Filmografija slovenskih celovečernih filmov 1931–2010 by Predpremiera

Filmografija slovenskih celovečernih filmov 1931–2010 / Filmography of Slovenian Feature Films 1931−2010

Filmografija slovenskih celovečernih filmov

1931–2010 /

Filmography of Slovenian Feature Films 1931–2010

UMco in Slovenska kinoteka, Ljubljana, 2011

FILMOGRAFIJA SLOVENSKIH CELOVEČERNIH FILMOV 1931–2010 / Filmography of Slovenian Feature Films 1931–2010 2011 © Vse pravice pridržane / All Rights Reserved Brez pisnega dovoljenja izdajatelja je prepovedano reproduciranje, distribuiranje, javna priobčitev ali druga uporaba te knjige ali njenih delov v kakršnem koli obsegu ali postopku, skupaj s fotokopiranjem, tiskanjem ali shranitvijo v elektronski obliki, v okviru določil Zakona o avtorskih in sorodnih pravicah. Nosilca pravic za izdajo knjige sta UMco, d. d. in Slovenska kinoteka © 2011 / Reproduction, distribution, public presentation or any other use of this book or any of its parts in any extent or procedure including copying, printing or storing in electronic form is forbidden in accordance with the Copyright and Related Rights Act. Copyright UMco, d. d. and Slovenian Cinematheque © 2010. V Filmografiji slovenskih celovečernih filmov 1931–2010 so uporabljena izbrana in dopolnjena besedila iz prvih dveh izdaj filmografij slovenskih celovečernih filmov (1931–1993 in 1994–2003), ki so revidirana, če je bilo to potrebno zaradi časovne aktualizacije. / Filmography of Slovenian Feature Films 1931–2010 includes selected texts from the previous two editions of Filmography of Slovenian Feature Films (1931–1993 and 1994–2003), which have been revised if necessary on account of historical actualization.

Izdajatelj in založnik: UMco, d. d. (zanj Samo Rugelj) in Slovenska kinoteka (zanjo Ivan Nedoh) / Publisher: UMco, d. d. (Represented by Samo Rugelj) and Slovenian Cinematheque (Represented by Ivan Nedoh) Avtorji filmskih vsebin: / Authors of film contents: Silvan Furlan, Bojan Kavčič, Zdenko Vrdlovec (1931–1993); Zdenko Vrdlovec (1994–2003); Varja Močnik, Matic Večko (2004–2010) Avtorji filmografskih podatkov / Authors of credits data: Lilijana Nedič (1931–1993); Alenka Korpes, Denis Valič (1994–2003); Špela Čižman (2004–2010) Avtorji portretov / Authors of directors’ profiles: Denis Valič, Zdenko Vrdlovec, Alenka Korpes (1994–2003); Varja Močnik, Matic Večko (1931–1993, 2004–2010) Avtor spremne študije Zgodba o slovenskem filmu / Author of the accompanying study The Story of Slovene Film: Zdenko Vrdlovec Avtorica spremne študije Oris filmske produkcije na Slovenskem / Author of the accompanying study An Outline of Slovenian Film Production: Lilijana Nedič Urednik / Editor: Samo Rugelj Pomočnica urednika / Associate Editor: Renate Štrucl Lektura / Correction: Mira Turk Škraba Lektura angleškega dela / English correction: Philip Burt Strokovni uredniški sodelavec / Expert editorial collaborator: Zdenko Vrdlovec Prevod / Translation: Igor Žužek et al., Igor Maver (1931–1993); Denis Debevec (1994–2003); Andrej Hiti Ožinger, Matic Večko (2004–2010) Strokovne korekture / Expert corrections: Zdenko Vrdlovec Naklada / Impression: 700 izvodov Oblikovanje / Design: Žiga Valetič Prelom / Typesetting: Matic Večko Tisk: NTD Fotografija na naslovnici / Cover photography: Cvetje v jeseni (Blossoms in Autumn, 1973), objavljena z dovoljenjem Slovenskega filmskega centra / published with the permission of Slovenian Film Center Ljubljana, 2011 Knjiga je izšla s podporo Ministrstva za kulturo Republike Slovenije. Knjiga Filmografija slovenskih celovečernih filmov 1931–2010 je nastala v sozaložništvu založbe UMco in Slovenske kinoteke. / The book Filmography of Slovenian Feature Films 1931–2010 was copublished by UMco publishing house and Slovenian Cinematheque. SLOVENSKA KINOTEKA / SLOVENIAN CINEMATHEQUE Miklošičeva cesta 38, 1000 Ljubljana • tel.: 01/43 42 510 www.kinoteka.si • e-pošta: tajnistvo@kinoteka.si UMco, d. d. Leskoškova 12, 1000 Ljubljana • tel.: 01/520 18 30 e-pošta: premiera@umco.si • www.premiera.si

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 792-21(497.4)"1931/2010" 791.62(497.4) FILMOGRAFIJA slovenskih celovečernih filmov : 1931– 2010 = Filmography of Slovenian feature films : 1931–2010 / [avtorji besedil Silvan Furlan ... [et al.] ; avtor spremne študije Zgodba o slovenskem filmu Zdenko Vrdlovec, avtorica spremne študije Oris filmske produkcije na Slovenskem Lilijana Nedič ; urednik Samo Rugelj ; prevod Igor Žužek ... et al.]. - Ljubljana : UMco : Slovenska kinoteka, 2011 ISBN 978-961-6803-19-9 (Umco) 1. Vzp. stv. nasl. 2. Furlan, Silvan 3. Rugelj, Samo 255395072

Vsebina / Content

Uredniški predgovor /........... 12 EDITORIAL FOREWORD ................ 13 FILMOGRAFIJA 1931–2010 / FILMOGRAPHY 1931–2010 ............ 17 1. V kraljestvu Zlatoroga/In the Realm of Goldenhorn ...................... 18 2. Triglavske strmine/The Slopes of Triglav . ............................................. 20 3. Na svoji zemlji/On Our Own Land ... 22 4. Trst/Trieste . ........................................ 24 5. Kekec..................................................... 24 6. Svet na Kajžarju/Life in Kajžar ....... 28 7. Jara gospoda/Parvenus ..................... 30 8. Vesna .................................................... 32 9. Tri zgodbe/Three Stories .................. 34 10. Trenutki odločitve/Moments of Decision ............................................. 36 11. Dolina miru/The Valley of Peace ... 38 12. Ne čakaj na maj/Don’t Whisper .... 40 13. Dobro morje/The Good Sea .......... 42 14. Kala . ................................................... 44 15. Dobri stari pianino/The Good Old Piano .................................................. 46 16. Tri četrtine sonca/Three Quarters of the Sun . ......................................... 48 17. Akcija/Action .................................... 50 18. X 25 javlja/X 25 Reports ................. 52 19. Veselica/The Feast ........................... 54

20. Ti loviš/Hide-and-Seek . ................. 56 21. Ples v dežju/Dance in the Rain . .... 58 22. Nočni izlet/Night Trip .................... 60 23. Balada o trobenti in oblaku/The Ballad of the Trumpet and the Cloud ................................................. 62 24. Družinski dnevnik/Family Diary . 64 25. Minuta za umor/A Minute for Murder . ............................................. 66 26. Tistega lepega dne/That Beautiful Day .................................................... 68 27. Naš avto/Our Car ............................ 70 28. Peščeni grad/The Castle of Sand . .. 72 29. Samorastniki/Wildlings .................. 74 30. Srečno, Kekec/Good Luck, Kekec ... 74 31. Zarota/Conspiracy . ......................... 78 32. Ne joči, Peter/Don’t Cry, Peter ...... 80 33. Lucija/Lucia ...................................... 82 34. Lažnivka/Liar ................................... 84 35. Po isti poti se ne vračaj/Don’t Come Back by the Same Way ........ 86 36. Amandus ........................................... 88 37. Zgodba, ki je ni/On the Run .......... 90 38. Grajski biki/Thugs from the Castle ................................................ 92 39. Na papirnatih avionih/On Wings of Paper ................................................. 94 40. Nevidni bataljon/The Invisible Battalion ........................................... 96

Vsebina / Content

41. Sončni krik/The Shout of the Sun ... 98 42. Peta zaseda/The Fifth Ambush ... 100 43. Kekčeve ukane/Kekec’s Tricks . .... 102 44. Sedmina/Funeral Feast . ............... 104 45. Oxygen . ........................................... 106 46. Onkraj/Beyond ............................... 108 47. Rdeče klasje/Red Wheat . ............. 110 48. Na klancu/On the Hill of Desire . . 112 49. Maškarada/Masquerade .............. 114 50. Poslednja postaja/The Last Stop . 116 51. Mrtva ladja/Death Ship ................ 118 52. Ko pride lev/The Lion is Coming . . 120 53. Ljubezen na odoru/Love on the Furrows . .......................................... 122 54. Cvetje v jeseni/Blossoms in Autumn............................................. 124 55. Begunec/The Fugitive ................... 126 56. Pastirci/Little Shepherds . ............. 128 57. Let mrtve ptice/The Flight of a Dead Bird . ..................................... 130 58. Pomladni veter/Spring Wind ....... 132 59. Strah/Fear ....................................... 134 60. Čudoviti prah/Wonderful Dust ... 136 61. Povest o dobrih ljudeh/The Story of Good People ............................... 138 62. Med strahom in dolžnostjo/ Between Fear and Duty ................ 140 63. Bele trave/White Grass ................. 142 64. Idealist . ............................................ 144 65. Vdovstvo Karoline Žašler/The Widowhood of Karolina Žašler . . 146 66. Sreča na vrvici/Hang on, Doggy ... 148 67. To so gadi/Real Pests . ................... 150 68. Ko zorijo jagode/Strawberry Time ................................................. 152 69. Praznovanje pomladi/Spring Celebration ..................................... 154

70. Draga moja Iza/My Dear Iza........ 156 71. Krč/Spasm . ..................................... 158 72. Iskanja/Temptations . .................... 160 73. Ubij me nežno/Kill Me Tenderly .. 162 74. Prestop/Transgression .................. 164 75. Splav Meduze/The Raft of Medusa .............................................166 76. Nasvidenje v naslednji vojni/ Farewell until the Next War ........ 168 77. Krizno obdobje/Time of Crisis .... 170 78. Učna leta izumitelja Polža/ Apprenticeship of the Inventor Polž ................................................... 172 79. Deseti brat/The Tenth Brother .... 174 80. Boj na požiralniku/Battle at Požiralnik ........................................ 176 81. Pustota/Wasteland ........................ 178 82. Razseljena oseba/Displaced Person .............................................. 180 83. Rdeči boogie ali Kaj ti je deklica/ Red Boogie . .................................... 182 84. Opre Roma – Pamet v roko, ko boš v drugo ustvarjal svet/ Opre Roma . ................................... 184 85. Eva .................................................... 186 86. Dih/A Breath of Air ....................... 188 87. Trije prispevki k slovenski blaznosti/ Three Contributions to Slovene Madness .......................................... 190 88. Leta odločitve/The Years of Decision ........................................... 192 89. Nobeno sonce/What a Sun ......... 194 90. Veselo gostivanje/The Merry Wedding . ......................................... 196 91. Dediščina/Heritage . ...................... 198 92. Ljubezen/Love ................................ 200 93. Naš človek/Our Man .................... 202

Vsebina / Content Vsebina / Content

94. Butnskala/Bumpstone ................... 204 95. Ovni in mamuti/Rams and Mammoths . .................................... 206 96. Christophoros ................................ 208 97. Doktor/Doctor . .............................. 210 98. Poletje v školjki/A Summer in a Sea-Shell .......................................... 212 99. Čas brez pravljic/Times Devoid of Fairy Tales . ..................................... 214 100. Kormoran/A Cormoran ............. 216 101. Heretik/Heretic ............................ 218 102. Ljubezni Blanke Kolak/Blanka Kolak’s Love .................................... 220 103. Usodni telefon/The Fatal Telephone ......................................... 222 104. Hudodelci/The Felons . ............... 224 105. Ljubezen nam je vsem v pogubo/ Love Is the Ruin of Us All ............. 226 106. Moj ata, socialistični kulak/My Dad the Socialist Kulak . .............. 228 107. Živela svoboda/Long Live Freedom ........................................... 230 108. Čisto pravi gusar/A Real Pirate ... 232 109. Poletje v školjki II/A Summer in a Sea-Shell II .............................. 234 110. Maja in vesoljček/Maya and the Starboy . ........................................... 236 111. Odpadnik/The Maverick . .......... 238 112. P. S. (Post scriptum)/P. S. ........... 240 113. Remington .................................... 242 114. Kavarna Astoria/Cafe Astoria . . 244 115. Coprnica Zofka/Sophie the Witch . .............................................. 246 116. Veter v mreži/The Windhunter ... 248 117. Nekdo drug/Someone Else ......... 250 118. Decembrski dež/December Rain .................................................. 252

