为年轻刽子手的辩护 Případ pro začínajícího kata(1970)
又名: 刽子手梦游天空之城(港) / A Case for a Young Hangman / Case for a Rookie Hangman
导演: 帕维尔·祖拉契克
主演: 卢博米尔·科斯特尔卡 克拉拉·耶尔内科娃 米列娜·扎赫里诺夫斯卡 拉多万·卢卡夫斯基 伊日·扬达 卢德克·科普日瓦 米洛什·瓦夫拉 米罗斯拉夫·马哈切克
制片国家/地区: 捷克斯洛伐克
上映日期: 1970-08-03(捷克斯洛伐克)
片长: 102分钟 IMDb: tt0064843 豆瓣评分：8.2 下载地址：迅雷下载
演员：
影评：
开头坠入梦境那段看了好多遍，真是太棒了。死刑那里也很棒，表演式的死刑。
当公主说想一起去地上生活的时候，男主问你知道淋病吗，公主听不懂，很茫然，男主说我得过三次，然后男主就直接走了，这里让我笑出声。是的，公主根本适应不了地上的生活，对地上不过是出于无知的憧憬，也并不会真的去地上。
这里的秩序维持者和企图变革者都是一样的扭曲，殊途同归，那些变革者发现男主说出的真相并不是他们所想要听到的“真相”的时候，他们的第一反应就是否定，想要毁灭男主。
最后离开这疯狂压抑变态扭曲粘滞让人恶心的一团糟的烂泥一样的地方，躺在乡间路上摇摇晃晃的木板车上，宛如大梦醒来，可这让人怎么分清现实和梦境，摆脱了，但是真的摆脱了吗，难道梦境就不会成为现实吗，或者说，梦境难道不是正在发生的另一种现实吗，坠入彼处的陷阱难道不是随时都可能再次出现的吗，这让人怎么能够不在意呢，可这一切又让人怎么能够理清呢，但总算是喘了口气，呼吸，这空气多舒爽，呼吸，别去想了，至少你现在逃脱了。你累了，休息吧！
A less extolled eminent figure of Czech New Wave, Pavel Jurácek (1935-1989), notably recognized as the scribe contributing to significant works like Vera Chytilová’s DAISIES (1966) and Jindřich Polák’s VOYAGE TO THE END OF THE UNIVERSE (1963), only bequeaths posterity with two feature films as the director, but it is hardly his fault, after CASE FOR A ROOKIE HANGMAN is banned by his country, which also truncates his movie career entirely.
This ill-fated one-hit-wonder is nominally an adaptation of Jonathan Swift’s GULLIVER’S TRAVELS, but by positing a suit-clad hare as the main agent to jump-start its idiosyncratic plot, it also reminisces of Lewis Carroll’s ALICE’S ADVENTURES IN WONDERLAND. Starting as a surreal trip down the memory lane after a bizarre car accident, Lemuel Gulliver (Kostelka) fetches up in the territory of Barnibarbi, a fictitious Mitteleuropean country practicing unorthodox social mores, among other things, every Monday is “silence day”, thence no one is allowed to talk on that day,
Gulliver enters his rabbit hole with utter befuddlement and resignation, having taken a pocket watch from the dead hare, he is mistaken by the people in Barnibarbi as Oscar, the prince of Laputa, which is a rarified realm floating aloft, where dwelling the venerated king of Barnibarbi, finally Gulliver is granted a visit to Laputa through a lofty tower, but it is far from the Ruritania one might imagine, the king has spirited away in Monte Carlo (as a bellhop no less) for more than a decade, upon his return terra firma, the truth stings, he is assaulted by governor of Barnibarbi (Hálek), and must find a way to flee this crazed land.
Foregrounding the story’s Kafkaesque machinations and non-sequitur peculiarities, Jurácek spectacularly eventuates a deceptively freewheeling journey through its memorable mise-en-scène (a nightmarish sequence with mobile floor boards), daringly swift editing choices (a vertical plunge to a door on the floor magically follows by a door opening horizontally to a study) and whimsical chiaroscuro deployment, not to mention Lubos Fiser’s brilliantly emotional incidental music, accompanying Gulliver’s increasingly exasperated fish-out-of-water existence among alienness, illogicality, reality-and-dream blurring displacement, his deceased childhood sweetheart Marketa (Jerneková) is reincarnated as a giggling princess, intermittently pops up and titillates him, yet every time, he wakes up with the same bedfellow in the person of a sultry Dominika (Zahrynowska).
