NinadeL

The most ingenious scene happens right at the beginning. The brilliant esprit of the Ferenc Futurista and Betty Kysilková comic duo provides us with a unique conversation on the topic of a cake with coffee, players on the green pitch in the theater, and Betty is great in it again. Never mind her apron-based toilets and the rag on her cane. She's my favorite.

A perfect example of a protectorate product. It's charming in how it looks like a quick remake of the Líza Irovská films, but it's not. Jiřina Bohdalová in her second film and as obnoxious as ever. ;)

The phenomenon of Zita Kabátová's career culminated here. The theme of Olga Fujerová's book is unusually topical and, in terms of how we view marriage and career advancement, it is chillingly relevant even today. In addition, in the film, we can enjoy the excellent exteriors and realities of Prague and its surroundings in 1937. I have nothing to criticize about it. Elbows and nepotism are what drive your career, while intrigue and social status are what threaten interpersonal relationships.

I've been loving this for a long time. But strangely enough, to this day I am still not sure which chocolate is the best - Vilím's or Štěpán's. However, I definitely prefer to go to the Zuzana Peštová - Aleš Vilím dairy shop, so both chocolate shops can actually go and get drunk with the golden youth. Where, of course, one of the greatest hits is the car racer, which makes sense. Otherwise, we seriously perceive this film as the second film adaptation of Langer's famous play, which followed Anny Ondra and Karel Lamač’s exceptionally well-attended production.

Ota Koval and a modern poetic fairy tale created as a co-production in Ota Hofman’s creative group. Among the children's roles, the absolutely great Žaneta Fuchsová (still very small, but all the more fun) and Tereza Brodská (next to Žaneta, already a young lady, a future classic princess) stand out. It is not a certainty based on reruns, but it is all the more pleasant to encounter fantasy.

Personally, I appreciate Ela Šárková and Marie Grossová most in this film. Both transplanted in the second half of the 1930s, they found their next image and art and I am happy with those too. There's also a fantastic scene in which Ferenc plays cards in prison. For a long time I thought it was unattainable. More reruns, please!

Seeing this film is like a dream come true that I never knew I had. Yet I knew that something like the Jetsons existed and after seeing their standalone film, something like this was destined to come and I don't regret it, it's wonderful. Just the way it should be, great. It's just that the Jetsons in prehistory aren't as brilliant as the Flintstones in the future. ;)

Films with Sophia Loren are like those with Burian - she reigns supreme and everyone else aids her. However, Robert Hossein is overdoing it here.

From an artistic point of view, it’s quite strange. From every other perspective, it’s remarkable. I really have no idea what V. Ch. Vladimírov was trying to do, but I can't say that I despised Olga in 1935 that much. Hana Vítová was tender and Fanda Mrázek sensational. Arno is a strangely charming young man who has had the misfortune of having a set of artistically-uneven films, but when I get past this I enjoy him thoroughly.

Films were made well in Prague and badly in České Budějovice and in Brno. At first glance, The Sins of Youth may be as much a work of art as the brilliant The Summer Camp of Young Dreams, but on second glance we in fact find one treasure alongside another. Some of the actors started their film careers here, such as Rudolf Deyl Jr. (a comedian - a builder, above all), Vladimír Leraus (a Protectorate celadon, for example) or Jožka Stoklasa (who took another 40 years to make his presence known in film). Valentin Šindler ended his work with this film and Czech cinema lost an interesting refreshment in the form of humor. This was also the first time Máňa Pavlíková acted in a sound film. This time she at least showed her sporty figure in a swimsuit. I think it's a great pity that Otto Ballon didn’t apply himself more. I have no reservations about Hanka Vítová either, as some of her minor stumbles may have been due to her flashy theatrical performances. If we take a close look at her journey upward, it's basically a great achievement to be the only Prague star in such a project in only her fourth year in film. From a formal point of view, The Sins of Youth is a solid effort by an amateur filmmaker and an experienced theater actor in one, so the result is inconsistent, but thanks to a certain inconsistency, a new perpetuity finds its place, and that's not really a bad thing.