Солнце в сети / Slnko v sieti (Штефан Угер / Stefan Uher) [1962, Чехословакия, драма, DVDRip] Original + Sub

Пишет чешский киноисторик: история «Солнца в сети» прекрасно иллюстрирует прямую связь между культурой и политикой в стране, где держащий в руках абсолютную власть верховный Зритель является одновременно воплощением абсолютного авторитета. Удар по политической власти повлек за собой и кризис авторитета, а искусство—и прежде всего кино—вступило на гребне этого кризиса в открытый конфликт с установившейся культурной политикой.
«Солнце в сети» бросило вызов всей предшествовавшей ему кинопродукции. Сценарий отверг аксиомы о драматургической структуре, обратившись к внутренней жизни персонажей, к сложным проблемам взаимоотношений. Мать героя слепа, это вынуждает ее воспринимать реальность глазами других. Угер действовал свободно и вышел к подлинной реальности; он отбросил политический оппортунизм и показал на экране черты настоящей тогдашней экономической реальности. В результате «Солнце в сети» стало символом подъема, набиравшего к этому времени силу в различных сферах.
И словацкий критик: by adding the influence of the French New Wave to this Neo-Realist background, the experience with documentary films, and the concept of “truth,” then it is possible to understand how Slovakia could produce The Sun in a Net (Slnko v sieti, 1962), whose director was called the “John the Baptist” of the New Wave in Czechoslovakia by Czech critic Jaroslav Bocek. When Stefan Uher (1930-1993) and screenwriter Alfonz Bednar (1914-1989) made The Sun in a Net, they opened up for cinematography the world of teenagers, who were more affected by emotional confusion than by the accomplishments of model workers, and who suffered more from misunderstandings with their parents than from “the omnipresence of capitalist saboteurs.” The microcosm of the urban courtyard, with its endlessly banging gate and a forest of rooftop antennas, or with airplanes flying overhead, was more important to understanding teenagers’ experiences than the binding guides to good behavior offered to young viewers in the films of the 1950s. For young filmmakers, it was more important to be sensitive to the doubts, insecurity, and quests of their adolescent heroes; their goal was not instruction, but recognition. They were more interested in elaborating on feelings rather than on events, so they rapped a simple story about young love in multiple layers of commentary, observations, and pictures. These had so many meanings that it was possible to forget completely the old maxims about drama needing to have a plausible causality, a climax, and edginess to it. It was as if filmmakers (and viewers), just like their heroes, could merge with a stream of images not totally understood, but that drew them nearer to the teenage world. Uher started to break up the storyline, a technique that was later perfected by Juraj Jakubisko (b. 1938) and Elo Havetta (1938-1975). Uher’s idea, which can be called “lyrical understatement,” influenced Czech filmmaking substantially more than Slovak.