Sjecas li se Dolly Bell (eng subs) [1981] Emir Kusturica

http://bayimg.com/MaEbdaadA Do You Remember Dolly Bell? (1981) Sjecas li se Dolly Bell (original title) http://www.imdb.com/title/tt0083089/ Serbo Croatian language with English subtitles Do You Remember Dolly Bell? (Serbo-Croatian: Sjecaš li se Doli Bel?), filmed 1981, is the first feature film directed by Emir Kusturica. Showing early signs of the stylistic flair that Kusturica was to effectively deploy in later works, it is a coming of age story that many of his fans consider a must-see. Slavko Stimac ... Dino Slobodan Aligrudic ... Father Ljiljana Blagojevic ... Dolly Bell Mira Banjac ... Mother Pavle Vujisic ... Uncle Nada Pani ... Aunt Boro Stjepanovic ... Cvikeras Zivko 'Zika' Ristic ... Cica (as Zika Ristic) Jasmin Celo Mirsad Zulic ... Braco Sintor Bosnian director Emir Kusturica films run the gamut from surreal black comedy to family drama to incisive political message but all are very personal and intimately involved with conveying to Western audiences the Slavic soul and the turmoil the people have faced in the last twenty years. Although his films deal with politics, the director's vision is broader than any simple message and his films are primarily works of cinematic poetry, comparable to the style of Fellini and the magic realism of Gabriel Garcia Marquez. Emir Kusturica's first film Do You Remember Dolly Bell? (1981) is a bittersweet comedy set in the former Yugoslavia during the 1960s. The film, which won the Golden Lion Prize at the 1981 Venice Film Festival, is both a coming of age story and a tribute to the city of Sarajevo, long before it was devastated by civil war. To the chagrin of his strict Communist father (Slobodan Aligrudic), sixteen-year old Dino (Slavo Stimac) is more into hypnosis and self-help mantras than Marxist ideology. He recites the phrase "Every day in every way I'm getting better and better" and sings in a new band mandated by the local Eastern European bureaucracy as they relax the Communist grip and allow some influence of Western culture. If the tone and pace differ markedly from later Kusturica, we're on more familiar turf with the character and incidental detail, and an autobiographical element that cannot help but suggest the director's own first steps with music that would later lead to his involvement with the No Smoking Band and the integration of music and film that was to become a Kusturica trademark. Although considerably less boisterous than in the later films, the director's engagingly oddball humour is also in evidence and largely character based: Marbles and Dino's attempts to hypnotise a bored girl and a rabbit respectively; the short taxi ride that intermittently hurtles its occupants against the windows; Maho's brother's mournful and seemingly never-ending song about Sarajevo; the entire family simultaneously mesmerised by the water leaking through the ceiling. My favourite funny moment is a little more abstract, and occurs after Dino has beaten the youth centre warden at chess. "Every day in every way I am getting a little better," Dino says, quoting his oft-repeated mantra, to which the warden cheerfully replies, "Return my Secrets of the Occult." Do You Remember Dolly Bell? is a disarming delight, a coming-of-age story in which even the familiar elements are thoughtfully handled and given a fresh edge by the setting and offbeat character detail. Kusturica paints a picture of a community and a time that may be different from our own (and may have a tint of rose about them), but in Dino's bittersweet journey from boy to man, connects us to the characters through experiences are genuinely and touchingly universal. Those who only know Kusturica for his later work should definitely seek out this debut feature – apart from its considerable stand-alone merits, it also shows a very different side to one of modern cinema's most consistently impressive and imaginative filmmakers. If it is not quite as frenetic as Kusturica’s later films, Do You Remember Dolly Bell? is nonetheless uniquely paced and scripted and full of the director’s anarchic style and his chaotic outlook on life - both human and animal – and the constant conflict that opens up life in all its richness and possibilities. There are many such sources of conflict in Kusturica’s films – and considering the history of the Balkan region, this would be more evident in the war settings of his later films - but even filming the 1960’s from a 1980’s perspective, the unique character of the region gives rise to many other forms of struggle. Dino’s father is a committed Marxist, waiting for the country to embrace Communism, which he believes will happen in the year 2000. He even runs the household like a commune, holding family meetings to control affairs, the youngest boy writing down minutes of the proceedings. Dino however has certain ideological differences, believing in the power of the individual, a power that can be harnessed and expressed through auto-suggestion and hypnotism. The struggle to be one’s own person is shown in many other ways, from Dino’s surreptitious smoking, to his desire to be in a rock and roll band. Most of all however, and struck by a movie he has seen at the recreation club showing an exotic dancer in a foreign night club, Dino is struck by the allure of women. All of these are typical features of adolescent coming of age films, but Kusturica’s viewpoint is quite unique and poetic. Just as Dino induction into the joys of life, sex and rock and roll is expressed, in a motif that would become familiar in Kusturica films, as a literal baptism of water, the film itself frequently walks this delicate line between such delicate poetic observation and the crudeness and animalistic side of life, creating a marvellous dialectic that creates something exceptional, dynamic, eccentric and uniquely Kusturica.

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