DJINDJIĆ: Voleo je život, voleo je cveće...

             Voleo je život, voleo je cveće,

            al' toga proleća ne imade sreće...

           

Na današnji dan pre 10 godina dušmani mučki ubiše Zorana Đinđića i okrenuše točak istorije unazad, ka ovom hororu koji imamo danas: da Srbijom vladaju Toma i njegovi grobari, praščići i Slobina pitina deca, groteskni metuzalemi i alanfordovska bratija.

            Neću se ovde na blogu baviti politikom, kao što ni do sada nisam, barem ne u direktnom obliku. Umesto toga, skočiću na vagon Đikisploatacije i iskoristiti priliku da vas podsetim na remek-dela udvorničke praznopoezije najsrpskijeg živog pesnika, dr Žike Nikolića iz Aleksinca.  

            U pitanju je ekskluzivno otkrovenje ovog bloga, barbarogenije iz južne & tužne Srbije, čije pesme možda ne govore baš najbolje to što je pesnik hteo, ali zato kazuju mnogo, mnogo više, i ostaju više nego rečite i znakovite za one koji umeju da pametno čitaju!

            Za slučaj da vam je ovo blago promaklo kada je prvi put na blogu bilo plasirano, celokupnu zbirku ovog genija srpskog pesništva, posvećenu skoro u celosti ubijenom premijeru, možete naći i čitati u tri dela, ako kliknete na donje linkove.

PS: Gornji naslov je spelovan sa DJ a ne sa Đ zato što imbecilni Guglov blogger ne priznaje slovo Đ, i naprosto ga ignoriše, pa onda u adresi posta umesto Đinđić stoji – "Inic"!

PPS: Ceo dan danas možete da slušate bedne prišipetlje ("drugove i saborce") kojima su usta puna Đinđića a džepovi puni izdaje. Večeras, pak, možete da pogledate i TV emisiju u kojoj će o ovom političaru govoriti njegova nekadašnja učiteljica, drugovi, itd.

Druže Điki, mi ti se kunemo...da na donje linkove kliknemo!

Zoran Đinđić u pesmama

Zoran Djindjić u JOŠ pesama!

Zoran Djindjic: poslednje skrnavljenje

NAJOČEKIVANIJI HORORI 2013-te (3. deo) – Evropa i Južna Amerika

            U prethodna dva nastavka ovog opsežnog pregleda najavio sam šta nam spremaju Amerika i Engleska, i njihovi engleski-govoreći sateliti. Naslovi sa zakazanim datumima premijere izlistani su OVDE, a oni kojima se još ne zna tačno kad će na DVD ili u bioskope opisani su OVDE.

            Sad je, najzad, kucnuo čas da obznanim šta nam od horora sprema nadahnutiji i svežiji deo sveta: u ovom delu predstavljam šta zabavno i excentrično arty-fartsy hororično stiže iz Evrope i Južne Amerike, a u narednom (poslednjem) nastavku razotkrivam šta nam kuva Azija... Vrlo malo ovih naslova mogli ste naći u godišnjim najavama na horor sajtovima zato što su oni bitches američkih studija i DVD distributera i bave se pretežno njihovim direktnim produktima. Ovo što sledi je moj izbor najzanimljivijih naslova na koje sam naleteo u izveštajima sa raznih letošnjih, jesenjih i zimušnjih filmskih festivala, pretežno nežanrovskih. 

Pošto je svima nama ovde engleski ipak maternji, naslovi su izlistani prema naslovu na engleskom (gde ga ima), a u zagradi je dat originalni za vas što parlate mađarski, nemački, francuski, španski, itd.

Poređao sam ih po visini očekivanja, od onih čije mi najave najviše draškaju Ghoulish-zonu, pa do onih koji mož-da-budu-al-ne-mora-da-znače.

HERE COMES THE DEVIL - Adrián García Bogliano

Mexico

Od reditelja PENUMBRE.

Another movie about creepy Spanish kids who may or may not have been touched by something evil after disappearing for a day. Both the ferocity of motherhood and the nightmare of lost children are explored in grim, all-too-real detail. But this dark, domestic treatise is goosed by a genuinely skin-crawling supernatural streak, one that does not negate the realities of the story, but rather serves to accentuate it, boiling to fever pitch that by its final, delirious reel is almost unbearably intense.

Echoing the ambiguous, sound-and-image-charged fury of cinema sensualists like Ken Russell and Nicolas Roeg, HERE COMES THE DEVIL hooks its audience immediately, with an intense, explicit lesbian sex scene followed by a vicious assault that sets the tone for the earthy, erotic and spastically violent texture that coats the picture like a sheen of greasy sweat. Sex and death and the dark link between the two are at the black heart of the film, with human coupling either preceding or accompanying bloodshed, and in many ways, it is sexuality that is responsible for the family’s nightmare to begin with.

