{"id":61,"date":"2014-01-08T22:35:17","date_gmt":"2014-01-08T22:35:17","guid":{"rendered":"http:\/\/aleksandarpetrovic.org\/english\/?page_id=61"},"modified":"2025-06-17T12:04:58","modified_gmt":"2025-06-17T16:04:58","slug":"the-master-and-margarita","status":"publish","type":"page","link":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/","title":{"rendered":"The Master and Margarita"},"content":{"rendered":"\n

(IL MAESTRO E MARGHERITA) <\/strong><\/h2>\n\n\n\n

Orig. MAJSTOR I MARGARITA<\/strong><\/h2>\n\n\n\n
\"\"\/<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u00ab Any power will always be violence against men. \u00bb<\/i><\/b><\/p>\n\n\n\n

Mikha\u00efl Bulgakov<\/i><\/b><\/p>\n\n\n\n

<\/div>\n\n\n\n
Production company:<\/strong><\/td>Dunav film, Beograd, 1972. <\/b>Euro International Film S.p.A.Rome<\/td><\/tr>
Screenplay<\/b>:<\/td>Based on the novel by Mikha\u00efl Bulgakov. Aleksandar Petrovi\u0107 in collaboration Barbara Alberti, Amedeo Pagani<\/td><\/tr>
Director<\/b>:<\/td>Aleksandar Petrovi\u0107<\/td><\/tr>
Assistant director<\/b>:<\/td>Vladimir Basara, Nikola Lorencin<\/td><\/tr>
Set Desing<\/b>:<\/td>Vlastimir Gavrik<\/td><\/tr>
Cinematography:<\/b><\/td>Nikola Majdak<\/td><\/tr>
Director of photography:<\/strong><\/td>Roberto Gerardi<\/td><\/tr>
Costumes:<\/strong><\/td>Divna Jovanovi\u0107<\/td><\/tr>
Special effects:<\/strong><\/td>Du\u0161an Vukoti\u0107<\/td><\/tr>
Artistic director:<\/strong><\/td>Nikola Raji\u0107<\/td><\/tr>
Production:<\/strong><\/td>Arigo Colombo<\/td><\/tr>
Film editing:<\/strong><\/td>Mihailo Ili\u0107<\/td><\/tr>
Music theme:<\/strong><\/td>Ennio Morricone<\/td><\/tr>
Choice of music:<\/strong><\/td>Aleksandar Petrovi\u0107<\/td><\/tr>
Music:<\/strong><\/td>Bless us Bishop (\u00c9v\u00eaque b\u00e9nit nous)
Cast:<\/strong><\/td>Ugo Tognazzi, Mimsy Farmer, Alain Cuny, Velimir Bata \u017divojinovi\u0107, Pavle Vujisi\u0107, Fabijan \u0160ovagovi\u0107, Ljuba Tadi\u0107, Ta\u0161ko Na\u010di\u0107, Danilo Bata Stojkovi\u0107, Fahro Konjhodzi\u0107, Zlatko Maduni\u0107, Radomir Relji\u0107, Janez Vrhovec, Branka Veselinovi\u0107, Eugen Verber, \u0160andor Medve, Vasa Panteli\u0107, Aleksandar \u0110uri\u0107, Anela Gojkov, Eva Ras, Branislav Jereni\u0107 Branko Ple\u0161a<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Gallery<\/h3>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
\"Le<\/a><\/figure>\n\n\n\n
\"Le<\/a><\/figure>\n\n\n\n
\"Le<\/a><\/figure>\n\n\n\n
\"majstor<\/a><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Excerpts from pressbook:<\/h3>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
<\/div>\n\n\n\n

\"\"<\/a>The Devil in Moscow\u2026<\/figure><\/h3>\n\n\n\n

\u201c<\/i><\/b>Some may believe in the existence of the devil. Others, if they choose to, can say that the Master, Bulgakov and myself had simply dreamed of him. I can<\/i><\/b>\u2019<\/i><\/b>t say what the Master and Bulgakov would have said, for they are both dead, but I am more inclined to believing in the Devil than not.<\/i><\/b>\u201d<\/i><\/b> – A.P.<\/b><\/p>\n\n\n\n

