недеља, 24. март 2024.

WEIRD TALES: 100 godina magazina!

(c) Rue Morgue

2023. godine obeležen je pun vek od izlaska prvog broja najvažnijeg horor magazina koji je ikada postojao, i u kojem su svoja glavna dela objavili neki od najznačajnijih horor pisaca tog doba, kao što su Lavkraft, Klark Ešton Smit, Robert E. Hauard i mnogi drugi.

Jedan od načina na koji je to bilo obeleženo jeste i veliki temat o tom jubileju, u najboljem svetskom horor magazinu, RUE MORGUE (br. 210, Jan-Feb. 2023). Njega sam sam ja priredio, osmislio i napisao – uz pomoć nekih velikih horor imena koja sam tim povodom intervjuisao.

Konkretno, u ta tri međusobno povezana članka mogli ste, vi koji redovno pratite RUE MORGUE, pročitati odgovore na moja pitanja od strane takvih majstora kao što su teoretičari i experti, S. T. Joshi (The Weird Tale, The Modern Weird Tale) i Bobby Derie (Weird Talers: Essays on Robert E. Howard and Others, Sex and the Cthulhu Mythos), i dva vrhunska današnja pisca u čijim je delima očigledan dug pričama iz Weird Tales, a to su: Ramsey Campbell & Laird Barron.

(c) Rue Morgue

Pored njih, za mene govori i Darrell Schweitzer, istaknuti urednik koji je priredio monumentalnu antologiju The Best of Weird Tales, vol. 1, na 700 strana, za Centipede Press (bila je najavljena za početak prošle godine, ali se do danas još nije pojavila).

I zašto vam sad ja sve ovo pričam, kad je to bilo još pre godinu dana i kad ste svi vi to odavno lepo pročitali?

Pa, evo, ima i novi momenat: nominovan sam za nagradu RONDO HATTON (iliti 22nd ANNUAL RONDO HATTON CLASSIC HORROR AWARDS!), upravo za ovaj tročlanak. A ako glasate za mene, možda i ove godine dobijem tu nagradu – kao što sam je već jednom dobio, prošle godine, takođe za članak o strogodišnjem jubileju (povodom filma HAXAN, 1922-2022). Da vas podsetim, sve o tome imate OVDE.

ŠTA? NISTE ČITALI TE MOJE ČLANKE o Weird Tales?

Bez sekiracije, evo, okačiću ih ispod, da ne biste glasali naslepo, na neviđeno, na poverenje, nego da glasate znajući pouzdano zašto i za koga glasate!

Dakle, slobodno pročitajte članke ISPOD, a zatim obavezno GLASAJTE!

KAKO?

MNOGO LAKO!

Kliknite na OVAJ LINK, i tu ćete naći spisak nominacija.

Sa tog spiska ODABERITE za šta ćete glasati (uopšte ne morate glasati u svim kategorijama, možete npr. i samo u 2-3, ili 5-6, od ponuđenih preko 20).

To što odaberete, prema tamo datim uputstvima, pošaljite na mejl koji imate tamo. Za sve to neće vam trebati više od 5 minuta – a možete, tom jednostavnom akcijom, pomoći da i ove godine RONDO dođe u Srbiju! Ovu nagradu izglasavaju fanovi horora: ako takvih ima ovde, sada – šta čekate? Glasajte! Ovo su možda jedini pošteni izbori na kojima ćete moći da glasate ove godine!

(P.S. Mada, u teoriji, možete da glasate i samo za mene, savetujem da to ipak ne činite. Mora da vam se barem neki film ili serija od ponuđenih sviđaju… Glasajte za RUE MORGUE magazin gde god ga vidite – još nekoliko autora otuda nominovano je za Ronda.)

Dakle, kad pročitate ovo moje, ispod, ako vam se svidelo, idite ovde i glasajte: https://rondoaward.com/rondoaward.com/blog/

Krajnji rok za glasanje je 16. april, ali nemoj da ste toliki Srbi da čekate zadnji dan: zaboravićete! Idite i glasajte SADA.

A evo i zašto. 

 

WEIRD TALES, the influential magazine of horror fiction that gave birth to the literary careers of H.P. LOVECRAFT, ROBERT E. HOWARD, RAY BRADBURY and others, celebrates a centenary.

RUE MORGUE sits down with authors RAMSEY CAMPBELL and LAIRD BARRON and scholars S.T. JOSHI and BOBBY DERIE to look back at…

 

100 WEIRD YEARS

 

(c) Rue Morgue, Dejan Ognjanović


(c) Rue Morgue

 

When the first issue of Weird Tales appeared on stands, in late February of 1923 (dated March), it was truly, as its subtitle claimed, “The Unique Magazine”. Few other publications at the time would consider more than a hint of the supernatural. Detective stories thrived, as did westerns, adventure yarns and science fiction, yet horror was the pulp magazines’ red-headed stepchild. Then J.C. Henneberger, the creator of this magazine, saw a niche and made it his own.

