Film Review: Slavica (1947)

Official truths and popular perception often run contrary to historical facts. The history of Yugoslav cinema is no exception. Slavica, the 1947 war epic written and directed by Vjekoslav Afrić, was for decades erroneously considered the first feature film in the history of Yugoslav cinema and the first work of the specifically Yugoslav genre known as the “Partisan film”. Depending on various criteria, there are a number of other films that have a better claim to the title of “first Yugoslav feature film” than Slavica. Apart from early silent films from the 1910s or 1920s that were completely or partially lost, the earliest preserved work that might fit the description is the Slovenian 1931 silent film In the Realm of Goldhorn. Another candidate, if sound is taken as a necessary criterion, is Innocence Unprotected, made in 1943 in Nazi‑occupied Serbia by Dragoljub Aleksić. The first “proper” sound feature film is Lisinski, a 1944 biopic made in the pro‑Nazi Independent State of Croatia.

After the restoration of Yugoslavia under the Communists, the first feature film made was the 1946 war epic In the Mountains of Yugoslavia. However, being a Soviet co‑production made with Russian actors playing local characters, that film was soon “memory‑holed” following the Tito–Stalin split. That left Slavica as the only convenient and proper film to be considered the first under the circumstances.

The plot is set on the Dalmatian coast and begins in a small town shortly before the start of the Second World War. Slavica (played by Irena Kolesar) is a young and beautiful sardine‑factory worker who is in love with a young and rebellious fisherman, Marin (played by Marijan Lovrić). The town is dominated by rich and arrogant industrialists who exploit the impoverished fishermen. Some of them decide to create a co‑operative and pool resources in order to build their own fishing boat, which is named after Slavica.

In 1941 the Axis powers invade Yugoslavia and Italian fascists occupy the town. While the local elite cooperate with the occupiers, the fishermen are resentful and, when ordered to give their boat to the Italian military, they instead decide to hide it. Infuriated Italians arrest them and threaten execution if they do not give up the boat. They refuse, but at the last minute are rescued by a small band of Partisans led by the Communist activist Ive Marušić (played by Ljubiša Jovanović). Slavica and Marin join the Partisans and, later, use the fishing boat to help a Partisan force and refugees escape an enemy encirclement by sea. The Partisans arm the boat and use it as part of their navy. When Italy capitulates, Slavica takes part in the evacuation of people in front of advancing German forces. In 1944, shortly before the Dalmatian city of Split and the rest of the region is liberated, Slavica takes part in an engagement with German gunboats that ends in victory but claims Slavica’s life.

Somewhat paradoxically, Slavica could be characterised as extremely artificial‑looking and unusually authentic at the same time. Its artificiality stems partly from Afrić’s script, which conforms to the needs of Communist propaganda and the principles of Socialist Realism. Characters in the film and their alignment depend on their socioeconomic status – the rich capitalists are evil, while the impoverished workers and peasants are good, and the fight against fascism is just a natural continuation of the pre‑war class struggle.

Another major issue is that Vjekoslav Afrić came from the world of theatre. Unlike Oktavijan Miletić, who before making Lisinski three years earlier had spent years honing his film‑making skills through shorts, Afrić had his first such experiences as an actor in In the Mountains of Yugoslavia. Those definitely were not enough, and to say that Slavica is poorly directed would be an understatement. The main issue is theatricality that at times, at least from a modern perspective, looks almost self‑parodic, with the cast relying on a stage style of acting, apparently unaware of being in front of a camera. Even the makeup looks more fitting for the stage than for film, an issue that becomes annoying in close‑ups.

On the other hand, Afrić was born on the Dalmatian island of Brač and, as such, was quite familiar with the setting, making sure that some details of Dalmatian life, including props, costumes and local dialects, look authentic. A further layer of authenticity was provided by Afrić’s own wartime experience. In 1942 he escaped Ustaša‑controlled Zagreb and joined the Partisans, becoming a founder of the People’s Liberation Theatre, a troupe that included many future notable names of theatre, film and television. One of those was Irena Kolesar, a young actress who, by her own words, did not feel that she was acting and instead, like many of her colleagues, relived her own Partisan experiences.

Slavica, despite all the limitations in style and content, became an enormous hit in Yugoslav cinemas and, among other things, also made “Slavica” a popular female name in the country. Irena Kolesar became the first Yugoslav film star, later becoming one of the most respected names in theatre. Another layer of authenticity is provided by the composer Silvije Bombardelli, who based his soundtrack on a combination of local folk songs, popular military marches and even some fascist songs that are used as a leitmotif in certain tense scenes. Probably the most interesting detail is the scene where the decadence of the pre‑war capitalist elite is illustrated with a scene of the Lambeth Walk dance accompanied by a recognisable late‑1930s tune.

While production of the film was under the shadow of post‑war poverty and logistical problems, with actors being paid in food stamps instead of money and Afrić having a single working camera at his disposal, Slavica enjoyed the full cooperation of the Yugoslav military, including the Yugoslav Navy, which provided vessels for the final battle scene – which, thanks to Afrić’s inept direction, looks too confusing and melodramatic.

Slavica, all things considered, is not a bad film per se, but the viewers most likely to appreciate it are those interested in particular chapters of history rather than those interested in quality cinema in general.

RATING: 5/10 (++)

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