德拉克的回归

这是一部沉静而细腻的德语文艺佳作。故事聚焦于一位老人试图在性爱与死亡之间寻找归属，却屡屡碰壁的荒诞旅程。导演用一种克制的温暖，完美诠释了法国新浪潮的即兴叙事风格。这非常适合喜欢慢节奏、追求深度叙事，或者对斯特凡·茨威格原著风格感兴趣的文艺片影迷观看。 主演伯努瓦·马吉梅尔的表演堪称“教科书级别”，他用一种近乎压抑的冷静与迷人的颓废感，撑起了这个复杂多变的角色。如果你是迷恋深沉叙事与晦涩美学的影迷，或是想尝试一下让灵魂在紧张中颤抖的压抑感，这部作品绝对值得你静下心来细细品味。

与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》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).

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