 

It was not just “The Big Three” – H. P. Lovecraft, Clark Ashton Smith and Robert E. Howard – for whom Weird Tales was the major outlet: anyone writing weirdness who mattered, or was about to matter, was published there, from genre stalwarts like Frank Belknap Long and Henry Kuttner through young Robert Bloch and Ray Bradbury to odd surprises, like Tennessee Williams and Val Lewton.

(c) Rue Morgue

 

Lovecraft declined the offer to edit Weird Tales in early 1924 because he was married and reluctant to move to Chicago, where the office was based. Farnsworth Wright undertook editorship, heralding the stellar years (1924-1940) and making WT the major horror publication for decades. Being a trailblazer is no easy feat, but the magazine survived various hardships, debts, The Great Depression, even the Second World War, before it folded, after 279 issues, in 1954.

 

Weird Tales came after the “Golden Age of the Weird Tale” (Machen, M.R. James, Blackwood) and before the birth of the modern horror in the 1950s (Bradbury, Richard Matheson). The 1924 editorial titled “Why Weird Tales?” claimed that their main endeavour was “to find and publish those stories that will make their writers immortal.” From the distance of a full century we can safely confirm that this aim was achieved.

(c) Rue Morgue

 

The Weird Tales legacy is palpable, and we summoned several authors and experts to discuss this magazine’s importance – and afterlife. We are honoured to have input from leading scholars, S. T. Joshi (The Weird Tale, The Modern Weird Tale) and Bobby Derie (Weird Talers: Essays on Robert E. Howard and Others, Sex and the Cthulhu Mythos), and two living legends whose fiction is indebted to the Weird Tales: Ramsey Campbell and Laird Barron.

 

Rue Morgue: Weird Tales magazine has been associated with “pulp”, which was synonymous with bad writing. Was that really the case? How many of its stories can be defended and read today? 

(c) Rue Morgue

 

Bobby Derie: There was a lot of terrible, hackneyed writing in the pulps—perhaps the bulk of it—but that made the really good writing stand out all the better. Many great writers got their start in the pulps, including Tennessee Williams, Dashiell Hammett, Raymond Chandler, Robert Bloch, and Ray Bradbury. I wouldn’t defend any of them, because that would suggest they were wrong: good or bad, they were stories of a particular market and time, and should be read as such.

 

Ramsey Campbell: In our own field, the likes of Lovecraft and Clark Ashton Smith demanded a high degree of literacy from their readers (or at the very least access to a good dictionary), and we may note how many letters in the letter columns enthused about them. Robert E. Howard was less of a stylist but brought enormous vigour to his best work. There certainly is bad pulp – fiction where the author’s imagination fell short of engagement or was perhaps incapable of it, producing under-motivated characters and stock situations devoid of life, not to mention prose infested with clichés in which (to quote my old and much-missed friend Peter Straub) nothing is ever really seen or felt—but I think it fair to say that Weird Tales gradually left this sort of thing behind in the main, as the magazine and its best contributors attracted writers of comparable worth.

(c) Rue Morgue

 

Laird Barron: I’m a staunch advocate of Sturgeon’s Law: Ninety-percent of everything is terrible regardless of literary niche. Not difficult to proceed to a conclusion that a majority of pulp wasn’t terrific. Nonetheless, while it’s true that “pulp” is often used as a blanket pejorative, I prefer to think of it simply as shorthand for a particular mode of narrative. Pulp is colourful, action-oriented, and favours broad strokes in regard to characterization. I adore its primal, bombastic elements. Pulp was designed to be eminently readable. That element shines through the dust and clutter of archaic style.

 

 

R.M. Who are the great Weird Tales authors, or single first-rate stories, worth digging up from obscurity?

 

Bobby Derie: There were always more single good stories in Weird Tales than there were authors; while the individual authors would rarely make a best-of list, Edmond Hamilton’s “The Monster-God of Marmurth,” Everil Worrell’s “The Canal,” and Arthur J. Burks’ “The Bells of Oceana” are among the best things WT ever published. C. L. Moore and E. Hoffmann Price had relatively few stories in Weird Tales, but those stories are exceptional.

 

Laird Barron: Manley Wade Wellman, August Derleth, Robert Bloch. There are others, but I like the symmetry—blow-for-blow, this latter trinity had its moments and lives on in the annals of the genre.

 

S. T. Joshi: Lovecraft himself identified several authors or stories that deserve commendation: Everil Worrell’s “The Canal” (December 1927), the stories of Henry S. Whitehead, etc. Robert Barbour Johnson’s “Far Below” (June/July 1939) appeared just after Lovecraft’s death. It is one of the most powerful and artistically fashioned weird tales of that era. Even such a prototypical pulp hack as Anthony M. Rud produced a splendid specimen, “Ooze,” published in the first issue of Weird Tales (March 1923).

