Production year: 1957
Duration: 106 minuta
Technique: 35mm standard, black and white
Predrag Bojanić Bojkan is an engineer working on the project of a new hydro plant and a war veteran without one leg. In a sanatorium for eye illnesses he meets Ljubica Romić, a girl who lost her eyesight in the war. Doctor Vrančić suggests that Ljubica spend some time in a nearby bed and breakfast before the operation to bring back her eyesight. Other inhabitants of the bed and breakfast are Bojkan and his friend, Dr. Žarko Mitrović, Vrančić’s assistant. Doctor Vrančić suggested to Mitrović not to let Ljubica know that Bojkan has lost his leg because he does not want Ljubica to think that she is in a home for invalids. Ljubica’s mental state is the key for her operation’s success. At first the owner of the bed and breakfast, aunt Ema, has trouble accepting Ljubica because she is jealous of her female guests, but soon becomes close to her. Buba and Bojkan start spending more and more time together, they go skiing together (in spite of the fact that he does not have one leg, Bojkan is a great skier), and finally they fall in love. At first Bojkan feels guilty because he cannot tell Ljubica that he is also an invalid. Over time he is becomes more comfortable and even happy because Ljubica does not know his secret. Soon, there is a new guest in the bed and breakfast, Mirković’s friend Lela, who causes nervousness and jealousy among other guests. In addition, Ljubica’s operation is getting close and Bojkan is afraid that he will not be able to keep his secret for much longer…
Tamara Miletič (Ljubica Romič-Buba), Milorad Margetić (engineer Predrag Bojanić-Bojkan), Nikša Štefanini (doctor Žarko Mirković), Olivera Marković (Lela), Stjepan Jurčević (doctor Vrančić), Nela Eržišnik (teta Ema), Branko Šantić (Babonja), Tomo Kuruzović (Miško), Luka Delić, Dragoslav Popović, Dušan Banjac, Darinka Ðurašević and others.
Country of production:
Federative National Republic of Yugoslavia (National Republic of Croatia)
Arsen Diklić (based on Boško Kosanović’s idea)
The great success of Bauer’s first film Ne okreći se sine the director to have total freedom in choosing his next project. Samo ljudi supposed to be a film in the style of Hollywood productions, which would show the director’s virtuosity and capture the audience with its melodramatic story. The director’s performance was indeed impressive (this film was part of the official program in Venice for good reason), and the screenplay went far beyond the standard Yugoslav films of that time. However, flirting with melodrama and introversion (the story mainly takes place in the snow-covered bed and breakfast and sanatorium) backfired on Bauer. At that time domestic critics demanded different, modern stories (such as the urban omnibus Subotom uveče Vladimir Pogačić), and the audience in Pula that year was much more impressed by the first film in color Pop Ćira i pop Spira by Soja Jovanović, as well as the dialectal humor of the tragic comedy Svoga tela gospodar by Fedor Hanžeković. the spring of 1979 this film was shown on Television Zagreb as part of the program Forgotten Domestic Films. In that period of more vocal advocacy of genre films, Samo ljudi fans among the younger generation of film critics. Today, this film is considered one of the most important pieces in the history of Croatian film.
Screening permit: from July 3, 1957
Export: Czechoslovakia, Bulgaria, Democratic Republic of Germany, Italy
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