Synopsis
An experimental retelling of the story of Adam and Eve which then progresses into an allegorical depiction of the loss of innocence.
Fruit of Paradise
1970 ‘Ovoce stromů rajských jíme’ Directed by Věra Chytilová
Cast
Jitka Novákova Karel Novák Jan Schmid Eva Gabrielová Julius Albert Blanka Hušková Luděk Sobota Jaromír Vomáčka Alice Auspergerová H. Čiháková H. Kocianová F. Kopecký V. Grunclová M. Neumayerová Z. Růžičková M. Viklerová Tomáš Škrdlant P. Hozák F. Slezák J. Hanzal V. Pirunčík I. Procházka Josef Somr Jan Klusák
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Alternative Titles
We Eat the Fruit of the Trees of Paradise, Le fruit du paradis, Paradisets frukt
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*throws away joint and trips with beer, coughing smoke*
To those few familiar with The Deserter and the Nomads (1968) and Birds, Orphans and Fools (1969), two of cinema's best films of all times directed by Juraj Jakubisko, Chytilová's most exponentially bizarre film in her career is a magnificent effort of surreal proportions and mindblowing allegories about the state of mankind.
The whole show opens with an extreme sensory overload of distinct colors, juxtaposed backgrounds of nature and experimental sounds featuring Adam and Eve walking nude through a "Garden of Eden", while a choir cites the first chapters of the book of Genesis. Once the fruit has been consumed by both, the "truth has been revealed" and the film then…
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This film looks amazing. It's bright, vibrant, and slightly cold in atmosphere and hue, and the contrasts (especially of green and red) remind of bloodstained innocence. Dear Edgar captures the film's Adam-and-Eve parallel well, but what struck me is the parallel between the Fall and adultery. Eva is constantly drawn to the Devil-figure in this, and her paramour is suggested to have had indiscretions (via the envelopes, or so I took it).
The idea of ignorance being bliss is backed up by the common belief in the full name of the fruit eaten in Eden, and this seems to suggest that complications in a relationship are equivalent to the Fall. That's not to say that Chytilova seems to be suggesting…
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New review up at The Geek Show.
A film so free, so sensual, so funny, so rapturous, so spiritual, so in love with life that the Soviet-controlled Czechoslovakian government banned Chytilová from making films for five years after this. Terrible for her, of course, but in many ways the best testament to the film's orthodoxy-smashing vitality imaginable.
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The film opens with Brakhage-esque abstract visuals applied better than even Brakhage could have done himself. It is depicting Adam and Eve in the Garden of Eden and it is this mythology of which the rest of the film (free-form surrealism) follows in symbolic structure. While I admittedly loved that aesthetically pleasing opener, I cannot say I was as engaged with the rest of the film. Fruit of Paradise offers the same surrealistic experimental style that Věra Chytilová utilized in the much superior Daises but dare I say she applied it in more minimalistic fashion here.
It's strange but that is really all I have to go upon in dissecting the differences of surrealism (a truly futile task) between the…
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A loose interpretation of the Adam and Eve story, blending surrealism with fantasy to create a strange, mercurial environment.
As with Daisies, Fruit of Paradise provides an implicit commentary on the Soviet Invasion of Prague, which coincided with the first month of filming. The historical context lurks as a dark duplicity, obscured by the films ebullient imagery; inconspicuous but waiting to be found.
The ethereal visuals, delicate colour palette and botanical elements combine to create a dream-like atmosphere (slightly) reminiscent of Alice in Wonderland. Loss of innocence permeates every scene, through the fading of spring and the themes of sexuality. To me, Robert's constant pursuit of Eva, characterised by dashes of red and fairytale motifs felt like a deconstruction of…
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Garden of freedom. What religion and society codifies, Chytilova's gaze liberates.
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It has a great look, plenty of surreal ideas to chew on, and nails much of the allegorical storytelling. I like all of the ideas at play here. At the forefront is the allegory for the biblical story of Adam and Eve- which of course is an allegory itself for temptation, but the Chytilová's film narrows in on the temptation of being deceitful and adulterous to your spouse. It's not as simple as "you should never stray from your husband", instead showing some of the genuine appeal of being sneaky and adventurous with the main danger coming from reveling in giving in to your most deadly desires.
It just falls a little short on the execution of putting these ideas…
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věra chytilová has one of the most creative minds in the film industry. give her the love she deserves!
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Unlike the technical flaunting of Věra Chytilová in her colossal masterpiece in 'Sedmikrásky' 1966, where the primitive aspect that catches the attention remains as more than the contextual critiquing of communal standards, 'Ovoce stromů rajských jíme’ dominates the entire cinematic presentation of utter vividness solely with it's allegorical richness that formulates over a mythic parable of Adam and Eve. No political undercurrents gratify the undertone of the film rather the very source of gospel truth takes the form of a progressive narrative. Chytilová assembles the process that gives birth to the motifs which humanity has been a puppet of today; be that political conscience or even the very essence of humanism. With an ardent reminiscing of Jakubisko's chaotic allegories, Věra Chytilová's experimental interpretation of rebellion with the usage of graphic symbolism, relevant universally, constructs an inconsistent narrative of multifaceted clarification. Such is the brilliance of Czech New Wave!
94/100
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I can't help but noticing that Josef reminds more of a "god" character than necessarily "husband" even if in certain circles, there seems to be no difference for women in this; she picks up his mail, he commands Eva to fall on his lap, acts indifferently, tries to control her comings and goings. But mostly the ending where fallen Eva offers him rose but he denies her and walks away.
From the way Eva observes the world and acts, explores this stranger that later is given name Robert, we can see the innocence. Slowly she gets more interested in him but when they meet on the road, her approach is playful whereas Robert explores her face with a shadow on…
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