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Blistavo i strašno
"Blistavo i strasno" je knjiga secanja na detinjstvo provedeno u Sarajevu, Skadru i Prizrenu, u godinama pred pocetak Drugog svetskog rata do 1954. Uspomene Bekima Fehmiua citaju se kao dokumentarni roman. Ovom knjigom cuveni jugoslovenski glumac vratio se u javni zivot posle dugogodisnjeg odsustvovanja. Povukao se iz javnosti u znak protesta protiv antialbanske propagande i sirenja mrznje prema Albancima. Posle 14 godina koje su obelezili rat i mrznja, odlucio je da se vrati publici.
290 pages, Paperback
First published January 1, 2002
8 people are currently reading
153 people want to read
About the author
Bekim Fehmiu
3 books8 followersBekim Fehmiu was a Yugoslavian theater and film actor of Albanian ethnicity. He was the first Eastern European actor to star in Hollywood during the Cold War.
Fehmiu was born in Sarajevo, Kingdom of Yugoslavia to Albanian parents. His family descends from merchant family of Imer Halili from the town of Gjakova in Kosovo; his father Ibrahim took his high-school nickname Fehmiu as a surname. In 1941, his family permanently moved to Prizren in Kosovo, where Bekim spent his childhood. He was part of the acting club at his high school in Prizren, and after graduation he became a member of County popular theatre in Pristina, the only professional Albanian language theatre in Yugoslavia. He graduated from the Faculty of Drama Arts (FDU) in Belgrade in 1960.
The New York Times dubbed him the "Yugoslav heart-throb" for his youthful conquests and acquaintances with the likes of Brigitte Bardot and Ava Gardner. Decades after his last appearance on the screen, readers of a leading Italian women's magazine voted him one of the ten most attractive men of the 20th century.
In 1960, Fehmiu became a member of the Yugoslav Drama Theatre in Belgrade, which he left in 1967, citing bad treatment, to became a free artist.
Fehmiu's big break was the 1967 film "I Even Met Happy Gypsies", a subtle portrayal of Roma life which won two awards in Cannes and was nominated for an Oscar. Known for his macho appearance and mild manner, Fehmiu was then wooed by Western filmmakers and signed a contract with the Academy Award winning producer Dino De Laurentiis.
It was De Laurentiis who, in 1968, cast him as Odysseus in the acclaimed mini-series of The Odyssey. It was the first blockbuster of Italian television and made Fehmiu an icon in Europe.
Fehmiu seemed poised for stardom in Hollywood as well, but his first American film, The Adventurers, was a critical and financial disaster which "ruined any chances for Fehmiu to achieve similar stardom in Hollywood". He played the role of the busy father in Raimondo Del Balzo's heartbreaking film The Last Snows of Spring in 1973, and the role of a Palestinian terrorist in John Frankenheimer's 1977 masterpiece Black Sunday. Despite his Hollywood films achieving little critical success, he excelled in European art house cinema as well as in the theatre, which was his natural medium. By the end of his career he had acted in nine languages, including French, Spanish and Italian.
In 1987, in protest at the Yugoslavian government's treatment of Kosovar Albanians, he walked off the stage at the Yugoslav Drama Theatre in Belgrade, during the play Madame Kollontai by Agneta Pleijel. He left the stage, and soon after, films.
Bekim Fehmiu appeared in 41 films between 1953 and 1998. Fehmiu was the first Albanian theater and film actor who acted in theaters and movies all over Yugoslavia, and he acted in a whole series of roles that changed the history of the Cinema of Yugoslavia and left a mark in the artistic developments abroad. Internationally, Fehmiu worked with Italian Producer Dino De Laurentiis, John Huston, Ava Gardner, Dirk Bogarde, Charles Aznavour, Claudia Cardinale, among others.
In 2001, Samizdat B92 published a book of Bekim Fehmiu's memoirs, entitled Blistavo i strašno (Brilliant and Terrifying), which describes his life until 1955, the year he became an actor.
