12.03.2007, BEOGRAD
Izvor: PRESS
INFARKT
Bubnjar "Riblje čorbe" Miroslav Milatović Vicko dan posle koncerta u "Areni" doživeo srčani udar. Vicku ugrađen "stent" u venu radi otčepljivanja krvnih sudova
Miroslav Milatović Vicko, bubnjar "Riblje čorbe", doživeo je u nedelju uveče srčani udar. Dan posle spektakularnog koncerta održanog pred 20.000 ljudi u "Beogradskoj areni" Vicku je pozlilo, a do Urgentnog centra, u kome je obavljen hirurški zahvat, odvezen je kolima Hitne pomoći.
Kako Press saznaje, nakon lekarske intervencije, Milatović (koga je Bora Čorba na koncertu u šali nazvao prerušenim Legijom) uspešno se oporavlja i trebalo bi već danas da bude otpušten na kućno lečenje.Gitarista "Riblje čorbe" Vidoje Božinović Džindžer opisuje za Press šta se dešavalo sa njegovim kolegom:
- Spakovali smo instrumente u nedelju po podne i izneli ih iz "Arene". Vicko se već tada žalio na bol u grudima i otišao je ranije kući. Pošto bolovi nisu prestajali, izmerio je krvni pritisak, koji je bio izuzetno visok, i pozvao je Hitnu pomoć.
Lekari su konstatovali da je imao lakši srčani udar, posle čega je prevezen u Urgentni centar. Tamo je odmah izvršena lekarska intervencija ugrađivanja "stenta" u venu radi otčepljivanja krvnih sudova. Vicko se sada dobro oseća i, koliko znam, potrebno je da odleži u bolnici 48 sati da bi mogao da bude otpušten na kućno lečenje.
Čorbin bubnjar poznat je i kao strastveni pušač, pa se pretpostavlja da je to, pored izuzetnog napora zbog koncerta, doprinelo da sa nepunih 48 godina doživi (i na sreću, preživi) srčani udar.
BORA UZVRAĆA
Nakačim na kurac i medije i nevladine organizacije koje se bave pominjanjem Legije
Bora Đorđević bio je juče vidno potresen zbog nemilog događaja koji je snašao njegovog kolegu i prijatelja Vicka, ali i zbog, kako kaže, "besmislene hajke koju posle koncerta protiv njega vode pojedini mediji i nevladine organizacije". Iako nije bio previše raspoložen za davanje izjava, kratko je za Press pristao da prokomentariše postkoncertna dešavanja.
- Ne želim da se preterano bavim besmislicama i hajkama, sada mi je bitnije Vickovo zdravlje. Nadam se da će on biti dobro.
DSS se ograđuje od Čorbe!!!
Na Borino pominjanje haških optuženika i Legije, Borin stranački kolega Dejan Mihajlov nije imao poseban komentar.
- Bora je takav kakav je. Uvek je imao specifičan način komunikacije sa svojim fanovima i mi ga kao takvog prihvatamo - kaže Dejan Mihajlov, ne želeći da ulazi u tumačenje Borine šale.
"Borinim povodom" oglasio se i portparol DSS-a Andrija Mladenović.
- Ne vidim šta stranka ima da se bavi koncertom "Riblje čorbe" i ograđuje se od bilo čega... DSS nema komentar po tom pitanju, to je koncert - kaže Mladenović, dodajući da je Bora Đorđević "zastupao sebe i svoj bend" i da je "sve što umetnici iznesu kada se nađu na bini sloboda umetničkog izražavanja".
A, savest mi izgore pošto sada mogu da me optuže i da se Vicko potresao zato što sam ga na koncertu predstavio kao Legiju. Zajebavam se, naravno, kao što sam to radio i na bini - kaže Đorđević, i dodaje:
- Vicko je dobio infarkt zbog napornih proba koje smo imali nekoliko nedelja pre nastupa. Valjda je sada jasno koliko je nama ovaj koncert značio.
Nemojte ovo da shvatite lično, ali nakačim na kurac sve koji samo pišu o tome da li je bilo pokvareno pivo, da li sam pomenuo Legiju, ko je moja devojka, a ne kakav je bio koncert i koliko nam je bilo stalo da bude sjajna atmosfera.
A ove iz nevladinih organizacija koji se sada bave Legijom, nakačim i njih na kurac! Za njih već imam i spremljenu pesmu, uskoro ću da im je preporučeno pošaljem - poručuje Bora Čorba.
Đorđević je na koncertu u subotu uveče sebe predstavio kao Radovana Karadžića, a članove grupe kao Ratka Mladića, Veselina Šljivančanina i Milorada Ulemeka Legiju.
(A. D.)
Heh... Siroti Vicko. Baš sam pre neki dan razmišljao o tome kako se njegova Hi-fi Centar imperija nečujno urušila i kako verovatno opet mora da se oslanja na Riblju Čorbu da bi zaradio za koricu hleba... A sada ovo... Alah koga voli onoga i kara...
Nego, to Borino pominjanje Legije... Mislim, prilično je poznato šta ja mislim o Bori i njegovim političkim ispadima, ali ne vidim da je ovo išta gore nego bilo šta što je uradio u poslednjih petnaest godina.. Sad odjednom svima smeta što je pomenuo Legiju (optužen za atentat, zločinačko udruživanje i organizovani kriminal), a niko se ne uzbuđuje oko pominjanja Ratka Mladića u istoj rečenici (optužen za genocid). Srpska seljačka posla... Mislim, ja bih tom čoveku zabranio izlazak iz pećine, ali imao je on znatno gorih ispada od ovoga...
kod vas se stent ugradjuje u venu? :evil:
cova prezivio infarkt, dobro da ga nisu ubili lijecnici ili novinar.
Mehmete jel se secas kad su Sindikalci pre koncerta Public Enemy pevali `A gde je Legija, muci me to, ...`?
Haha, da, srećna vremena dok je Legija još bio on the run pa je narod još mogao da se zanosi da je pravda spora ama dostižna.
Setio sam se vremena kada sam radio u jednoj novini i razgovarao sa svojim tadašnjim urednikom koji je bio svojevremeno označen kao jedan od inspiratora Đinđićevog ubistva. I sad odjednom on mi priča kako je Đinđić izgleda ubijen jer je hteo da uđe u rešavanje kosovskog pitanja, kako se u poslednje vreme viđao sa Dobricom Ćosićem pred atentat i ceo taj bluz, na šta ne odoleh i rekoh,
"Pa znači u stvari nije trebalo da ga ubijemo?"
:lol:
Kako to reče jedan moj drugar (u ono vreme Batićev sidekick): Oroz je možda ovukao Zveki, ali pušku je držala Karla Del Ponte....
Ah, teorije, teorije...
Najveće ludilo jeste u tome što su svi ti Đikijevi hardlineri u fazonu da je Legija samo izvršilac a da su motivi u stranim službama. Iako su se razne teorije zavere pojavljivale u medijima, bizarno je to što se u međuvremenu pitanje nalogodavaca potpuno izgubilo.
Inače, bizaran case je bio jedan kolegijum EVROPE. U sred sastanka ulazi sekretarica prestravljena i moli urednika da razgovara sa njim. On je u fazonu neka kaže pred nama šta je. Ona ga moli da mu kaže nasamo. On traži da kaže pred nama. Ona kaže pred nama -
Zvao Legijin advokat. Legija popizdeo što mu nije stigla EVROPA prošle nedelje a on se bio pretplatio. Kasnije se ispostavilo da je bio zakazao distributer novina.
Druga trivija, koja se graniči sa potpunom metafizikom. Ponovo EVROPA, posle sastanka nekog izlazim iz redakcije i čujem rečenicu Brane Crnčevića, "Spakujte mi nekoliko primeraka EVROPE, putujem sutra u Hag, da ponesem ljudima da imaju šta da čitaju..."
Lepo je čuti da Evropa putuje po Evropi :lol:
Pa, to za nalogodavanje je opet juče potezao i Srđa Popović kod Jugoslava, ali... Sve mi se čini da će ovo taman do leta da se razvuče, kad će i Zvekiju da istekne pritvor tako da...
Šveđanin Roger Tullgren (42) dobio je vrstu socijalne pomoći zbog zavisnosti od slušanja heavy metala.
Ovaj metal džanki je samo tokom ove i prošle godine bio na 300 koncerata, što se odrazilo i na njegov svakodnevni posao: izostanke, umor, nedostatak koncentracije...
Ipak, razuzdani stari metalac nije dobio otkaz, već kompenzaciju s beneficijima.
Naime, njegov muzički ukus vlasti su službeno prihvatile kao invaliditet, što znači da će mu država davati dodatak na platu.
Tullgren radi kao perač posuđa u jednom restoranu na jugu Švedske, a do je zbog svoje zavisnosti morao da dâ nekoliko otkaza.
Pošto HM dominira njegovim životom, organizacija za zapošljavanje će mu davati dodatnu platu, a šef mu je dopustio da na poslu muziku sluša koliko poželi glasno.
:D
Da, video sam tu vest na Yahoo-u pre par dana. Užasi socijalne države...
Komšije će da me biju
Zbog preglasnog rokenrola
Pominju mi familiju
Teraju me dođavola
:?:
Kad je metal u pitanju, odobravam, наравно. (И тата би сине)
Него, постоји ли негде zakon по којем се исплаћује надокнада и остварује право на beneficirani радни staz osobama koje su primorane da u toku radnog vremena slusaju neku tulidzu i sl. ???
>> Sebastian back! <<
From hair metal to Broadway
Bono could do something popular for once.
Hair metal legend Sebastian Bach wants to
star in Spider-Man, the musical that Bono
and The Edge are writing. Please make it happen!
Bach told an Australian journalist he wants in.
"They want a dude in his late 30s for the Green
Goblin and you will not find anyone who will
be more evil and Satanic and kick Spider-Man's
ass all over the fuckin' stage! I guarantee you
I'm the only actor who'll try out for that who
owns Amazing Fantasy #15, the first appearance
of Spider-Man. I have it under lock and key
and it's worth a coupla hundred grand. I've
collected Marvel comics ever since I was little.
I love it and I want that role."
Quote from: "crippled_avenger">> Sebastian back! <<
From hair metal to Broadway
Bono could do something popular for once.
Hair metal legend Sebastian Bach wants to
star in Spider-Man, the musical that Bono
and The Edge are writing. Please make it happen!
Bach told an Australian journalist he wants in.
"They want a dude in his late 30s for the Green
Goblin and you will not find anyone who will
be more evil and Satanic and kick Spider-Man's
ass all over the fuckin' stage! I guarantee you
I'm the only actor who'll try out for that who
owns Amazing Fantasy #15, the first appearance
of Spider-Man. I have it under lock and key
and it's worth a coupla hundred grand. I've
collected Marvel comics ever since I was little.
I love it and I want that role."
koja budala!
hahahahahahaha....
:!:
Sebastijan je stvarno provorazredni bolid. Čudnom igrom slučaja gledao sam onaj rijeliti šou Supergroup na VH-1 gde su on, Evan iz Bio-hazarda (danas poznatiji kao muž Terre Patrick i star u njenim filmovima), Ted Nugent, Jason Bonham i Scott Ian (Anthrax, SOD) vežbali da budu bend. Sebastian je nenormalan, neverovatno narcisoidan (čak i u ovakvom okruženju) i dobio je i batine od Evana...
Ja sam voleo Biohazard kad sam bio mali...
Opraštam ti jer si mi drag.
Quote from: "Meho Krljic"Sebastijan je stvarno provorazredni bolid. Čudnom igrom slučaja gledao sam onaj rijeliti šou Supergroup na VH-1 gde su on, Evan iz Bio-hazarda (danas poznatiji kao muž Terre Patrick i star u njenim filmovima), Ted Nugent, Jason Bonham i Scott Ian (Anthrax, SOD) vežbali da budu bend. Sebastian je nenormalan, neverovatno narcisoidan (čak i u ovakvom okruženju) i dobio je i batine od Evana...
Ja sam sasvim slučajno gledao jednu epizodu tog show-a, pa me zanima šta se izdešavalo do kraja. Zasvira li na kraju "Damnocracy"?
Ted Nugent je stvarno faca, dok je Sebastian Bach jedna budaletina kakve nema.
Nisam gledo do kraja. Smatrao sam da je hajlajt šoua bilo improptu fotografisanje Tere Patrik i Sebastijanove žene u blago lezbijskom setingu pa posle nisam morao da gledam.
Bio sam mali. Tako mali.
Ma dobro, dobro, nije među nama sad ništa promenjeno.
Još uvek se sećam dana kada sam kupio svoju prvu ploču finskog freak folka, došao kući i stavio je u diskmen. Čuo se zvuk lomljave, krckanja, mislio sam da je to-to, čista dekonstrukcija, muzika ljudi koji su je radili na primitivnim uređajima u igloima, muzika suviše ekstremna za Ring-Ring a opet suviše blaga da se diskmen nosi na reklamaciju u servis, i tek kasnije sam shvatio da diskmen ne čita vinil i da sam ga tom prilikom upropastio. :D
Strašan je taj VH1.
Pa oni su ponovo okupili Kaja Goo Goo!!!:D
Može li iko da učini više za čovečanstvo?
Sad sam gledao Kripla na izdajničkoj B92 kako navlači narod da dragocenu krv da u ruke sumnjivih osoba koje se predstavljaju kao da su iz Zavoda za transfuziju.... Očigledno je da su ga nečim ucenili, videlo se da ne misli to što priča.
Tu krv posle preprodaju i ko zna šta još s njom ne rade... Siguran sam da ima ljudi koji su spremni debelo da plate kako bi se okupali u Cripplovoj krvi...
Quote from: "Meho Krljic"Sad sam gledao Kripla na izdajničkoj B92 kako navlači narod da dragocenu krv da u ruke sumnjivih osoba koje se predstavljaju kao da su iz Zavoda za transfuziju.... Očigledno je da su ga nečim ucenili, videlo se da ne misli to što priča.
:D
Quote from: "Meho Krljic"Sad sam gledao Kripla na izdajničkoj B92 kako navlači narod da dragocenu krv da u ruke sumnjivih osoba koje se predstavljaju kao da su iz Zavoda za transfuziju.... Očigledno je da su ga nečim ucenili, videlo se da ne misli to što priča.
http://www.b92.net/info/vesti/u_fokusu.php?id=218
Ne bi me toliko bolelo da ga nisu bundlovali sa onom iz Egzita. Očigledna provokacija.
cripple is know for strange bedfellows... :evil:
(metaphorically speaking, of course!) :twisted:
Bruce Dickinson-penned Chemical Wedding starts shooting
Wendy Mitchell in Edinburgh
16 Aug 2007 14:58
London-based Focus Films has started production on supernatural horror film Chemical Wedding. Julian Doyle, who edited Terry Gilliam's Brazil and Time Bandits, will direct.
The story is based on an original screenplay by Bruce Dickinson, frontman of Iron Maiden. Dickinson will provide the soundtrack to the film.
Warner Music has already taken on all UK and Ireland rights and plans a theatrical release in 2008. Edward Noeltner's Cinema Management Group is handling world sales.
Simon Callow will star as a modern Cambridge professor who becomes a re-incarnation of Aleister Crowley, the infamous occult scholar.
Focus Films' David Pupkewitz and Malcolm Kohll are producing with Ben Tilmlett and Justin Peyton of Bill and Ben Productions and Duellist Film Production in association with MotionFX and E-Motion. Executive producers are Andy Taylor, Paul Astrom-Andrews and Peter Dale.
Focus' previous projects include 51st State starring Samuel L Jackson. The company is also in pre-product noon Marleen Gorris' Heaven And Earth.
Volem Brusa, jutros sam dolazeći na posao slušao Mejdn, ali kapiram da će ovo biti smeće. Mislim, jeste Brus nekakav istoričar, ali nije to dovoljno da se bude i dobar pripovedač. Mislim da je onaj njegov roman što ga je napisao krajem osamdesetiholi početkom devedesetih bio ocenjen kao jedna od najgorih knjiga godine. Čak ni moj brat, brutalno nektirički nastrojen, ga nije mnogo pohvalio...
Uh-oh! Da li je to, nakon Roba Zombija, još jedan average-singer-turned-terrible-filmmaker?
Quote from: "Harvester"Uh-oh! Da li je to, nakon Roba Zombija, još jedan average-singer-turned-terrible-filmmaker?
Heej! Pa nije Rob Zonbi tolko loš! Ako ništa drugo, ne stavlja mršave i anoreksične ribe u spotove, već rumene i jedre!
Da reagujem, pre nego što me drugi pozovu na reakciju:
http://www.kurir-info.co.yu/arhiva/2007/avgust/22/ST-04-22082007.shtml
U principu sam veoma gorljivo protiv smarača koji se kriju iza profesije poznate kao paparaco, ali ovom prilikom sam im zahvalan. Moji snovi se ispunjavaju na najlepši moguć način.
Eh, da si bio u mojim kupaćim gaćama (pun?) pre petnajstak godina na jednoj montenegrinskoj plaži, mogao bi da "uvatiš" Olju B. u istoj pozi.
Sada bi imao još jedan poster da kriješ od žene. :lol:
Razumela bi moja žena da su neke stvari jednostavno svete.
Hi AICN,
Princess Buttercup here. I'm having a slow TIFF year but did get to a screening of Ex-Drummer yesterday. Ex-Drummer is a Flemish punk rock film; it's directed by Koen Mortier based on a novel by Herman Brusselmans. This is Koen Mortier's first feature film and I believe that Herman Brusselmans only writes in Flemish. The Q&A brought up the fact that Herman Brusselmans is very well-known in Belgium - he writes a couple of novels a year and has a reputation for being controversial, but his work hasn't been translated. This is a shame because if Ex-Drummer is anything to go by, he seems like fun reading.
The main character is Dries. He lives a comfortable life with his girlfriend in a nice apartment and is a famous writer. One day, three men come to his door and ask him to be the drummer in their punk rock band. Dries agrees and goes slumming with the band to get material for another book. One catch - everyone in the band has a handicap. Lead singer Koen has a lisp, bassist Jan has a paralyzed arm and guitarist Ivan is deaf; Dries's handicap is that he can't play the drums. This is a blatant lie since the trio only approaches Dries after hearing he was a good drummer, but his fame bolsters their image.
Dubbing themselves "The Feminists," the band practices Devo's "Mongoloid" at Jan's house where we are introduced to his bald mother (his father is tied up in the upstairs bedroom) and Jan's various roadie boyfriends. Along the way, we meet Ivan's druggie wife and baby daughter plus catch glimpses of Koen's (literally) upside-down world. Other characters include the Minister of Health's horny daughter and Big Dick (the name is totally appropriate), the lead singer of a rival band. Dries acts as puppetmaster, completing the group's downward spiral into chaos and violence.
Overall, Ex-Drummer is quite a good first feature. Everyone's using everyone else, everything and everyone is completely messed up in some way - at the end of the film, I felt like I'd seen a really good band movie where everyone is a bad person and no one is redeemable. And it's funny. The film has a great soundtrack and I believe that the DVD of this film has already been released in Belgium. Worth a look.
Gitarist Mastodona istukao basist System of a DownaVeć smo pisali da je nedavno teže ozlijeđen gitarist/vokal Mastodona i da je nakon fizičkog sukoba završio u bolnici s ozbiljnim ozljedama glave. Ali, trenutne vijesti iz glazbenih krugova donose još jedan zanimljiv detalj tog incidenta.
Naime, unesrećeni Brent Hinds jedini je krivac i pijan je izazvao sukob.
Izlazivši iz hotela, Hinds je naišao na basista System of a Down - Shavo Odadijana i još jednog glazbenika - William Hudsona, skinuo majicu i počeo njome tući Odadjiana, te udarivši Hudsona u lice i prsa.
Nakon nekoliko upozorenja: "Hinds, smiri se!", Odadjian i Hudson pretukli su Hindsa, nakon čega su dotrčali njegovi prijatelji i ispričavali se u njegovo ime riječima: "Samo je jako pijan."
Čuj, tukao ga majicom??? Svašta će ti ljudi da napišu... A ovi ga posle pretukli. Prokleti imigranti, tako oni vraćaju za gostoprimstvo koje im je Amerika ukazala...
Uzgred, poslednji Mastodon je zaista prilično dobar.
Nisam neki veliki fan Radioheada, ali rispekt za ovaj pokušaj:
http://music.yahoo.com/read/news/31497950
Mislim, ako se ikome može, njima se može a i treba.
Svaka čast, momci! Nadam se da ća album biti vredan downloada.
Poštovani,
Talent box u zahvalnost fanovima grupe Iron Maiden koji su pomogli da se koncert u martu održi i protekne bez problema predstavlja Blaze Balyley bivšeg pevača ove grupe (1994-1999.) koji jedini nikada nije nastupao u Srbiji.
Koncerti će se održati u petak 12. oktobra u Novom Sadu u klubu NS Time i u subotu 13. oktobra u Beogradu u holu bioskopa City akademik SKC Novi Beograd ( bivša Politehnička akademija).
Karte su u prodaji od 03.10.2007. na prodajnim mestima EVENTIM-a (u Beogradu Dom omladine I Com trade šopovima, a u Novom Sadu Mungos) po ceni od 1000 dinara. Zainteresovani fanovi za oba koncerta mogu kupiti I komplet kartu po ceni od 1800 dinara. Najvatranije fanove koji rezervišu karte preko fan kluba Iron Maiden www.maiden-serbia.org čekaju specijalna iznenadjenja.
Blaze gostuje u Srbiji u okviru turneje "My life - unplugged" obuhvata specifičan opus u tri tzv. poglavlja: grupa Wolfsbane, Iron Maiden i grupa Blaze .
Blaze pruža neuobičajen, ali vrhunski set ispresecan razgovorom sa publikom, pričanjem viceva i jako prisnom atmosferom.
Na sajtu http://www.baconmusic.co.uk/content/live-blaze-bayley-rigger-newcastle-under-lyme-13-09-2007 možete pronaći recenziju nastupa Blaze Bayley koja vam se nalazi i u atachmentu.
Akreditacije za koncerte možete slati na ovaj e-mail do 09.10. 2007. godine. Zahteve za intervjue pošaljite što pre da bi bilo na vreme prosledjeno menadžmentu .
S poštovanjem
Maja Pasuljević
Talent Box
meho, reaguj!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.joeydevilla.com%2Fwordpress%2Fwp-content%2Fuploads%2F2007%2F09%2Firan_maiden.jpg&hash=820c266cce37b9e4800a548f71281be32816d09d)
Quote from: "crippled_avenger"Poštovani,
Talent box u zahvalnost fanovima grupe Iron Maiden koji su pomogli da se koncert u martu održi i protekne bez problema predstavlja Blaze Balyley bivšeg pevača ove grupe (1994-1999.) koji jedini nikada nije nastupao u Srbiji.
Koncerti će se održati u petak 12. oktobra u Novom Sadu u klubu NS Time i u subotu 13. oktobra u Beogradu u holu bioskopa City akademik SKC Novi Beograd ( bivša Politehnička akademija).
Karte su u prodaji od 03.10.2007. na prodajnim mestima EVENTIM-a (u Beogradu Dom omladine I Com trade šopovima, a u Novom Sadu Mungos) po ceni od 1000 dinara. Zainteresovani fanovi za oba koncerta mogu kupiti I komplet kartu po ceni od 1800 dinara. Najvatranije fanove koji rezervišu karte preko fan kluba Iron Maiden www.maiden-serbia.org čekaju specijalna iznenadjenja.
Blaze gostuje u Srbiji u okviru turneje "My life - unplugged" obuhvata specifičan opus u tri tzv. poglavlja: grupa Wolfsbane, Iron Maiden i grupa Blaze .
Blaze pruža neuobičajen, ali vrhunski set ispresecan razgovorom sa publikom, pričanjem viceva i jako prisnom atmosferom.
Na sajtu http://www.baconmusic.co.uk/content/live-blaze-bayley-rigger-newcastle-under-lyme-13-09-2007 možete pronaći recenziju nastupa Blaze Bayley koja vam se nalazi i u atachmentu.
Akreditacije za koncerte možete slati na ovaj e-mail do 09.10. 2007. godine. Zahteve za intervjue pošaljite što pre da bi bilo na vreme prosledjeno menadžmentu .
S poštovanjem
Maja Pasuljević
Talent Box
Da, poslao mi ovo Goran jutros. Ma, ja Blejza nikad voleo nisam, peva ko neka baba...
Ova fotka iz 'Irana' je zato sjajna!!!
It's not a good time to be a heavy metal fan
in Iran. Last week Iran's Minister of Culture,
Mohamed Hosein Sarrar-Harandi, gave an interview
to Spanish newspaper El Pais where he talked
about his taste in pop music. Mr Sarrar-Harandi
said "I know there are music genres, mostly
heavy metal, that can provoke - combined
with some hallucinogens - young people to jump
out of the windows of cars while driving at
high speed. I'm opposed to that kind of music."
Kad se tako postave stvari jasno je da je jedino rešenje ukidanje automobila.
Juce sam na brunchu u jednom beogradskom restoranu video Olju K.
Moram da počnem da idem na brančeve :cry:
Despite big sales, two of the biggest video games in the past year aren't going to be getting film adaptations anytime soon it seems.
Previously announced "Halo" director Neill Blomkamp told Creativity Online that "The film is entirely dead. In the configuration it was in. Whatever happens with that movie, assuming that movie gets made, will be a totally different configuration. It's not so much me as the entire vessel sank. The film collapsed at the end of last year, and it's been dead, ever since then. I'll be curious to see what happens."
Meanwhile, The IESB reported late last week that a film version of Xbox 360 game "Gears of War" was unlikely to happen due to budgetary constraints at New Line and that Director Len Wiseman was definitely off the film. That report however is now in question.
The new Simpsons videogame has had some of its parodies removed after being requested to do so by other gaming manufacturers - notably a level entitled "Grand Theft Scratchy".
http://heavymetalinbaghdad.com/donations.html
Filmmakers Being Replaced by Gamemakers at USC
The University of Southern California, whose film school once trained the likes of George Lucas, Robert Zemeckis, Ron Howard and Jon Landau, is now increasingly attracting would-be video game creators, the Los Angeles Times observed today (Thursday). The newspaper noted that, as part of their course work, students in a USC class in interactive media recently designed a game called "flOw," which has become one of the most downloaded games for Sony's PlayStation 3. Moreover, the Times noted, a game-testing system funded by video-game giant Electronic Arts was described by one instructor as a "higher-end setup than what is used in the industry." One student who had come to USC to major in film told the Times that he had now learned more about game history than film history. "Games are much more immersive than movies," he said. Another USC film school alumna added, "It seems like the game industry is developing much faster than the film industry now."
Da, da, bla bla, sve dok igre ostaju igre a filmovi filmovi, ja sam zadovoljan. A flOw sam skinuo odavno dok je bio samo PC-only free naslov urađen kao studentska grant-funded vežba i ne mogu da kažem da sam se naigrao...
Meho je srpski Cat Stevens:
Close encounters of supergroupie kind
LET'S SPEND THE NIGHT TOGETHER: BACKSTAGE SECRETS OF ROCK MUSES AND SUPERGROUPIES
By Pamela Des Barres
Published by Helter Skelter
Reviewed by Melissa Katsoulis
Melissa Katsoulis reviews Let's Spend The Night Together: Backstage Secrets Of Rock Muses And Supergroupies by Pamela Des Barres
Groupiedom was once so shocking. But now that the celeb list runs from A to Z and entry depends only on being seen falling out of a mobile phone launch in a tarty frock, it's surely not so horrifying for a woman to seek out a musician she idolises and suggest, as in the title of Pamela Des Barres's new book, 'Let's spend the night together.'
Des Barres is the author of the bestselling I'm With the Band, in which she detailed her dalliances with such fun-loving young men as Keith Moon and Jimmy Page. For her next trick, she interviews other super-groupies, who are called things like Cherry Vanilla, Lori Lightening and Sweet Connie. And, of course, Cynthia Plaster Caster.
Her journalistic technique depends largely on wine, laughter and the camaraderie born of knowing that whatever depraved high-jinks her subjects might divulge, she has probably done far worse herself.
So reading Let's Spend the Night Together is an experience akin to being locked in the ladies backstage at a Stones gig and eavesdropping on a stream of increasingly outré girly chats.
Take Tura Santana aka Miss Japan Beautiful aka the girl who taught Elvis how to kiss. She was a tassel-twirling burlesque performer when she caught the king's eye, and one night in Biloxi the young, not-quite-famous singer asked her whether she might give him some tips on the swivelling and shaking of hips.
Having taught Elvis the dance moves that would make him famous might be claim to fame enough for some, but a voluble Tura quickly moves on to the more intimate part of the experience, in which she teaches him a whole lot more than dancing.
Then there's Patti D'Arbanville. Her story is about a boy called Stephen who romanced her above his dad's Greek restaurant in north London. And it's a shocker.
Stephen, an up-and-coming musician, and Patti, a teenage model, got together in a hazy late-Sixties summer, rolling about on Hampstead Heath, taking acid and watching the moon landing from bed. One day, Stephen decided to take his girl up west to buy her a nice outfit. Bypassing Carnaby Street, he headed straight for Marks & Spencer and marched her up to the school uniform department, where he got her all kitted out, from games knickers to boater. Then Patti had to walk down the street while Stephen crawled the kerb alongside in his car.
Eventually, she was to get in beside him and, well, you can guess the rest. Apart from the fact that they did it in broad daylight, just off Leicester Square. And that Stephen would go on to change his name first to Cat, then to Yusuf Islam.
But stories where groupie and rocker come together on more or less equal terms are unusual. Most of the interviewees would track down their quarry like commandos and wangle themselves backstage either by sleeping with roadies or just loitering beside the tour bus looking loose.
There were encounters with Iggy Pop, Jeff Beck, David Cassidy, Cozy Powel, Van Halen, Mötley Crüe and the entire Hollies band. And those were just Miss Dee Dee Keel's.
There are two things that unite the women in this book. Firstly, they all claim to love the music first and foremost, and to want to commune with the beautiful men who created it. There may be some truth to this with a Hendrix or a Bowie. But the entire Hollies band?
Secondly, their personal lives have been at best complicated, at worst abusive, and they openly admit a tremendous desire to feel special. So are these just the drunken ramblings of unfortunates who were once beautiful enough to stand out from the crowd at the Long Beach Arena? Perhaps. But there is something rather glorious about their unrepentant attitudes and the tangible excitement with which they recall their misspent youth.
People find community and acceptance in all sorts of places, and for these women, who now keep the groupie-vine well tended over the internet, there is a sense of purpose and importance in what they do. It may not be everyone's cup of tea (and there are pictures here of things, both plaster-casted and real, which are definitely not for young eyes), but an evening in with this book will, I assure you, be one to remember.
- Telegraph Group
**********************************************************************
Pamela Des Barres counts musical legends Mick Jagger, Jimmy Page and Keith Moon as conquests, thanks to her reign as queen of the groupies in Los Angeles in the 1960s and 1970s. She's since become an author.
Her latest tome, Let's Spend The Night Together:
Backstage Secrets Of Rock Muses And Supergroupies, is out now, published by Helter Skelter.
Web surfers in Egypt, India and Turkey are the world's
most likely to search using the keyword "sex"
on Google search engines, according to statistics provided by Google Inc.
Germany, Mexico and Austria were the world's top three countries which searched
most likely the keyword "Hitler"
and Chile came first in searching for
the word "gay",
followed by Mexico and Colombia.
Other top searchers for other popular keywords included:
Morocco, Indonesia, Pakistan - "Jihad"
Pakistan, Philippines, Australia - "Terrorism"
Ireland, United Kingdom, United States - "Hangover"
United States, Argentina, Canada - "Burrito"
United States, Australia, Canada - "Iraq"
Canada, United States, Australia - "Tom Cruise"
Mexico, Venezuela, Canada - "Britney Spears"
Philippines, Australia, United States - "Love"
Australia, United States, United Kingdom - "Botox"
Italy, United Kingdom, Germany - "Viagra"
Australia, United States, Canada - "Car bomb"
Canada, United States, Australia - "Marijuana"
Kolumna Borisa Dežulovića
Kosovo - najskuplja hrvatska riječ
28. oktobar 2007. | Boris Dežulović
Mogao se svijet podcjenjivački zajebavati s Hrvatskom, mogli su nas brkati s Haitijem ili Srbijom, krasti nam ofsajde i lične greške u napadu, podvaljivati tuđe himne na svjetskim prvenstvima ili primati naše predsjednike i premijere u zahodima i tapšati ih po glavi uz pokroviteljsko "Keep a good work", mogli su nas na karti svijeta tražiti negdje u srednjoj Aziji, voditi nam generale u Haag kao na školsku ekskurziju i zabranjivati Nobelove nagrade, mogao se svijet, kažem, do sada odnositi prema Hrvatskoj kao prema retardiranom djetetu, ali od sad će bogami biti malo drugačije.
- Di si, Ivo, you old house! - već sutra slindravo snishodljivim glasom javit će se našem premijeru u hodnicima East Rivera isti onaj američki državni sekretar što se do prije mjesec dana pravio žalio Sanaderu da mu nije stavio led u viski. A naš će Ivo zakolutati očima, pogledati na sat i iznenada se sjetiti da u šest ima dogovoreno u Rolexovom dućanu u Petoj aveniji.
- Stipe, ti se ne bi ni javio starom prijatelju - hvatat će predsjednika Mesića na prijemu povodom Dana državnosti onaj dosadni, naporni stari udbaš, kako se zove, da, Putin.
Hrvatska će sljedeće dvije godine biti članicom Vijeća sigurnosti UN-a, tijela što ga je najlakše definirati kao Vladu planeta Zemlje, i vidjet ćete kako će sad odjednom suci na prvenstvu svijeta u vaterpolu okretati glavu kad naš sidrun bude talijanskog brutalno davio klavirskom žicom, i kako će se dogodine svjetski akademici tući oko toga tko će Anti Tomiću javiti da je upravo dobio Nobelovu nagradu.
- Nobel? - zbunit će se Ante Tomić, kojega će vijest zateći na kasi u Pevecu. - To je ono kao Zlatna lopta, jel to?
- Vi ste Ante Tomić?
- Da, Ante Tomić, Dinamo Zagreb, srednji vezni, broj osam, gospodine.
- Ups, oprostite, krivi broj - reći će jaki švedski naglasak s druge strane žice glas.
Hrvatska je sad, kako se to učeno kaže, važan čimbenik svjetskog poretka, i bit će lijepa gužva pred uredom naše misije pri Ujedinjenim narodima.
- Oprostite, gospodine, ja sam ipak bio ispred vas - reći će nervozno pakistanski predsjednik Pervez Musharaf.
- Imate li broj? - okrenut će se slovenski predsjednik Lojze Peterle. Ili koji već.
- Molim vas, molim vas - razgrtat će red srpski predsjednik Boris Tadić s nevješto sakrivenim pečenim prasićem i trolitrenkom šljivovice pod mantilom. - Ja sam stari prijatelj, imam dogovoreno u dva.
- Svi smo ovdje stari prijatelji - planut će britanski premijer Gordon Brown. - Stanite u red kao i ostali!
Dolazit će kod naše ambasadorice Kolinde Grabar-Kitarović svi svjetski hohštapleri i nepodnošljivo nam se ulagivati kako bismo izglasali neku deklaraciju ili oštro osudili akt otvorene prijetnje neke smiješne srednjoazijske države drugoj smiješnoj srednjoazijskoj državi.
- Ako zove Bush, reci da sam na sastanku - reći će ujutro Ivo Sanader svojoj sekretarici. - Ne mogu više, naporan je.
- A što je s njegovim planom za napad na Iran, što ću mu reći?
- Uf, Iran - zaboljet će glava našeg premijera. - Reci mu, šta ja znam, da mu nacrt nije loš, ali da razradi još točke devet i deset.
- Plan ima sedam točaka.
- Dobro, jebiga, onda pet i šest.
Novi strateški položaj od Hrvatske zahtjeva, naime, i veliku odgovornost. Lako je do sada bilo dizati ruku kad je dižu i ostali, i truditi se ne smetati previše. Sve na što je hrvatska diplomacija do danas trebala paziti bilo je to da izbjegava američkog ambasadora kad je loše volje i da ne traži repete na švedskom stolu na partyju za Kraljičin rođendan. Od sada, međutim, od Hrvatske će se očekivati inicijativa. Sportskim rječnikom kazano - oči cijelog svijeta bit će uprte u nas. Molećive, blago teleće oči. Gledat će nas s posljednjom nadom oči napaćenih naroda Čečenije, Tajvana, Timora, Tibeta, Kosova, kako se već sve ne zovu te smiješne srednjoazijske paradržavice.
Mogli smo se dosad izvlačiti razboritom hrvatskom šutnjom i značajnim klimanjem glavom. Ali od članice Vijeća sigurnosti UN-a očekuje se stav, odluka, mudri pravorijek. Bit će u hrvatskoj misiji na East Riveru kao na dvoru kralja Solomuna.
- Ja mislim - započet će mudra Solomunda Grabar-Kitarović dok bez daha u nju budu gledali Boris Tadić i Fatmir Sejdiu - ja mislim da je najbolje da prerežemo Kosovo napola! - reći će to mudra šefica hrvatske misije, pa dati znak međunarodnim snagama na terenu.
- Ne! - uz bolni krik past će na koljena srpski predsjednik Tadić. - Neka ga onda uzmu Albanci. Samo ga nemojte rezati, ne režite Kosovo!
- Stanite - zaustavit će premudra Solomunda međunarodne snage. - Dajte Kosovo Srbiji. Samo prava majka ne bi dala da joj režu dijete. Sad vidim da je Kosovo srpsko!
Eto, na primjer, Kosovo: mogla je hrvatska vanjska politika do sada čekati da velike sile riješe tu, kako bismo mi iz Vijeća sigurnosti to rekli, neuralgičnu točku Europe. Sad je, međutim, Hrvatska velika sila. Danas Europa čeka da Hrvatska riješi taj problem.
Eh, da, Kosovo. Naizgled jednostavan problem. Potlačeni kosovski Albanci traže potpunu državnu suverenost i nezavisnost od Srbije. Mi u Vijeću sigurnosti UN-a znamo sve o patnjama i tisućljetnim snovima kosovskih Albanaca. I ako se nas pita, a pita nas se, Kosovo će biti država. Onako kako su svoju državnu nezavisnost od Srbije izborili i Slovenija, i Hrvatska, i BiH, i Makedonija, i Crna Gora. Kakvi su, uostalom, srpski argumenti? To je suvereni teritorij Republike Srbije, Kosovo nikad nije bilo federalna jedinica u sastavu SFRJ?! Zanimljivo kako Srbima sad odjednom igra argument teritorijalne nedjeljivosti, a u Bosni i Hercegovini ne igra. Tamo za Republiku Srpsku traže atribute države, kako bi je mogli prisajediniti majci Srbiji, a kad to traže Albanci na Kosovu, onda su oni separatisti i teroristi.
E pa neće proći! Nikad Republika Srpska neće biti država, kao što to nije mogla biti ni fantomska SAO Krajina. Nema šanse da se mijenjaju međunarodno priznate granice! Šta bi to značilo? Danas Republika Srpska, sutra Republika Kosovo? Ne dolazi u obzir, nikad Kosovo neće biti nezavisno, ne dok smo mi u Vijeću sigurnosti UN-a!
- Ali maloprije ste rekli da će Kosovo biti nezavisno - začut će se stidljivi glas gospodina Sejdijua.
I fakat je to sad nezgodno. Ako može Kosovo, može i Republika Srpska. A ne može. Vidite kako je komplicirana ta međunarodna politika. Ispada da pomažući kosovskim Albancima i cijepajući Srbiju zapravo pomažete bosanskim Srbima i pravite Veliku Srbiju. A mislili ste da je Vijeće sigurnosti zajebancija? Pa nije to Savet bezbednosti, nije to telo srpskog Ministarstva spoljnih poslova!
Naravno da stoga ne dolazi u obzir nezavisnost Kosova. I ako se nas pita, Kosovo nikad neće biti država, onako kako nisu ni SAO Krajina, ni Republika Srpska. Kakvi su, uostalom, albanski argumenti? Tu živi dva milijuna Albanaca?! Zanimljivo kako kod kosovskih Albanaca sad odjednom igra argument teritorijalne djeljivosti, a u Bosni i Hercegovini ne igra. Oni traže da Bosnu zaštitimo od bosanskih Srba koji žele Republiku Srpsku prisajediniti majci Srbiji, a kad se oni žele prisajediniti majci Albaniji, onda su oni borci za slobodu. E pa neće proći! Nikad više neće biti Velike Srbije, nema šanse da Srbija ikad više bude imperijalna sila! Šta bi to značilo? Danas Albanci, sutra sandžački muslimani, prekosutra vojvođanski Mađari? Ne dolazi u obzir, dok smo mi u Vijeću sigurnosti UN-a Srbija neće biti regionalni policajac, i Kosovo će biti nezavisno.
- Ali maloprije ste rekli da Kosovo nikad neće biti nezavisno - začut će se stidljivi glas gospodina Tadića.
I fakat je to sad nezgodno. Ako ne može Republika Srpska, ne može ni Kosovo. A može. Vidite kako je komplicirana ta međunarodna politika. Ispada da pomažući kosovskim Albancima i cijepajući Srbiju zapravo pomažete bosanskim Srbima i pravite Veliku Srbiju, dakle radite izravno u korist srpskih nacionalnih interesa. Dočim, odričući pravo bosanskim Srbima da cijepaju Bosnu i prave Veliku Srbiju, zapravo pomažete srbijanskim Srbima i čuvate cjelovitost Srbije, dakle radite izravno u korist srpskih nacionalnih interesa. Kako god okrenete, radite izravno u korist srpskih nacionalnih interesa.
- Ja zato mislim - započet će mudra Solomunda Grabar-Kitarović dok bez daha u nju budu gledali Ivo Sanader i Stipe Mesić - da je najbolje da mi u cilju obrane hrvatskih nacionalnih interesa utemeljimo nekakvo hrvatsko Kosovo, recimo SAO Krajinu.
- SAO Krajinu?! - kriknut će predsjednik i premijer.
- Da, SAO Krajinu - trijumfalno će zaključiti premudra šefica hrvatske misije pri UN-u. - Jer što god svjetska međunarodna zajednica, na čelu s Ujedinjenim narodima, na čelu s Vijećem sigurnosti, na čelu s Hrvatskom, odluči po pitanju odcjepljenja SAO Krajine iz sastava Republike Hrvatske, bit će to izravno u korist hrvatskih nacionalnih interesa.
ha ha! kakav car!
it's funny 'cause it's true!!! & it's true 'cause it's funny!
i još klizi glatko dok čitaš, sve ti se čini i ti bi mogo tako, al ti se nije dalo...
'o, je, tak normaljno', što reko tirke recenzirajući ded ringers u tv reviji!
Viktor IVANČIĆ
KLIP SLOBODE
RASPELO
Feral Tribune, 31. listopada, 2007.
Možda je dobro da što veći broj djece pohađa školski vjeronauk kako bi im se, u što ranijoj dobi, ogadilo katoličanstvo. Iskustvo nas je naučilo da državne ideologije postaju uistinu vrijedne pažnje tek kada prisilni uživaoci prema njima počnu osjećati dovoljnu količinu zatajenog prezira. Tada su vanjski sjaj i megalomanija nepogrešivi simptomi procesa unutrašnjeg truljenja. Ako bude sreće, tj. ako se nastavi širiti metodom utjerivanja u kosti, katoličanstvo bi u Hrvatskoj moglo doživjeti sudbinu samoupravnog socijalizma. Ako ne u ropotarnici povijesti, završit će kao egzotična društvena suvišnost, sa skupinama nostalgičnih adoranata, sajmovima rabljenih krunica i simbolički ostavljenim Trgom maršala Tita, negdje na Kaptolu.
Don Živko Kustić odlično je uočio taj fenomen: sve je više učenika koji pohađaju vjeronauk, a sve manje osoba starijih od osamnaest godina koje dolaze na mise. Samo što zabrinuti svećenik nije prepoznao prostu logiku: to su oni isti vjeroučenici koji jednom odrastu i bježe glavom bez obzira od svakog prisjećanja na mentalne torture kojima su bili izloženi u mladosti. Mercator umjesto Gospe od karmena. Emmezeta umjesto Gospe od zdravlja. Uostalom, inicijativa Katoličke crkve da se zabrani rad nedjeljom nije ništa drugo nego pokušaj da se operacija školskog vjeronauka – tj. obaveznog/dobrovoljnog tjednog konzumiranja vjerske pouke, u ovom slučaju odlaskom na misu – primijeni i na punoljetni dio populacije. Samo što odrasli ljudi, zbog krutih regula kršćanske pedagogije kojima su se nekoć morali povinovati, uglavnom imaju neodoljivu potrebu da pljunu na svoja djetinjstva.
Ne može se, utoliko, reći da je način kojim Crkva ustrojava i kontrolira tzv. ljudske resurse posve nezanimljiv. Uvođenjem "dobrovoljnog" vjeronauka u dječje vrtiće – gdje se, zahvaljujući savršenoj organizaciji, bilježi gotovo stoprocentni odziv predškolskoga življa – pokazuje da zarana odgaja nositelje svoga uništenja. Tu kao da se odviše ležerno shvaća čuveni nauk svetog Damiana: Što se ranije utječemo Bogu, sigurnije je da će stvari kasnije otići do vraga!
Nakon što je prije nekoliko tjedana u novinama napadnuta splitska sutkinja Amara Trgo zbog toga jer je "odbila suditi pod raspelom" – a da se pritom nitko nije upitao što ima činiti katolički križ na zidu državne sudnice – scena se takoreći ponovila, poprište je iznova državna institucija, s tim da su akteri ovoga puta malodobni. Večernji list izvještava o "sukobu između učenika 3.b razreda karlovačke Gimnazije" pod naslovom "Skinuli križ iz učionice i izazvali bijes kolega".
Elem, skupina učenika koji, umjesto vjeronauka, pohađaju satove etike, odlučila je maknuti raspelo sa zida "jer smatraju da mu nije mjesto u učionicama", a to je pak "izazvalo nezadovoljstvo ostalih učenika". Budući da su "ostali učenici" u premoćnoj većini, te da uživaju neuvijenu potporu ravnatelja gimnazije, križ je po hitnome postupku vraćen na svoje mjesto. Pokušaj da se izrade plakati s ostalim vjerskim obilježjima, te da se izvjese u školskom hodniku, također je "izazvao nezadovoljstvo" kod većine učenika 3.b razreda.
Na upit zašto se katoličko raspelo uopće nalazi u učionici državne škole, ravnatelj Damir Mandić odgovara lakonski: križevi su zapravo razasuti u desetak učionica, on je u školi desetak godina, a spomenute vjerske simbole zatekao je kada je preuzimao dužnost. "Pobunjenim" učenicima poručio je pak da nije problem što su oni iznijeli svoj stav, "nego način na koji su to učinili", budući da – sada obratimo pažnju - "nisu vodili računa o opredjeljenju drugih".
I još: "Možemo napraviti i tako da imamo posebnu učionicu za vjeronauk, ali to nije dobro. Nema potrebe za getoizacijom."
Strah od nekakve getoizacije većine, doduše, izgleda malo čudan, tim više što se 90% đaka karlovačke gimnazije opredijelilo za vjeronauk kao izborni predmet, no ravnateljeve blage i oprezne poruke savršeno su jasne: o svemu možemo razgovarati, ali križ u učionici ostaje!
Ako bude sreće, budućnost će pokazati zašto je takav stav ispravan. Jer raspela koja se umjesto nekadašnjih fotografija Josipa Brozaprijeteći koče sa zidova prostorija u kojima se obrazuju mlada pokoljenja (a više je u ovoj zemlji učionica s reljefnim ukazanjem raspetoga Krista nego onih bez toga) samo su pokazatelj u kojoj je mjeri katolički vjeronauk u hrvatskome školskom sustavu doista fakultativan, iliti "izboran", kako se to voli reći, pa služe i kao demistifikacija kolektivnog licemjerja kojim je popraćena tobožnja zakonska razdvojenost crkve i države.
Svi znaju da se "dobrovoljni" karakter školskog vjeronauka doživljava sasvim obvezujućim. Ogroman broj učenika, potaknutih od svojih roditelja, pohađa vjersku nastavu zbog straha da ne budu obilježeni i time ekskomunicirani iz zajednice, a ne zbog stvarnih religijskih potreba. Sustav je pak naštiman tako da je, u slučaju neizbora "izbornoga" predmeta, ekskomunikacija gotovo zajamčena. (Zato su satovi vjeronauka, recimo, naročito u nižim razredima osnovne škole, uvijek raspoređeni u sredini nastave.) U takvim okolnostima, teško je reći da li raspelo na zidu učionice u većoj mjeri reprezentira većinsku vjeroispovijest ili većinsku hipokriziju, a najprije će biti da se radi o jednom te istom: kao amblem koji ubija u pojam, križ upozorava da se ovdje itekako "vodi računa o opredjeljenjima drugih", na način da ih se potpuno negira.
U strahu od getoizacije većine,
manjini nije ostavljen ni geto.
No, slučaj karlovačke gimnazije dospio je u javnost zbog neočekivanog čina otpora, zbog konflikta koji pokazuje kako s obje strane još uvijek postoji nekakav zaostali adrenalin, pa tako i poticaji da se grade konfesionalne utvrde i brane individualne slobode. Prava drama, međutim, zbiva se tamo gdje nema ni otpora ni konflikta i gdje – kao što smo napomenuli – traje neumitni proces unutrašnjeg rastakanja. Tamo se, kao neželjeno čedo, rađa letargični revolt čiji će učinci, baš zbog sadašnje neprimjetnosti, za državnu religiju možda biti fatalniji. Tamo katoličanstvo, neometano od nevjernika i konfesionalnih uljeza, mazohistički preparira naraštaje koji će ga jednom doći slave.
Aferu koja se nedavno digla zbog neoprezne izjave Marije Lugarić da će SDP, nakon što preuzme vlast, poraditi na ukidanju vjeronauka u školama, u začetku je sasjekao partijski šef Zoran Milanović: njegova stranka, kazao je kategorično, poštuje svačiju slobodu vjeroispovijesti, ali je dužna provoditi zakon.
Pod "zakonom" se misli na međudržavne ugovore što ih je potpisao još pokojni Tuđman, a koji podrazumijevaju da se Republika Hrvatska, u duhovnom smislu, ima smatrati vatikanskom kolonijom.
Na stranu sad što su povijesni udžbenici puni primjera kako su se pod firmom "poštivanja zakona" poduzimale veličanstvene gadosti, no – Milanović je možda veći nekrst nego što se misli. On je valjda razumio ono što Kustić nije i, s nasladom se pozivajući na važeću legislativu, djeluje dugoročno protukršćanski. On je možda shvatio da današnja djeca konzumiraju obavezan vjerski odgoj s istim oduševljenjem s kojim je on nekoć biflao teoriju i praksu samoupravnog socijalizma, samo mudro šuti, da se na Kaptolu ne dosjete kakva je uobičajena sudbina ideoloških prisila. Jer ako se dosjete, onda bi – primijenivši njegovu logiku u obrnutom smjeru – možda mogli povući i jedini razuman potez: ukinuti školski vjeronauk da bi se spasilo katoličanstvo.
Uochi americke predizborne kampanje (2004), Merlin Menson,
dezurni skandal-majstor, izjavio je da
"Ameriku moze izvesti na put spasenja samo predsednik koji bi pushio krek i vodio seks iskljuchivo sa muskarcima".
Zapitan da pojasni svoje stavove, Menson je kao iz topa odgovorio:
"Predsednici na kokainu su stvar proshlosti. Obzirom da je kokain strashno skup, nije ni chudo da Amerika stalno ratuje. Osim toga, lobi homoseksualaca je najjachi u americhkoj masonskoj lozi "Lobanja i kosti" i ja bih prvi pozdravio choveka koji je spreman da to javno prizna.
Njihove maskarade sa porodicama i decom koju nikad nisu ni videli su vec jezivo dosadne".
Osuđenici zatvorskih ustanova u Srbiji nemaju puno prilike da bilo u čemu budu privilegovani. Ipak, 19. oktobra mladi ljudi koji izdržavaju kaznu u valjevskom kazneno - popravnom zavodu imali su tu priliku da im na noge i o svom trošku dođe, ko drugi nego Beogradski sindikat. Posle kruševačkog, valjevski koncert je drugi nastup našeg popularnog hip hop benda na neobičnoj turneji po zatvorima Srbije.
Beogradski sindikalisti su štićenicima doma u svom uobičajenom revolucionarom maniru poručili da "život je jedan", i da ga ne treba protraćiti. Svoje poruke protiv korišćenja narkotika, ali i protiv sistema u kom živimo odrepovali su žestoki momci srpske muzičke scene. Publika je bila neuobičajeno pažljiva, mirna i disciplinovana za koncerte BS-a, i to je verovatno bila jedini razlika između ovog i avgustovskog nastupa sindikata u Valjevu. Zvuci poslednje pesme su celu salu digli na noge, a sindikat je dobio repersko pojačanje od strane oko 150 prisutnih štićenika. Inače, ova ustanova ima oko 250 štićenika, ali lica u istražnom postupku i samačkom odeljenju nisu mogli da prisustvuju koncertu, kao i oni koji su otišli kući za vikend. Na kraju momci iz Sindikata su podelili momcima iz Doma svoje diskove, spremni da popričaju sa svakim, rukuju se, zagrle.
Na samom početku koncerta, Sindikalisti su priznali da nikada nisu imali takvu tremu, ali posle nekih sat vremena Ognjen nije krio zadovoljstvom ovim nastupom: "Mnogo nam je drago što smo ovde, što smo imali priliku da nastupamo pred ovim mladim ljudima. Bitno nam je da čuju našu poruku, da znaju da nisu sami, da ih stimulišemo da razmišljaju na drugi način i izaberu sutra neki drugi život. Bez kriminala, bez nasilja, bez droga." Na pitanje šta ih to motiviše na ovakve akcije i šta im je satisfakcija za ovakav društveni angažman, Ognjen priznaje:
"Ovakve stvari radimo zato što niko drugi neće. Naša misija je da utičemo koliko možemo na mlade ljude da se okrenu nekim pozitivnim stvarima. Nikad nam novac nije bio motiv da se bavimo muzikom. Jasno nam je da od ovakve muzike u Srbiji ne možeš da živiš. Mi svi imamo svoje poslove, zato možemo da priuštimo sebi da dođemo ovde i o svom trošku ulepšamo dan ovim ljudima. To vredi. Pre četiri godine nismo ni sanjali koliko će naša muzika imati uticaj, ni na mlade ljude, ni na one gore, koji se prave da ne čuju, a čuju jako dobro. To nema cenu. "
Na kraju nastupa Beogradski sindikat se zahvalio upravi valjevskog Kazneno- popravnog zavoda što im je pružila mogućnost da u njemu nastupaju.
Upravnik Kazneno - popravnog zavoda, Slobodan Arsenijević, takođe je zadovoljan posetom Sindikata i kaže da ova ustanova često organizuje različita dešavanja kulturnog ili edukativnog značaja. Krajem leta održana je tradicionalna likovna kolonija, predstava valjevske Male scene ,,Kovači" je nedavno imala i svoju zatvorsku premijeru, a mladi Valjevac Nikola Božić je pre nekoliko dana držao predavanje o astronomiji.
,,Ovakva dešavanja su dobro prihvaćena od strane osuđenika, u takvim situacijama nikada nema problem, a i inače, naši problemi u ovoj ustanovi mogu da se svedu na sukobe između samih osuđenika. Kada nam dolaze ljudi dobre volje sa željom da prenesu kvalitetne poruke, uvek su dobro prihvaćeni od strane lica koja su ovde na izdržavanju kazne. Naši štićenici kad izađu u grad i sretnu sugrađane koji su gostovali na našoj scenu sa njima imaju prijateljski odnos i uvek rado popričaju. Često se interesuju hoće li biti nekih dešavanja, hoće li se nešto organizovati. Ovakve aktivnosti našim štićenicima dosta znače," dodaje Arsenijević. Kazneno popravni dom za maloletna lica u Valjevu je organizator i Festivala osuđeničkog stvaralaštva koji se održava u maju, konkursa za najbolji prozni i poetski rad na kome učestvuju osuđenici svih zatvora u Srbiji.
Kada su uslovi za život i rad osuđenika na izdržavanju kazne u valjevskom zavodu u pitanju, bitno je reći da je ova institucija trenutno uključena u nekoliko značajnih projekata. Zahvaljujući OEBS-u sprovodi se obuka za zatvorsko osoblje, odnosno vaspitače koji rade sa osuđenicima. Savet Evrope je omogućio studijske posete čija je svrha upoznavanje načina funkcionisanja drugih sistema izvršavanja kazni, u cilju primene individualizovanih programa tretmana osuđenika osuđenih na dugogodišnje zatvorske kazne.
,,Pre nekoliko dana je u okviru projekta koji finansira Evropska agencija za rekonstrukciju stigla značajna pomoć u opemi, komplet kuhinjska oprema, u toku naredne nedelje stiže računarska oprema, a do kraja godine oprema za obuku osuđenika, metalska, stolarska, pogon za našu ekonomiju. Samo traktor, najnovijeg tipa sa klima uređajem, koji ustanova dobija vredi preko 30 000 EUR. Zahvaljujući ovim donacijama uspećemo da napravimo 26 vrsta radionica u kojima će se osuđenici obučavati za određena zanimanja," kaže upravnik valjevskog kazneno- popravnog zavoda.
Od vaspitača ove ustanove saznajemo da uskoro kreće i projekat "Ustanova bez droge", koji podrazumeva da osuđenici potpišu dozvolu da se u određenim intervalima testiraju na postojanje narkotika u krvi. Ovaj program koji će se sprovoditi i u drugim zatvorima u Srbiji ima za cilj da smanji nedozvoljenu upotrebu narkotika od strane osuđenika, ali i da blagovremeno uputi iste na odgovarajuće tretmane. Po nezvaničnim podacima koje smo dobili u valjevskom Kazneno - popravnom zavodu oko 30% osuđenika imalo je probleme sa drogom, ali je taj broj iz godine u godinu u stalnom porastu. To govori i da je stopa porasta kriminala na našim ulicama u određenoj meri posledica korišćenja opojnih droga.
A između ostalog borba protiv droga je ono na šta nas Beogradski sindikat svojim stihovima poziva.
Meho, kako je izgledao vaš nastup u zatvoru?
Narezaću ti DVD da vidiš, a pre toga, imaš ovde tekst o tome: http://cvecezla.mojblog.co.yu/permalink.aspx?id=40245
Christian Johnson ("September Tapes") will write and direct the three-feature "Blackline International Trilogy" for Issa's Signature Productions. The films will be inspired by the recent Blackwater incidents resulting in the death of Iraq civilians says The Hollywood Reporter.
Each film centers on Blackline International, a fictional private military corporation. The first film, "Blackline: The Beirut Contract" revolves around three of its soldiers for hire and their mission to rescue a man taken hostage in Beirut after negotiating for peace among warring factions.
The filmmakers plan a same-day release of a video game and interactive DVD allowing users to duplicate the experiences of the main characters and explore alternate versions of the story line.
Principal photography on "Contract" begins this month in Beirut, with additional photography in Paris and Morocco. The subsequent two films in the trilogy will film in first-half 2008 in Russia, Poland and Venezuela.
Video Game Nasties: Hottest Banned Games
Only a few games have been officially deemed unfit for sale. Put good taste aside and check out these banned bad boys.
By Mike Smith
Video games have a long, storied history of going a little too far. It's only natural: controversial games get publicity, and violence seems to sell almost as well as sex. Game developers eager to capture the baser instincts of their audiences tend to push the envelope, and they've overstepped the bounds of good taste on no shortage of occasions.
Although the First Amendment protects these developers to some extent in the U.S. (for the time being, at least), the industry-run body responsible for age-rating video games has the power to hand out the dreaded 'AO' (adults only) certificate that effectively prevents any mainstream store from stocking a game: a de facto ban, in other words. Overseas, governmental bodies have censored or banned games in countries like the UK, Germany, Australia, Saudi Arabia, and China -- and not necessarily the ones you might expect. Read on for an overview of gaming's most infamous banned games.
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Carmageddon (SCI)
It's not hard to see why Carmageddon ran into trouble. Although it has the outward appearance of a conventional racing game, underneath its veneer-thin skin beats the heart of a vicious, violent and downright irresponsible smash-em-up racer where running over pedestrians isn't just accepted, it's actually encouraged. In other words, it's tremendous fun. Initially banned by censors in the UK, the ruling was eventually overturned on appeal -- but for a while, British consumers looking for high-octane, pedestrian-crushing thrills had to make do with a version of the game that replaced the passers-by with green-blooded zombies.
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Wolfenstein 3D (Apogee Software)
Classic first-person shooter Wolfenstein 3D ran into a heap of trouble at its release in Germany, where stringent legislation prevents the sale of material depicting symbols associated with the Nazi administration. Castle Wolfenstein, where the game was set, prominently featured swastika logos, and the game used the Nazi party's anthem as its theme song. This didn't sit well with the German courts, which banned various versions of the game in the mid-90s.
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Mortal Kombat (Midway)
One of the original video game nasties, this classic beat-em-up is pretty pedestrian by modern standards. But its release on home consoles, complete with all the over-the-top violence that's become its trademark, came close to prompting a Congressional investigation into the game industry's tactics. Fortunately, the industry association at the time had the foresight to form a self-regulating body that would issue age recommendations to all video games before they went on sale, preventing violent or explicit games from falling into the hands of minors. The Entertainment Software Rating Board, or ESRB, born.
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Grand Theft Auto: San Andreas (Take 2)
San Andreas shot to fame for all the wrong reasons following the release of the PC version of the game in 2005. Already a lightning rod of the games-are-evil crowd, the game's notoriety exploded when it emerged that it contained a hidden mini-game, dubbed "Hot Coffee," featuring the star, um, getting affectionate with an admirer. Not only were they both clothed, but you couldn't actually play the mini-game without modifying the software, which wasn't exactly easy. None of this mattered to the ESRB, however, which slapped an "Adults Only" rating on the title, and it disappeared from shelves until Rockstar removed the offending content and re-released the game.
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Pokemon (Nintendo)
Nintendo's smash hit Pokemon series earned a ban not for its devastating addictiveness or terrible TV show spinoffs, but for promoting Zionism. Who'd do something like that? That Mecca of religious tolerance, Saudi Arabia, that's who. The Islamic state's religious authorities handed down a ban on all Pokemon material in 2001 over the game's use of six-pointed Star of David symbols and alleged encouragement of gambling. Pikachu, I ban you!
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BMX XXX (Acclaim)
Although this spin-off of Acclaim's Dave Mirra-endorsed extreme sports games gained the reputation of being crammed to the gunwales with nudity, you actually had to play some considerable distance into the game to unlock the "goods." Thankfully, the game was so crummy that nobody bothered. That didn't stop the notoriously harsh Australian equivalent of the ESRB from banning the game, although it was released in uncensored form on the Xbox and Gamecube in other territories.
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C&C: Generals (EA)
Where to start? It's hardly the most controversial game on this list, but Generals managed to fall foul of authorities in two of the most ban-happy countries in the world: Germany and China. German censors objected to the game's fictional depiction of the Iraq war, which had yet to take place at the time of the game's release, and the game was re-cut to remove these references. Meanwhile, the Chinese government banned the game for "smearing the image of China and the Chinese army."
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Football Manager 2005 (Sega)
Who'd ban a harmless soccer management sim like this? Did it have hidden footage of players "celebrating" in the locker rooms after the game? Could you tackle opponents with a chainsaw? No - Football Manager 2005's crime was, in the view of the Chinese government, including teams from Tibet, Hong Kong and Taiwan alongside the Chinese national team. Shocking stuff, right? The ban was especially surprising given that, at the time of the ruling, the game had not been released in China, and was only available through the country's thriving black market.
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The Guy Game (Gathering of Developers)
Combining footage of topless girls and trivia questions in a hideous sort of Girls Gone Wild meets You Don't Know Jack mashup, The Guy Game was hardly the pinnacle of the video game art form. But not only did this ill-conceived mix of trivia and titillation actually go on sale, it remained available for a few months - until an anonymous young lady filed suit against the game's developer, its publisher, and console manufacturers Sony and Microsoft. She alleged that the game contained footage of her, topless, taken during a South Padre Island "Hottie Challenge" contest...when she was 17, and underage. Oops. The Guy Game disappeared without trace, and its developer Top Heavy Studios, thankfully, did likewise.
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GRAW2 (Ubisoft)
On the face of it, this run-of-the-mill Tom Clancy action thriller doesn't inspire outrage. But take a stroll south of the border, down Mexico way, and you may find a different perspective. Advanced Warfighter takes place just across the US-Mexico border, and has the player's team of crack soldiers fighting South American rebels and yes, Mexicans. This didn't go down well with the governor of Chihuahua, who issued an order seizing all copies of the game. Viva la revolucion!
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Manhunt 2 (Take 2)
Surely the highest profile banned game since the Hot Coffee fiasco, "murder simulator" Manhunt 2 - another title from Grand Theft Auto dev Rockstar - was initially refused certification by just about every ratings board on the planet. Even the ESRB handed it the little-used AO rating, effectively banning it in the States. Undaunted, Rockstar delayed the title to October 31 to give them time to make edits and re-submit it for classification. Manhunt 2's recut version successfully earned a "Mature" ESRB rating in the US, but was again rejected by the British board of censors. Whether or not it'll ever see release in the land of warm beer and bowler hats still remains to be seen.
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Neolithic nymphs' passion for fashion
By Ljilja Cvekic
NZ Herald | 13 November 2007
Serbian girls wore miniskirts
7500 years ago.
If the figurines found in an ancient European settlement are any guide, women have been dressing to impress for at least 7500 years.
Recent excavations at the site - part of the Vinca culture which was Europe's biggest prehistoric civilisation - point to a metropolis with a great degree of sophistication and a taste for art and fashion.
In the Neolithic settlement in a valley nestled between rivers, mountains and forests in what is now southern Serbia, men rushed around a smoking furnace melting metal for tools. An ox pulled a load of ore, passing by an art workshop and a group of young women in short skirts.
"According to the figurines we found,
young women were beautifully dressed,
like today's girls in short tops and miniskirts,
and wore bracelets around their arms," -
said archaeologist Julka Kuzmanovic-Cvetkovic.
The unnamed tribe, who lived between 5400 and 4700 BC, knew about handcrafts, art and metallurgy. Near the settlement, a thermal well might be evidence of Europe's oldest spa.
"They pursued beauty
and produced 60 different forms of wonderful pottery and figurines,
not only to represent deities,
but also out of pure enjoyment," -
said Kuzmanovic.
The findings suggest an advanced division of labour and organisation. Houses had stoves, there were special holes for trash, and the dead were buried in a tidy necropolis. People slept on woollen mats and fur, made clothes of wool, flax and leather and kept animals. The community was especially fond of children. Artefacts include toys such as animals and rattles of clay, and clumsily crafted pots apparently made by children.
One of the most exciting finds was the discovery of a sophisticated metal workshop with a furnace and tools including a copper chisel and a two-headed hammer and axe.
"This might prove that the Copper Age started in Europe
at least 500 years earlier than we thought," -
Kuzmanovic said.
The Copper Age marks the first stage of humans' use of metal, with copper tools used alongside older stone implements. It is thought to have started around the 4th millennium BC in south-east Europe, and earlier in the Middle East.
The Vinca culture flourished from 5500 to 4000 BC on the territories of what is now Bosnia, Serbia, Romania and Macedonia.
- Reuters
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg164.imageshack.us%2Fimg164%2F3118%2Fgetimgdp4.gif&hash=f1b5aea1ada0a077338f505bb9d08fb2db673c1c)
Haha, sjajno, i, uuuu, koliko teksta stane u malecni gif!!!
THE VAPORS casting news
Keke Palmer Set To Play Rapper Roxanne Shanté In 'The Vapors'.
by Wilson Morales
Blackfilm.com has learned that Keke Palmer, who received critical acclaim for her role in 'Akeelah and the Bee', has been cast to play rapper Roxanne Shanté in the independent film, 'The Vapors'.
Set against the backdrop of New York City's infamous Queensbridge Housing Projects, The Vapors tells the story of Marley Marl, Biz Markie, Big Daddy Kane, Roxanne Shanté and the Legendary hip hop group "The Juice Crew". Clifton Powell (Ray) has also been cast to play hip hop DJ and radio host Mr. Magic.
The Juice Crew, founded by Mr. Magic's on-air assistant, DJ and Marley Marl, was named after one of Magic's aliases, "Sir Juice. Crew members included Marley Marl, Mr. Magic, MC Shan, Big Daddy Kane, Biz Markie, Craig G, Tragedy Khadafi, Kool G Rap & DJ Polo, Masta Ace, Roxanne Shanté, TJ Swan, and Cool V.
Marlon Williams (Marley Marl), Antonio Hardy (Big Daddy Kane), and Dr. Lolita Gooden (Roxanne Shante) are Associate Producers on the film, while Furqaan Films will produce the film.
Palmer is also a singer, having signed a record deal with Atlantic Records.
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+ poklon CD BRUJERIA - Mextremist Hits
za ljubitelje najextremnijeg zvuka - cena paketica je SAMO 799 dinara.
Ne seri da još ima primeraka Acroholie??? Moram da odem do Mordora danas da ispazarim nekoliko, ljudi mi traže a ja nemam... Čak ga više nemaju ni svi članovi benda jer su poklanjali unaokolo. Mislim, album je OČAJAN, ali treba imati uspomenu i na očaj...
A nemam više ni Bethora, i to ću da kupim, a, uuuuu, izašao je i split Necrophiliac's Terror i Disfigured, koji sam u stvari kupio kod Đoleta Felixa pre neki dan i užasnut preslušao kod kuće. Sve je loše al onaj deo gde ja pevam je najgrđi... Jebote, kakva smo nepočinstva radili kao mladi...
Evo ti ideja čime ćeš me obradovati za Novu godinu.
The Satanic Angels
Malaekat Al-Shaytan (Morocco)
By JAY WEISSBERG
'Satanic Angels'
A Moroccon teen metal band faces scrutiny in 'The Satanic Angels.'
A Boulane O'Byrne Prod., Cinedina Studios, 2M Soread production. (International sales: Redfern Film, London.) Produced by Ahmed Boulane, Sarim Fassi-Fihri. Directed, written by Ahmed Boulane.
With: Rafik Boubker, Driss Roukhe, Amina Rachid, Amal Ayouch, Mansour Badri, Younes Megri, Fahd Benchemsi, Youssef Chakiri, Amal Chabli, Youssef Britel, Najat el-Wafi, Salah Dizane, Mohamed Karrat, Karima Skalli, Rachid Fekkak, Mehdi Ouazzani, Nadia Niazi, Malika Hammaoui, M'hamed Ouaglou, Toufik Kamal, Belkacem Boutayeb, Med el-Habib Hamdane, Elhachmi Benamar, Ahmed el-Maanouni, Sarah Ogden, Oumnia Ben Mansour.
(Arabic, French dialogue)
A heavy-metal band is arrested for "shaking the foundations of Islam" in "The Satanic Angels," an accomplished, at times gripping critique of contempo Morocco that refreshingly adds another dimension to the usual cinematic treatments of the country. Basing his script on a real case, sophomore helmer Ahmed Boulane fearlessly places blame at nearly all levels of society, using the sheer absurdity of the charges to highlight the increasing grip of fundamentalism on an ostensibly secular state. Despite occasional sound problems, pic -- a major hit at home -- is eminently exportable.
Casablanca, 2003: As in every city the world over, heavy metal and goth culture have their share of devotees, expressed not just through music but through the uniform of long hair, black T-shirts and multiple piercings. Band member Ali (Fahd Benchemsi) gets help from friends cleaning up the rehearsal space so they can throw a welcoming party for his American g.f., Ariane (Sarah Ogden).
Without warning, the authorities raid the den, rounding up 14 members after making sure the American is escorted out of Morocco. Who ordered the arrests is unclear, but conservative elements are quick to spread lurid rumors, full of accusations of satanic rituals.
Most of these kids come from solidly middle-class homes, such as Momo (Youssef Chakiri), whose cosmopolitan parents (Younes Megri, Nadia Niazi) recruit crusading journalist Hakim (Mansour Badri) when their son is arrested at home, his Metallica posters confiscated as evidence.
Short but powerful trial scene reps the strong heart of the picture, as the youths are defended by lawyers (Elhachmi Benamar, Amal Ayouch) who remind the judge that neither musical tastes nor black T-shirts are legally proscribed. The case becomes a cause celebre, attracting partisans from all levels of society.
Pic opens and closes with concert footage of the loud but mediocre band, composed of harmless kids having fun with a style that has as much hidden meaning as most other antiestablishment fashions trying too hard to get noticed. Boulane shows how linking devil worship to clothing choice -- remember the controversy over Ozzy Osbourne and Marilyn Manson? -- can be turned into a dangerously insidious form of control. He also metes out harsh judgment on the media, police and judiciary for allowing Morocco to be hijacked by Islamists intent on transforming a semi-open society.
Despite a final victory of sorts, pic is a cry of frustration, as Momo's father, jailed as a youth for democratic activities, declares that nothing has changed in the country. Ending title about a fundamentalist suicide bomber drives home the increasingly divisive problems Morocco and the whole region are facing.
Helmer scrupulously avoids saying whether the king (an untouchable figure) ultimately intervened in the case, but hints at tensions between the Islamist juggernaut and the more liberal monarch.
Lensing is smooth, and Boulane does well to refrain from flourishes in the courtroom scene, thereby subtly building the thrust of the lawyers' arguments. An early, gratuitous flashback serves no purpose, while a teasing hint of violence at the start confuses without increasing tension. Sound balance is a problem, especially when music drowns out dialogue.
Camera (color), Serge Hannecart; editor, Arbi Ben Ali; music, Joel Pellegrini; production designer, Dana Schondelmeyer; costume designer, Khalil Boulane; sound (Dolby SR), Mohamed Bounouar; associate producer, Nejib Ayed; assistant director, Elyes Zrelli. Reviewed at Cairo Film Festival (Arab Competition), Dec. 5, 2007. Running time: 86 MIN.
Odličan je tekst za Backbone, nadam se da ćeš se češće osvrtati na domaću scenu....
Joj, ovo mi je bio jedan od najtežih prikaza... Nekoliko puta sam ga menjao a Nebojša je izgubio ono malo kose na glavi.. Koliko je lako ispasti arogantni naduvenko, čudo jedno... Čak i u ovoj finalnoj verziji sam priličan negativac.
Who Killed Fat Rap?
Friday January 04th 2008,
Filed under: Print Work, The Unkut Opinion, Uptown Kicking It, Video Clips
Written by Robbie
You may not have noticed, but there seems to be some kind of conspiracy to eliminate the "big-boned" rap star. It's bad enough that the fast food spots are slinging salad in an attempt to halt the Subway juggernaut, but now fat rappers seem to have gone the way of the laser disc. Was it so long ago that cholesterol-charged lardo's such as Heavy D were proudly making songs like "Overweight Lover" and "Chunky But Funky"? From the Fat Boys to Chubb Rock, B-Fats and the 2 Bigg MC, the 80's were a celebration of all things deep-fried. The trend got so big that Arsenio Hall recorded an entire parody album under the alias of Chunky A! Even the ladies got involved, as KRS-One's super-sized ex-wife Ms. Melodie and The Overweight Pooch attempted to be large and in charge.
Could it be that the untimely deaths of two of the most notorious fatties in hip-hop was seen as something of a wake-up call to future donut-scoffing MC's? Sure, Biggie Smalls was a proud fat man with no intention of curbing his cake intake as he blazed up the charts during his reign at the top, and his murder had no obvious connection to his obesity, but you can't help but think that a slimmer man might have made for a harder target for those LA hitmen. No such grey area exists in the case of Big "Moon Dog" Punisher, who was blessed with a gift for amazing multi-syllable verses and a hunger for all things filled with custard. In between pistol-whipping his wife and eating three whole BBQ chickens for a breakfast, the big fella weighed 700 pounds at one stage!
Whether a direct result of these big units croaking or pressure from their publicists, a number of flab factories have traded love handles for athletic sandals in an attempt to slim down. Timbaland and Missy Elliot have both shed major pounds in recent times (although it could be argued that this is more of a result of massive pill popping rather than fitness regimes), and just recently KRS-One announced that will be following Biz Markie by appearing on Celebrity Fit Club! This madness is clearly the work of notorious light-weight Snoop Dogg and the Scientologists. We as the record buying public need bring back fat rap before valuable institutions such as KFC are lost forever.
When Jay-Z stepped down from his position as president of Def Jam last month, rumors began to fly about the mogul's next move. Now it looks like Jigga will be going digital with a new Apple record label.
Yesterday (Jan. 3) technology blog, The Boy Genius Report, "just about confirmed" that Jay will be launching a digital record label with Apple, after speaking to close sources connected with the rapper. In this SOHH exclusive we talked to the Boy Genius himself about the deal and about how this new label could potentially change the music industry.
Though the news won't be officially announced until later this month at Macworld - Apple's annual expo where new products and ventures are revealed - he has his own predictions as to what the deal will entail. He believes that the former Def Jam prez will be brought in to attract and develop artists, but won't necessarily be running the label.
"From what I've heard, Jay is simply the first person attached to it," Boy Genius told SOHH. "He'll obviously help with the urban division. I'm also hearing there will be a rock, and pop division so I'd expect other high-profile artists to be attached to that in terms of providing content."
"Personally, I think it's a great idea," Boy Genius said of the possible partnership. "Traditional labels have failed to embrace the digital medium as effectively as they should have, and they've either got to make some serious changes, or they will be out of business pretty soon. With this deal, Apple would also own content. Jay and Apple love to be first, and this fits. They're going to change the whole blueprint, so to speak."
Evo, kome treba novi Vu Teng, ja aploudovo:
http://rapidshare.com/files/81285013/Wu-Tang_Clan_-_8_Diagrams.rar.html
One of the greatest graphic novelists ever, Alan Moore, has proven quite famous for being very unhappy with adaptations of his works.
It's understandable though - "From Hell" and "The League of Extraordinary Gentlemen" were cinematic trash and barely resembled their intricately detailed and brilliant literary counterparts. Even "V for Vendetta", which I love as a film, strays away quite a bit from Moore's original work.
Now though with "Watchmen", one of his most famous works being adapted, many have expected he would have something to say. Original artist Dave Gibbons, Moore's collaborator on the graphic novel, has already stated that he's very happy with how it's going and that the film looks surprisingly accurate.
Moore on the other hand now tells Wizard magazine that whatever the case, he's no interest in it - "I got a piece of paper - they must've learned something from the V for Vendetta debacle. I got a piece of paper a couple of months ago saying, 'I, the undersigned, hereby give you permission to take my name off of the film and to send my money to Dave Gibbons.' So I sent that back to them all signed and sealed, which means that now I don't have to rant and spew about the film."
Moore goes on saying "I'm just simply not interested in it...I don't really know much about it. I believe that it's going ahead. I won't be watching it, obviously. I can at least remain neutral to it as long as they're taking my name off of it and not playing these silly, ultimately futile games like they were doing last time, which worked out so well for them. No, I'm keeping well away from all of that."
Meni su Rogosici ipak najjaci diskografi, samo za Mehmeta moram da pastujem najbolje delove njihovog novog newslettera...
1) CD-i domacih bendova po sumanutim cenama
ili kako je propala domaca metal & punk & HC scena
Prvo da unapred odgovorim na pitanja koja ste nameravali da mi uputite i tako izbegnem dosadan posao odgovaranja na ista & slicna pitanja:
Da li je to moguce? U pravu ste - nije moguce! Nije moguce da disk domaceg benda kosta samo 99 dinara. Da, to je manje od pakle osrednjih cigara, to je pola cene stranog piva u osrednjem kaficu, to je par SMS poruka, paklo ipo zvaka... Naravno da je to mnogo manje od proizvodne cene diska. Pa kako nam se to isplati? Pa ne isplati nam se. A zasto ovo radimo? Posto domacu scenu pratim vec 30-tak godina, sasvim odgovormo mogu da kazem da situacija (makar sto se tice izdavastva u zemlji) nije nikad bila gora. Ljudi su jednostavno prestali da kupuju albume domacih bendova, a sa druge strane - bendova nikad vise! I svi kao nesto snimaju, traze izdavace, ljute se kako to da niko nece da im objavi album koji je pravi "biser"...
MALA RACUNICA
U zemlji radi preko 400 metal bendova, kad na to dodamo i HC i punk grupe - dolazimo do cifre od 1000 aktivnih bendova. Ako je prosecno 4 coveka u bendu, znaci imamo 4000 aktivnih muzicara u bendovima, i makar jos toliko koji sviraju u svojim sobama i traze srodne duse da osnuju bend.
Da svako od njih kupi po makar jedan originalni disk stranog ili domaceg benda mesecno - to bi bilo preko 8000 diskova i izdavacke kuce bi itekako mogle da rade, ulazu u bendove, objavljuju nova izdanja... Ali desava se sasvim suprotna stvar! Cim neki deckic koji je do juce kupovao diskove osnuje ili zasvira u nekom bendicu o kome neki sajtic objavi par pohvalnih redova - nos se dize do neba, i doticni "muzicki znalac" prestaje da kupuje diskove, jer zaboga, on je muzicar i od sada pa doveka - drugi treba da kupuju njegova dela. A tih drugih - naravno nema.
Zato je i scena dosla u corsokak najgori u dosadasnjoj istoriji rock/metal/punk... muzike u zemlji.
Zato smo odlucili da stvar dovedemo do apsurda i da na taj nacin pokusamo da vas probudimo, ili da makar izazovemo osecaj grize savesti. Nudimo vam diskove domacih bendova po ceni koja je niza i od one po kojima se prodaju "djubre-diskovi" City Recordsa po kioscima.
Znaci, veciti izgovor "diskovi su skupi, a ja nemam para" - ovaj put definitivno otpada.
Ovaj newsletter je kao i obicno poslat na preko 1000 adresa. Bas me zanima da li ce vas odziv biti - kao i obicno, tj. da svega 5-6 ljudi naruci po disk-dva.
OK, idemo na ponudu:
DOMACI DISKOVI (metal, punk, rock...) ZA SAMO 99 dinara:
1) AVERNA - Message From The Heights... (death metal)
2) BUSMANI - Busmani (punk rock)
3) COBI'S DEATH / WRUM / M.A.D.- 3-way split (death/grind - cyber deathcore - deathrash)
4) DINGO EXPRESS - Da li su vam svinji bolesni? (Rock'n'Boogie)
5) DRUGI DAN NA ZEMLJI - Antimon (psichodelic progressive rock)
6) FLUSH - Piece Of Hell (thrash metal)
7) KITSCH ENSEMBLE - kitscensEP (alternative indi rock)
8) TESKA VREMENA - Vatra na nebu (progressive hard rock)
9) V/A - Demo Express 202 vol.1 (najbolji mladi domaci rock, metal, punk... bendovi)
10) V/A - Demo Express 202 vol.2 (najbolji mladi domaci rock, metal, punk... bendovi)
11) EL-RAY - Jackpot (blues-rock)
12) SO SABI - Porque Non me Queries (afro-pop/rock)
13) SPOMENKA - Ti znas (bluesy rock)
14) SMAJSER - Kursum (garage rock)
15) MIST - Mirror Reflection (indie alter rock)
16) USPOMENA IZ SOKOBANJE - Projekat 96/97 (melodic punk)
17) SCHIZOPHRENIA - No Remorse (garage rock)
18) NABLA - Nabla (thrashcore)
19) HOSENFEFER - Keep on drivin' (garage RnR)
20) HOSENFEFER & BORIS - You Think I'm Psycho, Don't You Mama? (psycho-horror garage)
21) BEAUTIES - Petak 13-ti, subota 14-ti (melodic punk)
22) PATHOLOGICAL SPLATTER - Humanhunt (gore grind death metal)
23) NAILED CUNT - In Memoriam To Bitches & Whores (atmo death metal)
DOMACI DISKOVI (metal, punk, rock...) ZA SAMO 199 dinara:
1) ACROHOLIA - Ecocide (grindcore)
2) ASSIGNMENT - Progressive Changes (progressibe metal)
3) BETHOR - A Tribute to BATHORY (black BATHORY metal)
4) DRACONIC - Conflux (progressive avantgarde black metal)
5) ENJOY SARMA - No Fake Smiles (power thrash metal)
6) KRALJEVSKI APARTMAN - Long Live Rock'n'Roll (1.album, hard'n'heavy)
7) KRALJEVSKI APARTMAN - Izgubljen u vremenu (2.album, hard'n'heavy)
8) KRALJEVSKI APARTMAN - Rocker (3.album, hard'n'heavy)
9) PHOBIA - Druga strana ulice (raging street punk)
10) TORNADO - Tornado (power sympho metal, 1.album)
11) TOTALNI KLOSARI - kakva korist od nasLOVA (street punk)
12) V.I.T.R.I.O.L. - In the Beginning (neo-rennaisance Tolkin's ambientals - early works 1991-2005)
13) V.I.T.R.I.O.L. - Songs Of Faires (neoclassical rennaisance accoustic Tolkin's ambientals)
14) AGONIZE - When Memory Dies... (melodic death metal)
15) ALKATRAZ - Alkatraz (socio-metalcore)
16) GOODEYECLOSED - Goodeyeclosed (metalcore)
17) PUNISHED - ...End? (2.album, thrashcore)
18) PUNISHED - Toward The Individualism (4.album, thrashcore)
19) RAIN DELAY - As I Bequeth My Yesterday (doom metal)
20) USUD - Creator's Sorcery (melodic & technical death metal)
21) DISMISSED - Outnumbered (HC/metal)
22) RITAM NEREDA - Poriv (cult Oi!/punk/metal)
23) BIJELO DUGME - Iz sve snage (70's rock)
24) MARON SHO - Yellow Magic Can (alter rock/pop gothic)
25) SASA LOKNER - Evropa Elektro Express (electro pop instrumentals)
26) LONESOME BOB TILLY - Feel So Lonesome (accoustic blues)
USLOVI PORUCIVANJA:
Minimalna porudzbina je - 3 diska (bez obzira da li kostaju 99 din ili 199 din). A zasto mora 3? E zato da se ne bi maltretirali da pakujemo, saljemo, nosimo na postu... paketic sa jednim diskom koji kosta svega 99 din. Kada vec na ovoj akciji gubimo lovu, mozemo i da biramo nacin na koji cemo da je gubimo, jel' tako?
Da bi postarina bila manja, diskove saljemo BEZ plasticnih kutija. Postarina za posiljku diskova iz ove ponude je SAMO 140 din, bez obzira koliko diskova porucite, pa makar porucili i 50 diskova.
Po ovoj sumanutoj ceni diskove iz ove ponude mozete kupiti SAMO putem pouzeca - postom (znaci, NE MOZETE ih po ovoj ceni kupiti u Mordoru, ili bilo kom drugom music shopu).
Ova ponuda VAZI DO 20. februara 2008. - pa pozurite...
Uh, drago mi je makar što oba izdanja na kojima ja sviram ipak koštaju 199 a ne 99 dinara. Lepo je biti u elitnoj polovini, zajedno sa Dugmetom i Lokcem...
kriple, zabroavio si da dodaš:
Quote7) USKORO NOVA REX IZDANJA
Iako je izdavacka delatnost u zemlji Srbiji odavno postala "nemoguca misija" mi se jos uvek ne predajemo. Tokom februara i marta objavicemo 3 odlicna i znacajna albuma:
1) SKVO - Samo pokusavam da zivim
2) DINGO EXPRESS - Pozdrav iz Bugilenda
3) SHADOWDREAM - Carstvo tisine
Vise informacija u ovim albumima u narednom newsletteru koji ce u vas mailbox stici - very soon!!!
nova izdanja su uvek veselje, i zato skidam kapu REX RECORDSu.
Deep Purple svira za Putina i Medvedeva
Doajeni hard rocka Deep Purple će sledeće nedelje održati koncert u Moskvi u organizaciji Gazproma, povodom 15 godina postojanja ove državne firme - budućeg većinskog vlasnika NIS-a.
Koncert bi trebalo da bude zahvalnica Dmitriju Medvedevu, velikom fanu ovog benda, koji je nedavno otišao sa pozicije šefa ove firme da bi se idućeg meseca kandidovao na ruskim predsedničkim izborima, navodi Guardian.
Medvedev je veliki fan Deep Purplea koji se prošlog meseca u medijima hvalio kako poseduje čitavu diskografiju ovog benda.
Koncert će biti održan 11. februara unutar državne palate Kremlj, u koncertnoj hali iz doba Sovjetskog Saveza, a koncertu će pored Medvedeva prisustvovati i aktuelni predsednik Ruske Federacije Vladimir Putin.
QuoteMedvedev je veliki fan Deep Purplea koji se prošlog meseca u medijima hvalio kako poseduje čitavu diskografiju ovog benda.
Nadam se da nije javno izletio s faktom da su to što on ima zapravo dva MP3 diska.
Quote from: "Harvester"QuoteMedvedev je veliki fan Deep Purplea koji se prošlog meseca u medijima hvalio kako poseduje čitavu diskografiju ovog benda.
Nadam se da nije javno izletio s faktom da su to što on ima zapravo dva MP3 diska.
Medvedev je veliki fan Deep Purple-a,isto koliko je i Kostunica ljubitelj The Residents-a.
Koštunica voli Stooges.
Gde je Ventolin ovde?
Akustični festival Gašini akordi u Starčevu
Četvrti po redu pop, rock i blues festival akustične gitare Gašini akordi biće održan Kreativnom kulturnom klubu u starčevačkom Domu kulture 14. i 15. februara.
Program se sastoji iz revijalnog dela u kome ce nastupiti bendovi Mr&Dr i Zona B, dva kruga takmičenja i završne session svirke. Ove godine je uvedena i kategorija za "mlade nade", tj. učesnike do 20 godina.
Na festivalu će nastupiti autori iz cele Srbije, a takmičenju će internacionalni karakter dati gost iz Zagreba – Ante Perković, koji će nakon toga, 17. februara nastupiti u klubu Šipražje.
Konkurs za takmičare traje do 10. februara; propozicije su sledeće:
Takmičarski repertoar mora biti iz oblasti pop-rock i blues muzike, izveden isključivo na akustičnoj gitari (solo – instrumental, duo gitara, trio gitara i/ili u pratnji vokala i/ili manjih perkusionih instrumenata – daire, zvečke, timpana, usne harmonike, violina, harfa...). U obzir dolaze i ,,egzotični" instrumenti – sitar, balalajka, ukulele... Moguća je ritam sekcija, ali ne i standardan komplet bubnjeva. Maksimalan broj ljudi na bini može biti – četiri. Tekst pesme može biti na srpskom ili stranom jeziku.
Finalno takmičenje se sastoji iz dva kruga i samog finala (proglašenje pobednika). U prvom krugu takmičarski nastup mora biti u trajanju do 8-10 minuta (dve - tri pesme). Autorske numere su poželjne (ne i obavezne) jer se od ove godine nagrađuju kao posebna kategorija. Takođe, ni vokal u pesmama nije obavezan, ali će se i on posebno nagrađivati. Takmičar koji prođe u drugi krug (ulazi 8 izabranih od strane žirija) izvodi pesmu po izboru (može i ponoviti jednu iz prvog kruga) u trajanju do 5 minuta. Kod ,,mladih nada" biće upriličen samo jedan krug i nastup u trajanju do 8-10 minuta.
Snimke pesama u bilo kom formatu, čitko napisan tekst (odnosi se na autorske pesme), imena i broj izvođača kao i kontakt zainteresovani treba da dostave organizatorima e-mailom.
Rezultati konkursa i konačni spisak učesnika biće poznati 12. februara.
Kategorije u kojima će biti proglašeni pobednici su, osim prva tri mesta u takmičarskom delu po odluci žirija i nagrade publike, najbolja autorska pesma i najbolji vokal. Pobednike očekuju novčane nagrade.
Vidi, ti se zajebavaš, ali ventolin zaista nastupa tamo. Doduše, bez mene pošto su istog dana The Thing u Beogradu a to ne mogu da propustim.
Šališ se?
Ne, bre, mrtav sam ozbiljan. Ozbiljno.
Finski metal sastav Nightwish nastupiće prvog dana Exita, 11. jula, na glavnoj bini festivala.
Prema saopštenju festivala, Nightwish je među bendovima koje srpska publika najželjnije očekuje.
U anketi Kontra magazina u kojoj su se posetioci izjašnjavali koga bi voleli da vide na ovogodišnjem Exitu, Nightwish je među 113 bendova zauzeo 11. mesto.
Lider benda, klavijaturista Tuomas Holopainen, opisao je stil Nightwisha kao ,,melodični heavy metal sa ženskim vokalom".
Basista i pevač Marco Hietala opisuje muziku grupe kao "film score metal".
Nakon odlaska dugogodišnje pevačice Tarje Turunen, u grupu je ušla Anette Olzon, koja peva na prošlogodišnjem albumu My Winter Storm u čijem je snimanju učestvovalo više od 170 muzičara.
Film "Hevi metal selo" režiserke Sung Hjung Čo na ovogodišnjem FEST-u
Jedan od filmova sa ovogodišnjeg FEST-a za koji vlada veliko interesovanje je i film režiserke Sung Hjung Čo - "Hevi metal selo" koji istražuje čudnovat i vrlo prijateljski sudar dve kulture dokumentujući život u Vakenu, seocetu u Nemačkoj. Identitet i kohezija vakenske zajednice sada najvećim delom potiče od "Vaken Open Era" koji je sa 40 000 posetilaca jedan od najvećih hevi-metal festivala na svetu. Sung Hjung Čo, Korejka po rođenju, oslikava portret sela i njihovih stanovnika, ispunjen delićima ratarske mudrosti, pobožnosti i provincijske lepote, smeštene spram ludila hevi-metal festivala koji se svake godine iznova ponavlja. :lol:
Haha, dobro zvuči.
Ne znam za Waken (ili Wacken? nisam siguran kako se piše), ali ja sam pre dve godine svirao u Češkoj na Obscene Extreme festivalu koji je opštepriznat kao 'the most extreme festival in the world'. To se odvija u malom mestu Trutnov, na severu Češke, koje je tik uz Poljsku granicu (ako me nisu slagali da je ono gore Poljska) i ima nekih 30,000 stanovnika. Na festivalu je, te godine kad sam ja svirao bilo oko 3,000 posetilaca, dakle 10% ukupne populacije Trutnova. Plus, jelte, sve death metalci, grajnderi i slični 'ekstremisti'. E, sad, ne samo da nisam video ni jednog policajca na dva kilometra u krug oko festivalske poljane, nego je i obezbeđenje na istom bilo sastavljeno od mršavih, simpatičnih momaka u bermudama i sandalama koji su nam uglavnom objašnjavali gde je WC i gde može da se kupi pivo. Tokom dva dana tamo nisam video nikoga da je povratio na zemlju niti da se drao, pišao u javnosti, a nekmoli potukao. Jebote, ta Evropa je zaista šokantno uznapredovala u odnosu na Serbiju.
Ako u toj Evropi ne može da se piša na sred ulice, koji ćemo moj tamo???
Quote from: "DušMan"Ako u toj Evropi ne može da se piša na sred ulice, koji ćemo moj tamo???
Ne brini, Dušmane, u Evropi može i da se piša i da se povraća gde ti srce želi. Meho je bio u Češkoj, a to ti i nije baš Evropa, bar tako vidimo mi iz Evrope.
Quote from: "Cornelius"Quote from: "DušMan"Ako u toj Evropi ne može da se piša na sred ulice, koji ćemo moj tamo???
Ne brini, Dušmane, u Evropi može i da se piša i da se povraća gde ti srce želi. Meho je bio u Češkoj, a to ti i nije baš Evropa, bar tako vidimo mi iz Evrope.
A ja čuo da su u nekim zemljma te Evrope metlica i lopatica obavezan rekvizit, pa kad se odradi sranje (ili nešto slično) na sred ulice, sve se lepo pokupi i odloži na mesto koje je predviđeno za takve stvari!
Moj drug je bio na Wackenu, Meho ga možda zna, Pera iz Kragujevca, iz BUTCHERIAN VIBE ekipe i kaže da se super proveo.
>> Sweet Child O' Mine <<
London is the future of rock 'n' roll
Slash from Guns n' Roses has retired from the
hard drinking, smacked out, groupie-fuelled
rock scene to a world of suburban family bliss.
Almost. Mr and Mrs Slash have two cute little
boys Cash, age three, and London, who is six.
London may be a chip off the old block.
A babysitter got the full force of Slash Jnr's
charm. She was accosted by London with the words
You can't get past me unless you take off your
clothes - you're hot! And when she went to
kiss the boys goodnight he told her he wanted
to stick his tongue down her throat. Alas sleep
didn't come and the boys began to figh. When
Cash started crying to London You've hurt my
balls again, the babysitter decided that
night would be her last.
Mao proposed 'exporting' millions of women to US
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Mao and Kissinger in 1973.
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NZ Herald,?14 February 2008
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MAO Zedong proposed sending 10 million Chinese women to the United States, in talks with top envoy Henry Kissinger in 1973, according to documents released by the US State Department.
The Chinese dictator said he believed such emigration could kick-start bilateral trade but could also "harm" the US with a population explosion similar to China's, according to documents covering US-China ties between 1973 and 1976.
In a long conversation that stretched past midnight at Mao's residence on February 17, 1973, a cigar-smoking Mao referred to the dismal trade between the two countries, saying China was a "very poor country" and "what we have in excess is women".
He first suggested sending "thousands" of women but as an afterthought proposed "10 million", drawing laughter at the meeting, also attended by Chinese prime minister Zhou Enlai.
Dr Kissinger, who was president Richard Nixon's national security adviser at that time, told Mao that the US had no quotas or tariffs for Chinese women, drawing more laughter.
He then tried to highlight the threat posed by the Soviet Union and other global concerns as he moved to lay the groundwork for restoring diplomatic ties a year after Nixon's historic visit to China.
But Mao dragged the talks back to Chinese women.
"Let them go to your place. They will create disasters. That way you can lessen our burdens," Mao said.
"Do you want our Chinese women? We can give you 10 million."
Dr Kissinger noted that Mao was "improving his offer".
Mao continued: "By doing so we can let them flood your country with disaster and therefore impair your interests. In our country we have too many women, and they have a way of doing things.
"They give birth to children and our children are too many."
Dr Kissinger replied: "It is such a novel proposition, we will have to study it."
The leaders then spoke briefly about the threat posed by the Soviet Union, with Mao saying he hoped Moscow would attack China and be defeated.
But Mao said: "We have so many women in our country that don't know how to fight."
The assistant Chinese foreign minister, Wang Haijung, then cautioned Mao that if the minutes of the conversation were made public "it would incur the public wrath".
Dr Kissinger agreed with Mao that the minutes be scrapped.
But when Dr Kissinger joked he would raise the issue at his next press conference, Mao said he was "not afraid of anything".
"Anyway, God has sent me an invitation," said the Chinese leader, who coughed badly during the talks.
Mao died in September 1976. US-China diplomatic relations were restored in 1979.
AFP
"Grand Theft Auto IV" preview
Last Friday, Rockstar Games was in L.A. giving journalists an in-depth peek at "Grand Theft Auto IV," along with a look at the improvements in "Bully: Scholarship Edition," the 360/Wii version of 2006's awesome "GTA at prep school."
Demo's were done at the Chateau Marmont hotel (but of course... where else would Rockstar do demo's but Chateau Marmont?). I can't deny that I was a little distracted the whole time wondering how many times Lindsay Lohan or Britney Spears ever collapsed (from exhaustion, of course) in the very room I was sitting in. But once I got past that, I was just as impressed as I hoped to be by "GTA IV."
Rockstar's VP of development Jeronimo Barrera (who led me through the demo) wasn't shy about how much of an advance his team thinks the game is. "'Grand Theft Auto 3' changed the industry tremendously, but in many ways this is a bigger leap," he boasted. (Sure, it's kind of a canned line. But he sure seemed to believe it.)
Let's start with the way he's not right: Fundamentally, "GTA IV" is the same game we're used to – the basic structure created in 2001's "GTA III." It's a third person action title about a newcomer to Liberty City who meets lots of people, goes on missions both to earn money and fulfill a personal goal, and is capable of wreaking total havoc along the way.
We've also got the series' trademark character types, from thugs to funny small-time gangsters to a stoic lead. Protagonist Niko is an Eastern European immigrant who is aptly described by one guy he meets as "a badass mofo who ain't afraid to take cats down."
But how is Jeronimo right? Graphically, "GTA IV" is really a cut above. Not so much in the minutiae, but the depth. As we've come to expect from "GTA," there are no loading times, but the number of people and vehicles, the variety of settings, and the believable actions of them all are tremendous. Seeing the
Manhattan skyline from Brooklyn (or Liberty city's versions of them) is just plain awesome.
Ditto the dynamic character and vehicle actions. Shoot a guy in the knee and he hobbles. Blow out a car's right wheel and it veers in that direction. Pull a gun on a civilian and she'll beg for her life. Liberty City feels alive and responsive. Even though it's not as big in area as San Andreas, there's more richness and depth along the way, which I consider a very welcome tradeoff.
Finally, "GTA IV" attempts to seriously integrate modern day technology in a realistic way. Niko has a cell phone that he can use for any number of purposes. We're used to cell phones that occasionally ring with player instructions, as in "No More Heroes," but Niko can place calls on his and get responses. In the example I saw, he called 9-1-1 so he could –- you guessed it -– jack a police car. I also saw Niko use the police car's computer to look up a criminal's address. And I'm told "GTA IV" features in-game Internet access as well. I didn't get to poke and prod those applications, so I have no idea how deep they go, but the idea of a character who can proactively and dynamically use modern communication tools is a qualitative leap forward in gameplay if it works.
There are some other less impressive but still welcome advancements, like a weapons system that works perfectly well –- nothing amazing, but finally "GTA" is on par with other action games. In-game music looks like it's going to once again be ultra-deep and will probably feature some new on-demand twists we haven't seen before. Personally, though I was kind of enjoying the right-wing talk station. It just felt right on a respite in the car between shooting sh*t up.
Not as much to say about "Bully: Scholarship Edition." If you never played the original "Bully," I highly recommend it. On PS2 it was my second favorite game of 2006 (only behind "Okami") and really wowed me with its solid gameplay and satirical eye. "Scholarship Edition" amps up the graphics, adds a few amusing missions and classroom activities, and includes some offline multi-player mini-games. Perhaps enough to make those who missed out on "Bully" first time around to feel like they got something for the wait, but not exactly a tricked out "director's cut" for those who have played it before.
(For a full gallery of new "Grand Theft Auto IV" screenshots, click here.)
Ima cool blog ovde
http://weblogs.variety.com/the_cut_scene/
Foo Fighters tuže Marvela
Američka grupa Foo Fighters juče je podnela tužbu protiv Marvel studija, ogranka čuvenog izdavača stripova Marvel, zbog neovlašćene upotrebe dve njihove pesme.
Prema tužbi podnetoj u Los Anđelesu, Marvel je bez dozvole upotrebio numere Best of You i Free Me sa njihovog albuma In Your Honor ('05) u najavi animiranih serija Wolverine i X-Men.
Prema pisanju E! Onlinea, bend zahteva odštetu, kao i plaćanje advokatskih troškova i, naravno, zabranu daljeg korišćenja njihovih pesama u te svrhe.
Ispravno. S obzirom kako se Marvel svinjski ponaša u pogledu borbe za kopirajt i trejdmark zaštitu, ovo je sasvim OK i na mestu.
THE WAR FOR OIL, COMING TO A CONSOLE NEAR YOU
By BRIAN GARRITY
February 22, 2008 -- There will be blood - and sore thumbs.
At a time when oil prices are hovering around $100 a barrel, video game publisher THQ Inc. is tapping into consumer anxieties over the cost of heating their homes and gassing up their cars with a new shoot-'em-up that imagines a world war being fought over the scarce resource.
"Frontlines: Fuel of War," from New York-based Kaos Studios, hits stores on Monday and pits a Western coalition of the US and the European Union against an allied Russia and China in a global war for oil.
The action takes place in the year 2024, amid "a global energy crisis, environmental decay, and economic depression," where "players assume the role of elite soldiers in a desperate, near-future setting where controlling the planet's depleted fossil resources determines the ultimate fate of civilization."
That may sound like anything but escapist fun for some, but Agoura Hills, Calif.-based THQ is betting it's the kind of realistic fantasy that will lure droves of gamers looking for an alternative to typical war games, centered around historical events or sci-fi adventures.
The company, best known of late for games like "WWE SmackDown vs. Raw 2008," "Cars: Mater-National" and "MX vs. ATV Untamed," is in need of additional hits.
While most of the game industry enjoyed record gains over the Christmas season, THQ posted a 75 percent profit drop in its December quarter due to a pair of expensive flops and the company's decision to scrap a number of projects for quality reasons.
The company, which has developed game versions of a number of recent Pixar hit films, also reportedly lost out on its bid to develop a game spin-off of the upcoming Pixar movie "Toy Story 3" because Disney is moving its games in-house.
Meh... Videću kakve su kritike pre nego što je skinem. Kupovina mi ipak deluje kao vrlo daleka mogućnost.
,,Slayer" 24. juna u Beogradu
Američka treš metal grupa ,,Slayer" nastupiće 24. juna u Beogradu. Nakon njihovog zapaženog nastupa na festivalu ,,Egzit" pre tri godine, publika u Srbiji će imati priliku da uživo vidi i čuje ovu legendarnu metal grupu. Koncert će, kako nezvanično saznajemo, biti održan na otvorenom, a uskoro će biti poznato više detalja kao i cene karata.
Bend je nastao 1981. godine u Kaliforniji, a oformili su ga mladi gitaristi Džef Haneman i Keri King kojima su se kasnije priključili pevač i basista Tom Araja i bubnjar Dejv Lombard. Prvi album ,,Show no Mercy" objavljen je 1983. godine kada je došao do izražaja njihov izuzetno brz bubnjarski ritam. Dve godine kasnije ostvarenjem ,,Hell Awaits" osetili su prvi ukus slave, da bi sledeći veoma popularan album ,,Regin in Blood" objavili za čuvenu rep izdavačku kuću ,,Def Jam Records". Pesme kao što su ,,Necrophobic" i ,,Angel of Death" imali su približno 250 bitova u minuti što su kasnije počele da kopiraju i druge grupe. Bend ,,Slayer" je tada, a i mnogo puta nakon toga, bio kritikovana zbog satanističkih i nacističkih simbola, a članovi grupe su izjavljivali da ne veruju ni u jedan sistem zbog čega su im otkazivani brojni nastupi. Bez koncerata i bez distribucije, nastalo je veliko iznenđenja kad je ,,Reign in Blood" dospeo u top 100 ,,Bilbordove" liste, a tiraž je dostigao zlatno izdanje. Kako je popularnost benda rasla, to je bilo više unutrašnjih problema i menjanja članova. Najviše problema bilo je sa bubnjarem Lombardom koji je u jednom momentu izbačen iz benda jer je navodno provodio više vremena sa svojom suprugom nego sa bendom.
Pre četiri godine originalni bubnjar se vratio na poziv ostalih članova te se odmah uklopio u bend. ,,Slayer" su tokom karijere često bili osporavani, negde su zabranjivani njihovi morbidni omoti albuma, ali to nije uticalo na pad njihove popularnosti. Uz ,,Metallicu", ,,Megadeth" i ,,Antrax" smatrani su velikom četvorkom kada je treš metal u pitanju. Devedesete su objavili izuzetno popularan album ,,Season in the Abyss" kojim su utvrdili status kao jednog od najvećih metal bendova na sceni, prodavši ga u više od milion kopija. Godine 1996. objavili su album ,,Undisputed Attitude" na kome su obradili numere pank bendova, što je privuklo još veći broj publike.
Poslednji studijski album ,,Christ Illusion" grupa je objavila 2006. a u najavi je objavljivanje novog materijala. Njihov koncert u Beogradu trebao bi da bude jedan od izuzetaka pošto na ovoj turneji uglavnom nastupaju na festivalima.
Svirka na ,,Egzitu"
Bend ,,Slayer" je nastupio na festivalu ,,Egzit", na Mejn stejdžu 2005. godine kada se videlo da su veliki profesionalci koji još uvek umeju energično da sviraju. Na hiljade ljudi tada se sabilo ispred bine tako da šutke u prvim redovima skoro da i nisu bile moguće jer su ljudi stajali jedni na drugima. Kiša koja je na momente pljuštala za vreme nastupa grupe ,,Slayer" čini se da nikome nije pokvarila ugođaj...
Ou, vau, konačno!!!
Konačno, posle 2 godine.
Zar nije Slayer speed metal?
:D :D :D
Ne računam ono kad su svirali u prestonci separatističke Voevodine. Naravno da sam odbio tamo da idem kolima sa bratom, kumom i njihovim suprugama.
Propustio si odlično valjanje u blatu.
Tad sam bio u velikom iskušenju da mu ga dam po Rastko Nemanjic goes Sveti Sava tripu, kad sam video ko sve nosi dugu kosu.
Ispravno razmišljanje. Metalci su grdna jedna stoka. Nadam se da će ovaj koncert biti održan negde gde nema blata...
Quote from: "Meho Krljic"Nadam se da će ovaj koncert biti održan negde gde nema blata...
misliš, van srbije?
Quote from: "Ghoul"Quote from: "Meho Krljic"Nadam se da će ovaj koncert biti održan negde gde nema blata...
misliš, van srbije?
:lol:
Jedva čekam Slayer u Beogradu! :D
Are just 1,000 fans the key to success?
Tim Dowling
The Guardian, Thursday March 6 2008
This article appeared in the Guardian on Thursday March 06 2008 on p3 of the Comment & features section.
In the business model commonly known as the Long Tail, online sales of extremely low-demand products - little-known music, forgotten books, overlooked films - form a significant market when taken as whole. A product need no longer be popular to be profitable - you just have to sell a few of each to a whole lot of people.
This is good news for companies such as Amazon, and for customers, who are able to source obscure material cheaply, but for the artist, being part of the Long Tail is tantamount to failure. It is the reason you hang on to the day job. Someone may finally be making money out of your very narrow appeal, but it isn't you.
Now, Kevin Kelly, former executive editor of Wired, has identified one way to escape the Long Tail: 1,000 True Fans. With 1,000 True Fans to their name,
he argues, an artist, writer or musician can earn a decent living from their work, even while toiling in relative anonymity.
Kelly defines a True Fan as "someone who will purchase anything and everything you produce. They will drive 200 miles to hear you sing. They will buy the super de-luxe reissued hi-res box set of your stuff, even though they already have the low-res version."
Already the True Fan sounds a bit scary. Kelly estimates that True Fans would part with about £50 a year of their disposable income on whatever it is you have to offer. "They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They get you to sign their copies. They buy the T-shirt, the mug and the hat."
He doesn't mention that they might also harbour a desire to cut off your skin and wear it as a suit, but this model of success presents an obvious problem. One does not necessarily want too much contact with one's True Fans. In the TV series Flight of the Conchords, the struggling New Zealand pop duo are both plagued by, and dependent on, their only True Fan, Mel, a character who is clearly more stalker than devotee.
The real dream is to inspire mild admiration in millions, not obsessive fandom in hundreds. Imagine having to deal with the attentions of 1,000 True Fans day in, day out, for a gross return of 50,000 quid a year, and suddenly a plumbing course looks a better bet.
Lista najbogatijih superheroja:
Peter Parker (Spider-Man)
The perpetually broke Peter Parker is a freelance reporter for the Daily Bugle, but makes so little that he is often forced to take other part-time jobs to fund his studies at Columbia University. Still, he's a young man who's going places, with impressive scientific nous that could earn him a comfortable living in research.
Worth: $0.50 and a bag of crisps
Clark Kent (Superman)
As a featured reporter at the Daily Planet, Clark Kent should have a comfortable but not super-luxurious lifestyle - although there are handy perks like trips to Niagara Falls on the Planet's tab. As Superman, while he has almost unlimited moneymaking potential, he has no known assets but a cape and some boots. There's no evidence that he even owns the Fortress of Solitude.
Worth: $100,000 per year
Matt Murdock (Daredevil)
While Matt Murdock is a hotshot lawyer by day, his propensity for pro bono work and habit of exhausting himself running about on rooftops in his demonic alter-ego by night mean that he can't be functioning at the height of his earning powers. Still, he can afford a rather stylist Manhattan loft apartment, so he's not totally penniless.
Worth: $150,000 per year
Eric Lehnsher (Magneto)
Serious comic book geeks may remember the time that Magneto, working together with Charles Xavier, ended up stealing a mountain full of Nazi gold from evil organisation Hydra. Even assuming that Lehnsher spent lots of it on his Antarctic underground lair, stylish metal hats and covering wear-and-tear on cloaks, we're guessing that he still has a few hundred tonnes left - hence this estimate.
Worth: $400 million
Fantastic Four
Endorsements and patent ownership has allowed the Fantastic Four to purchase the Baxter Building, rebuilding it after it was transported into space (superhero insurers have to invent whole new branches of actuarial maths) and develop new technologies - but they're not as wealthy as some of their contemporaries.
Worth: $500 million
Professor Charles Xavier (Professor X)
Largely based on an inheritance from his nuclear scientist father, bolstered by his own shrewd investments and (we suspect) patents, Xavier is seriously wealthy. He's managed to rebuild his family mansion/school several times, each time extending and improving such amenities as its SR-71A Blackbird (price tag: $33 million!) landing pad and revolutionary Danger Room.
Worth: $3.5 billion
Lex Luthor
Luthor has been known to squander his fortune in madcap, evil schemes to take over the world, but as a general rule he bounces back onto the Rich list with room to spare. One of the world's smartest men (possibly the smartest, depending on who you believe and whether you count resident Sons of Krypton) and a ruthless business opponent, he makes Machiavelli look like Mary Poppins.
Worth: $4.7 billion
Warren Worthington III (Angel)
Worthington is now sole owner of Worthington Industries, described as being in the "bottom half" of the Fortune 500, hence the annual revenue we've used to estimate his net worth here. He also engages in charity work - founding Mutants Sans Frontieres - and has previously funded superhero mutant team X Factor as well as moonlighting for the X-Men.
Worth: $32 billion
Bruce Wayne (Batman)
Wayne Enterprises has interests in technology, shipping, steel, aerospace, food, biotech, medical science, electronics, heavy industry and entertainment. A family business since the 17th century and still going strong despite its CEO's diversions. This estimate is based on the fact that Wayne Enterprises has undeniably significant assets, and appears to be wholly owned by Wayne (going by the last film).
Worth: $80 billion
Tony Stark (Iron Man)
Sources on Stark's wealth are uncertain, with money tied up in funding the Avengers super-team, in his reportedly $7 billion-a-pop suits, and in a PLC that has had difficulties in the last few years. He has claimed $300 billion; Nick Fury pegs him at around $14 billion, Forbes says $6 billion, so we're taking a rough average.
Worth: $100 billion
mogu da se uporedim samo sa Spajdijem :(
Warner Bros. Pictures and Disney/Pixar are teaming for "1906," the live-action feature directorial debut of Brad Bird ("Ratatouille," "The Incredibles") reports the trades.
The story centers on a college student who begins to investigate the murder of his father, uncovering a web of deceit that has left the city vulnerable to the sort of fire that breaks out when the Great Earthquake of 1906 hits San Francisco.
Bird is rewriting the original John Logan script. Bird has worked in live action before, helming an episode of "Amazing Stories" in 1987.
Disney/Pixar will co-finance the movie.
Exclusive: Writer-Director George Miller Announces 'Mad Max' As First Game From Creative Alliance With God of War II Director Cory Barlog
N'Gai Croal
Mel Gibson as Mad Max in the 1981 post-apocalyptic film "The Road Warrior"
Coy time is over, Dear Reader. Yesterday, we told you that God of War II director Cory Barlog--who'd left Sony Computer Entertainment last November partway through the development of God of War III--had formed a creative partnership with writer-director-producer George Miller. Today, we can finally reveal what they'll be working on first: a "Mad Max" action-adventure game, inspired by the "Mad Max: Fury Road" movie that Miller had been preparing to shoot in 2003 before the war in Iraq forced him to put everything on hold. Specific details on the gameplay are still fuzzy, as Barlog and Miller are still early in the planning phase, but we can confirm that melee weapons, projectile weapons and vehicles will all be present, just as you would expect. We spoke with Miller by phone in January, who personally informed us that Mad Max would be his first serious videogame venture. Here are some excerpts from our hour-long conversation:
On the balance between action and drama in videogames:
Games are a way more nascent medium than cinema. We're watching games evolve as we speak, very dramatically. The balance is going to tip the other way. I go back to the notion of immersion of the audience. Games, being highly interactive, are very immersive with the audience, but there needs to be some experience that the player takes from that. And it's a very fertile medium to work in if you're looking towards how you can inform a character. So what I'm saying is, just as movies are moving towards games, games are going to be moving towards movies, where that balance is going to be less--that sort of balance towards action over character, and any character or story is basically in support of the action sequences.
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On why he's resisted previous entreaties to work on a "Mad Max" game:
For many, many, many years--for as many years as I can remember, we've been asked to make games of the "Mad Max" story. I mean, we've been approached by every major game company or developer virtually, asking "Can we do a 'Mad Max' game?" And to me, it always felt like what I used to call empty calorie action. Where you just--the thing that you were alluding to before, which is just action for its own sake without anything underneath it.
On why the movie "Mad Max: Fury Road" was never filmed:
We were all ready to go, within eleven weeks of shooting the next "Mad Max" movie, "Fury Road." This was way back when the war in Iraq started, and that really threw this out for a whole host of reasons, not the least of which was that the American dollar crashed against the Australian dollar. And apart from that, just insurances, getting vehicles and stuff there on container ships--all that slowed down around the world. So we had to move on to "Happy Feet," because that was going to take a long time.
On whether Mel Gibson will star in the movie and the videogame:
Oh, it wouldn't be with Mel....I didn't realize it was so long ago but, he was 20, well, he was 21 when he first played Mad Max. He's in his 50's now--it's too old. Yeah, I think for "The Road Warrior" he was 22 or 23 or something, so he was just a baby back then.
After a few weeks of mutually-instigated international phone tag, spanning mid-December to mid-January, we finally caught up with writer-director-producer George Miller. Our mission: to get his take on how he'd come to be mobbed up with God of War II director Cory Barlog. And, more importantly, what they would be working on first? Could it be a "Justice League of America" game, set to tie in with the movie which had been put on hold because of the writers' strike? A "Babe: Pig In the City" game for Nintendo's still-sizzling Wii? The answer, when it was revealed, still managed to thrill despite the nonchalance of Miller's delivery: "Well, the first one will be a 'Mad Max' game."
An interactive "Mad Max" epic? With Cory Barlog at the helm? Game, set, match. Or at least that's what legions of fanboys will be thinking--until they remember that licensed games are often less than stellar. But quite aside from the talent involved, our interview with Miller reveals not only the appropriate measure of respect for the medium, but also an understanding of the need to give this game the time it needs in order for it to be good or even great. In Part I of our Q&A, Miller explains how he became interested in working on videogames; the differences and similarities between action sequences and action games; and what it was like watching Barlog play God of War II in their agent's offices at CAA. Enjoy.
How did you become interested in working in video games?
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Well, it sort of crept up on me almost imperceptibly. I realized that the kind of filmmaker that I am, I unconsciously try to make films that are as immersive as possible. I tend to use very wide angles and move the camera through space rather than zoom. My cutting patterns and compositions try to exaggerate--well, not exaggerate, but try to enhance a kind of three-dimensionality and an immersive quality to my storytelling. That of course is what games do so well.
The realization was, as I started to work in the digital realm, that film suddenly is able to do things that you weren't able to do before. And once I got into that, like everyone else, I saw the obvious convergence of film towards games and games towards film. So, I got swept along and found myself sort of in a current that was heading towards games.
The other big thing for me was the fact that film is a pretty closed narrative--it moves along at 24 frames a second, it's extremely linear, and in that sense rigid, whereas games bust that open. So in a way, with games being more exploratory, it's closer to what a novelist can do in many ways. A novelist can stop the forward momentum of their story and go explore little cul-de-sacs and then come back again. Games allow you to do that as well. Basically, games and films and just about everything else comes from the heading of storytelling. So it's just another way to tell stories, I think.
It's interesting that you say that, because looking at one of the films you've made in the past like "The Road Warrior"--it was an extremely well-received film, but I think critics would say compared to certain other stories that that wasn't necessarily the most complicated or richest of stories in a movie. Yet, that story and storytelling is probably more involved and more sophisticated than what you get out of most games, if that makes sense.
Yes.
If you look at games as a medium overall, for a lot of games--particularly action games--the story's almost an afterthought. It's almost like a premise; a set-up; an excuse for the action, and then it goes into something else. So it's interesting for someone like yourself, coming out of a storytelling medium, to say this. When you look at storytelling in games, how far along do you feel games are relative to other media when it comes to storytelling?
Well, I think that's where games are tending to move. One of the things when you're doing a film--an action film, for instance--that you always need to be mindful of is that any action shouldn't be empty. Any, let's say stunts or action sequence shouldn't be empty. It should always, in some way, inform the audience about character or the forward momentum of story.
So often we'll see the exact thing that you're excusing games of doing in film, where the movie will stop while you have an action sequence. And the action sequence in a sense doesn't do anything to inform the character or the story. It just simply is a lot of noise and movement and almost a distraction. But the great action sequences in cinema of those that integrate character and the forward momentum of the story. And the same things would apply to games as the technology allows the storytelling in games to be more sophisticated. You're going to see a lot more of that creeping into games. In the past the technology hasn't allowed you to do it. But now I think you're beginning to see more and more of it, so that the action of games can be very characterful.
Another challenge with storytelling in games--particularly in action games--is that in a game the action has to, in many ways, be more repetitive than it would be in an action movie. For instance, you might have an action sequence in one of your movies that goes let's say, even as long as 15 minutes, from the sort of initial set-up to the actual denouement, right?
Yes.
Now for the overall movie, let's say you've got three or four major set pieces which will definitely get the audience excited and cheering. But in between that, there's a lot of drama, a lot of character stuff, a lot of smaller stuff. Whereas in games, you sort of take those 15 minute action sequences and you have to repeat them ad nauseum. There's got to be a lot more of them. They've got to be stretched out and spread out more, throughout the story, in order to keep the player engaged. So there is a way in which, like you're saying, in a movie--even in an action movie, for it to be truly done well, the action has to support character. But in a game it seems like it's almost the inverse, where all of these other elements have to support the action because that's the lingua franca of games.
Yes, but I think from watching games--games are a way more nascent medium than cinema. We're watching games evolve as we speak, very dramatically. The balance is going to tip the other way. I go back to the notion of immersion of the audience. Games, being highly interactive, are very immersive with the audience, but there needs to be some experience that the player takes from that. And it's a very fertile medium to work in if you're looking towards how you can inform a character. So what I'm saying is, just as movies are moving towards games, games are going to be moving towards movies, where that balance is going to be less--that sort of balance towards action over character, and any character or story is basically in support of the action sequences.
What's tended to be the case in games is that you have the cut scenes interrupting the game play and so on. Now those lines are blurring and in the best of the games--you don't have that kind of stop/start staccato thing like you do in in those action movies, where you have you know the second unit stuff and the main unit stuff. So they're all blurring together. I'm repeating myself but that's a very obvious place where games could evolve.
Were there any particular games that helped build this sense of conviction that you have? Not only that the two media were converging, but also that you were starting to see things in games that you maybe hadn't in the past.
Well, first of all, when a character has a choice or a player has a choice between doing one thing and another and when you begin to see the consequences of that choice. In a sense, it's always what's happening in drama. And as I start to see that even in every game, from the really popular ones to even much more subtle ones. I can't remember the game now--the Japanese one where the guy goes off and has to save this princess by killing--
Ico.
Ico, yeah. Well there's an example. Which I didn't actually get to play myself--but I watched people play it and talked to people about it--because I didn't have the time. But, that was a really great example of a game where a character had moral choice and quite often you didn't even know what the consequences of those were until you got to the end. Which is no different from classic drama. And when I started to sort of hear and get a taste of those sort of games, I began to say, "Holy cow, it's all heading in the right direction." Except games, by definition in a sense, are more immersive for the audience. And the audience--the player has a greater sense of being in control of their destiny in some way. Does that make sense?
It does.
So I don't think I'm wrong. I don't think I'm the first to observe this. I think everybody's picking this up. And when I spoke to Cory Barlog, that was what I found really, really interesting. Here is somebody who is as obsessed with how to tell story through games as I am obsessed telling story through film. How to make that experience between the player and the character on the screen--that line between them--almost invisible, and let them go into an experience which completely carries them along.
Along the way, as in film, you shouldn't know how you're being worked, what's happening to you morally or emotionally. You shouldn't see the mechanics of it, but somehow you do end up going through an experience when you come out the other end, and in some way you're informed about yourself and the world. I think you could argue that that's one of the elemental functions of storytelling.
So were you able to play--or were you able to see someone play--God of War and God of War II?
I'm one of those parents who tends to watch their kids playing games, because of their higher skills. Actually I had Cory play it for us. To see God of War II played by the guy who created it was very exciting.
Do you remember when it was that Corey played God of War II for you?
About nine months ago.
That's interesting. Maybe the equivalent would be if I were to have you over to my place and you were giving your director's commentary right next to me while we're watching, say, "Babe: Pig In the City." What was it like watching him play God of War II and then talking with him, or having him answer questions while you were watching him play?
Well it was--it obviously felt like a privileged moment. Because obviously I was at the source of it, and he was explaining what he was trying to achieve and how he would achieve it. More than anything else, I think we were trying to get into each others heads; really understand each other's process and to see where there was commonality. That's why I was so excited when we said, "Let's work together." Because as I said, he approaches games in the same way that I like to approach film. Very rigorous--almost obsessively thinking about how to do it better. And I said, "Well, that's just very familiar." I spend most of my waking hours and probably half my dreams trying to figure out how to do it better in film. He's doing the same in games and for me, that was very exciting. But to actually watch him do was another thing. My kids have played it but, then to watch the guy doing it--it was just a pretty cool moment.
How did you get put in touch with Cory?
Well, as I said, I'd played games but I never really thought about what was happening until I started to really get involved in the digital realm of filmmaking. Mainly through the you know, the early experience of the first "Babe," and then ultimately "Happy Feet" and so on. Realizing how there have been very, very bad games made out of very good films, and then occasionally a good film made out of a not-so-bad game. But usually the games are a marketing adjunct or to a film and never, never something that has its own sovereignty. I began to think a lot about that sort of thing.
But also, realizing what I said at the beginning of the conversation, I felt that games had the ability to do things that I've been trying to do in cinema; that I realized cinema in a sense can't do as well as games can: totally directed immersion. And then like everyone else, I began to observe the convergence between the two. So, I spoke to Bryan Lourd from CAA and Seamus Finney--do you know him, from CAA?
Seamus Blackley?
I'm sorry, not Seamus Finney, Seamus Blackley. Seamus said, "When you talk about film, it's how Cory talks about games. Would you like to meet him?" I said, "Yeah, of course," and that's how we met. In fact, it was in Seamus' office where Cory came in and played God of War II.
What were you looking to do? Obviously CAA has a videogame division, and they're very aggressively trying to put together deals on the game front. Were you looking to make games yourself? What was it?
As Seamus said, I think what happened is a lot of filmmakers looked up one day and saw that games were in many ways eclipsing film. Eclipsing film in even the box office, as it were; I don't know if they call it box office in games, but, revenues. And so [some of these filmmakers] said, "Okay let's get into the game business."
Now, to be as honest, that wasn't what was driving me. Because for many, many, many years--for as many years as I can remember, we've been asked to make games of the "Mad Max" story. I mean, we've been approached by every major game company or developer virtually, asking "Can we do a 'Mad Max' game?" And to me, it always felt like what I used to call empty calorie action. Where you just--the thing that you were alluding to before, which is just action for its own sake without anything underneath it. Without any real subject. It came across as though you went through the experience, but you came out the other end and you almost forgot it the next moment. It didn't stay with you.
Then I realized at a certain point--maybe about three or four years ago--that, "Wait a minute, the world of story telling--if you approach it from the point of view that this is all storytelling--is changing way, way rapidly" It's very bewildering. If you stick to the old orthodoxies, it's very, very confusing. And so people tend to become very, very rigid and they say, "Well, the only way to tell stories is in cinema. Or the only way to tell stories is on television. Or the only way to distribute the stories is to make big blockbusters or do small independent films," or whatever. Everyone's got their own orthodoxy.
What I realized is that in this new digital age, the storytelling is the same. It's just the means by which you tell the story that shifts. So, in a sense, it's, "Create the story once but publish it many times in many different forms." Go back to the novels of Dickens. They started off as serializations; they were basically serials. And they were only later written as novels. Almost like serialized TV shows like a "Lost" or something, where you end up with a kind of a question at the end of each episode to bring you back to the next episode, as it were. And it was only later they said, "There's a novel in there." So it's a similar thing, but in an extreme way; there's many, many forms in which you can take your story out into the world. There are many, many platforms in which you can do it. And you have to include games as part of it. And the other thing--does that make sense?
Yep.
Good. The other thing that was happening--there were three scripts I've been working on, including another "Mad Max" film quite some time ago, before "Happy Feet." I found that all of them were tending to have very similar qualities to what were in games. So I was writing films, without being an obsessive game player myself, that would make very interesting games. They had that same quality and that's when I realized, "Wait a minute, where I'm going in my filmmaking is to try to make the film experience as immersive as possible. And that's exactly what games already are doing well." So, that's what happened and that's what drew me to games.
It wasn't so much looking at a business plan, it was really an opportunity to see what you could do in terms of storytelling. To deal with the same world but, to put it out there in two different media and have each one of them do what it did best, so that your story is told much more comprehensively. When it's very linear you tell it as a very closed narrative--you make that as well as you can in the cinema. When you want to be a little bit more exploratory, you can look at other tangents. You can expand on other characters that you might only meet tangentially in the middle of a movie; secondary characters. You can explore them much more aggressively in a game. And in a game you can bring all the moral conflicts and emotional conflicts that you'd normally get in drama.
Were you involved with the "Happy Feet" game?
I had no time. I really, really wanted to at the beginning, and in fact its one of the things I had promised myself that I would be involved. But because we were trying to do the first digital animation I'd ever done, and it was way more involving than I thought it would be, I just ultimately had no time even to review what was happening in the game.
Right.
To be honest--and I probably shouldn't say this, but I haven't been able to bring myself to look at the game. Because, I just know its going to be one of those games that's kind of surfing off the movie rather than a game that has its own integrity.
And so was that part of the reason for wanting to have a creative partner? The--
Yes, definitely.
--video game equivalent of a George Miller--
That, that's one way--
--to work on the game project?
Yeah, that's definitely one of them. What I want to do is bring the two sensibilities together and workshop a project together. Bringing the art departments of the film and the game together. Sharing the characters; you cast the same actors and the same voices, so the two are very, very highly integrated. You don't get an actor who sounds like the lead in your actor, you get the same actor. The two go hand in hand so that the two feel of a piece, just a different way to experience the same story. Does that make sense?
Absolutely.
I would never pretend to be able to do a game. All I know is, there are certain things I know about storytelling that have been acquired over a lot of filmmaking. I still find myself thinking about how to tell stories. I just know that there's certain things that we can teach the game developers, as it were. And I know that there's certain things that the game developers can teach us. If we set that out under the heading of us all trying to explore characters and worlds through the different types of games, through the two different media, then we might have something that's much more integrated and I think more powerful.
We first met Cory Barlog in 2005, just before the original God of War was set to arrive in stores back in 2005. Over a soul food dinner at The Shark Bar in Manhattan, we discussed how his role as lead animator on the original game had grown to the point where he'd been tapped to fill David Jaffe's shoes by serving as the director of the inevitable sequel. It was clear from our conversation that he was thrilled to have been given the opportunity to work on a truly great franchise rather than some of the games he'd worked on in the past. And after he knocked God of War II out of the park, we were eager to see what he would do with a potential God of War III on the Playstation 3.
So it came as something of a shock last November when we got a call from a source informing us not only that Barlog would soon announce his departure from Sony Computer Entertainment, but that he would be working with veteran film writer-director-producer George Miller--best known for the "Mad Max" series of movies that starred Mel Gibson--on some videogame projects. We immediately began negotiating with Barlog's representatives to secure on-the-record interviews with Barlog and Miller about their collaboration. This resulted in three interviews that we'll be publishing all week on Level Up. First is our Q&A with Barlog, in which he remains tight-lipped about precisely what he and his new partner's first game would be, but goes into great detail about why he felt he had to leave Sony Computer Entertainment. Next up is our conversation with Miller, who gave up the goods and explained why he's become fascinated with videogames. And finally, we'll publish our follow-up with Barlog, who, freed of the burden of secrecy, provided some terrific insights into how he plans to approach his first post-Sony project. Strap in, sit tight and enjoy.
So Cory, how did you get approached by George
Wow, it was a while ago that I got connected with CAA, through other people at [Sony Santa Monica]. I think it was just a random emailing from people that somehow got me connected with Seamus [Blackley, head of Creative Artists Agency's videogame division] and Ophir [Lupu, an agent in the same group]. They just wanted to have a meeting, to talk and hang out, and from that it was kind of like, "Well all right, it would be interesting to get you connected with different people." There was never any specific person that we were talking about connecting with; it was just like, "Let's try talking to some people."
So I met with a bunch of different people and one of them was George, when he was in town. It was funny because when I first met him the first thing I said was, "You know, you really messed me up as a kid, flying, because of that 'Twilight Zone' thing that you did." I don't know if you ever saw that, but the whole thing was very, very, very freaky for me and from that point on I hated flying,because of the whole Jon Lithgow, crazy guy, monster on the plane wing.
You mean the "Twilight Zone" movie?
Yeah, yeah, yeah.
Right, the one with Steven Spielberg and all those other directors.
Yeah. So it was an interesting first meeting. He and I actually had the same sort of sensibilities as storytellers: the way both of us really want to take people on a bit of a journey. And from that he was like, "Hey, I'd really like to meet again and just chat." So I ended up going out to Sydney and hanging out with him for a couple of days. And it turned out that we really kind of thought the same way. Even we both came from two different disciplines, we had the same approach to things, and from that, we both really wanted to do something together and it just kind of ended up like that.
Is Miller a gamer?
He has some knowledge of games. A lot more than some people that I have met in the movie industry. He also has a son who's a really big gamer and he's very familiar with games, but probably not to the extent that he goes home and plays Halo 3 for six hours.
Having worked for a number of years in the videogame industry, what attracted you to partnering with someone who has a really strong reputation in movies, but not in games?
You know, I started out in the film industry. Granted, it was on the visual effects side. I was really attracted to the film industry from an early age. Actually, I guess I really started out in acting--really bad acting mind you, but acting nonetheless. And so I always loved the film industry.
I'm not necessarily leaving the game industry, just to be clear on that, but when I was doing visual effects I kind of came to the realization that I love movies way too much to stay in visual effects. Because I was working next to guys that worked on the original "Star Wars" and I realized how long it was going to take me to ever get anywhere on the visual effects side. Up until that point I'd been working on Inspector Gadget, nothing of all that high quality, and I love movies way too much to continue to slog on the bad movies.
I've always kind of maintained a connection to all of that, but I do enjoy the fact that there's a bridge being created between film and games. We've always had a lot of false starts given the fact that most game and movie collaborations--whether they be game first and then into a movie or vice versa--have a tendency to have a shoddy reputation. I definitely think that we're getting closer to a time when it's a lot more of a cross-fertilization that is happening, I guess, for lack of a better term.
You said that CAA introduced you to a bunch of different people. I'm assuming that some of them were closer in age to you, maybe even gamers themselves. Yet you ultimately decided to partner up with Miller. So again, what about your interactions with him in particular made you say, "Hey this is the guy who's right for me to connect with," rather than some guy who does go home and play six hours of Halo 3 or both God of War and God of War II over a couple of weekends?
Good point. When I parted away with Sony, my goal was to broaden things. I wanted to get a better portfolio. To creatively be able to work on multiple things. Right now it's more of a consulting thing, so George and I partnering up is one part of a master plan, for lack of a more creative term.
When I met with him, the interaction was like two storytellers getting together, in the way that both of us were able to relate to various subjects. He has a game knowledge. While he may not be a hardcore gamer, he has a game knowledge, and he comes from an angle that I'm very passionate about. I don't really want to make casual games or games with no sort of story backbone or character backbone. Our conversations, they kind of were all over the map, but they went to the heart of so many things as opposed to being kind of like, "Hey, so what do you like?" and "What do you like?" It was detailed conversations about character interactions and the way that each of our industries can kind of push things further.
George is really big on the integration of content in all aspects. I mean, from his animation studio that he's doing with new media and the film stuff that he's doing. He's really interested in the game side as well. He really has an interest on all these fronts and in bringing everything together. They're big on this concept of workshopping over there and they really involve everybody. Say you're workshopping a script for an animated feature; they'll bring in people from the game side, people from the film side and people from the animation side. If they're going to be working on a game, they'll bring in people from all different aspects to come together; bringing in new concepts, new ideas, things that maybe you hadn't necessarily thought of in your own singular little gaming world. But having said all that, I still am connected in the gaming industry and still want to work with people within the gaming industry.
I guess the idea behind my whole thing really came from looking at directors in the film industry as they sort of matured in the mid-60's. The idea that when you were a director, even in the 50's, you were owned by a studio, say Warner Brothers or Universal or whomever. They would basically employ a director on salary and the director would just direct whatever the studio had available to him. And now it's changed. Directors choose the projects they want to work on and have a wider variety in their portfolio. That's what I'm looking for now in the game industry. I'm seeing that it can change. We are on the beginning steps of a journey of everybody kind of moving towards this idea that creative can be a bit more valuable within this industry, and perhaps we can at least learn a few things from the film model. Maybe we don't take the film model exactly, but I think there's lots of things we can learn from it.
So was this something you were already thinking about before you met with CAA? Or did Seamus and Ophir strap you in a chair, pin your eyes back and force you to watch lots of violent movies--
While putting eye drops in my eyes?
Exactly.
No, no, no, this is something I was thinking about for a while. I was basically working on God of War II and starting to write it before I finished working on the first one. I had a very, very short break and then I was immediately onto II. And then when I was finishing up II, I was supposed to have a longer break, but I ended up having to just go straight into writing and planning III. So I didn't have much of a break there. And I started to realize after about four years of just nonstop--go, go, go, go, go--I was looking down the barrel of another three-and-a-half years.
It would've been the completion of obviously something that was very dear to me, but it was still another God of War, and I was kind of like, "Wow, man--in seven years I haven't had much of a break." It started eating at me a little bit and made me realize, "All right, you know what? Let's try and go to the table here." So Sony and I negotiated for probably eight months. Right after II finished, I opened discussions up. And I really wanted to find a way that we could all get on the same page and just find something that was comparable for both of us, since I had been living sort of under the comfort of Sony for so long.
That's interesting. Obviously, I know that the various divisions of Sony Corp are very siloed. But at the same time, Sony as a whole has a movie studio, an animation studio, a music division, electronics and all these things. So by the end of the negotiations, were you sort of surprised that that in the greater Sony there wasn't a way to come to terms on something that would have that cross-media fertilization that you were looking for; that you needed to leave in order to achieve that?
Yeah. I mean, there was a little bit of that sort of cross-media fertilization that was taking part in [the negotiations]. But I think most of it really dealt with--and what I was really surprised about--was just I wanted to escape the concept of solely being owned by one company. That had me a tad bit uncomfortable, because of all the things that I wanted to be able to do. It had me in a situation of, "Oh, I'd really like to change this. I'd like to figure out a way to not necessarily be in that situation." But the decision I ended up having to make was absolutely not a decision I wanted to make. You know, I was not in a position where I was like, "Yes, I one hundred percent want to get out of here." I was definitely in a situation where I was prepared to do it, but I wanted to see God of War III to its completion. Where I ended up having finished the story and laid out the entire game, I did at least get to see it finished the way that I wanted: the story, the trilogy and the concept of where the game is going to go.
But as far as sort of Sony's multiple silos, the movie "God of War" was picked up by Universal. It wasn't even picked up by Sony Pictures. God of War I and II were released by Capcom in Japan and not Sony. So their separations are pretty strong across all their departments. There isn't much coming together.
Under the current videogame model, which I think for a good portion of the industry--I'm not saying this is something that needs to widely change and be so broad and sweeping that everybody is affected by it instantly, but for the higher up creatives I don't think it's a model that fully works. Because anything you do, anything you think of, it's sort of owned by that parent company that you're working for. You're locked into this concept that if you go over and meet somebody who creatively you're like, "Wow, man I'd love to do something with you; I'd love to consult and just write something for you," you're kind of stuck. You're not really able to do it because if it ever crosses over to any sort of game, you are competing with yourself, because you're owned by that specific parent company.
That was a really long-winded answer, wasn't it?
You know me; I'm long-winded myself.
That's right. [Laughs.] I'm talking to the right man.
Exactly. Now, I'm sure my readers will be wondering--and I myself too even though I've heard some things--what are you going to be doing with George Miller?
Well, right now we don't have anything specific to announce or talk about, but I'm going to probably be working with him on various things; whether they're on the film side or on the videogame side. We're pretty strong on the direction that we want to go in, but we have lots of other ideas that have been kicked around. So that's a "stay tuned." I'd love to talk about something specific, but it's really, really early.
Will you be based in North America, in the U.S., or are you going to be based in--
Oh, I'm based in North America, yeah. A consultant, I guess is a good term to use. I have a lot of people that are solely in the game industry that I've been communicating with and talking to and potentially be doing things with. Right now, nothing is set in stone, but in an ideal world for me I'll be working on three or four projects, and maybe after a year I'll probably get back in the director's chair and do another game. But I think right now, after finishing those two games, the next one I do has to be pretty amazing. It has to be something that I'm really passionate about, that I feel very strongly about.
At Sony, with God of War I and II, I was all in, one hundred percent. There was zero hesitation. At the end of II, I started seeing a lot of the people who I leaned on very heavily--people that I was very, very reliant upon--starting to depart. I lost Derek Daniels, who is an amazing combat guy; he went over to Activision. Charlie Wen, the lead concept artist who was there for God of War I and God of War II, an amazing, amazing concept guy.
And for me, the last straw was Eric Williams, who for all intents and purposes for me was always like an AD [assistant director]; like a second director almost. He's a very technical combat guy. Me and him basically built Kratos on God of War I. We established all the bosses; the way that the whole game felt; what God of War's gameplay from a navigation, combat and platforming perspective felt like. And having lost him on III, that was a defining moment for me to go, "All right, this is not what it was before," even though there's still an incredible team there. Those guys there are amazing and they know everything they're doing, but I really, really enjoyed working with Eric. So for me, working on a project without him was like, "Well, I'm not feeling as strong about it."
Kind of like Steven Spielberg without John Williams?
Exactly. That's a perfect example. If there was a good sort of director-DP [director of photography] team up, it would kind of be something like that. Even though he's not necessarily an aesthetics guy, he is experienced in so many various fields. Plus I have worked with him for nine or ten years, so we have that kind of like brotherly relationship where we can fight and get really angry at each other, but always end up finding a solution within that fight. That's sort of our process, which is good.
If you haven't worked with somebody for very long, it's very hard to get to the meat of something, to have somebody challenge you. He's worked with me for so long that he's not afraid. So when something is stupid, he says, "That's dumb," and when I don't like something of his, it's the same thing. We have a really, really good relationship. He's kind of doing the same thing as me--he's in the consulting field as well and working with various companies--and we're kind of teaming up on a few things so it's good.
And where did Charlie go?
Charlie ended up working on a movie. The name escapes me right now, but apparently it was a remake of something that he's been very passionate about his life. I can't remember the name of the film though, but he is really, really excited about that. Like I think a lot of artists, after a certain point your portfolio becomes solely one thing--he'd been working on God of Warfor probably five and half years and that's pretty much all he was drawing--so I think he really wanted to broaden his horizons a bit more and get some more diversity.
Just to make sure that we're crystal clear on this: you're not an employee or a vice president or anything like that in Miller's operation down in Sydney. You're going to consult with him and work with him on various projects, but you're not an employee, right?
Uh-uh.
Got it.
Not right now, no.
So in plotting out your move to this next phase of your career, did you talk to any of the people who do consulting? People like--and his name escapes me right now--the guy who consults on the Ratchet and the Jak games--
Mark Cerny?
Yeah.
Mark actually was in and out of our offices a lot. I talked to him a little bit, but I made this decision based solely on my negotiations with Sony. It was a measured decision, a calculated decision. But at the same time, while we were in negotiation,; I knew I had to have a stopping point. And I knew from talking to several companies a few months before--the end point I'll call it--that I didn't see any projects out there that I was like, "All right, I want to go and work on this single project right now." There just wasn't anything that was grabbing me. But I realized that I could just work with these people in a short-term capacity, offering some of the things that I have.
So I would say that no, I didn't have too much communication [with other people] about this. In fact, there aren't that many doing people doing consulting right now. There's Dan Arey [formerly] from Naughty Dog; Mark Cerny from Cerny Games; I know Eric is doing it now. And I'm sure there's many other people that I'm just not aware of that are also doing it.
When you look back at the negotiations with Sony and you try look at the things from their perspective, why do you think it couldn't work? The vision that you described, of being able to say, "Hey, I'm going to do X, Y and Z on God of War III,"--and let's say for argument's sake if the God of War series continued you would oversee that, but you would still be free to work with George Miller on the "Babe" game for Wii, and something else with an artist that you met in Santa Monica whose stuff you love--why do you think that couldn't work from Sony's perspective?
Well, one answer to me was--I don't understand why. That was a difficult thing for me to come to terms with, which is why the negotiations went on for so long. I kept trying to find a way. I spent a majority of the time doing a lot of the legwork to figure something out, figure some solution out. But I think it really kind of boils down to this: I don't think they really want to be one of the first or amongst the first grouping of companies to embrace that concept.
The gaming industry as a whole is still grasping onto that old model, which is the, "We get a creative and we own him, so therefore we're going to throw four projects at him, and he's going to work on all four of those. And while it may make us as a whole as a company do really well, that creative is still just an employee." I think that they just weren't ready to embrace something different. There's a lot of legal stipulations as well; labor laws that have to be adhered to. So it always sort of mystified me, but at the same time I guess I can kind of see their side of it: they just really don't want to move in that direction yet. They don't want to accept that that's the way that that's what we're moving towards in the industry.
Take the concept of unpaid overtime. A lot of companies, prior to EA Spouse, were sort of denying that that ever existed or pretending that it wasn't an issue. Then when it became such a very public issue and such a heavily litigious issue as well, everybody kind of said, "Okay, wait a minute. This is a real issue; now we have to kind of deal with it." So I think there probably still are some companies holding into the concept that there isn't a problem with that unpaid overtime issue, but it changed.
I personally don't think that [my leaving Sony Computer Entertainment] is going to be a slap in the face to them or anything like that. That's not what it's meant to be, but--I don't think it's going to make them change immediately, but I do hope that it's best like this; that this is a step in the right direction for everybody in the industry and that more and more people can see that it is something that's feasible. That creatives as a whole need to take a bit more charge of their own careers to ensure that they're getting the best opportunities. That they are challenged and creatively excited. That they are constantly being able to say, "You know what? I'd like to work on this, and I'm going to work on that." I think you're just happier and you're in the end a hell of a lot more creative and passionate when you know that you're steering your own ship.
I don't want to put words in your mouth, but it sounded like what you were saying is that you were having a hard time seeing yourself scaling the same mountain that you had scaled twice before--with God of War and God of War II--under the same conditions. Is that a fair description?
Yeah, yeah, The concept of actually doing the game was definitely not anything that I would feel all that leery about. I wasn't nervous about doing it all, but it was about whether to do it under the sort of same conditions. You know, it's not something that was ever really about money. I know there's been some speculation about that, but it's not necessarily about money. The reality that we live in is that when you look at the idea that you are a pretty large influence on something that has turned out to be a several hundred million dollar franchise for a company, but at the same time you're still not feeling like anything more than just a cog in the machine. And that you're still just, "All right, whatever, they're telling you to do; there's nothing different that can be done; go do that, go do that." You're really feeling like you're not [financially] invested fully in it whereas creatively and mentally and physically you're totally invested in it. Definitely for me, it was not something I wanted to see happen to the rest of my career especially me, getting with all these directors on the film side and seeing the way that they sort of run their careers.
Like I said before I know that the industry can't change overnight; videogame directors are never going to be of that same stature of film directors. That's not even the point. The point is just from a creative standpoint, you've got to be in charge of your own direction and really feel comfortable and happy with each of the things you're doing. And I think that also comes from diversity.
The reason I'm asking this is that David Jaffe said exactly the same thing when I was talking to him about leaving Sony and putting together Eat Sleep Play.
Right.
The larger point is obviously the situation that you've described and your search for freedom, but is there something specific to directing a God of War game that takes people and turns them into these ambassadors for change? Is it like the drummer in "Spinal Tap" or something? What is it about the process of directing a God of War game that makes people finish it and say, "I've got to leave. I've got to control my destiny. I've got to start my own thing. I've got to do my own thing."
[Laughs.] It is funny. [Pause.] Man that's an interesting point, because....I think it could have something to do with the size of God of War. I mean, I was there on the first one and I think I had a huge influence on what it was; I was there on the second one; working on the PSP game and then working on III; kind of riding that--it did make me realize that prior to God of War, I'd worked on crap. I've worked with really good people; having worked with a lot of those combat guys that were the ones who pioneered a lot of the stuff on God of War--I guess "pioneer" is probably the wrong word, but really kind of pushed the process.
So I think when you finally get to that point, where you've made something that a lot of people are enjoying and paying attention to, you maybe expect that that same level of attention from the company you're working with as well. It's not necessarily that it's like, "Pay attention to me," and "Oh I'm so awesome," and "Look at me," but it does move a little bit more towards, "We've done something very, very good. We are confident in what we've done and we know we can do this again--but we'd like to do these other things," and you're not necessarily getting that same response.
Jaffe put it best: when you work for a large company like Sony or any of these large companies you are a small cog in the larger machine. You are not all that important. And it doesn't mean to say that they don't value people, I think it just means to say that you're never going to achieve what you want to achieve and have the amount of control if you're still just making something for somebody else; under the relationship that is comfortable for them which is, "We'll just hire you as a salaried employee."
Just compare a director in the mid '80's--don't even use now--just compare a director in the mid '80's to a director in the '50's. You know they made a salary per week versus, "Hey the last thing you did was amazing." A perfect example, in the film industry, you make one movie, one movie that's successful--it doesn't matter if you've done anything prior to that--you make one movie that's successful and everybody loves it, at that point you are bankable, marketable and you have your choice. You have an idea, people want to move with you on that, you know you have the opportunity to work with many more people of a higher stature and increase your audience.
With the game industry, you make ten games and people are still like, [skeptical voice] "Well, yeah, I don't know. Maybe, maybe it's good." But once you break away from that relationship that you originally have, then you realize that everybody else has kind of realized that, "Wait, I really want to do this. Let's try this. Let's do that. Let's do that." I hate the word "complacency," but it almost is like that sense of, "Well we own this guy, what do we care? Let's just keep pumping them out." I definitely don't want to become associated solely with just God of War.
Right.
And I could see--this franchise is very successful for Sony and I think it's awesome. I was big part of making that a success for them and I think it's great that they should continue doing it, but I don't want to make God of War IV and God of War V and God of War: The Expansion Pack and God of War: The Role-Playing Kart Racing Game. I definitely could see that there is a potential for that.
At one point I was working on three games while finishing up II, and it was really exhausting. It was all God of War and it was all good and everything, but at the same time I can see that same road being traveled down the longer you stay in the same situation. And that was the onus behind changing the situation a little bit; still continuing to do this, continue to finish God of War III, but under a slightly different agreement.
Well, Stephen Totilo at MTV News is going to be pretty upset that you didn't stick around long enough to do God of Paper Mario.
That's right.
I guess he'll have to live with it. With that last burst of what you said, you're now sounding like what we're sort of imagining Bungie was probably sounding like. Now they've publicly denied that they left because they were sort of being forced to work on just Halo games, but I certainly heard from multiple well-placed sources that that was in fact one of the tensions that they had with Microsoft. And they had created a multi-billion--I don't know if it's billions now, but certainly multi-million dollar franchise for Microsoft.
I look at the industry and its origins as one or two or three programmers in a garage sort of doing it all. Then it sort of becomes this cottage industry, where you have some guys who have a background in sales or something else, and they start sort of running these small companies. Then at some point, like maybe during the 80's, you have this influx of guys who come from a product marketing and a brand marketing background; like from a Johnson & Johnson or Procter & Gamble. And if you look at /those/ kinds of companies, the person who invents a new brand of baby oil or toothpaste, you don't even know their name. They're not seen as that important because Crest is what's going to be on the front, and the person who invented that third flavor of Crest or decided, "Well, we'll put the anti-tartar fighting stuff in there," we don't even know what their names are.
I don't know if you feel the same way, but it seems like that product marketing mentality got brought to the game industry and took over. Because there was a time when the names of creators used to be on the front of the box--
America McGee's Scrapland. Exactly. [Laughs.]
Yeah. It seems like now that's gone away. And if you talk to a variety of people in the industry like it's almost religion, it's pervasive, the thinking that, "You know what? You can take away that key guy--even the creator--and we can keep it rocking and rolling. It doesn't matter."
Exactly. That's exactly the way it is. It's sad really when you think about it. Because you look over at like, Crest or the baby oil; all right, they're selling a product and it is much more of a scientific endeavor, for lack of a better term. I'm sure there's some creative thought that goes into that. But when we're talking about things like writing and video games and film it really is a creative-driven industry. And being a creative person; a person who helps drive that kind of mentality, that kind of product-driven mentality, it does make you sad.
I don't necessarily know if I would really want Cory Barlog's Scrapland or anything like that, but by the same token, there are a lot of people I think are the key integral part of making something a success. But this is the mentality of these giant conglomerates, and there's less and less that's the amazing thing. More and more people are getting bought up, so that we will eventually have four companies, you know? We'll have EA, Nintendo, Sony and Microsoft and they'll own everybody. It'll just be like, "You can have a choice: you can work for one of these companies and you will just be a part of making these individual products successful, but they still are a Brand X product." But I see so many really, really, really talented people that a huge and very extensive pedigree in the industry that they're kind of moving towards dramatic change as well.
Will Wright's breaking out of the game industry into other industries, as far as other people's awareness of him. It's not just people in the game industry who know him, like Cliffyb [Gears of War creator Cliff Bleszinski], although I guess he's probably getting known a little bit more outside of the industry as well. But we have a long road in the game industry before we're going to be taken seriously by everybody. I think that some people's reaction to the writer's strike--and I think mostly people are very supportive of this and understanding of it, but there probably are people out there that are like, "Oh come on get back to work." And that's the way everybody views the game industry right now. It's just like, "Whatever man, you make videogames." I don't think they sort of see the individual achievement because it isn't like this in the industry. There isn't television shows about the directors, television shows about the producers, television shows about the biographies of actors and biographies of people who make these games.
We're so inundated with everybody on the film side and their process that there's kind of an inherent respect, whereas with the game industry I think there's still a belief from most people that we use Super Nintendo controllers and tighten up the graphics on level three like that Westwood College commercial. That or "Grandma's Boy." That's what people probably think the game industry is: a bunch of flaky people hanging out and playing ping pong and video games in a break room for most of the day.
I think even some of the language that gets used is part of the problem.The word "product" is used an awful lot. I mean, you know, Penny Arcade made fun of Bobby Kotick repeatedly using language like "exploited" in talking about Blizzard and the Vivendi merger. Look they're business guys--I'm not saying that they're committing a crime by using this language. But it's kind of like runes, right. Runes are derived from the concept that words have power and I feel the very language of the video game--well, I was about to use the word "industry."
Yeah.
The very language we use helps define this reality that you've been talking about and that you've been chafing against.
Yeah. Games are very expensive. In the next generation, they are even more expensive. I think more expensive than anybody ever anticipated. Budgets are going so high that nobody ever thought that we'd be getting to this sort of height of these budgets. So the business side is important, to actually say, "All right, something's going to cost 30 or 40 or 50 million dollars"--some people are even saying that Metal Gear Solid 4 is going to cost 70 million dollars--and there has to be a business side to it. But when you consider that the film industry can still have kind of an art side, I guess. A side of people sort of saying, "This is a product, of course, but it's also a piece of art. It's just something that somebody felt very passionate about. This is a piece of the director, of the writer, of the true backers that all came together and made this thing that moves me." Moving me on a level of, "This is such an exciting two hours," or "This was something that made me stop and think." Film still has that inherent respect.
We still have people in the industry continually talking about how all we do is make product and it's not art. It's like this whole concept of people saying, "Oh, because we intentionally make this to sell to other people it can't be art. The goal initially is that we are creating a product that is going to be sold to somebody so it can't be art." That's ridiculous. It's the most ridiculous argument I've ever heard, when you consider that Andy Warhol's considered a very talented pop artist and the entire intention behind all of his work was, "This is product. I'm going to sell this to you. I'm going to create factories of people. I'm not going to create half my stuff." But he was still revered within the art culture.
The statements people make with games have gone far beyond a couple of lines and a little ball. I think we've graduated from Pong. We've gone through so many changes from text adventures to playing point-and-click adventure games to the full-on epic games that we have today. There are these games that reach a little bit further. I think Ken Levine's game is awesome. BioShock is a great sort of testament to the idea that perhaps it doesn't have to be some sort of diluted story about a convict who is also a soldier who breaks out of jail and saves the world from an alien invasion. It doesn't always have to f--king be that. I think that's really important and I hope that as an industry as a whole we can continue to strive for that.
The more you look at it; the more you start to realize, "Okay, we are more comfortable with the concept of 15 million dollar and 20 million dollar budgets," once they double imagine how scared everybody's going to be, like, "Wow, man, I really don't want to take a risk." And then you start to see the idea that there's going to be more and more sequels.
Right.
Sequels aren't bad as long as there's attention paid to them--the same attention that's paid to the first one, where you put the same amount of effort and love into each version. You're still going to have people going, "Oh, I wish they would've just totally made something different," but by the same token if it's a fun experience; if it takes them on a ride that may be somewhat familiar, but can at the same time still be as grand or maintain the same sort of spirit of the first one, it's a good thing.
Just a couple more questions, this is winding down.
Cool.
I know you can't really get into specifics, but what are you doing right now? What constellation of things, generally speaking, are you working on now?
Writing, finishing up some work on some script stuff.
Game script stuff or movie script stuff?
Kind of a combination of both. There's movie script stuff and then there's some game script stuff. A lot of it is just meeting with people, because it really is kind of a fresh thing, my departure. So a lot of it now is just connecting with people who I've either met through various conferences or people who've seen my work and they're just wanting to get together and hang out and see where that goes. And then there's some preparation of design docs type stuff; throwing around concepts, meeting with Eric and kind of brainstorming some stuff and refining things.
And what is it that you're refining?
I wish I could get specific actually, but I can't. [Laughs.]
I wish you could too. What does it feel like, this new phase of your career? When you made the decision, when you had your last day, what did it feel like? How does it feel different from where you were before?
Wow. For me, cumulatively it was about eight months until that final day and /literally/ seven months and 24 days was spent saying, "We're going to work this out." There was definitely a very strong belief that it was always going to be, "Whatever, we'll figure it out," and maybe a little bit too much complacency on my end of, "Yeah, it's going to be fine."
You had a little Stockholm syndrome?
Yeah. I just totally believed that there would be no way that it would end in the nuclear option. It didn't seem sensible to me at all that that's how it would go down. So there was only about six days for me to kind of adjust initially to like, "Wow, I really have to make this decision." But believe me, it wasn't at all scary. It didn't really freak me out. At first I was like, "Man, I won't have a job at this point, how do I feel about that" But I felt great.
Because I think if I had tried to something like this while working on, you know, Backyard Wrestling or Rock 'em Sock 'em Robots or something like that, I think I'd be a hell of a lot more freaked out. I worked on the original X-Men game and Jeremy Dunham from IGN had said that the animation was "stiff and unrealistic," much like the original Mortal Kombat. And I've carried that quote with me my entire career, because of that one sort of defining moment where I said to myself, "All right, I thought I had achieved something," but then I looked in the mirror a bit and realized, "No, I haven't gotten anywhere." And that kind of drove me a lot. But after leaving Sony I feel fantastic.
The people that I've met over the last like month-and-a-half and the opportunities that have arisen from all of that have made me realize that I would have been very, very, very unhappy not seizing some of these opportunities; not being able to take advantage of any of these things simply because I was locked in. If I really step back for a minute, I probably should've been at least somewhat afraid, like, "Oh my god, [Sony] is security," because that's what a lot of those jobs offer you--and kind of rely on--is the idea that you have security. The game has a guaranteed budget and you know it's going to get made and you're going to have a job and you're going to have a paycheck coming in. All these things are really important, but at the same time, you have to have a bold move in order to sort of reap a great reward. And I say that in the the sense of reap a great reward creatively not necessarily reap a giant paycheck.
Well, thanks very much for taking the time to speak with me.
Yeah, man. This was awesome.
Absolutely. Best of luck with your bold move and hopefully the great reward.
Yeah, thank you.
Writer/Director Kurt Wimmer ("Equilibrium") will possibly pen the Sony Pictures film adaptation of Konami's hit video game series "Metal Gear Solid" reports Coming Soon.
Talking with Mike DeLuca at the premiere of "21" in Las Vegas, the producer revealed that they hope to meet with Wimmer in the next few weeks to talk about him writing the script (and possibly directing).
Metal Gear Solid's story centers on Solid Snake, a retired soldier who infiltrates a nuclear weapons disposal facility to neutralize the terrorist threat from FOXHOUND, a renegade special forces unit. He attempts to liberate their two hostages, the head of DARPA and the president of a major arms manufacturer, and stops the terrorists from launching a nuclear strike.
The fourth game in the series comes out in June exclusively on the Playstation 3 and is one of the single most anticipated games of the year.
E, još kad bi David Hayter igrao Snakea... Da ga jebeš, naviko sam se na njegov glas i vbez njega mi neće biti isto.
Quote from: "Alexdelarge",,Slayer" 24. juna u Beogradu
Američka treš metal grupa ,,Slayer" nastupiće 24. juna u Beogradu. Nakon njihovog zapaženog nastupa na festivalu ,,Egzit" pre tri godine, publika u Srbiji će imati priliku da uživo vidi i čuje ovu legendarnu metal grupu. Koncert će, kako nezvanično saznajemo, biti održan na otvorenom, a uskoro će biti poznato više detalja kao i cene karata.
Bend je nastao 1981. godine u Kaliforniji, a oformili su ga mladi gitaristi Džef Haneman i Keri King kojima su se kasnije priključili pevač i basista Tom Araja i bubnjar Dejv Lombard. Prvi album ,,Show no Mercy" objavljen je 1983. godine kada je došao do izražaja njihov izuzetno brz bubnjarski ritam. Dve godine kasnije ostvarenjem ,,Hell Awaits" osetili su prvi ukus slave, da bi sledeći veoma popularan album ,,Regin in Blood" objavili za čuvenu rep izdavačku kuću ,,Def Jam Records". Pesme kao što su ,,Necrophobic" i ,,Angel of Death" imali su približno 250 bitova u minuti što su kasnije počele da kopiraju i druge grupe. Bend ,,Slayer" je tada, a i mnogo puta nakon toga, bio kritikovana zbog satanističkih i nacističkih simbola, a članovi grupe su izjavljivali da ne veruju ni u jedan sistem zbog čega su im otkazivani brojni nastupi. Bez koncerata i bez distribucije, nastalo je veliko iznenđenja kad je ,,Reign in Blood" dospeo u top 100 ,,Bilbordove" liste, a tiraž je dostigao zlatno izdanje. Kako je popularnost benda rasla, to je bilo više unutrašnjih problema i menjanja članova. Najviše problema bilo je sa bubnjarem Lombardom koji je u jednom momentu izbačen iz benda jer je navodno provodio više vremena sa svojom suprugom nego sa bendom.
Pre četiri godine originalni bubnjar se vratio na poziv ostalih članova te se odmah uklopio u bend. ,,Slayer" su tokom karijere često bili osporavani, negde su zabranjivani njihovi morbidni omoti albuma, ali to nije uticalo na pad njihove popularnosti. Uz ,,Metallicu", ,,Megadeth" i ,,Antrax" smatrani su velikom četvorkom kada je treš metal u pitanju. Devedesete su objavili izuzetno popularan album ,,Season in the Abyss" kojim su utvrdili status kao jednog od najvećih metal bendova na sceni, prodavši ga u više od milion kopija. Godine 1996. objavili su album ,,Undisputed Attitude" na kome su obradili numere pank bendova, što je privuklo još veći broj publike.
Poslednji studijski album ,,Christ Illusion" grupa je objavila 2006. a u najavi je objavljivanje novog materijala. Njihov koncert u Beogradu trebao bi da bude jedan od izuzetaka pošto na ovoj turneji uglavnom nastupaju na festivalima.
Svirka na ,,Egzitu"
Bend ,,Slayer" je nastupio na festivalu ,,Egzit", na Mejn stejdžu 2005. godine kada se videlo da su veliki profesionalci koji još uvek umeju energično da sviraju. Na hiljade ljudi tada se sabilo ispred bine tako da šutke u prvim redovima skoro da i nisu bile moguće jer su ljudi stajali jedni na drugima. Kiša koja je na momente pljuštala za vreme nastupa grupe ,,Slayer" čini se da nikome nije pokvarila ugođaj...
Cijena? Prava sitnica 2500 din. Ali kako sam propistio da ih gledam 2005. god naćiće se već novci 8)
Evo malčice detaljnije: http://www.popboks.com/vest.php?ID=6993
Nešto mi govori da ću da uzmem akreditaciju...
Tako je Mehmete!
Hey, everyone. "Moriarty" here.
I haven't read Mark Millar and John Romita Jr's new collaboration KICK-ASS, but that title rocks, and it sounds like the book is a lot of twisted fucked-up Millar-style fun.
And now, if my sources are correct, it looks like Matthew Vaughn (LAYER CAKE, STARDUST) is going to be writing and directing the film version. He's evidently holed up with Jane Goldman (his writing partner on STARDUST) right now and working hard to get the script right. Considering Millar's only got the first two issues out at this point, this may turn out to be a case like Edgar Wright and SCOTT PILGRIM, where Vaughn is working directly with Millar, already privy to where the series is headed.
I'm going to do some more digging on this one, and when I take Toshi on a comic run this week, I'll pick up issue one of this so I can see for myself what Vaughn's getting himself into. Right now, it looks like we'll see this before we see THOR, especially if WANTED connects with audiences the way I think it will this summer.
Prva epizoda Kick-Ass, koja je izašla pre dve nedelje je skoro svuda po Internetu dobila dosta negativne kritike. Mislim da se Millar dobrom broju comic bloggera popeo na kuras svojim radom u poslednje dve godine, pa su ga sad dočekali na volej, kad je krenuo sa creator-owned stripom posle dosta vremena.
Meni je Kick-Ass zapravo bio prilično zabavan, ali ZAISTA ostaje da se vidi kuda će da ide dalje pre nego što dam ikakvu ozbiljniju ocenu. Romitin crtež je, naravno, izvanredan. Takođe, naravno, znao sam da će Millar i ovo uspeti da proda Holivudu. Taj čovek je mađioničar samopromocije.
Jackman
Hugh Jackman and "Eli Stone" co-creator Marc Guggenheim are teaming with Virgin Comics to create "Nowhere Man," an original comicbook series that is designed to be transferred to the bigscreen as a Jackman vehicle.
Story was being kept under wraps, but Jackson's Seed Productions partner John Palermo said it features a protagonist reminiscent of the one Will Smith played in "I Am Legend." The concept is a futuristic world where mankind has traded privacy for safety, a premise that sprouted with Seed, Virgin CEO Sharad Devarajan and chief creative officer Gotham Chopra.
"This is our first comic, and we feel the concept is transferable to other arenas, perhaps first as a videogame, and then a movie," Palermo said.
Guggenheim has also written installments of "Amazing Spider-man" and "Wolverine" for Marvel Comics. Jackman is in Australia, starring for 20th Century Fox in "X-Men Origins: Wolverine," the spinoff movie that will hit theaters May 2009.
Said Jackman: "I've had so much fun in the graphic novel world with the 'X-Men' franchise that I wanted to get even more involved. I'm excited to work with Virgin and Marc and create a compelling character and story that hopefully will also make it to the bigscreen."
"Nowhere Man" will be published under the Virgin Voices line, which also includes "Voodoo Child," which Nicolas Cage hatched with son Weston Cage. Virgin is getting close on its first comics-to-screen transfer, with the Guy Ritchie comic "Gamekeeper" being scripted by Oliver Butcher and Stephen Cornwell for producer Joel Silver at Warner Bros. The John Cox-scripted "Virulents" also is taking shape at Fox and New Regency, with John Moore attached to direct.
Jackman next stars in the Marcel Langenegger-directed drama "Deception," which 20th opens April 25, with Summit distributing overseas. Fox bows the Baz Luhrmann-directed "Australia" Nov. 20, with Jackman starring alongside Nicole Kidman.
Emerging victorious in a bidding war, Warner Bros. has picked up "I Am a Genius of Unspeakable Evil and I Want to Be Your Class President."
The studio acquired the book proposal from "The Daily Show With Jon Stewart" scribe Josh Lieb for McG to produce via his Wonderland Sound and Vision shingle. Lieb is on board to adapt his book -- which might be the snappiest title of the year and certainly is among the longest.
The premise centers on a chubby 13-year old boy who everybody assumes is the dumbest kid in the seventh grade. He really is an evil genius and the third-richest person on the planet, with a secret compound beneath his unsuspecting family's modest suburban home. He hides his identity to keep himself safe from his enemies and because he can't legally claim his empire until he turns 18.
The story concerns the boy's attempt to prove himself in the eyes of his do-gooder father by being elected class president. Unfortunately, the tactics he uses to stage coups in Central America prove to be less effective in running a middle-school campaign.
The proposal sold to Penguin Books.
Jon Berg is overseeing for Warners.
McG is prepping to direct "Terminator Salvation: The Future Begins," starring Christian Bale and Sam Worthington.
Lieb's credits also include "NewsRadio" and "The Simpsons." He is repped by Endeavor.
"...if we took into account only race, gender and age,
Obama's chances of being in prison
would be 550 times higher than Clinton's.
Here's a good question for a presidential debate:
"Do you think 46-year-old black men
are 550 times more likely to deserve
to be in prison than 60-year-old white women?"

"The report's methodology differed from that used by the Justice
Department,
which calculates the incarceration rate -
by using the total population
rather than the adult population -
as the denominator.
Using the department's methodology,
about one in 130 Americans is behind bars....
"In the past 20 years,
according the Federal Bureau of Investigation -
violent crime rates fell by 25% -
to 464 for every 100, 000 people in 2007 -
from 612.5 in 1987...
"In 2007, according to the National Association of State Budgeting
Officers,
states spent $44 billion in tax dollars on corrections.
That is up from $10.6 billion in 1987,
a 127% increase - once adjusted for inflation.
With money from bonds and the federal government included,
total state spending on corrections last year was $49 billion.
By 2011, the report said,
states are on track to spend an additional $25 billion...
"The numbers -
based on January statistics
released by the International Centre
for Prison Studies at King's College, London -
put U.S. prison numbers far above those of China,
which has 1.5 million people behind bars *
even though its total population
is more than four times bigger than the United States'.
South Africa has 341 prisoners per 100, 000 citizens (0,34%),
Iran has 222 per 100, 000 (0,222%),
and China 119 (0,119%)
according to the King's College centre's World Prison Brief...
The authors said the U.S. - with 750 inmates per 100, 000 people
"is the global leader in the rate at which it incarcerates its
citizenry,
outpacing nations like South Africa and Iran.
————————————————————————
———————————
*P.S.:
"Nationwide, the prison population grew by 25, 000 last year,
bringing it to almost 1.6 million.
Another 723, 000 people are in local jails -
total - 2,323,000
The number of American adults is about 230 million,
meaning that one in every 99.1 adults is behind bars... (1, 01%) -
————————————————————————
—————————

Russia and other former Soviet republics
had the highest rates of incarceration in Europe.
Russia, with a total of 890, 000 people in prison,
has 628 inmates per 100, 000 people (0,628%),
followed by Belarus with 426 per 100, 000 (0,426%),
Georgia with 401 per 100, 000 (0,4%0
and Ukraine with 345 per 100, 000. (0,345%).
http://www.nytimes.com/2008/02/28/us/28cnd-prison.html?
_r=2&hp&oref=slogin&oref=slogin
US Spends 6 Times More on Prisons than Education
http://www.coastalpost.com/08/04/9.html
U.S. is world's biggest jailer
as more than one in 100 adults languish behind bars
http://www.dailymail.co.uk/pages/live/articles/news/worldnews.html?
in_article_id=522834&in_page_id=1811
We're No. 1 in incarcerations
http://religionblog.dallasnews.com/archives/2008/02/were-no-1-in-
incarcerations.html
Some prisoners find freedom inside jail
http://austinweeklynews.1upsoftware.com/main.asp?
SectionID=1&SubSectionID=1&ArticleID=1666&TM=1995.276
""You got a lot of people in the Bible
that spent time in prison" - said Rev. Greg Livingston,
pastor of Austin's Mandell United Methodist Church,
and an advocate with Rainbow/PUSH Coalition.
Livingston cited Joseph, Daniel and Paul -
as his biblical examples.
"[They were] confined by their circumstance
but they were able to transcend that," he said.
But there are practical hurdles for prisoners to overcome,
not least of which are
the conditions surrounding their imprisonment -
Livingston warned.
"There is also a reality
that 'Maybe you ain't Paul. You're not Joseph.
You just got locked up.
You in jail.'"
High US prison figures reflect failed social policy
http://www.sun-sentinel.com/news/opinion/sfl-
brmail916pnmar15,0,32411.story
"As freedom-loving people,
we should be shamed by the Feb. 29 story
reporting that 1 in 100 adults in the United States is behind bars.
With just 5% of the world's population,
we account for 24% of the world's locked population.
Even so, we have the highest crime rate
of the rich democracies.
The Prison-Industrial Complex
http://www.theatlantic.com/doc/199812/prisons
Correctional officials see danger in prison overcrowding.
Others see opportunity.
The nearly two million Americans behind bars -
the majority of them nonviolent offenders -
mean jobs for depressed regions and windfalls for profiteers...
Today the United States has approximately 1.8 million people behind
bars:
about 100, 000 in federal custody,
1.1 million in state custody,
and 600, 000 in local jails.
Prisons hold inmates convicted of federal or state crimes;
jails hold people awaiting trial
or serving short sentences.
The United States now imprisons more people
than any other country in the world -
perhaps half a million more than Communist China.
Black Prison Gulag and the Police State
http://www.blackagendareport.com/index.php?
option=com_content&task=view&id=554&Itemid=1
"America's prison model is directly derived from slavery -
the virtual imprisonment of an entire people."

"The purpose of U.S. prisons is
to socially erase masses of Blacks,
to subject them to social death."
FilmsActu reports that "Onimusha", the film adaptation of the best-selling PlayStation 2 game series, has been delayed due to various factors.
The games followed historic figures that shaped Japan's history, retelling their stories with supernatural elements.
The potential S.A.G. strike has apparently prevented producers from casting a key young male character called Jacob, whilst the already cast Takeshi Kaneshiro's busy schedule is apparently in flux.
On top of this, the delay of Terry Gilliam's "The Imaginarium of Doctor Parnassus" has meant that producer Samuel Hadida has also had to change his schedule.
These factors were enough that French director Christophe Gans will now direct an adaptation of Leo Perutz's novel "The Swedish Cavalier" first, taking over the reigns from Gilles Mimouni.
That project is a tale of switched identities and reversals of fortune concerning a nameless theif fleeing the gallows who crosses paths in 1701 with a noble-born deserter from the Swedish army.
Emilie de Ravin, Satomi Ishihara & Tsuyoshi Ihara remain attached to "Onimusha", no word on if they'll be let go.
Valjevski metalci idu na turneju sa death prvoligašima
Valjevski death/thrash metal sastav Amon Din krenuće u septembru na evropsku turneju sa američkom grupom Nile, švedskom Grave i austrijskom Belphegor.
"Ovo će biti jedinstvena prilika za jedan domaći bend da dokaže da u Srbiji ima potencijala i kvaliteta što se tiče metal muzike", navodi se u saopštenju Legacy Promotiona, koncertne agencije koja je uključila valjevce u ovu turneju.
Turneja počinje 1. septembra u Bratislavi, a među 10 gusto raspoređenih datuma - do kraja turneje 11. septembra, predviđen je samo jedan dan pauze - pored Praga, Ljubljane, Bolonje... naći će se i Beograd (5. septembar, SKC).
Amon Din će prethodno nastupiti na Legacy festivalu, koji se odrzava 30. i 31. maja u Expo XXI centru na Novom Beogradu.
Na ovom festivalu će, između ostalih, nastupiti i Testament, Obituary, Destruction, Dark Funeral, Belphegor, Amorphis, Finntroll i Unleashed.
Lepo,bar nek' idu deca da vide malo inostranstvo,kod nas naravno postoji dovoljno veliki kapacitet muzicke raznovrsnosti i stilske razlicitosti bendova,to nikad nije bio problem,PROBLEM JE U OVOJ DRZAVI STO MEDIJE KONTROLISU ORTODOXNI SELJACI I MUZICKI RETARDI,uglavnom(barem jedno 99%)pa onda sve sto nije vidjeno na doticnoh 5-6 televizija,UKLJUCUJUCI I RTS !!!!!!!!!!!!!!!!!,kao da i nikad nije postojalo ! :cry:
Second Skin
(Documentary)
By JOE LEYDON
A Pure West Films production. Produced by Peter Brauer, Victor Pineiro Escoriaza. Executive producers, David Heilbroner, Kate Davis. Directed, edited by Juan Carlos Pineiro Escoriaza. Written by Victor Pineiro Escoriaza.
With: Dan Bustard, Kevin Keel, Heather Cowan.
Is "Everquest" a harmless distraction or an addictive scourge? Does "World of Warcraft" forge communities or fray relationships? The answers are as diverse as the interviewees in "Second Skin," a sometimes celebratory, sometimes cautionary look at the phenomenon of massively multiplayer online computer games (MMOs). Filmmaker Juan Carlos Pineiro Escoriaza includes cogent observations by scientists, social commentators and game designers, and repeatedly flashes germane factoids (example: The latest edition of "Warcraft" software posted $96 million in first-day sales). But the human dramas of individual gamers are what really make this technically polished docu so fascinating and potentially commercial.
Pic emphasizes the allure for male and female players of assuming the identity of a dashing digital avatar in a virtual online universe of swinging swords and derring-do. Interactive gamers can compete against -- and establish friendships or begin romances with -- unseen strangers hundreds or thousands of miles away. Trouble is, gaming can be extremely habit-forming, leading, in extreme cases, to alienation and depression. Gamer Dan Bustard struggles to recover after losing almost everything while lost in virtual worlds; unfortunately, his is not the worst-case scenario in "Second Skin."
Dolph Lundgren will star in and direct Millennium/Nu Image's action thriller "Command Performance" which he co-wrote with Stave Latshaw reports Reuters.
The story follows a drummer for the warm-up band of a big American performer giving a concert for the Russian premier. Naturally, the bad guys break up the show. And just as naturally, the drummer is an ex-Marine.
The former major action star began directing with 2004's "The Defender". His most recent directing and acting vehicle, Sony's "Missionary Man," premieres at next week's AFI Dallas festival.
Lundgren will not be using a stunt double for the truly complicated scenes, including the percussion sequences. "Command" is scheduled to shoot in Moscow and Bulgaria's Nu Boyana Studios in the summer.
"Wanted" comic creator Mark Millar won't confirm or deny the involvement of acclaimed British filmmaker Matthew Vaughn ("Stardust," "Layer Cake") on the proposed film adaptation of his comic "Kick-Ass".
Millar tells Newsarama that "I can't confirm or deny any director at this stage. Sure, Matthew and I are friends and I think Layer Cake and Stardust tie with 28 Days Later as the best British films of this decade so having him onboard would be amazing.
But at this stage I can't even give you a little wink, except to say that the director is already in place and we're looking to rapidly go into production once we're finished a polish on the final script next month. Some casting has already been worked out too, but I can say nothing beyond this annoyingly vague statement."
Vaughn remains attached to direct "Thor" for Marvel Studios.
Heh. Neviđeno je koliko Millar hajpuje sebe i svoje stripove kao nešto štoniko nikad nije uradio. Pre neki dan je u intervjuu za njuzaramu zapenušao o tome kako je njegov upcoming projekat za Marvel (Marvel 1985) toliko genijalan strip da ga je režiser Wanteda (zaboravio sam mu ime) pitao nešto u stili 'Crni Marče, pa što mi nisi ovo prodao kao ideju, ja bih ti po tome film snimio!!!!' Ideja? Superheroji u - realnom svetu. Zaista, kao da se NIKO pre njega nije setio tako nečega. Osim Alana Mura, Granta Morisona, Aleksa Rosa i par stotina drugih autora...
Reditelj je Kazah Timur Bekmambetov... Iz intervjua bih rekao da su se njih dvojica fino razumeli.
Kako Gunse naterati da izdaju album?
Jedna kompanija za proizvodnju gaziranih pića iz Teksasa izazvala je grupu Guns 'n' Roses da do kraja 2008. izda novi album koji se već godinama unazad najavljuje.
Obećano je da će, u slučaju da se to desi, častiti pićem "'skoro sve' ljude u Americi".
"Pozivamo (molimo), Axl Rosea da konačno izda svoje remek-delo Chinese Democracy 2008. godine", stoji u otvorenom pismu firme Dr Pepper.
"U znak solidarnosti bez presedana sa Axlom, svi u SAD, osim bivših gitarista Slasha i Bucketheada, besplatno će dobiti konzervu pića - ako album bude izdat 2008", navodi se u pismu kompanije.
Reagujući na ovaj izazov, Axl je rekao da njegova grupa sa teksaškom firmom nije vezana nikakvim komercijalnim ugovorom i da ne zna kada će bit objavljen njegov novi album.
Chinese Democracy se najavljuje već punih deset godina, a New York Times ga je 2005. okarakterisao kao "najskuplji album koji nikada nije snimljen".
Guns 'n' Roses su poslednji album - kolekciju obrada The Spaghetti Incident? – izdali 1993. godine.
A link? Gde je link za Popboks???
Nego, ja taj Chinese Democracy imam već skoro godinu dana a još se nisam naterao ni da ga preslušam...
Quote from: "Meho Krljic"Nego, ja taj Chinese Democracy imam već skoro godinu dana
prokleti bili vi što radite u nevladinom sekretu... ili sektoru?!
Hoćeš da pomenem Popboks pa da opet imamo probleme i ti i ja. Ja sam čuo to što je leakovalo na Internet ali moram priznati nisam do kraja siguran da li je to taj album.
:lol:
Ma, da, ko zna kako će finalna verzija da zvuči. I ja imam isti taj leak... Ali, eto, ne vuče me da ga slušam... Za razliku od recimo The Iron Maidens - The World's Only Female Tribute to Iron Maiden koji sam slušao ovog jutra.
QuoteMetallica Announce Breakup
In a move that's sure to shock the metal community the world over, Metallica have called it a day. Apparantly, all the criticism they've been receiving from metal fans on the internet and beyond has finally struck a chord and the group have decided it's just not worth putting another album out.
Says drummer Lars Ulrich, "Whatever we do, it seems it's just not good enough for the elitist metal community. We tried experimenting with our music and became metal public enemy number one. We did a stint with an orchestra and were accused of being self indulgent (but hey, I guess it's a different story for Deep Purple and Kiss huh?). We even released a collection of covers from some really cool bands like Mercyful Fate and Discharge but that still wasn't good enough for everyone out there in metal land. Then when we finally decide to try and go back to our roots, people proclaim it as our worst album to date. The reason our new album has been taking so long was because we've been keeping close tabs on websites such as Blabbermouth to see what people are saying and already people are panning us. So we decided that no matter what we do, our best efforts just aren't worth it anymore. I don't know when metal became so facistic about what is and isn't metal but as of now, there isn't a Metallica. We're done. We would however like to thank our fans who were still loyal enough to stick with us, you made a long trip worthwhile."
None of the other members have made announcements regarding the split but it's believed that frontman James Hetfield will be busy working on a new project featuring Corrosion Of Conformity/ Down member Pepper Keenan. There also rumours that he and guitarist Kirk Hammet will revive their 80s side project Spastik Children. There have been no rumours on what any of the other members will embark on next.
Obviously this announcement comes with the news that all of the bands tour dates have been cancelled. There is no word yet on who will replace them at the Reading/ Leeds festivals and other festival shows.
Otidoh da natočim rakije posle ovoga i onda sam se setio da je danas jebeni prvi april...
Čuveni američki hip hoper i bivši direktor kompanije Def Jam Jay-Z potpisao je 10-godišnji ugovor sa promoterskom kućom Live Nation u vrednosti od 150 miliona dolara.
Osim organizacije turneja i prava na objavljivanje albuma, ugovor predviđa i osnivanje nove kompanije Roc Nation.
U okviru Roc Nationa, Jay-Z-ju će biti omogućeno da vodi sopstvenu etiketu, kao i agenciju za podršku i pružanje menadžerskih usluga talentima.
Live Nation očekuje da će Jay-Z tokom dekade obuhvaćene ugovorom objaviti najmanje tri albuma, a za potrebe snimanje svakog će dobiti po 10 miliona dolara.
Jay-Z je Timesu rekao kako želi da funkcioniše poput indie benda, da mnogo više nastupa a manje se oslanja na radio.
"Pretvorio sam se u Rolling Stonese hip-hopa", dodao je on.
Podsetimo, nedavno su U2 potpisali 12-godišnji ugovor sa Live Nationom koji se odnosi samo na turneje, a Madonna je prošle godine potpisala ugovor sa ovom kompanijom u vrednosti od 120 miliona dolara.
Apr 3, 2008 10:51 AM
Subject: lutke & ventolin on tour 2008
Body: sa radoscu mozemo da objavimo da LUTKE I VENTOLIN idu zajedno na
turneju cetri skakaonice 2008.
za sada su potvrdjena 3 nastupa i to:
Lutke & Ventolin
Mesto: Dom kulture, Starčevo
Vreme: 18.
april 9,30h
Mesto: Living Room @ SKC, Beograd
Vreme: 23.
maj 9,30h
Mesto: Klub Dublin, Petrovaradin, Novi Sad
Vreme: 31.
maj 9,30h
uskoro jos datuma. znaci ovo prolece i leto cemo biti zajedno.
pozdrav Lutke
Jebote, u tom Dablinu sam svirao više puta nego što sam u Novi Sad išao poslom....
Quote from: "Meho Krljic"Jebote, u tom Dablinu sam svirao više puta nego što sam u Novi Sad išao poslom....
Ej, ovo je interesantna i pozitivna novost (za mene)...
Ma, mislim, u klubu Dablin, ne u gradu Dablinu.... A u Novi Sad nisam išao poslom, ima tome bar tri godine... Ulenjio sam se... A i mislim da sam poslednji put tamo svirao recimo 2005. godine... Mada sam posle jednom svirao i u Sremskoj Kamenici. U svakom slučaju, Lutke će možda i da pozdrave aplauzom, a nama će sigurno samo da se smeju...
Quote from: "Meho Krljic"Ma, mislim, u klubu Dablin, ne u gradu Dablinu...
E, da ga @ebem, ja mislio na onaj irski (sa Ircima)... :lol:
Znam, zato i pojašnjavam, da ne bude zbunjenih.
Inače, kad se već reklamiramo: na ovoj 'turneji' sviramo i jednu obradu Džonija Keša. Dakle, biće tu i pristojne muzike.
Quote from: "Meho Krljic"Inače, kad se već reklamiramo: na ovoj 'turneji' sviramo i jednu obradu Džonija Keša. Dakle, biće tu i pristojne muzike.
ovo mi zvuči otprilike kao kad bi neko ko ima PSIHO u naslovu svog romana kazao: moj roman je obrada AMERIČKOG PSIHA, dakle, možete očekivati ozbiljnu literaturu!
ili, kad bi se neko u svom jadnom 'krimiću' neprestano pozivao na U. Eka kako bi podario 'dignitet' i 'ozbiljnost' svom delcu...
Komšija Meho, ja kao stari pravoslavac koji je naklonjen Islamu mislim da se ovi benelukšani više ne mogu tolerisati.
Слобода говора за исламофобију
Холандски суд одбио захтев да се због распиривања мржње забрани филм ,,Фитна" Герта Вилдерса
Протести огорчених муслимана у Карачију (Фото АФП)
Пресуда холандског суда да Герт Вилдерс није прекршио закон приказивањем антиисламског филма ,,Фитна", у којем је Куран назвао ,,фашистичком књигом", највероватније ће још више распламсати гнев муслиманског света. Јучерашњом одлуком суд у Холандији је одбио захтев Холандске исламске федерације да се забрани овом десничарском парламентарцу да пореди муслиманску веру са фашизмом, а пророка Мухамеда са варварином.
Ова муслиманска организација је истакла да Вилдерс распирује мржњу и насиље према муслиманима, као и да би требало да буде осуђен за дискриминацију уз обавезу да објави исправку.
Међутим, Вилдерса и његове поступке суд је, како преноси Ројтерс, оценио као политичара који користи своју слободу изражавања, додајући да је неопходно да парламентарац може да изрази своје погледе у јавној дебати, чак и кад су они екстремни.
,,У том светлу, не може се рећи да је оптужени са својим коментарима, иако су они провокативни, распиривао мржњу или насиље против муслимана", саопштио је холандски суд, при чему је у пресуди откуцаној на четири стране написано и да ,,спорне примедбе се не сматрају за незаконите", као и да је ,,слобода говора оптуженог била одлучујући фактор у овом предмету".
Седамнаестоминутни филм, у којем се Куран осликава као извор насиља, тако што су измешани кадрови исламске свете књиге и терористичких напада, данима изазива немире и протесте широм света, док лидер десничарске Партије за слободу не одустаје од своје исламофобичне пропаганде.
,,Увек сам веровао да у политичкој дебати мора бити могуће указати на опасности од надолазеће исламизације Запада и Холандије", рекао је Вилдерс за новинску агенцију АНП и додао да ,,никад није имао осећај да је претерао".
Док је око 20.000 Пакистанаца у недељу демонстрирало и палило холандске и данске заставе у Карачију, због филма ,,Фитна" као и поновног објављивања карикатура пророка Мухамеда, Герт Вилдерс је на интернет поставио нову ревидирану верзију спорног филма. У новој верзији избачена је карикатура пророка Мухамеда са бомбом у турбану, али је и уместо фотографије холандског репера мароканског порекла стављена фотографија правог убице Теа ван Гога, познатог по томе што је отворено говорио о насиљу према женама у исламским земљама.
Вилдерса је, према свему судећи, више уплашила најава данског карикатуристе да ће га тужити због неовлашћеног коришћења ауторских права, односно његове карикатуре, него што је започео талас протеста и бојкотовања холандских производа у Пакистану, Малезији, Индонезији, Авганистану, Ирану и другим муслиманским земљама. Протести против спорног филма и карикатура протеклих дана спојили су шиите и суните, али за разлику од демонстрација 2006. године, овог пута нема погинулих.
Ирански верски вођа ајатолах Ахмад Катами пре неколико дана је у току молитве, коју је преносио ирански државни радио, рекао да иза Вилдерсовог филма стоје ,,тлачитељске силе и ционистички режим".
,,Овај јадни холандски посланик је 40 пута путовао у Израел у последњих 25 година. Он каже како је близак (израелском председнику) Шимону Пересу и (израелском премијеру) Ехуду Олмерту", рекао је Катами и додао да ,,они виде руку ционистичког режима иза ових сатанистичких дела и дозивају смрт Израелу".
Минули догађаји само доприносе све већем међусобном неразумевању између западног и муслиманског света, које је евидентно и по шестогодишњем истраживању Галупа спроведеном у 35 муслиманских земаља у којем је испитано 50.000 људи. Резултати овог истраживања, објављени у књизи ,,Ко говори за ислам? Шта милијарду муслимана заиста мисли", назначавају како неразумевање с обе стране, које често одржавају политичари и медији, може да подгреје сумњу и конфликт.
Према речима Далије Могахед, коауторке књиге, анализа медија је показала да је већина америчких телевизијских извештаја ,,оштро негативна" према исламу, док су дискусије о хришћанству на муслиманским ТВ станицама нити добре нити лоше.
Bah... stara dilema: da li je važnija sloboda govora ili sloboda vere... Materijalno ili duhovno... Ovosvetsko ili onostrano...
Ovih dana u prodaji će se pojaviti novi album Dejana Cukića Ubrzanje! u izdanju Multimedia Recordsa.
Ubrzanje! sadrži deset pesama, uglavnom snimljenih u studiju Sky Music; među Cukićevim saradnicima bili su Mirko Vukomanović, Voja Aralica, Ted Yanni, Branimir Štulić i Kornelije Kovač.
Album je masterovan u studiju Masterlab u Berlinu.
Izdavač najavljuje Ubrzanje! kao "dinamičnu ploču, modernog senzibiliteta, koja definitivno sadrži neke od najboljih pesama koje je Dejan Cukić uradio do sada".
Za prvi singl odabrana je pesma Fantastičan dan.
Juno director Jason Reitman was also on the Howard Stern Show today and revealed that he turned down an offer to direct Justice League of America for Warner Bros. Howard's first question was "How's the script?"
"Good, FINE... You know, I mean. I had to sign something, they send me the script and it comes on this spy paper which cant be xeroxed," revealed Jason Reitman. "They have a time when I have to have the script back to them and the script is fine and I could be spending..." Jason later continued: "What am I going to do with Justice League of America? So Basically I'll make a movie that is not as good as X-Men, then I'll be the guy who made a movie not as good as X-Men. Where just like you talking about, going to smaller stations, if I make another small movie, and it's really good, it performs well..." "Right now I'm thought of as a particular type of director. I've got an oscar nomination. I've made two indie films that play film festivals that are considered thoughtful. I want to stay in that world, I like making those type of films."
http://www.popboks.com/vest.php?ID=7239
Pokretna traka superjunaka
Strip autor Stan Lee, tvorac Spajdermena i drugih junaka koji su u poslednjih pola veka obeležili popularnu kulturu SAD-a, najavio je da će stvoriti još 10 junaka koje će predstaviti 2009. godine.
Prema pisanju Varietyja, 85-godišnji Lee će nove junake predstaviti u 10 stripova, koji će potom biti adaptirani u kratkometražne animirane ili dugometražne filmove.
On je autor ili jedan od autor ne samo čoveka-pauka, već i junaka stripova Hulk, Daredevil, X-Men, X2:X-Men United, Fantastična četvorka, Iron Man...
Nakon karijere u Marvelu, Lee sada ima svoju produkcijsku kompaniju Pow! Entertainment, čiji je najveći komercijalni uspeh TV šou Stripperella - komični crtani film sa glasom Pamele Anderson, koja igra noćnu plesačicu koja se danju pretvara u superheroja.
Moriarty Is Stunned By IRON MAN's Impact!
Hey, everyone. "Moriarty" here.
Oh, Favs, you did it this time.
IRON MAN is grown-up fun, a rare thing these days. It's escapism, no doubt about it, and it's light as air for most of its running time, even with a surprisingly high body count and a rough-and-tumble aesthetic. This is not, however, a kid's movie, and that is such a welcome discovery that IRON MAN seems even greater than it would if it were just another kid-friendly superhero film.
Marvel Studios makes a hell of a debut with this film, and if they can put together creative teams that take their characters this seriously each and every time they make a film, then they could very well eclipse the work they did with the other major studios, proving that they were right to step back and take control of their own properties once again.
From the opening frames of the film, IRON MAN is confident, cocky, and slick, just like Tony Stark. And, yes, everything you've heard about the casting of Robert Downey Jr. is true. It's an insanely good fit between actor and character, and right away, he's making you laugh and he's suggesting such a great history for Tony with every line, and as the opening sequence plays out, you get it all quickly. By the time the actual title appears onscreen, you will be sure that you're not seeing "just another superhero film." I can't think of a single one that starts like this, or that sets a tone like this right away. It's not James Bond. It's not ROBOCOP or THE ROCKETEER. It's not SPIDER-MAN or BATMAN BEGINS. But it's certainly got elements of all them, digested and then organically reconstituted into something fresh. IRON MAN has its own vibe, and that's what I responded to the most. This is a movie with a pulse. It may be "summer product," but it's far more than that, too. It's pop art writ large, populated with great actors who all understand exactly what they're doing. And Favreau, who has been growing with each film as a director, has finally put it all together here. If you wondered whether he was really a comic geek or if he's just doing this because it's a blockbuster, you'll know the answer by the end of the film. This is a film born of pure geek love, and that's why it works.
Some people are complaining that this is an origin story. That's sort of true, but it's not an "origin" the way we're used to seeing them. There's no mystical accident. There's no prophecy about Tony being the chosen one. There's no magic powers given to him by outside forces. This is just the moment where Tony Stark grows a conscience and decides to contribute something to the world instead of just taking from it. Although he's brilliant, he is a man of inherited wealth and power, and what we see here is the event that leads him to define himself instead of just playing the role he was born into. Robert Downey Jr. has had a fascinating career, defined as much by what he's done off-screen as on, and there's something intoxicating about seeing him step up and become the MOVIE STAR that he's always had the potential to be. He gives Stark a soul, and even at his most glib, there's a grounded reality to what he does that makes us believe in this world.
He's helped by Terrence Howard as Jim Rhodes, the liason between the Pentagon and Stark Industries, and by Pepper Potts, his personal assistant played with wit and glamour by Gwenyth Paltrow, who looks like she walked out of a '40s romantic comedy. He believes that Obidiah Stane is also helping him, and Jeff Bridges embraces this bad-guy role, seeming to delight in every terrible thing the film allows him to do. It's no big secret to say that Stane is the bad guy of the film, but the way the film's structured, he doesn't start off as the obvious villain. Instead, Bridges brings his A-game to the film as well, and as a result, both Stark and Stane are given more depth than you'd expect. Anyone less substantial than Bridges might not fare as well opposite Downey, but Bridges refuses to get overshadowed here. He can turn on the charm at times, but when he amps up the menace, he's scary, and he's one of the reasons I would not bring younger viewers to see the film. Once he finally reveals his true nature, the film starts to play very, very rough, and I think they skirt the fine line between the PG-13 and the R expertly. Clark Gregg also does some great work as Agent Phil Coulson, and I like how his true nature is only gradually revealed, leading to one of the great payoffs in the movie for fans.
ILM's work here, combined with Stan Winston's work, is just as seamless as when they teamed up for JURASSIC PARK in 1993. There are many sequences where I'm not exactly sure what is what. Could be practical. Could be CGI. Beats me, and frankly, I don't care. By the end of the film, I believed in IRON MAN. I believed that he could exist in our world. And that he would make it better if he did.
Matthew Libatique's cinematography is rich and colorful, but they're not trying for a hyperreality like we've seen in many of the superhero films. Instead, he gives things a rough-hewn realistic look, very matter-of-fact, and it's the exact right choice. I wish Hans Zimmer's score wasn't so cookie-cutter. We have yet to hear a truly great Marvel hero theme in any of their films. I don't think SPIDER-MAN or X-MEN or FANTASTIC FOUR or HULK or DAREDEVIL or even BLADE had a theme that really stands out the way the 1978 SUPERMAN theme did or the way the Burton BATMAN theme did. That's a shame, because in every other way, this is an iconic movie. Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway have done a tremendous job distilling decades worth of comic characters and storylines into an original piece that manages to pay tribute to many different eras of Iron Man storytelling without feeling the need to "shake it up." Instead, they've cherry-picked the best stuff, carefully putting it all together in a way that should please almost every fan, while never once drowning the film in complicated continuity that would keep a new viewer at arm's length.
Yes, there are some great nods to comic history, and yes, there are some very sly suggestions about what to expect from future installments in this series (and there will be many, many more... you can be sure of that), but even if you've never read anything with Iron Man in it, those moments will play for you, too, because this film is careful to give you everything you need to enjoy it. I like that the script isn't about some threat that's about to blow up the entire world, or some villain who is about to topple the US government, or some giant cosmic threat. Instead, it's a fairly personal story that boils down to a wrestling match over control of a multi-billion-dollar corporation. Doesn't sound like the most interesting engine, but keeping it simple means that more energy can be focused on Tony himself and the journey he takes as he figures out what to do with his awesome new invention. It's a fairly lean adventure, and now, groundwork laid, they're free to explore the larger world that is only hinted at in this film. I appreciated the fact that Stark doesn't pull his punches as he deals with the bad guys in this movie. It's violent and scary at times, and Stark doesn't have the same sort of white-black moral code as someone like Batman. He has no problem with killing someone who deserves to be killed, and that startled me.
When he tears into the organization run by Raza (Faran Tahir), it's brutal and unapologetic. It's also one hell of an exciting sequence. In the end, I don't want to indulge in hyperbole by calling this "perfect" or "flawless" or an "instant classic." I think it'll be a word-of-mouth hit all summer long, and for every film that comes out and disappoints, I think that's another ticket sold to IRON MAN as people go back and show their friends and just watch it again for their own pleasure. And I think it'll be a movie that sells Blu-Ray players when it's released later in the year. Whatever the case, I'm satisfied, and it's nice to feel like a film treats you with respect rather than disdain, especially as the kick-off to what looks like a very fun summer. IRON MAN knocked me flat tonight... and I loved it.
Thanks, Marvel. Keep it up.
Ja sam nažalost juče daunloudovao igru rađenu po filmu i... da kažemo da su igre rađene po filmovima i dalje prilično loše...
Matthew McConaughey is rumored to be the front runner for Marvel's early 2011 superhero project "The First Avenger: Captain America" reports Cinema Blend.
The character's real name is Steve Rogers, a sickly young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort during the Second World War.
The character remains one of the few of Marvel's most popular characters yet to have been turned into a feature film (not including the odious 1990 low-budget direct-to-video feature). In many ways it still faces much difficulty due to the nature of the uber-patriotic character in a modern post-Iraq world which has become far more critical of America's involvement on the global stage than ever before.
The solution seems to be repositioning the character and placing the emphasis on his role as the leader of 'The Avengers'. The character will team up with Iron Man, Hulk and Thor in that film opening a few weeks later in July 2011.
Kuku:
http://www.gamespot.com/news/6190664.html?tag=latestnews;title;2
Verbinski BioShocks Hollywood
Pirates of the Caribbean director helming adaptation of 2K's groundbreaking undersea actioner; Universal courting Gladiator screenwriter to pen script.
By Brendan Sinclair, GameSpot
Posted May 9, 2008 10:23 am PT
Gore Verbinski is returning to Davy Jones' locker. Having completed work on the Pirates of the Caribbean film trilogy, Verbinski has signed on for another oceanic epic with the big-screen adaptation of 2K Games' award-winning action game BioShock.
The publisher today announced the project in conjunction with Universal Pictures. The studio is in talks with Academy Award-nominated writer John Logan (Aviator, The Time Machine) to provide the screenplay.
In an interview with Hollywood trade magazine Variety, Verbinski said the film won't be on the same scale as his summer blockbuster Pirates of the Caribbean films.
"It's a much more intimate story than Pirates," Verbinski explained. "Although it's an adventure, its a dramatic adventure. I see it more along the lines of Blade Runner."
Although the Disney ride-based films are his best-known work, Verbinski has worked on smaller-scale pictures as well. He directed the US remake of The Ring, as well as the 1997 family picture Mousehunt. Three months ago, he gave the keynote address at the DICE Summit, telling hundreds of the game-industry elite about his growing interest in games.
Verbinski also told the trade that he was prepared to make a BioShock movie rated R. Beyond the dark tone and violence of the game, Verbinski also said the "graphic nature of the story is smarter than that."
"The utopian references and the way the characters and world are drawn in that delightfully inspired Jules Verne and Ayn Rand style places the film in a more elevated realm," Verbinski said. "It's the realm of a graphic novel. It has to have that edge."
Variety also reported that Take-Two Interactive chairman Strauss Zelnick dismissed fears that the project would end up in turnaround like Universal's last big game adaptation--Halo--saying that the BioShock deal was structured specifically to avoid such a fate.
No projected release window for the film was announced, nor was the casting of any major characters--including the silent, faceless protagonist--revealed.
Dakle, stvarno.......... Half Life odoleva dušmanima već deceniju a BioShock će odmah da ekranizuju... Jebote, brn, holivud, brn :x :x :x :x
Sto je najgore u dopbrim rukama od toga bi se dao napraviti savim dobar film. Ovako... :(
Ma, čak ni u to nisam siguran. BioShock je u osnovi o tome kako jedan čovek ide unaokolo po razorenom podvodnom gradu i naleće na ljude od kojih ga svaki šalje da ga nešto posluša. Većina priče je ispričana audio-dnevnicima i radio komunikacijom. Ključni narativni momenat je u tome što se igraču iz ruku na momenat oduzima moć interakcije i on posmatra kako njegov avatar izvodi nešto što sam ne želi da uradi. Ovo ne može da se izvede na filmu....
Hm, ja sam iz ko zna kog razoga predpostavio da film ne bi uzeo pricu iz igre i ponovo je ispricao u svom medijumu.
Potpuno neosnovano mi je prva na um pala varijanta gde se uzima setting i prica potpuno nova prica koja je potencijalno na neki nacin vezana za desavanja iz igre.
Tvoj komentar me je ponukao na razmisljanje... kako bi se docarao lik koga mi vodimo u igri? Morali bismo da gledamo nekog glumca iz treceg lica... kakvo bi njegovo ponasanje moralo biti s obzirom na 'would you kindly'? Kakva gluma bi to valjano docarala? Naravno svi koji su igrali igru bi vec znali za obrt....
Usput, potpuno off topic, procitah upravo tvoju par godina staru recenziju Patter Recognitiona. Sto ti ne pises te stvari za neku uglednu publikaciju? (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-tongue.gif&hash=df3ff3bf4b2545aeb993b1f264344d9bd8747620)
Mislim da će scenario za film morati da ide malo više u širinu. Da će se dosta toga što se dešavalo u Raptureu pre dolaska protagoniste gledaocu prikazivati kroz flešbekove. Ali mislim da ne mogu da se izvuku od upotrebe 'would you kindly' i vezivanja akcija protagoniste za ovu frazu... Videćemo. Jako me zanima šta Ken Levine ima da kaže na sve ovo. Mislim, on je ipak dramaturg...
Apropos Pattern Recognitiona, ma napisao sam prikaz i za Emitor... A možda znaš možda ne znaš i da uređujem književnu rubriku na popboksu...
Nijesam znao. :)
Mozda je trebalo, cisto da nam ne dizu nade, dati Uve Bolu da snimi film... veci vidim par likova u dzinovskim skafanderima kako se
zbunjeno sudaraju uz 'kling-klang' zvuke.
Heh, to bi bilo prilično smešno. Trejler za Far Cry obećava očekivanu količinu sira u najnovijem proizvodu Uweta Bolla. :lol:
Kad spomene Bolla, Meho, da li si možda gledao "In the Name of the King", po Dungeon Siege-u? Heh, 'po njemu'? :lol: Kao da ne bi mogao biti po bilo čemu što sadrži kralja, vojsku, dva čarobnjaka (tri?), orke i heroja i njegove prijatelje...Gledao sam ga sa nevericom, a znao sam šta uzimam. Sećam se pre nekoliko godina kako su ispljuvali Eragona (s pravom), a to je remek-delo kinematografije u odnosu na ovu Bollivudsku produkciju, kako vole da zovu njegov opus.
Ma, nisam, nemam ja vremena da gledam ni dobre filmove a kamoli Boletova smeća, to je više Harvesterov teren. Plus, Dungeon Siege meni nikad nije bio nešto specijalno draga igra (jebiga, seljak sam čovek, volim kad RPG ima priču i kompleksniji sistem). Od recentnih Boletovih nedela gledao sam Blood Rayne pošto je meni ta igra relatvno draga (mislim, najviše kao guilty pleasure, naravno) i to je bila teška katastrofa. I dalje mi je misterija zašto je Ben Kingsley igrao u tom filmu.
QuotePlus, Dungeon Siege meni nikad nije bio nešto specijalno draga igra (jebiga, seljak sam čovek, volim kad RPG ima priču i kompleksniji sistem).
Nije ni meni, ja sam gledao više iz neke mazohističke radoznalosti. I vidim da ima dosta nas seljaka. :wink:
Al ja sam najveći seljak u ekipi, sigurno.
Omiljeni RPG? :lol:
Teško je izjasniti se... Pa i neću... Mislim, imam mnogo omiljenih, a mnoge još nisam ni igrao... Svakog dana mi je drugi omiljen...
Kakav mudracki zen odgovor. (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-tongue.gif&hash=df3ff3bf4b2545aeb993b1f264344d9bd8747620)
Ocekivao sam varijaciju na vecitu raspravu Fallout ili Torment, ali trebalo je da znam bolje.
Ma, ne, rasprava bi pre bila na relaciji Final Fantasy - Shin Megami Tensei - Chrono Trigger/ Cross... Da ne pominjem taktičke igre poput Shining Force, Disgaea, Fire Emblem...
Mada bih mogao i da kažem Shadow Hearts iako svakako nije najbolji ali spada mi u najdraže jer mi je to bio prvi JRPG od koga naprosto nisam mogao satima da se odlepim zapanjen koliko me je uvukao pričom, likovima i borbenim sistemom...
Fable Works and Sparx Animation Studios ("Igor") will produce the computer-animated feature "Cereal Heroes" says The Hollywood Reporter.
David Meinstein ("Portal") is writing the screenplay, which revolves around cartoon cereal box-mascots who are mistakenly brought to life when a plan to replace the world's fallen superheroes with characters from comic books goes awry.
They soon find themselves on the run in an unfamiliar world that only they can save from destruction.
Stephen Silver ("Kim Possible") is designing the characters. A film release in 2010 is planned.
Brad Pitt is being linked to play the titular character in the upcoming movie based on Marvel Comics "Thor".
Uuuu. Moraće da se opako nabilduje...
Quote from: "Meho Krljic"Ma, ne, rasprava bi pre bila na relaciji Final Fantasy - Shin Megami Tensei - Chrono Trigger/ Cross... Da ne pominjem taktičke igre poput Shining Force, Disgaea, Fire Emblem...
Mada bih mogao i da kažem Shadow Hearts iako svakako nije najbolji ali spada mi u najdraže jer mi je to bio prvi JRPG od koga naprosto nisam mogao satima da se odlepim zapanjen koliko me je uvukao pričom, likovima i borbenim sistemom...
A, ti si jedan od tih. Ko bi rekao... :lol:
Ma, igram ja jednako i WRPGove. Trenutno na računaru imam instaliran Oblivion i Baldur's Gate, čisto da ne posumnjaš u moju pravovernost.
Ne sumnjam, al' vidis da preferiras prve. (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-tongue.gif&hash=df3ff3bf4b2545aeb993b1f264344d9bd8747620)
Mada, moram priznati da mi je zao sto sam ostao temeljno neupoznat sa JRPGovima. Samo sam FF:Tactics presao, a i on vie vuce na ovu takticku stranu. To sve pre svega zato sto nikad u zivotu nisam posedovao konzolu... :tuzni pogled samosazaljenja:
Sve obcavam sebi da cu jednog od ovih leta uzeti da se malo edukujem, uzimajuci kakav emulator i pocinjuci od onih oldtimera poput starih FFova.
Da, FF VI, Chrono Trigger, Chrono Chross, Breath of Fire i još milion klasičnih JRPGova možeš lako da odigraš posredstvom emulatora.
Što se tiče toga da možda procentualno više igram JRPGove nego WRPGove, to je samo zato što su JRPGovi ipak nešto kraći.
Wii Fit or Wii Fat?
Nintendo's exergame wrongly labels kids overweight, claim obesity experts.
By Ben Silverman
ADVERTISEMENT
When a 10 year-old girl from the South-East of Britain stepped on the scale of Nintendo's new game Wii Fit, she expected to get the blood pumping with some fun, casual exercising.
Instead, the game's software told her she was fat. Understandably, her father wasn't happy.
"She is a perfectly healthy, 4ft 9in tall 10-year-old who swims, dances and weighs only six stone (84 lbs). She is solidly built but not fat. She was devastated to be called fat and we had to work hard to convince her she isn't."
Obesity experts in the U.K. are working equally hard taking Nintendo to task for failing to warn parents that Wii Fit isn't appropriate for younger kids. At the center of the debate is the game's use of the Body Mass Index (BMI) as a means of judging the health of its players. After standing on the game's innovative Balance Board peripheral and entering basic information like height and weight, the game doles out an overall BMI number as well as a label, such as "underweight," "ideal," or in some cases, "fat." While the somewhat callous system is reasonably accurate in determining the BMI of adults, a child's BMI can literally change from day to day. Experts have deemed its use in Wii Fit misleading.
"I'm absolutely aghast that children are being told they are fat," said Tam Fry of the National Obesity Forum. "BMI is far from perfect but with children it simply should not be used. A child's BMI can change every month and it is perfectly possible for a child to be stocky, yet still very fit."
Nintendo apologized for the terminology used to describe players, but stopped short of actually adding a warning to the game.
"Wii Fit is still capable of measuring the BMI for people aged between two and 20 but the resulting figures may not be entirely accurate for younger age groups due to varying levels of development," the company said through a spokesman.
Nintendo's exergame is already a bona fide international hit, selling out quickly in both Japan and Europe. The game releases in North America on May 19.
Samo da kazem da sam krenuo da tracim vikende umesto spremajuci ispite buljeci u Cvece zla i naopakog....
Damn you Mr K! Damn you! :x
Ma, kakvi ispiti, gledaj mene, studirao dva fakulteta a nijedan završio i šta mi fali? Osim obrazovanja.... Možda malo štofa.. Zrno-dva kritičke svesti... Sve nevažne stvari...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fhtml%2Femoticons%2Flaugh.gif&hash=378b9661a6a75a628bdf3b03250bca8aaefd6d07) Koja dva ako nije tajna?
Quote from: "Father Jape"Koja dva ako nije tajna?
1. zaštita na radu i 2. balet.
Ma, laže Ghoul, sve iz pakosti jer nisam završio fakultet kao i on.
Tehnološko Metalurški: trebalo mi je tri odslušane godine da shvatim da ne razumem šta ovi ljudi ispred table pričaju.
Filološki: ovde sam bio mnogo efikasniji pa sam već posle mesec dana digao sidro. I otplovio putem pakla.
QuoteFilološki: ovde sam bio mnogo efikasniji pa sam već posle mesec dana digao sidro. I otplovio putem pakla.
Vr'! (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fhtml%2Femoticons%2Flaugh.gif&hash=378b9661a6a75a628bdf3b03250bca8aaefd6d07)
Nego, procitah malopre onaj rant o velikanima serbskog рокенрола, pa me znanima, cisto informativno, sta mislis o Balasevicu? :evil:
.
Quote from: "Meho Krljic"Ma, laže Ghoul, sve iz pakosti jer nisam završio fakultet kao i on.
meho je iz čiste zlobe upiso 2 komada kako ne bi završio jedan više od mene! :P
Hmda... tako nekako.
Er... Balašević? Paaaa.... Volim ga?
Ma volim ga i ja, al' sam mislio vise nesto u stilu Zasluga vs. Krivica. :P
Paa, za razliku od većine nabrojanih u onom tekstu kojima se mogu naći neke zasluge u mladosti a gresi u zrelim i poodmaklim godinama, ĐB je većinu kardinalnih prestupa učinio kad je bio mlad pa to deluje šarmantno i može se odbiti na godine.
(Naravno, nekima sa one liste, recimo Neši Galiji ili Đuletu VG se ne mogu pripisai skoro nikakve zasluge već gotovo isključivo gresi...)
Quote from: "Meho Krljic"Paa, za razliku od većine nabrojanih u onom tekstu kojima se mogu naći neke zasluge u mladosti a gresi u zrelim i poodmaklim godinama, ĐB je većinu kardinalnih prestupa učinio kad je bio mlad
Misliš u trenutku kad je odlučio da se bavi muzikom?
Zlobniče!!! Sigurno mu zavidiš što je imao dužu i plodniju karijeru od Dinoa Merlina.
QuotePrelepo. Svejedno, ja sam mudrovao o tome kako sve ove mlade treba pohapsiti i u zatvor terati, ovima sa dredovima do dupeta odseći kosu a ovima sa malo kose odseći, ako treba glavu. Onda sam okrenuo sečivo svog besa ka plešućim pripadnicima publike. Pomislio sam (i glasno izrekao) kako ne postoji ni jedno valjano opravdanje da muškarac stariji od devet godina pleše, sem ako se ne radi o svadbi. Ovde ne računam tromo prebacivanje težine s noge na nogu ili klimanje glavom u ritmu koje je svojstveno skoro i najvećim nerijateljima plesa kada se nađu na mestu gde je muzika glasna a masa se talasa. Pričam o pravom plesu, sa sve širokim pokretima i zastrašujućim osmehom na licu. Ozbiljno, koje je njihovo objašnjenje za ovakvo ponašanje? Kada žene senzualno uvijaju svoja tela u ritmu muzike, jasno je da to rade da bi privukle našu pažnju i sebi obezbedile seksualnog partnera i potencijalnog oca svoje buduće dece, pa se za njih kakvo-takvo opravdanje i može naći (što naravno ne znači da sad odjednom treba prema njima da budemo popustljivi i opraštamo im svakodnevne previde u kućnim zadacima i povremena pomanjkanja respekta za nas), ali zašto to muškarci rade? Pa sigurno nisu baš svi homoseksualci??? A ako jesu, zar nisu svesni da je među homoseksualcima gej ponašanje odavno izašlo iz mode? Evo, pogledajte na ovom sajtu listu gej bendova: http://lovegodsway.org/GayBands Mislim, tu je i Motorhead, zaboga!!!!
Ovaj pasus u tolikoj meri konvergira Istini* da ja imam potrebu da ti obecam jedno pice ili slatkis po izboru u nazrivoj buducnosti. :evil:
*As propounded by the inimitable William Melvin Hicks (God rest his soul) - "Real men don't dance. They sit, sweat, and curse."
Kuku, ti još nisi odustao od čitanja tih užasa??? Aman, čoveče, završi prvo fakultet pa se onda zajebavaj, da ne završiš kao ja.
Dosao sam na lukav plan - radicu oboje paralelno. Mislim da tamo ima taman dovoljno materijala da mi potraje do kraja studija. (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-coffee-n-news_2.gif&hash=38dd371c85afc3b8b0ed4d6698929e88d1172866)
Nećeš ti ni stići do kraja studija ako se ne uzmeš u pamet. Evo, ja ću da ti kažem, dovoljno je da pročitaš ovaj tekst:
http://cvecezla.mojblog.co.yu/p-lepo-selo-lepo-gori-a-baba-se-ceslja-nozem/98048.html
i to ti je sublimacija mog kompletnog rada tamo. Ostalo batali.
Based on Warren Ellis' comic book miniseries
By Borys Kit and Jay A. Fernandez
June 5, 2008, 01:00 AM
From the cover of "Ocean"
Ryan Condal has been hired to adapt "Ocean," a comic miniseries by Warren Ellis that is set up at Warner Bros. Nick Wechsler and Hollywood Gang's Gianni Nunnari are producing.
The story revolves around the discovery of thousands of coffins containing angel-like bodies and a giant weapon of mass destruction beneath the ice on Europa, one of Jupiter's moons. A U.N. weapons inspector is sent to investigate the find, teaming with a space station crew, when a powerful conglomerate moves in to exploit the discovery.
Six issues of the comic book were published in 2005 and 2006, with Wechsler and Nunnari optioning the film rights in August 2007. The two are working on bringing Frank Miller's "Ronin" to the big screen.
Hollywood Gang's Craig J. Flores is executive producing "Ocean."
Condal, a relative newcomer, is known for his spec "Galahad," a revisionist take on the King Arthur legend. He is repped by WMA and Energy Entertainment.
Hm, Ocean nije rđav, ali nije baš ni fantastičan. Doduše, mislim da se dobro uklapa u današnje američko shvatanje onoga što treba da bude SF film... Rađe bih da se neko poduhvati ekranizacije Transmetropolitana, ali jasno je da bi to u startu bio upropašćen projekat.
Podseti me topik o koncertima - koji ti je dojam o The Birthday Partyju? :lol:
Mnogo bolji nego o Kejvu, dakako. Mislim, BP su mnogo više moja šolja čaja. Sirovi, opasni, grubi...
Hehe, znao sam. Onda ces se dakako sloziti s ovim pasusom iz
The Dark Reign of Gothic Rock Dejva Tompsona:
Quote[in July 1983]The Birthday Party was over and only once more would it be rekindled, at the London Town and Country Club on 1st September 1992. [...] Then it was laid to rest once more, unlikely ever to walk again.
Why should it? Discussing his repertoire and reputation in 2001, asked how he responded to fans who recoiled from the ponderous intonations of his most recent solo albums (The Boatmans' Call and No More Shall We Part) and mourned the death of his old piss nad vinegar, Cave was unequivocal in his outrage.
'There's always the odd fan who sits and bemoans the glory days of the Birthday Party, who sits in the corner hugging his copy of Junkyard and wishing it could all be like that again. But I refuse to be bullied by what I see as their kind of conservative and basically reactionary attitude towards music. I just want to take it where it wants to go and I'm very grateful that a large part of our audience is happy to come along.'
He made, he insisted, grown-up music for grown-up listeners and was adamant that the Nick Cave of the 21st century, sonorously crooning to an audience spellbound by the sunken depths he revealed of his soul, is a far cry from the freakish, fiery, frenzied fuck-up that once stalked the streets of old London town, Nick the Stripper by name and nature, tearing donw the walls of even the reactionary Punkers and rebuliding them with rubble gleanded from the back streets and alleyways, bombsites and abattoires. The question he refused to answer was: 'Which will ultimately make the most difference?' Or, perhaps he didn't need to. Those odd fans hugging his furthest back catalogue have already answered it for him.
Mene je licno oduvek najvise privlacio onaj deo opusa koji je imao najvise elemenata Americane... sta cu kad se lozhim na to. :oops:
Ma, da, ja je i ne volim preterano (mada sam prisiljen da je pomalo sviram). U svakom slucaju mislim da sam premalo zreo za noviji Kejvov opus i da dijete u meni zato voli Birthday Party koji je sirov, surov i bezobrazan.
Meho, ako ti je muzika draža od filma, pogledaj FUNNY GAMES US, John Zorn ima nekih deonica.
Podseti me kad budem nekoliko decenija stariji.
'Red' aims for green light
Summit looking to adapt DC comic
By Borys Kit
June 12, 2008, 01:00 AM
Summit Entertainment is looking to adapt the comic "Red."
Summit Entertainment is entering the comic book adaptation business, picking up the movie rights to WildStorm/DC Comics' "Red."
Brothers Erich Hoeber and Jon Hoeber are writing the actioner, which will be produced by Lorenzo di Bonaventura and longtime Di Bonaventura Pictures exec Mark Vahradian.
The project marks the first time that a DC Comics title is leaving parent company Time Warner's fold. Still, DC will remain an active participant in its adaptation. DC senior vp creative affairs Gregory Noveck is serving as exec producer and will oversee "Red."
The three-issue comic series, published in 2003, told the story of a former black-ops CIA agent now living a quiet life in retirement until the day a high-tech assassin shows up intent on killing him. With his secret identity compromised and his love interest in danger, the man must reassemble his old team to figure out who is out to get them. The book was written by Warren Ellis, whose comic "Ocean" is set up at Warner Bros., and illustrated by Cully Hamner.
The Hoebers' take involves the idea of an older operative set in his ways having to contend with younger and more fit agents as well as modern techniques and technology.
It took almost two years of wrangling to extricate the book out of the Warners fold.
Di Bonaventura is in production on "G.I. Joe" and is producing "Transformers 2" with Don Murphy and Tom De Santo.
The Hoebers most penned "Whiteout," a comic adaptation starring Kate Beckinsale that is due out this year. They also worked on "The Pact" for Working Title and "Alice" for Universal. The brothers are repped by Endeavor and the Cheng Caplan Co.
Summit president of production Erik Feig and Summit senior vp production Geoff Shaevitz are overseeing the project for the studio.
Jebote, navalili su da ekranizju sve najgluplje Elisove radove, a Transmet stoji neiskorišćen u uglu i jeca.
Ko zna zasto je dobro sto ostaje nesodomizovan.
Načelno si u pravu... Možda bi Fincher snimio dobar Transmetropolitan da ga je snimio umesto Fight Club.. Otherwise, nemam ideju kako bi to uopšte moglo da ispadne dobro... Ne sad baš da je Ellis na nivou Palanhuka ali Holivud ima MNOGO niske standarde ovih dana :lol:
Cek, ispade po tome da mislis da je Palahniuk bolji od Ellisa. :?:
Ispade.
ih, ko moze da se takmici sa polahniknjukom...on salje pisamca, pokloncice fanovima, bas je cakan i sokantan.
ja bih voleo da po transmetropolitenu vidim seriju...60 epizoda...recimo 4-5 sezona...da se izredjaju fincer, verhoven, gilijam, japanci...pa makar nadosao cunami novih elisovih vantransmetnih baljezgarija :!:
a Spajdera da igra: http://www.imdb.com/name/nm0355097/ jer em liči, em je dobar glumac, a i upravo igra u ekranizaciji jednog drugog jednako znamenitog stripa...
Quote from: "cutter"
ja bih voleo da po transmetropolitenu vidim seriju...60 epizoda...recimo 4-5 sezona...da se izredjaju fincer, verhoven, gilijam, japanci...pa makar nadosao cunami novih elisovih vantransmetnih baljezgarija :!:
Da, to bi bilo idealno. Možda ne baš 60 epizoda, ali barem 22..
A Jackie Earle Haley mi je suviše lep da bi igrao Roršaha, ali i Spajdera... Ja bih za ulogu Spajdera uzeo nekog gadno ružnog.
da, ili manje duzih epizoda ili sezdeset od po 30-35 minuta.
prvo sto mi je palo na pamet kada se kaze "spajder" i "gadno ruzan" jeste onaj tip iz nika slotera sto su ga zvali spajder...ian tracey :oops:
spajder bi se nekako iskopao, al za zene ne znam...plavusa striptizeta bi mogla biti neka relativna debutante odgovarajuceg poprsja
za asistenta bi populisticki izbor bila sasha grey...
Color Wars: Red teams beat blue teams in gaming, sports
Better red than dead?
By Ben Silverman
ADVERTISEMENT
The next time you fire up Halo 3, you might want to wear red -- at least if you believe the findings of a new study claiming that red beats blue in online shooters.
Published in the Cyberpsychology & Behavior journal, the study tracked nearly 1500 matches in the popular first-person game, Unreal Tournament 2004. Like most online first-person shooters -- including industry-leader Halo 3 -- the game splits players into two opposing teams, one red, one blue. There are no functional differences between the two other than hue, leading most to assume that neither team would have any sort of unfair advantage over the other.
Not so fast. Researchers at the University of Copenhagen in Denmark found that the red team won 55% of the matches.
Rather than chalking that up to dumb luck, the scientists behind the study believe it has more to do with the inherent qualities of red as a psychological distractor and a natural signal of male dominance, a thought echoed in a 2005 study linking the color to enhanced performance in real-life sports.
Don't expect game developers to suddenly spin the color wheel, however.
"While this is really an interesting analysis, the notion of red team versus blue team has been ingrained in the Unreal Tournament series for years," said Marc Rein, vice president of Epic Games, in an AP story. "We don't anticipate any immediate changes to team colors."
As of press time, calls to disgruntled colors green and yellow have not been returned.
Da, video sam to... Jebiga, istina je da i ja uvek igram kao Red Team u Unreal Tournament, tako da... ima nešto u ovome.
Len Wiseman ("Underworld," "Live Free or Die Hard") is set to direct the hit Xbox 360 video game adaptation "Gears of War" for New Line says the trades.
Chris Morgan ("Wanted," "Fast and Furious") has been hired to write the screenplay based on a story treatment he will develop with Wiseman. It's not sure how much of Stuart Beattie's original draft will survive.
Set on the planet Sera, the game thrusts players into a battle for survival between humans and a race of creatures that surface from the bowels of the planet known as the Locust Horde. Players assume identities of soldiers on Delta Squad as they fight to save Sera's inhabitants.
The award-winning game sold more than three million units worldwide in its first ten weeks and is Microsoft's second-biggest seller after the "Halo" franchise. A sequel game hits stores this Thanksgiving.
