Helena Růžičková, a celebrated Czech comedian known for her warmth and talent, captivated audiences for decades. Though, behind the camera, a different story unfolded. While her on-screen persona radiated cordiality, some colleagues, particularly those without formal acting training, experienced a colder side of her personality. This was especially true for Marie Pilátová, an amateur actress who starred alongside Růžičková in the “Sun, Hay” trilogy.

The tension between the two women reached a boiling point during the filming of the second installment, resulting in what Pilátová described as “an unpleasant incident.”

From Farm to Film: Pilátová’s Unexpected Journey

Marie Pilátová’s path to the silver screen was far from typical. Unlike her professional counterparts, she never harbored aspirations of becoming an actress. She was, as described, “an ordinary woman from Hoštice in South Bohemia,” a village that would later become synonymous with the “sun, Hay” films. Pilátová spent her life working on a local farm and participating in amateur theater productions.

Her unexpected break came when director Zdeněk Troška sought authentic faces to populate his comedy about rural life.Pilátová’s natural charm and unassuming demeanor caught his eye, landing her the role of Konopníková. While the role brought her recognition, Pilátová later admitted that she remembered the experience “with mixed feelings,” particularly her interactions with the professional actresses on set.

“Male where better than female. The female was elevated over us. You yeah but male no,” Marie Pilátová confided to journalists, reflecting on the atmosphere during filming. While she shared important screen time with Helena Růžičková, their relationship remained distant and strained.

the Divide: Professionals vs. Amateurs

The “Sun, Hay” trilogy not only propelled director Troška to fame but also transformed the South Bohemian village of Hoštice into a popular tourist destination. For the villagers, the film shoots provided a welcome change from their daily routines and an chance to supplement their income. Extras earned 140 crowns per day, which, at the time, was a considerable sum. As one of the main supporting actresses, Marie Pilátová earned even more, receiving 1,800 CZK for the first film, 2,000 CZK for the second, and 7,200 CZK for the third, filmed after the Velvet Revolution.

However, Pilátová’s memories of the experience weren’t entirely positive.”In several interviews she openly admitted that Helena Růžičková practically ignored her on the set.” Pilátová expressed disappointment when asked about their relationship, noting that the established actress kept her distance and didn’t engage much with the local amateur actors.

The disparity between the two actresses was stark.Růžičková was “already one of the acclaimed film stars with rich experience,” while “Pilate was just a simple woman from a village who had never stood in front of the camera.” This contrast, according to observers, inevitably influenced their interactions.

The Slap: A Moment of Truth

The already tense relationship between Růžičková and Pilátová reached a critical point during the filming of a scene in “Sun, Hay and a Few Hairs.” The scene, a mass brawl in front of a castle, required physical interaction between the actresses. According to Pilátová, Helena Růžičková delivered a slap so forceful that it snapped her head around.”She glued my head to my head. She said that when she played she didn’t feel,” Marie Pilátová revealed. Růžičková’s response, “When I slap, they really beat the ox,” did little to clarify whether the slap was intentional or accidental.

Theories and Reflections

The exact reasons behind the strained relationship between Helena Růžičková and Marie Pilátová remain speculative. Some suggest that “the cold approach of the famous actress could become her private affliction and personal worries,” which she unwittingly projected onto those around her. Others point to the inherent power dynamics between established professionals and inexperienced amateurs in the entertainment industry.

Marie Pilátová, despite the challenges, maintained a positive outlook. She was a devoted mother to her two daughters and remained active and optimistic throughout her life. “Despite all the difficulties and tension Marie Pilátová experienced during the filming, the role of Konopníková brought her the popularity and admiration of the audience.”

In Hollywood, similar tensions have surfaced. Such as, during the filming of “Some Like It Hot,” Marilyn Monroe’s erratic behaviour and lack of preparation frustrated co-stars Tony curtis and Jack Lemmon, leading to on-set clashes and delays.Though, such conflicts are not always detrimental. As Robert McKee notes in *Story*,friction between characters,and by extension,actors,can sometimes enhance the realism and emotional depth of a performance.

FAQ: Behind-the-Scenes of “Sun, Hay”

Could On-Set Tensions Affect Performance?

While the article highlights the tension between the two actresses, it’s vital to consider whether such conflict could actually improve performance. One could argue that real-life animosity might translate into more authentic and compelling portrayals of their characters’ on-screen rivalry. However, this is a double-edged sword. While some actors can channel negative emotions into their work, others may find it detrimental, leading to distractions, decreased focus, and ultimately, a less convincing performance.The ideal scenario, of course, is a collaborative and supportive environment where actors can explore their characters without personal conflicts interfering with their craft.