爱德华·格莱纳导演执导的《德拉克的回归》，1968年上映至今获得了不错的口碑，由拉多万·卢卡夫斯基,古斯塔夫·瓦拉赫,艾米丽娅·瓦萨约娃,威廉·波洛尼,Jela,Buckova,Jozef,Cierny,Pavel,Chrobak,米库拉斯·洛迪津斯凯,Ivan,Macho,Ján,Mildner,Andrej,Mojzis,Jan,Pelech,卢多维特·赖特尔,斯特凡·克维季克,Milan,Mach等主演的一部不错的剧情片。

德拉克的回归剧情：

与Stefan Uher和Elo Havatta一(🔱)样(🕰)，Eduard Grecner也(yě )是(🐮)60年代斯洛伐克(⏬)新浪(🎏)潮电影的(de )(♑)缔造者(zhě )之(zhī )一。他的三部影(yǐng )片《一周七(🕯)天》（1964）(🚉)《尼绒月亮》（1965）和这部(bù )《徳(dé )拉克(🐶)的回归》都(🐖)是斯(🔊)洛(luò )伐(fá )克新浪潮电影(🔩)的代表作。这部叙(🖲)事方法独(dú )特带有明显意识流(liú )风格(gé )的黑白影(🏂)片甚至间接影(㊙)响到了后来(lái )法国(⏰)导演格里(lǐ )耶(yē )在捷(🧤)克拍(pāi )摄的两部影片(piàn )《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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