Fehmiu was found dead on 15 June 2010 in his apartment in Belgrade. Initial reports stated he committed suicide. He was 74 years old.
His body was cremated and the ashes were scattered in a river in Prizren where his family from his native Sarajevo was moved by turning a second home.
Fehmiu was born in Sarajevo, Kingdom of Yugoslavia to Albanian parents. His family descends from merchant family of Imer Halili from the town of Gjakova in Kosovo; his father Ibrahim took his high-school nickname Fehmiu as a surname. In 1941, his family permanently moved to Prizren in Kosovo, where Bekim spent his childhood. He was part of the acting club at his high school in Prizren, and after graduation he became a member of County popular theatre in Pristina, the only professional Albanian language theatre in Yugoslavia. He graduated from the Faculty of Drama Arts (FDU) in Belgrade in 1960.
The New York Times dubbed him the "Yugoslav heart-throb" for his youthful conquests and acquaintances with the likes of Brigitte Bardot and Ava Gardner. Decades after his last appearance on the screen, readers of a leading Italian women's magazine voted him one of the ten most attractive men of the 20th century.
In 1960, Fehmiu became a member of the Yugoslav Drama Theatre in Belgrade, which he left in 1967, citing bad treatment, to became a free artist.
Fehmiu's big break was the 1967 film "I Even Met Happy Gypsies", a subtle portrayal of Roma life which won two awards in Cannes and was nominated for an Oscar. Known for his macho appearance and mild manner, Fehmiu was then wooed by Western filmmakers and signed a contract with the Academy Award winning producer Dino De Laurentiis.
It was De Laurentiis who, in 1968, cast him as Odysseus in the acclaimed mini-series of The Odyssey. It was the first blockbuster of Italian television and made Fehmiu an icon in Europe.
Fehmiu seemed poised for stardom in Hollywood as well, but his first American film, The Adventurers, was a critical and financial disaster which "ruined any chances for Fehmiu to achieve similar stardom in Hollywood". He played the role of the busy father in Raimondo Del Balzo's heartbreaking film The Last Snows of Spring in 1973, and the role of a Palestinian terrorist in John Frankenheimer's 1977 masterpiece Black Sunday. Despite his Hollywood films achieving little critical success, he excelled in European art house cinema as well as in the theatre, which was his natural medium. By the end of his career he had acted in nine languages, including French, Spanish and Italian.
In 1987, in protest at the Yugoslavian government's treatment of Kosovar Albanians, he walked off the stage at the Yugoslav Drama Theatre in Belgrade, during the play Madame Kollontai by Agneta Pleijel. He left the stage, and soon after, films.
Bekim Fehmiu appeared in 41 films between 1953 and 1998. Fehmiu was the first Albanian theater and film actor who acted in theaters and movies all over Yugoslavia, and he acted in a whole series of roles that changed the history of the Cinema of Yugoslavia and left a mark in the artistic developments abroad. Internationally, Fehmiu worked with Italian Producer Dino De Laurentiis, John Huston, Ava Gardner, Dirk Bogarde, Charles Aznavour, Claudia Cardinale, among others.
In 2001, Samizdat B92 published a book of Bekim Fehmiu's memoirs, entitled Blistavo i strašno (Brilliant and Terrifying), which describes his life until 1955, the year he became an actor.
Fehmiu was found dead on 15 June 2010 in his apartment in Belgrade. Initial reports stated he committed suicide. He was 74 years old.
His body was cremated and the ashes were scattered in a river in Prizren where his family from his native Sarajevo was moved by turning a second home.
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Displaying 1 - 9 of 9 reviews
February 19, 2020
"I mi Albanci smo ljudi kao i svi drugi narodi, samo što je sudbina bila nemilosrdnija prema nama. Narod je nepismen i zaostao, zbog duge robije pod Turcima. Jedini način za napredak je rad, učenje i školovanje".
