Ne znam za Amere, mene je recimo zacudilo, iskreno, kako su tako malo filmova snimili o bombardiranju Srbije. Ok, vjerovatno je ta akcija za njih napeta koliko i kolicina uroda kukuruza u Kanzasu, ali ipak neiskoristena tema, mogao je bar Dudikof ili Cak Noris tu i tamo skociti iz aviona bez padobrana i osloboditi taoce u Cacku, i Cacak i Kraljevo pride, sa jednim redenikom metaka.

Ali da imaju marketing preko filma, imaju, sto bi rekao Pervan blesavi, od obicnih kravara su napravili ikone svoje povijesti i cijeli jedan filmski zanr... a za Alamo je cuo i Ju Heng Po iz provincije Hoangho.

Znaju ljudi, uvijek je tu negdje americka zastava a uz zastavu pateticna placljiva muzika, kokakola je sveprisutna, Fedex je dobio i svog oskarovca, Indijanci su sretni u rezervatima, crnci su lijecnici i odvjetnici i imaju superuspjesnu djecu i to obavezno po pet-sest djece koja su turbo socijalno osjetljiva, nacisti pustaju kosu i dolaze pameti, ET ih je posjetio i pricat ce unucima o njima, kometa kad jurisa na Zemlju obavezno prijeti New Yorku i Washingtonu, i svemir zna gdje je Zemlja najjaca i gdje treba prvo udariti, americki predsjednik vozi F-18 i unistava svemirske brodove, imaju i Supermena. Jedino nemaju Slavena Knezovica.

Početak ovog filma:

http://en.wikipedia.org/wiki/The_Hunted_(2003_film)

ima oko 20 minuta prizora kako Srbi masakriraju cijelo selo negdje na Kosovu, a onda nastupa junak (Benicio del Toro) koji onda inflitrira srpsko komandno mjesto i ubija zapovjednika.

Kasnije zbog Kosova poludi i odmetne se u šumu gdje ubija lovce na divljač

Kad si već spomenuo bombardovanje Srbije , bilo je par emisija o tome na RTS na temu zračnog rata , RTS je to malo naivno uradio u odnosu na recimo temu o početku rata na Kosovu i "masakr" u Račku gdje su kudikamo bolje odradili dokumentarni dio.
Ni Srbija nije ništa snimala glede 99.?

Ugledni britanski list The Independent donio je na svojoj naslovnici vijest o smrti nacističkog ratnog zločinca, ali fotografija kojom su čitateljima prikazali nekadašnjeg nacista zapravo je snimka Karlovčanina Ljubomira Jurkovića!

Ljudi da li ste vi normalni, pa zar ja kao srbin moram da vam hvalim film, za ovaj film mogu reci da je los samo oni koji nemaju pojma o filmu. Nek gledaju holivudske akcije ako ne znaju. Film je odlican gluma je dobra uz par izuzetaka.

Ljudi da li ste vi normalni, pa zar ja kao srbin moram da vam hvalim film, za ovaj film mogu reci da je los samo oni koji nemaju pojma o filmu. Nek gledaju holivudske akcije ako ne znaju. Film je odlican gluma je dobra uz par izuzetaka.

DVD Review: 'The Living and the Dead'



Adapted by Josip Mlakic from his award-winning novel of the same name and directed by Kristijan Milic, The Living and the Dead (2007) tells the tale of two bands of soldiers who fight under exact same circumstances and in the same location, yet with half a century between them. Originally screened at the Sarajevo Film Festival in 2007, Milic's film is now available to own on DVD.

The two stories are skillfully woven together, flashing back and forth over the same geographical locations - most importantly the haunting “Graveyard Field” - as we follow both a group of HVO soldiers (Croatian Defence Council) in 1993 during the Bosnian War and their Domobran Partisan forebears who occupied Northern Bosnia fifty years prior.

The Living and the Dead is not a political piece that passes comment upon who was right or wrong during the depicted conflicts, instead choosing to focus upon the universal futility of war. The film opens with the assertion that, “We are all dead, only buried in order,” and the central message of the narrative is simply that a failure to take heed of the mistakes of the past dooms us to repeat them again.

Milic displays a deep sense of understanding, and has a clear vision of the message he wishes to convey. The cinematography itself is beautiful, with a weighty sense of melancholy pervading throughout. Standout sequences include the scenes set in 1943 in which Milic has chosen to use a delicate palette of colours, consisting of sepia hues and muted tones, complimented by soft lighting that lends an engagingly surreal quality to film without diminishing its reality.

Milic balances this surreal vision of the past with scenes of searing realism set during the 90's Bosnian conflict. Although he uses violence to generate a sense of the reality of war, Milic also consistently refuses to glamorise the soldiers' plight, instead opting for slow motion and dramatic acts of infrequent brutality that bring home the visceral nature of military conflict.

The quality of the acting throughout The Living and the Dead further enhances this sense of realism. Far from being bombarded with grand acts of heroism, there is a gentle camaraderie between the men that is balanced with the very human ‘inhumanity’ common to all warfare. After the HVO soldiers attack a Turkish outpost, a soldier comments that he went to school with one of the men he has just shot and now wishes to borrow a knife to remove any gold teeth he may have. He then proceeds to start eating the meal the Turkish soldiers were preparing, happily noting, “This wasn’t destined for the one who made it.”

The reappearance of a cigarette case given to one of the HVO solider by his grandfather - who served in the 1943 platoon - is used as a focal point to bounce the stories back and forth. The introduction of a number of ghostly apparitions of dead soldiers as a motif also helps to blur the spatial and temporal limits of the story by linking together two sets of events, and further adds to the pervading sense of fear and mortality in the film, despite being a somewhat unoriginal device.

The Living and the Dead achieves exactly what it set out to do, illustrating e the pointlessness and futility of war, despite some issue with pacing and timing that serve to distance the viewer from the characters. During several characters' death scenes I found myself barely noticing their absence or feeling a sense of loss, which is perhaps symptomatic of having such a large cast of central characters. Yet Milic's film is a solid and compelling attempt at dealing with a subject that so often brings out either the best - or the worst - of a director’s sensitivity.

Kristijan Milić snima film po scenariju kolumniste Josipa Mlakića

EUROFILM snima igrani film redatelja Kristijana Milića pod radnim naslovom Božji gnjev na području Korenice i Gračaca od 1. do 22. prosinca ove godine. Film se snima po scenariju književnika i kolumnista portala Bljesak.info Josipa Mlakića. ''Božji gnjev'' Josipa Mlakića roman je o zločinu u ratu i pravdi koja mora biti zadovoljena.

Devet boraca u hrvatskim postrojbama u ratu u Bosni i Hercegovini poginulo je u tajnoj akciji koju nitko nije odobrio. Kod svakoga je pronađena veća količina novca, a zašto su ušli duboko u teritorij koji kontroliraju bošnjačke snage, nikome nije jasno. Ilija, brat jednoga od sudionika akcije, također vojnik, mora saznati zašto je i kako došlo do tragičnih smrti. Pronalazeći nove, razorne dokaze, pri čemu riskira vlastiti život, Ilija saznaje tajne koje nije trebao saznati te tko i zašto stoji iza sulude akcije u koju su upletene i tajne službe, ali i nepoznati glavešine iz Zagreba. Milić i Mlakić su i ranije surađivali pa iza sebe imaju uspješni film 'Živi i mrtvi' i 'Mrtve ribe', film koji je ''zakazao'' u kinima.