德拉克的回归

与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年(😧)代(🎾)斯(sī )洛伐克新(xīn )(🎲)浪潮电影(🏇)的缔造者之一。他的三部影片《一(yī )周七(🕯)天》（1964）(🚉)《尼绒(🐖)月亮》（1965）和(hé )这部(bù )《徳拉克(🐶)的回归》都是斯洛伐克新浪潮(🧚)电影的代(🌚)表(biǎo )(📯)作(🚨)。这部叙(xù )事(shì )方法(fǎ )独特带(🎛)有(🌊)明显意识流(liú )风格的黑白影(yǐng )(🏂)片甚(shèn )至间接影响到了(le )后(💪)来法国导(dǎo )(🈴)演(yǎn )格(⛏)里耶在(zài )捷克拍摄的两部影片《说(shuō )谎的人(🥕)》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).……