The Czech New Wave obviously borrowed a lot from previous and parallel movements such as The French New Wave and Italian Neorealism. Loves of a Blonde makes use of real locations, non-professional actors, and has a loose, improvisational feel that characterized the conventions of those movements. What makes a Czech New Wave film like Loves of a Blonde distinct is its reliance on a darker, more solemn sense of humour mixed with a commentary on what was happening in Czechoslovakia at the time. When you examine the film as a distinct entity, separate from its moorings within its time and place, you find a mixture of melancholy and humor, a deft blending by director Milos Forman of dark foreboding and tender observations on young love set against middle age disillusionment. One thing that makes the film so enjoyable to watch is the star, Hana Brejchova as Andula, a young factory worker who has a brief fling with a pianist. Her performance is captivating and extremely charismatic.
I also liked the three act structure of the film and thematic concerns. It paints a vivid portrait of youth naivety and exuberance juxtaposed with the mature, sombre outlook of the older generation. It comments on the fleeting attention span of the young which is all the more relevant and problematic in today's culture of smart phones and media infiltration. Forman has a real affection for his characters and Miroslav Ondricek's cinematography has a warmth and closeness, especially in the middle act in the apartment of the young pianist.
The dialogue is sharp and has a realistic feel that accurately embodies the two generations portrayed in a way that transcends its culture and makes it universally accessible by anyone regardless of age or nation of origin.