119. Do konca in naprej/To the Limit and Beyond...................................... 254 120. Umetni raj/Artificial Paradise... 256 121. Ječarji/The Jailers ........................ 258 122. Babica gre na jug/Grandma Goes South ................................................ 260 123. Srčna dama/The Queen of Hearts .............................................. 262 124. Triangel/Triangle . ....................... 264 125. Ko zaprem oči/When I Close My Eyes . ................................................. 266 126. Zrakoplov/The Flying Machine . . 268 127. Morana .......................................... 270 128. Halgato .......................................... 272 129. Tantadruj . ..................................... 274 130. Radio.doc ...................................... 276 131. Rabljeva freska/Executioner’s Fresco................................................ 278 132. Carmen .......................................... 280 133. Felix ................................................ 282 134. Ekspres, ekspres/Gone with the Train ................................................ 284 135. Outsider ........................................ 286 136. Herzog ........................................... 288 137. Stereotip/Stereotype . .................. 290 138. Brezno/The Rift . .......................... 292 139. Socializacija bika?/Socialisation of a Bull? . ........................................ 294 140. Blues za Saro/Blues for Sara . .... 296 141. Patriot ............................................ 298 142. Temni angeli usode/Dark Angels . ............................................. 300 143. V leru/Idle Running . ................... 302 144. Nepopisan list/What Now, Luka? . .............................................. 304 145. Mokuš ............................................ 306 146. Porno film/Porn Film ................. 308

Vsebina / Content

147. V petek zvečer/Friday Night ..... 310 148. Jebiga/Fuckit ................................. 312 149. Zadnja večerja/The Last Supper . 314 150. Oda Prešernu/Ode to the Poet... 316 151. Poker .............................................. 318 152. Barabe!/Rascals! . ......................... 320 153. Kruh in mleko/Bread and Milk .322 154. Sladke sanje/Sweet Dreams ....... 324 155. Ljubljana . ...................................... 326 156. Varuh meje/Guardian of the Frontier ............................................ 328 157. Šelestenje/Rustling Landscapes . . 330 158. Zgodba gospoda P. F./The Story of Mr. P. F. ........................................ 332 159. Amir – »šerif iz Nurića«/Amir »The Sheriff from Nurić« . ............ 334 160. Zvenenje v glavi/Headnoise ....... 336 161. Slepa pega/Blind Spot.................. 338 162. Pozabljeni zaklad/The Forgotten Treasure . ......................................... 340 163. Rezervni deli/Spare Parts .......... 342 164. Kajmak in marmelada/Cheese and Jam ........................................... 344 165. Na planincah/On the Sunny Side ................................................... 346 166. Pesnikov portret z dvojnikom/ Portrait of a Poet with a Double ............................................. 348 167. Peterka: leto odločitve/Peterka: Year of Decision . ............................ 350 168. Pod njenim oknom/Beneath Her Window ........................................... 352 169. Dergi in Roza v kraljestvu svizca/ Dergi and Roza in the Kingdom of the Groundhog ........................... 354 170. Predmestje/Suburbs .................... 356 171. Ruševine/Ruins ............................ 358

172. Norega se metek ogne/Bullets Miss the Fool ............................................ 360 173. Desperado Tonic . ........................ 362 174. Tu pa tam/Here and There ........ 364 175. Slepilo/The Illusion ..................... 366 176. Uglaševanje/Tuning .................... 368 177. Delo osvobaja/Labour Equals Freedom ........................................... 370 178. Odgrobadogroba/Gravehopping. 372 179. Ljubljana je ljubljena/Ljubljana the Beloved ...................................... 374 180. Kratki stiki/Short Circuits . ........ 376 181. Petelinji zajtrk/Rooster’s Breakfast ......................................... 378 182. Tea/Teah . ...................................... 380 183. L … kot ljubezen/L… Like Love... 382 184. Instalacija ljubezni/Installation of Love .................................................. 384 185. Estrellita – pesem za domov/ Estrellita .......................................... 386 186. Traktor, ljubezen in rock’n’roll/ Tractor, Love and Rock’n’Roll ...... 388 187. Za vedno/Forever . ....................... 390 188. Dar Fur – vojna za vodo/Dar Fur – War for Water . ............................... 392 189. Nikoli nisva šla v Benetke/We’ve Never Been to Venice . ................... 394 190. Pokrajina Št.2/Landscape No.2... 396 191. Reality ............................................ 398 192. Videvanja Van Gogha/Seeing Van Gogh ................................................. 400 193. Prehod/Transition ....................... 402 194. Lajf/Life . ........................................ 404 195. Morje v času mrka/The Sea at the Time of the Eclipse ......................... 406 196. Za konec časa/For the End of Time ................................................. 408

Vsebina / Content Vsebina / Content

197. Toše – The Hardest Thing/Toše – The Hardest Thing ........................ 410 198. Gola resnica/The Naked Truth... 412 199. Slovenka/Slovenian girl .............. 414 200. 9:06 ................................................. 416 201. Osebna prtljaga/Personal Baggage . .......................................... 418 202. Piran - Pirano ............................... 420 203. Gremo mi po svoje/Going Our Way .................................................. 422 204. Circus Fantasticus/Silent Sonata . ............................................ 424 205. Oča/Dad . ...................................... 426

PORTRETI REŽISERJEV / DIRECTORS’ PROFILES . ................ 429 Vojko Anzeljc ........................................ 430 Vinci Vogue Anžlovar ......................... 430 Jože Babič . ............................................. 431 Jože Bevc ................................................ 433 Jan Bilodjerič ......................................... 434 Marcel Buh ............................................ 434 Janez Burger .......................................... 435 Marjan Ciglič ........................................ 436 Jan Cvitkovič ......................................... 437 František Čap ........................................ 438 Miha Čelar ............................................. 439 Zvonko Čoh . ......................................... 440 Milan Erič .............................................. 440 Ferdo Delak ........................................... 441 Branko Djurić ....................................... 442 Janez Drozg ............................................443 Vojko Duletič ........................................ 445 Jože Gale ................................................ 446 Janja Glogovac ...................................... 448 Karpo Godina ....................................... 449

Krešo Golik ........................................... 450 Mirko Grobler . ..................................... 451 Andrej Hieng ........................................ 452 Boštjan Hladnik .................................... 453 Miha Hočevar ....................................... 455 Dafne Jemeršič . .................................... 457 Mladen Jernejec . .................................. 457 Boris Jurjaševič ..................................... 458 Jane Kavčič ............................................ 458 Matjaž Klopčič . .................................... 459 France Kosmač ..................................... 462 Andrej Košak ........................................ 463 Damjan Kozole ..................................... 464 Franci Križaj . ........................................ 465 Tomo Križnar ....................................... 466 Ema Kugler ............................................ 466 Blaž Kutin .............................................. 467 Janez Lapajne ........................................ 467 Milan Ljubić .......................................... 468 Žarko Lužnik . ....................................... 469 Mitja Milavec ........................................ 471 Matija Milčinski ................................... 471 Andrej Mlakar ...................................... 472 Varja Močnik ........................................ 473 Vinko Möderndorfer ........................... 474 Marko Naberšnik ................................. 475 Mitja Novljan ........................................ 476 Mitja Okorn .......................................... 476 Boris Palčič ............................................ 477 Živojin Pavlović .................................... 477 Jure Pervanje ......................................... 479 Boris Petkovič ....................................... 480 Metod Pevec ......................................... 481 Sašo Podgoršek ..................................... 482 Jože Pogačnik ........................................ 483 Igor Pretnar ............................................485 Rajko Ranfl ............................................ 487

Vsebina / Content

Janko Ravnik ......................................... 488 Filip Robar Dorin ................................. 489 Franci Slak ............................................. 491 Hanna A. W. Slak ................................. 492 Boštjan Slatenšek ................................. 493 Danijel Sraka ......................................... 494 Martin Srebotnjak . .............................. 494 Andrej Stojan ........................................ 495 Bojan Stupica ........................................ 495 Vlado Škafar .......................................... 496 Igor Šmid ............................................... 497 Božo Šprajc . .......................................... 498 Igor Šterk ............................................... 499 France Štiglic . ....................................... 500 Tugo Štiglic . .......................................... 502 Vito Taufer . ........................................... 503 Anton Tomašič ..................................... 504 Aleš Verbič ............................................ 505 Goran Vojnović .................................... 505 Boštjan Vrhovec ................................... 506 Maja Weiss ............................................ 507 Miran Zupanič . .................................... 508 Zoran Živulović . .................................. 510 ZGODBA O SLOVENSKEM FILMU / THE STORY OF SLOVENE FILM 511 »Nacionalna reč« ................................. 512 »National Thing« ................................. 513 Petdeseta leta: »rojstvo paradigme« . 518 The Fifties: »The Birth of a Paradigm« ...................................... 519 Šestdeseta leta: »modernizem« . ....... 532 The Sixties: »Modernism« .................. 533 Sedemdeseta leta: »kmalu bo konec sveta« ................................... 546 The Seventies: »The End of the World is Nigh« ............................... 547

Osemdeseta leta: »od umetnosti do kriminala« . ..................................... 560 The Eighties: »From Art to Crime« ... 561 »Nova doba« ......................................... 570 »New Era« ............................................. 571 Sreča s cigani, nesreča z vojno in igro na srečo ........................................... 572 Good Luck with Gypsies, Bad Luck with War and Gambling . ... 573 »Povojna« drama in groza .................. 584 »Post-War« Drama and Horror ........ 585 Outsiderji . ............................................. 594 Outsiders . .............................................. 595 Prelomnica ............................................ 608 Turning Point ........................................ 609 Umri, Dragi! .......................................... 616 Die, my Darling! ................................... 617 Nekaj postmodernih komadov . ........ 624 A Few Postmodern Pieces . .................. 625 Ubogi, toda dobri otroci ..................... 632 Poor but Good Children ...................... 633 Bosanci, drugi in drugačni ................. 642 Bosnians, the Others and the Different .......................................... 643 Ljubezenske balade .............................. 656 Love Ballads .......................................... 657 Štirje o treh gorenjcih . ........................ 664 Four about Three from Gorenjska ........................................ 665 Ne (srečni) par in druga dejstva .............................................. 676 Un(Happy) Couple and Other Facts ................................................. 677 Sedem let skomin ................................. 688 The Seven Year Itch .............................. 689

Vsebina / Content Vsebina / Content

ORIS FILMSKE PRODUKCIJE NA SLOVENSKEM / AN OUTLINE OF SLOVENIAN FILM PRODUCTION . .................................. 735 Slovenski film v okviru Jugoslavije ... 736 1919–1945 . ................................ 737 1945–1991 . ................................ 738 Slovenian Film Within the Borders of Yugoslavia . ...................737 1919–1945 . ................................ 737 1945–1991 . ................................ 739 Filmi Triglav filma . .............................. 742 Films by Triglav Film ........................... 743 Filmi Filmservisa .................................. 746 Films by Filmservis . ............................. 747 Filmi Viba filma .................................... 748 Films by Viba Film ............................... 749 Filmi manjših producentov ................ 750 Films by Smaller Producers ................ 751 Slovenski filmi na mednarodnih festivalih in manifestacijah .......... 754 Slovenian Films at International Festivals and Events ...................... 755 Film v samostojni sloveniji ................. 758 Films in Independent Slovenia . ......... 759

Abecedno kazalo filmskih naslovov (angleško-slovensko) / Alphabetical Index of Film Titles (English-Slovenian) . .......................... 784 Kazalo režiserjev / Index of Directors ............................... 788 Kazalo produkcijskih družb / Index of Production Companies .... 794 Imensko kazalo / Index of Names . .................................. 802

IZBRANA BIBLIOGRAFIJA / SELECTED BIBLIOGRAPHY ......... 769 KAZALA / INDICES ............................................... 779 Abecedno kazalo filmskih naslovov (slovensko-angleško) / Alphabetical Index of Film Titles (Slovenian-English) . .......................... 780

