Czech Cult Classic “DOHOLA” Reveals Casting Struggles and Unexpected Post-Revolution Fortunes
Anya Geislerová’s early career decision to eschew supporting roles and the unconventional casting choices behind the 1991 Czech film “DOHOLA” are resurfacing decades later, offering a glimpse into the challenges and triumphs of post-communist Czech cinema. The film, initially a box office disappointment, experienced a resurgence in popularity after highlighting Geislerová’s involvement.
A Defiant Star in the Making
At just 14 years old, Anya Geislerová embodied the character of “Grass,” a rebellious and intellectually precocious girl in “DOHOLA.” The role required a willingness to push boundaries, exemplified by a scene where her character sent her parents red wine in an attempt to raise their blood pressure, culminating in a poignant moment of discovering head lice and crying. According to one of the film’s directors, she refused a requested haircut for the role. “She really didn’t let the haircut, although I persuaded her,” he stated. “I was afraid that the wig would be visible, fortunately it wasn’t.”
The director initially envisioned a different aesthetic for the character – a hippie with long, straight hair – a stark contrast to Geislerová’s naturally curly, short red hair. Despite this mismatch, the director was captivated by her initial camera tests. “I was intrigued on the videos of the camera tests, so we invited it again. She didn’t want to listen at all and did everything she could to not play. I thought I needed her defiance in the movie,” he explained.
Casting Beyond the Established
The filmmakers deliberately sought to avoid actors associated with the previous regime’s state-sponsored television series, opting instead for non-actors and newcomers. This approach drew significant interest, with approximately 3,000 individuals vying for roles. However, the initial screenplay presented challenges. “The problem was that the nicknames of the characters in the screenplay were pejorative,” a director recalled. “Numerous Roma families also arrived, and when the assistant directed the assistant to shift the job seekers: Smraďoši, you here, pointing to them,” he laughed, acknowledging the problematic nature of the original character names.
The search for talent yielded unexpected discoveries. Václav Chalupa was found through a singing competition and cast as trainee Ondra, though he later largely disappeared from the industry. Another promising talent, Honza Semotán, played a “freak” character and later appeared in “The Jackal Years,” before ultimately leaving acting.
From Bodybuilding to Adult Film: The Fate of Radek Říha
The film also revealed the unusual trajectory of Radek Říha, who played one of the camp leaders, bearing a striking resemblance to wrestler Gustav Frištenský. Before the Velvet Revolution in 1989, Říha was a professional bodybuilder. Following the political shift, he briefly pursued a career in the adult film industry.
Initial Disappointment, Later Acclaim
“DOHOLA” was filmed in 1990 at a camp complex in Skutč and released in cinemas in 1991. However, initial attendance was dismal. One director recounted a disheartening experience at a Prague cinema. “I went to look at the Prague cinema, who will go to it. I noticed an elderly lady who wanted to buy a ticket, and then the cashier advised her not to go to him, that it was a terrible crap.”
A re-release, strategically highlighting Anya Geislerová’s participation, dramatically improved the film’s fortunes. “Some of our friends say that the trio Trojan, Hřebejk and Jarchovský have never made anything better,” the director concluded, reflecting on the enduring legacy of “DOHOLA” and the unconventional path to its eventual recognition.
