Kako sam sistematski unisten od idiota (How I Was Systematically Destroyed by an Idiot) - Slobodan Sijan

Danilo 'Bata' Stojković interpreta Babi Papuska, un vecchio compagno innamorato del Che.

Babi è sempre in mezzo a ogni manifestazione, è sopportato dagli altri, ma fino a un certo punto.

uno così l'abbiamo sempre conosciuto.

il film merita, sembra proprio una cronaca di certe situazioni.

divertente e amaro insieme - Ismaele

This summer I had the great luck to see this movie by pure accident. During the film festival I wanted to see another movie, but this one was shown outside and I preferred fresh air, so I stayed there without even knowing what I'll see. Then Šijan came to the mike and announced this movie. All of us there were fascinated! So it's not so much a movie about a person trying to cope with Che's death, as it's a movie about a guy, who wants to cope with his life. He's a bum, but entirely out of his own laziness. He always blamed somebody or something for his lack of privileged life.
Although this movie was said to be political, it really isn't. It's almost a documentary of the part of Yugoslavian society that wasn't suppose to exist. In the developed socialistic country there should be no beggars and everybody should want to work, for it was their privilege and right to work.
So watch it, laugh at it, but try and imagine it is all true, because it's very close to reality.

da qui

…You have to hand it to the director Slobodan Šijan on one thing: in only 3 years he crossed from one extreme to another, from one of the masterworks of comedy "Who's That Singing over There?" to the weak, barely watchable tragicomedy "How I Was Systematically Destroyed by an Idiot", a confusing satire (?) about Communism that would have been flat out bad hadn't it contained the energetic, genius performance by comedian Danilo 'Bata' Stojković, in this occasion equipped with a "Marxist" beard. But even Stojković can't save the uninspired film: frankly, there is almost nothing present in the story. Hard core fans of Yugoslav films are the only ones that could enjoy in this, while the rest of the world would probably ignore it. Only here and there a good gag shows up, like when the hero Babi is exiting a toilet and doesn't miss out an opportunity to add: "When I was a kid, urine was regarded as the cleanest liquid that was used to wash out the wounds", and the story sometimes amusingly ridicules the nostalgic, blind devotion to any ideology, but mostly it's just simply a confusing mess without any kind of tight screenplay, equipped with bizarre situations (the scene where Babi is sleeping with a grotesquely overweight prostitute), an overstretched, desperate, lousy, boring excuse for any kind of satire.

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Ko to tamo peva - Slobodan Sijan

un vecchio autobus e dei passeggeri, il giorno prima l'invasione tedesca.

il personaggi e le situazioni sono comiche, grottesche e tragiche insieme, e la musica è bellissima.
lo sceneggiatore è Dusan Kovacevic, che ha lavorato in "Underground" (nel film c'era un'idea, non realizzata, poi ripresa nel film di Kusturica), e ha lavorato anche a questo film
non perdetelo, non ve ne pentirete, promesso 

Maratonci trce pocasni krug (The Marathon Family) - Slobodan Sijan

divertente, del genere bare e funerali, ma non solo.
alcune scene sono esilaranti, non tutto, meno male, se no di rischia di morire dalle risate.
c'è anche il passaggio dal cinema muto a quello sonoro, l'ambientazione è in quegli anni.
merita - Ismaele

Cosa ti ha colpito?
- Mah, tutto! Il maiale nel pozzo!
- serbstick immorale fumettistico, non male.
- cinico, grottesco, ironico e autoironico nei confronti della sua cultura (balcanica)
- la demenzialità balcanica
- la vena ironica e folle che comanda l’intera trama
- storia originalissima, la rivincita finale di Mirko, un film costruito su pochissimi personaggi, quasi una piece teatrale
- sembra un Kusturica (ha 10 anni di meno ndW) senza la genialità dinamica, cartoonesca, parodistica, poetica del gran serbo. Teatro parrocchiale della violenza, non sempre le pellicole perdute della storia del cinema valgono la “pena” del recupero…
- ho perso il collegamento tra commedia assurda e condanna della guerra… (infatti non c’era - ndW)

Altro:
- beo beo!
- vicino alle situazioni di “Gatto nero, gatto bianco”
- bello, molto divertente
- nel film c’erano molti spunti non sviluppati, non portati a termine, comunque molto divertente

da qui

…When the country’s leader is assassinated in the opening footage, his death mirrors that of Pantelija Topalovic in that it leaves his citizenry – his “children” – without an identified heir to the throne. Much of the story after that is focused on the Topalovic men struggling for control over the family business—even though, ironically, they’ve doomed themselves to some financial despair with the installation of a poorly functioning crematorium, which erases the need for coffins altogether. It is Mirko, after Pantelija’s will has been read – the old matriarch, in a fit of rare wisdom, bestows everything on himself – who takes control over his disorganized clan in the film’s final few scenes and leads them off to face Python and his gang.

