NinadeL

Together with the fairy tale How Franta Learnt to Fear, The Bear and the Ghosts is a shadow of the previous Barrandov fairy tales. The runtime is minimal, while the sets entirely recycle other Czech fairytales. It’s too conspicuous and overly unnecessary.

An absolutely fabulous Čapek triptych. The retro feel was preserved, and even the plethora of new faces doesn't contradict it. Most of all I admire the middle story with Oldřich Nový and Jaroslav Marvan, who portrayed their art to perfection and especially their experience from the past years. Pešek's first story is also tender and Mild's final story is a solid horror. The only negligible shadow is the repetition of some actors in several stories (Bohdalová, Kopecký...).

A pathetic game by debutant Blažena Holišová, schematic figuration by Vašová, Zázvorková and others... The emotionally overwrought Pešek and the aloof Höger reign over it all. More than an appeal, it's a game of nerves. It was not a good idea to move the gossip to the square.

The delightful trip in Bek's Skoda RTO 706 should be experienced by all of us. :) That's how I imagine the ideal melting, pretty debutantes, a song on the lips, and multi-layered comedy.

I'd appreciate the removal of the modern framework. But otherwise, I'm reaping the whole concept of this 1904-1905 motorized adventure. This Czech-French friendship has so many pleasant ties. Fans of episodic roles will also appreciate Jiřina Bohdalová’s etude, whose wedding veil helped the motorcycle racer to reach the finish line.

I was naively hoping that the Rocco/Silvia scene would have more action than 20 seconds of pure time. ;) I enjoy Silvia’s English, while Rocco doesn't always just have an onset to "finish" either. Oh well, at least this couple didn't stay as just an idea.

Ladislav Brom, at that time John L. Brom, was swept away by the beauty of Africa, and in part of his Africa Sings and Dances series he gave the audience an intimate look at the various festivals that inspire the various African nations and tribes to dance and general rejoicing. The historical value of this documentary prevails.

I'm enjoying these Disney sequels. I couldn't believe it, but all three Cinderella films are excellent. So I have no prejudices and I am satisfied. The motherly Ariel is great, the generational clash is ideal, and Morgana and her spawns dominate. I want more, and I hope that somehow the Disney Princess Enchanted Tales: Follow Your Dreams series gets reborn. I fundamentally insist on wanting a Snow White trilogy as well.

The 28th Disney Feature Film It took a full 30 years for a princess to take the Disney throne again. After Snow White, Cinderella, and Sleeping Beauty, it was now time for Ariel, the daughter of King Triton of Atlantica. Her story, written by Hans Christian Andersen, was fleshed out with a positive ending and developed into an enjoyable franchise, but that's all for the best. Firstly, the series built on this film and consistently described Ariel's coming of age, in the second film she became a mother, and the third film looped all of these storylines. Perhaps only Erik could have been more active, and the same goes for Triton and Ursula, and less so Gappa. However, the trio of the fish, the seagull, and the crab are absolutely classy. The great songs tower high above the Disney standard, and the series, which pioneered bringing stories from the big screen to our homes in its day, is also excellent.

This is a big post-revolutionary hit with Jiřina Bohdalová, which in its time was boosted by her performance in One Cat after the Other. Her work for television prevailed during the normalization period, and therefore every film she took part in seemed to be unique.