When he conducts, Bedřich Smetana is in his element. He closes his eyes and lets himself be carried away by the interplay of instruments. Cuts to his joyous dance with his wife Betty reveal that he is feeling supreme happiness. At that moment, there is nothing but music, the pace and expression of which it determines itself. He becomes the master of the situation.
The full-length feature film Smetana, which is being broadcast by Czech Television this Sunday evening, begins with an almost ecstatic scene. It decently reminds him that this year marks 200 years since the birth and 140 years since the death of the famous composer. He is currently at the peak of his creative and physical powers. This will be followed by a descent into chaos and cut off from the outside world due to hearing loss.
Screenwriter Martin Šafránek and director Marek Najbrt focused on the last 15 years or so of the composer’s life, which enabled them to fit Bedřich Smetana into the popular scheme of biographical dramas. They generally portray him as a tragic, misunderstood and suffering genius who, due to big emotions, ideals and ego, has passed the times.
The time frame was provided by the parallel unfolding history of the National Theatre. The story begins with the laying of the foundation stone in 1868 and ends with the reopening of the building in November 1883, when Smetana’s Libuše opera began operations. However, the creation of this or other works is not in the foreground. The authors of the melodramatic film are mainly interested in relationships.
Smetana is one of the peaks of an atypical relationship triangle. The others are the artist’s second wife Betty and the writer Eliška Krásnohorská. For him, practical Betty played by Sarah Haváčová is above all a muse ensuring home comfort, a solid point in a changing world. But she doesn’t go to his concerts, she doesn’t live by music.
With the more emancipated Krásnohorská, which mainly thanks to the actress Denisa Barešová does not sound completely flat and naive, Smetana, on the other hand, can share the intimacy of the work. But that’s not enough for him. He hopes that the literary woman will expand the numerous crowd of his lovers. The author of My Country cannot give up any of the women. Each fulfills different needs. But as a result, it hurts both.
Eliška Krásnohorská does not sound completely flat and naive mainly thanks to the actress Denisa Barešová. | Photo: Marie Baráková
Václav Neužil the younger plays Smetana as a man full of passion, which he cannot tame compared to the orchestra. He repeatedly flies into a rage and behaves rudely towards those closest to him, only to later apologize and reconcile just as fervently. The 45-year-old Czech actor looks too youthful and energetic even with a thick beard. But perhaps it was a way to capture the nature of the musicians.
Smetana’s impulsive actions and impetuous speech have the impetuousness of youth. When she dances in the middle of the hall during the New Year celebrations, there is speed, not elegance. The creators intersperse the most dynamic scenes with shots of a praxinoscope, an optical toy with a series of static images that, when rotated, create the illusion of smooth movement. The principle of the device describes Smetana’s manic energy, his inability to stand still, and later his sudden mood swings.
His hot-bloodedness is one of the reasons why he does not find agreement with František Rieger and the other national revivalists. He doesn’t treat them with the respect they automatically expect. They consider him too extravagant, an erratic figure. At least in this respect, she reminds Zdenka Havlíčková, as Antonie Formanová portrayed her in the recent miniseries Daughter of the Nation. In other ways, however, the creators of the film Smetana approach history more conventionally.
It would offer to stylize the long-haired composer as a rebellious pop star. In 1975, the British filmmaker Ken Russell allowed himself something similar in a film about the pianist Ferenc Liszt, who was Smetana’s role model in both music and fashion. The Englishman conceived his Lisztomania as a stream of consciousness, a wild collage of images in which a real historical figure merges with a myth.
Director Marek Najbrt obviously enjoys breaking down national myths and can be very imaginative while doing so, see his original films Masters or Protektor. But apparently he had to keep it short when filming the custom Smetana.
In Najbrt’s filmography, the novelty is closest to the dull series Já, Mattoni from the same historical period. He does not seek revisionism. It tells linearly, not modernistically. And most of the hundred-minute plot is filled with dull dialogues by actors in costumes.
Smetana’s dispute with uptight revivalists or Betty’s extramarital affair with an Austrian army officer fade into the void. The ambitious effort to show the composer in both public and private spheres, while not forgetting the perspective of his wife, lover and rivals, leads to fragmentaryness. The film lacks a unifying storyline and gradation.
At least in individual scenes, however, Najbrt succeeds in evocatively presenting the restlessness of the creative soul and the panic of a person facing his own helplessness. The strong emotions and mental tension that the protagonist experiences while conducting is expressed by the higher cadence of the cuts and the associative band of images, stacked behind each other in the rhythm of the music.
