VLADIMIR VOJIR 
VLADIMIR VOJIR
TEXTS
THE MAELSTRÖM OF MELANCHOLY
treatment for TV documentary: 26 mins
directors of photography: Vladimir Vojir and Martina Kudlacek
directed by: Martina Kudlacek
produced by: MGB Ltd. for © Czech Television 1995
co-producers: Czech Television (CZ) - Destination Lofoten A/S (N)
broadcasting: first-run: 1996, February 6 (CT2), second-run: 1996, February 11 (CT2)
screening:
festival: International Festival TOURFILM 2000, Carlsbad (in enhanced selection in Subcategory III. "Documentary and publicity films produced for TV broadcasting"
© Czech Television 1995
THE MAELSTROM OF MELANCHOLY - DVD cover
...and oceans drifting sideways...
p.H. (=7), 1970, June
THE MAELSTRÖM
A large sea whirlpool originated from the encounter of two surf waves entering a sea straight from opposite sides. Described by Jules Verne (Twenty Thousand Miles Beneath the Sea) and E.A.Poe - see below. It is not only a literary fiction!
According to the available literature this unusual natural phenomenon occurs in only one place in the world, in the area between two islands of the Lofoten, Vaeroy and Moskenesoya. The phenomenon can be observed from a plane, or directly from Lofotodden Hill (601 m above sea level) or Mosken Island sometimes.
Maelström is not exactly the form of Poe's funnel - "V", but it is my "geometrical cousin once removed".
According to long-term statistics Maelström's power culminates at late July/early August every year. In this period Maelström moves slowly around and it causes serious risks for sea transport so that the nautical conditions and routes for ships in this region have to be forecast within a few hours.
ref.: BROCKHAUS Leipzig (DE) 1923, Slovnik cizich slov, SPN (CZ) 1981, author's own observation and other sources
LOFOTEN
A broken archipelago found close to the west coast of Norway, north of the Arctic circle (1350 km2 total area, 25.000 inhabitants).
Main economical activity consists in fishery (January to April).
Nesting place of sea gulls, cormorants, divers and sea eagles. A memorial to Italian seafarers. Old churches. The first radio station broadcasting continuous information on weather (since 1908). Prehistorically paintings of the Stone Ages. Reine (Moskenesoya), voted the most beautiful place in Norway, welcomes frequent visits and stays of artists from all over Europe.
ref.: MCE, Academia 1986 (CZ), "HORY" Czech journal, author's own experience
(For illustration, the author encloses a few colour photos made during his stay in the Lofoten in August 1993)
source: PRACTICA MTL-5, Made in G.D.R.
A DESCENT INTO THE MAELSTRÖM (ANNOTATION)
Edgar Allan Poe, 1995, May
Mr. Edgar Allan Poe was asked to express the story of his novel (from 1841) briefly, in five sentences (for the internal purposes of CZECH TELEVISION). He used only four, as follows:
1) .......... .......
2) ..... ............!
3) ...... ............
4) ....... . ....??A DESCENT INTO THE MAELSTRÖM (STORYLINE)
Martina Kudlacek, 1995, May
An old man watches the ocean from the height of a mountain ridge, towering above the northern coast of Norway. He tells his story, how he survived the fall into Maelström, who pulled him down into the deep. Even today he wears the marks of that terrible experience - his black hair turned into white grey from the deadly anxiety and fear. Within a short time he was turned into an old man.
His two brothers, the only fishers of the Lofoten who dared to fish near that wild surge, died in Maelström on this very day. In spite of deadly danger they fell for the temptation of rich catch. They knew exactly when the surge would calm down… One day, however, the watch of the fishermen stopped and they missed the period when the sea was calm to return to the shore. It seemed as if Time stopped. The sea began to rage. The storm and the heavy sea drove them directly into Maelström.
What happened then, was between life and death. It had never been seen or explored before.
There is light that kills. There is depth that engulfs.
The old man's eyes are sliding over the dark ocean... He survived. Until now he does not know, what in fact happened to him and what transformation took place. Maybe he lost his mind and then fear took over an unnatural desire to explore the mysterious whirlpool and the invisible force! Since then his life changed, he carries a mystery within himself.
EGO (ITS GENESIS AND INITIAL IDEAS)
I am not sure, whether the purse of CZECH TELEVISION would be enough to make the screen version of Poe's novel - it seems to me rather as a challenge for Hollywood and their action (and "reaction") films. As far as I know, only The PIT was produced this way (together with The PENDULUM, of course) (1).
