RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Rexanne It’s sentimental, ridiculously long and only occasionally funny

Jim Limbach This is the most overlooked film I have seen and I have seen thousands. It doesn't appear in Maltin's book of 17,000 reviews. It is basically a day in the life of a Jewish doctor who is exempted from removal by Nazis because they can use his services. He risks his life helping the underground. In one gut wrenching scene he observes young women in a large shower room. For a moment you wonder if gas will come from the showerheads but it's water and there is a lovely lyrical voyeuristic few seconds before the camera cuts abruptly to the women being distributed to disrobing waiting SS officers. This is not an easy film to watch. It challenges the viewer's imagination with the "What would I do?" question throughout.

didier-20 I spent one winter systematically going through each & every film in the London Czech Centre's Video library, & of all the films, I returned to this one time & again. It's a fantastic & bizarre film, where the state of despair that existed under communism is encoded in a strange blending of the past , the present & filmnoir. There is the feeling that an ad-hoc attempt to get past the censors unwittingly produces an utterly Czechoslovakian perspective.To those familiar with Eastern Europe pre 1989, the sense of time having become stuck & disorientated & playing games with your perception is part ofthe magic of this film.My fondness for this film is rooted in a nostalgia or need to remembercommunist Europe. I first visited Prague in the mid 1980's & i was so struck that the Prague of this film replicated almost identically the Prague i found & came to know 20 years later, in the last years of Communism. My nights at the CafeSlavia were exactly as the Jazz club scenes depicted in the film, with the same dramas & the same characters. Also the sense of mistrust , betrayal & of being watched & listened to & the perverse relation to Psychiatry. I thought this connection was very profound, & it made me think this film was, in some way, important . Both the film & my experiences in Prague sat either side of the Brief thaw of the late sixties. They bypassed that optimistic period & looked directly at each other; the one reflecting a National trauma of the war & Communist conversion & the other reflecting the trauma of 2 decades ofstagnation. Often when people think of Czech New Wave, they think in terms of 60's youth & Prague spring. But this film brought home to me how brief thatperiod really was & it's focus is the context from which that period rose &returned to; a shockingly, relentless, hyper-unreal, oppressive isolation which was the former state of Czechoslovakia. Go see, fantastic -

Timothy Damon A prophecy in Zechariah 6: 1-3 mentions red horses, black horses, white horses, and grey horses riding out into the world with no real mention of their riders. But in Revelation 6:2-7 in a description of the Apocalypse the riders are given some characteristics: the white horse has a rider with a bow who "went out conquering and to conquer"; the rider of the red horse takes peace from the earth and is given a great sword; the rider on the black horse has a balance and illustrates the calamitous rise in prices of scarce and necessary food; and the rider of the pale horse's name is Death.Any type of war engenders cruelties. But when hope is displaced by fear, survival is surely threatened. As a fellow doctor tells Dr. Braun, in search of morphine to abate the pain of a wounded man on whom he has operated "We have up to 20 Jewish suicides a day - we manage to save most of them." Certainly a society that has placards proliferating everywhere admonishing "Inform promptly and accurately and insure your own safety," along with the 44811 informer number to call would not give much cause for hope. But Dr. Braun does not seem to give up hope completely - even when all is dark he says "A man is as he thinks - you can't change that." And yet Dr. Braun is assailed by fear also. More than once we hear martial music without seeing a band and Dr. Braun also sees a man with some sort of van who is there one moment and gone the next. Do we see what we fear most? It's hard to tell.I found the musical score very intriguing - starting off before the opening credits was a brass fanfare, merging into flutes and then saxophones (and/or other reed instruments) and then back to brass and flutes throughout the opening credit sequences against a backdrop of massed notices on walls. The succession of one type of instrument being replaced by another was continued throughout the film.I was limited to what the different wall placards were saying by occasional subtitles. It would have been interesting to know if the placards dealt with more than just informing. There was one word seen repeatedly - it seemed to start out "PYSA" or "PYHLA" or perhaps "PYKASRA" - the font type made it difficult to decipher . . . and my Czech is rather minimal, ah no . ..The film music ends much as it began with brass playing to images of trains, then flute and then brass with images of cars then more flutes followed by piano with views of crowds and then ending with the brass section again."Death's a trifle if it's not my own."But Dr. Braun carries on as best he can - "A man is as he thinks - you can't change that."

LONNISAN I remember seeing this film when I was much younger and was so taken / moved by it that I've been trying to find it to own. The depiction of the main character's descent into near madness by the evil Nazi occupiers is probably one of the finest performances ever! This movie should DEFINITELY be taped and released as soon as possible.