Plot Summary:<\/b><\/p>\n\n\n\n

\u201cA benevolent Mephistopheles\u201d <\/i><\/b><\/p>\n\n\n\n

The plot begins in the most realistic of ways, with an image of snowy Moscow in 1920. A highly reknown writer (so much so that he is called \u201cThe Master\u201d), Nikola\u00ef Maksoudov, attempts to produce a play called Pontius Pilate. Rehearsals begin but the powerful \u201cUnion of Atheist Writers\u201d run by a man named Berlioz delays the premiere in the hopes that Maksoudov will give up his play. It is already inconceivable in the eyes of these materialists that the hero of this play is a person who, in their view, has never existed: Christ. It is even more intolerable that he says things like: \u201cAll power will always be a form of violence against mankind. The time will come when there will be no power, not from Caesar or any other.\u201d This is an audacious thing to say during Stalinism.<\/p>\n\n\n\n

Little by little, Maksoudov is abandoned by everyone he knows, publicly berated by other writers, chased out of his modest home and finally admitted into a facility for dementia. At the same time, two things come to his rescue: the first, clearly human, in the form of a young woman named Margarita, the wife of a police officer, who compassionately understands the man and accepts to compromise herself and her reputation; the second is a much more mysterious being, an extremely effective and shameless professor of dark magic called Woland who is always accompanied by a large black cat and two acolytes who are half hobo, half crooks. In the spirit of Bulgakov and Petrovic as well, this professor Woland is none other than the devil himself. Though he has been an enemy of Jesus for much longer than Leninist Marxists, Beelzebub would not stand the doubt that Christ existed. For that would deny the existence of the devil as well. Woland-Satan has therefore decided to \u201cChristianize\u201d Moscow, not by religious fervor as we can imagine, but because materialism disgusts him. He attends the rehearsals of Pontius Pilate and comments such things as: \u201cThe set design is perfect but Pilate didn\u2019t quite have that voice.\u201d Then, when things start to look up for Maksoudov, he begins playing tricks on the Stalinists, going so far as to throw Berlioz under the wheels of a tram after having allowed himself the luxury of predicting his death to him.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Finally, on the day when Pontius Pilate was supposed to premiere, he takes the miserable Maksoudov to the theater (for real or in his imagination?) after having ridiculed the materialistic henchmen in the theater. A few hours later, Maksoudov dies. Woland tells him: \u201cJesus said, \u201cIt\u2019s a shame that your play wasn\u2019t finished. You will not know the light, but you will know peace.\u2019\u201d<\/p>\n\n\n\n

<\/figure><\/p>\n\n\n\n

Awards, honors, festivals:<\/h3>\n\n\n\n
\n
    \n
  • Film review, Banja Kovilja\u010da, Serbia 2016<\/li>\n
  • International Film Festival Cinema City, Novi Sad, 2009- Homage to the national author Aleksandar Sacha Petrovi\u0107<\/li>\n
  • Festival l\u2019Europe around Europe Festival, Freedom and dependence, Paris, March 2010<\/li>\n
  • Serbian film Festival, Paris-Normandie, 2006<\/li>\n
  • Documentary Film Festival of Rennes (Programme sp\u00e9cial) November 17- 22, 1992<\/li>\n
  • 9 th Istanbul International Film Festival, (Yugoslav Films program), 1990<\/li>\n
  • Georges Pompidou Center, Paris, Yugoslav Cinema, 1986<\/li>\n
  • Grand Prix Cin\u00e9ma 73-74 “ELLE”.<\/strong><\/li>\n
  • Art films in Pau, France, June 1974: GRAND MEDAL  \u00ab EDELWEISS D\u2019ARGENT\u00bb<\/b> de la Ville de PAU, GRAND SILVER MEDAL Henri IV<\/b> de la Ville de PAU<\/li>\n
  • Meeting with cinema Ni\u0161, Yugoslavia 1973: GRAND PRIX for Best Movie<\/li>\n
  • Mini Festival in Rouen, France, october 1973<\/li>\n
  • Vienna International Film Festival 1973- selection for Best movies of the year:  VIENNALE PRIZE<\/b><\/li>\n
  • 26th Cannes Film Festival, 1973 (not in competition)<\/li>\n
  • Best movie of the year 1972 (poll of the Yugoslav audience)<\/b><\/li>\n
  • Los Angeles International Film Festival, November 1972<\/li>\n
  • International film Festival in Denia, Spain: November 18-26, 1972<\/li>\n
  • International film Festival in Carthage, Tunisia, Sept 30-Oct 10,1972<\/li>\n
  • 8th Chicago International Film Festival November 3-23, 1972: HUGO D\u2019ARGENT <\/b>(for the screen adaptation and the visual transposition of Bulgakov\u2019s theme and for Alain Cuny\u2019s performance as Satan).<\/li>\n
  • 33rd Venice Film Festival 1972:<\/li>\n
  • LEONE D’ARGENTO <\/b>(Silver Lion)<\/li>\n
  • PRIX CIDALC <\/b>for best on-screen adaptation of literary work PLACA D\u2019ORO SAN MARCO<\/b><\/li>\n
  • 20th Pula Film Festival (Yugoslavia), 1972:<\/li>\n<\/ul>\n

