FANTOMfilm No. 42 (January 08)

In Focus: Anders(s)on

The Czech theaters will soon screen three movies of three almost namesakes – Wes Anderson, Paul Thomas Anderson and Roy Andersson. Works of these authors - which are connected not only through coincidental similarity in the names of their creators but also through a series of common features, such as lonely characters, episodical structure, original approach to the music score and mizanscene, often unignorable set design etc. - are the focus of the first 2008 issue of the internet film monthly FANTOMfilm.

FANTOMfilm No. 42 consits of 9 articles. Besides some translations of texts taken from foreign periodicals (for example Martin Scorcese’s notes on Wes Anderson’s work or personal comments of P. T. Anderson and Wes Anderson on their respective works), there are 3 reviews – Wes Anderson’s The Darjeeling Limited (by Rudolf Schimera), P. T. Anderson‘s Boogie Nights (by Vít Peřina), and Roy Andersson‘s En Kärlekshistoria (by Hana Stuchlíková) – and 3 analyses. Jan Křipač focuses on a wide range of extraordinary characters in Wes Anderson’s films, Michal Kříž notes on the relations of fiction and reality in P. T. Anderson’s films, and Vít Peřina points at the “screenshot” similarities between Roy Andersson’s movies and Edward Hopper’s paintings.

(Note: Review on Roy Andersson’s Du levande can be found in Fantomfilm No. 38, September 2007; review on P. T. Anderson’s There Will Be Blood will appear in one of the spring 2008 issues of FANTOMfilm.)




Fiction of Reality - Reality of Fiction

Some Films of P. T. Anderson

Paul Thomas Anderson is well known film director and screenwriter who became famous because of his two films: Boogie Nights (1997) and Magnolia (1999). This article is mainly focused on two facts: first on Anderson’s enchantment of a relation between reality and fiction, second on a splendid force of mediums, especially film and TV. Anderson’s film style consists of many steadicam-based long takes and quite difficult line of narration but in fact he achieves to create a compact storyline. Film Magnolia is an example of serial kind of view on reality that can draw its strenght from a fictional ground of human culture.

Michal Kříž

Roy Andersson and Edward Hopper

A short essay deals with the influence of an American painter Edward Hopper on the cinema, specifically with the similarity between his paintings and movies of a Swedish director, Roy Anderson. It mentions mutual connections in existential themes, motifs of lonely people, empty flats etc. It describes motifs of windows, which are symptomatic for both artists.

Vít Peřina