, even when it comes to visual style.

Needless to say, this hyper-atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black-and-white palette, is playful enough in lighting and scope to attract you into this film's handsome world. Of course, the most impressive artistic aspect of this film is Zdeněk Lika's score, because whether it be flaunting biting pieces which range from sweeping to chilling, or delivering on outstanding triumphs in choral classical compositions, it proves to be more near-astoundingly beautiful, and decidedly effective in the context of this pseudo-epic. Limitations of the time sort of hold the artistic value of this film back, making it harder to deny the dramatic fumblings which highlights in style could have made up for, but the fact of the matter is that aesthetic value is rich enough to play a big role in making the film reasonably attractive. This attractiveness allows you to soak in the subject matter of this drama, which, as I've said time and again, is overwrought, with an exhausting amount of layers to mishandle with focal unevenness, in addition to stylistic unevenness and questionability which further thins substance, but hardly into obscurity, for their is enough intrigue to this Middle Ages adventure thriller and provocative deconstruction of humanity to hold up a lot of potential. Maybe this film could have soared, if it wasn't so caught up in its artistic license, because the final product really is about as reliant on style as it is on substance, and that betrays the potential of this film, though not quite as much as it could have. Frantiek Vláčil's direction feels more confident than genuinely realized, jarring between and rarely fully fleshing out his vision of a subtle drama and solid artistic expression, but no matter how much Vláčil's questionable touches hold the film back, when it comes to style, there is plenty of striking imagery and haunting plays on technical value and musicality to establish plenty of commendable aesthetic value, and when it comes to substance, when he gains a grip on his thoughtfulness, he delivers on a piercing subtlety and grace which was a fair ways ahead of the time. This was an innovative film, and it can still at least be respected for that, make no mistake, even if its touches will always be questionable, and yet, there have been much greater artistic misfires, with this misguided opus being well-drawn enough as an artistic endeavor and chilling drama to endear, despite being challenging.

Kdy sníh konečně taje, near-exhausting excessiveness and unevenness to plotting, an uneven and already questionable style, and near-monotonous cold spells to atmospherics render the final product pretty decidedly underwhelming, but not the misfire that it could have been, because through a haunting visual style, outstanding musical style, intriguing premise, and generally stylistically sharp direction, Frantiek Vláčil's "Marketa Lazarová" stands as an adequately intriguing and occasionally engrossing, if overwrought classic in Czech and art cinema.

2.5/5 - Fair
May 29, 2014
Wrought and gorgeously shot, Frantisek Vlacil might have made the masterpiece of Czech film that has yet to be matched.

It is a bit hard to follow for a non-speaker of Czech, as it surreally jumps around consciousness and time. I probably need to re-view it if I am to enjoy it fully. However, it is undoubtedly one of the most gorgeously shot black and white films I have ever seen. The Criterion Collection transfer is outstanding. The film could have been shot yesterday, but then again it probably looks too good to have been shot yesterday.

It reminds me of the spirit of the beehive in how it hints at the violence and repression of the era in which it was produced by using an historical example. The violence of Christianity replacing the violence of Paganism is an analogue to the violence of Soviet-style Communism replacing the violence of capitalism or the Austro-Hungarian Empire.

The book was written in 1931, a couple years before a political movement that would have existential consequences for the Czech people took root. The film was completed by 1967, a few months before Dubcek initiated the Prague Spring reforms that were crushed by the Soviet Union. The pressure in the Czech art world was preparing to blossom at this fleeting moment in time.

"Lazarova" is a vast and nuanced epic that reveals the cyclical brutality of humanity, and I don't mean that as a condemnation of our brethren necessarily. (29 May 2014)
Super Reviewer
½ April 11, 2014
The film is like some fever dream that's intent on driving the viewer mad . . . and while the plot is dense, its probably not as difficult to follow as has been suggested. There is some truly unforgettable imagery on display here.
February 9, 2014
Sits alongside Andrei Rublev as an astonishing evocation of the middle ages.
December 8, 2013
I've read this being compared to "Game of Thrones". I can definitely see it. It's about a clan that runs afoul of their ruling king and all sorts of complications abound. The title character is the virgin daughter of a neighbor village whom the rebel clan kidnaps. It takes a while to get into and it drags here and there but when it delivers, it really delivers and becomes a really exciting, compelling piece of work. This is my second film from director Frantisek Vlacil whose other film I've seen of his, "Valley of the Bees" also similarly juxtaposes and depicts religion, sexuality and savage violence. I liked that film just a tad better but I think this one is excellent piece of work. It's nice to discover great filmmakers.
November 14, 2013
This film oozes texture and mood. The production is amazing. It feels more like a glimpse into the past, rather than actors and crew recreating it. The music and sound design create a dreamy lull where you don't mind so much that the characters are morally reprehensible. More art house than action, it is gritty and brutal, yet thought provoking, yet thrilling. More than any of these things, Marketa Lazarova is a visual and auditory marvel.
½ October 25, 2013
It was hard to follow at times because characters were indistinct from one another, hampered as they were by the individualistic strength of each shot image. Marketa Lazarova, without any inclination toward hyperbole, is one of the most beautiful films ever shot. Some of its sweeping, and floaty space-traversing precede the omniscient cinematography of Emmanuel Lubeski.
August 19, 2013
Beautifully shot and interesting plotted film, but last hour is filled with ambiguity and some character primarily featured are not developed enough for the screen time given.
June 15, 2013
While it's a little hard to follow sometimes (which might be due to a language barrier on my part) and a little weird at times too, this film definitely deserves the title of the best movie the Czech have ever made. Its scale and beauty are on the level of such great films as "Seven Samurai" and "Citizen Kane", probably because it artfully used its monochromatic format to its advantage.
½ January 1, 2013
A primitive Czech world portrayed in luscious black and white with a wonderfully gothic, folky, choral soundtrack. Some of these old Soviet films - like the Ukrainian film Shadows of Forgotten Ancestors, from around the same period - have a certain romance to them derived from the unique culture the characters emerge from; however, whilst there's a lot to be said for the film's jarring and gaunt classicist design, Marketa Lazarová is a monstrously slow 3 hour battle to get through. The film, I think, was about feuding neighbours, an enigmatic virgin who feels her life is destined to serve God and general lawlessness and barbarism in the Middle Ages. I'm being vague because after an hour and 50 minutes I still didn't really know what was happening and thus my interest waned.

It didn't help either that whilst the film is subtitled, the Czech dialogue is dubbed - usual for the time - but it's so poorly done that it can be quite distracting and unintentionally hammy.
rubystevens
Super Reviewer
December 24, 2012
a magnificent epic that's like a time machine trip to the dark ages. the story involves two 'noble' families who are little better than common thieves and their feud with each other and with the 'army' sent by the king to stop them from robbing travelers on the roads. in the middle of all this is marketa lazarová, a beautiful virgin promised to the convent but soon kidnapped by her decidedly more pagan neighbors. i read the director had the actors spend two years living in the woods in order to capture the mindset of medieval people and i think this really paid off. it's hard to imagine them living in modern times. just every frame of the film is a jaw dropping masterpiece. ridiculously great soundtrack too
½ November 18, 2012
its hard work to watch this movie. 2,5/5
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