For many Czech families, no Christmas Eve is complete without tuning in to the annual fairytale, or pohádka, broadcast by Czech Television. This year’s offering, “The mystery of the Haunted Castle,” premiered on December 25th amidst high expectations and the challenge of living up to decades of beloved classics. The film, starring Sofie Anna Švehlíková and Oskar Hes, represents a deliberate shift away from recent attempts to modernize the genre, opting rather for a more traditional approach to storytelling.
Czech Television’s annual Christmas fairytale is a holiday tradition, but also a frequent topic of debate among viewers. For years, the network has faced the challenge of creating new stories that can compete with beloved classics like “Three Wishes for Cinderella,” “The Proud Princess,” and “The Extremely Sad Princess,” which evoke a strong sense of nostalgia for adult audiences.
While replicating the poetic charm of those films is impossible, recent attempts to subvert the tropes of the Czech fairytale genre haven’t resonated with audiences. For many families, watching a Christmas fairytale is as essential to the holiday evening as frying carp or opening presents under the tree. They want to see stories that build on tradition and offer a familiar comfort.
Creating a Christmas fairytale is a difficult task. Some viewers will find the princess not beautiful enough, others the prince too effeminate. Still others may object to contemporary progressive trends being incorporated into a well-established genre, particularly those emphasizing the empowerment of female characters.
Two Heads Are Better Than One
This year’s film, “The Mystery of the Haunted Castle,” doesn’t take any such risks. Instead, it carefully follows a path that respects the conventions of the genre. This approach is reflected in the film’s straightforward message, which, according to director Ivo Macharáček, reminds us that “every problem is easier to solve when you’re not alone.”
The story unfolds at Strašperk Castle, where “haunted tours for the brave” are held. During these tours, paintings fall from the walls, chandeliers swing, and a headless knight wanders among the visitors. It soon becomes clear that all these attractions are staged by Princess Elvíra, played by Sofie Anna Švehlíková, the 19-year-old daughter of actors Jitka Schneiderová and David Švehlík, in an effort to boost the royal budget.
Prince Armin, portrayed by Oskar Hes, is unaware of the deception. He’s been searching for magical creatures since a childhood experience, determined to prove their existence. However, upon arriving at Strašperk, people begin to disappear from the castle. Elvíra and Armin then team up to uncover the truth behind these strange events.
Not Scary, But Not Thrilling Either
Despite its name, the Christmas Day premiere isn’t particularly mysterious or frightening. The butler, played by Jaromír Dulava, greets castle visitors with the words “Don’t be afraid, you will be scared,” but viewers likely won’t find much to fear.
Ivo Macharáček, who directed the successful holiday fairytale “The Secret of the Old Bambitka” in 2011 and its less successful sequel a decade later, has packaged the new story in a neat, colorful, and occasionally slightly comedic way. This is a missed opportunity, as today’s schoolchildren, who devour fantasy stories, could likely handle a bit more darkness even on Christmas Day. The enduring popularity of fairytales speaks to a continued appetite for fantastical storytelling.
The narrative unfolds at a leisurely pace, and doesn’t pick up speed even in the second half, despite a few potentially dramatic situations. These scenes lack tension, however, because it’s clear from the start who is behind the intrigue. While some previous fairytales have been criticized for convoluted plots, this one is straightforward, and perhaps too predictable for the genre.
“The Mystery of the Haunted Castle” lacks not only mystery but also a more compelling character. Princess Elvíra’s governess, Hortenzie, played by Jana Plodková, could have been a more significant figure with further development. She and the rest of the cast generally avoid overacting, with the exception of Jiří Mádl, whose exaggerated expressions as the villainous minister recall a common flaw in Czech fairytales, where evil is often more grotesque than genuinely threatening.
The Prince Saves the Princess, as Usual
Screenwriter Tomáš Syrovátka occasionally attempts to include references to current events, but these feel disruptive. Children are unlikely to understand their meaning, such as when the minister irritably mutters about “gross domestic product growth.”
“Emancipatory” elements are suppressed this time around. The main characters fulfill their traditional roles, with the prince rescuing the princess. While Elvíra organizes the haunted tours, she only actively participates in one fencing duel, which serves more as a backdrop for a mutual declaration of love. In 90 minutes, it’s the only real action scene, and even its choreography is somewhat lackluster.
There are also a few inconsistencies. Although the existence of the headless knight—like the other spooky occurrences during the tours—is a hoax, the young man portraying him continues to wear armor and carry his helmet even when he’s “off duty.” When the king disappears from the balcony, Elvíra doesn’t find his crown at the scene of the crime, but in a nearby castle room. These are minor details, but they weaken the logic of the story.
Although the film, a Czech-Slovak-German co-production, was shot in the attractive settings of Chyše and Dobříš castles, it feels too “television-like.” This is partly due to the less-than-impressive digital effects. Fortunately, there aren’t many of them.
This year’s Christmas fairytale is unlikely to upset viewers, but it won’t surprise them either. It’s more likely to be forgotten, and a repeat showing during prime time over the Christmas holidays in the following years seems unlikely.