This movement on the project also indicates that the new form of New Line, as a sub-division of parent company Time Warner, will be handling big-budget action fare rather than low-budget speciality titles as previously thought.
Danas se uhvatih u par trenutaka dokolice tamo izmedju Gears of Wara i Bendzamina Frenklina te rekoh sebi kako bolje ubiti ih nego plodovima Mehova skribomanstva.
I tako dodjoh do dela o najboljim rifovima metala...
Takav povratak u ranu mlados' (ne, cekaj, ja sam jos uvek u njoj, ok onda raniju mlados') odavno ne doziveh. Jacinu tog utiska bi bila greota umanjivati nekakvim primedbama (koje bi se ionako svele na eventualno pominjanje Breaking the Law i The Electric Eye od Priesta i apsolutno insistiranje na I Wanna Be Your Dog).
Elem... sta ono htedoh reci... a da, dakle svaka ti se dala stuff like that there, svima po kolacic, mir u svetu, legalizovati skribomaniju, Elvis didn't do no drugs.
Ideas & Trends
The Shootout Over Hidden Meanings in a Video Game
Konami/Associated Press, left; Joao Silva for The New York Times
Prepared for Combat A scene from Metal Gear Solid 4. Is there a message about American domination? At right, real life in Iraq.
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By DAVE ITZKOFF
Published: June 22, 2008
If there's a subject that's as contentious as war itself, it might be a video game about war.
It's been just over a week since the release of Metal Gear Solid 4: Guns of the Patriots, the latest chapter in the popular video game series about a covert military agent named Solid Snake. And already, fans are exchanging rhetorical fusillades on the Internet, teasing out what the underlying political and philosophical messages of Metal Gear Solid 4 might be.
Encrypted within this discussion is a more sophisticated argument about the nascent medium of video games. Can it tell a story as satisfyingly as a work of cinema or literature?
Is the Sisyphean mission of Solid Snake — to rid the world of a robotic nuclear tank called Metal Gear — a parable about the futility of war or about its necessity? A critique of America's domination of the global stage? A metaphor for the struggle between determinism and free will? If the creator of the Metal Gear Solid series, Hideo Kojima, has answers to these questions, he isn't telling.
"He doesn't interview very much," said Leigh Alexander, an associate editor at Kotaku.com, a video game blog. "Sometimes he will speak about it, and other times it's left to the critical peanut gallery to disassemble what his intentions might have been."
Devoted players have no shortage of opinions about what Mr. Kojima's games are saying. The original Metal Gear Solid, released in 1998 for Sony's PlayStation console, combined stealth combat with cinematic intermission scenes, full of dialogue and imagery that directly invoked the bombing of Hiroshima and the birth of atomic weapons. The game called attention to the scourge of nuclear proliferation, and forced players to consider the morality of their own lethal actions.
These messages were complicated by a pair of sequels: Metal Gear Solid 2: Sons of Liberty, released in late 2001, introduced a shadowy supernational group called the Patriots, so powerful that even the president of the United States answers to it. (A commentary on the disputed 2000 election? The cabal theories of post-9/11 politics?) And Metal Gear Solid 3: Snake Eater, released in 2004, explored the cold war origins of its characters, whose personal stories are intertwined with the rise of the military-industrial complex.
"This is a just-off-center world that gamers can almost believe in," said Rob Smith, the editor in chief of PlayStation: The Official Magazine. "All the important world history of the 20th century matches up in ways that say, 'If we'd gone down this path then, this is what we'd now be facing.' "
Metal Gear Solid 4, released for the PlayStation 3 console, further upends traditional notions of heroism and villainy: in this game Solid Snake (think James Bond meets Rambo) has aged considerably, as have several of his archenemies; the forces he battles are not the soldiers of identifiable nations but the mercenaries on the payroll of private military companies. "The issue of good guys and bad guys doesn't exist anymore," Mr. Smith said. "It's just: here's the guys."
Even as gamers ponder what this symbolism means (an allegory of war in the era of Blackwater Worldwide and stateless enemy combatants?), they are also debating whether the story of Metal Gear Solid 4 is a satisfying one, and if its storytelling techniques are used effectively.
"You get so caught up in just figuring out, Does this story need to be here?" said Stephen Totilo, an MTV News reporter who covers video games. "That's not a question you wind up asking yourself when you're reading a novel. Of course the story needs to be there! Otherwise you don't have a novel."
Players like Shawn Elliott, the senior executive editor of the gaming Web site 1up.com, have criticized the game for its preachiness, and for its reliance on lengthy cinematic interludes that can run 30 minutes or longer.
"It can basically become a movie for long stretches," Mr. Elliott said. "It's not necessarily a game catching up with movies, but a game kind of cheating and using a language that isn't native to its own medium."
Others object to the sheer density of the story, spanning seven games released over 20 real-world years, that players are asked to master. "Let's just say it's not something any of us gamers are nearly as used to doing when we're playing a game as when we're reading a novel," Mr. Totilo said.
Players can skip over the storytelling elements in Metal Gear Solid and still play the game.
But unrepentant fans like Ms. Alexander of Kotaku.com argue that, coherent or not, the narrative of Metal Gear Solid 4 is an inseparable part of the "package experience" that makes it an evolutionary step beyond fare like Halo 3, a first-person shooting game designed to soothe itchy trigger fingers.
Metal Gear Solid, Ms. Alexander said, "has the characters and the narrative, the symbolism and the metaphors, and all of the lore that ties it together," whereas Halo is popular "not because of any of its peripheral elements or anything else about it, other that you shoot people."
Quote from: "Father Jape"Elvis didn't do no drugs.
Nemoguće!!
"Wanted" creator Mark Millar tells Comic Book Resources that pre-production on the film version of "Kick-Ass" which he co-wrote is almost complete.
The author has been involved as a producer for about eight months and the script was finished six months ago. Casting is now complete with two 'big names' attached.
Smaller roles have also been filled, such as "the kids who show up at the end of issue #3 - we just cast the girl, and that was a really tricky one because we needed to find someone who could do martial arts stuff. So the whole movie's ready to role."
Filming is scheduled to begin on location in New York this August.
It seems that "Dirt", the long in development film about glam-metal rockers Motley Crue, has been lost to the wind.
Announced in 2006, the band talked of plans with MTV Films and Paramount Pictures to produce a biopic based on their best-selling autobiography "The Dirt" co-written with Neil Strauss.
Now though, bassist/lyricist Nikki Sixx tells Reuters that they're essentially trying to take back the property and move it elsewhere as little progress has happened on it.
"We're trying to get them (MTV) out of the way to make this movie that should have been made a long time ago. MTV has become bogged down in its own way. It's a channel that used to be hip and has now actually become unhip. We signed with them because we believed they were right, but they haven't come to the table. We need to find the right partner. They are not the right partner" says Sixx.
Next Tuesday the band releases their autobiographical album "Saints of Los Angeles" which it will promote during its touring hard-rock festival, Crue Fest, starting next month.
Quote from: "crippled_avenger""Wanted" creator Mark Millar tells Comic Book Resources that pre-production on the film version of "Kick-Ass" which he co-wrote is almost complete.
The author has been involved as a producer for about eight months and the script was finished six months ago. Casting is now complete with two 'big names' attached.
Smaller roles have also been filled, such as "the kids who show up at the end of issue #3 - we just cast the girl, and that was a really tricky one because we needed to find someone who could do martial arts stuff. So the whole movie's ready to role."
Filming is scheduled to begin on location in New York this August.
Baš u narednomj epizodi DJ Meho šoa pričam o Kick-ass pa ko voli nek' izvoli. Preliminarni utisci o stripu: ne preterano pozitivni.
Warner Bros. in 'Hiding'
Picks up rights to comic book miniseries
By Borys Kit
July 1, 2008, 08:22 PM ET
"Hiding in Time"
Warner Bros. has picked up the rights to the comic book miniseries "Hiding in Time," setting writer Beau Thorne to adapt. Dan Lin is producing via his Lin Pictures shingle.
The story is set in a not-too-distant future in which the Witness Protection Program uses time travel to relocate high-value witnesses into the past for safe keeping. When the program is compromised, a government scientist must travel back through the greatest moments in history to help a master thief rescue his old crew from the assassins sent back by their former employer.
The comic, created by Christopher Long and illustrated by Ryan Winn, was published by Image Shadowline.
Jon Silk brought the comics into Lin Pictures and will serve as co-producer and oversee for Lin Pictures. Ray Miller at Archetype will co-produce, and the company's David Server at Archetype will associate produce.
Sarah Schechter oversees for Warners.
Thorne wrote the video game adaptation "Max Payne," which stars Mark Wahlberg, Mila Kunis and Ludacris. He is repped by CAA and Mad Hatter Entertainment.
Dakle svašta. Ja sam Hidng in Time pročito, pomislio kako je ovo osrednja realizacija solidne ideje i imao generalno više pozitivan nego negativan utisak ali daleko od toga da sam ga doživeo kao ikakvo otkrovenje, ali eto, Holivud muvz in mistirijs vejs.
Showtime and producer Sara Colleton ("Riding In Cars With Boys," "Live From Baghdad," "The Painted Veil," "Dexter") are developing a TV show based on the DC/Vertigo comic book "The Exterminators."
The Hollywood Reporter describes:
Created by Simon Oliver and Tony Moore, the comic centers on an ex-con who joins an exterminator company, working with a freakish supporting cast of characters. A mystery surrounding his girlfriend and the manufacturer of an insect poison percolates on the periphery, and the insects are much more dangerous than they seem
Wow!! Ektrminejtrs je jedan od najoriginalnijih Vertigovih serijala u ovom trenutku i, naravno, prekida se jer je prodaja slaba. Baš da vidimo da li će imati smisla praviti ga za TV.
Hipishizik Metafizik novi album Svetskog MC-a uskoro u prodavnicama.
Otkada me je njegov autor naterao da nosim paravane unaokolo po SKC-u jer je on zamišljao da će tako moj grajndkor bend imati bolji zvuk na koncertu, zarekao sam se da neću kupovati njegove nove albume.
Samo ćeš kupovati stare?
Paravanima po paravandžijama.
Cripple, kad bolje razmislim, neću kupovati nikakve albume Rajka Amadeusa. Nek svira te svoje europske turneje i živi od komcerata kao pošten muzičar!
Bathory
Dan Fainaru in Karlovy Vary
07 Jul 2008 16:46
Dir: Juraj Jakubisko. Czech Rep, Hungary, Slovakia, UK. 2008. 138 mins.
With Bathory, veteran Czech new wave (now Slovakian) director Juraj Jakubisco has broken local budgetary records in an attempt to single-handedly redeem the reputation of Countess Erszbet Bathory, known as the most prolific female serial killer in history (although the truth of these matters is admittedly murky).
Her life and times (1560-1614) are packed with witchcraft, sexual deviation, torture, murder, vampirism (it has been claimed that she was the inspiration for Dracula), alongside copious religious wars – plenty for Jakubisco to occupy himself with. But as exciting as it sounds on paper, this lavish spectacle doesn't really fulfil the vast number of expectations it raises.
Visually, it is everything you might expect from a Jakubisko film, with enough sex and gore, perversion and madness, slaughtered virgins and bloody battles to justify its $13.5m budget. Intrigues abound and the general villainy of human nature is highlighted in every detail, but any attempt to learn something about the real Erszbet Bathory (as played by Anna Friel, a last-minute replacement for Famke Janssen) is sabotaged by Jakubisko's impressionistic approach.
Steadfastly rejecting cogent narrative techniques, the director constantly jumps from reality to fiction and back again in a visual haze. A stronger cast might have given the characters some weight, but Anna Friel's shoulders are ultimately too frail; the actress goes through the motions but does not have the necessary presence for this role.
This disjointed storytelling will not help Jakubisko when it comes to distribution, and Bathory's two-hour running time is another commercial hurdle to surmount. Given Jakubisko's name, there could be some minimal art house interest (1997's An Ambiguous Report About The End Of The World hardly set this sector alight, though), and perhaps, at best, the footage could be split for television into some kind of mini-series format.
Viewers may associate the sadist Erszbet Bathory with bathing in the blood of virgins, but Jakubisko's version of the Lady of Cachtice is completely different. Like her real-life inspiration, Jakubisko's Countess Bathory was the richest noblewoman in Hungary, married to Ferenc Nadasdy (Regan) and the mother of his children. But according to Jakubisko, she was misunderstood - a highly educated, liberated woman, interested in art and science, the muse of Italian painter Caravaggio (Matheson, in a role that is pure poetic licence on Jakubisko's part), Bathory's Countess was also a gifted swordswoman, a freedom fighter instrumental in saving Europe from the clutches of the Ottoman Empire, a dedicated mother and a pretty loving though often wronged wife.
The director does admit to some shortcomings, such as butchering a maid with a pair of scissors, beating another to death, consorting with witches and the like – but that's only because she was being poisoned, leading to temporary insanity.
Clearly, no effort has been spared with this production, from the sets to make-up and costumes, all of which are impressive. Jakubisko, who says he might have become a painter had film-making not called, indulges in visual flights of fancy here, which might explain the underlined presence of Caravaggio all through the film.
The large cast features several British TV performers (Regan, Matheson, Byrne as a particularly evil Catholic priest) and as the film is shot in English, it does make their dialogue feel more natural. Karl Roden has the a meatier share of screen time as Erszbet's sworn enemy, but beyond making it plain that greed and jilted infatuation play an equal part in his villainy, there isn't much there to hold on to.
Šina
od ponedeljka 14. jula, svakog radnog dana u 15 sati na b92
Moredna civilizacija preti da ugrozi divljinu. Šina je hrabra ratnica koja se zavetovala da će da je odbrani.
Zasnovana na stripu, ovo je priča o Šini (Đina Li Nolin), prelepoj i hrabroj afričkoj ratnici. Šina je ostala siroče još kao mala i primili su je i odgojili pripadnici plemena Kaja - poslednji potomci drevnog plemena koje poznaje tajnu menjanja svog i poprimanja oblika divljih životinja.
Magičnu spospobnost su preneli i Šini, koja na taj način ,,prerušena" putuje kroz džunglu i bori se sa spoljašnjim uticajima moderne civilizacije, koja sve više ugrožava njen dom. U centru dogašaja su Šina i njena saradnja sa američkim avanturistom Metom (Džon Alen Nelson), njegovim pomoćnikom Mendelsonom, Kali – Šininim duhovnim mentorom i Rašidom - plemenitim masaja rendžerom.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg-i.mrskin.com%2Fdata%2F_v%2Ftv%2F00%2F37%2F03%2Fcastpic_729%2FSheena_castpic.jpg&hash=22fd7b8898312a4f7f0a07909942358d5870ef32)
35 epzioda
(Sheena, 2000)
avanturistička filmska serija, SAD, 2000
Uloge: Đina Li Nolin (Čuvari plaže), Džon Alen Nelson i Kevin Kvigli
Režija: Džon kasar, Kori Eubanks, Teri Ingram, Geri Džons
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.b92.net%2Fnews%2Fpics%2F2008%2F07%2F18417905848720fc1133bf033383236_490.jpg&hash=b27bdde253946c69fe1cf80df876565b75588cc8)
John Woo fires off 'Caliber'
Director to helm comicbook adaptation
By PATRICK FRATER
'Caliber'
Woo
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Screen Gems mines hostage dramaJohn Woo will direct comicbook adaptation "Caliber," to be unveiled at next week's Comic-Con in San Diego.
Pic looks likely to be a three-way co-production of Johnny Depp's Infinitum Nihil, Barry Levine's Radical Comics and Lion Rock, the U.S.-based shingle that Woo runs with longstanding partner Terence Chang.
Radical Comics' hit story sets King Arthur and his knights as 19th century gunslingers in the Pacific Northwest.
"Caliber" is unlikely to be Woo's next pic. He is editing part two of his epic "Red Cliff" for a January release in Asia and will deliver an international version shortly thereafter.
Part one of "Red Cliff" opened July 10 in six Asian territories and scored a $26 million weekend.
Woo previously announced that he will helm Lion Rock's $40 million pic "1949," a period romancer set against the tumultuous background of the Chinese Revolution. Production is skedded after completion of "Red Cliff" and is now casting.
Woo's other Stateside projects include a remake of 1969 French crime drama "The Sicilian Clan," which starred Alain Delon and Lino Ventura, and "The Divide," the story of a Chinese laborer working on America's transcontinental railroads in the 19th century.
WATCHMEN trejler: http://movies.apple.com/movies/wb/watchmen/watchmen-tlr1_h720p.mov
It's ComicCon weekend, and Entertainment Weekly has an interesting interview with "Watchmen" creator Alan Moore, whom I believe to be the best comic-book writer on the planet.
Among the revelations is Moore thinks HBO's "The Wire" is "the most stunning piece of television that has ever come out of America, possibly the most stunning piece of television full-stop."
He's also "a very big fan" of "South Park" and does not rule out getting into the TV game himself if he could get the kind of support David Simon enjoyed on "The Wire."
Other highlights from the interview have nothing to do with television:
* He's wary of the fact that "Watchmen" is being helmed by "300" director Zach Snyder. "I've not seen any recent comic book films, but I didn't particularly like the book 300. I had a lot of problems with it, and everything I heard or saw about the film tended to increase [those problems] rather than reduce them: [that] it was racist, it was homophobic, and above all it was sublimely stupid."
* He thinks ComicCon, which he no longer attends, is "a bit overwhelming and creepy."
* He says the pacing of "The League of Extraordinary Gentlemen" has changed substantially now that the series has moved from DC Comics to Top Shelf.
Read all of EW's interview with Moore here.
http://www.ew.com/ew/article/0,,20213004,00.html
Zanimljivo... ne postoji nijedna osoba cije misjlenje cenim da je gledala The Wire a da ga nije ocenila kao najbolju americku seriju poslednjih godina.
Nakon 13 godina ispunjenih kontroverznim najavama i išćekivanjem, novi album Guns n' Roses Chinese Democracy će premijerno moći da se čuje u drugom delu video igre Rock Band.
New York Times je sredinom prošle nedelje objavio da će se pesma Shackler's Revenge naći u popularnoj igri čiji je izlazak najavljen za septembar.
Snimanje albuma Chinese Democracy je pratila burna istorija: nekoliko pesama je pre dva meseca procurelo na internet kada su reagovali agenti FBI-a, a pre toga su različite verzije albuma kružile globalnom mrežom.
Guns n' Roses su u aprilu ove godine predstavili masterizovanu verziju snimaka svom izdavaču i tada je bilo izvesno da će album biti objavljen do kraja godine.
Povezivanje muzike i video igara omogućava plasiranje proizvoda na tržište na nov način.
U prvom delu Rock Banda, u kojoj igrač treba da oformi bend i što bolje simulira sviranje poznatih pesmama, mogli su se čuti hitovi bendova poput The Rolling Stones, The Who i Bon Jovi.
,,Te igre apsolutno imaju uticaj zato što se sve više smanjuje mogućnost da se pesme čuju na radiju", objasnio je novu strategiju izdavanja podšredsednik kompanije Universal Music Enterprises.
On je dodao da video igre danas postaju ,,važan deo marketinške slagalice".
'Capeshooters' finds home at Warners
Bryan Singer in talks to produce the superhero project
By Steven Zeitchik and Borys Kit
July 22, 2008, 08:51 PM ET
With one comic superhero lighting up its boxoffice, Warner Bros. is trying to develop another potential comic franchise by acquiring the superhero project "Capeshooters," with Bryan Singer in negotiations to produce.
J.P. Lavin and Chad Damiani will write the screenplay, which follows two down-on-their-luck slackers who specialize in shooting videos of superheroes. They find themselves on the run when they uncover evidence that a legendary superhero actually is evil.
The story is based on an upcoming graphic novel by Rob Liefeld, who was one of the founders of Image Comics and at one point one of the hottest artists in the comics arena.
Singer will produce via his shingle Bad Hat Harry. The company's Alex Garcia is executive producing.
Brooklyn Weaver of Energy Entertainment and Liefield also will produce in some capacity. Matt Reilly and Matt Milam are overseeing for the studio.
The news comes on the eve of Comic-Con in San Diego, where film and TV studios will roll out such fare as "Watchmen," "The Spirit" and "Fringe" for thousands of salivating genre-lovers while execs will troll for other hot comic properties.
WMA-repped Singer has a soft spot for costumed creations, having helmed two "X-Men" movies and "Superman Returns," Warners' reboot of the franchise in 2006.
Damiani and Lavin, repped by WMA and Luber Roklin Entertainment, are writers on Ryan Seacrest's KISS-FM morning show and also work on "American Idol." The first feature script, "Kamikaze Love," was on the Black List last year and is set up at Screen Gems.
Inače, evo malo gilt tripinga za mene:
http://videogames.yahoo.com/feature/playstation-2-component-incites-african-war/1231745
QuotePlaystation 2 component incites African war
Console war reaches past the couch and into the Congo, claims report.
By Ben Silverman
ADVERTISEMENT
Has the video game industry dug up its very own blood diamond?
According to a report by activist site Toward Freedom, for the past decade the search for a rare metal necessary in the manufacturing of Sony's Playstation 2 game console has fueled a brutal conflict in the Democratic Republic of Congo.
At the center of the conflict is the unrefined metallic ore, coltan. After processing, coltan turns into a powder called tantalum, which is used extensively in a wealth of western electronic devices including cell phones, computers and, of course, game consoles.
Allegedly, the demand for coltan prompted Rwandan military groups and western mining companies to plunder hundreds of millions of dollars worth of the rare metal, often by forcing prisoners-of-war and even children to work in the country's coltan mines.
"Kids in Congo were being sent down mines to die so that kids in Europe and America could kill imaginary aliens in their living rooms," said Ex-British Parliament Member Oona King.
SEE PICS
So where's the connection to Sony? According to Toward Freedom, during the 2000 launch of the PS2, the electronics giant was having trouble meeting consumer demand. To pump out more units, Sony required a significant increase in the production of electric capacitors, which are primarily made with tantalum. This helped drive the world price of the powder from $49/pound to a whopping $275/pound, resulting in the frenzied scouring of the Congolese hills known for being ripe with coltan.
Sony has since sworn off using tantalum acquired from the Congo, claiming that current builds of the PS2, PSP and PS3 consoles are sourced from a variety of mines in several different countries.
But according to researcher David Barouski, they're hardly off the hook.
"SONY's PlayStation 2 launch...was a big part of the huge increase in demand for coltan that began in early 1999," he explained. "SONY and other companies like it, have the benefit of plausible deniability, because the coltan ore trades hands so many times from when it is mined to when SONY gets a processed product, that a company often has no idea where the original coltan ore came from, and frankly don't care to know. But statistical analysis shows it to be nearly inconceivable that SONY made all its PlayStations without using Congolese coltan."
Currently, the Playstation 2 is the best-selling video game console of all-time, having sold through over 140 million units.
It sounds like the kind of bedtime story Stewie Griffin would love.
"Family Guy" showrunner/executive producer David A. Goodman has been hired to adapt the Blatant Comics horror property "Last Blood" into a feature film screenplay. Benderspink is producing.
"Last Blood," created by Bobby Crosby and Chris Crosby, follows the human survivors of a zombie massacre who find themselves protected by a band of vampires who need their blood to survive.
Goodman, repped by UTA and Benderspink, has an overall TV deal with 20th Century Fox. The Emmy-nominated writer-producer also has scripted an in-development remake of the 1978 comedy "Who Is Killing the Great Chefs of Europe?" for producer Eric Gold at Warner Bros.
Benderspink has several other comic properties in development, including "The Ghouly Boys" at Mandate Pictures and "Y: The Last Man" and "Power and Glory" at New Line.
...
Joe Harris, whose previous work includes Slingers and Bishop: The Last X-Man for Marvel, was on hand to announce two new projects with Oni. The first is a five-issue series called Ghost Project that features art by Steve Rolston. The story takes place in the former Soviet Union and revolves around the idea that during the Cold War, the Soviets experimented with all sorts of weapons of mass destruction, including the supernatural.
An American weapons inspector discovers a project that involved the Soviets trying to weaponize ghosts that "went horribly wrong," Harris said. It's due in late 2009 or early 2010.
His second project, The Hashishian, is an original graphic novel with art by Trevor McCarthy. Harris said the name comes from a sect of assassins during the Crusades who were sent out to perform assassinations "drugged out of their minds," Harris said.
"But that's not exactly what our story is about," he added. It's about two Brooklyn stoners who find a magical stash of marijuana, and when they smoke it, "they have flashbacks to the 12th century where these characters were alive and well and doing their duty," he said. The owner of the pot, one of these 12th century assassins, shows up and hunts them down to reclaim his pot – later they learn he's there to assassinate the president.
...
A kako na ovo da reagujem? Sleganjem ramenima???
Film producer JC Spink wants singer Alicia Keys to play 355 in the "Y: The Last Man" movie adaptation reports UGO.
Spink is working with director DJ Caruso on the film adaptation of the Brian K. Vaughn property about a the sole surviving male human.
As for the role of Agent 355, the man's bodyguard who works for a mysterious US government agency, he says "I think Alicia Keys would be fantastic. Or Zoe Saldana. By then Star Trek will be out and she'll be huge. I don't think Jada Pinkett Smith would be right but a lot of people like her".
Will Shia LaBeouf play the lead role? He responded "We're trying." He also confirms that while the first film will be self-contained, if its a big success a trilogy is planned.
Quote from: "Meho Krljic"A kako na ovo da reagujem? Sleganjem ramenima???
Šmrkanjem heroina i putovanjem u XV vek!
Ovo sa Ališom i 355 mi zvuči grozno. Nadam se da neće proći.
Triologija? hm. Možda onda i bude imala smisla ekranizacija.
Quote from: "crippled_avenger"Film producer JC Spink wants singer Alicia Keys to play 355 in the "Y: The Last Man" movie adaptation reports UGO.
:D
Quote from: "url]http://videogames.yahoo.com/feature/feminists-cry-foul-over-fat-princess/1232315[/url]"]
Feminists cry foul over Fat Princess
Does Sony's cartoony castle game cross the line?
By Ben Silverman
She's plump, powerful and ready to cause more controversy than "SuperSize Me."
She's Fat Princess, the star of Sony's upcoming video game of the same name. Debuting at last week's E3 expo, the colorful Fat Princess is a capture-the-flag game with a twist: you can thwart capture attempts by locking the once-thin princess in a dungeon and stuffing her full of cake, thereby increasing her girth and making her harder for your enemies to haul back to home base.
According to popular gaming blog Joystiq, two feminist gaming sites have already voiced their displeasure with the weighty issue.
Feminist Gamer's "Mighty Ponygirl" rings in diplomatically, suggesting a new way to play the game altogether.
"Instead of running out into the forest to find cake to fatten up the princess with, why not go out and find gold (which is a lot heavier than cake) to stuff into a treasure chest. The more gold in the chest, the heavier it would be, and the harder it would be to carry," she said, before adding, "Oh, but that's not as "cute" as cake and fat chicks. Right."
Over at Shakesville, however, writer Melissa McEwan cuts to the chase, telling Sony she's "positively thrilled to see such unyielding dedication to creating a new generation of fat-hating, heteronormative ---holes."
Sony has yet to issue an official response, although Joystiq did receive a particularly informative update from James Green, Fat Princess' lead art director, who clued gamers in on the origins of the game:
"Does it make it better or worse that the concept artist (who designed the look, characters, everything) is a girl?"
Hmmm...hope the game's detractors don't mind eating a bit of crow.
Ovo za Ališu Kiz u Y the Last Man zvuči užasno ali pošto sam trenutno nešto nadrkan na Brajana Kej Vona zbog mlakog miniserijala o Wolverineu od pre par meseci onda... bole me kurac.
Ovo za Debelu Princezu... Mislim, stvarno, pokušavam da u ovome nađem mizoginiju, zaglupljenost potrošačkog društva i slično ali ne mogu. Verovatno zato što sam zaglupljeni potrošački mizogin.
Sony Pictures is moving forward with "Venom," a potential "Spider-Man" spinoff based on the bad guy seen in "Spider-Man 3" says The Hollywood Reporter.
Jacob Estes ("Mean Creek") was attached to pen a script draft several years ago, but the studio is now considering going in a different direction and is seeking writers for a new draft.
It's also unlikely that Topher Grace will return to play the creature. As the beastie comes from a parasite, it's likely the substance will attach itself to a different character in the film.
Sony is still developing a fourth "Spider-Man" film for release in 2011.
My Chemical Romance will perform a cover version of a Bob Dylan classic (likely 'Desolation Row') for the upcoming "Watchmen" film says MTV News.
The track, to be played against the film's closing credits, will be the only post-1985 song on the film's soundtrack.
The various other songs will be period specific to the story which runs through the 60's, 70's and early 80's.
Previous Article
E, ovo stvarno nema smisla...
Donald Petrie will direct and produce the romantic comedy "Fashionistas" for CP Productions and Kellagio Entertainment reports the trades.
Based on Lynn Messina's debut novel, Fashionistas follows a young woman working at a design house who plots to take down her ruthless boss by inventing a fictitious designer.
Danny Fischer and Paula Chorley are writing the script and production is expected to start later this year.
Quote from: "crippled_avenger"E, ovo stvarno nema smisla...
Donald Petrie will direct and produce the romantic comedy "Fashionistas" for CP Productions and Kellagio Entertainment reports the trades.
Based on Lynn Messina's debut novel, Fashionistas follows a young woman working at a design house who plots to take down her ruthless boss by inventing a fictitious designer.
Danny Fischer and Paula Chorley are writing the script and production is expected to start later this year.
Stvarno nema smisla... Posle Roka Sifredija koji je ovu temu obradio nadahnuto kako samo on ume, snimati neki razblaženi, romantični komedičuljak je čist bezobrazluk.
Bonus informacija: Fashionistas je jedan od retkih filmova u kojima Roko biva u podređenom položaju. Makar na kratko.
Meho, pazi, kad su te na Popboksu uzeli da uredjujes knjizevnost, mislio sam da je to odluka koja se odnosi na buducnost i nece biti povod sa retroaktivno prevrednovanje odredjenih opusa i biografija:
Otkrivena Kafkina kolekcija pornografije
Kolekcija eksplicitne pornografije, koja je pripadala Francu Kafki, otkrivena je u novim istraživanjima o životu čuvenog pisca i to nakon što su je naučnici namerno ignorisali kako bi sačuvali Kafkin imidž, piše ,,Tajms". Akademik i ekspert za Kafku Džejms Haues je slučajno naišao na zbirku dok je istraživao kopije Kafkinih dnevnika u Biblioteci Britanije u Londonu i Bodlijenu u Oksfordu. Doktor Haues kaže da je otkriće ove zbirke jako bitno zbog toga što pokazuje Kafkinu ljudsku stranu, nasuprot njegovom poznatom imidžu ,,kvazi sveca". ,,Ova zbirka bi i u naše vreme bila skrivena na vrhu neke police. Ovo nisu neke škakljive razglednice sa letovališta, ovo je nedvosmislena pornografija, čista i jednostavna. Dobar deo kolekcije je mračan i neprijatan", kaže Haues, čija je knjiga "Excavating Kafka" (Iskopavajući Kafku) izdata ovog meseca.
On kaže da su se brojni akademici pretvarali da zbirka ne postoji, jer ,,Kafka industrija ne želi da se ovakve stvari znaju o velikom idolu."
,,Od svih svetskih pisaca, samo je Šekspir zaslužan za više doktorata, diploma, biografija i takozvanih knjiga za stočić. Sve što je Kafka napisao, svaka njegova razglednica, svaka strana njegovog dnevnika se smatra za potencijalni ´Kovčeg zaveta´ (Kivot). Ipak, niko nikada nije čitaocima prikazao Kafkinu pornografiju", kaže Haues.
Kafka je zbirku čuvao pod ključem u porodičnoj kući, a ključ je uvek nosio sa sobom. (Blic)
Quote from: "Meho Krljic"Quote from: "crippled_avenger"E, ovo stvarno nema smisla...
Donald Petrie will direct and produce the romantic comedy "Fashionistas" for CP Productions and Kellagio Entertainment reports the trades.
Based on Lynn Messina's debut novel, Fashionistas follows a young woman working at a design house who plots to take down her ruthless boss by inventing a fictitious designer.
Danny Fischer and Paula Chorley are writing the script and production is expected to start later this year.
Stvarno nema smisla... Posle Roka Sifredija koji je ovu temu obradio nadahnuto kako samo on ume, snimati neki razblaženi, romantični komedičuljak je čist bezobrazluk.
Bonus informacija: Fashionistas je jedan od retkih filmova u kojima Roko biva u podređenom položaju. Makar na kratko.
To je verovatno zato sto ga snimao stari lisac John Stagliano ! :evil:
Paramount Pictures and Brad Pitt's Plan B have acquired "Miki Falls," a four-volume manga series created by Mark Crilley.
TV scribe Sera Gamble has been tapped to adapt.
Story chronicles the final year of high school for Miki Yoshida, the series' protag who tries to befriend handsome new student Hiro Sakurai but is met with resistance. Stubborn Miki, however, refuses to take no for an answer, which leads to a surprising revelation about the secretive young man.
Crilley is best known for his "Akiko" young adult novels and comicbooks. His first "Miki Falls" tome, each of which span a season of the calendar, was published in May 2007 by HarperTeen.
Gamble is a producer of the CW Network series "Supernatural" and was a staff writer on "Eyes," which aired on ABC. She was also a finalist on "Project Greenlight" for her screenplay "Cheeks."
Kako već rekoh na više mesta: 'manga' koju proizvode izvan Japana nije manga. Molio bih da se za ovakve prilike koristi neka sintagma poput 'manga influenced comic book'. Cripple, prenesi to tim ljudima odkojih si ovo pokupio!!!
Mehmete, čestitam na senzacionalnom debiju u HUPERu.
Meni je ono krš tekst. Čist mrsneri džab. Mislim, uzmi u obzir da ni jedan od tih filmova nisam ni gledao. U slučaju Helboja i Hulka, nisam gledao ni prve delove.
Nego, ovo mi je malopre poslao Nikola 'Kinovia' Urošević:
http://www.youtube.com/watch?v=VrOnCDjwcEk
Samo za prave ljubitelje Turske, if I may add.
Quote from: "Meho Krljic"Meni je ono krš tekst. Čist mrsneri džab. Mislim, uzmi u obzir da ni jedan od tih filmova nisam ni gledao. U slučaju Helboja i Hulka, nisam gledao ni prve delove.
cek bre...hoces da kazes da pises o necemu sto uopste nisi gledao? zar je i to moguce? ja znam da ljudi nesto gledaju /citaju pa krivo shvate,ali ovo je stvarno...i posle napadate deda Vlaju. :cry:
Quote from: "Alexdelarge"cek bre...hoces da kazes da pises o necemu sto uopste nisi gledao? zar je i to moguce? ja znam da ljudi nesto gledaju /citaju pa krivo shvate,ali ovo je stvarno...i posle napadate deda Vlaju. :cry:
da pokrenemo peticiju da se mehu oduzne taj poso?
dokle će bre više kojekaki da pišu i objavljuju svašta?!
:idea:
Striktli spiking, tekst je bio o samim superherojima iz ovogodišnjih filmova, ne o filmovima kao takvim, tako da sam ja gledao koliko mogu da akcentujem stripovsku stranu priče a u filmskoj da se držim iznošenja fakata a ne mišljenja...
Hteo bih da čestitam DušManu na recenziji Lollobrigide i Mehmetu koji je uspeo da se izbori da ona izađe.
Nije bila baš neka velika borba... Najviše sam se borio sa DušManom koji je prvo pritiskao da se odobri taj prikaz a posle ga mrzelo da napiše...
Pisanje je isto kao seks.
U početku ti je zanimljivo,a vremenom ti dosadi da guraš u istu rupu. Pa vi sad vidite...
Šteta što ocena nije veća. No dobro, barem sam dobio pohvalu da pišem suviše komplikovano, što me makar na trenutak čini srećnim (makar to i ne bilo tačno).
Quote from: "DušMan"Pisanje je isto kao seks.
istina, evo da citiram Dušmana od večeras: "Seks za recenziju Lollobrigida..."
Da citiram Miloša od večeras: ''Jel' neko rekao LESBIANS??''. A pogodite šta. Niko to nije rekao!!!
Quote from: "DušMan"Da citiram Miloša od večeras: ''Jel' neko rekao LESBIANS??''. A pogodite šta. Niko to nije rekao!!!
jesu, oni pijani stranci, samo ti nisi pažljivo slušao... mada, kasnije te je zaista nadmašio Boban sa njegovom duracell/durex konfuzijom. ah, te frojdovske omaške...
:lol:
Nazad na temu, tj. Mehu. Uživam u čitanju komentara na Mehinu recenziju Nigrutinovog albuma. :lol:
Quotejesu, oni pijani stranci, samo ti nisi pažljivo slušao... mada, kasnije te je zaista nadmašio Boban sa njegovom duracell/durex konfuzijom. ah, te frojdovske omaške...
Ma jok. To mu ostalo iz onog vica: "... a za beganje imaš baterije." :lol:
A dog, a cat, and a rabbit need a home — that's not just a way-oversimplified description of the plot of "We3," but also the status of the film version of Grant Morrison's mini-series about animal soldiers.
Since "We3" was originally optioned to New Line — and since New Line has since imploded/been absorbed into Warner Bros. — Morrison said the producers behind the project got the option back and have made quick progress with it. While at New Line, "We3" was considered by over a dozen directors but no one signed on. Now, Morrison said, "we have a director attached," and while he wouldn't reveal who that was, he said it was a "big, hot director" as well as a "real cool guy." Guess that narrows the field.
While the "Watership Down"-meets-"RoboCop" project was still with New Line, Grant Morrison also wrote the screenplay, which is now making it easier for them to find a studio other than New Line. "I put all the scenes that I couldn't fit in the comic back in the screenplay, to the point where the screenplay is actually better than the original comic," he said. And because it's better, it got good reviews, and those reviews are having "quite a positive effect," Morrison said. "We're going out with it now to the studios, and a lot of studios are interested. It's looking as good as it's been in a long time."
If things continue to work out, Morrison might even get to make his cameo as a shady government figure when the dog, cat, and rabbit – otherwise known as Weapons 1, 2, and 3 — take on yet another cyber-enhanced animal, known as Weapon 4. The assassin animals would be CGI, but the rest of the film would be live-action. "I'm really looking forward to it," Morrison said.
Baš me zanima Mehino mišljenje o WE3, pošto su uglavnom podeljena. Meni se baš sviđa.
Otkad si se sa Nodajsom zakačio oko raspodele novca od prodaje heroina na sajmu stripa u Beogradu, ne ideš ni na UPPS:
http://upps-sajt.com/index.php?option=com_content&task=view&id=510&Itemid=48
Nego, ja kao ljubitelj Kalvina i Hobsa ne mogu a da ne reagujem na prilično simpatično butlegovanje franšize koji su neki momci (momak?) okačili na flickr. Strip se zove Calvin & Jobs i umesto tigra Hobsa sada je tu Steven Jobs, šef Applea. Pošto sam ja jedan od Apple hatera prija mi ovaj strip a i napisan je vrlo solidno (ne sasvim na nivou genijalnog originala, ali dobro). Izvinjavam se ljudma sa sporijom vezom, ali trebalo je da znaju da su u nevolji kada su kliknuli na ovaj topik:
http://www.flickr.com/photos/35923610@N00
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Moćno moćno moćno.
Zanimljiv početak temata o blek metalu Vladimira Ninčića na Popboksu:
http://www.popboks.com/tekst.php?ID=6659
Ovaj prvi deo teksta sadrži nekoliko faktualnih greščica i još par diskutabilnih izjava, ali generalno je interesantan nekome ko ne zna ništa o temi.
Matthew Vaughn ready to 'Kick-Ass'
Adaptation goes indie as violence spooks studios
By Borys Kit
Aug 15, 2008, 01:00 AM ET
Christopher Mintz-Plasse, left, and Chloe Moretz (Getty Images photo)
Matthew Vaughn is moving ahead to direct "Kick-Ass," an adaptation of a comic by Mark Millar, with key pieces of the cast starting to fall into place.
Christopher Mintz-Plasse is in negotiations, while Chloe Moretz has been cast in the film, whose violent nature has forced Hollywood studios to pass on making it. Vaughn, however, is such a believer in the project that he raised the money for the $30 million indie project himself.
"Kick-Ass," written by Millar and drawn by John Romita Jr., follows a high school dweeb who attempts to reinvent himself as a real-world costumed superhero named Kick-Ass who seems doomed to failure because he's not athletic or coordinated until he runs into real bad guys with real weapons.
The comic is ultraviolent, with kids taking on adults of all stripes. Moretz's character, for example, is a ferocious, potty-mouthed 11-year-old who chops down crime thugs with a ninja sword. Mintz-Plasse will play the Red Mist, the angry teen son of a mobster who tries to find uncover Kick-Ass' identity.
The main character, dweeb Dave Lizewski, has not yet been cast. Vaughn also is talking to several high-profile stars to play parents or mobsters.
Vaughn first brought the project to Sony, which distributed his "Layer Cake," but the studio balked at the violence, which he refused to tone down. Several other studios expressed interest but demanded that the protagonists' ages be upped. Vaughn, who most recently co-wrote and directed the international hit "Stardust," now is going it alone.
Vaughn wrote the adaptation with Jane Goldman and is producing with his Marv Films partner Kris Thykier. A fall start date is eyed.
The project will be a 180-degree turn for the actors involved.
Moretz is repped by Innovative Artists and 3 Arts, Mintz-Plasse is repped by UTA.
Jebote, Millar je apsolutni vladar samopromovisanja. Kad ovo čitam prosto i sam poverujem da je Kick Ass zaista 'ultraviolent' i da je nešto nezapamćeno u stripovima.
Naravno, u poređenju sa radovima Franka Millera starim i po petnaest godina Kick Ass je ipak samo nasilan. Ama, hell, čak nije ništa nasilniji od prosečne epizode The Authority (iz Millarovog ili nečijeg tuđeg pera). Ali on ume da se prodaje.
Meni je ova podela super. Mintz-Plasse je bizaran lik.
Siguran sam da je tekst o metalu na Popboksu interesantan i samom Vladimiru pošto evidentno ne zna ništa o temi...
:lol:
Nemojmo tako. Zna ponešto, ali ovo je očigledno barely entry level...
Pa ne, meni je okej kad čovek piše nešto što mu je zanimljivo. Nego, mora da bude zanimljivo i za čitanje... Tu nastaje problem.
Pa to ti i kažem, za nekoga ko ne zna ništa, ovo jeste zanimljivo, hence: entry-level.
Za koliko Tarlać-bloodmoneya si prodao metal i tipičnu geekovsku mušičavost, Mehmete? :D
Samo pokušavam da stvari posmatram iz perspektive prolaznika. Geekovski hardcore rant ne treba uvek da bude prva reakcija :lol:
Nešto razmišljam... Jedini način da Popboks napreduje je da se Meho postavi na sva urednička mesta.
U to ime, par linkova sa Zakkovog omiljenog sajta:
http://www.mediamagazin.info/zanimljivosti/izbrisali-scenu-u-kojoj-penelope-odgriza-penis.html
http://www.mediamagazin.info/zanimljivosti/kako-prepoznati-homoseksualca-na-plazi.html
http://www.mediamagazin.info/zanimljivosti/prostituke-nude-jeftinije-gorivo.html
Eto kako bi Popboks trebao da izgleda!
Quote from: "DušMan"Nešto razmišljam... Jedini način da Popboks napreduje je da se Meho postavi na sva urednička mesta.
Pa, ne mora baš na sva, valjalo bi ostaviti neko mesto i za nas dvojicu...
Quote from: "Meho Krljic"Samo pokušavam da stvari posmatram iz perspektive prolaznika. Geekovski hardcore rant ne treba uvek da bude prva reakcija
Eh bre... :)
Black metal (ist ein Krieg) na Popboksu? Nadam se da će dalji tekst biti mnogo interesantniji jer stvarno ne znam što bi neko čitao nešto o norveškoj sceni a da ga to potpuno ne interesuje, mada si u pravu možda oko ove gikovske reakcije... Da li ima nečeg novog uopšte da se kaže o tim godinama u Norveškoj?
Inače, i Vlada dok je bio u Butcherianu, bilo je bar dva zanimljiva teksta o ovome. Takođe i REX i svaki fanzin koji drži do sebe je često titrao oko Norvežana. Zahvalna je tema black metal, ni San Francisko ni Tampa nisu izrodili takve frikove o kojima mogu da se ispredaju legende...
Samo sam čekao kad će Dry Na Nord da se javi zbog ovog, kao najveći blacker & deather na forumu. :P
To tvrdiš zato što još nisi imao prilike da se sretneš sa Lexom Steelom... :wink:
aka Lex the Impaler. :lol:
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reko sam ti ja dušmane da će se naći pravo mesto za ovu sliku
...
Kad se samo setim da sam bio skeptičan prema tome i zamalo da ne pristanem da se slikam sa ružičastom gitarom.
Heh, sad sam skontao da persona u suknjici neodoljivo podseća na Dry Na Norda pre nego što se ošišao.
Da, da, to je ta hablogrupa, sišao sa Karpata...
Quoteaka Lex the Impaler.
Zvuči kao ime bubnjara u nekom blek metal bendu, zar ne? :lol:
Nego:
QuoteSystem Of A Down To Reunite For Eurovision 2009?
World renowned Armenian-American rock band System Of A Down has expressed interest in representing Armenia in next year's Eurovision song contest to be hosted in Russia.
Serj Tankian, the group's lead singer, recently said that the group would consider performing in Eurovision only if they would be allowed to use Eurovision as a means to advance the recognition of the Armenian Genocide.
"Eurovision would be an excellent way to make this theme known. We must seriously think of this." Tankian said.
System Of A Down, which has been advocating for Armenian Genocide recognition since its early garage band days is noted for the liberal political views expressed in their songs. The band's music tackles a myriad subjects including War, corruption, religion, drug use, censorship, human rights violations, and Genocide.
Source: Ultimate-Guitar.com
Mehmete, pročitao sam KICK-ASS i slažem se da je reč o stripu punom problema, ali sam isto tako uveren da iz ovog krajnje limitiranog stripa može nastati solidan film.
Čekat ćemo zadržana daha.
Musić i Meho umešani u trgovinu pajdom...
Suada Musića su 2003. godine oteli ,,zemunci"
Uhapšen najveći heroinski narko-bos u Srbiji
Autor: T. Marković-Subota, A. Ž. Adžić | 02.08.2008. - 06:02 10:58
Pod Musićevom kontrolom je veliki deo
srpskog narko-tržišta BEOGRAD - Suad Musić (39), zvani Batko, Rožajac na čijoj je otmici 2003. godine zemunski klan profitirao 350.000 evra, uhapšen je preksinoć kada je na graničnom prelazu Mehov krš iz Crne Gore prešao u Srbiju nakon što je kod četvoro njegovih saradnika nađeno više od tri kilograma heroina.
Droga izuzetne čistoće, namenjena novosadskom narko-tržištu, zaplenjena je preksinoć u momentu primopredaje Musićevih dilera na naplatnoj rampi na Bubanj potoku. Heroin, sakriven u šupljinama Musićevog ,,audija A4", iz Novog Pazara dovezli su Mirzet Lukić (28) i Senada Hoćanin (27), koje su čekali Novosađani Dalibor Grujić (29) i Tomislav Jokić (26).
- Njih četvoro su uhapšeni, a istog momenta dato je zeleno svetlo za Musićevo hapšenje, koje su izveli pripadnici Specijalne jedinice. Blindiranim džipom je sproveden u beogradsku policiju. U njegovom stanu u Novom Pazaru nađena su tri pištolja za koja nije imao dozvolu - kaže izvor ,,Blica" iz MUP Srbije.
Hapšenju Musića prethodio je višemesečni rad pripadnika Službe za borbu protiv organizovanog kriminala, beogradske i novopazarske policije. Akcija je počela kada je utvrđeno da veći deo droge na tržišta Beograda i Novog Sada distribuiraju Musićevi dileri. - Počelo je detaljno praćenje Musića i ekipe. Utvrđeni su brojni kontakti sa narko-bosovima iz Turske, Makedonije, Kosova i Metohije, gde je Musić često odlazio. On nikada sa sobom ne nosi drogu. Šverc obavljaju njegovi ljudi. Da bi ga uhapsili, bilo je neophodno da se utvrde njegove veze sa krijumčarima i dilerima, a da se zatim oni uhvate na delu. Tako je, pre skoro pola godine, hapšenjem Zorana Brankovića (28) i Marka Puškića (26), presečen jedan Musićev dilerski kanal za beogradsko narko-tržište. Oni su od Musića kupili dva kilograma heroina, a obojica su od ranije poznati po prodaji droge - kaže naš izvor.
On navodi da je posle tog hapšenja nastavljeno prikupljanje dokaza neophodnih za Musićevo privođenje.
- Čekali smo da njegovi dileri iz Novog Sada ugovore preuzimanje droge iz Novog Pazara kako bi ga uhapsili. Musić je saslušan i zadržan u policijskom pritvoru. Njegov slučaj preuzeće Specijalno tužilaštvo - kaže izvor ,,Blica".
Porodica Suada Musića godinama je policiji poznata po švercu heroina kojim je dugo snabdevala Dušana Spasojevića. Posle razbijanja zemunskog klana, Musić je nastavio sa narko-poslom i, prema podacima policija Srbije, BiH i Crne Gore, jedan je od najjačih narko-bosova na ovim prostorima. Droga se za Musića švercuje iz Makedonije i Kosova i Metohije do Rožaja i Novog Pazara, odakle se distribuira na narko-tržište Srbije, ali i Bosne i Crne Gore. Pod kontrolom Musića je veliki deo srpskog narko-tržišta.
Musićev posao sa drogom januara 2003. godine bio je i motiv zemunskog klana za njegovu otmicu. Musića su ispred hotela ,,Slavija" u Beogradu oteli Aleksandar Simović, Vladimir Milisavljević, Dejan Milenković i Dušan Krsmanović, tako što su se lažno predstavili kao policajci. ,,Zemunci" su Musića odvezli na Frušku goru, na salaš Miladina Suvajdžića, gde ga je 15 dana zverski mučio glavni Spasojevićev ubica Sretko Kalinić.
Milenković, koji je u međuvremenu dobio status svedoka saradnika, na suđenju zemunskom klanu izjavio je da je Spasojević za Musićevo oslobađanje tražio pet miliona evra.
- Musić je bio čovek Safeta Kalića Saje i radio je za njega drogu. Spasojević se nadao da će Saja da isplati novac. Kada smo ga oteli, znali smo da će nama da se obrate za pomoć. Saja je došao sa Musićevom braćom u Šilerovu i Spasojević ih je primio i obećao da će pomoći. Njima je pričao da iza otmice stoji Keka sa svojom novobeogradskom ekipom. Kalić nije bio spreman da da novac. Musićeva braća su donela 350.000 evra. Pošto smo uzeli pare i pustili Musića, sutradan smo Spasojević, Mile Luković i ja otišli u Legijinu kuću. Tamo smo odvojili 175.00 evra i dali Legiji. On je rekao: ,,Sada ću da pozovem šefa." Došla je njegova supruga i uzela novac sa stola - svedočio je Milenković.
Suad Musić je u maju 2006. odustao od gonjenja ,,zemunaca" koji su učestvovali u njegovoj otmici. Musić se tada zbog teškog psihičkog stanja nije pojavio na suđenju. Otmičarima Musića Specijalni sud presudio je da vrate novac od otmice.
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Ostavio sam komentar na Popboksu na novi Krljićev tekst o knjizi DRAGULJ MEDINE.
Za slučaj da se ne pojavi, da ga obrišu strašni haremski čuvari, evo ga ovde...
Sličan slučaj je bio pre par godina na Festivalu autorskog filma sa filmom LETNJA PALATA koji je prvo najavljen, pa zabranjen, pa na kraju pušten što je kad se sve sabere ostavilo jedan prilično apsurdan utisak.
Naime, pokazalo se da postoje mehanizmi koji mogu dovesti slobodu u pitanje zarad višeg nacionalnog interesa (ne nerviranje Kine sa kojom računamo u borbi za Kosovo), pa je onda taj sistem popustio i dozvolio da se Kina ipak nervira ostavivši ljude sa utsikom da sistem represije postoji ali da je u suštini nepouzdan i krajnje korozivan.
Slično je i sa ovom knjigom, znalo se da je zabranjena, pa je objavljena i distribuirana, pa je povučena.
Ipak, koliko sam shvatio cela afera se na kraju završila na komunikaciji između Zukorlića i BeoBooka, bez države, ili grešim?
Ukoliko se završilo na priči između njih, onda je diskutabilno koliko se cela stvar može tretirati kao pitanje slobode govora jer država nije umešana.
Pojavio se.
Ali ne slažem se da se ne radi o ograničavanju slobode govora ako država nije bila umešana. Sloboda govora je društvena vrednost koju država samo garantuje svojim mehanizmima i organima, ali radi se o, for lek ov a beter vrd, civilizacjskom dostignuću. Javnost (u ovom slučaju Popboks) je ipak dužna da ukazuje, opominje i sve što ide uz to, jer se ovde ne radi o tome da je neko negde nešto rekao nego o tome da je jedan centar moći (duhovne i političke) naizgled svojim delovanjem sprečio distribuciju jedne knjige, mimo institucija sistema. E, sad, kažem 'naizgled' jer i sam tekst zapravo razmatra (u duhu teorija zamere) čitav slučaj sa jedne druge pozicije.
Ali, zar nije licemerno da Popboks objavljuje tekst u kome poziva na slobodu govora, a sam je ograničava u komentarima na sajtu?
http://blog.b92.net/text/3839/Quis%20custodiet%20ipsos%20custodes%3F/
Quote from: "crippled_avenger"Ali, zar nije licemerno da Popboks objavljuje tekst u kome poziva na slobodu govora, a sam je ograničava u komentarima na sajtu?
Moguće je da jeste. Da napišem kolumnu i o tome?
Nemoj. Ne bi bilo dobro da i ti budeš banned from the ranch.
Dobro. Jel' ti stigao Žika neoštećen? Ostavio sam ga u društvu troje Sagitaša, nije mu bilo lako...
Stigao je bez svog pimp sticka i samo sa jednom cipelom. I bio je ćutljiviji nego inače.
Wadafak?
Troje sagitaša??? A među njima nisam bio ja?!
Ljudi sa ovog foruma su počeli da se okupljaju bez mene. Kuda ide ovaj svet? :cry:
pričaj mi o tome... da si ostao još malo duže danas, bio u društvu sa još 7... usred dana! da ne poveruješ!
http://dobanevinosti.blogspot.com/2008/08/najskuplji-jugoslovenski-film-svih.html
Quote from: "zakk"pričaj mi o tome... da si ostao još malo duže danas, bio u društvu sa još 7... usred dana! da ne poveruješ!
'de su fotke? :mrgreen:
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Meho je to već sigurno prešao. Ima topic u IGRAMA.
Quote from: "lilit_depp"Quote from: "zakk"pričaj mi o tome... da si ostao još malo duže danas, bio u društvu sa još 7... usred dana! da ne poveruješ!
'de su fotke? :mrgreen:
čekaj da libeat pristigne u bocvanu i pošalje nam otuda, pošto su uglavnom na njenom aparatu...
Nastavak Vladimirovog feljtona o blek metalu:
http://www.popboks.com/tekst.php?ID=6670
Da parafraziram naziv teksta: Izvinjavam se na ovolikoj retardiranosti čitalaca Popboksa.
Quote from: "crippled_avenger"Stigao je bez svog pimp sticka i samo sa jednom cipelom. I bio je ćutljiviji nego inače.
?
Kad se rastao od nas, imao je i stick i obe cipele. Doduše, otišao je sa Ghoulom, ko zna šta se tu još dešavalo... :lol:
F. Gary Gray ("The Italian Job," "The Negotiator") is attached to direct a feature film version of the Oni Press graphic novel "Julius" for Mandalay Pictures says Variety.
Antony Johnston's "Julius" is a contemporary urban crime adaptation of William Shakespeare's "Julius Caesar".
In this incarnation, the action takes place in 21st century London in which years of turf wars in the East End have come to a conclusion as organized crime has become united under the rule of one man who's also popular with the major population. Secretly however, his generals conspire and contemplate ways to remove Julius for their own selfish gain
Gray's take "has a vision for this adaptation that will satirize obsessive consumerism while providing a thrilling ride for audiences" says Mandalay president Cathy Schulman.
Nadam se da će Acroholia učestvovati bar u kvalifikacijama...
Pripreme za nacionalni deo ovogodišnjeg, petog po redu izdanja takmičenja Global Battle of the Bands, u kom se bendovi iz raznih krajeva sveta utrkuju za nagradu od 100.000 dolara i globalnu promociju, su u toku.
Srbija po drugi put učestvuje na ovoj manifestaciji, koja okuplja muzičare iz više od 35 zemalja.
Kvalifikacione večeri srpskog ogranka priprema za londonsko finale održavaju se u septembru u beogradskom klubu Danguba; tri od pet predviđenih termina su popunjeni.
Propozicije takmičenja i obrazac za prijavu zainteresovani mogu pronaći na zvaničnom sajtu takmičenja.
Prošle godine u globalnoj bici pobedio je sastav Boys in a Band sa Farskih Ostrva; Srbija nije imala predstavnika u finalu.
Malo smo mi matori za takve zajevancije.
niste vala matori za 67,593.85 EUR
Nicolas Cage, Aaron Johnson ("Angus, Thongs and Perfect Snogging") and Lyndsy Fonseca (TV's "Big Love," "Desperate Housewives") are joining the cast of Matthew Vaughn's "Kick-Ass" says The Hollywood Reporter.
The adaptation of the violent comic book by Mark Millar ("Wanted"), the story centers on a high school dweeb named Dave Lizewski (Johnson) who decides to become a superhero even though he has no athletic ability or coordination.
Things change when he eventually runs into real bad guys with real weapons. Fonseca plays the object of the teen's infatuation who believes Dave is gay. Cage is a former cop who wants to bring down a druglord and has trained his daughter (Chloe Moretz) to be a lethal weapon.
Christopher Mintz-Plasse also stars in the independently financed project which begins shooting this Fall in London and Toronto.
Warner Bros. has confirmed long-running rumors that it will reboot the Superman movie franchise.
Jeff Robinov, Warner Bros. Pictures Group President, tells The Wall Street Journal that the Man of Steel will be reintroduced on the big screen without regard to 2006's Superman Returns.
"Superman didn't quite work as a film in the way that we wanted it to," Robinov says. "It didn't position the character the way he needed to be positioned. ... Had Superman worked in 2006, we would have had a movie for Christmas of this year or 2009."
There's no mention whether Superman Returns director Bryan Singer will be part of the reboot. Earlier this week, Variety's Anne Thompson reported "that it is a priority at the studio to find the right direction and if Bryan Singer is willing to do that, fine, but if he gets in the way, he may not stay on the project."
Taking a page from Marvel, Warner Bros. has reversed its earlier position of using the now-stalled Justice League of America as a launching pad for other DC properties. Instead, it will focus on solo features to build toward a multicharacter film.
Meho, nisi nam se pohvalio trećim delom teksta o metalu...
Tek sam ga sad video. Evo:
http://www.popboks.com/tekst.php?ID=6671
Dobar mu naslov, jebote.
Quote from: "Vladimir Ninčić"Iako nije moguće jasno odrediti muzičku stranu pravca, jer i u okviru njega postoje velike razlike, može se primetiti da je black metal pretežno brz i melodičan stil, koji je daleko pristupačniji od klasičnog death metala ili, čak, i dobrog dela thrash metala.
Kome?! Da li IKO poznaje nekoga ko je prvo počeo da sluša blek?!
Ne, ovo je, paradoksalno sasvim tačna izjava. Ljudi koji nikada u životu ne bi slušali Sinister, Suffocation, ali ni Vio-lence ili Dark Angel, sasvim razuzdano troše kojekakve Cradle of Filthove i Dimmu Borgire, ali i pravi blek metal tipa Dark Throne ili one švecke pozere Dark Funeral, jer su melodični i himnični.
Takođe, bendovi poput Satyricon, Enslaved, Impaled Nazarene itd., sasvim lepo mogu da se prodaju i običnim metalcima.
Quote from: "Meho Krljic"Ne, ovo je, paradoksalno sasvim tačna izjava. Ljudi koji nikada u životu ne bi slušali Sinister, Suffocation, ali ni Vio-lence ili Dark Angel, sasvim razuzdano troše kojekakve Cradle of Filthove i Dimmu Borgire, ali i pravi blek metal tipa Dark Throne ili one švecke pozere Dark Funeral, jer su melodični i himnični.
Takođe, bendovi poput Satyricon, Enslaved, Impaled Nazarene itd., sasvim lepo mogu da se prodaju i običnim metalcima.
Ja se u thrash ne razumem nešto naročito - a vala ni u black - al mi zvuči da porediš vrhunac ludila jednog pravca sa glavnim tokom drugog. I opet, ne znam nikog ko je počeo da sluša metal od blek metala.
Pa, možda, ali ako kao thrash metal bendove po difoltu računaš kojekakve mid-tempo smarače onda mašimo poentu.
Ja znam ljude koji su počeli sa blek metalom, ako uzmemo u obzir da je Bathory započeo pravac. Ako želiš da ga računaš tek od tamo nekih devedesetih ili kraja osamdesetih, onda, jebiga, ne poznajem dovoljno mlade ljude da bih mogao da dajem primere. :cry:
pa, takođe...
ali:
http://www.oathrecords.info/index.php?showtopic=151
http://trosjed.net.hr/grupe/prvi_metal_bend_koji_ste_poceli_slusat/?gname=prvi_metal_bend_koji_ste_poceli_slusat&cmpg=1
http://www.yumetal.net/forum/index.php?showtopic=36258
kolko vidim, ide se ka blacku a ne od njega...
I dobro je da je tako.
Fans won't be seeing an adaptation of Garth Ennis and Steve Dillon's Preacher on HBO.
Mark Steven Johnson, who wrote the pilot and was set to serve as an executive producer, tells Comics Continuum that the new head of the cable network thought the series "was just too dark and too violent and too controversial."
"It was a very faithful adaptation of the first few books, nearly word for word," says Johnson, who directed Daredevil and Ghost Rider. "They offered me the chance to redevelop it but I refused. I've learned my lesson on that front and I won't do it again. So I'm afraid it's dead at HBO."
Plans for the one-hour TV series, announced in November 2006, were welcome news for fans who had been disappointed when a previous attempt to adapt Preacher as a feature film was abandoned.
Johnson says there are efforts to give a movie another try: "I've heard someone is in the process of getting the rights to turn it into a feature film. I hope that happens. But I hope it happens as a series of movies as one movie couldn't do it justice."
Cripple me je sinoć putem SMS-a pitao kakav je novi Slipknot a ja sam, zauzet igranjem Street Fighter Alpha 3, taj njegov upit prevideo. Srećom, Popboks tu d reskju:
http://www.popboks.com/tekst.php?ID=6682
Juče sam ceo dan slušao IOWU. To mi je njihov vrhunac. VOL.3 nmi je bio bezveze zbog suviše pokušaja crossovera. Jesu li na ovom albumu došli sebi, pošto koliko vidim ne kompariraš ovaj album sa ranijim?
Meni je Vol. 3 bio nepodnošljivo dosadan. Doduše ja sam hardkor madrfakr koji je bio prestar za muziku Slipknota još kad su izdali prvi album, pa mi se i na njihovim najboljim albumima sviđa svega oko 50% materijala a i to najviše sa formalne strane, nikad oni nisu imali ni trunku prave supstance, nažalost.
E, sad, ovaj nov album je meni znatno slušljiviji od Vol. 3. Dakle, pesme su dobro napravljene, zvuk je pun, ima ideja, ima njihovog razvoja, onako je proleterski solidno odrađeno. Osim tih nekih balada koje su stvarno dnodna što bi rekao San ov Men. Snuff je, ne zajebavam se, nešto naljigavije što sam čuo ove godine.
Juče sam pored IOWE, slušao i Ragga Twins i Ciccone Youth. Krajnje eklektičan dan. :D
Ragga Twins su madrfakin briliant. Ciccone Youth... još uvek sam premlad za to. Ja i Sonic Youth slušam samo prvih par ploča i improv albume koje su snimili za SYR.
Slipknot me nikad nije radio... xfrog
Kako već rekoh, meni su oni MTV bend od samog starta, što znači fejk po definiciji... Ali imali su svetlih trenutaka.
Intervju: Uroš Smiljanić
Uroš Smiljanić, u blogerskoj zajednici poznat kao Meho Krljić, nekadašnji roudi Crvene Jabuke ("Zlehuda saobraćajna nesreća odnela je i Dražena, ali i mene iz Crvene Jabuke, nikada više nije bilo prave atmosfere i zato sam ih napustio"), osnivač kultne grind core grupe Acroholia, bubnjar Urgha i Ventolina, autor je remiks album "Preko kolena" koji čine remiksi Vrelovog albuma "Preko reke".
Primio nas je ("Rekli su primio si ih, hihihi" kaže Urošev posilni Dudule, forumašima poznat kao DušMan, sa izrazom lica dečačića koji zna tuce masnih viceva i jedva čeka da ih ispriča) u svom studiju Đeneralštab Gruva, na Senjaku. U ovom studiju on i Dudule (koga Uroš naziva svojim "gimpom") stvaraju svoju muziku. I na ovom mestu upravo, remiksovan je Vrelov album.
Kada sam čuo "Preko reke", rekao sam sebi da to zvuči kao Spice Girls koje je osnovao Dragoš Kalajić. U tome sam video ogroman potencijal. Očigledno je to osetila i kritika, sudeći po recenziji u magazinu "The Wire".- sa ponosom govori Uroš.
Ali, nisu svi tako srećni. Producent albuma Vojislav Aralica kaže da neke pesme uopšte nisu remiksi već je Smiljanić podmetnuo svoje gabba komade. -Voja je jedna preispoljna budala. Čovek koji se na albumu potpiše kao V. Aralica po samom imenu pokazuje da je kao De Nirov lik iz Parkerovog filma "Ejndželovo srce"- odgovara Smiljanić.
Smiljanićevi remiksi su pre svega potpuno razorili strukturu Vrelovih pesama i obogatili ih glasovima koji growluju reči poput "Pagan", "Circumsision", "No remorse" ili "Final solution". - Hteo sam da maksimalno politzizujem ove remikse. Album Vrela je pokušao da zarobi političku naivnost devojaka koje se bave višeglasnim pevanjem a ja sam na remiksima hteo da zarobim političnost nerdova koji se bave višekanalnim miksovanjem.- naglašava Uroš.
- Vrelo sada zvuče kao Spice Girls koje je osnovao Badi Savić – sa ponosom ističe Smiljanić, dok nam Dudule pakuje najlon kesu punu DVDova sa dubstep muzikom i pornografijom, redovnim poklonima za sve posetioce Đeneralštaba Gruva.
:D :D :D :D :D
Heheheh. Odlično.
Šmrc... ni reči o silnoj drozi koja se meri kilogramima u našem malom ljubavnom gnezdu ('ljubav prema muzici je na prvom mestu' - reče Uroš).
Elem, znao sam da će me poznanstvo sa Mehom kad tad uvaliti u probleme i srozati društveni ugled, ali ovo je bilo prebrzo i preneočekivano.
Inače, zanimljiva je i puna boli i emocija priča kako se smislio naziv albuma 'Preko kolena'. Ali, to je neka druga priča...
Dushmane gde moz se prochita to u celovitoj verziji ?
Neko blogche ili tako nesto ? :)
Za sada je izvesno da će tome biti posvećeno jedno poglavlje u mojoj romansiranoj biografiji pod nazivom 'Princ na belom... konju'.
http://www.boneville.com/2008/08/26/rasl-tshirt-now-on-sale/
The scribbling pair of the sci-fi action starring Charlize Theron, "Aeon Flux", have been brought on board the comic book adaptation project, "The Boys". The two screenwriters, Matt Manfredi and Phil Hay, are now set to adapt the Dynamite Entertainment's comic book series to the big screen.
Preparing the script for Columbia Pictures, they are expected to pen the story of a CIA squad known as "The Boys" and their adventures as they are given the mission to pay attention to the increasing numbers of superheroes. Aside from scripting this movie for Columbia, the pair is also working together on adapting Universal Pictures' "R.I.P.D.".
Written by Garth Ennis and illustrated by Darick Robertson, "The Boys" was originally published by Wildstorm in October 2006. The movie version will be produced by Neal H. Moritz and his Columbia-based Original Films. No particular director has been linked to this project yet.
By MICHAEL CIEPLY
Published: August 23, 2008
LOS ANGELES
HOW could this happen? The question springs to mind as 20th Century Fox claims it has the rights to the graphic novel on which Warner Brothers is basing "Watchmen," its giant superhero movie.
Peer deeper into the murk of Hollywood's business practices, though, and the question becomes: How could it not?
The film industry was buzzing last week after a federal judge here allowed Fox to proceed with a lawsuit contending that Warner had filmed "Watchmen" without bothering to acquire rights that Fox says it has owned for 22 years. This eagerly anticipated movie is directed by Zack Snyder, of "300" fame, and is based on the illustrated series (republished as a graphic novel) by Alan Moore and David Gibbons.
Warner, of course, begs to differ with Fox. So the studios are squared off for battle. Fox wants an injunction blocking the movie's planned release on March 6. Warner wants Fox to go away.
Studios have certainly fought like this in the past. Metro-Goldwyn-Mayer and Sony Pictures Entertainment, for instance, swapped lawsuits a decade ago over Sony's plan to make a series of James Bond films to rival MGM's. MGM won, more or less, after Sony settled and dropped its films. But Sony soon wound up distributing a Bond movie, the highly successful "Casino Royale," as it became financially involved with a reorganized MGM.
That battle grew from a decades-old fight between the filmmaker Kevin McClory and the author Ian Fleming over the rights to "Thunderball" (Mr. McClory had contributed to the screenplay).
The Fox-Warner tiff turns on matters potentially more nettlesome to the industry at large. Central to Fox's complaint is the mysterious matter of what is called turnaround.
On its face, turnaround is a contractual mechanism that allows a studio to release its interest in a dormant film project, while recovering costs, plus interest, from any rival that eventually adopts the project. But turnaround is a stacked deck.
The turnaround clauses in a typical contract are also insurance for studio executives who do not want to be humiliated by a competitor who makes a hit out of their castoffs.
That trick turns on a term of art: "changed elements." A producer of a movie acquired in turnaround who comes up with a new director, or star, or story line, or even a reduction in budget, must give the original studio another shot at making the movie because of changed elements, even if a new backer has entered the picture.
Thus, "Michael Clayton" was put in turnaround by Castle Rock Entertainment (which, like Warner, belongs to Time Warner). When George Clooney became attached to star in it, however, Castle Rock stood on its right to be involved as a producer of what turned out to be an Oscar-nominated film.
Fox, in its complaint filed in February with the United States District Court for the Central District of California, contended, among other things, that Lawrence Gordon, a producer of "Watchmen," was given a somewhat unusual perpetual turnaround right under an agreement reached in 1994. Such rights are conventionally given for a finite period, but Mr. Gordon, as a powerful producer who was once a Fox studio chief, may have had an edge.
According to the court filings, Fox had declared its willingness to part with the project under certain terms in 1991. In any case, Fox says, Mr. Gordon was supposed to resubmit "Watchmen" to Fox every time he came up with a changed element.
There certainly were changes. At one point, Terry Gilliam ("Brazil") was supposed to direct it, at another, Darren Aronofsky ("The Fountain"), and at still another, Paul Greengrass ("The Bourne Ultimatum"). Writers have included Sam Hamm ("Batman"), David Hayter ("X-Men") and Alex Tse ("Sucker Free City"), among others.
Paramount, still another party in the mix, was once close to making the film. But its new chairman, Brad Grey, backed away and created a turnaround of his own in 2005.
Tantalizingly, Fox's complaint, which does not name Paramount, said that Warner settled a dispute with an unidentified "purported rights holder" by sharing part of its own claimed interest. Patricia S. Rockenwagner, a Paramount spokeswoman, says her studio has foreign distribution rights to the film.
Warner gave "Watchmen" the go-ahead when Zack Snyder, immediately after his surprise hit with "300," took it under wing. Yet Mr. Gordon, by Fox's account, never checked back with Fox about any of this.
Mr. Gordon did not respond to requests for comment. Warner, both in court and in a statement last week, said it had done everything legally necessary to make the film.
In the real world, of course, turnaround — along with much of Hollywood's machinery for securing film rights — long operated with a certain degree of messy pragmatism. Elements might change. Producers would proceed on a wink and a nod. When things were stuck, a bit of horse-trading got them moving again.
But the stakes have become too high for that sort of informality. "It's gotten a lot more difficult," Larry Stein, a veteran Hollywood lawyer at Dreier Stein Kahan Browne Woods George, said of the entire business of rights protection.
Studios, Mr. Stein added, "are securing their self-interest in every way they can." After all, who wants to slip up when the fifth sequel to "Batman" can take in half a billion dollars at the domestic box office?
WARNER has been stung lately in some very different situations involving rights. In March, a federal judge here ruled that the heirs of Jerome Siegel, a co-creator of Superman, the studio's mainstay hero, were entitled to reclaim a share in the copyright of the character. Lawyers for the studio have not yet given up the fight, and proceedings are continuing over what that will mean in dollars and cents. The studio's New Line Cinema unit is also embroiled in continuing litigation with the heirs of J. R. R. Tolkien over their claim to have been defrauded of profits due from the blockbuster "Lord of the Rings" series.
In the "Watchmen" case, it remains to be seen whether the presiding judge, Gary A. Feess, will grant an injunction blocking the movie's release while sorting things out. But in 2005, Judge Feess issued an injunction blocking the planned release of Warner's film "Dukes of Hazzard" in a rights dispute, leading to a settlement under which the studio paid $17.5 million to a producer who claimed infringement.
There will be motions and hearings aplenty, however, before it comes to that. And those who watch closely may see enough of Hollywood's process to wonder how movies get made at all.
"I've had this plan for like 10 years for a big three-picture Superman thing, like a Lord of the Rings epic, starting over from scratch again with a seven-hour Superman story. One to be released each year." [Mark] Millar said.
Millar says there's nothing firm yet, but he hopes to get word over the next few weeks. If everything goes perfectly, they'll be shooting next summer.
Heh... Nisam video ovu vest. Millar još od The Authority tvrdi da je stavljen na DC-jevu crnu listu i da zato od tada ništa za njih nije pisao. Kako Warner poseduje DC, sve to ne gomili ne daje verovatan ishod, ali videćemo, dešavale su se i čudnije stvari.
The premiere of the CW's "90210" -- arguably the most crucial series of the fall season -- became the highest-rated scripted debut in the network's two-year history.
Tuesday night's two-hour premiere was seen by 4.9 million viewers and garnered a 2.6 rating among adults 18-40. That surpasses the CW's previous scripted record in the adult demo by 18%, set by a premiere of the long-running cult favorite "Smallville" (2.2). The "90210" number also ties the network's premiere record once reached by reality hit "America's Next Top Model."
TV critics were braced for disaster after CW refused to send out screener copies of the show (the debut was actually reworked until nearly the last minute). But most critics were generally pleased with the result, calling the show a serviceable-if-tame update of the 1990s original.
The "90210" returns are considered to have outsized importance. No network has more riding on a single show than the CW has on "90210." If the CW does not improve, industry insiders have whispered this summer, corporate parents Warner Bros. and CBS Corp. might fold the network. And of all the CW's new shows, only the teen soap sequel was considered to have a real shot of significantly moving the needle. To paraphrase the network's "90210" slogan, the CW is living by the code.
"It needs to be something that is surprising," a company insider said last week of the "90210" rating. "An 'I didn't know the CW could do that kind of number' number."
By setting a new scripted record, last night's tally could fit the bill. Combined with "Gossip Girl" showing some growth on Monday, "90210" should give CW some breathing room if the show can continue to carry a fair amount of its number into next week. Now that's a big If, since last night doubtless contained a significant amount of one-time curiosity tune-in. But "90210" numbers also improved over the course of the show's two hours among all key demographics, which is a hopeful sign that audiences remained engaged in the show.
"I think it's probably excessive to pin the survival of a network on a single show, but unquestionably the relaunch of this well-known franchise is going to be inordinately important in bringing some heat back to the CW, and forestalling further erosion of their audience," TV historian Tim Brooks said. "Youth-oriented networks, more than anyone, need heat."
Also: In its second week in its new time period, NBC's "America's Got Talent" (10.6 million viewers, 2.8/8) posted a Tuesday low. Fox won the night with repeats, followed by NBC, CBS led by "Big Brother" (6.5 million 2.4/6) and ABC, which aired the finale of "Wanna Bet" (3.9 million, 1.5/4). Convention ratings will be posted later today.
Source: HollywoodReporter.com
Skinuh Devil May Cry4, te odoh na btjunkie da nadjem torrent za Spore, kad krajickom oka uhvatih Metallica - Death Magnetic. Upravo skidam dakle novi album Metalike koji izlazi za nedelju dana.
Da ne bude zabune, mislim da im je prethodni bio a steaming pile of excrement, te da nista vredno nisu napravili barem 18 godina. No, bice zanimljivo videti koliko su se daleko pomerili na skali 'matori smo, isprazni, izdali smo iskrenost ali jos uvek mislimo da smo neki faktor'. :lol:
EDIT: Sad vidim, neko je vec okacio spot. :oops:
Momci iz Stardocka (Sins of the Solar Empire) su skrojili povelju prava za igrace:
http://www.edge-online.com/blogs/the-gamers-bill-rights
Razumno i ljudski. Naravno, Stardock su kompanija koja ne stavlja nikakav copy-protection na svoja izdanja i ipak uspeva da živi od igara koje pravi.
Pa mislim da je naivno smatrati da neki svemirski protectioni zapravo povecavaju broj prodathi kopija igre. Niko ko stalno igra piratske verzije nece odjenom, samo zato sto bi morao da saceka jos 10 dana kupiti original. S druge strane rigorozni CPovi stete bas onima koji su zaista kupili original.
Istina. Ja recimo ni BioShock ni Mass Effect koje sam uredno kupio nikad nisam instalirao zbog idiotskog DRM-a i umesto njih igram piratske verzije koje me ne ograničavaju brojem instalacija i sličnim idiotlukom. Isto će da važi i za SPORE. Pazariću ga, ali će samo da stoji na polici.
Sir, you are weird. And I admire you for it.
Cage is also involved in the adaptation of the graphic novel "Kick-Ass" which he's just about to begin filming. Of his character he says "I play a guy named Damon and I'm the father of Mindy, who is Hit Girl and I'm Big Daddy and I'm training my daughter to become a superhero."
text ispod je nebitan, ali zapazi NASLOV!
Igrice dobile virtuelno čulo dodira
Japanski stručnjaci uspeli su da stvore virtuelno čulo dodira uz pomoć ultrazvuka.
Takayuki Iwamoto i njegovi kolege sa Univerziteta u Tokiju predstavili su sistem koji putem fokusiranih ultrazvuka stvara čulo dodira u vazduhu, javlja BBC.
Zvuk se širi kroz vazduh kao zvučni pritisak, a potom se stvaraju tačke koje se doživljavaju kao površine čvrstih predmeta.
Japanski prototip sastoji se od uređaja koji stvaraju ultrazvukove i kamere koja prati položaj ruke prilagođavajući emitovanje tako da ona oseća dodir s ivicom ili površinom virtuelnog predmeta.
Nakon što je svoj izum predstavio na konferenciji u Kaliforniji, japanski je tim odmah dobio ponude da ga poveže s programima za 3-D modeliranje ili video-igrama.
Nažalost, uređaj za sada ima ograničenu snagu što ograničava doživljaj čvrstoće predmeta, a jedan od razloga je to što bi prevelika snaga mogla izazvati oštećenja uha.
http://popboks.com/vest.php?ID=8177
:D
Da, da... Mene Goran već par nedelja juri da napišem jedan tekst o videoigrama koji bi obuhvatio svu širinu tog fenomena. Još uvek ga pripremam ali barem imam spreman naslov: NE ZOVITE IH IGRICE.
Srpski jezik je izgleda sklon deminutivima: igrice, crtaći, pornići... Ili, bolje rečeno, Srbi su skloni deminutivima.
Srbi su teška stoka, poznajem ih ja nekoliko...
hm... nemojte tako. možda su ipak u pitanju pre hipokoristici, imena odmilja, nego čisti deminutivi.
nekako, kad kažeš pornić... to je odmilja, ne umanjuješ mu valjda time značaj? nisam siguran, ali mi se čini da je reč o tome kako upotrebom reči pornić postaješ nekako blizak sa tim delom audio i video produkcije. a to je odlika hipokoristika.
takođe, reč "igrica" ne mora da znači samo da je to igra za decu pa smo je zbog toga "umanjili", pošto "pornić" nismo sigurno umanjili jer se radi o prikazu seksualnog odnosa na video kaseti koju treba da gledaju deca.
ali šta tek reći o pornićima koji su nacrtani? ajme...
ako uzmemo da je 'pornić' deminutiv, da li bi onda originalna reč bila 'pornjava'?
sva ova priča o deci i pornićima me vraća u dane kad sam, kao đak nekog od prvih razred osnovne, na spisku kaseta lokalnog video kluba (koji je vremenom postao lanac 'Žabac', hihi - eto rime) našao film 'Razdevičen 4. jula' i pomislio da to mora biti film za mene čim sadrži datum mog rođenja u naslovu.
kad ono, tinu-ninu, ti na filmu s nekom do jaja ribom?! :?
zona sumraka, tinu-ninu
Treba razlikovati porniće SA DECOM i porniće ZA DECU.
lou, zašto misliš da je DušMan slabić koji mora da bude razdevičen od strane neke ribe? Ja mislim da on već od prvog odnosa treba da se suoči sa pravim iskušenjem a to su zreli muškarci...
Sva sreća pa sam u godinama kad ni ne pomišljam na seksualne odnose. Za nekih desetak godina, kad stasam, možemo da pričamo na tu temu.
Mada, to sa filmom, policijskom sirenom i do jaja ribom zaista ne zvuči loše.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.edge-online.com%2Ffiles%2Fgame_pub_revenue.gif&hash=479fdf023c2f45112542e404e7629bcc523946fd)(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.edge-online.com%2Ffiles%2Fprofit_or_loss.gif&hash=23d451ed9da02002692a0041ff98611b8e6927f7)
Iznenađen sam da je Sony u levoj tabeli na drugom mestu, mada je istina da je PSP eksplodirao u Japanu kada je objavljen Final Fantasy Crisis Core. A pošto tu treba da se prisaberu i laptopovi i, pretpostavljam kojekakvi MP3 plejeri i sranja onda OK. Srećom, druga tabela pokazuje kako stvari stoje sa samim softverom: Sony na poslednjem mestu. Ako ih God of War 3 ne izvuče, nek razmišljaju šta će.
Nego, nejasno mi je otkud EA među gubitašima. Mislim, Take 2 iznad njih?? Čak i D3??? Jel ima tamo neka analiza ovih tabela?
Pa, imaš detaljno objašnjenje za svakog od 20 izdavača, ali nisam sad u situaciji da ti dam link. Verujem da se pod Sony-jevim imenom ipak računa samo njihova igračka divizija: SCE. PS3 je skup i to objašnjava njihove prihode, ali kako ga prodaju s gubitkom, rezultat je očigledan. Ili probaj da pronađeš sam na Edge-ovom sajtu (nešto tipa "izdavači u 2008."), ili pričekaj da dođem kući pa ću linkovati.
Ma, ne muči se, naćću ja sam kad budem imo vremena.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.newsday.com%2Fmedia%2Fphoto%2F2008-04%2F37857893.jpg&hash=ee123c70efb0cd056374e7cb2ae7f9c9145ef74f)
Haha, da li ti to aludiraš na to da je Meho žena?
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:D
http://www.presidentialcomics.com/
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Iz nekog razloga ne mogu da PMujem, pa evo ovde:
http://rapidshare.com/files/143799939/H.P._Lovecraft_s_Haunt_of_Horror__Corben_.rar
Marvelov miniserijal gde Ričard Korben adaptira Lavkraftove priče i pesme u kratke stripove. Adaptacije su dosta clumsy što se mene tiče. Mislim, maštovite, ali daleko prekratke da bih osetio onaj lavkraftovski strah. Ali Korben UBIJA sa crtežom i sve još bolje izgleda jer je monohromno. Vrijedi skinuti.
Quote from: "Meho Krljic"Iz nekog razloga ne mogu da PMujem, pa evo ovde:
http://rapidshare.com/files/143799939/H.P._Lovecraft_s_Haunt_of_Horror__Corben_.rar
proklet bio, kakav PM; teo si da ovo sakriješ od mene i drugim finih ljudi ovde!!! :shock:
ja sam nekritički fan korbena, tako da mu unapred opraštam sve grehove protiv HPLa!
Meho će ovo voleti:
http://dobanevinosti.blogspot.com/2008/09/mladiu-moj.html
Cripple shto bash HOST oskrnavi ? :lol:
Quote from: "crippled_avenger"Meho će ovo voleti:
http://dobanevinosti.blogspot.com/2008/09/mladiu-moj.html
Ja nisam Meho, al i ja volim! :lol: :!:
Quote from: "Harvester"Quote from: "crippled_avenger"Meho će ovo voleti:
http://dobanevinosti.blogspot.com/2008/09/mladiu-moj.html
Ja nisam Meho, al i ja volim! :lol: :!:
kako li bi te onda veselio još daleko nadahnutiji opis susreta s mladićem, iz filmofilskog ugla, a iz pera magičnog ćire, koji se ovde (mnogo skromnije i predvidivije, moram reći) ejpuje!
mislim da je izašo u VREMENU svojevremeno...
We are FUCKED!!! :evil:
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Jebote, taj Meho se svugde ubaci (kao tampon zona).
Što je još gore preksinoć mi je Sunčicina koleginica rekla da ličim na Novaka Đokovića (želi moje telo a nije znala kako pred ženom da mi to saopšti pa se odlučila za ovu diverziju koju sam ipak ispravno razumeo), a sinoć me DušMan uvredi da sam isti Čeda Jo madafakin kap killa.
Inače, Ghoule, pa TEBI sam i hteo da pošaljem PM-om. Ali evo, nek se vesele mladi. Korben je ovo sjajno iscrtao, ali kako već rekoh, narativno je dosta zbrzano.
A, da i ovo Kriplovo je baš duhovito, a ako negde ima da se pročita to Ćirino, ja bih rado. Poznajem brata njegove bivše devojke, ako to pomaže...
Ja uopšte nisam ejpovao Ćiru, kako Ghoul maliciozno zaključuje, iako ne sporim da je on talentovaniji pisac. Njegov tekst, čini mi se iz NINa, je potpuno drugačiji. Ćira i ja delimo fascinaciju jednim drugim generalom, Slavkom Lisicom, ali o tome drugi put...
Quote from: "DušMan"Jebote, taj Meho se svugde ubaci (kao tampon zona).
pa realno posle svih onih pesama Acroholie, onih raznih ubistava svetova i tog surovog spota gde lomi svashta po djubrishtu pa chak i sasvim solidan TV nishta me ne bi chudilo... :D
Quote from: "crippled_avenger"Ja uopšte nisam ejpovao Ćiru, kako Ghoul maliciozno zaključuje, iako ne sporim da je on talentovaniji pisac. Njegov tekst, čini mi se iz NINa, je potpuno drugačiji. Ćira i ja delimo fascinaciju jednim drugim generalom, Slavkom Lisicom, ali o tome drugi put...
zaista je neozbiljno (da ne kažem 'klinački') nazivati moj komentar 'malicioznim'.
'malicioznim' ga može smatrati samo neko ko se okružio čankoliscima koji mu titraju jajca i ko nije sposoban da sebe sagleda u nekom kontekstu koji NIJE obojen vizurama svojih kućnih prijatelja.
usporedbe radi, i radi dokaza (i ako je dokaz za ghoulove tvrdnje uopšte potreban): magični ćira projektuje svoj filmski ukus na gen. mladića na beskrajno duhovitiji način nego što dimbo projektuje svoj filmski ukus na gen. mladića, ovde:
http://www.dejanognjanovic.com/index.php/ZEZANJE/611-magi%C4%8Dni-%C4%87ira-sre%C4%87e-gen.-mladi%C4%87a.html#611
Što se duhovitosti tiče, gore sam rekao da mislim da je Ćira bolji pisac od mene. A uostalom, posetioci sajta mogu i sami da procene iako smatram da ova dva teksta niti su za poređenje, niti su slični. Moj je pisan u formi vrlo filmofilske simulacije novinske vesti o generalu Mladiću u kojoj se u stvari bavim nekim filmovima koje očekujem, a Ćirin je pisan kao kratka priča u Ich formi u kojoj se zapravo bavi pisanjem dnevnopolitičke kolumne. Ne samo da se na nivou sadržaja ne mogu porediti, a ni na nivou forme, nego im se ni dužine ne poklapaju.
Što se ostatka tvog malicioznog posta tiče, o mojim prijateljima, nemam šta na to da dodam. Moji prijatelji koji su prisutni ovde na forumu su odrasli ljudi i verujem da će odreagovati na ovu uvredu. Mislim da će čankolisci poput Žike i Meha reći nešto u svoju odbranu, ili će se složiti sa tvojom definicijom. Ako se budu složili, onda ću ti biti zahvalan što si me upozorio na njihovu neiskrenost.
Ipak, ako se budu i složili sa tvojom definicijom, to neće značiti da si ovim ljubaznim upozorenjem stekao neki kredit kod mene. Naime, ja čak i kad bih kupovao kućnog ljubimca, uzeo bih nekog sa minimumom odanosti koji ti nažalost nemaš. A od prijatelja očekujem mnogo više a ne da me nekada, kao što si ti Žiku i Meha, radi nečeg potpuno beznačajnog, nazove čankolizom (ili ako su stvarno čankolizi, razotkrije, a ni to nije lepo).
nastavljaš sa neozbiljnostima: prvo priznaš da je ono što sam rekao tačno (ćirin text o mladiću-filmofilu je duhovitiji od dimbovog texta o mladiću-filmofilu), a onda tražiš neke formalne razloge zašto se ta 2 texta ne smeju upoređivati, iako sam ja već rekao po kom osnovu su upoređeni:
text 1: magični ćira projektuje svoj filmski ukus na gen. mladića;
text 2: dimbo projektuje svoj filmski ukus na gen. mladića;
kolko slova imaju i za koje namene su pisani manje je bitno.
a i ovaj pokušaj da me zavadiš sa nekim divnim ljudima je klinački i zapravo dodatno ilustruje moje reči da svaki prisenak kritike koji NE dolazi od kućnih prijatelja i ortaka doživljavaš kao ličan i 'maliciozan'. daj opusti se, niko ti ne radi o glavi. ja ti ne želim zlo i propast zato što sam reko da je 1 ćirin text bolji od 1 tvog texta. ti si to naduvao van proporcije.
nisam ja rekao da si se okružio SVE SAMIM čankoliscima (bez izuzetaka), niti da ovi pomenuti (žika, meho) spadaju u njih – a na koga sam mislio baš neću da imenujem jer znam da i ti dobro znaš koje sam tvoje pudlice ZAISTA imao na umu umesto ljudi koje si prizvao da te brane (kao da sam te ja uopšte napao).
što se tiče 'odanosti' – to što je za tebe odanost, za mene je titranje jajca, i to niti drugima pružam niti od svojih prijatelja za sebe tražim, tako da... šteta za kredit.
:roll:
Sa gnušanjem odbijam insinuaciju da sam ikada u svom životu lizao Čanka. Nisam, bre, ni glasao za njega a kamoli da ga dodirnem... i to ... jezikom!!! :?
Ghoule, nisam pokušao da te zavadim ni sa Žikom ni sa Mehom. Samo sam konstatovao na koga si mislio. To što se sad ti vadiš, to je tvoja stvar, uostalom od mojih kućnih prijatelja, na forumu se jasno vidi ko je hvalio tekst pre nego što si ti počeo sa vređanjem. Jedini je Meho moj kućni prijatelj među njima.
Uostalom, kao što vidiš, Meho se ne da zavaditi, on je na celu stvar, sasvim očekivano, odgovorio jednim humornim postom koji mu omogućuje da bude iznad situacije.
Žika se još uvek nije javio na ovo. Videćemo koja će biti njegova reakcija, anticipiram nešto slično Mehovoj, ili se možda uopšte neće ni javiti.
Dakle, ne boj se, neće se Meho i Žika zavaditi sa tobom. Pre će se zavaditi sa mnom. Sa mnom se ionako druže samo iz koristoljublja, a tebe istinski vole i cene, i kao druga i kao stručnjaka. To je Meho već pokazao na forumu. Umesto da se brani od tvojih uvreda on je napisao šalu. Ipak, računam na mrkoya, mog dobermana, da će ostati sa mnom do kraja.
Što se Ćirinog teksta tiče, i dalje mislim da ti tekstovi nisu za poređenje, a mislim da je jedini džentlmenski odgovor koji mogu da dam to da je Ćira bolji pisac. Ne znam gde sam rekao da mislim da je Ćirin tekst duhovitiji, ali svakako da mislim da je džentlmenski reći i to.
Posetioci sajta sada mogu da prosude. To sve ipak ne čini tvoj post u kome me optužuješ za "ejpovanje" manje malicioznim, iako priča o tome apsolutno ne stoji, i od nje si u krajnjoj liniji i odustao u određenoj fazi.
Millar pise o pocetku snimanja KICK ASSa...
Holy fuck.
We are all going to...
a) Hell
b) Prison
c) Both.
But it's worth it, believe me. If I absolutely have to go to jail for a comic-book movie then I accept no substitutes. This is the one. I hereby declare Kick-Ass as the greatest movie of 2009.
And if you think that I WOULD so that as co-creator and a producer on the movie you're absolutely, one hundred percent correct. But as the months roll by and the trailers start to dribble online and you see what I just saw this weekend your heart will be beating that little bit faster too. I lucked out with Wanted and Timur and James and Angelina. But nothing-- I mean nothing-- can prepare you for Nic and Chloe as Big Daddy and Hit-Girl. As I said to Nic after the first scene was shot on Saturday morning, this is a movie about comic-book guys MADE by comic-book guys. We are absolutely in our comfort zone here and doing something really special. Cage's eyes just gleamed. He said it's the most excited he's been by a role in a long time.
And it shows. Screen-writer Jane Goldman and I were wearing out headsets and watching the monitor from early morning until we wrapped early evening both days, giggling at every line. Nobody knows this script better than me, Jane and director Matthew Vaughn, but we genuinely laughed at every take because these two actors just kept bringing something new to it. Coincidentally, the first scene shot on the movie was the first scene I wrote on the comic (now the opening to issue six) and it's Hit-Girl in her secret identity, wearing a Hello Kitty T-shirt and a kevlar vest as her Dad pumps round after round into her chest so she knows how a bullet feels. I loved the scene in the comic, I loved the scene in the screenplay, but Nic just took it to a whole new level with his delivery, the genuinely mental glee and beautiful comic timing as we see this little kid in pink clothes and a pink hat blasted back into mud in an abandoned factory. The scene in the swing park the following day is even better, but I don't want to spoil anything. All I'll say is that nobody is going to be prepared for this movie when it opens late Summer 09. Nobody is going to have seen anything like this before and that's very, very exciting.
You heard it here first: Chloe Moretz is going to be a superstar after this picture. There are so many great actors and characters running around here, but this kid is just spectacular. I hung out with she and her Mum and older brother all day yesterday and she's brilliantly unaffected by it all, switching from cute as a button eleven year old to potty-mouthed sociopath the moment Matthew yelled action. I have already nicknamed her Han Solo because she's going to be the one every kid wants to be when they see this thing as an illegal download
More as it happens, but fucking Hell. This is already about 350 times better than I could ever have expected. Everybody has a brief break from shooting this week before it all moves to Canada ten days down the line and then back here in a month. We're shooting on the Star Wars stage at Elstree, which I can only take as a good omen.
MM
Chloe Moretz SAM GLEDAO U The Amityville Horror I Wicked Little Things. SLATKO DETE.
Quote from: "Meho Krljic"Sa gnušanjem odbijam insinuaciju da sam ikada u svom životu lizao Čanka. Nisam, bre, ni glasao za njega a kamoli da ga dodirnem... i to ... jezikom!!! :?
:!: :evil: :D
Iako sam doktorirao na Geffenu pišući VELIKU BELU ZAVERU u kojoj je to jedan od ključnih plotlineova, iz ove vizure, dobrih 14 godina kasnije od Kurtove smrti i sl. ja zaista ne shvatam zbog čega Sonic Youth dižu ovoliki fuss oko činjenice da su završili ugovor s njima. Što se njih tiče, dok su bili na Geffenu radili su šta su hteli, kako su hteli, maltene imali priliku da vode A&R...
Otkriven identitet novog izdavača Sonic Youtha
Konačno je poznat novi diskografski dom alternativnih titana Sonic Youth - bar kad je u pitanju njihov sledeći studijski album.
Nakon gotovo dve decenije na mejdžoru Geffen, grupa se opredelila za nezavisnog, ali veoma uticajnog izdavača Matador.
"Matador je veoma jaka etiketa visokog profila sa indi sistemom distribucije koji je upravo ono što je bendu poput nas u današnjim okolnostima potrebnije od bilo čega drugog", rekao je lider grupe Thurston Moore, prenosi Billboard.
Prema Mooreovim rečima, grupa se nikad nije ozbiljno bavila idejom da sve albume objavljuje na sopstvenoj etiketi SYR, koja joj služi za izdavanje radova znatno težih za slušanje od glavnih stavki u njenoj diskografiji.
"Ne mislim da bismo mogli da izađemo na kraj sa tolikim poslom", rekao je Moore.
Suosnivač Matadora Gerard Cosloy istakao je kako je spisak bendova na Matadoru na koje su Sonic Youth izvršili veliki uticaj veoma dug.
On je 80-ih sarađivao sa grupom radeći za etiketu Homestead Records.
Početak saradnje Sonic Youtha sa mejdžorom Geffen na razmeđu 80-ih i 90-ih smatra se za istorijski transfer koji je umnogome uticao na muzičku scenu; sam Thurston Moore nešto kasnije je odigrao značajnu ulogu prilikom dovođenja Nirvane na tu etiketu.
Prvi album Sonic Youth koji je objavio Geffen je Goo (1990), a poslednji Rather Ripped (2006).
Pa, da, njima je Geffen dao ugovor kakav bre nije imala ni Nirvana i bukvalno su radili šta su hteli. No, Matador je okej etiketa, biće im lepo zajedno.
Pa oni su i dovukli Nirvanu na Gefen i imaju deo od prodaje. Ima u onom dokumentarcu o 20. godina postojanja SY gde TM objasnjava kako su potpisivanjem za Gefen imali u ugovoru stavku po kojoj Gefen mora da potpise sa po jednim bendom godisnje koji SY predlozi i da im daje deo od prodaje. Prvi bend je bila Nirvana, ostatak je istorija.
PS: u istom ima i zabavan deo o Sovjetskim piratskim izdanjima ploca SY, pa ako neko poseduje "Daydream Nation" na jednoj umesto dve ploce...pravac ebay
Batman Comics Destroyed Over Swear Words
12 September 2008 12:02 PM, PDT
Batman comic bosses are pulping tens of thousands of copies of the latest Dark Knight adventure because a printing error has left it filled with swear words.
Profanities that were meant to be blacked out to spare the blushes of young readers were not printed dark enough - meaning every "f**k" and "shit" in Allstar Batman + Robin the Boywonder number 10 is exposed.
DC comics has sent out the order to stores around the Us to destroy the book.
A spokesperson tells the New York Post, "As soon as the problem was discovered, we quickly asked retailers to pull the issue. We apologise to our retailers and fans for any offence and inconvenience."
The newspaper said that copies are currently selling on eBay for as much as $250.
JEBOTE, KOJI SU TO PAĆENICI: I OVI ŠTO CENZURIŠU, PA NE UMEJU KAKO TREBA, A I OVI ŠTO DAJU GRDNE PARE DA BI VIDELI KAKO IZGLEDA 'FUCK' I 'SHIT' NECENZURISANO U ŠTAMPI!
E, BEM TI ŽIVOT!!!
:roll: :x
Moja kopija je prilično dobro cenzurisana:
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Uzgred, smatram da je ovo čist pablisiti stant, pogotovo jer je All Star linija ispala teška flopčina (Morisonov i Kvajtlijev Supermen je odličan ali izlazi s mene pa na uštap) a Frenk Miler je u ovome napisao najgori strip u svojoj karijeri.
Quote from: "Meho Krljic"Moja kopija je prilično dobro cenzurisana
ma to je samo zato što je sken to providno crnilo 'video' kao čisto crnilo, dakle stvar je u nesavršenom skeneru koji ne vidi kao ljudsko oko pa stvara privid savršene cenzure... :(
In the Eighties, thrash metal wasn't a scene, it was an arms race: riffs kept speeding up, drum kits got bigger. But with 1991's Black Album, Metallica opted for unilateral disarmament, slowing their tempos, shortening their songs and smelting their chugging guitars and piston-powered drums into armor-plated pop hooks. After that, the band rushed from one reinvention to another, starting with the Southern-rock infusion of 1996's Load and culminating in the muddled, bizarrely produced group-therapy session of 2003's St. Anger. No longer: Death Magnetic is the musical equivalent of Russia's invasion of Georgia — a sudden act of aggression from a sleeping giant.
Hohohoh, jel' ovo iz press releasea? :lol: :lol: :lol:
neka dileja na yumetal-u daje svoje vidjenje legacy festivala (kurtezijom nikole kinovia-e koji je ovo razaslao):
Legasi na Razbijačev način:
Ovako,bijo sam oba dana na festu, i bilo mi je super,onaj ko se žalio na kiflice,obezbdjenje, klopu,pisanje i sranje je kompletna budaletina. Ja sam 3 puta pisao uza zid, i niko me nije provalio,a pisao sam obilato. Drugo,to što je bilo malo ljudi,jebi ga,nema narod toliko novaca, ja eto zaradjivam 400 jevreja, pa mi se ne izdvaja lako iz djepa, ali kad ćujem za testmanet, unleashed, destruction,mene bridi u gaćama, i moram ići,pa ko ga jebe.
Prvi dan sam bijo sam, jer su ovi moji dembeli dosli samnom drugog dana,ali taj prvi dan, meni je bitniji bijo, jer jesam dosao pijanet, ko krme, ali veca je sansa da nafatam neku mesinu, nego sto bi sovom mojom bagrom,koja bi samo da se drogira i pije.volim ja to, ali kad je picka u pitanju,znadem lečke i da iskuliram. I pre no što se bacim na suštinu mojega posta, reći ću nešto o festu:
1.Obezbedjenje, kul momci, jedan je hteo da sparingujemo, iz zeza, posto je vido kakve sam gradje, razmenili smo brojeve telefona, posto tog lika znam od ranije, cirko je sa nekima iz moje ekipe, kad je bijo koncerat Nokturnal Mortuma u beogradu. Za mene, obezbedjenje i treba da pretresa, kolje i ostalo,jerbo ljudi su placeni za to, sta neka budala u kiflicama unese bombu,nikad se ne zna,danas je tehnologija debelo uznapredovala.
2. Posećenost,već sam naveo gore.
3. Dark Funeral-dokaz sta jevrejsko-piroćanski sindrom radi ljudima, a šta i očekivati od nekolicine budala, koja se maze govnima po licu,i svira nesto sto i onaj cobe barjaktarević može da otpiči na svojoj koznoj fruli. Bijo sam dovoljno pripit ali i normalan da skontam, da te budale osim drkanja organizatora ko dzukele,nista drugo nesu radili na bini.
4. Bendovi-ukupan utisak 8/10
5. Ljudi koje sam vido na festu-lepotani iz metal sounda, mislim da ih je bilo par. Vido sam cini mi se, i moju komsiku Shamandalie,al posto sam bijo pijanet, bilo mi neprijatno da pridjem. Vido sam mislim i satana iz batajnice, visok mali, ja imam 2,08, pa mislim da smo tu negde,ili sam bijo otkinut,pa nisam dobro procenijo, ali onako raskrupnjat,podceća me na onoga Nešu, iz poslednje igre leptira. Nešu iz bombardera,koji je bio odvaljen, lupio sam po dupetu, i reko ''tačka ba'!'', a mozda to i nije bio on,ali je ličio u pičku materinu. Vido sam i neke dve kineskinje,u prvi mah,mislio sam da tu imaju tezgu,posle sam i vido nekog slepca kineza sa njima,ko zna sta su radili na festu. Vido sam i onoga lika iz onog thrash benda spejs iter il kako već...mnogo je debel za svoje godine,kad se već ničim drugim osim muzike bavi,mogo bi na liniji da poradi...jerbo sa 30 i kusur, nece moci pravilno da dise od kilaze...vido sam i djordjeta davida, delovo mi je ko neka djanica,što i jeste, ne znam šta je tu trazio,da ga klinke primete, pa da prca nesto? budaletina...vido sam i neke drolje,koje se pojavljuju na pinku cini mi se,al eto,,na pinku nista o ovom festu nije bilo,zalosno.
5. Pičke-mnogi se zale da su ribe bile krs,pa sta ste vi pička vam materina,lipicaneri,pa trazite porno zvezde iz vivid prodakšna?pola muskaraca izgleda ko da je izislo iz kontejnera, sa smekom, crknute macke. Jebale vas duboke patike i sranja,ako vec picke trazite, onda se malo sredite. I od biraca nema jebaca,samo sto to likovima nije jasno. 90% vas nema muda da pridje tim krs ribama,a kamoli nekim pizdetinama,koji bi vam samo rekle,''eee jadna budalo, mene si našo''...ugledajte se na mene malo.
6. suština mog posta:
pored toga što sam došao na fest da gledam bendove,uredno platio kartu za oba dana i ostalo,ja sam za razliku od nekih i pojebo. Naime, stojim ja onako cirke u sredini hale, kad vidim neku plavojku, stoji sama, gleda onaj pejn of solitud ili kako vec, i malo se kao njiše, pridjem ja, i kazem zdravo. ona me u prvi mah iskulira,ja se malo priblizim, i opet reknem,zdravo.ona me pogleda odmeri, i kaze-ti si pijan,ja uzvratim-malo..kako se zoves,pitam ja,ona kaze-verica, ja kazem verica-veverica, i ona se tu na smeje,i lecke udjemo u konverzaciju. pitam je ja za godine,iako se to dama ne pita (zapamtite dileje), ali ona mi kaze, da ima 30 leta, ja slazem pa kazem da imam 32, jerbo stvarno delujem malo sta starije. Nista, pricamo mi tu,ja sa detelinare,ona isto severnjacka krv, iz bača, zavrsava ekonomiju u novom sadu,rekla da se kasno upisala na faks itd....kupio nam ja po pivo...i u jednom trenu, predjem joj ja prstom preko guznog zareza, ona se nasmeje kaze sta ti je jesi li normalan, ja njoj, ma daj zezanje, pijemo, druzimo se...nista ona tu malo iskulira, i krenem ja da je brlatim, u tom momentu,sta je bilo, ne secam se,koji bend je bijo, al cuo sam neko zvidzanje iz publike, nista ja tu nju cimam, reko kako se vracas kuci, ona,ici ce vozom,ja reko ne seri, koji bre voz,imam ja kola. ona meni-stvarnO?ja odsecno-da! oces da te vozim kuci?ona meni-pa ne smem sa strancima, ja reko aj ne seri,dosla si ovde solo, i sad ne smes sa strancem,a voz pun stranaca...serem ja pijan sam,pa lupam kako stignem...i tu mi nesto jedemo govna, i ja joj krnem zvaku, i tu se malo povatamo, i negde oko dva krenemo mi napolje...i sad da ne duzim, krenemo mi mojim kolima, vozimo se,par puta joj spustam ruku na djoku, ona se smeje,pa skloni ruku, i tako nekoliko puta.vidim ja imam prodju kod bitch. i tako cimam je ja u kolima, ovo ono...i kad smo prosli most kod beške, stanem ja...i reko ajde...ona se tu jos malo neckala,al kad sam ga izvadio, prvo ga je gledala, pa me pitala, joooj pa sta si mu to radio,ja reko nisam ja,majka priroda, a stvarno mi je velik. i tu krene ona da ga djongla, jedno deset minuta mi je trebalo da se digne, ali kad je krenulo, uh,samo zabacim nazad glavu i ludilo...poceo sam da trnem od sladostrasta...nista, kad mi bilo vrh,kazem ja njoj,aj na haubi, noc je nema zive duse. i tu ja na haubi nju u zadnji trap rk-rk...nabacim joj levu nogu na haubu, pa je cupam za kosu, i uglavnom je sam je trsio odpozadi.malo docnije, kad je sve vec bilo na vrhuncu,zaklekne ona i krene mi da ga shipu, i shipu, a ja osetih, kraj je tu, i ufatim joj potiljak, i istresem ga u stau...i kad je bilo gotovo...ispljune ona,otera me u materinu,kaze mi da nisam normalan, i da sam pijana budala, mislim se jok ti si...dam es bitch! i sad brise se ona, i pita me oces da me poljubis...ja reko uh sad...ali jebi ga moro sam, kad sam vec punio,red je bijo da i ja nosim posledice...naravno,ovih dana treba opet da se vidim šnjom,čuli smo se juče, i biti će to kres kombinacija,jer ja imam devojku. kad bi jadna znala sta radim...
ali sve u svemu,meni je fest bio do jaja, ocekujem isti haos i na kastlu. hvala frubetu na ovom festu, legenda je, leba mi...iako uz sebe ima onog eldočmara, koji mi deluje kao totalni sado mazo lik.
Uzdravlje.
Petar Vranješić-RAZBIJAČ (TRENUTNO SEXUALNI MEĐED-u nicku)
Hvala LazaGNR to mi je izašao u susret za ovaj post,pošto ne merem da postujem,još narednih 9 dana.
Veliki rispekt svim metalcima koji jesu i nisu došli,i organizaciji legasi festivala, valjda se posle ovog nećete ugasite
Quote from: "Meho Krljic"Hohohoh, jel' ovo iz press releasea? :lol: :lol: :lol:
Ne, Rolling Stone kritika, a bogami čak mu ni gnusni Pitchfork nije odoleo, dali su im 4,9...
Nadam se da će na Mehovom koncertu večeras biti barem upola zanimljivo kao na tom Legasiju.
Quote from: "DušMan"Nadam se da će na Mehovom koncertu večeras biti barem upola zanimljivo kao na tom Legasiju.
samo traži VERICU-VEVERICU, imaš obezbeđen prolaz sa gorenavedenim fazonima za muvanje...
Ma, na našem koncertu je bilo... kao i obično. Mi nikad gori i neuvežbaniji, bez tehnike, bez snage, užasan zvuk, moramo jedni drugima da objašnjavamo kako nam idu pesme i sve to. Publika sastavljena od sociopata, ludaka, ometenih u razvoju... Odlična kombinacija.
eh... sve što je dopiralo iz Livingruma je zvučalo baš kako si opisao, te smo isqusno odabrali da ostanemo i zevzečimo u Srećnoj galeriji xfrog
Pa, da... ali bilo je lepo. Mislim, kad si na pragu četrdesete, a prilaze ti deca koja vele da su te slušala još dok su išla u niže razrede osnovne škole, to je... simpatičan osećaj, pogotovo što ti danas sviraš još gore nego u to vreme.
Bruce Dickinson – avio spasilac
Nakon što se zbog bankrota turističke agencije XL Leisure 220 britanskih turista zaglavilo u egipatskom letovalištu Šarm el Šeiku, lider Iron Maidena Bruce Dickinson se odazvao njihovom pozivu za pomoć – seo je u avion i vratio Britance kući.
Kada je posle petosatnog leta juče stigao u London, 50-godišnji Bruce je otišao kući na spavanje, kako bi sutradan odleteo po turiste koji su ostali na nekoliko grčkih ostrva.
"Samo sam radio svoj posao. Pozvan sam, kao i mnogi drugi piloti, da pomognem, i zato sam bio srećen", rekao je Dickinson medijima.
"Da vam iskreno kažem – moj život je predivan, plaćen sam da radim dva hobija."
Bruce za kompaniju Astraeus vozi avione dve i po, a pilot je već devet godina.
Na to zanimanje se odlučio 1993, kada je - ispostavilo se, privremeno - napustio Iron Maiden.
Da, videh to jutros na Popboksu. Uvek sam govorio da je to divan čovek.
Bubnjar najčuvenijeg grindcore benda osnovanog od strane ostatka poklanog naroda koji je počinio najveći zločin na tlu Evrope od završetka Drugog svetskog rata, radi u Crvenom krstu.
Pevač jednog od najpopularnijih heavy metal bendova humanitarno prevozi putnike putničkim avionom.
Kuda ide ovaj svet?
Na pravu stranu, očigledno. :)
http://flawedhollywood.com/wp-content/uploads/2008/09/evalongoriamarvelcomics-3.jpg
Brajan Majkl Bendis konačno u pravim rukama.
Zbog duhovitosti ti moram oprostiti pun koji si napravio spram Moroderovih brkova... :D
Ja mislim da si ti to pogrešno razumeo. Meni su njegovi brkovi MEGA i samo sam vrebao pravu priliku da ih spomenem, makar i posredno. Mislim da više treba da se brineš oko onog što piše u zagradi u toj rečenici.
(Za ljude kojima nije jasno o čemu mi to: http://www.popboks.com/tekst.php?ID=6733 )
Pošto znam da si okoreli pornofil, znam da ti je plitkoća nešto što a priori ne smatraš negativnim...
Daleko bilo. Đorđo Moroder je zaista majstor u svom muzičkom žanru i to baš zato što se bavio formom, prepoznavši da je tu ona prava suština te muzike.
QuoteEach Nintendo employee is set to make more money for the company this year than the average Goldman Sachs employee did during its record-breaking 2007, the Financial Times reports.
Nintendo employs less than 3,000 permanent staff, each of whom takes home an average annual salary of $90,900 a year. Assuming the platform holder achieves its net profit target of 410 billion yen ($3.9bn) in 2008, each employee will generate the company $1.6 million in profit, according to the paper's calculations.
In comparison, the average Goldman Sach's employee generated $1.24 million in profit for the firm before tax and pay in 2007, and received a $660,000 pay packet. The equivalent figure for Google is reportedly $626,000.
The report says that Nintendo is able to make so much money with so few staff because it relies on outsourcing for all hardware manufacturing and even a number of its high-profile games.
Nintendo said that the Financial Times' figures may underestimate the company's profitability.
Ako ih nešto uništi, novac će.
Prošlogodišnji album grupe Neon Neon je bio put lucidnih omaža Moroderu, ne znam da li si slušao, stvarno odlična ploča.
Inače, čitao sam kad su Oakey i Moroder radili album da je Oakey bio šokiran Moroderovom efikasnošću. Šteta je što se brkadžija sad fokusirao samo na remikse, sada je trenutak da izbaci neki old school collaboration projekat.
Ovo za Nintendo je, što bi rekli mladi madrfaking skeri.
Ovo za Đorđa, ma ja njega više cenim nego što bih išta od njegove muzike aktivno slušo. Ipak je to muzika za žene i pedere...
Nego, evo neki sveži aploudi.
Mafija_X me je juče pitao da li imam Morta Cindera skeniranog i ispostavilo se da imam. U donjoj arhivi naći ćete mislim sedam epizoda sekinranih iz Stripoteke. S obzirom da su domaći skenovi, kvalitet je solidan, mada je naravno kvalitet štampe originalno ionako bio prilično loš. U svakom slučaju, lepo je ovo imati u elektronskoj formi. Kad raspakujete arhivu, naći ćete u njoj sedam cbr fajlova, koji se najlepše i najlakše čitaju ovim (http://www.geocities.com/davidayton/CDisplay) programom. Alternativno, preimenujte ekstenziju u rar, raspakujte ih i čitajte ih čime hoćete.
http://rapidshare.com/files/145831046/Mort_Cinder.rar
A ovo sledeće su dva albuma mog starog benda Lucid Mad Love. To mi je juče tražio neki lik na Last.fm-u. Razgovor je tekao otprilike ovako:
On: Jel imaš?
Ja: Imam, al šta će ti to smeće?
On: Ma, jedna osoba čijem muzičkom ukusu verujem mi je preporučila i rekla da je dobro.
Ja: Ma ta se osoba sprda sa tobom. Lucid Mad Love je gori i od Ventolina a Ventolin je najgori bend u Srbiji.
On: Nije valjda gore od Ventolina? Danas sam slušao Ventolin i odmah ga bacio u recycle bin!!!
Ja: Onda ćeš posle ovoga dići ruku na sebe!!!
On (posle slušanja LML): Ovo je stvarno užasno. Bacio sam ga u đubre.
Dakle, u donjoj arhivi naći ćete oba albuma Lucid Mad Love (postojao je i neki treći, ali pošto je snimljen bez bubnjeva niti sam ga slušao niti ga imam, niti ga računam u prava izdanja). Zaista su skandalozni, ali biće interesantni recimo Crippleu i Žiki (sem ako im to već ranije nisam dao pa zaboravio). Prvi je sniman u Vršcu 1996. godine i na njemu me još nisu ograničavali u pogledu iživljavanja na bubnjevima (još uvek sam bio dovoljno snažan da savladam jednu ženu i dvojicu muškaraca u fizičkoj borbi...) pa sam tu loš a agresivan, za razliku od danas kad sam samo loš. Tekstovi su MEGA kinky i prosto ne mogu da verujem da je onaj čovek ovo mogao da peva with a straight face. Muzika je, paaa, recimo, nekakva amerikana na srbski način, sa sve prvom u nizu groznih obrada Nila Janga u kojima sam učestvovao... Pevač falšira, ja ne mogu da držim tempo, sve u svemu, jadno.
Drugi album je sniman na četri mesta (Kazablanka, RTSov radijski studio u Novom Sadu, neki digitalni studio u Novom Sadu kome sam zaboravio ime, kuća) i skroz je nekonzistentan i grozan. Sadrži jednu obradu Stevea Wynna posle koje je Steve Wynn odlučio da se ponovo navuče na pajdo jer je shvatio da strejt ne može da izdrži sve užase postojanja. Takođe sadrži dve obrade Husker Du koje su em prvi digitalni snimak na kome je Meho ikad učestvovao, em jedine dve iole slušljive pesme koje je Lucid Mad Love ikada odsvirao.
Eto, pa, hm... uživajte...
http://rapidshare.com/files/145789477/Lucid_Mad_Love.rar
Nego, kad smo već kod zastrašujućih suma novca vezanih za videoigre:
QuoteWoW Costs $200 Million to Maintain
It takes money to make money.
by Jimmy Thang
September 16, 2008 - It costs Blizzard Entertainment $200 million to maintain World of Warcraft, Blizzard Chief Operating Officer Paul Sams revealed during Activision Blizzard's Analyst Day. The expenditures consist of infrastructure costs, content development, and most costly is its customer service department, which is open to customers from all around the world 24 hours a day.
According to Sams, the expenditures were well worth it and allowed WoW's Burning Crusade expansion pack to sell 2.4 million copies within the first 24 hours. This, according to the company, makes it the fastest selling PC game of all time.
The company expects the next WoW expansion, Wrath of the Lich King, to take the top sales spot once again when it launches on November 13 in the US/Europe and November 14 in Australia.
ovde: http://pc.ign.com/articles/910/910652p1.html
Takođe, izvanredna prezentacija Dejva Grosmana na AGDC (http://www.austingdc.net/)-u. Dave Grossman je, kao što neki ovde znaju pisao za igre iz Monkey Island serijala, kao i Day of the Tentacle, a ova prezentacija (koju je IGN lepo sažeo i prepričao) bavi se filozofijom dizajna epizodnih igara i likova u njima. Pošto Grossman sada radi za firmu Telltale koja je napravila praktično jedine epizodne serijale koji su se do sada pokazali dobrim i uspešnim (Sam & Max, Strong Bad...), ovo zaista vredi pročitati ako vas makar izdaleka zanima tema:
QuoteAGDC 2008: Episodic Games Are Like Sandwiches
Telltale's Dave Grossman explains.
by Charles Onyett
September 16, 2008 - In a talk entitled The Sandwich of the Month Club, writer and designer Dave Grossman (Day of the Tentacle, The Secret of Monkey Island), who now works for Telltale Games (Sam & Max, Strong Bad, Wallace & Gromit), enlightened the audience on what he considers to be important when designing episodic games. Telltale's Sam & Max episodic series started back in 2006 has since run for a total of two seasons. The Strong Bad series is just starting up, and Wallace & Gromit has yet to be unveiled.
So, what is a sandwich of the month? It's Grossman's metaphor for good episodic gaming. "It goes like this," he said. "If I had a sandwich of the month club and you join what you expect from me is the in the first month you're going to get maybe a tuna sandwich, the next month I'm going to send a turkey sandwich, the next month I'm going to send you a ham sandwich with peppers. You're always going to get some kind of a sandwich experience and it's going to be good every month. It's going to be a little different, but it's still going to be a sandwich. What you don't want is for me to make one giant sandwich and then send it to you a piece at a time. You're waiting by the mailbox the first month and a giant piece of bread arrives, you're going to be upset at me."
"So similarly there's a lot missing if you just give your audience the beginning of a game. You have to give them a whole game, every time. It's a small one, but it's a complete one."
Grossman presented a series of slides depicting the graphs and post-it note configurations used for creating season-long and episode-long narrative and puzzle arcs for something like Sam & Max. According to Grossman, each episode must be uniform, in that they're all around the same length, but there must be some variety. If a certain gameplay mechanic, such as the driving mechanic in the first season of Sam & Max, is to stick around, it needs to pop up in several episodes. With each appearance, it needs to evolve or change in some way, and occasionally it should skip appearances in consecutive episodes. By that, Grossman meant if the season is six episodes long, the mechanic would show up in only four of them.
A similar kind of mechanic works for character, the development of which Grossman described in detail. "Let's talk about the three 'S's, the first of which is stereotyping. We're all taught to avoid this as part of our social programming, stereotyping equals bad. But when you're writing for games, a lot of times you have to introduce a character and get people to understand who they are in the course of two sentences. In that case, stereotyping is kind of your friend, it makes things really easy. You just set up a relationship between people and everybody will know what you're talking about. You don't really have to do any work to do that."
"Stereotyping is your friend for about the first two minutes," continued Grossman. "Then, it gets old very fast. Shtick is also an easy way to develop a character quickly. So with [indicates Sybil, a character from the game] her shtick was she had a new career every five minutes. And [indicates Bosco, another character] was just super-duper paranoid and he would always have a new disguise every time you ran into him and he always thought it was a really good disguise and it was always a really terrible disguise. And those were fun jokes, and those were good for about an episode or two. Shtick doesn't ultimately last all that long, but it is a good way to make your character stand out from the stereotype. You just give them one bizarre characteristic and people will accept that for a little while. Ultimately, you have to add some substance if you're going to use these characters over long periods of time. Mostly what that means is just challenging your assumptions about them every time you meet them."
"The main thing about substance is about breaking expectations. I'm not that interested if a character always behaves the way I expect them to. And what that means is if you're really going to achieve any kind of substance you have to get rid of [shtick and stereotype]. That can actually be really hard to do because you get this idea in your mind about who this character is and it becomes rock solid and you become slavish to it and you have to bump against that as much as you can. Here's a good example of a character who failed to move beyond the shtick and ultimately he was not able to carry the series once the other characters left." Grossman pulled up a slide of the Fonz at this point.
He went on to detail how he creates flowcharts for narrative and gameplay progression throughout episodes and seasons, and professed a strong preference for using white boards and post-it notes to do so. It's important to Grossman that the writers he works with should also be designers, as it helps along the process which, taking into account the rapid development cycle of episodic content, can get pretty hectic when trying to juggle multiple storylines and evolving gameplay mechanics.
As far as general game design goes, Grossman believe players deserve a certain sense of freedom, unless he's trying to make a point. "Most people don't like to feel lost...and most people don't like to be told what to do either. So you've gotta come down somewhere in the middle. And the way that I like to think about it is I am the hand of fate, and I want people to feel that hand but not be oppressed by it. People get religion because they want to feel like certain things are preordained and that their actions have meaning. So I want it to feel like as you play my game some things aren't preordained and that I have set them in stone for a reason, that maybe I do have something to say. But I'm not going to try and dictate your every action...I want you to feel like you as the player also have some agency and some ability to kind of dictate what happens on a smaller scale. I'm going to worry about the big important stuff and you worry about everything else, and that tends to make for a pleasant experience for all concerned."
Odavde: http://pc.ign.com/articles/910/910742p1.html
eh, kakav bih ja to oblaporni starac, opaki erotoman, muž i brat bio kada već ne bih posjedovao oba ova albuma?
a imam i taj treći, "s broda", i njega ću da okačim u inat... :evil:
a na LML mene dosta podseća Manisent i Mentalnost - ima nekog fankija, ima disko-blisko, ima monotonog pevanja, samo su kod LML gitare vukle na amerikanu, a kod Manisenta vuku na garažni rok.
Onda je Manisent mnogo bolji od nas... A da li i oni imaju bubnjara-invalida i pevača-falšera?
Ja to imam na kazeti. Lepo će mi doći ovaj download. Lucid Mad Love je jedan od najhajpovanijih bendova u Ukusu Nestašnih.
Acroholia na turneji
,,Majko, je li bilo ovde klanja?", pita Uroš Smiljanić zabrađenu staricu koju sreće u jednom srebreničkom sokaku. Ovim pitanjem zvanično je počela nova turneja Smiljanićevog benda Acroholia ,,War Crime Warpath Tour" na kojoj će ovog leta, Acroholia nastupati po varošicama u kojima su se desili najstrašniji ratni zločini.
,,Želimo da pošaljemo poruku ljudima, da ratni zločin nije kraj svega i da posle kiše ne dolazi obavezno duga, želimo da im kažemo da posle ratnog zločina stiže Acroholia, dakle da nesreća nikada ne dolazi sama", iznosi svoj koncept Smiljanić. Acroholia nastupa prvi put u Srebrenici, ali Smiljanić je ovde bio i ranije kao roudi Crvene Jabuke. ,,Bilo je više muškaraca nego sada", evocira uspomenu na Jabukin nastup.
Smiljanićevi saborci iz benda nose majice nemačke grupe Scorpions kako bi provocirali meštane podsećajući na ih na omiljenu paravojnu formaciju Ratka Mladića, a za nastup su pripremili majice nemačke grupe Wehrmacht.
Jedini član Acroholijine ekspedicije koji je okusio rat je Urošev lični asistent Dudule, uprkos tome što je najmlađi u ekipi prekaljenih rokera. Dudule se naime još kao dečak u fazi latencije preko interneta učlanio u Oslobodilačku vojsku Kosova ubeđen ,,da se oni peglaju sa Šiptarima". ,,Arnautima", ispravlja ga Smiljanić. Međutim, posle prvih nekoliko bitaka, shvatio je da je pogrešio i da oni žele da oslobode Kosovo od Srba. Vratio se iz rata sa traumama i ozbiljnom zavisnošću od heroina. ,,Spasao me je koncert na kome su Električni orgazam i Partibrejkersi zastupali stav da heroji nisu na heroinu. Spasao me je rokenrol", zaključuje mladi Dudule.
Acroholia posle Srebrenice nastupa u Bratuncu, Višegradu i Štrpcima. Svi nastupi će biti snimani i kompilirani na kasetu ,,Genocide Tapes".
Quote from: "crippled_avenger"Acroholia na turneji
e, ovo već JESTE odlično!!! :!: :!: :!:
Quote from: "Meho Krljic"http://rapidshare.com/files/145831046/Mort_Cinder.rar
Taman kad je najavljeno integralno izdanje na bliskom nam jeziku... Meho uništava domaće izdavače.
Eh, kad Cane i Gile kažu nešto tako jako, kako da im mlad čovek ne poveruje?
Heh heh heh, jeste odlično. Dodao bihi da se naša kazeta sa prva dva dema koja je prodavana diljem Europe devedesetih godina zaista zvala Genocides...
Inače, nisam znao da je LML bio najhajpovaniji bend u Ukusu Nestašnih (ili kako smo ga mi interno zvali 'Neukusu Ustaša'). Ko ga je hajpovao??? A, da, Peđa sigurno. A i sećam se da je Šimi (ex-Čudni Šimijev bend, a danas reper Jebašfini) napisao neku brutalno pozitivnu recenziju za prvi album ali ne znam gde je izašla.
Nisam ni znao da će domaći izdavači objaviti Morta Cindera integralno. A baš sam jutro razmišljao o otme kako radim društveno koristan posao aploudujući ovo. Eto ispadoh pirat... :cry:
ha, čudan šimijev bend... neukus ustaša... acroholia... sjećanja naviru, tjeskoba pritiska...
šta sam sve čitao i slušao, nije ni čudo što sam postao alkoholičar, rakijaš i publicista.
Dobro si se makar spasao droge. Nisu svi bili te sreće.
to je vrlo čudno, pošto su svi oko mene postali narkomani one way or another. i posle kažu da rokenrol nije satanistička muzika koja omladinu odvodi u narkomaniju.
a na ovom blogu http://jugostage.blogspot.com/2008_06_01_archive.html
za Lucid Mad Love piše:
"LUCID MAD LOVE
By Gubecbeg
0 коментара
albumi
Jedna manja grupa iz Vršca ali ne znači i da je loša.
Najviše liče na THROWING MUSES i EKV. Pa proverite i vi."
:D
Evo nečeg starijeg, ali mislim da nije poznato, a zanimljivo je. Izašlo je u Wired-u u maju 2003. Tiče se igre Rez koju sam spominjao ovih dana.
QuoteNo ordinary peripheral, Sega's mouselike Trance Vibrator pulses in time with its PS2 shooter Rez, emitting vibrations four times stronger than rumble controllers like Sony's Dualshock. As you advance through the game's levels, the tremors intensify. "You can put it anywhere - your foot, your back, your waist," says Tetsuya Mizuguchi, Rez's creator. "It's up to our customers' imagination." And what imaginative customers Sega has. Female gamers in Japan are putting the peripheral between their legs. (No word yet on when it will be available in the States.) The company doesn't recommend using the device as a sex toy, but it does come with a washable protective pouch. And with a name like Trance Vibrator, what did Sega expect?
Ma, da, to za REZov kontroler je nadaleko poznato. Miziguči je pokazao da put do ženskog srca vodi kroz, er... vaginu?
A ovo da je Lusid Med Lov iz Vršca nije nova zabluda. To je zato što smo prvi album, iz dosta okultnih razloga snimali u Vršcu pa nas je i prvi štampani prikaz albuma nazvao vršačkim bendom. Više me boli ovo Throwing Muses i EKV. Mislim, vidim odakle ta poređenja, ali bole.
Ali ovaj omot je suvi genije:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi33.tinypic.com%2F2gt98xl.jpg&hash=ac250fc4cff2038cd0a318153e0ff2d0ed5a3540)
Meni je to toliko kinky da sam i dalje zapanjen da niko od nas nije bio uhapšen kad smo objavili album.
e, da je ova država ikad funkcionisala kao prava tiranija, a ne ova nazovi diktatura Slobodana Miloševića, sve bi to bilo zabranjeno, kao što i dolikuje i kao što je trebalo da bude. samo još jedan dokaz da mi tiranije ni videli nismo.
ali ovaj omot je, priznaj, aluzija na genesisovo "vidim gaćice male devojčice" i ovaj omot:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fen%2Fa%2Fa7%2FThrobbingGristleDOAThirdAnnualReportColorCover.jpg&hash=9e94df032522cec90d485a6b7c6f597527438b87)
niste ni vi naivni.
Ma, jesi lud, bre, ovi ostali iz benda nikad u životu nisu čuli za Throbbing Gristle, a ja sam omot video tek kad je izdanje napravljeno.
Nego, on anadr topik, ova vest je vrlo uzbudljiva, iako je sve demantovano, ipak je jasno da gde ima dima ima i vatre:
QuoteValve Denies Google Buyout Talks
"Complete fabrication" says Valve's VP of marketing.
by Jimmy Thang
September 17, 2008 - According to "well placed sources", the Inquirer reported on Wednesday that Internet giant Google is going to buy Valve Software, the creator of Half-Life and the digital distrubtion system Steam. However, Valve has denied the potential acquisition. The Inquirer's story read, "WELL PLACED SOURCES tell us that Google is going to be buying Valve any second now. If you have to stop and think about why, you probably are not aware of Steam, Valve's amazing content distribution platform."
Doug Lombardi, Valve's VP of marketing, later told MTV Multiplayer that the rumor was "complete fabrication." While Lombardi denied the Google negotiations, he did previously tell Gamasutra that the company was open to buyout talks when it came to its partner, EA. However, he added, "By the same token, the company's doing pretty well, and we're really happy with what we're doing."
IGN contacted Lombardi for confirmation, and while he did not deny the buyout outright, he simply replied with the following statement: "This is a rumor."
Odavde: http://pc.ign.com/articles/910/910930p1.html
Moram da priznam da bi implementacija Steama u google bila krajnje zanimljiv koncept...
Ja ne znam da li je to izvodljivo ali što više igram SCARFACE, a samo igram SCARFACE, smatram da je apsolutno neophodno napraviti srpsku verziju ove igre ili nekog od GTA klonova svejedno.
Zamislite igru u kojoj igraš u ime Gorana Vukovića Majmuna, koji nije ubijen, iako se mislilo da jeste i koji pokušava da povrati i proširi svoju imperiju, boreći se protiv Arkana, Vuje i Čumeta, a konce iz pozadine vuku Jovica Stanišić i Vuk Maraš koji mu daju naloge ali nikada ne može da im veruje.
Boss fight po NBGu sa Batom Trlajom.
Izvan grada mora da bude obligatory misija na Kosovu gde se završava gudra.
Plus obligatory misija "Pobiti sve Četvrtake" u kojoj ih namamiš u javnu kuću u Staroj Pazovi i likvidiraš u ogromnom shootoutu.
Možeš da igraš pojedinačne misije sa Banetom Grebenarevićem, Lelom Andrić i Zvekijem kao minionima koje kupuješ kao Exotic.
Plus Meho i Žika da naprave dobre rep, dens i turbo folk mikseve kao soundtrack.
:lol: :lol: :lol: :lol:
Zvuči sjajno.
Postoje GTA modovi za PC koji su smešteni u Beograd, ali koliko sam shvatio (nisam se trudio da ih igram), to su najviše reskinovi u kojima su pandurska kola pretvorena u kečeve itd. Ovo o čemu ti pričaš zahtevalo bi dosta rada i znoja, mada bi bilo izvodljivo.
Ja mislim da bi bilo izvodljivo. Na reskin sam i mislio. Bilo bi suludo da sad neko zaista pravi celu igru. Ali, neki medium sized trud bi mogao da se uloži. Siguran sam da bi bilo ljudi koji bi to znali da cene.
Što se mene tiče, ja sam spreman da pomognem na nivou dramaturgije, pisanja dijaloga i naziva misija.
A siguran sam da ste i ti i Žika raspooženi...
Ha, da, ali ipak bi tu bio potreban neko ko ume da programira, makar rudimentarno, plus MNOGO vremena. Tako da... baci ovo na gomilu sjajnih projekata koje nikada nećemo realizovati.
Naravno, ali zar nema ljudi koji rudimentarno umeju da programiraju a koji su takođe živeli u Srbiji devedesetih i razumeju na koji način bi ova igra bila važna za pomoć mladima koje će skloniti sa ulice i pokazati im i naličje glamuroznog sveta kriminala?
Jel možemo da pitchujemo ovaj projekat nekoj NGO? U smislu umetničkog projekta koji se osvrće na devedesete?
Moriarty Looks Into The Future Of Superhero Films With A KICK-ASS Script Review!
Hey, everyone. "Moriarty" here.
It's no secret that I've been fond of the work of Matthew Vaughn so far. I think LAYER CAKE is a bad-ass little crime film that perfected the formula Guy Ritchie and Vaughn created in LOCK, STOCK & TWO SMOKING BARRELS and SNATCH. STARDUST is a lovely, wacko fantasy that did a nice job of capturing Neil Gaiman's voice on film, something that has been long overdue.
And right now in London, as that photo of Nic Cage confirms, Vaughn has started production on the film that will absolutely confirm his status as a cult god, and which may well break him through to mainstream success in a very real and quantifiable way. If WANTED, a nihilistic gun-freak wet dream that was little more than a cobbled-together ripoff of THE MATRIX and FIGHT CLUB, could do the business it did this summer, then KICK-ASS has a chance at being something even bigger.
The movie is already generating fan sites, and the comic has created a genuine buzz even among people who don't normally read comics. A friend of mine ranted and raved to me recently about how great the comic is so far, and when I started asking him questions about it, he went pale. I guess the script covers more ground than the comic has so far, and I inadvertently spoiled some things for him. As Jane Goldman and Vaughn wrote the script adaptation, they had direct access to Millar, who told them where he was headed with the story, even as he reacted to some of their impulses, building them into the comic and refiguring some of what he had in mind. As I said, though, I haven't read the comic. I'm more of a trade paperback guy than a month-to-month guy with comics these days... just the way I prefer to read them, like a guy who only watches TV shows as box sets on DVD. So when I talk about the storyline or the characters below, realize I'm referring to the script, which may not match the book exactly.
I'm excited. I think this is exactly the sort of new take on the genre that audiences are going to enjoy because, finally, they've reached that tipping point. They've seen enough traditional takes on superhero fare over the last decade, and I think the pump is primed. They're ready for the conventions of the genre to be twisted, inverted, destroyed outright.
That's the start of the script. We see this kid suiting up. Same voice-over narration. And then... there's a painful reveal that we're not watching what we think we are, and we're off and running with Dave Lezewski. He's a normal kid. As he describes himself, acutely normal. And he's just trying to make it through high school with some dignity intact. It's written with a frankness that would give Sony a heart attack if this were SPIDER-MAN. Dave and his friends Todd and Marty are very real, very profane. Normal. Average. There's a girl. Of course. Katie Deauxma. And he isn't even on her radar. And he's got superheroes on the brain. He knows he isn't one, but that doesn't stop him from ordering a wet suit and a ski mask and dressing up in front of a mirror. Fantasizing about being a hero. Wanting it.
And then about fifteen pages in, Mindy Macready and her father Damon are introduced. And from the moment they arrive, the film is obviously not playing by any rules that any studio would allow. Mindy's 11 years old. And her daddy is training her. Making her dangerous. For a purpose. Their introductory scene is really scary and crazy, and it will shake an audience when they see it. They'll be awake after that if they weren't already. Their relationship in general is like THE PROFESSIONAL PART II, if Gary Oldman's character hadn't come back. If Leon and Matilda had kept going. Getting better at what they do. And when you see their origin story, told in the form of a homemade hand-drawn comic, it's wrenching. It's a twist on the traditional way heroes are created in comics, but awful and sad in a way no major publisher would dare.
And then Dave decides to do it himself.
Just start doing it. Going out at night. Learning how to run and jump and get from rooftop to rooftop. He's a kid. He's got no powers at all. But he's determined. And more than anything, he loses himself in the fun of it. The kick of doing something he dreams about. The reality of it is a chemical thrill for this kid.
And it's fun for about three pages. Until Dave ends up in the hospital. Seriously fucked up. Hit by a car and stabbed in the stomach fucked up.
And he ends up filled with metal. Pins and plates and a rod. His head. His arm. His leg. You'd think that would stop him, but Dave is wired to do this and nothing else. He's got no choice. So he goes out again, and this time, when he gets in a fight, he's able to give some punishment back. And this fight gets recorded and shows up on YouTube...
... and then Dave opens a MySpace page so people can find him, and he starts to catch on. People start to really root for this guy. And reach out to him. And believe in him.
Even Mindy, watching his viral videos, hearing about him, can't help but admire his actions. She may be a deadly little robot, but she reacts to Kick-Ass's raw bullheaded courage. Her father may not be a fan, but she is.
And the way their paths eventually cross, the point my friend tells me is the end of issue #3, comes around the halfway mark in the script. And it's a stunner...
... more proof that no studio in town would know how to actually make this film while leaving it intact.
Vaughn knows. And Vaughn's smart, working outside the system and owning a piece of the film. If you can raise the bank to do something like this, something radical, and you can own a piece of it in the meantime... that's real filmmaking power. I think being a producer first has made Vaughn very good at getting a project off the ground. Once it's airborne, he's able to focus on actually making the movie, and I'm dying to see how he interprets this sort of comic book "real" that John Romita Jr.'s using for the book.
Mark Millar seems to be intimately involved in the production at the moment, and that's interesting. It seems like a really close collaboration with someone whose work you're adapting on the part of Vaughn and Goldman. I like the boy-girl stuff in the movie, the way Dave gets close to Katie when she misinterprets something and starts to think of him as her "gay friend." It's funny, but it's not played as a THREE'S COMPANY-style joke. It's more about the agony of finally being close to the person you want, but unable to close the distance of that last few inches.
Another thing I really like in the script is the way the main bad guy, a drug lord named Frank, has a son the same age as Dave. Chris is a quiet kid who keeps to himself, and he wants nothing more than to be a part of his father's business. When his father becomes obsessed with finding Kickass and killing him, Chris finally sees a way to make his father notice him. He volunteers to hunt Kickass down himself, and to do so, he takes on the character of another vigilante named The Red Mist. This is the role that Chris Mintz-Passe is playing, and it seems to me that this is make or break for him. If it works, he'll be able to shake McLovin', and if it doesn't, then he's McLovin' for life. I think it's a hell of a role as written.
They all are, though. That's the thing. The reason this really works isn't because it's a clever deconstruction of a genre. It's because of the intensity of feeling that each of these characters has been brought to life with, the heightened emotion of the piece. It works because you feel the impact of every choice, every scene. And the kids in the film talk like real kids. It's savvy writing precisely because it's not more clever than reality in every single scene. People make bad choices. There are awkward moments that strike me as very close to how things would really play out. It's just grounded, solid character writing at every turn.
Nic Cage has been circling various superhero properties for years now, famously almost playing Superman at one point. He's such a comic fan he even named his kid Kal-El. For him to play Big Daddy seems karmically correct to me. Big Daddy was born of tragedy, but he took his identity from comics, just like Dave does. In fact, you could even view KICK-ASS as a wry commentary on comic fans in general. There's something really rich bubbling just under the surface of this one, even as outrageous set pieces and broad dramatic flourishes play out. The climax of the script is genuinely tense, and the violence throughout is so grim that there's little chance you'll mistake this for just another comic book movie. The stakes are high here, and if Kick-Ass or Big Daddy or any of the others are going to live to that last page, they're going to have to stop living in a fantasy and deal with some harsh, harsh realities.
And as a big fan of SHAOLIN SOCCER's lyrical ending images, I was moved deeply by the way Vaughn wraps it all up. He may paint a dark picture of human nature here, but he has faith that we are capable of more, of genuine good, and that's a hell of a way to leave an audience.
I'm hoping to head over to either London or Toronto while they're shooting this one so I can bring you some impressions from the set. I have a feeling when it finally hits next year, it will be seen as a fascinating bookend to WATCHMEN. If superhero movies finally grew up this year with THE DARK KNIGHT, then next year it looks like they're going to go completely insane.
And I can't wait.
Harvestere reaguj!!! Ovo je za tebe!!! Uwe Boll snima novi film i odmah uz njega pravi i igru!!! 1968 Tunnel Rats!!!
http://www.eurogamer.net/article.php?article_id=241099
Evo i nekakvog, hm, trejlera:
http://www.youtube.com/watch?v=jM-RJ7aPK0I
Nje mi baš najjasnije zašto koriste prastari Viet Cong endžin, ali dobro, to je ipak Uwe Boll...
Takođe: Avi Arad otkupio prava na ekranizaciju BioWareovog naučnofantastičnog RPG-a Mass Effect:
http://www.eurogamer.net/article.php?article_id=241648
Takođe, trejler za igru koja bi, kad izađe konačno mogla da me natera da kupim Wii:
Mad World (http://www.youtube.com/watch?v=BKtkGOrYiWw)
Neka vrsta crtanofilmovske verzije Running Man, sa dosta karikiranog Sin City šmeka u smislu art directiona. Platinum games je bivši Clover, takođe, pa ako ovo bude makar malo kao God Hand, moje srce će pevati.
Spiking of Uwe Boll, evo na Something Awful ispovest scenariste koji je pisao prvu (nerealizovanu) verziju Alone in the Dark. Suviše je to maliciozno napisano za moj ukus, ali su citati iz Bollowih mejlova suho zlato.
http://www.somethingawful.com/d/feature-articles/behind-scenes-uwe.php
QuoteA few years ago I came out of the video game industry to work on the first draft of Uwe Boll's newest film "Alone in the Dark." We had secured the rights for the license from Infogrames and pitched him a few story ideas on it. While he was still in post-production on the critically-acclaimed "House of the Dead" he asked us to write a script around the game "Alone in the Dark." At that point we hadn't seen any footage from any of his films he was worked on, but we heard"House of the Dead" - and I quote - "wasn't going well." I later discovered that was one of this century's biggest understatements.
Since we were going to be screenwriters for him, we decided to see if we could find any footage from his previous films online. We found the trailer for "Sanctimony" and immediately grew very nervous. Did he really just blatantly steal the entire plot and dialogue from the film "Se7en" and repackage it into some inept, half-assed, cliched pile of confusion? Was this guy for real? Who in their right mind would give him money to make anything except possibly trips from a pizza delivery store? And oh, let's not forget that he had big A-list stars in these films. Like Casper Van Diem. And Eric Roberts. And Clint "Car Wreck Face" Howard.
We had already written our story treatment and sent it off to him. He and his loyal team of Boll trolls seemed to like it and asked us to write a full script. It was only after this agreement when Uwe finally decided to send us a few of his wonderful films on VHS for us to watch. He was eager to impress us with his talented work, no doubt. But If you've ever mistakenly stumbled into one of them, I'm sure you will believe me when I say that we sat through some of the most incompetent and retarded films known to man. And I've seen "Feeders."
First we endured "Blackwoods," an incomprehensible straight-to-cable"psychological thriller" crapfest about evil rednecks who put this yuppie guy on trial in their parents' basement for a drunk driving murder. I don't want to spoil the ending, but his deceased girlfriend was actually Bruce Willis, whom he drunkenly killed with his car years ago, and her evil hillbilly parents in the woods were all part of the main character's guilty conscience. Or something. Really. That's really how it ends. Also he cast yet another actor from "Starship Troopers" in the lead. I think Uwe secretly lusts after Euro B-movie maker Paul Verhoven's lucrative career, which is really kind of sad if you think about it.
Soon Boll wanted to prove to the world he didn't need to solely exploit other films for his movies, as he could also exploit real-life people's deaths. He churned out a cheap Columbine school shooting movie called "Homeroom: Heart of America." I can't really ruin too much of the angsty plot for the film, particularly since we all know how Columbine ended, but I must say one thing about it: this was the first movie I've ever seen featuring gratuitous tit-shots during a scene where a retarded girl is raped. One critic sarcastically called it "the absolute best film Uwe Boll has ever made" and and another cracked "imagine the Columbine tragedy as translated into coloring book form." Unfortunately, this powerful movie failed find an American distributor, and I don't foresee this changing unless the retard rape market suddenly picks up.
Then came "House of the Dead," the film that would finally put to rest the eternal debate over whether Boll was as gifted a director as Scorcese, Kurosawa, or Schumacher. This is really the point where the terror of truly bad cinema sets in; we kept hoping the previous films were just terrible errors that were mistakenly titled and sent to us in some kind of cosmic accident. In his behind-the-scenes shoot on the promotional video, Uwe described this zombie opus as "an action-tour-de-force" and compared it to "a serious violence movie like 'Saving Private Ryan.'" You'll notice this film doesn't really have a "house" of the dead as much as an island and a old mine... of the dead, I guess. This is because apparently Uwe gets these two locations very cheap and therefore they must become central parts of every story he directs. We were cracking up and waiting for the punchline that never came throughout the entire movie, occasionally glancing around to see if we were being filmed by a Candid Camera revival. We heard the premise: "a rave... on an island... with zombies... TERRIBLE zombies," but we had no idea he was telling it with a straight face.
Somebody actually paid money to create this. It will come as no surprise that this person was Uwe Boll.
It was a mess. We knew we were in a terrible situation, and had written a script that was only going to confuse this poor guy. He kept asking us why the character in our script "Alone in the Dark," Edward Carnby, didn't have any special powers to battle monsters. We explained that the story revolved around suspense and a believable detective, based off the game. He replied by telling us he wanted to blatantly rip-off characters, as well as the tone of the films "Blade" and "The Crow." Here are some actual quotes from e-mails directly from the cinematic mastermind Uwe Boll himself in 2002:
Edward is not mysterious and does business as usual – which destroys his entire heroism – his entire reputation built up by the game, would be DESTROYED by this film. Edward has to be mysterious like in THE CROW and BLADE, he has to have special abilities and weapons and no normal BACKSTORY!!!
What isn't much use are grave things: the dialogue, Edward's Character and the story per se. IT IS GOOD THAT H IS NOT A SUPERNATURAL SUPERHERO - BUT HE CANNOT BE ALSO TOO NORMAL - HE IS A LONELY HERO.
You don't have big screenplay experience and after my bad experience on House Of Dead, I need a Top Script now. Your first script wasn't that. I want to be scared, intelligent, not boring, packed and surprising at the end.
He wanted us to add "big gun battles" and "car chases." You know, all the things that make horror movies scary, particularly movies that revolve around suspense. We kept arguing with him about how to actually tell a scary story, as it became apparent he had absolutely no idea what he was talking about. A big point of contention was the monsters; he wanted tons of big, slimy, dog-looking CG monsters all over the story, while we kept repeating it was far scarier to keep them in the dark - hey, what do you know, kinda like the title - and build suspense. We tried to use the (at the time) recent film "Signs" to explain this to him, but everything seemed to bounce right off the guy. Boll then went off on a rant that should rank as one of the most confusing arguments ever in history.
WE MUST KNOW A LITTLE MORE ABOUT ALL THIS . LOOK in SIGNS THE AUDIENCE KNOWS THAT THE ALIENS WANTS TO DESTROY - SO HE AUDIENCE IS AFRAID. LIKE WHT YOU SAY ABOUT OSAMA BIN LADEN: WE DONT KNOW A LOT - BUT WE ARE FRAID - BECAUSE OF 11.9. - SO WITHOUT ANY INFORMATIONS ABOUT THE ALIENS WE ALL FEEL NOTHING - WE ARE ALL CONFUSED BUT LETS SAY YOU NEVER WOULD HAVE SHOWED AN ALIEN IN SIGN - IT WOULD BE A DESASTER - NOBODY WOULD TAKE IT SERIOUS!!
Yes, I know English is not his first language, but Jesus Christ, I'm not even sure this man has a first language. That's not even coherent in any intelligible way... and this man is DIRECTING FILMS IN ENGLISH. And whether or not you enjoyed the film "Signs," I didn't think anybody had ever argued that the awkward CG alien scene at the end was really a strong moment in filmmaking history. Finally, our short-lived deal with Boll fell apart during yet another debate about the ending. We felt a good horror movie should leave the audience with a creepy, scary uncertainty at the conclusion. Uwe felt people are more terrified by big excessive gun battles and even bigger monsters than the previously slightly-less-big monsters.
But Boll's rambling, borderline psychotic emails don't end here. No, he kept on going.
I AGREE BUT WE STILL NEED A BUILDING UP TENSE /SHOWDOWN OR WHATEVER. WHATEVER IT IS: EDWARD FNDS IN THE END SOMETHING WHAT BLOWS THE AUDIENCE AWAY, OR THE PROBLEM IS THAT MORE AND MORE PEOPLE ARE MISSING, MORE CREATURES OR BIGGER CREATURES ARE COMING UP ... ! We WANNA MAKE A UNUSUAL AND GOOD MOVIE - BUT DONT FORGET THE CLASSICAL - MUST'S - OF STORYTELLING
By this point is was clear we weren't writing a true Uwe Boll movie, so the good doctor began to lecture us, the writers, on proper story telling procedure.
The story doesn't go from A to B, which is unavoidable for a genre-flick. Your story is an author's piece, a drama, where we spend time with people!!! With a video game adaptation what is more important than ever: hero needs to have a goal, that the [Uwe here uses the term "08/15 Zuschauer" which basically means the no-name, loser audience] understands and the hero needs to be interesting.
There was only one way to fix it and, fortunately, he had just the plan:
EITHER increasing numbers of people are getting kidnapped or killed by monsters, so that everything is threatened to go out of control and Edward has to stop the monsters – otherwise everything is lost in the end – OR Edward has to solve a specific case and stays on it – needs to go on an island (see ALONE IN THE DARK 4) or solve a murder. I was really angry, because I don't think, that you'd ignore so many things, that apply to story telling basics!
Oh no! Our script had made Uwe Boll angry! I have to say that being lectured by Dr. Uwe Boll on the proper way to tell a story is an experience I will truly cherish forever. In our defense, I apparently skipped the film writing class which explained how every realistic, suspenseful script required at least one major scene on an island, unaware this omission would be a violation of "story telling basics." At this point we realized Boll was a world class fuck up and was only going to ruin anything he touched. Despite being desperate first time screenwriters, we walked away from the project and refused to give him the rights to our script.
For those of you who actually give a shit, the original script took the "Alone In the Dark" premise and depicted it as if it was a actually based on a true story of a private investigator in the northeastern U.S. whose missing persons cases begin to uncover a disturbing paranormal secret. It was told through the eyes of a writer following Edward Carnby and his co-worker for a novel, and depicted them as real-life blue-collar folks who never expected to find hideous beings waiting for them in the dark. We tried to stick close to the H.P. Lovecraft style and the low-tech nature of the original game, always keeping the horror in the shadows so you never saw what was coming for them. Thankfully Dr.Boll was able to hire his loyal team of hacks to crank out something much better than our crappy story and add in all sorts of terrifying horror movie essentials like opening gateways to alternate dimensions, bimbo blonde archaeologists, sex scenes, mad scientists, slimy dog monsters, special army forces designed to battle slimy CG dog monsters, Tara Reid, "Matrix" slow-motion gun battles, and car chases. Oh yeah, and a ten-minute opening back story scroll read aloud to the illiterate audience, the only people able to successfully miss all the negative reviews. I mean hell, Boll knows that's where the real scares lie.
He even managed to cast "Blade" actor Stephen Dorff in the movie. I'm sure he was a huge fan of his performance in "Backbeat" or something. The funny part is, after we walked off and he got his usual team of hacks to churn out a huge steaming pile of shit, he came back months later and asked us if he could get the rights to use scenes from our screenplay... for free. Oh, Uwe.
But the future is bright for Dr. Boll. Even though "Alone in the Dark" opened to #14 and made only $2.5 million on its opening weekend, as he's got plenty of other important film projects waiting in the wings. He's already finished shooting "Bloodrayne" and is working his way onto "Hunter: The Reckoning" and "Far Cry" next year. Notice a theme here? I mean, besides the whole "making terrible movies that nobody likes" thing?
For my part I would just like to apologize to the video gamers of the world for indirectly helping this man unleash another cinematic atomic bomb on audiences. In my defense I can claim at the time I started, I didn't quite know who Uwe Boll really was... and in the end, we did manage to salvage our script from actually being filmed at the hands of the mad doctor. So I can take small comfort in a quote by one movie critic this weekend: "The other practitioners of cinematic drivel can rest a little easier now; they can walk in the daylight with their heads held high, a smile on their lips and a song in their heart. 'It's okay,' they'll tell themselves. 'I didn't make Alone in the Dark'."
- Blair Erickson
manisent
http://www.soundclick.com/bands/pagemusic.cfm?bandID=316654
Ovi u odnosu na nas zvuče kao pravi bend. Ova pesma 'Napad iznutra' asocira me na stomačne probleme koje sam jednom imao...
Evo dokaza da moze i gore...
http://www.soundclick.com/bands/default.cfm?bandID=875253
Meni je ovo znatno bolje od Lucid Mad Love. Mislim, nije baš najvrhunskiji power electronics koji sam ikada slušao ali slušljivo je.
Siguran sam da ces naci nesto gore od LML na kompilaciji balkanskog nojza:
http://www.mediafire.com/?v5mzlfmx2ri
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbp0.blogger.com%2F_s7V83pjepD4%2FSGJhfJmE_YI%2FAAAAAAAAAW0%2FP1hyInFi8hE%2FS229%2Fbalkan%2Bfor%2Bweb.jpg&hash=e16cc81c63ac0d99836fdae684ffac91e530241b)
Jesi li skinuo neke bultege sa povratničke/pokajničke turneje MBV?
Nope. Nisam video to nigde u prolazu a otkad Luka Toyboy živi smanjenim intenzitetom, nabavljam samo muziku za koju znam da postoji.
Znači dobar novi Bethor, osmica?
COLUMBIA, S.C. - A hospital spokeswoman says former Blink-182 drummer Travis Barker and a popular disc jockey have been critically injured in a Learjet crash in South Carolina that killed four people.
ADVERTISEMENT
Federal Aviation Administration spokeswoman Kathleen Bergen says the plane carrying six people was departing shortly before midnight Friday when air traffic controllers reporting seeing sparks. She says the plane went off the runway and crashed on a nearby road.
Hospital spokeswoman Beth Frits says Barker and DJ AM, whose real name is Adam Goldstein, were at a burn center in Augusta, Ga.
Federal officials say two crew members and two passengers have been killed.
THIS IS A BREAKING NEWS UPDATE. Check back soon for further information. AP's earlier story is below.
COLUMBIA, S.C. (AP) — Officials say a Learjet has crashed while departing from a Columbia, S.C., airport, killing four people on board and injuring two others.
Federal Aviation Administration spokeswoman Kathleen Bergen says the plane carrying six people was departing shortly before midnight Friday when air traffic controllers reporting seeing sparks. She says the plane went off the runway and crashed on a nearby road.
Bergen says the Lear 60 was headed to Van Nuys, Calif.
She didn't have the names of those killed and didn't know the conditions of the two people injured.
Pa, nije to Betor. I ja sam hteo da mu dam devetku, ali se Popboks uplašio da pravoslavna crkva ne pošalje svoje nindže...
Plaše se da se ponovo ne aktivira Tarlaćeva haška optužnica. Znam. :D
Mogao bi da mi nasečeš to. Deluje zanimljivo sudeći po recenziji.
Inače, kako komentarišeš zgražavanje Popboksa nad povezanošću All Musica sa major izdavačima? :D
Mislim, Popboks kao fanzin Repetitora i Nežnog Dalibora proziva All Music Guide. Biće to zanimljiv beef ako ovi sa All Music čuju... :D
aaaaaaa nezni dalbior!
napisah par kritika o ND i samo shto me nisu na krst razapeli. sreca pa se izjasnjavam kao tozzishcanin pa im ni taj krst nije neka vajda protiv mene.
budale.
mogli su da mi ponude godisnju pretplatu za ckm i odma' bi' promenio misljenje :roll:
Zar oni nisu prvenstveno fan klab onog benda Balvani ?! :?
I was in London working (and hanging out with some MW buds) over the last couple of days, but War Heroes officially went out to the studios yesterday after a few weeks of informal chats. I woke up to find a cluster of emails from Martin Spencer, my agent at CAA, and my attorney Harris Miller.
The good news? Pretty much all the big guys in town are going in for this and things should really start moving in the next couple of days. Tony and I had a dream director in mind for the project and, weirdly, he was the first email, suggesting he directs if his production company gets their hands on the material. But three genuine heroes are already in the mix for this so I have a feeling we're going to end up in good hands.
After weeks of informal chats (we wanted to wait until issue two was actually in print and they had either script or full plot for the remaining issues) we're really going to MOVE now. It's going to be an exciting few days, I think. As ever, I'll keep you posted. But this is my last NEW Hollywood thing until the Spring. I've pretty much finished all my current commitments and want to get deep into Ultimate Avengers before I start up anything else.
MM
Čekaj, ekranizovaće i War Heroes??? Njega baš krenuo taj bioskop jebote, mislim, izašle su tek dve epizode WH...
Što se tiče Nežnog Dalibora itd., ne smem da se izjašnjavam, ja ne znam ni šta je to...
http://videogames.yahoo.com/events/playback/playback-14/1248334
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.portalprelude.com%2Fimages%2Fnews%2Fmod_headerTemplate.png&hash=33d17bc4c6b741d3e39eaee0a69b306bcf93496e)
http://www.portalprelude.com
Portal: Prelude, as its name states it, is an unofficial prequel to the game Portal. Its story revolves around the pre-GlaDOS epoch, even before she was plugged in. At this time, test subjects were monitored by real Aperture Science employees, whose work was tedious, lengthy and repetitive. This is why they decided to build a great artificial intelligence that could both replace them in these difficult tasks, and also take responsibility for many other tasks within the complex and compete with Black Mesa's superiority.
All employees of the Aperture Science complex are now eagerly awaiting GlaDOS. Maybe even a little too eagerly, as the upcoming events will tell...
This game is totally free and set to be released somewhere around the end of the month. It offers a bit more gameplay hours than the original Portal, with 8 chapters, 19 test chambers, 48 challenges, 6 advanced maps, a brand new storyline and more than 400 lines of speech with english and french subtitles.
Remember kids, it's not just a mappack, it's a whole new story, and I hope that you'll appreciate the work done for you. The game is set to be released somewhere around the end of september, or the beginning of october.
Thank you for reading, and stay tuned for more informations soon.
Ovo nema nikakve veze sa Valveom, koliko vidim? Hm...
Nema veze. Kontaktiralu su Valve i oni nisu pravili nikakvog problema oko licence i cak pruzili podrsku projektu.
Sad nadajmo se da ce ispasti dobro, pa da imamo sta da igramo dok ne izadje Portal 2, ako ga uopste i prave. A znajuci kojom brzinom radi Valve, nacekacemo se.
Da, to je stvarno džentlmenski od valvea. Naravno, polovina šarma Portala otpadala je na GlaDOS i njne genijane monologe pa ovaj prikvel verovatno neće imati isti šmek, ali opet, interesantno.
Meho OK, ovo su namontirali u fotoshopu, ali mi neko reche da ce novi GTA lik da bude realni Srbin iz Bosne ?! :shock: :lol:
Mislim znam da sam malo okasnio i sve to jer si ti vec poiso o tome ali ja te tekstove na engleskom slabo, jedino na maternjem BHS-u, a tamo nigde ne videh da si napiso da posle chamuge iz geta stize Srbin kao sledeci nivo zla koji je kao dosho iz Bosne gde je bio dobar sa Ratkom il tako neshto, daj neki link gde moz se pogleda demo ochiju ti, ii ne morash naci cu sam, bash da vim to ludilo :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg177.imageshack.us%2Fimg177%2F6159%2F70227717ye4.jpg&hash=ad767479a9d63f39d3d5dcf5617b1f98e2fd8483)
Il me to opet lagali ovi moji dobro upuceni drugari sa Lekinog ?! :cry:
EDIT : Niko Belic - hm, kontam po imenu da je Niko Bosanski Srbin poreklom naravno ko i svi Srbi tamo sa "granice" Srbije i Crne Gore ?!
U igri se ne kaže eksplicitno odakle je ni šta je, ali među Srbima je konsenzus da je u pitanju Srbin, a i mediji su tako pisali. Problem je, naravno što čovek priča sa ruskim naglaskom a ortaci iz starog kraja imaju prilično nesrpska imena (Roman, Florijan), tako da je rockstar tu, kako se to kaže dropovao bol ili skruovao d puča...
Kuzmanovic u SKu je posvetio nemali deo opisa diskusiji o poreklu doticnog. :lol:
Da, on mu je maltene locirao selo iz kog potiče. Al, kako već rekoh, to je više wishful thinking. Rockstar se nisu baš preterano potrudili da to deluje uverljivo.
Evo, da se čuje njegov naglasak:
http://www.youtube.com/watch?v=2hX7Xf-6OTw
Meho, je l' ovo nešto što vredi oslušnuti?
http://www.popboks.com/vest.php?ID=8317
Pa... ja imam nekoliko njegovih albuma i meni je to solidno, mada ne i vrhunski u svojoj branši. Ja bih večeras to otišao da gledam da nemam već zakazan fizički rad.
Quote from: "Meho Krljic"
Evo, da se čuje njegov naglasak:
http://www.youtube.com/watch?v=2hX7Xf-6OTw
Bolno je ocigledno da neki anglosakson radi genericki Slav accent. Hrmpf. Covek bi pomislio da bi se kompanija tog kalibra iscimala da nadje nejtiv Jugoslovena.
Da, i mene je isprva čudilo što umesto da daju 100,000 dolara pravom američkom glumcu ne uzmu nekog polugladnog srbskog/ bisanskog/ hrvackog itd. glumca koji bi isto odradio za tri ili četiri puta manje para. I to bolje. Ali zaključio sam da ih je žestoko boleo kuras da se potrude ILI da je u pitanju metadosetka i podsmeh na račun zapadne publike koja misli da su svi istočnoevropljani Rusi.
Mmmm, ovo bi moglo da bude sjajno:
QuoteAcclaimed Japanese developer Level-5 has unveiled Ushiro, a quirky new horror role-playing game for PSP.
Players are cast as Shinigami (the Grim Reaper) and attach themselves to people about to die, according to Japanese magazine Famitsu (read by NeoGAF).
Once attached the Shinigami will help the mortal fulfil their final wishes, and even fight monsters embodying that person's malice.
Level-5 has been responsible for titles such as Dragon Quest VIII: Journey of the Cursed King and Professor Layton and the Curious Village. Currently the team is working on White Knight Story for PS3.
Ushiro is due out across Japan next year.
Odavle: http://www.eurogamer.net/article.php?article_id=243328
Evo nešto za Lubenija, Kripla i Sanovmena:
NWA: Help the Police (http://www.youtube.com/watch?v=ooarT3cn8_o)
Svojevrstan 'remiks' klasika. very funny.
Evo još nešto za njih:
Betl rajming sa simultanim prevodom na pristojan engleski (http://www.popboks.com/vest.php?ID=8326). Hilerijs.
Heh... Džek Tompson izgubio pravo da se bavi advokaturom:
QuoteJack Thompson disbarred
Posted Sep 25, 2008 12:24 pm PT By Polybren 556 comments The long and twisting saga of Jack Thompson's legal career appears to be drawing to a close.
Earlier this year, a Florida judge recommended the inflammatory lawyer be permanently disbarred for a prolonged pattern of misconduct and multiple violations of Florida Bar rules. The Florida Supreme Court today embraced that recommendation, permanently disbarring on Thompson.
"Based on the record before it, the Court agrees that respondent is not amenable to rehabilitation," the Justices' decision read. "Further, the Court approves the referee's recommendation that permanent disbarment is the appropriate sanction."
Thompson will be given 30 days during which he must close out his practice and make arrangements for existing clients. He may file a motion to have his case reheard, but due to a sanction already placed on Thompson, he needs another member of the Florida Bar in good standing to sign off on the motion before the court will consider it.
In a prepared statement sent to media outlets, Thompson claimed the disbarment was an act of retaliation for a number of actions, the most recent of which being a civil lawsuit Friday naming more than 70 defendants (and one late defendant's estate) including the Florida Bar and all seven of the state's Supreme Court Justices for alleged violations of his civil rights.
"The timing of this disbarment transparently reveals its motivation," Thompson wrote, adding, "This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has."
Over the course of Thompson's legal career, he has sought and gained notoriety for taking on abrasive elements of pop culture. He led the charge against 2 Live Crew over lyrical content in that group's 1989 album As Nasty as They Wanna Be (and it's hit single, "Me So Horny"). Radio shock-jock Howard Stern was another target of Thompson's ire before he turned his eye to the gaming industry and id Software's Doom in 1996, which he blasted as a "murder simulator" and eventually blamed for the 1999 Columbine High School Massacre.
However, Thompson's most notable target has been the Grand Theft Auto series from Take-Two Interactive, which he accused of "mentally molesting minors for money." After three police officers were killed by a professed Grand Theft Auto: Vice City player in Alabama, Thompson represented their families in a civil lawsuit to hold Take-Two responsible.
Thompson has made eye-opening headlines frequently over the last three years, notably when he sicced the police after the creators of webcomic Penny Arcade for harassment after they made a charitable donation in his name. In addition, he has been publicly disavowed by the president of the National Institute on Media and the Family, and helped draft game-related legislation in the wake of the Grand Theft Auto: San Andreas "Hot Coffee" scandal.
Perhaps more than any of that, his most notable accomplishment may have come in a lawsuit to prevent the release of Take-Two Interactive's Bully in Florida under public nuisance laws. While a judge eventually approved Bully's release, he did so only after taking the unprecedented step of requiring Take-Two to produce the T-for-Teen-rated game for his review before it could hit store shelves. His behavior during the proceedings helped begin the course of events which led to his disbarment.
Odavde: http://www.gamespot.com/news/show_blog_entry.php?topic_id=26607197&tag=recent_news;title;1
Hoće li Thompson sad potpuno da se posveti serijalu German Goo Girls?
To je John Tompson, ali sviđa mi se kako razmišljaš. :lol:
Q: What goes clip clop clip clop clip clop
clip clop clip clop clip clop clip clop
bang bang clip clop clip clop clip clop clip clop ?
A: An Amish drive by shooting.
Živa pička posle Živog kurca
Let 3 ove jeseni planiraju objavljivanje prvog koncertnog DVD-ja Živa pička na kome je zabeležen njihov nastup 16. jula prošle godine u klubu Hartera u rodnoj Rijeci.
Bend namerava da napravi proizvod koji će biti raskošan, luksuzan i primamljiv, tako da ga svako poželi imati.
,,Bio je to naš veliki koncert, na kome smo na neki način obilježili 20 godina rada. Koncert je bio zbilja svima u bendu jedan od najdražih u cijeloj karijeri. Bio je nabijen emocijom, a produkcijski na najvišem nivou za ove naše prostore", kaže pevač Zoran Prodanović Prlja, a prenosi njihov srpski promoter Long Play.
Za nastup u prostoru bivše fabrike papira Hartera, Let 3 su pozvali mnoštvo gostiju, od zborova, plesača, pratećih muzičara poput duvača i perkusionista, do brejk densera i živih zmija.
"Imali smo konja sa hvataljkama, vješala i 3D projekcije, dakle čudesa potpuna. Poslije sam slušao komentare poput: 'Gledao sam svašta ali na ovakvom koncertu još nisam bio'. Sve će se to lijepo vidjeti na DVD-ju. Bez lažne skromnosti, to je bio zbilja top koncert", kaže Prlja.
Basista Damir Martinović Mrle ističe da se posle live albuma Živi kurac (1996) naziv DVD-ja Živa pička nametnuo sam po sebi.
DVD je radio poznati hrvatski režiser Radislav Jovanov Gonzo, koji je između pesama odsviranih na koncertu ubacivao brojne dokumentarne snimke dogodovština članova Let 3 sa nastupa, iza scene ili na putovanjima u kombiju.
"Ja, recimo, prdnem i onda se svi dave u kombiju", priseća se Mrle.
Quote from: "Meho Krljic"Mmmm, ovo bi moglo da bude sjajno:
QuoteAcclaimed Japanese developer Level-5 has unveiled Ushiro, a quirky new horror role-playing game for PSP.
...
Currently the team is working on White Knight Story for PS3.
Gledao sam skrinšotove za WKS, ali nisam preterano oduševljen. Square-ov stil, samo što je HD. Moguće da bolje izgleda u pokretu.
Takođe su najavili igru za DS koju će raditi zajedno sa Ghiblijem, i uz koju će se dobijati knjiga magije koja će se koristiti u samoj igri.
Koštunica zaintrigiran Residentsima
Vojislav Koštunica, čija je Demokatska stranka Srbije svojevremeno protestovala zbog koncerta Residentsa u Beogradu, izjavio je da ga je "zaintrigirao njihov ponovni dolazak".
Bivši premijer je Beti rekao da mu je promakao podatak da će The Residents svirati u Beogradu 18. novembra (u organizaciji našeg sajta i NR Eventsa), pet godina posle koncerta koji su održali na Kolarcu, ali da je ,,zaintrigiran" i da se radi o ,,zanimljivoj grupi koja ima zanimljive postupke i poruke".
Podsetimo, DSS se pre nastupa Residentsa u Beogradu 27. septembra 2003. usprotivila ovom koncertu jer je u pitanju grupa ,,koja je postala poznata po albumu Rokenrol Trećeg Rajha, verziji rokenrola kakav bi bio popularan u vreme nacizma, nastupa u crnom, pod maskom, sa iščupanim ljudskim srcem na dlanu".
Navodeći da grupa Rezidents dolazi u Beograd sa novim projektom Demoni plešu sami, DSS je tada objavio kako začuđuje da je ova "bajkovita" demonska svetkovina upriličena baš na veliki pravoslavni praznik Krstovdan, "i to na Kolarčevom narodnom univerzitetu, koji je svojim programom oduvek prednjačio u razvoju kulture i duhovnosti srpskog naroda".
Lider DSS i bivši premijer danas je rekao i da su mu Residentsi simpatični kao "antiglobalistička pojava".
Inače, pre neko veče sam bio u nekom društvu u kome je bio i Miloš Aligrudić, i on se neviđeno loži na Residentse. :) Žao mu je što nije išao na Dinosaur. :)
au sunce ti jbm, pa shta bi tek rekli za neke zajebatije bendove , a tad osudjivali pa sad kad su sisli savlasti da se malo kao privuku urbanom beogradu poshto im ta narodnjachka pricha nije proshla onda kao aj nije vise bogohulno sad je kul...a Aligrudic, jbte osecam da mu se pokojni cale prevrce u grobu zbog te sulude akcije sa DSS-om, al kolko vidim izvuko se iz toga, shta kaze jel batalio tu politiku ? :)
Koji ce mu to u zivotu, meni da je cale glumio u "Sjecash li se" i to onakvu ulogu pa ja ne bi dalje od klade pao, a on u politiku, bedak zaista, iskreno bedak...znachi bash bruka ona, nadam se da se ishchupo otog zla... :(
Wow, Residents! To se mora slušati! :!:
Evo kako majstori obrađuju Satisfaction :D
http://www.youtube.com/watch?v=DxecTNsGsPw
Kostunjicavi ("vocka cudnovata"):
"Sa velikim interesovanjem odslušao sam tri CD-a Rezidentsa, uključujući onaj koji je promovisan na Kolarcu. Veoma su mi simpatični kao antiglobalistička pojava (sic!)."
http://www.e-novine.com/sr/i-oni-su-ljudi/clanak.php?id=17306
*ebo ga prijatelj Nemanja Kusturica, the anti-globalista (i aga-zemljoposjednik), da ga *ebo!
Uh, sto bih ja ovo marisao, svakog dana u svakom pogledu...
To mi reci brate, Kostunica, Kusturica i volina Tijanic (naravno), moj trio fantastikus za kundakom u facu pa metak u potiljak. :wink:
Branagh in talks to direct 'Thor'
Brit set to wield hammer on Marvel Studios pic
By MICHAEL FLEMING
Kenneth Branagh is negotiating to direct "Thor," the next Marvel Comics property that will be turned into a live-action film by Marvel Studios. Pic will be released in 2010.
Marvel Studios chief Kevin Feige's choice of Branagh is surprising, as Branagh hasn't really directed an action-heavy film since his debut on "Henry V," a bloody telling of the British king's conquest of France.
Branagh is the latest in a string of directors -- such as Jon Favreau ("Iron Man"), Christopher Nolan (the Batman franchise) and Gavin Hood ("X-Men Origins: Wolverine") -- with arthouse roots taking on big-budget comicbook fare.
Marvel will set a distributor for "Thor" shortly.
"Thor" comicbook adaptation, penned by Mark Protosevich, follows disabled medical student Donald Blake, who has an alter ego as the hammer-wielding Norse god Thor.
Marvel will self-finance the film via its $500 million credit facility through Merrill Lynch. Marvel used that coin to fund both "Iron Man" and "The Incredible Hulk" and will do the same for the "Iron Man" sequel that has director Favreau and star Robert Downey Jr. returning.
The "Thor" negotiations come during a resurgence for Branagh. He's currently drawing raves on the London stage in the title role of "Ivanov," and he'll next be seen acting in the Richard Curtis-directed "The Boat That Rocked" and the Bryan Singer-helmed "Valkyrie."
Branagh is repped by Endeavor and manager Judy Hofflund.
Zack Snyder signs deal with EA
'300' director takes on videogames
By BEN FRITZ
Snyder
Gibeau
More Articles:
Branagh in talks to direct 'Thor'
'Mamma Mia!' still on top overseas
'PVC-1' honored at Bangkok
Plum to adapt Coben's 'Innocent'
Australian guild salutes directors
Variety to honor Fiennes at festival
Zack Snyder is the latest helmer to play in the videogame world.
The "300" director has signed a deal to develop three original games for Electronic Arts, the nation's largest third-party publisher.
Pact is very similar to one made by EA with Steven Spielberg in 2005. Their first collaboration, a puzzle game for the Nintendo Wii called "Boom Blox," was released in the spring to rave reviews but modest sales.
Like Spielberg, Snyder will work with EA's Los Angeles studio in Playa Vista to produce his games. EA will own the intellectual properties, but under the deal the publisher may turn some or all of them into films that will be produced by Snyder's Cruel & Unusual Films banner, which is run by the director with co-president Deborah Snyder and producer Wesley Coller.
Given the huge success of "300" with the young male auds who buy the most videogames, EA is hoping Snyder's name and ideas will prove particularly appealing to gamers.
"Zack Snyder has a fresh and bold creative style that resonates with our core audience," EA Games label prexy Frank Gibeau said in a statement. Snyder is joining a small group of Hollywood helmers who produce videogames that aren't adaptation of their own films, including Spielberg, John Woo and Peter Jackson.
Warner Bros. is making two downloadable games tied to Snyder's upcoming adaptation of "Watchmen," while Brash Entertainment is doing one based on "300."
Agreement fits a new focus at EA on creating fresh game properties that can be translated into multiple media. Publisher has two new original titles, "Dead Space" and "Mirror's Edge," coming out this fall with animation, comicbook and other tie-ins. EA's next collaboration with Spielberg, which doesn't yet have a release date, will be a science-fiction tale about a secret agent and an android.
Snyder's deal was made by CAA.
"Wanted" creator Mark Millar's six issue comic mini-series "War Heroes" has been picked up by Sony Pictures and producer Michael DeLuca to adapt says The Hollywood Reporter.
The comic book revolves around an experimental military program that grants ordinary soldiers superpowers. A small group of these superpowered soldiers break away from the government to form a criminal enterprise, and a hero rises from their ranks to prevent a catastrophe from happening.
A writer is presently being sought for the project and no start date has been set.
"Rush Hour" director Brett Ratner has finally confirmed to UGO the rumors that emerged in May that he is attached to direct the "God of War" movie.
Set in ancient Greece, the popular video game follows the battles of the warrior Kratos, who tackles mythological beasts including Medusa, Cyclops and the Hydra. Players navigate Kratos on his quest to find Pandora's Box and destroy Ares, the god of war.
Universal Pictures scored the movie rights to the property back in 2005. The project joins the Hugh Hefner biopic and "Beverly Hills Cop 4" on Ratner's schedule.
The modestly received video game "Star Wars: The Force Unleashed" might one day get the big screen treatment reports The Los Angeles Times.
The game's project leader Haden Blackman says "It's not impossible. Never say never. George [Lucas] has looked to tell new 'Star Wars' stories through the games and with the entire Star Wars Expanded Universe, and then he has also shown a willingness to let the characters come into the films. Look at Aayla Secura, a creation in the [Dark Horse] comic books who became part of the theatrical films."
Utilising a story that's admittedly more interesting than the prequels or recent highly-panned "Clone Wars" pilot episode movie, the game has you playing Darth Vader's secret apprentice Starkiller, a young man whom Vader rescued years beforehand. Highlights include visits to familiar SW planets, an under construction Death Star, using your powers to bring down a Star Destroyer, and duels against both The Emperor and Vader.
Dark Horse has also released a graphic novel version of the game which goes into much more detail and would likely serve as the basis for any script. Hunky and brooding "Battlestar Galactica" and "Smallville" actor Sam Witwer played the role in the game - would he come back for a film?
Evo šta kaže Bloomberg:
Oct. 1 (Bloomberg) -- Nintendo Co. may add accessories to its top-selling Wii game console and upgrade the handheld DS player to maintain its lead over Sony Corp. and Microsoft Corp. without having to match their price cuts.
President Satoru Iwata will probably unveil the changes when he briefs the media and investors at a conference tomorrow in Japan, said Pelham Smithers, an analyst at Pali International Ltd. in Singapore. Nintendo is preparing to introduce a new DS that's equipped with a camera and music player, the Nikkei newspaper reported on Sept. 28. The Kyoto-based company declined to comment.
Iwata has kept the price of the Wii unchanged at $250 since its debut in 2006 by adding products to complement the flagship console, while Sony and Microsoft cut prices. Nintendo's Wii will probably widen its lead by outselling Sony's PlayStation 3 by 2- to-1 and Microsoft's Xbox 360 by 4-to-1 this fiscal year, Daiwa Institute of Research Ltd. said today.
``Nintendo has no need to cut the Wii's price,'' said Takashi Oka, a senior analyst at CSK Institute for Sustainability, a Tokyo-based research firm. ``If Nintendo cuts prices now, people who already bought the Wii will feel they've lost money. Nintendo won't do such a thing.''
Nintendo will probably sell 26.5 million Wii consoles in the year ending March 31, compared with 7 million Xbox 360 machines, Daiwa said in a report today. Tokyo-based Sony forecasts it will sell 10 million PS3 consoles. Last year, Nintendo's Wii outsold the PS3 and Xbox 360 by two to one, according to Daiwa.
Price Cuts
Microsoft stepped up the pressure on Sept. 5, when it cut U.S. prices of the Xbox 360 by as much as 29 percent, allowing the world's largest software maker to offer a $199 model that's cheaper than the Wii for the first time. Price cuts go into effect in Hong Kong, Singapore, South Korea and Taiwan today.
Sony, which has piled up more than $3 billion in losses over the past 2 1/2 years from the games division, cut the price of the PS3 by as much by as 17 percent last year. The cheapest model, equipped with a 40-gigabyte hard drive, now sells for $399.
Nintendo shares have fallen 39 percent this year in Osaka trading amid concern credit-related losses in the U.S. will spill over to demand for consumer electronics. Still, the company is better positioned to weather slowing economic growth worldwide than rivals because of its product line, according to Tokyo-based Mito Securities Co. analyst Yoichiro Watanabe.
Of 23 analysts tracked by Bloomberg, 15 recommend buying the stock and only one advises selling. The average 12 month share- price estimate is 73,417 yen, or 79 percent higher than the stock's close today, according to data compiled by Bloomberg.
Pairing Success
Nintendo has benefited from its success in targeting families and pairing the Wii with software and accessories such as the Wii Fit, which allows gamers to simulate skiing and soccer on top of a motion-sensing board, Watanabe said.
``These two strategies have made Nintendo stronger than Sony and Microsoft,'' Watanabe said. ``There's no reason to cut the Wii's price as demand is strong. The macroeconomic environment is in poor shape but based on past experience, game demand will not be affected much by this.''
The Wii will continue to outsell the Xbox 360 because consumers consider game content to be more important than prices when buying a console, according to Daniel Ernst, an analyst at Soleil Securities Corp.
In August, Nintendo raised its full-year profit forecast by 26 percent, citing higher-than-anticipated sales of Wii and DS game players.
Outselling the PSP
The company forecast it will sell 30.5 million DS players, or double the number of the PlayStation Portable machines that Sony expects to sell. Sony plans to begin selling an upgraded version of the PSP in mid-October that has a built-in microphone and a screen that displays sharper images.
Yasuhiro Minagawa, a spokesman at Nintendo, declined to comment on what the company will announce at tomorrow's briefing at 1:30 p.m.
``Chances are Nintendo will introduce home-made game titles such as a new version of the Wii Sports,'' said Naoki Fujiwara, who oversees about $720 million as chief fund manager at Tokyo- based Shinkin Asset Management Co. ``There are slight expectations Nintendo will bring out the latest episode of Dragon Quest for the DS. If it happens, it would have a big impact.''
Quote from: "crippled_avenger""Rush Hour" director Brett Ratner has finally confirmed to UGO the rumors that emerged in May that he is attached to direct the "God of War" movie.
Set in ancient Greece, the popular video game follows the battles of the warrior Kratos, who tackles mythological beasts including Medusa, Cyclops and the Hydra. Players navigate Kratos on his quest to find Pandora's Box and destroy Ares, the god of war.
Universal Pictures scored the movie rights to the property back in 2005. The project joins the Hugh Hefner biopic and "Beverly Hills Cop 4" on Ratner's schedule.
David Jaffe je zadovoljan ovim (http://www.eurogamer.net/article.php?article_id=249173) (mada bi više volio Ridlija Skota):
QuoteDavid Jaffe has said he is "happy" with the choice of Brett Ratner as director of the God of War film.
Ratner, responsible for the Rush Hour trilogy and X-Men: The Last Stand, confirmed his role on the project at a Hollywood party recently.
"I really like Red Dragon, I really like the first Rush Hour, I actually really like X-Men 3. I'm not one of these Ratner haters who says, 'Oh the guy can't direct,' - I think he makes really entertaining movies," said Jaffe in a filmed response to the news (spotted by VG247).
"God of War was meant to be this totally accessible, mainstream equivalent of a popcorn summer blockbuster action movie. When you look at the directors who really do that well... I'm happy with the choice of Brett Ratner."
The God of War film is still in its infancy, and being put together by a team made up of a Producer from Batman Begins and writer David Self, who did the screenplay for Road to Perdition, which we quite liked.
Jaffe seems content, then, and excited to see what comes out when an entertaining director and mature writer are mixed together. But there is a slight twang of regret.
"Would it have been cool if it was [Steven] Spielberg? Yeah. Ridley Scott? Yeah, that would have been awesome. You know, Guillermo [del Toro] would have been awesome," said Jaffe.
"But I don't look at Brett Ratner and say we're going to have a sh*t movie. Obviously the proof will be in the pudding, we'll see what happens."
Mada, moram da kažem da God of War, koliko god bio dobra igra i čak imao potencijala za nekakav akcioni film, verovatno neće dobaciti do nekog specijalnog kvaliteta... Klišeizirana je to pričica, a slobode koje su uzete u interpretaciji antičke mitologije u igri teško da će na filmu moći tek tako da prođu...
Ma samo da nije Uve Bol i bice ok.
Hard to Handle If a Game Is Too Tough to Win, Can It Still Be Fun?By JAMIN BROPHY-WARREN
Japanese developer Treasure makes hard games. They're so difficult that many players don't last more than 10 seconds in the barrage of bullets and missiles in some of the levels of the company's newest shooter, Bangai-O Spirits, a game about a pair of young pilots controlling an armored robot.
As the audience for videogames grows, some developers worry that games are getting too easy. Games usually go through months of testing to iron out difficulties. But now a number of developers, such as Treasure and Capcom, are taking extra steps to toughen up their titles.
CapcomThis month, Capcom added some twists to Mega Man 9, the continuation of a two-decade-old action franchise about an android, which is being released this month. The developers replicated the feel of the original Nintendo titles and added features -- like screen flickers and slowed-down gameplay -- that made playing the older versions so demanding. The challenging franchise also features the usual perilous jumps and strong villains. "It's not just difficult for difficulty's sake," says the game's producer Hironobu Takeshita.
Why make a game so hard that only the most skilled and determined players can complete it? The audience for videogames is so varied now "that a developer can make hard games for core gamers," says Yuichi Sugisaki, the producer of Bangai-O Spirits. One of Treasure's previous titles, Ikaruga, re-released in April for Microsoft Xbox's Live Arcade, is so tough that some fans post their best performances on YouTube.
Making games difficult can be very easy. Developers can just make invincible enemies or create impassable obstacles. But there's an art to exasperating people in a way that keeps them interested in the game. Jesper Juul, a videogame researcher at MIT, says that frustration is what makes videogames different from other creative media. "It's about the feeling of inadequacy," he says. "You get stuck somewhere and feel stupid." That can lead to a sense of triumph if one does eventually succeed.
What makes games such as Bangai-O appealing is that glimmer of joy a player gets from even the smallest achievements. (I only squeaked through the tutorial for Bangai-O, so even mastering the accuracy aspect of the game was an accomplishment for me.)
"The thing I love about the classic games' difficulty is there's a satisfaction," says Mr. Sugisaki. "With Treasure games, our fans tell us 'Hey, I beat your game.' It's that feeling of being able to outperform others."
Bangai-O Spirits je uistinu stravično teška. I ja sam jedva prošao kroz tutorial i pojavio se sa druge strane sav krvav i sa modricama. Mega Man 9 deluje kao da je Capcom zaista napravio igru staru dvadesetak godina. Evo nešto iz press materijala za ovu igru:
QuoteWe want to HURT YOU," (...) "Mega Man 9 is the hardest game ever," (...) "You will die on every screen. At least a hundred times," (...) "Our goal is to make you cry and give up, not just on the game, or gaming, but life itself."
Zaista zvuči zastrašujuće. :lol:
Nema nikakve sumnje u to da su danas igre značajno lakše nego nekad. Čak i 'teški' naslovi poput Devil May Cry ili Ninja Gaiden su apsolutni walk in a park u odnosu na recimo Gradiusa starog preko dve decenije i uopšte većinu starih igara.
Kako smo već pričali na posebnom topiku o najtežim igrama, veliki broj starih igara je bio težak prosto zato što je imao primitivnu mehaniku: nedovoljno precizne kontrole, nemuštu signalizaciju, nepreciznu detekciju sudara itd. Plus nisu bile plejtestirane onako opsežno kako se to danas radi pa su i čudne, neintuitivne i ultimativno nefunkcionane mehanike ulazile u igre, što se danas mnogo ređe dešava.
No, s druge strane, da, treba reći i da je mnogo današnjih igara nezanimljivo za igranje jer je naprosto prelako. Upravo ovih dana malo testiram svoju novu video-karticu igrajući Crysis Warhead i posle pređene dve misije na default nivou težine ozbiljno razmišljam da se vratim na početak i krenem na težem novu jer je igra smešno laka. Praktično mi ne uspeva da poginem čak i kada potpuno zapostavim stealthing i zaklone...
Napraviti igru koja će biti puna izazova a ne nefer teška zaista nije lako. God Hand je za mene bio jedna od takvih igara, pa čak i Ninja Gaiden II (osim u, er, nekim momentima kada sam hteo da polomim sve po kući). Alternativno, može se napraviti igra koja je dobra iako nema izazov u vidu težine, zato što igraču stavlja na raspolaganje kompleksnu ili samo raznovrsnu mehaniku koja je sama po sebi zadovoljstvo (na prmer Zelda igre, Okami...).
Iako je izazov lepa stvar, moram da priznam da me uvek iziritira kada u JRPG-u stignem do poslednjeg bossa i shvatim da moram da se sad vratim i igram još pet sati kako bih se izgrajndovao do dovoljno visokog nivoa da bih mogao da ga pobedim. U tom smislu skidam kapu BioWareu koji poslednjih pet godina ume igrača da provede kroz svoje RPG-ove tako da im deluje kao da su sasvim razumno i prirodno prolazili kroz priču i eventualne sajd-kvestove a da su opet do kraja stigli na dovoljno visokom nivou da poraze endbossa. Ovo
jeste suviše lako za surovog hardcore igrača ali nije prosto spuštanje lestvice za potrebe casual igrača nego svest o tome da ja užitak u igri kombinacija uživanja u svim njenim elementima (priči, istraživanju, borbi, levelapovanju), ne samo u borbi i levelapovanju...
Ovaj tekst što ga je Cripple kopirao ovde izvlači iste zaključke kao i ja na onom topiku o najtežim igrama. I originalni Bangai-o, i ovaj njegov "nastavak", su prave "pucačke pazl igre", i zahtevaju od igrača oba talenta.
Od mene zahtevaju najmanje dva talenta previše :cry:
Heh, da samo vidiš poslednji nivo (44) prvog Bangai-O. :evil:
Ovaj novi ima 160 nivoa, valjda su ujednačeniji po težini, ali od onog vučem traume još uvek.
Quote from: "Meho Krljic"
No, s druge strane, da, treba reći i da je mnogo današnjih igara nezanimljivo za igranje jer je naprosto prelako. Upravo ovih dana malo testiram svoju novu video-karticu igrajući Crysis Warhead i posle pređene dve misije na default nivou težine ozbiljno razmišljam da se vratim na početak i krenem na težem novu jer je igra smešno laka. Praktično mi ne uspeva da poginem čak i kada potpuno zapostavim stealthing i zaklone...
Ja moram priznati da mi je, pomalo zacudjujuce, Warhead upravo iz tog razloga zabavniji od Crysisa. Ok, i cela igra ide malo gladje sad, ali upravo cinjenica da je igra na Hard jedna od najlaksih pucacina koje sam ikad igrao je cini toliko zabavnom. Jednostavno, postaje cist sandbox u kome ze zezam bezbrizno skakucuci, trckarajuci i pucajuci na sve strane. Municije ima na pretek, potrebe za zaklonom i oprezom prakticno nema. Cista, nedestilisana zabava.
Usput, jedini razlog sto igram Warhead a ne Clear Sky je jerbo su me bagovi u potonjem dotukli. Borio sam se s njima i frustrirajuci se stigao negde do druge polovine igre, kada me je igra jednostavno sprecila da idem dalje - kad udjem u sledecu oblast, neophodnu za dalji napredak, igra neizostavno izlece u Windows. Jedino da cekam patch i nadam se da cu moci da koristim stare saveove.
A na kojoj si verziji Clear Sky? Ja sam je pečovao na 1.5.3 i sve se nadam da će mi tako dpustiti da je završim. Izašla je i zakrpa 1.5.4, kažu da dopušta da nastaviš sa sejvovima od 1.5.3, ali preporučuju da se ipak krene iz početka... Jebem ti Ukrajince, naprave najbolji savremeni FPS a onda ga upropaste jer nemaju dovoljno resursa za bugtesting...
Inače, ovo za Warhead, mislim, jeste, to što kažeš jeste, zabavno je što imaš mnogo toga što možeš da uradiš, pa, sad kad su protivnici bezopasni sve to i MOŽEŠ da radiš, ali posle određnog vremena to postane (barem meni) besciljno. Mislim, super za 15 minuta zajevancije, ali ja volim kada sve to što mogu da uradim ima dubinu a ne samo širinu. Jedini razlog što nisam iz početka krenuo na najtežem nivou je taj što prikazi igre tvrde da su u Warheadu vanzemaljci mnogo pametniji nego u originalnom Crysisu, pa nisam hteo da se zalijećem.
Jebote, posle Far Cry koji je bio BRUTALNO težak, ovo mi je potpuno nekako neprirodno.
Ume da postane besciljno... ali je zato bar igra prilicno kratka. :lol: Ionako je FarCry2 tu iza coska. :!:
EDIT: Verzija Clear Skyja je 1.500. Sad skidam patch 1.505, ako ne budu radili sejvovi verovatno se necu cimati da igram ispocetka. I'm getting too old for this shit. :(
Što se gejminga tiče, ja sam tu potpuni njukamer, međutim, moram priznati da sam ja popizdeo kad sam shvatio da ispunjavanje svih story misija i svih levelupova nije dovoljno da se dostigne 100 % compeltion u SCRAFACEu. Na sve to, tražeći barem da vidim true ending na YouTube našao sam samo onaj kraj koji sam i ja dostigao kroz story, dakle čini se da su samo entuzijasti sa gamesfaq išli do samog kraja kada kao postoji još neki ending.
Pa, pazi, sve te GTA-olike igre obično kad stigneš do kraja storylinea ti pokažu da si odradio oko 50% igre. Ja sam GTA IV temeljito igrao i jedva prebacio 50%. Mislim, to me ne potresa, zabole me uvo za trke i te stvari. I ne verujem da Scarface uopšte ima 'true ending', ne trudi se.
Quote from: "Father Jape"
EDIT: Verzija Clear Skyja je 1.500. Sad skidam patch 1.505, ako ne budu radili sejvovi verovatno se necu cimati da igram ispocetka. I'm getting too old for this shit. :(
Patchovah na 1.504, sejvovi nisu radili, skinuh bundle sejvova nekog lika s neta, nastavih tacno tamo gde sam stao.
Vi mladi ste baš snalažljivi :lol:
Samo pitanje: igraš krekovanu verziju? Pitam pošto nisam video krek za 1.5.04 ali moguće da se pojavio juče or something a da ja nisam video.
Jest, skinuh i crack za 1.504.
Fino, samo uživaj. Možda se i ja odvažim na apdejtovanje ako utvrdim da mi sa 1.5.03 ne deluje kao da imam šanse da završim...
Heh (http://www.cracked.com/article_16449_7-people-from-around-world-with-real-mutant-superpowers.html) :lol:
Osnovana rok sekcija u školi ,,Dr Kosta Cukić"
Dejan Cukić drži časove rok kulture
Autor: A.M. | Foto:D.Grubin | 02.10.2008. - 09:57
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.blic.co.yu%2F_customfiles%2FImage%2Fslike%2F2008%2F10_oktobar%2F02%2Fbeograd%2Fcukic-v.jpg&hash=8802d4c86ecd43cccf079a82d27057d3eb5ec5a2)
Šezdesetih godina 20. veka, Elvis Prisli je, njemu svojstvenim njihanjem kukovima, prezentovao popularnu muziku na potpuno nov način i tako započeo rok revoluciju. Potom slede ,,Bitlsi", Bob Dilan, Džim Morison, ,,Rolingstounsi"...koji su, svako na svoj način, dali pečat rok kulturi - ispričao je Dejan Cukić na uvodnom času rok sekcije koju će voditi u privatnoj ekonomskoj školi i gimnaziji ,,Dr Kosta Cukić".
Dvadesetak učenika i nekoliko profesora pratilo je prvo predavanje tokom kojeg su na video bimu ,,išli" spotovi rok veterana.
Nastavak teksta ▼
- Odlična je ideja da nam uvedu rok sekciju. Inače slušamo rok i želimo da saznamo što više o njemu. Napravićemo bend tako da će nam mnogo značiti što učimo od muzičara kakav je Cukić - priča Darko (18), a njegov drug Ljubomir (17) dodaje da su im u školi obećali i instrumente na kojima će vežbati.
Na rok sekciji đaci će saznati kako se razvijala rok kultura i na koji način je stvorila nov sistem međuljudske komunikacije. Pričaće i o razvoju nosača zvuka, od gramofonske ploče do sadašnje revolucije slušanja muzike preko mobilnih telefona, o hipi pokretu, autorskim pravima, svim bitnim ,,rokerima"...Dejan Cukić, čiji je muzički razvoj tekao paralelno sa razvojem ovog muzičkog pravca, bez premišljanja je prihvatio predlog Jasmine Anđelković, direktorke škole, da bude predavač.
- Nemam nameru da deci pričam kako je rokenrol najbolja muzika i da to treba da slušaju, jer je to stvar ličnog izbora. Želim da im prenesem svoje znanje i da ih upoznam sa razvojem rok kulture na zanimljiv način. Možda odemo i do nekog muzičkog studija ili na tonsku probu da bi videli kako sve to u praksi funkcioniše - kaže Cukić čiju će knjigu ,,45 obrtaja" koristiti kao ,,literaturu".
Da ne bi došlo do mistifikacije, na sekciji će se baviti i tabu temama, oblicima zastarnjivanja u roku, svemu što potvrđuje moto ,,seks, droga i rokenrol" kojem je Cukić pridodao alkohol i destruktivno ponašanje. Obećao je đacima i zanimljive detalje, pomalo i tračeva, iz života rok zvezda.
Predavač i potomak
Dejana Cukića smo izabrali za predavača zato što je odličan poznavalac ove tematike i zato što ima vokabular koji je neformalan, ali ipak blizak profesorskom. Interesantno je i da je Dejan potomak dr Koste Cukića, čije ime nosi naša škola - kaže direktor Anđelković.
Jedva čekam da uvedu časove hip-hop kulture. Nadam se da će da ih drži MC Monogamija (http://www.youtube.com/watch?v=tMfdYWYcWuE).
I onda se na maturskoj večeri pošibaju Monogamija i Cukić oko neke maloletne ribe.
Quote from: "Meho Krljic"Jedva čekam da uvedu časove hip-hop kulture.
što, ako dr zoća može nekoga da uči pisanju, možda cukić i ti vaši rep-cigani nekog nauče da stihoklepuje i svira?
Ili bar da budu kulturni dok to rade...
Nego, evo nečega što ne može a da ne izazove uzbuđenje ali i strah. Novi detalji o Deus Ex 3:
QuoteEidos confirms Deus Ex 3 is prequel
Eidos has confirmed that Deus Ex 3 is a prequel and features biological augmentations, a cover-based stealth system and customisable and upgradeable weaponry.
Speaking to PC Zone in a long-awaited preview, Eidos Montreal explained that the game is set in 2027, and that players take on the role of a private security officer called Adam Jensen at a lab specialising in biomods. Jensen's life gets interesting when black ops break into his work.
Clarifying the preview's contents, Eidos Montreal's community manager told Voodoo Extreme that the game is a "hybrid/action RPG just like the first game", and that, "There is a skill system where you upgrade your character (Adam) based off experience points you earn and you can do the same thing with weapons."
The unnamed community manager felt the need to point this out after fans went a bit potty about some of the preview's contents. Apart from the cover-based stealth system, which replaces stealth based on light and shadow, there's an auto-healing system a bit like Call of Duty's or Halo's shield, and weapons skill rather than statistics will be central to combat.
Eidos also said that players would not be limited to a single ammo type, and that weapons can be modified with scopes and mag upgrades amongst other things.
As for augmentations, the prequel still has 'em, and they include one that fires bungee cord-style tentacles out of your back to stop you plummeting to your death when you jump off a building, and one that allows you to punch through walls to reach enemies next door.
In broader terms, "The gameplay takes the form of a consequence-driven multi-path, multi-solution approach in a non-linear space," according to the Eidos chap who emailed Voodoo Extreme.
There was less specific information on how other RPG-style elements will work, but Eidos has previously said that it will keep faith with the first game's principles. "I think the dialogue, choice versus consequences, the depth and richness of the game is something that we will certainly conserve. There are other more specific features that we want to keep," Eidos Montreal general manager Stephane D'Astous noted last year.
Deus Ex 3 - announced almost a year ago - is thought to be in development for PC, PS3 and Xbox 360, and will use the same technology Crystal Dynamics did for Tomb Raider: Legend. Be sure to check out the original Deus Ex 3 teaser trailer to get an even vaguer sense of it all.
Odavde: http://www.eurogamer.net/article.php?article_id=253610
Oh dođavola... Zar je i dvojka već izašla? Kao da sam juče igrao keca, u poslednjim danima svog igračkog iskustva.
:cry: :cry: :cry:
Dvojka je indeed izašla... Pre pet godina... Dosta drame je bilo vezano za tu igru u ono vreme, pričaću ti jednom o tome...
Nego, vezano za gornji tekst, imam dve dileme.
Prva je vezana za biomodove, odnosno (nano?) augmentacije. Pošto je u pitanju prequel, Adam (ovo je suptilno ko pesnicom u oko, jebiga) bi trebalo da nema sofisticirane modove koje nose Paul i JC u prvom Deus Exu. Svi se sećamo da su njih dvojica bili praktično prvi agenti sa novom generacijom modova a da su stariji modovi bili više inženjersko-mehaničke prirode. Baš me zanima kako će to da izgleda u novoj igri, pogotovo taj 'bungee cord-style tentacles out of your back to stop you plummeting to your death when you jump off a building'.
Drugo je taj cover-based stealth i recharging health. Mislim, poštujem ja da treba prodavati igre i omladini koja nije igrala originalni DX i sve to, ali da li baš SVAKA akciona igra sada mora da krade i otima od Gears of War??? Deus Ex NIKADA nije bio igra brzog tempa i adrenalinski nabudžene akcije, već naprotiv, uglavnom igra pažljivog planiranja i strateških odluka. Ajde da prihvatimo cover-based stealth, to mu dođe kao Metal Gear Solid, pa u redu, ali recharging health??? To, bojim se potpuno menja situaciju i pretvara napeti triler u dinamični šuter, što SVAKAKO nije onako kako ja zamišljam Deus Ex. Kada su za potrebe nastavka pojednostavili inventar, ukinuli Experience Points, uveli univerzalnu municiju i još neke sitnice, to je već bilo prilično loše, ali ovo sad deluje kao da će igra samo po imenu podsećati na Deus Ex (a to me podseća na Project Snowblind i... nisu to prijatne uspomene)... Mislim, kad smo već kod toga, Deus Ex je mapirao štetu koju je JC trpeo kroz borbu, odvojeno na svaki deo tela, što je imalo uticaja na njegove performanse, jelte, tako da je sad ova dovitljiva ideja o recharging healthu dovoljna da me prilično oneraspoloži...
Quote from: "Ghoul"što, ako dr zoća može nekoga da uči pisanju,
:x
Naravno da može. I to jako dobro.
Izvinjavam se na totalnom oftopičarenju.
Ja sam već jednom naseo na hajp oko Deus Eksa (dvojke), tako da mi ovo ne znači mnogo iako je prvi deo jedna od najboljih igara koje sam igrao na PC-ju, a i šire.
Ipak se ne slažem da je Deus Ex bio igra "potpune slobode", kao što to mnogi tvrde, za razliku od Half-Life-a, recimo. Deus Ex je imao nekoliko linearnih puteva spojenih u jedan. Pređimo na sekund u teoriju grafova: uzmemo 2 tačke, A i B. U Half-Life-u ih spajamo jednom linijom, u Deus Ex-u sa nekoliko (3-4 u proseku). Od igrača zavisi koji put će da izabere. Ali tačke A i B ostaju nepromenjene. Sloboda u Deus Eks-u je samo jedna lepa iluzija i to čini igru boljom.
Uzgred, ja se uopšte ne sećam priče, sem nekih nagoveštaja o padu meteora u Afriku i Iluminatima i odlasku u Hong-Kong... Ali se zato sećam većine augmentacija i skilova! :!:
Što me navodi na misao da priča, koliko god je neki hvalili, nije bitna po sebi - da je drugačija, igra bi bila ista. Deus Ex je iskustvo.
Istina.
Doduše, iako se o 'potpunoj slobodi' svakako ne može pričati, Deus Ex se mogao podičiti time da si zaista do te poslednje tačke prelazio dosta različite puteve u zavisnosti od odluka koje si doneo tokom igranja. Moram da kažem da mi je jedan od najdražih momenata u celokupnom igračkom iskustvu uopšte bio onaj kada sam Gunthera razneo u komade izgovarajući killswitch frazu koja je detonirala njegove augmentacije, a koju sam našao tako što sam se šunjao po kancelarijama UNATCO-a i hakovao neke od računara. A što ne bih mogao da uradim da nisam imao dovoljno visok nivo haking skilova, da nisam odabrao stealth način igranja umesto akcionog i da nisam bio dovoljno radoznao. Nirvana!!!
Elem, Deus Ex je ipak imao četiri različita kraja, tako da, iako se može govoriti o konvergentnim putanjama prema kraju, bez obzira na stil igranja koji ste odabrali, sasvim je sigurno da pričamo o igri koja se u velikoj meri adaptira na odluke igrača, za razliku od skoro bilo koje druge First Person igre u poslednjih deset godina. Uspeh je još veći kad čovek pomisli da je uz svu tu, popriličnu velim, slobodu, Deus Ex ipak ispričao, za igračke pojmove, vrlo solidnu priču.
Nastavak Invisible War je bio svakako slabija igra, ali ključno je da je trpeo najviše zbog poređenja sa originalom. Da nije pre njega postojao Deus Ex, verujem da bi IW bio ocenjen kao falično remek-delo (falično, u smislu falinki a ne falusa). No, kako sam i ja jedan od onih koji su se lupali po čelu i škrgutali zubima zbog te igre, ne mogu da budem objektivan.
Ion Stormov forum je u vreme pre izlaska Invisible War bio poprište neviđene melodrame. Ljudi su se, posle igranja demoa koji je izbačen oko nedelju dana pre izlaska igre maltene zaricali da će izvršiti samoubistvo, pokretali peticije, zaklinjali se da će naći Harvija Smita i sahraniti ga živog sa sve decom i kućnim ljubimcima, opsesivno analizirali svaki element gejmpleja i njegove konsekvence na celokupnu igru, debatovali o nelinearnosti, odlukama, etičkim komponentama odluke da se u igru uvede univerzalna municija itd... behu to dobra, mada tužna vremena :lol:
Quote from: "Meho Krljic"Istina.
Moram da kažem da mi je jedan od najdražih momenata u celokupnom igračkom iskustvu uopšte bio onaj kada sam Gunthera razneo u komade izgovarajući killswitch frazu koja je detonirala njegove augmentacije, a koju sam našao tako što sam se šunjao po kancelarijama UNATCO-a i hakovao neke od računara. A što ne bih mogao da uradim da nisam imao dovoljno visok nivo haking skilova, da nisam odabrao stealth način igranja umesto akcionog i da nisam bio dovoljno radoznao. Nirvana!!!
I ja sam najviše razvijao hakerske veštine. Meni je to bilo zanimljivije nego da ronim. Mada volim i da koristim snajper (u svim igrama) i šunjam se po krovovima.
Da, i ja sam razvio snajperisanje, mada je municije za snajper u toj igri bilo skandalozno malo. :lol:
Seven years after the destruction of Raccoon City, Leon and Claire are back as the war against the zombies rages on in Resident Evil: Degeneration, a co-production of CAPCOM Co., Ltd. and Sony Pictures Entertainment Japan Co., Ltd. based on the popular video game franchise.
Making its worldwide theatrical debut in Japan on October 18, 2008, Resident Evil: Degeneration will be exhibited in the US at the New York City Horror Film Festival on November 13th and at a screening in Los Angeles on November 18th hosted by Fangoria.
Produced by renown gaming producer Hiroyuki Kobayashi (associate producer of Resident Evil: Apocalypse and video game producer of "Resident Evil 4" and "Devil May Cry 4") and directed by Makoto Kamiya (special effects director of L: Change The World, Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack), Resident Evil: Degeneration is a spectacular, CG-animated thrill-ride that takes the terrifying zombie action of the blockbuster Resident Evil franchise to a whole new level with jaw-dropping visual effects and heart-pounding suspense.
The "Umbrella Incident" that took place in Raccoon City ended with a missile attack ordered by the government intended to wipe out the deadly zombie virus. Following this catastrophe, the Umbrella Corporation's stock plummeted, bankrupting the business giant. Seven years later, at an airport in the Heartland of America, a commercial airliner unwittingly delivers some deadly cargo. Now, in an airport beginning to fill with the undead, the horrific disaster is about to repeat itself.
James Caan, Gabriel Macht, Peter Stormare and Rachael Taylor have joined the cast of indie drama "Middle Men" reports Variety.
Andy Weiss' script centers on a straight-and-narrow businessman who builds the first online billing company dealing exclusively with adult entertainment.
He soon finds himself in the middle of a whirlwind filled with starlets, conmen, Russian mobsters, federal agents and international terrorists.
Luke Wilson and Giovanni Ribisi have already been cast in the George Gallo-directed project. Shooting begins later this month in Phoenix.
Aaaa stari dobri Deus Ex.
I pored neizblaansiranosti mi nije smetalo da igru predjem tri puta. Sto je verujem presedan u mojoj igrackoj karijeri.
Kad kazem neizbalansiranost, mislim kako su puske ubedljivo najkorisniji skil, i kako vecina augmentacija nema preteranu svrhu. Tj. par njih su ocigledne i neophodne, a ostale su samo kozmetika i zezanje.
IW sam video na kratko i batalio. Mada sam igru unapred otpisao kad sam cuo za ukidanje expa i univerzalnu municiju.
Ukratko, od trojke nemam nikakva ocekivanja, te cu se praviti da ne postoji. :lol:
Quote from: "Father Jape"mislim kako su puske ubedljivo najkorisniji skil
Ja sam na prvom prolazu kroz igru koristio isključivo hladno oružje i teško naoružanje (bacače plamena, raketne bacače) a na drugom stun prod i strelice za uspavljivanje. Dakle, nikada puške.
Ne kazem da nije moguce i vrlo zabavno. Pa cak i lako. Ali jos uvek mislim da se puske nekako namecu kao... pa recimo najprakticniji izbor.
Pa i pričam ti da se meni nisu nametnule ni u jednom prelasku. Ajde, u ovom drugom sam se još i bahati, ali u prvom sam igrao po svojim prirodnim afinitetima. To i jeste snaga Deus Ex, što je bio dovoljno izbalansiran da podrži skoro svaku kombinaciju koju si mogao da smisliš i da ti da kvalitetan gejmplej u svakom slučaju...
Ok, ok, ali jos uvek mislim da je Systen Shock 2 bio izbalansiraniji. :evil:
Eh, zasto vise ne prave takve igre... Ako me na kraju i Fallout 3 razocara... verovatno se nista nece desiti, al' eto. :(
Island najzad plaća cenu priznavanja banana republike Crne Gore i lažne natovske države Kosova:
Iceland teeters on the brink of bankruptcy By JANE WARDELL, AP Business Writer
Tue Oct 7, 3:40 PM ET
REYKJAVIK, Iceland - This volcanic island near the Arctic Circle is on the brink of becoming the first "national bankruptcy" of the global financial meltdown.
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Home to just 320,000 people on a territory the size of Kentucky, Iceland has formidable international reach because of an outsized banking sector that set out with Viking confidence to conquer swaths of the British economy — from fashion retailers to top soccer teams.
The strategy gave Icelanders one of the world's highest per capita incomes. But now they are watching helplessly as their economy implodes — their currency losing almost half its value, and their heavily exposed banks collapsing under the weight of debts incurred by lending in the boom times.
"Everything is closed. We couldn't sell our stock or take money from the bank," said Johann Sigurdsson as he left a branch of Landsbanki in downtown Reykjavik.
The government had earlier announced it had nationalized the bank under emergency laws enacted to deal with the crisis.
"We have been forced to take decisive action to save the country," Prime Minister Geir H. Haarde said of those sweeping new powers that allow the government to take over companies, limit the authority of boards, and call shareholder meetings.
A full-blown collapse of Iceland's financial system would send shock waves across Europe, given the heavy investment by Icelandic banks and companies across the continent.
One of Iceland's biggest companies, retailing investment group Baugur, owns or has stakes in dozens of major European retailers — including enough to make it the largest private company in Britain, where it owns a handful of stores such as the famous toy store Hamley's.
Kaupthing, Iceland's largest bank and one of those whose share trading was suspended last week to stop a huge sell-off, has also invested in European retail groups.
Thousands of Britons have accounts with Icesave, the online arm of Landsbanki that regulators said was likely to file for bankruptcy after it stopped permitting customers to withdraw money from their accounts Tuesday.
To try to wrest control of the spiraling situation, the government also loaned $680 million to Kaupthing to tide it over and said it was negotiating a $5.4 billion loan from Russia to shore up the nation's finances.
The speed of Iceland's downfall in the week since it announced it was nationalizing Glitnir bank, the country's third largest, caught many by surprise despite warnings that it was the "canary in the coal mine" of the global credit squeeze.
Famous for its cod fishing industry, geysers, moonscape and the Blue Lagoon, Iceland was the site of the Cold War showdown in which Bobby Fischer of the United States defeated Boris Spassky of the Soviet Union in 1972 for the world chess championship. Last year, Iceland won the U.N.'s "best country to live in" poll, with its residents deemed the most contented in the world.
No more.
Despite sunny skies Tuesday after three days of unseasonably cold weather, Reykjavik's mood remained grim — cafes were half-empty, real estate agents sat idle, and retailers reported few sales.
"I'm really starting to get worried now. Everything is bad news. I don't know what's happening," said retiree Helga Jonsdottir as she headed to a supermarket.
Icelanders are also beginning to question how a relative few were able to generate the disproportionate wealth — and associated debt — that Haarde has warned puts the entire country at risk of bankruptcy.
Iceland's reinvention from the poor cousin in Europe to one of the region's wealthiest countries dates to the deregulation of the banking industry and the creation of the domestic stock market in the mid-1990s.
Those free market reforms turned Iceland from a conservative, inward-looking country to one of a new generation of internationally educated young businessmen and women who were determined to give Iceland a modern profile far beyond its fishing base.
Entrepreneurs become its greatest export, as banks and companies marched across Europe and their acquisition wallets were filled by a stock market boom and a well-funded pension system. Among the purchases were the iconic Hamley's toy store and the West Ham soccer team.
Back home, the average family's wealth soared 45 percent in half a decade and gross domestic product rose at around 5 percent a year.
But the whole system was built on a shaky foundation of foreign debt.
The country's top four banks now hold foreign liabilities in excess of $100 billion, debts that dwarf Iceland's gross domestic product of $14 billion.
Those external liabilities mean the private sector has had great difficulty financing its debts, such as the more than $5.25 billion racked up by Kaupthing in five years to help fund British deals.
Iceland is unique "because the sheer size of its financial sector puts it in a vulnerable situation, and its currency has always been seen as a high risk and high yield," said Venla Sipila, a senior economist at Global Insight in London.
The krona is suffering in part from a withdrawal by a falloff in what are called carry trades — where investors borrow cheaply in a country with low rates, such as Japan, and invest in a country where returns, and often risks, are higher.
After watching the free-fall for several days, the Central Bank of Iceland stepped in Tuesday to fix the exchange rate of the currency at 175 — a level equal to 131 krona against the euro.
Haarde said he believed the measures had renewed confidence in the system. He also was critical of the lack of an Europe-wide response to the crisis, saying Iceland had been forced to adopt an "every-country-for-itself" mentality.
He acknowledged that Iceland's financial reputation was likely to suffer from both the crisis and the response despite strong fundamentals such as the fishing industry and clean and renewable energy resources.
As regular Icelanders begin to blame the government and market regulators, Haarde said the banks had been "victims of external circumstances."
Richard Portes of the London Business School agreed, noting the banks were well-capitalized and had not bought any of the toxic debt that has brought down banks elsewhere.
"I believe it is absolutely wrong to say these banks were reckless," said. "Quite the contrary. They were hugely unlucky."
Eto im sad njihovi Bjork i Sugarcubes!!!
Nego, evo nešto za Crippleta, igra Afro Samurai, pravljena po Animi u kojoj Samuel L. Jackson služi kao model za glavnog lika koji je - crni samuraj!!!
Nažalost, trejleri nisu naročito obećavajući.
http://www.youtube.com/watch?v=RDcd0J2tsbY
http://www.youtube.com/watch?v=kL65AzkjnzA&NR=1
Muziku je pravio RZA što je dobro, ali akcija izgleda kao loša verzija Ninja Gaiden...
ŽiKKKa danas počinje novu radio emisiju na Novom Radio Beogradu.
Neću biti kući da slušam, ipak očekujem od tebe kao doajena srpskog radija da nam doneseš izveštaj kako je bilo.
http://www.noviradiobeograd.com/specijalnonevaspitanje.html
Ja sam sa radiom raskrstio kada sam ispunio svoj najveći san i nastupao na živom Hitu Nedelje dvestadvojke. Više ga nemam rašta paliti.
Ovo je webradio.
Plus vidi ovo...
Nova zvezda na medijskom nebu
Objavljeno: Pon, 06. 10. 2008. 15:20
I ZVANIČNO – NOVI RADIO BEOGRAD
U ponedeljak, 6. oktobra, i zvanično je započeo sa radom Novi Radio Beograd. Simboličan datum za početak jednog novog radija, koji se za početak emituje preko internet strane www.noviradiobeograd.com, putem striminga. e-Novine
Programska šema za sada obuhvata dnevni program i specijalne emisije iz sporta, popularne nauke, kulture, filma, muško-ženskih odnosa, za koji su zaduženi Milutin Petrović, kao glavni urednik, i Vanja Srdić i Jelena Đurović, kao ,,leva i desna ruka".
Predvodnik ovog trojca, Milutin Petrović, obećava da će nova medijska kuća čiji je NRBG samo početak prodrmati anesteziranu srpsku medijsku scenu. Simbolični odabir datuma nije slučajan, jer je to ,,dan koji se nikada nije dogodio", ističe Jelena Đurović i dodaje: ,,NRBG će pokušati da napravi pravi proboj slobodne misli, hrabrosti i ukusa".
Treći član ove male ali odabrane ekipe, Vanja Srdić, poziva nove, mlade autore i muzičare koji će biti promovisani i podržani od strane ove stanice, kako promocijom u etru tako i linkovima na sajtu radija, ali i e-novina.
Ukratko, NRBG je odgovor na višegodisnju nezainteresovanost vodećih medija da unaprede slušanje i stvaranje muzike u našoj zemlji.
,,Želimo svim zainteresovanim ljubiteljima i stvaraocima muzike da pružimo jedno malo audiofilno utočište, mesto gde mogu jednako uživati u dobroj muzici i promovisati svoja dela. Nemamo ni žanrovske, ni regionalne, niti bilo koje druge predrasude, želimo i možemo da podržimo sve ukusno. Stoga, dragi Autori, ako želite da podelite svoje radove sa normalnom publikom, slobodno nam pišite na: nrbg@noviradiobeograd.com", poziv je koji je ekipa NRBG uputila sa svojih stranica na myspace-u.
Osim spomenutog trojca, NRBG čine i brojni saradnici: Saša Radojević, Milan Ćirković, Lena Bogdanović, Željko Markuš, Tamara Drakulić, Boris Vlastelica, Nemanja Maksimović, Ivan Velisavljević i dr. Planira se saradnja i sa velikim brojem poznatih kritičara i novinara.
Ostvarena je saradnja sa prištinskim radijom Urban FM i očekuje se zajednička emisija koja će se baviti razmenom informacija o tome šta se događa na kulturnoj sceni Srbije i Kosova. Novi Radio Beograd biće i mesto na kome će i gej i kvir udruženja imati svoje emisije, sa ciljem širenja tolerancije.
Gde su ti navijači, Obrazovci i patrioti sad kad su najpotrebniji? :cry:
Nego, jebiga, ja nemam winamp a nemam ni vremena da ga skidam i instaliram tako da, evo, prođe pola emisije a ja je ne poslušah.. :cry:
Prihvaćena rezolucije Srbije
8. oktobar 2008. | 00:08 -> 18:31 | Izvor: B92, FoNet, Beta, Tanjug
Njujork, Brisel -- Većina zemalja u Generalnoj skupštini UN-a podržala predlog rezolucije Srbije da se Međunarodni sud pravde izjasni o legalnosti nezavisnosti Kosova.
Sedište Ujedinjenih nacija u Njujorku (Tanjug, arhiv)
Za rezoluciju Srbije glasalo je 77 prisutnih država, protiv je bilo šest, dok su 74 bile uzdržane. Kad dobije zahtev, Međunarodni sud pravde sam odlučuje o dinamici razmatranja - po hitnom postupku ili u redovnoj proceduri. Na ocenu tog suda može se čekati i više godina, a njegove odluke nisu obavezujuće.
Podsetimo, da bi zahtev uopšte bio upućen Međunarodnom sudu pravde, bilo je potrebno da se pozitivno izjasni većina zemalja članica UN koje učestvuju u glasanju.
Generalna skupština Ujedinjenih nacija usvojila je rezoluciju Srbije kojom se od Međunarodnog suda pravde traži savetodavno mišljenje o jednostrano proglašenoj nezavisnosti Kosova i Metohije.
Za rezoluciju je glasalo 77 država članica UN, šest je bilo protiv, dok su 74 države bile uzdržane.
Nije bilo velikih iznenađenja u glasanju: Srbiju je podržalo pet zemalja EU, veći broj afričkih i latinoameričkih država, dok su SAD i Velika Britanija bili protiv.
Veliki broj uzdržanih omogućio je da predlog Srbije prođe.
Predlog Beograda branio je na početku sednice ministar inostranih poslova Srbije Vuk Jeremić.
Jeremić, pozivajući članice UN da podrže nacrt rezolucije kojom se od Međunarodnog suda pravde traži savetodavno mišljenje o jednostranom proglašenju nezavisnosti Kosova, rekao da se tako brani međunarodno pravo.
Vuk Jeremić (Beta)
"Republika Srbija veruje da bi upućivanje ovog pitanja Međunarodnom sudu pravde sprečilo da kosovska kriza posluži kao duboko problematičan presedan, u bilo kojem delu sveta gde postoje secisionističke ambicije. Verujemo, takođe, da bi savetodavno mišljenje Međunarodnog suda pravde predstavljalo politički neutralan, ali pravno autoritativan putokaz mnogim zemljama koje su još u dilemi kako da se postave prema jednostrano proglašenoj nezavisnosti Kosova i da li je ona u skladu sa međunarodnim pravom", naveo je Jeremić.
Kao jedan od argumenata, Jeremić je podsetio i da je Srbija na jednostrano proglašenje nezavisnosti Kosova reagovala maksimalno uzdržano.
"Odbacili smo upotrebu sile i uvođenje ekonomskih sankcija. Odlučili smo da branimo suverenitet i teritorijalni integritet diplomatijom i međunarodnim pravom", kazao je on.
Dok se još nije znao rezultat glasanja, britanski ambasador je otvoreno rekao da je predlog Srbije politički motivisan.
"Cilj tog predloga je da uspori proces priznanja nezavisnosti Kosova, ali i da onemogući učešće Kosova u međunarodnim institucijama. Moja delegacija žali što su naše srpske kolege odbile da nađemo zajednički način da idemo dalje. Oni su odlučili da ovu rezoluciju predstave preko Generalne skupštine UN bez imalo debate. Za žaljenje je što je Srbija izabrala taj kurs", kazao je ambasador Džon Sojers.
Iznenađen rezultatom glasanja, ambasador Sojers je podsetio sve učesnike da mišljenje Međunarodnog suda pravde nije obavezujuće.
Rasprava u Generalnoj skupštini
Britanski ambasador pri UN Džon Sojers izjavio je u Generalnoj skupštini da je srpski zahtev "politički motivisan". On je rekao da je nezavisnost Kosova realnost i naveo da vlada Srbije mora da odluči kako će da se izbori sa njom.
Predstavnik Albanije je rekao da svaka zemlja ima pravo da traži mišljenje Međunarodnog suda pravde i zahtev Srbije je ocenio kao pokušaj usporavanja priznavanja kosovske nezavisnosti.
SAD će glasati protiv predloga Srbije, izjavila je predstavnica SAD Rozmari di Karlo. Ona je navela da je priznanje nezavisnosti Kosova u skladu sa međunarodnim pravom i zaključila da SAD čvrsto veruju u evropsku budućnost Srbije i Kosova.
Francuska je bila uzdržana prilikom glasanja o rezoluciji Srbije. Predstavnik Francuske u Generalnoj skupštini Ujedinjenih nacija se ne slaže sa stavom Srbije i njenom rezolucijom i ocenio je da savet suda ne bi bio koristan u situaciji kada je Kosovo nezavisna država, koju je priznalo 22 od 27 država članica Evropske unije, a ukupno 48 država sveta.
Kosovo je proglasilo nezavisnost, dodao je on, precizirajući da treba uzeti u obzir specifičnost situacije raspada SFR Jugoslavije, pregovore o definisanju statusa i činjenicu da se Kosovo tretira kao slučaj sui generis.
Predstavnik Grčke je najavio podršku predlogu rezolucije Srbije i naglasio da svaka zemlja ima pravo da zatraži mišljenje Međunarodnog suda pravde oko pitanja vezanih za međunarodno pravo.
Grčka smtra da je zahtev Srbije zasnovan na međunarodnom pravu i podržavamo tu rezolicuju, rekao je predstavnik Grčke.
I predstavnik Kipra je naglasio da će podržati inicijativu Beograda, jer je jednostrano proglašenje nezavisnosti Kosova pitanje koja zaslužuje pravo razjašnjenje.
Podržimo nacrt rezolucije, rekao je predstavnik Kipra, i poručio da je podrška inicijativi Srbije sastavni deo principijalne politike Kipra da se poštuje međunarodno pravo.
Inicijativu Srbije su podržali i Indonezija, Kuba i Južnoafrička Republika, čiji je predstavnik rekao da 144 nisu priznale Kosovo.
"Iz tog razloga podržavamo pravo Srbvije da traži savetodavno mišljenje međuanodrog suda pravde", rekao je predstavnik Južnoafričke Republike.
Podršku predlogu rezolucije Srbije najavili su predstavnici i Komorskih ostrva, Kostarike, Irana i Alžira.
Izbegnuta izmena predloga
Zvanični Beograd bio je optimističan i pred zasedanje.
Iako se prethodnih dana nagađalo da li će Crna Gora podržati inicijativu Srbije, ministar spoljnih poslova Crne Core Milan Roćen izjavio je za "Vijesti" da je to ministarstvo dalo instrukciju svom predstavniku u Generalnoj skupštini Ujedinjenih nacija da podrži inicijativu Srbije.
