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''Loves of a Blonde'' ((チェコ語:Lásky jedné plavovlásky)) is a 1965 Czechoslovakian feature film directed by Miloš Forman. It is also known under the alternate title of ''A Blonde in Love''. The fiction film tells the story of a young woman who has a routine job in a shoe factory in provincial Czechoslovakia. When the army holds maneuvers near her home town, the factory supervisor organizes a mixer for the largely female workforce and the all-male soldiers. This dance proves a mixed success, with many of the soldiers, who are middle-aged reservists, and many of the factory workers, who are inexperienced young women with idealized views of romance, being confused by and disappointed with their potential dancing partners. The film's protagonist, though, does meet an attractive young man who plays in the dance band and has a one-night fling with him. When she travels to the capital city where he lives in order to resume their romance, she meets his parents and comes to the realization that there is no future in this relationship. Forman based his story on a real-world incident from his past and the filmmakers focused much of their attention on trying to create a real-life look and feel by filming on location in a small Czech town with a shoe factory of its own, utilizing a largely non-professional cast, relying on a considerable amount of dialogue improvisation, and employing documentary-style cinematographic techniques. Upon its release, ''Loves of a Blonde'' was a popular success in its home country and was shown at some major film festivals, where it was well-received, garnering a number of nominations and awards. Critical response was largely positive, although some reviewers were less enthusiastic than others. The film is now considered one of the most significant examples of a film movement called the Czech New Wave, which took advantage of a temporary relaxation of totalitarian control over creative artists to use cinema as a means to explore new narrative strategies while making pointed critiques of social and political conditions behind the iron curtain. ==Plot== Andula is a working-class young woman living in a fading Czech factory town, where, due to an oversight in central state planning, women outnumber men 16-1. The film opens with an intimate scene between Andula and her fellow shoe-factory-worker friend as they lie in bed in their dormitory discussing the ring given to Andula by her boyfriend Tonda and gossiping about her mildly flirtatious encounter with a forest ranger, which is shown in flashback. The factory supervisor belatedly realizes that the gender disparity is impairing morale and productivity, so he arranges for an army officer to organize military maneuvers near the town in order for the factory to sponsor a big dance, at which the workers can find male companionship among the soldiery. “They need what we needed when we were young,” he explains to a sympathetic officer. Anticipation runs high on both sides, with the girls expecting to meet the young men of their dreams, while the recruits, many of whom are actually middle-aged reservists, out-of-shape and already married, look forward to a night of revelry and seduction. The night of the party is a disappointment for some members of both groups; Andula and her friends are repulsed by the unappealing soldiers, whom they call "old buffers", and a trio of reservists are so nonplussed by the situation that they commit a series of comic faux pas, like sending a bottle of wine to the wrong table and dropping a wedding ring that one of them is trying to hide, only to watch it roll across the floor and land at the feet of the young women who are the objects of their lust. For these people, the mixer is a huge flop, with the girls retiring to the lavatory to devise a way to escape their pursuers and the aging reservists arguing with each other over expenses (one points out that "you can only get it () free at home") and speculating on the necessity of going to the woods in order to consummate their romantic plans ("Imagine, in this weather!"). For others, however, the dance is a success: the factory supervisor looks on in smug satisfaction as couples throng the crowded dance floor, one girl holds her hands together in a gesture showing her delight and gratitude when she is asked to dance, while an obese, balding soldier capers with a mismatched tall, thin brunette, both clearly having the time of their lives. Andula strikes up a flirtation with Milda, the big-city pianist of the band providing the music. He reads her palm and instructs her in how to rebuff unwanted advances with a kick in the shins. After the party she goes to bed with Milda, although the comic frustrations continue, with Milda fighting a battle with a window shade that won't close, before he feels secure in making love. Afterward, as they lie in bed together, Andula asks what Milda meant when he said she was "angular". He replies that a woman is shaped like a guitar: "And you, you look like a guitar too," he tells her, "but one painted by Picasso." Before they part, he offhandedly invites her to come to Prague and pay him a visit sometime. Although she hears nothing from Milda after their night together, she still expects to reunite with her dream man shortly, so she breaks off with Tonda, who storms the dormitory demanding his ring back. After listening to a speech by the housemother on the virtues of fidelity and commitment, she packs up her suitcase and arrives on MIlda's doorstep in the big city, ready to resume their romance. Milda is not home, and she meets his parents, who have never heard of her and don't know what they should do with her. Milda comes home very late, and after an evening of comically painful tension and uncertainty, his parents decide it's only decent to put the girl up for the night on the sofa, requiring Milda to climb into bed with them in order to avoid any appearance of impropriety. Forman has described this famous scene: "It’s a tight fit. The old man wants to sleep; the son would like to get thrown out so he can join the girl on the couch, but the mother runs the show and won’t tolerate any such filthy ideas under her roof.“〔Forman, 148-9.〕 Andula, kneeling outside the door of their bedroom, overhears the family squabbling, and when it becomes clear to her that she is not valued in the least, she breaks down in tears and, the next morning, returns to her home. She tells her friends about her "wonderful" trip to the capital and how nice Milda's parents were to her, especially his father, and then she returns to work at the factory. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Loves of a Blonde」の詳細全文を読む スポンサード リンク
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