{"id":38994,"date":"2020-06-23T14:48:16","date_gmt":"2020-06-23T12:48:16","guid":{"rendered":"https:\/\/www.praha7.cz\/?p=38994"},"modified":"2020-06-23T14:48:16","modified_gmt":"2020-06-23T12:48:16","slug":"posedlost-filmem","status":"publish","type":"post","link":"https:\/\/www.praha7.cz\/posedlost-filmem\/","title":{"rendered":"Posedlost filmem"},"content":{"rendered":"

[perex]<\/p>\r\n

Tentokr\u00e1t si p\u0159edstav\u00edme osud um\u011blce, jen\u017e propadl kouzlu pohybliv\u00fdch\u00a0obr\u00e1zk\u016f a\u00a0imagin\u00e1rn\u00edch sv\u011bt\u016f a\u00a0stal se nejorigin\u00e1ln\u011bj\u0161\u00ed osobnost\u00ed n\u011bm\u00e9\u00a0\u00e9ry \u010deskoslovensk\u00e9ho filmu\u00a0\u2013 Gustava Machat\u00e9ho (1901\u20131963). V\u00a0dob\u011b sv\u00fdch prvn\u00edch kinematografick\u00fdch kr\u016f\u010dk\u016f nebyl zdaleka jedin\u00fdm\u00a0po\u0161etilcem, kter\u00fd se vrhl do nov\u00e9ho oboru, ale jen m\u00e1lokter\u00fd z\u00a0nich se filmu oddal s\u00a0takovou v\u00e1\u0161n\u00ed. Ta ho dovedla z\u00a0Letn\u00e9 a\u017e do Hollywoodu a\u00a0k\u00a0mezin\u00e1rodn\u00edmu v\u011bhlasu.<\/p>\r\n

[\/perex]<\/p>\r\n

Gustav Machat\u00fd se narodil 9.\u00a0kv\u011btna\u00a01901 v\u00a0Praze jako nejstar\u0161\u00ed ze t\u0159\u00ed d\u011bt\u00ed Otakara a\u00a0Jany Machat\u00fdch. O\u00a0\u010dty\u0159i roky pozd\u011bji p\u0159i\u0161el na sv\u011bt syn Otakar a\u00a0po dal\u0161\u00edch dvou letech dcera Jarmila. Jejich matka poch\u00e1zela z\u00a0\u017eidovsk\u00e9 rodiny, kter\u00e1 v\u00a0Praze vlastnila \u0159eznictv\u00ed. Otec byl z\u00e1mo\u017en\u00fdm realitn\u00edm obchodn\u00edkem, d\u00edky \u010demu\u017e d\u011bti vyr\u016fstaly v\u00a0zaji\u0161t\u011bn\u00e9 rodin\u011b. Pozd\u011bji \u010dasto finan\u010dn\u011b podporoval Gustavovo filmov\u00e9 po\u010d\u00edt\u00e1n\u00ed, stejn\u011b tak jako jeho prvn\u00ed cestu \u201ena zku\u0161enou\u201c do USA na po\u010d\u00e1tku dvac\u00e1t\u00fdch let. Oba Gustavovi sourozenci se stejn\u011b jako on b\u011bhem \u017eivota usadili v\u00a0z\u00e1mo\u0159\u00ed. Otakar Machat\u00fd ml. zde p\u0159ijal jm\u00e9no John Hubert Davis, o\u017eenil se a\u00a0m\u011bl \u0161est d\u011bt\u00ed. Gustav udr\u017eoval kontakt pouze se sestrou Jarmilou, je\u017e se provdala za diplomata a\u00a0obchodn\u00edka Anton\u00edna Voln\u00e9ho.<\/p>\r\n

