Anna: Theatre Masks and Unfulfilled Expectations.

Although a new film adaptation of the famous novel Anna Karenina was not well accepted by Russian critics, it cannot be denied that it is a remarkable cinematic piece. Joe Wright in his previous directing (especially in Atonement) proved quality in his fresh and innovative style. In connection with Tom Stoppard’s screenplay he was able to show the classical and notoriously known Russian story in an exceptional light (the race and the ball are absolutely breathtaking scenes). The metaphor of theatre as a life of high society, where everyone is hypocritically smiling, lying and always pretending, leads us in the end to realize that each one of us even today is wearing his own theatre masks; we are pretending the impossible and then weep silently behind the scenes about our small lives. But why, despite this very promising directing and script, is the film not so touching as it could be?

Quite surprisingly, if we look at the three main characters, the most interesting performance given by Jude Law (Karenin, Anna’s boring husband). He is serious and cold and yet passionate in his own way. He makes a lasting impression and you have to feel sorry for him. He is alive. Actually the audience takes his side instead of Anna’s and Vronsky’s and that appears to be counterproductive. Aaron Taylor-Johnson (Vronsky) is not bad at all, but, despite his undeniable talent, his performance does not enthuse; he seems to be too young for such a part. Keira Knightley presents some strong moments as well as some very weak. It seems that her performance is affected by trying to look beautiful, even in moments which are absolutely inappropriate for it. Anna Karenina is definitely worth seeing. The directing is gripping and very visual. One just feels sorry he was not as touched as he could have been.

Review: Anna Karenina.

One of the most famous tragic love stories by Leo Tolstoy appears again on big screen. The well-known drama about a woman, who “broke the rules” has been presented in several plays and filmed four times. However, director Joe Wright with Tom Stoppard as a screenwriter enchant us with a new approach to this literary classic. Historical costumes, Dario Marianelli’s great flow of sound, starring the favorite Keira Knightley as the main character Anna Karenina are all recalling the typical features of the director, who already transformed novels like Pride and Prejudice and Atonement into movies. Like in his previous pieces Joe Wright puts a big emphasis on the perspective of each character while taking a picturesque path.

What makes the movie most memorable and discernible from other adaptations is the original setting of the whole complex story onto a stage. Not only does it create a theatrical atmosphere, but also symbolizes the behavior of the Russian aristocracy during the late 19th century. Firstly, their whole life was embraced by the social events mostly set in theatres and also it depicts the superficiality of the society at the time of the Empire. Some would think seeing a movie with only one setting could be boring, however, the director occasionally takes us to the “outside world,” therefore the scenes set in nature also mirror the escape from the urban emptiness, which is best depicted in the scene when Levin (Domhnall Gleeson) decides to say goodbye to this artificial world by opening the large gates to nature. This original setting also allows simplification of the vast number of places which appear throughout the novel, achieving a certain flow from scene to scene and yet managing to focus on the details. The feel of flux permeates the whole movie as it is arranged as a dance. The center scene – the dance of the “forbidden lovers” Anna (Keira Knightley) and Vronsky (Aaron Taylor-Johnson) –  reflects the whole noticeable choreography, meaning that every little word, every movement, and even the costumes have their own role, is present throughout the film not just in the dance scene. To the detailed composition adds, of course, the brilliance of the Academy winner composer Dario Marianelli’s music which leads us through the movie like a skilled and smooth dancing partner.

On the contrary, a perhaps more critical approach should be taken in evaluating the cast. Although, Joe Wright did not even consider anyone else for the main role besides Knightley, for most of the viewers the young actress is not suitable for such a complex anti-hero. Of course, though she looks beautiful in the costumes, the character of Anna illustrated in the novel is nowhere near to the skinny stature of hers. Having seen her in other Wright movies, Knightley presented the heroine in the same manner as she has her previous roles: Elizabeth Bennet (Pride and Prejudice) or Cecilia Tallis (Atonement). Also, her acting partner Aaron Taylor-Johnson’s performance of Vronsky was perhaps not acted in a way for which women would break their marriage. On the other side, Jude Law as Karenin mastered the model of a stiff “robot-like” husband, especially with his “knuckle cracking.” Because of the great age difference it was even harder to imagine the “sweeping everything away” kind of love between the main characters. Nevertheless, the other adaptations being focused more on the physical nature of their affection, Wright succeeded in making their relationship portrayed only by glimpses of each other and occasional touching, in other words made their love a dance – a passionate, but a tragic one.

