Linbeymusol Wonderful character development!

Portia Hilton Blistering performances.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

elvircorhodzic LOVES OF A BLONDE is a romantic comedy drama film about love, provincialism and incident. Those three elements are in direct relations with the social and political situation in the former Czechoslovakia. Mr. Forman has put an emphasis on simplicity and naivety in relationships and a vain struggle for a youthful love, which is not realistic in socio-political terms.Andula is a working-class young woman, who living in a fading Czech factory town. The environment in which she lives is suffering from a chronic shortage of men. Andula, who is eager for love goes on an adventure with a young local rebel and a married forester. The factory supervisor belatedly realizes that the gender disparity is impairing morale and productivity, so he arranges for an army officer to organize military maneuvers near the town in order for the factory to sponsor a big dance, at which the workers can find male companionship among the soldiery. However, married middle-aged reservists come to their town. However, Andula meets Milda, a young handsome pianist, on a dance party. It seems that she finally found the love of her life... but...Mr. Forman has approached, in a subtle way, his protagonists, because of that, the clarity or pain on their faces look realistic. He has often played with a simple and naive emotions of a young girl, which in this case receive a kind of timeless value. Shades of gray, and working melancholy, which is mixed with a conservative and stubborn ambiance, must brings some kind of a conflict. The characterization, despite visible improvisation, is very good.Hana Brejchová (Andula) is a naive girl in an impossible mission. It's really hard to be loved. Vladimír Pucholt (Milda) is a shifty young man who knows what he wants. Well, maybe, he fell in love... someday. Milada Ježková (Milda's mother) and Josef Šebánek (Milda's father) are tragicomic. Well, these profiles were common in my country.A smile through tears can be bitter.

morrison-dylan-fan With still having strong memories about being caught completely by surprise from Milos Forman's far better than expected 1984 epic Amadeus,I was thrilled to recently discover that a fellow IMDb'er had shared a link to a Youtube page of an early Forman movie from a film movement that I had recently been hearing quite a bit about called the Czech New Wave,which lead to me excitingly getting ready to surf the wave for the first time.The plot:Fearful over their being not enough boys for girls to fall in love for in his village,due to their only being one man to every 16 women in the village,a local businessman decides to do a deal with a military general,which will allow for restless soldiers to pay a visit to the town,in the hope that they end up becoming romantically involved with the residents.Attending a late night party with her dormitory friends,Andula tells her friends to ignore the advances that are getting made to them by a group of old,worn down soldiers.Leaveing her friends behind on the watchful gaze of the army men,Andula secretly pays a visit to a guy called Milda,who along with having played with played in a band earlier in the night,is also someone who Andula is starting to develop a real crush for.Half-heartedly accepting Milda's invitation for her to pay a visit to his room,so that Milda can read her palms,Andula soon begins to find out what direction her palm lines,and her life are heading in.View on the film:For the relationship between Andula (played by a cute,wonderfully uncertain Hana Brejchová) and Milda (played by a very good,manipulative Vladimír Pucholt),the screenplay by director Milos Forman and co- writer's Jaroslav Papousek, Ivan Passer and Václav Sasek use Andula's wish for the relationship to work as a sly way to include some subtle commentary on the communist regime of the time,with Andula working in a shoe shop factory making identical pares of shoes,being connected to the owner of the business trying to get all of the women of the village to settle down with men from the country's old,rusting military.Continuing on the films theme in his directing style,Forman and cinematography Miroslav Ondrícek show in stark black & white everything that Andula is up against in her desire not to conform,from Andula's village looking like a wasteland,and Forman placing the viewer in Andula's corner when a vote is taking at her dormitory for no boys to be allowed in the building.Forman also expertly reveals the full Horror's of what Andula is going against,when after making her first ever visit out of the village to see Milda's parents,Andula is met by the hard stare of Milda's mum,who openly tells Andula that she does not trust any outsiders.

