NinadeL

An excellent original, which after 25 years Magda, unfortunately, covered up with the idea of making a color remake with her own daughter in the lead role. The only one who had any sense was Max Ophüls and he said he wouldn't do it again. Why would he? Having it perfect once is enough.

Miloš Kopecký, a retailer, is the deceiver in the film, offering an outdated film "featuring Conrad Veidt" and is countered by Svatopluk Beneš, a wholesaler, with the latest film Metropolis. In the end, it turns out that a hot new thing can lose out simply through plain bad luck. The general narrative from the present ends with the revelation that Conrad Veidt is not really in the title film because his name was a mere business decoy.

A simpler, more naive, cheaper and overall worse version of the Bathory story that exists only to finally get Jakubisko's project appreciated. The only interesting thing about this version is the concerted effort to tell the story not of a bloodthirsty beast, but of a powerful woman who was an extraordinary figure in her time. Yet all the components of the film, starting with the actors and ending with the set design, completely fail. The main storyline begins after Nádasdy's death, and the Countess very quickly becomes the prodigal aging lover of a 21-year-old man. There have been more than enough fictional lovers alongside prominent female characters past and present! Such a screenwriting crutch is more likely to point to cluelessness than anything else. Moreover, the dialogue is reminiscent of old TV gossip, not of life at court. I also find it hard to believe Erzsébet's affluence as she moves through completely empty interiors and exteriors in her sober costumes evoking Western Europe (where is the fine line between the Hungarians fighting the Turks and the Viennese elite so convincingly personified by Anna Friel?). If you take the trouble to watch it, you will find that a lot of burdens have been made about Bathory in the last 50 years, but only now is it possible to make such films on a more realistic basis. So thank you to Julie Delpy for her efforts.

Hřebejk, Jarchovský, and Šabach continue their narrative about the past decades to "document" a similar phenomenon of the 1990s to Holiday Makers. So now it’s about Shells. The film does feature some nice moments with the traditional cast, led by Polívka. Lenka Vlasáková has a nice etude on the topic of ecological cosmetics and Oriflame-style sales. There is probably some value in remembering this feature of post-revolutionary euphoria, but I dread what’s going to come next time. What other useless trifles will be promoted...

René and his story are part of Helena Třeštíková's work, in which I have no active interest in the person I am watching. Yes, René started off badly in life, but after his mother showed up there was nothing left to think about.

The My Little Pony 'n Friends block included My Little Pony and Glo Friends, MoonDreamers, and Potato Head Kids. These cartoons based on the Hasbro toy series were very popular, and to this day My Little Pony 'n Friends or My Little Pony are still favorites of preschoolers.

Who would have guessed that this would be such a success back then in the mid-1990s. Stockinger end up getting his own series and similar series with a German Shepherd are created all over the world. Including Canada, there under the name Hudson & Rex.

It’s funny that SOKO is actually the same as CSI: *whatever city name goes here.

In the context of this sort of film, certain other ordinary Czech comedies become more serious. This is neither a fish nor a crab. I almost want to give a better review to the one-year-older project The Wedding on Battle Field. At least it had some ideas.

This film is about how not to handle the closely watched adaptation of the book of the same name by Antonín Zápotocký, who was such a sly fox that he projected himself into the character of the main protagonist in order to honor in the best possible way the 30th anniversary of the founding of the Communist Party (and he was not even president yet in 1951). At that time (1921) he was in Pankrác, so he was only an honorary founder, but he still was one. In terms of the film, we find that there is no other project as exemplary as this. Strangely enough, even when we compare New Fighters Shall Arise to The Red Glow over Kladno, it resembles a film and not a poster. It was thus prepared scientifically, with a lot of rewriting, and a lot of building of new exteriors on the set because the Kladno of the time was not suitable for filming. Apparently, Zápotocký's hands were tied in the office in the meantime, and even his personal supervision was unable to have some of the events from the book in the film. So what are we left with? The feminizing Chramostová and Fabiánová and, of course, Míla Besserů and his Václavíček, who brightens the day for the whole week ahead by how sincere and stupid he is. "Is it true, Dad, that Lenin is a terribly big man?" - "Of course he is big." - "Dad, how big is he? Is he bigger than you? Would he fit through the door?" P. S. Anyone who has noticed that the logic of some events seems to be tailored to a longer period than just 1918-1921 is right. The screenwriters evidently just moved everything that wasn't crossed out in the book forward, regardless of the consequences.