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A very nicely processed substance. Wallis and Edward is a classic 20th-century romance, ever so influential on politics and the course of history. Jane Seymour is fresh and charming. The perceptive viewer may not appreciate the cheap mask she has acquired as a widow, but for those few minutes, we need not spoil this wonderful experience.

A sweetly intimate look at Marie Antoinette's last days in Versailles. In Farewell, My Queen, the emotions are even more intimate, if only for the shortened time. A wonderful private glimpse into the mosaic of the Great French Revolution.

I never wanted to go into The Apartment. The late Wilder stars like Lemmon or MacLaine (here representing a new type of beauty - after all, she is a star in the Audrey Hepburn era, right?) are never attractive on their own, but they need proper guidance, more than anyone else. The story has a certain charm, but its essence is brash and cruel at the same time, so the finale is highly questionable. But all this, managed by Wilder with considerable experience, has a certain level and now and then it is good to accept such experiences. Not to rest on our laurels, right?

Sunset Blvd. is one of those films that I have to constantly re-evaluate within myself because too many people try to reinterpret it and rape its premise. I'd recommend more study of Gloria Swanson's career, as without her you have no chance to grasp this Wilder pun, even if you may struggle to endlessly analyze the narrative to your own taste.

Hercule Poirot's series of films with Ustinov has always been interesting. In the beginning, there was this magnificent affair set on the Nile. The original 1937 novel offered an ideal combination of interesting characters and exotic settings, making it great material for a cohort of wonderful actors in a captivating setting that was heightened by the colorful wide angle shots. Of the younger generation, Jane Birkin and Lois Chiles shine, and best of all was the bickering duo of Bette Davis and Maggie Smith. Angela Lansbury played perfect comic etudes and Mia Farrow was, as always, particularly ethereal. The original strength of this version is probably the ending, in which each of the hypotheses is played out in a separate scene. However, all three transcripts are worthy of note.

In particular, the episode from The Agatha Christie Hour, The Red Signal (based on a 1924 short story), is one of the weaker ones the series has to offer. There’s no spice, no Pyne, and no Lemon. "The Hound of Death" collection is full of such supernatural phenomena, but for regular Agatha readers, it was never what they enjoyed most. But of course, it's useful to know these to get an idea of the breadth of Agatha's full works. But it is not a pleasure.

A great finale to a new trilogy that has shown the way for Karl May's work to reach the present. I'm very satisfied. It's not a romantic tale, it's "just" another more realistic story from the time of the conquest of the Wild West, but it's all the more powerful for it. It is not a color-printed legend meant only for gentlemen and boys.

This new retelling of the adventurous treasure hunt at Silver Lake tastefully follows the events that Old Shatterhand experienced when he first came to America. His romance with Nscho-tschi, his brotherhood with Winnetou, and his relationship with the white people develop. Sam Hawkens is becoming a genuinely interesting person and not just the comic character he used to be with Harald Reinl. A pleasant episode.

Very impressive, this bold undertaking. It’s a more realistic take on the Old Shatterhand/Karl May adventures in the Wild West. It’s an attractive subject that has been read over again and presented again to a generation that has not stuck to the conventions of the 1960s. For the first time, I also liked the story of Sam Hawkens. And it's always good to think contextually about the steel steed's journey through the real landscape.

Recently, I was inspired by a production at the Vinohrady theater and I was intrigued by a critical debate that I would not have expected. I suppose with an author like Shakespeare, we don't wonder about many things. For example, we do not expect advanced emancipation and gender equality in a late 16th-century play. Women's suffrage slowly happened only at the turn of the 19th and 20th centuries. This Zeffirelli adaptation is one of the most famous and popular for many reasons. We have become accustomed to his adaptations of "Romeo and Juliet," "Hamlet," and finally Jane Eyre being among the best of what these texts have inspired. This version of "The Taming of the Shrew" is also a practical example of Elizabeth Taylor and Richard Burton's marital acting performance. I don't like this couple any better than Mary Pickford and Douglas Fairbanks, who played Katherine and Petruccio in 1929, but it's nice to be able to see so much color in their relationship.