Jan Kašpar

Frantisek Louka (Zdenek Sverak), Çekoslovakya'da devlet konservatuarında çello çalan bir bekardır. Orkestradaki işini kaybedince para kazanmak için cenazelerde çalmaya ve mezar taşlarını boyamaya başlamıştır. Ancak borcu gittikçe büyüyünce arkadaşı Mr.Broz (Ondrej Vetch), Rus bir kadınla evlenmesi için onu ikna eder. Kadın Louka'yla Çekoslovakya vatandaşı olabilmek için evlenir ancak evlendikten sonra Batı Almanya'daki sevgilisine kaçar. Geride bıraktığı beş yaşındaki oğlu Kolya (Andrej Chalimon)'nın anneannesi ölünce, Kolya üvey babasıyla yaşamak için Çekoslovakya'ya gelmiştir. Huysuz ihtiyar Louka ile sevilmeyip de ne yapılası Kolya'nın öyküsü..

The movie's main storyline follows the life of Otík, a young man, in a tight-knit village community. The sweet-tempered Otík works as an assistant truck driver with Mr. Pávek, his older colleague and practical-minded neighbor. Pávek's family takes care of Otík, whose parents are dead. However, the two coworkers become at odds over Otík's inability to perform even the simplest tasks. Pávek demands that Otík be transferred to assist another driver, who happens to be a choleric and suspicious man named Turek (Turk in Czech). Rather than work with Turek, Otík decides to accept an offer of employment in Prague, but finds he does not fit in to the city life. After discovering that the transfer of Otík to Prague was a trick by a crooked politician to get a deal on Otík's large inherited house, Pávek agrees to give Otík a second chance and retrieves him from the city to resume their work together.

Czechoslovak comedy film directed by Ladislav Smoljak, about the fictional national hero Jára Cimrman (universal genius, inventor, sportsman, criminalist, poet, writer and philosopher).

A comedy concerning a down on his luck bookshop owner with a penchant for women who decides to make some money by pretending to be a waiter and collecting cash from unsuspecting diners.

A police inspector and inexperienced trainee search for a mysteriously disappeared manufacturer of ointments for hair growth.

Cimrman sees the reason for the popularity of the Blanik legend in Bohemia mainly in the geographical location of our homeland. In agreement with Palacký, he was aware that "we are here in Europe like a grain between two millstones. From the west, German imperialism presses upon us, and from the east, the expansionism of the Great Russian colossus crushes us. It is no wonder that a small nation under such pressure seeks supernatural and even miraculous protection, for only a miracle can enable it to survive here."

The small group of actors have to face many problems while preparing a new performance.

Jára Cimrman in the whirlwind of the past forty years, as discovered, recorded, and brought to life by the theater.

The play itself tells the story of a harrowing journey aimed at restoring Princess Goldilocks’s feminine beauty—she had been enchanted by the evil giant Koloděj. In the first scene, Prince Jasoň arrives at the royal castle and discovers that his beloved bride—Princess Zlatovláska—has (thanks to Koloděj’s magic) a beard and a foot size of “45.” Jason decides to free Zlatovláska from the evil curse, and together with her, her royal father, and Bystrozrakým, he sets off to see Děd Vševěd for advice on how to deal with Koloděj. Watching everything from afar is Jasoň’s twin—the evil Prince Drsoň, who is preparing to intervene at the right moment and claim the princess for himself...

Poverty was one of the many unfortunate aspects of Cimrman's life. His traveling theater company, Lipany, suffered from high actor turnover. If an actor's departure was agreed upon well in advance, the situation could be managed. However, if it happened with shouting and slamming doors, often just a few hours before the performance, the troupe and its director experienced some tense moments. Such experiences form the backdrop to the play. Lovers of the work of this unrecognized Czech artist are now able to access testimony from this area of the master's life, in which his destiny was most fulfilled—the theater.

The fourteenth Cimrman play takes us to the heart of a continent almost untouched by civilization. Czech travelers encounter a strange tribe of cannibals and almost end up on their menu. The members of this tribe are unusual in two ways: their appearance and their extraordinary docility. These characteristics enabled Cimrman to solve linguistic and staging problems with an elegance that other world playwrights can only envy. If, say, G. B. Shaw had tackled such a theme, the audience would have spent 5 to 7 hours in the auditorium. Cimrman managed to do it in just one hour (not counting the introductory scientific seminar). For the first time in the history of the Jára Cimrman Theater, a live animal appears on stage.

One day in life of simple dispatcher who meets remarkable people. They want to harvest plums.