FILMS - Čudotvorni mač

ČUDOTVORNI MAČ, directed by Vojislav Nanović, 1950

THE WORLD IS FULL OF TEMPTATIONS

From the long list of films shot in Istria, the first place was taken by the now cult film “Čudotvorni mač” (“The Magic Sword”) shot in 1950 in the Arena. In addition to Arena, it was filmed in Postojna, Slovenia.

The opening hunting scene on a show-covered mountain introduces something warm, family-like and intimate, which will guide Nanović until the very end. Let’s use a quote from the film: “There is an old story”, which means that the idea of the film is based on an old folk tale with strong elements of Serbian folklore. The director, screenwriter and editor Vojislav Nanović (1922-1983) posthumously became more appreciated for his work and is today considered one of the best screenwriters of former Yugoslavia.

The castle is a common landscape motif in Serbia. In the castle, there is a barrel in which a smooth-talking villain was imprisoned long ago, as we learn later from the story of Nebojša’s grandfather, when his grandson reveals to him that he was actually the one who, as a child, freed Baš-Čelik from the chained barrel. We will keep other fantasy elements for ourselves, but we will say that the elements of “Robin Hood” and “The Sword in the Stone” were masterfully introduced in a very rich linear narrative structure.

“The Magic Sword” is an excellent Nanović’s original, free version of a Serbian folk tale “Baš-Čelik”, which can under no circumstances be characterized as for children only. It is a vibrant family film for all ages, which became an absolute cult, primarily as one of few Sci-Fi films, actually a fairy tale from ex-Yugoslavia.

“The world is full of temptations. You will encounter many and great evils, but stick only to the truth. The truth will be your most powerful weapon.”

Thoroughly constructed and with a rhythmically balanced flow, the film’s plot is built from classic fantasy elements, with an emphasis on Slavic motifs. The basic driving force of the action includes the symbols such as the fight between good and evil, heroes competing for the heart of their loved one; the villain who subjugates the honest people into his slaves with supernatural forces and kidnaps that same loved done, imprisoning her in his dark castle on the hill; an elder; the lumpy toothless grandmother in the cave; forging weapons with which the shepherds will fight for their freedom; charging at the enemy; a journey whose goal is both learning and liberation, etc.

Nebojša’s journey, which becomes the central part of the film, is an important rhythmical element, as well as an exceptional film-like action. His gradual discovery of the path he took to learn what heroic moves he needed to make in order to be with his wife Vida makes him as a character who, through this, experiences his life’s trials and becomes the hero who leads the people in the fight for their own liberation, while his personal aim in that fight is also a romantic reunion with his beloved.

Given the considerable development of dramatic templates which were created around a male superhero and through this character, an entire narrative is built, especially in the American mainstream cinematography of the most lavish scope (it should be emphasized here that “The Magic Sword” was an extremely expensive production for that time in the former Yugoslavia, in which Nanović himself performed miracles and made many directorial and artistic compromises in order to compensate for the lack of funds), the shepherd Nebojša can be connected, and in the context of today’s film space and time, and built upon, in many extremely modern superheroes, and even more so, he could be one of their precursors.

“But a secret bothers us.

The secret of our homeland.

It is heavy and magnificent.

Eternal and desperate.

Our country is far away, we have everything. Palaces, vaults, there are treasures, there are adventures.

But what shall we do, my beloved kin, when fools lead the way?

It is misery, it is strange, a fool teaches them.”

The aesthetics, especially the costume design, are reminiscent of Soviet films, while all the elements are excellently composed visually and audibly, including the oriental belly dancing at the court, in the background behind the court jester, whose ingenious quote, resembling a chorus, was previously mentioned.

The direction, such as the use of low angles which increase suspense, as well as the skilfully directed knightly sword fights and attacks, and the almost magical use of film lighting (when talking about this film, bear in mind that it is the early 1950s), excellently emphasize the drama of the situations and the emotionality of the characters.

Acting performances, with a special emphasis on a thoroughly developed scene movement of each character, significantly contribute to the atmosphere and ambience of the lives of the fairy-tale inhabitants of the mountains, caves, or at the court. When it comes to technological solutions, and from an artistic and conceptual viewpoint, at its time, this cult film stood shoulder to shoulder with Hollywood works, while the deep impression it still leaves today emerges very slowly and confidently, building an excellent pace.