In Loves of a Blonde Milos Forman continued dealing with the same subjects he did in his first feature film Black Peter (1964); the aimless youth and the Czechslovakian society. After Loves of a Blonde he started working on his next film, The Firemen's Ball (1966). Once the film was released it caused an incredible strife; over ten thousand firemen announced a strike and Milos Forman was about to get sentenced to jail for 10 years. Fortunately Francois Truffaut, the master of Nouvelle Vague, helped Forman out of the trouble and, so Forman went to United States where he has made some of his most remembered films such as One Flew Over the Cuckoo's Nest and Amadeus.
Loves of a Blonde is often overlooked even that it is one of the finest representatives of Eastern Europe new wave or Novi-film. Alongside with Yugoslavian Dusan Makavejev and Czechslovakian Jiri Menzel, Milos Forman was an integral auteur for the movement. It had the same cheer that the Nouvelle Vague did but the Novi-films were much more politically bold and took clear statements against the Communist government - due to which many of the films got banned.
Loves of a Blonde is a cheerful tragicomedy. Its protagonist is a working-class girl, Andula who works at a shoe factory. One day she becomes acquainted with a young pianist to whom she falls in love with. The film is quite ruthless but also humane and Forman treats his characters with warm love. He accepts his characters as they are, with their flaws and controversies. In the beginning he portraits a group of three middle-aged army men who try to hit on three teenage girls. The soldiers are portrayed as dumb and self-thinking but also as humane, sympathetic characters.
It's strongly a social film. It portrays the 60's Czechslovakia as a dull place with nothing to do; so people try to find their amusement from sexuality and other pleasures. The officers are stupid and selfish, as is the society. The teenagers are also naive but try their best to survive. The first sequence where the men try to hit on the girls is brilliant and full of significance; one man takes a wedding ring off his finger, drops it and follows it as it goes through the dancing floor. The men try to send a bottle to the girls but the waiter messes up and takes the bottle to the wrong table. Nothing works.
Loves of a Blonde is an ironic social film but also a warm story about love and soul searching. Its characters are lost in a country which has lost its course as well. Whether it's the middle-aged men or the teenage girls, or the young pianist, no one really knows who they are. This is a basic tragicomic element in the films of the new wave. The film is clearly naturalism as it describes Czechslovakia as realistically as possible; mud, old clothes, bad wine and cruddy vehicles. It's paradoxically truly a melancholy love story but also a cheer comedy.
Loves of a Blonde is often overlooked even that it is one of the finest representatives of Eastern Europe new wave or Novi-film. Alongside with Yugoslavian Dusan Makavejev and Czechslovakian Jiri Menzel, Milos Forman was an integral auteur for the movement. It had the same cheer that the Nouvelle Vague did but the Novi-films were much more politically bold and took clear statements against the Communist government - due to which many of the films got banned.
Loves of a Blonde is a cheerful tragicomedy. Its protagonist is a working-class girl, Andula who works at a shoe factory. One day she becomes acquainted with a young pianist to whom she falls in love with. The film is quite ruthless but also humane and Forman treats his characters with warm love. He accepts his characters as they are, with their flaws and controversies. In the beginning he portraits a group of three middle-aged army men who try to hit on three teenage girls. The soldiers are portrayed as dumb and self-thinking but also as humane, sympathetic characters.
It's strongly a social film. It portrays the 60's Czechslovakia as a dull place with nothing to do; so people try to find their amusement from sexuality and other pleasures. The officers are stupid and selfish, as is the society. The teenagers are also naive but try their best to survive. The first sequence where the men try to hit on the girls is brilliant and full of significance; one man takes a wedding ring off his finger, drops it and follows it as it goes through the dancing floor. The men try to send a bottle to the girls but the waiter messes up and takes the bottle to the wrong table. Nothing works.
Loves of a Blonde is an ironic social film but also a warm story about love and soul searching. Its characters are lost in a country which has lost its course as well. Whether it's the middle-aged men or the teenage girls, or the young pianist, no one really knows who they are. This is a basic tragicomic element in the films of the new wave. The film is clearly naturalism as it describes Czechslovakia as realistically as possible; mud, old clothes, bad wine and cruddy vehicles. It's paradoxically truly a melancholy love story but also a cheer comedy.