Návrat domů

Martin Frič was the biggest directorial star of the First Republic and nationalized cinema, and Karel Höger was a charismatic actor whose similar style of roles, like his Lieutenant Mareš, was a perfect fit. My third star is ultimately for Höger and his acting. From a technical standpoint, there isn't much to criticize about Lost in the Suburbs, and overt propaganda is also absent from Frič's film. In fact, at the beginning of the film, the participation of Czechoslovak soldiers in operations on the Western Front is mentioned in one sentence, and it was certainly the last time that happened for many years, until the filming of Oasis and Riders in the Sky. On the other hand, with all those happy smiles, uniforms, and sympathetic Red Army soldiers dancing the Cossack dance, the whole atmosphere sends subliminal signals about a time that led to the suppression of Czech culture. This film is like the regime of the years 1945-48. In a way, I consider this kind of filmmaking more dangerous than those dull propaganda films, which are easily identifiable and laughable in their naivety and straightforwardness. What were those sympathetic soldiers doing in the Sudetenland - spreading democracy? In short, emotionally, this film never resonated with me. Overall impression: 55%. (20.06.2014)