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In 1921, the first purely Czech sequel to a film story was a pair of adaptations of Josef Roden’s book Irčin and románek. The first part of the later pentalogy was published in 1915, so it was a very topical affair. Both film versions featured the new couple Truda Grosslichtová and František Paul, who, like Theodor Pištěk and Antonia Nedošinská, casually switched from role to role in supporting roles. However, Mary Norrová made an exemplary debut for the first time in a Czech film. Audiences were able to enjoy the very original relationship between Irca and Lexa in their time. Hašler's direction is often very imaginative and I find that he could have made many more films with guaranteed success. The likable Rolf Wanka is of course a safe bet. His acting is measured in precise doses, his delivery has magical effects and he also presents his statuesque figure on rare occasions. Jiřina Steimarová blossoms next to him and also has some charming acting moments. Czech cinema of the 1930s and 1940s should definitely have used her more.

In the 1920s, Czech cinema enjoyed success through a sequel based exclusively on popular domestic authors. This was after attempts at world-class slapstick in the 1910s, which ran into all the wrong conditions.The sound version of this film included partial updates. Theodor Pištěk was promoted to Kráčmer by Slavínský's, Hana Vítová and Rolf Wanka became the main romantic couple, and Anna Ondráková was replaced by the unfortunately completely unreliable Blanka Waleská alongside the persistent J.W. Speerger. The charming little role of the winning lottery ticket seller was given to Věra Ferbasová, who at this time was systematically working towards her own big career. A magnificent caricature was performed by Ladislav Pešek, who at that time had already recovered from his initial film shock, and symbolically after her late consort, Ella Nollová also switched to this version. Nedošinská and Pištěk, whose dialogues are a blizzard of gags and points, literally shine throughout the lavish runtime of the story of Kráčmerka's lucky win. Their marital routine is magnificent, even allowing for unplanned conception. Hanka Vítová as their daughter is spicy and Rolf Wanka is my constant ideal. Including singing. He truly entered Czech cinema in a happy constellation and was a joy to behold.

This film does not have an ideal title. In its final form, Infidelity is only a partial storyline that, along with other indicators, is the driving force behind the destruction of one unscrupulous blue-collar boss... He is played seriously and without hesitation by Gustav Nezval. He is opposed by the always decadent Marie Vášová, the fashionable Irena Kačírková, the oily Eduard Dubský, and last but not least Martin Růžek. In fact, Růžek stole almost the entire film for himself in the role of the reciprocal Vilém Andrl and it is literally a joy to watch his transformations, which become the best part of the whole project. Unfortunately, the rest of the ensemble is made up of bland personalities, unlike in Giant Shoe-Factory, where each character is rendered properly in the bold contours of a black-and-white vision of the pre-war world. Here I only suspect something about the inner world of Lang's wife Eva, played by Eva Klenová, who just stands next to Nezval's unfaithful husband. It is also not worth talking about Eva Klepáčová and Svatopluk Matyáš, who play model factory workers, and therefore have all the prerequisites for flowery young love, which is there above all to strengthen the work ethic. However, this is rather effectively undermined by the archival film The Song of a Great Love borrowed by Dagmar Pistorová... When further compared to Giant Shoe-Factory, Infidelity is a more restrained film, more charged with the problems of the contemporary world of the time. True, I would have expected a more optimistic outlook, but if I want miracles one month after the May Revolution, I would be asking too much. Of course, as a viewer in 1956, I would probably have had a minor frustration because at that time I would have been fully entitled to the fruits of the work of the second generation, which no longer had reason to fumble and wander. Walló's direction is once again skillful but not dazzling; better is Kapr's music, which had several opportunities to engage the audience. Of the ideas of cinematographer Julius Vegricht, I appreciate only the final departure of the decimated boss.

