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Sjecas li se Dolly Bell? (1981)

A young man grows up in Sarajevo in the 1960s, under the shadow of his good, but ailing father, and gets attracted by the world of small-time criminals. They hire him to hide a young ... See full summary »

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5 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Slavko Stimac ...
Dino
Slobodan Aligrudic ...
Otec
Ljiljana Blagojevic ...
Mira Banjac ...
Majka
Pavle Vuisic ...
Tetak (as Pavle Vujisic)
Nada Pani ...
Tetka
Boro Stjepanovic ...
Cvikeras
Zivko 'Zika' Ristic ...
Cica (as Zika Ristic)
Jasmin Celo
Mirsad Zulic ...
Braco Sintor
Ismet Delahmet
Jovanka Paripovic
Mahir Imamovic
Zakira Stjepanovic
Tomislav Gelic
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Storyline

A young man grows up in Sarajevo in the 1960s, under the shadow of his good, but ailing father, and gets attracted by the world of small-time criminals. They hire him to hide a young prostitute and he falls in love with her. Written by Dragan Antulov <dragan.antulov@altbbs.fido.hr>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

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Parents Guide:

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Details

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Release Date:

15 August 1986 (USA)  »

Also Known As:

Do You Remember Dolly Bell?  »

Company Credits

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Technical Specs

Sound Mix:

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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Winner Best Actor (Slavko Stimac) at 25th Panama International Film Festival. See more »

Quotes

Otec: Women are like salt. You can do without, but it's lousy.
See more »

Connections

Features European Nights (1959) See more »

Soundtracks

24 mila baci
Written by Adriano Celentano, Lucio Fulci, Piero Vivarelli
Performed by Adriano Celentano
[Sung along to by Slavko Stimac]
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User Reviews

 
art outlasts politics
16 August 1999 | by (Florence, Italy) – See all my reviews

Seeing "Dolly Bell" during the recent war in Kosovo forced me to think of the political significance of the film. Almost twenty years after the film was made, Yugoslavia is an extraordinarily different place, albeit one in which traditions die hard. But whether considered in relation to the Yugoslavia of the early 80s or to today's Serbia, what impresses about "Dolly Bell" is its filmmakers' devotion to art and the human condition rather than to a political agenda. It has not become an artifact because it was made to provoke human sympathy, not political reaction. "Dolly Bell" is not a tragicomic masterpiece like "Underground" nor a celebration of optimism and levity in the face of absurdity and injustice as are "When Father Was Away on Business" and "Time of the Gypsies": it is not Kusturica's most clever film, but it is perhaps his most enduring.


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