NinadeL

Dušan Hanák's famous film Rose Tinted Dreams tells the story of a world between a village and a colony. Logically, given Hanák's previous focus, life in a colony is perceived here in a semi-documentary way. The differences between the village and the colony are transposed through the view of young love and the result is an attractive view of something else. The young Nvota and the even younger Bittová are authentic to the core.

A fascinating mature science fiction film that, while not a new turning point in the understanding of animation, manages to be appealing even after many changes in the way the medium of adult animated feature films as a whole is understood. In recent years, I've come to especially appreciate the references to classic science fiction from the dawn of the Golden Age (or even older ones), and I found plenty of them here. It's as if everything was influenced by Dejah Thoris and John Carter, Lord of Mars.

Mank is a decent piece in the classic puzzle game of pre-war Hollywood, W.R. Hearst, Marion Davies, and RKO 281. Those who only watch this as a bonus to Citizen Kane will be missing out. I can only recommend: study more, much more.

This film is one of František Langer's works that deal primarily with justice. The idea was brought to Langer by Olga Scheinpflugová, and it all fits in with the interwar trend to take a relative view of contemporary justice. On the stage of the Vinohrady theater, "Dvaasedmdesátka" had a total of 56 performances. However, the filmmakers did not return to the subject until Langer became a national artist in 1947, which is a shame because, as we know, the film could not have been more apart from this tumultuous time period. The post-February dramaturgy turned its back on Slavíček's artistically ambitious rewrite and the premiere, postponed by five years, condemned the film to incomprehension and disinterest. The result may not be perfect, but the original formal method of theater-on-theater will always be a challenge for filmmakers. Personally, I don't see it as an ideal choice to cast Dana Medřická in the lead role, who for some unfathomable reason was considered a femme fatale in the second half of the 1940s. Is she a good actress? Sure. A female vamp? Nope. Slavíček's favorite Šmeral is much better off. The psychological level is of course very interesting. All in all, it was a premature farewell to a quality pre-war dramaturgy that still had much to offer.

This is an incredibly fresh cinematic experience from 1932. The Innkeeper 'At the Wild Beauty' is the de facto culmination of an era that naturally bridged silent and sound film. New to this well-established collaboration were the then-novice Lída Baarová, comedian Fanda Mrázek, and composer Jára Beneš. And while Baarová is brilliant in her uncouthness, her acting is incredibly colorful and overall a joy to watch, while Fanda Mrázek is also quite amusing. As an experience, it is absolutely wonderful, and from a historical point of view, the mountain exteriors are invaluable.

Suburbian Girl or Everything Comes to Light is an old film, but even a century later it still has something to it. In a historically tense time, director Pištěk met again with composer Piskáček and once again they created a successful work of Czech film operetta, in many ways following their first triumph in the form of the operetta "Anička, Come Back!" (1926). Tyl's panopticon offered many endearing opportunities for the stern but infinitely beautiful Helena Bušová, for the naive and even more beautiful Jiřina Sedláčková and, of course, for the wonderful Zita Kabátová, who did not hesitate and almost stole the whole film for herself. Actress Valerie Dupla walks through each scene in a new costume (the best of which is Salomé), switches between several acting positions, and even sings a few cute Piskáček songs. It is also a story with humor and lessons, in which countryman Šukálek triumphs over lies and hatred with his wit. You couldn't ask for more.

Sweet Worries is one of the great Slovak comedies. It is indeed an easy-flowing comedy with elements of classic slapstick. Even the fact that it is set in the gloom and grey of the 80's is only slightly bothersome. The idea of the main character, a pastry shop master who is both cute and defenseless, is a nice one. Emil Horváth Jr. sails through the pitfalls with a naturalness all his own, and like his predecessors in classical slapstick, he copes just as elegantly with the arms of girls and the obstacles of various porters or matrons eager for advances. It's not a diamond in the rough, but it's a great example of Slovak cinema and a motivation not to neglect productions from the eastern part of Czechoslovakia.

Vampirina is a very original spectacle within the Disney Junior original series. The films are always made up of two ten-minute episodes, each episode working with a sympathetic song, a reverse humor that builds on the similarities between Transylvania and Pennsylvania. A natural dose of education in soft skills and plenty of wordplay is a given. The kids will have fun, the creatives less so, and that’s that. When I compare it to shows like Jake and the Neverland Pirates, Doc McStuffins, Sofia the First, The Lion Guard, Elena of Avalor, The Puppy Dog Pals, and Fancy Nancy, I'm at peace. Because Vee leaves them far behind.

Vampirina and her friends Poppy and Bridget are a complete team. They're not even distracted by the substitute teacher from Transylvania. The first (half) part was also published in book form as "Vee Is For Valentine" in The Golden Collection of Fairy Tales No. 125.

Ah, those terribly long Claude Lelouch films in which the camera is always moving, and at least an hour out of the three is completely unnecessary. For some it's a pleasure, for others it's an ordeal. It's romantic to devote an entire film to the brief romance between Edith Piaf and the married boxer Marcel Cerdan (middleweight champion of the world 1948-9), but the parallels! We watch Piaf and Cerdan in each other's arms for barely two hours, and it's quite lively. She learns who Joe Louis is and thinks about the rules of the cruel sport according to the Marquess of Queensberry so they have something to talk about together, and he only boxes where she has concerts lined up. It's a chapter in the lives of both, and not uninteresting to admirers of sport and art. But it wouldn't be Lelouch if he hadn't created an accompanying imaginary love story in the letters, which perhaps should have added gravitas to the animality between Piaf and Cerdan.