gudaulin

If we talk about the noir genre, The Big Sleep is one of the titles that comes to mind first for a film fan, and you could even say that it is a showcase of the genre. However, it is not a typical representative of the black series because noir includes bitter endings and partnerships going awry, and The Big Sleep has a too optimistic outcome for noir. The film is also weakened by two shortcomings. The final form was influenced by censorship, which did not consider the homosexual relationship between two negative characters and also discreetly concealed the nature of illegal activities in Geiger's bookstore - namely the production and distribution of pornographic materials. This, however, leads to the loss of motivations and connections important for understanding the story. The script also has its shortcomings, as, for example, it does not provide any explanation for the chauffeur's murder. However, The Big Sleep did not gain its iconic status by mistake or for free. The chemistry between Bogart and Lauren Bacall works great and could be presented as an example of an ideal film partnership. Bogart's role as Marlowe suited him perfectly, both in appearance and intonation, and he had a sense of irony and was able to lightly dismiss his detective at the right moment. The director had a sense of atmosphere and mastered the craft of filmmaking excellently. He may not have been a seeker of new paths, but he understood what works in the genre, how to properly dose it, and use it. The complexity of the story and the presence of stars helped to cover up the shortcomings of the script. Overall impression: 85%.

I cannot criticize anything significant about the film, and, in fact, I found it appealing from beginning to end and the writer and director managed to extract the maximum from the material offered. Let's face it, solving ciphers can be the basis for an exciting novel, but a gripping film needs more than just a view of a group of scientists pondering at a desk and solving complex equations. Benedict Cumberbatch handled the role of a quirky genius with homosexual tendencies very well, as expected. The film also doesn't shy away from the moral dilemmas associated with deciding what price is still worth paying to maintain a crucial secret for victory in the war. Overall impression: 85%.

Pignon is the name that screenwriter and director Francis Veber bestows upon his film protagonists on a whim, or perhaps for another reason with remarkable regularity. It is not a case of the same character, nor is it portrayed by a specific actor. What they have in common is perhaps a certain plebeian nature and humanity; they are not people at the top of the food chain. Pignon from the film The Dinner Game is one of those characters that one must be wary of. He is not a bad person and, in terms of intelligence quotient, he is not stupid either. However, he lacks what is known as social intelligence, social tact, and sensitivity. It cannot be said that he thinks slowly; rather, it is more accurate to say that he speaks too quickly and words precede thoughts with an iron regularity, going their own separate ways. When Pignon encounters a confident businessman played by Thierry Lhermitte, he quickly realizes that he has found an ideal victim who is capable of embarrassingly and entertainingly amusing the guests invited to the party. However, intentions change and circumstances unfold… Watching The Dinner Game, albeit after many years, has made me take away one star, but it still has its charm, and the entertainment value remains reliable. Overall impression: 75%.

I understand completely the reason for the phenomenal success of Casablanca during its premiere. Ingrid Bergman was a beautiful and respected star and Humphrey Bogart, who broke through just two years earlier, became desirable as a representative of tough charismatic men at the time of Casablanca's release due to the war. Casablanca combined exoticism, love, adventure, and wartime commitment, i.e., all ingredients appreciated by the audience of that time. It was part of the genre of popular melodrama, and the premiere was cleverly timed for February 1943, shortly after Churchill's and Roosevelt's Allied conference, when the city was in general awareness due to media interest. I no longer know what enchantment Casablanca holds today and I am simply immune to it. I see in it only an average period melodrama, where Hollywood screenwriters demonstrate their usual ignorance towards reality. The love triangle does not work because the relationship chemistry between Bergman alias Ilse Lund and both lovers is negligible, and one could say that it is the complete opposite of the couple Bogart and Lauren Bacall in The Big Sleep, where the relationship chemistry worked perfectly. The only thing that can be appreciated with the benefit of hindsight is the relationship between Bogart's cynical bar owner Rick Blaine and the crafty police chief, played by Claude Rains. Their sparkling dialogues full of hidden meanings are a lively and decorative element of the film. Perhaps worth mentioning is also the rogue played by Peter Lorre. Everything else deserves to gather dust. Overall impression: 40%.

A Kafka theme in the Czech style and also a title that can be considered a symbol of the Czech New Wave. It is a medium-length film about a cat rental, the futile search for a man named Kilián, and life in a country full of absurdity, uncertainty, and fear. Last but not least, it is also a film about loneliness and a sense of alienation. Josef K. faced a trial, while Herold, the protagonist of the film story, only faced a fine of 30 crowns for not returning a borrowed cat. It's seemingly banal, but tension and nervousness can be felt in the events of the film. After all, in a country where people and institutions disappear and bureaucracy has power over people, losing a cat can have unforeseen consequences. There are also hints of criticism towards the cult of personality and Stalinism. You can perceive the character that needs support as an allegory and as a peculiar comedy (the sign in the cat rental says: "Misuse of borrowed cats is punishable. The consumer acknowledges that they are entitled to use the borrowed cats only for their own needs."). Some parts of the film could have been edited out, but overall, it is an interesting film reflection of the 1950s. Overall impression: 75%.

