Mićanović je ljubomoran na Umrlog Pre Rođenja,jer je bio ubeđen da je svojim dosadašnjim chex ulogama po UK zaslužio glavnu rolu kod Anđeline.
Ukapirao je da to nije dovoljno pa je sad malo poradio na marketingu.
Smeta mu što beogradske zgrade uništene u bombardovanju nisu renovirane-ubeđen je da je vlast to namerno tako ostavila da bi nas onemogućila da zaboravimo taj mali incident.
Coriolanus echoes the war in Serbia
Dragan Micanovic discusses his role in Fiennes’ new film, set in Belgrade, which reminded him of Serbia's recent conflicts.
Zoe Dare Hall
4:48PM GMT 20 Jan 2012
When Ralph Fiennes picked modern-day Serbia as the setting for his big-screen adaptation of Shakespeare’s Coriolanus, the parallels were obvious.
The tale of Roman military hard men, war and betrayal all too readily recalls the Balkan conflicts of the 1990s – the more so for Serbian actor Dragan Micanovic, who plays Titus Lartius, a comrade of Coriolanus.
Filming in Micanovic’s home town of Belgrade – a city that still bears the political and physical wounds of war – provided him with a sobering lesson in just how cyclical human behaviour is.
Coriolanus, played by Fiennes, is a military hero, but his disdain for the common people sees him written off as a traitor. After he is run out of Rome, he sides with his enemy to wreak revenge.
“If we learn any lessons from Coriolanus, it’s that the circle of violence will never end unless we make a full stop,” says Micanovic. “And if politicians are only out to serve themselves rather than the people, whole nations will suffer.
Rome at the time of Coriolanus
20 Jan 2012
Coriolanus: political parable
10 Jan 2012
10 Jan 2012
“I have felt that very strongly in my country. I grew up in a house near the Bosnia-Herzegovina border that has been in five different countries over the decades. That’s the ridiculous modern history of my nation: I live in a country that has suffered so much and is still suffering because of terrible political decisions.”
Micanovic, 41, an award-winning actor in Serbian theatre who has appeared in Layer Cake, RocknRolla, Casualty and Ashes to Ashes, finds the character of Coriolanus frighteningly familiar. “After 400 years, we still have Coriolanuses in the world,” he says. “You see guys walking around Belgrade with the faces of war criminals such as Radovan Karadzic and Ratko Mladic on their T-shirts. They are still national heroes to some people.”
Karadzic was a Bosnian Serb politician and Mladic the Serbian army chief during the bloody conflict that followed the break-up of Yugoslavia. Both are now being tried in The Hague.
“Mladic was a soldier, and now he’s in prison. If he read Coriolanus he could find his story in it,” says Micanovic, who, disillusioned with how little had changed after the war ended in 1999, left Belgrade to live in London for three years.
“Even though the war was over, the Serb president Slobodan Milosevic was still in power. It was a terrible time and I couldn’t live there any more,” he adds. “Even now, the prominent buildings that were bombed are still in ruins. The Government says it doesn’t have the money to repair them, but I also think some people like to leave them in that state as a reminder. Serbians look constantly to the past – but one day, Serbia needs to stop being seen as Europe’s troublemaker.”
Curiously for a president who thought little of disposing of dissenting voices, Milosevic paid scant regard to the country’s theatres when in power. “He just didn’t care at all about culture, so we could do what we wanted – and we did some fantastic anti-government plays that told exactly what was going on in the Balkans,” says Micanovic. “Now we have the freedom to do what we want, but there isn’t much money for culture, which is sad as it would be a way to rebuild our integrity.”
Poverty is rife in Fiennes’ film, his directorial debut. As ‘Rome’, Belgrade appears dismal and beleaguered, chosen by Fiennes partly for its urban decay, but also for its busy market places and elegant civic buildings, such as the Serbian Parliament Building. Doubling up as the Roman Senate, the scenes of mass protest are an unnerving mirror of events that took place in the 1990s.
To add to authenticity, soldiers from the SAJ, Serbia’s prime anti-terrorist unit, were brought in to advise the cast on battle scenes, teaching them how to shoot and protect themselves in fights. The SAJ troops play Roman soldiers on screen.
With the atrocious conflicts in the Balkans still a comparatively recent memory, such re-enactments could have been an uncomfortable reminder. But Micanovic, an ardent hater of guns and uniforms before filming, surprised himself. “Suddenly I enjoyed being a man with a gun and learning from the anti-terrorist unit, who were very young but dangerous guys, trained by the US Special Forces. We filmed the battle scenes throughout the entire town of Pancevo, just outside Belgrade, setting off explosions all over the place and firing 2,000 bullets in one day. The atmosphere was incredible.”
Coriolanus’s message is far more powerful, though, than a simple modern war film. And Micanovic hopes his fellow Serbians will recognise that.
“When Serbians see Belgrade as Ancient Rome and how, because of corrupt politics, heroes become villains, I hope it will change their minds of how things should be.
“But I’m not sure. We learn so little from our mistakes.”
Coriolanus will be in cinemas from 20 January.
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