This Gojko Mitic vehicle from his later period is interesting to mostly as it represents yet another good example of the transnational filmmaking that was in full swing in the area of popular cinema in the Soviet bloc countries of the period. The actor is past his prime here, and even though he does pull some of his traditional stints of horseback riding and shows off his sculpted upper body on several occasions, it is more by way of giving fans a treat in a routine effort to maintain an established star image rather than an attempt to impress new audiences. (In a way, it is a film that can be compared to the fare that Tom Cruise is involved in these days — mostly relying on past glory rather than radical reinvention.)
The film is set in Argentina and is based on a novel by Eduard Klein. A mature and balanced man, Severino is a Manazanero Indian who has been away for ten years and now comes back to his village, ridden by conflict between the locals and the settlers, all evolving around the secret of a certain Condor pass (a climb to which provides one of the nicest moments in the film, with awe-inspiring views over the highest parts of the Andes). Severino does his best to settle the disputes and manages to do so, but only to some extent; he is also involved in a love affair, but it is an added subplot that lacks sparkle and does not engage. In the overall, the film feels tired and overlong, even for its short 78 minutes. There is very little character development, almost no gripping action, and the conflicts are not persuasive nor deep enough to engage. There is surprisingly little effort to propagate the cause of proletarian struggle (which is a feature of earlier films like Osceola); the advancing age of the actor and the early decline of socialism are both felt in the film.
Thus, as I said, the most interesting aspect for me remains the information that the film brings on the matter of international socialist co-productions. The cast of the film includes the titan of Polish cinema Leon Niemczyk, as well as a host of Romanian actors such as Constantin Fugasin or Violeta Andrei, as well as many more. The film is made by DEFA in collaboration with the Romanian Buftea Studio (and it is places in the Carpathian mountains that seem to stand in for the Andes). What is particularly important, however, is that it appears there is no consistent pattern in the co-production dimension in these DEFA projects. In other cases there is usually one co-production set-up that is put in place and then exploited all over again for as long as it is possible; it is simply not economic to have a new co-production configuration put in place on a per-project basis, especially if one already has got a set-up that is working. Yet, in the case of these productions, the films are shot in a different production configuration each time — Osceola is made in co-production with Cuba and Bulgaria, this one — with Romania, The Scout — with Mongolia, Ulzana — with Russia and Romania, The Sons of Great Bear — with Bosna film. It reads like a list of socialist international cultural collaborations. What is specific here is that the driving force behind many of these projects seems to be not so much economic convenience (nor financial considerations of pulling together budgets or resources) but rather the desire to be involved in joint projects with the group of ‘brotherly’ countries. This was the underlying motive of many of the cross-border cultural initiatives of the period, and it worked. It is important not to lose it out of sight today.
© Dina Iordanova
10 January 2009