Loves of a Blonde - Knowledge

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both sides, with the girls expecting to meet young men, while the recruits, many of whom are actually middle-aged reservists, out-of-shape and already married, look forward to a night of seduction. The night of the party is a disappointment for some members of both groups; Andula and her friends are repulsed by the soldiers, whom they call "old buffers," and three reservists are so nonplussed by the situation that they commit various faux pas, like sending a bottle of wine to the wrong table and dropping a wedding ring that one of them is trying to hide, only to watch it roll across the floor and land at the feet of the women who had received the bottle. For these people, the mixer is a flop, with the girls retiring to the lavatory to devise a way to escape their pursuers and the reservists arguing with each other over expenses and speculating on the necessity of going to the woods to have sex. For others, however, the dance is a success.

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suitcase and arrives on Milda's doorstep in the big city, ready to resume their romance. Milda is not home, and she meets his parents, who have never heard of her and do not know what to do with her. Milda comes home late, and after an evening of tension and uncertainty, it is decided to put her up for the night on the sofa, requiring Milda to climb into bed with his parents to avoid any appearance of impropriety. Andula, kneeling outside the door of their bedroom, overhears the family squabbling. When it becomes clear to her that she is not valued in the least, Andula starts crying and, the next morning, returns to her home. She tells her friends about her "wonderful" trip to the capital and how nice Milda's parents were to her, especially his father, and later returns to work at the factory.

503: 490:". Forman was later to justify his decision to add a professional: "While nonactors keep the actors honest and real, the actors give the scene the rhythm and shape that the nonactors don't feel. A nonactor inhabits the situation so completely that he or she isn't able to view it from the outside, to perceive it as a rhythmic whole with its punctuation and its larger dramatic purpose. Nonactors are perfectly content to repeat themselves and ramble on, so an actor can pull them through the dramatic arch of the scene and draw out the emotional contours of the situation." 851:, among others), took significant political risks by using cinema to protest the hypocrisy and absurdity of the Communist state. This movement has been attributed to a period of cultural and political reform, starting in 1962, during which filmmakers were given state support, but were also allowed a certain amount of artistic freedom, enabling them to create movies with the stated objective of making "the Czech people collectively aware that they were participants in a system of oppression and incompetence which had brutalized them all." 446:. In Forman's words: "It wasn't arty enough, but, on the other hand, it didn't have enough commercial appeal either. It would offend and irritate the public, he told me, because it made fun of the common man, who would be disgusted by it." Despite this objection, Vlastimil Harnach, the head of the studio, approved proceeding with the film in part because, due to the political and cultural thaw in Czechoslovakia at the time, decision makers were anxious to avoid the appearance of overt administrative interference in the creative process. 272: 814:"The new often springs from disillusionment over the old – so that was an impulse. It was the 1960s and the old rules no longer applied. There was a new 'auteur' approach with a new way of seeing the world, people, the classification of good and evil, criticism – always an attribute of youth – so those were the impulses. Also, the Czech New Wave sprang from others that came before – in Poland, in France, in America, and Britain's Angry Young Men. It was quite simply a break." 409:, thereby gaining the approval of Czechoslovakia's communist bureaucracy and making it possible for Forman to pursue further projects with relative freedom. Unsure of what the next project should be, Forman recalled an experience he had had driving around Prague late one evening when he had encountered a young woman struggling to cross a bridge while carrying a heavy suitcase. He gave her a lift and learned her story: she had come to the big city from 518:

each scene in great detail just before starting to shoot takes, reciting the dialog from memory only one time, so that when the camera was rolling the actors had to try to remember as much as they could of what he had told them and then improvise to the best of their ability what they had forgotten or only half-understood. His cameraman was later to say that, as a result, all the performers were playing Miloš Forman playing their roles.

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social conditions in Czech factory towns would make it even harder to recruit workers than it already was. To everyone's surprise, though, the movie functioned as a "great big classified ad", in that hundreds of Czech boys traveled to Zruč nad Sázavou and camped out in the woods in hopes of hooking up with the female factory workers, who responded appropriately by sneaking out of their dorms at night for assignations with the campers.

