his epoch making book, “War and Film” mentions in the Introduction section, “It seems to me that film about war have generally fallen, into one or more categories, and these categories have, in turn, given rise to lineages, taxonomies or modes that can be mapped across different national cinemas” (Chapman, 2008).
The effect of war on the creative minds across the globe was so stark that the directors of the twenty-first century could not come out of the trauma and social devastation caused by the outbreak of war. In the year 1996, Yugoslavian director Srdan Dragojecvic made a film bearing the title ‘Pretty Village, Pretty Flame’ that yielded a bizarre but unique and unwelcoming dark humour regarding the events and manipulation that evolved and continued Bosnian war. The film is considered as one of the finest modern classics of Serbian cinema and the plot of the film is motivated by the real life circumstances that occurred during the initial days of Bosnian war. The story of the film centres round a group of Serbian soldiers who got trapped inside the tunnel and were entrapped by a fragment of the Bosnian troop. These soldiers interestingly did not join the war out of any sense of patriotism or extreme nationalism.
The screenplay of the film ‘Pretty Village, Pretty Flame’ is based on a magazine article that was published in “Duga” authored by Vanja Bulic. Through a series of flashbacks, the film represents the early life of every soldier trapped inside the tunnel and endeavours to give an impression about the facts that culminated into a wartime situation and myriad manipulations that took place to continue it.
‘Pretty Village, Pretty Flame’ presents a plot that centres round a long-nurtured friendship of Halil who is a Muslim and Milan a Serbian. Set in the backdrop of 1980s, these two boys spend their boyhood playing and spending a considerable time from their playful days near a tunnel which they found mostly abandoned. Extremely
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