THE OUTING - Mathieu Seiler

(Der Ausflug)

Germany

A young family in Berlin decides to go on an outing into the woods outside of town. Once in the countryside, the little daughter gets an unsettling feeling. Soon, this turns out as a dark foreboding. As the quiet afternoon progresses, for the young family, it will never be the way it was...

A weird and compelling horror/fairy-tale. Imagine if Alfred Hitchcock directed a Brothers Grimm fairy tale and asked Giallo-savants Goblin to score it. But that pitch is reductive, and it doesn't even take into account the unique balance Seiler manages between child-like wonder and near-relentless subtle tension. While Seller uses familiar elements like a family lost in the woods and "the big bad wolf," the simultaneously playful and sinister mood he creates is completely unique and absorbing.

SILENT ONES   - Ricky Rijneke

(A csendesek)

Netherlands / Hungary

Hallucinogenic, surrealist trip in the twilight zone between two worlds, debut by Dutch filmmaker. Young Dutch director Ricky Rijneke examines with meticulous shots the fragile dividing line between life and death in her feature debut.

Hungarian Csilla wakes up inside a crashed car, somewhere in the countryside. Her younger brother Isti is nowhere to be found. Dazed, Csilla leaves the spot to begin a second life, as she promised her brother she would. She’ll never return. Persuaded by the shady Gabor - he is involved in ‘import and export’ - she sets off with him in a freighter to Western Europe. During the endless journey, Gabor violates her and Csilla loses her only reminder of Isti. Slowly, she loses her grip. Life on board the freighter is like a vacuum in which Csilla finds herself - a surrealistic twilight zone.

For Silent Ones, a former CineMart project, Rijneke brought together dexterously a choice selection of prize-winning European film talent, including Gergely Pohárnok (Hukkle, Taxidermia) and Jean-Paul de Zaeytijd (Bouli Lanners’ regular DOP) for the camera work. Andrej Dergatchev (who worked on The Return and The Banishment by Andrej Zvjagintsev) sets the tone for the film with his dreamy-ominous soundtrack. With her expressive face and few words, the Hungarian Orsi Tóth (Delta, Women Without Men) portrays a young woman fighting herself and her past.

IXJANA  - Józef Skolimowski, Michal Skolimowski

Poland

The young, successful writer Marek tries to explain the puzzling death of his friend Arthur. In order to do that, he enters into an alliance with a sinister figure. Psychological thriller drama by the Skolimowksi Jr. brothers does not shy away from the occult.

The second film by the Skolimowski brothers, the sons of filmmaker Jerzy Skolimowski (Essential Killing). One of them, Józef Skolimowski, died in 2012 in India. The film is a dark and expressive glimpse into the soul of a young man plagued by guilty feelings. Faustian references and occult elements are amplified by the ominous soundtrack, written by Józef.

The writer Marek has completed a successful debut novel, but is tormented by the memories of his best friend, Arthur, who was found dead in the garden after an extravagant costume ball in the villa of Marek’s publisher. What happened on that night filled with drink and drugs? And what was Marek's role? He seeks advice from a soothsayer, the girl he and Arthur once quarrelled about. A mysterious figure with a black goatee beard also offers help. However, it comes at a price.

Opis ovoga zvuči genijalno, i bio bi mi film još više na listi očekivanja – da nisam pogledao trejler, koji me je malko ohladio...

PROFANE EXHIBIT

Uwe Boll (segment "Basement")

Ruggero Deodato (segment "Bridge")

Marian Dora (segment "Mors in Tabula")

Andrey Iskanov (segment "Tochka")

José Mojica Marins (segment "Viral")

Ryan Nicholson (segment "Goodwife")

Yoshihiro Nishimura (segment "The Hell Chef")

Michael Todd Schneider (segment "Manna")

Richard Stanley (segment "Coltan")

Sergio Stivaletti (segment "Tophet Quorom")

Nacho Vigalondo (segment "Sins of the Father")

 

Deep within the underbelly of Paris, there is a club which is the home of a secret, wicked society. At first it resembles an ordinary fetish or Goth nightclub, but within the cavernous building are many hidden rooms, one of which is known as "The Room of Souls," a private gathering place of the world's richest and most evil people. Their host is the elegant yet frightening Madame Sabatier. For their amusement each member takes a turn and spins a true tale of depravity:

A good wife learns that her husband goes out at night to abduct and murder young women; a botched suicide attempt leads to a drug-induced dream; a girl is believed to be possessed by a demon, and her overly religious parents enlist the help of a corrupt reverend who has his own sinister plans. We are invited inside the deranged mind of a respected surgeon as he takes us on a guided tour of life, death, and everything in between; a young street prostitute crosses paths with a charismatic flesh trader and is forced to take an unspeakable journey of sex, violence, and murder; a nun is abducted off the streets of Rome and held captive for over a year, turning her into a feral, murderous creature to be unleashed on society; a chance encounter on a fateful bus ride for an unsuspecting girl who dreams of riches and fame is her undoing; a man picks up a woman in a nightclub and soon finds himself at the mercy of a cult of women who believe consumption of their sacrifice will bring them to their highest form of female dominance; an unflinching look into darkest Africa where human life is traded for fortune and the most unspeakable atrocities are committed.