384: 455: 613:: the soldiers-getting-off-the-train gag; the wine-bottle gag; the wedding-ring gag; the palm-reading gag; the roll-up-blinds gag; and the three-guys-in-two-beds gag." Interspersed with these gags are extended character improvisations, such as Milda's discussion of Picasso, his mother's rants at the dining table, and the factory supervisor's appeal for the army's support. 31: 667:, an award that recognized exemplary works "for building of socialist homeland". Forman was later to say: "The award from the first communist president of the land and a legendary boozer was more of an embarrassment than anything else. The only good thing about it was the fat envelope that came with the ribbon. It contained 20 000 CZK, nearly a year's salary". 470:, because he had known her a long time, trusted her, and had great respect for her natural talents: "She had an amazing ability of free expression, but with the risk that she didn’t recognize the extent. However, Vláďa Pucholt held her firmly in the rhythm of the scene, in a professional position." The character of Milda's father was played by the uncle of 595:

when he got back to Prague and set her up in an apartment in the capital city. After waiting for a long time to hear from him, and telling all her friends that she would shortly be summoned to her love nest, she packed up her belongings and traveled to Prague, only to be spurned in no uncertain terms. The consequence of this situation was grimmer than the

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domestic consumption. One of these scenes, which was included in the US version, involved a slapstick sequence in which Milda, the pianist, tries to pick up a buxom girl on the streets of Prague, only to have her trick him into entering the wrong bedroom of the four-story building in which she lives, disturbing the sleeping residents.

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of film craft, which can be helpful to their inexperienced colleagues. Although some performers who, at the time, were not professional later became so, one of the professional actors, Vladimír Pucholt, who played a major role, Milda the pianist, soon gave up acting, relocated to Canada and became a pediatrician.

482:, but found that, while the three men did well improvising together whenever they appeared in pairs, they lost their rhythm when all three were included in the same shot. So Forman went to Škvorecký and told the writer that he looked too intelligent to play his role and replaced him with the professional actor 474:'s wife, and Milda's mother was played by a factory lathe operator whom Passer and Papoušek had met on a streetcar, and who struck them as someone who "seemed so interested in things around her, no matter how silly". The factory supervisor was played by the actual public relations manager of the factory at 911:

had a significant influence on him and other international filmmakers, by creating an atmosphere in which non-professionals who live in the milieu depicted by the film bring an expertise and authenticity which serves as "a touchstone for everyone else in the film", while professionals bring knowledge

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More recent retrospective reviews of the film have been equally mixed, with some critics, like Dennis Schwartz, writing that, "its simple but meaningful story has captured the emotions of its subject in a timeless and real fashion", while others, like David Nusair, find fault: "Presumably, the film's

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Since he was working with a largely non-professional cast, Forman's operating procedure was never to share the script with any of the performers, because if he had given them the screenplay, "they’ll take it home to read, and their wives will end up directing your movie". Instead, he chose to explain

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and asked them if it might be the basis for a good film. "Maybe", replied Passer, "but it still needs one more thing – a billiards table." The trio had a passion for billiards and felt that they could make a success of even the weakest idea if they had ready access to a table. Having found a good one

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Andula, a working-class young woman, lives in a fading Czech factory town where women outnumber men 16–1. One night, she and a fellow shoe-factory-worker friend lie in bed in their dormitory, discussing the ring given to Andula by her boyfriend Tonda and gossiping about her flirtatious encounter with

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was popular in its home country and was shown at some major film festivals, where it garnered a number of nominations and awards. Critical response was largely positive, although some reviewers were less enthusiastic than others. The film is now considered one of the most significant examples of the

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Forman and his colleagues were committed to the strategy of casting non-professionals and using dialogue improvisation whenever possible. Most of the actors were chosen from among relatives, friends and acquaintances of Forman and his crew, to the point where Forman was later to liken the atmosphere

