Critic Consensus: Stylistically anarchic and spiritedly played, Daisies is a liberating rebuke of polite society that will bring the rebel out of viewers who are up for the freewheeling ride.
Critic Reviews for Daisies
Chytilova understands the feminine decorum expected of women in Czech society, and she undermines it at every turn... Irrespective of the film's political specifics, it's this rebellious spirit that feels so fresh.
Brace yourself for some of the most exuberant and disjunctive Pop Art imagery ever put onscreen, including scenes in which the scissors-happy hedonists shred not only objects and each other but the movie itself.
One of the great outpourings of cinematic invention in an age of over-all artistic liberation.
Audience Reviews for Daisies
It is no surprise that this cheeky, daring and visually stylized film (which has no defined plot) was banned in Czechoslovakia upon its release, since it is centered on two anarchic, unruly teenage girls who do whatever comes to their mind, not what any man (or society) wants.
Two living dolls decide the world is spoiled and so they will be too, leading to nonlinear slapstick adventures drinking, feasting and searching for a sugar daddy. Psychedelic, surreal, silly, sexy; so much absurd hedonistic fun that it was banned by the Czech censors.
Made in 1966 Czechoslovakia, director Vera Chytilová's surrealist "Daisies" was banned by the Czechoslovakian government soon after it's release. Not that it was so unusual for the soviet Czech government to ban films, but looking back now, it's hard to understand what their specific beef was. Granted, there are no overt proletarian ovations to be found here, but nor is it some sort of secret capitalist conspiracy. Inspired by the French new wave, it could most closely be considered some sort of nihilistic farce, but even that might be too specific a classification for a film so mysteriously vague. Daisies defies categorization as such. It seems to stem directly from the id of it's director, who doesn't so much explain things as she does allow them to happen. As abstract as whatever the story might be, the filmmaking process is hyper-detailed. Scenes of apparent little consequence are crafted with such fine attention to the miniscule minutiae of background scenery. It could almost be considered obsessive-compulsive the amount of effort put into the "fine print" details. The film arbitrarily switches from black-and-white to various "strip" shades of color; images are filmed through various lenses, in effect, demonstrating great proficiency in the technological art of film craft. It would be almost impossible to deny there is an art to the madness happening on the screen. But what of the "story"? Well, two bored girls eat a lot, then pursue various older men for the purpose of somehow toying with their hearts. They sometimes go to visit a motherly figure who lives in a woman's public restroom and sings all her dialogue to them about how lovely and young they are. Finally, they stumble upon a large, empty banquet room where a feast has been laid out and is unattended. They help themselves to the food and destroy everything in the process. "Why", you ask? I cannot say with any certainty. This is a film of the subconscious, there's no rhyme or reason, save whatever the filmmaker was feeling at the time. It's up to the individual viewer to determine what the film actually means. All I can say with certainty is, the film gives us a look into the gently mischievous moments of youth.
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