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(1) Later I learned (due to my mother) that, maybe a long time ago, a film version was made of "A DESCENT INTO THE MAELSTRÖM". However it cannot have any serious impact on the issue. Even in case that this suspicion is not disproved, the budget of EGO may increase a little (for several tens of seconds devoted to the "make-believe of non-existing archives"
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My long-term flirtation with the idea to make an undemanding "tourist's postcard" on that unique phenomenon and those admirable islands was broken by force of Mr.Damian Kausitz, Producer-in-Chief, to whom the idea had occurred to charge ME with working out the subject of "the Lofoten" as a part of the EGO series. For homework I was ordered to prepare a paper amounting to two or three pages on the subject and after my initial (and probably too weak) opposition I assented, not wanting to resist my chief (because of tactical reasons) and sentence you, the reader, to suffer the following pages.
Up to now, I watched only one "EGO" - a Latin tried to find his - supposed sister - in Bohemia. Obviously, a good thing, a kind of one's "self exhibition" was perhaps necessary, but its extent appeared to me, personally, as quite unacceptable, impossible. What to do now? Most probably I would not be permitted to take a Hi8, go to the Lofoten and shoot a film, without stuffing it enough with the "EGO" of Mr.V.V. There has to be some EGO in each EGO part, undoubtedly. Apart from the fact that I do not like to do such things, in case I have to present a "concentrate" of my way of thinking, perceiving and understanding, - it shall be in the sphere of "reason" - my inclinations to a "philosophical" satire, permanent doubts and material dialectics (what a pity, it was swept under the rug during the recent years "after-velvet-revolution", - maybe we have lost precious years (2)) as well as my quite common "layman's" interpretation (e.g. when I immediately cannot find a contradiction, a paradox, I begin to perceive the matter with "suspicion").
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(2) At least as a multipurpose "super structural" methodology it is still acceptable.
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In the sphere of emotions that can be exploited more successfully in relation to the Lofoten, an additional phenomenon has emerged (again marginal at the end of the century) - the magic of melancholy, the passing nature of things, beauty and sadness and inconclusive endings. This approach based on self-interpretation seems to me as the very method I would use in this work, leaving the viewer himself/herself to think things through to the end, using his/her own interpretation and nature.
As long as I may be asked to reveal what I really know, I have to state three items: I have knowledge of the work of Peter Hammill (but only before 1975), the history of the Pole Conquest (but the North only) and the technical parameters of Hi8 camcorders (but SONY products only). I admit, it could be more - in my almost 43 years. But in a curious coincidence these three skills may prove to be sufficient for performing the above task.
I am aware, there are existing different ways to approach Edgar Allan Poe s story and the following interpretation might be one of many: the difference in experience, perceptions, impressions resulting from the same event, both before the fall down to the bottom (on the bottom of Maelström..., a plague of the lighthouse keepers on the Lofoten..., on the "bottom" of one's life) and after as a process of "re-melting" to the previous hierarchy of values. It would require, perhaps, to "cut-down" a piece of Poe's dark mysticism and also suppress one's latent trends to less understandable jokes.
In this film I would like to recall the memory of my friend, Dr. David Pospisil of Brno, with whom I searched for Maelström on the Lofoten - and did not found it - years ago. Later, David died during his attempt to fly over Kilimanjaro with a light motor glider.
I have no concrete ideas (up to now) how to "sew" the above elements together and treat them in an audiovisual way. However, as an amateur, I only intuitively believe in the professional skills and experience of the young director Mrs. Martina Kudlacek, who kindly agreed to cooperate in the production. My (contingent) contribution would consist only in my knowledge (inspired by R. Amundsen), that the good choice (and winning) of the very partners for north polar countries is a prerequisite.
The Lofoten on picture: to be exploited to the maximum, but avoiding (as the devil to the crucifix) any elements of civilization that was "born" later than 1950.
V.V. on picture: reduce to the minimum. Using, if necessary, back-light, contours, very close shots making one's identification difficult. (In any case, the time has come to find my old dumbbells somewhere in the loft.)
Anyway, I would like to implement the whole project on the technical level corresponding to 1940's or 1950's without employing "advanced" digital effects (except high resolution). At this point I have no other choice than "to insist" on the minimum of 469 000 pixels per one third of the chip (optical steady off, of course).