Filmov\u00e9 pokusnictv\u00ed
\r\n<\/strong>Film a\u00a0atmosf\u00e9ra kinematografick\u00e9ho p\u0159edstaven\u00ed p\u0159itahovaly Gustava Machat\u00e9ho ji\u017e od jeho jino\u0161sk\u00fdch let. Jako pomocn\u00edk prom\u00edta\u010de a\u00a0klav\u00edrista si p\u0159ivyd\u011bl\u00e1val v\u00a0biografech nedaleko bydli\u0161t\u011b rodiny Machat\u00fdch na Letn\u00e9 v\u00a0ulici Nad Kr\u00e1lovskou oborou 159\/9. Na po\u010d\u00e1tku 20. stolet\u00ed se nechodilo do klasick\u00fdch kin, jak\u00e1 zn\u00e1me dnes, ale nej\u010dast\u011bji se prom\u00edtalo\u00a0v\u00a0restaurac\u00edch nebo tane\u010dn\u00edch s\u00e1lech. Prvn\u00ed st\u00e1l\u00e9 kino na lev\u00e9m b\u0159ehu Vltavy z\u0159\u00eddil roku 1909 Eduard Klejzar v\u00a0restauraci U\u00a0kr\u00e1le V\u00e1clava na Belcrediho t\u0159\u00edd\u011b (dnes Milady Hor\u00e1kov\u00e9) pod n\u00e1zvem Grand Biograf. Zde \u00fadajn\u011b Machat\u00fd u\u017e jako dvan\u00e1ctilet\u00fd p\u0159et\u00e1\u010del filmy. Jeho dal\u0161\u00edm p\u016fsobi\u0161t\u011bm bylo kino Edison ve Schnellov\u011b ulici (\u0160meralova), kde prom\u00edt\u00e1n\u00ed n\u011bm\u00fdch film\u016f doprov\u00e1zel hrou na klav\u00edr.<\/p>\r\n

Grand Biograf a\u00a0Edison (pozd\u011bji Samaris) byla prvn\u00ed dv\u011b st\u00e1l\u00e1 kina na Sedmi\u010dce. Ve dvac\u00e1t\u00fdch letech se pohybliv\u00e9 obr\u00e1zky prom\u00edtaly nap\u0159\u00edklad je\u0161t\u011b v\u00a0obl\u00edben\u00e9m biografu Belvedere, jen\u017e pozd\u011bji proslul pod n\u00e1zvem Ponrepo. Chodilo se tak\u00e9 do kina Favorit ve Veletr\u017en\u00edm pal\u00e1ci, kter\u00e9 pod zm\u011bn\u011bn\u00fdm n\u00e1zvem Veletrhy nakonec fungovalo a\u017e do osudn\u00e9ho po\u017e\u00e1ru\u00a0v\u00a0roce 1974. D\u011bjiny kinematografie se v\u00a0Praze\u00a07 za\u010daly ps\u00e1t ji\u017e v\u00a0roce 1898, kdy v\u00a0r\u00e1mci V\u00fdstavy architektury a\u00a0in\u017een\u00fdrstv\u00ed na pra\u017esk\u00e9m V\u00fdstavi\u0161ti zah\u00e1jil svou \u010dinnost \u010cesk\u00fd kinematograf Jana K\u0159\u00ed\u017eeneck\u00e9ho. N\u00e1v\u0161t\u011bvn\u00edci v\u00fdstavy zde zhl\u00e9dli prvn\u00ed \u010desk\u00e9 hran\u00e9 o\u017eiven\u00e9 obrazy: \u017eertovn\u00e9 p\u0159\u00edhody\u00a0v\u00a0jednom kr\u00e1tk\u00e9m z\u00e1b\u011bru Dostaven\u00ed\u010dko v\u00a0ml\u00fdnici, V\u00fdstavn\u00ed p\u00e1rka\u0159 a\u00a0lepi\u010d plak\u00e1t\u016f a\u00a0Sm\u00edch a\u00a0pl\u00e1\u010d. V\u00a0nich sv\u016fj kabaretn\u00ed talent uplatnil Josef \u0160v\u00e1b Malostransk\u00fd, kter\u00fd se tak stal prvn\u00edm \u010desk\u00fdm filmov\u00fdm hercem.<\/p>\r\n

