Aimless Walk (Bezúčelná procházka)
Directed by: Alexander Hackenschmied
Release Date: 1930
Country: Czechoslovakia
Aimless Walk (Bezúčelná procházka) is a 7:54-minute film from 1930 directed by the Czech filmmaker Alexander Hackenschmied, also known as Alexander Hammid. The film falls within the experimental documentary genre and is a notable example of European cinema's avant-garde tradition. It has been mentioned alongside city symphony films such as "Man with a Movie Camera" and "Manhatta."
Plot Synopsis
The film "Bezúčelná procházka" presents a non-conventional narrative, best described as a visual journey that takes the viewer through various urban landscapes. The film begins with scenes devoid of human figures, focusing on urban landscapes, tram rails, and a tram in motion. Notable landmarks and locations include the street "Na poříčí" in Prague and the Denisovo Station in Prague Těšnov, which has since been demolished.
The film introduces a protagonist, a man in a suit and hat, who embarks on a journey out of the city. As he arrives at the bridge connecting the districts of Holešovice and Libeň, he disembarks from the tram and explores the Libeň peninsula, taking a break to smoke. The film showcases various landmarks and sights typical of this semi-industrial area, including chimneys, factories, the Vltava river, docks, shacks, workhorses, and workers.
In a remarkable sequence, the man sits down on the grass. When he stands up, an intriguing visual effect occurs as the camera pans away from his walking figure back to the spot where he had been sitting. To the viewer's surprise, the man who got up and left is still sitting there. The film alternates between the walking man and the man sitting on the grass, creating a doppelganger effect. The walking man eventually boards a tram heading back to Prague, while his double remains in Libeň.
Production
The idea for "Aimless Walk" emerged during the avant-garde movement in Czechoslovakia in the 1920s. While other art forms like poetry, theater, cabaret, and architecture flourished during this period, film remained relatively underdeveloped. Some avant-garde members, particularly those associated with the "Devětsil" group, proposed experimental film forms, but few were realized. Alexander Hackenschmied was one of the avant-garde artists interested in elevating film to an art form[^4^].
The production of "Aimless Walk" marked a significant step in the recognition of Czech cinema as an art form. In the 1930s, the situation changed, leading to the acknowledgment of Czech cinema's artistic value.
Reception
"Aimless Walk" is an unconventional and complex 8-minute film that challenges traditional narrative structures. It offers a unique perspective on the city and explores innovative direction and movement techniques. The film also incorporates the motif of the doppelganger.
During a retrospective screening in Prague, some of the films shown were several years old, which influenced the reception of Hackenschmied's debut within the avant-garde context. Michael Omasta, for instance, describes "Bezúčelná procházka" as the "first Czech avant-garde film of international significance"[^6^].
The film's opening creates the impression of a local city symphony, a genre that portrays a day in the life of one or several cities. However, "Bezúčelná procházka" deviates from the typical city symphony structure. It neither follows the chronology of a city day nor adopts the metaphor of the city as a machine. The film presents a unique perspective that transcends the contemporary contexts of genre and style.
Context within the Avant-Garde
The film's context is linked to the historical avant-garde and the emergence of film as an art form. In the 1920s, while other art forms like poetry, theater, cabaret, and architecture flourished in Czechoslovakia, film remained relatively underdeveloped. Some avant-garde members, particularly those associated with the "Devětsil" group, proposed experimental film forms, but few were realized.
Alexander Hackenschmied was one of the avant-garde artists interested in elevating film to an art form. While there were a few films in the 1920s inspired by avant-garde aesthetics, most Czech production was considered of low artistic value. In the 1930s, the situation changed, leading to the recognition of Czech cinema as an art form[^8^].
References
1. "Aimless Walk (Bezúčelná procházka)". The Museum of Modern Art. Retrieved 12 April 2021.
2. "Bezúčelná procházka (1930)". Česko-Slovenská filmová databáze (in Czech). Retrieved 12 April 2021.
3. "Aimless Walk". Ji.hlava International Documentary Film Festival. Retrieved 12 April 2021.
4. Anděl, Jaroslav. (2000). Alexandr Hackenschmied. Praha.
5. Drubek, Natascha. (2012). "Bezúčelná Procházka" / "Aimless Walk" (1930): Alexander Hackenschmied's "Film Study" of a Tram Ride to the Outskirts of Prague — Libeň. Bohemia (Munich, Germany). 52.
6. Omasta, Michael. "The Quiet Man, Bemerkungen zur Biografie und zu Bildern von Alexander Hammid." In: Omasta, Michael (ed.). "Tribute to Sasha: Das filmische Werk von Alexander Hammid: Regie, Kamera, Schnitt und Kritiken." Wien, 2002.
7. Hradská, Viktoria. "Česká avantgarda a film [Czech Avant-Garde and Film]." Praha, 1976.
8. Fabian, Jeannette. "Kinographie und Poesie. Zur Medienästhetik der tschechischen Avantgarde." In: Lüdeke, Roger/Greber, Erika (eds.). "Intermedium Literatur. Beiträge zu einer Medientheorie der Literaturwissenschaften." Göttingen, 2004.