Special Effects in Miloš Macourek’s Films Revealed by Their Creator Boris Masník
31. May 2026
Today, a few clicks on a computer are all it takes. But when series like Arabela or The Flying Cestmír (Létající Čestmír) were being made, filmmakers had to find entirely different ways to manage. Boris Masník, the creator behind these effects, came to Zlín to share how special effects were crafted in the era before digital technology.
The artist and master of cinematic special effects returned to the festival this year as part of a commemoration marking what would have been the 100th birthday of screenwriter Miloš Macourek. Using Macourek’s films and series as prime examples, Masník demonstrated just how demanding the work of special effects creators was at a time when computers were not yet a part of film studios.
Back then, we would shoot it, put it together, but we wouldn’t see the final result until maybe three days later. When it worked out, the joy was immense. But the preparation was also enormous. No computers—just saws, measuring tapes, and hammers,
he recalled.
He guided the audience through a variety of tricks that viewers today often do not even notice. For instance, he explained the principle of the mirror effect, which allowed Libuše Šafránková to crawl through plumbing via a washbasin in the movie How to Drown Dr. Mracek (Jak utopit dr. Mráčka aneb Konec vodníků v Čechách). The same method helped create the iconic scene in The Girl on a Broomstick (Dívka na koštěti), where Jan Kraus’s head rests on a nightstand.
The topic of flying was also discussed. If you recall Arabela's magic ring or the flying scenes from The Flying Cestmír, their creation required hours of preparation and technical problem-solving.
Masník introduced other techniques as well, from matte painting to front projection, noting that the work of special effects creators has always been somewhat of a battle of wits with the audience.
The viewer is always incredibly curious and wants to catch the effects artist out.
And that is perhaps precisely why these old-school movie tricks still work today. They were born in workshops and on set, where every single effect had to be conceptualized, physically built, and tested first.
Throughout his career, Boris Masník has contributed to numerous other films and series. He returns to the Zlín Film Festival regularly, and last year, he received the Golden Slipper award for his outstanding contribution to world cinema for children and youth.