NinadeL

Ota Koval and a modern poetic fairy tale created as a co-production in Ota Hofman’s creative group. Among the children's roles, the absolutely great Žaneta Fuchsová (still very small, but all the more fun) and Tereza Brodská (next to Žaneta, already a young lady, a future classic princess) stand out. It is not a certainty based on reruns, but it is all the more pleasant to encounter fantasy.

Personally, I appreciate Ela Šárková and Marie Grossová most in this film. Both transplanted in the second half of the 1930s, they found their next image and art and I am happy with those too. There's also a fantastic scene in which Ferenc plays cards in prison. For a long time I thought it was unattainable. More reruns, please!

Seeing this film is like a dream come true that I never knew I had. Yet I knew that something like the Jetsons existed and after seeing their standalone film, something like this was destined to come and I don't regret it, it's wonderful. Just the way it should be, great. It's just that the Jetsons in prehistory aren't as brilliant as the Flintstones in the future. ;)

Films with Sophia Loren are like those with Burian - she reigns supreme and everyone else aids her. However, Robert Hossein is overdoing it here.

From an artistic point of view, it’s quite strange. From every other perspective, it’s remarkable. I really have no idea what V. Ch. Vladimírov was trying to do, but I can't say that I despised Olga in 1935 that much. Hana Vítová was tender and Fanda Mrázek sensational. Arno is a strangely charming young man who has had the misfortune of having a set of artistically-uneven films, but when I get past this I enjoy him thoroughly.

Films were made well in Prague and badly in České Budějovice and in Brno. At first glance, The Sins of Youth may be as much a work of art as the brilliant The Summer Camp of Young Dreams, but on second glance we in fact find one treasure alongside another. Some of the actors started their film careers here, such as Rudolf Deyl Jr. (a comedian - a builder, above all), Vladimír Leraus (a Protectorate celadon, for example) or Jožka Stoklasa (who took another 40 years to make his presence known in film). Valentin Šindler ended his work with this film and Czech cinema lost an interesting refreshment in the form of humor. This was also the first time Máňa Pavlíková acted in a sound film. This time she at least showed her sporty figure in a swimsuit. I think it's a great pity that Otto Ballon didn’t apply himself more. I have no reservations about Hanka Vítová either, as some of her minor stumbles may have been due to her flashy theatrical performances. If we take a close look at her journey upward, it's basically a great achievement to be the only Prague star in such a project in only her fourth year in film. From a formal point of view, The Sins of Youth is a solid effort by an amateur filmmaker and an experienced theater actor in one, so the result is inconsistent, but thanks to a certain inconsistency, a new perpetuity finds its place, and that's not really a bad thing.

Although most Czechs still think that older Czech actors look out of place in their foreign films, they don't know the language, have bad accents, etc... the opposite is true. Many native speakers and collectors of this kind of cinema will explain this to you. For the Germans, Adina Mandlová fits in the film just fine, but since she is a foreigner, she doesn't particularly interest them, but she also doesn't bother them at all.

After Nataša Gollová celebrated an unexpected success in Czech cinema from 1939 to 1943, her fateful chapter became a whimsical comedy produced by Prag - Film AG. After a series of playful modern girls with a curl, who do silly things, sometimes big, sometimes a bit crazier, dream their foolish dreams and long for a happy journey, she played just another variation on this favorite role in German. She hadn't fundamentally matured or tried something different, as was the case with other Czech actresses in the same production. Her supporting character is just another role in a love story. She has the opportunity to confirm her linguistic skills, demonstrate motorboat driving, and perform some interesting toilets, but nothing more. In the context of films with Anny Ondra, Hana Vítová, or Zita Kabátová, Come Back to Me is by far the weakest link in the collection. The humor is too desired, the romance is rather mundane, and the civility of films like Marriage of Love is also on a completely different level. Still, Come Back to Me can succeedas easy entertainment with interesting beach exteriors.

This is absolutely the best of the post-war films and brilliant gratification for Hana Vítová, who soon fell from acting heaven. Seen through today's lens, it’s better than all the Czech films that have ever contended for an Oscar. Even Baldová is better here than in the whole of Mrs Dulská's Morals, which is pretty awful in and of itself.

This is one of the few First Republic legionary films that maintained their standard throughout its duration, regardless of the evolution of cinema itself. They were thus good in both the silent and audio versions. In addition to Innemann, Václav Binovec was also particularly skilled.