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It’s an odd idea to consider this film only in terms of Adina Mandlová’s debut. Hanka Vítová plays a bigger role in the film, but the true ideals are Jarmila Vacková - Morton, Otto Rubík, Eman Fiala, and Jožka Vanerová. On a pedestal is then the group of mannequins led by Eliška Pleyová, and it is through this fashion storyline that the story is most interesting. If, for example, The Girl from the Podskalí is the most interesting from a historical point of view because of the Prague locations that have not been preserved, Don't Say No, Girl is perfect for reconstructing how fashion was received at the turn of the 1920s and 1930s.

This film is one of my childhood loves that helped me determine my life's calling. The congenial collaboration of Lamač, Frič, Burian, Rubík, Šlégl, Valentová, and Grossová is so dynamic that I find myself laughing through every rerun. The attentive viewer will also notice the musical theme from the previous film by Lamač, Frič, and Burian, which was led by Anny Ondra and called Him and His Sister. I recommend the German version as well. - - - A popular comedy with Vlasta Burian and Meda Valentová.

Given that it’s one of the very few Czech silent films on DVD, it’s quite a disappointment. Because given that there are only two Burians alongside Eroticon, the dramaturgy is highly undeveloped and only having more and more films could help out in this regard. Anything from Weteb or Kalos would be great. On the other hand, outside of Burian fans, nobody expected a miracle from The Loves of Kačenka Strnadová, but it's simply the adequate combination of Innemann, Kavková, and Burian. Meaning that it’s pleasant, rural, and substantial. However, they could have waited until more interesting films paved the way.

An absurdly charming retelling of Eliška Krásnohorská’s novel, who achieved unprecedented success with her heroine in literature not only at the turn of the century. However, as we know, it was based on Emma von Rhoden's original 1883 novel "Der Trotzkopf." Unfortunately, the author never saw the premiere of the film.

A congenial film with a metaphor in a rainbow ball. I would also like to travel by train in the 1950s, which would be great.

Vávra's Happy Journey may be a cry of modernity of the late Protectorate era, but lo and behold, the plot handles the effects of the crisis and dates the story to 1932. Setting that aside, I am able to enjoy the acting of Mandlová, Štěpničková and Vítová, Korbelář, Kohout, Hradilák, and Kreuzmann quite regularly. I experienced many enchantments with Happy Journey.

This is a very funny film based on Skružný’s play, starring Karel Lamač (who was happily gaining weight during the Depression) and Truda Grosslichtová, who was not one of the best comedians of her time, but she was certainly pleasant to look at and delicious to listen to. The cadence of the dialogue is almost deadly, the exteriors are gorgeous, and overall this is a comedy from the family of brisk films that regularly entertain.

Karel Lamač brought Truda Grosslichtová into the film and there was no turning back. It was a great success and it didn't just end with just the one project.

Martin's first independent directing job was still supported by Karel Lamač, who also "only" played the lead role. The footage from the filming is amazingly familiar, given that it was already the number one event when it was made. This major film with Lamač and Marwille, who formed one of the most interesting couples in silent cinema, was guaranteed to be a success. Martin learned a lot in his years of being a whore for everything to do with film - and especially with Lamač - so the great casting even in supporting roles was just propping up a perfect piece of work. The maximum drama was mainly directed towards the stormy night, which remained the climax even in the sound remake that was made eight years later. However, only the eternally unchanging Ladislav Herbert Struna remained from the original cast.

Those four minutes in the morgue are wonderful. I regularly think of The Flames of Life with the equally great Suzanne Marwille. Karel Lamač proves the variability of his acting skills and Theodor Pištěk makes us forget about the very rigid box in which he later found himself. While Josef Jakarta's later version has a fairy tale feel and F. A. Brabec's is slightly grotesque, this one was pure horror. There is no other Czech silent film that I regret not having survived in its entirety than this one.