Filmografija

Uredniški predgovor

Osemdesetletnica predvajanja prvega slovenskega celovečernega filma V kraljestvu Zlatoroga se zdi pravšnji čas za to, da se v obliki knjižne filmografije na enem mestu izvede integralen pregled celovečernega filmskega ustvarjanja pri nas, od samih začetkov pa do filmov, ki so bili predvajani na 13. festivalu slovenskega filma leta 2010. Navsezadnje je enemu od teh, mladinski komediji Gremo mi po svoje, uspelo doseči tudi svojevrstno prelomnico, saj je ravno v času nastajanja knjige postal najbolj gledan slovenski celovečerni film po osamosvojitvi. Pričujoča filmografija je nastala z združitvijo ter temeljito vsebinsko in tehnično nadgradnjo dveh prejšnjih podobnih knjig, zato velja povedati nekaj besed tudi o tem. Filmografija slovenskih celovečernih filmov, 1931–1993 (uredil Silvan Furlan), ki je izšla leta 1994 pri Slovenskem gledališkem in filmskem muzeju, je predstavila dobrega pol stoletja slovenskega filma. Knjiga je nastala v zgodnjem obdobju nove osamosvojene slovenske države, ko je že postalo očitno, da se je hkrati z nekdanjim političnim sistemom poslovil do takrat veljaven organizacijski in produkcijski model slovenskega filmskega ustvarjanja. Šlo je za model državno subvencioniranega in produciranega filma, ki je v različnih obli-

kah obstajal od leta 1945 dalje. Pred tem ga na Slovenskem tako rekoč ni bilo, saj sta v obdobju med obema vojnama nastala le dva celovečerna filma. Skupaj s tema je bilo v obdobju od leta 1931 do 1993 posnetih 127 celovečernih filmov, ki so bili predvajani v kinematografih. Filmografija slovenskih celovečernih filmov, 1994–2003 (uredila Alenka Korpes in Zdenko Vrdlovec), je predstavljala nadaljevanje izdaje iz leta 1994 in je zajela obdobje desetih let, ko so se ob produkciji, ki sta jo podprla Filmski sklad RS in nacionalna televizija, uveljavile tudi bolj neodvisne produkcije, hkrati pa so to obdobje zaznamovali številni debitanti ter uspeh slovenskega filma doma in v tujini. Filmografija slovenskih celovečernih filmov, 1931–2010, ki jo imate pred sabo, zajema vse filme iz prej omenjenih dveh knjig, ki jim dodaja slovensko celovečerno filmsko produkcijo, nastalo v letih 2004– 2010. Gre za integralno verzijo, v kateri sta združeni vsebini prvih dveh knjig, izvedeni pa sta bili tudi temeljita oblikovna prevetritev in poenotenje. Knjiga je dvojezična, temelji pa na konceptu prve filmografije iz leta 1994, kar pomeni, da slovenski in angleški del nista razdeljena na dva ločena sklopa, ampak tečeta vzporedno. Gre za integralen,

Filmography

Editorial Foreword /Translated by Andrej Hiti Ožinger/

Eighty years after the premiere of the first Slovenian full-length film, In the Realm of Goldenhorn, seems the perfect time to offer a comprehensive review of full-length filmmaking in Slovenia in the form of a book, from the very beginnings to the films shown at the 13th Festival of Slovenian Film in 2010. After all, one of these, the youth comedy Going Our Way made a significant breakthrough at the time this book was being written by reaching the highest number of audiences since Slove nia became independent. This filmography was created by merging two similar previous books and completely upgrading them in content and technology, so a few words about this are in order. The Filmography of Slovene Feature Films 1931–1993 (editor Silvan Furlan) published in 1994 by the Slovenian Theatre and Cinema Museum encompassed a good half-century of Slovenian cinema. The book was produced in the first years of Slovenian independence, when it had become evident that the organisation and production standards of filmmaking in the country had died along with the former political system. Those standards were the model of government subsidised and produced cinema, which had been in place in various forms since 1945. No

such model had existed before - only two full-length movies were made between the wars. Including these two, a total of 127 full-length films were made and screened in cinemas from 1931 to 1993. Filmography of Slovenian Feature Films 1994–2003 (editors Alenka Korpes and Zdenko Vrdlovec), was the sequel to the 1994 issue, covering a period of ten years, when in addition to productions funded by the Slovenian Film Fund and the national TV broadcaster, independent films also emerged; but above all, this period saw the emergence of numerous newco mers and a favourable audience response to Slovenian films at home and abroad. The Filmography of Slovenian Feature Films 1931–2010 before you includes all the movies from these two books, with the addition of Slovenian full-length film productions completed between 2004 and 2010. It is an integral version merging the contents of the previous two volumes, carefully restructured and unified. The book is bilingual and based on the concept of the initial anthology of 1994, which means that the Slovenian and English parts are parallel rather than in two individual sections. The comprehensive approach adds substantially to its clear and compact structure, while in contrast

Uredniški predgovor Filmografija

kompakten in pregleden pristop, ki je glede na strukturo iz prve filmografije nadgrajen z angleško različico avtorskih in tehničnih prispevkov ob posameznih filmih, ki so v omenjeni knjigi manjkali. Filmografski del obsega 205 celovečernih filmov, posnetih ali povečanih na 35-milimetrski trak, ki so v letih 1931–2010 nastali v slovenski produkciji (ali koprodukciji z večinskim slovenskim deležem) in bili javno prikazani na filmskem platnu. Filmi so razvrščeni kronološko, do leta 1990 po datumu dovoljenja za predvajanje, ki je naveden v vrstici z datumom nad podatki o premieri, nato pa po datumu prvega javnega prikazovanja (zadnji kriterij velja tudi za filma V kraljestvu Zlatoroga in Triglavske strmine), bodisi na rednem sporedu bodisi na festivalu ali v okviru posebne projekcije ali predpremiere. Vsak film je označen z zaporedno številko ter predstavljen s špico in vsebino. Špice poleg glavnih avtorskih in tehničnih prispevkov ter igralske zasedbe zajemajo še tehnične podatke o filmu, podatke o produkciji in premiernem prikazovanju ter številu gledalcev. Pri navajanju sodelujočih in vlog smo sledili najavnim in odjavnim špicam filmov. Do leta 1993 je naveden direktor filma, kasneje pa njegov producent. Podatek o številu gledalcev pri filmih do leta 1990 velja za predvajanje v Ljubljani, pri filmih od leta 1991 naprej pa je v oklepaju navedeno tudi število gledalcev za celotno Slovenijo. Filmografski del knjige dopolnjuje tudi obsežen sklop s predstavitvijo vseh

režiserjev v filmografiji zajetih filmov ter njihovega dosedanjega dela. Obsežna spremna študija k filmografiji, Zgodba o slovenskem filmu avtorja Zdenka Vrdlovca, predstavlja izčrpen kritiški in tematski pregled celovečernih filmov iz obdobja 1931–2010, pri analizi njihovih estetskih posebnosti pa se navezuje tudi na zgodovino slovenskega filma. Osemdesetletno obdobje slovenskega celovečernega filma podatkovno osvetli še Oris filmske produkcije na Slovenskem avtorice Lilijane Nedič, zgoščena predstavitev domače filmske produkcije od njenih začetkov v okviru Jugoslavije, pa do njenih zadnjih korakov ob vstopu v tretje tisočletje. Sklepni del knjige prinaša izbrano bibliografijo knjižnih prispevkov o slovenskem filmu in kinematografiji ter abecedno urejena kazala z izvirnimi in angleškimi naslovi filmov, režiserji, imeni produkcijskih podjetij ter vsemi osebnimi imeni, ki se pojavijo v knjigi. Za konec bi se radi zahvalili Filmskemu skladu RS (z letom 2011 preoblikovanem v Slovenski filmski center), ki nam je za objavo v knjigi odstopil fotografije iz slovenskih filmov, ter filmskim ustvarjalcem, producentom, distributerjem, prikazovalcem in ostalim institucijam, ki so nam prijazno ponudili pomoč pri zbiranju in urejanju podatkov ter slikovnega in ostalega gradiva. Uredništvo

Editorial Foreword Filmography

to the structure of the initial anthology, the present volume is upgraded with English translations of filmmaker and technician credits for individual films, which the former book lacked. The anthology section covers 205 full-length movies made on or blown-up to 35 mm film, which were completed by Slovenian producers (or co-produced with predominantly Slove nian shares) between 1931 and 2010, and screened. The films are dealt with chronologically; until the year 1990 according to the dates on which permission for screening was issued (stated in the line with a date, above the information about the premiere) and from then onwards according to the date of their first public screening, either as part of regular programmes, at festivals, as special screenings or screenings before premieres. Each film bears its serial number and is presented with cre dits and plot; in addition to key filmmaker and technician contributions, and cast, the credits include technical information about each film, details about the production and premiere and the information about the audience. In stating crews and actors, we followed opening titles and end credits. The production managers of the films are stated until 1993, and are replaced by producers after that year. The audience information with films up to the year 1990 includes only the number for Ljubljana, while from year 1991 onwards, the information about the audience in Slovenia is also included in brackets. The anthology section of the book is comple-

mented by a large section presenting all the directors of the films included in the anthology and their work so far. The accompanying study, The Story of Slovene Film by Zdenko Vrdlovec, offers an exhaustive analytical and thematic overview of full-length films between 1931 and 2010, and in exploring their aesthetic qualities, often reaches into the history of Slovenian cinema. A light of information on the eighty years of Slovenian full-length films is shed by An Outline of Slovenian Film Production by Lilijana Nedič, a concise presentation of domestic filmmaking from its beginnings within Yugoslavia to its latest achievements at the beginning of the third millennium. The final section of the book comprises a select bibliography of books on Slovenian films and cinema published in this period, and alphabetical indices of the original and English titles of films, list of directors, names of production companies and all the personal names which appear in the book We would like to thank the Slovenian Film Fund (now the Slovenian Film Centre as of 2011) for the stills from Slovenian films reproduced in the book, film produ cers, distributors, cinema exhibitors and other institutions and filmmakers for gi ving us a generous hand in collecting information and materials. The Editors

Filmografija 1931–2010 / Filmography 1931–2010 Filmografski podatki / Credits Data (1931–1993): Lilijana Nedič Vsebine filmov / Film Contents (1931–1993): Silvan Furlan, Bojan Kavčič, Zdenko Vrdlovec Filmografski podatki / Credits Data (1994–2003): Alenka Korpes, Denis Valič Vsebine filmov / Film Contents (1994–2003): Zdenko Vrdlovec Filmografski podatki / Credits Data (2004–2010): Špela Čižman Vsebine filmov / Film Contents (2004–2010): Varja Močnik, Matic Večko /Translated by Igor Žužek et al., Denis Debevec, Andrej Hiti Ožinger and Matic Večko/

Filmografija

V kraljestvu Zlatoroga In the Realm of Goldenhorn

1931

Režija/Directed by Janko Ravnik Scenarij/Screenplay by Juš Kozak Direktor fotografije/Director of photography Janko Ravnik Montaža/Edited by Janko Ravnik Igrajo/Cast Joža Čop (Roban), Miha Potočnik (Klemen), Herbert Drofenik (gornik/Mountaineer), Franica Sodja (Liza) Produkcija/Production company Turistovski klub Skala, Ljubljana Tehnični podatki/Technical specifications 35 mm, črno-beli, nemi, 1 : 1,33/35 mm, black and white, silent, 1 : 1.33

Dolžina/Running time 76 minut/76 minutes Premiera/Release date domača distribucijska: 29. 8. 1931 (Ljubljana, hotel Union)/theatrical release in Slovenia: Aug. 29, 1931 (Ljubljana, Hotel Union) Opombe/Notes Film je fragmentarno ohranjen. Prvotna dolžina je znašala 109 minut./The film is preserved in fragments. The original length was 109 minutes.

Filmography

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Vsebina

Dokumentarno-igrani gorski film. Ljub ljanski študent, jeseniški železar in kmet se dogovorijo za izlet v »kraljestvo Zlatoroga« oziroma na slovensko »sveto goro« Triglav. Med potjo se ustavijo pri koscih, gozdnih delavcih in gozdnem čuvaju. Zvečer postavijo šotor, naslednji dan obiščejo planšarje in prenočijo pri lepi pastirici. Tretji dan se povzpnejo na Triglav in se prek Bohinja vrnejo na Bled, kjer se razidejo.

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Plot summary

Semi-documentary semi-fiction set in the mountains. A student from Ljubljana, an ironworker from Jesenice and a farmer decide to take a trip to the »realm of the Goldenhorn«, i.e. to the Slovene »sacred mountain« Triglav. On the way, they stop at haymakers, foresters and a forest ranger. They pitch a tent in the evening and visit Alpine dairymen the next day. Then they stay the night at the home of a lovely shepherdess. On the third day, they climb Mount Triglav and return via Bohinj to Bled, where they part.