July 22, 2022
Za mene ovo je vrlo dragoceno autobiografsko delo jednog velikana glume. Bekim opisuje svoje odrastanje, detinjstvo i obicaje svog naroda koji su vecini ljudi nazalost tako malo poznati. Takodje, hronoloski nam prenosi kako se i svet sa njim menjao kroz znacajne dogadjaje.
November 29, 2021
Блиставо и страшно!
May 16, 2025
Nadao sam se više pričama o njegovoj adolescenciji, ali nema veze, pročitaću i drugi deo.
U ovom delu priča o svom detinjstvu, svojoj porodici, i najviše o ocu. Zanimljivo je videti perspektivu odrastanja Albanca u Jugoslaviji, pogotovo nekoga čiji otac je bio okarakterisan kao "nacionalista".
Moram ovde navesti razlog zbog kog sam i uzeo ovu knjigu, a to su Brankine reči o Bekimu nakon njegovog samoubistva:
- Šta je samuraj? On mora da bude hrabar, da poštuje sve kodekse. Često je citirao Seneku, parafraziram: "Vlast nad samim sobom je najveća vlast.“ I dan-danas pomisao na to kako se na to pripremao – da ne bude u našoj spavaćoj sobi, nego u radnoj, da bude pokriven. Otac jedne moje prijateljice je izvršio samoubistvo. Pucao je sebi u glavu razneo je. A Bekim je pucao u slepoočnicu i jedna žena je rekla da je rana bila kao malina. I pištolj je ostao u ruci. Ispod čaršava, da ne doživim šok - pričala je tada i dodala: - To je bila kompletna režija smrti. Taj otoman u njegovoj radnoj sobi je crven, bordo, tako da nisam videla krv. Doneo je jastuk i sat koji ja sada uvek nosim i oproštajno pismo. Potpuno zaokružen čin. Čista estetika. Kada smo išli na identifikaciju, Uliks je rekao: „Kako je tata lep.“ A Hedon je pomogao bolničaru i na leđima nosio svog voljenog tatu.
U ovom delu priča o svom detinjstvu, svojoj porodici, i najviše o ocu. Zanimljivo je videti perspektivu odrastanja Albanca u Jugoslaviji, pogotovo nekoga čiji otac je bio okarakterisan kao "nacionalista".
Moram ovde navesti razlog zbog kog sam i uzeo ovu knjigu, a to su Brankine reči o Bekimu nakon njegovog samoubistva:
- Šta je samuraj? On mora da bude hrabar, da poštuje sve kodekse. Često je citirao Seneku, parafraziram: "Vlast nad samim sobom je najveća vlast.“ I dan-danas pomisao na to kako se na to pripremao – da ne bude u našoj spavaćoj sobi, nego u radnoj, da bude pokriven. Otac jedne moje prijateljice je izvršio samoubistvo. Pucao je sebi u glavu razneo je. A Bekim je pucao u slepoočnicu i jedna žena je rekla da je rana bila kao malina. I pištolj je ostao u ruci. Ispod čaršava, da ne doživim šok - pričala je tada i dodala: - To je bila kompletna režija smrti. Taj otoman u njegovoj radnoj sobi je crven, bordo, tako da nisam videla krv. Doneo je jastuk i sat koji ja sada uvek nosim i oproštajno pismo. Potpuno zaokružen čin. Čista estetika. Kada smo išli na identifikaciju, Uliks je rekao: „Kako je tata lep.“ A Hedon je pomogao bolničaru i na leđima nosio svog voljenog tatu.
February 14, 2021
Odlicna biografija glumca o sebi!
November 15, 2022
Toliko lepo napisana knjiga o intimnoj istini i istoriji jednog čoveka. Čak i ako ne znate ko je Bekim Fehmiu, upoznaćete ga u ovoj knjizi. Jedva čekam da pročitam drugi deo.
April 30, 2023
Dobra knjiga...
October 2, 2023
Jedna od najboljih autobiografija
October 29, 2024
Nadahnuto pisanje, prijatno za čitanje.
Bekim slika jedan svet koji više ne postoji...
Bekim slika jedan svet koji više ne postoji...
Displaying 1 - 9 of 9 reviews