![]() ![]() ![]() It is this mix that vastly improves the film’s appeal and even allows Daniel Day-Lewis and Gordon Warnecke to experiment and showcase their talents. Although he maintains Tomas’s promiscuous and rather morally bankrupt ideals quite well through the film, it is the character’s flawed yet endearing appetite to be a double whammy of selflessness and delusional in the face of love that redeems the performance as an acting mantlepiece. The marked tonal change in the two halves allows Day-Lewis to give a befitting display of his accomplished emotional range. The steady buildup from seeing the world from Tomas’ eyes to a cosmopolitan and Avant commentary on varied social lifestyles against the backdrop of the Prague Spring not only inspires political intrigue into one of Europe’s most turbulent social revolutions but also weighs sincerely on a more intimate level about human individuality and vulnerability that is surprisingly quick to control our decisions in adversity. ![]() ![]() At the same time, his conflicted love triangle with an older artist and younger waitress bellows a reversal of perception and recalls, quite prominently, the disenchanted protagonist in the narratives of our lives: human consciousness. ![]()
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