Similarly, the scene immediately following the opening assassination footage is of Mirko scouting out the apartment of a dying man from the street. Dressed as a priest, he is waiting for this man to expire so he can swoop in, at his family’s insistence, and take his measurements – a crafty and opportunistic way of securing new business – making the first images we see after Alexander’s bloody body framed by the circular lens of a telescope, recalling the irises and masks of silent film. When Mirko weasels his way into the apartment, he discovers a man whose size is unprecedented: his legs jut out between the bars of the bed’s footboard, and Mirko must draw reference marks on his knees when his measuring thread runs out. Laki doesn’t trust the figures his son brings back, attacking him with a plank of wood and denouncing him as an idiot. And it’s only those final few moments, when Mirko escorts his family into the future – defeating the embodiment of silent film in an Arthur Penn-style flood of violence and driving off into the unseen sunset – that they are brought together as one and disappear into the future.

da qui

…The story about a family of undertakers is full of anarchic dark humor, on the verge of Monty Pythons and South Park, like when the great-great-great grandfather Pantelija dies and leaves all his inheritance to himself, or fried meat from crematorium that gets eaten by the family or when Laki was driving a car and unknowingly, accidentally hit a man, then stopping and wondering "what's he doing on the ground". "The Marathon Family" is in some circles considered "one of the best Serbian films of all times", but that's rather exaggerated for only a good film filled with sometimes banal humor and thin characters that inevitably crosses into misogyny, with a bizarrely pretentious end. "The Marathon Family" has a lot of genius scenes, but it's simply too morbid for some tastes.

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Davitelj protiv davitelja - Slobodan Sijan

un film divertente, un po' "Psyco",  un po' ispettore Clouseau, una comicità che è simile dalla Spagna a Israele, passando per la Francia,  l'Italia e la Yugoslavia, che sono molto vicine.
i film dell'Est Europa, dopo la seconda guerra mondiale e fino alla caduta del muro, almeno, con poche eccezioni, non li abbiamo mai potuti vedere, e abbiamo perso molto.
fa ridere spesso, lo si provi, merita - Ismaele

…"Davitelj" have cult status in Serbia. It is a story about real people in real situations. Scariest thing is fact that serial killer can be your neighbor, or you can be killed 'cose you wearing pants and dislike flowers! When you watching "Davitelj" you laugh, then you scream, and so on. And you scream very loud. And laugh too.

da qui

…It is difficult to know who to recommend this film to, as I can think of nothing I can compare it with. Maybe if the Monty Python guys decided to remake Psycho the results might have been similar. Or maybe it was a product of its time and place and we will never see anything like it again. Watch it and find out.

da qui

Belgrade, the capital of Serbia, only became a metropolis when it got its first serial killer. The said killer is a big, fat, shy and mother-fixated man, played to deadpan perfection by one of Serbia's greatest comedians, Tasko Nacic. He lives with his cruel mother in a gothic apartment resembling those from Mario Bava's films. He sells flowers and lives by the motto, 'Those who don't like carnations don't deserve to live!' His victims are the young women who refuse to buy his flowers and humiliate him in public. The film follows the exploits of three main characters: the strangler, the incompetent and highly neurotic inspector on his trail and the nerdy rock singer attracted to the killer's exploits. The latter's oedipal desires and sexual angst turn him into a promoter of the strangler's crimes (through a song devoted to him) and a potential strangler in his own right.

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Ko to tamo peva - Slobodan Sijan

un vecchio autobus e dei passeggeri, il giorno prima l'invasione tedesca.
il personaggi e le situazioni sono comiche, grottesche e tragiche insieme, e la musica è bellissima.
lo sceneggiatore è Dusan Kovacevic, che ha lavorato in "Underground" (nel film c'era un'idea,  non realizzata, poi ripresa nel film di Kusturica), e ha lavorato anche a questo film
non perdetelo, non ve ne pentirete, promesso - Ismaele

Niente male. Film che in Serbia (allora Ex-Jugoslavia) è considerato un cultone, ma in pochi lo conoscono. Una commedia ben scritta che presenta ottimi personaggi ben interpretati. Un road-movie dove ne succedono di tutti i colori. Finale sbeffeggiatore.

da qui

… la musica sempre presente: del resto il titolo del film chiede Chi sta cantando là? una spina dorsale di fisarmoniche, cymbalon e canti tengono il film dritto ed eretto. a cominciare dalla figura dei due gitani che come due aedigreci guardano fisso in camera e narrano le vicende e le sventure degli undici personaggi in cerca di buona sorte. così si apre il film (e basterebbero i primi due minuti a renderlo indimenticabile)…

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Il lungometraggio serbo Ko tamo peva?, realizzato nell’80 e diretto da Slobodan Šijan, ha un carattere prevalentemente comico, con forti tinte grottesche, e alla fine, quasi a sorpresa, si tocca il tragico. Gran parte della comicità dell’opera si fonda sul piacere del riconoscimento, da parte dello spettatore, di oggetti, comportamenti e usi locali, e su un gusto del comico un po’ diverso dal nostro: in particolare, non è difficile riscontrare come nell’arte e nella cultura balcanica la comicità sia molto spesso — di certo più di quanto avvenga da noi — unita al grottesco; e come il confine tra il comico e il tragico sia assai meno marcato del nostro. iversità del cinema e della letteratura balcanica suscitano fra gli intellettuali europei degli altri paesi — e naturalmente, non solo tra gli europei — stupore e spesso ingiuste incomprensioni. Tra le accuse più frequenti che i critici rivolgono alle opere cinematografiche (e soprattutto in passato, anche letterarie (1)), vi sono quelle di incoerenza delle strutture narrative, eccessivo accumulo degli eventi, disorganicità, mancanza di linearità.

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