NinadeL

I consider A Tooth for a Tooth a very original theme that could also succeed as a shorter story even today. The plot, which is based on a crisis in a profession and is resolved by a woman's foresight, is still relevant. And revenge is sweet, it has been, and will be.

Of ASUM's long films, only this drama about the revenge of a woman who was cheated on has survived. When I was first introduced to this, I found the film to be similar to certain American or French films of that and later times. Andula Sedláčková was a complete Musidora of the time.

In a theoretical debate, this is nonsense, which is of course very soon refuted. For example, from a financial point of view, at the time it was more interesting to go to the movies than to the theater. Moreover, the ratio of theatrical scenes with such a set design could not compete with the number of movie theaters. These were the motives for the first "sound" Czech film and I liked the result. With musical accompaniment, of course.

I would liken this oldest surviving peasant drama to the golden era of this genre in the second half of the 1930s, although at the end of the Austro-Hungarian Empire everything was still very different. Antonín Pech's films, along with the works of ASUM and Kříženecký, are among the most significant examples of how filmmaking was actually done in the Czech lands. This particular generation may not have developed their film careers significantly after the war, but there is no question that they all deserve our almost sacred respect. Without them, the Czechs would have nothing to build on, and in the years to come, other pioneers would not succumb to the magic of celluloid.

This film is a rare example of one of the first Czech comedies. And amazingly, it's actually really good! :) It’s quite simple when compared to Linder, but still very effective. I wish Longen had had a longer series.

The film fits in the context of a genre-related film - then and now, Angel Devil is a much more interesting film. Nevertheless, Insane Cancan is still worth a look, among other things because of the very similar cast to Angel Devil and the interesting Austrian scenery (which was probably the responsibility of the second director Hannes Zell).

Burglar and Umbrella is an extremely sad affair. Bohdalová acts as if her heart is about to burst at any moment, and mine is bursting at the sight of Štěpničková. A few small well-acted etudes such as those of Růžek or Zíma don’t save the film from a final failure in terms of period plausibility. All those Šmíds and their tough guys are ridiculous, as are the fake cherries on Paraplíčko's hat.

It’s sad as a theoretical third Angel, and slightly better as a self-constructed co-production. The theme of summer and winter Olympic Games fun for the hardened has already been exhausted. In any case, it is an ostentatious indulgence that at least fits into the Czech cinema co-produced column. ;)

One of the few movie theater films with Hana Maciuchová in which she got a bigger supporting role. That fact that she missed out on the big screen is truly a mystery to me. However, her etude with Hrzán on the theme of "you can't come here now, Jaruš" always works for me. It resonates perfectly in the variation for Lucy, Terror of the Street.

In a way, I am very comfortable with Václav Matějka's vision of the film world. A few of his films are favorites of mine and this was another great surprise. This is how I imagine the human story to be completely consistent with the reality of that time, which is still dissimilar from today. Most of the participants excel in the subtle play of the story, and of course, I enjoy Hana Maciuchová most of all. What makes it absolutely great is that it’s the last time we see Magda Maděrová in films.