Filmografija

Triglavske strmine The Slopes of Triglav

1932

Režija/Directed by Ferdo Delak Scenarij/Screenplay by Janez Jalen Direktor fotografije/Director of photography Metod Badjura Montaža/Edited by Milka Badjura Igrajo/Cast Anton Cerar-Danilo (turist/Tourist), Pavla Marinko (Minka), Miha Potočnik (Miha), Milka Badjura (Mihova sestra/Miha’s sister), Uroš Zupančič (Uroš), Joža Čop, Jože Kunstler Produkcija/Production company Sava film Producenti/Producers Metod Badjura, Evgen Lovšin, Stanko Tominšek Tehnični podatki/Technical specifications 35 mm, črno-beli, nemi, 1 : 1,33/35 mm, black and white, 1 : 1.33 Dolžina/Running time 50 minut/50 minutes

Premiera/Release date domača distribucijska: 9. 12. 1932 (Ljubljana, kino Ljubljanski dvor)/ theatrical release in Slovenia: Dec. 9, 1932 (Ljubljana, Ljubljanski dvor Cinema) Opombe/Notes Film je fragmentarno ohranjen. Prvotna dolžina je znašala 2250 m. Leta 1963 je Milka Badjura iz ohranjenega materiala zmontirala ozvočeno verzijo filma. Mednapise iz nemega filma je nadomestil komentator, glasbo za film pa je napisal Bojan Adamič./The film is preserved in fragments. The original length was 2250m. In 1963, Milka Badjura edited the sound version of the film from the preserved material. The title cards were replaced by a narrator and the music was composed by Bojan Adamič.

Filmography

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Vsebina

Igrano-dokumentarni domačijski film. Kmečki fant Miha povabi svojo zaročenko Minko na ples, toda njegova prijatelja ga zvabita plezat v gore. Na vaški veselici poskuša razočarano in osamljeno dekle razvedriti ostareli zapeljivec in izletnik. Tudi onadva se skupaj z Mihovo sestro in njenim prijateljem Urošem odpravita v gore, toda ostareli zapeljivec kmalu obnemore. Na Triglavu se srečajo in Miha in Minka podpišeta poročno pogodbo, v kateri piše, da žena svojemu možu nikoli ne bo branila hoditi v gore.

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Plot summary

Alpine drama with documentary inserts. A young peasant, Miha, invites his fiancée Minka to a local dance, but his two friends persuade him to go climbing. During the festivities in the village, a seductive older tourist tries to cheer up the lonely, disappointed girl. They also decide to set out for the mountains with Miha’s sister and her boyfriend Uroš, but the tourist soon gives up. They all meet on Triglav, and Miha and Minka sign a marriage contract stating that the wife will never prevent her husband from going to the mountains.

Filmografija

Na svoji zemlji On Our Own Land

1948

Režija/Directed by France Štiglic Scenarij/Screenplay by Ciril Kosmač Direktor fotografije/Director of photography Ivan Marinček Glasba/Music by Marjan Kozina Scenografija/Set design by Boris Kobe, Tone Mlakar Kostumografija/Costume design by Mija Jarc Maska/Make-up by Mara Kralj Zvok/Sound by Rudi Omota Montaža/Edited by Ivan Marinček Igrajo/Cast Lojze Potokar (Sova), France Presetnik (Stane), Mileva Zakrajšek (Angela), Štefka Drolc (Tildica), Miro Kopač (Očka Orel/Daddy Orel), Avgusta Danilova (Obrekarica/Mrs. Obrekar), Majda Potokar (Nančika), Boris Sešek (Boris), Stane Sever (Drejc), Angela Rakar (Dragarica/Mrs. Dragar), Jule Vizjak (Bichi), Franjo Kumer (Kutschera), Stane Starešinič (Dragič), Tone Eržen (Tone), Andrej Kurent (Peter), Gabrijel Vajt (Moj Jezus/ My Jesus), Jože Zupan (partizan/Partisan), Oskar

Kjuder (harmonikar/Accordion player), Metka Bučar (Travnikarica/Mrs. Travnikar), Jože Gale (partizan/ Partisan), Aleksander Valič, Janez Jerman, Ivo Belec, Štefan Hlede, Ivan Grašič, Vasja Ocvirk, Ivan Fugina, Milan Juričev Produkcija/Production company Triglav film Direktor filma/Production manager Janez Jerman

Tehnični podatki/Technical specifications 35 mm, črno-beli, 1 : 1,37/35 mm, black and white, 1 : 1.37 Dolžina/Running time 108 minut/108 minutes Datum/Date 15. 11. 1948/Nov. 15, 1948 Premiera/Release date domača distribucijska: 20. 11. 1948 (Ljubljana, kino Union)/theatrical release in Slovenia: Nov. 20, 1948 (Ljubljana, Union Cinema) Premierno število gledalcev/Audience at first showing 54.800

Filmography

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Vsebina

Epopeja o narodnoosvobodilnem boju. Dogajanje opisuje zadnji leti osvobodilnega boja na slovenskem Primorskem med 2. svetovno vojno. Začne se s prihodom nemškega oficirja Kutschere, ki se nameni iztrebiti »bandite« v Baški grapi. Tu so vsi krajani na strani narod noosvobodilnega boja, le Drejc, na katerega pritiska mati, obenem pa bi se rad poročil s Tildico, ki je za partizane, še omahuje. Nad Grapo se pojavijo partizani, med njimi sta Sova in Stane, ki se je po dolgem času vrnil iz Španije. Kapitulacija Italije; v Baško grapo zmagoslavno prikoraka četa partizanov, Stane se sreča z materjo, nato pa nagovarja krajane, naj gredo vsi v partizane. Tudi Drejc bi rad šel, a mu mati ne dovoli. Kutschera ukaže ustreliti štiri krajane, med njimi tudi Angelo, Stanetovo mati, ki se sezuje, da bi šla bosa »poslednjič po svoji zemlji«. V partizanih je Tildica bolničarka, komandant Stane jo pošlje s Sovo k »očku« Orlu, ki je v Baški grapi vodja odpora. Tildico ujamejo domobranci in jo odpeljejo v Drejčevo hišo; Drejc na dvorišču postreli stražarje, reši Tildico in z njo zbeži v partizane. Ti napadejo Baško grapo, Sova in Drejc minirata most, Sova je ranjen, odpeljejo ga v bolnišnico Franjo. Utrujena partizanska kolona v snegu; Tildica pove Drejcu, da je noseča. Kutschera ustreli Orlovo ženo in nato ukaže ubiti še njega; Orlov vnuk pribeži do Drejca, ki sam napade nemško kolono in je ubit. Na pokopu Orla Sova podeli dečku partizansko ime Orlič. V partizanskem štabu ugotavljajo, da se je na Primorskem zbrala »imperialistična združena reakcija« in da so pred odločilno bitko, ki se konča s partizansko zasedbo Trsta.

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Plot summary

Epic about the National War of Liberation. This film depicts the last two years of the Liberation War in the Slovenian coastal region of Primorska. Kutschera is a German officer determined »to weed out the bandits« of Baška grapa. All the local population favour the partisans, except Drejc, who is torn between his mother and a girl, Tildica, whom he would like to marry and who is also in favour of the partisans … Partisans appear high above the mountain gorge; Sova and Stane are among them, the latter has just returned from Spain after a long absence. Italy capitulates, and in March, the partisans triumphantly enter Baška grapa. After meeting his mother, Stane urges the villagers to join the partisans. Drejc would like to, but is once again stopped by his mother. Soon the terror begins: Kutschera orders four people shot, including Stane’s mother Angela. Just before the execution, she takes off her shoes so she can walk barefoot »across her own land« for the last time. Tildica becomes a partisan nurse. Stane, the commandant, sends her and Sova to »Daddy« Orel, leader of the Baška grapa resistance movement. Tildica is caught by a group of local quislings, Home Guards, who take her to Drejc’s house. Drejc becomes a hero: he shoots the Guards, frees Tildica, and they escape to join the partisans. Finally, the partisans attack Baška grapa. Sova and Drejc blow up the local bridge; Sova is injured and taken to the Franja field hospital. Then we see a group of exhausted partisans marching across the snowy landscape. Tildica tells Drejc that she is pregnant. Kutschera shoots Orel’s wife and has Orel killed, too. Orel’s grandson runs to the partisans; on his own, Drejc attacks the approaching Germans. He is killed. At Orel’s burial, Sova gives a partisan nickname to the boy, Orlič (Young Eagle). A debate at partisan headquarters reveals that the partisan army is about to engage the »allied imperialist reactionary forces«. Finally, we witness the liberation of Trieste by partisan troops.

Filmografija

Dolina miru The Valley of Peace

1956

Režija/Directed by France Štiglic Scenarij/Screenplay by Ivan Ribič Direktor fotografije/Director of photography Rudi Vavpotič Glasba/Music by Marjan Kozina Scenografija/Set design by Ivo Spinčič Kostumografija/Costume design by Relly Dular Maska/Make-up by Hilda Jurečič Zvok/Sound by Marjan Meglič Montaža/Edited by Radojka Ivančević Igrajo/Cast John Kitzmiller (Jim), Eveline Wohlfeiler (Lotti), Tugo Štiglic (Marko), Boris Kralj (Sturmführer), Maks Furijan (Scharführer), Janez Čuk (vodnik/Guide), Polde Dežman (komisar/ Comissar), Rudi Kosmač (podporočnik/Second lieutenant), Pero Škerl (komandant/Commander),

Franjo Kumer (nemški vojak/German soldier), Franc Drofenik, Tone Homar, Aleksander Valič Produkcija/Production company Triglav film Direktor filma/Production manager Mladen Kozina Tehnični podatki/Technical specifications 35 mm, črno-beli, 1 : 1,37/35 mm, black and white, 1 : 1.37 Dolžina/Running time 88 minut/88 minutes Datum/Date 23. 7. 1956/Jul. 23, 1956 Premiera/Release date domača distribucijska: 31. 10. 1956 (Ljubljana, kino Union)/theatrical release in Slovenia: Oct. 31, 1956 (Ljubljana, Union Cinema) Premierno število gledalcev/Audience at first showing 52.030

Filmography

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Vsebina

Poetična vojna drama o usodi otrok. Po ameriškem bombardiranju nekega slovenskega mesta med drugo svetovno vojno deček Marko in deklica Lotti, ki je nemškega rodu, ostaneta brez staršev. V sirotišnici začne mala Lotti pripovedovati Marku o neki dolini, za katero je slišala od babice, »dolini miru«, opis te doline pa dečka spomni na kmetijo njegovega strica. Skleneta, da poiščeta to dolino, in zbežita iz sirotišnice. Zunaj mesta, na deželi, ju odkrijejo nemški vojaki, oficir ukaže, naj otroka ujamejo, medtem pa nemško kolono napadeta ameriški letali, iz katerih izskočita padalca. Eden od njiju, črnec Jim, najprej ustreli nemška vojaka, ki iščeta otroka, zasliši jok in najde otroka sredi deroče vode. Jim sklene pospremiti otroka v njuno »dolino miru«. Srečajo belega konja, ki jih pripelje do zapuščene graščine, kjer nameravajo prenočiti. Jima predrami prihod nemških vojakov, ti ujamejo Marka in pri njem najdejo ameriško letalsko značko. Jim povzroči hrup in zbeži iz graščine, Nemci ga lovijo, vendar se mu posreči priti nazaj po otroka. Sredi noči na belem konju prijezdijo do kmetije Markovega strica. Hiša je prazna, in Jim ugotovi, da v tej hiši že nekaj časa nihče ne živi. Jim gre iz hiše, zunaj ga ujamejo Nemci, ki jih tisti hip napadejo partizani; Jim se jim uspe pridružiti, a ga kmalu zadene strel nemškega vojaka; smrtno ranjen se privleče do kmetije, ukaže otrokoma, naj zbežita, in umre. Nemci s topovi uničujejo »dolino miru«, otroka sta sama na vrhu hriba in deklica reče: »Nekje mora biti tista dolina.«

