There have been hardly any films about gypsies and their culture depicted in Hollywood’s golden age unless they were background figures (The Wolf Man, 1941) or treated in a broad, theatrical manner in comedies (The Bohemian Girl, 1936) or costume dramas (Hot Blood, 1956). King of the Gypsies (1978), based on the Peter Maas novel and featuring Eric Roberts in his film debut, was an attempt to offer an insider look at this often demonized group but seemed more like an unintentional parody than a serious drama. It wasn’t until filmmakers outside the U.S. began to focus on gypsy culture that a number of influential movies on the subject began to appear later in the 20th century such as Aleksandar Petrovic’s Skupljaci Perja (1967), which was released in the U.S. as I Even Met Happy Gypsies.
How to describe this blast of creative anarchy from 1965? Fascinating and engaging on so many levels, Man is Not a Bird (aka Covek nije tica, 1965) could be seen as a political parable or a social satire or an offbeat romantic drama or an attempt to merge documentary and fiction in some new form of Eastern European neorealism. Continue reading