Ne okreći se sine Branka Bauera: stil i ideologija ratne (partizanske) melodrame

Nikica Gilić

Povzetek:

Eden najpomembnejših hrvaških in jugoslovanskih filmov 50ih, Ne okreći se sine Branka Bauerja, se pogosto omenja kot umetniško dovršen partizanski film, čeprav zares ne prikazuje nobenih partizanov (kot to počno »pravi« partizanski filmi, kakršne so režirali Veljko Bulajić, Stipe Delić, Žika Mitrović in drugi avtorji). Tisto, kar je pri Bauerju zanimivo, je njegova spretnost pri uporabi klasičnega pripovednega sloga in nevsiljiva vpeljava ideologije v zanimivo in melodramatično akcijo. Tekst se ukvarja s temi pripovednimi strategijami, na primer z vizualnimi kriteriji za izbiro igralcev, z uporabo raznolikih socialnih ozadij in, morda najpomembnejše, s sprevračanjem gledalčevih pričakovanj. Liki v Bauerjevih klasično pripovedovanih filmih pogosto nisto to, kar se zdi na prvi pogled, kar ideološko nabito vsebino napravlja težje zaznavno in posledično lažje prebavljivo. Pomembno je tudi razumeti, da je esencialni konflikt filma melodramatski in se osredotoča na družinsko ljubezen, na ljubezen med očetom, ki pobegne z vlaka, namenjenega v koncentracijsko taborišče Jasenovac, in sinom, ki ga vzgajajo fašistični ustaši. Ideologija postane del tega konflikta šele potem, ko želi oče svojega ne preveč všečnega potomca prevzgojiti.

Abstract:

Branko Bauer's Don't Look Back, Son: Style and Ideology of Wartime
(Partisan) Melodrama

One of the most important Croatian and Yugoslav films of the 1950s, Branko Bauer's Don't Look Back, Son, is sometimes mentioned as an artistically successful partisan film, although it does not show actual partisans (as opposed to “real” partisan films directed by Veljko Bulajić, Stipe Delić, Žika Mitrović and other authors). But it is Bauer’s dexterity in using the classical narrative style – unobtrusively embedding ideology as well as characterization into an interesting and melodramatic action – that is intriguing here. The article discusses these strategies – for instance the visual criteria for selecting actors, the usage of diverse social setting and, perhaps most important of all, the toying with the viewers’ expectations. The characters are often not what they seem in Bauer’s classically narrated films, which makes the ideologically charged content of the film harder to notice and much easier to bear. It also important to understand how the essential conflict of the film is melodramatic, with the family love in the centre, the love between a father, who escapes the train to the death camp “Jasenovac”, and his son, raised by the fascist “Ustaše”. The ideology becomes part of that conflict as the father strives to re-educate his not very likeable offspring.