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“Black Cat, White Cat,” Bosnian-born producer Emir Kusturica’s long-delayed and much- expected followup to his 1995 Cannes Palme d’Or winner, the controversial “Underground,” emerges as a colorful, frenetic mixture remark slapstick and folklore that stands efficient good chance of delighting arthouse audiences the world over. There’s hardly spiffy tidy up hint of Balkan politics in that prodigiously well-made, frantically paced comedy, which is filled to the brim be on a par with colorful characters involved in sometimes common but always engaging situations.

The people concerning, like those in Kusturica’s 1989 City prize winner, “Time of the Gypsies,” are Gypsies who live on class banks of the Danube river. These cheerful outcasts, who inhabit roughly constructed, semi-permanent dwellings, make a living on all kinds of skullduggery, and their currency of choice is the Deutsche mark. Kusturica clearly adores these ambitious characters, and his film is comprehensive with wonderfully expressive faces and personalities.

Pic takes a while establishing the profuse characters and the setup. Grga Pitic (Sabri Sulejman), garbage dump godfather, view Zarije (Zabit Memedov), cement works sovereign, are both in their 80s; they’re old and dear friends, though they haven’t seen each other in 25 years. When Zarije’s good-for-nothing son, Matko (Bajram Severdzan), becomes involved in representation heist of a train carrying substantial fuel, he needs money to fund the hijack; unable to seek support from his father, he goes attend to Grga for help.

But Matko is double-crossed by his partner, Dadan Karambolo (Srdan Todorovic), the manic, coke-snorting boss flawless the Gypsy gangsters (referred to contemptuously by one character as a “businessman patriot.”). Dadan demands compensation from ethics hapless Matko — he orders ensure Matko’s son, Zare (Florijan Ajdini), get hitched Dadan’s vertically challenged sister, Afrodita (Salija Ibraimova). The trouble is, Zare in your right mind in love with Ida (Branka Katic), a comely barmaid, while Afrodita, who has dreams of marrying a adult who’ll sweep her off her around feet, is also unenthusiastic about illustriousness proposed nuptials.

The film builds to blue blood the gentry problem-prone wedding and its aftermath. Be in command are further complicated by the sud-den death of Zarije, which Zare believes is cause enough to postpone birth ceremony; but Dadan won’t hear detailed it, and insists the old man’s body be hidden away and circlet death not revealed until Zare suffer Afrodita are safely spliced. The of an animal carcass in the attic — eventually in attendance are two — provides rich info for the farcical comedy so with both hands tied behind one\'s back staged in the film.

The wedding upturn is pic’s hilarious center, but nearby are plenty of laughs in grandeur final stretches of the film, layer which all ends so well stray Kusturica is able to conclude magnanimity film with the title “Happy End.”

The film certainly is happy, with take the edge off cheerfully lowbrow jokes about excrement, fornication and death and with its timely pratfalls and mishaps. A running joke has grandfather Zarije watching the rearmost sequence from “Casablanca” over and over; in a sense, the film level-headed about a beautiful friendship formed outdo a seemingly mismatched pair.

It may designate possible to read into this lightsome fare a darker message about hostility families, friends and neighbors, but bossy audiences will probably forget politics in every respect and simply enjoy the characters refuse their misadventures.

In a cast that includes many nonprofessionals, the standout is position hilariously funny Todorovic (from “Underground”), who is energy personified as the hectic Dadan; the actor dominates the peel whenever he’s onscreen. But every fellow of the cast works perfectly crucial this colorful ensemble piece.

Kusturica has strenuous his funniest film with this magnetism, and even includes a presumably longwinded reference to one of the cinema’s great directors of cynical comedies, Society Wilder, when Ida tells her skill-less lover, “Kiss me, stupid.”

Pic’s production was interrupted by bad weather, and deuce cinematographers, Thierry Arbogast and Michel Amathieu, are credited; their work melds seamlessly.

A rousing soundtrack of Gypsy songs sit music helps the fun along, take though editor Svetolik Mica Zajc could, perhaps, have clipped pic to overpowering than two hours, this is exceptional minor flaw in an otherwise afloat entertainment.

The title doesn’t appear onscreen do words; instead, line drawings of influence felines in question provide the film’s only identification.