NinadeL

The genesis of On a Clear Day You Can See Forever is truly admirable. Henry James wrote the novel "The Sense of the Past" in 1917. A decade later, in 1926, the text was turned into the play "Berkeley Square." The film (1933, 1951) and television versions (1959) were made under this title. In the mid-1960s, the material would catch on on Broadway under the new title "On a Clear Day You Can See Forever" (1965). From there, it's just a step to a new film musical with a new musical star, Barbra Streisand, whose partner is Hollywood's successor to Maurice Chevalier, Yves Montand. So much for the answer to why even such a seemingly modern substance is stuck in the past while funny characters like Jack Nicholson with a sitar won't change that.

This clever satire responds to the global phenomenon of Hitler, who has been living a second life since 1945. There have always been many ways to deal with the infamous legacy of National Socialism. Hitler has become a caricature and an object of research in every conceivable respect. TV stations present documentaries about all the banalities of everyday life from 1933 to 1945. The youth of Adolf Hitler is, of course, a separate topic. That's what we have all these movies like Hitler: The Rise of Evil (2003) or the stage adaptation of "Mein Kampf" (2009). This time the parallel with today's popular formats, brought to popularity by Sacha Baron Cohen, comes into play. Fortunately, the result is not on the level of a cheap tale, because thanks to the in-depth research the work is chillingly authentic. The potential for the return of evil is always there.

There are many levels in which to perceive The Law of Love. For example as a report on all the work the Czech’s have done so far in the issue of same-sex marriage. With all the ups and downs that it encompasses. And as a compact package of information on this issue in the Czech Republic. Or as a much-needed dialogue. #Palmofffest

In Hitchcock's Rebecca, the similarity of Du Maurier's novel to Brontë's seminal work "Jane Eyre" stands out. It's no coincidence that Joan Fontaine plays the lead roles in both of these Hollywood gothic novels shortly after each other. Unfortunately, neither she nor Olivier in Rebecca transcended the mannerisms of the time. The 90's series was also weak, but in some aspects, its dramatization was much more interesting than the script of the Hollywood all-star team. However, I'll try to give it another chance, for a change on Netflix.

Labyrinth formally follows the older puppet fantasy The Dark Crystal and it shows. However, thanks to its straightforward plot and the presence of David Bowie, Labyrinth's popularity has endured. To this day, there are various plans for sequels in different formats. To today's audiences, the original film has aged a lot, but as an example of the evolution of the genre in the 80s, it's certainly not a bad experience.

It is very clear that Mádl did not underestimate the situation. He studied the subject and the form, and he chose the most universal story in world cinema for his project On the Roof. A meeting of two generations, a meeting of two nationalities, and a search for the meaning of life in a hopeless situation. Alois Švehlík and Lukáš Duy Anh Tran quite naturally became ideal representatives of two different worlds. There is therefore no need to mourn for Tříska, because with him it would have been quite a different experience. Together with Miss Hanoi, On the Roof is another bright spot in Czech cinema.

The finale is coming up and in the best TLW tradition, emotions need to be properly heightened, and relationships between the girls, in the workplace and in politics need to be recombined. Alice had a wonderful book launch, Finn/Soph are in some real trouble, Shane is well on his way to heaven, and Bette is becoming more and more herself... It's gonna be a blast. Because in the end, the only one that needs saving is GG.

A pleasant Maupassant miniature that is better known as Visconti's short story "Il lavoro" from Boccaccio 70 (starring Romy Schneider). However, an adaptation that preserves the Maupassant period has its own distinctive charm without exaggeration or shifting meanings.

Romy Schneider seemingly gave up working in German cinema in the early 1960s, but many of her later roles were nonetheless made in typical Western European co-productions in France, Italy and (West) Germany. The historical fresco Group Portrait with a Lady was a (West) German and French co-production. It was based on a novel by the then very popular Nobel Prize-winner Heinrich Böll. The theme was (once again) about coming to terms with the times of National Socialism. The protagonists were ordinary people experiencing inhuman hardships. The message was clear, and the return of the famous actress was a major event. Still, the film fails to adequately illustrate the entire complex saga with its many complicated relationships between characters that have been inexorably changed beyond recognition by the war.

This film has only a few positives, which are Jennifer Beals, Pittsburgh, and the period burning machines, but it's surprisingly enough. There’s no need to wonder about the script, but a reproduction is required whenever Jennifer Beals makes a new series of The L Word.