Plastic Jesus (1971)

Amanda Robinson4 said:Censorship was pretty much the standard across all those old socialist countries, but Stojanović was really the only one here who actually ended up behind bars because of a movie. (I'm not sure if there were similar stories elsewhere, but man, so many directors had to constantly fight against the censors)

There’s even this great little story about Kieslowski... He originally shot a documentary about how bad things were for the workers, but they banned it immediately. So, what does he do? He writes a scripted feature film covering the exact same themes, and suddenly, they let it through! That was his big "aha!" moment—learning how to sidestep the censors to tell the actual story he wanted to tell in the first place...

I don't think anyone else went to prison (Paradžanov is a bit of a special case). In Czechoslovakia, censorship was also pretty intense, so directors like Karel kachyňe ended up going into exile, and their films were banned from being shown until the regime finally collapsed. Some of those movies are actually really good and deserve more attention, IMO.

I'm not particularly interested in this "plastičan Isus" thing, so I'll probably just skip it. 😁

Quote:. They’re actually pretty similar in a lot of ways—enough that Makavejev was forced to flee Yugoslavia just to keep making films.

Amanda Robinson4 says: The movie misterija organizam by Dušan Makavejev came out the same year as plastičan Isus

Can't remember where I read this—maybe some Tom Gotovac interview or something—but apparently Tito watched both 'misterija organizam' and 'plastičan Isus' on the same day. Clearly, the first one didn't exactly sit right with him, even though he basically gave them the green light to exist. But once he finished watching 'plastičan Isus'? He straight up ordered: 'Arrest them all!' Maybe he should've just saved the second one for another day. 😁

🙂
Yeah, maybe things would've gone differently.
(Though I highly doubt it.)

Honestly, this movie is the first time I've ever read about him,
but he really seemed like a wonderful guy, he just had terrible luck, I guess...

ruggedbadger2 said:I don't think anyone else went to prison (Paradžanov is a bit of a special case). In Czechoslovakia, censorship was also pretty intense, so directors like Karel kachyňe ended up going into exile, and their films were banned from being shown until the regime finally collapsed. Some of those movies are actually really good and deserve more attention, IMO.

I'm not particularly interested in this "plastičan Isus" thing, so I'll probably just skip it. 😁

Oh, yeah. Thanks for adding that bit, 👍

Dennis Martin6 said:Quote:. They’re actually pretty similar in a lot of ways—enough that Makavejev was forced to flee Yugoslavia just to keep making films.

Amanda Robinson4 says: The movie misterija organizam by Dušan Makavejev came out the same year as plastičan Isus

Can't remember where I read this—maybe some Tom Gotovac interview or something—but apparently Tito watched both 'misterija organizam' and 'plastičan Isus' on the same day. Clearly, the first one didn't exactly sit right with him, even though he basically gave them the green light to exist. But once he finished watching 'plastičan Isus'? He straight up ordered: 'Arrest them all!' Maybe he should've just saved the second one for another day. 😁

It just goes to show that picking the right time to watch a movie can actually save lives!
☕

Though, these clips from the book Lisa Davis46 linked really change the perspective. Okay, we knew things were edited, but seeing it like this for personal reasons... It’s wild how people use the influence of a powerful position...

Joseph Edwards4 said:You write absolute nonsense like this and then have the nerve to call other people clowns.

What kind of nonsense? Since when did you decide there's a rule against minors having sex, Bozzo?😒

Jessica Morris6 said:If you try to watch this as just some standard motion picture, it makes absolutely zero sense; everything feels totally incoherent and disjointed. You can barely even track the main plotline through all the other stylistic noise... The only redeeming quality here has to be Tom Gotovac's performance, because he actually carries himself with such a natural presence.
As an experimental art installation, though, it’s actually quite compelling, since most of the scenes managed to provoke some kind of visceral reaction. That said, leaning on the whole "patriots vs. rebels" trope—essentially just fishing for cheap emotional payoffs—isn't exactly groundbreaking territory...

When you step back and look at the big picture, it's an interesting piece, despite its glaring flaws.

I watched the remastered version and that definitely wasn't in there.

I’m not sure which version I saw, but I didn't catch those parts either. Still, the point remains: misinformation is being spread, and that is the fundamental nature of social media.