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Plot summary

Poetic drama about the fate of children in war. In an air-raid on a Slovene town during World War II, a boy named Marko and a German girl named Lotti lose their parents. In the orphanage, little Lotti explains to Marko that her granny told her of a valley which she called »The Valley of Peace«. Hearing the story, Marko immediately recalls his uncle’s farm. The two children decide to find the valley and run away from the orphanage. German soldiers discover them roaming in the countryside. As they try to catch them, the column is attacked by American planes, from which two parachutists jump … One of them, a black man named Jim, shoots the two German soldiers sent to look for the children; then he hears the children crying and saves them from a raging river. Jim decides to take the children to their »Valley of Peace«. They come across a white horse which takes them to a deserted mansion, where they plan to spend the night. Jim is woken by the arrival of German soldiers, who seize Marko and find the American airforce badge on him. Jim makes a noise to attract the attention of the Germans and runs out of the mansion. The soldiers try to catch him, but he succeeds in coming back and saving the boy. In the middle of the night, we see them riding the white horse and finally reaching the farm of Marko’s uncle. Jim realises that no-one has lived in the house for quite a while. Jim comes out of the house, and is ambushed by German soldiers. At the same moment, the partisans attack. Jim manages to join them, but is soon hit by an enemy bullet. Mortally wounded, he crawls back to the farm, orders the children to run away and dies. The Germans destroy the Valley of Peace with artillery, while the two children, all alone, find refuge on top of a nearby hill; finally, the girl declares that »that Valley has to be out there somewhere …«

Filmografija

Tistega lepega dne That Beautiful Day

1962

Režija/Directed by France Štiglic Scenarij/Screenplay by France Štiglic, Andrej Hieng (po istoimenski noveli Cirila Kosmača/Based on Ciril Kosmač short story with the same title) Direktor fotografije/Director of photography Ivan Marinček Glasba/Music by Alojz Srebotnjak Scenografija/Set design by Eli Likar Kostumografija/Costume design by Nada Souvan Maska/Make-up by Berta Meglič, Hilda Jurečič Zvok/Sound by Marjan Meglič Montaža/Edited by Milka Badjura Igrajo/Cast Bert Sotlar (Štefuc), Duša Počkaj (Hedvika), Arnold Tovornik (Moj Jezus/My Jesus), Jože Zupan (župnik/Priest), Angelca Hlebce (Pečanka/Mrs. Pečan), Lojze Potokar (padar/Quack Doctor), Lojze Rozman (Ludvik), Silva Danilova (Jera), Zlatko Šugman (Jereb), Karel Pogorelec (Pečan), Tone Homar (Modest), Slavko Strnad (Zanut), Stanko Potisk (Nande), Maks Bajc (fašist/ Fascist), Anton Petje (marešalo/Maresciallo), France Presetnik (mesar/Butcher), Aleksander Valič (pleskar/House painter), Metka Bučar (debela

opravljivka/Fat slanderer), Marija Šeme (Zana), Maja Šugman (Matilda), Tonja Ponebšek (prijazna opravljivka/Kind slanderer), Danilo Benedičič (karabinjer/Carabineer), Binca Gorjup (Graparica/ Mrs. Grapar), Tatjana Gostiša (suha opravljivka/ Skiny slenderer), Vera Pantič (kuharica/Cook), Olga Podržaj (Štefucova hči/Štefuc’s daughter), Milenca Povoden (Štefucova hči/Štefuc’s daughter), Klara Jankovič (Štefucova hči/Štefuc’s daughter), Berta Mulalič (Štefucova hči/Štefuc’s daughter) Produkcija/Production company Viba film Direktor filma/Production manager France Marolt Tehnični podatki/Technical specifications 35 mm, črno-beli, 1 : 1,66/35 mm, black and white, 1 : 1.66 Dolžina/Running time 83 minut/83 minutes Datum/Date 5. 10. 1962/Oct. 5, 1962 Premiera/Release date domača distribucijska: 7. 10. 1962 (Ljubljana, kino Union)/theatrical release in Slovenia: Oct. 7, 1962 (Ljubljana, Union Cinema) Premierno število gledalcev/Audience at first showing 50.839

Filmography

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Vsebina

Komedija o sentimentalnih zapletih v času fašistične okupacije. V primorski vasi v času italijanske okupacije dvakratni vdovec Štefuc skrbi za kopico otrok, ki jim obljubi novo mamo: v mislih ima Zano, tretjo hčer mame Pečanke. Župnik v cerkvi sporoči vaščanom, da je prepovedano peti slovenske pesmi in oznani poroko Zane in Ludvika. Presenečeni Štefuc gre k mami Pečanki, ki pa noče niti slišati o tem, da bi mu dala še tretjo hčer za ženo. Gre v gostilno, kjer nekaj moških natolcuje o dekletu Hedviki, ki se je vrnila iz Italije. Zvečer se v neki hiši zberejo vaščani in pojejo slovenske pesmi. Pijani Štefuc na pokopališču obema svojima pokojnima ženama prisega, da ju je imel rad, nato pa zapoje »Buči, buči, morje Adrijansko«. Zjutraj gre z otroki k žup niku, trdeč, da se mora še tretjič poročiti in da je navajen samo na Pečanove ženske. Pod Hedvikinim oknom izmenično vasujejo marešalo, karabinjer in gostilničar, ki jih njen oče vse napodi, zadnjega pa polije z vodo. Štefuc zvečer sreča Zaninega zaročenca Ludvika, ki se vrača iz italijanske kasarne; spreta se in stepeta, Štefuc ga vrže v vodo in potem reši iz nje; prihiti župnik, ki Štefucu pojasni, da je Zana noseča. Poroka Zane in Ludvika: njegovi bratje, ki nosijo fašistične uniforme, morajo zapeti »Buči, buči, morje Adrijansko«. Na ohcet prihrumi pijani Štefuc in se brž stepe z Ludvikom. Naslednje jutro nevesta že rodi, njena mati pa se domisli, da bi lahko bila Hedvika tretja Štefucova žena: tako Hedvika, ki je bila doslej do Štefuca hudomušna, kot Štefuc, ki jo je v svojem trmoglavljenju za Zano komaj opazil, sta srečna, ker sta »izbrana«. 

Plot summary

Comedy about romantic entanglements during the Fascist occupation. A village on the coast under Italian occupation: a widower, Štefuc, is raising a group of children left

to him by his first and second wives, who have died. He promises his children a new mother; he has in mind Zana, the third daughter of Mother Pečanka. Inside the church, the priest tells the villagers that Slovene songs have been banned; at the same time, he announces the marriage of Zana and Ludvik. Štefuc, rather surprised, goes to Mother Pečanka and learns that she is unwilling to let him have her third daughter. He goes to a bar where some men are slandering Hedvika, who has just come back from Italy. That same evening, a number of the villagers gather in a house and sing Slovene songs. We also see Štefuc, drunk in the graveyard, swearing to both his dead wives that he really loved them, after which he sings »Oh, roar, Adriatic Sea!« (»Buči, buči morje Adriansko«). In the morning, he takes his children to the priest, where he explains that he has to marry again; the problem is that he seems used to the Pečan women. In turns, in the dark, a Maresciallo, a carabineer and the inn-keeper appear beneath Hedvika’s window to attract her attention … Her father chases them all away and throws water over the last of the three Romeos. One evening, Štefuc meets Zana’s fiancé Ludvik returning from the Italian barracks. They quarrel and fight; Štefuc throws him into the water, but then saves him from drowning. The priest appears, and tells Štefuc that Zana is pregnant. Then follows the wedding of Zana and Ludvik: Ludvik’s brothers, all in Italian uniforms, have to sing »Oh, roar, Adriatic Sea!«. Štefuc, drunk, joins the party and gets in a fight with Ludvik. The very next morning, the bride gives birth, while her mother is suddenly struck by the idea that Hedvika might well become Štefuc’s third wife. Hedvika – who has so far been playful toward Štefuc, but is unnoticed by him, as he is obstinately fighting for Zana – and Štefuc are happy »to be chosen« …

Filmografija

Peščeni grad The Castle of Sand

1962

Režija/Directed by Boštjan Hladnik Scenarij/Screenplay by Boštjan Hladnik Direktor fotografije/Director of photography Janez Kališnik (I.) Glasba/Music by Bojan Adamič Scenografija/Set design by Irena Felicijan Kostumografija/Costume design by Irena Felicijan Maska/Make-up by Janja Rožanc Zvok/Sound by Herman Kokove Montaža/Edited by Kleopatra Harisijades Igrajo/Cast Milena Dravić (Milena), Ljubiša Samardžić (Smoki), Ali Raner (Ali), Janez Albreht (zdravnik/Doctor), Špela Rozin (Špela) Produkcija/Production company Proizvodna skupina Refleks, Viba film Direktor filma/Production manager Dušan Povh

Tehnični podatki/Technical specifications 35 mm, črno-beli, 1 : 1,66/35 mm, black and white, 1 : 1.66 Dolžina/Running time 95 minut/95 minutes Datum/Date 27. 12. 1962/Dec. 27, 1962 Premiera/Release dates domača distribucijska: 22. 1. 1963 (Ljubljana, kino Union)/theatrical release in Slovenia: Jan. 22, 1963 (Ljubljana, Union Cinema) Premierno število gledalcev/Audience at first showing 17.566

Filmography



Vsebina

Modernistična pripoved o potovanju in blodnjah. Prestrašeno dekle Milena priteče do žičnate ograje, zleze skoznjo in beži naprej. Študent Ali visoko na terasi svojega stanovanja »vzvišeno« in naveličano godrnja nad mestnim življenjem, njegovo dekle pa meni, da je tečen, ker je padel na izpitu. Ali se z avtom odpelje iz mesta. Na cesti pobere Smokija, študenta, ki prav tako kot Ali ne ve, kam je namenjen. Ustavita tudi Mileni, ki je pritekla do ceste. Prenočijo v gozdu in se sprašujejo, kam bi šli naslednji dan. Fanta ustavita avto z nemškimi turisti in jim ukradeta vrečo z oblekami za Mileno, ki ima pod plaščem samo kopalke. Pripeljejo se v obmorsko mesto, Milena prestrašeno zahteva, da se odpeljejo naprej. Na obali se obleče v »princesko«, s katero Ali in Smoki izmenično plešeta na pesku; Milena ima privid žičnate ograje in zakriči. Odpeljejo se naprej in ugotovijo, da so zašli: fanta bi se vrnila, Milena pa ne. Pridejo na peščeno plažo, Milena jima reče, da se je zaljubila v enega od njiju, a noče povedati, v koga. Dekle iz peska in kamenja zida »grad«, v katerem bodo »sami, varni in svobodni«. Fanta se spreta zaradi Milene in se potopita pod vodo; tisti, ki bo prvi izplaval, bo dekle izgubil. Medtem Mileno pri njenem »gradu« popade strah, na hribu pa se pojavijo policisti. Ali in Smoki hkrati izplavata na površje in zagledata Mileno, ki pred policisti beži na visoko skalo; s klicem Smoki! se vrže v morje. Milenin zdravnik fantoma pove, da je bila Milena rojena v koncentracijskem taborišču, da je potem zbolela in ušla iz umobolnice.



Plot summary

Modernistic narrative about wanderings and delusions. A frightened girl, Milena, runs to a wire fence, pulls herself through and keeps running … High up on the terrace of his apartment, a student, Ali, grumbles in contempt of city life. His girlfriend is convinced that he is in this mood because he has failed an examination. Ali drives off in his car. Out of town, he picks up Smoki, another student, who, like Ali, is not sure where he is going. Soon afterwards, he stops again to pick up Milena, who has just run all the way to the road. They spend the night in a forest, wondering where to go the next day. The boys stop a car with German tourists in it and steal a bag of clothes for Milena, because she has nothing but a bathing suit under her coat. Finally, they reach a seaside resort, but Milena insists that they go on. On the shore, she puts on the clothes of a »princess« and Ali and Smoki dance on the sand with her in turn … Suddenly, Milena imagines that she sees a wire fence, and cries in terror. They leave the place and, after a while, find that they have lost their way. The boys want to go back, while Milena does not. They reach a sandy beach, where Milena announces that she has fallen in love with one of them. The girl makes a sandcastle, in which they will be »all by themselves, safe and free.« The boys quarrel over Milena and dive into the sea: the one who comes out first will lose her. In the meantime, Milena, playing with her castle, becomes frightened. When Ali and Smoki jump out simultaneously, the police appear on top of the hill. The boys notice Milena running away, trying to escape by climbing up a steep cliff. She cries »Smoki!« and throws herself into the sea. Milena’s doctor tells the boys that the girl was born in a concentration camp, where she fell ill, and she has been on the run from a psychiatric clinic.

