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Karel Kachyna: Vojtech Jasny
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Karel Kachyna was born in 1924 in the small Moravian town of Vyskov. As with many teenagers during the Nazi occupation of Czechoslovakia, he was forced to work in a German factory; after the end of the war he went to the new Academy of Arts in Prague to study cinematography. His graduation film, The Clouds Will Roll Away (1950), was made together with fellow Moravian student Vojtech Jasny – a semi-documentary set on a farm and with an optimistic message. They continued working together and were later assigned to film a series of reports about soldiers in China; these films, once the Chinese were no longer friendly to Czechoslovakia, were immediately ‘withdrawn from circulation’. Soon after, Kachyna and Jasny went their separate ways.
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Kachyna was born in the small town of Vyskov in Moravia. At 16, during the Nazi occupation, he was forced to work in a German factory. After the war, he studied cinematography at the new Academy of Arts in Prague. There, he met a fellow Moravian, Vojtech Jasny, with whom he made his graduate film with the optimistic title "The Clouds Will Roll Away" (1950), a semi-documentary story about farm workers. A year later, Kachyna and Jasny went to China where they shot a series of reports about Chinese soldiers. When the political climate changed and China ceased to be Czechoslovakia's friend, these films were banned, a taste of what was to come.
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Kachyna and Jasny split up in the late fifties and each of them went his own way. Were their concepts and directions completely different? It did not seem so. However, Karel Kachyna has always tended to work with a partner, enjoying the support, tension and control between them. Nevertheless he needs to be the one who gives the film the final shape. He actually needs a literary partner who can guard the ground plan of the script, one who can write firmly hewn and innerly rich characters. Since 1959, when Kachyna made his famous King of the Sumava (Kral Sumavy), he has always been a co-writer of the scenario but has directed it himself.
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[T]he groundwork for the Wave was laid before 1963 by a group of older directors in the 1950s that included Otakar Vávra, Vojtech Jasný, Karel Kachyna, Elmar Klos, Ján Kádar and František Vlácil. The stodgy propagandistic nature of Stalinist cinema gradually gave way and, by the end of the 1950s, a lighter, more human touch was apparent in films that focused on ordinary people more than they did on ideology and had more visual poetry.
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