Kauboji (Cowboys)

The Croatian film Cowboys is the latest expression of  Europe’s fascination with the American Western mythology.  Even the countries that hate America remain addicted to American pop culture, especially the Western. As the imported stage director Sasha explains here, the Western is never boring like life is, especially in this “frontier” bleak industrial town, and it celebrates the coming of civilization to the wilderness. The Western marks the turning of the desert into a garden. 

The grotesque mounted fish heads in the rec centre director’s office are an emblem of his unrealized ambitions. A fish head isn’t an elk. He hires an outsider to direct a play because he knows his town needs culture. Though he loses faith in the production the appreciative full house restores it.

The film’s theme is the twofold value of art and community. Even this silly little drama brings the townsfolk together for a shared experience, shared emotions. The eight local losers who perform the  thing find different forms of fulfilment. The mama’s boy finally manages to impress her — and to live up to his pretensions, aided perhaps by his introduction to weed. The ex-con Ivan flubs his first attempt at re-entering society but returns for the production to resume his responsibility in a reduced role. The incomprehensible woman proves an excellent singer and her idiot brother a good accompanist.

As it’s a Croatian film there’s the obligatory Serb joke. But in this celebration of community — the cast as well as the audience — the Serb is fully supported in his problem with the local sharks. Director Sasha pays his debt and the gay cast member beats up the creditors so he doesn’t have to pay them. Even Ivan repays his loan.

The more serious problem is director Sasha’s cancer, which removes him from the last rehearsals and the production. But his cast carries on without him and succeeds. This coheres with the US Western’s association with new democracy. Sasha doesn’t impose a script on his cast but develops one out of their answers and suggestions. As a result that democratic unit can manage without their governor. 

     The Western song framework confirms the film’s operation in the global context of American culture. The imported director Sasha seems a stand-in for contemporary America. With his powers diminished and his own family relationship (his sister) in ruins, he doesn’t always perform at his best. He loses patience with his performers, pushes the woman to tears and expels a cast member unfairly. But he can make up for his mistakes, and advances the production to the point that they don’t need him. His death coincides with their curtain call. In the end credits each character is shown with his name — except Sasha, who’s named against a black screen. He’s the once powerful force, now darkened.