With his sexually explicit, four-hour magnum opus, "Nymphomaniac," world cinema's enfant terrible Lars von Trier re-emerges as its dirty-old-man terrible, delivering a dense, career-encompassing work designed to shock, provoke and ultimately enlighten a public he considers altogether too prudish. Racy subject aside, the film provides a good-humored yet serious-minded look at sexual self-liberation, thick with references to art, music, religion and literature, even as it pushes the envelope with footage of acts previously relegated to the sphere of pornography. Even so, in this cut of "Nymphomaniac," the only arousal von Trier intends is of the intellectual variety, making this philosophically rigorous picture — which opens abroad on Dec. 25 and domestically in two parts, on March 21 and April 18 — a better fit for cinephiles than the raincoat crowd.
As an onscreen disclaimer makes clear from the outset, "This film is an abridged and censored version" of von Trier's bigger, longer and uncut edit, which is said to run five-and-a-half hours. According to a note from producer Louise Vesth included in the press notes, "Technically the changes in the abridged version consist of an editing out of the most explicit closeups of genitals," though such footage cannot possibly account for 90 minutes of footage (can it?), especially considering that the American version serves up a montage of roughly two dozen flaccid penises, presumably an inventory of its protagonist's conquests. (Different territories will reportedly see different cuts, according to local decency standards.)
After a hypnotic opening sequence — a back-alley symphony of sorts, featuring the drum of rain on tin roofs — an older gentleman named Seligman (Stellan Skarsgard) finds Jo (Charlotte Gainsbourg) bloody and abused on the cold, wet pavement. He invites her back to his sparsely furnished flat for tea and conversation, eager to hear this alluring stranger's confession. "It will be long and moral, I'm afraid," Jo warns, and commences to retell her entire sexual history, beginning with the line, "I discovered my cunt at age 2." That line, sure to spark nervous laughs, sets the tone for a character who cannot abide euphemisms. It is always her "cunt" in question, never something more delicate, and in no time, she's riding the train in search of partners.
Sex is a game to the teenage Jo (played by Stacy Martin), who forms a club "committed to combat the love-obsessed society." Seligman listens intently to the story of her deflowering — an unromantic formality at the hands of a lad named Jerome (Shia LaBeouf, who appears naked and erect) — and subsequent blooming as a sexual being. Jo's tale divides into eight stylistically distinct chapters, which alternate between frosty color and stark black-and-white, with Martin playing the character for the duration of the first volume. Though Martin could conceivably be mistaken for a young Jane Birkin, she's a bit of a stretch as an early version of Gainsbourg, showing few of the tomboyish qualities of the star's teenage years, to the extent that one wonders why von Trier didn't ask Gainsbourg to play the character at all ages.
A model not shy about nudity, Martin doesn't seem at all awkward, but rather embodies — to riff upon the language of "Lolita's" lusty Humbert Humbert — a young "nymph." For Seligman, that word evokes connotations of fly fishing, and von Trier indulges the suggestion by inserting stock footage of the sport. Seligman has a peculiar effect on the shape of "Nymphomaniac," which has an unfortunate habit of resetting to the framing conversation any time things start to get "good" onscreen — not racy, necessarily, but just as Jo's story draws auds in, Seligman reliably interrupts with some sort of comment about what it all means.
In that respect, the film appears to be interpreting itself, as Seligman points out cultural references (imposing everything from Christian symbolism to Fibonacci numbers) and offers unsolicited feedback along the way. And yet, there's nothing to indicate that his reading of the material is correct (at one point, Jo quips, "I think this was one of your weakest digressions," and begs to continue), rendering him somewhat like another Nabokov character: Charles Kinbote, the second-rate academic who smugly imposes his lesser-minded theories upon a superior poet's work in "Pale Fire."
In time, we learn that Seligman is a virgin, a revelation that not only explains his inability to relate to many of Jo's escapades — which shift from the workplace to her apartment to the hospital where her father (Christian Slater) lies delirious and dying — but also may be von Trier's way of critiquing critical interpretation altogether. Consider this: Seligman serves as a stand-in for the film critic, a dilettante who free-associates as he listens, drawing educated but somewhat naive conclusions about someone else's deeply personal life experience. But unlike most critics, Seligman casts no judgment. And yet, by elbowing in whenever Jo's stories approach relatability, he forces a buffer between the film and its audience, reminding us of the film's dialectical structure, instead of inviting personal responses.
