与Stefan Uher和Elo Havatta一样(🔧)，Eduard Grecner也是(shì )60年代斯洛(luò )(❣)伐克新(♑)浪潮电(diàn )影的缔造者(🔸)之一。他的三部(bù )影片《一(💆)周(✳)七(🔲)天》（1964）《尼绒(🎫)月(yuè )亮》（1965）(🖍)和这部(🥀)《徳(🤯)拉克的回归》都(dōu )是斯洛(🧚)伐克(kè )新(xīn )浪潮电影(🛑)的代表(biǎo )作。这部叙事方(fāng )法独特带有明(míng )显意识流风格(🙌)的黑白影片甚至间(🙉)接影响到(dào )了后来法国导(👃)演(yǎn )格里(lǐ )耶在(🕙)捷克拍摄的两部影(🎋)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).