Diverzanti

V'19

Diverzanti

Demolition Squad

Hajrudin Krvavac
YU, 1967
81min, skrOmeU

Bild: Sammlung Österreichisches Filmmuseum Bild: Sammlung Österreichisches Filmmuseum

Diverzanti

Hajrudin Krvavac
YU, 1967
, 81min, skrOmeU

Di
05
Nov 19
11:30
Filmmuseum
Mo
25
Nov 19
18:30
Filmmuseum
Mit: 
Velimir (Bata) Živojinović
Rade Marković
Husein Čokić
Ratislav Jović
Ljubiša Samardžić
Zaim Muzaferija
Jovan Jančijević
Zdravko Biogradlija
Drehbuch: 
Vlastimir (Vlasta) Radovanović
Hajrudin Krvavac
Kamera: 
Ognjen Miličević
Schnitt: 
Manja Fuks
Musik: 
Bojan Adamič

Produktion: 
Bosna Film, Sarajevo
Format: 
35 mm
Schwarz/Weiß
Print courtesy of Filmski centar Sarajevo

Krvavac, der wohl populärste jugoslawische Partisanenfilmregisseur, ist zugleich Autor höchst unterhaltsamer, schamlos ahistorischer und actiongeladener Filme, die leicht als Partisanenversion eines Spaghettiwestern durchgehen könnten. Mit ausreichend Suspense erzählt er hier von einem Selbstmordkommando, wobei er auch hier auf die Mischung aus Action, Komödie und Tragödie setzt. Und es wagt, sich sanft über die geheiligte jugoslawische Vielfalt lustig zu machen: Die titelgebende Kommandotruppe besteht aus vergnüglichen Stereotypen praktisch aller Nationalitäten, Ethnien und Religionen Jugoslawiens.

 

Hajrudin (Šiba) Krvavac is the only Yugoslavian (= Bosnian) film director whose body of features consist exclusively of partisan films. At the same time, he is arguably the most popular Yugoslavian director working in the genre , an inventor of supremely entertaining, shamelessly ahistorical, highly stylized, and action oriented partisan narratives – so-called Red Westerns – that could easily pass for a partisan version of a Spaghetti Western. DIVERZANTI is the first in his series of four immortal cult films – the other three are MOST (1969), VALTER BRANI SARAJEVO (1972) and PARTIZANSKA ESKADRILA (1979) – that massive crowds from all over all the former republics of Yugoslavia (plus diasporas around the world) still worship. One could argue that Krvavac’s escapist extravaganzas coincided (or perhaps even spearheaded) the so-called Pink Wave of Yugoslavian cinema in the late 1960s and early 1970s, delegated from above to suppress the ideologically much more ambivalent and artistically ambitious spirit of the Yugoslavian Black Wave. Then again, what is wrong with promoting the agenda of brotherhood and unity, especially if the ideological message is so positive, unashamedly visible and even delivered with a healthy sense of irony? In DIVERZANTI, the suspenseful account of a suicide mission, Krvavac excels in mixing action, comedy, and tragedy, and expertly toys with the concepts of public duty and personal responsibility at a time of great distress.