User reviews

Take the old formula of two mismatched people being forced to live together, and rejuvenate it by losing the cliches and adding excellent script and direction, and utterly superb acting by all the cast, especially the two leads (the grouch and the boy). The characterisations are just spot on.

Whenever I see films like this I end up both very glad to have seen such an outstanding movie, and extremely irritated that practically no-one knows about this gem of a movie, yet films like 'Godzilla' rake in money.

My thanks to all involved with this movie; you have produced a work of art.

What is a man to do who has resisted marriage until late middle age but then enters into a fraudulent marriage of convenience and ends up solely responsible for a five year old in the bargain? That is Franta Louka's dilemma in this beautiful film.

Louka, played by Zdenek Sverak who also wrote the screenplay, is a onetime philharmonic cellist who has lost his orchestra job because the Soviet era Czech communist powers-that-be deem him unreliable. As a consequence Louka has been reduced to playing at weddings and funerals and re-gilding cemetery tombstones. He has no car and is deeply in debt. In order to finance a car and reduce his debt Louka lets a coworker from the cemetery convince him to marry a Russian woman so that she can emigrate to the West. Louka reluctantly agrees and married the woman but the Russian decamps. This ultimately results in Louka becoming solely responsible for the woman's five year old boy -- who only speaks Russian.

Louka and the little boy's relationship is both believable and moving. "Kolya" is very nearly a great film. Highly, highly recommended. 9 out of 10.

I did not think this film was at all sentimental (if you are using the word in its pejorative sense). In reading the comments on this film, I noticed the Czechs who responded were rather lukewarm about it. This surprises me. Kolya works as a film on several levels at once -- political, artistic, personal, etc. and I do not think it is at all predictable. The performances are magical and the entire film is encased by music of very great beauty and humanity by Dvorak and other great Czech composers. Music from Dvorak's "Four Biblical Songs" is at the heart of the film. It is the song that Klara sings at the funerals and the song Kolya is singing before and during the closing credits. The vintage film footage of Kubelik conducting Smetana's Ma Vlast at a concert at the end of the Russian occupation is a wonderful touch. Although I'm sure many other Czech films deserve Oscars, I am glad Kolya was recognized. I hope this film is released on DVD soon.

I like this movie very much and I am glad to read that most of you like it too. However, some comments here describe it as predictable and having the funny parts far from one another. It is not true. There are two more things that you cannot appreciate: 1) The background. I am a Czech myself and I remember the times which the film speaks about. There are many little details that probably come and go unnoticed for the foreigner eye but each of them is a symbol - it carries meaning that is so obvious for a Czech viewer. 2) The language is FUNNY! Sverak (the author) is a well known writer here. He is a GENIUS with the language, it's full of sweet little word puns that can never be translated into another language. You can translate the data, the information - but you lose the atmosphere. Believe me, even in the parts that look boring, there is something hidden between the lines - it's either funny, emotional, powerful... There is another great thing with playing with the differences between Czech and Russian. The languages are similar (to some extend) but there are differences that can result in misunderstandings - and they use it in the movie too. Czech people used to learn Russian language at schools so they can appreciate it.

I am so sorry that there is no way that you could enjoy even these parts of the movie. (Unless you'd want to learn Czech of course :-)

Just please, please, bear in mind that this is not just a shallow romantic movie. Yes, it is lovely - but there is more than that.

I've seen a number of U.S. movies filmed in Czechoslovakia, but this is the first Czech film I've seen. Seeing this makes me understand how Czechoslovakia could have a fairly booming film industry.

This movie came on on cable network IFC and it first grabbed my attention because I didn't recognize what language the characters were speaking. Within a couple of minutes, however, the movie itself had hooked me, though it's not the type of story I'd usually seek out. Indeed I was late to work and really wanted to get going, but I was unable to tear myself away.

Beyond the great writing, acting, and directing, this film has some truly amazing cinematography. There are occasions where the filmmakers seem to have commanded the universe around them to get these shots. In one scene, the lead character looks up through his car's windshield as he's driving, and in perfect synchronization the reflection of the airliner he was looking at passes across the windshield. Even more amazing was the shot from well up in the air, with the lead characters' car driving up the road, a train going up a track in parallel to them, and a hawk (or eagle?) hovering right in front of the camera and then diving off to the side -- and they got this shot right at "magic hour". In Hollywood CGI surely would have been used to coordinate this ballet of elements.

