A love romance between older, respectable engineer that came in the industrial town to do some expert job and young hairdresser in whose house he stayed in and the consequences of that ... See full summary »
After many adventures, 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 »
Tomislav is a former Partizan who continues his struggle after the war as a dedicated member of Tito's secret police. He meets and falls in love with a ballet dancer from a bourgeois family... See full summary »
The Master and Margaret (1972) is based on the eponymous book by Mikhail A. Bulgakov. The film is set in the Soviet Union under Stalin, it has several story-lines, that are intertwined. ... See full summary »
Experimental anthology film consisting of nine segments - Contrasts, The Janitor, The Plumber, Another Wet Dream, The Happy Necrophiliacs, On a Sunday Afternoon, A Face, Politfuck, Flames - all focused on 70s sex, love and politics.
Official music video about Montenegro, that feature most famous actors and models in ex Yugoslavia, during early 90's; song's author and performer is the one of the most popular musicians in ex Yugoslavia: Bajaga.
Momcilo 'Bajaga' Bajagic,
Inspired by Karl Marx's "Das Kapital", three men and a girl named Jugoslava decide to wake up the conscience within the working class and peasants. Faced with the primitivism and a lack of ... See full summary »
Marilyn Jordan is a bored housewife in Sweden who is liberated (sexually and otherwise) by her relationship with a group of gregarious Yugoslavs. Based on a true story. Written by
Stewart M. Clamen <firstname.lastname@example.org>
On its original USA release, this film was cut by seconds to avoid receiving an "X" rating from the MPAA. This "R"-rated version was also soon seen on home video and premium cable in that country, but in more recent years the uncensored original has turned up on both as "unrated." See more »
The Madness of Civility Seeks Grounding in the Primal
Others who have commented on 'Montenegro' seem to miss the film's point. Yes, it is a black comedy; no, it's not nihilistic. The characters do not behave in incomprehensible ways - they behave in ways alien to our Western acculturation & our snobby "everybody must do nice-nice to each other" civility. 'Montenegro' takes effete, overbaked, hypersophisticated, irrelevant Western sensibilities & turns them smack on their pointed little heads.
American Marliyn Jordan (Susan Anspach in a tour de force performance) lives in Sweden with her Swedish husband. Marilyn is not, as other commentators have misapprehended, a bored, psychotic housewife - she's a woman who, in her overbaked Western milieu of mind-blenching affluence, oversensitive men & women, diplomatic euphemism, & arcane, costly, "necessary", psychobabble (brilliantly depicted, & sent up, in the analysis scene), has lost touch with all that's primal, urgent, & vital in herself.
Already whacked out from living in her gilded, padded, safe-till-she's-numbed life, Jordan impulsively hooks up with a completely primal, totally up front & no bones about it, caveman & club bunch of howling, lusty Montenegrans. Once she's with them things happen very differently from the way they failed to happen in her previous ersatz saccharine-junkie life.
Jordan is in for keeps with people who play for keeps. Lust, blood, sex, ooze, vendettas, vengeance - all the primal, classical, down-deep-in-human-nature emotions & their instantaneous acting-out - are how things are for Jordan now in Montenegro. The suddenness, violence, & clarity of emotion & action repulses us because we're so used to warning labels on everything from cigarette lighters & child safety seats, & from self-esteem minuets in schools to language prohibitions in our workplaces. All that's out the window in 'Montenegro' with Marilyn Jordan fast losing her melancholia & madness, & rushing headlong into shameless, unbridled lust, man-baiting, cat-fighting, & knock-down (with that caveman club!) & drag out sex.
Watching 'Montenegro' we Westerners are intrigued, repelled, fascinated, revolted - but we can't turn away from the fluids & furze, the basal & nasal sensation, the genitals-out-in-the-winds-of-Fate abandon, & the cathartic, orgasmic, lethal, & vital primordial reckoning that is 'Montenegro' exploding on our retinae, in our ears, on our skin, in our nostrils, & in our wide-open mouths.
One wonders if Camille Paglia has seen 'Montenegro' because one expects she'd love it, because this film delves into things primal that Paglia's betes noires - radical gender feminist ideologues - reject and label "patriarchal violence against women" & "not women's way of knowing". Let's just say that 'Montenegro' isn't likely to be high on Gloria Steinem's, Patricia Ireland's, or Susan Sontag's list of all-time favorite films. That alone tells how worthy this film is of wide open embrace & enjoyment: 'Montenegro' doesn't cave or cop to salon intellectualism, pop psychology, Botox beauty, animal rights activist solipsism, or moral relativism. This is the real deal: down to brass tacks humanity stripped of culture & deodorant & Sani-Pure flush toilets & sparkling bidets & layers of insulation from the Real.
'Montenegro' isn't Greek Tragedy, it's not Shakespearian artistry, & it sure isn't Frank Capra or Spike Lee - it's pure primal, take no prisoners, heads-on-lances, bareass naked human nature turning back the clock & stripping away the veneer of Western propriety. It's an enrapturing, refreshing, uncensored look at the way we humans were...and still are. 'Monetenegro' gives us a pungent whiff of how we smell without deodorant, look without makeup, feel without politically correct "civilized" Thought Police cues, touch with unwashed hands, & taste blood-rare meat without first checking to be sure our side of veggies is certified to be "organic", washed, or attractively presented. Nobody calls for a cop in Montenegro, watches Oprah, or cares less what Dr. Phil advises; nobody hails a waiter without ducking for the dagger that will come hurtling his way; & nobody bats an eyelash without understanding up front that it means, "Come hither: Now!" In 'Montenegro' nobody trifles with food & wine & sex & death because they're the stuff of everyday life - life on the edge, life in the Now, into which Marliyn Jordan, body & soul, hurls herself.
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