TULPA - Federico Zampaglione

Italy

With Italian director Federico Zampaglione’s 2009 outing Shadow being an unappreciated gem that really should be seen by more horror fans (2+ na Ghoulovoj skali; u pitanju je dobro režiran ali idejno i dramaturški imbecilan torture porn), the announcement that his latest effort would be a Giallo was cause for considerable attention. The film has a heady plot, revolving around a woman called Lisa (the stunning Claudia Gerini), a high powered company executive who spends her nights at the S&M club of the title, where she engages in orgies and all manner of perverse sex, urged on by a bizarre Tibetan guru to try and use her libido to reach a higher state of consciousness. Her life starts to spiral out of control when company politics turn nasty and people from her nightly couplings begin turning up viciously murdered, with all the signs pointing to the killer being somehow connected to the club. The only word which does Tulpa justice is simply ‘wow’, as it’s genuinely hard to remember a crazier, stranger or more mesmerising film.

FRANKENSTEIN’S ARMY - Richard Raaphorst

Netherlands

            Ovo je još pre pun udeceniju golicalo maštu sjajnim trejlerom, kad se zvalo Worst Case Scenario. Sad je najzad gotovo, i izgleda da deliveruje!

Using shocking vintage newsreel footage as his jumping-off point, Raaphorst has hit on a unique and bold premise. Toward the end of World War II, Russian soldiers pushing into eastern Germany stumble across a secret Nazi lab, one that has unearthed and begun experimenting with the journal of one Dr. Victor Frankenstein. The scientists have used the legendary’s Frankenstein’s work to assemble an army of supersoldiers stitched together from the body parts of their fallen comrades – a desperate Hitler’s last ghastly ploy to escape defeat. 

Frankenstein's Army really comes into its own when the disappointing first half gets capped with a very good and very funny second half. A lot of that has to do with the Frankenstein character appearing, a fantastic Karel Roden who seems wasted in the role until he suddenly starts to shine with an evil glee.

In fact, the finale comes closest to what we've been waiting for all these years: a creature-fest with an insane maniac in a Gothic laboratory. It takes a bit of a wait to get there, but at the end the icky gore goes through the roof, the monsters rock and the jokes connect.

ERRORS OF THE HUMAN BODY - Eron Sheean

U.S.A./Germany

Seeking a new laboratory to pursue his controversial genetic research, Dr Geoff Burton takes up a position at the world-renowned Institute for Molecular Cell Biology & Genetics in wintry Dresden, Germany. His contribution to their most top-secret project - a human regeneration gene - has the potential to make something extraordinary out of a personal tragedy that has haunted him for years. But when he uncovers a conspiracy amongst his colleagues, he finds instead something quite different: a terrifying new virus, with potentially both devastating and miraculous consequences for humanity - and for Geoff, who is not only its first victim, but its unwitting source. Perhaps best known as the writer of Xavier Gens' The Divide, Sheean makes his feature debut here. Michael Eklund stars.

Helmer Eron Sheean generates considerable suspense and sustains a sense of mounting dread throughout much of his debut feature, "Errors of the Human Body." So it's all the more disappointing when this sci-fi thriller starts to run out of steam somewhere around the three-quarter mark, and slowly sputters toward a confusing, unsatisfying conclusion. Michael Eklund's subtly drawn performance as a scientist seeking a cure for the rare malady that killed his infant son is undeniably impressive, but it's doubtful that will be enough for genre fans who'll be left scratching their heads.

GHOST GRADUATION - Javier Ruiz Caldera

(Promoción fantasma)

Spain

Imagine if Haley Joel Osment's Sixth Sense character grew up and became a sad-sack high school teacher? And that the Breakfast Club ends with them all dying in a giant explosion, and that said sad-sack teacher ends up working in that school? Then, provided you're imagining it in Spanish, you're imagining GHOST GRADUATION.