There were also many shots incorporating wonderfully poetic imagery. One of my favorites was the lead character staring into the reflective doors at the airport which close and reveal him to himself, standing there utterly alone.

One more comment -- another reviewer called the ending "predictable", but I'd have to disagree. I really didn't know where the movie would end up, and in fact it was portrayed so subtly that I had to rewind the final scene to be sure what had happened, and then go back and re-watch a prior scene that contained a seemingly throwaway line that bears on the ending.

I saw Kolya at the cinema during the film festival here in 1997, and recently rented the video so the rest of my family could see it. The ending may be rather predictable, but the characterization is just magic. Best scenes: Kolya's funeral for the puppet, and the lump-in-the-throat moment when Kolya tries to call his babushka in the bathtub. Give that kid another acting job! A beautiful film. Even if you don't generally watch subtitled films, this one's worth it. My family and I all agree--this is a 10/10 film. They don't come any better.

I am neither Czech nor European. I grew up appreciating the fine Czech cinema of Milos Forman, Jan Kadar and Jiri Menzel. While "Kolya" is refreshing compared to American standards, it lacks the maturity of say Kadar's "Lies my father told me" (Golden Globe winner for best foreign film in 1976) made in Canada—a film in English with a Czech heart and soul or Forman's "Loves of a blonde" (also about music and musicians).

Czech cinema gives a lot of importance to classical Western music. In "Kolya," the emphasis is on Dvorak's Biblical songs—"The Lord is my shepherd" being one. The film might not appear to be religious but interestingly many of Czech filmmakers seem to use religion without making it obvious. (In neighboring Poland, Kieslowski loved to do this to the extent that he made a series of 10 films called "Dekalog" linked to the Ten Commandments.) In the film the child inexplicably swears "Jesus Christ" in Russian. The underlying analogy of a child redeeming the life of wayward adults with no purpose in life is not a surprising turn for east European directors who couch religion in non-religious ambiance. Is it a coincidence that church steeples are visible from the windows and crosses are drawn by a child? As a film, this is at best a good Czech film--nothing more. There have been better Czech films unknown to American and West European audiences.

This is a variation on the theme of an older man whose emotional life is reawakened by his being thrust into unexpected parenting of a young child. Many have complained of the exploitation of such time-worn subject matter, but the worth of "Kolya" lies in the particulars of how its themes are developed. After all there are still good movies made about underdog sports teams prevailing, and even the exact same material (thinking Shakespeare here) can be made fresh through different productions.

The man in question here is Frantisek Louka, the place is the Czech Republic, and the time is 1988 (just prior to the "Velvet Revolution"). Financial constraints tempt Louka to enter into a bargain to marry a Russian woman so she can get Czech citizenship and, it turns out, escape to West Germany to be with her lover. This leaves Louka to care for the child "Kolya." One thing that makes this movie stand out is the quality of the acting by all involved. In particular Andrei Chalimon as the Russian child is very natural and will win your heart as he does Louka's. But it's a slow process.

Another thing that sets this off is the political backdrop. I knew about Russia's occupation of the Czech Republic after World War II and the non-violent overthrow of the Communist government in 1989, but that is about as far as my knowledge went. This movie portrays what it was like to live in that environment in a concrete way that a history book cannot. A lot of little scenes exemplify the underlying tensions, such as Louka's being expected to display both the Czech and Russian flags in his window, Louka's mother refusing to let some Russian soldiers in to wash their hands by lying about her having no water, and Louka's purposeful refusal to learn the Russian language. So, this movie provided a small increment in my knowledge of Czech history and that's better than nothing. How the political situation drives the action makes for a singularly interesting story.

The musical score that contains works by the Czech composers Dvořák, Suk, Fibich, and Smetana adds a special quality.

Don't be turned away from seeing this because it touches on familiar themes; it is a quality film with unique characteristics.

Kolya, they story was very simple, and has emotion in the right content. The characters didn't over play, the little boy was excellent, specially the scene where he talks in the bathtub to his his grandma over the phone was heart pounding. He was so matured for his age, only few come to my mind doing something like this. The locations was great, the way certain shorts were taken was absolutely beautiful. The music in the film is good, and i like the way the comedy was placed through the movie. I have to admit that i don't know the language, i managed it with the subtitle but still the movie was hilarious. I really kicked my self for not knowing more language to feel certain films like this.

