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Passer’s own “Intimate Lighting,” as well as his exquisite short, “A Boring Afternoon,” were also New Wave triumphs, both winning international awards and launching his career as a director. Passer was co-writer, assistant director or both on all of Forman’s Czech films, including the commercial and festival hits “Loves of a Blonde” and “The Firemen’s Ball,” both Academy Award nominees. Leading the revolt was Forman, and Passer was his chief ally. At a time when, in writer Josef Skvorecky’s words, “Czech audiences laughed at the dramas and slept through the comedies,” the New Wave shattered conventions and introduced Czechoslovak cinema to the world. The two later attended the Prague Film Academy, which in the late 1950s and early 1960s became the incubator of the Czech New Wave. Passer and Forman struck up a friendship that would shape and transform their lives. His classmates included an extraordinary roster of rebels and future luminaries, including playwright, dissident and Czech President Vaclav Havel - and a notable group of future filmmakers, among them Polish director Jerzy Skolimowski and animated-film creator Paul Fierlinger.Īnother was a big kid of high intelligence with a fiercely competitive streak, named Milos Forman.
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Young Ivan, who’d been tramping the countryside with his hunting dog and Russian army rifle for much of the war, afterward was sent to the King George boarding school, housed in a 13th-century castle in the spa town of Podebrady, east of Prague. Passer told a story - characteristically tragicomic - his mother had told him about how the group, pushed to the brink of starvation, discussed whom they might eat first, and deemed her the best prospective meal. He was separated from his parents during World War II - the Nazis sent his father to a labor camp and pursued his mother and other Slovak separatists into the mountains. “Intimate Lighting,” in particular - a story of minimal plot about two musician friends visiting in the Bohemian countryside - recalls the Japanese master Yasujiro Ozu, a Passer favorite, though suffused with Czech-flavored humor.Ī longtime Los Angeles-area resident and former USC film professor, Passer was born in Prague on July 10, 1933.
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Quotidian human foibles and struggle against corrupt forces are constant themes, with a focus on a quiet integrity and dogged humanity that often lie hidden.
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His movies are a study in the “invisible camera” approach to filmmaking - a subtle observing presence that reflected the director’s own aversion to unnecessary attention.
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Over half a century in two countries, with vastly different cultures and filmmaking languages, Passer directed a steady series of much-admired and often underappreciated films of economy, fidelity, humor and subtle beauty, among them “Cutter’s Way,” “Stalin,” “Haunted Summer” and “Born to Win.” Together they defected from Czechoslovakia after the Soviet invasion, and both went on to celebrated careers in America. The story of the film’s genesis, and his telling, is quintessential Passer: an unassuming, even reluctant filmmaker of uncommon talent, a generous spirit and a superb storyteller.Īlongside his boyhood friend, two-time Oscar-winning director Milos Forman, Passer, recently profiled in The Times, was one of the pioneers of the Czech New Wave movement of the 1960s. The resulting movie, 1965’s “Intimate Lighting,” is regarded as Passer’s masterpiece and one of the high marks in Czech cinema. Passer hadn’t so much as read the treatment, but he, Sasek and another writer hammered out a script.
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A few months later, the studio called for an update on the film he was directing.