Hungarian, and Czech actors on location at Rusovce, Slovakia. Kadár returned to finish the latter one from the United States, where he immigrated in November 1968. It was his last work with Klos. He then resumed his career in the U.S. and Canada working in both films and television. He was also a popular professor of film directing at the American Film Institute's Center for Advanced Film Studies. 1950s While touting the obligatory Marxist-Leninist doctrine and adhering to Socialist-Realist filmmaking, Ján Kadár and Elmar Klos first bounced between comedy and hard-core propaganda. Kadár's first feature film Kathy (Katka, 1950) made before he teamed up with Klos was little different in this respect from their subsequent joint work. Their choice of themes began to change with the first, mild relaxation of communism in Czechoslovakia after Soviet leader Khrushchev's secret speech in 1956. Kadár and Klos's first film during this minor thaw, Three Wishes (Tři přání, 1958), a cagey satire on aspects of everyday life, outraged the authorities and was shelved until the more relaxed conditions in 1963. The studios suspended both directors for two years. Their Communist Party membership protected them from a worse fate, however, and Kadár was able to find a refuge in semi-propagandist, technically avant-garde work for the early Czechoslovak multi-screen shows at the Laterna magika (Magic Lantern) project. 1960s The first feature film Ján Kadár and Elmar Klos were able to make in five years showed a decided return to classical black-and-white film-making with barely a trace of Kadár's more experimental work at the Laterna magika. A gradual relaxation of communist control in Czechoslovakia, whose first signs came from Slovakia, enabled the Bratislava journalist and writer Ladislav Mňačko to publish his novel Death Is Called Engelchen (Smrť sa volá Engelchen, 1959) and Kadár and Klos to reach for it from Prague after their suspension was over. The novel and their film Death is Called Engelchen (, , 1963) spotlighted a new take on the massive pro-democratic Slovak revolt of 1944 that previously had been portrayed only as invariably glorious. It showed some of its aspects that brought about human tragedy. The film was entered into the 3rd Moscow International Film Festival where it won a Golden Prize. The directors' next film, Accused aka Defendant (Obžalovaný, 1964), rehashed the propagandist structures of the earlier Socialist-Realist filmmaking, but turned them around by replacing the content mandated in the 1950s