Homolkowie na urlopie

Unfortunately, Homolka and Pocketbook is inseparably part of the Czech cinematography of the 1960s and I consider its normalization overlap to be greatly pointless, but which was saved only by the excellent acting etudes of the entire family and Jiří Hrzán. At the beginning of the film, Papoušek seems to maintain his economically satirical style, but over time the film melts into an annoying flicker of negative qualities of the working people, which is planted in vaguely reflected backgrounds of Revolutionary Trade Union Movement recreation... On the one hand, we can also find a very mild caricaturing of the obvious stupidity of "organized happiness", on the other hand, the tone of the film is not very satirical, and thanks to the cruel title song, rather typically like middle-current agitations. Only the resonance of Papoušek's talent and the wisely moderate tone of the script keep Homolka and Pocketbook above the level of a terrible normalization slag that was supposed to educate people to positively perceive the values of socialism... The documentary dimension and minimalist narrative style of the previous films have disappeared, and thus the film loses any testimonial value. Three stars out of nostalgia and respect for one great phenomenon. (28.02.2005)

It's not the same as the first two parts, perhaps because that family is quite annoying in some places, as well as because there are too many familiar faces appearing here. The color didn't fit for me either. Sometimes funny, but here I had the feeling that Jaroslav Papoušek said everything he wanted to say, and in the third part, he was just stretching it out. (27.06.2014)