It is 1988, and Czech bachelor Frantisek Louka is struggling to make ends meet. A talented cellist, his main source of employment is playing at the various crematoriums in Prague; though he'll do most work that comes his way. One day, a friend offers him the chance to earn a large amount of money through a sham marriage to a Russian lady, which would enable her- and her five-year-old son Kolya- to stay in Czechoslovakia. However, weeks after they are married, the woman uses her new citizenship to emigrate to West Germany, leaving Louka to look after a boy he barely knows.

A touching comic-drama, Jan Sverák's 'Kolya' tells a familiar tale; though tells it well. Rather like Takeshi Kitano's 'Kikujiro,' the film follows an unlikely father-figure who grows to love the ward in his charge, changing as a person as he does so. As Louka and Kolya become comfortable with one another, the narrative- written by Zdenek Sverák and based on an idea from Pavel Taussig- examines the importance of connection, detailing how one's life can be enriched by even the most unlikely of relationships.

A poignant character study, the film shows Louka's journey from a gruff, womanising cynic to someone with a greater appreciation for life- thanks to his experiences with Kolya. His time with the boy changes him for the better, and the film's bittersweet ending hints that he will never be the same. While not original on paper, the genuinely heartwarming story has a sardonic edge, while Sverák's screenplay abounds with thematic depth and irreverent, dry humour.

Additionally, the film can be seen as a reflection of the end of the Soviet occupation of Czechoslovakia, offering a nuanced critique of same, highlighting the tensions and ironies of the time. Most evidently, Louka's interactions with the Soviet bureaucratic system are emblematic of the inefficiencies and frustrations experienced by many Czechs under Soviet rule. His sham marriage to a Russian woman, and the subsequent responsibility of caring for her son, can be seen as a microcosm of the larger political dynamics at play. This relationship mirrors the complex, often strained interactions between Czechs and Russians during the occupation.

Moreover, the film poignantly portrays contextual conflicting attitudes towards Russians through its characters. For instance, Louka's initial reluctance to care for Kolya reflects a broader societal scepticism towards foreigners, particularly Russians, who were often viewed with suspicion and resentment at the time in occupied lands. Conversely, Louka's gradual transformation symbolizes a potential for reconciliation and understanding amidst political turmoil; paralleling his country's own path towards greater openness and eventual independence.

In addition, Vladimír Smutný's lush cinematography expertly captures Prague's beautiful melancholy, enhancing the narrative's depth and resonance. Smutný uses a rich colour palette and varied lighting to reflect the film's shifting moods. The muted tones and soft lighting in Louka's apartment convey a sense of isolation and mundanity, while the brighter, more vibrant scenes with Kolya highlight the boy's innocence and the joy he brings into his world. This visual contrast effectively underscores Louka's transformation throughout the film.

Smutný's cinematography also adeptly captures the essence of late 1980's Czechoslovakia, with a visual style reflecting the period's socio-political atmosphere. Many scenes subtly incorporate elements of Soviet influence and the impending change brought by the Velvet Revolution, which helps immerse one in the historical setting and reality of the narrative. Milos Kohout's art direction, as well as Katarina Hollá's costume design, only compounds this immersive realism, while Ondrej Soukup's stirring score drifts through the picture like a euphonious wind, heightening its emotional impact.

In addition to writing the screenplay, Zdenek Sverák stars as Louka, delivering a nuanced, grounded performance that is engaging and heartrending. His portrayal of Louka's transformation is subtle yet powerful, capturing the character's journey from cynic to father-figure astutely. Opposite him, Andrey Khalimon, as Kolya, lights up the screen, showing a natural acting ability, and the two work wonderfully together. Meanwhile, Libuse Safránková and Ondrej Vetchý excel in the supporting roles of Klara, one of Louka's girlfriends, and Broz, the friend whose actions get the narrative moving, respectively.

In short, though Jan Sverák's 'Kolya' tells a familiar tale, it tells it very well, and is memorable and moving both. Resonating on multiple levels, its narrative is engaging and its characters compelling. Boasting striking cinematography, as well as a fine score, it is routinely well-acted, especially by stars Zdenek Sverák and Andrey Khalimon. To put it simply, 'Kolya' is a bittersweet symphony that plucks at the heartstrings and plays all the right notes.

This movie had a lot of heart. We watch an aging womanizer learn how to be less selfish, and humor the idea of domestic life when he gets stuck with little cherubic Kolya. It doesn't have the sense of grandness or levity that I'd usually associate with an oscar winner but it was enjoyable nonetheless. Everything in this movie was pitch perfect, from the acting to the dialog. The kid was adorable! My favorite scene is Kolya with the escalator. I don't know much about that part of the world, and I am glad I got to learn a little bit about Czechoslovakia- even if it is through a movie. It was cool listening to their language too. At first, I was watching the DVD in French with English subtitles- until I noticed the words and mouth movements weren't matching up! woops.

