NinadeL

When Lamač has taken on his work in positions other than that of director, the quality has always been enhanced. He also started to work on a libretto together with Bernd Hofmann based on the novel "Aber Innocenz" by Karl Hans Strobl.

Pat und Patachon im Paradies is an Austrian-Danish co-production shot in Hungary by Czech director Lamač with the assistance of Hungarian director Géza von Cziffra, who has a career in Germany. Rumor has it that by that time the famous duo had their unavoidable dispute, they didn’t speak German, or to each other. The result, however, is an interesting comedy that is all the better when watched by someone not very well versed in their previous films. Naturally, paradise means a tropical island and I have a real desire to understand this famous pair.

For Imperio Argentina, who transformed into Macarena Granada played by Penélope Cruz. Incidentally, as we can see today the double version Nights in Andalusia, filmed bilingually in German and Spanish, turned out great.

The fact is that Juliette was much further along then than the budding Pitt. It’s therefore not such a wonder that she shines a bit more than him. Anyone interested in the Lewis-Pitt duo has probably seen the excellent Kalifornia as well.

A very interesting film that equally preconceives the adventurous youth films starring small and bigger children and the major films that helped cope with the stifling reality of the Protectorate. Given when it was made, we are in for a bit of unintentional humor: "Daddy, its Bolsheviks little kids too?" Overall, however, I find this to be the better part of the journey to achieve a new creation. And it’s even better as a director’s debut feature film.

No matter how I try to think about this film, I cannot find any fault with it. That’s a bit chilling, considering the fact that it's a simple romantic musical comedy... But there’s just something to it, and I'm not afraid to consider it as something that has charge of Luhrmann's Strictly Ballroom. When joy was being given out through Pretty Woman in the 1990s, I only married Richard then. ;)

I completely miss the point of a remake such as this. In the past, remakes were often made based on the continuing popularity of the subject matter, supported by technical developments in film. This means that if a film was first silent, it was followed by sound, color, and possibly widescreen versions... The classic The Cabinet of Dr. Caligari was first remade in 1962 and again in 1989. Now, in 2005, we have quite the ludicrous remake. It’s been updated in that it is indeed widescreen (and has sound), but it is also black and white (!) and all the action was shot in front of a green screen and then keyed to the original (!!!) scenery. There is no new benefit to any of it, so I'm glad the original Wiene group didn't live to see it.

I'd prefer if this was really just an endless series of acted jokes about blondes. Unfortunately, it isn't, so all the minuses I’m giving it are for the attempt at having a story.

This has nothing to do with the work of Jaroslav Němeček!

I really feel bad about just giving it an average review because it's filmed brilliantly. It's also dynamic and well acted. The theme of a walk to refresh the relationship between son and father is excellent. However, there are several "buts." For example, the history of the century reduced to first-republican capitalism and the later period, which is expressed only by the decision to go with the flow or not... This is as problematic as the rejuvenating skin of Josef Somr, who is excellent in his role, but at 73 shouldn't have to settle for hair dye or a comb-over to complete his younger self. On the way through Stromovka, unfortunately, the theme of a supposed ideal relationship also developed, with a quick bump into painful reality. Therefore, the Czechoslovak friendship was just an imaginary cherry on top, which had the bitter taste of the trotting Lábus, who seemed to continue in his role from Non Plus Ultras. I really didn't like that.