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Several years later the hidden community have fashioned their own little underground world, with all amenities provided. Marko, and his grandfather, are their only link with the outside world as they fashion weapons for the revolution. Blacky has decided to daringly snatch Natalija from right under the nose of Franz, during a performance at the National Theatre. Despite being wanted men, they make their way to the venue without trouble and Blacky strides onto the stage as if he were an actor. Clasping Natalija, Blacky then shoots Franz in front of the horrified audience and makes his escape through the sewer system. Arranging to be married on a boat, moored outside of Belgrade, a great party ensues while waiting for the priest. Unfortunately while the cleric never shows, Franz does -- with a phalanx of soldiers. After a short battle Natalija runs to her German lover, Blacky is captured and Marko escapes. Hideous torture ensues for Blacky, although he never cracks, while Marko plans his liberation. Events go roughly as planned, with Blacky being returned to the cellar commune (to tend his wounds) while Marko and Natalija stay above ground.
Jumping forward to 1961, Marko is an important advisor to Tito and a war hero. With Natalija, acting as his wife, Marko unveils a statue of Blacky and says a few words in praise of his late friend. Film-makers are planning a dramatisation of Marko and Blacky's war exploits, primarily as a propaganda film for Communist Yugoslavia. However, it turns out that Blacky is alive and well in the cellar complex with an expanded group of survivors. A subterranean society has emerged which includes births, deaths and marriages -- all the while producing weapons for the war supposedly raging outside. Marko, and Natalija, are perpetrating this myth so that they can enjoy the proceeds of selling the arms produced down below. Matters come to a head when the guilty duo attend Jovan's wedding (held in the cellar of course), where Natalija gets drunk and considers revealing all to Blacky. This is a bit late though since Blacky and Jovan are planning to leave their digs on a surprise raid.
An enchanting, lyrical and complex story, Underground mixes the history of Yugoslavia with the escapades of Marko and Blacky. The two spheres have a surprising amount in common, a situation which is reinforced by doctored, authentic news footage (where Marko appears with Tito). Great surges of emotion wash over the film, everything from the happiness of love to the sorrow of losing a country, although this never descends to sentimentality. The script is excellent, bursting with vitality, surreality and depth. Luckily the ensemble acting is up to the task of inflating this epic tale, with every actor and actress priming their character to the level just below over-acting. These are real, larger than life people who endure extraordinary events, yet their essential humanity is never lost. The acting of Manojlovic is especially good, providing an edge to Marko such that he can do extremely immoral and evil things while still seeming to be Blacky's best friend. The central metaphor, that Yugoslavia was analogous to this fictional cellar, comes across clearly but without being preachy. Finally, the musical score is provided almost exclusively by a roving brass-band, which seamlessly integrates into the action and sounds just fantastic. Underground is an altogether marvellous film with many splendid visual treats and impressive moments.
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