Kosmopolitn\u00ed re\u017eis\u00e9r
\r\n<\/strong>Rozmach filmov\u00e9 produkce po roce 1918 s\u00a0sebou p\u0159inesl prvn\u00ed p\u0159\u00edle\u017eitosti pro uplatn\u011bn\u00ed Gustava Machat\u00e9ho u\u00a0filmu. Nejprve se p\u0159edstavil p\u0159ed kamerou coby herec\u00a0v\u00a0mal\u00e9 roli vrchn\u00edho v\u00a0komedii Alois vyhr\u00e1l los, dal\u0161\u00ed zku\u0161enosti posb\u00edral jako v\u00fdtvarn\u00edk filmu Gilly poprv\u00e9 v\u00a0Praze a\u00a0scen\u00e1rista komedi\u00e1ln\u00edho sn\u00edmku D\u00e1ma s\u00a0malou no\u017ekou. V\u00a0devaten\u00e1cti letech se dostal k\u00a0samostatn\u00e9 re\u017eii. Jeho debutem byla situa\u010dn\u00ed groteska Teddy by kou\u0159il, kter\u00e1 se bohu\u017eel nedochovala. Jeho mladick\u00e9 sny o\u00a0filmov\u00e9 sl\u00e1v\u011b se za\u010daly pozvolna napl\u0148ovat. Rok po dokon\u010den\u00ed sv\u00e9 re\u017eijn\u00ed prvotiny se Machat\u00fd plavil na lodi sm\u011b\u0159uj\u00edc\u00ed z\u00a0francouzsk\u00e9ho p\u0159\u00edstavu Le Havre k\u00a0losangelesk\u00fdm b\u0159eh\u016fm, kde\u00a0v\u00a0Hollywoodu po dobu dvou let z\u00edsk\u00e1val cenn\u00e9 profesn\u00ed zku\u0161enosti u\u00a0spole\u010dnosti Universal.<\/p>\r\n

Po n\u00e1vratu z\u00a0USA se jako re\u017eis\u00e9r prosadil v\u00a0roce 1926 adaptac\u00ed pov\u00eddky Lva Nikolajevi\u010de Tolst\u00e9ho Kreutzerova son\u00e1ta. V\u00a0n\u00ed se poprv\u00e9 projevil Machat\u00e9ho z\u00e1jem o\u00a0t\u00e9ma milostn\u00fdch partnersk\u00fdch vztah\u016f. \u00dasp\u011bch sn\u00edmku mu dopomohl k\u00a0dal\u0161\u00edm re\u017ei\u00edm, na pl\u00e1tno uvedl postavu voj\u00e1ka \u0160vejka v\u00a0komedii \u0160vejk v\u00a0civilu (1927) a\u00a0o\u00a0dva roky pozd\u011bji dokon\u010dil \u201edrama l\u00e1sky\u201c Erotikon (1929) s\u00a0mezin\u00e1rodn\u00edm hereck\u00fdm obsazen\u00edm v\u00a0\u010dele se slovinskou kr\u00e1lovnou kr\u00e1sy Itou Rinou. Je\u0161t\u011b p\u0159ed uveden\u00edm do kin z\u00edskal film skand\u00e1ln\u00ed pov\u011bst. Mluvilo se o\u00a0cenzurn\u00edm z\u00e1kazu kv\u016fli intimn\u00edm sc\u00e9n\u00e1m porodu a\u00a0milostn\u00e9ho aktu, jej\u017e Machat\u00fd symbolicky zachytil jako splynut\u00ed dvou kapek de\u0161t\u011b na okn\u011b ve chv\u00edli pohlavn\u00edho styku. Zv\u011bsti vzbudily u\u00a0div\u00e1k\u016f je\u0161t\u011b v\u011bt\u0161\u00ed o\u010dek\u00e1v\u00e1n\u00ed a\u00a0z\u00a0Erotikonu se stala filmov\u00e1 ud\u00e1lost. Ke spolupr\u00e1ci na sn\u00edmku p\u0159izval Machat\u00fd tak\u00e9 talentovan\u00e9ho fotografa Alexandra Hackenschmieda a\u00a0nep\u0159\u00edmo tak zas\u00e1hl do d\u011bjin \u010desk\u00e9 meziv\u00e1le\u010dn\u00e9 avantgardy. Ani\u017e by to tu\u0161il, zaslou\u017eil se\u00a0o\u00a0vznik pr\u016fkopnick\u00e9ho d\u00edla Bez\u00fa\u010deln\u00e1 proch\u00e1zka (1930), kter\u00e9 mlad\u00fd fotograf nato\u010dil na kousky zbytkov\u00e9ho materi\u00e1lu z\u00a0nat\u00e1\u010den\u00ed Erotikonu. Z\u00a0Hackenschmieda (tehdy u\u017e pou\u017e\u00edval jm\u00e9no Sa\u0161a Hammid) se pozd\u011bji stala kl\u00ed\u010dov\u00e1 postava v\u00a0hnut\u00ed americk\u00e9 filmov\u00e9 avantgardy.<\/p>\r\n

