by Vadim Rizov
A tornado took Dorothy out of black-and-white Kansas into colorful Oz: destruction bred creation and imaginative release. The link in Vera ChytilovÃ¡
is brusquer. Two girls are sitting in what appears to be some kind of bathhouse: Marie I (Jitka CerhovÃ¡
) is the brunette, Marie II (Ivana KarbanovÃ¡
) the blonde. A brief discussion of the state of the world leads to the conclusion that it's spoiled, and hence the Maries will be too. Marie I slaps Marie II, knocking her backwards out of the black-and-white interior into a colorful field.
"Even those of us who love Daisies
have trouble finding the proper terms to account for it," blogger/theorist Steven Shaviro wrote
in 2007. Many dazzling, ahead-of-their-time effects literally saturate Daisies
, their connection to broader ideological dissent rarely obvious. Within a brief scene, ChytilovÃ¡ will cut every few seconds to slather the shot in another pop-art monochrome. Train journeys are rendered proto-video blur, with the passing landscape anticipating the similarly dizzying effects Wong Kar-Wai
would conjure up with more resources in Happy Together
. The effect resembles a surlier A Hard Day's Night
, with each effect is indulged for its own pleasure.
Continued reading FILM OF THE WEEK: Daisies (1966)...