A group of teens die in a fire that started during a school dance in 1987, and have been haunting the school since. There’s a jock, a bad boy, a pregnant girl, a nerdy girl and a dude who’s been permanently drunk since he died that way. When the school’s principal, Tina (Alexandra Jimenez) meets Modesto (Rail Aravalo), an unsuccesful teacher who’s got an unusual gift for seeing ghosts, she realizes he may be her only hope for ridding her school of the pesky spirits and restoring peace. Working under the assumption that the teens have unfinished business to take care of before they can move on, Modesto embarks on a plan to help them pass senior year and graduate. From this simple and ingenious premise, a genuinely funny and endearing comedy blossoms.

Već se sprema američki rimejk...

WHITE EPILEPSY - Philippe Grandrieux

France 

In faint light, a body slowly moves, breaking out from total darkness. Then a second body, a woman. Dream or nightmare? Archaic or essential? Desire or struggle? A journey through the night and the light to the confines of sense and vision.

They are ghosts - do they really exist? A film like a dream or a nightmare. In the middle of a forest, two naked bodies, those of a man and a woman, perform a very slow and hideous choreography. It looks like an age-old ritual about domination and submission. The male ghost withdraws, but the woman doesn’t let him go: she throws herself at him.

Philippe Grandrieux, the maker of Sombre (1999) and countless other films, often experimental, shows the ceremonial wrestling in slow motion, with the bodies sometimes seeming no more than a collection of muscles, tendons and pale flesh, as in paintings by Francis Bacon. Apart from being terrifying and violent, the dance occasionally looks sensual.

White Epilepsy, created in collaboration with dancer Hélène Rocheteau, is the first part of the trilogy Unrest. The theme linking the three films/installations is fear, with the viewer watching from a safe position - as if through a slit in a castle wall.

HALLEY - Sebastián Hofmann

Mexico

Beto is dead and can no longer hide this with make-up and perfume. Life stops. For zombies too, at some stage. But before we get that far, Beto experiences a special friendship with the vivacious Luly. Contemporary Gothic story with an unusual twist.

Comets that circle the sun in less than 200 years have a sell-by date. That also applies for Halley’s Comet, the best-known in our solar system, which was first described in 466 BC and which appears every 76 years. Until the sun swallows it up and its seemingly eternal life comes to an end.
Just like Halley, Alberto’s days are numbered. He has been dead for years, but can no longer hide the fact. Perfume and make-up don’t help to mask his physical decline; the end is now final for this silent zombie. He decides to withdraw from life, which for him primarily consists of working as a night watchman in a 24-hour gym and gazing at the TV in a cheerless flat. His manager Luly, however, takes an interest in him and takes him out. The rather stiff friendship that emerges ensures an unexpected upturn in Alberto's condition in the autumn of his undead existence.
At a fitting pace, Sebastián Hofmann shows us the world through the eyes of a zombie in decline, like a dislocating echoing-well filled with fading Christmas lights. There is not much contact between Alberto and his living neighbour. Yet Hofmann has no trouble in bridging the gap with the viewer. Halley is a contemporary Gothic story without spectacle, but with plenty of compassion.

You need to be very patient to get accustomed to the glacial pace set in Halley. While there is a difference between boring, sedate and meditative, director Sebastián Hofmann definitely takes his chances here.

POST TENEBRAS LUX - Carlos Reygadas

Mexico

Dreamlike, extremely personal and visually surprising film by the Mexican master. Also puzzling. Because what do these rugby playing kids have to do with that illuminated devil? And how is the relationship crisis related to the horses filmed distorted leg. Led to fierce debates in Cannes and won the prize for the best director.

Mexican master Carlos Reygadas juxtaposes computer-generated images of a fiery red devil moving like the Pink Panther with B-film horror (a man pulls off his own head); group sex in a sauna with fairytale-like, slightly distorted images of a young girl pacing through a majestic landscape; and an affluent man and his stunningly beautiful wife having existential discussions about their relationship(s) with shots of a junior rugby team.

Reygadas, whose feature debut Japón had its world premiere at the IFFR in 2002, compares the rough, associative and instinctive Post tenebras lux (‘light after darkness’) with an Expressionist painting in which he makes room for his deepest feelings, his memories, dreams, desires and fears.
At the Cannes festival the film was booed, but Reygadas took home the prize for best direction.

THE APOSTLE - Dirk Simon

(O apostolo)

Animated -- Spain

A convict who escaped from jail takes off to a remote village to recover an old loot that was hidden years earlier. But what he finds there involves him in a fate much worse than the one he had been doomed to. Sinister old people, odd disappearances, spirits, a strange parish priest and even the archpriest of Santiago de Compostela will all meet in a tale full of terror, humour, and fantasy.

Spain's first stop-motion feature, "The Apostle," mixes local folklore and time-honored horror into a distinctive, truly haunting whole. Fernando Cortizo's compelling debut is let down slightly by a storyline that cleaves too closely to the expected, but it's a small sacrifice for such wonderfully sinister characters and creepy atmospherics. Dark and troubling in the way that unexpurgated Grimm tales are, "The Apostle" may be unsuitable for the very young, but deserves exposure beyond the fest circuit, where its gospel is already spreading. Philip Glass gets a music credit.

