Covek nije tica

As a matter of pure pleasure, a measurement held dear by this auteur, this might compete with the great "WR: Mysteries of the Organism" as my favorite of Machevejev's movies. It's probably not the writer- director's second greatest work, but, with it's movingly alive, yet unflattering depiction of a communist- Yugoslavia mining town, it particularly moved me. The film's critique of Yugoslavian communism: profoundly, but predictably disappointing, yet just barely worthy of affirmation, seemed to me a brilliant description of life itself.

Machevejev may well be the most affirmationally erotic artist in the cinematic canon. Human touch always affirms life, for the better or worse of the subsequently affirmed. Here, all involved turn out okay: they get to continue to enjoy the spectacle that is the socialist circus of life. (For me, Machevejev's affirmation of the existential circus seems much more sincere than that of, say, Fellini.)

The guy behind this is clearly a talented man, this is the first of his stuff I see but it's an acquaintance I'm happy to make. It's a Yugoslav Breathless of sorts, or better yet the Czech film Loves of a Blonde which came out the same year, except instead of scenic Paris this unfolds in dour Belgrade, it has actual blood running in its veins instead of just poise, and instead of a boyhood fantasy about movies and movie icons, it locks the story in all sorts of other self-referential illusion.

The hypnotist who explains to an audience about the power of superstition and illusory belief, a great viewing template that sets up everything else as objectively unreal yet present in the willing viewer. The pompous ceremony where a superintendent is awarded by the communist powers that be before an audience of bored factory workers, some of whom may have even turned up to watch the film. The closing scene with the circus of very real absurdities.

So this is the journey here, from cinematic hypnotizing to slightly less (or more) real situations through what palpable desires these may unlock.

It's all centered in a relationship between a blonde hairdresser and a middle-aged superintendent of an energy project. The desires being to trust a lover, to complete a work even as you wonder why, to have dreams survive. I like that it is primarily visual and freeform, while being vital instead of just an artifact of technique; the less you think you have to say, the less of your own self obscures the possibilities of what is before you.

It isn't great, but it is among the most accomplished debuts of New Wave. Now I set my eyes on later works by this guy.

Dušan Makavejev's directorial debut looks at the lives of some people in a mining town. I interpreted "Čovek nije tica" ("Man Is Not a Bird" in English) as a satire on Yugoslavian society. Yugoslavia was initially part of the Eastern Bloc, but Tito's disagreements with Stalin led to its expulsion from the alliance. Nevertheless, Eastern Bloc-style policies remained in place. The wealth stayed concentrated among the party, while most people worked dangerous jobs. It may have been easier for people in the US and Western Europe to go to Yugoslavia than to the rest of Eastern Europe, but to its citizens it was little different from the Soviet bloc. And the hypnosis scenes? It might evoke abstract hypnosis, or convincing people of something that isn't true: both the Eastern and Western blocs tried to pass themselves off as defenders of freedom, even as both did unethical things. To be certain, the open-pit mine looks like the sort of thing that one would find in West Virginia.

I found it to be a good movie. I now hope to see Makavejev's other movies.

(1965) Man Is Not A Bird/ Covek nije tica (In Serbo-Croatian with English subtitles) SOCIAL COMMENTARY/ DRAMA/ NEOREALIST

Made in Yugoslavia, written and directed by Dusan Makavejev centering on a small community which much of the employment produces several types of medal from lead to iron to copper. An elder gentleman comes by for the purpose of improving productivity by installing machinery that can cut the company's costs. Apparently, this old gentleman is an engineer, and during his stay strikes a physical relationship with a 22 year old lady who happens to be the daughter of the landlords whose renting to him. The movie appears to be plot less showcasing the actors actions with many actual locations but engrossing nevertheless. There's also a hypnotist who appears at the beginning and then toward somewhere near the end which theirs supposed to be a direct correlation between that and the workers.

In Dusan Makavejev's somewhat brilliant debut feature, he does not go full on crazy like he does in some of his later works; however, sprinkles of such insanity can be found all throughout this charming, tragic, funny, and wild romance. Combining various elements that range from the comic to the dramatic and the gritty to the surreal, "Man Is Not a Bird" functions primarily as a tribute to the common, everyday working man, as well as an unconventional love story focusing on an unlikely couple's stunningly sensual transgenerational relationship. These two portraits of society merge into a single small scale epic tragicomedy, one that sparkles with emotion and delight. Although a bit slow at first, by the second half of this movie I was mostly hooked. The Beethoven concert scene is moving, both in its camera-work and emotional intensity, and within the last ten or so minutes Makavejev really seems to go bonkers. Playing with and crossing the boundaries of everyday occurrences and fantastical, almost Felliniesque moments of mild fantasy, Makavejev begins to really blur the line between tragedy and comedy; the film's final moments work as both masterworks painted with both tears and laughter.