IMDb > Love Affair, or the Case of the Missing Switchboard Operator (1967)

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

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Release Date:
6 February 1968 (USA) See more »
After many adventures, a young female switchboard operator starts a love relationship with a serious young man... See more » | Add synopsis »
Plot Keywords:
User Reviews:
Heritage See more (5 total) »


  (in credits order)
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

Directed by
Dusan Makavejev 
Writing credits
(in alphabetical order)
Dusan Makavejev 
Branko Vucicevic 

Cinematography by
Aleksandar Petkovic 
Film Editing by
Katarina Stojanovic 
Production Design by
Vladislav Lasic 
Costume Design by
Jelisaveta Gobecki 
Makeup Department
Dragica Milivojevic .... makeup artist
Production Management
Aleksandar Krstic .... production manager
Second Unit Director or Assistant Director
Branko Vucicevic .... assistant director
Zelimir Zilnik .... assistant director
Sound Department
Dusan Aleksic .... sound
Miodrag Petrovic-Sarlo .... sound editor
Costume and Wardrobe Department
Milanka Sultanovic .... wardrobe

Production CompaniesDistributors

Additional Details

Also Known As:
"Ljubavni slucaj ili tragedija sluzbenice P.T.T." - Yugoslavia (original title)
"An Affair of the Heart" - USA (festival title)
"A Love Affair" - Belgium (English title) (alternative title)
See more »
79 min | USA:70 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Finland:K-16 | USA:TV-MA (TV rating)

Did You Know?

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 »
Movie Connections:
Featured in Zabranjeni bez zabrane (2007) (V)See more »


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1 out of 3 people found the following review useful.
Heritage, 1 July 2013
Author: chaos-rampant from Greece

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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