NinadeL

I get it. Peterka's position is a purposeful caricature with an emphasis on voice work, which he created himself and was not easy for him to enforce. He wanted to do something similar in Black Wolf, but he was asked to dub over it. 11 years later, he finally enjoyed his "underworld" to the fullest here. That was also the FSB's past...

While Frič's film added to Čapek's novel, this mistake by Balík greatly diminished it. The landscape of the narrative turns into an endless colorless morass and the story itself remains untold. It is not possible to base the whole point on little Klára Pollertová and the comparison between Suzanne Marwille and Libuše Geprtová speaks for itself. Suzanne enjoyed her last role and gave it a lot of her skill, while Geprtová only provided a variation on Viktorka.

Images from the life of Destinová wearing the face of Turzonovová and based on Mahler’s work. This is how Krejčík interpreted the critical years of the early 20th century. The dazzling collage of the most famous roles in the best costumes is cleverly inserted at the beginning of the narrative, one triumph succeeding another and another. Ema sings, and the opera houses love her. But she wants to go home, which ends up being fatal for her. The National Theater does not wish her well, the Prague ban happens and so does the end of the love affair. The fall of the great diva is played by Božidara with the awareness of great emotional strain and yet she does not overact. She moves very naturally in Art Nouveau gowns, in ordinary dresses, she berates and flirts, and, most importantly, she really pretends to be Beňačková. Kukura, Kopecký, and Adamira do suitable jobs in secondary roles. As if all that wasn't important. Emma's manifestation concerts in the Czech lands with Czech music are the primary thing, and thus the repertoire sounds familiar and dear to Czech culture, combined with the ideal setting in nature corresponding to the themes of Škroup, Smetana, and Dvořák. The images are focused on the symbolic frame of the face of Emma in a wide-brimmed hat, whose fall goes hand in hand with the fall of the monarchy. A powerful film, a feeling manifesto. It is comparable only to Lion with a White Mane.

Normalization crap at any cost. Supposedly, Čada hadn't lost his boyish charm since the first film (as if he ever had any), but his partner did (supposedly she couldn't prevent the growth of her assets). That's why they kept this mutating and unattractive barge-pole and recast child star Reifová, who unfortunately looked more like his niece's friend...

I don't consider Petr Schulhoff to be the best director, but the leitmotif of this comedy is (unfortunately) so grounded in reality that I have to applaud it. Our family's story is also marked by the move from the city center to a housing estate...

Working with Ivo Novák was repeatedly remembered as an encounter with First Republic nobility, which is very interesting, especially in relation to his post-war career. However, Ivo Novák started as an assistant director in 1939, and that explains a lot. His style in Summer Spent with a Cowboy is remotely reminiscent of the pulp magazines of yesteryear, a laid-back summer romance with a touch of the Wild West. Even the main characters are like cutouts from those pages of long ago, a buddy couple who have not been in love for a long time and in which the girl longs for a love adventure. Kolářová's Doubravka is as emancipated as all her fictional predecessors. There is also a memory of the Czech series Just an Ordinary Family through the generational cast of Kolářová, Medřická, and Rosůlková. For the time, the mimicry was well chosen.

Dies ist einer der wenigen Beweise dafür, dass die Tradition der Sprachfassungen nach 1938 fortgesetzt wurde. Von den tschechischen Versionen ist dieser immer noch schrecklich, aber unterm Strich ist er zumindest teilweise filmisch verarbeitet. Leider sind Schauspieler, die von Opernsängern synchronisiert werden, nicht das Gelbe vom Ei (obwohl das damals bei Operetten üblich war). Und die Einleitung? Erst Neruda-Zitate, dann Nejedlý. Wirklich nicht schön.

A rather charming comic comedy whose style builds on Who Wants to Kill Jessie? This time, however, in color. Kája Saudek's poetics are great and still functional today. However, some doubt arises about the acting mannerisms of Rosůlková, Bohdalová, and Janžurová, which go beyond the fine yarn of parody. It would be interesting to compare this Czech version with the Yugoslavian film Mrtvima ulaz zabranjen, which adapted Nenad Brixy's famous novel in 1965.

A good film in the not frequent line of historical narratives that understand that even the names in the textbooks were young people in their day. In the second plan, it is a natural counter-variation to Summer Spent with a Cowboy, or Hanzlík/Kolářová in an ideal interplay and being incredibly cute. The explanatory value of a critical pause on the realities of the 14th century would probably be questionable, but let us be glad for the gifts that we did get.

This has aged terribly... if it indeed actually ever worked. Today, only the incompatible pseudo-reality of the Czechoslovak year 1966 and naive comics remains. What's more, there is no color and that fact is not saved by the exits to Chuchle or even Olinka's breasts peeking out... much less the Slovak Superman. What could have improved its reputation would have been a great book from Kája Saudek's materials, but that also failed. Poor Jessie.