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and promised to take her away from her dreary life. After confirming that she had been duped, Forman interviewed the girl for much of the rest of the night, before putting her on a train back to her home town. Commentators have noted that Forman was particularly sensitized to such situations because

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Realizing that the gender disparity is impairing morale and productivity, the factory supervisor arranges for an army officer to organize military maneuvers near the town. The factory will sponsor a dance, at which the workers can find male companionship among the soldiery. Anticipation runs high on

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have collectively become known as the "Forman school" of filmmaking, which combines an interest in documentary realism, including consistent focus on the quotidian, with a surrealistic tendency to "uncover the hidden side of reality, its comical or monstrous quality which lies just beneath everyday

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When the finished script was submitted to the Šebor-Bor production team, it was approved at first, only to have the chief of the script department pronounce it the dullest thing he'd read in years and urge Forman not to proceed with the project, since it would spoil the good reputation the director

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Although she hears nothing from Milda after their night together, she still expects to reunite with him shortly, so she breaks off with Tonda, who storms the dormitory demanding his ring back. After listening to a speech by the housemother on the virtues of fidelity and commitment, she packs up her

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was first released, there was a sense of betrayal on the part of the Zruč nad Sázavou shoe factory that had hosted the filmmakers on location and considerable consternation among authorities at the Ministry of Light Industry, with both organizations feeling that the comically unlovely depiction of

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Ironically, the storyline of the film was replayed in real life. One of the nonprofessional actresses, a blonde factory worker, had a torrid affair with a technician who was part of the film crew. Although the man neglected to tell her that he was married with a child, he promised to send for her

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Once principal photography was finished, Forman found himself with miles of raw material, so he and his editor, Miroslav Hájek, spent many long hours organizing the footage into a series of situations, like the "big dance" situation and the "meeting the parents" situation. In turn, each of these

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that have been discussed repeatedly in critical writings on the film, themes that have been something of a constant throughout Forman's career: "the impermanence of young love, the confusion and despair of middle age, and the gulf between the generations". Another theme that is often identified

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Forman himself has analized the scene that involves Milda sleeping with his parents: "It's a tight fit. The old man wants to sleep; the son would like to get thrown out so he can join the girl on the couch, but the mother runs the show and won't tolerate any such filthy ideas under her roof."

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Once the film had been released in Czechoslovakia, Forman sought an international distributor, who informed him that the film was too short for American audiences and that it did not have enough nudity in it; so Forman was coerced into shooting some additional scenes that were never shown for

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Ironically, the least self-confident performer in the film was one of the few professional actors: Vladimír Pucholt, who played the pianist. According to Forman: "This great actor, who had tremendous artistic intuition, completely mistrusted his talent. I think this was because he had a very

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situations are constructed out of sequences of gags in which the characters improvise, in the words of commentator Constantin Parvulescu, "like various instruments of a band": "Many of these situations can be broken down into gags. There are several such gags reminiscent of early comedy in

546:. Ondříček was schooled in documentary filmmaking and, as a result, he insisted on performing all photographic tasks, like focus, lighting and composing, personally, while refusing access to the set by all film editors, saying: "The editor can only edit what I am filming. He can't use a 217:

Forman based his story on an incident from his past and the filmmakers created a realistic look and feel by filming on location in a small Czech town with a shoe factory, utilizing a largely non-professional cast, relying on a considerable amount of dialogue improvisation, and employing

486:. In Škvorecký's words: "To tell someone that he is too intelligent to be an actor is a very nice way of letting him know that he should stay with screen-play writing. Milos is a very considerate person. The fact that he so gently threw me out made possible the greatest scene of 554:

if he doesn't have it. This is our job." Critics have often admired Ondříček's success in sustaining low-contrast lighting throughout the film, rendering "a sweetly mysterious softness, as if a principle of compassion existed in the world alongside its cruelty".

