Promets-moi

I don't know why some guys from US, Georgia or even from Bulgaria have the courage to express feelings about something they don't understand at all. For those who did not watch this movie - watch it. Don't expect too much or don't put some frameworks just because this is Kosturica. Watch the movie without prejudice, try to understand the whole humor inside - people of Serbia DID actually getting married while Bil Clinton bomb their villages, gypsies in all Balkans are ALWAYS try to f*ck you up in any way they can, LOVE is always unexpected, pure and colorful, and Balkans are extremely creative. For those who claims this is a bad movie I can see only that the American's sh*t (like Meet Dave, Get Smart etc) are much much worse than a pure, frank Balkan humoristic love story movie as Promise me. The comment should be useful and on second place should represent the personal view of the writer. I think the movie is great and people watch it must give their respects to the director and story told inside. It is simple, but true. It is brutal, but gentle and makes you laugh to dead.

It's very sad to see a director that gave us masterpieces like Time of the Gypsies and Underground and that was once considered a master of Cinema, fall so low, presenting Zavet as a film of his own. To those who know Kusturica's pre new-millennium work, is almost unbelievable that Zavet is directed by the same person. It looks like a Kusturica's fan film. Yes, the themes are similar to those of his earlier film(even if much more reactionary...) but all the genius is gone. The question that comes to mind is: is Kusturica on his right mind or has he (unfortunately...) gone nuts? Zavet has a preposterous script, bad taste humor and all the maniac energy, always present on a Kusturica film, is wasted on bullshit. It seems he tried to incorporate elements from Fellini, Jeunet and Tarkovsky's Andrey Rublyov but the result is null. Nothing makes any sense artistically. It's no wonder that, since 2007, Kusturica didn't direct another feature (his doc Maradona by Kusturica is also bad...). Zavet may be watchable for those less demanding but it's a complete waste of time to the serious film lover.

Kusturika made it again. Another masterpiece. A coral comedy full of his own landmarks, with a frenetic rhythm and many glorious moments, we laughed and laughed, what a party! The music is everywhere, and also the shooting, the animals, the crazy bastards, sex and amazing gadgets and inventions, everything colorfully visual to entertain only. Pure cinema in essence. A wonderful experience to watch. And one is specially grateful since good comedies are so rare, and so wonderful. Well, this is one, and if you enjoyed Kusturica's previous films, you'll love this, although, as in all comedies, it is about a chemical reaction, and you have to be in the mood for it.

I gave this film 8 out of 10, reserving 10 for e.g Amadeus, and 9 for Slumdog Millionaire most recently. This film is close to Slumdog, but it is difficult to judge on such film without understanding Balkan life, mentality and a soul which Kusturica presents masterfully. To understand it you really need to be one of Balkan. This is an amazing movie, much better and more contemporary of his previous films, which are boring at this time, I think Kusturica is moving forward with this movie. I like humour (Balkan humour), photography is an art itself, each scene is artistic to the limit. Plot is probably a fairy tale , don't recall it now, but remember reading to my daughter-going-to sleep a similar story.

For those of you who are not aware with the theme that Kusturica continues to explore intermittently in his films--the Western assault on traditional Serbian values--it will be impossible for you to understand his narratives. This continuous theme, expressed through fantasy and outrageous comedy as its vehicle, is one that Kusturica has elected to mandate. Since his fantastic work and Magnum Opus 'Underground', Kusturica's films' 'Black Cat White Cat', 'Life is a Miracle', and recently with 'Promise Me This', his slapstick, carnivalistic style underscores the 'westernization' of Balkan culture, its ambivalent arrival and assault on the traditional idiom. In the case of 'Promise Me This', the paradoxical world of city (urban space) and village (traditional idiom) space are contrasted. The world of the city reflects western attributes that have ensconced the spatial and temporal setting; organized crime, sexual exploitation, a ruptured sense of identity and vehement disregard for traditional values--as expressed toward the young kid--villager. The end of the film further exemplifies this notion as we observe a funeral mass and wedding on a one-way dirt road. They are on a collision coarse; appropriately, the wedding, which represents the lifeline and pulse of the village, i.e. traditional values, are about to collide with the funeral mourners, exemplifying the death of tradition within this context. Yet Kusturica brilliantly examines this theme through his own unique, stylistic singularity. With his outrageous and flamboyant style serving as a vehicle in its portrayal.