Sarcastic comedy about the Czechoslovakia of the seventies. A young gynaecologist can't figure out whether to get serious with a young nurse or to stay casual with his married lover. Things get complicated when both women don't want to play his game anymore.
In the Prague Old Town and the adjoining streets there is always plenty of life. Housewives shop, beggars arouse sympathy, the Salvation Army tries to put the godless on the road to salvation by hymns and sermons, and Ferdys Pistora hunts in the pockets of his fellow men and isn't even put off by the presence of an officer of the law. Ferdys sets off to burgle villa of the banker Rosenstok, but a fire breaks out in the house and Ferdys ends up saving the banker's two small children. For this he is celebrated as a hero and gets a place as an errand boy with the Rosenstoks. At home he is visited by representatives of the Salvation Army, Captain Kosterka and Terezka, with whom Ferdys instantly falls in love.
Группа путешественников из недалекого будущего пытаются исправить историю. Их цель — убить молодого Эйнштейна. Движет ими озабоченность ужасной экологической ситуацией, возникшей на рубеже веков. Все дело в отходах от производства нового вида вооружений, идея которого была найдена в трудах великого физика. Однако, убийство Эйнштейна ничего не решает. Новая «редакция» истории, в которой Эйнштейн погиб в 1911 году, еще больше нуждается в коррекции…
This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.
Две девушки, обе по имени Мария, решают, что так как мир испорчен, они будут испорчены также. И стараются вести себя как можно хуже. Выходки девушек становятся столь экстравагантными, что пугают их самих.
