NinadeL

Despite everything - the time period, the television, the compactness of Weigl's Radúz and Mahulena kept me glued to my chair. I am moved, I admire, and I applaud. Something so lavishly erotic, decadent and passionate is rarely seen. Magda's soft pronunciation combines with Jan's pathos, Adamíra and Ráž are both good, Adamová and Medřická are literally demonic, Menšík also fits perfectly into the whole earthy collage and I really loved the lesbian duo Urbánková-Obermaierová only here. But those curves!

This is admittedly a good film and can be described as the first full-length Czech puppet film, but not having a proper copy available and there are some things missing from the versions aired on TV.

I like Springman and the SS the best from Trnka's earlier work because it is a purely topical and highly desirable issue. While the live-action film dealt with the Protectorate, for example, with the help of the comedy Nobody Knows Anything, the animated film rushed in with a beautiful story about an extremely agile collaborator, that it was then simply necessary for the little Czech chimney sweep to become a hero in a mask and punish all the iniquities stemming from dishonesty with the deserved punishment. But unfortunately, after 1945, the trace of the masked hero disappears and the nation suffers again...

Yes, it's a crazy film of its time (the atmosphere could be compared to The Stone Bridge), but at the same time, it's a unique experience. The collage of absurd stories from the wannabe Czech post-revolutionary underworld is in fact nothing more than a tribute to Czech Soda, with the story intertwining with the filming of a new episode of Alles Gute at the end. It wasn't strictly necessary as a film for the movie theater, but as a bonus to the regular reruns of German language lessons, it would have had a completely different reception. Hrzánová is playing her classic self, and so are Klepl, Marek, Holub... Eva Holubová perfectly underlines the variability of her application, given that she plays exactly the same role here as in Vojtěch, Called Orphan.

This is what one of the supposedly greatest debuts is supposed to be. So why not appreciate a loose sequel to the golden sixties when it can be done twenty years after the fact?

Es ist schwer zu sagen, wie ich auf Origins reagiert hätte, als der Film noch neu war, aber heute weiß ich den Querschnitt durch Logans Geschichte, die Kriegsmontage und die ruhigen Szenen aus Kanada zu schätzen. Alles andere ist leider seltsam und überflüssig.

In Zukunft ist Vergangenheit wurde die Vorgängerwelt der X-Men noch perfektioniert, aber das allein war schon Stoff genug für einen sehr guten Film. Die schauspielerischen Leistungen waren hervorragend, und das Drehbuch beeindruckte selbst dort, wo die ursprüngliche Trilogie versagte. Vielen Dank für alles, insbesondere für die Jungs aus Argentinien.

Zdeněk Tyc and other encounters with depression, death, individualism, strong acting performances, and very interesting dialogues. Indeed, the etudes of Špalková and Medvecká often resemble a staged theatrical duet, while Schmitzer just exists through the role, and the ending is truly a full-fledged catharsis. So we could actually find Zdeněk? The paths of his career are indeed winding.

Tyc and the Roma question for the second time. This time we are not watching a strong story with the dual themes of Roma and adoption, as in The Brats, but just the classic "do we still want to help them?" In the following years, many ways out and many ways to somewhere were sought, but the result was still not forthcoming. El Paso is perhaps a little more interesting because next to the solemn single mother and her children there is a rather interesting mix of characters who are not caricatures but rather ordinary people. Logically, we don't have to expect any special depth from Rybová or Prachař, but at least they were equal to Javorský, Matásek, and Bareš.

Tyc and the Roma question for the first time. The story of Tereza Boučková, Pavel Kohout's daughter, has gone beyond authenticity. This time the story was thankfully not influenced by Kohout. It must have been very liberating to come out with a new film after seven years and forget the debacle when he was awarded the Czech prize for the worst film. Moreover, it was based on the then refreshing and new success of Ivan Trojan. Blessed be Tyc, but unfortunately, everything that followed was not the result of redemption, but only of the free passage of time and the demise of an authorial personality that was certainly capable of more. The film The Brats was not yet beyond the comfortable calculus in the style of "make something catchy about the Roma and the awards will roll in," but it was a start.