《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 a nd After》。 A special place in t he developme nt of feature films is reserved for Eduard Grecner, the creator of j ust one good fil m, Dragon Returns (Drak sa v racia, 1967), titled a fter t he n ickname of the lead cha racter. After his initial work with Uh er, Grecner mad e his mark as a proponent of the so-cal led "intel lectual&quo t; f ilm, the antithesis of the sociol ogical ly, or rather, socially critical film. Grecner' ;s great role model was Alan Resn ais, a young French filmmaker who sought to introduce Sl ovakia to the idea of fil m as a la byrinth in whi ch meanings are created not by s tories, but by co mplex c onfigurations o f dialogue, shots, and v arious layers of time, thus diffe rentiating f ilm from b oth literat ure and theater. In Dragon Returns―the s tory of a solitary hero who is needed by villag ers living far in the mountains, but who is rejected by them at th e same time because of his detachment ―Grecner brough t the traditio n of lyricized pros e to life through a whole series of formal aesthe tic t echniques. Alain R obbe -Grillet im mediately developed this idea in the film shot in Brati slava The M an Who L ies (Slovak: Muz, kt ory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970). 从师父那里，听过很多故事的卫九锡看了眼正在 上香的人，就接着八卦道：“我师父说，八臂神猿的地宫下，压的 是万生魔神，那位魔神能够分神万千， 但有任何一个分神在外，他都不可能死。所以，镇 他之人，必须是个意志坚 定，认了死理后，绝不会被外物影响的八臂神猿。”
