Benas Mcloughlin Worth seeing just to witness how winsome it is.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

morrison-dylan-fan Gathering up the last batch of Czech New Wave (CNW) titles from the Cold War era to view over April,I got an E-Mail from a DVD seller (who is a big fan of Czech cinema) telling me that he had recently tracked down a fascinating CNW War movie.With having recently picked up other Czech War titles,I decided that it would be a good time to meet the fifth horseman.The plot-WWII-Nazi Occupied Prague:Forbidden from working as a doctor by the Nazis,Jewish doctor Braun tries to survive by doing a desk job where he lists all the confiscated Jewish property.Going home to his flat,Braun finds an injured resistance fighter laying outside the apartment building.Taking the fighter into his flat under darkness,Braun discovers that the injured man is in desperate need of morphine to help heal his wounds.Knowing the risks that he is taking and suspecting that there is an informant in the building,Braun decides that he cant's let the horsemen of fear destroy his beliefs. View on the film:Largely filmed on location,co-writer/(along with Hana Belohradska/ Ota Koval & Ester Krumbachová) director Zbynek Brynych and cinematographer Jan Kalis showcase the effects that the Cold War was having on the country,with the grubby CNW black and white photography pulling every rotting building and burnt-out street on the screen,as solid pelts of rain hit Braun across the face.Finding beauty in the dirt, Brynych gradually sinks the block of flats into a pit of utter despair,where elegantly hit whip-pans spins an unrelenting atmosphere of fear over the title.Getting out to cinemas just before the soon to be occupying Soviet Union were to ban it,the writers display a remarkable quality in allegorically commenting on both the former Nazi Occupation,and the oncoming Soviet Union Occupation.Holding everyone up in the flats,the writers hit the Soviet Union with a merciless force,by making the flats a place where the occupying forces push the inhibitions of the flats/country into oppression,and the idea of "naming names" is thinly excused as keeping the country safe.Placing a voice of humanity in the centre of the film, Miroslav Machácek gives an incredible performance as Dr. Braun,thanks to Braun being given a humble appearance,which is delicately torn by Machácek,in desperation of stopping the fifth horseman in his tracks.

didier-20 I spent one winter systematically going through each & every film in the London Czech Centre's Video library, & of all the films, I returned to this one time & again. It's a fantastic & bizarre film, where the state of despair that existed under communism is encoded in a strange blending of the past , the present & filmnoir. There is the feeling that an ad-hoc attempt to get past the censors unwittingly produces an utterly Czechoslovakian perspective.To those familiar with Eastern Europe pre 1989, the sense of time having become stuck & disorientated & playing games with your perception is part ofthe magic of this film.My fondness for this film is rooted in a nostalgia or need to remembercommunist Europe. I first visited Prague in the mid 1980's & i was so struck that the Prague of this film replicated almost identically the Prague i found & came to know 20 years later, in the last years of Communism. My nights at the CafeSlavia were exactly as the Jazz club scenes depicted in the film, with the same dramas & the same characters. Also the sense of mistrust , betrayal & of being watched & listened to & the perverse relation to Psychiatry. I thought this connection was very profound, & it made me think this film was, in some way, important . Both the film & my experiences in Prague sat either side of the Brief thaw of the late sixties. They bypassed that optimistic period & looked directly at each other; the one reflecting a National trauma of the war & Communist conversion & the other reflecting the trauma of 2 decades ofstagnation. Often when people think of Czech New Wave, they think in terms of 60's youth & Prague spring. But this film brought home to me how brief thatperiod really was & it's focus is the context from which that period rose &returned to; a shockingly, relentless, hyper-unreal, oppressive isolation which was the former state of Czechoslovakia. Go see, fantastic -

Timothy Damon A prophecy in Zechariah 6: 1-3 mentions red horses, black horses, white horses, and grey horses riding out into the world with no real mention of their riders. But in Revelation 6:2-7 in a description of the Apocalypse the riders are given some characteristics: the white horse has a rider with a bow who "went out conquering and to conquer"; the rider of the red horse takes peace from the earth and is given a great sword; the rider on the black horse has a balance and illustrates the calamitous rise in prices of scarce and necessary food; and the rider of the pale horse's name is Death.Any type of war engenders cruelties. But when hope is displaced by fear, survival is surely threatened. As a fellow doctor tells Dr. Braun, in search of morphine to abate the pain of a wounded man on whom he has operated "We have up to 20 Jewish suicides a day - we manage to save most of them." Certainly a society that has placards proliferating everywhere admonishing "Inform promptly and accurately and insure your own safety," along with the 44811 informer number to call would not give much cause for hope. But Dr. Braun does not seem to give up hope completely - even when all is dark he says "A man is as he thinks - you can't change that." And yet Dr. Braun is assailed by fear also. More than once we hear martial music without seeing a band and Dr. Braun also sees a man with some sort of van who is there one moment and gone the next. Do we see what we fear most? It's hard to tell.I found the musical score very intriguing - starting off before the opening credits was a brass fanfare, merging into flutes and then saxophones (and/or other reed instruments) and then back to brass and flutes throughout the opening credit sequences against a backdrop of massed notices on walls. The succession of one type of instrument being replaced by another was continued throughout the film.I was limited to what the different wall placards were saying by occasional subtitles. It would have been interesting to know if the placards dealt with more than just informing. There was one word seen repeatedly - it seemed to start out "PYSA" or "PYHLA" or perhaps "PYKASRA" - the font type made it difficult to decipher . . . and my Czech is rather minimal, ah no . ..The film music ends much as it began with brass playing to images of trains, then flute and then brass with images of cars then more flutes followed by piano with views of crowds and then ending with the brass section again."Death's a trifle if it's not my own."But Dr. Braun carries on as best he can - "A man is as he thinks - you can't change that."

LONNISAN I remember seeing this film when I was much younger and was so taken / moved by it that I've been trying to find it to own. The depiction of the main character's descent into near madness by the evil Nazi occupiers is probably one of the finest performances ever! This movie should DEFINITELY be taped and released as soon as possible.