SEJTANOV Warrior (2006)
Friday, May 6, 2011
Radovan Vujovic Stasa Koprivica
This is the context in which it occurs SEJTANOV Warrior - a title that tries to revive the category nepretencioznog repertoire cinema - and immediately was proclaimed savior of Serbian cinematography, count coup after which nothing will be the same, insufficient compliance. The film gets a fascinating critique of the most prominent Serbian pen: the heavens he lifted Milan Vlajčić, Dubravka Lakic, Dimitri Vojnov, Sasa Radojevic, Milos Tomin, Theophilus Pancic (the latter does so wrapped, as he himself appears for five seconds in the movie!) and others. As the creators ŠEJTANI probably more importantly, the audience reacts extremely positive: the projections are sold out, tickets are required, the dialogues from the film to retell, internet forums are full of fans ... 
And then the movie quietly attaches representatives of the above three options: home movie mejdžori who can not stand someone who has come 'from nowhere' (read: outside common kindred-lover-pajtaških channels prosvrdlanih the rotten fabric of Serbian film), and who is ahead by a 'written off', gain more panegyrics from all 'their' films made in the last few years together! The film is pushed into the small hall, the cinema side, it reduces the number of screenings, advertising on TV is hardly-existing, and the arrival nabudženih 'hits' like the Da Vinci Code definitely (?) Pushes the back burner or a film that initially was not in any way favored. 
However, the commercial fate of this movie is just part of his complex phenomenon, no mater how the story with his cinematic exploitation completed, it will be important to ask how much for his overall balance responsible ŠEJTANI (lack of) quality, and how 'Šejtani' pulling the strings of Serbian cinema. While this aspect of the story does not clear up, say that the artistic achievements of this creation. 
SEJTANOV Warrior, at least in the narrative and ideological terms, utterly unpretentious achievement, which no director Stevan Filipovic fails to highlight any one of the rare interviews and promotional materials. If we add the fact that it is a fruit of love of a few geeks, who have for years, since his juvenile days, raduckali on this sočinjeniju, arms by critics as further related. How to criticize a film that is not naumljen for 'serious' analysis, but for a little fun in the dark zabuđavelih remaining Serbian cinema? How to find dramaturgical and directorial mistakes in what was made from a stick and string and lots of enthusiasm? Task is difficult but not impossible. When we look at ŠEJTANI in light of his ambitions. 
core of the plot concerns the ancient evil, embodied in the Arab demon who wakes cvikeras-Mudrijas Stanley, in order to avenge his peers ridicule him and the company avoided. Elements of the slasher horror have been woven into the warp, which is essentially organized according to customs of teen comedy, with spices in the form of historical, action, fantastic, satiric and romantic sequences. True, posters and promotional materials are designed on the model of fantasy films, a la Harry Potter and Lord of the Rings, while the film itself looks initially as low-budget teen horror-comedy from the eighties, such as, for example. NIGHT OF THE CREEPS. 
It took a lot of courage (rash?) to be loaded into the plot of all these factors (and crazy professor of Latin, and Zain, and Milos Obrenovic, and a mysterious old-guards, and the ghosts of old lovers, and the entry of Turks in Constantinople, and fencing, and toss with one end of the room, and complicated masks and special visual effects, and Bora Corba and Teofob Pancic, and turbo-folk, and diesel, and politically correct theater performance, and the vampire party, and reality-TV reports and a hundred wonders of pride), but the final product is closer to the uncontrolled hodgepodge rather than a coherent film genre.
Uniformity of tone was thrown through the window, and the film rather clumsily bouncing between horror, fantasy, humor on the first ball, infantile 'satire', suspense, parodies, etc.. Young authors are piled all the things you love in a movie, it confused with a number of very local (Belgrade) and private (pupil) fittings, and the result of deliverance before the audience, and they did not clear up the basic genre and narrative settings of his work.
First of all, I Sheitan warrior is not defined: how it works, what are its powers, which is subordinate to the laws? At first it seems that it occurs like a ghost from the bottle, you call him, and then (perhaps?) disappears when you perform your task. In the later part of the film turns out to be there and neprizvan, or to act at will. The whole relationship between him and the (overly karikiranog) Stanislav undefined because of these basic unspecified situation. 
