德拉克的回归

与(yǔ )Stefan Uher和Elo Havatta一(🔱)样(🕰)，Eduard Grecner也(🗼)是60年代斯洛(luò )伐克新浪潮电影的缔造(zào )(😎)者之一。他的三部影片(🗄)《一周(🕖)七天》（1964）《尼绒(róng )月亮》（(🎿)1965）和这部《徳拉克的回(huí )归(🤯)》都是斯(🔊)洛伐克新浪潮电影的(🥁)代表(biǎo )作。这部叙事(shì )方法独特带有明显(xiǎn )(🥎)意识流风(🙂)格的黑(hēi )(✋)白影(🏂)片(piàn )甚至间接(jiē )(🙄)影(㊙)响到了后来法国(guó )导(dǎo )演(yǎn )格里耶在捷克拍摄(🤲)的两部影片(piàn )《说(shuō )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).……