NinadeL

A great finale to a new trilogy that has shown the way for Karl May's work to reach the present. I'm very satisfied. It's not a romantic tale, it's "just" another more realistic story from the time of the conquest of the Wild West, but it's all the more powerful for it. It is not a color-printed legend meant only for gentlemen and boys.

This new retelling of the adventurous treasure hunt at Silver Lake tastefully follows the events that Old Shatterhand experienced when he first came to America. His romance with Nscho-tschi, his brotherhood with Winnetou, and his relationship with the white people develop. Sam Hawkens is becoming a genuinely interesting person and not just the comic character he used to be with Harald Reinl. A pleasant episode.

Very impressive, this bold undertaking. It’s a more realistic take on the Old Shatterhand/Karl May adventures in the Wild West. It’s an attractive subject that has been read over again and presented again to a generation that has not stuck to the conventions of the 1960s. For the first time, I also liked the story of Sam Hawkens. And it's always good to think contextually about the steel steed's journey through the real landscape.

Recently, I was inspired by a production at the Vinohrady theater and I was intrigued by a critical debate that I would not have expected. I suppose with an author like Shakespeare, we don't wonder about many things. For example, we do not expect advanced emancipation and gender equality in a late 16th-century play. Women's suffrage slowly happened only at the turn of the 19th and 20th centuries. This Zeffirelli adaptation is one of the most famous and popular for many reasons. We have become accustomed to his adaptations of "Romeo and Juliet," "Hamlet," and finally Jane Eyre being among the best of what these texts have inspired. This version of "The Taming of the Shrew" is also a practical example of Elizabeth Taylor and Richard Burton's marital acting performance. I don't like this couple any better than Mary Pickford and Douglas Fairbanks, who played Katherine and Petruccio in 1929, but it's nice to be able to see so much color in their relationship.

"The Case of the Middle-Aged Wife" (1932) features a very pleasant encounter with Parker Pyne and Miss Lemon outside Hercule Poirot's office. "In a Glass Darkly" (1934) gives a glimpse into Agatha's lesser-known work - melancholic, mysterious, and influenced by the trauma of war. "The Girl in the Train" (1924) is sweet fun with mystery, a train, and youthful humor. "The Fourth Man" (1925) tells a rather interesting mystery from the past about cruelty. "The Case of the Discontented Soldier" (1932) is another excellent case handled by the Parker Pyne Agency and his brilliant secretary Miss Lemon. It’s a really cute idea with the agency. "The Mystery of the Blue Jar" (1924) has a nice golf atmosphere. "Jane in Search of a Job" (1924) surprises me with a girlish double spiciness, just the way I like it. "The Red Signal" (1924) is a weaker mystery. "Magnolia Blossom" (1926) is a love affair with a crime plot. "The Manhood of Edward Robinson" (1924) is one of Agatha's cutest ideas on how to get a non-whipped counterpart to an uptight fiancée. All you need to do is get inspired at the movie theater, win the lottery, and have a sample adventure and the gloom of constant saving and boredom is there.

With the overlapping romance with Gwen Stacy, who is very iconic in the original comics, this story takes on a new dimension. The friendly enemy is also quite a nice element. It really doesn't take much to make even the umpteenth Spider-Man interesting, just don't retell the original and it's much more consumable.

A biopic about the writer Sylvia Plath based on the story of her marriage to Ted Hughes. The nice intimate experience is due to the pairing of Gwyneth Paltrow and Daniel Craig. The disharmony in the relative failure of her work during her lifetime and the success he experienced while she was slipping into the routine of motherhood is very fragile and often timely in many ways. It's good to be aware of such film projects and then carefully choose supplementary reading. It's clear that one poster of Gwyneth will often do more service than a whole shelf of books in a library with dust sitting on it.

Three interesting affairs by Wilde were published in quick succession. We have An Ideal Husband, The Importance of Being Earnest (2002), and A Good Woman (2004). It's nice to have these successful adaptations on hand because it makes it easier to work with the books, given it's not always possible to go to a theater and just read the plays, which can be quite tricky. Perhaps it is only the Suez Canal theme that makes An Ideal Husband sufficiently present for today's viewers. However, what's the use when this generation at least offers Julianne Moore as Cheveley, while 1935 had Brigitte Helm in the same role and that is truly an immortal peak.

There were never enough Havlíček projects in Czech cinema, often inspiring the best works of Herz, Svoboda, or Klein. And if Jireš ended up reading more of it, it turned out great again. The more modest conditions of post-revolutionary cinema may not have offered the opulence of backgrounds in the sets as in previous decades, but a halting of timeless character nevertheless occurred. This is a thoroughly enjoyable experience with the sensitive direction of a cast that can be proud to have Helimadoe in their filmography.

The scenes with Adamíra and Maciuchová have documentary value, but as a whole, it is a total oddity.