Directed by:
David OndříčekCinematography:
Marek DvořákComposer:
Beata HlavenkováCast:
Martha Issová, Marek Taclík, Oskar Hes, Antonie Formanová, Peter Nádasdi, Robert Mikluš, Petr Buchta, Jiří Sedláček, Štěpán Kozub, Jiří Langmajer (more)Plots(1)
Two-part TV film about the biggest postwar mining disaster in Czechoslovakia: in 1961, a fire in Havířov’s Dukla Mine killed 108 miners. Against the backdrop of this tragedy, the film shows the fate of an elite miner’s family at a time when one had to fulfil the regime’s economic goals at any cost. (Finále Plzeň)
Videos (1)
Reviews (6)
Surprisingly very decent. The tragic event is portrayed tactfully andon a truly high level for a TV production (similarly to the recent Metanol) – David Ondříček knows what he’s doing. Of course, nothing is perfect. The storyline needlessly plays with our emotions (the main character just has to have a pregnant girlfriend) and the criticism against the era and regime is perhaps too literal at times, but none of this is of real concern. The cast is good, except that, when famous Czech actors speak in that local dialect, it’s all but realistic. Too bad the creators did not try harder to find authentic actors from the Ostrava region. Those are mere details, however; the overall impression is positive and I will definitely welcome more projects of the kind by Czech Television! ()
Very well shot and acted, with great music. This year's production on Czech Television 1 is killing it, first with "Metanol" and now with "Dukla 61." The only thing that didn't seem right to me was the local dialect, but I'll leave that up to the viewers from that region to judge. A powerful experience. ()
So, finally, a dense drama drawing from real historical events in the Czech Republic in recent years. I’m even more surprised that it’s a television production—definitely a thumbs up for that. The atmosphere of the 1960s is captured perfectly, with an authentic period feel visible at every turn. The acting is without the slightest criticism (Martha Issová and Marek Taclík are amazing, and Langmajer in a somewhat negative role was also impressive). I’m not a native of Ostrava, so I can't precisely evaluate the specific dialect used, but everyone involved seemed to excel in their roles. The first episode served as a buildup, while the second focused on the tragedy itself. And don’t underestimate it; it will emotionally impact you—the knowledge that you won’t escape alive under any circumstances must be a dreadful feeling. David Ondříček once again made an excellent film. For me, Dukla 61 is an 8/10. ()
I considered it my duty to watch Dukla 61, as I live a Hulk's stone’s throw away from the former mine. I was quite entertained by the first part. I managed to get over the obvious nonsense of someone just walking past the mine and, since his daddy works there, he suddenly starts working there, too. The actors obviously struggled with the typical accent of the region, and I was quite puzzled by some of the expressions. Despite these reservations, I was pleased with the first part of the film, and I definitely won't miss the second part. // What a huge disappointment. At times I felt like I was watching Cameron's Titanic. There’s no tragedy that can't be "improved" by a few action scenes. As if 108 casualties weren't enough, they had to turn it into a weird survival horror full of smoke, air hoses and murderous axes and pickaxes. I don't even want to write more about it. The first part deserves 4*-, the second one 2*- at most, so the overall result of 3*- is more than enough. ()
Honest work, on many fronts. The Ondříček family line comes naturally to him because he's supported by decent actors, and the social drama fits perfectly into the cramped miner's apartment (Oskar Hes!). The mines themselves pulsate with a dark life, where darkness and minimal light prevail. Dvořák's camera perfectly corresponds with the colors and mood, which gives a hint of where everything inevitably must go. The tragedy, which leaves behind 108 lives, comes slowly and has an inappropriate effect, as if from another world. Ondříček maintains the tension by tightly controlling the pace. It's a pity that he only loosens the reins when he desires a melodramatic interlude when it's necessary to utter the last words or fall in slow motion. At the expense of the neglected wives waiting at the mine gate, I would expect more moderation in the kitsch and a more consistent approach to the smarter viewer. But even so, it's a rough masterpiece, paying homage and maintaining a silent tribute. The production process was no picnic. I know that from my (then pregnant) wife. 4 and ½. ()
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