http://www.imdb.com/title/tt0059415/
A working-class young woman (Andula) in a hick Czech town sleeps with one of the band members of a group from Prague. "You are a Mondrian, not a Picasso," he tells her. When she doesn't hear from him again, she packs up and arrives on his doorstep in the big city, throwing his household (he lives with his parents) into chaos.
Looking for Love in Czechoslovakia
A Review by John Nesbit
Heavily influenced by Godard and Truffaut?s French New Wave cinema, the Czech New Wave also strove for realism in everyday life. One of the main proponents of the genre, Milos Forman has a keen eye for character and subtlety and showcases his sense of humor in Loves of a Blonde (L?sky jedn? plavovl?sky) , nominated for an Academy Award for Best Foreign Film in 1967. After the Russian invasion, Forman abandoned Czechoslovakia for Hollywood to lend his talents to such movies as One Flew Over the Cuckoo?s Nest (1975), Hair (1979), and Amadeus (1984). He wonderfully mixes a handful of professional actors with non-actors to create this study on human foibles.
Forman?s ability to work with non-actors highlights Loves of a Blonde, especially with Milda?s mother and father (played by Milada Jezkov? and Josef Sebanek, who bring the ordinary narrative to life with their bickering over Milda?s na?ve girlfriend. Jezkov? was discovered while riding a bus when Forman overheard her laughing about script ideas. Attracted by her naturalness, she shines through her improvisations?so much so that she was subsequently cast in Closely Watched Trains, Fireman?s Ball, and several other Czech films.
Obsessed with amateur acting, Foreman boasts how even the professional actor playing Milda (Vladim?r Pucholt) was a non-actor at heart, abandoning his acting career to pursue medicine, quite unlike Jean-Pierre L?aud (The 400 Blows), who continues to work in films. Forman looks fondly on his influential role during the Czech New Wave, which parallels both the French New Wave and Italian neo-realism as far as using amateur actors in location shooting, only giving it a more professional look with better film stock and improved technology. Forman limits shooting to two cameras, one focussed on the main characters in large ensemble scenes while the other camera roves about capturing small human moments.
Inspiration for the story comes from a young, forlorn looking girl that Forman approached in Prague, finding that she was from a small factory town with a large female population and had fallen in love with a man during a one night stand. He had given her his address in the city, but she had just discovered that the address was non existent?a poignant story of innocent passion and hopes destroyed with brutal suddenness. A universal discovery for most everyone.
Shot in black and white, the story is seen through blonde-haired Andula's eyes. Played by the sister of Forman's first wife, Hana Brejchov', Andula and lives an ordinary life in the communist-controlled village of Zruc, where women work in the local shoe factory and outnumber the men 16 to 1. Needless to say, with such odds against finding a man to express affections, the women grow increasingly horny and desperately long for love. Andula embodies that notion, but she remains suspicious and slower to trust than one might expect under the circumstances.
Humorous vignettes occur during a local mixer between the shoe factory workers and a nearby military base. Three middle-aged soldiers have their eyes on Andula and her two friends, but fear rejection, so some comedy emerges from a misplaced complimentary wine offering, a rolling wedding ring, and not so subtle attempts to get the three young girls drunk enough to take off to the woods.
Meanwhile, Andula casts her eyes on the young piano player Milda and flirting evolves into a tryst. Anything but a slam bam Hollywood bedding, Milda begs and woos the girl like many determined young men do when they sense imminent sexual conquest. He succeeds, and the dialogue feels natural and improvised. How many directors would choose inane repetitions like "I have no girl in Prague" as a centerpiece of the post-coital conversation?
Andula grows to trust the relationship, setting up the pivotal scenes at Milda?s house in Prague. She arrives late night with suitcase in hand. Milda?s father is far more low-keyed about the situation, figuring that it?s no big deal that his son has a secret girlfriend, but the judgmental mother fears the worst and lets Andula know in clear tones about her disapproval. Again, the improvisation is clear and natural?the mother repeats clich?s in such a natural state that many will swear that their own mothers are represented on screen. She is determined to find out as many details about this unknown girlfriend as she can, and she relentlessly pursues this quest with as much vigilance as the FBI on the trail of a terrorist.
When Milda finally sneaks into the house in the early morning hours, the comedy hits its highest marks when his mother drags him out of his room to sleep in the same bed as his parents. The dysfunctional family won?t get as good a comedy scene until 2001 with Wes Anderson?s The Royal Tenenbaums.
Like Forman's Fireman's Ball, you won?t remember much about the actual plot because it is secondary in importance. Key here are the memorable characters, effectively portrayed by a fine ensemble cast, and how universally human they are?whether you focus on the overly protective mother, the matter of fact and down to earth father, the charming but manipulative Milda, or the na?ve Andula, trapped in a mundane existence but continuing to see more acceptance and love than her reality justifies.
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