 

Ramsey Campbell: C. L. Moore was a remarkable fantasist whose work embraced the atmospheric weird (her Jirel tales) as well as alien eroticism (“Shambleau”) and a Lovecraftian sense of other worlds in the Northwest Smith tales generally. Her husband Henry Kuttner started out Lovecraftian (the tersely gruesome “Graveyard Rats”) but soon became his enviably innovative self. The pre-war work of Frank Belknap Long is uneven but often showed real inspiration, not least in “The Space-Eaters”. August Derleth’s best weird work is in the ghostly tale—he generally fell short of the cosmic, a peak his one-time friend and fellow contributor Donald Wandrei often scaled—and Weird Tales published most of his finest. Mary Elizabeth Counselman was an inventive writer whose “Three Marked Pennies” is a classic conte cruel. Everil Worrell could be excellent—“The Canal” is a powerfully atmospheric vampire tale, and “The Hollow Moon” borders on the surreal. Carl Jacobi and Joseph Payne Brennan often displayed real imaginative power and originality. Manly Wade Wellman drew on or invented folk traditions to add authenticity to his strange tales. Margaret St. Clair and Leah Bodine Drake both made memorable contributions to the last years of the magazine, “Brenda” (St. Clair) and “Mop-Head” (Drake) in particular. Let’s not forget fine infrequent contributors such as Robert Barbour Johnson (“Far Below”) and P. Schuyler Miller (“Spawn” and “Ship in a Bottle”).

 

R.M. What was the greatest contribution of Weird Tales magazine to the evolution of horror literature?

 

S. T. Joshi: Given that Weird Tales was, at the time of its initial publication, the only magazine to focus on the weird and the supernatural, it provided a valuable outlet for authors whose work would have been difficult to place elsewhere. Mainstream magazines in the US and UK, influenced by the literary “Modernists”, scorned weird fiction as unrealistic and escapist fiction. Even other pulp magazines rarely published weird fiction. Weird Tales had few rivals during its long run, so it became the “go-to” venue for weird writers of all stripes.

 

Ramsey Campbell: I believe it was a crucial link between the classic and modern period. Lovecraft developed and codified a new approach to the uncanny, merging it with science fiction, an approach we may see echoed in work such as I Am Legend. Writers like Fredric Brown (“Come and Go Mad”) and Robert Bloch (his work from the late forties onwards) helped bring the prose of our field up to date and applied modern psychological insights to their fiction. Fritz Leiber mostly carried on such work over at Campbell’s Unknown magazine, but contributed to the forward movement of the field in Weird Tales too (“The Hound”, for instance). As for Matheson and Bradbury, both had roots in the magazine. I’d argue that a significant amount of modern horror derives from the magazine or indeed was published there.

 

Bobby Derie: Weird Tales (1923-1954) trained a generation of weird fiction writers, and raised at least two generations of weird fiction readers. It gave fantasy and horror a market almost through the entire pulp era, and provided the raw material for the popular horror anthologies which were drawing from the contents of WT. The fans that wrote to Lovecraft and Howard in the ‘30s like Donald A. Wollheim and James Blish became editors and publishers in the ‘40s and ‘50s.

 

Laird Barron: Oxygen. Pure, life-giving oxygen. It’s easy to get tangled up in literary movements, or to speak of particular authors as saviours, but lacking a platform, writers are shouting into a void. Weird Tales provided a foundation, walls, and a ceiling for horror, fantasy, and weird fiction to flourish and to mutate into new forms.

We can’t overlook the importance of influence. Those who arrived later, the early modern writers, surely took sustenance from the works and authors supported by WT and similar magazines. Any artist worth their salt seeks to build upon and renovate tradition. I behold shades of Clark and Howard when I crack Karl Edward Wagner’s Kane stories, or Leiber’s Swords and Deviltry. Lovecraft may be enjoying a moment too. Short fiction is a devalued currency in the contemporary marketplace. That it survives even in a diminished state is directly attributable to Weird Tales, Amazing Stories, The Magazine of Fantasy & Science Fiction, et al.

 

R.M. Are the Weird Tales type of stories entirely a thing of the past?

 

Ramsey Campbell: These stories were part of a developing tradition, just as today’s stories are. Cosmic horror, for example, is surely here to stay as long as writers feel inspired to reach for it, and sword and sorcery hasn’t gone away. Good fiction doesn’t, and I hope imagination never does.

 

Bobby Derie: There will always be weird tales, and always people hungry for something different. The stories we remember from Weird Tales generally aren’t the prosaic cave-man stories or weird crimes, they’re the strangest, the most original, brilliantly imaginative, and outside-the-box. Readers wanted something different, and Weird Tales delivered that.

