The Great Water

Through the witty words of the original recount in the book, as said before, Voemata Goda was originally intended for children. The magic in the book, performed by young Isaac, turns the adaptation for screen into a very different matter.

The story has been already told in some other comments. I guess it's better to give more ideas on other issues that are crucial to the mise-en-scène for the work.

First of all, the absolutely perfect team work of Czechs, Macedonians, Dannish and people from some other countries who contributed to the making of this film. Their superb work is duly translated to the finished film. It's not that often that the use of sound is so chilling and perfect as it is in this film.

The children actors who take the load of the lead roles are perfect. I think somebody said before that because of the almost absence of dialogue, their "being there" in front of the cameras is enough. Really, this is misunderstanding the dramatic effort needed to convey feelings, states of mind and many other facets of the psyche, especially for a child. I should say that their work is believable, natural, engrossing and, in many moments, chilling, never cheesy or overacted. Their work reminisces of certain horrifying films related with the situation depicted here, as in Tòrzok, where the lead role lies on the back of a very young child and makes the film all the more convincing, because he ACTS the way his character is supposed to behave.

This film, as in the book, has many fictional, intimate and surreal scenes. They are committed to the screen very convincingly. The portrayal of a camp from the period it's set in, is accurate.

Maybe there are people who can vote a meager 1 to this film. It's respectable. But, objectively, after reading the comments, it is clear that some people shouldn't be allowed to have any opinion on anything if there's such a deep ignorance that makes them think that. Ignorance doesn't make reality disappear.

This is not a small film. Thank God these films are oriented to people with knowledge of contemporary history and not to the big American audiences.

The movie is the story of the little Macedonian kid Lem who fell victim to the 2nd World War by witnessing the loss of his parents. Like so many guys and girls picked from the different parts of Macedonia which was once one of the republics of the Yugoslavian Republic, Lem is brought to an orphanage house which serves as an agent of regimentation. The Socialist regime needs ambitious and well-trained guys and girls who are expected to be die-heart patriots against the Nazist and Fascist threats. Poorly aware of the Socialist training and its consequences, Kim starts to be exposed to the building blocks of socialism.His life starts to change once a mysterious boy steps into the wrecking camp. Kim's curiosity and penchant for being closer to this mysterious boy draw the two characters to chain of irreversible events. Based upon a very famous Macedonian novel, the movie is excellent in the great performance shown by the actors and actresses. The director's way of introducing the story to the viewers is so good.There is only one thing missing in the movie.That's the choice of the music for the movie.I am convinced that the director could choose better music.

Not many movies are made about WW2 that revolve around Russia's point of view, although this movie doesn't really focus much on the war itsself than it does the casualties of war and collateral damage.

Lem is an orphan who is captured by soldiers and put into an orphanage where he and many other orphans are being brainwashed to follow Communism. Being the new kid in the orphanage, he's forced to learn all of the routines that all the other kids already know.

After being there for some time, a new kid arrives by the name of Isak Keyten.

Now all of a sudden Lem doesn't feel so alone and tries his best to befriend the older boy.

The only way he could eventually befriend the boy was to ask the Commander in charge of the orphanage what happened to Isak's girl friend, who had been in the orphanage prior to Isak's arrival.

This movie does a beautiful job of showing how innocence can be lost rather quickly when children are forced to grow up fast in a hostile environment.

Zhivko Chingo wrote a children's book in the 1970s, a Yugoslavian best seller, 'Golemata voda' ('The Great Water') about the way the children of Macedonia responded to the critical changes Communism created in the country in 1945. It is stunningly brought to the screen by Ivo Trajkov as a labor of love and dedication and as an attempt to pay homage to the philosophical sensibilities of the Macedonian people in a difficult time of transition.

The film begins in the present as old Lem (Meto Jovanovski) is experiencing a heart attack and while he is being wheeled into a hospital and examined and wired, he has memory flashbacks to his childhood in 1945 when the WW II was over, Stalin was in power, and orphans were placed in 'orphanages' (re-education facilities) to learn the Communist life. Young Lem (Saso Kekenovski) was brought to the 'orphanage' when his parents were imprisoned for their anti-Stalin stance, and since he is new to the system, he must quickly adjust to the Dickens-like poor house conditions. He is befriended by his 'instructors' Ariton (Mitko Aposolovski) and Olivera (Verica Nedeska), learning how to adjust to the role of obedient brainwashing. The most influential person in Lem's life arrives in the form of young Isak (Maja Stankovska) whose girlfriend has been in the camp prior to Isak's arrival. The manner in which Lem struggles to repay Isak's kindnesses is by acting as a liaison with camp commander to find Isak's love. It is this friendship's course that serves as the tender core of this film.

The struggles quietly underplaying all of the camp surface activity are many: the dichotomy of a Communist ideology removing the Church from existence with a people dependent upon the spiritual values of religion, the Stalin/Tito issue, the adjustments to the policies of Communist regime in a country where fierce national pride had ruled, and the depersonalization of children into political pawns despite the need for role models and the luxury of growing up with friends and confidants. But it is the powerful effect of retrospect as the old Lem relives this tragic time that fills this film with luminous meaning.

This is one of the few films that has been made in Macedonia (a former portion of Yugoslavia now the Republic of Macedonia) and it is a genuinely touching, finely tuned work of art, one that depends on a large cast of non-professional child actors gathered from the Macedonian schools by Ivo Trajkov. The DVD is accompanied by a statement by Trajkov not only about the film but also about the pride of Macedonians that is enlightening and tender. Highly Recommended. Grady Harp

The Great Water represent an absolute summary of the emotional values that Macedonian literature has given us for centuries. An outstanding performance and adaptation of the novel, originally written for children. The structure of the film, unintentionally follows the smooth fabric of Zhivko Chingo's structural approach in writing, and that is something that really amazes me. This is an unbelievable rise of the Macedoian cultural sensibility in means of presenting the potential through a wider view, in a western way, but yet so familiar and authentic. I think that all movie lovers, esp. those enjoying the films of Steven Spielberg, David Lynch and Wim Wenders will love this film, since the film line has similarities to these authors, but, again it is totally authentic.