Alois Nebel (Tomas Lunak, 2011): Czech Republic

Reviewed by Barbara Rowland. Viewed at the Santa Barbara International Film Festival 2012.

Based on Jaroslav Rudis’ trilogy of comic books (White Brook, Main Station, Golden Hills) debuting director Tomas Lunak invites us into the world of Alois Nebel. The Rotoscope painted production was an official Czech Republic selected entry for Best Foreign Language Film for the 84th Academy Award however, it  failed to hit it’s mark. As mentioned imitating comics with the use of Rotoscope technology and the beautifully dreary choice of color pallet, Alois Nebel surely makes a film fit to feed the eyes.

Alois Nebel begins with the introduction of a train station in the Jesenik Mountains outside of Poland. It is 1989 and a muted strange man is on the run from border patrol. As he escapes into darkness of night we are met with the train station dispatcher.  The dispatcher, Alois Nebel (Miroslav Krobot) maintains quiet order of the train schedule within the small village. As Nebel’s sanity starts to slip and hallucinations occur. The only comfort for Nebel comes from the reciting of the daily train schedule amidst the roaring lights and sounds of passing trains. Simultaneously we become aware of a connection between Nebel and the muted stranger. After returning from an admission to psychiatric treatment, Nebel is forced to start over. During this time he finds relationships and puzzle pieces to cure his recurring flashbacks and to explain relativity to the stranger. The found pieces puts Nebel closer and closer to a plan of revenge and history of murder.

Upon entering the theatre I was filled with excitement having watched the trailer and read about the film prior to viewing. Amidst the glory of the animation Nebel featured many shortcomings. The lack of dialogue, soundtrack and participation of thought became frustrating and limiting. I must applaud the historical content of the film, however, as an opportunity to reach audiences regarding the sensitive aspects of post World War II existence. The loneliness and isolation felt within the film is certainly reflected in the choice of gray, white, and black colors. This form of expression used throughout the film capitalizes on the origin of the characters and the past of the location. The film followed the look and textures of comic book art as well only authenticating the film more to it’s original precessing roots.

 As I felt deceived by this film I would not say I left feeling disappointed. The trailer was edited with fast pace and energy which granted me expectations of action and mystery. Mystery came, but was revealed in unexpected slow pace. Action came into frame, all but once or twice. This taught me a valuable lesson to ultimately never be prepared. With limited climax nonetheless, this film left me amazed. The spectacle on the screen appeared almost 3D and was beautifully organized. The snow against the darkness of night, a kitten lapping milk from a bowl and the soppy rainfall amongst a muddied path; these are the moments that lingered. The story lay somewhere underneath the wonderful imagery as I tried hard to smile and follow along.