Povratak (S01E01)
Airdate: 1 January 1978
Written by: Zoran Đorđević, Dragan Marković & Gordan Mihić
Directed by: Aleksandar Đorđević
Running Time: 95 minutes
The cult 1970s television series Otpisani („The Written Off”) is widely considered to be the zenith of the Partisan film genre, a specific sub-genre of Yugoslav cinema that dominated the screen during the era of socialist self-management. While the original 1974–1975 series laid the foundation for this legacy with its gritty black-and-white cinematography and youthful angst, it is arguably the sequel, Povratak otpisanih („The Return of the Written Off”), that enjoys a more prominent place in the collective memory of the former Yugoslavia. This is not that surprising, as the latter series was shot in colour, possessed a much larger budget, and, more importantly, was less burdened with the strict adherence to historical accuracy and the rigid ideological constraints that often characterised the original production. By loosening these constraints, the creators were able to provide the audience with a winning formula of action, romance and humour that resonated deeply with a changing public. This approach is immediately visible in the actual first sequel to the series – the 1976 feature film The Written Off Return. Roughly a year after its theatrical release, it was aired on television as the first feature-length episode of the eponymous TV series, setting the stage for a new chapter in Yugoslav television history.
The plot of The Written Off Return is set against the backdrop of August 1944, three years after the events of the original series. Most of Serbia and Yugoslavia are still under German occupation, but the tide of the Second World War has decisively turned against the Axis powers, and the liberation of Belgrade no longer looks like such a distant prospect. In this volatile atmosphere, the Serbian collaborationist government of General Milan Nedić, sensing that its grip on power is slipping, attempts to prevent its own demise by forging an alliance with rural anti-Communist militias known as Chetniks. Simultaneously, with the help of its German sponsors, the regime attempts to root out anyone in the city who might be sympathetic to the cause of the advancing Partisans.
One of the most brutal methods employed by the Nedić regime to maintain control involves the execution of Communist and resistance sympathisers. This task is entrusted to a team of elite killers led by Major Gašpar, (Aljoša Vučković) a Chetnik officer who was actually trained by the Germans in their spy school in Munich. Prle (Dragan Nikolić) and Tihi (Voja Brajović), former resistance veterans who are now fighting as soldiers in the People's Liberation Army, are ordered to return to the city to help the remaining resistance cells, led by a person known as „Mrki”. Joca (Pavle Vuisić), a former postman who had once helped with a train sabotage, is going to accompany them as a radio operator, adding a layer of experience and grit to the young team.
The protagonists' plan to infiltrate Belgrade relies on the Partisans scoring a major coup by ambushing and capturing Velimir Jović (Pavle Bogatinčević), a minister in the Nedić government. Jović was returning to Belgrade from a meeting with Chetnik leaders, travelling with his mistress, the theatre actress Julijana Lula Mitričević (Milena Dravić), and was escorted by two collaborationist officers. Their captured identity passes give the Partisan commanders Milan (Rade Marković) and Seljo (Slobodan Aligrudić) the idea to have their team infiltrate Belgrade by assuming the identities of the captured collaborationists. Joca takes on the guise of the minister, Prle and Tihi impersonate the officers, and a young Partisan woman named Seka (Zlata Numanagić) impersonates Lula.
The trip to Belgrade proves to be difficult and dangerous, requiring the team to navigate a war-torn landscape filled with enemy checkpoints and opportunistic bandits. Their journey includes an encounter with a gang of Chetniks led by a Lieutenant (played by the ever-watchable Velimir Bata Živojinović), whom the protagonists easily dispose of. However, the biggest danger occurs unbeknownst to them; Captain Todorović (Milan Gutović, one of the minister's escorts, manages to escape from captivity, reaches a nearby post office, and alerts the collaborationist authorities about the impostors. Krsta Mišić (Vasa Pantelić), the head of the Special Police, immediately sets up checkpoints and prepares an ambush, which is going to be observed by Gestapo Major Krieger (Stevo Žigon).
The protagonists are saved from what would have been certain death by a stroke of extremely good luck that initially appeared to be their doom. As they travel, their car is fired upon and damaged by a newly formed Partisan detachment, who take the trio captive. They are brought to their commander, Uča (Vladimir Popović), who does not believe their protestations of being actual Partisans and instead thinks they are either actual collaborators or German spies. He has them sentenced to death at a summary trial but is wise enough to postpone the execution. When a Partisan named Pavle (Mihajlo Kostić) recognises Seka, the misunderstanding is finally over. However, with their car destroyed, they must find another way back into the city. Uča instead offers them a captured German motorcycle. Prle, Tihi and Joca agree to take the German uniforms and leave Seka behind, entering Belgrade at the very noses of their old „friends” who were waiting for them.