MAMA (2013)

 ** 

 2 

            U okviru proslave Dana Žena, a pre svega Dana Majki, pravi je trenutak da kažem par reči o filmiću prikladno nazvanom MAMA – tim pre što je baš na dan uoči 8. marta krenuo da štreca publiku po srpskim bioskopima.

            Kada blentavi tatko (razumljivo uzbuđen pošto je ubio svoju nevernu ženu) zbog prebrze vožnje po klizavom putu sleti u jarak, njegove dve devojčice nađu se same u šumi. Njih prihvati i othrani MAMA – ne baš njihova, a ne ni Mama Priroda, nego… natprirodni entitet čiju pravu (prozaičnu) prirodu saznamo nešto kasnije.

            Elem, nekoliko godina kasnije curice budu pronađene i date na staranje stricu, ALI – zajedno sa njima novom domu se prišljamči i MAMA! Nešto po kući škrguće, nešto po zidovima krcka i šklopoće, nešto kvazi-ženoliko vrzma se po senkama… Ko je to, šta je to? MAMA!

            Premisa zvuči obećavajuće. Deca u dodiru sa nečim onostranim i stravičnim obično pojačavaju gledaočevu brigu i napetost. Giljermo del Toro je skoro čitav svoj opus izgradio na formuli deca + strava (čak i tamo gde to nije eksplicitno očigledno, kao u dva HELLBOY filma, ili nije u samoj srži zapleta, kao u MIMIC), a takav svoj pečat udara i na filmove koje producira. Već se ovde pisalo o njegovoj prethodnoj produkciji, DON'T BE AFRAID OF THE DARK, o devojčici koja sreće patuljke u kući, a sada je del Toro svoje ime, u svojstvu producenta, pozajmio i MAMI, o devojčicama koje sreću zločestu, natprirodnu MAMU.

            Nažalost, radi se o filmu sličnog profila i dometa. Odnosno, ako ste voleli MRAK, onda ne čitajte ovo dalje nego pohitajte i kupite sebi (i mami) karte za MAMU. A ako vas je (kao npr. mene) MRAK ugnjavio i iznervirao, to će vam još više uraditi MAMA. Zašto? Evo zašto.

            Koncept je banalizovan, struktura je toliko banalno ofucana da je iz aviona predvidiva, a formalni postupci za izazivanje strave su krajnje jeftini i uglavnom nedelotvorni (sem za najneprobirljivije i hororu najnevičnije). Sve u svemu, MAMA kao da je namenjena horor-vikendašima i drugim površnim, sporadičnim ili plitkoumnim gledaocima – širokim narodnim masama, a ne istinskim sladokuscima. Konkretnije? Evo, sad će.

            Banalnost koncepta ogleda se u inicijalno golicljivom nagoveštaju da su deca u šumi došla u kontakt s nekim elementalom ili tako nekim bizarnim, zlokobnim entitetom (patuljica? trolkinja?...) samo da bi se ovaj, ubrzo zatim, srozao na vulgarno prozaičnu sablast jedne sasvim konkretne žene sa ofucanom predistorijom koju saznamo iz ofucanih prastarih novinskih članaka.

            Pritom, film nam ne objašnjava (ili to čini usiljeno, bezveznjački) kako i zašto je od obične smrtne žene sa imenom i prezimenom nastalo ovo čudo izlomljenih udova, insekatske face i pokreta koje više voli da čuči ko lešinar ili da puzi po podu četvoronoške ko neko japansko GRUDGE čudo, umesto da hoda ili lebdi kao normalni duhovi na kakve smo navikli.

            Zatim, struktura zapleta je preslikana iz šablona koji je bio providan i iskrzan još u američkim TV filmovima iz 1970-ih, i nalazim uvredljivim da mi neko u 21. veku plasira ovako besramno te ofucanosti kao "nove". Drugim rečima, svaka tačka u zapletu nakon prologa, svaki "preokret", svaka naredna žrtva MAME, vide se na kilometar i nema tu ni trunke intrige, misterije a kamoli saspensa ili neizvesnosti u mehaničkom odvijanju svega toga ka svom bedastom krahu. Tome ne pomaže mnogo ni nesuđena Oskarovka, Džesika Častejn u glavnoj ulozi, jer scenario je jadan i ona tu nema bogzna šta da s njim radi u ulozi strine koja mora da se bakće s curicama i MAMOM nakon što joj muž zaglavi u bolnici, gde provede 90% filma (odavno nisam video ovoliko nebitnu "ulogu" i ovako smešno izbačenu iz filma!).

