Loves Of A Blonde full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Andula is a working-class young woman living in a fading Czech factory town, where, due to an oversight in central state planning, women outnumber men 16–1. The film opens with an intimate scene between Andula and her fellow shoe-factory-worker friend as they lie in bed in their dormitory discussing the ring given to Andula by her boyfriend Tonda and gossiping about her mildly flirtatious encounter with a forest ranger, which is shown in flashback.

The factory supervisor belatedly realizes that the gender disparity is impairing morale and productivity, so he arranges for an army officer to organize military maneuvers near the town in order for the factory to sponsor a big dance, at which the workers can find male companionship among the soldiery. "They need what we needed when we were young", he explains to a sympathetic officer. Anticipation runs high on both sides, with the girls expecting to meet the young men of their dreams, while the recruits, many of whom are actually middle-aged reservists, out-of-shape and already married, look forward to a night of revelry and seduction. The night of the party is a disappointment for some members of both groups; Andula and her friends are repulsed by the unappealing soldiers, whom they call "old buffers", and a trio of reservists are so nonplussed by the situation that they commit a series of comic faux pas, like sending a bottle of wine to the wrong table and dropping a wedding ring that one of them is trying to hide, only to watch it roll across the floor and land at the feet of the young women who are the objects of their lust. For these people, the mixer is a huge flop, with the girls retiring to the lavatory to devise a way to escape their pursuers and the aging reservists arguing with each other over expenses (one points out that "you can only get it free at home") and speculating on the necessity of going to the woods in order to consummate their romantic plans ("Imagine, in this weather!"). For others, however, the dance is a success: the factory supervisor looks on in smug satisfaction as couples throng the crowded dance floor, one girl holds her hands together in a gesture showing her delight and gratitude when she is asked to dance, while an obese, balding soldier capers with a mismatched tall, thin brunette, both clearly having the time of their lives.

Andula strikes up a flirtation with Milda, the big-city pianist of the band providing the music. He reads her palm and instructs her in how to rebuff unwanted advances with a kick in the shins. After the party she goes to bed with Milda, although the comic frustrations continue, with Milda fighting a battle with a window shade that won't close, before he feels secure in making love. Afterward, as they lie in bed together, Andula asks what Milda meant when he said she was "angular". He replies that a woman is shaped like a guitar: "And you, you look like a guitar too", he tells her, "but one painted by Picasso." Before they part, he offhandedly invites her to come to Prague and pay him a visit sometime.

Although she hears nothing from Milda after their night together, she still expects to reunite with her dream man shortly, so she breaks off with Tonda, who storms the dormitory demanding his ring back. After listening to a speech by the housemother on the virtues of fidelity and commitment, she packs up her suitcase and arrives on Milda's doorstep in the big city, ready to resume their romance. Milda is not home, and she meets his parents, who have never heard of her and don't know what they should do with her. Milda comes home very late, and after an evening of comically painful tension and uncertainty, his parents decide it's only decent to put the girl up for the night on the sofa, requiring Milda to climb into bed with them in order to avoid any appearance of impropriety. Forman has described this famous scene: "It’s a tight fit. The old man wants to sleep; the son would like to get thrown out so he can join the girl on the couch, but the mother runs the show and won’t tolerate any such filthy ideas under her roof." Andula, kneeling outside the door of their bedroom, overhears the family squabbling, and when it becomes clear to her that she is not valued in the least, she breaks down in tears and, the next morning, returns to her home. She tells her friends about her "wonderful" trip to the capital and how nice Milda's parents were to her, especially his father, and then she returns to work at the factory.

• Hana Brejchová as Andula
• Vladimír Pucholt as Milda
• Vladimír Menšík as Vacovský
• Ivan Kheil as Ma?as
• Ji?í Hrubý as Burda
• Milada Ježková as Milda's Mother
• Josef Šebánek as Milda's Father
• Josef Kolb as Pokorný
• Marie Sala?ová as Marie
• Jana Nováková as Jana
• Tá?a Zelinková as Girl
• Zdena Lorencová as Zdena
• Jan Vostr?il as Colonel
• Antonín Blažejovský as Tonda

