V každém pokoji žena

Excellent material to analyze the despair of standardized Barrandov impotence. Incredibly weak, stupid, and tendentious. The seemingly modern contemporary story is more like a distant memory of something leftist from a time long ago. The disparate society of tenants of the Women's Homes defines their and their neighbors' destinies solely by their success in relationships. The golden grail is a husband who has all the necessities. The professions that affect the characters are quite scary - Vlasta Bezděková, a car repair woman (coping with the need for a new relationship after her husband flirted with emigration while trying to finish her high school diploma, the bland Ida Rapaičová), Anežka Faltová, a trade union official (she is more than willing to remarry her husband, she has already divorced once, the outright awkward aging Antonie Hegerliková), Zuzana Šmídová, a clerk at Čedok (lying while hiding as a married man's mistress for three years, the budding Hana Maciuchová), furniture saleswoman Soňa (a naive girl from the orphanage looking for a place in the sun, as always, the unreasonably ethereal Marta Vančurová)... It's hell for the audience. So why bother watching something like this? Perhaps just to complete the awareness of the overview of the work of 1974, to see the futile performances of the then pleiad of favorites and to be comforted by the small etudes of comic oldies performed by the neighborhood duo of Eva Svobodová and Maria Rosůlková. The whole idea was beyond the capabilities of Balik's non-existent talent. (09.02.2021)