Neznámá kráska
Réalisation:
Přemysl PražskýActeurs·trices:
Vladimír Marek, Věra Skalská, Oldřich Nový, Jan Purkrábek, Katy Fibingerová, Heda Marková, Josef Žídek, Vlasta Bubelová, Přemysl PražskýRésumés(1)
Jaroslav Smola is unfaithful to his wife and tries to place the blame on his friend Petr Stamati. He finds understanding in his father-in-law who, as a young man had also cheated on his wife and does not know that she found out about it. On Petr Stamati's return from Egypt, Jaroslav's tricks are revealed. Jaroslav and his father-in-law take their exasperated wives to the cinema in order to try and save situation. In the weekly film newsreel there are shots at a swimming pool in which Jaroslav is caught in the company of an mysterious beauty. The family disaster reaches a peak. Furthermore, the wrestling champion Theodor Straka returns from abroad to hear that his wife was seen in the film with an unknown man and sets off to the cinema where there is a meeting of everyone involved. Fortunately, however, he does not get an opportunity to see the film for himself and instead believes the version of events that his frightened wife has fabricated. She explains that it was a fictional film scene and that the film crew had asked Smola if he would play the role as the actor had not apeared. Everyone is satisfied with this story, especially Petr Stamati and Máňa Vacková who, in the course of events, have got to know each other. (texte officiel du distributeur)
(plus)Critiques (1)
The Mysterious Beauty is a Brno film by Přemysl Pražský. Pražský relocated to Brno for a time, engaged local actors (including the debuting Oldřich Nový for a supporting lover role), and created a humorous anecdote based on popular partner, family, and intergenerational clashes. He spiced it all up with the interesting setting of Lloydfilm's production facility, the presence of a Greco-Roman champion and references to Egypt. The key plot is based on the realization of a false actuality, which offers a very interesting reflection on the film business in feature films (which is followed by Pražský's participation behind and in front of the camera). What is interesting is the recurring gag of a strong squeeze of a hulk with five thumbs (the handkerchief joke in Fairbanks' Zorro works in a similar way). From today's point of view, the absurd merging of the film with the phenomenon of the debuting Nový, who waited another twelve years for his next film, is unfortunately repeated, and everything else is somewhat obscured. I must add that with repeated viewings, The Mysterious Beauty is a much more compact and enjoyable film. Also, Peter Stamati's sportswear also doesn't stand out as much anymore.
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