Portreti režiserjev / Director’s Profiles Varja Močnik Alenka Korpes Denis Valič Matic Večko Zdenko Vrdlovec /Translated by Andrej Hiti Ožinger, Matic Večko/

Portreti režiserjev

 Vojko Anzeljc (Ljubljana, 19. 4. 1970) Snemal je videospote za različne slovenske pop skupine, s produkcijsko skupino Mangart, katere soustanovitelj je, je produciral oddaje za komercialno televizijo: uspešni sta bili zlasti oddaja Odklop (1997–1999) in humoristična nanizanka TV Dober dan (1999–2001), pri kateri je Anzeljc sodeloval tudi kot koscenarist in režiser. Popularni igralec iz te nanizanke, Matjaž Javšnik, je nastopil tudi v glavni vlogi Anzeljčevega prvega celovečernega igranega filma Zadnja večerja (2001); ta romantična komedija o norčku in prostitutki je bila leta 2001 najbolj gledan slovenski film, na manjših mednarodnih festivalih (Soči, Varna, São Paulo, Braunschweig) pa je osvojila tudi nekaj nagrad. Leta 2003 je za komercialno televizijo režiral humoristično serijo Trafika in leta 2004 za TV Slovenija Čokoladne sanje. Precej zanimanja je vzbudil tudi njegov naslednji filmski projekt, Gola resnica, komični dokumentarni film, ki ga je posnel leta 2009 ob spremljanju predsedniške kandidature dr. Arturja Šterna.  Directed music videos for various Slovenian pop groups; with the production group Mangart, which he co-founded, produced television programmes for Slovenian commercial stations: particularly successful were Switch-off (Odklop, 1997–1999) and the sitcom Good Morning TV (TV Dober dan, 1999–2001), which Anzeljc also co-wrote and directed. The popular actor from this sitcom, Matjaž Javšnik, also played the leading role in Anzeljc’s debut feature, The Last Supper1. This romantic comedy about a fool and a prostitute was the most widely seen Slovenian film of 2001 and it also won several awards at international film festivals (Sochi, Varna, São Paulo, Braunschweig). In 2003, Anzeljc directed the sitcom Tobacco Shop (Trafika) for commercial television, and in 2004 the sitcom Chocolate Dreams (Čokoladne sanje) for TV Slovenia. His next film project The Naked Truth, a humorous documentary filmed during the presidential elections campaign of dr. Artur Štern also attracted quite a lot of interest.  Vinci Vogue Anžlovar (Ljubljana, 19. 10. 1963) Študiral je filmsko in televizijsko režijo na ljubljanski Akademiji za gledališče, radio, film in televizijo (AGRFT), nastopil v celovečernem prvencu Damjana Kozoleta Usodni telefon (1987) in napisal glasbo za nekaj gledaliških predstav. Na mednarodnem natečaju 1 Pri celovečernih filmih, ki so že predstavljeni v filmografskem delu knjige, izvirnih slovenskih naslovov nismo ponovno

navajali v angleškem besedilu tega in sledečih poglavij. /With feature films which have already been presented in the filmo graphy section of the book we did not repeat the original Slovenian titles in the English text of this and the following chapters.

430

director`s profiles

na Japonskem je osvojil nagrado za scenarij, ustanovil produkcijsko podjetje Vogue & Kline Production in po nagrajenem scenariju posnel celovečerni prvenec, lahkotno komedijo Babica gre na jug (1991), ki je pri domačem občinstvu dosegla velik uspeh. Za ameriškega producenta je Anžlovar v Sloveniji posnel kriminalko Oko za oko (Gypsy Eyes), ki je v ZDA leta 1992 izšla na videu (kot CIA Takedown), v Sloveniji pa je imela leta 1994 le omejeno distribucijo. V naslednjih letih je snemal reklamne in kratke igrane filme (Lucky Number, 1999; Se(c)kret, 2000). Njegov tretji celovečerec je brutalna kriminalka Poker (2001), ki je na 4. festivalu slovenskega filma v Portorožu prejela nagrade za montažo in najboljša igralca. Leta 2008 je po literarni predlogi Mateta Dolenca posnel TV-film Vampir z Gorjancev.  Studied film and television directing at the Ljubljana Academy of Theatre, Radio, Film and Television (AGRFT), acted in Damjan Kozole’s debut feature, The Fatal Telephone (1987), and composed music for several stage productions. At an international competition in Japan he won a prize for his screenplay, then established the production firm Vogue & Kline Production and from the prize-winning screenplay directed his debut feature, a light comedy entitled Grandma Goes South (1991), which enjoyed great success with domestic audiences. For an American producer, Anžlovar shot in Slovenia a crime thriller entitled Gypsy Eyes, which was released in USA on video (as CIA Takedown) in 1992 and had a limited release in Slovenia in 1994. Over the next few years, he directed advertising and short fiction films (Lucky Number, 1999; Se(c)kret, 2000). His third feature is a brutal crime thriller, Poker (2001), which at the 4th Festival of Slovenian Film in Portorož won the awards for best editing and actors. In 2008 he finished TV film Vampire from Gorjanci (Vampir z Gorjancev), based on the novel with the same name by Mate Dolenc.  Jože Babič (Povžane, 13. 2. 1917–Ljubljana, 10. 5. 1996) Že kot mladostnik se je po prihodu v Maribor prvič srečal z gledališčem in pod mentorstvom Vladimirja Skrbinška in Frana Žižka nastopal v mariborskem gledališču in sodeloval v avantgardnih skupinah v Mariboru in na Ptuju. Po drugi svetovni vojni, ki jo je večinoma preživel v koncentracijskih taboriščih, je igral in režiral v mariborskem gledališču, leta 1947 pa je postal prvi režiser in deloma tudi umetniški vodja Slovenskega gledališča v Trstu. Leta 1969 je ustanovil Primorsko dramsko gledališče v Novi Gorici in ga vodil do leta 1974. Režiral je v vseh slovenskih gledališčih, pomemben pa je tudi njegov delež pri filmu – od leta 1959 je posnel šest celovečercev, ki so v stilu »trdega« realizma obravnavali aktualne eksistencialne in družbene probleme. Tri četrtine sonca (1959) opisujejo hrepenenja, napetosti in travme v skupini povratnikov iz nacističnih

431

Portreti režiserjev

koncentracijskih taborišč; ta film je na 6. festivalu jugoslovanskega igranega filma v Pulju osvojil glavno nagrado, Jože Babič pa nagrado za režijo. V Veselici (1960) je prek invalidnega kurirja, nekdanjega partizana, prikazana kot »invalidna« tudi povojna stvarnost; ta film (prav tako nagrajen s srebrno areno na puljskem festivalu) je obveljal za enega izmed predhodnikov »novega jugoslovanskega filma«. Po Veselici je Babič naslednja filma posnel v drugih jugoslovanskih republikah, na Hrvaškem Sudar na paralelama (Na vzporednikih, 1961) in v Bosni in Hercegovini U sukobu (V spopadu, 1963). V Sloveniji je naredil samo še dva filma: Po isti poti se ne vračaj (1965; na 13. festivalu jugoslovanskega igranega filma v Pulju nagrajen s posebno diplomo za režijo filma z aktualno temo) je socialna drama o bosanskih delavcih na »začasnem delu« v Sloveniji, in Poslednja postaja (1971), prav tako »delavska drama« z nekdanjim partizanom na poti kriminala. Babič je bil tudi aktiven televizijski režiser (Jeprški učitelj, 1969, Ščuke pa ni, ščuke pa ne, 1980). Leta 1981 je za življenjsko delo na področju gledališke, filmske in televizijske režije prejel Prešernovo nagrado in leta 1995 nagrado Metod Badjura za življenjsko delo.  As a young man, Jože Babič discovered the theatre after arriving in Maribor, where he played under mentors Vladimir Skrbinšek and Fran Žižek, and took part in avantgarde groups in Maribor and Ptuj. After World War II, which he mostly spent in concentration camps, he was an actor and director in Maribor, and the first director and part-time artistic director of the Slovene Theatre in Trieste from 1947. In 1969, he established the Primorska Drama Theatre in Nova Gorica, which he managed until 1974. He directed plays at all Slovene theatres and contributed a great deal to the cinema – beginning in 1959, he made six features treating topical existential and social issues in a style of harsh realism. Three Quarters of the Sun (1959; best film and best director awards at the 6th Pula Festival of Yugoslav Film) is a study of longings, tensions and traumas in a group of survivors coming home from nazi concentration camps. The Feast (1960; the film won the Great Silver Arena and a special diploma at the 8th Pula Festival of Yugoslav Film) discovers, through the story of invalid courier and ex-partisan, that the post-war reality is in some way »invalid«, too. This Babič’s film holds good as one of the predecessors of »new Yugoslav film«, known also as »black wave«. After The Feast Babič made two films in other Yugoslav republics, Collision on the Parallels (Sudar na paralelama, 1961) in Croatia and Conflict (U sukobu, 1963) in Bosnia and Herzegovina. Back in Slovenia he made only two films: Don’t Come Back the Same Way (1965; Babič received a special diploma for directing a topical fim at the 13th Pula Festival of Yugoslav Film), a social drama about Bosnian workers on the »temporary work« in Slovenia, and The Last Stop (1971), a »worker drama« with an ex-Partisan on the path of criminal. Babič was also an active TV director (The Teacher in Jeprca /Jeprški učitelj, 1969/, No Pike in the River /Ščuke pa ni, ščuke pa ne, 1980/, etc.). He received an honorary Prešeren Award in 1981 for his lifetime’s work in theatre, film and television directing, and in 1995, the honorary Metod Badjura Award.

432

director`s profiles

 Jože Bevc (Ljubljana, 22. 5. 1925–Ljubljana, 27. 9. 1987) Režiral je več kakor šestdeset kratkih filmov in za večino teh spisal scenarije. Pri svojih filmih je bil pogosto scenograf in montažer, v njih pa je tudi nastopal. V slovenski kratki film petdesetih let prejšnjega stoletja je vnesel družbenokritične in satirične elemente, najizraziteje v Občanu Urbanu (1963), zgodbi o skromnem občanu, ki ga preganja neumorni ritem sodobnega načina življenja. V filmih neredko obravnava tako imenovanega malega človeka, ki je sicer žrtev različnih krivic, a se jim upre in jih poskuša premagati. Na Tednu domačega filma v Celju leta 1973 je za režijo kratkega filma Življenje po vzorcu (1973), filma o dveh zakonskih parih, ki se potegujeta za prestiž, prejel srebrno plaketo Metod Badjura. Leta 1981 je v Celju prejel priznanje Metod Badjura z diplomo za režijo kratkega filma Marija iz 6. razreda (1981) o enainštiridesetletni delavki Mariji, ki se odloči dokončati šolanje. Na festivalu jugoslovanskega dokumentarnega in kratkometražnega filma v Beogradu je v letih 1973–1976 vsako leto zapored prejel drugo nagrado za režijo filmov Čas je zlato (1972), Prav luštno je res na deželi (1973), Ogenj, voda in srce (1975) in Sončni dnevi občana Urbana (1975). Njegov edini celovečerni film je To so gadi (1977), komedija z obrobja glavnega mesta o vdovcu, ki z gospodinjo skrbi za pet navihanih sinov; ta film je bil v sedemdesetih letih velika uspešnica.  He directed over sixty short films, and also wrote the screenplays for most of them. He was also often a set designer, editor and actor in his own films. He introduced elements of social criticism and satire into Slovenian short film in the 1950’s; the most notable examples of this can be found in film Citizen Urban (Občan Urban, 1963), the story of a modest citizen haunted by the relentless rhythm of the modern way of life. Bevc’s films often deal with the subject matter of the so-called everyman, who is a victim of various injustices, but fights them, and tries to overcome them. At the Week of Domestic Film, Celje, he received a Silver Metod Badjura Award for best director for the short film Life in a Pattern (Življenje po vzorcu, 1973), a film about two married couples striving for prestige. At the Week of Domestic Film in 1981, he received the Metod Badjura Award with a diploma for best director for Marija from the 6th Grade (Marija iz 6. razreda, 1981), a short film about Maria, a 41-year-old worker who decides to finish school. At the Festival of Yugoslav Documentary and Short Film in Belgrade he received the runner-up award ever year from 1973–1976 for directing Time Is Money (Čas je zlato, 1972), Beauties of the Countryside (Prav luštno je res na deželi, 1973), Fire, Water and Heart (Ogenj, voda in srce, 1975) and Sunny Days of Citizen Urban (Sončni dnevi občana Urbana, 1975). His only full-length feature is Real Pests (1977), a comedy from the suburbs of a capital city about a widower who takes care of five mischevious boys with some help from the housekeeper; this film was great hit in late seventies.

