NinadeL

In elementary school, I was under the impression that when I went to college, I would experience something similar to this film. Although Dziga Vertov is also my bread and butter, my reality after thirty years is somewhat different from the poetic version. In this film, however, Pecháček provided a picture of higher education in Czechoslovakia like no other and as such he receives the order of Fellini and Antonioni, whose conception of sex is indeed diametrically opposed. A quack or a medic, they all have the same diagnosis. Only the sexy Casanova, played by Jiří Štěpnička, remained de facto fictional. "Bronstein reduced the redundant number of textbooks from three stacks to two."

A series of immortal humor in a unique package of illustrations by Stanislav Holý. Every scene is a gem. Every idea is a golden fund of typical Czech absurdism. It would be a sin to mess up cramming Filipovský, Somr, Císler, and Navrátil in larger roles into one film, and to always complete their etudes with something as automatically apt as the presence of Kořínková, Kretschmerová or Štěpánová. Fortunately, however, it’s co-directed by the Klein-Pecháček duo, who have extracted a successful hexalogy from the original idea from "Amatéři."

Zdeněk sinned commercially and answered the call for a sequel and a series. The principal idea was not a bad one with one celebrity replacing another. Only the war against the Turk exceeded the same limit as the first meeting with the prince. Fortunately, the awkwardness of the rejuvenating bark was filtered through decent humor. In addition, the pleasure of the perfection of the South Bohemian picturesqueness was fortunately redeemed by long expectations and no waste.

The traditional South Bohemian view of the attributes of a Czech fairy tale are all archetypal benefits that Zdeněk Troška has learned to juggle to perfection. The impression of a recapitulation of the old and proven without significant updating is still desired by a hungry audience that has never been jaded by regular reruns. New and proven actors, as well as celebrities, are all as if hung on a Christmas tree. But why does it falter in the end? Caricature has crept into the whole, and not only in the dimension of the prince and his faithful servant Žán. The game with ghosts is overdone to the max, as is the dosage of the cheerful butler and the entire mill. Perhaps it would be ideal if everything wasn't so bright and pleasing to the touch. Only Andrea Černá has shown over time that she is capable...

This is the exact opposite of From Subway with Love. There’s no probe into life itself, just purely entertaining cinematic reality. I can appreciate Pavlásková's films, and I'm still coming to terms with the author of the book, but I'm beginning to think that Pavlásková did a better job. ;) After reading a few of the books, I may be able to evaluate Barbara Nesvadbová's work a bit more widely than others who gossip without even touching her books. Barbara's admittedly autobiographical heroine in many ways sails through the slim books without any ambition to become a movie heroine, and it shows. However, something else happened, and the private accounts of the intimate life of Karolina from Vinohrady rapidly change in seriousness. When I finish reading the author's entire work, I will probably evaluate it in the way that a book is a book and a film is a film, and in this case, they complement each other perfectly because what I missed in reading, I supplemented with the movie theater experience. And what I missed in the movie theater, I supplemented it with literature. So far, I have at least discerned the differences in the film script that have given way to the actors and the producers' ideas (the politician Marek Vašut and his classmate Kryštof Hádek in particular) and those that are the same everywhere down to the smallest detail (the ironic widow episode of Miroslav Etzler).

The FSB should really have left out the tribute to Oldřich Nový in the former premises of the New theater and with the help of "unforced situational" comedy starring Bláha, Augusta, Kodet, and Zedníček. As well as Schránil's dubbing and Jindra Bartošová playing the main girl.

A fairy tale in keeping with Czech pop stars of the time. It’s ironic and overly modern. I am bothered by its association with the fairy tales of the 1950s, which have their center of gravity somewhere else. How come Marta wasn't in it?

Kindly uninitiated viewers will forgive me, but when I first read several very different books on the subject of Bathory long ago in the year 2000, I came to a similar position to the one Jakubisko presents today in his latest blockbuster. So logically, I'm excited. I see the entire negative media halo around the film as a pure reaction to the endless delaying of release dates and the general hype around the cost, which is none of the audience's business anyway. On November 9, 2009, I finally got the DVD and I can better take stock of my older movie theater experience. My basic understanding of it truly doesn't change. The biggest scarecrows of the project (Mádl and co.) were only cast in supporting roles anyway, and the entire dynamic of the story, which is by the way visually wonderfully sophisticated, is based on Jakubisko's direction and set design, camera work by Ďuriš, Brabec and Kende, music by Jirásek, and costumes by Pecharová. I, of course, appreciate Jakubisková's work for her perseverance and I fell in love with Anna Friel's performance. It made such a strong impression on me that I don't have to deal with the fact that the trio of Roden, Regan, and Matheson doesn't work that well for me. On the other hand, Monika Hilmerová was also excellent and Jakubisko's "discoveries" from Post Coita Pogodová, Greneche, and Elsnerová were absolutely fine. I have had the opportunity to watch all three versions - Czech, Slovak, and English, all the omitted scenes, and my enthusiasm for it only grows stronger. I can't wait for the planned series cut, which I hope will be dominated by Erzsébet Czobor. Moreover, knowing that since the end of the 1950s only B-movies, or at most one decent Hammer horror film, have been made on the subject of the Čachtice legend, I can safely compare Jakubisko's version with Viktor Kubal's magnificent animated film The Bloody Lady and be satisfied.

Cieslar's film Dirty Soul follows his perception of the world. In the 1990s it was a surprisingly good probe into the world of elite sport, ambition, and violence in The Taste of Death. A decade later, Happy Celluloid produces a distinctly unsuccessful probe into the world of people in broken relationships. The seemingly good idea to connect several disparate pairs and polygons by a common address and one death did not quite work. At the beginning, Josef Nedorost missed his chance to make a comeback, and the rest was just one lifeless caricature to the next. Yes, young people's relationships are naive, marital infidelities are often awkward, and ambition and caring for a family often don't see eye to eye, but in Cieslar's film, it's all just a staged mistake with unusually bad acting. Even though I tended to appreciate at least the setting of the story in the less attractive parts of Prague, it didn't really help much.

In retrospect, The Velvet Murderers may seem like an ideal mirror to the series Nineties because the film follows the stories of the killers, while the series focuses more on the private lives of the investigators. The film has the advantage that director Svoboda was present at some of the trials himself, living the case first-hand. In his film, he does not balance out or evaluate, instead offering a view of the ancient drama from the very beginning. For his actors, especially Dlouhý, it was a really interesting opportunity to portray Hrubeš's journey from Rapid Response Unit to the wheelchair and then to prison. Benešová and Veselá (now Bendová) were given the opportunity to play exceptional negative female characters. Other than that, Svoboda took a safe bet and repeated his collaboration with his team from the film Pardon Not Granted. This was a time when Vondráček used to play the sleazebags and Dolanský played the murderers.