Klint Istvud (Clint Eastwood)

[Kunac]

Ovo u trejleru je udar u blizini obale, tako da sve izgleda brže i "čistije". Snimak koji si ti postovao prikazuje šta se događa kad talas počne da gubi snagu... U svakom slučaju, trejer je trejler a film je film. Kada novi Istvud stigne u bioskope, videćemo kako je ispalo. On je i ranije radio trilere ali mislim da je ovo prvi supernatural film koji režira. Možda ispadne bezveze, ali ja ne bih staru kajlu tako lako otpisivao.

[Plut]

Ne, ne njega nikako ne treba olako otpisivati.

[cutter]

^^
zapravo, u trejleru je i onaj deo kada voda nadire na korzo obarajući drveće kao domine. u pravom snimku je sličan seting, i tu bujica na momente ide zaista brzo, kada se slije u levak iz sporednih džepova koji su napunjeni s obale. ali svakako taj prvi obalni udar ne izgleda kao da je neko prolio superbrzu vodu koja instant naplavi ekran već se razbija o plažu, zidine hotela, zatim ponešto popusti pa tu nagrne brže... onih par sekundi prosto izgledaju kao da se tu istvud nije mnogo mešao u svoj posao.

[Kunac]

Verujem da će uverljivost/neuverljivost cunamija biti najmanje bitan aspekt ovog filma.

[cutter]

verujem, ali ja sam govorio o trejleru čiji je to pozamašan komad.

[Kunac]

Cunami je money shot, that's for sure. Bili bi ludi da ga nisu iskoristili u trejleru. Opet, ovo nije film katastrofe ili film o elementarnim nepogodama tako da je u zbiru manje bitan.

Pristigli su i prvi prikazi...

Variety:

Clint Eastwood moves into risky new territory with old-fashioned grace and sturdy classical filmmaking in "Hereafter." An uneven but absorbing triptych of stories concerning the bonds between the living and the dead, the 80-year-old filmmaker's latest feature is a beguiling blend of the audacious and the familiar; it dances right on the edge of the ridiculous and at times even crosses over, but is armored against risibility by its deep pockets of emotion, sly humor and matter-of-fact approach to the fantastical. Oct. 22 release may divide even Eastwood partisans, but the intriguing supernatural angle should help generate positive B.O. readings.

The screenplay by Peter Morgan (taking a break from dramatizing the lives of British celebrities) quickly establishes three parallel narratives, the first of which kicks off in disaster-movie mode: French TV journalist Marie LeLay (Cecile de France) is vacationing in the tropics with b.f. Didier (Thierry Neuvic) when the 2004 Indian Ocean tsunami hits. Borne along by the rapidly moving tides, rendered with inexpert visual effects but a vivid sense of peril, Marie hits her head, blacks out and has an otherworldly vision -- all blinding white light and ghostly silhouettes -- before regaining consciousness.

Meanwhile, in San Francisco, construction worker George Lonegan (Matt Damon) tries to repress his apparently genuine psychic gift, fending off requests from acquaintances and strangers hoping to communicate with their lost loved ones. Finally, in London, young twin brothers Marcus and Jason (played interchangeably by George and Frankie McLaren) try to ward off social services by covering up for their alcoholic mother, yielding unexpectedly tragic consequences.

Eastwood allows each of these stories to develop in unhurried fashion, always keeping the specter of death hovering in the background. Marie returns to Paris but has trouble readjusting to her job after her traumatic experience, while one of the boys, Marcus, becomes eerily obsessed with psychic phenomena. And George, in an unusually charming development, joins an Italian cooking class (taught by Steven R. Schirripa, boisterously channeling Emeril Lagasse), where he's paired with a beautiful stranger, Melanie (Bryce Dallas Howard).

The question that propels "Hereafter" is how these three yarns will eventually converge (the answer: creakily), and on the face of it, this fractured, globe-trotting tale of fate and mortality bears a strong resemblance to the work of scribe Guillermo Arriaga, specifically "Babel." But while the film trades in too many coincidences -- suffice it to say the tsunami is not the only real-world disaster invoked -- the mitigating charm of Eastwood's approach is how subdued, unportentous and laid-back it is. He seems in no hurry to establish the missing links, trusting us to engage with the characters before we know exactly how they fit together.

As though aware of the raised eyebrows that may greet his borderline-schlocky choice of material, Eastwood pauses midway through to register a healthy measure of skepticism; a montage shows one character consulting a series of psychics, every one of them a charlatan. Even still, we're meant to take it on faith that Damon's George is the real deal (his gifts are even given a biological explanation), and the film presents his frequent glimpses of the netherworld -- similar to Marie's near-death visions -- in an unquestioning manner that viewers will have to either accept or reject.

