[Originally published in Queen Anne & Magnolia News, June 9, 2010]
Notes on the final week by Richard T. Jameson and Kathleen Murphy
Protektor (Marek Najbrt, Czech Republic/Germany, 2009; 98 mins.)
The World War II years remain an inexhaustible source of dramatic material, and as our culture grows ever more amnesiac, it’s probably salutary that filmmakers keep trying to find ways into the period. Set in the Prague of 1938-42â€”from Hitler’s bloodless occupation of Czechoslovakia to the assassination of Reichsprotektor Heydrich and the ensuing Nazi reprisalsâ€”Protektor eschews the conventional big-picture approach to focus on a married couple whose lives are being transformed. Hana (Jana PlodkovÃ¡), a glamorous movie actress primed for stardom, sees her career aborted because she’s Jewish; the non-Jewish Emil (Marek Daniel), one among a staff of announcers for the state radio station, becomes a star after his chief rival is sidelined for political outspokenness. Effectively under house arrest, Hana contrives ways to recast her life as her own imaginative movieâ€”posing in grab photos flouting the many anti-Semitic prohibitions posted everywhere, and getting back into the cinema literally, by sneaking into the moviehouse next door. Emil, freer to roam, keeps getting seduced personally and professionally, each seduction becoming another kind of trap.
Oh look, I just recast life as imaginative movie, making Protektor seem a more provocative film than it is. In fact of point, the narrative and the chronology hop around to little coherent purpose, and the way the images are optically magicked at every turn is more masturbatory than illuminating. The film’s closest brush with distinction is its suggestion how accidental history and becoming a part of history can be. (Better you should rent the chilling 1943 Lang-Brecht movie Hangmen Also Die!) â€”RTJ