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Occupation in 26 Pictures (1978)
"Okupacija u 26 slika" (original title)

 |  Drama, War  |  1978 (Yugoslavia)
7.3
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Three young men - a Croat, an Italian, and a Jew - are the best friends in pre-WW2 Dubrovnik. When their country is occupied by Nazis and their cronies, the idyllic city becomes a place of ... See full summary »

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Title: Occupation in 26 Pictures (1978)

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Cast

Cast overview, first billed only:
Frano Lasic ...
Niko
Milan Strljic ...
Toni
Tanja Poberznik ...
Ane
Boris Kralj ...
Baldo
Ivan Klemenc ...
Miho
Gordana Pavlov ...
Mara
Stevo Zigon ...
Hubicka
Bert Sotlar ...
Stijepo
Marija Kohn ...
Luce
Karlo Bulic ...
Pasko
Zvonko Lepetic ...
Gavran
Milan Erak ...
Maras
Antun Nalis ...
Paolo
Tanja Boskovic ...
Pina
Izet Hajdarhodzic ...
Dum Djivo
Edit

Storyline

Three young men - a Croat, an Italian, and a Jew - are the best friends in pre-WW2 Dubrovnik. When their country is occupied by Nazis and their cronies, the idyllic city becomes a place of terror and gruesome massacres. The friends must now take different sides in a global conflict. Written by Dragan Antulov <dragan.antulov@altbbs.fido.hr>

Plot Summary | Add Synopsis

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young | nazi | massacre | jew | italian | See All (36) »

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Drama | War

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Release Date:

1978 (Yugoslavia)  »

Also Known As:

Occupation in 26 Pictures  »

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Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Followed by Pad Italije (1981) See more »

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User Reviews

 
A malevolent piece of political propaganda
4 June 2012 | by (New York) – See all my reviews

With this film Lordan Zafranovic tried to suck up to the then-ruling communist ideology in Yugoslavia which went on demonizing their opponents from the WWII era. Yugoslav communists, lead by Tito, committed numerous and most atrocious crimes after assuming power at the end of the war. They executed uncountable prisoners and anti-communists all around the country cold blank, without trial, leaving behind themselves hundreds of mass graves. They slaughtered everyone whom they considered "on the other side", both ideologically and with respect to the side they took in the war. Especially keen they were to eliminate the catholic clergy whom they saw as a chief ideological opponent with strong influence in the Croatian ethnic corpus and hence a problem going forward. Nowdays, the massacres of catholic priests at locations in and around Dubrovnik are all too well documented. Even though kept secret and a taboo in years and decades of the communist rule in Yugolsavia, the uncounted crimes by the communists and Tito's partisans have come up to the surface - hence understandable is their endeavor to portrait and depict their opponents as "ruthless monsters", so as to hide, or at least justify, their own crimes. The decades of propaganda worked well both in Yugoslavia and abroad, as the only allowed version of the "truth" was the official one. Lordan Zafranovic figured out that the way to get to prominence was to suck up to the "higher structures" by jumping onto the bandwagon of exaggerated propaganda on how "bad" the communist opponents were. Though a Croat himself, he spared no effort to depict the Croatian WWII era nationalists and the catholic clergy as the worst of villains and bloodthirsty criminals. This film is a collection of pathetic and weakly motivated plots and scenes replete with venomous hate, yet exceedingly naive and illogical. A true piece of historically inaccurate trash, which was in its time very intensively used to brainwash new generations in Yugoslavia. All the school children were literally forced to attend projections of this film, in many ways extremely vulgar, which was being presented almost as a documentary (!), as if each and every detail in it was just mere truth and nothing else. The young Yugoslavs needed to be brought up into believing that those whom the communists exterminated, in ways quite equally as brutal as those depicted in this film, were deserving of their fate. Which was, by the way, understandable. Given the burden of their own crime, effort needed to be made to keep the fact from surfacing and being talked about, or if it ever did, at least the victim needed to be represented as deserving of its brutal fate. Lordan Zafranovic offered himself to that chore. Pity the communists ultimately lost power and he had to emigrate to live an anonymous life in Prague. After the fall of communism in Yugoslavia, when the earlier taboo topics could be researched and discussed (at least to a degree), Zafranovic's work attained a different valuation and he practically became a persona non grata in his own country. His work on this communist propaganda film is utterly shameful.


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