685:. Shortly after it was completed, it was purchased by a Czech distribution company called Filmexport, only to be re-sold as part of a multi-picture package to a firm called CBK, which proceeded to air it on television through a number of 24-hour movie channels. 422:, never to be seen again, which led to years of Forman traveling around searching for security with nothing but a suitcase. In Forman's words: "I guess I'll always be moved by the sight of a young person with a suitcase seeking a connection in a strange city." 513:. According to Forman: “I remember those few months in Zruc-upon-Sazava as some of my sunniest days in the movie business. We had all the time we needed. We played billiards. We choked on laughter watching Pucholt fight his parents in the narrow double bed.” 760:

that, by capturing the momentary indiscretions of his characters on the screen, Forman forces the audience into a voyeuristic situation that induces embarrassment and laughter. There were dissenting voices, however: Phillip J. Hartung, writing in

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involves the awkwardness and confusion surrounding sex in a repressed society. Most critics have also commented on the confluence of comedy and sadness in the film's depiction of everyday life in a totalitarian state, although while some consider

230:, a movement which took advantage of a temporary relaxation of totalitarian control over creative artists to use cinema as a means to explore new narrative strategies while making pointed critiques of social and political conditions behind the 494:

rationalist disposition and could never see, much less measure, the result of his acting. 'Was it good, Mr. Forman?' he asked me after every perfect shot. 'It was excellent!' 'Really?' 'Really.' He never believed me and all of us loved him."

946:, in a new digital transfer, with restored image and sound, a video interview with director Milos Forman, a deleted scene and new & improved English subtitle translation. Since 2010, a version has been available as part of Criterion's 710:

Critical reaction within Czechoslovakia tended to focus on the film's perceived negativity with regard to social and political conditions in the country, and, for that reason, it was not distributed at all within the Soviet Union.

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Andula strikes up a flirtation with Milda, the pianist of the band providing the music. He reads her palm and instructs her in how to rebuff unwanted advances with a kick in the shins. After the party, she goes to bed with Milda.

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in the early 1960s when Ondříček was just learning to shoot feature films and Forman was struggling to create his own early projects. Ondříček was in full accord with Forman's reliance on non-professional actors, adopting a

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of the film; the girl was embarrassed to return home, became a prostitute, went to jail, attempted suicide and finally emigrated to Australia, where there was a shortage of women, especially among Czech emigrants.

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Forman's most pointed critique of Czech society under communism, others point out that the grim conditions are not solely due to misguided public policy, but that individuals create their own isolation as well.

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in order both to sustain the documentary-style look and feel and to take pressure off the performers, who were not always sure whether they were being included in the shots.

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supposed to be a quirky and revealing slice of life – but since the central character is never developed beyond the superficial, it's impossible to care about her".

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that follows a young woman, Andula, who has a routine job in a shoe factory in provincial Czechoslovakia, and her attempts at forging a romantic relationship.

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mishaps, stutters and waverings". Diane Sippl has noted that, once Forman came to America and created his high-profile Hollywood productions, such as

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was an "endearing but artless" film, with its long central section of the big dance having little to do with the main plot. In a lengthy article in

360: 77: 1094: 2830: 3478: 1027: 2949: 3207: 2314: 1114: 980: 693: 401:) was released in 1964 and was not viewed favorably by Czech governmental authorities until it was selected for competition at that year's 330: 306: 239: 3453: 2224: 3448: 3428: 3458: 3473: 2739: 2495: 864: 2677: 1552: 478:, where location shooting took place. For the main trio of reservists, Forman wanted to use non-professionals, including the writer 3136: 1650: 1796: 438:, the three, along with Václav Šašek, wrote a screenplay that fleshed out Forman's encounter with the young woman from Varnsdorf. 2114: 3168: 3109: 579:

was greatly admired by Forman. Anderson was so impressed by Ondříček's work, that he brought the cameraman to England to film

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The big dance was the film's most sustained and elaborate sequence, so two cameras were used, with frequent recourse to

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unfavorably with other Czech films of the period that he believed displayed greater mastery of narrative technique.

