NinadeL

Vavřinec Řehoř originally wrote the story as a newspaper novel. Individual chapters were published during the war, and readers apparently enjoyed the story of an ordinary girl from a Czech village whose life was destroyed by service in Vienna. Due to popular interest, the story kept growing (following the main character through events spanning about 20 years). Thi first adaptation remains remarkably faithful to the original, only changing Vienna to Prague. Mary Jansová is very authentic, Jan W. Speerger is great as her seducer, and in the second storyline set in the present, Marie Černá and Betty Kysilková shine. The character of Jerzy Pawikowský poses a challenge for researchers. In this form, all characters' psychology, motivations, and decision-making make sense, and if one can find suitable instrumental music to accompany the silent film, the projection can be a great experience.

An adaptation of Jóhann Sigurjónsson's 1911 play "The Outlaw and His Wife" (Berg-Ejvind och hans hustru). This raw drama from the Icelandic countryside in the 19th century is chilling and moving, even many years after its premiere. The amazing loving couple was played by the real-life married couple of Victor Sjöström and Edith Erastoff.

Henrik Ibsen's 1862 rewrite of the poem was made in happy circumstances, with Sweden and Denmark remaining neutral during the war, allowing the films to continue to be balanced. The then more successful Danes left for the luxury studios in Germany, and Sweden took the baton for the leadership of Scandinavian national cinema. These circumstances, together with the artistically successful conception, influenced Sjöström's future career. He established himself as an actor and director with an international reputation. The lead female role was played by his second wife, Edith Erastoff. A Man There Was ideally portrays the poignant drama and excellent work with the striking nature that inscribes itself into human characters.

Strauss's "The Gypsy Baron" premiered in the fall of 1885 in Vienna. Feelings were initially mixed, as the title was already announced for the beginning of the year and the premiere was supposed to be in Budapest. Since 1883, an operetta based on the story "Saffi" by Hungarian classic Jókai had been expected. After 25 performances, the finale was changed from the usual waltz to the Hungarian March. This film adaptation is probably the first sound transcription. The main role is perfectly suited to Adolf Wohlbrück, who perhaps never filmed anything uninteresting, and his name can still be considered a guarantee today. Until 1936, he filmed in Germany, then immediately continued in England and forever remained faithful to the high-quality musical genres that brought him to the top. Alongside him, in supporting roles, are actors such as Rudolf Platte and Margarete Kupfer, with outstanding performances in the leading female roles by spicy Gina Falckenberg and the lovely Hansi Knoteck. Karl Hartl's The Gypsy Baron is among the classic operetta films of the 1930s, which honor their original source and at the same time gently update it with respect to the standards of that time.

British culture so sophisticated that even Meky would not get lost in it. Danny Boyle revels in the kitsch written by Richard Curtis, Himesh Patel is authentic and Lily James is utterly endearing (though my heart beats for Kate McKinnon). Lovers of the Liverpool bunch will love it. And Robert Carlyle fans will have their jaws dropped.

It’s not silly, and above all it is a fanboy homage to all those Hammer lesbian vampire horror films that Countess Dracula (1971) dominated in its day. Chastity Bites was made by the people who were also inspired, among other things, by Dracula's Daughter (1936). The same experience was pivotal for Anne Rice, but she was able to cope with those feelings without the American high school...

I still have a certain respect for the X-Men franchise after 20 years. I watch all those movies and TV shows when I can, and I keep finishing various selections of comics, but that doesn't stop me from occasionally revisiting old friends.

The team behind The Red Shoes (1948) and The Tales of Hoffmann (1951) updated "The Bat" for the needs of the mid-1950s. Strauss's music is immortal, and the foundations of the libretto by Meilhac and Halévy are probably also immortal, because otherwise it would have been impossible to appeal through them for the Allies to leave occupied Austria. Anton Walbrook (Wohlbrück) is at his best as Dr. Falke, who kindly urges the Allies to leave for once and return as friends. Ludmilla Tchérina as Rosalinda is fascinating, only Anneliese Rothenberger is truly weak this time (she’s too mature and settled). If there is one work that is synonymous with modern Austria, it is "The Bat".

The Munsters' Revenge is a sad swan song. The ideas are there, the willingness too, and the main actors were perfectly in tune with their roles, but the pause was too long. So what would have been an interesting two-parter of the old series becomes an undignified standalone revival. Phantom of the Opera's cousin (based on Chaney) is basically a genius character, but would be terrifying in black and white. He's just insanely entertaining this way. The other monsters, like the Bride of Frankenstein (based on Elsa Lanchester), are reprehensibly underused, although the masks are excellent. And worse, Lily gets almost no space. For Munster lovers, it’s routine, others don’t need to bother with it. Their golden era was concluded in the film Munster, Go Home!

Although I can't stand the first Discostory, I have quite a soft spot for the second one (in the context of the perverse films of the first half of the 90s). That's why I didn't immediately hate Decibels of Love. Various strange throwbacks to once-popular films in the style of The Great Thaw can be pretty decent stuff for the hardened viewer. But here we encounter a film that would have loved to have been Discostory 3, but it wasn't.