As the B/W system is not allowed, I would like to have the opening/final credits in B/W and more, written in calligraphy and - on the top of it - mute. It would be impressive, e.g. to employ a zoom in a "passive" way - to "kick on" a suitable "F" and hold it on.
The whole visual effect will depend, however, on the whims of "force major" - i.e. a presence/absence of depressions and other climatic effects wandering around the landscapes of the Lofoten. Constant sunny weather would make our best efforts in vain.
V.V. speaking on picture: in no case! (I do not intend to avoid "showing" myself, but I believe it would spare money when producing, e.g., the Belorussian version). So only post-a-synchrons, please, engaging a doubler with better vocal chords, believing that the inspiration by the HOLY SPIRIT (3) will come sooner, than the film sees sound-mixing.
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(3)Even though I still haven't succeeded, with "my" dialectics, to bring a material evidence of the existence of that spiritual phenomenon. But QUIEN SABE...?
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Music: I shall sweat out something on my copy of STRATOCASTER and YAMAHA keyboard instrument (with relatively well done samples) using a (borrowed) DAT. But you need not be afraid of these developments. In case that the fruits of my effort seep through the filter of V.V.s "self-censorship", they will be certainly stopped by the "professionals". If this occurs then we may use Grieg, Fripp, Hammill, Miki Jelinek? (the last one should give his consent).
I have to admit, that the process of production itself (beginning with talks and crystallization of ideas with Mrs. Kudlacek at cups of coffee, through the adventures of the Lofoten, up to the problems solved in the cutting room - I have never been in that room and I am not sure whether it is equipped with such a useful device as the ashtray - it would present a problem!) seems to me more interesting than its final result (approved - maybe - a BTC 30´ cassette under one's arm).
But, perhaps ...
CODA I
Provided that we will not be drawn (deservedly) into furious Maelstrom's bottomless throat for ever.....!
EGO (THE IDEA ON REALIZATION)
(It is a serious issue, therefore it lacks much of its jocular component)
Primary Record Format: Hi8
Transmission Copy Format: BETACAM SP
Footage: 20 - 30 mins
Author of Film Idea: Damian Kausitz
Treatment Author: (Format A4) V.V.
Script Edition: Damian Kausitz & Josef Platz (for CZECH TELEVISION)
Martin Chlupac (for MGB Ltd. & BBC´s "format rights")
Authors of Screenplay: Martina Kudlacek & V.V.
Camera and Direction: Martina Kudlacek & V.V.
Casting: the Lofoten + HE (Maelström) + V.V. + ?? (maybe another EGO will be encountered)
Music: V.V. (see above), or of professional composers - Miki Jelinek or archives
(E. Grieg, R. Fripp, P. Hammill)
Technology: Image:
camcorder: VX 1 or V 6000 E plus + reserve TR 2000 E, SONY/TDK Hi 8 MASTER ME cassettes, max. 90 mins
(in a sufficient amount but we can manage it well without drop-outs)
a tripod + wide-angle and telephoto supplementary lenses
"frost-resistant" akus and 2 recharges' 220 V AC/DC
Technology: Sound:
tape-recorder: R-DAT or Mr. Kudelski with accessories (i.e. NAGRA + e.g. condenser microphone (no molitan, no wind no ise switch, please) but with the optimum directional properties - for the wind of the Lofoten.
Crew:
shooting in the Lofoten - 3 peoples: M.K.+ V.V.+ ?? (The last member should act as a sound engineer, production assistant, driver and the third player of polar matrimony, all in one.)
Transport:
by plane: Prague - Oslo - Bodo (within one day!), then, by a ferry: Bodo-Rost-Svolvaer (the Lofoten), about 4 + 3 hours
in place: rent-a-car + ferries
back: maybe - see "CODA I." above
Accommodation:
hotels or relatively cheap "rorbu's" - wooden fishermen's log huts for rent
Time of Shooting:
7 filming days + 4 days for transport = 11 days in total. Problem: in the second half of August the day length north of the Arctic circle reduces very quickly, temperatures fall down and the traffic of ferries becomes considerably reduced.
We propose the period between 09/08 and 19/08, or, better, 07/08 - 17/08/95
editing, mixing, approval: ?/?/?
Special Requirements:
1. Enough time and pleasant atmosphere in the OFF-LINE cutting room
2. Lending the analog Hi-8 camcorder in advance (for training)
3. A S-Video/CINCH Composite - SCART/CINCH cable reduction for monitoring of „rushes" on TV sets in hotel rooms
4. Your ref.: "Tolerance and Confidence"
Production: MGB Ltd. for © CZECH TELEVISION 1995
...what cause is there left but to die in search of something we are really not too sure of?...