At the end of "Vol. 1," having tested the boundaries with countless partners and faced the consequences of her actions — depicted in an unexpectedly amusing confrontation between Jo and one of her lover's wives (a ferocious Uma Thurman), who insists on showing her children "the whoring bed" — Jo loses sensation where it counts. Regaining her capacity for orgasm will become the focus of the film's second half, which opens with Jo pregnant via Jerome (still LaBeouf, digitally fused with a body double to appear quite the stud in the sack) and veers into far darker territory.
Those familiar with von Trier's work will pick up on connections between his earlier films and "Nymphomaniac," as when Jerome's offers to let Jo pursue her lost orgasm with other lovers — a point of overlap with Skarsgard's unorthodox sexual arrangement in "Breaking the Waves." In the nearly two decades since von Trier unveiled the Dogma 95 manifesto, his work has become increasingly provocative, from integrating real sex in "The Idiots" to figuratively shaking his fist at God with "Antichrist."
If "Nymphomaniac" feels somewhat tame by comparison, that is surely a reflection of the compromised edit, considering the controversial elements Jo experiments with in the second half: sadomasochism, pedophilia, homosexuality and, most outrageously, a mixed-race three-way. (Any who doubt whether von Trier wants audiences to laugh at the absurdity of it all need only consider the sight of Jo, looking bewildered in a cheap hotel, framed by two visibly excited black suitors.) And yet, the director still intends to scandalize, serving up such images as labia that "open" to reveal an eye and a metal rod inserted into a woman's genitals.
Still, if von Trier means to challenge the depiction of sex onscreen, the truth of the matter is that people can find far more explicit imagery with a simple Google search. And when it comes to the potency of ideas, his script doesn't uncover anything that wasn't previously addressed by Anais Nin, Henry Miller or the Marquis de Sade. In fact, given the film's overall tendency to describe rather than depict specific memories — the exception being the "Silent Duck" chapter, in which Jamie Bell disciplines and degrades Jo oncamera — "Nymphomaniac" might actually have been more effective as a novel.
But von Trier doesn't entirely trust the power of his words either, punctuating Jo's narration with cheeky diagrams and generic stock footage, often to humorous effect. One can hear von Trier's politics woven into dialogue spoken by each of the characters, as when Skarsgard declares the concepts of both sex and religion interesting, "but you won't find me on my knees with regards to either." Later, Jo cuts to the essence of things, rejecting a sex addiction counseling session by announcing, "I love my cunt and my filthy dirty lust."
The film aims to overcome millennia of shame and judgment toward sexual behavior, though von Trier is hardly the first crusader on this front, and such landmark art films as "Belle de Jour" and "Romance" delve far deeper into the impulses behind aberrant sex. By contrast, "Nymphomaniac" feels curiously devoid of psychological interpretation, rejecting Seligman's pet theories on that front, while also using the dialogue to address charges of misogyny. Though the film ends with a chapter titled "The Gun" (as phallic a symbol as they come), neither Freud nor Jung factors into von Trier's design — a relief for any anticipating an incestuous turn from Jo's father figure.
It's one thing to declare sex a fact of life and insist that audiences confront their unease at seeing it depicted (or, equally constructive, their intense excitation at its mere mention), but quite another to fashion a fictional woman's life around nothing but sex. As courageously depicted by Gainsbourg, Jo is ultimately a tragic character. In the film's best-written scene, she outs a pedophile in deep denial of his own impulses, inadvertently revealing the irony (and promised moral crux) of her situation: Despite all the physical contact she achieves with strangers, Jo suffers from profound loneliness. Her story is a bid for a different sort of connection, over which the ever-cynical von Trier maintains the last laugh, sure to ring louder when the uncut version is unveiled next year.
http://variety.com/2013/film/reviews/film-review-lars-von-triers-nymphomaniac-1200964948/ (http://variety.com/2013/film/reviews/film-review-lars-von-triers-nymphomaniac-1200964948/)
Mene najpre upada u oči termin nimfomanijak iliti nimfoman koji se ne može koristiti za muški rod.
Žena koja previše voli seks = nimfa, nimfomanka
Muškarac koji previše voli seks = satir
Čim si muško ne mo'š nimfa biti.
