Kariéra

Getting on in the World did take something from Citizen Kane, but it also that much from the future films Giant Shoe-Factory and Focus Please!, to which it is much more similar. I don't have anything against Boháč’s solo if the story didn't take place in so many epochs (1918, 1928, 1933 and 1948) and if he didn't have only the two different masks. At first glance, his oldest resemblance was the most successful, but its differentiation from several younger versions was not successful. The double casting of Vášová as Boháč’s first wife and her own niece, with only her hair color having changed, was quite amusing. However, I'm very allergic to the creations of Rosůlková (rifles as part of the uniforms of little schoolchildren in ideal Mussolini Italy), Kurandová (the village matron), and Medřická (a screamer good and proper), who showed their classic moments in this film. But by far the worst was the inconsistent set design and costumes that fluttered around in time, and the crown of it all was put on by the narrator’s film camera, who explained that the point of such a rich story was the message of inappropriate obedience to a class that had already been dealt with anyway! (17.07.2009)