Little Girl Blue

I don't know if I should be alarmed that the story of a mother in her forties got to me. Bitt is amazing, the music is sensitively chosen, its harmonization with the images lacks provincial shallowness and the story may be full of banalities, but it doesn't try to act like something essential. All of the episodes have the great inner charm of mature women and a seductive overview, and they completely lack the shiny gloss of Viewegh's stories for lobotomized housewives. All in all, Little Girl Blue is a film that says something without being ridiculous. Alice Nellis once again managed to transform her not-exactly-mediocre vision of the world into a great film, and I dare say her most mature and best film. (05/08/2008)

"I'll watch him for you," or the journey to create a new face for Czech cinema. Are the mothers of adult children entitled to a life of their own? What about the kids? Aren't they a lot smarter than their parents these days? I'd say they are because the fast pace of life is inherent in them and they don't have the need for the secrecy that Julie does. But Julie, played by Iva Bittová, certainly lived up to the expectations she raised in Zelary, there’s no doubt about that. (03/10/2009)

Little Girl Blue is the first title from the creative workshop of Alice Nellis, considered a significant talent of Czech cinema since her debut, which I have watched. In other words, after 15 years of her work, I have come across her first film, which suggests that I have been somewhat missing out on her films. This is also confirmed by my impression of the film, which has a large group of enthusiastic fans, including many of my favorite users, but personally, I am reserved about it. It will receive three stars from me, but this rating only applies as part of Czech cinema, which I usually overestimate by a few percent. I have, for example, problems with the dream dance scenes, which are probably meant to give the film an artistic overflow. However, they seemed rather disruptive and artificial to me. The lead actress, Iva Bittová, represents more of an interesting curiosity than a pillar on which the film can rely. In principle, it works, but it feels more like naturalism. This role needed a top-notch character actress who was confident in psychologically demanding positions. I don't know what it is, but I also had problems with the sound, as I had to replay some scenes repeatedly. Overall impression: 60%. (09/22/2015)

On the first signal quiet, yet occasionally almost loudly truthful. Under the viewers' skin thanks to tears, piano, and music, but at the same time detached by many supporting characters. Whether they are bad (Karel, the real estate agent), good (doctor, married couple), or amazing (adorable Martha Issová as the daughter and perfect Roden as the husband, they deserve much more space). Those hesitant three stars are ultimately a disappointment, for which a too lengthy script full of unfamiliar confused feelings or dialogues missing my heart's senses can be blamed. In the play, Iva Bittová holds everyone involved together, as she can switch from a civil pensive melancholic to a fascinating being full of emotions. Furthermore, the lively camera draws the viewer into the story at the most crucial moments. It's just a shame that two absolutely perfect passages, in Richard's job and at the daughter's party, are so wonderfully filmed, acted, and felt that the remaining ones seem like too poor relatives in comparison. P.S.: After about two weeks, unfortunately, I admit that even with such a small distance, the three stars leave a bitter taste of uselessness and unfinished-ness. Only those two scenes and Roden with Issová remained. I never want to see the rest again. (11/15/2007)

Little Girl Blue is overflowing with qualities in all thinkable directions, but still, once it finishes it’s impossible not to get the impression that the subject matter held greater potential than was exploited in the end. Alice Nellis’ directing is still inventive and subtle, Bittová’s acting deserves at least one acting award and the technical side is outstanding, while this movie still remains pleasantly low-key. Even the much-criticized dream sequences in the dancing town aren’t bad... They are just needlessly drawn-out (especially the tango on the Dejvice traffic circle in Prague was superfluous to the running time). The characters are interesting, they develop and the viewer has no problem in understanding them, plus Nellis tells us nothing straight, but gets there by taking a roundabout route. It’s an excellent watching experience rarely seen in Czech productions. However, it is a large step short of flawlessness. Let’s hope that Alice Nellis takes that last step sometime in the future - she certainly has everything it needs in terms of creative quality. ♫ OST score: 4/5 (03/16/2022)