NinadeL

Those four minutes in the morgue are wonderful. I regularly think of The Flames of Life with the equally great Suzanne Marwille. Karel Lamač proves the variability of his acting skills and Theodor Pištěk makes us forget about the very rigid box in which he later found himself. While Josef Jakarta's later version has a fairy tale feel and F. A. Brabec's is slightly grotesque, this one was pure horror. There is no other Czech silent film that I regret not having survived in its entirety than this one.

A magnificent silent film by Slavínský. So small and yet so big! Vladimir and his companion redhead will stay with us for a long time. I also love the villain Lamač with his still quite small waist. Well, he was handsome in his day, and later he was just nice. And that heroic stunt with the car over the abyss! Well, yes! :)

Helena - Der Untergang Trojas ist ein faszinierendes episches Drama in zwei Teilen (Der Raub der Helena und Die Zerstörung Trojas). Karel Lamač als Patrolos? Eine exzellente Wahl, die uns heute vielleicht unnatürlich erscheint, aber Mitte der 1920er Jahre konnte ein Tscheche in Deutschland noch weit kommen. Nicht umsonst hat man in Der ideale Lehrer das Stück "Die Griechen vor Troja oder Menelaos und Helena" als Hommage inszeniert. Dann treffen wir auch auf Carl Aldini - Achilles - nicht nur als Charly Allan aus Armoured Car und sehen, dass Adele Sandrock ewig ist, genau wie ihre Hekabe. Mehr von solchen Abenden auf Arte. Die Tradition der Monumentalfilme hat gerade ihren Höhepunkt erreicht, und das war es wert. Manfred Noa hat sich mit dem Erfolg des großen Lessing-Films Nathan, der Weise als geeigneter Regisseur für dieses Projekt erwiesen - ein Film, der auch heute noch Aufmerksamkeit verdient.

This is a suggestive transcription of Arbes’ book starring Karel Lamač and Natasha Cyganková. The title scene of the crucifixion is one of the grittiest ever made in Czech cinema and in the context of other scenes containing nudity,The Crucified is one of the most extreme Czech silent films.

I too am an enemy of Ferry Majerová and Saša Dobrovolná. However, I liked the theme and I root for Karel Lamač and Betty Kysilková no matter what. I'm still thinking about what the first original music written for a Czech film might have sounded like.

Der letzte Film unter der Regie von Karel Lamač, leider mit Sonja Ziemann in der Hauptrolle... Wenn ich sie mir also wegdenke, funktioniert es, aber sonst nicht. Ein weiterer Schatten auf dem gesamten Projekt ist leider die Tatsache, dass dies der Eröffnungsfilm zu einer Reihe von Filmen sein sollte, für die Lamač nach seiner Rückkehr von seinen Reisen einen Vertrag in Westdeutschland abschloss. Leider machte sein Tod alle Pläne zunichte.

When Karel Lamač returned to the Czech film industry after his forced departure from the Reich, he went for what was tried-and-true - Burian films and his own remakes. In spite of fate, his last works with Vlasta are particularly appreciated, perhaps also because the two were fully aware of the advantages of collaborating on the same artistic level. Lamač never forced Burian into anything, and the overall relaxed and pleasant mood is still evident in these films even after more than 70 years. The only one who apparently didn't get enough credit was Adina Mandlová, who referred to all films in which she didn't play the lead role as salads. That was rather short-sighted of her, wasn't it?

Die frischgebackene Mutter Magda Schneider der erstgeborenen Tochter Romy und ihr Mann Wolf Albach-Retty sind in einer musikalischen Komödie wieder vereint. Auf den ersten Blick ragt er nicht über den Durchschnitt hinaus, aber wenn man bedenkt, dass es der letzte Film war, den Lamač im Kaiserreich gedreht hat - danach wurde die Umgebung für ihn so stickig, dass er fliehen musste -, ist er ein historisch wichtiges Werk.

This was Lamač's first domestic remake after his forced departure from Germany. The development of the cast is interesting. After 13 years Otomar Korbelář replaced Theodor Pištěk, Jarmila Beránková replaced Anny Ondra, and Jarmila Kšírová replaced Andula Sedláčková. The water-men remained the same as performed by the Fiala brothers, and the effect on the audience was just as strong. It’s no wonder, as the later TV adaptations were always worse.

Karel Lamač’s last film with Věra Ferbasová and again a remake of Anny Ondra's film The Girl with the Whip. Similar films are The Young Count (again with Anny) and Watch Out for the Ghost (again with Věra). Oh. However, it was a success. Modern dance is a must, and so is flower talk. And who had the chance to see the original? Werner Fuetterer as a lover and Sig Arno as a comedian? Novotný and Kohout sure had guts to measure up to them. :)