Even if this version of Tolstoy’s masterpiece was not received very well by the audience I would certainly recommend it to the moviegoers who are interested in a new interpretation of the overused story, an interpretation focusing on hidden symbols rather than retelling the plot in a conventional form while not leaving anything out. If not for the curiosity of how can a horse-race be set in a theatre or for Dario Marianelli’s musical brilliance, then watch it just to get a glimpse of what is happening in Joe Wright’s head, a mind so worthy of attention.  

Django Unchained (2012).

Quentin Tarantino produced a drama that is taking place before the American Civil War. Young Django (Jamie Foxx) is involuntarily separated from his love Broomhilda von Schaft (Kerry Washington) and thanks to the German dentist Dr. King Schultz (Christoph Waltz), he can regain his freedom and wife as soon as he helps to hunt down the cruel assassins: the Brittle brothers.

The performance of Waltz is, just as in Inglorious Bastards, perfect. So are Foxx, Leonardo DiCaprio (a rich slave owner) and Samuel L Jackson (his loyal servant). Four very divergent roles, but all have some points of contact, especially when we talk about hate, racism and opportunists. Beside the romantic story line that dominates the whole movie, there is also time for humor, drama and action. Thrilling scenes are often accompanied by those of sheer horror, clarified by absurd and hilarious entries which let the heartbeat of the audience calm down.

The music in the movie was also very well chosen. The director, Tarantino, made a good choice by combining classical music with rock and even hip-hop at certain times. As is Tarantino’s habit, he likes taking on one of the minor roles and Django Unchained is not an exception.

The theme of racism is a central motive in Django, but as we reveal the veil a bit we find that power and opportunism are greedily waiting to get their chance. Bloodshed is an unstoppable engine spilling red stains on the snow-white cotton fields - a never fulfilled revenge on evil white plantation owners finally takes place… However, in a grotesque style, which not only cheers up the spectator, but also tells him that this revenge is only a fairy tale.

Hobbit: A Review and Report of a Going.

The Hobbit was not the best movie I have seen lately and that I would be breathless about, but putting that aside, it doubtlessly was a great event. Armed with popcorn and soda beverages, I and a few people from this university course (Jaromír L., Kristýna Č., Martin S., Magda M., Jan L., Tomáš S.) sat deep into our seats and enjoyed the 2.5-hour spectacle in its original dub.

Rumor has it that some people (down-to-heart Tolkien fans) have left the cinema not even half-way through the movie, outraged by Jackson's adaptation of their beloved story. Yes, they do have a point that apart from the Irish aura of the songs (“Misty Mountains,” namely), there was little or no sense of the story that was originally written for children. However, I find that leaving the cinema in the middle of the screening is an over-reaction. Agreed, Jackson unnecessarily prolonged many scenes and added many more battles and blood spill (though not much red matter was seen, actually) than needed, though one must realize one thing: most people have not read the book. So Jackson did what he had to: made the movie watchable! He portrayed breath-taking landscapes (New Zealand product placement!), put in lots of amazing 3-D scenes (that moment a warg gets shot and falls onto the audience – blackness!) and technically speaking, it was a marvel in computer effects. Jackson succeeded in not making anyone fall asleep, though a short break in the middle surely would have been welcomed.

During the 2.5 hours my anonymous neighbor spilt his 1l cup of Coca-Cola on the floor and crunched onto his popcorn that occasionally landed on my lap and everyone, especially us eight, laughed heartily at Saruman's words: "But how can we believe Radagast [a forest wizard]? He eats too much mushrooms!" In all seriousness, Martin asked as we left the cinema: “Does the book also end with the dragon opening his eyes?" Most of the people present grinned; someone informed him that there are two more movies to go. Martin threw his hands dramatically towards the now dark skies and exclaimed: "WHYYYYY??" A while later he added bitterly, though in a calm voice: "I am not going to wait two bloody years for the next part. I want it now!" Our cinematic fellowship concluded the evening either in a pub (it was a Saturday night after all) or with a long walk through Prague, making use of the warmer winter weather.

As for myself, I definitely enjoyed The Hobbit and decided on a few things. One – attempt to put together a light-mode Hobbit costume for the next premiere. Two: wait patiently for the continuations. Three: read the book once it's all over. It would be a pity and a waste of positive energy to compare the book with the movie when one should be enjoying his return back to Middle Earth! 