Postojala je opasnost da jedna ili više zemalja zajedno ulože amandman u pokušaju da preformulišu i izmene dokument. Amandmani bi tada takođe bili stavljeni na glasanje i usvojeni, odnosno odbačeni prostom većinom.
Međutim, ministar Jeremić naveo je da je Srbija bila spremna i za tu situaciju.
"Velika Britanija je cirkulisala papir na osnovu koga može da se očekuje da će neko pokušati da uvede amandman koji bi promenio smisao i značaj naše rezolucije", rekao je Jeremić.
EU na individualnoj osnovi
Članice Evropske unije o inicijativi Srbije na Generalnoj skupštini Ujedinjenih nacija glasala je na "nacionalnoj osnovi", kako je u Briselu najavil portparolka francuskog predsedništva EU Marin de Karne.
"Članice EU se konsultuju oko glasanja, ali će ono biti obavljeno na individualnoj osnovi", izjavila je De Karne, uoči rasprave u Generalnoj skupštini UN o predlogu Srbije.
"Kao što je dobro poznato, ne postoji jedinstvo u EU oko priznavanja Kosova, stoga postoji mogućnost da članice EU glasaju različito", rekla je ona, navodeći da "treba sačekati samo glasanje".
Glasanje na individualnoj osnovi prethodno je najavila i Kristina Galjak, portparolka visokog predstavnika EU za spoljnu politiku i bezbednost Havijera Solane.
Evropska unija i inače ne može da glasa jedinstveno, jer je istupanje pred Savetom bezbednosti UN stvar nacionalne politike.
Bogdanović: Srbija izložena pritisku
Ministar za Kosovo i Metohiju Goran Bogdanović izjavio je da je Vlada Srbije izložena pritisku iz inostranstva da ne insistira na izjašnjavanju Generalne skupštine UN o predlogu rezolucije kojom se traži savetodavno mišljenje Međunarodnog suda pravde o legalnosti nezavisnosti Kosova.
"Pritisak dolazi iz onih zemalja koje su već priznale Kosovo i koje su uticajne", rekao je Bogdanović u intervjuu Rojtersu.
Britanska agencija napominje da neke zapadne diplomate u Ujedinjenim nacijama ocenjuju da bi, ukoliko Generalna skupština UN usvoji srpski predlog rezolucije, mogle proći godine dok Međunarodni sud pravde ne donese odluku o tome.
Zemlje koje još nisu priznale Kosovo mogle bi to da iskoriste kao razlog da odlože odluku o priznanju, naveo je Rojters.
"Ako ova inicijativa propadne, onda ćemo mi u bilateralnim kontaktima pokušati da ubedimo zemlje koje nisu priznale Kosovo da ne preduzmu takav korak", rekao je Bogdanović.
Kontradiktornost EU
Dušan Reljić, sa berlinskog Instituta za međunarodne odnose i bezbednost, kaže za B92 da svi signali koji su do sada dolazili pokazuju da je do danas postojala većina u Skupštini UN.
"No, ne treba potceniti pritisak koji dolazi od strane velikih zapadnih sila, jer niko ne voli da bude stavljen u položaj da se prespituje o opravdanosti nečije politike, pogotovo kada su u pitanju pravni aspekti te politike", kaže Reljić.
On objašnjava da Evropska unija ne može da glasa jedinstveno, odnosno da ne postoji tako nešto kao vrsta discipline u glasanju, jer je istupanje pred Savetom bezbednosti stvar nacionalne politike.
"Dvadeset jedna od 27 zemalja EU je priznala Kosovo i samim tim se svrstale među one zemlje koje smatraju da nije potrebno međunarodno preispitivanje", kaže on.
"Međutim, EU, s druge strane, uvek se zalagala za to da u međunarodnim odnosima postoji međunarodno pravo, i bilo bi čudno da sada glasa protiv. Zbog toga dolazi taj stav da treba biti uzdržan", kaže on.
"Znači, s jedne strane, staviti do znanja da zemlje EU nisu zadovoljne tim potezom Srbije, a s druge strane, ne sprečiti jedan postupak koji ipak jača međunarodno pravo", rekao je Reljić.
Šta će uraditi Međunarodni sud pravde
Nakon što je zahtev Srbije da se o nezavisnosti Kosova izjasni Međunarodni sud pravde dobio većinu u Generalnoj skupštini, ne treba odbaciti mogućnost da će u toj raspravi učestvovati i neko od predstavnika vlasti Kosova.
Pre glasanja u Generalnoj skupštini, u Međunarodnom sudu objasnili su za B92 da će, po prijemu zvaničnog zahteva Generalne skupštine, ako ga bude bilo, Sud najpre zatražiti od svih članica UN da, ukoliko žele, upute svoju argumentaciju u pisanoj formi.
Dodatno, zahtev može biti upućen i relevantnim organizacijama i telima za koje se veruje da mogu doprineti raspravi. U tom smislu bi moglo da se dogodi da poziv Suda bude upućen prištinskim vlastima.
U Sudu kažu da je korisno prisetiti se slučaja koji je vođen pre četiri godine, kada je od Suda zatraženo "savetodavno mišljenje" o pravnim posledicama odluke izrealskih vlasti da podignu zid razgraničenja na okupiranoj palestinskoj teritioriji.
Tada je Sud na raspravu pozvao ne samo Palestinu, koja nema status članice UN, već i predstavnike Islamske konferencije i Arapske lige, koje su smatrane relevantnim za proces.
Posle razmatranja pisanih podnesaka, u Sudu se organizuje i rasprava, gde zainteresovane strane dodatno obrazlažu svoje stavove. Tek potom Sud donosi odluku.
Uprkos nekim predviđanjima da bi odlučivanje o inicijativi Srbije moglo da traje godinama, u Sudu kažu da procedura traje znatno kraće. U pomenutom slučaju izgradnje zida, "savetodavno mišljenje" Međunarodnog suda pravde saopšteno je u roku od 8 meseci.
Brzina rada zavisiće i od toga da li će Generalna skupština UN zatražiti da se o pitanju nezavisnosti Kosova raspravlja "hitno" ili ne.
U istoriji dugoj 62 godine, Međunarodni sud pravde 25 puta je pozivan da da "savetodavno mišljenje" po nekom pitanju. U Sudu skreću pažnju da njihov stav nije obavezujući iako ima nespornu pravnu i moralnu težinu.
Još jednom se vraćajući na spor Izraela i Palestine, u Sudu podsećaju da je stav sudija - da je razdvajanje Izraelaca i Palestinaca zidom pravno neodrživo - bio kasnije pretočen u Rezoluciju Generalne skupštine UN. Mada, priznaju, ni ona nije bila obavezujuća za Izrael.
"Sud ne zanima kakve će političke odluke biti donošene u vezi sa pitanjima o kojima se raspravlja. Mi dajemo isključivo pravno tumačenje," kaže sagovornik B92 iz Međunarodnog suda pravde.
Reći da je Meho pisao u novom broju Hupera je understatement. Meho je briljirao u novom broju Hupera. Dva teksta, svaki sa po brojem karaktera koliko je Ratko imao žrtava u Srebrenici, čine da Meho i u novom broju bude prava senzacija.
Actually, imam tri teksta plus tri muzička prikaza. Previše. Pretanko sam razmazao svoju ograničenu količinu kreativnosti pa su neki tekstovi uistinu ispali smeće. Onaj o albumima je još najmanje loš...
meni je taj o albumima bas dobar, napiso sam ti na novim kadrovima
Ja sam pročitao dva juče. A spremam se i za ostatak.
Ima li taj "Huper" (onaj krizaljka-magazin??) mozda i svoju net-stranicu?
Bilo bi OK da se procita jos ponesto dobro napisano o muzici/filmu/itd...
taj osmosmerka magazin ima potpuno promenjenu redakciju a u njemu pišu i mnogi sagitaši (meho, cripple, kunac, ginger, otaku, milosh, čak i ja), pa onda miško blibija, oto oltvanji...
nema križaljki, skandinavki i ostalo. ali nema ni internet stranice.
:(
valjda će biti.
Ej, hvala ti, Zhiks, vidis nisam znao za to!
Prijatno si me iznenadio i sa sadasnjim profilom casopisa, i sa imenima ljudi koji tamo pisu (nesto poput "quality mark"-a)!
Ene mi shvece bas na par sedmica na Brdovitom, odmah joj javljam da mi bezecuje koji broj (najnoviji svakako, a ostale ako ih nekako uhiti)...
mislim da ti mogu nabaviti i ostale brojeve u novom ruhu, samo mi javi kada i kome da ih dam, i javi mi par dana ranije
Hvala veliko, Ziko, fakat si car, ali ovaj put, osim 3-4 dana rezervisanih za Zagreb, sisterka mi ostaje u rodnoj nam Bajnoj Muci (Banjaluci, jel'), tako da shema sa preuzimanjem tih brojeva u BG-u otpada (a bezveze mi je da cimam BG-rodbinu).
Ipak, jos jednom, veliko HVALA na ponudi.
Bilo kako, vec imam taj zadnji broj (vec je narucen; osim ako Banjaluka nije bash-bash tolika selendra, pa "Huper" ne dobacuje do njenih kioska; a, Harv??)...
P.S. Bas nesto citam na "Kadrovima" onaj topic posvecen "Huperu", i moram da priznam da sam i ja, sve do ovog citanja pomenutog topica, zivio u ubijedjenju da je Van Santov "Drugstore Cowboy" snimljen poslije "My Own Private Idaho". Eto...
Quote from: "David"osim ako Banjaluka nije bash-bash tolika selendra, pa "Huper" ne dobacuje do njenih kioska; a, Harv??)...
Sasvim moguće. Distribucija Hupera je toliko loša da podseća na neku nadrealističku komediju.
Nego, u kuras, sad moram da idem i na nove kadrove a rešio sam da do izlaska knjige ignorišem taj forum jer oduzima previše vremena...
ma ne moraš... evo:
izašao oktobarski huper, tema: beli album bitlsa (u stvari je halloween, ali nisam skontao odmah). a unutra, milina: intervju s nežnim daliborom (uradila ognjenka lakićević), vrelom (uradio ja), tekst sonje rajin o belom albumu bitlsa, uroš smiljanić piše o albumima jugoslovenske muzike koji u naslovu imaju veznik "i", i to je nešto najbolje što je uroš napisao za novine a da sam ja pročitao (možda zato što me tema tangira u srce), baš je primer kako se ozbiljno, analitički i s duhom pristupa nasleđu jugo pop-roka (ima segment o Kerberovom albumu "Ljudi i bogovi" i odlično je analiziran, vispreno, na malo prostora, al s krtinom i suštinomi), dimitrije vojnov piše o dinu dvorniku (standardno kvalitetno), nemeček priča o pop mašini i psihodeliji...
što se tiče filma, u rubrici karijerčenje je brad pitt, recenzije filmova (đorđe bajić piše o put u središte zemlje erika breviga i, zajedno sa zoranom jankovićem, o tropskoj oluji bena stilera), miško bilbija ima super tekst o istoriji DVD-a, a dimitrije o sonji savić. đorđe bajić je napisao super-zabavan tekst o preživljavanju u filmovima strave i užasa, koji je i informativan, i zabavan i napisan s velikim, filmofilskim poznavanjem horora. evo jednog dela: "10. vodite računa o ispravnosti svog automobila. redovne tehničke kontrole su poželjne pošto se četvorotočkaši često kvare, i to obično u najnezgodnijim trenucima. još nekoliko auto-moto saveta: ne primajte autostopere, izbegavajte da putujete kombijem (naročito ako vas ima petoro), uvek proverite da li se neko skriva na zadnjem sedištu i u širokom luku zaobilazite automobile koji se zovu Kristina."
zatim nebojša iz benda intruder intervjuiše stefana arsenijevića, pa onda stefan nebojšu, i bez obzira na to šta ja mislim o filmu Ljubav i drugi zločini, ovaj vju mi je bio baš zanimljiv. pitanja su neobična, a vidi se da su razgovarali prijatelji i da su odgovori iskreni.
onda opet dimitrije piše o kurosavi i fenomenu "rašomonijade" u istorji filma, odnosno o korišćenju dramaturškog rešenja promene tačke gledišta u predstavljanju jednog događaja.
uroš smiljanić strikes again s poređenjem velje ilića i stivena sigala. što bi rekli, klasičan meho krljić, stil i humor se prepoznaju iz prve. super, da ne kažem huper.
a ima i tekstova o tv serijama fringe i true blood, i o sitcomu. i lista maje uzelac, o kojoj je ghoul sve reko.
i da... kad smo kod novih kadrova, uroš ima i tekst o hororu u video-igrama.
tu je još i marčelo sa kolumnom i tekstom o stripu. sve u svemu, sjajan časopis, ne zato što ja pišem u njemu nego što piše i oto oltvanji.
šteta što miloš cvetković i kristina đuković ne pišu u ovom broju. to mora da se ispravi za sledeći issue.
Malo si preljubazan prema mom tekstu o albumima sa veznikom 'i'. Oću da kažem, teško da je to ozbiljno & analitično, više je improvizovano i nasumično. :lol: Ostali tekstovi su i gori.
ja sam to pročitao u dahu, tj. na trotoaru, meni je tekst ozbiljan, uprkos ironičnom i šaljivom tonu. mislim da niko nije pristupio kerberovom albumu "ljudi i bogovi" analitičnije - mislim, on jeste o ovome o čemu si ti pričao. ali kerber niko i ne želi da analizira na taj način, jer ih većina ljudi prezrivo odbacuje kao ljigu.
osim toga, tekst ima duha, i u njemu ti kao težak metalac pišeš o aleksandri kovač, pri tom tačno. mislim, što kažu mladi pod okupacijom - rispekt.
Vi u meni, Žiko, pronalazite ono najbolje. Čak i kada ga nema!!! :lol:
Čoveče, pa Kripl i Meho čine bar 50% Hupera.
A evo kako aktuelna recesija & financijska zikra u Americi pogađaju američku industriju igara:
QuoteGame stocks bloodied in market meltdown
By Tor Thorsen, GameSpot Posted Oct 9, 2008 8:33 pm PT
Activision falls 28%, THQ sheds 39%, EA slides 37%, and Take-Two loses $40% during four-week roller coaster ride on Wall Street, capped by today's sixth-straight triple-digit-drop of the Dow Jones.
Unless you've been in a darkened room playing Spore with the TV off for the past month, you're probably aware the US is in the midst of a dire financial crisis. That fact was underlined today, when the Dow Jones Industrial Average lost 679 points to end the day at 8,579, or down 7.33 percent. That's the first time since 2003 that the index has closed below 9,000, and was the sixth triple-digit single-day loss in a row.
But while the news was grim on the New York Stock Exchange, it was slightly better on the NASDAQ which saw its composite index fall a still-painful 95.21 points, or 5.47 percent. America's second-largest market is home to many technology stocks, including the majority of third-party video game publishers touted as "recession-proof" by some analysts.
Indeed, comparing the closing September 9 and October 9 share prices of four top publishers, it's clear some of the biggest names in games are hemorrhaging market value. Worst off is Take-Two Interactive, which has lost 40 percent of its share price in a month, going from $21.77 to $13.01. Besides overall market woes, the decline was also in large part due to Electronic Arts' abandonment of its Take-Two takeover bid, which was $26 per share at its highest point.
Ironically, EA was also a big loser during the Sept. 9-Oct. 9 period. Despite a recent spate of hits like Spore and Warhammer Online, the publisher's stock value has shrunk 37 percent over the month, going from $44.21 to $27.80. More alarming is the fact EA's stock value has nose-dived 53 percent in the past year, having been worth $59.94 on October 9, 2007.
Also battered in the value-loss demolition derby was THQ, which shed 39 percent of its value, sinking from $13.83 to $8.34. Over the past year, the WWE Smackdown! and Saints Row 2 publisher has lost 68 percent of its value.
The last and least money-losing game company was Activision Blizzard, which shaved 28 percent--$4.67--off its shares during the month, ending at $11.95. No year-on-year comparisons are available for the newly minted Guitar Hero and World of Warcraft-maker, which was formed in July by the union of Activision and Vivendi Games.
Things were also tough for companies with major game interests, such as the two console companies traded on US stock markets. On the NASDAQ, Xbox 360-maker Microsoft lost $3.80 (14 percent) during the month to close at $22.30, down from $30.10 a year ago. On the NYSE, Sony Corp. fared worse, suffering a $11.91 monthly drop (33 percent), to end up at $23.51.
Despite the apparent game-industry-wide drubbing, analysts are confident the game industry will fare better in a recession than other sectors. "If people aren't traveling and stay home, what are they going to do? They'll want relatively cheap home entertainment," David Gibson, senior analyst at Macquarie Research Equities, told the Wall Street Journal. "[And] core gamers will buy the titles when they come out, regardless of economics."
A summary of publishers' September 9-October 9 share value losses is listed below. Also listed are the publishers share prices from over a year ago for year-on-year comparison.
THIRD-PARTY PUBLISHERS
Activision-Blizzard
$16.62 (Sept. 9) - $11.95 (Oct. 9) = $4.67 monthly drop (-28%)
Electronic Arts
$44.21 (Sept. 9) - $27.80 (Oct. 9) = $16.41 monthly drop (-37%)
Stock price on Oct. 9, 2007 = $59.94 =$32.14 year-on-year drop (-54%)
THQ
$13.83 (Sept. 9) - (Oct. 9) $8.34 = $5.49 monthly drop (-39%)
Stock price on Oct. 9, 2007 = $26.78 = $18.44 YOY drop (-68%)
Take-Two Interactive
$21.77 (Sept. 9) - (Oct. 9) $13.01 = $8.76 monthly drop (-40%)
Stock price on Oct. 9, 2007 = $18.34 = $5.33 YOY drop (-29%)
CONSOLE MANUFACTURERS (Traded in US)
Microsoft
$26.10 (Sept. 9) - (Oct. 9) $22.30 = $3.80 monthly drop (-14%)
Stock price on Oct. 9, 2007 = $30.10 = $7.80 YOY drop (-25%)
Sony Corp.
$35.42 (Sept. 9) - $23.51 (Oct. 9) = $11.91 monthly drop (-33%)
Stock price on Oct. 9, 2007 = $49.85 = $26.34 YOY drop (-52%)
Odavde: http://www.gamespot.com/news/6199048.html?tag=latestheadlines;title;1
Ako ih Japanci sad sve ne pokupuju, ludi su.
Study: Skilled Gamers Likely Premature Ejaculators
by Chris Faylor Oct 09, 2008 3:58pm CST tags: Fitness, Study
Men that excel in the virtual worlds of video games may be more prone to premature ejaculation, sexual psychotherapist Paula Hall tells the BBC.
A third of men are thought to suffer from the condition, which was recently linked to low serotonin levels after an Utrecht University study of 200 Dutch men. The lower serotonin levels were caused by a certain gene that regulates the body's supply of the hormone.
"Premature ejaculation is definitely not purely psychological," Hall explained. "These men [with non-psychological premature ejaculation] have very quick reflexes. They may be excellent at playing tennis or computer games."
The recent study has given researchers hope in their efforts to create specialized drugs that reduce the likelihood of premature ejaculation. Thanks to Kotaku for the tip.
Meho i ja smo morali da preuzmemo Huper u svoje ruke kada smo shvatili da je ta novina posle odlaska Dejana Patakovića postala kao SPS posle Miloševićeve smrti. U sebi smo pronašli one kvalitete koji čine njegove naslednike. Ja sam u sebi pronašao gojaznost Ivice Dačića, dok je Meho posle neuspešnog traženja preduzimljivosti Milutina Mrkonjića u sebi našao gerontofilske (omas) sklonosti Jovana Krkobabića. Posle toga je lako bilo pretvoriti Žiku, starog rokera i kampus levičara, u našeg Aleksandra Vulina...
Warner Bros. Pictures are keen on landing Oscar nominee Ryan Gosling to portray the titular hero Hal Jordan in their upcoming film version of the superhero comic "Green Lantern" reports Latino Review.
The likes of Seth Green, Justin Long and David Boreanaz had previously been rumored for the part, but a reliable studio source of theirs denies such claims and say Gosling is the main actor being sought.
In the comics, Hal Jordan is a test pilot who was given a power ring by a dying alien, and became a member of the Green Lantern Corps - an interstellar organization of police overseen by the Guardians of the Universe.
Greg Berlanti is assigned to direct the film which is due out in 2010.
Sources tell Hollywood Elsewhere that "No Country for Old Men" and "W." star Josh Brolin has signed on for the title role in Warner Bros. Pictures' "Jonah Hex".
HE editor Jeff Wells is confident in the scoop and claims that "the deal is sealed". Yet the studio will not confirm the rumor, and Brolin's rep claims the actor is "not attached."
Jonah Hex is a western comic book anti-hero, a middle-aged bounty hunter and gunslinger with a heavily scarred face whose quest in the film is tracking down a voodoo practitioner. Mark Neveldine and Brian Taylor ("Crank," "Pathology") are helming the project.
The talented and stunning Rose McGowan is considering joining the cast of "Inferno," producer Brian Grazer's film about legendary "Deep Throat" star Linda Lovelace reports Fox News.
The film follows Lovelace's ultimately tragic life. After starring in that most popular of all porn films, she became a feminist and testified before Attorney General Ed Meese's Commission on Pornography in 1986. She died in 2002 due to severe injuries in a car accident.
Already cast are Bill Pullman as Hugh Hefner and Josh Lucas as Linda's husband Chuck Traynor who got her into porn.
First time writer-director Matthew Wilder will direct from his own script.
Čekaj, RMG će da igra Lindu??? :cry: :cry: :cry: Pa zar moraju sve unapred da mi upropaste...
QuoteTypically, it's PC games that end up on torrent sites before they hit store shelves. But here's a situation where a highly-anticipated console game is pirated pre-release.
The Xbox 360 version of Bethesda's Fallout 3 has already appeared on file-sharing sites, despite the fact it doesn't officially release until October 28 in North America.
Users on one pirating site claim that the file available is not a retail copy of the game, rather a copy of a review version of Fallout 3.
Playing pirated games on an Xbox 360 requires a modified console and a capable DVD burner, file-sharers stated.
Bethesda, which is aware of the situation, offered a "no comment" when contacted by Edge on the matter.
:lol:
http://www.spike.com/video/pg-porn-pg-porn/3041858
Quote from: "crippled_avenger"http://www.spike.com/video/pg-porn-pg-porn/3041858
Kasniš...
http://www.znaksagite.com/diskusije/viewtopic.php?t=6234&start=25
Ja sam mislio da su Vividovi pornići već PG...
Nego, evo nešto lepo:
QuoteUltima creator reaches orbit
Posted Oct 13, 2008 1:08 am PT By thorsen
Several video game designers have launched aerospace projects--some with spectacularly fiery results. However, it wasn't until Sunday that the first game developer actually made into space proper. That's when 47-year-old Richard "Lord British" Garriott, creator of Ultima and Tabula Rasa, took off from the Baikonur Cosmodrome in central Kazakhstan aboard a Soyuz TMA-13 rocke, reaching orbit just minutes later.
Site of Soviet-era spaceflight triumphs such as the first manned spaceflight by Yuri Gagarin in 1961, Baikonur now serves as the hub of the space program of the Russian Federation. To deal with cash shortages, Russia has entered into a partnership with Space Adventures, of which Garriott is a board member. Based in a suburb of Washington, D.C., Space Adventures specializes in shuttling wealthy "space tourists" to the International Space Station aboard Russian rockets for a substantial fee.
How substantial? According to the Associated Press, Garriott paid around $30 million for a 12-day trip into space. On Tuesday, he will dock with the ISS, where he will perform a number of experiments for sponsors helping to defray his trip's costs. As part of his own "Operation Immortality," Garriott also carries a hard drive containing the digitized DNA sequences of academics and celebrities, including physicist Stephen Hawking and late-night TV satirist Stephen Colbert. (Several dozen Tabula Rasa contest winners also had their DNA included.) The drive will be stored on board the ISS after Garriot's October 24 departure so that if the Earth's population is wiped out in some sort of catastrophe, its leading citizens might someday be genetically reconstituted.
"What I am trying to do is demonstrate that you can mount a very successful campaign to go into space and beyond because it's good business," Garriott told the AP.
Garriott also now holds the distinction of being the first American to follow a parent into space. His father, 77-year-old Owen Garriott, spent 60 days aboard Skylab in 1973 and 10 days aboard the space shuttle Columbia in 1983.
Odavde: http://www.gamespot.com/news/show_blog_entry.php?topic_id=26632587
Vest je dovoljno bizarna sma po sebi, ali Kolberov DNK u svemiru me je dokusurio. Pa povrh toga jos i ovo s Geriotovim caletom. Vrh.
Neil Gaiman Weighs Possible '1602,' 'Dr. Strange' Movies
Published by Jennifer Vineyard on Thursday, October 9, 2008 at 1:18 pm.
Just as "Hulk" director Louis Leterrier is begging the president of Marvel Studios to do a '1602′ movie, '1602′ writer Neil Gaiman tells us he's all for it. (For the record, so are we).
"I would love it if somebody made a '1602′ movie," Gaiman said. "I would love to go and see that. That is something I would just love to sit in the audience and eat my popcorn on the first night and feel proud."
Begging might not even be required to make the Elizabethan-period superhero movie, unless Leterrier is intent to do it as a two-parter — a tougher sell. Still, it's easier to make "1602″ these days, Gaiman said, than it would have been years ago.
"I think it's getting more and more likely as Marvel reclaims its film properties from all over the world," Gaiman said. "They're sort of making their own movies and putting them out through Paramount. So they're now in there with a chance. In the old days, it would have been impossible to make, because [the rights to] 'The Fantastic Four' are over here, and 'Spider-man' is over here, and 'X-Men' are over here, and 'The Hulk' is over here, and 'Captain America' is over here, and that I think is probably the biggest problem for anyone making a '1602′ movie."
While Dr. Strange is a character in "1602″ as the Queen's court physician, Gaiman's just a tad more interested in seeing him get some non-"1602″ treatment — from Guillermo del Toro.
"Guillermo del Toro and I have talked about doing a 'Dr. Strange' movie," Gaiman said. "And I think we'd both really like to do a 'Dr. Strange' movie. We'd love to do it together. The problem is, Guillermo's off doing 'The Hobbit', and that's going to be three, four years in New Zealand for him. And when he comes back, I suspect that he will then want to do something personal, so he'll probably do 'Hellboy 3′ [Ed note: Or perhaps 'Frankenstein,' 'Dr. Jeckyll and Mr. Hyde,' or 'Slaughterhouse Five'] before we could ever get to do a 'Dr. Strange' movie."
But of the two — a "1602″ movie by Leterrier or someone else, and a "Dr. Strange" movie by del Toro, "I'd guess I'd get in line for the 'Dr. Strange' movie made by Guillermo," Gaiman said.
"That's the sort of thing you should never ask somebody like that on the Interwebs!" he exclaimed. "Because you answer and then it gets written and then it gets misquoted and people say, 'Yes, Neil Gaiman said they should never make a '1602′ movie!' It's like, 'No, I didn't, it's not fair!' It's like do you want the chocolate or the ice cream? Well, I guess the chocolate." But if he could have both, he said, he would love that even more.
Who would you like to see direct "1602?" Who would you cast? Do you want a "Dr. Strange" movie?
Let Marc Andreyko & Joel Silver Be Your Guides To Hell With 'The Ferryman' 7-Page Preview
Published by Kiel Phegley on Wednesday, October 8, 2008 at 5:31 pm.
For a guy who's spending October sending souls to hell, Marc Andreyko sounds pretty happy go lucky. While talking about his upcoming Wildstorm series "The Ferryman," Andreyko — the writer behind DC Comics' critical darling yet low-selling comic "Manhunter" — had nothing but sunshine and rainbows for his collaborators on the project, including film production legend Joel Silver ("The Matrix," "Roadhouse") by way of his Dark Castle production shingle.
"All that I was given by Silver was that he's always wanted to do a contemporary version of Charon and the River Styx – the Ferryman who ferried souls across into Hades. That was pretty much it. He wanted to do something contemporary with it. Go!" explained Andreyko of the book which debuts on Wednesday, October 8, and which you can see the opening pages from below. "I came up with how that would work and how the Ferrymen today – there'd be many of them because of the world's population, and they'd almost be skip tracers. If you sold your soul to the devil, eventually that contract is going to expire. And unfortunately, most people who sell their soul to the devil don't want to go quietly."
Andreyko went on to describe the project in Hollywood terminology as "'Die Hard' meets 'The Devil's Advocate'" and noted that artist Jonathan Wayshak "is going to be a huge superstar. He's a cross between Ralph Steadman and Sam Keith. Whatever his next project is, I'm writing it because I'm never letting him go." After a few minutes more of smiles for the project, the writer stopped and admitted, "It's gone as well as a project like this can go...I wish I had some scandalous dirt to give you about it. If you want, I can make up a feud if it makes the story more interesting."
Fake in-fighting aside, Dark Castle and Wildstorm are hoping that their first four-color collaboration will be interesting enough for readers in a story sense as Andreyko's script rides the fine line of high concept and high action from page one.
"The first issue is, for all intents and purposes, one giant chase scene," he said. "All you need to know about the comic book is that our lead is a guy named Gideon Thorn who used to be a cop back in the '70s and was on the trail of a pretty gruesome serial killer known as The Bleeder. Circumstances led to Gideon's early demise and his wife was murdered, but he was offered a chance by the devil, who we call Mr. Webster, the chance to do some work for him with the promise that at the end of his contract, he'd get to see his wife again."
When Gideon is tasked to track down one last lost soul in the form of a former Ferryman known as The Outcast, things get a little dicey, but Andreyko wouldn't go as far as to reveal a promised twist for the five-issue mini series' later issues. Instead, he made a point of explaining that while "The Ferryman" shares a few commonalities with other comics on the film track, for his part only the former matters.
"While one of the reasons Joel Silver is doing comics is to develop his own intellectual property and do some development in a very public forum, I don't look at it as doing a comic book as a version of what the movie would be. I try to look at it as doing a comic book that could be adapted into a feature film, but if it never is, the story could stand on its own as a piece of entertainment."
Quote from: "crippled_avenger"Who would you like to see direct "1602?" Who would you cast? Do you want a "Dr. Strange" movie?
Ja najradije na bih video ništa od toga.
Naravno, čak ako i snime to, ja neću gledati.
da li će prti (tj. mikri) konačno otkačiti monogamiju?
imali su zakazan cert za 25. 10. u splitu i evo šta se dešava - napisao lik na hrvatskom hip-hop forumu
Quote from: "Vule"Nazalost, moran vas obavjestit sve da je koncert otkazan!
Iako je sve teklo po planu, razlozi su visi od nas... ugl, radi se o tome da je nasta problem zbog Monogamije, mc-a s kojin su oni snimali, a on je odvojeno od toga snimija pismu za Arkana i sl (poslasajte ga, ima na jutubu) i eto, od toga je nastala prica dovoljana da se klub mora ogradit od toga... Da nsimo otkazali, prica bi bila puno dublja i gora...
Steta, ovo bi bija velik hip-hop dogadaj.
Isprike od organizatora i Prtija.
da li će se prti getoizirati zbog "ortaka" ili će ga pustiti niz slivnik? ja se nadam ovom drugom jer, realno, valjalo bi da ih cela bivša sfrj doživi a monogamija im je tu kao kugla na nozi...
Pa... to je zanimljiva dilema... Mislim, da Prti su prilično anacionalni i provlače onu narko priču po kojoj su svi heroinomani iste nacionalnosti, dok je Mono old skul nacionalista. Ali ima tu toliko šarma. Mislim, koliko bi bilo kul da dođe u Split i repuje 'pucaj na ustaše, pucaj i pobedi!!!'. Ne znam... nezgodan izbor...
^da, povrh svega to je test za hrvate da li se distanciraju od ustaša jer on ne govori o hrvatima nego o ustašama? :lol: (mono lustrira hrvate :idea:)
ali jbga, nisu to označili kao problem nego ovu "pohvalnu" pesmu za arkana...
http://www.youtube.com/watch?v=xum0zXp574g
Sinoć sam nosio Prti majicu kod Nataše Miljković, samo zbog Mehmeta...
U kuras, a ja baš sinoć nisam gledao Ključ... Imaš snimljeno?
Imam. A mislim da ima i njenom sajtu.
S obzirom da skidam gigabajte igara za Wii, PSP, Xbox 360 i PC poslednjih dana, a da će sve do Januara to ludilo trajati, sumnjam da ću imati priliku da strimujem emisiju s njenog sajta bilo kad pre 2009. godine, no videćemo...
evo je emisija
http://www.rts.rs/page/tv/sr/story/20/RTS+1/21714/Klju%C4%8D.html
reci avengeru jel te bilo malo blam za boru dok je čitao onu svoju pesmu? :lol:
dobro ti je bilo ono sa šibicarenjem! :!:
edit: al vidiš što su srbi - niko da pomene pobedu (lošijeg) marka kraljevića nad (boljim) musom kesedžijom, pa da tematizuje "sposobnost" u nekom drugom smislu - kao sposobnost da se "snađeš". :s
Bilo me je blam za obe pesme kad je citao...
Koliko shvatam emisija ima da se skine pa ću ti je skinuti i naseći...
Steta sto voditeljica jos nije malo rovarila po kafansko-pojstvujushchem mistifikatorstvu "vjecnog opozicionarstva" Chorbe od Bore.
Bar da je i "chorba" od njega ostala, nego se radi o pomija-splachini...
Quote from: "Zika Kisobranac"taj osmosmerka magazin ima potpuno promenjenu redakciju a u njemu pišu i mnogi sagitaši (meho, cripple, kunac, ginger, otaku, milosh, čak i ja), pa onda miško blibija, oto oltvanji...
nema križaljki, skandinavki i ostalo. ali nema ni internet stranice.
:(
valjda će biti.
Da li je neki sagitaš pisao recenziju poslednjeg albuma Jenet Jackson, da ja kažem reč-dve toj neznalici?
Quote from: "Alex"Quote from: "Zika Kisobranac"taj osmosmerka magazin ima potpuno promenjenu redakciju a u njemu pišu i mnogi sagitaši (meho, cripple, kunac, ginger, otaku, milosh, čak i ja), pa onda miško blibija, oto oltvanji...
nema križaljki, skandinavki i ostalo. ali nema ni internet stranice.
:(
valjda će biti.
Da li je neki sagitaš pisao recenziju poslednjeg albuma Jenet Jackson, da ja kažem reč-dve toj neznalici?
Ja sam pisao, u čemu je problem?
Quote from: "Harvester"Quote from: "Alex"Quote from: "Zika Kisobranac"taj osmosmerka magazin ima potpuno promenjenu redakciju a u njemu pišu i mnogi sagitaši (meho, cripple, kunac, ginger, otaku, milosh, čak i ja), pa onda miško blibija, oto oltvanji...
nema križaljki, skandinavki i ostalo. ali nema ni internet stranice.
:(
valjda će biti.
Da li je neki sagitaš pisao recenziju poslednjeg albuma Jenet Jackson, da ja kažem reč-dve toj neznalici?
Ja sam pisao, u čemu je problem?
Kako, pa radi se o JJ, a nisi pomenuo grudi! Ili bar jednu...
Šalim se, nisam ja.
Quote from: "Harvester"Šalim se, nisam ja.
Znam.
Mislim da nije ni jedan Sagitaš... Nemam Huper ovđe ali mislim da ni Cripple ni Žika ni Miloš ni Kunac ni Džindžer nisu to pisali, a za sebe znam da nisam... Ja sam pisao muževne stvari: Ajs Kjuba, Metaliku i tako to...
Evo, pre neg što me neko pozove na reakciju:
http://www.popboks.com/vest.php?ID=8477
QuoteEddie u skupštini
Eddie, čuvena maskota metalaca Iron Maiden, našao je novu primenu - kao sredstvo političke borbe između stranaka u skupštini španskog grada Viljave.
Odbornici baskijskih separatista su insistirali da tokom rasprave na njihovim klupama bude okačena zastava Baskije, na šta su socijalisti odgovorili isticanjem zastave Iron Maidena na kojoj je u prvom planu Eddie, objavio je Guardian.
"Zastava Iron Maidena mi mnogo znači. Ako moram da trpim da gledam njihovu zastavu, oni će morati da gledaju Eddiejevo lice", rekao je Jose Luis Uriz, lider socijalista u skupštini.
Protiv inicijative baskijaca pobunila se i konzervativna Stranka narodne unije, kačeći na svoje klupe zastavu lokalnog fudbalskog kluba Osasuna.
Počni da skidaš Winamp ŽiKKKa kreće u 14h...
Argh!!!
Evo, Jelena je rekla da se pretvara u Dimitrija Vojnova. Dobra emisija.
A muziku ko da sam im ja biro!!!
Zamisli koliko je strašno za jednu ženu kada shvati da se pretvara u Dimitrija Vojnova. Kafkijanski.
Evo nejmčeka Kikija Lesendrića. Iskusno.
Džizas, ala je žena brza na jeziku. Fašisti, nacionalisti, zli ljudi, to samo prska na sve strane.
To je moja kuma! Mora da bude sposobna da mi parira!
Nije vama lako kad se nađete u istoj sobi. Okrvave se ruke i drugi delovi tela.
Žika je seksi kada priča o falusima, homoseksualcima i Maksu Pejnu.
Erm, ja bih voleo da znam o cemu se radi. :oops:
Quote from: "Father Jape"Erm, ja bih voleo da znam o cemu se radi. :oops:
direktan forumski prenos mehovih komentara radio emisije koju vodi zika, a koju slusa dok 'radi'.
a slusho bih i ja al mi nesto crko sound na kompu na poslu... :(
Quote from: "Ghoul"a slusho bih i ja al mi nesto crko sound na kompu na 'poslu'... :(
Ispravljeno.
Quote from: "Meho Krljic"Quote from: "Ghoul"a slusho bih i ja al mi nesto crko sound na kompu na 'poslu'... :(
Ispravljeno.
ma nije, evo i dalje se nista ne cuje.
stalno mi prijavljuje BAD DIRECT SOUND DRIVER!
ajd ako si frajer, popravi mi ovo na daljinu!
Paa, generalno.. Ideš u start>settings>control panel>sounds and audio devices. Pa klikneš to, odeš na poslednji tab (hardware), odaberi svoju zvučnu karticu (ili idi sistemom eliminacije i biraj sve device koji su tu ponuđeni) i trablšutuj.
Svatih da je u pitanju neka radio emisija, al' pitam koja? Mislim kako tome posten svet moze pristupit?
Uzeo sam da pročitam preview za Svebora i Plamenu. I čitam to. Prvo oduševljenje kad sam video da se Sveborov brat zove Domagoj. :D Ali, ipak sve kulminira kad videh da se Nonov komšija zove Barba Roko! :D :D :D
Radujem se flešbeku na očevu sudbinu u logoru. Kada ga Muslimani teraju da seksualno opšti sa svojim najboljim prijateljem Šimunom...
Quote from: "Father Jape"Svatih da je u pitanju neka radio emisija, al' pitam koja? Mislim kako tome posten svet moze pristupit?
http://www.noviradiobeograd.com/specijalnonevaspitanje.html
Elem, evo ako nekom treba...
Pre par godina sam u nekoj razmeni dobio pregršt skeniranih YU Stripova. Skenovi su prilično messy a još je luđe što je skener sve razdvajao u odvojene foldere u okviru jednog broja, pa je, kad se stvar spakuje u CBR arhivu, često nastupao haos. Ja sam ih zato spakovao u RAR-ove koji se mgu sa dva klika raspakovati tako da se svaki folder može odvojeno čitati. Nije da tu nema GOMILA smeća, ali ima i lepih stripova... Zakku sam ovo dao pre određenog vremena, pa nek on posvjedoči.
http://rapidshare.com/files/153054119/Yu_Strip_Magazin_-_Vidici_-_Specijal.rar
http://rapidshare.com/files/153053400/Yu_Strip_Magazin_-_85.rar
http://rapidshare.com/files/153044182/Yu_Strip_Magazin_-_83-84.rar
http://rapidshare.com/files/153044178/Yu_Strip_Magazin_-_81-82.rar
http://rapidshare.com/files/153036436/Yu_Strip_Magazin_-_79-80.rar
http://rapidshare.com/files/153036003/Yu_Strip_Magazin_-_76-78.rar
http://rapidshare.com/files/153030346/Yu_Strip_Magazin_-_75.rar
http://rapidshare.com/files/153029833/Yu_Strip_Magazin_-_74.rar
http://rapidshare.com/files/153024139/Yu_Strip_Magazin_-_73.rar
http://rapidshare.com/files/153023537/Yu_Strip_Magazin_-_72.rar
http://rapidshare.com/files/153015656/Yu_Strip_Magazin_-_71.rar
http://rapidshare.com/files/153014624/Yu_Strip_Magazin_-_70.rar
http://rapidshare.com/files/153005717/Yu_Strip_Magazin_-_69.rar
http://rapidshare.com/files/153005601/Yu_Strip_Magazin_-_68.rar
http://rapidshare.com/files/152996079/Yu_Strip_Magazin_-_67.rar
http://rapidshare.com/files/152996060/Yu_Strip_Magazin_-_65-66.rar
http://rapidshare.com/files/152986474/Yu_Strip_Magazin_-_63-64.rar
http://rapidshare.com/files/152986199/Yu_Strip_Magazin_-_61-62.rar
http://rapidshare.com/files/152983500/Yu_Strip_-_60.rar
http://rapidshare.com/files/152983206/Yu_Strip_-_58.rar
http://rapidshare.com/files/152980786/Yu_Strip_-_57.rar
http://rapidshare.com/files/152980750/Yu_Strip_-_54.rar
http://rapidshare.com/files/152978460/Yu_Strip_-_53.rar
http://rapidshare.com/files/152978298/Yu_Strip_-_52.rar
http://rapidshare.com/files/152975986/Yu_Strip_-_51.rar
http://rapidshare.com/files/152975711/Yu_Strip_-_50.rar
http://rapidshare.com/files/152973736/Yu_Strip_-_48.rar
http://rapidshare.com/files/152971845/Yu_Strip_-_47.rar
http://rapidshare.com/files/152969475/Yu_Strip_-_46.rar
http://rapidshare.com/files/152967194/Yu_Strip_-_45.rar
http://rapidshare.com/files/152967157/Yu_Strip_-_43.rar
http://rapidshare.com/files/152957640/Yu_Strip_-_42.rar
http://rapidshare.com/files/152956784/Yu_Strip_-_41.rar
http://rapidshare.com/files/152949824/Yu_Strip_-_40.rar
http://rapidshare.com/files/152949815/Yu_Strip_-_39.rar
http://rapidshare.com/files/152945028/Yu_Strip_-_38.rar
http://rapidshare.com/files/152944766/Yu_Strip_-_37.rar
http://rapidshare.com/files/152939982/Yu_Strip_-_35.rar
http://rapidshare.com/files/152939821/Yu_Strip_-_33.rar
http://rapidshare.com/files/152939311/Yu_Strip_-_31.rar
http://rapidshare.com/files/152938305/Yu_Strip_-_23.rar
http://rapidshare.com/files/152934519/Eks_Yu_Strip_-_222-1.rar
http://rapidshare.com/files/152933843/Eks_Yu_Strip_-_212-1.rar
http://rapidshare.com/files/152933307/Eks_Yu_Strip_-_208-1.rar
http://rapidshare.com/files/152931419/Eks_Yu_Strip_-_204-1.rar
http://rapidshare.com/files/152929828/Eks_Yu_Strip_-_200-1.rar
http://rapidshare.com/files/152927217/Eks_Yu_Strip_-_152-1.rar
Pitanje vlasništva nad predmetima u onlajn igrama (pre svega MMORPG (http://en.wikipedia.org/wiki/Mmorpg)igrama, odnosno persistent world igrama) je već duže vreme predmet zanimljivih debata. Evo dva članka koja mogu da budu interesantna i ljudima koji ove igre ne igraju (ja ih prvi ne igram):
Prvo The Escapist (http://www.escapistmagazine.com/articles/view/issues/issue_170/5331-We-the-Gamers) sa svojim uobičajeno kvalitetno napisanim člankom na temu. A zatim Gejmspajev Fargo (http://www.gamespy.com/articles/920/920184p1.html), koji u svom uobičajeno šaljivom tonu uspeva da ispriča neke pametne stvari o teškoj temi.
This week we saw The Posters Came From The Walls,
a new documentary film about Depeche Mode fans
around the world. It's both touching and funny.
Here's nine things you should know about
Depeche Mode.
1. Dave Gahan's birthday falls on 9th May,
Russia's National Day. In St Peterburg, Mode
fans celebrate it as "Dave Day" every year.
http://www.youtube.com/watch?v=jYTWPNSG4TE
2. When he overdosed in 1996, the heroin Dave
Gahan used for the speedball was a pure brand
called Red Rum. He said: "i thought it
referred to the racehorse until someone pointed
out it spells 'murder' backwards."
3. George Michael's favourite Depeche Mode
track is A Question Of Lust.
4. Vince Clarke and Andy Fletcher were in
the 5th Basildon Boys Brigade.
5. The band are from Basildon. An anagram
of Basildon is I So Bland.
6. The first album Martin Gore bought was
Ziggy Stardust.
7. Vince Clarke's real name is Vince Martin.
He changed his name when he realised he would
be in trouble as he was still signing on.
8. When Alan Wilder (who lied about his age at
the audition - he was over 21) joined DM, he
was paid £50 a week.
9. Alison Moyet was in Andy Fletcher's class
at school and "the best fighter in the year".
http://tsumi.wordpress.com/2008/10/15/all-is-lost/
Quote from: "crippled_avenger"Uzeo sam da pročitam preview za Svebora i Plamenu. I čitam to. Prvo oduševljenje kad sam video da se Sveborov brat zove Domagoj. :D Ali, ipak sve kulminira kad videh da se Nonov komšija zove Barba Roko! :D :D :D
Mene nervira što je neko ostavio komentar o tome kako je Macan radio ratnohušačke stripove 90ih (što nije istina) i objavljen mu je, a moj u kom sam mu na sasvim pristojan način pojasnio da nije u pravu - nije.
hmm, da, potpuno te razumem; isto tako su neobjavili i moj sasvim fin, pristojan i objektivan sud o dr zoći i njegovom pisanju!
prokletnici!
:cry:
Da ne pričamo o tome da mi nisu objavili komentar na vest o filmu Astro Boy, gde sam im objasnio da glas Astrou ne daje Nikolas Kejdž, kao što se može zaključiti iz teksta na sajtu.
Naravno, oba moja komentara su bila sasvim pristojna. Ozbiljno.
Naravno, to se ne može reći za moj komentar na pred-exitovski tekst Tijane T. u kom je nabrajala sa kim od gostiju je imala usputne kežjual seks kombinacije.
Slutim da je u neku ruku politika popboksa da ređe objavljuje komentare svojih saradnika. I meni neke komentare nisu objavili pa ih sada jako retko i pišem.
Nego, sad mi kao treba da se iznenadimo?
QuoteBioShock 2: Sea of Dreams Revealed
PS3 version of BioShock confirms sequel.
by Jimmy Thang
October 16, 2008 - Developer 2K Games has revealed BioShock 2, subtitled Sea of Dreams, through a hidden cutscene contained within the PlayStation 3 version of BioShock. The trailer was revealed by N4G.com and the setting is said to take place along the "Atlantic Coast."
The cinematic features a woman looking out at an oceanic coast as she holds a small, big daddy figurine. As the camera pans out, pillar-like structures start to form what appears to be a city in the foreground. Finally, a BioShock 2 logo emerges and is quickly followed up by the subtitle "Sea of Dreams."
IGN has contacted 2K Games to find out more details on the next installment of the popular first-person shooter, and we'll update you as the news comes in.
UPDATE: While explicit game details were not unveiled, 2K Games has confirmed that the cutscene is legitimate, and that players can unlock it by beating BioShock on any difficulty level.
Na linku ima i embedded video gde se vidi ta scena: http://pc.ign.com/articles/920/920609p1.html
By John Gaudiosi
LOS ANGELES (Reuters) - The latest film adaptation of a videogame hits theaters in the United States this week with the release of "Max Payne".
The dark, atmospheric film, which stars Mark Wahlberg as a cop in search of the men who killed his wife and child, follows in the footsteps of games turned into films including the "Tomb Raider" movies starring Angelina Jolie, which were commercial hits but critically clobbered by gamers.
"Videogame translations are not for the weak-hearted," said John Moore, the director of "Max Payne".
"It's been a very mixed bag in terms of results. If you read the chat threads there's a big thumbs down from gamers, as opposed to the comic book adaptations, which have been a rip-roaring success. Videogames have sort of stumbled in their transition to the big screen."
With other film versions in the works for game franchises like Sony's Pictures' "Metal Gear Solid," Universal's "God of War", Walt Disney Pictures' "Prince of Persia" and others that track record could change.
NATURAL OUTLET FOR HOLLYWOOD
"Max Payne" is the second fall videogame adaptation by 20th Century Fox, which had success last year with the $100 million hit, "Hitman."
Fox is also developing a film based on Electronic Arts best-selling PC game "The Sims" and is working with Capcom and Hyde Park Entertainment on "Street Fighter: The Legend of Chun Li" and the new "Street Fighter IV" game.
"I think so long as there are interesting, exciting videogames created with good plots, good stories and interesting characters, it's a natural outlet for Hollywood storytellers to reach for those foundations," said Patrick Aiello, producer of the "Street Fighter" film.
Capcom has also partnered with Arad Productions and Warner Bros. Pictures to bring its ice planet action game franchise, "Lost Planet," to the big screen. David Hayter, the voice of Solid Snake in "Metal Gear Solid" games and the screenwriter of the "X-Men" movies, is working on the script.
"The key to making a good movie is bringing to the screen something that people haven't seen before," said Hayter.
"If you're really just putting them through what they went through in the game, you're not giving them much because they can go home and play the game and literally move the character in the way they want to or take the paths that they want to take."
Arad Productions is developing games like Sony Online Entertainment's "EverQuest," Sony Computer Entertainment America's "Uncharted: Drake's Fortune," BioWare's "Mass Effect" and Namco Bandai's "Pac-Man" into films.
Stuart Beattie, who worked on the Pirates of the Caribbean films, has penned a script for a "Gears of War" movie, based on Epic Games' best-selling franchise.
"For those of us who know how great games are for source material in Hollywood, we're all scrambling to try to make the big game movie that will show Hollywood just how powerful game translations can be on the big screen if they're done right," said Beattie, who is a huge gamer.
Hollywood producer Jerry Bruckheimer, who worked with Beattie on the Pirates films, hopes to turn the game Prince of Persia into another Disney Pictures franchise. Bruckheimer enlisted the game's creator, Jordan Mechner, to write the screenplay for the film.
"Just as Pirates of the Caribbean had been inspired by all these great old pirate movies, Prince of Persia had drawn from all the great old Arabian Nights movies," said Mechner.
As more Hollywood producers who play games have moved up the production ladder, Hollywood is taking a closer look at games today. If "Max Payne" makes a killing at the box office, Hollywood already has a diverse line-up of game adaptations waiting in the wings.
(Editing by Patricia Reaney; For the latest Reuters lifestyle news see: www.reuters.com/news/lifestyle))
E, ovo mi je Gul tražio još kad je izašlo da iskopam sken, ali tek sada se pojavio:
http://rapidshare.com/files/155614469/The_Nightmare_Factory_TPB__2007___SnipeIt-DCP_.cbr
U pitanju je naravno strip rađen po Tomasu Ligotiju, jednom od najcenjenijih savremenih horor pisaca (čijih sam par priča i ja čitao!!!). Izdavač je meni nepoznati Fox Atomic Comics, a adaptacije su radili Stuart Moore i Joe Harris, dok su među crtačima čak i vedete poput Bena Templesmitha i Michaela Gaydosa. Sken je radio naš čovek u DCP-ju, SnipeIt ali pošto se dugo nisam s njim dopisivao ne znam da li se vratio iz penzije ili je ovo skenirano još onomad a procurelo tek sada... Uglavnom, uživajte i kupite ga na papiru ako vam se svidi.
Evo jedne studije o kulturnoj politici koja je istovremeno i mala posveta Mehu K.
http://dobanevinosti.blogspot.com/2008/10/prozor-u-srbiju.html
Quote from: "Meho Krljic"Sken je radio naš čovek u DCP-ju, SnipeIt ali pošto se dugo nisam s njim dopisivao ne znam da li se vratio iz penzije ili je ovo skenirano još onomad a procurelo tek sada...
Ne znam ni da je
bio u penziji?!
Quote from: "zakk"Quote from: "Meho Krljic"Sken je radio naš čovek u DCP-ju, SnipeIt ali pošto se dugo nisam s njim dopisivao ne znam da li se vratio iz penzije ili je ovo skenirano još onomad a procurelo tek sada...
Ne znam ni da je bio u penziji?!
Pa, ja sam to zaključio po tome što je prestao da objavljuje nove skenove negde od pre godinu dana a zatim i pobrisao sve svje uploade koji su bili dostupni na javnim warez forumima. Moguće da je i dalje radio samo da je šerovao preko privatnih kanala...
Što se tiče Nika Belića, haha, već sam to pisao na više mesta, braća Houser se nisu preterano potrudila oko researcha, iako Niko ima relativno srpsko ime a majka mu piše na čistom srpskom, naglasak kojim on govori je ruski, brat od strica mu se zove Roman a lik koga Niko juri da ga izroka jer je bio deo ekipe u starom kraju, a zatim prodao jedinicu ustašama u zamenu za kold hard keš se zove Florijan.
Takođe, nigde u igri nije eksplicitno naglašeno da je Niko Srbin ali ovo je apsolutni konsenzus svetske igračke štampe. U nekim od ranih misija se on naravno sukobljava sa albanskim gangom u LC-ju, kojima Roman duguje neki keš...
Ali, ima i suprotnih primera, kao što sam gore na temi Soul Calibur IV spomenuo, nova Ubisoftova igra, Far Cry 2 omogućava igraču da igra kao jedan od deset različitih mersenerija, i jedan od njih je kosovski Albanac, bivši član OVK po imenu Josip!!!
Florijan se zvao Cvetko pa je internacionalizovao svoje ime kao Filip Cepter svojevremeno...
S obzirom da se preziva Cravic, odnosno Kravić, prosto ne znam šta da mislim... Cvetko Kravić mi deluje kao prekarikirano ime čak i za igru. S druge strane, ne, njegovo pravo ime jeste Florijan, jer je po dolasku u Ameriku promenio ime Florijan Kravić u Bernie Crane.
Kada Niko završi sa njim zvaće se DeFlorijan.
Zapravo... Evo spojlera, koga ne treba čitati ako mislite da će vam to pokvariti igranje:
Niko, kada konačno nađe Florijana, shvati da ovaj zapravo nije ništa kriv i ne samo da mu poštedi život, nego i postanu drugari. Florijan je pri tome homoseksualac i to baš onako, stereotipan, dakle, feminiziran i preosetljiv i bleskast i to je izvor nekih prilično hilerijs misija u drugoj polovini igre, recimo kad Niko kroz park juri nekakvog naci-skin gejbešera da mu objasni da ne treba da dira njegovog ortaka iz starog kraja.
Nego, evo kako se zapadni svet plaši nas muslimana. Ko se jednom o mlijeko opeče, i u jogurt duva, rekla bi poslovica:
http://www.eurogamer.net/article.php?article_id=262215
E, moj Soni...
QuoteQu'ran references force worldwide LittleBigPlanet recall
Sony has confirmed that it is delaying the release of LittleBigPlanet and recalling the game from retailers worldwide because it has identified "two expressions that can be found in the Qu'ran" in one of the background songs.
The publisher has told Eurogamer that this means every copy of the game currently with retail in the world will be recalled and replaced, and retailers have started notifying customers of the hold-up.
"During the review process prior to the release of LittleBigPlanet, it has been brought to our attention that one of the background music tracks licensed from a record label for use in the game contains two expressions that can be found in the Qur'an," Sony said in a short statement.
"We have taken immediate action to rectify this and we sincerely apologise for any offence that this may have caused."
According to an archived snapshot of a PlayStation.com forum post (thanks vg247), the offending phrases are in the first 30 seconds of the background music to the Swinging Safari level.
Sony has said that a new launch date for the game - previously due out on 24th October - will be announced shortly, amid retail speculation that the game will go out on 14th November.
Little Big Planet je inače trenutno ogroman Sonijev adut u konzolnom ratu, iako nije čak u pitanju ni first party igra...
I odličan tekst o svim apsurdima DRM-a na Eurogameru:
http://www.eurogamer.net/article.php?article_id=262157
Eto ti ga sad... Šteta, dobar je strip.
Universal picks up Umbrella Academy
Dark Horse and Universal Pictures are moving forward with an adaptation of Umbrella Academy, the Eisner Award-winning miniseries by Gerard Way and Gabriel Ba.
Way, who's best known as the front man for My Chemical Romance, told IESB this weekend that Universal has picked up the option — no surprise, as Dark Horse has a first-look deal with the studio — and now they're on the hunt for screenwriters and a director. Way named Alfonso Cuarón, director of Children of Men and Harry Potter and the Prisoner of Azkaban, as a favorite.
Apparently, Universal has suggested Diablo Cody (Juno) as a possible writer.
Tja, u decembarskom Edge-u (izlazi unapred):
-Dead Space: ocena 8
-Far Cry 2: 8
-Fable II: 9
-Little Big Planet: 10 (?!)
Mada mene Fable najviše zanima...
Kad smo već kod LittleBigPlanet: Jutros nisam mogao da spavam, pa... (http://cvecezla.mojblog.rs/p-nove-zrtve-u-konzolnom-ratu/142780.html)
A ovo za Umbrella Academy... zaista, šteta što će 'olivud i to da upropasti. Dobro, barem Way piše nove epizode...
Quote from: "Meho Krljic"Kad smo već kod LittleBigPlanet: Jutros nisam mogao da spavam, pa... (http://cvecezla.mojblog.rs/p-nove-zrtve-u-konzolnom-ratu/142780.html)
:cry:
Pa ne mogu da verujem da se Sony spustio toliko nisko. :lol:
No, ajde, cekacemo jos malo LBP. Lepo je sto ce moci da se igra s decom. Heh.
Dobro je da Sony misli i na najmlađe. Nermin bi sigurno negativno reagovao na citate iz Kurana.
Quote from: "ridiculus"Tja, u decembarskom Edge-u (izlazi unapred):
-Dead Space: ocena 8
-Far Cry 2: 8
-Fable II: 9
-Little Big Planet: 10 (?!)
Mada mene Fable najviše zanima...
Fable 2 ja do sada dobio vrlo dobre prikaze na Internetu, mada treba imati na umu da je Microsoft generalno odradio jako dobar PR za ovaj. No ako mu je Edge dao 9, to dosta znači. Evo prikaza sa gamespyja (http://xbox360.gamespy.com/xbox-360/fable-2/921728p1.html) koji čini da se nerviram što sam na poslu a ne kod kuće gde bih igrao Fable 2
Ako ti posao dozvoli, ja od 14h danas pričam na Novom Radio Beogradu, doduše kao gost.
$100,000 of unreleased games and DVDs stolen
An employee for game packaging firm Technicolor has been arrested and charged with the theft of nearly $100,000's worth of 360 games and DVDs for the purpose of selling on to the black market. The suspect was found to be harbouring nearly 100 copies of the unreleased Gears of War 2 and Fable 2.
Dozvoliće.
A ovo za GeoW2 i Fable 2, taj lik je suptilnu umetnost softverske piraterije unazadio za nekoliko decenija ovim potezom!!!
Quote from: "crippled_avenger"Ako ti posao dozvoli, ja od 14h danas pričam na Novom Radio Beogradu, doduše kao gost.
Ahhh, lepo je mada čudno čuti Marčela i Cripplea u istoj emisiji, makar Marčelo dolazio samo u vidu stare pesme VIP...
Wow, El Bahatee i to ne bilo koja pesma. :lol: Provokativno!!! Lako vam je sad da se 'určite kad su radikali zbog Tomine izdaje na kolenima!!
The head of the company that produces the Max Payne video games has joined the criticism of the movie based on the game. 3D Realms CEO Scott Miller told the video-game magazine Edge, "There are several fundamental story flaws ... in the film that have me shaking my head in bewilderment." Among them, he said, is the fact that Payne is seen in a flashback scene half way through the movie learning that his family has been murdered. Said Miller, "In the game, we put this scene right at the front of the story for a reason! Saving this scene until mid-film is a narrative blunder, because the audience needs to empathize with Max in order to like him and understand what drives him."
Whitestripes i Uroš Stojanović! Utorak, 21. oktobar 2008. 10:17
Reditelj filma "Čarlston za Ognjenku" Uroš Stojanović, nalazi se u Los Anđelesu gde je potpisao ugovor sa kompanijom "Sony Pictures" za snimanje filma "Night Fall" u kojem će igrati i Meg Vajt, pevačica popularnog benda White Stripes.
U filmu "Night Fall" jednu od glavnih uloga imaće popularna pevačica i bubnjarka benda White Stripes Meg Vajt. Ona je jedna od kultnih andergraund zvezda u Americi koja je do sada glumila u igranim filmovima "Kafa i cigarete" (2003), kao i u trileru "Desealer"(2006).
Scenario za film urađen je po popularnom stripu "Crne hronike" Forda Litla Gilmpora.Film govori o detektivu Mejsonu Bleku koji je član tajne organizacije "Nightwatch", koja se vekovima bori protiv demona i vampira, piše "Blic".
Organizacija "Nightwatch" nastala je u osmom veku kada je sklopljen tajni pakt Katoličke crkve sa demonskim bićima po nazivom "Pax Demonica". Međutim, u modernom svetu u mračnim kvartovima Nju Orleansa, grupice demona i vampira se više ne pridržavaju kodeksa iz osmog veka. Mejson Blek uz pomoć operativca Proteusa kreće da pronalazi vampire i da ih tamani.
Meg Vajt će glumiti ulogu vođe vampirskog klana, a glavna uloga u filmu namenjena je nekoj od velikih holivudskih zvezda i za sada se čuva u tajnosti - nezvanično su pominjana imena Vina Dizela i Danijela Krejga.
(MONDO)
vau :shock:
Радош Бајић
Ловац на јелене
Једва чекам дан кад ће Роберт де Ниро доћи у Београд
Мислим да сам имао десет година када сам први пут видео покретне слике. На галеријизадружног дома у мом селу, као рашрафљени круњач за кукуруз, вршљао је покретни биоскопски пројектор на фитиљ. Скоро ошишани до главе, јер коса боље расте акосе чешће шиша на нуларицу, ја и моји другови сељачки синови – задивљени и без трептаја – гледали смо Гарија Купера у филму ,,Јахали су на запад". Запањени и у страху, без гласа смо крили очи и повијали главе увек када би се топот америчке коњице помешао са крицима индијанских ономатопеја, да нас разјарени коњи протагониста правде не би погазили. Да не би директно са платна из пустоши прерије ујахали у хладну салетину задружног дома, коју само за Светог Саву греје велико кубе у ћошку и догрева врућа ракија коју из топлих тестија сипају наши очеви. Уплашени и уз вриску залежемо испод расклиматаних столица,док правда не учини своје, док Гари Купер не задене за појас свој колт, док у леву руку стрелом погођен заставник Куперове регименте, игноришући бол, десном не забоде заставу са звездицама насред спаљеног индијанског села.
Онда аплаудирамо из све снаге, срећни и радосни што правда побеђује. Као зле и лоше, више од Индијанаца само смо мрзели четнике који су, необазирући се што нам је окупатор узео слободу, јели гибаницу, силовали младе партизанке и ревносно сарађивали са фашистима,у филмовима које смо затим редовно гледали, најчешће око Дана Републике, рођендана друга Тита и других празника НОБ-а.
Дакле, као десетогодишњи дечак и невини гледалац филма ,,Јахали су на запад", први пут сам учествовао у превари. У дечачке ошишане главе, чисте и розикастекао недозреле лубенице, утувљена нам је прва лаж о добрим и лошим момцима, о слободи која се осваја тако што се другима бесомучно отима, о америчкој правди иза које остајепустош, о праву да јачи и силнији одлучи како ћемо да живимо, ком Богу ћемо се молити ишта ћемо да кувамо за недељни ручак. Као вакцинисани пилићи, убрзано и успешно смо се примили на причу.
Били смо голобраде пубертетлије што се код содаџија, који су насеоским саборима продавали клакере и оранжаде, распитују за ,,кока колу". Кад смо зајмили фармерице ,,супер-рифле" за прве љубавне састанке били смо бубуљичави средњошколци,са амбицијама да сви личимо на Дока Холидеја или Вајата Ерпа. Без обзира на то што смо расли и стасали под комунистичким кишобраном чија дршка је била забодена у Кремљу, нико није помишљао да се чешља као Чапајев. Са мудро смишљеном бајком давно пре Си-Ен-Ена, да тамо, веома далеко, преко огромне воде постоји велика држава правде и слободе – успављиване су многе генерације, опседнуте илузијом америчког сна. Ни каостуденти нисмо разумели од чега је тако млада умрла Мерилин Монро, а још мање за шта се Американци боре у Вијетнаму.
Тек када смо видели Де Нира у ,,Ловцу на јелене" – почели смо да се освешћујемо, или још тачније, почело је да нам бива јасно да дуван није јединозло које нам је дошло са те стране света.
Кад смо код Де Нира, лепо је било видети, макар по мом суду, највећегфилмског глумца на свету како у Њујорку седи са нашим председником Тадићем. Нисамвидео шта су пили, али сам видео да су се искрено осмехивали. И сам сам из те струке паумем да препознам кад неко фолира. Сваки Србин се тог тренутка осећао важно и лепо.Де Ниро је искрено и најлепше говорио о српском народу, о Ђоковићу, свом боравку уСрбији, пре много година, кад је био млад. Рекао је да ће поново доћи у Београд. Боже,једва чекам тај дан. Када ,,Ловац на јелене", који је у међувремену постао синоним америчке савести и покајања, буде крочио на српску земљу – у свој својој грандиозности и једноставности, као велики човек добре воље и широког осмеха – сви они који носеамерички пасош, кога нису ни показивали док су ногом отварали врата Србије, с предлозима чије је одбијање било кажњиво – биће постиђени. Поготово они чије би биографије биле непознате да нису постали ,,важнина кило", због ко зна колико тона бомби изручених на Србију.
Тешко ми је да нађем одговор на питање: због чега нисмо по вољи Американцима?Шта им то смета у нашој стварности, а шта би да промене у српској историји? Чиме смо се тозамерили најмоћнијој земљи која је ових дана убризгала седам стотина милијарди долара у свој грипозни џиновски финансијски организам? Због чега тако силни искаљујусвој бес над Србима и ударају рампу сваком покушају наше државе да мирним,цивилизованом и демократским средствима докажемо свету да имамо право на живот, и на Косово,на којем сумноги манастири и српске светиње неколико стотина година старије од њихових сједињених држава?
Ако је Милошевић гурнуо на ивицу амбиса српски народ у доброј мери због тога што, усвојој крутости и надмености без покрића, није умео са Холбруком – да ли је истина да сунас Шиптари посрамили у рату и победили за дипломатским столом само због тога што нисмоимали лепшег Србина од Хашима Тачија, који би задовољио одоцнелу похоту једне моћне америчке леди, чије име нећу да кажем, а која је давно пре, као дете, летовала у Врњачкој Бањи?
Шта данас треба да уради Србија? Шта треба да чини најмлађи дипломата, наш министарВук, међу вуковима светске дипломатије који се рукују по пола сата и сликају својепорцуланске зубе, пре него што било шта проговоре? Шта више и шта још треба да уради нашпредседник Борис, упоран, достојанствен и макар најлепши од свих који су гапоследњих недеља гледали, а верујем и слушали како на српском језику говори у мермерној сали Уједињених нација?
Уз дужно поштовање према неспорним вредностима и тековинама слободе мисли иговора које проповеда Америка – верујем да себи не дајем превелики и незаслужени значај, те ваљда немам разлога да стрепим да ћу некада, када будем стао у ред заамеричку визу, због овде реченог, да будем одбијен. Ако се то деси – ништа за то.Де Ниро је ионако најавиода долази у Србију.
Радош Бајић
[објављено: 13/10/2008]
Quote from: "Meho Krljic"Quote from: "zakk"Quote from: "Meho Krljic"Sken je radio naš čovek u DCP-ju, SnipeIt ali pošto se dugo nisam s njim dopisivao ne znam da li se vratio iz penzije ili je ovo skenirano još onomad a procurelo tek sada...
Ne znam ni da je bio u penziji?!
Pa, ja sam to zaključio po tome što je prestao da objavljuje nove skenove negde od pre godinu dana a zatim i pobrisao sve svje uploade koji su bili dostupni na javnim warez forumima. Moguće da je i dalje radio samo da je šerovao preko privatnih kanala...
Ajd da razjasnim, nisam otisao u penziju, nego sam privremeno odustao od skeniranja, imao sam nekih problema sa kicmom, i prekomernom kilazom.U to vreme je i krenula hajka Marvel-a na DCP, pa sam se povukao na neko vreme. Posle toga sam celo leto radio i nisam stigao da pridjem kompu, pa je tako proslo godinu dana. U medjuvremenu sam zalegao na neku zdravu hranu, smrsao 20 kila i sredio ledja, pa sam se sad vratio punom parom na skeniranje.(i ne, nisam nista radio tih godinu dana, niti sam negde bio aktivan) Uploade nisam pobrisao, nego je u to vreme (jos jedan razlog sto mi se sve smucilo) rapidshare proglasio da svi account-i koji imaju preko ne znam ni ti ni ja koliko gb upload-a su pod posebnim rezimom bla bla, tako da sam pustio da istekne , i da se ugase svi ti uploadovi (dobro sad, i ja sam malo preterao, bilo je 200+gb uploadovano hehe) a nekih 6 meseci pre toga mi je isto tako propalo 60gb uploada, kada je rapidshare ugasio takoreci .de domen i presao na .com. Soim toga da budem iskren i malo sam bio prezasicen skeniranja, jer kako koju knjigu dohvatim da radim, ona ima uvek nekako 150-250 strana, i smorim se kao lav dok je zavrsim. Pre neki dan sam imao malu proslavu, 100-i sken, i izracunao sam da tu ima 8000+ skeniranih strana, pa vi racunajte prosek 8)
u toku je prebacivanje svih mojih radova na mediafire, pa cu se javiti kad zavrsim, ako vas interesuje naravno ... :wink:
Evo, Meho. Ti samo spomeneš čoveka, ja ti ga odmah dovedem na forum. :lol:
SnipeIt, okači sliku ako te ne mrzi i dobrodošao.
Kaku bre crnu sliku :shock:
Pozdrav čika Snajpu :wink:
QuoteIn 1986, tattooed jack-of-all-everything "Beat" Takeshi directed a game called Takeshi no Chousenjou (Takeshi's Challenge). It was, from design to execution, utter punishment for any gamer determined enough to attempt the grind. The challenges were thinly-veiled jokes. You'd have to hold down a button for hours, or leave the controller untouched for an hour. You'd have to sing into the controller for an hour . . . or hit a final boss a mind-numbing twenty thousand times.
In 1995-ish, Absolute Entertainment failed to release Penn and Teller's Smoke and Mirrors, because they went out of business trying to meet Penn Jillette's daily catering demands. A complete build of the title still thrives in BitTorrent form, largely for the included minigame Desert Bus. The game put you in the driver's seat of a 45-mph bus from Arizona to Las Vegas -- a straight, flat burn though the middle of absolutely nothing. The trip took eight hours . . . in real time. The bus pulled to one side a bit, so it was impossible to just tape down a button and walk away; you just had to sit there, steer occasionally, and wait. And wait. After 8 hours, you received one (1) point, and had the option of turning around and going back. For another 8 hours. And another point.
In 2005, D3 and Sony released Baito Hell 2000 (Work Time Fun, US title). This collection of mindless tasks challenged gamers to . . . well, to play them, I guess, for as long as they could stand to punch the buttons. The player had to separate baby chicks into bins, or chop wood, or not drive over a cliff. Or, most infamously, put the caps on pens at a pen factory: pen after pen after pen after pen after pen after pen.
Svašta čovek može da pročita, na sajtu insert credit (http://www.insertcredit.com) pogotovo. :lol: :lol: :lol:
Quote from: "DušMan"Evo, Meho. Ti samo spomeneš čoveka, ja ti ga odmah dovedem na forum. :lol:
SnipeIt, okači sliku ako te ne mrzi i dobrodošao.
Evo slikica :
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg139.imageshack.us%2Fimg139%2F3637%2Fdushmanijagx6.jpg&hash=0f32c6a4efe50f091434db94fd17bdd035bb2139)
Jes da nisam veliki obozavatelj zagora, al nema veze :P
BOlje vas nasao :)
btw pozdrav zakk ...
Dushmane, resili smo uspesno ono za hub :)
Danas sam se nakupovao stripova, sad mi fali jos MM105 da kompletiram dnevnikov MM :))
jebote, dušmane, ne znam dal je više gay ta majica na tebi, taj poster i sadržaj na njemu koji držiš, taj gej osmeh ili opšti govor tela, tj poza u kojoj stojiš (o zagrljaju sa ovim drugarom da ne govorim).
naravno, ovim nikako ne impliciram da ima nešto loše u tome, samo primećujem.
8)
Quote from: "SnipeIt-DCP"btw pozdrav zakk ...
LOL! Bre, Snajpe, al si smršao! Ne bih te poznao bez teškoća :D
@ghoul
http://www.youtube.com/watch?v=p_81l4DXlwM
Rispekt za Snajpa!!! I, nekako, ako možeš, kad skeniraš, skeniraj nekako sporijim tempom, opuštenije. Kad sam video one avanture od po dvadeset sati skeniranja u cugu, pomislio sam 'ovaj bre neće dugo'.
Nego, er, mediafire??? Dođavola.......... Moraću sve tvoje skenove da mirorujem na repidu onda... Hvala u ime Ghoula i ostalih poštovalaca Ligotija za Nightmare Factory!!!
Inače, ovo za Takeshija je okultno, a ovo Bajićevo je... ne znam, mega okultno?
Plus, de ja da nađem tu okultnu DCP majicu?
Heh, simpatično:
http://www.eurogamer.net/article.php?article_id=264884
QuoteHelp save videogames from extinction
The newly-formed National Videogame Archive wants your help deciding which old videogames to save and present to future generations as historical and cultural landmarks.
This Save the Videogame campaign launches at Nottingham's GameCity Three festival, which takes place next week, from 30th October to 1st November.
Here, revellers will be invited to star in short video clips pledging support for their favourite games. Some developers have already done so on the Save the Videogame website, and a showreel of theirs and other industry pledges will be shown on the day.
Plus, there's loads of other stuff to do at GameCity, and it falls conveniently after the Eurogamer Expo.
The National Videogame Archive itself, formed in September, aims to collect any and all old game paraphernalia (as well as the games themselves), including box art, instruction manuals, fan art, walkthroughs, cosplay, superplay performances, speedruns, mods and more.
The NVA hopes we don't make the same mistakes that led to the loss of so many early examples of film, TV and music.
My name is Eurogamer, and I'm pledging my support to Save the Videogame.
Cracked je uradio research umesto vas:
9 Foreign Rip-Offs Cooler Than The Hollywood Originals (http://www.cracked.com/article_16704_9-foreign-rip-offs-cooler-than-hollywood-originals.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fcdn-i.dmdentertainment.com%2Ffunpages%2Fcms_content%2F16704%2Fripoffs_large.jpg&hash=9b354af129dc7b18f83320b41c3740dc785eb61b)
Već sami opisi filmova su urnebesni, a klipovi su gotovo nepodnošljivo zabavni.
Edit: od svih filmova sa spiska imam samo poslednji (hvala Ghoulu!) pa ako neko poseduje neke od ostalih, nek se javi!!!!
Quote from: "Meho Krljic"Plus, de ja da nađem tu okultnu DCP majicu?
To sam sebe castio za 100-i sken :) Za 200-i ce sledeca da ima moj najnoviji tag, i ovako da izgleda :
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg377.imageshack.us%2Fimg377%2F7540%2Fsnipeit03ql3.jpg&hash=8c028ea08e5489a29efd7e41c6f9b8540488460b)
@Ghoul ...
Quote from: "Ghoul"... ne znam dal je više gay ta majica na tebi, taj poster i sadržaj na njemu koji držiš, taj gej osmeh ili opšti govor tela, tj poza u kojoj stojiš (o zagrljaju sa ovim drugarom da ne govorim).
naravno, ovim nikako ne impliciram da ima nešto loše u tome, samo primećujem.
8)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.dejanognjanovic.com%2Fimages%2Fstories%2Feasygallery%2F17%2F1210848511_ghoul%2520i%2520vanja%2520cankovic.jpg&hash=22b66e1d0c12dc37c09330f00f4c35c61498ac07) >>> rekao si ?
ovo tendenciozno poredjenje bi bilo smešno da nije blatantno očigledno da svaka sličnost prestaje sa činjenicom da i tamo i ovde neko stoji s posterom ispred sebe.
i to je sve.
porediti plakat ZAGORA :x :x :x sa (potpisanim i lično posvećenim) posterom PHENOMENE, te ovaj muževni džemper, mačo pozu i čelični pogled u mračnu budućnost sa... ONIM gore... ma i'te molim vas! :roll:
8)
Kakva si ti seljacina, jebote ahahaha
I Šupak Takur dobija spomenik u Srbiji?
Posle boksera Rokija, odnosno glumca Silvestera Stalonea i jamajčanskog rege muzičara Boba Marlija, Srbija bi uskoro mogla da dobije još jedan spomenik posvećen poznatoj ličnosti iz sveta muzike.
Na mejl redakcije MONDA u četvrtak je poslato obavaveštenje o pokretanju inicijative za podizanje spomenika američkom reperu i glumcu Tupak Šakuru u Marinkovoj bari u beogradskoj opštini Voždovac.
Tupak Amaru Šakur (Tupac Amaru Shakur) bio je reper i glumac koji je ubijen u svojoj 25. godini u septembru 1996. godine. Iako je od njegovog ubistva prošlo više od jedne decenije, ostao je reper sa najviše prodatih albuma u istoriji ove vrste muzike - 44,5 miliona prodatih originalnih albuma u SAD.
Većina njegovih pesama govori o odrastanju u nasilju i siromaštvu geta, rasizmom kao i problemima koji nastaju posle oružanih sukoba.
Inicijativu za podizanje spomenika pokrenulo je udruženje obožavalaca hip hop muzike "Rad i vizija" (www.radivizija.com). U odboru za pokretanje inicijative biće predstavnici Roma iz Marinkove bare, a želja je da u njemu učestvuju i etablirani muzičari, poput Caneta iz Partibrejkersa, Ajs Nigrutina, Džeja Ramadanovskog...
Glavna ideja pokretača inicijative je da ukažu na loš položaj Roma u društvu i skretanje pažnje mladima da ulica nije "zdravo" mesto za život i razvoj.
"Podizanjem spomenika Tupak Šakuru želimo da promovišemo romsku populaciju koja pretežno nastanjuje Marinkovu baru. Većina omladine, koja živi u ovom naselju, usmerena je u svom muzičkom opredeljenju na rep muziku. Spomenik ovom umetniku ubijenom u obračunu kriminalnih grupacija crne populacije Amerike treba da utiče na njihovu svest i ukaže pažnju na nedostatke u njihovom odrastanju. Moramo prikazati da je njihov život daleko od ulica izmišljenog 'geta' koji su videli u filmovima holivudske produkcije. Uspeh u životu romska deca mogu potražiti prolazeci kroz život drugim putevima. Treba im to omoguciti jer na to imaju svoje pravo", piše u saopštenju.
"Smatramo da spomenik Tupak Šakuru može da predstavlja opomenu kako ulični život ima malu cenu. Sigurni smo da ce naša inicijativa naići na oduševljenje mlade populacije Roma, pogotovo danas kada i oni sami počinju da prave hip hop pesme i igraju uz zvuke ove muzike", dodaje se u saopštenju.
Quote from: "Ghoul"jebote, dušmane, ne znam dal je više gay ta majica na tebi, taj poster i sadržaj na njemu koji držiš, taj gej osmeh ili opšti govor tela, tj poza u kojoj stojiš (o zagrljaju sa ovim drugarom da ne govorim).
naravno, ovim nikako ne impliciram da ima nešto loše u tome, samo primećujem.
8)
Ja sam oličenje muževnosti i heteroseksualizma i teško da na meni može bilo šta da bude gej.
Meho, ova slika je zanimljiva (osim sa aspekta reklamiranja Zagora) zbog toga što plavuša iza mog desnog ramena igra Wii, za koji mogu da zasednu svi radi prolaznici.
Danas sam se i ja okušao u nekom tenisu i mahao na sve strane kao mlad majmun... i dopustio sebi da me ista ova plavuša pobedi. Twice. 8)
Quote from: "Meho Krljic"Heh, simpatično:
http://www.eurogamer.net/article.php?article_id=264884
QuoteHelp save videogames from extinction
The newly-formed National Videogame Archive wants your help deciding which old videogames to save and present to future generations as historical and cultural landmarks.
This Save the Videogame campaign launches at Nottingham's GameCity Three festival, which takes place next week, from 30th October to 1st November.
Here, revellers will be invited to star in short video clips pledging support for their favourite games. Some developers have already done so on the Save the Videogame website, and a showreel of theirs and other industry pledges will be shown on the day.
Plus, there's loads of other stuff to do at GameCity, and it falls conveniently after the Eurogamer Expo.
The National Videogame Archive itself, formed in September, aims to collect any and all old game paraphernalia (as well as the games themselves), including box art, instruction manuals, fan art, walkthroughs, cosplay, superplay performances, speedruns, mods and more.
The NVA hopes we don't make the same mistakes that led to the loss of so many early examples of film, TV and music.
My name is Eurogamer, and I'm pledging my support to Save the Videogame.
Lepo, mada se ja ne bojim da će išta od tog materijala nestati. Toliko ima tih izložbi. Čak je i MAME nastao kao pokušaj arhiviranja svih arkadnih igara. Mada lično ne bih voleo da neke igre završe samo kao muzejski primerci.
Inače, bilo bi lepo kada bi Game On (http://en.wikipedia.org/wiki/Game_On) izložba došla i u ovu zemlju.
Muxlim Plans Muslim Virtual World
Muxlim, the world's premier Muslim social networking site, plans to create a Second Life-style virtual world focusing on the ancient religion.
The unnamed virtual world is set to launch in "4 to 6 weeks" and aims to offer Muslim gamers standard social networking features in a realm that won't be censored by the notoriously stringent internet filters found in many Middle Eastern countries.
Ashar Saeed, vice president of Muxlim.com, hopes that by launching a social networking sandbox tailored to the more than one billion Muslims throughout the world large companies such as Coca-Cola can be convinced to spend some of their vast marketing cash on advertising to this vast, yet nearly untapped cultural segment.
Izvor: Wired.com, Game | Life blog
Konačno virtuelni svijet u kome ću moći da se osećam kao kod kuće!!!!!*
*uplašeno, prezreno i nevoljeno :cry:
A Japanese woman has been arrested for reportedly killing her character's virtual husband after learning that he had suddenly divorced her.
Police reports explain that after booting up the 2D MMORPG Maplestory, the 43-year-old was shocked and angered at finding her virtual husband had divorced her. With no virtual plates to smash against the wall, the woman instead elected to log-in as the husband and completely delete his account. It is this illegal log-in that the police have reportedly based their arrest and suspicion on.
Today the woman is in jail in the northern city of Japan, Sapporo, though she has not been charged yet. If a charge is put forward she will face up to five years of imprisonment.
The woman in question was a piano teacher. The deceased is a 33-year-old office worker.
Izvor:
http://www.edge-online.com/news/woman-jailed-virtual-murder
Fan sam ti fan si mi
Po forumima je prvo počelo da se priča o Lolobrigidi, hrvatskom bendu. Mislim da je bio forum Znak Sagite. Tamo se, pre ili kasnije, neke stvari proglase za gilti pležr, za fetiš. Dakle, objavljuješ da nešto gledaš il slušaš krišom. To je gilti pležr. Zatezanje uzdi svojim sopstvenim željama, jedna neizlečiva svest o mejnstrimu kom se potajno divi tj. javno objavljuje da se potajno drka posebno kvalifikuje čoveka u red fanova alternativaca. Što više duplih standarda imaš to si veća faca, to si komplikovanija osoba. Transparentni zajebant profesionalno je zanimanje u ovoj klovnijadi odevanja maminih haljina. Što si linearniji u zastupanju nekih svojih stavova, il čega god što te se tiče, to si veći magarac. Nekako si, brate, staromodan. Zadrt al nezanimljivo zadrt. Nisi alternativac. Alternativac podrazumeva da živiš u udobnom stanu, imaš na pretek da jedeš, studiraš, al pored svega toga stižeš da misliš i ono što ne misliš. Da si u stanju svojim alternativnim mozgom da obuhvatiš šta ti sam misliš, da to onda lepo zaboraviš, ako dotle i stigneš, te da onda čekiraš sve aktuelne teme, spram njih se odrediš po mogućstvu što šire to bolje i onda zavoliš bendove koji se sprdaju i sa tim tvojim ušminkanim stavom. Takoreći, alternativa si ako stigneš da se presvučeš tako da niko ne može da te uhvati ni za glavu ni za rep. Sa sobom kontakt nemaš, ne određuješ se, naprosto nosiš roze čarape, tvdriš da je gej okej, pevkaš tako stiskajući debelo crevo da se ne daj bože, nasred vašara ne rasprsne salvom konkretnih govana od svega što si vrlo konkretno svario. Alternativa si ako zaboraviš na to odakle si i šta si i pristaneš na jedan sveprisutni cirkus izvrtanja radi izvrtanja za publiku koju ionako za sve zabole jer joj je sve obezbeđeno, a za ostalo se sama pobrinula, par sati pre koncerta. Glumatanje razbibrige i jednog nonšalantnog odnosa prema svemu, gde je apsolutno anahrono i nesuvislo pokazati da ti je stalo do bilo čega osim do dobre zabave. E to su Lolobrigida.
Na ZS-u se okupljaju mahom fini momci (kažem momci jer je žena manje, a i kad se pojave, pre ili kasnije se ispostavi da je reč o nekom od već prisutnih momaka koji se prepušio u ženski nik da podjebava ostale, pikirajući baš na one fantazije koje je taj drugi izneo ranije). Dakle, fini momci se tamo okupljaju, onako umetnici, alternativci koji prave svoje filmove, udobno zavaljeni u svoje gradske stančiće, to se montira, to se piskara, to sve pršti od ideja. Ne bi li se ovo plasiralo, nastadoše i festvali, institucije. Fanovske dakako. Alternativne, naravno i razume se. I svoju muziku, svoje stripove i svoja predavanja na teme filmova, knjiga i muzike onih drugih fanova. Iz fanovske ljubavi. Rođačke takoreći. I to je alternativa samo zato što nije u srodstvu sa ovom drugom, jačom, zvaničnom porodicom filmadžija koja je stigla da se krvno poveže sa političarima. Al se uporno traga i za tom vrstom transplantacije tkiva. Takoreći, fanbaza gde jedno drugom drka i draška jaja sve u šesnaest, dok se onako fanovski ne svrši.
Ima i sukoba, naizgled iz ubeđenja i neslaganja idejnih, al ponajviše iz sujete. Poslo sam ti moj novi roman, priču i strip al mi nisi izdrkao kako valja, već me ostavio onako dopola završenog i sad ću na tebe da ospem fanovsku artiljeriju preostale fanovske žgadije. Ne samo to, nego ću da pokrenem svoj personalni sajt gde ću se apsolutno dokazati i gde nećeš moći da mi soliš pamet jer sam tamo ja svoj administrator, pa ću da ti brišem postove.
Meni je ova fanovština bila baš zanimljiva. Stalno se nešto dešava. Nekad napolju nema ama baš ništa, al kad otvoriš tu stranicu stalno neko nekom jebe mater, banuje ga, upozorava ga dokle je došo i da je preterao ama baš ovaj put i da ga neće biti u Zborniku sa ostalim pravovernim fanovima za ovu godinu broj 106. Ama, ni strip ti neće objaviti, pa ti vidi kud ćeš van alternativne scene. Biće strip, biće prikaz, biće svega, al ti si ga ispušio. Pa, onda ide kako Mika ne može da se druži sa Perom, jer je Pera onomad uvredio Đoku, iako je Đoka izdrkao baš žešće jak fanovski pristup u kom isporučuje da je Arđento isporučio...a Đoka ne da na sebe pa traži od Mike da, ako hoće da ostane dobar sa njim i pojavi se u Zborniku i na Tribini o godišnjici Lavkrafta, Balarda, odjebe Peru. Peri su dosta drkali. Naizgled, simpatična jedna grupa zaluđenika i zaljubljenika. Unutra, zaozbiljno sujeta i hijerarhija ko na svakom drugom mestu.
I onda ide njihova scena. To je lavirint jedan koji, kad se u njega zađe, preti da proguta čoveka sa sve kostima. A fanovski otpad je najposećenije mesto od strane živih fanova. Čak je i ono fetišizovano i služi na čast, kao neki humus fanovske baze.
Sve sam ovo počela da pišem, u stvari, zbog Lolobrigide. Bend za koji sam saznala na Znaku Sagite. Ko i obično, kad se probiješ kroz lavirint "ja ovo mislim, ali u stvari ne mislim, ali sam svestan da drugi misle pa ću da mislim kontra" bla bla prenemaganja, dođeš do toga da je Lolobrigida neobično omiljena u krugu gradskih alternativaca koji nekako uspevaju u glavama da odvoje ono što stvarno misle o nečemu (ako uopšte misle) od onoga što bi, ako izreknu da misle, moglo da zazvuči baš do jaja. Pozerčine jednom rečju. Cinično, smehotresno, zabavno, što manje lično, al da ima lični pečat na kom radiš danonoćno. Prihvatili su Lolobrigidu ovi gradski, fini momci. Zašto? Pa, zato što su ove ženskice zajebanti koji se sprdaju sa seksom koji ovi ionako ne upražnjavaju il ga upražnjavaju sa svojim regularnim ribama il venčanim suprugama, zato što ovim kulturnim radnicima i krajnje pravovernim, ničim uznemirenim građanima i radnicima Unicefa, alternativcima na Sorošovoj plati i ostalima, pevaju na uvce iz bezbednog alternativnog zabrana o gejevima, kurvama i partijima dajući im utisak da su sami do te mere slobodoumni, kontroverzni, do te mere da im se sve te slobode naprosto rimuju u ušima i glavama. Oni kojima je provokacija upućena nekako su završili u drugoj pregradi društva do koje ovaj kabare i pijanka do zore ni ne dopire. Takoreći, jebanje s kondomom. Sterlisina i dekorisana provokacija u rukavicama kakvoj nas je podučila još poodavno i Isidora Bjelica i Maja Uzelac. Ta koja polazi od onoga da smo svi zatucana masa jedna kojoj treba dobra seksualna provokacija o kakvoj je Makavejev pričao pre kolko godina, žene koje veruju da treba nekom da se dokazuju. I sve one se nekako slično oblače. Ko da smo mi moroni, pa samo one imaju hrabrosti da nose osnovne boje. Time nas oslobađaju i provociraju, a možda i poručuju da smo daltonisti za život u globalu, pa samo one razluju boje. A, poenta je u tome da je reč o dogovoru: mi vama dlakav jezik, vi nama publicitet. I mirna Bačka. To što kažemo otvoreno da ga želimo, da se na nas ložite, samo nas čini još zajebanijima. Cinični smo do koske. Alternativa je postala najpragmatičnije polje. U tome je njena jedina snaga. Da druge nema, moguće je videti u Ukusu poznatih Popboksa, gde sere Uroš Đurić. Tu se jasno vidi kolko se mišljenje zasniva na sledećem redosledu: ja znam da vi znate da ja znam i zato vam neću reći. Bolje, brate, onda ćuti. Ako smo te već predvideli i ako ti misliš da smo te predvideli, to što ćeš to saopštiti naglas ne čini te ni malo zanimljivijim. I to što ti misliš da je pošto poto bitno biti zanimljiv, a ne sadržajan i to što se gradiš spram toga samo pokazuje kolko si slab. A, alternativa je postala zabran za one koji naprosto nemaju šta da kažu, već stalno grade svoju svest pretpostavljajući neku glad za njima. Bavite se nečim mesto što stalno reagujete na očekivanja.
Za sve to vreme, ta zajebancija što se izdaje za alternativu stvara neku svoju scenu na kojoj će i oni koji jesu gej al to ne smeju da kažu jer ne znaju kako će im najbliži prijatelji reagovati, pevati ove stihove. Normalci koji se pretvaraju da im je okej biti gej, naprosto profitiraju od glasina dal su njih dve lezbejke ili nisu. I onda čaršija šuška, loži se, tračari, drka. Alternativa je postala mesto lažne napetosti, izrežirani nastup sa nameštenim ispadanjem sisa iz korseta na koje se ispušta jedno betibupovsko "ups".
Poenta je u tome što ovakva alternativa zapravo čoveka onesposobljava. Praveći se da ga zavodi i šokira, u stvari mu nudi šarenu lažu i čini da te bude nekako sramota ako imaš konkretno mišljenje o nečemu što smo se mi, alternativci, dogovorili da je okej.
www.nasdvoje.mojblog.com
pitam se, pitam, zasto je ovo okacheno bash na ovaj topik.
u svakom slucaju, nadasve pronicljiv text kome cu se vratiti cim budem imao vremena da mu posvetim potrebnu paznju za deciphering neophodan za puni ugodjaj.
Mene je razočarala činjenica što se nisam prepoznao ni u jednom delu teksta, a taman sam se ponadao da će neko i na mene da obrati pažnju.
:cry:
Pa zbog tolikog pominjanja drkanja...
:lol: :lol: :lol: Mene uvek loži kada žene prićaju o drkanju, makar i metaforičkom. S druge strane, da sam ovo pročitao pre Petka stideo bih se da sedim u kafani pored Otaku :oops: :oops: To su ti dupli standardi koje ona spominje u tekstu.
a bre, jel ima neko da ne bloguje? svako malo otkrijem da neko koga znam ima blog već dve ipo godine...
Zanimljivo da ti postavljaš to pitanje, gde se ode kad se klikne na www u tvom postu? :lol:
Ali, da, i ja malo-malo pa naiđem na blog nekoga koga znam.
Quote from: "zakk"a bre, jel ima neko da ne bloguje?
Ima, evo ja. Doduše, povremeno tupim u komentarima na tuđim blogovima (tri, da budem precizniji), ali to je to...
Quote from: "Milosh"Quote from: "zakk"a bre, jel ima neko da ne bloguje?
ja ne blogujem, ja sajtujem.
blogovi me ne privlače (sem kad imaju rapidšer linkove za mjuz i filmove!), a majspejsovi i fejsbukovi su mi skroz naskroz truli i ne idem na to sranje UOPŠTE.
Quote from: "Ghoul"Quote from: "Milosh"Quote from: "zakk"a bre, jel ima neko da ne bloguje?
ja ne blogujem, ja sajtujem.
blogovi me ne privlače (sem kad imaju rapidšer linkove za mjuz i filmove!), a majspejsovi i fejsbukovi su mi skroz naskroz truli i ne idem na to sranje UOPŠTE.
Ali si neposredno priznao da imas nalog ! :evil:
Quote from: "Shozo Hirono"Ali si neposredno priznao da imas nalog ! :evil:
ne znam o čemu govoriš.
Quote from: "Ghoul"Quote from: "Shozo Hirono"Ali si neposredno priznao da imas nalog ! :evil:
ne znam o čemu govoriš.
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Quote from: "Meho Krljic":lol: :lol: :lol: Mene uvek loži kada žene prićaju o drkanju, makar i metaforičkom. S druge strane, da sam ovo pročitao pre Petka stideo bih se da sedim u kafani pored Otaku :oops: :oops: To su ti dupli standardi koje ona spominje u tekstu.
a šta je trebalo da uradi – da neće da ti pružu ruku, ko kunac meni na promociji KADROVA, zbog svega što sam mu uradio?
ipak je ona, za razliku od kunca – dama!
nego, pročitah sad ovo by otaku natenane.
pa, rekao bih da je oko 70% toga pogođeno –što bi se u moje selo reklo, 'ko ćorav s prs u dupe'- a 30ak % kao da je piso neko drugi, neko ko je vrlo malo i vrlo površno zagledao u forum ZS.
čitava ta deonica o 'ja tebi ti meni', to kao da neko šalje knjigu nekom, pa ovaj neće da je prikaže, pa mu ovaj za kaznu neće objavi štagod, pa pokrene svoj forum pa mu zabrani pristup pa tamte-vamte... to je puko maštanje i naklapanje, ja takvo što ne primetih ovde za šes godina bazanja po ovom forumu. taj deo texta kao da je piso neki 'tragač' il tako neka površna budala koja je provela sat-dva čitajući nasumice postove (uključujući deponiju) i onda sve to povezala.
što se tiče analize alternative i alternativaca, rekao bih da je to SPOT ON, potpuno bullseye, posred srede. to je TO!
mislim, pogodila je u principu, nevezano za konkretne grupe (tu lolobriđidu nit sam slušo nit želim, ali znajući ko voli da ih sluša, verujem da ih je otaku POGODILA skroz) il pojedince (mehu, dušmana, dimba, gingerkunca, mene...).
Tu Lolobridjidu, pretpostavljam, u kucnim uvjetima mogu da slusaju samo djeca, onako u ranom tinejdzu, i to curice...
Quote from: "David"Tu Lolobridjidu, pretpostavljam, u kucnim uvjetima mogu da slusaju samo djeca, onako u ranom tinejdzu, i to curice...
dušman bi mogo da prođe kao tinejdž, a možda i kao curica, kad bi depilirao svoja dlakava leđa!
Pa, OK, to i jeste mozda bend idealan za kolektivno pijancenje i partijanje, a ti si u ran-ranim 20-im (nemam pojma za Dusana koje je on godiste, ali, sudeci po fotografijama, pretpostavljam da sam ga pravilno dobno ushico).
To sto si ti sada vec star za takve bendove (mozda i uopste za veselicu-partijanje), a ja prestar, to je vec nas problem...
Sve sto znam o Lolobridjidi je da imaju pesmu pod nazivom Moj decko je gej. Sto je najbojli naziv za pesmu koji sam odavno cuo, tako da sam zakljucio da su oni nesto mnogo kul. Sad jos samo da se nakanim i poslusam taj nesumnjivi hit.
Da se vratim malo onom blogu, koga juce malo uzduzh-poprecno prelistah i nesto iz njega i procitah, uz ogradu da ovo sto slijedi ne sadrzi imalo resentimenta prema Otakinom pisanju o ZS, jer se ni ja u njemu ne mogu naci, ni zere (sto bi rekli):
ona i OK pise (ne mislim pri tom na ovo komentarisanje ZS-kolegijuma, nego na ostale blogovske tekstove; svakom njegovo, vec prema ukusima), ali ono sto druga polovica NjihDvoje pise, izuzev njegovih muzickih preporuka, jer je i on tu OK, pa to zaista granici sa imbecilnoscu - procitajte samo onu njegovu apologiju Chorbe od Bore, zatim obrusavanje na Bazdulja i Borisa Dezulovica, jos neke quasi-patriotske tirade, pa to je stvaaarno (ali stvarno!) prestrasno glupo i maliciozno (ova zloca se odnosi na Bazdulja i Dezulovica).
Ko je taj decko, ima li i on nekakvu "funkciju" u kulturnjackom ili medijskom zivotu Bg-a?
Pih, razocaran sam.
http://www.youtube.com/watch?v=BJYnPXfioQ8
Nije dovoljno kemp da bi je moja latentno homoseksualna/alternativna strana prihvatila kao validno sredstvo odrzavanja protivteze konzervativno-machistckom vepru koji takodje lezi u meni.
To je ta balkanska inachica Chicks on Speed i Peaches electro-clash/electro-pop queerovanja, doduse vise zajebantskija, partijanerskija od zapadne varijante, kako ja shvatih.
I to je OK, to da - ima svega!
Quote from: "Ghoul"Quote from: "Meho Krljic":lol: :lol: :lol: Mene uvek loži kada žene prićaju o drkanju, makar i metaforičkom. S druge strane, da sam ovo pročitao pre Petka stideo bih se da sedim u kafani pored Otaku :oops: :oops: To su ti dupli standardi koje ona spominje u tekstu.
a šta je trebalo da uradi – da neće da ti pružu ruku, ko kunac meni na promociji KADROVA, zbog svega što sam mu uradio?
ipak je ona, za razliku od kunca – dama!
Ne, nisam mislio u tom smislu. Ja bih voleo da ti i Kunac razrešite međusobne nesuglasice kao što dolikuje gospodi - obaranjem ruku i mačevanjem penisima, a ovo za Otaku sam mislio: loži me kad žene pričaju o drkanju ali se posle stidim da budem u njihovoj blizini jer ne mogu da mislim ni na šta drugo.
"The Messenger of Peace", an English-language feature film about the life of the Prophet Mohammad, is headed into production says The Hollywood Reporter.
A remake of Moustapha Akkad's 1977 Hollywood classic "The Message" starring Anthony Quinn, that film had Mohammad and his companions heard speaking off-camera but never directly shown in accordance with Muslim conventions forbidding their visual depiction.
The work is often applauded by Muslims as an example of how commercial Western cinema can respect Islam. Producer Oscar Zoghbi, who worked on the original film, says the latest project will employ modern film techniques while keeping the first film's core messages.
Portrayals of Mohammad in artistic works in recent years from Danish cartoons to a recent novel about Mohammad's child bride have sparked outrage and anger. The filmmakers hope that they come up with a "film that emotionally engages audiences on the journey that led to the birth of Islam."
Gerard Damiano, 'Deep Throat' director, dead at 80
By SARAH LARIMER, Associated Press Writer
Mon Oct 27, 11:47 pm ET
MIAMI – Gerard Damiano, director of the pioneering pornographic film that lent its name to the Watergate whistleblower known as "Deep Throat," has died. He was 80.
Damiano died Saturday at a Fort Myers hospital, his son, Gerard Damiano Jr., said Monday. He had suffered a stroke in September.
"He was a filmmaker and an artist and we thought of him as such," the younger Damiano said. "Even though we weren't allowed to see his movies, we knew he was a moviemaker, and we were proud of that."
Damiano's "Deep Throat" was a mainstream box-office success and helped launch the modern hardcore adult-entertainment industry. Shot in six days for just $25,000, the 1972 flick became a cultural must-see for Americans who had just lived through the sexual liberation of the 1960s.
The film's title also became associated with one of the most famous anonymous sources in journalism.
While investigating the Watergate scandal, Washington Post reporters Bob Woodward and Carl Bernstein used it as a nickname for their source, former FBI official W. Mark Felt. Information from Felt helped bring down Richard Nixon's presidency.
Born in New York in 1928, Damiano worked as a hairdresser, spent time in the Navy and directed several adult films. The younger Damiano said he would often accompany his father on film sets as a child, but would be ushered out during "nitty-gritty" scenes.
"We weren't allowed to see certain parts of it," the son said. "But my parents always felt that it was nothing to be ashamed of, what he did."
After "Deep Throat" opened in Times Square, attention from media critics and outraged conservatives — including repeated legal challenges — helped turn it into a hit.
"My father never dreamed that it would get that kind of attention," the younger Damiano said.
But despite the attention, the son said the film was not his father's favorite.
"He was fond of it for what it was, but in terms of filmmaking, he would never call it a great film," he said.
Gerard Damiano is survived by his son and daughter. No formal services are planned.
Evo za Ridicukusa:
20 Years of Mega Drive (http://www.eurogamer.net/article.php?article_id=269562)
Danas Segina najpopularnija konzola puni tačno 20 godina...
Quote from: "Meho Krljic"Evo za Ridicukusa:
20 Years of Mega Drive (http://www.eurogamer.net/article.php?article_id=269562)
Danas Segina najpopularnija konzola puni tačno 20 godina...
Jes, znam da je '88. puštena u prodaju, čak sam verovatno pogledao i tačan datum dok sam se pripremao za predavanje, i opet sam zaboravio. :cry:
Nekako sam mnogo bolje pamtio brojeve dok nisam imao mobilni telefon!
Sećam se dobro onog Segine parole kojom su hteli da naglase svoju razliku u odnosu na Nintendo:
SEGA DOES WHAT NINTENDON'TSjajno ako u članku uspeju da rasvetle onaj haos oko hardvera koji je Sega izbacivala u to doba: Mega Drive, Mega Drive II, Mega CD, Mega CD II, Game Gear, Nomad, 32X, ...
Gaahl konačno izašao iz klozeta:
Kristian 'Gaahl' Espedal, frontman of Norwegian Black Metallers Gorgoroth, has publicly stated his homosexuality, according to Blabbermouth sources.
33 year old Gaahl spoke openly in an interview with Götz Kühnemund of Rock Hard magazine about his sexual orientation, also adding "I feel how I feel and I've never made any secret about it", and "I've never really hidden anything to begin with. It's just that I was never in love before" ... "until last year".
Gaahl also mentions a stable line-up for his version of Gorgoroth, confirming that Frost (Satyricon, 1349) will perform on the next album.
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Ovo je još jedan prilog borbi black metala protiv judeohrišćanske tradicije... :lol:
Odlomak iz intervjua (http://www.edge-online.com/news/1m-sold-the-witchers-secret-pc-success) sa Michalom Kicinskim, ko-osnivačem CD Projekta, gde se objašnjava kako su uspeli da prodaju milion primeraka The Witchera za 12 meseci i poraze pirate (sem u Srbiji, naravno).
QuoteIn an industry that spends millions upon millions of dollars on marketing for a single game on TV, print and the Web, the importance of word of mouth sometimes is lost on game companies. And if they haven't completely forgotten the importance of word of mouth, they've forgotten how to generate it.
"We tried to treat people well, and they've treated us well," said Kacinski, revealing CD Projekt's shocking, forward-thinking strategy. Gamers have repaid CD Projekt by spreading the word of the game and encouraging others to buy the original copy; pirating would mean being disloyal to a company that has shown gamers nothing but loyalty. An emotional connection with a company and a product is therefore established.
CD Projekt's approach to piracy isn't slapping intrusive, annoying DRM onto a disc. Like any game maker, CD Projekt wants to protect its property. But it does this not by trying to aimlessly (and in futility) block piracy, but by treating piraters as competitors with rival products. Essentially, isn't that what they really are?
"We absolutely think that the best way to fight piracy is to somehow compete with piracy by offering quality support for buyers of the original game. These things cannot be copied by pirates," Kacinski argued.
Meho kako ti se tachno zvao onaj po zlu chuveni bend Renal Tune...?! :?
The bells are ringing for me and my anime wall-scroll
October 30th, 2008
Author Chris Mautner
4 Comments »
You can't make stuff like this up. Well, you could, but it wouldn't have the same delightfully bizarre quality.
Anyway, The Australian is reporting that a Japanese man is currently engaging in a nationwide campaign to make it legal for humans to marry cartoon characters. No, seriously! He's got a petition and everything! And the amazing thing is, people are actually signing it! Presumably without irony!
Taichi Takashita launched an online petition aiming for one million signatures to present to the government to establish a law on marriages with cartoon characters.
Within a week he has gathered more than 1,000 signatures through.
"I am no longer interested in three dimensions. I would even like to become a resident of the two-dimensional world," he wrote.
"However, that seems impossible with present-day technology. Therefore, at the very least, would it be possible to legally authorize marriage with a two-dimensional character?"
The story notes that marriage is on the decline in Japan and many there find it difficult to find romantic partners, which may help explain the situation a bit, though it doesn't make it any less goofy.
Of course, there's every chance Takashita is pulling everyone's leg, in which case I hope he doesn't end up running into any of his more devout petition-signers.
A djus Meho, to ne prijavljues ? :lol:
http://www.popboks.com/tekst.php?ID=6845
Universal, Paramount, New Regency and MGM are in a major bidding battle for film rights to a new and as-yet-unannounced video game from Electronic Arts reports Variety.
The game, expected to be released late next year, involves a journey through the depths of hell and is likely to be called "Dante's Inferno" as it's said to be a modern interpretation of the first part of Dante's 'Divine Comedy'.
Warner Bros. Pictures was also in the running but dropped out early yesterday.
Jel' Meho uopšte i dalje među živima?
Posle onog tvog članka (4 poruke iznad) ljudi su počeli da nestaju!!!
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Ma, bio sam u Crnoj Gori, bez Interneta, deco, niste vi te sreće.
Meho znam da si ih i ti voleo pa evo i ovde :
Frank Navetta R.I.P.
Frank Navetta osnivach, gitarista i chovek koji je nadenuo ime kultnom americkom punk bendu Descendents je umro posle krace bolesti 31. oktobra 2008. Meni su Descendents iz tog prvog perioda uz ALL i SNUFF naravno bili najgotivniji bendovi na taj fazon, znachi LP "I don't wanna grow up" je samo takav kult, meni bolji i od "Milo Goes to College". Frank je napustio bend za vreme snimanja tog po meni najboljeg albuma o odrastanju 1985. godine. "Ako ODRASTANJE znaci da mora da postanem kao ti onda ne zelim uopste da odrastem, jer ne zelim da budem kao ti" kroz taj namerni klinacki fazon i uz suludu deciju melodijicu su porucivali tada Desendentsi i ko je to pokapiro shvatio je tacno sto su hteli kazu.
http://beogradskihcpunk90-ih.blogspot.com/2008/11/frank-navetta-rip.html
Vido na onom drugom topiku. Zapravo nisam nikad voleo ni All ni Descendents ali sam ih poštovao, ono, ljudski. Žao mi.
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Mehmete, reci narodu, jesi li nabavio NAYLIN PAYLIN?
Pa, to još nije snimljeno, strpi se malo.
Quote from: "Meho Krljic"Vido na onom drugom topiku. Zapravo nisam nikad voleo ni All ni Descendents ali sam ih poštovao, ono, ljudski. Žao mi.
kako be ja te vidjo 90-ih u majici ALL kod SKC-a si to bio ti ? :idea:
http://www.imdb.com/title/tt1310622/
so far scene 1 ! :evil:
Quote from: "Son of Man"Quote from: "Meho Krljic"Vido na onom drugom topiku. Zapravo nisam nikad voleo ni All ni Descendents ali sam ih poštovao, ono, ljudski. Žao mi.
kako be ja te vidjo 90-ih u majici ALL kod SKC-a si to bio ti ? :idea:
Ne da ja znam. Moja tadašnja devojka se pržila na All, ali nisam nikada imao majicu.
Jbmliga opet ta lazna secanja, mada kolko se ja secam nisu bila dva Meha 90-ih... :?
E pa i moja bivsa devojka iz 90-ih se lozila samo na ALL od tog "naseg hardkora" :shock:
Quote from: "Meho Krljic"Quote from: "Son of Man"Quote from: "Meho Krljic"Vido na onom drugom topiku. Zapravo nisam nikad voleo ni All ni Descendents ali sam ih poštovao, ono, ljudski. Žao mi.
kako be ja te vidjo 90-ih u majici ALL kod SKC-a si to bio ti ? :idea:
Ne da ja znam. Moja tadašnja devojka se pržila na All, ali nisam nikada imao majicu.
Možda si nosio devojku u naručju, pa je San of Men istripovao od nje da je majica?
hahahaah, pa bre vido sam THE Meha (ti Dushamane ocigledno ne znas sta Meho predstavlja na toj Hcpunk sceni 90-ih, MEHO JE SVIRO TAJ BUBANJ PONAJBOLJE OD SVIJU) danas mozda i ima hiljade "Meha" po ulicama sa onim frizurama ali pocetkom 90-ih ih nije bilo, bio je samo jedan Meho, e sad jbmliga zaista meni se ucini majca ALL , a posto imam ta lazna secanja moguce da je bila i neka duga majica nekog benda iz te grupe pop-punk kako su ga ovi krstili e sad jba mozda je bio i tvoj burazer mada om mi nekako ne deluje ko neko u tom fazonu on je sviro THRASH (nevezano za URGH!) sa nekim bendom u XL-u ja se jasno secam tog certa...Gvido organizovo :lol: :idea:
No pustimo to u stranu, Meho potvrdi mi ovaj info ako je tacan, dal je bio to taj cert jer ih mesam jbga :( :
Quote16.01.1993. Velika sala - Bloodbath + Demoniac + Necrophobia
Koncert ne tolko zanimljjiv zbog bendova nego zbog mog prvog susreta sa Alcatraz ekipom koja je upala na koncert i krenuli u akcijanja, naravno startovali su uglavnom "chupavce", ali i mene je dovatio Koprivica, zagrlio me onako i kao aj podji sa nama i kao pokazuje mi neku ispravu navodno pandursku iako nije imao pojma da znam o kojoj se ekipi radi, pa sam se samo otrgnuo iako sam se ziv usro jer su bash izgledali zlo. Malo ispod mene je stajao Meho (U velikoj sali Doma omladine imaju te stepenice jer je to zapravo bioskop a tada nije bio u funkciji pa su ih skinuli) pa je krenuo i na njega mislivshi a evo chupavc laka meta a Meho ga samo otero u pichku materinu ili tako nesto, jer Meho tad bio bas nadrkan lik iako mozda na prvi pogled delovo ko neki NERD posebno zbog tog weird izgleda da chovek nije mogo da zna dal' je jevrejin il palestina fazon, a ja sam u pocetku tripovo da je Meho jevrejin zbog te specifichne frizure i vaistinu jedinstvenog stajlinga. Znachi tad u Beogradu si opusteno mogo da furas svoj stil a da vec kolko sutra ne vidis jos 10 klonova u istom fazonu, jer jednostavno malo nas je bilo a i to nije bio popularno.
Dal je to taj cert ili SMF+DEAD IDEAS ili BRZI BENDOVI SRBIJE ? :idea:
Ja se toga uopšte ne sećam. Mislim, bio sam na svim tim koncertima koje si nabrojao, ali Koprivicinog smaranja - ne. Moguće da mi se obratio al ja sam tada ionako bio gluv. A i sad sam :cry:
Ali to je bio realni hardkor dizelashi i alkatrazi na HC/metal/grind koncertima - koje zlo jbte - ali ta scena kad Krle vata Jecu za dupe i ova bega od ivice bine, e to je prajsles, znachi totalno bezakonje, a njih 5 a pun dom omladine i niko nista :evil:
Ovo je već poznato, ali valjalo bi da bude i ovde:
A 19-year-old British man now may have the longest name in the world, and certainly the nerdiest.
George Garratt of Glastonbury last week changed his name to "Captain Fantastic Faster Than Superman Spiderman Batman Wolverine Hulk And The Flash Combined."
Confirming the dangers of the Internet, The Telegraph reports he did so using an online service that charges $20. Whatever happened to teens just downloading porn?
"I wanted to be unique," Captain Fantastic told the newspaper. "I decided upon a theme of superheroes."
He was about to say more, but he was beaten up by a passing busload of schoolchildren.
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Međutim:
QuoteDevojčica nadmašila Kapetana Fantastičnog u dužini imena
Autor: Tanjug | Foto:Telegraph.co.uk | 06.11.2008. - 12:19
Jedan mladić iz Glastonberija u Engleskoj promenio je svoje ime u Kapetan Fantastični brži od Supermena Spajdermena Betmena Volverina Halka i Fleša zajedno, što mu je omogućilo da nakratko bude čovek sa najdužim imenom na svetu.
Džordž Garat (19), student muzike, ozakonio je promenu svog imena kod sudskog pisara i dobio potpuno legalni papir o odustajanju od starog imena i korišćenja novog. Kako prenose agencije, taj dokument ima važnost samo unutar Velike Britanije.
Kapetan Fantastični saopštio je da je njegovo ime duže za 24 slova od najdužeg imena registrovanog u Ginisovoj knjizi rekorda.
Međutim, njegov rekord je bio kratkog veka pošto je jedna jednogodišnja devojčica iz Volverhemptona, takođe u Engleskoj, prijavljena kod matičara pod imenom koje se sastoji od 27 reči. Njeno ime je za 104 slova duže od imena Kapetana Fantastičnog.
http://www.blic.co.yu/slobodnovreme.php?id=64226
The credit crunch has hit the real economy:
Soho cocaine dealers have started selling by
the half gram.
tako im i treba - tako im i treba :!: ...jedan Aca vise vuche od njih :evil:
Izašao je još noviji Huper br. 444
U ovom broju, apsolutna zvezda je Meho, zbog briljantnog teksta o Meni Suvari i Maji Mandžuki u kome dokazuje da su njih dve jedna te ista osoba.
Zatim, Meho ima i odličan tekst o hip-hopu u igrama, koji je odličan ako se izuzme sasvim neargumentovana denuncijacija najbolje igre, like ever, SCARFACE za PS2.
I treći Mehov tekst-kapitalac je o smešnim imenima naših MCeva.
Actually, najbolji od svih je četvrti tekst koji je nepotpisan. Doduše, ovaj nije humorističkog tona i pokušava da bude poučan pa ga zbog toga treba izbegavati.
Drugde u Huperu:
Cripple piše o hip-hopu na filmu
Lou Benny dešifruje sleng domaćih repera
Žika piše o... Ridliju Skotu??? Kakve to ima veze sa hip-hopom, dođavola?
Ponajvise zbog Harva, ukoliko nije mogao da u BL nadje 'Huper' (a ako ga je uopste trazio), samo da prijavim da je 'Huper' dostupan i u BL (za zainteresovane, u BL je nalaziv na jednom od ona tri kioska sa ugla stare Autobuske, prekoputa straznje desne strane parka Petra Kocica), jer sam dobio onaj naruceni prosli broj o kojem smo tabirili proslog mjeseca.
Da, i sto je najbitnije, svidio mi se svojim sadrzajem.
Davide, Huper je sa svakim brojem sve bolji, a što je najvažnije nema stvari koje će te politički nervirati...
Sylvain White ("Stomp the Yard") will direct an adaptation of the DC-Vertigo comic book "The Losers" for Warner Bros. Pictures and Dark Castle Entertainment reports the trades.
The Peter Berg and James Vanderbilt-scripted project follows a highly trained and eclectic Special Ops team that is set up, betrayed and left for dead. They go on a quest to find who sold them out and why, righting wrongs they encounter along the way.
Berg and Tim Story were previously attached to direct at different times. Shooting gets underway in early 2009.
Joel Silver, Akiva Goldsman and Kerry Foster serve as producers
The mayor of a city in southeastern Turkey plans to sue director Christopher Nolan for unauthorized use of the name "Batman."
You see, that's the name of the city: Batman. It's the the capital of Batman Province, an important oil-producing region. It rests on the banks of the Batman River.
I'm not making this up.
"The royalty of the name 'Batman' belongs to us," Mayor Hüseyin Kalkan tells a Turkish news agency. "There is only one Batman in the world. The American producers used the name of our city without informing us."
He tells Hürriyet Daily News that after a media spotlight was cast on the city last year because of an increasing suicide rate among women, a columnist asked why the mayor hadn't sued the producers of the Batman movies for royalties to aid the struggling economy.
With that, a light bulb went off.
But there is, apparently, another issue at play: Residents of Batman who live abroad can't use "Batman" in the names of their businesses because of trademark infringement.
Curiously, though, Kalkan's wrath is reserved solely for Nolan. He doesn't plan to sue DC Comics or Warner Bros.
Bizarro update: A commenter points to this 2007 article that states Kalkan "was awarded damages by DC Comics after a lawsuit over the use of his town's name for the superhero Batman." In February 2008, the mayor was sentenced to 10 months in prison for "spreading terrorist propaganda" in a newspaper interview.
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Timbaland enters film business with Duly Noted's Vinyl
Jeremy Kay in Santa Monica
13 Nov 2008 05:03
Rapper and music producer Timbaland is getting into the film business as his Mosley Media Group and production company Duly Noted Inc announced last night [Nov 12] that production will begin in spring on Richard Zelniker's Vinyl.
Duly Noted's Effie T Brown and Mosley's Marcus Spence and Monique Idlett-Mosley will produce the story of five women and their relationship with the members of a rising rock band.
Brown and Timbaland plan a multi-platform launch across film, television and internet with extra material for mobile platforms.
"Richard and I knew that Timbaland and Mosley Media Group would be the perfect partner to make Vinyl a reality – bringing real life experience to a strong character-driven film with a completely new sound from a rock band that has yet to be heard," Brown said. "Vinyl will be badass!"
"I am so excited to enter into this partnership, which will allow me to explore my creativity even more," Timbaland aka Tim Mosley said.
Mosley Media Group and Duly Noted are represented by Endeavor Agency.
ЕМО ГЕНЕРАЦИЈА
Неки тужни клинци
Супкултура младих, рођена на фузији постпанка и хардкор звука с мелодичним вокалима и осећајним текстовима из осамдесетих година прошлог века, данас је глобални покрет хиперемотивне деце стигао и до Србије, који једни бездушно дефинишу као микс канте суза и кутије жилета који треба законом укинути, док га други забринуто виде као лавину депресивне генерације неприлагођених и самоповређивању склоних клинаца
,,Емо" није супкултура, него дијагноза! – ударни је поклич нетрпељивости одраслих према претерано емотивној деци која се идентификују са овим покретом, а неразумевање и мржња према ,,емовцима" џикљају и у тинејџерским групацијама, попут панкера, скејтера, металаца, фенсера, хипсера, готичара, стрејтера, рокабилија, који своје емо вршњаке доживљавају као несносне плачљивце.
– Не готивим их уопште, у жестоком су трипу, само кукају и секу вене, мушкарци се шминкају и облаче као хомосексуалци, не знаш да ли је мушко или женско, девојке су одвратне вампируше, пре бих козу пољубио него њих, што је много, много је! – жести се на форуму ,,српских патриота" један дискутант, а други, чији је мото ,,за расу и нацију", децидирано тврди:
,,Треба их побити!!! То су малоумни јадници, брукају ми крај и школу! Кад их пресретнем, скидам им мајице и терам их на шишање, јер их презирем и гадим их се!"
Овакви позиви на линч емо деце нису реткост, ни домаћа специфичност. Напротив! Мноштво видео-клипова са сликама насиља на YouTube носи поруку ,,Како убити емовца", или се декларише као ,,Објава рата емо покрету". А да ствари могу да оду предалеко, било је јасно када је 800 панкера и скинхедса физички напало емовце у мексичкој провинцији, да би недељу дана касније талас агресије захватио и главни град, па је у акцију сузбијања насиља морала да се укључи и мексичка влада.
Стидљивост и црни хумор
Али ко су, заправо, емовци? Да ли је реч о животном стилу, новом таласу културе младих и спонтаном клиначком интровертном бунту? Или је емо покрет закотрљала модно-музичка индустрија која се не либи трговања дечјим сузама, па продајући имиџ депресивног тинејџера заправо замагљује границу између позе и истинске туге младих људи?
За разлику од супкултура које агресију изражавају према другима (паклени анђели, скинхедси), емо деца пубертетску агресију усмеравају према себи, убеђени да су изопштени из друштва. Имиџ им је микс хипијевске хиперсензибилности и готик црнокичасте моде.
Иако јак антиемо покрет, који букти на хиљадама интернет форума, вришти да је ,,емо" скраћеница од Екстремно Мазохистични Оксиморони, то није истина. Емо је, просто, скраћеница од ,,емотивци".
–Да, ми отворено показујемо своја осећања и не стидимо се да плачемо. Наша музика је Fall Out Boys, Panic!, At The Disco, Funeral for a Friend, Taking Back Sunday, Dashboard Confessional, Death Cab for Cutie, Bright Eyes, My Chemical Romance, Simple Plan, Jimmy Eat World, The Get Up Kids... Ја највише волим емо-техно – каже једна београдска девојчица.
Са црним шишкама преко очију уоквирених црним креоном, пирсинзима и у обавезним ,,старкама", емо клинци у крпицама на коцке и кружиће, са понеком лобањом као фазоном, језде градовима Србије и нимало се не разликују од својих вршњачких истомишљеника расутих диљем планете. У први план стављају своју хиперемотивност, насупрот распрострањеним агресивним реакцијама у окружењу. То је и главни разлог зашто социолози супкултурних модела тврде да емоси потискују свој бес, па бол наносе себи.
Родитељи су уплашени, пре свега екстремним случајевима дечјег самоповређивања и суицидним идејама младих, које медији све чешће повезују са емо феноменом. Утицајни музички часопис МНЕ директно је оптужио амерички емо бенд ,,My Chemical Romance" за саучесништво у самоубиству 13-годишње девојчице из Кента, која се обесила, наводно предозирана мрачном, срцепаратељском музиком.
,,Као бенд, увек смо били против насиља и самоубистава. Наша мисија је да кроз музику фановима пружимо утеху, подршку и љубав" – бране се чланови My Chemical Romance на свом сајту и истичу да су поруке и тема њиховог албума ,,The black parade" заправо – нада и храброст.
Талас дечје суицидности погађа и земље у транзицији. У Хрватској се 14-годишњи емо дечак самоспалио, а две 13-годишњакиње су скочиле у смрт са црквеног звоника. Да ли је емо панк музика и нови супкултурни феномен који каже да је ,,бол лепа" само параван за дубоку кризу у којој се емотивно незрели тинејџери не сналазе, или су деца лабилна због хаотичног стања у друштву и економске несигурности родитеља који немају времена за своје клинце?
Путиновој одлуци да у Русији забрани емо и готик супкултуре, како би спречио ширење опасних трендова међу тинејџерима, једни аплаудирају, а други је виде као гурање главе у песак и замену теза, јер је реч о болесном друштву у коме су тужни клинци само аларм.
Бамби, Снупи и золофт
Овако драконску одлуку, као што је забрана културног феномена, тешко је спровести у дело. Јер, емо култура шири се попут пожара пре свега сајберспејсом. Оно што је генерацији хипика био грамофон, емо клинцима је Интернет. Портал MyPlace њихово је свето место, нешто попут модерног Вудстока.
Деца из целог света долазе на MyPlace и слична виртуелна окупљалишта и размењују информације о емо трендовима. И док је за једне то само прилика за брушење емо имиџа, а за друге иницијација у свет хиперсензибилности, црног хумора и стидљивости, радикални емовци тону у депресију, усамљеност и мржњу према себи, па ништа необично што је типична емо таблета антидепресив золофт.
У виртуелном простору на српском језику ситуација је иста. Хиљаде форума и блогова баве се емо интроспекцијом, модом и музиком, а антиемовска места се умножавају невероватном брзином и служе за окупљање бесних неистомишљеника, који јавно пропагирају агресивно преваспитавање мирољубивих плачљиваца.
– Оптужују нас да смо канта суза и кутија жилета, подсмевају нам се што гледамо цртаће као што су Бамби и Снупи, прете нам најстрашније јер мисле да смо део геј културе зато што се дечаци и девојчице слично облаче, а ми се само не стидимо да покажемо да смо емотивна бића – каже емо девојчица из Београда.
Весна Кнежевић-Ћосић
[објављено: 08/11/2008]
http://www.politika.rs/rubrike/Kulturni-dodatak/Neki-tuzni-klinci.sr.html
Rekoh ti ja da je Politikin kulturni dodatak štetan za zdravlje i da ga treba obilaziti u širokom luku (mada, smeh je zdrav, tako da...), a ti tvrdiš 'Ma, bio je, al je to Ljilja sredila, dotegla, utegla, sad je to super'. Vidim sad kako ga je dotegla!!!!
Doduše, možda je to bilo super za Ljiljine vladavine,a možda ga je sad Bujke za pet dana upropastio, ne treba ni tu mogućnost ignorisati.
Ali, sad ozbiljno, ovakav tekst u Politici, pa još u kulturnom dodatku u 2008. godini naprosto ne očekujem da vidim. Ovo je naprosto očajno po stilu, čak i ako pređemo preko slabog factcheckinga...
Ja sam mislio da ti kao fan Brad Birda daješ veliki popust urednici koja se u stvarnosti oblači i ponaša kao Edna Mode iz INCREDIBLESa.
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:D :D :D :D Meni je Lj.S. vazda bila draga, da ne bude zabune.
Meni je pak bilo drago kad je popila otkaz, pošto mi je vazda bila antipatična...
Inače, što se ovog gornjeg teksta tiče, ne mogu da verujem da su i Snupija ni krivog ni dužnog utrpali u čitavu tu emo priču. Ko je sledeći, Garfild? :x
Ја сам увек био фан Љ. :) нарочито у њеној фази када је у почетку рата радила за муслиманске медије плус када је потом издавала земљу радећи за ВРЕМЕ.
Међутим, најбоља прича о Љиљи :) се десила кад су били неки Холанђани на неком панелу. И сад, она је на том панелу као била репрезент политичког десног центра, српског мејнстрима, или како се то већ назива. И на крају панела, питају Холанђани како да је представе у својој брошури. И она каже да јој је потпуно океј да је представе онако како је иначе етикетирана, као десни центар, да нема више снаге да мења предрасуде о себи, али да имају на уму да она у суштини никада није мењала своју политику.
И онда је упитају, шта је њена политика.
И она каже, "Ја сам била и остала комуниста."
То је мени фул риспект.
И заиста, Политика изгледа као неки алтерглобалистички блог. На првој страни текст о Путину, на другој извештај о Кастровом здрављу, на трећој нови Чавезови несташлуци.
Што се међународне политике тиче, :) је потпуно груви левичар.
Е сад, наравно, ниједан медиј није потпуно самосталан, па самим тим не може бити самосталан ни државни медиј. Када се погледа састав Управног одбора, мислим да је Љиља :) правила одличан посао и знатно им се опирала.
Quote from: "Meho Krljic"Rekoh ti ja da je Politikin kulturni dodatak štetan za zdravlje i da ga treba obilaziti u širokom luku (mada, smeh je zdrav, tako da...).
Cut tamo, ima cesto dobrih stvari medju ovakvim smehotresima.
Efektan text !A ja cu biti slobodan u svojoj interpretanciji domaceg(prepiska od spolja) zakona !
Krivični zakon Srbije još od 2005. godine prilično precizno definiše krivična dela protiv intelektualne svojine, propisujući kaznu do tri godine zatvora za svakoga ko ,,neovlašćeno obavi, snimi, umnoži, ili na drugi način javno opšti u celini ili delimično sa autorskim delom, fonogramom, videogramom, emisijom, računarskim programom ili bazom podataka".
Nekako mi zabavnije ovako !
Quote from: "Milosh"Inače, što se ovog gornjeg teksta tiče, ne mogu da verujem da su i Snupija ni krivog ni dužnog utrpali u čitavu tu emo priču. Ko je sledeći, Garfild? :x
Iako sam isprva bio takođe besan, vremenom sam shvatio zašto vlada takvo mišljenje. Naime, prilično sam siguran da ta jadna emo deca nisu čitala Peanuts stripove, već svo svoje znanje o Snupiju zasnivaju na osnovu onih depresivnih crtaća iz 70ih. A stvarno su depresivni. Sećam se da sam kao izrazito mali plakao uz jedan od tih, kad je Snupi otišao od kuće. Sva sreća pa su moji roditelji bili razumni i prebili petogodišnje dete da bar zna zašto plače. Sad kad gledam, oni su zapravo sprečavali naznake emo virusa u meni.
Nego, posle ovog teksta mi je maltene bilo žao tih emovaca i dobio sam jaku želju da upoznam tu emo devojčicu iz Beograda. Ili neku drugu emo devojčicu iz Beograda.
Quote from: "DušMan"Nego, posle ovog teksta mi je maltene bilo žao tih emovaca i dobio sam jaku želju da upoznam tu emo devojčicu iz Beograda. Ili neku drugu emo devojčicu iz Beograda.
Daj oglas u Политици ili nekim drugim novinama...
'Usamljeni perverznjak traži emo devojčicu iz Begorada radi druženja i eventualnog braka. Pederi i dopune stop.'
meho, pomagaj!
gledam dokumentarac o radikalnom islamu, i u njemu čuh predivno-zvučeću pjesmu!
ne pitaj za naslov jer nije naveden, ali stihovi iz nje se vide na ovim captures!
vidi sa tvojim muslimanskim il bar pirackim vezama – sad nakon one popboks apologije pirata siguran sam da će da ti ovo iskopaju – daj celu pesmu, ovo je predivno nešto!
vrlo je zarazna, evo samo nju pevušim ceo dan!
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Sta ti gledas jebote ! :evil:
Ja mislim da ovo peva Al Gore !!!! :!:
Proveri ovo na Youtube,mozda tamo lezi zec ! :idea:
xph34 evo je:
http://www.memritv.org/clip/en/221.htm
valja li taj dokumentarac? kako mu je ime?
Cutter Insider ! :evil:
Quote from: "cutter"xph34 evo je:
http://www.memritv.org/clip/en/221.htm
valja li taj dokumentarac? kako mu je ime?
sjajno, hvala!
dok. je OBSESSION: RADICAL ISLAM'S WAR AGAINST THE WEST
i toliko je iritirajuće loš (jednostran! satanizujući! licemeran!) da sada nemam vremena da to opisujem, ali pisaću o njemu opširnije kad stignem.
ukratko, deluje kao da ga je buš lično aminovao, znači, strogo pro-američki, 'nismo mi krivi, ne znamo što nas tolko mrze, oni su gomila fanatika, luaci, glejte šta rade sirotoj đeci...' i sve tako.
prljavo parče PROPAGANDE posebno odvratno u svom licemerstvu, budući da koristi ISTE metode poput onih koje ovde ocrnjuje, a još koristi buša i -posebno ogavno, onu karikaturu, blera, kao zaštitnike zapadne civilizacije. dakle, implicitna, nimalo suptilna apologija njihovog intervencionizma.
ali pesma je zaista horror-hit, naročito refren! :!:
Ready to make every heterosexual male not totally secure in their sexuality squirm next May, "Borat" creator Sacha Baron Cohen has enlisted the help of several professional gay porn stars for his upcoming film "Bruno" reports BrunoMovie.com.
Casting agent David Forest was contacted by the production and he, Cohen and director Dan Mazer auditioned ten actors for the roles, ultimately settling on Paul Barba (aka. Tony Capucci) and John Martel (aka. Tyler Saint).
In the scene, Cohen's campy Austrian journalist enters Burbank's Armano Hotel with some other men who try to get Bruno to join them in a five-man orgy upstairs.
Though Bruno refuses to join the orgy, he watches them from the window. The scene is expected to be a memorable one as the roles require full frontal nudity.
Saint's two dozen-film resume includes both Grabby and GayVN Award-nominated work with Mason Wyler in "Just Add Water" and Jesse Santana in "Fraternity Gangbang 2". Capucci's work can mostly been on popular on-demand sites like Mike Hancock, Jake Cruise and Cocky Boys.
Taj siroti Koen je načisto prolupao. A nekad je čak bio i duhovit... :(
Quote from: "Harvester"Taj siroti Koen je načisto prolupao. A nekad je čak bio i duhovit... :(
No no,ovim si sebe pretplatio na sve vesti o Brunu do premijere,na najboljem topiku ikad !(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsmilies.sofrayt.com%2F%255E%2Fg0%2Fbeer.gif&hash=de0282433aa296ae71d7748fbe42b93e56474559)
Twentieth Century Fox is gearing up to continue its "X-Men" franchise with a younger set of mutants.
Studio has tapped "Gossip Girl" creator Josh Schwartz to write "X-Men: First Class."
Schwartz, the creator and exec producer of CW's teen sudser hit as well as Fox's youth-centric "The OC" and NBC's "Chuck," is expected to inject a next-gen sensibility into the superhero series, which has earned $1.2 billion worldwide.
Writing assignment has also included the possibility of directing the pic, but so far Schwartz has opted not to take the helm.
Lauren Shuler Donner, who produced all three "X-Men" pics, as well as next summer's "X-Men Origins: Wolverine," is producing "First Class" alongside "Mr. and Mrs. Smith" scribe Simon Kinberg.
Fox is keeping quiet on plans and declined to confirm details of the project. The studio has been considering ways to continue its successful series of "X-Men" movies after the third installment, the Brett Ratner-helmed "X-Men: The Last Stand," collected $459 million in 2006.
Fox has been leaning toward using the younger characters introduced in the previous pics in future installments -- teenagers with powers taught at the Xavier Institute for Higher Learning.
Resulting film would likely draw from elements of the Marvel comic of the same name, launched in 2006, and enlist such characters as Iceman, Rogue, Angel, Colossus, Jubilee and Shadowcat, who have appeared prominently or made cameos in prior pics.
Given Hollywood's penchant for reboots with new actors playing familiar roles, pic could also reintroduce characters. Comicbook revolves around the Cyclops, Marvel Girl, Beast, Iceman, Angel and Professor X.
Naturally, "First Class" could also result in its own series of sequels.
Pic joins other "X-Men"-related projects already in the works at the studio. Fox is actively developing a standalone "Magneto" pic, as well as considering a "Deadpool" spinoff, based on a character played by Ryan Reynolds in "Wolverine." Shuler Donner is producing "Magneto."
Regular slate of "X-Men" pics would provide Fox with a reliable series of movies that perform at the B.O. and not repeat a dismal summer sesh like the studio experienced this year.
Although Schwartz has enjoyed smallscreen success, he has yet to crack the world of film with a significant project. He wrote and is attached to direct the coming-of-age comedy "Looking for Alaska" for Paramount.
Tackling a new "X-Men" installment will likely give Schwartz instant credibility within the studio world
So I'm basically done with everything I need for my review of "Mortal Kombat vs DC Universe." I finished the story mode (on the DC side, anyway, and checked out the MK side), did some arcade ladders, and overall had a ton of fun, way more than I expected.
Only thing left to do is try out some online kombat. So I do and as I inevitably lose match after match (reminding myself why I usually only play with friends on XBL), I realize people are pulling fatalities and "heroic brutalities" on me, but I have no idea how to do them. How could I miss that? So I peruse the game's "move list," everything in the "extras," the instruction book... nothing. How the hell are you supposed to know how to do these? Do you just try a million different combos until something works?
It's been a while since I played another "Mortal Kombat" game, and as I recall, back in the day (aka the '90s) people seemed to just know how to pull off fatalities and would tell each other. Which makes sense in an arcade, I suppose. But I'm at home, playing a T-rated game that's supposed to be accessible to the masses (and largely succeeds at being just that). And there's no indication of how I'm supposed to activate what should be one of the enjoyable details of the game. That strikes me as a problem. It seems like that's information that should be available, or at least unlockable.
Is it fair to knock the game in the review I"m planning to write tomorrow for this reason? Or am I just missing something and revealing that I'm ignorant, clueless, and possibly suffering from a low IQ?
(Yes, I could scour the Internet to find the combos, and I may do that now. But if the only way to learn finishing moves for "MK vs DC" is on message boards, something is screwy.)
Ili je samo mogao da pročita spisak specijalnih poteza i fatalitija ovde (http://www.gamefaqs.com/console/xbox360/file/943567/54803). Koliko me sećanje služi, MK igre su uvek kombinacije za fatalitije skrivale i puštale da se šire od usta do usta. Što je naravno i jedan od razloga što ih ja nikad nisam znao... nemam prijatelje...
On ne spori da je mogao da nadje na forumu nego postavlja pitanje da li je to mana igre odnosno koncepta releasea kao takvog.
Quote from: "Meho Krljic"jedan od razloga što ih ja nikad nisam znao... nemam prijatelje...
A ja se baš čudio kako je moguće da na meni nisi izveo ni jedan fatality. Nisam, naravno, smeo ništa da kažem kad sam video kako se dereš na svoju ženu.
Sinoć sam je odro u tenisu. Sama je to tražila.
:cry:
Kad se samo setim proslogodisnjeg pljuvanja po Wii igrama, dodje mi da se rasplacem.
:lol:
The next time you turn on your XBOX, you'll receive notification of a "System Update" that'll install an entirely new dashboard/navigational/organizational "experience" into your system. This is called, simply enough, "The New XBOX Experience".
Stylistically, the throughline here = (essentially) Apple Cover Flow by way of Wii "cute"/"friendly" sensibility. An example:
Player avatars. Where the previous XBOX "blade" configuration offered the ability to chose one of an endless array of preset icons as an avatar, NXE allows you to customize your own avatar (down to mouth shapes, hair styles/color, body types, skin tone, etc.)
Users can take a snapshot of this avatar to use as a gamer picture and what not.
"Friends" management has been given an almost complete makeover. "Friends" are now shown in customizable settings, receding into the distance. Users can travel very quickly through this environ to locate the fellow players they're looking for. "Friends" are now identified by the avatars they have customized (as described above). An in-game notification function has also been added; a "Friends playing this game" message pops up when someone on your friends list is playing the same game you are.
The XBOX Live Marketplace has been reworked into a graphically intensive formation (again resembling Cover Flow). Artwork glides past briskly, it's FAR easier to identify TV shows and movies via vivid imagery (as opposed to the infinite lists we dealt with before). I may be wrong about this, but I believe a new Marketplace section has been added for "Independent Videos"; don't recall noticing that on the previous "blade" configuration. Here you can find stuff like "Red v s. Blue", Comic Con reports, and an array of funkier titles .
Netflix. Ahh, Netflix. NXE gives users the the ability to stream their Netflix library directly into their XBOX.
The Netflix interface utilizes the Cover Flow-ish mechanism mentioned above, and is extremely responsive.
When you jump into Netflix from NXE, you'll immediately access titles from your Netflix queue that are available for "instant" (i.e. streaming) viewing. This list is controllable by logging into the Netflix website (http://www.netflix.com) and managing your "Watch Instantly" queue. I tried this in (more or less) real time - changes made at the Netflix online queue propagate immediately to XBOX Live.
Accessing Netflix materials through NXE is very fast; streaming in HD seemed as fast as non-HD streaming in my case - which felt surprisingly fast in itself. A Netflix subscription is required for this; your existing Netflix subscription will work just fine. There is no extra charge for accessing Netflix through NXE.
Per THIS PRESS RELEASE from Netflix, 300 titles are currently available for HD streaming (with more to come). Alas, I've found no way to identify what these titles are - seems to be luck of the draw at this point. Someone told me JOHN CARPENTER'S THE THING was a streamable HD titles. I tried it out, it was indeed HD, and looked nice. Te image was on par with "On Demand" HD - not a "knock out" picture quality, but completely okay-to-really good.
As alluded above, the XBOX Live video store continues to exist as well - with film and television offerings, and more.
WOrthy of note: THIS REPORT indicating that Sony titles are suddenly becoming unavailable for streaming via Netflix/XBOX Live. Make of this what you will.
A ton of other features have been interwoven into NXE. Games can now be installed directly onto your system's hard drive. If I understand correctly, each XBOX game is between 6-9gigs - so you'll need a bigger hard drive in order to make this work. Accordingly, you're given the option to play games directly from the hard drive, which is said to significantly decrease load times of many titles (particularly older games).
As an anti-piracy measure (and to assure multiple people in close proximity can't launch a game then pass it on to someone else to play simultaneously), the game disc must stay in the tray even if the game is being played from the hard drive. An immediate abort of game-in-progress happens if you're playing from the hard drive and attempt to remove the disc.
I detected a noticeable improvement in online game play when playing directly from the hard drive. It felt crisper, more responsive.
You now have the capacity to ditch your zero Gamersocre. "Zero score games" can be wiped from your history, thus won't impact your overall Gamerscore average.
Photo Party allows multiple users (again represented by their avatars) to converge in the same room for photo sharing, real time chat, etc.
And the list goes on...
In almost every regard, NXE is an improvement over the XBOX previous interface. It's faster, more responsive, more expansive, more intuitive, and...above all...there's a sense of "fun" about it. Microsoft has always been way far ahead of, say, Sony in terms of navigation - NXE will only distinguish them further.
That's what I say...what do you think?
Quote from: "lilit_depp":cry:
Kad se samo setim proslogodisnjeg pljuvanja po Wii igrama, dodje mi da se rasplacem.
:lol:
Da ne bude zabune, ja Wii Sports u životu ne bih seo i sam igrao, imam bre mnogo boljih Wii igara na raspolaganju (čak i kada su u pitanju samo podgrejane nove verzije starih franšiza poput Animal Crossing City Folks ili Tales of Symphonia Dawn of the New World koje sam ovih dana oprobao), al' Wii Sports je baš ono što je Nintendo želeo da postigne: intuitivna, lagana a zabavna igra za neigrače. Tako da je maltene svako ko ga je probao odšetao sa osmehom na licu.
Što se tiče new Xbox Experiencea, ja moj Xbox 360 i ne priključujem na Internet, to jest na Lajv jer bih bio istog sekunda benovan (iz potpuno debilnih razloga, naravno) tako da ću ga iskusiti tek kad mi se instalira uz neku igru. Ali vidim da je bilo dosta problema juče sa tim, što i jeste za očekivati kad radiš masivan apdejt interfejsa za skoro 15 miliona ljudi odjednom...
Quote from: "Meho Krljic"
Da ne bude zabune, ja Wii Sports u životu ne bih seo i sam igrao...
Pretpostavljam da ces i za Wii Fit reci da ga kupujes iz slicnih razloga? Mislim, nikad ti to ne bi sam kupio i sam stao na njega. :evil:
:lol: :lol:
Nizak udarac!!! Jasno je da ni Wii Sports ne bih kupovao da nije došo bandlovan zajedno sa konzolom.
Mene nikad ne zoves da igramo sport na Wii :cry:
An American rapper who shot a man twice has been jailed for 20 years after admitting to the crime in a song.
Hip hop song helped convict gunman
Rico Todriquez Wright, 25, was sent to prison after his victim mentioned the hip hop confession to police.
Chad Blue knows how I shoot.
Mr Blue said he later recognised Wright's voice singing this lyric
Chad Blue, 28, said he had known Wright before the September 2006 shooting, but that the men were not friendly.
He testified that companions egged Wright on as he chased and shot his victim in the thigh and groin.
"I heard one of the men tell Rico, 'Go ahead and shoot him'," the victim told jurors.
"When he raised his gun, I knew I had to run. But I knew if I ran a straight line, I was dead.
"So I started weaving, running between houses, trying to avoid the bullets."
Wright, from Dublin, Georgia, was sentenced to 20 years for two counts of aggravated assault.
He will spend another 20 years on probation.
Auh, brate. Znači sad čovek ne sme ni da se pohvali u pesmi koga je upucao??? Veliki brat sluša...
Cripple, evo pozvaću te, čim Sunčica propisno ozdravi.
Warner Bros. Interactive Entertainment, Equity Games Production and Halcyon Games have announced "Terminator Salvation – The Videogame," an action-packed, third-person shooter, to be released in conjunction with the highly anticipated Warner Bros. Pictures and Sony Pictures film, which opens nationwide on May 22, 2009.
Based on the upcoming Terminator Salvation film, the game offers players the chance to assume the role of John Connor, a soldier in the resistance, battling for survival against the far superior forces of Skynet. "Terminator Salvation – The Videogame" is a third-person action game with concentrated armed combat against all of the Skynet enemies from the film while encountering new enemies specifically designed for the game. The game was developed by GRIN Studios, published by Equity Games, co-published by Evolved Games and distributed by Warner Bros. Interactive Entertainment.
"'Terminator Salvation – The Videogame' allows players to battle for survival against Skynet enemies utilizing an incredibly fluid and realistic control set," said Cos Lazouras, President of Halcyon Games. "The player will be led through a visceral story with extremely polished production values to create a fully interactive Terminator experience."
"Building on the incredibly strong franchise, 'Terminator Salvation – The Videogame' will be a cinematic gaming experience that complements the upcoming film," said John Quinn, Executive Vice President, Worldwide Operations, Warner Bros. Interactive Entertainment. "Working with Halcyon and Equity Games, we will expand on the Terminator universe on next generation consoles with action packed gameplay and detailed environments."
The documentary "Nerdcore Rising" investigates the newest, wave of hip-hop, nerdcore, as it follows the godfather of the genre, MC Frontalot, on his first national tour. Beginning in South Carolina and culminating in nerd mecca - the Penny Arcade Gaming Convention in Seattle - masses of fans across the country come out to bask in the Front's geek glory as he strives to achieve mainstream success.
Frontalot fanatics are the real stars of the film. They are hackers and gamers, bloggers and podcasters, they play World of Warcraft, live virtually in Second Life, and of course, they love nerdcore hip hop. In short, they are hardcore nerds, and together, they illustrate the funny, fascinating, and unapologetically uncool cultural phenomenon that is nerdcore.
http://rapidshare.com/files/151578648/Nerdcore.Rising.part1.rar
http://rapidshare.com/files/151467426/Nerdcore.Rising.part2.rar
http://rapidshare.com/files/151467691/Nerdcore.Rising.part3.rar
http://rapidshare.com/files/151467521/Nerdcore.Rising.part4.rar
http://rapidshare.com/files/151467733/Nerdcore.Rising.part5.rar
http://rapidshare.com/files/151467455/Nerdcore.Rising.part6.rar
http://rapidshare.com/files/151467703/Nerdcore.Rising.part7.rar
http://rapidshare.com/files/151466966/Nerdcore.Rising.part8.rar :evil:
Features
Chuck Klosterman reviews Chinese DemocracyEmail Email This
To:
By Chuck Klosterman
November 19th, 2008
Guest reviewer Chuck Klosterman is the author of five books, including Fargo Rock City: A Heavy Metal Odyssey In Rural North Dakota and the new novel Downtown Owl. There is no one in the world more qualified to review the exhaustingly anticipated new Guns N' Roses album than he is.
Reviewing Chinese Democracy is not like reviewing music. It's more like reviewing a unicorn. Should I primarily be blown away that it exists at all? Am I supposed to compare it to conventional horses? To a rhinoceros? Does its pre-existing mythology impact its actual value, or must it be examined inside a cultural vacuum, as if this creature is no more (or less) special than the remainder of the animal kingdom? I've been thinking about this record for 15 years; during that span, I've thought about this record more than I've thought about China, and maybe as much as I've thought about the principles of democracy. This is a little like when that grizzly bear finally ate Timothy Treadwell: Intellectually, he always knew it was coming. He had to. His very existence was built around that conclusion. But you still can't psychologically prepare for the bear who eats you alive, particularly if the bear wears cornrows.
Here are the simple things about Chinese Democracy: Three of the songs are astonishing. Four or five others are very good. The vocals are brilliantly recorded, and the guitar playing is (generally) more interesting than the guitar playing on the Use Your Illusion albums. Axl Rose made some curious (and absolutely unnecessary) decisions throughout the assembly of this project, but that works to his advantage as often as it detracts from the larger experience. So: Chinese Democracy is good. Under any halfway normal circumstance, I would give it an A.
But nothing about these circumstances is normal.
For one thing, Chinese Democracy is (pretty much) the last Old Media album we'll ever contemplate in this context—it's the last album that will be marketed as a collection of autonomous-but-connected songs, the last album that will be absorbed as a static manifestation of who the band supposedly is, and the last album that will matter more as a physical object than as an Internet sound file. This is the end of that. But the more meaningful reason Chinese Democracy is abnormal is because of a) the motives of its maker, and b) how those motives embargoed what the definitive product eventually became. The explanation as to why Chinese Democracy took so long to complete is not simply because Axl Rose is an insecure perfectionist; it's because Axl Rose self-identifies as a serious, unnatural artist. He can't stop himself from anticipating every possible reaction and interpretation of his work. I suspect he cares less about the degree to which people like his music, and more about how it is taken, regardless of the listener's ultimate judgment. This is why he was so paralyzed by the construction of Chinese Democracy—he can't write or record anything without obsessing over how it will be received, both by a) the people who think he's an unadulterated genius, and b) the people who think he's little more than a richer, red-haired Stephen Pearcy. All of those disparate opinions have identical value to him. So I will take Chinese Democracy as seriously as Axl Rose would hope, and that makes it significantly less simple. At this juncture in history, rocking is not enough.
The weirdest (yet more predictable) aspect of Chinese Democracy is the way 60 percent of the lyrics seem to actively comment on the process of making the album itself. The rest of the vocal material tends to suggest some kind of abstract regret over an undefined romantic relationship punctuated by betrayal, but that might just be the way all hard-rock songs seem when the singer plays a lot of piano and only uses pronouns. The craziest track, "Sorry," resembles spooky Pink Floyd and is probably directed toward former GNR drummer Steven Adler, although I suppose it might be about Slash or Stephanie Seymour or David Geffen. It could even be about Jon Pareles, for all I fucking know—Axl's enemy list is pretty Nixonian at this point. The most uplifting songs are "Street Of Dreams" (a leaked song previously titled "The Blues") and the exceptionally satisfying "Catcher In The Rye" (a softer, more sophisticated re-working of "Yesterdays" that occupies a conceptual self-awareness in the vein of Elton John or mid-period Queen). The fragile ballad "This I Love" is sad, melodramatic, and pleasurably traditional. There are many moments where it's impossible to tell who Axl is talking to, so it feels like he's talking to himself (and inevitably about himself). There's not much cogent storytelling, but it's linear and compelling. The best description of the overall literary quality of the lyrics would probably be "effectively narcissistic."
As for the music—well, that's actually much better than anticipated. It doesn't sound dated or faux-industrial, and the guitar shredding that made the final version (which I'm assuming is still predominantly Buckethead) is alien and perverse. A song like "Shackler's Revenge" is initially average, until you get to the solo—then it becomes the sonic equivalent of a Russian robot wrestling a reticulating python. Whenever people lament the dissolution of the original Guns N' Roses, the person they always focus on is Slash, and that makes sense. (His unrushed blues metal was the group's musical vortex.) But it's actually better that Slash is not on this album. What's cool about Chinese Democracy is that it truly does sound like a new enterprise, and I can't imagine that being the case if Slash were dictating the sonic feel of every riff. The GNR members Rose misses more are Izzy Stradlin (who effortlessly wrote or co-wrote many of the band's most memorable tunes) and Duff McKagan, the underappreciated bassist who made Appetite For Destruction so devastating. Because McKagan worked in numerous Seattle-based bands before joining Guns N' Roses, he became the de facto arranger for many of those pre-Appetite tracks, and his philosophy was always to take the path of least resistance. He pushed the songs in whatever direction felt most organic. But Rose is the complete opposite. He takes the path of most resistance. Sometimes it seems like Axl believes every single Guns N' Roses song needs to employ every single thing that Guns N' Roses has the capacity to do—there needs to be a soft part, a hard part, a falsetto stretch, some piano plinking, some R&B bullshit, a little Judas Priest, subhuman sound effects, a few Robert Plant yowls, dolphin squeaks, wind, overt sentimentality, and a caustic modernization of the blues. When he's able to temporarily balance those qualities (which happens on the title track and on "I.R.S.," the album's two strongest rock cuts), it's sprawling and entertaining and profoundly impressive. The soaring vocals crush everything. But sometimes Chinese Democracy suffers from the same inescapable problem that paralyzed proto-epics like "Estranged" and "November Rain": It's as if Axl is desperately trying to get some unmakeable dream song from inside his skull onto the CD, and the result is an overstuffed maelstrom that makes all the punk dolts scoff. His ambition is noble, yet wildly unrealistic. It's like if Jeff Lynne tried to make Out Of The Blue sound more like Fun House, except with jazz drumming and a girl singer from Motown.
Throughout Chinese Democracy, the most compelling question is never, "What was Axl doing here?" but "What did Axl think he was doing here?" The tune "If The World" sounds like it should be the theme to a Roger Moore-era James Bond movie, all the way down to the title. On "Scraped," there's a vocal bridge that sounds strikingly similar to a vocal bridge from the 1990 Extreme song "Get The Funk Out." On the aforementioned "Sorry," Rose suddenly sings an otherwise innocuous line ("But I don't want to do it") in some bizarre, quasi-Transylvanian accent, and I cannot begin to speculate as to why. I mean, one has to assume Axl thought about all of these individual choices a minimum of a thousand times over the past 15 years. Somewhere in Los Angles, there's gotta be 400 hours of DAT tape with nothing on it except multiple versions of the "Sorry" vocal. So why is this the one we finally hear? What finally made him decide, "You know, I've weighed all my options and all their potential consequences, and I'm going with the Mexican vampire accent. This is the vision I will embrace. But only on that one line! The rest of it will just be sung like a non-dead human." Often, I don't even care if his choices work or if they fail. I just want to know what Rose hoped they would do.
On "Madagascar," he samples MLK (possible restitution for "One In A Million"?) and (for the second time in his career) the movie Cool Hand Luke. Considering that the only people who will care about Rose's preoccupation with Cool Hand Luke are those already obsessed with his iconography, the doomed messianic message of that film must deeply (and predictably) resonate with his very being. But how does that contribute to "Madagascar," a meteorological metaphor about all those unnamed people who wanted to stop him from making Chinese Democracy in the insane manner he saw fit? Sometimes listening to this album feels like watching the final five minutes of the Sopranos finale. There's no acceptable answer to these types of hypotheticals.
Still, I find myself impressed by how close Chinese Democracy comes to fulfilling the absurdly impossible expectation it self-generated, and I not-so-secretly wish this had actually been a triple album. I've maintained a decent living by making easy jokes about Axl Rose for the past 10 years, but what's the final truth? The final truth is this: He makes the best songs. They sound the way I want songs to sound. A few of them seem idiotic at the beginning, but I love the way they end. Axl Rose put so much time and effort into proving that he was super-talented that the rest of humanity forgot he always had been. And that will hurt him. This record may tank commercially. Some people will slaughter Chinese Democracy, and for all the reasons you expect. But he did a good thing here.
Grade: A-
Prilično sam baffled što album na sve strane dobja ovako dobre ocene. Mislim, da, ovo je skupo producirana ploča (oće to kad na nju potrošiš 13 milijuna dolara) i, da, aranžmani su ambiciozni, ali skup elemenata nije isto što i jaka celina. Meni je ploča slušljivija nego što sam očekivao ali suviše se oslanja na Axlovu ideju o tome kako to treba da zvuči i gubi se u produkciji/ aranžmanima a da joj istovremeno nedostaju zbilja prodorne osnovne ideje.
Evo mog stava zašto album dobija ovako dobre ocene. Složiću se sa tobom da je reč o jednom ostvarenju koje je bolje nego što smo se pribojavali tj. očekivali ali da tu nema ništa epohalno. Međutim, ovaj album je fascinantan artefakt. Meni kao fanu Gunsa, ali i inače kao ljubitelju velikih rok bendova, činjenica da se pojavila finalna verzija ovog albuma deluje kao nešto nestvarno, zaista mitski, i uprkos tome što muzika nije na tom nivou, ipak je dovoljno dobra da podrži tu fascinaciju.
Takva fetišizacija albuma kao artefakta se izgubila i poslednji put kad je hype oko samog albuma kao forme postojao bio je na Radioheadovom IN RAINBOWS sa sve iščekivanjem izlaska. CHINESE DEMOCRACY je novi slučaj i to sa dodatnom dimenzijom Axla koji je postao veći od života, povukao se u senku, održava turneje koje završavaju poluotkazane i to ne zbog nezainteresovanosti publike, i pretvara se u neku vrstu Howard Hughesa hard rocka.
Opet s druge strane moramo imati na umu da su Gunsi možda i najveći bend među velikanima kojima je MTV bio bitan za ostvarivanje globalne dominacije, a u vreme kada je MTV imao kakvu-takvu relevantnost. U tom smislu Axl je poslednja od velikih svetskih zvezda i njegovo novo saopštenje izaziva velike potrese.
A ploča je kao i Metallica nova, super svirana, lepo aranžirana, bez previše velikih ideja, ali je zdrav trud evidentan.
Kao nekome ko se manje-vise gnusa Gunsa, ovaj album mi pretpostavljam ne bi mogla biti zanimljiva ni na koji nacin?
Guns N' Roses, 'Chinese Democracy' (Geffen)
Finally, the balls-out going-away party Dubya deserves.
By Mikael Wood 11.21.08 11:25 AM
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Guns N' Roses codependents are rejoicing over Chinese Democracy's long-awaited release, perhaps the most-delayed album in rock history.
But think, for a second, about our fragile economy: According to a 2005 New York Times story, Axl Rose spent more than $13 million recording this thing; if left unsatisfied, his appetite for construction might keep the West Hollywood service industry afloat for another decade. Is now really the best time for this gravy train to pull into the station?
You bet.
An outrageously overblown pop-metal extravaganza, Chinese Democracy feels like a perfect epitaph for all the absurdity and nonsense of the George W. Bush era -- one final blowout before Principal Obama takes our idiocy away.
The music toggles between two primary modes: grinding industrial rock and keys-and-strings balladry. (Imagine Rammstein covering Wings, basically.) Yet to that blueprint Rose and his battalion of musicians (including no fewer than five guitarists) append every trick new money can buy: hip-hop beats, Middle Eastern–influenced riffs, space-cowboy atmospherics, and, of course, Rose's still-astounding vocals, often multitracked into a paranoid boys chorus.
Singling out highlights seems antithetical to Rose's double-widescreen vision, but with their memorable melodies, "Better," "This I Love," and "Riad N' the Bedouins" (say what?) rise above the aural onslaught.
Blast 'em at top volume as you wave good-bye to our yellow brick road.
Quote from: "Father Jape"Kao nekome ko se manje-vise gnusa Gunsa, ovaj album mi pretpostavljam ne bi mogla biti zanimljiva ni na koji nacin?
Voliš li Najn inč Nejlz?? Ako da, ovde bi se našlo ponešto za tebe. I inače, generalno, Čajniz Demokrasi je prilično osavremenjen i ne liči preterano na stare Ganse.
Mehmete, album je grower, treba da ga poslušaš još par puta pre pisanja recenzije.
Poslušo sam ga ja dosta puta, nije uopšte neprijatan za slušanje ali stojim pri izjavama. Plus, to da je grower važi za apsolutno svaki album koji sam čuo, mislim, lepo su ljudi rekli: dovoljno je neku stvar posmatrati dugo da bi postala interesantna.
Sa tim se apsolutno slažem. Kod muzike je ipak malo drugačije nego kod filma. Za filmove sam uveren da su pravljeni, u osnovi da budu jednom gledani, jer to je tehnologija gledanja filma - kupuješ kartu za jednu projekciju. Koliko god neki film postajao sve zanimljiviji sa ponovnim gledanjima, nesumnjivo je važno kakav utisak ostavlja na prvo gledanje.
U slučaju CHINESE DEMOCRACY prosto postoji ta jedna specifičnost da na albumu nema hitova na prvu loptu, a Gunsi su bili poznati po velikim hitovima i velikim hookovima. U tom smislu bi se CHINESE mogao otpisati kao slaba ploča. Ali, pošto nije pravljen za na jedno slušanje, neke stvari vremenom postaju hit i otkrivaju se hookovi.
Dakle, slažem se da sve postaje zanimljivo kad se dugo posmatra, nego naprosto hitičnost i himničnost nekih numera ume da bude sakrivena na prvih par slušanja, a Gunsi su tu zbog hitova i himni, zar ne?
evo za meha i cripplea jedna smela teza o tome kako je prevladan lirički trip u savremenom rapu i šta je to sa weezyjem tako dobro
http://brandonsoderberg.blogspot.com/2008/09/raps-post-lyrical-phase.html
Friday, September 19, 2008
Rap's Post-Lyrical Phase
Rappers aren't rapping anymore. That's not the grumble of an old-school fan or knee-jerk disappointment upon hearing say the Kanye/Lil Wayne/Jay-Z/T.I track "Swagger Like Us" or the rap-less "Love Lockdown", it's just a fact. Most of radio's rappers are doing as much singing or club-ready chanting as rapping, and the few guys still rapping are layover from the late 90s/early 2000s or are named Lil Wayne and Kanye West-and the "talents" of those two are for some reason, still up to debate.
Sure, there's plenty of rapping in the "underground"--which at this point, just means, not one of the like 12 artists that can still get rap radio support--and the so-called "hipster rap" trend/sub-genre offers some genuine rapping, but really, rappers just aren't rapping anymore and it's a bummer, but it also just makes sense.
The height of rap "lyricism" (a term that means nothing but everyone reading this knows its meaning) was during the early-to-mid-90s when hyper-poetic rappers like Wu-Tang and Nas and Biggie ruled the radio. Since then, every rapper's tried to occupy that same space and failed, not for a lack of talent, but because it's a pretty much perfect era that was able to function at a pretty high-level of visibility with a relative lack of corporate interruption...and then it ended. The death of Biggie and Tupac, Wu-Tang's dissolution, enter the era of Puffy--all the stuff you'll one day read about in a music textbook on the history of rap-- but most importantly (and word to Dart Adams) The Telecommunications Act of 1996 (http://en.wikipedia.org/wiki/Telecommunications_Act_of_1996).
Nas' story of never being able to truly top his classic Illmatic is also the story of every rapper to pick up a mic and get influenced by Nas or any of those 92-96 classics, constantly looking back to the shadow of that 90s era and never being able to top it. In the world of smart people books and stuff, it's considered "the anxiety of influence"; basically, the weird tension of wanting to respect and also transcend your influences takes on a kinda fucked-up father/son relationship.
Many of the trends of recent rap, stuff like, rhyming words with the same words, non-sequitur similes, contempt for metaphors, increasingly out-there pop culture references, a bounds-less sense of free association, and a tendency to mix and merge musical influences outside of hip-hop, are often cited for the "decline" of "lyricism" and that may be true, but it's also a bunch of artists finally, formally rejecting what I'll call, "the Nas formula".
And the word "formula" is used advisedly because at this point, it's nothing more than that. This is not about Nas' lyrical brilliance or lack thereof--many songs on the recent Untitled maintain Nas' energy and verbal brilliance--but about the way that like most things, it got reduced to a messy series of verbal signs, signifiers, and cliches that connote "lyrical" to an audience of both ignorant and well-informed rap fans. Wander into any college rap show or arrive really early for the first act of say, a GZA show and you'll see the "Nas formula" at-hand: Rap with lots of feigned passion, use some big words, eschew a lot of broads talk, vaguely invoke politics and you're there.
Kanye West and Lil Wayne are both post-lyrical, understanding and well-informed by 90s rap but increasingly disinterested in overtly having much to do with it. This is hard for older rap fans whose ears have been accustomed to the "Nas formula" to accept. The artistic choices, some of them strange and ill-advised, sound more like a lack of talent than an attempt to forge some new, interesting way to rap. Joke punchlines and wordplay puns stretched so far that the joke is just how far it was taken, hold as much clout as solid metaphors and to-the-point storytelling.
One of the roots of the post-lyrical phase is Dipset's "No Homo". The "No homo" line is as much about hyper-making sure you didn't say some gay stuff as it was about bending the meanings of phrases into every conceivable direction and finding something gay in even the most innocuous phrases. "No Homo" was a word game created by a bunch of rappers obsessed with word-games. There's a clear connection between "no homo" and something like Wayne saying "they cannot see me/Like Hitler". Kanye's a rapper that on College Dropout was pretty much rapping like it was 1992--the "De La Soul" formula if you will, something oddly enough, Pharrell pretty much lives by every time he raps--but has made a decision to fall into the weirdo word games and purposefully groan-inducing punchline goofiness of post-lyrical rap. These guys are painfully aware that the "Nas formula" cannot be improved upon and instead, take a little from it here and there but try to do something else. This is the same thing that has happened in the history of every art-form.
While the argument could be made that generally art does not "devolve", there's a sense in which an end-run is made around complexity or maxmalism because it's sort of come to a head. The history of 20th century art is a series of artists trying really weird and different stuff--"make it new" being the motto of Modernism--with less and less interest in tradition. How painting got from beautiful well-rendered landscapes, to weirdo scribbles and splatter on canvas has been well-documented, and it's sort of the same thing as rap's 90s era, a sort of peak of verbal complexity that inevitably had to be cut-down and fucked around with or completely drown.
The logical extension of the "Nas formula" is the Grad school wordplay jerk-off party of Anticon or El-P at his most verbose and didactic, which you know, worked fine as an alternative but simply couldn't and shouldn't function at anything resembling "popular" music, which Wu-Tang, Nas, etc really were for a few years ago (the falling-out in popularity of lyrical rap must also be in part, the fault of the artists who seemingly forgot how to make catchy hooks to accompany their lyric-driven verses).
Southern rap's infiltration has a lot to do with this too. As the Golden era gets a little further away, reconsideration and re-canonization has come along and part of that has been a fairly radical re-focusing of who and what influenced whom. The latest generation of rappers are younger than me and so, Jay-Z--who is a kind of of a different generation than Nas, Wu, etc.--is one of the benchmarks of lyricism. Wu Tang's post-Forever fall-out coincides with Ghostface's reinvention and there's kinda a generation more influenced by the weirdo, almost post-lyrical insanity of Ghost than Wu's hard-edged rhymes as a whole. Wayne and Kanye too, find as much to like in weirdo-rappers like Kool Keith and Grand Puba or even the garbled goofiness of Ma$e as do they those rappers' more stalwart peers.
Quote from: "Meho Krljic"
Voliš li Najn inč Nejlz?? Ako da, ovde bi se našlo ponešto za tebe. I inače, generalno, Čajniz Demokrasi je prilično osavremenjen i ne liči preterano na stare Ganse.
Hm, ne bih znao da volim Nejlze, previse sam poversno upoznat s njiovim zivotom i delom. S druge strane, sad sam zaintrigiran kako to zvuce osavremenjeni i ne kao stari Gansi, te cu ipak skinuti i preslusati album. :lol:
Ko ima log na My/Shitspace-u, moze ga tamo poslusati na njihovoj oficijelnoj stranici (ja vise nemam, a da se zbog Gunsa-bez-Gunsa ponovo uclanjujem... ma bjazzziiii!).
Nije problem repa u tome što danas vlada stil koji se meni ne sviđa. Reč je o nečem drugom. Ova duboka kriza u kojoj se rep nalazi proističe iz toga što se i na ulicama u suštini slušaju 50 Cent i Kanye West, što je rep danas muzika u kojoj je proboj od ulice do mejdžor izdavača verovatno najkraći od svih žanrova, u kome su korporacije praktično uspele da prodru do same baze, do samog korena inspiracije.
Koliko god je na početku delovalo da je nastanak crnih mogula u diskografskoj industriji omogućio da se autorska prava i umetnički integritet zaštite, toliko se sada ispostavlja da rep postaje sve manje kreativan što su ljudi sa ulice bliži korporacijama.
Puffy je radio Biggija dok je još bio na ulici, a onda kad je postao veliki corporate čovek radi ovo što radi sada. Njegov ulazak u korporacije nije omogućio da se iko afirmiše, da se iko infiltrira, čak naprotiv, samo je snizio celu stvar. Slično je i sa ostalima. Jay-Z je bio u Def Jamu čak predsednik i ne može se reći da su se stvari promenile na bolje. Isto tako najveći hitovi su mu bili actovi poput Rihanne i sl. što je legitimno, ali nije baš razlog da crnci sa ulice uđu u industriju.
U tom smislu, srž repa je sada korumpiranija nego ikad, a ekonomski odnosi u priči diktoraju i kreativne odnose u priči. Što se mene lično tiče, ja mislim da je rep muzika koja zaista ima nekoliko dimenzija i raspoložen sam da u svim tim dimenzijama uživam na određeni način. Iako su mi Public Enemy ključ, ne očekujem da sve bude na tom tragu. Ipak, čini mi se da pritisak korporacija na sam koren kreativnosti čini da se savremeni rep deformiše, pa konačno i u tom pravcu u kome se odbacuju i forma i sadržaj u isto vreme.
Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.
I meni rap pocinje i zavrsava sa Public Enemy i NWA (moze i Dead Prez, iako sam podobro zaostao u razvoju... hm, istog).
when I fuck Riahanna ain't used no umbrella,
when the bitch have twins we naming em both Ella. (Ella, Ella)
Heltah Skeltah
Quote from: "David"Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.
I meni rap pocinje i zavrsava sa Public Enemy i NWA (moze i Dead Prez, iako sam podobro zaostao u razvoju... hm, istog).
Company Flow: Funcrusher Plus
Immortal Technique: sve
Bilo šta od Rakima, sa akcentom na saradnju sa Erikom Bijem
Hvala na preporukama, Meho!
Provjericu...
E sad ako je Rakim underground, onda... Pa čovek je zvanično najveći MC ikada...
Quote from: "David"Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.
pošto kapiram da nisi iz fazona da se zatrpavaš albumima i pošto, realno, ima milion albuma koje treba čuti, kapiram da ti je važniji sam osećaj i autentičnost, pa evo ti malo pravog nigga undergrounda (malo gangsta, malo politički ali oba hood) - dva možda najprespavanija albuma hardcore rapa, oba iz '93 (
po ceo dan se pitaš da li sam s tvojom ribom, u stvari ne zanima me ona - zanimaš me ti, ajde da se šibamo pičko - ninety threeee!)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fassets.mog.com%2Famg%2Fpop%2Fcov200%2Fdrd000%2Fd097%2Fd0976331l2q.jpg&hash=ccbbd91fe0e7bef1db18dcda49ef23d15aab5731)
http://www.megaupload.com/?d=6ZQ2KEXZ(ili
http://rapidshare.com/files/15732040/DMG-RIGORMORTIZ.rar)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fen%2Fb%2Fb7%2FNevaAgain.jpg&hash=3fb513cef0d299a6c5b554609f5d4583cf8c5317)
http://www.megaupload.com/?d=QV7KC8JL(ili
http://rapidshare.com/files/59342294/Kam_-_Neva_Again__1993_.rar)
trebalo bi da su svi uploadi bez passworda mada nisam proveravao.
evo da čuješ pre nego što skidaš da ne bude "mačka u džaku"
kam - peace treaty (http://www.youtube.com/watch?v=N6g1AD38P0k)
kam - neva again (http://www.youtube.com/watch?v=fvLwvuCT_gg)
kam - stereotype (http://www.youtube.com/watch?v=z8unqw_b_G0)
kam - holiday madness (http://www.youtube.com/watch?v=f1yShnMjRNs)
kam - y'all don't hear me dough (http://www.youtube.com/watch?v=SznD-Er0uSs)
dmg - psycho (http://www.youtube.com/watch?v=lJECzDnZqm4)
dmg - one in da chamba (http://www.youtube.com/watch?v=_YhwBzxnZHI)
dmg - u don't hear me doe (http://www.youtube.com/watch?v=HGAumUr0jVQ)
a ako oćeš klasike, opet mora neki skroz osušeni funk da bude i straight up rime na beatu - gangstarr ("daily operation", "hard to earn"), epmd ("business as usual", "business never personal")...
Blizzard rep Frank Pearce announced last week in New York that writers are currently being sought for the long-awaited "Warcraft" movie.
"Legendary Pictures is currently trying to assign some names to write the screenplay and find someone to direct it, so it's still really early in production. They want to make sure they get the right talent for those different parts, especially the screenwriting because that's the foundation for the movie" he tells MTV News.
Would the film be live-action or CG animated like the games? "[The idea] has come up in discussions but it's not something we've really considered because it takes so long to generate just the brief amount of footage that we create for the game. It would definitely be really cool. There's no question about that, it's just that the quantity of work that it would take is more than we're willing to take on at this point."
Quote from: "crippled_avenger"E sad ako je Rakim underground, onda... Pa čovek je zvanično najveći MC ikada...
Ma, jes ti vido kako ne može da snimi album? Jesi ti vido za koga je izašo onaj živi album koga sam ti ja narezo? Rakim je danas veći andergraund nego IKAD.
Quote from: "lou benny"evo za meha i cripplea jedna smela teza o tome kako je prevladan lirički trip u savremenom rapu i šta je to sa weezyjem tako dobro
http://brandonsoderberg.blogspot.com/2008/09/raps-post-lyrical-phase.html
Interesantan tekst i još interesantnija rasprava u komentarima na njega. Incidentally, ovo što Cripple kaže je jedno od delimičnih obrazloženja za fenomen koji Brandon samo opisuje u svom tekstu. Jedna od značajnih poenti koje jedan od komentatora iznosi, a koje Brandon nije originalno u tekstu dotakao (ili razradio) je što je post-lyrical rap (da ga za trenutak tako nazovemo) vrlo egoističan, čak do tačke samoizolovanosti. Mislim, svaki rap je po definiciji narcisoidan ili barem egocentričan, ne nužno u negativnom smislu, ali je ovo u svrhu ego-afirmacije i podrazumeva komparaciju između ega i ostatka pojavnog sveta, koja se dalje razvija u simboličku konfrontaciju ili simboličko potčinjavanje
drugog. Kod post-liričkog repa, pak, nestaje ovaj odnos sa drugim, dakle, egocentričnost se zatvara u jedan više ne ni solipsistički univerzum nego u univerzum u kome pojam drugog više nije nešto što se prepoznaje kao drugo-od-ja, da tako kažem, nema komparacije, nema konfrontacije, nema podčinjavanja. Lil' Wayne i slični njemu (da generalizujem iz sve snage pa da kažem 'južnjaci', mada ovo naravno nije ni izbliza tačno), poput, šta ja znam Gucci Manea (on mi prvi pada na pamet jer sam njega nedavno recenziro) više nemaju odnos sa okolinom/ zajednicom/ drugim i njihov lirizam je više nekakva meditacija o sebi u kojoj povremene manifestacije pojavnog sveta više figurišu kao formalne rap obaveze ali nemaju presudnog uticaja na tok svesti niti se ego u kontaktu sa njima zbilja potvrđuje, jer nema procesa/ odnosa kroz koji bi se izvršila komparacija i utvrđivanje vrednosti.
Što se meni, dakako ne sviđa, ali to je, opet dakako, sasvim normalno jer sam star čovek slušalački odgojen na decenijama battle rapa i kulture koja je cenila pod jedan kompleksnu liriku prepunu slika, metafora i igara reči baziranih na razmeđi fonetske i simboličke sličnosti, a pod dva, podrazumevala je hip-hop generalno i rap partikularno kao medijum pre svega odnosa između jednog i drugog i jednog i zajednice.
Što znači da sam maltene fabrički nesposoban da zaista prihvatim (namerni?) prezir prema lirici (onome što Brandon naziva Nas-formulom) koji čujem kod mnogih južnjaka u poslednje vreme (zato mi je i TI-jev album daleko više prijao od većine južnjačke produkcije koju sam čuo poslednjih godinu dana, pošto je konvencionalniji po formi, bliži Nas-formuli) (uzgred, hip-hop album koji sam najviše slušao ove godine je, gle iznenađenja, Nas/ Doom kolaboracija iz 2006. godine Nastradoomus). Naprosto, ona u okviru nominalno istog medijuma uspostavlja skoro sasvim novu estetsku matricu koju ja, za sada ne umem da prepoznam kao nešto diskurzivno objašnjivo niti da prepoznam kriterijume vrednovanja. A pošto sam kondicioniran da hip-hop i rap upravo vrednujem kroz tu, jelte, Nas-formula estetiku i generalno nadmetačko-konfrontacijsku kulturu, ovo je za mene priličan kulturni šok.
S treće strane, koliko jesam u stanju da percipiram ovu muziku, zanimljiv u njoj je taj neki, hm, da ga nazovemo 'pank' kvalitet, dakle svesno ili nesvesno preziranje kompleksnosti i rafinmana koji se doživljavaju kao dekadencija (jedan od komentatora dosta ispravno proziva Anticon i El-Pja kao eksponente krila koje je Nas-formulu odvuklo u apsurdnu belačkokoledžsku masturbaciju), i kojima se primitivnost suprotstavlja kao kvalitet ne zato što nužno ima kvalitet samo po sebi već prevashodno zato što je različito. Pošto sam u ovom trenutku JA rokenrol dinosaurus koji je prepadnut što se njegovi omiljeni sofisticirani umetnici povlače pred navalom varvara bez rafinmana i veština, treba mi vremena da uđem u tu novu priču i razaznam šta u njoj vredi da ostane slušano i pamćeno i za 30 godina...
pa eto, ta težnja za apsolutizacijom sebe, za tim da si toliko velik da te ništa ne dotiče i da se ne određuješ više u odnosu na ovog ili onog ili na zajednicu je nekako prirodna battle težnja. u tom smislu i ono "prevladavanje" treba shvatiti hegelovski. pokušaj da se izađe iz "gospodar-rob" odnosa u kome, koliko god izdominiraš u odnosu na drugo, ti si još uvek određen tim drugim i u tom smislu zavisiš od njega.
a inače, što se tiče samog osećaja kad slušaš te rime
Quoteda idemo od običnijih i konkretnih pojedinačnih stvari... meni je npr. sam onaj trip da se rimuje jedna ista reč na kraju linije a koji je počeo učestalo da se koristi tek u ovom milenijumu, baš geto. prosto tripuješ lika koji je glup ili je na nečemu i boli ga kurac i baca rimu. ta taktika je doduše rizična - jer npr ako ideš tako možeš da budeš prazan na traci a možeš i da isijaš toliku harizmu da iskida. nema sredine - ili ćeš da iskidaš ili će da ti prođe strofa ko da je prazan beat. (od domaćih je recimo rolex na "ko si ti" po mom mišljenju iskusno odradio taj trip)
a što se tiče tih praznih ili trivijalnih metafora, poređenja, wpa i sl. - s tim je isto to sranje. normalno, uvek će lakše s tim moći da se izvuče ortak koji ima dope vokal i delivery ali zar nije tako sa bilo kojim rapom? u svakom slučaju, ceo taj prost trip rimovanja je zabavan i često bude tvrđi od "liričkog" tripa koji u poređenju ispadne do jaja isciman. get piglu!
Pa, da, može taj egocentrizam-do-poništenja-svega-ostalog da se shvati kao ekstrapolacija battle filozofije o prevladavanju s tim što se ovde više ne prevladava protivnik već sama ideja borbe. Ali, kako rekoh, mom mozgu treba mnogo vremena da se prespoji i počne ovo da tumači kao legitimnu estetsku osnovu. Navikao sam da slušam i gledam hip-hop kao nadmetanje/ nametanje i da u njemu cenim dovitljivost, eleganciju i ukus pa mi nije lako da sad u okviru iste kulture promislim nešto što poriče dovitljivost, eleganciju i ukus i insistira ne samo na jednostavnosti već baš na stoopidnessu.
Lil Wayne je čovek koji je zaista zagledan u pukotinu u dominantnom narativu. :D
Quote from: "crippled_avenger"u pukotinu
:!:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.infoimagination.org%2Fps%2Fdrug_war%2Fcocaine%2Fimages_cocaine%2Fcrack_smoker.jpeg&hash=b5d729140d88b388a6cbbd85fe160b832dbb6026)
Falling through the cracks, takoreći.
Watchdog group praises games industry, criticizes parents
Report lists ten games to keep away from your kids.
By Ben Silverman
ADVERTISEMENT
The video game industry can breathe a sigh of relief. It won't have to hide its report card anymore.
The National Institute on Media and the Family, a conservative media watchdog group that has repeatedly criticized the game industry for failing to adequately warn families about inappropriate content, issued its 13th annual video game report card on Tuesday. And for the first time, the industry got nearly straight A's, receiving high marks in its ratings system and retail policies.
"This year the industry has improved its ratings enforcement and given parents new tools when choosing the right video game for their child," said NIMF president David Walsh. "That's a significant step in the right direction."
Significant is right. As recently as 2005, the NIMF gave the Entertainment Software Ratings Board a resounding "F."
The NIMF still points out one problem-spot: parents. This year's report gave parents an 'Incomplete' for not paying enough attention to ratings and failing to use parental controls built into game consoles.
To remedy the situation, the NIMF has red-flagged ten violent games concerned parents should keep away from the under-17 crowd this holiday, citing excessive bloodshed and brutality:
Blitz: The League II
Dead Space
Fallout 3
Far Cry 2
Gears of War 2
Legendary
Left 4 Dead
Resistance 2
Saints Row 2
Silent Hill: Homecoming
Notably, all ten are already rated M for Mature, so for once the industry and the watchdog are in agreement. On the flipside, the NIMF recommends these Teen-rated alternatives:
Guitar Hero World Tour
Rock Band 2
Rock Revolution
Spider-Man: Web of Shadows
Shaun White Snowboarding
More "Chinese Democracy" Sales Numbers: The Answer Is As Mysterious As You'd ExpectYou may be wondering how first-day sales of Guns N' Roses" Chinese Democracy went, and... well, no one's really sure, thanks to lots of retail secrecy! Hits has the very first, very wild estimates: "After yesterday's first-day sales, which include a reported 25k downloads at iTunes, first-week sales prognostications are ranging anywhere from 300-500k." Those of us who figured that the album's Sunday release date on Best Buy and iTunes meant that it would show up on this Wednesday's album chart were wrong, thanks to the combination of something that Hits is calling "a recent controversial SoundScan ruling about counting digital sales" and Best Buy's own Sunday-to-Saturday sales-reporting policies, which were outlined way back when the album's release date was announced in October:
Beyond enticing pre-Thanksgiving shoppers, the move is tied to the structure of Best Buy's sales week, which runs from Sunday to Saturday. As such, "Chinese Democracy" would not be eligible to chart on The Billboard 200 until the week of Dec. 1, according to Nielsen SoundScan.
I suspect that the digital-sales ruling has something to do with albums that are available in both physical and digital form, but that come out first digitally, not "counting" chart-wise until they're available everywhere, so as to ensure that their chart placement is as high as possible. But I could be wrong about that! SoundScan is pretty secretive when it comes to announcing changes like this, perhaps because it's so easily swayed by outside influences. Either way, instead of theorizing over whether the album's sales would beat those of Beyonce (whose probably-inflated Hits estimates put her split-personality sales around the 500,000 mark) we now get to prognosticate about Axl taking on Kanye and Brandon Flowers. Fun! I think.
Kanye West Vs. Guns N' Roses: A Fairly Even Match After All (Numbers-Wise, Anyway)GN'R's label revises the timing of its reporting, so both albums' debuts will be based on seven days of sales.
By Chris Harris
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Last week, using information provided by a spokesperson for Guns N' Roses' label, Geffen Records, MTV News reported that first-day sales of the band's long-awaited LP, Chinese Democracy — which was released as a Best Buy exclusive on Sunday — would not be released to Nielsen SoundScan until next week.
Seemingly, this would have given Axl Rose and friends an advantage over Kanye West, who released his 808s & Heartbreak on Monday, in the race for Billboard's peak position, as GN'R's first-week figures would include an eighth day of sales — not seven, as with West's new opus.
However, on Tuesday (November 25), Geffen revised its statement, saying instead that the first-week sales data it will be releasing to SoundScan for Chinese Democracy will be based on sales tallied Sunday through Saturday, whereas West's will be based on sales tallied Monday through Sunday — which means that both albums' debuts will be based on seven days of sales.
Typically, albums are released in the U.S. on Tuesdays, and SoundScan tracks weekly sales data from Monday through Sunday, meaning that most albums' debut spots on the chart are based on six sales days. But unlike many other retail outlets, Best Buy reports sales figures that were recorded between Sunday and Saturday.
What this ultimately means is that West and Rose will battle it out for the chart's top spot fair and square — numbers-wise, anyway — with neither artist having an inside track. If anything, West's latest offering, as well as the Killers' Day & Age and Ludacris' Theater of the Mind (which were all released on Monday), will have an unfair advantage in the sales contest over every album released on Tuesday.
This development comes on the heels of a report released Monday by "Hits Daily Double," which claims Chinese Democracy is on pace to scan anywhere between 300,000 and 500,000 copies that figure also includes a reported 25,000 iTunes downloads.
http://znaksagite.com/diskusije/viewtopic.php?p=165437#165437
Videli smo, videli smo. Lep napis, odlično promišljanje i apsolutno previsoka ocena. Mislim,da, kao proizvod, ovo je zaslužuje. Kao umetničko delo, ne.
Slažem se, ali zar u popu kvalitet nečega kao proizvoda ne ulazi u obzir...?
Goran Musić je u kući!
http://www.popboks.com/tekst.php?ID=6915
http://www.radivizija.com/video/?dir=&download=Exit05-Prti%2C+Bicharke+%26+Ajs.avi
Komad istorije - poslednji nastup Davora Bobića - Exit 2005, dakle nekih mesec-mesec i po pre nego što je umro.
Skinuće se večeras, pre odlaska na PE. Hvala, mada je sasvim moguće da ja ovo zapravo negde već imam. :cry:
Umro Betmen?
Mračni junak koji čuva Gotham od kriminala je u novoj epizodi upečatljivog naziva Batman RIP doživeo tešku nesreću.
"Ovo je kraj Brucea Waynea kao Betmena. Ono što planiram je sudbina mnogo bolja od smrti. Nešto što niko ne bi očekivao da se može dogoditi herojima", zagonetno je prokomentarisao škotski scenarista Grant Morrison za BBC.
Betmena je u ovoj priči najpre upucao negativac Simon Hurt, koji za sebe tvrdi da je njegov otac dr Thomas Wayne; ranjeni junak se posle toga bacio na helikopter kojim je Hurt hteo da pobegne.
U poslednjem delu stripa, posle nesreće, nije prikazano telo Brucea Waynea.
Morrison nije hteo da otkrije ko će biti novi Betmen.
Ukoliko Betmen nastrada, to neće biti prvi slučaj te vrste u svetu stripova o superherojima.
Prošle godine nas je napustio Kapetan Amerika, koji je nastradao u atentatu.
Prva epizoda stripa Betmen objavljena je 1939. godine.
Starijim Meksikancima besplatno "vijagra"
Ponedeljak, 1. decembar 2008. 22:10
Najsiromašniji stanovnici Sjudad Meksika, stariji od 70 godina, od ponedeljka mogu da besplatno dobijaju lekove protiv impotencije - "vijagru", "levitru" i "cijalis", objavio je sekretar za zdravstvo glavnog grada Meksika Armando Aued.
Taj potez zdravstvenih vlasti predstavlja deo programa za očuvanje seksualnog zdravlja starijih osoba, preneli su lokalni mediji.
Besplatni lekovi su obezbeđeni za 112.000 najsiromašnijih stanovnika Meksiko Sitija, koji će prethodno morati da prođu zdravstveni pregled kako bi im bila dijagnostikovana erektilna disfunkcija.
Meksičke zdravstvene vlasti smatraju da seksualni život muškaraca, koji predstavlja deo života i želje da se bude srećan, ne mora da prestane posle 60. godine života, kakav je uobičajeni stav.
Pažnja zdravstvenih vlasti biće usmerena i na obezbeđivanje besplatnih lekova protov raka prostate, dijabetesa, gojaznosti i hipertenzije za tu kategoriju stanovništva.
"Twilight" star Kristen Stewart is set to portray rocker Joan Jett in the biopic "The Runaways" says The Hollywood Reporter.
The Runaways were hugely influential as the first successful all-girl hard rock band; its members included guitarists Jett and Lita Ford, drummer Sandy West, singer-keyboardist Cherie Currie and bassist Jackie Fox.
Initially a novelty act of teenaged girls performing in leather and lace in the 1970's, the girls became serious and influential musicians thanks to songs like "Cherry Bomb," "Born to Be Bad" and "Queens of Noise". After four years together, they fell apart over management and money issues in 1979.
The film will revolve around Jett and Currie and follow them from the band's meteoric rise as teenagers to their dissolution and disillusionment. Jett of course went onto a successful solo career with her most notable hit being the legendary "I Love Rock N' Roll" in 1982.
Music video director Floria Sigismondi wrote the screenplay and is directing. A 2009 start is set and will work around Stewart's commitments to the two "Twilight" sequels.
John and Art Linson along with Bill Pohlad are producing. Jett herself will act as an executive producer.
Bas sam se pitao gde dede ta Joan posle Dirty Deeds obrade !(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsmilies.sofrayt.com%2F%255E%2Fw%2Fsuper.gif&hash=15f22d4d72a6fff762ccfd923be37bb9efe155de)
Kanye Edges GNR, Ludacris For No. 1 Debut
Kanye West
December 03, 2008 11:16 AM ET
Katie Hasty, N.Y.
Kanye West earns his third straight No. 1 on The Billboard 200 as "808s & Heartbreak" bows in the top slot. The Roc-A-Fella/Def Jam set moved 450,000 copies in the U.S., according to Nielsen SoundScan, the artist's lowest debut sales frame since his first album, "The College Dropout," bowed with 441,000 in 2004.
His last release, "Graduation," began with 957,000 at No. 1 last year, while sophomore set "Late Registration" checked in with 860,000 at No. 1 in 2005.
With the help of Thanksgiving sale prices and a performance from the singer at the Nov. 23 American Music Awards, sales for Taylor Swift's Big Machine album "Fearless" increase 23% to 267,000, pushing the set up 4-2.
At No. 3 with 261,000 is Guns N' Roses' Best Buy exclusive "Chinese Democracy" (Black Frog/Geffen), the first studio album of original material from the group since 1991. GNR's last studio efforts, "Use Your Illusion I" and "Use Your Illusion II," debuted at Nos. 2 and 1 respectively, with 685,000 and 770,000 after being released on the same day in 1991.
Since then, the act has charted with a covers set (1993's "The Spaghetti Incident?" with a 190,000 debut), a live effort (1999's "Live Era '87 - '93;" 60,000) and the 2004 "Greatest Hits" package (169,000).
Beyonce's "I Am ... Sasha Fierce" (Music World/Columbia) declines by 47% in its second week, dropping 1-4 with 257,000. Debuting right behind at No. 5 is Ludacris' "Theater of the Mind" (DTP/Def Jam) with 213,000. It's the first time one of the rapper's albums debuted anywhere but No. 1 since 2001's "Word of Mouf" bowed and peaked at No. 3.
The Killers' third album, "Day & Age" (Island) enters at No. 6 with 193,000. Its 2006 predecessor, "Sam's Town," bowed at No. 2 with 315,000.
After debuting at No. 2 last week, Nickelback's "Dark Horse" (Roadrunner) slips to No. 7 on a 46% decline to 178,000. Chop Shop/Atlantic's soundtrack to the runaway hit film "Twilight" falls 6-8 with 162,000 (+29%) while the multi-label "Now 29" hits compilation earns a 26% sales increase to 145,000, slipping 7-9. David Cook's self-titled 19 Recordings/RCA debut rounds out the top tier, descending 3-10 with 112,000 (-60%).
Other debuts this week include Barry Manilow's "Greatest Songs of the Eighties" (Arista) at No. 14 with 78,000, the Coldplay EP "Prospekt's March" (Capitol) at No. 15 with 77,000, Trace Adkins' "X: Ten" (Capitol Nashville) at No. 32 with 37,000, Jeremy Camp's "Speaking Louder Than Words" (Tooth & Nail) at No. 38 with 32,000 and Linkin Park's "Road to Revolution" (Warner Bros.) at No. 41 with 31,000.
At 12.15 million units, sales this week are up 29% compared to last week's sum, but down 0.7% compared to the same sales week last year.
Punisher: War Zone
Brent Simon in Los Angeles
03 Dec 2008 22:36
Dir: Lexi Alexander. US. 2008. 103 mins.
A blithely depraved shoot-'em-up in which its glum protagonist lays waste to a vast criminal underworld, Punisher: War Zone recalls low-budget action movies of the 1980s in which dialogue was only something to fill three to five minutes between set pieces. Steeped in as much over-the-top brutality and gore as comedy, this artless revenge tale would seem to have a limited fan base and shelf life.
Jonathan Hensleigh helped prove the viability of even the bottom tier of the Marvel Comics catalogue in 1994 when The Punisher, starring Thomas Jane in the vigilante title role and John Travolta as the villain, grossed just under $34m domestically. Without stars or much of a sense of scope, this version's commercial yield should be lower, though its base-level carnage and mayhem could translate well for international action junkies.
Neither a sequel nor origin story, Punisher: War Zone, much like this summer's The Incredible Hulk, simply takes as its point of focus a different part of the comic book narrative. Set almost entirely at night, the film unfolds five years after former Navy S.E.A.L. and anti-hero Frank Castle (Stevenson) has launched a one-man war on the criminals who killed his family. A legend to both sides of the law, Frank operates with the tacit approval of the New York City police, who have a token task force assigned to his capture but otherwise don't seem very interested in stopping him.
After junior-level mob boss Billy Russoti (West) is left horribly facially scarred by Castle, he adopts the nickname Jigsaw and sets out for vengeance, enlisting the assistance of his brother Jim (Hutchison), whom he frees from a mental institution. When Jigsaw helps a rival gang smuggle a biological weapon into New York, federal anti-terror authorities step up the pressure to catch Frank, thinking he can lead them to Jigsaw. Predictably, many bodies hit the floor.
While The Punisher surprisingly went out of its way to temper its bloodlust with a pinch of reality, no such desire for nuance is on display in Punisher: War Zone, which unleashes depravity galore. In the first 10 minutes, an old lady's neck has been snapped, a chair leg rammed into someone's eye, and Frank has readjusted his own broken nose with a pencil; by film's end, heads have been blown off and faces literally punched in.
As a showcase for this sort of splatter-effects excess, the movie could possibly briefly enthral young male action junkies, but it's hard to see it working anywhere else. The script is lazy, and the ridiculous violence doesn't match scenes that play on Frank's guilt over having accidentally killed an undercover agent, for example. Also, the final act is predicated on federal authorities giving the Russoti brothers money, unconditional freedom, and information to help settle their vendetta with Frank, which makes little sense.
To cap it all, there's no idea that Frank is physically vulnerable, twirling around as he does in a bulletproof vest and overwhelming his opponents via simple firepower. This conspires to make the film feel like an elongated computer simulation videogame in which the protagonist is granted unlimited lives.
Performance-wise, Stevenson glowers in a fashion one could deem appropriate, but West adopts an exaggerated Mafioso accent that seems based on having seen several episodes of The Sopranos. As "Loony Bin Jim," Hutchison chews the scenery so madly and gleefully that it elicits laughs. And even if that wasn't always the original intent, at least the viewer can appreciate the diversion.
Production companies
Lionsgate
Marvel Studios
Valhalla Motion Pictures
MHF Zweite Academy Film
SGF Entertainment Inc.
Domestic distribution
Lionsgate
Producer
Gale Anne Hurd
Screenplay
Nick Santora
Art Marcum & Matt Holloway, based on Marvel's Punisher comic book series
Special Effects
XY&Z Visual Effects
Cinematography
Steve Gainer
Production designer
Andrew Neskoromny
Editor
William Yeh
Main cast
Ray Stevenson
Dominic West
Doug Hutchison
Wayne Knight
Colin Salmon
Dash Mihok
Julie Benz
Mark Camacho
Keram Malicki-Sanchez
T.J. Storm
David Vadim
Hola all. Massawyrm here.
First things first, Punisher War Zone is not GOOD. Oh, fuck no. It is a stiflingly stupid mess of a film that flings itself repeatedly headlong into a brick wall of absurdity. If you're one of those guys crawling out of their mother's basement, wearing a Punisher t-shirt and carrying two prop sub machine guns drooling over how awesome a movie this could really be, this movie might upset you a little. If you lay awake at night dreaming of how Hollywood could make a truly incredible Punisher film if only they listened to you and pulled the movie right out of your head, you might come to curse the name Lexi Alexander. Hell, if you've so much as photo shopped your head onto the Punisher's body and used it as an avatar over on Superherohype, then you are gonna shit yourself with disappointment when you finally see this. Because let me tell you something, Hollywood may never make a serious, real, honest to god Punisher movie.
Lexi Alexander sure didn't. And you know what? I'm glad she didn't.
The Punisher is a relic of a bygone era. A product of his time, he began his comic career as a Spiderman villain. An unstable Vietnam vet with an unending grudge against criminals, Frank Castle emerged with his own comic during the rise of the anti-hero in the early to mid 80's alongside such luminaries as Wolverine and Batman's reinvention as The Dark Knight. But unlike Bruce Wayne or Logan, Frank Castle wasn't multilayered or in any way deep. He was a psychopath - a deranged, fucked up killer who lost his family in an act of random violence and in turn became the boogeyman for criminals in New York City. And like the popular boogiemen of the time - Freddy, Jason and Michael Meyers – the best part of watching Frank's adventures wasn't to see why he went after certain guys or what their backstory was. It was to see how he was going to kill the next guy and what clever, inventive, devilishly brutal way he was going to go about doing it.
So yeah, as a kid, I fucking loved him.
But a few years ago they put out a Punisher video game that kind of changed the way I looked at him. The cover proudly proclaimed there was something like 100 different ways to punish the guilty – and then challenged you to find them all. The picture was of Frank holding a guy under a drill press, and for a second I though "Awesome! This is gonna kick ass," only to begin to wonder "Why isn't there a Nightmare on Elm Street game in which you run around slaughtering teenagers with 100 different ways to punish the kids of Elm Street?" Because that's all this is. I know, I know. "These guys are guilty! They're bad guys! It's okay to delight in watching their slaughter." It sure is. I love a good slasher movie, myself. But it's impossible to pretend nowadays that this is anything but that.
It's not the 80's anymore. Batman has substance and is conflicted. Wolverine has substance and is conflicted. The Punisher? He's a cartoon.
And that's exactly how Lexi Alexander sees him. She doesn't take this movie seriously for a second. Her approach is identical to that of Paul Verhoeven on Robocop and especially Starship Troopers. This isn't a movie glorifying The Punisher. This is a film with its tongue placed firmly in cheek, subtly making fun of him every chance it gets. AND I LOVE IT FOR THAT. Not because I think the Punisher is deserving of mockery, but because Alexander gets it. She sees Frank for what he is and set out to make a glorious, deliciously fun romp through his grime covered universe. And in doing so she actually managed to make the most faithful, spot on adaptation of the comic we are likely ever to see.
There are exactly three things she gets right in this that no one will dispute. The first is that, for the first time in history, someone has made a movie in which the Punisher actually shows up. Not that pussy Thomas Jane version. Not Dolph Lundgren and his silly traipsing through the sewers on a motorcycle. THE PUNISHER. When Ray Stevenson first appears in the dark holding a burning flare – you see him. You know it's him. When he speaks, you hear Frank Castle. Not some lame facsimile. This is one cold, brutal son of a bitch who is going to kill every mother fucker in the room. And then he does.
The second thing she gets right is the origin. Not only does Frank Castle look and sound like he should – his origin is intact. This is not a sequel to the last film. Lexi took a fantastic approach to the last film and said fuck that piece of shit. She went back to the well. There isn't a single shred of the last movie's storyline in this. Franks family died in random gang violence. In New York City. And he lives underground where he is helped by a bevy of characters from straight out of the comic book. Comic book fans will love the attention to detail.
And lastly, she made this bloody as fuck. This movie doesn't play around. The second the shit goes down, The Punisher starts punishing. Guys get decapitated, grenades blow off limbs, bullets rip bloody chunks out of people. And heads...explode...kind of a lot. This thing is soaked in blood from the very first moments of the film until the very end. At times it has this whole Robocop meets Story of Ricky thing going on. He punches through a guy's head for fucks sake. It's just silly.
And really, that's the core of this film. It is camp. Deliberate camp that doesn't feel overly self-aware. I mean, when a guy gets hit square in the chest with a grenade and just plum vanishes in a puff of smoke on what is OBVIOUSLY a soundstage, you know that Alexander isn't being serious. The dialog is unspeakable, but often howl-inducing. Just about every actor in the film chews up scenery like they were told it was craft services. And almost every set is a gaudy soundstage drenched in neon. There are just scenes of such absurdity – up to and including Frank walking across the street, in plain view of pedestrians, with guns holstered all over his body – that you can't for a moment take this seriously. It is gloriously over the top, a hilarious film that perfectly gets The Punisher right while never for a moment taking him seriously. Hell, from the moment Seinfeld's Newman walks in to sell Frank guns (You can almost hear him say "Hey jerry, guess what I got") to the Dockers commercial flashbacks of his family life, this movie will make you piss yourself with laughter.
And I love the shit out of it. Like I said, it's not good. But it's fun, it's gory and often times it is quite inventive. It never gets boring and it's never so bad it hurts. It is always so bad it's good. This is a midnight movie for folks who love MIDNIGHT MOVIES. Vern is gonna lose his mind over this. The beer-and-buddies crowd is gonna have a field day. And make sure when and if you do go to take a friend to lean over and crack wise with. But don't take this seriously. For a second. The hardcore Punisher fans? They're gonna hate the hell out of this. They're gonna piss vinegar and spit blood screaming about how Hollywood needs to finally take the Punisher seriously. They might even be deluded enough to say that the previous effort was the only good Punisher film. And they would be wrong.
They're gonna hate this. Unless they're in on the joke. Like you.
Until next time friends, smoke 'em if ya got 'em.
Massawyrm
Hey, everyone. "Moriarty" here.
I am barely competent at MORTAL KOMBAT.
I play my fair share of games, and I think I'm fairly decent at them. But I will admit near-total shame at the hands of the online community in MORTAL KOMBAT VS DC UNIVERSE, and frankly, it's the online that would keep me playing this. Once you've played the story mode, all that's left is arcade mode, and since the only person in my house who would play is Toshi, and that ain't happening for maaaaany years, my only option for replay on it is online. So far, I've been impressed by how many people there are at any given time, and just how willing they all seem to be to kick my ass.
I've played the film with friends now, in person, and with strangers online, and I've played both story modes through from start to finish. I think I've pretty much poked and prodded every corner of the game that my admittedly low-level expertise allows, and I've read a bit of criticism from various online sources. I don't usually review games, and I think gamers want a totally different set of things from their reviews than a film fan does. They have to satisfy very different cravings to succeed. One is active, the other is passive. With a game like MKvsDCU, the question is simple: is it fun? And, yes, it is. It is ridiculous fun, with an emphasis on the word ridiculous.
Let's look at story mode first. You choose to play either the Mortal Kombat version of the story or the DC Universe side. I've played both, and they're identical experiences, just using different iconography for the characters. They both build to the same exact final boss fight, and the rhythms of the game leading up to that fight are pretty much identical. At the start of things, Superman does blasts Darkseid's dimensional portal with his laser-vision, and it causes a bizarre explosion to occur. On the Mortal Kombat side, it's Raiden's final blasts against Shao Kahn that triggers the same sort of bizarre backblast. As a result, that dual reaction opens a rift that starts to merge the Earthrealms with the DC Universe. And because there are strange forces at work, everyone's powers are in flux.
My favorite example of this in the story mode is the Joker suddenly becoming a badass who can fight. His reactions as played out in his chapter of the story mode are pretty much dead on for the classic interpretation of the Joker. He thinks it's hilarious that he can finally defend himself using brute force, and every fight seems to just make him laugh even more. It's nicely done. I can see why some fans find the idea frustrating, wishing they could just punch people's heads off like water balloons with Superan's strength, but that would pretty much render the game unplayable. They had to find some way to try to keep the powers familiar, but scale them so that everyone has some chance in a fight. The format for both versions of the story is a series of chapters, each from the point of view of a different lead character that you're playing, each with about four fights in the chapter.
And at the very end of the game, you have to face Dark Kahn, who is a hybrid of Darkseid and Shao Kahn as one person. You defeat him as Superman and as Raiden, and when you do, you unlock both Darkseid and Shao Kahn as playable characters. Playing through story mode straight through took about four hours each time. You sit through a looooootttt of cut scenes, and I was surprised to see there's no way to skip them. If you could, playing that mode would take a lot less time, and sort of defeat the point of having a story mode instead of an arcade mode, I suppose. The first time through, playing the DC Universe, I didn't mind, but about three chapters into the Mortal Kombat version, I was ready to just skip to the fights.
If that's what you're looking to do, let me suggest the online mode. It's very simple to set up a match, and I've been able to find people online any time I went looking so far. And either I have terrible luck of the draw so far, or I really am the worst player ever born. Every single time I've gone online so far to play, I have had my ass handed to me in rapid fashion. I've played for an hour or two each time, trying to see if it's just a learning curve for me, but I continue to get shamed. I thought I did really well playing through the story mode, and I seem to do well on the Kombo challenge mode, where you try out different combos in order to unlock all sorts of things. But against a real person, I get schooled every single time. Pwned like a noob, if you will.
I'm guessing the solution is to play it with my friends at my place or at their place, but I play so few games with someone that I don't even have a second controller for the PS3 right now. I think this would be a great geek party game for the crazy novelty of it, and I've really enjoyed the wacko head-to-head match-ups the game makes possible. It's very much a Mortal Kombat game in control scheme and combo styles, with a few new mechanics thrown in. There's the freefall Kombat, where you crash through a wall and ride your opponent to the ground in a 3D space, beating the shit out of them as you fall. That can be reversed, though, and you could end up taking damage that costs up to 30% of your health as a result. There's also another event you can trigger where you throw someone against the wall, then charge them and run them through something like six walls in a row, mashing buttons to try to determine how much damage you do. It feels very familiar, though. They didn't try to reinvent Mortal Kombat completely, and I appreciated that. The last MK game I played was MORTAL KOMBAT MYTHOLOGIES: SUB-ZERO, which we played when we started work on our script for MK3 back in the late '90s. I think this new game is a real return to what made Mortal Kombat so much fun in the first place, with one very notable exception.
I don't think the lack of noteworthy fatalities is a deal-breaker, but I can understand how someone else might. Part of the kick of playing this series has always been the knowledge that if you somehow get lucky and hit just the right series of buttons at just the right moment, you're going to get this crazy deranged gore-soaked cartoon death that you visit upon the other player. It's humiliating to have done to you, and it's awesome to rain down on someone else. It was a defining part of the series, and the licensing of the DC Universe characters defanged the series a bit. That's just inherent to having all these kid-friendly characters involved. To me, none of the fatalities or heroic brutalities I've seen are particularly memorable. It's the one thing it felt to me like Midway really botched. Sometimes, some of the biggest games out there can be dazzling and involving and technically impressive and cutting-edge, but they don't end up being much fun over the long haul, and the fatalities were fun. I personally got over their absence, and there are a lot of moves that end up being just as dramatic and extreme, but just not as violent, so maybe you can as well.
If I could just make my 38-year-old fingers move as fast as those of a Mountain Dew-soaked-14-year-old who's got time to memorize every combo perfectly, I'd be having a bit more fun, maybe, but if you ever feel like racking up a few easy victories, look for "MoriartyAICN" on the PS3 version of the game. MKvsDCU may not have the scope or the depth of some of this season's biggest games (I feel like I'm just scratching the surface of LITTLE BIG PLANET or FAR CRY 2, even after hours and hours and hours of game play, and I know friends who feel that way about FALLOUT 3 as well), but it's fun. And that seems to me like they got the most important part exactly right.
Morijarti očigledno nije svestan da je u okviru od 24 časa od objavljivanja igre onlajn zajednica provalila najmanje jedan unbreakable/ infinite kombo (sa Supermenom) i da je verovatno naletao na igrače koji su ovo zloupotrebljavali.
Ili to, ili nikada nije igrao 1 on 1 fajter protiv ozbiljnog igrača. Kad mene moja žena pobeđuje relativno redovno u Tekkenu i povremeno i Virtua Fighteru, mogu misliti šta bi mi napravio neki klinac od 15 godina koji 18 sati dnevno igra MK vs. DCU i zna TAČNO koliko frejmova mu treba da veže skoro unbreakable kombo.
Bettie Page hospitalized in L.A.
Iconic pinup figure in coma after heart attack
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LOS ANGELES (AP) -- Bettie Page, a 1950s pinup known for her raven-haired bangs and saucy come-hither looks, was hospitalized in intensive care after suffering a heart attack, her agent said Friday.
"She's critically ill," Mark Roesler of CMG Worldwide told The Associated Press.
He said the 85-year-old had been hospitalized for the last three weeks with pneumonia and was about to be released when she had the heart attack Tuesday. Page was transferred to another hospital in Los Angeles and remained in intensive care Friday.
A family friend, Todd Mueller, said Page was in a coma. When asked to confirm, Roesler said, "I would not deny that," but he would not comment further on her condition.
Page, a secretary turned model, is credited with helping set the stage for the sexual revolution of the rebellious 1960s. She attracted national attention with magazine photographs of her sensuous figure that were tacked up on walls across the country.
Her photos included a centerfold in the January 1955 issue of then-fledgling Playboy magazine, as well as controversial sadomasochistic poses.
Page later spent decades away from the public eye, and during that time battled mental illness and became a born-again Christian.
After resurfacing in the 1990s, she occasionally granted interviews but refused to allow her picture to be taken.
Mueller credits his business dealings with Page for bringing her out of seclusion. He said he first met her in 1989 when he offered her "a bunch of money" to show up at autograph signings.
"I probably sold 3,000 of her autographs, usually for $200 to $300," he said. "Eleanor Roosevelt, we got $40-$50. ... Bettie Page outsells them all."
Ona je još živa? Wow.
Vanguard Films has landed the rights to the comedic comic book series "Emo Boy" for "Fanboys" helmer Kyle Newman to direct says The Hollywood Reporter.
Comic creator Stephen Edmond has adapted his own story that follows the travails of the most self-dramatizing young man in the history of the world, whose emotions were so intense he even had "emo powers."
Said to be satirical in the form of "Napoleon Dynamite" or "Zoolander", the project will make music an integral part of its plot.
Len Wiseman ("Underworld," "Live Free or Die Hard") is set to direct the film adaptation of the five-part apocalyptic sci-fi comic mini-series "Atlantis Rising" for DreamWorks reports Variety.
Created by Scott Mitchell Rosenberg, the story kicks off when seismic disturbances at sea force world militaries to investigate the deepest part of the ocean, where an underground civilization emerges to engage in war with planet Earth.
Rosenberg, Alex Kurtzman and Roberto Orci are producing. Once completed, Wiseman will move onto the Dreamworks thriller "Motorcade".
PUNISHER: WAR ZONE
Punisher War Zone? More like Punisher BORE Zone!
Nah, that was not sincere punning. Actually I was not bored and in fact enjoyed this stupid movie. What I mean to say is "The Punisher? More like The FUNisher!" But you know how it is, people tend to prefer negativity to positivity. That's why there's three movies called THE PUNISHER and not a single one called THE REWARDER. So I went the extra mile, I gave you both types of puns. Merry Christmas.
The Punisher is a unique motion picture phenomenon. Not too many characters are in movies three times, with three different actors, three different directors, three different approaches. Not sequels or remakes, each one is a do-over. I can relate to this type of series because I myself am a unique motion picture phenomenon: I am the rare individual who sort of enjoyed all three versions of THE PUNISHER. That's three more Punisher movies than most people are able to enjoy in their lifetime. In fact I would like to see them continue to remake THE PUNISHER every few years, every time with different actors, every time believing they totally fucked it up all the previous times but this time, this time they'll get it right, I just know it! If they give up after this one, though, at least we got a trilogy.
The PUNISHER WAR ZONE Punisher is played by Ray Stevenson, who was apparently on that show ROME. He's by far the scariest Punisher, he looks like he could smash his fist right into the center of your skull, which is in fact what he does to a mobster who looks like Lance Bass. This is a huge lumbering Punisher about two or three inches taller than Bigfoot and usually decked out in full combat gear including bulletproof vest that covers the neck and lower jaw. (Although occasionally he just wears a sweater.) This is a scary motherfucker but also the most comical of the Punishers because everything about him is so over the top that sometimes just looking at him made me laugh. Sometimes he kind of reminded me of Patrick Warburton who, come to think of it, should be considered for the fourth Punisher movie. I don't know man, seeing a big monster like that so passionately dedicated to killing - and I mean REALLY fucking killing - is kind of funny to me. He's a huge nerd for murdering everybody.
He's funny because even more than any previous Punisher, this guy DOES. NOT. GIVE. A FUCK. He opens the movie preparing weapons, then he casually walks into a mansion and horribly massacres an entire mafia dinner table, including wives. I don't think they even got a chance to say grace. (that would've kind of made the scene funnier though.)
In the fine tradition of Blade he also doesn't mind walking around in public covered in weapons. He has kind of a Batcave/flop house set up under a subway tunnel, and that traitorous fat dude from JURASSIC PARK comes by to bring him guns sometimes.
Of course you get some flashes of memory to remind you that his family was slaughtered, and also there is a little girl who likes him and wants to hold his hand even though he killed her dad by accident (whoops). There's not much more than that to try to give him depth, but Stevenson does have some sad looking eyes that almost imply some tragic beauty or something like that. And the funniest thing about him is that even though he looks like (and is) a guy who would go around causing even lower-tier criminals to literally explode, he cannot hide an intelligence and eloquence in his voice. The motherfucker sounds like a poet. He's got a soul. I guess that explains why we saw him in the graveyard crying like a baby before we even heard him say anything.
I like the scene where he tries to apologize to the widow of the undercover cop he killed (Julie Benz from RAMBO [4]) by giving her a bag of money. Most of the movie is more about funny violence than character moments, but there are bits here and there. It's a cliche for a violent character like this to go into a church looking for forgiveness, but they put a good spin on it in this one. It's revealed that he was once in the seminary and knows the Bible surprisingly well. The best part is when the priest quotes to him the verse about how you will be judged the way you judge others and he says he doesn't have a problem with that - in other words he's resigned himself to a violent death himself and knows he deserves it. A nice touch.
Then they put the cherry on top with the classic so bad it's good/so good it's bad line "Sometimes I'd like to get my hands on God." Unfortunately there aren't enough funny lines like that in the movie, but let's at least appreciate that one, even if we already saw it in the trailer.
I can't help but compare this to the other two Punishers, so I will have to say at this point that I liked #2, the Thomas Jane one, the best. Admittedly it's gonna be hard to go back and watch that one now for the simple fact that Ray Stevenson could probaly swallow Thomas Jane's head in one bite and not even gag. But it had the best combination of character and storytelling and the cartoonish flights into absurdism were a little more grounded in an old school action movie world like I like and not in the type of artificial soundstage world of the Lundgren and Stevenson editions. I have learned through talkback research that fans of the comic strip are enraged that Thomas Jane Punisher took place in Tampa, because EVERYBODY knows that this story can ONLY take place in New York City just like every god damn movie ever made.
Well, okay, New York is mean streets and everything but not as much when the "New York" is a fake looking one shot in Montreal. At least Tampa was shot in Tampa, and is therefore in the same country that your precious comic strip took place in.
It's hard to think of it as a real action movie when alot of it is shot with yellow and red lights to make it look like a cartoon world, and the villain Jigsaw (whose face becomes a human Leatherface mask after Punisher teaches him about how glass bottles are recycled) is one of those trying-to-be-funny overacting villains, not the scary type. For example when he unites the different gangs against Punisher there is a "funny" scene where he makes a "patriotic" speech in front of an American flag background. One of those parodies of parodies I'm so sick of.
The actor by the way is Dominic West, who's only bad part of the time and apparently is great on THE WIRE. Still, it's weird that John Travolta is the more subtle and restrained villain of these movies. How the fuck did that happen?
I've seen a few claims that this is the Punisher movie that "finally does it right," but I don't really understand what that means. As far as I can tell it's very similar to the Lundgren version. They both start with the Punisher already in operation, headquartered underground in New York City, with a task force trying to track him, they both have ludicrously high body counts and cartoonish violence, they both try to show Punisher's sensitive side by having him help children. In this one there are some characters who are supposed to be meth addicted parkour dudes (somebody calls them an "urban freeflow gang") - isn't that a 2008 take on the type of gimmicks they had in the first one (ninjas on slides, throwing star earrings, etc.)? And like that first one they fail to really deliver on the promise of the gimmick, because they kill them without ever doing any impressive freerunning stunts at all. It does lead to a big crowdpleasing laugh when Punisher comes after them, though, so it's not a total loss.
The appeal is similar to a bad/good slasher movie like SEE NO EVIL or some of the Jason pictures. You laugh at the utter ridiculousness and callousness of the violence. Punisher impales a guy on a spikey fence, then jumps onto his head. He impales a guy's face on a chair leg. He runs into a fat guy in an elevator (I guess I missed who that was supposed to be) and blows his head off. He picks people up and bashes them through windows and walls, drags people by the ankles, lights people on fire. He blows up a room full of gangsters, then goes out and shoots the bodies. What I'm saying is this is a guy that just overdoes it. And you can't even say he takes pleasure in overdoing it, because he doesn't seem to take pleasure in anything. He just doesn't know how to stop. He has an addictive personality maybe. They say he does this because of what happened to his family and maybe because he's a veteran but I'm betting his daddy was a drinker too.
A movie like SEE NO EVIL pretends you're not supposed to root for the killer, PUNISHER WAR ZONE openly presents him as the hero, which is a good joke. At first I wondered how exactly he could get away with all this, but then you realize all the cops just let him go because they like what he does. There's one FBI agent who is ethical, but he can't keep Punisher in line and keeps pouting with frustration. He's like the man with the yellow hat trying to keep Curious George out of trouble.
When I read about how violent and ridiculous the movie was I thought it sounded pretty good, or pretty terrible. Some of the internet writers who raved about this also loved hyperactive movies like CRANK. Although this has a similarly juvenile love of cruelty, I don't think it's obnoxious in that same way. The opening credits had me nervous, but the camera and editing work turn out to be restrained, it doesn't have all that showoffy shit that ruins some movies like this. It does have a schizophrenic soundtrack though, going between a score that I think is a little too big and serious and shitty heavy metal that's a little too "hey kids, do you like my cool earring? See I'm not old I'm just like you homeys."
I do mean it when I say this movie is stupid. It relies too much on the sadistic spectacle part without excelling in other areas. The other two Punisher movies prove you can do both - you can be lowbrow and ridiculous and still have a better story and dialogue than this. And the look is a little cheesy. But it is a good laugh and although by the time you read this it might be too late for you, I recommend seeing it with whatever small crowd can be mustered up for it. When I saw it everybody was together in laughing, sometimes with the movie, sometimes (I believe) at it. And it's refreshing to see a movie with this tone but NOT with the obnoxious editing and camera techniques that these days tend to be a given.
I'm afraid this might be the last try at a Punisher movie but at the very least I hope somebody sees Ray Stevenson in this and decides to cast him as the hero in other action movies. He's menacing, he seems smart, he can act and yet apparently he's not above doing this type of shit. That's a good combination for an action hero.
Vern
Quote from: "crippled_avenger"Vanguard Films has landed the rights to the comedic comic book series "Emo Boy" for "Fanboys" helmer Kyle Newman to direct says The Hollywood Reporter.
Comic creator Stephen Edmond has adapted his own story that follows the travails of the most self-dramatizing young man in the history of the world, whose emotions were so intense he even had "emo powers."
Said to be satirical in the form of "Napoleon Dynamite" or "Zoolander", the project will make music an integral part of its plot.
S obzirom da je Mafija_X juče skinuo fajl, znači da još 9 emoa može da pročita ovaj strip:
http://rapidshare.com/files/171225451/Emo_Boy.rar.html
New Line has won an auction for screen rights to "Rock of Ages," a stage musical that does with '80s rock anthems what "Mamma Mia!" did with Abba tunes.
Chris D'Arienzo, who wrote the book for the Off Broadway tuner, will write the screenplay and direct the film.
The storyline takes place at a Sunset Strip rock club called Rock of Ages, where a man and woman fall in love but get torn apart by the rock lifestyle.
The show is propelled by signature '80s rock anthems popularized by Journey, Twisted Sister, Joan Jett, Pat Benatar, Foreigner, Bon Jovi and REO Speedwagon.
Hollywood has marveled over the global success of "Mamma Mia!," and several studios bid on the musical, which opened Off Broadway in mid-October and is running strong.
Pic will be produced by the musical's creative producers, Matthew Weaver and Scott Prisand of Corner Store Entertainment, and Carl Levin. Joining them in the feature effort is Tobey Maguire and his Maguire Entertainment. Janet Billig, Hillary Weaver and Maguire Entertainment's Dan Shafer will be exec producers.
D'Arienzo recently made his feature directing debut on "Barry Munday," a Corner Store-financed film that is in post-production. Patrick Wilson and Judy Greer star.
The "Rock of Ages" deal comes after Universal acquired the Tony-winning Broadway musical "In the Heights," with creator and songwriter Lin-Manuel Miranda starring and book writer Quiara Alegria Hudes penning the script.
It becomes the second big musical project for New Line, which is developing a sequel to "Hairspray."
Moriarty Visits London To KICK-ASS! Part One! AICN Exclusive Image Premiere!
Hey, everyone. "Moriarty" here.
London's starting to feel familiar at this point.
When I was a kid, it always seemed like all the coolest films were shooting in England, and it always sounded impossibly far away. I'd read about STAR WARS or RAIDERS OF THE LOST ARK or the latest James Bond film, and I'd try to imagine what sort of places existed where that sort of magic could take place.
SMASH CUT TO: Tarquin Pack, Matthew Vaughn's right-hand man, standing next to me on Stage Eight at Elstree Studios, pointing at a spot on the floor where the word "TANK" is stenciled in white.
"Right there," he says. "That's where they dunked Han Solo in the carbonite. That's where Indy started his descent into the Well Of Souls. Right. Fucking. There."
Forget familiar. This place feels like home.
Let's back up a bit. The first time I heard of KICK-ASS was before it began publication. Matthew Vaughn called to talk about how he was getting ready to buy the rights to something new. "Something even you haven't heard of yet," he crowed. He was still working on THOR at the time, but I could hear some anxiety creeping in when we spoke, anxiety over the way development was progressing. Matthew's a guy who doesn't do things in half-measures, and I've learned that he'll walk away from something if he feels like he's got to compromise it, and his vision of THOR was enormous. After the relative box-office disappointment of STARDUST, it hardly seemed like he was going to be able to wrestle his $300 million Asgard up onto the screen intact, so I got the feeling he was looking for a plan B. He promised he'd call me when he could reveal what the project was, but things must have accelerated rapidly for him, because the next time I heard from him, he was already neck-deep in preparing this one for production. He filled me in on what had been going on, and it seemed amazing how quickly they'd gotten this production up on its feet.
By the time KICK-ASS began publication, Matthew was already hard at work on the screenplay with his writing partner, the rowdy and razor-sharp Jane Goldman. She and her husband, Jonathan Ross (both rabid comic book fans), were the ones who put Matthew together with Mark Millar in the first place, and because they were involved with KICK-ASS from the treatment stage, it's created a strange sort of cross-pollination of ideas between the filmmakers and Millar and John Romita Jr., who are the primary creative team on the comic.
I read and reviewed the script not long ago, and then started talking to Matthew about joining them in England for part of the shoot. I thought it was a provocative read with some very distinct challenges built in for any filmmaker. Although it was nowhere near the scale of THOR, it seemed equally ambitious in a different way. Deconstruction of a genre is a tricky thing, and right now, it seems like there are several people working on various deconstructions of the superhero genre. HANCOCK made a go of it this summer, and there are some very good ideas in that film, desperately searching for a story strong enough to support them. One might argue that Christopher Nolan's THE DARK KNIGHT is both a genuine superhero film and a simultaneous deconstruction, the UNFORGIVEN of the genre so far. And, of course, Zack Snyder's adaptation of Alan Moore's seminal WATCHMEN looms large on the 2009 horizon right now. So what chance does this scrappy little independent British film have of carving out its own place in the pop culture consciousness.
A damn good one, if you ask me.
I left Los Angeles mid-afternoon on a Wednesday and touched down at Heathrow around 3:00 in the afternoon on Thursday. That always freaks me out, and since I found myself completely unable to sleep on the flight despite being comfortably ensconced in business class and loaded up on Benadryl, my body clock was full-blown haywire by the time my driver managed to drop me at my hotel in Shepherd's Bush. I was right around the corner from the almost-obscenely large Westfield shopping mall they're building there, so construction made the entire area a sort of nonstop circus while I was there.
A quick ten-hour coma left me refreshed and ready to go at 8:00 on Friday morning. My driver picked me up and hustled me to Elstree so we arrived just before 9:30 AM, and once again, I found myself giddy at the prospect of visiting another of England's legendary studios. I've been to Pinewood while STARDUST was shooting, and I went to Shepperton for both INKHEART and THE GOLDEN COMPASS. Elstree was the last of the old-school studios I was desperate to visit, and as I checked in and walked through the front gates, I'm sure I was positively beaming. I was directed into one of the first buildings, told to go upstairs. I found the KICK-ASS offices, and immediately recognized the names of everyone who had helped arrange my trip. They sat me down, handed me a stack of the Millar comics that had been published so far, and left to find the unit publicist. I hadn't read the book, just the script, so it was interesting reading it as a reverse example of adaptation. Seeing what choices were made and why. For the part of the story that the comics covered, both tellings were fairly close in content and tone. Little dialogue tweaks, some character adjustments, but basically the same exact thing. It's going to be a faithful experience if you're a fan of the book. And within that, this cast seems to be having a lot of fun engaging and creating one of the hands-down craziest things I've ever watched shoot.
And I mean crazy in a "wow, I can't believe someone's trying this" sort of way. I have trouble believing Vaughn put together the muscle to make this film independently, his way, using every stage at Elstree, including the big giant George Lucas Stage, opened up into the stage next to it so one set could be built that spanned the full length of both of them. This is a pretty elaborate "indie" in terms of scale and subject matter. When I was greeted by Stacy Mann, the publicist, we chatted for a while and went to meet Tarquin, who I mentioned earlier. I've known him for many years now, on a series of films, and as always, even in the midst of an obviously large and hectic production, he seems unflappable. Always in motion, but never in a rush. He walked me around to the stages himself, and as we talked about Elstree and how much fun he's been having on the stages for the exact geekstalgic reasons I was excited to be there, he told me what part of each stage was used for what in the past, and I can tell he's done his homework because of his own curiosity.