Then, integration is 'myth' and the introduction of fiction in the 'realist', contemporary depict modus operandi was performed unconvincingly, and noticeable movie oscillates between the banal and everyday-centuries-mythical, not managing to merge them properly, or to adequately justify the quip about Karadjordje (why really on?) as a fighter against Shaitan. The fact that all major and minor 'characters' stereotypes actually only partly be justified by genre givens; impersonal and problematic character 'main' character (which is roughly mocking and Stanislav potlačenoj a girl), do not conditioned by the genre, but merely the result of inexperience writer-director.
As for the directing and editing, and there is some uncertainty, especially in a bad rhythm of certain scenes (such as dialog, and the fight scenes, which are particularly weak). In short, the only aspect that is at the level of the world to achieve this (ie, low-budget) are the effects of the mask, and visual effects, which usually 'drink water'. Unfortunately, since the scenario is too infantile even for this kind of film, and is further burdened by the local (historical and contemporary) allusions, that is 'fresh' only set against the Serbian stale 'cinema', ŠEJTANI the world framework can hardly achieve greater impact, except as an exotic spice from obscure countries.
As national framework is concerned, it is an interesting excess, an indicator that something relatively fresh can occur
note: Yesterday I announced that they are available to interested last copies of my book in the hills, Horror , the Serbian horrors and hororoidima. it is processed and this film, but much more: this is not an excerpt from the book, but criticism written for low PRESSING ...
Milos Tanasković 
Vladimir Tešović
Vladimir Tešović Petar Bozovic Vujadin Milosevic
Ghoul rating:
**(*) 2 +
Satan took the joke: Serbian film has become a 'genre' of which most Serbs flee as Satan of the cross. And when foreign audiences fleeing from domestic films, it is a sign that something is deeply wrong. Serbian film turned into a wooden gazebo for decades behind the vintage cinematic events in the rest of the world, that with the incestuous self-sufficiency samorazmnožava blindly crossing long prežvakane motifs, characters and actions that are not interested in anyone, either side or in Serbia.
Serbian film today at the borders between autism (Trapavi attempts nekomunikativnog umetničarenja, from KISS to KROJAČ secret), opportunism (cringe foreign producers, and festivals, ranging from the Coast Paskaljevic and one to many attempts vulgarnijih 'scraping' by lying and Ljubisa) and poorly understood populism (from the zone and IVKOVI SLAVE to the MI NISMO ANGELS 2). In this rastrzanosti, financially (and no other), the success recorded only local orgy of primitivism and the peasantry listed under the category of populism. 
This is the context in which it occurs SEJTANOV Warrior - a title that tries to revive the category nepretencioznog repertoire cinema - and immediately was proclaimed savior of Serbian cinematography, count coup after which nothing will be the same, insufficient compliance. The film gets a fascinating critique of the most prominent Serbian pen: the heavens he lifted Milan Vlajčić, Dubravka Lakic, Dimitri Vojnov, Sasa Radojevic, Milos Tomin, Theophilus Pancic (the latter does so wrapped, as he himself appears for five seconds in the movie!) and others. As the creators ŠEJTANI probably more importantly, the audience reacts extremely positive: the projections are sold out, tickets are required, the dialogues from the film to retell, internet forums are full of fans ...
First of all, I Sheitan warrior is not defined: how it works, what are its powers, which is subordinate to the laws? At first it seems that it occurs like a ghost from the bottle, you call him, and then (perhaps?) disappears when you perform your task. In the later part of the film turns out to be there and neprizvan, or to act at will. The whole relationship between him and the (overly karikiranog) Stanislav undefined because of these basic unspecified situation.
and outside well-worn paths are Serbian filmotvorstva - and whether it can survive and , and rooted, and provide some new, less derivative fruit - will show time. And someone very close to the time, because the patient (Serbian film) is already one foot in the grave, and no substantial transfusion of new energy there is little hope for recovery.
PS: As you can see, at a time when the movie came out I was almost alone among critics, who abstained in the middle of almost universal enthusiasms Satan. History, however, showed that the ghoulov court - at the time considered very strict - he was, as always, a realistic and objective.
note: Yesterday I announced that they are available to interested
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