The harrowing consequences of war on innocent lives, particularly children, are among the most disquieting aspects of armed conflict. Branko Bauer, one of the most renowned but also most underrated Croatian film directors, has delved into this sombre theme in his celebrated works. This includes his 1956 war thriller Don’t Look Back, My Son (also known by the alternative title My Son, Don't Turn Round), widely regarded as a grand classic of Yugoslav cinema.
The plot takes place in the Croatian capital, Zagreb, during the Second World War, when it was under the fascist rule of the pro-German Independent State of Croatia. The protagonist, played by Bert Sotlar, is Neven Novak, an engineer who had joined the resistance movement only to be arrested and sent to the notorious Jasenovac concentration camp. During his train transport, he and fellow detainees seize the opportunity for a daring escape. He returns to Zagreb to seek shelter and potential connections that would take him to Partisan-controlled territory. He learns that his young son Zoran (played by Zlatko Lukman) has been taken into a Ustasha orphanage, where he is being indoctrinated with fervent loyalty to the regime. Determined to rescue his son from brainwashing, Novak must employ every ounce of cunning, skill, and tenacity while evading the relentless pursuit of the Ustasha secret police.
Produced by Jadran Film roughly a decade after the war's end, Don’t Look Back, My Son showcases the remarkable advancements made by Croatian and Yugoslav cinema in a short period, especially when compared with earlier films on similar subjects. The film boasts high production values, with Branko Blažina's black-and-white cinematography capturing the nighttime action scenes and Zagreb locations to great effect. The score by Slovenian composer Bojan Adamič, who would later become famous for spectacular Partisan films, incorporates subtle jazz motifs, contributing to the film's noirish atmosphere.
The script, co-written by Bauer and Arsen Diklić, remains within the limits of official Communist Yugoslav propaganda but offers a more nuanced and realistic approach to one of the darkest and most controversial chapters of Croatian history. The Ustasha are portrayed as equivalents of the Nazis and embodiments of pure evil, yet they are nevertheless intelligent and capable villains. Many characters show complexities and various shades of moral alignment during wartime. This includes Novak's former girlfriend Vera (played by Lila Anders), who gives him aid while unapologetically supporting herself through a liaison with a German officer. One of Novak’s pre-war friends, played by Mladen Hanzlovsky, is revealed to be a Ustasha officer and reports Novak to the authorities, much to the displeasure of his elderly parents, who are portrayed as decent people.
This motive struck a very personal note for Bauer, who was deeply inspired by an incident he witnessed during the war. One day on the street, he saw a Jew being forcibly taken by Ustasha police who, in desperation, called for passers-by to come to his aid, which none, including Bauer, did. Bauer felt profound shame over his inaction and tried to make amends by including a similar scene in the film. This scene, which also featured a child, was one of the first and most powerful depictions of the Holocaust in Croatian cinema.
Bauer was fortunate to have a talented cast at his disposal, particularly Slovenian actor Bert Sotlar as Novak, who delivers a compelling performance alongside child actor Zlatko Lukman. Bauer's handling of the father-son relationship is superb, and it fits perfectly into a plot that combines suspense, action, and melodrama with ease.
While the second half of the film becomes somewhat overcomplicated, with plot twists that might be lost to less perceptive viewers, the final act culminates in a predictably melodramatic conclusion that is redeemed by a symbolic shot of a circling motorcycle.
Upon its release at the Pula Film Festival, Don’t Look Back, My Son won the Golden Arena, the top Yugoslav film award at the time. This success was followed at the box office, where it gained a reputation as one of the most memorable films of its era. Arsen Diklić soon adapted the script into an eponymous children’s book.
Despite being nearly seven decades old and looking slightly old-fashioned in strictly technical terms, it remains a film that packs a strong emotional punch. The universal themes of human suffering and resilience continue to resonate with audiences today, making it an enduring classic of 1950s cinema.
RATING: 8/10 (+++)
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