Background

Miloš Forman's first feature film ?erný Petr (Black Peter) was released in 1964 and was not viewed favorably by Czech governmental authorities until it was selected for competition at that year's Locarno Film Festival, where it won the top prize, thereby gaining the approval of Czechoslovakia's communist bureaucracy and making it possible for Forman to pursue further projects with relative freedom. Unsure of what the next project should be, Forman recalled an experience he'd had driving around Prague late one evening when he'd encountered a young woman struggling to cross a bridge while carrying a heavy suitcase. He gave her a lift and learned her story: she had come to the big city from Varnsdorf, where she had been seduced by a young engineer, who had given her a phony address in Žižkov and promised to take her away from her dreary life. After confirming that she had been duped, Forman interviewed the girl for much of the rest of the night, before putting her on a train back to her home town. Commentators have noted that Forman was particularly sensitized to such situations because when he was 10, his mother had been taken away by the Gestapo, never to be seen again, which led to years of Forman traveling around searching for security with nothing but a suitcase. In Forman's words: "I guess I'll always be moved by the sight of a young person with a suitcase seeking a connection in a strange city."

Forman recounted this memory to fellow film enthusiasts and colleagues Ivan Passer and Jaroslav Papoušek and asked them if it might be the basis for a good film. "Maybe", replied Passer, "but it still needs one more thing – a billiards table." The trio had a passion for billiards and felt that they could make a success of even the weakest idea if they had ready access to a table. Having found a good one at Dob?íš Castle, the three, along with Václav Šašek, wrote a screenplay that fleshed out Forman's encounter with the young woman from Varnsdorf.

When the finished script was submitted to the Šebor-Bor production team, it was approved at first, only to have the chief of the script department pronounce it the dullest thing he'd read in years and urge Forman not to proceed with the project, since it would spoil the good reputation the director had established with Black Peter. In Forman's words: "It wasn't arty enough, but, on the other hand, it didn't have enough commercial appeal either. It would offend and irritate the public, he told me, because it made fun of the common man, who would be disgusted by it." Despite this objection, Vlastimil Harnach, the head of the studio, approved proceeding with the film in part because, due to the political and cultural thaw in Czechoslovakia at the time, decision makers were anxious to avoid the appearance of overt administrative interference in the creative process.

Casting

Forman and his colleagues were committed to the strategy of casting non-professionals and utilizing dialogue improvisation whenever possible. Most of the actors were chosen from among relatives, friends and acquaintances of Forman and his crew, to the point where Forman was later to liken the atmosphere to making a "home movie". For the title role, Forman selected his 18-year-old ex-sister-in-law, Hana Brejchová, because he had known her a long time, trusted her, and had great respect for her natural talents: "She had an amazing ability of free expression, but with the risk that she didn’t recognize the extent. However, Vlá?a Pucholt held her firmly in the rhythm of the scene, in a professional position." The character of Milda's father was played by the uncle of Forman's cameraman, and Milda's mother was played by a factory lathe operator whom Passer and Papoušek had met on a streetcar, and who struck them as someone who "seemed so interested in things around her, no matter how silly". The factory supervisor was played by the actual public relations manager of the factory at Zru? nad Sázavou, where location shooting took place. For the main trio of reservists, Forman wanted to use non-professionals, including the writer Josef Škvorecký, but found that, while the three men did well improvising together whenever they appeared in pairs, they lost their rhythm when all three were included in the same shot. So Forman went to Škvorecký and told the writer that he looked too intelligent to play his role and replaced him with the professional actor Vladimír Menšík. In Škvorecký's words: "To tell someone that he is too intelligent to be an actor is a very nice way of letting him know that he should stay with screen-play writing. Milos is a very considerate person. The fact that he so gently threw me out made possible the greatest scene of Loves of a Blonde". Forman was later to justify his decision to add a professional: "While nonactors keep the actors honest and real, the actors give the scene the rhythm and shape that the nonactors don't feel. A nonactor inhabits the situation so completely that he or she isn't able to view it from the outside, to perceive it as a rhythmic whole with its punctuation and its larger dramatic purpose. Nonactors are perfectly content to repeat themselves and ramble on, so an actor can pull them through the dramatic arch of the scene and draw out the emotional contours of the situation."

Ironically, the least self-confident performer in the film was one of the few professional actors: Vladimír Pucholt, who played the pianist. According to Forman: "This great actor, who had tremendous artistic intuition, completely mistrusted his talent. I think this was because he had a very rationalist disposition and could never see, much less measure, the result of his acting. 'Was it good, Mr. Forman? 'he asked me after every perfect shot. 'It was excellent!' 'Really?'