Jiri Barta - Na Pude

I have featured the work of Czech animators - Jiri Trnka and Jan Svankmajer - in previous posts. I am, as my regular readers already know, a fan of both animation (especially stop-frame animation) and the Czechs who excel in it. A recent discovery for me has been the work of Jiri Barta, thanks to my son John for introducing me. Barta, to the relief of all who think that there is more to animation than computer generation, last year produced his first full-length film since The Pied Piper of Hamelin in 1985. Barta belongs to that dark surreal adult school of animation which includes Svankmajer and the Brothers Quay, and the Pied Piper certainly was dark.

But times have changed - dark artistic films aren't the type that get funded any more. For years Barta sought funding for a film about the Golem. In the end all he managed to produce was a trailer, which you can see on youtube or here



The new film called Na Pude (In the Attic) is geared to the children's market, however this isn't by Disney, thank goodness. Yes, in the film the discarded toys who live in a typical Czech attic set out to save their kidnapped friend (a doll) from the diabolical Head and his deformed followers, so there are some superficial similarities to Toy Story. But in this film there is a real sense of threat, the Head could easily be out of a Svankmajer film and his insect and monster sidekicks can be creepy in every sense of the word. Being stop-motion puppets you have a sense of the characters being tactile. There is even a roughness about them which appeals; these are after all the discarded toys of a childhood before Playstation and they have been broken and discarded and it shows.


The films has delightful moments of invention such as the snowstorm caused by old pillows and duvets hanging as they usually do in Czech attics to air or dry. Having some knowledge of Czech customs and culture does help in my appreciation of the film, for example there is a wonderful example of how product placement can work in the hands of a creative genius - Koh-I-Noor pencils, wax crayons and eraser appear in all sorts of guises. But you don't have to be a Czechophile to love this film, it is delightful and refreshing. Don't take my word for it, you can see the trailer on the film's website - http://www.napude.com

Jiri Trnka - Filmmaker

In my previous post I talked about Jiri Trnka's wonderful book illustrations, but he is probably (rightly) better known as a maker of stop-frame animated films. One of my favourites is shown above - The Hand, (click on the arrow to watch the video). Trnka is perhaps better known for his adapatation of A Midsummer's Night's Dream or the Hans Christian Anderson story The Emperor's Nightingale, but this, his last film, shows the power of puppets and animation in the hands of a master to speak of important things. The film is a powerful allegory on totalitarianism and the artist, it is sad but amusing. Perhaps the best indication of its power is the fact that it was banned by the then Communist government.

When we first visited Prague, my husband, son and I went to the Museum of Modern and Contemporary Art in the Trade Fair Palace. This is a gallery that is often missed by tourists. It is slightly off the visitors' beaten path and I don't think people from the western part of Europe and the US really appreciate the importance of the contribution made by Czech artists to modern art, we certainly didn't before we went through the doors of the Trade Fair Palace. One of the great things about the museum is that it mixes applied and high arts, hence there is a section devoted to Trnka, including a set from one of his films. It was one of the highlights of the museum for us, especially for our son. Now years later our son is in his final year at film school and over the summer vacation a set was built on our dining room table. Jiri Trnka was partly responsible for that.

Jiri Trnka - Illustrator

I recently bought an old book from a second-hand bookshop called Legends of Old Bohemia. It was published by Paul Hamlyn in the UK and by Artia in the former Czechoslovakia, where the book was printed and designed. The book appealed to me on three grounds - firstly of course the subject matter, secondly it was translated by Edith Pargeter (see my blogpost on her) a favourite author of mine and finally the illustrations were by Jiri Trnka (illustration from book above).


I had first come across Jiri Trnka , when I was working at the Puppet Centre in Battersea. There I had come to admire Jiri Trnka as a designer and maker of animated films. In my next post I will give talk more about his animated films. But he was a man of many parts and created some wonderful book illustrations. And this book is full of them.


I also have a copy of Grimm's Fairytales (again published by Paul Hamlyn) illustrated by Trnka, and again absolutely wonderful. The last three illustrations are from it - very Trnka and very Czech.

Jan Svankmajer

Our son is at Westminster University studying film production. He is a very talented scriptwriter and has just emailed us to say that he has come to the conclusion that his scripts are best realised through mixed-form animation. To many British readers of this blog the image of animation is of a medium for children. Not to the Czechs. Those of you who have read my earlier post about the roots of my love of Czecho will recall that it started with my job at the Puppet Centre Trust and an enduring friendship with someone I first knew as the creator of a puppet tv series. My friend brought with her in 1968 an understanding and love of the puppet artform. My son was a baby when the friendship first began to flower and so spent a significant and influential time in his childhood exploring her Blackheath flat with its collection of puppets and other Czech stimuli. I remember clearly sitting with her as she entertained him by animating a fox stole. His favourite book was a translation of a Czech collection of fairytales and his favourite character was the winter sprite (of whom I promise to speak in some later post). The book had very Czech illustrations with their combination of colour, humour and dark undertone. It is still to be found on his bedroom bookshelf and like his scripts can only have its width of imagination realised in animated form.

About three/four years ago we went as a family to stay with my friend at her flat in Prague. Near the Castle was a large gallery with an exhibition by the artist and filmmaker Jan Svankmajer. Here was and is an animator whose work could never be taken as being for children – not unless you want your child to wake up in the middle of the night screaming and telling you that there are snapping sheep's skulls with false eyes under the bed. The galleries displaying Svankmajer's two-dimensional work were impressive, but it was the last gallery that particularly delighted our son – it was full of sets and characters from Svankmajer's films, most strikingly from his take on Lewis Carol's Alice. I cannot adequately describe Svankmajer's animation to you: it is surreal, clever, at times slow and repetitive and at other times blackly humourous - it is very Czech. You will find clips of it on Youtube and there is a dedicated website on http://www.JanSvankmajer.com. One other thing of note happened on that holiday, our son made a point of getting up early enough to have lively debates with my friend about their respective views on films and scriptwriting before coming to breakfast with us. For a teenager to get up early on holiday is indeed remarkable and an indication that he was serious about pursuing a career in film. My friend has a lot to answer for (all of it good).