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Miloš Radivojević
Topic Started: Jul 11 2015, 01:09 AM (492 Views)
Mario Gaborovic
g legs' wife's lover
[ *  *  *  *  *  *  * ]
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http://letterboxd.com/director/milos-radivojevic/
Filmography (feature-lengths bolded):

2011 Kako su me ukrali Nemci / How I Was Stolen by the Germanssubtitled
2007 Odbačen / The Reject
2005 Buđenja iz mrtvih / Awakening from the Deadsubtitled
1994 Ni na nebu ni na zemlji / Not on Sky, Not on Earth
1993 Omnibus '93 (Short)
1992 Devojka s lampom / The Girl with a Lamp (TV Movie)
1992 Uvod u drugi život / Introduction to Another Life
1991 Šaran / Carp (Short)
1988 Čavka / Blackbird subtitled
1985 Slobodarski Beograd / Freedom-Loving Belgrade (Documentary)
1984 Unasubtitled
1983 Karlovački doživljaj 1889 / Karlovci Experience 1889 (TV Movie)
1982 Živeti kao sav normalan svet / Living Like the Rest of Us
1981 Dečko koji obećava / The Promising Boysubtitled
1980 Snovi, život, smrt Filipa Filipovića / Dreams, Life, Death of Filip Filipović
1979 Dobro došao druže Tito u svoju staru fabriku / Welcome Comrade Tito to Your Old Factory (Short)
1979 Razvoj grada Novog Pazara / The Development of the City of Novi Pazar
1978 Kvar / Breakdown
1978 Noć od paučine / The Night Made of Cobweb (TV Movie)
1977 Izgradnja mostova u SR Srbiji / Building of Bridges in SR of Serbia (Documentary)
1976 Od pet do sedam / From 5 to 7 (TV Movie)
1975 Testamentno dialogue
1972 Bez reči / Without a Wordno dialogue
1972 Prvo ubistvo / The First Murder (TV Short)
1970 Bube u glavi / This Crazy World of Ourssubtitled
1968 Hoću kući / I Want Home (Documentary short)
1966 Adam i Eva 66 / Adam and Eve 66 (Short)
1965 Zvezdana prašina / Stardust (Documentary short)
1965 Šta bi s godinama onim... / Whatever Happened to Those Years (Documentary short)

Excerpts from the book Crni talas (Bogdan Tirnanić, 2008), regarding career of Miloš Radivojević, considered as one of the most influential filmmakers in post-Black Wave era of Yugoslavian film. Initially an experimental filmmaker, around mid-1970s he got fed up with the lack of commercial success and turned to mainstream film, in which he experienced continuous lambashing by critics for controversial take on subjects. The first thing that comes to mind as his trademark, are male characters that find themselves misunderstood and rejected by populist milieu around them, and this obsession is more or less always present even in the last decade of his career. While there's no real consensus among critics which is the best achievement of his, The Promising Boy by all standards stands out as the most popular one. To those who are into experimental filmmaking I would suggest Testament, a non-dialogue piece about a man who suffers from persecution mania:


I think we're the milieu with the most talented individuals per capita in the world. I personally know 30 young people who could make up a solid basis of any national cinema. Of course, these boys do not make movies, they are not given their first film. Our national cinema is ruled by the people who deserve legal ban to make films.)
(1980 interview)

From the censorship point of view, I singled out two films that
caused most of controversy, and they were released during the course of a three-year period (1978-81). I intentionally left out uninteresting parts, but the essence is still there. Sorry for occasional bad English:


Breakdown (1978)

The case of the film Breakdown started on May 31, 1981 - three years after this work saw the light of the day. That evening, Belgrade television had shown Breakdown in prime time. Reactions from audience were quite fast and boisterous. Even when the film was still on, the telephone in director's flat began ringing, so Radivojević, intimidated by the threats, spent the whole night in nearby park afraid for his own safety. Furor occured due to erotic scenes whose protagonists were Aleksandar Berček, Neda Arnerić and Milena Dravić, but predominantly the sequence in which the main character Saša - unsatisfied TV journalist - discovers herpes on the top of his penis with the help of a magnifying glass. Such perversion infuriated many upright people (neat tax payers), making RTB headquarters buried by an avalanche of protest letters.

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Therefore, it was all about the permanent institution of intervention in the film industry - vox populi. Hence nobody was initially surprised by this, since the Serbian epistolary literature is wholly different from English: while there on the Island, eminent lords usually write to Times about stray dogs, the echoes and reactions here are necessarily accompanied by political background that provides spare-time policemen to affirm as first-class informers, snitching on anyone whose loyalty to the system is questionable. Many films were banned and many politicians eliminated in this regard, while the number of writers and philosophers who involuntarily found themselves in opposition, makes up an entire encyclopaedia of our post-war life and its ideological tribulations. The only specificity of Breakdown was that the deal was about epistolary defence of society finding its way down from heart to genitalia. The fact that many letters were anonymous says something, too.

What television shows across the screen, is more than scandalous. The other night we were watching drama film entitled Breakdown. It's pornography of the lowest kind that unscrupulously offends public morale, attacks general cultural level, a true tastelessness and abomination. If somebody's perverted, how come he's allowed to publicly torture such wide range of audience, as we know that very often several generations of a family watch TV together? In the end, why should one give money to harmful and distasteful works, and who finances them anyway?

Mr Radivojević may show this kind of films to his friends within four walls. Not to us.

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Invited to comment on these reactions, Radivojević replied:

I find all this uproar a bit funny, 'cause I can't help myself but imagining what would happen if the state television would, by any chance, decide to show The Promising Boy at 8pm instead of Breakdown; I would then totally lose my mind, 'cause compared to The Boy, Breakdown seems like a kindergarten.

The Promising Boy was just running in the theaters at that time. Hence many folks who normally do not visit the theaters grabbed the chance to see it. Their impression was that the director was saying the truth: the herpes thing truly seemed like a kindergarten.

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The letter of Mrs Marija Đ. Miljanić from Belgrade says lots about it:

After watching the film, I was left ashamed and disgusted by its scandalous and pornographic content. What kind of a message this insipid film gives, and what's promising about this boy? What kind of actors agree to reach the lowest degree of debauchery and prostitution? Are we that much of a prosperous country to spend our collective goods on a film below any level of human dignity? As much awful and disgusting Breakdown is, it was surpassed ten times by The Promising Boy. Seems that this director knows little more than putting his hand into state cashbox so he could release his worst pornography. Who gives him right to do so?

Milan Vlajčić, the film critic, defended Radivojević in his column in Politika newspapers:

"Regarding Miloš Radivojević's Breakdown, fell a silesia of irresponsible slander and disregard of the film, made pretty much in passing and without evidence. Like it or not, it stays the fact that Breakdown was ranked 7th in the yearly ranking of an eminent film magazine International Film Guide, ahead of such hits like Woody Allen's Manhattan."

More to come about the said films...
Edited by Mario Gaborovic, Jul 14 2015, 02:39 AM.
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