Weirdest part? The Big Brother house for the UK? It's on the Elstree backlot, right across from the George Lucas stage.
That made me laugh for some reason, that collision of brand-new "cutting edge" 21st century reality infotainment and old-school big-budget blockbusters. Especially as I stepped onto the two-stage sets that represent the apartment of Frank D'Amico, played by the great Mark Strong. Frank's a gangster, a businessman who has used his lumber company and other legitimate holdings as a front while amassing a huge illegal fortune. He's got his fingers in a thousand different dirty deals all over New York, but he loves to put on a good face and flaunt his wealth. The apartment set was unfinished when I was there, but enough of it was done to see just how amazing the final set would be. The main hallway down the center of the apartment is several hundred yards long, one end given over to a massive balcony overlooking the city. That's where some of the key action at the end of the film's going to be staged, and the apartment was built so that everything could be done for real on the same set.
Frank's got a son in the film, a high-school aged kid who he has assigned a bodyguard, and his son is miserable, completely isolated from everyone by this protective bubble in which his father keeps him encased. Christopher Mintz-Plasse, known to most film fans as McLovin in SUPERBAD, is playing Chris D'Amico, and at a certain point in the film, he decides to use his father's money to become a costumed vigilante called The Red Mist. When we left the George Lucas stage, we walked across to the machine shop, where the Red Mist Mobile was sitting, waiting for its next appearance on camera. Calling the Red Mist Mobile a "car" is like calling Megan Fox a "girl" or calling LeBron James a "ball player." It just doesn't sum up the full impact of the thing. This thing is sex on wheels, and Tarquin asked if I wanted to climb in and start it up. I'm not a car fetishist, but if I had access to a machine like this, I might be persuaded. The rumble when I started it up and revved the engine shook my insides like jelly, and if there had been the slightest chance of me driving that thing off the studio lot without incident, I might have backed over Tarquin and made for the gate. I think he could see it in my eyes, too, because he suggested that we should head over to the set where they were getting ready for the first set-up of the day.
Oddly, though, they weren't using any of the soundstages for the first scene. Instead, Tarquin led me into one of the Elstree office buildings, up to the second floor. First thing I saw as we came off the stairwell was Chris Mintz-Plasse in his full Red Mist outfit, and the first thing that flashed through my mind was VELVET GOLDMINE. The costumes in this film aren't like the ultra-perfect design work done in movies like SPIDER-MAN or the BATMAN series, where you wonder how anyone is supposed to have made those costumes without an army of professionals helping out. In the world of KICK-ASS, everything's got a handmade quality to it. Now, Chris D'Amico has money in the film, so he's spent some coin putting together his Red Mist outfit, but even so, it's more like something some glam rock kid would have worn to a club in London in the '70s than like what we're used to seeing in superhero films so far. He's got an outrageous hairpiece that tops off the look, and the effect is that you're so busy looking at the outfit, you'd never notice the kid wearing it, exactly what his character wants. Well-played. I hadn't seen Chris since the YEAR ONE set last year, so we spent a minute chatting, catching up, and as we talked, Chloe Moretz walked by in her Hit Girl outfit, and I realized I'd stopped talking so I could stare.
Hit Girl and Big Daddy are, in my opinion, the break-out characters of the film. I think the whole thing is smartly written, and everyone's got great stuff to play, but there's something so immediate and so right about Hit Girl and Big Daddy that I find it hard to believe they didn't exist before this series. Although the entire conception of KICK-ASS has to do with the idea of costumed vigilantes in an identifiably real world, the concept finds its ultimate expression in these two, a homicidal riff on Batman and Robin. This is the ugly face of vigilante justice at its absolute ugliest, the logical end game, and there's something monstrous and perverted about just how much fun they are. One of the reasons I was brought in for the three particular days I was is because there's only one scene in the film where Hit Girl, Big Daddy, The Red Mist, and Kick-Ass all end up in one room together in costume, and that's the first thing they were set to shoot on the morning I arrived. One of the rooms in that Elstree office building had been redressed to look like one of Big Daddy's safehouses, and that's where I found Matthew Vaughn, already behind the monitor and ready to go.
By that point, Chloe Moretz was in the room, practicing for a tumble out a window she'd have to take in the middle of the scene. Keep in mind, this girl is eleven years old, just like the Hit Girl in the comics, and over the course of my stay in London, I saw her involved in gunfights, doing stunts, and killing gangsters with hydraulic machinery. This is not the typical work by a girl her age, and yet, Chloe seemed completely nonplussed about the extremity of the role the entire time I was there. Chris Mintz-Plasse was the second actor to make his way into the room, and he seemed eager to get going. Aaron Johnson, the star of the film, showed up next in full Kick-Ass regalia, my first time seeing the costume head to toe, and there couldn't be more of a difference in the way he carries himself and the way Chris carries himself. When you're wearing a costume as outrageous as these are, you have to sell it. You have to go out on a limb in terms of the choices you're making, and it's only now... sitting here writing about it... that I sort of realize how much trust all four of these actors had having me on set for that particular morning. Chloe's young enough that she might not be self-conscious about it. Besides, Hit Girl's the coolest of the bunch. Her outfit's a variation on a schoolgirl outfit, but with body armor, leather-wrapped. She's got a purple wig and a small black mask, and Chloe's got a sneer that would make Elvis Presley proud, like if Batman adopted a tiny female Billy Idol as his sidekick.
Aaron, on the other hand, seemed to be constantly... ready. Coiled. Aaron seems like not only can he handle himself, but he's ready to. He seems comfortable with the outrageousness, so over it at this point. They're not overselling him as a nerd or a geek or anything of the sort, which is certainly a danger. It's when he's out of the costume that some of that started to come out. But in the costume? And with the mask on? He seems at home.
Chris and Aaron talked to Matthew for a moment, and then walked back out of the set, into the hallway outside where they were out of view from video village. Matthew, Jane Goldman, soundman badass extreme Simon "Purple" Hayes, and about four or five others were huddled in a small room on the other side of a non-existent fourth wall for the safe house. There was one wall, with a window into the alley, one wall covered in guns and armament, one wall with the door. And then all of us about five feet away.
So for a moment, it was just Chloe, sitting in the window, and then Nicolas Cage walked in.
Now, like I said... everyone's in full costume. And up till now, I've had no indication what to expect from Big Daddy. The Dark Knight to Hit Girl's Boy Wonder. And like I said... having me there for the shoot required an act of trust on the part of everyone, including Cage. I've never met him before this, but I've certainly been a fan since the '80s, and part of that is because he's always pushed boundaries with his work. He's made some great films. He's given some great performances. He's made some big movies and given some entertaining performances. He's been in awful films. He's been in flawed wild weird experiments. He's been in playful messes. More than anything, he always seems to me to be a guy who comes in and makes some big bold choices.
That is definitely the case with Big Daddy.
Matthew went over to talk to him at the desk which was the only piece of furniture in the room. Nic was supposed to start the scene seated at the desk, in his outfit, talking with HitGirl, seated in the open window with her back to the alley, also in her outfit. They're waiting for someone to arrive. There's a knock at the door, and it's Red Mist and Kick-Ass. They come in to talk for a moment, and then...
... actually, I'm going to save that for more of the set report tomorrow. I've got KICK-ASS stuff to share with you from now till the morning of BNAT, and each day, I'll have a new exclusive image or two for you.
In a move ballsy enough to put Soulja Boy to shame, 50 Cent has issued a challenge to gamers to beat him at his own game...which isn't even out yet.
50 Cent: Blood on the Sand isn't due to drop until January 19th next year, but Fiddy's apparently already had enough experience with it to know that he can trounce all comers.
"I actually had the opportunity to play it, and I'm pretty good at it," the hip-hop mogul said in an interview with MTV. Good enough, apparently, to back his claims with his cash. "If anybody out there wants to create a challenge or wants to bet some money online, we could play the game right now."
50 also spoke on some of the influences on his game, which centers on an destructive escapade to recover a crystal-encrusted skull in a fictional Middle Eastern nation. "The actual aesthetics, the scenery, was inspired by "Blood Diamond" on some levels," he said. "Blood Diamond", a film about a war-torn African country and the rampant corruption therein, and the 50 Cent videogame? They both use precious gems as a central motif, I suppose.
Straight out of left field influences aside, 50 remarked that he was extremely pleased with the way the game is turning out. "I'm happy with the videogame," he said. "I actually went to Los Angeles to meet with some of the programmers, and we sat down. They showed me some options and some things that they had already developed. I told them this idea that I thought would be cool and to merge the idea into what they already had, and it worked out."
Let's hope the "idea" wasn't a built-in handicap for everyone who challenges him in an online match.
Ovih dana na Senjaku, pod vođstvom Uroša Smiljanića odvija se jedan od najuzbuljivijih umetničkih projekata u istoriji srpke umetniče, ali i pop muzike. U saradnji sa Multimedia Recordsom, srpskim zastupnikom američke izdavačke kuće Universal Music Group i Sekretarijatom za kulturu Grada Beograda Smiljanić je dobio donaciju da organizuje monumentalni listening party povodom izlaska novog albuma Kanye Westa "808s & Heartbreak". U tom cilju, Smiljanić je napravio muzičku instalaciju "101s and Heartbreak".
"Kanyeov album se zove "808s & Heartbreak" zato što je tematski vezan za raskid jedne ljubavne veze i odsviran je na ritam mašinama Roland 808", objašnjava Smiljanić. "Roland 808 je jedan od ključnih isntrumenata pop muzike osamdesetih koja je poznata po svom emotivnom naboju."
"Moj koncept je da ceo album, svih dvanaest numera bude odsviran zvukom motore Zastave 101, automobila koji je obeležio osamdesete u mojoj zemlji", naglašava nam autor instalacije. "Kao što su tokom osamdesetih sentimentalne emocije izlazile iz umera rađenih na Rolandu 808, tako su i u Srbiji mnoge sudbine, ljubavi, zajednički životi, lepa putovanja, nastajali u Zastavi 101."
Posebnu emotivnu težinu Smiljanićevom projektu daje i prestanak prizvodnje "juga" u kragujevačkoj "Zastavi" koje on smatra svojim "heartbreakom". "Drugi veliki emotivni brodolom za mene je i nedavni odlazak Karlheinza Stockhausena, koji je prvi pravio instalacije ove vrste."
"Smiljanićev projekat je deo naše šire strategije novog vida promovisanja uvoznih izdanja", kaže Jadranka janković iz Multimedia Recordsa. "Pordaja CDova u svetu je u opadanju i mi pokušava da ponovo vratimo interesovanje publike fizičkim nosačima zvuka. Ovo je tek prva od promocija koje planiramo u predstojećem perodu."
Kako saznajemo, ukoliko instalacija "101s and Heartbreak" bude uspešna, Multimedia planira da na ruševinama kineske ambasade na Novom Beogradu napravi listening party povodom izlaska novog albuma Guns N Rosesa "Chinese Democracy".
HRT-ov politički tok-šou Nedjeljom u 2 danas je prekinut zbog ponašanja Zorana Prodanovića i Damira Martinovića, članova Let 3, koji su prema oceni voditelja prekoračili granicu pristojnosti.
Po njemu, oni su preterali su kad su se pred kraj emisije počeli skidati i demonstrirali ispaljivanje čepova iz stražnjice.
Stanković je u jednom trenutku čak ustao i sakoom pokušao sakriti od gledalaca zadnje delove tela svojih gostiju.
Stanković je u par navrata u emisiji gostima prigovorio kako se ne drže dogovorenih granica pristojnosti, te ih nekoliko puta zamolio da ne upotrebljavaju vulgarne izraze.
Uz izvinjenje gledaocima, Stanković je emisiju prekinuo 10 minuta pre kraja, što je prvi takav slučaj u istoriji te vrlo popularne i cenjene emisije.
ZA - KON!!!
Jedva čekam da se pojavi snimak na jutjubu.
jeftin estradni marketing za zasenjivanje prostote.
Pojavio se snimak na Tubi...
Uh, ja čuo da je Mrle zapatio tuberkulozu, kad ono PRLJA imao "samo" zapaljenje pluća... Dobro je :)
A i internet tračeraj je čudo neprecizan :)
Najbolja Nu2 ikad!
Genijalno, mada očigledno isplanirano.
Smara što je na jutjubu podeljeno u 6 fajlova.
Heh... upravo smo dobili mejl kojim nam glavna urednica Hupera javlja da je Politika konačno puld d plag i ukinula Huper. Veliki broj Sagitaša je sarađivao sa ovom novinom pa je red da se ovde napravi minut ćutanja.
Zezas?
A taman kad sam kupio svoj prvi broj i zakljucio da je super, te vredan kupovanja.
Quote from: "Meho Krljic"Heh... upravo smo dobili mejl kojim nam glavna urednica Hupera javlja da je Politika konačno puld d plag i ukinula Huper. Veliki broj Sagitaša je sarađivao sa ovom novinom pa je red da se ovde napravi minut ćutanja.
prava novogodišnja čestitka, u politikinom stilu!
moroni.
:roll:
Pa, dobro sad, ima možda tu i neke ekonomske logike. Mada... znajući da do sada u vezi sa Huperom Politika nije koristila nikakvu logku whatsoever, možda i nema...
U to ime, evo jednog favorita čitalaca: Albumi sa 'i'. (http://cvecezla.mojblog.rs/p-albumi-sa-i/146603.html)
RIP :(
P.S.
Mene ni ne cudi sto je Huper izdahnuo, s obzirom da ste samo piskarali o hip-hopu. :twisted:
Dugo sam se spremao da ovde napišem jedan post o tome kako ovakva koncepcija Hupera vodi časopis u sigurnu propast, ali znajući da moje primedbe niko ne bi uvažio ni uzeo za ozbiljno i da bi to bilo uzaludno, na kraju bih odustajao.
Quote from: "Alex"Dugo sam se spremao da ovde napišem jedan post o tome kako ovakva koncepcija Hupera vodi časopis u sigurnu propast, ali znajući da moje primedbe niko ne bi uvažio ni uzeo za ozbiljno i da bi to bilo uzaludno, na kraju bih odustajao.
sad vidiš kako je meni, svaki dan.
glas vapijućeg u pustinji!
:cry:
Quote from: "Alex"Dugo sam se spremao da ovde napišem jedan post o tome kako ovakva koncepcija Hupera vodi časopis u sigurnu propast, ali znajući da moje primedbe niko ne bi uvažio ni uzeo za ozbiljno i da bi to bilo uzaludno, na kraju bih odustajao.
Pazi to bi zaista bio jalov napor jer su razumne i promišljene primedbe iznesene ljudima sa snagom odlučivanja u Politici prolazile na isti način: niko ih nije ni uzeo za ozbiljno. Politika je tretirala tu novinu kao pastorče (bez propisne distribucije, bez propisnog marketinga, bez osobe koja bi se bavila oglašavanjem) i pored toga se povremeno jedila što na njoj gubi novac. Najlogičnije je bilo da je ugase, naravno, što su na kraju i uradili.
Jebiga. Žao mi je što je ukinut Huper. Mislim da je u poslednjim brojevima baš stao na noge i postao jako zanimljiva novina.
No, na svu sreću ti poslednji brojevi će po mom mišljenju ostati iza nas kao časopisi u kojima ima vrednih stvari i kojima će se ljudi često vraćati.
Pogotovo oni koji sporije rešavaju ukrštenice.
Ja sam kupio sam jedan Huper iz ove nove edicije (i to onaj o punku, zato što sam pozer), ali mi je drago što se nekadašnji trač teen pamflet sa ukrštenicama transformisao u urbani (česta reč na forumu ovih dana, a?) magazin sa zanimljivim tekstovima i istim takvim facama koje ih pišu.
Siguran sam da će se ta ekipa (ili barem u sličnom sastavu) okupiti ponovo oko neke slične publikacije.
Naravno, mislim da je ukidanje moglo da sačeka barem još koji mesec pošto Marčelo na novom albumu u jednoj pesmi spominje da piše za Huper. Ta reklama bi sigurno podigla potražnju za ovim magazinom za koji niko nije ni znao da postoji...
Not.
Juice pominje i Huper i Marčela u jednoj pesmi.
Da, ali se to ipak odnosi na BS:
QuoteALOA VERA - DS, DS, bash ste super, jebeni ste hardkor kada pozvo vas je "Huper"!
Pa rekoh "i Huper i Marčela". Mada vidim sad i da je crippled_avenger pominjao poslednje brojeve. Tu nije bilo ukrštenica? I onda je ukinut? HOW CONVENIENT!
P.S.
Kad je ukinuta rubrika "Dnevnik jedne tinejdžerke"? Ja sam to čitao. I ko je to pisao?
Sigurno Meho.
RIP
Huper
:(
Quote from: "cutter"Pa rekoh "i Huper i Marčela". Mada vidim sad i da je crippled_avenger pominjao poslednje brojeve. Tu nije bilo ukrštenica? I onda je ukinut? HOW CONVENIENT!
P.S.
Kad je ukinuta rubrika "Dnevnik jedne tinejdžerke"? Ja sam to čitao. I ko je to pisao?
VEĆ nekoliko godina Huper nije enigmatski časopis.
Časopis za muziku, film, pomalo strip, knjige itd.
jbga baš
Strašno. Ako nam još i Tin ukinu, otići ću da se ubijem.
Quote from: "Harvester"Strašno. Ako nam još i Tin ukinu, otići ću da se ubijem.
bravo, harv!
tako govore pravi pedofili!
šta ćemo mi bez našega teena!
:!:
Axl: Ispao sam negativac
Axl Rose je tokom vikenda na sajt GN'R okačio otvoreno pismo javnosti, u kom natenane odgovara na pitanja koja su mu fanovi postavljali otkako se pojavio album Chinese Democracy.
On navodi da Slash u početku nije imao problema da ime benda preda njemu, ali da su stvari počele da se komplikuju kad je raspad grupe postao neizbežan.
"Plan po kom je mene trebalo predstaviti kao nekog ko publiku drži u položaju taoca prisiljavajući ostale da se odreknu imena benda, u priličnoj meri je uspeo. Ispao sam negativac, a fanovi i, naravno, Slash su ispali žrtve", kaže Axl Rose.
"Mediji i ostali su godinama trubili o tome, a Slash je pokušao da sve to iskoristi da bi me tužio i da bi terao tu neku zakonsku budalaštinu meni iza leđa, a koja je valjda trebalo da preokrene celu stvar", jada se Axl.
Govoreći o godinama u kojima je nastajao album Chinese Democracy, on kaže da je ploča nastala s pravim ljudima, koji su zaista želeli da mu pomognu tokom godina linčovanja u javnosti.
"Nisam ja Gunsi, ali ja zaista sebe vidim kao jedinog člana benda iz prošlosti koji se potrudio da krene napred, bez obzira na to da li ga neko podržava ili ne, i davao sam mnogo više od drugih, ili sam se bar borio da to tako bude...", kaže Axl Rose.
"Ne vidim ama baš nijedan razlog zašto bih odbacivao nešto oko čega sam se toliko trudio i zbog čega sam patio, samo zbog toga što su se udružili oni koji manipulišu ljudima s mentalitetom rulje sa onima koje je baš briga za sve to, poput medija", kaže Rose, i poručuje da će promeniti ime benda samo ako on i ostali članovi zaključe da je došlo vreme njihovog daljeg evoluiranja.
Inače, novim albumom GN'R ovih dana se bavi i sud; bloger Kevin Cogill, koji je pre nekoliko meseci uhapšen zato što je postavio Democracy na internet pre objavljivanja, odlučio je da se ipak izjasni da je kriv.
Quote from: "crippled_avenger"Axl: Ispao sam negativac
Inače, novim albumom GN'R ovih dana se bavi i sud; bloger Kevin Cogill, koji je pre nekoliko meseci uhapšen zato što je postavio Democracy na internet pre objavljivanja, odlučio je da se ipak izjasni da je kriv.
Dovoljno je procitati prvu i poslednju recenicu i shvatiti o kakvom liku mi ovde govorimo.
Ne da je ispao,nego se Axl i dokazao kao negativac i odmentnik iz GNRa.Da li je on namerno sebe prikazivao kao neuroticno-iskompleksiranu-pijanu narkomancinu ranjenog glasa,cije su izlive besa i ludila ovekovecili kalifornijski tabloidi ?Ne znam pouzdano,ali svako ko ih je kao klinac slusao kasnje je shvatio da kada s slegne prasina i GNR manija,ostaju Slash i Duff kao istinski oslonci i stubovi nekad velikog benda.Bez njih nema istorije,a ni validne buducnosti.
Ja se ne bih složio. Kad sam bio klinac, omiljeni Gunsi su mi bili Slash i Duff, ali sam vremenom, upravo kako je manija splasnula shvatio koliko je Axl bitan i koliko je Izzy bio marginalizovan.
Iako i sad da me neko pita, opet bih rekao da mi je Duff omiljeni Gun, verovatno zbog celog punk imidža, činjenica da je Axl napravio daleko najbolji album od svih ex-Gunsa a svi su vala pokušali, od Slasha u raznim inkarnacijama, preko Duffa, pa konačno i Izzyja koji je maltene prvi krenuo solo putem (što i dokazuje njegov značaj u bendu) dokazuje da je Axlova vizija tu bila alfa i omega...
Quote from: "Shozo Hirono"ostaju Slash i Duff kao istinski oslonci i stubovi nekad velikog benda.Bez njih nema istorije,a ni validne buducnosti.
meni su axl, kakav god bio, i izzy bili alfa i omega, a ostali su bili izuzetno znacajni clanovi. mislim da ove ostale i nije bilo bas toliko toliko briga za kompletnu viziju i misiju, a axl se bas bio primio.
Kao klinac nisam nikada imao omiljenog Gunsa,jos ga manje imam iz danasnje perspektive.Moje vidjenje je objektivno iskljucivo vezano za njihov autorski i ljudski kapacitet krajem 80ih i pocetkom 90ih.
Niko Axlu ne umanjuje kreativni kapacitet.On sigurno ne bi ni zadrzao ime benda da ne poseduje preko 50% autorskih prava na kompozicije.Jedini koji mu to moze osporiti je Slash.
Razotkrivanje personalitija krece ne dugo posle Incidenta sa Spagetima.U godinama raspada Slash i Duff bivaju opste-drustveno prihvaceni od strane kolega,koji ih pozivaju na koncertne svirke,snimanja albuma i raznoraznih emisija i talk-showa.Axl niti jednom nije za tih par godina iskreno otvorio dusu,ili barem pokazao javno koliko je sposoban da zivi sa bremenom zvezde,a da opet ostane normalan covek.
Pominjanje mog prvog, velikog, omiljenog benda iz detinjstva, koji je takoreci bio uvertira u sve ostalo, me je bas ranezilo, a vremena nema li nema... Od trenutka kada sam prvi put cula Appetite postala sam zaista opsednuta njima, apsolutno sam znala svaki takt u svakoj pesmi, i tonalitet u kome svaka pesma pocinje i pre nego sto bi zapocela.
Mislim da je raspad bio neminovan, jer svi clanovi su bili mladi, divlji, nadrogirani i alkoholisani, neko manje, neko vise. Moj favorit je bio Axl, mada su se on i Slash savrseno dopunjavali. Prvi ekstrovertni ego-manijak cija ce ekstrovertnost zatim preci u svoju suprotnost, a drugi kuler iz senke, koji je jednom bio mrtav stvarno, mislim klinicki, ali cudom su ga nasli i oziveli. Jedino mucenik Steven ama bas niceg nije bio svestan, te se njemu sve oprasta.
Bilo kako bilo, sve ovo mi sada lici na "pitace te starost gde ti je bila mladost", da su shvatili koliko su se zeznuli sto se raspao bend, i da pravog krivca nikada necemo otkriti jer niko od njih ne moze da bude dovoljno objektivan...
Moram priznati Shozo da ova teza koju si izneo o tome kako Axla niko posle raspada nije zvao da sarađuju upravo ide u prilog mojoj tezi koliko je on bio važan za bend. On je očigledno bio ličnost koja je kreativno snažna i samim tim niko nije ni imao interesa da ga zove jer naprosto niti on ume da radi išta sem da bude mastermind i frontmen, niti prihvata saradničku poziciju, niti uostalom on može puno da se odmakne od svog glasa i tradicionalnog pečata koji ostavlja na snimcima. To ga možda čini manje simpatičnim za saradnju i druženje no koliko shvatam ti si govorio o stubovima Gunsa a ne o tome sa kim od njih bi se radije družio.
Neraskidiva povezanost Axla sa suštinom Gunsa upravo mu daje za pravo da bude na čelu i nove inkarnacije. A o bendovima koje su Duff, Slash i ekipa (iako su meni recimo Neurotic Outsiders dragi) posle pravili, dovoljno sam rekao. Niko od njih nije snimio album ni približno dobar kao Chinese Democracy.
U svakom bendu postoje oni koji kose i oni koji nose vodu. Isto tako, da, svakako postoje članovi bendova koji su znatno važniji za taj bend u muzičkom smislu nego što im se priznaje. Kad se pomene Van Gogh, svi znaju Đuleta, a niko ne zna koliko je Srba zapravo bitan i to ne samo kao bubjar, već i kao pevač u tom bendu, i kao kreativni uticaj - mislim da Srbinu ulogu Meho može još bolje da elaborira. Ali, ipak, objektivno, Van Gogh može da bude Van Gogh i samo sa Đuletom, bez Srbe, ma koliko da je Srba bitan i zaslužan.
Quote from: "crippled_avenger"
Neraskidiva povezanost Axla sa suštinom Gunsa upravo mu daje za pravo da bude na čelu i nove inkarnacije.
On i jeste glavni simbol benda GNR,a i bilo koji bend promenom vokalnog soliste gubi 90% svoje originalnosti i autenticnosti.Tako da je dobro sto bas on stoji iza naziva danas......ali vremena su druga.
Quote from: "crippled_avenger"Moram priznati Shozo da ova teza koju si izneo o tome kako Axla niko posle raspada nije zvao da sarađuju upravo ide u prilog mojoj tezi koliko je on bio važan za bend.On je očigledno bio ličnost koja je kreativno snažna i samim tim niko nije ni imao interesa da ga zove jer naprosto niti on ume da radi išta sem da bude mastermind i frontmen, niti prihvata saradničku poziciju, niti uostalom on može puno da se odmakne od svog glasa i tradicionalnog pečata koji ostavlja na snimcima.
Nisam siguran da ljudi nisu pokusali da ostvare saradnju sa Axlom,vec referiram na njegovu neupotrebljivost i samodestruktivnost.Prvo,on je sam sebi na Apetite i Lies postavio nerealne vokalne standarde,koje nije uspeo da iznese tokom 90ih.Oba albuma je impresivno izneo zahvaljujuci karakteristicnoj boji u visokom registru,ali i sveukupno sirokim rasponom svog glasa,tako da neretko stvari deluju kao da ih pevaju razliciti ljudi.I drugo,umesto da cuva i neguje talenat koji poseduje,on unistava i blamira sebe javno i pred samim bendom,jer je gomila svirki otkazana ili propala bas zbog njegove nemogucnosti da iznese ono sto je sam sebi zacrtao.Razlozi su brojni i opste poznati.Plus,znao je na sred svirke da isproziva Slasha,obracajuci mu se kod najave hita Mr.Brownstone.
Quote from: "Shozo Hirono"Kao klinac nisam nikada imao omiljenog Gunsa
jesi imao omiljenog mastersa? :s
Q: What's worse than Muslim extremism?
A: Chinese Democracy. :D
Quote from: "crippled_avenger"Kad se pomene Van Gogh, svi znaju Đuleta, a niko ne zna koliko je Srba zapravo bitan i to ne samo kao bubjar, već i kao pevač u tom bendu, i kao kreativni uticaj - mislim da Srbinu ulogu Meho može još bolje da elaborira. Ali, ipak, objektivno, Van Gogh može da bude Van Gogh i samo sa Đuletom, bez Srbe, ma koliko da je Srba bitan i zaslužan.
Tražimo da se ovo elaborira!
Jednom davno, slušo sam muziku kod jedne osobe i čujem neku pjesmu, onako nije loša, i pitam koji je to bend a ta osoba mi kaže: "Van Goga" a ja reko "pa ovo ne pjeva Đula Mešter" a ona kaže "ne nego peva bubnjar" a ja kažem "pa bubnjar je bolji vokalista od Đule Meštera" a ona kaže "jes i to što kažeš" (a ta osoba je bila fan Van Goge!).
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fdovla.net%2Fimages%2F2008%2F05%2Fsamo-vas-gledam.jpg&hash=3b124e7af4e54f3ee2b029f00202e51ed6ac6f96)
Director Gore Verbinski ("The Ring," "Pirates of the Caribbean" trilogy) is set to helm a film about the online fantasy role-playing world and its detrimental impact on the real lives of players reports Variety.
Universal Pictures acquired the rights to Alexandra Alter's 2007 Wall Street Journal article they will use as the basis for the film which Verbinski will develop the film as a directing vehicle.
The story focuses on a married man who spends as many as twenty hours a day on a computer, existing through an avatar who is a thriving, musclebound entrepreneur. In reality, he is a diabetic, chain-smoking 53-year-old.
Steven Knight ("Eastern Promises") will pen the script. Verbinski, Alain Chabat, Stephanie Danan and Sarah Shepard will produce.
Tajna ?
Spider-Man has a Secret
Often ignored "Spiderman Was Sexually Abused Years Before He was Bitten by a Radioactive Spider or Lost His Uncle" storyline. From a PSA Spiderman comic produced for abused children produced officially by Marvel Comics and the National Committee to Prevent Child Abuse (NCPCA)
:shock:
http://rapidshare.com/files/52738920/Spiderman_has_a_Secret.cbr
http://www.magicalwasteland.com/2008/09/tell_me_what_art_is_and_ill_te.htm#more
Zanimljiv clanak glede stare dobre igre umetnost price.
Da, dobar tekst. Bolji od onoga koji sam ja zapčeo i JOŠ ne završio. :cry:
Mehmete, bravo za recenziju Kanyea!
Ja ično imam pozitivnije viđenje albuma upravo zbog njegovih nedostataka pošto toliko low fi pevanje do sada u mejnstrimu nije uspelo da ima toliko veliki uspeh i mislim da je Kanye u svom neznanju gotovo punk, no u svakom slučaju odličan tekst...
Ma, skarabudženo... (mislim, tekst je skarabudžen) Čak, paradoksalno, ja taj album mogu da slušam i da u njemu uživam jer je teški gilti pležr ali sam stvarno šokiran da neko onako nešto može da objavi kao svoj legitimni treći album i da mu se niko ne nasmeje u lice. U pravu je Lubeni, era albuma je upravo nepovratno prošla.
O tome da je guilty pleasure, tu nema šta da se priča. To je jasno...
Poštovani prijateji,
pozivamo vas na novinarski konferenciju u Četvrtak 25. Decembra u 12h u Bioskop Balkan, da zajedno obeležimo kraj jedne uspešne filmske i festivalske godine i da vas takođe upoznamo sa svim onim što nas očekuje u danima novogodišnjih i božićnih praznika u Bioskopu Balkan.
"Mladi i zdravi kao ruža" u 2009 godini
Povodom izlaska filma "Mlad i zdrav kao ruža" na DVD-ju, MCF MegaCom Film i bioskop Balkan prikazaće od četvrtka do nedelje u spomenutom bioskopu ovo ostvarenje Joce Jovanovića iz 1971, koje je za 27 godina svog postojanja imalo svega desetak projekcija!
Ovo je priča o mladiću koji od tipičnog autsajdera postaje najveći mafijaški bos u Beogradu. U vreme kada je film snimljen, 1971. godine, priča je delovala gotovo šokantno i- posle samo jedne projekcije na Festivalu u Puli – "zabranjen je bez zabrane", u domaćim bioskopima nije prikazivan sve do premijere na Festu 2006. Ovo je možda poslednja prilika da gledaoci pogledaju ovu socijalnu dramu u bioskopima, a nakon toga svi ćemo imati prilike da uživamo u njoj uvrštavajući je u svoje DVD kolekcije.
Quote from: "crippled_avenger"O tome da je guilty pleasure, tu nema šta da se priča. To je jasno...
ja sam stava da je "guilty pleasure" samoprotivrečan pojam pa ne mogu da kažem da se tako osećam u vezi s albumom. ja uživam u tih nekoliko pesama sa albuma i, ono, ok je. :!:
Quote from: "crippled_avenger"Poštovani prijateji,
pozivamo vas na novinarski konferenciju u Četvrtak 25. Decembra u 12h u Bioskop Balkan, da zajedno obeležimo kraj jedne uspešne filmske i festivalske godine i da vas takođe upoznamo sa svim onim što nas očekuje u danima novogodišnjih i božićnih praznika u Bioskopu Balkan.
"Mladi i zdravi kao ruža" u 2009 godini
Povodom izlaska filma "Mlad i zdrav kao ruža" na DVD-ju, MCF MegaCom Film i bioskop Balkan prikazaće od četvrtka do nedelje u spomenutom bioskopu ovo ostvarenje Joce Jovanovića iz 1971, koje je za 27 godina svog postojanja imalo svega desetak projekcija!
Ovo je priča o mladiću koji od tipičnog autsajdera postaje najveći mafijaški bos u Beogradu. U vreme kada je film snimljen, 1971. godine, priča je delovala gotovo šokantno i- posle samo jedne projekcije na Festivalu u Puli – "zabranjen je bez zabrane", u domaćim bioskopima nije prikazivan sve do premijere na Festu 2006. Ovo je možda poslednja prilika da gledaoci pogledaju ovu socijalnu dramu u bioskopima, a nakon toga svi ćemo imati prilike da uživamo u njoj uvrštavajući je u svoje DVD kolekcije.
ovo je istorija. voleo bih da se ostvari ona tvoja priča da će ovaj film imati svoj život na dvdju!
Jebote, ja bih voleo da imam vremena danas da odem i ovo pogledam u bioskopu... Ali nemam. Baš me zanima da li će DVD biti bolji od onih DivX-ova koje imamo.
Inače, glede Kanyea, naravno da bih, postavljajući se u drugi položaj mogao da napišem i daleko prijateljskiji prikaz 808s-a ali ovako mi je došlo i mislio sam, kada ga već hvale po stranim publikacijama, ajde ja da kažem šta mi je na srcu. Nevezano za tu neku objektivnu 'novinarsku' vizuru, meni se stvarno gade ploče koje su snimile bilo žene bilo muškarci u kojima je glavna tema kako su plačipičke i kako im je teško i ne znaju šta da rede, bez razrešenja makar na horizontu. Justin Broadrick, čovek za koga bih rado primio metak mi se potpuno zgadio recentni(ji)m radovima Jesu iz baš ovog razloga.
Što se mene tiče, mislim da heartbreak nije razlog da čovek sasvim ostane bez smisla za humor.
Igzekerli!!!
Naprotiv, heartbreak je odličan razlog da se čovek dodatno okrene smislu za humor... Inače, od tih postraskidnih albuma meni se sviđa Beckov Sea Change...
Evo nešto tailor-made za Mehmeta:
http://dobanevinosti.blogspot.com/2008/12/rocco-godine-nulte.html
:lol: :lol: :lol: :lol: :lol: :lol:
Sjajno. Osim što sam bio prilično siguran da se onaj film zove Anatomija Pakla. Griješio li sam sve ove godine? Ipak je to film u kome Roko igra homoseksualca. Ako je to pogrešno, ko zna šta još u vezi sa njim može da bude pogrešno.
Anatomija Pakla IT IS !
Quote,,Ja sam pre svega čovek ljubavi i mislim da strast ne poznaje granice", naglašava Zifredi.
Ovako nesto pateticno moze izaci mozda iz usta M.Madsena,ali Rocco ima sigurno vise stila.
Da, pogrešio je novinar. Jebiga. I ja sam video. :D
Ne mora automatski da znaci,mozda je autor imao negde zapisane citate Alen Delona,koji je i sam bio Roch Siffredi u filmu Borsalino. :evil: :D
Darko Bajić: ima publike za autorski film
Reditelj i filmski producent Darko Bajić ocenio je danas da je profilisani program bioskopa "Balkan", započet u martu ove godine, bio uspešan i da je pokazao da Beograd još uvek ima publiku za autorski, umetnički film.
Nekoliko domaćih producentskih kuća zakupilo je salu "Balkana" (koji je prodat u procesu privatizacije "Beograd filma") i organizovalo projekcije domaćih i stranih nekomercijalnih ostvarenja, niz tematskih ciklusa, promocija i gostovanja uglednih stvaralaca. "Prikazali smo oko 40 filmova koje je videlo 15.000 ljudi, ne računajući vrlo dobru posetu kada smo bili domaćini Autorskom festivalu i Festivalu studentskog filma", rekao je Bajić u razgovoru sa novinarima. Naš koncept je dobro prihvaćen prvenstveno od mlade publike i nadamo se da će dobiti podršku nadležnih državnih organa, naročito imajući u vidu kako bioskopi u Srbiji zamiru, dodao je Bajić. On je podsetio i na akciju otvaranja "bulevara zvezda" ispred zgrade bioskopa, gde su kao prve postavljene svetleće zvezde glumca Danila - - Bate Stojkovića i reditelja Živojina - Žike Pavlovića.
U "Balkanu" će od danas do nedelje na repertoaru biti stari film "Mlad i zdrav kao ruža" reditelja Jovana Jovanovića, sa Draganom Nikolićem u glavnoj ulozi. Direktor "Megakoma" Igor Stanković istakao je da je ta kuća upravo objavila DVD sa ovim filmom (koji će se deliti uz ulaznicu), ali da ga svakako vredi videti na velikom platnu. Reč je o filmu iz 1971. godine, koji je dugo bio "bunkerisan" iz ideoloških razloga, a "otkriven" je 2006. godine i prikazan na Festu.
U vreme novogodišnjih i božićnih praznika u bioskopu "Balkan" prikazivaće se filmovi koji su obeležili festivale u ovoj godini. To su "Dom" Ursule Mejer koji je otvorio nedelju kritike u Kanu i bio u nominaciji za najbolji evropski film godine, kao i "Valcer sa Baširom" Arija Folmana, koji je najozbiljniji kandidat za nagradu Oskar za dugometražni animirani film.
U prvim danima 2009. godine na reportoaru "Balkana" će biti filmovi kojima je to jedino bioskopsko prikazivanje u Srbiji - "Snijeg" Aide Begić i "Čiko" Ozgura Jildirima, a dobili su visoke ocene publike na Autorskom festivalu, održanom prošlog meseca u Dvorani kulturnog centra Beograda.
(Tanjug, 17. decembar)
http://streetfighter-movie.gyao.jp/
Mickey Rourke and Sam Rockwell are in talks with Paramount Pictures to play the roles of two villains in the Iron Man sequel reports the trades.
Rourke, currently undergoing a resurgence thanks to critical acclaim for his "The Wrestler" performance, would play the Crimson Dynamo. The character is a heavily tattooed Russian arms dealer who battles the superhero in a nuclear-powered suit of armor that can control electricity.
In the comics the character is tricked into defecting to the US and went to work for Stark, forcing the Soviets to send KGB assassin Black Widow after him. What's interesting here is that the Black Widow character has also been rumored to appear in the sequel.
Meanwhile though it's not confirmed, Rockwell is tipped to be playing Justin Hammer, a multibillionaire British businessman and a rival of industrialist Tony Stark.
The script is still being written by Justin Theroux so details are still open to change.
Off: odgledah The Wrestlera pre neki dan. Zapanjujuce dobar film. Gotovo najbolji prosle godine.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Findiauncut.com%2Fuploads%2Fimages%2FFacebook-Furherbunker-by-Banterist.jpg&hash=c42c6906086d4ba23d06b94709c85d10fd257ec2)
:!:
Sada je vec vreme oglasiti da Mehe nema ravno 15 dana.Ja sumnjam da je posle gledanja Tokyo Gore Police dosao do nekog grozomorno-revolucionarnog saznanja i otputovao u Meku.(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsmilies.sofrayt.com%2F%255E%2F4%2Fsaeek.gif&hash=e2ed2a82210e4fa7ab403aaf430d4de62660bacb)
I ja sam nedavno, valjda potaknut vidnom inflacijom priloga na ovom dijelu foruma (za razliku od "Prirode&drustva, te poLJistike"), bas na Mehu i njegovo odsustvo pomislio...
Sha ja znam, izgleda da je Gulov odlazak (nazalost, ali odlucio decko tako!) implicirao sushu ostalih prije aktivnih ljudi, bar onih koji su imali sta za reci (i ovdje meni time davati paznje vrijedne muzicke i filmske tipove na tacni, da ne tracim dzabe vrijeme trazeci ih sa strane).
OK, vidim Kripl je jos aktivan, Milosh tu-i-tamo, Dzindzer je vise na "Popboksu", Zhix se uopste ne pojavljuje, isto tako onaj momak Niarla itd., ima tu jos ljudi vrijednih pomena (Shozo/Shizo, i tvoji prilozi o filmu, iako formom uglavnom krokichni/kraci, spadaju u ovu grupu "paznje vrijednih"; prije neki dan sam trazio nesto na ovdasnjem pretrazivacu, i naletio sam bio na neke od starih Spajderovih postova, na nekim od topica sa interesantnim temama i int. pricama, i bilo je bas uzivanje ih citati; bolji, neukrotiviji je bio u ovoj otvorenijoj formi od ove sada formalnije, recenzentske na B92-sajtu, iako se ti ekspresivni limiti u radu na medijima podrazumijevaju).
Vratice se Meho, tiho, kao stihija...
Vratiće se Meho... kao roda ili kao Lesi. Reinkarnacija je čudo.
Jeff Monson charged with mischief; ESPN not an accomplice
By Maggie Hendricks
Jeff Monson is either really dumb or really smart. I'm leaning towards the latter.
The fighter, who last appeared in the Mixed Fighting Alliance, winning over Ricco Rodriguez in December, has a warrant against him for defacing the Capitol building in Olympia, Wash. This warrant was issued after pictures of him painting an anarchist symbol on the building appeared in ESPN the Magazine.
See, Monson is an outspoken anarchist. He has said many times that he wants to do away with the social hierarchies that govern our world. The best way for Monson to share these theories is through the mass media, so publicity is his friend.
Is Monson so dumb that he would expect ESPN to not use photographs of him committing a crime? Of course not. This is a man with a Master's degree in psychology. He understands the ramifications of civil disobedience. If he didn't want attention brought to his cause, he would have asked ESPN to photograph him sitting at home, enjoying dinner.
Monson was charged with first-degree malicious mischief, a crime that carries a maximum penalty of a $20,000 fine and 10 years in prison. ESPN did not do him a favor by running that picture, but it's not their job to protect athletes. It's their job to cover them, a fact which Monson has used to make sure that everyone is discussing his cause today.
Photo via MMA Junkie
QuoteTina Turner će nastupiti na Live Music Festivalu, koji će od 5. do 10. avgusta biti održan na plaži Jaz kod Budve.
Osim nje, nastupiće Plavi Orkestar, Severina i grupa Regina, kao i DJ-evi Armand Van Helden i David Guetta.
cripple, verujem da si na jazu u avgustu? :D
prebačeno (http://www.znaksagite.com/diskusije/viewtopic.php?p=172091&highlight=#172091)
Hitler's Mom Speaks Out, Defies Court Order
Campbells say they still don't know why children were taken
By VINCE LATTANZIO
Updated 12:56 PM EST, Tue, Jan 20, 2009
Related Topics: Adolf Hitler Campbell
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Ray Cordero
Adolf Hitler Campbell and his two sisters were removed from their parents' home after the state alleged that they were in danger.
It's been almost a week since the state of New Jersey took Deborah Campbell's three children from her home and she says officials have yet to tell her and her husband why. But Campbell suspects it has something to do with the names they bestowed upon their kids.
Watch VideoDeborah Campbell says she does not know why her three children were taken from her home a week ago, but that they belong home.
Hitler's Mom Speaks Out, Defies Court Order
Watch Video3-year old Adolf Hitler Campbell's mother talks about why she will never change the Nazi-inspired names of her children. She also makes a plea for legal...
RAW VIDEO: Adolt Hitler Campbell's Mother Pleads for Legal Help
Watch VideoThe mother of 3-year old Adolf Hitler Campbell defies orders NOT to talk and answers questions about why her children were taken from their parents. All...
RAW VIDEO: Adolf Hitler Campbell's Mother Talks About Custody Case
Watch Video3-year old Adolf Hitler Campbell's Aunt, Jeanne Coverdale, joined his mother in defending his name and defying orders NOT to talk about the custody case...
RAW VIDEO: Adolf Hitler Campbell's Aunt Defends His Name
Not sure when she will be able to see her kids again, Deborah decided to break a judge's gag order and make a public plea for the return of her children.
"They belong home with their mother and father. They don't belong out there in a stranger's home," Campbell told NBC10's Mike Strug Monday night.
Officials from the NJ Division of Youth and Family Services took the children -- Adolf Hitler Campbell, 3, JoyceLynn Aryan Nation Campbell, 1, and Honszlynn Hinler Jeannie Campbell, who will turn 1 in April – from the Campbell's home in Milford, N.J. last Tuesday, saying only that they felt the children were in danger.
"They felt the children were in danger for their lives. They didn't say physically, mentally...nothing like that," said Campbell.
The Campbell's three children were dropped into the center of a media firestorm last December when they asked a grocery store in Greenwich, N.J., to write "Adolf Hitler" on their son's birthday cake. The store refused, saying it was inappropriate.
The store refused to give an apology when the parents demanded one. A local Wal-Mart ended up honoring their request.
DYFS officials were tight-lipped when asked why the children were removed from the parents' care, citing confidentially laws, and local police would only acknowledge that they escorted DYFS to the Campbell's home the week before.
In an interview with the New York Times, The Campbell's landlord Larry Lippincot said he would hear the kids playing late into the night and that the family would often argue with a family member who "threatened to firebomb the house:"
"Mr. Lippincott said he had decided — before the cake incident — not to renew the Campbells' lease when it expired in November because, he said, a relative they frequently argue with threatened to "firebomb the house." He expects to begin eviction proceedings soon. "They're not destroying anything, the house is clean and they pay their rent on time," he said. But, he added, "There comes a point when you say, 'Enough is enough.'"
It is not clear if these circumstances have any bearing on DYFS' decision, but Deborah has her own theory. She believes the childrens' names are to blame.
"The names, I believe are the problems. But they just don't want to come out and say that," Campbell said.
The couple has defended the names of their children saying they reserve the right to name the kids whatever they like.
"A name is a name," Heath Campbell said last December.
Jeanne Coverdale, the kid's aunt, offered an analogy to people who feel the names are in bad taste.
"What about tomorrow night when the President of the United States stands up and say, is forced to say, my name is Barack Hussein Obama. How's that going to hit the world?" Coverdale said. "I'm saying the one with the middle name he has, was a terrorist."
Coverdale says it's "no different" than having a name like Adolf Hitler.
Deborah insists they are not part of the Aryan Nation or fans of what Hitler is famous for and said the swastika tattoo her husband displays on his arm is simply art.
The Campbells are asking for an attorney to help them fight to bring the children home.
"We would like you to please help us get my three innocent children back."
Scribe John August ("Charlie and the Chocolate Factory," "Charlie's Angels," "Go") is set to pen both "Frankenweenie" for Disney Pictures, along with the comic book adaptation "Preacher" for Sony Pictures says The Hollywood Reporter.
Directed by Tim Burton, "Frankenweenie" is based on the comedic horror short Burton made as a student back in 1984 and tells of a man who brings his dog back to life after it is killed by a car.
The stop-motion animation film will be shot in black and white 3-D and will hit theaters in 2011. August and Burton previously teamed on 'Charlie', "Corpse Bride" and "Big Fish".
Sam Mendes ("American Beauty," "Revolutionary Road") will helm "Preacher" based on the popular DC/Vertigo series about a down-and-out Texas preacher.
Given immense powers, he teams up with a former girlfriend and a hard-drinking Irish vampire and sets out on a journey across America to find God - who apparently had abandoned his duties in heaven- and hold him accountable for his negligence.
:cry: :cry: :cry: :cry:
Quote
Die Hard 4.0 director Len Wiseman plans to turn Gears of War into a film trilogy.
He confirmed his role at the helm during a red carpet chat with website Bloody-Disgusting, and shed some light on his masterplan for the IP.
"The hope is that we're wanting to do three movies and really cover the bases on everything. Basically a harder edged Lord Of The Rings," said Wiseman.
"It's going to be much more [on the] science fiction side of it than the creature side of it. I've always been much more of a sci-fi action fan than a horror fan."
Apparently Wiseman began looking into Gears of War after picking the shooter to appear during a scene of Die Hard 4.0.
"I just really connected with it; the design of it the world, the whole thing," added Wiseman. "So I actually bought an Xbox 360 to start researching what it was."
Pirates of the Caribbean and Collateral writer Stuart Beattie will be doing the script, and the whole project will be overseen by Gears of War creative director Cliff Bleszinski.
Legendary Pictures, of 300 and The Watchmen credit, has stumped up half the cash for the project, and production company Temple Hill Entertainment reckons a launch next year is likely.
No Hollywood actors or actresses have been linked with the project. Maybe Bruce Willis will join in.
Ovde: http://www.eurogamer.net/articles/wiseman-wants-to-film-gears-trilogy
Video game to film conversions have never proven effective, with the lackluster "Tomb Raider" films generally considered the best of the bunch. Yet when your competition is the likes of the "Resident Evil" or "Mortal Kombat" franchises - it's hardly a compliment.
Now comes word from Spanish news site Europa Press that the film's producers are considering taking the one thing that worked about those films - Angelina Jolie as Lara Croft - and replace her with "Transformers" babe Megan Fox.
Fox certainly would fit the shorts well, but as many can attest that isn't the Achilles Heel of the series, rather the lack of anything approaching a decent script and director. Given the proper pedigree it might be possible to 'reboot' the series in the same way James Bond and Batman successfully shook off the shackles of campy escapist trash that those franchises descended to at different points in the past.
The article also cites a production schedule of 2010 for release in the Summer of 2011.
"The Fall" and "The Cell" director Tarsem Singh talked with Empire Online recently about his upcoming sword-and-sandals epic "War of the Gods" and, much like his previous works, famous paintings are set to heavily influence the visual style.
"It's turning into, basically, Caravaggio meets Fight Club. It's a really hardcore action film done in Renaissance painting style. I want to see how that goes; it's turned into something really cool" he says.
Expect more modern touches as well that will definitely destroy historical accuracy - "I'm going for a very contemporary look on top of that so I'm kind of going with, you know, Renaissance time with electricity. So it's a bit like Baz Luhrman doing Romeo + Juliet in Mexico; it's just talking a particular Greek tale and half contemporising it and telling it."
"The Tudors" star and potential James Bond/Superman candidate Henry Cavill plays the lead in the epic and Singh confirms he's the only person cast so far. Cavill plays a bastard warrior in Ancient Greece who discovers he's the son of the king who leads the successful war against long-imprisoned Titans who plan to use demons to restore their power.
The project is in competition with Louis Leterrier's remake of "Clash of the Titans" which was rumored, and was this weekend confirmed by the director himself that "Avatar" and "Terminator Salvation" star Sam Worthington would be playing the lead Perseus.
Quote from: "crippled_avenger"Caravaggio meets Fight Club. (..) a really hardcore action film done in Renaissance painting style.
Ne znam kakav će film biti ali ovi što smišljaju teglajnove kao da misle samo na mene...
Ma pre ce ovo da lici na Cravaggio meets Bite Club ! :evil:
A sto se tice Tarsem Singha, treba obratiti paznju na njegov sledeci projekat, koji kao scenarista potpisuje Kurt "The Shield" Sutter. :!:
Meho, jedno pitanje za tebe a propos Dzonija:
Quote
Danas tamo vozika taksi, radi blog i ignoriše sve vapaje srpskih rokera da se ponovo prihvati fendera i spase (srpski) rokenrol od dvadesetprvog veka.
Da li ti je poznata i adresa tog (navodno) Dzonijevog bloga?
Ako jeste, tj. ako takav blog uistinu i postoji, hajde molim te shibni nam je ovdje, bilo bi ga interesantno i pregledati... Tenks in advans. (Vrijedi i za sve ostale, kojima je poznat link za Stulicev blog)
I jos nesto:
Quote...otkrio da je Srbin i da uživa da to natrljava Hrvatima u facu i onda se odselio u Amsterdam,...
Dzoni nikada, koliko je meni poznato, nije za sebe tvrdio da je Srbin, kao sto za sebe nikada nije rekao da je Hrvat (iako mu je otac Hrvat, a majka Makedonka; majka i sestra mu zive u Zagrebu), nego se tu-i-tamo po medijima izjasnjavao da je Makedonac, potom Turcin, pored onog uvaljivanja apstrakcije tipa "porijeklom iz plemena starih Azra".
A da je ignorisao rodnu si Hrvatsku do balchaka, jeste, a kako i ne bi kada su ga dojucerasnji Zg-frendovi i poznanici, poput Paola Sfecija (bubnjar Parnog Valjka, "direktora" Ukrutbe Cro-muzicara) ili Darka Glavana (onaj kriticar-glavonja, dish Muzeja moderne umjeshnosti), prozivali "cetnikom" ("mehko c") i trazili mu skidanje glave po medijima zato sto nije zapjevao koju estradnu 'rvaCku "budnicu", pojavljivao se bez predrasuda i bojazni po Bg-u za vrijeme rata (u vlastitoj reziji, za svoj grosh, nista u agit-prop organizaciji SMradovog mecenata ), uopste konsekventno i svekoliko lansirao odjeb divljanerima na svim stranama (pa i Hrvatskoj, za cije je drzavljanstvo i putovnicu - pitajuci ga ima li ih - odgovorio da "koji ce mu ratzq, ne pada mu na pamet da ih trazi"; i s te strane, od mene ima duboki respekt).
Haha, pre svega, ne treba ozbiljno da shvataš moja lupetanja u tom tekstu. Napisao sam ga pre više od dve godine za svoj blog a za potrebe provociranja što je šire mogućeg pučanstva i nisam se baš bavio istraživanjem pa čak ni, gulp, istinom (mislim, ja sam stvarno mislio da je Džoni u Amsterdamu a on čovek u Utrehtu. To da je Srbin, očigledno nije, napravio sam surov faul.). Sad je Luković navalio da to objavi da bi, valjda provocirao još šire pučanstvo a ja sam slab kad god mi se ponudi prilika da izazivam haos i bezumlje... Jebiga, stvarno bi trebalo malo da sazrim
A za Džonijev blog, jebemliga, gugluj, znam da je u ono vreme to spominjano po Internetu ali kako me Džoni nikada nije privlačio nisam se trudio da ga nađem.
Matt Johnson ("Torque," "Into the Blue") will adapt Red 5 Comics' sci-fi series "Afterburn" for Relativity Media says The Hollywood Reporter.
Set against the backdrop of a postapocalyptic Earth whose Eastern Hemisphere was destroyed by a massive solar flare, leaving what life remains mutated from radiation and fallout.
The story revolves around a group of treasure hunters who extract such objects as the Mona Lisa, the Rosetta Stone and the Crown Jewels while facing rival hunters, mutants and pirates.
Neal Moritz's Original Films and Tobey Maguire's Maguire Entertainment will produce alongside Toby Jaffe.
Rokeri Ramštajn u horskom izvođenju
Izvor: Deutsche Welle Serbian
Ramštajn (Rammstein) je kultna rok grupa u Nemačkoj. Za njihove pesme obično kažu da ne zahtevaju pevanje već vikanje. Ali neki su se dosetili da bi možda bilo zanimljivo, njihove pesme čuti i nekim tradicionalnim aranžmanima.
Da li biste mogli da zamislite horsko izvođenje Ramštajnovih pesama? Zvuči krajnje zanimljivo.
'Engel' ili u prevodu "Anđeo", samo je jedan u nizu hitova ove veoma uspešne nemačke rok grupe i van nemačkog govornog područja, poznata po svom "tvrđem" zvuku i mračnim tekstovima.
Ova pesma u horskoj interpretaciji zvučni potpuno drugačije.
Hor Vojsesintajm (Voicesinstime) je svoju verziju, predstavio na festivalu "Jazzvocal 2009". I pobedili su.
Ramštajnov anđeo im je doneo veliki uspeh. Sada je ova kompozicija postala obavezni deo programa gotovo svih džez horova.
Dirigent hora Vojsesintajm Štefan Kalmer kaže: "Izazov koji se ovde traži je zapravo prenošenje zvuka iz originalne verzije, mada to nije moguće baš doslovno, jednostavno mora biti prilagođeno standardim jednog hora, bilo da je reč o melodiji ili ritmu."
Horsku verziju Ramštajnove pesme objavila je izdavačka kuća Gustav Bose (Bosse), koja još od 1923. godine izdaje orkestarska dela. Do sada ih je objavljeno najmanje 3.500.
Pesmom "Engel" u horskom izvođenju ovaj izdavač pokreće novu ediciju, čija su ciljna glupa mladi, pojašnjava izdavač Bertold Klos.
"Ovde se ustvari rukovodimo logikom da publika već poznaje pesmu. Radi se o delima koja su već opštepoznata, ali niko ih nikada ne bi doveo u vezu sa jednim horom."
Članovi hora su oduševljeni idejom. Svi uživaju u izvođenju Ramštajnovih pesama.
Sopranistkinja Marija Čelikan (Chekalian) kaže: "Ova pesma je beskrajno zanimljiva s obzirom na konstrukciju, stvarno mi se sviđa i verujem da će se i publici dopasti."
Ohsenhausen je mesto u kojem se tradicionalno okupljaju horovi iz cele Nemačke. Tu se odigrava festival "Jazzvocal". Cilj takvih manifestacija je podmlađivanje horske scene.
Sve su popularniji manji horovi koji izvode melodije sa modernim aranžmanima. Sve veće je interesovanje i za časove koje drže najuticajniji dirigenti, među kojima je i Danac, Jens Johansen.
"Napravili smo neke prekretnice. Mislim da je veoma važno da netko preuzme vodeću ulogu u promociji horske muzike i pokažu da je podjednako zanimljivo slušati, ali i pevati."
Uprkos velikom uspehu pesme "Engel", ovaj hor ne razmatra mogućnost zajedničkih nastupa sa Ramštajnom.
Štefan Kalmer pojašanjava. "Tu vrstu saradnje bih mogao da zamislim, ali ne verujem da bi publika koja dolazi na Ramštajnove koncerte to mogla da zamisli."
Ideju nije nemoguće ostvariti, ali kombinovano izvođenje pesme "Engel" nije jednostavno uklopiti. Možda bi kontrast ipak mogao animirati fanove grupe Ramštajn. Za horsko izvođenje ove pesme kažu da zvuči prilično "nebeski".
Resident Evil filmovi su vrlo dobri, a ni Mortal Kombat nije loš. Taj koji je pisao to za adaptacije igara nema pojma.
Quote from: "Harvester"Resident Evil filmovi su vrlo dobri, a ni Mortal Kombat nije loš. Taj koji je pisao to za adaptacije igara nema pojma.
Grešiš. Silno.
Quote from: "Meho Krljic"Quote from: "Harvester"Resident Evil filmovi su vrlo dobri, a ni Mortal Kombat nije loš. Taj koji je pisao to za adaptacije igara nema pojma.
Grešiš. Silno.
Ne. Ti griješiš u tome da ja griješim.
Quote from: "Harvester"Quote from: "Meho Krljic"Quote from: "Harvester"Resident Evil filmovi su vrlo dobri, a ni Mortal Kombat nije loš. Taj koji je pisao to za adaptacije igara nema pojma.
Grešiš. Silno.
Ne. Ti griješiš u tome da ja griješim.
Harv ne graši da Meho greši da je pogrešio.
ali ti grešiš - napisao si graši
Quote from: "Kastor"ali ti grešiš - napisao si graši
on je profa srpskog: mora da graši! :wink: :twisted:
http://wikimapia.org/7839372/lv/Gra%C5%A1i
xrofl
A Merciful Fate for Baghdad Metal Band
Michael C. Moynihan | February 6, 2009, 5:40pm
After four years of lugging Marshall half-stacks across the Middle East, the Iraqi heavy metal band Acrassicauda, subject of the documentary "Heavy Metal in Baghdad (http://www.vbs.tv/vice-films/heavy-metal-in-baghdad/home.html)," has arrived in the United States. The band members were granted refugee status earlier this month and settled in Elizabeth, New Jersey, presumably because it borders Newark, America's very own Baghdad. The New York Times credits (http://www.nytimes.com/2009/02/03/arts/music/03metal.html) Vice magazine with lobbying on their behalf:
Acrassicauda's primary advocate has been Vice, the Brooklyn-based magazine and media company that made "Heavy Metal in Baghdad." Vice is better known for wisecracking pop-culture commentary than humanitarian aid, but it has been working tirelessly on the band's behalf for a year and a half.
Vice tried to help resettle the members to Canada and Germany, and kept them afloat with cash - as much as $40,000 paid from Vice's own coffers, sponsors and donations collected online, according to Suroosh Alvi, a founder of the company and one of the directors of the film.
And what better way to welcome the guys to New Jersey than giving them backstage passes to a Metallica concert:
And on Sunday night, two days after the last of the band's four members was resettled in the United States, they enjoyed what any metal fan would have to call heaven: bearhugs and "Wow, dude" heart-to-hearts backstage with Metallica at the Prudential Center in Newark. It probably wasn't necessary for James Hetfield, Metallica's lead singer, to surprise them after the show by handing over one of his guitars, a black ESP, and signing it "Welcome to America"; their minds were already blown.
Pretty genius video of Acrassicaudu meeting their metal heroes: http://www.youtube.com/v/9pFTnNAiBJ4
Dokazi da je Microsoft retardiran (i zao), broj 467:
QuoteXbox 360 Dashboard Update Bricking Consoles?
Did this week's update give some Xbox 360 owners the dreaded Red Ring of Death?
By Will Tuttle | Feb. 6, 2009
On Monday, we brought you a report that launch-day Xbox 360s were no longer under warranty for the Red Ring of Death. Now, there are reports that this week's downloadable update (which was to fix audio issues for consoles using HDMI connections) has given a number of Xbox 360s the dreaded RRoD or caused a variety of other problems. Taking a look at this thread on the official forums at Xbox.com, it's immediately clear that something went wrong during the update. Could this be similar to what happened when Sony released PS3 firmware update 2.40 back in July? Could these consoles be fixed with another patch (as was the case there), or will consumers have to ship their systems off to be fixed? We don't have any answers yet, but we're hopeful that this is only affecting a small number of Xbox 360 owners.
Odavde: http://xbox360.gamespy.com/articles/952/952341p1.html
Pet Shop Boysi imaju novi singl...
'Girls Gone Wild's' Francis arrested
Video mogul showed up late to court hearing
By ASSOCIATED PRESS
"Girls Gone Wild" founder Joe Francis was arrested in Los Angeles after he showed up five hours late for a court hearing in his tax evasion case.
When the adult-video entrepreneur finally appeared in court Monday afternoon, he told the judge he was suffering from the flu. Francis' attorney Melissa Weinberger says U.S. marshals then handcuffed Francis and took him away.
Francis is accused of claiming more than $20 million in bogus business expenses on his corporate tax returns, including $3.8 million for a home in Mexico and $10.4 million in phony consulting services. He has pleaded not guilty to two counts of federal tax evasion.
The hearing was to consider a request from his tax attorneys to recuse themselves.
John Malkovich will play the antagonist to Josh Brolin in "Jonah Hex" for Warner Brothers and Legendary Pictures says Variety.
An adaptation of the DC Comics property, Malkovich will play Turnbull, a wealthy Southern plantation owner whose son is killed by Union soldiers during the Civil War.
He blames Hex, a former confederate soldier-turned-hardened bounty hunter and gunslinger.
Jimmy Hayward ("Horton Hears a Who") is directing the script by "Crank" scribes Mark Neveldine and Brian Taylor.
Andrew Lazar and Akiva Goldsman is producing. Production kicks off in April.
Electronic Arts Inc. today announced that development is underway to bring Hasbro's legendary "G.I. Joe" brand to all major console and handheld gaming platforms in summer 2009.
The game will coincide with the theatrical release of the G.I. Joe: The Rise of Cobra live-action movie from Paramount Pictures and Spyglass Entertainment, in association with Hasbro, which opens in theaters August 7, 2009.
The game will feature 12 "G.I. Joe" characters, each with unique abilities and weapons. There will also be a single-screen co-op mode allowing two players to easily unite as a team in a classic struggle between good and evil as they work together to defeat the powers of the COBRA organization. The "G.I. Joe" video game is under development for Xbox 360, PlayStation 3, Wii, PlayStation 2, PSP, Nintendo DS, and mobile devices.
Meanwhile Cool Toy Review has a first look at action figure packaging for the movie which reveals the appearance of Joseph Gordon Levitt's villain mastermind Cobra Commander. Click the link to see the photos, but for those who want a hint without being too spoiled? Think something along the lines of that 'future Jason Voorhees' from "Jason X".
In a move that will please many a fanboy, it appears director Brett Ratner ("Rush Hour," "X-Men: The Last Stand") may have left the film adaptation of hit video game series "God of War".
According to Production Weekly, Ratner's is focusing on the Chris Tucker and Eddie Murphy team-up vehicle "Trump Heist" as his next project.
This either means 'War' will be switched into someone else's hands or Ratner himself will come back to it at a later date.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi44.tinypic.com%2F2ni60l2.jpg&hash=20090dfd6513cd8ca151fce6ea6aff02274aa6af)
Ha ha... Mafija gleda Lost. To je još smešnije od Hjuia koji čita hispano Y-a.
Berlin
Dorfpunks
(Germany)
By BOYD VAN HOEIJRead other reviews about this film
Powered By A Piffl Medien release of a Schramm Film Koelner & Weber, Norddeutschen Rundfunk production. (International sales: the Match Factory, Cologne, Germany.) Produced by Florian Koerner von Gustdorf, Michael Weber. Co-producer, Doris J. Heinze. Directed by Lars Jessen. Screenplay, Norbert Eberlein, based on the novel by Rocko Schamoni.
With: Cecil von Renner, Ole Fischer, Pit Bukowski, Daniel Michel, Axel Prahl.
Punk is far from dead in "Dorfpunks," Teuton filmmaker Lars Jessen's enjoyable if somewhat uneven bigscreen adaptation of the eponymous youth novel. Like Jessen's "The Day Bobby Ewing Died," the pic is set in a northern German village in the mid-1980s and paints an unfussy portrait of a badly coiffed adolescent trying to make sense of it all. Late April release should cash in on the book's fanbase in Deutschland, with an outside possibility of Euro pickups.
Carefully styling his hair with lager each morning, young Malte (Cecil von Renner, charismatic), aka Roddy Dangerblood, seems to have misunderstood Sid Vicious' remark about his only true loves being the beer bottle and the mirror. Together with his buds, Roddy repeatedly tries to start a band, because it's what cool people do (even those without talent). Screenplay doesn't entirely overcome the episodic structure of Rocko Schamoni's novel, and the film works best when it stays close to home, where the contrast between the soul-searching wannabe punks and the cows and tractors provides ample opportunities for drama, humor and rough-edged visuals. Period and place are evoked nicely; music choices are low-key but effective.
More than one option(Person) Michael Weber
Producer, Co-Producer
(Person) Michael Weber
Sound, Executive Producer, Actor
(Person) Michael Weber
(Person) Michael Weber
Consultant, Technical Advisor, Visual EffectsCamera (color), Michael Toetter; editor, Sebastian Schultz; production designer, Dorle Benesch; costume designer, Ingken Benesch. Reviewed at Berlin Film Festival (Perspektive Deutsches Kino), Feb. 10, 2009. Running time: 93 MIN.
Hm, ne baš da bi uspeo da me ubedi, ali nabrojao je ovde neke stvarno dobre igre:
10 Video Games That Should Be Considered Modern Art (http://www.cracked.com/blog/defending-the-habit-10-video-games-as-modern-art/)
Zanimljivo poredjenje igara sa pravim umetnicima. Sa ove liste jedino nisam igrao Heart of Darkness, moracu da je ispobam posto me je ovaj clip zaintrigirao.
Eh Shinny... :(
Warner Bros. sets up 'Suicide Squad'
Dan Lin to produce supervillain franchise
By DAVE MCNARY
Lin
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Warner Bros. is going on a suicide mission, setting up the DC Comics property "Suicide Squad" for Dan Lin ("Sherlock Holmes") to produce as a potential franchise.
In a departure from normal comic-based fare, "Suicide Squad" concentrates on a group of incarcerated supervillains rather than the usual focus on superheroes. The first version of the squad debuted in a 1959 DC Comic, and a series was launched in 1987.
Stephen Gilchrist from Lin Pictures will co-produce. Justin Marks ("20,000 Leagues Under the Sea," "Hack/Slash," "Street Fighter") is penning the screenplay.
"Suicide Squad" will feature a mix of well-known and unknown villains recruited by the government to accomplish a task deemed too dangerous for superheroes. The historically independent operators must bury their own interpersonal conflicts and agendas to form a cohesive unit to take on a singular task.
Lin's a former Warner exec who set up his own Warner-based shingle at the start of last year. Besides producing "Sherlock Holmes," starring Robert Downey Jr., Lin's a producer on "This Side of the Truth" and "The Box" and an exec producer on "Terminator Salvation" and "Shorts."
If they're signing all those involved up to similar deals, it's no wonder Emily Blunt and Mickey Rourke have hesitated.
Samuel L. Jackson has made a long-term deal for the role of Nick Fury in Marvel Studios upcoming films reports the trades.
Jackson's commitment to play Fury, the leader of the espionage unit S.H.I.E.L.D., contains an option to play the character in nine future Marvel superhero films.
These are expected to include "Iron Man 2," "Captain America," "Thor," "The Avengers" and "The Shield" as well as potential sequels.
Jackson expressed displeasure with the studios initial offer to reprise his role which he played in the closing moments of "Iron Man".
Jon Favreau kicks of filming of the "Iron Man" sequel in the spring for release Summer 2010.
Mehmet je napisao sjajnu recenziju novog albuma Riblje Čorbe kome ne samo da je dao sličnu ocenu kao što je dobio Morrissey nego je i potvrdio moju staru tezu da je Morrissey "Bora Čorba za pedere", a zašto ona ne bi važilo i vice versa, da je Bora "Morrissey za Srbe".
Doduše, iznenadile su me neke Mehmetove primedbe poput Borina kompulzivna potreba za rimovanjem pošto nisam znao da Mehmet kao okoeli pornofil ima išta protiv rimjobova , ali dobro, svako ima neku seksualnu praksu koje se gnuša.
:lol: :lol: :lol:
Rimjob je lepa stvar, ali ni jedna kompulzija nije dobra u ljubavi (i ratu).
Nego, da li još nekoga nervira što se po 'novom' pravopisu 'ni jedna' piše 'nijedna' kao i što se 'za sada' piše 'zasada'? Meni to stalno lektori menjaju u tekstovima a ja odbijam da se pokorim. ne samo da je ružno nego i nema smisla, u govoru se ne naglašava tako kao da je u pitanju jedna reč. Retardi.
Ja pišem "nijedan" zajedno, a "za sada" ne. Nisam ni znao da "za sada" može da se piše zajedno.
po kom novom pravopisu, bre? tako se piše već pedeset godina. zasad(a) i zatad(a) u primerima tipa: zasad je dobar, a odvojeno u slučaju "nešto za sada a nešto za kasnije". nije to nikakva novotarija. i u starom pravopisu od pre 1964, i u rečniku miloša moskovljevića, i u "savremenom srpskohrvatskom jeziku" m. stevanovića, i kod m. lalevića u priručniku "srpskohrvatski u džepu" iz 1966.
može to da nas nervira, to je ljudski, ali knjige kažu kako kažu.
lepo je što postoje lektori koji to ispravljaju :)
Vidim ja da sam bio suviše nežan prema tebi prošle nedelje, kad si našo sad ovde da me zajebaješ.
A to pisanje 'nijedan' mi ne ide u glavu. Jer ako se piše 'nijedan' onda se valjda piše i 'nidrugi'? Serem im se u ton film.
pa kad si obećao da ćemo se videti za vikend a nismo. i još si lektore nazvao retadrima. morao sam da te kaznim. :evil:
a onda sad ti mene zajebavaš. u ovom primeru koji si naveo, piše se odvojeno: "zašto bih birao između bore čorbe i morisija, kad ni jedan ni drugi nemaju pojma". upravo zato se piše spojeno "nijedan" u slučajevima tipa "nijedan čovek ne može da leti", jer je tada reč o neodređenoj zamenici, a sve zamenice tog tipa se pišu spojeno: ničiji, ništa, nikoji, nikakav, pa tako i nijedan/ijedan.
što se tiče "zasada", da ne kažem bašte, reč je o razlici u značenju, a, bogami, da ti velim pošteno, kod mene u kraju se baš izgovara zajedno, taman kako kaže pravopisni primer: "zasad dobro stojimo". spojevi predloga "za" pišu se odvojeno kada je reč o NAMENI ("za kada, za sada"), a spojeno u značenju PRIVREMENOSTI ("zasad ostani tu"). znam, mala i nevažna razlika da bi nas zbunjivala, ali je verovatno ustanovljena jezičkom praksom i pokazalo se da je potrebna, tako da, hop-cup, eto je u pravopisu.
mislim, nekada su se ove stvari, moguće je, pisale različito, nailazio sam i na stare knjige sa primerima "ni šta" (mada će se pisanje zamenica teško menjati, tu je na delu jaka jezička logika), i nije isključeno da će se ovo jednom promeniti pod uticajem književne prakse i govora, naročito ovo "zasad(a)" koje će se, možda, pisati dvojako, kao u slučaju "domalopre" i "do malopre", "domaločas" i "do maločas". ali zasad je pravilo jasno.
i nemoj ti meni retardi, jes čuo? :lol:
Ja kapiram da si ti sad sve ovo izmislio samo da bi me sekirao...
BTW, sutrra, 17h, Ineks!!!
Snoop Dogg postao musliman
Snoop Dogg je objavio da se pridružio verskoj grupi Nation of Islam.
On je na jučerašnjem skupu ove zajednice u Chicagu izjavio da je odlučio da postane musliman jer sebe smatra advokatom mira, prenosi BBC.
"To se tiče mog načina života, a ja živim onako kako bi trebalo da živim sve dok radim ono što je ispravno i dok predstavljam ono što je ispravno", rekao je Snoop Dogg.
Poznati reper je na skupu Saviours' Day na binu izašao s vođom pokreta Nation of Isalm Louisom Farrakhanom.
advokat mira je vintage Popboks touch...
Advokat mira? Advokatica Mira, more like...
Ali rispekt za Snupa, učinio je pravu stvar.
Zasad, ja jedino znam da se "niti jedan od..." (npr.: "... njih; dvojice"), takodje pise odvojeno.
Ako nisi siguran, pisi tako - "niti... jedan/ovaj-onaj", zauvijek.
Hoćeš da Meha pretvoriš u Hrvata?
Ja?? Nitko(v)... Niti bilo kad.
Muslimani su ionako po rečima pokojnog Tuđmana 'cvijet Hrvatstva', tako da...
Ili kako reče Almodovar, cvet njihove tajne. :D
Quote from: "crippled_avenger"Ili kako reče Almodovar, cvetko njihove tajne. :D
:evil:
Da li nasilne videoigre adekvatno pripremaju decu za postapokaliptičnu budućnost? (http://www.theonion.com/content/video/are_violent_video_games?utm_source=videoembed)
Takođe, znao sam da moj otac preteruje kad me je optužujivao da idem kroz život ništa ne primećujući. Ovaj (http://www.youtube.com/watch?v=mAnKvo-fPs0)eksperiment dokazuje da je to sasvim normalno!!!
Zapravo, ceo ovaj tekst (http://www.cracked.com/article_17103_5-ways-your-brain-messing-with-your-head.html) je zabavan.
The UpcomingFilmScores blog is reporting that French duo Daft Punk has been signed to score TR2N (or whatever it'll be called).
Najzad jedna lepa vest...
MOSCOW – The Interfax news agency has reported that a Russian Air Force chief says Russian strategic bombers may be based in Cuba.
The agency says the chief of staff of Russia's long range aviation Maj. Gen. Anatoly Zhikharyev said Cuba has air bases with four or five suitable runways.
The agency reported Saturday that he said Cuba could be used to base Russian bombers if the two countries "display a political will, we are ready to fly there."
Cuba has never permanently hosted Russian or Soviet strategic aircraft. But Soviet short range bombers often made stopovers there during the Cold War.
Russia resumed long-range bomber patrols in 2007 after a 15-year hiatus.
op op iiiidemo xzzw
Srce je zaigralo svakome ko sebe smatra muškarcem i Srbinom...
MOSCOW – A Russian Air Force chief said Saturday that Venezuelan President Hugo Chavez has offered an island as a temporary base for strategic Russian bombers, the Interfax news agency reported.
The chief of staff of Russia's long range aviation, Maj. Gen. Anatoly Zhikharev, also said Cuba could be used to base the aircraft, Interfax reported.
The Kremlin, however, said the situation was hypothetical.
"The military is speaking about technical possibilities, that's all," Alexei Pavlov, a Kremlin official, told The Associated Press. "If there will be a development of the situation, then we can comment," he said.
Zhikharev said Chavez had offered "a whole island with an airdrome, which we can use as a temporary base for strategic bombers," the agency reported. "If there is a corresponding political decision, then the use of the island ... by the Russian Air Force is possible."
Interfax reported he said earlier that Cuba has air bases with four or five runways long enough for the huge bombers and could be used to host the long-range planes.
Two Russian bombers landed in Venezuela last year in what experts said was the first Western Hemisphere touchdown of Russian military craft since the end of the Cold War.
Cuba has never permanently hosted Russian or Soviet strategic aircraft. But Soviet short-range bombers often made stopovers there during the Cold War.
Russia resumed long-range bomber patrols in 2007 after a 15-year hiatus.
Independent military analyst Alexander Golts said from a strategic point of view there was nothing for Russia to gain from basing long-range craft within relatively short range of U.S. shores.
"It has no military sense. The bombers don't need any base. This is just a retaliatory gesture," Golts said, saying Russia wanted to hit back after U.S. ships patrolled Black Sea waters.
Moscow and the new U.S. administration of President Barack Obama have appeared to want to mend their relations, which reached a post-Cold War low last year when Russia's invasion of U.S. ally Georgia compounded disputes on security and democracy.
U.S. plans initiated under former President George W. Bush to position defense missiles in Poland and the Czech Republic had particularly irked Russia, which has welcomed his successor's apparently more cautious approach to the divisive issue.
Venezuela and Cuba, traditionally fierce U.S. foes, have close political and energy relations with Russia.
Evo poslastice za Mehmeta
http://www.citymagazine.rs/blog/?p=1390
Quote from: "crippled_avenger"
http://www.citymagazine.rs/blog/?p=1390
Nisam Mehmet :lol: , ali: :|
:D :D :D :D
Odlično je, plus kratko i jezgrovito za razliku od ovog (http://www.e-novine.com/sr/srbija/clanak.php?id=23748) mog teksta. Nažalost, toliko me je iznervirala emisija Olivere K. u Sredu da sam morao ovako nešto da napišem...
Sjajan si tekst napisao. Ima samo jedan problem, a ti znaš koji je. :D
Stara Grčka nije zasnovana na homoseksualnosti, niti su je predvodili homoseksualci (pojedinci verovatno, ali sigurno nije bilo gej oligarhije).
Crkve su reagovale iz straha da će im pravo propovedništva biti ograničeno. Strah je u pitanju, a ne nadmenost, ili šta već. Crkva želi da ima slobodu da kaže "gej NIJE okej" svuda, a ne samo u hramu. To je po meni u redu. Crkva ima svoj sistem, oni će ga promeniti jednom, ili ga neće promeniti, ali je njihov. Ovaj zakon bi ih primorao da menjaju svoj sistem. Ne bi smeli više da kritikuju ono što im u knjigama piše da treba da kritikuju, ne bi smeli da sprovode u praksu svoja načela (da udalje nekog s funkcije zato što je gej), ne bi smeli više da indoktriniraju svoje sledbenike (ovo ne kažem u ironiji, indoktrinacija je ponekad potrebna, i zapravo je nezaobilazna i u svim ostalim segmentima društva).
Ovaj sukob između zaštite slobode govora (ili propovedništva) i zaštite od diskriminacije treba da se razreši. Trebaju nam obe tekovine.
Kad se već o tome govori trebalo bi svakako obratiti pažnju na sve masovniju pojavu hevimetalisanja među belosvetskom omladinom :lol:
http://www.youtube.com/watch?v=B7Kg363df84
http://www.youtube.com/watch?v=ko_svYKVg94
Quote from: "crippled_avenger"Sjajan si tekst napisao. Ima samo jedan problem, a ti znaš koji je. :D
Nema potrebe da žališ me, mene je već sram... Ali pričali smo već uživo o tome, publikujem tamo tekstove do momenta dok se ne sudarim sa gvozdenom pesnicom cenzure...
Quote from: "mac"Stara Grčka nije zasnovana na homoseksualnosti, niti su je predvodili homoseksualci (pojedinci verovatno, ali sigurno nije bilo gej oligarhije).
Ma, naravno da nije, to sam napisao zbog komedijaškog preterivanja kao parodiju na Zukorlićevu (ili Irinejovu?) zamolbu u toku emisije da mu se da primer društva 'zasnovanog na homoseksualizmu', što je prilično bizarna podmetaljka jer 'homoseksualizam' ne postoji. Postoji homoseksualnost a ona nije ni ideologija niti teorija društvenog uređenja. No, ne treba gubiti iz vida da je homoseksualnost u toj nekoj staroj Grčkoj bila društveno prihvaćena, da su vojska i uvaženi građani bili bi ili homoseksualci i da to nije preterano negativno uticalo na društvo. Zapravo, da je neko tamo bio dovoljno kurčevit mogao je da kaže Zukorliću (ili Irineju) da, naprotiv, kako je istorija pokazala, uvođenje monoteizma (duhovnosti ali i ideologije) je dovelo do društvene regresije i sunovrata svetlog rimskog carstva u mračni srednji vek koji je trajao... vekovima. I to bi bila preterana simplifikacija ali bi im na trenutak zapušila ona bezobrazna usta.
A usta im JESU bezobrazna i meni su stvarno delovali nadmeno. Ne zato što mislim da ne treba da se bune ili da učestvuju u javnom životu i donošenju zakona, naprotiv, nego zato što se sve desilo kako se desilo, jednim telefonskim pozivom, dan pred ulazak zakona u skupštinu. To je bezobrazno (jer u prašinu baca čak i privid društvenog dogovora i jednakih prava) a objašnjenja su nadmena.
Ja stvarno ne mislim da mi kao društvo treba da biramo između 'crkve' i 'Evrope' (ni o jedno ni o drugom nemam neko specijalno lepo mišljenje) zato što u toj Evropi NISU morali da prave takav izbor. Ali ako je najviše zakonodavno telo u zemlji, parlament, treba da raspravlja o predlogu dokumenta koji će de jure staviti van zakona diksriminatorsko ponašanje ili govor, a verske zajednice to spreče onako kako su sprečile, onda zaista dolazimo do momenta u kome deluje kao da treba da se bira. Moj humoristiki tekst je pisan sa namerom da se pokaže koliko je apsurdno misliti da je netolerancija i diskriminacija okej ako govorimo o 'tradiciji' i zato je za primer uzet fudbal i odnos prema Romima jer se tu to vidi. Svakako, 'crkvi' je posao da štiti tradiciju ali ne po cenu društvenog progresa, a mi u ovom trenutku treba da raspravimo na mestu na kome se o tome raspravlja, dakle u parlamentu, da li smatramo da je progres osuditi SVAKU vrstu diskriminacije. Ako 'crkva' sprečava čak i raspravu o tome, kao što je sprečila onda se postavlja iznad sistema, a to ne treba da se pusti da olako prođe.
Meni je cool kad koriste reč "homoseksualizam" jer to onda zvuči kao neki umetnički pokret čiji se pripadnici zovu "homoseksualisti".
A da osnuješ taj pokret? :D
Quote from: "Meho Krljic"Quote from: "crippled_avenger"Sjajan si tekst napisao. Ima samo jedan problem, a ti znaš koji je. :D
Nema potrebe da žališ me, mene je već sram... Ali pričali smo već uživo o tome, publikujem tamo tekstove do momenta dok se ne sudarim sa gvozdenom pesnicom cenzure...
Pa, ako te je toga
sram, neka ti Kripl Mitke onda licno - kao tamosnji
insajder - sredi da ovakve tekstove objavljujes u "NSPM", tamo vape za slicnim pisarijama...
Quote from: "Meho Krljic"da je neko tamo bio dovoljno kurčevit mogao je da kaže Zukorliću (ili Irineju) da, naprotiv, kako je istorija pokazala, uvođenje monoteizma (duhovnosti ali i ideologije) je dovelo do društvene regresije i sunovrata svetlog rimskog carstva u mračni srednji vek koji je trajao... vekovima.
"mračni srednji vek" je u značajnoj meri prosvetiteljski fantazam
ne branim monoteizam ali relativizujem osudu. :s
Quote from: "David"
Pa, ako te je toga sram, neka ti Kripl Mitke onda licno - kao tamosnji insajder - sredi da ovakve tekstove objavljujes u "NSPM", tamo vape za slicnim pisarijama...
Ne verujem da u NSPM traže ljude koji nemaju nikakvu (sprsku) političku misao, ni novu ni staru...
Quote from: "lou benny""mračni srednji vek" je u značajnoj meri prosvetiteljski fantazam
ne branim monoteizam ali relativizujem osudu. :s
Pa, da, da, napisao sam gore da je to jedna surova simplifikacija, čisto za potrebe svađe i provokacije.
Davide, moje tekstove prenose bez ikakve nadoknade i bez mog znanja na NSPM. Samo sam jedan tekst napisao za taj sajt, a taj tekst je bio vrlo kompromitantan za stranke koje bi se mogle smatrati bliskim NSPMu. Odande poznajem par ljudi ali daleko sam od insajdera.
Mnogo više ljudi poznajem u e-novinama, a naročito na NRBG. Štaviše, tamo sam mnogo više insajder nego na NSPM. U jednom trenutku, u vreme osnivanja, sam pokušao i da pišem za e-novine dok nisam video na šta će da liče i da ne želim da moji tekstovi budu u takvom okruženju. Tekstove možeš naći na sajtu. Što se NRBG tiče, i tamo je trebalo da radim pa sam odustao iz nekih drugih razloga, ali sam imao značajnu ulogu u kreiranju te web stanice, između ostalog osmislivši nazive za nekoliko emisija.
Sa Petrom Lukovićem imam mnogo srdačnije odnose nego sa bilo kim na NSPM. A isto važi i za ljude sa NRBG.
Pokušao si da me u klasičnom zajedljivom Peščanik maniru diskredituješ, sa sve ubacivanjem mog svetovnog imena uz nick, i pravljenjem nekog kao nadimkam što je naročito odvratno i bedno. Nije ti uspelo. da bi uspeo sledeći put, savetujem ti da malo saznaš nešto o onome koga pokušavaš da podbadaš.
Preosjetljiv si...
Dojaja oba teksta :lol:
http://psd.tutsplus.com/articles/inspiration/top-40-video-game-covers-of-all-time/
Ovo je neozbiljno. Mislim, ovakva lista a bez omota za Katamari Damacy
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi40.tinypic.com%2F35co5q8.jpg&hash=2e021f6e4957e0f51d2096e33132970e9f31ddd8)
ili Ico
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi43.tinypic.com%2Fdlrqpu.jpg&hash=8181540d56673f11bbb50937284af5b5b50651cf)
je potpuno besmislena.
Quotehttp://psd.tutsplus.com/articles/inspiration/top-40-video-game-covers-of-all-time/
:( :P :idea: :shock: xsqsick sterb038 qpuke
Gospodi pomiluj...
Jeste, jeste, baš je sačuvajbože. Do te mere da mislim da ću za svoj blog da sastavim jednu... razumniju listu.
Columbus Short ("Stomp the Yard") has joined the DC-Vertigo comic book adaptation "The Losers" at Warner Bros. Pictures reports Blackfilm.
The story follows a band of black ops commandos who are set up to be killed by their own government. They barely survive and set out to get even.
Short will be playing the role of Pooch to Jeffrey Dean Morgan as the leader Clay. Sylvain White directs.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.testfreaks.se%2Fimages%2Fproducts%2F600x400%2F139%2Fdungeon-keeper.366475.jpg&hash=79f99dbd383bb54100d0594ebab3893edac03d56)
:evil:
Ovo bi trebalo da bude smajli...
Evo brze i prljave (http://cvecezla.mojblog.rs/p-deset-najboljih-omota-za-videoigre-u-istoriji-videoigara/151750.html) reakcije.
Što je brzo to je kuso :D
Fallout 3 (jbt, to je Oblivion Power Armor, jeftina krađa izvanrednih verzija na omotu keca i dvojke)...God Hand (energetski-napitak-extremetetovaža-sherdog je u kući)...Okami (da sam hteo džuk...vuka stavio bi ovo (http://chaosrexmachinae.files.wordpress.com/2008/06/shadow_dancer_jp_cover1.jpg)...heh, Okami je stvarno lep omot). Za SOTC ne mogu reći da je loš, ali ne pleni...doduše možda je uživo bolji, no ne bih ga stavio ni na kakvu listu. Npr, ova Božja ruka definitivno pakuje više panča od Kolosusa. Za Deus Ex se slažem, jedan od najprepoznatljivijih omota ikad, npr toliko da uopšte ne pomislim na Matriks i Dosije X kad ga vidim, krade im šou.
Da... ja taj Kolosus volim, moguće zato što mi je veoma lep uživo. Kartonski omot, a ne plastični, plus pomenuti sepija tonovi, plus dopisnice unutra... nekako mi je sve to jedan paket sa puno elegancije... Priznajem da sama naslovna možda nema tu vrstu snage koju želiš, ali meni nanjoj najviše smeta kretenski logo posred slike.
Fallout 3 sam stavio kao ustupak 'uobičajenim' SF omotima kakvi danas preovlađuju, pošto mi je nekako najčistija verzija te ideje.
Evo čega trenutno mogu da se setim...
Kec (http://s5.tinypic.com/2s634pe.jpg) & dvojka (http://portal.kod095.ru:8018/WWW/games/cover_fallout_2.jpg)
Dreamweb (http://binaryclouds.net/img/dreamweb/dreamweb_cover.png), jedna od meni omiljenih avantura
Quake (http://s5.tinypic.com/24zk6sj.jpg), valjda najprepoznatljiviji logocover ikad.
Ovaj (http://s5.tinypic.com/fbwe9s.jpg) tip Warcraft hth omota mi je uvek bio simpatičan, mada i nije bogzna šta.
Monkey Island kec (http://mojoart.mixnmojo.com/original-art/secret-of-monkey-island/cover-art/secret-of-monkey-island_box_front_1600x2011.jpg) i dvojka (http://s5.tinypic.com/1551jxu.jpg), a LucasArts generalno ima dobre omote.
Dragon Wars (http://s5.tinypic.com/amtjqe.jpg) mi je jedan od omiljenih epskofantastičnih prikaza uopšte.
Kakav Ringu... (http://s5.tinypic.com/2e0k9og.jpg)
Ps:T (http://s5.tinypic.com/33o38mq.jpg)...facijalna ekspresija i reljef, je li.
Na kraju...Last Ninja (http://www.c64-wiki.de/images/e/e8/Last_ninja_cover.jpg)? Čujem muziku kad vidim...
Ne vide ti se svi omoti iz nekog razloga. I, da, Quake!!! Trebalo je i njega da stavim, recimo umesto HL2. Uredi malo ove linkove pa ću da okačim link za ovaj tvoj post na mom blogu.
Trebalo bi da se vide ako klikneš na njih, meni svi rade...dodatno sam uploadovao Dragon Wars jer je link bio neradan.
Heh, Ringu izlazi 31. januara '98 a Sanitarium u aprilu...pitam se da li omot ima veze sa Sadako, mada možda i nije neka asocijacija.
Bogami, meni se ne vide recimo Fallout 1 i Ringu i Quake i još neki. Samo mi izlazi Moby Games logo... ne znam u čem je stvar.
Otarasio sam se mobygamesa...sad bi trebalo sve da se vide? Nije bogznakakva rezolucija ali je good enough, što bi rek'o Betmen. Inače, Fallout BoS (http://upload.wikimedia.org/wikipedia/en/8/88/Fallout-_Brotherhood_of_Steel_Box.jpg) i Tactics (http://bulk.destructoid.com/ul/user/1/17815-70440-FalloutTacticsBoxjpg-550x.jpg) omoti konkurišu za najgore ikad. Onaj top 40 abortus ima neke antologijske omote (Dijablo 2, Alone in the Dark, Starcraft, Doom 1 i 2, Mortal Kombat, Zelda, Super Mario Bros...).
Quote from: "cutter"
Dragon Wars (http://s5.tinypic.com/amtjqe.jpg) mi je jedan od omiljenih epskofantastičnih prikaza uopšte.
Haha, ovo me razveselilo. Ima li još igara sa ovakvim cover slikama - Vallejo, Frazetta, Lockwood?
Inače, evo još jedne liste (http://www.pcworld.com/article/160321/the_hottest_and_most_hideous_video_game_box_art_ever.html) sa dobrim i lošim omotima od kojih ja nisam video bar 70%. Pola liste drže Psygnosis igre iz perioda 88-93. Evo bloga (http://www.stanford.edu/group/htgg/cgi-bin/drupal/?q=node/435) sa njihovim coverima. Radio ih je uglavnom Roger Dean (http://en.wikipedia.org/wiki/Roger_Dean_(artist)), koji je radio omote za sve albume Yes-a i slične bendove koje pretpostavljam da Meho prezire. 8)
Linkovao sam i jednog i drugog, što samo moja sramota da bude javna...
Ha, tajnipik je MAJKA, kad bi mogao da automatski risajzuje slike bio bi mi najbolji host za slike na svijetu.
Što se tiče liste koju je Dry-Na-Nord linkovao, sjajna je, ali ja sam vrlo svesno išao na to da ne pokušavam da pokrijem celu istoriju igara (uprkos ponešto misleading nazivu posta) već da se samo pozabavim slikama koje su kulturno relevantnije u toj nekoj modernoj eri, dakle ne samo kao istorijski artefakti već kao živa tvar. Otud je najstarija igra na mojoj listi Grim Fandango...
Yes umereno prezirem, kao i ELP, ali The Nice i King Crimson zapravo... volim. :?
Quote from: "Meho Krljic"slikama koje su kulturni relevantnije u toj nekoj modernoj eri, dakle ne samo kao istorijski artefakti već kao živa tvar.
Da, ali mnogi omoti danas su samo loša imitacija klasika, kvazi tradicija, npr Fallout 3 omot.
Dobar ti ovaj link, Draj-Na-Norde. Baal (nisam video ranije), Shadow of the Beast sam razmišljao da li da stavim...
Dragon Wars je crtao Vallejo. Evo npr od njega manje uspeli Golden Axe II omot (http://image.com.com/gamespot/images/bigboxshots/4/586214_91979_front.jpg), latino varvarinom ali sa izvanrednom amazonkom i patuljkom, super je kontrast sa
Tronolikom pozadinom preko koje je naslov. Intervju s njim: http://www.sega-16.com/feature_page.php?id=117&title=Interview:%20Boris%20Vallejo
Kada se lik/scena iz igre direktno/nestilizovano prenese na omot, posledice su često katastrofalne ili...mlake. Evo npr od novih Mirror's Edge omot. To vidim u igri, dajte mi omot koji nije puki kopipejst. Istina, nekad su imali mnogo veći značaj, budući da nije uvek bilo uputno širim masama istaći kako igra stvarno izgleda, dok danas ono što je
u disku prenose pravo na omot, uglavnom bez ideje i stila (koga onomad nisu bili lišeni ni prilikom prenosa lika iz igre na omot, npr kockasti Super Mario Bros).
Meni je ovaj najbolji:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi42.tinypic.com%2Faw8iuc.jpg&hash=47aa9945d5e2830e3165b2984bf4778621bea198)
Taj Phalanx se pojavljuje na
svim listama najgorih omota koje sam ikada video. :lol: :lol: Ljudi imaju nešto protiv hilbilija...
QuoteDa, ali mnogi omoti danas su samo loša imitacija klasika, kvazi tradicija, npr Fallout 3 omot.
Pa, da, ali od svih savremenih omota slične tematike, Fallout 3 je meni još i ponajbolji. Ima nečeg u toj svedenosti, nedostatku pozadine itd....
QuoteKada se lik/scena iz igre direktno/nestilizovano prenese na omot, posledice su često katastrofalne ili...mlake.
Jeste, pogotovo danas, kako i ti kažeš, kada ono što vidiš na omotu tako zaista i izgleda u igri. Zato sam pažljivo izdvajao primere za svoj post. Recimo Okami gde vuk zaista izgleda tako u igri, ali je omot svejedno naslikan tako da je to sama esencija igre. Ili Ico... Ili SotC...
Zato mi se sviđaju omoti tipa Quake koji umesto da se bave prikazivanjem sadržaja, igraju na snagu simbola...
A sa druge strane mnogo je manje omota poput Grim Fandango koji tematiku i sadržaj igre uspevaju da prenesu kroz ukusno parodiranje i da naprave širi kulturni link. Evo jednog svežeg primera, i to baš za igru koju sam malopre igrao:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi43.tinypic.com%2F259xugz.jpg&hash=163381a506b9fc7bd7500ae3f2c56e03a78796e1)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi52.photobucket.com%2Falbums%2Fg7%2FDry-Na-Nord%2FSitar_Hero.jpg&hash=055b326e838b3e5b331a4e249cb4bd2969b46b9c)
Super temu imate ovde. Ja sam razmišljao o tome u jednom davnom vremenu, tako da se ne sećam baš najbolje svih detalja, ali da dodam par stvari:
-od starijih (preminulih?) kompanija, Ultimate je imao neprevaziđen boks-art, koji je radio Tim Stamper lično:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimage.com.com%2Fgamespot%2Fimages%2Fbigboxshots%2F0%2F588100_40075_front.jpg&hash=bbb08c0645381812f28a9b4e50ff3b8b53c574a1) (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimage.com.com%2Fgamespot%2Fimages%2Fbigboxshots%2F0%2F572150_33254_front.jpg&hash=a04d5f0593b3fc70125c977db80ebc5097c657bb)
-omoti japanskih igara, kakvi god bili, generalno su (daleko) bolje urađeni za japansko tržište nego za američko ili, u manjoj meri, evropsko. Konami je imao neka dobra rešenja:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fen%2Fthumb%2F9%2F95%2FSilent_Hill_2.jpg%2F256px-Silent_Hill_2.jpg&hash=d043052c4304f26b276eb107cf890372bc342c68)
Ili, sasvim drugačije, Animal Leader za GameCube (Nintendo):
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.planetgamecube.com%2Fmedia%2Fgen918.jpg&hash=1a78ed8b3a2e4842009c69a8e123ad37f0316bbe)
Ne sećam se više šta je radio Jošitaka Amano, ali tu ima materijala za ovu temu sigurno.
Imam jako veliki izbor šta bih ovde stavio, ali, na žalost, uglavnom na papiru. Dok nađem na netu proći će neko vreme. I za ovaj Ultimate boks art sam se namučio.
Uvek podržavam ilustracije za Katamarija! ( :D - još da može ovaj smajli da raste dok se okreće!)
EDIT: pogledao sam neke od omota koje je mafija_x linkovao i ima sjajnih, ali ima i sasvim običnih - recimo, Jade Empire je OK, ali sličan kao još 1 000 koje sam video: Soul Calibur, Shenmue, itd. Metal Gear Solid može da se uzme u bilo kojem izdanju - to je Jođi Šinkava. Mortal Kombat? :cry: Sve u svemu, VRLO skučena lista, i ograničena na relativno novije (s izuzecima) i poznatije naslove.
Super je ovaj Sabre Wulf cover. Šta fali MKu? Ne spada mi među omiljene, ali je izvanredno uspeo i prepoznatljiv, crni zmaj na krvavocrvenoj/sunčanoj pozadini. Daleko ispred ovog tvog Silent Hill/Margita je mrtva omota...
Znam da ovde ima Bethesda hejtera, ali meni se prilično sviđaju i njihovi TES coveri. Morrowind i Oblivion minimalizam sa runom napred je opštepoznat. Ali slatki su i Battlespire (http://www.coverbrowser.com/image/dos-games/104-1.jpg) i Arena (http://www.coverbrowser.com/image/dos-games/627-1.jpg).
Takođe - 11th Hour (http://www.coverbrowser.com/image/dos-games/3-1.jpg)
Ipak, najbolji je ovaj:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.segagagadomain.com%2Fdc-covers8%2Fpanzerfront-f.jpg&hash=7f93fc6159d2a4b28bd757503b96e73d3d845074)
Par hiljada covera za DOS igre ima ovde: http://www.coverbrowser.com/covers/dos-games
Čekaj, ovaj PanzerFront je d ril dil??? Ovo je ozbiljno naslovna strana igre??? Holi šit!!!
Edit: Au, jeste, sad sam izguglo.
Setih se ja prve "doomachine" koje sam igrao i ajde da potrazim cover.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi40.tinypic.com%2F9fzgk1.jpg&hash=7353c5b2541d7ae16cb33c7d684ed4bdad2ed029)
Sad se pitam da li su Nemci u igri stavrno imali M-16, a ja bio u ulozi Dzona Ramba sa Pulse Rifle-om iz AVP 2?
:lol: :lol: :lol: :lol:
Ne.
A evo jednog teksta koji bih voleo da sam umeo ja da napišem (umesto one jadne tirade o najstrašnijim likovima horor igara). Čovek lepo artikuliše moje (uvređeno) čuđenje što je toliko ljudi poslednjih nekoliko meseci osetilo potrebu da dođe na Internet i kaže 'Uuu, Ded Spejs!! Mnogo stašna igra!' Jes, baš...
Why Dead Space and Other Tales of the Macabre Aren't Scary
(or, Why They will Never Make a More Terrifying Game than System Shock 2) (http://fourfatchicks.com/Blog/?p=1992)
Quote from: "cutter"Šta fali MKu? Ne spada mi među omiljene, ali je izvanredno uspeo i prepoznatljiv, crni zmaj na krvavocrvenoj/sunčanoj pozadini. Daleko ispred ovog tvog Silent Hill/Margita je mrtva omota...
Pa, ja na to gledam ovako: ako omot uspe da me zainteresuje za igru o kojoj ne znam ništa, onda je uspeo u svojoj funkciji. A to bi učinio i
Underwurlde i čini
Animal Leader, od onih koje sam postavio. Možda je igra loša, možda je koncept ili grafički dizajn jedino što valja u njoj, ali to za ovu priču nije bitno. Boks-art je time odradio svoje. E, sad, ja najviše cenim imaginaciju u svakoj struci/umetnosti. Ako je moderno praviti omote koji eksponiraju glavnog lika u krupnom planu sa nekoliko pratećih likova, to je OK dok je urađeno u granicama ukusa, ali trebalo bi biti posebno maštovit (ili talentovan za dizajniranje likova) pa da obratim posebnu pažnju. Isto važi za minimalistički odrađene omote sa jednim motivom ili simbolom. Ima ih na hiljade. Na Mortal Kombat sam inače alergičan. Možda zato mi zmaj ne izgleda trenutno prepoznatljivo - mogao bi biti i morski konjic. Jasno mi je da nije, ali postoji
delić sekunde oklevanja u prepoznavanju slike. Znači, zmaj boluje od najveće bolesti koja može zmaja da pogodi: nije strašan. Priznajem, doduše, da je ovo jako subjektivno, i da sam verovatno ophrvan negativnim emocijama više nego što je zdravo za objektivno rasuđivanje. :lol:
OK, sa omotom Silent Hill-a nisam pao u nesvest, ali pre dvojke izašao je kec, i svi su znali
šta je Silent Hill, a iz ilustracije se ne vidi ništa. Da je neki drugi izdavač radio dizajn omota, imali bismo Pyramid Head-a ili neku abominaciju na njemu.
Sigurno. (Konami je unajmio kompaniju Department.X da radi dizajn kutije i uputstva za ovu seriju i Metal Gear Solida.) Što znači da jedan od najvećih horor serijala u istoriji video-igara ne koristi prepoznatljivu horor-simboliku, videći pronicljivo da je najveći horor u glavama ljudi.
By the way, da ukažem da Suda51 ima svoj blog (http://www.edge-online.com/users/suda51) na engleskom.
Engleski mu je šokantno dobar ali mu je blog šokantno nezanimljiv :lol: Doduše ako ovako kratko i nesadržajno piše (a vidite sad OVU figuricu!!!) zato što je savio grbaču radeći na No More Heroes 2 onda to odobravam!!!!
Ali vidim da si mu ti ostavio pozdrav na japanskom, za svaki slučaj :lol: :lol: :lol:
Nego, evo kako je igra koju sa zaista religioznim zanosom igram poslednjih par nedelja stigla u Ginisovu knjigu rekorda!!!!
The House of the Dead: Overkill je najprostačkija videoigra ikad!!!! (http://wii.gamespy.com/wii/the-house-of-the-dead-overkill/963360p1.html)
A uz to je i najbolji lightgun šuter ove generacije!!! SEGA je nenormalna ako nastavak ne bude opet pravio Headstrong!!!
Quote from: "Meho Krljic"Ali vidim da si mu ti ostavio pozdrav na japanskom, za svaki slučaj
:roll: :roll: :roll:
Čuo sam za House of the Dead i Ginisovu knjigu. Sega je na dobrom putu! Ako se nakupi nekoliko ovakvih igara (a MadWorld je još jedna) prvo od kućnih konzola nove generacije uzimam Wii. Pod 'ovakve igre' mislim na kvalitet ili ekscentričnost, ne M sadržaj. A House of the Dead je, po svim svedočanstvima, odlična igra. Šteta što se isto ne može reći za Deadly Creatures.
Upravo sam bio na sajtu američke organizacije za ocenu sadržaja video-igara, ESRB (http://www.esrb.org/index-js.jsp). Kada se pretraži baza igara za Wii sa M rejtingom (17+), dobije se lista od 26 igara, od toga 14 ekskluzivnih. Radi poređenja, Xboks 360 ima 135 M-rejtid igara, mada su mnoge multiplatformske.
Ma, mislim, ja sam tu popriličan agnostik, naravno. Rado igram i igre ocenjene sa 3+ rejtingom kao što su Katamari Damacy ili Loco Roco. Prednost toga kad si odrastao je da možeš sam da praviš izbor, jelte...
Wii nepravedno optužuju da na njemu 'pravi' igrač nema šta da igra... Ja bogami imam MNOGO toga da igram na njemu, čak i kad se ne uzmu u obzir Virtual Console i WiiWare igre...
Ah... glupost je neuništiva (http://www.gamespy.com/articles/963/963826p1.html).
Kao da nisu dovoljni rejtinzi i TONE informacija o igrama onlajn:
QuoteBritish MP Wants 'Panic Button' for Game Consoles
Politician suggests industry add console button to turn off objectionable content.
By Sterling McGarvey | March 18, 2009
Earlier today, Game Politics reported that East Midlands, UK-based European Parliament member Glenis Willmott has suggested that a button be added to game consoles which would allow parents to hit it should any objectionable content show up onscreen. Game Politics quotes Willmott's talk with This Is Derbyshire:
Research shows video games are useful for educational and medical purposes -- and they can be good fun. But not all of them have content which parents will be happy with. Online games, which are easy to download on to a PC or mobile phone, make parental control even harder.
Hence, the proposed addition of a button that gives parents much more control over what their kids are experiencing. It's all part of a list of proposed ideas being kicked around the EU right now, including tougher restrictions on cybercafes.
Quote from: "Meho Krljic"
Wii nepravedno optužuju da na njemu 'pravi' igrač nema šta da igra... Ja bogami imam MNOGO toga da igram na njemu, čak i kad se ne uzmu u obzir Virtual Console i WiiWare igre...
:x :x :x :evil:
Nisam time hteo da sugerišem da sam ja neki 'pravi' igrač naravno, samo da dam svoje subjektivno mišljenje.
Quote from: "Meho Krljic"Nisam time hteo da sugerišem da sam ja neki 'pravi' igrač naravno, samo da dam svoje subjektivno mišljenje.
Hm, da. Sto ustvari moze da implicira da je misljenje koje si davao pre kupovine Wii-ja bilo nadasve objektivno... :evil: :lol:
Dokle ćeš da me optužuješ za nešto što uopšte ne znam šta je???? Ako sam i imao neke sumnje u pogledu Wiija jasno je da sam ih daleko pre kupovine razriješio!!!
Kad smo već kod rejtinga i brejnstormera u državnoj službi:
QuoteMissouri Police: Animal Crossing is Pedophile Haven
In a demonstration of paranoia that would almost be comical if it wasn't true, the Mid-Missouri Internet Crimes Task Force has begun warning parents away from Nintendo's Animal Crossing: City Folk, saying its online gameplay offers pedophiles an easy avenue to get at their precious children.
"There is no reason an adult should have this game," says Task Force member Andy Anderson, directly before Missouri's KMIZ news adds the following inference:
Anderson says adults playing "animal crossing" and similar games are likely doing it for the wrong reasons.
Before you gamers verbally assault Anderson and the Missouri police, please note that they almost have to focus on the Wii, as apparently it's the only console they could get the funding to purchase. "The equipment is real expensive and we cannot
afford to buy all of the systems and do not have the resources either to examine all of the possibilities," Anderson said.
Vreme je da ESRB uvede kategoriju Non-Adults Only ili možda E10-
Ups... Ja... imam tu igru... ali samo zato što je zabavna za offline igranje... majke mi!!!
Sigurno...a online ti je zabavan PictoChat (http://www.youtube.com/watch?v=orpgUPNSRPI), je li!?
:? :? :? :?
ne, ja... ja čak i ne mogu da na svom DS-u da uključim pictochat s obzirom da koristim Moonshell interfejs u kome toga nema... Dobro, mogao bih da se vratim u originalni interfejs, ali zašto bih?
Quote from: "Meho Krljic"Ma, mislim, ja sam tu popriličan agnostik, naravno. Rado igram i igre ocenjene sa 3+ rejtingom kao što su Katamari Damacy ili Loco Roco. Prednost toga kad si odrastao je da možeš sam da praviš izbor, jelte...
Slažem se 100%. Ono poređenje sam napravio samo kurioziteta radi.
Od svih izjava koje sam čuo, a odnose se na nerazumevanje kulture i istorije video-igara, najsmešnija mi je bila ona na kraju sledećeg pasusa:
QuoteOn April 1, 2003, in Sturgis, Michigan, pranksters placed signs daubed with the phrase ("All your base are belong to us") all over the town as an April Fool's joke. Police chief Eugene Alli said the signs could be "a borderline terrorist threat depending on what someone interprets it to mean."
:lol: :lol: :lol: :lol: :lol: :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F2939dtj.jpg&hash=2aee98cec65369fc45c0f5a81a36a04377db3ed8)
Ali ceo prevod je VRIŠTANJE od smeha. Dođe mi da igram Zero Wing samo zbog prevoda....
In A.D. 2101
War was beginning.
Captain: What happen ?
Mechanic: Somebody set up us the bomb.
Operator: We get signal.
Captain: What !
Operator: Main screen turn on.
Captain: It's you !!
CATS: How are you gentlemen !!
CATS: All your base are belong to us.
CATS: You are on the way to destruction.
Captain: What you say !!
CATS: You have no chance to survive make your time.
CATS: Ha ha ha ha ....
Operator: Captain !! *
Captain: Take off every 'ZIG'!!
Captain: You know what you doing.
Captain: Move 'ZIG'.
Captain: For great justice.
Ja sad ne mogu da se setim na kom topiku je Dejan tražio Typing of the Dead, ali evo ovde.
http://rapidshare.com/files/31329418/the_typing_of_the_dead.part4.rar
http://rapidshare.com/files/31318387/the_typing_of_the_dead.part3.rar
http://rapidshare.com/files/31311167/the_typing_of_the_dead.part2.rar
http://rapidshare.com/files/31304616/the_typing_of_the_dead.part1.rar
koji dejan? šta je ovo?
Quote from: "Ghoul"šta je ovo?
Ako se ne varam to je video-igra u kojoj se zombiji ubijaju tako što se (što brže) ukuca ime dotičnog zombija na tastaturi. Na početku su mrcine prostih jednosložnih imena, ali kasnije dolaze oni sa lavkraftovski zaguljenim tipa ghojmksitztaarh ili tako već nešto. Nisam igrao (mada bih mogao da probam), ali sam pročitao opis još odavno i tada mi se svidelo kako zvuči; idealno za nekog ko vežba za daktilografa ili bi da uništi tastaturu. :lol:
Jeste, tako je kako Miloš veli. A Dejan nisi ti, nego Dejan koji na ovom forumu koristi nick Dejan.
Grand Theft Auto: Chinatown Wars
(Rated M. $35)
By BEN FRITZ
'Grand Theft Auto: Chinatown Wars'
A Rockstar presentation of a game developed by Rockstar Leeds for the DS.
• Photo Gallery
The "Grand Theft Auto" franchise has always pushed the cutting edge of gaming, so putting it on Nintendo's decidedly under-powered DS handheld console initially seems akin to making the next Pixar film in claymation. But the creative minds at Rockstar have pulled it off by tailoring "Chinatown Wars" to the DS's limitations -- and advantages -- giving the game a retro, arcade-like feel while adding unique touch screen elements that enhance the experience. Easily one of the best DS games released to date, its success will be a test of whether gamers embrace hard M content on a kid-friendly device.
With each successive entry, Rockstar's signature franchise has consistently become grander and more impressive, culminating in last spring's epic "Grand Theft Auto IV." But "epic" isn't doable on the DS. So Rockstar has instead crafted a title with more limited, but no less clever, narrative and gameplay ambitions. Instead of feeling like necessary compromises, "Chinatown Wars'" top-down perspective (not seen since 1999's "GTA 2"), lack of voice-overs and imprecise controls are simply the right design choices for the content.
The basic narrative formula is incredibly familiar to "GTA" veterans -- a foreigner arrives in Liberty City and quickly finds himself caught up in a gang war, doing jobs for unsavory and amusing characters while on a personal quest. But Hong Kong native Huang Lee is not ridden with pathos like "GTA IV" protag Niko Bellic. He's a smart ass who doesn't take anything or anyone he finds in Liberty City too seriously.
Rockstar has great fun with that attitude, using Lee to mock many of the clichés one might expect in a game called "Chinatown Wars." When his uncle talks about the family honor being "besmirched," Lee responds with a laugh, reminding him that it's "2009, not 1403." Rockstar's trademark portrayal of the culturally respected as corrupt and hypocritical plays out in genuinely funny ways, with old Chinese men spouting lines like, "I know a proverb about that once, but I forgot it."
Huang Lee's diffidence also matches the gameplay, which doesn't even feign seriousness. There's nothing remotely resembling subtlety in the gun fights, which essentially require players to blast away enemies as quickly and brutally as possible. Driving is similarly chaotic, with an emphasis on bashing cars and easy-to-accomplish drive-by shootings. The overall feel is that of an arcade game, with short, intense missions that perfectly fit the way most players use the DS while on the go.
The only major drawback to the loose controls is that the Liberty City police are as aggressive as they were in "GTA IV," making it too difficult to avoid the distracting chases that can result from a light tap against a cop car.
But "Chinatown Wars" isn't all "GTA"-lite -- the DS's two screens and touch screen capabilities provide several notable advantages. Perusing the city map and marking destinations is significantly easier, for instance, as is selecting weapons in the heat of battle. Developers at Rockstar Leeds also added touch-screen mini-games for tasks like hot wiring car that were accomplished in "GTA IV" with the touch of a button, turning the franchise's title into a satisfyingly tactile experience.
"Chinatown Wars" still blows away the competition the way all "Grand Theft Auto" games do: with its sheer size. Not only is the core story impressively long for a DS title, but there are loads of optional tasks, from a drug-dealing economy to hijackings to shooting competitions. There are even multi-player modes, including races and gun battles, with nearby friends and the ability to trade items and favorite locations with anyone on a wi-fi connection.
Sutra ću postovati utiske o Chinatown Wars. A u međuvremenu sam skinuo i igru rađenu po filmu rađenom po stripu Wanted Marka Millara i... za sada ne deluje obećavajuće.
Quote from: "Meho Krljic"A u međuvremenu sam skinuo i igru rađenu po filmu Wanted Timura Bekmambetova i... za sada ne deluje obećavajuće.
Baš sam pogledao rivju, zanimalo me kako su uradili definitivno interesantan mehanički koncept krivometkanja i...tja. Nekakav tupavi slomo, povezivanje tačaka.
Inače, The Typing of the Dead arkadni kabinet izgleda opako:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fcommons%2F9%2F9d%2FTypingofthedead.jpg&hash=7558ed1c54e4093fba7ad13ea1118faf07dbab07)
Dual QWERTY! xukliam
Pitam se jesu li od specijalnog materijala... :x
Jedina pozitivna stvar u vezi Wanted je da sam uz nju dobio i instalaciju New Xbox Experiencea. Mislim, ne da mi to treba, ali eto, barem sam kreirao avatara koji ima brkove, repove i naborano čelo..
Inače, Wanted je prva igra zbog koje bih automatski bio benovan na Lajvu da se zakačim onlajn pošto koristi takozvane 3rd wave kinematike. Bah...
Inače, typing of the dead kabinet stvarno izgleda bizarno, ja sam se uvek pitao da li ti kabineti imaju neke šmekerske tastature or what...
A juče sam završio House of the Dead Overkill (iako mi je mačka skoro pregrizla kabl od Wii motion senzora) Ah, kakva sreća.
Ken Levine je jedan ekstremno seksi muškarac. A i pravi solidne igre. Evo jedan svež intervju sa njim na gejmspotu (http://www.gamespot.com/news/6206477.html).
hvala meho!
Evo nečega na šta sam reagovao i pre nego što mi je iko ukazao:
Jedan interesantan evolutivni korak u svetu videoigara preti da promeni mnogo toga što danas naivno smatramo nepromenljivim datostima.
U osnovi, radi se o igranju baziranom na ideji koja se već ionako godinama promišlja u domenu aplikativnog softvera. Ideji da je mašina na kojoj se igrate samo skromni klijent a da se sve važno i komplikovano događa na moćnom serveru. Dakle, igra je instalirana na serveru, tamo se sve odvija, tamo se sve proračunava, a igrač putem brze internet konekcije šalje komande (miš, gejmped, tastatura itd.) i prima visoko (i brzo) komprimovan video autput igre.
Ostatak ovde (http://cvecezla.mojblog.rs/p-pocetak-sutrasnjice/152065.html).
Opet ti treba procesorska snaga da dekompresuješ taj komprimovani output, a da i ne govorimo o potrebi za brzim Internetom. Ne znam kako to ide u svetu, ali kod nas još nema infrastrukture. Nije taj koncept namenjen za igre. Plus, proizvođači ideja (igara, filmova, muzike) nikako da shvate da im piraterija maltene više koristi nego što im šteti. Ovaj sistem onemogućava pirateriju (što je zapravo glavni razlog za uvođenje istog u svet igara). Nisam oduševljen. Ideja ima potencijala da zaživi, ali ne i da potpuno zameni postojeći sistem. S druge strane uvođenje novog bez potrebe da se ukida staro zapravo i jeste evolucija.
Budućnost je u World Gridu. Tvoj računar učestvuje u naučnim projektima za dobrobit celog sveta. To jest, dok se ne igraš.
Da, i ja sam mislio o dekompresovanju (dekomprimovanju, more like), međutim, ako dobro shvatam ovaj model, ono što dobijaš je zapravo samo najobičniji video strim. Dakle, nekakav XviD ili MPEG 2 (koji više nije tako veliki, a?) ili nešto što se može relativno brzo šibnuti putem relativno razumnog broadbanda tako da tvoj klijent nema potrebe za nekim komplikovanim dekompresovanjem i dekodiranjem. Usko grlo je ono o čemu piše članak: kompresovanje/ komprimovanje originalnog HD video autputa u dovoljno mali format, a vidiš da ovi tvrde kako njihov aktuelni softver to radi u okviru milisekunde...
Ne samo da kod nas nema infrastrukture, nego je nema i u dobrom delu sveta, plus, naravno, vrlo brzi broadband imaju pre svega oni koji i inače sipaju velike pare u hardver (HD displeje i jake računare i konzole), ali utisak je da je neko proračunao da sve brži Internet postaje sve jeftiniji, brže nego što kvalitetan hardver postaje jeftiniji. Plus, ukidanje platformskog biasa može svima da pomogne.
Glede piraterije, da, u današjem biznis modelu ona je u određenoj meri besplana reklama. S druge strane, pričamo o potencijalno radikalno drugačijem biznis modelu tako da je moguće da će on imati sve prednosti piraterije (jednostavno i svuda dostupne sve igre) a bez njenih mana... Istorija će već presuditi.
Prelepo:
http://www.yahoo.com/s/1048129
QuoteThai fireman in 'spider-man' rescue of autistic boy
BANGKOK (AFP) – A Thai fireman turned superhero when he dressed up as comic-book character Spider-Man to coax a frightened eight-year-old from a balcony, police said Tuesday.
Teachers at a special needs school in Bangkok alerted authorities on Monday when an autistic pupil, scared of attending his first day at school, sat out on the third-floor ledge and refused to come inside, a police sergeant told AFP.
Despite teachers' efforts to beckon the boy inside, he refused to budge until his mother mentioned her son's love of superheroes, prompting fireman Sonchai Yoosabai to take a novel approach to the problem.
The rescuer dashed back to his fire station and made a quick change into a Spider-Man costume before returning to the boy, he said.
"I told him Spider-Man is here to rescue you, no monsters are going to attack you and I told him to walk slowly towards me as running could be dangerous," Somchai told local television.
The young boy immediately stood up and walked into his rescuer's arms, police said.
Somchai said he keeps the Spider-Man costume and an outfit of Japanese television character Ultraman at the station in order to liven up school fire drills.
:D
Tako malo dete a već Sagitaš...
Ne znam da li ste primetili da je Yahoo (ili AFP) uspeo da misspeluje ime vatrogasca u ovako malom tekstu... Ipak su to Tajlanđani, neće da se ljute...
New tech could make consoles obsolete
OnLive promises on-demand, streaming games
By Mike Smith
ADVERTISEMENT
What if you could stream top-end games to your TV, just like a Youtube video that you can control? You'd never need to buy a console again.
That's the future envisaged by Palo Alto startup OnLive, which plans to launch a groundbreaking gaming service this winter. OnLive will supply players with a small set-top box, not much bigger than a Nintendo DS, which will plug into your TV and your home broadband connection. From there, you can start playing games just like those on the Xbox 360, PS3 or PC -- but with no install time, no waiting for downloads, and no need for big, noisy, expensive consoles cluttering up your living room. OnLive's service can be continually upgraded, too, so you'll never be stuck with obsolete hardware again.
Skeptical? So were we, until we actually sat down and played with an OnLive box last week. Even a blisteringly fast racer like Burnout Paradise was totally playable over the service, and top-spec shooter Crysis: Warhead -- which normally requires an expensive gaming PC -- ran excellently too. It's all rolled together with a slick interface that requires just a few button-presses to get playing.
OnLive Pictures
OnLive also includes some features you might associate more with your DVR than with a gaming console, including a Replay feature that lets you save the last ten seconds of your gameplay, and send it to your friends.
PC gamers aren't left out, either: OnLive's service can be accessed with a browser plugin from either Mac or PC platforms, works identically to the TV version, and has hardware requirements so low you'll be able, the company boasts, to play the most advanced of games on a $300 netbook.
OnLive has already signed deals with an impressive range of partners -- including EA, Take-Two, and Ubisoft -- and promises to have an up-to-the-minute selection of games when the service launches. Along with Burnout and Crysis, we spotted Grand Theft Auto IV, LEGO Batman, and Mirror's Edge among the games on offer, although the lineup will likely change before the service launches.
There's a catch, though. Being an online, streaming service, OnLive is only going to be as good as your Internet connection. High-definition resolutions will require a higher-end broadband connection, and if your service is prone to drop out unexpectedly, you're probably going to wind up frustrated. Even if it works, all that streaming video's going to add up over the months, and heavy users might find themselves the receipient of some unwelcome attention from their ISPs. Modem users, needless to say, need not apply.
OnLive won't talk price, other than to say that they'll be competitive with subscription services like Xbox Live. The box itself is simple and cheap to make, they told us, and it's easy to imagine it being thrown in with subscriptions -- rather like a cable or satellite TV set-top box. Games will most likely be available to rent or buy, and with free demos that don't need to be downloaded.
:lol:
Izgleda da nisi pogledao prvi post na vrhu ove strane.
Jesam, nego mi je delovalo kao neka žešća ezoterija pa nisam klikao na "Ovde".
Jebga, ja sam pokušao da sve objasnim in lejmenz trms pre nego što sam ponudio link... Vidim da moram još mnogo da radim na svom izražavanju...
Nevezano za to, Vin Dizel ima novu igru koja bi se tebi dopala... Ali ne postoji za PS2.
Meho, pogledaj ovo, posto mislim da je tema vredna paznje:
http://www.sk.co.yu/forum/showthread.php?p=748721.
Zaboravio si Neighbours From Hell.
Da bih nešto zaboravio, morao bih prethodno da znam za to. :lol: Dok sam viđao to ime tu i tamo, nisam bio upoznat sa pravom prirodom igre i nisam je računao. Ali, poenta stoji. Međutim, nisam ni pokušao da dam spisak bitnijih smešnih igara, a kamoli svih. Stoga će svako ubaciti svoje favorite: The Sims, Worms, itd. Samo sam izneo nekoliko stvari koje znam (i koje su drugi izneli pre mene, istina), sistematizovao ih i opisao svojim rečima.
Naguzi te onaj baja na keca. Prepisivaču!!!!
Hm... kad smislim šta imam da kažem na ovu temu, kazaću.
Oh...
Likovao dizajn dokument za sledeću GTA igru (http://pc.ign.com/articles/968/968383p1.html). Da li volite Sidnej???
To jest, danas je prvi April :lol: :lol: :lol: :lol:
Ali zato ovo nije šega:
Man who killed videogame fan jailed (http://uk.news.yahoo.com/21/20090401/tuk-man-who-killed-videogame-fan-jailed-6323e80.html)
QuoteA man who murdered his partner after she became obsessed with computer games has been jailed for life. Skip related content
Malcolm Palmer, 62, stabbed Carol Cannom repeatedly with a lock knife and steak knife in front of their 10-year-old son, Lincoln Crown Court heard.
The court was told 46-year-old Miss Cannom had become hooked on her son's PlayStation console and would often be on it until the early hours of the morning.
Palmer, a former worker at Heathrow Airport, was ordered to serve at least 14 years in prison as he was handed a life sentence by Judge Michael Heath.
Palmer, of Windsor Gardens, Long Sutton, Lincolnshire, earlier admitted the murder of Miss Cannom at their home on November 19 2008.
Jailing Palmer, Judge Heath said: "There is no justification or excuse for what you did on November 19 of last year. You are of previous good character, an industrious, devoted family man but for some time before November 19 your relationship was under some strain.
"I can make no judgment as to why that was, although you felt certain it was because your partner became addicted to playing on a Playstation, sometimes staying up until four or five in the morning. You felt rejected and unwanted as you were asked to leave the home that you shared with her."
The judge added: "The other aggravating feature of the attack was that it was ferocious.
"On the night in question, your son was aware that you were rowing about the Playstation and he heard his mother crying. He came downstairs and saw you in the process of stabbing her. That boy shouted at you to stop it and she shouted at him to dial 999. At one point your 10-year-old son tried to pull you off his mother and as he did so he suffered a minor injury."
The court heard that Miss Cannom suffered 30 knife wounds to her face, chest and legs. One of the blows punctured her liver. When she shouted at her son to dial 999, Palmer told her that she would never see him again as he continued his violent assault.
Kuku i lele.
Bas su sasavi ti Englezi.
lepo ja govorim odvajkada da su te ogrice opasne po mentalno a vala i fizičko zdravlje, al niko mi ne veruje.
eto vam sad vaše igrice!
(nek sada ratne igrice prestanu, jer više ničeg nema u tebi, u meni... itd.)
Ljudi se ubijaju odvajkada iz ovog ili onog razloga. Problematika stetnosti video-igara (i u manjoj meri, video-igrica :lol: ) je duboka i ne mogu sad da se osvrcem na to, ali stalno se vracam na onu misao Fredericka Schodta da, kada bi stripovi negativno uticali na razvoj mladih, Tokio bi bio opasniji za zivot od Bejruta (ili, u danasnjem kontekstu, Bagdada). Medjutim, tada je bio samo najbezbedniji grad na svetu. Moze se izvrsiti i slicna ekstrapolacija na video-igre.
ja ipak mislim da se to zlo zabrani, za preventivu.
nije zgoreg, štete nema, a samo koris mož dispadne.
Kuku, kako sad da ih zabranjuju kada su počele da otvaraju nove perspektive po pitanju vulgarnosti, krvoločnosti, seksualnih i političkih devijacija. Grehota! :cry:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fblog.newsarama.com%2Fgallery%2Falbums%2Fuserpics%2F10087%2F1__MegAbby.jpg&hash=0d73bbe3a7f6c103147c1e217122f606ef89cbe8)
:lol:
Nova igra Tima Šefera, metalski open world naslov Brutal Legend je konačno dobila prvi trejler (imate ga ovde (http://xbox360.gamespy.com/xbox-360/brutal-legend/969445p1.html) zajedno sa privjuom) i... nisam baš ubeđen do kraja.
Mislim, svi elementi su tu: Tim Šefer, jedan od najduhovitijih dizajnera igara na svetu, Džek Blek u ulozi Eddiea Riggsa (ko poznaje Mejdne dovoljno shvatiće ovo ime), metalskog roudija koji se bori protiv demona, Judas Priestova 'Electric Eye' kao saundtrak, ali... sam gejmplej ne izgleda naročito impresivno, pogotovo ako se uzme u obzir da se u trejlere obiično stavlja best ov d best, pa još malo našminkan...
Edit, na drugoj strani članka ima i drugi trejler (koji se doduše može kliknuti i iz istog plejera u kome ste gledali prvi) i omaž Iron Maiden u njemu je... šokantan (a odmah posle omaža počinje Sabatov 'Mob Rules'. Lepo).
http://dobanevinosti.blogspot.com/2009/04/hapsenje-niskog-pirata.html
http://dobanevinosti.blogspot.com/2009/04/hapsenje-niskog-pirata.html
Quote from: "crippled_avenger"http://dobanevinosti.blogspot.com/2009/04/hapsenje-niskog-pirata.html
uh, kad pročitah ono
'niski' uplaših se da je i mene neko prokljuvio! :shock: :?
srećom, još nisu! 8)
Ne znam šta tog momka čini najvećim niškim piratom. U Beogradu s vremena na vreme pokupe sa ulice ljude koji prodaju filmove, osude ih na novčane kazne i to je to. Ići u zatvor za ovako nešto je meni uvek delovalo bizarno, ali takav je zakon.
E ovo ja nazivam CHINESE DEMOCRACY:
Убијен службеник ЦИА ,,одговоран" за бомбардовање кинеске амбасаде
Вилијам Бенет, који је отпуштен због ,,грешке у одређивању места кинеске амбасаде у Београду", настрадао 22. марта у близини своје куће у Вирџинији. – Полиција и ФБИ још истражују мотив убиства
Вилијам Бенет Бивши службеник америчке Централне обавештајне агенције (ЦИА) Вилијам Бенет убијен је 22. марта у близини своје куће у Ленсдауну у држави Вирџинији, а његовој супрузи Синтији су у истом нападу нанете тешке повреде. Ова вест, коју су објавили локални медији у околини Вашингтона, не би добила већу пажњу да неки извори из обавештајних служби нису потврдили часопису ,,Форин полиси" да је 57-годишњи Бенет ,,био одговоран за грешку због које је 7. маја 1999. бомбардована кинеска амбасада у Београду".
Овај пензионисани потпуковник америчке војске радио је у то време по уговору за ЦИА и наводно је управо он означио место које треба напасти. Како је 2000. године писао ,,Њујорк тајмс", званичници из администрације Била Клинтона, као и војни и обавештајни врх, тврдили су да је кинеска амбасада бомбардована грешком уместо зграде СДПР-а (Савезне дирекције за промет робе посебне намене, државне агенције за продају оружја). За ту грешку кривица је сваљена на Бенета који је отпуштен, мада у то време (2000. године) није било објављено његово име.
,,Кад је идентификована локација, званичници ЦИА су о мети разговарали на барем три састанка и нико од њих није довео у питање процес идентификације. Мета је потом предата званичницима Пентагона који су је без размишљања ставили на листу мета за бомбардовање у Београду", навео је ,,Њујорк тајмс" и, позивајући се на изјаву тадашњег директора америчке обавештајне агенције Џорџа Тенета објаснио да је ,,то била прва и последња мета коју је током рата изабрала ЦИА".
У нападу на амбасаду Народне Републике Кине у Београду убијено је троје кинеских новинара, а рањено је 27 дипломата.
Портпарол ЦИА Пол Џимиљано изјавио је у суботу за ,,Форин полиси" да не може да потврди да је Вилијам Бенет отпуштен због грешке у одређивању локације СДПР-а. ,,ЦИА није коментарисала ни каква су му задужења била док је радио по уговору, а службу у Агенцији окончао је 2000. године", рекао је Џимиљано. Осим једног отпуштања, казне за ,,грешку" добило је још двадесеторо службеника ЦИА. Џимиљано није хтео да одговори на питање да ли је тим запосленима саветовано да после убиства Бенета буду на опрезу.
О нападу који се догодио 22. марта нема много података, јер Синтија Бенет – која је још у болници са тешким повредама – није способна да да изјаву полицији. И за њу неки извори тврде да је била запослена у ЦИА, а као и супруг била је у војсци и из ње изашла са чином капетана. Тренутно је запослена као директор набавке у канцеларији архитекте на Капитолу, служби која одржава седиште америчке законодавне власти.
Полиција верује да је Синтија Бенет тог јутра (око 5 часова) са супругом била у редовној шетњи крај пута, кад их је тупим предметима напало троје или четворо људи. Искључена је могућност да су их ударила кола, а претпоставља се да је муж одмах умро, док је госпођа Бенет пронађена недалеко од места напада пошто су неки суседи пријавили ,,сумњиви бели комби без прозора са стране и без рекламних натписа". Очевици су видели и три особе у тамној одећи, од којих је једна била већа од друге две, саопштила је полиција.
У истрагу се укључио и ФБИ, а за информацију о нападачима понуђена је награда од готово 25.000 долара. Полиција није одмах могла да идентификује жртве, већ је то урађено на основу Бенетових отисака прстију, које је оставио кад се пријавио за дозволу за ношење оружја.
О мотиву ни полиција ни ФБИ не говоре ништа, а случај се за сада води као насумичан напад. Ипак, с обзиром на биографију Вилијама Бенета, тешко је веровати да није убијен због посла којим се бавио.
Да ли је мотив освета за смрт Кинеза које су Американци убили у Београду или је у питању заташкавање истине о том нападу за који Вашингтон и даље тврди да је био ,,грешка"?
В. Радомировић
[објављено: 07/04/2009]
Pa, da... Klasična odmazda...
Nego, evo za sve one bliding hart liberale koji se štrecnu kad pošteni ljudi kažu da su videoigre 'murder simulators':
Jedan:
British Army launches game-based recruitment (http://www.gamespot.com/news/6207420.html)
Quote"Start Thinking Soldier" campaign to target online games players; Army says two-thirds of 17- to 21-year-olds have no career path in mind.
Military forces around the world haven't been slow to see video games as useful recruitment tools. Young people well versed in shooters are regarded as 'ideal' for piloting Apache helicopters, while the US Air Force took advantage of Halo 3 as a recruitment tool. The US Army launched America's Army, an online first-person shooter to encourage people to enlist, and most recently, the U.S. Army Experience Centre opened in Philadelphia, loaded with 19 Xbox 360s, interactive map screens, and simulated attacks from an Apache helicopter.
Now, the British government is set to use a similar tactic to help enlist the nation's youth in the armed forces. A campaign titled "Start Thinking Solider" will include an online game where players have to escape enemy tunnels from a first-person perspective, find the parts to make a bomb in an enemy stronghold, and answer multiple-choice questions.
Research conducted for the British Army recently found that 68 percent of 17- to 21-year-olds had no career path in mind. The campaign, consisting of four television commercials, will be targeted at that group, each ad highlighting a particular area of Army expertise, including teamwork, decision making, leadership, and fitness and mental sharpness.
At the end of each ad, viewers will be asked the question "What would you do?" and are encouraged to head online to answer the question via the interactive game.
i Dva:
Konami readying realistic Iraq War shooter (http://www.gamespot.com/news/6207454.html)
QuoteJapanese publisher picks up Six Days in Fallujah, developed with input from real-life veterans of titular battle at Close Combat-maker Atomic Games; due out in 2010
Although half of the dodeca-platinum Call of Duty 4: Modern Warfare took place in an eerily similar Middle Eastern country, Iraq itself has not been the subject of many games. In fact, the only title to actively tout its re-creations of actual battles from the ongoing conflict is the PC shooter KumaWar, which received explosively poor reviews.
One battle that got a KumaWar redux was Operation Phantom Fury, also known as Operation Al-Fajr or the Second Battle in Fallujah. The conflict took place during several weeks in November and December 2004, when Iraqi forces and US Marines forcibly occupied the central Iraqi city. The metropolis of 250,000 had become a haven for insurgents following the First Battle of Fallujah (aka Operation Vigilant Resolve) in April 2004, which saw the Marines attack the city following the killing of four Blackwater security contractors. The Washington Post estimates that over 25 percent of all the city's 39,000 homes were destroyed during the fierce fighting, the intensity of which can be witnessed via numerous YouTube clips.
Today, both the Wall Street Journal and Los Angeles Times are reporting that several Fallujah veterans are advising developer Atomic Games on an ambitious new war game, Six Days in Fallujah. Published by Konami, the game will be based on the diaries, photos, videos, and memories of the former Marines and will attempt to re-create the fighting in the city as accurately as possible.
"We replicate a specific and accurate timeline--we mean six days literally," Atomic president Peter Tamte told the Journal. "We track several units through the process and you get to know what it was like from day to day."
To take Six Days in Fallujah to near-hyper-realistic levels, Atomic Games will also incorporate video clips of Marines recalling their experiences fighting in the city. The Marines will also play themselves in the self-styled "game-amentary," which is reportedly using classified satellite photography for accurate re-creations of neighborhoods. It also helps that the developer, best known for its Close Combat series, makes training simulations for the US military using game technology.
Six Days in Fallujah will be based on an all-new engine designed to create realistic structural damage for the game's almost completely destructible environments. Players will be part of a four-person fire team tasked with taking out any insurgents they encounter.
"For us, the challenge was how do you present the horrors of war in a game that is also entertaining, but also gives people insight into a historical situation in a way that only a video game can provide," Tamte told the Times. "Our goal is to give people that insight, of what it's like to be a Marine during that event, what it's like to be a civilian in the city and what it's like to be an insurgent." Atomic has not yet decided on whether or not insurgents will be playable.
Six Days in Fallujah is expected out sometime next year. According to GamePro, the game is in development for the Xbox 360, PlayStation 3, and PC.
E, moj Konami, džaba vam Hideo Kođima i njegova srceparajuća antiratna tirada umotana u videoigrački serijal kad
ovako oćete da pravite pare.
QuoteFor us, the challenge was how do you present the horrors of war in a game that is also entertaining, but also gives people insight into a historical situation in a way that only a video game can provide
:x qpuke
Reakcija Johna Kollera, direktora za marketing hardvera u Sony Computer Entertainment America, objavljena na blogu Engadget (http://www.engadget.com/2009/04/04/sony-says-the-dsi-is-for-kids-the-psp-is-for-winners/):
QuoteIf Nintendo is really committed to reaching a broader, more diverse audience of gamers beyond the "kids" market that they've always engaged, there isn't much new with the DSi to support that. Significant gamer demographic groups are being ignored, and there continues to be limited opportunities for games from external publishers to do well on the DSi. Compare that with the PSP platform, where we have many blockbuster franchises from our publishing partners launching this year, representing a wide variety of genres and targeting diverse demographics. Games such as Rock Band Unplugged from MTV Games, Assassin's Creed from Ubisoft, Dissidia Final Fantasy from Square Enix, and Hannah Montana from Disney demonstrate the commitment that publishers have to the PSP. From our own first-party studios, we're launching unique versions of LittleBigPlanet and MotorStorm, and we're also planning a steady stream of downloadable games -- both new titles and PSone classics -- to add to the content that PSP owners can already purchase wirelessly through PlayStation Store.
Eh, Soni, Soni. Kada bi manje vremena provodili pljujući po protivnicima, cenio bih ih više. (Ovo se odnosi na marketinšku strategiju američkog Sonija, donekle i evropskog, a za japanski...ne znam.)
Da, video sam to juče na Jurogejmeru. Šta reći sem da Soni nastavlja tradiciju poptuno neodmerenih i osramoćujućih javnih istupanja koja promašuju ne koš, ne tablu, nego bre dvoranu celu...
Mislim, ja imam 37 godina a Nintendo DS mi je omiljeni drug...
Nego, evo ako nekoga zanima, još jedan od mojih tekstova iz Hupera, ovog puta o upadljivo obučenim ljudima iz istorije rokenrola... Kad malo bolje razmislim, Marija mi je bre uvaljivala najteže teme za pisanje u toj novini... A ja sam razočaravao na svakom koraku.
Mali korak za Mehmeta, ali... (http://cvecezla.mojblog.rs/p-mali-korak-za-mehmeta-ali-veliki-korak-za-srbiju/152709.html)
A evo ako neko nije gledao HL2 What's in the Box video, IGN ga sad ima u visokoj definiciji.
samo za strpljive... (http://video.ign.com/dor/articles/958530/best-of-the-web/videos/bestotw_prt_halflife_whatsinthebox_040709_.html)
Kuku, ja sam mislio da je prvi April prošao....
Soni pravi film po igri Shadow of the Colossus (http://www.eurogamer.net/articles/shadow-of-the-colossus-movie-in-works).
QuoteThe Hollywood Reporter and Variety report that a film of Team ICO's 2005 game Shadow of the Colossus is in development at Sony Pictures.
Producer Kevin Misher is setting it up. The script is to be written by Justin Marks, who wrote the recent and widely panned Street Fighter: The Legend of Chun-Li and a 20,000 Leagues Under the Sea remake that's in development at Disney. The Hollywood Reporter describes him as a "go-to young scribe".
Shadow of the Colossus is a beautiful, minimalist boss-rush adventure in which a young man and his sturdy horse must vanquish a series of giant stone colossi by clambering all over them and solving puzzles. It's "not an obvious candidate for a film", said Variety's Ben Fritz, inarguably.
Apparently, the producer and author are intending to flesh out "some of the characters who appear only momentarily in the game", in order to give it some dramatic interest. We're not even sure if we remember any.
According to Fritz, this hasn't stopped Sony Pictures from having sky-high ambitions for the project. "Despite the game's somewhat 'artsy' cred, they're hoping Shadow will be a Lord of the Rings-style fantasy tentpole," he said. Oh dear.
Why not turn back time to our review and remember Shadow of the Colossus the way it was supposed to be remembered?
Ne, ozbiljno, da li su oni... normalni??? Imaju li, što bi rekao Šešelj, obraz, imaju li moral? Kuku... kuku i lele... Osećam se... onećišćeno.
A evo i nastavka vesti od juče u vezi Konamijevih planova da prave igru o ratovanju u Faludži:
Neće to tako lako proći (http://www.eurogamer.net/articles/konamis-fallujah-game-under-fire)
QuoteSoldiers, fathers and peace groups have spoken out about Konami's controversial Six Days in Fallujah videogame, which retells a key battle of the 2004 Iraq conflict through the eyes of US marines.
"Considering the enormous loss of life in the Iraq War, glorifying it in a videogame demonstrates very poor judgement and bad taste," Reg Keys, whose son Thomas was killed by a mob in Iraq while serving as a Red Cap (military policeman), told the Daily Mail. "It is particularly crass when you consider what actually happened in Fallujah."
"These horrific events should be confined to the annuls of history, not trivialised and rendered for thrill-seekers to play out, over and over again, for ever more. Even worse, it could end up in the hands of a fanatical young Muslim and incite him to consider some form of retaliation or retribution. He could use it to get worked up and want to really finish the game.
"I will be calling for this game to be banned, if not worldwide then certainly in the UK," he said.
Tim Collins OBE, a former colonel famed for an eve-of-battle speech in 2003, agreed.
"It's much too soon to start making videogames about a war that's still going on, and an extremely flippant response to one of the most important events in modern history," he said. "It's particularly insensitive given what happened in Fallujah, and I will certainly oppose the release of this game."
Best-selling author and former SAS soldier Andy McNab, however, defended Six Days in Fallujah. War, he said, has been peddled as entertainment by the media for years.
Furthermore, he argued that the UK does not understand the Fallujah conflict in the same way as the Americans - a nation that lost "more soldiers [in Fallujah] than the whole of the British Army has in Iraq and Afghanistan combined".
"Culturally it is totally different in the US," McNab - a man with the powers of Jack Bauer and Ray Mears combined - told TechRadar.
"In America it is not as if this is 'shock horror' - everybody has been watching it on the news for the last seven years. The hypocrisy is in the fact that when the media wants a 'shock horror' story they will focus on something like this.
"In America a 90-year-old and a 12-year-old will know what happened at Fallujah. It's on the TV, there are books about it. The game is a natural extension to that; it is folklore. The only difference being that it is presented in a different medium.
"If the game stands up and offers Americans those soldiers' stories, then, why not?" he said.
Plus, added McNab, America's Army has been simulating real-life events for years, and really this is no different to "killing Nazis or drug dealers" in other games; games that he has seen soldiers playing on laptops while on tour in Basra. "Culturally they are more up for it," he concluded.
In direct contrast to his approach, however, was the Stop the War Coalition peace group, who said glorifying the Fallujah "massacre" is "sick".
"The massacre carried out by American and British forces in Fallujah in 2004 is amongst the worst of the war crimes carried out in an illegal and immoral war," spokesperson Tansy E Hoskins told TechRadar. "It is estimated that up to 1,000 civilians died in the bombardment and house-to-house raids carried out by invading troops. So many people were killed in Fallujah that the town's football stadium had to be turned into a cemetery to cope with all the dead bodies.
"There is nothing to celebrate in the death of people resisting an unjust and bloody occupation. To make a game out of a war crime and to capitalise on the death and injury of thousands is sick.
"There will never be a time when it is appropriate for people to play at committing atrocities," added Tansy. "The massacre in Fallujah should be remembered with shame and horror not glamorised and glossed over for entertainment."
Predictable arguments from different sectors, perhaps. But what does Konami have to say for itself?
Vice president Anthony Crouts told the Wall Street Journal that Konami was "not trying to make a social commentary".
"We're not pro-war," he added. "We're not trying to make people feel uncomfortable. We just want to bring a compelling entertainment experience... At the end of the day, it's just a game."
Six Days in Fallujah is in development at Atomic Games and will be released next year in the US. There are no platforms mentioned yet, but PC, 360 and PS3 look likely. UK plans are yet to be announced.
Kada čitam ovo žao mi je što je samo 6 dana...
Mehmete, reaguj! kači sliku na kvizu!
Vidim ja da ste se zaverili da me zajevavate.
Nego Cutteru, ovo za Faludžu je ajde de, povod da se razgovara o mestu rata u igrama i raspravi o tome zašto se drugi svetski rat smatra OK temom, a rat u Iraku ne, ali ovo za ekranizaciju SotC, pa to je povod samo za ozbiljno lupanje šakom po čelu, suze i psovke.
Ja sam ovo za Faludžu više shvatio kao, pored standardnog povoda za moralnu paniku i donacije sinekurama raznih parazita, diskusiju o tome koliko sve naprednija i realnija grafika (dakle, koja cilja na simulaciju realnosti) može onespokojiti društvo i onečistiti um(ove). Što je ok, sve dok predstavnici labilnih ne potegnu pitanje totalne zabrane tematika koje ne mogu da podnesu.
A za SoC jeste žalosno, stvarno je za lupanje šarkom u čela :oops:
Kad smo već kod grafike i realističnosti, video si da Konami najavljuje da će svoju dominaciju na polju horor igara (koja je, sudeći po poslednjih par Silent Hill naslova prilično uzdrmana što se mene tiče) učvrstiti rađenjem igre (ili, ako sve ispadne uspešno, igara) po filmskom serijalu Saw?
Neko je svojevremeno pisao kako je prelazak sa 2D na 3D upropastio igre jer je postalo važno raditi 'realističnu' grafiku a gejmplej je apsolutno podređen istoj. Sad imamo Konami koji je ipak sa nekim nastavcima Silent Hill napravio vanvremene klasike koji misli da je prvi smer otići iz psihološkog u visceralni horor, jer to savremena tehnologija sada omogućava...
QuoteNeko je svojevremeno pisao kako je prelazak sa 2D na 3D upropastio igre jer je postalo važno raditi 'realističnu' grafiku a gejmplej je apsolutno podređen istoj.
Ne znam ko, ali je promašio poentu - istina, takva tranzicija je dovela do mnogih štucanja i promašaja pre svega kod
instantnijih naslova, pa igara koje je trebalo ostaviti u starom modelu (dakle, prelazak ne znači i prevaziđenost)... ali eto, koliko filmova je CGI upropastio, mislim da je to ipak pitanje kompetencije autora. Nisam video to za Saw - ne obećava ali bi bilo interesantno videti recimo logički model, da treba da se oslobodiš ili da oslobodiš nekog iz sprave. Nema horora bez (meta)fizike! :?:
U principu, i uz dosta škrgutanja zubima moram da kažem da mi Konamijevo objašnjenje igre Saw ima smisla. Mislim, pričamo o survival horroru, a Saw je sa svojim kontrapcijama zapravo dosta plodno tle za ovu priču. Oslobađanje sebe iz set pisova i skalamerija bi zapravo moglo da se odradi kao neka dosta inteligentna avantura. Mada nemam mnogo poverenja u Konami...
Will Wright otišao iz Maxisa. (http://pc.ign.com/articles/971/971013p1.html) Mada ne tvrdim da to išta radikalno menja...
Edit: a evo šta Will sam kaže o tome (http://www.gamespot.com/news/6207620.html).
Anvil! The Story of Anvil
(Documentary)
By DENNIS HARVEYA Little Dean and Ahimsa Films production. Produced by Rebecca Yeldham. Co-producer, Chris Soos. Directed by Sacha Gervasi.
With: Steve "Lips" Kudlow, Robb Reiner, G5, Ivan Herd, Chris Tsangarides, Tiziana Arrigoni, Cut Loose, Mad Dog, Lars Ulrich, Lemmy, Scott Ian, Slash, Tom Araya.
A real-life Spinal Tap facing some harsh realities, Canadian metal band Anvil -- whose principals have been playing together for more than 35 years -- proves surprisingly inspirational and endearing in Sacha Gervasi's docu as the members struggle to keep rockin' into their 50s, with commercial success forever just out of reach. Very entertaining docu is amusing without being condescending, touching without straining for pathos. A la the Brian Jonestown Massacre in "Dig!" this warts 'n' all portrait will likely bring the act in question more attention than all their prior toiling. Prospects are good for a specialty distrib wherever hoisted devil-horn fingers spell R-A-W-K.
Original quartet is first seen in wrong-aspect-ratio'd footage from 1984, when they seemed on the brink of stardom. They shared a mighty metal stage then with the soon-to-be-huge likes of Bon Jovi and Whitesnake. But while those outfits rose to the pinnacle of '80s "Headbanger's Ball" success, Anvil -- whose earliest LPs are considered a major formative influence by subsequent speed-metal units like Metallica and Slayer, as testified by some members here -- failed to build further momentum on those moderate hits. Dropped from their major label, they soldiered on, recording subsequent discs on the cheap, playing for dwindling audiences at clubs, still hoping for an increasingly improbable big break.
Founders lead vocalist Steve "Lips" Kudlow and drummer Robb Reiner now have working-class Toronto day jobs, wives and kids to support. But they haven't given up their teenage dreams yet, much as some loved ones wish they would. Their dogged optimism leads to a European tour (mismanaged), a 13th album reuniting them with stellar metal producer Chris Tsangarides, and finally a triumphant return to Japan after 20-plus years.
En route, various indignities are endured, and the high-strung Lips' tendency to vent frustrations on long-suffering Robb nearly bust up the band for good. (The foursome's other two current players G5 and Ivan Herd are the latest in a line of shorter-term members.)
Vintage clips from Anvil's heyday are highlighted by their appearance on a chatshow, outraging housewives as the TV hostess quotes the hilariously crass lyrics to their song "Toe Jam."
Lips and Robb don't necessarily seem like the sharpest knives in the drawer, but they do write crisp, crunchy tunes, and from evidence here never fail to put on a full-out show whether playing for a stadium crowd or at a bar. They've even had fans dedicated enough to follow them from gig to gig, notably two guys named "Cut Loose" and "Mad Dog."
Throughout, interviews with spouses, siblings and parents demonstrate the degree of tolerance required to stick with middle-aged men still pursuing a 16-year-old's ultimate rock star fantasy at the cost of financial instability and frequent absences from home.
Well-shot and edited, "Anvil!" is an underdog saga even non-metalheads will root for. It tows that fine line between chuckling at its protags' somewhat absurd situation and celebrating their sheer unwillingness to give up.
Camera (color, Sony HDcam), Chris Soos; editors, Jeff Renfroe, Andrew Dickler; original music/sound, Mat Dennis; music supervisor, Dana Sano; supervising sound editor, Geoffrey G. Rubay. Reviewed at Sundance Film Festival (Spectrum), Jan. 21, 2008. Running time: 90 MIN.
Ja mislim da u životu nikad nisam čuo ni jednu njihovu pesmu. A uvek sam mislio da bend koji se zove 'Nakovanj' mora da je mnogo jak... Eh... možda ako se večeras setim da daunloudujem...
Album METAL ON METAL :)
Bio je i drugi: Hard 'n' Heavy, ako se dobro sećam. Ma, moćno je to meni sve delovalo kad sam imao 11 godina, ali eto, putevi nikako da nam se ukrste.
Gervasi je svojevremeno pisao film o Keith Moonu koji nikada nije snimljen. Pričao sam ti jednom o Gervasiju kad smo bili na geek summitu sa milanom.
Sećam se...
A evo nečeg sasvim nevezanog. Konami je još pre određenog vremena najavio rimejk prve Silent Hill igre za Wii. To me je, dakako, obradovali jer ovo jeste jedan klasik koji bi mogao da profitira od malčice jače tehnologije. Doduše, poslednjih par, na zapadu pravljenih SH igara nisu bile baš dobre (hardkor fanovi će reći da ništa posle SH2 nije bilo dobro), tako da je i ovde uvek postojalo pitanje kako će se ovaj rinejk napraviti. no imao sam dosta dobar osećaj jer je Konami između ostalog ustvrdio kako igra neće imati nikakvu borbu te da će protagonist Harry Mason imati samo kukavičku opciju bekstva kada se suoči sa užasima Sajlent Hila. S obzirom koliko su SH igre od treće pa na dalje akcenta stavljale na borbu, ovo je dobrodošlo podsećanje na tr00 survival horror korene...
Međutim, jutros Gamespy javlja (http://wii.gamespy.com/wii/silent-hill/970345p1.html) da će igra pored Wiija izaći i za PS2 i PSP (što pozdravljam), da če Wiimote biti korišćen kao baterijska lampa i mobilni telefon (što je OK), a da će umesto borbe igrač morati da od neprijatelja beži
Quotethrough a series of context-sensitive button-pressing skill routines.
Argh!!!!!!!!!!!!!
Quick Time Events možda i mogu da budu dobri u ovom slučaju ali ipak... imam osećaj kao da mi se neko upravo ispišao u mleko od soje... Čekaćemo.
Ispod Tihog Brda je Zmajeva Jazbina...
:D :D :D :D
Baš. Ajde, neću unapred da mračim, ima igara sa dobrim QTEovima (RE4 i 5, God of War), pogotovo na Wiiju (No More Heroes, MadWorld), pa ovo možda bude jedna od njih...
Pojavio se Braid za PC!!!! Skinut i spreman za upotrebu.
Iran 30 godina kasnije: u centru globalne politike
Na sutrašnji dan prije 30 godina (1. februara 1979.), ajatolah Homeini se vratio u Iran, a to je bio glavni simbolički događaj iranske (islamske) revolucije. Trideset godina kasnije, Iran ponovno postaje jedno od centralnih pitanja globalne politike. U američkim predsjedničkim izborima prošle godine, pitanje odnosa prema toj zemlji bilo je ono oko kojeg su se dvojica kandidata (Obama i McCain) najviše razlikovali. Prekjučerašnji britanski ,,Guardian" otkrio je i da je novi američki predsjednik već pripremio plan otopljavanja američko-iranskih odnosa, kojim bi se radikalno odmaklo od dosadašnje politike stalnih napetosti. Zašto je sve to važno? Zašto upravo Iran - i upravo sada - dolazi u središte američke vanjske politike?
Više je razloga za to.
Prvo, islamska je revolucija (započeta prije točno trideset godina) uspostavila dotad neviđeni tip političkog sistema - kojeg se može opisati kao dualizam s elementima demokracije i teokracije. Ideja da se ,,republika" može povezati s ,,islamom" (pa da je zemlju moguće nazvati Islamskom Republikom), tada je prvi put promovirana. Spoj teokratskog (islamističkog) i demokratskog nigdje drugdje nije zaživio: u Turskoj postoji republika, ali je islamski element namjerno isključen iz nje. Taj dualistički sistem postao je ubrzo jedna vrsta ideala za druge islamiste, koji nisu nužno zastupali interese vladajućih oligarhija i monarhija, nego su ,,jahali" na valu narodnog otpora (najčešće prozapadnim, odnosno proameričkim) vladarima u muslimanskim zemljama. Tu je, na neki način, i izvorište onoga što se danas razvilo u ,,islamistički pokret". Iranska je revolucija, dakle, možda (Mao Ce-Tung bi rekao: još je prerano reći) označila početak sudara između ideje ,,demokratsko-teokratskog islamizma" i ,,Zapada". Taj će sudar - naročito nakon 11 septembra 2001. - fundamentalno obilježiti suvremeni svijet.
U tom je smislu, Iran i dalje inspiracija mnogima u islamskom svijetu, pa je Americi (i mnogim drugima) od velike važnosti da ga ,,skrene prema sebi". Uspije li od Irana učiniti saveznika, a ne protivnika, Amerika će zadati golem udarac islamistima u cijelom svijetu. Eventualno okretanje Irana prema Americi dovelo bi do promjene odnosa snaga u vrlo kaotičnim regijama, kao što su Golfski zaljev, i Srednji (odnosno ,,Bliski") Istok. Iran je, naime, ključna zemlja želi li se dugoročna stabilizacija Iraka. Teheran je, zapravo, jedini ,,pobjednik" u američko-iračkom ratu. Amerika mu je uklonila starog neprijatelja (Sadama Husseina), a potom mu omogućila značajnu infiltraciju - vjersku, političku i ideološku - u okupirani Irak. Svrgnućem Sadama Husseina, i neuspjehom američke invazije na Irak, Iran se pojavljuje kao zemlja s najvećim utjecajem - naročito među iračkom šijitskom populacijom. Amerika, dakle, treba pomoć Irana, želi li dugoročno stabilizirati Irak, te se iz njega u miru povući. Ona se neće povući iz Iraka, sve dok ne bude sigurna da se u njega neće odmah po tom povlačenju ,,useliti" neki njoj neprijateljski Iran.
Drugo, svojim radikalnim izjavama - a još više eventualnim namjerama da postane nuklearna sila - Iran predstavlja opasnost za Izrael, te ga se često koristi kao glavni ,,izgovor" za akcije koje Izrael poduzima protiv Palestinaca. Promjena iranske vanjske politike - i njegovo eventualno približavanje Americi - imalo bi velikog utjecaja na odnose na Srednjem Istoku, a Obaminoj vanjskoj politici bi ponudila priliku da izravnije pritisne obje strane u konfliktu. Islamisti na Srednjem Istoku osjećali bi se oslabljenima, a Izrael ne bi više mogao koristiti upozorenje na iransku opasnost kao sredstvo opravdavanja svoje politike prema Palestincima.
Treće, i sam je Iran danas zemlja koja balansira između dva - po mnogo čemu oprečna - elementa svog političkog identiteta: demokracije i teokracije. Njegova je ustavna struktura utemeljena na ideji ,,paralelizma", pa osim predsjednika Republike (sada Mahmuta Ahmedinedžada) postoji i vrhovni vođa, ajatolah Hamenei. Hamenei je - a ne Ahmedinedžad - ključna ličnosti Irana, pa je Obamin plan i usmjeren prema njemu. Dualizam, međutim, nije samo stvar političke strukture, nego i šire, društvene. Teheran je, kažu oni koji ga dobro poznaju, grad koji je danju ,,islamistički" a noću ,,zapadnjački". On u tom smislu podsjeća na nekadašnju Istočnu Evropu (točnije: Poljsku), koju je Lech Wallesa usporedio s ,,rotkvicom": izvana crvena, a iznutra bijela. Iran ima nezanemariv demokratski potencijal - dijelom razvijen za vrijeme modernizacijskih akcija nekadašnjeg Šaha, a dijelom i zbog goleme iranske dijaspore - pa je pitanje hoće li taj demokratski potencijal u jednom trenutku ući u izravni sudar s teokracijom.
Dođe li do pada teokracije - ili do njenog značajnog marginaliziranja - postavit će se pitanje: kojim će smjerom krenuti iranska vanjska politika? Na tu se situaciju, izgleda, spremaju i Amerika i Rusija, a vjerojatno i druge dvije važne zemlje u toj regiji: Kina i Indija. Rusija je već poduzela važne korake - premijer Putin sreo se (još kao predsjednik, u novembru 2007.) s predsjednikom Ahmedinedžadom, te su iransko-ruski odnosi značajno napredovali. I Rusiji bi, naime, baš kao i Americi, odgovaralo slabljenje islamizma. No, istodobno, odgovaralo bi joj i da Iran ne postane baš preblizak Americi, nego da ostane na stanovitoj distanci u odnosu na Washington.
Inicijativa Baracka Obame - koji je, izgleda, spreman ući u izravne i ničim uvjetovane razgovore s Teheranom - ima, dakle, višestruke ciljeve. Ona pokušava ojačati demokratske (i time oslabiti teokratske) elemente u samom Iranu, a istodobno okrenuti Iran prema Americi (i spriječiti njegovo okretanje prema Rusiji ili Kini). Uspije li u tome, američka će vanjska politika doživjeti veliki uspjeh na samom početku Obamina mandata. Naime, postići će tri važna cilja - prvo, zadat će veliki udarac globalnom islamizmu, drugo, otvoriti će novi prostor za eventualno rješavanje izraelsko-palestinskog sukoba, i treće - omogućit će brže američko povlačenje iz Iraka, bez straha da će u njega potom ,,ušetati" iranski teokratski poredak.
Tod Holenshed nije baš Džon Karmak, ali opet, interesantno je čuti ga. Intervju na Gejmspotu (http://www.gamespot.com/news/6207773.html).
A Rob Fehi je napisao kvalitetan tekst (http://www.eurogamer.net/articles/war-games-article?page=1) vezan za nedavno najavljenu igru o šest dana u Faludži.
Nego jel imas ti Stoyu?
http://corp.digitalplayground.com/about.php?newsid=974&yr=&mon=&tab=news
Naso sam ja par Stoyinih filmova ako nekom trebaju linkovi nek se javi na pm. :oops: :evil:
EDIT : Zapravo evo ih odje u slucaju da je nekog sramota da se izjasni :lol: :
http://bostonho-lives-on.blogspot.com/search/label/Stoya
Svetska, a naša...
Baš sam pre neki dan skinuo jedan film sa Stojom. Drži se mala, svetski.
Pa gotivno je to sto je relativno obicna devojka, ono nista silikoni nista vestacko, izgleda ko svaka obicna devojka, nikad ne bi reko da je porno da je sretenem bilo gde, a jos pritom je i djelomice nasa, jedino joj kvari stajling ona isuvise bela put, al to je od keve shkotlandjanke.
Neprskana, što bi rekao naš narod.
Haha, upravo si redefinisao pojam "neprskana". Do sada ga niko nije upotrebljavao za porno glumice.
Quote from: "mac"Haha, upravo si redefinisao pojam "neprskana". Do sada ga niko nije upotrebljavao za porno glumice.
pa to je mehov trejd mark dabl tok: da za neku svu isprskanu kaže da je
neprskana!
Stoya je sagitašica...
Stoya
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Stoya
Birthdate: June 15, 1986 (1986-06-15) (age 22)
Birth location: Wilmington, North Carolina, U.S.[1]
Measurements: 32B-25-33[2]
Height: 5 ft 7 in (1.70 m)[2]
Weight: 120 lb (54 kg; 8.6 st)[2]
Eye color: Hazel - Green
Hair color: Black
Ethnicity: Serbian, Scottish, Puerto-Rican[3]
Alias(es): Stoya Doll[1]
No. of films: 15
Official web site
Stoya at IMDb
Stoya at IAFD
Stoya at AFDB
Stoya (born June 15, 1986 in Wilmington, North Carolina) is the stage name of an American pornographic actress and model. The stage name "Stoya" was her nickname before appearing in adult films, and is the shortened version of her family's last name. [4]
She is an exclusive contract performer for Digital Playground and is regarded as the first alt porn contract girl.[5] Stoya is AVN's 2009 Best New Starlet.[6]
Contents [hide]
1 Biography
1.1 Adult Career
1.2 Personal Life
2 Awards
3 References
4 External Links
[edit] Biography
Stoya was born in North Carolina to Serbian father and Scottish mother. As a child, she wanted to become a dancer and started attending dance lessons at the age of three. She was home-schooled and got her high-school diploma before the age of sixteen. [7]
At a later age, Stoya moved to Delaware where she spent a semester at Delaware College of Art & Design, but dropped out because of her problem with authority. [7]
After relocating to Philadelphia, she attended a summer program at UArts. Some of her jobs in Philadelphia included being a secretary, flier distributor, and a go-go dancer. Stoya appeared in several music videos for bands that, according to her, "no one will ever hear of".[4]
[edit] Adult Career
Stoya began posing for a friend of hers. That eventually led her to modeling and working for alt-erotic websites.[7] One of the websites she had worked for asked if she was willing to do a softcore scene for a DVD they were putting out.[4]
Stoya claims that she discovered pornography through an interest in BDSM and via fetish newsgroups on the internet. She states that few adult films interested her, and prefers those with artistic and fetish themes.[8]
Stoya was featured in two DVD productions for Razordolls and made a non-sex, cameo appearance in two Vivid Alt titles[9][10] before being contacted by Digital Playground with the proposition to perform in a hardcore, lesbian scene with Sophia Santi. The scene in question never happened, but in August 2007, she met with several Digital Playground representatives and was asked if she would mind starring in a pornographic movie with male talent. After careful consideration, Stoya agreed. [4]
In October 2007, Digital Playground signed her to an exclusive, three-year contract.[11] The first scene she shot for them was for Stoya Video Nasty but her first movie released by the company was Jack's POV 9.[4][9]
Stoya stated that exploring her sexuality on camera has been a fun adventure.[5]
[edit] Personal Life
Stoya enjoys art and one of her hobbies is creating clothes which she wears in her scenes and during erotic conventions. She likes reading, with sci fi and fantasy being among her favorite genres. [7]
Stoya avoids relationships because she believes that monogamous commitment will affect her ability to deliver the best possible performances in adult films.[5]
Stoya acknowledges the importance of social networking in her career[4]; she's active on MySpace, Twitter, various internet forums, and maintains her blog at XCritic.[12]
Jutros se budim i zatičem na telefonu Crippleovu oduševljenjem nabijenu poruku kojom hvali Stoju na sva usta. Ne smem ni da mislim šta je tokom noći radio...
Quote from: "Meho Krljic"Jutros se budim i zatičem na telefonu Crippleovu oduševljenjem nabijenu poruku kojom hvali Stoju na sva usta. Ne smem ni da mislim šta je tokom noći radio...
he was active on MySpace, Twitter, various internet forums, and maintained on her blog at XCritic.[12]
_________________ :!:
Jutros sam oko 2 AM imao epifaniju i tu nepatvorenu emociju sam zarobio u SMSu poslatom Mehu. Nadam se da mu se tlefon nije raspukao od tolike energije sabijene u 17 slovnih mesta.
Nije se raspukao ali sam se plašio da se to ne desi u mom džepu, pa sam ga ostavio kod kuće da se marinira i sad sam na poslu blagosloveno oslobođen pištanja esemesova i krečanja zvona...
Nego Mehmete, jel Power Music koji je izdao Sajsi isti onaj Power Music koji je izdao Kikija L.?
Ako jeste, to je ispunjenje obećanja koji su dali Kiki i Vlada Negovanović kad smo ŽiKKKa i ja bili tamo na intervjuu da će podržati scenu...
Pretpostavljam da jeste. Ne bi valjda mogo da registruješ dve firme sa istim imenom u istoj zemlji? A vidi, to izašo moj prikaz Sajsija na Popboksu... Čekam da me Lou Benny napuca u glavu zbog neke nesmotrenosti u tekstu... 3... 2.... 1...
Hm.
Ako jeste, to je interesantan detalj, jer to je Kikijeva etiketa koja je inače pod Mitrovićevom umbrellom. Koliko sam shvatio Kikija, on je to osnovao ali je na kraju prodao Mitroviću da ne bi morao da se bakće sa računovodstvenim stvarima. Što je za Sajsi super jer će imati dobru distribuciju kao City Records npr.
Ja prosto ne umem da kažem koliko danas distribucija ima uticaja na bilo šta... Pošto živim u Beogradu i muziku kupujem u IPS-u, potpuno sam blaženo nesvestan stepena mogućnosti ili nemogućnosti nabavke domaćih CD-ova diljem Srbije. Ko uopšte danas zna za Sajsi (ja ih znam po spotu emitovanom na pirackim teve kanalima pre par godina)? Gde je čuo za njih? Da li naletanje na njihov CD na kiosku ili u samoposluzi može da znači impulse buy??? Za mene su sve to misterije...
Quote from: "Meho Krljic"Pretpostavljam da jeste. Ne bi valjda mogo da registruješ dve firme sa istim imenom u istoj zemlji? A vidi, to izašo moj prikaz Sajsija na Popboksu... Čekam da me Lou Benny napuca u glavu zbog neke nesmotrenosti u tekstu... 3... 2.... 1...
na šta misliš ne videh
ne znam, po mom mišljenju je tekst skroz korektan
Ja bih samo da se zahvalim clanovima ovog foruma sto su mi otkrili to blago koje je Stoya.
Ima li, braco, boljeg dokaza da Bog postoji, i da, kao sto ona ovjestala znacka u sobi moje babe veli, on cuva Srbe?
Da citiram jednog Mehovog prijatelja u čijem je životu heroin igrao važnu ulogu - "Zar nismo tu da bismo pomagali jedni druge..." :D
Inače, kad smo kod Power Musica, slažem se sa Mehom, da to u suštini nije bitno u današnjim okolnstima, nego, eto prosto dobro je da neko ima sve uslove i da posle ne može da se žali...
Quote from: "lou benny"
na šta misliš ne videh
ne znam, po mom mišljenju je tekst skroz korektan
Ma ni na šta konkretno, nego sam navikao na tvoje žestoke reakcije pa sam i sad očekivao... :lol:
Heh... prevrtljivci (http://www.gamespot.com/news/6207928.html).
QuoteActivision Blizzard exits PC Gaming Alliance
By Tor Thorsen, GameSpot Posted Apr 14, 2009 3:11 pm PT
Publisher of world's most popular PC MMORPG abruptly leaves Windows-focused organization it helped cofound in February 2008; Capcom, Epic, Microsoft still on board.
With nearly 12 million subscribers worldwide, World of Warcraft is the planet's most popular PC massively multiplayer game. So popular, in fact, that its publisher's parent company, Activision Blizzard, no longer feels the need to be part of the PC Gaming Alliance (PCGA), the pro-Windows gaming organization it helped found just over a year ago.
Once a prominent part of the organization, the Blizzard Entertainment owner is now completely absent from the member's roster on the PC Gaming Alliance site. In response to inquires from GameSpot, PCGA reps confirmed the following statement from president Randy Stude "regarding the Activision situation."
"The PC Gaming Alliance is an industry consortium that relies on membership dues to perform its research," said Stude. "Membership turnover is a fact of life in any industry consortium, [and] particularly so in the current economy. Recently, a few members have decided they cannot justify the budget (membership and staff) required to maintain an active role in the PC Gaming Alliance at this time. However, we have also added several new members yielding a net gain for 2009."
As of press time, Activision Blizzard had not responded to requests for comment as to why it had left the PCGA, which was announced with great fanfare during the 2008 Game Developers Conference. Then, the body was touted as a nonprofit organization dedicated to "driving coordinated marketing and promotion of PC gaming...and creating forums for member companies to cooperate on solutions to challenges facing the PC gaming industry, such as hardware requirements and anti-piracy."
Remaining members of the PCGA include hardware manufacturers AMD, Antec, Dell, Hewlett Packard, Intel, Logitech, and Nvidia. Game publisher, Windows-maker, and Xbox 360 manufacturer Microsoft is also a member, as is PlayStation 3-maker Sony. Despite recent comments expressing skepticism about the PC market, Japanese developer-publisher Capcom remains part of the organization along with self-declared multiplatform developer and middleware-maker Epic Games. Sony DADC, developer of the controversial SecuROM DRM software, is also a member, as is game retailer and Game Informer publisher GameStop.
Još jedna potvrda da je Stoya sagitašica.
Jutros na Twitteru kaže:
stoya i may have a slightly unhealthy obsession with tesla.
about 8 hours ago from web
Ohoho... Takaši Šimicu pravi horor igru za Wii (http://www.cubed3.com/news/12070)!!! Koliko se da utvrditi biće to nešto na tragu filma Ju On... A zvaće se 'Feel'.
Wii je postala platforma izbora za sve čudne i opskurne projekte. Čak je i Džejn Džensen nagovestila da razmišlja o pravljenju...avanture (a čega drugog?)
Adventure is NOT dead!!! Long live the adventure!
A što se tiče ActiBliza, nisam iznenađen. Jebiga, svi veliki izdavači su manje-više slični (za kontraprimer pročitati post do kraja). Nintendo cenim zato što ima određenu kontrolu kvaliteta - Mariov klub je još uvek najmisterioznija i najbolja QA ekipa na kugli zemaljskoj. Valve je tu negde, ali njihov doseg je ipak manji.
Baš sam gledao novu Forbes-ovu listu najvećih 2 000 kompanija (Global 2000). Nintendov profit u 2008. je bio oko 2,5 milijarde dolara, a tržišna vrednost oko 41 milijardu (ako se ne varam, 5. japanska kompanija po vrednosti). He, Petar Mur reče jednom da su u Majušnomsoftu razmišljali o kupovini Nintenda pre gotovo 10 godina (ili to, ili pokrenuti sopstveni biznis). Sada bi im trebalo preko 20 milijardi za tako nešto, u odnosu na milijardu-dve tada (nisam više siguran koja je bila vrednost Nintenda početkom veka). Ipak mi Sega ostaje najdraža od većih izdavača - jedino oni su sposobni da izvrše finansijsko samoubistvo u ime kvaliteta i originalnosti.
Imam fotografiju vođa Seginih internih timova, iz 2001. Jebote, kakva ekipa!!! Ju Suzuki, Tošihiro Nagoši, Tecuja Mizugući, Juđi Naka, Šun Arai... Nisam nostalgičar, ali sumnjam da će se takva grupa ikad više okupiti. Šteta što je Segin upravni sektor bio dijametralno suprotan po talentu i sposobnostima.
Nego, nismo komentarisali kupovinu Eidosa od strane Square Enixa. Da li ćemo gledati Laru Croft u nekom FF-u (ili bar Kingdom Hearts-u)?
Ma, mislim da je SE kupio Eidos uglavnom iz publikacijsko/ distributivnih razloga, to jest da ne moraju više da se smaraju sa drugim kompanijama kada hoće da publikuju svoje naslove u Evropi. Dobro, spomenuli su kao da su im važni i neki IP-jevi koje Eidos trenutno poseduje, ali sumnjam da ćemo videti neki preterano značajan krosover... Mene više interesuje ovo šuškanje da Eidos radi Thief 4... Mislim, kao i od Deus Ex 3, ne očekujem od te igre mnogo.. ali opet, Thief ne može a da ne zagolica... Thief, Deus Ex i Hitman, tri franšize koje Eidos drži i koje su za moj novac vredne razmišljanja... Square-Enix bi nekako najverovatnije nešto uradio sa ovom poslednjom... videćemo.
Loše vesti idu u parovima. Pre dva dana sam saznao da moram da počnem da zauzdavam svoj ekstravagantni životni stil, u skladu sa aktuelnom finansijskom krizom & nemaštinom, a sada je i The Pirate Bay u prvostepenoj presudi proglašen krivim za kršenje autorskih prava. Video ovde (http://thepiratebay.org/special/2009epicwinanyhow.php). Još ne znamo kakve će to posledice imati na našu kolektivnu budućnost ali verovatno je da će biti osetne. Pravni presedani, čak i kad nisu stvarni presedani, su nezgodna stvar... Žalosno mi je...
It ain't over 'til it's over. Čekamo žalbe.
New Int'l. Release
Fish Story
Fisshu sutori (Japan)
By RUSSELL EDWARDSRead other reviews about this film
Powered By A Fish Story Film Partners presentation of a Smoke & Dub production. (International sales: CJ Entertainment, Seoul.) Produced by Hitoshi Endo, Yasushi Utagawa. Directed by Yoshihiro Nakamura. Screenplay, Tamio Hayashi, based on a story by Kotaro Isaka.
With: Atsushi Ito, Kora Kengo, Mikako Tabe, Dakaku Hama, Mirai Moriyama, Kenjiro Ishimaru, Nao Omori.
Music has charms to save planet Earth in "Fish Story," a playful Japanese sci-fi shaggy-dog story. Low-budgeter is set across multiple time periods, which, thanks to near-zero production values, look almost identical, but a strong concept, a rocking main tune and an amusing middle act are all solid bait. Pic tanked on March local release, perhaps indirectly due to the PR overload for big-budget punk-rock laffer "The Shonen Merikensack" though "Fish" is more upscale in its material. Pic could have remake potential for an ambitious producer.
Yarn begins in 2012, with an unnamed man (vet Kenjiro Ishimaru) riding in a wheelchair (equipped with a colostomy bag) through Tokyo's deserted, garbage-strewn streets. After noting a slowly approaching meteorite, the man enters a record store and chastises the proprietor (Nao Omori, "Vibrator") and his only customer for listening to trivial music as the world ends: The store manager is trying to turn his customer on to the forgotten band Gekirin, which pre-punked the Sex Pistols with a seminal song called "Fish Story."
Next sequence jumps back to 1982. Mild-mannered Masaru (Dakaku Hama) is driving around two boorish friends who are hoping to pick up girls. Their conversation turns to music, specifically the aforementioned cult song, which contains a strange silence that is allegedly cursed.
Leapfrogging between frames and tenuously connected events, the script has as its center the 1975 formation of Gekirin and its struggle with a conservative record company. But it's a 2007-set scene on a ferry boat that hilariously resonates: En route to the northern island of Hokkaido, a martial arts-adept waiter (Mirai Moriyama) rescues passengers from hijackers. The episode appears to be completely unconnected with the narrative, but, as it moves from wry and dry to laugh-out-loud funny, one almost doesn't mind.
The final reel puts the movie's events in chronological order and fills in missing details along the way, delightfully making sense of the whole thing.
The audacious script by Tamio Hayashi (who wrote helmer Yoshihiro Nakamura's previous film, "Route 225") revels in its literary, episodic nature and makes no concessions to conventional screenwriting wisdom. Nakamura's direction is functional, only sparingly adorned with stylish flourishes.
Performances are variable. Kora Kengo ("The Summer of Stickleback") impresses as Gekirin vocalist Goro, but Moriyama ("One Million Yen and the Nigamushi Woman") delivers the film's outstanding perf as the ferry waiter, who singlehandedly tackles armed terrorists without dropping a plate.
Musical purists will balk at the idea that Gekirin is made up of legendary musicians or even punks. Still, the oft-repeated title song makes for comfortable listening. Lensing is washed-out, in typical Japanese indie style.
More than one option(Film) Fish
(Tv) Fish
More than one option(Co) Sex Pistols
(Person) Sex Pistols
Camera (color), Takashi Komatsu; editor, Ohata Eisuke; music, Tsugihiko Sasaki; production designer, Tomoharu Nakamae; sound (DTS Stereo), Yasuo Takano. Reviewed at Hong Kong Filmart, March 25, 2009. Running time: 108 MIN.
Quote from: "Meho Krljic"Loše vesti idu u parovima. Pre dva dana sam saznao da moram da počnem da zauzdavam svoj ekstravagantni životni stil, u skladu sa aktuelnom finansijskom krizom & nemaštinom, a sada je i The Pirate Bay u prvostepenoj presudi proglašen krivim za kršenje autorskih prava. Video ovde (http://thepiratebay.org/special/2009epicwinanyhow.php). Još ne znamo kakve će to posledice imati na našu kolektivnu budućnost ali verovatno je da će biti osetne. Pravni presedani, čak i kad nisu stvarni presedani, su nezgodna stvar... Žalosno mi je...
Nije sve tako crno - clanstvo u Piratskoj stranci je naglo skocilo kao posledica, i sada je peta najveca stranka u Svedskoj ako se ne varam. Nimalo mali silver lajning za takav oblak, rekao bih.
Zapravo peta u populaciji ispod trideset godina. To je dosta bitna razlika. Imaš na Cutterovom topiku podforum niže detaljnije podatke.
Mehmete, jel te inspiriše ime akcije "Očistimo Srbiju" koju je pokrenuo Ministar Dulić? Ako planiraš da postaneš maskirani superheroj, ja bih ti se rado pridružio kao gimpasti sajdkik...
Čitala mi žena šta si piso povodom toga na Fejsbuku. Možeš ti da budeš Panišer a ja tvoj nerdy sajdkik, ako hoćeš!!!
Mehmete, da se pohvalim, uprkos raznim teškoćama koje su uključivale akciju koju je morao da pređe Chaos AD i paniku sa nesačuvanim progresom, završio sam 24 THE GAME.
Što se same igre tiče, kapiram da je ona vama iskusnim gejmerima potpuno irelevantna, uostalom i na zaostaloj je konzoli. Međutim, mislim da nije potpuno loša, pa ću na ovom svetom mestu napisati neke laičke opservacije.
Kad je reč o aproprijacijama GTA, SCARFACE je mnogo bolji, međutim 24 nije bez svojih aduta.
Ono u čemu je 24 slab jeste pre svega fizika igra vezana za vožnju kolima. Meni vožnja inače ne ide naročito ali su me GTA i SCARFACE razmazili dočim ovde je fizika vožnje dosta proizvoljna ne samo na nivou upravljanja kolima već i na nivou toga šta se postiže kolikim pritiskanjem gasa i kočenjem, što samo po sebi ne bi bilo problem da nema dosta vozačkih misija.
Isto tako nema mogućnosti za drive by shooting, niti se iz kola može izaći u svakoj situaciji.
Što se pucanja tiče, nišanjenje je klasičan GTA ali su oružja zaista dobro i realistično urađena. Ne samo da se razlikuju po zvuku, nego se i suštinski razlikuju po opcijama vezanim za nišanjenje, preciznosti na različitim daljinama, i dobijaju se dodatni poeni sa headshots. Isto tako i razorna moć oružja varira.
Kad je reč o protivnicima, nisam nailazio na situacije u kojima igra nudi više od tri kombinacije protivnikovog kretanja, i u tom smislu, protivnik nije previše interaktivan i ne reaguje naročito. Međutim, kako priča odmiče, tako i protivnik sve više nosi pancire i koristi zaklon pa onda ta tromost ne smeta previše.
Što se scenografije tiče, ona je recimo odlična. Igra je dosta linearna tako da su ambijenti fino realizovani, protivnike je moguće ubijati kroz staklo što u mnogim shooterima ne može, ima nameštaja koji se lomi, eksplodira i demolira. Enterijeri su bolji od eksterijera.
Igra se u principu igra iz vizure Jack Bauera, ali ima nekih misija koje igraju i Michelle Dessler, Kim Bauer, Chase Edmunds i što je najvažnije Tony Almeida. Moram priznati da je Tony učesnik možda i najzanimljviijih misija, što mi je naročito drago.
Adut igre je svakako i scenario koji je radio scenarista serije Duppy Demetrius. Ima dosta odličnih clipova između, i twistova unutar akcija. Isto tako, dosta vizuelnog stila serije je integrisano sa muzikom Sean Calleryja, split screenovima, izoštravanjem objektiva, zumovima.
Ono što je novina to je da ima dosta nekih logičkih igara i naravno najluđi feature a to je mučenje zarobljenika što je trademark serije i predstavlja najdelikatniji non-shooter deo igre.
Meni je naročito prijalo to što su nivoi puni checkpointa i zaista ne samo da su checkpointi ohrabrujući za igranje nego se svaki checkpoint može i definitivno sačuvati. Meni je takođe prijalo i to što igra ide linearno i svaka akcija je story. Nema meandriranja. Doduše, pošto nisam uvek uspevao da budem preko 90%, ne znam da li bolji igrači mogu da otključaju dodatne nivoe, ali sumnjam.
Mislim da je ova igra u principu uspela da zarobi duh serije i da ga poveže sa svetom gejminga i da joj nađe ekvivalente u do sada poznatim formama igranja. Isto tako, mislim da je raznovrsnot aktivnosti u seriji, uprkos akcenta na shootingu, očuvana u igri. Problem je samo u tome što se na samim detaljima unutar igre nije radilo više već je realizacija nekih već savladanih na cash-in nivou. Ipak, mislim da se 24 svakako nalazi među osmišljenijim tie-in igrama.
Ne znam da li sam ti se ikad poverio da nisam u životu pogledao ni jednu jedinu epizodu serije 24?
Inače, čini mi se da mi je neko ovde pre neki dan tražio nastavke Staglianovog filma Fashionistas. Dok ovo kucam oni se skidaju, pa tako... kome treba (fizički ili u formi RS linkova) nek se javi.
Meni su potrebni fizički. Pa ti sad vidi...
Zadovoljiću te kako samo muškarac muškarca može da zadovolji (fizički).
An all star cast of British talent have signed on to "Sex & Drugs & Rock & Roll", Mat Whitecross' biopic of punk legend Ian Dury reports Variety.
Naomie Harris ("Pirates of the Caribbean"), Ray Winstone ("The Departed"), Olivia Williams ("The Sixth Sense"), Noel Clarke (TV's "Doctor Who"), Toby Jones ("Infamous"), MacKenzie Crook ("Pirates of the Caribbean") and Bill Milner ("Son of Rambow") will join "Lord of the Rings" star Andy Serkis who will play the polio-afflicted frontman in the film.
Arthur Darvill, James Jagger, Tom Hughes, Shakraj Soornack, Clifford Samuel and Joe Kennedy are also set to play Dury's band members the Blockheads.
Paul Viragh penned the script, Damian Jones is producing and shooting kicks off May 3rd in London.
Mehmete, šta kažeš na ovo, srpski SABOTAGE?
http://www.youtube.com/watch?v=CBeSK7YdO1o
Hits Daily Double via The Playlist report that negotiations are underway to bring in Brett Ratner as director of the proposed Milli Vanilli movie for Universal.
The project was announced two years ago and will follows the story of one producer and two lip-syncing male models who sold millions of records and won a Grammy before their scam was revealed.
Ratner and his "Rush Hour" scribe Jeff Nathanson would re-team on the project which is being produced by Kathleen Kennedy and Kim Marlowe.
Quote from: "crippled_avenger"Mehmete, šta kažeš na ovo, srpski SABOTAGE?
http://www.youtube.com/watch?v=CBeSK7YdO1o
:D :D :D :D
Dovoljno je citirati komentare sa JuTjuba:
to je najbolja pjesma ikada..IKADA
Strahotna pesen xexe :)))
pozz from Bulgaria
cooolish pjesma... ratata pucam v nebo, budala sebe sam trebu :)))
super pesma extra je ;)
In one of the worst kept surprises of this year's Sundance Film Festival, director Steven Soderbergh took the stage at the Eccles Center in Park City tonight for a special event. It was advertised as "An Evening with Steven Soderbergh," but we knew the score. He was there to show us a work in progress cut of his latest film The Girlfriend Experience. The film has already received a ton of buzz online thanks to the casting of famous porn star Sasha Grey in the lead role. Grey plays a high class call girl whose unique perspective on the world of prostitution as well as the current economic crisis are the focus of the film. Soderbergh also has folks talking about this project in relation to his previous work on Bubble. Like Bubble, much of the film's dialog is improvised and its entire cast, save for Grey in this case, has absolutely no experience on camera. It is an ambitious project, to say the least. But if I remember correctly, Bubble didn't work out so well.
And while it nearly impossible for me to write a full review of The Girlfriend Experience, as we were shown a very rough cut of the film, I will say that even in its current state it is leaps and bounds better than Bubble. This time around Soderbergh has captured some truly stunning visuals and has delivered a non-linear narrative that is both engaging and not overly complicated. Sasha Grey's performance is also a surprise. She does her best to bust up the stigma of being a porn star in a "real movie" by delivering in the film's most emotional moment. As for the rest of the film, it would appear that Grey is more expertly cast than in possession of some great acting talent. She gives her character a steely outer shell, then allows the shell to break away as more about her personal life is revealed.
As I mentioned above, we can't count this as an official review of The Girlfriend Experience, which should hit theaters in its finished form sometime later this year. What I will say is that I really enjoyed what I saw. It was sexy, compelling and visually interesting. More importantly, Steven Soderbergh continues to make strides in the right direction with this very experimental method of filmmaking. It has me excited to see where he's going to go with it next.
Soderberg postaje američka verzija Želimira Žilnika... u kombinaciji sa Mladenom Đorđevićem. Rispekt. Doduše, kako je započeo filmom koji je već naginjao na tu stranu, ovo i ne treba da iznenađuje.
Also, Sasha Grey, mmmm...
Mada poslednjih dana zatičem sebe kako često pomislim "Ako postoji savršena žena, ona mora da je Sunny Jay." Valjda me je osvojila njena jednostavnost.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F2u47v2g.jpg&hash=dfcd0991c0c757651aa52750b7ce3476d4a92ca5)
(Nije bilo lako naći sliku na kojoj je obučena.)
QuoteSasha Grey's performance is also a surprise
Kako za koga...
The Girlfriend Experience (2009) More at IMDbPro »
Photos (see all 5 | slideshow)
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Overview
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The Shawshank Redemption (1994) More at IMDbPro »
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Top 250: #1
HOLY SHIT!
Meho je izašao u jutrošnjem broju Amejzing Spajdermena.
http://www.znaksagite.com/diskusije/viewtopic.php?p=184217#184217
Quote from: "Meho Krljic"poslednjih dana zatičem sebe kako često pomislim "Ako postoji savršena žena, ona mora da je Sunny Jay." Valjda me je osvojila njena jednostavnost.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F2u47v2g.jpg&hash=dfcd0991c0c757651aa52750b7ce3476d4a92ca5)
jebote, meho, ova tvoja 'savršena žena' izgleda kao neki ne baš uspešno sex-changovani muškarac! poglej samo tu njušku! :roll:
Quote from: "crippled_avenger"http://www.znaksagite.com/diskusije/viewtopic.php?p=184217#184217
Video, reagovo.
Quote from: "Ghoul"jebote, meho, ova tvoja 'savršena žena' izgleda kao neki ne baš uspešno sex-changovani muškarac! poglej samo tu njušku!
Ponovo se pokazuje da su najbolje žene za pravog muškarca - drugi muškarci. Meni je Sunny Jay predivna, ma kog pola originalno bila.
Uostalom meni je bitnije šta se da videti U ženi nego NA ženi, if ju keč maj drift (i, ne, ovo nije nikakva ginekološka ili gastroenterološka aluzija mada priznajem da su i te dimenzije bitne). Recimo, Dominique Saint Claire, u nju sam platonski zaljubljen praktično najveći deo života a siguran sam da na slikama koje ću sad okačiti tebi neće delovati impresivno:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi42.tinypic.com%2F5cf0gl.jpg&hash=71b8b43e1cef92fb491410fa825b42415988f73e)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi40.tinypic.com%2F2afj1pt.jpg&hash=40a014d2898910ce9188e1122ee587eed567a835)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F30cc00x.jpg&hash=b998fbce137f75229b8d14ba86679fbbd9aafcfd)
Quote from: "Meho Krljic"Recimo, Dominique Saint Claire, u nju sam platonski zaljubljen praktično najveći deo života
znao sam da se pališ na
svetice, ali ovo je previše! :roll:
Ušla je u moj život kad sam bio u osetljivoj dobi... i zauvek ostala u mom srcu. Kada bih danas mogao da je fizički pronađem voleo bih da joj objasnim koliko je uticala na moj razvoj.
mislim da je sudbina većine značajnih žena u životima velikih ljudi da nikada ne saznaju koliko su im zaista značile.
LONDON -- Ocean Films has acquired helmer Kore-eda Hirokazu's "Air Doll" ("Kuki ningyu") from Fortissimo Films for all rights in France.
Currently in post-production, "Air Doll" is based on Japanese graphic novel "The Pneumatic Figure of a Girl" about a life-size blow-up doll that develops a soul and falls in love with a video store clerk.
Pic, which screens in Un Certain Regard at Cannes, stars Bae Doona, Arata, Itao Itsuji, Yo Kimiko and Odagiri Joe.
Deal was brokered between Fortissimo's Michael J. Werner and Ocean Films' Eric Heumann.
Fortissimo is handling worldwide sales on the pic.
Ako je do sad Kina imala opravdanja da ne napada Tajvan, sada ih više nema...
Taiwan enacts controversial "three strikes" copyright law
Stephen Cremin in Taipei
28 Apr 2009 12:00
Taiwan's legislature has passed an amendment to the Copyright Act to authorise a controversial "three strikes and you're out" policy for online intellectual property violations.
Under the new regulations, internet service providers (ISPs) may suspend the accounts of customers who have been accused of downloading copyrighted material more than twice.
In addition, ISPs will be responsible for alerting customers of infringement by e-mail after violations are brought to their attention by copyright holders.
ISPs themselves will be immune from prosecution as long as they did not initiate file transfers and were not aware of the copyright violations. Downloaders themselves will not be individually identified.
Although the music and film industries have been pushing for "three strikes and you're out" policies around the world, Taiwan is one of the first countries to pass such legislation.
The French parliament recently rejected similar proposals and the UK 's intellectual property minister David Lammy rejected such a policy at the weekend.
Taiwan has almost no visible signs of bootlegged videos on the street; the majority of copyright violations take place online. The courts have sent mixed signals. While Ezpeer.com was found not guilty of copyright infringement in 2005, later the same year executives of rival service Kuro received prison sentences in the world's first criminal conviction for operating an internet file-sharing service.
In January this year, the US Trade Representative (USTR) office in Washington removed Taiwan from the Special 301 Watch List of countries that do not sufficiently protect intellectual property rights
Trebalo bi da ih bombarduju iz orbite.
Tribeca
The Girlfriend Experience
By RONNIE SCHEIBRead other reviews about this film
Powered By
Adult film star Sasha Grey stars in 'The Girlfriend Experience.'
A Magnolia Pictures release and presentation, in association with 2929 Entertainment, of an Extension 765 production. Produced by Gregory Jacobs. Executive producers, Todd Wagner, Marc Cuban. Directed by Steven Soderbergh. Screenplay, Brian Koppelman, David Levien.
With: Sasha Grey, Chris Santos, Philip Eytan, Glenn Kenny, Timothy Davis, David Levien, Marc Jacobsen.
With characteristic eclecticism, Steven Soderbergh follows "Che," his sweeping four-hour epic about a revolutionary hero, with "The Girlfriend Experience," a small-scale, digitally shot 77-minute chamber piece about a high-priced prostitute. Despite the pic's erotic subject matter and star (vet porn diva Sasha Grey), nothing could be less sensationalistic -- or moralistic -- than this fascinating study of free enterprise in free fall. While it may disappoint thrill-seekers, "Girlfriend" should still delight Soderbergh fans and niche auds. Sundance-sneaked (in rough cut) and officially preeming at Tribeca before a May 22 opening, this arthouse gem finds the helmer in top, and truly topical, form.
Pic follows upscale call girl Chelsea (Grey, in an interestingly opaque perf) and her trainer boyfriend Chris (Chris Santos) over five chronologically scrambled days in the weeks before the 2008 election. Set in the trendy, low-lit haunts of New York's high rollers (the venues looking far sleeker and more anonymous than in the bright pastels of "Sex and the City" and other glossy Gotham fantasies), the pic presents a society in which every interaction reps a form of commodity exchange.
Everything is a brand: Chelsea advertises herself on her website, while her apparel designers figure more prominently than her johns in her journal (read in voiceover). Everybody has a get-rich scheme: Chris tries to shop himself around at various gyms and hawks a line of sports clothes on the side, while Chelsea yearns to own a boutique and quizzes her clients about recession-proof investments.
Soderbergh's complex, never-gimmicky shuffling of time subtly fragments the narrative to reveal the characters' untoward depths of self-delusion. Sometimes the irony proves less subtle, as in Chelsea's back-room encounter with the Erotic Connoisseur, a super-sleazy porn reviewer (portrayed convincingly by former Premiere critic Glenn Kenny) who mercilessly disses her charms in cyberspace, the narration of his review counterpointed by street muscians' rousing rendition of "Everyone's a Critic."
Like Godard, Soderbergh views prostitution as the ultimate paradigm for capitalism. But where Godard saw the hooker as a tragic or exploited victim ("My Life to Live," "Two or Three Things I Know About Her"), Soderbergh suggests there are no victims, only failed traders, in the post-Reagan era of DIY capitalism. Subverting the helmer's own megabuck "Ocean's" franchise, "Girlfriend" exposes the downside to those films' shiny, expensive stars and money-snatching thrills ("Ocean's Thirteen" was penned by "Girlfriend" scripters Brian Koppelman and David Levien).
Furthermore, in contrast to "Bubble," Soderbergh's earlier HD experiment with an other-end-of-the-telescope dissection of lower-class specimens, the helmer here wields total control of the pic's uniquely detached, seriocomic tone. The nervous hype of a group of hedge-fund managers, who insist on treating Chris to a private-jet weekend in Vegas, seems organically connected to the handheld camera swinging wildly from one partygoer to the next.
Chelsea, meanwhile, is a creature of cool surfaces and static interiors, ensconced in tony galleries, pricey restaurants and luxurious hotel rooms as she delivers the full "girlfriend experience" -- complete with thoughtful inquiries about clients' wives and kiddies, informed appreciation of "Man on Wire" and commiseration over the nose-diving economy.
Tech credits mesh faultlessly, as Soderbergh lensed and edited under his usual pseudonyms. Score by Morcheeba's Ross Godfrey hits all the rightly stressful notes.
More than one option(Person) Gregory Jacobs
Art Director, Assistant Director, Associate Producer
(Person) Gregory Jacobs
ADR Editor, Dialogue Editor, Sound Editor
(Person) Gregory Jacobs
Driver, Office Assistant, Production Assistant
(Person) Gregory Jacobs
SongMore than one option(Person) Todd Wagner
Executive Producer
(Person) Todd Wagner
Associate Producer, Executive Producer, Line Producer
(Person) Todd Wagner
ActorMore than one option(Person) Timothy Davis
Actor, Property Master Assistant
(Person) Timothy Davis
More than one option(Tv) Sex and the City
(Film) Sex and the City
Camera (color, HD), Peter Andrews; editor, Mary Ann Bernard; music, Ross Godfrey; art director, Carlos Moore; costume designer, Christopher Peterson; supervising sound editor, Larry Blake; casting, Carmen Cuba. Reviewed at Deluxe, New York, April 13, 2009. (In Tribeca Film Festival -- Spotlight.) Running time: 77 MIN.
Naked Ambition: An R Rated Look at an X Rated Industry
(Documentary)
By ANDREW BARKERRead other reviews about this film
Powered By A Lantern Lane Entertainment release and production, in association with KHG Documentary Prod. Produced by Charles Holland. Executive producer, Michael Grecco. Directed by Michael Grecco. Written by Charles Holland.
With: Sunny Lane, Joanna Angel, Peter North, Jesse Jane, Jenna Jameson, Matt McMullen.
A photographer's trip to the AVN Awards occasions a skin-deep portrait of the adult-film world in "Naked Ambition: An R Rated Look at an X Rated Industry," Michael Grecco's account of creating his identically titled book of porn-star portraits. In contrast with Grecco's evocative photos, his film is scattered and platitudinous, skimming the surface of his subjects and betraying his high-art aspirations with a shallow E! aesthetic. Reliable interest in the subject matter should land the film, which opens theatrically May 1, a home on an adventurous cabler, though such a contentious substratum of American culture deserves more thoughtful treatment.
Director Grecco, typically a photojournalist and celebrity portraitist, is introduced setting up shop in a Las Vegas hotel room at the start of the 2007 AVN convention, an annual three-day affair leading up to a televised awards show the film repeatedly invokes as the "Oscars of porn." Inviting up a plethora of porn stars from the convention floor below, Grecco sets about shooting portraits for his coffee-table book, in which he aims to photograph the people, poses and paraphernalia of the industry, all shot in a non-pornographic context.
Unremarked in the docu is the fact that this has been done before, and done well, by Vanity Fair photographer Timothy Greenfield-Sanders, whose Gore Vidal-assisted 2004 book of porn star portraits, "Thinking XXX," and subsequent HBO documentary both bear conspicuous resemblance to Grecco's projects. Lack of conceptual originality aside, his photogs are unique and sometimes genuinely striking, though they gain little from being over-explained as they are here. Grecco does attempt to inject some suspense into the film, mostly contrived, through his quest to procure elusive crossover star Jenna Jameson and Hustler publisher Larry Flynt to sit for portraits, without which, he feels, the series would be incomplete.
Far more interesting than the photographer's struggle to complete his book are his subjects themselves, which run the gamut from charming, well-adjusted "alt-porn" actress Joanna Angel to sex-doll designer Matt McMullen, who appears to have only recently emerged from a lengthy residence underneath a rock.
Receiving the most screen time is starlet Sunny Lane, a former figure skater and porn newcomer whose discomfiting combination of chipper perkiness and latent sadness seem to suggest a far darker, more complicated story than the film has the patience to pursue.
While it admirably avoids either schoolboyish titters or schoolmarmish prudery, the docu's cheery neutrality comes at the expense of any point of view at all. Which is particularly unfortunate, as such a huge confluence of such deeply strange people -- from cartoonishly lascivious performers to creepy fans and monomaniacal sex-toy artisans -- would seem to invite the kind of serious psychological and anthropological scrutiny Grecco, with his tourist-like enthusiasm, is insufficiently equipped to provide.
Tech contributions are solid, and the relatively brief docu moves along briskly.
Camera (color), Peter Blaha, Kevin Gonzales, Ken Kobre; editor, Jeremy Troy; music, Josef Peters, Jens Funke; music supervisor, Nic Harcourt; associate producer, Troy; line producers, Catherine Eng, Laurie Goldfarb. Reviewed at Laemmle Sunset 5, Los Angeles, April 21, 2009. MPAA Rating: R. Running time: 81 MIN.
Stih dana za Mehmeta:
I used to be commander in chief of my pimp ship
Producers John Wells and Don Murphy have optioned the rights to indie comic "The Forgotten" says The Hollywood Reporter.
The comic centers on a man who, no matter what he does or whom he meets, is forgotten five minutes later. While it gives him great power and leeway as far as investigations and problem-solving, it leaves him incredibly alone.
When the son of a long-lost friend is charged wrongly with murder, he uses his powers to get to the bottom of a conspiracy.
The pair along with Claire Polstein and Susan Montford are producing.
Hm, zanimljivo, nisam čitao taj strip niti sam znao za njega a već oko godinu dana razmišljam o priči sa tom premisom...
A Wink and a Smile
(Documentary)
By RONNIE SCHEIBRead other reviews about this film
Powered By A First Run Features release of a Golden Echo Films production. Produced by Jack Timmons, Deirdre Allen Timmons. Directed by Deirdre Allen Timmons.
With: Miss Indigo Blue, the Shanghai Pearl, Tamara the Trapeze Lady, the Swedish Housewife, Waxie Moon, Vienna le Rouge, Lily Verlaine, Kitten la Ru, Inga Ingenue, Ernie von Schmaltz, Ultra.
Highly entertaining docu "A Wink and a Smile" provides an eye-opening lesson in the theory and practice of stripping -- as taught by fan dancer extraordinaire Miss Indigo Blue, headmistress of Seattle's Academy of Burlesque, and illustrated onstage by the city's foremost ecdysiasts, from Inga Ingenue to Ernie von Schmaltz. Alternating between 10 students' behind-the-scenes preparations and a wide range of polished professional acts, complete with critical commentary, helmer Deirdre Allen Timmons never loses sight of burlesque's fundamental playfulness, despite oft-repeated claims of feminine empowerment. "Wink," which opens May 1 at Gotham's Quad Cinema, is an old-fashioned postmodern hoot.
The students interviewed -- who include a tattooed taxidermist, an opera singer and a self-confessed virgin -- praise burlesque's inclusiveness and validation of all body types. Aspiring strippers see their six-week course as a way to overcome everything from bulimia to complacency. Meanwhile, onstage, performance artists of all stripes strut their stuff: Indigo's assistant/fellow artiste, the Shanghai Pearl, flaunts her Asian otherness, period-perfect Vienna Le Rouge elegantly twirls a parasol while coyly unlacing her corset and male ("boylesque") performer Waxie Moon, in handlebar mustache and full bridal regalia, shyly undresses for his wedding night.
More than one option(Co) Echo Films
(Person) Echo Films
Camera (color, HD), Peter Waweru, Marie Joelle Rizk; editors, Deirdre Allen Timmons, Peter Waweru. Reviewed on DVD, New York, April 24, 2009. Running time: 90 MIN.
http://www.znaksagite.com/diskusije/index.php?topic=7642.0
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Pa ti sad vidi!!!!!!!!!!
BTW, odgledah juče Wolverinea i iznenađen sam da je to sasvim gledljiv film koji mi je prijao daleko više nego što sam se nadao. Opširnije na UPPS-u u Četvrtak.
Pazi, ja još nisam gledao ali siguran sam da će biti pristojan film. gavin Hood je ipak ozbiljan čovek ma koliki da je tezgaroš a pčekivanja su mi besramno umanjena...
Pa, jeste, baš je onako zanatski pristojno odrađeno, plus nema onog za superherojske filmove tako tipičnog odlaska u preterivanje sa kojekakvim supermoćima ili gedžetima koje narušavaju balans, iako ovde gledamo ljude koji kad se potuku sruše celu zgradu. Naravno , 90% toga nema veze sa kanonom ali to mi nije ni malo smetalo jer je konzistentno u okviru filma i ima logiku koja nije ezoterična i nategnuta. Jedino mi se ne dopada šta je napravljeno od Dedpula, ali ajde, nije strašno.
http://videogames.yahoo.com/events/playback/playback-42/1310463
Based on the WildStorm/DC Comic, Summit Entertainment's "Red" would have Bruce Willis as an ex-black-ops agent who comes back into action when a high-tech assassin comes after him and the woman he loves.
Evo jednog teksta koji nikada nije objavljen u Huperu...
Pet izvanrednih albuma koje je mogao da snimi svako od vas... ali nije (http://cvecezla.mojblog.rs/p-pet-izvanrednih-albuma-koje-je-mogao-da-snimi-svako-od-vas-/153665.html)
Evo jednog teksta koji nikada nije objavljen u Huperu... Možda zato što je bio... veoma loš???
Meho,
Ja bih se zabrinuo. Ja znam neke naše članove koji su bili smrt za časopise. Kada bi ih objavili, časopis bi se redovno ugasio.
Ovo je više forma...
Uzgred, ne uzbudjuj se, nemam nista protiv tebe. Samo pokusavam da skupim dovoljno postova da mi daju neku zvezdicu...
zvezdicu...
Ovaj forum se pretvorio u jednu veliku igru. Ili igricu...
Quote from: Mica Milovanovic on 04-05-2009, 16:00:01
Evo jednog teksta koji nikada nije objavljen u Huperu... Možda zato što je bio... veoma loš???
Meho,
Ja bih se zabrinuo. Ja znam neke naše članove koji su bili smrt za časopise. Kada bi ih objavili, časopis bi se redovno ugasio.
Ovo je više forma...
Pazi, ugasio sam ja više časopisa nego što su mnogi među nama kupili u životu. Tako da, ima u tome što pričaš nešto... Pitam se da li se oni Metabaroni uopšte prodaju s obzirom na moj sramni doprinos.
http://comics.ign.com/top-100-villains/100.html (http://comics.ign.com/top-100-villains/100.html)
Ja sam ipak rekorder po broju novina i časopisa za koje sam pisao ali su se ugasili. :)
Recimo, XZ, OK, Antena, Blic News, Nacional, Evropa, Huper... :) To je samo vrh ledenog brega...
Inače, Mehmete, možda ovo zaslužuje zaseban topik ali neka počne ovde-dakle, koji su junaci u DC/Marvel univerzumu ljudi sa Sagite...
The Girlfriend Experience 2009 DVDRip XviD-iAPULA :o :oops: :!:
Eto ti ga! Sad si otkrio tajnu na Slikovitom kvizu. 8-) :lol: :evil: :!: :|
Skinućemo u nekom momentu. Trenutno ženi skidam komplit Dipeš Mod koga je neki ludak sastavljao u VBR-u i ima jedno devet gigabajta albuma, živih snimaka, demoa, proba, remiksa i kojekakvih sranja... Da je bar na repidu, ovako ću nekoliko dana da se smaram sa torentima... Plus naravno, od odvratnosti te muzike će mi možda umreti harddisk.
Mogao bi i meni da nasečeš taj complete DM... Plus, čekiraj ovaj info...
Vin Diesel to star in 'Wheelman'
John Singleton to direct videogame adaptation
By MICHAEL FLEMING
Videogame Review: 'Wheelman'
Diesel
Singleton
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More than one option(Co) Paramount Pictures
(Co) Paramount Pictures Scoring Stage M
(Co) Paramount Studio Facilities
Paramount Pictures is accelerating its efforts to put "Fast and Furious" star Vin Diesel back behind the wheel of a fast car.
Studio has set John Singleton to direct and Lorenzo di Bonaventura to produce "The Wheelman," a live-action adaptation of the Ubisoft vidgame "Wheelman." The videogame launched last month, with Diesel as its main character and the game's producer.
Diesel will play an expert driver who comes out of retirement to protect a woman from his past.
Rich Wilkes wrote the script; the writing team of Oliver Butcher and Stephen Cornwell did a rewrite.
Di Bonaventura will produce with Diesel and his One Race Films partner Samantha Vincent.
Paramount first got involved in the project in 2006; at the time, the partnership was hailed as one of the biggest between a vidgame publisher and a studio. Sumner Redstone owned both Midway Games and Paramount, and the plan was to launch the "Wheelman" game and movie in close proximity. Redstone unloaded his 87% stake in Midway late last year in a debt restructuring move, and the vidgame moved to Ubisoft.
Singleton knows his way around a car chase, having directed "2 Fast 2 Furious," the sequel that Diesel skipped.
Di Bonaventura produced Paramount's summer pics "Transformers: Revenge of the Fallen," set for June 24 release, and "G.I. Joe: The Rise of Cobra," opening Aug. 7. Di Bonaventura is currently shooting the Angelina Jolie starrer "Salt" for Columbia Pictures.
CAA repped the participants.
...rs linkovi za THE GIRLFRIEND EXPERIENCE
http://rapidshare.com/files/230489068/TGE.part1.rar
http://rapidshare.com/files/230481455/TGE.part2.rar
http://rapidshare.com/files/230473412/TGE.part3.rar
http://rapidshare.com/files/230466280/TGE.part4.rar
http://rapidshare.com/files/230458660/TGE.part5.rar
http://rapidshare.com/files/230451064/TGE.part6.rar
http://rapidshare.com/files/230441601/TGE.part7.rar
http://rapidshare.com/files/230432225/TGE.part8.rar
...nema lozinke i nema na čemu.
...zapremina - dva CDa.
Quote from: Meho Krljic on 08-05-2009, 10:48:52
Plus naravno, od odvratnosti te muzike će mi možda umreti harddisk.
Kada bi harddiskovi reagovali na to, do sada bi već izumrli! :evil:
Inače, kažu (ovi što su igrali kod u dosadašnjem obliku) da je novi God of War ekstremno nasilan. Dobro, bio je i ranije, ali moć PS 3-jke podiže celu priču na novi nivo. Creva ispadaju iz proburaženih trbuha, glave bivaju otkinute golim rukama i tako to, sve sa velikom dozom realizma. A pomaže i to što je glavni programer, Vassily Filippov, radio na razvoju PS3 hardvera.
Hvala Džindžeru za GFX!!!! A taj Dipeš Mod ću narezati kome god treba, naravno. Ja ih mrzim, ali to ne znači da mrzim i zabludele ovčice koje ih vole.
Glede God of War III, mene mnogo više loži to što će stvari ovog puta otići u velike proporcije. Već God of War 2 je imao neke zbilja velike likove (borba sa Kolosom na početku na primer), a ovde se priča o tome da će Titani biti ne samo deo kulisa nego likovi na, jelte, bojištu. Plus, govorimo o borbama koje će imati po pedesetak učesnika odjednom, što je barem sedam-osam puta više od borbi u GoW2. Imam prilično poverenja u Sony glede ove igre, uzevši u obzir da su dosadašnje igre iz serijala (uključujući i portabl Chains of Olympus) bile ne samo vrhunski showcase za tehnologiju, nego i zaista dobro dizajnirane sa strane same mehanike i gejmpleja.
New Muslim Cool
(Documentary)
By DENNIS HARVEYRead other reviews about this film
Powered By A Specific Pictures production, in association with Latino Public Broadcasting, POV and Center for Asian American Media. Produced by Jennifer Maytorena Taylor. Co-producers, Kauthar Umar, Hana Siddiqi. Directed, written by Jennifer Maytorena Taylor.
With: Hamza Perez, Suliman Perez, Rafiah Daughtry, Gladys Perez, Carol Elkind, Sara Rose, Vic Walczak.
Disarming docu "New Muslim Cool" chronicles an eventful period in the life of Puerto Rican-American Jason Perez, a former gangbanger/drug dealer turned rapper and devout Muslim. A fine illustration of the melting pot's latest cultural flavors, as well as a helpful look past post-9/11 Islamic stereotypes, pubcast vet Jennifer Maytorena Taylor's pic should make fest rounds en route to smallscreen exposure.
To the lingering bafflement of his Spanish-speaking Catholic family in Philly, Perez ditched his bad-boy ways some years ago, changed his first name to Hamza and moved with a close-knit multiracial Muslim community to Pittsburgh. There, he married levelheaded Rafiah (after an online courtship), bringing together children from prior relationships, and set about doing good via outreach to at-risk youth on the street and county jail inmates in nondenominational faith-based programs. He also continued to perform and record music with brother Suliman as hip-hop act Mujahideen Team (aka M-Team). But hiccups arise when the FBI raids their mosque, then Hamza has his jail clearance revoked -- both acts left unexplained, Patriot Act-style. Above-average lensing and original score are plusses.
ADR/Dialogue Editor, Audio, Dialogue EditorCamera (color, DV), David Sarasti, Jon Shenk; editor, Kenji Yamamoto; music, Chris Strollo. Reviewed at San Francisco Film Festival (competing), May 4, 2009. English, Spanish dialogue. Running time: 82 MIN.
Lepo. Evo nešto i za tebe:
The 15 Most Cringe-Worthy James Bond Puns (http://www.cracked.com/article_15785_15-most-cringe-worthy-james-bond-puns.html)
Evo još jednog spota u rangu ovdje pominjanog Tu tu tu grupe In Vivo.
Bojan Bijelić - Čipka crvena:
http://www.youtube.com/watch?v=vmGL1ZaOsUE
Uživajte :D
ajaoj
Hey folks, Harry here... A little bird flew into my Blackberry and whispered to me of a new and exciting development with the upcoming adaptation of Vertigo's LOSERS! Sylvain White is directing and thus far the announced cast has Jeffrey Dean Morgan as CLAY, Zoe Saldana as AISHA, Idris Elba as ROQUE and Columbus Short as POOCH... But anyone that is familiar with the comic - well, the curious part of it all is who would be right for the criminal mastermind that toys with the LOSERS - my source says it is JASON PATRIC - which is really good news - as Jason is as perfect as they come! I just hope that they don't do something stupid like kill him by the end of the first film - as is traditional with villains of long running series when adapted into a feature.
The word I hear is that this will be announced around Tuesday of this week. But you heard it here first, I think.
Universal Pictures and Dark Horse Comics are gearing up to tell "The Secret."
The two companies have partnered with Scott Stuber to produce an adaptation of Mike Richardson's graphic novel that Scott Milam will adapt.
"The Secret" is the second project that Dark Horse has set up at Universal since the two inked a three-year first-look pact for pics last year.
Book, illustrated by Jason Shawn Alexander, treads down familiar territory, revolving around a group of high school students involved in a prank that goes horribly wrong, but puts a spin on the teen horror thriller.
Richardson is founder and prexy of Dark Horse, the third-largest comicbook publisher behind Marvel and DC.
"People have a sense what a comicbook movie is, but at Dark Horse, we're trying to defy some of those cliches and expectations," Richardson said. "None of our books are the same."
Universal and Dark Horse are also developing an adaptation of superhero book "Umbrella Academy" that Stuber is producing through his U-based shingle.
Richardson will produce "The Secret" with Stuber.
Pam Abdy and Jared Pfeifer will oversee the project for Stuber Prods., with Keith Goldberg and Chris Tongue shepherding for Dark Horse, while U's senior VP of production Scott Bernstein and creative exec Dave Targan will handle for the studio.
Milam was recently tapped to pen a redo of horror pic "Mother's Day" for Twisted Pictures that Darren Lynn Bousman will helm. He's also written a remake of scarer "Bedlam" for RKO.
Dark Horse has been keen on adapting its books into movies, with pics based on Richardson's "The Mask" and "Timecop" having helped launch the company's film arm in 1994. Credits include "Sin City," "300," "Alien vs. Predator" and "Hellboy." Universal distribbed sequel "Hellboy: The Golden Army" last year.
No One Knows About Persian Cats
Kasi az gorbehayeh irani khabar nadareh (Iran)
By ALISSA SIMON
'No One Knows About Persian Cats'
'No One Knows About Persian Cats' centers on Iran's rock scene.
A Mars Distribution (in France) release of a Mij-Film production. (International sales: Wild Bunch, Paris.) Produced by Bahman Ghobadi. Executive producer, Roxana Saberi. Co-producer, Mehmet Aktas. Directed by Bahman Ghobadi. Screenplay, Ghobadi, Hossein M. Abkenar, Roxana Saberi.
With: Negar Shaghaghi, Askan Koshanejad, Hamed Behdad.
Fueled by frustration with the myriad prohibitions governing life in Iran, "No One Knows About Persian Cats" strings an improvised tale around Tehran's underground indie-rock scene. Good-looking, shot-on-the-fly fifth feature by Bahman Ghobadi ("Half Moon," "Turtles Can Fly," "A Time for Drunken Horses"), which blends exciting musical performances with an undernourished narrative, is unlikely to be screened legally in the Islamic Republic but should enjoy a healthy fest life offshore, with niche arthouse in some territories.
Pic will attract extra interest because of the helmer's publicly stated desire to emigrate and his connection with recently imprisoned Iranian-American journalist Roxana Saberi (here credited as exec producer and co-writer).
For the past 30 years, Iranian authorities have banned certain types of music (in particular Western rock and females singing solo), forcing them underground. Amir Hamz and Mark Lazarz's 2006 feature docu "Sounds of Silence" and several shorts by Mojtaba Mirtahmasb previously explored this phenomenon, estimated by a character in "Cats" to encompass more than 312 indie groups and 2,000 pop combos.
Thin storyline follows gentle musical duo Negar (Negar Shaghaghi) and Ashkan (Ashkan Koshanejad) as they seek bandmates to back them during a London gig, as well as the necessary paperwork that will allow them to leave the country. Although they lack the permits to record or perform publicly, they long to play a concert in their homeland before leaving.
A recording studio engineer introduces them to music and DVD bootlegger Nader (Hamed Behdad, over-the-top annoying), a motormouth with connections to local bands and black-market passports. Most of the pic involves Nader hustling Negar and Ashkan to (literal) underground sites where a variety of real bands practice amid makeshift sound-proofing contraptions and ongoing squabbles with family and neighbors.
Often riding three on a motorcycle through the perilous Tehran traffic, their excursions are not without humor. Biggest laughs come from a rehearsal in a cowshed on a remote farm, when Ghobadi cuts to bovine reactions. Bureaucratic absurdities also draw chuckles, such as a list of banned female vocalists, a recital of prices for forged documents and Nader's arguments with a judge.
Repping a wide range of genres, the musicians appearing include Hichkas (performing the popular rap "Wake Up God"); a blurred-focus Rana Farhan singing a jazzy number about a drunken lover; and electric-blues band Mirza, led by electrifying voice of frontman Babak Mirzakhani. Groups are identified only in fast-moving end credits, which will frustrate some viewers.
As the various groups perform (some in English and some in Farsi), Ghobadi employs rapidly cut-to-the-beat montage sequences (like earnest MTV) that show gritty aspects of Tehran life. Powerful lyrics work better to convey Iran's current stifling atmosphere for rebellious youth.
Pic's rather melodramatic ending also serves as a cri de coeur for artistic freedoms.
Camera (color, HD-to-35mm, widescreen), Turaj Aslani; editor, Hayedeh Safiyari; production designer, Ghobadi; sound (Dolby Digital), Bahman Ardalan. Reviewed at Cannes Film Festival (Un Certain Regard -- opener), May 14, 2009. Running time: 101 MIN.
Zavetujem Son of Mana da nam to pronađe.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg34.imageshack.us%2Fimg34%2F3603%2Flijecim.jpg&hash=31ad5084bb14ee91f91054047366643c297ff49a)
Killing.Floor.Steam-ReVOLVeR
Vido sam, skinuću večeras, mada mi ne izgleda naročito privlačno.
sreda, 20. maj 2009, 22:22 -> 22:44
Osuđen anarhista zbog paljenja zastave SAD
Zbog paljenja zastave SAD u centru Beograda Ratibor Trivunac, predstavnik Anarho-sindikalističke inicijative uhapšen i osuđen na 10 dana zatvora. Trivunčev advokat Nikola Barović rekao da "nije uobičajeno da neko na takav način bude osuđen na zatvorsku kaznu".
Ratibor TrivunacPredstavnik organizacije Anarho-sindikalistička inicijativa (ASI) Ratibor Trivunac uhapšen je danas u Beogradu i odmah osuđen na 10 dana zatvora zbog paljenja američke zastave u znak protesta zbog posete potpredsednika SAD Džozefa Bajdena.
Branilac osuđenog Nikola Barović rekao je Beti da je Trivunac danas u 16.50 časova sa grupom anarhista na početku Knez Mihailove kod Palate Albanija, spustio američku zastavu na pločnik, zapalio je, a zatim objasnio da na taj način izražava protest zbog dolaska Bajdena u Srbiju.
Policija je ubrzo privela Trivunca i još nekoliko ljudi koji su se tu zatekli, među kojima i reditelja Želimira Žilnika, koji je sa snimateljem snimao događaj.
Barović je rekao da su Žilnik i njegov snimatelj kasnije pušteni.
Prema njegovim rečima, Trivuncu je posle saslušanja gradski sudija za prekršaje Goran Milutinović odmah izrekao kaznu zatvora od 10 dana, počev od danas.
"Trivunac je osuđen zbog navodnog remećenja javnog reda i mira. Nikada ranije nije prekršajno odgovarao", rekao je Barović.
Barović je sudiji preneo da Vrhovni sud SAD u sličnim situacijama nije osuđivao ljude za remećenje javnog reda i mira, jer se paljenje zastave u SAD smatra izražavanjem mišljenja.
"Nije uobičajeno ni u Srbiji da neko na takav način bude osuđen na zatvorsku kaznu. Dešavalo se mnogo slučajeva paljenja zastava, pa niko nije gonjen zbog toga", naveo je Barović.
Već obrađeno na drugom topiku, ali evo i ovde da kažem:
drkadžijska, seljačka, diskriminatorska, podanička reakcija vlasti. Bez obzira da li se slažem ili ne sa Ratom ili njegovim postupkom, ovo je toliko jadna reakcija vlasti da treba da ih bude sramota.
Quote from: crippled_avenger on 16-05-2009, 12:52:43
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg34.imageshack.us%2Fimg34%2F3603%2Flijecim.jpg&hash=31ad5084bb14ee91f91054047366643c297ff49a)
Cripple, ti si genije! Ne znam đe ovo pronalaziš, ali znam da odmah leti na Fejsbuk! :!:
http://www.metalsucks.net/2009/05/21/euronymous-takes-his-revenge-from-the-beyond-casts-woman-as-varg-vikernes-in-black-metal-movie/
QuoteEURONYMOUS TAKES HIS REVENGE FROM THE BEYOND, CASTS WOMAN AS VARG VIKERNES IN BLACK METAL MOVIE
Thursday, May 21st, 2009 at 1:00pm by Axl Rosenberg
So. Blabbermouth (http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=120512)tells me that a) they are adapting the entertaining book Lords of Chaos, about the history of black metal, into a movie, and b) some kid I've never heard of, Jackson Rathbone, is going to play Varg Vikernes. And people are apparently really, really upset about this bit of casting, either because Rathbone is a "teen hearthrob" who was in Twilight (or How Stupid Mormon Vampire Books for Little Kids Taught me to Save Myself for Marriage), or because he's prettier than most girls you see at a metal show and they don't know how to deal with that tingly feeling in their penis.
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Personally, I'm not really offended, because, y'know, the movies never get these things right. Dakota Fanning is going to play one of The Runaways, MTV wanted Ashton Kutcher to play Tommy Lee in The Dirt movie, and someone cast a vagina in the role of Johnny Cash a few years back, so bad casting decisions are nothing new. In fact, the last time I can remember anyone doing a decent job with one of these kinds of movies was when Gary Oldman played Sid Vicious, and if you believe Johnny Lyndon, that movie was all horse crap, too.
In other news, somewhere Euronymous is laughing his ass off.
-AR
The thing is... mali Kaunt Grišnak je stvarno bio malo... pičkast. A znajući kaki su skandinavski zatvori, ne verujem da je mnogo očvrsnuo.
Pa Varg je spolja baš bejbi fejs tip, po opredeljenju salonski paganin i tako to... Verovatno je tamo po Bergenu i okolnim fjordovima bio glavna treba u black metal krugovima.
EDIT: Evo i Meho mu ga zavuče.
Nego, pustiše li oni Varga iz tog zatvora ili ne? Nešto sam nedavno pročitao da treba da izađe, i onda su svi umukli. Pretpostavljam da ovi nisu blesavi da ga puste...
Pustiše ga, juče.
QuoteHaving served almost 16 years of a 21-year prison sentence, it was announced on March 10, 2009 that Vikernes would be released on parole, and on May 22nd he confirmed that he was now a free man
http://www.politika.rs/rubrike/Drustvo/Deda-radio-tajno-unuk-radi-javno.sr.html
Ček, jel ovaj tekst actually izašao u Politici ili je ovo neki free for all blog??? Mislim, ovo je prilično skandalozno napisano.
Da, imam ga u printu...
Ulaze ti u polje rada... :D
http://dobanevinosti.blogspot.com/2009/05/mladen-vs-joca.html
The vidgame biz has caught sequelitis.
Nintendo and Sony will rely mostly on new installments of proven franchises rather than launching new properties to drive their videogame businesses through the end of next year.
Much attention was lavished on the next renditions of Nintendo's "Super Mario Bros.," "Super Mario Galaxy" and "Metroid" and Sony's "Final Fantasy," "Metal Gear Solid," "God of War" and "Gran Turismo" during the Tuesday tubthumping by those companies in connection with the Electronic Entertainment Expo taking place in downtown L.A. this week.
The emphasis on squeezing more sales out of existing franchises is also hitting the hardware front, with Sony gearing up to bow a new version of its PlayStation Portable handheld as a pure digital entertainment device.
The PSP Go targets consumers who want a device that can store games, movies, TV shows, music and other content instead of having to carry CDs, DVDs and game discs when they travel.
