Among the films released by the NFA for the Season of Classic Films is Karel Lamač’s Hříchy lásky. In some respects, it reminded me a lot of the Danish Klovnen or Varieté and other films of that type. The story is far from original, revolving around the theatrical world and a marriage tested by the arrival of a new love. In the role of the femme fatale we find Italian actress Marcella Albani, who built a rich career in Germany alongside her husband Guido Parish, with occasional ventures into Czechoslovakia. Her acting style is something of a hybrid: she never reaches Menichelli-like extremes, though at times her poses verge on exaggeration.

Ivan Kristen (Josef Rovenský), a provincial star actor, leaves with his beautiful wife Soňa (Marcella Albani) for the city. By a twist of fate, Ivan is sidelined by theater director Eduard Warren (Gaston Jacquet), who strongly prefers Soňa and immediately casts her as Juliet. Playing Romeo is Richard Kent (Walter Rilla), who falls in love with her—and soon enough she reciprocates. To get rid of Ivan and win over Soňa, Warren eventually offers the actor a part, but the situation quickly unravels. On opening night, Ivan quarrels with Richard after seeing that he has received a note from Soňa, which he assumes to be a love declaration. Determined to get hold of it, Ivan enlists Ferda Štika (L. H. Struna), a petty thief he has taken under his wing and used as inspiration for a role. Ferda is caught in the act; in his escape, he shoots Richard and flees, pursued by the police until he is killed. His body is never found, and everyone—including Soňa—believes Ivan is guilty. Disgraced and abandoned, Ivan disappears. Years later, he has become an alcoholic vagrant. One evening, he reads of Soňa’s marriage to Richard. Convinced his rival has stolen his wife, he crashes the wedding celebration, only to learn the truth: in the infamous note, Soňa had written that she could never return Richard’s feelings because she loved her husband too much. Realizing the enormity of his mistrust, Ivan begs Richard not to reveal the truth to Soňa. He then takes his own life by leaping from a balcony.

Josef Rovenský is an actor I greatly admire, always capable of moving me, especially in tragic roles. We saw him earlier as the condemned man in Tonka Šibenice, where in just a few minutes he etched a deeply human and suffering figure. Here, he delivers a compelling portrayal of Ivan Kristen: a man who falls from fame and marital bliss into loneliness and alcoholism. In the end, like Mattia Pascal, he is thought dead; but unlike Pascal, who tries to reinvent himself, Ivan drags himself through what remains of his life until his inevitable demise. His lack of trust in his wife set in motion the events that cost him everything. Also evident is the familiar local theme of leaving behind the provincial world (the small theater) for the city, with all its vices and temptations. At the center of the camera’s gaze is Marcella Albani who, as in many Lamač films, serves as the narrative pivot. Much of the storytelling relies on attention to her gestures, costumes, and hairstyles.

The film is, in my view, very well made despite its predictable plot: the actors are strong, the script carefully written, and the images strikingly beautiful (as the many screenshots attest). The direction is meticulous, with a large number of shots that give rhythm to the narration, though close-ups dominate overall. Among the most memorable scenes, for me, are two shown in the gifs: in one, Ivan watches from the window as Richard’s car door opens and closes, leaving only the lovers’ arms visible; in the other, the passage of time is marked by the succession of beers guzzled by Ivan, who grows increasingly disheveled.

If you’re looking for a finely crafted and engaging drama, I wholeheartedly recommend Hříchy lásky, all the more so thanks to its splendid restoration and its availability online with English subtitles, legally shared by the Czech film archive.

This article was originally published in Italian on emutofu.com