This debut film by Kusturica contains three layers.
In the first place it is a coming of age movie like "Happy days" (1974 - 1984 TV series) and "The Commitments" (1991, Alan Parker). In Eastern Europe there was some tradition with respect to this genre as evidenced by movies like "Loves of a blonde" (1965, Milos Forman) and "Closely watched trains" (1966, Jiri Menzel).
In the second place the film takes remarkable liberties in ridiculing the communist regime, at that time only possible in the relatively liberal Yugoslav republic. See for example the father managing his family as if it is a collectivity, making minutes of family discussions. See also the old local party boss, having no clue at all what drives young people, tackling the problem of juvenile delinquency. Last but not least, although the family already has grown up kids, it is still waiting for a suitable house.
In the third place the film gives us the first hints of Kusturica's fascination for the Gypsy culture. A fascination he would later elaborate upon in films like "Time of the Gypsys" (1988) and "Black cat, White cat" (1998).
In the first place it is a coming of age movie like "Happy days" (1974 - 1984 TV series) and "The Commitments" (1991, Alan Parker). In Eastern Europe there was some tradition with respect to this genre as evidenced by movies like "Loves of a blonde" (1965, Milos Forman) and "Closely watched trains" (1966, Jiri Menzel).
In the second place the film takes remarkable liberties in ridiculing the communist regime, at that time only possible in the relatively liberal Yugoslav republic. See for example the father managing his family as if it is a collectivity, making minutes of family discussions. See also the old local party boss, having no clue at all what drives young people, tackling the problem of juvenile delinquency. Last but not least, although the family already has grown up kids, it is still waiting for a suitable house.
In the third place the film gives us the first hints of Kusturica's fascination for the Gypsy culture. A fascination he would later elaborate upon in films like "Time of the Gypsys" (1988) and "Black cat, White cat" (1998).