p 　　和Stefan Uher和Elo Havatta一样 Eduard Grecner此时是六0年代斯洛伐克新海潮电影的创作发觉者之一 他的三部电影《一周七天》 一九六四 《尼绒月亮》 一九六五 和这部《徳拉克的回回》总是斯洛伐克新海潮电影的代表作 这部叙事编制奇特带有较着意识流气势的吵嘴电影乃至间接影响到了后来法国导演格里耶在捷克拍摄的两部电影《扯谎的人》和《Eden and After》 br 　　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, 一九六七 , 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 quot intellectual quot film, the antithesis of the sociologically, or rather, socially critical film Grecner 三九 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 三九 homme qui ment 一九六八 , and perfected it in Eden and After Eden a potom, 一九七0 p