Frankly speaking, this movie isn't bad at all. It has much more interesting moments than those pointless teenager movies released every summer. The cinematography is breathtaking. The image of Czech is so lively, so vivid. White cloud, red tree, green roof, I felt like a new born baby visiting colours for the first time. The score flow through the movie like a old man reading poems. The young Kolya did a fine job here. Most of the time he shows the nature of a kid, exploring the bitter world mess up by the grown-up with a sense of innocence. But there are a few scenes he is too self-conscious. e.g. The crying bath scene. Ya, we know he is just "acting".

What I don't buy is its formula. The formula to manipulate the audience, obviously imported from Hollywood. The sweet feel-good ending. The cute kid method. The shallow bashing of communism. The superficial life-changing experience. All of that made up a Hollywood movie with subtitle. Where goes the true understanding of human nature? Where is the deep, unbiased analysis of social system? Is that once the Wall is down, the people stop thinking?

Right, it got the best foreign movie from Academy. Maybe I am wrong from the beginning. The Academy (a.k.a the Hollywood family) choose best movie not by its greatness, but by the acceptance of US audience, by the coherence to Hollywood taste. Oh, nearly forgot, anything dark, need thinking isn't good for the awards, even for foreign movies. That's why they choose this instead of "Prison of Mountain". That's why they like "Life is beautiful". And don't like movies who dare to speak the truth, the core part of the truth, like "Underground". Compared to same year other domestic academy entries, Fargo, Sliding blade, Secret & lies, Shine, this movie is not even in the same level. Maybe choose this can make Hollywood crowd feel more superior?

If you want to see extraordinary kid performance, go to see the neorealism Iran movies. If you want to see the destruction on a family by the communist system, go to view To Live, Blue kite, The thief, and Underground. There is lot more to offer.

I watched this film last night on a open air cinema in Sundance and absolutely loved it!! The story is pretty simple and not very original, yet the film manages to be unique!! (it is very similar to the film Ponnette) But what I considered to be the best part of this movie was the little boy's performance. The kid is just the best kid actor I have seen in a long while. His acting not only is fabulous but REALLY touching and convincing.

I highly recommend this movie to anyone that wants to see a well made European movie that can make you laugh and cry at the same time.

Who knows what you will do when your back is against the wall? Survival makes you do some things that you would never try. In this case Louka (Zdenek Sverák), a confirmed bachelor, marries a Russian woman to get her Czech papers and to get him some money to buy a car and fix his house and pay some debts.

As soon as they marry, she heads to Germany. her son, Kolja (Andrei Chalimon), a little five-year-old, ends up with Louka, who soon finds that he is bonding with the boy.

It is a beautifully touching story with some outstanding performances by the two leads and Libuse Safránková as Klara.

It is fascinating that star and writer of the screenplay is also the father of the director. I cannot imagine how that worker, but I bet it was interesting at times.

"Kolya", an award winning Czech film set in Prague, is a sweet and sentimental story about a boy (the title character) and a male cellist who, through circumstance, becomes his guardian. Set against a backdrop of Czech countryside and the architecture of Prague, this well crafted and wistful tale is a worthwhile 100 minute watch for those in need of relief from the numbing excesses of Hollywood blockbusters. Potentially enjoyable by all, "Kolya" will be most appreciated by mature audiences, particularly those who favor European films.

I'm puzzled why Hollywood never attempted a remake of Kolya. While I was watching it I kept imagining Billy Bob Thornton in the role of Louka, the lead character of the film. In fact, Zdenek Sverák, the actor who plays Louka, actually resembles slightly the Hollywood actor.

All kidding aside, Kolya is actually pleasant viewing, the kind of sentimental middle-of-the-road, life-affirming fare that Hollywood seems to embrace when it comes time to pick out the Best Foreign Language Film nominees (See France's The Choir and Joyeux Noel as examples). This is not to denigrate its modest virtues, but really, this is the kind of film your grandmother would love.

Kolya is about a 55-year old confirmed bachelor who despite his age, can still score hot chicks half his age that look like they came from the pages of Playboy Czech Republic edition (probably not surprising since Sverák also wrote the screenplay of the movie). Denied a place in the national philharmonic orchestra for not being politically correct enough, he makes ends meet with a variety of odd jobs, including playing for cremations and restoring headstones. Still, Louka is heavily in debt, he needs a car and his mother is nagging him for money to repair the family house.

