Tag Archives: Nevinost bez zastite

Body-builder showing off in 1942 and 1968

The question is whether ‘Nevinost bez zastite” (Innocence Unprotected), the documentary Dusan Makavejev (W.R.: Mysteries of the Organism; Montenegro; The Gorilla Bathes at Noon) made about/incorporating the first talkie shot in “Yugoslavian” (Serbian and Croatian use different scripts, but these inscribe the same spoken language) the 1942 ‘Nevinost bez zastite,” written, produced and directed by, and starring acrobat/bodybuilder/strongman Dragoljub Aleksic (1900-85) is one strange movie — or two strange movies intercut together.

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The 1942 melodrama has the creakiness of a particularly hokey silent-movie or Victorian play melodrama, except that the damsel in distress, Nada (Ana Milosavljevic) — on whom a rich man ((Bratoljub Gligorijević) is being pressed by a stereotypical wicked stepmother (Vera Jovanovic-Segvić) — is in love with Akrobata Aleksic, and when she speaks of his exploits, records of Aleksic’s daring feats are cut in. Hanging by his teeth from an airplane flying over Belgrade is not the most spectacular of these. (Hey! I have to leave something for the viewer to discover!)

In 1968, Aleksic remained a flamboyant exhibitionist, ready and more or less able to repeat some of his shows of strength. Other cast members (including both the female leads) gather at the grave of a departed one to picnic and reminisce. Makavejev splices in some maps of the German invasion of the Soviet Union, some WWII documentary footage, and large chunks of the 1942 movie.

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It seems that Aleksic and his brother intended to show their movie only after the war, but it did show in Belgrade during the war, which led to postwar charges of collaboration, though both were partisans (guerilla fighters against the Nazis) and even in the “right” partisan faction (the victorious communist one). Though filmed without any official permission, the theatrical release in Belgrade had at least implicit Nazi approval.

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The movie is part of a Criterion Eclipse (barebones) collection “Dusan Makavejev: Free Radical” with two earlier, also short movies shot in Tito’s Yugoslavia: “Man Is Not A Bird” (1965) and “Love Affair” (1967). “Innocence Unprotected” is like its immediate predecessor and “WR” in mixing found footage, documentary, and little narrative.

I’d actually like to know more about what people other than Aleksic thought of the 1942 movie in general and in using the (main) Yugoslavian language in particular, though I knew better than to expect any straightforward documentary from Makavejev. An idiosyncratic collage of “documentary” footage and fiction, much of the movie holds together because of the strength of ego (one completely unjustified by his film-making skill) of Dragoljub Aleksic. Aleksic is the kind of delusional larger-than-life character who would appearl to Werner Herzog, someone also more than willing to blur the fiction/documentary line.

What he shot and spliced together is only fitfully interesting, but is probably more interesting to someone more familiar with the 20th-century history and culture of the Southern Slavs (and I think that I am more familiar with these than most North Americans who are not of Southern Slav ancestry). The 1942 movie is now the first Serbian movie, I guess.

©2009, Stephen O. Murray

 

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