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Comedy with fairy-tale touches, about Kate, who wants to marry, and Mr. Devil, who is not interested in the heart or soul of this passionate and aging lady, but is interested in her good cooking – for Mr. Devil is a glutton.
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.
Twenty-year-old Karel is expelled from Bata's school of work and has no choice but to make his way in his uncle Kubát's publishing business at any cost. A very drastic adaptation of the draft has fundamentally changed the whole story, which is also set in a completely different historical context. The result was a schematic and tepidly propagandistic poster.
