The Valley of the Bees

“My father promised me to the Order. To save his soul." If it weren’t for Herz’s year younger The Cremator, The Valley of the Bees would sit on the imaginary throne of Czechoslovak cinema. This way it is doomed to second place, but what can you do... And that shows amongst other things that I belong to the “barbarian riffraff" who consider this, Vláčil’s picture to be better than Marketa Lazarová (which is a bit of a paradox since The Valley of the Bees was only made to make use of the costumes and scenery left behind after it). The Bergmanesque proportions, the indescribably splendid camerawork (I will probably never get bored of the shot at the end with Ondřej disappearing into the darkness) and Liška’s score make watching this a wonderful experience for the mind, eyes and ears. And the actors are absolutely... We don’t see Petr Čepek on screen, but Ondřej of Vlkov. Nor do we see Jan Kačer (who currently stars in an awful Czech telenovela), but purely and simply Armin von Heide. The same applies for the others. OK? OK! (02/14/2008)

Bergman in a Czech version? At least that's how I see it, because Vláčil's gloomy and soiled vision of the Middle Ages brings him very close to the Swedish genius. Like the ceremonial nature of gesture and word, the weight of a single image that seems to say nothing and yet speaks through every detail. Körner's script is constructed masterfully, building a staircase stone by stone to the final tragedy that emerges from the almost harmonious celebration of medieval paganism. Čepek, Kačer and other actors from the Drama Club brought a touch of theatricality, slowness, emphasis on every word and act to the story. Zdeněk Liška, for his part, confirmed that he was an exceptional composer; however, sometimes strangely, his secular and religious musical accompaniment precisely colors a quietly buzzing drama about two sides of faith. Although The Valley of the Bees was quite ruthlessly stomped by New Wave, in time it proved the dominance of a complex artistic statement over the period filmmaking experiment. With all due respect to New Wave, this is just a class better. (01/26/2004)

The film, which is considered one of the best ever made here. When I was watching it, I felt like I was watching Bergman. Slow but intense moments with incredible performances, which only enhance the power of the overall experience. It's one of those films that must be seen. It may leave you feeling cold and say that it's for intellectuals, but somewhere deep down you will feel that it has done something to you. (12/23/2014)

Film treat that was created as a side product and poorer little brother of Marketa Lazarova. Basically, a very simple plot is shot poetically and at the same time rawly, it is an extraordinarily suggestive film experience with music perfectly tailored, excellent camera work, and great performances by Cepka and Kacer. In this film, however, the cliché "there are no small roles" perfectly holds true. I claim that if Údolí včel was shot in color, it would have been half as good, the black and white material co-creates the balladic atmosphere of the story. Overall impression: 95%. (04/29/2007)

The story of a religious fanatic who does not hesitate to take up the sword for the glory of God and for whom the desire for a normal life is alien. It is hard to believe that this film was made mainly to use the costumes from Markéta Lazarová. The Valley of the Bees is equally exquisite, oozing the atmosphere of the 13th century, and Zdeněk Liška's music is unique as always. (05/11/2003)