I trust you, I trust you more than anyone I've ever met

It was a Czech New Wave weekend: Milos Forman's Firemen's Ball on Friday nite and Loves of a Blonde last night at my new favorite theater in the world (okay, maybe still after Chicago's Music Box): The Beverly. It was a wonderful double bill, like spending 4 hours with my goofy Czech relatives. One of them was a dead ringer for my great-uncle Fred, whose frothy mustache, kind demeanor, and blind blue eyes are among my strongest childhood memories. 

These films portray their sweet, unassuming characters so very tenderly, with such love and affection; Forman is really quite masterful. The chaos of Firemen's Ball versus the quietude of Loves of a Blonde was such a perfect pairing, now I must get my eyes on more Forman immediately. And the cinematographic styling, my god, the styling! Just look at this winning last frame:

Brilliant. Unfortunately that's only half of it, I couldn't find the full frame online. I wonder if that frame served as Gondry's visual inspiration behind the bed on a beach scene in Eternal Sunshine. Beds outside: dissonant visual gold.

And later, when the Drawing Room dive was closing, I was putting the finishing touches of a finger-fog painting spelling out LOVES OF A BLONDE on the cold back windshield of a car in its parking lot, when its owner approached. That never happens. "Oh, uh, is this your car??" "Yep." He was all smiles and cheer about it though, I think he dug it. 

Forman4EVZ.