Kdy\u017e film promluvil<\/strong>
\r\nNe\u010dekanou konkurenci pro Machat\u00e9ho n\u011bm\u00fd Erotikon znamenal rychl\u00fd technick\u00fd v\u00fdvoj, kter\u00fd s\u00a0sebou p\u0159inesl \u00fasp\u011bch zvukov\u00e9ho filmu. Mnoho um\u011blc\u016f t\u00e9 doby se nedok\u00e1zalo novince p\u0159izp\u016fsobit a\u00a0bou\u0159ili se proti zm\u011bn\u011b filmov\u00e9ho stylu. Machat\u00fd v\u0161ak n\u00e1stup zvukov\u00e9 kinematografie vn\u00edmal jako velkou profesn\u00ed v\u00fdzvu. V\u00a0t\u00e9 dob\u011b se musel ale je\u0161t\u011b vyrovnat se ztr\u00e1tou sv\u00e9ho otce a\u00a0velk\u00e9ho podporovatele, kter\u00fd zem\u0159el v\u00a0nedo\u017eit\u00fdch osmapades\u00e1ti letech. Jeho pam\u00e1tce v\u011bnoval sv\u016fj prvn\u00ed zvukov\u00fd film Ze soboty na ned\u011bli (1931). N\u00e1sledovala groteskn\u00ed veselohra\u00a0s\u00a0popul\u00e1rn\u00edm Pol\u00e1\u010dkov\u00fdm hrdinou Na\u010deradec, kr\u00e1l kibic\u016f (1932) a\u00a0nejslavn\u011bj\u0161\u00ed re\u017eis\u00e9r\u016fv film Extase (1932). Nej m\u016f\u017eeme tomuto sn\u00edmku p\u0159i\u0159knout daleko v\u00edce\u00a0\u2013 bylo to tak\u00e9 nejskand\u00e1ln\u011bj\u0161\u00ed a\u00a0z\u00e1rove\u0148 nejdokonalej\u0161\u00ed d\u00edlo, kter\u00e9 kdy Machat\u00fd vytvo\u0159il. Sn\u00edmek na sebe upozornil do t\u00e9 doby ve filmech nev\u00eddan\u00fdmi erotick\u00fdmi sc\u00e9nami. V\u00a0nich div\u00e1ky uhranula Raku\u0161anka Hedwiga Kieslerov\u00e1, je\u017e pozd\u011bji pod jm\u00e9nem Hedy Lamarr pat\u0159ila k\u00a0nejv\u011bt\u0161\u00edm hollywoodsk\u00fdm hv\u011bzd\u00e1m 40. let. Pramalou radost z\u00a0\u00fasp\u011bchu Extase m\u011bl zbroja\u0159sk\u00fd magn\u00e1t Friedrich Mandl, za kter\u00e9ho se Kieslerov\u00e1 kr\u00e1tce po nat\u00e1\u010den\u00ed provdala. Chorobn\u011b \u017e\u00e1rliv\u00fd man\u017eel se marn\u011b sna\u017eil z\u00a0cel\u00e9ho sv\u011bta skoupit v\u0161echny kopie Machat\u00e9ho filmu, \u010d\u00edm\u017e mu necht\u011bn\u011b z\u00edskal dal\u0161\u00ed publicitu. Na svou dobu odv\u00e1\u017en\u00fd a\u00a0smysln\u00fd sn\u00edmek vzbudil rozruch i\u00a0na ben\u00e1tsk\u00e9m filmov\u00e9m festivalu v\u00a0roce 1934. Zat\u00edmco festivalov\u00e9 publikum jej p\u0159ijalo\u00a0s\u00a0nad\u0161en\u00edm a\u00a0z\u00edskal Poh\u00e1r m\u011bsta Ben\u00e1tek za nejlep\u0161\u00ed re\u017eii, pape\u017e Pius\u00a0XI. ho odsoudil jako pornografick\u00fd a\u00a0nemor\u00e1ln\u00ed film. Proti jeho prom\u00edt\u00e1n\u00ed se postavil tak\u00e9 Adolf Hitler i\u00a0Benito Mussolini. Sn\u00edmek vznikl v\u00a0\u010desk\u00e9, n\u011bmeck\u00e9 a\u00a0francouzsk\u00e9 verzi s\u00a0m\u00edrn\u011b rozd\u00edln\u00fdm obsazen\u00edm\u00a0\u2013 i\u00a0d\u00edky tomu byla Extase uvedena tak\u00e9 ve Francii, N\u011bmecku, Velk\u00e9 Brit\u00e1nii, Spojen\u00fdch st\u00e1tech americk\u00fdch a\u00a0v\u00a0dal\u0161\u00edch pades\u00e1ti zem\u00edch Evropy, Ji\u017en\u00ed Ameriky, Afriky a\u00a0Asie. Distribu\u010dn\u00ed \u00fasp\u011bch a\u00a0festivalov\u00e9 ocen\u011bn\u00ed otev\u0159elo Machat\u00e9mu dve\u0159e k\u00a0vysn\u011bn\u00e9 pr\u00e1ci v\u00a0zahrani\u010d\u00ed.<\/p>\r\n