Hobbit: An Unexpected Experience

For those who were looking for a film based only on the book itself, Hobbit: An Unexpected Journey might be a slight portion of disappointment at first. However, for those who have done further reading on the fantastic world of Middle Earth (especially those who have read J. R. R. Tolkien's Silmarillion), the film can be a fair compensation for the painful experience from The Lord of the Rings, because this time, Peter Jackson and his fellow producers have decided to prepare a special surprise for the ultimate Tolkien devotees. The film is rumored to have been shot based not only on the book itself, but also on additional information found in secret notes Tolkien had kept for himself. Luckily enough, these notes have somehow found their way into the producers’ hands (for those who were baffled by the presence of Saruman and Galadriel, as well as other quite conspicuous, say, misconceptions: this might be the reason for them). On the other hand, what kind of a block buster would Hobbit: An Unexpected Journey be, if it was all based on depiction of characters exactly according to the author? It is probably due to some unwritten law, that there just simply has to be at least some alternation in the original story; that we have to face new versions of our heroes.

If you are about to go see the film, I strongly recommend forgetting the former conceptions of bravery or wit, as well as the almost balladic way of depicting heroes. All of this has been replaced with pure action so typical of block busters, although not even lovers of special effects would be purely satisfied. Bilbo Baggins, for example, whom I once believed to be a rather simple conservative man of common sense is here depicted as a neurotic, fearful, yet almost sly frantic conformist who suddenly changes his life (why does this remind me of the American dream cliché?) and proves to himself, as well as to his fellow pilgrims, that he can also do something big in his life. The storyline, on the other hand, is quite accurate, despite the fact that all the dramatic parts are scattered with taunts which gives the story almost Marvel Comics-like impression. The only thing missing was probably a cocky superhero with an almighty crossbow shooting arrows at 100% accuracy and at a very quick pace (200 arrows per minute would do, I guess)… perhaps in one of the next two parts. The second part of the journey will continue on 13 December 2013.

Satire about the real-world prospects of AA graduates.

“Daisy Swift here reporting from the event we all have been waiting for,” opens a middle-aged reporter of uncultivated looks who in order to get her message across the roar and cheer of the masses has to shout out loud: “ladies and gentlemen, authors, critics, publishers, editors; dear readers… it is my absolute pleasure to welcome you all here tonight at the 10th reunion of the 2015 class of the English-American Studies.” The crowd explodes. A high-pitched cry of the female members of the throng produces an unequivocal threat to the embellished heavy tables of glass of the majestic windows of the Municipal House. During their regular days imbued with perfect composer, the regular folk, who on day-to-day basis are able to temper their avidity for the written word and for the craftsmen responsible, cheered like a pack of exulted savages. On this precious day one could simply not hold back; on this rarity of a marvelous occasion one discarded all the novels about temperance he’s read and all the morality tales about wisdom of the calm and just - let - go. This was too big to be approached critically, with a subtlety of argument, or with an attentive heed and rather refined delicacy of taste as was the custom all the other days… for this was no ordinary day.

“And here they arrive… I can see the first BMWs and Rolls Royce’s gliding smoothly towards the red carpet… and this just came in: Tommy Curly Curl is not going to attend for he has just gotten an idea to contemplate!... What depressing news for the female portion of the audience! But the first limo has just stopped in front of the House… the doors are opening... and a pile of books pours out from within the open doors of the limo... dear readers I dare assert that there has been some very hard reading going on inside that limo; it resembles an enormous pitch black mouth vomiting cover after cover after cover... it is chaotic, it is impressive, Tis’ terribly beautiful.” After the way got cleared for the passenger to get out, as he was stepping out of the limo he had to mind every step not to fall over the slippery covers of the latest gazelle-skinned editions of the Romantics. “May the Muse be rather splendid with you, doc. prof. PaeDr Fucd-Ur-MA. Dr. Tomáš Vidláček Ph.D. CSc, AkA,” commenced Daisy with her insides throbbing with excitement but her face emanating professionalism.

 “And with you, my dear,” retorted Vidláček playfully trying to avoid straight eye contact, his eyes still red.

 “I can see there has been some very hard reading going on in that sinful limo of yours…” utters Daisy rather coquettishly.

