Bratislava – Slovak actor Roman Luknár, known for his roles in popular television series like “Pán Profesor” (The Professor), has sparked a debate with candid criticism of the Czech and Slovak film industries, as well as the current direction of his country. In a recent interview with portál 360, Luknár didn’t mince words, expressing frustration with what he sees as a repetitive focus on the past and a lack of engagement with contemporary issues.
Luknár, a veteran of the stage and screen who has worked in over 30 countries, leveled his strongest critique at Czech filmmakers, accusing them of an obsessive revisiting of the 1968 Prague Spring and the subsequent Soviet-led invasion. “They retain making films about 1968, as the Czechs keep making them. It doesn’t interest them,” he stated, suggesting a stagnation in thematic exploration. The Prague Spring, a period of political liberalization in Czechoslovakia, was brutally suppressed on August 20-21, 1968, by the Warsaw Pact invasion, ushering in an era of “normalization” characterized by censorship and political repression. Britannica provides a detailed overview of the Prague Spring and its aftermath.
A Cycle of Recycled History
When asked if revisiting these historical events was important for younger generations, Luknár acknowledged the value of remembrance but argued against the sheer volume of films dedicated to the topic. “I know, but not every film… all the films are still about 1968,” he said, emphasizing what he perceives as a lack of originality. He believes that the constant recycling of the past prevents filmmakers from addressing the realities of modern life. “What I’d really like to see is what you young people are living through,” he added, highlighting a desire for stories that reflect the present.
Luknár’s dissatisfaction extends beyond historical dramas. He also took aim at a recent film inspired by the life of Mikuláš Černák, a notorious underworld boss from Banská Bystrica. He expressed strong disapproval of the film’s apparent glorification of a violent criminal. “It doesn’t interest me. A man who killed so many people. The victims are still alive and have to watch everyone evaluating what a good film it was,” he said, visibly upset. He argued that celebrating the life of a murderer, even through artistic representation, is insensitive and harmful to those affected by his crimes.
“It’s So Slovak”
Luknár didn’t shy away from expressing his discomfort with the cultural context surrounding the film’s reception. “They praise it in front of the people it concerns. That’s so Slovak. They might as well have bryndzové halušky with it. That would complete it,” he remarked with a touch of irony, referencing the traditional Slovak potato dumplings with sheep cheese. The comment speaks to a broader critique of a perceived tendency to compartmentalize morality and celebrate figures with questionable pasts within Slovak society.
Skepticism About Slovakia’s Direction
The actor’s criticism isn’t limited to the arts; he also voiced concerns about the current state of Slovakia itself. “I am very critical of Slovakia as such,” he stated, citing what he sees as a lack of proper conduct among its citizens. He lamented a perceived decline in civic responsibility and a disconnect from the values of the nation’s historical figures.
Luknár invoked the names of Ľudovít Štúr, Jozef Miloslav Hurban, and Michal Miloslav Hodža – key figures in the Slovak National Revival of the 19th century – as examples of the leadership and vision that he believes are currently lacking. “If it weren’t for those three, Slovakia wouldn’t be here today. The Huliakovci wouldn’t have created this Slovakia, or Czechoslovakia,” he said, pointedly referencing current political figures. Rudolf Huliak currently serves as Slovakia’s Minister of Tourism and Sport. The Slovak government website provides information on its current ministers and their portfolios.
A Call for Contemporary Storytelling
Luknár’s comments reflect a broader yearning for Slovak and Czech cinema to move beyond historical narratives and engage with the complexities of contemporary life. His critique isn’t simply a rejection of the past, but a plea for a more diverse and relevant cinematic landscape that reflects the experiences and concerns of the present generation. He challenges filmmakers to appear beyond well-trodden paths and explore the stories that truly matter to the people living in Slovakia and the Czech Republic today.
The actor’s outspokenness has already ignited a conversation within the Slovak cultural sphere, prompting debate about the role of art in society and the responsibility of filmmakers to address difficult truths. As Slovakia continues to navigate its political and social landscape, Luknár’s words serve as a potent reminder of the importance of critical reflection and a commitment to honest storytelling. The next step in this conversation will likely be seen in the upcoming film festival season, where new works will be scrutinized for their engagement with these issues.
What are your thoughts on the role of historical narratives in contemporary film? Share your opinions in the comments below and join the discussion.
