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Published online by Cambridge University Press: 17 February 2024
Abstract: With titles such as Kdo chce zabit Jessii? (Who Wants to Kill Jessie?, 1966), Divka na koštěti (The Girl on the Broomstick, 1971), Tři ořišky pro Popelku (Three Nuts for Cinderella, aka Three Wishes for Cinderella, 1973), and Jak utopit dr. Mračka aneb Konec vodniků v Cechach (How to Drown Dr. Mracek, the Lawyer, 1974), Václav Vorlíček has been one of Barrandov's most prolific directors and scriptwriters, creating some of the classics of Czech (or, then, Czechoslovakian) film and TV (e.g., Arabela [Arabela, 1979–1981], and Arabela se vraci [Arabela Returns, 1993]). After studying directing at the Prague Film School from 1951 to 1956, Vorlíček joined Barrandov, first as an assistant director and, later, as a figure who was instrumental in the development of a decisively Czech(oslovakian) mode of comedies and – most importantly – fairy-tale films.
Keywords: normalizace, crazy comedies, fairytale film, WDR, DEFA
With titles such as Kdo chce zabit Jessii? (Who Wants to Kill Jessie?, 1966), Divka na koštěti (The Girl on the Broomstick, 1971), Tři ořišky pro Popelku (Three Nuts for Cinderella, aka Three Wishes for Cinderella, 1973), and Jak utopit dr. Mračka aneb Konec vodniků v Cechach (How to Drown Dr. Mracek, the Lawyer, 1974), Václav Vorlíček was one of Barrandov's most prolific directors and scriptwriters, creating some of the classics of Czech (or then Czechoslovakian) film and TV (e.g., Arabela, 1979–1981, and Arabela se vraci [Arabela Returns, 1993]). After studying directing at the Prague Film School from 1951 to 1956, Vorlíček joined Barrandov, first as an assistant director, and later became instrumental in the development of a decisively Czech(oslovakian) mode of comedies and – most importantly – fairy-tale films. Vorlíček, it could be argued, translated the avant-garde style and look of the satirical and surrealist fairy tales of the Czech Nouvelle Vague (e.g., Valerie a týden divů [Valerie and Her Week of Wonders, 1970]) into pop culture, both on film and TV.
A crystal-clear piano arpeggio, sounding like sleigh-bells in a wintery landscape.
An angel-like voice – La La Lalala Lalala La La …
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