Dusan Makavejev riprende il film del 1942, di Dragoljub Aleksic, nel quale lo stesso regista è anche l'acrobata protagonista(grande artista, in tutti i sensi) e lo "ricostruisce", facendo interagire gli attori, che vengono intervistati.
ecco il film di Dusan Makavejev (qui senza sottotitoli), che "trasforma" un film melodrammatico e di propaganda in un film che scava e disturba le autorità (dopo un po' per lui ci sarà un lungo esilio).
nel 1968 Verginità indifesa vinse l'Orso d'Argento al festival di Berlino (insieme a Come l'amore, di Enzo Muzii, mai sentito finora).
un film di Dusan Makavejev non si trascura (sopratutto prima dell'esilio) - Ismaele
…It comes from one of my favorite directors, Dusan Makavejev, and he uses the film to illustrate the importance of the medium and the truths that lie in the subtext. These truths will only expose themselves to those willing to dig deep enough to find them. is both the name of the film by Dusan Makavejev, as well as the film that Makavejev is exploring in his unconventional documentary approach. He uses found footage elements, historical documentary footage, new documentary footage, and any bits and pieces that would be useful in the telling of this story…
…In Makavejev's hands, Innocence Unprotected becomes both propaganda for the common man's power to resist oppressive governance, but also a parody of the propaganda. I actually started watching the movie believing it to be a pitch-perfect mockumentary, right down to the bad acting in the "found" film; only midway through did I stop and read the liner notes and realize this was entirely real. An incisive social critic, Makavejev has found a greater meaning in a particular piece of art by examining its historical context. He uses newsreel footage of German atrocities and maps illustrating the warmongers' advances on his country's border to embolden Aleksić's ridiculous fictional romance with greater meaning. A wicked stepmother (Vera Jovanovic-Segvić) selling out her orphaned stepdaughter (Ana Milosavljević) to a wealthy scoundrel (Bratoljub Gligorijević), only to have her rescued by the unflappable hero makes for a wonderfully blunt allegory (complete with twist ending: Aleksić pretty much ran off with whatever money was made before the film was banned, leaving his comrades out in the cold). It illuminates the struggles of the Serbian people, first under the Nazis and then under the Socialists, as well as the personal struggles Dušan Makavejev must have gone through in order to make movies under the censoring eye of the government. Not unlike Aleksić, Makavejev would eventually be persecuted for his art. After his next film, he would be exiled from his homeland for nearly two decades.