Ecstasy

Plot

Eva, a vibrant young woman, marries the wealthy but cold and elderly Emil, only to find herself trapped in a passionless marriage defined by his obsessive-compulsive need for order and lack of physical affection. After a disastrous wedding night where Emil prioritizes his routine over intimacy, Eva returns to her father's estate and seeks a divorce, eventually finding liberation in the countryside. While bathing nude in a lake, her horse bolts with her clothes, leading her to meet Adam, a young and virile engineer working on a nearby construction project. The two embark on a torrid, wordless affair that awakens Eva's dormant sensuality, but their bliss is threatened when a guilt-ridden Emil encounters Adam by chance. The film concludes with a tragic confrontation and a symbolic montage of labor and rebirth, as Eva chooses a path of independence and emotional awakening over the stifling conventions of her past.

Historical Background

Produced during the transition from silent to sound cinema, 'Ecstasy' reflects the avant-garde spirit of 1930s European filmmaking before the tightening grip of fascism and the Hays Code in America. In 1933, Czechoslovakia was a hub of artistic freedom, allowing for such a provocative exploration of sexuality. However, the film's release coincided with the rise of the Nazi party in neighboring Germany, where the film was eventually banned due to Lamarr's Jewish heritage and the film's 'degenerate' content. It stands as a bridge between the expressionism of the 1920s and the psychological realism that would follow.

Making Of

The production was a technical marvel for the early 1930s, utilizing the newly built Barrandov Studios in Prague. Machatý worked closely with cinematographer Jan Stallich to create a 'visual poem' that utilized the Kuleshov effect to convey emotion through editing rather than words. The famous lake scene was filmed in the cold waters of Jevany, and Lamarr reportedly had to be warmed with blankets and cognac between takes. The director's obsession with symbolism is evident in the recurring motifs of water, horses, and machinery, which were meticulously planned during the storyboard phase. The editing process was extensive, as Machatý sought to create a rhythmic flow that mirrored the emotional states of the characters.

Visual Style

Jan Stallich used soft-focus lenses and natural lighting to create a dreamlike, ethereal atmosphere. The film is noted for its extreme close-ups, particularly of Eva's face, and its use of 'subjective camera' to place the viewer in the protagonist's emotional state. The outdoor sequences utilize the natural landscape of the Czech countryside to symbolize freedom and fertility, contrasting with the rigid, geometric interiors of Emil's house.

Innovations

The film is a pioneer in the use of 'creative sound,' where non-diegetic sounds are used to enhance the psychological mood. It also utilized advanced editing techniques to create a sense of eroticism through suggestion and montage rather than explicit action. The synchronization of the three different language tracks was also a significant logistical feat for the era.

Music

The score by Giuseppe Becce is integral to the film, acting as a substitute for dialogue. Becce, who had previously worked on silent film scores, created a lush, Wagnerian soundtrack that swells with the characters' passions. The music is synchronized with the visual rhythm of the editing, particularly in the climax, where the sound of machinery blends with the orchestral themes.

Memorable Scenes

• The bathing scene: Eva swims nude in a lake, a sequence that became one of the most famous and controversial in early cinema history.
• The horse chase: Eva's horse runs away with her clothes, forcing her to run through the woods naked, leading to her first encounter with Adam.
• The close-up of the orgasm: A revolutionary sequence focusing entirely on Eva's facial expressions to convey sexual climax.
• The ending montage: A rhythmic sequence of laborers and machinery that symbolizes the cycle of life and the protagonist's new beginning.

What Critics Said

Initial reviews were polarized; European critics praised its lyrical beauty and Machatý's direction, while American and religious critics condemned it as pornographic. The New York Times in 1936 called it 'an aesthetically pleasing but morally questionable' work. Modern critics view it as a masterpiece of visual storytelling, often comparing its rhythmic editing to the works of Eisenstein. It currently holds high regard in the canon of world cinema for its bravery and technical sophistication.

What Audiences Thought

The film was an underground sensation. Audiences flocked to see it wherever it wasn't banned, often driven by the notoriety of its nude scenes. In many cities, it played in 'adults only' theaters, creating a mystique that lasted for decades. Despite the controversy, audiences were often struck by the film's genuine emotional depth and the haunting beauty of its lead actress.

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