Tri

Tri (Three)- Yugoslavia 1965

This is a miscellaneous movie in the list.

Tri. Three. Which may even be a play, because this was voted number 4 by Serbian's as the 4th best Yugoslavian movie.

At first the movie raised many questions. I tried watching this movie without knowing any of the plot. Not even reading the IMDb synopsis. So my main question was "Is this movie three scenes?" No, it is actually the films theme, through three depictions/perspectives.

The film can be hard to follow for modern generation film watchers because of the combination of silence and black and white on film. But this only amplifies the film experience for those who can stay awake. The film in Serbian has very brief sentences that are hard to read subtitles. But soon it adds to the film experience. The movie theme is death and it is hard to understand whether we should sympathize, empathize, or really, what emotion we should think of when the deaths of the movie occur.

SilverRating: 7/10

A great movie, slow at times, but with reason. Without exaggeration it depicts the anxiety of the mass in the first, the loneliness in the second, and the dilemma in the third story.

Bata Živojinović shows great quality here, adapting his performance not only to his character, but also to the situations he is in. However, in the first story, the attention is stolen by the great Slobodan Perović, one of the few actors able to produce true emotions even from such short appearances.

Aleksandar Petrović is the only Yugoslav/Serbian director whose movie was nominated twice for Oscar. And it may be interesting to notice that the light-motive of his other movie, "Skupljači perja", the song "Djelem djelem", also appears in this one.

I've searched for many years for a good Yugoslavia movie. Seen many but they are mostly mediocre. It's so good that I wonder how I found this just now. Its quality definitely is right up there with the likes of Valter Brani Sarajevo, Most and Otpisani. The suspense, the way the camera reflects the emotions of the characters without long and boring dialogue, and the novelties of the stories are truly gripping. The callousness of soldiers treating human lives, the resignation of the captives for their fate, and the chemistry between a man and a woman are so real that they beat the usual scenes of dozens if not hundreds of partisan holding their machine guns killing puppet-like German soldiers by a mile.