Stefan Uher - Keby som mal pusku (1972)

89 Min | 720x570 | mkv x-264 1900 kbps | 24 fps | Mp3 128 Kbps | 1,36 GB + 3%
Eslovaco | Subs: Castellano, English (muxed)

Una tragicómica historia acerca la infancia de un niño eslovaco de doce años durante la ocupación de su país por parte de los Nazis. Él frecuentemente fantasea con derrotar a los Nazis que ocupan su pueblo. Un día su tío, un contrabandista, llega con fusil para que lo oculte, él comienza a imaginar la posibilidad de matar al comandante Nazi local...

A tragicomic story about bos who even in times of war remember how to play soldiers, dream of heroic deeds, spy on girls, show off in front of friends, and make up adventures. With the same naive childishness they face the frim events of war and everyday village life. Despite the Communist regime, director Stefan Uher socceeded in turning Milan Ferko's and Elo Havetta's screenplay into a vivid picture with a theme often romanticized and distorted by ideology.

Keby som mal pusku (1971) 

January 19, 1973

The Screen:New Theater Showing 'If IHad a Gun'

By VINCENT CANBY

Published: January 19, 1973

New York is the greatest city in the world for seeing all kinds of movies, but it's also the toughest for a movie to survive in. The competition for audience attention is so fierce that, unless a film is a smash hit, it is almost instantly, a smash flop. The costs of theater operations and advertising are huge. Even with the price of tickets at first-run theaters between $3 and $4 each, most films, including many of the successful ones, lose money on their initial engagements.
It simply doesn't pay to open the offbeat American film or the unknown foreign film that can hope for a mixed press at best. A few brave souls do buck the system—most notably, Dan Talbot, owner of the New Yorker Theater on the Upper West Side. Add now the name of Associated Independent Theaters' First Avenue Screening Room, at 61st Street.
The new 200-seat house, which opened yesterday with Stefan Uher's 1971 Czechoslovak film, "If I Had a Gun," has an announced policy of showing what are euphemistically called difficult films—most of them local premieres—for engagements of one week each. The idea is to keep the overhead low and the quality high, in order to provide Manhattan audiences with the opportunity of seeing films that might otherwise be missed even in this city, the best of all possible movie-going worlds.

The intent, which is noble, is gently and honorably defined in the Screening Room's first attraction, a small, mostly comic memoir of a 15-year-old boy in a Czechoslovak village during the last months of the Nazi occupation. The film is full of memories, including at least one that is not entirely happy: the World War II period recalls so many other films made in Eastern Europe in the postwar, prethaw, Stalinist years, when the only safely noncontroversial subject was the German occupation. More specifically, it recalls other Czechoslovak films made before Alexander Dubcek's brief, brilliant Prague Spring.
Like Ivan Passer, Milos Forman and Jiri Menzel in their early work, Stefan Uher, the 42-year-old director of "If I Had a Gun," speaks around and through a screen of official blandness. He has not, admittedly, packed his film with coded messages, with disguised slices of political or social satire. However, the sort of humaneness and wit that the film deals in are muted but real reminders of other freer times and places.

"If I Had a Gun" is the story of Vlado (Marian Bernat), an intelligent, cheerful boy whose fantasies—which we share in the film's funniest moments—eventually overtake the reality of the humdrum life in his village. Near the occupation's end, Vlado's comic dreams of heroism and yengeance are realized, though with the addition of the kind of terror and sorrow we usually eliminate from our dreams of glory.
The film is not, however, especially sad, though its fine, short-focus, black-and-white photography would seem to evoke that mood in this era when almost everything is shot in color. Instead, it has the elegiac tone of a diary that is being read years after the events recorded and that makes no particular differentiation between the tragic and the comic, which time has somehow made equally important.
Thus Mr. Uher—quite consciously, I assume—devotes no more time or emphasis to a sequence in which Vlado and another younger boy are caught, in youth's equivalent of flagrante delicto, spying on two older girls who are bathing, than he does to the film's melodramatic, penultimate sequence. Memory has sealed but not erased the original feelings of trauma and desperation.
In the film's final lines, Vlado recalls that after the liberation he and his friends returned to school: "They said we had been lazy too long." Among other things, "If I Had a Gun" is about the remarkable resiliency of children in ordinary as well as extraordinary, situations. The film, the work of a director new to Manhattan, deserves the protection and the care of the Screening Room.

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