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Golgota
Srbije |
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The
Calvary of Serbia |
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alternativni naslovi :
Za čast otadžbine, Požar
na Balkanu |
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id #
JK-EFG101 |
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Artistik Film ; rezija/directed, Stanislav Krakov ;
Jugoslovenska kinoteka |
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jezik/language
srpski , 1940., 35mm, B&W-tinted
trajanje/duration 1:20:46" |
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IIstinsko umetničko delo koje pleni autentičnim prikazom smutnih
vremena i bolnih događaja, bez sumnje je najbolji dokumentarni film
snimljen u vreme Kraljevine Jugoslavije. U početku prikazivan kao nemi
film 1930. godine kasnije je dorađen na osnovu filmskih materijala o
Srbiji skupljenih iz svetskih arhiva, ali i scenama dosnimljenim da bi
se dočarao prelaz vojske i naroda preko Albanije 1915. godine, život u
okupiranoj Srbiji, kao i oslobođenje Niša i Beograda i ulazak pobednika
u razorenu prestonicu.
Zahvaljujući izvrsnim dokumentarističkim
snimcima koje je napravio Stevan Mišković i podršci ministra vojnog,
generala Stevana Hadžića, istaknutog ratnika koji je obezbedio učešće
armije u snimanjima 1929. godine, stvoreni su impresivni i ubedljivi
kadrovi koje samo profesionalni istoričari filma mogu da prepoznaju kao
rekonstrukcije. Tako je stvoreno izrazito ambiciozno ostvarenje naknadno
ozvučeno muzikom kompozitora Milenka Živkovića i nizom poznatih
patriotskih melodija, a da bi postigao scenarističku objektivnost
Stanislav Krakov je objašnjavao slike kroz natpise za koje su korišćeni
citati iz tekstova i misli poznatih državnika, istoričara i vojnika o
ulozi Srbije u ovom ratu.
The
Calvary of Serbia
The genuine work of art that charms
with its authentic depiction of the troubled times and painful events;
it is undoubtedly the best documentary film made during the Kingdom of
Yugoslavia. At first, it was screened as the silent film in 1930 and
later finished off on the basis of film materials about Serbia gathered
from the world archives, but also using the scenes filmed and added to
evoke the crossing of the army and people through Albania in 1915, life
in occupied Serbia, as well as the liberation of Nis and Belgrade and
the entry of victors into devastated capital city.
Owing to the
exquisite documentary shots made by Stevan Miskovic and support by the
Minister of Defence, General Stevan Hadzic, the prominent warrior who
enabled the participation of army in shootings in 1929, the impressive
and convincing film frames were created which only professional film
historians may recognize as reconstructed frames. In this way the highly
ambitious film was made, subsequently provided with sound and music of
the composer Milenko Zivkovic and an array of well-known patriotic
melodies; in order to achieve the screenplay writer`s objectivity,
Stanislav Krakov explained the images through titles, for which the
citations from texts as well as thoughts of famous statesmen, historians
and soldiers on the role of Serbia in this war were used. |
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supported by |
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