filmze _ „iwvis, Cemo qalbatono“ _ muSaoba formanma 1967 wels daasrula. SemoqmedebiTi jgufi mTlianad Cexuri iyo, dafinanseba ki italiurma mxarem iTava. italiuri dafinanseba maRali klasis aparaturas da maRali xarisxis firs niSnavda. Cveni saukunis daswyisSi, formani ixsenebda, rogor aixdina maSin ocneba da rogor uxaroda, cxovrebaSi pirvelad, ferad firze gadaReba. filmis operatori miroslav ondrJiCeki iyo. ondrJiCekma or inglisur filmze imuSava lindsei andersonTan. maTgan erTia, saqarTveloSi erT dros Zalian popularuli _ „o, iRbliano!“ miroslav ondrJiCekis gadaRebulia formanis Cexuri da misi amerikuli suraTebis umetesoba. tragikomedia „iwvis, Cemo qalbatono“, romelSic arc erTi profesionali msaxiobi monawileobs, formanis erT-erTi saukeTeso namuSevaria. amis miuxedavad, karlo pontis is ar moewona. Semdgom, elvis uswrafesad ganviTarebul movlenebs, deteqtiuri elferi dahkravs.
beginning of this century, Forman recollected how he made his dream come true with this film, by shooting on color film for the first time. The film’s director of photography was Miroslav Ondříček, who had previously worked on two English films with Lindsay Anderson, one of which is ‘O Lucky Man!’, a film that used to be very popular in Georgia. Ondříček was the cameraman on most of Forman’s Czech and American films. The tragicomedy ‘The Firemen’s Ball’, in which there is not a single professional actor, is undoubtedly one of Forman’s best works. But despite that, Ponti didn’t like it. The events that would unfold afterwards have a somewhat detective feel to them. Carlo Ponti’s lawyers requested that the Czech side repay them the full production money. ‘Barrandov Studios’ and the administration of Czech company ‘Filmexport’ pulled out and put the responsibility of paying the USD 80,000 on the director. For an American director with millions in revenue, USD 80,000 might be pocket money. But at that time, in 1967, for a 35-year-old director
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