NinadeL

The example of The Stone Bridge is another milestone where I again disagree with Alena Prokopová. For example, in 2014, she was still calling this bitter comedy unwatchable or unrehearsed, so we didn't like it then. Sure, everyone is mostly afraid of watching The Stone Bridge, because they are not interested in sinking into absolute depression and taking stock of their own decisions in the time of a fading epiphany. However, to expect that after his previous films, Vorel would offer us an intimate civil melodrama with subtle autobiographical elements in the picturesque setting of the Charles Bridge would be somewhat naive. The genesis of Vorel's and Dušek's screenplay only reveals the degenerating current of the mid-1990s, brilliantly portrayed on the one hand by Milena Dvorská as the suffering mother and on the other by Jana Synková as a caricature of the divine Věra Chytilová. Disillusionment, crisis, capitalism, and a plunge into the depths of the stone bridge is what this is all about. It's not pleasant, but some of that suitably exposed bosom and punishment of archetypal evil can please the valiant royals in all of us.

A rhythmical that became the testimony of a generation. Today, in retrospect, it is clear that one current was replaced only by sobering up, and just as the heroes of Smoke struggle with their demons, the hero of The Stone Bridge fell into a much more severe depression, and Vorel thus copied the less popular side of the development of Czech society at the turn of the 1980s and 1990s. He was not caressing, but rather just commenting on the condition in which he himself was living.

I hadn't seen a Hallmark film in a long time, but at the time the Czech version of their TV show was available, I knew their work perhaps too well. Today, it's a pleasant reunion with a quality that is not quite common on television. A beautifully told story with the tender Betty White and the adorable JLH. It is impossible to resist a romance that can easily outshine The Notebook.

The short story "The Plymouth Express" (1923) in serial form isn't great, especially when knowing about the film version of the novel "The Mystery of the Blue Train" (1928). The subject matter may be very similar, but the 1991 episode of the show and the 2005 movie are completely different.

Although Agatha considered "The Mystery of the Blue Train" (1928) to be her weakest novel, she was apparently the only one who thought so. She had only begun developing herself professionally, in this case developing the short story "The Plymouth Express" (1923). In the TV version with Suchet's Poirot, it's a delight and a treat. The damsel in distress is played by the sexy Jaime Murray, and all the characters around her also have the proper spark. Especially the successful family, where you are not sure who is the mother and who is the daughter. Poirot himself flutters around the sweet little lady and gives out smiles on cue. It's a scandal.

This is a pure mindfuck with sincere acting performances, a contrived attempt to chronicle the turn of the millennium, and a very naive relationship entanglement. In summary, this is a film from a Czech film collection where the ends did not sanctify the means, and it feels like a kick in the face.

In the context of the German Visconti trilogy, this is an interesting piece. The Damned was a mannerist film of low artistic quality, but this one had quite a bit of energy mainly thanks to Mann's book. The climax amounts to the very conciliatory forgiveness of a nation defined by an all-powerful elite.

The Czech Lion award was probably awarded to this film by mistake because otherwise, this award falls purely into the restitution farces category. The films Radim Špaček made in the 1990s indicated at least an attempt at experimentation. The work with filters is imaginative, and so are the games with eye movement. It needs a DVD release.

These French transcriptions of Agatha’s books are pure futility. It's set in the present day, in France, and mixes the 1957 Marple novel "4:50 from Paddington" with dialogue quite helplessly selected from the 1929 short story cycle "Partners in Crime." The result is therefore quite a mixture of things. Prudence utters the same phrases in her retirement as when she was newlywed, which somewhat loses its charm. Unfortunately, the basic point of "Partners in Crime" is also missed when Prudence is manipulated into the role of Marple, who was solitary by nature.

Paradoxically, the first adaptation of the 1968 novel "By the Pricking of My Thumbs" was made by the French in 2005. It's not great - the French Christie film is about something a little different than it should be. But Pascal Thomas got excited about the basic idea of "Partners in Crime," and apparently that was enough for him to fire off two more sequels. What more can I say? The fact that it's set in the present is not great, and only Catherine Frot is interesting as an actor, which isn't much. It can be tolerated but the point is missing. Unfortunately, the treatment of the same novel they came up with for the series the following year with Marple (!) wasn't ideal either. For now, I'm still waiting for the ideal transcription.