Film Review: Wheels (Točkovi, 1998)

In late 1990s it became fashionable to discover influence of Tarantino in any black comedy. That includes even films in which source of inspiration for blackness came from specific economic and socio-political circumstances of film makers’ native countries. An example could be found in Wheels, 1998 Serbian film written and directed by Đorđe Milosavljević.

The plot is set during a rainy night somewhere in rural Serbia. Protagonist is Nemanja (played by Dragan Mićanović), young man who is desperate for money, so he hopes to get it from his father. He drives on the road, undeterred by awful weather and police roadblocks attempting to stop mysterious serial killer that terrorises country. However, when he gets a flat tire, he is forced to seek shelter at the motel. There he finds number of seemingly ordinary guests and a hostile owner (played by Ljubiša Samardžić). With phone lines being cut and mobile connections unavailable due to specific geography, Nemanja doesn’t have any choice to wait until morning. But it turns out that it would be much harder task that he imagined. Due to series of unfortunate coincidences, guests become convinced that Nemanja is actually a serial killer, so they decide to take justice in their hands and lynch him. He survives only because he has somehow managed to get a gun and uses this position to try talking some sense into aspiring vigilantes. But this is only a beginning of a nightmare that would result with bloodshed.

Wheels was a directorial debut for Milosavljević, who had previously became famous for his comic books and who would later become distinguished writer for Serbian films and popular TV shows. Although some elements of Pulp Fiction can be found in his film, the more obvious inspiration can be found in some rather unfortunate events that were still ongoing in Serbia during 1990s. Some of the critics in this part of the world found the plot as some sort of darkly humorous commentary on violent dissolution of Yugoslavia, an event prophesied by Croatian author Miroslav Krleža who described its peoples as “carousing like brothers in Balkan inn until the moment someone turns off the light and everyone starts pulling knives”. That thesis, was more explicitly stated by Srđan Dragojević in his better known and more controversial dark comedy Pretty Villages, Pretty Flames two years earlier. Here it is more implicit, portrayed through seemingly ordinary and respected characters who suddenly transform into bloodthirsty vigilantes. Milosaljević very skilfully takes time to describe each of those characters and reveal their dark secrets, that make them resemble “polite society” of Milošević’s Serbia which was actually involved in all kinds of crime and corruption, fuelled by wars and Western sanctions.

But even those who care little about ex-Yugoslav history are likely to appreciate Milosavljević’s talent and finding the proper balance between violence and humour. Very good cast also benefits the film. Ljubiša Samardžić, who had used to be one of the greatest stars of Yugoslav cinema and in 1990s was launching new successful career as producer, is good in the small role of innkeeper. Anica Dobra, who used to be big star in 1980s, also contributes to film, just like experienced character actor Bogdan Diklić. They are much more memorable than Dragan Mićanović. The somewhat abrupt ending, which was probably forced with the limits of relatively short running time, makes general impression of Wheels much worse. However, the film still provides a lot of entertainment to the fans of Tarantinoesque dark comedies.

RATING: 5/10 (++)

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