◎译　　名　德拉克的回归 / Dragon Returns
◎片　　名　Drak sa vracia
◎年　　代　1968
◎产　　地　捷克斯洛伐克
◎类　　别　剧情
◎语　　言　斯洛伐克语 / 捷克语
◎上映日期　1968-05-10
◎豆瓣链接　https://movie.douban.com/subject/3274287/
◎片　　长　82 分钟
◎导　　演　爱德华·格莱纳 / Eduard Grecner
◎演　　员　拉多万·卢卡夫斯基 / Radovan Lukavský
　　　　　　古斯塔夫·瓦拉赫 / Gustáv Valach
　　　　　　艾米丽娅·瓦萨约娃 / Emília Vásáryová
　　　　　　威廉·波洛尼 / Viliam Polónyi
　　　　　　Jozef Cierny Jozef Cierny
　　　　　　Pavel Chrobak Pavel Chrobak
　　　　　　米库拉斯·洛迪津斯凯 / Mikulas Ladizinsky
　　　　　　Ján Mildner Ján Mildner
　　　　　　卢多维特·赖特尔 / Ludovit Reiter
　　　　　　斯特凡·克维季克 / Stefan Kvietik
　　　　　　Milan Mach Milan Mach
◎编　　剧　爱德华·格莱纳 / Eduard Grecner
◎音　　乐　Ilja Zeljenka Ilja Zeljenka
◎摄　　影　Vincent Rosinec Vincent Rosinec
◎美　　术　Anton Krajcovic Anton Krajcovic

◎简　　介　

　　与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。
　　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, 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).