| Mack the Knife (Czech) 20 Disguised Dancing Blondes Posted: 05 Oct 2011 05:45 PM PDT
Mack the Knife (Czech)20 Disguised Dancing BlondesMiloš Kopecký was a Czech actor, Milos Kopecky  active in the second half of the 20th century.was born 22nd 8th 1922 in Prague.  His father, Vladimir Kopecky was a furrier, who owned a salon near Wenceslas Square and the mother was a former model later milliner Marta Grimm. Milos hated school (gymnasium had to leave it in directly), could not be washed and do not like playing sports. His childhood was closely associated with Street duplex where his greatest friends were Francis Červinka (Czech historian and journalist) and Petr Schulhoff (film director), with which it had from early youth prolézal "Mud city" - as he used to say.  During the occupation of Martha's mother was deported to Auschwitz Grimm (the Jewish) and Milos Kopeckému as a half Jew also threatened imprisonment. During the next years, Milos Protectorate specter of criminal labor camp in Nazi intention "Rassenpolitik" drove a relatively rich cultural and bohemian životem.Utíkal fur on his father's workshop in the 'mud city' and the SHAPE team. SHAPE team was originally set recitation, which presented as theater. Here is the first time, young Milos smelt acting. Then, however, occurred in August 1944, when the man rang Kopecký an envelope with a summons to a labor camp in the Benešov Bystrica, where Milos was to end the war.  After the war and came back to Prague for the young Milos question: what to do? Milos from a desire not to father a furrier, he went to theater Pinwheel, which has not become an actor, but the handler turntables and curtains. Gradually, however, worked his way into acting. His first was a small role in a play Tarelkinova Death, which depicted the main role of Gustav and Vlastimil Brodsky Heverle. The same year he appeared on Barrandov for filming JAN ROHÁČ of Duba (1947), which was the first Czech film color. There was a little pathetic in the role of student. Soon the theater became obsazovaným actor who starred in plays Cenerentola, Green pastvinka and The Good Soldier Schweik. The theater has found a Pinwheel and his first wife, the charming actress Stella Zázvorková. Despite the fact that they were born in the year šestačtyřicátém daughter Katherine John (in his 15 years, committed suicide) and that Milos Kopecky understood very well with my father in law John Zázvorka (famous architect), marriage lasted only a little over a year. After the disappearance of the theater Pinwheel Milos went to the theater satire of the day, was mainly brothers Ulrich and Lubomir Leipzig. And then ran its way to the studio of the National Theatre. But shortly after that Milos did hit the fan when he came drunk to show that because he had to cancel. On the rug you invited him then director Vaclav otter golden chapel, with him immediately terminate the contract, but knowing that it is a good actor, he finished his engagement in realistic theater. Milos played here a lot of great roles. From the "realists" in osmačtyřicátém enlisted in the army a few months. After the army, however, he was hired back at the first stage, from which immediately walked back to the city's theaters in Prague one of the EF Burian and from him to the theater and vaudeville satire, later renamed ABC. During this traveling theater with Milos he could marry the second female driver tram motivation, but the marriage did not take back much longer. Involvement in the ABC Theatre is probably one of the happiest periods of his career. In the theater, where a young man once went to Voskovec Kopecky and Werich, the actor met with Kopecky Werich as a colleague and was there when this giant began to play his friend Miroslav Horníček in pairs. The first opera performance was called Caesar, where he played the role of the priest Milos Rataty. The premiere was great, the game was directed by Milos Nedbal, with whom Milos already familiar from the National Theatre. At the time poststalinské prepared Theatre ABC drama "Philip Filípek, or not?". In an unusually daring political satire, the audience poured. Especially when the title role in John beamed Werich. But this long awaited debut after a meeting with George Voskovec in Vienna. S great joy of the early meetings with his great friend in Vienna Werich worried worried for him who engages in "Filipek." choice fell on Milos Kopecky, who is the first halting performances have tackled the role. Wericha tired of John as Director of the early sixties. More precisely, he grew tired of constantly explaining "papalášům" how and why this or that game is placed on the repertoire, and thus left