NinadeL

This episode was a very pleasant novelty for me because I have absolutely no experience with Slovak classics. The nicely playful solution to the problems of two married couples on a shared floor is complemented by meaningful commentary, good jokes, and a downright well-fitting soundtrack. Ideal inspiration for reading.

This episode is, unfortunately, a very weak episode, perhaps also because Gogol is too inflected an author and here any ironic note was missing and everything was too heavy-handed.

This episode is, unfortunately, too contrasting, building on the suffocating atmosphere of Tolstoy's novel, giving even the likes of Zuzana Norisová an unusual role against her established type, and giving Kukura the opportunity to capitalize on his inner demon. However, Éva Vica Kerekes, an actress whose popularity grows in direct proportion to the number of times she undresses in front of the camera, gets just as prominent a role here. Where less would suffice, there is the maximum, and where it would be appropriate to add some pressure, there is nothing. That’s too bad.

This episode radically sets Rostand's Cyrano of Bergerac in a hip hip club environment, and if it weren't for some clichés (years later Roxana's friend became a mother several times over, and although she wasn't pretty, her boyfriend has a new happy relationship that "coming out" didn't hurt, and of course, the gypsy who struggled with neo-Nazi failures is now releasing one successful album after another), it would have been great. Kristína Svarinská, who has already proved a lot in other series, stands out as an actor. I have no reason not to be happy with the classic adaptation with the reigning Gérard Depardieu (1990) and not be satisfied with both, as each can deliver a quality experience.

This episode very aptly set Flaubert's modern-day Madame Bovary in a satellite town full of rich people with no real income.

This episode is inspired by the only book I can stand by Austen - "Sense and Sensibility." In this case, I am equipped with not only the classic version with Kate Winslet (1995), but also the Tamil version with Aishwarya Rai - Kandukondain Kandukondain (2000). Taken together, I find the setting in southern India or western Slovakia very imaginative and very effective, but it also does not detract from Austen's morality and energetic belief in a lifetime encounter with love. Katarina Šafaříková's transformation deserves extra attention.

This episode works with the motifs of Lermontov's "Masquerade." So far, I can only compare it to Willi Forst's similarly loose adaptation of Masquerade in Vienna (1934) and it swallowed me up. Langmajer may not be Wohlbrück, but at least Podzámská is beginning to be worthy of comparison with Tschechová.

Season 2 had nothing to offer and even the change of scenery went completely to waste.

Season 1 has earned a very interesting position among the Czech mainstream. Even its longtime opponents started watching and everything seemed absolutely ideal. Dejdar and Matonoha worked with Batulková and Leichtová in an absolutely ideal interplay.

Season 2 started very promisingly again, but I'm not a big fan of early repetition of actors... Kratina has had his day in the sun, and Langmajer and Dlouhý can act, but neither of them has been able to distinguish their roles for a long time. Hanka Maciuchová stole the show in one episode and that was enough to overshadow everything else - literally just a few sentences. Nevertheless, the whole is very damaged by the unclear presentation, the disproportion of the number of episodes between series, and the classic Nova syndrome (= that even if television accidentally produces a quality series, it can't take care of it properly).