‘Waves’ Review: Jiří Mádl’s Drama on the End of the Prague Spring Marks a Timely Portrait of the Power of Principled Journalists

As a cinephile who’s spent countless hours delving into the annals of cinema history, I must say that “Waves” is a film that strikes a chord deep within my heart. Having lived through the tumultuous times of the Cold War and witnessed firsthand the struggle for freedom of speech, this period drama resonates profoundly with me.

Historical dramas, especially those focusing on brave acts of resistance against oppressive governments, often serve as cautionary tales. Although Winston Churchill’s famous quote, “Those who fail to learn from history are doomed to repeat it,” may seem overly simplistic, the message in a film like Jiří Mádl’s “Waves” is hard to ignore. The narrative and its historical backdrop carry an urgent reminder about the vital importance of a free press. However, beneath its suspenseful exterior, the story also delves into a thought-provoking exploration of how this necessity rests on the shoulders of individuals who, being human, are inherently flawed.

The movie ‘Waves’ begins with an undeniable historical fact: ‘The Soviet Union exerts its influence over the Eastern European countries,’ a voice explains to the audience as images of Joseph Stalin, the USSR, and those nations and their people (including political dissidents who were targeted and executed) appear. ‘Any hint of freedom is crushed by force,’ this brief introduction implies, establishing the tense, paranoid mood that ‘Waves’ quickly immerses us in. Censorship in media – and the terror it generates and thrives on – is widespread. It’s 1967 in Czechoslovakia, and there’s no bigger media entity than Czechoslovak Radio.

In the lead-up to the Warsaw Pact’s invasion of Czechoslovakia, the novel “Waves” focuses on the International News Office at Czechoslovak Radio, a group that stood as a final stronghold against the growing authoritarianism that would culminate in 1968. This was a time when tanks and troops were deployed to suppress any opposition to the Communist Party of Czechoslovakia. The story begins by introducing Tomáš (played by Vojtěch Vodochodský), an ordinary man who, by chance, ends up working at the radio station and witnesses Milan Weiner (Stanislav Majer), a renowned journalist, bravely resisting censorship and intimidation from the government.

Similar to numerous people captivated by his speeches, Tomáš admires Weiner greatly. However, unlike his younger brother Pavel (Ondřej Stupka), who takes to the streets to demonstrate and feels a strong sense of civic responsibility that he believes must be upheld (a duty that Weiner truly embodies), Tomáš is more cautious. He’s more careful, possibly more practical. He’s the kind of citizen who prioritizes ensuring there’s food on the table while taking care of his brother over participating in the protests that his new workplace has come to symbolize. He doesn’t feel he has the opportunity or the moral compass to personally engage in the resistance movement.

As soon as Tomáš starts working at the radio station, Weiner and his team start pushing back more aggressively against news from the Soviet Union and the Czechoslovakian government. It quickly becomes apparent that Weiner has no intention of being just another tool for propaganda as his boss would prefer. His strong convictions place him and his team in danger, as the government and military grow increasingly intolerant of those who don’t follow the party line. When a recording of a student protest surfaces at their office, Weiner and his colleagues must decide how far they are willing to go to expose the truth. They also grapple with whether their own safety and livelihood is worth such a risk, especially since Tomáš has been enlisted by State Security to spy on the radio’s activities.

The film ‘Waves’ resembles a relentless countdown of a suspenseful spy novel. Filip Malásek’s editing is commendable for maintaining an exhilarating pace, despite the predictability of the narrative. The story is set against a backdrop of challenged friendships and intricate games of cat and mouse, shedding light on the valiant efforts made by Czechoslovak Radio’s journalists in the year preceding the invasion. The film’s rhythm, a mix of 1960s pop tunes and Simon Goff’s captivating compositions, gives it the feel of a gripping John Le Carré narrative. In this movie, the principle of press freedom is not just an intellectual construct; it’s a tangible moral obligation that requires journalists to make difficult personal decisions, often putting them at odds with their colleagues, friends, and even family.

In the eyes of Tomáš, Mádl presents the unwavering integrity of figures like Weiner and the more pragmatic approach of Věra Šťovíčková (Tatiana Pauhofová), a pivotal character in the anti-occupation broadcast that forms the climax of the film, as even more impactful. This portrayal is not an idolization of Czechoslovak Radio as a symbol of civic resistance; rather, it’s a realistic, humanistic exploration of the challenges one faces when making moral decisions in the face of authoritarian rule.

Guided by an exceptional cast, “Waves” offers a swiftly paced take on a period drama, one that carries an uncomplicated storyline with remarkable grace and assurance, both stylistically and narratively. While those well-versed in the 1968 occupation may anticipate the outcome, Mádl’s intention extends beyond documenting that crucial year. He aims to honor a significant moment in history that remains relevant in 2024, as its core themes have not been overshadowed by time, but instead, have grown even more pertinent over the decades. In essence, “Waves” serves as a tribute to a historic event whose timeless concerns continue to echo with urgency today.

2024-10-31 02:16

‘Waves’ Review: Jiří Mádl’s Drama on the End of the Prague Spring Marks a Timely Portrait of the Power of Principled Journalists

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