Protektor

The first decade after our “Velvet Revolution” witnessed the end of state managed cinematography and the beginning of independent production. From an artistic point of view, it was a period of confusion and searching, as well as successes, a period when the presence was reflected in the genre of tragicomedy. Contemporary Czech film attains more stability and gradually inclines towards drama, which is the case of our film Protector.

Can you tell us what motivated you to make this film, and how the story came to be?

The story was created out of natural interest in our history, out of the conviction that it is necessary to explore artistically the period of the German occupation of our country. This was the time which saw the start of corruption of our society, deepened even more so in the ensuing four decades of the communist rule. The discussion with my co-screenwriters Benjamin Tucek and Robert Geisler slowly generated the story of Protector based on two attractive themes. We were incredibly keen on the environment of a radio station as an important element in the film, and also on the inciting role of the bicycle, which could have or might not have had anything to do with the assassination of Heydrich.

One effect that you integrate so well into the film is the frequent cuts to the characters on bicycles, riding down an as yet uncertain path that lingers in the viewer. Why did you choose to incorporate the bicycle, and can you explain its symbolism?

Bicycles played a crucial role in the assassination of Heydrich carried out in Prague in 1942 by Czechoslovak paratroopers Jan Kubis and Josef Gabcik sent there from England. The assassination sets the historical background of the final part of the story, the bicycle and painstaking pedaling is a symbol of human faith. The bicycle moves along, the pedals turn, however the question remains where it’s going to take you.

The relationship between both main characters goes through many tests, which the actors brilliantly play. You also seem to have placed great amount of emphasis on the historic role of Prague in WWII. How important was it to convey this history through these characters?

We put main focus on the plot, on some kind of universality it contains. Similar dilemmas as those faced by our heroes are experienced by people in every era and regime, the difference is only the seriousness of their consequences. Historical background is therefore a commutable circumstance. The fact is portraying Prague and its atmosphere in time of war was great allure as well as challenge to us.

Another element that enhances the intensity of the story is the selection of music, most notably at the end, which was captured beautifully. What was the process of music selection like?

Music was composed and recorded by an electronic music ensemble MIDI LIDI led by a musician and a film-maker Petr Marek. Although he’s the author of the soundtrack to our first film Champions (Mistri), his involvement was a matter of an extensive competition. I wanted the soundtrack to reflect contemporary atmosphere but equally to have a completely modern structure, a requirement entirely met by Marek.

There seems to be a strong film noir influence, in the storytelling, the lighting and editing. Do you have any favorite directors, and what films are you most influenced by?

The film may create this impression, however we did not draw on any film genre. I am certainly affected by a number of cinematographic influences and inspirations, nevertheless while working, I always try to find my own original way. And I hope this is the case of Protector.

Despite this, if I were to mention one name which is significant to me, it would most probably be Lars von Trier.

(c) The Jewish Museum