 

Laird Barron: Fragmentation of the written word and cinema means some categories currently assumed dead might simply be dreaming. Weird Tales has reincarnated at least three times during my lifetime—helmed by Scithers and Schweitzer; then Ann VanderMeer; and lately, Jonathan Maberry. I note there were publication gaps between these iterations. The ebb and flow of weird fiction, space opera, and sword and sorcery charts to other venues as well. There’s something to the notion that this genre recedes, but the tide inevitably comes in again.

 

S. T. Joshi: I do not think it is possible for writers today to write a “Weird Tales story” except as an exercise in nostalgia. Such a story—featuring generally wooden characters, stereotyped scenarios, and a relatively simple and straightforward prose style—would have little resonance today, where readers have far different expectations for weird literature. That said, some elements of the Weird Tales style may still be viable: the focus on the weird phenomenon itself rather than on the human characters in the story; a narrative drive that carries the story on from beginning to end; and a prose idiom that does not dwell excessively on the characters’ fluctuating mental states. So some of the lessons of Weird Tales writing can still be learned, if properly adapted to today’s very different intellectual and social climate.

 

*

 

Is there a better way to celebrate a century of Weird Tales than with a huge selection of their best stories? Behold three such anthologies!

 

WEIRD VOLUMES

 

(c) Rue Morgue, Dejan Ognjanović

 

In early 2023 Centipede Press, famous for their luxury special editions of horror classics, publishes a monumental 700-pages anthology The Best of Weird Tales, vol. 1. It is edited by Darrell Schweitzer, writer, editor, and critic who co-edited Weird Tales’ new incarnation (1988 – 2007), which earned him and his editorial colleagues the 1992 World Fantasy Award.

 

Centipede will publish three volumes in total, devoted to 1920s, 1930s, and one for the 1940s and 1950s. Schweitzer is also collaborating with John Betancourt, another ex-WT editor and effectively the founder of the revived Weird Tales, on a series of anthologies by the year: The Best of Weird Tales:1924 is in progress at Wildside Press now. In his selection of stories, Schweitzer is aiming to strike a balance between the historically essential and those that many readers may not have seen: 

 

“Of course a representative WT anthology must have a Lovecraft story in it, but they are widely available. I chose “The Outsider” because it is extremely famous and short. There would not be much point in reprinting a longer story such as “The Call of Cthulhu” one more time when those pages could be used for less familiar material. For example, I am reprinting the original novelette of “The Werewolf of Ponkert” by H. Warner Munn, which hasn’t been seen much lately.”

 

One other criterion, alas, is avoidance of overt racism which was taken for granted in the 1920s, e.g. Arthur J. Burks’s series of stories set in Haiti, popular in the day, are not reprintable now.

 

“Literary value of course matters”, Schweitzer adds. “Not all the stories in WT were exactly sterling masterpieces. I would define WT’s standards thus: It did not always insist on good writing but it would allow good writing. Most pulp magazines didn’t. They wanted strictly formula writing in a uniform, jaunty style.”

 

Digging through the dusty old issues certainly brought some surprising discoveries, but the biggest re-evaluation concerns his increased respect for Farnsworth Wright, the editor who made the magazine immortal.

 

“The Edwin Baird issues [from 1923] are pretty bad,” Schweitzer admits. “But the quality of the magazine goes up sharply once Wright took over [in 1924]. He was an energetic and imaginative editor, who didn’t just take what came in the mail, but reached out and got stories by prominent and often foreign writers, such as Gaston Leroux, author of The Phantom of the Opera, and E. F. Benson, an important British ghost story writer. He also got a story by Algernon Blackwood, and even one by Max Brod, Kafka’s literary executor. His WT was a treasure-trove, which is why so much of what he published is still being read.”

 

Another unique aspect which the editor hopes to bring out in the three big Centipede anthologies, through a generous selection of verse, is that Weird Tales was the only pulp magazine of any sort to develop a school of poetry. As for the significance and legacy of its prose, Schweitzer has no doubts.

 

Weird Tales laid the foundations for the whole field of supernatural fiction in the 20th century, and also for sword and sorcery and other subgenres. Most of the important fantasists of the mid-20th century, like Fritz Leiber and Ray Bradbury, got their starts or significant early boosts to their careers in Weird Tales. Without Weird Tales there would have been no Lovecraft and none of the Conan stories of Robert E. Howard. Consider the cultural and literary impact of just those two.”

 

*

 

The Art of Weird Tales was a significant, though sometimes controversial contribution to the genre

 

PULP PANIC

 

(c) Rue Morgue, Dejan Ognjanović


 

Weird Tales was open to fresh, unknown writers – but also artists. Some of the giants of fantasy and horror art, like Virgil Finlay and Hannes Bok, sold their first professional works to Weird Tales and helped create an unmistakable visual impact which distinguished it from the crowd.