Nimfa je jedno, nimfoman je drugo, nimfomanka je treće, a satir je nešto sasvim četvrto.
POLIMAC O 'NIMFOMANKI' 'Ne tako kontroverzan, ali humoran film za gledatelje širokih pogleda'
Nitko se dosad u povijesti filma nije tako sustavno pozabavio sazrijevanjem jedne nimfomanke kao Lars von Trier
Naši kritičari nisu bili te sreće da poput američkih i britanskih odmah pogledaju oba dijela najkontroverznijeg filma godine, "Nimfomanke" Larsa von Triera. Pokazali su nam samo "jedinicu", tek nešto malo dulju od dva sata, pa se do definitivnog suda treba strpjeti još dva-tri tjedna, prije no što vidimo i "dvojku", no ni to za čistunce neće biti dovoljno, jer je svojeglavi Danac montirao i tzv. integralnu verziju, koja po posljednjim navodima traje pet i pol sati.
Marketinško plasiranje filma svakako je dosad najveći pothvat von Trierova poduzeća Zentropa: nije baš bilo lako tijekom čitave godine zasipati Internet vijestima kako se i hollywoodske zvijezde kalibra Shie LaBeoufa za volju danskog filmaša dragovoljno seksaju pred kamerama, a zatim obrazlagati da to baš nije tako. Danci su zapravo odradili pionirski i nesumnjivo efikasan posao u golicanju znatiželje javnost: zahvaljujući njihovom trudu i umješnosti, svi znaju za "Nimfomanku", no hoće li je i gledati u kinima to je već posve drugo pitanje.
Kazališna kulisa
Ponajprije, kao što ste već mogli pročitati, film baš nije tako kontroverzan kao što se sugeriralo. Naime, glavnina spomenutog prvog dijela je pričanje o seksu i njegovim ekstremnim vidovima, dok igrane scene nisu puno žešće (možda čak i blaže) od onoga što je von Trier već pokazao u filmovima "Lomeći valove", "Idioti" i "Antikrist". Radnja započinje pomalo teatralno, u sporednoj ulici koja se doima kao kazališna kulisa (asocijacija na "Dogville"?), sredovječni gospodin (Stellan Skarsgĺrd) zamijetio je pretučenu ženu (Charlotte Gainsbourg), pokušao pozvati hitnu pomoć, ali ona ne želi ni u bolnicu ni u policiju, jedino prihvaća poziv da kod njega popije čaj s mlijekom.
Ispostavlja da se dvije različitije osobe nisu mogle susresti, on je intelektualac, ona praktičarka, ali se oboje razumiju u ljudsku prirodu, pa se njezina odluka da mu izloži svoj životopis pretvara u poprilično zanimljivu pustolovinu, u kojoj ona na primjerima dopunjava njegove konstrukcije, a on usprkos sveopće neukosti glede hedonizma u seksu uspije naslutiti kada mu ona nešto pokuša prikriti.
Seks poput ribolova
Von Trier je sačinio dramski kostur u kojem je sadašnje vrijeme dijalog dvoje protagonista, odigrava se u jednoj sobi, a flashbackovi u kojima naslovna junakinja priča svoju biografiju su prošlo vrijeme, ali s neprestanim promjenama likova i lokacija. Naravno, flashbackovi su glavna atrakcija, jer nitko se dosad u povijesti filma nije tako sustavno pozabavio sazrijevanjem jedne nimfomanke, koja je već kao tinejdžerica znala da je prava stvar u jednom danu promijeniti što više partnera i da je glavna zamka vezati se za jednu osobu: "Ljubav je samo seks uz koji je pridodana ljubomora", objašnjava ona.
U povijesti književnosti već je bilo ne malo romana koji su imali takvu strukturu, no von Trier se njome odlučio poigrati tako što je neprestano intervenirao dosjetkama, izlaganje je podložio crtežima i dijagramima, slovima i brojkama, filmskim žurnalima i koječim drugim. Uspio je ugurati humor u situacije u koje se nitko drugi ne bi usudio, a još je zanimljivije što je nakrcao film traktatima o koječemu, pa se seks ne uspoređuje samo s ribolovom, nego i s umijećem J. S. Bacha i Palestrine te Fibonaccijevim brojevima. Upravo ga humor spašava od povremene pretencioznosti, jer na trenutak pomislimo da je to sve nesvarena kaša umjetnika koji je čitao, slušao i gledao previše toga i sada to pokušava objediniti u jednu cjelinu.