\"\"<\/a>
\r\nRaku\u0161anka Hedwiga Kieslerov\u00e1, je\u017e pozd\u011bji pod\u00a0jm\u00e9nem Hedy Lamarr pat\u0159ila k nejv\u011bt\u0161\u00edm hollywoodsk\u00fdm\u00a0hv\u011bzd\u00e1m 40. let, ve sn\u00edmku Extase (1932), kter\u00fd byl vrcholem v re\u017eis\u00e9rsk\u00e9 kari\u00e9\u0159e Gustava Machat\u00e9ho<\/em><\/p>\r\n

Tov\u00e1rna na sny
\r\n<\/strong>Prvn\u00ed film v\u00a0cizin\u011b nato\u010dil Machat\u00fd ve v\u00edde\u0148sk\u00fdch ateli\u00e9rech. V\u00a0psychologick\u00e9m dramatu o\u00a0rozvr\u00e1cen\u00e9m man\u017eelstv\u00ed Nocturno (1934) se hlavn\u00ed role zhostila Raku\u0161anka Maria Rayov\u00e1, budouc\u00ed man\u017eelka Gustava Machat\u00e9ho. Jeho dal\u0161\u00ed zahrani\u010dn\u00ed \u0161tac\u00ed byla It\u00e1lie, kde re\u017e\u00edroval film Ballerine (Baletky, 1936) vypr\u00e1v\u011bj\u00edc\u00ed p\u0159\u00edb\u011bh d\u00edvky v\u00a0okam\u017eiku volby mezi kari\u00e9rou a\u00a0l\u00e1skou. V\u00a0dob\u011b premi\u00e9ry sn\u00edmku u\u017e ale Gustav Machat\u00fd \u017eil nad\u011bjemi na pracovn\u00ed \u00fasp\u011bch u\u00a0slavn\u00e9ho hollywoodsk\u00e9ho studia MGM. Odchod man\u017eel\u016f do z\u00e1mo\u0159\u00ed nebyl motivov\u00e1n pouze profesn\u00edmi ambicemi \u010desk\u00e9ho re\u017eis\u00e9ra, sp\u00ed\u0161e \u0161lo o\u00a0vynucenou emigraci z\u00a0politicky rozkol\u00edsan\u00e9 Evropy. Machat\u00fd, stejn\u011b jako jeho man\u017eelka poch\u00e1zej\u00edc\u00ed z\u00a0bohat\u00e9 \u017eidovsk\u00e9 rodiny, se v\u00a0sousedstv\u00ed expanduj\u00edc\u00edho nacistick\u00e9ho re\u017eimu ocitli v\u00a0ohro\u017een\u00ed \u017eivota.<\/p>\r\n

