NinadeL

When I compare this and the audio version, I find that they are both great. That doesn't happen often, but I'm glad for it. And Anita Janová really deserves increased attention, and it's a shame that so many of her films are trapped in the National Film Archive.

It gets one star for its historical value, while the second star is for the shocking fact that it was not filmed in Prague, nor in Brno, and not even in Stáňa’s home region. I’d like to watch it again.

This is one of two (or three) Czech silent films that literally disgusted me. Calling it repulsive amateur shit is too weak because the main character is glad that she had a miscarriage and Zdeněk Štěpánek is trying to play a glassblower... and unfortunately, because of him, this film is getting increased attention, though completely undeserved.

Machatý's return to Czech cinema after his first stay in Hollywood was recorded in the history of Czech silent films with unprecedented intensity. In this film, it is extraordinary to see Jan W. Speerger, the giant of Czech cinema, in a great dramatic role, or Máňa Ženíšková, who was soaring to the imaginary peak of her own career in those years.

It is a beautiful musical melodrama based on the performances of the star couple Jarmila Novotná and Gustav Fröhlich and features exteriors filmed in Istanbul, Turkey. Jarmila is incredibly cute and very sexy. Gustav first falls in love with her voice and then with her completely. Their meeting with the help of a fallen slipper is unparalleled. "Anna, you tickle me... Anna?" Magnificent, beautiful, perfect. Another great love couple also tries to communicate with each other in Istanbul first in English, Spanish, Swedish (him), French, Italian, and Russian (her), only to find out that after kissing properly, German is, in fact, their mother tongue.

This is a famous post-war story that has great significance for the Czechs thanks to the participation of Jarmila Novotná (for whom it was her only role in the 1940s) and the Oscar-winning Ivan Jandl, thanks to whom the Czech language is heard in the film. These facts aside, this is an extremely tear-jerking film that pushes the envelope so hard that one can't help but think of "the roar of our tears." Robert Blum's music leaves nothing to chance, and if perhaps the image is not moving and eloquent enough, it will drive the viewer to the brink of a nervous breakdown. Shortly before their departure to the concentration camp, the Malík family behaves like a showroom of the National Revival... The mom is a professional singer and the words of songs flow sweetly from her lips - in fact, the whole household makes music - and after the war, this simple doctor's wife explains her excellent English with a simple reference to reading English books. I am not disputing the necessity of The Search in its time, it is just that Hollywood once again did not deny itself again and nothing will change the fact that Honza Masaryk was also present when Novotná decided to accept the role.

This is Jarmila Novotná’s only role in a Czech sound film. The story is a fascinating melodrama with a depressing atmosphere of a clash of two incompatible worlds. Unfortunately, it suffers from the fact that comparable stars of the musical world were not cast alongside Jarmila and even in the scene from "Carmen" J. W. Speerger starts. In the end, however, the most important thing is to allow yourself to be dazzled by the title aria and to literally be carried away by the magical shots of the clouds that Vích shot for Innemann.

I’ve seen too many versions of The Bartered Bride. This "problematic" German version is truly great. No one will protest about this today, as Jarmila Novotná, who did not rely on her film work, but still created several extraordinary roles in various films, acts in this film.

An early sound drama with Gustav Fröhlich and Gustaf Gründgens, and with Jarmila Novotná debuting in sound film. Although her role is small in scope, it is certainly unforgettable. The entire story is a very interesting trip behind the scenes, which offers a dramatic climax par excellence at its conclusion.

The Mysterious Beauty is a Brno film by Přemysl Pražský. Pražský relocated to Brno for a time, engaged local actors (including the debuting Oldřich Nový for a supporting lover role), and created a humorous anecdote based on popular partner, family, and intergenerational clashes. He spiced it all up with the interesting setting of Lloydfilm's production facility, the presence of a Greco-Roman champion and references to Egypt. The key plot is based on the realization of a false actuality, which offers a very interesting reflection on the film business in feature films (which is followed by Pražský's participation behind and in front of the camera). What is interesting is the recurring gag of a strong squeeze of a hulk with five thumbs (the handkerchief joke in Fairbanks' Zorro works in a similar way). From today's point of view, the absurd merging of the film with the phenomenon of the debuting Nový, who waited another twelve years for his next film, is unfortunately repeated, and everything else is somewhat obscured. I must add that with repeated viewings, The Mysterious Beauty is a much more compact and enjoyable film. Also, Peter Stamati's sportswear also doesn't stand out as much anymore.