rexillusivii

This black & white TV series has been hugely popular back in 1970s and 1980s when it re-run. Based on the texts, poems and stories by the 19th century Serbian writer Jovan "Zmaj" Jovanovic, the series takes a unique view of the children's world as inquisitive beings. With regular features, such as (informally translated) "Say What?", which brings a new knowledge through a repetitive sketch. Postman (Dragan Zaric) always appears in Charlie Chaplin-type of sketch, running to bring mail. Mica Tatic superiorly performs writer, who cites his own works from a magazine he started. The show was recently issued in two DVD boxes (each with 3 DVDs) as a true gem for everyone's collection.

Actor Mica Tatic (as Mica) guides children through the alphabet with help of Ostoja (Milutin Butkovic), and puppet version of himself, Acim (Mica written backwards). Every episode is dedicated on one letter with examples, and with naughty but not inappropriate comments from Acim, who is a puppet-child. Ostoja, who is a pumpkin-turned-man, for his part adores all words containing an "O", due to his name. Written by legendary writer, journalist and commentator Dusan Radovic, who was regarded as always-looking-murky but humorous person, with sometimes bitter and yet correct observations about children and their problems with the adults. Mr. Radovic also had a morning talks show moment with his aphoristic comments. Laughable, fun, educational, made in studio but in a lively decors. Example for a low-budget learning programme.

This funny petty thieves gang led by Tetka (Olivera Markovic) and Mr. Stojcic (Zivojinovic) lead a hilarious life in the wartime Serbia. As they pose as musicians - a memorable, very functional soundtrack - they run into situations found only in an occupied country. Filmed in a low budget circumstances, this movie breaks up every myth of war heroes: just trying to save their lives would lead these guys into a heroic acts such as sabotage. Made out of several episodes, this comedy feature gives also a stunning insight into the dark side of the war - one can be shot just for kicks of an enemy soldier.

Excellent leading cast is supported by marvellous Radko Polic as evil-looking and acting German officer, who blows the the gang's cover. A cameo by very popular singer Toma Zdravkovic of the 1980s gives that true bohemic atmosphere. And "the eternal support actor" Predrag Milinkovic as the violinist also gives a good performance. "Balkan ekspres" if filled with some really laughable one-liners. Jokes are obviously hard to translate, but here are some of the quotes:

Pik (trying to escape from German officer): "I just have to give my aunt the medicine."

(The gang discusses future plans) Stojcic: "After this job, I am off to Casablanca!" Tetka: "And where is that?" Stojcic: "In Switzerland!"

This "tragicomedy" written by famous Serbian theatre/film writer Dusan Kovacevic is probably one of the best movies ever made in the comedy category. And yet, its appearance of a theatre play transformed into a feature film takes nothing of its value. A masterpiece one should not miss to see (preferably with subtitles, and not dubbed).

In an aged bus en route to capital Belgrade, a looming war decides the passengers' behaviour. Two Gypsy musicians sing of their miserable life but also foresee a tragedy to come; their singing both divides and connects stages in this extraordinary road movie (real life Kostic brothers are amateur actors, but together with Stanojlo Milinkovic as farmer who's plowed the road give a real-life performance).

The spectrum of characters gives a brilliant image of a society facing a war, an insight into nation's collective person: everyone is aware that war is just about to begin but they try to live their own lives the best they can, hoping that ignorance might avert the tragedy. Using a simple movie language, director Slobodan Sijan paints a picture of society torn by previous war (World War I), but also highlights personal portraits with success: provincialism of a singer, inexperience of the newlyweds, seriousness of the Great War veteran who is on way to visit his recently conscripted son, and gloomy predictions from a man who seems to be a German spy.

Brilliant in its narration, with memorable soundtrack (especialy the Gispsy songs) and adjusted atmosphere, well photographed and edited, this feature (Sijan's feature debut) was only an introduction into a series of the directors bitter-sweet comedies that will define Serbian cinematography of the 1980s: "Maratonci trce pocasni krug", "Kako sam sistematski unisten od idiota", and my other director's favourite "Davitelj protiv davitelja").

ATTENTION IMDb EDITORS: I have tried not reveal or spoil the end of the movie for those who did not watch it, but if you think I have spoilt it, keep the "spoiler" warning. =======================================

Why is it so good? You must watch and see the end of the movie to understand why is Andrei Tarkovsky's vision of the Stanislaw Lem's novel truly amazing in several aspects. First: It takes some time to comprehend what really happens in the novel, written by a scientist deeply convinced that humans will never find another intelligence in the Universe, although Lem did his best to prove otherwise. Second: Tarkovsky did not focus so much on strangeness of the Solaris as much he did on human psychology. As not seen in either of the two Solaris screen versions, but was beautifully described in the novel, the planet is an emotional child trying to fulfil wishes of its visitors, who are themselves emotionally adult but have serious fears and regrets of their past deeds (only to expressively shown through Hari character). Third: Andrei Tarkovsky has had a very specific visual language: he used colour as an expression of emotions (Watched "Andrei Rublyov"? It's full-length B/W until the very end when colours speak or should we say scream from the screen). Then, the atmosphere at the habitat is skillfully blended into the movie: loneliness, lack of communication, silence, boredom, day-dreaming, philosophical questioning of everybody and everything. The only true special effect scene in the movie is the passage through low gravity, when Kris and another reproduced "Hari" stay together. One important element of the Lem's story was blissfully ignored both by Tarkovsky and Steven Soderbergh (2002 version): Solaris came to be intelligent ocean because its two suns (a red giant and a blue dwarf) have prevented formation of any other form of life. Four: to tell an introspection story in attractive way was hard even for Soderbergh who had much advanced technology 30 years on. Five: the very ending scene in the 1972 movie reveals how unfathomable is the world of Solaris: Kris decides to go home, but will he reach his destination any time soon?