这部由爱德华·格莱纳执导的《德拉克的回归》颇具意蕴，它巧妙地将冷峻的摄影与富有诗意的叙事相结合，并没有落入传统的犯罪追逐俗套，反而像一部暗流涌动的心理戏剧。 如果你对“元戏剧”手法感兴趣，或者想看高能的文学改编作品，这部老片子绝对不容错过。如果你喜欢那种充满宿命感、探讨时间与记忆的文艺剧情片，这部作品绝对值得一品。马尔科姆·麦克道威尔的表演堪称神级，他精准演绎了人物在理智崩溃边缘的微妙张力，极具爆发力。如果你是文学电影的爱好者，或是钟情于深度心理刻画和欧式慢镜头的影迷，这部片子绝对不容错过。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).相关搜索：
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