"We call it the worst-kept secret of E3," said Jack Tretton, prexy-CEO of Sony Computer Entertainment, while unveiling the PSP Go at the Sony's newser, which packed 5,000 attendees inside the Shrine Auditorium. "Given this industry's inability to keep secrets, we are an industry leader. We won't be outdone by anyone."
The $249 device, which will hit retailers in October, is 50% slimmer than the current PSP, which will still be sold. That device has sold 50 million units since 2005; 15 million PSPs were sold last year.
The PSP Go should help Sony compete more aggressively with Apple as it features a far larger screen than the iPod and can act as both a small videogame console and video player.
Sony plans to make many of its major franchises -- including "Gran Turismo," "Resident Evil," "Metal Gear Solid" and "Little Big Planet" -- playable on the PSP this year.
The reliance on franchises is a safe strategy that should prove profitable for the companies considering previous versions of the games were bestsellers when they were released.
Nintendo also continues to dominate in the casual games category with its Wii.
While nearly 300 million people are actively playing games in North America, Japan and Europe, another 150 million have considered playing games, according to a survey conducted by Nintendo. It's an audience the company and its rivals are clearly starting to go after with games that don't require hours of commitment and get other individuals involved.
The Wii version of "Super Mario Bros.," for example, will enable four people to play at one time.
"No one was born an expert gamer, but everyone was a new player at one time," said Nintendo prexy Satoru Iwata, who added that "Mario Kart" for the Wii and the console's Wii Wheel helped lure new gamers.
A new version of the company's Wii Fit will also hit store shelves later in the year; the first version has been a major crossover device for the games biz.
Sony is trying to boost consumer interest in its PlayStation 3 with a lineup of exclusive titles, including actioner "Uncharted 2"; racer "Gran Turismo 5"; spy game "Agent," from Rockstar Games; and a massively multiplayer online version of "Final Fantasy," the series' 14th version.
Company said 35 exclusive games are planned to roll out for the PS3 this year. It hopes to sell 13 million of the $400 consoles this year.
It had always intended to have more games, but publishers opted to collect more coin for their games by making them available on systems from Nintendo and Microsoft as well.
The tones of the two press conference were markedly different, as is usually the case, with Nintendo heavily focused on family fare, while Sony hits hardcore gamers with more violent titles.
But Nintendo still had some edgier fare to show off, such as an exclusive version of the horror sci-fi game "Dead Space: Extraction" and "Metroid: Other M."
Sony is also hoping to boost interest in its PS3 by adding more content to its PlayStation Network, which competes with Xbox Live and houses the company's digital downloading service.
PSN has grown to 24 million members -- 11 million in North America. PSN's digital video service, which launched with movies, TV shows and other Web content last summer, has added Disney, Nickelodeon, Starz, G4, E!, HDNet and Magnolia Films as content providers and will now also be available on the PSP.
And PlayStation Home, an online social networking service, has attracted 6.5 million users worldwide since launching last year.
Ne znam šta Meho misli o tome, ali meni je nekako PSP komad hardvera koji je ponudio najviše na ovom sajmu. Novi model (1. oktobra u Evropi i Americi za 249 komada određene valute), jeftiniji SDK (tiče se tvoraca igara), Gran Turismo, Metal Gear Solid, LittleBigPlanet... Svaka čast Majkrosoftovom Projektu Natal, ali mnogo toga je ostalo nedefinisano - cena, recimo.
Ali,
Quoteonly one in five games players subscribes to a gaming service, from XBL to WOW
kaže jedna anketa. He, he, još smo u većini! :mrgreen: xfrog
Moje misli o PSP Go-u, doduše na engleskom jeziku su sumirane ovim tekstom (http://tap-repeatedly.com/?p=3052). Doduše, da, najavljene igre za PSP platformu (MGS, LBP, čak i Dante's Inferno) su primamljive.
http://steamcommunity.com/groups/L4D2boycott
Jel si član? :mrgreen:
Nisam, meni L4D2 zapravo deluje kao suvisla ponuda. Mislim, ne kažem da ovi ljudi ne kažu i ponešto razumno, ali s obzirom da Valve najavljuje da će L4D2 imati i sve mape iz keca (baš da se ne bi polarizovao komjuniti) kao i da je najavljena lista novih featuresa smislena, nisam baš toliki protivnik.
Da, mada je ovaj money grab deo naslova dosta dobro pogođen.
Sa Popboksa:
QuoteRepere ujedinila igrica
:x xuzi xfuck5
I kako ja posle da ozbiljno shvatim Popboks?
Kako???Dobar opis koncerta Matmosa. Žao mi je što nisam mogao da dođem. :(
Quote from: ridiculus on 04-06-2009, 17:52:15
Sa Popboksa:
QuoteRepere ujedinila igrica
:x xuzi xfuck5
I kako ja posle da ozbiljno shvatim Popboks? Kako???
što?
da se ne piše možda 'rappere'?
ne nego "video igra" xnerd
Pa baš me čudi da ne piše rappere s obzirom da obično tako pišu na Popboksu, čak kad ja u originalnom tekstu napišem reper, to biva promenjeno u rapper.
Apropo Matmosa: bilo dobro stvarno.
meni je ok "rapper" i "rap" jer "reper" i "rep" već imaju značenja u srpskom a smorno je stavljati akcenat da bi označio koja je upotreba u pitanju. (doduše, kod "reper" je akcenat isti u različitim upotrebama :()
A... kontekst (context) uporabe?
jebo kontekst
Ne valja ti ta homonimofobija.
keep it real (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.radivizija.com%2FphpBB3%2Fimages%2Fsmilies%2Ficon_neutral.gif&hash=d7e23534c4a27aa5e890e76174efcb3b322e90f1)
meho, da li je u redu da se ovako stereotipno i politički nekorektno prikazuju turci u srpskom stripu?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg142.imageshack.us%2Fimg142%2F9855%2Fcelekuladeo.jpg&hash=bfd027d673617ec9551c2df0e0b0cd429811652a)
ovo je sken iz ionako loše skeniranog i fototipoštampanog stripčića koji je RAJ za ljubitelje treša - jedino je korica savremena i profi (od autora KATILA):
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RIYADH, Saudi Arabia -- For the first time in three decades, Saudis in the nation's capital did something that most Westerners take for granted -- they went to the movies. But it wasn't exactly date night. No women were allowed.
Saturday's screening of the Saudi film, "Menahi," brought a taste of the moviegoing experience to Riyadh more than 30 years after the government began shutting down theaters -- a move driven by religious conservatives who view cultural activities such as movie screenings and concerts with concern because they could lead to mixing of the sexes and violate Islamic values.
Men and children, including girls up to 10, were allowed to attend Saturday's show at a government-run cultural center. Young male organizers of the event manned a checkpoint on the road leading to the gated center so no women could reach the theater.
And in a sign of the challenges that face every small step toward reform, a group of conservative men gathered outside the entrance to the center to try to discourage the moviegoers from going in. People largely ignored them, savoring the chance to munch popcorn and enjoy the cinema.
"It was just beautiful to see people look so animated and happy," said Misfir al-Sibai, a 21-year-old Saudi businessman who attended the screening. "That was the best part of the evening."
Despite the exclusion of half of Riyadh's population, the decision to show the film, produced by a company owned by royal tycoon Prince Alwaleed bin Talal, was a daring step. It followed a trend in opening up the kingdom, culturally and in other ways, that began when King Abdullah came to power in 2005.
That has angered conservatives, who have issued edicts against such cultural events. One of them, Youssef al-Ahmed, has even accused Alwaleed and another Saudi businessman of being as dangerous as drug dealers because the TV channels they own broadcast movies.
Inside the center on Saturday, the atmosphere was lively as the moviegoers bought popcorn and posed for pictures with the film's cast.
Two Saudi men tried -- but failed -- to disrupt the evening. One of them stood up after evening prayers at the mosque attached to the cultural center and urged worshippers not to take the few steps to the theater, said al-Sibai.
Shortly after the film began, the viewers could hear another man shout that they should refrain from spending their money on such decadent pursuits, said al-Sibai. He was led away by security.
Al-Sibai said the disturbances didn't dampen people's mood, and the film -- a comedy about a Bedouin who has a difficult time adapting to life in Dubai -- was shown in its entirety to an almost full house.
Saudi movie directors and aficionados have tried to revive cinema in Saudi Arabia in the past few years, encouraged by the more open environment in the kingdom.
There has been an upsurge in Saudi-produced movies, some of which have taken part in international film festivals. The kingdom held its first Saudi film festival last year in the city of Dammam. The event was attended by the information minister in a clear sign of official approval.
Alwaleed, a nephew of King Abdullah and the world's 13th-richest person as ranked by Forbes magazine, has been outspoken about the need for movie theaters, saying in February he is certain that one day there will be cinemas in Saudi Arabia.
Although there are no theaters in the country, Saudis can watch movies at home on television. Some hold informal screenings in their living rooms or travel to nearby Bahrain to catch the latest releases. There are also numerous video stores that stock the latest films after kisses and other such scenes have been cut. Several Saudi newspapers even have a weekly movie page.
"Menahi" was shown to a mixed audience in the more open western seaport city of Jiddah and the resort of Taif a few months ago. According to a statement by Rotana, which produced "Menahi," 25,000 viewers watched the movie, including 9,000 women.
Ibrahim Badi, Rotana spokesman, said the company could not get permission from authorities for women to attend in more conservative Riyadh.
Publicity for the film in Riyadh was discreet, apparently out of fear opponents would gather en masse to stop the screening. A couple of newspapers reported the coming event Saturday and listed the few places where tickets could be bought. Three more shows are expected in the coming days.
Talal Saleh, a 25-year-old who attended the screening, said it's better to keep women away at the beginning.
"This is a conservative society that's not used to mixing," said Saleh. "Change should happen gradually."
Quote from: Ghoul on 08-06-2009, 18:33:20
meho, da li je u redu da se ovako stereotipno i politički nekorektno prikazuju turci u srpskom stripu?
To su očigledno poturice, no svejedno, NIJE korektno, naravno. Zar sad kad nam je najviše potrebno jedinstvo svih konfesija da se ponovo seje seme razdora?
Evo nesto dovoljno nestasno za Meha...
http://www.youtube.com/watch?v=yG3FwuikaSU
Ovo mozda nije najnovija vest ali.... Stoya dejtuje Merilina Mensona!!1!11! :shock: :cry:
Mickey Rourke as WHIPLASH in IRON MAN 2:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.usatoday.net%2Flife%2F_photos%2F2009%2F06%2F09%2Frourkex-large.jpg&hash=6e982bb3037ff74476e7fe0a8fe4508a5019962b)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi39.tinypic.com%2F2lu3uyb.jpg&hash=5204d13ad25b52edc709c1628519d52fe5ad51bc)
xrofl
Quote from: Father Jape on 10-06-2009, 00:06:19
Ovo mozda nije najnovija vest ali.... Stoya dejtuje Merilina Mensona!!1!11! :shock: :cry:
Ja sam to čuo juče. O Merilinu mensonu ne mislim mnogo lepog u umetničkom smislu, ali da ima ukusa po pitanju žena - ima. Prvo Dita Fon Tiz, a sad Stoja, svaka čast Brajane, svaka ti se dala i na vreme dobila!!!
In adr njuz, sve misleći na Kripla noćas sam skinuo Stoya Heat i zaključio da mi idu na kuras ti umiveni Digital Playground pornići. Nadam se da će Stoja nekim preokretom sudbine, i pored ekskluzivnog ugovora završiti u kandžama Kristofa Karka ili Julesa Jordana pa da vidimo malo kako sve to izgleda kada se stvari malko otmu kontroli. Posle može da razmišlja i o Rokou ili Džonu Tompsonu...
http://www.youtube.com/watch?v=q4cuqW9wX1Q
za meha metalera xyxy
Mos Def Questions Jay-Z's "Greatest Rapper Alive" Title, "You're Better Than Rakim?"
Written by Cyrus Langhorne
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Wednesday, June 10, 2009 12:33:19
Mos Def recently clarified the lyrical battle challenge he issued to Lil Wayne and Jay-Z and questioned Jigga's "Greatest Rapper Alive" title. Speaking with radio personality Angie Martinez, Mos addressed a recent video which landed online showing him calling out various rap stars.
"My response was to me seeing an article where [Jay-Z] was referred to, with trade marks following it, as the 'Greatest Rapper Alive,'" Mos explained in an interview. "Now that don't have nothin' to do with me, but if you saying that, that's a trade claim...If you saying that, you saying you better than Slick Rick, whose still very alive and well? You saying you better than Rakim? You saying you better than Black Thought? People making that claim have never been in a position to defend that in an open forumn. I'm not talking about making a diss record or trying to go in on somebody's girl...When people start coming out and making claims they're gonna have to defend, like, who have you had to defend them against? It's certainly been with people not on your level." (The Angie Martinez Show)
The footage, which appeared online in April, showed Mos with a small entourage in Detroit.
"You really think that Jay and Weezy can beat me," Mos asked in a video. "It will never happen. None of them. Whoever. Listen, n*ggas I like, I love Freeway, but come get the money if you think you can. [Beanie Sigel], I love him....[Andre 3000] ,whatever, I'm taking the money back to Brooklyn. I'm taking the money back to Brooklyn. Jay is the best out. I'm taking the ring and I'm taking the belt right back." (World Star Hip Hop)
Rappers such as Weezy, who also calls himself "The Greatest," have encountered negative feedback in the past for their titles including T.I.'s "King of the South" proclamation.
"Basically the origins of this ain't beef, it's filet mignon to me," T.I. said in 2004 about his issues with Lil Flip. "He poses no threat to my health. Anytime he wants to see me, I have an open invitation. When I was gone, he made some comments. He saw fit to take shots at me while I was down. At his shows in Atlanta, he would ask people who was the king of the South. When my name was brought up...rightfully so...he said, 'OK, well tell T.I. I said game over.'" (MTV)
Mos' new album The Ecstatic was released yesterday (June 10).
"The name of the album is The Ecstatic. I titled it after one of my favorite novels by Victor LaValle and I'm really excited about it...it's a lot shorter than some of my previous work but it's still really full. [Guests include] Slick Rick, Jay Electronica, Black Thought and working with Madlib." (Zune Insider)
Fala kurcu da će niko drugo do Mos Def da se prijavi da malo opomene ovu dvojicu. Da se razumemo, svaka čast i Džigi i Wiziju, ali stvarno pored Rakima živog i zdravog zvati sebe najvećim je dosta... smelo. Plus, zaista Mos bi obojicu pojeo u betlu iako su mu recentne ploče slabe.
No, treba imati na umu i da se pravila menjaju i da je Wizi daleko od toga da ga betlovanje uopšte zanima i da je njegov breging stil mnogo apstraktniji i introvertniji od bilo čega što se uobičajeno podrazumeva pod reprazentovanjem i betlovanjem...
Slažem se. Svakako da pre Rakimove smrti ne treba eksperimentisati sa proglašavanjem za najvećeg.
France's top legislative court, the Constitutional Council, has decreed that a crucial element of the Creation and Internet piracy law passed on May 13 - the power to cut off Internet access to people caught downloading content illegally as part of a three strikes measure - is contrary to the Declaration of the Rights of Man.
The council said only a judge, as opposed to an independent committee, should be allowed to eliminate a violator's Internet rights.
The Creation and Internet Law had been hotly debated for months before ultimately being passed. On one side of the issue were President Nicolas Sarkozy, Internet access providers and a large portion of the artistic community which believed the three strikes measure and ultimate punishment via a one-year Internet access ban, were necessary to help discourage pirates.
On the other side, much of the Socialist party along with many consumers and some artists and online activists believed the measure to interfere with human rights. When the law passed in the Senate, Socialist deputies called for the Constitutional Council to censor the law.
According to Agence France Presse, French culture minister Christine Albanel on Wednesday said she hoped to "quickly amend" the law in order to give jurisdiction to the judicial system over cutting off Internet access. Albanel also said she regretted "not being able to, as the government and the parliament wished, follow through on the logic" in which the law was initially conceived.
The Independent Producers Union meanwhile, said it was "dismayed" by the Constitutional Council's decision. Consumer group UFC-Que Choisir, one of the most vocal detractors of the law, said it was "very happy that the Constitutional Council proved its wisdom" via its decision. This decision, UFC's Edouard Barreiro told AFP, "establishes that the Internet is a fundamental right."
jedini problem s težinom mos defovih reči je što je to rekao u trenutku kad treba da izbaci album. da je rekao u nekom "neutralnom" trenutku (iako u muzičkoj industriji, kao i u politici, kampanja traje stalno) bilo bi jače.
Pa, da, ali kako već rekoh, Mos već nekoliko godina ne izdaje relevantne pa čak ni slušljive albume tako da... Nije valjda blesav ovako da ga reklamira...
A ovo Francuzi, fala Alahu da neko tamo ima mozga.
Francuzi se trude, ali Kinezi planiraju da od prvog jula sa svakim prodatim kompom dolazi vladin cenzorsko-špijunski program. Imedžin d botnet xsqsick
Smatram da ovu situaciju sa Stoyom i Mansonom treba da iskoristimo u političkom smislu i da prevedemo Mansona da podrži našu borbu za Kosovo.
Mislim da Ghoul treba da odigra odlučujuću ulogu i da u saradnji sa Son of Manom snimi film o stradanju nealbanskih metalaca, gotičara, sektaša i okultista na Kosovu i da Stoya to prezentira Mansonu. Oni dokumentarci koje već imamo o verskim objektima mu neće appealovati a ovo bi moglo.
Svakako, fokus treba da bude na Srbima ali ne bih zanemario aškalijske darkere, Egipćane hardkorovce i naravno Gorance.
Ghoul može filmom da odbrani Kosovo ako mu već NATO nije dopustio da to učini oružjem.
UNHAPPY GILMORE: After police in Gainesville, Fla., arrested Steven
Gilmore Jr., 21, they wondered what his violent robbery was about.
Gilmore allegedly tried to rob a convenience store, and when the store
clerk resisted, Gilmore shot him in the head. But the clerk wasn't
seriously injured: Gilmore's gun was a BB pistol. Gilmore explained he
was a rapper, and he needed to pull off a robbery to give himself
"street credibility." He was charged with attempted armed robbery and
aggravated assault. (Gainesville Sun)
Више од спорта: Лав Григоријевич Гершман
Ја сам, истовремено, Моцарт и Хачатурјан
Он за себе каже да је парапсихолог и видовњак, а прича о магији као уметности владања енергијом, пријатељству са Тапијем, о Лењину, Хитлеру, понуди Гарија Каспарова, светском чуду – ,,индиго деци"
Бели маг: Лав Николајевич Гершман Фото Б. Јовановић У Београд је дошао почетком деведесетих, у време кад су у овај део Балкана ујахали јахачи апокалипсе: ,,смрт", ,,крв", ,,сузе" и ,,беда". Било је то време кад се Југославија распадала, време опште немаштине и време кад је живот имао најнижу цену. Али, он тврди да туђу муку, за лаку зараду, никад није користио.
Он, Лав Григоријевич Гершман (61), Јеврејин из Украјине, за себе каже да је парапсихолог, односно видовњак, да има звање магистра Беле магије и да је почасни члан Светског магијског круга.
У Москви је, истиче, завршио Правни и Медицински факултет, са кога је изашао као психијатар, а потом и Академију за позориште и филм.
Посебно наглашава да је у дан и час прорекао почетак и крај бомбардовања Србије 1999. године, као и да је ,,видео" да Милошевић неће жив изаћи из Хага...
Сад је у трећем браку са Српкињом Бранкицом Станковић, а из два претходна, у Украјини, има четворо деце и двоје унучади.
Чиме се бавите?
Пророци су признати у целом свету. То су: Мојсије Христос, Мухамед, Нострадамус и браћа Тарабићи. Пророчанство се не може променити. То је историја доказала. А видовњаци, или парапсихолози имају само информацију у овом тренутку. То практично значи да ће се некоме оно што сам му предвидео догодити онда када се настави такав животни ток. Ја му само указујем на сва лоша и на сва добра очекивања и препоручујем смер кретања, а та особа бира свој животни пут. Тиме се бавим.
По чему се разликују видовњаци?
По ,,алату" који користе. Неко то ради директно, без алата, неко са картама, неко гледа у длан, а ја користим тарот карте, а могу и разне друге алате.
Да ли се са том моћи рађа или се то учи?
Неко се роди са генетским одликама као Моцарт, а неко то научи, као Хачатурјан. Обојица су признати композитори у свету, али разлика између њих је лако уочљива.
Да ли сте Ви Моцарт или Хачатурјан?
Ја сам и један и други. Имао сам баку која је била веома талентовани видовњак, али ја сам још и много, много учио. Не заборавите ја сам и психијатар. А и мој став је да морам да будем најбољи у свом послу.
Да ли ово што радите може да се објасни научно?
Може, али научници тиме не желе да баратају. Засад је тако. А енергију магије поседују сва бића која могу да се множе: човек, биљка, бактерија... Магија је уметност владања одређеним видом енергије коју емитује свако живо биће. Неко то зна да користи...
Да ли та енергија може да се измери?
Не. Засад нема инструмената који имају ту снагу. Али, раније нисмо имали слику биолошког поља, а сад имамо апаратуру која слика то поље. Од напретка науке зависи и слика живота.
Ово је Ваша ординација?
Да. Ова канцеларија је и моје скровиште и моја магична радионица. Имам предузеће већ 18 година, све дозволе за рад. Плаћам порез. Имам фискалну касу...
Шта је посао вашег ,,пацијента"?
Требало би да ми исприча муку коју има. Постоје проблеми које не знам да радим. Не можете код стоматолога да лечите очи. Значи морамо, пре свега, добро да се разумемо. Кажем у чему могу, а у чему не могу да помогнем...
Колико пута дневно можете да уђете у туђи живот?
Радим само два пута недељно. После тог рада следећу ноћ, и цео следећи дан, морам да спавам. Много се енергетски испразним.
Да ли дајете гаранције за речено?
Гаранцију за све у животу даје само Бог. Људима дајем информацију коју мени о њима ,,прича" тарот. А тарот никад не греши. Ја могу да погрешим у датуму. Моја највећа грешка је плус и минус петнаест дана.
Ипак, да ли се неко жали?
Да. Дође, на пример, жена која жели да се уда, и каже ми да се ништа није десило, иако сам јој рекао да ће се десити. А ја је питам: ,,Да ли је тарот 'рекао' да ће Вам се, у року од две године, указати прилика". Њен одговор је био: ,,Јесте, али то није то"... Па не могу ја да јој изаберем мужа по мери...
Наведите ми пример Вашег рада са познатом особом?
Пријатељ сам са вашом колегиницом из НИН-а Радом Станковић. Кад ми је казала да из ,,Телеграфа" прелази у други лист, у ,,Блиц", замолио сам је да, ипак, ,,бацимо" тарот. И тарот нам је ,,казао" да се то неће догодити. По тароту Рада ће поћи у ,,Блиц", али ће стићи у неку другу редакцију. И то сам јој казао. Није веровала, само се шеретски насмејала... А догодило се... На путу за ,,Блиц" Раду су, у башти ресторана ,,Шуматовац", где је села да се одмори, новинари НИН-а убедили да дође код њих... Било је то у августу 1999. године.
Да ли сте верник?
У вери се понашам ортодоксно, доследно, онако како је прописано. Јер, срце не може да буде празно. Ако у срцу немате Бога ту се усељава ђаво.
Да ли некад нешто прећутите?
Не прећутим ништа што је човеку потребно да зна да би прошао тежи део свог пута. Тарот је мој алат и он, понављам, ,,говори" истину. Али, ја, за ту особу, углавном, имам решење, имам за њу бољи животни пут. И то кажем. Тако помажем људима.
Колико Вам смета став да сте шарлатан?
Сујетан сам као сваки човек, али сметају ми само два односа у животу. Прво, кад неко неодговорно прича о мом професионалном квалитету. И друго, кад неко вређа моју националну припадност. Јер, особе које тако поступају не вређају само мене већ вређају посао од којег, често, зависе животи других људи.
Да ли помажете полицији?
То се у Србији догодило само једанпут. Туђом грешком није ми био продужен боравак у Београду. И полиција ме ухапсила. Одузели су ми све моје ,,папире" и казали да дођем сутра. Сутрадан су од мене тражили да им, ,,као видовњак", помогнем у једном случају. У питању је било убиство некога из Сирије. Дали су ми слику убијеног. И помогао сам полицији... После тога ми је сликар Драган Малешевић Тапи обезбедио стални боравак у Београду и, са свим мојим дипломама, несметан рад.
Зашто Ви нисте помогли Тапију?
Покушавао сам. Ја само могу да саветујем и дајем упутства о ритуалима. Остало сваки човек бира сам, онолико колико му судбина дозволи.
Да ли парапсихолози владају светом?
Ниједан владар на свету, као што су били Лењин, Стаљин, Хитлер, Труман, Никсон, краљица Елизабета... нису урадили ништа без претходне консултације са својим парапсихологом. Због тога су толико дуго и били на власти. Садашњи још више.
Ко су то ,,индиго деца"?
То су јако, јако талентована деца за парапсихологе. Прошле године је, само у Москви, званично регистровано педесет хиљада деце која могу да комуницирају једни са другима без телефона! Њихове способности се, касније, шире. На пример: неко од њих има рендгенски поглед, неко помера предмете без додира...
Који спорт је Ваш?
Јавно имам две врсте активности. То су борбено, витешко мачевање, а и залуђени сам пецарош. Али, мени је пецање само спорт, упецам и одмах, најчешће, пуштам рибу. Тако се играм... У мачевању обучавам и неке београдске глумце, посебно у борби сабљама. У тој дисциплини сам био јуниорски шампион Кијева.
А шта је са шахом?
Шах је драгоцена игра. Нуди широко поље размишљања, а часовник је тај који присиљава играча на брзе одлуке. Тиме се изоштрава свака мисао. Имао сам понуду Гарија Каспарова да му будем лични парапсихолог. Требало је да помажем њему, а да сметам ривалима... Одбио сам то само из навијачког разлога. Био сам фан Анатолија Карпова.
Како жене реагују на Вас?
Знам колико сам ружан. Ипак, жене које желе да водимо љубав чине то из два разлога: да би родила дете са мојим моћима или да би у свој дневник уписале и моје име – ,,била и са магом"...
Који одговор дајете женама?
Нормалан сам мушкарац. Увек сам, пре ове треће женидбе, прихватао највећи број изазова на љубав. Али, био сам заљубљен и на невиђено, преко филма. Волео сам на тај начин Милену Дравић и Ђину Лолобриђиду. Са Миленом и њеним Драганом сам сад пријатељ. Заједно смо летовали, а Ђину никад, уживо, нисам видео.
Ко су за Вас прави пријатељи?
Они који ми са радошћу дају и са поверењем траже, исто као и ја.
Славко Трошељ
Lav je kralj. Em ukazuje na problem indie-go padavičara, em je oženio voditeljku Insajdera!
A vidim, voli i da sluša Lollobrigidu, iako ni on, očigledno, nije uspeo da uđe na koncert u Novom Sadu zbog onih pedera.
Ja ne znam da li sam vam pričao o mom close encounteru sa Lavom.
To je bila Cinemanija 2005. godine, ja tada baš friško slomio koleno i išao na štakama, i sretnem Lava. On mi priđe i kaže, "Ja vas znam. Malo nas je! Malo nas je! Čuvajte se!"
Od tada čekam da se pojavi žena koja želi da ima dete sa mojim moćima.
A zar nije pokazano da su Tarabići slučaj sa antidatiranim predskazanjima? Spisi o njima uvek opisuju nešto što se već desilo.
Posle presude trojici članova Scorpionsa, da li su sledeći Def Leppard i Whitesnake?
Quote from: crippled_avenger on 18-06-2009, 17:07:03
Posle presude trojici članova Scorpionsa, da li su sledeći Def Leppard i Whitesnake?
Šta???
"Scorpions" je neki južnoafriči bivšedržavni task force. Ispreseca me, bre, Kriple...
Scorpionsi su paravojna formacija koja je snimila Srebrenica`s Grooviest Home Video...
A, da, vest sam video tek sinoć do sam se spremao za koncert Ventolina.
Seanbaby (http://www.seanbaby.com) već godinama uživa poštovanje ljubitelja američkog Internet-humora, a otkad je počeo da piše za Cracked pre nekoliko nedelja, ne samo da se našao u prijateljskom okruženju već je i uradio neke od svojih najboljih radova.
Od ova dva 'stripa' sam bukvalno plakao od smeha, pa evo, možda se nekom dopadne:
WWII's Most Unintentionally Gay Fighting Manual (http://www.cracked.com/blog/kick-to-the-groin-how-to-fight-tough)
i ovaj koji je čak i ozbiljna politička satira:
The Torture Debate (As a Batman Comic) (http://www.cracked.com/blog/the-torture-debate-as-a-batman-comic/)
Samo da se objasnim:
Dosta ljudi me je pitalo poslednjih dana zašto mi je blog zaštićen lozinkom. Bio sam u procesu prebacivanja svega na wordpress i nisam hteo da mi se mlate i mešaju statistike.
U svakom slučaju, sada je to gotovo i moj blog je sada na adresi
http://cvecezla.wordpress.com
pa podesite svoje RSS fidove i bookmarkove i tako te stvari. Tekstovi koji su toga bili vredni (devedesetak njih) su preneseni tamo, tako da nemate brige. Wordpress mi je i mnogo udobniji za korišćenje i to je razlog promeni.
Ono na MojBlog sistemu će biti tamo još par dana, dok narod vidi obaveštenje, a onda se briše, da mi se ne mešaju statistike.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbrog.engrish.com%2Fwp-content%2Fuploads%2F2009%2F06%2Fsales-wanted.jpg&hash=f709978534c51e08142bb8b387a76abd7e96876c)
Odličan sajt (http://www.engrish.com/). Imaju i ovaj najdeskriptivniji opis muško-ženskih odnosa koji sam video (znaci za muški i ženski WC, negde u Kini):
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbrog.engrish.com%2Fwp-content%2Fuploads%2F2009%2F06%2Fman-sign.jpg&hash=8741ae7dea1e058beb238c95ed7bc028b5082033)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbrog.engrish.com%2Fwp-content%2Fuploads%2F2009%2F06%2Fwomen-sign.jpg&hash=8991f5f88ef9e1b3f471780a407adc970294a7a3)
Dobre vesti za tvoj blog. Baš sam se pitao...
E, sad su ti se na ovom novom blogu izgubili svi komentari. ŠTA SAD DA RADIMO???
Pročitao sam i tvoj tekst o Tezuki. Vidim da ni ti, kao ni ja, nisi odoleo da u prvi plan istakneš nezdravi odnos popa i transseksualca, nasuprot priči o nuklearnoj katastrofi. :P
Nisu se izgubili komentari nego nisam mogao da ih prenesem. Ali moj blog nikada nije ni imao zanimljive ili bitne komentare tako da nema veze.
Ovo za Tezuku, pazi, jeset to jedan jak i bitan motiv za ovaj strip, pogotovo je bio u ono vreme. Danas kada svaka domaćinska kuća ima kolekciju Yaoi Mange, to nije tako zanimljivo, ali u ono vreme je bilo. Ali sam dalje snažno argumentovao kako ovo nije centralni deo stripa!!!
Ostali koji se pitaju o čemu pričamo, o ovome (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=967&Itemid=48) pričamo.
Džaba ti bilo kasnije argumentovanje (čisto da se zna, došao sam i ja do tog dela) kad su ljudi već odustali od čitanja posle onoliko pominjanja romantične pećine.
I daj kupi više strip SERBI. Ovim odugovlaćenjem ćeš naterati mene da napišem prikaz za popboks, a to niko od nas ne želi. Serbi pogotovo ne.
Usput, onaj S.A.R.S. je stvarno neopevano smeće i sad (kad sam ih video i čuo) potpuno razumem zašto ste ih ti i Dimitrije hejtovali. Trebali ste još više i još gnusnije.
Moja gnusoba bila je preterana i za uredništvo Popboksa pa je ocena albumu podignuta u odnosu na ono što sam im ja dao. No, jesi li video da je bend sad radikalno promenio postavu? Možda si ih ti video sad kad su klimavi od promena?
Dok god im je onaj pevač tamo, promena nije dovoljno radikalna. Bend koji se ponosi pesmom ''Ratujemo ti ja'' ne zaslužuje da mu ja dam još jednu šansu. Ono je bilo grozno. Kad iste večeri nastupe Pero Defformero i S.A.R.S., čovek vidi šta je parodija na narodnjake, a šta pravi narodnjak. Da ne pričamo o tome da im je u repertoaru i obrada Haustora. To je tako 90's.
TEHRAN, Iran – Iran's government said Sunday it arrested the daughter and four other relatives of former President Hashemi Rafsanjani, one of the country's most powerful men, in a move that exposed a rift among the ruling Islamic clerics over the disputed presidential election.
State media also reported at least 10 more deaths, bringing the official toll for a week of confrontations to at least 17. State television inside Iran said 10 were killed and 100 injured in clashes Saturday between demonstrators contesting the result of the June 12 election and black-clad police wielding truncheons, tear gas and water cannons.
Police and members of the Basij militia took up positions in the afternoon on major streets and squares, including the site of Saturday's clashes. There was no word on any new clashes Sunday, although after dark many people in Tehran went to their rooftops to shout "Death to the dictator" and Allahu akbar," a common form of defiance in recent days.
State-run Press TV reported that Rafsanjani's eldest daughter, Faezeh Hashemi, and four other unidentified family members were arrested late Saturday. On Sunday evening, it said the four others had been released but that Hashemi remained in detention. However, Iran's ambassador to France Seyed Mehdi Miraboutalebi said on France's RFI radio that Hashemi had been released.
Last week, state television showed images of Hashemi, 46, speaking to hundreds of supporters of opposition candidate Mir Hossein Mousavi. He alleges fraud in the June 12 election, which the government said President Mahmoud Ahmadinejad won.
After Hashemi's appearance, hard-line students gathered outside the Tehran prosecutor's office and accused her of treason, state radio reported.
The arrests are the strongest sign yet of a serious divide among Iran's ruling clerics.
Also Sunday, Parliament Speaker Ali Larijani said on state television that the number of people questioning the election results was large and "this group should be respected and one should not mix this big population's account with a small group of rioters."
Rafsanjani, 75, heads two powerful institutions. One of them, the cleric-run Assembly of Experts, has the power to monitor and remove the supreme leader, the country's most powerful figure. The second is the Expediency Council, a body that arbitrates disputes between parliament and the unelected Guardian Council, which can block legislation.
The assembly has never publicly reprimanded the unelected Supreme Leader Ayatollah Ali Khamenei since he succeeded Islamic Revolution founder Aytollah Ruhollah Khomeini in 1989. But the current crisis has rattled the once-untouchable stature of the supreme leader with protesters openly defying his orders to leave the streets.
Underscoring how the protesters have become emboldened despite the regime's repeated and ominous warnings, witnesses said some shouted "Death to Khamenei!" at Saturday's demonstrations — another sign of once unthinkable challenges to the virtually limitless authority of the supreme leader.
Rafsanjani was deeply critical of Ahmadinejad during the presidential campaign and has the potential to lead an internal challenge to Khamenei.
His daughter's arrest came as something of a surprise: In his Friday sermon to tens of thousands of worshippers, Khamenei praised Rafsanjani as one of the architects of the revolution and an effective political figure for many years. Khamenei acknowledged, however, that the two have "many differences of opinion."
Khamenei has accused foreign media of making "malicious" attempts to portray a schism among the ruling clerics. At Friday's prayers, he acknowledged that all four presidential candidates "have differences, but all of them belong to the system."
Iran's regime continued to impose a blackout on the most serious internal conflict since the 1979 Islamic Revolution.
But fresh images and allegations of brutality emerged as Iranians at home and abroad sought to shed light on a week of astonishing resistance to hard-line Ahmadinejad and Khamenei.
The New-York based International Campaign for Human Rights in Iran said scores of injured demonstrators who had sought medical treatment after Saturday's clashes were arrested by security forces at hospitals in the capital.
It said doctors had been ordered to report protest-related injuries to the authorities, and that some seriously injured protesters had sought refuge at foreign embassies in a bid to evade arrest.
"The arrest of citizens seeking care for wounds suffered at the hands of security forces when they attempted to exercise rights guaranteed under their own constitution and international law is deplorable," said Hadi Ghaemi, spokesman for the campaign, denouncing the alleged arrests as "a sign of profound disrespect by the state for the well-being of its own people."
"The government of Iran should be ashamed of itself. Right now, in front of the whole world, it is showing its violent actions," he said.
Thousands of supporters of Mousavi, who claims he won the election, squared off Saturday against security forces in a dramatic show of defiance of Khamenei.
Iran has also acknowledged the deaths of seven protesters in clashes on Monday.
State media also reported a suicide bombing at the shrine of Khomeini on Saturday killed the attacker and injured five other people.
There was some confusion about the overall death toll. English-language Press TV, which is broadcast only outside the country, put the toll at 13 and labeled those who died "terrorists." There was no immediate explanation for the discrepancy.
Amnesty International cautioned that it was "perilously hard" to verify the casualty tolls.
"The climate of fear has cast a shadow over the whole situation," Amnesty's chief Iran researcher, Drewery Dyke, told The Associated Press. "In the 10 years I've been following this country, I've never felt more at sea than I do now. It's just cut off."
Iran has imposed strict controls on foreign media covering the unrest, saying correspondents cannot go out into the streets to report.
Reporters Without Borders said 23 journalists were arrested over the past week. The British Broadcasting Corp. said Sunday that its Tehran-based correspondent, Jon Leyne, had been asked to leave the country. The BBC said its office remained open. The U.S.-based newsmagazine Newsweek said its journalist Maziar Bahari was arrested Sunday morning and had not been heard from.
Also Sunday, Iranian Foreign Minister Manouchehr Mottaki held a news conference where he rebuked Britain, France and Germany for raising questions about reports of voting irregularities in hardline Ahmadinejad's re-election — a proclaimed victory which has touched off Iran's most serious internal conflict since the revolution.
Mottaki accused France of taking "treacherous and unjust approaches." But he saved his most pointed criticism for Britain, raising a litany of historical grievances and accusing the country of flying intelligence agents into Iran before the election to interfere with the vote. The election, he insisted, was a "very transparent competition."
That drew an indignant response from British Foreign Secretary David Miliband, who "categorically" denied his country was meddling. "This can only damage Iran's standing in the eyes of the world," Miliband said.
German Chancellor Angela Merkel urged Iran anew to conduct a complete and transparent recount.
In Washington on Saturday, President Barack Obama urged Iranian authorities to halt "all violent and unjust actions against its own people." He said the United States "stands by all who seek to exercise" the universal rights to assembly and free speech.
Obama has offered to open talks with Iran to ease a nearly 30-year diplomatic freeze, but the upheaval could complicate any attempts at outreach.
Republican senators criticized Obama on Sunday for not taking a tougher public stand in support of the protesters, with one saying the president had been "timid and passive."
Israeli President Shimon Peres applauded Iran's pro-reform protesters Sunday, saying the young should "raise their voice for freedom" — an explicit message of support from a country that sees itself as most endangered by the hard-line government in Tehran.
Saturday's unrest came a day after Khamenei sternly warned Mousavi and his backers to all off demonstrations or risk being held responsible for "bloodshed, violence and rioting." Delivering a sermon at Friday prayers attended by tens of thousands, Khamenei sided firmly with Ahmadinejad, calling the result "an absolute victory" that reflected popular will and ordering opposition leaders to end their street protests.
Mousavi did not directly reply to the ultimatum.
His camp, meanwhile, denied reports that he had proclaimed himself ready for martyrdom on Saturday.
"Mousavi has never said this," his close ally, Qorban Behzadiannejad, told the AP. Mousavi's Web site also said statements that Mousavi was preparing for death were inaccurate.
Quote from: Meho Krljic on 21-06-2009, 16:04:59
Ostali koji se pitaju o čemu pričamo, o ovome (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=967&Itemid=48) pričamo.
Ah, MW!!! Odličan tekst. Razlozi zašto bi svako trebalo da ga pročita:
- potpisan je Meho Krljić;
- radi se o Tezuki;
- ja se pominjem u uvodu!
Da nisam pisanje o mangama stavio u hibernaciju, ne bismo čitali Mehov tekst o njima. Eto tako je nešto dobro izašlo iz lošeg, kako je to Tolkin već predvideo!
A sad ozbiljno. Kada budem nešto napisao o mangama, baviću se Kaiđijem Kavagućijem (Kaiji Kawaguchi (http://en.wikipedia.org/wiki/Kaiji_Kawaguchi)) i njegovim geo-političkim trilerima iz alternativne istorije. To je još davno odlučeno.
Sta preporucujes od njega? Eagle: the Making of an Asian American President?
Nego, DušMane, kad ste ti i Duh zapalili sa našeg nastupa u Četvrtak? Posle prve pesme? Ne krivim vas, deco, samo pitam.
Izdržali smo makar 5-6 pesama, što je uspeh jer toj cifri možemo komotno dodati i onih nekoliko akustičnih zapevavanja i onda dolazimo do maltene dvocifrenog broja numera.
Nije to my cup of tea, suviše je gej kaubojski. Duhu se, doduše, svidelo i otišli smo samo zato što sam ja smarao. On bi verovatno odgledao nastup do kraja, ludak.
S druge strane, u wc-u sam imao susret sa jedinom mladom devojkom u Blue Moonu te večeri. Čak sam je gledao dok je pila vodu.
E da, a Nenad je na nastupu KKN u petak bio u Ventolin majici.
Nenad je poznati perverznjak.
Hahaha, gej kaubojski, sjajno. Danas snimam bek vokale za naš najnoviji studijski rad pa ću gledati da se ubacim u tu gej kaubojštinu. Biće suza, ali nadamo se i smijeha.
Dok ti si se smejala, ja sam plakao...
Što mene nisi pozvao na svirku?
Pa nisam ni ovu dvojicu pozvao, sami su došli. Ja ne zovem nikoga na koncerte Ventolina jer me je sramota.
http://groups.myspace.com/ujedinjenascenasrbije
ALOOO LJUDI!!!
Bend u proseku dovede oko 70 ljudi na svirku.
Pice kosta oko 140 din.
Neka je nabavna cena pica 40 din.
Neka plate sve ostale moguce troskove (porez, radnike, ...), pa po picu ne bi trebalo da bude vishe od 30 din. A kao shto znate svaki put nam donesu fiskalni racun!!!! (hahaha)
Znaci njima ostaje 70 din cistog profita.
Svako ko dodje popije u proseku dva pica, siguran sam da popije i vishe, al ajde.
Pomnozimo ove tri cifre 70 ljudi * 2 pica * 70 cist profit i dobijemo cifru od 9800 din.
No ni to nije dovoljno, nego se ugradjuju i na prodate karte.
Ja sam uveren da su oni po veceri dobri 100 eura cistog profita, MINIMUM!!!!
A shta bendovi dobijaju od toga, koji su se iscimali da dovedu ljude, lepili plakate,.... A da ne pricam o vremenu i trudu i novcu (oprema, odrzavanje opreme, iznajmljivanje studija,....) da bi napravili taj repertoar. Shta su dobili pa jedno veliko NISHTAAAAAAAA!!!
A oni zive od nas, i to dobro zive od nas. Oni samo petkom i subotom mogu da racunaju na neku posecenost. Ko bi njima dolazio u klub ostalim danima da ih mi bendovi ne dovodimo. Znate ko, NIKOOOO!!! Takvih dana u mesecu ima 20 * 100 eura to je 2000 eura.
A oni ce vam prodavati pricu kako nemaju para i shta ti je znam!!
Dok oni isisavju poslednju kap rokenrola, shta mi pricamo:
"MAMU IM JEBEM GRANDOVSKU PICKA IM MATERINA!"
A oni nas tapshu po ramenu, a iza shanka trljaju ruke i broje pare!
Koje je reshenje , pa klasican sindikat, da se ujedinimo i dogovorimo za minimalnu cenu pod kojim cemo svirati u nekom klubu. Ako budemo dosledni i slozni, i kazemo mi cemo da sviramo pod tim i tim uslovima. Kad gazde tih klubova ostanu bez 2000 eura mesecno i kad im klubovi budu prazni. Shvatice da nemaju izbora i da moraju da plate.
A ni oni, a pogotovo mi ne shvatamo bitnos te stvari. Taj novac koji bi dobili od svirke ulozili bi u opremu, u novi snimak, samim tim bi dobili na kvalitetu. Kvalitet ce povuci da vishe ljudi dolazi na svirke, shto odgovara i njima i nama. Takodje ako su bendovi adekvatno placeni za svoj rad, automatski povlaci njihov ,tj. nash, mnogo veci osecaj odgovornost prema svici. Odgovornost povlaci kvalitet, kvalitet povlaci publiku. Tako da bi u dogledno vreme umesto 70 ljudi u proseku bilo bi 140 ljudi po svirci. Shto bi bilo u interesu i bendova i klubova.
ROKENROL U SRBIJI NIJE CENJEN!!
ZBOG CEGA?
JRE NEMA CENU!
AJMO DA NAPRAVIMO PRVI KORAK, CENA JE TA I TA!
PLAN A:
1) Napravimo spisak bendova koji su zainteresovani da podrze ovu akciju.
2) Zajednicki se dogovorimo o uslovima koje cemo da postavimo pred klubove. Uslovi moraju da budu realni, sa jedne strane da ne trazimo brda i doline, ali i sa druge strane da ne budu preskromni.
3) Kada se utvrdi tacan broj bendova, napravi se konacan spisak sa imenima i prezimenima svih clanonova svakog benda i potpisom. Jasno definisani uslovi pod kojima cemo svirati u klubovima.
4) Date spiskove i uslove dostaviti klubovima.
5) Cekati povratnu informaciju.
6) Ako to ne izazove nikakav efekat. Pomenute spiskove i uslove dostaviti svim mogucim medijima.
7) Ako i to nista ne promeni idemo na PLAN B
PLAN B
1) Registrujemo organizaciju (tj. udruzenje gradjana), za zastitu nashih prava.
2) Napravimo sedishe koje ce i ujedno biti i klub za odrzavanje svirki. Takva vrsta kluba zasigurno ima poreske olakshice.
3) Stavimo jeftine cene pica, besplatan ulaz, tj pravo na ulaz imaju samo clanovi organizacije, cime cemo povezati mnogo vishe ljudi.
4) Bendovi koji sviraju dobijaju procenat od pica, shto znaci koliko ljudi dovedu toliko ce i para da dobiju. Ostatak para ce sluziti za ulaganje u klub, opremu za klub itd.
Znam da je plan B zahtevan, ali mislim da je plan A ostvarljiv, samo zavisi koliko budemo slozni i dosledni u nashim uslovima.
JEDNO JE SIGURNO, NISHTA SE NECE PROMENITI AKO MI NISHTA NE CINIMO DA SE PROMENI!!
UJEDINJENA SCENA, JAKA SCENA!!
ROCKAJ SRBIJO!!!
ps. To shto ja ne volim neki bend ili mi se ne svidja muzika koju svira ili me nervira neki lik iz nekog benda, nema nikakve veze sa ovim. Na kraju krajeva svi mi sviramo u istim tim klubovima. Moramo da prevazidjemo razlike i da se ujedinimo zarad zajednickog interesa, jer to je jedini nacin.
Quote from: DušMan on 23-06-2009, 04:55:47
Sta preporucujes od njega? Eagle: the Making of an Asian American President?
Odgovor ovde (http://www.znaksagite.com/diskusije/index.php?topic=4502.100). Tamo ćeš naći i više od toga.
Quote from: cutter on 23-06-2009, 21:37:33
http://groups.myspace.com/ujedinjenascenasrbije
Vido sam to, mislim da su ostavljali to i po mom majspejsu. Prestar sam ja da bih se time bavio, ali podržavam...
Mehmete, šta kažeš da organizujemo jedan kolektivni man date i odemo da overimo TAKEN na velikom ekranu sa sve navijanjem, histerijom i sl.?
Zvuči dobro, samo da uspem da to uglavim u svoj busy schedule.
Bilo bi fino da pođe i DušMan pa da eventualno reenactujemo čuvenu scenu iz Bertolučijevog filma XX VEK :)
It's a date!
Mada ja, filmska neznalica kakva jesam, ne znam o kojoj se tu sceni radi...
Quote from: crippled_avenger on 24-06-2009, 16:12:12
Bilo bi fino da pođe i DušMan pa da eventualno reenactujemo čuvenu scenu iz Bertolučijevog filma XX VEK :)
ko će tu da bude epileptična kurva?
Ja sam imao ideju ko će, ali znajući nas, verovatno ćemo se smenjivati. :)
ManOwaR – Otac (http://www.youtube.com/watch?v=Mn6MbzwLqEM) :x :| :cry: :evil: :roll: :!: xtwak xremyb xfoht xrofl xcheers
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi527.photobucket.com%2Falbums%2Fcc359%2Fraindelay99%2FFIFHfront.jpg&hash=1bfae2e8292171efe1ba48970294c866857cb519)
14 bizarnih japanskih igračaka (http://incrediblethings.com/lists/14-bizarre-japanese-toys/)
Omiljena mi je
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fincrediblethings.com%2Fwp-content%2Fuploads%2F2009%2F06%2Fgod-jesus-toy-robot.jpg&hash=86851b3a56b991772f6df2fe124cb94ee859e845)
jer dokazuje da je Isus bio robot. :shock:
Naravno da jeste, tek si sad otkrio? ;)
Quote from: villa on 06-07-2009, 22:12:52
Naravno da jeste, tek si sad otkrio? ;)
Oni koji me duže poznaju znaju da često kasnim i deceniju-dve. xnerd
Jesi i ti jedan od onih lažno skromnih ( kao Meho npr.) ? :)
Ja sam pre skromno lažan. Zar stvarno misliš da ću ti odgovoriti iskreno ako volim da se pretvaram? ;)
Hahaha....pa i iz neiskrenog odgovora se takođe može mnogo toga zaključiti. :)
Nisam ja lažno skroman, ja sebe iskreno mrzim.
Eto jedne neiskrene izjave. :lol:
Hari Poter Hari je MILF hunter...
http://www.imdb.com/news/ni0868708/ (http://www.imdb.com/news/ni0868708/)
Svašta, pa koji tinejdžer se ne loži na starije???
Da, to bi bilo kao da se covek Mehmetovih godina ne lozi na jailbait. :lol:
xpirat Hmmmm... da... da, baš tako.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg195.imageshack.us%2Fimg195%2F3591%2Fgenit.jpg&hash=f20e9cd810f5d8ec349d083754d41dd7a6e1f0ec)
Deluje predivno, pogotovo je sjajan ovaj touch sa cenzurom. xrofl
Ima to da se skine negde ili je ovo samo mock-up plakat?
Quote from: Meho Krljic on 14-07-2009, 10:35:10Ima to da se skine negde ili je ovo samo mock-up plakat?
Enjoy!
http://rapidshare.com/files/254652448/Hypertphynialsrl.part01.rar
http://rapidshare.com/files/254670022/Hypertphynialsrl.part02.rar
http://rapidshare.com/files/254684810/Hypertphynialsrl.part03.rar
http://rapidshare.com/files/254702379/Hypertphynialsrl.part04.rar
http://rapidshare.com/files/254726485/Hypertphynialsrl.part05.rar
http://rapidshare.com/files/254751693/Hypertphynialsrl.part06.rar
http://rapidshare.com/files/254770371/Hypertphynialsrl.part07.rar
http://rapidshare.com/files/254785026/Hypertphynialsrl.part08.rar
http://rapidshare.com/files/254799390/Hypertphynialsrl.part09.rar
http://rapidshare.com/files/254815489/Hypertphynialsrl.part10.rar
http://rapidshare.com/files/254837739/Hypertphynialsrl.part11.rar
http://rapidshare.com/files/255249306/Hypertphynialsrl.part12.rar
http://rapidshare.com/files/254993477/Hypertphynialsrl.part13.rar
http://rapidshare.com/files/255027251/Hypertphynialsrl.part14.rar
http://rapidshare.com/files/255057053/Hypertphynialsrl.part15.rar
http://rapidshare.com/files/255211984/Hypertphynialsrl.part16.rar
http://rapidshare.com/files/255282419/Hypertphynialsrl.part17.rar
Rar Password: None
1.56 GB file in .mkv format.
Making of featurette included.
Still no english subs.
Ovo je rađeno po Henmaruu Maćinu (Henmaru Machino (http://users.skynet.be/mangaguide/au1086.html)). Možda ne direktno, ali idejno, to je to. Ja inače smatram da je 99,99% ideja koje se pojavljuju u japanskim filmovima preuzeto iz mangi.
Šta god da je, 1.5 gigabajta u mkv formatu je... perverzno. Pa koliki je to film? Osam sati? Mislim, skinuće se, naravno, nije to sporno, nego sam iznenađen. Jedino ako je neki superkvalitet, što je, dakako, još lepše. Hvala Miloše!!!
trent_reznorJust had another interesting and enlightening conversation with Grant and Kristan Morrison. Repercussions to follow.about 1 hour ago from Tweetie
ima li bre negde subs za ovaj Hypertrophy Genitals Girl?
na prelistavanje deluje zabavno!
Ovo kao da je Mehmet pisao:
Радош Бајић
Бели прах
У великој акцији МУП-а Србије, у Шумадији и Поморављу, у срединама у којима је снимана наша серија, у Јагодини, Крагујевцу, у Крушевцу, у Рековцу... похапшена је множина наркомешетара и дилера смрти. Баш као што је сина Драгана јунака села које гори, пре неколико субота ухапсила филмска полиција, док је у буџаку иза кафића, недалеко од средње техничке школе, убеђивао лепу средњошколку Зорицу да су дроге много опасне. Макар су тако јавили медији.
Могу ли да одахну забринути очеви који се све грчевитије боре како да у кризи, која све дубље разара могућност егзистенције, нахране и обуку своју децу? Могу ли макар привремено да буду спокојне мајке које са бригом и стрепњом ишчекују своје синове и кћери на повратку из школе, која је одмах ту у суседству, недалеко од цркве, уз кошаркашко игралиште са поломљеним кошевима, које је обавезан декор сваке српске провинције.
Очеви и мајке могу да бирају: да самлевени у исцрпљујућој трци са сваким новим даном неизвесности, оскудице и немаштине – појма немају шта се догађа и последњи сазнају да им се дете дрогира. Да тек тада примете да им из скромног кућног буџака, иза треће даске у регалу фали веренички прстен или дукат који су поклонили баба и деда, кад им се родио унук.
Или да константно буду у пакленом страху, да им нека истетовирана, ошишана на нуларицу, набилдована будала, не пресретне дете иза ћошка школе, или испред хамбургернице, да му макар и уз ограничену присилу, не тутне опасни отров који разрађеним каналима смрти стиже са Далеког истока. Кад прође ризик од првог узимања, првог контакта са аветом наркоманије – касније све иде лакше. У стравичном ланцу омаме, пропадања и зависти, некад брже, некад спорије обавезна је испостава коначног рачуна, који сатире будућност и просперитет младости, трагично сакати и трајно упропашћује младе животе и декадентно нагриза ментално и опште здравље целокупне популације.
Са баченим употребљеним шприцевима који се могу видети у живим оградама које преграђују школска дворишта у селима, у најудаљенијим црквеним портама нашег носталгичног завичаја, у којима се некада играло младеначко коло наших очева и мајки, дакле, са зафрљаченим остацима нагорелих апотекарских тацни, и крљомцима од украдене славске свеће којом је растапан бели прах смрти – српско село и обична српска варош изједначили су се са њујоршким Бронксом, са пристанишним квартом у Амстердаму, са чувеним Сохоом у Лондону. Свет нас држи подаље од себе, непрестано нас боксује аперкатима на безбедној дистанци, тешко нас прима у своје друштво, лаже нас да ће нам колико сутра подићи рампе на границама својих уређених и ушушканих земаља, картира нам и извози технолошки отпад и старе аутомобиле – и великодушно нам омогућава да приступимо злу које нисмо измислили, о којем Вук Караџић није имао шта да забележи, о коме није писао ни Милован Глишић ни Јанко Веселиновић.
У глобалном цивилизацијском рату са наркоманијом, сви они који су мотивисани милијардама долара црног профита, у колоплету интереса који изједначава мафију са политичким и економским криминалом – траже се нова тржишта и нове жртве.
Србија је нажалост добила важно место на транзитној маршрути дроге која се у тонама транспортује из Азије у земље Западне Европе. Више се нико не изненађује на вест да је на границама наше земље откривено и заплењено толико и толико килограма те и те дроге. То је постала сурова свакодневица на коју смо се навикли. Још када се при том има у виду да нам се у залеђу отете нам прадедовине ствара монструм држава, у којој више нико озбиљан и не крије да се значајно финансира од шверца наркотика, у чему су Албанци већ и на америчком континенту потиснули колумбијску мафију – онда постаје јасно да се Србија налази у опасном укљештењу, чији исходи се сурово и судбоносно могу одразити на најмлађи и најважнији део националне популације.
Ако смо градове можда већ изгубили, а за њих се грчевито и свим средствима морамо борити, српско село, као станиште природне, еколошке, традиционалне, менталне и биолошке чистоте нашег народа по цену највећих одрицања, морамо да отргнемо из страшног загрљаја дроге. Док не буде касно.
Радош Бајић
[објављено: 12/06/2009]
Chan Hails Smith As New Martial Arts Star
18 July 2009 7:06 AM, PDT
Jackie Chan has heaped praise on Jaden Smith's martial arts skills, insisting the youngster is better at kung fu than his own son.
Will Smith and Jada Pinkett Smith's 11-year-old son has been taking lessons from the action man's stunt co-ordinator for his role in Kung Fu Kid, the forthcoming remake of the 1984 hit The Karate Kid.
And Chan has been left wowed by Jaden's dedication, after he studied Mandarin to speak with his teachers and learned the Chinese phrases for various kung fu moves.
Chan writes on his official webpage, "When he was thirsty, he gave the traditional hand gesture, putting one fist into the palm of the other, bowed and asked permission to drink some water."
And the Hong Kong star was amazed after Smith took it upon himself to learn the routine Chan showed off in his 1978 film Drunken Master.
Chan adds, "He put my son to shame! I provided my son with the best martial artists in the world, and he could not be persuaded to try it. In just two months, Jaden had learned so much. He is truly a talented boy.
"Training in martial arts is hard work. It takes years to perfect even one punch or kick. Jaden's father is a famous celebrity, and Jaden probably knows he could get away without having to work very hard. If I couldn't get my own son to train in martial arts, how could anybody else succeed?"
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This is an awful and inadequate review, especially considering how this manga deserves the best review ever.
But, honestly, how the fuck do you describe this?
Little has been said in English about The World is Mine, a series as bombastic as its declarative title suggests. Translator Stephen Paul did a review a couple years back, and our own Andrew Cunningham provided his own thoughts last year. The only other mention has apparently been in an old Pulp magazine article that includes it in a list of the least-likely manga to be licensed and translated into English. In its opening chapters, the reason for this becomes evident: two would-be terrorists, Toshi and Mon, find themselves in a series of routine events that end in brief explosions of violence (courtesy of the more ego-driven Mon, seemingly disregarding the immediate consequences of those around him).
What makes the first volume and a half of the original fourteen series print run (halfway through the first volume of the five volume reprint) a difficult read is that these personal stories are interrupted and impersonally destroyed. The Toshi-Mon duo are not the only ones responsible for these early depictions of carnage; an enormous, Godzilla-sized brown bear, soon dubbed Higumadon, traverses through mountainous terrain, slowly creating its own myths as the monster kills the people it finds in its way. Eventually the attention of the media settles upon Toshi and Mon through an escalation of bombing incidents -- first in a policeman's car, then at a pachinko parlor, and finally at a police station. It is here where Arai seems content to invite readers in, as the focus becomes more committed and Very Big Questions are addressed from Toshi to the Japanese government -- all, of course, a mere diversion. Just as Arai hooks the audience in with this horrifying hostage exhibition, the situation's resolution gives way to another story where an oddly gifted, confident hunter and a meek, secretly juvenile newspaper writer track down reports about and evidence of Higumadon.
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Arai gracefully juggles these different plotlines, freely moving back and forth between the two parallel stories. The pacing is just as fluid, with a range of multiple days being summed up over a few chapters to devoting an entire chapter to eight seconds. This movement creates an incredibly dynamic narrative that allows tension to build when appropriate -- such as the aforementioned bombings and hostage situation -- to a graceful slide back as Arai examines the media and political reactions to both Toshi-Mon's escapades and Higumadon, as well as the supporting characters' observations and actions.
It is, in fact, these very same characters that also provide some of the most compelling tales. Idiosyncratic traits are applied to every named-character -- including the aforementioned hunter and reporter, as well a deranged police commander and a rebellious, perverted prime minister -- making them instantly recognizable even after separation of reading the series for nearly a year. The main female character, Maria (the counterpoint to the pettiness of Toshi and the viciousness of Mon), is reintroduced after a seemingly throwaway encounter, becoming as tangibly real as a fictional character can as Arai sets his panels amidst her daily life before literally abducting the girl back into the plot. If these snapshots provide an uplifting and admirable life, then Arai's readiness to acknowledge the more sordid and depressing side of humanity must be equally respected. As news breaks out about the killer's identities, the contented lull of Toshi's parents is stolen from them. Toshi's mother, in particular, provides an utterly devastating account as the media entrenches itself into every aspect of her life, ruining and ultimately extinguishing it. Even the incidental characters, such as the couple taken into the mountains by Toshi and Mon after the police station incident, are given very human faces before they meet an ill fate as Toshi desperately tries to kill the woman as Mon watches on, laughing at his partner's struggle to finish the job.
Beyond any doubt, the violence is intensely visceral, toeing a line of sensational but never crossing it into glorification. This is primarily due to Arai's compositions and art, frequently breaking the process down to where there is only pain on the page.
This is not to say that Arai never permits a spectacle to unfold, whether it's a portrait of the fight for survival or senseless destruction of a city.
Still, where the strength of Arai's art lay at its greatest -- though likely least-appreciated by the average reader -- is the sheer range of emotion and facial structure of his characters. No one design looks like another, completely rejecting an all-too common truism in manga and anime where the Big Eyes, Small Mouths run dominant with only different hair styles and clothing to differentiate between them.
Mon especially embodies this, displaying excitement, boredom, amusement, fear, contemplation, et cetera, within one volume. Through his charisma Arai captures all moods, pivoting the narrative around his mystifying development between two extremisms as those surrounding him attempt to manipulate, destroy or curb his abrasive tendencies.
Halfway through the story, I have absolutely no idea where the end point might be, or what it will involve. What little I've read of indicates a type of large scope that defines epics, with other countries becoming involved. That a more mythical bent also is more evident comes as no surprise, either; even as obvious as Higumadon is, the first half of the series has scattered scenes of surrealism, supported by a reinterpreted mythos that Arai establishes as his own.
Yet is there an all-encompassing Message from the Author? I can only guess for now. Despite how upfront a lot of the immediate issues are, Arai is very careful of placing particular judgment or signs to help readers grasp themes too simply. Throughout these first seven volumes, loss of life occurs, as is common in real life, with no easily suggested reason. The audience is left alone to assign their own meanings to the proceedings as Arai's humanity edges closer to the edge, prepared to plunge deep into immovable and ever-present violence.
David Goodwin, Eastern Standard (http://theeasternstandard.blogspot.com/2009/07/world-is-mine-volumes-01-07.html)
It's Comic-Con week, which means that Hollywood is ready to unleash a slew of comicbook adaptation deals.
"Watchmen" producer Lloyd Levin has acquired screen rights to "Echo," a comicbook series by Terry Moore. Deal was six figures.
"Echo" tells the story of a photographer who is preoccupied with her personal problems until she gets doused by liquid metal from a military experiment gone awry. She discovers she can now harness the power of a nuclear bomb, and soon the military wants its walking weapon.
Levin also produced the "Hellboy" films, both with Larry Gordon. Levin is also a producer on the upcoming Paul Greengrass-directed Universal drama "Green Zone."
Moore's comicbook credits include the "Strangers in Paradise" series.
Comicbooks have never been hotter in Hollywood, especially after "The Dark Knight" dominated last year's box office and Marvel has successfully set up its film division to launch its superheroes on the bigscreen, such as "Iron Man."
But studios aren't just interested in caped crusaders.
"Echo," well, echoes more recent deals where studios are becoming more interested in non-superhero fare.
Chalk that up to successful graphic-novel adaptations like "A History of Violence," "Road to Perdition" and more recent hits like last year's actioner "Wanted."
Dark Horse Comics has especially prided itself on setting up its non-superhero properties at Universal Pictures in an overall production deal (Daily Variety, March 14, 2008).
Meho, siguran sam da ti je biće ovaj detalj temeljno razgalio:
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Heh heh, iz koje je to emisije?
cccc... tv gerila
Moram da se autiram i kažem da na Pinku gledam samo Sanju i njen In Magazin... Nema se vremena...
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Bloody-Disgusting has just nabbed an exclusive that James Wan (one of the original writers and director of the Saw franchise) will be co-writing and directing and adaptation of the popular video game franchise, Castlevania. The film originally had Paul W.S. Anderson (Death Race) as the writer/director (he'll still serve as producer), and then Sylvain White (The Losers) took the helm, but the studio has ultimately decided now to go with James Wan.
Wan was one of the two guys (along with Leigh Whannell) who came up with the idea for the Saw movies, as well as co-writing and directing it. He also directed the thriller-drama Death Sentence and the ventriloquist doll horror, Dead Silence. His experience with creepy horror seems really suited to the Castlevania movie, which is based on the popular Konami video game series that was first released in Japan in 1986.
The Electronic Arts hit vidgame "Dead Space" is on course to become a sci-fi/horror film, with "Eagle Eye" helmer D.J. Caruso attached to direct.
EA will produce the film with Temple Hill partners Marty Bowen and Wyck Godfrey.
The producers, EA and Caruso have been listening to takes from prospective screenwriters, and once they set a writer and EA signs off on a creative direction, they will auction the property to studios. That will likely happen in early September.
The last EA property to follow that course was "Dante's Inferno" -- a journey through the depths of hell; Universal made the deal after a four-studio bidding battle.
"Dead Space" is set in the 26th century in deep space, where an engineer who responds to a distress signal from a mining ship finds the vessel infested with monstrous creatures called Necromorphs. The creatures are human corpses, reanimated by an alien virus.
EA launched the game in 2008 and is working on the second and third installments.
"Dead Space" becomes the fifth EA title to percolate as a feature property. Aside from the "Dante's Inferno" film that will be produced by Strike Entertainment partners Eric Newman and Marc Abraham, EA is in business with Universal on "Army of Two," with Scott Z. Burns ("The Bourne Ultimatum") scripting and Scott Stuber producing. EA's "The Sims" is being developed by producer John Davis and "Mass Effect" by "Spider-Man" producer Avi Arad.
Temple Hill's Bowen and Godfrey are producing "Gears of War," a live-action adaptation of the Microsoft and Epic Games' vidgame for New Line, with Len Wiseman attached to direct and Chris Morgan scripting.
Caruso is also developing "Defender," the Gary Witta-scripted DreamWorks drama that Alex Kurtzman and Robert Orci are producing.
EA's repped by UTA and attorney David Fox, while Caruso's repped by CAA and Media Talent Group.
Evo nesto da pruzi tracak setne nostalgije Mehovom starom srcu:
http://www.wired.com/geekdad/2009/07/100-things-your-kids-may-never-know-about/ (http://www.wired.com/geekdad/2009/07/100-things-your-kids-may-never-know-about/)
:lol:
Hoho, zaista lepa i tačna lista.
Doduše, neke stvari su me naterale da se zamislim. Na primer:
QuoteTweaking the volume setting on your tape deck to get a computer game to load, and waiting ages for it to actually do it.
Ono, što jeste-jeste, neke igre su se sa kasete učitavale beskonačno, no danas, s svim mogućim instalacijama i sranjima, činjenica je da MNOGO igara ima beskonačno dugačke load timeove. Na primer, Demon's Souls, dok prođu (neprekidljivi) spleševi za sve moguće developere, izdavače i licencirane tehnologije, dok se igra uloguje na server, sinhronizuje bazu trofeja (SVAKI put kad je butujem), dok mi da dva objašnjenja o onlajn funkcionalnosti igre sa kojima moram da se složim (svaki put), zatim dok mi da da odaberem svoj savegame, pa dok se on učita - pa to je bre da poludiš. Igranje na konzolama nekada je bilo udobnije od igranja na PC-ju jer samo ubaciš disk, pritisneš dugme i igraš se a ovo danas...
Op-Ed Columnist
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By PAUL KRUGMAN
Published: July 26, 2009
Right now the fate of health care reform seems to rest in the hands of relatively conservative Democrats — mainly members of the Blue Dog Coalition, created in 1995. And you might be tempted to say that President Obama needs to give those Democrats what they want.
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Fred R. Conrad/The New York Times
Paul Krugman
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But he can't — because the Blue Dogs aren't making sense.
To grasp the problem, you need to understand the outline of the proposed reform (all of the Democratic plans on the table agree on the essentials.)
Reform, if it happens, will rest on four main pillars: regulation, mandates, subsidies and competition.
By regulation I mean the nationwide imposition of rules that would prevent insurance companies from denying coverage based on your medical history, or dropping your coverage when you get sick. This would stop insurers from gaming the system by covering only healthy people.
On the other side, individuals would also be prevented from gaming the system: Americans would be required to buy insurance even if they're currently healthy, rather than signing up only when they need care. And all but the smallest businesses would be required either to provide their employees with insurance, or to pay fees that help cover the cost of subsidies — subsidies that would make insurance affordable for lower-income American families.
Finally, there would be a public option: a government-run insurance plan competing with private insurers, which would help hold down costs.
The subsidy portion of health reform would cost around a trillion dollars over the next decade. In all the plans currently on the table, this expense would be offset with a combination of cost savings elsewhere and additional taxes, so that there would be no overall effect on the federal deficit.
So what are the objections of the Blue Dogs?
Well, they talk a lot about fiscal responsibility, which basically boils down to worrying about the cost of those subsidies. And it's tempting to stop right there, and cry foul. After all, where were those concerns about fiscal responsibility back in 2001, when most conservative Democrats voted enthusiastically for that year's big Bush tax cut — a tax cut that added $1.35 trillion to the deficit?
But it's actually much worse than that — because even as they complain about the plan's cost, the Blue Dogs are making demands that would greatly increase that cost.
There has been a lot of publicity about Blue Dog opposition to the public option, and rightly so: a plan without a public option to hold down insurance premiums would cost taxpayers more than a plan with such an option.
But Blue Dogs have also been complaining about the employer mandate, which is even more at odds with their supposed concern about spending. The Congressional Budget Office has already weighed in on this issue: without an employer mandate, health care reform would be undermined as many companies dropped their existing insurance plans, forcing workers to seek federal aid — and causing the cost of subsidies to balloon. It makes no sense at all to complain about the cost of subsidies and at the same time oppose an employer mandate.
So what do the Blue Dogs want?
Maybe they're just being complete hypocrites. It's worth remembering the history of one of the Blue Dog Coalition's founders: former Representative Billy Tauzin of Louisiana. Mr. Tauzin switched to the Republicans soon after the group's creation; eight years later he pushed through the 2003 Medicare Modernization Act, a deeply irresponsible bill that included huge giveaways to drug and insurance companies. And then he left Congress to become, yes, the lavishly paid president of PhRMA, the pharmaceutical industry lobby.
One interpretation, then, is that the Blue Dogs are basically following in Mr. Tauzin's footsteps: if their position is incoherent, it's because they're nothing but corporate tools, defending special interests. And as the Center for Responsive Politics pointed out in a recent report, drug and insurance companies have lately been pouring money into Blue Dog coffers.
But I guess I'm not quite that cynical. After all, today's Blue Dogs are politicians who didn't go the Tauzin route — they didn't switch parties even when the G.O.P. seemed to hold all the cards and pundits were declaring the Republican majority permanent. So these are Democrats who, despite their relative conservatism, have shown some commitment to their party and its values.
Now, however, they face their moment of truth. For they can't extract major concessions on the shape of health care reform without dooming the whole project: knock away any of the four main pillars of reform, and the whole thing will collapse — and probably take the Obama presidency down with it.
Is that what the Blue Dogs really want to see happen? We'll soon find out.
Fascinantno je kako je Amerika dosledna u svojoj free spirit/ do or die filozofiji čak i u stvarim akoje se bukvalno tiču života i smrti, tj. zdravlja. S drueg strane, ovaj napis sugeriše da je to više korporativna Amerika koja se skriva iza tradicije ove filozofije.
Jay-Z's controversial "Death of Autotune" record has not only sparked a reaction from rappers but the makers of auto-tune have responded and they say the controversy is good for business.
Auto-Tune maker Antares Audio Technologies' Marketing Vice President Marco Alpert explained what Jay's popular record has meant for his company.
"The Jay-Z controversy is great," he said in an interview. 'We couldn't buy P.R. like this...I think Jay-Z said he saw Auto-Tune used in a Wendy's commercial, and that pushed him over the edge...We make no value judgments on how people use our product...It's a tool to be used by the people who buy it, and we're happy when consumers find new uses for it." (New York Times)
Hov recently spoke on his hit song and why it was a challenge for emcees to step up their rapping skills.
"Absolutely, it shook it up," Jay said about the song's impact. "It shook the town up. 'D.O.A.' for me, the meaning of it was really, it was more of a challenge than a diss record. I guess a lot of people took it as a diss record but for me it was more of a challenge. For me it was more of a challenge, you know, let's go. That's been done, we done that. That sounds good, I like the way those records sound. I'm not saying I hate auto-tune, I hate a hundred thousand people using it 'cause I don't wanna hear the same record over and over again. I'm a fan of music so that was my push to my peers, to the music business in general to a counter cultural movement. Hip-Hop is about if you're doing that, I'm doing this. Everybody doing their own thing and being individuals. I felt we were losing that." (Tim Westwood TV)
Producer No. I.D. previously said Kanye West, Cool & Dre, Don Cannon and Timbaland were each in the studio crafting it.
"Jay is the type of artist that can go so many directions," I.D. explained in an interview. "It was me, Tim, Ye, Cool & Dre, Don Cannon and a deejay. The deejay said Jay needed a record like Soulja Boy got to get the kids. The energy shifted from Kanye, he was like 'Man, enough is enough.' But then I put the headphones on and started finishing the unfinished idea I had. And Kanye was like 'Put this in there, put this in there,' and soon as I played it, all the heads went to the 'Jay-Z pocket,' and Kanye said how the chorus should be, Jay just took it and came back the next day with the whole song...[The sample] was so unique and so emotional that I knew it would cause a reaction no matter what. I wanted to try to get as close to authentic 90's style hip-hop without being limited to the 90's style program of drums." (Zach Wolfe)
Jay previously said Yeezy played a major role on the song's overall success.
"He actually sparked the idea," Jay revealed. "When he heard the beat he said, 'Man, this is just so hard! This has to be against everything -- no auto-tune, none of that type of stuff!' He didn't know what I was going to do or where I was going to take it, but it was actually his fault...After we made the 'D.O.A.' record about a month ago, we were like, 'if it's got to go, it's got to go' [from my album]. In hip-hop, our job is once a trend becomes a gimmick, to get rid of it. We've done that since the beginning of time...Now people are using auto-tune even in Wendy's commercials, and it's like, 'Oh no! That has to go!' It's become part of main culture. It's the same thing like when the old lady in Oregon starts saying, 'bling, bling.' It's like, 'I'm never saying that again.'" (Billboard)
jaoj kolko je smešan kamilko
odvedite ga
Kad čovek čuje da sad i leskovački reperi koriste autotune (ili nekakav plagin za SF koji ga imitira), stvarno mu dođe malo teško. :lol:
Comicbooks are starting to do double duty in Hollywood.
It seems as if every day, a new deal is announced to turn a graphic novel into a high-profile feature like "300," "Watchmen" or "Wanted."
Development executives love the books, since they give a visual sense of what a film and its characters may end up looking like on the bigscreen.
But filmmakers are now hoping the launch of new comics will help promote properties moviegoers may not necessarily be familiar with before films bow at the megaplex.
Paradox Entertainment, the company that's developing a reboot of the "Conan the Barbarian" film franchise, inked a deal last week with Dark Horse Comics that will launch books for characters, created by pulp writer Robert E. Howard, that the shingle wants to turn into film franchises.
While Conan may be familiar among the masses, Dark Agnes, El Borak, Cormac Mac Art and James Allison are more obscure characters.
Earlier this year, Paradox and Dark Horse began publishing a series of Solomon Kane books to promote the shingle's upcoming actioner, based on the character played by James Purefoy.
"Although it's a legacy character, a new generation had never heard of him," says Paradox president and CEO Fredrik Malmberg, who hopes the books help introduce the 16th-century swordsman to audiences, while turning into a viable publishing biz for the shingle.
Comicbooks like "Solomon Kane" often serve as prequels and establish characters, flesh out backstories and the overall world or storyline that will drive the pic's plot. The goal is to interest a new generation of fans who will recommend the film to others through a flurry of Internet chatter.
This summer, comicbook prequels were published to hype Paramount's reboot of "Star Trek" and Warner and Sony's "Terminator Salvation." A new series of books was handed out at last week's Comic-Con to tubthump Par's "G.I. Joe: The Rise of Cobra."
In fact, the interest in comicbooks has grown so much in Hollywood that publishing one to help drive a pic has become a standard piece of a film's marketing campaign -- especially for major tentpoles.
"Studios have come to the realization that having a presence out there and the ability to build interest is valuable to a film," says Dark Horse prexy Mike Richardson. "We reach the same demographic the studios are trying to reach," namely 16- 30-year-old males.
Because of that demo, Malmberg sees comicbooks as "one component of a character or franchise launch."
But it's a strategy that needs to follow a set of rules in order to strike a chord.
"You have to do the book for the love of the game and not as a crass marketing play," says one studio marketing maven.
While that's easier said than done, it's why Paradox turned to Dark Horse -- the company is producing films (its recent credits include the "Hellboy" films and "30 Days of Night"), but publishing comicbooks is Dark Horse's core business.
"We tap into their editorial knowledge, so we're not just Hollywood types wishing for comicbook sales," Malmberg says. "You can't fool the readers. If it's not a comicbook, they don't want to read; they're not going to buy it. And if they don't buy it, they don't help your movie."
Dark Horse prefers publishing prequels that end right where the movie begins.
"We're happy to do the straight adaptations, but those are less fulfilling," Richardson says. "You're just retelling the story you'll see in the theater."
It's too early to tell whether comicbooks can serve as an effective marketing tool.
In the overall comicbook market, DC and Marvel overwhelmingly dominate the charts each month with their lineup of superheroes, creating little room for movie-based books to break through. And like other media, the comics biz is struggling, with a 10% decline in sales this year.
Yet TV networks have launched successful books to promote "Fringe" and "CSI," and keep older ones like "Angel" alive with fans. "Buffy the Vampire Slayer" moves around 100,000 copies per run for Dark Horse. Even videogame companies have launched books for "World of Warcraft," "Mirror's Edge" and, soon, "Mass Effect" among others, to promote titles.
For a book to be considered successful, it needs to move 20,000 units per issue. Generally, trade paperback collections wind up breaking even or generating profits sincethey have a longer shelf life, carry higher pricetags and are sold at large bookstores.Books for "Star Trek," "Star Wars" or "Transformers" have been successful "because the fanbase is so rabid," says one senior comicbook agent. "The material sells no matter what."
A prequel setting up the first "Transformers" pic in 2007 was expected to sell a strong 50,000 copies overall, but wound up moving more than 1 million books for IDW Publishing. Another prequel book for this summer's sequel has also sold well.
Sales like that are usually unreachable for more unknown titles. Most wind up losing money.
Summit Entertainment sold only around 20,000 copies for a six-issue series, published by DC Comics' Wildstorm division, to promote its sci-fi actioner "Push." The run ended in February.
Paradox has done better with "Solomon Kane," so far. Its first five books have sold more than 57,000 copies.
"Comicbooks do a better job at helping set up a movie or TV show at a studio," says an agent who reps comicbook publishers and clients looking to adapt them or launch their own. "That's where you're going to make the most money. More obscure properties aren't going to sell enough to warrant attention."
Yet even if the books aren't successful, studios aren't risking too much by publishing them, at far less than $1 million for a run."We view comicbook publishing as a viable business that stands on its own," Malmberg says. "It's a profitable and growing business for us. You have to see the comicbook as one piece of a much broader launch so that the film becomes the big tentpole and all the other things can support it. This is a town of hype, so any buzz for a project is positive."
субота, 01. авг 2009, 08:01 -> 08:05
Кућа севдаха на Башчаршији
Лични предмети најистакнутијих извођача и композитора севдалинке красе Кућу севдаха, која је отворена на сарајевској Башчаршији. Поставка представља поглед на историју севдалинке.
У срцу сарајевске Башчаршије отворена је Кућа севдаха, у којој се налазе лични предмети тридесетак најистакнутијих извођача севдалинке и композитора, који су дали изузетан допринос том културном благу.
Кућа севдаха на Баш Чаршији
Поставка представља поглед на историју севдалинке, која опева чежњу, страсну љубав и неке историјске догађаје.
Славу севдалинке пронели су Исмет Алајбеговић, Заим Имамовић, Сафет Исовић, Химзо Половина, Беба Селимовић, Нада Мамула и многи други извођачи.
На изложби су представљене и награде са фестивала севдалинки, када је по традицији додељиван златни микрофон. То признање добила је и Радио-телевизија Београд 1968. године.
Иако је немогуће са сигурношћу рећи од када датира севдах, реч која на арапском значи црна жуч, верује се да је настала у време отоманског освајања Босне, када је дошло до укрштања оријенталне, отоманске и словенске културе.
http://www.znaksagite.com/diskusije/index.php?topic=4991.msg197899#msg197899 (http://www.znaksagite.com/diskusije/index.php?topic=4991.msg197899#msg197899)
Ovo je ipak vrhunac Popboksa :)
http://www.11points.com/Dating-Sex/11_Sexy_Photos_Totally_Ruined_By_People_in_the_Background (http://www.11points.com/Dating-Sex/11_Sexy_Photos_Totally_Ruined_By_People_in_the_Background)
O, bože... Bukvalno sam se iskrivio od smeha.
BLOG: Worst Rap Names Evar
Tuesday Aug 4 10:20 AM CDT posted by xxl staff
After yesterday's experiment, I decided to follow it up with a very detailed and categorized list of rap names gone wrong. You see GINZBERG is just my fake rap name, but these cats actually have careers, well some of them at least. Yes, let's all say it— What the hell were they smoking?
And without furher ado— here is a list, compiled by myself and the rest of the XXL staff of the world's worst rap names evar! Listed in no particular order...
Press Pause
Fabolous— If RuPaul ever decided to pick up the mic, this would be his pseudonym of choice, work it girl.
Chingy AKA Ching-A- Ling— Guess he never saw the movie Life.
Kurtis Blow— No Yayo.
stic.man— As Jackpot said – we'll never look at dead prez the same.
Swollen Members— I don't care if they're Canadian, this does not get a pass.
Hot Rod— I don't even know what to say.
Nutrageous— He really does exist.
The Tea Bag Boyz— WOAH!
Gza— Was he really a genius with a name so close to jizzum.
Melachi the Nutcracker— I heard he got beef with Nutrageous.
Sugar Tongue Slim— Taste like candy Yuck!
Limp Bizkit— So gay they went flacid.
Mr. Cheeks - sounds like a name his boyfriend gave him
Ethnic Flavor
Crunchy Black— He wasn't lying.
Arab— Maybe he's trying to speak this into existence.
Johnny Spanish—Heard he's related to Tony Sunshine.
Skinhead Rob— You sure you wanna be a rapper?
Grand Wizard Theodore— Credited for inventing scratching, in the hood of course.
Young Black Teenagers— WTF aren't y'all are from Bensonhurst or some shit.
Great White— just read this.
Uncle Kracker— Word!
The Teriyaki Boyz— Way to break the stereotype.
Parental Advisory
Titi Boi— You're sure to be a cross over hit with that name.
Cunninglinguists— I don't care how dope the reviews are, I'm not listening.
Shorty Shitstain— Wu-Tang didn't have weed carriers, they had Dust carriers as exhibited by this example right here. Kids stay in school.
Sticky Fingaz— You shoulda just called yourself Sticky Fingaz the Master Baiter.
Yak Ballz— That's something to brag about.
Uncle Murda— Don't complain if they ban you from Hot 97 with a name like that.
Pudgee the Phat Bastard— there's only room for one bastard in rap.
Rewrites— No explanations needed
Zaytoven
Niggarachi
John the Baptist
Dreddy Kreuger
J Depp
Nipsey Hu$$le
...And Just Plain Old Wack
Rapper Big Pooh— You know what comes to mind when I hear this— Shit!
Birdlady— That's some poultry right there. What is she a pelican? A Rooster? She gotta be a woodpecker!
OJ the Juice Man— Fruity!
Gucci Mane La Flare— That's a genuine Parisian right there. Oui oui, bonbons and all that good stuff.
Royce da 5'9"— I guess he wanted everyone to know his average height.
Baby— Way to stand out.
Flo Rida— Guess where he's from.
Magoo— You know, like the dopey cartoon character.
Tum Tum— Named after his favorite stomach medication.
Grand Daddy Souf— Ouch!
Chali 2na— He got that in the barbershop.
Red Café— Cafes are so hip-hop.
Remo da Rapstar— Shoulda stopped at Remo.
Ya Boy— Ya boy who? We're still waiting.
Chum the Skrilla Guerilla— How much skrilla are you gonna make with that name?
Spanky Loco— Ha!
Homeboy Sandman— With a name like that you'll never make it to the Apollo.
Really Doe - Really though...
Who did we miss? -Jesse Gissen
http://kotaku.com/5333623/six-days-in-fallujah-devs-closing-down (http://kotaku.com/5333623/six-days-in-fallujah-devs-closing-down)
When Konami said nothankyou to its publishing deal for controversial title Six Days In Fallujah, it placed not just the future of the game, but future of the game's develpment studio - Atomic Games - in jeopardy.
With no publisher support for the game, Atomic were always going to be facing an uphill battle to secure funding for their operations. A battle that doesn't seem to be going too well, as we heard late last week that there had been some layoffs at the studio (though Atomic refused to clarify just how many).
Now Industrygamers say that, according to a source of theirs, the studio is basically done for. Out of an original 75 developers, "less than a dozen are left", and those remaining are basically there to finish things off. "They are trying to downplay the extent of these layoffs", the source says, "but the reality is that Atomic is pretty much dead."
We have contacted the studio and will update if the developer comments.
So much for people trying to make a game about a thing that actually happened, huh?
Rumor: Atomic Games at Death's Door? [Industrygamers]
Mučenici... NOT. Mislim, znam da sam i ja licemer jer mi nisu smetale one silne Call of Duty i Medal of honor igre sa bitkama kod Staljingrada, iskrcavanjima u Normandiji i napadima na Berlin, da ne pominjem milion RTS igara sa istorijskom potkom, plus kojekakve Vietnam War igre itd., ali ovo mi je nekako suviše sveže i suviše eksploatativno.
AMC is venturing into zombie-drama territory with multi-hyphenate Frank Darabont.
Cabler is close to finalizing one of the richest development deals ever with Darabont to write and direct a series adaptation of the Image Comics graphic novel series "The Walking Dead," penned by Robert Kirkman. Gale Anne Hurd of Valhalla Motion Pictures and David Alpert of Circle of Confusion are also on board to exec produce.
Project is set among a group of zombie survivors of an apocalypse who are led by a police officer, Rick Grimes, in search of a safe place to live. Numerous editions of the "Walking Dead" graphic novels have been published since 2003.
Joel Stillerman, AMC's senior veep of programming, production and original content, said the project appealed to the cabler because of "the quality of the storytelling" in Kirkman's work. The series will stay faithful to the tone of the original novels, he said.
"This is not about zombies popping out of closets," Stillerman said. "This is a story about survival, and the dynamics of what happens when a group is forced to survive under these circumstances. The world (in 'Walking Dead') is portrayed in a smart, sophisticated way."
Stillerman noted that the cabler's annual "Fear Fest" movie showcase around Halloween is one of AMC's most popular programming events of the year.
"We've got an audience that loves this kind of material," he said.
Darabont and Hurd pitched the project to AMC and several other outlets. There is no studio attached yet. The duo's involvement made the project a must-have for the cabler, Stillerman said.
"These are two world-class filmmakers who are also brilliant storytellers with experience in the fantasy genre," he said.
Aferim. S obzirom da se ja godinama iščuđavam kako to da niko nije otkupio prava da ovo pretvori u TV seriju - pošto ga je Kirkman baš tako napisao - ovo je zakasnela ali dobrodošla demonstracija razuma i pravilnosti.
baš lepo, dosta je zombija sprintera. svaki put kad pročitam novo izdanje pomislim da kirkman baš muze priču, doduše zna kako; odlazak na pumpu po zalihe može da se razvuče na trećinu godine. u tom smislu će biti interesantno videti da li će tempo serije biti prilagođen psiho drami i miljenju kroz okoliš, ili će brže spajati akcione delove, u kom slučaju će epizoda biti znatno manje od brojeva stripa.
Warner Bros. and DC Comics have lost a little more control over the Man of Steel.
In an ongoing Federal court battle over Superman, Judge Stephen Larson ruled Wednesday that the family of the superhero's co-creator, Jerry Siegel, has "successfully recaptured" rights to additional works, including the first two weeks of the daily Superman newspaper comic-strips, as well as portions of early Action Comics and Superman comic-books.
The ruling is based on the court's finding that these were not "works-made-for-hire" under the Copyright Act.
This means the Siegels -- repped by Marc Toberoff of Toberoff & Associates -- now control depictions of Superman's origins from the planet Krypton, his parents Jor-El and Lora, Superman as the infant Kal-El, the launching of the infant Superman into space by his parents as Krypton explodes and his landing on Earth in a fiery crash.
The first Superman story was published in 1938 in Action Comics No. 1. For $130, Jerry Siegel and co-creator Joel Schuster signed a release in favor of DC's predecessor, Detective Comics, and a 1974 court decision ruled they signed away their copyrights forever.
In 2008, the same court order ruled on summary judgment that the Siegels had successfully recaptured (as of 1999) Siegel's copyright in Action Comics No. 1, giving them rights to the Superman character, including his costume, his alter-ego as reporter Clark Kent, the feisty reporter Lois Lane, their jobs at the Daily Planet newspaper working for a gruff editor, and the love triangle among Clark/Superman and Lois.
While ownership of the Man of Steel is one point of all this legal activity, the real issue is money and how much Warner Bros. and DC owe the Siegels from profits they collected from Superman since 1999, when the heirs' recapture of Siegel's copyright became effective.
DC owns other elements like Superman's ability to fly, the term kryptonite, the Lex Luthor and Jimmy Olsen characters, Superman's powers and expanded origins.
In a statement, Warner Bros. and DC said, "Warner and DC Comics are pleased that the court has affirmed that the vast majority of key elements associated with the Superman character that were developed after Action Comics No. 1 are not part of the copyrights that the plaintiffs have recaptured and therefore remain solely owned by DC Comics."
The Schuster estate originally did not participate with the Siegels' case because Schuster has no spouse or children. But his estate later won a ruling of a recapture identical to the Siegels, which will be effective in 2013. At that point, the Siegels and Schusters will own the entire copyright to Action Comics No. 1. That will give them the chance to set up Superman pics, TV shows and other projects at another studio.
If they want to get a new "Superman" or even "Justice League" pic featuring the superhero, Warner Bros. and DC will be forced to go into production by 2011.
Sony is cutting the price and size of its PlayStation 3 in order to make the videogame console more attractive to consumers, and it will distribute comicbooks through a new digital reader for its PSP handheld device.
Retailers will begin selling on Sept. 1 a slimmed-down version of the PS3, in a new matte charcoal finish, for $299, $100 less than the current shiny black system's pricetag. A built-in Blu-ray player is still included.
The new PS3, with 120 gigabytes of storage for digital fare like games, movies, TV shows and music, will replace the 80GB version, and the pricepoint is expected to make the PS3 more competitive with its closest rival, Microsoft's Xbox 360.
"This puts us in the position to do extremely well this holiday season," said Jack Tretton, prexy-CEO of Sony Computer Entertainment America.
Since its launch in late 2006, Sony has sold nearly 24 million PS3s worldwide. Nine million of those have been sold in the U.S.
A basic version of the Xbox 360 sells for $200, while the Nintendo Wii is priced at $250.
The price drop also comes at a time when the recession is affecting the bottom line of the videogame biz. The industry is down 14% in sales year to date.
Sony said rollout of its digital reader is skedded for December in the U.S. and next year overseas. A Digital Comics store will launch with hundreds of classic and new comicbooks from a slew of comicbook publishers, including Marvel, IDW, Archie Comics and Image Comics, through iVerse Media. "Spider-Man," "Fantastic Four," "X-Men," "Transformers" and "Star Trek" will be among the titles that will be available for download and will then be readable on a page onscreen or frame by frame.
"PSP's new digital reader offers an unprecedented consumer experience that will extend the world of Marvel from print pages into the hands of fans around the world," said Ira Rubenstein, exec VP of Marvel Entertainment's global digital media group.
In October, Sony also will offer a new section on its PlayStation Store that sells games specifically designed for the PSP. The games, described as "minis," will be up to 100 megabytes in size. The offering is aimed to tap into the popularity of mobile games designed for such devices as the iPhone that have proven to be considerable moneymakers for their creators.
Sony has sold 52 million PSPs and is readying to launch the PSPgo, which can play only digitally downloaded content.
Ono što je bizarno je da će novi, tanji PS3 koštati isto kao novi, malo manji PSP - oko 250 evra. ne kažem ja da portabl konzole MORAJU da koštaju manje od konzola za dnevnu sobu ali ipak ovo je priličan istorijski presedan.
Mene novi PS3 ne interesuje uglavnom zato što nema backwards compatibility. Zato sam i kupio hardverski kompatibilan model kada sam ga našao i platio za njega 350 evra. No, za ljude koje zanimaju isključivo nove igre (ili koje ne mrzi da plate za stare igre kada ih Sony krene prodavati putem PSN mreže, iako ih možda već imaju na disku), ovo je sjajan dil.
Mene zanima zašto se neko loži na čitanje digitalnih stripova koji su napravljeni sa papirnim formatom u mislima. To nije to. Postoje webstripovi i postoje mange napravljene za mobilne telefone (prikazuju frejm po frejm, ali tako su i koncipirane). Ali to niko od izdavača ne spominje. :cry:
Pa, izdavačima je digitalni strip svakako vlažni san i dugoročni cilj. Nema troškova storagea i distribucije i zarađuješ mnogo više na njemu. Marvel već ima obimnu arhivu stripova za onlajn čitanje, neki od njih se objavljuju ekskluzivno za web, a projekti poput Longbox-a su verovatno nagoveštaj totalno digitalne budućnosti.
Naravno, hakovani PSP-ovi već odavno čitaju digitalne strip formate...
Quote from: ridiculus on 19-08-2009, 15:39:13
Mene zanima zašto se neko loži na čitanje digitalnih stripova koji su napravljeni sa papirnim formatom u mislima. To nije to. Postoje webstripovi i postoje mange napravljene za mobilne telefone (prikazuju frejm po frejm, ali tako su i koncipirane). Ali to niko od izdavača ne spominje. :cry:
U kontekstu PSPa ili globalno?
http://advancedmasturbation.com/
Sam naziv govori dovoljno. :!:
Preko četrdeset tehnika masturbiranja, sa detaljnim objašnjenjima. Veoma poučno. :)
Quote from: zakk on 20-08-2009, 14:12:40
Quote from: ridiculus on 19-08-2009, 15:39:13
Mene zanima zašto se neko loži na čitanje digitalnih stripova koji su napravljeni sa papirnim formatom u mislima. To nije to. Postoje webstripovi i postoje mange napravljene za mobilne telefone (prikazuju frejm po frejm, ali tako su i koncipirane). Ali to niko od izdavača ne spominje. :cry:
U kontekstu PSPa ili globalno?
Globalno. Meni je naporno da čitam skenlacije. Beskrajno je neudobnije. Da nije tako, pisao bih o mangama svakodnevno. Ovako, ima puno serija čiji prvi tom sam pročitao, stao i odlučio da li ću eventualno nabaviti papirni oblik (kad-tad) ili ne.
OK je to dok je u pitanju promocija, ali ako pričamo o proizvodu za čiju se upotrebu uzima novac, to je već model koji ne ide u korist kupcu. Možda sam se ja razmazio čitanjem mangi, ali tamo je bitna brzina kojom čitate/pratite slike, a to je jedna stvar u kojoj se digitalna forma ne može meriti sa fizičkom. Međutim, imao sam i neke kompletne Marvelove serijale na hard disku, i nikad se nisam mogao naterati da ih čitam tako.
Odličan je ovaj advanced masturbation. Dokaz da se može napraviti ozbiljna metodologija i od možda najstarije aktivnosti ljuckog roda.
Što se tiče skenova stripova, ja ih čitam stalno, po nuždi i navikao sam se, mada je papir svakako ono pravo. Ipak, za desetak godina skoro sigurno neće postojati papirni stripovi, barem ne novi, pa se valja navikavati.
The Screen Actors Guild may be nearing a tentative deal on its videogames contract, eight months after the current pact expired.
SAG had no comment Thursday about the agreement and has never disclosed publicly that the contract had expired or that negotiations were taking place.
People close to the talks indicated that negotiators had been moving this week toward putting the finishing touches on the deal.
Scott Witlin, a negotiator for the vidgame employers, told Daily Variety on Thursday that a deal hasn't been reached but would not elaborate. "The negotiations have been professional and productive," he added.
If the vidgame deal's concluded, it will be the fifth SAG contract that's been wrapped up since April -- with all but the commercials contract well past their expiration. Those include master contracts covering feature-primetime, TV animation and basic cable animation; the basic cable live-action pact recently went out to members for ratification, eight months after its expiration.
Most of the agreements had expired during the latter stages of Doug Allen's turbulent two-year tenure as national exec director before he was fired in January and replaced by interim national exec director David White. The self-styled moderates, who had gained control of the board last fall, were frustrated by Allen's inability to close the feature-primetime deal while the self-styled progressives supported Allen for taking hardline stances.
Though Allen's been out of the top SAG slot for more than six months, he remains a polarizing figure within SAG as the campaigning for the guild's elections ramps up. The Unite for Strength faction has accused Allen of bungling contract negotiations and alienating the American Federation of Television & Radio Artists while the Membership First faction has continued to blast those who fired Allen.
SAG's vidgame deal expired at the end of last year but negotiations between SAG and the vidgame employers did not start until several months ago.
AFTRA reps have been attending the recent sessions. AFTRA agreed late last year to a one-year extension on its vidgame pact with a 3% increase in initial compensation for all session fees and a 0.5% gain in health and retirement contributions. That deal will expire at the end of this year.
Most videogames are produced with non-union talent. The SAG contract covers performers for such publishing giants as Electronic Arts and about 70 other gaming companies.
In 2005, SAG members voted to accept the interactive contract with vidgame publishers with an 81% endorsement despite the pact's lack of residuals. The accord gave guild members the same deal that AFTRA had reached: a 36% increase in the base rate of $556.20 per session for vidgame voiceover work.
Jay-Z has reportedly linked with a string of award-winning producers for his upcoming Blueprint 3 album including Kanye West, Timbaland, The Neptunes, No I.D. and more.
A confirmed tracklisting showing the beatmaker behind each song landed online Friday (August 21) afternoon.
1. What We Talkin? About (Feat. Luke Steele of Empire of the Sun) (Produced By Kanye West and No I.D.)
2. Thank You (Produced By Kanye West and No I.D.)
3. D.O.A. (Death of Auto-Tune) (Produced By No I.D.)
4. Run This Town (Feat. Kanye West and Rihanna) (Produced By Kanye West & No I.D.)
5. Empire State of Mind (Feat. Alicia Keys) (Produced By Al Shux)
6. Real As It Gets (Feat. Young Jeezy) (Produced By The Incredibles)
7. On To The Next One (Feat. Swizz Beatz) (Produced By Swizz Beatz)
8. Off That (Feat. Drake) (Produced By Timbaland)
9. A Star is Born (Feat. J. Cole) (Produced By Kanye West and No I.D.)
10. Venus vs. Mars (Produced By Timbaland)
11. Already Home (Feat. Kid Cudi) (Produced By Kanye West)
12. Hate (Feat. Kanye West) (Produced By Kanye West)
13. Reminder (Produced By Timbaland)
14. So Ambitious (Feat. Pharrell) (Produced By The Neptunes)
15. Young Forever (Feat. Mr Hudson) (Produced By Kanye West)
bulja u najavi
jigga=one of the most overrated (u prvoj ligi doduše)
:lol: :lol: Ako je njemu lično verovati, kako i sam kaže "There's never been a nigger this good for this long" itd.
Ali, for ril nau, jo, mislim, ovo će da bude teška konfekcija sudeći po producentima. Rispekta za Timdžu i tu ekipu, ali ja sam skloniji da se uzbudim kada vidim OhNo-a ili, dakako, starijeg mu brata Madliba na listi nego Farela i Kenja koji su već opšte mesto...
"28 Weeks Later" helmer Juan Carlos Fresnadillo is in talks to direct "Bioshock," the Universal Pictures adaptation of the Take-Two Interactive videogame.
Gore Verbinski has stepped out of the directing slot, but remains the film's producer through his U-based Blind Wink shingle. John Logan wrote the script.
Verbinski opted out of directing because the studio's budget plan for the film has been revamped to lense abroad in order to take advantage of tax credits and favorable exchange rates. Verbinski couldn't commit to an overseas shoot because he is locked into directing the Paramount animated film "Rango," with the title character voiced by his "Pirates of the Caribbean" cohort Johnny Depp.
Fresnadillo directed the 2001 Spanish thriller "Intacto," and made his Hollywood breakthrough with "28 Weeks Later."
With "Bioshock," Fresnadillo is stepping into one of the highest-profile projects on the Universal roster. Verbinski came attached as director when Universal made a multimillion- dollar against gross percentage acquisition from Take-Two. Verbinski then stepped away from directing his fourth "Pirates of the Caribbean" film because he expected to be in production on "Bioshock" last spring in Los Angeles.
But Universal put on the brakes during the pre-production phase because the budget rose to $160 million and the studio needed it to cost less (Daily Variety, April 27). At the time, Universal sources vowed this would not turn into another "Halo"-- U and partner Fox dropped out of that vidgame adaptation, which was to be directed by "District 9" helmer Neill Blomkamp with Peter Jackson producing. But the negotiations with Fresnadillo indicate the studio is determined to make "Bioshock" offshore.
More than one option
* (Co) Daily Variety
Filmography, Year, Role
* (Co) Daily Variety
Once it was clear Verbinski wouldn't direct, he and the studio sparked to Fresnadillo, whose deal is contingent upon the thumbs-up from Take-Two, which maintains director approval. Fresnadillo's producing partner, Enrique Lopez Lavigne, is in talks to become a producer.
"Bioshock" takes place in the underwater city of Rapture, where a pilot crash-lands near a secret entrance and becomes involved in a power struggle.
Tja... 28WL mi nije bio neki film. Ali ni POTC mi nisu bili neki filmovi. Tako da, šta reći? Propast u najavi...
Quote from: Meho Krljic on 24-08-2009, 10:42:39
:lol: :lol: Ako je njemu lično verovati, kako i sam kaže "There's never been a nigger this good for this long" itd.
hahaha a jadan je realno. mislim to pozivanje na longevity (što jeste jedna od kategorija prema kojoj treba ocenjivati repera) ili na njegov flow mogu da se uzmu u obzir ali lik je ono, bleđi od mase faca iz prve lige. plus, masa je crnja koji i duže traju i na najvišem su nivou a imaju i bolji flow ili su više stvari promenili ili bar imaju zajebanije linije.
njegovim biznis kvalitetima ne prigovaram ali njegovi reperski kvaliteti i zasluge su, sveukupno, iza kvaliteta ice cubea, snoop dogga, andrea, rakima, biggieja, 2paca,...
kad smo kod toga, i weezy je za ovo vreme kolko je tu veća faca od jigge
Ja ga personalno nešto i ne volim... Slušajući aktuelni Alchemistov album, primećujem da svaki put kada KRS One dođe na red meni srce jače zakuca. E, to je longevity. No, dobro, Jigga mora da se hvali kako zna i ume. Ne može baš sve vreme da priča "povaljujem Bijonse i imam telohranitelje koji kidaju Hrvate bez napora".
Udarili ste na Jiggu, ono što mi je najsvetije. Al' dobro. Valjda će on sam uspeti da se odbrani Blueprintom 3.
Mlad si još, pa ti ne zameramo.
Porediti Jiggu sa Weezyjem je blasfemija. I sa Snoop Doggom, takođe. Ostala djapetova poređenja stoje. I KRS One stoji.
jigga ne može da stane pored weezyja čak i kad ima bolje rime od weezyja, jednostavno ne može da stoji uz toliku iščašenost jer je suviše bled. a što se tiče snoopa, snoop je takođe upečatljiviji od jigge, ima jedan klasik lp u odnosu na jiggin nijedan i, iako je imao padova, imao ih je manje od jigge i, iako je duže u igri, em je od početka na vrhu em je u poslednjih 5-7 godina mnogo jači sa trakama.
(ovaj momenat sa klasik lpjem se ne primenjuje kao kategorija u poređenju weezyja i jigge jer se weezy pojavio u ovom vremenu kada ne postoje više klasik lpji)
edit: ima još ljudi koji se mogu porediti sa jiggom i ne biti ispod njega ili biti malo ispod njega u tom poređenju - eminem, chuck d, cool j, q tip, scarface, busta, dmx...
ali da, eto, slažem se da weezy treba da pokaže kakvu takvu trajnost - bar jedno 7-8 godina kolko je u najboljem slučaju trajala jiggina karijera
(s tim u vezi bi se mogli otpisati i biggie i 2pac iz poređenja ali to nije realno jer je pac za kraće vreme postao veća cujfa od jigge a i jači je brate, a s druge strane jigga je od biggieja uzeo sve, omekšao to i krenuo da šljaka biznis, ne mogu da ga shvatam kao ozbiljnog igrača rap-wise... u biznisu je u samom vrhu sa puffyjem, master pjem i tako tim crnjama...)
Average gamer is 35, often overweight and sad: study
Fri Aug 21, 2009 5:58am EDT
NEW YORK (Reuters) - Video games might be regarded as an obsession for youngsters but in fact the average player is aged 35, often overweight, introverted and may be depressed, according to a U.S. study.
Researchers from the Centers for Disease Control and Prevention looked at the behavior of 552 adults aged between 19 to 90 from the Seattle-Tacoma area.
They found 249 of these, or around 45 percent, were video-game players, with men accounting for 56 percent of these.
The researchers found that the men who played video games weighed more and used the Internet more than other men.
Women who played video games reported greater levels of depression and poorer overall health than non-gamers with researcher James Weaver and his colleagues suggesting video gaming for adults may be a form of "digital self-medication."
They said women in particular may immerse themselves in brain-engaging digital environments as a means of self-distraction.
"In short, they literally 'take their minds off' their worries while playing a video game," the researchers said in a statement.
Adult video gamers also seemed less outgoing, or extroverted, and less social and assertive than non-gamers.
This was consistent with prior research in adolescent video game enthusiasts that tied video game playing to sedentary habits, weight issues and mental health concerns.
Adult video gamers of both sexes relied more on the Internet for social support than non-gamers, which supports prior research suggesting that adult video game players may "sacrifice real-world social activities to play video games."
The study, published in the American Journal of Preventive Medicine, concluded that there was "measurable" associations between playing video games and health risks.
"As hypothesized," the researchers reported, a higher body weight and a greater number of "poor mental health days" differentiated adult video gamers from non-gamers.
http://www.reuters.com/article/lifestyleMolt/idUSTRE57K06L20090821 (http://www.reuters.com/article/lifestyleMolt/idUSTRE57K06L20090821)
Uh bre DNN, jel piše nešto za forumašenje? Koliko li je tek to opasno po zdravlje? Mentalno . xrotaeye
Mda... trebalo bi videti detalje te studije. Gejmer, danas u 2009. godini i Gejmer pre recimo pet godina nije ista stvar. Uspon PopCapa, Facebook igara, World of Warcrafta, Wiija i iPhonea je drastično izmenio demografski strukturu igračke populacije. Pre pet goidna taj "prosečni" igrač je bio možda par godina mlađi, mada i dalje debeo ali je znao ko su Bowser i Alyx. Pretpostavljam da ova studija uzima u obzir sve kancelarijske radnice koje igraju Zumu na pauzi, sve studentkinje koje igraju Pet Sosajeti na Fejsbuku, sve poslovne ljude koji su ikad daunloudovali nekakav Tetris klon na svoj iPhone, sve kumove koji su kod svojih kumova ikada odigrali partiju tenisa u WiiSportsu itd...
Edit: A evo i nastavka vesti:
First US gaming addiction clinic opens (http://www.gamespot.com/news/6216124.html)
QuoteBack in the summer of 2005, an Internet addiction clinic opened in China, and by the following summer, a clinic opened in Amsterdam to treat video game addicts. Now, a similar clinic has recently opened its doors 13 miles away from Microsoft's headquarters in Redmond, Washington.
For $14,500--or the cost of an 80.6-year World of Warcraft monthly subscription--the reSTART Internet Addiction Recovery Program now provides a 45-day intensive care program for game, Internet, and texting addicts. Patients can receive psychotherapy, 12-step group counseling, "nutritional education," personalized fitness plans, and "high adventure outings" around the facility's rural forested landscape.
"The reSTART Internet Addiction Recovery Program is specifically oriented toward launching tech dependent youth and adults back into the real world," the clinic's online mission statement states. "Our individually tailored program is designed to assist participants with an Internet and/or computer-based behavioral addiction to break the cycle of dependency. Our 45-day abstinence-based recovery program exposes participants to a variety of activities and everyday life skills, which are often avoided or underdeveloped as a result of excessive ongoing computer, video game play, and Internet use."
Earlier this month, a study of 552 Americans by the US Center for Disease Control--conducted in the area around reSTART--found that those who game are more likely to be overweight and suffer mental health problems. In July, a British psychiatrist said he plans to assemble fellow therapists to enter the online game World of Warcraft to treat in-game addicts.
For more on gaming addiction, read GameSpot's extensive feature on the subject.
Igrati se je valjda najnormalnija stvar na svetu, i sa širokom dostupnošću raznih platformi (od telefona pa nadalje) prosečna starost će se pomerati sve više i više. Što bi se samo deca zabavljala?
Ja sam, naprotiv za to da deca rade a da se mi zabavljamo. Nek zarade malo te besplatne ručkove koje uzimaju zdravo za gotovo.
Mog'o bih ja starog poslati u tu kliniku za odvikavanje od igrica, čova po čitav dan visi na računaru i igra bele sa nekim jaranima sa neta...Neki dan sam otišao u 7 posle podne u grad, vratio se u 5 ujutro, a on još sedi za kompom i igra...
Ahhh, evo nečega što čoveka razgali svaki put kad mu se smrkne pred očima zbog njegovog šefa:
The 6 Most Horrific Bosses of All Time (http://www.cracked.com/article/89_the-6-most-horrific-bosses-all-time/)
Quote from: Meho Krljic on 26-08-2009, 13:59:50
Ahhh, evo nečega što čoveka razgali svaki put kad mu se smrkne pred očima zbog njegovog šefa:
The 6 Most Horrific Bosses of All Time (http://www.cracked.com/article/89_the-6-most-horrific-bosses-all-time/)
"Yes, the world is basically one big orchestra of assholes, playing in concert."
Kako je ovo dobro rečeno...
cripple
evo kapiram da je ova pesma vrelija od velikog dela bp3
http://usershare.net/z8vvwg1uf701 (http://usershare.net/z8vvwg1uf701)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi29.tinypic.com%2F2v96lv5.jpg&hash=1f3ad21fb96aca66f4c3e0c9dc218cfe5d1c1492)
šta je eminemu s facom? da li je sam ostario ili mu je neko pomogao?
stara je to fotka
takav je jbga, šta će :s
kažem nezavisno od fotke; nekad mu je meso lica bilo više puffy, ali i vilica kao da mu ima manje kalcijuma nego tijekom heydaya... kao da može da je sužava po želji.
sad sam malo istraživao, pominje se čak i botox...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fs2.buzzfeed.com%2Fstatic%2Fimagebuzz%2Fterminal01%2F2009%2F4%2F14%2F16%2Fwhats-wrong-with-eminems-face-14345-1239740249-2.jpg&hash=fbacbc7ad84285937c7a036cd314d4baf7df973e)
... doduše, ovo je napad fotošopa.
s druge strane, crnci se ne menjaju. drea da smršaš i pošalješ nazad u vreme mogao bi da ubije sebe i umetne se u nwa.
phossy jaw!
Taj rad.
Inače, ovo što je Eminem ko Panišer nije slučajno, pošto je Marvel pre jedno mesec dana izdao (doduše samo digitalno) one-shot epizodu Panišera u kojoj se on susreće sa Eminemom i Eminem ispada kul baja i sve po redu. Evo je ovde (http://rapidshare.com/files/229605528/Eminem_-_The_Punisher_001__2009___webrip_marvel.com_.cbr).
ladno bi mogao da se snimi panišer sa eminemom i sl džeksonom... i ne bi bio gori od dosadašnjih adaptacija. xpirat xtwinkle
a šteta je što barakuda nije postojao dok je majkl klark dankan bio mlađi. mada... može i barakuda da ostari.
u stvari, bre, moguće da su tu negde po godinama jedino što mkd verovatno ne bi mogao da se skida u kratke rukave kao u devedesetim.
Da vidiš da si u pravu, MKD stvarno liči na Barakudu, ili obrnuto... Još samo da ubede Dolfa Lundgrena da ponovo igra Panišera i imamo dogovor!!!
nikad nisam kupio dolfa kao panišera... kako mi je omiljen enisov punisher max, to bi možda mogao da bude džef bridžis... maltene su istih godina.
Pa, hahaha, ja prema Lundgrenovom panišeru imam jedan ironično-blagonakloni stav, naravno.
I meni je Enisov Panišer MAX sam vrh Panišerstva, pisao sam o tome ekstenzivno više puta na UPPS-u i kad razmišljam ko bi mogao da Frenka pošteno odigra, hmmm, Džef Bridžis je suviše plav. Klajv Oven??? Ili je on preterano lep... A i treba da bude malo italijanskija faca. Stalone iz nekog alternativnog univerzuma (uzeti u obzir da je ulogom Mariona Kobretija već praktično pokazao na šta bi njegov Panišer ličio tako da... možda ne)?
džef ima te žiletе u crtama lica i obrvama, može i da se ofarba... dovoljno stocky facu i građu, oven je izdužen. najgori je naravno tajtus pulo koji je izgledao kao umirovljeni plesač koga su obukli kao panišera, pogotovo je facijalno omašio sa onom ravničarskom nežnošću u izrazu.
Ahahaha, jeste. Mada je barem prirodno crn (mislim?) za razliku od Džefa i naravno Dolfa.
ego, nešto sasvim drugo sada. Svaka nedelja u kojoj se na Internetu pojave ne jedan nego DVA nova Šonbejbijeva teksta je i dobra nedelja. Jutros sam video da je započeo redovnu mesečnu kolumnu na Gejmspaju (ali, da li će Gejmspaj uopšte postojati kroz mesec dana?), a malopre sam počeo da čitam njegov sedam dana stari tekst u okviru redovne nedeljne kolumne na Crackedu i urnebesan je. U osnovi, Seanbaby koristi Pandora Internet radio (koji kreira plejliste na osnovu "muzičkog DNK" pesme za koju ste mu rekli da vam je omiljena) da vidi šta se sve dobija kada se krene od jedne od najkretenskijih pesama Fila Kolinsa a onda se prvi rezultat iz svake sesije koriste da se započne nova plejlista. Nešto kao gej/ '80s pop verzija Alvina Lusijea.Hilariti ensjus (http://www.cracked.com/blog/six-degrees-of-su-su-sudio-using-pandora-as-musical-gaydar/).
Evo nečega što bi moglo da zanima pojedine ljubitelje video-igara...
You Wanna Play With Megan Fox??
http://www.aintitcool.com/node/42161 (http://www.aintitcool.com/node/42161)
Slatko. Sem što vele da je igra smeće. Ja se nisam ni potrudio ni da je skinem. A i, meni je od MF lepša i draža bila ona australska plavuša u prvom filmu. Pojavljuje li se ona i u Rivendž ov d folen?
Quote from: Meho Krljic on 27-08-2009, 15:01:00A i, meni je od MF lepša i draža bila ona australska plavuša u prvom filmu. Pojavljuje li se ona i u Rivendž ov d folen?
Jok. Pojavljuje se jedna druga australska plavuša. Ova:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fabsolutelyfabulo.us%2Fwp-content%2Fuploads%2F2007%2F08%2Fisabel_lucas_3.jpg&hash=0fe1446d393b61dc3ade61039f6d79d976930343)
Nije loša. Kad će taj Blu Ray rip, majku im jevem lenju?
Upravo videh na Popboksu, naš Milan u Subotu (http://www.popboks.com/vest.php?ID=11196):
QuoteO superherojskom žanru
U subotu će u sali na prvom spratu Doma omladine reditelj Milan Konjević (Zona mrtvih) održati predavanje na temu Superherojksi strip i stvaranje novog žanra u filmu.
"Prožimanje stripa i filma nikada nije bilo prisutnije u američkoj kinematografiji. Da li se već uspostavio novi hibridni filmski žanr i koje su njegove karakteristike, ko su njegovi tvorci a ko najznačajniji predstavnici?", stoji u saopštenju organizatora.
Predavanje počinje u 19 h.
Ulaz je besplatan.
Valjalo bi otići i malo geekovati. Ko je za?
Će da pimpujem.
http://www.guardian.co.uk/science/2009/sep/23/monkey-music-tamarins (http://www.guardian.co.uk/science/2009/sep/23/monkey-music-tamarins)
"Scientists create music that helps monkeys chill out"
"Monkey melodies inspired by the animals' calls had a calming effect, hinting at how human music may have evolved"
"The only human music that calmed the monkeys was Metallica."
Music inspired by the soothing calls of contented monkeys relaxes the animals when it is played back to them, researchers have discovered.
Researchers composed "monkey melodies" to investigate whether non-human primates are capable of responding to music with the same emotions as people.
They found that while monkeys were left cold by human music, they reacted emotionally to tunes that incorporated features commonly heard in monkey calls, such as rising and falling tones.
Tamarin monkeys lounged around and ate more when they heard music inspired by the calming sounds the animals make when they are safe, the study found.
Music based on more fearful monkey calls made the animals agitated and anxious when it was played in their enclosure.
The study, published today in the Royal Society journal Biology Letters, will help psychologists understand the evolutionary roots of music and its effect on the brain, the authors said.
"The emotional components of music and animal calls might be very similar, and from an evolutionary perspective, we are finding that the note patterns, dissonance and timing are important for communicating affective states in both animals and people," said Chuck Snowdon, a psychologist at the University of Wisconsin, Madison.
The findings suggest that the vocal characteristics of tamarin calls evolved to spread calming or anxious feelings throughout groups of the animals.
Snowdon teamed up with David Teie, a cellist with the American National Symphony Orchestra, to investigate whether humans were alone in responding emotionally to music.
In the study, 14 cotton-top tamarins were played 30-second blasts of music while the researchers noted any changes in their behaviour. The animals were played Samuel Barber's Adagio for Strings and a soft piano piece from The Fragile by rock band Nine Inch Nails, followed by Metallica's Of Wolf and Man and an excerpt from The Grudge by rock band Tool.
They then heard the specially composed monkey music.
The only human music that elicited any response was the heavy metal band Metallica, whose music had the unexpected effect of calming the monkeys.
The research could lead to a rethink of animal husbandry guidelines, as it showed that monkeys rarely respond positively to human music. "Lots of primate research laboratories use radios to provide what is called 'enrichment' for their animals, but you can't expect another species to be interested in our music just because we are human," Snowdon said. "Why should a tamarin find our music comforting? I find the monkey music quite irritating,"
Josh McDermott, an expert on music perception in primates at the Centre for Neural Science at New York University, agreed. "This work shows monkeys don't respond to human music. They might be more comforted if these more familiar sounds were played to them."
To je jedno...
A ovo je drugo:
http://www.youtube.com/user/8bitsbrothers (http://www.youtube.com/user/8bitsbrothers)
8-bit: Trollhammaren - Finntroll (http://www.youtube.com/watch?v=ah0_E-zF5JU#normal)
8-bit: Tyrants - Immortal (http://www.youtube.com/watch?v=Q47tOMUcb4k#normal)
8-bit: The Preacher - Testament (http://www.youtube.com/watch?v=Ofszqs9Uxig#normal)
8-bit: Angel of Death - Slayer (http://www.youtube.com/watch?v=31-BycUUq0M#normal)
8-bit: Bleak - Opeth (http://www.youtube.com/watch?v=BlrOvtlaVRs#normal)
itd... :)
Jevote, metalikini pres agenti rade prekovremeno... Te njihova muzka najbrže natera zarobljene mudžahedine da drukaju Osamu, te najbrže umiri majmune. Ma nek jedu govna..
A ove 8-bit interpretacije su bile prilično huge u mojoj kući pre nekoliko godina. Imam toga dosta po diskovima, negde...
Marija & Bart - Fensi HQ (http://www.youtube.com/watch?v=HIk4hBkQSO8#normal)
Nadajmo se da ovo neće nikada zaživeti.
Mala je krš pevačica, ali ima ovo potencijala.
šta se događa sa bp3 cripple? čujem sprema već novi, "eksperimentalni" album koji "neće biti album za vrhove top lista" hahahaha
http://www.sohh.com/2009/09/jay-z_unveils_big_announc.html (http://www.sohh.com/2009/09/jay-z_unveils_big_announc.html)
Pa dobro, ja cenim ambiciju da se ekspermentiše. Baš sam sad slušao OhNoov album sa kojekakvim bitovima i, Jay-Z bi mogo da uzme njega, ?uestiona i recimo, da bude avangardan, nekog engleza (Skreama na primer) i da se divlje upusti u eksperiment. Ali siguran sam da neće i da će više biti na liniji Kenje Vesta/ Autkesta.
Evo, da se razgalimo malo, Kerber feat Miroslav Ilić:
Kerber (feat. M.Ilic) - Ratne Igre (http://www.youtube.com/watch?v=i1p9511gCFw#normal)
Quote from: Meho Krljic on 04-09-2009, 12:07:14
Pa dobro, ja cenim ambiciju da se ekspermentiše.
nemam ni ja načelno ništa protiv toga nego naglašavam prodaju magle - iz fazona, jasno je da je bp3 njesra i sad se tu najavljuje novi album koji je eksperimentalni da bi se potcrtala neka gistro hitičnost bp3 + ova naznaka "it wont be number one album" hahahaha to je onaj lekarski momenat "neće pacijent preživeti"
presmešan je kamilko
Lako nam je sad da ga pljujemo kad je Cripple na misiji duboko u neprijateljskoj teritoriji Evropske Unije. But surely, ja nisam ni mislio da iko ozbiljno shvata Đejzija. Mislim, rispektujem što je nejlovao Bijonse, ali što se tiče muzičkih dostignuća, pa za njega je P. Diddy lik.
Quote
September 9, 2009: A Day Without Cats
September 2, 2009
by Linda Holmes
And now, a brief public service announcement.
We love cats. We love a LOLcat, we love a keyboard cat, and we especially love the amazing Simon's Cat.
Nonetheless, we will be joining the Day Without Cats On The Internet, organized by Urlesque.
This means that on September 9, we at Monkey See will not discuss cats, cat videos, adorable cats, or talented cats of any kind. (Note: This may affect coverage of Cat Stevens, Cat Deeley, Tiger Woods, the new ABC show Cougar Town, and sales trends in Hello Kitty merchandise.)
Samo da znaš!
Quote from: zakk on 03-09-2009, 10:41:22
Marija & Bart - Fensi HQ (http://www.youtube.com/watch?v=HIk4hBkQSO8#normal)
Nadajmo se da ovo neće nikada zaživeti.
Ах, весели Барт, снимили смо пар ствари са њим пре оваквих испада...референ је ужасан, а сама песма је требала бити против оног о чему говори, али испаде свашта, жао ми је што су га онако крвнички попљували на јутубу, треба му одати признање што се и даље цима са хопом, оно жена, дете итд. Има он солидних ствари, али тешко да ће то икад допрети до публике...бацам риспект сваком ко се труди и покушава.
Hm, samo je jedan Bart!
Bart Simpson - Deep Deep Trouble (http://www.youtube.com/watch?v=7kfhd8-swEY#normal)
prvi singl "uz'i lovu" sa novog album vip "živa istina"
V.I.P - Uzmi Lovu [2009] (http://www.youtube.com/watch?v=BOpF1dEJZPg#normal)
ikac jak, refren gotivan, relja ok ništa spec
bit dobar, dobra stvar, dobar izbor za prvi singl iako ne znam kakve su ostale stvari
Dobar bit uistinu. I Ikac je daleko ubedljiviji od Relje, ali to je valjda kod njih uobičajeno. Nije loša pesmica, mada ja imam dva problema sa njima:
1) Ni jedna pesma im nema snagu koju je imala Ko će to da plati koja je bila surova, britka i duhovita. Ova pesma je praktično varijacija na istu temu ali fale joj ove tri komponente.
2) Već pomenuto u prvoj tački - fali ovde duha. VIP umeju da naprave duhovite priče ali preretko se trude. fali im samo ironije i zdravog humora koji bi dali protivtežu recikliranim pričama koje vrte već desetak godina.
sve to stoji ali duhovitost može da se traži od juicea ili prtija, vip je ipak malo stegnutija priča na toj strani ali, kažem, mene ikčeva strofa na ovoj pesmi potpuno zadovoljava i ove prijave kako je pogledao ćaleta nežno i tako heheh kul je
ALI JE ZATO I TIMBE NAJAVIO ALBUM I JA OVO IŠČEKUJEM ČAK I VIŠE NEGO VIP
evo ga preview (1. stvar u plejeru): http://www.myspace.com/bdatdzutim (http://www.myspace.com/bdatdzutim)
čuo sam par ovih stvari iz previewa u celini i mogu da kažem da je predstavio
Pa taj njegov album se čeka dulje nego Chinese Democracy. Ajde, sad kad mu se raspao matični bend, možda se stvarno nategne pa ga završi. Ja njega baš volim ali videćemo koliko je u stanju da solira tokom celog albuma (uz, dakako, obavezne goste).
Ovo je bizar do daske, kakav se retko viđa :)
Boki 13 Otvori se (OFFICIAL HQ VIDEO) (http://www.youtube.com/watch?v=yOewupFvtGw#normal)
Da, simpatično je.
xrofl
tazhno!
i posle da se ukine pravoto na roditelski shamar..
vol unishtuva ugled na cela nacija.
:(
još malo muzike
Someone gives Love a bad name (Hint: Courtney) (http://www.youtube.com/watch?v=-UuAoEW5MbI#ws-normal)
Ja uopšte ne znam kako bih igrao ovaj Gitar Hiro. Meni je ovo teže od sviranja prave gitare, jebote. A ja uz to VOLIM rhythm action igre (as demonstrated by my love for Osu! Tatakae! Ouendan! ili Rhythm Tengoku ili Parappa the rapper).
Oh, ali izgleda da se Kortni Lav uznemirila zbog toga što Kurta u Gitar Hiro 5 možete da stavite u bilo koju pesmu (ne samo u Nirvanine) pa prijeti tužbom (http://www.eurogamer.net/articles/love-to-sue-the-s-out-of-activision). Kortni mi nikad nije bila preterano simpatična, ali Aktivižn je firma koju treba tužiti svakog dana ako je moguće.
Edit: Ali, evo i nastavka. Aktivižn kaže "šta sad hoćeš, kurvo, pogledaj ugovor koji si lično potpisala. (http://www.eurogamer.net/articles/activision-love-signed-cobain-deal)"
Ono što mi je ovde smešno je što ona i Kris Novoselić sad prave problem oko toga što se vidi kako Kurta peva Bon Žovi pesmu (u video koji je Cutter gore okačio), kao da je to sad neka sramota za njega. Mislim, stvarno, treba biti snob:
Quote
"It's hard to watch an image of Kurt pantomiming other artists' music alongside cartoon characters. Kurt Cobain wrote songs that hold a lot of meaning to people all over the world. We feel he deserves better."
Ja, ma nemojte, evo rasplakaću se... Znači, ostali umjetnici koji su se pojavili u GH igrama su tamo neki pederani koji bi sve uradili za keš kad bi bili živi, a Kurta je svetac rokenrola koji se ne sme uniziti Bon Žovi interpretacijama? Gimmi a brejk... I Kraj mi a river, bič.
meni se to mnogo sviđa, šteta što nema easter egg gde kostur svira kurta. očekujem da se prirodni razvoj nastavi i da pre, pre nego kasnije dobijemo razne druge zanimacije sa selebritijima. ne bi me čudilo da kortni pristane na nekakav courtney digs kurt eroge. ipak, for great victory bitna je zajednica + adekvatan modding tool.
Šta? Kortni će da presavije tabak zbog Kurta u igrici? A nije joj bilo teško da za 50.000 dolara unajmi rahmetli El Dučea da rokne Kurta? Pa kad je El Duče odbio, zgazio ga voz? Neoborivi dokazi i istina čudnija od mašte iznosi se ovde -
Kurt & Courtney: Nick Broomfiel interview with El Duce (http://www.youtube.com/watch?v=4ugWA6EAYSU#normal)
Voleo bih da ostane zapisano da nisam od besnih antikortnista. Mislim da nema loše sise i ima određenu slutty jebozovnost, te se ne može upoređivati sa Nensi Spandžen kao što neestete rade. Besni antikortnisti i branitelji Sent Kurta mi se čine zaista gej. Mada mi je žao što ga El Duče nije roknuo nego je morao neko drugi.
HORRIBLE Mom Tricks Her Son By Putting Clothes In Xbox360 (http://www.youtube.com/watch?v=lceRf0q60zA#normal)
:(
Au.
Prokleti crnci.
Ovo bi trebalo robijom kažnjavati.
Boli ga kita. Za godinu-dve kupiće dve konzole zaradom od prodaje kreka.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fpics.livejournal.com%2F_maldorora%2Fpic%2F001aqda9%2Fs640x480&hash=2a8030d08c4c033e68c87e4bddbc564385fd9f88)
U sklopu moje taktike privlačenja pažnje tamo gde je pažnji mesto, pitanje: da li neko zna ko je ovo na slici? ima smisla na ovom topiku.
Samo pokušavam da izazovem istu vrstu šoka koju sam ja doživeo kada sam saznao.
Nego, Meho, nevezano za ovo gore, ponovo sam pregledao tvoj tekst o najgorim reklamama u istoriji video-igara i nisam našao ništa o Segi.
Snimili su reklamu za japansko tržište u kojoj prosečan sredovečni činovnik usled igranja biva kinjen, ponižen, možda i prebijen (ne sećam se više dobro). Eh, ta Sega...
Probaću da je nađem.
Nađi!!! To zvuči divno, ali nikad nisam ni čuo za ovu reklamu niti sam video da je pominju u tekstovima koji su se bavili istom temom kao moj.
A ovo na slici, hm.... Basistkinja Borisa?
Quote from: Meho Krljic on 14-09-2009, 12:04:21
A ovo na slici, hm.... Basistkinja Borisa?
Odgovor ovde (http://www.znaksagite.com/diskusije/index.php?topic=8117.0).
Video. Zanimljiva je.
Ja sam tek stigao u Otadžbinu i tek sad skinuo BP3. Nisam još poslušao ali ono što primećujem kao veliki nedostatak albuma i to bez slušanja je nešto što je svakom dobronamernom ljubitelju Jay-Za jasno. Nigde nema Just Blazea!
Evo dokaza da umem da budem strog prema Jiggi kad zasluži
http://www.popboks.com/tekst.php?ID=4403 (http://www.popboks.com/tekst.php?ID=4403)
A zaslužuje taj stalno.
Ne huli.
Pomno pratim BLUEPRINT 3 i brewujem teoriju koju ću ispisati ovde na tvom topiku.
evo nećeg poućnog
Nova TV: Provjereno - Video igre i epilepsija (http://www.youtube.com/watch?v=CVYi_OYQmF0#normal)
Quotesve me iritira, najradije bi sve potrgala sasebe
Šteta što nije potrgala sve sasebe, baš je seksi.
Ovi 'rvati su stvarno pičke. Te Srbi nam poklaše svu nejač, te igre nam izazivaju epilepsiju...
Nisam odgledao celo ali negde na minut i po se lepo kaže "jedna od četiri tisuće osoba dobija epileptični napad igrajući igre ili gledajući televiziju" što valjda dovoljno jasno svedoči da se radi o napadu izazvanom treperenjem ekrana pri osveženju slike i nema veze sa igrama per se?
Dve misli:
1) Jedna od četiri hiljade osoba, to je 0.25 promila populacije. Ne tvrdim da je zanemarljiv procenat, ali recimo, po poslednjim studijama (http://www.childpsych.theclinics.com/article/PIIS1056499302000500/fulltext) prevalencija Aspergerovog sindroma je između 0,03 i 4,84 promila, dakle, potencijalno mnogo puta veća nego sklonost ka epilepsiji. Što igre budu više išle na fotorealističnost i što u njima više virtualni glumci budu davai igraču informacije gestovima i izrazima lica a manje rečima, to će igrači sa Aspergerovim sindromom manje moći u njima da se snađu jer ne razumeju neverbalnu komunikaciju. Ali da li Hrvati prave emisije o tome? Ne!!!
2) Zašto nikad nemam sreće da dok igram BlazBlue onlajn naletim na nekog igrača koji je pedeset nivoa iznad mene i koji u trenutku dok igramo dobije epileptični napad tako da mogu da ga dobijem i napravim ogroman skok u rejtingu? Nema pravde u svetu statistike... :cry:
Blow Job 9 (http://www.youtube.com/watch?v=javFV_Jl1eI#normal)
BlaženaDeviceMarija!!!
Želim da upoznam i oženim ove devojke!!!
Ti zhelish da upoznash i ozhenish BILO KOJE devojke!
Ali nisu maloletne.... :? :lol:
Ma sigurno jesu...
Quote from: Le Samourai on 16-09-2009, 02:39:08
Ti zhelish da upoznash i ozhenish BILO KOJE devojke!
Samo ako su mlade i mrsave.
Quote from: DušMan on 16-09-2009, 02:30:30
BlaženaDeviceMarija!!!
Želim da upoznam i oženim ove devojke!!!
Tja, htedoh da stavim ovo na tvoju "reaguj" temu, ali reko' pošto se radi o umetničkom performansu - ide kod Meha...
Quote from: Dry-Na-Nord on 16-09-2009, 02:52:00
Tja, htedoh da stavim ovo na tvoju "reaguj" temu, ali reko' pošto se radi o umetničkom performansu - ide kod Meha...
Deder stavi sad na Dušmanov topik neki ne-umetnički performans. :roll:
Ovakve stvari me učvršćuju u uverenju da umetnost treba braniti svim sredstvima od prostačkih masa.
Ja sam, posle gledanja ovog klipa, noćas sanjao kako opštim sa dve devojke... Ovaj forum je zakon!
Quote from: DušMan on 16-09-2009, 15:13:28
Ja sam, posle gledanja ovog klipa, noćas sanjao kako opštim sa dve devojke... Ovaj forum je zakon!
Verbalno....pretpostavljam.. :roll:
Kad smo već kod teme, da li je neko čitao priču "On the Etiquette of Eye-Contact during Oral Sex", Tobija Lita u zbirci "Exibitionism"?
Hm, google kaže da je ima i u prevodu:
http://www.knjigaknjiga.com/knjiga.php?k=1715&kat=50 (http://www.knjigaknjiga.com/knjiga.php?k=1715&kat=50)
Najtoplija preporuka...
PS: Posle šaranja po žanrovima, Tobi je konačno ove godine izbacio i prvi "pravi" SF roman: "Journey into Space"...
Ne znam ni ko je Tobi Lit ni šta piše, ali hvala za tip!!!
mrkoye mi prijavljuje da je DušMan danas u BIGZu bio on the loose sa dva hotija?
grlio se sa njima i sve
Nadam se da je reč o treniranim profesionalkama i da DušMan ni u jednom trenutku nije bio u opasnosti.
Mehmete, nadam se da ćeš praznik proslaviti u zdravlju i veselju, u najužem krugu porodice!
Danas je Ramazanski bajram
20. septembar 2009. | 01:59 | Izvor: Beta
Beograd -- Građani islamske veroispovesti slave danas Ramazanski bajram, kojim se završava mesec posta.
Trodnevni Ramazanski bajram za muslimanske vernike počinje jutarnjom molitvom - bajram namazom. Ramazamskim bajramom završava se 30-dnevni post tokom kojeg su se islamski vernici uzdržavali jela i pića i ružnih misli i dela od izlaska do zalaska sunca.
Predsednik Vlade Srbije Mirko Cvetković čestitao je svim građanima Srbije muslimanske veroispovesti Ramazanski Bajram.
"Upućujem vam iskrene čestitke povodom velikog praznika, uz želje da ga provedete u miru i blagostanju, okruženi porodicom i prijateljima. Neka vam praznični dani budu ispunjeni osećanjima međusobnog poštovanja, sloge i tolerancije", poručio je Cvetković.
Predsednica Skupštine Srbije Slavica Đukić-Dejanović uputila je čestitke muftiji beogradskom Muhamedu Jusufspahiću i svim građanima Srbije muslimanske veroispovesti.
«Imam posebno zadovoljstvo da Vama i svim građanima Srbije koji su muslimanske veroispovesti, u ime Narodne skupštine Republike Srbije i u svoje ime, čestitam veliki praznik Ramazanski bajram" poručila je predsednica parlamenta.
Ministar vera Bogoljub Šijaković čestitao je islamskim vernicima i velikodostojnicima u Srbiji veliki islamski praznik Ramazanski Bajram, saopštilo je Ministarstvo vera.
Gradonačelnik Beograda Dragan Đilas uputio je danas čestitku muftiji Muhamedu Jusufspahiću povodom Ramazanskod bajrama, saopštila je Gradska uprava.
"Čestiti muftijo, Vama i svim Beograđanima muslimanske vere čestitam Ramazanski bajram sa željom da ga provedete u miru, zdravlju i sreći", navodi se u Đilasovoj čestitki.
Quote from: mrkoye on 19-09-2009, 22:45:31
grlio se sa njima i sve
Ja bih iskoristio priliku da se zahvalim Mrkoyu na ukazanoj prilici i mogućnosti da se grlim sa dve izrazito privlačne devojke i nepoznate devojke.
Mrkoye, ulepšao si mi život!
Quote from: crippled_avenger on 19-09-2009, 22:47:45
Nadam se da je reč o treniranim profesionalkama i da DušMan ni u jednom trenutku nije bio u opasnosti.
Only the danger of falling in love...
Hugo in Africa
(Documentary -- Switzerland)
By JAY WEISSBERG
A Venus and Beyond presentation of a Venus and Beyond, Cong, Alfredo Knuchel Filmproduktion, RSI Radiotelevisione Svizzera production. Produced by Stefano Knuchel. Executive producers, Stefano Knuchel, Pietro Gerosa. Directed, written by Stefano Knuchel.
With: Kess Wodaje Assefa, Achenef Engdaw, Giuseppe Camuncoli, Matteo Casali, Jean Claude Guilbert, Pietro Gerosa, Patrizia Zanotti, Marco D'Anna, Sultan Abdo Houmed, Ismael Omar Guelleh.
Narrator: Jean Luc Bideau.
Hugo Pratt was one of Europe's most popular illustrators, best known for his adult comicstrip hero Corto Maltese. "Hugo in Africa," made with the blessing of Pratt's executors, Cong, is helmer Stefano Knuchel's hagiographic exploration of Pratt's seminal African escapades. Knuchel is too caught up in a kind of boys' adventure story to properly analyze his subject, and Jean Luc Bideau's theatrical narration tries too hard to be the audience's friend. A reasonable familiarity with Pratt's work is almost essential, limiting exposure primarily to Euro cable.
Venice-born Pratt moved with his family to Djibouti during Mussolini's fiasco in the Horn of Africa. At 13, he was signed up for the army, and the experience sparked a fascination with the military and also cemented an almost spiritual bond with the land and people. His series "The Desert Scorpions" was a direct result, but Pratt's time in Africa formed his personality as well as his art. How much this white Italian was really able to become one with the Ethiopians is questionable, but Knuchel has a fine eye, and unreleased footage of Pratt is nicely incorporated; intertitles, however, are unnecessary.
Camera (color, DV), Ariel Salati; editor, Emanuela Andreoli; music, Zeno Gabaglio; sound, Riccardo Studer. Reviewed on DVD in Rome, Italy, Sept. 17, 2009. (In Venice Film Festival -- Horizons.) Original title: Hugo en Afrique. French, Italian, Amharic dialogue. Running time: 91 MIN.
Villalobos
(Documentary -- Germany)
By LESLIE FELPERIN
A Pantera Films production. (International sales: Pantera Films, Berlin.) Produced by Romuald Karmakar.
Directed, written by Romuald Karmakar.
With Ricardo Villalobos, Romuald Karmakar.
A docu portrait of Chilean-born, Berlin-based superstar DJ Ricardo Villalobos, "Villalobos" is by turns utterly fascinating and grindingly dull. Following "196 bpm" and "Between the Devil and Wide Blue Sea," the HD-shot pic completes a trilogy of films about electronic music from German helmer Romuald Karmakar. A curio that would only resonate deeply with house music and techno fans (and perhaps some musicologists) in its current form, "Villalobos" could potentially sing to a wider aud on TV if severely edited down, although that might defeat the helmer's entire purpose.
Roughly half of the pic observes Villalobos in his home studio where he listens to new records and discusses them, works on trippy remixes of classical recordings, and shows off the workings of his intricate modular-system synthesizer. Clearly one very smart dude, the engaging Villalobos comes across as a true professional at the top of his game. Unfortunately, the rest of the pic consists of interminably long, underlit takes of him performing to adoring crowds. The music may be fantastic, but the filmmaking is so basic, bland and uninspiring it's more likely to repel potential converts.
Camera (color, HD), Benedict Neuenfels, Karmakar, Katja Sambeth; editors, Robert Thomann, Karin Nowarra. Reviewed at Venice Film Festival (Horizons), Sept. 8, 2009. German, Spanish dialogue. Running time: 119 MIN.
Quote from: crippled_avenger on 23-09-2009, 12:55:25
"Villalobos" is by turns utterly fascinating and grindingly dull.
Znači otprilike ko i njegovi miksevi? Hvala, hvala, biću ovde cele noći!!!
Šalim se, volim ja Rikarda, ali sad baš da bih gledao film u kome on stoji za mikserom, a masa se pali i žeri... sumnjam.
Ćerka pevača sastava Mamas & Papas Johna Phillipsa, Mackenzie Philipes, izjavila je da je 10 godina imala vezu sa ocem koja je uključivala seksualne odnose.
Veza je počela 1979. godine, kada je imala 19 godina, rekla je Mackenzie u emisiji The Oprah Winfrey Show, a ovaj podatak se može naći i u njenoj autobiografiji High On Arrival, objavio je BBC.
Prema njenim rečima, veza sa ocem je počela noć pre nego što je trebalo da se uda za Jeffa Seslera, koji je bio među bliskim prijateljima članova Rolling Stonesa.
Veza se završila 10 godina kasnije, kada je saznala da je trudna ali nije bila sigurna ko je otac.
Mackenzie tvrdi da je abortirala, a da je operaciju platio John Phillips.
Ona je u emisiji Oprah Winfrey Show svoj odnos sa ocem okarakterisala kao "zloupotrebu moći".
Bivša Johnova žena Genevieve je demantovala ove tvrdnje.
U saopštenju koje je pročitala Oprah Winfrey kaže se kako je John "bio nesposoban, bez obzira koliko drogiran ili pijan bio, da ima takav odnos sa sopstvenim detetom".
Ipak, Mackenzijeva polu sestra Chynna Phillips je US Weeklyju rekla da veruje da se incest dogodio, pošto su otac i ćerka zajedno uživali heroin.
"Da li ju je stvarno silovao? Ne znam. Da li verujem da su imali incestuozan odnos i da je to trajalo 10 godina? Da", izjavila je ona.
John Phillips, koji je veliki deo života proveo boreći se sa ovisnošću, je umro 2001, zbog otkazivanja rada srca.
Music se danas na Popboksu obratio naciji povodom BP3 jednim izuzetno zanimljivim tekstom. Ja cu ovo putovanje iskoristiti da doslusam BP3 i oglasicu se iduce sedmice.
Musić mi je spasao život jer je Nebojša originalno smerao da ja pišem taj prikaz. Malo je falilo da uzmem da slušam album, kada sam obavešten da je ipak Goran volontirao da se izloži Đejzijevom projektovanju ega na okolinu.
Ovo si vec verovatno video u RPS Sunday Papersima, ali program za univerzitetski predmet Analiza i kritika video igara: http://www.scribd.com/doc/19045242/ENG-298-Analysis-Criticism-of-Video-Games (http://www.scribd.com/doc/19045242/ENG-298-Analysis-Criticism-of-Video-Games)
Ma nisam, ne stižem ništa na Internet ovih dana, hvala na tipu.
izašao prvi deo teksta o razvoju disco scene/kulture/muzike/pokreta
http://www.popboks.com/tekst.php?ID=7674 (http://www.popboks.com/tekst.php?ID=7674)
ortak andrej idzuo!
SKANDALOZNO - Uhapšen osnivač nevladine organizacije za pomoć deci
Skandalozno: Predsednik NVO prošvercovao 2,5 kila kokaina!
N. S. (29), osnivač i predsednik nevladine organizacije za zaštitu dece, uhapšen kada mu je isporučen paket kojim mu je iz Bolivije stiglo 2,5 kilograma kokaina
Droga se sve češće šalje poštom... Naziv NVO, na čiju adresu je stigao paket, je ,,S vrha brda zaliva"
Beogradska policija uhapsila je juče N. S. (29), osnivača i predsednika NVO za zaštitu dečjih prava, zbog šverca 2,5 kilograma kokaina! N. S. je uhapšen kada je na adresu njegove NVO isporučen paket kojim mu je iz Bolivije stigla droga na uličnom tržištu vredna više stotina hiljada evra!
Pošiljka sa drogom bila je adresirana na nevladinu organizaciju za pomoć deci sa posebnim potrebama, a droga je otkrivena slučajno, pošto se službenicima beogradske pošte učinila sumnjivom. Obaveštena je policija, koja je posle provere organizovala hapšenje.
Inače, u istoj akciji policije je pored N. S. uhapšen i njegov otac Ž. S., koji je osumnjičen kao saučesnik u švercovanju kokaina.
Cene kokaina: od 5.000 dolara do 100.000 evra
Prema podacima iz policije, cena kilograma čistog kokaina u nekoj od južnoameričkih država je samo oko pet hiljada dolara. Kada se kokain na veliko transportuje u Evropu, cena kilograma skače na 35.000 evra. Droga se dalje preprodaje manje krupnim dilerima i narko-grupama, koje ga plaćaju po ceni od 55.000 do 60.000 evra. Poslednja u ovom lancu je ulična prodaja, pošto se na ulici kilogram kokaina prodaje po ceni između 80.000 i 100.000 evra.
MUP je saopštio da je Služba za borbu protiv organizovanog kriminala ovom akcijom presekla još jedan kanal krijumčarenja droge iz Južne Amerike ka Srbiji. Policija je potvrdila da su N. S. i Ž. S. uhapšeni na adresi NVO, registrovane pod nazivom ,,S vrha brda zaliva", prilikom preuzimanja 2.497,66 grama kokaina. Inače, N. S. je osnivač, predsednik i ovlašćeno lice NVO na čiju adresu je stigao paket sa drogom.
Sumnjiva pošiljka
,,Osumnjičeni N. S. je preko nevladine organizacije organizovao transport kokaina iz Bolivije ka Srbiji. Droga je poštom poslata na adresu u Beogradu, koja kao prijavljenu delatnost ima humanitarni rad sa decom", navedeno je u saopštenju MUP-a.
Paket poslat DHL-om... Procenjuje se da je vrednost zaplenjene droge od 200.000 do 250.000 evra
Prema saznanjima Pressa, kada je utvrđeno da se u sumnjivoj pošiljci nalazi kokain, inspektori SBPOK-a su odlučili da švercere uhapse prilikom isporuke paketa. Inače, procenjuje se da je ulična vrednost zaplenjenog kokaina između 200.000 i 250.000 evra!
- Paket je primio N. S. i on je istog trenutka uhapšen. Odmah za njim je uhapšen i njegov otac Ž. S. Neposredno posle hapšenja N. S. je izjavio da droga nije njegova, već da je bila namenjena drugoj osobi. On je objasnio da je pošiljku navodno trebalo samo da preuzme i prosledi je M. M. (26), koji je u bekstvu - kaže izvor Pressa sa hapšenja, i dodaje da policija proverava ko je M. M.
Osumnjičenima je određeno policijsko zadržavanje do 48 sati, posle čega će uz krivičnu prijavu biti privedeni dežurnom istražnom sudiji Okružnog suda u Beogradu.
Da slanje droge poštom nije ništa neuobičajeno pokazuje i slučaj iz Niša od pre dva meseca. Sredinom avgusta Okružno tužilaštvo u ovom gradu pokrenulo je istragu protiv Dragana Vukovića (45) i Slavoljuba Tasića (47) zbog sumnje da su prokrijumčarili kokain iz Južne Amerike. Tužilaštvo je u zahtevu za sprovođenje istrage navelo da je jednom od osumnjičenih stigla pošiljka iz Perua, tačnije iz Lime, u kojoj je bilo 30 većih i 12 manjih podmetača za čaše ukupne težine 2.735 grama, koji su napravljeni od kokaina. Osumnjičeni su uhapšeni prilikom primopredaje pošiljke koja je neposredno pre toga preuzeta u pošti u niškom tržnom centru ,,Kalča".
Početkom juna ove godine Okružni sud u Čačku oslobodio je Milana Tripkovića (33) krivice da je ugovorio transport dva paketa droge iz Argentine, koja su poštom stigla na njegovu kućnu adresu. Tripković je pred Okružnim sudom bio optužen da je početkom 2007. godine od Argentinca Guljerma Belosa iz Buenos Ajresa, sa kojim je navodno bio ugovorio isporuku kokaina, dobio dva paketa ove droge.
Pošiljka iz Hondurasa
Početkom 1998. godine u poštu u Pohorskoj ulici na Novom Beogradu redovnom poštom stigao je paket sa suvenirima iz Hondurasa, u kome je bilo 3,8 kilograma kokain. Tada su uhapšeni Radoslav Trlajić - Bata Trlaja (ubijen 25. februara 2000. na Novom Beogradu) i Goran Mijatović Mita (ubijen 2. oktobra 2006. u eksploziji automobila bombe). Tokom suđenja u ovoj kokainskoj aferi Trlaja je tvrdio ,,da je drogu video samo na filmu". Protiv njega i Mijatovića nije bilo dokaza, pa je osuđen njihov poznanik na koga je pošiljka bila adresirana.
- Paketi su bili poslati brzom dostavom pošiljki na kućnu adresu Tripkovića u Čačku. U jednom paketu u postavi ženskog kožnog mantila, u posebnim ulošcima, nalazio se platneni materijal natopljen kokainom u obliku hidroholidne soli, čija je ukupna težina iznosila oko 2,6 kilograma. U drugom paketu, težine 1,456 kilograma, bile su dve muške platnene jakne, u koje je na isti način bila upakovana droga - ispričao je tada izvor Pressa.
Dva paketa iz Argentine
Prvi paket Tripkoviću isporučili su 23. februara 2007. godine službenici ,,Siti ekspresa" iz Čačka na njegovu kućnu adresu. Drugi paket pet dana kasnije pronašli su i oduzeli inspektori SBPOK-a u prostorijama brze pošte u Beogradu. Taj drugi paket oni su odneli u Čačak, njega je primila Tripkovićeva majka, a on je uhapšen u Mačkatu, na putu za Crnu Goru.
Novinar uhapšen na aerodromu s drogom
Novinar iz Bora Zoran M. (46) uhapšen je oktobra 2006. godine na Aerodromu ,,Nikola Tesla" u Beogradu zbog sumnje da je švercovao drogu iz Južne Amerike u Srbiju. Prilikom pretresa kod njega je u specijalnoj pregradi kofera pronađeno 3,7 kilograma kokaina. To je u 2006. bila najveća zaplena kokaina u Srbiji.
Kako su mediji pisali, kolumbijska policija je locirala Zorana M. i obavestila nemačke kolege.
- On je u Berlin stigao avionom iz Kolumbije, a zatim prešao u avion za Beograd. Da bi se utvrdilo koji narko-diler je naručio pošiljku, nemački policajci su ga pustili da ode. Pošto je došao na Aerodrom ,,Nikola Tesla" nije odmah krenuo ka izlazu, nego je neko vreme proveo šetajući zgradom. Najverovatnije je čekao da mu se javi ,,veza" - objasnio je izvor iz istrage. Inače, Zoran M. je tokom ispitivanja u policiji negirao da je bio narko-kurir, tvrdeći da nije znao da je prenosio drogu. Policajcima je ispričao da mu je neko ubacio kokain u torbu i da nema veze s pronađenom drogom.
ahahahahahahaa
koji vrh od vesti, pomislih da je jedna od onih cripovih sa doba hahahaha
ali nvo "s vrha brda zaliva" - taj lik mora da je neki viklerov fan!!! hahahahahaha
Slanje gudre poštom je prastara fora. Tripovi su tako slati još sedamdesetih. Tad je akcija bila sledeća - nađe se desetak primaoca sa babama i starijim tetkama. Onda se na njihova imena šalju tripovi, ali ciklično, tako da bakute i tekute dobiju po pismo dvaput, najviše triput mesečno. Šalju pisma rođaci iz inostranstva, jelte. Pisma radosti.
meni je u sloveniji sada pričao lik da s pojavila neka neviđena nova gudra koja tek polako postaje nelegalna tu i tamo, jer je toliko nova da se maltene nije našla na spisku zabranjenih supstanci. problem je u tome što sam ja bio toliko pijan da sam zaboravio kako se zove, ali u svakom slučaju fora je u tome da se može naručiti legalno preko neta.
u svakom slučaju, uz pomoć te droge njegov drug je ostavio koks.
Legendary Pictures has scored the film rights to "Transmetropolitan" creator Warren Ellis' comic book series "Gravel" reports Variety.
The story revolves around the character William Gravel, a soldier in the British S.A.S. who uses his skills in dark magic to moonlight and battle supernatural beings for clients in order to make some extra cash.
The character first appeared in the 1999 limited series "Strange Kiss." Ellis has penned the initial draft of the screenplay and will executive produce.
Quote from: crippled_avenger on 09-10-2009, 18:24:41
meni je u sloveniji sada pričao lik da s pojavila neka neviđena nova gudra koja tek polako postaje nelegalna tu i tamo, jer je toliko nova da se maltene nije našla na spisku zabranjenih supstanci. problem je u tome što sam ja bio toliko pijan da sam zaboravio kako se zove, ali u svakom slučaju fora je u tome da se može naručiti legalno preko neta.
u svakom slučaju, uz pomoć te droge njegov drug je ostavio koks.
u britaniji trenutno postoje silne legalne gudre, analogne marihuani, ekstaziju, koakinu i sl. izgledaju isto, konzumiraju se na isti nachin, a efekti su (po nekima) josh jachi nego kod ilegalnih. ima interesantna tv emisija da se skine na netu na tu temu, zove se recimo How Can I Get High Legally.
Evo imena releasea:
Can.I.Get.High.Legally.WS.PDTV.XviD-W4F
Spasen život maloletnika
MUP i Interpol sprečili da dva deteta izvrše samoubistva
Autor: Tanjug | 09.10.2009. - 15:58
Ministarstvo unutrašnjih poslova Srbije saopštilo je danas da je, u saradnji sa Interpolom, sprečilo da dva maloletna deteta istovremeno izvrše samoubistvo dogovoreno preko Interneta.
"U okviru međunarodne policijske saradnje, kanalima Interpola srpska policija je došla do saznanja da se priprema istovremeno samoubistvo dva maloletna deteta, od kojih je jedno državljanin Srbije", navodi MUP.
"Maloletnici su članovi organizacije EMO, koja je prema dostupnim informacijama definisana kao neformalna grupa ljudi koja komunicira preko Interneta", navodi se u saopštenju.
Dodaje se da pripadnici te organizacije "oblače isključivo crnu ili belu garderobu i da se zalažu za seksualnu apstinenciju i virtuelno vođenje ljubavi".
"Maloletnik, strani državljanin pokušao je samoubistvo trovanjem, a prilikom spasavanja priznao je da se sprema još jedno samoubistvo na teritoriji Srbije", dodaje se u saopštenju.
Brzom intervencijom pripadnika srpske policije, koji su stigli na lice mesta pred samo izvršenje, spasen je život maloletne osobe, ističe MUP.
Inače, pripadnici takozvane "emo" subkulture, nastale uz istoimeni muzički pravac, uglavnom su tinejdžeri koji kroz pubertet prolaze uz izraženu depresiju, sklonost ka samopovređivanju i izrazitu introvertnost.
Uvek sam govorio da je emo zlo. S druge strane, ako to funkcioniše tako da se emoisti sami istrebljuju, onda je to ipak sasvim OK.
Ja bih citirao Billa Hicksa, pošto bih rekao da se naravoučenije da primeniti i u ovom slučaju:
''You heard about this Judas Priest trial? Two kids, big fans of (heavy-metal group) Judas Priest, commit suicide. Wow! Two less gas station attendants in the world.''
Miloshe, ti si baš elitista.
Ehh, nekad-CRNA RUŽA, danas-EMO...pustite decu na miru da se samoubijaju.
Njima je lako, još nisu stekli ogavnu naviku-da istrajavaju...
U to ime, idem da pustim LOVE POEMS FOR A DYING CHILDREN. :lol:
Jes ova Tanjugova vest zbrčkana, ali u najboljoj TV emisiji u etru (a to je svakako erteesova Beogradska hronika) je ona kratkokosa voditeljica što vazda maše rukama utvrdila da se radi o neformalnom udruženju "Emo". Zaboga! Normalno da su neformalni kad registracija kod ministarstva košta onolike pare!
Edit: već bilo. Umesto toga...
http://www.novosti.rs/code/navigate.php?Id=9&status=jedna&vest=159228&title_add=Deca%20spasena%20sajber%20smrti&kword_add=samoubistvo%20dece%2C%20inernet (http://www.novosti.rs/code/navigate.php?Id=9&status=jedna&vest=159228&title_add=Deca%20spasena%20sajber%20smrti&kword_add=samoubistvo%20dece%2C%20inernet)
QuotePripadnici EMO uglavnom kontaktiraju preko Interneta, najčešće koristeći "Fejsbuk" mrežu. Ima ih u celom svetu, a karakteriše ih pesimistički pogled na život. Za sebe tvrde da su previše emotivni, nezadovoljni su svakodnevicom, često izmišljaju probleme...
EMO je skraćenica od reči emocija. Umišljaju da imaju probleme koji su često nerešivi. To su uglavnom deca imućnih roditelja koja u slobodno vreme tuguju za nečim samo njima poznatim i za njih je paćenje "kul". Obožavaju da se šaraju crnim kreonom, ispod očiju stavljaju tigrovu mast kako bi se šminka razmazala i time doprinela "tu bi ded" izgledu (da liče na leš).
Jedan od znakova prepoznavanja je i besprekorna frizura sa šiškama preko jednog oka. Na odeći ili telu obično imaju neki morbidni motiv, koji podseća na smrt.
tu bi đed!
Quote from: cutter on 09-10-2009, 23:36:21
Obožavaju da se šaraju crnim kreonom, ispod očiju stavljaju tigrovu mast kako bi se šminka razmazala i time doprinela "tu bi ded" izgledu (da liče na leš).
Jedan od znakova prepoznavanja je i besprekorna frizura sa šiškama preko jednog oka. Na odeći ili telu obično imaju neki morbidni motiv, koji podseća na smrt.
Jbt, moram da prestanem da nosim majice sa lobanjama na kojima piše: DEAD GIRLS DON'T SAY NO. A kreon da svedem na razumnu meru...inače ...postadoh EMO protiv svoje volje... xrofl
Čekaj malo, ja mrzim fejsbuk...dakle nisam EMO! :lol:
Da li se može "šarati" crnim kreonom? Mislim, šaranje ipak podrazumeva šarenilo, ne? Jeste da ovo nije mnogo bitno, ali eto, urednički duh u meni nikako da umre iako ga dosledno ubijam neradom.
Naravno da može jer glagol šarati nema apsolutno nikakve semantičke veze sa pridevom šaren. :lol:
Nego sa čim ima veze? Ozbiljno pitam.
Hm. Ja bih rekao da šarati znači vući šaru, liniju. A kad bi pravili glagol od pridjeva šaren to bi valjda bilo šareniti.
Šara je linija? Ja sam mislio da je šara nekakav estetski uobličen skup linija. No, Father Jape je student filološkog fakulteta pa se od njega i očekuje odgovor!!!
A drugo, "šareniti" ne postoji, postoji povratni glagol "šareniti se" i koji znači upravo "biti šaren", dakle suprotno od "biti crn".
Hajde, sharaj malo tim rukama po grudima, sta si se udrvenio!!
Quote from: Meho Krljic on 10-10-2009, 15:50:59
Šara je linija? Ja sam mislio da je šara nekakav estetski uobličen skup linija. No, Father Jape je student filološkog fakulteta pa se od njega i očekuje odgovor!!!
A drugo, "šareniti" ne postoji, postoji povratni glagol "šareniti se" i koji znači upravo "biti šaren", dakle suprotno od "biti crn".
Crno
urednikovanje. :cry: xrofl
Rečnik srpskog jezika Matice Srpske iz 2007. godine kaže:
šarati: 1. povlačiti neodređene crte, linije po nečemu; crtati ili pisati nešto bez smisla, švrljati , škrabati: ~ po papiru, ~ po zidovima...
Ima još jedno 5 značenja, al mrzi me da prepisujem.
šareniti: činiti šarenim, bojiti raznim bojama.
Ne znaju oni srpski.
:D
Nego, Lilit, dobro nam došla nazad, dugo te nije bilo!
Jipi! Znači bio sam u pravu. Nisam džaba u gimnaziji imao trojku iz srpskog. :|
Nisi džaba? Morao si za trojku da plaćaš?! :?
Ja i moje rečenične konstrukcije. :x :cry:
Zato i nisam imao više od trojke. :(
nisi imao više od trojke zato što si plaćao za trojke? pa to je nekako logično... sirotinjo (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.serbianunderground.com%2Fforum%2Fimages%2Fsmiles%2FA.png&hash=b8b1442b848fd3138e773bfe83d70eae95619b0f)
Jbg., bila kriza, nije se imalo para za veću ocjenu. :mrgreen:
Можда нам је потребан суперхерој
... каже студент математике Владислав Радак, аутор недавно објављеног трилера ,,Ноћ мртвих снова"
Владислав Радак (Фото Ж. Јовановић) Добра књига је она која ме забавља. Не тражим ни дубоку сагу о смислу живота, нити да откријем све о женама и међуљудским односима. Може да буде и ,,спора", да се не чита ,,у једном даху", али желим да у мени покрене неку хемијску реакцију – каже млади Владислав Радак чија је књига ,,Ноћ мртвих снова" недавно објављена у издању ,,Добре књиге" из Београда. Трилер, са елементима научне фантастике и хорора, други је по реду Радаков роман који ће бити представљен вечерас у 19 часова у уметничком павиљону ,,Цвијета Зузорић" на Калемегдану.
Овај студент треће године Природно-математичког факултета дебитовао је већ са 15. година написавши причу ,,Плавa вежбанка" о школским данима и сазревању своје генерације. У међувремену је снимио два кратка филма, завршио нижу музичку школу, а о својим интересовањима, каже:
– Моја главна карактеристика није свестраност већ студиозност.
Када ми се свиди нека књига, ишчитавам је све док не схватим како је писцу то пошло за руком. Уосталом, и кад учим матиш, учим 10 до 12 сати. И, када пишем књигу, пишем по цео дан и тада се најлуђе проводим у животу.
Иако је одрастао на идеалним јунацима (Бетмену, Супермену, грофу Монте Кристу), наш саговорник временом је схватио да је много лепше, хуманије и интелигентније да његови књижевни ликови буду просечни људи поред којих пролазимо сваки дан али које ситуација натера на неко херојство или лудост, монструозност или кукавичлук. Понекад се, каже, ослања на сопствене жеље и тада помисли да нам, можда, треба неки суперхерој, срећан завршетак, бег који није реалан... али, који ће за тренутак да нам испуни снове.
– Као мали сам доста читао и, пре свега, осећам потребу да се одужим том делу свог живота. Помислио сам да бих, можда, могао да урадим нешто другачије или боље, и да ми више није довољно да будем само читалац. Као када дете спортиста гледа спортисте и жели нешто више, па помисли ,,сам морам да шутнем ту лопту, да видим колико ће да одскочи" – каже Радак.
Размишљање математичара, како додаје, својом здравом логиком и једноставношћу у неку руку доприноси процесу писања приче.
– Можда књижевност делује комплексније али сматрам са су најбоља решења увек она најједноставнија. То је оно што каже математика и то је оно што сигурно годи и књижевности. Тиме не покушавам да поједноставим процес писања, јер и у писању постоји превазилажење проблема, и мислим да је, уколико их превазиђемо на најједноставнији и најелегантнији начин, то сјајно. Такозвано намештање публици не мора да смишља математички ум, довољна је чиста проницљивост – сматра Владислав Радак.
У писце уз чије је књиге одрастао и формирао убрајају се: Џек Лондон, Роберт Ладлам, Нелсон де Мил, Стивен Кинг, Тери Прачет ... Сада га, каже, више привлаче романи нобеловца Џона М. Куција.
– Пре свега ме је заинтересовала трагичност Куцијевог живота која се осликава и у његовој књижевности. Куци је изгубио сина јединца и из редова његове литературе осећа се то дубоко разочарање животом. Он се поиграва са судбинама својих ликова, али и емоцијама нас читалаца, зато што вероватно сматра да има право на то; зато што се, уосталом, живот сурово поиграо са њим. Куцијева проза, можда, делује као фикција али већ иза другог ћошка, ако куцнем на нека врата, сигурно ћу пронаћи Куцијеву животну причу. Интересантно је да је и он био математичар, и да је дуго радио као програмер – подсећа Радак.
Премда себе види даље у свету математике, али и литературе, не жели, како каже, да његова књига ,,Ноћ мртвих снова" буде ни приближно савршена. Стога је није ни ,,поправљао" уредничким сугестијама...
– Да ми је неко помогао при писању чуо бих критике само од њега, а овако ћу добити више искренијих информација. Уобличавање књиге исто је као када старији глумци изађу ,,испеглани" у новинама. Старијим глумцима треба да се виде боре у новинама, као што и писци, и клинци писци треба да добијају примедбе на своје књиге. У овим годинама више би ми значило да добијам критике а не похвале. Не би било добро да се уљуљкам – каже Владислав Радак.
М. Сретеновић
[објављено: 08/10/2009]
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A tie-in with a comedy about couples working out their relationships on a tropical island might not seem like the obvious way to promote a music videogame, but Activision found Universal Pictures' "Couples Retreat" the perfect opportunity to strum up some buzz for "Guitar Hero 5."
Universal's partnerships and licensing group had signed up Anheuser Busch's Bud Light, Bloomingdale's, Diageo's Captain Morgan's Rum, the Tahiti Tourism Board and Crunch Gym to pony up millions in marketing support for the comedy.
But when Vince Vaughn and Jon Favreau wrote "Guitar Hero 5" into the script, making Vaughn a salesman for the game in the film, Activision wound up signing on as well.
"When we heard that Vince's character is a salesperson of the videogame we laughed hysterically," said Will Kassoy, senior VP of publishing for "Guitar Hero" at Activision. "We thought it was a perfect way to showcase the new game."
Vaughn and Favreau, who are fans of the game, wrote a major scene where a character grabs the game's guitar-shaped controller to compete against a resort staffer in order to move the plot forward.
Activision launched "Guitar Hero 5" last month, and is looking to attract a broader range of gamers to the franchise with its latest installment that boasts new features to make it easier to play.
"Guitar Hero" is facing stiff competition from rival MTV Games and its successful "Rock Band" franchise, which recently released a Beatles edition.
Tie-ins with movies are considered not only a way to get "Guitar Hero" noticed by non-gamers but also to help cement its place in pop culture, said Kassoy, who added that the franchise has sold more than 30 million copies worldwide. "Guitar Hero" is "social and accessible and extends beyond the typical videogame category and brings new audiences in."
In the past, Activision has enlisted filmmakers and celebrities to push the game, with Brett Ratner helming a series of commercials featuring Heidi Klum, "American Idol's" David Cook and David Archuleta, sports stars Kobe Bryant, Alex Rodriguez and Michael Phelps strumming the faux guitar in their underwear, mimicking a scene from "Risky Business." A new spot features Hugh Hefner and Playboy playmates.
To promote the movie, Activision created radio spots that ran for four weeks. It gave away the game and an Xbox 360 in 19 key markets across the country, plus sent winners of a sweepstakes to Jamaica. It also sent messages to the 3 million members of the game's social network via GuitarHero.com, Facebook and videogame consoles. Another promo involved releasing a three-song download pack of Billy Squier tunes to tie in with its scene in the movie.
In return, Universal promoted the new "Guitar Hero" game across its various marketing materials and gave Activision the clip of its integration in the film to play online or send to members of its social network.
When making promotional deals around films, brands are gambling on how they think a film will perform at the box office.
"Couples Retreat" turned out to be a good bet, earning $34 million during its first weekend.
Favreau is readying "Iron Man 2" for next summer. As was the case with the first pic, the sequel will once again boast its own lineup of marketers who want to tie in with the superhero.
If Iron Man wound up picking up a "Guitar Hero" controller, "we wouldn't mind," Kassoy said.
Fireball
((Thailand))
By RICHARD KUIPERS
A Phranakorn Film release of a Bangkok Film Studio presentation of a Forfilms production. (International sales: Golden Network Asia, Hong Kong.) Produced by Adirek Wattaleela. Executive producer, Sangar Chatchairungruang. Directed by Thanakorn Pongsuwan. Screenplay, Pongsuwan, Adirek Wattaleela, Kiat Sansanandana, Taweewat Wantha.
With: Preeti Barameeanant, 9 Million Sam, Khanutra Chuchuaysuwan, Phutarit Prombundran, Arucha Tosawat, Anuwat Saejao, Kumpanat Oungsoongnern, Kanut Samerjai, Karen Superdance.
Basketball becomes an underground bloodsport in "Fireball," a lively Thai actioner in which Bangkok's toughest street gangs smash each other senseless in the quest for championship honors. A rise in class for helmer Thanakorn Pongsuwan following his messy 2007 horror-thriller "Opopatika," the pic's regulation plot adequately holds together an impressive display of martial-arts mayhem. A modest B.O. performer on early 2009 domestic release, "Fireball" will add heat to fest sidebars and has promising international ancillary prospects.
Just released from jail, Tai (Preeti Barameeanant, vocalist with Thai rock band Clash) discovers twin brother Tan (also Barameeanant) near death after a severe mauling by fireball opponent Ton (Arucha Tosawat). To pay for his bro's operation, Tai takes his spot on a team captained by diminutive dynamo Zing (9 Million Sam). Exciting, very violent road to the inevitable smackdown pauses only briefly for standard match-fixing by sleazy organizers, and furtive romantic footsy between Tai and Tan's teary g.f. (Khanutra Chuchuaysuwan). Eye-catching combo of slam dunks and Muay Thai maneuvers is slickly shot and set to crunching rock and ethereal vocal harmonies. Pongsuwan has announced plans for a Vietnam War-set prequel.
-- Richard Kuipers
Camera (color), Teerawat Rujeenatham, Yardhana Yunchuplou, Suntipong Waiwong; editor, Saknakorn Nethan, Wattaleela; music, Giant Wave; production designer, Warakorn Phunsawat. Reviewed at Bangkok Film Festival (Thai Panorama), Sept. 25, 2009. Original title: Ta chon. Running time: 97 MIN.
Juče sam kolegi nešto objašnjavao putem crteža i tom prilikom je nastao ovaj hiphop assassin inspirisan tobom :)
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^eto predloška za domaćeg superheroja!
nastavak priče o discou
http://www.popboks.com/tekst.php?ID=7687 (http://www.popboks.com/tekst.php?ID=7687)
http://www.wired.com/thisdayintech/2009/10/1020atari-hi-way (http://www.wired.com/thisdayintech/2009/10/1020atari-hi-way)
prodaja def jam albuma
http://i38.tinypic.com/vyv0d1.jpg (http://i38.tinypic.com/vyv0d1.jpg)
http://i35.tinypic.com/90r2ag.jpg (http://i35.tinypic.com/90r2ag.jpg)
http://i36.tinypic.com/2lx8pq8.jpg (http://i36.tinypic.com/2lx8pq8.jpg)
http://i33.tinypic.com/el6ypj.jpg (http://i33.tinypic.com/el6ypj.jpg)
zanimljivo
novi sevdahovi radovi
Sevdah Baby - Tri poljupca @ Jelen Top 10 (http://www.youtube.com/watch?v=0b4t1bub7d8#normal)
Sevdah Baby - Ljubi me brzo @ Jelen Top 10 (http://www.youtube.com/watch?v=CIYXzsMThVA#normal)
nezvanični spot za 3 poljupca
3 poljupca-Sevdah Baby&Shobaja (bolji snimak i cela pesma) (http://www.youtube.com/watch?v=tbgPnWy8Qp0#normal)
OMG!
Cobi's Death - Slaughter The Corrupt (2009)
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Artist: Cobi's Death
Album: Slaughter The Corrupt
Year: 2009
Country: Serbia
Style: Death Metal/Grindcore
Bitrate: mp3@CBR320kbps
Size: 135mb (+3 на восст.)
Myspace (http://www.myspace.com/cobisdeath)
Tracklist:
1. Reptile
2. Slaughter The Corrupt
3. Into The Flames
4. Dark Remembrance Remains
5. When The Fallen Angels Fly
6. Lost Souls
7. Invocation Of The Great Demonarmy Through Brainrapture
8. Throw The Demons Out
9. Gates Of Hell
******************************
Total playing time: 43:47
depositfiles (http://depositfiles.com/files/0317wu2v2)
Edit: Vidi ti to, album je free 2 download
QuoteHello,mf's here's adress to free download new album 'slaughter the corrupt':
http://www.bunalti.com/?p=92169 (http://www.bunalti.com/?p=92169)
enjoy..and tell us on this page what you think about our material and new songs!
cheers!gary bramil
Ajde, skinućemo, pošto je free.
I dalje je užasno, free ili ne :)
A, evo kakvi svi užasi i tiranije čekaju slobodoljubivog čoveka u navodno liberalnoj Americi:
Man Arrested For Being Naked In Own Kitchen (http://uk.news.yahoo.com/5/20091022/tod-man-arrested-for-being-naked-in-own-870a197.html)
QuoteAn American man who brewed coffee naked in his own kitchen is facing indecent exposure charges and could be jailed.
Eric Williamson, 29, from Virginia, insists he has done nothing wrong and any exposure of his private parts was purely accidental.
Williamson was making coffee in the buff at 5.30am when a woman and her seven-year-old son walked past his kitchen window in Springfield.
The woman then called the police.
Fairfax County Police spokeswoman Mary Ann Jennings said the woman claimed Williamson then moved and exposed himself again through a large front window.
In his defence, Williamson said: "I'm by myself. So I come down here - the roommates are gone, and it's my house.
"I never had a conversation with anyone, never saw anyone. Didn't cross my mind, came and got coffee. I mean if I stood and seemed comfortable in my kitchen possibly it's natural. It's my kitchen."
Williamson, who is the father of a five-year-old girl, continued: "I am a loving dad. Any of my friends... and anyone knows that.
"And there is not a chance on this planet that I would ever, ever do anything like that to a kid."
Trial lawyer Dickson Young, who is not connected with the case, explained that "in order for it to be a crime, they have to prove - the state and police - have to prove that he knew those people were there when he was standing there.
"The statute requires an intentional display of your private parts. So if you are occasionally displaying them, accidentally displaying them, inadvertently displaying them it's not a crime."
Ms Jennings said the police would not pursue a case based on inadvertent exposure. The charge is a misdemeanour punishable by up to a year in jail.
Pa vi sad vidite. U Americi vam ustav garantuje pravo da nosite oružje ali ne i da se šetate goli po svojoj kući.
So if you are occasionally displaying them, accidentally displaying them, inadvertently displaying them it's not a crime.
meho, bezbedan si: slučajno i nesvesno može da ti ispadne iz gaća bez posledica!
Ali, ja ne nosim gaće kad sam u kući!!!
1 Day
(U.K.)
By LESLIE FELPERIN
A Vertigo release of a Channel 4, Screen West Midlands presentation of a Blast! Films production. (International sales: Channel 4, London.) Produced by Penny Woolcock, Amy Flanagan, Claire Bosworth. Executive producers, Jan Younghusband, Lee Thomas, Peter Dale, Grant McKee, Allan Niblo. Co-producer, Andrew Litvin. Directed, written by Penny Woolcock.
With: Dylan Duffus, Orhan Whyte, Yohance Watson, Tobias Duncan, Tosh Dennis, Joel Eccleston, Micah McQueen, Malik, Justice, Lady L, Natasha Holness, Fiasqo, Monica Ffrench, Carol Chambers, Rianna Aldred, Bishop Derek Webley, Aaron Hamilton.
Audacious and admirable, if commercially problematic, "1 Day" reps Blighty's first hip-hop musical. Writer-helmer Penny Woolcock ("Mischief Night") collaborates with an all-nonpro cast to create a rambunctious but gritty portrait of contempo street life in Birmingham, through the tale of a drug dealer struggling to repay a large debt. Although the characters perform songs straight to the camera, there's nothing old-school about the cutting-edge grime music, while the slang dialogue is so authentic, many viewers will struggle mightily to understand what's going on. One day, material like this may reap the appreciation it deserves, but that time is not now.
First met cooking up crack in his kitchen while he rocks his baby in a car seat, Flash (charismatic Dylan Duffus, credited as the pic's script consultant) is a midlevel drug dealer who supplies younger street pushers. The father of five children by three different women (Justice, Lady L, and Natasha Holness), Flash is a smooth player and a big man in the gang who hails from the Old Street area of Birmingham suburb Handsworth.
Flash's associate Angel (Yohance Watson) is released early from prison and demands Flash pick him up from the big house with the £500,000 (about $830,000) Flash has been holding for him since Angel went inside. But Flash has spent a good chunk of it, and stalls for time so he can raise the money. His only real hope is to borrow from his deeply duplicitous friend, Evil (Tobias Duncan), but Evil rips him off instead, forcing Flash to run for his life with only street urchin Pest (little gem Orhan Whyte) as backup.
Although the final reel delivers an anti-gun message (particularly timely in the U.K., where firearms-related murders are on the rise), Woolcock's script knows that crime in the inner city pays all too well compared with, say, flipping burgers. Still, the young drug lords aren't let off too lightly, especially by the visible but less central femme characters who upbraid the menfolk for their lothario ways.
"1 Day" feels more authentic than the similarly themed "Kidulthood" and "Adulthood" series, surprise local hits with which this pic will be inevitably compared. However, that veracity just might be "1 Day's" downfall, making for a hard sell not just to mainstream auds, but also to the Afro-Caribbean community, which may feel the pic, like Lee Daniels' "Precious: Based on the Novel 'Push' by Sapphire," offers too negative a depiction of its social problems.
Made on a budget of $1.1. million, the digitally shot pic looks just pro enough to fill a bigscreen but still pleasingly rough-edged, much like its thesping. Graham Smith's lensing manages to have an on-the-fly spontaneity yet look artfully lit, especially in the night scenes. Banging, compellingly dirty soundtrack by Urban Monk could pull in a cult aud on its own, especially if tracks and score samples get known on the club and pirate-radio scene.
Camera (color), Graham Smith; editor, John Dinwoodie; music, Urban Monk; music supervisor, Alex Robinson; costume designer, Nathania Atkinson; sound (Dolby Digital), Malcolm Hirst; sound designer, Christian Obermaier. Reviewed at London Film Festival (New British Cinema), Oct. 21, 2009. Running time: 98 MIN.
Lil Wayne faces jail time
Rapper pleads guilty to attempted weapons possession
By ASSOCIATED PRESS
NEW YORK (AP) -- Lil Wayne, who owned last year's best-selling album and is currently No. 1 on the pop charts, pleaded guilty to attempted weapon possession on Thursday, and expects to receive a one-year jail sentence.
The performer, arguably rap's most popular artist and one of pop's biggest acts, previously had pleaded not guilty to illegal gun possession charges that carried at least 3 1/2 years in jail upon conviction. He remains free on bail while awaiting his February sentencing.
The somber-looking rapper did not speak as he left the courthouse with members of his entourage, who piled into four SUVs.
Police said a gun was found on his tour bus in Manhattan in 2007.
The rapper, born Dwayne Carter, won last year's best rap solo performance Grammy for "A Milli." His albums include "Tha Carter," "Tha Carter II" and "Tha Carter III."
His trial had been due to start Jan. 20. The judge had been holding a hearing on a debated DNA profiling technique used to tie the rapper to the gun.
Lil Wayne, 27, also is scheduled for trial in Arizona on felony drug possession and weapons charges. He has pleaded not guilty in that case, which arose from a January 2008 arrest at a U.S. Border Patrol checkpoint.
In New York, he politely answered the judge's standard questions with "yes, Sir" and "no, Sir" as he entered his plea to second-degree attempted weapon possession, a felony.
He acknowledged he had a .40 caliber semi-automatic loaded gun on bus.
When the judge warned that he would not be able to withdraw the plea as some people try to do, the rapper said, "I'm not one of those people."
Prosecutors said small amounts of DNA found on the loaded weapon connected it to the platinum-selling artist. Defense lawyer Stacey Richman said the gun wasn't Lil Wayne's, and the testing technique was too problematic to prove otherwise.
Police pulled over Lil Wayne's tour bus in Columbus Circle on July 22, 2007. They said they had seen and smelled marijuana smoke wafting out the door before the bus left a concert venue minutes earlier.
Police said that as an officer approached, the rapper tossed away a Louis Vuitton bag containing a gun.
The defense disputed officers' basis for searching the bus and noted that more than a dozen other people were aboard.
Over the past two years Lil Wayne has not only emerged as the best-selling figure in rap but in all music. His "Tha Carter III" topped all album sales in 2008 with 2.8 million copies sold off of hits like the No. 1 smash like "Lollipop."
A rapper since he was a teen, Lil Wayne's popularity exploded thanks to his voluminous output on the mixtape circuit and collaborations with other artists. He currently has the No. 1 song in the country with Jay Sean, "Down."
Lil Wayne is the latest in a long line of rappers to face incarceration after topping the charts. Tupac Shakur, Lil Kim, Beanie Sigel, Shyne, Mystikal, C-Murder are just a few of the names who have done a few months to several years behind bars for crimes committed after they became famous.
Earlier this year, T.I., who is also one of rap's top sellers, reported to prison in May for his conviction on weapons charges. He's expected to serve a year and a day.
While some rappers have not regained their chart status after prison or jail, Shakur became even more popular, and T.I. remains popular on the radio.
Eto, prvo T.I., a sada i Wizzy, obojica padoše zbog attempted illegal weapon possessiona. I to usred Amerike gde je najnormalnije da nosiš oružje!! Apsurd!!!!!!!!!!!!!!!!!!
rappaz rn danja
proganja nas država al to nas čini još jačima
rapperz will never die, just multiply
:A
Ako to znachi da cemo biti poshtedjeni Lil' Waynove muzike - u potpunosti podrzhavam.
Preoštro je to. Nisam neki preteran fan Vizija, ali kada su me naterali da pažljivo preslušam TCIII nisam mogao a da mu ne dam pozitivan prikaz (http://www.popboks.com/tekst.php?ID=7025).
Ja sam se poveden hajpom ponadao da ce on vratiti dobri stari hip-hop sa modernim apdejtom, a onda preslushao - i meni je to na nivou onih tresh filler repera devedesetih koje niko nije slushao, osim na basketashkim kompilacijama.
Ali, ali.... A millie je baš lepa pesma (http://www.youtube.com/watch?v=eTF6N7EWzOA#normal)!!!
weezy je unapredio taj dobri stari rap na temeljnom nivou poetskog stava što je i meho potcrtao. naime, weezy je battle/represent poetski stav, koji je glavni element tvrdog jezgra rapa, identiteta rapa, odveo u onom smeru u kom je jedino mogao da ga odvede a to je ka samoukidanju tog "battle" momenta. i to je ono što i meho naglašava kad kaže da on na diss ili bilo šta slično tome odgovara sa "ja ne slušam tvoje ploče", dakle potpuno ukida vezu sa Drugim da bi bio apsolutan, on manje-više rapuje sebi o sebi.
tako da je on zaista unapredio rap.
Mozhda na nivou koncepta, ali muzichki - jok.
It sounds like a tired joke: Music used as a torture tactic to get terrorism suspects to talk.
But that tactic is exactly what the recently formed National Campaign to Close Guantanamo is citing to draw attention to its cause and force the government to release playlists.
A group of musicians, including Trent Reznor, Jackson Browne, the Roots, R.E.M., Pearl Jam and Billy Bragg are among those who are demanding the release of records to show what music was played as part of interrogation tactics at Guantanamo Bay and elsewhere.
The org has enlisted the National Security Archive to file Freedom of Information Act requests seeking documents on the specific role that music has been used in interrogations of detainees, and how that music was chosen.
Previously released documents from a 2005 Army investigation show that the works of Metallica, Britney Spears and some rap artists were used as a "futility technique" with uncooperative detainees.
The new request seeks documents that reference music played, as the groups behind the request suspect that interrogators used music from more than two dozen acts, ranging from Bruce Springsteen to the Red Hot Chili Peppers and songs such as the "Barney" theme and the Meow Mix cat food jingle.
Thomas Blanton, the executive director of the archives, charged that at Guantanamo, "the U.S. government turned a jukebox into an instrument of torture."
The campaign's director, former Rep. Tom Andrews (D-Maine), charges that music was played at "eardrum-splitting levels for hours and hours and in some cases for days," and when "combined with other uses of torture broke the detainees down." He bases it on published government reports and interviews with former detainees.
A CIA spokesman told the Associated Press that music was used for security and "not for punitive purposes -- and at levels far below a live rock band."
The org notes that the United Nations has banned the use of music in torture techniques under the U.N. Convention Against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, although it has not been enforced.
Others backing the sunshine effort include Bonnie Raitt, Steve Earle, T-Bone Burnett and David Byrne.
Their action, however, is likely to trigger further debate as to whether the use of such music constitutes torture or an "enhanced interrogation technique." Some former members of the Bush administration, chief among them former Vice President Dick Cheney, have argued that interrogation methods used were not torture and that the closure of Guantanamo will put national security at risk.
The Army investigation recommended that specific guidelines be developed on the length of time that a detainee be subjected to "futility music," although it said the music "was never loud enough to cause any physical injury."
Andrews hopes that the presence of musicians will help bring the issue in front of a whole new audience, but, meanwhile, recognizes ironies involved in the use of such music. "It is almost out of Ripley's Believe It or Not," he says.
Meni je to vazda bilo odvratno, pogotovo što se Metalika ložila kako je to do jaja što koriste njihovu muziku.
Jerry Bruckheimer is plotting a civil war at Disney, tapping J. Michael Straczynski to adapt 2K Games' "Shattered Union."
In the game, states secede from the U.S. and form their own governments that wage a civil war against each other after Washington, D.C., is wiped out in a nuclear blast and chaos ravages the nation. Players control one of the warring group of states -- the California Commonwealth, Republic of Texas and New England Alliance are three of the six -- or a European peacekeeping unit sent to reunify America.
The strategy war game, developed by PopTop Software (behind the "Railroad Tycoon" franchise), was published in 2005 by 2K Games, a division of Take-Two Interactive. Take-Two also has an adaptation of "BioShock" set up at Universal.
Straczynski, whose martial-arts actioner "Ninja Assassin" bows Nov. 25 via Warner Bros., is penning a "Silver Surfer" pic at Fox and a "Forbidden Planet" reboot at Warner Bros., and he adapted zombie book "World War Z" at Paramount. He also wrote Clint Eastwood's "Changeling."
His Vietnam War drama "They Marched Into Sunlight" is in pre-production at Universal with Paul Greengrass set to helm.
Mike Stenson and Chad Oman will exec produce the project at Jerry Bruckheimer Films, which is readying "Prince of Persia: The Sands of Time" for the Mouse House to release next summer, based on Ubisoft's vidgame franchise.
Pick One Synth
Post categories: Electronic, Pick one, Rock / Pop
Nick Dempsey Nick Dempsey | 10:08 UK time, Friday, 16 October 2009
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If you are even slightly interested in electronic music, you should definitely watch Synth Britannia, available to watch until next Friday. There's also the traditional follow-up programme with full length performances from many of the featured artists.
For lovers of the bleep there's nothing quite like a proper vintage synthesizer. So, uber-geeks that we are, we thought it would be fitting to ask a load of proper vintage producers to tell us all about their favourite 80s knob boxes.
NB: Special thanks to online library of synths Vintage Synth Explorer, a truly epic resource for synth freaks.
Korg Mono/Poly
monopoly.jpg
Andy Blake
Dissident Records
Favourite synth? That's like asking me to pick my favourite child. It changes all the time and very often it's the Pro One (my favourite!...ed), the 202 or the 303 and let's not even get started on drum machines. At the moment though, I think it's my Korg Mono/Poly. Basically the only synth (apart from a little bit of detuned Pro One playing the same pattern) on my new single, Terror International. Recorded live in one take and all that heavy, undulating texture comes from one analog sequencer driving the Mono/Poly and me varying the noise level, VCA and VCF settings in real time. A truly amazing synthesiser.
It's a somewhat overlooked synth with 4 oscillators and all kinds of cross-mod capabilities. The warmest noise generator on any synth, an insane filter (the only synth I can think of with more bass when the resonance is up), a great effects section, 2 LFOs, an arpeggiator and really well implemented CV control. It's got tons of character and flexibility sonically and also looks great and feels really nice to use.
Roland Jupiter 6
jup6.jpg
Neil Landstrumm
Planet Mu, Scandinavia, Tresor, Peacefrog
I got mine from a dodgy shop down Leith (Billy Bostons) and it even came to New York while I lived there for a while. The piece of gear I've owned the longest in my studio. Its sound can be lush discordant stabs or alien sci-fi textures all with the pressing of the unison and band pass filter buttons. The 12 oscillators can really sing and cut through any mix or it can just sound grumpy hanging around in the background. I don't think it was well received in 1983 as the DX-7 came out but I can tell you which one I'd rather have today. Used it on nearly every record I've done but I suppose the classic one would be Sugar Experiment Station - Ultimathule EP which I recorded with Tobias Schmidt in 1996.
Korg Minikorg 700s
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Keith McIvor aka JD Twitch
Optimo (Espacio)
One of the first wave of affordable synths from the mid 70s. Wood side panels and knobs with names such as "bender" - who could resist? Whole records have been made using only this machine with Warm Leatherette by The Normal being a shining example. Mine doesn't work but still has pride of place in my studio.
Roland Juno 106
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Lachlan Lewis MacColl aka Operator
Looks as if it were part of the control panel from the Millennium Falcon, 80s dark grey with colourful buttons like forgotten penny chews. Probably considered a bit of a baby synth because it's not hard to program and you don't need to spend £70 on patch cables to enjoy it. But it's really flexible, the pads are interesting, the bass is pretty much an SH-101 when you stick it in monophonic and the lead elements are piercingly warm. I'll always appreciate the Juno because it eased my entry into the world of synths. I used it on my most recent release on Mighty Robot.
Sequential Circuits Six Trak
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Dave Clark
Truffle Club, Big Ned, Optimo remixes
I use a Minimoog on almost everything these days, and have had a billion analogue synths over the years, but this has a place in my heart. I bought mine way back in the early 90s and although it isn't the most versatile machine, it does make some amazing sounds due to it's six (!) oscillators. It was designed to be 6 separate single oscillator monosynths in a box, but the sounds made from just one oscillator are very thin. It really comes into it's own when put into 'unison' mode, and all 6 oscillators fire simultaniously. This creates lovely fat chorused basses and lead sounds (that even the Minimoog can't copy) and I use them all the time. It's also the analogue i've had the longest. I'll never sell it!
Roland TR-808 Rhythm Composer
808.jpg
Dave Paton aka The Wee DJs
I loved the sound of it so much I got my mate's mum to buy me one from America. Found another mate to fit it with a British transformer, then trashed it up carrying it around to gigs all the time. Still got it, tho it doesn't really work any more cos I put it under the bed and my cat pee'd on it.
Korg MS-20
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Dave Tarrida
Tresor, BPitch Control, Shitkatapult
The first proper synth I had, apart from an old Yamaha keyboard. I was using old Roland drum machines and samplers. It was my first synth that made proper bass, which was right up my street. I recorded every track on my entire first EP for Tresor (Postmortem Pop) with this beast. It's a true classic!
Roland TB-303 Bassline
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Ege Bam Yasi aka Mr Egg
The 303 changed my life in Stirling back in 1984, as soon as I heard the sound I was hooked. It can have other eggsternal analogue eggstruments wired into it and can also be retro modified, plus the 1/2 dozen frequency knobs remind me of eggs in a box.
EMS VCS 3
VCS 3
Matt Den Haan
Despite being regarded as less musically approachable due to its unique design it is capable of producing some really far out sounds like those on the Synthi 100 (as used by BBC Radiophonic Workshop in the 70s) plus it was portable as opposed to being room sized. It's been used by The Alan Parsons Project to the Aphex Twin and many, many more.
Oberheim OB-Xa
OBXa
Andy Den Haan
A classic sounding synth in its day that everyone will have heard without knowing it, from the opening of Van Halen - Jump to Radio Ga Ga by Queen. Brings back childhood memories.
DSI Evolver
evolver.jpg
Dan Lurinsky
Monox, The Flying Lurinskys
Designed by Dave Smith (obviously). He was the brains behind Sequential Circuits, so he's responsible for some of the finest noise-making devices ever created. My favourite thing about the Evolver is that's it's so hard to keep in check, it's almost got a mind of it's own, I love that! I've used it on various tracks, sometimes I've used two. One track of note would be Don't Get Evolved (a crap play on words, I know), from the Unleash Electric Death EP I recorded as The Flying Lurinskys with Michael Forshaw.
Newly minted banner Vigilante Entertainment is launching operations by developing Warren Ellis' comicbook series "Black Summer" with Ryne Pearson ("Knowing") tapped to adapt.
"Summer," published by Avatar Press in 2007, centers on superhero team the Seven Guns, a group of scientist-adventurers who modified their own bodies for street-fighting in order to take back their West Coast city from a corrupt police force, criminal local government and rapacious private security forces.
Ellis also penned the graphic novel "Red," with Summit in pre-production on an adaptation; Bruce Willis and Morgan Freeman are attached.
Vigilante is headed by Hicham Benkirane, former head of audiovisual development at French comicbook publisher Les Humanoides Associes. Benkirane will retain control over a handful of Humanoids properties that he developed during his tenure, including crime thriller "Miss: Better Living Through Crime," supernatural fantasy tale "The Book of Jack" and "Fragile," a post-apocalyptic zombie love story.
Benkirane has also raised capital to option material from other publishers and has recruited Ersin Pertan, formerly with Michael De Luca Prods., to lead the search. WME's also working with Vigilante in packaging new material.
DOHA, Qatar -- Qatari media company Al Noor Holdings used Sunday's closing of the Doha Tribeca Film Festival to announce its launch into the movie biz with a $150 million feature about the Prophet Mohammed, to be produced by Barrie Osborne ("Lord of the Rings," "The Matrix").
Osborne and Al Noor execs are in discussions with a number of studios, distributors and tenpercenteries about boarding the English-language project.
Al Noor thus becomes the latest link between Hollywood and the Mideast, where companies are anxious to provide work for local filmmakers and to offer a more positive portrayal of Islam around the world.
One of the challenges of this project, however, is that Islamic tradition dictates that neither Prophet Mohammed nor direct members of his family can be depicted. Presumably the film will show events surrounding his life and Mohammed's effect on those around him. The narrative will run from the years from before his birth through to his death.
Muslim cleric and TV personality Sheik Yousef al-Qaradawi will serve as a technical consultant.
"He was a profound genius who founded a religion whose name in Islam signifies peace and reconciliation," Osborne said. "This is what our film will aspire to do."
The project is in development and does not have a director or cast attached yet.
Arab-American filmmaker Moustafa Akkad previously tackled the same subject in 1976 pic "The Message," starring Anthony Quinn and Irene Papas.
The announcement comes only days after Al Noor launched a $200 million revolving film fund to invest in Hollywood and international projects (Daily Variety, Oct. 30). The first projects from the fund are expected to be announced in the coming weeks.
Tribeca co-founder Robert De Niro jetted in for the Doha Tribeca fest Sunday to announce a year-round series of education initiatives designed to boost Qatar's film infrastructure. The initiatives include screenwriting and directing labs, as well as a reciprocal exchange program between Doha and New York for aspiring filmmakers.
"The festival is not just about four days," said fest exec director Amanda Palmer. "It is a year-round commitment. The start of these bold educational initiatives is a major step toward welcoming new voices to the global film community and to creating a film industry in Qatar in the long term."
The labs are slated to begin in March and will be evaluated by a committee led by Palmer and Tribeca Enterprises chief exec Geoff Gilmore.
The exchange program will bring 10 budding filmmakers from the Qatari community to the 2010 Tribeca Film Festival in New York and 10 aspiring filmmakers from New York to the 2010 fest in Qatar.
The closing-night ceremony also saw director Liz Mermin's doc "Team Qatar," about Qatar's first national high school debate team, win the fest's audience prize for best film.
Palestinian helmer Najwa Najjar's "Pomegranates and Myrrh" took the aud nod for Arab film.
Samo da je uzmu Keanua da igra Proroka. To bi mi slomilo srce.
Bet you didn't see THAT coming, laddies and lassies!
But this is one of several big surprises planned for next year and you'll hear a bit more about this in February when we start to release details. What is it? Who is it about? Well, that's all a secret for now, but I learned a lot from Kick-Ass and love having the same creative freedom I have with comics when I work in cinema. I never want to be a studio bitch and go in there pitching for them to love me. The closest I came to this was a couple of calls regarding Superman, but pretty much none of my plans ever revealed as I didn't like the idea of anyone nicking them.
Similarly, I don't like the idea of asking for funding and justifying scenes with the money-men so I'm doing what Matthew Vaughn did with Kick-Ass and just making it outside the system with private investors. The financing is all secured and the movie stands or falls on how good I can make it, doing what Matthew did and just selling it once completed.
As you can imagine, I couldn't be more excited. More as it happens, but this might just beat out War Heroes and American Jesus as my follow-ups to the Wanted and Kick-Ass movies. Have two other pictures about to go into development (and Wanted and Kick-Ass 2, of course), but I think you need to scare the Hell out of yourself every once in a while and something totally new like directing should do the trick.
The big question: Are you allowed to direct without wearing a baseball cap? Is it the modern version of the 70s BEARD?
MM
Djimon Hounsou ("Blood Diamond") will star in "Elephant White" for Nu Image/Millennium with Pachya Pinkaew ("Ong Bak"). He portrays an assassin hired by a businessman to avenge the murder of his daughter by white slave traders in Thailand. Shooting takes place in March in Bangkok.
crip, ne sećam se da smo ovo komentarisali
http://www.worldstarhiphop.com/videos/video.php?v=wshhSwB4519X0q89rdO4 (http://www.worldstarhiphop.com/videos/video.php?v=wshhSwB4519X0q89rdO4)
Jay-Z Responds To Beanie Sigel Diss (http://www.youtube.com/watch?v=wrTH8QV_3Kc#normal)
xyxy xjap
Ovaj Mark Millar je stvarno one man hype machine... No, dobro, ako će ga snimanje sumnjivih filmova držati podalje od pisanja loših stripova, u redu je.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg97.imageshack.us%2Fimg97%2F1331%2Fmehor.jpg&hash=ab4108bcf57ffe89c96f1356abd2f378fda34de5) (http://img97.imageshack.us/i/mehor.jpg/)
Eto. Slika govori više od 1000 reči mada je i ovih pet reči moćno.
Father Jape se zaljubio u Mehu pa mu izjavljuje ljubav. How cute! xlove5 :)
mehovom šarmu čak i najokoreliji heterosexualni fundamentalisti teško odolevaju!
Što trezan misli, to pijan govori!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg52.exs.cx%2Fimg52%2F271%2Fl9iblush.gif&hash=4083ad8ab80580ec42a4f30ebf62d40a9d01600e)
Mehmete, moraš priznati da dodavanje ultimativnog GILFa čini ovaj projekat najočekivanijim:
Helen Mirren has joined Morgan Freeman and Bruce Willis in Summit Entertainment's espionage thriller "Red," based on the WildStorm/DC comicbook.
Lorenzo di Bonaventura and Mark Vahradian are producing, with DC exec Gregory Noveck as exec producer. Robert Schwentke's directing the script by brothers Erich Hoeber and Jon Hoeber.
Summit acquired rights to "Red," originally written by Warren Ellis and illustrated by Cully Hamner, last year. The three-book series, published in 2003 and 2004, follows a former black-ops CIA agent who lives a quiet life in retirement until the day a high-tech assassin shows up intent on killing him.
"Red" is set to go into production in January in Toronto and Louisiana. Summit's set a domestic launch of Nov. 19, 2010.
Mirren will next be seen opposite Christopher Plummer in Michael Hoffman's "The Last Station," a German-Russian co-production about the tumultuous final year of novelist Leo Tolstoy's life.
Bogami, ova ekranizacija osrednjeg Ellisovog stripa upravo je skočila na skali mojih prioriteta. Helen je ipak Helen
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi38.tinypic.com%2F2m2vtif.jpg&hash=31375eb3722f4af8aa25fcc42fbee3c08c0bd400)
Helen put O in OMAS
Da se izrazim u hiperboli: "The GILF I'd love to fuck!!!"
Black Lightning (Chernaya Molniya) trailer (http://www.youtube.com/watch?v=lIWOwy03Uqk#normal)
Rivers Cuomo nastavlja sa rep eksperimentima. Prvo je obradio Ice Cubea, sad mu na albumu gostuje Lil Wayne. Kinky...
Verovatno debelo kasnim s ovim, ali (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-linknd8.gif&hash=23eccb7b2b4ea348ddecce73ce88ee06db71853e) (http://www.imdb.com/title/tt1321511/)
Ja sam za to čuo nešto kroz maglu. Ionako još nisam pogledao ni indijski rimejk.
Awesome Tongue - Lingua Incredibile (http://www.youtube.com/watch?v=lD0MG_KJlao#normal)
Mumiy Troll is the biggest-selling rock band you've never heard of.
The Russian stars are canvassing North America on a 40-gig tour, selling out small clubs across the continent, slowly converting auds to their brand of post-Soviet rock 'n' and roll.
The band, founded in the late 1980s by a group of friends in the far eastern Russian port of Vladivostok, has a huge following in Russia and plays up to 100 gigs a year in a country where fans take their music seriously.
Lead singer Ilya Lagutenko, 40, says the band was formed at a time when Vladivostok -- a military port -- was a closed city and youngsters could only dream of seeing famous Russian rockers like Aquarium.
Picking up magazines and LPs from sailors coming into port from China and Japan, they got their first taste of rock music from records by ELO, Genesis, Duran Duran, Bony M and Abba, among others.
Early gigs in Vladivostok were distinctly "lo-fi" says Lagutenko -- the band borrowed a balalaika from his grandfather and scrounged an electric guitar.
The KGB frowned on their style of music and odd name and put them on a black list, but no one was ever arrested and Mikhail Gorbachev's reforms soon put an end to any potential trouble.
After studying Chinese and English at the Oriental Studies Institute of the Far East U. in Vladivostok, Lagutenko lived in China and London, where his jobs included exporting lentils and "wearing a pinstripe suit in an investment bank."
Returning to Russia in 1995 he re-formed the band, financed its first album and musicvideo and never looked back.
Their first three albums sold in the millions -- although the band saw little money, which was lost to "piracy and music industry corruption."
When the Russian economy went into meltdown in 1998, the group seized the opportunity to take back the rights to all its music and has performed as an indie outfit ever since.
The band was the first Russian rock group to offer fans a free download via the Internet -- in 2000.
Lagutenko attributes much of the success to the release earlier this year of "Comrade Ambassador" -- the band's first album commercially available in North America. It got coverage in Entertainment Weekly, the Toronto Star, the San Francisco Examiner and other media. The band has also just released an English-language EP called "Paradise Ahead."
While Mumiy Troll pressed some tracks with Britain's Marc Almond for his album "Heart and Snow," Lagutenko says the band is keen to collaborate with other Western artists.
"They truly are superstars -- Ilya's work rate is hard enough to follow by emails. One minute he is in deepest Siberia making an ecology video, the next in Mexico performing to sellout crowds, a few days later performing at a private invite gig in a palace in France," says British music producer Greg Brimson, who has worked with the band.
Brimson will help manage the group's 2010 tour, with an itinerary likely to include Spain, Italy, Holland, the U.K., Ireland, the Baltic States, India and China. He believes the band is on the brink of becoming a global phenomenon.
"The music is unique, accessible, packed with great melody and quirky sense of irony. It kicks like a mule and can be sensitive like a beautiful child. It is clever, and it feels real. That is why they have sold millions."
Gorillaz Working With Watchmen, V for Vendetta Writer Alan Moore
The comic-loving creative forces are making an opera. Gorillaz Working With Watchmen, V for Vendetta Writer Alan Moore
After 2007's Monkey: Journey To The West, an opera by Damon Albarn and artist Jamie Hewlett, it looks like the Gorillaz guys are up to even more fantastical theatrics. According to a Mustard interview with graphic novelist Alan Moore (Watchmen, V for Vendetta, From Hell), there's another opera in the works, and Moore is helping to write it. (Via Twenty Four Bit.)
Moore told Mustard, "We're planning for me to do the libretto on their next opera project." He also mentioned that Gorillaz are set to curate a few pages in his new magazine, Dodgem Logic.
As far as a new Gorillaz album, last we heard the cartoon crew was hard at work with De La Soul on the record, tentatively titled Plastic Beach.
Posted by Ryan Dombal on November 10, 2009 at 8 a.m.
Merantau
(Indonesian, English dialogue)
By DEREK ELLEY
A Merantau Films production. (International sales: Golden Network Asia, Hong Kong.) Produced by Ario Sagantoro. Executive producer, Rangga Maya Barack-Evans. Directed, written by G.H. Evans.
With: Iko Uwais, Sisca Jessica,Yusuf Aulia, Mads Koudal, Laurent Buson, Alex Abbad, Yayan Ruhian, Donny Alamsyah, Christine Hakim, Ratna Galih, Edwel Datuk Rajo Gampo Alam.
Announcing itself as the first Indonesian martial-artser in 15 years, "Merantau" introduces a potential star in 26-year-old Iko Uwais, but only fitfully works as an action movie. A kind of softer, more metrosexual version of Thailand's Tony Jaa, Uwais has the moves and looks to carve a career beyond the archipelago, but Welsh-born writer-director G.H. Evans can't make up his mind whether he's making a respectful study of Indonesian culture or a trail-blazing chopsocky. Not kinetic enough to appeal to the usual action outlets, this ranks as an interesting but only half-formed experiment.
In its original, extremely plodding 137-minute version, the film world-preemed as the closer at South Korea's PiFan fest in July and subsequently did OK on release in Indonesia in early August. Version reviewed here is Evans' 111-minute international cut (for all markets outside Indonesia), which has since played some other fantasy fests. Pic still needs another 15 minutes taken out to stand a real chance in offshore markets.
In short order, Yuda finds himself homeless in the big city and rescuing young bar dancer Astri (cute Sisca Jessica) from her boss, Johni (Alex Abbad). Yuda takes her and her pickpocket baby brother, Adit (Yusuf Aulia), under his wing, and when Johni kidnaps Astri to service a psycho Western client, Ratger (Mads Koudal), Yuda springs into full action-hero mode.
Apart from a few brief demos, the first full-fledged action setpiece comes an hour into the movie -- 90 minutes in the leisurely domestic version -- and it's a corker of a rooftop/scaffolding chase that finally, but only briefly, sets the pic alight. Subsequent 50 minutes feature an exciting mano a mano in an elevator, and an OK docklands finale with Ratger and his brother (martial artist Laurent Buson), but that's about it.
For a journey that's announced as "the ultimate test of the physical and spiritual," there's not enough backgrounding of Yuda or sustained physical oomph to fulfill the pic's genre remit. Finale at least manages to spring one major surprise, which returns the pic briefly to Yuda's village.
Danish thesp Koudal, who was in Evans' stygian low-budget debut, "Footsteps," set in the world of snuff filmmaking, is good as the seriously nasty villain. But the most interesting character in terms of moral conflict is Ruhian's Eric, who in the international cut has been robbed of a gritty fight scene that properly set up his character.
Tech package, sourced on P2 DV, is good-looking, with clean daytime and moody night work by Yank d.p. Matt Flannery, who also shot "Footsteps."
Camera (color, DV-to-35mm), Matt Flannery, Dimas Imam Subhono; editor, Evans; music, Fajar Yuskemal Tamin, Aria Prayogi; art director, Tomy D. Setyanto; sound (Dolby Digital), Satrio Budiyono; action director, Evans; martial arts choreographers, Edwel Datuk Rajo Gampo Alam, Team Silat Harimau, Iko Uwais; assistant director, Yuhdianto Purwana. Reviewed on DVD, London, Nov. 6, 2009. (Also in PiFan; Fantastic Fest, Austin; Sitges, Hawaii film festivals.) Running time: 111 MIN.
The planned Hollywood remake of Chan-wook Park's acclaimed cult Korean revenge thriller "Oldboy" has been killed off reports Latino Review.
According to the site, DreamWorks and Mandate were in the process of obtaining the rights to the original Japanese manga on which the film was going to be based. However the companies couldn't come to an agreement and DreamWorks has walked away.
As a result the two parties attached to the project, Steven Spielberg and Will Smith, are no longer involved.
Quote from: crippled_avenger on 11-11-2009, 12:45:24
A kind of softer, more metrosexual version of Thailand's Tony Jaa
Hmmm, ne znam da li da škrgućem zubima ili da masturbiram....
Quote from: crippled_avenger on 11-11-2009, 12:45:24but Welsh-born writer-director G.H. Evans can't make up his mind whether he's making a respectful study of Indonesian culture or a trail-blazing chopsocky.
:cry: Zar se ne može i jedno i drugo u isto vreme?
Quote from: crippled_avenger on 11-11-2009, 12:45:24Not kinetic enough to appeal to the usual action outlets, this ranks as an interesting but only half-formed experiment.
Dobro... pogledaćemo u svakom slučaju.
Hahaha, Kris Sims je genije. Ali to se već zna. Elem, evo njegovog superduhovitog uradka koji se tiče Fejsbuk apdejtima Superheroja (http://www.comicsalliance.com/2009/10/05/super-social-networking-comic-book-character-facebook-status-u/)
Julian McMahon, Ernest Borgnine, Richard Dreyfuss and Brian Cox are all in negotiations to join the comic book adaptation of Warren Ellis' "Red" for Summit Entertainment reports Heat Vision
Jon and Erich Hoeber adapted the script which follows a former black-ops CIA agent (Bruce Willis) now living a quiet life in retirement until the day a high-tech assassin shows up intent on killing him.
McMahon would play a Vice President with a dark side who is at the center of a shadow conspiracy. Borgnine will play the keeper of the CIA's darkest records, while Dreyfuss will be a wealthy man who builds a fortune out of lucrative government contracts.
Cox is a former Cold War spy and nemesis of Willis. Morgan Freeman, Helen Mirren, John C. Reilly and Mary Louise Parker are also onboard.
Robert Schwentke ("Flightplan") is directing, while Lorenzo Di Bonaventura and Mark Vahradian are producing. Shooting kicks off early next year.
As previously reported, classic heavy metal metal band Anvil are set to make a cameo in Michel Gondry's upcoming film version of classic radio hero "The Green Hornet" starring Seth Rogen.
The musicians already recorded their scenes back in early October during campaigning for the release of "Anvil! The Story of Anvil". Now that documentary's director Sacha Gervasi tells Making Of about what the band will do in their scenes.
He says the film opens with Anvil playing in a rock club "and I think that they're blown up, and of course in true Anvil tradition even though they're blown up they keep playing."
Nego, jel' odgledaste taj dokumentarac? :)
Ja ga skino al ga još nisam pogledo.
Mogao bi da mi ga narezes...
Fans impatient for Batman's next screen appearance will soon get the chance to bring him to life themselves. Among the characters provided are DC headliners Batman, Superman, Wonder Woman and their nemeses the Joker, Lex Luthor and Circe.
Mass Animation, the collaborative animation project headed by former Sony Digital topper Yair Landau, is launching a DC Universe Online Animation Contest on Facebook.
Using animation made by fans, Mass Animation will produce the trailer for Sony Online Entertainment's upcoming DC Universe Online game and supply some "emotes" for game play. DC Universe Online is a massively multiplayer online game from Sony Online Entertainment skedded for release in 2010.
SOE is paying Mass Animation a fee for its output.
Fans create their animation by downloading digital models originally created by SOE from the Facebook page, animating them with a special version of Autodesk's Maya 3D software, then uploading their footage to the Facebook page, where people can vote on their favorites.
Those getting the most votes go into the 90-second trailer. A new iPhone app lets people view and vote from their phones.
"We see this as a new way to bring fans into creating materials we use in marketing and in-game," said SOE chief exec John Smedley.
The contest runs Dec. 7 through early February. Landau said, "We'll be giving people a couple of months to do the animation, and then we'll work with the winners to refine the shots."
Fans will also create "animation cycles" or "emotes" for game play: gestures that express emotion or personality, as when a character smiles or shakes his fist. Mass Animation emotes will be available for players' game characters but not used for DC's heroes or villains.
Shawn "Jay-Z" Carter, Will Smith and Jada Pinkett Smith have signed on to the production team of Broadway tuner "Fela!"
The endorsement of those celebs, long said to have been fans of the musical, looks poised to tap the nontraditional Broadway demos to which the show -- based on the life and songs of Fela Anikulapo Kuti, the Nigerian Afrobeat musician and political activist -- seems most likely to appeal: younger auds, African-Americans and music aficionados.
"Fela" will be the first Broadway producing credit for hip-hop mogul Jay-Z and thesp-producers Will and Jada Pinkett Smith, who for several weeks have been rumored to be considering formally attaching their names to the project.
Their involvement reps a hefty boost in the national profile of the show. Despite coming off a strong-selling and well-reviewed 2008 run Off Broadway, "Fela" kicked off Rialto previews Oct. 19 to modest B.O. (as many untried properties do). Last week the tuner posted a weekly sales tally of about $265,000 (for seven perfs), with an aud at 86% of capacity paying an average admission of about $42.50.
The addition of the new producing trio to "Fela" recalls Oprah Winfrey's 2005 decision to become a presenting producer of Main Stem tuner "The Color Purple." Winfrey's name directed a national spotlight on "Purple" in a way that most new musicals usually see only after longer runs and awards attention.
"Purple" reaped hefty sales benefits in part from Winfrey's willingness to highlight the tuner on her eponymous talkshow. It's not yet clear whether or how Jay-Z and the Smiths will promote "Fela," although some sort of public push seems likely.
The three new "Fela" producers may not have a daily gabfest on which to showcase a tuner, but, like Winfrey, they're major names whose influence extends across a broad range of demos. Meanwhile, the more traditional Rialto theatergoers look likely to have their heads turned by the strong reviews "Fela" seems nearly certain to earn given its reception Off Broadway.
Directed, choreographed and co-created by Bill T. Jones, the musical opens Nov. 23.
Sa ICv2:
QuoteThe sentencing of Christopher Handley has been set for January 25th before Federal Judge James E. Gritzner, according to court filings. Handley pleaded guilty to two counts related to his possession of manga that depicted children in sexual situations in May (see "Handley Pleads Guilty to Possession of Manga"). He faces up to 15 years in prison. Pre-sentence reports have been filed with the court.
Handley forfeited possession of two computers (presumably used to order the volumes) and seven volumes of manga on July 30th, per a separate court order.
Kakva god da bude presuda, imaće dalekosežne posledice, daleko iznad jednog izolovanog slučaja.
Da, čito sam to pre neki dan. Skeri.
Kada je krenula akcija protiv pirata, Meho je pao među prvima. Na sudu, advokatski tim, predvođen Rajkom Danilovićem, a kasnije i Branimirom Guglom bio je nemoćan i Meho je otišao na odsluženje kazne u Zabelu.
Jednog dana, stojao je natmuren u dvorištu Zabele i čekao da njegov poznanik, višestruki silovatelj malih dečaka završi turu na benču. Meho je u Zabeli navikao da čeka, prethodnog dana čekao je istog ovog čoveka da završi turu na DušManu koji se takođe našao u Zabeli zbog protivzakonitog skidanja stripova. Tih dana vežba je bila jedino što je moglo da mu odvrati misli od razgovora sa inspektorima SUPa koji su mu nudili da odruka ostale i da se spase robije. Gledao je u beton, razmišlja gde je pogrešio i kako se našao u toj instituciji gde su svi nevini. Oseti kako mu neko prilazi, i pokaje se što nije obratio pažnju kada u stomaku naglo oseti grč a zatim nekakvu toplotu koja mu se sliva preko noge.
Meho tada pokuša da podigne pogled i vidi ko mu je to zabio brižljivo istesano šilo ali samo pade. Na uhu oseti dah nekoga ko mu tiho šapuće "Ovo ti je pozdrav od Milara" a zatim primeti cipele koje se polako udaljavaju i postaju sve mutnije i mutnije.
i sve to zbog par pornića i pregršt igara... eh :(
Aj fot d lo end d lo van.
Malo MILF akcije za Mehmeta
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Montaža? U svakom slučaju, hvala!!!
usaz :evil:
Antoine Fuqua ("King Arthur," "Training Day") will direct a big screen adaptation of graphic novel "Miss: Better Living Through Crime" for Vigilante Entertainment says Variety.
The story revolves around Nola and Slim, two unlikely partners in crime in the early 1900s in New York. Nola is a poor white girl who has learned to survive by hook or by crook since being expelled from the orphanage.
Slim is a black pimp with an uncertain past, trying to keep one foot out of the grave. The story revolves around a poor white girl and a black pimp who forge a partnership as killers for hire.
John Ridley ("Red Tails") is adapting the script and Spike Lee is executive producing. Hicham Benkirane is producing.
LONDON-- Brad Pitt's Plan B and Indian media conglom Reliance Big Pictures have inked a deal with vidgame company Capcom to develop a feature film based on the "Dark Void" computer game as a potential franchise and starring vehicle for the actor.
Capcom will release "Dark Void," about a pilot who crash lands in the Bermuda Triangle following a routine mission and wakes up to find himself in an alternate world resembling a primitive earth where aliens with superior technology are planning to take over civilization, in North America and Europe in January next year.
Project is the first to come out of Reliance's development silo with Plan B after the deal was first announced at the Cannes film festival last year
Da li je GREH NJENE MAJKE najbolji naslov da se privuče Meho, lik ever?
Već sam mesecima zagrejan za tu seriju samo zbog naslova. Međutim, kako si i ti dobro primetio, u pitanju nije ljubazni MILF-friendly soft pr0n naslov već freaky postmoderna šarada u kojoj vreme za neke likove protiče a za druge stoji. Konsekventno, majka i ćerka izgledaju više kao sestre, što je u skladu sa pornografskim konvencijama, ali otac izgleda kao nekakav ghost-zombie što malo kvari računicu.
Pazi, ja sam juče vrlo ozbiljno razmišljao o značenju tog selektivnog protoka vremena.
I došao sam do jednog zanimljivog zaključka.
Naime, kada sam u razgovoru svojoj majci predočio to da samo jedan lik stari (i to dakle u stvari raste, sazreva, postaje seksualno formirana osoba, Šotra ni nju ne bi postario da petogodišnja devojčica može da bude seksualni objekat širem spektatorijumu) ona je bila u fazonu "So what?" i tada shvatih da Šotrina publika zapravo nema potrebu za tom vrstom realizma, mimezisa, ili kako god već to pokušavao da definišeš.
I štaviše, da to nije proisteklo iz toga što oni nisu dovoljno medijski ili gledalački obrazovani (moja majka iako se ne bavi filmom po ceo dan sluša o tome i zna da ljudi treba da se našminkaju ili da likove može da igra više glumaca) već zbog toga što oni osećaju da Šotra dolazi do suštine, i da u toj suštini međuljudskih odnosa njegovih junaka u stvari nije ni bitno ko ih interpretira na ekranu. Važan je odnos, glumci su svedeni na nivo simbola, piona koji izgovaraju tekst.
Rečju, Šotrini gledaoci znaju "da to nije stvarno" i njima je potreban samo nagoveštaj okolnosti da bi ispratili priču.
U tom smislu njih ova serija ne zanima kao artefakt, kao delo vrhunske zanatske izbrušenosti, zaokruženo, temeljno realizovano, ostvarenje. Ona je sasvim funkcionalna i kad je na nivou ovlaš rekonstruisanog trača.
Dakle, ako oni znaju da je Marija Vicković majka, dovoljno je samo reći kad se dešava scena, ona ni ne mora da se menja...
Šteta je što Šotra ne ide radikalnije u tom smeru. Recimo mogao bi onda da Ivana Bosiljčića stavi da igra sve muške uloge u seriji a da se likovi razlikuju samo po detaljima - ovaj bi imao brkove, onaj primetnu govornu manu itd. Ili recimo, da u nekim - nasumično odabranim - scenama lik majke igra pomalo ocvala ali i dalje zamamna kraljica dvostruke analne penetracije, Daniela Rush. Ili nekakva dresirana životinja. Koliko bi tu samo simbolike moglo da se doda u neizgovorenom, koliko bi višeslojniji ovo proizvod bio!!!
Šotra ne želi da bude napadan u svom high conceptu.
Kako bi izgledali naši omiljeni junaci da nose brkove i brade (kao što to ponosno rade Meho i Zakk)?
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Puštam bradu, brkove, da ličim na Pankrte: http://vanjamrgan.blogspot.com/search/label/bearded (http://vanjamrgan.blogspot.com/search/label/bearded)
Simpatično je ovo. Za Waria sam se baš iznenadio jer mu brada tako prirodno stoji da sam morao da izguglam neku njegovu sliku kako bih se uverio da inače nema bradu.
I ja nosim bradu :)
Quote from: Meho Krljic on 21-11-2009, 13:16:37
... scenama lik majke igra pomalo ocvala ali i dalje zamamna kraljica dvostruke analne penetracije, Daniela Rush
Zar ona nije u invalidskim kolicima?
Jeste, avaj... Ali mogla bi da glumi licem. Tragedija.
...to bi bio pravi cripple porn.
Oženio virtuelnu devojku
Ponedeljak, 23. novembar 2009. 16:55
Iako je neverovatno, ali jedan Japanac se toliko zaljubio u animiranu devojku iz video igre da se na kraju sa njom i venčao!
Muškarac, čiji je kod na sajtu za dejting sa virtulenim devojkama "SAL9000", organizovao je privatno ceremoniju venčanja, a umesto mlade pored njega je "stajala" igraća konzola kojom je komunicirao sa Nene Anegasaki iz video igre "Love Plus".
Internet igrica "Love Plus" je nešto drugačija od sličnih igara, jer od korisnika zahteva da virtualne devojke vode u šetnju, da im kupuju poklone, a sve sa ciljem da bi im one, sa ekrana uzvratile ljubav.
Za muvanje je igračima dozvoljeno 100 dana i ako se za to vreme ne dopadnu devojci, koja je kreirana prema kineskoj animaciji, igrica će biti restartovana.
"SAL9000" je očito bio krajnje uporan jer mu je "ljubav" uzvraćena pa, sa sada svojom virtuelnom suprugom, planira da u Tokiju organizuje i javno venčanje.
Da li će mu supruga na ovo venčanje da dovede i deveruše, "SAL9000" nije saopštio.
(MONDO)
http://www.mtsmondo.com/entertainment/gossip/text.php?vest=153539 (http://www.mtsmondo.com/entertainment/gossip/text.php?vest=153539)
Quote from: Ygg on 24-11-2009, 01:17:56
Internet igrica "Love Plus" je nešto drugačija od sličnih igara, jer od korisnika zahteva da virtualne devojke vode u šetnju, da im kupuju poklone, a sve sa ciljem da bi im one, sa ekrana uzvratile ljubav.
Autor teksta sa Mondoa očigledno ne zna da je ova vrsta igara izuzetno raširena u Japanu. Plus, naravno, ovo nije "Internet" igra nego običan offline dating sim.
Meho je suviše upućen u tematiku.
Sasvim... slučajno... uveravam vas!!!
http://outlawvern.com/2009/11/25/filler/#comments (http://outlawvern.com/2009/11/25/filler/#comments)
Sasvi slučajno sam se danas setio bloodninje i ponovo čitao one njegove sajberseks logove. Bože, ponovo sam plakao od smeha. Ko ne zna o čemu se radi, nek navali (http://people.ambrosiasw.com/~andrew/funny/bloodcyber.html).
Pa ovo je urnebesno.
Francis Lawrence ("I Am Legend," "Constantine") is tipped to direct a film adaptation of the comic "In the Small" for Weed Road Pictures and Warner Bros. Pictures reports Pajiba.
Michael Hague's graphic novel concerns a strange explosion that leaves all humans six inches tall, yet nothing else is affected. Those who survive the transition are forced to create a new social order and adjust in a world where man is no longer at the top of the food chain.
As they attempt to find out what happened, humanity is faced with a new and existential threat. Laura Harrington penned the adaptation.
Earlier this month Lawrence replaced Guy Ritchie as the director on the WW2 comic adaptation "Sgt. Rock" and Akiva Goldsman is set to produce both projects. Sarah Schechter is also slated to produce 'Small'.
Both are just two of several projects Lawrence has in development and could be his next picture. Others include Michael Chabon's "Snow and Seven" and an adaptation of "Water for Elephants".
Joshua Oppenheimer and Thomas Dean Donnelly ("Sahara," "A Sound of Thunder," "Dead of Night") are set to pen the film adaptation of Sony's hit video game series "Uncharted" reports Latino Review
Likely to be based on the first game in the series, 'Drake's Fortune', the story follows treasure hunter Nate Drake who believes he has learned the whereabouts of El Dorado, the fabled South American golden city, from a cursed golden statue.
The search becomes competitive when a rival hunter joins the fray, then is ratcheted up several notches when creatures -- actually mutated descendants of Spaniards and Nazis -- begin attacking those hoping to learn the treasure's true secrets.
The first game was the most acclaimed 'launch title' for the Playstation 3. Its sequel, 'Among Thieves', was released recently and is likely to sit at the top of many 'Games of the Year' lists next month.
Kyle Ward was previously announced as the feature's writer, but the deal apparently didn't happen.
Baš sam u poslednjem blogpostu (ovde (http://cvecezla.wordpress.com/2009/11/23/gubljenje-nevinosti-osamnaesta-tura/)) pisao o Uncharted 2 i hvalio narativni element igre:
QuoteNaughty Dog u jednoj stvari svakako nosi šnjur a to je pripovedanje. Uncharted igre su izdigle element priče, karakterizacije i dijaloških razmena na viši nivo od gotovo bilo čega što mi pada na pamet u okviru medija videoigara i u tom smislu, ove igre su više Indiana Jones od samih Indiana Jones igara. Hoću reći, teško mi je da zamislim da neko ko je odrastao na pustolovnoj literaturi (proznoj i grafičkoj), Carlu Mayju ili Carlu Barksu, Spielbergu ili Burtu Lancasteru, da ne pominjem pustolovne filmove četrdesetih godina, neće u igranju Uncharted 2 pronaći duboko zadovoljstvo, diveći se pažljivo pripovedanoj priči (kroz kinematike ali i kroz gejmplej), sjajno isprofilisanim likovima, vrhunskoj glasovnoj glumi, sigurno odmerenom humoru... Jeste, pričamo o naglašeno eskapističkom zadovoljstvu, što je možda iz nekog ugla i, jelte, greh, ali, dođavola, ovo je u zanatskom smislu jedan od vrhunaca ove godine.