    GRAND PRIX<\/b> (Golden Arena) for Best Film<\/p>\n

    GRAND PRIX<\/b> (Golden Arena) for Best Film<\/p>\n

    GRAND PRIX<\/b> GOLDEN DOOR (zlatna vrata Pule) for Best Film,<\/p>\n

    GRAND PRIX<\/b> (Golden Arena) for Best Set design<\/p>\n

    GRAND PRIX<\/b> (Golden Arena) for Best Actor<\/p>\n<\/td>

\"\"<\/a><\/figure>
\"\"<\/a><\/figure><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Press Excerpts:

\u201cThe Master and Margarita, <\/b>the epic novel by the Russian author Mikhail Bulgakov, is such a considerable and large work that it defies any cinematic adaptation, even Fellini refused\u2026 A must see. Crazy and sublime.<\/i>\u201d<\/b> LA CROIX<\/p>

\u201c \u2018\u2026When tyranny strangles the Holy Spirit, Satan is in charge in the meantime\u2026\u2019 <\/b><\/p>

Saints and cathedrals, the golden bulbs and wooden isbas, the snow: we are in Moscow. From the starting credits, Aleksandar Petrovic foreshadows for us: its religious Moscow, spiritual Moscow\u2026. It\u2019s believing in the devil. What am I saying? The belief itself is the devil. Petrovic, on Bulgakov\u2019s heals, sneaks him onto the stoup of soviet paradise. This beautiful devil, reactionary and anti-establishment, engineers a way to act as a bad devil in the eyes of the authorities. Petrovic, who earlier even met happy Gypsies, shows us today that he even met a much active devil.<\/i><\/p>

Active as are all devils: so is black magic. Disappearances, apparitions, diabolic omnipresence, divination, power over objects\u2026 All of this brought together with a joking malice that is perfectly described by the word \u201csardonic\u201d. Petrovic tries to show this magic and malice with a maliciously magic production. <\/i><\/p>

\u2026 It\u2019s all very merry. The sequences that show us the evening of black magic hosted by Satan on the official stage give us an overwhelming buffoonery of beneficial jubilation. But don\u2019t be fooled by this grotesque humor and naive illusion. It dresses, without going so far as to being a costume, a political pamphlet of bitter vehemence. Who accurately designates its scapegoats? The blind and imbecile tools of intellectual tyranny; \u00a0the civil servants of the official thinking, of the dominant ideology as we must say today, when this thought and ideology are too shaky to authorize questioning and to allow freedom of expression. Petrovic puts the finishing touches on the puppet caricatures of failed writers and hypocritical critics under the Party\u2019s thumb. We cheer for the devil when he dresses up as an officer to badly beat them.<\/i><\/p>

\u2026 We see where this tragicomic farce is in the debate: very high, because it shows the relationship between freedom, creativity and the force of the State, meaning, the rapport between power and spirit.<\/i><\/p>

\u2026 Bulgakov, Petrovic, the Master and his Margarita are all devilish enough to disqualify dogmatism, never more deadly than when it is in power.\u201d Jean Louis BORY, <\/i>LE NOUVEL OBSERVATEUR<\/p>

\u201cThe admirable novel by Bulgakov had in its complexity the ability to discourage any adaptation. Petrovic was able to maintain the right amount of political satire, eccentric humor and magic that make The Master and Margarita so original\u2026<\/i><\/p>