            Što je najgore u svemu, scene strave u MAMI uglavnom imaju izlizanu formu: nešto je mrdnulo u dubini kadra dok je u fokusu bio neko (najčešće Džesika) u prvom planu! Ili: dok je kamerman slikao nešto u dubini hodnika, MAMA nam je protrčala ispred nosa! BU! I svaki jebeni put je to praćeno uvredljivim glasnim zvučnim efketima za cimanje kretena kako bi ovi poskakivali u bioskopu sa svojih stolica i izašli napolje uvereni da su odgledali mnogo strašan horor a ne još jednu infantilnu deltorovsku gotsku vašarijadu, liciderski zaslađenu do PG-13 nivoa i krajnje bezbednu, bez ičega rizičnog, smelog, subverzivnog ili daleko bilo dvosmislenog u priči koja prosto vapije za nešto malo mozga! Umesto mozga, dobijamo još jedno moronsko satanizovanje žrtve (čest slučaj u hororu), odnosno situaciju da je nekadašnja patetična žrtva sada pretvorena u izvor strave i užasa, a njen prirodni materinski nagon je satanizovan dok je ona svedena na animalno, subhumano, pa su tim promašeniji fejk pokušaji "simpatije" prema zlehudoj sudbi što je od đece rastavi...

            U krajnjem saldu ovo je jedan srednjački, jedva-gledljiv, ali suštinski trivijalan hororčić sa nešto malo vizuelne kulture, solidno dizajniranim ali kretenski zamišljenim i motivisanim "monstrumom" i sa par scena koje će vam možda biti jezive, osim ako vas ne iznerviraju BAM!KRAŠ!ZINGGG! efekti kojima su praćene. Bila je tu negde u dubini svega ovoga skica nečega zanimljivog, ali Del Toro je sve to zatrpao patetikom, sirom (cheese), napadno fejk gotskim slikama (naročito u "bajkovitoj" kulminaciji), jeftinim, petparačkim fazonima i svojom trejd-mark infantilnošću, i zbog svega toga je zaslužio da mu MAMA dâ 25 po debelom turu!

Brian de Palma's PASSION (2013)

**(*)

2+

            Evo nama novog-starog de Palme: novog, u smislu da mu je ovo najnoviji film; starog u smislu da nam po ko zna koji put servira svoje podgrejane fazone, dvostruko bajatije zato što su ovog puta u okviru rimejka francuskog filma od pre samo par godinica. Znači, ovo je DÉJÀ VU na kvadrat: gledali smo već Francuza, oguglali smo već na Palmine fore, a sad – ajmo sve to još jednom, ispočetka! Njegova kvazi-STRAST nudi nam samo još jednom pomešane, promućkane pa iznova servirane zaostatke (leftovers) sa ranijih, svežijih i bogatijih gozbi.

            I što je najzabavnije, naći će se izgladnela sirotinja raja kojoj će i ovog puta ti ostaci i otpaci biti slađi od većine svežih gozbi; i to je, što bi reko Dimbo, "legitimno". Tim pre što zadrti fanovi de Palme, ako ništa drugo, barem ne moraju sada da izvode salto mortale da bi voleli ovo kao što su morali s onim jalovim, ispraznim, na svakom nivou promašenim mlitavim đokom od filma, CRNOM DALIJOM (a pravićemo se da REDACTED nije ni napravio, okej?). Ova STRAST, mada kilava i staračka, barem iz aviona može da zaliči na Palmu kakvog smo nekad voleli. Ipak, neophodan preduslov da vam ovo bude kolko-tolko svarljivo jeste da niste ranije već probali francuski kroasan zvani CRIME D'AMOUR (aka LOVE CRIME, 2010).

            Taj filmić je zasnovan na jednom simpatičnom gimiku, i sav postoji zbog njega. Nema to neki bitniji podtekst. Dobro, postoji taj kapitalistički backstabbing, korporacije su zle i proizvode neljude, a naročito u lažljivom svetu advertajzinga, bla-bla, ali to je tanko, u pozadini, kao dekor, sasvim tanka kulisa od pirinčanog papira; nije čak ni podtekst, nego samo jedan od (manje bitnih) slojeva u priči koja je, kako izvorni naslov sugeriše, o LJUBAVI, dok se u de Palminom tumačenju radi o STRASTI. Taj francuski LOVE CRIME je sasvim okej trilerčić za jedno gledanje; moje najveće iznenađenje, i nešto što zaista nisam očekivao, bilo je da je Palmin rimejk na kraju ispao slabiji od tog okej-ali-ništa-posebnog filma!