Sad, Uncharted naracija i likovi su toliko dobri da se praktično ne razlikuju od AAA Holivuda, ali to ne garantuje da će i ekranizacija (umm... kinematizacija?) biti jednako dobra. Ima tu MNOGO faktora.
DESOLATION JONES mi je odličan. Jel ima toga još?
Ebert pisao predgovor za editorijal Sashe Grey u Playboyu posvećen Kubrickovoj Loliti...
Quote from: crippled_avenger on 26-11-2009, 18:44:30
DESOLATION JONES mi je odličan. Jel ima toga još?
Avaj... Ellis je počeo da piše drugu sezonu, a Žeželj je to crtao. Mislim, Williams III je raskošniji crtač, ali ja Žeželja baš volim. Plus, zaplet se doticao života i rada Filipa K Dika, ali strip je stigao do druge epizode i prestao da izlazi. Wildstorm je doduše upao u ozbiljne finansijske tesnace, ali mislim da je više problem u Ellisovoj rasutosti pažnje.
Posalji na PM neke linkove za te epizode...
Chitao sam neki intervju sa Elisom gde je rekao da on ima nekoliko nerealizovanih scenarija za Desolation Jonesa, ali da je tu Wildstorm neshto zasrao, a da je on onda morao da nadje neki drugi posao i pochne da pishe neshto drugo, ali da se nada da ce mu se u nekom trenutku vratiti.
Budimo realni, Desolation Jones je varijacija na Hellblazera, tako da ako ne bude mogao da parira pričama, možda je bolje da ostane na ovoj jednoj, ali zato odličnoj...
Vjerovatno svi znaju za ovog tipa ali ja noćas slučajno naletih na ovo:
Reyn vs David Hanlon - Druid II (http://www.youtube.com/watch?v=krNwXcXBSsU#normal)
Reyn vs Mark Cooksey - Ghosts'n Goblins (http://www.youtube.com/watch?v=k0Zv4yN8RZ0&feature=channel#normal)
Reyn vs Peter Clarke - Bubble Bobble (http://www.youtube.com/watch?v=ZGnX5HSIUmI&feature=channel#normal)
Jeremy Renner ("The Hurt Locker," "S.W.A.T.") tells Empire Magazine that Marvel Studios is after him to appear as the superhero Hawkeye in at least one or two upcoming films from the studio.
"Hawkeye could be interesting. They're going to send me some stuff on it, see what it is, but I think they're pretty awesome, trying to make superhero movies almost plausible and not just some fantasy thing" say Renner about the character, a master archer
Asked which ones he would appear in, Renner says "If I was a betting man, I would bet that Hawkeye would probably show up in Thor, and then be in 'The Avengers' but do I know for sure? I can't say. But I'd love for that to happen. It'd be fun."
He does however admit that nothing's set in stone or on paper as yet - "No offer has been made. I think there's a little ways from that." He's understandably cautious as he has seemingly lost out the lead role in George Miller's "Mad Max: Fury Road" to Tom Hardy.
The actor also shot down rumors he was considered for the role of Captain America. "I don't know if I'd be right for Captain America. I met with the Marvel guys, actually, but we didn't talk about Captain America" he says.
Meanwhile Marvel chief Joe Quesada tells Comic Book Resources that the "Thor" film "redefines what a super hero movie can be. It's not the expected story or settings."
Ryan Reynolds tells MTV News that unlike some other superhero movies, much of the 'Lantern' origin story will be gotten over and done with quickly.
"It is [an origin story] to a certain degree, but it's not a labored origin story, where the movie [truly] begins in the third act... We find out Hal is the guy fairly early on, and the adventure begins" says Reynolds.
Despite the presence of action and major special effects, Reynolds admits much of the film's best moments are "moments where the guy's not in the suit".
Summit Entertainment, fresh off the success of "New Moon," has come onboard a feature version of Top Cow's comicbook "Alibi," with Mandeville toppers David Hoberman and Todd Lieberman producing.
Comicbook, published last year, centers on a well-known socialite whose public presence establishes a perfect alibi for the covert activity of his secret twin brother, a government assassin. Mandeville snapped up rights to the project shortly after Comic-Con (Daily Variety, Aug. 4).
Summit's attached John Hlavin to pen the script. He was recently hired to write the fourth installment of "Underworld" for Screen Gems and is developing his Western screenplay "Gunslinger" at Warner Bros.
Hlavin's also writing "Boston P.D.," a cop procedural produced by Don Cheadle under his Crescendo banner, for NBC. He was previously was a writer and story editor on "The Shield."
Mandeville VP David Manpearl is exec producing "Alibi." Mandeville produced "The Proposal" and "Surrogates" for Disney and is in post on "The Fighter" for Par with Mark Wahlberg, Christian Bale, and Amy Adams.
Top Cow CEO and founder Marc Silvestri is also exec producing along with Top Cow COO & President Matt Hawkins. The comic book "Alibi" was created by Hawkins and Michael Renegar, written by Joshua Hale Fialkov and illustrated by Jeremy Haun.
For Top Cow, the deal's aimed at replicating the success of "Wanted." That Angelina Jolie starrer, an adaptation of another Top Cow title, topped $340 million in worldwide grosses. Top Cow's "Witchblade" title was the basis for a TNT series.
Hlavin's repped by UTA and Benderspink. ICM reps Hawkins and packaged the deal with Mandeville.
Activision Blizzard is generating critical raves and blockbuster sales for "Call of Duty: Modern Warfare 2," and the success of the videogame is rubbing off on its director Keith Arem.
Arem will make his feature directing bow on "Frost Road," an action thriller that Cary Brokaw ("Closer," "Angels in America") will produce along with Steven L'Heureux.
Project revolves around a young man who awakens from a car accident to discover he is one of few survivors in the aftermath of a mysterious outbreak that's struck a small coast town on the East Coast. Somehow immune to the contagion, he tries to save the remaining survivors as he struggles to prevent the deadly wave from spreading across the planet.
Arem penned the script for the pic, and is also developing the project as a graphic novel with co-creator Brandon Humphreys, with Christopher Shy illustrating.
Brokaw will produce through his Avenue Pictures shingle, while L'Heureux will work through his Solipsist Films, focused on developing pics and TV shows based on comicbooks and graphic novels. Arem will produce through his PCB Prods.
Brokaw most recently produced "The Resident," starring Hilary Swank and Jeffrey Dean Morgan for Hammer Films, which is now in post-production. Company also has a first-look deal with Fox Television Studios.
"Modern Warfare 2" has earned more money than any other videogame during its first week of release, collecting $550 million in worldwide sales during its first five days and $3 billion in sales to date.
As talent director on the game, Arem was responsible for directing, casting and engineering all of the actors for the game, which included 50 Cent, Barry Pepper, Kevin McKidd, Keith David, Billy Murray and Lance Henriksen.
Through PCB, Arem has also done game development for the "Lord of the Rings," "Spider-Man," "Rainbow Six," "Silent Hill," "Prince of Persia," "Guitar Hero," "Ghost Recon" and "Tony Hawk's Pro Skater" franchises.
Arem said he was "thrilled to have the opportunity to bring the skills I've honed in the game industry to the big screen" on "Frost Road." "There's an incredible talent pool currently working in the game industry, and I hope that the success of 'Frost Road' will give other creators the chance to show what they can do on a wider canvas."
Meho brate pomagaj, naime dolazi mi u goste jedna cura iz CRO sjutra, a ja pojma nemam gde bi je izveo jer nisam izlazio u grad brdo, pa mi reci dal znas sta ima u petak u gradu, ili bar neki sajt da mi preporucis gde to ima ? Jel radi akademija, koji klubovi jos klubovi su OK ? Sta je sa RED ROOMom ? xnerd
Sine, ni ja ne izlazim baš često, ali verovatno više od tebe, tako da... Ja bih Akademiju zaobišao, mnogo je deprimirajuće (bar meni), nisam bio tamo već par godina i ne nameravam; imaš Brod u 29 novembra i to je više kafić nego klub ali fino mesto, samo ako nije gužva. Tu je i Šipražje u Golsvortijevoj, ali to ti verovatno nije usput, a i malo je klaustrofobično kad se napuni. Inače, ima petak veče koncert Intrudera u centru Grad (ispod zelenjaka, odmah pored Brankovog mosta), to bi moglo biti okej...
Šta nam je s Mehmetom? Ne javlja se od Kurban bajrama. Mora da je otišao na hadžiluk! :evil:
QuoteKurban bajram - prvi dan - 27.novembar 2009.g. /10.zul-hidždže 1430.h.g.
Kurban-bajram su dani u kojima muslimani kolju kurbane. Ovim činom potvrđuju vlastitu spremnost na žrtvu u ime Uzvišenog Allaha.
Prvi dan Kurban-bajrama počinje zajedničkim obavljanjem bajram-namaza: "Prvo što ćemo uraditi u ovom danu je da klanjamo bajram-namaz, a zatim ćemo se vratiti kućama i poklati kurbane. Ko tako uradi, postupio je po mome sunnetu."( Buhari )
Propis o klanju kurbana ima utemeljenje u Kur'anu: "Mi smo ti, uistinu, mnogo dobro dali, zato se Gospodaru svome moli i kurban kolji, onaj koji tebe mrzi sigurno će bez pomena ostati." ( El-Kevser, 1-3 ) Poslanik je u hadisu precizirao da "najbolji posao koji čovjek može za vrijeme Kurban-bajrama uraditi, a to je ujedno tada i najdraži posao Allahu, jeste puštanje krvi svome kurbanu. On će mu (kurbanu) pristupiti sa svim svojim znakovima na Sudnjem danu. Zaista, taj posao stigne Allahu prije nego što padne prva kap krvi na zemlju. Pa uljepšajte svoje poslove kurbanom." ( Buhari, Muslim )
Kurbansko meso se dijeli na tri jednaka dijela, od kojih se jedna trećina dijeli siromašnima, druga rodbini i prijateljima, a treća zadržava za vlastite potrebe.
U vrijeme Kurban-bajrama, također, muslimani koji za to imaju mogućnosti obavljaju petu islamsku dužnost hadž. Oni hodočaste Kabu u Mekki.
E fala Miloshe ;)
Planiram da odem veceras do Red Rooma ako radi, pa onda u Shiprazje , tamo je INDIE vece, e sad jbmliga, ako neko ima jos neku ideju za danas i sjutra neka javi u toku dana, jer sam ja duduk totalni... :x
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Na netu sam naleteo na majicu sa ovim crtežom i odmah sam znao da moram da je podelim sa Sagitinim gejmerima.
Je l' ono moj imenjak Žica na naslovnoj Popboksa?
http://www.popboks.com/vest.php?ID=11821 (http://www.popboks.com/vest.php?ID=11821)
Jeste, to je on.
Što se tiče mog odsustva sa foruma, bio sam u Macedoniji nedelju dana poslom (ako se poslom nazvati može sedenje na workshopu, slušanje sa pola uveta i ubacivanje neduhovitih duhovitih komentara na svakih par minuta) u vrlo ugodnom odmaralištu Crvena Krsta u Strugi koje ima i funkcionalan vajrles internet, ali kako sam ja dočepao jedini laptop koji je bio na raspolaganju u ofisu minut pre nego što sam krenuo na put, u tom kompjuteru, zbog starosti, nije bilo vajrles kartice. Tako da sam bio oflajn sve vreme i prijalo mi je (Naravno, mogao sam da idem onlajn preko PSP-a, ali previše je to truda za premalo sreće). S druge strane, ohridsko jezero, patke, galebovi i labudovi na njemu bili su dobrodošla zamena za virtuelna prisustva stvarnih ljudi.
A što se tiče gejmerskih majica, evo jedne paradigmatične:
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Meni je još uvek omiljena sledeća (već sam je bio stavio na forum Ilustracije):
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Još neki favoriti:
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All over the Net for the past few hours has been a Movieline report that John Malkovich and Anne Hathaway are being sought to play the villains in Sam Raimi's upcoming fourth "Spider-Man" film.
Strange though is that Malkovich is wanted for The Vulture, an elderly crook who uses a suit to fly through the air on wings that can be used as weapons.
What's extra confusing though is that Hathaway is wanted for the character of Felicia Hardy who will NOT transform into the thief 'Black Cat' but rather a new superpowered figure called the Vulturess. Yep, father/daughter villains.
Finally the report cites that Curt Connors won't be turning into The Lizard as the studio "can't bring themselves to sign off on such an odd-looking enemy".
Of course rampant casting rumors on the project are swirling right now and none of them are confirmed so take all this as pure rumor for now.
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Tomoriko Nishicado
I have chosen Tomoriko Nishicado (the creator of space invaders) because I could have never have thought of such an addictive game like that, off the top of my head. Can you see the word Google in the high score? (You may need to turn it upside down!)
* Name: Pip Watkins
* Age: 11
* School: Oswald Road Primary School
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ovo sam možda već postovao ali ne mogu da odolim...
Rocco Siffredi - Amica chips / patatine (http://www.youtube.com/watch?v=X2WsuLvQuHA#normal)
Jedan je Roko. Eh, da je Slobodan Stanković uspeo barem jednog od naših porno pregalaca da vozdigne na ovaj nivo mejnstrim prepoznatljivosti. Ali, džaba, niko ovde nema Rokoovu harizmu...
Meho, jel bi mi mogo reci kolko bi me kostao nov komp , onako sredjen da mogu da igram sve one igre ko i vi, jer sad sam u totalnom kanalu, memorija mi riknjava (gase mi se programi cesto) a i sam znas koji problem imam sa igrama kad me Serious Sam zajebava. Dakle kolko bi to kostalo, ili me bar uputi na nekog ko bi mi mogao reci, a ja cu da iscimam tetku za pare jer ovako se vise ne moze ziveti, evo igram Colina dvojku i baguje mi stalno, neke mrlje po ekranu neka ludila, pomagaj !
sine reci sa koliko okvirno novčanih jednica raspolažeš i sastavićemo ti nešto :)
Shmrklja brate znao sam da ces se ti javiti, pa pazi za sad jos ne raspolazem nicim, ali ako bi mi ti okvirno reko kolko para treba da ja mogu da igram sve ovo sto i ostala raja sa foruma ja bi mogo obezbediti pare jako brzo, jedan mejl fazon. :!:
"halo, tetka, kako brat?
nego, čuj, treba mi neka lova, ili to šalji, ili sečem vene, al ovog puta stručno..."
sutra čim dođem na posao napraviću ti listu pa ti posle samo kukaj tetki :lol:
Dojaja, taman kao neko poklonce, sitnica za novu godinu (obe) :|
Nego imam nekih 250 GB harda, jel to moz se upotrebi ? Naravno ja bi tu nadodo jos barem tolko...
Eto, ja bio u Crnoj Gori za ovo vreme, ali Smrklja će ti odradi poso. Ja mislim da sa nekih 800 evrića završavaš poso bez problema. Sigurno može i za manje ako se malčice cimne čovek.
Zašto Popboks više ne objavljuje tekstove o stripu? Prethodni je objavljen pre dva i po meseca...
Željno se iščekuje prikaz "Malog princa", mada stižu informacije iz magacina da je ceo tiraž već rasprodat.
Zato što sam ja lenj da ih napišem.
xtwak
Pa prodo si sve i bez Popboksa!!!! Što da se pravimo da popboks ima neke veze?
Pa Popboksa radi... Da se ispostavi kao šatro relevantan portal. 8-)
Mada, možeš i da sačekaš da odem u tvorza, pa da tekst posvetiš meni koji sam uhapšen zbog tog stripa. Stara srpska tradicija hapšenja urednika stripova.
Lov na nepoćudne borce za slobodnu reč i... er... slobodan crtež.
Muslims in Europe: A Report on 11 EU Cities
Overview
Date: December 2009
Source: OSI
The Open Society Institute Muslims in Europe report series constitutes the comparative analysis of data from 11 cities in seven European countries. It points out common trends and offers recommendations at the local, national, and international levels, including to the European Union and to international organizations. While not representative of the situation of all Muslims in these cities, this report does capture a snapshot of the experiences of Muslim communities in select neighborhoods in Amsterdam and Rotterdam, Antwerp, Berlin and Hamburg, Copenhagen, Leicester and Waltham Forest–London, Marseille and Paris, and Stockholm.
This body of work comes in response to major trends with regards to Muslims living in Europe: whether citizens or migrants, native born or newly-arrived, Muslims are a growing and varied population that presents Europe with one of its greatest challenges, namely how to ensure equal rights and opportunities for all in a climate of rapidly expanding diversity.
The following overview report includes:
Executive Summary
Policy Context
Cohesion, Belonging, Discrimination and Interactions
Education
Employment
Neighborhood and Housing
Health Care
Policing and Security
Civic and Political Participation
Media
Recommendations
The publication is available for download below, in its entirety or by chapter.
http://www.soros.org/initiatives/home/articles_publications/publications/muslims-europe-20091215 (http://www.soros.org/initiatives/home/articles_publications/publications/muslims-europe-20091215)
Beogradski metal sastav NadimaC objavio je album Državni neprijatelj broj kec.
"NadimaC je nastao 2003. u Beogradu, i predstavlja jedan od prvih bendova koji su u regionu pokrenuli novi talas thrasha posle godina zatišja na ovom polju", saopštio je bend.
Svoju muziku opisuju kao kombinaciju speed/thrash/crossover zvuka.
U NadimaCu sviraju: Danilo Trbojević (ex- DaggerSpawn), Marko Pavlović, Dragan Ristić, Stefan Ćorović (ex- Metal slug).
Žiko, hvala za link!!
A ovaj NadimaC me je već Nebojša zadužio da recenziram na Popuboksu.
Taj Popboks postaje najstrašnije metalersko leglo... više se i ne iznenađujem kad vidim prikaze i najave metal nedela. Dokle bre više?
Da citiram Guru Gagija: do kraja, do bola, do jonusa.
Quote from: Meho Krljic on 19-12-2009, 09:58:56
Žiko, hvala za link!!
molem, molem, nego, jesi li vičan za neku probu?
Vičan!!!
aj, poslo sam mejl, pa da se dogovorimo
Nisam neki fan Džene Džemison, ali ima ko jeste. Dakle, Kriple, Ridikuluse i ostali, evo šta žena kaže:
Jenna Jameson's 25 Good Reasons Why No One Would Ever Want to Become a Porn Star (http://antipornographyactivist.blogspot.com/2007/07/jenna-jamesons-twenty-five-good-reasons.html)
Naravno, u pitanju je prilično hilarious antipornografski blog koji ima prilično hilarious vodič (sto i jedna tačka) o tome kako da se borite protiv pornografije, ali Džena je ipak žena od iskustva i karijere koju kada ima nešto ovako da kaže, treba slušati.
Ja Jennu štujem kao klasika, ali ti znaš ko su zaista moje mezimice :)
Znam, Saša, Stoja i rahmetli Karen... Prefinjeno.
I'm gonna try real hard to muster up some give-a-shit for this news item, which comes from our winsome and witty super-duper secret inside source, The Hollywood Cog, who tells me that Warner Brothers and DC Comics are developing a big-screen version of Hawkman.
Ah yes — when Hollywood starts tackling the fringe elements of the Super Friends, you know we're in trouble. I don't know a lot about Hawkman, beyond the fact that he's not a particularly cool-looking superhero, but were DC to try to take Hawkman in a direction similar to what Marvel is doing with Thor, I could see Adrien Brody in the role.
For the unfamiliar (like myself), Hawkman uses archaic weaponry and large artificial wings attached by a harness made of the Nth metal that allows for flight. Most incarnations of Hawkman work closely with a partner slash romantic interest, Hawkgirl or Hawkwoman in his fight against supervillians, though I could not tell you who Hawkman's arch-nemesis is. Probably Country Farm Mouse Man.
Warners is looking to make Hawkman a tentpole franchise, and describes the movie as part Indiana Jones, part Da Vinci Code and part Ghost, which makes absolutely no sense to me — I have no idea what three elements of those movies you could combine to make a superhero movie about a man with strap-on wings who uses maces and spears, and who probably squawks at his enemies like a goddamn ninny. *Squawk*
Not so coincidentally, I suspect, Hawkman will also be making an appearance in a two-hour episode of "Smallville" this February — he's set to be played by Michael Shanks. Perhaps, DC is using "Smallville" to test interest in the character before moving ahead on development of Hawkman, which is currently out to writers. Will Hackner at DC Comics is running point on the big-screen version.
Let's hope this one never gets any farther than Aquaman — in fact, perhaps Aquaman and Hawkman can battle it out in development hell for all of eternity.
Kakav je Timbe?
Ako imaš neki link, prosledi na PM...
Nemam, potražit ću.
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i jos na: http://www.flickr.com/photos/31199746@N02/sets/72157622452249309/
Racunam da si vec cuo za Kill Screen, al' svejedno - sta velis? (http://www.gamesetwatch.com/2009/12/interview_kill_screen.php)
Apsolutno pozdravljam kao ideju, no, dok ne vidim realizaciju ne mogu da kažem da li će ovo biti najveći promašaj teme u istoriji promašivanja ili nešto drugo.
haters gonna hate
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Pečeni zecovi :roll:
Iscureo dzutim. ima link na sarajevox forumu.
Hvala na dojavi, upravo skidam. Čim prohodam, kupiću, ipak Timjah treba da se ispoštuje.
evo u ovoj playlisti (http://www.youtube.com/watch?v=2H-po3GpiGU&feature=PlayList&p=B1C1A1C584BBD490&index=0&playnext=1#normal) možete da poslušate svih 18 pesama sa albuma, doduše nisu po redu
Dok ga ne pretočim u ajpod, kakav je tebi?
evo sa riva. dobro je što nije dugačko :mrgreen:
Quote from: lou bennyveć sam napisao ali da ponovim - BDAT JE PREDSTAVIO
ceo bum teče. rap.
jedina pesma koja mi iskače iz celine je "zamrzivač" - sama po sebi dobra traka, posebno timbe sa guru-stop-lookin-at-me deliverijem :D ali što se mene tiče ta traka ne pripada ovom albumu.
po redu:
"živeli" - ubijena načisto, i timbe i kruks savršeni. timbe sa onim reprezentujem dno, odatle sam došo i kruks sa ne znam čega je manje - volje ili treznih dana, život kao vinska karta sve što menja se imena su i godine, svetlo ili crno - na kraju uvek popijem; brzina grada me ne dotiče dok zagledan u monitor praznim pakle toksične najviše kidaju.
"kik het sner" - šta da se kaže? vrhunska traka i dobra timbetova odluka da stavi nikov rmx (bit savršenstvo!) jer bolje štima u okviru celog buma.
"sve ok" - konačno se desila ta saradnja. bitna traka, priča "ljudi iz senke" koji su, svako u svojoj ekipi, postavili možda i najveći deo temelja i uvek držali nivo.
"51" - sajfer koncept, brojanje i ceo fazon, bdat žestoko izrokao, ispredstavljao, delivery mi je ovde prejak, od 17 pa nadalje ne može da stane neće da stane, suluda dinamika
"opasna" - mnogo jaka traka. sve tu radi. i ko kaže da bvana ne valja na ovoj traci ili da je jedna od njegovih prosečnih strofa iskenjam mu se u usta.
"livoskodi" - ajagenstaj. realno.
"nazad u danu" - šta reći... ne znam dal će svi da osete ali meni je ovo jedna od najdražih. ima ortak al mu ćale šatro ne da po betonu ma sve je kvout ne mogu sad da kucam
"ta ne postoji" - svi dobri. baš lepa traka. kruks mi je ovde najfreš sa par prerealnih prijava.
"pesma o parama" - realno. ubijeno. radnička klasa, lumpen proleterski - oću da uspem al vučem te gene i ćale je bio bez kinte pre mene
"zamrzivač" - gotivna traka, 43-23 standard
"na kecu i dvojci" - vrh! hvala
"životni san" - rap. gidra - sanjam nismo probali sve što smo mogli, ajs jak ovde baš, timbe jedna od najjačih strofa na bumu, šošim je mogao jače, ali sveukupno dobra traka i od ove 2 koje ulaze u domen posse cutova mi je i bolja i pre za ovaj bum od "zamrzivača".
"tužna sudbina" - kul traka i dobar uvod za "od danas do sutra"
"od danas do sutra" - ovo bi trebalo da bude ta najemo traka na bumu, ta words of wisdom smirena traka i bdat je tu svoj na svom. udara ovo na pravi način.
"nedelja" - opušteni reprezent. lepa traka.
"siskova pesma" - bomba! tek kad ljudi čuju ovu traku shvatiće da se ovo čekalo otkad je sisko prvi put pomenut u nekoj 43-23 traci.
"outro a.k.a. buljaši" - srce na teren. ovo je sačuvano za kraj i to je traka da se dignu ruke na certu i da znaš da ih dižeš za timbeta jer ovo niko drugi ne može ovako da iskida. donosimo bege ziku u bege ritmu, sva ta spika koju pričam ima bege brzinu... sa dna bratemoj možeš samo ka vrhu pa je uspeh neizbežan ako mrdnemo bulju... al kapiraju da to je rep i uvek tu su kad bdat džutim s majkom izađe pred masu... za svaki bg hud... i jedino sam srećan kada čujem vaš pljesak, vidim dignute ruke i ova pesma je za sve vas... za sve vas koji znate za bdata iako nije bio u kući velikog brata
"kik het sner (codex rmx)" - bonus i to kakav! fejz iskido old skul najsurovije - najluđi ortak na brejkovima hendzdaun.
ovaj bum je pravi timbetov reprezent. ortak koji se loži oduvek na rap i nikad neće prestati ali i ortak koga loženje na rap nije sprečilo (kao mnoge) da nađe svoj izraz. pravo predstavljanje jednog rap ortaka i svega što ga čini tim što jeste - od mesta i ekipe, preko iskustava do tripova. (u tom smislu i "zamrzivač" ima svoje mesto na bumu ali ipak bih ga izuzeo)
e sad, što se mog doživljaja ovog buma tiče i što se tiče svega kako sam ranije komentarisao albume, ne mogu da se otrgnem utisku da u nekim trakama ima onoga o čemu je i ranije bilo priče a to je timbetovo emo naglašavanje težine u odnosu na neke stvari čime nekad suviše začini neku realnu priču koja sama po sebi ostavlja već utisak na slušaoca. ne znam da li sam ovde spreman da to više tolerišem nego na drugim albumima zato što znam čoveka ali eto, ne smetaju mi toliko ti momenti ovde. ono što mi eventualno nedostaje da bi ovo stvarno bilo savršenstvo je više kvoutova i više nekih pesama u kojima se priča realna priča ali da perspektiva bude samo malo izmeštena iz standardnih okvira. znači ne neko pretripovano konceptualno topic izdrkavanje nego samo malo pomeranje ugla gledanja.
bitove i cutove nisam pominjao po trakama jer su svi iskidani što se mene tiče. od gostiju mi se najviše izdvojio kruks koji em što je svuda smooth on-topic, em što ima baš nekoliko finih kvoutova a uz to i osećaj da je gost i totalno se ubacuje u trip timbetove trake i priče. sjajno. odmah uz njega su mi tu bvana sa onom strofom na "opasnoj" i ajs na "životnom snu", pa šef, šmek i gidra koji su ok. ajs i vikler na "zamrzivaču" i šošim su mogli bolje.
moja ocena 8/10.
Dok sam ovo pročito, već sam ga preslušao. Meni je očekivano dobar. Samo još da napišem rivju za Popboks u kome ću da ga objasnim. :lol:
ovo je dodatak od pre par dana
Quote from: lou bennypraznik za uši teče dobro i raste. slušam zamrzivač, sad mi je ajsova strofa dobra... tužna sudbina, timbe na sve ok, pesma o parama - sve je to još jače posle više slušanja
8,5/10
Dajte link na PM...
Saću ja da aploudujem, nakon što sredim tagove.
ovde se opasno piratiše :)))
Samo među najljućim fanovima.
Odličan je tekst o GAMERu. Ja sa time nisam podrobnije bavio u svom rivjuu, napisao sam samo "Što se odnosa prema igrama tiče, a to je tema ovih par dana, posle PANDORUMa, za razliku od CRANKa koji je potpuno na liniji GTA i uspeva da zarobi psihologiju ugođaja u toj igri na najbolji mogući način, GAMER, iako se formalno bavi igrom, nudi u stvari vrlo naivan prikaz igre i igranja." kako bih te isporovocirao da pogledaš i isporučiš ovaj mali teorijski projektil inspirisan GAMERom. :)
Ma, ja sam to i inače hteo da gledam. Malko me je stvarno razočarao. Videćemo kakav će biti Jonah Hex koga su na kraju ova dvojica manijaka samo napisali.
Tekst koji si napisao je odlican, hteo ne hteo.
Hteo, hteo. Hvala.
meho, evo najzad teme kojom bi mogao da gostuješ jednim prigodnim textom za moj blog:
10 of the Cheesiest Heavy Metal Horror Flicks of All Time!
10. ZOMBIE NIGHTMARE (1986, directed by Jack Bravman)
9. GHOUL SCHOOL (1990, directed by Timothy O'Rawe)
8. HARD ROCK ZOMBIES (1985, directed by Krishna Sha)
7. LONE WOLF (1988, directed by John Callas)
6. BLACK ROSES (1988, directed by John Fasano)
5. PLEDGE NIGHT (1990, directed by Paul Ziller)
4. THE GATE (1987, directed by Tibor Takacz)
3. TRICK OR TREAT (1986, directed by Charles Martin Smith)
2. ROCK'N'ROLL NIGHTMARE (1987, directed by John Fasano)
1. SHOCK 'EM DEAD (1991, directed by Mark Freed)
moram reći da su ovo toliko čizi filmovi da sam ja sa liste gledao ceo jedan (THE GATE), ali siguran sam da ćeš ti, zarad nauke i čovečanstva, proučiti svih 10 i javiti se sa rezultatima ispitivanja!
za slučaj da se još nećkaš na ovako primamljivu ponudu, detalje o ovoim filmovima imaš ovde:
http://www.bloody-disgusting.com/news/18628 (http://www.bloody-disgusting.com/news/18628)
Mehmete, jel likovao crtać CRISIS ON INFINITE EARTHS?
vip - "živa istina" je uskoro na ulici
na junou može da se plati i downloaduje
http://www.juno.co.uk/products/1499610-02.htm (http://www.juno.co.uk/products/1499610-02.htm)
Quote from: Ghoul on 10-01-2010, 01:29:25
meho, evo najzad teme kojom bi mogao da gostuješ jednim prigodnim textom za moj blog:
10 of the Cheesiest Heavy Metal Horror Flicks of All Time!
10. ZOMBIE NIGHTMARE (1986, directed by Jack Bravman)
9. GHOUL SCHOOL (1990, directed by Timothy O'Rawe)
8. HARD ROCK ZOMBIES (1985, directed by Krishna Sha)
7. LONE WOLF (1988, directed by John Callas)
6. BLACK ROSES (1988, directed by John Fasano)
5. PLEDGE NIGHT (1990, directed by Paul Ziller)
4. THE GATE (1987, directed by Tibor Takacz)
3. TRICK OR TREAT (1986, directed by Charles Martin Smith)
2. ROCK'N'ROLL NIGHTMARE (1987, directed by John Fasano)
1. SHOCK 'EM DEAD (1991, directed by Mark Freed)
moram reći da su ovo toliko čizi filmovi da sam ja sa liste gledao ceo jedan (THE GATE), ali siguran sam da ćeš ti, zarad nauke i čovečanstva, proučiti svih 10 i javiti se sa rezultatima ispitivanja!
za slučaj da se još nećkaš na ovako primamljivu ponudu, detalje o ovoim filmovima imaš ovde:
http://www.bloody-disgusting.com/news/18628 (http://www.bloody-disgusting.com/news/18628)
Kuku & lele, a kada ću naći vremena da sve to pogledam????
Quote from: crippled_avenger on 10-01-2010, 01:33:55
Mehmete, jel likovao crtać CRISIS ON INFINITE EARTHS?
Ako jeste, dobro se krije. Nema ga ni na WBBu ni na Demonoidu.
Quote from: Meho Krljic on 10-01-2010, 14:16:43Kuku & lele, a kada ću naći vremena da sve to pogledam????
žrtvuj 3 muzičke slagalice, i to ti je već 1 film!
to znači da treba film da razvuče na tri dana u tri dela, gubi kontinuitet (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.radivizija.com%2FphpBB3%2Fimages%2Fsmilies%2Fzlatanzub.gif&hash=fb39ac8cb3aa65b577a02dfffcb451d657a9cb7d)
nisu ovo roket sajens muviz, ovo su čizi hevi metal muviz!
Pa, da, ali već inicijalni uslov, da žrtvujem gledanje Slagalice, je apsurdan. A šta ako su to tri Slagalice koje vodi baš Danijela?? Onda to izaziva dodatnu emotivnu štetu!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi50.tinypic.com%2F2e4hrih.jpg&hash=f8f009ea92c902fc1a635d238958eedcfa34ca8b)
U, pa ja sam sa ovog hevi metal spiska gledao samo četiri, ali su dva odgledana prilično bolja od ostala dva kojih se slabo sećam. :lol: Mada verovatno su i to dobri filmovi ako volite takve filmove.
Moj izbor je Black Roses. Kraj je sirast do smrdljivog sira.
Ghoule, sigurno si gledao TRICK OR TREAT, to je baš bio hit.
sećam ga se, bio je prikazan čak i u BRAVO magazinu, koji su moje tadašnje drugarice čitale, ali mi je delovao strašno lejmerski.
mnogo kasnije sam ipak nabavio divx, evo mi ga na kompilaciji broj 203 (inače, trenutno sam na 606), što će reći da mi čuči bar 2-3 godine i čeka svoj trenutak...
Nisi ništa značajno propustio, ali simpatičan je film.
Meho, kakav je bend Sextasy?
Quote from: Mica Milovanovic on 10-01-2010, 19:42:59
Meho, kakav je bend Sextasy?
Po nazivu, zvuči kao bend za Dušmana. :lol:
Quote from: Mica Milovanovic on 10-01-2010, 19:42:59
Meho, kakav je bend Sextasy?
Pa, ono, ko voli hevi metal, progutaće
www.myspace.com/sextasybg (http://www.myspace.com/sextasybg)
Ne bih baš tvrdio da su spasioci muzike, doduše. Što, da ti ne svira sin s njima? Da ti se nije ćerka zaljubila u nekog iz benda?
E, baš bi sve da znaš... :)
raspričaće na svom blogu, garantovano!
http://www.foxnews.com/scitech/2010/01/11/pornography-multiple-dimensions/?test=latestnews (http://www.foxnews.com/scitech/2010/01/11/pornography-multiple-dimensions/?test=latestnews)
Ljudi su u pravu.
Peter Sarsgaard is in talks to play the villain Dr. Hector Hammond in Martin Campbell's "Green Lantern" comic adaptation for Warner Bros. Pictures reports Heat Vision.
Hammond is a pathologist and son of a senator who is seen as a disappointment in his father's eyes. He becomes infused with psychic powers when he discovers a meteor.
The actor joins Ryan Reynolds and Blake Lively in the film which begins shooting in March in New Orleans. Donald De Line and Greg Berlanti are producing.
"Wanted" and "Kick Ass" comic creator Mark Millar has proven two things in the past few years when it comes to talk about Hollywood adapting his work. The first is he actually has some creative ideas about franchises that would be great to see, such as his interesting take on a "Superman" film trilogy. The second is that he's often full of it, spouting names and project ideas that essentially never happen.
It's not uncommon, though most stars and filmmakers have learned to essentially keep their mouths shut about future projects in interviews. Why? Because randomly floated ideas often find their way into becoming 'has signed on for' stories by journalists looking to drive up their publication's readers.
Millar has seemingly yet to learn the lesson as today he posted on his messageboard (via Bleeding Cool) that the likes of Sam Raimi and Guy Ritchie are potentially considering directing the film version of his upcoming comic series "Nemesis".
Foolish posting of an over eager author, or first move to ignite a potential bidding war over a high-concept but still unproven property - we'll see. The series itself is about a billionaire who moonlights as a super villain who picks one cop per year to torment and taunt before finally killing him.
Both directors have pretty busy schedules as is. Despite leaving "Spider-Man 4", Raimi looks to be making his "World Of Warcraft" adaptation his new top priority. Ritchie may be committed to a "Sherlock Holmes" sequel which seems to be heading towards development sooner rather than later.
The only concrete bit of information on the film is that Millar claims he won't be discussing any deals until March, closer to the release of the adaptation of "Kick Ass" which is getting great reviews from early screenings.
"(500) Days of Summer" director Marc Webb is still the frontrunner for the director's chair of a fourth "Spider-Man" reports Deadline Hollywood.
The studio apparently has a "wish list" of directors that also includes James Cameron, David Fincher and Wes Anderson. Webb however has already apparently met with producers and studio executives to talk about getting the movie underway later this year for a summer 2012 release.
The studio reportedly wants to shoot the film in 3D.
Potpuno mi je nejasno zašto traže ljude sa ipak izraženim autorskim karakteristikama za posao koji treba da bude najčistiji mrsneri džob. Mislim, Raimi se jeste iskazao ali, utisak je, zahvaljujući tome što je zatomio svoj autorski izraz i pustio zanatu da dođe do izražaja.
Znaš kako, kad se radi prestižan property, a Spidey je realno najprestižniji Marvelov property, tu nema sumnje, onda se traži i eminentan reditelj da bi se maksimalno ispoštovao izvorni materijal.
Pa, da, ali Spidermana Marvel i ne radi. Licencu su prodali Soniju i ništa se ne pitaju na nivou stvari koje su bitne. Dakle, ovo Soni misli da treba ovako da se radi. Ponekad se pitam odakle im tolke pare kad su u mnogo prilika dokazali da su nesposobni za racionalno razmišljanje.
Pa nema nikakve veze, to je prestićan property kako god okreneš. I Warner je za Supermana jurio dobrog i kredibilnog reditelja sa nekakvim umetničkim renomeom iako bi vrlo verovatno to bolje uradio neki nepretenciozniji profi, ali prosto to je ta estetika filma kao remek-dela dakle jednog kompletnog umetničko-zabavljačkog iskustva koje studiji čuvaju za svoje prestižne preopertyje.
Divni ljudi... No, ajde. Nolan možda i jeste nešto doneo Betmenu. Da vidimo šta će biti sa Spajdijem.
Pa pazi, Nolan mu svakako jeste doneo to da je mene odučio od gledanja tog serijala :)
Šalu na stranu, sve zavisi od toga kakvog autora dovode i koja je autorova namera. Odnosno, da li autora planira da studiju udovolji time što će aplicirati nekakva svoja obeležja na film ili će zaista suštinski promisliti kako da snimi film.
U tom smislu, Cameron je poznat kao neko ko voli Spideya i pripremao je film. na netu je svojevremeno bio dostupan i neki tritment za tu verziju. Fincher je pominjan u vreme kad je biran Raimi. Ovaj Webb je očigledno opcija ako bi se išlo na jako character-driven melodramski pristup.
VIP - Ljubav Preko Zice (http://www.youtube.com/watch?v=Iu7MhIsknyg#normal)
ikac prvi put posle atlantide na nekom približnom atlantida tripu i relja je dobar ovde
VIP - Clara Schuman 2010 (Serbian rap) (http://www.youtube.com/watch?v=sTADTsRnXFE#normal)
klara šuman
Webb je najbolji i najinspirisaniji moguci izbor za Spajdija. Ako do toga doje, bice u rangu nikada prezhaljenog Fantastic Four Peytona Reeda.
Why Men Watch Porn (2009)
Genre: Documentary |
Runtime: 44 Min |
Format: DvRip, Color, NTSC, Avi |
Language: English |
Country: UK
Synopsis: This documentary presents frank and explicit exploration of a 'little' understood sexual taboo, which many of us have experienced also.Why do Britain's men have a passion for pornography? Through tests, frank confessions and a national survey, the show takes a bold and revealing peek at one of the ultimate sexual taboos.
The files have been split with WinRar, no password.
Rapidshare.com links:
http://rapidshare.com/files/335410771/WMWPORN.part1.rar (http://rapidshare.com/files/335410771/WMWPORN.part1.rar)
http://rapidshare.com/files/335410794/WMWPORN.part2.rar (http://rapidshare.com/files/335410794/WMWPORN.part2.rar)
http://rapidshare.com/files/335410836/WMWPORN.part3.rar (http://rapidshare.com/files/335410836/WMWPORN.part3.rar)
http://rapidshare.com/files/335410782/WMWPORN.part4.rar (http://rapidshare.com/files/335410782/WMWPORN.part4.rar)
http://rapidshare.com/files/335410819/WMWPORN.part5.rar (http://rapidshare.com/files/335410819/WMWPORN.part5.rar)
http://rapidshare.com/files/335460770/WMWPORN.part6.rar (http://rapidshare.com/files/335460770/WMWPORN.part6.rar)
Mislio sam da je ovo intuitivno razumljivo, ali ajde da vidimo šta kaže... hm... nauka...
"Green Lantern" director Martin Campbell has quickly debunked talk that emerged earlier today that Jackie Earle Haley was still first in line to play the villain Sinestro in his upcoming film adaptation of the comic.
"No, that's completely wrong" says Campbell who then went on to say Mark Strong ("Sherlock Holmes," "Body of Lies") is already in negotiations for the part. He tells MTV News that "he's not only a wonderful actor, but he looks like Sinestro. If you look up old pictures of Sinestro, he's very like him. The Jackie Earle Haley thing, somebody told me about it this morning; I had never heard it before in my life."
In terms of other comic characters appearing in the film, Campbell says "Kilowog will be. Tomar-Re is in it... Abin Sur is in it. All the origin people."
Ovo cu da iskorisim kao povod da pitam Meha da li se i on lozi na Briana Enoa koliko i ja:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg1.ipbfree.com%2Fuploads%2Fipbfree.com%2Fsvabotralala%2Femo-linknd8.gif&hash=23eccb7b2b4ea348ddecce73ce88ee06db71853e) (http://www.guardian.co.uk/music/2010/jan/17/brian-eno-interview-paul-morley)
"I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or later. It couldn't last, and now it's running out. I don't particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you'd be stuck with your whale blubber. Sorry mate – history's moving along. Recorded music equals whale blubber. Eventually, something else will replace it."
Ne, sigurno ne koliko ti, ali volim Inoa, kao mislioca, filozofa, ali i kao umetnika. Veliki, važan lik.
Mehmete, jesi li overio Foxovu seriju snimljenu po HUMAN TARGETu?
Ne, koliko ima epizoda?
A, da li si skinuo onaj Ninja Assassin? Film izgleda suludo, ali TS je stvarno jadan.
jesam, ali loš je TS tako da čekam ipak nešto bolje...
ne znam koliko HT ima epizoda...
I ja čekam bolju verziju. OK, proveriću za ovo.
Nego, evo malo krekda:
5 gaping plot holes Hollywood knows you won't notice (http://www.cracked.com/article/18345_5-gaping-plot-holes-hollywood-knows-you-wont-notice/)
I još malo krekda, Meni je ovo užasno smešno, ali ja sam užasno nezreo.
www.cracked.com/video_17779_8-local-news-segments-gone-horribly-wrong.html (http://www.cracked.com/video_17779_8-local-news-segments-gone-horribly-wrong.html)
Funny.
Summit's "Red" Begins Shooting
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* email to a friend
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By Garth Franklin Monday January 18th 2010 10:53PM
Summit's "Red" Begins Shooting
Principal photography has begun in Toronto on Summit Entertainment's spy-thriller "Red," based on the DC Comics graphic novel of the same name by Warren Ellis.
Joining previously announced stars Bruce Willis, Mary-Louise Parker and Academy Award®-winners Helen Mirren and Morgan Freeman, are two-time Academy Award®-nominee John Malkovich, Karl Urban, Brian Cox, Academy Award®-winners Richard Dreyfuss and Ernest Borgnine, Julian McMahon, James Remar and Rebecca Pidgeon.
"Red" is the story of Frank Moses (Willis), a former black-ops CIA agent, who is now living a quiet life. That is, until the day a hi-tech assassin shows up intent on killing him. With his identity compromised and the life of the woman he cares for, Sarah (Parker), endangered, Frank reassembles his old team (Freeman, Malkovich and Mirren) in a last ditch effort to survive.
Directed by Robert Schwentke ("The Time Traveler's Wife," "Flightplan") from a screenplay by Jon Hoeber and Erich Hoeber ("Whiteout"), the film is produced by di Bonaventura Pictures' Lorenzo di Bonaventura and Mark Vahradian ("Salt," "Transformers," "Transformers: Revenge of the Fallen"). Executive producers are Jake Myers ("Shanghai," "Hollywoodland") and Gregory Noveck ("Jonah Hex"). Di Bonaventura Pictures' production executive David Ready serves as co-producer.
"Red" reunites director Schwentke with director of photography Florian Ballhaus ("Marley & Me," "The Devil Wears Prada") and Oscar-winning film editor Thom Noble ("Witness," "Thelma & Louise") who collaborated with Schwentke on "The Time Traveler's Wife" and "Flightplan." Additionally, "Red" production designer Alec Hammond ("Donnie Darko") and costume designer Susan Lyall ("Rachel Getting Married") lent their talents to Schwentke's "Flightplan" as well.
"I'm so excited at the phenomenal cast that Robert and our script have attracted," said di Boneventura. "I think audiences are going to have a great time."
Summit's President of Production Erik Feig said, "RED is that classic project with a little bit of something for everyone. We are thrilled to see it come to vivid life with an outstanding cast, incredibly talented director, and top notch producing team. It's gonna be a good one!""
"Red" will film in and around the Toronto metropolitan area for nine weeks before moving on to the road and ending in New Orleans in late March for the final two weeks of principal photography. The film is scheduled for worldwide release on October 22, 2010.
Marc Webb režira Spideya.
Jbte, taj RED je tri super-nabijene sveske, ne vidim kako to može fizički da se razvuče na 20-30 puta više nego što je meni trebalo da pročitam...
Vidiš da se plot filma razlikuje od stripa, da Bruce ima ceo tim.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi48.tinypic.com%2F2z7lt2g.jpg&hash=efc54af8f6a8bbefe26061e396f6a69284abf38f)
A documentary looking at porn films that parody classic Hollywood movies.
Download Links:
http://rapidshare.com/files/338697510/ShPrYp.7z.001 (http://rapidshare.com/files/338697510/ShPrYp.7z.001)
http://rapidshare.com/files/338705166/ShPrYp.7z.002 (http://rapidshare.com/files/338705166/ShPrYp.7z.002)
http://rapidshare.com/files/338713166/ShPrYp.7z.003 (http://rapidshare.com/files/338713166/ShPrYp.7z.003)
http://rapidshare.com/files/338716776/ShPrYp.7z.004 (http://rapidshare.com/files/338716776/ShPrYp.7z.004)
Rar Password: www.surrealmoviez.info (http://www.surrealmoviez.info)
Ooo, slatko!!1
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi50.tinypic.com%2F30x74mc.jpg&hash=232dcc915e525c36ae046592b57e36436929b7e0)
http://www.unnecessaryquotes.com/2010/01/babysit.html (http://www.unnecessaryquotes.com/2010/01/babysit.html)
Jesi li čuo poražavjući podatak da je Ross Robinson radio novi album slovenačkog Van Gogha tj. Siddharte?
Uh, kako mi je drago da je ješ nekp primetio da je Siddharta slovenačka verzija Van Goga.
Kad sam ja to rekao nekim fanovima Siddharte, maltene su me dočekali na nož.
Nego, Meho... Jesi li čitao IDW-ov "Locke & Key"? Nisu superheroji ali meni je jako dobro.
Nisam nikad čuo za Siddhartu, ali ima smisla da Ros Robinson radi sa bendom sa vangogškim ambicijama. Artificijelnost takve muzike se savršeno slaže sa njegovim studijskim pristupom.
Što se tiče Locke & Key, odličan (meta)serijal. Moram o njemu da čim pre napišem reč-dve za UPPS. Razmišljaš da ga otkupiš? Evo, prevešću ga za dž ako je tako!!!
nova siddharta je gothic van gogh
Ja sam jedno vreme mislio da se Van Gogh na slovenačkom kaže Siddharta. I ispadao sam glup u društvu jer sam slikara stalno nazivao Siddharta.
I pitao si se zašto je Hese njegovu biografiju smestio u Indiju umesto u Holandiju/ Francusku.... Zaista, Ros Robinson ne zna s kakvima se hvata u kolo.
Quote from: Meho Krljic on 24-01-2010, 09:01:40
Što se tiče Locke & Key, odličan (meta)serijal. Moram o njemu da čim pre napišem reč-dve za UPPS. Razmišljaš da ga otkupiš? Evo, prevešću ga za dž ako je tako!!!
Ništa tako epohalno. Stigla mi sa Amazona prva dva HC-a prošle nedelje, pa sam se bacio na čitanje. I oduševio. Ko bi rekao da sin Stivena Kinga može da bude ovako zanimljiv.
Budući da su mi poštari obavljali nekrofilske rituale nad pošiljkom verovatno ću morati da nabavim nove primerke L&K, a ove moje sa udarenim ivicama prodati nekom za bezobrazne pare.
Jel neko čuo šta je Ross uradio sa Siddhartom? Jel taj album izašao?
Ja moram priznati da štujem Rossa, i to ne samo zbog onoga što je napravio od Slipknota već mislim da je uradio i jedan od energičnijih poznih The Cure albuma.
Sad ste me naterali da pripalim DC++ radi tog Locke & Key.
(Teško žabu u vodu... :roll:)
ja slušo. doneću ti danas sa lunginovim filmom i par knjiga.
saga je preterivanje, gothic van gogh. nabudžene klavijature, ponegde baš cheesy.
doduše, ima momenata. ali nema hita.
ako imate neki rapidshare link za taj album, ne oklevajte... okačite ga ovde.
http://rapidshare.com/files/310633995/2009_-_Saga_by_smrad_upload_by_yuforum.net.rar
Pass: yuforum.net
Quote from: DušMan on 24-01-2010, 13:06:22
Budući da su mi poštari obavljali nekrofilske rituale nad pošiljkom verovatno ću morati da nabavim nove primerke L&K, a ove moje sa udarenim ivicama prodati nekom za bezobrazne pare.
Možeš meni.
Kakav je ovaj mixtape što je Diplo uradio sa Gucci Maneom?
Zgodne mame s fejsa !!! :!:
http://www.facebook.com/group.php?gid=189268647412&ref=mf (http://www.facebook.com/group.php?gid=189268647412&ref=mf)
Quote from: Meho Krljic on 24-01-2010, 15:51:29
Možeš meni.
Ali... ivice HCa su udarene. Ne smeta ti?
Trljam ruke pri pomisli da ću napraviti dil za sjebane stripove...
Solidne ove mame. I ne treba nalog na Fejsbuku da bi se gledale!! Win-Win!!!
QuoteTrljam ruke pri pomisli da ću napraviti dil za sjebane stripove...
Kolko novaca?
The perfect Sundance film is "The Runaways", a film that is both provocative and haunting, a film that captures the mid-seventies with clarity and that beautifully explores the fascinating world of teen girl band The Runaways, fleetingly big at a time of social unrest.
The movie focuses on the often turbulent and protective relationship between guitarist/vocalist Joan Jett and lead vocalist Cherie Currie as they navigate a rocky road of touring and record-label dramas. The film beautifully chronicles the band's formation as well as their meteoric rise under the pervasive eye of an abusive manager.
"The Runaways" marks the feature directorial debut of video artist Floria Sigismondi who directs this riveting and hypnotic work from her own script, one that is both a sharply observed study of character, epoch and the purity of rock 'n' roil. Visually the film is strikingly gorgeous, one that cinematically explores the contrasts between the often hazy world of drug-induced fame and trailer park poverty. But far from being merely a film of visual ideas, director Sigismondi cast her film perfectly and elicited some flawless work from her lead actresses.
Breaking free from the shackles of Bella, Kristen Stewart finally breaks loose delivering a stunning performance that covers a wide range of the acting spectrum yet achieved in a way that is far from self-conscious. Her Jett is ferociously angry, anti-establishment, fragile, sexual and exquisitely vulnerable as a girl desperately running away from a life that is conservative at a time when America was undergoing such pivotal change and not necessarily for the better. Stewart is phenomenal, a powerhouse proving how incredibly talented and multi faceted she is.
Fanning is an utter revelation as this tragic character drawn into a world that ultimately consumes her. Sexy, fragile, luminous and simply magnificent, with this role, she is raw and glorious, well and truly adrift from that childlike persona of a not-so-distant past. This is one of those singular performances that will be spoken of well and truly after the film closes.
The Runaways is a provocative and powerful film about the tragedy of celebrity and fame, media manipulation and the need to regain independence. It's the perfect film for today's celebrity-obsessed America, and sadly shows that little has changed in three decades.
The film's soundtrack is a reminder of what great era the seventies was, and the music superbly enhances the film's themes. It's a remarkable achievement for this first-time director and one has high hopes for its commercial success once it opens in late March.
Ovaj film zvuči odlično!
Pa to je za nas, stare rokere. Jesi poslušao The Matches?
Quote from: DušMan on 25-01-2010, 13:54:17
Ovaj film zvuči odlično!
mora da ti je promakao detalj da ga je pisala i režirala - žena!
Quote from: Meho Krljic on 25-01-2010, 00:00:52
Kolko novaca?
Hajde prvo da vidiš stripove, pa ćemo se dogovoriti.
Ja bih ih prodao ispod kaver prajsa, najverovatnije (ne smem ni da pomislim na to da sam platio i poštarinu i carinu za njih).
Quote from: crippled_avenger on 25-01-2010, 13:55:18
Pa to je za nas, stare rokere. Jesi poslušao The Matches?
Nisam, ali sam se malopre setio tvoje preporuke to će ići na plejlistu, čim još jednom odslušam najbolje Elvisove pesme.
Ovaj... nije zezanje, stvarno to sad slušam.
Quote from: Ghoul on 25-01-2010, 13:56:19
mora da ti je promakao detalj da ga je pisala i režirala - žena!
Pazi, ako neko može da predstavi javnosti priču jednog girl teen benda, onda je to žena, jer samo žena zna kako je ženi, ili tako neka ženska propagandna parola
.
Istina, kad bi muškarac to pisao i režirao verovatno bi se posle prvih 10 minuta sve svelo na scene brutalne orgijanja u bekstejdžu, pa bi samim tim i film bio zanimljiviji i poučniji.
Quote from: DušMan on 25-01-2010, 13:57:12
Quote from: Meho Krljic on 25-01-2010, 00:00:52
Kolko novaca?
Hajde prvo da vidiš stripove, pa ćemo se dogovoriti.
Ja bih ih prodao ispod kaver prajsa, najverovatnije (ne smem ni da pomislim na to da sam platio i poštarinu i carinu za njih).
Važi, napravićemo kompromis kojim ni jedan od nas neće biti zadovoljan ali ni jedan neće biti ni uništen.
Bilo bi lepo da nas obavestite i gde ce se odrzati transakcija da mogu da posaljem poluobnazene zenske nindje da presretnu Dusmana en route xph34
Mehmet i DušMan u akciji
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Mehmete, evo pravog Popboksa u senci!
http://mislitemojomglavom.com/?p=417 (http://mislitemojomglavom.com/?p=417)
Dosta transgresivan tekst :lol: :lol: :lol: No, imam utisak da su se Velebiti upravo raspali. Ali Žika ima rezervnog keca u rukavu.
I šta ćeš sad ti posle raspada Velebita? Da kao Dave Grohl lutaš od projekta do projekta, radiš sa svojim idolima iz mladosti i starih bendova poput Vidoje Božinovića Džindžera i Bodana Arsovskog i da sa njima osnuješ naš odgovor na Them Crooked Vultures?
Pa ja to već i sad radim.
Mehmete, evo trejlera za THE LOSERS...
http://dobanevinosti.blogspot.com/2010/01/losers.html (http://dobanevinosti.blogspot.com/2010/01/losers.html)
Obećava!!!
Vraćamo se staroj priči o lošem/osrednjem stripu kao predlošku za dobar film. THE LOSERS je slab strip jer deluje kao hendikepiran film. Sad će, ja mislim, na filmu da dobije svoju pravu meru. Čitao sam Bergovu verziju scenarija, vrlo se dosledno drži stripa. Koliko sam shvato, Vanderbilt je u svojoj verziji samo promenio setting nekih događaja.
Meni ovo deluje bolje nego A-Team (bar po trejleru).
I meni, ali A-Team ima Šarlta a to znatno podiže FOOKIN AWESOME faktor...
A-TEAM ima Joe Carnahana i duplo veći budžet, i Neesona, i Coopera i Copleya. Ali, zato LOSERS imaju Zoe Saldanu :)
malo fanarta. u okviru red cross pandora reliefa, meho u svom mecha egzoskeletu, vakciniše naavija.
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Meho, hoću da se rešim i Walking Dead Compendiuma (prvih 48 brojeva u jednom ogromnom mekokoričenom izdanju), pa vikni ako te zanima... Ako te ne zanima, ode na male oglase...
Quote from: DušMan on 30-01-2010, 23:06:06
Meho, hoću da se rešim i Walking Dead Compendiuma (prvih 48 brojeva u jednom ogromnom mekokoričenom izdanju), pa vikni ako te zanima... Ako te ne zanima, ode na male oglase...
Koliko ceniš?
Uh da, tebe sam zaboravio... Kaver prajs je 60 bucksa, a ja bih ga prodao za 50 jura. Nečitan, očuvan kao stripovi iz Platoa. ;)
Ali... Meho ima pravo prvenstva, jer sam mu prvom ponudio. Mada, čini mi se da on nije bio oduševljen s WD još od početaka serijala, pa je upitno koliko bi ga zanimalo...
Prodaj Johnu, ja sam to već poručio preko Born to Runa.
Johne, reaguj!
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ovo je crisis on infinite earths
Meni više liči na Morrisonov "Final crisis"...
Ozbiljno ludilo!
nisu se velebiti raspali. basista glish vele se doseljava u beograd koliko sutra. krećemo u intenzivnije probe, ali ćemo možda promeniti ime u Valteri
Opet se doseljava u Beograd???? Šta se desilo?
Mehmete, kad izlazi obracanje naciji povodom AVATARa?
Pa... kad stignem da ga napišem. Možda danas, možda sutra, imam pre toga da napišem neke stvari za pare. Ali nemoj da, što kažu, držiš vazduh, to će uglavnom biti kritikovanje nekih elemenata koji nisu nužno vezani za moje uživanje u filmu.
Quote from: Meho Krljic on 01-02-2010, 13:03:13
Opet se doseljava u Beograd???? Šta se desilo?
[/quot567890'e]
otišao je u male privrednike pa je uvećao svoj kapital
ili, rečima omladine, može mu se
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Producer Joel Silver tells The Los Angeles Times that the long-gestating comic book adaptation "Sgt. Rock" has moved into a higher gear.
Part of the reason it seems is that Silver just received a new draft of the script this week and the story will not be set during World War II but rather take place in the not-too-distant future.
Silver says "It's a little bit in the future. As a war movie, it's not going to be 'where it's been,' it's going to be 'where it's going.' We didn't want to do Iraq, we didn't want to do a contemporary war. We wanted to do a sort of futuristic war."
The famed producer adds "It's pretty strong. Chad St. John wrote the script and we've got Francis Lawrence involved in developing it with us. It's not a 'go' movie yet but I'm feeling good about it." The film will be distributed by Warner Bros. Pictures.
Veteran Italian erotic film director Tinto Brass is planning what he calls the world's first-ever 3D pornographic production says The Hollywood Reporter.
Brass is most famous for 1979's "Caligula", the controversial Gore Vidal-penned all-star film version of the life of the insane Roman emperor.
The project achieved a level of infamy when producer and magazine publisher Bob Guccione took the project out of Brass' hands and inserted scenes of hardcore pornography into the action without Brass' consent.
Brass says the time is right for 3D technologies to be used to create an erotic film which will also be the first 3D film of any type made in Italy. Presently a few select adult websites offer 3D porn, but using the old fashioned red/blue glyph technology rather than the modern 3D stereoscopic version.
Story wise he says with the film he plans to "revisit an abandoned project about a Roman emperor that was ruined by Americans, and go from there."
Casting and script work is already underway with filming to kick off in May or June.
BATMAN XXX: A PORN PARODY (http://www.youtube.com/watch?v=wPfkAZwF_hI#normal)
Uuu, Evan Stone je Riddler, a Randy Spears Joker. Još da su uzeli Leeja Stonea da igra Mr. Freezea... Ali dobro, mora nešto i za nastavak da se ostavi.
Moram da ti pošaljem na mejl link za jedan od retkih efektnih superstar matchupova koji sam gledao juče, Saška i Džena Hejz!
Dršćem od anticipacije!!!!
The Taqwacores
31 January, 2010 | By Tim Grierson
Dir/prod: Eyad Zahra. US. 2009. 83 mins.
Peering into a unique subculture with irreverence and thoughtfulness, The Taqwacores displays a lively gusto in its handling of potentially strident material. Director Eyad Zahra's light-hearted drama about a group of young Muslim men and women living together in Buffalo, New York is rough around the edges, but its warmth and sense of humour hold the slender story together.
The Taqwacores may have a no-name cast, but its selling point is its highly-distinct milieu: the Muslim punk movement in America. Targeting college audiences and punk aficionados should help lift this rambunctious film's chances in the marketplace.
Shy, sweet college student Yusef (Bobby Naderi) moves into a rundown house filled with fellow Muslims who are much more outgoing than he is. Over the course of a year, Yusef bonds with this diverse collection of personalities while immersing himself in Taqwacore, a Muslim variation of punk's anarchic power.
Based on the novel by Michael Muhammad Knight, The Taqwacores eschews a tight narrative for a rambling, invigorating examination of how Muslim-American youths form ad-hoc families which reflect both their own culture and the one into which they're tentatively trying to integrate.
On a basic level, the film's skill at populating its story with fresh, unconventional Muslim characters is a real treat. But more interestingly, Zahra's use of bawdy behaviour and loud Western music helps undercut the screenplay's occasionally didactic dialogue to humanise the constant tension that Muslims feel while living in a country that's still hostile to them in many ways.
Naderi is appealing, if a little milquetoast, as quiet Yusef, but Dominic Rains excels as Jehangir, the house's unspoken leader and a fervent music fan who, like the film itself, seeks to reconcile Islam's conservative bent with punk's anti-authoritarian stance.
Držaćemo ga na radaru.
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Director : Manop Udomdej
Cast : Sopita Sribanchuen, Kessarin Ektawatkul, Pete Thongchua
Plot/Synopsis
After completing a covert mission in southern Thailand, CIA agent Gunja finds herself forced to fight off operatives who've been ordered to take her out at all costs. She survives and after two years of laying low, re-emerges in Bangkok to face her old foes and foil a plot to detonate a bomb in the city.
ตัวอย่างภาพยนตร์ สวย ซามูไร (http://www.youtube.com/watch?v=oiX48HR3t6A#normal)
Mehmete, poslušao sam ovaj Shazalakazoo i moram da se oglasim na osnovu prvog slušanja, i hajde da kažem sa jednim krajnje nekompetentnim stavom. Mene je bilo prilično blam dok sam ono slušao. Mislim, nije me bilo blam zbog truba ako na to misliš (premda trubačko nasleđe najmanje štujem u našem etno korpusu) nego zbog elektronike koja je na smenu potpuno opšte mesto iz žanra "kako ovlašni poznavalac muzike razmišlja da trube približi dance zvuku dok pored njega prolazi ciganski orkestar" plus je potpuno arhaično, čak i iz vizure pop muzike a da ne govorim o nekoj left-field elektronici. Mislim, kamo Diplo, kamo Switch, kamo A.R. Rahman, to je danas upmarket pop muzika. Ovo ne deluje kao da je neko ko se bavi elektronikom semplovao trube nego kao da je neko ko je trubač ubacivao ukrase zatečene u nekom niskobudžetnijem programu za pravljenje muzike, ali not in a retro way. Elektonski izraz je ovde toliko impotentan da se ne samo radi o rijumfu trube, što je legitimno, već i trijumfu turbo folk producenata koji u svojim boljim beatovima imaju sofisticiranije toucheve. Vračevićev remiks "Zamalo" na "London Mixu" je nauka u odnosu na ovo, a mislim da bih ako bih se potrudio našao još neke mnogo bolje varijante od ovoga. O Breginoj aproprijaciji tog zvuka da i ne govorim pošto nije reč o elektronici.
Lerman je onaj decko sto je gamer u GAMERu...
18-year-old "Percy Jackson" star Logan Lerman is the first potential candidate being mentioned to play the new version of "Spider-Man" reports Access Hollywood.
"There have been a few discussions, it's definitely something I'm looking into. It's one of my favorite characters ever and I'm a huge fan of the series. I'd love to have more conversations about it. I'm definitely very interested in it" said Lerman to the entertainment news show.
Lerman re-iterates that talks are still only in the earliest stages - "conversations are starting. It's a long process with the studio and the producers and everything. But it's definitely a project that I'm really interested in, of course" he says.
Update: Sony Pictures and Lerman's agent have added further details. A Sony rep tells Heat Vision that "No offers have been made, nor have any business discussions been made with Lerman". Right now the studio is compiling a list of candidates, Lerman IS on that list.
Mehmete, jel likovao crtać "Justice League: Crisis on Two Earths"?
Ne!!!
:lol:
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Dobro, nije najbolji ugao slikanja... ima tu potencijala.
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Eh, sad... ovo je nepošteno.
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An intentionally campy film designed to capitalize on Linda Lovelace's sudden fame following "Deep Throat", this film centers around Linda's fictional grass roots campaign to run for president. Touring the country with a rag-tag team of strange and wacky people, hilarity supposedly ensues at every stop.
"Transformers" and "Star Trek" scribes Roberto Orci and Alex Kurtzman are tipped to pen and produce a feature adaptation of Joe Hill's comic book "Locke and Key" for DreamWorks Pictures says Latino Review.
Set in a small Massachusetts village, the story follows a mother and her three children who move into their family estate after her husband is murdered.
The vast estate has many areas only accessible by special keys, while a malevolent force within the house lures the husband's killer to the town to finish off the rest of the family.
The project was previously setup at Dimension Films. Author Hill is the second child of acclaimed horror author Stephen King.
Uf... to jeste filmično, al ...
Tim Robbins is set to play the father of the villain in the superhero comic adaptation "Green Lantern" at Warner Bros. Pictures reports Heat Vision.
Peter Sarsgaard stars as the film's villain Dr. Hector Hammond who becomes infused with psychic powers. Robbins plays Senator Hammond, his disapproving father.
Ryan Reynolds stars as the titular hero while Blake Lively is his love interest Carol Ferris. Filming kicks off this March in New Orleans with Donald De Line and Greg Berlanti producing.
Quote from: zakk on 09-02-2010, 19:22:40
Uf... to jeste filmično, al ...
Apsolutno je filmično. Džo Hil je povukao na ćaleta. :D
He returned the once shunned "Batman" franchise to its rightful place at the top of the superhero film chain, now Deadline Hollywood Daily reports that "Batman Begins" and "The Dark Knight" director Christopher Nolan will try the same with the "Superman" franchise, albeit less involved.
According to the site, the studio plans to essentially reboot the franchise and have enlisted Nolan's help to 'mentor' the film's development and production. Nolan is highly unlikely to direct but would likely take on a major producer role while a more unknown but emerging promising talent to take the director's chair.
Despite being a Warner Bros. Pictures and Legendary Pictures co-production like 2006's "Superman Returns", the film will NOT be a continuation of that modestly-received feature which suffered budgetary overruns and so-so box-office. The project is still very much in the earliest of developmental stages so its tone and content are as yet unknown.
New York's Vulture blog has learned that Warner Bros. to sign the Hughes brothers (From Hell, Dead Presidents, Menace II Society) to direct a live-action remake of the cult favorite Akira, from a script by Iron Man scribes Mark Fergus and Hawk Ostby.
Akira is being produced by Leonardo DiCaprio's company, Appian Way, along with Andrew Lazar, who's also currently producing an adaptation of DC Comics' Jonah Hex for Warners.
In Akira, Katsuhiro Otomo presented a vision of Tokyo destroyed by war, rebuilt, and now ready to explode under the pressure of its internal strife. The movie's clashing biker gangs and heady psychic visions became an early testament to the violent, mature side of anime when the film was brought to North America in 1989.
The anime movie is currently available in North America on Blu-ray via Bandai. The manga, which was started before and finished after the anime, is available through Kodansha. The first volume of that new Kodansha release of the manga is reviewed here.
prosto ne znam ovako rano ujutru gde ovo da stavim (http://2photo.ru/en/post/16397) Saygi Krljic ce mi, nadam se, oprostiti
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Naravno da ću ti oprostiti, čak ću ti kupiti i piće kad se vidimo. :lol: :lol:
A evo i nešto što čoveka rastuži jer nema dovoljno novca:
The 12 most insane things you can buy on the Internet (http://www.cracked.com/article_18410_the-12-most-insane-things-you-can-buy-internet_p1.html)
Pa čekaj. Ova mecha je meni hit. Pretpostavljam da si na nju mislio... :)
Izadje onaj novi Justice League, i iznenadjujuce je dobar. Dzimi Vuds kao Oulmen pokidao.
To se ocekivalo. Ti DC animirani su uglavnom dobri...
Evo nešto za Gula i hororljupce:
The Six Creepiest Places on Earth (http://www.cracked.com/article/181_the-6-creepiest-places-earth/)
Quote from: crippled_avenger on 14-02-2010, 20:48:13
To se ocekivalo. Ti DC animirani su uglavnom dobri...
Jedno vreme su svi bili dobri, ali je medju poslednjima bilo par slabijih. Onaj Batman: Gotham Knight ili kako se vec zove je npr. bio potpuno negledljiv.
Sex And Comics On Valentine's Day
Submitted by Rich Johnston on February 14, 2010 – 9:45 am
(8) comments
Wicked Grounds, a coffee shop-cum-sex shop in San Francisco held an erotic comic book convention a couple of weeks ago. And rather a lot of fans of either comic books, sex, or both filled the place till it was rather... engorged.
Attending were the likes of Ted Naifeh (Courtney Crumren), Justin Hall (Glamzonia, the Uncanny Super Tranny), Serena Valentino (Gloom Cookie), Greta Christina (Best Erotic Comics), Tristan Crane (How Loathesome, Comic Book Tattoo), and Storm (Princess Witch Boy).
And they even sold coffee.
This is an unusual event in that it bucks national trends. It used to be the case that sex sold in comics. It's getting less and less true. These days adult comics are not only relegated to their own special, mostly unseen, section of Previews, but there aren't even any print versions of the catalogue any more. Fantagraphics started Eros Comix as a way to fund the continued publication of the likes of The Comics Journal, Love And Rockets, Hate and the like, but now survives mainly on backlist and other publishers' work. Certainly Robert Crumb's Bible sells far more than Wendy Whitbread ever did. And movements by Marvel and DC to move into that kind of titillation have been repeatedly knocked back, with the Marvel naked comics disappearing and Frank Cho put back in his box. Even Avatar, famed for its history publishing soft-core supernatural comics have discovered that Warren Ellis, Garth Ennis and Alan Moore sell better.
The soft core survives amongst its core base however, with the likes of Grimm's Fairy Tales and some of the odder publishers that you mostly only see at conventions. Much of this is down I'm sure to an increased sexualisation in mainstream comic books – there's less of a need to turn to XXXenophile when Emma Frost and Power Girl dress the way they do – in the same way the lad's mag has reduced demand for Penthouse. And Empowered treads that tricky line between irony and unadulterated perversion.
And it's is pure irony that at at time when there are less comic book seizures by the authorities, comic book publishers seem to push the limits less. The release of Dodgem Logic's Astounding Weird Penises mini-comic by Alan Moore was a shock, a throwback to a time of underground comix when this kind of Zap-like material was the norm. That it was so readily available then, but so rare now challenges the assumption that comics are indeed for grown ups.
Of course, there's always the foreign muck to get your hands sticky over, or indeed spunk all over your back, producing reams of Japanese filth that can get you sent down for six months, or French BD erotica, all in semen-proof glossy hardcovers, but, you know, it's all in French though isn't it? It's not quite as comic-shop available. And while there are some gloriously filthy webcomcis, this is one case where the tactile nature, portability and reading-in-bed-with-a-loved-one possibilities of printed comics gives it a true competitive edge. For now.
So we're stuck (sometimes literally) to the small press, self-published titles that can fill a Kinky Comics Con. That there are some well known names there shows how
Are comics for adults now? Or are they only for big adolescents who are happy with Power Girl but would run screaming from anything Milo Manera touches. Apart from his upcoming X-Men comic of course...
Where has the actual honest, I'm all right jack, intelligent sex comic gone? Lost Girls is the most prominent recent example of that, and that was started in the nineties – although I must recommed the three volume set for sharded bedroom reading. Are faux-orgies in Batwoman comics and superhero fight scenes traced from Hustler all all we're left with?
Sex comics can explore narrative possibilities that the lens-based passivity of traditional pornography almost always fails to. And while films have used CGI to match the imagination of superhero comic books from the sixties, pornography budgets just don't have the scope what porn comics can achieve. Every porn comic can be a "big budget" number and all you need is a pen, some paper and a filthy mind.
If someone can find a way to push past the embarrassment, artistic and distribution factors, there might still be a fair chunk of cash on Wicked Grounds' coffee table waiting to be picked up.
Svašta se da videti na wikipediji. Na primer, danas sam posve slučajno otišao na stranicu meni dragog porno glumca Tonija Ribasa (http://en.wikipedia.org/wiki/Toni_Ribas) i evo šta između ostalog tamo piše:
QuoteIn 2010, he was inducted into the AVN Hall of Fame.[2] A popular style of films is to put marbles up mens bums he has created a league table, and so far the winner is Duncan Proctor with 57 marbles.
Mislim, WTF???? Ovo će neko uskoro da edituje, tako da, treba ga slaviti dok je živo!!!
Djimon Hounsou and Kevin Bacon will team on the action thriller "Elephant White" for Millennium Films says Reuters.
Hounsou will play a mercenary. Bacon is an old acquaintance of his with shifting allegiances.
Prachya Pinkaew ("Chocolate," "Ong-Bak") makes his English-language directorial debut on the film which Kevin Bernhardt penned.
Shooting kicks off March 8th in Thailand.
Baš da vidimo... Moja žena voli Kevina Bejkona pa će ovo biti prvi Pinkaewov film koga će pristati da gleda zajedno sa mnom.
Hm, videćemo šta će ovo da bude. Kast je odličan. Djimon ima martial arts chops a mislim da bi po sinopsisu i naša ljubimica mogla dobiti ulogu. Plus Bacon. Ono čega se plašim je to što će film neumitno morati da ima nekakvu priču, a tu je Pinkaew najtanji. Prosto njemu ne ide od ruke vođenje priče, razdvajanje važnog od nevažnog i sl. S druge strane, imajući u vidu ko su producenti, Pinkaew će imati priliku da dokaže kako se snalazi u uslovima totalnog producentskog lopovluka što je valjda apsolvirao na Tajlandu...
Da, Pinkaew nije neki nadahnuti storyteller, mada ume da priča na jedan basnoliki način. Ali ne verujem da će mu ta vrsta pripovedanja biti tolerisana ovde...
http://www.comingsoon.net/news/movienews.php?id=63417 (http://www.comingsoon.net/news/movienews.php?id=63417)
In April, movie and comic book fans will get a chance to see director Sylvain (Stomp the Yard) White's take on the Vertigo Comics series The Losers, which promises to be fairly faithful to the comics by Andy Diggle and Jock about a team of rogue espionage agents.
Quite some time before he became attached to do that, White's name was attached to an adaptation of Frank Miller's graphic novel Ronin to be produced by Warner Bros. and the producers behind 300. "Ronin" was Miller's earliest work published by DC Comics in 1983, a few years before "The Dark Knight Returns," the story of a Japanese ronin from feudal times reincarnated in a futuristic New York.
Earlier today, when ComingSoon.net/SuperHeroHype spoke with White, we wondered if he might get back to that now that he's wrapping things up on The Losers. "Yeah absolutely," he responded. "That's something I had to let go of for a period of time while I was directing 'The Losers' but I'm back here in Los Angeles and as I'm finishing post-production on 'The Losers,' I will be diving back into the development of 'Ronin.' I'm just working along with the studio executives developing the story elements and they're attaching a writer in the spring to do a new pass on it."
"It's a very complex graphic novel and it needs very careful attention," he continued, "Of course to make a movie of that scale, you need a lot of money to pay it justice, especially with the incredible visuals that Frank Miller has in it, but at the same time, in order to get a lot of money to make the movie, it has to have enough commercial appeal, so I'm trying to balance those two things together to make the movie accessible but still smart and throw with all the great ideas and grand ideas that it has. Conceptually, it's such an amazing property, so I think it's strong appeal in that sense, and even for people, I think visually in the trailer, people will be gravitating towards that kind of subject matter and that kind of character, it's amazing."
"I'm taking my time with it," he said. "If I'm able to stay on it and develop it the way I want, I just want it to be done right. I don't want to rush it or anything like that. I want the right writer on it and it to be done carefully. So that is one of the projects I have in development."
Since White has been getting artist Jock involved with The Losers, we wondered whether he had any similar plans to collaborate or get notes from Frank Miller for Ronin. "We have been in contact," he said. "The producers, which is Gianni Nunnari and Hollywood Gang, have been very collaborative and obviously have worked with because they did 300, so the link is there. We
re just sort of at an early stage where we're trying to structure the story and balance. It's a whole process to get it right. Some people rush and do it quickly and you end up with bad adaptations, which happens all the time. If they give me the time to do it, I will take it to do it right. There have been drafts that were ready to go supposedly but I want to take my time to make sure that it's just good. The fanbase out there for this particularly iconic graphic (novel) is scrutinizing the project and I also don't want to let them down."
Ovaj Tekken... mislim da možemo da se složimo da je to katastrofa u najavi.
A ovaj Losers... Ni tu se ne nadam mnogo dobrom. Ali možda je to zato što ne znam ko je Silvijan Vajt.
The $320,000 European Propaganda Comic That Actually Looks Quite Good
A hardback glossy comic book for a dollar? Sounds like a bargain right?
Not if you're the Taxpayer's Alliance in the UK. And are complaining about the 400,000 print run for a new graphic novella created by the European Union and distributed free to individuals and schools across the continent. The bill naturally picked up by the taxpayer.
Hidden Disaster is a new BD album created by Erik Bongers,
The graphic novel follows the adventures of the European Commission's Humanitarian Aid Office (ECHO) as it struggles to secure funding for the fictional state of Borduvia, which has been devastated by an earthquake.
Written and drawn by famed comic book creator Erik Bongers, Hidden Disaster tells the story of the European Commission's Humanitarian Aid Office, as it gets involved with the fictitious European country Borduvia, hit by an earthquake and suffering a humanitarian crisis.
The book sees protagonisst Zana and Max, heroicazlly following official procedure for maximum efficiency in order to deal with the problem, both on the ground and in the Brussels offices, negotiating with bnoth government and rebel groups over aid. Which leads to gripping exchanges such as
Tesjang: So are there many people from the European Commission here?
Zana: No the aid is channelled through organisations like UNICEF or Oxfam. When the Commission finances them, they become what we call our 'implementing partners'.
And mission updates such as;
The Commissioner has already approved three million euros in fast track aid... She sees no problem in having a follow-up funding decision ... provided the needs are clearly identified.
There's also romantic opportunity as Zana encounters rugged misogynist photographer Dave Clancey on their trip to a rebel camp, Dave asking "What's a European woman doing in a place like this?" Naturally Zana shows him - but waits until the aid is flowing before she begins the inevitable romantic liason...
The involvement in the group in Boruvia is very different to Haiti of course, where the EU have a billion dollars in aid but didn't actually visit the country and allowed the US to take control of the aid response.
The success of ECHO in Borduvia is in stark contrast to criticism levelled at the EU over its handling of the earthquake in Haiti to which it pledged £535 million. Baroness Ashton, the European Union's foreign minister, was widely criticised for failing to visit Haiti and allowing the US to take command of the international aid response. In the fictional world the Americans don't even get a look in. The book has been printed in English, French, German, Italian and Dutch and with Polish and Spanish translations expected.
And, predictably, the TaxPayers' Alliance kick off, chief executive Matthew Elliott saying "It is deeply immoral to use taxpayers' money to promote the EU to children" without realising that the priciple audience for BD albums in Europe is adults.
He continues;
"This is pure political propaganda aimed at kids, which is a classic tactic of corrupt and unaccountable regimes down the ages. The EU seems to think it can buy itself popularity, but instead it simply makes itself look more out of touch and wasteful."
----
Zamisli da se ovo kod nas dogodi... a da nisu Knindže.
..današnji DANAS najavljuje, istina bez konkretnog datuma, GUNS'N'ROSES u junu u Beogradskoj areni...
DušMane, jel ima kad u stripu sretnu Mehmeta? I kada shvate da je on jedan od onih radnika Crvenog krsta koji je shvatio pojam "relief" na jedan dosta neobičan način...
Čekam da mi stigne strip (ludaci iz EU šalju besplatno worldwide), ali čim dođe bacam ovde dojavu kako je Meho ispao i da li je obrukao boje svoje domovine.
Evo table iz stripa. Where's Mehmet?
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Nego, iscurelo je par fotki sa snimanja onog Batman pr0na:
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Paramount has snapped up distribution rights to "Middle Men," which premiered Sunday as the closing-night film at the Santa Barbara International Film Festival.
Based on a true story about the early days of the online adult entertainment business, the film is directed by George Gallo, who co-wrote it with Andy Weiss.
It stars Luke Wilson, James Caan, Giovanni Ribisi and Gabriel Macht.
The Oxymoron Entertainment/Blue Star Entertainment film was produced by Christopher Mallick, William Sherak, Jason Shuman and Michael J. Weiss.
Paramount will release "Middle Men" this year.
Our jokes aren't like your jokes - Intel Sponsors of Tomorrow (http://www.youtube.com/watch?v=e0FULHGwPkw&feature=player_embedded#normal)
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Kirsten Dunst se izgleda prodaje za pare:
http://www.gametrailers.com/user-movie/akihabara-majokko-princess/340367 (http://www.gametrailers.com/user-movie/akihabara-majokko-princess/340367)
Indian actress Freida Pinto ("Slumdog Millionaire") Has joined the cast of the Greek mythology epic "War of the Gods" for Relativity Media and Universal Pictures reports Variety.
"The Tudors" star Henry Cavill plays Theseus, a young warrior who leads both men and the Olympian gods in a battle to defeat the Titans, the long-imprisoned former deities who plan to use demons to restore their power.
Pinto plays Phaedra, an oracle priestess who joins Theseus' quest. Tarsem Singh helms the project described as a "hardcore action film done in Renaissance painting style" with modern touches.
Jason Keller penned the script's most recent draft while Gianni Nunnar, Mark Canton and Ryan Kavanaugh will produce. Shooting kicks off in April.
"Batman Begins" and "Blade" scribe David Goyer has been hired to pen "The Man of Steel", the new Superman film at Warner Bros. Pictures and Legendary Pictures reports Latino Review.
Goyer apparently has "an idea that actually takes the movies back to the John Byrne incarnation. Modern. Believable. FUN!". This incarnation would have no link to "Superman Returns", so Brandon Routh will not star and Bryan Singer won't direct.
Their source even went into detail about what to expect content-wise - "I can tell you that Goyer's story involves Luthor and Brainiac. It is NOT an origin and assumes audiences already know about Lois, Clark, Jimmy and Perry. I know the Daily Planet is struggling due to the internet. And I know it sets up a huge Kryptonian mythology."
The source also indicates that "Wanted" and "Kick Ass" author Mark Millar's comments about 'almost' getting a new trilogy pitch of his considered are "bullsh*t... he was never even discussed to write it."
The hiring of Goyer is not a big surprise after the news a few weeks back that "Batman Begins" and "The Dark Knight" director Chris Nolan had been brought onboard to produce and oversee a restart of the Superman franchise. Goyer and Nolan co-wrote 'Begins' and Goyer scored a story credit on 'Knight' which Chris and his brother Jonah Nolan co-penned.
When Goyer announced a few weeks ago that he was leaving the day-to-day showrunning of "FlashForward" to concentrate on script work, many jumped on the idea that the work in question was a third Nolan-directed Batman. Instead it's likely that film will follow the 'Knight' formula with Goyer and Nolan planning the story and the Nolan brothers going off to write the script while Goyer works on this and/or other projects.
The 'John Byrne incarnation' of Superman mentioned above refers to acclaimed author/comic writer Byrne's reboot of the character in the comics in 1986 in a six-part mini-series entitled, funnily enough, 'The Man of Steel'. Byrne took the character back to basics by significantly reducing Superman's powers. In this incarnation his foster parents are still alive, Clark Kent himself is more of an extrovert, there is no Fortress of Solitude and people are unaware of Superman having an alter-ego (thus aren't suspicious of Kent).
Da, Byrneov post-crisis Man of Steel ima mnogo smisla u pogledu filmovanja (samo da ne preteraju sa frizurom koja je u ono vreme umela da bude prilično skandalozna) jer su mu redukovane moći davale više potencijala za zanimljive zaplete.
No, ovo Millarovo me je iznenadilo, šta bi sa njegovim tvrdnjama da je bleklistovan kod DC-ja (a time i, valjda kod Warnera) posle pravljenja sranja u The Authority???
Heli OH Copter Song MW2 and Lugey From Sony's The Tester! (http://www.youtube.com/watch?v=WD795Wml69Y#normal)
Quote from: Meho Krljic on 25-02-2010, 12:32:00
No, ovo Millarovo me je iznenadilo, šta bi sa njegovim tvrdnjama da je bleklistovan kod DC-ja (a time i, valjda kod Warnera) posle pravljenja sranja u The Authority???
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Millar kaže:
Awesome for Goyer. He's a brilliant writer and a mate of mine so feel this could not be in better hands.
But I must stress that the "inside info" on my relationship to the movie is nonsense. I've said on record that WB had direct and serious talks with Vaughn and Vaughn was only doing it if we did it together. This didn't work out and we're doing something else, but the notion that it's fiction is insane. I can say on record that Vaughn had meetings with them about our ideas over a year ago.
I can't stand these massive declarations coming from "unknown sources". I've always liked Latino Review so this is quite uncool.
http://www.bleedingcool.com/2010/02/23/paul-mcguigan-grant-morrison-stephen-fry-in-new-bbc-thriller/ (http://www.bleedingcool.com/2010/02/23/paul-mcguigan-grant-morrison-stephen-fry-in-new-bbc-thriller/)
ala do batman e homem aranha unidos da tijuca 2010 mircmirc (http://www.youtube.com/watch?v=_Isi5RYLV-0#normal)
Aiiiiiii
Još jedan Džoker ode...
Andrew Koenig, who played the Joker in the above fan film "Batman: Dead End" as well as the son of Star Trek's Walter "Chekov" Koenig, was found dead in a marsh in Vancouver late Wednesday night, as an apparent suicide. Andrew was apparently extremely depressed prior to this. "If you are one of those people who can't handle it any more, know people are out there who really care before you make that final decision," Walter Koenig told the Telegraph afterwards. "Talk to somebody."
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Pripremam se da overi RAGING PHOENIX. Jesi li ga ti gledao?
meho, šta veliš? :)
Сварун - Власт * * * Svarun - Vlast (http://www.youtube.com/watch?v=LVnbCJcILLQ#normal)
Evo mog osvrta na Raging Phoenix:
http://cvecezla.wordpress.com/2009/12/27/raging-phoenix/ (http://cvecezla.wordpress.com/2009/12/27/raging-phoenix/)
A ovi Svarun su dopadljivi. Sad mi ih je i Nikola Urošević hajpovo. Nije baš moj stil, ali dobri su. Dosta isprofilisan stil i tehnički više nego solidno.
Warner Bros. Pictures is in negotiations with Japanese company Taito to score the film rights to 80's video game classic "Space Invaders" says The Los Angeles Times.
The game itself, which first came out in 1978 and is essentially the first 'shooter' video game ever invented, followed the basic premise of a ship destroying increasingly fast alien invaders before they touch the ground. A feature film will have to expand considerably on that leaving the filmmaker a lot of leeway to tell whatever story they want.
Mark Gordon, Jason Blum and Guymon Casady will produce. The film joins other classic video games turned films currently in development including "Asteroids" at Universal and "Missile Command" at Fox.
Um... ali zar nije Taito u vlasništvu Square-Enix??? Mislim, retoričko pitanje, naravno da jeste. Square-Enix su adresa na koju se treba obratiti za potrebe ove licence, a oni su zajebani igrači.
Ne uspevam da dokučim zašto bi neko ekranizovao SPACE INVADERS...
Pa, već su ekranizovali Super Mario Bros., tako da, zbog kompletnosti.
URGH! i Džoni Racković (1993) 8-)
http://abraxas365dokumentarci.blogspot.com/2010/03/urgh-i-dzoni-rackovic-1993.html (http://abraxas365dokumentarci.blogspot.com/2010/03/urgh-i-dzoni-rackovic-1993.html)
Za čitanje u dokolici:
8 romantic songs you didn't know were about rape (http://www.cracked.com/article_18431_8-romantic-songs-you-didnt-know-were-about-rape.html)
Edit: Aaaaaa, čuveni dokumentarac Bobana Skerlića. Smrt u diskoteci!!! Emisija se inače zvala Urbana gerila, pa moš to dodati u blog post. A inače, ono i nije prava proba, nego je samo slikano u prostoriji Vlajka, bubnjara Baal i kasnije Partibrejkers, za potrebe plejbeka. Fan fekt: futidž na kome sam ja kako čukam u bubanj i mlatim kosom je kasnije iskorišćen u RTSovom kvizu koji se bavio Ginisovom knjigom rekorda za ilustraciju pitanja o bubnjaru koji je bubnjeve sviro neprekidno 80 i nešto sati.
Uspeli su da me ubede eventualno za Brown Sugar. Ove ostale su realno potpuno lupetanje. Ochekivao sam vishe od Crackeda.
Da, ovo je malo lenj tekst za njihove standarde.
Ali evo:
17 more images you won't believe aren't photoshopped (http://www.cracked.com/article_18444_17-more-images-you-wont-believe-arent-photoshopped.html)
To je uvek zabavno.
A evo i osam najmuževnijih slika koje postoje na Internetu. (http://www.cracked.com/blog/the-8-manliest-images-on-the-internet/)
Fala za info Meho, sad cu sredim ;)
Služimo narodu.
A evo nečega što ja pričam godinama a Cracked ga je sistematizovao:
5 reasons you should be scared of Apple (http://www.cracked.com/article_18377_5-reasons-you-should-be-scared-apple.html)
Ja mislim da su ŽUTE DUNJE o nekrofiliji. Inače, na ovoj listi fale Foo Fighters EVERLONG.
Evo nešto solidno sa krekda:
6 Famous movie wisemen who were totally full of shit (http://www.cracked.com/article_18443_6-famous-movie-wisemen-who-were-totally-full-shit.html)
Odlično. Činjenica je da su filmovi prepuni nasilnika koji se ubiše od propovedanja nenasilnosti. Setimo se Seagala. :)
Suri Krishnamma ("A Man of No Importance") will direct the film adaptation of acclaimed New Age author Deepak Chopra's graphic novel "Beyond" says The Hollywood Reporter.
The supernatural thriller follows an American businessman and his family who journey to India on vacation. In the midst of a teeming bazaar, the son sees his mother wander into a small store but never come out, leading to a frenzied search for her whereabouts.
Gotham Chopra, Sharad Devarajan, John Garland and Michael Dufficy will produce the UK film production.
Cannon fan Jox (of dolph-ulitmate.com) has made a major find in the Spanish horror magazine La Cosa. It's an Albert Pyun interview in which he gives some amazing specifics about how far along in production Cannon's Spider-Man and Masters of the Universe 2 were when the plug was pulled, which he alleges was because Cannon bounced the rights check to Marvel! In true Cannon fashion, Pyun was to have directed both simultaneously, but ended up turning all the prep for both movies into 1989's Cyborg. (Cannon had also attempted to make Spider-Man with Joe Zito as director in 1986.) Below is part of the interview, in English. (Click here for the full interview from Pyun's site):
"Cyborg" was a product of what could have been a career shifting period of my life. I knew that Cannon had the rights to "Spider-Man" and sequel rights to "Masters of the Universe". I also knew that the "Spider-Man" rights were about to expire. I proposed to Menahem Golan and Yoram Globus that I make both pictures back to back in North Carolina (at De Laurentiis' studio in Wilmington). Cannon agreed. And I cast both pictures. I can't remember who we cast for Peter Parker, but big wave surfer Laird Hamilton was cast as He-Man (replacing Dolph Lundgren).
Brooklyn sets for "Spider-Man" were built on the Wilmington stages and I had a number of creative discussions with Stan Lee and Joe Calamari of Marvel. I had wanted to use the Black Spidey costume, but this was vetoed. The script was based on the original story only. The budget was my largest at $6 million. "Masters of the Unverse 2" was based on my story. Sets and costumes were built. The film was fully cast. Mattel Toys had a great many approvals and it was a trying process getting everything okayed by the corporate giant. It had a budget of $4.5 million.
The concept was to shoot 2 weeks of "Spider-Man" first. The section of Peter Parker's story before he was bitten. Then we would shoot 6 weeks of "Masters 2". The actor cast to play Parker would undergo a streneuous 8 week workout regimen supervised by a fitness professor at UCLA, Dr. Eric Sternlicht to build size and muscle mass. After shooting "Masters 2" we would resume shooting "Spider-Man". Two weeks away from shooting, it was discovered that Cannon had bounced the rights check to Marvel, canceling the deal and it was discovered that Mattel was owed a large rights payment as well. With Cannon in deep financial straights, the negotiations with Marvel and Mattel fell apart! Remember this was 1988 and the junk bond market which had fueled Cannon's rise had collapsed.
Having spent well over $2 million on sets, costumes, and prep, Cannon was desperate to find away to recoup their spend. I suggested we do a film that could utilize as much of what had been built and prepped and that would cost very little in addition. I wrote a first draft of what became "Cyborg" over a weekend and brought in a young actor - who wanted to be a screenwriter - to do polishes. His name was Don Michael Paul and he has gone on to write and direct "Half Past Dead" and Harley Davidson and the "Marlboro Man".
I was interested in Chuck Norris to star as he was under contract to Cannon. Instead Menahem suggested a Belgian kickboxer they had just starred in "Bloodsport". That's how Van Damme became the lead. His accent was so thick, that we had to change the character from an over the hill ex-Army Ranger to what the Gibson character became. It pretty much gutted the character arc.
What I remember most from the film was exhaustion. The turnabout from prepping to shoot "Spider-Man" and "Masters 2" to writing and shooting "Cyborg" was punishing. We had to figure out ways to use what had been built and created for two different films in a short period of time. As I recall, the budget on "Cyborg" was less than $500,000 including Van Damme's salary. It was shot in 24 days of principal. All in all, my expectations were quite low for the film's success given the mad circumstances."
Holi šit!! Cannon i Spajdermen, kakav bi to a match made in hell bio!!!
Krekd objašnjava filozofiju dodele oskara. (http://www.cracked.com/article_18460_5-reasons-oscars-matter-even-less-than-you-thought.html)
Mada ipak verovatno najveća bizarnost iz vrlo specifične istorije Cannona :)
But no hustle was better than what happened with the 'lambada' movies after Cannon fell; it's quite possibly the only time in history that a family rivalry from Israel has played out through dance fad B-movies released in American theaters.
As the rival cousins prepped production slates with their own independent film companies, the lambada craze swept America. The single "Lambada" by the group Kaoma was a #1 hit, and the sensual, body-grinding dance made its way to almost every radio station and club in the United States.
Needless to say, the lambada dance was classic Golan - Globus material. The two had a major hit in 1984 with Breakin', which was produced in about a month for $1 million, and collected a hefty $35 million at the box office. They tried to do a repeat six months later with Breakin' 2: Electric Boogaloo to limited success. Likewise, Cannon's Rappin' from 1986 and Salsa from 1988 didn't make too many waves.
But the lambada dance was white-hot and ripe for the picking. As the craze peaked near the end of 1989, the two rival cousins went in for blood. Globus announced Lambada for a release on May 4, 1990; he took a Stand and Deliver rip-off script he had sitting around and commissioned the screenwriter to add a lambada element to it. Director Joel Silberg (the veteran musical auteur of Breakin' and Rappin') was put at the helm of the quickie production.
Golan, not to be outdone, announced Lambada: The Forbidden Dance, to be released on April 6. His film, to be directed by Greydon Clark (an '80s schlock film staple, the director of It Came Without Warning and Joysticks), would be shot and edited in a month. The screenwriters say they came up with the premise on the way to Golan's office to pitch the film.
Globus pushed up production on Lambada to get it out to compete with Golan's movie.
Unfortunately for Golan, Globus beat him in registering the title "Lambada" with the MPAA. Lambada: The Forbidden Dance had to officially drop lambada from its title. It became The Forbidden Dance with "is Lambada" as its tagline.
As was the norm, Golan and Globus took out ads in all the trade papers trumpeting their quickie productions. Globus filed a complaint with the MPAA several weeks before the films came out over the use of the word lambada in Golan's advertising copy; the MPAA ruled that Golan did have the right to use the word, just not in the film's title.
Golan's film did have one big thing going for it, however. The Forbidden Dance production secured exclusive film rights to the actual "Lambada" single, a fact that Golan trumpeted in huge type on all of the ads and posters.
Suddenly, in February it became clear that The Forbidden Dance might actually be done before its original April 6th release date. Golan announced, in a memorable two-page Variety ad on March 8th, that the film would come out on March 16th, and said "I am proud and honored to have had the opportunity to create the one and only original Lambada film that truly depicts the lambada dance."
The Forbidden Dance had wrapped shooting on February 17th; Lambada, now subtitled "Set The Night On Fire," had finished shooting on March 5th, just days before Golan's announcement.
The two cousins had a decade of experience in putting out bad movies quickly and cheaply. They had already learned (like the rest of Hollywood did only recently) to edit movies while they were still filming. In this way, both movies were practically done when they finished shooting. So, as hard as it is to believe, Globus pushed his post-production team even harder, and Lambada: Set The Night on Fire, which had finished shooting only 11 days earlier, was also ready for a March 16th release.
On Friday, March 16, 1990, Cannon Films released Lambada, starring J. Eddie Peck, Alfredo "Shabadoo" Quinones, and Melora Hardin. The 21st Century Pictures Corporation released The Forbidden Dance (is Lambada), starring Laura Herring, Jeff James and Richard Lynch.
No two wide-release 'competing' movies had ever been released on the same day. Even when two studios are working on similar films and racing to come out first, the marketing departments never release on the same day (take Mission To Mars and Red Planet for a recent example) because the potential box office will always be split between the two flicks. But the family rivalry of Golan and Globus prevented them from even making sound fiscal decisions.
As Golan told Premiere magazine in March 1990, right before the movies came out: ''I'm already doing the sequel, Lambada 2: The Forbidden Quest. We have also created 'How to Lambada, ' an instructional videotape. All our company, the whole 21st Century Film production company, is now busy with one thing -- lambada.''
Perhaps this wasn't the wisest business priority for 21st Century. Amid a firestorm of critical disapproval, Globus won a pyrrhic victory; Lambada - Set The Night On Fire grossed $2 million in 1,117 theaters, while The Forbidden Dance scared up a measly $720,000 in 637 theaters.
******
The two lambada movies are cinematic marvels: The most amazing aspect of both is that they exist at all. Most films take more than a year to plan and execute. These movies took two months from start to finish. And they represent everything lovable and endearing about Golan-Globus movies.
The Forbidden Dance is the more satisfying film of the two. Greydon Clark crafted a masterful international tale of corporate greed, environmental destruction, and lambada. The film tells the story of Nissa (Herring), a princess from a Brazilian tribe whose land is being threatened by an evil corporation. With no money, Nissa travels to the United States to find a way to save her land.
Thankfully, Nissa has one marketable skill -- lambada.
She dances in a Los Angeles club and wins the attention of Greg, a rich Hollywood playboy played by Jeff James. Nissa and Greg endeavor to win a "National Lambada Contest" during which Nissa can speak on national television and inform the American people about the plight of her tribe.
Of course, the evil corporate goons, one of whom is memorably portrayed by Cannon regular Richard Lynch, conspire to stop Nissa and Greg from winning the contest. No prizes for guessing the ending, although Clark does give us a touching freeze-frame at the end of the film telling us that "this movie is dedicated to the preservation of the rain forest." Maybe they were sincere.
Lambada: Set The Night On Fire, on the other hand, is a more standard Cannon Stand and Deliver rip-off movie, with a few lambada elements thrown in for good measure. Hunky soap opera staple J. Eddie Peck plays Kevin Laird, mild-mannered Beverly Hills high school teacher by day, East L.A. lambada dancer by night.
He takes some of the kids who dance at the lambada club and starts teaching them math. They have a rather predictable face-off with the snooty Beverly Hills teenagers at the end of the film, followed by a "lambada-off" where everyone joins together on the dance floor.
The most exciting part is when Peck tearfully explains at the end that he was born with the name Carlos Gutierrez, and he wanted to use education to help some of his fellow Hispanics get out of the barrio. Apparently, knowing how to lambada is also a big help in this regard, at least in early 1990.
Golan's and Globus' successful B-movies have a level of hipness to them that transcends all conventional notions of cinematic quality. Cult movies come and go, but films like Death Wish 3 and The Forbidden Dance are forever; they exist as an affront to art cinema and critics, but also as an affront to the big studio film, as it manages to take chances that most pictures wouldn't.
Audiences and reviewers get lost in the obvious critiques of these films without seeing this internal beauty. Cannon films have an ambition that far surpasses most other films of the day. By achieving some of that ambition, and leaving the rest to the fertile, thrill-soaked (and often Reaganite, right-wing fantastical) imagination of the 1980's, these films have become for some a very precious cultural document of the time.
posle teske dvojbe koj link izabrati i na koji topik ga smestiti, posto su me pre neki dan optuzili za sovinizam :!:
The 10 Greatest Moments In Celebrity Boob Grabbing History (http://www.manofest.com/Content/the-10-greatest-moments-in-celebrity-boob-grabbing-history.html)
The 101 Hottest Slave Princess Leia Photos (http://www.manofest.com/Galleries/Girls/The-101-Hottest-Slave-Princess-Leia-Photos/)
Quote from: Melkor on 10-03-2010, 01:42:02
posto su me pre neki dan optuzili za sovinizam
Ako si šovinista, onda si jedini šovinista koga znam da kupuje ženi feminističku literaturu za poklon!
Quote from: Melkor on 10-03-2010, 01:42:02The 101 Hottest Slave Princess Leia Photos (http://www.manofest.com/Galleries/Girls/The-101-Hottest-Slave-Princess-Leia-Photos/)
Zašto ovako nešto nismo imali na Beokonu? :cry:
To mora da je bio neki beokon na kome nisam bio :cry:
Nemoj da zaboravis da sam joj to uzeo za 8. mart. Ja sam latenti sovinista, samo ponekad izadjem iz ormana xtwinkle
Lepe slike.
Nego, evo, Krekd:
5 Movies That Were One Flaw Away From Being Classics (http://www.cracked.com/article_18455_5-movies-that-were-one-flaw-away-from-being-classics.html)
A evo i kako bi mogao da izgleda skript za Spejs Invejders (http://www.cracked.com/blog/space-invaders-movie-script-leaked/). Ne najbolji tekst Danijela O'Brajena ikad, ali ima nekoliko duhovitih momenata.
Ovaj mu je bolji:
If Tiger Woods' Apology was honest (http://www.cracked.com/blog/what-tiger-woods-apology-should-have-been/)
Kick-Ass and Wanted creator Mark Millar has revealed to STV more about his latest comic book work Nemesis, which he promises will be a "complete inversion" of superheroes as we know them.
The Scottish comic book writer also talked about how he's also been approached by three big-name film directors about the project, but that he's holding off auctioning off any more of his work for movie adapations until Kick-Ass is released - a wise move given that it's been predicted to be a huge box office success.
Millar explained of the new work's origins: "Nemesis is the next in this wave that I was planning. Stan Lee created all these amazing characters in the 1960s. Nobody gives him credit for this, but Stan is the cornerstone of modern Hollywood: Stan Lee, Jack Kirby and Steve Ditko, the two artists that he worked with.
"These guys created Spider-Man, The Hulk, X-Men, Avengers, all these things that are making billions, each franchise is making billions. He's like J.K. Rowling, Ian Fleming and Robert Ludlum all rolled into one person, and nobody gives him the credit. It's pretty bizarre, he's bigger than Walt Disney to me, and has made more money now, probably, with those movies too, for the studios."
He added: "I just think it's weird nobody's done it for the modern day, so I'm trying to create a little wave: there's Wanted, Kick-Ass and the next one coming out. I've got about five or six on the go at the moment, and the next one coming out is Nemesis.
"The idea of Nemesis is a reversal of the superhero movie. I just think there's been all these superhero pictures but no films about supervillains yet, and I love cinema about crime, cinema about the bad guys. Like Goodfellas, Godfather, The Departed, all these things, it's always about the bad guys and it's really interesting, so I thought to flip superhero cinema around on its head.
"I think we hopefully reinvented superheroes with Kick-Ass, but now to do a complete inversion of it with Nemesis will be interesting, where the lead character in the thing is a bad guy. It's the trappings of a regular superhero: he's a billionaire by day, a glamorous socialite kind of guy who has an amazing plane, cars, all this sort of stuff, but at night-time he's the ultimate anarchist. He wears a mask and cape and he's the only super character in the city and the cops are all that stand between us and him.
"I think it could be quite terrifying, a superhero up against the city, so if you can imagine Se7en with superpowers it's something like that. It's definitely an 18 [certificate], you know."
When asked if it's already been optioned by a studio to become a movie, Millar replied: "We turned everyone down. It's really weird; I've been getting advice from pals who said wait until Kick-Ass comes out and you'll have much more latitude in what you can do, you'll get a better deal for starters, and probably the best directors.
"Some big directors have come forward, we've had three directors approach about it, and it feels weird turning them down, because it's people whose movies you love. But I'm sticking by this, I'm waiting till Kick-Ass comes out and then it can go out to auction.
"I want it in the right hands, I'm less concerned about the cash, and I want it to be a director as good as the first two directors I've worked with, so that the quality is there."
Kick-Ass writer Mark Millar has talked to STV about how the upcoming blockbuster's independent status was preferable to the studio system behind Superman - he was behind a pitch for a new reboot of the movie franchise, which he goes into in further detail later - and explained how its success could change how film-making is approached by top directors.
He also revealed how director Matthew Vaughn raised $45m during a single party to fun the upcoming blockbuster, because no studio would touch it - at least not until they saw the finished movie then scrambled to pay a premium fee for it.
The award-winning comic book writer - his Wanted was recently adapted into a worldwide box-office success - was also involved with Vaughn in pitching for the new Superman movie, but after comparing that process with the making of their new movie thinks that the independent approach he's taken with his own work will be the way to go in future for the likes of big-name directors Christopher Nolan and David Fincher.
Talking about how the movie of Kick-Ass came about, Millar explained how he and the film's director Matthew Vaughn were introduced by fellow comic book geek Jonathan Ross (while Vaughn was attached to helm the X Men 3 movie).
He continued: "We got on well and he said we should meet for lunch. He said 'I'd like to do a project with you sometime', he liked my stuff, and I had this thing called Kick-Ass that I was writing.
"I'd only written the first two or three scripts when I met him, and he said 'Aw, can I see that? I'd like to make something that nobody's ever seen before.' Because all the big characters like Superman, Batman, Iron Man, Spider-Man, they'd all been done, and they were looking for a new wave of characters to create.
"I showed him Kick-Ass and he really liked it, and he said 'I want to do this'. He started doing to screenplay and we ended up with Jane Goldman, Jonathan's wife who came in and did a polish on it, and we ended up with what we thought was the Pulp Fiction of superhero movies. We thought 'This is going to be great, everybody's going to love this', and we were so pleased with ourselves."
Millar added: "Then Matthew sent it to Paramount, and they were like 'This is rubbish, we absolutely hate it'. And they said 'Do you mind if we take it out to anybody else?' they said 'Feel free'. They took it to Sony, Warner Bros, everybody, and everybody universally hated it, they said it was the worst superhero thing that they had ever read, because it was so different from other superhero things, and it just didn't follow the rules. We thought that that was what was good about it, but they said 'We're not putting $70m into a film that breaks all the taboos, nobody's going to go and see this'.
"So Vaughn is quite cocky and he said I'm going to go and make this film myself, so he actually went and raised $45m from his friends, he literally had a dinner party and raised $45m, he's got a lot of rich pals. He made the film in England with his own cast with borrowed money, put some dough into it himself as well, made the film he wanted to make totally uncompromising - not taking any notes from any studios - took it back to the studios, told them they were wrong and got them to pay twice as much money for it. It was insane.
"Looking back at it now, it just takes an amazing amount of guts, and you realise how wrong it could have gone."
Talking about the fiercely independent approached, Millar said: "It's funny how similar to comics it is. What happened with comics for years was you could only work with Marvel or DC Comics, if you were a writer, an artist, and what we did with Kick-Ass was we made it outside the system and we owned it then instead of Marvel or DC owning it.
"You take a risk: I did it for free, I had no salary for eight months while I was doing this, and the artist was the same. It could have wrong, it was very similar to the movie, and then it came out and outsold Spider-Man so we got a lot of money and got paid really well on the book. And the same thing happened with the movie: Matthew worked outside the system, and he'll reap the rewards of it.
"I think that's what's going to happen. Really good guys like Chris Nolan and your David Finchers, the guys who do movies people like and make lots of money, they'll be thinking 'Why should I take a payday anymore when I can just do this outside the system? If I'm good it's going to make money back.'"
Indeed, such a system seems a contrast to the prolonged process when it's come to making the new Superman movie, which Millar and Vaughn pitched for but is now in the hands of Batman Returns and Dark Knight scriptwriter David Goyer (who turns out to be a friend of Millar's).
Millar explained: "The thing is, ultimately when you go to a studio I think it's quite demeaning.
"You walk in and you say 'Please love me, please like my idea, will you give me money to do this?' I just think there's something horrible about that, it just seems undignified.
"I like the idea of not having these people there, and generally, if you walk into a studio and it's Steven Spielberg sitting there you think 'Okay, I'll defer to you, you know what you're doing, I'll take your advice.' But if you're sitting there with a guy who's never made a film in his life, he's probably got 10 DVDs and he's been in that job for a year, how you possibly take notes from someone like that if you know what you're doing.
"So I just think it's the natural way to go if you're any good, to work outside the system and the use the studio for distribution fees."
He added: "Superman's the perfect example. We pitched it, lots of people pitched. They didn't want us to do it, and they moved on with someone else, which is perfectly fine, but isn't it nice to create your own characters and never be in that situation where you're pitching in with other people and everything? I don't know, it's just not the way I want my career to go."
When asked how long it had taken him to come up with the Superman movie idea, which was to span the length of a trilogy, Millar laughed and said: "An hour or something like that! Being Scottish I'm a great believer that I don't work for nothing. If they want some ideas I'll give them some very loose, broad ideas that I scribbled down on a pad.
"I did not submit a text or anything like that to the guys. What happened was I'd tried for Superman a few years ago and they said 'Sorry, you're a Marvel guy, we can't even entertain you', and I was like 'Okay, fair enough'.
"Then Warner Bros got in touch with Matthew and said 'We're really interested in you doing Superman and he said 'I'd like to bring you in as the writer for it because I know you have this idea'. So we talked about it and he verbally pitched it to them out there, so I didn't even go into the meeting, so no, I don't believe in wasting your time or anything like that."
Na ovo je hintovao McGuigan pre neki dan...
Wanted and Kick-Ass writer Mark Millar is aiming big for his first directorial outing, taking his cues from District 9 to create an epic Scottish superhero movie that will have a 21st-century Trainspotting vibe while being "as cool as X Men 2", with plans to shoot this summer using a local cast and crew.
The award-winning Coatbridge-born comic book writer has tasted huge success with his work on characters including Spider-Man and Superman, his creative talent for original characters now translating to the big screen in the form of Wanted and the upcoming Kick-Ass, which is poised to become one of the year's biggest movies.
Despite thinking of himself as "quite lazy", Millar describes himself as having "this weird Scottish work ethic" and has several projects on his plate. In terms of comics, this year alone Millar wants to create three brand new comics as well as doing a big Spider-Man story for Marvel. In addition he's gearing up to write and direct a superhero movie set in Scotland which he plans to shoot this summer, attempting to use exclusively local talent for his first film in the director's chair and casting young unknown actors in the lead roles.
In first part of our extensive interview with Millar about all his projects, he explained: "The plan with the Scottish movie was that I realised that everything I'd written, even though I'm a Scottish guy from Coatbridge, everything I'd written was set in New York or Los Angeles. I just thought that's quite weird; normally people will do something that is a wee bit to do with where they came from, so I thought that it was quite odd that I've never done that. It's a lazy shorthand to always set something in America that everybody understands.
"I saw District 9, the South-African alien movie. I thought that that was quite interesting to see something that people don't associate with South Africa, which is alien invasions, to juxtapose two things and make something quite interesting and quite odd, and I thought wouldn't it be cool to do a superhero movie in Scotland.
"Not a cheesy BBC Scotland comedy kind of thing, but to make it cool, as cool as X Men 2 was or whatever. Not costumes and that kind of stuff, a 21st century Trainspotting kind of thing about people with superpowers and make it epic, make it big and grand in scope, try and do something that's unexpected.
Millar added: "So my plan is to start directing that in June, June and July. We're prepping it just now. We want to do it with an entirely new cast, people nobody have seen before, young people from Glasgow and Edinburgh and work with local teams. Everyone that works on the movie we want to try and keep Scottish and just create a superhero movie with its own unique flavour."
Although Millar said he learned a lot from the directors he's worked with on Wanted and Kick-Ass, he added: "Comics is an amazing training ground for directing.
"It's so similar, because as a comic writer people think you just put the balloons in, but really you've a blank piece of paper and you have to tell the story visually: start with a close-up, pull-back and all the wee tricks that we employ when we make a film as well, so it felt quite seamless actually, the idea of going into film.
"It feels like comics, it's a world I'm really comfortable with, and if you're a geek you're a geek, I've got as many DVDs as I've got comics. The house is just filled with stuff like that, so I'm in my comfort zone."
Though some would see a gradual transition from comic books to movie-making over the past few years, Millar was keen to stress that he won't be giving up the medium with which he made his name.
Talking about his shift into the film world, he explained: "Well, the thing is I've never ever seen it as a stepping stone, from comics, although it is quite a logical stepping stone for a lot of people.
"I've always done comics because that's what I've always wanted to do, and a lot of my friends and family have said to me 'Right, okay, now you've got Hollywood films and all that when are you quitting comics?' and I was like 'Never, I didn't get into it to get out of it.' This is what I'm doing for the rest of my life hopefully.
"I just love it, I really enjoy it, and it's going so many rewards that film doesn't have. If I write something, three months later it's in someone's hands exactly as I've written it. With movies there's so many compromises and budget limitations and everything. It's a collaboration in a way that comics are much more autonomous, it's more like writing a novel or something, it's quite personal.
"I've been lucky though with film. Timur Bekmambetov, the guy who directed Wanted, is an amazing director and made it look great. Matthew Vaughn's come along and done Kick-Ass and it's looking even better. I've fallen backwards into movies very accidentally, I've had no brilliant plan or anything, it just worked out really nice, and I'm going to try and do both."
Millar talked about the process of the film adaptation of Wanted, and how as a producer on the movie he had a "J.K. Rowling kind of relationship" with the material because of the creator-owned deal he and the artist had for the comic book.
He added: "It was funny because they phoned me up and said 'You know this thing you're doing, Wanted, we really like it but we'd like to radically change it, we want to change half of it. I was just so pleased at the idea of getting a film made I was just like 'Yeah, anything you want! Of course.'
"It was the first film I ever did, and it was such a great calling card. I mean really, if you're lucky your first five films are rubbish, and that's if you're lucky that you're getting five films. So to get a big film with Morgan Freeman, Angelina Jolie, James McAvoy and a brilliant director, and it makes $340m is an amazing stroke of luck, but probably 40 minutes of the movie was absolutely nothing to do with the book at all. The first hour's identical, then it goes off and does its own thing and then comes back again at the end to being like the book.
"You compromise in film, it's just the way it goes. Sometimes you write a black character that when it comes out in the movie it's a white character and so on. It's a collaborative process and everybody's got an opinion, and if you do something in the studio system you have to defer sometimes.
"So it was a learning process, but I think it worked out great, I was really, really happy with it, and it also meant that I could go on and then have a movie career too, so on the strength of Wanted I sold maybe three other movies, and then those three will hopefully be good and a bigger career will emerge."
Millar je stvarno superheroj samopromocije i hiperbole. :lol:
Aha. Svakome je on sasuo sve u lice. Samo on zna. Samo je on hrabar. Kao da smo sisali vesla i ne znamo kako Holivud funkcioniše. KICK ASS je meni drag i voleo bih da uspe, ali koliko vidim, uprkos tome što ga je producirao Plan B distribuira ga Lionsgate a ne Warner ili Paramount. Millar sada pokušava da nam proda kao svoju inovaciju da reditelji žele da budu vlasnici svog materijala a to je oduvek tako bilo kad god su bili u mogućnosti. Ovo što sada rade Stone, Mann i Soderbergh nije inovacija nego je iznuđeno cutovanjem development troškova u studijima zbog recesije.
http://www.aintitcool.com/node/44238 (http://www.aintitcool.com/node/44238)
Auh!!
A Lionsgate release presented with MARV of a MARV Films/Plan B production. Produced by Matthew Vaughn, Brad Pitt, Kris Thykier, Adam Bohling, Tarquin Pack, David Reid. Executive producers, Pierre Lagrange, Stephen Marks, Mark Millar, John S. Romita Jr., Jeremy Kleiner. Co-producer, Jane Goldman. Directed by Matthew Vaughn. Screenplay, Jane Goldman, Vaughn, based on the comicbook by Mark Millar, John S. Romita Jr.
Dave Lizewski/Kick-Ass - Aaron Johnson
Chris D'Amico/Red Mist - Christopher Mintz-Plasse
Frank D'Amico - Mark Strong
Mindy/Hit Girl - Chloe Grace Moretz
Marty - Clark Duke
Katie - Lyndsy Fonseca
Todd - Evan Peters
Damon/Big Daddy - Nicolas Cage
Big Joe - Michael Rispoli
Sgt. Marcus Williams - Omari Hardwick
Det. Gigante - Xander Berkeley
Lobby Goon - Jason Flemyng
"Kick-Ass" most certainly does. Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure, Matthew Vaughn's bloody funny adaptation of a cult-fave comicbook series manages to be sufficiently faithful to its source material to please fervent fanboys while remaining easily accessible for ticketbuyers unfamiliar with the superhero storytelling conventions Vaughn ("Layer Cake") and co-scripter Jane Goldman satirize as well as celebrate. Scenes of hilariously overstated violence perpetrated by an 11-year-old girl doubtless will discomfort many and incense quite a few. But this deservedly R-rated Lionsgate release should nonetheless score a knockout in theatrical and homevid venues.
The title is both an alias and an attitude adopted by Dave Lizewski (Aaron Johnson), an all-too-ordinary Manhattan high schooler who's neither especially nerdish, despite his immersion in comicbook culture, nor confidently cool. He's so eager to transcend his anonymity -- and, not incidentally, impress a pretty classmate (Lyndsy Fonseca) -- that he clads himself in a DIY superhero costume (a green-and-yellow scuba outfit ordered online) and sets out to prove you don't need otherworldly origins to fight crime and do derring-do. Unfortunately, Dave's first attempt at superheroics as Kick-Ass end with -- well, with his getting his ass kicked. But even a forced trip to the hospital is not enough to dissuade him.
While Dave takes his tentative first steps toward heroism, bespectacled eccentric Damon Macready (Nicolas Cage) and spunky young daughter Mindy (Chloe Grace Moretz) make bold strides forward in their preparations for purpose-driven lives as relentless vigilantes. Dad is encouraging but implacably demanding as he teaches his little girl how to survive point-blank gunfire and wield lethal weaponry. Fortunately, she's a quick learner, and Damon is so pleased with her progress that he buys her all the ice cream she wants -- and helpfully shoots the sole survivor of her first armed assault on felons.
The latter gesture comes as a kicker to a jaw-dropping, mind-frying sequence in which Mindy -- decked out in cape, mask and purple wig as the aptly named Hit Girl -- violently dispatches a dozen or so bad guys to the tune of the "Banana Splits" theme. (Her father, whose own disguise closely resembles Batman's, assumes the identity of Big Daddy.) Hit Girl's dramatic arrival is perfectly timed: Before she shows up, Dave/Kick-Ass once again is outmatched by unfazed foes.
To be sure, the would-be hero scores enough relatively minor triumphs to become an instant celebrity -- enough to attract millions of hits for the YouTube video of his skirmish with street thugs. But Kick-Ass simply isn't in the same league as Hit Girl and Big Daddy. (For one thing, he'd prefer not to actually kill anybody.) He's not even as ruthless as another masked marvel, Red Mist, who's really Dave's classmate Chris D'Amico (Christopher Mintz-Plasse). Chris also is the son of a slick, sadistic crime lord (Mark Strong) who's trying to smoke out the heroes who are decimating his henchmen.
Here and there, "Kick-Ass" offers some genuinely clever observations about the creation of celebrity in a world where viral video clips and latenight talkshow quips can turn attention seekers into overnight sensations (and inadvertent role models). Pic also takes a few potshots at not-so-innocent bystanders who refuse to get actively involved in anyone else's emergencies.
For the most part, however, "Kick-Ass" is less concerned with social commentary than slam-bang outrageousness. Hit Girl's increasingly escalating mayhem is a running joke that somehow gets funnier as the pic progresses, and Moretz's deft mix of girlish sincerity and steely ferocity only increases the laugh quotient. Of course, that won't be enough to keep some professional moralists from taking issue with her onscreen activity.
As Dave, Johnson (a young Brit soon to be seen by U.S. auds as John Lennon in "Nowhere Boy") makes a reasonably credible and thoroughly ingratiating transition from enthusiastic klutz to self-empowered hero, while Mintz-Plasse amusingly plays Chris as a kind of darker, more dangerous variation of the McLovin' character he memorably essayed in "Superbad." Mark Strong, recently a seriously menacing villain in "Sherlock Holmes," brings the right touch of wink-wink overplaying to this pic's antagonist. And Cage earns some big laughs as he channels the smiley spirit of several '50s TV sitcom dads while teaching his daughter how best to kill miscreants.
Fans of Mark Millar and John S. Romita Jr.'s original comicbook series -- the sort of savvy aficionados who will catch all the inside jokes about Steve Ditko, the Spirit and other graphic-novel icons -- might complain about certain liberties taken by Vaughn's adaptation. (The motivation for Cage's character is substantially different here, and pic allows Dave more romantic success than the comicbook ever did.) According to the press notes, however, scripters Vaughn and Goldman began and completed their scenario before the comicbooks ever wrapped up their ongoing storyline.
Production values are fine, though perhaps not up to the standard one would expect of a more serious and straightforward comicbook pic.
Camera (Technicolor), Ben Davis; editors, Jon Harris, Pietro Scalia, Eddie Hamilton; music, John Murphy, Henry Jackman, Marius De Vries, Ilan Eshkeri; music supervisor, Ian Neil; production designer, Russell De Rozario; art director, John King; set decorator, Tina Jones; costume designer, Sammy Sheldon; sound (Dolby Digital/DTS/SDDS), Simon Hayes; second unit director, Tim Maurice-Jones; visual effects supervisor, Mattias Lindahl; special effects supervisor, David Harris; casting, Lucinda Syson, Sarah Halley Finn. Reviewed at SXSW Festival (opener), March 12, 2010. MPAA Rating: R. Running time: 117 MIN.
Evo:
5 Reasons The Internet Could Die At Any Moment (http://www.cracked.com/article_18453_5-reasons-internet-could-die-at-any-moment.html)
"Smallville" creators Miles Millar and Alfred Gough are attached to pen an adaptation of Nick Spencer's comic book series "Existence 2.0" for Paramount Pictures and Platinum Dunes says Reuters.
The story follows an amoral and selfish physicist who awakens to find his mind now residing in the body of an assassin that just killed him.
After indulging in the killer's lifestyle for a while, things turn serious when his daughter is kidnapped by the men who ordered his death.
Michael Bay, Andrew Form, David Alpert and Brad Fuller are producing.
Super, pošto trenutno izlazi i Existence 3.0, koji je nastavak ovoga o čemu pišeš.
Još samo malo i san svih voajera će biti pred ispunjenjem.
Cloak of invisibility takes a step forward (http://news.yahoo.com/s/ap/20100318/ap_on_sc/us_sci_cloak_of_invisibility)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fphotos-f.ak.fbcdn.net%2Fhphotos-ak-ash1%2Fhs428.ash1%2F23708_368571338521_254358478521_3592828_5343427_n.jpg&hash=ad221e8f77f31ceee15f8876ac0ccf72d8ad6938)
xrofl xrofl xrofl
meho efendi xjap
Trafikanti - Marakana (http://www.youtube.com/watch?v=TGZUgL04_eQ#normal)
Ou, jea!!!!!!!!!!!!!!!1!
Svilen Konac Project - Jutro Je ( NADA TOPCAGIC COVER).wmv (http://www.youtube.com/watch?v=VrO1bwNMaJI#normal)
Svilen Konac Project - Usne Vrele Kao Zar ( NINO COVER).wmv (http://www.youtube.com/watch?v=tWEN8vV6aso#normal)
Svilen Konac Project - Zasto Bas Ti (Mile Kitic Project) (http://www.youtube.com/watch?v=QQBrLLMQimM#normal)
Ja sam u ekstazi :)
SVILEN KONAC PROJECT - SRCE JE MOJE BAS PEDALA (LEPA LUKIC COVER).avi (http://www.youtube.com/watch?v=3QuX-z9vR9U#normal)
Sam Worthington is looking to start his own franchise and has chosen the sci-fi comic series Dan Dare: Pilot of the Future. This would be Worthington's third project lined-up as he's already attached to star in Ami Canaan Mann's real-crime flick The Fields (formerly The Texas Killing Fields) and a remake of the Danish thriller The Candidate.
Dan Dare has been around since 1950 and is described as a kind of British Buck Rogers. Created by Frank Hampson, Dare is one of the most successful comics in UK history. Billionaire Richard Branson picked up the rights with his Virgin Comics and brought on writer Garth Ennis (Preacher) to create a "darker" version of the character (read: more swearing, gruesome violence, and sex). It's important that comic book heroes no longer have any joy, especially one with such a grim title as Pilot of the Future.
Warner Bros. has picked up the project but no writer or director is currently attached. Worthington will next be seen in Clash of the Titans in theaters on April 2nd.
Evo i Bleach su uzeli da rade:
http://www.heatvisionblog.com/2010/03/warner-bros-prepping-film-adaptation-of-bleach-manga.html (http://www.heatvisionblog.com/2010/03/warner-bros-prepping-film-adaptation-of-bleach-manga.html)
QuoteWarner Bros., already developing an adaptation of the manga "Akira," is in the process of securing the movie rights to "Bleach."
Peter Segal is in negotiations to produce, though not direct, the adaptation with Viz Media, the anime publishing house that releases the books in English in the U.S. Michael Ewing, Segal's partner at Callahan Filmworks, will also produce.
The story centers on a 15-year-old boy who has the ability to see ghosts and meets a female Soul Reaper, a member of an order that escorts the souls of the dead. A fight with an evil spirit causes the Reaper to transfer all her power to the boy, leaving her stranded in the human world and the boy taking over her job as a fighter of evil.
The manga, written and drawn by Tite Kubo, has been published in weekly installments in Japan since 2001. Viz has collected the stories in graphic novel format, so far releasing 29 volumes.
"Bleach" has been adapted into an anime TV series that airs in Japan. An English version airs on Cartoon Network and Canada's YTV. In Japan, the title has spawned features and a musical.
As the director of such comedies as "Get Smart" and "50 First Dates," Segal might seem an odd choice to shepherd the "Bleach" adaptation, but he's been seeking to expand his portfolio by taking on darker, more action-oriented material.
Zabavan je ovaj Svilen Konac Prodžekt. Držaće li oni neke koncerte?
Što se tiče Dana darea, Ennisov strip uopšte nije bio tako mračan i krvav kako zvuči iz ovog teksta. Mislim, jeste bio ozbiljniji i manje blentav od starog stripa, ali za Ennisove standarde, veoma pitomo.
Nešto ekstremno odvratno, postovao for pure profiling reasons
MIKA - Kick Ass Official Music Video (http://www.youtube.com/watch?v=F3_y_illV4s#normal)
A ovo je for ril Ofišl Kikes mjuzik vidio??? Kuku.
da, sramno. evo da se malo smiriš...
Haris Dzinovic & Goran Bregovic - Zvijezda tjera mjeseca (http://www.youtube.com/watch?v=Uzcb0zywAwk#normal)
...Zagoru ga zatjera...
Kada to kaže Hari Dži, odeven kao član Village Peoplea i sa ozloglašenom reputacijom, makes you wonder...
Brkovi su, što bi rekli Ameri, a ded givevej.
Uzgred, naterao sam se sinoć da gledam Turneju i shvatio da tebi mora da je laknulo kad je GM to snimio jer više ne može da se kaže da si igrao u njegovom daleko najgorem i politički najsramotnijem filmu.
Sad me konačno razumeš. TITO I JA je u odnosu na TURNEJU ipak filmčina.
Da.
Goran sad misli da je veliki demijurg koji može iz neke puke konstrukcije da napravi film. A svi najbolji filmovi su mu upravo bili manje ili više bazirani na spontanosti situacija i karaktera, odnosno onome što već postoji u društvu a on to samo malo ampupuje...
Ma ja bih i to progutao samo kada to ne bi bili filmovi pravljeni petnaest-dvadeset godina prekasno, sa, u slučaju Turneje pogotovo, naprosto sramnim pamfletskim političarenjem. I to kažem ja koji Srbiju mrzim i priželjkujem da je vidim u ruševinama.
6 Movie monsters that just wouldn't work (http://www.cracked.com/article_18438_6-movie-monsters-that-just-wouldnt-work.html)
A evo i ovo:
http://www.cracked.com/article_18484_the-5-most-pointless-ways-big-budget-movies-blew-millions.html (http://www.cracked.com/article_18484_the-5-most-pointless-ways-big-budget-movies-blew-millions.html)
btw ja mislim da je Turneja bezobzirni ripoff The Travelling Players filma, ali, to sam verovatno samo ja.
Ne samo toga već i PUTUJUĆEG POZORIŠTA ŠOPALOVIĆ i TROPIC THUNDERa...
"Spy Hunter", a film adaptation of the Midway Games hit, is now on the agenda at Warner Bros. Pictures and Vertigo Films says Reuters.
"Hunter" is an action/driving game featuring the G-6155 Interceptor, a fictitious car that is beset by a wide array of enemy vehicles. The lead character is an ex-fighter pilot turned freelance assassin who specialises in targeting intelligence agents who have gone rogue.
Twice already the project came close to production over at Universal Pictures only to fall apart again. The first with John Woo directing and The Rock starring, the second with Paul W.S. Anderson directing. Warners picked up the rights to the property when it bought many of the bankrupt Midway Games' assets in a fire-sale last Summer.
Chad St. John ("Motor City") will now pen the latest draft of the screenplay. The likes of Michael Brandt, Derek Haas, Zak Penn and Stuart Beattie have already had a go. Dan Lin and Roy Lee will produce.
Kellan Lutz is set to play the Greek sea god Poseidon in "War of the Gods" at Relativity Media and Universal Pictures reports the trades.
Tarsem Singh directs the story of Theseus (Henry Cavill") who must lead his men in a battle to help the Olympian gods stop the Titans, the elder gods they overthrew in a decade-long battle many centuries beforehand, in order to save mankind.
Freida Pinto and Mickey Rourke also star. ason Keller rewrote Christian Gudegast's original script. Shooting kicks off in Montreal in April.
Ovo se uklapa uz činjenicu da trenutno igram God of War III (netom izašao) u kome sam do sada ubio Posejdona, Heliosa i Hermesa. Nastaviće se...
om Cruise and producer JJ Abrams are currently engaged in tracking down one of the most important components for Mission: Impossible 4 – a director. Ruben Fleischer's name has been bandied about, but there's another couple of choices floating out there – Brad Bird and Edgar Wright.
According to the Heat Vision Blog, Cruise and Abrams have been spinning the rolodexes to interview a number of directors, as Paramount really wants the film before cameras this summer.
Bird might not have live-action film directing experience, but when you look at his back catalogue – The Iron Giant, Ratatouille and The Incredibles as the standouts – it's clear he can make a great movie full of heart, soul and things that go boom. He's been trying to get disaster drama 1906 off the ground as his first dip into non-animated filmmaking for a while now, but that seems stuck in budget-crisis limbo.
We'd kill to see what Bird would do with Ethan Hunt and co, especially as it might lead to Michael Giacchino getting another crack at the soundtrack after working with Abrams on M:I-III.
As to the other person mentioned in the report – Edgar Wright? Another solid choice, though Edgar might be too busy promoting Scott Pilgrim to take on the job, and we doubt Marvel would be too thrilled at the idea, since he's still contemplating Ant-Man.
It would also put a spanner in the works of the next Pegg/Frost/ Wright collaboration, though we're sure Edgar wouldn't be against slipping a Nick cameo into the movie somehow, and Simon's already established in the IMF universe, having appeared in the third film.
Whoever takes up the gauntlet will be working from Andre Nemec and Josh Applebaum's screenplay, and would need to have the finished product ready for the previously announced May 2011 release date.
Martin Campbell has increased the cast complement of Green Lantern by one, adding Angela Bassett.
She's signed on to play Dr Amanda Blake Waller, who has a chequered history in the DC Universe, having run shady organisations like the Suicide Squad, which had super villains working for the government in exchange for amnesty.
Though she's also a government agent, chances are she'll end up causing trouble for Hal Jordan (Ryan Reynolds).
Green Lantern is shooting right now in New Orleans with Peter Sarsgaard, Mark Strong, Tim Robbins and Blake Lively.
Bird na MI IV a Wright na Ant-Manu mi zvuči kao dobitna kombinacija. Mislim i jedno i drugo ima potencijala da bude kataklizmično, ali baš zato...
Heh... rezultati fotošop takmičenja na Krekdu sa temom "Šta da su neki filmovi učinili najgore moguće greške pri kastingu?" (http://www.cracked.com/photoshop_112_if-classic-movies-had-made-worst-possible-casting-decisions/)
Nisu svi smešni, ali meni su neki urnebesni: Transporter 4, Alien, Jennifer's Body i naravno:
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Heh, heh, AT&T-ju su zavukli penisčinu:
IPhone App to Sidestep AT&T (http://finance.yahoo.com/family-home/article/109173/iphone-app-to-sidestep-att)
Doduše, potpuno me zbunjuje činjenica da Apple ovo dopušta, ali možda oni imaju skrivenu agendu da raskinu partnerstvo sa AT&T-jem...
Vin Diesel is such a Dungeons and Dragons
obsessive that he's written the foreword to
the 30th anniversary commemorative book.
And while filming xXx he had a fake tattoo
of his D&D character's name, Melkor, on
his stomach.
He even took to introducing his castmates to
the game. He would play with Dame Judi Dench
after night shoots on the Chronicles Of Riddick
and went as far as to show her his Dungeons and
Dragons books and explain to her the different
properties of Elementals.
http://www.popbitch.com/home/2009/03/25/a-brief-history-of-grime-2/ (http://www.popbitch.com/home/2009/03/25/a-brief-history-of-grime-2/)
Bezveze mu lik :roll: Dizelu, mislim......
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Musić objasnio na Popboksu.
Odličan mu je rivju, ali uvek me rastuže razmere hejta u komentarima.
Zenska moda je sve bolja i bolja... xwink2
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Mada, kad sam uspeo da skinem pogled sa khm,khm dzojstika, kakav je bre ovo gej satic na ruci ovog gejmera ?
Ženski, očigledno :o :o :o
Mehmete, jel Molly Mason hit?
Nisam još, da tako kažem, okusio njene čari. Zaneo me novi Lexington Steeleov uradak u serijalu Lex the Impaler...
Pazi, Molly je anđeo upao u vrč nadahnuća.
Stephen Dorff has joined the cast of Tarsem Singh's Greek mythology epic "War of the Gods" for Relativity Media reports Variety.
The story follows Theseus (Henry Cavill) who must lead his men in a battle to help the Olympian gods stop the Titans, the elder gods they overthrew in a decade-long battle many centuries beforehand, in order to save mankind.
Dorff will play master thief Stavros who joins Theseus' quest. Kellan Lutz, Henry Cavill, Mickey Rourke and Freida Pinto also star.
Filming kicks off in early April in Montreal. Universal has also announced a November 11th 2011 release date for the feature.
Here's an interesting story that's become somewhat confusing. It started over at Latino Review which reported that British director Matthew Vaughn ("Kick Ass," "Stardust," "Layer Cake") would helm an adaptation of the comic "Bloodshot" as his next project.
The two-volume comic revolves around a reanimated government assassin. According to the site Vaughn and his regular writing partner Jane Goldman would adapt the script and fully finance the film himself to begin shooting in the late Summer. It also very specifically states that his "Kick-Ass" collaborator Millar has nothing to do with the film adaptation.
Millar himself quickly responded and denied the report on the forums of his official site saying "It's totally insane. I remember Vaughn being offered this months back, but he turned it down along with a number of other projects he was offered and is starting work on the screenplay for the Leinil [Francis Yu] project in the next couple of weeks. We talked about it on the phone this morning."
Millar himself also revealed over the weekend on his official site that he was offered the opportunity to pen "X-Men 4" but turned it down as he wants to "create the NEXT generation of superheroes over the next few years and going back would, I think, be a mistake".
Millara ima i tamo gde ga nema. To je valjda normalno. :lol: I dobro je da nije prihvatio da piše X-Men 4, ko zna kakav bi to krš & lom bio. Njegov Ultimate X-Men je bio... prilično slab dok ga nisu preuzeli drugi scenaristi.
Hey folks, Harry here with the latest news on Joe Johnston's CAPTAIN AMERICA which is invading Europe this summer to shoot! Wouldn't it be ironic as hell if they shot in Germany - an actual WWII Cap movie? I'd love that.
Anyway - looks like Chris Evans' Cap has his sidekick in the very boy-faced actor, Sebastian Stan as BUCKY BARNES. Word is that he's signed on to do a mess of films, so I can only assume that his character won't buy it at the end of this first film. Or if he does - then he'll just be a flashback character - or possibly WINTER SOLDIER. Right?
If you've seen HOT TUB TIME MACHINE, you may remember Sebastian as a bit of a douche. I always kinda wanted Ricky Nelson for this role. But that's just cuz I loved RIO BRAVO so much, right?
Pa što bi Baki kupio farmu? Mislim, "smrt" i njegova i Kepova su bile samo privremene po svim trenutno važećim kontinuitetima & kanonima u Marvelu. Dobro, jesmo godinama mislili da je mrtav, ali poslednjih pet godina znamo da nije, au contraire. Doduše, jeste u aktuelnim stripovima u pitanju odrastao čovek...
ja sam mislio da je danijela snedena opevao samo bora drljača, a sad vidim da se i marvel njime bavio.
While the big, grown-up Marvel heroes such as Iron Man, Captain America and Thor are all happily moving along in their own franchises, Marvel isn't stopping there. The company has already been developing other projects, with Runaways in prime position. And now it may just have locked in a director: Peter Sollett.
Sollett last made Nick And Norah's Infinite Playlist, and his solid handling of teen types is likely a big reason why he's been targeted to handle the comic adaptation.
Created by Brian K Vaughn, the genius behind Y: The Last Man (with Joss Whedon writing a couple of story arcs), Runaways is an original tale set within the Marvel universe that focuses on a group of teenagers shocked to discover that their parents are all criminals and super villains who hold a big meeting every year under the guise of a charity event.
Stealing weapons from their folks, the group of six – who all have abilities inherited from their evil elders – strike out to battle their parents wrongdoings and any other trouble that crops up.
Described by Deadline New York as "The Breakfast Club with superheroes" (because of how the various types of kids band together but still squabble), the film has a draft of the screenplay penned by Vaughn, but is still in early development.
Mark Strong ("Sherlock Holmes," "Kick-Ass") tells USA Weekend that his role of Sinestro in the upcoming "Green Lantern" film for Warner Bros. Pictures will closely mirror the early comics.
"Sinestro starts out as Hal Jordan's mentor, slightly suspicious and not sure of him because obviously Hal is the first human being who's made into a Green Lantern. He's certainly very strict and certainly unsure of the wisdom of Hal becoming a Green Lantern. [Sinestro] is a military guy but isn't immediately bad. It's the kind of person he is that lends himself to becoming bad over the course of the comics being written, but initially he's quite a heroic figure" says Strong.
The actor was recently fitted for special contact lenses and the costume/appearance will follow the early look - "That widow's peak and thin mustache was for some reason originally based on David Niven...I would like to do justice to the Sinestro that was conceived for the comic books."
The project is currently filming in New Orleans and is scheduled to hit theatres on June 17th.
Warner Bros. Pictures has scored the film rights to Hiroshi Sakurazaka's 2004 novel "All You Need is Kill" reports Deadline New York.
The story follows Keiji Kiriya, a young recruit sent out to fight off an alien invasion and finding himself in a Groundhog Day-esque scenario of dying on the battlefield and being reborn each day.
Five months into this cycle though, he notices something different than the previous versions - a female soldier who may be the key to his escape.
The project is being fast tracked to begin production within the next year. Dante Harper penned the script.
Meho, kako komentarišeš Manaru u Marvelu?
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Odobravam. Mislim, ne oekujem neki kvalitet stripa, ali volim njegov soft pr0n crtež.
http://bobanrajovic.com/biography.php (http://bobanrajovic.com/biography.php)
Rođen u znaku jarca, 25. Decembra 1971. u Kopenhagenu, Boban je po mnogo čemu tipičan predstavnik ovog znaka. Velikom upornošću, radom i borbom došao do današnjeg stadiuma.
Srednji od tri brata Boban je odrastao u patrijarhalnoj porodici i vaspitavan od oca Milana i majke Anđelije, da su poštenje i poštovanje drugog naljepše ljudske vrline. Ogroman broj prijatelja i obožavatelja širom svijeta su potvrda i rezultat ovog vaspitanja. Od malih nogu vrlo nestašnog duha Boban je u školi i društvu brzo postajao omiljen. Liberalan odnos između učenika i nastavnika u Danskoj, Boban je pokušao da prenese u Berane, gdje se sa porodicom preselio kada je imao 8 godina. Strog odnos nastavnika nije odgovarao Bobanovom temperamentu pa je često dolazio u konflikt sa njima. Tih godina je počeo igrati i fudbal i ubrzo dobio ponudu da uz stipendiu bude poslat za Beograd. Umesto za Beograd, Boban će se sa svojima preseliti za Podgoricu gdje živi dok ponovo ne preseli za Kopenhagen 1987.
Skroman život u Crnoj Gori Boban u danskoj mijenja za život pun izazova, noćnog života, lijepih cura i velikog broja internacionalnih drugova. Kao izuzetno nadaren denser bio je vrlo omiljen u noćnim klubovima koje je posećivao. Da bi imao za luksuz Boban je sa 16 godina počeo da radi i obezbeđuje sebi egzistenciju. Nikada se nije sramio poštenog rada, pa je tako radio po restoranima, fabrikama i svuda ostavio trag dobrog i pomalo vragolastog dečka kasnije momka i radnika. U jednom kratkom periodu svog života bio je član teenage ganga poznatog u čitavom Kopenhagenu ali je ubrzo shvatio da ga od ostalih dijeli ozboljniji prilaz životu.
U svojoj 23 godini upoznao je Draganu sa kojom danas ima troje djece, Ivanu, Anđelu i Andriju.
2000 godine, posle nekoliko godina pjevanja po klubovima i kafanama u Danskoj, Boban odlučuje da snimi svoj prvi CD. Put od tog trenutka do izdavanja singla "Usne boje vina" je toliko težak i trnovit, pun smicalica, pakosti, prepreka, plaćanja kusom i repatom, toliko laži i prevara, toliko pohlepnih javnih ličnosti kojima se plaćao mito, da samo čovek koji poseduje nadljudsku upornost može da izdrži.
A onda su se desile "Usne boje vina" i sve se preko noći promijenilo. I odnos ljudi, medija i okoline. I bez obzira što je sada ples po ružama, Boban nije zaboravio ni odakle je došao ni gdje je bio. A kako mi je jednom prilikom rekao, istrajava zahvaljujući porodici i velikom broju obožavatelja.
Boban i danas živi u Kopenhagenu, a to malo slobodnog vremena što preostane posle, djece, teretane i prijatelja provodi spremajući knijgu o estradi.
Boban je "oriđinal", nema šta.
QuoteI bez obzira što je sada ples po ružama, Boban nije zaboravio ni odakle je došao ni gdje je bio.
Don't be fooled by the rocks that I got
I'm still, I'm still Jenny from the block
hohohohohooo nisam znao da je tolika facetina :lol: ni to da je rođen 25. 12. kad i ja, eni lenoks i isus hrist (u nekim državama/crkvama :A)
rispekt za piromana
Quote from: crippled_avenger on 09-04-2010, 12:06:43
http://bobanrajovic.com/biography.php (http://bobanrajovic.com/biography.php)
Velikom upornošću, radom i borbom došao do današnjeg stadiuma.
Liberalan odnos između učenika i nastavnika u Danskoj, Boban je pokušao da prenese u Berane, gdje se sa porodicom preselio kada je imao 8 godina.
Skroman život u Crnoj Gori Boban u danskoj mijenja za život pun izazova, noćnog života, lijepih cura i velikog broja internacionalnih drugova. Kao izuzetno nadaren denser bio je vrlo omiljen u noćnim klubovima koje je posećivao. Da bi imao za luksuz Boban je sa 16 godina počeo da radi i obezbeđuje sebi egzistenciju. Nikada se nije sramio poštenog rada, pa je tako radio po restoranima, fabrikama i svuda ostavio trag dobrog i pomalo vragolastog dečka kasnije momka i radnika. U jednom kratkom periodu svog života bio je član teenage ganga poznatog u čitavom Kopenhagenu ali je ubrzo shvatio da ga od ostalih dijeli ozboljniji prilaz životu.
Put od tog trenutka do izdavanja singla "Usne boje vina" je toliko težak i trnovit, pun smicalica, pakosti, prepreka, plaćanja kusom i repatom, toliko laži i prevara, toliko pohlepnih javnih ličnosti kojima se plaćao mito, da samo čovek koji poseduje nadljudsku upornost može da izdrži.
Boban i danas živi u Kopenhagenu, a to malo slobodnog vremena što preostane posle, djece, teretane i prijatelja provodi spremajući knijgu o estradi.
Mislim da je ovo esencija i da svaki pravi muškarac treba da se inspiriše ovim detaljima.
Mene je već prilično inspirisalo njegovo insistiranje na metalskoj ikonografiji sa sve crnim plaštom i naoštrenom kosom. Boban je baš ono, transgresivac.
Meho, ko bi pobedio u eventualnom TV duelu Rastka Poceste i Vase iz Peščanika?
http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=04&dd=08&nav_category=12&nav_id=423062 (http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=04&dd=08&nav_category=12&nav_id=423062)
Zavisi da li bi Vasi bilo dopušteno da koristi svoje retoričke sposobnosti:
QuoteVasa: Pa, bilo je tipično glasanje, uzmemo papiriće i svako treba da napiše imena tri osobe iz odeljenja za koje misli da bi bili najbolji za predsednika. Onda prebrojavamo te glasove i onaj sa najviše glasova je predsednik, onaj drugi po redu je potpredsednik i tako dalje. Moram reći da se Nevena mnogo bolje ponaša kao predsednik nego Staša prošle godine.
Svetlana: Kako se on ponašao?
Vasa: On nas je izluđivao, discipliničar i higijeničari su mu bili kao telohranitelji. Mislim, strahovlada.
Svetlana: Je li vam objašnjavao kako on doživljava svoju ulogu?
Vasa: On je tvrdio da je naša obaveza da radimo sve što nam kaže, jer on ima pravo da nas izbaci iz škole.
Svetlana: Jesu li deca u to poverovala?
Vasa: Skoro sva.
Svetlana: A da li ima lobiranja? Znaš šta je lobiranje? Lobiranje je kada se jedna grupa organizuje i podržava jednog kandidata i ubeđuje druge ljude da glasaju za njega.
Vasa: Bilo je kandidata koji su sami ubeđivali ljude da glasaju za njih.
Svetlana: Šta im kažu?
Vasa: Pa plaćaju im. Meni je prošle godine Kaća ponudila čokoladu da glasam za nju.
KICK ASS je podsetio javnost na jedan meni vrlo drag film:
The USP of Matthew Vaughn's 'Kick-Ass' is that it's about real life superheroes. But what about Mystery Men?
For the next month or so, you won't be able to leave the house without hearing the words 'Kick-Ass'. Matthew Vaughn's teen superhero epic is fast, funny and extremely violent, but it also seems to be labouring under a misapprehension: that the concept of normal, everyday superheroes is somehow original. The film even opens with our hero Dave Lizewski (Aaron Johnson) complaining that, in the real world, no one but the police dresses up and fights crime.
In fact, they do. A few years ago, a film played at the Sci-Fi-London Film Festival called 'Your Friendly Neighbourhood Hero'. This wise and very amusing doc followed the exploits of four real-life costumed avengers – known only as Superhero, Master Legend, Mr Silent and Hardware – as they plied their trade on the suburban streets where they lived. Their exploits were relatively tame – none of them took down a major crime ring or foiled a villain in his underground lair – but, like Kick-Ass, they were dedicated ordinary Joes intent on remaking society in their own image.
Even in the realm of fiction the concept of normal folks with no special talents teaming up to fight forces of evil is nothing new. Alan Moore's graphic novel 'Watchmen' was perhaps the first to imagine what would happen if society was suddenly overrun with masked heroes – his conclusion being that they'd become fascistic, sexually perverse social outcasts. Last year's film version of Moore's book turned the idea on its head by becoming exactly the kind of ultraviolent bonanza of special effects which Moore was satirising in the first place.
A decade ago, 'Mystery Men' brought the very same concept which fuels 'Kick-Ass' – give or take a few vaguely supernatural elements – into cinemas, and was largely ignored by the ticket-buying public. It's a shame, because Kinka Usher's film was a smart, original and hilarious subversion of the superhero genre which deserves a second look.
Just check out the cast list for 'Mystery Men': Ben Stiller plays Mr Furious, an ordinary guy convinced that his boundless inner rage makes him in some way special. Hank Azaria plays The Blue Raja, master of cutlery, while William H Macy brings his customary hapless warmth to the role of family man The Shoveller. There's also room for Greg Kinnear as preening playboy Captain Amazing, Geoffrey Rush as master villain Casanova Frankenstein, Eddie Izzard as his sidekick Tony P, Janeane Garofalo as hipster hero The Bowler and the great Tom Waits as madcap inventor Doc Heller.
Sure, 'Mystery Men' plays things a lot broader and wackier than 'Kick-Ass'. But it's also sharper, more inventive and a lot funnier, taking the time to round out its lovingly drawn characters rather than just chucking them into another limb-slicing action sequence.
We've no doubt that 'Kick-Ass' is going to be a big box-office success. It's got all the wisecracking, foul language and manic, intense violence that fanboys go nuts for. But once you've paid your money and got your kicks, give 'Mystery Men' a go: it would be a shame if this big-hearted, anarchic anti-blockbuster got lost in the shadow of its slicker but somehow less loveable offspring.
Author: Tom Huddleston
[Sean Connery] Said in an interview that during the filming of Never Say Never Again, he was taking martial arts lessons and in the process angered the instructor who in turn broke his wrist. Connery stayed with the wrist broken for a number of years thinking it was only a minor pain... the instructor was Steven Seagal.
Sjajna urbana legenda!!!
28 year-old British actress Alice Eve ("She's Out of My League," "Sex and the City 2") is the front-runner to play Peggy Carter in the upcoming superhero project "The First Avenger: Captain America" for Marvel Studios says E! Online.
Both Eve and fellow Brit Hayley Atwell ("The Prisoner," "Brideshead Revisited") have apparently undergone a second screen test this week in London for the film. Previously mentioned candidate Keira Knightley is said to be no longer in the running.
In the comics, Margaret 'Peggy' Carter fought in the French Resistance during WW2 who served alongside Captain America on several operations.
Whomever wins the role would join both Chris Evans as the titular Steve Rogers and Sebastian Stan as James 'Bucky' Barnes. The film goes into production this Summer for release July 2011.
Easter may have been last weekend, but now comes news of another unexpected resurrection - the film adaptation of hit XBOX video game series "HALO".
Though the previous film version with Neill Blomkamp ("District 9") directing and Peter Jackson producing seem to have died a while back, last week Microsoft Game Studios' franchise development director Frank O'Connor revealed that there's still life in the old girl yet.
According to IGN while speaking about the property at the MI6 Conference in San Francisco last week, O'Connor said "We're going to make a movie when the time is right. We own the IP. If we want to make a movie, the scale of all the other stuff that we do changes dramatically."
The major reason for the film will be an admittedly cynical cash grab, a move not without repercussions - "We make tens and tens of millions of dollars on ancillary stuff, toys, apparel, music and publishing. If we do a movie all of that will grow exponentially. We have some numbers if we do a movie, but it changes everything. It also changes our target and age demographic."
Insiders tell Vulture that Pixar mainstay Brad Bird (Ratatouille, The Incredibles) has overtaken the competition to direct Tom Cruise in Mission: Impossible IV, and is now in negotiations with Paramount Pictures to do the film. A source close to the deal says that the talks hinge on Bird's mammoth quote: animation projects can take three years of work, and therefore the directors get paid much more, and considering Bird's last two films both won Oscars, his normal paycheck is even bigger yet. However, shooting and posting even a big-budget, CGI live-action film takes only a year or so. (In fact, this one can't take any longer; the studio has it slated to open May 27, 2011.) Therefore, Paramount is hoping Bird will reduce his price accordingly.
Speaking of big-shot directors, executive producer J.J. Abrams, who directed M:I3, helped craft the M:I4 story. The screenplay was ultimately written by Andre Nemec and Josh Appelbaum (ABC's Life on Mars, Happy Town). We hear it involves spies.
Filmmaker Matthew Vaughn ("Kick Ass," "Stardust") may produce or direct a film adaptation of the sci-fi/crime noir graphic novel mini-series "Turf" reports The Guardian.
Set in New York 1929 at the height of prohibition when the mob ruled the city, the story follows the arrival of the mysterious Eastern European Dragonmir Family. These vampires unleash a series of brutal attacks on the gangs, forcing a surviving tough guy and an alien to team-up and stop it. A strong willed young reporter and an ancient prophecy all come into play as well.
The comic was created by famed British radio & TV presenter Jonathan Ross. The link is not unusual either as Ross' wife is Jane Goldman, Vaughn's regular co-writing partner.
U jebote, pa taj Turf samo što je izašao, ja mislim prošle nedelje, ja ga još nisam ni pročitao. Holivud je sve brži.
Dobro, Vaughn je prijatelj sa Rossom i njegovom ženom tako da je sigurno već imao pristup materijalu.
Da, verovatno je unapred planiran kros-midija pristup. Doduše, kako se stripovi jadno prodaju, to ima smisla...
Vidiš i Millara, on sad maltene pre izlaska stripa proda prava. Očigledno da jedino tako može da se napravi neka računica.
U suštini, danas zapravo stripovi možda i najbolje simbolizuju to pomeranje akcenta sa novca kao merila na društveni impact kao merilo. Primer toga bio je Facebook, brend čija tržišna vrednost daleko nadmašuje konkretne prihode koji se mogu ostvariti. Slično je i sa stripom. Oni doduše ostvaruju konkretan prihod ali najmanje kroz strip.
Nisam znao gde drugde ovo da metnem...
Dunja Ilic - Misterija (Dunja Ilic Show) (http://www.youtube.com/watch?v=OoqCu98_ZLg&feature=related#)
Stvarno je carica Dunja. Ima kod mene u kraju jedan bilbord koji je reklamira i tako svaki dan kad se vraćam sa posla imam priliku da se nekoliko sekundi naslađujem pogledom na nju. Ne bi valjalo da je više.
QuoteVidiš i Millara, on sad maltene pre izlaska stripa proda prava. Očigledno da jedino tako može da se napravi neka računica.
Kod Millara je mrvicu drugačija situacija, pošto Kick-Ass izlazi za Icon imprint Marvela koji radi na principu - mi ti dajemo punu autorsku slobodu, ali nikakav marketinški push, tako da Millar tu mora sve sam da reklamira & poteže pa ima smisla da je sinergija medija za njega najbolje rešenje. A Millar je ionako rođen za hiperbolično samopromovisanje, evo, sad je krenuo da mu, isto za Icon, izlazi novi serijal, Nemesis i Millarov vispreni teglajn za ovaj strip je "Makes Kick-Ass look like Shit!!!" Moram da kažem da sam posle tri pročitane strane morao da ga ostavim da bih se odmorio pa ne mogu da kažem je li i ostatak stripa tako blentavo isforsiran kao teglajn, ali po prve tri strane - jeste...
QuoteU suštini, danas zapravo stripovi možda i najbolje simbolizuju to pomeranje akcenta sa novca kao merila na društveni impact kao merilo. Primer toga bio je Facebook, brend čija tržišna vrednost daleko nadmašuje konkretne prihode koji se mogu ostvariti. Slično je i sa stripom. Oni doduše ostvaruju konkretan prihod ali najmanje kroz strip.
Pa, da, u marvelovoj finansijskoj konstrukciji strip je tek na trećem mestu po prihodu. Prvo ide film, pa licenciranje za merčandajs, pa tek onda strip. Ali, bez kreiranja licence koje ide kroz strip ne bi bilo ničega.
Paul Verhoeven, a director best known for films like Robocop, Starship Troopers, Total Recall and Basic Instinct, hasn't stepped behind the camera for a few years (2006's Black Book). But is now appears the filmmaker is developing a big screen adaptation of a video game. The filmmaker told MTV:
"I am working on a movie now that is... situated in 1914. Basically, Indiana Jones-ish you could say, but also Hitchcockian. We are scripting it. It's an idea that exists already... from another medium, and so we are making it now into a film narrative." Which medium, Josh asked. "A game, a video game."
MTV was unable to figure out which video game Verhoeven was talking about, but I think I may have cracked the code.
The Last Express
I believe it could be The Last Express, a real-time adventure game created by Jordan Mechner (yes, the guy who also created Prince of Persia) which takes place on the Orient Express just days before the start of World War I. You might not remember the game as it was released exclusively on CD-Rom (PC/Mac) in 1997. Here is the kicker:
As CNN describes THE LAST EXPRESS, it's like "A mix of Indiana Jones and Alfred. Hitchcock...."
As Han Landa (Christoph Waltz) says in Inglourious Basterds:
Of course, I'm unable to confirm this at this time, but it sure seems like the right property — definitely a better fitting choice than "NecroVisioN" or "Red Dead Redemption", the two games MTV Multiplayer had offered as guesses. But it does make sense, especially with the upcoming release of Prince of Persia, that Hollywood might be looking at Mechner's other games for potential big screen adaptation.
So what is the game about?
Here is the official plot synopsis:
Paris, 1914. The world is on the brink of war and your life is about to change forever. You are Robert Cath, a young American who is urgently summoned by his friend Tyler Whitney to join him on the train departing the Gare de l'Est, Paris, 24 July for Constantinople. Arriving late, you are overcome with the heavy feeling of danger. Something has gone terribly wrong. Before you can grab hold of your senses, the adventure overtakes you, and you are plunged into a world of suspense, romance, international intrigue, and murder.
Here is some more info from GameSpot:
Taking place on the Orient Express immediately before the outbreak of World War I, The Last Express is a tale of international intrigue, a love story, and a murder mystery all at once. While this may sound trite, the intelligent writing overcomes the cliches through its complex characters, unpredictable plot twists, and some of the most convincing voice acting ever heard in a game. You assume the role of Robert Cath, a fugitive American with a mysterious background who has come onboard the Express to visit an old friend. You arrive and find your friend has been murdered, but trying to discover the mystery behind his death will not be as simple as it seems. Despite this tired premise, The Last Express never feels like a "Host Your Own Murder Mystery" party on a CD. The plot plays out like a cross between The Maltese Falcon and the French classic Pepe Le Moko, and it remains intriguing all the way to the spectacular ending. If it weren't for a few gameplay issues, The Last Express could very well be among the best adventure games ever.
And here is some information on the real-time nature of the game from wikipedia:
The Last Express is unique for taking place in almost complete real-time, albeit accelerated by a factor of six.[1] The player can also rewind and occasionally fast-forward time at will. The game begins at 7:14 p.m. on July 24, 1914, and ends at 7:30 p.m. on July 27 (if the player has reached the proper ending). The only events during which the game does not proceed in real-time are times when Cath is sleeping or unconscious, as well as a few cutscenes.
The game also had a rotoscoped/hand-drawn cut-scene style, which can be seen in this excerpt from the beginning of the game:
The game received mostly positive reviews, but the game remained in stores for only a few months. Apparently, Brøderbund's marketing department quit the company just weeks before the game was released, resulting in almost no advertising for the game what-so-ever. A Playstation port of the game was almost completed, and never released.
Read more: Paul Verhoeven Developing Big Screen Adaptation of... Jordan Mechner's Video Game The Last Express? | /Film http://www.slashfilm.com/2010/04/13/paul-verhoeven-developing-big-screen-adaptation-of-jordan-mechners-video-game-the-last-express/#ixzz0lAZW2xlp (http://www.slashfilm.com/2010/04/13/paul-verhoeven-developing-big-screen-adaptation-of-jordan-mechners-video-game-the-last-express/#ixzz0lAZW2xlp)
"Buffy" creator and "Serenity" director Joss Whedon is reportedly in final negotiations to direct the superhero team-up movie "The Avengers" for Marvel Studios and Paramount Pictures says Deadline New York.
Whedon's name was first mentioned over at IESB.net a few weeks ago. Production would begin sometime next year for release May 4th 2012.
Meanwhile two characters from that movie may be making earlier appearances than that. According to a trusted source for Bad Taste, a scene about Captain America and Thor will appear after the end credits of "Iron Man 2" - much like the way Nick Fury made a camera in a post-credits scene at the end of 2008's "Iron Man".
Could we see two hunky guys named Chris - Chris Evans and Chris Hemsworth - in full costume? Unlikely. The crucial wording here is that it's a "scene about" the two characters meaning one or both may not even pop up on screen but rather merely referenced.
Spider-Man 4
Josh Hutcherson ("Journey to the Center of the Earth," "Cirque du Freak: The Vampire's Assistant") has apparently joined the short list of contenders for Sony's upcoming "Spider-Man" reboot.
The Green Hornet
The site claims Sony Pictures are apparently "displeased with the results" they've seen so far of Michel Gondry's "The Green Hornet" film adaptation.
A source claims the "tone is too campy, they're not happy with the work from director Michel Gondry and Seth Rogen does not look the part. At all. In fact, the feeling at Sony is the movie is a disaster." Strong words.
Not surprisingly a Sony spokesman has come back to Indiewiredismissing the report at "complete garbage" and having seen one-third of the film thus far what's on offer "is outstanding... remarkable".
Lobo
With Guy Ritchie ditching this project in favour of "Sherlock Holmes 2", the Akiva Goldsman-produced comic adaptation has stalled over at Warner Brothers. The reasoning? "a direct result of their not-so-hot reaction to The Losers and especially Jonah Hex".
Why my friend, Roger Ebert is dead wrong about KICK ASS by Harry Knowles
This is not a review of KICK ASS, I can't do that right now as I still haven't seen the final version of the film - just the print that played Butt-Numb-A-Thon 11 with the greatest temp track I've seen on a film since Brian Helgeland's PAYBACK director's cut- back in the day.
No - Instead I'm going to address the review that just went up over at the Chicago Sun-Times complements of a man I once shared an aisle with, a few times. I'm talking, of course, about Roger Ebert.
He summarily dismisses the film for moral reasons. Fearing the possible damage that kids will suffer if they are allowed to see the film.
The first retort that will come to mind is that the film isn't meant for children. This is a very hard R-rated film, but that's a hollow argument, as we all know that the supervision level that goes on in this country is a joke. Parents can keep them out of the theaters, but can they guard their computers? They probably can, but will they? No, not really. Going to theaters, it seems that films rated R tend to have LARGER families rather than smaller ones - and what will these kids think?
There is an inherent difference between Hit Girl and say... Bobby Driscoll's Jim Hawkins - which Roger Ebert could have seen as early as the age of 8 in Disney's TREASURE ISLAND. The scene where young Jim Hawkins levels a musket at that pirate that is out to kill him, it was dramatically chilling. It had a weight to it. Jim even gets stabbed. That film is filled with peril and crazy chances that young Jim makes, but it isn't the same as Hit Girl.
And kids today are not like Roger Ebert was way back in 1950. Children back then were huge fans of Westerns. Roy Rogers, Gene Autry and Hopalong Cassidy were the kings. No - back when Roger Ebert was a kid - every boy in this country played with cap-guns at the very least. My father has stories about the kids strapping on guns of all type. Like the cowboy hat that when you lifted it up, a derringer popped out and fired a blast straight ahead. There were up your sleeve, mechanical guns that would pop out.
Never in history were guns more played with than in Roger's youth. And oddly - their guns in films simply knocked the enemy over with a single bullet dead. No matter where you hit the enemy. It was grand times to be sure.
At the same time, kids had free access to actual explosives in the form of fireworks. They would go have Roman Candle battles at the train tracks - Sometimes jumping onto moving trains and jumping back off. (again - that's what my Dad says) They had the most violent comic books complements of EC, although they were better written generally than most of what we have today...
And there was a shitload of self-righteous pricks in CONGRESS that felt those Comic Books would Ruin their youth. It is true - Roger's generation became a generation of Free Thinkers, possibly partly due to first realizing the government could be so wrong as to outlaw all sorts of Comics at the time. Probably more so once the draft kicked in for VIETNAM...
But enough of Roger's time as a kid. The fact that they were able to watch early matinees of the classic Errol Flynn films, Gangster movies and the Disney films... well, it kinda shows the classier times - but morally... these films espoused sexist and some not so subtle forms of racism.
Roger Ebert says he's not so much worried about the teens seeing KICK ASS - as much as the kids under 10.
Well, Rog... Kids today don't play with cap-guns - the morality police have pretty much wiped them out of the toy stores. Too many incidents of police shooting a kid playing with something they thought was a real weapon. No, beginning when I was a kid - the cap-pistol became the Han Solo blaster. Ray guns came in. Then very cartoonish Nerf guns and water blasters. Kids have always been shooting at each other. Whether it was with a Star Wars ray gun or a pair of pearl handled 6 shooters that you loaded bullets in, and it fired out the soft plastic shells while shooting a real rubber bullet at a kid. Back in his day.
Sure, kids today still have the rapid fire nerve guns and insanely powerful water guns. But no - where the kids today really have it is in their video games. Kids have been going to pizza places and handed quarters... and playing with the family... incredibly violent and FUN video games. Most kids have some form of violent video game that involves them chopping up, beating or shooting some enemy... and their onscreen avatar is usually some manner of badass... even if they're a cute little Lego version of them.
The sort of kids that will see KICK ASS this weekend are well prepared for it. Talk to a teacher at our public schools and you'll hear fouler language than even Hit Girl dishes in the classrooms. Not of a private school, but I have dear friends that teach - their kids know the language and how to use it. They'll see it as just a really cool movie that really let kids KICK ASS. And hopefully it'll make a few kids want to get into acting so they could do stuff like that. Hopefully. More likely will be sales of Purple wigs and plastic samurai swords this Halloween... as little girls across the country with the cool parents will have a real badass little girl to call their own. Not dressing as Barbie or some Princess. But a girl that is shown to train really really hard. A smart parent would sign their girl up in a Kung Fu class or a Gymnastics class. And that would be a good thing to help keep future kids from being fatasses like the two of us.
All that aside, KICK ASS is an uncompromised comic book classic. Roger says it is a satire, but that he's unsure what exactly it is satirizing.
KICK ASS is, essentially a satire of the world of comics. KICK ASS specifically is playing in the same sort of universe as Stan Lee's MARVEL... just modernized and made as a point about how unrealistic the very notion of Superheroes are. But make no bones about it - it is made for Adults. Adults raised on an entire lifetime of comics that's specific dream was of bringing Superheroes into a realistic world.
That was the pretense of the Marvel Universe... that you could be a superhero. Then they started selling the costumes and "hero supplies". You walk into a Target or a Wal-Mart and you'll find aisle after aisle of superhero role-play gear.
Is it really much to imagine a slightly heightened dream of kids as superheroes in a violent modern world?
No - it really isn't. It is perfectly realized in KICK-ASS.
KICK ASS is a violent dark film meant to be seen with a full audience to cheer it on. Read some interviews with Matthew Vaughn and he pretty much says that that was his implicit purpose in creating the movie. To Entertain.
Roger states at the beginning of his review that he feels he's going to hopeless square for his feelings about the morality of KICK ASS.
At a base level it is a film about taking a stand, to protect the innocent and uphold justice... in a pretty fascist as kicking manner. I am not upset at Roger for his point of view... I understand, it is a lot to take.
But I remind you that there was a time, when Martin Scorsese was under fire for having a 13 year old Jodie Foster play a whore in TAXI DRIVER - which is more or less about a man that in the end is a hero for taking violent action to protect that girl.
At that time there were critics that wanted to hang Marty. You were not one of them. I remember that time because as a 6 year old I can remember watching you and Gene defend Scorsese and you were my heroes.
I have to say it is a little sad to see you go the route you did in your KICK ASS review. And don't worry, while I suppose you'll never really just get KICK-ASS... You're no square in my book. But you may be in danger of being a 'grown up'.
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Big hair, big guns, big personalities, and a serious lack of wardrobe. She-Wolves of the Wasteland, a post-apocalyptic story that features women--lots and lots of women--who leave little to the imagination as they battle each other in various junkyards and gravel pits to determine the fate of the entire world.
a ima ponešto i za harva:
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Zaista deluje obećavajuće.
nadam se da time misliš na poster...
mada, ostali captures iz filma prikazuju nešto mnogo mračnije, sirotinjskije, ružnije, i - nijednu od onih (nacrtanih!) cura!
tj, reklo bi se da je ovo jedan od onih slučajeva besramno 'kreativnog' pristupa marketingu u kome ti poster prikazuje ono što bi ti voleo da vidiš u filmu, a ne ono što stvarno ima u njemu.
samo još da neki helikopter explodira u pozadini, pa da ugođaj bude kompletan!
Skoro sam ubeđen da je tako. No, pogledaće se to makar na brzo pres-kakanje.
QuoteJustin Bieber je oprostio Baracku Obami što je pogrešno izgovorio njegovo ime, kada su se sreli prošle godine u Beloj kući.
Justin je pevao u Beloj kući dva puta nakon što su ga upoznali sa Obamom, ali priznaje da je njihov prvi susret bio malo čudan, jer je Obama njegovo ime pogrešno izgovorio.
Međutim, Justin je bio dovoljno dobar da mu to oprosti!
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Moraćemo tebe da vodimo kod Obame, DušMane.
Zamisli koliko bi tek moje prezime pogrešno izgovorio.
Following her historic win for Best Director and Best Picture for "The Hurt Locker" at last Sunday's Academy Awards, Kathryn Bigelow is reportedly choosing her next project very carefully. However, a recent reports indicates that Bigelow could have directed the upcoming "Spider-Man" reboot for Sony.
According to The L. A. Times, Bigelow was offered the opportunity to direct the new "Spider-Man" film, but she ultimately turned it down. "500 Days of Summer" director Marc Webb went on to get the job, while Bigelow is expected to concentrate on a project called "Triple Frontier" for Paramount.
Jeremy Renner — the star of Bigelow's "The Hurt Locker" — also has his own Marvel Comics connection. Late last year, Renner was linked to several rumors that he was in consideration to portray Hawkeye in "Thor" and "The Avengers."
Bigelow's ex-husband — "Avatar" director James Cameron — was also very close to adapting "Spider-Man" for the big screen during the '90s. Given the recent announcement that the new "Spider-Man" movie will be filmed in 3D, Cameron recently spoke with MTV News about what he would like to see in the new film.
"It's not like I want to tell them how to do it, because everybody's going to come up with their own aesthetic," explained Cameron. "It's more like, 'Just don't make the same dumbass mistakes we made for 10 years! Save yourself that.'"
Cameron added "I'd like to see [Webb] reinvent ['Spider-Man'] in the same way 'Batman' got reinvented very successfully. The last two 'Batman' pictures... were spectacular."
Mehmete, ovo je kraj. Crisis Event je počeo...
http://www.smallville.rs/en/ (http://www.smallville.rs/en/)
Kragujevac je grad u kome će Kick Ass iz domena mašte i fikcije preći u domen realnog :lol: :lol: To jest, ako ih DC ne tuži za trejdmark infrindžment.
Šta žene potajno žele?
Nedavno sprovedena anketa istražuje zašto su kratka brada i fasciniranost igricama, filmovima i ostali štreberski hobiji tajni ženski okidači.
Devojke se možda žale da izgleda aljkavo ili da je grubo na dodir, ali istraživanje je pokazalo da su neobrijani muškarci privlačni skoro svakoj drugoj ženi.
Štreberi dolaze na drugo mesto, dokazujući da veliki broj žena simpatiše muškarce koji se razumeju u tehniku.
U anketi u kojoj je učestvovalo 2.500 žena , 91 procenat njih bi više volelo partnera koji je imao nekoliko propusta u životu nego nekog besprekornog.
Takođe, više od polovine ispitanih žena bilo bi srećnije sa nežnim i umiljatim muškarcem nego sa nekim napregnutim i mišićavim.
Naučnici su ovo nazvali tajnim ženskim maštama jer gotovo da jedna od pet žena nikada ne bi priznala šta je za nju privlačno.
"Devojke će javno tvrditi da vole mišićave muškarce, koji su dovoljno jaki da ne pokazuju svoju emocionalnu stranu," izjavio je portparol istraživanja povodom dobijenih rezultata. "Ali ovo istraživanje je pokazalo da one zapravo, potajno žele nešto sasvim drugačije."
"Izgleda da one vole muškarce koji su u stanju da pokažu i svoju slabu stranu ili čak one koji imaju koji kilogram viška."
"Siguran sam da je muškarcima 'laknulo' kada su saznali da žene ne traže savršenstvo."
Ostali tajni ženski okidači koji se nalaze u prvih deset na listi su proseda kosa, naočare za vid kao i strasna podrška nekom sportskom klubu.
Dve trećine žena više voli muškarca koji nije opterećen sopstvenim izgledom.
Ženskih top 10 "okidača":
1. Kratka brada
2. Pomalo štreber
3. Dlakave grudi
4. Strastven čitalac knjiga
5. Plače uz tužan film
6. Pevuši neku pesmu dok igra
7. Proseda kosa
8. Znojav je posle treninga
9. Nosi naočare
10. Pasionirani obožavalac sporta
Samo još da sredimo te dlake na grudima i u poslu smo!!!
6 out of 10 8-) sad su mi jasne tajne mojih uspeha :!: :!: :!:
Quote from: Dry-Na-Nord on 19-04-2010, 20:03:54
8. Znojav je posle treninga
Mislili su sigurno - znojav je pre treninga
Japan Nigger Family tokyo breakfast (http://www.youtube.com/watch?v=-19ioGniZ88#lq-lq2-hq)
Auh!!!!!!!!!!!!!!!1
Nego, ako je bijelac koji pokušava da bude kmica kolokvijalno nazvan "wigga", šta su onda ovi Azijati? Jiggaz?
http://www.imdb.com/title/tt0951342/ (http://www.imdb.com/title/tt0951342/) xjap
Bio sam blizu!
dosta jako, ojako
http://www.popboks.com/tekst.php?ID=7997 (http://www.popboks.com/tekst.php?ID=7997)
može da se skapira kao udaranje mrtvog konja jer je erika prilično nebitna ali, u opštijem smislu, ovo je jedna od naj-on point recenzija na srpskom - ako ne u domenu celokupne muzike a ono sigurno u domenu "crne" muzike. poente koje su ovde izbačene i način na koje su ispostavljene i to na malom prostoru - to se nije dešavalo, bar ne da je meni poznato.
Ma, Darko je meni najinteresantniji autor u Popboksovoj muzičkoj redakciji.
Quote from: Meho Krljic on 21-04-2010, 20:35:02
Ma, Darko je meni najinteresantniji autor u Popboksovoj muzičkoj redakciji.
Mehmet je zvanično off the hook.
Štoooo? A ko je tebi?
Pored ovde prisutnih, vlasnik sajta allmusić.com naravno :)
realno cripe, darko je najtvrđi, najoštriji i najflambojantniji od svih, ima i taj lapidarni stil koji sve još više zaoštrava, a pored toga ima i dobre temelje za muziku o kojoj piše (znači prava je pretnja) tako da čak i kad prokliza to ima više šmeka nego i najprecizniji i najintrigantniji uvid odmerenog kritičara. :)
Pa, to. Darko piše baš proživljeno a nije neki tupadžija da su njegova proživljavanja banalna. Nisam rekao da je najbolji (tj. bolji od Djapeta ili AllMusića ili Džindžera ili...) ali je interesantan jer baš piči direktno u centar. Kada sam pročitao njegov prikaz Timbetovog albuma prošla me je zlovolja što nisam stigao ja to da napišem jer verujem da ga je napisao bolje, tačnije, detaljnije i zanimljivije nego što bih ja to uradio.
Nema potrebe da branite Darka od mene. Baren ne ovog Darka, Bajića eventualno... Znam ga još kad je bio mali. Dobar je dečko. Ali, vidim da se zanemaruje Allmusić pa čisto da odreagujem.
Toplina tvog odnosa prema Allmusiću je dirljiva :lol: :lol:
Da li kao stari alternativac poseduješ možda koncertni film NOISE Sonic Youtha?
Ne, jer sam zapravo metalac.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi44.tinypic.com%2Fxnhijq.jpg&hash=7c693682d493b70c21ae06191c5f2569db67aa26)
Watermarks is a moving and fascinating look at how the Nazi-fication of Germany in the 1930s affect a group of Jewish women swimmers.
:!: :!: :!:
U kom rakursu se ovde ja onda nalazim???
plivačice?
jevrejske?
koje se suprotstavljaju hitleru?
polugole?
ok, znam da je ovo više za topik 'đinđeru, reaguj', ali pošto ga još niko nije pokrenuo, nekako mi bezveze da to budem baš ja.
Dobro, apsorbovaću i to bogatstvo motiva, tebi za ljubav!!!
Kako KICK ASS stiče street cred kod Mehmeta:
Kick-Ass Star Aaron Johnson's Surprising Romance with Woman Twice His Age
By Paul Chi
Sunday April 25, 2010 09:00 AM EDT
Kick-Ass Star Aaron Johnson's Surprising Romance with Woman Twice His Age
Newcomer Aaron Johnson has a lot of reasons to smile. His superhero film Kick-Ass was the number one movie at the box office last weekend, and off screen he's engaged to be married to his seven-months-pregnant fiancée, British artist Sam Taylor-Wood.
Life could not be any better – if only his relationship with his onetime director wasn't raising so many eyebrows.
At 43, Taylor-Wood is 24 years older than Johnson and already a mother of two from an 11-year marriage to art dealer Jay Jopling. Despite the age difference and existing family, Johnson is madly in love. "I've got a wonderful woman," says the 19-year-old says. "She's lovely and she's a fantastic mother."
The two met in 2009 on the set of her directorial debut, Nowhere Boy. In it Johnson played a young John Lennon and the two immediately hit it off. Engaged months after meeting and already living together, Johnson brushes off critics about their whirlwind romance saying, "I'm an old soul and she's a young soul."
As the couple prepare for the arrival of their baby this summer, Johnson say he's "excited" and insists that he is undaunted by the challenges of fatherhood. "It's not scary," he says. "I'm already a stepdad to [Taylor-Wood's kids Angelica, 13, and Jessie, 3] anyway. So the nerves have sort of gone."
Dokle će sve Millar otići da me odobrovolji...
Smuggling Vacation - drugs bust tv news - BBC News (http://www.youtube.com/watch?v=df93C0IRSUc&feature=player_embedded#hq)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.bleedingcool.com%2Fwp-content%2Fuploads%2F2010%2F04%2Fcov.jpg&hash=f52e0b15d8f0776e3ee5de8bc09ea2463eab9f0f)
Heh
http://www.cracked.com/article_18533_the-6-most-important-things-humanity-just-plain-forgot_p1.html (http://www.cracked.com/article_18533_the-6-most-important-things-humanity-just-plain-forgot_p1.html)
I auh
http://www.cracked.com/blog/8-lovable-characters-with-horrifying-branded-products (http://www.cracked.com/blog/8-lovable-characters-with-horrifying-branded-products)
I, naravno:
Large Penis Support Society (http://www.cracked.com/blog/least-believable-page-on-the-web-large-penis-support-group/)
http://danas.net.hr/kultura/page/2010/04/27/0034006.html (http://danas.net.hr/kultura/page/2010/04/27/0034006.html)
Au... Nije da sam odobravao saradnju sa Ninom Badrić, ali ipak, RIP kraljici.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsphotos.ak.fbcdn.net%2Fhphotos-ak-sjc1%2Fhs190.snc3%2F19767_265224174486_759834486_3024285_2372412_n.jpg&hash=9c110672e4a792805733c1b82e7f40ed91362a7a)
Ljiljana :)
Crvena jabuka-Nek te on ljubi(In memoriam Drazen Ricl-Zijo) (http://www.youtube.com/watch?v=shSBA8LhgVo#lq-lq2-hq)
intervju pre svirke je esencija
"To se u nekim zemljama zove kokni, kod nas se to zove šatrologija."
Čist vrh. :D
upravo.
Mehmete, sudeći po tvojoj recenziji za MONDO CANE, Patton pošao Gibonnijevim putem?
Pa... može se porediti. Ako je čovek dovoljno bezobrazan. :lol:
Ti znaš da ja jesam. :)
Hollywood will do for video games what it has done for comic-book superheroes, the producer of "Spider-Man," "X-Men" and "Iron Man" said Wednesday.
Speaking at the Milken Institute Global Conference, Avi Arad said that video games are more popular than comic books, so it only makes sense that the film industry would embrace them.
"Very much like when we started with comics, we need one runaway success to make it very clear that this is a great source material," he said.
Thomas Tull, CEO of Legendary Pictures, which partnered with Warner Bros. on "The Dark Knight" and other blockbusters, agreed. No shock, considering that Legendary is partnering with Warners again on "Warcraft," based on the online role-playing game "World of Warcraft."
"Comic books for a while were kind of like the dregs of what can be made into movies," Tull said. "I happen to think that on the video game front a similar shift is going to happen.
"It's all about the storytelling. It's tough to make a movie about 'Pong,' " he quipped. "But some of the properties that have come out in the last couple of years are incredibly layered and complex."
Another hot trend is intellectual property from Japan. Legendary is turning the manga "Akira" into a film and is working on a "Godzilla" installment. Arad is developing "Ghost in the Shell," a manga and anime property.
While those projects are live-action, Arad and director Bryan Singer predicted that, just as anime is an adult art form in Japan, so will animation become an art form embraced by American adults. He used the Disney-Pixar film "Up" as an example.
Exporting intellectual property from Japan is a huge business, but not so much the other direction yet.
"We understand them; now they're trying to understand us," Arad said.
But Singer, director of "Superman Returns" and the first two "X-Men" films, told attendees he and his films are very popular in Japan.
Columbia Pictures president Matt Tolmach made the point that marketing superhero movies overseas has been challenging. In Germany, for example, "The word 'superhero' is not a plus," he said.
He also cautioned that moviemakers are in "a golden moment of technology," with 3D and various other digital techniques at their disposal. "With great power comes great responsibility, and we have to always fall back on great storytelling," he said.
Tolmach also said he's excited but nervous about his company's upcoming Spider-man reboot, which he described as "Peter Parker told differently." He promised it will look, feel and smell different from the three films starring Tobey Maguire.
"We're humbled by it," he said.
20th Century Fox has picked up the film rights to Ed Brubaker's graphic novel series "Incognito" reports Deadline New York.
The story follows the super-powered villain Zack Overkill who goes into witness protection after ratting out his boss The Black Death.
Now working as a mail carrier, he soon learns recreational drugs counteracts the drugs the authorities gave him to suppress his powers and he goes on to become a vigilante.
Pulitzer Prize-winning playwright Robert Schenkkan is adapting the script. Peter Chernin and David Engel will produce.
Hmmm.. Inkognito dobija ekranizaciju pre Criminal? It's a mad mad mad world. Njušim da će film biti užas jer je strip, sa svojom kombinacijom bezbrižnog predpubertetskog palpa i nešto bezobraznijeg, erotično-nasilnog noara malo teži za filmovanje. Ovde sam nešto pisao o stripu. (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1006&Itemid=48)
Andrea Berloff ("World Trade Center") is set to pen "Straight Outta Compton", a musical biopic about the rise and fall of the seminal 80's rap group N.W.A. says The Hollywood Reporter.
Over twenty years ago the group, consisting of Eazy-E, Dr Dre, MC Ren, DJ Yella and Ice Cube, released the "Straight Outta Compton" album which essentially introduced gangsta rap to the world.
In 1990 Cube left due to royalty disputes and later came further infighting between the remaining members. The group's members were frequently accused of promoting misogyny, homophobia, anti-Semitism and violence.
It wasn't until Eazy-E's death from AIDS-related causes that the ex-members began to reconcile. Cube and Matt Alvarez are producing along with Eazy-E's widow Tomica Woods.
Inače, jel pesma "Pristina" FNM napisana u skladu sa rezolucijom 1244?
Sumnjam. Ali po komentarima na Popboksu na moj prikaz Pattonovog albuma, ne bi se reklo da naš narod za to haje.
By the way, ja sam među onima koji misle da je naslov pesme "Pristina" igra reči sa "pristine" a ne da ima veze sa administravinim centrom južne srpske pokrajine. Međutim, AllMusic na osnovu nečeg tvrdi drugačije...
Inače, kad je reč o recenziji, odnosno delu u kome referišeš na FNM, kao neko ko ih je jako voleo u ono vreme, mislim da je to jedan suvišan reunion, i to ne zbog "prodaje" (oni su još sa Chuckom bili na major etiketi) nego naprosto mislim da su oni rekli svoje, i da je ono što Patton sada radi zaista intrigantnije (uvek zanimljivo, ne obavezno i dobro) od bilo čega što oni sada mogu da proizvedu zajedno. A zaista je glupo okupljati takav bend da bi svirao kao tribute samima sebi.
Mislim da je njihov rijunion pre svega novčano motivisan. Ovim finansiraju svoja druga interesovanja u muzici i to je OK, a moja provokacija u prvoj rečenici prikaza je više da uzbirka čitalački duh.
I mislim da si odlično dijagnostikovao Pattonovo muzičko pregalaštvo u poslednjih deset godina. Uvek intrigantno, ne uvek dobro, ali meni stopostotno paše to što izdaje mnogo albuma sa mnogo ekipa, sa različitim idejama i namerama. Zato sam ga nazvao akrobatom, pustolovom itd. Eksperiment po prirodi stvari nekad bude uspešan a nekad ne, ali treba ceniti one koji svejedno, bez obzira na ovu nesigurnost i dalje eksperimentišu i povremeno ubodu zlato.
A to Pristina je gotovo sigurno od Pristine...
Jel beše Billy Gould drugovao sa ovim iz Rock Expressa? :)
Ako se ja dobro sećam intervjua i sličica...jeste ;) (misliš da je on znao kakvi su mučenici u pitanju ? )
Sigurno da nije, ali ipak čovek iz FNM koji henguje sa ljudima sa kojima ne bi imao posla ni neko iz Svaroga, mislim da je to vredno da se zabeleži.
For the record, svojevremeno sam preko REXa naručivao neke kasete. :)
Jes'...sećam se fotke on, onako zadrigao i crven, i neko od ovih poljoprivrednih metalaca sa cvikama i masnom kosijanom...
Ćuti, i ja sam :D da bog da im na nos izašla ta provizija!~
Ali, realno, to je bilo zgodno jer su u katalogu imali sve, ali žanrovska podela je bila super na onim spiskovima. To je bio hit. :)
Marvel Studios has found Captain America's nemesis in its summer 2011 tentpole, Captain America: The FirstAvenger.
Hugo Weaving will star opposite Chris Evans as Johann Schmidt aka the Red Skull, who in the early comics served under The Third Reich and was renamed The Red Skull.
The character will be updated for the film, which Joe Johnston will direct from a screenplay by Christopher Markus and Stephen McFeely that will focus on an experimental super-soldier programme.
Marvel Studios' Kevin Feige will produce Captain America: The First Avenger. Alan Fine, Stan Lee, David Maisel and Louis D'Esposito will serve as executive producers.
The film will be released in the US on July 22, 2011 through Paramount Pictures. Marvel Studios is owned by the Walt Disney Company.
Weaving was last seen in The Wolfman and voiced Megatron in the Transformers franchise. His credits include starring in V For Vendetta, The Matrix franchise, and The Lord Of The Rings trilogy.
Weaving is represented by CAA, Shanahan Management and attorney David Weber.
It will be elbow-room only for superheroes next summer after Fox confirmed that Matthew Vaughn would direct the prequel saga X-Men: First Class and set the release for June 3, 2011.
Production is scheduled to begin this summer in time for that release date, which falls one week after Paramount is scheduled to release Mission: Impossible IV and the same weekend as DreamWorks Animation's Kung Fu Panda: The Kaboom Of Doom through Paramount.
Furthermore Warner Bros has already claimed the June 17 weekend for its 3D Green Lantern release. Marvel's Thor will launch through Paramount on May 6, and the distributor will open The First Avenger: Captain America on July 22
Bryan Singer, who conceived the story for First Class and directed X-Men and X2, is producing along with Lauren Shuler Donner and Simon Kinberg. Vaughn recently directed Kick-Ass. The story is mined from the Marvel Comics universe and charts the early friendship between Charles Xavier and Erik Lensherr, aka Magneto, before they became bitter rivals.
"I've been a fan of Matthew's since Layer Cake," Singer said. "He has a deft hand with multiple characters and storylines, and a great love of the X-Men universe."
Twentieth Century Fox president of production Emma Watts added: "X-Men: First Class presents an exciting opportunity to further explore the history and relationships of these beloved characters. Matthew's combination of talent, verve and vision is perfectly suited to the task."
"Wanted" and "Kick Ass" comic creator Mark Millar is launching a new UK comics magazine called "CLiNT" and in a recent press release he gave a quick update on the "Kick-Ass" sequel.
"'Kick-Ass 2: Balls To The Wall' has been scheduled for production in 2011 for a 2012 cinema release, but fans of the first movie can find out what happens two years in advance by picking up CLiNT" says Millar, suggesting the first part of the sequel comic will premiere in the mag's first issue.
Has the "Kick Ass 2" film been greenlit though? Unlikely. After a month's release in various territories, the $30 million feature has picked up only a modest $72 million worldwide.
Jon Favreau has confirmed with MTV News that the character Howard Stark, father of "Iron Man" Tony Stark, will appear in Joe Johnston's "Captain America: The First Avenger".
"Mad Men" star John Slattery plays Howard Stark in "Iron Man 2", a character who appears via a 1970's Stark Expo presentation video shot on a film reel that Nick Fury gives to Tony. A younger version of the character is expected to appear during the WW2 sequences in 'America'.
"Yeah, because he was around then. ['Captain America'] is World War II. It wouldn't be that same actor, probably, because he would be much younger.[Howard Stark] was starting out during that time, and [he] was involved with the war effort, much like Howard Hughes" says Favreau.
A half-assembled version of Captain America's shield lies sitting in Tony Stark's workshop in "Iron Man 2" and is used at one point in the film to prop up an important experiment.
Chiwetel Ejiofor ("Serenity," "2012") is formally attached to play African musician and activist Fela Anikulapo Kuti in the upcoming biopic in development at Focus Features says Deadline New York.
Based on Michael Veal's book, the story follows the life of the late African musician and activist whose music fused American jazz, funk and West African drums.
His personal life was colourful, he had 27 wives, and tragic such as the personal costs for speaking out against oppression in Nigeria. Ejiofor has apparently been learning to play piano and saxophone to prepare for the role.
Though Fela is the subject of the Broadway musical "Fela!" which received 11 Tony nominations yesterday, the musical is not connected to the film project in anyway. Focus however has scored screen rights to Fela's music and his life story, plus Veal's book.
Steve McQueen ("Hunger") is directing from a script he co-wrote with Biyi Bandel. Lydia Pilcher and Leigh Blake are producing.
David O. Russell ("Three Kings," "I Heart Huckabees") is among several filmmakers who've apparently met with Sony Pictures over potentially directing the video game adaptation "Uncharted" for the studio reports The L.A. Times.
Joshua Oppenheimer and Thomas Dean Donnelly ("Sahara," "Dead of Night") penned a film adaptation of the critically acclaimed PS3 game series which follows fortune hunter Nathan Drake and his quest for famed archaeological treasures. Though the concept sounds familiar, the smart execution and witty script often raised it above the level of many other titles of its kind.
The studio and producer Chuck Roven are apparently so pleased with the writing duo's efforts thus far, the project is being quickly moved forward and the director meetings have already begun in earnest. Sony apparently thought of trying to rush the project to have it ready for next Summer, though that's looking less likely now.
YouTube - Broadcast Yourself. (http://www.youtube.com/watch?v=UD0YQoAqmrU#)
Leakovao THE LOSERS film. (http://www.znaksagite.com/diskusije/index.php?topic=1352.msg249137#msg249137) A navodno i R5 KICK-ASSa.
Već sam ti javio da je R5 Kick-Ass veoma prihvatljivog kvaliteta, čak i ton, tako da, samo napred. Ja sam prekinuo gledanje posle petnaestak minuta ali deluje kao da je Vaughn uspeo da ispegla neke od problema koje je Millar imao u stripu.
Nažalost, igrom slučaja sam onda sa ženom pogledao Legion i taj film je zaista ispod svakog nivoa (a letvicu sam spustio izuzetno nisko, ponukan negativnim reakcijama baš svakog odavde ko ga je gledao)...
Wu-Tang Clan co-founder RZA will star in and make his feature directorial debut on "The Man With The Iron Fists" for Universal Pictures reports Deadline
The story follows a blacksmith who forges weapons for the inhabitants of a village in feudal China who are forced to defend themselves.
RZA co-wrote the script with Eli Roth who will produce alongside Marc Abraham and Eric Newman. RZA will also produce the soundtrack.
Filming on the sub-$20 million project kicks off this September in Hong Kong.
Batman XXX Porn Director To Launch New Vivid Line Featuring Superman, Green Hornet, Spider-Man, Wonder Woman, Captain America, Thor and Hulk
Axel Braun is best known in these circles for directing a line parody porn line of movies, including the recently hyped Batman XXX: A Parody, with relatively high production values.
The success of this project has encourages porn production company Vivid Entertainment, to launch a new movie imprint, Vivid-Superhero, with Axel Braun as its lead director.
In a press release, Vivid founder Steven Hirsch is quoted as saying;
The parodies under this new imprint will pay tribute to the world's most popular comic heroes. Axel already started pre-production on a parody of Superman, which will be followed by those of The Green Hornet, Spider-Man, Wonder Woman, Captain America, Thor, and The Incredible Hulk. We made the decision to create the imprint after working with Axel on Batman XXX: A Porn Parody, an Axel Braun Productions movie to be distributed by Vivid. Axel truly did an amazing job with it, and we agreed that together we could mine the really rich treasure of superheroes and have a lot of fun doing it.
And Axel states;
Working with Vivid is an incredible experience, and with this new imprint I'll have all the creative latitude to deliver quality productions that will appeal to the huge fan base that exists for these iconic figures.
You know? I wonder how many publishers will be secretely pleased at this kind of publicity. I can't see Niucky Barrucci at Dynamite, current publishers of seven Green Hornet titles, getting too upset at this news.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.bleedingcool.com%2Fwp-content%2Fuploads%2F2010%2F05%2Fvivid.jpg&hash=818262e66646702f4b49482a2bc0ac8afc513aee)
Mehmete, ko je Violet Kowal sa kojom je Melster navodno prevario Ruskinju?
Lik mi nije poznat, ali jasno je da se danas porno producentom naziva svaka žena sa hiljadu dolara u džepu i odlukom da se za promenu nađe iza kamere.
World Wrestling Entertainment Inc. is bringing its film business in house, handling all finance, production and distribution for films with wider audience appeal.
World Wrestling Entertainment Inc. is bringing its film business in house and ramping up its slate to do a whopping nine films in the next two years.
"We are an entrepreneurial company so part of the whole model is producing all our own movies," Andrew Whitaker, Executive Vice President, International of WWE tells Screen.
The company previously worked on films including See No Evil, 12 Rounds, The Condemned, and as a co-producer on films such as Walking Tall and The Scorpion King.
"That was our learning experience," he says. Films will be financed in house and also "we can use our marketing and production prowess," Whitaker notes.
The films will be targeted at broader audiences, not just rabid WWE fans. "Previous titles for WWE superstars have cast the superstar as the leading man at the centre of the film," Whitaker says. "Now we want to reach out to the full demographic, can make a PG movie with the WWE star taking a side role. These are not just action films. We can broaden these films, give more breadth to the films."
Working on nine films in two years may sound insane, but WWE is a company that produces 10 hours of TV each week, going to 145 countries in 30 languages.
"It's an ambitious timetable but production is what we do every week," Whitaker notes. "We have worked in TV distribution over 20 years, we have a very strong network and a transglobal brand."
Samuel Goldwyn Films will partner on the initial US theatrical releases and multi-platform launches will be key. "It's not just about theatrical, it's also PPV, VOD, pay TV, etc." The company plans to experiment with windows, taking shorter breaks between theatrical and other platforms than traditional distributors maintain.
They will also release titles internationally, with partners as needed. "There isn't one cookie-cutter model for distribution, the local market will dictate that on a market-by-market basis," Whitaker adds.
The first release through its own distribution channels will be Legendary, starring WWE star John Cena alongside Patricia Clarkson and Danny Glover. The film will get a two-week US limited theatrical run in September and a DVD launch just after that – promoted by a single marketing campaign. The story is about a teenager who tries to reunite his family through high school wrestling.
Big Red will star Ed Harris alongside Chase Ellison, Molly Parker, Daniel Roebuck, Amy Madigan and WWE star Randy Orton. That film, which shot in recent months in New Orleans, is a family-friendly film is set in the mid-1960sand is a coming-of-age story about a teacher and two students dealing with a school bully. WWE Studios Executive VP Mike Pavone will direct the film from his own original screenplay.
Comedy Knucklehead, due for a November release, stars Mark Feuerstein, Melora Hardin and WWE star Paul "Big Show" Wight. Another recent shoot is crime drama Killing Karma, also shot in New Orleans, starring WWE's Triple H alongside Michael Rapaport, Parker Posey, Julie White, Michael Cudlitz and Bruce Dern.
WWE has also acquired the rights to John Capouya's book Gorgeous George: The Outrageous Bad-Boy Wrestler Who Created American Popular Culture and plans a film to shoot in 2011.
Whitaker notes that WWE films will aim for budgets around $10m. As one production ends, the next one can start immediately, saving on costs for production space and crew.
With WWE programming in 500 million households worldwide, Whitaker is bullish on the prospects for international success. "Recognition of these stars is enormous on a global basis," he says.
WWe kreće stopama Marvela. Ako istraju, možda i njih kupi Dizni :lol: :lol: Koga je (Diznija) Sajsi MC lukavo stavila u naslov svog vrlo solidnog novog albuma. Uskoro prikaz na Popboksu!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.empireonline.com%2Fimages%2Fimage_index%2Fhw800%2F41653.jpg&hash=eff6ae97f4d26ba64091712206d808a2d3afc953)
Hmmm, s obzirom da je prva Kane & Lynch igra bila razapeta od strane kritike kao... er... sranje i da je u međuvremenu izdavač Eidos otišo pod led i bio kupljen od strane japanskog Square-Enixa malo sam iznenađen da je u pitanju izgleda prilično visoka produkcija za film... Druga igra deluje kao da će biti bolja od prve ali ne mogu da kažem da je u pitanju ikakav smash hit u najavi. Povrh svega, developer igre je iz Danske, podizdavač iz Britanije a izdavač iz Japana. Ko je tu uopšte uspeo da dobaci do ovako visokog Holivuda ?
Ovo je srednje visok Holivud. Producenti su Nu Image i Millenium koji mahom rade DTV ali ponekad vole da se okušaju i u theatrical produkcijama tako da je mislim da će ovo biti mid-budget film. Tipa pedesetak miliona. Svojevremeno je i Uroš Stojanović bio među kandidatima za ovaj projekat i tad mi je pričao da je tadašnji scenario bio zanimljiv i dosta duhovit.
Sadašnji reditelj je Simon Crane, on je bio kaskader, potom reditelj druge ekipe, a sada želi da se okuša kao full-reditelj. Ja u prioncipu volim kad se second unit reditelji late posla jer je to onda uvek no-nonsense akcija.
Posle Dejvid R. Elisa, svako debitovanje second unit/stunt rezhisera ishchekujem sa velikom radoshcu.
Pa dobro njegov debi zapravo baš i nije bio upečatljiv osim ukoliko si ti u HOMEWARD BOUND 2 video nešto što ostali nisu. No, FINAL DESTINATION 2 je svakako bio moćno realizovan film koji mi je u ono vreme baš bio super. Možda najbolji debi ima McTeigue koji je snimio V FOR VENDETTA, film koji je svoj kvalitet crpio iz stvari koje se ne mogu smatrati isključivo second unit bravurama, kao donekle Ellis.
Nažalost, Ellis je posle mlakog CELLULARa u kome je Cohen ispostio svoj telefonski high concept potpuno posrnuo a slično se dešava i McTeigueu sa NINJA ASSASSINom za koji je prosto neverovatno da ga je režirao reditelj tako reputable filma kao što je V FOR VENDETTA.
Šteta je što verovatno najveći second unit director svih vremena, Vic Armstrong nije imao veću rediteljsku karijeru, izuzev meni vrlo dragog JOSHUA TREE i nepotpisanog rada na DOUBLE IMPACTu.
Videćemo kako će se Dan Bradley snaći na RED DAWNu.
Ja inače pored second unit reditelja, jako volim i montažere koji režiraju. A najmanje volim kad to rade scenaristi.
Au da, potpuno zaboravih na Homeward Bound 2. Naravno, mislio sam na FD2 koji je spektakularan film.
Ja generalno ne volim montazhere, mada naravno ima tu i izuzetaka, recimo Piter Hant na On Her Majesty's Secret Service.
Kod scenarista je to zakuchasto, poshto bi tu mogli da upadnu i recimo Oliver Stoun, Kventin Tarantino, pa uostalom i Bong, a svakako ih jako volim kao rezhisere.
Dobro, ipak recimo da su Stone, Tarantino i Bong ipak po vokaciji reditelji koji su pisali scenario u pokušaju da se probiju do režije. To što je Stone imao ogroman uspeh kao scenarista ne znači da nije sve to vreme pokušavao da se dokopa režije ali ti filmovi kao HAND ili SEIZURE nisu bili naročito uspešni.
U prilog montažerma ide pre svih Don Siegel. Hunt je svakako jedan od meni najdražih fusnota-reditelja s tim što je on crossover montažera i second unit reditelja.
A od montazhera tu je i Rajan Dzonson. :!:
Jao, majko...
Dobar je Rian Johnson... montažer. Doduše, na May je potpisano više montažera, a pored Johnsona tu je još jedan zanimljiv reditelj - Chris Sivertson (The Lost, I Know Who Killed Me)
Where Tori boned on the set of Batman XXX a Porn Parody! (http://www.youtube.com/watch?v=fM5kWuG_L2I&feature=player_embedded#lq-lq2-hq-vhq)
Tori Black ostavlja utisak fine devojčice.
Tori Black je srce...
Momo Kapor je u kući :)
Odlomak iz intervjua sa Markom Vidojkovićem:
Ako je već alkohol legalan, da li bi marihuana trebalo da bude legalizovana?
Ja mislim da. Pazi, probao sam sve vrste droga, pisao sam neku knjigu u Njujorku i onda sam morao da se upoznam s raznim stvarima. Marihuana je sasvim bezazlena, ona je ništa manje štetna ili korisna od duvana. Jedino što otvara put do kokaina, koji takođe nije preterano štetan, ali se iz kokaina, kad prestane da deluje u normalnim količinama, ide pravo u heroin, a onda je gotovo. Inače, maihuana je baš lep, sanjalački duvan.
Odlično.
Jedne godine, bili Zuko Džumhur i ja u Dubrovniku, zimi. Tamo je bio atelje Milovana Stanića, čuvenog slikara. On je slikao u zidinama i atelje mu je bio pun gostiju, pogotovu kada je zima, kad nema kuda da se ide. I došla su dva Amera s ruksacima i dugim kosicama. I sedimo mi tako i smotaju oni tako neku cigaru od nečega i daju Zuki i meni. Zuko zapali i povuče - ništa. Da meni, ja povučem - ništa. On pita: "Je l' tebi djeluje ovo?", a bio je hašiš; ja kažem: "Ne, a tebi?" "Ni meni", kaže on, ajmo još jednom. Ponovo mi duvamo i ništa. I Zuko kaže Milovanu: "Milovane, daj ti nama dvije loze, ovo je za oficirsku djecu" (smeh).
http://www.gamegrep.com/news/33126-bayonetta_designer_angry_about_pornographic_bayonetta_doujinshi (http://www.gamegrep.com/news/33126-bayonetta_designer_angry_about_pornographic_bayonetta_doujinshi)
Bayonetta Designer Angry About Pornographic Bayonetta Doujinshi
1 day ago in News comments 11
While Bayonetta had its fair share of sex appeal, it looks like the game's designer Hideki Kamiya isn't happy that some gamers are making pornographic doujinshi (self-published manga) based on his character.
In a recent Twitter, Kamiya expressed anger over the fact that such doujinshi existed, saying that the people responsible didn't hold any love for the game.
Kamiya: It seems there's pornorgraphic doujinshi based off Bayonetta... There are fans who will resent that, and I hardly think those responsible [for the doujinshi] hold any love for the game...
Kakav naslov
http://www.alo.rs/vesti/27144/Nastavnik_pusio_dacima (http://www.alo.rs/vesti/27144/Nastavnik_pusio_dacima)
Sedam osnovaca optužilo profesora za zlostavljanje
Nastavnik pušio đacima
Četvrtak - 13.05.2010
Novosadska policija uhapsila je nastavnika I. M. (58) iz Novog Sada zbog osnovane sumnje da je oralno zadovoljavao osmoricu đaka starosti od 11 do 14 godina. Sumnja se da je broj dečaka mnogo veći, što će biti utvrđeno istragom.
Prilikom saslušanja jedan od osmorice dečaka odustao je od gonjenja profesora.
- Prvi rezultati istrage ukazuju na to da je nastavnik koji predaje geografiju navodio isključivo dečake na blud. U njegovim bolesnim radnjama učestvovalo je za sada sedam dečaka, koje je on oralno zadovoljavao - za ,,Alo!" je rekao izvor blizak istrazi.
Očekuju se prijave još nekih roditelja, jer pojedini dečaci od sramote ne žele ništa da pričaju.
- Istragom je utvrđeno da je I. M. muške đake navodio na protivprirodni blud poslednje dve godine i to je činio dok im je držao privatne časove kako bi popravili ocene u školi - navodi izvor "Alo!" blizak istrazi.
Kako se moglo čuti prilikom saslušanja đaka, jedan učenik je seksualno zlostavljan i u podrumu svoje kuće, u vreme koje je bilo rezervisano za dvočas. Kako saznajemo, jedan od dečaka nije više mogao da izdrži zlostavljanje i od velike sramote nije ništa smeo da kaže roditeljima, već se požalio drugom nastavniku. On je odmah alarmirao policiju koja je privela nastavnika.
- Dečaci su odmah dobili lekarsku pomoć i pod stalnom su kontrolom dečjih psihologa. Ne idu u školu, dok pojedini roditelji učenika koji nisu zlostavljani razmišljaju da ispišu svoju decu iz škola.
Privedeni I. M. je zaposlen kao redovni nastavnik u dve osnovne škole, a njegove kolege posle saznanja potpuno su u šoku.
- Ne možemo još uvek da poverujemo da među zaposlenima, i to u osnovnim školama, postoje ovakvi ljudi. Umesto da vaspita decu, on se seksualno zadovoljavao nad učenicima. Treba ga prvo kastrirati, a onda i javno obesiti, da svi vide ko je taj nastavnik. Ovaj monstruozni događaj je sramota za sve nas koji radimo u prosveti. Stidim se - vidno uznemirenim glasom za "Alo!" je rekao jedan od nastavnika škole u kojoj je osumnjičeni predavao.
I. M., kako ,,Alo!" saznaje, nikada nije bio oženjen, bio je sklon alkoholu i do sada nije dolazio u sukob sa zakonom. Saslušan je u policiji, a u zakonskom roku je uz krivičnu prijavu koja ga tereti za obljubu nad decom zloupotrebom službenog položaja sproveden na saslušanje kod dežurnog istražnog sudije Višeg suda u Novom Sadu. Određen mu je pritvor od 30 dana.
Male kazne za srpske pedofile
Pedofilima, po Krivičnom zakoniku Srbije, za obljubu nad detetom ili za čin koji je izjednačen obljubi zaprećena je kazna od jedne do deset godina zatvora. Ukoliko je dete zadobilo tešku povredu ili je zatrudnelo, okrivljenom preti kazna od dve do 12 godina. U najtežem slučaju, ukoliko je prilikom tog krivičnog dela nastupila smrt žrtve, okrivljeni može da bude kažnjen od pet do 18 godina robije.
N. N. Travica
Najzad sam našao instrument koji bih voleo da hendlujem u eventualnom bendu :)
http://en.wikipedia.org/wiki/Korg_Kaossilator (http://en.wikipedia.org/wiki/Korg_Kaossilator)
Freedom vs Sajsi
http://mislitemojomglavom.com/?p=841 (http://mislitemojomglavom.com/?p=841)
Ako imaš neki link sa albumom, slobodno mi ga možeš poveriti na PM.
Dobra je Ivana, i sve bolja. Rivju pišem sutra pa kad ga Popboks objavi - objavi.
Hajde. Čekam da je ti živopišeš pa da se onda prisilim da mi se dopadne.
Inače novi singl M.I.A. nije nešto. Mislim cool je, ali nije to-to.
Ugušila ju je buka. Krivim majčinstvo.
jordan cvetanovic pise za mislite mojom glavom -kakvo otkrice za mene :D
jer ima on sopstveni blog?
obozavam njegove tekstove,terapija je sjajna predstava,da ne pominjem genijalnu knjigu,,price za tesku noc''
Though Tony Jaa's Ong Bak 3 failed to top the Thai box office on release - and there is a very good reason for that, sadly - all is not lost in the world of Thai action film. While walking through the market today an exec from production house Sahamongkol film pulled me aside with some very exciting news: Panna Rittikrai is currently wrapping up directorial duties on multi-discipline fight film Bangkok Knockout.
For the uninitiated, Rittikrai was the star of stacks of low budget action films in the 1970s and 1980s, is the mentor of stars Tony Jaa, Dan Chupong and Jija Yanin and has been the principal fight choreographer on virtually all of Sahamongkol's fight films since the original Ong Bak. He is also an accomplished director in his own right - his most recent directorial effort, Born To Fight, still stands as my favorite of the Sahamongkol action films. Yes, I like it better than Ong Bak - and arguably the man most responsible for the look and feel of current Thai action cinema. He's also one hell of a fighter himself and accomplished in many different disciplines, an awful lot of which he's putting on screen in this one. Film Business Asia got some details on the film and according to them the film "features a group of 'fight club' pals whose styles [nine in total] vary from Muay Thai and Capoeira to kung fu and Tai Chi. When one of their number is kidnapped they find themselves fighting for their lives."
And, yes, that article also mentions plans for an upcoming Chocolate 2 plus other projects, so get over there and read.
Bogami, bogato.
Mene stvarno brine sve ovo štp se trenutno dešava u Tajlandu. Zemlja odlazi u kurac.
Nemoj tako. Svaka zemlja kojoj je pretendent na mesto premijera Crnogorac sigurno ima perspektivu...
:)
Heavy metal lost one of its icons Sunday when singer Ronnie James Dio died at 67. He was being treated in a Houston hospital for stomach cancer.
"My heart is broken, Ronnie passed away at 7:45 a.m," said a statement by his wife, Wendy, posted Sunday on the singer's Web site and confirmed by publicist Maureen O'Connor.
Billy Corgan of the Smashing Pumpkins commented on Twitter, "Ronnie was a true gentleman, and obviously one of the best rock singers there will ever be. What a sad loss. ... I only got to meet him once and I can honestly say he was the nicest person I have ever met in music."
Dio's neo-operatic voice was one of metal's most distinctive instruments, an over-the-top stylist perfectly suited for a genre that demanded excess.
He fronted some of metal's most revered bands, including a Deep Purple offshoot called Rainbow, the second incarnation of Black Sabbath and his namesake group, Dio. As a result, he had a hand in a half-dozen of metal's greatest albums, including Sabbath's "Heaven and Hell" and Dio's "Holy Diver." Most recently he was heard fronting a Sabbath offshoot, Heaven and Hell, which released a fine 2009 album, "The Devil You Know," and toured extensively in 2008-09.
Dio's piercing voice and equally flamboyant persona – he is sometimes credited with popularizing the two-fingered "devil's horns" gesture – made him fodder for affectionate parody, most notably by the best-selling comedy duo Tenacious D.
Dio was born Ronald James Padavona in 1942 in Portsmouth, N.H. He began playing in rock bands starting in the late '50s in Cortland, N.Y., and eventually formed the band Elf in 1969. A tour as opening act with Deep Purple led to Dio's first big break – he caught the ear of guitarist Ritchie Blackmore, who formed the band Rainbow with the vocalist.
The singer then joined Black Sabbath in 1979 after the departure of Ozzy Osbourne, and sparked one of the group's best albums, "Heaven and Hell." He would continue working off and on with Sabbath and Sabbath band members throughout the remainder of his career, in between stints with Dio – a classic, old-school metal band that toured and recorded consistently over the last three decades. The Dio band released 10 studio albums since 1983 and went through numerous lineup changes, with the singer the sole constant.
For many fans, Dio embodied metal's virtues, notably its confrontational power and hell-raising subject matter. That affection spilled over into the comedy of Tenacious D – a duo led by movie star Jack Black --- who wrote the tribute song "Dio" and even had the singer appear as an oracle of sorts in the movie "Tenacious D in the Pick of Destiny." Dio guides the young Black to pursue his dreams. "Now go, my son," he bellowed, "and rock!"
Da, ja sam već okačio vest na Enciklopediji Mrtvih. Ali evo, još malo Dija:
DIO - I Speed at Night (Montreal 2003) (http://www.youtube.com/watch?v=fLrICyYt-_A#lq-hq)
Bottom Line: Boy meets girl and gets nowhere. Boy meets her avatar and scores.
CANNES -- The films in Un Certain Regard seem to be holding a special sub-competition of their own, to see which will have audiences checking their watches most often. The topical story and strong leads in David Verbeek's "R U There" feel like a great short stretched into a feature that cannot sustain the tension for which it so earnestly strives.
The best target audience for this film about a young gaming champ should be the enormous gaming/"Second Life" community. Yet gamers, for one, inhabit virtual worlds that are far faster and far more action-filled than the slow-paced, moody "R U There." Ominous music throughout sets up a thriller, but it's actually a "boy meets girl but does better with her avatar" story.
Professional gamer Jitze (Stijn Koomen) is in Taipei for a tournament. A terrible accident he witnesses and a sore muscle take their toll on his psyche and body and he's forced to withdraw from the tournament for a few days. While resting, he meets Min Min (Ke Huan-Ru), a beautiful, older woman who sidelines as a prostitute and, in Jitze's case, a masseuse.
More Cannes coverage
Wanting to spend more time with Min Min, Jitze even pays her to take him with her for a weekend in the country with her family. Ke's Min Min is intriguingly vague and although she seems attracted to Jitze, she acts maternal and standoffish. Only when their avatars meet in the virtual world of "Second Life" is she openly flirty and physical with him.
Lennert Hillege's camera sticks tight to Koomen, who offers an assured, nuanced performance: he is both hard to read and vulnerable. Whether Jitze is alone or wandering through the gray, bleak streets of Taipei, Verbeek drives home the point that gamers, like most of us who are glued to our computers, even when playing or communicating with others are always cut off from actual human contact. In fact, Jitze, a prize-winning master soldier in game life is paralyzed before real suffering, the accident victim, and cannot even offer help.
The serenity that pervades their "Second Life" environments -- rarely if ever yet seen on the big screen -- wonderfully renders yet another way we can suspend time and even life nowadays. To boot, while Jitze's avatar is his gaming soldier self, Min Min's is a silver-haired, bright-eyed knockout with Western features. Again, life is easier/better in a fake world you create than in the real one.
What is novel, though, is seeing gaming competitions for those unfamiliar with them. Surrounded by screaming fans, the teams strategize their plays beforehand, dress in matching running suits and are even treated for sports injuries like real athletes. Yet once the match begins, they could just as easily be playing alone at home, over the Internet.
Venue: Festival de Cannes -- Un Certain Regard
Production: IDTV Film, VPRO, Les Petites Lumieres
Cast: Stijn Koomen, Ke Huan-Ru, Tom de Hoog, Phi Nguyen, David Davis, Pavio Bilak, Eugene Callegari, Tsai Jie De
Director: David Verbeek
Screenwriter: Rogier de Blok
Producer: Frans van Gestel
Director of photography: Lennert Hillege
Production designers: Wang Chih Hui, Lin Ing Chyang
Music: Lim Giong
Editor: Sander Vos
Sales: Films Boutique
No rating, 87 minutes
Heh heh heh, u skladu sa raspravom o fenomenu autorskih prava na drugom topku, evo Crackedovog članka:
The 5 Most Famous Musicians Who Are Thieving Bastards (http://www.cracked.com/article_18500_the-5-most-famous-musicians-who-are-thieving-bastards.html)
u kome se između ostalog vidi od koga je Pejdž deknuo Stervej tu hevn itd. :lol: Brega je imao od koga da uči in more ways then one.
Mada, tu je i Metl'ka. :lol:
Naravno, najšokantnije je što je Smoke on the water prepisan od Gilberto/ Evans komboa... Ahhh...
Tekst je upadljivo bezveze.
Mislim, prvo to su sve poznati podaci, drugo sama tehnologija rada u rokenrol muzici je takva da se u nastajanju muzike uvek polazi od ideje šta se cilja, koja vrsta pesme, koja vrsta rešenja i masa pesama su u svojim demo fazama zapravo varijacije na nešto što već postoji i onda se to polako transformiše ka nečemu što je kao "originalno".
Drugo, tekst prenebregava, u svojoj histeriji protiv slavnih bendova i ubeđenju kako su kao provalili nešto, da su ove slavne pesme daleko bolje od "originala" koje su ripovale, i da su neke zanimljive ideje stavile u mnogo bolju upotrebu.
Začuđenost i osuda kako bendovi nisu kreditovali uzore za svoje najveće hitove je na nivou osnovne škole. Ko bi izvršio tu vrstu PR suicida i kreditovao nekoga za svoje slavne numere?
Meni je inače interesantano kako Satriani ispade najripovaniji. Kao kradu ga i slušaju od Coldplaya do Metallice. On deluje kao missing link koji objedinjuje čitavu pop kulturu.
Sve si u pravu, no vredi ovo imati na radaru. Posebno bih podvukao ovo što kažeš za unapređivanje postojećih pesama u formu koja ih je imortalizovala. To JESTE odlika vrhunskh muzičara i dokaz kreativnosti iako je originalnu formu kreirao neko drugi.
A evo još jednog teksta:
The 5 Worst Deaths Written for Great Characters (And Why) (http://www.cracked.com/article_18488_the-5-worst-deaths-written-great-characters-and-why.html)
Naravno, lepo je imati sve na jednom mestu. :)
Za ljubitelje (nešto starijih) serija:
The 7 Most Soul-Crushing Series Finales in TV History (http://www.cracked.com/article_18490_the-7-most-soul-crushing-series-finales-in-tv-history_p1.html)
I, kad ste već na krekdu:
6 Movie Monsters That Just Wouldn't Work (http://www.cracked.com/article_18438_6-movie-monsters-that-just-wouldnt-work.html)
ja sam za krađu i meni su bregine krađe bolje od originala, ali... slavni bend nije znao da će ta numera biti slavna, ne? oni su ih morali kreditovati na ploči kad su drpili stvar. ovako, fakat jeste da su bitange. jedino što su postali naši heroji pa nam je drago što ih nisu uhvatili.
Super su Movie Monsters!
Avatar je odrađen s pola kurca, pretpostavljam najpre da se šuhornuje u tekst, ali ostalo je OK.
E, sad, da se ne zaboravi, sirijz šit:
5 Reasons You Should Be Scared of Google (http://www.cracked.com/article_18540_5-reasons-you-should-be-scared-google_p1.html)
i odmah šaljivi dodatak Krisa Buholca:
10 Survival Tips Now That Google Knows You're On To Them (http://www.cracked.com/blog/10-survival-tips-now-that-google-knows-youre-on-to-them/)
Smatrao sam da je neukusno da ja to napišem za AVATAR, da ne bi posle bilo protekcija ovo-ono, ali u dubini duše sam znao da ćeš ga ti odbraniti.
Branio sam ga zbog tebe, a i zbog istine.
Hvala ti. Znao sam da ćeš me sačuvati od stresa.
Jedan od uspelijih krekd fotošop natjecaja:
If Movie Universes Had Propaganda Posters (http://www.cracked.com/photoshop_122_if-movie-universes-had-propaganda-posters/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi46.tinypic.com%2F2s6pqf6.jpg&hash=1f1fac46b23b83d61031fa3f98c9d57057ba6dbe)
(Uzgred, integracija Tnypica u ZS je bila genijalan potez!!!)
Takođe:
For Dio: The Only Appropriate Tribute (http://www.cracked.com/blog/for-dio-the-only-appropriate-tribute/)
Quote from: John Reynolds on 12-09-2009, 01:07:50
Voleo bih da ostane zapisano da nisam od besnih antikortnista. Mislim da nema loše sise i ima određenu slutty jebozovnost, te se ne može upoređivati sa Nensi Spandžen kao što neestete rade. Besni antikortnisti i branitelji Sent Kurta mi se čine zaista gej.
spiking ov gej...
Courtney Love reveals all to Hot Press
20 May 2010
In an explosive interview, even by her own uninhibited standards, with Hot Press, controversial rock star and actress Courtney Love has spoken about her past lovers Gavin Rossdale, Billy Corgan and Edward Norton, as well as her relationship with supermodel Kate Moss and Venezuelan President Hugo Chavez. Love also talks about her time working for Hot Press as a photographer in the early 80's.
Love, whose band Hole have just released a new album, Nobody's Daughter, says that she hasn't spoken to Gavin Rossdale (former lead singer with the rock band Bush and now Gwen Stefani's husband) recently. "Me and Gavin dated for eight months," she states. "There was some overlap between when I dated Edward [Norton] and he dated Gwen – but never when they were engaged. So we were like sorta fuck buddies. He was playing the field... one night Gavin made roast chicken and it was really, really good, and then we snogged and he was really good at it. And he'd improved vastly from the last time we snogged."
Love had recently hinted at having a lesbian fling with a supermodel. For the first time she reveals to Hot Press, "It was Kate Moss. She doesn't care." Love then adds, "It's a great story for the grandchildren so . . . yeah. Kate wasn't doing a lot of drugs. It was just a thing that happened in Milan in the '90s. It happened and it was fun and whatever. And she talks about it and so I hope she doesn't get mad that I outed her about it... I feel like such a kiss and tell... Kate's great, though! Kate's a good friend of mine. I almost bought Kate's house in St. John's Wood (London)."
Love also talks about her affection for U2 and their friends. She tells Hot Press: "I do love Bono, and I love the boys – I love all of them. I love Edge's brother, Dick – he's so smart, do you know him? Such a guy. Oh my god! That night we did the Gavin Friday [50th birthday party at Carnegie Hall] thing? And Bono was always telling me for years and years and years that I should meet Gavin. And I was always afraid to, because Gavin, to be honest, really intimidated me more than any of them. And then when we played with them, of course . . . it was fuckin' brilliant."
In a courageous, revealing and touching interview with Olaf Tyaransen, Love also talks extensively about "The Bono Talk", Billy Corgan, Edward Norton, when Hugo Chavez thought she was a hooker and the photos she took for Hot Press!
Courtney Love is on the cover of Hot Press out today, Thursday 20th May 2010. To buy a copy of the magazine, click here
Happy birthday Pac-Man!!!
www.google.com (http://www.google.com)
Aiiii
The 19 Most Hilariously Failed Attempts at Sexy Album Covers (http://www.cracked.com/article_18521_the-19-most-hilariously-failed-attempts-at-sexy-album-covers.html)
Naravno, bilo bi smešnije da Cracked zna za neke od omota albuma naših izvođača, ali i ovo je prilično entrtejning.
Goldfrapp - Alive (http://www.youtube.com/watch?v=tSdZAkA4VpA#lq-lq2-hq-vhq)
Uh, kolki wtf... još se smejem :D
Odbijam da gledam ove što se sprdaju sa satanizmom, a sutra Deicide, a u Subotu Mayhem.
Nego:
Kada bi natpisi na majicama govorili istinu. (http://www.cracked.com/funny-4796-t-shirts/)
Davidu Wongu je, kao i obično svaka zlatna:
5 Reasons It's Still Not Cool to Admit You're a Gamer (http://www.cracked.com/article_18571_5-reasons-its-still-not-cool-to-admit-youre-gamer.html)
Njegovi tekstovi nisu samo duhoviti, ima tu i ozbiljnog uvida, mada je većina onoga što je ovde napisao već detaljnije obrađena u njegovim starijim tekstovima na Cracked i pokojnom PWoT.
Legendary Pictures has acquired theatrical feature film rights to Electronic Arts/BioWare hit videogame franchise Mass Effect.
Legendary will make the feature version under its co-production and co-financing agreement with Warner Bros, which will distribute the film worldwide. The companies have previously teamed on projects including The Dark Knight, 300, Clash of the Titans and The Hangover.
Legendary's Thomas Tull and Jon Jashni will produce the film with Avi and Ari Arad. BioWare co-founders Ray Muzyka and Greg Zeschuk will serve as executive producers, as will Mass Effect executive producer Casey Hudson.
The producers say they are in discussions with Mark Protosevich (I Am Legend) to draft a screenplay.
Originally developed by BioWare (now owned by Electronic Arts), Mass Effect takes place in the year 2183 and follows a space team trying to defeat an ancient alien race that invades the galaxy every 50,000 years. The most recent game in the series, Mass Effect 2, was released in January.
"Mass Effect is a tremendous property ripe for translation to the big screen," said Legendary chairman and CEO Thomas Tull in a statement. "It has depth, compelling characters and an engaging back story."
Taj Avi Arad ima svoje prste u svakoj piti. Zna čovek gde je novac.
Auh, ako se lako uznemirite, ne čitajte ovo.
5 Animals That Are Terrifyingly Hard to Kill (http://www.cracked.com/article_18471_5-animals-that-are-terrifyingly-hard-to-kill.html)
A za trenutke predaha zanimljivo štivo:
5 Pop Culture Classics Created Out of Laziness (http://www.cracked.com/article_18530_5-pop-culture-classics-created-out-laziness.html)
8-bit igrica Human Centipede:
http://www.newgrounds.com/portal/view/537029 (http://www.newgrounds.com/portal/view/537029)
Da li je neko overio Kendrin kućni uradak? Posle mnogo odlaganja i stresa, Vivid ga je juče ipak pustio u prodaju. :D
"Umro basista Slipknota
Beživotno telo Paula Graya (38), basiste američkog benda Slipknot, pronađeno je juče u Ajovi, u sobi hotela Des Moines.
Prema TMZ-u policija u sobi nije pronašla ništa što bi ukazivalo na uzrok smrti, a istraga predstoji.
Gray je svirao u Slipknotu od osnivanja benda, 1995. godine.
Bio je oženjen Brennom, sa kojom je očekivao prvo dete."
meni je ovaj detalj sa brenom kinky...
