The friendship between Czech New Wave pioneers Milos Forman and Ivan Passer was crucial in the life of the man who directed 'Amadeus' and 'One Flew Over the Cuckoo's Nest.’
Czechoslovakia owes its unfortunate history to its lot as a main stage for the great conflicts of the 20th century.
The Gestapo seized his stepfather when Milos was 8 — the only father he ever knew — and later his mother, both labeled anti-Nazi conspiracists. She perished at Auschwitz, he at Buchenwald. “To me,” said Czech American writer Jan Novak, their longtime friend and collaborator, “they are the true aristocracy.”
Guiding principals were drawn up, and the movies to come introduced Czechoslovak film to much of the world, while obliterating the country’s moribund “socialist realist” cinema. By the ’60s the slow thaw of de-Stalinization in Moscow had moderated the Czech government’s worst excesses, but a severe brand of communism survived.
In 1968, the movement was ascendant: Jiri Menzel’s “Closely Watched Trains” won the Oscar for best foreign language film, the second Czech winner in three years. Then came “The Firemen’s Ball” in 1967. Co-written by the regular Forman team of Milos, Ivan and Jaroslav “Jarda” Papousek, it is a hilarious allegory on the corrupt bungling of Politburo groupthink. When President Antonin Novotny screened it, he reportedly “climbed the walls.”
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