Tadas Blinda. The Legend is Born A rebirth of Lithuanian commercial cinema

Why has Tadas Blida’s story interested even those who hadn’t step into cinema for decades and used to say that Lithuanian cinema is dead? The secret probably lays in the clear idea and it’s successful realization. The stories about Tadas Blinda has been among people since the mid of 19th century, when one could hear people talking about shameless rustler who was punched to death in the town square. Later by famous Lithuanian writer Rimantas Šavelis developed into rebellious fighter and national hero. The answer for such a great character evolution is the same as for famous legends about Robin Hood or The Count of Monte Cristo. First time that Tadas Blinda was presented on screen was for the TV series in early 70’s. The show became national cult programme and made Tadas Blinda a recognizable icon of anarchy against power who defends simple people. From today’s perspective the series is regarded as closely bonded to national identity.

The brand new version of the story that shown during the PÖFF serves as a prequel to the TV series, while the story concentrates on Tadas Blinda’s youth, before he became a legend. It depicts Lithuania on the threshold of serfdom’s abolishment in the 19th century. Tadas Blinda – a young careless peasant, dawdling around the forests, suddenly has to grow up and lead the rebellion against the intriguers from tsarists army and polish nobility. Eventually the nobility joins Lithuanian side and withdraws the bondage. Tadas Blinda is depicted as a romantic hero lead by passionate patriotism and love for belle Kristina, daughter of the noble landlord.

It is clear that the story appeals to nationalistic feelings since the fight for freedom is still an actual element of Lithuanians identity. But there is much more to say about the ways this film succeeded commercially. It was probably the most effective PR campaign ever done in Lithuania. For three years Lithuanians were drinking bear called Blindos alus and a name of a legendary hero was resurrected in the psyche even of those who didn’t know the story from 70’s TV series. Try to imagine how great it was to hear protagonist proudly saying “Blinda. Tadas Blinda. On” on TV commercials. Press releases and commercials about the film didn’t stop since 2008, when film’s producer, Žilvinas Naujokas, pitched his project at the Lithuanian Ministry of Culture. Later also helped by a pompous premiere, lead by comments of Lithuanian president saying that “this film rises patriotic feelings and love for motherland”, which sounded rather like Lenin’s phrase about cinema as “the most important from all arts”.

In several weeks Tadas Blinda. The Legend is Born broke Avatar’s box office and overtook the most successful Lithuanian movie’s position from last’s year record made by Zero 2 (directed by Emilis Vėlyvis). Coming back to official intentions - to proove that the film industry in Lithuania is neither death nor incapable to make a profit – the film was a success. After the premiere one could hear people talking about the rebirth of Lithuanian cinema. And it probably was a promising step into the rebirth of the commercial cinema in Lithuania.

After the film is off for festivals all around the world, it is pleasant to see, for example, that in PÖFF one of it’s screenings was also sold out. Otherwise, if returning once again to comparison with Hollywood movies, it is difficult to talk about its possibility to succeed worldwide. Tadas Blinda is far from those universal stories that are understandable for everyone. The film will probably be appreciated by Lithuanian emigrants abroad, but this national legend is unlikely to interest world-wide audiences. Even if it’s set design and cinematography are commendably made and Tadas Blinda is performed by Mantas Jankevičius (voted as the sexiest Lithuanian man), the plot of the film is way too weak to become a new Robin Hood and the themes are way too narrow to be interesting for international distributors. This might be called a successful and encouraging emergence of something opposite to poetic Lithuania’s cinema, which is, no need to say, a pleasure just for a narrow circle of gourmets.

By Aistė Račaitytė