Sjajna Uma Thurman
Ponajprije, "Nimfomanka" je namijenjena gledateljima širokih pogleda, koje zanima i žele saslušati što imaju za reći oni koje se inače žigoše za nemoral ili perverziju. Vrlina je filma što prilično radikalno i samouvjereno zadire u to "drugo", dok se povremeni prizori seksa čine zbilja sekundarnim u odnosu na ono što je njegova prava tema.
Kako to sve funkcionira kao umjetničko djelo? Nemam pojma, jer nisam vidio cjelinu. "Nimfomanki" zasad ne bih pretpostavio niti jedan od poznatih von Trierovih filmova, a pomalo me smeta i činjenica što najbolja scena gotovo i nema veze s erotikom, u njoj sjajna Uma Thurman sučeljava svog nevjernog supruga (Hugo Speer) s posljedicama koje će imati njihovo troje djece ukoliko se on opredijeli za raskid. Kad je o glumcima riječ, Skarsgĺrd i Gainsbourgica odlično drže okvirnu priču, no 22-godišnja londonska manekenka Stacy Martin, koja igra nimfomanku u mladenačkoj dobi, pravo je otkriće filma: šteta što po svoj prilici neće imati previše posla u drugom dijelu.
http://www.jutarnji.hr/polimac-o-fiilmu--nimfomanka---ne-tako-kontroverzan--ali-humoran--film-za-gledatelje-sirokih-pogleda--/1152766/ (http://www.jutarnji.hr/polimac-o-fiilmu--nimfomanka---ne-tako-kontroverzan--ali-humoran--film-za-gledatelje-sirokih-pogleda--/1152766/)
NYMPHOMANIAC, 1. deo (2014)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2F3.bp.blogspot.com%2F-Be-YNHF-L-0%2FUvrlywZl6YI%2FAAAAAAAAdos%2FKZlrPIETofQ%2Fs1600%2FNYMPHOMANIAC%2B%2829%29.jpg&hash=d6a3cf097148836286185491b9ded2276cf02341)
http://ljudska_splacina.com/2014/02/nymphomaniac-1-deo-2014.html (http://ljudska_splacina.com/2014/02/nymphomaniac-1-deo-2014.html)
Овај ривју ме је врло заинтересовао. Да ли је Ларс коначно на путу да направи so bad it's good филм? До сада са овим "so bad" дијелом није имао проблема.
Quote from: Harvester on 13-02-2014, 01:56:59
Овај ривју ме је врло заинтересовао.
fala harv, fala agota.
iskreno mene je rivju ostavio ravnodušnim
zapravo i ne gleda mi se film
možda kad se budem osjećao drkabilno
Quote from: Black swan on 13-02-2014, 15:36:36
iskreno mene je rivju ostavio ravnodušnim
zapravo i ne gleda mi se film
možda kad se budem osjećao drkabilno
Ти си луд. Што је Емерихова 2012 за биоскопске спектакле, то је Нимфоманијак за артхаус филм - утрпани сви састојци истог (предуго трајање, испразно филозофирање, обиље експлицитног секса и голотиње, нелинеарно приповиједање, товар референци на класике, што књижевне што музичке, могу да се кладим и гомила сцена набијених ћутањем....) и одврнути на 11. "Критичари" који не желе да нападају филм да не испадну глупи проналазиће којекаква "значења" у њему, а онај дански перверзњак ће само злобно да се церека из ћошка.
Quote from: Harvester on 13-02-2014, 22:17:56могу да се кладим и гомила сцена набијених ћутањем....
ajde da se kladimo!
koliko ulažeš?
http://www.fak.hr/recenzije-2/novi-filmovi/nimfomanka-2-dio-2013/ (http://www.fak.hr/recenzije-2/novi-filmovi/nimfomanka-2-dio-2013/)
Интересантно је да ривју Нимфоманке даје фак.хр.