the file. and soon left the set of Milos Kopecky. Milos Kopecky left the ABC Theatre, because he wanted to cooperate with Miroslav Hornicek with whom he played very well and improvisation. Miroslav Horníček wrote a tough game, they began rehearsing in Jindřišská Street. Works rushed bravely, despite working in debt with very vague ideas in the near future. Play tough time everywhere was refused because "politically kosher" - as Milos said. Finally, the premiere of the play took place in Ostrava. Derby had more than two hundred fifty reruns and it still remembered the nostalgic memories. However, after about three years, the couple H + K diverges and everyone gives to their way. The year was 1964, when Milos completed a pilgrimage to the loose and he was engaged in Karlin Musical Theatre. At that time, married for the third time. His wife's name was John Lichtenbergová. It was called the Prague Brigitte Bardot. Soon after the wedding, the third divorce. At this time, realizing the danger that will forever comedian. Viewers now know him only as a manufacturer of humor, and therefore leaves the Karlin Musical Theatre, and accepts an offer from the theater. The role of Vinohrady Milos Kopecky was Daddy in "Cat on a Hot Tin Roof" Tennessee Williams. In subsequent years, recorded significant achievements in Henry IV, Pygmalion, Valentine Ornifel, then as a guest at the Theatre on the Balustrade in burlesque Milan Kundera Jokes. But at the Vinohrady stage would receive nothing but significant role. The Tsar Fyodor, Alexei Konstantinovich Tolstoy since he played the small role Bojar, but it felt right for his disgrace. Milos Kopecky fourth time he married a beautiful dancer Jane Křečkov 1966 in southern Bohemia, with whom he lived until his death. Milos Kopeckému soon had a daughter Barbara, and because the family grew, he bought his famous beloved Red Mill in South Bohemia in Krems. Milos Kopecky loved the movie, and therefore suffered no hole in the world do in their mature years. For his first true first film in which got a bigger role was thrilled NORTH PORT (1954), director Milos Makovce. However, after shining in the role of Field Chaplain Katz in Destiny Good Soldier Schweik (1956), where absolutely inimitably played scene where Field Chaplain Katz is strongly under the influence of alcohol. After another brilliant performance in the film actor Baron Munchausen (1961) and Lemonade Joe OR horse opera (1964) has become a very popular film actor. Other great roles and great movies to let him wait long, for example: The White Lady (1965), television film seven women ALFONSO Karasek (1967). The devětašedesátém in a great notoval Landovským with Paul in the movie I grieved GOD (1969), written by one story from Laughable Loves Kundera. Furthermore, it was WEDDINGS Vok (1970), Night at Karlstein (1973), the memorable role of head of water sprites in Bohemia in the movie How to Drown Mracka Doctor (1974) and in the movie of his longtime friend Peter Schulhoff tomorrow spin Darling (1976). However, the main peak of popularity yet still waiting for him. At the peak of popularity was on the end of the seventies as an MD. Štrosmajer in the series Jaroslav Dietla Hospital in the City (1977). Hospitals began filming in šestasedmdesátém year and two years later attracted millions of viewers to the screens. At the time of "Hospital" Miloš Kopecký received one thousand letters of thanks and also in Germany, Finland, Poland, Hungary (one enthusiastic Hungarian Czech spectatrix learned that just because you Miloš Kopecký with on a regular correspondence). Milos Kopecky loved the nation and claimed the title of Meritorious Artist. Kopeckému Milos, who was averse to the honors and titles, managed to avoid the title twice, but seventy-nine could not refuse it. During the 70th and 80 years, the repertoire of the Vinohrady Theatre posrpnovou greatly affected by normalization, but Milos created several memorable performances: Harpagon in Molière Meanies, Sartoria in the houses of Mr. Sartoria from GB Shaw, Šalomova in summer visitors, but mostly he played Shakespeare's drama in the coveted Richard III padouškou role of English Sovereign. Richard III quickly became an event of the season and Milos Kopeckému begins to walk the trigger letters of thanks. Throughout the '80s years played Milos Kopecky grateful audiences in the movie The Secret Castle in the Carpathians (1981), Christening (1981), Three Veterans (1983) and featured a popular series of stories FAMOUS BANDIT (1985), but also current affairs program hosted by a Czechoslovak television emigre who had caused for some time considerable difficulty. Viewers appearance