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与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze French title: L'homme qui ment 1968), and perfected it in Eden and After (Eden a potom, 1970).
观众心声
视听语言高度风格化 尤其是音效 有时寂静无声 有时诡异紧张 倒是和村民的恶意很契合 人们对前科犯德拉克的恐惧和排斥很像冉阿让
德拉克的出走、回归和再次出走。他的独善其身仍旧遭受了村民群起的抢劫、攻击、诋毁、羞辱和驱逐，影片以个体与集体的符号来影射巨大机器对人的压迫。德拉克可以不再回来的，但他选择回来，给自己给村民一个机会，但再一次地，非常悲伤地，他遭受了宿命一般的羞辱和不信任的待遇。结尾多年后再次遇见自己喜欢的女孩，她已经成为了他人怀中的妻子，她完成了对诺言的背叛——忠诚、守信的失败。这次回归无疑是一次毁灭的经历，德拉克的再次出走和上一次并没有本质区别，影片借此宣告了一种人心的绝望。
意识流，声音蒙太奇
这是新浪潮，不是超现实。
美术设计非常现代，室内设计、瓶瓶罐罐，还有像试管一样的酒杯，都有些抽象意味，让故事有寓言意味。牛群、蛇杖、滚落的巨石等符号，又向古希腊神话借镜。镜头形式感也很强，声音和音乐的处理也很讲究。