433

Portreti režiserjev

 Jan Bilodjerič (Maribor, 1. 8. 1977) Obiskoval je ljubljansko AGRFT, smer filmska in televizijska režija, kasneje je diplomiral na Fakulteti za družbene vede. Leta 2005 je po lastnem scenariju posnel svoj celovečerni prvenec o mladinski narkomaniji Slepilo. Film je s svojo neposredno dokumentaristično nagovorno močjo pritegnil pozornost na več festivalih, v New Yorku pa je na festivalu neodvisnega filma prejel častno omembo žirije.  Studied film and television directing at the Ljubljana AGRFT. Later he graduated from Faculty of Social Sciences in Ljubljana. In 2005 he directed his debut feature about young drug addicts, The Illusion, for which he also wrote the screenplay. With its direct documentary approach and expressive intensity the film attracted attention at several festivals, while receiving a special mention of the jury at the Festival of Independent Film in New York.  Marcel Buh (Ljubljana, 9. 1. 1948) Študiral je glasbo, že zgodaj pa ga je pritegnila tudi sedma umetnost. Pri filmu in televiziji dela že od leta 1969 kot direktor filma, scenarist in režiser. Več let je bil tudi predsednik Društva slovenskih filmskih delavcev. Njegov filmski prvenec je bil kratki film Banket iz leta 1969. Leta 1988 je z zgodbo Hlad, pripovedjo o osamljenem upokojencu, ki ga iz njegovega sivega vsakdana za en večer iztrga srečanje z mlado poštno uradnico, sodeloval pri filmskem omnibusu P. S. z Boštjanom Hladnikom in Andrejem Stojanom. Poleg režiranja je Buh spisal precej scenarijev, med drugim tudi za priljubljeni mladinski film in TV-serijo Čisto pravi gusar in za celovečerni film Rabljeva freska.  He studied music and was drawn to the seventh art very early on. He has been part of the film business since 1969, as a director and screen writer. For several years, he was president of the Slovene Filmmakers Association. His first short film was Banquet (Banket, 1969). In 1988, his story Cold about a lonely retired man who is drawn from his dreary, bleak everyday life for one night by a young postal clerk, was part of the film omnibus P. S., which he co-directed with Boštjan Hladnik and Andrej Stojan. Buh has also written several scripts, including those for a popular youth film and TV series A Real Pirate and the feature Executioner’s Fresco.

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director`s profiles

ki je na 5. slovenskem filmskem maratonu v Portorožu prejel zlato nagrado Metod Badjura in nagrado občinstva. Njegov naslednji celovečerec so Barabe! (2001), zgodba o mladih delinkventih in odraslih kriminalcih. Leta 2004 je posnel celovečerni dokumentarni film Kocbek, pesnik v pogrezu zgodovine o kontroverznem pesniku, politiku in razumniku, čigar usoda je bila bistveno zaznamovana z dvema totalitarizmoma (fašizmom in komunizmom). V letih 2006 in 2007 je režiral srednjemetražni dokumentarni film Aufbiks! in kratki film Made in Slovenia. Precej polemike je sprožil njegov naslednji celovečerni dokumentarni film Otroci s Petrička (2007), ki je prikazal pretresljivo usodo mnogih otrok, ki jim je po vojni komunistična oblast brez sojenja pobila starše, njih pa odvedla v otroško prevzgojno taborišče Petriček. Leta 2009 je zrežiral televizijski film Igra s pari, kjer zakonski par prijateljica namesto z možem obišče z mlajšim ljubimcem. Zupanič na AGRFT poučuje filmsko režijo.  Graduated from the Faculty of Law and from AGRFT, won the Metod Badjura Student Award at the Week of Domestic Film in Celje for his short fiction film In the Head (V glavi, 1986) and received a special mention for inventive screenplay and direction at the Neum film festival for his documentary The Red Violin (Rdeča violina, 1988). In 1991, he directed The Cartier Operation (Operacija Cartier), a full-length television film dealing humorously with phenomena and people in a transitional society. At the 1st Slovenian Film Marathon in Portorož it won the award for best film, and in Italy the awards of the European association of television stations, CIRCOM, for best film and direction. After the documentary The Eyes of Bosnia (Oči Bosne, 1993), he directed from his own screenplay the socially critical feature Radio.doc (1995), winning the Golden Metod Badjura Award and the audience award at the 5th Slovenian Film Marathon in Portorož. His next feature was Rascals! (2001), a story about young delinquents and grown-up criminals. In 2004 he completed documentary Kocbek, a Poet in the Abyss of History (Kocbek, pesnik v pogrezu zgodovine) about a controversial poet, politician and an intellectual whose fate was profoundly influenced by the two totalitarianisms (fascism and communism). In the years 2006 and 2007 he directed a medium-length documentary Aufbiks! and a short film Made in Slovenia. His next full-length documentary Children from Petriček Hill (Otroci s Petrička, 2007) stired quite a lot of controversy. It presented the fate of many children whose parents were executed without trial by the communist government after the war, and who were later placed into a re-education camp Petriček. In 2009 he directed a television film Couples at stake (Igra s pari) in which a married couple is visited by a friend who instead of a husband brings along her young lover. Zupanič is a professor of film direction at the Ljubljana AGRFT.

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Portreti režiserjev

 Zoran Živulović (Ljubljana, 16. 2. 1970) Med študijem na AGRFT v Ljubljani je posnel nekaj kratkometražnih filmov, med drugim tudi Mesto umora (1994), za katerega je na 4. slovenskem filmskem maratonu v Portorožu prejel bronasto nagrado Metod Badjura. Leta 2002 je posnel TV-film Vladimir, ki je nastal po drami Matjaža Zupančiča. Celovečerni prvenec, omnibus Desperado Tonic, je posnel leta 2004 v sorežiji z Borisom Petkovičem, Hanno A. W. Slak in Varjo Močnik. Film je na 7. festivalu slovenskega filma prejel vesni za najboljši ton in scenografijo.  During his studies at the Ljubljana AGRFT he directed several short films, one of which was also Place of a murder (Mesto umora, 1994) that won the Silver Metod Badjura Award at the 4th Slovenian Film Marathon. In 2002 he directed a television film Vladimir, based on a play by Matjaž Zupančič. His debut feature was Desperado Tonic, which he co-directed with Boris Petkovič, Hanna A.W. Slak and Varja Močnik in 2004. The film received Vesna Awards for best sound and set design at the 7th Festival of Slovenian film.

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Zgodba o slovenskem filmu / The Story of Slovene Film Zdenko Vrdlovec /Translated by Igor Maver, Denis Debevec and Andrej Hiti O탑inger/

Zgodba o slovenskem filmu

»NACIONALNA REČ«* Kaj vidimo, če postavimo slovenski film v časovno-prostorske koordinate? Vidimo, da se razteza od gora do morja in da je že dvakrat obstajal v obdobju med dvema vojnama. Znano je, da je v filmu nasploh ta časovno-prostorska zveza neločljiva, v slovenskem pa je še posebej. »Posebnost« slovenskega filma je ta, da je bil spočet kot nacionalna reč. V obdobju med prvo in drugo svetovno vojno, ko je Slovenija v okviru jugoslovanske kraljevine obstajala kot narodnostna skupnost, sta nastala samo dva dolgometražna filma, ki se na videz dogajata v gorah, dejansko pa govorita o narodu, če ne predstavljata kar njegove »simbolne konstitucije«. Od tod tudi njun »dvoumni« status, ki je že bil predmet zgodovinske polemike o tem, ali sta dokumentarna ali igrana. Polemika je ugotovila, da nista niti zares dokumentarna niti zares igrana, toda ta »kategorialna nečistost« ni pravi vir njune »dvoumnosti«: naša teza je, da sta filma igrana, toda tako, da igra glavno vlogo nacionalna mitologija. In ta vloga je zapisana v sami njuni formi, kar pomeni, da sta filma »strukturno« narodotvorna. V njuni formi namreč najdemo samo dva momenta, ki bi ju lahko popeljala na pot »pravega« igranega, fikcijskega filma: v * Vsa poglavja od »Nacionalna reč« do vključno »Ne(srečni) par in druga dejstva« so ponatisnjena iz spremnih študij v knjigah Filmografija slovenskih celovečernih filmov 1931–1993 (Slovenski gledališki in filmski muzej, Ljubljana, 1994) in

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prvem, V kraljestvu Zlatoroga, je to prizor, v katerem se študent, ki bere knjigo na Ljubljanskem gradu, zastrmi proti goram v daljavi, v naslednjem kadru pa se v svoji sobi že pojavi v planinski opravi; v Triglavskih strminah pa je tak moment obenem »prva« mentalna ali subjektivna podoba v slovenskem filmu – to je bližnji plan s srpom in koso, ki se dekletu, ki ji je fant ušel v gore, prikaže kot simbol njune zaroke. V obeh primerih gre torej za momenta subjektivizacije, se pravi momenta, ki vzpostavljata filmsko osebo; in v obeh filmih sta to tudi edina takšna momenta – kakor V kraljestvu Zlatoroga po tistem uvodnem pogledu »v daljavo« proti goram, ki študenta preobrazi v planinca, ne le da ni več noben pogled njegov, marveč njega samega skoraj popolnoma izločijo »objektivni« pogledi oziroma razgledi krajev in krajin, tako v Triglavskih strminah tisto dekle, ki je sanjalo o poroki, ni več nosilka nobene subjektivne podobe, brž ko odide v gore. V obeh »alpskih« filmih je torej filmska oseba vzpostavljena le toliko in zato, da je potem izbrisana oziroma da bi postala del občestva. Prav zato je oseba le v toliko, kolikor se odloči, da gre v goro. V goro, ki je več kot le najvišja slovenska gora: Triglav je tisto, kar je v naravi več kot narava, tisto »več« pa ni v ničemer drugem kot v tem, da Filmografija slovenskih celovečernih filmov 1994– 2003 (Slovenska kinoteka, Ljubljana, 2005), le zadnje poglavje, »Sedem let skomin«, je napisano za to izdajo Filmografije.

The Story of Slovene Film

»NATIONAL THING«* What can we see when we set Slovene film in the coordinates of time and space? We see that it spans from the mountains and to the sea, and that it came to life twice in the period between the two wars. It is generally known that the connection between time and space is indivisible, and this is especially true of Slovene film. The »peculiarity« of Slovene film lies in the fact that it was conceived as a national »Thing«. In the period between World War I and World War II, when Slovenia existed within the Kingdom of Yugoslavia as a national community, only two feature films were produced, which apparently take place in the mountains, although they speak in fact about the nation, if they do not represent its »symbolic constitution« altogether. This also explains their »ambivalent« status, which was the subject of historical debate as to their documentary or fiction nature. The debate led to the conclusion that they were neither fully documentary nor proper feature films, although this »impurity of their category« does not represent the real source of their »ambivalence«: our thesis is that they are feature films, but in such a way that the main role in them is played by national mythology. And this role is inscribed into their very forms, which means that the films are »structurally« designed * All the chapters from »National Thing« to

»Un(Happy) Couple And Other Facts« (the latter included) are reprinted from essays accompanying the books Filmography of Slovene Feature Films 1931–1993 (Slovenian National Theatre Museum,

to contribute towards the formation of the nation. Only two elements can, in fact, be found in their form, which could lead them towards becoming »proper« feature, fiction films: in the first one, In the Realm of the Goldenhorn, it is the scene where the student reading a book on Ljubljana’s Castle Hill gazes far away towards the mountains, while in the next shot, however, he appears in his mountaineering gear; in The Slopes of Triglav such an element is at the same time the »first« mental or subjective image in Slovene film – i.e. the close up of the sickle and scythe, which the girl whose boy had flown into the mountains sees as the symbol of their engagement. In both cases we are dealing therefore with elements of subjectivization, elements which help to establish the film character, and in both films these are the only such elements. In the film In the Realm of the Goldenhorn, after that initial gaze into the »distant mountains«, which transforms the student into the mountaineer, it is not only that none of the views are his own, but he himself is practically expelled by the »objective« views of places and landscapes; in the same way, in The Slopes of Triglav the girl who had been dreaming of marriage is no longer the agent of any subjective image once the boy departs into the mountains. In both these »Alpine« films the film character is thus established only to such an extent and in order to be Ljubljana, 1994) and Filmography of Slovenian Feature Films 1994–2003 (Slovenian Cinematheque, Ljubljana, 2005). Only the last chapter »The Seven Year Itch« was written exclusively for this edition of Filmography.