\u2026 The Master and Margarita is the novel of Russian writer Bulgakov, one of the key literary oeuvres of the 20th century. But this novel was only published in 1966: 26 years since Bulgakov\u2019s death!<\/i><\/p>

\u2026 It is a work steeped in the depths of despair. That is where its\u2019 quivering gravity and overwhelming sensibility come from.<\/i><\/p>

And finally a filmmaker is interested in this novel: his name is Aleksandar Petrovic. He has many successes before this one, including but not limited to I Even Met Happy Gypsies. He\u2019s the without question the leader of Yugoslavian cinema. He successfully adapts The Master and Margarita. He presents the film at the Pula Film Festival, an annual Yugoslavian competition, and wins all the major prizes. The reviews are enthusiastic. And then, suddenly, the film disappears. Banned? By whom? Not a single nation can say that it hasn\u2019t, at one point in time, lost itself in the fight for freedom.<\/i><\/p>

Did Petrovic predict this? Is this what drove him to make such an impossible film? His success is therefore tenfold: an insatiable passion to make good films become great films.\u201d<\/i><\/i> Pierre<\/i> Billard,<\/i> LE JOURNAL DU DIMANCHE<\/p>

\u201cAll the devils of hell<\/i>\u2026 The piece is baroque, inspired, exemplary\u2026 We feel the winds of imagination, it screams its present relevance\u2026\u201d – R. Benayoun<\/b>, LE POINT<\/p>

\u201cA film worthy to be covered in flowers\u2026\u201d<\/i><\/b><\/p>

\u201cAttempting to adapt a novel as dense as this to the screen is difficult beyond belief. Aleksandar Petrovic succeeds brilliantly. Mixing the daily with the supernatural is not an easy task, but he makes it seem like a fish in water.<\/i><\/p>

\u2026 Petrovic\u2019s film exists. It is both here and otherworldly. Tough, strong, filled with mastery, clarity, irony and tenderness. It is a rare beauty and strong testimony, as much as it is an accusation.<\/i><\/p>

\u2026 A high-class film worthy of the novel that it is inspired from.\u201d<\/i><\/b> – Michel Duran<\/i> CANARD ENCHAIN\u00c9<\/p>

\u201cPower and the Devil. Bulgakov directed by Petrovic: a masterpiece. That the Yugoslavs will not get to see.\u201d<\/i><\/b><\/p>

\u201cThe meeting of two forcefully creative personalities, even decades apart, is always fascinating.<\/i><\/p>

\u2026 Massive and debonair, moved by the kindness of its gaze, this born Parisian (1929) seduces with his modesty, melancholic humor and the heights of his visions.<\/i><\/p>

\u2026 Today, he is a famous and recognized filmmaker in his country, sent to festivals where he wins\u2026 but his films are still not allowed to be publicly released. The Master and Margarita is not technically forbidden, but is not screened.<\/i><\/p>

Lyricism and magic. The film has the tranquil gravity of a masterpiece. It \u201cexists\u201d with such force that a logical analysis seems ridiculous. It is both a detailed, realistic, historical recalling of Moscow in the 1920s and a fairytale haunted by the Devil, his black cat and his henchmen. The way that Petrovic blends the real and surreal, satire and tragedy, humor and horror, is a marvel. All these elements follow each other from one sequence to another without a sense of continuity, and end up simply existing at the same time, merging in a poignant lyricism. The same magic animates the metamorphoses and games of the three principal actors; Ugo Tognazzi (the Master), Mimsy Farmer (Margarita) and Alain Cuny (the Devil).<\/i><\/p>

The Master and Margarita is a film that needs to be seen and seen again. They say \u201cAny power will always be violence against men.\u201d If this hopeless statement is true, will we never be done questioning ourselves?\u201d – Jacques Doniol-Valcroze,<\/i> L\u2019EXPRESS<\/p>

\u201cIt\u2019s the same Moscow of the 1920s where Bulgakov lived the same sinister experience as his hero Maksoudov, for, let us not forget, that this genius writer was condemned by the Stalinist government to be neither read nor performed while he was alive. Maksoudov\u2019s death in an insane asylum foreshadows the death of other rebellious intellectuals in other asylums where they were locked up to this time, paradoxically, let their insanity soothe their spirit.\u201d L\u2019AURORE<\/p>