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The Intellectual Origins of the Prague Spring: The Development of Reformist Ideas in Czechoslovakia 1956-1967

1692:"Milos Forman's Loves of a Blonde: Pop Culture, Rebellion and Sexual Liberation in the Eastern European Bloc" 915:

In April 2019, a restored version of the film was selected to be shown in the Cannes Classics section at the

881:, he was able to introduce into commercial cinema the same qualities that characterized his early films like 2670: 3468: 3307: 820: 1615: 1454: 502: 3387: 3315: 2779: 2282:

The New York Times Guide to Essential Knowledge, Second Edition: A Desk Reference for the Curious Mind

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was submitted to a number of the major film festivals of the day: it was the opening film of the 1966

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was Hana Brejchová's first film role and earned her 3rd place in the Best Actress category at the

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to making a "home movie". For the title role, Forman selected his 18-year-old ex-sister-in-law,

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has often been identified as one of the most significant and ambitious productions of the

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List of Czechoslovakia submissions for the Academy Award for Best Foreign Language Film

750: 575: 413:, where she had been seduced by a young engineer, who had given her a phony address in 392: 3026: 2122: 591:, announcing that he had found a person with a new sensibility, “a new pair of eyes”. 3147: 3069: 2723: 2601: 2578: 2564: 2548: 2534: 2286: 2170: 1802: 1768: 1558: 1524: 1490: 1425: 1367: 1303: 1235: 769: 698: 543: 534: 458:

Memorial plaque for Vladimir Mensik, one of the few professional actors to appear in

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format in 1987 by RCA/Columbia Pictures and re-released in that format in 2000 by

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sold out in theaters throughout Czechoslovakia. The film was the recipient of the

3355: 3323: 2929: 2655: 2280: 1762: 835:, a movement in which a group of young filmmakers, many of whom were educated by 801: 738: 2853: 2687: 211: 51: 41: 3203: 3077: 3016: 2990: 2771: 2763: 2755: 2649: 1899: 975: 876: 840: 832: 726: 406: 227: 188: 2944: 2893: 1326: 435: 3412: 3152: 3011: 2617: 1085:

List of submissions to the 39th Academy Awards for Best Foreign Language Film

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has stated that the mixture of professional and non-professional actors in

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All the Bright Young Men and Women: A Personal History of the Czech Cinema

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Forman recounted this memory to fellow film enthusiasts and colleagues

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Crowther, Bosley (6 June 1966). "Czechs Consider Italian Film Deal".

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Principal Photography: Interviews with Feature Film Cinematographers

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from 17 reviewers who, on average, scored it 8.00 on a scale of 10.

2612: 1651:"From Prague to Hollywood: The Cinematography of Miroslav Ondricek" 1349: 767:, compared the film unfavorably with Ivan Passer's contemporaneous 551: 1316: 419: 2563:. White Plains NY: International Arts and Sciences Press, 1975. 587: 383: 1924:"The 100 Best Films Of World Cinema – 89. Loves of a Blonde" 1234:. Princeton NJ: Princeton University Press. pp. 261–2. 454: 2388:"If There Were No Music: "Four by Forman" Not to be Missed" 1032:

Best Foreign Director (Regista del Miglior Film Straniero)

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Dyer, Peter John (Winter 1966). "Star-Crossed in Prague".

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The Concise Routledge Encyclopedia of the Documentary Film

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The Collaborative Habit: Life Lessons for Working Together

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magazine's "The 100 Best Films Of World Cinema" in 2010.

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Knight, Arthur (22 October 1966). "My Favorite Blonde".

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On the whole, international critics of the time praised

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Film scholar Peter Hames has summarized three themes of

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During filming, the set was visited by British director

1767:. New YOrk: Cambridge University Press. pp. 60–1. 800:

It holds a 94% rating on the review aggregator website

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Hartung, Phillip J. (11 November 1966). "Czechmates".

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Walsh, Moira (17 December 1966). "Loves of a Blonde".

