NinadeL

I'm afraid that The Triumph of Love can only really appeal to those who have received at least a basic introduction to the work of Pierre de Marivaux. The transcription of the play from 1732 cannot really be seen with today's eyes. I was honestly enthralled. A spicy, dress-up game with many subtexts and excellent acting performances. Moreover, the blending of the film world with the theater space is very clever. The ending is magnificent. Music is able to be above everything.

Čapek's youthful play "Loupežník" is a natural story about youth that contradicts the previous generation and as such is still relevant today. It is surprising how far Kodíček has taken the tone elsewhere. He just stuck to the outlines and added details that the play didn't need but seemed necessary at the time. There are a lot of aerial scenes and a lot of extras at the expense of the storyline with Mimi's sister, which is perhaps more important than the young romance. It could have been an interesting acting duel, Mimi played by Marta Trojanová, and Lola by Mary Grossová, but she only lent her photo to the film. However, where the theater has personified love in the form of little children in funny costumes, the film appropriately inserts songs. But beyond that, the whole is solely dependent on the photogenic nature of Trojanová, which is unfortunately not enough. Mimi's mother, played by Marta Májová, is too old, Pištěk as her father is more successful, Gleich could have been good under better direction, and we can argue about Hübnerová, but theater studies have already solved that for us. To sum up, I highly recommend a broader look at Loupežník, as solitary knowledge would be incomplete. In this way, it seems to me to be a very interesting excursion into the groundbreaking period of Czech cinema and an immortal stop of Czech theater.

It's simply sensational how far an originally great show has fallen. Season 3 is a waste of time. Orry got himself killed off-screen, which is as tacky as the cleavage of all the former beauties of the original North and South. So many recast actors create a completely alienating impression - it as if they are not even the same characters. Pure futility. I would like to believe that the quality of the series describes the era in this style – Season 1 is full of the glamour of pre-war society, Season 2 is disillusionment with the war, and Season 3 is a total reassessment of the quality of life. But it would be too ambitious and naive to approach the whole series this way.

As quickly as I got excited for Season 1, the second one doesn't give me as much joy. The story is still the same, the civil war is more driven by lace than anything else, and the expected highlights like the wedding between Orry and Madeline happen in passing... The overwhelming number of war events just keeps piling up and piling up until the successful end of the fighting. Unfortunately, though, individual characters lose their backstory and their development is odd, with Virgilia Hazard being the most pressing example (though she's still wonderfully played by Kirstie Alley).

It's really interesting to see how the May films of the 60s have become an idol for older and more advanced nostalgics, while those who know the films well are few, those who read May regularly are even fewer, and those who are also interested in the May films of the 30s and 50s are the fewest in number. Still, the first reactions to this mini-series were of course defensive. I have to laugh at that. Fortunately, the new May films don't copy the ills and conventions of the Barker and Bric adventures, but go their own way, giving their characters a more realistic background, and connecting May himself to Old Shatterhand in interesting ways. Anything that helps alleviate a senseless cult makes me happy. Not to mention that even on its own it works well beyond expectations.

I was expecting all sorts of things from this. In my family, we love the Scarlett mini-series, so I would have rather assumed it would be worse given its age, but wow, the series starring Patrick Swayze as a proud Southerner is divine and can be binge watched! It’s high-quality, suspenseful, and informative. The acting is great as far as the eye can see, the best being Kirstie Alley as the fighter for the abolition of slavery and the most beautiful lyrical protagonist Lesley-Anne Down. I'm looking forward to the next season.

It's a very weak affair. The retold story of a nerdy kid who loses his uncle and realizes that with great power comes great responsibility... I'd rather watch a sequel to the Kirsten Dunst trilogy.

"Well, it's much easier, Helena. He was working extra hours at school because he could chat with the chatty Ptáčková in a tight sweater. And I taught with her, so I know what a bitch she is." Or the last great Svěrák-Svěrák film. Because what was to come in the next decade were just multiple epilogues.

There are many interesting things about The Proud Princess. What is attractive is the phenomenon of doing it first, as if no fairy tales had been made before the war. But this refined Krasomila was a new opening phenomenon for a renewed genre that had become so typical of the entire State Film period that it was simply impossible to miss. It’s a very successful film from the problematic years of Czech cinema, a very popular fairy tale that should have had a sequel in the 1970s. So we are left with the immortal story of the brave King Miroslav and the princess from the Midnight Kingdom, who was no longer proud after meeting him... I don't bother watching the rerun every year, but it's interesting to watch the dual story of a love tale that changed several lives of its creators, but also the face of the genre in the Czech context. I'm also quite amused by how the film has been praised regularly since its inception and mentioned with every new Czech fairy tale.

A visually attractive affair that has been somewhat forgotten in the history of Czech cinema. It’s a nice idea, combining the everyday grey with the color of ideal ideas. However, the young Hlaváčová is a very strange protagonist. But then again, why not give her the floor?