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This wouldn't even pass as a small TV film, and yet it's being sold as a feature film. Where there is nothing, there is not much to talk about. Theoretically, it has a decent group of actors, but none of them have anything to do. Xindl, Jícha, Míka and Cieslar signed on to something that anyone in their right mind would have rejected. But at the same time, they did nothing to at least make it interesting.

The 55th feature-length Disney Polynesian Odyssey with a female protagonist? This is obviously a very good idea for a Disney movie. I didn't really believe it at first, but those classic attributes need to be updated all the time and if this trend has been going on since Ariel, there's no reason Moana/Vaiana shouldn't work. She too is a teenager without fear or reproach, she too has a pair of favorite animal friends, and she too is braver than many of the adults around her. She is agile, has a pure heart, and the most beautiful eyes. And, of course, she loves her grandmother. This makes her a good role model for little kids. As a result, it's another film that has a chance to be domesticated.

A nice operetta theme that was liked across the Czech Republic. The pace of the film adaptation is to be appreciated, the theatrical premiere directed by Oldřich Nový was in December 1933, and the film premiered in January 1935. The ambitions were great, but the colorful final scene was dropped and we will never see the true color of those lilac roses. However, there are some really good ideas in the B&W, especially Pešek's etudes on the pink balcony, Nedošinská's classic transformation is charming, and by far the best is the spicy Maria Tauberová, a real operetta diva of those years.

Stelibsky's classic operetta "Nám je hej" in its film transcription offers the pure essence of popular Czech cinema of the second half of the 1930s. The main comedians are Plachta and Pešek, with Marvan (the father) and Nezval (the son) as competing lovers. The love object is none other than the charming owner of the photographic factory Hana Vítová. The films include, of course, Pištěk, Trégl or Kreuzmann, as well as my loves Marie Červená and Marie Norrová. So what's the hitch? Perhaps only the fact that the sympathies directed towards the Czechoslovak Army somewhat obscure the fact that it is an operetta and music is really scarce in it.

If we were to situate Joseph Lanner (1801-1843) on the timeline of the development of Viennese operetta, we would find him in the era of the founders of the Viennese waltz, together with Johann Strauss, the father. And, of course, in the place of great inspiration of the king of Viennese operetta, Johann Strauss' son. While Lanner himself did not live to see the creation of the Viennese operetta, his melodies have become an integral part of this cultural heritage. It was only retrospectively that his work was made into the independent operetta "Alt-Wien" (1911). The complex mirroring of the Czech and Austrian film versions of In the Little House Below Emausy cannot be analyzed satisfactorily, since we only have the Czech version. Its character is described by the film's caption "from ancient times." In retrospect, it may seem that it was a mistake to cast as the main lovers the not-very-experienced Mandlová and Novotný, but the coloring of the other characters played by Pištěk, Hart, or Nováková ideally complements the photogenic nature of the young people and the whole straightforward story of the failed Pygmalion experiment. The setting of the inn and the contrasting castle salons together create a subconsciously familiar environment of memorable stories from old Austria, and if the postman's tune is still heard among the main melodies, there is no reason not to be lulled into happy dreaming.

A thoroughly entertaining operetta, apparently dehumanized by the alleged ravages of time. Yes, Czech film operettas are a completely different experience than other contemporary productions, but understanding that this is not a serious work should not be such a problem. The story of a trio of couples whose love affair culminates over the holiday of St. Anthony is, in its abstract form, the typical stuff of light musical entertainment theater since at least the mid-19th century. The contrasting encounters between modern people (here a Czech-American and a journalist) and the distinctive figures of Slovácko are successful caricatures on both sides. Those proclaimed painted nails of Ljuba Hermanová are not so dramatic, considering that this is a B&W film and there is no detail on her hand in the entire film. The fact that she functions as the female mayor of an entire village (and referee in matters of love) deserves much more attention. The parody of big-city journalist Franta Paul is something that today's media studios would love to play with. Dohnal and Pospíšil are a classic pair of passionate youths. Dohnal is a charming young comedian who prefers coffee above all else, and Pospíšil's fresh voice gives this film a really strong relationship with its original musical score by Jára Beneš. The operetta diva Alena Frimlová, who makes her debut in the film, also represents an ideal link between the original theatrical form and the film adaptation; in addition to her great voice, she also looks great and caricatures her Czech-American character so well that all others must be compared with her version. And Hana Vítová is classically pleasant. It should be added that while the style of operettas in Czech film had been determined mainly by Piskáček, the arrival of Beneš and later Stelibský turned this genre into something excellent.

Czech film had no experience with contemporary operettas by Oscar Strauss. It is therefore very easy to misunderstand this great narrative film. Czech film of the 1930s had a hard time finding its relationship to operetta; the original film operetta was written by Piskáček and the most popular pieces were the ones that were the most human. It was therefore natural for someone who had always felt cosmopolitan to turn to the latest international piece, which premiered in Berlin in the autumn of 1932. And indeed, within two years, two simultaneous language versions of A Woman Who Knows What She Wants were released. Binovec cast one of his many delicate discoveries, Markéta Krausová, in the lead role. We can only regret that she preferred the theater, as this way, we are left with only a fraction of her art in cinema.

A beautiful modern operetta. Oscar Straus wrote "A Woman Who Knows What She Wants" in 1932, based on the 1920 novel "Mademoiselle ma mère" by Louise Verneuil. Today, this film helps us follow the development of operetta in the 1930s in unsuspected detail. The wonderful subject follows the classic problem of the modern woman - the family or career? This operetta has a very clear answer. The gorgeous Lil Dagover reigns supreme once again in the lead role, as she is simply amazing. By this time, she had already made her only American film, The Woman from Monte Carlo, as well as Empress Sisi, and had already established her place in European sound film. Of the male actors, Anton Wohlbrück, the future Walbrook, shines above them all in full glory.

I am, of course, fascinated by the general theme of the role of women in the Third Reich, but if we have separate books and films dedicated to all the secretaries of Hitler, Goebbels and Göring, is it possible to perceive Brunhilde Pomsel differently? Individually? Hitler's suite of loyal ladies was supplemented at the end of the war by the addition of Traudl Junge from Munich, while Goebbels recruited a former radio reporter, and Göring got Louise Fox. Those who were barely twenty years old during the war mostly grew up in the Bund Deutscher Mädel, while the older ones were marked by hardship during or after World War I. The stories are all very similar to each other. However, I'm afraid that today's generation no longer understands them. The previous generation at least had to face a black-and-white interpretation. It is therefore up to us to make present the destinies of individuals despite the passage of time. This documentary is handled somewhat differently than Blind Spot. Hitler's Secretary, but it depends mainly on how deeply you understand the subject matter.

Angels in America is a series adaptation of the famous 1993 stage play. Tony Kushner's play won the Pulitzer Prize (an award given for new works of art significant to American culture, now transcending literary genres, a tradition since 1917). Which explains a lot. The lead acting trio of Al Pacino, Meryl Streep, and Emma Thompson is great and beyond their typical casting. Even the young actors proved that they were well chosen. Their other work has found success, for example, on Showtime. The subject matter is really dense, linking AIDS sounding the alarm across the gay community with the question of the religious identity of Mormons outside their home state of Utah. It really pays to have a grasp of modern US history, because otherwise, you will have absolutely no idea what this is all about. On the other hand, it's so crazy that you can't be sure of anything. However, there is one major flaw in it. There's virtually no reference to the fact that this all takes place in the mid-1980s and only the final epilogue specifies the time period to five years later, 1990, which is simply inconsistent. The discourse around AIDS has been different in each decade and we need to be aware of the shift in time.