\u201cOne of the most beautiful films that we have ever seen at Cannes\u2026\u201d <\/b>L\u2019EXPRESS<\/p>

\u201c\u2026 and it is very hard to play on these two levels: a film that is both supernatural and accusatory. It is very hard, but here, it is done.<\/i><\/p>

\u201cA must see.\u201d <\/i><\/b>Pierre Bouteiller\u2019s magazine RADIO FRANCE CULTURE<\/p>

\u201cA delicious piece of ironic comedy.\u201d<\/i><\/b> HERALD TRIBUNE INTERNATIONAL<\/p>

\u201cThe Master and Margarita is exceptionally beautiful\u2026\u201d<\/i><\/b> DIE PRESS<\/p>

\u201c\u2026 A major film\u201d <\/i><\/b>DIE WELT<\/p>

\u201c\u2026 The most curious film of the year.\u201d <\/i><\/b>TIMES<\/p>

\u201cA masterpiece\u201d <\/i><\/b>DIE TAT (ZURICH)<\/p>

\u201cA masterpiece\u201d <\/i><\/b>TV-RADIO ZEITUNG<\/p>

\u201cA masterpiece\u201d <\/i><\/b>LUZERNER NACHRICHTEN<\/p>
<\/h3>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

<\/figure><\/h3>\n\n\n\n

Aleksandar Petrovic about The Master and Margarita<\/h3>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n

Even the most complicated things can be said simply and comprehensively. It wasn\u2019t easy with the film The Master and Margarita.
It was particularly difficult to translate the characters of the Devil and his assistants; scenes that happened in the world of the fantastic were no easier as their attitudes, the costumes and the decor had to be from the real world.
I think it\u2019s important for me to say that at certain points throughout the film I literally transposed the original text of Bulgakov\u2019s novel.<\/p>\n\n\n\n

\u201cI obviously knew that I could not adapt every single plot point nor recreate all of the sorcery of the novel. I even decided to completely leave out the references to the Passion of Christ that show up in the novel as a counter- plot. Realistically, in The Master and Margarita, there is enough material for numerous films; I could only make one. And I had to adapt Beelzebub sometimes turns into a gigantic cat and it was out of the question for me to use a stuffed animal cat.
On this level, literature has more freedom to be a lot more imaginative than cinema. That is also why I chose a single scene to show the hellish
provocation whereas Bulgakov has many. I chose the night when the Devil
showers the audience of a theater with money and fashionable clothes just to turn back around and let the audience members go in the streets entirely naked. Cinema is a concrete art. It was hard for me to go farther in the irrational.\u201d<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

\u2026 a few words on the ending of the film: the Master is sent to a mental
hospital. In a way, that is completely logical because he claims he saw the
Devil. But we saw the Devil ourselves in the film and therefore know that he exists. And we can continue to believe that until the film ends.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

At the end, after the Master has already been freed from the asylum from
the Devil, we find him yet again in a hospital room. This time, he\u2019s dead.
The Devil, with all his infernal tricks, is he not just a product of the Master\u2019s imagination? Or has everything that has transpired truly transpired and the Master\u2019s death is just another trick? We don\u2019t know the answer.
Some may believe in the existence of the devil. Others, if they choose to,
can say that the Master, Bulgakov and myself had simply dreamed of him. I can\u2019t say what the Master and Bulgakov would have said, for they are both dead, but I am more inclined to believing in the Devil than not.\u201d Aleksandar Petrovic<\/p>\n","protected":false},"excerpt":{"rendered":"