            STRAST počinje kao izrazito tupav TV film: tako izgleda (banalno, ravno slikan i osvetljen), tako se zapliće (bedasta sapunica), i tako gnjavi sve do polovine, a za sve to vreme izruči samo jedan dobar fazon (ASS-CAM: vintage de Palma humor!). Tek od sredine film postane neznatno zanimljiviji: kadrovi su iskošeni, počnu grdne neke noir igre senki, više je mraka, sve postane ekspresionistički zasenjeno senovitim igrarijama, a de Palma najzad, pošto se skoro sat vremena suzdržavao od toga, počne da vadi stare izlizane plastične igračke iz svoje uobičajene vreće sa trikovima, kao neki ofucani mađioničar koji nam po dvestoti put izvodi isti trik s kartama i po petstoti put pušta goluba iz šešira, misleći da će ovog puta biti zabavno zato što je na lice stavio masku klovna i što, kao, drži jezik u obrazu.

            I tako, za sve DePalmofile i adikte na njegove fazone, i ovde dobijamo split screen, upotrebljen u svrhu varanja gledalaca (ili barem onih koji nisu gledali original), pa onda jedno 5-6 dosadnih "u-snu-san" odnosno "it was only a dream" buđenja (od kojih je poslednje čak i snimljeno kao varijacija na ono iz KERI, s kamerom koja se diže od kreveta ka plafonu), a sve kulminira paralelnom montažom, uz usputnu aluziju na Hičovu VRTOGLAVICU, i još jedno vađenje davno prepariranog zeca iz šešira, premijerno iznetog u RAISING CAIN, pa repriziranog u FEMME FATALE, a ovde – ako se nisam zabrojao, jer onu sam ogavnu DALIJU uglavnom izbrisao iz sećanja – po treći put u opusu prezentira toliko mu drag fazon: kad lik čučne, a time se otkrije da  direktno iza njega stoji preteća figura!

            Do te scene sam se još i suzdržavao, ali kad je ofucani mađioničar de Palma tu pustio goluba i TO izvukao kao svoj pančlajn, nisam više mogao, i prsnuo sam spontano u grohot, i smejao sam se tokom cele odjavne špice i sve na putu do kuće vrteći u glavi taj njegov toliko-imbecilan-da-je-skoro-genijalan kraj!

            Od sada, pa nadalje u ovom rivjuu slede žestoki SPOJLERI, pa bih molio ljude koji ne žele da im otkrijem glavni gimik u ovom kao i u francuskom filmu, da nadalje ne čitaju.

            Otišli ste?

            Hvala.

            Dakle, što se tiče spojlera, CRIME D'AMOUR ima sledeći gimik: kad jednoj visokopozicioniranoj radnici dokurči iživljavanje njene šefice, ona je ubije, ALI tako što paralelno s time ubistvo namesti samoj sebi! Da, dobro ste pročitali: namerno ostavi svoj šal kraj tela, njenim mrtvim prstom krvlju napiše na podu prvo slovo svog imena, itd. itd. a kasnije, kad pajkani dođu po nju, ona čak i prizna ubistvo (mada, glumeći da je pod dejstvom lekova). Čitav saspens zasnovan je na čuđenju: čekaj, jel ova normalna, zašto sebi smešta to ubistvo, šta je motiv iza toga, kako misli da se izvuče?! A onda ispadne da šal izgleda isto, ali nije baš taj njen, da je uspela sebi da proizvede efikasan alibi, da je pravi šal prethodno podmetnula osobi čije ime počinje istim slovom (a koja ju je takođe prethodno zajebala, i zaslužila da trune u ćuzi)… I ovu na kraju oslobode, a ona se spanđa s momkom iz iste firme koji je pročitao njenu igru, ali mu to nimalo ne smeta…

            Šta je Palma novo uneo u ovo? Ništa bitno: sve do pola filma verno se drži originala, a onda počev od ubistva nadalje to postaje whodunit, jer nam on ne pokazuje KO je ubica, pa bi sad gledalac trebalo da se pita da li jeste ili nije ova naša (tj. Noomi Rapace). Tu involviranost je prilično teško izvesti, kao prvo jer nam je original suviše svež u pamćenju, zatim zato što naša junakinja i nema dovoljno čvrstu alternativu (ako nije ona – ko je onda ubica? onaj pijani skot? come on!), a najzad i zato što je Noomi prilično slaba u ovoj ulozi, pa tako ni sva Palmina zvonca i praporci ne uspevaju da ovo ožive više od utiska leša kojeg drmaju elektrode, pa on poskakuje i trese se, ali niko normalan to ne bi pobrkao sa životom.

