Lazar Ristovski is Serbian actor with a long and distinguished career during which he played many grand roles and established himself as one of the more recognisable faces of Serbian cinema, often playing in films made in other former Yugoslav republics. In last few decades he has also had distinguished career as a successful producer. His attempt at directing, 1999 romantic drama The White Suit, however, left much to be desired.
The plot begins in small town on the coast of Montenegro (which at the time of production, together with Serbia, still formed rump Yugoslavia). Ristovski stars as Savo Tiodorović, 45-year NCO of Yugoslav military who has spent most of his career there and who tries to fight the monotony of garrison life by indulging in fantasies in which he is a dashing romantic hero. His life is suddenly turned upside down when he receives telegram from his twin brother Vuko (also played by Ristovski) who informs him that their mother has died and asks him to bring white suit for the funeral. Savo boards a train which is full of unusual and eccentric passengers. One that catches his attention is Karmen (played by Radmila Shegoleva), Russian “entertainer” with whom he falls madly in love. This, however, causes Karmen’s impotent pimp (played by Dragan Nikolić) to become jealous.
At first glance, The White Suit, advertised as “romantic comedy”, represented something refreshing compared with almost all other Serbian films made at the time. While those films usually dealt with bleak realities of post-Communist Serbia or the real of alleged causes of those woes in the past, this film takes escapist approach and concentrates on a single character whose story is very much like the one that could take place in any other country of the world. Ristovski, who also wrote the screenplay, has obviously prepared a long time for this film and the double role of Savo/Vuko is one of the best in his career. Unfortunately, that can’t be said for the rest of the film. The plot is actually very thin and it ends in rather unsatisfactory manner. Furthermore, Ristovski tries too much to make his film in the style of Emir Kusturica, just like Kusturica used to make his films in the style of Federico Fellini. The biggest disappointment is Ukrainian actress Radmila Shegoleva wh doesn’t pass as irresistible femme fatale. The rest of the cast is more than adequate, but their efforts don’t improve this film to be anything more than merely watchable.
RATING: 3/10 (+)
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