Da, umro... Piter Stil, Dio, Grej, sve u par meseci. Što bi rekli matori rokeri, Satana okuplja novi bend... Fali im bubnjar, pa ako me zgaze kola u narednih par nedelja znaćete u čemu je stvar.
Mora da na spisku ima matorijih bubnjara.
...ma ne, biće da imaju ritam mašinu.
QuoteSatana okuplja novi bend... Fali im bubnjar, pa ako me zgaze kola u narednih par nedelja znaćete u čemu je stvar.
Na tvom mestu ja se ne bih preterano brinuo...
Pa... jeste :lol: :lol: Nisam ja ta klasa. Nico McBrain zato bolje nek se pripazi kad sedne u avion ovih dana, neće mu pomoći ni godine born again christian prakse.
Argh
5 Lovable Animals You Didn't Know Are Secretly Terrifying (http://www.cracked.com/blog/5-lovable-animals-you-didnt-know-are-secretly-terrifying/)
Ono sa sovama je... zastrašujuće.
A evo i nešto u duhu ZS foruma. Mislim, vezano za svemir i tako to:
6 reasons space travel will always suck (http://www.cracked.com/article_18547_6-reasons-space-travel-will-always-suck.html)
Ovo je više za Cripple Reaguj, al mrzi me da menjam topik:
15 Grossly Misleading Movie Posters (http://www.cracked.com/article_18542_15-grossly-misleading-movie-posters.html)
Već prvi je tajlandski poster za District 9 koji deluje kao mešavina Transformersa i Godzile.
Lista nije fer jer recimo ovo za AVIATOR nije uopšte poster nego je printed ad u sezoni oskara. Naime, u vreme kada krenu nominacije u poslovnim novinama izlaze oglasi koji promovišu film u raznim kategorijama, podsećaju članove Akademije na nominacije i sl. Ovo je still iz filma koji se našao na oglasu tog tipa a plakat svakako nije bio takav.
Isto važi i za Harryja. Ovo je character poster a ne plakat za film. HP se sasvim sigurno neće promovisati isključivo takvim plakatom. Ovakav dizajn služi za neku od sekundarnih kampanja tipa unutar bioskopa i sl.
Ma, naravno, plus pola postera su iz Gane i Poljske, a tamo ih očigledno rade osuđenici na odsluženju u zatvorskoj bolnici.
Quote from: crippled_avenger on 29-05-2010, 04:04:13
Lista nije fer jer recimo ovo za AVIATOR nije uopšte poster nego je printed ad u sezoni oskara. Naime, u vreme kada krenu nominacije u poslovnim novinama izlaze oglasi koji promovišu film u raznim kategorijama, podsećaju članove Akademije na nominacije i sl. Ovo je still iz filma koji se našao na oglasu tog tipa a plakat svakako nije bio takav.
Isto važi i za Harryja. Ovo je character poster a ne plakat za film. HP se sasvim sigurno neće promovisati isključivo takvim plakatom. Ovakav dizajn služi za neku od sekundarnih kampanja tipa unutar bioskopa i sl.
kao i puno komentara na krekdu, mnogo pojava je izvadjeno iz konteksta. ali tekstovi su uglavnom duhoviti...
Tony Jaa has exited the film industry. We don't know for how long and can only speculate on the reasons why but yesterday - Friday, May 28 - Jaa rode an elephant to a Buddhist temple in Surin, Thailand, where he shaved his head, took vows, and was officially ordained as a Buddhist monk.
Now, this is not necessarily forever. Joining the monkhood for set periods of time is a fairly common practice in Thailand and the expectations are not that he will remain in the monastery forever. In fact, Jaa's mother has already been quoted saying she hopes her son will find a nice woman and get married once his time as a monk is complete. This does, however, completely eliminate any chance of Jaa being involved in the film industry for the time being and this, I think, is entirely the point. In fact, I actually predicted this move back in August of 2008. Here's what I think is happening:
Following the success of Ong Bak and Tom Yum Goong, Jaa insisted he be allowed to direct his next film himself - a desire largely responsible for destroying his relationship with director Prachya Pinkaew. Jaa got his way, though, and the reins of Ong Bak 2 were handed over to him. The initial footage from that film looked fantastic but it didn't take long for strange stories to emerge from the set - stories of Jaa sacrificing chickens before shooting for the day could commence - and things rapidly fell behind schedule and way over budget. And then, with pressure mounting and debts adding up, Jaa simply crumbled under the pressure and disappeared. He was gone for two solid months - during which time the wilder stories explaining his absence involved black magic in Cambodia - before his mentor Panna Rittikrai managed to track him down and bring the wayward star home. And then, believe it or not, things got even messier.
First Jaa appeared on TV, weeping and vowing to complete the film. Then he publicly issued a set of demands to production house Sahamongkol, threatening to disappear again if they were not met. Among the demands were the insistence that he be released from the long term, exclusive contract that he signed with the production house. Shortly after this Jaa was whisked away in a car full of Sahamongkol 'heavies' prompting speculation that he had been kidnapped. Not true, Jaa said when he reappeared, but whatever happened was unsettling enough to him that he took refuge in a police station, where he later met with Sahamongkol boss Sia Jiang. That meeting resulted in Jaa's demands being dropped, Jaa agreeing to split Ong Bak 2 into two movies to allow the company a chance to recover the cost over runs, the creation of a major new role for Sahamongkol's other star Dan Chupong, and directorial duties for the remaining shoot were handed over to Panna Rittikrai.
Well, the results of those shoots have both been released now. Ong Bak 2 - mostly Jaa's film - is flawed but was a success thanks to the incredible fight work. Ong Bak 3, however - assembled fast and cheap from a quickly revised script by an assembly of Sahamongkol execs and Rittikrai - became the first Jaa film to ever fail to top the Thai box office and, frankly, stinks of contractual obligation. The passion isn't there, the fire is completely gone from Jaa as a performer, he's put on weight - not to Segal levels but he's lost all of his definition - and all of the films best moments belong to the charismatic Chupong, not Jaa. With Ong Bak 3 it seems that Tony just doesn't care any more.
So here's my take on things. Jaa, clearly, meant what he said when he threatened to walk away and disappear again. My guess is Sia Jiang laid down the legal and financial consequences Jaa would face if he failed to fulfill his Ong Bak 2 contract, effectively forcing him back to work on that film, but now that that particular film is done and that particular debt is paid, Jaa has gone to where their contracts couldn't touch him. How long will he remain a monk? My guess is until one day after his original ten year exclusive contract with Sahamongkol expires.
Hot DAMN!!!
He's been rumoured for a while, but has Tommy Lee Jones officially joined the "Captain America" movie?
British actress Hayley Atwell, who stars as Peggy Carter in the film, let slip the fact that Jones was involved in an interview with LeicesterSquareTV.
Jones' role is unknown, though it's expected he'll play General Chester Phillips, a hard nosed military commander who oversaw some of the early missions of Steve Rogers and selected him to be a part of the supersoldier experiment. He later retired and ended up being assassinated at a rest home in Kentucky.
Meanwhile talk of Jeremy Renner playing Hawkeye in Marvel's "The Avengers" movie has resurfaced over at AICN.
British writer Drew Pearce has come onboard to co-write the screenplay for the film adaptation of Brian K. Vaughan's sci-fi action comic "Runaways" for Marvel Studios reports Deadline.
Vaughan himself penned an earlier draft about children of supervillains who try to use their evil powers for heroic purposes.
Pearce is best known for creating the UK comedy series "No Heroics" (trailer here) about a bar where superheroes hang around between efforts to save the world.
Peter Sollett ("Nick and Norah's Infinite Playlist") is directing the film, no word as yet when production will kick off.
A few months ago all the speculative casting about Marvel's "Captain America" film came to a head when a shortlist of four final contenders for the titular role emerged online.
Today, a similar thing has happened for Sony's upcoming planned reboot of the "Spider-Man" franchise. Director Marc Webb has been meeting and reading actors quietly for several months and though the the studio is still on the lookout, the shortlist of candidates that will likely submit to a screen test shortly has come down to five names which Heat Vision seem to have uncovered:
1. Jamie Bell
The 24-year-old British actor and best known name on the list, Bell rose to fame as the title character in "Billy Elliot".
He followed that up with classic literary adaptations like "Nicholas Nickleby" and the upcoming "Jane Eyre", Hollywood actioneers like Peter Jackson's "King Kong" and Doug Liman's "Jumper", indie dramas "The Chumscrubber" and "Undertow", and big-budget war dramas including Clint Eastwood's "Flags of our Fathers" and Ed Zwick's "Defiance".
He also stars as the voice and motion-capture elements of Tintin in Steven Spielberg's "The Adventures of Tintin" adaptation opening next year.
2. Andrew Garfield
The oldest and most interesting actor on the list, the U.S.-born and British-raised 26-year-old came to notice in 2007 thanks to starring roles in Robert Redford's "Lions for Lambs" and acclaimed indie "Boy A" along with guest spots on British TV in the likes of "Trial & Retribution" and "Doctor Who".
He popped up again recently as the lead in the first and most acclaimed part of the "Red Riding" TV movie trilogy, played the loveable young Anton in "The Imaginarium of Doctor Parnassus" and will later this year appear in David Fincher's "The Social Network" and Mark Romanek's "Never Let Me Go".
3. Josh Hutcherson
The youngest actor on the list, the 18-year-old has also racked up the strongest and widest resume of the batch.
Hutcherson has appeared in comedies like "RV" and "Kicking and Screaming", done voice work on animated feature "Howl's Moving Castle" and series "Justice League", and appeared in numerous arthouse dramas like "The Kids Are All Right," "American Splendor" and "Little Manhattan"
More relevant though is that he's had major roles in FX-heavy studio family-fantasy-action fare like "The Polar Express," "Cirque du Freak: The Vampire's Assistant," "Bridge to Terabithia," "Zathura," "Journey to the Center of the Earth 3D" and the upcoming "Red Dawn" remake.
4. Alden Ehrenreich
The 20-year-old American actor was "discovered" by Steven Spielberg thanks to a comedy video he saw at a bat mitzvah.
Though he had forgettable guest spots on "Supernatural" and "CSI", many took notice of him last year when he played one of the main roles in Francis Ford Coppola's "Tetro" opposite veteran Vincent Gallo and stole the limelight from him.
He also stars in Sofia Coppola's "Somewhere" opening later this year.
5. Frank Dillane
Though he starred as a child in 1997's "Welcome to Sarajevo", the 19-year-old British thesp's sole real credit is playing the teenage version of Tom Riddle in the flashback/memory segments of last year's "Harry Potter and the Half-Blood Prince".
Sony aims to begin production on the film by the end of the year and Alvin Sargent is currently getting the script into shape, but all claim they intend to take whatever time is needed to make sure the product comes out right.
At present Hutcherson seems to be the favorite thanks to his experience and age, but his commitment to the upcoming "Journey to the Center of the Earth 3D" sequel could put a kink in the studio's plans.
20th Century Fox has announced that rising British hunk James McAvoy ("Wanted," "Last King of Scotland," "Atonement") has signed on to play a young Charles Xavier in the upcoming "X-Men: First Class".
The story is said to "chart the epic beginning of the X-Men saga. Before Charles Xavier and Erik Lensherr took the names Professor X and Magneto, they were two young men discovering their powers for the first time.
Before they were archenemies, they were the closest of friends, working together, with other Mutants (some familiar, some new), to stop the greatest threat the world has ever known. In the process, a rift between them opened, which began the eternal war between Magneto's Brotherhood and Professor X's X-Men."
Patrick Stewart played the wheelchair-bound older version of the character in the four previous "X-Men" films. Matthew Vaughn directs 'First Class' which aims to kick off shooting this Summer in the UK for a release next June.
Quote from: crippled_avenger on 31-05-2010, 12:20:37
British writer Drew Pearce has come onboard to co-write the screenplay for the film adaptation of Brian K. Vaughan's sci-fi action comic "Runaways" for Marvel Studios reports Deadline.
Vaughan himself penned an earlier draft about children of supervillains who try to use their evil powers for heroic purposes.
Pearce is best known for creating the UK comedy series "No Heroics" (trailer here) about a bar where superheroes hang around between efforts to save the world.
Peter Sollett ("Nick and Norah's Infinite Playlist") is directing the film, no word as yet when production will kick off.
Ja od ovog očekujem dosta, s obzirom da mi je prvi BKVov run bio odličan.
Wayne Kramer ("The Cooler," "Running Scared") is apparently in talks to direct the film adaptation of the Eidos video game "Kane and Lynch" for Lionsgate Millennium Films reports Latino Review.
Kyle Ward penned the script which follows the mercenary Adam 'Kane' Marcus (Bruce Willis) and aggressive, schizophrenic killer James Lynch (Jamie Foxx) teaming to retrieve a dangerous device as ransom payment to retrieve Kane's kidnapped wife and daughter.
Stunt co-ordinator turned director Simon Crane was originally attached but has apparently since departed the project. F. Gary Gray ("The Italian Job") was offered but passed on the project earlier this week.
Adrian Askarieh, David Willis and Daniel Alter are producing. Filming kicks off in August.
Quote from: crippled_avenger on 31-05-2010, 12:24:12
Patrick Stewart played the wheelchair-bound older version of the character in the four previous "X-Men" films.
Surely, u Wolverineu je ono bio pjur CGI.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fs3.amazonaws.com%2Ftheoatmeal-img%2Fcomics%2Femail_address%2F2.jpg&hash=f7749af3d9563ca17bbf8985f7a8879293edb6d4)
Rajder lista za Igija i Studžis. (http://www.josgrain.com/riders.html) Hilerijs šit.
http://www.dailymail.co.uk/news/worldnews/article-1283596/Porn-actor-Steve-Driver-run-killing-Tom-Dong-samurai-sword.html (http://www.dailymail.co.uk/news/worldnews/article-1283596/Porn-actor-Steve-Driver-run-killing-Tom-Dong-samurai-sword.html)
Antoine Fuqua ("Training Day," "King Arthur") has confirmed to Digital Spy that a biopic about rapper Tupac Shakur for Morgan Creek Productions will be his next project.
Fuqua has just begun pre-production on the project and is looking for an unknown to portray the hip-hop star - "That's the goal, I want to discover someone new. I want to discover a lot of new people if I can. Obviously I'm going to have to put some people in it that you know, just because actors have different skills. I want to go to the streets and find him anywhere he might be in the world."
Last week Fuqua was linked to the prison escape drama "The Tomb" at Summit starring Bruce Willis. When asked about it, Fuqua said "That's a conversation I've been having with Bruce."
James G. Robinson will produce the Tupac biopic and shooting kicks off in September.
http://www.znaksagite.com/diskusije/index.php?topic=9122.msg253545;boardseen#new (http://www.znaksagite.com/diskusije/index.php?topic=9122.msg253545;boardseen#new)
Nudio je to BTR meni prvo putem privatne komunikacije ali ja sam odbio uz zahvalnost.
To je zato što ne znaš šta valja.
Drago mi je da je bar Kreša prepoznao prave vrednosti.
On je mlad i njemu priliče te pubertetske priče. Ja sam odrastao čovek i... er... naručujem War of Kings sa Amazona :shock: :shock:
Strit Fajter na krekdu. (http://www.cracked.com/funny-1812-street-fighter/)
Out doing The A-Team rounds, director Joe Carnahan has revealed to Superherohype that he's got his eye on Vertigo comics' Preacher. The project, a kind of modern-day Biblical Western based on Garth Ennis' awesome series, has been in development for a while, but the director's chair has been empty since Sam Mendes departed for Bond 23. Hey, he might come back yet.
"I'm really keen on Preacher," says Carnahan, "because I'm a big Garth Ennis fan. I love that series... all that crazy shit. I haven't seen a script, but we'll see..."
Preacher's 75 issues, roughly speaking, follow the Reverend Jesse Custer (who, possessed by the godlike offspring of an angel and a demon, has some rather special abilities), his ass-kicking girlfriend Tulip and their amoral vampire compadre Cassidy, on an odyssey trailing God, who has gone missing.
Carnahan particularly mentions wanting to tackle the subplot featuring the "Allfather" D'Aronique (favourite things: "mass murder and big pies") who leads the super-secret, super-powerful, totally evil Grail organization: keepers of Christ's bloodline in the form of a "special" inbred boy whose vocabulary consists solely of the word "humperdido". We don't know if John August's script already includes any of this. If not, maybe he should start scribbling, although whether any studio would have the balls to go with it is a definite issue.
Details aside, Preacher in its original form is very violent and very funny: rather a good fit for the man that made Smokin' Aces, we'd suggest. But if it comes to naught (John August may score the gig himself), Carnahan has another idea: Marvel's Taskmaster.
"I think it might be one of those Marvel characters you'd have to reimagine," he says. "He's got the whole skull and cape... it's a bit grandiose I think. But it could certainly be cool. He's so below the radar. He's even below where Blade was considered a B-tier Marvel character: even lesser-known. It would be a lot of fun to write..."
Carnahan's revisionist A-Team, starring Liam Neeson, Sharlto Copley, Rampage Jackson, Jessica Biel and Bradley Cooper is out on July 28th.
Owen Williams
In an interview with Entertainment Weekly, Grant Morrison talked about his new TV series:
I'm writing a TV show for the BBC. A miniseries to be called Bonnyroad. It's a big-event, sci fi thriller, Science fiction with sex, seven episodes to be shown over a week, in a contemporary setting, with big cast of characters and a low budget. I'm quite pleased with it... I like the idea of making Calvinist science fiction — stingy Scottish science fiction. It has elements of Scottish folklore and Brigadoon, taking it seriously. It's not cast yet; I'm just finished writing it. But really, my head is still in Batman. I keep finding new depths to explore in Bruce Wayne, new angles to play up. I'm quite surprised I haven't tired of Batman yet.
Morrison also confirms the starring of Stephen Fry and that Paul McGuigan will be the director.
Znači režira Paul McGuigan. Bilo je nekog sporenja jer je McGuigan napadao Millara pa je najednom naišao na otpor u strip-zajednici. Drago mi je da se to rešilo.
PUSH je maestralan film tako da je McGuigan itekakva garancija kvaliteta.
Da, zvuči sjajno, sve redom i seting i ideje, čak i nizak budžet jer to valjda povlači i solidnu autorsku slobodu.
Push me nije odushevio, ali je zato Gangster No. 1 remek delo.
ma daj, pa PUSH je za tri klase jači od GANGSTERa.
Jel' beše imamo il' nemamo topik Ridiculuse, reaguj??? Ako imamo, izvinjavam mu se, al ionako retko dolazi na forum.
6 Japanese Subcultures That Are Insane (Even for Japan) (http://www.cracked.com/article_18567_6-japanese-subcultures-that-are-insane-even-japan.html)
Edit: Mada, sad kad sam pročitao tekst, nema ovde ničeg ni posebno divljeg ni novog.
Mortal Kombat igre su u principu kesa, ali onaj film je bio genijalan (na svoj način).
Sada se pojavio trejler koji je neka vrsta proof of concept napora da se Warner ubedi da napravi novi film/ ribut. Šuška se da je trejler napravio Kevin Tanchoeren (to tvrdi RZA) a u istm se između ostalih pojavljuje i Michael Jai White. (http://www.eurogamer.net/articles/jeri-ryan-explains-mortal-kombat-video-article)
Bilo bi lepo, zar ne?
Upravo sam našao 100 evra u džepu dok sam prebirao po nekim papirima koje sam krenuo da bacim. Ponekad su iznenađenja u životu prijatna.
Trejler za MK me je baš naložio. I donekle mi je drago što je Džoni Kejdž sjeban u startu. Nisam ga nikad gotivio.
Da, od ovoga bi se dao napraviti solidan DTV, pa možda i theatrical brawler.
Ako je suditi po ovom trejleru, ovo je zapravo rimejk Watchmena, samo u MK univerzumu.
Taj WATCHMEN vajb mi se ne dopada. Ubija sirovost borilačkih scena.
Marvel Studios has officially announced that Stanley Tucci ("The Lovely Bones," "Julie & Julia") is set to play Dr. Abraham Erskine in the upcoming "Captain America: The First Avenger"
In the comics Dr. Erskine was the German scientist behind Project Rebirth, the secret super soldier experiment that created the titular hero.
Meanwhile in far less confirmed news, Bleeding Cool reports that Jamie Bell looks to have emerged as the choice to play Peter Parker in the upcoming "Spider-Man" reboot.
Bell was one of the five finalists mentioned the other week though Josh Hutcherson was emerging recently as the rumoured front runner. Now the site claims to have "received repeated reports" that Bell had been chosen. However no official announcement or confirmation has taken place as yet.
Former Bond girl Rosamund Pike ("Die Another Day," "An Education," "Doom") is apparently a contender to play Emma Frost in Matthew Vaughn's "X-Men: First Class" reports Forces of Geek.
A source for the site reveals Pike was spotted at the offices of Lucinda Syson, the casting director for Matthew Vaughn's last two films, and was spotted carrying a Emma Frost comic book at the time.
The fictional telepathic character, also known as the White Queen, started out as the X-Men's most dangerous foes to one of its most central members.
Michael Fassbender ("Inglourious Basterds," "Hunger") is currently being linked to not one but two Marvel comic book film adaptations currently heading towards production.
Showbiz 411 reports that "X-Men: First Class" director Matthew Vaughn is pursuing him to play the younger version of Ian McKellen's Magneto in Fox's prequel project which already stars James McAvoy as the younger Professor Charles X. Xavier. That film is slated to kick off filming soon in the UK for release next Summer.
At the same time, Fassbender is being pursued to play the villain in "Spider Man 4" at Sony Pictures. As that film isn't scheduled to hit until mid-2012, its production won't kick off until sometime next year.
Fassbender is expected to choose one over the other, the question is which one and how it will fit into his schedule. The actor is currently shooting David Cronenberg's "A Dangerous Method" and will next star in David Jacobson's "A Single Shot". The actor will be seen onscreen in "Jonah Hex" later this month and "Centurion" in August.
Quote from: DušMan on 10-06-2010, 12:07:09
Trejler za MK me je baš naložio. I donekle mi je drago što je Džoni Kejdž sjeban u startu. Nisam ga nikad gotivio.
Potpisujem.
U GREEN ZONE, ima ista fora kao u MERCENARIES, imaju špil karata sa hijerarhijom iračkih generala koje traže. :)
Kanim ga se gledati, ali moram ženi da uradim neki seminarski i sad mi to kvari sve pokušaje da se zabavim :(
14 Year Old Japanese Boy Arrested For Uploading Manga Badly
Most pirates know how to get away with it these days.
Get copies of the work as soon as possible, possibly before it goes on sale officially.
Scan the thing in using an automated process.
Make it available through a direct download service, that link to be replicated, posted elsewhere and then collated in a torrent file.
But most importantly, you don't let the information out until there's some deniability – a situation where anyone anywhere could have been the one to scan it in and posted it.
Not filming advance copies of a comic with your camera and posting it on YouTube.
But that's what one 14-year-old boy was arrested for today, the first such police action against an individual for this crime.
The student from Nagoya regularly posting advance content from four popular comics, One Piece, Naruto, Gintama and Major before their publication, promoting the YouTube videos on Twitter.
How he got the content in question is now the subject of another investigation.
Some fucked up shit!!!
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http://www.fox11online.com/dpps/news/strange/two-faced-kitten-puzzles-veterinaria-in-wva-ob10-jgr_3421091 (http://www.fox11online.com/dpps/news/strange/two-faced-kitten-puzzles-veterinaria-in-wva-ob10-jgr_3421091)
E sad, ako već imamo mačku Spidera Jerusalima... gde je on u ovim teškim trenucima za Srbiju?
meho, ako si mi sakrio da su se zabave u stilu rimskih careva događale i kod vas u crvenom krstu, a da me ti nisi zvao, biću strašno razočaran.
KAKO BESPLATNO UŽIVATI
Crveni križ: Priređivali zabave u stilu rimskih careva
Glavaševa mladež
Ljubojevićev party
Slobodan Beroš
Đukićeve tambure
(1/5)
Autor: Drago Hedl
Objavljeno: prije 2 h i 31 min
OSIJEK - Oko dvije stotine članova mladeži HDSSB-a, nakon boravka u Međugorju, bilo je počašćeno obilnim besplatnim ručkom i pićem u odmaralištu osječkog Gradskog društva Crvenog križa na splitskim Bačvicama, a njih pedeset ondje je besplatno i prenoćilo.
VEZANE VIJESTI
Vijesti
Šef Crvenog križa Osijek ima primanja ista kao i šef države
Državni novac za projekt Vladimira Šeksa: Donirali bez znanja Vlade 11,77 milijuna
Šeksov zakon: Crveni križ bavit će se turizmom i ugostiteljstvom
VEZANE VIJESTI
Vijesti
Šef Crvenog križa Osijek ima primanja ista kao i šef države
Državni novac za projekt Vladimira Šeksa: Donirali bez znanja Vlade 11,77 milijuna
Šeksov zakon: Crveni križ bavit će se turizmom i ugostiteljstvom
Adaptacija vile
Zanimljivo, Grad Osijek i Osječko-baranjska županija, gdje je na vlasti Glavašev HDSSB, godišnje doniraju Gradsko društvo Crvenog križa s oko dva milijuna i 750.000 kuna. U istom objektu Crvenog križa, nakon što je uređen novcem poreznih obveznika, odnosno s oko 3,5 milijuna kuna koje je za adaptaciju tada zapuštene vile na Bačvicama osiguralo Ministarstvo rada i socijalne skrbi u mandatu Davorka Vidovića, besplatno su boravili i juniori NK Mladost iz Baranje.
Ipak, posebno je zanimljivo da je u odmaralištu osječkog Crvenog križa u Splitu nakon povratka s mjesta generalnog konzula u New Yorku, u luksuzno uređenom apartmanu, besplatno stanovao i bivši splitski gradonačelnik Slobodan Beroš.
Google oglasi
Zaradite 2000€ mesecno
Uslov je samo posedovanje racunara i internet konekcije.
www.ekstraposlovi.com (http://www.ekstraposlovi.com)
- Da, točno je da sam ondje bio od 1. studenoga do 20. prosinca 2004. godine - rekao nam je Beroš. - No, ne može se reći da sam ondje stanovao, mada sam u tom apartmanu često noćio.
Arlović dragi gost
U svrhe koje nemaju dodirnih točaka s djelatnostima Crvenog križa korišten je i objekt odmarališta Merkur u Orahovici. Ondje su se održavale privatne zabave i raskošno dočekivala Nova godina.
Čest gost bio je aktualni sudac Ustavnog suda Mato Arlović. Među gostima na dočeku Nove 2006. bio je i predsjednik Županijskog suda u Osijeku Ninoslav Ljubojević sa suprugom. Na tom dočeku, uz obilje hrane i uz zatvoreni grijani bazen, tvrdi jedan od sudionika, popilo se stotinjak butelja vrhunskog vina. Bile su to zabave dostojne rimskih careva, kaže on.
- Kada je u Merkuru boravio Mesić, ravnatelj osječkog Crvenog križa Marko Đukić samo je tamburaše platio pet tisuća kuna. Kako je platio u kešu, ne znam je li to učinio iz vlastitog džepa ili novcem Crvenog križa -kaže naš izvor .
Odmaralište Merkur i bazen sagrađeni su s 30 milijuna kuna poreznih obveznika. Tu akciju podupirali su Mato Arlović i Vladimir Šeks.
Kako se besplatno uživa u CK
Glavaševa mladež
Njih 200 na povratku iz Međugorja zaustavilo se u Splitu. Počašćeni su besplatnim ručkom i pićem, a njih 50 je odlučilo i prenoćiti. To ih je sve koštalo - nula kuna.
Ljubojevićev party
Predsjednik Županijskog suda u Osijeku Novu 2006. čekao je u Orahovici, u objektu Crvenog križa. Grijalo ga je vrhunsko vino i zatvoreni grijani bazen.
Slobodan Beroš
Nakon povratka s mjesta generalnog konzula u New Yorku bivši splitski gradonačelnik je mjesec i pol koristio luksuzni apartman u splitskoj zgradi osječkog CK.
Đukićeve tambure
Ravnatelj osječkog Crvenog križa u Orahovici je tijekom Mesićeva gostovanja dao pet tisuća kuna tamburašima. U gotovini. Svoj ili novac Crvenog križa?
hen it comes to X-Men First Class, the only thing we know for sure is that Matthew Vaughn will direct and James McAvoy will play Professor Xavier. Beyond that rumors have been flying that Michael Fassbender could star as a young Magneto, Rosamund Pike might portray Emma Frost/Moira McTaggert, and the newest tidbit has Amber Heard stepping into the role of Mystique.
Mystique is a blue shapeshifter, who in the comics was the mother of Nightcrawler, Graydon Creed, and Anna Marie aka Rogue. Her government name is Raven Darkholme and she was previously played by model-turned-actress Rebecca Romijn in the original X-Men trilogy. According to The Playlist via Production Weekly, 20th Century Fox is interested in having Heard take over the role in their adaptation of First Class.
I'm vaguely familiar with the First Class comic but I don't remember Mystique popping up in any of the issues. The film could show her humble beginnings with Magneto, which would be a nice set up for the established relationship they have in X-Men 1. Either way, nothing's been set in stone and the studio has yet to confirm anything. For now let's just speculate on these candidates and see who makes the final cut.
X-Men First Class opens in theaters nationwide on June 3, 2011.
http://maddecent.bandcamp.com/album/lazerproof (http://maddecent.bandcamp.com/album/lazerproof)
Sejo Kalac & Jasmin - kupi mi crnu goru / by SuperStarGroup [OFFICIAL HQ VIDEO] (http://www.youtube.com/watch?v=s1hw-_enHvY#normal)
:|
Sejo je jaci nego ikad.
malopre, devet ljudi odjednom nagrnulo na ovaj topik, a danima nema novih postova... jedino objašnjenje je interna direktiva kakve sekte.
(https://www.znaksagite.com/int/mehmete.jpg)
Možda su se pitali gde sam i zašto ne reagujem...
Ali u 2:16 ujutru... mora biti da su odnekud preusmereni.
Za mene je to misterija kao i za tebe.
Ako na išta Mehmet treba da reguje onda je to ovo...
Red (Bruce Willis) Official Exclusive Trailer (http://www.youtube.com/watch?v=_bgNxe5rv6s#normal)
Quote from: DušMan on 18-06-2010, 21:09:07
Sejo Kalac & Jasmin - kupi mi crnu goru / by SuperStarGroup [OFFICIAL HQ VIDEO] (http://www.youtube.com/watch?v=s1hw-_enHvY#normal)
:|
Mora da je sam pisao tekst. Bez sumnje je da je sam pisao tekst.
Ovaj Red trejler je zanimljiv. Najmanje utoliko što bi se reklo da se pokušava udenuti što više Kick-Ass šmeka u film iako Ellisov strip nije to ni malo. Ellis je to sve zamislio dosta ozbiljno i ako u stripu ima frivolnosti (a ima, jebiga, Ellis je to), ona je mnogo zauzdanija, britanskija. No, Brus Vilis i ultimativni GILF, plus nešto stylish akcije i ne kažem da ovo neće biti solidan popkorn poduhvat.
Tangencijalno povezano: lutajući Peštom u Nedelju video sam plakat za Kick-Ass. Mađarski prevod je Ha/ Ver. Čim sam došao u hotel ukucao sam "haver" u gugl trenslejt i bilo mi ober simpatično kako je to na engleski prevedeno kao "Dude". Onda sam džast for kiks tražio i prevod na srpski i kao rezultat sam dobio "Kicoš" :lol: :lol:
Elllisov strip je realno vapio za nadogradnjom.
Da li u slobodno vreme po Pešti uspevaš da obiđeš neke od znamenitih lokacija iz produkcija Marca Dorcela?
:cry: :cry: Ne... Ali.. ionako sam se vratio. Mogli bi da organizujemo neko bioskopsko gledanje KikEsa.
Ja sam za.
Been there, done that. Film svakako zavređuje da bude ispoštovan u bionji.
Jebiga, mene je inostranstvo usporilo, pa makar to bilo i mađarsko inostranstvo... OK, dogovaramo se. A, ti Kunče, ako bi ga još jednom gledao u bioskopu, dobrodošao si!!!
Mehmete, ja imam neku upalu zgloba (nije iz Balaševićeve pesme) tako da, u principu hoću, ali kad mi se malo smiri jer jako teško progodam ako dugo sedim. E sad, ili ćete mi ostaviti bombe da smetam neprijateljima iza vas ili možete malo da me sačekate.
A opet žao bi mi bilo da dok me sačekate skinu film sa repertoara...
Ma, dobro, film smo svi gledali, nije to tragedija. Da li je rešenje u tome da možda uzmeš obilnu količinu droge?
Sad sam prešao sa Diclofenaca Duo na Nimulid. Nimulid i ja smo stari prijatelji. :)
Movalis ti je lakši za stomak.
dobro je to ime za lek, movalis. podseća na nemačkog romantičnog pesnika novalisa. uopšte, bilo bi dobro da lekovi imaju imena pisaca. recimo, ibufokner, kafketin, beketulid, harmsin, joneskofan, borhesil, crnjanski, i tome slično.
Da'l si ti svestan uopšte o čemu lupaš...teško.
Al ostao si živ. To je bitno. Prostor i vreme u tvojoj okolini nisu kolapsirali.
Nažalost.
Beige is for moron.
Quote from: Zika Kisobranac on 25-06-2010, 01:27:41
dobro je to ime za lek, movalis. podseća na nemačkog romantičnog pesnika novalisa. uopšte, bilo bi dobro da lekovi imaju imena pisaca. recimo, ibufokner, kafketin, beketulid, harmsin, joneskofan, borhesil, crnjanski, i tome slično.
Ovu glupost vredi ponoviti. Nek se smeje narod.
Quote from: Zika Kisobranac on 25-06-2010, 01:27:41
dobro je to ime za lek, movalis. podseća na nemačkog romantičnog pesnika novalisa. uopšte, bilo bi dobro da lekovi imaju imena pisaca. recimo, ibufokner, kafketin, beketulid, harmsin, joneskofan, borhesil, crnjanski, i tome slično.
Nimulid je jači od diklofenaka?? Auh. Nisam ni znao. Moram da probam da nešto... iskombinujem.
Pa pazi, meni više paše, mada svi tvrde da je Diklodfenak formalno jači. Ja sam pio Duo. Pošto mi treba i zbog zapaljenja. Ali i Nimulid ima antizapaljensko dejstvo. Ja moram priznati da meni Diklofen nikada ništa nije rešio, iako su mi ga prepoučivali u mnogim situacijama...
Ma, ja ništa od toga ne pijem. Aspirn je bukvalno jedini analgetik koga uzmem kad me boli glava ponekad. No, treba se spremati za karijeru narkomana koja svima nama sleduje kako godine grabe... Zato kupim fore od iskusnijih, poput tebe.
Pazi, ja sam imao razne bolove u životu, tako da sam ekspert. Plus sam išao u srednju školu u Beogradu. :) Mada, i Žika ume da iskopa dobar analgetik.
Ja vas dvojicu samo posmatram i zapisujem.
kler vojante, vi ste čovek koji radi nešto što bi se vašim uobičajenim rečnikom moglo nazvati veoma moronskim: snimate svoja pijana bulažnjenja i kačite ih na jutjub. posle toga dolazite na forum isključivo da vređate. osim što ste nepristojni i neuljudni, operisani ste od smisla za humor, parodiju, stilske figure, i uopšte bilo kakve poente koje nadilaze vašu skromnu pamet.
ali pošto ste klervojant, vi najverovatnije smatrate da se do saznanja dolazi na drugačiji način, a ne intelektom i čulima, tako da, kad dođete u vaše uobičajeno stanje rakijskog rastrojstva, spreman sam da vam se pojavim u nekoj viziji i sa vama se fizički ili seksualno razračunam.
hvala na pažnji. sada idete na ignore.
Ti si, očigledno u svojoj bezgraničnoj dobroti čak i slušao njegove JuTjub podkaste (za razliku od, recimo mene) a on ti ovako vraća...
zamisli. ljudska nezahvalnost je bezgranična.
što se tiče analgetika, baš sam sinoć sa kripom bistrio blagotvorna dejstva novalgetola.
meni su inače prepisali rivotril, to je kažu budućnost medicine, što bi se reklo u slengu - smirić, meni kao za opuštanje mišića, ali ja nikako da ga počnem konzumirati.
Sastavićete mi jednom listu narkotika sa kojima bih ja mogao da krenem - analgetika i nekih za smirenje - da status djevice apgrejdujem u nešto uzbudljivije.
može. ja preporučujem "dvojčicu", tj. dva komada trodona. to svi kažu da je prava stvar za početnike.
edit: ima da se kupi bez recepta u nekoj apoteci na zvezdari. mogu da saznam u kojoj ako si zainteresiran za popularnu "žutinu".
Ja imam samo jednu reč za tebe - TRODON.
Žika me preduhitrio u ovoj besmrtnoj misli. :)
King Nothing je meni pre nekih deset godina na uvce tako lepo pričao o trodonu... Govorio mi je kako je to prava stvar za mene, kako daje čistotu vizije i kako se i ispiti bolje mogu spremati kad si na njemu i sve. Baš je sa ljubavlju govorio o trodonu. Malo me je doduše odbijalo to što za šest sati koliko je bio kod mene nije ni jednom uspeo da se ispiša (stiso mu se sfinkter od trodona) i što ga je on uzimo na iglu jer mu tablete nisu bile dovoljne (uzimao je po celu kutiju od jednom pre nego što je prešao na iglu). Ja bih ipak da krenem sa nečim... nevinijim.
Ni ja nisam gledao, zovite me kad se namerite.
Nedelja mi deluje kao dobar dan za KikEs.
Šta kaže komisija?
a ti si, zakk, juče popodne prošao kroz eurocentar, između coffee dreama i beopolisa, ka makedonskoj. dok sam te ja primetio, već si zamakao za ugao.
Ja sam i za Kik Es i za trodone, po mogućstvu u kombinaciji.
Inače, za trodon i ja imam samo reči hvale... Žiko, daj detalje za tu apoteku. Javni i cenu ako znaš, da vidim da li je jeftinije od moje trenutne kombinacije.
Problem s trodonom je što se stvarno suviše brzo razvija tolerancija... Sećam se kad me je Meho vodio na Pablik Enemi, a ja, bitanga, zgutao 4 komada...
Četiri komada su za mene i dalje početnička količina. King Nothing je već par meseci posle otvaranja ka trodonu tuko po 14 komada u jednoj sesiji. Pa još osam komada tri sata kasnije, sećam se ko juče da je bilo... Al dobro, on je čovek koji se oseća dobro samo kad preteruje i, nekim čudom, još uvek je živ...
Šta je sa leksilijumom? Meni su ga svojevremeno opisali rečima "Kad uzmeš deset apaurina to je ko da te neko umotao u crno, teško ćebe. Kad umeš deset leksilijuma vidiš cveće!!"
To sam rekao samo kako bih podvukao da se na trodon brzo razvija tolerancija... tad mi je 4 komada bilo bacanje u svemir, a danas maltene da ne osetim ništa od iste količine... :cry:
A iskreno, nije da sam uzimao trodon više od 10ak puta u životu.
nisam probao leksilijum, čuo sam sve najlepše.
što se tiče vizija cveća, artan bi se mogao izdvojiti kao relevantan.
čovek koji ozbiljno konkuriše king nothingu rekao mi je o artanu sledeće: jurio sam se sa drugarima oko kuće u šest ujutru. samo što oni nisu bili tu.
Jasno, DušMane, trodon je dakle, dobar sluga ali zao gospodar.
A to za artan sam i ja čuo od mojih iz Akroholije... Koliko mogućnosti izbora i sve legalno!!!
Ako tražiš halucinacije, proverene stvari su Mendelexi... Ortak sa kojim sam to konzumirao mi je pričao da sam video male ljude, tj. patuljke, a da on nije uspeo da me ubedi u to da ih nema, jer ni sam nije bio siguran u to. Ja se ne sećam, jer imam blackout od preko 30 sati, sa povremenim flešbekovima na razne lokacije u gradu, bez da imam predstavu kako sam tamo došao pošto mi se čini da sam preležao ceo vikend u kući. Priča se da sam vozio kola, pošto je neko razlupao komšijinu garažu, a i ja sam ostao bez branika...
I naravno, sličice.
Artan je too much.
Iskoristimo priliku da čujemo šta Zagor misli o zadatoj temi...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg256.imageshack.us%2Fimg256%2F8650%2F17030100.jpg&hash=54bf8cdfef56d0be25a2e5f55c2484b7625902b0)
Ako budem mogao u nedelju, pridružiću se. Ako ne budem mogao, volo bih da me pamtite po ovoj pesmi...
ACA LUKAS 2004--POCNITE BEZ MENE (http://www.youtube.com/watch?v=4O2RkDCBxFE#normal)
E BTW, Mehmete, jel misliš da je lik Johna Malkovicha u trejleru za RED omaž DESOLATION JONESu?
Mogao bi biti, vrlo lako. Eeee... TO je strip koji bi vredelo ekranizovati. Da ga zajedno režiraju Majkl Bej i Kristofer Nolan. Ali onaj Majkl Bej i onaj Kristofer Nolan.
Nisam ja nešto za haludže, više za opuštanje mišića i čistotu intelektualne vizije blago podstaknutu otključavanjem sinapsi tako da se ugodno može teoretisati o kosmosu, a da imaš utisak da si došao do ideja koje niko drugi nikad nije imao.
e, za to moraš malo da eksperimentišeš.
DESOLATION JONES je dušu dao za ekranizaciju ali tu je bilo nekih fishy priča. Jedan producent ga je najavljivao a onda je posle Ellis pričao da mu niko nije otkupio prava.
Problem sa DESOLATIONom je u tome što je on delimično snimljen u SRPSKOM FILMU.
Ellis bi trebalo malo da poradi na tome. Mislim, ekranizuju mu uzgredne radove poput Red, a ne kapitalne poput DJ ili Transmetropolitan. Transmet... kakav bi to mogao da bude film, da ga režira Finčer... ali onaj Finčer.
Dobro, Desolation Jones film, ne bi ni morao da se bavi pričom iz prvog arca (koju je delimično ekranizovao Srpski Film). Seting i likovi su dobri za bilo koju drugu priču koju bi Ellis mogao da izmisli.
A jel ima najava za neke nove DESOLATION JONES stripove?
Mislim da je to zatvorena priča. Ellis je krenuo, sa Žeželjem, drugi story arc, izašle dve epizode ali onda ih je put naneo na druge stvari... A Jim Lee nije baš tako ozbiljan urednik da juri Ellisa da završi u okvirima Wildstorm ponude jedan nevažan strip prekinut pre tri ili četiri godine.
Ako imaš te epizode sa Šešeljem, mogao bi da mi proslediš link...
Danas sam se, tokom pillow talka sa DušManom, setio zapravo ključnog filma o superherojima koji je po meni preteča KICK ASSa, ali i bolji od njega - to je SKY HIGH Mike Mitchella (koliko god blasfemično zuvučalo - bolji INCREDIBLES od INCREDIBLESa), film koji neumorno hypeujem već godinama. Mislim da bi trbalo da organizjjemo neku lepu kućnu projekciju tog filma.
Pochetak Sky Higha je savrshen i najvishe lichi na Astro City, ali kasnije se ipak spushta u neku teen movie ravan blizhu Zoomu (ali naravno ipak za klasu bolju).
Ali slazhem se, tom filmu bi godila revaluacija i krajnje je simpatichan. A ja bih rado rehabilitovao i The Specials.
LOOKING FOR PEOPLE WHO LOVE COMIC CON
Are you headed to the 2010 Comic-Con International in San Diego? Is your collection the biggest? Is your costume the best? Is your dream to propose to your girlfriend and give her the one ring to rule them all? Are you an artist who is showing off your work? A vendor showing off your amazing collection?
If you are any of these things, then we want to hear your story.
Oscar®-nominated filmmaker Morgan Spurlock, producer Thomas Tull, comic book icon Stan Lee, writer/producer Joss Whedon, and film guru Harry Knowles have joined together to bring audiences the feature-length documentary COMIC-CON EPISODE FOUR: A FAN'S HOPE – a documentary celebration of all things con-tastic!
We are looking to cast original, eccentric, funny, touching, and mildly obsessive people that will capture the excitement, enthusiasm, joy, and passion of comic book, anime, sci-fi, and fantasy lovers everywhere.
If this Convention will be the highlight of your year and you have a story to share about your passion, let us know. Join the fellowship, take part in this epic documentary, and write us at mlg@warrior-poets.com or contact casting associate Sarah Scott-Farber at ssfcasting@gmail.com. Include your name, phone number, a picture, and tell us your story.
Alice Eve ("She's Out of My League") has scored the role of Emma Frost in "X-Men: First Class" for 20th Century Fox reports Heat Vision.
The fictional telepathic character, also known as the White Queen, started out as one of the X-Men's most dangerous foes to one of its most central members.
Rosamund Pike was rumoured to be up for the role earlier this month. Matthew Vaughn directs the prequel which also stars James McAvoy and Michael Fassbender.
While there's still no official press releases about either casting, things have progressed on the locking down of key roles in two major upcoming superhero films.
First came a report that Michael Fassbender was deciding between playing Magneto in "X-Men: First Class" or a villain in the "Spider-Man" reboot, then came word a little over a week ago that Fox had formally offered him the role of Magneto.
Now Showbiz 411, who first broke the report about the actor having to choose between the roles, claims that the rising Irish thespian has settled on Magneto. The inclusion of Fassbender and James McAvoy in the key roles has definitely raised many people's interest levels in what first looked to be a essentially dismissible prequel.
Meanwhile Deadline reports that many of the actors on the shortlist to play Peter Parker in the "Spider-Man" reboot have shot screen tests. The decision about which one will be cast is likely to be locked down soon.
The final list of test subjects apparently includes Jamie Bell, Anton Yelchin, Aaron Johnson, Andrew Garfield, Logan Lerman and Alden Ehrenreich. Michael Angarano and Frank Dillane are also still on the list of candidates but don't seem to have tested, while there's no mention of Josh Hutcherson.
Alice Eve je za nijansu predobroćudna da bi bila ubedljiva Ema Frost. Ema Frost treba da ima pravu kombinaciju engleske aristokratske blaziranosti i autoriteta domine. No, možda je Alice sjajna glumica pa će to kanalisati na pravi način... U svakom slučaju ne žalim se puno:
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(Na ovoj drugoj slici je retuširana tako da izgleda kao znate-već-ko pa mi je samim tim i draža.)
Oh...
Google to end rerouting of China users in 2 days (http://uk.news.yahoo.com/22/20100630/ttc-uk-china-google-fe50bdd.html)
QuoteGoogle Inc will end the automatic redirection of users from its China to its Hong Kong website within the next 24 to 48 hours, a Google spokeswoman said on Wednesday.
Google said late on Monday it would end the automatic rerouting of users to its Hong Kong search site, which gives unfiltered search results, after Beijing said it would not renew the firm's China operating licence if it continued.
Every China-based website needs to apply for an Internet Content Provider licence from China's Ministry of Industry and Information Technology that needs to be renewed on a yearly basis. Google's licence ends in 2012 but comes up for renewal on Wednesday.
Without the licence, Google would not be able to run a search website in China. Some users visiting Google.cn now get a webpage with the Google logo and search box, but clicking anywhere on the page bring them to the Hong Kong search site.
China's Ministry of Industry and Information Technology could not be reached for comment.
(Reporting by Melanie Lee; Editing by Jonathan Hopfner)
Finally today, Blue Sky Disney is claiming that Sony Pictures executives and director Marc Webb have decided on Josh Hutcherson as the new Peter Parker for their upcoming "Spider-Man" reboot.
An offer was apparently made and has been accepted by the actor who won the role after several extensive test shoots.
Three major superhero movies are scheduled to hit next Summer and each has scored some new casting news in the past day or so.
First up, Latino Review reports that Caleb Landry Jones ("The Last Exorcism," "Friday Night Lights") has emerged as the top contender for the role of Sean Cassidy aka Banshee in "X-Men: First Class".
Meanwhile two casting rumors that first sprang up the other month have finally been confirmed - Tommy Lee Jones will play US Army Colonel Chester Phillips in "Captain America: The First Avenger" and Jon Tenney has been cast the father of Ryan Reynolds's Hal Jordan character in "Green Lantern".
Finally today, Marvel Entertainment announced that it has appointed Jeph Loeb to head up its new television department which plans to bring Marvel's various characters and stories to television in both live-action and animated formats. Loeb worked as writer/producer on shows like "Lost," "Smallville" and "Heroes". He also co-wrote such notable comics as "Batman: The Long Halloween".
Ovo je dobra vest utoliko što će Loeb da se konačno mane pisanja stripova koje mu u poslednje vreme ne ide i posvetiti se televiziji koja mu ide znatno bolje.
http://www.vestisrbija.com/drzao-na-disku-17-terabajta-porno-filmova/?id=701157 (http://www.vestisrbija.com/drzao-na-disku-17-terabajta-porno-filmova/?id=701157)
:lol: :lol: :lol: :lol:
Mada je ipak zarad komičnosti malo preterano. Sad sam gledao, imam jedva nešto preko 130 GB na hardu u ovom trenutku :lol: :lol:
QuoteKomšije osumnjičenog kažu da je Meho oduvek bio fin i povučen momak, osim što je ponekad imao običaj da izlazi noću i šeta oko zgrade u dugom kožnom mantilu.
xrofl
hehe
Filmmaker Edgar Wright ("Scott Pilgrim Vs. the World," "Hot Fuzz") talked Box Office Magazine recently about the current state of his film adaptation of the comic "Ant-Man".
"I haven't actually started the second draft yet--I'm not going to be able to until this film [Scott Pilgrim] is out--but what we wrote for the first draft, and what Marvel really liked, is that it's funny, but it's a genre film. It's about the level of comedy that Iron Man has" says Wright.
The director adds that the plan is to make a high-concept genre film which takes place in the real world, one that's "slightly different" than your average superhero origin film.
Spunky Aussie hunk Sam Worthington ("Avatar," "Clash of the Titans") has formed a production company, Full Clip Productions, and the first project off the block will be entitled "Damaged" reports Heat Vision.
Radical Studios is teaming with Full Clip on the project which will be first released as a graphic novel and later a film. The story follows two brothers committed to justice, one inside the law and one violently beyond it. As their careers reach their end and they train their replacements, both are unprepared for the hell that is about to be unleashed.
Fellow Aussies Michael Schwarz and John Schwarz are partners in Full Clip and created the concept which "Stray Bullets" writer David Lapham will turn into the comic. A writer hasn't yet been set to write the film adaptation's screenplay. The Schwarz's and Barry Levine will produce.
Worthington is also attached to star and produce an adaptation of the graphic novel "Last Days of American Crime" for Radical.
Shwarz feat Sladja Delibasic-Dizel Power OFFICIAL VERSION 2010 (http://www.youtube.com/watch?v=gwG98baHZ88#normal)
švarci 93 fu
P.R.E.U.Z.I.M.A.NJ.E.
(mala trivia - w-ice mu je dao svoju trešu sa evrovizije :!:)
a ima i ovo
Shwarz ft. Dee Monk - Uzmi sve sto ti dam (http://www.youtube.com/watch?v=9w_TvfNPKpM#normal)
Moracu da sacekam da stignem u hotel da bih ovo preslusao, mislim da bi bilo malo radikalno za internacionalni ofis u kome sam sada. :lol: :lol:
Colin Farrell is rumoured to have signed on to star in a biopic about the life of rock legend Ozzy Osbourne reports both Perez Hilton.
A source says that "At least Colin and Ozzy are on the same page when it comes to using four-letter words! Colin drinks, he smokes, he womanizes. He's just a sleeve tattoo away from being a real rock star."
Osbourne himself has previously expressed the desire for an unknown from his home city of Birmingham to play the role. Sharon Osbourne revealed back in late April that the film was close to production but no-one had been cast at that point.
Holivudska logika je uvek da uzmes izuzetno lepog coveka da igra jednu od najgadnijih faca u rokenrolu i onda se pravis da ces sminkom postici autenticni look :lol:
:)
Ko zna kakav je bio Ozman dok ga rokenrol nije našminkao...
a i kolin je bas izuzetno lep. :cry: :lol:
Ponekad je obrnuto, recimo kao su uzeli Michael Ceru da igra DušMana u SCOTT PILGRIMu...
Ja ne znam sta zene imaju protiv Kolina, meni je on bas onako, valjano lep - nije presladak niti feminiziran, a nije ni prebudzen... Slutim da je u pitanju sindrom kiselog grozdja!!!!!!!!!!!!!!!!!!!1!!1
Nicholas Hoult (who played the title character in "About A Boy") will play Hank "Beast" McCoy and Caleb Landry Jones (who sold the Friendo guy his shirt at the end of "No Country For Old Men") will play Sean "Banshee" Cassidy in "X-Men: First Class," according to Mike Fleming at Deadline Hollywood.
Still no Angel or Iceman (who with Cyclops, Beast and Jean "Marvel Girl" Grey were among Xavier's first students in the original funnybook), which suggests an effort is being made to not entirely scuttle the tortured continuity established by the four X-Men films Fox has fired at us so far. (Maybe that seventyish Patrick Stewart Xavier we saw at the end of "Wolverine" was just an illusion projected by the thrityish James McAvoy Xavier?)
As depicted in the illustration above, McCoy didn't acquire his fur until some time after he joined the X-Men.
Entertainment Weekly reports Lucas Till ("Hannah Montana: The Movie") could be negotiating to play Cyclops' kid brother, Alex "Havok" Summers, who can expel plasma blasts.
I imagine Grey could be the subject of the next casting announcement.
I seem to remember Banshee, who can fly and beat people up with his voice, was the Bill Murray of the X-Men, the first new member of the team introduced after the comic started. I could be misremembering. (Banchee also may have started the trend of mixing dirty foreigners like Logan into the team).
"First Class" comes to us from the "Kick-Ass" team of writer-director Matthew Vaughn ("Layer Cake") and screenwriter Jane Goldman.
The cast so far:
Charles Xavier: James McAvoy ("Wanted")
Eric Lensherr: Michael Fassbender ("Inglourious Basterds")
Emma Frost: Alice Eve ("She's Out Of My League")
Hank McCoy: Nicholas Hoult ("About A Boy")
Sean Cassidy: Caleb Landry Jones ("No Country For Old Men")
AICN sources suggest Aaron Johnson, who played the title role in "Kick-Ass," will play Scott "Cyclops" Summers, though the EW story indicates Johnson will not be in "First Class."
Fox plans to release "First Class" next June.
Pretpostavljam da si ti gledao njegov sex tape. Barem kao fan Marvela si morao da ga ispoštuješ...
:lol: :lol: Nisam. Ali, naletece jednom.
Inace, hmmmm, Caleb Landry Jones uopste nije los izbor za Bensija, barem vizuelno (mada je u stripu on crtan kao odrastao, da ne kazem sredovecan covek u tim starim epizodama). Videcemo kako ce mu ici teski keltski naglasak, s obzirom da je covek, jelte, Teksasanin...
In an exclusive interview with In Touch, Mel Gibson's former mistress, Violet Kowal, claims that Mel was terrifying and threatened her life. "His threats scared me so badly," Violet tells In Touch, "I left town and went into hiding for almost a month." Violet says she met Mel at the Hotel Bel-Air in 2007, when he was still married to his wife, Robyn. Two years later, in July 2009, after Mel was divorced but dating Oksana, Violet claims she got a call from the star. "I agreed to go visit him at his Malibu compound," she explains. The two had sex for the first time, though Violet was uneasy. "He didn't want to use protection, but I insisted," she says. "He seemed paranoid and anxious. He chain-smoked before and after we had sex. It was weird." Mel's attorney has said that Violet's story is an "absurd fabrication." Violet and Mel had "passionate" sex six more times, but she claims his dark side was bubbling under the surface. "He would get very aggressive and angry if I was not available," she explains, "even yelling and demanding to come to my home when I refused to see him."
Rasulo!
Faith No More - Ajde Jano! (Exit, 2010) (http://www.youtube.com/watch?v=rbb3uQSo6ZQ&feature=player_embedded#normal)
ne ide im ovaj gitarski uvod, mora da su mu pokazali pred koncert, ono, na tonskoj probi.
Jasno je da sam ja uvek prezirao Faith No More i nikada nisam Majku odobravao što svira sa njima.
xtwak
ja ih nikad nisam slušao, meni je to bilo strašno, tako nekako, epski alternativno. ali u nastupu ovoga čoveka ima nekog ludila.
Ja Majka volim i trošim ga u svim drugim formama osim u Faith No More. Meni je FNM, slobodno se može reći, nepodnošljiv bend. Metal a nije metal. Jebo ti takav bend.
kao i na primeru depeche mode, i ovde smo srodne duše. lepo je kad ljudi žive u razumevanju i ljubavi.
Ludila svakako ima. Očigledno je da Mike ima grižu savesti što svira sa FNM pa onda pokušava da spoji svoj sadašnji pristup muzici sa nekadašnjom karijerom.
Inače, ja volim i Depeche Mode i FNM, doduše Mode više, jer se u suštini slažem sa Mehom, i meni je smetalo pomalo to što je metal a nije metal, ali bilo je tu nekog đavla...
Jedna lepa pesma da se čestita 13. jul dan ustanka u Srpskoj Sparti
Sivilo - Sam Protiv Svih (Official Music Video) (http://www.youtube.com/watch?v=jGO4pcxu9YA#normal)
http://www.cracked.com/article_18613_6-insane-true-stories-behind-stage-names-celebrities.html (http://www.cracked.com/article_18613_6-insane-true-stories-behind-stage-names-celebrities.html)
Prilično zabavno.
McCartney pobedio McDonald's
McDonald's u Liverpulu je uklonio slike članova Beatlesa sa zidova restorana.
Kada je pre dve godine otkrio da se slike neovlašćeno koriste, Paul McCartney je rekao da je kao dugogodišnji vegetarijanac uvređen, kao i da ne želi da bude korišćen kao podstrekač prodaje hamburgera.
Njegova pokojna žena Linda bila je istaknuti borac za prava životinja, autor vegetarijanskih kuvara i tvorac brenda vegetarijanske smrznute hrane, prenosi Exclaim.
McDonald's je još ranije objavio saopštenje u kom se kaže da bi slike trebalo da predstavljaju potvrdu nemerljivog doprinosa koji su Beatlesi dali kako lokalnoj, tako i globalnoj kulturi.
E, baš mi milo. Nadam se da im je i neke pare uzo.
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Quote from: Milosh on 14-07-2010, 18:29:48
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Gej.
Ali veličanstveno gej!
Ovaj Loki liči na nešto između Kristofera Vokena i Ilajdže Vuda...
Činjenica je da je Džek Kirbi dizajnirao zaista sumanute kostime, ali je i činjenica da ovo izgleda kao malčice skuplji cosplay. No, dobro...
jako jeftino izgleda...
Nemam neki poseban razlog da okačim ovu sliku sada i ovde, ali... Doro Peš:
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I dalje sam zapanjen sa kakvom lakoćom Šonbejbi kreira humor koji je istovreeno grub i primitivan ali i suptilan i intelektualan. Genije.
Stupidity Digest: 1516 Ways to Kill The Romance (http://www.cracked.com/blog/stupidity-digest-1516-ways-to-kill-the-romance/)
"Romance is like playing Mastermind except the girl never tells you which pegs you got right." :-)
Quote from: crippled_avenger on 14-07-2010, 23:13:02
jako jeftino izgleda...
Vidi se da je rezhiser pozorishni tip. Sve preosvetljeno, atmosfera nula. Normalno da ce ovi kostimi biti smeshni kada se ovako usnime, kao za masterpiece theatre na bbcju u 2 popodne.
po plafonu se vidi da je valhala elektrifikovana i to je dobro.
Jel ima neke šanse da mu pomogneš preko Crvenog krsta?
Looks like Wesley Snipes is going to have to make like Lindsay Lohan.
The actor was on the wrong end of a federal appeals court's decision, paving the way for the star to serve a three-year sentence for tax dodging.
If you do the crime...
The 11th Circuit Court of Appeals in Atlanta ruled that U.S. District Judge William Terrell Hodges did not err when he handed the 47-year-old Snipes the maximum term after a jury found him guilty back in 2008
Snipes had hoped to either have the sentence overturned altogether and his conviction dismissed or win a new trial on the grounds of a technicality—that he should have been allowed a hearing to decide whether his trial could be held in New York instead of Florida, where it eventually played out.
Team Snipes was also pinning its appeal on the fact that the Demolition Man's former financial adviser, Kenneth Starr, was arrested and charged in May with securities fraud totalling $59 million.
Snipes' lawyers claimed that prosecutors knew that the money man was under federal investigation at the time he testified against Snipes, and therefore that testimony should have been considered tainted.
Unfortunately for Snipes, the appellate panel didn't see it that way.
The actor, who most recently appeared on the big screen in Brooklyn's Finest, was accused of squirreling away from Uncle Sam nearly $14 million in unpaid taxes using various shell corporations and secret offshore accounts.
No word whether his lawyers will appeal this latest ruling. Snipes' camp was unavailable for comment
NAMGAR ( at OCFF Ottawa ) 2009 (http://www.youtube.com/watch?v=nwPyOnfDCOI#normal)
"Namgar" and Tomona (http://www.youtube.com/watch?v=8H5K_5rb0cg#normal)
:shock: :| xlove5
Još materijala za RingRing :)
Nije rđava Namgar, mada je ovo možda za nijansu previše "rok" za Ring Ring (ali i nije). No, kao i do sada ja ću samo skromno podsetiti da ja nemam ama baš nikakve veze sa selekcijom festivala i da služim samo kao dresirani majmun u domenu promocije.
Zašta si i bogato kompenzovan šansom da pišeš prikaze :)
nego, http://prognotfrog.blogspot.com/2007/04/namgar-hatar-russia-mongolia-2003-folk.html (http://prognotfrog.blogspot.com/2007/04/namgar-hatar-russia-mongolia-2003-folk.html)
link još uvek radi :)
Edit:
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http://saman.org.hu/2009/12/namgar-hatar-nomad-2-album/ (http://saman.org.hu/2009/12/namgar-hatar-nomad-2-album/)
!!! Živio drug internet!
Hm, pa ja sam prikaze pisao i kad nisam bio ni na koji način vezan za RR. Moja kompenzacija dolazi u vidu besplatnog prisustvovanja svim programima festivala :| :| :| Danke za linak!!!
There's a thin line between perseverance and masochism, a time when you have to realise no matter how much you've tried - some things just aren't meant to be.
Marvel hasn't gotten that through their heads yet with Hulk despite two decent but misguided attempts at bringing the green meanie to the big screen. Now Capcom needs to learn the lesson as well as they still plan on foraging ahead with a third big screen take on their "Street Fighter" property.
In an interview with GamerLive.tv, Capcom's VP of Strategic Planning and Business Development says that in regards to the "Street Fighter" movies, "hopefully" the company plans to "get one right sometime in the future."
The comments come after 1994's "Street Fighter" which was painfully bad and 2009's "Street Fighter: The Legend of Chun Li" which proved even worse. In regards to the latter, the VP acknowledged the issues saying "Let's just say there were a lot of people with different ideas as to what was the best route to take with that movie. A path was chosen, a result was had."
Like all truly annoying optimists though, he plans to turn that setback into an learning lesson - "I think there are some learnings internally that we've taken away from that experience. I think you'll see some clever live-action stuff that will excite our fans at some point in the future, based on Street Fighter. Let's just say that the book is not yet done on Street Fighter film and video projects."
Sam Raimi will direct and produce a film adaptation of the one-off graphic novel "Earp: Saints for Sinners" for DreamWorks Pictures, Radical Studios, Mandeville and Star Road Entertainment reports Variety.
The story is a contemporary re-imagining of Western legend Wyatt Earp taking on outlaws in a ravaged wasteland where the only major 'boomtown' left is Las Vegas.
Comic co-creator Matthew Cirulnick will adapt and executive produce the film.
Director Breck Eisner ("The Crazies") tells Airlock Alpha that his planned "Flash Gordon" film will hopefully be the 'origin' story of a franchise if he gets his way.
"It will be a standalone story, it definitely won't left open for more, but the ultimate goal is to turn it into a franchise...It will be an origins story for Flash. He's going to Mongo, he's gonna save the planet and it will have a superhero buy in and will be unique. It is very much a superhero origins story" says Eisner.
Rather than camped up tone of the 1980 film, Eisner plans a straight forward adaptation which will update the original 1930s comic strips and "shoot the movie as if the strips were drawn today". The director also wants to avoid being compared to SyFy's attempted TV series remake a few years ago which he labels "crap, total crap."
vojko vrućina, frontmen splitskih "dječaka" i verovatno najsvežiji balkanski mc - što se tiče izraza negde na potezu između mf dooma/kool keitha/el pja/young jeezyja/lil waynea/gucci manea/outkasta - izdao je ep "kuje i laseri" na svemirske bitove jednog jedinog ac3po-a, in-house beatmakera zagrebačke sinestet ekipe i verovatno najsvežijeg balkanskog beatmakera.
ep je na free dloadu (http://djecaci.net/wp-content/plugins/download-monitor/download.php?id=54)
šta reći o epju koji je već u najavi bio "future classic"... može se reći da ima bar jedno 90% nečega što je potrebno da se smatra remek delom. :)
takođe, beogradski sindikat je svoj 3. album "diskretni heroji" stavio na free dload - http://www.beogradskisindikat.com/ (http://www.beogradskisindikat.com/) - pošto im sajt pršnjava zbog lošeg hostinga, fanovi su okačili na druge sajtove:
http://www.mediafire.com/?y2yzygulzpgyc73 (http://www.mediafire.com/?y2yzygulzpgyc73)
http://firefm.info/leech/files/Beogradski%20sindikat_Diskretni%20Heroji.zip (http://firefm.info/leech/files/Beogradski%20sindikat_Diskretni%20Heroji.zip)
http://www.sendspace.com/file/fngb0i (http://www.sendspace.com/file/fngb0i)
sindikat ima dosta traka koje kidaju, skinite obavezno!
Skida se, danke!!!!!!!!11!
BTW, ovo sam verovatno jednom već kačio ali je u međuvremenu sajt na kome je bilo hostovano pretopljen u Cracked a ovo nije preživelo akvizicju. Srećom, John Cheese je okačio svoju genijalnu fleš verziju Star Wars na još jedno mesto
http://www.newgrounds.com/portal/view/222161 (http://www.newgrounds.com/portal/view/222161)
Ja bukvalno plačem od smeha svaki put kad ovo gledam, no prihvatam da nije svakom smešno kao meni. Ipak - urnebesno je.
Uzgred, bolje sami pritiskajte play da idete napred jer je autoplay jako spor.
Edit: John je uradio i Empire Strikes Back ali to je nažalost nestalo sa nestankom Pointlesswasteoftime... Avaj... Internet je nekad bio smešnije mesto... David Wong, Jay Pinkerton i John Cheese na jednom sajtu, od toga je svemir gotovo implodirao.
Zangif vs Kuma je mečap svih mečapova, am I right or am I right?
Prodiskutovaćemo to kad izađe Capcom vs. Namco, ako se to ipak, jednom, možda, eventualno desi.
Ti nisi obaviješten brzojavom!?
Izgleda da ne? Nisam imao Internet u Srnoj Gori. Nisam imao ni struje, kad smo već kod toga. Što, je li potvrđeno išta na Komikonu?
Street Fighter X Tekken Debut Trailer (http://www.youtube.com/watch?v=i9EpHRdlI3M#normal)
Eto ti kad veruješ Japancima na tviteru.
Oh... mislim da sam se malo upiškio.
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hehe
Bože, kakav mu je engleski. Al dobro, makar to piše sam a ne treba mu prevodilac.
Mortal Kombat vs. Street Fighter ne bih igrao iz principa.
šatro.
Fatalitiji nad SF borcima bili bi vrlo dekadentan prizor i ja tu animaciju niskog stepena verovatnoće podržavam.
Street Fighter X Tekken 'Ryu, Chun Li vs Kazuya, Nina' Gameplay (http://www.youtube.com/watch?v=N6U7jZ-qMfI#normal)
Najjače je kako raja navija :lol: :lol: :lol:
uuu ja nisam kapirao da će igra imati dve verzije, dakle da će biti korišćen i tekkenov endžin!
Pa, dve odvojene igre, koje pripremaju odvojeno timovi u Kapkomui i Namkou, i još su se dogovorili da međusobno ne razmenjuju informacije. SF X Tekken će biti u SFIV endžinu, 2D igra, kao Strit Fajter sa dodatim Tekken likovima, a Tekken X SF će biti u Tekken 6 endžinu, 3D i tako to. Biće zanimljivo videti kako jedan a kako drugi tim izlazi na kraj sa činjenicom da ovi serijali imaju fundamentalno različite borilačke filozofije (SF je sav u specijalnim i super napadima, Tekken je bliži "pravim" borilačkim veštinama itd.).
Da razbijem ovaj gejmerski thread:
Lajkó Félix & Huun Huur Tu - 2010.05.15. - Budapest Folk Fest (http://www.youtube.com/watch?v=wGA_EbfHsoI#normal)
Sjajno. Mogla je ova kombinacija da zaigra i na ovogodišnjem Ring Ringu, ali se Bojan odlučio za vanilla HHT jer ih nikad nismo same gledali. A Lajka smo gledali, dao Alah, tristo puta.
Matt Reeves ("Let Me In," "Cloverfield") and Tony Scott ("Deja Vu," "Top Gun") have emerged as the two major contenders to helm the upcoming "Wolverine" sequel reports The Playlist.
The pair have emerged over other talent who were approached such as Kathryn Bigelow ("The Hurt Locker"), Timur Bekmambetov ("Wanted") and Daniel Espinosa ("Snabba Cash")
"Wolverine 2" will be based on a story by Frank Miller and Chris Claremont and is set primarily in Japan. Shooting was to begin in January but will probably be delayed.
Miller je tu bio samo crtač, Claremont je bio scenarista. To je inače bio prvi Wolverinov solo strip, mini od četiri epizode. Gud tajms.
Snyder ti pruža ruku pomirenja...
Sucker Punch (Zack Snyder) - Trailer HD - 2011 (ad free) (http://www.youtube.com/watch?v=17ttgQCgY7w#normal)
Jasno je da ima dobru nameru ("Alice in Wonderland with Machine Guns" je relativno uzbudljiv teglajn), ali čekaću da vidim više da bih se eventualno napalio. Ovaj tizer samo pokazuje da će biti lepih žena i dobrih specijalnih efekata a to se valjda podrazumeva od ZSovog filma???
Ovaj film čekam od Lemoni Sniketsa. :)
U međuvremenu:
9 Beloved Characters Made Horrifying by Japan (http://www.cracked.com/article_18655_9-beloved-characters-made-horrifying-by-japan.html)
Ima li negde linkova za ovog Hulka plačkа (pa još sa fansubom)? Od Gankutsua sam odustao posle jedne i po epizode.
Ja do malopre nisam znao da taj Hulk uopšte postoji. Sumnjam da ćemo to naći.
Нашао сам Халка, мада некрштеног. Рејоице!
http://www.megaupload.com/?d=qfk61uv4
Dakle, gledaćemo slike i zamišljati da kanđi karakteri znače "HULK SMASH!!!"
David Wong se već na Krekdu bavio predviđanjima da će anonimnost na Internetu za naših života nestati (WoW i Facebook kao vektori promene, između ostalog), a novi članak je još jedan razložan pogled na temu:
The End of Online Anonymity: Why Will You Be Freaking Out? (http://www.cracked.com/article_18661_the-end-online-anonymity-why-will-you-be-freaking-out.html)
Ne znam ko je Christina H, sigurno njegova ljubavnica.
Takođe:
6 Great Novels that Were Hated in Their Time (http://www.cracked.com/article_18645_6-great-novels-that-were-hated-in-their-time_p1.html)
Quote from: Meho Krljic on 28-07-2010, 13:10:11
U međuvremenu:
9 Beloved Characters Made Horrifying by Japan (http://www.cracked.com/article_18655_9-beloved-characters-made-horrifying-by-japan.html)
хех, одлично...осим што се не бих сложио са њима у вези Hellsing-a, мени је био симпатичан, добар чак...па нека су унаказили Дракулу сто пута! :)
Scribe Mark Protosevich ("Thor," "I Am Legend") has optioned the film rights to David Server and Jackson Lanzing's upcoming comic mini-series "Freakshow" and could potentially direct the adaptation reports Variety.
Protosevich will pen the script which tells the story of five young people who are turned into mutants by a cataclysmic chemical explosion. The group must decide whether to use their newfound powers to save the city or seek revenge on those responsible.
Sheldon Turner and Jennifer Klein are slated to produce
Brett Ratner's Rat Entertainment has picked up the film rights to the comic "The Unknowns" reports The Wrap.
The story follows a young woman living a normal life who discovers that she was actually the leader of a highly-trained team of killers. She then goes on a journey to find out why her memories have been erased and who was responsible.
Ratner will produce while no director has yet been attached. Mark A. Altman, Steve Kriozere and Monica Olsen created the comic.
Taj D Announs je zaista announ, barem meni, a ovo gore... pa zar to nije zaplet igre inFamous, jebem mu hlebac?
inFamous je razvio Sucker Punch Productions. Sudbinski znak ako sam ikada video jedan. xflowy
Zanimljivo je da su Sucker Punch Productions nekoć radili dopadljive Sly Raccoon igre, kao što su Naughty Dog radili Crash Bandicoota i Jak/ Daxter igre a vidi ih sad, sve ozbiljni, kinematski naslovi koji imaju antropomorfne glavne junake i suludo visoke produkcione kvalitete... Insomniac su treći član ovog trija koji se malo razlikuje jer oni nisu odbacili Ratchet & Clank serijal zarad Resistance serijala, već oba rade paralelno... Ali nekako mi je to metafora za razliku između dve generacije hardvera.
Ne uhvatih nigde na ZS, al da ali je neko gledao When you're strange?
Novi dokumentarac o Dorsima? Vredi pogledati zbog nešto neviđenih snimaka i to je to.
Oh, bože, ovaj Šonbejbi je bog!!! Pošto je Green Lantern sada u fokusu svecke javnosti (kad su stavili onog nepodnošljivo seksi Rajana Rejnoldsa da ga igra) (Pretpostavljam da će se to na neki način prokomentarisati u Deadpool stripovima), njegovo titlovanje GL stripova dolazi u pravom trenutku. Naravno, ekstremno je vulgarno i ekstremno smešno (meni):
http://www.cracked.com/blog/green-lantern-star-pervert-comic/ (http://www.cracked.com/blog/green-lantern-star-pervert-comic/)
Mislim: "This star judo will use your own momentum and porn against you"? Suvi genije!!!
Quote from: lilit_depp on 28-07-2010, 21:38:42
Ne uhvatih nigde na ZS, al da ali je neko gledao When you're strange?
gledao ja. i rezultat je baš ovo što cutter veli. uobičajena priča o dorsima, sve što znamo, ništa spektakularno, ko youtube dokumentarac, nizovi fotografija, video-snimaka doorsa, nema ljudi koji pričaju o doorsima, nema intervjua, ništa, samo naracija iz offa i to ti je to. ništa posebno, čak je malko i dosadnjikavo ako si fan Vrata.
Robert Brokvej pogađa u metu pričajući o brkovima:
http://www.cracked.com/blog/a-guide-to-the-modern-moustache/ (http://www.cracked.com/blog/a-guide-to-the-modern-moustache/)
Quote from: Zika Kisobranac on 29-07-2010, 17:51:37
Quote from: lilit_depp on 28-07-2010, 21:38:42
Ne uhvatih nigde na ZS, al da ali je neko gledao When you're strange?
gledao ja. i rezultat je baš ovo što cutter veli. uobičajena priča o dorsima, sve što znamo, ništa spektakularno, ko youtube dokumentarac, nizovi fotografija, video-snimaka doorsa, nema ljudi koji pričaju o doorsima, nema intervjua, ništa, samo naracija iz offa i to ti je to. ništa posebno, čak je malko i dosadnjikavo ako si fan Vrata.
fala. a zvucalo je obecavajuce.
Quote from: Meho Krljic on 29-07-2010, 18:02:24
Robert Brokvej pogađa u metu pričajući o brkovima:
http://www.cracked.com/blog/a-guide-to-the-modern-moustache/ (http://www.cracked.com/blog/a-guide-to-the-modern-moustache/)
Данас ми се један од судских стражара обратио са "брко"... :)
Meni je to sve OK, dok ne počnu da mi se obraćaju sa "bucko".
иако ме је краткотрајно остављање пљуга изобличило још ми се нико није тако обратио (осим породице - "дебели", "медведе" итд.), али су девојке почеле да ми персирају... :x
Meni su prošle nedelje u Crnoj Gori sa puno takta govorili da sam se "baš popravio". Tešim se time da prave žene (uključujući moju) generalno vole gabaritnije momke.
Žene generalno vole "popravljene" muževe. To je bračni kreativni impuls.
To je taj prećutni ugovor među njima jer i muževi vole popravljene žene. :lol:
Ne baš, ali ti valjda znaš bolje.
Mudro ću ćutati (možda ovo čitaju naše žene).
бах, теши ме то што бих на Хавајима и Полинезији био фрајер и овако трбушаст! :lol:
I Polinežanke su trbušaste. Zavoleli se mladi, a onda su postali trbušasti. Čitavog života su čeznuli za jednim pravim zagrljajem...
тотални сам мушки шовиниста по том питању - мушкарци могу да буду трбушасти, жене - јок!
Mehmete, ako se jos malo popravis, rizikujes da izgubis deo svog dosada vernog fan cluba. -_-
Hoćeš da kažeš da ima ljudi koji me cene zbog moje... linije??? Auh. Ja sam se nadao da su u prvom planu moji nestašni brkovi, moj eksplozivni smisao za humor, moj ogroman penis, a ono ispade nešto sasvim sporedno :cry: :cry: :cry:
Uzgred, možda savremeni sprski pravopis tvrdi da se "do sada" piše "dosada" ali ja se s tim ne slažem.
Quote from: Savajat Erp on 29-07-2010, 18:18:20
Данас ми се један од судских стражара обратио са "брко"... :)
Hah. Znaš zašto Ciga pušta brkove pre nego što ode u vojsku? Da bi ga zvali "Brka" a ne "Ciga". Brkovi gaze sve ostale karakteristike. Ja znam, jer me ljudi masovno ne prepoznaju svaki put kad pustim/obrijem brke. Što i nije loše.
Quote from: lilit_depp on 29-07-2010, 18:06:31
Quote from: Zika Kisobranac on 29-07-2010, 17:51:37
Quote from: lilit_depp on 28-07-2010, 21:38:42
Ne uhvatih nigde na ZS, al da ali je neko gledao When you're strange?
gledao ja. i rezultat je baš ovo što cutter veli. uobičajena priča o dorsima, sve što znamo, ništa spektakularno, ko youtube dokumentarac, nizovi fotografija, video-snimaka doorsa, nema ljudi koji pričaju o doorsima, nema intervjua, ništa, samo naracija iz offa i to ti je to. ništa posebno, čak je malko i dosadnjikavo ako si fan Vrata.
fala. a zvucalo je obecavajuce.
Priznaj: zbog naratora.
Quote from: zakk on 30-07-2010, 13:03:04
Priznaj: zbog naratora.
Nije da i to nije imalo odredjenog uticaja. :lol:
Grant Morrison's newest Vertigo series, "Joe the Barbarian" is also his latest project to be optioned as a feature film.
According to Robot 6, Thunder Road Pictures — the producers behind the "Clash of the Titans" remake released earlier this year — are officially developing the adaptation of "Joe the Barbarian." "Thunder Road just called me today and said we can officially announce it, so I'm quite happy about that," said Morrison.
However, the report also indicates that Morrison will not write the screenplay. "Joe the Barbarian" debuted earlier this year as an eight issue miniseries by Morrison and artist Sean Murphy. The story follows a teenager named Joe who slips into a vivid fantasy world populated by his action figures and toy rats while he fights to stay alive in the real world after he slips into diabetic shock.
At least two other Morrison related film projects were announced during the San Diego Comic-Con: an animated adaptation of Morrison's "All-Star Superman" by Warner Brothers Animation and "Sinatoro," an independent film which Morrison is writing for Adam Egypt Mortimer.
Earlier this year, Morrison revealed that he was working on a new TV series for Scottish television with "Push" director Paul McGuigan and Stephen Fry.
More recently, a documentary about Morrison called "Grant Morrison: Talking With Gods" was picked up by Halo-8 Entertainment, and will debut at the New York Comic-Con later this year.
kakav je ovaj JOE THE BARBARIAN?
Jel mi veruješ da još nisam počo da ga čitam... Imam sve epizode do sada izašle al sam računo da sačekam da izađu sve pa da progutam odjednom...
Gutanje odjednom zvuči cool.
Ako nemaš problema sa neregulisanim autorskim pravima, prosledi neke linkove na PM...
Počinio sam.
Argh:
7 Amazing (Yet Uninspiring) Feats of Human Endurance (http://www.cracked.com/article_18647_7-amazing-yet-uninspiring-feats-human-endurance_p1.html)
Hvala puno. Ti znaš da sam ja ovo skinuo samo usput da pogledam dok ne kupim štampani primerak. :)
Da, ja to... znam.
Doduše, u mom slučaju, čitanje skeniranih stripova funkcioniše kao eksplozivni katalizator za kupovinu tolikih količina štampanih stripova da žena trenutno planira atentat na mene, ne toliko što trošim abismalno mnogo para nego što više nema mesta za živa bića u našem stanu.
Jesi li lupio shakom o sto i muzevno joj ukazao na to da to samo znaci da je, dodjavola, doslo vreme za veci stan?
Er... da... da... naravno.
Kad smo već kod štednje na prostoru, imaš li u nekoj e-formi Morrisonov LOVELY BISCUITS?
Ne... šta je to?
To je njegova knjiga proze.
Inače, pročitao sam dve prve epizode JOE THE BARBARIANa i moram priznati da je to možda nešto najgluplje što sam čitao. Mada, ja čitam dosta filtrirano stripove, uglavnom naslove velikih autora i/ili po preporuci.
:? :? Ali... Morrison jeste veliki autor i ovo jeste preporučivano.... Dakle, kupovina štampane verzije otpada? Dobro je da si ga semplovo!!!
Znaš kako. Imam svih šest pa ću videti ide li to ikuda, ali po ovome za sada to deluje kao kompilacija ideja iz prenabudženih dečjih filmova tipa SMALL SOLDIERS, JUMANJI i sl. u spoju sa nekim stereotipnim teen angstom. Onako baš strašno. KICK ASS je za ovo Dostojevski, a mislim da to dovoljno govori.
To govori i previše. Ogadiće mi i Konana the Barbariana.
A kao cela fantasy priča je fiziološki objašnjena hipoglikemičnom komom. Prejadno.
Ja u takvoj komi nikad nisam putovao na zanimljiva mesta, samo sam padao u prazninu...
pa pazi, jednom je moj drug bio na granici tog stanja (na prvom koncertu public enemyja u hali sportova) i vrlo je bizarno. provalio sam da mu nije dobro jer se ponašao jako čudno. to sam na svu sreću brzo osetio pa smo predupredili padanje u punu komu.
богами, колико је било врућина на том концерту П.Е., чудо је да више људи није пало у кому...
Živimo okruženi predrasudama i sigurno bih dobila otkaz jer sam plesačica i fetiš model, kaže sjetno Morgana. A opet, ona voli oba svoja života
Ona nije obična teta iz vrtića. Takvih je gotovo dvije tisuće u gradu u kojem živi. Kad djeca zadovoljna, nakon cijelog dana odu s roditeljima ruku pod ruku na sladoled, ona odlazi kući. Oblači korzet ili haljinu od lateksa. Uzima bič u ruke. Stavlja ruž na usne.
foto
Ona je plesačica burleske; jedina u Hrvatskoj. I dok ostalih 1999 teta vjerojatno ide na spavanje, ova teta navečer izlazi na pozornicu, pucne bičem i započinje zavodljivi ples. Njezino ime je Morgana LeFay.
- Da se razumijemo - odmah mi kaže - to nije striptiz. Burleska je umjetnost, povratak u prošlost. Burleska je gluma i zavođenje. Ja uživam u njoj. Uživam se slikati. I to nema nikakve veze s mojim poslom preko dana. I nikad se ne skidam do kraja.
Nema problema na poslu
Morgana, koja je umjetničko ime ukrala poznatoj magičarki, a neki bi rekli i vještici, iz srednjovjekovnih legendi o kralju Arthuru, svoje pravo ime ne želi otkriti u javnosti. Mi smo je nazvali Iva M.
- Živimo okruženi predrasudama i sigurno bih dobila otkaz jer sam plesačica i fetiš model. U vrtiću radim već 15 godina i nikad nisam imala problema. Ovim se bavim tek dvije godine. Znači li to da sam postala loša teta? - pita.
Morgana je u cijelu priču ušla nakon razvoda od supruga. Prije dvije godine, imala je tada 39 godina, sve je puklo i morala je početi ispočetka.
- Odlučila sam potpuno promijeniti život. Rekla sam sebi: sad je vrijeme da živiš, ostvari svoje snove i skrivene maštarije. Imam prijateljicu koja je vlasnica gotičkog ateljea. Stala sam na loptu, sredila emocije i prihvatila njen poziv na slikanje. Mislim da me kamera voli, zašto to ne iskoristiti? - priča o svojem početku Iva M.
No, ubrzo joj slikanje nije bilo dovoljno i počela je prvo gledati, a onda i skidati poteze najslavnije plesačice burleske na svijetu, Dite Von Teese. Počela je i nastupati.
Ništa vulgarno
Može li se od toga živjeti?
- Za nastup od deset minuta plaćaju me tisuću kuna. Nije loše za početak. No jedna lateks haljina košta 1500 kuna, cipele s platformama 1000 kuna, pokrivači za bradavice 1500 kuna (a riječ je o dva mala čepa)... lepeza 1500 kuna, a to sve se naručuje izvana jer kod nas ne postoji. Tako da možda ne bih mogla živjeti baš samo od toga. Zato i ne želim izgubiti posao u vrtiću. Volim djecu. Volim oba svoja života - kaže.
Njezine kolegice s posla, u tom jednom vrtiću, znaju da je model i da je, "tamo neki fotografi slikaju za tamo neke potrebe". Sve ostalo ipak skriva.
- A,opet, nemam što skrivati jer tu se ne radi o pornografiji niti o ičemu vulgarnom - smatra Iva M. Iako s roditeljima djece ima dobar odnos, ipak ne želi provocirati otvorenim nastupom u medijima. Zna da se može okrenuti protiv nje.
Mrske su joj momačke večeri
- Pitali bi se tko im odgaja djecu. Kao da ja nisam normalna ili nešto - kaže tmurno, pa se nasmije i doda: - Znaš li nekoga tko ima anakondu od pet metara? Strašno bi se htjela slikati s njom ili plesati. Kao Salma Hayek u onom filmu.
Nedavno je plesala na moto susretu u Sloveniji. Kaže da se pribojavala kako će reagirati ekipa, no bili su jako zahvalna publika. Gotovo da u karijeri nije doživjela vulgarnosti. Nudili su joj privatne gaže za odabranu publiku, ali to redovito odbija.
- Ne usudim se, nudili su mi i nastupe na momačkim večerima, ali ja to ipak ne mogu raditi - kaže.
Ima dečka koji je liječnik i sina od 17 godina koji pohađa srednju školu. Bivši suprug joj slaže glazbu na koju pleše (a riječ je često o jazzu iz 40-ih godina), sin joj pomaže s koreografijom. Dečko ju podržava, prijatelji fotografiraju.
Morgana je već surađivala s nekima od najboljih hrvatskih fotografa. No, kad se film ispuca, kad se svjetla na pozornici ugase, ona odlazi kući. S velikim smiješkom skida šminku i svu tu odjeću. Drugog jutra uredno je počešljana i na vrijeme na poslu. Njena grupa djece je čeka. Sada više nije Morgana, sada je opet... a ne, nećemo otkriti.
Dirljivo, potresno a tako optimistično.
E moj Mehmete, pohvalismo ga i ti i ja za INCEPTION a vidi kako nam vraća:
As the controversy over Mel Gibson's rage-fueled rant tapes and domestic violence probe continue to unfold, the site that has leaked those shocking recordings, RadarOnline.com reported that one of the "Lethal Weapon" actor's upcoming projects has lost its leading man.
"Inception" star Leonardo DiCaprio has reportedly withdrawn from a planned movie chronicling the exploits of Viking warriors that Gibson was slated to direct. "Not a chance," said an unnamed source close to DiCaprio.
The site claimed that the latest setback to Gibson's once-blockbuster Hollywood career — he was dropped by his longtime talent agency in the wake of the tape scandal — is another signal that the actor/director may have difficulty bouncing back from his latest scandal and regain his once high-flying star status.
The Viking film would have been DiCaprio's first project with Gibson, but the unnamed source said that the meticulous actor — who has avoided a major public scandal during his nearly 20-year long career in movies — did not want to risk his reputation by being associated with Gibson.
"Leo has earned the right to pick and choose who he works with, and Mel Gibson is not one of them," the source reportedly said. A spokesperson for DiCaprio could not be reached for comment at press time. The untitled Viking movie was being co-produced by Gibson's Icon Productions and was slated to begin shooting in the fall.
DiCaprio recently spoke to MTV News about his desire to make a Viking epic with Gibson saying, "I've always wanted to do Viking Story. I'm a big history buff and I don't think there's been a really fantastic Viking film ever made. Those were some of the most barbaric people ever in history. I'd love to see Mel Gibson's version of that. Certainly with 'Apocalypto' and some of the other films he's made he's been able to transport me back in time unlike very many filmmakers have been able to ... I'd love to see what he does with that subject matter."
In addition to the embarrassment over the racist, sexist and violent language on the tapes, Gibson is being investigated for alleged domestic violence and child endangerment over claims that he struck ex-girlfriend Oksana Grigorieva while she was holding the couple's then two-month old baby. Detectives from the Los Angeles Sheriff's Department are also looking into claims that Grigorieva attempted to extort money from Gibson by threatening to release the tapes.
Gibson's spokesperson could not be reached for comment on the DiCaprio news; the spokesperson also has not denied that the breathless, rage-fueled voice on the tapes is Gibson.
The meltdown of Gibson's personal life has had a major impact on his public one as well, putting his upcoming projects into limbo. Among the movies currently in a holding pattern is the Jodie Foster-directed "The Beaver," a $20 million PG-13 dramedy in which Gibson plays a depressed CEO who can only communicate with his family through a beaver hand puppet. According to E! Online, the film just recently got a rating from the MPAA, but the studio behind it has not yet decided on a release date.
Also unknown is the fate of "How I Spent My Summer Vacation," which his still in production and features Gibson portraying a career criminal who survives in a Mexican prison thanks to the help of a young boy. Gibson is credited as the script author and producer on "Summer," which reportedly began filming in April, but has not gotten a release date yet.
Treba li nam bolja demonstracija holivudskog i američkog stavljanja političke korektnosti u prvi plan? Ne!!! Ali tako je to, ne možeš više da izmlatiš ženu (ili se barem pošteno izvičeš na nju) a da to ne bude najvažnija stvaru vezi sa tobom ako si selebriti. Holivud i Amerika su selebritije izdigli u status društvenih lidera - njihova mišljenja o političkim ili humanitarnim pitanjima su referentna - a ovo mu dođe druga strana medalje...
6 Evil Corporations in Movies (With Terrible Business Plans) (http://www.cracked.com/article_18643_6-evil-corporations-in-movies-with-terrible-business-plans.html)
Kao i
7 Inventors You Didn't Know You Wanted to Punch In the Face (http://www.cracked.com/article/214_7-inventors-you-didnE28099t-know-you-wanted-to-punch-in-face/)
Sjajno!
Mehmete, slutim da ne gledaš seriju ENTOURAGE, ali u petoj epizodi sedme sezone imaš Sashu Grey koja igra samu sebe, imaš Stan Leeja u svojoj kancelariji, i imaš Sashu i Stana u istoj sceni u Marvelovoj kancelariji. Mislim da bi trebalo da skineš tu epizodu...
Jel išla ta epizoda na Foks Lajfu? Ako nije, možda je uhvatim.
Nije. Išla je sinoć na američkom HBO. Poslaću ti linkove na PM.
Inače kao sada u ENTOURAGE Vince treba da igra u ekranizaciji stripa STAN LEE'S AIRWALKER :)
Odnosno AIR-WALKER
J.J. Abrams is developing the steampunk-inspired feature "Boilerplate" for his Bad Robot company and Paramount Pictures says Heat Vision
Based on Paul Guinan and Anina Bennett's graphic novel, the story follows the world's first robot, who fought alongside Teddy Roosevelt and T.E. Lawrence, journeyed to Antartica and was involved in the silent movie business before disappearing during World War I.
Deborah Newmyer ("The Ugly Truth") will produce the project.
Idejom da snima ovo se prošle zime zanimao Uroš Stojanović:
Mad Chance and Circle of Confusion are planning a film adaptation of Ashley Wood and T.P. Louise's graphic novel "Lore" says Heat Vision.
The story focuses on a young man who reluctantly becomes a member of an elite secret order who must protect humanity from the beasts of folklore who invade our world.
Cory Goodman ("Priest") and Jeremy Lott will write the screenplay. Rick Jacobs and Andrew Lazar will produce.
Robert Rodriguez is "in active negotiations" to direct the "Deadpool" spin-off movie for 20th Century Fox says The L.A. Times.
During Comic Con last weekend, Rodriguez said he had received Rhett Reese and Paul Wernick's script but was undecided if he would direct.
Ryan Reynolds will reprise the wise-cracking mercenary character he played in "X-Men Origins: Wolverine". Rodriguez would likely do the project once he finishes "Spy Kids 4: Armageddon" which he's currently shooting.
Rajan Rejnolds je baš zabo nekoliko ozbiljnih tezgi. Prvo igra Dedpula u Volverinu, pa Grin Lentrn u Grin Lentrnu pa onda Dedpula u Dedpulu. Ovo je prvi slučaj u istoriji sveta da isti čovek igra dva mejdžr superherojska karaktera iz dva sasvim razdvojena (i, neki bi reki konkurentska) univerzuma unutar par sezona.
Rodrigez bi mogao biti dobar izbor, mada, kako je jod Dedpula presudan ADHD humor i gikovština, ko zna je li on čovek za to...
Mislim da Roberto nije više ta liga. No, šta možemo...
Nego, kako ti se čini poređenje da je Grand za Pink ono što je Pixar za Disney? :)
To je savršeno poređenje. Mlađi, agilniji i bolje kapiraju biz od svojih mentora.
Evo kako se pravilno sjedi dok se igraju video igre:
http://www.facebook.com/video/video.php?v=1486312511751#w400-h300 (http://www.facebook.com/video/video.php?v=1486312511751#w400-h300)
F.B.I., Challenging Use of Seal, Gets Back a Primer on the Law (http://www.nytimes.com/2010/08/03/us/03fbi.html?_r=1)
The Federal Bureau of Investigation has taken on everyone from Al Capone to John Dillinger to the Unabomber. Its latest adversary: Wikipedia.
The bureau wrote a letter in July to the Wikimedia Foundation, the parent organization of Wikipedia, demanding that it take down an image of the F.B.I. seal accompanying an article on the bureau, and threatened litigation: "Failure to comply may result in further legal action. We appreciate your timely attention to this matter."
The problem, those at Wikipedia say, is that the law cited in the F.B.I.'s letter is largely about keeping people from flashing fake badges or profiting from the use of the seal, and not about posting images on noncommercial Web sites. Many sites, including the online version of the Encyclopedia Britannica, display the seal.
Other organizations might simply back down. But Wikipedia sent back a politely feisty response, stating that the bureau's lawyers had misquoted the law. "While we appreciate your desire to revise the statute to reflect your expansive vision of it, the fact is that we must work with the actual language of the statute, not the aspirational version" that the F.B.I. had provided.
Michael Godwin, the general counsel of the Wikimedia Foundation, wrote, "we are prepared to argue our view in court." He signed off, "with all appropriate respect."
An F.B.I. spokesman, William Carter, said that such letters go out "from time to time" from the office of general counsel.
"You can't use the F.B.I. seal, by law, unless you have the permission of the F.B.I. director," he said.
Cindy Cohn, the legal director of the Electronic Frontier Foundation, called the dust-up both "silly" and "troubling"; Wikipedia has a First Amendment right to display the seal, she said.
"Really," she added, "I have to believe the F.B.I. has better things to do than this."
Everyday Normal Guy 2 (http://www.youtube.com/watch?v=GmG4X9PGOXs#normal)
David O. Russell ("Three Kings," "I Heart Huckabees") has dropped out of the running to direct the video game adaptation "Uncharted" for Sony Pictures reports The L.A. Times.
Joshua Oppenheimer and Thomas Dean Donnelly ("Sahara," "Dead of Night") penned a film adaptation of the critically acclaimed PS3 game series which follows fortune hunter Nathan Drake and his quest for famed archaeological treasures. Though the concept sounds familiar, the smart execution and witty script often raised it above the level of many other titles of its kind.
In recent weeks the studio and producers had been negotiating for Russell to come aboard, but terms could not be agreed upon and so they're going their separate ways. A new director is currently being sought, but the chance of a 2011 release look to have gone out the window with this news.
Russell has several prospects on the boiler including the recently announced Vince Vaughn dramedy "Old St. Louis".
Nije da sam ja neki pobornik braka, ali eto barem da se negde zakonski stvari izjednače pa ko hoće u tu robiju - može:
Federal judge strikes down Calif. gay marriage ban (http://news.yahoo.com/s/ap/20100805/ap_on_re_us/us_gay_marriage_trial)
Možda se posle ovoga Švarceneger razočaran povuče iz politike i dobijemo Terminator 4?
Kad cemo da igramo Pilgrima? xremyb
Mislm na tebe svaki dan. Vidi, Pilgrim izlazi desetog u Sjevernoj Americi i nadam se dan ili dva kasnije na PAL teritorijima, u koje mi spadamo. Ja ne mogu da kupim američku igru preko svog lažnog USA naloga jer PSN neće prihvatiti moju kreditnu karticu kao autentično američku tako da ću je kupiti preko UK naloga (za koji mogu da kupim funte na prilično bizaran način). Problem je što se ja vraćam tek osamnaestog sa mora. Tako da računaj da se igramo tamo negde oko dvadesetog ako igra do tada izađe za PAL teritorije.
Inače, ako niste gadljivi:
What Toys Are Up To: Woody gets wood (http://tomopop.com/what-toys-are-up-to-woody-gets-wood-13862.phtml)
1996... It really does feel like a combination of last year and a life time ago - all at once. Next year AICN turns 15 years old. That's crazy. It is really crazy to think about how long I've been doing AICN, I love it, but it became a lifestyle for me. Hell, it is a lifestyle for a lot of folks. I meet them at events I throw. There was this one redheaded guy, maybe early 20s, that I ran into at COMIC CON that hugged me and told me I gave him his brain. That's crazy.
In 2010, I'm still waiting to make CONTACT WITH THE ALIENS... but I've been wildly nostalgic this year. Why? Well, part of it is a build up to AICN's 15th year. Part of it is that I'm able to see 40 as an impending age that will be related to me. Part of it has to do with taking over FAMOUS MONSTERS online... and still part of it came from my near death experience this year... but coming out of THE MIDDLE MEN - I really really had a nostalgic swing as I thought about that specific time that I forged a life from.
The real birth of the Internet. Sure, the Net had been around long before Al Gore had anything to do with it. And Science and Educators have a history going back online for decades. But the real internet. What the kids do, what I do... That was 1996, when suddenly you could enter your credit card information securely, safely - and gain access to... PORN. MASSIVE FUCKING AMOUNTS OF PORN.
Let's all be honest for a bit here... we spend time watching other people fucking. It's true. And for a very long period of time - the only way to see cool fresh and hot porn was by entering in your credit card information. Or you're parents' credit card info (kids you shouldn't do that). This was long before the days of YouPorn. And oddly enough, I was shocked when I went over to that glorious free porn site - loaded up the shocking real party - where women apparently party with male strippers and openly have sex. Which makes me think Women party crazier than men. But I was trying to investigate this "Girls Night Out" phenomenon because... I like to be educated - when suddenly an ad came up for the Paramount distributed studio film, THE MIDDLE MEN.
Now - I like to think that I've kept my stinky finger on the pulse of porn online, but I do believe this was the first time I was seeing a STUDIO DISTRIBUTED FILM advertising on one of the major FREE PORN delivery sites. Made me wonder if the MPAA was aware. But it seemed wholly appropriate to me. After all - they should be selling the movie that created the online business of not just PORN - but everything.
For those of us that set up foundations and built a space online 15 years ago - it was crazy times. In the first 4 years of this site, I was continually offered tens of millions of dollars to sell my site. Before that - in the earliest of days - I had a guy that was hosting AICN try to force me into illegal activities - and when I refused - he erased half a year of my life. Those were crazy days. Nobody knew anything and everybody knew it all.
THE MIDDLE MEN is a very key point in history - that might seem trivial - until you think about modern society. The main characters in this film were perverted tech nerds that were creating things because they didn't exist yet. That's why I created AICN, it was because I wanted some place like it and at the time, nobody was doing much that appealed to me online. Well, these guys happened to think up FIRST and develop and implement the ability to conduct a secure online credit card transaction, with the notion of getting people to buy porn online. This once incident laid the groundwork to the very real commerce in the realm of surrealistate. They got involved with the Russian MOB, before getting involved with everybody and everyone.
The idea of a film about the guys that wrote the first ONLINE CREDIT CARD TRANSACTION SOFTWARE... sounds terribly boring... but as Fincher's trailers for THE SOCIAL NETWORK have hinted... the online world is anything but boring, because it touches EVERYTHING.
People are killed. The Highest Levels of Government Cooperation. These men seem like grotesque evil characters. I mean. They made it so you could see porn without ever looking anyone in the eye. But by doing that. They made it so we could do all the things we do online. Like... paying our bills, AMAZON, i-TUNES - you start thinking about it. They started that process in the Online world. How has that changed the world?
Then they make a movie about it all.... and the result is something that I'd love to watch as a double feature with BLOW. Some of you may remember that I lost my fool mind for Ted Demme's last cinematic effort - and while that was about the guy that opened up the COKE pipeline into the United States - this, well... this is a story about how the world suddenly needed faster modems - because well, people will pay anonymously for porn. And the filmmakers realized that the story wasn't in all the crazy excess that Giovanni Ribisi and Gabriel Macht were reveling in. No, the story was in the Straight Man's story. The guy with the mid-America family. The guy that didn't want to be involved, but saw the business sense of it all. Who understood how to take the lunacy of these burnt out Rocket Scientist and make it one of the most valuable 'widgets' ever created.
The "ride" of this film is a success story about 3 guys that were all headed to the top - but only one of them was prepared for it - and even he didn't quite handle it all right. But damn it is an exciting thing when it happens, when you realize you started something that has grown wildly out of your modest expectations. I've seen that to a degree... but here, you're talking about Richie Rich kinda money. With ties to porn, banking and the federal government. It is fascinating. It is all absolutely believable. And there's lots of premium boobage.
The fact is - this is a very fun story about one of the great Right Place, Right Time stories. And by the end of the movie I couldn't believe that the three main characters were alive. People tend to die in situations that these characters find themselves in. And they're alive. And I'm glad. The guys that monetized internet and porn - deserve to reach old age. Right? Shouldn't they? I think so.
Now - in a film filled with hot chicks, 3 crazy guys... it is filled with cool fave actors like Robert Forster, Kelsey Grammer, Terry Crews, James Caan and Kevin Pollak - oh - and I love this guy, he plays the Russian Mafia "dude" in the film, Rade Sebedzija, you may remember him as the Homeless guy that Bruce Wayne gave his coat to, or a Boris "The Blade" in SNATCH - but you've seen him in a TON OF STUFF. He's one of the go to Russian Character Actors - and he's great here.
Oh - and the soundtrack is outstanding. That helps with a movie that is trying to pass on a beat and a rhythm to the life you're seeing. The three main characters - you may claim to not want to be any of them, but you can't deny how that'd be one helluva story to have lived. About the time Jacinda Barrett's website gets the CIA interested - your brain is gonna go into "HOLY SHIT MODE". I promise. I don't know if any of that is true, but I certainly hope so. If porn is helping keep America safe at night, they should get the proper credit.
This is a very entertaining film. Feels odd coming out in a summer. This is Hard R entertainment about something that was done out of the most base reasons... it helped fund the Russian Mob, but it did a lot of worthwhile things too. I'm sure it did. Fairly positive. This is a great modern American success story.
I find it endlessly fascinating that the software for processing a credit card transaction online wasn't invented by a bank or some credit institution. That it came down to a couple guys trying to sell dirty pics online. That's classic. That's the joke of it all. It is hilarious, epic and apparently it is all true.
If you were online in 1995-1997 - you know it is all true. It is an absurd story of ludicrous success and that's a pretty terrific good time.
roducer Lloyd Levin ("Watchmen," "Hellboy") has scored the film rights to part of Matt Wagner's classic 1980's comicbook series "Mage" reports Variety.
Levin acquired the rights to the fifteen-book collection that makes up "The Hero Discovered" story arc.
A reinterpretation of the Camelot legend, the story follows an alienated young man who learns he has superhuman abilities. With the help of a magic baseball bat, he must stop the evil Umbra Sprite.
The project was previously in development at Spyglass with Zack Snyder attached to direct. Levin and Andrew Cosby will produce and a writer is close to being locked in.
Director D.J. Caruso ("Eagle Eye," "Disturbia") tells MTV News that the film adaptation of the hit sci-fi/horror video game "Dead Space" is still in the early stages.
The game is set in the 26th century in deep space, where an engineer who responds to a distress signal from a mining ship finds the vessel infested with monstrous creatures called Necromorphs. The creatures are human corpses, reanimated by an alien virus.
"We don't have a writer for it yet, but... right before I left we were listening to different writers and taking different pitches. We have to decide on a couple once we get back what we're going to do. We've tried to crack the story a few different ways, so I know when we get back we're going to get into it and I feel like we'll have a screenplay in a few months" says Caruso.
They seem to have an idea of where to go, namely a prequel - "We've got a really good sort of storyline. It's almost a prequel, sort of, to where the game picks up... You have have the whole sort of brainwash-y/Scientology thing and ultimately the Necromorphs. It's interesting to try to get the major studios to understand that this isn't Event Horizon."
Said prequel will probably avoid trying to resemble the animated direct-to-DVD feature "Dead Space: Downfall" which came out around the time of the first game. The game's sequel, "Dead Space 2", is scheduled to hit stores in January.
Quote from: Meho Krljic on 05-08-2010, 12:04:58
Mislm na tebe svaki dan. Vidi, Pilgrim izlazi desetog u Sjevernoj Americi i nadam se dan ili dva kasnije na PAL teritorijima, u koje mi spadamo. Ja ne mogu da kupim američku igru preko svog lažnog USA naloga jer PSN neće prihvatiti moju kreditnu karticu kao autentično američku tako da ću je kupiti preko UK naloga (za koji mogu da kupim funte na prilično bizaran način). Problem je što se ja vraćam tek osamnaestog sa mora. Tako da računaj da se igramo tamo negde oko dvadesetog ako igra do tada izađe za PAL teritorije.
It's a date!
Naravno, ja sam spreman da snosim bar deo troškova (ako ne i celu cifru!) jer ti to ipak kupuješ zbog mene, a Pilgrim stripa se gnušaš. Doduše, to onda povlači sa sobom i moje česte posete tvojoj rezidenciji, jer meni treba dosta vremena da "savladam" igru.
http://www.pajiba.com/trade_news/exclusive-quentin-tarantino-a-possibility-to-direct-the-shadow.php (http://www.pajiba.com/trade_news/exclusive-quentin-tarantino-a-possibility-to-direct-the-shadow.php)
Tarantinov Shadow bi mogao biti zanimljiv... A mogao bi biti i užasan, ostaje da se vidi. Meni je Inglorijs Bastrds bio manje loš nego većini jer sam ga gledao nakon što sam iščitao šokirane reakcije ovdašnjih forumaša pa sam bio pripremljen, ali.... videćemo.
A za Skota Pilgrima nema potrebe da snosiš išta (za snošaje ćemo već da se dogovorimo), kupio bih ga ja i inače jer privjui izgledaju primamljivo. Čak nisam kupio Wolf of the Battlefield da bi mi ostalo dovoljno para u walletu kad se vratim da uzmem Skota Pilgrima - to je dokaz da me igra dženjuinli zanima. Najavljen je i Zombi mod koji bi mogao da bude žestoko zabavan.
Da ne zaboravimo, danas je godišnjica.
U.S. attends Hiroshima bombing ceremony for first time (http://uk.news.yahoo.com/22/20100806/tts-uk-japan-hiroshima-us-ca02f96.html)
QuoteJapan marked the 65th anniversary of the U.S. atomic bombing of Hiroshima on Friday with the United States represented at the ceremony for the first time.
A peace bell tolled at 8:15 a.m., the time the bomb was dropped by the U.S. B-29 warplane Enola Gay on August 6, 1945, as tens of thousands of elderly survivors, children and dignitaries held a minute of silence under the burning summer sun.
"Clearly, the urgency of nuclear weapons abolition is permeating our global conscience," Hiroshima Mayor Tadatoshi Akiba said in a speech followed by the release of white doves.
The Hiroshima bomb, nicknamed "Little Boy," released a mix of shockwaves, heat rays and radiation, killing thousands instantly.
By the end of 1945, the death toll had risen to some 140,000 out of an estimated population of 350,000. Thousands more died of illness and injuries later.
Three days after the Hiroshima attack, on August 9, 1945, the United States dropped a second nuclear bomb on the city of Nagasaki in southern Japan. Japan surrendered six days later, ending the military aggression that brought it into World War Two.
The United States, recently involved in a row with Tokyo over the relocation of a U.S. air base on the southern Japan island of Okinawa, sent a representative to the ceremony for the first time, reflecting President Barack Obama's push to rid the world of nuclear weapons.
"For the sake of future generations, we must continue to work together to realise a world without nuclear weapons," U.S. Ambassador John Roos said in a statement.
Obama, who won the Nobel Peace Prize last year in part for his vision of a nuclear-free world, signed a strategic arms agreement with Russia in April that commits the former Cold War foes to cut deployed nuclear warheads by about 30 percent.
"We see new leadership from the most powerful nations," U.N. Secretary-General Ban Ki-moon said at the ceremony, the first time a U.N. leader has attended. "We must keep up this momentum."
Japanese media reports have said a panel of expert advisers will soon urge Japan to loosen its ban on allowing nuclear weapons into the country, as the government plans a defence review by the end of the year.
But Prime Minister Naoto Kan said on Friday that Japan would stick to its self-imposed ban on the possession, production and import of nuclear arms.
Some conservative politicians, wary of giant neighbour China's growing military might, have called for a debate on Japan having its own nuclear weapons, although there is little support among the broader public.
"We want nuclear disarmament, and if the United States takes the lead other countries may follow its steps," said Tomiko Matsumoto, a 78-year-old atomic bomb survivor.
"First I hated them (the United States), but that hatred has disappeared. Now I want to see a peaceful world."
U tajlandu se stvari ne smiruju. :( :( :(
After deadly clashes, Thai opposition regroups (http://uk.news.yahoo.com/22/20100806/tpl-uk-thailand-politics-opposition-81f3b62.html)
QuoteOn a stage in a muddy soccer field in Thailand's rural heartlands, an opposition leader declared to thousands he would bring back toppled premier Thaksin Shinawatra from exile if his party is voted back into power. Skip related content
That vow by Puea Thai Party's Chalerm Ubumrung signals trouble ahead in a polarising political crisis that turned deadly on the streets of Bangkok in April and May as thousands of "red shirt" supporters of the deposed Thaksin clashed with troops.
Hundreds of red shirts have been detained under emergency rule since the unrest that killed 91 people, mostly protesters, and wounded nearly 2,000. Several opposition websites, radio stations and a TV broadcaster were shut. Red-shirt bank accounts have been frozen. Protest leaders face terrorism charges.
Emergency rule has helped to restore order in Bangkok and many areas. But in the rice-growing farmlands of Si Sa Ket bordering Cambodia and other provinces where the decree has been lifted, Thailand's political opposition is regrouping.
The fiery rhetoric at the recent campaign stop in Si Sa Ket, 600 km (370 miles) northeast of Bangkok, illustrates how issues that exploded into violence in May remain at the heart of Thailand's anti-government movement -- from charges of class warfare to reverence of populist multimillionaire Thaksin.
They also demonstrate how the anti-government movement is shifting from street-protest tactics to election campaigning, while retaining, at least in the heartlands, one of their most controversial goals: the return of the twice-elected Thaksin.
"If you want everyone to be treated the same way under the eye of the law, vote Puea Thai! If you want to see democracy and equality, vote Puea Thai! If you want Thaksin back, vote Puea Thai!," Chalerm told cheering supporters.
CONTENTIOUS ELECTIONS
Prime Minister Abhisit Vejjajiva has said elections could be held early next year if the political situation is stable. His Democrat Party hopes heavy government spending and economic stimulus packages will lift its popularity.
"If we win back power through yet another election, what are they going to do? What trick do they have in the hat this time?" Chalerm told Reuters on the sideline of the campaign.
He was referring to a coup that ousted twice-elected Thaksin in 2006 and several court rulings which toppled two prime ministers and disbanded two parties allied with him, paving the way for Abhisit's rise in 2008 with tacit military backing.
Puea Thai said it is confident it could win back at least 255 in the 480-seat lower house, enough to form a single-party government. But analysts say the election is likely to be contentious and winning a landslide would be difficult.
"While people's voting pattern won't change, horse-trading of parliamentarians will be key in determining who forms the government," said Karn Yuenyong, an analyst at the independent Siam Intelligence Unit..
A 32-seat Bhumjai Thai Party, allied with the government, is poised to win 50-60 seats in the next poll after defections from several parties. It campaigns on a royalist platform, accusing Thaksin of harbouring a republican agenda, a taboo in Thailand.
But convincing the rural voters to reject Thaksin's allies won't be easy.
Puea Thai is campaigning on Thaksin's populist platforms such cheap loans and universal healthcare. The ruling Democrats have adopted similar measures but the opposition can win by tapping public discontent about the status quo in the power structure.
That sums up their main selling point: the rehabilitation of the controversial and divisive Thaksin and the promise to end what the red shirt protesters view as "double standards" in law enforcement and the dominance of the ruling elite in politics.
"I will vote for them no matter what, because they will bring back Thaksin," said Metha Panchaisi, a 55-year-old rice farmer, who attended the rally.
"I want to see how they will discard our votes this time. Another coup? Another court ruling? What now?."
www.lemonparty.org (http://www.lemonparty.org)
Nema na čemu.
Znam da ti je ispod časti da napišeš da je ovo Non Safe For Work, ali ipak, zamalo da cela kancelarija postane svesna šta radim u radno vreme.
Auh, da... Sorry.
Potpuno sam nesvestan toga da postoje ljudi koji rade sa još nekim u kancelariji...
Ništa strašno, oni zapravo misle da ja ovde provodim svaki svesni trenutak daunloudujući pr0n iako to ne radim: tokom radnog vremena skidam muziku a posle posla ide pr0n.
Laurence Fishburne's Daughter: I've Always Wanted to Be a Porn Star
Montana and Laurence Fishburne in 2006
Nancy Ostertag/Getty
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Laurence Fishburne's daughter is speaking out about her controversial decision to enter the entertainment industry by becoming a porn star.
"Being in an adult film is not a big deal to me," Montana Fishburne, 18, tells PEOPLE. "It's something I always wanted to do. I have always been comfortable in my body and with my sexuality."
And no, she's not hoping her adult film, which will be released by Vivid Entertainment on Aug. 10, will spawn a mainstream acting career. "I am not in porn to get into acting. I am in porn because I wanted to be in porn," she says bluntly.
The daughter of the CSI star, an Academy Award nominated actor, said she didn't seek her parents' approval before signing on for the film.
"I had already filmed it by the time they knew so I didn't give them a chance to talk me out of it," says Montana, who moved out of her father's house last year upon turning 18, "so I could pursue what I want to do without being constrained by them."
Her father is understandably devastated, she confesses.
"I hear through relatives that he's upset but I haven't talked to him directly for him to tell me his feelings," she admits, saying that when she did break the news, he reacted with stunned silence.
"I hope it's not hurting him. It wasn't done to hurt him," she says. "But I think it will take time and talking through the issues. Eventually, I hope he will be proud of me."
A rep for Laurence Fishburne declined to comment.
Steel Panther - Community Property (http://www.youtube.com/watch?v=bzUPG8olnO0&feature=av2e#normal)
Steel Panther - Death To All But Metal (http://www.youtube.com/watch?v=yfB7vF7nCdA&feature=channel#normal)
Ti si izgleda sveže otkrio Stil Panter? Lepo. :lol:
Da, a potpuno je suludo ko mi ih je otkrio... :)
Staša Koprivica?
Ne. :) Odakle ti ona pade na pamet?
http://mislitemojomglavom.com/?p=1191 (http://mislitemojomglavom.com/?p=1191)
Verovatno Zakk stalno misli o Staši Koprivici... ;)
Sad si ga postideo... :(
LOL
Pa znam da Staša ceni Steel Panther... (a koja još normalna žena da odoli svemu onome), a bilo bi suludo da si od žene saznao za njih, 2+2 makes 22... itd
Mehmete, jel imaš neki lep single link MU za Justice League: Crisis on Two Earths animaciju?
Imam, naravno:
http://www.megaupload.com/?d=WEAQY0J8
Inače, lepo Freedom ispiso Sindikate.
Okay, it's late, it's two am here in Old London Town, and the Mark Millar big news, currently queued up at a much greater regarded website, has not yet gone up. So it's time to take a punt. After all this is meant to be a rumour and gossip site isn't it? Okay. (BC's scoop has now been confirmed. See update below)
I'm told that the announcement is definitely Nemesis being optioned and a director to be named.
The name most mentioned to me tonight by some very good sources in a far sunnier timezone to my own, is that it is Tony Scott, director of movies such as Top Gun and Beverley Hills Cop II, is to direct the movie based on his comic book with Steve McNiven, Nemesis, currently on its second issue.
Tony Scott, younger brother of Ridley Scott is also known for directing Crimson Tide , The Last Boy Scout, True Romance, Enemy of the State, Man on Fire and Déjà Vu.
Previously, Millar has worked with directors relatively new to Hollywood, or outside the usual system. If they've got Tony Scott then that's someone decidedly old school and respectable, known for both over-the-top action sequences, strong character scenes and blatant homoeroticism.
Sounds pretty much perfect for Nemesis to me!
For those not totally au fait, Nemesis is a Marvel-published creator-owned comic by Scottish writer Mark Millar and Canadian artist Steve McNiven. Relatively new, Nemesis tells the story of a Batman-alike bad guy and crime lord who intends to take down the country's best known policeman in as an entertaining and calculatingly planned fashion as he can.
Previous films based on Millar's comics include Wanted and Kick Ass, and the DVD animations Ultimate Avengers. The pair created the Marvel series Civil War a few years ago, which represents a high point in sales for recent superhero comic books.
I contacted Harris Miller, attorney to both Steve McNiven and Mark Millar, but he refused to comment on this story. Good thing too.
UPDATE: TOLDJ...I mean RESPECTFULLY, WE INFORMED YOU OF THIS EVENT AT AN EARLIER JUNCTURE. Deadline New York has just confirmed that Tony Scott is attached as director to Nemesis for Fox. Scott Free is set to produce, according to Deadline.
UPDATE 2: Mark Millar posts more about this on Millarworld:
Bryan Hitch and I would reference Tony on a weekly basis when we were doing The Ultimates. Our dream was an Ultimates movie with Scott directing because he can do the character work and the intensity, but also handle scale and action like practically no other. The idea of a him helming a superhero movie had us giddy and here he is directing the one Steve McNiven and I created
You can find further Bleeding Cool Nemesis coverage in the links below.
Drugovi i gospodo, samo da se odjavim, idem na mesto na kome nema Interneta i na njemu ću ostati desetak dana. Čuvajte mi Srbiju. Za hitne slučajeve pornografske i druge prirode dostupan sam na mobionom telefonu.
"Mesto bez Interneta"? Zasto nam prosto ne priznas da smo ti dosadili? :( :cry:
Oscar winner Christoph Waltz is reportedly in talks to play The Lizard, the supposed antagonist of the upcoming "Spider-Man" reboot for Sony Pictures reports The Playlist.
In the comics, Curt Connors is a Florida surgeon who lost an arm during a stint in the army. Returning to civilian life as a research technologist, he tried to re-grow his amputated arm using an experiment in reptilian limb regeneration. The procedure worked but eventually turned him into The Lizard.
Waltz's "Inglourious Basterds" co-star Michael Fassbender was previously sought for the role, but he opted instead to play Magneto in "X-Men: First Class" for Fox.
Andrew Garfield is so far the only confirmed cast member in the Marc Webb-directed production.
It's generally known that after "The Avengers", Marvel Studios is looking into making smaller-budgeted films based around their second and third-tier characters.
Talking with MTV News, Marvel's Kevin Feige was asked about what titles could be developed for films post-"Avengers" aside from the already announced "Runaways" adaptation.
"I think what Ed Brubaker and Matt Fraction have done with 'Iron Fist' lately is exciting. I think 'Black Panther' and Wakanda has some amazing potential to be a feature film. 'Doctor Strange,' as you've mentioned. There are some obscure titles, too, like 'Guardians of the Galaxy.' I think they've been revamped recently in a fun way in the book" says Feige.
Asked if Nick Fury (Samuel L. Jackson) would get his own film, Feige says "I think the answer is yes... I think S.H.I.E.L.D. could be it's own franchise. I think, frankly, 'The Avengers' is going to be told from that point of view more so than any of the other films at that point, so we're going to get an inside look [at how S.H.I.E.L.D.] operates."
Michael Schwarz On Radical, Full Clip
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By Garth Franklin Tuesday August 10th 2010 12:51AM
If there's one thing I don't really cover at the annual San Diego Comic Con, it's comics oddly enough. With so many film and television-related panels going on these days, the launch of comic titles or labels themselves often get lost in the milieu of sound bites from a geek-exalted filmmaker or visiting major celeb who let slip quotes about their next project whilst helping the studio pimp out their current one.
The main reason though is that Dark Horizons is a film, and to a lesser extent a TV, DVD & Blu-ray site. Video games, technology, comics or fandom in general doesn't fall under my purview unless there is a film-related component. This year however one such opportunity presented itself - Radical Studios.
Back in early July it was announced that Sam Worthington, the hunky Aussie thesp who has become an international household name faster than you can say iPad, had formed the production company Full Clip Productions with his fellow Australian cohorts Michael and John Schwarz. The trio had also signed a deal with LA-based Radical to team on comic/film related projects.
What was interesting though about the deal was that it wasn't about just straight up adaptations of existing titles from the growing Radical Publishing library. Rather the aim was to discover and cultivate properties they were all excited about and develop them into whatever form suits it best be it comics, one-off graphic novels, etc. and eventually films in certain cases.
More importantly though the guys seemed very adamant about getting good quality stories and original properties developed properly and not as a vehicle for any future film/series/game spin-offs. Their mission statement is to make Full Clip & Radical a place for good ideas rather than vanity projects, and with the deal they have in place they have the time to develop properties in a natural way that will help them flourish to their full potential.
At the time of the announcement there was a small press conference at the Radical offices in early July where all three talked about their general plans for the label to select genre press. Sadly I was still in Sydney at the time and missed the opportunity to participate. A little over a week later though I hit the ground in Los Angeles and San Diego, and on the second full day of Comic Con I was offered the opportunity for a one-on-one with Michael Schwarz.
Navigating your way through the 130,000 strong crowd of the convention center is as hard as it sounds. Walking down your average laneway, I passed by a Stan Lee impersonator on the left, and the real Stan Lee and his entourage on the right. After brushing past various people who really shouldn't be wearing spandex, and a male model in a "Tron Legacy" bodysuit giving me a downright unsettling stare that would've gotten Jeffrey Dahmer aroused, I arrived at the surprisingly spacious Radical booth.
A quick chat with Radical's marketing director led me to Schwarz himself. Relaxed and affable, the fellow Australian was making his second sojourn to Comic Con after his first trip last year lead to him meeting contacts, such as film producer Barry Levine, which played a big part in forming Full Clip. Of the trio, Michael is the one with the greatest knowledge of comics and admits he was the one that got Sam into comics in the first place, a field the "Avatar" actor has become much more familiar with since that introduction.
It all began with "The Last Days of American Crime", an existing Radical title that Schwarz found at last year's Comic Con and began to develop into a film adaptation with both Radical and Levine. During development, Schwarz pitched to Levine an original title he and his brother came up with a few years beforehand called "Damaged" and Levine suggested an 'imprint deal' which would allow the Schwarz's to create up to three titles a year that Radical would pick up and publish. Soon after, Full Clip was born.
"'Damaged' is the one moving ahead fastest" says Schwarz. The first title in their deal, the six-issue series "Damaged" follows two cops, one of whom becomes a vigilante. There's also themes of redemption, brotherhood, paternal family drama, etc. all set in a "violent, noir-style world". "Stray Bullets" creator David Lapham is helping write the comic, and the first issue is currently scheduled for release next February.
"Patriots" is the second title which was created by Worthington himself and is still in early stages. Currently seeking writers, Schwarz admits one of his favourite authors had just signed onto the title though he couldn't reveal who just yet. He describes the story as "massive in scope, deals with big big questions and issues".
A stand-alone graphic novel, "Patriots" posits the idea that one of the world's continents must be sacrificed for the rest to survive and how people deal with that decision. Upon hearing the concept I immediately say that it'll always be us (Australia) that'll get the chop which Schwarz laughs at.
Asked about Worthington's involvement in the process, he says Sam is "very very heavily involved.. he doesn't know how not to get involved". He adds that Sam's fingerprints are all over "Damaged" just as he and his brother are heavily involved in "Patriots", "I think he felt a bit left out with 'Damaged' so we had to let him get involved" says an amused Schwarz.
The third title they're working on is an illustrated novel by Jeannie Schwarz described as very "Coraline"-esque and more kid-friendly, something his nephews can read. They're also acquiring other properties but can't really reveal which ones presently as the deals aren't locked down yet. Despite Sam's involvement on the comics front, he won't necessarily be involved in the film spin-offs or adaptations that come from these properties.
Asked if there were any famed comic writers he'd love to get onboard on titles, Schwarz cites Garth Ennis, Grant Morrison and Joshua Dysart amongst his favorite authors and hopes to some day get to work with them. For now though their current titles are keeping them quite occupied.
Outside of their Full Clip deal, Radical Studios itself is pushing hard and fast with other film related comic adaptations including Sam Raimi's "Earp: Saints for Sinners", Joseph Kosinski's "Oblivion", "Shrapnel", Infinitum Nihil's "Calber", Darren Lynn Bousman's "Abattoir" and Imagine Entertainment's "Legends" all in active development. For more information on the complete Radical lineup, check out RadicalPublishing.com.
Istorija DC Comicsa na filmu
Kompanija Warner Bros je najavila dokumentarac o istoriji izdavačke kuće DC Comics.
Film pod nazivom Secret Origin: The Story of DC Comics trebalo bi da bude prikazan povodom proslave 75 godina postojanja ove izdavačke kuće.
Film će, po svom scenariju, režirati Mac Carter, a narator u filmu će biti Ryan Reynolds.
Filmska ekipa je, za potrebe rada na dokumentarcu, dobila pristup arhivama DC Comicsa i Warner Brosa kako bi koristili odlomke iz stripova, filmova i TV serija.
U film će biti uključeni intervjui sa ključnim ličnostima iz istorije poznate izdavačke kuće, između ostalih, u filmu će govoriti Neal Adams, Karen Berger, Mike Carlin, Dan Didio, Neil Gaiman i Geoff Johns.
Film će izaći u novembru ove godine.
Krljić
Gospodin Jovan Grbić iz Ciriha se javio i drugi put da nam zahvali za podatke o svom i poreklu dvojice svojih prijatelja, Desnice i Ćulibrka, i uzgred zamolio za objašnjenje još jednog prezimena - Krljić. Nedavno ga je, kad je bio u Srbiji, u Pančevu, porodični prijatelj Milo Krljić, kome se pohvalio da je preko "Vesti" dobio odgovor o svom poreklu, zamolio da i za njega zatraži objašnjenje njegovog prezimena i korena.
Gospodin Krljić je rođen 1935. godine u selu Lipa kod Bihaća, a slavi Đurđevdan.
Oni su jedna od familija koji slave Đurđevdan sa sastava Like, Dalmacije i Bosne - koji su se često preseljavali čas na jednu, čas na drugu stranu, zavisno od istorijskih okolnosti ili sezonskih stočarskih kretanja. Milan Karanović za njih kaže da pripadaju užoj grupi familija Mihailović-Pepić-Stojić, koja ima ukupno pet prezimena - pored nabrojanih, to su i Krljići, Zmijanci i Gajići-Dragorajci i Skulari, a kojih je u Pounju posle Prvog svetskog rata bilo u ukupno 53 domaćinstva, od kojih Krljići 17 u tri naselja.
Inače, ove porodice su odavno međusobno razrođene, jer je izbledelo predanje o njihovom zajedničkom poreklu.
Krljića ima naseljenih u Ćoralićima u blizini Cazina, slave Đurđevdan. Predak im je, kao "dovodac" došao s majkom udovom iz Lipe, sa Tromeđe, pre bune 1875. godine.
Milan Radeka, u "Karlovačkom vladičanstvu", beleži Krliće sa slavama Đurđevdan i Aranđelovdan, što znači da ih je bilo u Lici, Baniji, Kordunu, Kapelskom i Gatskom.
U "Plemenskom rječniku ličko-krbavske županije", Krlići su, početkom 20. veka, popisani kao žitelji sela Vrela, na Zrmanji.
U "Leksiku prezimena SR Hrvatske", po podacima posle plovine prošlog veka i pre ratova na prostoru bivše SFRJ, Krljića je bilo samo u Donjem Rajiću, kod Novske, a Krlića u nizu mesta - Vrbovljani (Nova Gradiška), Daruvar, Mlaka (Novska), Nadvrelo (Gračac), Nova Gradiška, Novo Selo (Ludbreg), Osojnik (Dubrovnik), Pakrac, Slavonska Požega, Stare Plavnice (Bjelovar) i Šljivovac (Vrginmost). U Zagrebu je bila jedna porodica Krličbegović, verovatno od familije onih poislamljenih Krlića iz turske tvrđave Pećin-grada, kod Cazina.
Prezime su, verovatno, pre dobili po turskoj reči krlič, odnosno krluč, za vrstu mača ili sablje, nego po krlju ili krlji, izrazu za gomilu drva. U "Rečniku turcizama" stoji da od reči krlič potiče i gore navedeno prezime Krličbegović.
5 Annoying Trends That Make Every Movie Look the Same (http://www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html)
Kao i:
The 5 Most Ridiculous Martial Arts Movies Ever (http://www.cracked.com/article_18692_the-5-most-ridiculous-martial-arts-movies-ever.html)
Takođe
The 6 Creepiest Things Ever Slipped Into Children's Cartoons (http://www.cracked.com/article_18672_the-6-creepiest-things-ever-slipped-into-childrens-cartoons.html)
i
5 Things Hollywood Reuses More Than Plots (http://www.cracked.com/article/231_5-things-hollywood-reuses-more-than-plots/)
I naravno, evo malo razmišljanja o temi o kojoj svako od nas povremeno razmišlja: Zombi Apokalipsi!!!
7 Scientific Reasons a Zombie Outbreak Would Fail (Quickly). (http://www.cracked.com/article_18683_7-scientific-reasons-zombie-outbreak-would-fail-quickly.html)
A evo još jednog priloga za istoriju najgorih omota za ploče
http://www.huffingtonpost.com/2010/08/15/the-most-ridiculous-recor_n_682684.html#s126935 (http://www.huffingtonpost.com/2010/08/15/the-most-ridiculous-recor_n_682684.html#s126935)
I ovo je prilično značajno:
The 7 Most WTF Origins of Iconic Pop Culture Franchises. (http://www.cracked.com/article_18585_the-7-most-wtf-origins-iconic-pop-culture-franchises.html)
Na primer, ko bi rekao da je Predator nastao od scenarija koji je u osnovi bio pitch za Rocky V?
Quote from: Meho Krljic on 21-08-2010, 15:13:24
5 Annoying Trends That Make Every Movie Look the Same (http://www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html)
Toliko su neuki da ne znaju da je ramping izmishljen za scene boksa u Raging Bullu.
Ali, Troy i 300 su mnogo lakshe mete od Raging Bulla, tako da je to ok. Bleh. :(
Da, i mešaju ramping sa bullet timeom, ali dobro, ostalo je zanimljivo.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsphotos.ak.fbcdn.net%2Fhphotos-ak-snc4%2Fhs383.snc4%2F44637_144765548891480_100000741077237_284148_5946069_n.jpg&hash=a877f625541d533507fc426e34b18dbd50506859)
Tutti Frutti All Stars predstavlja hip-hop skupinu koja kvalitetnim funk/jazz/bom bap hip-hop-om želi ljudima pružiti audio i video uživanje na duge staze!
Članovi ekipe: Batisha, Ezoterik, Bloodman, Deflorius Dr.Kedosh, sickSoul, Sec Killah, Smokey, Makanidja aka Djani Lou Nigguh Brou, Mane Zoraja, Kani Bo, Lima lebovski.
http://www.facebook.com/group.php?gid=121421541233085 (http://www.facebook.com/group.php?gid=121421541233085) - FB GRUPA (ČEKIRAJTE MAJICE!)
Tracklist:
01 Intro (Boyz R Back in Town)
instrumental by Batisha
02 Bluntin - Batisha, Makanidja, Kedosh
instrumental by Batisha
03 Brrr Stikam - Ezoterik, Makanidja
instrumental by Makanidja
04 Funk, Soul & Jazz - Makanidja, Batisha, Bloodman, Kedosh
instrumental by Makanidja
05 Ljubav i Brak - Kedosh, Makanidja
instrumental by Makanidja
06 In D Pedu - sickSoul, Batisha
instrumental by Batisha
07 Gancee Funk - Kedosh, Bloodman, Batisha, Makanidja
instrumental by Makanidja
08 Kakav Dan - Kedosh, Makanidja, Batisha
instrumental by Batisha
09 Funky Vibe - Makanidja, Smokey
instrumental by Makanidja
10 N8 - Bloodman, Makanidja
instrumental by Makanidja
11 Porno Rime - Makanidja, Sinovatz, Kedosh
instrumental by Batisha
12 De si Brate Djuka - Ezoterik, Makanidja, Kedosh
instrumental by Makanidja
13 Zemlja Cuda - Makanidja, Kedosh
instrumental by Canbo
14 Frizeraj u Kraju - Makanidja, Lou Benny
instrumental by Canbo
15 Funky Splendid - Bloodman, Makanidja, Batisha, Kedosh
instrumental by Makanidja
16 Outro (Donji vesh) - Chele Tattoo Hard Core
instrumental by Makanidja
LINKOVI
http://www8.zippyshare.com/v/64527491/file.html (http://www8.zippyshare.com/v/64527491/file.html)
http://www.mediafire.com/?m8x58afns9zt9c6 (http://www.mediafire.com/?m8x58afns9zt9c6)
http://www.4shared.com/file/GZu7EOrc/Tutti_Frutti_All_Stars_-_Funky.html (http://www.4shared.com/file/GZu7EOrc/Tutti_Frutti_All_Stars_-_Funky.html)
Castovan je XXX Superman:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.bleedingcool.com%2Fwp-content%2Fuploads%2F%2F2010%2F08%2Fsuperman-xxx.jpg&hash=8513afa56506f19491a5e93aad11b0cf68a2928a)
e, super su tutti frutti.
štima a? :!:
nego šta. ljetnji ležerni porno rep :) a i svirali smo s ljudima, dobra je to ekipa.
Pretpostavljam da su ovo zainteresovani već videli, ali evo za svaki slučaj, Napal Death (I to ONAJ Napalm Death) na BBC-jevom obrazovnom programu, godina 1989. Prelepo.
Napalm Death Rare Lee and Bill 1989 What's That Noise BBC Pt 1 (http://www.youtube.com/watch?v=zsytdmYtcf8#)
Heh... odavno sam digo ruke od Cathedral (pre nekih... petnaest godina), ali Soul Sacrifice je i dalje prelepa pesma. Avaj, ovaj snimak iz prošle godine pokazuje da Lee JOŠ UVEK nije naučio da peva :lol: :lol: :lol: :lol:
Cathedral - Soul Sacrifice - Wacken 2009 (http://www.youtube.com/watch?v=UeBOrjYjk3k#)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fvukajlija.com%2Fposteri%2Fobrazovanje-22762.jpg%3F1282993817&hash=d92b82fdcd6ee9dd4c02320e75af38ff8b697b1b)
Tip iz Crvenog patuljka! Jupi!!!!!!!!!!!!! :D
Paris Hilton arrested on cocaine charge (http://uk.news.yahoo.com/22/20100828/tts-uk-hilton-ca02f96.html)
Neljudi! Tu divnu ženu maltretiraju zbog ovakvih sitnica...
cocaine was so 2006.
Ujebotebog, kakav fleš
siege - starvation (boston 1984) (http://www.youtube.com/watch?v=PzV0zLCNZ9Q#)
Nikada nisam video ovaj snimak. Kakav pokolj.
Te Quiero Puta! - Rammstein Lyrics and English Translation (http://www.youtube.com/watch?v=-m1tfMjOOEQ#)
Evo jedna sa textom...cisto edukacije radi .. ja se odusevio jednostavnoscu! :)
Da čovek pocrveni.
Ovo treba crosspostovati na Vedranu Rudan :)
Imam jos jednu...
Rammstein -Moscow...al opet ce Meho da pocrveni kad procita reci pesme, pa necu...
Da li je Batman ubio Jasona Todda?
Zavisi koji Batman i kada...
Citam sad sve Batmanove story arc-ove (ako se to tako zove) od 90ih na ovamo pa sam dosao do Under the Hood i tu mi kraj nije bio bas najjasniji, a ne skida mi se ponovo film da bih tu proverio kraj. Inace, a vidim da ste ga pominjali, svidja mi se kako je preradjena prica u filmu.
Pa, hm, kako da kažem... Jason Todd u aktuelnim Betmenima igra dosta prominentnu ulogu.
Ok, hvala, tek sam stigao do Heart of Hush.
Quote from: Meho Krljic on 29-08-2010, 11:00:35
Da čovek pocrveni.
cudan insan ovaj meho alah ce ga znati :mrgreen:
Hm... :oops:
Postoji li kakva bestiality porno verzija Snjeguljice i 7 patuljaka? Moze i bez onog bestiality.
Postoji.
http://video.xnxx.com/video162672/snow_white_and_7_dwarfs_part_1_with_subtitles (http://video.xnxx.com/video162672/snow_white_and_7_dwarfs_part_1_with_subtitles)
Ko voli crtaće :evil:
http://www.spankwire.com/Snow-White-And-The-Seven-Dwarfs-Porno/video77906/ (http://www.spankwire.com/Snow-White-And-The-Seven-Dwarfs-Porno/video77906/)
Quote from: Ella on 30-08-2010, 00:10:35
Hm... :oops:
Postoji li kakva bestiality porno verzija Snjeguljice i 7 patuljaka? Moze i bez onog bestiality.
U tvom tvom divnom radu neizostavno da uvrstiš ZNAK SAGITE u izvore. Može? :)
Ne moze, jer mi niste od pomoci. :evil:
Na zalost, ni Plutova (je l' vidis cime susjedi truju djecu!?!?) ni Dusmanova Snjeguljica nije ona Snjeguljica koju trazim. Vidjela sam tu kazetu u videoteci prije jedno desetak godina. Na coveru je ugodno popunjena dama obucena u Snjeguljicin outfit, suknja joj je prebacena preko glave, pokazuje nam svoju golu ruznu pozadinu, a oko nje pasu razne zivotinjice. Zato sam zakljucila da se radi o bestialityju. Sjetila sam se toga jucer, pokusala guglati, ali uzalud. Da li je bestiality uopce legalan kod nas?
Kod kojih nas? I šta znači legalan? Da se gleda, verovatno da. Da se prodaje, ne znam. Da se pravi, verovatno ne. Ako ti baš treba taj film predlažem učlanjenje na neki američki bestiality forum i ljubazni upit spram članstva. Oni će već umeti da ti daju informaciju.
Hvala na prijedlogu, ali radije ne bih. Neka taj film za mene ostane nepoznanica. :lol:
Pazi, ljudi po bestiality, BDSM i fetiš forumima u USA su izvanredno fin svet i nikada, ali NIKADA nisam video toliko kulturno ophođenje na bilo kom drugom forumu na Internetu. Tako da, slobodno. Jeste malo šokatno ako si vanila pa uletiš na bestiality forum pa čitaš topik u kome muškarac podučava druge muškarce kako da organizuju da ih pas analno penetrira ali nivo kulture diskursa je apsolutno astronomski u odnosu na bilo koji drugi forum drugde.
ortak ljuba - gladan ko da nisam jeo (3. smena) (http://www.youtube.com/watch?v=92V2uE4CG8k#)
ortak ljuba iz kraja :A
Guns N' Roses frontman Axl Rose reportedly partied at a gay club in London after his band's controversial performance at the Reading Festival over the weekend. The singer was spotted at a gay night at Bungalow 8, where he was later seen chomping on cheese on toast at 5am. Rose is also thought to have sacked his entire tour crew after his band's slot at Reading over-ran on Friday and landed him a huge fine. He was reportedly sleeping when he was due onstage at both the Reading and Leeds festivals, and his entourage were under strict orders not to disturb him.
Axl po običaju
James Hetfield Reading Axl Rose Rules (http://www.youtube.com/watch?v=p9F2dt9iwfw#)
Na zmajevom tragu
Javno preduzeće Beogradska tvrđava u saradnji sa Centrom za pozorišna istraživanja Aps Art i preduzećem SDD ITG (proizvođač igre i hardvera), pokrenuće real life igru koju će posetioci moći da igraju na Kalemegdanskoj tvrđavi.
"Zmajev trag je prva igra te vrste u Srbiji i među prvim na Balkanu, a njen osnovni cilj nije samo zabava posetilaca, već i edukacija, budući da će igrači biti u prilici da na najinteresantini način upoznaju znamenitosti tvrđave. Ova igra nije namenjena samo najmlađima, već svim generacijama posetilaca koji na ovaj način mogu da se zabave i saznaju nešto novo o svom gradu", kaže se u saopštenju.
"Pomoću kartice koja se može dobiti u Galeriji Beogradske tvrđave, mobilnog telefona sa bluetoothom i specijalnih aparata koji su smešteni u Gornjem gradu tvrđave igrači će pokušati da za 90 min zaustave zlo koje pokušava da pređe u naš svet i uništi ga. U ovoj trci sa vremenom igrači će rešavati drevnu misteriju skrivenu na Beogradskoj tvrđavi i spasavati svet uz malu pomoć nestale srpske naučnice koja je za sobom ostavila snimljena uputstva. Kroz ovu igru virtuelni svet zmajeva biva prebačen u realnost današnjice, kompjuter se zamenjuje šetnjom, a uzbuđenja i novih znanja ima na pretek", navodi se dalje.
Zmajev trag mogu igrati samostalno samo osobe starije od 15 godina, mlađi od 15 moraju biti u pratnji roditelja ili nastavnika. Da biste se uključili u igru potrebno je samo da imate lični dokumet sa jedinstvenim matičnim brojem i telefon sa bluetooothom.
Do 3. septembra će trajati promotivni period kada će posetioci Beogradske tvrđave moći besplatno da igraju Zmajev trag.
Kad sam već na JuTjubu:
Ovaj video je ostovan kao šala, kao klinci se zezaju ko da sviraju Death metal ali meni je ovo GENIJALNO i slušao bih ceo album njihove svirke kada bi umeli da ga naprave:
Worst Death Metal Band Ever (http://www.youtube.com/watch?v=Wsik-4iVAVA#)
The TV series adaptation of Joe Hill's comic book "Locke & Key" has landed at Fox.
The network has made a series commitment to the project, which is produced by Dreamworks TV and K.O. Paper Products through the latter's deal with 20th Century Fox TV.
"Star Trek" producers Alex Kurtzman and Roberto Orci are on board to executive produce, along with Heather Kadin, Josh Friedman, Justin Falvey, Darryl Frank and Ted Adams.
Hill, the son of Stephen King, penned "Locke & Key" with artist Gabriel Rodriguez. "Locke" chronicles the Locke children as they attempt to recover from their father's murder by a deranged high school student. The family moves to Lovecraft, Massachusetts, where the youngest Locke discovers trans-formative keys hidden within its walls.
The comic debuted in 2008 and is currently in its fourth installment.
Friedman ("Terminator: The Sarah Connor Chronicles") has been tapped as the project's lead writer.
Kurtzman and Orci are launching CBS' "Hawaii Five-0" this fall, in addition to working on Fox's "Fringe."
Dušica Spasić: Snašla bih se u ,,Survajveru"
Atraktivna i uvek nasmejana voditeljka kaže da je zanat krala od najboljih, i otkriva da je ,,Survajver" jedini rijaliti-šou koji ima smisao i u kom bi se snašla
Zaštitno lice Jutarnjeg programa na RTS-u Dušica Spasić, uvek se trudi da svojim prepoznatljivim osmehom razbudi gledaoce i ulepša im dan. I dalje važi za najmlađu voditeljku, koja je već u 22. godini počela da vodi Dnevnik na nacionalnoj televiziji. Već posle prvih pojavljivanja pred kamerama, gledaoci su je nazvali srpskom verzijom Grejs Keli. Pre svega zbog lepote, a onda i odmerenosti i stila koji su iz emisije u emisiju postajali njen zaštitni znak.
http://www.pressonline.rs/sr/vesti/dzet_set_svet/story/131890/Du%C5%A1ica+Spasi%C4%87%3A+Sna%C5%A1la+bih+se+u+%E2%80%9ESurvajveru%22.html (http://www.pressonline.rs/sr/vesti/dzet_set_svet/story/131890/Du%C5%A1ica+Spasi%C4%87%3A+Sna%C5%A1la+bih+se+u+%E2%80%9ESurvajveru%22.html)
Kad nemas veliku kitu, trebas ostrog psa... Nemam mi tu logike. :(
http://www.izlesen.org/dogo-argentino-vs-puma.html (http://www.izlesen.org/dogo-argentino-vs-puma.html)
A tek ovaj zgoljo... Zivi u predgradju, kakva njemu to zastita treba?
Caucasian mountain dog (http://www.youtube.com/watch?v=mMwRGVLuq1Y#)
Mislim da vozaci kamiona sa sladoledom izbjegavaju taj dio grada. :evil:
Onaj prvi sa psima je odvratan video...fuj baš,`beni degenerici.
Zanima me cime su "omamili" tu pumu. Ni jedan pas ne moze protiv divlje zivotinje. Dakako, osim pit bulla. Pit bull moze sve! :lol:
Meni baš nije jasno zašto se ovo kači na ovaj topik. Ajde da je animal porn donekle bih i video vezu, ali ovo???
Reci Bobanu da premjesti postove na prikladnije mjesto (temu), ako ti smeta.
Ne smeta mi no ne znam na koji sam način ja povezan sa ovim.
Best Cry Ever - Slayer Edition (http://www.youtube.com/watch?v=FbNyO2eti2c#ws)
(Овај, ко не зна... Best Cry Ever (http://www.youtube.com/watch?v=ee925OTFBCA#ws) )
Quote from: Meho Krljic on 04-09-2010, 22:21:55
Ne smeta mi no ne znam na koji sam način ja povezan sa ovim.
Pa, ti si kao neki ljubitelj zivotinja. Nisam znala da svaki post na ovoj temi iziskuje tvoj komentar. Okacila sam ta dva videa jer sam mislila da bi to nekome moglo biti zanimljivo.
Ne znam koji ti problem imas sa mnom (i ne zanima me), ali daj mi se skini s vrata. Vec mi polako trgas zivce. Malo samokontrole i skrolanja goes a long way.
Good riddance!
Zašto ja u ovoj temi nevidim ceo ekran kako treba ,negro mi fali nekolicina reči?????
Evo,opet fali,pa mi greške ostaju ,.............. blammmmmmmmmmmmmm
Quote from: Plottz on 05-09-2010, 00:26:43
Zašto ja u ovoj temi nevidim ceo ekran kako treba ,negro mi fali nekolicina reči?????
Kupi veći monitor. :mrgreen:
Evo sa` ću :mrgreen: :mrgreen:ili da ga samo rastegnem čekićom sa desna sTrane a??
Ella, ja nisam uopšte primetio da imam problem sa tobom niti da sam ti se nakačio na vrat. Topik se zove "Mehmete, reaguj!" pa sam se pitao kako treba da reagujem na ove klipove, pošto mi nije bila jasna veza sa mnom.
Evo, reaguj na ovo:
Bitch Slap Trailer (http://www.youtube.com/watch?v=0izJ6KrqpQk#)
Da, hm... nisam sebe uspeo da motivišem da gledam ovaj film, najviše zato što mi pokušaj moderne reinvencije vintage eksploatacije ne deluje nikako uverljivo... Već smo se opekli sa Rodrigezima i Tarantinima...
Krekd pokazuje kako bi izgledalo kada bi magazini govorili istinu (http://www.cracked.com/photoplasty_138_if-magazines-were-forced-to-be-honest/)
Despite reports of its apparent demise, Microsoft is still hard at work developing a film spin-off of its highly successful video game franchise "Halo".
Talking with Variety, Microsoft's franchise development director Frank O'Connor says that already an "awful lot" of documentation and materials have been created to support a feature film. They also "have a good idea of what kind of story we want to tell".
Timing though is the key, and in that aspect they're not committing to a deadline - "[We] won't move on it until there's a great reason to do it. We're in no particular hurry" says O'Connor who added the film would be a standalone story rather than recreating the game's storyline.
A possible "Halo" TV series has also been discussed. During development, the likes of Stuart Beattie, Alex Garland, Josh Olson and D.B. Weiss have all had cracks at the script at one point or another.
Olivia Thirlby ("Juno") has scored the role of Cassandra Anderson in the upcoming 3D reboot of "Judge Dredd" for DNA Films reports Variety.
The character is described as a 'telepathic rookie who shadows Dredd' in this $45 million futuristic neo-noir comic book adaptation starring Karl Urban as the enforcer delivering justice to the streets of Mega-City One.
IM Global has just released an official synopsis on the eve of the Toronto Film Festival where it will be selling the film rights next week and hints that Mega City One is "the lone oasis of quasi-civilization on Cursed Earth" while Dredd "is the most feared of elite Street Judges, with the power to enforce the law, sentence offenders and execute them on the spot - if necessary." Tone wise it says this will be a return to the "dark, visceral incarnation" of the character seen in the comic.
Pete Travis ("Vantage Point," "Omagh") directs from a script by Alex Garland ("Sunshine," "28 Days Later"). Shooting kicks off in South Africa later this year.
Kakav UŽAS: (http://www.b92.net/zivot/vesti.php?yyyy=2010&mm=09&dd=10&nav_id=457726)
QuoteNesreća na radu porno zvezde
Porno zvezda Prince Yahshua slomio je penis tokom snimanja scene žestoke akcije s mladom vatrenom koleginicom.
Snimanje porno filmova uopšte nije lak posao. Zna to dobro zvezda filmova za odrasle Prince Yahshua koji je doživeo nesreću na radu. Naime, obdareni glumac slomio je penis.
Njegovi poslodavci izjavili su da je Prince doživeo nezgodu dok je snimao scenu s mladom porno glumicom Bethany Benz. Ona je sedela na Princeu leđima okrenuta njegovu licu i toekom žestoke akcije penis je ispao iz vagine i zabio se u njenu karličnu kost. Glumac je povredio uretru i karlicu, a takva se ozleda inače naziva lom penisa.
Nesretni Prince hitno je odvezen u bolnicu gdje su ga lekari operisali, a nakon nekog vremena pušten je na kućnu negu. 'Bilo je strašno. U jednom trenutku ona sedi na meni, njiše se i sve je u redu, a već u drugom trenutku iz mog penisa šiklja krv. Užasno čudan i neugodna situacija', ispričao je porno glumac medijima. Njegovo lečenje još uvek traje, a na set bi trebalo da se vrati za oko tri meseca.
Mislim, nije ovo prvi takav slučaj na svetu ali uvek čoveka prođe jeza...
Nadam se da posle ove povrede neće morati da okači svoj polni organ o klin...
Pa tvrde da će na set da se vrati posle tri meseca. Doduše, ne kažu u kojem svojstvu. Nadam se kao izvođač, a ne kao flafer... :shock:
а не као - шта? а ја мислио да се разумем у порнићарску терминологију! :cry: :lol:
Evo, ali seti se da si sam pitao:
Wikipedijin entri za pojam "Flafer" (http://en.wikipedia.org/wiki/Fluffer)
Slomio???
Ima tu ono "staklasto telo" koje se jako ošteti u ovakvim situacijama. Nije to fraktura kao kod kosti ali zvuk koji se čuje je vrlo zastrašujući, kažu kao da puca staklo.
I kako to sad ide? Dobija 100% bolovanje i još + odšteta?
Quote from: Meho Krljic on 10-09-2010, 19:12:43
Evo, ali seti se da si sam pitao:
Wikipedijin entri za pojam "Flafer" (http://en.wikipedia.org/wiki/Fluffer)
Ко ме је вукао за језик?! Питам, ко ме је вукао за језик?!! (надам се да није флафер :) )
Quote from: Plut on 10-09-2010, 22:57:46
I kako to sad ide? Dobija 100% bolovanje i još + odšteta?
Zavisi kakav mu je ugovor, kakvo mu je osiguranje itd.
Znaš kako, pornografija je realno pod velikim pritiskom države, i u principu, ona se danas kreće u legalnijim tokovima od regularne kinematografije. Uopšte ne sumnjam da je porno glumcima regulisano nekakvo osiguranje.
Quote from: Plut on 10-09-2010, 22:57:46
I kako to sad ide? Dobija 100% bolovanje i još + odšteta?
dobija i invalidsku penziju zbog gubitka radne sposobnosti.
Quote from: Alexdelarge on 11-09-2010, 00:45:35
Quote from: Plut on 10-09-2010, 22:57:46
I kako to sad ide? Dobija 100% bolovanje i još + odšteta?
dobija i invalidsku penziju zbog gubitka radne sposobnosti.
E, ako je tako, to je onda prava socijalna država.
Test kojim se objektivno dokazuje da je par konzervi ili plastičnih čaša povezanih kanapom bolji od iPhonea četvrte generacije. (http://www.zug.com/live/85693/The-iPhone-vs-Tin-Cans-Experiment.html)
Čudno da niko, pa ni Dačić nije koristio ovaj quote povodom Parade ponosa
Niko ne sme da vas bije-Slobodan Milosevic (http://www.youtube.com/watch?v=nXOUNhGjKU0#)
Intervju Alana Moorea za Bleeding Cool. (http://www.bleedingcool.com/2010/09/09/alan-moore-speaks-watchmen-2-to-adi-tantimedh/) Čovek tone sve dublje u urnebesnu paranoju, ali ima ovde šta da se pročita.
Oscar-winning screenwriter William Monahan ("The Departed," "Kingdom of Heaven") has been hired to adapt the graphic novel "Oblivion" for Disney Pictures says Deadline.
Set in an apocalyptic future where most people live high in the sky due to Earth's surface being uninhabitable, a soldier stuck on the ground goes about his job repairing hunter drones which seek out and destroy members of a savage alien race.
He soon comes upon a beautiful woman whose craft has crashed nearby and together they set out on an epic adventure.
Joseph Kosinski ("Tron: Legacy") directs the project which doesn't have a production date scheduled as yet. The box-office success of 'Tron' is believed to have a big impact on whether this project will be greenly or not.
Meni trejleri za Trona izgledaju užasno tako da ne verujem da će ovo ikada ugledati svjetlost dana.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg256.imageshack.us%2Fimg256%2F8092%2Ffijuk.jpg&hash=8133da790067b5f77aefc90442b7e2af3ee78ae0)
Fijuk!!!!!!! :? xrotaeye
Dubinska analiza ključnog momenta u prvom Star Wars koji bi sasvim izmenio ostatak istorije da nije bilo jednog anonimnog (ne sasvim, što se vidi iz komentara) pilota Tie Fightera. (http://www.cracked.com/article_18719_the-tie-fighter-pilot-who-saved-day-in-star-wars.html)
Comic artist Brendan McCarthy has claimed that Disney and Pixar are considering a CGI Doctor Strange movie.
In an interview with Bad Librarianship, the illustrator said that he discussed an adaptation of the Marvel Comic during a meeting with Disney.
"I was over in Hollywood earlier this year mooching about, and I had a meeting at Disney and the conversation drifted around to Pixar animating a Doctor Strange movie... Now, wouldn't that be nice," he told the website.
Earlier this year, Marvel commissioned McCarthy to create a new take on Doctor Strange. The finished article appeared in Spider-Man: Fever in April.
The artist also revealed that he has pitched a crossover between Vertigo's Sandman and the 'Sorcerer Supreme'.
Is Sacha Baron Cohen the new Michael Sheen? Well, no – at least not yet, though he has just locked down a deal to play a real-life personality in a film that Peter Morgan is writing, so he's on the way at least. And just who is he playing? Try Queen front man and icon Freddie Mercury.
Rumours have floated about this for a while, and it's tough to argue that Baron Cohen can't look like Freddie, because we know he can rock a 'tache. Plus he's long since proven he can go OTT, which was definitely a highlight of many Mercury performances. The big question is whether he'll be able to replicate Freddie's vocal skills, since few people can sing like that man could. Baron Cohen had to sing to audition for Sweeney Todd (though he didn't do a lot of warbling in the final film), so we know he's at least got a set of pipes.
Morgan's script will follow Queen's formative years and chart the band's rise to success, capped by their appearance at 1985's Live Aid concert. Graham King's GK Films has nabbed a rights deal that includes access to their most famous tracks, including Bohemian Rhapsody, We Are The Champions, We Will Rock you and Another One Bites The Dust.
"Queen is one of the greatest rock bands of all time, and a music brand all unto itself," King says in a statement. "Freddie Mercury was an awe-inspiring performer, so with Sacha in the starring role coupled with Peter's screenplay and the support of Queen, we have the perfect combination to tell the real story behind their success."
So what do you think? Can the man who was Borat and Bruno be Mercury? And who would you cast as the rest of Queen? Chewbacca with a perm for Brian May, anyone?
Now if you'll excuse us, we're going off to listen to the Flash Gordon soundtrack again...
James White
Paramount Pictures and Shawn Levy's 21 Laps Entertainment are teaming for a big-screen adaptation of Spike TV's original hit series "Deadliest Warrior."
The series, which just wrapped its second season, pits history's greatest warriors against one another to determine who reigns supreme. Using 21st century science, the latest in CGI technology, and the insights of world-class fighters, historians and weapons experts are combined to theorise the history and style of these combatants and then match them to see who would win.
The first two seasons included battles like Spartan vs. Ninja, Viking vs. Samurai, Pirate vs. Knight, Yakuza vs. Mafia and Comanche vs. Mongol. The storyline for the feature is being kept under wraps.
Levy ("Night at the Museum") and Dan Levine will produce and Levy may potentially direct.
Vidi šta rade tvoji nalogodavci...
http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=09&dd=17&nav_category=78&nav_id=459533 (http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=09&dd=17&nav_category=78&nav_id=459533)
So now it's official: Microsoft's first-person behemoth Halo: Reach is the year's biggest entertainment event, generating $200 million in sales in just 24 hours in the United States alone.
Halo Reach
That's two-thirds of what Call of Duty: Modern Warfare 2 took in from the North American and U.K. markets in its first day last year, but it's still a number that's nothing to sneeze at. The one-day take already eclipses the three-day opening weekends of "Iron Man 2," "Toy Story 3" and "Alice in Wonderland."
While Microsoft is doing cartwheels, though, the rest of the gaming industry is nervously shuffling its feet. Despite a number of high profile releases, it hasn't exactly been a banner year for game sales -- and the success of Reach might not help things.
The slump is due, in part, to the ongoing recession. But also deserving some of the credit is the lingering effect of Modern Warfare 2 – a game whose multiplayer component was so deep and so rich that it kept players hooked, reducing their need and desire to buy other titles.
Fatigue is finally starting to gradually set in for that game, but Halo: Reach may well pick up that mantle.
As much praise as the game's single-player campaign is getting, it's the rich multi-player mode that really has players excited. New armor abilities, new game modes and an impressive suite of creation tools have overwhelmed the Xbox Live user base with joy. And the game's matchmaking service is working like a charm so far.
That's a lot of reasons to play -- and could give buyers plenty of excuses to put off other purchases in the coming months.
"There's always a worry that a game like that can take share and cannibalize other games," says Colin Sebastian, an analyst with Lazard Capital Markets.
To add to worries, Call of Duty: Black Ops will be hitting shelves in less than two months – a one-two punch to other game developers. That could put a number of seemingly big titles on the bubble, their sales in jeopardy.
None seems in a more perilous position than EA's Medal of Honor. The battle that was shaping up between the rebooted military shooter and Call of Duty was already a tough one, but with Halo: Reach potentially impacting people's buying decisions, the game could face an even tougher challenge. (The game's controversial decision to allow players to fight as Taliban forces in multiplayer might not help, either.)
Medal of Honor is actually scheduled to hit shelves well before Black Ops, but it has been three years since the last version – and Call of Duty has become the industry's biggest seller in that time. The hope, in part, was that the Call of Duty fan base would buy Medal of Honor as a placeholder while waiting for the release of Black Ops – but they could be too busy with Reach to do so.
Meanwhile other titles like Star Wars: The Force Unleashed II, Need for Speed: Hot Pursuit and Tron: Evolution, which all would normally appeal to the same general demographic, might be overlooked entirely.
"I see Halo: Reach creating a vacuum in multiplayer," says Billy Pigeon of M2 Research. "I expect it will have an effect similar to 'Modern Warfare 2'. People will be playing online and may not buy other games."
Quote from: crippled_avenger on 18-09-2010, 12:16:20
Vidi šta rade tvoji nalogodavci...
http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=09&dd=17&nav_category=78&nav_id=459533 (http://www.b92.net/info/vesti/index.php?yyyy=2010&mm=09&dd=17&nav_category=78&nav_id=459533)
Ja sam generalno protiv braka. Ali ako ga već imamo, onda sam za gej brak. Jasno.
James Denton, Christina Hendricks and Anthony LaPaglia are lending their pipes to Warner Bros.' "All-Star Superman," the animated adaptation of one of the most acclaimed comics of the past decade.
"All-Star" is the 10th DC Comics story line to be turned into an original PG-13 movie by Warner Premiere, DC Entertainment, Warner Bros. Animation and Warner Home Video. The comic mini-series has won three Eisner Awards, two Harvey Awards and three Eagle Awards.
Written by Grant Morrison and drawn by Frank Quitely, the story begins with the Man of Steel (Denton) oversaturated by radiation during a rescue mission near the sun, accelerating the degeneration of his cells. Knowing that he has a limited time before he dies, Superman sets out on a journey that sees him revealing his secret to Lois Lane (Hendricks), giving Lex Luthor (LaPaglia) an epiphany on humanity and ensuring the safety of Earth for when he is gone.
Also in the cast are Ed Asner as Perry White and Frances Conroy as Ma Kent along with Linda Cardellini, Arnold Vosloo and Matthew Gray Gubler.
Denton_hendricks_lapaglia_341 Bruce Timm is exec producing, and Sam Liu, who helmed the DC animated film "Justice League: Crisis on Two Earths," is directing. Dwayne McDuffie, a comics scribe who also penned "Crisis on Two Earths," wrote the script.
The film is due to be released in the spring.
"All-Star Superman" is the first animated work for Denton (pictured left) and Hendricks (center), best known for their respective work on TV's "Desperate Housewives" and "Mad Men."
LaPaglia (right) was heard in "Happy Feet" and voices a character in Warner Bros.' big-budget Zach Snyder-directed toon feature "Legend of the Guardians," out next week.
- Borys Kit
Ovo me, nekako, podsetilo na Mehove textove:
http://wannabemagazine.com/seks-i-ajvar/ (http://wannabemagazine.com/seks-i-ajvar/)
Mene nije, ali nije sasvim nezabavno.
Stiv Džobs u ful nadrkanom modu: (http://buzz.yahoo.com/buzzlog/94014/the-grouchy-side-of-steve-jobs)
QuoteSteve Jobs is known for sending curt email replies to Apple customers. The latest incident: an alleged exchange between the superstar CEO and a Long Island University journalism student, who had a few questions about the Apple iPad.
According to PC Magazine, the student, Chelsea Kate Isaacs, was assigned a class project regarding the iPad's use in the classroom. Isaacs claims she phoned Apple's PR department multiple times seeking a quote. None of those calls were returned, so she did what many Apple customers have done before: She emailed the company's co-founder.
Gawker.com includes the email exchange:
"Mr. Jobs, I humbly ask why Apple is so wonderfully attentive to the needs of students, whether it be with the latest, greatest invention or the company's helpful customer service line, and yet, ironically, the Media Relations Department fails to answer any of my questions which are, as I have repeatedly told them, essential to my academic performance."Jobs:
"Our goals do not include helping you get a good grade. Sorry." Upset and surprised by the response from Jobs, Isaacs wrote again, clarifying that she just wanted a comment, not the company's help in getting a good grade. Jobs again replied, explaining that the company can't respond to everyone. "We have over 300 million users," Jobs wrote, "and we can't respond to their requests unless they involve a problem of some kind. Sorry."
Isaacs wrote back explaining that she was an Apple customer with a problem (the PR department wouldn't talk to her). Jobs's reply: "Please leave us alone."
The exchange may sound amazing to those unfamiliar with Jobs' style of email. However, it's actually on par with some of his "greatest hits." His personal email address is well known on the Web, and people have asked him before for comments. We spoke to Isaacs, who assures us that the exchange is "absolutely true." TechCrunch isn't so sure. Our call to Apple's Media Relations department wasn't immediately returned.
A website, emailsfromsteve.com, collects some of his better known missives. They're usually quick, to the point, and borderline rude. One of our personal favorites: A customer wrote to Jobs to complain about the new iTunes logo, which he believed isn't as good as the old one. Jobs's two-word reply: "We disagree."
Ma dobro, šta očekuju sad, da im Jobs kaže ono što žele da čuju? Nije mi simpatičan ali činjenica da se bavi time da ljudi imaju iluziju da im je on lično pisao već govori o jednom nekonvencionalnom CEOu.
Ma, moš misliti, tamo neka učenica navalila da dobije citat od Eplovog PR odeljenja, pa je oni kulirali pa se ona nakačila CEOu na vrat. I sad je ona "upset" jer joj je on rekao da ga ostavi na miru...
Proklete učenice :)
Učenica zaslužuje kaznu!
8-)
Spanish actor Álex González has joined the cast of "X-Men: First Class" for 20th Century Fox reports Fotogramas (via CBM) .
González will play Janos Quested a.k.a Riptide, a mutant with the ability to spin his body at incredible speeds. He can also generate calcium growth in his bones which causes spikes to protrude from his skin.
These abilities when combined together allow him to shoot his bone spikes at high enough speeds to punch through steel. Matthew Vaughn is directing the project and shooting is currently underway in the UK.
Ludilo. Riptide naravno nema nikakve veze sa First Class konceptom. U stripu, First Class pokriva kontinuitet daleko pre Uncanny X-Men stripa, a riptide se pojavio deset godina nakon što je Uncanny X-Men počeo. Doduše, filmovi ionako imaju svoj kontinuitet, pa se u ovom filmu pojavljuju i Emma Frost/ Hellfire Klub, kao i Darwin koji su svi došli u strip mnogo kasnije... Doduše, Darwin, onako kako ga je Brubaker udenuo u kontinuitet ima nekog smisla da se pojavljuje u First Class kontinuitetu...
Dobro.. u drugim novostima, sedamnaestogodišnjak nenamerno pretvorio Twiter u dispanzer japanske pornografije: (http://news.yahoo.com/s/afp/20100922/wl_asia_afp/australiausitcomputersecurityinternettwitter_20100922092602)
QuoteSYDNEY (AFP) – A 17-year-old Australian schoolboy said on Wednesday he unwittingly caused a massive hacker attack on Twitter which sent users to Japanese porn sites and took out the White House press secretary's feed.
Pearce Delphin, whose Twitter name is @zzap, admitted exposing a security flaw which was then pounced upon by hackers, affecting thousands of users and causing havoc on the microblogging site for about five hours.
Delphin, who lives with his parents in Melbourne, said he tweeted a piece of "mouseover" JavaScript code which brings up a pop-up window when the user hovers their cursor over the message.
But the idea was soon taken up by hackers who tweaked the code to redirect users to pornographic sites and create "worm" tweets that replicated every time they were read.
"I did it merely to see if it could be done ... that JavaScript really could be executed within a tweet," Delphin told AFP via email.
"At the time of posting the tweet, I had no idea it was going to take off how it did. I just hadn't even considered it."
Twitter apologised to its millions of users after the "mouseover bug" raged through the site, opening pop-up windows in Web browsers and automatically generating tweets from other accounts.
White House press secretary Robert Gibbs and Sarah Brown, wife of Britain's former prime minister Gordon Brown, were among those hit by the bug before engineers patched it up.
The "Netcraft" security website traced the malicious code back to Delphin, who said he got the idea from another user who employed a similar code to make his profile and tweets rainbow-coloured.
"After that, it seems like some of my followers realised the power of this vulnerability, and within a matter of minutes scripts had taken over my timeline," Delphin said.
The glitch was mainly used for pranks, but Delphin said it could have been used to "maliciously steal user account details".
"The problem was being able to write the code that can steal usernames and passwords while still remaining under Twitter's 140 character tweet limit," he said.
"Luckily, no one, as far as Twitter admits, actually used this to extract passwords from users."
Experts said the problem could have been exploited for more sinister purposes by hackers redirecting users to third-party websites containing malicious code, or for spam advertising.
Delphin was one of the first people in Australia to start using Twitter, back in 2006, and said the site had known about the problem for "months" but failed to patch it.
The teen is just a few weeks off graduating from high school and hopes to study law. He had not yet told his parents about the cyberstorm he'd created.
"I discovered a vulnerability, I didn't create a self-replicating worm. As far as I know, that isn't technically illegal," he said.
"Hopefully I won't get in trouble!" he added.
Twitter, which allows users to post messages of 140 characters or fewer, says it has over 145 million registered users firing off more than 90 million tweets a day.
It unveiled a major redesign of its website a week ago that is being slowly rolled out to users of the service across the globe. The company said the attack was not connected to Twitter's revamp.
Takođe: Vilijam Šetner se malko preračunao. (http://tv.yahoo.com/blog/your-dvr-doesnt-know--1568)
Blokbaster u stečaju. Ameri više ne vole da idu u videoklub po DVDjeve nego ih naručuju putem Netfliksa ili, naravno, strimuju (ili piratuju, mada, neobično, ovaj tekst to ne pominje): (http://news.yahoo.com/s/ap/20100923/ap_on_bi_ge/us_blockbuster_bankruptcy)
QuoteNEW YORK – Blockbuster Inc., once the dominant movie rental company in the U.S., filed for Chapter 11 bankruptcy protection on Thursday, reeling from mounting losses, rising debt and competitors that have better catered to Americans' changed media habits.
For now, Blockbuster will continue to operate its 3,300 U.S. stores, although analysts expect hundreds of them to close under new owners led by billionaire investor Carl Icahn. The Dallas-based company has about 25,500 employees, including 7,500 full-time workers.
The prepackaged bankruptcy case, in the works since the spring, marks the end of an era that Blockbuster and its gold-and-blue torn ticket logo helped establish. Americans used to troop to video stores on Friday for the latest movies. Now, they're skipping Blockbuster and watching movies from DVD-by-mail services like Netflix Inc., cable video on demand and Redbox vending machines.
The bankruptcy, filed in New York, will wipe out Blockbuster's badly battered stock, which was delisted from the New York Stock Exchange two months ago because it was nearly worthless.
Icahn and his group own 80 percent of top-priority Blockbuster debt, with a face value of $675 million. Under the proposed reorganization plan, they will get new stock and control of Blockbuster's board in return for forgiving the debt.
This marks the second time that Icahn has tried to turn around Blockbuster. He pushed Blockbuster to build up its DVD-by-mail service after acquiring a 10 percent stake in the company in 2005, only to see the chain get into deeper trouble.
Blockbuster's other new owners consist mostly of little-known funds that try to capitalize on the demise of companies by buying their debts for pennies on the dollar. They are: Owl Creek Asset Management, Monarch Alternative Capital, Varde Partners and Stonehill Capital Management.
All told, Blockbuster plans to reduce its debt from nearly $1 billion to about $100 million through the bankruptcy filing. The company has received commitments for $125 million in "debtor-in-possession" financing to repay customers, suppliers and employees during the reorganization. It is seeking access to $45 million right away to ensure it can pay movie studios to keep its stores stocked with DVDs.
Late Thursday, Blockbuster said the court approved a series of requests aimed at enabling the company to continue operating its business as usual, including honoring coupons, gift cards and other customer programs, paying its employees and certain pre-bankruptcy petition claims brought by movie studios.
The court also authorized the company access to up to $20 million from its "debtor in possession" financing.
"After a careful and thorough analysis, we determined that the process announced today provides the optimal path for recapitalizing our balance sheet and positioning Blockbuster for the future as we continue to transform our business model," CEO Jim Keyes said in a statement.
It's unclear whether Keyes, Blockbuster's CEO for the past three years, will remain in charge. Icahn played a role in pushing aside Keyes' predecessor, John Antioco.
Blockbuster, founded in 1985 by a Dallas software entrepreneur, was once a home entertainment powerhouse. It helped popularize videotape recorders and took off in 1987 after Waste Management Inc. founder Wayne Huizenga took control and began aggressively expanding and buying up competitors.
But Blockbuster has been losing money and market share for years as Netflix, Coinstar Inc.'s Redbox and other services gained popularity. Netflix subscribers have grown from 1 million in 2002 to 15 million in 2010. Redbox, meanwhile, operated 26,900 kiosks as of the end of June. Wedbush Securities analyst Michael Pachter predicts that number will exceed 28,000 by the end of September.
In response, Blockbuster ended late fees and started online services of its own. NCR Corp. started putting out Blockbuster-branded kiosks, and now has 6,600 of them. But it was unable to keep its debt in check.
Blockbuster already has closed more than 1,000 stores in the past two years because so many of them weren't making money.
Hollywood Video parent Movie Gallery Inc., once the second-largest U.S. movie rental chain behind Blockbuster, had similar problems. It filed for bankruptcy protection in February before liquidating in August.
Movie rentals aren't the only retail segment that has been disrupted by changing ways to consume media. Amazon.com has challenged traditional booksellers like Borders Inc. and Barnes & Noble Inc. and iTunes helped lead to the end of many record and CD stores.
Blockbuster said Thursday it plans to keep its 3,300 U.S. stores open while it evaluates them. Internet, mail and kiosk businesses will continue to operate.
Blockbuster said in its filing it had about $1 billion in assets and $1.46 billion in debt.
Blockbuster's largest creditors include the Bank of New York Mellon, Twentieth Century Fox Home Entertainment, Warner Home Video Inc., Sony Pictures Home Entertainment, The Walt Disney Co., Universal Studios Home Entertainment and other movie studios.
Ako vas je ikada zanimalo koji su moji omiljeni strip junaci, evo jubilarne DJ Meho šou kolumne (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1178&Itemid=48)
Seems Christopher Nolan and Emma Thomas are in the process of meeting with a short list of potential directors for their currently-in-development SUPERMAN project, after which they'll make a formal recommendation to Warner Bros.
The contenders are:
Tony Scott, Matt Reeves (CLOVERFIELD, LET ME IN), Jonathan Liebesman (THE KILLING ROOM, 2006's TEXAS CHAINSAW MASSACRE sequel, BATTLE: LOS ANGELES, and the forthcoming CLASH OF THE TITANS follow-up), Duncan Jones (SOURCE CODE, MOON), and Zack Snyder (WATCHMEN, the upcoming SUCKER PUNCH, 300).
All of these directors have interesting credits to say the least - each has highly distinctive qualities which significantly differentiate them from other names on 'the list'. So the question is: what kind of SUPERMAN film would each of these candidates make? An interesting topic for the Talkback below.
All per THIS scoop at Deadline.
Mehmete, evo za tebe jedna poslastica...
http://mislitemojomglavom.com/?p=1399 (http://mislitemojomglavom.com/?p=1399)
Taj Nolan je rešio da spase podžanr superherojskih filmova one brand at a time. Da vidimo...
Uzgred, kada mi sledeći put budeš slao SMS u dva posle ponoći, potrudi se da bar bude lascivan, da zavredi mog čkiljenja u mraku i čitanja nejakim očima bez naočara :lol:
A lepi su ti utisci. Meni je bilo teško da se nateram da odem na koncert benda koji za mene nikako nije bio prekretnica u životu kao za tebe (kada su oni došli u moj vidokrug, ja sam već lutao bespućima kojekakve avangarde i sranja) pa još uz svest o kašnjenju itd... Ali, zato i imamo vas mlađe da preko vas iživimo ono što naša krhka tijela više ne mogu.
Avangarda, vidiš dokle te je to dovelo...
Do ruba propasti, gde se jedino udobno osećam.
Heh. Krekd ponovo napada!!!
The 6 Most Creative Abuses of Loopholes (http://www.cracked.com/article_18753_the-6-most-creative-abuses-loopholes.html)
Ili:
6 Romantic Movie Gestures That Can Get You Prison Time (http://www.cracked.com/article_18756_6-romantic-movie-gestures-that-can-get-you-prison-time.html)
Jesam li ovo već kačio?
30 Error Messages You Never Want to See (http://www.cracked.com/photoplasty_8_30-error-messages-you-never-want-to-see_p30#30)
Evo nešto iz mog privatnog stasha. Nije work-safe
Divlji andjeli & Zana Nimani - Totalni kontakt (http://www.youtube.com/watch?v=HomXhOQxbwc#)
Srećom, sam sam u ofisu :lol:
Edit: Auh... Ovo je... pornografija.
Sinoć je Kiki otkrio punkera u sebi.
Koncert je otvorio sa "Neverna si" u aranžmanu kao Placebo, dakle potpuno kidanje. I u princiopu, ceo koncert je bio aranžiran jako, jako tvrdo, sa dva seta bubnjeva.
Međutim, dva curio momenta za tebe - "Čekaj me" od DPD odsvirana kao Blink dok još nisu otišli kod amidže Geffena.
I, najveće ludilo, kratke blastbeat deonice u "Te noći kad smo se potukli zbog nje", I shit you not. Prvo sam mislio da haluciniram. Ali, ne. Bilo je drumminga Mehmet K. style!
:lol: :lol: :lol: Kiki uvek ide korak dalje.
Moram priznati da sam bio iznenađen. Posle mi je na afterpartyju rekao "Time sam privukao mlade. To svira Green Day. Pop više ne prolazi."
Mehmet to priča godinama, niko ga ne sluša.
http://www.urbandictionary.com/define.php?term=zagreb+coffee+break (http://www.urbandictionary.com/define.php?term=zagreb+coffee+break)
:| :| :| A kad čovek malo razmisli, ovo je takoreći dečija igra za Donkey Punch, a posle mi Balkanci kao brutalni.
Mehmete, every once in a while, pojavi se film koji vrišti tvoje ime.
Evo ga ponovo, zove se JONAH HEX.
Skino sam ga juče, nosim ga sa sobom u Budimpeštu pa ćemo videti :lol:
Ovaj novi SPIDER-MAN deluje sve simpatičnije -
Dreamy 21-year-old redhead Emma Stone ("Superbad," "Zombieland," "Easy A") is about to be made an offer to play the role of Mary Jane Watson in Sony's "Spider-Man" reboot, according to Deadline Hollywood.
Perfect casting, I say!
Ema Stoun nikako nije moj tip. Ali posle Kirsten Danst, i ona je veliki korak unapred.
Jes' vala malo "kriva", al' neka.
кад год се помене Кирстен Данст увек помислим на Клер Дејнс...не знам зашто.
Darren Aronofsky is in talks to direct "X-Men Origins: Wolverine 2" for 20th Century Fox reports Vulture.
Aronofsky was interested in helming the "Superman" reboot, a project it was officially announced that Zack Snyder would be directing yesterday.
Shortly after that announcement, Aronofsky's reps began negotiations with Fox to helm the "Wolverine" sequel. Things aren't sure though as he has also been offered "Tales from the Gangster Squad" at Warner Bros. Pictures.
After several studios failed in their attempts to adapt the property several years ago, DreamWorks Pictures is having a go at getting a film based on the "Halo" video game franchise off the ground reports Vulture.
To avoid any possible legal difficulties in regards to the previous failed attempts, the studio is apparently looking into adapting some of the many novelizations set in the "Halo" universe. At this point, no writer has been hired.
Though still interested in making a movie, game owner Microsoft isn't keen on this attempt with a source close to the company saying "It's a gigantic waste of time, because [Microsoft] doesn't want anything to happen in any other media that could screw up a multi-billion dollar franchise."
The attempt comes after the hugely successful launch of the game title "Halo: Reach" which pulled in $200 million dollars on its launch day and demonstrated that interest in the franchise remains at sky high levels.
Johnny Whitworth ("CSI: Miami," "Gamer") and Idris Elba ("Rocknrolla," "The Losers") are in talks to join the superhero sequel "Ghost Rider: Spirit of Vengeance" at Sony Pictures according to Heat Vision.
Nicolas Cage will reprise his role as Johnny Blaze, a stunt motorcyclist who makes a deal with the devil and finds himself transforming into a flaming-skulled man driving a motorcycle from hell.
In this entry, Blaze is hiding out in remote Eastern Europe and struggling to repress his curse. Blaze is recruited by a sect to take on The Devil (Ciaran Hinds), who wants to take over his mortal son's body on the boy's birthday.
Elba plays an alcoholic warrior monk tasked with finding Blaze, while Whitworth plays a criminal recruited by the devil to find the boy and later becomes a demonic creature. Mark Neveldine and Brian Taylor ("Crank") are directing the film.
Avi Arad, Ari Arad, Michael De Luca and Steven Paul are producing while shooting kicks off in late November in Romania and Turkey.
Ovo za Halo sam video. Čudi me da neće da upotrebe tritment pa posle toga i skript koji je Garlandu plaćen krvavih milijun dolara. Doduše, možda ga poseduje neko drugi, ne znam ja kako to sve ide kod njih u Holivudu...
A ovo za Goust rajdera uopšte ne razumem. Strip nikada nije bio popularan, au contraire. Čak je i poslednji relaunch na jedvite jade doteran do kraja pre više od godinu dana i od tada nema Ghost Rider serijala. Prošli film je bio kataklizma kod kritike i dosta slab na boks ofisu. Mislim, OK, možda se na kraju isplatio na mišiće, ali pored toliko vrelijih IPova koje Marvel ima na raspolaganju, oni prave nastavak Ghost Ridera???? Čudi me da im ne pada na pamet da urade film po Civil War. Em je sam event bio megauspešan em je tu Millar na svom terenu, bio bi to možda najuspeliji superherojski film ikad... Mislim, skup za pravljenje, sure, ali bi bio gledaniji od Spajdermena i Betmena. Eh, što nemam dvesta milijuna dolara, znao bih šta s njima da započnem...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi146.photobucket.com%2Falbums%2Fr255%2Ffightclub2405%2Fblog%25202%2Ftumblr_kw9xhrJTXG1qzjpeko1500.jpg&hash=7a7d5fd121165eae98c736755cce87d59c348d36)
Ima li stogod bolje za stripove od CD display-a, tj, preporucujes li sta? tnx.
Nema. CDisplay 1.8 je najbolje.
U znak zahvalnosti:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi146.photobucket.com%2Falbums%2Fr255%2Ffightclub2405%2Fblog%25202%2F25.jpg&hash=0bb39a7c2574065b988e7126c61fad06c63b5ac9)
The rapidly expanding cast of 'Spider-Man' now has a villain. Sony Pictures today announced that Rhys Ifans has joined the cast of Marc Webb's Web Slinger reboot. Curiously, the filmmakers while acknowledging Ifans will play Peter Parker's adversary in the new project, they intend to keep the identify of his character a secret for as long as possible.
In a statement released by the studio, Webb noted, "What sets the Spider-Man villains apart is the complexity of their relationships with Peter Parker. Rhys' incredible ability to embody both warmth and rage makes him the ideal choice for this character."
The first three "Spider-Man" films featured everyone's friendly neighborhood superhero battling the Green Goblin (Williem Dafoe), Doctor Octopus (Alfred Molina), Sandman (Thomas Haden Church) and Venom (Topher Grace). Speculation will now run rampant over Ifans role which could be anyone from the Vulture to Electro to possibly the Goblin once again.
Ifans is best known for his role in the British romantic comedy"Notting Hill." He recently starred opposite Ben Stiller in "Greenberg," but will return to the screen in "Harry Potter and the Deathly Hallows." Andrew Garfield and Emma Stone were previously announced for the roles of Parker and Gwen Stacy.
"Spider-Man" is expected to begin production in early 2011 for its previously announced July 3, 2012 release.
Super. Ifans je meni bio do jaja kao smooth talking villain u The 51st State. Po fizionomiji rekao bih da je moguće da igra Vulturea ili Electra.
Podela je odlična!
The Wrap's Jeffrey Sneider is reporting that Rhys Ifans will play Dr. Curt Connors aka The Lizard opposite Andrew Garfield's web-crawler in Sony's 3D reboot of SPIDER-MAN (which needs an official title soon, damn it!). There are a multitude of storylines from which screenwriters James Venderbilt and Alvin Sargent have to choose, and there's no word on whether they plan to use one in particular or do a hybrid. I guess I'm partial to the '60s origin, but I've really no strong feelings here. I just want them to make a film that justifies the reboot.
Ifans is a great actor (something he proved again this year in Noah Baumbach's excellent GREENBERG). It's a shame Dylan Baker never got to play The Lizard, but I've no qualms with Ifans taking over the role.
Sneider also says that, contrary to speculation, Venom will not be in the new SPIDER-MAN.
Hmmm, dobro. Mogu da ga vidim kao Kurta. Al, moraće da mu odseku ruku...
With filming of "Mad Max: Fury Road" pushed back at least 6-12 months, rising British actor Tom Hardy's schedule has freed up and rumor has it he's already scored a plum gig - the next "Batman" film according to Deadline.
Filmmaker Chris Nolan worked with Hardy on this Summer's "Inception" and has apparently scored a lead role in Nolan's planned third "Batman" outing which is aiming to start filming around Easter.
The role itself is being kept secret and may not be a villain as many suspect. Hardy, who is still attached to 'Max' and is expected to return to it when it does get rolling, is currently at work on the McG-directed comedy "This Means War" and will also have a role in the currently filming John le Carre adaptation "Tinker, Tailor, Soldier, Spy".
http://www.jutarnji.hr/oswalt-kolle--covjek-koji-je-hrvatima-otkrio-seks/893489/ (http://www.jutarnji.hr/oswalt-kolle--covjek-koji-je-hrvatima-otkrio-seks/893489/)
Aiii... Moguće je završiti Demon's Souls u sat vremena :? :? :? :? :? (http://www.eurogamer.net/articles/2010-10-19-finish-demons-souls-in-an-hour)
http://mislitemojomglavom.com/?p=1501 (http://mislitemojomglavom.com/?p=1501)
Vracajuci se sa Marky Ramonea, prolazeci pored izloga foto radnje u Vasinoj, spazih u doticnom, medju portretima raznih neznanaca jedan topao i poznat :lol::
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi730.photobucket.com%2Falbums%2Fww303%2FGassalasca%2FDSC00207.jpg&hash=1d423333a3b60f26d6ec9858a8525354df01136f)
Dođavola, ovo su sigurno ona kompjuterska predviđanja kako će ljudi izgledati za 40 godina od trenutka slikanja...
the curious case of meho krljic ?
Malo je zapanjujuće da je stavio i mene i moju ženu (onu gospođu sa naočarima) odjednom iako se ne sećam da smo se ikada zajedno slikali kod njega. Mislim, sad razmišljam, možda i jesmo, pre nekih desetak meseci kad smo vadili nova dokumenta... Ali ja se toga ne sećam...
Vlasnik bara podvodio devojke gostima
M. Đ. | 25. 10. 2010. - 00:02h | Komentara: 228
Smederevo- Smederevska policija je u subotu uveče, posle višemesečnog praćenja, uhapsila Ljubišu Vasića (43), vlasnika varijete bara ,,Nina" u Mihajlovcu kod Smedereva, osumnjičenog za organizovanje prostitucije. U saopštenju policije navedeno je da je privedeno i osam devojaka i žena, starosti između 21 i 48 godina, za koje se sumnja da su se u ovom objektu bavile prostitucijom.
Ljubiša Vasić
Prilikom hapšenja u lokalu je nađeno i oduzeto oko pet hiljada evra, a sumnja se da je to ,,zarada" od prostitucije. Naime, u lokalu je nađena i sveska u kojoj je vođena evidencija o zaradi. Prema saznanjima ,,Blica", u proteklih šest meseci Vasić na ovaj način zaradio oko 25 hiljada evra. Nezvanično saznajemo da su cene bile od 50 evra za pola sata "boravka" u sobi sa devojkom, a druge ,,usluge" su bile skuplje. Bar je, sudeći po ciframa u svesci, bio dobro posećen.
Noćni bar "Nina" je bio zatvoren u decembru prošle godine, a Vasić sa još trojicom saradnik optužen za organozivanje prostitucije i postupak je još u toku. Tada je privedeno i devet devojaka, protiv kojih je pokrenut prekršajni postupak. I pre zatvaranja, ovaj bar bio na stranicama crne hronike. Naime, pre dve godine Ljubiša Vasić je teško povređen u pucnjavi ispred lokala. Policija je tada zbog pokušaja ubistva vlasnika bara i konobara podnela krivičnu prijavu protiv policajca iz Beograda Gorana Ristića.
Lokal ,,Nina" u Mihajlovcu
Meštani Mihajlovca rekli su za ,,Blic" da su ranije u ovom baru "radile" uglavnom devojke iz Moldavije i Rusije, a kako nezvanično saznajemo, ovoga puta su svih osam privedenih naše državljanke.
Vasić je priveden istražnom sudiji Osnovnog suda u Smederevu, dok će protiv devojaka biti podnete prekršajne prijave.
Šta ja da reagujem na ovo?? Ljubišu i ne poznajem a u tom kafiču sam bio samo jednom... na kafi... i kiseloj vodi.
треба видети слику тог Љубише Васића, стварно је урнебесан лик...са 5-6 равномерно распоређених коврџавих праменова на челу и са фацом која никако не иде уз такав опскурни стил! :lol:
Starost žena da vidiš. :)
I, da, ti ne piješ kafu.
Ovo si sigurno gledao, ali eto malo podsećanje :)
EAT DA POO POO (Full version) (http://www.youtube.com/watch?v=540lqJH3Qis#)
Urnebes. Nisam gledao.
Eto! Eto zašto parada ne sme nikad da se održi! Prvo parada a onda će javno da jedu pu-pu! Šta ja pričam sve vreme!
Ovaj gospodin ipak na početku pojašnjava da se koprofagija o kojoj govori dešava iza zatvorenih vrata i da je upravo u tome podmuklost celog koncepta. Mislim, ako već treba da daješ dete nekome da ga u školi nečemu uči valjda želiš da znaš da li taj privatno voli smeđe kolačiće, a to nikad nećemo saznati ako se ne organizuje javna manifestacija gde će korpofili moći slobodno da se prepuste svojem hobiju!!!
EXCLUSIVE: The story that's unfolded around who will direct "Deadpool," the Ryan Reynolds movie based on the Marvel antihero, has been almost as colorful as anything that appeared in the comic book itself. Robert Rodriguez was going to helm it, then he wasn't, then he was, and now he's not.
But sources familiar with the project say a new name has emerged for the director's chair, and it's an unconventional one: Adam Berg, a heretofore little-known Swedish commercial and video director.
Berg has never directed a feature before, but he gained plenty of acclaim with "Carousel," a stylish short (you can check it out below) made for Philips Electronics that won the prestigious Cannes Lions International Advertising prize. In a one-take freeze-frame, the short tells of a bank heist in a manner that evokes both "The Town" and "The Dark Knight." (Incidentally, it was a Philips-funded film, "The Gift," that provided the springboard for a different up-and-comer, "47 Ronin" director Carl Rinsch.)
Berg's work is admired both by those making "Deadpool" as well as by Reynolds, making him a top contender to land the job, say sources. The movie still has to overcome obstacles before it moves forward. But if it does, it will feature one big star — and a director who may well find himself on the way to becoming one.
— Steven Zeitchik
He's the cult rock icon who swapped LSD-dosed appearances on Top of the Pops to become a leading authority on Neolithic stone monuments.
Now the curious story of Julian Cope, former Smash Hits cover star, practising druid and great British eccentric, is set to be turned into a feature film. David Morrissey, the award-winning actor, has secured the film rights to Head On, Cope's autobiography. The book charts Cope's rise to stardom as frontman with post-punk band The Teardrop Explodes and their collapse amid egomania, debauchery and a surfeit of psychedelic drugs.
From Jim Morrison to Ian Curtis, the rock biopic genre usually tells the story of an intense young star whose life has been cut tragically short. But Cope's is the tale of a performer who in 1984 appeared naked on the cover of his album Fried, with only a giant turtle shell to cover him, and has wilfully parted company with the mainstream ever since.
Ovo za Dedpula zvuči interesantno. Mislim, SVE je bolje od Roberta Rodrigeza, to je, siguran sam, danas jasno i njegovim najvećim obožavaocima.
Ono što je pomalo smešno je da je Rajan Rejnolds baš lep čovek. A ceo Dedpulov štik je da ima neizlečiv rak koga njegov healing factor sprečava da ga ubije,ali mu je koža u stalnom raspadanju pa mu je tako lice deformisano i groteskno i zato u stripu Dedpul nosi masku čak i kada je sam kod kuće. Klasična stenlijevska melodramska tragičnost Xtremizovana pristupom F Nicieze i R Lifelda... Sumnjam da će film otići u tu stranu...
za Džulijana Koupa, super, ako je iko zaslužio biopik, on je.
Heh:
9 Video Game Easter Eggs That Took Years to Find (http://www.cracked.com/article_18801_9-video-game-easter-eggs-that-took-years-to-find.html)
Zabavno.
David Wong po običaju britko:
http://www.cracked.com/article_18817_5-reasons-future-will-be-ruled-by-b.s..html (http://www.cracked.com/article_18817_5-reasons-future-will-be-ruled-by-b.s..html)
Dobro, moram i ovo da linkujem, Sjajno je. Pominje se i Bredberi:
6 Books Everyone (Including Your English Teacher) Got Wrong (http://www.cracked.com/article_18787_6-books-everyone-including-your-english-teacher-got-wrong.html)
Heh heh, i ovo:
http://www.cracked.com/article_18757_5-things-you-wont-believe-arent-in-bible.html (http://www.cracked.com/article_18757_5-things-you-wont-believe-arent-in-bible.html)
Krekd je gej , listverse rulz :lol:
http://listverse.com/2010/10/26/10-ridiculous-cases-of-political-correctness/ (http://listverse.com/2010/10/26/10-ridiculous-cases-of-political-correctness/)
Heh.. onda... još crackeda:
7 Famous Works of Art With Bizarre Mistakes You Can't Unsee (http://www.cracked.com/article_18700_7-famous-works-art-with-bizarre-mistakes-you-cant-unsee.html)
John Carpenter ("Halloween," "The Thing") has signed on to direct a film adaptation of the comic "Darkchylde" reports STYD.
The story follows Ariel Chylde, an ordinary Southern teenager cursed to transform into the creatures from her various nightmares and act out her deepest, darkest impulses.
WETA workshop will provide the effects. The comic itself was a major sensation in the late 90's and early 2000's, scoring major acclaim and outselling many major titles.
Sony Pictures has reportedly cut its budget for the sequel "Ghost Rider: The Spirit Of Vengeance" from $135 million to a much leaner $75 million reports The Wrap.
The studio has apparently so much of its capital tied up in the "Spider-Man" reboot, "Men in Black 3" and David Fincher's "The Girl With the Dragon Tattoo" adaptation that Hyde Park Entertainment has had to step in to co-finance the project and will take international rights.
Cuts are taking place across the board of the picture, returning star Nicolas Cage's salary will reportedly take a cut from $12 million to $7 million. The first "Ghost Rider" was shot on a budget of $110 million and grossed $229 million worldwide.
Idris Elba, Ciaran Hinds and Placido Violante also star in the film which begins production shortly.
Iz straha skočio kroz prozor!
Petar V. (24) visok skoro dva metra i težak 120 kilograma povredio kičmu kada je zbog zemljotresa iskočio kroz prozor pošto mu se blokirala brava na vratima
Uplašen što mu je blokirana brava na ulaznim vratima u vreme najjačeg udara zemljotresa, Beograđanin Petar V. (24) u panici je skočio kroz prozor! Mladić visok skoro dva metra i težak 120 kilograma je van životne opasnosti, ali je povredio kičmu i zbrinut je na odeljenju ortopedije Urgentnog centra.
Petar je za Press ispričao da se nije uplašio zemljotresa, već da nije mogao da otvori vrata porodične kuće u Esad Pašinoj ulici na Voždovcu, pa je bio prinuđen da izađe kroz prozor. Usred noći je, kako objašnjava, odjednom čuo veliku buku u kući i napolju, pa je hteo što pre da napusti sobu u kojoj je spavao.
- Probudio sam se, čuo sam buku i hteo sam što pre da izađem da vidim šta se dešava. Pokušao sam da otvorim vrata, ali pošto nisam uspeo, krenuo sam da izađem kroz prozor. Međutim, okliznuo sam se i pao. Kroz taj prozor sam izašao bezbroj puta dok sam bio mali, pa mi je teško da poverujem kako sam uspeo baš sada da se okliznem. Jednostavno nisam uspeo da otvorim vrata koja i inače zaključavam jer živim u zasebnom delu kuće, ali izgleda da su se zbog zemljotresa zaglavila - priča Petar.
On je povredio lumbalni deo kičme, naprsao mu je dvanaesti kičmeni pršljen i verovatno će morati da miruje naredna tri meseca sa fiksiranom kičmom.
- Mladić je u Urgentni centar dovezen prošle noći sa manjim povredama, žalio se na bolove u lumbalnom delu kičme i imao je ogrebotine na nogama i rukama od pada - objasnio je Drago Jovanović, portparol Urgentnog centra.
Petrova majka kaže da ostali ukućani nisu čuli kada je on ispao kroz prozor, a da je doživela strašan šok kada je primetila da leži u dvorištu.
- Bukvalno se tresla cela kuća i bilo je strašno! Svi smo krenuli dole i moj suprug je kroz vrata viknuo Petru da je zemljotres i pozvao ga da izađe napolje. Ništa mu nije odgovorio, nismo ni čuli da je otvorio prozor, već samo da je lupio kapak od prozora kada je Petar pao i povukao ga. Brzo smo strčali i videli ga kako leži delom na asfaltiranoj stazi pored kuće, a delom u žbunju - prepričava Petrova majka.
Mladićev otac kaže da je celu noć proveo pored sina. Rekao nam je da Petar nije mogao da hoda u trenutku kada su ga roditelji pronašli ispod prozora, te je otac morao da ga ponese uz stepenice i unese u kuću.
- Uopšte ne znam odakle mi snaga da ga onolikog podignem. Moraće izgleda da leži tri meseca, lekari su rekli da će ga zadržati nekoliko dana da bi pratili kako se oseća, ali da će nastojati da mu fiksiraju taj deo leđa i da će uskoro moći da ide kući - rekao je Petrov otac.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fpressonline.co.rs%2Fupload%2FboxImageData%2F2010%2F10%2F3%2F122100%2F0801-Popovic-Milan-1.jpg&hash=2ca1f572d83128fd3218d7c39c979482487a0cd0)
Pa ne liči baš toliko na mene!!! A ja sam i ovako podgojen ipak znatno ispod 120 kilograma (i dva metra!!!)
Quote from: Meho Krljic on 04-11-2010, 11:49:52
Pa ne liči baš toliko na mene!!! A ja sam i ovako podgojen ipak znatno ispod 120 kilograma (i dva metra!!!)
Više liči na Ivicu Stevanovića.
Jok, ja ličim... :(
Da ja osvojim jedanaest milijuna dolara na lotu (doduše kanackih), to bi se verovatno transformisalo u Spajdermen lutke u prirodnoj veličini i predimenzionirane plazma televizore. Srećom, ima i ovakvih primera:
Nicest Canadian couple in world dole out lottery winnings (http://news.yahoo.com/s/yblog_upshot/20101104/od_yblog_upshot/nicest-canadian-couple-in-world-doles-out-lottery-winnings)
QuoteA retired Canadian couple who won $11.3 million in the lottery in July have already given it (almost) all away.
"What you've never had, you never miss," 78-year-old Violet Large explained to a local reporter.
She was undergoing chemotherapy treatment for cancer when the couple realized they'd won the jackpot in July.
"That money that we won was nothing," her tearful husband, Allen, told Patricia Brooks Arenburg of the Nova Scotia Chronicle Herald. "We have each other."
The money was a "headache," they told the paper--mainly, it brought anxiety over the prospect that "crooked people" might take advantage of them. Several people called them out of the blue to ask for money when the news first broke that they'd won the jackpot. So they began an $11 million donation spree to get rid of it and help others, the Chronicle Herald reports:
They took care of family first and then began delivering donations to the two pages' worth of groups they had decided on, including the local fire department, churches, cemeteries, the Red Cross, the Salvation Army, hospitals in Truro and Halifax, where Violet underwent her cancer treatment, and organizations that fight cancer, Alzheimer's and diabetes. The list goes on and on.
Violet told the Canadian Press that they retained about 2 percent of the money for a rainy day.
"It made us feel good," Violet told the Chronicle Herald. "And there's so much good being done with that money."
The Nova Scotia couple have been married more than 35 years and quietly saved up the money that Allen made as a welder and Violet made in retail before retiring.
"We haven't spent one cent on ourselves because we've been too busy getting everything looked after and with my health, I have to wait to get my health back to get the energy to do anything," Violet told the National Post. "We're not travelers anyway. We live in the country and we're proud of it. Money can't buy you health or happiness."
Now their neighborhood is abuzz over their good deeds.
"People who know them just know that's the type of people they are—they're just happy to have each other," local restaurant owner Lori Hingley told the Canadian Press.
The prize was in Canada dollars (roughly equal to U.S. dollars at current exchange rates).
Borivoj Grujicic feat Irena - Djavolak (2009).mp4 (http://www.youtube.com/watch?v=K9eXaRgd-N8#)
I ovo si tek sad video? :shock:
Da, žena mi ne da da slušam takve stvari po kući.
Ispravno :)
Ali zato je tu posao :D
Džaba, otkad nemam svoju kancelariju, prinuđen sam na silne kompromise. Svakih sat vremena džeza plaćam sa dva sata slušanja Garija Mura i Majka Oldfilda. Kapiram da ljudi koji gledaju moj status na last.fm ne mogu čudom da se načude.
Heh:
6 Eerily Specific World Events Predicted by Comics (http://www.cracked.com/article_18836_6-eerily-specific-world-events-predicted-by-comics.html)
Takođe:
The 5 Most Wildly Illegal Court Rulings in Movie History (http://www.cracked.com/article_18815_the-5-most-wildly-illegal-court-rulings-in-movie-history.html)
Erm... nisam znao gde drugde da okacim.
Hladna braca - Ljubi me na Ibici (1985) (http://www.youtube.com/watch?v=-KeZTZa5Nno#)
Mehmete, ovako se ponaša pravi bubnjar:
MILIĆ VUKAŠINOVIĆ ŽIVI U IZNAJMLJENOM STANU S 20 GODINA MLAĐOM DJEVOJKOM KOJU JE SMUVAO NA FEJSBUKU
Finansijske probleme kompenzujemo ogromnom količinom seksa
Ja sam virtuoz virtuelnog seksa na Fejsbuku. Žene zavodim intelektualnom snagom i unutrašnjom energijom i ne vidim ništa loše u tome, kaže kontroverzni roker
Kontroverzni roker Milić Vukašinović ne prestaje da šokira javnost... Nakon što je najavio autobiografiju "Seksualno-nemoralan tip", ponovo se našao na naslovnim stranama kada je njegova nevjenčana supruga Planinka Rajković otkrila da je virtuelno vara s djevojkom koja je 1990. godište... Supruga ga je izbacila iz stana, a zatim angažovala advokate, i Milića prijavila policiji, tvrdeći da je pedofil.
Policija je rokeru oduzela kompjuter kako bi provjerila navode njegove supruge...
-Moja bivša supruga je isfrustrirana i bolesna osoba! Ona nema problem sa mnom već je njen problem u njenoj glavi i prošlom životu. Naime, njenu majku je zbog mlađe žene ostavio suprug kad je Planinka bila mala... Planinku je bivši suprug takođe ostavio zbog mlađe i ona sada ima strašan problem u glavi kad u blizini namiriše mladu i lijepu ženu. Dugo sam pokušavao da u njoj ubijem ljubomoru ... Čak je bila prva žena koju nikad nijesam prevario u fizičkom smislu. Ali, njena ljubomora je iz dana u dan bivala sve veća i ja to više nijesam mogao kontrolisati, a ni ona sama. Počela je krišom da gleda moj profil na Fejsbuku... Bez obzira na to što su ljudi u braku, svako ima pravo na intimu i ja sam svoj intimni trenutak našao na Fejsbuku, dopisujući se s djevojkom koja mi tada nije pomenula da je 1990. godište, kaže Milić u razgovoru za ''Reviju D''.
Milić tvrdi da nije uradio ništa protivzakonito...
-Nemam šta da krijem. Imao sam virtuelni seks s tom curom, ne znajući njene prave godine. Pa ko od nas zna s kime se dopisuje, toliko je lažnih profila?! Ta djevojka se predstavila kao nevjerovatno iskusna i vatrena. Bila je prava boginja seksualnih fantazija. Napaljivala me je, bilo je sjajno, trajalo danima, iskren je roker.
Svjestan da mu je ovo iskustvo donijelo samo nevolje, Milić se, ipak, raduje i kaže da je iz svega izašao vrlo srećan i da će tek sada, nakon što je ovaj događaj uzburkao javnost, njegova knjiga i novi CD biti razgrabljeni...
-Seksualno sam hiperaktivan i non-stop naložen, a Suzana je poput mene. Trenutno imamo velikih finansijskih problema, koje kompenzujemo ogromnom količinom ljubavi i seksa u kom svakodnevno obostrano uživamo. Živimo u iznajmljenom stanu i nije lako platiti sve režije. Suzana je, kad smo se upoznali, bila zaposlena, ali je zbog našeg odnosa na Fejsbuku izgubila i posao. Bilo je nemoguće voditi ljubav putem društvene mreže do sedam ujutru, a onda otići na posao i raditi. Iako je bila iscrpljena, to je nije sprečavalo da održimo taj vid kontakta do susreta o kom smo oboje maštali. Doduše, svejedno bi morala da napusti taj posao, jer je živjela u Smederevu, objašnjava Milić.
Uvjeren je da je našao ženu svog života...
-Počeo sam da živim s njom, iako sam se, nakon nemilog događaja s Planinkom, zarekao da nikad više neću živjeti ni sa jednom ženom. Međutim, dogodila mi se Suzana, kojoj tepam Su, i sve je palo u vodu. Ona mi je prva poslala pozdrav na Fejsbuku, nakon čega smo uspostavili kontakt. Kad smo postali intimni, slali smo jedno drugome naše slike i maštali da budemo zajedno. Sa Suzanom sam osjetio nešto što se ne doživljava svaki dan. Naime, vodili smo ljubav SMS porukama u kojima smo opisivali šta bismo radili u krevetu. E, to je prava ljubav, kad možeš da imaš seks s nekim putem mobilnog telfona i da doživiš orgazam. Prvi put sam našao ženu koja ima isti seksualni senzibilitet kao ja, kaže Milić.
Roker je ludo zaljubljen, ali još ne razmišlja o braku...
-Ne razmišljam o braku dok Su ne riješi probleme s mužem koji je maltretirao. Njena dva sina ostala su da žive s ocem, jer su se tako dogovorili sa Suzanom, a ona se pokupila i došla kod mene. Su kaže da sam ostvarenje njenog sna, a nerijetko pominje i da bi voljela da se uda za mene. Nijesam isključiv, ali smatram da prvo treba da riješi porodične probleme sa svojim mužem, pa o tom – potom... Činim sve da se pored mene osjeća kao kraljica i ne smeta joj što sam zavisnik od seksa. Sigurna je u moju ljubav i nije ljubomorna na druge žene, priča roker.
Vukašinović kaže da je nevjenčanu suprugu Planinku zauvijek izbrisao iz života...
-Iste noći kad me je izbacila iz stana zbog navodne pedofilije napio sam se i izbrisao je iz života. Ta gospođa više ne postoji za mene! Delete! Zbog nje mi još nijesu vratili kompjuter koji su mi zaplijenili, iako su mi potvrdili da nema nikakvih dokaza protiv mene da sam pedofil. Čitav moj život je u tom kompjuteru, hendikepiran sam bez njega, ogorčen je Milić Vukašinović.
Sanda Rakočević
Vodio bih ljubav s Vendi
Milić je ubijeđen da nekome s ''Pinka'' ne odgovara da on uđe na ,,Farmu"...
-Ne daju mi da uđem na ,,Farmu" zato što znaju da ću biti dominantan i da ću pobijediti. Neko iz produkcije me mrzi i ne dozvoljava mi da učestvujem! Kad bih ušao, sigurno bi bilo seksa i gledaoci bi uživali, jer to žele da gledaju. Jedino bih s Vendi bih imao seks, kaže Milić.
Znala je moje seksualne apetite
-Planinka je trebalo da zna da je do ovoga moralo doći. Ona me poznaje u dušu, znala je da imam jako izražene seksualne apetite i da je s godinama sve manje mogla da me prati. Čak je došlo do toga da sam poceo da se samozadovoljavam... Bilo je pitanje dana kad će se naš brak raspasti, a ona to nije željela, objašnjava Milić razloge za krah 13-godišnjeg života u vanbračnoj zajednici s Planinkom.
Nije frajer onaj koji spava s bezbroj krapova
Vukašinović smatra da biti mačo tip ne podrazumijeva muškarca koji se daje svakoj koja naleti...
-Pravi frajer je onaj koji nađe pravu ribu, jednu jedinu, i uživa u svemu s njom, a ne onaj koji spava s bezbroj krapova. Ja sam virtuoz virtuelnog seksa na Fejsbuku. Žene zavodim intelektualnom snagom i unutrašnjom energijom i ne vidim ništa loše u tome... U tome je snaga stvarnog osvajača ženskih srca, kaže kontroverzni roker.
Haha :)
Potpisivao je autograme nekoj deci na sajmu knjiga :D
Enivej:
QuoteShe has flowing hair, smooth skin, languid eyes, and she's completely naked. Are we discussing here a star of one of the approximately four hundred thousand single-, double-, and triple-X-rated films out there, or one of the approximately four hundred thousand different "My Little Ponies" they flooded toy stores with in the Eighties?
That's what we're here to find out. Below is a list of names. Each name belongs to either a porn star, or a My Little Pony. Your job is to try and tell the fornicator from the latter. Supine or equine? New Wave Hookers or new-agey hoofers? You make the call.
http://www.brunching.com/pornorpony.html (http://www.brunching.com/pornorpony.html)
2 tačna od 12. Jbg, čeri-pikovali su pitanja. Ako biraš suprotno od zdravog razuma veće su šanse za boljim rezultatom.
Supruga je, verovatno, odusevljena. Hocemo recenziju. :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.thepoke.co.uk%2Fwp-content%2Fuploads%2F2010%2F11%2Firon.jpg&hash=316852c42d98244e1cde2a6cfcf7d05c6b0f28cc)
:lol: Dobro je znati da ostaci Infinity Warda u Activisionu dobijaju zadatke u skladu sa kapacitetima.
Nego, evo nešto kinki:
25 Sexy Videogame Secrets (http://www.ugo.com/games/25-sexy-video-game-secrets)
Neke od njih uopšte nisu "secrets" ali opet, slatko.
Правда за Дримвеб!
0:26
Dreamweb Longplay PC-CD ROM Part 5 (http://www.youtube.com/watch?v=siYulJ6_CPE#)
Upravo sam imao vrlo stresan conference call pa se malo opuštam uz gledanje svetskog rekordera u prelaženju igre Contra 3:
http://speeddemosarchive.com/Contra3.html (http://speeddemosarchive.com/Contra3.html)
Da čovek zaplače.
Jel se sećaš kad sam ti pričao o ovoj ideji, da se uradi kao animirani film/ walkthrough?
GTA YUGOSLAVIA (http://www.youtube.com/watch?v=oAe1Rad-5js#)
Kakvi jugonostalgičari. Garantovano Bosanci!!!
:lol: :lol: :lol:
mislim da se moj prvi susret s beogradjanima desio na moru na ekskurziji, mi smo bili 8. a oni valjda 4. osnovne. i prilazi mi jedno dete, presladak je bio i kaze: - znas li zasto bosanac nosi merdevine u prodavnicu?
ja: - pojma nemam.
dete: - zato sto su visoke cene.
mal nisam umrla od smeha. :lol:
8. razred, znači imala si već 17 godina... :)
ваљда 14-15 година?
Da, ali ubosni je bila jača inflacija. Pa si imao više godina u osmom razredu.
REČNIK TEORIJE VIDEO IGARA
http://polja.eunet.rs/polja465/465-14.pdf (http://polja.eunet.rs/polja465/465-14.pdf)
NARATIV, IGRE I TEORIJE
http://polja.eunet.rs/polja465/465-10.pdf (http://polja.eunet.rs/polja465/465-10.pdf)
PERFORMANS BEZ OGRANIČENJA
http://polja.eunet.rs/polja465/465-9.pdf (http://polja.eunet.rs/polja465/465-9.pdf)
IGRANJE REPREZENTATIVNOM MAŠINOM
http://polja.eunet.rs/polja465/465-11.pdf (http://polja.eunet.rs/polja465/465-11.pdf)
JESU LI IGRE UMETNOST?
http://polja.eunet.rs/polja465/465-12.pdf (http://polja.eunet.rs/polja465/465-12.pdf)
MOGUĆI/POTREBAN RAZVOJ DRAMATURGIJE –
,,GENERALNE LINIJE" PRIČE KOMPJUTERSKE IGRE
http://polja.eunet.rs/polja465/465-13.pdf (http://polja.eunet.rs/polja465/465-13.pdf)
Uau?? Nisam ni znao da ovo ima na Srbskom. Hvala!!
Baš vala... šta se desilo sa Poljima? :D Odobravam, šta god da je!
http://english.pravda.ru/photo/album/extreme_bodybuilders-2103/ (http://english.pravda.ru/photo/album/extreme_bodybuilders-2103/)
Quote from: Alexdelarge on 14-11-2010, 13:00:14
JESU LI IGRE UMETNOST?
http://polja.eunet.rs/polja465/465-12.pdf (http://polja.eunet.rs/polja465/465-12.pdf)
premotam na zaključak da vidim do čega je došao:
Quote from: aron smutsmax payne i halo su dve najbolje do sada kreirane igre
eh. ali lepo što ovo ima na srpskom.
takođe, prevodilac se nije dogovorio sa sobom jesu li "igre" ili "igrice", bilo da tekst priča o pakmanu ili o moderno warfarolikim blokbasterima.
Sve su to igrice.
Prevodilac je očigledno ovo radio zbog para a ne iz ljubavi.
http://www.cracked.com/article_18811_5-real-macgyvers-who-won-battles-with-improvised-weapons.html (http://www.cracked.com/article_18811_5-real-macgyvers-who-won-battles-with-improvised-weapons.html)
Moćno.
E, ovo je već vredna studija:
The Biggest Star Wars Plot Hole, Explained By Science (http://www.cracked.com/article_18858_the-biggest-star-wars-plot-hole-explained-by-science.html)
Aiiiiiiiiiiiiiii (http://www.cracked.com/article_17626_5-creepiest-sex-scenes-in-comics.html)
Quote from: Alexdelarge on 14-11-2010, 13:00:14
JESU LI IGRE UMETNOST?
http://polja.eunet.rs/polja465/465-12.pdf (http://polja.eunet.rs/polja465/465-12.pdf)
MOGUĆI/POTREBAN RAZVOJ DRAMATURGIJE –
,,GENERALNE LINIJE" PRIČE KOMPJUTERSKE IGRE
http://polja.eunet.rs/polja465/465-13.pdf (http://polja.eunet.rs/polja465/465-13.pdf)
Ah. Evo nečeg što me je nateralo da se pojavim! :lol:
Nemam sad vremena da čitam detaljno, ali ovih dana...
Gerard Butler and director Antoine Fuqua are in talks to join the comic adaptation "Afterburn" for Relativity Media reports Deadline.
The story is set a year after a solar flare has scorched half the surface of the planet and treasure hunters return to the dead lands to retrieve anything of value that survived.
Paul Ens and Scott Chitwood penned the comic and scribes Matt Johnson ("Into the Blue") and Christian Gudegast ("A Man Apart") will adapt. Neal Moritz, Tobey Maguire, Toby Jaffe and Jenno Topping will produce.
Još malo krekda pre nego zapalim na aerodrom:
http://www.cracked.com/article/241_5-animals-that-can-do-amazing-things-...-with-their-penises/ (http://www.cracked.com/article/241_5-animals-that-can-do-amazing-things-...-with-their-penises/)
http://www.cracked.com/blog/8-animals-with-superpowers/ (http://www.cracked.com/blog/8-animals-with-superpowers/)
http://www.cracked.com/article_18837_7-superpowered-animal-senses-you-wont-believe-are-possible.html (http://www.cracked.com/article_18837_7-superpowered-animal-senses-you-wont-believe-are-possible.html)
Nije da samo Andjelcic voli mace. Evo, Meho, da se ne osjetis zapostavljenim... :lol:
いろいろな小さ過ぎる箱とねこ。-Many too small boxes and Maru.- (http://www.youtube.com/watch?v=2XID_W4neJo#ws)
Znam, moja žena je potpuno opsednuta ovom mačkom, stalno me zove da gledamo njene podvige na JuTjubu :lol: :lol:
Grozni ljudi. Držao bih ih dva dana u prostoriji bez WC-a, pa bih im dao oštru šolju, tanku šolju, visoku šolju...
Bilo bi još smešnije...
Quote from: Mica Milovanovic on 20-11-2010, 11:17:54
Grozni ljudi. Držao bih ih dva dana u prostoriji bez WC-a, pa bih im dao oštru šolju, tanku šolju, visoku šolju...
Bilo bi još smešnije...
Zvuči jako zabavno. :mrgreen:
Eh...
The 4 Most Important Things to Know as a Gamer Parent (http://www.cracked.com/article_18819_the-4-most-important-things-to-know-as-gamer-parent.html)
Negde ispod naslaga poluformiranih teza i nesmešnih šala, ovde se nalazi dobar tekst koji ne uspeva da izađe. Ali je dobro videti da John Cheese ipak nešto novo piše. Taj čovek je napisao neke od najduhovitijih stvari od kada je izmišljen jezik.
Oh, evo još jednog njegovog novog teksta:
http://www.cracked.com/article_18855_7-impractical-rock-star-fashions-we-wish-had-caught-on.html (http://www.cracked.com/article_18855_7-impractical-rock-star-fashions-we-wish-had-caught-on.html)
I ovaj je smešniji!!!
Ovo je moglo da ide i na Crippled Corner jer je tu i Tajson i Bili Korgan. Skeri!!! Da ne pominjem Ajs Tija koji tvituje o igrama...
http://www.cracked.com/article_18854_the-5-most-shocking-celebrity-twitter-feeds.html (http://www.cracked.com/article_18854_the-5-most-shocking-celebrity-twitter-feeds.html)
Ne znam gde ovo da turim, ali mislim da je pravo mesto.
Sin i snaja se sele i imaju gomilu odeće, pretežno za decu, koju ne bi da ostave kraj kontejnera. Šta bi uradio Crveni Krst? Molim odgovor.
Zvecanska?
Najpametnije je da kontaktiraju opštinski CK na njihovoj opštini. Ako mi napišeš koja je opština daću ti kontakt detalje (koji verovatno imaju i na Internetu...) Ako se ispostavi da je opštinski CK u toj opštini neki vlrjav, mogu da odu i u bilo koji drugi. U principu, u nacionalni CK ne vredi nositi jer se oni bave administrativnijim stvarima...
(Inače, problem je što mnogi hoće da doniraju odeću ali kad je donesu ispostavi se da je jako prljava i da bi CK trebalo sam da podnese troškove hemijskog čišćenja, što većina opštinskih ogranaka ne može finansijski da podnese, pa je ponegde praksa da se donese potvrda da je odeća hemijski očišćena... ali ne tvrdim da to svi opštinski ogranci CK traže.)
U SAD pretpostavljaju da kad neko donira odeću ili obuću, onda vodi računa šta donira. Naravno, sve ide još jednom na hemijsko čišćenje. Ne znam koliko sam puta išao sa ćerkom, postoje kontejneri, na nekoliko mesta, i samo se spusti u njih. Zbog brljavljenja opštinskih CK ljudi i ne doniraju odeću. Spuste kraj kontejnera za đubre i nek' nosi ko hoće. Nacionalni CK bi mogao da se pozabavi i sopstvenom efikasnošću, jer ogromne količine dobrih stvari, preko lokalnih kontejner čitača, završi na buvljaku. Tako, svojevremeno, mal' nisam kupio sopstvenu SmithCorona pisaću mašunu, koju sam dan ranije "spustio" kraj kontejnera.
A je li Mehmete, kad uzimate organe, onda ne pitate? :)
Quote from: scallop on 23-11-2010, 14:20:52
U SAD pretpostavljaju da kad neko donira odeću ili obuću, onda vodi računa šta donira.
Pa znam, ali da upotrebim kolokvijalnu uzrečicu, znaš ti gde su oni a gde smo mi?
Quote from: scallop on 23-11-2010, 14:20:52
Naravno, sve ide još jednom na hemijsko čišćenje.
E, ali to je ključna razlika. U ovoj zemlji većina opštinskih Crvenih krstova naprosto nema novca da to radi. Da se razumemo, najvećma je to jer nisu baš vični biznis menadžmentu, ali rezultat je da im se ne isplati da uopšte razmišljaju o tome jer ne bi imali para da plate osnovne troškove rada organizacije.
Quote from: scallop on 23-11-2010, 14:20:52Zbog brljavljenja opštinskih CK ljudi i ne doniraju odeću. Spuste kraj kontejnera za đubre i nek' nosi ko hoće.
Jasno. Kako već rekoh, većina menadžmenta u Crvenom krstu ovde nije preterano... business savvy, da tako kažem. Ako je za utehu, dobar broj CK/CP menadžmenta širom sveta takođe nije preterano business savvy. Ima dosta razloga za to a možda najosnovniji je što CK/CP i dalje u velikoj meri ima ulogu pre svega kao agencija koja odgovara u hitnim situacijama a u njima novca najčešće ima mnogo u opticaju, rukovanje istim je haotično sa svih strana i ni ne očekuje se velika efikasnost u menadžmentu ili veliko iskorišćenje uloženih sredstava. Mislim, u tim situacijama važe da tako kažem, humanitarna pravila ekonomije, ne uobičajena... E, onda se to pretače i u svakodnevni rad CK/CP i rezultat je da ne pričamo o baš najsposobnijoj organizaciji u smislu poslovne efikasnosti ili planiranja. Naravno, sama činjenica da ta organizacija MENE plaća da išta radim je dovoljan dokaz.
Quote from: scallop on 23-11-2010, 14:20:52Nacionalni CK bi mogao da se pozabavi i sopstvenom efikasnošću, jer ogromne količine dobrih stvari, preko lokalnih kontejner čitača, završi na buvljaku. Tako, svojevremeno, mal' nisam kupio sopstvenu SmithCorona pisaću mašunu, koju sam dan ranije "spustio" kraj kontejnera.
Da, svakako. Da ne bude zabune, nacionalni CK je efikasniji i sposobniji od većine svojih lokalnih ogranaka, ali u načelu i dalje ne preterano efikasan. S druge strane, kad ih uporediš sa drugim humanitarnim agencijama, ne odskaču oni uopšte kao negativan egzemplar menadžmenta. Naprosto, opet je humanitarna ekonomija nešto što nije isto što i obična i ne važe ista merila. Mislim, ne pričam ovo da bih sad nekog pravdao, nego je takvo stanje stvari...
Quote from: crippled_avenger on 23-11-2010, 14:26:33
A je li Mehmete, kad uzimate organe, onda ne pitate? :)
Crveni križ i Polumjesec se time ne bave. Ako neko hoće da ih da sam od sebe, možemo da se dogovorimo, ali posle radnog vremena.
ja sam čuo da se bavite. :)
Lies and slander.
Nema strašno. Ja sam samo mislio da možda imaš neki pametan predlog.
:cry: ovo je najpametniji.
Malin Akerman has replaced Lindsay Lohan in the role of Linda Lovelace in Matthew Wilder's "Inferno" reports The Hollywood Reporter.
Based on 1980's "Ordeal: An Autobiography", the story follows how Lovelace became a household name in 1972 due to the massive success of porn film "Deep Throat".
She later renounced her pornography career, alleging it had been forced upon by her sadistic husband. She subsequently became a staunch anti-pornography advocate which she remained until her death in a traffic accident in 2002.
Lohan's involvement was announced earlier this year and Wilder, who directs from his own screenplay, stuck by his star throughout much of her media troubles. Only recently though, the sheer impossibility of insuring Lohan has forced him to seek another actress.
Shooting kicks off in February.
Pa, dobro... nisam je volio u Watchmenu, ali u tom filmu je malo toga bilo da se voli. Možda zablista kao LL. Tu priču treba lepo ispričati.
Najsvetlija tačka filma Watchmen su Malinine grudi.
Moglo bi se reći da su najsvetlije tačke tog filma njene bradavice, ako bismo hteli da ispadnemo vickasti.
E, kad se setim šta sam slušao kad sam bio mlad, i onda pogledam DušMana...
Svarog-War( Is Within ) (http://www.youtube.com/watch?v=KUKxLlEnEe0#)
Stvarno.
Taj Svarog je bio takav munze konza da se i danas žderem što su tako malo toga napravili. Ali slušam ih rado.
7 Movie Badasses (Who Completely Fail To Deliver) (http://www.cracked.com/article_18851_7-movie-badasses-who-completely-fail-to-deliver.html)
Sjajan bend.
Plus je bubnjar brat Simeona Vilovskog, kontroverznog monaha. :) Beat that!
Pa i Šola se posle zamonašio. Ma genijalan bend.
Nego, pošto nemamo topik "Zašto mrzim Apple i sve što predstavljaju", moram ovo da kačim ovde:
The 15 completely useless iPhone Apps (http://www.cracked.com/article_16796_the-15-most-completely-useless-iphone-apps.html)
Naravno, ovde je Apple kriv tek kao neko ko omogućava ovakve bedastoće, ali zbog toga ih samo još više mrzim.
Slazem se. Meni su oni kad sam bio klinac bili ne samo omiljeni bend nego potpuno fascinantna pojava na sceni. Mislim, okej, to mocno izgleda i danas ali zamisli kako je kad imas 12 godina. Ako je ista odavde moglo otici napolje, to je Svarog. Mislim, okej, u pauzi Bad Brainsa mogao je i Eyesburn ali Svarog je jedan...
Šola je oženjen,živi na Karaburmi,ima dvoje lepe zdrave dece(nije monah nit` je bio).
Prokletnik, sve nas je prevario tim lažnim zamonašenjem.
No, nek je samo bre živ i zdrav. Dosta jedan monah u porodici. :lol: Hvala na informaciji.
meni je Trial song uvek bio favorit:
Svarog - Trial Song Live@Dom Omladine (http://www.youtube.com/watch?v=vLTy2VZTICM#)
Pošto je jako vukao na Godflesh, naravno.
Mada je i NRTB genijalna
Svarog-No Right To Breathe (http://www.youtube.com/watch?v=WcbjWwjAf3I#)
Šteta što izgleda JuTjub nema Never Follow. Ta je ubijala.
TRIAL se beše svira u GETU, jel tako?
Tu su ih baš uslikali sjajno. Izgledali su kao sa MTVa i to da ne znaš jel HEADBANGER'S BALL ili ALTERNATIVE NATION.
