Regie:
Jan SvěrákDrehbuch:
Zdeněk SvěrákKamera:
Vladimír SmutnýBesetzung:
Zdeněk Svěrák, Daniela Kolářová, Tatiana Dyková, Jiří Macháček, Pavel Landovský, Jan Budař, Nela Boudová, Miroslav Táborský, Věra Tichánková (mehr)Streaming (1)
Inhalte(1)
Mit dem tristen Ruhestand mag der pensionierte Lehrer Beppo sich nicht abfinden. Also sucht er eine neue Betätigung, doch in der modernen Arbeitswelt gibt es keinen Platz mehr für den verschrobenen Rentner. Nach bitteren Pleiten findet der rüstige Graubart schließlich eine Stelle an der Leergutannahme des Supermarktes um die Ecke. Seiner Frau Eliška ist der soziale Abstieg ihres Gatten eher peinlich, doch Beppo interpretiert das scheinbar eintönige Annehmen leerer Flaschen auf recht poetische Weise. Und das kommt letztlich auch dem in Routine erstarrten Eheleben der beiden zugute.
Oscar-Preisträger Jan Sverák präsentiert seine warmherzige Komödie über den Neubeginn im Alter mit jener Mischung aus melancholischem Humor und Menschlichkeit, die schon sein Meisterwerk „Kolya" zum Publikumsliebling machte.
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Kritiken (10)
Leergut kommt mit einer netten und herzensrührenden, menschlich wirkenden Story zum Thema des ewig unruhigen Männerherzens, bei welchem der Rest des Körpers nicht mehr Schritt halten kann. Es gibt hier eine lustige, hervorragend geschriebene und packende Abfolge von Geschichten zu sehen, von denen nur wenige wie an den Haaren herbeigezogen erscheinen. Der von Zdeněk Svěrák gespielte alte Mann strahlt vielmehr Weisheit und kindliche Freude Kindheit als Verbittertheit oder erhabenes Moralisieren aus. Vor allem ihm verdanken wir es, dass nach einer längeren Zeit in den tschechische Kinos ein Film läuft, der Kopf, Fuß und auch noch Poesie hat. Leergut gehört in diesem Fall nicht zum Top der Filmemachermanufaktur des Vater-Sohn-Filmemacherduos (Zdeněk und Jan Svěrák), jedoch ich danke ihnen von ganzem Herzen für das wärmende Gefühl, das ich mir aus dem Kino mit heimgebracht habe.
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"Nun, Helena, es ist viel einfacher. Er hat in der Schule Überstunden gemacht, weil er im Lehrerzimmer mit der geschwätzigen Ptáčková in ihrem engen Pullover plaudern konnte. Und ich habe mit ihr unterrichtet, also weiß ich, was für ein Miststück sie ist." Oder auch der letzte große Film der Marke Svěrák-Svěrák. Denn das, was in den nächsten zehn Jahren kommen sollte, sind nur mehrere Epiloge.
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Leergut ist ein Schauspielkonzert des "lüsternen Wringers" Zdeněk Svěrák, dem eine ganze Armada großartiger Schauspieler in Nebenrollen treu zur Seite steht, angefangen bei der geduldigen Daniela Kolářová bis hin zum sprachlosen Pavel Landovský. Der ganze Film trägt eine starke Sverák´sche Handschrift und bietet mehr als eine drehbuchtechnische Perle. Vater und Sohn haben wieder einmal bewiesen, dass es möglich ist, eine gute Komödie ohne billigen Humor und mit einem tieferen Sinn zu machen.
