Pedro, o Negro

This movie evokes to perfection a time, a spirit, even a country (Czechoslovakia) that no longer exist. It's perhaps the most Godardian film among those not directed by the then innovative French movie maker Jean-Luc Godard. It is full of abrupt cuts, hand-held shots, dialog obviously improvised, and so forth. But Forman's humorous tone is quite far away from Une Femme est Une Femme, or Bande À Part. His background is the neo-realist heritage of everyday topics, non-professional actors, and social concern. (Godard, let me remind you, went from rightist anarchist to Maoist wannabe sharkopath, from pioneering cinematic language to self- indulgent mimic.) Forman's subsequent comedies - namely Loves of a Blonde and Taking Off, were better structured - but Peter & Pavla, almost half a century later, turned into a cute retrospective cameo.