Μπορεί η σερβική ταινία Parada (www.http://gaynewsingreek.blogspot.com/2012/02/parada.html, www.http://gayrightsgreece.blogspot.com/2012/02/blog-post_26.html) να έκανε πάνω από 350.000 εισιτήρια στους κινηματογράφους της χώρας της, και περισσότερα από 200.000 στις υπόλοιπες χώρες της πρώην Γιουγκοσλαβίας, αλλά φαίνεται ότι δεν κρίθηκε κατάλληλη να συμπεριληφθεί στο αφιέρωμα του σερβικού κινηματογράφου στην Ταινιοθήκη της Ελλάδας (http://www.tainiothiki.gr/v2/tain_new/view/219 ).
Κρίμα!... (στο λαιμό τους)
In the mainstream Serbian print media, the film received generally positive reviews and notices.
In the mainstream Serbian print media, the film received generally positive reviews and notices.
Politika's Dubravka Lakić stated that, by "employing shallow, occasionally lowbrow humour delivered through effective jokes and quick yucks", Dragojević made a "thoroughly watchable, rythmically populist film that sends out a call to tolerance and a message that love always triumphs".
Blic's Milan Vlajčić classified the film as a "bitterly unbridled comedy that significantly departs from what usually constitutes a situation comedy in Serbia". He went on to compare Parada's "uncontrolled and slightly anarchic humour, filthy street lingo, and playing with stereoypes" with Mel Brooks' Producers and Ernst Lubitsch's Ninotchka, concluding that Dragojević "avoided banal moralizing while packing the film with funny stereotypes".
Danas' Pavle Simjanović compares aspects of Parada with Mike Nichols' The Birdcage and even Norman Jewison's The Russians Are Coming, the Russians Are Coming while expressing concern that Dragojević's film won't have the intended effect of "ridding the stubborn majority of its phobias towards this stigmatized minority" because the director at some point stopped making a comedy and instead turned to creating a political pamphlet.
The movie got its most glowing review from Miroljub Stojanović writing in NIN magazine who sees Parada as "an uncompromising, subtle, and primarily intelligent film, which examines today's Serbia with such minutia that it possess all the qualities of hyperrealism". He concludes by saying that "Parada is not only the Serbian society's ultrasound, it is its MRI".
The reviews in the Serbian online media are more mixed. Although he still gave Parada passing marks, Popboks' Đorđe Bajić has problems with the film's overall tone and its "lack of tact and subtlety", concluding that it "hits the target when it comes to delivering a loud and unconstrained pastime, but fails when it tries to be anything more than that". The review by KakavFilm.com is essentially more of the same while the review published by Filmovanje.com feels Parada could've been a great movie had Dragojević been more direct, brave, and worthwhile" concluding that "as it is, at times, you're not sure whether you're watching Tesna koža or Šišanje". Writing for far-left portal E-novine, Vladan Petković was extremely critical, seeing Parada as "nothing more than a marketing trick" while citing its main problem to be the fact that "protagonists are caricatures while antagonists are stereotypes". He continues: "Dragojević tried his hardest to pack the film with witty dialogues and thus provide new material for the Balkan movie audiences' favourite activity - citing movie one-liners. And I must say I laughed a few times at some original jokes, but for that to truly work well, the movie must be good as a whole unit (such as Maratonci..., Ko to tamo peva, Varljivo leto '68, Kako je propao rokenrol...), which Parada isn't. It stays in the realm of politically correct fuck-about that's camouflaged in political incorrectness". On the other hand, Marko Radojičić of medio.rs gave Parada a particularly favourable review, praising its casting, direction, attention to detail as well as its overall message, and City Magazine gave the film another glowing review, calling it Dragojević's best work. The film also received online notices from Slobodan Georgijev in BalkanInsight. (en.wikipedia.org)
Blic's Milan Vlajčić classified the film as a "bitterly unbridled comedy that significantly departs from what usually constitutes a situation comedy in Serbia". He went on to compare Parada's "uncontrolled and slightly anarchic humour, filthy street lingo, and playing with stereoypes" with Mel Brooks' Producers and Ernst Lubitsch's Ninotchka, concluding that Dragojević "avoided banal moralizing while packing the film with funny stereotypes".
Danas' Pavle Simjanović compares aspects of Parada with Mike Nichols' The Birdcage and even Norman Jewison's The Russians Are Coming, the Russians Are Coming while expressing concern that Dragojević's film won't have the intended effect of "ridding the stubborn majority of its phobias towards this stigmatized minority" because the director at some point stopped making a comedy and instead turned to creating a political pamphlet.
The movie got its most glowing review from Miroljub Stojanović writing in NIN magazine who sees Parada as "an uncompromising, subtle, and primarily intelligent film, which examines today's Serbia with such minutia that it possess all the qualities of hyperrealism". He concludes by saying that "Parada is not only the Serbian society's ultrasound, it is its MRI".
The reviews in the Serbian online media are more mixed. Although he still gave Parada passing marks, Popboks' Đorđe Bajić has problems with the film's overall tone and its "lack of tact and subtlety", concluding that it "hits the target when it comes to delivering a loud and unconstrained pastime, but fails when it tries to be anything more than that". The review by KakavFilm.com is essentially more of the same while the review published by Filmovanje.com feels Parada could've been a great movie had Dragojević been more direct, brave, and worthwhile" concluding that "as it is, at times, you're not sure whether you're watching Tesna koža or Šišanje". Writing for far-left portal E-novine, Vladan Petković was extremely critical, seeing Parada as "nothing more than a marketing trick" while citing its main problem to be the fact that "protagonists are caricatures while antagonists are stereotypes". He continues: "Dragojević tried his hardest to pack the film with witty dialogues and thus provide new material for the Balkan movie audiences' favourite activity - citing movie one-liners. And I must say I laughed a few times at some original jokes, but for that to truly work well, the movie must be good as a whole unit (such as Maratonci..., Ko to tamo peva, Varljivo leto '68, Kako je propao rokenrol...), which Parada isn't. It stays in the realm of politically correct fuck-about that's camouflaged in political incorrectness". On the other hand, Marko Radojičić of medio.rs gave Parada a particularly favourable review, praising its casting, direction, attention to detail as well as its overall message, and City Magazine gave the film another glowing review, calling it Dragojević's best work. The film also received online notices from Slobodan Georgijev in BalkanInsight. (en.wikipedia.org)
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