Director:
Jan SvitákGuión:
Čeněk ŠléglCámara:
Jan RothReparto:
Rolf Wanka, Theodor Pištěk, Nancy Rubensová, Jaroslav Marvan, František Paul, Truda Grosslichtová, Břetislav Hrstka, Antonie Nedošinská (más)Sinopsis(1)
Mirko Rolín, rich owner of a car factory, is bored by his dissolute life and decides to spend his holidays alone, a long way from his Prague friends. He even bets his friend Theodor that he will go a month without home comforts and without kissing a woman. He sets out on foot for Dubrovník. There he meets Vlasta, the daughter of a Prague vineyard owner who is spending her summer there. He happens to request that he stay there the night and he ends up taking a job there as chauffeur and servant. Vlasta's father has prepared a surprise for her in the form of a potential bridegroom, who is no other than Mirko's friend Theodor. He, however, is already engaged to the actress Rosa Valetti. Rosa, alias Růžena, goes to visit him in Dubrovník, posing as Vlasta's companion. Vlasta is attracted to Mirko. Rosa tells her all about the bet. Vlasta then pretends to have a liking for Theodor, just to tease Mirko. Mirko finally kisses her - and thus loses the bet. (texto oficial de la distribuidora)
(más)Reseñas (1)
Wild Girl is the Czech version of the film transcription of the popular novel by Miloš Křenovský. An Austrian version was created simultaneously under the title Rote Rosen - Blaue Adria. The two are linked primarily by the lead role played by Rolf Wanka, who here is named Rudolf Vanka, playing the role of Mirko Rollin, the boss of the car factory. Rolf is completely in his element in this disguise role as the boss's servant, and once again has many opportunities to vary all his tried and tested acting practices. It is, after all, no coincidence that the likable Wanka was the key figure in five double productions from 1935 to 1937, when his fame peaked in Czechoslovakia and in neighboring countries. Nancy Rubensová, who is more of a natural phenomenon than a real actress, is the wild girl here. Her first film, The Light of His Eyes, premiered just five months before the Dubrovnik adventure, during which she had already acquired the entire film for herself. As a result of her spontaneous performance, the whole became much more literal and comedic than its Austrian brother. In this Czech version, I also better appreciate the delicate Truda Grosslichtová in an adequate pairing with František Paul. But who I can't stand is Břetislav Hrstka, who, paired with Antonia Nedošinská and in the employ of Theodor Pištěk, was responsible for the tasteless reinforcement of the thesis of the dominance of exclusively corpulent comedians. All's well that ends well. In the Czech version, therefore, it is Wanka who catches up with his Wild Girl, and in the Austrian version, it is the other way around. Spicy.
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