 

Finlay was best known for his detailed black-and-white line drawings, but he could work wonders in colour, too, when given opportunity (e.g. the cover inspired by Clark Ashton Smith’s “The Garden of Adompha”). Since Smith’s stories were popular with the readers, the multi-talented author was allowed to illustrate a few of his own WT contributions, although those drawings are not among his best.

 

Bok, on the other hand, leaned as far towards Surrealism and Abstract Expressionism as a commercial venue would let him, with an art which jumped from the page with its illusion of depth and dimension.

 

In the magazine’s heyday the sales were boosted with titillating covers featuring dames in peril, nude or barely clad, or equally under-dressed femme fatales, both threatening and attractive. C.C. Senf and Hugh Rankin were experts for this type of artwork, but it was a female artist, Margaret Brundage, who specialized in those and became a star illustrator, contributing 66 covers to the mag.

 

“I have no objection to the nude in art”, Lovecraft complained in a 1936 letter, “but I don’t see what the hell Mrs. Brundage’s undressed ladies have to do with weird fiction.”

 

But he was in minority. Readership, predominantly young males, thought otherwise. The issue which sold out the quickest boasted Mrs. Brundage’s cover with a semi-nude woman whipping a chained, fully naked girl (illustrating R. E. Howard’s “The Slithering Shadow”).

 

Interior artwork, however, contained genuine creepiness by some masterful artists. Boris Dolgov was one of the most prominent: he achieved striking grainy effects with brushes, very stylized. Frank Utpatel was another WT regular worth noting. Fred Humiston was great for depicting the blend of fantasy and horror promoted by Weird Tales. 

 

Lee Brown Coye was a specialist for blood-curdling. He also illustrated non-fictional topics, like full-page features on witchcraft in 1948, where he did not shy away from such tasteful details like a bloodied dead baby next to a witches’ cauldron. He also provided some of the best covers in WT’s final years.

 

In the magazine’s later days, when Dorothy McIlwraith became the editor, the covers tended to stress horror rather than eroticism. Whether titillating or creepy, crude or subtle, sensationalist or arty, one thing is for sure: the Weird Tales covers were never dull. They did their business, attracting readers and appealing to their imagination… And in many cases they left a stamp upon it far more lasting than the stories they illustrated.

 

* * *

  

Za slučaj da vas zanima kako sam ja glasao, evo vam i to, kao mustra:

 

22nd ANNUAL RONDO HATTON CLASSIC HORROR AWARDS

 

 

1) BEST FILM OF 2023
— TALK TO ME

2) BEST TV PRESENTATION (only seasons from 2023)

 — WHAT WE DO IN THE SHADOWS, FX.

 

3) BEST BLU-RAY OF 2023:

— THE HORRIBLE DR. HICHCOCK (1962; Radiance)

4) BEST BLU-RAY COLLECTION

— THE PSYCHO COLLECTION 4K LIMITED EDITION (Arrow).

 

5) BEST RESTORATION OR UPGRADE

— GOTHIC (BFI). Upgrade to high-definition of Ken Russell’s 1986 film.

 6) BEST DVD EXTRAS

— THE DUNWICH HORROR (Arrow): ‘Door into ‘Dunwich,’ w/ Stephen Bissette, Stephen Laws; ‘Sound of Cosmic Terror.’ David Huckvale on Les Baxter score.

 
7) FAVORITE COMMENTATOR OF 2023 

— Tim Lucas (Barbarella; Black Sunday AIP; Count Yorga)

8 ) BEST INDEPENDENT/STREAMING FILM

— BIRTH/REBIRTH, directed by Laura Moss.  Morgue technician reanimates a young girl. 

 
10) BEST DOCUMENTARY

— DARIO ARGENTO PANICO, directed by Simone Scafidi. In-depth retrospective of Italian director’s career.

11) BOOK OF THE YEAR (non-fiction)
— A MYSTERY OF MYSTERIES: The Death and Life of Edgar Allan Poe, by Mark Dawidziak
 
12) BEST CLASSIC MONSTER FICTION

 — THE BOOK OF RENFIELD, by Tim Lucas (Riverdale Press, hardcover, 340 pages, $29.99). Revised and expanded tale of Dracula’s disciple.

13) Best Magazine of 2023

— Rue Morgue

 

14) BEST ARTICLE (You can pick two)

— ‘The End Is Fear,’ a special report by Rue Morgue editors and writers on A.I.’s coming impact on horror, RUE MORGUE #214.

— ‘100 Weird Years,’ by Dejan Ognjanovic, RUE MORGUE #210. Retracing Weird Tales, including interviews with Ramsey Campbell and S.T. Joshi.

