NinadeL

This is the last film directed by Karel Lamač, but unfortunately starring Sonja Ziemann... So if I ignore her, it works fine. Otherwise, nope. Unfortunately, another blemish on the project is the fact that this was supposed to be the opening film of a series of films for which Lamač, after his return from his travels, concluded a contract in West Germany. Unfortunately, his death put an end to all those plans.

When Karel Lamač returned to the Czech film industry after his forced departure from the Reich, he went for what was tried-and-true - Burian films and his own remakes. In spite of fate, his last works with Vlasta are particularly appreciated, perhaps also because the two were fully aware of the advantages of collaborating on the same artistic level. Lamač never forced Burian into anything, and the overall relaxed and pleasant mood is still evident in these films even after more than 70 years. The only one who apparently didn't get enough credit was Adina Mandlová, who referred to all films in which she didn't play the lead role as salads. That was rather short-sighted of her, wasn't it?

Magda Schneider, newly the mother of first-born daughter Romy, and her husband Wolf Albach-Retty are reunited in a musical comedy. At first glance, the film doesn't stand out as above average, but considering that it was the last film Lamač made in the Reich - the environment became so difficult for him as well at that point that he had to flee - it is a historically important piece.

This was Lamač's first domestic remake after his forced departure from Germany. The development of the cast is interesting. After 13 years Otomar Korbelář replaced Theodor Pištěk, Jarmila Beránková replaced Anny Ondra, and Jarmila Kšírová replaced Andula Sedláčková. The water-men remained the same as performed by the Fiala brothers, and the effect on the audience was just as strong. It’s no wonder, as the later TV adaptations were always worse.

Karel Lamač’s last film with Věra Ferbasová and again a remake of Anny Ondra's film The Girl with the Whip. Similar films are The Young Count (again with Anny) and Watch Out for the Ghost (again with Věra). Oh. However, it was a success. Modern dance is a must, and so is flower talk. And who had the chance to see the original? Werner Fuetterer as a lover and Sig Arno as a comedian? Novotný and Kohout sure had guts to measure up to them. :)

The ideal Austrian film directed by the Czech Karel Lamač and starring Jarmila Novotná. :) Today it is respected mainly as part of Heinz Rühmann's early filmography and also as a recording of Franz Lehár conducting. In fact, it's a pleasant variation on Eliza Doolittle, who this time becomes Frasquita the gypsy and, having been "discovered," becomes a star of the stage. If she has Novotná's voice and looks, nothing’s impossible. We also have the endearing Lamač romance between Rühmann and Daudert, to whom Lamač at least gave a hairstyle in the style of Anny Ondra (from Kiki) when she was no longer up to the acting standards of her director's first star.

God rested on the seventh day and House Boat may not be bowling, but Lamač still had his lawn before Jean Gabin did! Even without a good actress. At that time Jiřina was more of an athlete and naturalist, regardless of the theater. Čeněk Šlégl is great, and I couldn't believe I was going to walk down the aisle with a simple hello.

It’s too bad I don't have the option of comparing it to previous versions, but I bet it would be a completely different film each time. This version also features the last romantic hero, Lípa, played by Lamač, and the fascinating Jarmila Lhotová. Beyond that, Maria Tauberová also isn't seen much, and overall this is a very interesting film historically in the context of the 1930s when it seemed like a decisive step forward from the silent film legacy, but you never eat anything that is as hot as when you cook it.

For 15 long years, only a cut of this film was available on DVD. It was not until 2021 that the full-length German version of this film was broadcast on TV. Reactions to these rare Burian films have been quite receptive, so there is no reason to fear a continuation of this trend.

This is the first Lamač adaptation of Edgar Wallace’s books known primarily as a separate chapter in Martin Frič's work, once again working under the protective wings of his friend and mentor Lamač. Together they repeated the success of The Informer in another Wallace adaptation called The Sorcerer.