NinadeL

In this film, Vlasta once again showed herself as the Czech Zarah Leander. She also goes by the stage name Erna di Garmo. Other than that, I appreciate the various collection of marginalia, such as the mention of John Gay's "Beggar's Opera," but I'm a little annoyed at how 1948 captures 1928 - but it still looks like Art Nouveau. "Gentlemen, your knowledge of the dramatic arts really amazes me. I agree with you."

A brisk revue built on nonsense, comparable to Smoljak/Svěrák films. Today it is mainly a memory of the joint energy of the comedians Šimek, Sobota, Nárožný, and Krampol. There have been many television programs and theater or audio recordings of this, but only one major film.

Sure, the basic elements of the film are good to excellent, but the purely contemporary faces, hairstyles, make-up, and costumes of a good half of the cast unfortunately, reduce this project to a period average. If we want to deal with the past, it is necessary to convince the viewer of the time in which the story takes place, and not to make the excuse that a few non-actors as decor is enough.

I'm afraid that with each new rerun, Rozina, the Love Child is becoming a worse and worse film. The characters are just empty templates without the slightest development, the would-be lavish set design is really just a single appealing space, and the costumes that are truly interesting are minimal. Glázrová, Boháč, Štěpánek, Pivec, and Kreuzmann drown in absurd scenes. Or in other words, the "normal" circumstances no longer offered even the so-called timelessness of the Protectorate, but everything worked only to keep the filming going for a long time and with as large an ensemble as possible. From a human point of view, it was a sympathetic step, while from an artistic point of view, it failed. Repeating the rear projection with the river motif was not a good idea either, but what I really can't get past is the naive portrayal of the "Italians" and the fact that Rozina didn't have a bloodstain on her dress after being shot. If I assume that the ill-advised editing had an impact on the final film, I believe that there was some hope for this to be a really interesting historical drama. If we could also have learned more about the motivations of the characters, then that would be ideal. Unexpectedly, when I take the whole thing into consideration, only Vášová in a supporting role comes out positive for me.

Pioneer baskets and red chalk for the revolution. Yeah, I love it. "I don't have to be a student, I already know almost everything. I can count to ten and I can write E and A." "So, kids, should we applaud Lidka? It's obvious she reads at home. Olda doesn't." "Anička gets a star for doing her homework beautifully and for reconciling with Lidka. Paul finally got his basket, let's give him a round of applause." You can enjoy a trip with this film. In addition to the brilliant performances of the children, there are also heart-stopping performances by Hrušínský, Slunéčková, and Fiala. Bohdalová's teacher is a variation of her previous teacher in School of Fathers, but she played this one with extreme gusto. Well, that’s first grade for you.

In 1911, the young Stanislav Jarský fell in love with Helena Horníková while giving her daughter piano lessons. But Helena was married and therefore this urgent flirtation could not continue. In 1920, a now confident man and an elegant young lady meet by chance and recognize Stanislav and little Jiřina Horníková. Unfortunately, at this time Jiřina's widowed mother is struggling with the collapse of the family factory and so the marriage for a fee has to be accommodated and Stanislav disappears from the scene again. Finally, however, he has his last chance in 1939, when the third generation, Jiřina's daughter Helena Krutinová, is just coming of age. That's when Stanislav doesn't hesitate and doesn't let anyone or anything stand in the way of his love. He’s already greying, but the young girl is impressed... The ideal theme of Men Don't Age corresponded to Oldřich Nový's New Theater and, in film form, to the late work of Vladimír Slavínský. Due to events behind the scenes, the main role was assumed by the truly adorable Jan Pivec, and only Zita Kabátová, who played Jiřina, moved on from the theater production. The result thus crystallized amongst the most classic of Protectorate melodramas.

This is the debut of dancer Marta Fričová in film, or rather, the return of former child star Martička Marwille. The pretty little Czech avant-garde helped Marta to find her way into adult acting parts, especially in her stepfather's films.

A more thoughtful film from the collection of students and cantors. The most interesting thing about it is probably Plachta's transformation from the time of his teacher alter ego from the film with the completely opposite genre Before Graduation. Other notable aspects are Futurista’s character and the pulp magazine series about the Second Devil stand out. Of the actresses, Jana Ebertová surprisingly did well in the following years, although today Pešek, Hrušínský, and Filipovský are immortal, while Strejka, Salač, or Pruner, are completely passé. My personal favorites are of course Vnouček playing Voříšek and Slavíčková as the lady from the newspaper stand.

What is this? A ladies’ hat... It's a decent film, but Adina was one film behind before she was able to create more natural roles under Slavínský's direction. It’s magical how even the duo of Eva Gerová and František Krištof Veselý playfully outplayed this almost begging "first lady" of Czech cinema. ;) Fortunately, there are even worse actors than Mandlová, Marie Ptáková, and the neutral ideal Stanislav Strnad, so it can be fully accepted as a compromise, just like the Parisian cut.

The second time I watched it, I literally fell in love with this film. The whole line of films with positive Masaryk propaganda is extremely interesting and it is a wonder that it is so little known today. We also have the opportunity to see the young Dibarbora in action and to complete the filmography of the charming Eva Gerová, who, like Karla Oličová, acted for only 4 years, but also left behind an indelible mark. Božena Šustrová was a little more famous, so she needs no comment. A crafty blonde who was poised for a great career...