德拉克的回归剧情简介
与(🔨)Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年(⏬)代(dài )斯洛伐(fá )克新浪(làng )潮电影的缔造者(🔸)之一。他的三部影(🕯)片(piàn )《一周七天》（1964）《尼绒月亮(liàng )(🗑)》（(🍮)1965）和这部(🥀)《徳(🤯)拉克的回归》都是斯洛(🧚)伐(🚣)克新浪潮(📯)电影(🛑)的(de )代(dài )表作。这(💱)部叙事方法独(dú )特(tè )带有明显意识(✋)流(liú )风格(🙌)的黑(hēi )(🤸)白影(🙄)片甚(shèn )至间接影响到了后(🍄)来(lái )法国导演格(🔔)里耶在捷克(kè )拍摄的两部影片《说谎(huǎng )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).
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