 

15) BEST INTERVIEW

— Guillermo Del Toro (Parts 1-8), by Alan Jones, THE DARK SIDE

16) BEST COLUMN

—- It Came from Bowen’s Basement, John Bowen, RUE MORGUE

17) BEST COVER

Rue Morgue #214
by David Seidman

 

22) BEST GRAPHIC ARTS PRESENTATION

— THE ART OF THE ZOMBIE MOVIE, edited by Lisa Morton (Applause). More than 500 posters, stills and pressbooks.

 

понедељак, 18. март 2024.

DUNE, Part Two (2024)

 

***(*)

(3+)

 

            Kada se pojavio prvi deo DINE, pre tri godine, nisam o tome pisao rivju, pre svega zato što nisam znao kako da priđem prikazu nečega što je - polovina filma. Jer to nikako nije ceo film. Kako da sudim o polovini pročitane knjige? Sad kad sam pogledao drugi deo, stvari su već dovoljno jasne da se o tome nešto određenije može reći, iako ni sada saga nije gotova, i tek sa trećim delom (koji verovatno predstoji) saga o Polu Atreidu biće sasvim zaokružena. Ipak, sa 2/3 overene DINE može se već doneti nekakav sud. Pa, evo.

 

DUNE, Part One (2021)

*** (3+)

 

            Ukratko: nova DINA je prilično dobra prva epizoda (ili pilot) serijala. Teško joj je suditi kao filmu, jer ona ne nudi iole zaokruženu priču, pa je zato bezveze porediti je sa drugim SF filmovima, čak i od ovog istog reditelja (ARRIVAL i BLADE RUNNER 2), jer su oni ipak barem zaokruženi, imaju početak, sredinu i kraj. Ova DINA to nema. To je, kažem, jedan korektan, zanimljiv film-u-nastajanju koji tek treba da razvije svoju priču i dosegne svoje poente, ovde tek skicirane. Početak je dovoljno intrigantan da ću rado pratiti dalje nastavke, ako ih bude, ali nije toliko spektakularno genijalan da ću proklinjati sudbu kletu i kukati ako se nastavci ne dese.

 

            DINA – knjige

 

            Negde sredinom 1990-ih, kada sam još uvek bio zainteresovan i za SF (za koji sam se u međuvremenu ohladio, bar što se tiče književnog), pročitao sam prvih šest knjiga serijala DINE, zaključno sa DECOM ARAKISA. Početak sage bio mi je zanimljiv zbog intrigantnog sveta, glavnog lika, i nekih neodoljivo zlokobnih (Bene-Gezeritkinje!) i morbidnih (Baron Harkonen!) likova i zbitija. Potonji su imali snažan hororični vajb, i neki detalji možda su nesvesno procurili u NAŽIVO i PROKLETIJE.

Međutim, već od druge knjige počele su polagano da me gube sve te spletke i zavrzlame i sapunice i ko je sad s kim, ko se urotio iskreno a ko se samo pretvara da bi se infiltrirao, ko je izdajnik a ko glumi izdajnika da bi iz senke isterao pravoga, itd itsl. Smaraju me knjige sa preteranim brojem važnih likova (i.e. više od pet), podzapleta i rukavaca, nikad to nisam voleo ni kod Dostojevskog, a kamoli kod nekih koji bi trebalo ipak da me više zabavljaju nego da me teraju da crtam porodična stabla i mape međuodnosa likova da bih u svakom trenu znao „koji sad beše ovaj“.

            Takođe, donekle mi je godio snažan mistički ugođaj koji prožima taj svet, jer u SF-u me nikad nije zanimala mašinerija, hard science, novumi i kurci-palci, zanimala me je kao Književnost IDEJA, a toga u DINI ima više nego u prosečnom SF romanu tog doba. Međutim, odnekle mi je smetalo što je ta mistika prilično besramno prepisana od ovozemaljskih, bliskoistočnih religija i tradicija, što mi je još tada bilo jasno i smetalo mi je da te celomudrenosti koje se ovde-onde prosipaju pojmim kao stvarno tuđinske, odnosno autohtono rođene na nekoj planeti dalekoj od Zemlje, 10.000 godina posle Muhameda.

            Zatim, iako mi je zaplet bio zanimljiv u svojim ranijim, relativno jednostavnim i pojmljivim fazama, čak i tada, a snažnije kasnije, sve više mi je smetalo insistiranje na tim introspekcijskim momentima, tipa: „ko mi ovde radi o glavi, ko s kim ovde zaista u istu svirajku duva, da li se krije neka urota unutar ove urote, i neki dvostruki ili trostruki agent unutar ove zavere?“ To je sve lepo i tačno bilo parodirano u onoj kratkoj ali efektnoj, smehotresnoj parodiji na DINU koja je izašla u jednom od ranijih ALEFA.

