NinadeL

Vávra's Happy Journey may be a cry of modernity of the late Protectorate era, but lo and behold, the plot handles the effects of the crisis and dates the story to 1932. Setting that aside, I am able to enjoy the acting of Mandlová, Štěpničková and Vítová, Korbelář, Kohout, Hradilák, and Kreuzmann quite regularly. I experienced many enchantments with Happy Journey.

This is a very funny film based on Skružný’s play, starring Karel Lamač (who was happily gaining weight during the Depression) and Truda Grosslichtová, who was not one of the best comedians of her time, but she was certainly pleasant to look at and delicious to listen to. The cadence of the dialogue is almost deadly, the exteriors are gorgeous, and overall this is a comedy from the family of brisk films that regularly entertain.

Karel Lamač brought Truda Grosslichtová into the film and there was no turning back. It was a great success and it didn't just end with just the one project.

Martin's first independent directing job was still supported by Karel Lamač, who also "only" played the lead role. The footage from the filming is amazingly familiar, given that it was already the number one event when it was made. This major film with Lamač and Marwille, who formed one of the most interesting couples in silent cinema, was guaranteed to be a success. Martin learned a lot in his years of being a whore for everything to do with film - and especially with Lamač - so the great casting even in supporting roles was just propping up a perfect piece of work. The maximum drama was mainly directed towards the stormy night, which remained the climax even in the sound remake that was made eight years later. However, only the eternally unchanging Ladislav Herbert Struna remained from the original cast.

Those four minutes in the morgue are wonderful. I regularly think of The Flames of Life with the equally great Suzanne Marwille. Karel Lamač proves the variability of his acting skills and Theodor Pištěk makes us forget about the very rigid box in which he later found himself. While Josef Jakarta's later version has a fairy tale feel and F. A. Brabec's is slightly grotesque, this one was pure horror. There is no other Czech silent film that I regret not having survived in its entirety than this one.

A magnificent silent film by Slavínský. So small and yet so big! Vladimir and his companion redhead will stay with us for a long time. I also love the villain Lamač with his still quite small waist. Well, he was handsome in his day, and later he was just nice. And that heroic stunt with the car over the abyss! Well, yes! :)

Helen of Troy is a fascinating epic drama in two parts (Der Raub der Helena and Der zerstörung Trojas). Karel Lamač as Patrolos? It was an excellent choice, which may seem unmeasured to Czechs today, but in the mid-1920s a Czech could still go far in Germany. Then we also get to meet Carlo Aldini - Achilles - not only as Charly Allan from Armoured Car, and we see that Adele Sandrock is eternal, just like her Hekabe. The tradition of monumental films reached its peak and it was worth it. Manfred Noa cemented his credentials as a suitable director for this project with the success of the great film based on Lessing’s play Nathan the Wise, which is also a film worthy of attention today.

This is a suggestive transcription of Arbes’ book starring Karel Lamač and Natasha Cyganková. The title scene of the crucifixion is one of the grittiest ever made in Czech cinema and in the context of other scenes containing nudity,The Crucified is one of the most extreme Czech silent films.

I too am an enemy of Ferry Majerová and Saša Dobrovolná. However, I liked the theme and I root for Karel Lamač and Betty Kysilková no matter what. I'm still thinking about what the first original music written for a Czech film might have sounded like.

This is the last film directed by Karel Lamač, but unfortunately starring Sonja Ziemann... So if I ignore her, it works fine. Otherwise, nope. Unfortunately, another blemish on the project is the fact that this was supposed to be the opening film of a series of films for which Lamač, after his return from his travels, concluded a contract in West Germany. Unfortunately, his death put an end to all those plans.