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(More customer reviews)The strong use of colour in this film - sometimes vivid, sometimes very fine & subtle - predates & goes beyond most western psychedelic film experiments (It was made in 1961) : A large measure of this is due to the inventive & frequent use of monochrome - eg orange sequences, then blue, then red etc - akin to but generally surpassing such techniques in early cinema (Melies was one of Zeman's heroes). "Baron Munchausen" goes beyond the methods of both early film & later experimentation not primarily because of its technical skill - exact & inventive though it is - but because of the combination of this with the poetic depth of the film in general. There are also sequences where the screen is subtly divided into different swathes of colour ( again a technique reminiscent of Melies ).
However the film is not some sort of delerious dream or descent into madness (although it does have lots of fun!). Nor is it in any way "amateurish" ( as has been suggested in a well-meant sort of way, elsewhere ) - Such a term can only be used if one takes the hollow slickness which is present in so many Hollywood films as some sort of yardstick of definition.
Zeman's "Baron Prasil" exists in a totally different sort of Universe : It is essentially - & completely - romantic, graceful & poetic (as well as being full of a warm & gentle humour - & also containing strong antiwar sentiments; a recurring theme in Zeman's work). The flowing & exact pace of the film brings forth a world of love, beauty, imagination & adventure.
Imagination is the key : The character of the Baron is no longer the Baron of other versions : ie he is not (or at least is only occasionally) an endearing but mainly vainglorious braggart; instead his function is to effortlesly display the sheer beauty & magnificence of fantastical dreaming when its motivation comes from a heart of gold.
His chivalry (although gently satirized in places) is genuine. Impeccably played by Milos Kopecky he is in effect a spiritual guide to the protaganist ("Joey" - Tony in the Czech language original) - introducing him to the underlieing spiritual beauty of life & honing his ability to love, dream & create. Even when he (the Baron) is undercut by events, his indomitable, expansive & generally self-composed reactions are an education in courage & spiritual freedom.
Many more things could be said about the film : The complete harmony achieved by Zeman's use of mixed media animation ( the Gustave Dore inspired storybook-type drawings which are used as backdrops for live actors, a puppet whale of incredible charm, popart-style spacesuits, etc), the graceful presence of Jana Brejchova as the Princess Bianca di Castello Negro, the warmth & perfection of Zdenek Liska's opening theme & his other soundtrack music - to mention just some.
Terry Gilliam is known to have been influenced by Zeman; what perhaps isn't realised is that if you view Zeman's "Baron Munchausen" & Zeman's films "A Jester's Tale" (1964) & "The Stolen Balloon" (1966) (all very wonderful films) - together these contain most of the styles of animation to be seen in Monty Python (although the satirical content is not generally the same) - as well as many other additional techniques. "The Stolen Balloon" even contains a Souza-type march very similar (though not identical) to that used in the Python theme! I hope this doesn't sound too unkind as Gilliam is a brilliant bloke & without his version of "Baron Munchausen" perhaps Zeman's version might never have got a video release.
Also : Relatively huge critical attention is given to directors like Godard & Kurosawa ( & in a different sort of way to Ray Harryhausen films ) - If even part of this were given to the work of Karel Zeman, then his genuinely romantic film art - & incredible entertainment - might become more readily available to all who are open to such wonders.
( It would also be nice if Jiri Trnka - & others - were likewise to receive such increased critical attention. )
To conclude : This film is perfection - (& if anyone can re-release this video or any & all of Zeman's films; Please, please do). With reference to it on video : It would be still better if a subtitled version were available - as the fine acting is also evident in the subtle tones & inflections of the original cast; more so than with most foriegn films.
This is particularly true of the title role: Kopecky's voice is an integral part of his characterization ( as described above ). Having said this - the dubbing in the present version is actually quite reasonable.
This is spiritual-romantic art at its best : It is a fairytale fully imbued with the poetic spirit. Its values of love & warmth are similar to - though as art it is in other ways quite different from - the original Winnie-the-pooh books or the animation work of Oliver Postgate & Peter Firmin in the U.K.
As you have probably realised by now - it is my alltime favourite film! And as such I cannot recommend it too highly.
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