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Best movie of this year hands down!

Why so much hype?

Excellent but underrated film

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

I watched Strangler vs. Strangler last October as part of my 31 Horror Movies in 31 Days challenge. It added a nice shade of diversity. I'd never seen a Yugoslavian horror movie before.It starts out promisingly enough. An anonymous narrator ponders what makes a city a metropolis as we are treated to a montage of Belgrade, and comes to the conclusion that a city becomes a city by virtue of its criminal population. This is an interesting idea, but unfortunately the plot does not develop it any further. This section also includes a split-screen portrayal of thievery, murders, and rapes, to demonstrate what types of crime Belgrade does indeed boast. The presentation is absurd, almost Python-esque. It's pretty daring and audacious.What a letdown that the movie fizzles out so quickly. Beyond the introduction it doesn't have much to offer apart from cartoonish shtick that was well-worn in American sitcoms a decade earlier. (A male undercover cop in drag, for example. As though that's fresh or interesting.) There are some laughs to be gotten from the performances, but director/co-writer Slobodan Sijan is completely bereft of original vision after that great first scene. The result is tedious, exhausting, and occasionally mean-spirited.This is a good movie to watch if you're a horror completionist. I just wish it could have been more.

The citizens of Belgrade want their city to become a modern metropolis. But what makes a metropolis a metropolis, if not it's crime!? And not just any crime will qualify your beloved town, of course. Oh no. It's the maniacs that make a metropolis! This film, however, is first and foremost about misogyny...and you can't help but get your psychoanalysis on.The opening sequence comes off as a light-hearted, less overtly disturbing, version of Alan Clarke's Elephant- as it details the varieties of crime that you can expect to find in the Serbian capital. Culminating with the introduction of our first strangler: Pera Mitic.Pera is a sadistically coddled mama's boy with a carnation fetish. He wanders the town from pub to pub, attempting to sell his carnations to local lovers (albeit rather unsuccessfully).However, not everyone is a fan of carnations...and he takes this very personally. Reject his offer with anti-carnation rhetoric, if you dare. Because, let's just say...as far as he's concerned- all haters must perish.Finally! Belgrade can be considered a real, bonafide metropolis...all thanks to Pera!!! Word of the local serial strangler hits the airwaves, leaving the police to fear it will incite panic. However, unbeknownst to them...something much more sinister is afoot.One of the locals taking in this broadcast is an up and coming nazi "punk" musician named Spiridon Kopicl (or Shpira, for short). Shpira also has misogynistic tendencies- arising from the angst directed at his father for marrying a younger woman after the death of his beloved mother.When Shpira is exposed to the brutal reality of Pera's crimes through the TV, it induces a panic attack...and he starts to believe that he is spiritually connected to this unknown strangler. He finds that he is driven by the same compulsions as the strangler; thus, he starts to walk around town thinking of strangling the various women he happens upon in the street.Shpira and his band even go as far as writing a song lauding the local strangler as a hero...complete with music video.This gets the band some hype, and Shpira is asked to make a radio appearance. During his spot, the interviewer asks whether he, like the serial strangler, has urges to take his anger out on unsuspecting woman in such ways...leading to what was almost the world's first live broadcast strangulation.This has the local police chief worried. He thinks that Shpira's concert will encourage others to engage in copycat crimes. So he tasks a legion of female officers (including one male officer in drag) to go undercover, and see if they can root out the real strangler(s) from the crowd.--note: what kind of f*cked up music scene does Serbia have, that kids are proud to be nazi "punks" and bring confederate flags to their shows!?!-- (Anyways...)Pera keeps killing, while Shpira can't get himself taken seriously as strangler. Everyone is under the impression that it's all just a gimmick with him.Meanwhile, the inspector is becoming more and more distraught after losing one of his friends and fellow officers to the strangler. He decides that he cannot go on. Ironically opting to hang himself (effectively strangulation). However, a last second intervention from his cat, George, gives him a change of heart: He decides that he must avenge the death of his friend; capture this demonic strangler; and secure his name in the annals of criminology once and for all.A short time later, the local music station Rock-o-lada broadcasts a segment on Shpira's concert. Pera happens to be watching at the time, and sees himself on TV- as the host makes critical comments about the crowds' use of carnations to symbolize their support for the strangler. This acts as a trigger and sets him on a rampage- with one particular victim in his sights: the host of Rock-o-lada, Sofija.Now...we have both the strangler and his apprentice on the prowl, after the same prey. Will the inspector manage to track them down and intervene before it's too late? Just when you think it's over....What a brilliant dark comedy....and cult as f*ck!!! The whole thing is wonderfully shot; with great characters; and a clever TRIPLE twist at the end. Not to mention all the subtle humour it contains. It must also be noted that, content matter aside, it seems to act as a polemic against misogyny (as opposed to reinforcing it).Both Pajkic and Sijan have done an excellent job on the screen writing and directorial fronts. The Pera character- and general style of the film- are reminiscent of the main character and style of Herz's masterpiece of horror: The Cremator.This is an absolute must see. Unfortunately the available subtitles are kinda sh*t- so you'll have to read in a more proper anglicization as you watch. But that is my only beef...(well that and those f**king Nazi "punks")! 9 out of 10.

