NinadeL

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...

It's not as pithy as the later The Respectable Ladies of Pardubice. But Adina’s cleavage! :) Other notable observations include the fact that the Guild is so overflowing with acting aces that even the much-celebrated Happy Journey pales beside it.

It is generally agreed that Frič made better films with Jiří Voskovec and Jan Werich, but Honzl gave them more energy and realness. I really don't feel like Jiří Voskovec and Jan Werich act so inorganic with the rest of the ensemble in this film because the Western world pretense is odd enough as it is. Actors like Šmeral, Mandlová, and Záhorský don’t do a very good job. Lion-el is a topic plucked from the crisis into the void. Yet we can enjoy the clowning around, and thankfully, that is most important.

People in the Valley was Václav Wasserman’s first strong contribution to the peak of First Republic production. I believe that due to the absence of Miroslav Svoboda in the German version, this version could have been a notch better. What he does in every scene he is in would shame even the worst of all amateurs! Fortunately, his speech is often diluted by proven episodic actors or supporting roles, and when it comes to Štěpničková, she logically has the whole screen to herself and then everything is okay again.

For many years, I cherished the memory of the screening of this film. Today, few people understand Čapek and Haas anymore, and so I prefer to watch this film alone.