NinadeL

(I’ve seen it a zillion times, also in the movie theater). Some people smile with happiness at Casablanca, others like to have a drink now and then at the 3rd World Festival of Youth and Students in 1951, which was attended by some 26,000 delegates from a total of 104 countries. Long live the students of Ethnography and their loved ones! Rozárka, I hope you will invite me to the wedding too. :D "We want peace!" "So do we!" After the 12th rerun, I have once again delved so deeply into the secrets of this film in which nothing happens that I feel blissful. Alena loves An Son-Chi and Pavel loves Alena, but the most possibilities are provided by his union with Mirek (he is a reliable boy, he thinks in terms of five-year plans). Lojza wants Rozárka, but she succumbs to the gossip of the villain Rudy, who is jealous of his unfaithful Ota. Ota is worried about Jan and Hanka is acting like a star, which is a bourgeois throw-back. And what did Věra have to say about it? Isn't she the main obstacle to Ota's love for Hanka and Rozárka's love for Lojza? Which is closer to Korea, Moscow or Prague? Were the creators of Crocodile Dundee inspired by this film? Or is finding love in a crowd just a classic metaphor? It's a good thing that the films belong to the people and that future generations won't be deprived of anything because I simply couldn't bear to see such injustice.

Jára Kohout's symbolic return to Czech cinema in the first year after the end of the Beneš measures in cinema was followed by his last role for a change in the second year after signing. Haha, we got what we wanted. Raise your keys up and kiss Czech cinema bye-bye. Hey!

Warum ist der Film ein Flickenteppich aus so vielen einzelnen Geschichten, die durch so viele Eselsbrücken miteinander verbunden sind, die auf der Basis einer Seifenoper funktionieren? Denn jede einzelne von ihnen ist so lahm, dass sie es nicht einmal zu Hallmark schaffen würden.

Als Kind war ich verzaubert. Aber heute glaube ich nicht, dass es die Perfektion selbst ist. Trotzdem steht uns auch das sowjetische Musical Meri Poppins, do svidanija! und das gleichnamige Broadway-Musical zum weiteren Studium zur Verfügung. Und ich spreche noch nicht einmal von der Fortsetzung vom letzten Jahr. Aber was wirklich interessant ist, ist die Selbstreflexion des ganzen Phänomens im Disney-Konzept - Saving Mr. Banks. Das ist nämlich eine größere Wissenschaft als es scheint. Pamela Lyndon Travers schrieb ihre Bücher über Mary von 1934 bis zum unglaublichen Jahr 1988, also ganze 54 Jahre lang.

Nach der Hälfte der Zeit dachte ich, die Krankenschwestern seien echte Huren. Oder Ben Affleck und Josh Hartnett auf einer Reise zum Verlust ihrer Unschuld, bei der die Ereignisse des 7. Dezember 1941 nur überflüssiges Füllwerk sind.

Ich würde das gerne noch einmal sehen, ob ich wie damals die damals für mich unverständliche Atmosphäre zu schätzen weiß, wo ich vielleicht nur eines verstanden habe - die Kontroverse der Lektüre von "Gefährliche Liebschaften" vor der Hochzeit :)

This fairy-tale-like historical drama in a completely different spirit follows the exceptional trips of Czech cinema to the Middle Ages. The first time it was in a nationalized film (prepared during the war) was in Rozina, the Love Child, in 1946 in The Adventurous Bachelor, and now Warriors of Faith and Alena. Miluše Zoubková actually starred in both films. However, I never particularly enjoyed the story with the rugged Vejražka and the bland main protagonist, whose performance and charm were outdone by the main assets of the project, i.e., the set and costumes by architect Štěpán Kopecký and designer Josef Matěj Gottlieb.

Könnte es Karel gewesen sein, der Linkers den Weg nach Prag gezeigt hat? Alles ist möglich. Sicher ist jedoch, dass Winterkomödien mit Zirkusnummern Lamačs Stärke waren, und deshalb bin ich erwartungsgemäß mit einem weiteren Mosaiksteinchen seiner Regiearbeit im In- und Ausland zufrieden.

Alfréd Radok's Distant Journey is a unique film. I only ever watch it on the big screen and it is regularly accompanied by various commentaries and it is fully respected. However, I personally don't love the combinatorics of serial documentary footage and Triumph of the Will (1935), which is much more specific in its images and it is not very appropriate to handle Leni Riefenstahl's work, which has its own story. I'm also not too keen on the pairing of scenes told in film and theater language in regular contrasts. I am also regularly amazed at the union of Blanka Waleská and Otomar Krejči. I really would have appreciated the suppression of the cheaply-caricatured characters of Kreuzmann, Svoboda, the gossipy Balek-Brodská, Vojtová, and Májová, as well the then-teenagers Kopecký and Effa. On the other hand, I fully respect certain performances, particularly of Zdeňka Baldová, Eduard Kohout, and Jiří Plachý. I also appreciate the realism of the Terezín scenes, but the artificial elements, such as the hanging piano and the spiral staircase, are a significant shadow on the film. I found most impressive the preparation for the visit by the Red Cross to the sounds of the rehearsal of the Brundibár children's opera. Was it really necessary to waste so much on formal stylization, to mix narrative film with documentary, film with theater, and to punctuate raw reality with props? The Holocaust is the most tragic event in human history, so a merely raw interpretation without ribbons on the sides would have been much better.

The combination of Poláček, Vávra, and Gruss is simply not ideal to remind me of the classic era of Czechoslovak cinema. However, in 1948 the Czechs were already in the third year of working in the state, and with each passing year, it only got worse. Moreover, this is situated in a strange timelessness, where the alleged year 1925 is associated in places with the pure present, and at other times with the forgotten times of the Austro-Hungarian monarchy. The interplay between Hrušínský and Beneš has its better moments, but it is desperately drowned in the completely uncoordinated surroundings, and the film doesn’t know whether it is a comedy, a drama, or perhaps a tragedy.