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as Marilyn Jordan
as Martin Jordan
as Dr. Aram Pazardjian
as Rita Rossignol
as Cab Driver
as Jimmy Jordan
as Zanzibar Customer
as Piano Player
as Police Officer
as lst Policewoman
as 2nd Policewoman
as Tap-Dancing Lady
as Cab Driver
as Bo Ivan Peterson
as Customs Inspector
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Critic Reviews for Montenegro
If it begins deceptively, as though setting out to be your typically angst-ridden Swedish art movie, by the time it's reached its set of climaxes,Makavejev's film could not have strayed further from the beaten track.
There can be something absolutely liberating about a movie that makes up its rules as it goes along.
A halfheartedly Surreal comedy filled with forced high spirits, unconvincing lunacies and failed sight gags.
The first half of Montenegro seems to be a parody of Ingmar Bergman films, where characters wallow instead of doing anything about their problems. It's no accident that director Dusan Makajevev cast Bergman-regular Erland Josephson as the miserly husband.
Audience Reviews for Montenegro
Upon hearing "Montenegro"'s thumbnail plot (essentially, "Bored Housewife Gone Wild"), I anticipated writer/director Dusan Makavejev -- creator of the insanely hedonistic "Sweet Movie" and "W.R.: Mysteries of the Organism" -- depicting all sorts of unspeakable debauchery. Given these expectations, "Montenegro" is surprisingly tame. Sure, there is a sex act in a mound of grain, a suggested three-way between unlikely partners, a shocking use of poison, a friendly man with a knife embedded in his forehead and an unforgettable burlesque dance (the girl courts a toy military tank with an "erect" vibrator attached), but otherwise? Appalling table manners are about as bad as it gets. Toss in a contraband pig carcass and a grandfather who thinks he's Buffalo Bill, if you like. Regardless, I doubt the film had any trouble avoiding an "X" rating, even though the story sounds like a classic pornography template.
Susan Anspach is Marilyn Jordan, wife of a wealthy but inattentive businessman (Ingmar Bergman stalwart Erland Josephson). Obviously frustrated with a pampered lifestyle where her biggest problem is a lynx coat's excessive shedding, she has been acting out in strange ways. When she spontaneously decides to accompany her husband on a short trip, there is an unexpected security issue and she misses the flight. Detained at the airport, she finds herself bonding with some Yugoslavian gypsies, who end up whisking her away to their odd, isolated compound. The troop's raucous celebrations are a refreshing novelty, and she releases her inhibitions. The results are alternately delightful and disturbing.
Bless his warped heart, Makavejev remains cheerfully tasteless and clumsy as a director. The story takes far too long to heat up (about 45 minutes), and the musical score is typically goofy. There are extreme facial closeups, awkward insertions of animal footage (it's, like, metaphorical) and plenty of overacted scenes (particularly in the case of Per Oscarsson's effete psychiatrist). As for time-dated content, we also get two ABBA tunes and some awful '70s perms. Still, the film's ending is so good that you'll forgive most of the earlier mishaps.
Crazy, crazy, crazy lady, and based on a true story to boot.
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