gudaulin

Suchý as the author of song texts gets a good grade, but as the author of the screenplay, not so much. This filler between songs was not good even in the 60s and now sounds hopelessly naive, clumsy, and outdated. It's good as a reminder of actress Zuzana Stivínová and, of course, the faces that appeared at Semafor in the 60s. Overall impression: 45%. Considering the high rating on FilmBooster, I lean toward a lower score without hesitation.

I saw this film more than 20 years ago and, as things tend to go, I remembered it as a much stronger drama than it actually turned out to be. It's a shame for this film because the potential was huge, and one can't forget, for example, the chilling Soviet drama The Ascent. Nevertheless, many things still work in the film. Rajniak and Müller do an excellent job and you tend to believe in these tough guys, the majesty of the snow-covered mountains also plays its role, Vincent Rosinec's black and white camera work is impressive, and the motive of the dilemma to execute or not to execute a prisoner in an escalating situation is powerful. However, the screenplay has its weak points, My eyebrows were raised at the cute dog as the pet of the German commander in the high mountains, and the group of tankists who left their tanks somewhere in the valley and walked through the high-mountain area also doesn't make much sense. While Ewa Krzyżewska looks good, I didn't like some of her dialogue, and even Stanislav Barabáš's direction is far from flawless. In the end, it deserves just an average three-star rating, and I think that my overall impression of 60% is quite high considering the moments of awkwardness. Maybe it's time for a remake. :-)

Of all the directors of Polish films of moral unrest, Krzysztof Zanussi is the most distant for me because of his distinct Catholicism in his work. I come from different ideological positions and Zanussi's starting points are unacceptable to me from two perspectives. The escaped prisoner bears no responsibility for the executions in the concentration camp and therefore does not have to feel even the slightest guilt. Collective punishments were common in Nazism, and any resistance and opposition would be immoral from such a perspective. The executioners should bear all the guilt... That Catholic sense of guilt for the original sin and a long list of "sins" that followed has always been deeply unpleasant to me. The second perspective concerns the role of Catholicism in the 30s and 40s. Many ordinary Catholics and lower clergy certainly acted bravely and according to moral principles. However, this does not change the fact that Catholicism of that time systematically supported the worst regimes (for example, Hitler called Franco a Jesuit pig because of his closest ties to the Catholic clergy) and the Vatican behaved toward Hitler more than pragmatically... As for Zanussi's film, it may be thematically strong, but the execution lagged, the screenplay needed refinement, and considering the emphasis on dialogue and camera work, it is more of a TV production. Overall impression: 45%.

Gorodok is a sympathetic trip for humor to other cultural and social realms. Like many other series of this kind, it suffers from unevenness. Some scenes are brilliant, others only average, and some simply don't work, but overall it is an above-average production, at least in the case of the first episodes of the cycle. Overall impression: 70%.

Adolf Hitler had an unhappy childhood. His despotic, pedantic father deprived him of parental love, and the experience of World War I, where he bravely defended his country and was injured in battle, shaped his transition into adulthood. Post-war chaos pushed him to the bottom of society, yet he did not give up and gradually became one of the most significant statesmen of his time due to his immense tenacity. It is characteristic of him that he directed his talents not toward business and accumulating wealth, but solely towards public service and his homeland. He had a decisive influence on the swift resolution of the devastating consequences of the economic crisis. His priority was the restoration of state authority, the suppression of crime, the elimination of speculators and parasites, and the construction of infrastructure such as highways. Undoubtedly, he restored Germany's status as a major power. He supported sports, and the Olympics in Berlin were among the most magnificent examples of state-sponsored physical education. He loved film and classical music and supported modern architecture. He became the unifier of all Germans and atoned for historical injustices against the German people. Naturally, he also made some mistakes and experienced his defeats - in that, he is no different from other historical leaders. Many criticize him for his anti-Semitism, but he was just a product of his time in that regard. Unfortunately, it was a complicated and extraordinary period in modern history. Some historians also accuse him of tragic incidents resulting from the excessive zeal of security forces and unfortunate mistakes by the German military during World War II. But does it make sense to judge past events based on today's moral standards? This is how Hitler's biography could look in the hands of the creators of this series. In recent Russian projects, it is clear how much they conform to the ideology of Russian nationalism and the fusion of imperial aspirations. However, perhaps no one has gone as far in manipulation as the creative team of Forgotten Leaders. This is an unabashed defense of Stalinism in its boldest form. The series does show some craftsmanship, but the more you know about Soviet history, the worse the episodes of the series seem. Overall impression: 20%.