...and the Fifth Horseman Is Fear

It even more painful to realize that there are maybe thousands of those unknown gems from the other side of the former Iron Curtain; of course not large audiences movies, maybe too intellectual but that's precisely why they are so interesting. This kind of topic could have been told in France, or any other western country. I could think about French MR KLEIN, the closest scheme to this one. Those Polish or Czech films, shot in black and white, were all gloomy, depressing, obscure, but so well filmed, with such camera work skills. I highly recommend it to any WW2 related gem diggers.

This is the most overlooked film I have seen and I have seen thousands. It doesn't appear in Maltin's book of 17,000 reviews. It is basically a day in the life of a Jewish doctor who is exempted from removal by Nazis because they can use his services. He risks his life helping the underground. In one gut wrenching scene he observes young women in a large shower room. For a moment you wonder if gas will come from the showerheads but it's water and there is a lovely lyrical voyeuristic few seconds before the camera cuts abruptly to the women being distributed to disrobing waiting SS officers. This is not an easy film to watch. It challenges the viewer's imagination with the "What would I do?" question throughout.

Really great Czech film of the 60´s. I think the best picture by the director Zbynek Brynych. Armin Braun (performed by Miroslav Machacek) is a doctor of Jewish origin. In spite of the fact he could be killed by the Nazis and the whole block-of-flat with him, he is performing an operation of an injured revolter. While the operation is finished he has to find morphine to give it to the revolter because of big pains he has after the medical help.

We can see the excellent performance of Miroslav Machacek in the monologue part (by the way which lasts 3 minutes!!) in which he is deciding to help or not to help. I can recommend this movie to everyone who likes great acting in a good story.

A prophecy in Zechariah 6: 1-3 mentions red horses, black horses, white horses, and grey horses riding out into the world with no real mention of their riders. But in Revelation 6:2-7 in a description of the Apocalypse the riders are given some characteristics: the white horse has a rider with a bow who "went out conquering and to conquer"; the rider of the red horse takes peace from the earth and is given a great sword; the rider on the black horse has a balance and illustrates the calamitous rise in prices of scarce and necessary food; and the rider of the pale horse's name is Death.

Any type of war engenders cruelties. But when hope is displaced by fear, survival is surely threatened. As a fellow doctor tells Dr. Braun, in search of morphine to abate the pain of a wounded man on whom he has operated "We have up to 20 Jewish suicides a day - we manage to save most of them." Certainly a society that has placards proliferating everywhere admonishing "Inform promptly and accurately and insure your own safety," along with the 44811 informer number to call would not give much cause for hope. But Dr. Braun does not seem to give up hope completely - even when all is dark he says "A man is as he thinks - you can't change that." And yet Dr. Braun is assailed by fear also. More than once we hear martial music without seeing a band and Dr. Braun also sees a man with some sort of van who is there one moment and gone the next. Do we see what we fear most? It's hard to tell.

I found the musical score very intriguing - starting off before the opening credits was a brass fanfare, merging into flutes and then saxophones (and/or other reed instruments) and then back to brass and flutes throughout the opening credit sequences against a backdrop of massed notices on walls. The succession of one type of instrument being replaced by another was continued throughout the film.

I was limited to what the different wall placards were saying by occasional subtitles. It would have been interesting to know if the placards dealt with more than just informing. There was one word seen repeatedly - it seemed to start out "PYSA" or "PYHLA" or perhaps "PYKASRA" - the font type made it difficult to decipher . . . and my Czech is rather minimal, ah no . ..

The film music ends much as it began with brass playing to images of trains, then flute and then brass with images of cars then more flutes followed by piano with views of crowds and then ending with the brass section again.

"Death's a trifle if it's not my own."

But Dr. Braun carries on as best he can - "A man is as he thinks - you can't change that."

Superlative camera angles for a Sixties film! Zbynek Brynych is one of the most important Czech directors after Milos Forman, Jiri Menzel and animator Jiri Trnka. The film is about the Nazi Holocaust while it is never openly stated in the film. The confiscated property of the Jews sent to concentration camps and a chimney emitting black smoke are the only close indirect indicators of the main subject. I couldn't spot the word Jews in the English subtitles. The visuals did show the Swastika in a casual manner on printed matter. The use of a young boy and the ominously empty streets are the highlights of the director's creativity. There are two different sequences of two different men on a bicycle--the differences speak volumes, even though the location is the same one. Varied reactions of the building's inhabitants, who knew each other, in the final sequence are amazingly well-captured by the director and his incredibly talented cinematographer Jan Kalis.