Ivan Passer

For television he directed the biopic "Stalin" in 1992. Passer taught film at the University of Southern California, and lectured students in foreign film academies.

Star Barbra Streisand wanted Passer to direct Yentl (1983) with her in the leading role, but after reading the screenplay he declined, because he thought Streisand was too old and too famous for the part. Passer also thought the story was too unrealistic and told her, that audiences traditionally never accepted women masquerading as men in movies, reminding her of Katharine Hepburn's disastrous Christopher Strong (1933). While all of Passer's arguments were convincing, Streisand continued to develop the project and would later direct herself. Ironically, it became a big hit. [from: "Barbra Streisand: A Biography" by Ann Edwards].

"However, he made some worthy movies, such as his American debut "Born to Win" (1971), a complex portrait of a heroin-addict hairdresser; his satire on civil surveillance, "Law and Disorder" (1974); the comedy about money-laundering bankers "Silver Bears" (1977), and the cult film "Cutter's Way" (1981), in which a war veteran investigates a crime, despite he only has one eye, one arm and one leg.

But the social pressures and political unrest in Czechoslovakia, which culminated in 1968 with the Soviet invasion, led him into exile the following year. However, in the United States he did not achieve the notoriety of Forman, who received the best proposals, while he rejected offers that did not convince him: for example, he refused to make "Yentl" for a number of reasons, including his conviction that Barbra Streisand was too old and famous for the role, in opposition to other key performers as Mandy Patinkin and Amy Irving. Likewise, he refused to make films with elements of violence, which he always opposed. During World War II he had been directly exposed to violence, and he believed that it was dangerous to represent it in films: violence, he said, affects "some people who are not able to realize the difference between reality and fantasy.

In 1965 Passer made a remarkable first feature, the beautiful "Intimate Lighting", a film of impressionist inspiration that immediately established his name as a promising new director.

Passer was not only the author of the scenarios of his own films, but he also worked on the scripts of the first four motion pictures made by his countryman, friend and colleague Milos Forman: "Konkurs" (1963), "Black Petr" ( 1964), "Loves of a Blonde" (1965) and "The Firemen's Ball" (1967). The grandson of a silent movie screenwriter and son of a Jewish couple persecuted by the Nazis, Ivan was a rebel boy, sent to a boarding school where he became friends with Milos. Together they went to study cinema at the FAMU film school in Prague, but young Ivan was eventually expelled from the academy. By then he had acquired skills in movie-making, some experience and had key friends, such as cinematographer Miroslav Ondricek. With Forman and other friends, they made their first movies.

Ivan Passer was one of the key authors of the "new wave" of Czech cinema, a group of young people who forged an energetic and transgressive film movement in the 1960s, breaking away from the precepts of hard socialist realism.