NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Second Run Blu-ray (September 2025): Second Run have transferred Václav Vorlícek's Who Wants to Kill Jessie? to Blu-ray. It is cited as a "presented from a new HD transfer by the Czech National Film Archive". It delivers a visually impressive restoration that enhances its black-and-white Cinemascope aesthetic. The 1080P image is sharp and clean, showcasing Jan Němeček’s dynamic cinematography with crisp detail in both the stylized Prague settings and the innovative comic book effects, such as animated speech bubbles and cartoonish action sequences. Contrast levels are well-balanced, preserving the film’s pop-art vibrancy while maintaining depth in darker scenes, though minor source-related imperfections, like occasional scratches, persist due to the age of the materials. Though limited by its mid-1960s budget, the film’s visual ingenuity, particularly in sequences like the flying car chase or courtroom farce, anticipates later hybrids like Who Framed Roger Rabbit?, earning praise for its “terrifically entertaining” and “mind-boggling” creativity despite occasional technical roughness. The Blu-ray result though is a stellar presentation of a cult classic, offering a high-quality HD transfer that revitalizes its innovative visuals. Whimsical fun.

NOTE: We have added 54 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-ray, Second Run use a linear PCM dual-mono track (24-bit) in the original Czech language. It offers a a clean and functional soundscape that complements the film’s whimsical tone. Svatopluk Havelka’s (The Cassandra Cat, The Ear, All My Good Countrymen) jaunty score, with its jazz-inflected and cartoonish motifs, comes through clearly, enhancing the comedic and fantastical sequences without distortion. Sound effects, such as the exaggerated “boings” and “whooshes” that mimic comic strip action, are well-integrated. The score’s light-hearted, almost mischievous quality propels scenes like the anti-gravity sequences and villain pursuits, maintaining a brisk pace while adding emotional texture to quieter moments, such as Beránek’s exasperated reactions. The uncompressed transfer makes it a cohesive sensory experience that complements Vorlíček’s vision of a world where imagination disrupts order. Second Run offer optional English subtitles on their Region FREE Blu-ray.

The Second Run Blu-ray is enriched with a robust selection of extras that deepen appreciation for Who Wants to Kill Jessie? and its place in Czech cinema. The Projection Booth audio commentary, featuring film historians Mike White, Jim Laczkowski, and Jonathan Owen (Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties,) provides an engaging and informative discussion, blending analysis of the film’s themes, production context, and its influence on later genre hybrids. Michael Brooke’s 3/4 hour video essay, “Crazy Czech Comedies,” is a highlight, offering an entertaining and scholarly overview of the subgenre, referencing related works like Tomorrow I’ll Wake Up and Scald Myself with Tea and situating the film within the Czechoslovak New Wave. The inclusion of Vorlíček’s early short Directive (shy of 24 minutes) adds historical value, showcasing his comedic roots in a wry satire of state interference. A booklet with new writing by Jonathan Owen further enriches the package with expert insights into the film’s cultural and political significance, making the extras both comprehensive and rewarding for cinephiles.

Václav Vorlícek's Who Wants to Kill Jessie? stands as a pioneering blend of pop-art aesthetics, slapstick humor, and satirical commentary on communist-era bureaucracy and scientific hubris. Written by Vorlíček (The End of Agent W4C) in collaboration with Miloš Macourek (Tomorrow I'll Wake Up and Scald Myself with Tea,) the film was produced by Filmové studio Barrandov during the Czechoslovak New Wave, a period of relative creative freedom before the 1968 Prague Spring crackdown. Starring Jiří Sovák (When the Cat Comes) as the beleaguered inventor Professor Beránek, Dana Medřická (Return of the Prodigal Son) as his ambitious wife Dr. Růžena Beránková, and Olga Schoberová (Adele Has Not Had Supper Yet, Lemonade Joe, Hammer’s The Vengeance of She) as the titular Jessie, the movie draws inspiration from American comic strips like Superman and Flash Gordon, while infusing them with Eastern European absurdism. Shot in striking black-and-white Cinemascope by cinematographer Jan Němeček (Black Peter,) it features innovative visual effects for its time, including animated speech bubbles and cartoon physics manifesting in the real world. Its legacy lies in its whimsical yet pointed critique of authoritarianism, wrapped in a chaotic farce that explores the collision between fantasy and reality. Olga Schoberová's Jessie is a voluptuous, silent bombshell (her dialogue limited to speech bubbles), channeling Jayne Mansfield-esque glamour with superhuman prowess; though objectified for comedic effect, she subverts expectations by outsmarting her male pursuers and authorities alike. Vorlíček's direction infuses the film with kinetic energy, drawing from silent comedy traditions like the Keystone Kops and 1960s pop culture phenomena such as the Batman TV series, resulting in a fast-paced farce that cleverly integrates live-action with animation. Second Run’s Blu-ray release of Who Wants to Kill Jessie? is a stellar presentation of a cult classic, offering a high-quality HD transfer that revitalizes its innovative visuals, a solid mono audio track that supports its whimsical tone, and a thoughtful array of extras that provide deep context and historical insight. The restoration, sourced from the Czech National Film Archive, ensures the film’s pop-art aesthetic and comic book effects shine, while the inclusion of Directive and scholarly supplements make this a definitive package for fans of Czech cinema and genre experimentation. It's strongly recommended for its faithful preservation of Vorlíček’s anarchic gem and its celebration of the “crazy Czech comedy” tradition, earning high praise for its quality and cultural significance. 

Gary Tooze