on the show clearly connected with the granting of the title of National Artist. Some colleagues go to the other sidewalk. Someone described the derogatory signs the wall of his beloved South Bohemian Red Mill. Have ended several years before it was able to speak openly about their actions. Probably Milos Kopecky with agendas quite neztotožňoval, but a relationship of views that certainly was. Milos Kopecky politically brushed 5th eighty-seventh year in May at the Congress of the Czech Dramatic Artists Association. Here is a speech in which the ruling power underwent ONU very clever brave and powerful criticism. After the Velvet Revolution began to rapidly deteriorate Milos medical condition for which he had to give up the role on stage Vinohrady. The film appeared in small roles, such as: angel eyes (1994) and a dance teacher (1995), but a role in the series had mishandled Pub. When filming began to materialize confused state, so she had to cancel the contract. Milos Kopecky died in a psychiatric hospital Bohnice 16.února 1996th Mr. Kopecky was known for his aversion to jealousy with their lovers or to conceal from his lawful wife, but also suffered from manic-depressive psychosis in whose reign is chiefly based on his last wife. He loved chess, which played mainly with his friend Joseph Bedrna. Among his acting colleagues and friends were the main Miroslav Horníček, Rudolf Hrušínský, Vlastimil Brodsky, and Jiri Kodet. But as good as you could make friends and enemies, which also had enough. It is also interested in politics, philosophy and writing love letters.   | |||||||||||||||||||||||||||||||
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October 5, 2011
20 Disguised Dancing Blondes + MORE
October 4, 2011
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Children Who Chase Lost Voices from Deep Below: Shinkai Is Not Miyazaki
Children Who Chase Lost Voices from Deep Below: Shinkai Is Not Miyazaki
I’m here to talk about how Shinkai Makoto is derivative. Just not in the way that everyone thinks he is.The obvious criticism levied against him is that he borrows too heavily from Miyazaki. Which in his latest film, Children Who Chase Lost Voices from Deep Below, is somewhat true, but also short sighted. For Miyazaki himself is not innocent of drawing a bit too deeply from the wellspring of our collected aesthetic consciousness.
Like any other ambitious animator, Miyazaki started as a lowly grunt and worked his way up from thankless in-betweens, to key frame animation, character designer, and beyond. Along the way his aesthetic sense would be massaged by the senior staff and house style of the studio.
Ganba's Adventure (1975)Nishimura Takayo, character designer and 2D animation director for Children, trained under Kabashima Yoshio, a contemporary of Miyazaki during his time at Toei Animation. Through the 70’s both men would be influenced by World Masterpiece Theater series, which adapted classic tales as family-oriented anime. Kobashima countered what he felt were stale retreads with original stories such as Ganba’s Adventure; Miyazaki would work on the Japanese retelling of Anne of Greene Gables before leaving Nippon Animation.
Anne of Green Gables (1979)Shinkai has stated that the style of Children aims to emulate World Masterpiece Theater (fitting, given the 70’s setting), meaning that if the results look like Miyazaki, it’s because they’re drawing from the same inspirations. The same talent pool, as well. Many of the artists on the film, including background matte painters, have a history with Studio Ghibli. When you’re enlisting the same cooks with the same ingredients, it's inevitable that tastes blend. It all boils down to how your house tweaks the recipe.
Miyazaki built his career on parables of man vs. nature, progress vs. tradition, haves vs. have-nots. In contrast to this bevy of social messages, Shinkai comes off as introverted to the point of self-centeredness. Shinkai is primarily concerned with the distance between people, either the physical or mental, and the drama created in closing that gap. At the end of the day he doesn’t care if you’re a proletariat or bourgeoisie, so long as you’ve learned to love yourself.
Magical gemstones, luddite nostalgism, a young girl protagonist thrown out of her element in a fantastic world—All tropes Miyazaki has claimed a monopoly over out of repetition. Let’s be realistic—Even Miyazaki is aping his own style by this point.
Still, Shinkai declares his love for Laputa, perhaps a bit too loudly. But this is to overcompensate for his first nerd-crush that inspired him to join the industry: The PC-88 intro to Falcom’s action RPG, Y’s II.
