与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970). 猪蹄影院电影免费在线观看高清完整版汇集观看震撼人心的科幻片全网影视，跨世纪影院又名完整版视频观看在线播放高清版高清未删减完整版全集免费播放。影片免VIP在线观看无广告高清影视。全集电视剧完整版电影免费在线观看猪蹄影院，秋霞电影网电视剧电影影视剧演员表,节目预告,电影天堂
恋爱小电影，从极盗者以来都希望卢克·布雷西能红起来，但其它角色都是配角，这部片子还好，总算有了另一种角色的颠覆
森田芳光早期的经典作品，83年日本最佳影片（击败了今村昌平名作《楢山节考》），但我确实没啥感触，看了一些影评也是说一堆镜头空间设置的话题，但也抵不过我对角色的不认同，松田优平演绎的教师简直就是个基友????，反而几场吃饭的戏份很好玩，特别是结尾的反转
从来没有想过老夫人有一天会离开，也许她很厉害，但是她也很柔软
小鲜肉演技略尬，弗莱迪人设大改，少了以前满嘴的俏皮话和黑色幽默，形象也更暴戾凶残（说实话有点像忍者神龟），还是喜欢劳勃演的弗莱迪叔叔
三星半，硬汉式喜剧。牛仔们都打野架、追妹子、养猩猩了，铁拳不倒的东木先生最后还是拜倒在负心女人脚下，这就是一个在东木一边秀肌肉，一边打退各路喽啰的爆米花小片