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Zgodba o slovenskem filmu

je ta gora »slovenska« (pustimo vprašanje, od kod takšen status gore v slovenskem nacionalnem imaginariju: morda ima pri tem tudi kaj dejstvo geopolitične omejenosti, majhnosti, utesnjenosti, ki je z gore kot točke, ki odpira pogled »v neskončnost«, pač ni videti). Triglav je v obeh filmih simbol nacionalne »transcendence«: v Triglavskih strminah je ljubezen do gora močnejša od same ljubezni oziroma šele uživanje v gorah odpre dostop do ljubezenskega užitka in Triglav je kot nacionalni simbol celo prej kot cerkev kraj sklenitve zakonske zveze; in podobno je v V kraljestvu Zlatoroga – naj bodo posamezni Slovenci kmetje, delavci ali intelektualci (v filmu so zastopani ti trije stani) in naj bodo med njimi še tolikšne razdalje – »ljubezen do gora« je tista, ki jih združi in poenoti, ki jih onstran vseh družbenih razlik šele naredi za Slovence. V kraljestvu Zlatoroga in Triglavske strmine torej nikakor nista le navadna »alpska« filma: z njima je slovensko občestvo konstituirano tako na družbeni kot družinski ravni. Skratka, prva slovenska dolgometražna filma res nista niti povsem »igrana« niti povsem »neigrana«, zato pa sta »fundamentalna«: utemeljena kot »slovenska«. Drugo obdobje zgodovine slovenskega filma je na neki način »oficialno« ali, bolje, državno: ne le, da se je pričelo z državnim dekretom in da je dobrih štirideset let živelo od državne subvencije, marveč se tudi časovno ujema z nastankom in propadom države (Jugoslavije

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namreč). To je bilo obdobje slovenskega filma kot »čiste« nacionalne kinematografije, katere model je razpadel, ko je Slovenija z odcepitvijo od Jugoslavije – torej spet »obdobje med dvema vojnama« – postala nacionalna država, ki še vedno išče nov model nacionalne kinematografije. V teh triinštiridesetih letih (1948–1991) je bilo seveda narejenih veliko več dolgometražnih filmov kot samo dva, a to nič ne pomaga, kajti zgodovina se ponavlja tudi v filmu: kakor sta bila v »prvem« zgodovinskem obdobju nujna natanko dva filma, da sta slovenski film lahko vzpostavila in afirmirala kot »slovenskega« (samo en bi bil premalo, ker bi njegova promocija gore kot nacionalnega simbola lahko predstavljala samo enkratno domislico, tretji pa bi bil preveč, ker bi takšno ponavljanje simbola nacionalne mitologije že ogrozilo njegovo verodostojnost), tako sta bila tudi v »drugem« obdobju potrebna dva, da bi zaznamovala njegov začetek in konec: naj gre za naključje ali »zgodovinsko ironijo«, toda dejstvo je, da sta to prav prvi in zadnji film tega obdobja, se pravi Na svoji zemlji in Babica gre na jug. Zakaj torej ta filma nista le prvi in zadnji film tega obdobja, marveč tudi »zaznamujeta« začetek in konec triinštiridesetletnega življenja slovenskega filma v jugosocializmu? Če nas začetki zgodovine slovenskega filma lahko česa naučijo, tedaj pač tega, da mora »simbolni konstituciji« narodnega občestva (Triglavske strmine, V kraljestvu Zlatoroga) slediti »prehod k dejanju«: in Na svoji zemlji

The Story of Slovene Film

later obliterated or rather to become part of the community. This is why he remains a character until it decides to go into the mountains, to climb the mountain, which is more than just the highest Slovene mountain: Triglav is something that is larger than nature in nature itself, the »more« being nothing else but the fact that the mountain is »Slovene« (if we leave aside the question of the origin of such a status of a mountain in the Slovene national imagination: the fact of geopolitical limitation, smallness and narrowness may have something to do with it; from the mountain as a peak that opens one’s view »into eternity« this cannot be seen). In both films Triglav is the symbol of national »transcendence«: in The Slopes of Triglav love of the mountains is stronger than love itself, because only pleasure in the mountains leads towards a true pleasure of love, and as the national symbol Triglav is even more fitting a place to get married than a church. We find a similar situation in In the Realm of the Goldenhorn – be it that the individual Slovenes are peasants, workers or intellectuals (in the film these three social classes are represented), and regardless of the distances between them, their »love of the mountains« unites them, it makes them Slovenes, regardless of the differences in their social status. In the Realm of the Goldenhorn and The Slopes of Triglav are therefore not merely ordinary »Alpine« films: with them the Slovene community is constituted on the social as well as on the familial level. Briefly, the first two Slovene feature films are not what we would describe as full-length films or documenta-

ries, but they are »fundamental«: they established themselves as »Slovene« films. The second period of the history of Slovene film is in a certain respect »official«, or rather dependent on the state: this is not simply because it began with a state decree and because has existed for more than forty years on state subsidies, but it also temporally coincided with the formation and the fall of the state (i.e. Yugoslavia). This was the period of Slovene film as »pure« national cinema, the model of which fell apart when Slovenia separated from Yugoslavia and became a national state – therefore again »the period between the two wars«, which is still in search of a new model of national cinematography. In the forty-three years (1948–1991) many more full-length films than just these two, of course, were made, but this does not helps us, for history repeats itself in cinema, too: just as in the »first« historical period precisely two films were necessary in order to establish Slovene film and affirm it as »Slovene« (just one would not be enough, because its promotion of the mountain as the national symbol could represent only a single case, while a third one would be superfluous, since such a repetition of the symbol of national mythology could endanger its credibility), there were also two films needed in the »second« period so as to mark its beginning and its end – whether by coincidence or »historical irony«. The fact remains that they are the very first and last films of this period, that is On Our Own Land and Grandma Goes South. Why do these two films therefore not

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Oris filmske produkcije na Slovenskem / An Outline of Slovenian Film Production Lilijana NediÄ? /Translated by Andrej Hiti OĹžinger/

Oris filmske produkcije na Slovenskem

SLOVENSKI FILM V OKVIRU JUGOSLAVIJE 1919–1945 Začetki filmske produkcije na Slovenskem segajo v dvajseta leta dvajsetega stoletja, ko so si licence (obrtne liste) za snemanje filmov pridobili Veličan Bešter,1 Josip Pogačnik in Metod Badjura,2 vendar pa je bila njihova produkcija omejena pretežno na snemanje kratkih filmov. Zaradi neugodnih razmer, ki so vladale v kinematografiji v tistem času, je bila bera izvirnih slovenskih del, ki so se prikazovala na filmskem platnu, več kot skromna. Za nastanek prvega celovečernega filma so zaslužni entuziasti – člani Turistovskega kluba Skala. Leta 1928 so Janko Ravnik, Egon Planinšek in Milan Kham začeli priprave na snemanje nemega filma V kraljestvu Zlatoroga. Režiral in snemal je Janko Ravnik, igrali so njegovi prijatelji gorniki. Film so razvili in kopirali kar Skalaši sami. Premiera filma V kraljestvu Zlatoroga, ob spremljavi orkestra, je bila 29. 8. 1931 v veliki dvorani hotela Union. V Ljubljani je imel nad 15.000 gledalcev,3 1 Veličan Bešter, lastnik fotografskega ateljeja na Aleksandrovi 5 v Ljubljani, je 15. 2. 1922 ustanovil »filmsko podjetje« Slovenija film. Še istega leta je posnel prvi slovenski kinematografski film Smučarska tekma za prvenstvo Jugoslavije v Planici pri Ratečah, ki je imel premiero 6. 4. 1922 v kinu Ideal v Ljubljani. 2 Leta 1927 je Metod Badjura ustanovil Sava film in začel s produkcijo Sava Journalov, ki so jih kot predfilme vrteli v ljubljanskih kinematografih. 3 »Obzor in društvene vesti«, Planinski vestnik, 1931, št. 10, str. 211.

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predvajali so ga tudi v drugih slovenskih mestih in na Poljskem.4 Naslednje leto je prišel na filmska plat na drugi nemi celovečerni film Triglav ske strmine. Film – ki se po temi ne razlikuje od prvega, a ima morda malo bolj zaključeno zgodbo – je nastal v produkciji Sava filma Metoda Badjure. Snemala sta Metod Badjura in Stanko Tominšek (plezalni prizori). Poleg gornikov je režiser filma Ferdo Delak v vlogi ostarelega bonvivana prvič v slovenskem filmu zasedel poklicnega igralca, znamenitega Antona Cerarja-Danila. Film so predvajali v Ljubljani (kino Ljubljanski dvor) in drugih slovenskih mestih ter v Beogradu, v Avstriji, na Češkem in na Poljskem. Posebno lepo pa je bil sprejet pri slovenskih izseljencih v Ameriki.5 Leta 1939 je lastnik kina Union Milan Kham skupaj s Prosvetno zvezo v Ljubljani ustanovil produkcijsko hišo Emona film, prvo pravo filmsko podjetje z opremo za snemanje zvočnih filmov, montažo in laboratorijem. Pri Emona filmu so sodelovali režiser Mario Foe rster, snemalca Anton Smeh in France Cerar ter snemalec, tonski mojster in konstruktor Rudi Omota. Njihove načrte za snemanje celovečernih filmov je prekinila vojna, tako da so posneli le vrsto kvalitetnih zvočnih dokumentarcev.

4 »Skalaški film obnovljen«, Jutro, 10. 1. 1932. 5 Dušan Moravec, Iskanje in delo Ferda Delaka,

Ljubljana, MGL, 1971, str. 92.

An outline of slovenian film production

SLOVENIAN FILM WITHIN THE BORDERS OF YUGOSLAVIA 1919–1945 The 1920’s mark the beginning of Slovenian film production, when Veličan Bešter,1 Josip Pogačnik and Metod Badjura,2 acquired licences (trade papers) to make films; however, their productions consisted mostly of shorts. Due to the unfavourable conditions for cinema at the time, original Slovenian productions that reached the big screen were few and far between. The credits for the first full-length feature go to enthusiasts – members of the Skala Turist Club. In 1928, Janko Ravnik, Egon Planinšek and Milan Kham began preparations for a silent film, In the Realm of the Goldenhorn. Janko Ravnik was the director and cameraman, and cast his mountaineer friends as actors. The film was printed and copied by members of Skala club themselves. Accompanied by an orchestra, the premiere of In the Realm of the Goldenhorn took place on the 29th August 1931 in the grand hall of Union Hotel. The film was seen by over 15,000

1 Veličan Bešter, the owner of the photographer stu-

dio at 5 Aleksander Street in Ljubljana, founded a »film company« Slovenia Film on the 15th February 1922. In the same year he made the first Slovenian cinematography film Ski race for the Yugoslav Championship in Planica near Rateče (Smučarska tekma za prvenstvo Jugoslavije v Planici), which premiered on 6th April 1922 in cinema Ideal in Ljubljana. 2 In 1927 Metod Badjura founded Sava film and began producing Sava Journals, which were shown in Ljubljana cinemas as prefilms.

people3 in Ljubljana alone. It was screened in other Slovenian towns, and in Poland.4 The following year, the second silent fulllength feature, The Slopes of Triglav, was shown on big screens. A film – thematically similar to the first one, but perhaps with a more rounded story – was made by Metod Badjura’s Sava Film company. It was filmed by Metod Badjura and Stanko Tominšek (climbing scenes). Apart from the mountaineers, Ferdo Delak cast a professional actor for the first time in Slovenian film, the famous Anton Cerar-Danilo, in the role of the aging bon vivant. The film was shown in Ljubljana (Dvor Cinema in Ljubljana) and other Slovenian cities, and in Belgrade, Austria, Czechoslovakia and Poland. It was particularly warmly received by Slovenian expatriates in America.5 In 1939, the owner of Union Cinema, Milan Kham, and Prosvetna Zveza (Society of Education), Ljubljana, founded the Emona production company, which was the first real film company with the necessary equipment to make sound films, with editing facilities and a laboratory. Director Mario Foerster, cameramen Anton Smeh and France Cerar, and cameraman, sound technician and constructor Rudi Omota were involved with Emona Film. Their plans for filming were cut short by the war, so they managed only a series of sound documentaries of very high quality. 3 »Horizon and club news«, Climbing gazette, 1931,

nr. 10, pg. 211

4 »Skala’s film restored«, Jutro, 10th January 1932. 5 Dušan Moravec, The quest and work of Ferdo De-

lak, Ljubljana, MGL, 1971, p. 92.

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