Smlouva u\u00a0MGM ale Machat\u00e9mu nezajistila takov\u00e9 postaven\u00ed a\u00a0tv\u016fr\u010d\u00ed volnost, jak\u00e9 o\u010dek\u00e1val. V\u00a0americk\u00e9m studiov\u00e9m syst\u00e9mu m\u011bli hlavn\u00ed slovo producenti, nikoli re\u017eis\u00e9\u0159i, na co\u017e nebyl \u010desk\u00fd \u201eauteur\u201c s\u00a0um\u011bleck\u00fdmi ambicemi zvykl\u00fd. Po dvou titulech vyroben\u00fdch ve velk\u00e9m studiu, kr\u00e1tkometr\u00e1\u017en\u00edm filmu Wrong Way Out (Nespr\u00e1vn\u00e1 cesta, 1938) a\u00a0Within the Law (V\u00a0mez\u00edch z\u00e1kona, 1939), re\u017e\u00edroval v\u00a0USA psychologick\u00e9 drama s\u00a0krimin\u00e1ln\u00ed z\u00e1pletkou Jealousy (\u017d\u00e1rlivost, 1945) s\u00a0Hugo Haasem v\u00a0men\u0161\u00ed roli. Ve filmu se odr\u00e1\u017eej\u00ed Machat\u00e9ho osobn\u00ed pro\u017eitky z\u00a0pobytu v\u00a0emigraci\u00a0\u2013 vypr\u00e1v\u00ed zde ponur\u00fd p\u0159\u00edb\u011bh o\u00a0um\u011blc\u00edch emigrantech, kte\u0159\u00ed nejsou schopni p\u0159izp\u016fsobit se nov\u00e9mu prost\u0159ed\u00ed. I\u00a0p\u0159es pochvaln\u00e9 zm\u00ednky v\u00a0tamn\u00edm tisku mu \u017d\u00e1rlivost nep\u0159inesla \u017e\u00e1dn\u00e9 dal\u0161\u00ed pracovn\u00ed nab\u00eddky a\u00a0stala se tak posledn\u00edm Machat\u00e9ho filmem nato\u010den\u00fdm za mo\u0159em.<\/p>\r\n

Svobodn\u00e1 Evropa<\/strong>
\r\nNa konci roku 1946 se Gustav Machat\u00fd vydal na cestu do \u010ceskoslovenska, aby se pokusil z\u00edskat informace\u00a0o\u00a0osudu nejbli\u017e\u0161\u00edch p\u0159\u00edbuzn\u00fdch b\u011bhem v\u00e1le\u010dn\u00fdch let, p\u0159edev\u0161\u00edm sv\u00e9 matky. Ta byla v\u00a0roce 1942 odesl\u00e1na transportem do Terez\u00edna a\u00a0odtud do vyhlazovac\u00edho t\u00e1bora Treblinka, kde zahynula. Dal\u0161\u00edm d\u016fvodem pro kr\u00e1tkodob\u00fd n\u00e1vrat do vlasti byl sen o\u00a0nato\u010den\u00ed remaku \u00fasp\u011b\u0161n\u00e9 Extase. Ten se Machat\u00e9mu ale nesplnil. Natrvalo se v\u00a0Evrop\u011b usadil a\u017e po smrti sv\u00e9 man\u017eelky Marie Rayov\u00e9, jej\u00ed\u017e t\u011blo p\u0159ed\u00e1vkovan\u00e9 barbitur\u00e1ty objevili v\u00a0suter\u00e9nu jejich losangelesk\u00e9ho domu 4.\u00a0\u0159\u00edjna\u00a01951. Machat\u00fd nakonec zakotvil v\u00a0Mnichov\u011b, kde p\u0159ipravoval rozhlasov\u00e9 inscenace pro R\u00e1dio Svobodn\u00e1 Evropa. Sv\u016fj posledn\u00ed dlouh\u00fd hran\u00fd film, melodramatick\u00fd p\u0159\u00edb\u011bh z\u00a0pov\u00e1le\u010dn\u00e9ho N\u011bmecka Suchkind 312 (Hledan\u00e9 d\u00edt\u011b 312), nato\u010dil v\u00a0roce 1955. Rok p\u0159edt\u00edm se Machat\u00fd stihl je\u0161t\u011b podruh\u00e9 o\u017eenit, jeho man\u017eelkou se stala here\u010dka Helga Rippertov\u00e1.<\/p>\r\n