I have a mix of emotions regarding Petr Zelenka's distinctive films. Some of them have impressed me, while others have left me with an average impression. However, I have no problem admitting that Zelenka is one of the most interesting filmmakers that the lackluster Czech film scene currently possesses. I have never associated his name with any significant disappointment. Actually, I cannot speak of disappointment even now. Based on paradoxically enthusiastic responses, I didn't believe in the film, and my instinct did not let me down. Zelenka served me two films in one, but I don't get either of them and I conclude that they don't harmonize together at all. Although the author is inspired by the ideas of historian Jan Tesař, he interprets them in his own way. This time, Zelenka's mystification didn't entertain me; I felt a similar self-centeredness in it as I have perceived in the surrealistic performances of a certain Prague theater in the last two decades. Those people are also content with entertaining themselves and their fan club. Overall impression: 35%.

A film romance that relies on the names of two big actors in the lead roles. Michelle Pfeiffer and Al Pacino deliver their decent (above average) standard, but they cannot elevate the project to sky-high heights on their own. In the first half, where the Greek restaurant setting and the vibrant characters of the employees and guests come to life, the film maintains a level of weaker 4 stars. In the second half, where the film shifts to a more intimate tone and the central duo starts to deal with their feelings, instead of escalating, the film starts to lose its momentum. The screenplay simply lacks the strength that it needs. Overall impression: 60%.

Several waves of scientific and technological revolution have significantly raised our average standard of living and allowed us to surround ourselves with interesting technological toys, but the development of society lags behind the capabilities of technology. We are still slaves to our emotions and our biological nature, facing very similar problems that previous generations had to deal with. Corruption, abuse of official positions, and populism appeared in the politics of ancient Rome and we still face them today. We continue to fall ill, age, and die; today, we strive to start families and succeed in the job market, i.e., to succeed in life. Black Mirror is a series that depicts people in the not-so-distant future, exploring where specific inventions can take us, how they will influence our lives, and how easily they can be misused. Technologies have no morality or ideology; it always depends on people how they handle them. However, because the creators of the series added the adjective "black" to that mirror, I think it is clear that skepticism prevails among them, and the visions of the future are disturbing and tuned in dark tones. Although some episodes contain elements of irony and comedy, it is a sarcastic and dark humor. While the quality of individual stories may vary, as a whole, I consider Black Mirror to be one of the most successful achievements in the field of television production in the sci-fi genre. Overall impression: 90%.

Many classic westerns have long since fallen into oblivion, but Zinnemann's film can be considered a classic that rightfully belongs in the golden treasury of world cinema. This western transcends its genre boundaries and moves more into the realm of psychological drama. It is a study of human nature, fear, courage, and responsibility. A dangerous criminal is released from prison, and his comrades rejoice and expect the return of old orders, the rule of violence and intimidation. The "decent" citizens are afraid and some consider leaving. Only one inhabitant of the town is prepared to defend himself and tries to awaken a collective spirit of resistance in others. In the film, you will experience far more dialogue than panoramic shots of the wilderness or bloody shootouts. Some fans of westerns have a problem with this film precisely because of the absence of the usual genre clichés, but I consider it a remarkable example of film craftsmanship. High Noon is interesting in that it takes place in real time, and as you watch the moving hands on the clock, the tension escalates, and everything is permeated with a sense of inevitability. The direction is interesting in other ways as well. Zinnemann wanted the film to look like a classic newsreel at first glance, with grainy images and inferior lighting. Again, there are those who find this spoils their idea of a movie spectacle, but I have no hesitation in awarding it an overall impression of 85%, with the caveat that I am not a fan of westerns. Otherwise, I would give it a fifth star.

The development or decline of a genre usually represents a long-term process that cannot be symbolized by a single title or the name of a creator. A certain exception is the classic western, which could have the premiere of the film The Man Who Shot Liberty Valance listed as its date of death on a potential monument. It's not that the western hasn't already been declining for a few years now, but this title perfectly captures its stiffness, exhaustion, and above all, inability to entertain. It doesn't help at all that a strong proven team, led by experienced director John Ford and acting legend John Wayne, participated in its production. The film cannot escape the trap of genre conventions, and its creators cannot convincingly and impressively break those conventions, even where they try to do so - like in the motif of shooting the villain Valance from an ambush and the unjustly earned fame of the hero for neutralizing the criminal. The film attacks the boundaries of absurdity when it pays homage to the American legal system and political system. Sergio Leone later contributed to the renaissance of the genre with his spaghetti westerns, bringing new ideas, energy, and playfulness to them. I recommend watching The Man Who Shot Liberty Valance and Leone's film The Good, the Bad and the Ugly in one day. That is the best way to see what is wrong with Ford's drama. Overall impression: 40%.