People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.
With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.
This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.
The Cremator
Director - Juraj Herz
Country - Czechoslovakia
Year - 1969
Runtime - 95 Minutes
Cremating human bodies is a rather unappealing profession,
which raises alarm bells when we meet Kopfrkingl (Rudolf Hrusinsky), a cremator
who seems to take far too much pride and enjoyment in the self-proclaimed
‘crucial’ role he plays in society. Set during the build-up to the outbreak of
World War Two, Kopfrkingl heeds the advice of an old war friend to be as ‘Aryan’
as possible in the pursuit of self-preservation and to further his career. This
prompts a troubling conundrum for the cremator, as his wife is Jewish and they
have a son and daughter who exhibit characteristics of the race he is eager to
distance himself from.
For a man who burns dead bodies almost daily (and eloquently
vents his frustrations that society doesn’t condone cremating on Christmas
day), Kopfrkingl is incredibly relaxed and assured. He is a presentable and
polite man, even if the views he develops are a huge cause for concern, and he
remains calm in any given situation. When the cremator begins to demonstrate
the behaviours of a psychopath it doesn’t come as a surprise; his demeanour is
peculiar from the outset, and his morbid fascination with death leads him to
believe that he is the saviour for all who enter into his sacred crematorium.
This is a dark and disturbing film that has perhaps been
unfairly labelled with the horror genre over the years; yes - the situation is
horrific, but the approach taken by director Juraj Herz is more akin to that
of a surreal black comedy. Those expecting a traditional horror could be
disappointed as this is not a scary film, even if the warped art house
sensibilities do have their roots in the macabre and the storyline is deeply
unsettling. The care and attention taken in the delivery of this twisted tale
makes it a worthwhile viewing experience for those who approach the film with
an open mind-set, providing you are not jaded by the labels given to it by
others that can lead to inaccurate presumptions being made.
When the film starts the musical accompaniment is a sombre
symphony; the perfect partner to the funereal atmosphere that pervades the
crematorium parlour. This solemn sound evolves into a surge of pomp and circumstance,
chiming with the cremator’s rise to power as his desire for success propels him
into the limelight of the Nazis. From Kopfrking’s own perspective his character
arc may be a crescendo of glory but it is a bleak and horrifying tale for
outsiders. Thus the soundtrack is fitting for its main character but it is in
stark contrast with the emotional journey experienced by the viewer.
At key moments in the film, particularly during stunning
scenes inside the heart of the crematorium, Herz distorts our view with the
use of a fish eye lens. This hints at the warped view Kopfrkingl has of the
world and exaggerates the strangeness of his outlook on life, as well as
emphasising the intensity of these unnatural moments by making the audience
feel uneasy and off kilter. A sequence in which he heartlessly pursues an
unfortunate victim through his stacks of coffins features mesmerising
cinematography, combining a beautiful vision with disturbing actions in an
amalgamation of contrasting moods that is both provocative and fascinating to
behold.
With the story taking place in a testing time for the
Czechoslovakian population, Herz delves deep into the political and social
upheavals of the time, and does so in a manner that both intrigues and
educates. It is frightening to witness the blind faith that guides those who
believe in the final solution and the lengths that individuals will go to in
order to secure their own successful future. The final haunting scenes evoke an
overwhelming sense of dread; we have witnessed the full extent of the
cremator’s insanity, and although it is a fitting finale, it is one that makes
your skin crawl as it leaves a lasting impression of a cruel and unforgiving
time in history.
If you take the time to watch The Cremator then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!
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