Film Review: Train Without a Timetable (Vlak bez voznog reda, 1959)
Veljko Bulajić is often regarded as the greatest director of Yugoslav cinema, largely due to his Oscar-nominated World War II epic, Battle of Neretva, the classic of Partisan film genre. The same filmnot only earned him accolades but also a reputation of Communist regime’s filmmaker, a label that Bulajić would strive to distance himself from in his later life. His credentials for such ambitious project were established with his directorial debut, Train Without a Timetable, epic period drama released in 1959.
The film deals with a relatively obscure yet significant chapter in the aftermath of World War II in Yugoslavia. In 1945, shortly after the end of hostilities, the newly established Communist government initiated a colonisation programme targeting individuals from so-called "passive areas," which encompassed regions like Macedonia, Montenegro, Herzegovina, and Dalmatia—areas that had been historically underdeveloped and further devastated by the conflict. Many of the colonists were Partisan veterans and their families, who were allocated extensive plots of fertile land in the Pannonian Plain, encompassing parts of modern-day eastern Croatia and northern Serbia's Vojvodina province. This demographic shift was made possible by agrarian reforms and the expulsion of the Volksdeutsche German community, and to a degree, lead to violent upheavals less than fifty years later.
The film opens in Dolac, a village nestled in the Dalmatian hinterland. Here, Lovre (played by Stole Aranđelović), an elder and Partisan veteran, convenes a meeting to inform his fellow villagers about their new land allocations in Baranja—a fertile region they have never seen. While some villagers express reluctance to abandon their ancestral homes and traditional lifestyles for an unknown future, the majority accept the government's offer and prepare to embark on their journey. Lovre is joined by his brothers: Duje (Velimir Bata Živojinović), Periša (played by Milan Milošević), and Ike (played by Olivera Marković), who is the widow of their brother who died in the war. Periša, being the youngest, along with his friend Nikolica (played by Ivica Pajer), engages with some young women on board—Zeka (played by Ljiljana Vajler) and her best friend Dana (Inge Ilin). Periša finds himself infatuated with Dana, though her father has arranged her marriage to someone already settled in Baranja. Meanwhile, Zeka has developed feelings for Nikolica, who is drawn to Ike despite her status as an older widow—a situation complicated by traditional customs.
Bulajić's directorial debut came after he honed his skills at the Centro Sperimentale di Cinematografia (CSC), prestigious film school in Rome, where he was influenced by notable figures such as Cesare Zavattini, renowned for his contributions to Italian neorealism. The stylistic elements present in Train Without a Timetable reflect this influence; it was released shortly after The Road a Year Long, an Italian-Yugoslav co-production directed by Giuseppe De Santis that shares thematic and stylistic similarities with Bulajić's work.
While the premise of impoverished villagers embarking on a journey to start anew may not seem inherently dramatic, Bulajić elevates the film’s narrative through grandiose mass scenes and extensive tracking shots. The use of Totalvision widescreen format allows for striking visual contrasts between the desolate rural landscapes of Dalmatia and the lush, promising lands awaiting the protagonists. This visual storytelling imbues the film with an epic quality that resonates throughout its nearly two-hour runtime.
The screenplay aligns closely with the ideological tenets of Communist Yugoslavia. Lovre reminds his fellow villagers that their sacrifices during the war were not solely against foreign oppressors but also aimed at securing a better future for themselves and their offspring—an ideal that the new government purportedly delivers through its resettlement plan. Despite difficulties caused by strictly personal issues, the plot concludes predictably with a happy ending. In accordance with Communist ideology, Train Without a Timetable features an ensemble cast rather than a singular protagonist, underscoring the collective over the individual.
Despite these constraints imposed by ideology, Bulajić provides ample opportunities for his actors to showcase their talents. Milan Milošević stands out as a young man grappling with his identity amidst change, while Inge Ilin portrays a woman torn between love and familial duty. Ivica Pajer delivers a compelling performance as Nikolica—a character who feels out of place in this new brave world. His fascination with machinery from his former life as a sailor leads him to contemplate abandoning his life as a farmer for careers in industry, which it describes as “the future”.
Bulajić expertly manages pacing throughout Train Without a Timetable, employing a vignette-like structure that facilitates both serious drama and moments of levity—particularly during scenes set in Zagreb where characters experience big city for the first time. This blend of humour and melodrama resonated well with audiences familiar with recent historical events.
The film's reception in Yugoslavia was overwhelmingly positive; it won several accolades including the Golden Arena at Pula Film Festival and garnered international acclaim from critics at Cannes. However, despite its initial success, Train Without a Timetable exhibits signs of age today—not merely due to its black-and-white cinematography but also because of its music score by Vladimir Kraus-Rajterić, which can feel overly melodramatic and dated
Nonetheless, Train Without a Timetable remains an intriguing study for cinephiles and historians alike. It provides insights into everyday life during harsh post-war years—details such as UNRRA food rations featuring powdered eggs and milk are depicted authentically within its narrative framework.
One particularly curious detail that may bemuse modern viewers is Nikolica’s T-shirt emblazoned with “Crystal Lake” alongside an image of a tiger. This might lead some less informed cinephiles to create incorrect connection between this film and Friday the 13th series of American horror films, made decades earlier. This garment likely originated from Crystal Lake Central High School in Illinois as part of school spirit attire but has found itself half a world away in this Yugoslav epic—a whimsical anachronism that adds an unexpected layer to its historical context.
Bulajić later explored similar themes in his 1961 epic drama Boomtown, which in that particular case, used the same approach to depict rapid post-WW2 industrialisation and urbanisation of the country. Decades later, in 1986, he directed Promised Land, a film which serves as a sort of sequel to Train Without a Timetable, portraying the life for colonists in their new environment as fraught with challenges rather than idyllic prosperity.
Despite its historical context and ideological underpinnings, Train Without a Timetable stands out as a commendable film that showcases Veljko Bulajić's considerable talent as a director. His ability to weave together personal stories against broader socio-political backdrops demonstrates both artistic skill and cultural significance within Yugoslav cinema history.
RATING: 7/10 (++)
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