As the wikipedia article on this film correctly suggests, the plot is a cross between Psycho and The Pink Panther series. Can there be a more deranged pairing of plots? Only the soundtrack is particularly serious, with plenty of kettledrum so you can throw up your devil horns. It's not easy to pull off a decent horror comedy, especially in the 80's, without it coming out very corny. Since no other reviewers here from areas far from the intended audience have commented, I can't imagine there would be much of a market for getting a DVD release of this in the States.The strangler is a middle-aged, fat fellow who lives with his overbearing mother. She disciplines him nightly for not selling enough carnations. Thus, when he is out trying to sell his wares, any woman who refuses his flowers suddenly becomes a victim. He stalks and strangles any woman who refuses his flowers, with an amusing musical theme that reminds me of the old vaudeville bit, "Niagra Falls! Slowly I turned....!" Eventually, he's murdered enough women that the townsfolk feel they have a real serial killer on their hands. The police are baffled, as usual, and a local aspiring rock star imagines he's connected mentally to the strangler. He gets inspired to write a song about the strangler and the piece becomes a local hit, getting heavy airplay on the radio and local TV coverage from a poor-man's MTV. As the police set up more and more elaborate plans to catch the strangler, including putting male officers in drag because the department doesn't have enough female officers, the rocker suddenly thinks he might like to choke out a few girls. From here, we get the translated title, Strangler vs Strangler. It slightly reminds me of The Hollywood Strangler Meets The Skid Row Slasher, though SvS is considerably better and intentionally hilarious.There isn't much gore to be found, with the exception of some severed ears. There is some nudity as well, but much less than typical 80's comedies. I watched this online and the subtitles were terrible and quite often seemingly direct translations, which lose the viewer on some local slang, but this also makes the movie funnier.I'd like to see a remastered version on DVD, but don't hold your breath, unless you're being strangled.

Strangler's handling of deadpan, grotesque cruelty and black humour is somewhat similar to the mixture Alex de la Iglesia would perfect in his movies a decade later. The tonal shifts from horror to humour and back again are done well, with only an occasional unevenness, but the film's artificiality (voiceover narration, intertitles, grotesque exaggeration, etc.) may alienate some viewers. Sijan is to be commended for his courage in parodying a genre that has never been too popular with Serbian moviegoers in the first place. Strangler's thematic and stylistic subversiveness was part of the fresh air in Serbian cinema at the time, inspired by the New Wave movement: a wide front of artists and critics based around Belgrade's Student Cultural Center, involved in alternative rock'n'roll, literature, arts and the movies.The picture was shown at the San Francisco International Film Festival in the mid-'80s, and I was surprised to meet an American poet there who could recite memorable lines from Strangler a full twenty years later (some of them in Serbian!). It is a testament to this film's lasting power which, unfortunately, remains limited only to Serbian filmgoers since an English-dubbed DVD is still nowhere in sight.