            Palma se sasvim razulari tek u završnih 7-10 minuta, koji su potpuno njegov dodatak u odnosu na original – ali teško da bi se mogli nazvati originalnim! Tu on najbezočnije omažira/parodira samog sebe, praveći svojevrsni kondenzovani dajdžest svojih greatest (s)hits! Tek tu se stvarno oseti da je skor komponovao stari saradnik Pino Donađio (ta tema koja ide uz kulminaciju filma jedina je zaista na nivou vintage melodija ovog majstora), ali nepotrebnost i totalna besciljnost ovog filma tu dostiže kulminaciju, kao da tu i sam de Palma kaže: Hej, samo sam se zajebavao. Jedini problem je što treba izdržati preko sat i po prilično ispraznog i mlakog filmića da bismo došli do ove, paradoksalno (? kod nekog drugog, možda; kod de Palme, ne baš), i najapsurdnije, i najzabavnije deonice ovog de Palminog STRADANJA.

            Ne padajte na marketing, s tim strastvenim naslovom i još strastvenijim plakatima koji obećavaju obilje vrućih lezbijskih strasti: nećete se u ovom čednom i mlitavom filmu lezbijskog leba najesti. I time ne mislim samo na eksplicitne "vruće" scene (od kojih ima taman par sekundi /heterosexa a ne lezbosexa!/ tek kol'ko da se metne u napaljujući trejler: ništa više), nego i na bilo kakav ozbiljniji erotski naboj između dve glavne junakinje. Naravno, Palma voli žene, voli da ih slika, da ih fetišizuje, da ih gleda iz perspektive njihovih štikli, i toga ima kol'ko 'oćete. Ali dve protagonistkinje (sve vreme odevene!) suviše su slabe, i nema među njima nikakvih varničenja, a kamoli vatre ili pak eksplozije, je li, strasti! Jedina strast ovde biće, eventualno, ona -prema de Palmi- koju sami sa sobom od kuće donesete i projektujete je na platno, inače – ništa od toga u samom filmu.

PRIČA IZGUBLJENE DUŠE – Dinko Tucaković

             U znak sećanja na nedavno iznenada preminulog Dinka Tucakovića, evo jednog ekskluzivnog priloga za još bolje upoznavanje ovog čoveka. Ovo što sledi je, takođe, novi prilog za osvetljavanje jednog opskurnog momenta u istoriji srpskog horora i fantastike na filmu.

            Naime, već sam ovde na blogu pisao o Dinkovom kratkom gothic filmu BERNISA, JAČA OD SMRTI, i napomenuo da je on prvobitno bio planiran ne kao kratki film, nego kao jedna od četiri epizode u dugometražnom omnibusu horor provenijencije. Avaj, bilo je to tik pred rat, propast zemlje, sankcije itd. pa su horori sasvim banalne vrste ugušili ovaj projekat, i na kraju od njega ostade snimljena samo ta jedna epizoda.

            Scenario za to delo napisao je Saša Radojević, koji je u to vreme (kraj 1980-ih i početak 1990-ih) još uvek naginjao žanru: podsećam na njegovu knjižicu (tačnije, esej u formi knjige) MIT O FRANKENŠTAJNU (Muzej Kinoteke, Beograd, 1991; 56 strana; urednik: Dinko Tucaković). U isto to vreme pisao je mini-esej o Džordžu Romeru za RITAM (u vreme kada je MONKEY SHINES igrao na FEST-u), a potpisao je i esej o ovom horor reditelju u SVETLU U TAMI (1991). Saša je bio poklonik žanr filma (u Ritmu je bio pretežno zadužen da pokriva porno filmove na tadašnjem repertoaru), pa je ovaj planirani omaž gotiku Rodžera Kormana bio u duhu tadašnjih njegovih stremljenja. Nažalost, kasnije se okrenuo pravljenju skoro negledljivih artsy filmova (POLJUPCI, itd) a u blizini horor žanra više nije bio viđen.

            Malo se zna o planiranom horor omnibusu koji je trebalo da se zove PRIČA IZGUBLJENE DUŠE. Stoga, u okviru omaža Dinku i kao nastavak aktivnosti začetih mojom knjigom U BRDIMA, HORORI: SRPSKI FILM STRAVE, evo jednog Dinkovog intervjua iz 1994. godine u kome on kazuje nekoliko zanimljivih fakata o tom, u to vreme još uvek planiranom filmu, kao i o drugim stvarima vezanim za svoje filmske aktivnosti.

            Zahvaljujem Dejanu Dabiću, autoru donjeg intervjua, koji je priložio taj članak ekskluzivno za ovaj blog.

            Ako poželite da ga citirate, evo kako:

Dinko Tucaković, "Priča izgubljene duše", Narodne novine, Niš, 19.11.1994. 

            Za lakše čitanje teksta, najbolje je ovaj jpg sačuvati, pa otvoriti u kakvom programu za tu vrstu fajlova.