NinadeL

I'm fine with Trnka of the 40s and I like the Trnka of the 50s. With A Midsummer Night's Dream, I'm also saying goodbye to him, because Trnka of the 60s is not timeless, he's just disappointed, which is heartbreaking, but I'm not going to torture myself because of it. The fact is that the Trnka/Kainar/Shakespeare connection is very eloquent, tender, spicy, and charming to the extent that everyone should experience it at least once in their lifetime.

The Trnka/Werich collaboration is simply joyful, all three chapters are exactly what one needs. The episode with the Kontuzsovka herbal liqueur is regular proof of that. From Hatvan to Haliče, Svejk's train accidents and Svejk's Budějovice anabasis is what Trnka and Werich agreed on, while the 4th episode already had a developed script, but Trnka was already fed up with Hašek. However, those who demand quantity and don't care about quality can always watch Látal's 1980s series on demand.

Serious commentary can only be delivered after the current case, which is suffocating, has blown over. It’s very strong and irreversible. However, it will work with the Trnka/Jirásek storyline. Finally.

Congenial and everyone's favorite Trnka-Werich connection. National identity named in a popular fable. The audio version also exists because it can do without the picture.

Amazing, great, wonderful. I marvel at the colorful acting sequence with the children and the whole story about the Mandarin baby who loved his nightingale. The version with Boris Karloff's commentary is strange, though. Why comment on what has already been imparted in pictures?

An absolutely excellent symbiosis of action and animation. Moreover, František Filipovský is acting in a color film quite early on. It’s a funny idea with a great point. And of course, a kitten in the lead role never hurts.

Despite everything - the time period, the television, the compactness of Weigl's Radúz and Mahulena kept me glued to my chair. I am moved, I admire, and I applaud. Something so lavishly erotic, decadent and passionate is rarely seen. Magda's soft pronunciation combines with Jan's pathos, Adamíra and Ráž are both good, Adamová and Medřická are literally demonic, Menšík also fits perfectly into the whole earthy collage and I really loved the lesbian duo Urbánková-Obermaierová only here. But those curves!

This is admittedly a good film and can be described as the first full-length Czech puppet film, but not having a proper copy available and there are some things missing from the versions aired on TV.

I like Springman and the SS the best from Trnka's earlier work because it is a purely topical and highly desirable issue. While the live-action film dealt with the Protectorate, for example, with the help of the comedy Nobody Knows Anything, the animated film rushed in with a beautiful story about an extremely agile collaborator, that it was then simply necessary for the little Czech chimney sweep to become a hero in a mask and punish all the iniquities stemming from dishonesty with the deserved punishment. But unfortunately, after 1945, the trace of the masked hero disappears and the nation suffers again...

Yes, it's a crazy film of its time (the atmosphere could be compared to The Stone Bridge), but at the same time, it's a unique experience. The collage of absurd stories from the wannabe Czech post-revolutionary underworld is in fact nothing more than a tribute to Czech Soda, with the story intertwining with the filming of a new episode of Alles Gute at the end. It wasn't strictly necessary as a film for the movie theater, but as a bonus to the regular reruns of German language lessons, it would have had a completely different reception. Hrzánová is playing her classic self, and so are Klepl, Marek, Holub... Eva Holubová perfectly underlines the variability of her application, given that she plays exactly the same role here as in Vojtěch, Called Orphan.