Nestyda

Michal Viewegh sollte die Drehbücher zu den Filmadaptionen seiner Bücher selbst schreiben, Shameless bestätigt dies nur. Wer anders sollte aus mehreren Erzählungen auf eine so gelungene Art und Weise eine Geschichte machen als der Autor selbst. Ich hatte ein paar Zweifel, ob Jiří Macháček es schafft, den Oskar zu spielen, eine Figur, die über einen unwahrscheinlichen Zauber und ein starkes Charisma verfügen muss. Ich denke, Macháček muss sich nicht verstecken. Die übrigen Schauspieler waren auch gut, und die kleine Rolle von Roman Luknár hat mich überaus amüsiert. Den hervorragenden Teddy Bear hat Shameless nicht übertroffen, trotzdem bin ich froh, den Film gesehen zu haben. (11.10.2008)

It’s actually not that strange to realize that people with such natures also live among us. However, the problem with this film is as old as Czech cinema itself, because Hřebejk's team was translating another Viewegh book and somehow didn't add any dramatic or dramaturgical framework. He built all of Shameless on Macháček and his walking through absurd situations without any rhyme or reason. The audience kitsch was fulfilled by a trailer full of celebrities, including Karel Gott, and Eva (now Vica) Kerekes’ bust. Babčáková and Liška sealed their positions as obligatory actors and Divíšková and Landovský once again made it loudly known that they are still among us. (20.09.2016)

Stories about marriage and sex are a book that is almost genius. That's why Nestyda had it lost from the beginning, but he came out of the duel with relatively honor. A coherent story had to be present, but it definitely should have been closer to Oskar. Zuzana's actions are very ambivalent, ordinary, and unfortunately without a point. On the script paper, it could have been more promising from Viewegh, so I really don't understand why I had to follow this or that tired line. The strongest moments naturally come when a replica from a story appears, one favorite story connects with another, and surprisingly, the newly added Nora is a great guiding line. Everything at least seemingly works, but at too many places, I clearly felt that something was missing, not to mention the variability of moods in a few lines. And Hřebejk, fortunately, finally discarded his previous mask of the savior of Czech cinematography, which he so incomprehensibly claimed for himself, but he should reflect on his chanson-melancholic syndrome. The mutual similarity of the presented musical environments is already alarming. (09.11.2009)

In the beginning, the story almost seemed like it was deep, so that the creators could spend the rest of the film proving otherwise. There were too few funny scenes for this to be a comedy, I was annoyed by various subplots that didn’t get resolved, and my overall impression was that nobody had any idea how to end the film, so they just let the closing credits roll. I’ve always been fond of redheads, so at least Vica Kerekes brought some joy to my heart. (03.05.2020)

Do they have no shame? Don’t worry... Everything is as it used to be. Jan Hřebejk is still one of the greatest filmmaker talents in this country. He still has a nose for actors (but unfortunately not for non-actors). The rather shaky introduction is more than made up for by the subsequent storyline with Babčáková and Liška. And in the end, even Oskar’s story starts to get more interesting, improving hand in hand with the quality. Simply a classic Hřebejk movie (perhaps the best since Lop the Loop) with all of the pluses and minuses that this “subgenre" carries with it. The absence of Jarchovský (at last!) didn’t have any significant impact on the coherence of the screenplay. It remains a mass of perfect scenes that don’t make that much sense together. (09.10.2008)