Greatest Film Scenes
and Moments

Loves of a Blonde (1965)


Written by Tim Dirks

Title Screen
Movie Title/Year and Scene Descriptions

Loves of a Blonde (1965, Czech.) (aka Lásky Jedné Plavovlásky)

In Milos Forman's coming-of-age romantic drama (his second feature film), a Czech New Wave nominee for Best Foreign Language Film - a sometimes comedic and bittersweet tale of young love in Communist Czechoslovakia:

  • the film's opening (and closing) bookends: an unnamed girl (Táña Zelinková) - the protagonist's factory-worker girlfriend, who sang and played her acoustic guitar, with a Beatles-esque rock and roll love-song and its catchy refrain: "And I love her so, yeah, yeah, yeah, So this great love of mine turned me into a hooligan"
  • the funny and amusing dance mixer sequence in the Czech factory town of Zruč -upon-Sazava, demonstrating the awkwardness and bungling between the sexes; when one paunchy, balding, married, middle-aged People's Army reservist (a member of troops who were accidentally recruited to provide a better balance of the sexes - girls outnumbered boys 16 to one in the town) nervously removed his wedding ring - but when he stood up, it dropped through his pants leg to the floor and noisily rolled away; on his hands and knees, he crawled under a table where a trio of young girls was seated and upset them, before he found his runaway ring; afterwards, he sat next to bored, solitary young blonde shoe factory worker Andula (Hana Brejchová) and asked her to dance
  • the sequence of Andula's chance meeting and flirtations with the thin, shy pianist playboyish Milda (Vladimír Pucholt) who was performing in the dance's musical jazz band; afterwards during a one-night stand with him, he first clumsily repeatedly fought with a uncooperative window shade; in bed with him, she first told him: "But I don't trust you," but during love-making, she quickly affirmed: "I do trust you. I've never trusted anyone so much before"; afterwards, he annoyingly vowed his love multiple times: "I told you at least a hundred times...Didn't I? I don't have a girl in Prague. I don't have a girl in Prague. I don't have a girl in Prague..."; during their relaxed conversation, she also asked him: "Why did you say I was angular?"; his rambling answer was that her body shape was "like a guitar...but one made by Picasso...When painting a woman, he painted her eye here, and her leg somewhere else"; to assure her, he added that it was "good" that she was like a Picasso guitar; he also offhandedly invited her to visit him in his home city of Prague before they parted
One-Night Stand Between Andula and Milda
  • after being cruelly seduced and experiencing a heartthrob crush, the sequence of naive Andula's impulsive departure from her job and town, packing her suitcase, hitchhiking, and her unannounced visit to Milda's Prague home
  • the uncomfortable, harrowing evening's visit with his questioning parents - a ranting mother and bumbling father (Milada Ježková & Josef Šebánek) while waiting for Milda's arrival; once he came home drunk later that night, the son was ordered to sleep in his parent's bedroom to avoid any impropriety - leading to an absurdly comic scene of the three sharing two overcrowded beds (with constant bickering and uncomfortableness), and her realization behind a closed door, alone and crying, that Milda's family didn't care about her (she overheard the mother say that she was an unwanted visitor: "I don't give a damn about her. She ruined my evening")
  • the closing melancholy plucking of a guitar, playing Ava Maria, with images of the resolute and disappointed Andula having returned home and continuing to sadly work in the shoe factory

Unnamed Guitarist Girlfriend

The Runaway Ring Sequence at Dance Mixer

Andula - Blonde Shoe Factory Worker

Andula Sitting with Middle-Aged Reservist at Mixer

Milda Sharing Bed With His Parents: ("This is Terrible") During Milda's Visit

Melancholic and Disappointed


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