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Loves of a Blonde
Loves of a Blonde (Czech: Lásky jedné plavovlásky), also known as A Blonde in Love, is a 1965 Czechoslovak romantic comedy-drama film directed by Miloš Forman that follows a young woman, Andula, who has a routine job in a shoe factory in provincial Czechoslovakia, and her attempts at forging a romantic relationship.
Forman based his story on an incident from his past and the filmmakers created a realistic look and feel by filming on location in a small Czech town with a shoe factory, utilizing a largely non-professional cast, relying on a considerable amount of dialogue improvisation, and employing documentary-style cinematographic techniques.
Upon its release, Loves of a Blonde was popular in its home country and was shown at some major film festivals, where it garnered a number of nominations and awards. Critical response was largely positive, although some reviewers were less enthusiastic than others. The film is now considered one of the most significant examples of the Czech New Wave, a movement which took advantage of a temporary relaxation of totalitarian control over creative artists to use cinema as a means to explore new narrative strategies while making pointed critiques of social and political conditions behind the Iron Curtain. Loves of a Blonde was nominated for the 1966 Academy Award for Best Foreign Language Film.
Andula, a working-class young woman, lives in a fading Czech factory town where women outnumber men 16–1. One night, she and a fellow shoe-factory-worker friend lie in bed in their dormitory, discussing the ring given to Andula by her boyfriend Tonda and gossiping about her flirtatious encounter with a forest ranger.
Realizing that the gender disparity is impairing morale and productivity, the factory supervisor arranges for an army officer to organize military maneuvers near the town. The factory will sponsor a dance, at which the workers can find male companionship among the soldiery. Anticipation runs high on both sides, with the girls expecting to meet young men, while the recruits, many of whom are actually middle-aged reservists, out-of-shape and already married, look forward to a night of seduction.
The night of the party is a disappointment for some members of both groups; Andula and her friends are repulsed by the soldiers, whom they call "old buffers," and three reservists are so nonplussed by the situation that they commit various faux pas, like sending a bottle of wine to the wrong table and dropping a wedding ring that one of them is trying to hide, only to watch it roll across the floor and land at the feet of the women who had received the bottle. For these people, the mixer is a flop, with the girls retiring to the lavatory to devise a way to escape their pursuers and the reservists arguing with each other over expenses and speculating on the necessity of going to the woods to have sex. For others, however, the dance is a success.
Andula strikes up a flirtation with Milda, the pianist of the band providing the music. He reads her palm and instructs her in how to rebuff unwanted advances with a kick in the shins. After the party, she has sex with Milda.
Although Andula hears nothing from Milda after their night together, she still expects to reunite with him shortly, so she breaks off with Tonda, who storms the dormitory demanding his ring back. After listening to a speech by the housemother on the virtues of fidelity and commitment, she packs up her suitcase and arrives on Milda's doorstep in the big city, ready to resume their romance. Milda is not home, and she meets his parents, who have never heard of Andula and do not know what to do with her. Milda comes home late, and after an evening of tension and uncertainty, it is decided to put her up for the night on the sofa, requiring Milda to climb into bed with his parents to avoid any appearance of impropriety. Andula, kneeling outside the door of their bedroom, overhears the family squabbling. When it becomes clear to her that she is not valued in the least, Andula starts crying and, the next morning, returns to her home. She tells her friends about her "wonderful" trip to the capital and how nice Milda's parents were to her, especially his father, and later returns to work at the factory.
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Loves of a Blonde
Loves of a Blonde (Czech: Lásky jedné plavovlásky), also known as A Blonde in Love, is a 1965 Czechoslovak romantic comedy-drama film directed by Miloš Forman that follows a young woman, Andula, who has a routine job in a shoe factory in provincial Czechoslovakia, and her attempts at forging a romantic relationship.
Forman based his story on an incident from his past and the filmmakers created a realistic look and feel by filming on location in a small Czech town with a shoe factory, utilizing a largely non-professional cast, relying on a considerable amount of dialogue improvisation, and employing documentary-style cinematographic techniques.
Upon its release, Loves of a Blonde was popular in its home country and was shown at some major film festivals, where it garnered a number of nominations and awards. Critical response was largely positive, although some reviewers were less enthusiastic than others. The film is now considered one of the most significant examples of the Czech New Wave, a movement which took advantage of a temporary relaxation of totalitarian control over creative artists to use cinema as a means to explore new narrative strategies while making pointed critiques of social and political conditions behind the Iron Curtain. Loves of a Blonde was nominated for the 1966 Academy Award for Best Foreign Language Film.
Andula, a working-class young woman, lives in a fading Czech factory town where women outnumber men 16–1. One night, she and a fellow shoe-factory-worker friend lie in bed in their dormitory, discussing the ring given to Andula by her boyfriend Tonda and gossiping about her flirtatious encounter with a forest ranger.
Realizing that the gender disparity is impairing morale and productivity, the factory supervisor arranges for an army officer to organize military maneuvers near the town. The factory will sponsor a dance, at which the workers can find male companionship among the soldiery. Anticipation runs high on both sides, with the girls expecting to meet young men, while the recruits, many of whom are actually middle-aged reservists, out-of-shape and already married, look forward to a night of seduction.
The night of the party is a disappointment for some members of both groups; Andula and her friends are repulsed by the soldiers, whom they call "old buffers," and three reservists are so nonplussed by the situation that they commit various faux pas, like sending a bottle of wine to the wrong table and dropping a wedding ring that one of them is trying to hide, only to watch it roll across the floor and land at the feet of the women who had received the bottle. For these people, the mixer is a flop, with the girls retiring to the lavatory to devise a way to escape their pursuers and the reservists arguing with each other over expenses and speculating on the necessity of going to the woods to have sex. For others, however, the dance is a success.
Andula strikes up a flirtation with Milda, the pianist of the band providing the music. He reads her palm and instructs her in how to rebuff unwanted advances with a kick in the shins. After the party, she has sex with Milda.
Although Andula hears nothing from Milda after their night together, she still expects to reunite with him shortly, so she breaks off with Tonda, who storms the dormitory demanding his ring back. After listening to a speech by the housemother on the virtues of fidelity and commitment, she packs up her suitcase and arrives on Milda's doorstep in the big city, ready to resume their romance. Milda is not home, and she meets his parents, who have never heard of Andula and do not know what to do with her. Milda comes home late, and after an evening of tension and uncertainty, it is decided to put her up for the night on the sofa, requiring Milda to climb into bed with his parents to avoid any appearance of impropriety. Andula, kneeling outside the door of their bedroom, overhears the family squabbling. When it becomes clear to her that she is not valued in the least, Andula starts crying and, the next morning, returns to her home. She tells her friends about her "wonderful" trip to the capital and how nice Milda's parents were to her, especially his father, and later returns to work at the factory.