As unabashedly suffused with emotion as any of Eastwood's films, "Hereafter" is finally less interested in addressing life's great mysteries than in offering viewers the soothing balm of catharsis; the portal to the beyond, as conceived here, serves merely as a practical gateway into inner peace, romantic renewal and, most consolingly, the reassurance that our loved ones never leave us. This sentiment is conveyed when George reluctantly performs a reading for Melanie, all the more powerful for its apparent disconnection from the rest of the story.

The fact that much of the film is set in Europe lends it a unique look and texture in the helmer's oeuvre; Tom Stern's camera at times pulls back to take in the varied landscapes, but bathes many of the interiors in his customary inky blacks, the intense chiaroscuro serving to up the hushed, spiritual quality of the film's most intimate moments. As usual, Eastwood's score is a tad overinsistent if melodically spare, its few notes reiterated on various instruments (including piano, guitar and harmonica), and supplemented here by snippets of Rachmaninoff.

Damon and de France (toplining her first major studio picture) are sympathetic enough as characters who are more or less at the mercy of the cosmos, while the brothers McLaren eventually cast off their Dickensian-moppet shackles, particularly in the final reel. But it's Howard whose relatively brief presence really lingers, her performance starting off goofy and ingratiating before taking on an almost otherworldly intensity.

Camera (Technicolor prints, Panavision widescreen), Tom Stern; editors, Joel Cox, Gary D. Roach; music, Eastwood; production designer, James J. Murakami; supervising art director, Patrick Sullivan; set decorator, Gary Fettis; costume designer, Deborah Hopper; sound (Dolby Digital/DTS/SDDS), Walt Martin; supervising sound editors, Alan Robert Murray, Bub Asman; re-recording mixers, John Reitz, Gregg Rudloff; visual effects supervisor, Michael Owens; stunt coordinators, Rob Inch, B.L. Richmond, Thom Williams; assistant director, David M. Bernstein; casting, Fiona Weir. Reviewed at Toronto Film Festival (Special Presentations), Sept. 11, 2010. (Also in New York Film Festival -- closer.) MPAA Rating: PG-13. Running time: 129 MIN.


With: Lyndsey Marshal, Richard Kind, Steven R. Schirripa, Jenifer Lewis. (English, French dialogue)


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Date in print: Mon., Sep. 13, 2010

Roger Ebert:

Clint Eastwood's Hereafter considers the possibility of an afterlife with tenderness, beauty and a gentle tact. I was surprised how enthralling I found it. I don't believe in woo-woo, but there's no woo-woo anywhere to be seen. It doesn't even properly suppose an afterlife, but only the possibility of consciousness after apparent death. This is plausible. Many near-death survivors report the same memories, of the white light, the waiting figures and a feeling of peace.

The subject lends itself to sensationalizing and psychic baloney. Eastwood has made a film for sensitive, intelligent people who are naturally curious about what happens when the shutters close. He tells three primary stories. Their three central characters meet at the end, but please don't leap to conclusions. This is not one of those package endings where all the threads come together in a Coincidence that makes everything clear. They meet in a perfectly explicable and possible way, they behave as we feel they might, and everything isn't tied up neatly. Instead, possibilities are left open in this world, which is as it should be, because we must live the lives we know and not count on there being anything beyond the horizon.

I said the film was made with tact. It is made with the reserve, the reluctance to take obvious emotional shortcuts, that is a hallmark of Eastwood as a filmmaker. This is the film of a man at peace. He has nothing to prove except his care for the story. The original screenplay is by Peter Morgan (who doesn't, Eastwood told me, believe in psychic powers). He gives us Matt Damon as a man who seems actually able to have communication with the dead, but has fled that ability and taken a low-profile job; Cecile de France as Marie, a newsreader on French television; Bryce Dallas Howard as a young cooking student with a fearful dark place inside; Richard Kind as a man mourning his wife; and Frankie McLaren as Marcus, a young boy whose twin brother has been struck by a truck and killed.

I won't describe here the traumatic surprises some of them have. In its surprises as in everything else, "Hereafter" is calmly believable. There are terrifying events, but not the manufactured ones common in lesser films. Eastwood handles them not for sensation but for realism. They lead to experiences that create powerful notions that something -- the movie doesn't declare precisely what -- happens after death. The powers of the Damon character seem to be authentic, although what they prove is hard to say. There is a moment handled with love and delicacy in which he says something that is either true or isn't, but is a kindness either way.

Eastwood and his actors achieve a tone that never forces the material but embraces it. It is never dreamlike, but it could be described as evoking a reverie state. These people are not hurtling toward the resolution of a plot. There is no "solution" to their stories. There are various degrees of solace, or not. They don't punch the dialogue. They don't "act." They lack the certainty to impose themselves. Damon in particular is reserved and sad, because of a power that has become a burden to him. "Hereafter" is unlike any film Clint Eastwood has ever made, but you'd think he'd been preparing it for years.