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etverored
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Wikipedia article
'etverored' is 1999 Croatian film directed by Jakov Sedlar. Based on the novel of the same name by Ivan Aralica, the plot of the film deals with the Yugoslav death march of Nazi collaborators. It was the first film to deal with the subject, formerly a taboo topic under the Communist government. 'etverored' was aired on television only a week after its theatrical release in Zagreb, in what was widely characterised as an electoral ploy to support the ruling Croatian Democratic Union, which subsequently lost the elections.
'etverored' was the last film role of Ena Begovi before her death in a car accident in August 2000.
Cast
The cast also includes Luka Pero best known for his role of Marseille in Money Heist.
* Ivan Marevi as Ivan Telebar
* Ena Begovi as Mirta Meog
* Goran Navojec as Baja Meog
* Nadeda Perii-Nola as Marguerita
* Zvonimir Zorii as Zlatko Trlin
* Nada Abrus as Malvina
* Boris Buzani as Senjak
* Mia Oremovi as Gost
* Filip ovagovi as porunik Hunjeta
* Tamara Garbajs as Magdalena
* Zoran ubrilo as "Crnac" na motoru
* Vera Zima as nadstojnica asne slube
* Dejan Aimovi as aban
* Hrvoje Klobuar as tupi domobran
* Ante edo Martini as Ante Mokov
Critical reception
The Croatian Cinema Database website's entry for the movie gives the film a largely negative review, noting that screenwriter Ivan Aralica and director Jakov Sedlar "turned the film into an expression of caricatured intolerance towards (Serbian and Montenegrin) partisans" and that its "hate speech and utter nonsense" overshadows any potential it has.
Historian Jelena Batini writes that, despite the film's high production value and prominent Croatian actors, it "rarely rises above the level of a propaganda pamphlet with crude ethnic stereotyping" as the mostly Serb Partisans are portrayed as vicious murderers and Croat prisoners as innocent victims.
Professor Dijana Jelaa of Brooklyn College lists 'etverored' as among the post-Yugoslav nationalist revisionist films which use events of the past, reconstructing them in order to "warn generations to come" of the never-ending threats to nationhood. In this case, communism is presented as being on equal footing, if not worse, than fascism. Film scholar Dino Murtic describes the film as "perhaps the most inglorious example of the cinema of self-victimisation" made during the 1990s as Yugoslavia had disintegrated.
References
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