Once back in Belgrade, Prle, Tihi and Joca regroup in the apartment of Marija Simeunović (Zlata Petković), the daughter of a former Serbian general who secretly works for the resistance as a secretary in the Special Police. It is here that Tihi meets Mrki, who is actually revealed to be his younger brother, Čibi (Aleksandar Berček), who has continued his work in his absence. This family reunion provides a poignant moment amidst the tension of the mission.
The actual plan to take out Major Gašpar involves Joca repeating his ruse as the minister and arriving at his villa accompanied by Prle, Tihi and Mrki, who are impersonating collaborationist officers. Gašpar had been warned that the resistance might have some plans against him because he had captured one of the resistance operatives posing as an electrician. Despite the warning, the ruse nevertheless works, and when Krsta Mišić tries to warn Gašpar about the impostors, it is too late. Gašpar and his men are all killed, the captured operative is released, and thanks to Mrki's cell engaging the intervening Special Police agents in a gunfight, the protagonists manage to escape unharmed.
The new series was definitely going to be different from Otpisani, not only because of the use of colour and the broadening of the setting to include rural Serbia, but also because of the historical setting itself. Due to the upcoming liberation, the plot is made slightly less tragic and more optimistic, reflecting the shifting tides of war. However, Gordan Mihić, who had replaced Siniša Pavić as the main writer, also brought a greater focus on humour, which can be seen in various scenes. For instance, there is a scene in which Prle explains to Joca why he, unlike Tihi, does not have the rank of Lieutenant. A flashback shows how he was degraded after being caught by his superiors in flagrante delicto with Anđelka (Žiža Jovanović), a lonely peasant woman whose husband had been recruited by the Chetniks. Another aspect of this approach is the introduction of Mikula (Dragomir Bojanić Gidra), one of Mišić's agents whose comical ineptitude is explained by his penchant for drinking on the job.
Yet, the film and the series in general, also represent one of the most spectacular examples of the „Fonzie Syndrome” in the history of Yugoslav television. The character of Joca was originally introduced in Poštar, an episode of Otpisani. However, Pavle Vuisić, one of the most formidable character actors of Yugoslav cinema, left such an impression that he had to be brought back as part of the regular cast. His addition benefits the series immensely, creating a lot of comedic banter between Joca as a grumpy middle-aged man and the more jovial Prle. Vuisić demonstrates a lot of skill in this film, particularly as an actor playing a character impersonating someone else. This is best seen in the scene when he has the time of his life giving pep talks to collaborationist soldiers at a garrison where his party had to briefly stop to fix a car during their trip to Belgrade.
The rest of the cast is equally great, and Povratak otpisanih features some of the best acting talents of the time. Even Bata Živojinović and Milena Dravić, two among the greatest stars of Yugoslav cinema, the latter being Dragan Nikolić's real-life wife, appear in very brief roles of unsympathetic characters. Their presence adds star power to the production, even if their screen time is limited. The film, apart from bringing back iconic villains like Krsta Mišić and Gestapo Major Krieger, also features some notable antagonists, such as Captain Todorović, who proves to be a capable and worthy adversary to the Partisans. He is played by Milan Gutović, a star of future comedies, bringing a unique gravitas to the role. Toma Kuruzović also makes a small but chillingly memorable performance as Misirac, one of Gašpar's killers who appears to have a fondness for his job.
Zlata Petković, a former Miss Yugoslavia, was cast in the role of Marija Simeunović, a character allegedly inspired by the wife of Dragan Marković, the creator of Otpisani. While she doesn't make much of an impression, this is mainly because she appears relatively little in the series' first instalment, leaving her character somewhat underdeveloped in this specific context. The casting is generally excellent, but it would later create problems with nitpickers obsessed with continuity. Specifically, Zlata Numanagić plays the character of Seka, despite having played the character of Dragana in Otpisani, who was killed off in the episode Vlada Rus. This is a precedent that Povratak otpisanih will use a lot, having actors playing characters different than those played in the previous series.
Despite these minor continuity quibbles, the audience, just like half a century ago, is very likely to disregard those complaints because director Aleksandar Đorđević, armed with experience and better resources, is at the top of his game. He delivers an immensely effective combination of war action film, spy thriller and buddy-buddy comedy that functions both as a successful first episode of a new cult series and a great film in its own right.
The film stands as a testament to the creativity of the Yugoslav film industry during the 1970s, balancing historical context with popular entertainment. It successfully transitions the story from the desperate underground struggles of the early war years to the more active, liberating phase of the conflict, all while maintaining the heart and soul of the characters that viewers had grown to love.
RATING: 9/10 (++++)
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