Prima facie, Jurácek’s strangely enrapturing feature can be patly construed as an allegorical tool leveling at the autocratic government at then, with its symbolic innuendos and the depiction of a tinpot monarchy and a seeming utopia in the throe of high-handed surveillance and hypocrisy, but if we peel it off its ambiguous messages, what in the kernel is indeed, a fantastically configured fairytale totally devoid of the usual Hollywood triteness and affectation, archly cynical, beguilingly inexplicable, and capriciously surprising, Jurácek competently sinks his teeth into actualizing this lollapalooza, were it not for the deplorable suppression from the Establishment, he could have become a major player in the world cinema, alas, bless we still have CASE FOR A ROOKIE HANGMAN to quench the ire.
referential entries: Vera Chytilová’s DAISIES (1966, 7.6/10); Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS (1970, 6.9/10).
一小时四十分钟的电影就像连续做了好几个噩梦一样让人心悸恐慌。男人被一张张熟悉的面庞围堵，像蛋糕的低洼处，是他不安的眼神。追寻溺水的少女、撞死一只穿夹克和背带裤的兔子，黑白色的镜头里是统统的迷惘和失落。一般人倒不会做这样奇怪、严肃的梦。只有自身漂泊无依、民族意识危若累卵的知识分子才会有这样的梦吧。这样的梦是高级的梦。
不知道是不是看完电影的后遗症，带着一种空荡荡的虚无寂寞，昨天晚上我做了一个醒来吓坏我自己的梦：我梦见高中时期我在校外住宿，要退租了，我站在一片田野上看到一只老虎张开獠牙要吃人，我大喊，叫人快躲闪，可没有人理我。瞬间我就已经头蒙在被子里面，胆战心惊的听到窗户外有一阵阵的枪声。场景又转换到我退租的那间房，我把全部衣物都打包装在行李箱和背包里面 ，我还想要把被子和书全部带走。有坏人在外面喊打喊杀，我急的频频出错，被单和鞋子怎么装都装不好。我急得想哭，可是没一个人帮我。
醒来后我对这个世界抱着转瞬即逝的怨恨，更多的情绪被孤独淹没。
年纪大了反而禁不起摧残。
其中某些个人对当局领导人的禁声会让人不自觉地对应到文革时期。一周里面周六是沉默日，不允许任何人说话、把七月份剔除等法随令行都是由一个手拿东西都拿不稳的总督首肯。
一小时四十分钟的电影就像连续做了好几个噩梦一样让人心悸恐慌。男人被一张张熟悉的面庞围堵，像蛋糕的低洼处，是他不安的眼神。追寻溺水的少女、撞死一只穿夹克和背带裤的兔子，黑白色的镜头里是统统的迷惘和失落。一般人倒不会做这样奇怪、严肃的梦。只有自身漂泊无依、民族意识危若累卵的知识分子才会有这样的梦吧。这样的梦是高级的梦。
不知道是不是看完电影的后遗症，带着一种空荡荡的虚无寂寞，昨天晚上我做了一个醒来吓坏我自己的梦：我梦见高中时期我在校外住宿，要退租了，我站在一片田野上看到一只老虎张开獠牙要吃人，我大喊，叫人快躲闪，可没有人理我。瞬间我就已经头蒙在被子里面，胆战心惊的听到窗户外有一阵阵的枪声。场景又转换到我退租的那间房，我把全部衣物都打包装在行李箱和背包里面 ，我还想要把被子和书全部带走。有坏人在外面喊打喊杀，我急的频频出错，被单和鞋子怎么装都装不好。我急得想哭，可是没一个人帮我。
醒来后我对这个世界抱着转瞬即逝的怨恨，更多的情绪被孤独淹没。