Abstract
The study deals with controversy in the life and work of film and television director and playwright Přemysl Freiman. Literature refers only to one of the most pretentious Czechoslovakian propaganda films about the so-called Číhošť miracle Woe to the one through which the offense comes (1950).
However, in addition to this film, Freiman carried out an extensive work on Czechoslovak television in the field of music broadcasting and strategy and theory of the program. He himself stood on the side of the liberal tendencies of Prague Spring and was expelled for these attitudes from ČST and lived as a gatekeeper at the Museum of Czech Music.
The text acquaints Freiman with "both faces," and notes the propaganda tendencies of Miloš Doležal's contemporary texts on the martyrdom of Father J. Toufar and the "miracle", which have brought us back to the 1950s.