Y's II Eternal (2001)Here we see overlapping themes—Girl meets boy from another world, high fantasy and flying islands, mystical necklaces. Years later Shinkai would be given the opportunity to create the cinematics for the Windows remake where we see his lo-fi upbringing pushed to its artistic limits.
Speaking of borrowing from what you love, steampunk didn’t exactly originate in Japan, and girls were adventuring in Wonderland long before Chihiro. If you want to say that Shinkai’s films sprouted from Miyazaki’s, I’ll give you that. But you have to realize that Miyazaki’s world is firmly rooted in the works of another, the manga artist Morohoshi Daijiro.
Morohoshi Daijiro's Yokai Hunter (1974)
Without any titles available on English, Morohoshi’s presence may not be obvious to western audiences. Following his 1970 debut in COM he quickly became the poster boy for manga connoisseurs, lauded by critics but only mildly successful in commercial magazines. Miyazaki is on record stating that Morohoshi's detailed yet lumpy line work inspired the sketchy penciling in the Nausicca manga. Dig deeper into Morohoshi’s themes and it becomes apparent that the director cribbed more than just his style.
Morohoshi Daijiro's Mud Men (1979)
Mud Men, based around creation myths of the eponymous tribe from Papa New Guinea and what happens when greedy outsiders anger the indigenous forest spirits, plays out like a gender-flopped version of Princess Mononoke.Morohoshi is famous for weaving folklore into the every day, another technique unfairly attributed as a Miyazaki-ism. This influence is clearly present in Children as well. With Agartha, Shinkai attempts to tie world mythology together with a common thread that runs through underworld legends, while at the same time verifying them through the pseudo-science hollow earth theory.
At an earlier point down the same narrative vector, we have Morohoshi’s Dark Legend of Confucius, which connects the Brahmins of India, five element theory of China, and the historic first peoples of Japan through Ying-Yang dualism as a universal binary code that can be deciphered by analyzing the Analects of, you guessed it—Confucius.
Miyazaki builds new worlds of high fantasy from low technology. Shinkai and Morohoshi build upon existing worlds with high theological concepts.
I can't find my copy of Dark Legend to scan, so here's a clay model of the Jomon guardian spirit. (Source)
There’s also the striking visuals of Agartha. The terracotta structures populating the underground world are adorned with organic line work reminiscent of motifs from Japan’s pre-historic Jomon period. Once again, Morohoshi beat him to the punch by several decades with Ankoku Shinwa, or Dark Legend (no relation to Confucius this time), where Haniwa sculptures with Jomon patterns serve as the key to opening the forbidden lands underneath Kofun burial mounds. Not a glowing gemstone per se, though still a McGuffin cut from the same bedrock.
Nightgaunt by Rob Thomas
Traveling through an underground gate with a mythical key to usurp forbidden knowledge from the center of creation, all the while being pursued by faceless demons once the sun sets—Suddenly, Children sounds less like Laputa and more like Lovecraft’s The Dream Quest of Unknown Kadath. Just swap in Randolph Carter, the silver key, Nightgaunts, and the Plateau of Leng! You've already got the guardian cats and moon barges.You can draw an unbroken line of influence from Shinkai to Miyazaki to Morohoshi to Lovecraft, and continue it onward to Lord Dunsany’s dream fiction and beyond should you be ambitious enough. My point—I don’t want to see Miyazaki become to anime what Tezuka is to manga: Omnipresent, over quoted, and unchallenged. Both artists are geniuses, but their image has grown to such titanic proportions that we overlook the giants whose shoulders they stand on.
If you want to criticize Children for being derivative, you should, because it is, but please keep in mind that the source material is also derivative in its own ways. The film has more pressing issues, such as the motiveless protagonist, visually striking though otherwise unmotivated journey across Agartha, and ending theme that is horrifically sincere in a way that only singer-songwriters can manage.
Despite some whiffs in the characterization and pacing, Children is still worth seeing, if just to track the growth of one of anime’s most interesting talents. Just leave your Ghibli bias at the door, as counter-intuitive it may feel at first.
queen of broken hearts Irish McCalla
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