A factory manager in rural Czechoslovakia bargains with the army to send men to the area, to boost the morale of his young female workers, deprived of male company since the local boys have... See full summary »
The fire department in a small town is having a big party when the ex-boss of the department celebrates his 86th birthday. The whole town is invited but things don't go as planned. Someone ... See full summary »
Two closely related episodes. Youths make problems for two local orchestras about to compete nationally, and in a talent competition a young girl gets stage fright, while another lies to her boss to compete.
Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lyne Tyne search for her, and in the process meet other people whose children ran away. With their children gone... See full summary »
Ovide Plouffe has married Rita. She still tries to attract other men even after their marriage. Unhappy Ovide feels for Marie - a young French woman he had met. But his catholic background ... See full summary »
The film's soundtrack is an original musical composition produced with synthetic sound - through photographing unusual geometric shapes and running them through an optical sound head. The ... See full summary »
Petr is 17 years old and starts work. Incredibly (for Czechoslovakia in 1963) this is as a security worker against shoplifting in a busy self-service shop. His boss gives him pretty basic instructions, and Petr is pretty unsuccessful at work. He doesn't do much better at the dancehall either, and at home his bombastic father lectures him about how useless he is. Written by
Hazel Freeman <email@example.com>
Peter's nick already incarnates the spirit of Prague's unique Black Theatre
this movie evokes to perfection a time, a spirit, even a country (Czechoslovakia) that no longer exist. It's perhaps the most Godardian film among those not directed by the then innovative French movie maker Jean-Luc Godard. It is full of abrupt cuts, hand-held shots, dialog obviously improvised, and so forth. But Forman's humorous tone is quite far away from Une Femme est Une Femme, or Bande À Part. His background is the neo-realist heritage of everyday topics, non-professional actors, and social concern. (Godard, let me remind you, went from rightist anarchist to Maoist wannabe sharkopath, from pioneering cinematic language to self- indulgent mimic.) Forman's subsequent comedies - namely Loves of a Blonde and Taking Off, were better structured - but Peter & Pavla, almost half a century later, turned into a cute retrospective cameo.
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