Kritiken (1)

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Englisch Ignát Hermann adaptations in Czech cinema are of fundamental importance. In the mid-1920s, after a brief era of cosmopolitanism, focusing on his interpretation of the domestic golden age, when there were no events more important than marriage, and relationships at home and at the office, helped the new era of Czech cinema that was later so gratefully received by audiences. In this film, well-chosen intertitles and appropriate acting combine genuine humor, fantastically cheerful and imaginative situations, and melodramatic elements. The existing technical quality is not ideal, yet the minimally-existing soundtrack is at least good. The most impressive actors are the pair who retained their roles for the sound remake - Antonie Nedošinská as Kulichová and Theodor Pištěk as Dundr. Among the young actors, worth pointing out are the Czech-American Jarmila Vacek-Marton as the lyrical main character (who was replaced ten years later by Hana Vítová), Zdena Kavková as the unfortunate Klotylda (later Helena Bušová), Josef Šváb-Malostranský as the bearer of popular beer humor (mirrored by Jaroslav Bráška), and last but not least, the duo who in their scenes drew all the attention to themselves and almost stole the entire film - Anny Ondra and Karel Lamač as Amálka and Vejlupek (later, Věra Ferbasová and Jiří Dohnal took over their roles). Incredibly, despite all the apparent obstacles of costume design and supporting roles, the Anny Ondra and Karel Lamač couple became the best that this film could offer. Their scenes together are full of energy, wit and real love chemistry in the most modern sense of the word. The way Anny gets enthusiastic about Karel's every idea is boldly rewarded with a game of kitchen utensils, or with a passionate kiss in private. I simply could not be more delighted. The next time I watch it, I will certainly take more notice of Máňa Ženíšková, who, as in her debut in Catch Him!, played a small part thanks to her friendship with Anny and later became Theodor Pištěk’s wife. ()