簡介：1942年，淪陷的斯洛伐克某小鎮(zhèn)上，德國人正在主持修建龐大的木制紀念碑，但當?shù)啬窘惩心幔↗ozef Króner 飾）對此并不關心，妻子的嘮叨已經讓他足夠煩惱。托尼的妹妹嫁給軍官后生活大有改觀，托尼也借妹夫的權利，獲贈一紙批文，得到了大街邊一家猶太商店的所有權。店主是一位78歲的猶太寡婦勞特曼（Ida Kaminska 飾），耳聾眼花，托尼與她夾纏不清之際始發(fā)現(xiàn)這家商店徒有空殼，早已沒有多少貨物，然而照顧勞特曼可以得到猶太組織的酬勞，托尼于是瞞著妻子在店中幫工，對外卻宣稱自己是店長。不久，德國人開始把猶太人收押后運往集中營，托尼想要藏起勞特曼，但心中經歷著巨大的煎熬。商店外，猶太人在紀念碑下集中出發(fā)，商店內，托尼面對不明所以的老婦借酒澆愁……　　本片獲1966年奧斯卡最佳外語片獎。

簡介：與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了后來法國導演格里耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》?！　 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, 1967), 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 intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner'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'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).