CMFH Film Reviews

2005, Czech Republic/Slovakia
Animation, Comedy, Fantasy, Horror
Review by Deborah Dearth

In the absurd world in which we live, it is sometimes hard to distinguish dreams from reality. And when dreams are darkened by nightmarish fantasies, it is important to hold on to what little bit of reality is left. In Jan Svankmajer's (Alice) view of mental instability, nothing is left to the imagination and it truly is a mad, mad world.

The film begins with a blatant plea to recognize this film for what it is: a reflection of narcissism, a melting of the lives of Marquis de Sade and Edgar Allan Poe, and a presentation of two extreme methods used to treat the mentally ill. These ideas are easier to consider in retrospect at the conclusion of the film, as there are far too many distractions during the film to ignore. Svankmajer is a master of creative vision, and there is no room for banality in his cinematic world.

There are no CGI effects here, just good old fashioned stop-motion technology. And when a tongue is slithering across the floor or a meat marionette is dancing, the visual is far more effective in a jerky style befitting the nightmares of insanity. The animated scenes are used as intermission between acts to forewarn of upcoming torture, whether mental or physical, and are appropriately scored with carnival music.

These scenes fit perfectly into a world where everyone could use a few more marbles, and no one questions the methods of those in charge. After Jean (Pavel Liska) has a sleepwalking fit of rage, he is taken into the care of the Marquis (Jan Triska) and his servant/henchman. Though the tasks they assign Jean become increasingly ridiculous and more horrendous, he finds himself unable to escape. When a pretty face is added to the equation, he finds himself determined to help her also. A face of sanity in a sea of wild mugs becomes his only comfort.

The Marquis may be mad, but he is king of the monkey house in this neck of the woods. He performs rituals admittedly blasphemous, such as tacking thousands of nails into a Christ statue while his associates eat a giant chocolate cake in the shape of a cross. Not satiated by the main course, dessert follows in the form of an orgy. Jean witnesses this brazen act against Christianity, at which point the Marquis states his case against all forms of organized religion. He believes that God is merely a figment of fears and that if He does exist, He has created humankind for amusement. As Svankmajer guides his cinematic world, surely he moves the puppets for a similar amusement.

What is disturbing is how much of the story relates the true life of Marquis de Sade, or at least his creed. His belief in unrestrained freedom is reflected in the madhouse world of the film, where morality is never questioned and hedonism is performed without concern for those it may hurt. Counteracting this consequentless free will is an extreme conviction of brutal discipline. As the two sides battle, Jean must determine to which he belongs, and the audience must figure out which one holds the keys to reality. Fantastically creative and thought-provoking, Svankmajer continues to impress with this film of insanity.