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Criticismofthesystemtendedtobeobliquepriorto1968,whenthereformCommunismofthePragueSpringeffectivelyabolishedcensorshipbutcontinuedtofunditsfilmmakers.Nonetheless,thereweresomepowerfulworksevenbeforethis.Adirectoroftheoldergeneration,LadislavHelge(b.1927),madesomestronginternalcriticismswithhisfilmSkolaotcu(SchoolforFathers,1957),aboutateacherfightingabattleagainsthypocrisymaskedbyideologicalcorrectness.<br/> SkolaOtcuisaninterestingexampleofCzechcinemaduringthepost-Stalinistthaw.HogerplaysareformistschoolteacherwhoarrivesinaCzechbordertowntoinstillsomestandards.Here,remarkably,isanindividualstandingupagainstthecollective.EventheclassbratistheheadofthePioneers.Moreneorealismthansocialrealism(there'sevenabicyclethief),directorLadislavHelge'ssmall,quietfilmalsoseemstohaveservedassomeinspirationforBohdanSlama'srecentVenkovskyucitel.<br/> TheCzechandSlovakNewWavesundoubtedlycontributedtothepoliticalreformmovementofthe1960s,andformedpartofthePragueSpringattemptstocombinedemocracyandSocialism—ineffect,glasnosttwentyyearsbeforeSovietleaderMikhailGorbachevinitiatedthereformsthatledtotheendoftheColdWar.TheWarsawPactinvasionandsuppressionoftheseearlierreformsled,perhapsinevitably,tothebanningofwriters,artists,andfilmmakers.Over100filmswerebanned,andForman,Passer,Kadar,Weiss,Jasny,Nemec,andBarabaswentintoexile.Helge,Schorm,andJuracekfoundtheirfilmcareersatanendwhileotherswereforcedintocompromiseswiththeregime.
