Ludmila Burešová

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Muž na radnici was a Czechoslovak television program which was broadcast in 1976. The program was directed by Evžen Sokolovský. In 2011, it was announced that the program, along with 17 others, would be released on DVD within three years.

Five crime stories connected by the narration of police superintendent Bartosek.

An ideologically-oriented film set in a prestigious medical sanatorium - a young doctor sympathizes with the poor people of the area, helping workers and their sick children.

People are afraid of the usurer Chazaj and are convinced that he is the bearer of evil. One day Chazaj pays a visit to the poor artist Simon Jordán and asks him to paint his portrait. Simon agrees but as he progresses with the work his mind conjures up terrible thoughts and in the end he commits suicide. The portrait looks lifelike and Chazaj is content with the results. After Chazaj's death the picture changes hands and brings misfortune to all who own it. The last victim is the young painter Roman who buys Chazaj's portrait in a bazaar. He finds a treasure in the frame and begins to live well off it. The comfortable life suits him so well that he rejects his original artistic aims and becomes a painter of fashionable kitsch.

Oldřich Nový was and will forever remain the embodiment of charm, elegance and personal charm for Czech cinema, to which all women, regardless of age, were subject. In his unforgettable lover roles, he was not only a romantic who was able to fall in love with a girl from an ancient painting, succumb to the chocolate-brown eyes of the minister's girlfriend, but also a seducer for whom infidelity was a regularly practiced sport, or, conversely, a newlywed obsessed with jealousy. This was exactly Viktorin, the main character of a crazy Art Nouveau comedy, where everything revolves around a massive deer antler. Its involuntary owner becomes the jealous Viktorin, and it is certainly not difficult to guess what such a "right" gift can cause.

Mr. Novák, an insurance company clerk, only cares about his job, nothing else interests him. Even the social changes in February 1948 leave him indifferent. He only becomes aware of them when the insurance company is closed down. He has to make a decision: either retire or go to work in a factory. Neither of these options appeals to Mr. Novák...

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No description available.

The shopkeeper František Diviš offers cheap goods at the fairs, while the co-owner of the traveling variety show Bohouš Vosáhlo offers unpretentious folk entertainment. They therefore meet very often. Neither of them earns a comfortable living from their work, but they do not allow themselves to worry unnecessarily. However, this changes when a little boy enters their lives. Pepík is an orphan, there is no one to take care of him, and both fairground vendors cannot resist the plea in the children's eyes...

Within the cultural policy framework of the 1950s, Mikoláš Aleš was, in terms of fine art, equivalent to Bedřich Smetana in music and Alois Jirásek in history and literature. This biopic presents Aleš as an artist of a devoted to his nation and its folk traditions. The movie depicts the most important events of the celebration of “Aleš’s Year” (in honour of the hundredth anniversary of Aleš’s birth), which was conceptually prepared first and foremost by the then education minister Zdeněk Nejedlý, who was also a crucial figure in terms of cultural policy.