NinadeL

Das Filmfest is certainly a worthy platform based on the cinema of Germany, Austria, and Switzerland. In the past, I have often been inspired and have welcomed, for example, a new film by Susanne Wuest or a biography of Egon Schiele. This year I went to see The Young Karl Marx, and I am extremely pleased with the result. The adjective young is very well chosen. The film doesn't continue on the wave of biographies of the moment, in which a mere fraction of this or that person's life is described (see My Week with Marilyn), as it is much closer to the concept of Marie Antoinette without the necessary climax of the queen's execution under the guillotine. The Young Karl Marx delves into the first years after his meeting with Engels and the founding of the Communist Party and culminates in the anticipation of the revolutionary events of 1848. It is devoted to portraying Marx’s personality, learning about his world, his knowledge, his character, his background, his opinions, his opponents, and his supporters. Nowadays, it is very much necessary to go back to the 19th century to understand today in order to know the influences that shaped the explosive upheavals of the 20th century. I would love to see The Young Karl Marx in wider distribution and in subsequent discussions, but I doubt that will happen.

This good caricature case from a military environment is again packed to the brim with contemporary acting faces (Čvančarová, Langmajer...), leaving almost no room for developing the characters around Exner and their lives outside criminal investigation. Which is really too bad. But I really did enjoy the joint scenes of two legendary Czech redheads, Hrubešová and Kerekes, who became famous, particularly for their revealing scenes. In this way, their strengths (looks) and weaknesses (purely intuitive acting) stand out beautifully side by side.

Fortunately, the weaker part, as it was played out in the last episode, was again improved to something watchable, especially by Viktor Preiss. I was also touched by the fact that even in such a series there was room for a girlish romance between Šeredová and Poullain (Polívková).

One of the weaker cases of the elegant Exner. Although the main theme makes one feel the main advantage of Erben's predecessors, this time the episodic characters played by the likes of Vondráčková (Plekancová) are somewhat detrimental to the whole.

In the first place, it should be noted that only a fragment has survived, and it received archival "care" in 1955. The added music is not suitable, the editing track has obviously been affected, etc. It is therefore impossible to observe and evaluate as if the work were only from an older date. I understand that today's students have no relation to Němcová adaptations, but too much is too much. The second problem is the context of the introduction of such a fragment. If we put it into context and watch the aforementioned transformations of adaptations of the great Czech writer, there would be a lot to talk about. Similarly, it would be an interesting moment to distinguish the absence of prominent stars, export possibilities, etc. This leaves us with only uncomprehending eyes looking at another routine performance by L. H. Struna (and that’s in the better case).

Adorable bloopers from the set of Blackmail. During the course of that film, a number of bonus materials were produced, including the legendary soundcheck with Anny. But this is one level higher. Hitchcock shows Cyril how best to kiss Anny, he gets on her nerves a lot, crawls up her skirt, and Cyril plays with her too. They were all rascals ;)

I saw an episode of The Talkies Come to Britain at the BFI media library, and it was quite fascinating. Half of it is devoted to Blackmail with Ondráková, and Hitchcock doesn't refer to her as German (!), which in and of itself is great (the opposite of the Truffaut interviews). The other half is devoted to a whole generation of actresses whose careers were complicated by sound, i.e., Mabel Poulton or Chili Bouchier.

The interviews between Hitchcock and François are too canonized. This is a documentary only intended to keep the myth going and let it live its own life. However, some of the factual errors are really annoying and it's tiresome to see them fixated again in this documentary. However, it is beneficial for the seriously interested to polemize and not be seduced.

This documentary, hosted by Richard Todd, explores the illustrious history of the Elstree studio. Anny Ondra's performances there in 1928 and 1929 will always be the most interesting for Czechs. The glamorous years of silent film, and the advent of sound all the way to the present day are presented clearly and so engagingly that I couldn't resist visiting Elstree.

A classic revue in the manner of Hollywood revues, of which there were many in the late 1920s and early 1930s. This time from Elstree and assisted by Hitchcock. But what really impresses me are the musical interludes in Technicolor and Pathécolor.