Everyone knows the Czech Republic is the beer capital of the world, but as I discovered for my latest Frolic Afield to Alcohol Professor, the way bars and restaurants contract with breweries means you often can only get one type … Continue reading Alcohol Professor: Czech Craft Beer & the Prague Beer Museum
Recently, we posted a look at the films of Czech animator and filmmaker Karel Zeman. Since basically every frame of each of his films is an … Continue reading Karel Zeman Galleries
If you took special effects film pioneer Georges Melies and combined him with stop motion animation genius Ray Harryhausen and surreal fantasist Terry Gilliam, then taught him to speak Czech, you’d have a film maker very close to Karel Zeman. … Continue reading The Fabulous World of Karel Zeman
Nestled with irony between a McDonald’s and a casino is Prague’s Museum of Communism (only the KGB Museum has a more deliciously ironic location, next door … Continue reading Prague Museum of Communism
If Prague’s Museum of Medieval Torture Instruments proves a little too well-behaved and respectable for you, then perhaps you should switch gears a little bit and … Continue reading Mysteria Pragensia
I think every city of even modest size in Europe has at least one museum dedicated to the cruel and imaginative ways Europeans tortured one another … Continue reading Prague Museum of Medieval Torture Instruments
One of the things I love about these Eastern Bloc science fiction films from the early 60s is the air of moment that hangs around them. Unlike American sci-fi films of the era, which were more often than not throwaway drive-in fare, these movies were a major undertaking for the countries that produced them, and were not only intended to be an expression of national pride, but also a source of it. Of course, you wouldn’t know that from the versions of them that eventually made it to theater screens here in the U.S. Radically edited to eliminate all evidence of their communist origins and frequently retaining little of their original footage beyond their special effects sequences, such films became the building blocks for cut-rate titles such as Roger Corman’s Voyage to the Prehistoric Planet and Voyage to the Planet of Prehistoric Women (both fashioned from the Russian Planeta Bur) and Crown International’s retooling of East Germany’s The Silent Star, First Spaceship on Venus.