Rodrigo Amaro Here's a romantic comedy with some drama undertones made with charm and lots of style by a Milos Forman way before "Amadeus" and "One Flew Over a Cuckoo's Nest"; this is a film made during his Czech phase which is also interesting. He's always a great director, his films are very sharp and he knows exactly how to balance drama and comedy in a perfect composition, looks like a great chemist and this film is quite a surprise if you consider his other works. But it is equally great! In "Lásky Jedné Plavovlásky" ("Loves of a Blonde") Hana Brejchová plays Andula, a pretty young girl living in a small city whose majority is formed by young girls like her waiting for a nice boy to appear. We follow Andula and her friends during a party where they are seen as object of adoration by three soldiers out of duty and way out the girls league since they're quite old for them but they insist with them dancing and paying a bottle of wine they don't even want. But in the same party, there's Milda (Vladimír Pucholt) a young pianist interest in Andula, also a persistent guy who liked Andula and keeps most part of the film trying to make a move on her. He'll be more successful than the soldiers but the destiny awaits some surprises for him...and for her too."Loves of a Blonde" is a humored tale about a woman's journey to the discover of the first love, the enchantments and disenchantment's of it, but also about that old talk about woman's virtue, the value of female honor in not hanging out with too many boys at the same time because this wasn't seen in good eyes by the society (you'll see this in the school scene where the teacher says that to the girls and they make a pledge based on a elevated moral behavior). I quote as "old talk" because times are way different than the one presented in the film and people have another values in terms of almost everything, so what was a something that only men could do, now women can do too if they want; if boys can date or kiss several girls, girls can do the same. It's a quite updated view this film had back in the 1960's in showing Andula trying to not flirt with soldiers in one way but end up talking to them, then later to have a romantic evening with Milda and...she already had a boyfriend as we discover way later. Even though some might condemn this kind of behavior, in the film is presented without any vulgarity and without any excess; it's well humored, very simple and it doesn't demand much from the viewers to make them laugh; laughter comes naturally with "Loves of a Blonde". Among the best moments of the film are the soldier who lost his wedding ring in the ballroom during the party (the whole segment of the party is funny with the unsure soldiers trying to make a move on the girls, then the girls keep saying to themselves they don't the guys near them but can't stop looking at them); Milda's insistent moves on Andula that even includes teaching her how to defend herself from guys like him; the "I don't have a girl in Prague" quote Milda keeps saying trying to amuse the girl saying she's the only one in his life; and segment with Andula visiting Milda's irritating parents (although this moment got more irritating than funny, specially because of the mom, one of the most annoying characters ever presented in a film). Highly recommended. 10/10

tedg I'm fascinated by the different ways that stories can be shaped, by the different sort of narrative attractors around which we see sense.Sometimes that seems to be aligned with national stories, the stories people use to define themselves. In a big country, that's one of the nationally accepted stereotypes. But in a small country, it's often the story about what it means to be Cuban, Romanian, Czech.Its exaggerated by the fact that films themselves are distilled stories which become divorced from context when viewed later and far away. But I do think I can see into the soul of Swedes and Poles when I see unique trends in the better crafted films from those areas. That's why its so interesting when the Norweigian soul seems so distinct from the Swedes. And the Czech soul so radically different from the Polish. Its a matter of the Polish character that the world is essentially defined by human existence and humans are defined by essential goodness. This gives a delicate filigree of interaction that underlies everything else, including government, religion (which is always the church) and other human-triggered disruption. Polish films enter into what it means to be human, always choosing the most lovely, even holy notion of being.Czech films and life, however, seems to have completely different shuffle of the same layers. At root are the mechanics of God who instead of working with golden threads of human intent has his own ideas about pain, confusion and testing. Within this storm of fate humans try to sparkle, bond, love. But they are always fighting a storm, God's storm sometimes facilitated by clueless but comfortable apparatchiks. Its nearly impossible to make a good film with these constraints, with this national story, because what works to define self doesn't work in packaging something that needs to stand alone.This may be the only Czech movie made in the country that finds a solution. Its strange and unfamiliar, but it works. The key characteristic is that its rooted in the fact that there is no story. There cannot be a story. All real stories are hopeless and the best you can have (if you are Czech) are dreams about stories. The form of the narrative is extremely capricious: we focus on different small groups apparently accidentally. Are they where the seed of thing will be planted and grow? The factory girls in their dreaming dormitory, the factory owner with the bosses, the aging reservists trying to score, the pianist who plays the girl into bed, the parents who annotate storytelling by wondering about the nature of story for 15 minutes. We end with the girl back with her dorm-mates not knowing whether she is recounting what we have seen or something rosier.Its an amazingly endearing story about the lack or stories, about the desire from love with no ledges.It is unlike anything I have seen before save two films. And naturally they are by this same fellow. (I except the disastrous "Amandeus" which, like Mozart's music is all ornamentation and nothing else.)If you rewatch "Cuckoo's Nest" and "Man in the Moon" against the context of the storyteller, you'll find he is the character. He does allow the character in the story to bounce around in a void looking for some structure to use in weaving a self, but he denies any reference, excepting the rejection of what surrounds. They are both just glossy, simple versions of this, this perfect solution of making a story without stories.Ted's Evaluation -- 3 of 3: Worth watching.