Czech Modernism flourished in the time between the world wars, spurred on by a growing exposure to world cinema, by the freedom of the Jazz Age, and by a homegrown avant-garde (the Devetsil movement) that reveled in the promise of the moving image. The cinema that emerged is like no other, a dizzying cut-and-paste compilation of outside influences and Czech artistry with a delightful sense of experimentation. Geographically situated between Germany and the Soviet Union, the Czechs blended the dark moods of the German Expressionists with the disorientingly quick editing styles of the Soviet avant-garde, then added Hollywood glamour and Surrealist dream imagery. (Often, all this could be found in one film!) Their narratives ran from social realism and agitprop to cautionary tales of excess and strange Surrealist whatsits.
The credits for these films read like a who's-who of the Central European avant-garde in visual arts, literature, and theater. Photographer Alexander Hackenschmied (later Hammid, husband and collaborator of Maya Deren), Surrealist poet Vitezslav Nezval, and Modernist novelist Vladislav Vancura all turned to film, as did Alfred Radok (legendary founder of Prague's Laterna Magika), Jirí Voskovec and Jan Werich (Liberated Theater), Jaroslav Jezek (initiator of Czech jazz), and the founder of structuralism, Roman Jakobson.
This free-spirited era came to an end during World War II. The films are breathtaking even today, like a secret history of cinema revealed-they are of their time, yet so far ahead of their time, cinema still hasn't caught up to their energy and invention.