P.H., May 1970
NOTES ON THE PROJECT "EGO/MAELSTRÖM"
Martina Kudlacek, 1995, May
ELEMENTS OF FILM:
The following elements are a kind of score. Documentary spontaneity and a playful approach are very important and so the story evolves.
1. PRAGUE
office
apartment
in the streets
2. ON THE JOURNEY from Czech Republic to Norway
airplane
ship
3. Islands LOFOTEN / EXTERIOR
fisherman’s house
fish market
lighthouse
landscape
4. DIARY / NOTEBOOK OR INSERTS
5. ILLUSTRATION OF E.A.POE´S "A DESCENT INTO THE MAELSTRÖM"
6. INSIDE THE WIND
emotional visual notations /”out of control”
ON STRUCTURE, FORM AND STYLE:
The form of the documentary is a diary describing the time of preparation, the journey and the first day after arrival in Prague. The diary is recorded in video-images (Hi 8 camcorder) and sound (DAT-walkman). Notes are written in a traveler book, which can be used as inserts or narration. The story is told in the first person, an inner monologue.
The passenger moves to "the end of the world", lonely islands called Lofoten, above the North "in search of something."...
The passenger is a lawyer working in an office. He is driven by the legend of Maelström. Is it a natural phenomenon or an invisible force? He is also driven to understand and overcome the loss of his friend. Three years ago he and his friend traveled together and searched for the place of magic and terror, which is described in the story "A descent into the Maelström" by Edgar Allan Poe. They could not find it. One year later his friend died in an extreme situation, - he had an accident flying over the Kilimanjaro.
Memento Mori.
The passenger keeps all memories of the past and is mournful. He has a desire to return to the islands and wander in the landscape of ocean, sky, wind and lighthouses. He is a lonely man.
Which story is telling the wind, and does the wind know where to find the other and one’s alter-ego?
Falling deep inside the ocean of dreams might give us an answer... The video-diary will be an imaginative trace.
The camera shows subjective point-of-view /EGO/ the eyes of the main - character or keeps a view from outside on him. The images mostly are in long shots, close-ups or extreme close-ups. We try to create a distance. For example: the passenger walks far away in the wide landscape, or we are close to him exploring his surroundings. Sometimes we even have an impression to go under the skin/under the surface of body and landscape. How to touch secrets?
The time before the journey is showing close the gestures of every-day-life inside (for example: typing of numbers on the computer in the office, opening the pages of a book about law, turning a spoon in a cup of coffee) and gestures of preparation (for example: photographs of Lofoten on the table, following the finger on a map, making a phone-call to say good-bye, packing the luggage, book of E. A. POE, map, compass, alarm-clock, magnet, tobacco). Give me medicine for melancholy.
We are moving outside. On the journey we follow the passenger traveling by airplane (view through the window on the ocean of clouds) and by ship (view on the water-surface moving through the deep Blue) to the islands. He reaches the desired place. Emptiness. We explore with him the landscape by feet and move by boat out into the ocean.
We also accompany him in simple situations like preparing his stay for night in a fisher house or shaving (the mirror, the foam, the whirlpool in the washing tub). Maybe he visits the lighthouse and meets a lighthouse keeper. Dialogue.
After the journey we are standing in the streets of Prague. (for example: view from Vysehrad). New orientation.
For sound we record narration (diary-monologue and parts of the story by E. A. POE), sounds of nature (the island, ocean, wind, birds) and sounds of Norway (people talking in a pub or on the ship).
Prague, 1995, April 27
© Vladimir Vojir 1995
CODA II.
V.V.
Life is an endless succession of waves...
You´re happy/you´re sad,
and you don´t appreciate the good times
until you´re in the bad:
you wake up some morning ...V.V...
and you´re twice as unhappy as you´ve ever been before
in your life.You wake up, go to the window and see smoke
billowing across the lawn.
You pick your feet up, drag yourself downstairs
and you´re gone ...
you wake up some morning ...V.V...
and you´re twice as unhappy as you´ve ever been before
in your life.You wake up, look to your left but you see
no reassuring head.
You stay in bed all day,
at six o´clock you realise you´re dead.
© Peter Hammill 1973
(Autumn 199?, 201?)
