Main characters Vera Khitilova1966 hilarious anarchist comedy chamomile two beautiful young women named Marie (although they go by several fictitious names in the film itself). Maria I (Jitka Cherkhova) - a brunette with full lips, braiding her hair in girlish pigtails; Maria II (Ivan Karbanov) has strawberry blonde hair and usually wears a flower crown. After an opening sequence of whirring cars and World War II footage, the film cuts to Marie, sitting against a wooden wall like dolls in a toy box (joints creaking), lamenting a “corrupted world” and allowing him to be defeated in his own game. So, you’re all set: a terrible day in Czechoslovakia, and two equally terrible (but strangely cute) girls are intentionally causing trouble.
Although chamomile was perceived as a classic of feminism, Khitilova was annoyed by this description; a well-known short-tempered personality who considered herself “an overheated kettle that can’t be turned off”, she variously described her film as a “negative lifestyle obituary” and a “philosophical documentary in the form of a slapstick”. But as a female director in the 1960s and an artist fighting the censorship of the communist government (Khitilova, along with directors such as Milos Forman And Jiri Menzel, was part of the Czech “New Wave,” a scene from the film that blossomed in a brief moment of relative liberalization before the Soviets brought in tanks), one can’t help but feel the game recognizing the game as Chytilova combines Marie’s chaotic energy with playful flourishes. and surreal montages. Like Khitilova herself, the Marie defy the rules and expectations the world places on them, defying convention and following their appetites wherever they lead.
Marys exploit and undermine society’s expectations of women
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Marys move around the world like some combination of pin-up models and trickster gods. They ruin each other’s dates with rich old men, devouring expensive desserts before seeing them off to the train station, where their tearful goodbyes turn into dizzying laughter. They get drunk at a cabaret performance, blow bubbles in their drinks, and steal the show from the performers with their own dance. Mary II plays the strings of a wealthy young pianist and butterfly collector (Jan Klushak) who is desperately in love with her, though mostly she just wants to know if he has food. (“Any jam?”) When they’re not terrorizing Prague’s most eligible bachelors, the Maries hang out in their collage apartment, where they write phone numbers on the walls, discuss death while bathing in milk, and decapitate each one of them. another with scissors. (They’re fine, don’t worry.)
The Maries showcase femininity, with their cherubic looks and the most hilarious annoying giggles this side. Amadeus, but it feels like this performance is just another prank from these hilarious pranksters: call it “malicious gender matching.” To satisfy their needs, they exaggerate some feminine clichés and subvert others. Society expects men to pay for their dates, so these two use it to the fullest; society expects women to be young and innocent, so they act like overgrown children for their own amusement. But society also expects women to be gentle and delicate, two words that could never describe a tornado of vice like Mary. One particularly revealing moment shows them doing their makeup in the ladies’ room, a stereotypical female camaraderie place where they quickly steal from another woman’s purse. Rejecting the unselfishness expected of women, as well as the collectivism of their society, Marie take care of themselves; other people might as well not exist.
“Daisies” - pure experimental entertainment
Khitilova at every step corresponds to the chaotic energy of Marie. chamomile is a fun experimental film: filled with surreal effects and idiosyncratic touches, it feels like anything can happen. In the opening scene, Mary I slaps Mary II so hard that she teleports into the Garden of Eden, resulting in a transition from black and white to full color. (The movie will jump between them throughout the movie.) When Mary II blows bubbles into her drink, the overflow is displayed as a shimmering shower of rainbow confetti; elsewhere, the train ride turns into an impressionistic daub of color. From time to time, dizzying montages ripple through the film like a speeding bus through butterflies or swirls of paper to the beat of the music—or in complete silence. At one point, the Maries get so crazy with scissors that they cut the film itself, breaking the action into wavy little blocks.
All this ends with a scene where the Marys accidentally get to a banquet, clearly intended for some government officials. As with almost every piece of food in the film, they gorge themselves in the most casual and clumsy way, eating handfuls of seafood and tearing apart a fried chicken. In the end, their fun reaches new heights: they throw cake at each other, treat the table like a podium, swing on the chandelier. Finally, once it reaches its climax, it cuts to two girls being dipped in a lake, scared and apologetic, promising to be good from now on. But you should never bet that the Marys are normal; indeed, when they return to the banquet hall, cleaning up their mess, whispering socialist ramblings like Sméagol, they seem to be doing little. At the end, Mari is supposedly crushed by a chandelier, but it’s hard to believe that death has any effect on these delightful demons. You can also mourn Bugs Bunny.
According to the Oxford English Dictionary, last year’s word of the year was “goblin mode”: “a type of behavior that is shamelessly self-indulgent, lazy, sloppy or greedy, usually in a way that overrides social norms or expectations.” Born from a joke post about Kanye West And Julia Fox, there are many speculations about the goblin regime: as a mechanism to fight the pandemic, as the middle finger of late capitalism, as an act of radical feminism. But Marie was ahead of the rest of us by nearly 60 years, and I doubt they thought too deeply about it. They may have become goblins in response to a “corrupted world,” but it ended up confirming a simple fact they kept repeating to themselves as they marched down the street: “We exist! We exist! We exist!
Source: Collider
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