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The story of Brigham Young and his faithful's journey to Salt Lake City in the mid-19th century looks and functions like a classic biblical epic in the Hollywood rendition of the time. There is no shortage of symbolic magic at the end, the only "minor" difference being that we are following the first era of Mormonism and not a biography of Moses. As a supplement to education, it's not a bad experience; the context of modern American history and the development of American film in the 1940s is important. Any viewer boredom is prevented by the young love interest played by Tyrone Power and Linda Darnell, but it really is skillfully shot, so if you know what you're getting into, it can be a solid experience. A little epic and a little pathetic. Considering that Mormon stories are part of the classic western narrative, I'm slightly surprised I didn't know about it before. That’s probably due to the European romantic view of Wild West stories that were never about more than Old Shatterhand or Elke Sommer.

Unfortunately, today's Zelenka is still yesterday's Zelenka. Yet in terms of its individual aspects, Droneman is an excellent film. And as a bonus, there are two well-written supporting roles for Fialová and Kubařová, mature actresses who are regularly forgotten.

The 2nd season of JOAT is on the same lines as the 1st season, the creators just added more brutal humor. For example, Catherine the Great (Danielle Cormack) and her penchant for stables... or a puppet orgy with a stuffed cow. That format couldn't be pushed forward much longer, so after 8 episodes, enough was enough and the 2000/2001 season was completed by Cleopatra 2525, a series from the first half of B2B Action that could go from half-hour episodes to a double-feature format.

A series exclusively for fans of Bruce Campbell and fans of the Hercules comedy episodes. It's unbelievable nonsense, and the humor comes from the strange tradition of The Scarlet Pimpernel and goes even further. Campbell becomes a kind of Zorro of the island of Pulau Pulau in 1801 with the help of the cunning blonde Angela Dotchin (Campbell and Dotchin are matched from the first moment, because they met in the Xena episode from season 3 - Tsunami). Of course, the most deviant episodes of JOAT Season 1 include the legendary encounter with the Marquis de Sade on his island of suffering and the final opera bouffe. As tacky and awkward as it is, it's funny.

A surprisingly good early drama with Mae Murray and Frank Borzage. This is a purely American theme, a combination of the classic western (redskin raids against white-skinned people) with Mormons. Yet if you're familiar with the issue, there's nothing here to hinder the viewer experience. There are many opinions about the legend Mae Murray, but this first meeting was excellent. She displays a natural talent as a young girl in a difficult situation. Frank Borzage was soon to become an Oscar-winning director, and it's nice to associate that name with a particular face as well.

This adaptation of Victor Herbert's 1910 operetta of the same name is one of those Jeanette MacDonald and Nelson Eddy films that can convince even the biggest critics of the beauty and importance of pre-war operetta. The theme is great - a young French noblewoman flees to the colonies from her arranged marriage and the adventure begins. Spectacular sets, great costumes, a thrilling plot, wit, and romance. Opulent and great in every way.

An old-fashioned crazy comedy from the early sound era, in which even dialogue films had explanatory intertitles. It's wildness (literally) set in a city and on a deserted island. The main cats are Jeanette MacDonald and Kay Francis. As a standalone film, it's not bad, but in the MacDonald series of films, it feels a bit jarring, because Paramount and later MGM explicitly saved it for spectacular musical spectacles, and anything else was forbidden. This was apparently because it was a complete waste to have her in films like Let's Go Native.

A weaker Austrian Lamač film with his favorite actor Hermann Thimig. This musical film based on the themes of Johann Strauss Jr.'s works feels very mediocre in terms of this collaboration. Thimig once again plays a charmer from the revue theater, he has several cute girls around him, and his star status is accentuated. The classic funny scenes are the responsibility of the classic Hans Moser. Seemingly everything we could ask for from a 1934 spectacle is here, and yet these same people were making more significant achievements at this time. Finally, there is also the complete absence of a prominent actress or singer in the entire film, and that's saying something.

Barb Wire is not a classic, either in the comics or the movies. The character is relatively new, having originally been published by Dark Horse in 1993. And the film itself is a typical product of its time, perfect material for Pamela Anderson fans. Others have no reason to waste their time with it.

A cute Lamač musical film perfectly tailored to tenor Jan Kiepura. This singing Polish ideal did not disappoint even in the demanding double role, and he not only sang his roles but also played them, which was not that commonplace in the 1930s. I was surprised by his comedic talent. The modern songs are the work of the proven Robert Stolz. Lamač's approach to the classic material full of substitutions is beautifully legible here, not lacking in purely cinematic humor, interesting special effects, and respect for stagecraft. This allowed Kiepura to shine in the best sequences from Verdi's "Rigoletto" and von Flotow's "Martha." Lamač had a lot of experience with professional singers; another star of his films, Marta Eggerth, even married Kiepura in 1936.