爱德华·格莱纳导演执导的《德拉克的回归》，1968年上映至今获得了不错的口碑，由拉多万·卢卡夫斯基,古斯塔夫·瓦拉赫,艾米丽娅·瓦萨约娃,威廉·波洛尼,Jela Buckova,Jozef Cierny,Pavel Chrobak,米库拉斯·洛迪津斯凯,Ivan Macho,Ján Mildner,Andrej Mojzis,Jan Pelech,卢多维特·赖特尔,斯特凡·克维季克,Milan Mach等主演的一部不错的剧情片。

德拉克的回归剧情：

　　与Stefan Uher和Elo Havatta一样，Eduard Grecner也是(shì )60年(nián )代(dài )斯洛伐克(🏇)新(xīn )浪潮电影(yǐng )(🖲)的缔造者之(zhī )一。他的(de )三部影(🕯)片《一(yī )周七天(tiān )》（1964）《尼(ní )(🎿)绒月亮》（1965）和这部《徳拉(lā )克的(de )回(huí )归》都是斯洛伐克新(🥁)浪潮(cháo )电影(🛑)的代表作。这部叙事方法独特带有(yǒu )明显意识流风格的(🤠)黑白(🌞)影片(piàn )甚至间接(jiē )影响(🎾)到了(🈴)后来法国(🤷)导(👃)演格里(🚻)耶在捷克(😍)拍摄的两(liǎng )部(🤳)影(🎋)片(🥕)《说谎的(de )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).

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