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when he was 10, his mother had been taken away by the

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Europe On-screen: Cinema and the Teaching of History

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An Accented Cinema: Exilic and Diasporic Filmmaking

2685: 2255:"Eclipse Series 32 - Pearls of the Czech New Wave" 1974:Gill, Brendan (3 November 1966). "Women in Love". 533:. Ondříček and Forman had met at Czechoslovakia's 2247: 3410: 2019:Kotlowitz, Robert (1966). "Films Worth Seeing". 1424:. Toronto: Peter Martin Associates. p. 83. 1327:"Miloš Forman Regis Dialogue with Scott Foundas" 1172:"Making (New) Waves: Milos Forman's Black Peter" 1095:List of Czech Academy Award Winners and Nominees 2049:Collet, Jean (February 1967). "Indiscretions". 1523:. New York: Simon & Schuster. p. 100. 681:and was nominated for the highest prize at the 2094:Bond, Kirk (Fall 1968). "The New Czech Film". 1028:Italian National Syndicate of Film Journalists 218:documentary-style cinematographic techniques. 3184: 2824: 2671: 2346:"Czech Surrealism and Czech New Wave Realism" 1801:. Strasbourg: Council of Europe. p. 88. 1685: 1683: 1681: 1197: 1195: 1193: 1137: 2337: 1728: 1016:Best European Film (Bedste europæiske film) 694:Academy Award for Best Foreign Language Film 509:was the location for much of the filming of 240:Academy Award for Best Foreign Language Film 2418:Empire - The 100 Best Films Of World Cinema 2379: 2079:Hatch, Robert (14 November 1966). "Films". 1478: 1476: 1291: 789:, Kirk Bond compared the "ordinariness" of 3191: 3177: 2831: 2817: 2678: 2664: 2285:. New York: Macmillan. 2007. p. 203. 2216: 1892: 1678: 1190: 29: 2838: 2018: 1578: 1455:"Program Notes: Loves of a Blonde (1965)" 1419: 1413: 953: 2446:. British Film Institute. Archived from 2189: 2033: 1489:. Westport CT: Praeger. pp. 37–40. 1482: 1473: 1121:. Národní filmový archiv. Archived from 501: 453: 382: 270: 2315:"An Introduction to the Czech New Wave" 2063: 1794: 1788: 1302:. New York: Routledge. pp. 105–6. 1204:"Miloš Forman: Lásky jedné plavovlásky" 550:if he doesn't have it. He can't make a 3484:Films with screenplays by Miloš Forman 3411: 2375:. Cognac: Temps qu'il fait. p. 9. 2231:. All Media Guide, LLC. Archived from 2048: 1958: 1689: 1609: 1607: 1550: 1297: 1227: 1163: 677:, was an invited entry in that year's 3479:Films with screenplays by Ivan Passer 3172: 2812: 2659: 2078: 1988: 1760: 1516: 1221: 718:, with positive reviews published by 2468: 2370: 2306: 2195: 2112: 2093: 2003: 1973: 1557:. New York: Routledge. p. 191. 705: 616: 3137:CzechMate: In Search of Jiří Menzel 2471:"From One Cuckoo's Nest to Another" 2373:Le cinéma des surréalistes tchèques 1613: 1604: 1169: 837:the national film academy in Prague 13: 3454:Czechoslovak black-and-white films 2959:Directors associated with New Wave 2547:. London: Wallflower Press, 2005. 2222: 2143: 1734: 999:Best Foreign-Language Foreign Film 690:Golden Globe for Best Foreign Film 391:Miloš Forman's first feature film 14: 3495: 3449:Czech romantic comedy-drama films 3429:1960s romantic comedy-drama films 2589: 2533:. New York: Villard Books, 1994. 