Criticism of "Burner"

#Czechnewwave# Juraj Herz's work of genius. Kneading intuitive realism and fantastical surrealism, it presents a striking political interpretation of the avant-garde. The background of the film is set at the moment of the Second World War. The Sudetenland was occupied by Germany, and the puppet regime of the protectorate of Greater Moravia and Bohemia was supported, but it did not become a cliché of anti-German fascism, but brave and delicate. It reveals the mental journey of a corpse director who believes in Nazi extremism. At the beginning, the zoo director meets his wife, a series of dizzying fast cuts create a high-density metaphorical montage, extreme close-up shots completely disorient the audience, and in the case of panoramic shots that do not explain the environment. The caged leopards, orangutans and other animals also hinted at the status of the Czech Republic as a prisoner of Germany.

The scene ends with a distorted wide-angle shot of a family with mechanical and eerie expressions. Sexual glamour plays a key role in the director's gradual slide into the abyss of Nazism, following the editing of the Soviet montage school, and in the director's subjective point of view, the icon jumps and cuts into the seduction of naked women. In the quick cuts of repeated facial close-ups and erotic images, the combined cuts between shots take on a new meaning: repressed sex waiting for an opportunity. At the same time, it is obvious that the film focuses on depicting the human face, and the charming lines on the face outline an abnormal and perverted scene, as if it is a new wave "The Passion of Joan of Arc", but the lack of sound in the silent film is also perfectly filled in.

In the exquisite and unique transition design constructed by sound bridge, push-pull and zoom, and extreme close-up, the imaginary picture suitable for Freudian psychoanalysis has also become an image that has a wide range of interpretation space. Throughout the whole film, there are two fantasy characters that do not actually exist: the long-haired woman in black and the Tibetan lama, both of which are essentially the projection of the male protagonist's subconscious in different areas, radiating in daily life - the alienated daily life life experience. The symbol of the long-haired woman is more inclined to instinctive conscience, and is gradually at a disadvantage in the struggle against desire and ambition represented by Tibetan lamas. At the end, the car gradually drove away from the crematorium, and the conscience also went away. However, the relationship between the two is not a simple dualism of good and evil. In the scene where the chief wants to kill his own daughter, the scenes of the chase in the morgue alternate in their narrative viewpoints, but in the end it is the miracle of the lama that makes The field manager fell into a trance and indirectly saved his daughter's life.

Therefore, a narrative line of loss, deprivation, and assimilation of Czech national identity implied in the film is ready to emerge. Hertz wanted to arouse the reunification of the Czech nation, resist corrosion and aggression. Considering the historical events of the Soviet Union's invasion of the Czech Republic in 1968, it is not difficult to understand Hertz's concerns and calls.