Гет ит? ФАК.хр! :!: :!: :!:
Quote from: Agota on 12-02-2014, 15:15:38
NYMPHOMANIAC, 1. deo (2014)
http://ljudska_splacina.com/2014/02/nymphomaniac-1-deo-2014.html (http://ljudska_splacina.com/2014/02/nymphomaniac-1-deo-2014.html)
lepo sam ja reko u svom rivjuu:
Uzgred, film se na FEST-u prikazuje baš za doček tzv. Dana žena: počinje 7. marta u 22h i traje do 8. marta oko 02h. Ne znam da li se u ovom tajmingu nalazi neka skrivena poruka ženama i njihovim partnerima, ali ne može se poreći da je malo boljih načina da dočekate Dan žena nego - uz NIMFOMANKU!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F34io8e9.jpg&hash=d39b5a5f0cf8888654d01226b81537b40a8df62b)
Nymphomaniac Volume I & II Unrated Webrip x264 AC3 TiTAN
Istog dana na FESTu ideu NYMPH i NYMPHOMANIAC :)
pitao sam se da li ćeš još neko to primetiti.
sad kad je procurila na net, brže-bolje se organizuju i dodatne projekcije!
Film Nimfomanka Larsa fon Trira će zbog velikog interesovanja publike imati još tri projekcije - za vikend 8. i 9. lll u 23,00 u bioskopu Fontana i u ponedeljak 10. lll u 22,00 u Domu sindikata.
Ulaznice su u prodaji u navedenim dvoranama po ceni od 400 din.
На Фесту се пушта само први део? Јел пуштају краћу или дужу верзију?
Quote from: HAL on 06-03-2014, 22:13:03
На Фесту се пушта само први део? Јел пуштају краћу или дужу верзију?
ne, puštaju ISTO OVO što sad imaš i u kućnom bioskopu: I + II, ali kraća verzija, sa malo hardcore delova.
jel ovo na piratu takođe kraća verzija?
pa piše gore. ja ne umem jasnije... :(
skontao sam da se "kraća verzija, sa malo hardcore delova" odnosi na ovu festovsku verziju, ne i na pirat.
nema veze...
rekao sam da na festu puštaju ISTO OVO što imaš i kod kuće, dakle ista je verzija i tamo i ovde. ona kraća.
nema veze...
posle odgledanog II toma NIMFOMANKE, ostajem pri svojoj oceni i proceni iz rivjua za I deo:
3- i ništa više od toga.
mala priprema naroda šta da očekuje večeras, sutra i sledećih nekoliko dana koliko distributeri planiraju da eksploatišu novog Fon Trira dok strepe od izlaska srpskih titlova
http://novikadrovi.blogspot.com/2014/03/fest-preporuke-12.html (http://novikadrovi.blogspot.com/2014/03/fest-preporuke-12.html)
Večeras idem da ga gledam u Sava centru. Wish me luck!
p.s. je l zna neko od Beograđana koji noćni busevi idu od Sava Centra ka sajmu?
Quote from: Red John on 07-03-2014, 21:26:13
Večeras idem da ga gledam u Sava centru. Wish me luck!
p.s. je l zna neko od Beograđana koji noćni busevi idu od Sava Centra ka sajmu?
koliko znam, nijedan, moraš do trga pa odatle gde već hoćeš.
Quote from: tomat on 07-03-2014, 22:00:30
Quote from: Red John on 07-03-2014, 21:26:13
p.s. je l zna neko od Beograđana koji noćni busevi idu od Sava Centra ka sajmu?
koliko znam, nijedan
Tako se i meni cini.
Quote from: tomat on 07-03-2014, 22:00:30
moraš do trga pa odatle gde već hoćeš.
Ili do zeleznicke, ako odgovara 51.
Ma ja uzeo taksi do sajma pa odatle noćnim :)
Elem, zadovoljan sam NINFOMANKOM. Humor ( i to deadpan! ) + pornografija se pokazala kao dobra kombinacija. Režija odlična sa nekim grafičkim rešenjima koja su pun pogodak. Kraj efektan i smislen. Angažovanje Viliama Harta i ''lošeg momka'' Kristijana Slejtera je pun pogodak. Šteta što je ovaj poslednji potrošio karijeru na B smeće. ocena: 8.5
Quote from: Red John on 08-03-2014, 13:41:40
Angažovanje Viliama Harta ... je pun pogodak.
gde bre ti vide Viliama Harta? :shock:
ahaha, ovo je baš provala. Pa nisam ja kriv što liče... :mrgreen:
Viliame, Dzoe, Averele, Dzek...