2385: 2343: 1208:v noci jsem snil, že jsem motýlem 1201: 696:in 1967. It was ranked No. 89 in 3474:Films shot in the Czech Republic 2575:Miloš Forman: A Bio-Bibliography 2440:"Lásky jedné plavovlásky (1965)" 2312: 1584: 1149:Česko-Slovenská filmová databáze 938:. In 2002, it was released as a 529:, like Forman a graduate of the 3110:Valerie and Her Week of Wonders 2740:One Flew Over the Cuckoo's Nest 2518: 2488: 2469:Kerr, Dave (10 February 2008). 2462: 2406: 2364: 2273: 2163: 2137: 2106: 2087: 2072: 2057: 2042: 2027: 2012: 1997: 1982: 1967: 1952: 1943: 1934: 1916: 1883: 1858: 1849: 1840: 1831: 1822: 1754: 1719: 1710: 1669: 1643: 1634: 1622:. Turner Entertainment Networks 1544: 1510: 1438: 1404: 1395: 1386: 1372:Milos Forman's Official Website 1337:from the original on 2021-12-21 936:Janus Films, Home Vision Cinema 866:One Flew Over the Cuckoo's Nest 688:The film was nominated for the 542:style compatible with orthodox 3459:Films directed by Miloš Forman 1282: 1273: 1264: 1255: 1107: 1: 2577:. New York: Greenwood, 1985. 1100: 922: 819:Professor of Film Studies at 378: 373: 3308:Those Wonderful Movie Cranks 1461:. Kansas City Public Library 1300:Introduction to Film Studies 948:"Essential art house" series 647: 7: 3464:Films set in Czechoslovakia 2146:"Mini Reviews (March 2003)" 2051:Cahier du Cinema in English 1866:"Order of Klement Gottwald" 1795:Chansel, Dominique (2001). 1761:Kusin, Vladimir V. (2002). 1078: 821:Prague's Charles University 238:was nominated for the 1966 140:November 12, 1965 10: 3500: 3424:1960s Czech-language films 3388:Vojtech, Called the Orphan 3316:Love Between the Raindrops 3208:Best Foreign Language Film 2780:The People vs. Larry Flynt 2420:. Bauer Consumer Media Ltd 1698:. Film Victoria, Australia 1616:"Loves of a Blonde (1966)" 1483:LoBrutto, Vincent (1999). 1178:. Film Victoria, Australia 981:Best Foreign Language Film 603: 497: 449: 3380:A Hoof Here, a Hoof There 3214: 3120: 3045: 3004: 2958: 2922: 2846: 2694: 2545:The Czechoslovak New Wave 2225:"Czech and Slovak Cinema" 2119:Ozus' World Movie Reviews 1420:Škvorecký, Josef (1971). 1368:"Loves of a Blonde, 1965" 917:2019 Cannes Film Festival 807: 773:, while Robert Hatch, in 665:Order of Klement Gottwald 625: 203:, is a 1965 Czechoslovak 172: 164: 154: 131: 121: 111: 101: 83: 69: 47: 37: 28: 23: 3444:Czech black comedy films 3200:Czechoslovak submissions 2561:The Miloš Forman stories 2414:"89 - Loves of a Blonde" 2352:. University of Waterloo 1690:Parvulescu, Constantin. 521:The cinematographer for 18:1965 Czechoslovakia film 3439:1965 comedy-drama films 3434:1965 black comedy films 3364:My Sweet Little Village 3228:The Shop on Main Street 3129:The Shop on Main Street 854:In particular, Forman, 266: 245: 194:Lásky jedné plavovlásky 3276:Lovers in the Year One 3244:Closely Watched Trains 3086:Closely Watched Trains 3054:Diamonds of the Night 3005:Frequent Collaborators 2496:"Cannes Classics 2019" 2261:. Criterion Collection 2223:Horton, Andrew James. 1228:Naficy, Hamid (2001). 1048:Best Foreign Director 954:Awards and nominations 895:British film director 892: 816: 675:New York Film Festival 514: 462: 388: 284: 192: 74:Doro Vlado Hreljanović 3396:The Elementary School 2840:Czechoslovak New Wave 1657:. Czech Centre London 1517:Tharp, Twyla (2009). 