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The journey that a young gypsy, from the lands of Yugoslavia to the north of Italy, leaving the way a sister and a girlfriend in his hometown, served the Yugoslav director Kusturica to sign his film more bitter. Keep in mind the magic realism and music Zangana, but the story is more pessimistic and not so funny. However, when after half an hour I realized that I was not at a comedy, I drifted through the labyrinth that weaves Kusturica to the actor, caught first in the world of the Mafia, which seats up anger to be the second in aboard the "company". The inner journey that has the character must be parallel to your trip to Italy, including redemption.
I love the rhythm, how they deceive us in the beginning, making us believe that we are facing a hilarious storyline, with a look magnificently photographed by Vilko Feista FILAC, but soon we began to realize how awful that is what is is telling us, for once, without a precedent friend Emir respect the work of his co-screenwriter, Gordan Mihic, and limited to narrate the fate of the poor boy in love with Azra, reared with infinite love for his grandmother Hatidza, and will gradually fall into the clutches of that gansterzuelo, Ahmed, dedicated to the most shady businesses. Kusturica shamelessly celebrates the lifestyle of those gypsies of former Yugoslavia, people marked by a fatalistic sense of existence, but clings to life experience with a sense of celebration and fun enviable. It would still be critical, and shows us the consequences, without delving into the causes, ie, how some Gypsies have chosen to exploit the weakness of his fellows and make a living, as best they could. All the characters are few survivors, persons to whom the wheel of fate has placed in different crossroads, without any moral condemnation, making us see that even the good ones are always good, nor the bad so bad.
In a story more or less conventional, is inserted a set of features, the Perhan telekinesis, healing powers of the grandmother, several levitations, phantoms, a surreal world that is confused with reality, but never separating the two spheres, but in a cluster quantum essence of magical realism Gabo, Miguel Angel Asturias and Uslar Pietri. Everything is designed to produce us sensations, not leave us indifferent: we are amazed, laugh, cry, ultimately, live. We do not even confuses the music of Bregovic, limited essentially to adapt popular songs Gypsies without imposing upon the narrative itself (one of the contentious points in the films of Sarajevo).
To finish, I would remind the protagonist, Davor Dujmovic (also found in Father Was Away on Business and Underground) and his unfortunate end of the thirty years before hanging himself during the OTAN bombing in Slovenia, which leads to a unfortunate coincidence with a scene from the movie.
7/10
