UNDERGROUND (Emir Kusturica) Yugoslavia, France, Germany, Hungary, 1995. Saturday May 9, 2009. 20:30 pm
Sunday, May 3, 2009
How Many Calories In A Sugar Cookies
GENDER: Drama war
AUDIO: Serbo-Croatian SUBTITLES: English
ADDRESS : Emir Kusturica
SCRIPT: Dusan Kovacevic and Emir Kusturica
MUSIC: Goran Bregovic PHOTOGRAPHY: Vilko Filac (Color ) ASSEMBLY: Branka Ceperac PRODUCTION: Pierre Spengler
SOUND: Marko Rodic LONG 165 minutes
film sequence
encadenados.org Link to a magnificent work of documentation and criticism from Lucia Solaz
" a war not a war until a brother kills his brother" .
After the First World War, France and Italy were much interested in not rebuild the Austro-Hungarian Empire (so dear to Luis G. Berlanga), while Europe was fear that, in perceiving the political map of the Balkans that largely had been the cause of world war, the story does not take a long time to repeat (as it was anyway, and worse, but for other reasons .) Georges Clemenceau, the 'Tigre', President of the French Republic, supported by Orlando, the Italian president, had the 'brilliant' idea of \u200b\u200bcreating a new state where they had room for all those nations liberated from the Ottoman Empire's collapse barely kept its independence to the greed of Austria or Russia, believing that a strong and united state could better cope with these threats, and even serve as a powerful ally West in the area. Yugoslavia was born in 1918, as the home of all Slavs (to the hundreds of thousands who were not, nobody asked them), and planted the seed of one of the most entrenched and vicious conflicts in recent years.
"War is not a war until a brother kills brother." This chilling phrase pronounce Marko, a former poet and political newcomer, helpless in his wheelchair, after her brother was beaten to death in the middle of a fight in the former Yugoslavia and during the war that led to the settlement of the country.
Underground, a film absolutely essential to understand the narrative cinema of the genius of the European scene is Kusturica, he says, while we review the history of Yugoslavia in the fifty years from the end of the Second World War to the outbreak of conflict in the Balkans in the nineties the story of Marko and Petar, inspired by real characters from history Yugoslav Tito era, thieves and fighters during the Nazi occupation of the country began in 1941, and Natalija, an actress in the making in that same time and Petar lover, and the evolution of this three-way relationship over time, all passed through continuous and delicious dance and music scenes of the cinema wind Kusturica ( Mesecina , piece of track), weddings celebrated with music, food and unlimited alcohol, abundant touches of humor, surrealism and absurdity, and the usual winks director moviegoers.
Marko, because of her love for Natalija, takes advantage of circumstances to hide Petar and many others, including his own brother, Jovan, in the huge, huge basement of his grandfather (it to a shielded), and manages to keep them there after the war lying to them about the end of the course and getting engaged in the manufacture of weapons with which he trades and reaches a large fortune. For decades
all of them remain locked in the basement while Marko takes the glory of victory against the Germans and rises quickly through the ranks of Tito's communist Yugoslavia.
Chance, alcohol and a chimpanzee will ally for years later by Petar order to go outside and see that things have not changed since its closure (the fact that nothing else wants to go out to stop a film set where they filmed a movie specifically about his life and presumed death in the Second World War, with actors and extras dressed as German soldiers, sponsored by Marko, who has created an aura of heroism around Petar, which for remaining country is dead, all of which provides some moments of comedy in many carats), and it will be for him even to the time when war breaks out it will seal the death certificate for Yugoslavia, as he continues to believe that fighting against the fascists (confusion apparently intended by the author, establishing an analogy between the Nazis and the war fighters recently, much given them to ethnic cleansing).
The film is so rich that any attempt to outline an exercise becomes rather awkward, because the story line presented here is enhanced by the wonderful music of Goran Bregovic , powerful images, Marko attempts to manipulate the reality of those hiding in the basement, pretending alarms and bombings, the thinly veiled symbolism of many passages (Christ spent the end of the movie or the animals that appear, geese, horses, cats, recurring throughout the filmography of director), the cruelty of others (the bombing of the zoo) and the compelling magic of the most (the paths through the sewers, dances, music of trombones and trumpets ), but above all, archival images Kusturica used to illustrate the various parties set out in the narrative (1 ª - War, 2 ª - The Cold War and 3 - War , which underline the sad history of the country since its invention), sometimes introducing their own players with digital technology in their own historical documents: images of cities occupied by the Nazis in 1941 and the people celebrating in the streets arm in the air, crumbling cities, death and destruction everywhere, images of the Tito era, with parades, uniforms, happy and contented people, and finally, the visual documents of Marshal's death, world leaders attending the funeral (Ceausescu, Brezhnev, Hussein of Jordan, Arafat, Helmut Schmitt The Duke of Edinburgh, etc.), and a whole series of images precursor disaster looming in the not too distant future, all accompanied by the immortal chords Lili Marleen, the song 'informal' War World, sung by all armies in all languages, and that led to glory Marlene Dietrich.
But the film is so rich and complex it is impossible to catalog it in any of the categories set: a drama with comedy parts in action, but also a musical, a political film , and above all, a story that shows nostalgia and bitterness. What emerges from it is a reflection in which you can see two main issues. First, the criticism of the war as a means of conflict resolution, but also its acceptance as a last means when all else has failed (Kusturica portrays himself as an operator of fire in a battery of artillery-fired end of the film), regretting, however, the consequences of the same: dead, broken families, destroyed, torn countries and lack of happiness and well being for generations. Secondly, the film exudes nostalgia for the homeland disappeared by Yugoslavia as it was between 1918 and the nineties, a rupture of that responsibility to the fractious republics of Slovenia, Croatia and Bosnia. (39 steps)
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