(IL MAESTRO E MARGHERITA) Orig. MAJSTOR I MARGARITA \u00ab Any power will always be violence against men. \u00bb Mikha\u00efl Bulgakov Production company: Dunav film, Beograd, 1972. Euro International Film S.p.A.Rome Screenplay: Based on the novel by Mikha\u00efl Bulgakov. Aleksandar Petrovi\u0107 in collaboration Barbara Alberti, Amedeo Pagani Director: Aleksandar Petrovi\u0107 Assistant director: Vladimir Basara, Nikola Lorencin Set […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":43,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-61","page","type-page","status-publish","hentry"],"yoast_head":"\nThe Master and Margarita - Aleksandar Petrovic<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Master and Margarita - Aleksandar Petrovic\" \/>\n<meta property=\"og:description\" content=\"(IL MAESTRO E MARGHERITA) Orig. MAJSTOR I MARGARITA \u00ab Any power will always be violence against men. \u00bb Mikha\u00efl Bulgakov Production company: Dunav film, Beograd, 1972. Euro International Film S.p.A.Rome Screenplay: Based on the novel by Mikha\u00efl Bulgakov. Aleksandar Petrovi\u0107 in collaboration Barbara Alberti, Amedeo Pagani Director: Aleksandar Petrovi\u0107 Assistant director: Vladimir Basara, Nikola Lorencin Set […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/\" \/>\n<meta property=\"og:site_name\" content=\"Aleksandar Petrovic\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-17T16:04:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"23 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/\",\"url\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/\",\"name\":\"The Master and Margarita - Aleksandar Petrovic\",\"isPartOf\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png\",\"datePublished\":\"2014-01-08T22:35:17+00:00\",\"dateModified\":\"2025-06-17T16:04:58+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage\",\"url\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png\",\"contentUrl\":\"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/aleksandarpetrovic.org\/fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Filmography\",\"item\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Feature films\",\"item\":\"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"The Master and Margarita\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/aleksandarpetrovic.org\/#website\",\"url\":\"https:\/\/aleksandarpetrovic.org\/\",\"name\":\"Aleksandar Petrovic\",\"description\":\"Film Director (Official Website)\\n\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/aleksandarpetrovic.org\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Master and Margarita - Aleksandar Petrovic","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/","og_locale":"en_US","og_type":"article","og_title":"The Master and Margarita - Aleksandar Petrovic","og_description":"(IL MAESTRO E MARGHERITA) Orig. MAJSTOR I MARGARITA \u00ab Any power will always be violence against men. \u00bb Mikha\u00efl Bulgakov Production company: Dunav film, Beograd, 1972. Euro International Film S.p.A.Rome Screenplay: Based on the novel by Mikha\u00efl Bulgakov. Aleksandar Petrovi\u0107 in collaboration Barbara Alberti, Amedeo Pagani Director: Aleksandar Petrovi\u0107 Assistant director: Vladimir Basara, Nikola Lorencin Set […]","og_url":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/","og_site_name":"Aleksandar Petrovic","article_modified_time":"2025-06-17T16:04:58+00:00","og_image":[{"url":"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png","type":"","width":"","height":""}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"23 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/","url":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/","name":"The Master and Margarita - Aleksandar Petrovic","isPartOf":{"@id":"https:\/\/aleksandarpetrovic.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage"},"image":{"@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage"},"thumbnailUrl":"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png","datePublished":"2014-01-08T22:35:17+00:00","dateModified":"2025-06-17T16:04:58+00:00","breadcrumb":{"@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#primaryimage","url":"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png","contentUrl":"https:\/\/aleksandarpetrovic.org\/wp-content\/uploads\/2013\/03\/Le-maitre-et-marguerite-219x300.png"},{"@type":"BreadcrumbList","@id":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/the-master-and-margarita\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/aleksandarpetrovic.org\/fr\/"},{"@type":"ListItem","position":2,"name":"Filmography","item":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/"},{"@type":"ListItem","position":3,"name":"Feature films","item":"https:\/\/aleksandarpetrovic.org\/en\/filmography\/feature-films\/"},{"@type":"ListItem","position":4,"name":"The Master and Margarita"}]},{"@type":"WebSite","@id":"https:\/\/aleksandarpetrovic.org\/#website","url":"https:\/\/aleksandarpetrovic.org\/","name":"Aleksandar Petrovic","description":"Film Director (Official Website)\n","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/aleksandarpetrovic.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/pages\/61","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/comments?post=61"}],"version-history":[{"count":7,"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/pages\/61\/revisions"}],"predecessor-version":[{"id":5038,"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/pages\/61\/revisions\/5038"}],"up":[{"embeddable":true,"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/pages\/43"}],"wp:attachment":[{"href":"https:\/\/aleksandarpetrovic.org\/en\/wp-json\/wp\/v2\/media?parent=61"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}