ABSTRACT
Miloš Forman and Jaroslav Papoušek have finished their second film. The Venice Film Festival hasn't started yet; but whether or not they win any prizes there, he want to state here and now that this movie marks a new chapter in the history of Czechoslovak cinematography and perhaps not just Czechoslovak cinematography. In Competition and, particularly, in Black Peter, they appreciated Forman's feeling for the flavor of ordinary, everyday experiences and for how much of the extraordinary these experiences often conceal. Loves of a Blonde really hasn't much of a plot. The story is, again, very thin, almost nonexistent. This makes it different, of course, from traditional motion pictures, which have a clear-cut story line and a classic dramatic structure; but it is quite in keeping with recent trends in filmmaking and in the novel.