A gravedigger friend of his offers him the chance to make some serious money by entering into an arranged marriage with a Russian woman who wants to stay in Czechoslovakia longer. But the deal goes wrong when the "wife" defects to West Germany, leaving him in charge of little Kolya (played by cute but not too cute Andrei Chalimon), a kid he can't even talk to since he's not conversant in Russian.

One of the most notable things about this film is its subtlety. Unlike a Hollywood movie, it does not rely on too-obvious characterizations to show the transformation in Louka. In fact, Louka does not have that far to go in his character arc from commitment-phobic bachelor to potential family man material; he's not a mean man, he simply does not want the responsibility of taking care of a child, in the same way that he has avoided getting married to avoid commitment.

This subtlety extends to the ending, which follows its premise to its logical end. I won't tell you what happens, but you can probably figure it out. There are no big surprises at the end. But the filmmakers also allow for a happy ending for Louka, in a brief shot that you may miss if you blink.

My irreverence toward Kolya does not mean that I didn't like the film. It's pleasant enough viewing, not great but not bad either. Its probably most notable for the pitfalls it avoids, rather than what it actually achieves. Perhaps it's good that the film was never remade by Hollywood after all.

Kolya combines a big, pulsating heart with a wide range of visual creativity. It is touching, it will make you weep. But the tears that you shed aren't cheap. They don't flow from your eyes because of average schmaltz. This is a genuine masterpiece full of emotions, and Sverak has a fingerspitzen-gefühl that makes him a master filmmaker.

Strapped for cash, a Czech cellist enters into a fake marriage with a Russian woman but finds himself in charge of her little son after she emigrates to Germany. This Oscar winner for Best Foreign Film is a sweetly gentle movie that mainly focuses on the budding relationship between the 50-something man and the five-year-old boy. While it is predictable and runs out of steam about midway through, it does have an easy charm about it. Zdenek Sverak, the director's father, is quite believable as the life-long bachelor who has his life disrupted by the little visitor. Chalimon, who was only six at the time of filming, is adorable as the youngster.

Zdenek Sverak is one of best Czech directors and his movies belong to classical movies of Czech film archive and lots of his movies are connected to people brains and hearts very much. But those movies were written without any hidden purpose, just to make movie, and they were great (but with Czech humor and based on Czech mentality and history, it means the movies were not targeted on the international scene where they could not get much understanding). On the other hand, Kolja is movie made for commercial purpose for international scene, it is not Sverak's movie, but it is movie how Sverak expected people in US and western Europe would like to watch. It is too sweet and too heart breaking story. I do not have to see this movie again and I voted for it by number 6.

I feel sorry that all the reviews coming from Czech Republic are so negative. Yes, I also prefer some other movies from Svěrák, but meant for international success or not, I don't think he compromised his standards. The effort to make the movie more understandable for foreign audiences might have upset some film critics here, maybe even make some jealous with all the awards and positive responses it got.

I personally am in love with all work of Sverak. Humble approach and subtle humor are just genius. I think that performances of all actors in this movie are great and camera work and music is just enchanting.

So 10 points coming from Czech Republic.

Here's a well-worn movie formula. A man who is either socially withdrawn or recklessly womanising (our hero is somehow both) suddenly has a small child dumped on his doorstep. The child is in some contrived way "his" and thus can't be gotten rid of easily. Man at first dislikes child; then child effortlessly changes man's life. Cold heart becomes all warmed up by bundle of cuteness. Does the inside of your mouth feel sticky now?

It's worth bearing in mind that the above formula of this inexplicable Oscar-winner is the same one used in the Burt Reynolds turkey "Cop and a Half" and the recently released "The Game Plan", starring Dwayne "The Rock" Johnson. Quite an artistic pedigree.

The eponymous child in this film is actually an appalling dullard who almost never speaks and scarcely does anything interesting for the whole film. So it is a small mercy that a third of the movie is over before the boy makes his appearance (with an extreme close-up of his runny nose).

By the time I was into the final third of this film I found myself gazing around my living room in boredom. Soon I was fast-forwarding over every three minutes of footage. (Pity the poor cinema-goers who had no such advantage!) At every place I stopped nothing interesting was happening. The ending tries to inflate itself into importance by using the fall of Communism in Prague as a backdrop, a manoeuvre that's as objectionable as all the attempted viewer manipulation that preceded it.