Jana Brejchová: Pohled Mony Lisy – Aktuálně.cz

Jana Brejchová rose to prominence in the 1950s, captivating audiences with her portrayals of fragile young women facing difficult circumstances. Her breakthrough role came in Jiří Weiss’s 1957 film Vlčí jáma (Wolf Trap), which competed at the Venice Film Festival. Weiss immediately recognized Brejchová’s greatest strength – a “glassy, ambiguous gaze with dominant dark eyes” that held an entire world, both intimate and impenetrable.

A Unique Star

Throughout her career, Brejchová modulated her characters primarily through these expressive eyes and a remarkably impassive face. She didn’t rely on dramatic facial changes or overt expressiveness. The apparent stillness of her face and the captivating quality of her eyes underscored a unique charm and allure, but also a sense of tragedy and inaccessibility. She consciously moved away from the “weepy” roles of her early career with Jiří Krejčík’s film Probuzení (Awakening), blending vulnerability with a newfound assertiveness that foreshadowed her versatile filmography in the 1960s.

As Czechoslovakia entered an era of societal liberalization, Brejchová was already an established and immensely popular actress. The press referred to her as “our only star,” a distinction that set her apart. Socialist cinema rejected the star system prevalent in the West, making Brejchová’s stardom unique. She wasn’t valued for physical beauty or sex appeal, as were Hollywood icons.

A Versatile Performer

Her star status was accompanied by praise for her diverse and psychologically demanding performances. Her career was synonymous with diligence. A comparable level of national recognition as a true star wasn’t seen again until Olga Schoberová, though Schoberová’s fame was primarily based on physical attractiveness. Both Brejchová and Schoberová found acting opportunities abroad, particularly in Germany, where Brejchová was also immensely popular.

Notably, Brejchová lacked formal theatrical training, being purely a film actress, though she occasionally appeared on stage from the 1970s as film roles became less frequent. This contributed to the elegant and subtly captivating quality of her on-screen performances.

In the 1960s, she took on diverse roles in auteur and genre projects. She played a rebelliously defiant character in Vyšší princip (Higher Principle) and Maratón, showcased romantic spontaneity in the comedy Ženu ani květinou neuhodíš (You Can’t Guess a Woman with a Flower), and portrayed a dedicated director and heartbreaker in the revue hit Kdyby tisíc klarinetů (If a Thousand Clarinets). Her performance as the “Miss” in the ballad-like Noc jeptišky (Night of the Nuns) was particularly layered. She found a role with an almost Italian sensibility in the films of Evald Schorm, often playing a counterpart to troubled intellectuals like Jan Kačer in Každý den odvahu (Every Day Courage) and Návrat ztraceného syna (The Return of the Prodigal Son).

She frequently appeared alongside Vlastimil Brodský in a variety of titles, including the dynamic comedy Ďábelské líbánky (Devil’s Kisses) and the popular Noc na Karlštejně (A Night at Karlštejn Castle). Their relationship, both on and off screen, further shaped her public image.

Filming with Schorm and a Touch of Charm

Collaboration with Evald Schorm was crucial for Brejchová’s artistic growth. In a 1966 interview for Mladý svět, she stated that during the filming of Každý den odvahu, she experienced true filmmaking for the first time, due to the challenging nature of the role. She also valued genre projects. The promotion of the demanding film deliberately leveraged Brejchová’s fame: the distribution slogan proclaimed “A Czech film starring Jana Brejchová,” even though the story primarily revolves around the character of Jan Kačer. Similarly, Lásky jedné plavovlásky (The Loves of a Blonde) was promoted as “a film with Jana Brejchová’s sister.”

The onset of normalization logically meant fewer diverse roles and fewer offers for Brejchová. In the 1970s, her characters were characterized by greater stylization, a suppression of naturalism, and strong lighting emphasizing her beauty and charm. Historical films, particularly television productions, became prominent, with intricately designed and form-fitting costumes playing a significant role in her performances.

The camera increasingly fetishized her blonde hair, embodying a stereotypical ideal of feminine beauty. Films featured close-ups focusing solely on Brejchová. She played fateful women with an almost ethereal appearance, often associated with tragic themes. This stereotype was challenged in Noc na Karlštejně, where she portrayed a proactive character, though still defined by her longing for her husband.

Aging Gracefully on Screen

Brejchová returned to more psychologically ambiguous roles in the 1980s and 1990s (Skalpel, prosím (Scalpel, Please), Tichá radost (Quiet Joy), Citlivá místa (Sensitive Places)), naturally coinciding with her advancing age. She aged gracefully on screen, seamlessly transitioning into roles as mothers (many grew up knowing Brejchová as the queen from Arabela). Mother roles became a defining characteristic of the later phase of her career, culminating in her final film appearance in Hřebejk’s Kráska v nesnázích (Beauty in Trouble), for which she won a Czech Lion Award.

When remembering Jana Brejchová, we are likely to remember the actress herself, not necessarily her characters. She was a nearly unique Czechoslovak star in a non-star era, who could convey emotion with her eyes and subtle movements of her lips. A star who always guarded her privacy, she remains in our memories through beautiful film images and photographs, because few understood the camera as clearly and with such understated elegance as she did.

Frequently Asked Questions

What was Jana Brejchová known for?

Jana Brejchová was known for her expressive eyes and her ability to convey complex emotions with a subtle and nuanced performance style. She rose to prominence in the 1950s and became known as “our only star.”

What was Vlčí jáma?

Vlčí jáma (Wolf Trap) was a 1957 film directed by Jiří Weiss, based on a novel by Jarmila Glazarová. It was a breakthrough role for Jana Brejchová, and it competed at the Venice Film Festival.

Did Jana Brejchová have theatrical training?

No, Jana Brejchová was a purely film actress. She did not have formal theatrical training, though she occasionally appeared on stage later in her career.