Pretty Village, Pretty Flame

I've seen it again today. I've seen it ten years ago when it first came out. On a 17x copied VHS bootleg tape, and now on DVD. Without going into details, I can only say this is one of the movies that I've seen many times and each time I see it it strikes me as the best of the best. It's multi layered and highly symbolic at times, due to that, the only ones to understand it fully are people that have a good understanding of the Balkan wars and/or the mentality of the characters. Some see it as pro-Serbian propaganda, other see it as anti-Serbian. And that alone makes it worth watching for me. Anyways, it's a chilling and wonderful masterpiece. Sad, bleak, darkly humorous at times but very very VERY good.

This movie was stunning. Foreign films are usually seen as so difficult to grasp and inaccessible, but this managed to hold everything together. At two and a bit hours, it sometimes seems to go on, but the finale is worth it. People laughed and people cried. It was beautiful.

An extraordinary film in the best tradition of Serbian cinematography which itself has a proved track record stretching all the way back to and throughout the Yugoslav era, and the one that far outweights contributions from other former YU regions. It's a big shame that non-Serbian speaking viewers cannot completely appreciate the spark and the breeziness of the dialogue, although the English subtitled translation is generally quite dextrous and does the best it can, by and large getting it right amidst very strong (sometimes amusingly so) language. The acting too is superb - a brilliant episode by Petar Bozovic (Sloba), a great turn from the main lead (Dragan Bjelogrlic, as Milan) - and a truly moving performance by Zoran Cvijanovic (Speedy, the self proclaimed 'unreformed drug addict currently getting anti drug war group therapy'). All in all, a group of very talented actors of a certain generation at work, and a tough and gritty piece of film making, which manages to be ominously dark (the amusement park flashback sequences are hauntingly disturbing), but also nostalgic, clinically sobering and mordantly humorous at the same time, whilst steering clear of pro-Serbian propaganda, opting instead, as another user correctly pointed out, for a sort-of-pro-Yugoslav one.

Quite revealing is an exchange between Velja (Nikola Kojo) and Gvozden (Velimir-Bata Zivojinovic, a veteran and a favourite of Serbian cinema in a routinely poignant performance) - halfway through the film - a few succinct lines spoken there which may offer a clue as to what Yugoslavia as a country was - or might have been - all about; and why events that ensued during the nineties actually took place. Great stuff, still going strong ten years on.

My opinion is that this movie is one of the strongest anti-war drama ever made. Only problem that comes is that you must be Serb to completely understand this movie. The thing is, every single second of the movie, every single word, the soundtrack are the row of symbols that creates a giant and complex puzzle made of historical events, way of living on Balkans, way of painting the portraits that will show you and let you to understand how did the war in Bosnia happened.

Movie is retrospective story, based on the true events. It is actually a row of memories of the two Bosnian Serb soldiers who survived few horrific days, trapped in tunnel, during the war in 1991. The tunnel was occupied by Muslim soldiers and with that fact we get to the first problem that was later, after the movie was finished and played in cinemas, used as main weapon of critics, saying that Serbs just want to show that they were victims in war.

For everyone, who will watch this movie, and who doesn't live on Balkans, I'll try to explain some basic facts of the movie, and also, I'll try not to spoil your enjoying.

This movie is a story of all consequences that war brings us. It is universal story of war, showing some basic facts that are similar to all wars, but in the same time, movie describes some things that are connected only with war in Bosnia.

The story starts in hospital, where the wounded are transported from the battlefield. There, the director introduce us with two characters. Two soldiers who survived the tunnel. Milan and Proffesor, both Bosnian Serbs. From their perspective, dialogs and memories,story leads us back, in Milan's childhood, where we can see his relationship with his friend Halil ( who is Bosnian Muslim ). Later, when the war begins, these two friend will be on different side of the tunnel. Halil, in the squad of the Muslim who occupied it, Milan with the Serbian squad who was trapped in the tunnel. Then the story goes on, introducing us , with whole Serbian soldiers and one American journalist who got there accidentally , trapped in tunnel. Every soldier has his own reasons that will make you understand, why did they checked in Serbian army, and why did they wanted to go on the battlefield. Than, the story goes straight, showing us events in the tunnel ( memories ) and the happenings in Belgrade ( real time ), during the protests against Slobodan Milosevic's regime ( one of the major facts that explains directors anti-war point ). Story goes on with shocking scenes, melancholic atmosphere, and tragic events that will lead to the final conflict. Did war changed Milan? His final confrontation is wounded Muslim prisoner of war who lies on the same floor of the hospital as he does. Did Milan became a dog of war?

Story was written by journalist Vanja Bulic, who was a host of TV drama-show called "Biseri" ( in English "The Pearls" ). Milan, the main character in the movie, is actually a guy who was a guest in that show. He told Vanja his shocking story and than the screenplay was written, off course, with some artistic changes.

This movie is grotesque, shocking, drama about one time on Balkans. About fall of former Yugoslavia. About mentality of the all people who lived in it. Check the lyrics in soundtrack, listen closely every word in dialogs, follow the symbols... I hope you will understand that there is no winner, there is no loser. Point is always the same, there is only destruction, there is only just suffering.

Another post-yugoslav film defending the humanity of the Balkan peoples in the light of European accusations that they are innately violent and blood-thirsty. It attempts to prove instead, that War is larger than man! The War easily defeats him into a monster that plunders his own house and seeks the murder of his own best friends.

The film follows the fate of a group of besieged Serbian soldiers coping with their imminent death in parallel with the stories of how they ended up as soldiers. Yet it manages to do this in more light-hearted way than one would expect! Maybe because humour has been always the last resource of the downcast, at least in this part of the world!

Balkan people may not be murderous savages, but they are masters in fashioning absurdity, and they appreciate absurdity when it happens to them. In this, the film characters stand next to the director, even when facing their own deaths. Absurdity of a fine sort fills the entire film, one might guess what is expecting him from the witty title itself properly translated as "Beautiful villages burn beautifully". I am only afraid it might lead the audience to believe that Bosnian war is portrayed here with more artistic license or exaggeration than is the truth...

"Lepa sela lepo gore" shares the same theme as the bosnian film "No man's land" and ends (very movingly at that!) with the same message - an outsider is not in position to judge or qualify those who have lived through the conflict for their actions. He has no moral right neither to blame nor to forgive. While "No man's land" relates this issue directly to the habit of international media and western audiences to qualify sides in conflicts they do not understand, this film remains less committed to the contemporary. Instead it poses the same question to all of us as humans.