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Love Affair, or the Case of the Missing Switchboard Operator (1967)
"Ljubavni slucaj ili tragedija sluzbenice P.T.T." (original title)

 -  Drama  -  6 February 1968 (USA)
7.4
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Ratings: 7.4/10 from 796 users  
Reviews: 5 user | 25 critic

After many adventures, a young female switchboard operator starts a love relationship with a serious young man. But while he's away on business, she gets lonely and succumbs to her ... See full summary »

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Title: Love Affair, or the Case of the Missing Switchboard Operator (1967)

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Cast

Cast overview:
Eva Ras ...
Izabela, telefonistkinja
Slobodan Aligrudic ...
Ahmed, sanitarni inspektor
Ruzica Sokic ...
Ruza, Izabelina koleginica
Miodrag Andric ...
Mica, postar i zavodnik
Aleksander Kostic ...
Ekspert za seksualna pitanja (as Dr Aleksandat Dj Kostic)
Zivojin Aleksic ...
Ekspert za kriminalistiku (as Dr Zivojin L Aleksic)
Dragan Obradovic ...
Obducent (as Dr Dragan Obradovic)
Rade Ljubisavljevic ...
Vodoinstalater
Aca Tadic ...
Jorgandzija
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Storyline

After many adventures, a young female switchboard operator starts a love relationship with a serious young man. But while he's away on business, she gets lonely and succumbs to her colleague's passes. When the boyfriend returns, he gets into a fight with the impregnated girl which will end up tragically. Written by nixona

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

TV-MA | See all certifications »
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Details

Country:

Language:

Release Date:

6 February 1968 (USA)  »

Also Known As:

An Affair of the Heart  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

The film was initially refused a UK certificate by the BBFC owing to shots of pubic hair, though the distributor himself partly ruined its chances by ignoring the film's creative aspects and instead telling censor John Trevelyan "I am sending you a film with a few tits in it. I don't think much of it but I can sell it to the sex theaters". It was eventually passed with minor cuts in 1969 and released fully uncut on video in 1996. See more »

Connections

Referenced in Rupa u dusi (1994) See more »

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User Reviews

 
Heritage
1 July 2013 | by (Greece) – See all my reviews

Film for me is a matter of apprehension, of temporal experience of who you are relative to what is playing before you. So I don't care about a historicist or cinematic scholarly approach to films, in that film (and history) by itself is nothing, a carved artifact. This is my way of saying that there are probably several reasons to find this interesting, as token of 60s Yugoslav mores and 60s New Wave, admire the technique, which is wonderful in its freedom and placing. But for me, none of that matters when it doesn't enliven me.

A sexologist opens the film by humorously explaining the hidden omnipresence of sex in all we do, establishing the essence of the film as something to be secretly whispered and discovered.

The film follows a relationship between a rat exterminator and a blonde switchboard operator around Belgrade, the ups and downs. Salad days, captured with deliberate languidness. Eventually, there is betrayal and tragedy.

The point seems to be, contrasted levels of apprehension: everyday life in the affair in its dullness, small joy and unpredictability, with the system that frames that life as story, attempting to explain: 'experts' lecture on various topics, polemic footage of revolution play in ironic celebration, histories are recounted in voice-over. But you'll note, for instance, that the sexologist makes up nearly everything he says: Rembrandt did not paint sex, Mesopotamian priests did not sit ontop of a phallic column for days. The same fabrication then extends in the footage of joyous communist parades, a similarly subversive ploy is found in the silent Mr. West in the Land of the Bolsheviks.

But it's a weird, incongruent alignment of cycles that fails and fails to build for an hour. One hour felt like two. A big reason seems to be that this sort of bare observation was fresh at the time, but overly familiar now so all the vitality has been zapped out.

It just wastes what could have been a tremendously powerful last scene, where so much of what we see could be toyed with as different levels of involved understanding: a murder has been set up early in the film, but we don't know it's going to feature in the story, the different levels are that suddenly we are aware of what's coming (the murder), unexpectedly what we find out (that it was an accident), and what were the human emotional dynamics (regret and despair, not hate). Imagine the richness..


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