From reviews of the film The Arrival of Old Shatterhand——by Dusan Hanak

lt seems to me that ln this case the very title of the film ls extremely important.On the one hand, lt Indicates the contex ln which lt was bom. l do not mean thepolltlcal or ldeologlcal context, but the fact that at that tlme our film dlstrlbutlonincluded films about Old Shatterhand and Winnetou in which Old Shatterhandpersonified a white gentleman who, on the contrary to most of his cultural tribespeople,tried to understand the different world of Indian. On the other hand,lt was Old Shatterhand, an alien to Indians and at once to those of his own kind,ergo an alien “by profession", who offered Dusan Hanak the viewpoint from which he could look at the society ruled by the Big Red Brother as if through the eyes of an alien. And, from that point the society looks reallx bizarre, although its strangeness remains unseen by the redsklns. (...) T e fllm deplctlon of the red brother's country ls unflatterlng. lt doesn’t please the redsklns' tribal chiefs.But tl1e most terrible thing of all is that all the pictures were provided withot problems by their society. One has only to accompany these pictures, this dlctlonary of reallty, by a fllm syntax w lch works ln service of hls majesty Composltlon, and the picture part of the fllm‘s message ls complete. WhentLolned by fragments of everyday language, ideological phrases, and the music of ls society, a whole ls created which is so convincing tl1at we even fear it.Peter Mlchalovlé, magazine Rombold 3/2002 (shortened) "The film The Arrival of Old Shatterhand set off hysterlcs in the past regime.Most of the shots were taken by a hidden camera with long lenses. We new what we wanted to shoot, and l counted on contrast of the Image and music which was already in the script. Two parts of a counterpoint can “play next to", but also against, each other. Ideally, thanks to unexpected contacts and connections, there arises a third consequent value. As regards the 60's, they were an explosion of creativity in all areas of art. On the other hand, each moment of truth, each meter of film, had to be fought for. Censors and institutions demanded modifications,and my FAMU professor went to talk to the jury members at the Karlovy Vary festival, ex laining wh he could not grant this film an award. The truth is,forbidden Alma were “£lmous“ - The rrlval of Old Shatterhand was judged by a kind of rehabilitation committee."
Dusan Hanak, magazine Rombold 212002