            Najzad, kako je to odmicalo dalje, bili su mi zabavni nagoveštaji transhumanizma i nekih vrlo nadahnutih i morbidno-fascinantnih transformacija koje doživljavaju glavni likovi, a naročito uključujući ta mešanja sa „crvima“. To je bilo u skladu sa mojim već tada izraženim interesovanjima i možda je, negde u dubini, na vrlo prenesen, indirektan način, ostavilo traga u mojoj sopstvenoj lavkraftoidnoj neomitologiji koju sam kasnije razvio u NAŽIVOM i PROKLETIJAMA.

            Sve u svemu, bile su mi ok te knjige tada, drago mi je što sam ih čitao onda kad sam imao više vremena za to, ali ne verujem da ću stići (pa čak i poželeti) da im se opet vraćam. Ali, kažem, ima u toj priči, tim svetovima i likovima, dovoljno stvari koje me i dalje zanimaju da sam bio zainteresovan da ispratim njihove ekranizacije (ne računajući SYFY seriju – toliko daleko ipak nisam išao).  

            Moje misli o Linčovoj DINI imate OVDE, a što se tiče nesuđene verzije by Jodorovski, ukratko: bio bi to frikšou u svemiru bez glave i repa, nešto kao HOLY MOUNTAIN meets Lynch. Skoro sigurno bi to bio trainwreck od filma (a naročito od adaptacije), mada bi svakako bio zanimljiv (unikatan!) trainwreck za gledanje (jedno?). Mislim, realno, koliko puta ste gledali SVETU PLANINU? To je jedan od onih filmova za koje vam je drago što postoje, i divite se činjenici tolikog ludila na ekranu, ali nije baš nešto čemu se čovek naročito često (ako uopšte) vraća. JODO-DINA bi bila malo pogodnija za reprizu zbog SPOT THE LOONEY momenta, jer bi bila nakrcana zvezdama i imenima, koji bi POJELI i priču (Salvador Dali!) i film kao takav. To bi sve bio show stopper do show stoppera, a ako je nekome Linčova DINA bila nerazumljiva, kod Joda ne verujem da bi i prisenak zapleta bio vidljiv, a kamoli skica razvoja likova, tema, ideja… Svi bi jahali džinovske kurce i preobražavali se u džinovske kurce i živeli bi u palatama čije kupole izgledaju kao glavići džinovskih alien kuraca.

            Što me dovodi do verzije Denija Vilneva: na osnovu prve dve njegove DINE mogu reći da je on verovatno najbolji mogući reditelj za taj i takav materijal. Mislim da je izvukao najbolje odatle, da je pametno promenio to što jeste – vidim da DINA-sektaši cvile po internetima što je izbacio Herbertove „tri godine kasnije“ i „deset godina kasnije“ skokove, što smatram apsolutno nužnim: film traži jedinstvo vremena i radnje (ne računajući eventualni prolog i epilog, if any), i dobro je što je ovde zaplet sabijen u nekoliko meseci, koji se kod Perverta rasteže na godine. Malko je i skresao broj likova, i ako je, ali nije dovoljno, trebalo je još radikalnije to da radi!

            Ono što je bitno, priča je prilično strimlajnovana, jasna bez uvredljivog crtanja i objašnjavanja, a kast je inteligentan i dobro režiran tako da tu niko ne štrči iz priče (kao što to čini bar 2/3 frik-likova u Linčovoj DINI) nego joj služi, i doprinosi svojim zauzdanim i lepo kanalisanim kvalitetima. Za Šalamea sam odma reko da će biti zvezda. Čim sam ga video u CALL ME BY YOUR NAME uskliknuo sam: LISAN AL GAIB! Dobro je on i ubedljivo preneo taj razvojni luk od naivnog i blagog mladića, preko izmučenog princa-u-izgnanstvu, do vođe revolucije i budućeg verskog i ratničkog vođe i genocidaša u nastajanju.  

Rebeka Ferguson je odlična kao njegova keva iz Sekte, što ne čudi jer i ona je jedna od nedovoljno hvaljenih prvorazrednih glumica današnjice (i strašno opičena i zabavna osoba, ako pogledate njene intervjue na Jutjubu). Dobitnica Zlatnog Gula za DOCTOR SLEEP, a bože zdravlja, biće toga još! Daj Azatote da je još neko kastuje u neki horor…

Stelan Skarsgard je pritajeno morbidan i jeziv kao Baron, sasvim prikladno ozbiljnom tonu filma (mada razumem da je za Linčovu KIČ-PARADU prikladniji bio onaj drečavo gnusni, karikaturalno preterani Kenet MakMilan).

Šarlota Rempling u 2. delu bolje zasija kao mama na Bene-Gezeritkinje, a Havijer Bardem je dobro kastovan za lik koji je u startu plitko napisan (zatucani pustinjski fanatik) i koji je sad, u 2. delu, s pravom postao najiscrpiji inspirator komičnih mimova.

