REVIEW: Narodni heroj Ljiljan Vidić (2015) January 20, 2016Posted by Dragan Antulov in Film Reviews.
NARODNI HEROJ LJILJAN VIDIĆ
A Film Review
Copyright Dragan Antulov 2016
If British author L.P. Hartley had lived in today’s Croatia he wouldn’t have said that the past was a foreign country. Instead he would describe the past as the colonial overlord. While there are various parts of the world where the past, often very distant, has a commanding hold over peoples’ presents and futures, in Croatia such past tends to revolve around relatively brief four years of World War Two. Like in many other East European countries, this historical event was a nasty affair, marked by unprecedented destruction and wholesale butchery, most of it committed by Croatians at the expense of other Croatians. While many in present Croatia, including official political and cultural establishment, claim that this tragic episode is buried in pages of national history, it regularly rears its ugly head during elections when two major parties mobilise their voters not on the basis of ideology or policy differences but almost exclusively on the basis whether their ancestors fought on the side of fascist Ustashas or Communist-dominated Yugoslav Partisans.
This frustrating state of affairs haven’t been properly addressed by Croatian filmmakers, at least in post-independence Croatia (unlike Yugoslav days, when, even under the ideological and genre limitation of so-called “Partisan films”, there used to be something of a more critical approach towards WW2). One of the rare filmmakers brave enough to tackle this taboo was Ivan Goran Vitez, whose latest film Narodni heroj Ljiljan Vidić (“People’s hero Ljiljan Vidić” in English) deals with those issues in the form of a comedy.
The protagonist, played by Kristian Jaić, is a young man who lives in small Croatian village during WW2, being frustrated by poverty, small-mindedness of his fellow inhabitants and Nazi-backed regime of Independent State of Croatia (NDH). He finds solace in writing poetry and dreams of following the example of Vladimir Nazor and Ivan Goran Kovačić, great Croatian poets who joined the Partisans. Before he joins them, he is captured by Serb Chetniks, but the rescue comes in the form of small Partisan group led by Struja (played by Stojan Matavulj). He joins them and takes part in raid against radio-station which goes terribly wrong, resulting in Struja’s death and few survivors, including Ljiljan, having to hide in Zagreb. There they stumble into unique opportunity to end the war by taking part in talent show whose winners will have the honour of performing in front of Ante Pavelić (played by Dražen Čuček), Poglavnik (“the leader”) of NDH, and whose “surprise” guest at this event might be his main ally Adolf Hitler (played by Dražen Kühn).
Narodni heroj Ljiljan Vidić had something that could be described as success at Croatian box-office. Among the critics, not so much. This is hardly surprising, because it is far from the films Croatian critics tend to like. In other words, it is unlikely to score success at “serious” festivals being in the wrong genre (comedy) and dealing with the wrong war (WW2 instead of those that followed dissolution of Yugoslavia). Some of the criticism had somewhat better foundation. Ljiljan Vidić isn’t very good film. Director Ivan-Goran Vitez is relatively inexperienced and this shows, just like in the case of his previous film Šuma summarum (aka Forest Creatures), a not very coherent genre mix of serious thriller, sureal comedy and satire of dog-eat-dog capitalism in post-communist countries. Vitez mostly relies on the skills of his screenwriter Zoran Lazić, with whom he worked on Zakon!, short-lived television comedy show nowadays best known for being censored due to its acidic humour being too inappropriate for gentle tastes of public television viewers. Lazić provided film with relatively coherent plot structure, inspired by classic Bildungsromans and divided into chapters. Some of the more hostile critics accused Lazić and Vitez of borrowing too much from Quentin Tarantino and his Inglorious Basterds. The film actually leans more on the works of Zucker-Abrahams-Zucker, using their style of often absurd and sureal humour and replaying the technique of bombarding viewers with series of short gags of which some work and some don’t.
For the audience in Croatia (and most of ex-Yugoslavia) gags in Ljiljan Vidić might work, but for viewers unfamiliar with this region’s troubled history most of them would be incomprehensible. Vitez and Lazić not only mock some of the famous and infamous historic personalities from the past; they also try to deal with Croatian present with some of scenes trying to imagine how would modern day shopping malls, ATMs or reality television shows would look under fascist regime and with 1940s levels of technology. Some of the critics might attack some of the gags as politically incorrect, too crude and insensitive, especially among those who don’t look kindly towards comparisons between European Union and Hitler’s New Order. Neither would modern-day Croatian hipsters like the way their 1940s equivalent are portrayed in this film. At times, Lazić and Vitez lose inspiration and crude humour is replaced with unnecessarily graphic violence. Some of the jokes overstay their welcome, and one of the example is reimagining Yugoslav Communist leader Tito (played by Dragan Despot) as some sort of self-help guru.The director himself tried to justify some of those shortcomings in one of the interviews. He claimed that he had waited for a chance for new feature film so much that, once he got it, he used opportunity to fill into it as much content as possible.
Despite varying levels of humour and style, Narodni heroj Ljiljan Vidić nevertheless works. This is partly due to relatively unknown but very good cast. Jaić, whose looks resemble young Peter Sellers, is playing naive but well-meaning young man is such way to provides some sort of moral anchor for viewers who would otherwise detest his violent comrades. Tena Jeić Gajski, who looks very much like Hayley Atwell in Agent Carter, is also very effective as comical version of Partisan femme fatale. The film ends somewhat abruptly, but this doesn’t have to be a bad thing. In it, unlike the real life, the history it had mocked has ended.