Krista (Iva Janžurová) has lived with the pain of her husbands execution at the hands of the Nazi’s. They have taken her country and now her beloved. When Austrian soldier Hans (Jaromír Hanzlík) accosts her, forcing her to transport him and the wounded German soldier Gunther (Luděk Munzar) to the Austrian border, she sees a chance at revenge. As her hatred bubbles up and she disposes of their tools of survival, it becomes clear this might not be as easy as it seems. The journey through a omnipresent forest, that is seemingly endless and overly oppressive, draws them closer together. But like the souls taken from the nation and the trees surrounding them, it will leave a ghostly presence watching and waiting.
In Jonathan Owen excellent essay on the film (which you will find in the booklet), you will no doubt find much of interest. It establishes the creation, inspiration and alienation of the film. I found the alienation part fascinating. Censorship always is something compelling. COACH TO VIENNA was censored for its depictions of Czechs (Partisans are depicted as morally bankrupt and villainous) and Germans (Human). The authorities considered these portrayals offensive. The framing of Germans as human would have certainly been unexpected then as indeed it is now. But the broader truth is, some Nazi’s were human. They were pushed, by fair means and foul, to fight. Many did not take part in war crimes, nor did they know much about them going on. Just as many truths have been exposed and rejected, like Allied war crimes or the deep lack of unity in London during the Blitz, to air the view is courting problems. Owen notes how the Partisans ask a question of the soldier Hans (who is from Hitler’s native Germany) ‘Is he SS?’, this is to say, is he culpable? Is he one of those or one of these. Its a powerful point. One that makes the films conclusion, even more damning. Any authority would be worried about this. The film is an exceptionally powerful exploration on the collision of collaboration and caring. Answering with a humanism that is rare.
DISC
The 4k comes alive in those misty woodlands. The trees, with their pines and branches, tonal grey and soft white look delicious. But I felt that the soft fuzz of the light in the opening twenty mintues and the final thirds depth of field clarity are worries.
EXTRAS
A Projection Booth commentary. Please find someone else to talk on this film, rather than the over heard voices of Samm and KAt. Yes they are interesting and interested but surely you could ask people that do not feature everywhere and on everything. Before someone asks, yes they make points about the wars duplicity issues for many but Owen essay, raises and answers more questions, with better clarity and intelligence. It’s Not Always Cloudy needs a quality check.
BLU-RAY SPECIAL EDITION CONTENTS
• Coach to Vienna (Kočár do Vídně, 1966) presented from an HD transfer of the new 4K restoration by the Czech National Film Archive.
• It’s Not Always Cloudy (Není stále zamračeno, 1949): Karel Kachyňa’s rediscovered feature-length semi-documentary graduation film, co-directed by Vojtěch Jasný.
• A Projection Booth audio commentary with film historians Mike White, Samm Deighan and Kat Ellinger.
• Trailer.
• Image gallery.
• 20-page booklet featuring a new essay on the film by writer Jonathan Owen.
• New and improved English subtitle translation.
• World premiere on Blu-ray.
• Region-free Blu-ray (A/B/C)