Opojen\u00ed filmem\u00a0u\u00a0Machat\u00e9ho nevyprchalo ani na sklonku \u017eivota. P\u016fsobil jako pedagog v\u00a0\u00dastavu pro film a\u00a0televizi v\u00a0Mnichov\u011b, psal sc\u00e9n\u00e1\u0159e, pracoval pro televizi a\u00a0p\u0159edn\u00e1\u0161el o\u00a0filmu. N\u011bkolikr\u00e1t byl \u010destn\u00fdm hostem filmov\u00e9ho festivalu v\u00a0Karlov\u00fdch Varech. Svoji rodnou zemi naposledy nav\u0161t\u00edvil v\u00a0roce 1963. B\u011bhem pobytu se jeho zdravotn\u00ed stav v\u00fdrazn\u011b zhor\u0161il a\u00a0po p\u0159evozu do Mnichova dne 13.\u00a0prosince zem\u0159el na rakovinu plic.<\/p>\r\n

Gustav Machat\u00fd bude m\u00edt v\u00a0historii na\u0161\u00ed kinematografie v\u017edy v\u00fdsadn\u00ed postaven\u00ed. D\u00edky sv\u00e9mu nov\u00e1torsk\u00e9mu p\u0159\u00edstupu, sv\u00e9 oddanosti\u00a0a\u00a0l\u00e1sce k\u00a0filmu se mu poda\u0159ilo etablovat se mezi nejlep\u0161\u00edmi re\u017eis\u00e9ry n\u011bm\u00e9 \u00e9ry a\u00a0posunout \u010desk\u00fd film na mezin\u00e1rodn\u00ed \u00farove\u0148. Extase, kterou dokon\u010dil v\u00a0necel\u00fdch dvaat\u0159iceti letech, z\u016fstala vrcholem v\u00a0jeho re\u017eis\u00e9rsk\u00e9 kari\u00e9\u0159e. D\u00edky \u00fasil\u00ed N\u00e1rodn\u00edho filmov\u00e9ho archivu byl film digit\u00e1ln\u011b restaurov\u00e1n a\u00a0jeho obnoven\u00e1 mezin\u00e1rodn\u00ed premi\u00e9ra prob\u011bhla na presti\u017en\u00edm ben\u00e1tsk\u00e9m filmov\u00e9m festivalu, kam se Extase vr\u00e1tila po dlouh\u00fdch p\u011btaosmdes\u00e1ti letech. Ani tentokr\u00e1t z\u00a0Ben\u00e1tek neodj\u00ed\u017ed\u011bla s\u00a0pr\u00e1zdnou, kdy\u017e z\u00edskala cenu pro nejlep\u0161\u00ed restaurovan\u00fd film v\u00a0sekci Venice Classics, a\u00a0to mezi dal\u0161\u00edmi kandid\u00e1ty, jak\u00fdmi byli nap\u0159\u00edklad Crash Davida Cronenberga, New York, New York Martina Scorseseho \u010di B\u00edl\u00fd \u0161ejk Federica Felliniho.\u00a0<\/p>","protected":false},"excerpt":{"rendered":"[perex] Tentokr\u00e1t si p\u0159edstav\u00edme osud um\u011blce, jen\u017e propadl kouzlu pohybliv\u00fdch\u00a0obr\u00e1zk\u016f a\u00a0imagin\u00e1rn\u00edch sv\u011bt\u016f a\u00a0stal se nejorigin\u00e1ln\u011bj\u0161\u00ed osobnost\u00ed n\u011bm\u00e9\u00a0\u00e9ry \u010deskoslovensk\u00e9ho filmu\u00a0\u2013 Gustava Machat\u00e9ho (1901\u20131963). V\u00a0dob\u011b sv\u00fdch prvn\u00edch kinematografick\u00fdch kr\u016f\u010dk\u016f nebyl zdaleka jedin\u00fdm\u00a0po\u0161etilcem, kter\u00fd se vrhl do nov\u00e9ho oboru, ale jen m\u00e1lokter\u00fd z\u00a0nich se filmu oddal s\u00a0takovou v\u00e1\u0161n\u00ed. Ta ho dovedla z\u00a0Letn\u00e9 a\u017e do Hollywoodu a\u00a0k\u00a0mezin\u00e1rodn\u00edmu v\u011bhlasu. [\/perex] […]","protected":false},"author":76,"featured_media":38996,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[37],"tags":[],"_links":{"self":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/38994"}],"collection":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/comments?post=38994"}],"version-history":[{"count":3,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/38994\/revisions"}],"predecessor-version":[{"id":39001,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/38994\/revisions\/39001"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/media\/38996"}],"wp:attachment":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/media?parent=38994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/categories?post=38994"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/tags?post=38994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}