Directed by:
Jan SvěrákScreenplay:
Zdeněk SvěrákCinematography:
Vladimír SmutnýCast:
Zdeněk Svěrák, Daniela Kolářová, Tatiana Dyková, Jiří Macháček, Pavel Landovský, Jan Budař, Nela Boudová, Miroslav Táborský, Věra Tichánková, Jana Plodková (more)VOD (1)
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This film is the last in a life trilogy from director Jan Svěrák and screenwriter/actor Zdeněk Svěrák. The trilogy began with Elementary School, exploring childhood, continued into adulthood with Academy award winning Kolya, and now comes to completion with this comic love story about men facing old age. Czech literature teacher Josef Tkaloun, who is past retirement age, realises one day that he no longer understands his pupils, and so he quits... dramatically. What he does not predict is that in doing this he will lose his sense of place in society. He finds himself isolated in his city flat with only his wife Eliska for company. Unsure how to deal with this new situation, Josef tries to find a way out. After a few vain attempts at finding a decent job, he accepts a position at a refundable bottles counter in the local supermarket. In this seemingly inhospitable place, he solves what had been the root of his unhappiness. Surrounded by characterful people and at the centre of a city community, Josef finally finds his way back to his own wife. (official distributor synopsis)
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Reviews (9)
In Svěrák’s loose “humanist" trilogy, Empties lies far behind The Elementary School, but far out in front of Kolya in terms of quality. This time, Jan Svěrák doesn’t try to show off his directing mastery and takes a back seat. So Zdeněk Svěrák has complete freedom and the question is whether or not this is a good thing. While his screenplay was outstanding as always, things are a bit “strange" as for his acting. His is believable in his role, no doubt about that, but something is simply wrong. On the other hand, I can sing nothing but words of praise for the actors in the supporting roles. Especially Macháček is truly good and isn’t just a caricature of himself, unlike his colleague Hřebejk. The greatest plus point for Empties is, apart from the atmosphere, the performance given by Daniela Kolářová who was afforded greater space in a movie for the first time in a long while. And she makes excellent use of it. The picture has an excellent beginning and ending, but the overall impression is spoiled slightly in the middle, especially around when he falls off his bike. That sort of thing shouldn’t happen with a director of Svěrák’s format. At this point, Empties shatters into a series of fragments of varying quality without any impact on the end result.
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It's worth a decent three stars, but I have to say that this time, Zdeněk Svěrák's "bitter" humor seemed a bit "tired" and unremarkable to me. Czech cinema is currently in decline and among various nonsense, the professionalism of the Svěrák family tandem naturally stands out, but seen from a broader perspective, it's nothing to boast about. The song by Jaroslav Uhlíř, underlining the nostalgic mood, will probably stick in my memory the most. Overall impression: 60%.
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Czech film is not dead, and as long as Jan Svěrák keeps directing and Zdeněk Svěrák keeps writing, it won't be. Whether their films are nostalgic or innovative, they are always universally appealing to audiences, and the same goes for Empties. For the creative duo, the character of the aging muleteer has become almost comically typical, guiding us through the corners of old age and rediscovering the meaning of life. They deserve a more generous running time that would allow Pavel Landovský, Jan Budař, or Jiří Macháček to shine even more, as they are practically screaming for attention. It is a great pity that a poorly directed epilogue undoes the previous twenty minutes and almost erases it from memory. Bitterness simply does not suit the overall sentiment, and it would be better to let natural kindness prevail.
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Zdeněk Svěrák is still considered an excellent observer of what is happening around him, and he is able to write characters with a human dimension. All of them except his protagonist because Tkaloun struck me as a perfectly fabricated wishful thinking of an ideal pensioner, so it is in him that I miss the aforementioned soulful dimension. Moreover, I often miss the signature of Svěrák when he was younger, and he is content with (albeit) impressive references to his previous films. I don’t want to completely damn Empties, especially considering the rest of Czech cinema, so I give it an additional star, but also a star less for a film by this duo making me feel that it is calculated and slightly egocentric. A diffident 60%.
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Empties brings a nice and warm human scent on the topic of the eternally restless male heart, which somehow the rest of the body is no longer able to help. The film offers a fun, beautifully written and engaging sequence of stories, few of which feel far-fetched. The old man, as portrayed by Zdeněk Svěrák, breathes wisdom and joyful childhood more than rigidity or exalted moralization. Mainly thanks to him, after a long time, a Czech film that makes sense and has poetry is playing in movie theatres in the Czech Republic. Empties is not the peak of the son-father manufactory; nevertheless, I thank the film from the bottom of my heart for the warm feeling I took away from the movie theatre.
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