Film Review: Slavica (1947)

Official truths and popular perception often run contrary to historical facts. History of Yugoslav cinema is not an exception. Slavica, 1947 war epic written and directed by Vjekoslav Afrić was, for decades, erroneously considered first feature film in history of Yugoslav cinema and the first work of the specifically Yugoslav genre known as “Partisan film”.

Depending on various criteria, there are number of other films that have better claim to the title of “first Yugoslav feature film” than Slavica. Apart from early silent films from 1910s or 1920s that were completely or partially lost, the earliest preserved work that might fit description is Slovenian 1931 silent film In the Realm of Goldhorn. Another candidate, if the sound is taken as necessary criteria, is Innocence Unprotected, made in 1943 Nazi-occupied Serbia by Dragoljub Aleksić. First “proper” sound feature film is Lisinski, 1944 biopic made in pro-Nazi Independent State of Croatia. After restoration of Yugoslavia under Communists, first feature film made was 1946 war epic In the Mountains of Yugoslavia, but, being Soviet co-production made with Russian actors playing local characters, that film soon became “memory holed” following Tito-Stalin. That left Slavica as the only convenient and proper film to be considered the first under circumstances.

The plot is set on Dalmatian coast and begins in small town shortly before the start of the Second World War. Slavica (played by Irena Kolesar) is young and beautiful sardine factory worker who is in love with young and rebellious fisherman Marin (played by Marijan Lovrić). The town is dominated by rich and arrogant industrialists who exploit impoverished fishermen. Some of them decided to create co-operative and pool resources in order to build their own fishing boat which is named after Slavica. In 1941 Axis powers invade Yugoslavia and Italian fascists occupy town. While local elite cooperate with occupiers, fishermen are resentful and, when ordered to give their boat to Italian military, they instead decide to hide it. Infuriated Italians arrest them and threaten execution if they don’t give the boat. They refuse, but in the last minute get rescued by small band of Partisans led by Communist activist Ive Marušić (played by Ljubiša Jovanović). Slavica and Marin join Partisans and, later, use fishing boat to help Partisan force and refugees escape enemy encirclement via sea. Partisans arm boat and use it as part of their navy. When Italy capitulates, Slavica takes part in evacuation of people in front of advancing German forces. In 1944, shortly before Dalmatian city of Split and the rest of region is liberated, Slavica takes part in engagement with German gunboats that would end in victory, but claim Slavica’s life.

Somewhat paradoxically, Slavica could be characterised as extremely artificial-looking and unusually authentic at the same time. Its artificiality stems partly because of Afrić’s script that conforms to the needs of Communist propaganda and principles of Socialist Realism. Characters in the film and their alignment depends on their socioeconomic status – the rich capitalists are evil, while the impoverished workers and peasants are good, and the fight against fascism is just a natural continuation of pre-war class struggle. Another major issue is in Vjekoslav Afrić coming from the world of theatre. Unlike Oktavijan Miletić who before making Lisinski three years earlier has spent years honing his film making skills through shorts, Afrić had first such experiences as an actor in In the Mountains of Yugoslavia. Those definitely weren’t enough and to say that Slavica is poorly directed would be an understatement. The main issue is theatricality that at times, at least from modern perspective, looks almost self-parodic, with cast relying on stage style of acting, apparently unaware of being in front of camera. Even the make up looks more fitting for stage than film, an issue that becomes annoying with closeups.

On the other hand, Afrić was born on Dalmatian island of Brač and, as such, he was quite familiar with setting, making sure that some details of Dalmatian life, including props, costumes and local dialects, look authentic. Further layer of authenticity was provided by Afrić’s own wartime. In 1942 he escaped Ustasha-controled Zagreb and joined Partisans, becoming founder of People’s Liberation Theatre, troupe that included many future notable names of theatre, film and television. One of those was Irena Kolesar, young actress who, by her own words, didn’t feel that she was acting and instead, like many of her colleagues, relived her own Partisan experiences. Slavica, despite all the limitations in style and content, became enormous hit in Yugoslav cinemas and, among other things, also made “Slavica” a popular female name in the country. Irena Kolesar became first Yugoslav film star, later becoming one of the most respected names in theatre.

Another layer of authenticity is provided by composer Silvije Bombardelli, which based his soundtrack on combination local folk songs, popular military marches and even some fascist songs that are used as leitmotif in certain tense scenes. Probably the most interesting detail is the scene where the decadence of pre-war capitalist elite is illustrated with scene of Lambet Walk dance accompanied with recognisable late 1930s tune. While production of the film was under the shadow of post-war poverty and logistical problems, with actors being paid in food stamps instead of money and Afrić having a single working camera at his disposal, Slavica enjoyed full cooperation of Yugoslav military, including Yugoslav Navy which provided vessels for final battle scene - which, thanks to Afrić’s inept direction, looks too confusing and melodramatic. Slavica, all things considered, isn’t bad film per se, but the viewers most likely to appreciate it are those interested in particular chapters of history rather than those interested in quality cinema in general.

RATING: 5/10 (++)

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