“My dearest Daisy,” a line of women of blazing beauty starts to crawl out of the limo, they all have red eyes, “I could endeavor to fool your lovely intellect which is so pronounced tonight by that craftily poor looks of yours… if I could only say the same about my companions,” and sheds a disappointed look at the pack of despicably pretty women, balancing on their high heels, and throwing the books back into the limo. Daisy couldn’t prevent a tiny dot of blush stealing the pallidness of her lovely countenance. Vidláček resumed, the level of his self-assuredness rising even higher above any conceivable surface, “but I would have rather better chance at pleasing The Critic.” Throwing his hands up high in a manner of a shameful confession, he continued: “I have done some very hard reading, I own up, but tell me, dear Daisy, and You, dear readers,” the crowd explodes once again in a wave of raucous chanting and endeavors to get a glimpse of Vidláček, “I beseech Thee, tell me isn’t this the day to celebrate?!” he orates, his voice being enhanced by the omnipresent loudspeakers: “Isn’t this glorious day, the 10th reunion of the 2015 AA class,” he throws a pack of bank notes and autographed books at the crowd every time he says the word ‘day’, ”isn’t this the day to drive in a limo and read Ulysses in 7 different languages with 7 of the world’s finest Eng Lit Ph.D. graduates from all over the world of the most divine curves; moreover be translating The Finnegan’s Wake into musical notes,  AND be working on my latest book The Comprehensive History of the Irish Genius at the same time?!” cries ecstatic Vidláček. The crowd goes even crazier.

“That’s some hard-core stuff!” admits Daisy with a face filled with honest admiration. Vidláček throws another pile of signed books filled with banknotes of ridiculously high worth at the crowd, assumes the central position among his entourage and strides forth towards the House in a firm possession of himself and of the situation and even as if in a possession of the House itself. The scene rather resembled a victorious king returning to his home castle among the hooraying and clapping congregate of legions of devotedly critical readers; a monument of a castle he would be able to afford with the change in his back pocket anyway.

Daisy ushered the opulent group to the House with her scanning gaze, internally aware of the castigating role she should assume on any other day; but this was no ordinary day, she realised. And so she returned her focus back to the audience, and with a lenient forgiving posture, she continued: “So there you have it, dear readers, the Devil of the class, among whose latest pieces one may find such wells of critical sophistication and brilliance of empathy as Post-post-post-pre-deconstruction as Viewed by the Cherokee Invalid Overweight Feminists of the Atlanta School or who could forget his already timeless classic The Selected Essays: or Me Me Me Me Me; not you, not he, not she, and definitely not them, but ME.”

The next to arrive was ThLic. PhDr. DiS. Piss. Hiss. Ludwig Ph.D., the theoretician of conscientious study… “and here walks Ludwig in his oh so notorious upright gait and… And YES, it is confirmed dear readers: he IS studying as he walks the red carpet! Oh, what a character! What a set of marvelous individuals to walk in to the House to assume their seats of honour. What an accumulation of success! Ladies and gentleman, authors, critics, publishers, editors; dear readers, it is the 10th reunion of the 2015 AA class,” again the crowd’s roar rises to unprecedented heights, “I am Daisy Swift here reporting,-”

 “We love you Daisy, Quote somebody!!”

 “here reporting.. and.. and,” Daisy stammers for a moment but keeps the presence of mind, “can you see that dear readers?..” and points in the direction of a quickly approaching flying object, ... “OH MY GOD, I believe that must be Mr Hilsky’s chopper..!”                    

Overture to the first issue (March).

"The Musepaper" is a project created and carried out by the students of Charles University’s Anglophone Studies. Its aim is to collect and share literary creations written by us, for English is not meant to be solely a school subject; in The Musepaper, it is a medium of amusement with the aim to inspire and enlighten the creative and perceptive self. It is planned to be published once a month in a downloadable PDF version that will be available on its official Facebook page (link below). All contributions will include a photograph of the writer together with a short self-presentation, also self-written. Hopefully The Musepaper will reach more than a few issues and in time (fingers crossed), it will be successful enough to take a physical print form.

With the Oscars shortly behind us, the area of discourse of the first issue of The Musepaper has been limited down to movie reviews, written by a few courageous individuals. Anna Karenina, Django Unchained and The Hobbit: Unexpected Journey are all films with a connection to our course – Anna Karenina being the work of the renowned director Joe Wright, Tarantino’s Django discussing a chapter of American history and The Hobbit enabled the return to Tolkien’s Middle Earth. Lincoln, same as during the Oscars, has not been a favorite even among Anglophone students, but with next issue being more open to all kinds of contributions; it is definitely not yet a closed subject!

Nonetheless, I hope you, dear readers and fellow course mates, will enjoy this premiere of The Musepaper – turn this page to begin your journey through the cinematic world and analytical minds of the first active Musepaper members. Spoiler alert! It all begins with a short satire, continues with reviews and ends with an overture to the next issue.

Anna Hupcejová (Editor in Chief)