A stuffy middle-aged foreigner, a businessman named Fabricius (Miloš Kopecký), lonely and looking for a night’s diversion, finds it in the form of a mysterious blonde, Zuzana (Milena Dvorská). In an abandoned cemetery, she tells him three tales involving black magic and erotic obsession. In director Jiří Brdečka’s stunning “The Last Golem,” a young rabbi (Jan Klusák) struggles to fashion a massive, silent giant out of living clay – until he’s distracted by a mute servant girl (Lucie Novotná). Utterly hypnotic and dreamlike, set to a haunting chorus of ghostly voices, “The Last Golem” ranks with Fellini’s “Toby Dammit” in SPIRITS OF THE DEAD as one of the finest supernatural short tales of the decade. In the second episode, “Bread Slippers,” an 18th-century countess (Teresa Tuszyńska) indulges her passion for sweet cakes, adulterous affairs, and secret kisses with pretty maids – until a mysterious visitor (Josef Somr) whisks her away to an abandoned mansion, where Fate has a different kind of dance in store for her. In the final story, “Poisoned Poisoner,” a ravishing murderess in the Middle Ages dispatches lecherous merchants to the tune of upbeat 60s Czech Pop songs (scored by the renowned Zdeněk Liška). A true rediscovery for horror and fantasy fans and lovers of the occult.

Prague.Nights.1969.BDRIP.4K.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	2.35 GiB
Video
Codec: 	x264
Resolution: 	788x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.275
Audio
#1:  	Czech 1.0ch AC-3 @ 192 kb/s (Main Audio)
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary with Tereza Brdeckova & Irena Kovarova)

https://nitro.download/view/787F1D323AACF9A/Prague.Nights.1969.BDRIP.4K.576p.x264.AC3.KJNU.mkv

Language(s):Czech, English
Subtitles:English

The post Jirí Brdecka & Milos Makovec & Evald Schorm – Prazske noci AKA Prague Nights (1969) first appeared on Cinema of the World.

Besides Zločin v šantánu (Crime in the Nightclub), in 1968 the writer Josef Škvorecký also contributed to the bitter comedy Farářův konec (The End of a Priest) as the author of the original idea and screenwriter. Together with the director Evald Schorm, he created a story whose protagonist is an inept sexton, who decides to leave his job in a big church in the city. He sets off for a new life in a remote mountain village, where by coincidence people are desperately looking for a priest to administer the last rites to someone. At first, the sexton tries in vain not to be considered part of a “miracle,” but in the end he reconciles himself to the role of new spiritual pastor – and because he performs the job judiciously with an understanding of human weakness, the quirky villagers soon take him to their hearts. The local schoolmaster, who is propagating an atheist education in the spirt of communist ideas, is strongly averse to this. Until now, he had been the village community’s celebrity. The self-assuredness of “healthy reason,” which the manipulative and careerist schoolmaster crows about, stands against the faith of a simple man who has humbly taken a coveted task upon himself. The teacher tries to discredit this false priest of obvious moral authority. Ultimately, he denounces him and causes a tragic finale… In The End of a Priest, Evald Schorm used a “theatre” framework – just like he did in his subsequent film Den sedmý – osmá noc (The Seventh Day – the Eighth Night, 1969). Whereas in The End of a Priest, a group of fairground comedians presents the plot of a modern broadside ballad, it is again possible to see it as a Passion Play that is a parable about the Soviet occupation. In both instances, it concerns a variation on the fate of Jesus. Škvorecký’s idea, however, is based on a newspaper article from that time about a man who pretended to be a priest somewhere in the Eagle Mountains. The meaningful setting of the story is a Czech village in the 1950s which becomes an allegory for the totalitarian system. Vlastimil Brodský and Jan Libíček excel in the lead roles in Schorm’s masterpiece. Josef Škvorecký himself played the small role of a professor appearing on television.

Fararuv.konec.1969.1080p.WEB.AAC.x264-LYCANTROPE.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	2.80 GiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 000 kb/s
BPP: 	0.077
Audio
#1:  	Czech 2.0ch AAC LC @ 192 kb/s

https://nitro.download/view/ECBB5B545A40634/Fararuv.konec.1969.1080p.WEB.AAC.x264-LYCANTROPE.mkv

Language(s):Czech
Subtitles:Czech

The post Evald Schorm – Fararuv konec AKA The Parson’s End (1969) first appeared on Cinema of the World.

Synopsis:
“Everyday Courage” or “Courage for Every Day” is a beautifully made fllm of great poetic restraint about a young man living in Prague before the collapse of communism. It is best described as belonging to the school of realism which marked the Czech films of the sixties, and its director, Evald Schorm, was noted for his refusal to compromise the subject matter or style of his films with the regime which controlled the film studios. An admirer of the films of the British director Lindsay Anderson, “Everyday Courage” has similarities with”This Sporting Life”, its hero striving to escape the repressive forces of a society against which he rebels, but which ultimately demoralizes him and undermines his personal relationships. The winner of the International Film Festival in 1965 it has been notably neglected, and was one of the most moving and lyrical films to emerge from the Czech school.

1.61GB | 1h 29mn | 757×568 | mkv

https://nitro.download/view/07448107A45AF09/Courage_for_Every_Day_(1964)_–_Evald_Schorm.mkv

Language:Czech
Subtitles:English, Czech (muxed)

The post Evald Schorm – Kazdy den odvahu AKA Courage for Every Day (1964) first appeared on Cinema of the World.

