《德拉克的回歸》是由知名导演愛德華·格萊納 执导的一部劇情片，拉多萬·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗娅·瓦 等倾情出演，该片讲述了： 與S tefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影 的締造者之一。 他的三部影片《一周 七天》（1964）《尼絨月亮》（1965）和這 部《徳拉克的回 歸》都是斯洛伐克 新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白 影片甚至間 接影響到了後來法國導演格裏耶在捷克拍攝的兩部影片《說謊的人 》和《Eden and Aft er》。< br/> A special place in the develo pment of feature films is reserv ed for Eduar d Grecner, the cr eator of just one goo d film, Dr agon Returns (Drak sa vracia, 1967 ), titl ed a fter the nickname of the lead charact er. After his initial w ork wi th Uher, Grecner made his m ark as a proponent of t he so-called "intellectual& quot; film, the ant ithesis of the sociologically, or rather, sociall y critical fil m. Grecner's gr eat role model was Alan Resnais, a young French film maker who sought to int roduce Slovakia to the idea of fi lm as a labyrinth in wh ich meani ngs are cre ated n ot by s tories, but by c omplex c onfi gurations of dia logue, shots , and various layers of time, thus differentiating film from both literature and theater . In Dragon Returns―the story of a solita ry hero who is needed by villagers livin g far in the mo untai ns, but who is rejec ted by them at the sam e time becau se of his detachme nt―Grecner brought the traditi on of lyricized prose to life thro ugh a wh ole series of formal aesthetic techniques. Alain Robbe-Gr illet imm ediately develo ped this i dea in the film shot in Bratis lava T he M an Who Lies (Slova k: M uz, ktory lu ze; Fren ch title : L&# 39;homme qui ment; 1968), and perfected i t in Eden and After (Eden a potom, 1970). 按规矩，两人每收 一个人的好处，就要往 外掏点货，偏偏他们是一个一个飞升的，总不好意思把 说过的消息，再给 他们来一遍，没办法下 ，待到文遥飞升， 人家又给他们摆了一席，两人把该说的都说了，只能 跟他们八卦纯阳宗 宗主被人伏杀的事了。
