In 1967 Miloš Forman completed The Firemen's Ball, an apparently simple, naturalistic color comedy about a small-town firemen’s fundraiser. Film scholars — and, crucially, Czechoslovak officials — read the picture as a devastatingly satirical portrait of moribund Communist bureaucracy. The picture premiered during the brief liberalizing breeze of the Prague Spring, but its fate turned with the Soviet-led Warsaw Pact invasion of August 1968. Forman was out of the country at the time, in Paris negotiating his first U.S. production (Taking Off, 1971). In the invasion’s aftermath the authorities moved quickly: the government banned The Firemen's Ball, and Forman’s Czech employer fired him, officially on the pretext that he was abroad “illegally.” That dismissal effectively severed his professional ties at home and left him with little choice but permanent emigration to New York.
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