Quote from: Karl Rosman on 08-03-2014, 14:20:53
Viliame, Dzoe, Averele, Dzek...
avili, avili... vilajoni!
Samo se vi sprdajte, to vam je bitnije od mog umetničkog dojma ( a koliko vidim i od filma ).
ja sinoć na ffwd i preskoke pogledao pirata, i ne verujem da ću se vraćati ovom filmu.
nisam pogledao kompletan opus Fon Trira, ali sam i dalje stava da je Riget jedino što valja.
Ako ti Dogvil i Antihrist ne valjaju...
Quote from: Red John on 08-03-2014, 19:50:27
Ako ti Dogvil i Antihrist ne valjaju...
... значи да има наде за тебе.
Quote from: tomat on 08-03-2014, 18:26:44
ja sinoć na ffwd i preskoke pogledao pirata, i ne verujem da ću se vraćati ovom filmu.
nisam pogledao kompletan opus Fon Trira, ali sam i dalje stava da je Riget jedino što valja.
Европа није лоша.
Quote from: Harvester on 09-03-2014, 00:56:48
Quote from: tomat on 08-03-2014, 18:26:44
ja sinoć na ffwd i preskoke pogledao pirata, i ne verujem da ću se vraćati ovom filmu.
nisam pogledao kompletan opus Fon Trira, ali sam i dalje stava da je Riget jedino što valja.
Европа није лоша.
tu Evropa trilogiju sam kompletno propustio, mogao bih da pogledam kada nađem vremena.
sve u svemu, ovo ne vrijedi gledati?
Ako ne voliš von Trira ne vredi gledati...
nije Trir loš, ali većina tvrdi da je ovo promašaj
a ovi iz Variety napisali ''magnum opus''...
biti il ne biti
Nije promašaj.
dobro, eo skidam, poslušaću te ovaj put, happy face killeru
Ја ћу ово свакако да погледам, да испоштујем људину фон Трира. Успут очекујем урнебесно забаван филм. Нисам чуо да је неко споменуо да у филму нека животиња говори и то ме мало разочарава, али вјерујем да има довољно секса да се надокнади тај недостатак.
Posljednja četvrtina (odnosno druga polovina drugog dijela) je zbrzana, sklepana i bezvezna. Preostali dio je pitanje ukusa, gledljivo je, na momente uvjerljivo, Truman se očito oduševio torture pornom. Nema tu nekih seksi momenata, pa će Harvi ćetiri sata ćamiti ćekajući.
Inače, nisam znao da Šija le Blabla glumi, gdje ga nađoše...
Quote from: Дадара on 15-03-2014, 12:22:25
Posljednja četvrtina (odnosno druga polovina drugog dijela) je zbrzana, sklepana i bezvezna. Preostali dio je pitanje ukusa, gledljivo je, na momente uvjerljivo, Truman se očito oduševio torture pornom. Nema tu nekih seksi momenata, pa će Harvi ćetiri sata ćamiti ćekajući.
Inače, nisam znao da Šija le Blabla glumi, gdje ga nađoše...
Ma odakle ti takve predrasude. :oops:
Elem, za moju dušu dobitna kombinacija je humor plus erotika.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fcitymagazine.rs%2Fwp-content%2Fuploads%2F2014%2F05%2FNimfo-660x371.jpg&hash=81f8f3869f5d733e2fd11d7d754385400f8ad679)
KRATKO I JASNO:
http://citymagazine.rs/clanak/filmska-recenzija-nimfomanka-i-ii/ (http://citymagazine.rs/clanak/filmska-recenzija-nimfomanka-i-ii/)
realno, NIMFOMANKA je samo prikvel SRANjTIHRISTA
Odlican film, nije njegov najbolji, ja preferiram Melanholiju i Dogville, ali Nimfomanka je jako zabavan film. :D
dosadan film i na ff
Nabavila director's cut, ce se gleda! 8-) Svih 5 sati :lol:
Ja sam ljetos pogledao DC u komadu. Blago receno obozavam Larsa i njegova izivljavanja pa mi je ovo bas prijalo. :!: :|