Poetic Film Review: Face to Face (Licem u lice, 1963)

In Yugoslavia's cinematic past, a figure stands tall,
Branko Bauer, a director, with a story to recall.
His films, a testament to his skill and his art,
A restrained approach, yet a lasting impact on the heart.

Face to Face, a film of its time, a reflection of the age,
A state-owned company, where ideology turns the page.
A meeting of minds, where accusations fly,
And Milun's fate is sealed, as the Party's judgment draws nigh.

The tension builds, as voices rise and fall,
Apathy and dissent, as the members hear it all.
Radovan's protocol, a beacon of hope in the night,
As the collective conscience awakens, and takes flight.

In the post-Communist era, accusations flew his way,
Of being aligned with the regime, in a bygone day.
But Face to Face reveals a different tale,
Of self-management socialism, where individuals set sail.

Decentralization and participation, a more democratic creed,
Where every voice is heard, and every opinion is freed.
The film promotes this model, with all its strengths and flaws,
A glimpse into Yugoslavia's past, with all its hopes and laws.

The release of Face to Face coincided with reformist trends,
A liberalization that influenced artistic expressions that transcended.
Official reviews praised it as brave and groundbreaking too,
Reflecting a climate that encouraged creativity to break through.

Bauer drew inspiration from Western cinema's might,
From Sidney Lumet's Twelve Angry Men, where dialogue shines so bright.
But he added his own twist, with voiceovers and flashbacks so fine,
To delve deeper into characters' thoughts and motivations divine.

The performances shine like stars on a clear night sky,
Husein Čokić's intensity stands out; Vladimir Popović catches the eye.
Božidarka Frajt excels as Vera; Boris Dvornik portrays disinterest so well;
The cast comes together like pieces of a puzzle to tell.

Though dated now in style compared to later works so bold;
Face to Face remains significant within its historical fold;
To grasp its nuances fully viewers must understand
Yugoslavia during 1960s finding balance 'twixt art expression unbound.

Through Bauer’s lens audiences glimpse both strength & limitation
within self-management socialism engaging individual vs collective responsibility dialogues continuing
to resonate today – an echo from yesterday.

(Note: The review in its original form can be read here.)

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