When Smetana stops hearing, the camera sways drunkenly and the screen is flooded with feverish visions underlined by harrowing ambient music.
Imaginative creative outbursts only last a moment, and then there are always a few minutes like from a historical soap opera, when Betty is jealous, Bedřich screams and Eliška looks surprised. Although they take place in nicely lit interiors and exteriors, and the actors and actresses do their best to blend in with the characters, for which they are not very suitable. It would be enough to change the names of the actors and it could be any other Biedermeier drama produced by Czech Television.
When the first film about Bedřich Smetan, the drama Z měho života by Václav Krška, premiered in 1955, critics of the time wrote about sentimentality, idealization and a scattering of ideas in which traditionalism meets experimental procedures.
Najbrt and Šafránek more or less avoided idealization and sentimentality, but the third also applies to their film. Perhaps in another 70 years someone will finally find the right key.
Interview with Time.news Editor and Music Historian Dr. Anna Novák on Bedřich Smetana’s Life and Legacy
Time.news Editor (TNE): Welcome, Dr. Novák! With the new film Smetana debuting on Czech Television, there’s a renewed interest in the life of Bedřich Smetana. What aspects of his character do you find most compelling in this portrayal?
Dr. Anna Novák (AN): Thank you for having me! What’s particularly compelling in this film is its exploration of Smetana as a multifaceted individual—both a passionate composer and a conflicted man in relationships. The juxtaposition of his public brilliance with personal chaos adds a rich texture to his story.
TNE: The film focuses on the last fifteen years of his life. How do you think this timeframe shaped the narrative they’re trying to convey?
AN: They’ve chosen a poignant period, as Smetana, at this point, is both at the height of his creativity and also grappling with the tragic decline in his health due to hearing loss. This decline spirals him into a chaos that contrasts sharply with his earlier triumphs, emphasizing the dramatic irony of his genius.
TNE: The film portrays Smetana as a “tragic, misunderstood and suffering genius.” How do you feel this aligns with the more typical representations of composers in film and literature?
AN: It certainly follows a well-trodden path, doesn’t it? Many artistic figures are depicted as tortured souls, which can risk oversimplifying their experiences. Smetana’s relationships, especially his bond with his second wife Betty and the writer Eliška Krásnohorská, highlight this complexity. Each woman represents different aspects of his emotional and creative life, all of which interweave to create a richer narrative.
TNE: Speaking of relationships, how does the film portray the dynamic between Smetana and these two significant women in his life?
AN: It presents a fascinating triangle. Betty, who provides stability, contrasts sharply with Krásnohorská, with whom he can share intimate thoughts on art and creativity. However, Smetana’s attempts to balance these relationships ultimately lead to emotional turmoil. The film beautifully captures that struggle of needing multiple forms of companionship while failing to satisfy those needs fully.
TNE: The film’s protagonist, Václav Neužil, plays Smetana as a man full of passion and impulsiveness. Do you think this interpretation rings true based on what we know of him?
AN: Absolutely, Neužil really captures Smetana’s fiery nature. His passionate temperament—simultaneously a source of creativity and conflict—is crucial to understanding him as a person and as an artist. The moments of fury interspersed with vulnerability reflect not only his struggles but also alert us to the emotional intensity that often drives artistic genius.
TNE: Some critics have commented on the film’s somewhat conventional storytelling style. How important do you think innovation is in biopic genres, especially one involving a figure like Smetana?
AN: Innovation is certainly valuable, especially in bringing historical figures to life in a way that resonates with contemporary audiences. A balance must be struck between honoring the historical context and engaging the modern viewer. While the film opts for a traditional narrative, I think it has potential to spark interest in Smetana’s music and legacy, something that can often be sidelined in favor of dramatic flair.
TNE: after watching this film, what do you hope viewers take away from Smetana’s story?
AN: I hope viewers come away with not only a deeper appreciation for Smetana’s music but also an understanding of the human experience behind it—the passion, the struggles, and the relationships that influenced his work. He is more than just a musical icon; he was a person navigating a tumultuous life, and that humanity makes his achievements all the more profound.
TNE: Thank you, Dr. Novák! Your insights really shed light on the complexities of Smetana’s life and will surely enhance the viewing experience for the audience.
AN: Thank you! I enjoyed our discussion and am excited for people to explore Smetana’s story through the film.