REVIEW: The suitor came closest to the Pelíks, but he is far removed from them by humor

There would be more similarities, such as virtually zero communication to humanity or a collective hero. The overseas fairy tale will involve Batman, Superman or the warm warrior Wonder Woman, while the family saga of director Jan Hřebejk will involve three sisters and their loved ones.

If comic book rivers are inherently operetta-like, the heroes of Horticulture, in spite of their acting constellations, are inexplicably unsalted barren.

After the soap opera The Family Friend and the melodrama Dezertér, the filmmakers promised the lightest, even romantic comedy in the final Nápadník - but in reality it is accompanied by a naive painting of witness romances describing how two young people loved each other in all honesty, even though Dad defended and forced another daughter.

But this type of naivete is completely dysfunctional on the ground plan of the late 50's, moreover in a directorial arrangement that resembles a television debate.

The characters lead endless dialogues sitting or walking, which seem mechanical even where they have no reason to be polite. The feeling of the illustrated radio play is also recorded by the overstretched means of expression: the generation of parents moves on the curve from suffering to tearfulness, only a restrained schoolgirl and a teenage musician maintain a healthy nature.

And although the Nápadník came closest to the Pelíšeks, whom the saga precedes in time, on the contrary, they are moving away from their obvious human humor. He bets on flattery and kills it with literalness, from the retold sexual trappings through cheap condoms to a collection of banalities of the wedding night.

Above all, however, the time that was supposed to permeate the family chronicle is already limited to purely poster characters: a flower bed with a sickle and a hammer, Stalin's monument in the background, a StB car in front of the house. Thus, the originally proud film project definitely joined the series such as Tell.

However, although more grateful on the outside, the final is not better or worse than previous parts. The shift in the craft did not come.