Szerelmek, esőcseppek

Despite the fact that Kachyňa occasionally challenged the regime more than was healthy and some titles in his filmography are marked by political engagement, he belonged to the best that Czechoslovak cinema had to offer until the end. Perhaps precisely because of his occasional compromises with the system and undeniable talent, which led to numerous festival successes, he was able to create without unnecessary compromises, with a decent budget and a crew personally selected by him. Along with the significantly darker sociocritical drama The Ear, I rank Love Between the Raindrops among the director's best films, where all the typical features of his work are present - a top-notch cast together with careful casting of actors, poeticism, excellent cinematography and music that completes the retro atmosphere of the late 1930s, a wide range of supportive technical means to evoke impressions, such as the use of filters, allegorical symbols or emotional crossfades to the cabaret, where individual cabaret numbers capture the changing mood of society. This is top-notch directing and unfortunately, the overwhelming majority of films from the post-November era do not reach its level. Even where it seemingly appears as a film weakness, such as the casting of the inexperienced Vaculík and the film novice Tereza Pokorná with her naive and even slightly clumsy acting expression, this choice ultimately contributes to an even more authentic film impression. Kachyňa skillfully alternates tragic moments with comedic ones and the romance of the protagonist's first true love with the down-to-earth approach of his brother in ​​relationships. Overall impression: 95%. The world of old Žižkov streets and their balconies with numerous bizarre human figures may be slightly retouched, but that's how memories of childhood and adolescence should be... (2010.07.18)

I wish I would have rediscovered this film sooner. It's a pretty filthy film, the set design almost matches the time of the story, and this is far and wide the only opportunity for the masses to see a little piece of Manželství pod drobnohledem. (2009.07.09)

If Vladimír Menšík had not made the film Jako kníže Rohan four years later (God forbid), it would have been the shoemaker Bursík, a tough but fair man fighting adversity and Baťa, who would have been his best non-comedic role. Seriously. As excellent as the other actors are (and they are, even Jan Hrušínský), it is primarily every minute of Menshikov's brawler that makes Love Between the Raindrops a truly great spectacle. At first glance, it may be subtle, but it is all the more powerful. (2015.02.02)