In the mid-1950s, amidst the Cold War tensions, the Soviet Union embarked on a campaign to win the hearts and minds of the global public. This endeavour was reflected in the increased number of high-budget film co-productions, even with countries that had not been particularly friendly to the Soviets in the recent past, such as Yugoslavia during the Tito-Stalin split. This political event led to the "memory holing" of the earlier Soviet-Yugoslav film co-production, In the Mountains of Yugoslavia. However, after Stalin's death and with the Soviets seemingly attempting to turn over a new leaf, there were no such issues for the next such endeavour, the 1958 war biopic Aleksa Dundić.
The character of Aleksa Dundić was particularly well-suited for such a film project, as he was lauded as a heroic figure by both Soviet and Yugoslav narratives. Tomo “Aleksa” Dundić (1896 – 1920), referred to as “Oleko Dundich” in Russian sources, hailed from Grabovac near Imotski in present-day Croatia. He rose to prominence as a celebrated commander in the Red Army during the Russian Civil War, leaving an enduring legacy that impressed many contemporaries. Esteemed writer Isaac Babel mentioned him in his renowned work Red Cavalry, while his superior Semyon Budyonny detailed Dundić's exploits in his memoirs, further solidifying his status as a legendary military leader.
The film opens in 1917 Odessa amidst the chaos of World War I, introducing us to Aleksa Dundić (played by Branko Pleša), who serves as a lieutenant in the Serbian Volunteer Corps—a unit comprised of Serb exiles and South Slavs who defected from the Austro-Hungarian Army to join Russian forces. At this juncture, Russia is engulfed in revolutionary turmoil, and even some Serbian soldiers begin to voice their demands for democratic rights similar to those sought by their Russian counterparts—the right to elect their councils or "soviets." This unrest leads to the arrest of four soldiers who dare to advocate for these rights, resulting in death sentences. Dundić's personal stakes are heightened by his relationship with Galya (played by Tatyana Piletskaya), whose father has been imprisoned for revolutionary sympathies. When ordered to execute these soldiers, Dundić refuses and subsequently finds himself arrested. The plot progresses when revolutionaries liberate political prisoners, providing Dundić with an opportunity to, together with his Serbian comrades, join the Bolshevik Red Guards under Kliment Voroshilov (played by Vladimir Troshin).
As events unfold, we advance to October 1919 during the Russian Civil War when counterrevolutionary White forces led by General Mamontov (played by Boris Livanov) threaten Moscow. The force standing against them is 1st Cavalry Army under Budyonny (played by Lev Sverdlin), where Dundić has gained recognition for his bravery and effective guerrilla tactics. His reputation grows as he undertakes perilous missions behind enemy lines under assumed identities. In one such mission, he encounters Pavle Hodžić (played by Milan Puzić), an old acquaintance from Serbian Volunter Corps who has aligned himself with the White movement and now serves as chief of their counter-intelligence.
Aleksa Dundić is an ambitious film that represents a significant moment in the history of Yugoslav cinema; it is notable for being one of the first Yugoslav films made in colour. Directed by Leonid Lukov—who was not among the top-tier Soviet filmmakers—the film boasted a substantial budget that is evident in its grandiose scenes of cavalry charges and combat sequences. However, due to political motivations aimed at portraying both the Soviet Union and Yugoslavia as equals, filming took place across two countries: modern-day Ukraine and around Pančevo in Serbia. This decision occasionally resulted in issues with continuity and logistics; for instance, Russian soldiers were depicted wielding German Mauser rifles supplied by the Yugoslav People’s Army—an incongruity that may distract discerning viewers.
What makes the film interesting is that, despite celebrating a Communist hero, the film doesn't dabble much into politics and, apart from the opening scene depicting Dundić's heroic death, generally avoids the clichés of Socialist Realism. While the film clearly delineates the Good (Red) and Bad (White) sides in the Russian Civil War, it doesn't shy away from showing characters who, like in any civil war, happen to be caught in the middle. Furthermore, the villains, while being evil, are often depicted not as dangerous but often as buffoonish. Aleksa Dundić often strays into pure comedy, and there is even a scene in which Dundić, posing as an aristocratic White officer, gives rather unmistakable references to homosexuality, which is something you would not normally expect from a Soviet (or, for that matter, any other) film in the 1950s.
Lukov tries to make the film additionally entertaining for a broader audience by introducing the character of a gypsy woman, Nastya, played by Margarita Shuikina, who is used by both sides to pass through the line and provide intelligence. This character provides a good excuse for the film to feature musical numbers.
Finally, Aleksa Dundić further strays from Socialist Realist principles by having the main conflict not so much between classes or ideologies, but between individuals. Both the protagonist, skilfully played by Serbian actor Branko Pleša, and the main antagonist, played by Milan Puzić, covet the same woman, played by Tatyana Piletskaya. That conflict is resolved in a manner that resembles a Western more than a war epic.
However, putting all those, sometimes disparate elements in a single film required skill that Lukov apparently lacked. To say that the plot is confusing would be an understatement, and one combat scene near the end of the film looks like many explanatory scenes were edited out. Furthermore, viewers unfamiliar with World War I and the Russian Revolution would have great difficulties understanding what the film is actually about.
Despite its flaws, Aleksa Dundić deserves a recommendation for its ambition, unusual details, and fascinating glimpse both into general history and the way it was reflected on the big screen.
RATING: 5/10 (++)
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