Und die Mieze hinter mir sagte: "Das ist der beste Film meines Lebens!" Zugegebenermaßen nicht meines, aber Tatsache ist, dass die 3D-Version gelungen ist und angesichts dessen, dass Live-Action- noch 2D-Versionen von Garfield-Serien/Filmen mag, war das in Ordnung. Daher nehme ich die gesamte kompakte Sammlung dieser neuesten Geschichten, von Garfield - Fett im Leben bis hin zu Garfield - Fun Fest, mit Wohlgefallen an. Schade, dass ein Merchandising dazu nur ein Colonel aus Kentucky hatte.

Ein monströses, amoralisches Durcheinander von Klischees über das College-Leben im sonnigen Kalifornien, mit der Ästhetik damaliger Aerosmith-Videos und der komischen Botschaft, dass Pussy die Welt regiert. Außerdem langweilt mich Shayla LaVeaux regelrecht und Stacy hatte hier nur eine Szene und ein paar WTF-Zeilen. Andererseits war das Finale sehr opulent.

There are cases when in a collective some works gain in quality. For others, even that’s not enough, and so when the audience of six people from the age range of 24 to 78 was shown a screening, they all gradually passed out from boredom. True, we missed the key audience groups of a girl under 15 and a woman on maternity leave under 35, but even then the "people meter" was carefully filled. Marie Poledňáková has convinced us to no end that she is happy to watch anything from Rosamund Pilcher to "excellent" comedies with Hugh Grant, and she can unerringly translate these things into Czech cinema. She knows how to use proven technical methods and is not afraid to go to the tried and tested Western slow dances with the OST. But it is a mystery to me why this effort had to be decorated like a Christmas tree with every celebrity (and actor) who was relevant when this was made. Yes, it was interesting to bring an established, but unproven, Slovak actress into the Czech mainstream, but why all the excesses, starting with Arnošt Lustig and ending with Roman Štolpa? What the heck is happening when the best acting performance is by Lucie Bílá, who, in addition to singing the title song, adopted one day of filming gag for the closing credits? Of course, our love Eva Holubová, who will celebrate 30 years of playing herself next year, will become the unpleasant woman of the century. Good for her.

A fairy tale based on the work of the national artist Josef Lada. That doesn't sound so bad, but it’s not as good as other Czech fairy tales. It also makes me sick to think that this was inspired by all those Naughty Princesses with a progressive modern spirit.

Waltz for a million after 15 years. Apart from the young love from Melichar the Boot, only the Hadrbolcová-Munzar-Dvorská trio, cut from a TV production, remains. Indeed, a directive teacher and understanding parents are the only things that keep the onion rings from reaching their goal.

The Lovers of an Old Criminal is conceived in the same spirit as other past films, with the only difference being that Vlasta and Anny are reunited here. Which is of course to the benefit of the whole very loose trilogy. Anny brought to Oceanfilm a new, very topical type of modern girl who, in contrast to her active life, dreams of marriage to a well-known criminal in a very romantic way. Anny as Fifi Hrazánková boxes and drives a car wonderfully, while taking wonderful care of her appearance and overall fitness with the help of a whole ensemble of maids. Each of the models she tries on is an unparalleled divine costly toilet that could be the envy of many a world star. And when she decides to become the famous wife of a thief, nothing can stand in her way. Then she'll be famous and star in a movie, you see. In addition, there is the wonderful storyline of Burian's twin games, the whole ancient tragedy with Betty Kysilková in the lead, and ending with the dashing J. W. Speerger. The Lovers of an Old Criminal also provides a whole series of progressive special effects shots, which Czech cinema had not wasted much until then. If you're interested in the further adventures of the likable Burian-Ondráková comic duo, you can see them in the wonderful audio and talking film Him and His Sister.

Aus heutiger Sicht ein Film mit einer angehenden Kidman in Hollywood und dabei ist es Kidman in einer Nebenrolle noch in Australien. Schade, dass die Geschichte von Noah Taylor und Thandie Newton völlig uninteressant ist. Es war 1965 und sie waren beide jung und sehnten sich nacheinander, und sei es nur, weil sie schwarz und er ein Außenseiter war... Kidman als hölzerne Barbie hätte also in den wenigen oberflächlichen Momenten, die an ihr blieben, besser auffallen können. Aber auch das ist nicht geschehen.