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In these days of the senseless cult of youth, this is a real treasure and also a typical Svěrak’s balm for the soul. There's no screaming humour (they showed the trailer for Evan Almighty with Steve Carell before the film and it made my toes curl), but a very intelligent story full of life wisdom and insights, which will put a permanent smile on your face and maybe, during a beautiful love confession in a balloon, make you so happy that you'll buy your sweetheart a flower after leaving the cinema. PS: A beautiful parallel (one of many in the film) from Svěrák's observations is the opening one. I have a friend, a two-meter-tall guy, big like a mountain, who taught history and Czech at a high school. He told me that after six months, every time he got on the tram he took to work, he had a sinking feeling in his chest (without Mr Svěrák's tics and pills) from knowing that he would have to put up with the attacks of insolent brats for another day. The worst were supposedly the sons of rich dads who somehow helped the school financially (see in the film the son of the dad who financed the "running track"), because they knew they were covered by this, that nothing could happen to them. After less than a year my friend quit teaching, he couldn't handle the nerves. He didn't squeeze a wet sponge on a student, he hasn't seen your film, but believe me, Mr. Svěrák, he would understand you deeply :)
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Zdeněk Svěrák is still considered an excellent observer of what is happening around him, and he is able to write characters with a human dimension. All of them except his protagonist because Tkaloun struck me as a perfectly fabricated wishful thinking of an ideal pensioner, so it is in him that I miss the aforementioned soulful dimension. Moreover, I often miss the signature of Svěrák when he was younger, and he is content with (albeit) impressive references to his previous films. I don’t want to completely damn Empties, especially considering the rest of Czech cinema, so I give it an additional star, but also a star less for a film by this duo making me feel that it is calculated and slightly egocentric. A diffident 60%.
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In Svěrák’s loose “humanist" trilogy, Empties lies far behind The Elementary School, but far out in front of Kolya in terms of quality. This time, Jan Svěrák doesn’t try to show off his directing mastery and takes a back seat. So Zdeněk Svěrák has complete freedom and the question is whether or not this is a good thing. While his screenplay was outstanding as always, things are a bit “strange" as for his acting. His is believable in his role, no doubt about that, but something is simply wrong. On the other hand, I can sing nothing but words of praise for the actors in the supporting roles. Especially Macháček is truly good and isn’t just a caricature of himself, unlike his colleague Hřebejk. The greatest plus point for Empties is, apart from the atmosphere, the performance given by Daniela Kolářová who was afforded greater space in a movie for the first time in a long while. And she makes excellent use of it. The picture has an excellent beginning and ending, but the overall impression is spoiled slightly in the middle, especially around when he falls off his bike. That sort of thing shouldn’t happen with a director of Svěrák’s format. At this point, Empties shatters into a series of fragments of varying quality without any impact on the end result.
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Czech film is not dead, and as long as Jan Svěrák keeps directing and Zdeněk Svěrák keeps writing, it won't be. Whether their films are nostalgic or innovative, they are always universally appealing to audiences, and the same goes for Empties. For the creative duo, the character of the aging muleteer has become almost comically typical, guiding us through the corners of old age and rediscovering the meaning of life. They deserve a more generous running time that would allow Pavel Landovský, Jan Budař, or Jiří Macháček to shine even more, as they are practically screaming for attention. It is a great pity that a poorly directed epilogue undoes the previous twenty minutes and almost erases it from memory. Bitterness simply does not suit the overall sentiment, and it would be better to let natural kindness prevail.
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It's worth a decent three stars, but I have to say that this time, Zdeněk Svěrák's "bitter" humor seemed a bit "tired" and unremarkable to me. Czech cinema is currently in decline and among various nonsense, the professionalism of the Svěrák family tandem naturally stands out, but seen from a broader perspective, it's nothing to boast about. The song by Jaroslav Uhlíř, underlining the nostalgic mood, will probably stick in my memory the most. Overall impression: 60%.
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Movies by members of the Svěrák family are probably the only Czech movies that I like watching and look forward to. The actors don’t just make silly faces, but act and the atmosphere of the story is captivating. Plus, the characters are well written and the story loses none of its tempo in the second half. Simply a fine family movie where everybody will find something to entertain them.
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A guarantee of quality. Excellent script, excellent Svěrák in the lead role, but the best thing in the film is definitely Daniela Kolářová. It's amazing to watch her character nip every new idea of the protagonist in the bud, crush it and stomp it to the ground without even trying. I was royally entertained alike I am with every Svěrák comedy. It blows my mind how Zdeněk Svěrák can keep up such a high quality of writing for so long. 30 years after the premiere of Secluded, Near Woods, he has lost none of his genius.
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