NinadeL

The Wings of the Dove is an adaptation of Henry James' 1902 novel of the same name. It doesn't necessarily matter if we already know what themes and style are typical for James. Once again, the film tackles the unenviable situation of young people who make decisions about their future according to their financial security, which slowly destroys their relationship with each other... We also once again get the American fascination with Italy. It's really natural (and very enjoyable) to watch Helena Bonham Carter in the lead role of such a spectacular novel because she already had experience with the protagonists of E. M. Forster, Mary Shelley, W. Shakespeare and G. Orwell, and she was in top form. The art nouveau costumes and overall set design are superb, the psychology is realistic and it's an incredible downer.

At the beginning was Henry James' famous novel "Washington Square" (1881), which was followed by the Goetz play "The Heiress" (1947). The film is therefore the result of a careful selection of material and its examination over time. Olivia de Havilland made the most of the good material for her second Oscar and revisited it in a radio dramatization... As such, The Heiress is one of the influential classics that have been lucky enough not to age. Because profiteering, naivety, and condemnation have still not disappeared...

So far, this is the last transcription of Henry James' classic novel "The Aspern Papers" (1888). The acting is quite good, Joely Richardson is obviously very good at hearing her mother Vanessa Redgrave, and she and Jonathan Rhys Meyers have already mastered such roles as Henry VIII and Catherine Parr. The sets are decent, the exteriors are beautiful, and the costumes are appropriate, but traditionally the make-up and hair designers fail to please contemporary audiences. However, since the script is not a direct adaptation of James' play, but has undergone yet another adaptation through Jean Pavans' play, we encounter a slightly different story than that offered by other productions. It's questionable to what extent the Death in Venice-style manifesto realistically fits Henry James' intended point, but we have no choice but to enjoy the film with all it has to offer, or go see a different adaptation.

The theme was chosen well once again. It has the features of the classic Klusák/Remunda meeting, but as a feature film, it is completely out of place. We get minutes of interviews with random people in the park, a TV station editor…

Nineties anime at its most pure. Back then, Revolutionary Girl Utena represented a certain peak of otherness. Nowadays, it's no problem to read the manga version comparatively and enjoy the whole warped world waiting to be straightened out by the girl with the pink tint and the boy's uniform. All in all, it's a feast for the eyes, with flowers, miniskirts and emotions everywhere.

Snow White in its traditional form was already preserved by Disney before the war, so all other attempts to revive this classic are more or less ambitious superstructures. Since these things become a golden grail, Disney has never allowed for an official sequel and the competition always has to come up with something extra. Of such ideas we can recall the cute dwarfs, or the tale of horror, but Tarsem Singh's Mirror Mirror comes at the same time as Snow White and the Huntsman and the two films are forced to compete with each other. It's a bit of a shame, because the genre always ends up being somewhat different. This film is Julia Roberts acting solo in a new comedic position that doesn't pander and is something new. What happens outside of the scenes with her is a departure, but it's not bad either. This film is all about interesting special effects, lavish costumes, an unusual concept of the prince and dialogue that no one would expect in a fairy tale. I'll ignore the final dance number because it's so inorganic (similar to Slumdog Millionaire).

A classic cross-dressing comedy in the tradition of the cross-dressers that were so popular in the 1930s. While in Germany this sub-genre was defined by the famous musical comedy Viktor and Viktoria, the Czechs worked with Lída Baarová, Hana Vítová, and last but not least Vera Ferbasová, and Anny Ondra, of course, also mastered this style on the edge between German and Czech cinema. In the version with Adina Mandlová we get a portion of the best from the home workshop of Vladimír Slavínský. The casting of even the smallest roles is great, along with witty dialogues, exaggeration, trends of the period, and a modern view of the time. Girl or Boy? also artistically deals with such phenomena as the yuppie fame of the artists of the Grand Operetta, the popularity of boxing in rural areas, and the contrasting view of the role of young women in society. In this, the naive Fanča Foltová (preparing for the role of a mother of at least 4 children) is a great contrast to the modern Mandlová (with a love of theater, yet with a practical school).

The first half an hour was admittedly difficult, full of Hollywood clichés, with each prominent character being a well-known actor, which made it almost impossible to believe that this group was the one that took part in the real Operation Valkyrie. Tom Cruise had a lot of confidence when he decided to become Count Claus Schenk von Stauffenberg. But if one agrees to play the game, one wins and is rewarded with one of the best films about the assassination of Hitler.

This film is a classically refreshing affair from the early days of sound film. The main solo is played by the eloquent Plachta, and the subject is endlessly funny to the point of brutality. We look into the streets of Prague and the mountains, into skiing manuals and the pages of spicy men's magazines. The main lover is played by the real hockey player Josef Král, the other by the original Václav Vydra Jr. The female leads are the cutest, Ela Šárková in an unbeatable outfit with a woolen cap with pompoms and of course the spicy Jiřina Šejbalová, who is best suited for singing at the bar. Regular reruns are necessary because of the song "Tvé Oči To Poznaly"...

One of the first Slovak films as an independent post-war phenomenon. Katka is the story of an ordinary village girl who does not look forward to life in her rural home and to the local balls, but rather focuses all her energy on her work in a textile factory. With his peculiar demeanor, she impresses two men, the modern and witty Dibarbora and the stoic Pántik. She also has enough impulse to improve and together with the girls in the bachelorette contests she competes for better performances. In her free time, she of course enjoys the beauty of the Slovak mountains. This may sound pretty awful and contrived, not to mention the fact that at least seven people were involved in the final script, but the result is an enjoyable film for the educated viewer. It's not a hysterical disaster in the style of The Village Revolt.