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Up and Down (2005)
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Reviews Counted:64
Fresh:54
Rotten:10
Average Rating:7.2/10
Consensus: A tragi-comic exploration of the universal search for stability in post-Communist Prague.
Runtime: 1 hr 53 mins
Genre: Foreign Films
Synopsis: Director Jan Hrebejk (DIVIDED WE FALL) once again delivers a perfectly-balanced dark comedy, a satire addressing the fragile state of the contemporary Czech Republic, as well as the foibles of the... Director Jan Hrebejk (DIVIDED WE FALL) once again delivers a perfectly-balanced dark comedy, a satire addressing the fragile state of the contemporary Czech Republic, as well as the foibles of the more or less damaged characters who populate the film, all of whom are in search of redemption. Unfolding in three loosely-connected storylines, the film opens with a pair of petty criminals smuggling Indians across the Czech border. After making their delivery, they discover a baby that has been left behind, and take it directly to the pawn shop. Everything has its price it seems, and Miluska (Natasa Burger), a barren housewife who wants nothing more than a baby, buys the Indian boy with her life savings. Her husband, Franta (Jiri Machacek), a soccer hooligan turned law enforcer, is less than pleased with the baby's brown skin color, but slowly warms to him, eventually facing off with his racist drinking buddies. In a third story, a college professor (Jan Triska) finds out he has cancer and reconnects with his estranged son, Martin (Petr Forman, son of legendary director Milos Forman), who has lived in New Zealand for the past 20 years. It's a difficult reunion, as Martin comes home to find his father living with his old girlfriend, meets a sister he never knew he had, and encounters his near-unrecognizable mother. The film weaves together a strikingly rich number of themes in its material, encompassing racism, economic disparity, familial relations, crime, and immigration problems, and gives them a sympathetic, humanistic treatment. [More]
Starring: Petr Forman, Emília Vásáryová, Jan Tríska
Starring: Petr Forman, Emília Vásáryová, Jan Tríska
Director: Jan Hrebejk
Director: Jan Hrebejk
Studio: Sony Pictures Classics
Reviews for Up and Down
The movie asks us to see these people as humans and to forgive them for being human and doing to each other what humans beings do to each other. It's a deeply humane film.
Hrebejk's post-Soviet Czech Republic is more than a little like the American South, a conquered territory rife with old wounds and fresh indignities.
Pungent and spirited, Up and Down shows us a nation in transition that's not necessarily a nice place to live, but it's certainly worth a visit. Especially at the movies.
Hrebejk's stylish direction and perfectly chosen cast make what might otherwise have been a depressing tale of post-perestroika working class woes into a melancholy, comedic riff on what it means to be European these days.
It manages the neat trick of being both charming and bilious, and its tart points about racism translate excellently into English.
The story's lack of impact onscreen reflects its lack of impact on those of us offscreen.
The suspense of watching the storylines weave together (and occasionally butt heads) like a Czech-language “Short Cuts” makes for a compelling and darkly funny film.
Lacks any formulas or solutions, and is content to show us its complicated characters, their tangled lives, and the way that our need to love and be loved can lead us in opposite directions.
It's been a long time since a movie allowed so many diverse narratives to fold into so unexpected, unified and satisfying a story.
Its many ideas never quite cohere, and it remains an admirable misfire...
A heady mix of rough and tender characters -- sometimes both at once.
It's at least grappling with the kind of big, explosive questions that most filmmakers assiduously avoid.
A sprawling comedy-drama that actually tries to say something -- not just about its characters, but about the Czech Republic and what it's turned into since becoming a capitalistic society.
Humor is found in the most unlikely of characters here, but most importantly, Hrebejk's view of the everyman (and woman) reminds us that it's a small world after all.
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