Quote:
Though he was very much a member of the community of filmmakers who graduated from FAMU and went on to shake things up during the sixties, Evald Schorm also stood apart from the rest. Like his fellow directors, he was using the medium to get at the absurdity of life in Communist Czechoslovakia, but Schorm was dedicated to a more direct, realistic type of filmmaking than his friends Věra Chytilová, Jan Němec, and Jiří Menzel, who readily turned to whimsy, fantasy, and comedy. Referred to as both the philosopher and the conscience of the New Wave, Schorm, whose relatively sober style has been called documentary-like (his focus at FAMU was nonfiction filmmaking) and received comparisons to that of Antonioni, explored themes of morality and the malaise of the socialist middle class (such income-based social strata did exist in Czechoslovakia), and preferred psychological portraiture.

Such individualist, existential works were anathema to the Communist Party, and Schorm’s first feature following his graduation in 1962, Everyday Courage (1964), about the crumbling life of an overzealously political young factory worker, was blacklisted by President Antonín Novotný. His next feature, after completing his more visually exploratory Pearls of the Deep short, “The House of Joy,” was Return of the Prodigal Son (1967), an exhilarating, angry film about an engineer, Jan (Jan Kacer), trying to find his way back into the world of the living after attempting suicide. Taking place both inside the mental hospital where he’s recuperating and outside in “normal” society, to which he routinely escapes, the film is a devastating articulation of depression brought on by vague, free-floating social anxieties and disappointments. In trying to readjust – to work, to friends, and most importantly to life with his similarly neurotic wife, Jana (Jana Brejchová), and very young daughter – Jan finds that to live happily in this world one has to negotiate daily with one’s morality; late in the film, when he visits his office during an extended leave from the hospital, his boss even lectures him on the importance of compromise.

There’s a humane core to Return of the Prodigal Son that saves it from despair. Rather than making everyone other than Jan a fool, Schorm extends enormous sympathy to a fascinating cast of supporting characters, all of them outcasts in their own way, including Jana, who combats her loneliness in Jan’s absence by taking a lover, Jiří (played by director Jiří Menzel); Olga (Dana Medrická), the sexually frustrated wife of the head doctor, who takes a liking to Jan; and Jan’s hospital roommate, Zdenek (Jiří Kilián), an effeminate ballet dancer with whom Jan feels an artistic and spiritual kinship.

Schorm never compromised his beliefs after the 1968 Soviet invasion; he refused to make films that acceded to the aesthetic and ideological demands of the cultural police who reinstituted the socialist realism of the Stalinist era (one script he rejected, for example, was a simplistic glorification of the life of a Communist activist). Because of this, he was not allowed to work in Czechoslovakian cinema for nearly twenty years, focusing instead on theater. In 1988, he died shortly before the premiere of his comeback film, Killing with Kindness, a story about a mother-daughter relationship that features Return of the Prodigal Son’s Kacer and Brejchová in prominent roles. – Michael Koresky, Criterion.com

1.33GB | 1 h 43 min | 714×535 | mkv

https://nitroflare.com/view/60AE5C4DAE735CE/Evald_Schorm_-_%281967%29_The_Return_of_the_Prodigal_Son.mkv

Language:Czech
Subtitles:English

The post Evald Schorm – Návrat ztraceného syna AKA The Return of the Prodigal Son (1967) first appeared on Cinema of the World.

Quote:
One of the defining works of the Czech New Wave was the portmanteau film Pearls from the Deep (Perlicky na dne, 1965). Not only did it bring five key directors of the Wave (Chytilova, Jires, Menzel, Nemec and Schorm) together in one film, making it the Wave’s official “coming out” as a group, but it tied them to a writer, Bohumil Hrabal, whose ability to capture the rhythms and refrains of everyday spoken Czech was highly influential on the Wave’s direction

1.79GB | 1 h 47 min | 712×534 | mkv

http://nitroflare.com/view/BA829FBF152B828/Various_-_%281966%29_Pearls_of_the_Deep.part1.rar
http://nitroflare.com/view/8018F9EB40E5FF9/Various_-_%281966%29_Pearls_of_the_Deep.part2.rar

Language:Czech, Romany
Subtitles:English

The post Vera Chytilová, Jaromil Jires, Jiri Menzel, Jan Nemec & Evald Schorm – Perlicky na dne aka Pearls Of The Deep (1966) first appeared on Cinema of the World.

Quote:
Five Girls Around the Neck, in 1967, set out to explore that critical age of adolescence when a person’s character is formed for good or evil. Schorm examined a girl’s problems of being giving too much. She tries to buy the goodwill of her less fortunate friends; her intentions are pure, but in the difficulty of communicating she learns envy and deceit, and must decide if she will submit to double dealing or steel her life against self-deception and mediocrity. In addition to the relationship between the girl and her friends, Schorm introduces a teenage romance and the broader relationship between the girl’s parents – neatly tied together with segments of Weber’s opera, Die Freischütz. He reveals himself as a skilled psychological director with a wide range of knowledge about people.

826MB | 1h 26m | 576×432 | mkv

https://nitro.download/view/256BD0A89CFD53D/5-holek-na-krku.avi
https://nitro.download/view/82A150172013557/5-holek-na-krku.srt

Language(s):Czech
Subtitles:English

The post Evald Schorm – Pet holek na krku AKA Saddled with Five Girls (1967) first appeared on Cinema of the World.