1333:. Walker Art Center. 1298:Nelmes, Jill (2011). 888: 812: 505: 457: 442:had established with 403:Locarno Film Festival 386: 274: 3284:Circus in the Circus 3158:Praška filmska škola 2639:Criterion Collection 2531:Turnaround: A Memoir 2259:Criterion Collection 1591:Criterion Collection 1551:Aitken, Ian (2013). 1060:Venice Film Festival 944:Criterion Collection 683:Venice Film Festival 679:London Film Festival 281:Venice Film Festival 3469:Films set in Prague 2371:Král, Petr (2002). 2171:"Loves of a Blonde" 2115:"Loves of a Blonde" 1737:"Loves of a Blonde" 1620:Turner Film Article 1587:"Loves of a Blonde" 1115:"Loves of a Blonde" 839:(including Forman, 405:, where it won the 367:Antonín Blažejovský 3348:The Millennial Bee 3340:Incomplete Eclipse 3252:The Firemen's Ball 3094:The Firemen's Ball 2914:Drahomíra Vihanová 2716:The Firemen's Ball 2686:Films directed by 2624:TCM Movie Database 2573:Slater, Thomas J. 2525:Forman, Miloš and 2500:Festival de Cannes 2325:on 1 November 2014 2235:on 25 October 2014 2113:Schwartz, Dennis. 1978:. pp. 197–99. 1374:. Radka Production 1151:. POMO Media Group 751:The New York Times 576:This Sporting Life 515: 463: 389: 285: 221:Upon its release, 3406: 3405: 3236:Loves of a Blonde 3166: 3165: 3148:Barrandov Studios 3070:Intimate Lighting 3062:Loves of a Blonde 3032:Miroslav Ondříček 3022:Ester Krumbachová 2899:Jaroslav Papoušek 2806: 2805: 2708:Loves of a Blonde 2645:Loves of a Blonde 2630:Loves of a Blonde 2619:Loves of a Blonde 2608:Loves of a Blonde 2597:Loves of a Blonde 2558:Liehm, Antonin J. 2444:BFI Films Forever 2150:Reel Film Reviews 2125:on 2 January 2011 2038:. New York Times. 1459:Knowledge for All 1076: 1075: 928:Loves of a Blonde 909:Loves of a Blonde 903:English director 883:Loves of a Blonde 860:Jaroslav Papoušek 829:Loves of a Blonde 791:Loves of a Blonde 781:Loves of a Blonde 770:Intimate Lighting 757:Cahiers du cinéma 716:Loves of a Blonde 706:Critical response 671:Loves of a Blonde 661:Loves of a Blonde 654:Loves of a Blonde 637:Loves of a Blonde 632:Loves of a Blonde 617:Additional scenes 611:Loves of a Blonde 564:telephoto zooming 544:socialist realism 535:Barrandov Studios 527:Miroslav Ondříček 523:Loves of a Blonde 511:Loves of a Blonde 488:Loves of a Blonde 472:Miroslav Ondříček 460:Loves of a Blonde 431:Jaroslav Papoušek 327:as Milda's Father 321:as Milda's Mother 277:Loves of a Blonde 251:a forest ranger. 236:Loves of a Blonde 223:Loves of a Blonde 210:film directed by 197:), also known as 184:Loves of a Blonde 180: 179: 106:Miroslav Ondříček 56:Jaroslav Papoušek 24:Loves of a Blonde 3491: 3372:Forbidden Dreams 3300:Dinner for Adele 3292:One Silver Piece 3268:Days of Betrayal 3193: 3186: 3179: 3170: 3169: 2971:František Vláčil 2923:Slovak Directors 2833: 2826: 2819: 2810: 2809: 2732:Visions of Eight 2680: 2673: 2666: 2657: 2656: 2648:review from the 2512: 2511: 2509: 2507: 2492: 2486: 2485: 2483: 2481: 2466: 2460: 2459: 2457: 2455: 2450:on 3 August 2012 2436: 2430: 2429: 2427: 2425: 2410: 2404: 2403: 2401: 2399: 2394:. kinocaviar.com 2383: 2377: 2376: 2368: 2362: 2361: 2359: 2357: 2341: 2335: 2334: 2332: 2330: 2321:. 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