Ostin Batler je iznenađujuće dobar za nekoga koga sam smatrao prosečnim manekenom-„glumcem“: prikladno je jeziv i zločest, mada se možda malko preteralo s njegovim zlom do ivice samoparodije. Ujedno, samo da ima tanje usne, a ne ovako skoro napadno „ženske“, bio bi kao preslikan iz sekte mojih ćelavaca iz NAŽIVOG…

Što se zapleta i idejnosti i značenja tiče, nemojmo se mnogo zanositi: nevoljno mesijanstvo je beskrajno pametnije i zabavnije obrađeno u ŽITIJU BRAJANOVOM i POSLEDNJEM HRISTOVOM ISKUŠENJU a mit o belom kolonijalnom izbavitelju pustinjskih zatucanaca nesamerivo je i vizuelno i psihološki i konotativno jače razrađen (i preispitan) u LORENSU OD ARABIJE.  

Herbertov roman je jedna relativno površna BAJKA maskirana u kvazi-SF: i nemam sad ni vremena ni volje da ulazim u to koliko je nenaučan, neozbiljan i fantastičan (biološki neodrživ) taj ekosistem u kojem između pustinjskog miša i džinovskog crva dugačkog stotinak i više metara – nema NIŠTA. Šta jedu ti crvi?! Odakle energija tolikim zverovima da riju po pesku? Aah, da, čarobni ćiribu-ćiriba „začin“ je odgovor na sve! Okej! Isto kao i njegov Mekgafin značaj za zaplet, totalno apsurdan ako zastanemo na duže od deset sekundi da razmislimo zašto je taj „melanž“ toliko bitan čitavom svemiru – koješta! Njime vidoviti postaju svemirski šoferi (Navigatori) da se ne sudare s planetom dok jurcaju kroz svemir, a ne koriste ga kojekakvi Harkoneni da zvirnu u budućnost i vide koja kombinacija nosi sedmicu na kosmičkoj lutriji.

I kao i u svakoj bajci, tu ima jezivih uprošćavanja: čitave dinastije i narodi i planete se svode na jedan prostodušni princip – dobrice Atreidi na zelenoj planeti, zli i perverzni Harkoneni na crnobeloj, komični Arapi U Svemiru valjaju se u pesku/začinu (nafti), a da se ta bajkovita prostodušnost zabašuri, imamo trista likova, zapleta i podzapleta i urota unutar urota da se, na površini, zakomplikuje jedna suštinski prosta i čak detinjasta pričica.  

Vilnev čini koliko je ljudski moguće da se ta prostota prikrije i da se publika zaseni odličnim efektima (vanredno dobra, kreativna upotreba CGI-ja, moram reći), scenografijom, glumcima i pripovedanjem koje drži vodu i intrigira – mada, s druge strane, kao i u svim njegovim dosadašnjim SF-ovima, fali tu neka duša, srce, fali neki Šmek veći od života, fali ZAČIN koji odvaja istinski velike filmove (petice) od onih koji su vrlo dobri i okej za gledanje (jake trojke) ali fali im snažan, živ unutrašnji povod za kult i strast i obožavanje i sečenja vena i višestruko gledanje.

Prema tome, njegove DINE su vrlo dobri SF spektakli koji od materijala za dečji film uspevaju da naprave nešto što, ako se ne razmišlja previše, uspeva da DELUJE kao da je za odrasle, zrele, promućurne gledaoce koji traže nešto više. U doba Marvel i DC slikovnica za retarde natrpanih osrednjim CGI efektima za neprobirljive, njegove DINE izgledaju kao kvantni skok, kao ničim zasluženi kvalitet, kao filmovi za odrasle, ali to je samo zbog pozadine na kojoj se javljaju. Hvala im što postoje, lepo ih je gledati (i to u bioskopu, koji me inače sve ređe mami), i stalno tu ima šta da se vidi i u čemu da se uživa, ali – za jedno, maximalno dva gledanja u najboljem slučaju.

Drugi deo mi je prijao malko više nego prvi, jer tek tu dobijamo pay-off za brdo toga što je tek pristavljeno da se krčka u 1. delu; i rado ću pogledati i 3. deo, kad izađe za koju godinu, tim pre što bi on trebalo da zađe u „najdublje“ i „najmračnije“ oblasti ove pripovesti, kad naš „dobri junak“ postane – galaktički ratni zločinac i genocidaš. Da li izgaram, jedva čekam, samo o tome mislim, pratim svaku vest o tome? Ne. Ali veseli me što će se to desiti, i kad dođe, pogledaću. Ako nastavi ovaj uspon, mogao bi da dobije čak i 4- od mene.  

Inače, čujem da se sprema i TV serija o Bene-Gezeritkinjama, koje su mi oduvek bile jedan od fascinantnijih delova DININE mitologije. Sumnjam da će to da se uradi kako treba (mračno i politički nekorektno), ali svakako ću proveriti.