NinadeL

This film focuses on the 1980s. Maybe that's a good thing because if this writing team wanted to comment on other decades of Czech history in their own way, I probably wouldn't be able to take it anymore. I would have been able to give Pupendoa better score if the scene with the drawn fur coat remained in the movie theater version.

The first pillar of a slightly different take on the Good Old Times by Hřebejk.

Die Serie, die vom Streik der Drehbuchautoren schicksalhaft getroffen wurde, ist eine echte Kombination aus Tim Burton und Ed Wood. Im Wesentlichen handelt es sich um eine Reihe von eigenständigen Krimis, die mit einer originellen "Methode" aufgefrischt wurden. Es ist natürlich von Vorteil, den Film im Original zu sehen, die Anwesenheit des Erzählers ist sympathisch, ebenso wie die schrittweise Aufarbeitung der Vergangenheit der Hauptfiguren.

Risking the sinking of the square in Pilsen for the final scene seems wasteful to me both then and now. Still, I find Soukup's narrative more meaningful than Michal David's recollections of where he was musically inspired. Doing the same thing in a Czech version ten years after Saturday Night Fever and four years after Staying Alive is a bit backward. Mariana Slováková is, unfortunately, also as much of a loser as Andy Kraus is tragic.

The only thing missing for me to have complete satisfaction is a joint Kánská/Cížkovská sexy scene on the floating bed. It’s the ideal film from the unrepeatable post-revolutionary collection The Inheritance or Fuckoffguysgoodday - Brooklyn Story and Playgirls 1 and 2. It's an open-air museum.

(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.

It's good, but it pales in comparison to Whom the Gods Love or the birth of Viennese opera through the eyes of one demanding night. It's important to remember that this is an adaptation of a play, not a serious biography. Peter Shaffer (and ultimately Miloš Forman) preferred a dramatic arc over anything else. It's still a great experience even after years, though the impact on the Mozart renaissance is somewhat debatable.

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.