Nisam nikad gledao Geto iako sam u njegovom snimanju učestvovao :lol:
Ima da se skine sa RS, narezacu ti...
Mračna su vremena bila,mračno dobar bend!
Već smo neđe to pisali...SMORE CORE
Quote from: crippled_avenger on 26-11-2010, 20:53:30
Ima da se skine sa RS, narezacu ti...
Ma znam da ima, nego me nikada nije interesovalo. A i uvek me je bolela ta kombinacija tela i lica Čavketa a glasa i izražavanja Miška Bilbije. U naše vreme su i za manje od toga vodili pred zid.
Quote from: Plottz on 26-11-2010, 20:57:50
Mračna su vremena bila,mračno dobar bend!
Već smo neđe to pisali...SMORE CORE
Jeste, šteta što su tako kratko opstojali. Ali Boško je rešio da okrene novi list u životu (i okrenuo ga je... malo je ljudi koji su se tako temeljno reinventovali kao on :lol: ), a iako je Svarog i bez njega održao barem jedan izvrstan koncert (na Akademiji, 1996. godine), nije se moglo dalje, izgleda.
Ja imam čak i neki Đurin singl posle Stvaroga:MINIMUN,čist HC.
Da, Minimum je dobar, šteta što je i to manje-više batalio.
C O N F I D E N T I A L SECTION 01 OF 05 MOSCOW 009533
SIPDIS
SIPDIS
E.O. 12958: DECL: 08/30/2016
TAGS: PGOV ECON PINR RS
SUBJECT: A CAUCASUS WEDDING
Classified By: Deputy Chief of Mission Daniel A. Russell. Reason 1.4 (
b, d)
Summary
-------
¶1. (C) Weddings are elaborate in Dagestan, the largest
autonomy in the North Caucasus. On August 22 we attended a
wedding in Makhachkala, Dagestan's capital: Duma member and
Dagestan Oil Company chief Gadzhi Makhachev's son married a
classmate. The lavish display and heavy drinking concealed
the deadly serious North Caucasus politics of land,
ethnicity, clan, and alliance. The guest list spanned the
Caucasus power structure -- guest starring Chechen leader
Ramzan Kadyrov -- and underlined just how personal the
region's politics can be. End Summary.
¶2. (C) Dagestani weddings are serious business: a forum for
showing respect, fealty and alliance among families; the
bride and groom themselves are little more than showpieces.
Weddings take place in discrete parts over three days. On
the first day the groom's family and the bride's family
simultaneously hold separate receptions. During the
receptions the groom leads a delegation to the bride's
reception and escorts her back to his own reception, at which
point she formally becomes a member of the groom's family,
forsaking her old family and clan. The next day, the groom's
parents hold another reception, this time for the bride's
family and friends, who can "inspect" the family they have
given their daughter to. On the third day, the bride's
family holds a reception for the groom's parents and family.
Father of the Groom
-------------------
¶3. (C) On August 22, Gadzhi Makhachev married off his 19
year-old son Dalgat to Aida Sharipova. The wedding in
Makhachkala, which we attended, was a microcosm of the social
and political relations of the North Caucasus, beginning with
Gadzhi's own biography. Gadzhi started off as an Avar clan
leader. Enver Kisriyev, the leading scholar of Dagestani
society, told us that as Soviet power receded from Dagestan
in the late 1980s, the complex society fell back to its
pre-Russian structure. The basic structural unit is the
monoethnic "jamaat," in this usage best translated as
"canton" or "commune." The ethnic groups themselves are a
Russian construct: faced with hundreds of jamaats, the 19th
century Russian conquerors lumped cantons speaking related
dialects together and called them "Avar," "Dargin," etc. to
reduce the number of "nationalities" in Dagestan to 38. Ever
since then, jamaats within each ethnic group have been
competing with one another to lead the ethnic group. This
competition is especially marked among the Avars, the largest
nationality in Dagestan.
¶4. (C) As Russian power faded, each canton fielded a militia
to defend its people both in the mountains and the capital
Makhachkala. Gadzhi became the leader from his home canton
of Burtunay, in Kazbek Rayon. He later asserted pan-Avar
ambitions, founding the Imam Shamil Popular Front -- named
after the great Avar leader of mountaineer resistance to the
Russians -- to promote the interests of the Avars and of
Burtunay's role within the ethnic group. Among his exploits
was a role in the military defense of Dagestan against the
1999 invasion from Chechnya by Shamil Basayev and al-Khattab,
and his political defense of Avar villages under pressure in
Chechnya, Georgia and Azerbaijan.
¶5. (C) Gadzhi has cashed in the social capital he made from
nationalism, translating it into financial and political
capital -- as head of Dagestan's state oil company and as the
single-mandate representative for Makhachkala in Russia's
State Duma. His dealings in the oil business -- including
close cooperation with U.S. firms -- have left him well off
enough to afford luxurious houses in Makhachkala, Kaspiysk,
Moscow, Paris and San Diego; and a large collection of luxury
automobiles, including the Rolls Royce Silver Phantom in
which Dalgat fetched Aida from her parents' reception.
(Gadzhi gave us a lift in the Rolls once in Moscow, but the
legroom was somewhat constricted by the presence of a
Kalashnikov carbine at our feet. Gadzhi has survived
numerous assassination attempts, as have most of the
still-living leaders of Dagestan. In Dagestan he always
travels in an armored BMW with one, sometimes two follow cars
full of uniformed armed guards.)
¶6. (C) Gadzhi has gone beyond his Avar base, pursuing a
multi-ethnic cadre policy to develop a network of loyalists.
He has sent Dagestani youths, including his sons, to a
military type high school near San Diego (we met one
graduate, a Jewish boy from Derbent now studying at San Diego
state. He has no plans to enter the Russian military).
MOSCOW 00009533 002 OF 005
Gadzhi's multi-ethnic reach illustrates what the editor of
the Dagestani paper "Chernovik" told us: that in the last
few years the development of inter-ethnic business clans has
eroded traditional jamaat loyalties.
¶7. (C) But the Avar symbolism is still strong. Gadzhi's
brother, an artist from St. Petersburg, ordered as a wedding
gift a life-sized statue of Imam Shamil. Shamil is the
iconic national symbol, despite his stern and inflexible
character (portrayed in Tolstoy's "Hadji-Murat" as the
mountaineers' tyrannical counterpart to the absolutist Tsar).
Connection with Shamil makes for nobility among Avars today.
Gadzhi often mentions that he is a descendant on his
mother's side of Gair-Bek, one of Shamil's deputies.
The Day Before
--------------
¶8. (C) Gadzhi's Kaspiysk summer house is an enormous
structure on the shore of the Caspian, essentially a huge
circular reception room -- much like a large restaurant --
attached to a 40-meter high green airport tower on columns,
accessible only by elevator, with a couple of bedrooms, a
reception room, and a grotto whose glass floor was the roof
of a huge fish tank. The heavily guarded compound also
boasts a second house, outbuildings, a tennis court, and two
piers out into the Caspian, one rigged with block and tackle
for launching jet skis. The house filled up with visitors
from all over the Caucasus during the afternoon of August 21.
The Chair of Ingushetia's parliament drove in with two
colleagues; visitors from Moscow included politicians,
businessmen and an Avar football coach. Many of the visitors
grew up with Gadzhi in Khasavyurt, including an Ingush
Olympic wrestler named Vakha who seemed to be perpetually
tipsy. Another group of Gadzhi's boyhood friends from
Khasavyurt was led by a man who looked like Shamil Basayev on
his day off -- flip-flops, t-shirt, baseball cap, beard --
but turned out to be the chief rabbi of Stavropol Kray. He
told us he has 12,000 co-religionists in the province, 8,000
of them in its capital, Pyatigorsk. 70 percent are, like
him, Persian-speaking Mountain Jews; the rest are a mixture
of Europeans, Georgians and Bukharans.
¶9. (C) Also present was XXXXXXXXXXXXXXX. He was reserved at the time, but in a
follow-up conversation in Moscow on August 29 (please
protect) he complained that Chechnya, lacking experts to
develop programs for economic recovery, is simply demanding
and disposing of cash from the central government. When we
pressed him on disappearances, he admitted some took place,
but claimed that often parents alleged their children had
been abducted when in fact their sons had run off to join the
fighters or -- in a case the week before -- they had murdered
their daughter in an honor killing. We mentioned the
abduction of a widow of Basayev, allegedly to gain access to
his money. XXXXXX said he had not heard of the case, but
knew that Basayev had had no interest in wealth; he may have
been a religious fanatic, but he was a "normal" person. The
fighters who remain are not a serious military force, in XXXXX view, and many would surrender under the proper
terms and immunities. He himself is arranging the immunity
of a senior official of the Maskhadov era, whose name he
would not reveal.
¶10. (C) During lunch, Gadzhi took a congratulatory call from
Dagestan's president, Mukhu Aliyev. Gadzhi told Aliyev how
honored he would be if Aliyev could drop in at the wedding
reception. There was a degree of tension in the
conversation, which was between two figures each implicitly
claiming the mantle of leadership of the Avars. In the
event, Aliyev snubbed Gadzhi and did not show up for the
wedding, though the rest of Dagestan's political leadership
did.
¶11. (C) Though Gadzhi's house was not the venue for the main
wedding reception, he ensured that all his guests were
constantly plied with food and drink. The cooks seemed to
keep whole sheep and whole cows boiling in a cauldron
somewhere day and night, dumping disjointed fragments of the
carcass on the tables whenever someone entered the room.
Gadzhi's two chefs kept a wide variety of unusual dishes in
circulation (in addition to the omnipresent boiled meat and
fatty bouillon). The alcohol consumption before, during and
after this Muslim wedding was stupendous. Amidst an alcohol
shortage, Gadzhi had flown in from the Urals thousands of
bottles of Beluga Export vodka ("Best consumed with caviar").
There was also entertainment, beginning even that day, with
the big-name performers appearing both at the wedding hall
and at Gadzhi's summer house. Gadzhi's main act, a
Syrian-born singer named Avraam Russo, could not make it
because he was shot a few days before the wedding, but there
MOSCOW 00009533 003 OF 005
was a "gypsy" troupe from St. Petersburg, a couple of Azeri
pop stars, and from Moscow, Benya the Accordion King with his
family of singers. A host of local bands, singing in Avar
and Dargin, rounded out the entertainment, which was constant
and extremely amplified.
¶10. (C) The main activity of the day was eating and drinking
-- starting from 4 p.m., about eight hours worth, all told --
punctuated, when all were laden with food and sodden with
drink, with a bout of jet skiing in the Caspian. After
dinner, though, the first band started an informal
performance -- drums, accordion and clarinet playing the
lezginka, the universal dance of the Caucasus. To the
uninitiated Westerner, the music sounds like an
undifferentiated wall of sound. This was a signal for
dancing: one by one, each of the dramatically paunchy men
(there were no women present) would enter the arena and
exhibit his personal lezginka for the limit of his duration,
usually 30 seconds to a minute. Each ethnic group's lezginka
was different -- the Dagestani lezginka the most energetic,
the Chechen the most aggressive and belligerent, and the
Ingush smoother.
Wedding Day 1
-------------
¶11. (C) An hour before the wedding reception was set to begin
the "Marrakech" reception hall was full of guests -- men
taking the air outside and women already filling a number of
the tables inside, older ones with headscarves chaperoning
dozens of teenaged girls. A Dagestani parliamentarian
explained that weddings are a principal venue for teenagers
-- and more importantly their parents -- to get a look at one
another with a view to future matches. Security was tight --
police presence on the ground plus police snipers positioned
on the roof of an overlooking apartment block. Gadzhi even
assigned one of his guards as our personal bodyguard inside
the reception. The manager told Gadzhi there were seats for
over a thousand guests at a time. At the height of the
reception, it was standing room only.
¶12. (C) At precisely two p.m. the male guests started filing
in. They varied from pols and oligarchs of all sorts -- the
slick to the Jurassic; wizened brown peasants from Burtunay;
and Dagestan's sports and cultural celebrities XXXXXXX presided over a political table in the smaller of
the two halls (the music was in the other) along with Vakha
the drunken wrestler, the Ingush parliamentarians, a member
of the Federation Council who is also a nanophysicist and has
lectured in Silicon Valley, and Gadzhi's cousin Ismail
Alibekov, a submariner first rank naval captain now serving
at the General Staff in Moscow. The Dagestani milieu appears
to be one in which the highly educated and the gun-toting can
mix easily -- often in the same person.
¶13. (C) After a couple of hours Dalgat's convoy returned with
Aida, horns honking. Dalgat and Aida got out of the Rolls
and were serenaded into the hall, and into the Makhachev
family, by a boys' chorus lining both sides of the red
carpet, dressed in costumes aping medieval Dagestani armor
with little shields and swords. The couple's entry was the
signal for the emcee to roll into high gear, and after a few
toasts the Piter "gypsies" began their performance. (The
next day one of Gadzhi's houseguests sneered, "Some gypsies!
The bandleader was certainly Jewish, and the rest of them
were blonde." There was some truth to this, but at least the
two dancing girls appeared to be Roma.)
¶14. (C) As the bands played, the marriageable girls came out
to dance the lezginka in what looked like a slowly revolving
conga line while the boys sat together at tables staring
intently. The boys were all in white shirts and black
slacks, while the girls wore a wide variety of multicolored
but fashionable cocktail dresses. Every so often someone
would shower the dancers with money -- there were some
thousand ruble notes but the currency of choice was the U.S.
hundred dollar bill. The floor was covered with them; young
children would scoop the money up to distribute among the
dancers.
¶15. (C) Gadzhi was locked into his role as host. He greeted
every guest personally as they entered the hall -- failure to
do so would cause great insult -- and later moved constantly
from table to table drinking toasts with everyone. The 120
toasts he estimated he drank would have killed anyone,
hardened drinker or not, but Gadzhi had his Afghan waiter
Khan following him around to pour his drinks from a special
vodka bottle containing water. Still, he was much the worse
for wear by evening's end. At one point we caught up with
him dancing with two scantily clad Russian women who looked
far from home. One, it turned out was a Moscow poet (later
she recited an incomprehensible poem in Gadzhi's honor) who
MOSCOW 00009533 004 OF 005
was in town with a film director to write the screenplay for
a film immortalizing Gadzhi's defense of Dagestan against
Shamil Basayev. By 6 p.m. most of the houseguests had
returned to Gadzhi's seaside home for more swimming and more
jet-skiing-under-the-influence. But by 8 the summer house's
restaurant was full once more, the food and drink were
flowing, the name performers were giving acoustic renditions
of the songs they had sung at the reception, and some
stupendously fat guests were displaying their lezginkas for
the benefit of the two visiting Russian women, who had
wandered over from the reception.
The Wedding -- Day 2: Enter The Man
------------------------------------
¶16. (C) The next day's reception at the Marrakech was
Gadzhi's tribute to Aida's family, after which we all
returned to a dinner at Gadzhi's summer home. Most of the
tables were set with the usual dishes plus whole roast
sturgeons and sheep. But at 8:00 p.m. the compound was
invaded by dozens of heavily armed mujahedin for the grand
entrance of Chechen leader Ramzan Kadyrov, dressed in jeans
and a t-shirt, looking shorter and less muscular than in his
photos, and with a somewhat cock-eyed expression on his face.
After greetings from Gadzhi, Ramzan and about 20 of his
retinue sat around the tables eating and listening to Benya
the Accordion King. Gadzhi then announced a fireworks
display in honor of the birthday of Ramzan's late father,
Ahmat-Hadji Kadyrov. The fireworks started with a bang that
made both Gadzhi and Ramzan flinch. Gadzhi had from the
beginning requested that none of his guests, most of whom
carried sidearms, fire their weapons in celebration.
Throughout the wedding they complied, not even joining in the
magnificent fireworks display.
¶17. (C) After the fireworks, the musicians struck up the
lezginka in the courtyard and a group of two girls and three
boys -- one no more than six years old -- performed gymnastic
versions of the dance. First Gadzhi joined them and then
Ramzan, who danced clumsily with his gold-plated automatic
stuck down in the back of his jeans (a houseguest later
pointed out that the gold housing eliminated any practical
use of the gun, but smirked that Ramzan probably couldn't
fire it anyway). Both Gadzhi and Ramzan showered the dancing
children with hundred dollar bills; the dancers probably
picked upwards of USD 5000 off the cobblestones. Gadzhi told
us later that Ramzan had brought the happy couple "a five
kilo lump of gold" as his wedding present. After the dancing
and a quick tour of the premises, Ramzan and his army drove
off back to Chechnya. We asked why Ramzan did not spend the
night in Makhachkala, and were told, "Ramzan never spends the
night anywhere."
¶18. (C) After Ramzan sped off, the dinner and drinking --
especially the latter -- continued. An Avar FSB colonel
sitting next to us, dead drunk, was highly insulted that we
would not allow him to add "cognac" to our wine. "It's
practically the same thing," he insisted, until a Russian FSB
general sitting opposite told him to drop it. We were
inclined to cut the Colonel some slack, though: he is head
of the unit to combat terrorism in Dagestan, and Gadzhi told
us that extremists have sooner or later assassinated everyone
who has joined that unit. We were more worried when an
Afghan war buddy of the Colonel's, Rector of the Dagestan
University Law School and too drunk to sit, let alone stand,
pulled out his automatic and asked if we needed any
protection. At this point Gadzhi and his people came over,
propped the rector between their shoulders, and let us get
out of range.
Postscript: The Practical Uses of a Caucasus Wedding
--------------------------------------------- --------
¶19. (C) Kadyrov's attendance was a mark of respect and
alliance, the result of Gadzhi's careful cultivation --
dating back to personal friendship with Ramzan's father.
This is a necessary political tool in a region where
difficulties can only be resolved by using personal
relationships to reach ad hoc informal agreements. An
example was readily to hand: on August 22 Chechnya's
parliamentary speaker, Dukvakha Abdurakhmanov, gave an
interview in which he made specific territorial claims to the
Kizlyar, Khasavyurt and Novolak regions of Dagestan. The
first two have significant Chechen-Akkin populations, and the
last was part of Chechnya until the 1944 deportation, when
Stalin forcibly resettled ethnic Laks (a Dagestani
nationality) there. Gadzhi said he would have to answer
Abdurakhmanov and work closely with Ramzan to reduce the
tensions "that fool" had caused. Asked why he took such
statements seriously, he told us that in the Caucasus all
disputes revolve around land, and such claims can never be
MOSCOW 00009533 005 OF 005
dismissed. Unresolved land claims are the "threads" the
Russian center always kept in play to pull when needed. We
asked why these claims are coming out now, and were told it
was euphoria, pure and simple. After all they had received,
the Chechen leadership's feet are miles off the ground. (A
well-connected Chechen contact later told us he thought that
raising nationalistic irredentism was part of Abdurakhmanov's
effort to gain a political base independent from Kadyrov.)
¶20. (C) The "horizontal of power" represented by Gadzhi's
relationship with Ramzan is the antithesis of the
Moscow-imposed "vertical of power." Gadzhi's business
partner Khalik Gindiyev, head of Rosneft-Kaspoil, complained
that Moscow should let local Caucasians rather than Russians
-- "Magomadovs and Aliyevs, not Ivanovs and Petrovs" --
resolve the region's conflicts. The vertical of power, he
said, is inapplicable to the Caucasus, a region that Moscow
bureaucrats such as PolPred Kozak would never understand.
The Caucasus needs to be given the scope to resolve its own
problems. But this was not a plug for democracy. Gadzhi
told us democracy would always fail in the Caucasus, where
the conception of the state is as an extension of the
Caucasus family, in which the father's word is law. "Where
is the room for democracy in that?" he asked. We paraphrased
Hayek: if you run a family as you do a state, you destroy
the family. Running a state as you do a family destroys the
state: ties of kinship and friendship will always trump the
rule of law. Gadzhi's partner agreed, shaking his head
sadly. "That's a matter for generations to come," he said.
BURNS
Da ne poveruje čovek na šta diplomate/ špijuni moraju da troše vreme.
Oni i dalje veruju u demokratiju :?: :?: :?:
Quotethe compound was
invaded by dozens of heavily armed mujahedin for the grand
entrance of Chechen leader Ramzan Kadyrov, dressed in jeans
and a t-shirt, looking shorter and less muscular than in his
photos, and with a somewhat cock-eyed expression on his face.
stvarno nije u redu o jednom ratniku reći da mu kurac viri iz očiju. a gadafijeva ukrajinka nije onakva kakvom su je mnogi predočavali:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.segodnya.ua%2Fimg%2Fforall%2Fa%2F142000%2F46.jpg&hash=c2332cb61a19045e3bb23b4f4ac90afc413e6a4d)
"The 120 toasts he estimated he drank would have killed anyone,
hardened drinker or not, but Gadzhi had his Afghan waiter
Khan following him around to pour his drinks from a special
vodka bottle containing water. "
A-ha! Ovo je i meni jutros citajuci Politiku upalo u oci! 120 zdravica, to bi bilo 120 casica ili bar 40 casica sto je 2-6 litara rakije! Impresivno, pomislio sam. Kad ono - voda! :-(
Ma brate ni 6 litara vode nije malo...
Mehmete, požuri sa gledanjem četvrte epizode MISFITSa, nudi ljupku posvetu GTAu.
Pusti čoveka da slavi na miru! Sretna Nova hidžretska 1432. godina! xcheers
:| :| :| :| :| (Volim i što se ovaj smajli zove "neutral")
Mehmete, Daft Punkov skor za TRON LEGACY dokazuje da je Moroder bio u pravu.
Zar je ikada bilo sumnje da je Đorđo bio u pravu?
Ti si se sprdao sa njegovim brkovima u recenziji za Six Pack. Osim ako je to bio pun upućen isključivo meni a ti ga zapravo štuješ.
Ja ga štujem, mada ga ne bih slušao u svoje slobodno vreme. Ali ja uvek kad pravim referencu na brkove to činim u najpozitivnijem mogućem kontekstu. Pa nisam li i sam brkat?
Eh, da... Judas Priest najavili oproštajnu turneju, pa vi vidite:
http://www.metalstorm.net/events/news_comments.php?news_id=12429 (http://www.metalstorm.net/events/news_comments.php?news_id=12429)
Mehmete, jel idemo?
Nažalost, sve su festivali... Hmmm...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fcleff.com%2Fdrsketchy%2Fimages%2Fdr_sketchy_philly_dec_2010.jpg&hash=5582e3fdbef6209a46844503d5466d7d3c3ba457)
Ovo je više za Cripple, reaguj, Stoja je meni premlada. :lol:
Pa dobro, ima i za tebe ova starija Stoja. Uostalom, oboje ste muzičari po vokaciji.
Nego, jel ima neko da mi uskoci za kartu do Filadelfije? Vracam cim se zaposlim.
Nisan siguran da možeš da dobješ severnoameričku vizu za tri dana. Ali rado ću ti narezati neki pornić sa Stojom (mlađom) ili CD sa muzikom (ove starije).
A model named Michael "Shagg" Washington is suing Rockstar Games and Take-Two Interactive Software for a cool $250 million for allegedly basing the lead character in the game Grand Theft Auto: San Andreas on his troubled youth.
According to the complaint, filed in Los Angeles Superior Court, Washington is a model and back-up singer with rap group Cypress Hill, and met with game developers for two hours to answer questions on "his street life including how the teen-agers in his gang rode around on bicycles."
He says that he was told by the game developers that if they chose to use him in the game, he would be notified. He wasn't.
Instead, he was shocked to see that the lead character of "CJ" looked like him. He now claims his life story was stolen in a new lawsuit that claims 25% of profits from the billion dollar game. According to some websites, he is listed on the game's credits.
These days, video game reviewers talk about characters and plot, but game publishers rarely run disclaimers as they do in the film world that "Any similarity to any person living or dead is merely coincidental." Perhaps they should.
Prvo, čovek stvarno jeste naveden u kreditsima:
http://de.gta.wikia.com/wiki/Grand_Theft_Auto:_San_Andreas_Credits (http://de.gta.wikia.com/wiki/Grand_Theft_Auto:_San_Andreas_Credits)
Skrolujte do "Models" i naći ćete ga.
Drugo, Rokstarove igre UVEK imaju disklejmer o "any similarity" na početku, pa mi je skoro neverovatno da San Andreas nema. A mrzi me sad da ga da prostite vadim iz ormana i mećem u Plejstejšn da bih proverio. Na ovom klipu tog disklejmera nema
GTA San Andreas Opening Intro (http://www.youtube.com/watch?v=TTB6eEHCAko#)
ali ne znači da ga nema u igri.
Naravno, pravo pitanje je šta je čovek ovoliko čekao. San Andreas je ipak izašao pre šest godina.
I da ne bude zabune, ja mislim da je sasvim za pozdraviti kada mali čovek nastoji da od bezdušne velike firme otme koji dinar, ali ovo miriše po klasičnom golddiggingu.
Ja isto mislim, neverovatno je da se tako kasno setio...
Vama hrišćanima uskoro idu božićni praznici pa nije zgoreg podsetiti se ovog teksta sa Cracked:
Pet razloga što je Die Hard najjači božićni film ikad (http://www.cracked.com/blog/5-reasons-die-hard-is-the-best-christmas-movie-ever-made/)
Vanessa Del Rio's cat (http://www.youtube.com/watch?v=HlAzqklyDPU#)
Dvije tvoje strasti u jednom videu... xfrog
je l' ovo MILF, ili već zalazimo u GILF teritoriju? gde je granica, obzirom da dama ima 58 godina?
Problem je što je izraz MILF odavno izgubio dignitet. Danas se svaka žena koja potencijalno biološki može da rađa smatra MILFom. Magije je nestalo!!! Danas porno glumice direktno iz barely legal katergorije bivaju unapređene u MILFove. Sramno!!!!
Uzgred, Vanesa DR mi nikad nije bila posebno omiljena, ali cenim Ellin trud. :lol:
MILF ili GILF, omiljena ili ne, gospodja Del Rio je zanimljiva:
http://www.observer.com/2007/don-t-blame-it-rio?page=0 (http://www.observer.com/2007/don-t-blame-it-rio?page=0)
Charles Eglee, the "Murder One," "Dark Angel" and "The Shield" writer-producer who left AMC's "The Walking Dead" after its extraordinarily successful first season, is in talks with FX and Sony to join their "Powers" project based on the graphic novel series created by Brian Bendis, according to Joe Adalian over at Vulture.
"West Wing" vet and "Journeyman" creator Kevin Falls has been involved in the "Powers" project for more than a year.
The comic books are about cops dealing with superpower-involved criminal activity. Though a Deadline Hollywood story suggested Eglee had been fired from "Walking Dead," producers Gale Anne Hurd and Robert Kirkman both say Eglee simply decided to move on. Frank Darabont remains the "Walking Dead" showrunner.
To me podsetilo da Bendis i Oeming ponovo rade Powers koji ja uredno skidam a nikako da krenem da čitam... Videćemo.
LA Times hosted a live chat with Marvel Studios president Kevin Feige, who answered questions about "The Avengers" and other upcoming Marvel films. Below is a quick summary of what he had to say.
* Iron Man's armor in "The Avengers": "Joss [Whedon] would kill me if I gave anything away, but I will say that the evolution you saw his armor take in [Iron Man 2] will continue in The Avengers."
* Thor's original alter-ego will be referenced in "Thor": "People looking for a reference to Don Blake in the Thor film will find one."
* Marvel is making plans for "The Punisher": "Punisher is back in house, and various plans are in the works."
* "Iron Fist" movie is in development: "A very talented writer is currently working on a draft."
* "Iron Fist" script is based in part on the Brian Michael Bendis / Matt Fraction series: "The movie is definitely inspired by that great run."
* Feige wants to see more female characters in Marvel's movies: "I love Jessica Jones."
* Feige commented on Isaiah Mustafa (from Old Spice commercials) wanting to play Luke Cage: "Love the old spice guy!"
* There are no current plans to produce short films based on Marvel characters: "The shorts rumor was just a rumor, but we do like the idea."
* Edgar Wright is still working on "Ant-Man": "Edgar was here a few days ago. He's already working on the next draft."
* "Ant-Man" will go into production after 2012: "Sometime after The Avengers."
* Marvel has been considering developing a Moon Knight film: "Moonknight is a challenging, but extremely interesting character. We've been discussing various versions of it for years."
* "Black Panther" film is being developed: "Things are in the works."
* Choosing Chris Evans (Fantastic Four) as Captain America: "We figured if Harrison Ford could be Indiana Jones and Han Solo, Chris Evans could play Torch and Cap."
* Will there be references to The Invaders in "Captain America": "There's no Invaders, there's lots of Howling Commandos!"
* Will "Captain America," "Thor" or "The Avengers" have after-credit scenes: "Some of them will."
Source: LA Times, ComingSoon
Read more: http://www.worstpreviews.com/headline.php?id=20004&count=0#ixzz17z1xNL8C (http://www.worstpreviews.com/headline.php?id=20004&count=0#ixzz17z1xNL8C)
Quote from: crippled_avenger on 13-12-2010, 11:47:50
* Marvel is making plans for "The Punisher": "Punisher is back in house, and various plans are in the works."
Bilo bi do jaja kada bi dali Pierreu Morellu da ovo režira. On bi uspeo da od Punishera napravi ultimativni action trip.
Quote from: crippled_avenger on 13-12-2010, 11:47:50
* "Iron Fist" script is based in part on the Brian Michael Bendis / Matt Fraction series: "The movie is definitely inspired by that great run."
Kakav bre Bendis, pu pu pu, daleko bilo, to je bio Brubaker. Ne zna čovek šta priča, ali dobro, to jeste bio zanimljiv run.
"The Flash" screenwriter Marc Guggenheim tells MTV News that there's a good reason they've chosen to use the original Barry Allen incarnation of the character for the upcoming film adaptation.
"It's very similar for the whole reason we went with Hal for the Green Lantern. That's the Silver Age character. That's the character people grew up on. That's the name first associated with that character. So part of it is honoring the legacy aspect, and the other aspect is just practical - you can go forward, but you can't really go backward. You can't start with Kyle Rayner, and then do a movie with Hal Jordan" says Guggenheim.
He adds "Just from a practical standpoint, I feel it's better to go in a linear, generational fashion than it is to double back - which is not to say that Kyle and Wally aren't phenomenal versions of the character. They are, and they are near and dear to my heart. We just have to get up to them."
Guggenheim also says the villain Chunk will not appear in this first movie.
Ovo me sad podsetilo da sam u TV seriji Flash prilično uživao pre nepune dve decenije. Moda bi trebalo da proverim je li dostupna za Daunloud?
ja sam isto uživao. išla je na NS plusu beše?
Mislim da ju je i RTS puštao.
Evo je:
http://www.megaupload.com/?d=6X9GJUWM
http://www.megaupload.com/?d=3RCEKKMA
http://www.megaupload.com/?d=J2JTJQZD
http://www.megaupload.com/?d=AFHJ54ZC
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Hoće li mi neko od vas otkriti kako pronalazite vreme da gledate ove serijale? Ponekad me oterate u depresiju... :(
Ima li kod tebe mesta u Crvenom križu i polumjesecu za stručnjake iz oblasti planiranja vodnih resursa? :x :x :x
Uuuu, Fleš! Imao sam crvenu trenerku i trčao kroz betonsku ulicu, niz zelenu padinu...
Ja sam najvise bio impresioniran scenom munjevitog izjedanja pahuljica, te sam se trudio ugledati se na njega u svom ophodjenju prema kornfleksu.
корнфлекс у оно време?! well, ла-ди-да... :lol: :lol:
Da, onaj soc domaci. Nije kao da sam rekao da sam tamanio Muesli. : -P
Da, da, domaći je bio hardkor :)
Quote from: Mica Milovanovic on 14-12-2010, 00:40:45
Hoće li mi neko od vas otkriti kako pronalazite vreme da gledate ove serijale? Ponekad me oterate u depresiju... :(
Ima li kod tebe mesta u Crvenom križu i polumjesecu za stručnjake iz oblasti planiranja vodnih resursa? :x :x :x
Pa, ko kaže da ja serije actually gledam??? Uglavnom ih ne gledam. Ali Fleš je Fleš.
Nicolas Cage Plays Ugly American in Bucharest Blow Up (watch!)
By TheImproper, December 13th, 2010
4tweetsretweet
Actor Nicolas Cage had a major meltdown in Bucharest, Romania over the weekend. He went ballistic at a man and two women outside a nightclub at 5 a.m. for reasons that were hard to discern.
But Cage was throwing down a major rant, and it was caught on a witnesses' camera phone and made the national news across Romania.
Cage, 46, is in Romania filming his new movie, "Ghost Rider: Spirit of Vengeance."
It's unclear at this point exactly what sent him off, but his rant was every bit as virulent as Christian Bale's and Mel Gibson's.
"Get in that car and walk away. I'll fuc*king die because of honor. I'll fu*king die right now," he screams.
The man and two women that were the targets of his wrath attempted to calm down Cage to no avail.
Cage's handlers also got into the act and tried to drag the actor away.
But Cage was having none of it; "Don't ouch me you little bitch!" he screams.
At that point, Cage heads back to the group outside the club, doing a DeNiro from the "Fockers."
He point two fingers at his own eyes and screamd: "See my eyes – respect them as you'd respect me."
Whatever that means.
After that, Cage was loaded into a car by bodyguards and it sped off.
In the annals of Hollywood meltdowns entitled stars, Cage ranks right behind Gibson's vicious tirades against ex-girlfriend Oksana Grigorieva and Bale's nasty rant at "Terminator Salvation" director of photography Shane Hurbult.
Check out the video here.
Nicolas Cage Incident In Bucharest (http://www.youtube.com/watch?v=K4FJtlJbUWY#)
Dobro, ko da nikad nismo videli glumca koji se kurči na kokainu... Jebote da je osamdesetih bio JuTjub, danas Holivud ne bi postojao.
Evo nešto za Big Daddy Mehmeta
http://dobanevinosti.blogspot.com/2010/12/marx-reloaded.html (http://dobanevinosti.blogspot.com/2010/12/marx-reloaded.html)
Da, ovo baš zvuči kao interesantan projekat. Naravno, ja koji sam odrastao u vreme dok je Marksizam bio predmet u srednjim školama imam u DNK ugrađene određene stavove pa će biti tim interesantnije.
Evo, kad smo već kod marksizma, za Mehmeta jedna pesma sa neodoljivim naslovom, jednog neodoljivog benda
MASTODON "Siberian Divide" 10/11/08 @ 40 Watt Club, Athens, GA (http://www.youtube.com/watch?v=DpYU_uINwTw#)
Drag je Mastodon.
Hteo sam da odgovorim pesmom grupe MDC "Mao Tse Tung" al pošto je nema na JuTjubu onda mora da posluži i ovaj njihov besmrtni hit:
MDC (http://www.youtube.com/watch?v=c4RdeM0PYRs#)
A evo potpuno besplatno i nešto smešno iz naše mladosti
Top Secret - Tutti Frutti (Nick Rivers) (http://www.youtube.com/watch?v=jLXR5WsHTWY#)
Mehmete, da li se slažeš sa mojom ocenom da je Mastodon trenutno najveći mejnstrim metal bend?
Pa to pitanje/ tvrdnja sad povlači gomilu podpitanja.
Jesu li Mastodon mejnstrim? Da li ih zaista gledamo kao bend na razini na kojoj obitavaju Iron Maiden, AC/DC, Metallica i uskoro pokojni Judas Priest? Ako da, onda je odgovor negativan jer Mastodon naprosto ne mogu da pretenduju ni na značaj ni na zasluge koje su svi ovi titani žanra tokom decenijskih karijera nakupili.
Ako kažemo da nisu de-fakto mejnstrim već blueprint za metal kakav bi trebalo da bude zdrav mejnstrim u ovom trenutku naše povijesne zbiljnosti, onda je odgovor bliži pozitivnom. Mastodon su taman toliko tvrdi i sirovi da budu real a opet ne pate od hermetičnosti koja takoreći po defaultu ide uz napredne predstavnike (bilo kog?) žanra. S druge strane, pošto je ovo već igra šta-bi-bilo-kad-bi-bilo onda ja mogu da kažem i da je za mene Tryptikon (http://www.youtube.com/watch?v=xrRi25jZRFY#ws) najveći mejnstrim metal bend bez obzira što su oni tvom uhu ljuti andergraund jer oni svojm svirkom nadilaze bilo kakav žanrovski geto, a uostalom, Tom G. Warrior je svojim minulim radom daleko više uticao na razvoj metala poslednje dve i po decenije od ekipe iz Mastodona.
Ali drag je Mastodon.
Kad već rekoh Celtic Frost (makar u mislima, ako već nisam naglas), evo meni najdraže pesme sa njihovog povratničkog/ oproštajnog albuma pre neku godinu. Tako prosto a tako moćno
CELTIC FROST - A Dying God Coming Into Human Flesh (OFFICIAL VIDEO) (http://www.youtube.com/watch?v=dW6RXTjm4iA#)
Quote from: Meho Krljic on 15-12-2010, 13:35:54
Pa to pitanje/ tvrdnja sad povlači gomilu podpitanja.
Jesu li Mastodon mejnstrim? Da li ih zaista gledamo kao bend na razini na kojoj obitavaju Iron Maiden, AC/DC, Metallica i uskoro pokojni Judas Priest? Ako da, onda je odgovor negativan jer Mastodon naprosto ne mogu da pretenduju ni na značaj ni na zasluge koje su svi ovi titani žanra tokom decenijskih karijera nakupili.
Ako kažemo da nisu de-fakto mejnstrim već blueprint za metal kakav bi trebalo da bude zdrav mejnstrim u ovom trenutku naše povijesne zbiljnosti, onda je odgovor bliži pozitivnom. Mastodon su taman toliko tvrdi i sirovi da budu real a opet ne pate od hermetičnosti koja takoreći po defaultu ide uz napredne predstavnike (bilo kog?) žanra. S druge strane, pošto je ovo već igra šta-bi-bilo-kad-bi-bilo onda ja mogu da kažem i da je za mene Tryptikon (http://www.youtube.com/watch?v=xrRi25jZRFY#ws) najveći mejnstrim metal bend bez obzira što su oni tvom uhu ljuti andergraund jer oni svojm svirkom nadilaze bilo kakav žanrovski geto, a uostalom, Tom G. Warrior je svojim minulim radom daleko više uticao na razvoj metala poslednje dve i po decenije od ekipe iz Mastodona.
Ali drag je Mastodon.
Pa i mislio sam na ovu drugu definiciju. Sasvim je jasno da se ne mogu porediti sa veteranima, ni po zaslugama ni po poziciji na sceni ali bend pored svoje koncertne aktivnosti mora ipak u izvesnom smislu da bude i kreativno živ.
Jasno, jasno. Ja, naravno, mejnstrim metal ako i slušam, to činim izuzetno sporadično pa i nemam neko izgrađeno mišljenje. Svakako su Mastodon daleko bolji i interesantniji od, šta ja znam... Slipknota i drugih mallcore bendova - a i ta muzika je do pre nekoliko godina bila kao neka alternativa u odnosu na mejnstrim - te kojekakvih drugih pojava. Kod Mastodon je super ta zdrava bugi/ ritam i bluz osnova tako da zaista imaju jednu nogu u mejnstrimu iako drugom vuku na math metal.
Odličan ovaj Seltik frost. NEgo:
The Forgotten Archetype - Neverland [Official Video] (http://www.youtube.com/watch?v=Wo7Y9IxkrVU#)
I dalje ne mogu da se opasuljim šta je sve u jednoj pesmi :)
Nešto od ovoga smo znali. Ali ne sve:
http://www.cracked.com/article_18896_10-mind-blowing-easter-eggs-hidden-in-famous-albums.html (http://www.cracked.com/article_18896_10-mind-blowing-easter-eggs-hidden-in-famous-albums.html)
Koliko god suludo zvučalo, MISFITS imaju Xmas Special! :)
ne znam da li si imao prilike da ovo ranije vidiš. može da ti se dopadne kao bubnjaru, a i kao nekome ko ceni hip hop.
Justin Aswell -live mpc work- (http://www.youtube.com/watch?v=V0klmHRRBSI&feature=related)
i naravno Jeremy Ellis kao još jedan majstor 16 pedova
Jeremy Ellis James Brown MPC Madness (http://www.youtube.com/watch?v=WQGJTSLdrRc&feature=related)
Jeremy Ellis James Brown MPC Madness Pt.2 (http://www.youtube.com/watch?v=vaxIaBBYq-Q&feature=related)
Just Cause Filmmakers Treat Its Source Material Like a Novel
Greg Tito | 17 Dec 2010 8:29 pm
Filed under: greg tito, action, action adventure, eidos, just cause 2, ps3, scorpion, xbox 360
image
Videogame movies get a bad rap, but the people making the Just Cause film think that's because the writers and directors don't take the subject matter seriously.
You can count the number of good films that are based on videogames on one hand (maybe even one finger if you're extemely critical.) That's partly the fault of Uwe Boll's monstrosities, but Adrian Askarieh and Eric Eisner, producers of the upcoming film based on the Just Cause series of games from Eidos Interactive. The main character of Just Cause is Rico Rodriguez, aka The Scorpion, and he's basically a cross between James Bond and Antonio Banderas' character in Desperado. Askarieh and Eisner believe that the combination of a strong central character and great action will set the Just Cause film above other videogame movies.
"It's a great action/adventure with a strong central character," said Askariah. "Two must have elements for a good action film."
"The epic scope of the games and the Scorpion character is what fascinated me," Eisner said of why he wanted to work on the movie. "I felt that we had the building blocks to make a very good action film and one that could hopefully translate into a franchise."
But what about the bad track record that videogame movies have so far had? "I think what tends to hamper some videogame adaptations is that the people making those films are consciously aware that they are making 'videogame movies.' What is needed is for the filmmakers to treat the source material with as much gravity as one would a bestselling novel or any other source material. You have to take it seriously," Askariah said.
It is also important to not fall into the trap of trying to recreate the game experience on the silver screen, something that Eisner is well aware of. "My philosophy has always been that you need to do the right thing for the film," he said. "The videogames have already been made and they are great. But you can't deliver the same experience to the audience; otherwise they should just sit at home and play the games. You need to be true to the DNA and spirit of the game but create a film that works on its own merits."
While I didn't find the story of Just Cause 2 very compelling when I played it, I could somehow see a film adaptation working as a great action flick. The concept that the as yet untitled film will serve as an origin story for Rico. It seems like Eisner and Askarieh are in the right head place to finally pull off a decent videogame adaptation.
"Twilight" scribe Melissa Rosenberg will adapt the Marvel comic book "Alias" into a TV show titled "AKA Jessica Jones" for ABC reports Variety.
The comic follows a superhero named Jewel who decides to put away the costume and try for a normal life as her human alter ego Jessica Jones after being diagnosed with post-traumatic stress disorder.
She starts up her own private detective firm, but realises she still wants to help people and ends up coming to the aide of other superheroes. The comic's name can't be used due to ABC's former J.J. Abrams-produced spy series of the same name.
Jeph Loeb, Joe Quesada, Alan Fine and Howard Klein will executive produce the project which will be the first project to be produced by the new Marvel Television division.
DreamWorks Animation has picked up the film rights to Jim Massey's comic book series "Maintenance" which was in turnaround from Warner Bros. Pictures says Heat Vision.
The story follows the exploits of "two janitors who work for TerroMax, Inc., the world's biggest and best evil science think tank. When they're not dealing with toxic spill monsters and menial time machine repairs, they have to contend with their boss, a multitude of mad scientists, jetpack-equipped cavemen, alien repomen, and the cute girl who works at reception."
At Warners, McG was being lined up to direct from a script by Joe Ballarini. All that is being chucked out with the move to DWA which seems a better fit for the pop culture reference-heavy comedy and large scale story that would be expensive to produce in live action.
Quote from: crippled_avenger on 19-12-2010, 22:28:38
Just Cause Filmmakers Treat Its Source Material Like a Novel
itd.
Moram da kažem da kad pomislim na frazu "dobro odrađena priča u video igrama", Just Cause igre su negde oko hiljaditog mesta u smislu navođenja primera, ali hajde, neka je sa srećom.
Quote from: crippled_avenger on 19-12-2010, 22:57:45
"Twilight" scribe Melissa Rosenberg will adapt the Marvel comic book "Alias" into a TV show titled "AKA Jessica Jones" for ABC reports Variety.
Alias je iz vremena dok je Brian Bendis još pisao podnošljivo, a pošto on nije umešan u ovo, možda i bude nešto... Ma, šalim se, tu je Jeph Loeb - to je skoro pa garancija kataklizme.
Quote from: crippled_avenger on 19-12-2010, 22:58:47
DreamWorks Animation has picked up the film rights to Jim Massey's comic book series "Maintenance" which was in turnaround from Warner Bros. Pictures says Heat Vision.
Stvarno je neobično da se stripovi kao što je Maintenance uzimaju u obzir za ekranizaciju a da planeta još nije videla ekranizacije recimo 100 Bullets, Scalped, The Exterminators (koji je i bio originalno pičovan kao TV serija) ili, šta ja znam, Planetary...
Evo kako je jedan od Eurogamerovih čitalaca komentarisao vest o pravljenju Just Cause filma:
QuoteTo be fair, an accurate representation of the game woulOH hey a car, back in a second WHEEEEEEEEEEEEE I'M FLYING OVER A military base, I have explosives in my pocket and a pair of SMGs, I should probably 'liberate' these people on my way to that mission.. that's only 500m away, but then there are jets here and WHOOOOOOOOOOOOOOOOAH YEAH SURFING ON A SUPERSONIC DEATH MACHINE! I AM THE BADDEST OF BADASis that the groun*KERBOOOOOOOOM*
Nema ni potrebe da pričam da je ovo supertačno.
First clue to the Direction the superman movie is heading by david goyer in Superman: secret origin?
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Hi superkal here.just the got the graphic novel edition of superman secret origin, and to my surprise theres a foreward by david goyer that gives hinst to the man of steel and him writing the screenplay and what inspired him ro write it. heres the excerpt what do you guys think of the possible direction this movie might be headed in?
"There is a heart breaking moment halfway through the first chapter in which young Clark is told the truth about his heritage. He races out into the night, sobbing, stumbling through the cornfields. Eventually, his foster father, Jonathan, finds him."
'I don't want to be someone else,' says Clark. 'I don't want to be different. I want to be Clark Kent.'
[And here's the kicker...]
'I want to be your son'
"Right there in that moment, Geoff contextualized Superman in a way that I'm not sure has ever really been done before. I had an 'aha' experience when I read that. For the first time I was able to grasp how lonely Clark must have been when he was growing up. And what a sacrifice Clark must continually make by being Superman."
"As I write this, I am midway through my first draft of a new Superman screenplay. It's a task that has stymied many talented fimmakers in the years since Donner's film. And for all I know, it will end up stymying me as well."
"But I've got one advantage that the screenwriters who came before me didn't have-- and that's access to all the wonderful Superman stories written by Geoff Johns-- first and foremost being the SECRET ORIGIN issues reprinted in the very volume you are now holding"
Director Harald Zwart (The Karate Kid) is attached to helm "Bakugan," based on the popular strategic game and anime series "Bakugan Battle Brawlers."
In 2009, "Bakugan Battle Brawlers" was named Toy of the Year for the second consecutive year by the Toy Industry Association. The series features marble-like balls that transform into powerful monsters when rolled on game cards.
Zwart previously directed "One Night at McCool's," "Agent Cody Banks" and "The Pink Panther 2." He has now become an A-list helmer after "Karate Kid" grossed over $350 million on a $40 million budget.
Read more: http://worstpreviews.com/headline.php?id=20096&count=0#ixzz18rI8pgRh (http://worstpreviews.com/headline.php?id=20096&count=0#ixzz18rI8pgRh)
Electronic Arts is developing "Madden Curse," a sports comedy feature that explores an infamous jinx that seems to strike NFL players who appear on the cover of EA's popular "Madden" video game series with career shortening injuries shortly after reports The Wrap.
The story will follow a former Madden video game champion who is forced out of retirement just as he finds himself on the corner of the game's cover -- and subject to the curse.
NFL legend John Madden appeared on the cover of all Madden games until 1999. Since then annual cover boys have included 1999's Garrison Hearst (who then broke his fibula), 2000's Dorsey Levens (knee injury), 2001's Eddie George (general decline), 2002's Dante Culpepper (knee injury), 2003's Marshall Faulk (ankle injury), 2004's Michael Vick (broken leg), 2005's Ray Lewis (torn hamstring), 2006's Donovan McNabb (sports hernia), 2007's Shaun Alexander (broken foot), and 2008's Vince Young (quads & knee injury).
2009's Brett Favre so far seems to have survive unscathed, while this year's dual cover stars Troy Polamalu and Larry Fitzgerald suffered a torn PCL and a rib injury respectively. Pat O'Brien will produce the feature.
Stoya je stvarno vredna praćenja na twitteru :)
stoyaNew Tumblr post: http://bit.ly/StoyaBooks48 (http://bit.ly/StoyaBooks48) Oddly Safe-For-Work, as long as you don't click any links.
QuoteStoya vs. the Towering Stack of Books (pt. 48)
Perhaps you haven't noticed this, but I like books. I like to read them. I like to turn their pages and feel their weight in my hand and soak up the information they contain with my brain or let them take me on a frivolous and entertaining ride.
Sometimes life gets hectic and I don't have much time to read. Other times, like yesterday, I feel icky and end up on bed rest and get to do nothing but read which entirely makes up for whatever symptoms have landed me in pillow land.
I've been slowly working my way through Geoffrey Miller's "The Mating Mind" over the past few weeks. It's a heavy book. There are heavy concepts and words that are probably quite light to a biologist or evolutionary psychologist but for me require lots of thought and looking up things. It contains fascinating ideas like:
"The handicap principle suggests that sexual selection could even have favored a masochistic taste for memorable discomfort, since the ability to survive hardship reveals fitness. Even in the carnage of mechanized warfare or the intellectual bloodbath of an academic job interview, one can always think, "This will make a hell of a story someday.""
and (while discussing the human face):
"The head is a major target of sexual choice in both sexes. It is rich in fitness information because it is such a complicated piece of the body to grow, and so many things can go wrong."
The main goal of "The Mating Mind" is to explain things like art, music, humor and moral codes from an evolutionary standpoint. None of these traits are explainable in the context of Darwinian Natural Selection. I've heard numerous men state that the only reason they go out on stage, write a song, or build a company is to get laid. It was really interesting to see a scientific theory elaborating on this concept in less flippant terms.
After that brick of information, Neal Stephenson's "Snow Crash" (recommended and lended by the gorgeous Ryan Keely (http://ryankeely.com/) - who you should totally investigate via the NSFW hotlink) was a very enjoyable palate cleanser. All of the Babel/Infocalypse stuff was mental a walk in the park, comparatively. Interesting, fun, verrrry cyberpunk. I do like sci-fi/speculative/cyberpunk authors who have the knowledge and education to write convincing scenarios.
Next in the stack is Leonard Shlain's "The Alphabet Versus the Goddess" which so far is coming off as a 'women are oppressed because ____' anthem. I might move on to something else for the time being. Has anyone else read it and feel like giving me an opinion?
A onda dodatna radost:
stoya
Hmm... @erikamoen's http://bit.ly/erikaoctopus (http://bit.ly/erikaoctopus) looks like it'd be right up @mandymorbid's alley. Has every one seen Mandy's tentacle video?
ErikaMoen
@stoya Yes, I have! I even met @mandymorbid once when she came through Portland earlier this year :)
Stoja je, kao što sam više puta ukazao, više Crippleov kap ov ti, nego moj, ali u redu je, ovo jeste sjajno. :lol:
Heh
Apple wakes up to iPhone alarm glitch on New Year's (http://uk.news.yahoo.com/22/20110102/ttc-uk-apple-alarm-fe50bdd.html)
QuoteApple Inc got a wake-up call on Sunday, as iPhone users complained the New Year got off to a slow start because built-in alarms on their phones failed to wake them. Skip related content
"We're aware of an issue related to non-repeating alarms set for January 1 or 2," Apple spokeswoman Natalie Harrison told Reuters in an e-mail.
"Customers can set recurring alarms for those dates and all alarms will work properly beginning January 3." She did not elaborate.
The BBC reported the problem led many people to oversleep on the first two days of the New Year.
The anomaly appears to affect single alarm settings on the iPhone 4 and earlier models with software updates, the BBC said.
The Daily Mail newspaper reported that thousands of people were late for work, airline flights and trains, as a result of the malfunction.
Previously, the iPhone's alarm system had problems recognizing daylight savings time, making it go off at the wrong time, according to media reports. Apple had sold more than 1.7 million iPhone 4s as of last June.
(Reporting by Steve James; Editing by Richard Chang)
Idris Elba (RocknRolla, "The Wire") plays a Norse god by the name of Heimdall in Marvel's "Thor" film. Heimdall is sometimes referred to as "The White God," which is why the Council of Conservative Citizens (CofCC) is planning to boycott the movie when it hits theaters on May 6th.
The group wrote: "Norse mythology gets multi-cultural remake in upcoming movie titled 'Thor.' It's not enough that Marvel attacks conservative values, now mythological Gods must be re-invented with black skin. It seems that Marvel Studios believes that white people should have nothing that is unique to themselves. An upcoming movie, based on the comic book Thor, will give the Aesir (god) an insulting multi-cultural make-over. One of the Gods will be played by Hip Hop DJ Elba."
The way the statement is written seems quite racist. But does CofCC have a reason to be angry?
Elba recently defended the casting, stating: "Thor is mythical, right? Thor has a hammer that flies to him when he clicks his fingers. That's OK, but the color of my skin is wrong? If you know anything about the Nords, they don't look like me but there you go. I think that's a sign of the times for the future. I think we will see multi-level casting. I think we will see that, and I think that's good."
Several fans have responded by stating: "This PC crap has gone too far. Norse deities are not of an African ethnicity" and "Asgard is home to the Norse Gods. I wouldn't expect to see many Brad Pitt types walking around in the Black Panther's Wakanda Palace."
CofCC has previously called Marvel "viciously anti-white" and even "racist," pointing to the company's "Black Panther" comics which have endless evil white characters, who are murderers and rapists, and are often racist.
Question
Read more: http://www.worstpreviews.com/headline.php?id=20051#ixzz19xkEIicQ (http://www.worstpreviews.com/headline.php?id=20051#ixzz19xkEIicQ)
Ni meni nije jasno to oko kastinga, a oluja se ne smiruje već nekoliko nedelja... Mislim, nije da sam povređen, ali ne uspevam da vidim engl, zbog čega je to tako odabrano.
nisam imao pojma da je Stringer i Hip Hop DJ. A da li su ga izabrali zbog reklame, da se digne kuka i motika ili zato što ima talenta... ovaj film ionako uzimam u razmatranje samo zbog njega i Kat Denings.
Pa ono, kao, neko je odlucio da probije i tu barijeru, a s kim bolje no s Elbom koji je baja.
Mene licno ovo mnogo manje pogadja no onda kad su uzeli Mosa Defa da igra Forda Prefekta. Ne znam sta to tacno govori o meni, ali cijenim da je znakovito.
ni ja nisam odobravao što musliman igra tako bitnu ulogu, ali realno taj kasting je imao i većih gafova.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fen%2Fc%2Fcb%2FMarvin_%2528HHGG%2529.jpg&hash=4eb845e89f864113ea265dc480120ba27f44cb9b)
Meni je drago da je Mos Def uzo neki dinar, taj film je ionako bilo nemoguće spasti sa ili bez njega.
Cek cek, katere, jel to impliciras da je glas Alan Rikmana izneverio kao Marvin?
problem je u tome što me je izdalo sećanje na taj film iako sam ga gledao jedan i po put, te iako verujem da Rikman podbacio nije, ono što je izgovarao nije uspelo da preskoči utisak koji ostavlja ovaj poor man's Asimo.
A, u tom slucaju smo na istoj strani. :lol:
i da, što se glasa tiče, dobro je što se pri izboru nisu dodvoravali uticaju Bendera.
Marvin mi je bio totalni promašaj, skoro kao i Mos Def. Svaka čast Alanu Rikmanu ali nije to to..
Sad slusam na Jutjubu. U pravu je Mehmet, nije to bas to. Marvin treba da bude vise deadpan. U izvornoj radio seriji je to bilo bolje. Mada je tamo glas, za razliku od Rikmanovog, bio distortiran jeftinim efketima s kraja sedamdesetih.
A u drugim vestima:
6 Amazingly Intelligent Animals (That Will Creep You Out) (http://www.cracked.com/article_18930_6-amazingly-intelligent-animals-that-will-creep-you-out.html)
Emejzing. Na papagaja sam i suzu pustio.
Moj prvi papagaj - Pera - umeo je da kaže par reči i mislim da je znao ko sam ja.
Deluje mi da je bio dosta inteligentan za tigricu.
Imao sam kasnije još par papagaja, ali su oni bili više na mene - prilično tupavi...
Ja ne znam naravno koliko je sve ovo što su napisali i pokazali zapravo stvarno itd. ali mi je u ovakvim trenucima drago da mogu da kažem da ne jedem životinje.
ваљда и код животиња може да се заломи нека лудачки интелигентна у оквирима своје врсте...овај папагај јесте помало језив.скептици увек могу рећи да се такав снимак може лако средити, издресирати животиња ради ових или оних разлога итд.
иначе, овај cracked је врло зезнут сајт за мене - делује као лавина, па останем читајући по неколико сати.
Nego, evo kako život ume da se (surovo) poigra:
Golden-Voiced Homeless Man Captivates Internet (http://new.music.yahoo.com/blogs/amplifier/51933/golden-voiced-homeless-man-captivates-internet/)
Mehmete, ti si imao iskustvo kao footwear retailer, ne znam šta kažeš za ovo?
Pirotski opanci za Japance
3. januar 2011. | 15:09 | Izvor: Beta
Pirot -- Kompanija "Tigar" iz Pirota isporučila je jesenas japanskom tržištu 2.000 pari novog modela pirotskog gumenog opanka.
Izvršni direktor kompanije "Tigar" Jelena Petković izjavila je agenciji Beta da je japanskim partnerima iz firme "Vallauris" isporučen redizajnirani model gumenih opanaka, simboličnog naziva "1935", koji predstavlja datum osnivanja fabrike.
"Modifikacija proizvoda je simbolična i dodala je jednu rustičnost, a osnovna konstrukcija i forma ostala je ista. Tokio se ubraja u gradove sa najlepšim prodavnicama na svetu i za nas je velika čast da budemo deo te ponude", rekla je Petkovićeva.
Prema njenim rečima, japanskim kupcima isporučeni su tradicionalno ručno radjeni gumeni opanci u nekoliko boja, uključujući i crnu, a dodate su i aplikacije.
Nov model pirotskog opanka ima atraktivan izgled moderne niske obuće, izuzetno je udoban, lak za obuvanje i veoma jednostavan za održavanje, rekli su u kompaniji "Tigar".
Quote from: Meho Krljic on 05-01-2011, 09:43:25
Nego, evo kako život ume da se (surovo) poigra:
Golden-Voiced Homeless Man Captivates Internet (http://new.music.yahoo.com/blogs/amplifier/51933/golden-voiced-homeless-man-captivates-internet/)
kada smo već kod beskućnika, ovaj je nedavno snimio za Stones Throw
Homeless G-Funk beat boxer behind the HVW8 Gallery. (http://www.youtube.com/watch?v=vWz-x7YMVCk)
With all the superheroes muscling into theaters, there ought to be room -- in theory, anyway -- for a few caped crusaders on TV. Enter "The Cape," NBC's foray into cloaked avenger territory, kicking off with an extremely fun two-hour launch that shrewdly mixes comicbook imagery with the right measure of playful humor. Part "Batman," part "Robocop," the semi-futuristic vision of an ailing metropolis in need of a savior will be tough to sustain on a weekly basis, but the first mission succeeds as an original leap into this genre -- bridging the perilous gap between what works on the printed page vs. live-action.
Granted, TV has a rather sordid history with comics, dating back to the high camp of "Batman" in the 1960s. Even recent efforts have proceeded cautiously -- witness "Smallville's" initial (and since discarded) "No tights, no flights" pledge.
"The Cape," on the other hand, dives into a pretty conventional origin story, as committed cop Vince Faraday ("ER's" David Lyons, blessed with a solid superhero jaw) tries playing things straight on an increasingly corrupt police force in Palm City. Framed as the master masked criminal Chess, he escapes a massive explosion that leaves the world thinking he's dead -- and his wife (Jennifer Ferrin) and young son (Ryan Wynott) grappling with his disgrace.
But Vince is taken in by Max Malini (Keith David), who heads a circus gang that robs banks. After what amount to hazing rituals, Max -- a master illusionist -- and his compatriots train Vince, who uses his ninja-like skills, escape arts and a special cloak to become the Cape, his son's favorite comicbook hero.
To protect his family, Vince decides to continue playing dead, seeking to neutralize the private contractor, Peter Fleming (James Frain, born to play a comicbook villain), who is transforming the police into a private paramilitary operation.
Finally, Vince receives assistance from the mysterious Orwell, an "investigator blogger" played by Summer Glau, managing to be oxymoronic and improbable all at once.
If the premise sounds cheesy and busy, the execution is crisp and efficient -- and manages to sell dialogue like, "Together, we can take this city back," which often sounds better in a word balloon. Even the music (by Bear McCreary) brings to mind Danny Elfman's "Batman" theme.
Can "The Cape" take flight with more than just the cultish adoration of fanboys and kids? Ah, now that's a formidable challenge -- especially with the show residing Mondays in what was "The Event's" timeslot after this Sunday preview to capitalize on NFL football.
At this point, the Herculean task of turning NBC around looks like a job for Superman. Still, "The Cape" overpowers most of the fall's development through sheer energy and wit, thus qualifying as a welcome step -- maybe even a bold leap -- in the right direction.
Pobogu, ovi se BAŠ trude:
Future First Person Shooter (http://www.youtube.com/watch?v=CyCyzB0CedM#ws)
2010: A Symphony of Violence (http://www.youtube.com/watch?v=CMhZukTU2W4#ws)
Bolje je kad je spontano :?:
US Troops Ambushed in Afghanistan (Helmet CAM) (http://www.youtube.com/watch?v=QiTwlRn6r4o#)
Ortaci lepo psuju za sve pare a ovi iz holandskog Gerila softvera su rešili da iz Killzone 3 izbace što je više moguće psovki, kao, okej je da se puca, ubija i diže u zrak, ali ne valja da se pritom i kune...
To je general Kurtz odavno primetio.
Pa, da.
http://sunshinepeople.tumblr.com/post/597659536/juergen-teller-weve-got-the-louvre-to (http://sunshinepeople.tumblr.com/post/597659536/juergen-teller-weve-got-the-louvre-to)
Ovo bi zapravo moglo i na Cornelijusovu temu "Izložbe koje sam posetio" :>
Prelepo. Sad me je sramota što ja u Luvru nisam uradio ništa slično :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.darkhorizons.com%2Fassets%2F0013%2F3134%2Flight.jpg&hash=01e8fdee2da8b5d98d9b7a07c7ad0a639e9c0b00)
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Simpatično. Pogotovo Spajdermen.
Nego, ako ikoga zanima moja nesistematska analiza prve decenije trećeg milenijuma vezana za (američku) strip-industriju, evo je: analiza (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1236&Itemid=48).
Meni ovaj Spajdi deluje kao hit.
To je gotovo neizbežno. Ipak je u pitanju nastavak/ reboot najuspešnije filmske superherojske franšize do danas. Ali da li će biti i dobar film, to ćemo videti.
Ja nekako slutim da hoće. Mislim da je glumačka podela dobra, mislim da je ovaj reditelj interesantan.
U to ime jedan mali poklon za tebe...
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Miruj, srce moje ludo!!!!!!!!!!!!!!!!!
Srećom si vegetarijanac, da si unosio meso, sad bi već bio u Urgentnom na ugradnji stenta.
Cracked sa korisnim tekstom o bezbednosti na Internetu:
http://www.cracked.com/article_18962_5-things-we-all-do-that-make-hackers-lives-incredibly-easy.html (http://www.cracked.com/article_18962_5-things-we-all-do-that-make-hackers-lives-incredibly-easy.html)
Bruce Willis indicated to Access Hollywood this weekend that filming on "The Expendables" sequel seems to be kicking off sooner rather than later.
"Apparently it's going to happen this year... As far as I know, barring any unforeseen circumstances, but yeah, I would love to be a part of it" said Willis who cameos in the original film and who is tipped to serve as the villain in the next one.
Meanwhile filmmaker Sheldon Lettich has indicated (via The Van Damme Fans) that Jean Claude Van Damme will be joining the next film, the Muscles from Brussels having rejected an offer to feature in the first film.
However, if he does join then there's a condition - "JC seems to be leaning towards appearing in the sequel, as far as I know...If Steven Seagal is not in the sequel. From what I've heard it, [Steven] Seagal won't be, not because of Sly, but because of producer Avi Lerner, who had a few bad experiences with Steven" said Lettich.
Update (10:46am): Lettich explains that two separate quotes have been taken out of context - "My statement was two completely different and unrelated sentences. In the first one I said Van Damme was leaning towards doing the movie. In the second sentence I led with the word "if," meaning that if Seagal is not in the movie, it's not because of Sly's decision but because of Avi Lerner's. Nowhere was JC's name mentioned in the second sentence, because his participation is completely unrelated to Seagal"
Last week's reveal of the "Spider-Man" costume also revealed a potential change to the nature of the character to bring him more in line with the comics - mechanical webshooters.
Talking with MTV News, actress Emma Stone confirmed that "it's a device" in regards to the metallic objects seen attached to Peter Parker's wrists in the official photo that premiered last week.
Sam Raimi's films featuring the character had the webshooters be organic creations that came about as the result of the spider bite mutation. The comics have reportedly employed both techniques at different points.
Divne vesti, sve redom. Mehanički webšuteri umesto organskih, Van Dam u Ekspendabls 2... prelepo.
http://www.google.com/url?sa=D&q=http://www.blic.rs/Zabava/Vesti/230201/Porno-glumica-igra-devicu-u-hororu-Hallows (http://www.google.com/url?sa=D&q=http://www.blic.rs/Zabava/Vesti/230201/Porno-glumica-igra-devicu-u-hororu-Hallows)
Mark Bailey has been hired to pen a script based on Marvel Comics' "Black Panther" reports Heat Vision.
The Black Panther was the first modern African-American superhero. Created in 1966, he uses a heart-shaped herb that grants the person who consumes it enhanced strength, agility, and perception.
The project has a long development history, Wesley Snipes was attached at one point while Djimon Hounsou is voicing the character in an upcoming animated mini-series.
Bailey recently adapted Monte Reel's non-fiction book "The Last of the Tribe", a project that "The Bourne Identity" helmet Doug Liman was attached to last summer. No word on scheduling, though it'll likely be well after the release of "The Avengers" in 2012 and "Iron Man 3" in 2013.
http://www.dailymail.co.uk/news/article-1348955/Boy-George-returns-stolen-picture-Christ-Cyprus.html (http://www.dailymail.co.uk/news/article-1348955/Boy-George-returns-stolen-picture-Christ-Cyprus.html)
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Don Cheadle says Marvel is moving forward on plans to spin-off his "Iron Man 2" character James "Rhodey" Rhodes and his superhero alter ego "War Machine" into his own feature film.
"They're developing it now, they're working on that. I think they've hired a writer, so we'll see how it goes. It would be a lot of fun" the actor told MTV News while attending the Sundance Film Festival.
Don't expect Rhodes to appear in "The Avengers", Cheadle saying "I don't think he shows up...I think he's kind of a lone wolf."
Out doing press for "Gnomeo and Juliet", Scottish actor James McAvoy has spoken in detail about his role as Professor X in the upcoming 60's prequel "X-Men: First Class" and more specifically how it differs from Patrick Stewart's take on the character in the other films.
McAvoy dropped the following quote to Cinema Blend about his approach to the character:
"You look at the kind of main, defining characteristics of Professor X, of Charlie Boy, and you go, 'Alright, he's selfless. He's a saint. He's sexless, it seems. He's egoless. He's all about other people. He's all about bettering the world and mutantkind and humankind.' And so you kind of try and flip that on its head. You don't make him an evil person, or anything like that, but you make him ego-driven, women-chasing, he likes a good drink. He's not the reluctant leader that you kind of want all heroes to be. He actually kind of wants to be in charge, you know what I mean? And all of those things, just to kind of show a journey. So by the end of the movie he's some way towards becoming Patrick Stewart['s version of the character], rather than just having the same guy at the beginning."
McAvoy also confirmed that Wolverine doesn't appear in the film, and that initially the character was going to be bald, but the studio vetoed the idea. Presently they're doing reshoots with three key scenes in particular being worked on - a lot of underwater scenes shot last week, some tweaking of the final scene featuring him and Magneto, and a scene set on a boat.
Two weeks after it seemed nobody wanted it, NBC has announced that it's picking up "Boston Legal" creator David E. Kelley's attempt to re-launch "Wonder Woman" on the small screen reports The Live Feed.
Warner Bros. TV pitched Kelley's script to several networks earlier this month but many rejected it including NBC who "couldn't commit to the type of license fee that the studio was seeking in order to do the show Kelley had envisioned" according to Deadline.
What changed is Kelley's new legal drama for the network "Harry's Law". The Kathy Bates-led show premiered to a healthy 11 million viewers, giving NBC its biggest non-Olympics audience in the Monday 10pm slot in more than a year.
Now, the executives have decide to give it a shot. Kelley's take reimagines Wonder Woman aka Diana Prince as a vigilante crime fighter in L.A. who is "also a successful corporate executive and a modern woman trying to balance all of the elements of her extraordinary life."
Ja u Kelleyja imam dosta poverenja.. mada Wonder Woman baš i ne volim preterano. Videt ćemo.
Naročito u R. Kellyja :)
Vladika Nikolaj nije pusio duvan (http://www.youtube.com/watch?v=Oye_wrnnwr8#)
I posle se pitaju što ih smatraju za retrogradne snage ovog društva...
Eh, da
Cat Adopts Baby Squirrel, Teaches it to Purr (http://www.youtube.com/watch?v=NfdCEy7Y1-E#)
Kevin Tancharoen is shooting a live action 'Mortal Kombat' digital short film series to be available this spring through online digital retailers.
Director Kevin Tancharoen, who helmed the 2009 Fame dance movie re-make, is shooting a new live action Mortal Kombat digital short film series this February in Vancouver, Canada. The series will delve deep into the history of popular video game characters like Scorpion, Johnny Cage and Liu Kang. The videos will be available this spring through online digital retailers from Warner Bros. Digital Distribution.
With game developer NetherRealm Studios readying the first stereoscopic 3D Mortal Kombat game for publisher Warner Bros. Interactive Entertainment (WBIE), gamers will get new insight into some of the key characters from the violent fighting game franchise. More details on the series, including the actors who will step into these iconic roles, will be announced soon.
Tancharoen connected with other Mortal Kombat fans by directing the unofficial live action fan short, Mortal Kombat: Rebirth, which garnered over 10 million views online. That video paved the way for this new digital series, which will help promote the new Xbox 360 and PlayStation 3 game that ships April 19.
Warner Bros. is also developing a big screen reboot for the Mortal Kombat film franchise. The new film is expected to take a more mature approach to the source material than the first two movies. It's also a prime candidate for a 3D adaptation on the big screen, as recent video game translation Resident Evil: Afterlife 3D showed. Tancharoen has expressed interest in filming the new movie, but first up for the director is this short film series.
Before recent big screen translations of video games like Jerry Bruckheimer's Prince of Persia: The Sands of Time earned over $335 million worldwide in 2010 for Disney, Mortal Kombat was one of the first true examples of a game franchise crossing over successfully into Hollywood.
Director Paul W.S. Anderson, whose 2010 Resident Evil: Afterlife 3D for Sony Pictures grossed over $296 million globally, directed the first Mortal Kombat movie for New Line Cinema. That film was the first theatrical video game blockbuster, earning over $122 million at the global box office in 1995. After Anderson left for other projects, Mortal Kombat: Annihilation earned only $51 million globally in 1997.
"I'd love to see another movie but I'd be really cautious," said Boon. "I wasn't crazy about the second Mortal Kombat movie. If they make another one, I'd want to make sure it has the quality of the first one. And it'd be exciting to see a Mortal Kombat movie in 3D."
Mortal Kombat spawned two televisions series (Mortal Kombat: Defenders of the Realm and Mortal Kombat: Conquest) and an animated prequel Mortal Kombat: The Journey Begins. There was even a live touring stage show during its heyday.
Now 19 years old, Mortal Kombat is one of the most celebrated video game franchises of all time. It also has its place in history as one of the most violent game franchises, which ushered in a wave of Congressional hearings when it was first released in 1992 on Sega Genesis.
"It was a different era back then," said Ed Boon, the creator of Mortal Kombat and the creative director of NetherRealm Studios. "Games were made in a different way and they weren't as sophisticated as they are now. Mortal Kombat was the first game where you saw real characters and real blood."
Boon said that now violence and blood are commonplace in games. And there are games that have surpassed Mortal Kombat in terms of violence. In fact, the last Mortal Kombat game was rated Teen and aimed at a broader audience.
"It's expected that Mortal Kombat games have violence, but I don't think you can shock anyone after doing eight games," said Boon. "When we do it, it might be more realistic because the technology is more sophisticated."
This new game, the ninth in the franchise, is a reboot of the series and returns to the Mature-rated blood and "Fatalities" that fans have come to love.
Boon said that Hollywood films have played a role in the on-screen action gamers have come to expect in the fighting franchise.
"A lot of the fatalities that we had in the beginning that made the game infamous came from movies," said Boon. "Things like pulling a still-beating heart out of your foe came from Hong Kong action movies. We watch a lot of movies and when we see something that stands out we try to add it to the game."
Boon said the new game is trying to recapture that original excitement.
"The goals for this Mortal Kombat was to repeat the first three games in terms of the 2D gameplay and the Mature-rated presentation and to have as deep as a fighting engine as we can," said Boon. "Adding Stereo 3D brings a more immersive visual experience to the franchise. The game plays the same, but you have more layers of visuals between the characters and the camera to take advantage of."
Outside of the new digital video series, Boon said WBIE will take a very aggressive approach to downloadable content once the game ships by adding new characters to the roster for players to download and play with.
This will be the first Mortal Kombat game from WBIE. The franchise was previously owned by Midway Games, which went bankrupt in February 2009.
"Deadwood" creator David Milch has signed on to adapt the noir-style PS3 video game "Heavy Rain" into a feature for Unique Features reports Variety.
Selling well over a million copies since its release, the procedural-themed game has users playing four different characters involved to different extents in the hunt for the Origami Killer, a serial child murderer who drowns his victims several days after he abducts them.
The characters include a divorced father of the most recent abductee who lost his first child in an accident years before and suffers from black outs, a gruff private investigator looking into the killings with the help of a prostitute, a female reporter who becomes close with the father, and a whip-smart FBI agent with a drug habit and hi-tech glasses that produce a virtual computer interface even more elaborate than those seen in "Minority Report".
The game has proven a big hit with critics and users with its unique gameplay which makes it more like a complex interactive movie with multiple variations on the story depending upon the player's choices. A lot of money went into the production values as well with actors like Pascal Langdale and Leon Ockenden voicing and doing motion capture work for the production.
Milch will start writing "Rain" once he's finished work on the first season of HBO's horseracing series "Luck". Bob Shaye and Michael Lynne are producing while Unique has a first look deal with Warner Bros. Pictures.
Vanessa del Rio (http://www.youtube.com/watch?v=bniQ8-5R434#)
xcheers
http://www.dangerousminds.net/comments/vanessa_del_rio_thats_slut_with_a_capital_s/ (http://www.dangerousminds.net/comments/vanessa_del_rio_thats_slut_with_a_capital_s/)
QuoteA couple of days ago, Taschen sent me a review copy of the new trade edition of their infamous 2007 publication, Vanessa Del Rio: Fifty Years of Slightly Slutty Behavior, an autobiography cum coffetable art book dedicated to the life and career of the legendarily nasty 70s porn star, and edited by Taschen's "sex editor" Dian Hanson.
Vanessa Del Rio: Fifty Years of Slightly Slutty Behavior is one of the most extraordinary pop culture products that I have ever beheld. It's also one of the filthiest things I've ever seen. At once, it's a gorgeous and glossy volume, a high class, high end, object and just the nastiest and most prurient porn you can possibly imagine. That's a neat trick and no mean feat to pull off. The 1970s vintage of most of the photographs is probably what allows this enterprise to (just barely) be categorized as "acceptable," because there was zero attempt made to censor any of it, I can assure you.
The book is a heavy, oversized 12" by 12", full-color, 328 page paean to the pussy power of one of the most sex-crazed super sluts who has ever lived. Let me rephrase that, Vanessa Del Rio is a self-created sex-crazed super slut, someone who foresaw her future slut-dom whilst still in her early teens. She became who who wanted to be, that much can't be argued. The exploits documented here (street-walking in Times Square, bondage films, steroid abuse, jail time) would see a sailor blush, and yet, in Del Rio's voice (captured well here), her mis-adventures command respect. The woman is hardcore! Say what you want, this hot and spicy Latina chica from the Bronx sucked in what life had to offer her and she swallowed every last drop.
It would be tempting to call Vanessa Del Rio: Fifty Years of Slightly Slutty Behavior a "survivor's tale," but it's not anything of the sort. It's the story of one of life's winners and in Del Rio's case, she's beat the game on her own terms and no else else's. Her tale is a fascinating one and now it's been set down for posterity in this wild, wild book. It's not for everybody, certainly not, but if you suspect this book might be for you, then it probably is!
The deluxe edition of Vanessa Del Rio: Fifty Years of Slightly Slutty Behavior consists of 200 copies, which sell for a whopping $1500. Each comes in a special box, is signed by Del Rio and contains a lithograph of her drawn and signed by Robert Crumb. It also comes with a DVD, which includes several of her most notable sex scenes and anecdotes about some of her wildest sexual experiences. There are additionally 1300 copies that sell for $700 each. These are signed by Del Rio, but lack the Crumb litho. In one of these 1500 copies there lurks a gold lottery ticket ala Charlie and the Chocolate Factory whereby the winner gets an all-expenses-paid night "out on the town" (read into that what you will) with Vanessa Del Rio, to be captured on film by a noted photographer (probably noted pervy photographer Terry Richardson, who took photos in 2005 of Del Rio as she sucked his dick). As of today, the winning ticket remains unclaimed. The trade version is a bargain at $59.95, but no gold ticket, sorry.
That she can take images that were once sold from under the counter in Times Square smut shops and denounced by the Meese Commission and somehow recontextualize them as art or anthropology and as something palatable enough to be sold in respectable bookstores is a testament to Dian Hanson's editorial genius. And that he entrusts and supports Hanson to do such work is a tribute, too, to Benedikt Taschen's prowess and creativity as a businessman. To turn this it doesn't get any filthier 70s smut into a $1500 coffeetable book is an alchemical transmutation of considerable brilliance.
Heh
http://www.cracked.com/article_18867_5-creepy-ways-humans-are-plunging-into-uncanny-valley.html (http://www.cracked.com/article_18867_5-creepy-ways-humans-are-plunging-into-uncanny-valley.html)
When he shot "X-Men Origins: Wolverine", Hugh Jackman clocked in at 190 pounds of muscle. The actor tells The L.A. Times that he's getting a lot bigger for Darren Aronofsky's "The Wolverine" and is currently in the midst of training for it.
"It's 6,000 calories a day, it's rough... Right now, I'm at 210 [lbs.]" says Jackman who was told to bulk up by Aronofsky - "Darren said with the last one, 'Hey you looked great, but you're so tall that in those long shots you looked kind of like Clint Eastwood, and that's not Wolverine.' He said that Wolverine, in the comics, is powerful, stocky, you know, he's short and thick. So he said, 'I want you to go there, get bigger.'"
Jackman describes the film itself, based on Chris Claremont and Frank Miller's Japan-set 1982 comic mini-series, as "not a sequel, it's a stand-alone, and I think we're going to make one that people will describe as the best of the bunch... I'm really, really pumped about it. I feel like all the planets are finally aligned to make a great movie."
Jackman says he's been longing to do this storyline for a while, "I remember saying to [producer] Lauren Shuler Donner, "Lauren, I don't know about you, but I've seen this Japanese story, and I think it's so good. It's just genius, it's brilliant." And we kind of always talked about it from there on. I sort of even wanted to do that in the third X-Men movie at first, but we thought, no, we really need to establish who he is at first, and we did that [with "X-Men Origins: Wolverine"], and now this is sort of the cherry on top, to finally do it and have Darren Aronofsky direct it."
U toj Claremontovoj/ Millerovoj ekstravanagci Wolverine dosta jebe, bilo bi lepo da nam Aronofski da priliku da to vidimo i u filmu.
Takođe, ako im treba mali a nabijen Wolverine, zašto ne bi... kastovali nekoga ko tako zaista izgleda??? Mislim, ja volim Hjua Džekmena, ali Wolverine u stripovima nikad nije bio pinap.
Heh, heh, evo zabavnih primera Streisand Effecta na delu:
http://www.cracked.com/article_18954_the-6-most-disastrous-attempts-at-internet-damage-control.html (http://www.cracked.com/article_18954_the-6-most-disastrous-attempts-at-internet-damage-control.html)
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Samuel L Jackson appeared on "Late Night with Jimmy Fallon" where he confirmed that in the next month he will shoot his cameos for "Thor" and "Captain America," despite previously stating that he will not be part of "Thor."
He added that "The Avengers" will then begin shooting in April and that Nick Fury will be getting a sidekick. "I have to screen test like five actresses on Friday," Jackson explained. "They have this new character that I guess is my sidekick that's with me all the time."
THR has now learned that some of the actresses that are auditioning are Morena Baccarin ("V"), Jessica Lucas (Cloverfield), Cobie Smulders ("How I Met Your Mother") and Mary Elizabeth Winstead (Scott Pilgrim vs the World).
Whoever gets the role (rumored to be The Wasp) will become a key members of S.H.I.E.L.D., an espionage agency ran by Nick Fury (Jackson). The chosen actress will also sign a nine-picture deal with Marvel, guaranteeing that she will return in future films.
Read more: http://www.worstpreviews.com/headline.php?id=20536&count=0#ixzz1CydjyGC0 (http://www.worstpreviews.com/headline.php?id=20536&count=0#ixzz1CydjyGC0)
Njemu je do jaja. Nik Fjuri može/ treba da se pojavi u svakom Marvelovom filmu, dakle, kapaće svake godine od njih. I sve zato što je pre deset godina Mark Millar objasnio Johnu Cassadayju da Ultimate Nick Fury treba da podseća na Semjuela El Džeksona. Pa treba spomenik da mu sagradi.
Platinum Studios, Producer Andrew Lazar and Top Cow Productions are teaming to adapt Matt Hawkins' five-issue 2005 comic "Vice" into a live action feature film reports Deadline.
The story follows a group of hard-core teen felons who join the FBI's Critical Response Unit as a way to clear their records.
A combination of bad attitudes and formidable powers make them as dangerous as those they pursue. Lazar and Scott Mitchell Rosenberg will produce.
Hmmm, taj Vice nisam ni čitao. Top Cow me načelno odbija svojim niskim kvalitetom, ali shvatam da je ta izjava besmislena istog trenutka dok je kucam jer sam ionako pratio i Wildstorm poslednje tri godine i Project Superpowers u Dynamiteu...
Director Joe Johnston tells The L.A. Times that James "Bucky" Barnes, the plucky young sidekick to Captain America (aka. Steve Rogers) in the comics, is getting something of a makeover for the upcoming "Captain America: The First Avenger".
"In the comics, he's like Robin is to Batman, but this is not that at all," Johnston says. "We took some liberties with the relationship between the two guys. In our story, Bucky is already in the service, he's already joined up and is being sent overseas while Steve is still struggling to get in the army. That's different than what you may have read in the comics. It adds a nuance to the relationship that pays off later. They're closer in age, too — they're virtually the same age."
In the film, Rogers and Barnes are orphans and grow up almost as brothers. Rogers is too sickly to enlist so he volunteers for a dangerous and secret experiment that might make him the first of an army of super-soldiers. That fact changes the physics of his friendship to be far less paternal than the comics, while Bucky himself is used far less as comic relief.
Part of the reason for the changes was the hiring of handsome and impressive young character actor Sebastian Stan ("Gossip Girl," "Kings," "Black Swan") as Bucky, "Sebastian brought something really interesting and slightly on the dark side and really compelling to watch... Sebastian has a dark, slightly quirky side to him — and that's the case when he's in character or not — and he brought that to this movie" says Johnston.
The director adds that Stan was originally up for the role of the Captain himself, Steve Rogers, which ultimately went to Chris Evans. "You know, he was originally up for the lead, for the Steve Rogers role, but he didn't have quite the same earnest, I-want-to-fight-for-my-country aura that Chris has for this role. Sebastian has a little bit of the bad boy, he's a little bit of the James Dean type and that goes somewhat counter to the general perception of Steve Rogers. He wasn't quite right for Captain America, but I think he's perfect for Bucky" says the director.
Ovo bi trebalo u DušMane reaguj, ali kako njega uglavnom nema na forumu, evo kod mene:
Batman gets pwned (http://www.youtube.com/watch?v=ks8PZ8X6Yo8#ws)
http://www.cracked.com/article_18997_the-5-most-implausible-old-school-rap-songs.html (http://www.cracked.com/article_18997_the-5-most-implausible-old-school-rap-songs.html)
Dogovor na vrhu:
Ceca i Lil Wayne snimaju duet (http://www.kurir-info.rs/stars/ceca-snima-duet-sa-reperom-iz-amerike-73556.php)
QuoteSvetlana - Ceca Ražnatović možda će na novom albumu imati numeru na kojoj će sarađivati sa američkim reperom Lilom Vejnom i Filipom Filipijem, producentom srpsko-kanadskog porekla.
Pošto je Filip završio rad na pesmi za Cecu i Lila Vejna, ostalo je samo da se studijiski uobliči ovaj neobični duet. Kako prenosi jedan selebriti portal, saradnja će se sigurno ostvariti. Prvo će folk diva završiti svoj deo, a potom se očekuje i vokalna deonica američkog repera.
Daryl Hannah, Tom Sizemore, and Thora Birch have all signed on for the adaptation of Chuck Palahniuk's 2008 novel "Snuff" reports ChuckPalahniuk.net.
The story centers on an aging porn star, Cassie Wright (Daryl Hannah), who tries to set the record for the biggest gang-bang in history by screwing six hundred men on camera in one day.
Despite the subject matter, there's little actual sex in the book as it focuses on three men bonding through their future sexual conquest. Things get more twisted as a few claim she is their misplaced mother yet still plan to have sex with her.
Sizemore will play Mr. 600, the man who introduced Cassie to the industry, while Birch will play Cassie's personal assistant. French filmmaker Fabien Martorell will direct from a script he is co-writing with Karina Wilson.
Verovatno najbolji kasting u odnosu na scenario u istoriji Holivuda.
Biljke. Užasne biljke:
http://www.cracked.com/article_18979_10-creepy-plants-that-shouldnt-exist.html (http://www.cracked.com/article_18979_10-creepy-plants-that-shouldnt-exist.html)
Mehmete, čekiraj...
http://dobanevinosti.blogspot.com/search?q=X-MEN%3A+KORENI+ (http://dobanevinosti.blogspot.com/search?q=X-MEN%3A+KORENI+)
Hmmm, sve žive su timove i likove izmešali. Mada to i nije toliki problem jer u filmovima je kontinuitet ionako drugačiji nego u stripu. U stripu je X-Men First Class serijal koji se radi u kontinuitetu između prvog i drugog X-Men runa, dakle, tim koji je bio u prvih šezdeset i kusur epizoda, dok je serijal pisao Stan Lee, samo su ovo njihove avanture koje Lee, jelte, nije živopisao.Tako da tu nema mnogo mesta ni za Pixie koja se vidi u trejleru (mada ne vidim da je wikipedija pominje), a koja je kreirana tek polovinom prve decenije ovog veka, u kontinuitetu godinama posle prvog tima, ni za Mystique koju je kreirao Chris Claremont pred kraj sedamdesetih a koja se ionako pojavljuje u prva tri X-men filma. Da ne pominjem Emmu Frost i Sebastiana Shawa koji su klasični Claremontovi likovi, vezani za velike priče koje je Claremont tokom decenija razvijao itd. Dodali su i Darwina, koga je kreirao Ed Brubaker za svoj retcon od pre neku godinu, koji menja kontinuitet između Leejevog i Claremontovog rada na serijalu... Hoću reći, to nema veze sa idejom X-Men: First Class niti sa poznatim kontinuitetom u najgrubljoj formi.
Ali, to na stranu, Vaughn ima sve elemente da napravi solidan, zabavan film i ja se ovome svakako radujem. Čak aplaudiram na tome što se ovde pojavljuje Emma Frost jer... svaka prilika da se ta žena pojavi pred našim očima je - dobra prilika.
Maliciozni humor, zar ne?
Mac vs PC (1984 vs. 2007) (HD) (http://www.youtube.com/watch?v=tmRJ649ICPU#ws)
Pa, sad, maliciozno ali tačno. Naravno, poznato je koliko ja mrzim Apple, ali nema sumnje ni u to da je PC sa svojim Windows ropstvom postao jedna neverovatno sporopaleća mašina. Ajde, na poslu ujutro dođem, upalim kompjuter, otvorim jedan prozor (na zidu, ne na kompjuteru), otvorim drugi, skinem kaput, okačim ga, pripremim iPod i USB stick i do tog momenta je možda Windows spreman da prihvati moj login (ne i da se radi u njemu). Što i nije strašno, to je možda 30-40 sekundi. Ali na tom kompjuteru i nemam bogznašta instalirano. Kod kuće ustanem, upalim kompjuter, odem, umijem se, operem zube i dok dođem do kompjutera, možda se butovao i možda mogu da radim. Što nije strašno ako ne moraš tokom dana da ga restartuješ, ali ako moraš... eto pakla.
Principal photography is scheduled to begin in late Spring/early Summer on the biopic "Tupac" according to press release issued by Morgan Creek Productions today.
The film chronicles the life and legacy of Tupac Shakur, including his rise to superstardom as a hip hop artist and actor, as well as his imprisonment and prolific, controversial time at Death Row Records, where he was steeped in the East coast/West coast rap war.
Directed by Antoine Fuqua ("Training Day," "Brooklyn's Finest"), the film will be shot on location in Los Angeles, New York, Georgia and Las Vegas and is currently being cast.
Shakur's mother Afeni Shakur-Davis says, "I am confident that Morgan Creek will stay true to the common goal we share of depicting Tupac's life in a way that will allow the world to see the authenticity of his artistry, his hopes, and his life goals."
Au bre, nisam znao da ću jednog dana zbog Džona Čiza i suzu da pustim:
http://www.cracked.com/article_19010_5-ways-to-avoid-your-terrible-parents-mistakes.html (http://www.cracked.com/article_19010_5-ways-to-avoid-your-terrible-parents-mistakes.html)
Revolucija!
http://www.youtube.com/watch?v=L6C01tyrhf0&feature=player_embedded#at=68 (http://www.youtube.com/watch?v=L6C01tyrhf0&feature=player_embedded#at=68)
The PlayStation Phone is due to ship in April.
TOKYO -- As Sony Ericsson launched its gaming phone, the Xperia Play, Sony announced that its PlayStation 2 (PS2) console had shipped over 150 million units worldwide since its launch in March 2000.
Making it the best-selling home or handheld console in gaming history, the PS2 passed the milestone at the end of 2010, more than a decade since it was first launched in Japan.
With the launch of the PS3 in 2006, many expected the older console to fade quietly away, but the PS2 has hung on to life better than a video game zombie. There were numerous quarters of Sony results when the company reported, for better or worse, that the PS2 continued to outsell its newer and more expensive cousin.
More than 1.52 billion games from 10,828 PS2 titles have been sold, and sales of the console – now priced at around $100 – remain particularly strong in emerging markets.
Due for an April launch, Sony Ericsson's gaming phone, dubbed the PlayStation Phone, has a touch screen and slide-out control buttons that are similar to those found on the PlayStation Portable. The handset will run Google's Android platform and have six games pre-loaded, with a library of 50 slated for the launch.
With Nokia's recently announced tie-up with Microsoft, the Xperia Play will enter an increasingly competitive mobile phone gaming market where free and low-cost games are already established in the smartphone space.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.darkhorizons.com%2Fassets%2F0013%2F7931%2Fspud.jpg&hash=766f67691f03d67ad4ac37b82506d54fec51b9e8)
Lepo izgleda.
Spalio majku u peći jer mu je oduzela plejstejšn
D. Milojković | 18. 02. 2011. - 13:45h | Komentara: 65
Šesnaestogodišnji Kendal Anderson iz Južne Filadelfije (SAD) priznao je, kako istraga tvrdi, da je svoju majku Rašidu (37) ubio jer mu je oduzela plejstejšn konzolu za igranje kompjuterskih igrica.
Prema policijskom izveštaju, Kendal je majku napao čekićem za ukucavanje eksera dok je spavala, i 20 puta ju je udario po glavi, ali pošto je i posle toga još uvek davala znake života odvukao ju je u prizemlje i pokušao da je "kremira" u kuhinjskoj peć. Pošto mu ni to nije pošlo za rukom, nastavio je da je udara po glavi nogom od stolice, da bi zatim telo odvukao u uličicu iza kuće i sakrio ispod gomile smeća, gde je kasnije i pronađeno.
Dečak je u istrazi izjavio da se nakon što mu je majka oduzela plejstejšn tri sata premišljao da li da počini zločin, jer "nije mogao da podnese svađu", kao i da se zbog svog dela kaje, i da ga ne bi ponovio.
"Stvarno mi nedostaje moja mama... ona je bila je jedina osoba kojoj je bilo stalo do mene", izjavio je maloletni zločinac pred sudom.
кретен...вероватно ће му судити као одраслом и супер ће се провести... :mrgreen:
Pa keva mu verovatno isključila u sred teškog nivoa. Pre sejva. Ko je ne bi ubio?
True that! :lol:
Krekd i islam, ovo kao da su pravili s Mehmetom na umu :lol:
http://www.cracked.com/article_18911_5-ridiculous-things-you-probably-believe-about-islam.html (http://www.cracked.com/article_18911_5-ridiculous-things-you-probably-believe-about-islam.html)
Mislim da sam ja link za taj tekst kačio ovde pre jedno mesec dana. Ali uvek je lepo ponovo ga videti.
U potpunosti sam ocekivao da ces tako nesto reci. -_- Ja sam nabasao na nj na Tviteru i odlucio da ne pogledam datum pisanja.
Divan primer korišćenja slobodne volje što smo je dobili na dar od boga.
Nego, evo svežijeg Cracked sadržaja, takođe kao pravljenog za mene. Ja inače i danas čitam Diznijeve stripove koje izdaje Boom! (a uskoro će, pretpostavljamo svi, Marvel), a evo kako su oni relevantni:
http://www.cracked.com/article_19021_5-amazing-things-invented-by-donald-duck-seriously.html (http://www.cracked.com/article_19021_5-amazing-things-invented-by-donald-duck-seriously.html)
Na primer? Pa, ceo zaplet Inceptiona je sadržan u jednoj epizodi Baje Patka iz 2000. godine.
Edit: Dodao bih da ovo samo još jednom potvrđuje da je Carl Barks bio unikatni genije.
Uzgred, ko je bio lijen da klikne na gornji link svakako će biti lijen da klikne i na ovaj (sadržan u tekstu):
http://www.seriesam.com/barks/detc_ccus_os0456-02.html (http://www.seriesam.com/barks/detc_ccus_os0456-02.html)
a na kome se potanko objašnjava kako je izgledala integralna Barksova verzija Povratka u Klondajk, jedne od najvažnijih epizoda Uncle Scroogea u povijesti Uncle Scroogea. Moram da kažem da su četiri isečene strane opisane na ovom linku baš ono, gejm čejndžing i da je interesantno videti i šta je Barks sa njima hteo (bolja motivacija za Bajino ponašanje, ali i dublja povezanost između njega i drage mu) i kako je i zašto to sve Dizni cenzurisao.
Edit: Sad vidim na kraju teksta da je početkom osamdesetih objavljena i rekonstruisana verzija, čiji sken skoro sigurno imam ali ga nikada nisam pročitao. OH!!! Samo da večeras stignem kući!!!
Eh, da...
http://www.cracked.com/article_19025_6-giant-blind-spots-in-every-movie-aliens-invasion-strategy.html (http://www.cracked.com/article_19025_6-giant-blind-spots-in-every-movie-aliens-invasion-strategy.html)
FX has given the green light to Powers, a project based on the popular comic by Brian Michael Bendis and Michael Avon Oeming.
Powers follows detectives in a homicide department devoted to cases that involve superheroes. The pilot order comes a decade after Sony optioned the rights for a feature film version, which never came to fruition.
Charles Eglee (The Walking Dead, The Shield) wrote the pilot and will serve as an executive producer with Bendis, Oeming, Michael Dinner, David Engel and Circle of Confusion, the company behind The Walking Dead. Dinner, who helmed the Sons of Anarchy and Justified pilots, will also direct.
At one point, Journeyman creator Kevin Falls was attached to adapt.
Sony TV and FX Productions are co-producing the project, which has been in development for several years.
Powers has been in publication for more than a decade, producing a dozen graphic novels and more than 60 issues.
Bendis, well-known for his work on other Marvel titles, including Avengers, X-Men and Ultimate Spider-Man, turned to Twitter to express his enthusiasm.
"Powers pilot was just greenlit by FX," he shared with his 34,000-plus followers Friday night. "It's official! Your window of reading Powers while it was still cool is running out."
Quote from: Meho Krljic on 22-02-2011, 15:11:34
Eh, da...
http://www.cracked.com/article_19025_6-giant-blind-spots-in-every-movie-aliens-invasion-strategy.html (http://www.cracked.com/article_19025_6-giant-blind-spots-in-every-movie-aliens-invasion-strategy.html)
Ovo je genijalno!
Super je ovo za Powers. Ja sam skoro slučajno sakupio ceo serijal u trejdovima i, iako nije u pitanju ujednačeno dobar strip, generalno je bolji od većine onoga što Bendis normalno radi za Marvel. Premisa je dobra, seting je dobar i, u teoriji, to bi moglo da bude vrlo dobro.
John Cheese pokušava da ostavi pušenje. (http://www.cracked.com/article_19030_quitting-smoking-6-things-you-notice-about-stupid-world.html) Kao bonus, videćete njegovu golu (mada pikselizovanu) stražnjicu. Ono o čemu sam sanjao pola života...
A da Znak Sagite sakupi pare i posalje te u Ameriku (akcenat na prvom slogu) da upoznas Dzona licno? :lol:
Učinili biste to za mene? xnerd xnerd xnerd xnerd xnerd
Mehmete, da nisi možda sa svojim mad hacking skillzima naišao negde na mogućnost downloada Grant Morrisonovog komentara za ALL STAR SUPERMAN animaciju?
Hmmm, upravo skidam BluRay rip pa ćemo da vidimo da li su ripperi ostavili taj audio track. Prethodni koga sam skinuo je bio DVD Rip i imao je samo normalan audio.
Nope, nema ga ni ovde. Nadajmo se da će se neko smilovati...
Uh... čokolada će uskoro nestati sa planete???? Fosfor takođe?? Helijum??? Kakvo je ovo bezumlje????????
http://www.cracked.com/article_19048_6-important-things-you-didnt-know-were-running-out-of.html (http://www.cracked.com/article_19048_6-important-things-you-didnt-know-were-running-out-of.html)
Ah, zato ne mogu nigde da nadjem omiljeni mi brend tekile :cry:
Quote from: Melkor on 28-02-2011, 18:00:51
Ah, zato ne mogu nigde da nadjem omiljeni mi brend tekile :cry:
Er...da, to je jedini pravi odgovor. :lol:
Mislim, logikom pisca bombastičnog članka - we are running out of
svega, a ne samo ovih deset stvari koje je nabrojao. :mrgreen:
Mene to sa čokoladom ipak brine...
Ali pustimo sad to, doneo sam kući Killzone 3, valja se malo pucati.
Cokolada je najsigurnija. Cene ce rasti, ali nije valjda da mislis da ce(mo) ostati bez decije robovske radne snage?
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News
"Mortal Kombat" Banned In Australia
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By Garth Franklin Sunday February 27th 2011 08:14AM
"Mortal Kombat" Banned In Australia
The Australian Government Classification Board has refused classification of the latest instalment of the popular "Mortal Kombat" game series, effectively banning it from sale within Australia reports The ABC.
The RC rating has been said to be due to the "graphic realistic depictions of mutilations and gore performed by fatalities". This entry, effectively a reboot of the series, contains more than sixty death scenes, with graphic images of decapitations, dismemberment and spraying blood.
Warner Brothers are said to be currently addressing all options including an appeal which they previously had success with on titles such as "Aliens vs. Predator" and "F.E.A.R. 2". In the meantime, it's expected many Australian gamers will simply import the game from overseas online retailers.
Funnily enough, it was controversy over the original first game (along with "Night Trap") back in the early 90's that lead to the introduction of the video game classification scheme in 1994.
While movies in Australia have had an effective adult R18+ rating for decades, one that works considerably more than the NC-17 U.S. equivalent for example, the highest rating that's still currently available for games is MA15+.
Since then, the tide of angry gamers upset over the lack of an effective adult R18+ rating in Australia for games has considerably grown. A petition last year lead to over 89,000 signatures in support of installing said rating, the single biggest "wet signature" petition ever collected in the country.
Over the years attempts to install one were continually vetoed by former South Australian Attorney-General Michael Atkinson whose approval was required for such a measure. His resignation last year has led to renewed hope that the R18+ rating would be installed, but a state attorneys-general meeting in December stalled the decision which now might not happen until next year.
Da, da, Australija je poznata po tome...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi51.tinypic.com%2F2a7whp5.jpg&hash=3c4bd4904d898b3a4c16d9baaf8fd1f03ccb98de)
Heh, moje dve omiljene stvari na jednom mestu: sintetička koža i karikature lavova!!! :| :| :|
Malo zdrave paranoje:
http://www.cracked.com/article_19029_6-things-social-networking-sites-need-to-stop-doing.html (http://www.cracked.com/article_19029_6-things-social-networking-sites-need-to-stop-doing.html)
I u istom tonu: John Cheese:
http://www.cracked.com/article_18554_5-wacky-internet-pranks-that-can-get-you-jail-time.html (http://www.cracked.com/article_18554_5-wacky-internet-pranks-that-can-get-you-jail-time.html)
Aaaaaaaaaaaaaaaaa
http://www.cracked.com/article_18507_5-works-legitimate-mad-science-passed-off-as-art.html (http://www.cracked.com/article_18507_5-works-legitimate-mad-science-passed-off-as-art.html)
Marvel Studios is developing a film adaptation of "The Inhumans" reports Bad Ass Digest.
The Inhumans are a race of superbeings who live on the dark side of the Moon and were created by the alien Kree millions of years ago in experiments on primitive humans.
The film would be a 'team' story in which they were put on Earth as sleeper cell aliens to eventually call back their race to take over the planet. Ultimately, the group of aliens fully assimilate and don't want to cause war.
Marvel is going more cosmic in its upcoming movies with the alien race The Skrulls tipped to be the antagonists of "The Avengers".
Da notiramo da su Sima i Relja konačno digli ruke od Dis-Patch festivala. (http://popboks.com/vest.php?ID=14997)
QuoteOrganizacioni tim festivala Dis-patch objavio je potpuno gašenje ovog beogradskog festivala, tokom niza godina jedine manifestacije koja je domaćoj publici nudila drugačiji pristup savremenoj (elektronskoj) muzici i promišljanje audio-vizuelnih i sinestetičkih koncepata. Kako navode organizatori, ideja o ukidanju festivala prožimala je njegovo postojanje već duži niz godina, pre svega kao posledica nemogućnosti da se dosegne bilo kakav nivo održivog funkcionisanja. Iako je festival imao visoke profesionalne i produkcione standarde - što su tokom godina potvrdili i brojni značajni gosti festivala - rast značaja festivala u domaćim i međunarodnim okvirima nije bio ni na koji način ispraćen podrškom institucija ili "društveno-svesnih" korporacija – naprotiv. Ubrzo po svom osnivanju 2002. godine, Dis-patch je bio toplo prihvaćen na međunarodnoj sceni, uspostavljajući veze sa važnim akterima savremenog stvaralaštva, no situacija "kod kuće" bila je posve drugačija. I pored visokih umetničkih i produkcionih rezultata festival je, prema rečima umetničkog i izvršnog direktora Relje Bobića, od prve godine prolazio kroz konstantnu borbu za opstanak. Nepostojanje konzistentne podrške od strane državnih institucija, a na trenutke i potpuno nerazumevanje sfere koja je bivala afirmisana, učinili su da svako novo izdanje festivala počinje "od nule", iako se u programskom smislu manifestacija nezaustavljivo razvijala, a u svetskim okvirima uspostavljala značajna partnerstva. Nije bilo više sreće ni sa sponzorima, te su na primer Telenor Fondacija i njena matična kompanija, kao i Erste Banka/Fondacija, više puta odbili da pruže bilo kakvu podršku. Pored skromnog, nesigurnog i nekonzistentnog finansiranja od strane državnih i gradskih vlasti (koje nikada nije prešlo 20% ukupnog budžeta manifestacije), 2009. i 2010. godine Ministarstvo kulture RS nije dodelilo sredstva ni za jedan od predloženih 5 projekata, uključujući i matični festival, dok je Sekretarijat za kulturu dozvolio da festival ostane skoro bez ikakve podrške grada u kome je nastao, i koji neumorno promoviše širom sveta", navodi se u saopštenju.
(Ne)finansiranje festivala tokom poslednje dve godine, kao i paradoks da je u tom period Dis-patch produkcija demonstrirala veliki kredibilitet i potencijal bez ikakve povratne reakcije, samo su neki od bitnih razloga koji su doprineli odluci o gašenju. Na primer, tokom 2009. godine Dis-patch je samostalno realizovao 45 programa - većinu njih u potpunosti samo-finansirane ili bez učešća države - što je daleko više od produkcije većine budžetskih i drugih kulturnih institucija u istom periodu. Festival je "nagrađen" tako što su na narednom konkursu Ministarstva kulture odbijeni svi predloženi projekti. U kontekstu skorije političke realnosti Srbije, nedavne besmislene "rekonstrukcije" Vlade i opšte društveno-političke klime, ostalo je premalo nade da profesionalni "kulturni radnici" i njihovo polje delovanja mogu opstati na bilo kakvim zdravim osnovama, posebno ukoliko teže kvalitetnim produkcionim i umetničkim vrednostima i standardima. Sve ove činjenice u priličnoj meri obesmišjavaju napore za dalji razvoj, ili čak puko prisustvo ove manifestacije u Beogradu i Srbiji. Tokom niza godina, festival se održao isključivo zahvaljujući posvećenom radu skromnog organizacionog tima (tokom 10 godina rada, honorari su isplaćeni samo u 2 navrata), ulaganjem kompletnog prihoda od ulaznica u produkciju, i konzistentnoj podršci malog broja institucija kao što su Fond za otvoreno društvo, Goethe Institut, Trust for Mutual Understanding (Njujork), Francuski kulturni centar, Kulturni centar Rex, Chinch ili kompanija Ableton, kojima Dis-patch ovom prilikom izražava duboku zahvalnost.
Dis-patch Festival bio je pionirski poduhvat ne samo u domaćim okvirima, već i u kontekstu čitavog regiona jugoistočne Evrope. Zajedno sa radio emisijama i drugim aktivnostima organizacije BGYSS, funkcionisao je i kao svojevrsna edukativna platforma za promovisanje smelih muzičkih projekata, kao i prvi događaj na našim prostorima koji je snažno afirmisao vizuelni aspekt muzičkog performansa i sinestetičke koncepte. A sve to u vremenu kada se shvatanje širokog pojma elektronske muzike završavalo na plesnom podijumu nekog od lokalnih klubova. Inspirisan komšijskim Ring Ring-om i pojedinim evropskim festivalima sa kojima je odmah ostvarena direktna saradnja, D-p je svoj program godinama progresivno širio i diverzifikovao, razvijajući specifičan i otvoren pristup - od isključivo muzičkih nastupa tokom svog prvog izdanja, do brojnih a/v performansa, svetskih premijera, radionica, predavanja, interaktivnih instalacija, konkursa za domaće autore, seminara, izložbi, online kolaboracija, filmskih projekcija, studijskih snimanja, saradnji domaćih i stranih autora, uličnih akcija, rezidencijalnih programa i još mnogo toga. Spajajući istorijsko nasleđe elektronske i avangardne muzike, aktuelne trendove i sučeljavanja istih sa drugim umetničkim disciplinama, festival je ubrzo postao poznat po slobodnom, ali smislenom kombinovanju različitih ili čak suprotstavljenih estetika, vodeći publiku kroz kompletno i jedinstveno iskustvo. Ne treba zaboraviti i odgovoran pristup prema publici, kroz niske cene ulaznica kao i brojne besplatne i edukativne programe otvorene za javnost.
Praktično svi izvođači koji su nastupili na festivalu tokom proteklih godina premijerno su se predstavljali srpskoj publici, uključujući i prve nastupe danas dobro-poznatih imena kao što su Jamie Lidell, Murcof, Caribou, Monolake, Noze, Deadbeat ili Vladislav Delay/Luomo. Festival je u Beogradu predstavio ukupno 200 nastupa od strane preko 300 autora, oko 30 radionica i predavanja, 5 izložbi, 5 Artist in Residence/Focus programa i nekoliko značajnih svetskih premijera. Umetnici, njihovi nastupi i radovi predstavljeni su na ukupno brojnim lokacijama u Beogradu i okolini, a autori su dolazili iz 20 različitih država. Tokom proteklih 9 godina, festival je imao ukupno 17,000 poseta. Treba naglasiti da je svake godine privlačio i brojnu publiku iz regiona i Evrope, što je kulminiralo 2009. godine kada je više od 20% festivalske publike dolazilo izvan Srbije i koristilo festival kao povod za turističku posetu Beogradu. 2005. godine dodeljena mu je i francuska Quartz nagrada u kategoriji "najbolji svetski festival", dok su vizuelni identiteti autora Nebojše Cvetkovića stekli svojevrstan kultni status u stručnim i drugim krugovima, i takođe osvojili niz priznanja.
Dis-patch produkcija realizovala je i brojne druge saradnje i aktivnosti u Srbiji (koncertni serijal Post-Piano, instalacija u javnom prostoru RGB City, regionalni umetnički seminar Synaesthtics, KidsPatch mini-festival i mnoge druge...). D-p je takođe predstavio srpske muzičare i video autore, kao i one iz regiona, kroz oko 20 gostujućih programa na renomiranim evropskim festivalima, zatim je pre nekoliko godina bio jedan od osnivača globalne festivalske mreže ECAS/ICAS, a nedavno pod nazivom ViceVerse započeo dugoročnu "putujuću saradnju" sa festivalom Communikey iz Kolorada. Država Srbija tokom proteklih 10 godina nije uložila nikakva sredstva u bilo koju od ovih međunarodnih aktivnosti koje su afirmisale domaće savremeno stvaralaštvo, iako je više predloga dostavljano Ministarstvu kulture koje, navodno, ima i program/konkurs za međunarodnu saradnju i promociju srpskog stvaralaštva.
Umesto jubilarnog 10. izdanja koje nikada neće biti održano, uskoro otpočinje rad na projektu "9 ŽIVOTA FESTIVALA" koji bi do sredine 2012. godine trebalo da rezultira opsežnom dvojezičnom publikacijom, kao i izložbom koja će sumirati dokumentaciju, rezultate i refleksije desetogodišnjeg iskustva Dis-patch-a u lokalnom, ali i širem, globalnom kontekstu. Istovremeno se baveći teoretskim i praktičnim pitanjima festivala kao formata, njegovim značajnijim aspektima i ulogama u kontekstu lokalnih kulturnih zajednica, biće to najbolji način da se zaokruži "beogradska faza" Dis-patch-a.
Tokom 2011. godine, D-p će biti aktivan samo kroz gostujuće programe - na beogradskim manifestacijama Share (april) i Mikser (maj), a zatim tokom leta u okviru novog festivala koji će biti iniciran u Herceg Novom, dok će tokom maja i juna biti širom Evrope u sklopu nastavka turneje ViceVerse. Za kraj godine planira se i novo izdanje Festivala nove dečije kreativnosti KidsPatch, a ovog proleća za renomiranu izdavačku kuću Honest Jon's iz Londona biće objavljen debi-album sastava Vladislav Delay Quartet, snimljen 2009. godine u okviru D-p rezidencijalnog programa u studijima Radio Beograda. Dis-patch će u budućnosti biti transformisan u svojevrstan "nomadski festival" koji će svoj specifičan senzibilitet i pristup deliti sa partnerima i publikom, u specifičnim kontekstima širom planete.
Povodom gašenja beogradskog izdanja festivala, Dis-patch u četvrtak 10. marta u klubu Šećer organizuje "oproštajnu žurku" pod nazivom 6 Feet Under. Ulaz je slobodan, početak zakazan za 22.30 h, a nastupiće deo lokalnih autora koji su godinama okupljeni oko festivala – Piece of Shh, Lukatyoboy, DJ Wo0, Felony Flats, Grimmowski i DJ Moodswinger.
Ovom prilikom Dis-patch želi da se posebno zahvali publici koja je posećivala i podržavala programe festivala i učinila da brojni napori za produžetak njegovog postojanja ne budu uzaludni, kao i ostalim pojedincima i institucijama koji su tokom godina tome na bilo koji način doprineli.
Prilično tužno.
jbga :(.
Eto ti ga sad:
I AM A MUSLIM! (http://www.youtube.com/watch?v=JQXh20OuhIc#)
Mada, jebes veru zbog koje peres noge u restoranskom lavabou :)
Da notiramo snažan zemljotres u Japanu. Baš kad je Tadić napuštao Japan!!!!!!!!!!
Major tsunami damage in N Japan after 8.9 quake (http://news.yahoo.com/s/ap/ap_on_re_as/as_japan_earthquake)
QuoteBy MALCOLM FOSTER, Associated Press Malcolm Foster, Associated Press – 19 mins ago
TOKYO – A magnitude 8.9 earthquake slammed Japan's northeastern coast Friday, unleashing a 13-foot (4-meter) tsunami that swept boats, cars, buildings and tons of debris miles inland. Fires triggered by the quake burned out of control up and down the coast.
At least one person was killed and there were reports of several injuries in Tokyo, hundreds of kilometers (miles) away, where buildings shook violently through the main quake and the wave of massive aftershocks that followed.
TV footage showed waves of muddy waters sweeping over farmland near the city of Sendai, carrying buildings, some on fire, inland as cars attempted to drive away.
"This is a rare major quake, and damages could quickly rise by the minute," said Junichi Sawada, an official with Japan's Fire and Disaster Management Agency.
Officials were trying to assess damage, injuries and deaths but had no immediate details. Police said at least one person was killed in a house collapse in Ibaraki prefecture, just northeast of Tokyo.
A large fire erupted at the Cosmo oil refinery in Ichihara city in Chiba prefecture near Tokyo and was burning out of control.
Public broadcaster NHK showed footage of a large ship being swept away by the tsunami and ramming directly into a breakwater in Kesennuma city in Miyagi prefecture. Similar destruction was seen in dozens of communities along the coast.
In various locations along the coast, footage showed massive damage from the tsunami, with cars, boats and even buildings being carried along by waters.
The quake struck at 2:46 p.m. and was followed by five powerful aftershocks within about an hour, the strongest measuring 7.1. The U.S. Geological Survey upgraded the strength of the first quake to a magnitude 8.9, while Japan's meteorological agency measured it at 8.4.
The meteorological agency issued a tsunami warning for the entire Pacific coast of Japan. NHK was warning those near the coast to get to safer ground.
The Pacific Tsunami Warning Center in Hawaii said a tsunami warning was in effect for Japan, Russia, Marcus Island and the Northern Marianas. A tsunami watch has been issued for Guam, Taiwan, the Philippines, Indonesia and the U.S. state of Hawaii.
The quake struck at a depth of six miles (10 kilometers), about 80 miles (125 kilometers) off the eastern coast, the agency said. The area is 240 miles (380 kilometers) northeast of Tokyo.
In downtown Tokyo, large buildings shook violently and workers poured into the street for safety. TV footage showed a large building on fire and bellowing smoke in the Odaiba district of Tokyo.
In central Tokyo, trains were stopped and passengers walked along the tracks to platforms. NHK said more than 4 million buildings without power in Tokyo and its suburbs.
The ceiling in Kudan Kaikan, a large hall in Tokyo, collapsed, injuring an unknown number of people, NHK said.
Osamu Akiya, 46, was working in Tokyo at his office in a trading company when the quake hit.
It sent bookshelves and computers crashing to the floor, and cracks appeared in the walls.
"I've been through many earthquakes, but I've never felt anything like this," he said. "I don't know if we'll be able to get home tonight."
Footage on NHK from their Sendai office showed employees stumbling around and books and papers crashing from desks. It also showed a glass shelter at a bus stop in Tokyo completely smashed by the quake and a weeping woman nearby being comforted by another woman.
Several quakes had hit the same region in recent days, including a 7.3 magnitude one on Wednesday.
Thirty minutes after the quake, tall buildings were still swaying in Tokyo and mobile phone networks were not working. Japan's Coast Guard has set up a task force and officials are standing by for emergency contingencies, Coast Guard official Yosuke Oi said.
"I'm afraid we'll soon find out about damages, since the quake was so strong," he said.
The tsunami roared over embankments in Sendai city, washing cars, houses and farm equipment inland before reversing directions and carrying them out to sea. Flames shot from some of the houses, probably because of burst gas pipes.
In Tokyo, hundreds of people were evacuated from Shinjuku station, the world's busiest, to a nearby park. Trains were halted.
Tokyo's main airport was closed. A large section of the ceiling at the 1-year-old airport at Ibaraki, about 50 miles (80 kilometers) northeast of Tokyo, fell to the floor with a powerful crash.
TV announcers urged viewers near the shore to move to strong concrete buildings and stay above the third floor .
Japan's Fire and Disaster Management Agency said they were still assessing damage but had not confirmed any deaths.
One person was injured at a baseball stadium in Sendai, but his condition was not immediately known.
Dozens of fires were reported in northern prefectures of Fukushima, Sendai, Iwate and Ibaraki. Houses collapsing and landslides were also reported in Miyagi.
___
Associated Press Writers Jay Alabaster, Mari Yamaguchi, Tomoko A. Hosaka and Yuri Kageyama contributed to this report.
ово је 3. велики у последњих 14 дана
Ako nekoga slulajno interesuje moje oficijelno mišljenje o Joe the Barbarian, najnovijoj Vertigo avanturi Granta Morrisona, može ga pročitati ovde (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1262&Itemid=48). Kačim to jer je Criplle bio užasnut ovim stripom. Ja sam manje užasnut ali ga svakako neću ubrojati u značajnije Morrisonove radove...
ja sam bio užasnut. Ali imam nešto da ti pariram. Jesi li čuo solo album bubnjara Blink-182 Travisa Barkera?
:shock:
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Ne.
Jel' i dalje tetoviran?
Born to Run mi danas reče da Phantagraphics planira da objavi kompletne Diznijeve radove Karla Barksa u jeftinim, rekolorisanim kolekcijama, a malopre mi je poslao i link.
http://geek-news.mtv.com/2011/01/05/fantagraphics-to-publish-the-complete-carl-barks-collection/ (http://geek-news.mtv.com/2011/01/05/fantagraphics-to-publish-the-complete-carl-barks-collection/)
Ovo je super je je prethodno, Egmontovo izdanje em bilo loše kolorisano em je bilo poskupo em ga praktično i nema za nabaviti. Ovog puta ćemo da se poradujemo.
Ista vest ostavlja i link na potvrdu da ćemo uskoro dobiti reprint Flexa Mentala, Granta Morrisona i Franka Quietlyja, što je isto sjajno jer je u pitanju jedan od bisera u Morrisonovoj kruni, a koji je uglavnom nenabavljiv. Prelepo:
http://geek-news.mtv.com/2011/01/04/grant-morrisons-flex-mentallo-is-finally-returning-to-print/ (http://geek-news.mtv.com/2011/01/04/grant-morrisons-flex-mentallo-is-finally-returning-to-print/)
(ignorisati što u vesti pominju jesen 2010., iz konteksta je jasno da je u pitanju jesen ove godine)
Quote from: Meho Krljic on 11-03-2011, 14:28:26
Ako nekoga slulajno interesuje moje oficijelno mišljenje o Joe the Barbarian, najnovijoj Vertigo avanturi Granta Morrisona, može ga pročitati ovde (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1262&Itemid=48). Kačim to jer je Criplle bio užasnut ovim stripom. Ja sam manje užasnut ali ga svakako neću ubrojati u značajnije Morrisonove radove...
Ni meni nije čučnuo. Ali zato mi je prijao novi Tom Strong i nova epizoda Powers od pre neki dan.
Misliš na Tom Strong and the robots of Doom? Ja se kanim da ga pročitam ali nešto me neće :oops: Ali nateraću se... Za novu godinu sam se vratio Mooreovom Tomu Strongu i prijao mi je više nego nekad. Sigurno sam ostario, razmekšao se...
Ja inače, da se pohvalim, sav Powers imam u trejdovima. 13 komada. Brajan Bendis treba spomenik da mi podigne.
E na tome ti zavidim. Inače, pročitao sam cele The Boys (sem Herogasma) na ajPedu i sprava je genijalna za stripove! Nije tako dobar za čitanje knjiga i ajTjuns je govno živo, ali kada uzmeš da čitaš strip - milina! Iskreno ti preporučujem kupovinu tableta - popraviće ti život i kvantitativno i kvalitativno (naročito kada navučeš ženu na Plants vs. Zombies). Ja za dva meseca pazarim Vjusonikov tablet, koji ima jači procesor od ajPeda, ali slabiji ekran, a košta 34k RSD. Ponavljam, potpuno neverovatan osećaj čitanja stripova.
I The Boys imam u trejdovima (uključujući Herogasm) :lol:
Da, da, kapiram ja da su tableti super za stripove. Razmišljam o tome, onako... relaksirano.
A ženi sam već preporučio Plants vs. Zombies mada trenutno odrađuje DLC pakete za Angry Birds, ima vremena...
Apdejt za Japan:
Japan's quake toll set to exceed 1,000 (http://news.yahoo.com/s/nm/us_quake_toll)
QuoteBy Edwina Gibbs and Chisa Fujioka Edwina Gibbs And Chisa Fujioka – 1 hr 59 mins ago
TOKYO (Reuters) – A devastating tsunami triggered by the biggest earthquake on record in Japan looked set to kill at least 1,000 people along the northeastern coast on Friday after a wall of water swept away everything in its path.
The government warned there could be a small radiation leak from a nuclear reactor whose cooling system was knocked out by the quake. About 3,000 residents in the area some 240 km (150 miles) north of Tokyo had been moved out of harm's way.
Underscoring grave concerns about the Fukushima plant, the U.S. air force delivered coolant to avert a rise in the temperature of its nuclear rods, but officials said a leak was still possible because pressure would have to be released.
The unfolding disaster in the wake of the 8.9 magnitude earthquake and 10-meter (33-feet) high tsunami prompted offers of search and rescue help from 45 countries.
China said rescuers were ready to help with quake relief while President Barack Obama told Japanese Prime Minister Naoto Kan the United States would assist in any way.
"This is likely to be a humanitarian relief operation of epic proportions," Japan expert Sheila Smith of the U.S.-based Council on Foreign Relations wrote in a commentary.
Stunning TV footage showed a muddy torrent of water carrying cars and wrecked homes at high speed across farmland near the coastal city of Sendai, home to one million people and which lies 300 km (180 miles) northeast of Tokyo. Ships had been flung onto a harbor wharf, where they lay helplessly on their side.
Boats, cars and trucks were tossed around like toys in the water after a small tsunami hit the town of Kamaichi in northern Japan. Kyodo news agency reported that contact had been lost with four trains in the coastal area.
Daylight, just an hour away, looked set to reveal further death and devastation, especially after two strong aftershocks that struck during the night in the northwest of Japan's main island. Japanese politicians pushed for an emergency budget to fund relief efforts after Kan asked them to "save the country," Kyodo news agency reported. Japan is already the most heavily indebted major economy in the world, meaning any funding efforts would be closely scrutinized by financial markets.
Domestic media said the death toll was expected to exceed 1,000, most of whom appeared to have drowned by churning waters after the mid-afternoon earthquake.
The extent of the destruction along a lengthy stretch of coastline suggested the death toll could rise significantly.
Even in a nation accustomed to earthquakes, the devastation was shocking.
"A big area of Sendai city near the coast, is flooded. We are hearing that people who were evacuated are stranded," said Rie Sugimoto, a reporter for NHK television in Sendai.
"About 140 people, including children, were rushed to an elementary school and are on the rooftop but they are surrounded by water and have nowhere else to go."
Japan has prided itself on its speedy tsunami warning system, which has been upgraded several times since its inception in 1952, including after a 7.8 magnitude quake triggered a 30-meter high wave before a warning was given.
The country has also built countless breakwaters and floodgates to protect ports and coastal areas, although experts said they might not have been enough to prevent disasters such as the one that struck on Friday.
In Tokyo, residents who had earlier fled swaying buildings jammed the streets trying to make their way home on Friday evening after much of the city's public transport was halted.
Many subways in Tokyo later resumed operation but trains did not run. People who decided not to walk home slept in office buildings.
"I was unable stay on my feet because of the violent shaking. The aftershocks gave us no reprieve. Then the tsunamis came when we tried to run for cover. It was the strongest quake I experienced," a woman with a baby on her back told television in northern Japan.
FIRES ACROSS THE COAST
The quake, the most powerful since Japan started keeping records 140 years ago, sparked at least 80 fires in cities and towns along the coast, Kyodo said.
Other Japanese nuclear power plants and oil refineries were shut down and one refinery was ablaze. Television footage showed an intense fire in the waterfront area near Sendai.
Auto plants, electronics factories and refineries shut, roads buckled and power to millions of homes and businesses was knocked out. Several airports, including Tokyo's Narita, were closed and rail services halted. All ports were shut.
The central bank said it would cut short a two-day policy review scheduled for next week to one day on Monday and promised to do its utmost to ensure financial market stability.
The disaster occurred as the world's third-largest economy had been showing signs of reviving from an economic contraction in the final quarter of last year. It raised the prospect of major disruptions for many key businesses and a massive repair bill running into tens of billions of dollars.
The tsunami alerts revived memories of the giant waves that struck Asia in 2004.
Warnings were issued for countries to the west of Japan and across the Pacific as far away as Colombia and Peru, but the tsunami dissipated as it sped across the ocean and worst fears in the Americas were not realized.
The earthquake was the fifth most powerful to hit the world in the past century.
"The building shook for what seemed a long time and many people in the newsroom grabbed their helmets and some got under their desks," Reuters correspondent Linda Sieg said in Tokyo. "It was probably the worst I have felt since I came to Japan more than 20 years ago."
The quake surpasses the Great Kanto quake of September 1, 1923, which had a magnitude of 7.9 and killed more than 140,000 people in the Tokyo area.
The 1995 Kobe quake caused $100 billion in damage and was the most expensive natural disaster in history. Economic damage from the 2004 Indian Ocean tsunami was estimated at about $10 billion.
Earthquakes are common in Japan, one of the world's most seismically active areas.
Zanimljivo pitanje da li je i dalje tetoviran posle avio nesreće. Znam da je tu imao opekotine...
Ne, nema veze ni sa ishranom ni sa UN :)
5 Upcoming Adaptation Travesties (http://fandomania.com/5-upcoming-adaptation-travesties/)
A ni sa islamom, karateom, hevi metalom... Sreća da imam i druga interesovanja. Lepo je ovo odabrano, sad ćemo da vidimo kako su ga sročili.
Solidno sročeno. Ja sam već izrazio ozbiljne sumnje spram X-Men First Class koji zapravo nema veze sa First Class kontinuitetom i kombinuje likove razdvojene bukvalno decenijama... Što se Uncharted tiče, svaka adaptacija igre u kojoj glavnu ulogu igra Marki Mark je osuđena na propast još od Maks Pejna, a ovo što Rasel priča poslednjih meseci je šokantno...
Doduše, moram da kažem da me interesuje Kelijeva adaptacija Wonder Woman. :lol:
Sedam najužasnijih muzeja na svetu (http://www.cracked.com/article_18686_the-7-most-horrifying-museums-earth.html)
QuoteThe Glore Psychiatric Museum
:|
Quote from: Meho Krljic on 29-03-2011, 17:15:23
Sedam najužasnijih muzeja na svetu (http://www.cracked.com/article_18686_the-7-most-horrifying-museums-earth.html)
Baš lepo. Obično su muzeji dosadni i... mrtvi?
Quote from: Mims on 29-03-2011, 17:27:07
Baš lepo. Obično su muzeji dosadni i... mrtvi?
Mrtvi - uglavnom da , ali dosadni - uglavnom ne. Evo jedan: http://www.3mpc.net/englsamml.htm (http://www.3mpc.net/englsamml.htm)
:lol:
Nikada nisam bila u muzeju koji je dosadan. Naprotiv.
напротив, никад нисам био у музеју. :lol: :lol:
Nisam obišla dovoljno (zanimljivih) muzeja, činjenica. Ali to što sam obišla, beše dosadno uglavnom.
Ma ima smaračkih, to nije sporno, naprotiv :lol:. Recimo ovaj: http://www.hofburg-wien.at/en/things-to-know/sisi-museum.html (http://www.hofburg-wien.at/en/things-to-know/sisi-museum.html) Mislim, jedino ako baš nisi zaljubljen u Sisi i njen život, pa ideš da razgledaš haljinice & porculan. :cry:
Ali ovaj je moj omiljeni: http://www.kmm.nl/page/8/Situation-Kr%F6ller-M%FCller-Museum (http://www.kmm.nl/page/8/Situation-Kr%F6ller-M%FCller-Museum)
Na extra mestu, van gradske gužve, sedneš, cugneš kaficu, udahneš i odeš da vidiš moju omiljenu sliku. :lol:
Pa onda skokneš ovde: http://www.mauermuseum.de/ (http://www.mauermuseum.de/)
A kad si već tu, i ovde: http://www.smb.museum/smb/standorte/index.php?p=2&objID=27&n=15&lang=en (http://www.smb.museum/smb/standorte/index.php?p=2&objID=27&n=15&lang=en)
Pa ovde: http://www.neues-museum.de/ (http://www.neues-museum.de/)
A onda cugneš pivce u Unter den Linden...
Itd.
Uh, putuje mi se negde. :lol: :lol: :lol:
Ovo super izgleda, i meni se putuje negde! Ah.
Kada sam bila u Londonu, mislila sam da će me British Museum baš oduševiti, ali i nije nešto... vraćala sam se nekoliko puta da istražim sve moguće, ali mi je bilo preterano gužvasto, svi su škljocali, i shvatila sam da mi više prija da gledam fotke tih eksponata nego same eksponate. Ipak sam ljubitelj galerija, pa su me Nacionalna galerija, Nacionalna galerija portreta i Tejt baš oduševili.
A kad budem bila u Beču, poneću ovaj tvoj spisak :)
Zapravo, kad odem negde na nekoliko dana, više volim da gledam grad, ulice, ljude, pa često ne vidim ništa "znamenito" zbog želje da uhvatim duh grada... //prim. ja sam užasan recipijent muzejske kulture//
Ju bože, o muzejima pričate... xtwak
http://www.delfi.rs/ka1un10060/delfi_knjige_profesorka_stranog_jezika_ispovest_gimnazijalca.html (http://www.delfi.rs/ka1un10060/delfi_knjige_profesorka_stranog_jezika_ispovest_gimnazijalca.html)
Quote
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.delfi.rs%2Fk1i535v4r1_delfi_knjizare_profesorka_stranog_jezika_ispovest_gimnazijalca.jpg&hash=dc193ec3e502719dbbeae484f776b5211535e8c8)
Sve je počelo u surovoj klimi, u vrtlogu mladosti i iskustva. Bez maske, čitaocima je ponuđena istina koja ovaj roman preporučuje na čitanje u dahu. Nastao je kao sećanje na lepo. Čitaočevi impulsi ga doživljavaju kao san pun ,,vreline".
Autor je stalno isticao emocionalno bogatstvo ljudske prirode i razne mogućnosti zadovoljenja.
Jedan od razloga za uspeh romana je što ima početak, sredinu i samo prividan kraj. Priča i na kraju čitanja i dalje ide.
Milan Miletić, mg. organizacije rada
ill G/ Skubi/ DJ Rokam - Funk Soul Brother (SPOT) (http://www.youtube.com/watch?v=wXnqSk_HZLQ#ws)
Odlično je ovo, mislim, retro do jaja ali ne zvuči ni arhaično ni namešteno, nego - ispravno. Da ne kažem righteous :lol: Vidim da se i braćali sa RiVa dopada.
А кад сам ја исту ову ствар (без спота, додуше) поставио на Дрти Сангита! рекао си - Хм. :lol: :lol:
Toga se uopšte ne sećam. Ili ja to nisam ni slušao i samo sam ostavio komentar da ispadne da pratim, ili... u stvari nemam drugu sugestiju...
А можда се то значајно - Хмммм и није односило на то, него на оне твоје крејзи Јужноафриканце...
http://www.znaksagite.com/diskusije/index.php?topic=5138.550 (http://www.znaksagite.com/diskusije/index.php?topic=5138.550)
Можда :)
A, zapravo jeste. Tada sam bio u Mađarskoj i bio u kancelariji pa nisam ni pustio pesmu da čujem, no sam samo okačio ove južnoafrikanere koje sam prethodne večeri video na TV.
Intimni odnosi (pod sjajem zvezda) - MaraQYa feat. Lou Benny (+ dload link i tekst/lyrics) (http://www.youtube.com/watch?v=hBhEglSIo_8#)
mehmete daj mi neki righteous komentar na ovu traku porfavor :D
Obrada pesme "Intimni odnosi" grupe Galija
Korišćeni vokalni semplovi iz pesama "Pod sjajem zvezda" i "Jedno popodne" Kvarteta Predraga Ivanovića
Ceo album prvenac grupe MaraQYa možete besplatno downloadovati na ovom linku - http://mtv.rs/datastore/filestore/10/maraqya___savrsen_dan_album.zip (http://mtv.rs/datastore/filestore/10/maraqya___savrsen_dan_album.zip)
Tekst:
Ne voliš prijatne večernje šetnje
Ne voliš grube muške kretnje
Ne voliš nogu ispod stola -
Samo Dostojevski, Kundera i Zola
Ne voliš noć pod sjajem zvezda
Ne voliš mokra osinja gnezda
Ne voliš sladak početak bola -
Samo Dostojevski, Kundera i Zola
Ref:
Hajde da stupimo... u intimne odnose
Tvoji pogledi... kišu donose
Hajde da opštimo... spolno
Jutro je gorko i bolno
Bilo bi kul da stupimo u te odnose
kao moj voz ulazi na tvoj prvi kolosek
i tek kad je prazan vraća se nazad -
mislim, kad izbaci putnike i kofere;
Vratim ga u depo zbog promene opreme,
Lokomotivu operem, odmorim osoblje;
Proverim, podmažem i odma ga vratim
na prugu da ponovimo to sve; Posle
možemo uvedemo i redovne polaske...
direktno, par puta dnevno -
a pošto voliš umetnost, snimaćemo kamerom
ulazak u stanicu ko braća Limijer!
To je to! I da..
Iako nije plav, moj voz
u stanici ume da stvori gotivan vajb
ko da njim dolazi neki novi Broz,
paaa... hm...
:lol: :lol: :lol: Ovo je suviše postmoderno za moj jednostavni ukus. Mislim, više ga uzimam intelektualno nego duhovno (barem koliko ja imam intelektualnih potencijala, a to je malo). Tvoja strofa je zabavna, ali braća Limijer??? E, to je preterano (doduše, original pominje Kunderu i Zolu...), mislim, nekako mi ne ide uz ciljnu grupu baš takva referenca, ali to je valjda sad moj snobizam primitivizma. :lol:
Inače, svuko sam album pa ćemo da vidimo.
Ne znam koliko sam ugušio Drti sangitu Rusima, pa si prestao da pratiš, ali imaš tamo link ka novom Ilu Bilu & Viniju Pazu, pa overi to. Meni je... uživajuće. A poznato je da moja uživanja slabo ko deli.
Nisam primetio, Hvala za Heds ap, ipak je Il Bil i Vini kombo takoreći prirodno ukrštanje ekstrema (bijeli židov metalac i crni musliman hororkoraš).
Khm, Vini je... beo. Italijan.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.alwayshustle.com%2Fwp-content%2Fuploads%2F2010%2F05%2Fjedi_mind_tricks_6.jpg&hash=4241ca88494fb5f82f5cdd717a75ac1bd94fa013)
E, pa, da, ja pišem o Viniju, a mislim na Jusa Allaha (http://userserve-ak.last.fm/serve/_/278468/Jus+Allah.jpg), naravno... Sorry za lupetanje.
John Cheese:
6 Things Our Kids Just Plain Won't Get (http://www.cracked.com/article_19109_6-things-our-kids-just-plain-wont-get.html)
5 Ways Video Games Are About to Get Way More Fuckable (http://www.cracked.com/article_18970_5-ways-video-games-are-about-to-get-way-more-f2340kable.html)
12 Things You'll Wish You'd Never Seen Under a Microscope (http://www.cracked.com/article_18871_12-things-youll-wish-youd-never-seen-under-microscope.html)
Whoa, Mirko Čolak dobio prvi posao za Marvel!!! Uvek sam znao da će taj mladić daleko dogurati!! Ima još zanimljivih vesti direktno od Džoa Kesade i Aksela Alonzoa na donjem linku:
http://www.comicsalliance.com/2011/04/02/warren-ellis-and-jamie-mckelvie-team-for-secret-avengers-in-au/ (http://www.comicsalliance.com/2011/04/02/warren-ellis-and-jamie-mckelvie-team-for-secret-avengers-in-au/)
Heh:
6 Musicians Who Accidentally Crapped Out Masterpieces (http://www.cracked.com/article_19067_6-musicians-who-accidentally-crapped-out-masterpieces.html)
Lou Charmelle je i inače jedna od najsimpatičnijih aktivnih porno glumica podrijetlom iz Evrope u ovom trenutku. Taj miks nerdy pojave i poštenog rada ne može čoveku da ne bude drag. A kad joj čovek baci pogled na Amazon wish listu, shvati da je žena i hardcore geek i old skool gejmer. Masiv rispekt:
http://www.amazon.fr/wishlist/253QUG4939P33 (http://www.amazon.fr/wishlist/253QUG4939P33)
Jbt, gde ti dolaziš do ovih podataka? Na poslu? :cry: :evil: :lol:
Tačno sam znao da ćeš ti biti prva osoba da ovo prokomentariše. Ti voliš privlačne žene sa naočarima i videoigre. :lol:
Ne, ovu listu sam ranije pokupio sa njenog twittera. Na poslu sam danas gledao klip kako ona i drugarica joj pevaju karaoke u Budimpešti:
Liza del sierra et Lou Charmelle (http://www.youtube.com/watch?v=7kaIYtaUQwA#ws)
Kakva slučajnost! Pre neki dan sam skinuo Ass-ential i začudio se kako ranije nisam čuo za nju.
:x
Taj twitter postaje gore zlo od fejsbuka. :cry:
Btw, nekad mi dođe da te prijavim Centrali, ali bojim se da se i oni bave istim stvarima. :mrgreen: :lol: :lol: :lol:
Pa povremeni odlazak na JuTjub tokom radnog vremena stvarno nije grijeh zbog koga bi iko izgubio posao. :lol:
Drugo bi bilo kada bih recimo gledao pornografske filmove na poslu ili koristio asete firme da daunloudujem pornografiju. To je u suprotnošću sa našim koud ov kondaktom.
That said, idem da potražim taj Ass-ential.
xuss
:lol: :lol:
Kad smo već u raspoloženju:
6 New Anti-Pervert Technologies (We Really Shouldn't Need) (http://www.cracked.com/article_19051_6-new-anti-pervert-technologies-we-really-shouldnt-need.html)
MEHO MAGNUS - CIKO 100 MU GROMOVA (http://www.youtube.com/watch?v=E1NQeeqN1m8#)
Meho, zar ti od svih ljudi?
:lol: :lol: Da budemo skroz iskreni, ovaj peva baš onako kako bih ja pevao da pevam - bez sluha, loše.
Meni se učinilo da se baviš nekom muzikom?
Bubnjevi - tu ne treba sluh.
Er...
The Actual Live-Action Akira Script: Worse Than You Think (http://www.cracked.com/blog/the-actual-live-action-akira-script-worse-than-you-think/)
Prozivaju te na na spisateljskom forumu. Kažu: nedostaje nam Meho da lupa po nama...
Ja ne znam odakle ta, slobodno možemo reći zabuna, da moje mišljenje spram proze ima ikakvu težinu. Ja je stvarno ne čitam.
Богами, Мехире, вапе за тобом... :lol:
Ne brini, objasnila sam. xrofl
Što? Ne moraš da čitaš priče. Samo piši o njima. Skroluješ kroz komentare i udri! :roll:
To bi verovatno dovelo do još gorih rezultata nego inače.
Od cega sve ljudi nece napraviti biznis...
http://www.usedpanties.pro/ (http://www.usedpanties.pro/)
:evil:
7 Memes That Went Viral Before The Internet Existed (http://www.cracked.com/article_19119_7-memes-that-went-viral-before-internet-existed.html)
Sandjama i Chovekoid ovo sve već znaju napamet, ali evo:
6 Songs That Were Decades Ahead of 'Groundbreaking' Music (http://www.cracked.com/article_19094_6-songs-that-were-decades-ahead-groundbreaking-music.html)
Konačno nešto i za dame i gospodu od ukusa:
7 Bizarre Products for Dressing Up Your Genitals (http://www.cracked.com/article_19055_7-bizarre-products-dressing-up-your-genitals.html)
AFERA "RASPAD GRANDA": POSVAĐALI SE BOBA I SAŠA! (http://www.kurir-info.rs/stars/afera-raspad-granda-posvadjali-se-boba-i-sasa-85329.php)
QuoteSlobodan Živojinović ljut na Popovića zbog pada rejtinga i želi da što pre proda producentsku kuću
Odsviralo "Grandu".
Boba Živojinović je besan zbog pada rejtinga i optužio je Sašu Popovića da je on glavni krivac za loše stanje u producentskoj kući. Rešen je da što pre proda "Grand", iz straha da će slabiji rezultati koje postižu njihove emisije u bliskoj budućnosti dodatno sniziti cenu, saznaje Kurir.
On je pre desetak dana u jednom zemunskom restoranu pred više ljudi vređao Popovića, a kad su se njih dvojica napokon čuli i ugovorili sastanak za prošli ponedeljak, nije se pojavio.
- Boba želi da proda "Grand". Bukvalno - sad ili nikad. Njihove emisije više nemaju ni približnu gledanost kao, na primer, pre godinu dana, kad je za njih bila zainteresovana tadašnja televizija Foks, danas Prva. Samim tim je i cena nekada najveće producentske kuće zabrinjavajuće pala, što je navelo Bobu da se odluči na prodaju kako bi uzeo koliko-toliko novca i da njegova investicija ne bi i dalje tonula u finansijsku propast - navodi izvor Kurira odlično upućen u odnose u "Grandu".
Naš sagovornik dodaje da je Popović raspoložen da se otcepi od Živojinovića, ali pod uslovom da mu bude isplaćen njegov deo kolača.
- Kad su se Boba i Brena vratili iz Amerike, Saša im je na zamerku o lošem poslovanju besno odgovorio: "Okej, sad vi malo vodite posao, a ja idem u Majami!" Prebacio im je da radi po 20 sati dnevno i da bi trebalo da mu pripomognu. Pošto se Boba nije pojavio na sastanku pre tri dana, Popović je, uvređen, spakovao stvari i sa suprugom otputovao u Italiju, da ohladi glavu. Brena se u celoj ovoj priči drži po strani - naglašava naš sagovornik.
Tragom ovih informacija, pozvali smo obojicu aktera.
- U Monaku sam, ne želim da pričam o tim glupostima - kratko je rekao Slobodan Živojinović, a slično je odgovorio i direktor "Granda", istina, ne pominjući gde je:
- Veću glupost dosad nisam čuo.
Sigurni ste u to?
(R. S.)
Boba se druži s direktorom Prve
Koliko je Saša Popović u dobrim odnosima sa Željkom Mitrovićem, toliko je Boba Živojinović u odličnim odnosima sa Dejanom Jocićem, direktorom Prve televizije. Njih dvojica, zajedno sa Bobinim sinom Filipom, neretko izlaze po prestižnim beogradskim klubovima, gde ostaju do ranih jutarnjih sati. Boba je bio inicijator prelaska "Granda" na Prvu prošle godine, ali je Popović na kraju uspeo da ga odgovori od te ideje i da nastavi saradnju s Pinkom.
Ko je sprečio prodaju?
Slobodan Živojinović bio je izuzetno neprijatan prema Saši Popoviću, koji je odigrao ključnu ulogu u sprečavanju "Granda" da se prošlog leta preseli na Foks, danas Prvu.
Boba je optužio svog direktora da je napravio veliku grešku u proceni, jer su u to vreme za "Grand" mogli da dobiju neverovatnih 15 miliona evra, dok je danas cena sigurno nekoliko puta manja.
Mitrović prati svađu sa strane
Sukob u "Grandu" Željko Mitrović zasad posmatra sa strane. Prema saznanjima Kurira, on je u veoma dobrim odnosima sa Sašom Popovićem, koga smatra velikim radnikom, i s njim se, uglavnom, svih ovih godina dogovarao o "Grandovim" emisijama. Njih dvojica su prošlog leta potpisali nov ugovor na četiri godine, nakon neuspelih pregovora s Prvom, dok sa Bobom nije imao takav vid saradnje.
When the acclaimed 1973-set UK series "Life on Mars" ended, it got spun-off into the 1981-set "Ashes to Ashes". Now, it seems the "X-Men" franchise may follow a similar course.
The upcoming "X-Men: First Class" is predominantly set in 1962, and producer Bryan Singer says a sequel could skip ahead in time. Asked by Total Film about the '70s and '80s as possible settings, Singer says "That's an idea that's been discussed, how the characters go through time. But only to a point – they can't age too fast!"
Director Matthew Vaughn sounds more keen on keeping to the 60's - "1962 is far more grounded in the world of the '50s. I think it takes about five years for a decade to really start getting its identity, so the fun thing about this for me would be doing [a sequel] in the latter part of the decade, where you've got The [Rolling] Stones, The Beatles, Flower Power..."
Vaughn also sounds like he'd be up for doing another entry, comparing this film to Chris Nolan's first go at the Caped Crusader - "'First Class' is similar to 'Batman Begins,' where you have the fun of introducing the characters and getting to know them, but that takes time. But with the second one you can just get on with it and have a rollicking good time. That's the main difference between 'Begins' and 'The Dark Knight.'"
Faora looks to be the secondary villain in the upcoming Superman reboot "Man of Steel" for Warner Bros. Pictures and Legendary Pictures reports Latino Review.
In the comics Faora was a Kryptonian serial killer who targeted only men and was sentenced to the Phantom Zone for three centuries where she survived the destruction of Krypton. She also knew a special martial art that made her an extremely dangerous foe for Superman to face in hand-to-hand combat.
The character is better known for her more recent incarnations in the comics and in other media. General Zod's right-hand woman Ursa (Sarah Douglas) in "Superman II" was directly inspired by Faora. In "Smallville" she was portrayed as the wife of Zod.
What incarnation her character will take here is unsure, but with Michael Shannon set to play General Zod it's likely it will be something more akin to the "Superman II" version of the character.
The site adds that Jor-El and his wife Lara will be in the movie while Krypton will not be a crystal planet but look something more akin to the megacity planet Coruscant in the "Star Wars" movies. This is all rumor for now but LR did break the news that Zod was the lead villain along with the casting of Diane Lane and Kevin Costner as the Kents.
Meanwhile, Diane Lane tells E! Online that the film will "cover the entire range of years, from infancy on" of Kal-El/Clark Kent.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.fanboy.com%2Fwp-content%2Fuploads%2F2011%2F04%2FPopChartLab_Superpowers_1700.jpg&hash=2726e17bf128b71f85950ecde5d5f083db79a752) (http://www.fanboy.com/wp-content/uploads/2011/04/PopChartLab_Superpowers_1700.jpg)
Prva pesma sa up and cumming novog albuma Morbid Angel, ponuđena masi na ocenjivanje:
Morbid Angel - ExistoVulgore (http://www.youtube.com/watch?v=JxPESxzNSAQ#)
Me(n)talna mapa!
http://mapofmetal.com/#/home (http://mapofmetal.com/#/home)
:|
Ha! Slatko!!!
Nikad mi nece biti jasno je l' Motorhead speed metal ili hard rock... Ovi su ga utrpali u speed. Mozda nije ni bitno. Meni svakako nije, ali neki ljudi se pjene oko toga. xnerd
Ma kakav speed metal, pa oni su nastali deceniju ranije...
Nemam pojma, neki cak izjednacuju speed i trash. Ne bih se stela mijesati.
Motorhead su navodno prvi speed bend.
I ja izjednačujem speed i thrash metal. Znam da teorija tvrdi da je thrash naslednik speeda, ali meni su to tek razvoji unutar jednog istog podžanra. Jer, ako su nam za razlikovanje recimo Dark Angel, Death Row i Forbidden potrebna tri žanra (speed, technical-thrash i thrash), onda jebiga.
Au! Ovo je previse za moju malu glavu. :lol:
Jbg, ja thrash doživljavam kao korerskiju verziju metala, te je između krosovera i spida. I thrash ima solaža i tako toga, ali je tehnika svirke podređena brzini, cepačini i stuktura pesama je u spidu kompleksnija. Pa je onda, jbg, Kreator spid a Tankard thrash. Grešim li, Meho?
Ma, mislim, da ne bude zabune, ne bih recimo Forbidden zvao speed metal bendom, kao što ne bih Venom zvao thrash metal bendom, ali moj stav je i dalje da pričamo o razvoju unutar jednog podžanra, ne o distinktnim žanrovima.
Quote from: John Reynolds on 19-04-2011, 20:12:02
Jbg, ja thrash doživljavam kao korerskiju verziju metala, te je između krosovera i spida. I thrash ima solaža i tako toga, ali je tehnika svirke podređena brzini, cepačini i stuktura pesama je u spidu kompleksnija. Pa je onda, jbg, Kreator spid a Tankard thrash. Grešim li, Meho?
Zapravo, thrash je "razvijeniji" speed metal, dakle, kompleksnije pesme, manje rokenrol (ili pank uticaja), složeniji aranžmani, manje brzih delova itd. Recimo, prvi album metalike bi u toj podeli bio više speed metal, a treći album više thrash...
To ruši fino tkanje mojih podela. :) Šta mu onda dođu Tankard? Whermacht?
Pa, sve je to thrash. Sad možemo da smišljamo neke pod-podele (technical, thrashcore, ovo ono), ali sve je to Hevi Metal, pobliže thrash..
A kako bi opisao Motorhead?
рокендрол
Quote from: дејан on 20-04-2011, 00:37:43
рокендрол
Baš kako im i glasi naziv jednog od albuma.
Bryan Cranston ("Breaking Bad"), Ben McKenzie ("The OC"), Eliza Dushku ("Dollhouse") and Katee Sackhoff ("Battlestar Galactica") have been hired to voice "Batman: Year One," an animated adaptation of Frank Miller's comic book.
In "Year One," a young Bruce Wayne is first starting out as a costumed vigilante. He creates an early bond with Lieutenant James Gordon, whose importance in the tale makes it as much as Gordon's story as Wayne's.
Cranston is playing Gordon, while McKenzie is Bruce Wayne/Batman. Dushku voices Catwoman, while Sackhoff is Detective Sarah Essen, a Gordon love interest. Additionally, Alex Rocco will voice crime lord Carmine Falcone.
"Batman: Year One," which will be rated PG-13, is scheduled to be released on home video in the fall but will have its world premiere in July at Comic-Con.
Read more: http://www.worstpreviews.com/headline.php?id=21396&count=0#ixzz1K8sym1aU (http://www.worstpreviews.com/headline.php?id=21396&count=0#ixzz1K8sym1aU)
Fino, ako će se barem malo držati Milerovog predloška.
Negde sam procitao da je 80% kadrova direktno preuzeto iz stripa.
Pa, to je tačno i za Sin City i za Watchmen pa ja nisam baš pao na dupe..
Ali, dobro, ja sam feget...
Ti mozda jesi feget ali Vocmeni su katastrofalan film.
A sto se Sin Cityja tice... nisam citao strip, pa mi je film bio ok. -_-
Ko nije slušao death metal 1992. godine ne može da razume šta je nama u to vreme (a i danas) značila pesma Hammer Smashed Face od Cannibal Corpse. Taj neće ni shvatiti zašto je ova verzija tako hilerijs:
Cannibal Corpse-Hammer Smashed Face(Radio Disney Version) (http://www.youtube.com/watch?v=C-eYIeUPD0s#)
Dakle, samo za staru školu. :lol:
Evo od istog autora i Slipnot, Vejt end blid:
Slipknot - Wait and Bleed (Radio Disney Version) (http://www.youtube.com/watch?v=wG6G4XBnvLQ#ws)
хахаха па ово је генијално
едит. сад сам прегледао остале 'обраде', па биџиз су феноменални поготову од 2:11 до 2:27
The Bee Gees- How Deep is Your Love( Death Metal Version ) (http://www.youtube.com/watch?v=SoMt7um2z8o#)
bi džizi su definitivno pobedili.
Fans of Marvel and Pixar have long talked about the possibility that with the two companies now both under Disney corporation's umbrella, we'd one day see a Pixar film based on a Marvel comic property.
Disney chief Bob Iger briefly gave fanboys hope last year saying "We've talked about [a Marvel/Pixar team-up] internally, Pixar boss John Lasseter talked to the Marvel guys about this and they all got excited about it. We think there's ultimately some exciting product that come of that."
Now however, Lasseter has shot down that possibility in an interview with IGN. Asked if there was any chance of a collaboration, the Pixar chief says "No, not at Pixar. We have The Incredibles, so we've done superheroes here ourselves."
He adds that the reason being is that they like to have the story ideas come from the filmmakers themselves, a move Disney has supported them on - "with Pixar it's like, 'Keep doing what you're doing, guys.' It's a filmmaker-driven studio. All of the ideas come from the filmmakers themselves. Working with the filmmakers on ideas."
The 2006 movie Superman Returns was supposed to reignite the comic-book character for big-screen audiences and make a star out of unknown actor Brandon Routh. While critics praised the film, it underwhelmed at the box office, earning $391 million worldwide.
Now, with another Superman film in the works -- Zack Snyder's Superman: Man of Steel, which stars Henry Cavill in the title role -- Superman Returns director-producer Bryan Singer is admitting that he made some mistakes with his own film.
PHOTOS: New Generation of Superheroes "I think that Superman Returns was a bit nostalgic and romantic, and I don't think that was what people were expecting, especially in the summer," Singer said in an interview with VoicesFromKrypton.com. "What I had noticed is that there weren't a lot of women lining up to see a comic book movie, but they were going to line up to see The Devil Wears Prada, which may have been something I wanted to address. But when you're making a movie, you're not thinking about that stuff, you're thinking, 'Wow, I want to make a romantic movie that harkens back to the Richard Donner movie that I loved so much.' And that's what I did."
Many moviegoers criticized the third act, in which Lex Luthor (Kevin Spacey) stabs Superman with a shard of kryptonite, but then the two characters don't appear onscreen again for the rest of the movie. In defending the scene, Singer said he tried to insert a religious analogy his storytelling, which was probably too "heavy" for a summer movie.
PHOTOS: Must-see movies of the summer
"I've always felt that the origin of Superman is the story of Moses -- the child sent on a ship to fulfill a destiny," said Singer, a producer on the upcoming X-Men: First Class. "And this was a story about Christ -- it's all about sacrifice: The world, I hear their cries. So what happens? He gets the knife in the side and later he falls to the earth in the shape of a crucifix. It was kind of nailing you on the head, but I enjoyed that, because I've always found the myth of Christ compelling and moving. So I hoped to do my own take, which is heavy s--- for a summer movie."
Singer said if he were to take on another Superman film, he would do a reboot of the franchise by remaking the original and would make it a more "balls-to-the-wall action movie" with a different pace from Superman Returns.
PHOTOS: Biggest box office bombs of all time Despite the disappointing performance of Superman Returns, Singer still says he's "proud" of the film.
"There are a bunch of movies I've made where I'm, like, 'Yuck, that was weak' or 'That could've been better,' and I can see why. But with Superman Returns. ... If I could go back, I would have tightened the first act."
Dokaz da hevi metal i automobili idu jedno uz drugo kao smoki i čokolada
SLAYER Piece by Piece auf der Autobahn (http://www.youtube.com/watch?v=tpUX37Q7LSI#)
:| :| :|
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fstatic01.dernek.ba%2Fblogslikevelike%2F350089-29231.jpg&hash=5b0c212278edf1a95b9838e9591dfa5142a8f1a6)
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Krekd kao i obično informativno i zabavno:
Šest gejming novotarija koje su znatno starije nego što mislimo (http://www.cracked.com/article_19193_6-new-gaming-innovations-that-are-way-older-than-you-think.html)
Danijel Ou Brajen lamentira nad Internetom (http://www.cracked.com/blog/hey-lets-fix-internet/?wa_user1=4&wa_user2=Tech&wa_user3=blog&wa_user4=moreon).
:? :? :?
http://www.cracked.com/article_19172_8-creepy-video-game-urban-legends-that-happen-to-be-true.html (http://www.cracked.com/article_19172_8-creepy-video-game-urban-legends-that-happen-to-be-true.html)
Takođe:
http://www.cracked.com/article_19162_6-hilarious-ways-game-designers-are-screwing-with-pirates.html (http://www.cracked.com/article_19162_6-hilarious-ways-game-designers-are-screwing-with-pirates.html)
Jednog dana ces ostaviti zenu zbog krekta.
Or, more likely, ona mene, n'est ce pas?
Uostalom, ovo sam sve čitao dok je ona spavala, kao dobar suprug, umesto da šaljem svoje obnažene slike drugim ženam ili barem gledam porniće. Mislim, kad tako pogledaš na stvari, ja sam model husband. :lol:
Obično ne kačim klipove sa JuTjuba na kojim aklinci obrađuju pesme svojih idola, ali ovaj mali ima šesnaest godina i mogao bi sutra da svira u Nileu. Zaslužuje rispekt:
Nile - Hittite Dung Incantation - Drumcover by Ukri 'Uge' Suvilehto (http://www.youtube.com/watch?v=JermancFAbQ#)
A i Behemot opako svira
Behemoth - Transmigrating Beyond Realms Ov Amenti - Drumcover by Ukri 'Uge' Suvilehto (http://www.youtube.com/watch?v=o_R3TeHS4Hs#ws)
Ju, kakav torzo. :oops:
http://www.cracked.com/article_19206_5-superhero-movies-you-wont-believe-almost-got-made.html (http://www.cracked.com/article_19206_5-superhero-movies-you-wont-believe-almost-got-made.html)
http://www.cracked.com/article_19197_the-7-most-ridiculous-cases-misplaced-priorities.html (http://www.cracked.com/article_19197_the-7-most-ridiculous-cases-misplaced-priorities.html)
http://www.cracked.com/article_19199_7-bizarre-early-versions-famous-cartoon-characters.html (http://www.cracked.com/article_19199_7-bizarre-early-versions-famous-cartoon-characters.html)
Da Cracked ima srpsku podružnicu, verovatno bih za njega pisao ovakve tekstove
Pet uznemirujućih elemenata klasičnog Diznijevog univerzuma (http://cvecezla.wordpress.com/2011/05/29/pet-uznemirujucih-elemenata-klasicnog-diznijevog-univerzuma/)
Ček, Meho, kad si već u kancelariji. Pre desetak dana nisam bio načisto ko je od nas dvojice cepidlaka, a ko bigot. Zapravo, nisam znao ni šta znači "bigot", pa sam pogledao naokolo. Čini mi se da je po ZS nasađeno onoliko bigoterije, pa se mislim gde baš nas dvojicu da nađu.
Ja nisam ni učestvovao u toj raspravi u kojoj su padale teške reči i optužbe za bigotriju, ali ću rado nositi i taj krst. Ta, musliman sam, šta me košta?
Kao ni ti, ni ja nisam učestvovao. :lol: Onda, da ja nosim tvoj polumesec?
Poštena podela rada - tako sam ja zamišljao pravedno društvo!!!
Odgovornost kolektivna - zasluge pojedinačne!
Quote from: Meho Krljic on 29-05-2011, 20:37:26
Da Cracked ima srpsku podružnicu, verovatno bih za njega pisao ovakve tekstove
Pet uznemirujućih elemenata klasičnog Diznijevog univerzuma (http://cvecezla.wordpress.com/2011/05/29/pet-uznemirujucih-elemenata-klasicnog-diznijevog-univerzuma/)
Вероватно би стварно био део тима српског Cracked-а, добар текстић...мада, Хроми Даба је мачка, а не пас, ако ћемо већ да цепидлачимо :)
Aaaaaaah, tačno. Idem da popravim. Hvala!!!!!!!!!
Edit: Ali sada vidim da i nisam napisao da je Daba pas, tako da je u redu. Našao, izmenio, hvala!!!
A Crna Mrlja?
Pas. A šta sa njim?
Inače, za njega je meni uvek bilo do jaja što ga je Gotfredson očigledno dizajnirao po uzoru na Diznijevo lice. :lol: :lol:
xrofl xcheers
Pa čega je on simbol, kako se uklapa u pejsaž Patkovgrada i sl? :)
A kako znaš da je pas?
A inače, dekonstrukciju Diznijevih junaka radio je daaavno onaj ludak Blažo Popović na NS plusu... Ne sećam se imena emisije (na vrh mi je jezika, davno bilo), ali se sećam da me je onako malu i zadojenu Mikijevim zabavnicima i almanasima šokirao i najpre razbesneo jer mi je ličio na umišljenog foliranta, a onda sam ga zgotivila...
A onda je postao direktor RTV-a.
Quote from: D. on 29-05-2011, 23:00:14
xrofl xcheers
Pa čega je on simbol, kako se uklapa u pejsaž Patkovgrada i sl? :)
A kako znaš da je pas?
Pa,
vidi se da je pas.
Zar ne?
A što se tiče drugog pitanja... videćemo!!!
Meho, moram da ti skrenem na neke probleme s tvojim tekstom. Stao sam na trećoj tački gde kažeš "uprkos nominalnoj ravnopravnosti i naširoko društveno potvrđenim ličnostima koje nisu patke, poput Mikija (miš), Super Šilje (pas), ili... er... Hromog Dabe (mačka), stvarne pozicije društvene moći su rezervisane isključivo za članove porodice pataka. "
Problem je što Mikijev i Pajin svet nije baš isti, čak i ne žive u istom gradu. Miki, a to se retko spominje, živi u Mikivilu (http://en.wikipedia.org/wiki/Mouseton (http://en.wikipedia.org/wiki/Mouseton)), a Paja i ekipa pataka u Patkovgradu (http://en.wikipedia.org/wiki/Duckburg#Duckburg (http://en.wikipedia.org/wiki/Duckburg#Duckburg)). Ergo, celo dalje teoretisanje pada u vodu jer nije u pitanju isti grad.
Pre toga imam problem i sa procenom bogatstva Baje Patka. O tome sam razmišljao još kao dete jer su moji neveliki prilivi od dobrih duša i prosjačenja po ulici biti sačinjeni od sitnog novca i poneke papirne novčanice, pa se u tesnim dečjim pantalonama često događalo da mi se ove papirne pocepaju. Slična je situacija i u Bajinom trezoru, većinom je u pitanju sitan novac gde ukupna vrednost metala verovatno nadilazi nominalnu novčanica + treba uzeti u obzir da su retke paprine novčanice malo ispod prvog sloja uništene i neupotrebljive, tim više što Baja ima običaj da se u trezoru "kupa". Pliva, roni i gnječi vrednije banknote. Mislim da je u običnim situacijama, a možda me sećanje vara, nije prikazan obrnut sistem od opštevažećeg, da papirne novčanice vrede manje od metalnih; takođe, ne kaže se da je novac zlatan. Štaviše, zlato se pojavljuje (uglavnom? opet nesigurno pamćenje...) u polugama.
Ergo, meni je Baja sličniji onim opsesvnim sakupljačima, kolektorsima, koji gomila sitan novac, a veoma je veliko pitanje njegove istinske finansijske moći.
Sad ću da nastavim čitanje, ali reko da iskucam ovo da ne zaboravim.
За Меха су сви Дизнијеви негативци пси...као и сваком искреном мачкофилу. :lol: Не сећам се да се Црној Мрљи икад приказали лице, мада могуће је да грешим.
Phantom Blot iliti Crna Mrlja (genijalni negativac, obožavala sam epizode sa njim, misteriozan i seksi):
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg13.imageshack.us%2Fimg13%2F5727%2Fphantomblot.gif&hash=2f765b9af9c8c5d0dfd26c753892adae82e21235) (http://imageshack.us/photo/my-images/13/phantomblot.gif/)
Mislim da mu nikad nisu pokazali (pasje) lice...
Секси? :shock: Ок, то је то, бегам одавде! :)
Inače, postoje epozode (almanasi, specijalni brojevi) gde se Paja Patak i Miki Maus susreću, žive u istom gradu. I čini mi se da je Miki uglavnom gost kod Paje (u Patkovgradu).
To što nije prikazan obrnut sistem vrednosti kovanica i papirnog novca, ne znači da nije tako. I ne znači da kovanice nemaju bar istu vrednost kao i papirni novac. Takođe, ako se zlato pojavljuje u polugama, to ne isključuje postojanje zlatnika (meni se uvek činilo da se Baja kupa u zlatnicima, jer ako ćemo Džonovom logikom - da nije tako, crtali bi i srebrni i bakarni novac...).
Quote from: Savajat Erp on 30-05-2011, 00:08:59
Секси? :shock: Ок, то је то, бегам одавде! :)
Eh, biti seksi je za mene pre stanje duha, nego stanje tela...
Vidim da sam lupio Mikivil, a zapravo je Mišvil ili Mišgrad ili kako već. Gledam, i na sajtu Edžmonta pogrešno stoji da Miki živi u Patkovgradu, a Crna Mrlja i Daba u Mišovgradu.
Pinače, pnepotrebno pje pisticati pko pje pmoj pomiljeni plik piz ptog puniverzuma. Pne pzato pšto pmi pje posebno pdrag, pveć postoji psubverzivna pkritika pmodernog pdruštva pi ptoga pu pkom pse pravcu pkreće.
Видим да овде има и фанова Ига Биве! :)
Сећа се неко епизоде Мики и Ига Бива траже Муково благо (ако се тако зове)? Добра епизода, ако се изузму неки политички испади (алузије на СССР и тако то)...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi39.tinypic.com%2F23kbrwy.jpg&hash=fda11d9198294859231e1784ae970779ec34db01)
;)
Тај рад...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg818.imageshack.us%2Fimg818%2F8873%2Fmicigabiva.jpg&hash=f5d9d9ee3bea71e719b5981bffab22968c81a434) (http://imageshack.us/photo/my-images/818/micigabiva.jpg/)
Samo da raščistimo:
Mikivil, kako je kod nas prevođen Mouseton nije kanonski po mojoj računici. Pominjan je u američkim stripovima još u tridsetima ali incidentno, dok je zaista ušao u upotrebu tek u italijanskim Mikijima (pedesete godine pa na dalje) koje smo mi čitali u Mikijevom Almanahu. Kako se moj tekst bavi, i to naglašava čak i u naslovu, klasičnim univerzumom (kanonskim, koliko išta može da bude kanonski u ovom domenu) tako i Miki tu živi u Ducksburgu, to jest Patkovgradu i to je apsolutno jasno iz stripova Flojda Gotfredsona.
Što se tiče opservacija glede Baje, ima tu nešto, svakako. Međutim, više puta je, što kod Karla Barksa (dakle apslutni kanon) što kod drugih autora naglašavano da je on najbogatiji patak na svetu (a vidimo da su patke vladajuća klasa/ vrsta) i prikazivano (opet Barks ali i drugi) njegovo ogromno bogatstvo u nekretninama (rudnici, farme itd.) U tekstu sam planirao, ali sam odustao da ne bi bio predugačak, da pomenem i brojne predmete iz domena svetske kulturne baštine koje Baja ima ili je u nekom momentu imao u svom posedu (kruna Džingisa kana, filozofski kamen koji pretvara sve ostale metale u zlato itd.) i koje mu nije palo ni na pamet da stavi na raspolaganje društvu/ građanima. U jednoj epizodi nalazi i mesec od 24karatnog zlata. Dakle, Bajina stvarna finansijska moć je ogromna i on je u staju da zbilja kontroliše globalnu percepciju vrednosti plemenitih metala ili novca, samo ako želi.
Pa, ne znam... Evo jednog starog teksta Dejvida A. Gerstajna (http://en.wikipedia.org/wiki/David_Gerstein/) na tu temu:
QuoteDon Rosa asked for the origin of the name "Mouseton" as used
for Mickey's home town. I can't directly state it without giving some
background:
Originally, Mickey's home town in the Gottfredson strip was
seldom identified. Occasionally it was just referred to as "Hometown"
or "Homeville," but that always struck me as just being a cop-out. In
"Mickey Mouse Outwits the Phantom Blot," the name Mouseville is given,
and that seems ideal.
When Disney Comics started production in 1990, they wanted to
identify Mickey's town consistently. They looked at the "Phantom
Blot" story and prepared some stories in which the town was identified
as Mouseville. Then they prepared to go to press.
Unfortunately, their legal department informed them that the
name "Mouseville" was now a copyright infringement on -- get this! --
the hometown of Mighty Mouse. That's the dope. So the name
Mouseville could not be used for new stories!
So Bob Foster went back through some old Gladstone MM letter
columns and found a debate on the name of Mickey's town. Some letter
writers had suggested Mouseton a few times, and stuck between a rock
and a hard place, Bob plumped for it, or so he's told me.
For the last three years, it has been used consistently --
both in new stories, and in recap panels for reprints of Gottfredson
stories (i. e. "The 'Lectro Box"). In fact, it has been used *so*
often that I think that calling the town something else now would be
quite unsettling. Actually, I wouldn't *mind* Mouseville at all, but
I think that the name Mouseton is settled by now...
In European stories, Mickey is always identified as living in
Duckburg. In fact, I've seen German reprints of Gottfredson stories from as
early as 1931 referring to the town as Duckburg! It strikes me as
odd, because I find very few similarities in the appearance of the
towns.
When working on a huge MM reference project for Egmont last
year based on the American conceptions of the Mickey Mouse universe, I
worked 100% from Gottfredson, Scarpa, and the one Barks story. But
when forced to pinpoint Mickey's town, I placed it in Calisota, two
towns away from Duckburg. It's on the other side of Pickleburg.
I personally imagine Donald as growing up in Mouseton, later
moving to Duckburg. This explains Taliaferro's depiction of Donald's
early life, in which Goofy, Clarabelle, and Mickey's nephews appear.
It seemed only logical.
Please, let's not bring up the debate as to whether Mickey
lives in Donald's universe. I maintain that he does but that the two
haven't seen each other much since 1947 (the last time Mickey's
mentioned in a Barks-written Duck story), and of course, Don, that
means you'll never have to mention or show Mickey in a Duck story if
you don't want to.
(BTW: Did you show Clarabelle in your 60th Anniversary story?
By effectively coaching Donald to give up his youthful bratty ways
just before his nephews arrived and put him in a parental role, she
actually plays a very important role in Donald's life. She's also in
three Barks Daisy stories...)
Yours,
David Gerstein
Može li ovo značiti da su neke stvari menjane? Boldovao sam zanimljiv deo. Ne znam da li si nedavno čitao te stripove, pošto se ja prisećam Zabavnika i Almanaha.
Da, vidiš ovo je dosta značajno jer i ja sam, dakako, čitao mahom naše prevode Flojda Gotfredsona i tu je Patkovgrad uvek bio pominjan kada je pominjano ime. Moguće je da je on koristio Mouseville u originalu.
No, to ne menja moje teze. Miki i Paja možda ne žive stalno u istom gradu, ali, recimo, jedna od mojih najomiljenijih Gotfredsonovih priča, ona kada Miki izdaje dnevni list, je smeštena u gradu u kome žive i Miki i Paja, Hromi Daba je glavni negativac itd. Tek je sa Barksom Pajin univerzum malo razrađen i moglo bi se govoriti o tome da je odvojen od Mikijevog, ali nikada "zvanično".
Edit: Što uostalom i piše u ovom tekstu koga si kopirao samo sam tek sad sve pročitao :lol:
Quote from: Meho Krljic on 30-05-2011, 11:43:12
Edit: Što uostalom i piše u ovom tekstu koga si kopirao samo sam tek sad sve pročitao :lol:
Pa i ja sam svoj prvi komentar ovde ostavio a nisam pročitao ceo tvoj tekst. :lol:
Drago mi je da se još jednom potvrđuje da se i posle toliko decenija razumemo bez mnogo razgovora :lol: :lol:
Mehmete, uživaćeš u X-MEN: FIRST CLASS a naročito kad budeš video da je Magneto prikazan kao Ratko Mladić (pripadnik superiornog naroda koji postaje dželat da ne bi opet bio žrtva) a Xavier kao Dobrica Ćosić (pripadnik superiornog naroda koji uživa u poziciji intelektualca, polu-disidenta koji koketira sa establišmentom).
Ma jok. Prikazani su kao mutanti sa superiornim moćima, ali sa svim ljudskim nedoumicama, strahovima, nesigurnostima i emocijama. Nisu idealizovani, iako jesu superiorni. Za razliku od Srba.
:lol: :lol:
To se Cripple malo šali. Ali ovo kako opisuje je konzistentno sa Lee/ Claremont karakterizacijom i radujem se.
Paramount Pictures and Disruption Entertainment have acquired the film rights to DC Comics graphic novel "The Mighty" reports Deadline.
The story follows Gabriel Cole, a cop who's life was saved by the world's most powerful super-being as a child. He soon uncovers the beloved hero's dark plan that will put them on a collision course.
Mary Parent, Cale Boyter and JC Spink will produce. The project is one of the few DC titles that doesn't fall under a deal with Warner Bros. Pictures are the rights were controlled by creators Keith Champagne and Peter Tomasi.
http://www.cracked.com/article_19262_6-glitches-that-accidentally-invented-modern-gaming.html (http://www.cracked.com/article_19262_6-glitches-that-accidentally-invented-modern-gaming.html)
http://www.cracked.com/blog/the-8-worst-x-men-ever/ (http://www.cracked.com/blog/the-8-worst-x-men-ever/)
Hitler Reacts to new Morbid Angel Album (http://www.youtube.com/watch?v=i8ZpJ4lvEs8#)
:lol: :lol: :lol:
Do jaja. Ja se sad plašim da čujem novi Morbid Ejndžel, mada je ona jedna pesma koju su pustili pre par meseci bila pristojna.
Ali, majku mu pa izlazi novi Origin (upravo ga skidam), to bi moglo da zaleči sve rane.
Ako nekoga zanimaju moje proširene impresije o filmu X-Men First Class, može bez straha da klikne ovde (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1306&Itemid=48).
ništa me trenutno ne zanima osim da se malo :x :x :x.
ok, sad mi je lakše. :lol:
danke na prostoru.
Ali... šta se dešava???
http://www.cracked.com/blog/4-famous-authors-their-hip-hop-equivalents/ (http://www.cracked.com/blog/4-famous-authors-their-hip-hop-equivalents/)
Meho, reaguj i daj nam svoju listu, ova je previše kratka...
Sve bi to bilo lakše kada bih čitao knjige :cry:
http://www.24sata.rs/vesti/luda-planeta/vest/blek-metal-uvrsten-u-obuku-buducih-diplomata/4373.phtml (http://www.24sata.rs/vesti/luda-planeta/vest/blek-metal-uvrsten-u-obuku-buducih-diplomata/4373.phtml)
David Wong po običaju, mračno, depresivno, krizosrednjogodnjački. I sjajno
http://www.cracked.com/blog/the-6-most-ominous-trends-in-video-games/ (http://www.cracked.com/blog/the-6-most-ominous-trends-in-video-games/)
Edit: Zapravo ovaj tekst je izvanredan. Ne zaboravimo da je Wong pre onoliko godina napisao igrački manifest koji je savršeno predvideo mnogo toga što nas danas tišti.
Sve što smo mislili da znamo o Van Gogu pada u vodu:
Van Gogh's "self-portrait" actually his brother (http://news.yahoo.com/s/afp/20110621/lf_afp/netherlandsarthistoryvangogh)
The proposed spinoff to "300" has dropped the moniker of "Xerxes" and has been given a new name - "300: Battle of Artemisia" reports Deadline.
Originally Zack Snyder was going to direct, however his commitments to "Man of Steel" have prevented it though the script he co-wrote with Kurt Johnstad based on the Frank Miller graphic novel is still expected to be used.
Now, the producers, Snyder and Legendary Pictures have also almost settled on a director with the contest now between Noam Murro ("Smart People," "HALO" commercials) and Jaume Collet-Serra ("Unknown," "House of Wax"). Like "300", it's expected to be shot with stylized period green-screen action visuals.
Miller's "Xerxes" comic is something of a prequel to "300" which follows the death of Persian ruler Darius after the Battle of Marathon and how his son Xerxes tried to transform himself into a deity in order to get revenge on the Greeks as his father warned him they can only be punished by a god.
The Battle of Artemisium was a series of naval engagements between the Greeks and Persians that took place over three days simultaneously with the Battle of Thermopylae depicted in the first film.
Ali, Meho!!!
QuotePošto mi je skrenuta pažnja kako moj izbor naslova za serijal tekstova koji je hronika mojih prvih utisaka o novim video igrama (manje-više novim i manje-više prvih utisaka) bio još više frivolan i nepažljiv nego obično i kako pomen gubljenja nevinosti u ženama neretko izaziva traumatične uspomene, dok je kod muškaraca sve ležerno, opušteno i seća nas na neke od najzvezdanijih trenutaka naše jebačke i uopšte ljudske karijere, dopustite mi da se izvinim svim čitateljkama ako ih zbilja svako novo pojavljivanje teksta iz ovog serijala neprijatno žacne i podseti na momenat kada se nisu najbolje osećale, a sve zato što ja želim da budem duhovit kada pišem o igrama.
(...)
To sve naravno ne čini moj izbor naslova za serijal ništa manje bezosećajnim, ali malo je lakše znati da sam ipak možda uvredio širi krug ljudi, ne samo odabrane nositeljke duplog X hromozoma u svojim genima.
Mislim, zaista si preosetljiv, nisam ja ni u jednom trenutku htela da nagovestim da sam nečim uvređena, a to sam valjda i rekla? To je bio neuspeo pokušaj da se našalim ali eto, kad se ja šalim, pa još u vezi sa seksom, kuku i lele... :cry:
Dakle, još jednom,
šalila sam se!!! Toplo se nadam da ovaj nesporazum neće dostići onaj nivo kao kad sam jednom čoveku koji je pričao kako ga zanima australijska hrana preporučila koale na roštilju :x
Quote from: Jevtropijevićka on 30-06-2011, 13:46:30
Toplo se nadam da ovaj nesporazum neće dostići onaj nivo kao kad sam jednom čoveku koji je pričao kako ga zanima australijska hrana preporučila koale na roštilju :x
xrofl xcheers
meho preosetljiv? xrofl
Šalio sam se i ja.
Internet is for Porn (Disney) (http://www.youtube.com/watch?v=uEznLvCrT4w#)
http://www.cracked.com/article_19210_7-insane-easter-eggs-hidden-in-movies-tv-shows.html (http://www.cracked.com/article_19210_7-insane-easter-eggs-hidden-in-movies-tv-shows.html)
http://www.cracked.com/article_19207_the-7-most-terrifyingly-huge-things-in-history-nature.html (http://www.cracked.com/article_19207_the-7-most-terrifyingly-huge-things-in-history-nature.html)
Kako zabavan sajt! I kako jede vreme... :)
Saša Grej priča o svojim omiljenim crtanim filmovima:
http://www.adultswim.com/blog/interviews/time-to-waste-time-sasha-grey.html (http://www.adultswim.com/blog/interviews/time-to-waste-time-sasha-grey.html)
Eh :lol: :lol: :lol:
http://www.cracked.com/blog/the-6-weirdest-free-speech-issues-around-world/ (http://www.cracked.com/blog/the-6-weirdest-free-speech-issues-around-world/)
I, da, poučno:
http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming (http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming)
Neka korist od Google Eartha:
http://www.cracked.com/article_19299_6-mind-blowing-discoveries-made-using-google-earth.html (http://www.cracked.com/article_19299_6-mind-blowing-discoveries-made-using-google-earth.html)
Ponekad pomislim da se Mehmetov posao sastoji od sedenja u kancelariji i citanja Sagite, Crackeda, i bitnih gaming sajtova. :lol:
A kad kazem ponekad mislim stalno.
Meho je samo multitasking genije. :lol:
Zapravo nisam. Father Jape je prilično dobro definisao moj radni dan.
Mislim, istina je da sam proveo pola sata praveći neke ugovore (kad kažem "praveći" mislim - popunjavao sam imenima i brojevima već gotove templejte) i da sad asistiram kolegi da napravi neki budžet (kad kažem "asistiram", mislim "pokazujem mu da ima još jedan tab na koji treba da se klikne a program sve radi sam"), ali to bi zaista mogao da radi i dresirani majmun.
xrofl xremyb
Quote from: D. on 15-07-2011, 15:28:55
Meho je samo multitasking genije. :lol:
I meni se čini. Možda bi na Crackedu neko mogao da napiše članak: 9-stvari-koje-Mehmet-radi-istovremeno-(u-kancelariji,-naravno!).
9 stvari koje Meho radi (u kancelariji, naravno) dok radi ostalih 9 stvari (u kancelariji, naravno). :lol:
Naravno, vecina tih stavki bi otisla na furtivnu masturbaciju. -_-
Nisam hteo da ovaj razgovor odvučem u glib karnalnog, ali... Father Jape je u pravu. :oops: Ako se pod meni nepoznatim izrazom "furtivna masturbacija" misli na onaniju.
Možda je mislio na "furnitivnu" masturbaciju? :lol:
Čak ni ta reč nema u mom tezaurusu. Koji je, doduše fiktivan.
Kancelarija=furniture=furniturna masturbacija. :lol:
furnitivna ili furniturna?
typo.
ja nisam multitasking genije kao Meho :)
furtive
adj.
1. Characterized by stealth; surreptitious.
2. Expressive of hidden motives or purposes; shifty.
Doduse, 'furtivan' ne stoji u Klajnovom i Šipkinom Rečniku stranih reči i izraza, ali jasno je da je u pitanu propust autora. -_-
Pa... ja masturbiram dosta javno kada imam priliku. To jest kada sam sam u kancelariji.
Sad nisam, tako da ne masturbiram. :cry:
Ali evo odgovarajućeg Cracked članka
http://www.cracked.com/funny-856-masturbation/ (http://www.cracked.com/funny-856-masturbation/)
Eto, ja gledala film Furtivos u naskroz pogrešnom ubeđenju da su u pitanju lovokradice sa dozom incesta i materoubistva, a ono - tek masturbatori!
Ma to je samo Father Japeov um u slivniku. Sigurno zbog ovih vrućina.
Mehmete, koji je tvoj stav o relaunchu Action Comicsa i o ovome što će Morison napraviti od Supermena?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.bleedingcool.com%2Fwp-content%2Fuploads%2F%2F2011%2F07%2FAC_Cv1_final.jpg&hash=3eabb4ead7c8f5abbed824aec58e3e2f7d29157d)
Relaunchuje se gotovo ceo DC (pisao sam o tome prošlog tjedna na UPPS-u) i skoro svi magazini kreću od keca, uključujući Detective Comics i Batman i Superman itd.
DC je dosta dobar u company-wide promenama status quoa tako da sam donekle zainteresovan (One Year Later/ 52 je bio interesantan potez). Morrison, takođe, nije mu sve u Betmenu što je radio bilo sjajno ali nešto je bilo sjajno pa će biti interesantno i videti šta će da uradi sa Supermenom... Ne zaboravimo da je njegov All Star Superman bio izvanredan.
Više sam tražio konkretniju reakciju na Supermenov novi život koji počinje u Action Comcsu #1. Ovo ostalo sam znao, sem da si se time bavio u kolumni. :oops:
Quote
He has been called the Man of Steel, the Last Son of Krypton and a strange visitor from a distant planet.
He is Superman, the Man of Tomorrow. As part of DC COMICS – THE NEW 52, this September will usher in a new Superman for the new century.
In the pages of ACTION COMICS, writer Grant Morrison and artist Rags Morales will present humanity's first encounters with Superman, before he became one of the World's Greatest Super Heroes. Set a few years in the past, it's a bold new take on a classic hero.
* This Superman is very much an alien, one struggling to adjust to his adopted home. In the series, he must come to terms with both the loss of his home world, as well as the loss of both of his adopted parents. He is more Kal-El from the planet Krypton than Clark Kent from Kansas. He's a loner trying to find his place in the world.
* The series' first storyline will explore the origins of Superman's costume, as it evolves from a look that includes jeans and work boots to a new look: a suit of battle armor that pays tribute to his Kryptonian past.
* His great powers have limits. When the series begins, Superman can leap tall buildings, but his ability to fly is in its infancy.
And in the SUPERMAN ongoing comic book series, by writer George Perez and artist Jesus Merino, will be set in present day continuity and will unleash a series of new challenges for Superman and his alter ego Clark Kent.
* Clark Kent is single and living on his own. He has never been married.
* Lois Lane is dating a colleague at the DAILY PLANET (and his name isn't Clark Kent) and she has a new position with the paper.
Timeless and modern, classic and contemporary, but younger, brasher and more brooding, this is Superman. The New Man of Tomorrow.
ACTION COMICS issue 1 goes on sale on September 7 and SUPERMAN issue 1 goes on sale September 28.
DC sigurno zna šta radi i verovatno predviđaju da će im ove radikalne promene doneti boljitak.
U prilog tome ide i vest da su već najavili tvrdokoričeno izdanje od 1200 stranica koje će sadržati nove prve brojeve svih edicija. Izgleda da prisustvujemo stvaranju istorije.
Što se Morisona tiče, samo njegovo učešće me tera na interesovanje. Dođavola, ja sam čak kupio i ovu njegovu knjižurinu u kojoj verbalno masturbira o akademskom doživljaju superheroja, totemističkih idola, simbola, itd.
Ma, ja sam se toga dotakao uzgred jer sam pokušavao da sažmem utiske o svim Betmen stripovima poslednje dve godine.
Mene, iskreno, ove vrste ributova dosta smaraju jer onda po stoti put čitam origin story sa malom varijacijom. Evo, pa koliko ima... godinu dana možda otkad je JMS uradio Superman Earth One koji je isto origin story.. Ja bih zaista voleo da čitam samo stripive u kanonskom kontinuitetu koji su napisani pametno i zabavno, kao na primer Snajderov Detective Comics koga sam isto hvalio u pomenutoj kolumni. Ali firme znaju da ributovi izazivaju talasanja u mnogo većoj meri.
That said, Morrison kod mene uvek ima priličan kredit, tako da ću sa zanimanjem čitati njegov ribut. DC insistira da je ovaj company wide relaunch urađen sa namerom da se pojednostavi kontinuitet i sve to, ali... To gotovo nikada ne ispadne istina tako da ćemo videti. Ja se samo nadam da će Secret Six i Birds of Prey nastaviti sa Gail Simone na čelu jer su mi to najbolji DC stripovi u ovom momentu.
Nego:
http://www.cracked.com/blog/6-scientific-reasons-social-networks-are-bad-society/ (http://www.cracked.com/blog/6-scientific-reasons-social-networks-are-bad-society/)
Također:
http://www.cracked.com/article_19300_the-5-weirdest-things-that-control-global-economy.html (http://www.cracked.com/article_19300_the-5-weirdest-things-that-control-global-economy.html)
I:
http://www.cracked.com/article_19304_5-classic-movies-that-seemed-like-terrible-ideas-at-time.html (http://www.cracked.com/article_19304_5-classic-movies-that-seemed-like-terrible-ideas-at-time.html)
ZVUK ZVERI – KOMPLETNA ISTORIJA HEAVY METALA
Jan Krist
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.delfi.rs%2Fk1i65v3r9_zvuk_zveri_kompletna_istorija_heavy_metala_delfi_knjizare.jpg&hash=cb6e6314e4922709d4470e43464a28f40c2bb507)
Žanrovi:
Muzika
Izdavač:
Red Box
Broj strana
352
Pismo
Latinica
Povez
Mek
Format
23 cm
Godina izdavanja
Jul, 2011
ISBN
978-86-86599-13-1
Cena: 2200.00 din
U ovom prvom atlasu posvećenom fenomenu Heavy Metala, Ian Christie prikazuje panoramsku perspektivu ove mračne i vrlo često zabranjivane muzike.ZVUK ZVERI je kompletna istorija Heavy Metala koja donosi priče o koncertnoj histeriji, dramatičnim sudskim procesima i muzičkim trijumfima uz:
Komentare članova grupa Black Sabbath, Metallica, Morbid Angel, Megadeth,Twisted Sister, Kiss, Slipknot i mnogih drugih
Delove koji u potpunosti objašnjavaju podžanrove, kao što suBLACK METAL, POWER METAL, THRASH METAL, NU METAL i drugi
Više od stotinu retkih i dosad neobjavljenih fotki
Sažeti grafički prikaz tridesetogodišnje istorije metala, sa najvažnijimdatumima i događajima, vickaste metal liste, kao i 25 najoriginalnijihHeavy Metal albuma svih vremena
Čovek vezan za stub na Terazijama (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/267407/Covek-vezan-za-stub-na-Terazijama)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi55.tinypic.com%2F339r4fo.jpg&hash=02d37f235076ba4add431f1b2db2bc1a06b0a709)
Na slatki delic sekunde sam se ponadao da je u pitanju Novak Djokovic.
A, evo, svaki put kada se na ovom forumu pokačimo na krv i nož, treba da se podsetimo ovih primera iz života:
Mačor je pronađen odmah posle rođenja na đubretu i othranjen na flašicu u domaćinstvu sa šest pasa. Ovo je najveći i najstariji od tih šest:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi51.tinypic.com%2Fb66mi9.jpg&hash=a31bebc3fcb733aa16b04c41abdc61cb76f0c230)
Kao da moj strah od Arahnida i Insekata nije bio dovoljno veliki:
http://www.cracked.com/article_19305_7-real-insect-superpowers-that-put-spidey-sense-to-shame.html (http://www.cracked.com/article_19305_7-real-insect-superpowers-that-put-spidey-sense-to-shame.html)
E, ovo je prilično kul:
http://www.cracked.com/photoplasty_228_video-games-from-villains-point-view/ (http://www.cracked.com/photoplasty_228_video-games-from-villains-point-view/)
Metallica je moj dobar drug
Dijagnoza - Državna služba za zapošljavanje u Švedskoj proglasila je ,,zavisnost od hevi-metala" za invaliditet, pa su dugokosi Šveđani koji umesto na muziku grupe ABBA otkidaju na ,,Mejdene" zaštićeni kao irvasi. I oni imaju Palmu - U Švedskoj, koja je Jagodina u velikom, beneficije nemaju samo trudnice, deca i penzioneri, već odskora čak i hevimetalci, koji mogu da se oblače kako hoće i da ne dolaze na posao posle dobre svirke
Švedska državna služba za zapošljavanje, pozivajući se na rezultate poslednje psihološke analize, odlučila je da ,,zavisnost od hevi-metala" proglasi za invaliditet.
To znači da su metalci u Švedskoj zaštićeni od diskriminacije prilikom zapošljavanja, kao i da poslodavci ne smeju da im daju otkaz samo zato što su istetovirani i okićeni nakitom sa lobanjama i kostima, u kožnim pantalonama i duge kose... Pa čak i ako se zbog dobre svirke uopšte ne pojave na radnom mestu. Sem toga, fanovi metal muzike imaju pravo na finansijsku nadoknadu od države!
Način života, crno na belo
Među prvim metalcima koji uživa u ovoj odluci je Rodžer Talgren iz gradića Hasleholma na jugu Švedske, koji se zaposlio kao perač sudova u jednom lokalnom restoranu, gde radi pola radnog vremena. S obzirom na to da hevi-metal dominira svakim aspektom njegovog života, Državna služba za zapošljavanje saglasila se da mu nadoknadi drugu polovinu mesečne zarade, dok mu je novi šef dopustio da radi uz glasnu muziku omiljenih mu bendova.
- Već deset godina vodim borbu da mi se to što sam metalac uvaži kao hendikep. Razgovarao sam o tome sa tri psihologa koja su se na kraju složila da je to neophodno učiniti da se i dalje ne bih suočavao sa diskriminacijom - ispričao je Tulgren, koji je interesovanje za ovu vrstu muzike prvi put pokazao davne 1971. godine, kada je njegov stariji brat došao kući sa albumom ,,Blek sabata".
Od tada, dugokosom 42-godišnjem Rodžeru sa zavidnom kolekcijom tetovaža na telu ništa drugo nije važno osim svirki hevimetalaca. Stari roker se pohvalio da je samo prošle godine posetio 300 koncerata, zbog čega je često odsustvovao sa posla... To je na kraju dozlogrdilo njegovom tadašnjem poslodavcu, pa je Tulgren dobio otkaz i bio primoran da se oslanja na pomoć države.
Međutim, okoreli metalac se obratio psiholozima za pomoć, a česte sesije su dovele do rešenja: dobio je - crno na belo - potvrdu da se stil života hevimetalca smatra hendikepom, što je uvažila Služba za zapošljavanje i dodelila mu finansijsku nadoknadu.
- Ovaj papir mi omogućava da od sada na razgovor za posao dolazim obučen kao tipičan metalac. Neko će reći da konačno treba da odrastem i naučim da slušam i drugu vrstu muzike, ali ja to jednostavno ne mogu - priča Rodžer.
Za razliku od rokera, psiholozi u Stokholmu su zbunjeni potezom Državne službe za zapošljavanje.
- Ako je neko zavisan od kockanja, nećemo ga podsticati tako što ćemo ga poslati na konjičke trke, nego se trudimo da ga izlečimo - rekao je jedan psiholog.
Nesvakidašnju vest iz Švedske za Press je prokomentarisao Aleksandar Petrović - Aca Seltik, frontmen grupe ,,Ortodoks Kelts" i voditelj muzičke emisije ,,Ćoškarenje" na Radiju 202. On je proglašenje za hendikep ljubavi prema hevi-metal muzici nazvao ,,kombinacijom sprdnje i želje da se izvuče korist od nekoga ili nečega".
Gore nego u ,,Simpsonovima"
- Pitam se zašto odluka nije proširena i na fanove drugih muzičkih stilova. Pa svi smo mi, čak i oni koji nemaju uopšte sluha, zavisni od dobre muzike i zato je besmisleno govoriti o zavisnosti od hevi-metala u Švedskoj. Šta ćemo, na primer, sa Finskom u kojoj je hevi-metal deo narodne tradicije?! Delimično pozdravljam ovu odluku, odnosno deo koji se odnosi na to da metalci ne moraju da se odriču svog stila oblačenja na poslu, jer tu ne treba da bude ograničenja, i svako treba da izgleda onako kako se najbolje oseća - kaže Aca Seltik.
Rok analitičara i profesora FDU Aleksandra S. Jankovića dešavanje u Švedskoj podseća na epizodu ,,Simpsonovih" kad se Homer još više ugojio da bi mogao da radi od kuće.
- Kada u Švedskoj kupite više od dve litre alkoholnog pića nedeljno, ponude vam da se izjasnite da li ste alkoholičar i u tom slučaju država vam plaća litar kratkog alkoholnog pića dnevno, tako da postajete socijalni slučaj i država brine o vama, i još je svima lepo. U tom svetlu gledam i ovaj zakon - priča Janković.
On navodi da je hevi-metal muzika anomalija koja opstaje decenijama, a da je u opisu prosečnog hevimetalca destrukcija i autodestrukcija, što se ispoljava u maltretiranju drugih, glasnoj muzici koja ima tendenciozne tekstove o satanizmu, ubistvima, samoubistvima, mučenju...
- Pretpostavljam da je Švedska kao ozbiljna država shvatila maksimu ,,Ako ne možeš da ih pobediš, onda im se pridruži", a pošto nemaju neki ozbiljniji problem kao mi, normalno je što se bave ovakvim socijalnim anomalijama. Švedani su jako lepo pročitali ,,pop" idiom i iz te zemlje imamo paradigmatične pop bendove - ,,Kardigans", ,,Vonadis", ABBA, ali su sa hevi- metalom otišli u drugu krajnost. Međutim, stepen liberalnosti i gotovo komunističke brige za pojedinca zapanjuje - objašnjava Aleksandar S. Janković.
http://www.pressonline.rs/sr/vesti/Dnevni_magazin/story/169329/Metallica+je+moj+dobar+drug.html (http://www.pressonline.rs/sr/vesti/Dnevni_magazin/story/169329/Metallica+je+moj+dobar+drug.html)
Svašta će da izmisle u tom pressu, pomislio sam, kad ono:
http://www.neatorama.com/2011/07/14/in-sweden-an-appreciation-for-heavy-metal-music-is-considered-a-disability/ (http://www.neatorama.com/2011/07/14/in-sweden-an-appreciation-for-heavy-metal-music-is-considered-a-disability/)
Evo je jedna lepa lista, kao sa krekta, samo dobra:
http://www.happyplace.com/9226/the-saddest-ads-ever-posted-on-craigslist (http://www.happyplace.com/9226/the-saddest-ads-ever-posted-on-craigslist)
null
We're not entirely sure yet if he's a "man of mystery," but he's apparently "international." Who am I talking about? Oh, come now, surely you've heard of "Julius Styles: The International," the videogame which Wesley "To Wong Foo" Snipes is developing from his prison cell? Back in January, we told you how Mr. Snipes was pairing up with developer Lapland to bring his vision of a game that combines a bunch of his bad-ass action movie characters into one, bad-ass action videogame character.
Since that time, you have sat on the edge of your seat, waiting in anticipation for the day when Snipes would finally deliver the game – through a small hole in a door – to the masses. Well, that day is apparently August 11.
Originally, we were under the impression that "Julius Styles" would make his big break on Xbox Live, PSN, and iOS. According to a brand new press release today, the game is now only releasing on iPad and iPhone.
"The concept for 'Julius Styles: The International' is an amalgamation of the 'international spy, security specialist characters' I've played in a couple of films," said Wesley Snipes via press release and (presumably) jail. "Except unlike previous characters I've played, who often have military special ops, spy backgrounds, I needed a twist for him. Thus, Julius Styles was born."
"Julius Styles: The International" is an isometric action-adventure game where you'll guide economic hitman, Julius Styles, through the world of economic espionage. Your job is to use Styles, who is voiced by Wesley Snipes (also from jail?), to persuade governments and businesses to make decisions in-line with the wishes of a shadowy organization known as The Assembly. I'm not sure what economic espionage is, but it sounds like shady stuff with money, which I'm pretty sure is how we got here in the first place.
The press release refers to the August 11 release as the "first episode," so I'm assuming we'll see more "Julius Styles" releases down the road. And for that, we say, "...thanks for everything."
Videli ste ovo?
http://news.yahoo.com/photos/whale-shark-swim-1311371866-slideshow/ (http://news.yahoo.com/photos/whale-shark-swim-1311371866-slideshow/)
Mislim, posle me pitaju zašto ne volim more...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi55.tinypic.com%2Fk0j3o6.jpg&hash=146b4a26785d6c4376d683b44ee58b4f2a2af9f5)
e mehmete, mehmete,
ja ne znam sta bih dala da me puste da ronim ovde:
Kuroshio Sea - 2nd largest aquarium tank in the world - (song is Please don't go by Barcelona) (http://www.youtube.com/watch?v=u7deClndzQw#ws)
Ja sam sa Mehmetom. Da je Bog namerio coveku da pliva u moru, dao bi mu peraja. -_-
kukavice. :lol:
Šašavi su ti Šveđani. E, izvesni Adolf bi drugačije rešio to sa hevime(n)talcima. ;)
Ou maj gad:
http://www.cracked.com/article_19321_5-classic-games-you-didnt-know-had-wtf-backstories.html (http://www.cracked.com/article_19321_5-classic-games-you-didnt-know-had-wtf-backstories.html)
хтедох јуче да ти укажем на овај чланак, али сам сматрао да ти је увредљив па га ниси линковао :lol:
Što uvredljiv??? Pa nisam ja neki stručnjak na tom polju.
Eh...
http://www.cracked.com/article_19332_7-creepy-video-game-easter-eggs-youll-wish-were-never-found.html (http://www.cracked.com/article_19332_7-creepy-video-game-easter-eggs-youll-wish-were-never-found.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fa8.sphotos.ak.fbcdn.net%2Fhphotos-ak-snc6%2F268703_1896099649302_1445933551_31588462_2676366_n.jpg&hash=fdb164e5f300c3384143466bd4a9021302ba6cb8)
Ko je Srle?
xrofl
To mi je žena još sinoć pokazala i morao sam da joj objašnjavam da smo Ejmi i ja imali samo prijateljski odnos...
Quote from: Meho Krljic on 26-07-2011, 15:15:26
Eh...
http://www.cracked.com/article_19332_7-creepy-video-game-easter-eggs-youll-wish-were-never-found.html (http://www.cracked.com/article_19332_7-creepy-video-game-easter-eggs-youll-wish-were-never-found.html)
Baš interesantno. :)
Pošto je meni do kraja Portala 2 ostalo još par prostorija nisam smeo taj deo o njemu da pročitam :cry: :cry:
Hihihi. :)
Eh, da:
http://www.cracked.com/article_19266_5-movie-fan-theories-that-make-more-sense-than-movie.html (http://www.cracked.com/article_19266_5-movie-fan-theories-that-make-more-sense-than-movie.html)
I David Wong, uobičajeno pesimističan. Ovog čoveka kriza srednjih godina UBI
http://www.cracked.com/blog/9-types-job-that-will-destroy-your-soul (http://www.cracked.com/blog/9-types-job-that-will-destroy-your-soul)
не знам јеси ли постовао ово до сада, забаван чланак
http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/ (http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/)
Postovao sam, odličan je.
Kad svi sve ovde trpaju, ajde i ja, pošto ne znam gde bi bolje pasovalo...
Povod je to što sam u njegovim rečima prepoznao entuzijazam koji je i kod tebe i mnogih drugih prisutan u vezi objavljivanja u izdanjima koji ne plaćaju:
Quote
Nicholas Royle
Between 1995 and 2009 I wrote a regular quarterly column for Time Out magazine reviewing short stories. I scoured little magazines, anthologies, collections, other magazines and newspapers, and over 14 years I wrote more than 40,000 words about short stories. How is that possible, you might wonder, when, as we are always being told, no one publishes short stories in the UK any more? Well, the truth is they do. Short story writers don't always get handsomely paid, or even paid, but there are plenty of editors accepting work for publication. You hear writers at conventions bemoaning the lack of markets for short fiction and it's true that in most cases you will not make a lot of money writing stories, but there are opportunities for publication and even the occasional a bit of cash.
When Time Out stopped paying for the column, any sensible person would have stopped writing it, but I carried on, because, for a while at least, they were still happy to publish it. It was only when they finally ceased printing my round-up that I stopped producing it.
Ipak, on je od toga uspeo nešto da učini...
http://blogs.chi.ac.uk/shortstoryforum/?p=4773 (http://blogs.chi.ac.uk/shortstoryforum/?p=4773)
Entuzijazam je lepa stvar...
PS: Ako ne znate ko je Nicholas Royle, brže na bibliografiju, ima ga i prevedenog...
To je sumanut entuzijazam. Ali on je imao i rašta pisati.
Zabava
http://www.cracked.com/article_19346_the-5-most-insane-alternate-reality-games.html (http://www.cracked.com/article_19346_the-5-most-insane-alternate-reality-games.html)
Iskoristio bih inače priliku da muhamedanskoj manjini na Sagiti čestitam početak Ramazana. Ja sam ga obeležio deleći svoju imovinu sa onima koji imaju manje od mene (i, dobro, kupio sam neke igre za sebe...)
http://www.youtube.com/watch?v=MGLlAto0sSc (http://www.youtube.com/watch?v=MGLlAto0sSc)
:)
Britanci se konačno malko prizivaju pameti:
New Laws To Make Copying CDs Legal (http://uk.news.yahoo.com/archaic-copyright-law-shelved-013411645.html)
QuoteAn outdated law meaning millions of people are unknowingly copying music illegally is due to be swept away by the Government.
Business Secretary Vince Cable has backed proposals to update what some have called the country's "archaic copyright laws".
At the moment it is technically illegal to transfer content from CDs and DVDs onto a different format such as a computer or MP3 player.
Today the Government is putting the wheels in motion to change this, allowing people to transfer content and make copies for their own and immediate family's personal use.
However, at present millions of people are breaking the law, with many unaware they are doing it.
Copyright lawyer Adam Morallee believes legislation is merely catching up with what is already being done.
"It really does have to catch up and look at what's happening. The people who operate the fast sharing sites are miles ahead of the where the legislators are."
These proposals are in response to a review of Intellectual Property legislation carried out in May. The government is expected to agree with much of the report.
Sharing of copyrighted material over the internet will still be illegal.
However some critics in the entertainment industry believe these proposals are merely altering an outdated law.
What they are not doing is tackling the real and pressing problem posed by illegal downloading.
Jonathan Shalit, chairman of Roar Global which represents artists, told Sky News he is worried about the repercussions for his clients.
"The minute you say it is legal to copy something you're then legitimising it and where does the barrier or boundaries of immediate family end.
"I think it has not been well thought through and a lack of respect remains for artists who create the original product."
Online spoofs are also expected to receive legal protection.
The makers of Newport State of Mind , a song which satirised singer Alicia Key's Empire version by moving it from New York to South Wales, was removed from YouTube recently after a legal battle.
MJ Delaney, the director of the track, did not realise she had been breaking the law when she made the video and agrees with the changes.
"EMI who took it down, they weren't a victim in any sense of what we've done.
"By the time we'd done that video the song Empire State of Mind was pretty old. It was long gone out of the charts so if anything all we did was raise the profile of the song and remind everyone what a great song it was."
It is hoped the moves will benefit the UK economy, in part because individuals will be able to legally back up their music, films and e-books, encouraging the development of new technology.
It will clear the way for companies such as Google and Amazon to market online content storage systems for UK consumers, allowing them to create back-up files of their music and film libraries in a "cloud" on the internet, so they can be retrieved even if their own computer or MP3 player is stolen or lost.
http://www.erowid.org/library/books_online/mickey_mouse_medicine_man/mickey_mouse_medicine_man.shtml (http://www.erowid.org/library/books_online/mickey_mouse_medicine_man/mickey_mouse_medicine_man.shtml)
Miki i Šilja konzumiraju amfetamine i ponašaju se rasistički? What else is new?
Čini mi se da se nisi dotakao droge u svom eseju na blogu.
Da, nisam. Sačuvaj Alahu!!
Druga tema, prvi šot iz novog Supermena:
http://movies.yahoo.com/blogs/movie-talk/superman-revealed-first-photo-man-steel-165334772.html (http://movies.yahoo.com/blogs/movie-talk/superman-revealed-first-photo-man-steel-165334772.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi56.tinypic.com%2F1116lao.jpg&hash=114e870184bbccaf579fd92aa5a35e7b9ee3a94b)
John Cheese u dobroj formi:
http://www.cracked.com/blog/5-things-i-cant-believe-websites-are-still-doing/ (http://www.cracked.com/blog/5-things-i-cant-believe-websites-are-still-doing/)
Johnny Depp is set to produce a film version of the Image Comics three part mini-series "The Vault" at GK Films reports The Hollywood Reporter.
Sam Sarkar's comic, the first issue of which hits shelves this week, revolves around a group of deep sea divers who come upon a bizarre sarcophagus around Sable Island off the coast of Nova Scotia. They soon discover they've unleashed a dangerous demonic force on the world.
GK acquired the film rights from Sarkar who is also an executive at Depp's Infinitum Nihil production company. Christi Dembrowski, Graham King and Tim Headington will produce.
Znam kako ovo zvuči, ali evo intervjua sa režiserom dokumentarca urađenog za HBO koji se bavi... er... superherojima u našem svetu
http://www.newsarama.com/tv/real-life-superheroes-director-interview-110808.html (http://www.newsarama.com/tv/real-life-superheroes-director-interview-110808.html)
Od septembra DC počinje da objavljuje sve svoje stripove digitalno istog dana kada i štampanu verziju. Evo malo priče o svemu tome
http://www.newsarama.com/comics/digital-and-future-of-comic-book-shops-110810.html (http://www.newsarama.com/comics/digital-and-future-of-comic-book-shops-110810.html)
Krekd objašnjava zašto je tako teško naći sreću
http://www.cracked.com/article_19376_5-scientific-reasons-your-idea-happiness-wrong.html (http://www.cracked.com/article_19376_5-scientific-reasons-your-idea-happiness-wrong.html)
I nije to bez vraga.
Auh, čitajući ovaj članak doživljavam isto ono otkrovenje kako kad sam otkrio Noama Čomskija. Izbija Istina.
Au. Znaci da ne citam?
Pa, nećeš biti više nesrećan kada ga pročitaš. Samo će ti biti jasnije zašto si nesrećan.
A kad je jasnije automatski je i podnošljivije, što može smanjiti anksioznost i time ipak nekako povećati tvoju sreću...
Ja sam pre mislio na onaj deo s Comskim, ali nema veze. :lol:
Procitacu clanak svakako, samo da sacekam da sledeci put budem nesrecan.
Nešto za Lilitu:
http://www.cracked.com/article_19343_6-mind-blowing-ways-genetic-engineering-might-save-your-life.html (http://www.cracked.com/article_19343_6-mind-blowing-ways-genetic-engineering-might-save-your-life.html)
http://www.danas.rs/danasrs/srbija/hronika/kolektivno_besplatno_sunecenje.73.html?news_id=221312 (http://www.danas.rs/danasrs/srbija/hronika/kolektivno_besplatno_sunecenje.73.html?news_id=221312)
QuoteNovi Pazar - Neki gradovi imaju kolektivna venčanja, a Novi Pazar će 11. septembra ove godine imati kolektivni sunet (obrezivanje) 50 mališana iz celog Sandžaka. ,,Uz podršku prijatelja iz Turske, besplatan sunet za 50 mališana" - ovo je naslov saopštenja koji je, pre dva dana, medijima prosledilo Odeljenje za informisanje novopazarske gradske uprave.
U saopštenju se navodi da to organizuje gradska uprava Novog Pazara sa prijateljima iz Istanbula, da će obred obaviti ,,u odgovarajućim uslovima" hirurzi iz Novog Pazara i Istanbula, da će svi dečaci na poklon dobiti tradicionalno svečano odelo i bicikl marke ,,salcano", a nakon toga uslediće ,,bogat kulturno umetnički program".
Roditelji zainteresovani ,,da pod pokroviteljstvom obave dužnost suneta svoje dece" treba da se prijave Kancelariji za mlade u ovom gradu, a prednost će imati koji se prijave i porodice sa više dece. Kako se u saopštenju navodi ,,cilj akcije je da se jednom broju dečaka iz porodica slabijeg imovnog stanja omogući obavljanje važnog islamskog obreda".
Obrezivanje ili sunet, kako je uobičajeno da se kaže, je verski čin kojem podležu svi muslimanski dečaci. To je radostan događaj za celu porodicu koji se dešava leti, osim u retkim izuzetnim situacijama. Nekada se ovaj čin obavljao samo u kućama, a obrezivanje su vršili berberi ili medicinski tehničari. Za dečake su pripremani posebno ukrašeni kreveti, a rodbina i komšije dolazili su da ih daruju novcem. Taj čin nekada je pratio mevlud (molitva) sa posluženjem. Donosile su se baklave i ostali tradicionalni kolači. Obavezan je bio i našminkani ovan kojem se stavljalo naopako okrenuto ogledalo.
Novo vreme, novi običaji
Novo vreme nametnulo je i novo ponašanje. Obrezivanje obavljaju hirurzi. Uglavnom se to radi u privatnim ordinacijama klasično skalpelom ili laserski za 50 evra po dečaku. Neki to obavljaju i u bolnici. Mevludi su retki. Slavlje se organizuje po restoranima. Pre sunećenja mališani se provozaju gradom u koloni automobila sa uključenim sirenama. Da li će se voziti u kolima, koja su uvek posebno ukrašena, sa zatvorenim krovom ili bez njega, stvar je imovinskog prestiža. Posebno ukrašeni kreveti i darovanje obrezanih dečaka novcem je zadržano.
daleko od toga da imam nešto protiv sunećenja, ali ovaj big brother sunećenje je :? .
Hm... Ne sviđa mi se što se Kancelarija za mlade angažuje u verskim običajima.
Sunećenje je toliko korisna stvar da bi svi trebalo da ga urade.
I onda posle svi na lignje.
xrepuke
Quote from: Meho Krljic on 14-08-2011, 15:53:16
Sunećenje je toliko korisna stvar da bi svi trebalo da ga urade.
čuo sam da malo "otupiš" ako si osunećen (ili kako se već kaže).
Da i zbog toga duže igraš, ako mogu da tako kažem.
Azzarello i Risso ponovo jašu za Vertigo. Od Oktobra kreće njihov naučnofantastični serijal ("Ako ste voleli Blade Runner, volećete i ovo") Spaceman. Azzarello je vidno napaljen.
http://www.newsarama.com/comics/azzarello-spaceman-110815.html (http://www.newsarama.com/comics/azzarello-spaceman-110815.html)
Pa ne mora mučenik da ide na Mars, mogao bi da radi na ISS, mislim šta, nema više čak ni Internacionalne Svemirske Stanice? Mogao bi i da harvestuje helijum na Mesecu, ionako će ge nestati sa Zemlje uskoro.
Pa vidiš da NASA više ne postoji. Ko da ga pošalje na Mars??? Koliko shvatam Azzarella, Orson je napravljen da bi išao na misiju na Mars ali pošto se NASA raspala, priča se događa na Zemlji.
Orsona zamišljam kao rođaka Cretea iz 100 metaka iako na koricama više liči na Panišerovog Barakudu, čak mu i oko deluje falično.
Da, i ja sam pomislio na Barakudu, onako kako ga je crtao Parlov... Videćemo, Azzarello je notorno neubedljiv kada se bavi temama koje nisu suštinski gritty i prizemljene, ali ovo bi moglo da proradi ako ima dovoljno gibsonovštine...
Hrabri me ovo što je net živ i zdrav uprkos sveopštem raspadu.
On je i dizajniran da preživi nuklearnu apokalipsu. Ipak neko treba da tvituje da je kraj svijeta došao i prošao, da bi ostao pisani trag.
Sad mi je palo na pamet da sam nesvesno u potpis stavila tvoj citat da me zaštiti od malera na forumu. :lol:
I mene smiruje kada ga vidim na dnu svog posta. :|
Dobro je znati da nisam jedini koga pomisao na muda smiruje.
Nije bitno da li neko ima potpis, nego šta piše u njemu. (verzija MKovog citata nakon dugogodišnjih pogrešnih interpretacija)
Quote from: Meho Krljic on 16-08-2011, 20:49:43
Dobro je znati da nisam jedini koga pomisao na muda smiruje.
xrofl
Eh, da. Znala sam ja da mi je teško očuvana reputacija otišla dođavola na ovom forumu. :|
Meho, plakni muda makar 'ladnom vodom, imaj srca, ubiće nas više taj slatki miris kandide... :cry: :lol: :evil:
Svašta. Plakćem ih redovno. Ne prođe ni jedan mesec da ih makar ne okvasim u rakijskoj čašici.
Eto vidiš. Meho, kako me zadivljujuće smiruju tvoja muda mudrovanja. :lol:
Sad ignorišem sve što je nedostojno mog odgovora. :|
Majk Minjola objašnjava zašto je ubio Helboja i kuda dalje:
http://www.newsarama.com/comics/mike-mignola-why-he-killed-hellboy-110818.html (http://www.newsarama.com/comics/mike-mignola-why-he-killed-hellboy-110818.html)
Quote from: Meho Krljic on 19-08-2011, 13:42:30
Majk Minjola objašnjava zašto je ubio Helboja i kuda dalje:
http://www.newsarama.com/comics/mike-mignola-why-he-killed-hellboy-110818.html (http://www.newsarama.com/comics/mike-mignola-why-he-killed-hellboy-110818.html)
ČEKAJ ŠTA KOGA JE UBIO? KAD? :?
Damn. Mislim, damn.
Okej, on je đavolov sin & whatnot očekivao sam malo dramatičnije i smislenije u okviru tekućih dešavanja. Idem sad da nađem te stripove da vidim škk je uradio.
Ako ste tužni, John Cheese će vas razveseliti
http://www.cracked.com/article_19160_8-scenes-that-prove-hollywood-doesnt-get-technology.html (http://www.cracked.com/article_19160_8-scenes-that-prove-hollywood-doesnt-get-technology.html)
http://www.e-novine.com/region/region-bosna/50163-Alahom-protiv-onanije.html (http://www.e-novine.com/region/region-bosna/50163-Alahom-protiv-onanije.html)
"Stručnjak za dodirivanje vlastitih genitalija"?
Jasno je da je spram naseg Mehmeta taj 'strucnjak' ouki amater.
A neko treba, kao u onoj epizodi Luija, da pozove u studio ovog profesora Esmira Bašića i kaza mu kako ce posle emisije da ode kuci i masturbira misleci na njega.
http://arstechnica.com/apple/news/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago.ars (http://arstechnica.com/apple/news/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago.ars)
Takođe:
http://www.popmatters.com/pm/column/146097-why-video-games-might-not-be-art/ (http://www.popmatters.com/pm/column/146097-why-video-games-might-not-be-art/)
Portal: No Escape (http://www.youtube.com/watch?v=4drucg1A6Xk#ws)
'Star Wars' Gets New Tweaks for Blu-ray Release (http://movies.yahoo.com/blogs/movie-talk/star-wars-gets-tweaks-blu-ray-release-232658967.html)
Mehmete, zasto last.fm veli da ne postojis? :(
vid ladno nema ga.
Pa ne postojim. Ukinuo sam se ima tome nekoliko meseci. Ditto na MajSpejsu.
sprzi me u ausvicu (http://www.youtube.com/watch?v=UeJgyckfNoc#)
Keckec za neku pozorišnu predstavu. Plačem od smeha.
Nisam siguran koliko će vojvođanski Židovi deliti tvoje oduševljenje :shock:
Fanzines from Mars (http://vimeo.com/26816160)
:lol:
Pa, ti si tek treći (posle Kunca i Son of Mana) koji je to okačio ovde na forum. :lol:
A ponadah se da cu biti drugi. :(
Mnogi se nadaju da će mi biti drugi :lol:
Koja je ono pesma u prvih par minuta filma?
To me svi pitaju. A ja ne znam jer sam metalac.
http://urbanozeleno.blogspot.com/2008/10/ta-sam-radio-sve-ove-godine-uglavnom.html (http://urbanozeleno.blogspot.com/2008/10/ta-sam-radio-sve-ove-godine-uglavnom.html)
Napred u proslost - Sta sam radio sve ove godine (http://www.youtube.com/watch?v=l-ZrpWeN0Us#)
Fala. :oops:
EDIT: Naravno, u creditsima pisu nazivi svih pesama koriscenih. :facepalm:
Ti si još cirke od slavljenja levelapa, vidim ja.
Sta, od uvoznog crnog caja? :P
Quote from: Father Jape on 03-09-2011, 16:41:27
Sta, od uvoznog crnog caja? :P
Tim CRNJE! HAaa, I kill me!
ALF - HAHA! (http://www.youtube.com/watch?v=iXBE81FYZJ0#)
Ja samo da najavim: Mats Gustafsson sutra uveče na Dunav Festu u Barutani (a u Utorak u Novom Sadu u Crnoj Kući). Ulaz za dž, sviraju se švedski jazz klasici iz pedesetih i šezdesetih. Propustiti ovo je glupo.
Intervju na Jazzinu:
http://jazzin.rs/post/Mats-Gustafsson-na-izvoristu-svedskog-dzeza.aspx (http://jazzin.rs/post/Mats-Gustafsson-na-izvoristu-svedskog-dzeza.aspx)
Video:
Swedish Azz at Alchemia (http://www.youtube.com/watch?v=VRBmm_6vLCw#ws)
A ne pominješ smak sveta u najavi:
http://www.blic.rs/Slobodno-vreme/Zanimljivosti/275119/Kaznjen-jer-nije-vodio-ljubav-sa-svojom-zenom (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/275119/Kaznjen-jer-nije-vodio-ljubav-sa-svojom-zenom)
They will exec produce "Friday Night Fights" web series for Activision's online service.
More than 6,000 gamers have converged at Raleigh Studios in Playa Vista for Activision's two-day video game festival, Call of Duty XP. During the opening keynote, Activision CEO Eric Hirshberg announced that Ridley and Tony Scott are creating an exclusive online series called Friday Night Fights that will be part of Call of Duty Elite.
our editor recommends
'Call of Duty' Fan Fest Debuts This Sept. in L.A.
'Change-Up' Star Jason Bateman, Will Arnett Creating 'Call of Duty Elite' Content
Judge Tosses Chris Bosh Lawsuit Over VH1's 'Basketball Wives' (Exclusive)
Elite is a new online service aimed at the 30 million Call of Duty gamers. While much of the online content will be free, Activision is offering a premium service with exclusive content that will cost $50 per year. Elite TV will be part of that premium offering.
STORY: 'Call of Duty' Fanfest Debuts in L.A. in Sept.
Ridley Scott Associates' Friday Night Fights will focus on video game competitions between rival groups like football versus soccer fans, New York Yankee fans versus Boston Red Sox fans, firemen versus cops. Celebrity rivalries will also be featured in the series. The competitors will settle their differences by playing Call of Duty: Modern Warfare 3.
Elite TV will also include a premium episodic content from producers Will Arnett and Jason Bateman's DumbDumb production company, in association with Ben Silverman's multimedia studio, Electus. One of the shows, n00b tube!, will select user-created videos featuring game play from Call of Duty: Modern Warfare 3 and provide comedic voice-over "smack talk" commentary from Arnett and Bateman. The second program, Cocked Hammers, will be an animated comedy series.
This online programming will run on a weekly basis and launch this fall in tandem with the November 8 release of Call of Duty: Modern Warfare 3. Additional original content will be added to Elite TV moving forward.
The paid Call of Duty Elite subscription will also include monthly downloadable content, including new multiplayer maps, new game modes and Spec Ops missions. There will also be exclusive daily online tournaments for players to win both virtual and real prizes, including iPad 2s and Jeeps.
Activision is hosting a two-day $1 million Call of Duty tournament at Call of Duty XP. In addition, a GI Joes vs. Pros area was set up on the main stage with Oklahoma City Thunder NBA stars Kevin Durant and Russell Westbrook taking on active duty military on Xbox Live Friday and Miami Heat NBA star Chris Bosh and Minnesota Timberwolves NBA star Kevin Love competing on Call of Duty tomorrow.
Call of Duty XP will close each night of activities with a concert. Dropkick Murphys perform Friday with Kanye West taking the stage to close out the festival Saturday night.
At the event, Activision announced a $400 special edition Call of Duty: Modern Warfare 3 Xbox 360 console, which will ship November 8 for $399.99 with a copy of the game, two wireless controllers, a 320GB hard drive and a wireless Bluetooth headset.
Grant Morrison o tome kako je ributovo Supermena
http://www.newsarama.com/comics/grant-morrison-action-comics-110902.html (http://www.newsarama.com/comics/grant-morrison-action-comics-110902.html)
Aaaa, do jaja:
http://www.cracked.com/article_19404_6-terrifying-sci-fi-predictions-about-year-1997.html (http://www.cracked.com/article_19404_6-terrifying-sci-fi-predictions-about-year-1997.html)
Je li, Mehmete, je l' ovo sto ovaj pise tacno:
http://www.cracked.com/blog/5-surprising-upsides-to-getting-married/ (http://www.cracked.com/blog/5-surprising-upsides-to-getting-married/)
Pa, možda je to njemu bilo surprising...
Što se mene tiče, upside je što kad se mačka isere usred noći, verovatno je da će Sunčica ustati pre mene da ide da piški i počistiti posip pre nego što ja ustanem.
Rob Liefeld o svojim aktuelnim radovima (od kojih je jedan Hawk & Dove na DCju, a drugi The Infinite za Image). (http://www.newsarama.com/comics/rob-liefeld-mid-life-crisis-110912.html)
A u svetlu nekih od jučerašnjih rasprava u LKu i vijesti da je Johnsov i Leejev Justice League broj jedan prodao preko 200,000 kopija (prodavnicama), Newsarama nam daje listu najprodavanijih stripova u poslednjoj deceniji:
http://www.newsarama.com/comics/10-best-selling-comics-past-10-years-110912.html (http://www.newsarama.com/comics/10-best-selling-comics-past-10-years-110912.html)
Doduše, ograničili su se na mesečne magazine, no, zanimljivo je.
Majkl Svejm priča o WC šolji (sistemu?) od 6,4 tisuće dolara. Tojlet hjumor u bukvalnom smislu:
http://www.cracked.com/video_18309_the-7-dumbest-things-about-worlds-smartest-toilet.html (http://www.cracked.com/video_18309_the-7-dumbest-things-about-worlds-smartest-toilet.html)
DušMan me sinoć podsetio na miniskandal koga je Grant Morrison izazvao prvim brojem Action Comics (koji uopšte nije rđav) pošto Supermen na jednoj slici, od bola i stresa ispušta zvuk upisan u oblačić kao "GD". Jedan distributer iz Sjeverne Karoline je odbio da prodaje ovo izdanje (inače sjajno prodavano) jer smatra da je to skraćenica za God Damn i samim tim nešto suprotno duhu Supermena, hrišćanstva i, er... Judaizma Supermenovih autora....
Kris Sims na Komik Elajansu daje više detalja i sarkastičnih ali slatkih komentara:
http://www.comicsalliance.com/2011/09/09/gd-action-comics-boycott-retailer/ (http://www.comicsalliance.com/2011/09/09/gd-action-comics-boycott-retailer/)
I dodatak ovde:
http://robot6.comicbookresources.com/2011/09/grant-morrison-clarifies-that-yes-gd-is-a-grunt-not-a-blasphemy/ (http://robot6.comicbookresources.com/2011/09/grant-morrison-clarifies-that-yes-gd-is-a-grunt-not-a-blasphemy/)
Meni više smeta što u stripu Superman uopšte primeti kada ga pogodi tenak u leđa! Kao da ga je to zabolelo!? Mislim, Superman je to!
btw, ovo je baš zabavno :):
Quote from: Meho Krljic on 13-09-2011, 14:37:38
Kris Sims na Komik Elajansu daje više detalja i sarkastičnih ali slatkih komentara:
http://www.comicsalliance.com/2011/09/09/gd-action-comics-boycott-retailer/ (http://www.comicsalliance.com/2011/09/09/gd-action-comics-boycott-retailer/)
Pa to je donekle smisao ributa. Morrison piše Supermena koji još uvek nije onaj svemoćni Supermen pune zrelosti. Ako si čitao originalni Action Comics, sećaš se da ni tamo Supermen nije na početku leteo, nije bio ni tako snažan ni tako neranjiv kao kasnije. Morrison u intervjuu koga sam linkovao pre neki dan manje-više objašnjava kako je ovo tek početak za Supermena i kako je on tek kratko bio izložen zracima žutog Sunca pa otud još i nije tako moćan kao što će postati. U drugom tekućem serijalu - Superman (piše ga George Perez) - ćeš imati Supermena pet godina kasnije sa punim setom moći. Princip DCnU-a je da se Action Comics i Justice League jedini događaju pet godina ranije (oko šest meseci nakon što se Supermen pojavio na zemlji) a ostali stripovi se događaju sada a u tih pet godina se desilo sve ono što znamo iz DC univerzuma poslednjih sedam decenija...
Quote from: Meho Krljic on 13-09-2011, 15:25:06
Pa to je donekle smisao ributa. Morrison piše Supermena koji još uvek nije onaj svemoćni Supermen pune zrelosti.
Upravu si, naravno. Bio je to moj pokušaj da se našalim :oops:.
Nego, da vidimo šta još kaže kada ga nešto zaboli:
1. SNFF
12. GNUHH!
13. HNN! GGAAAAAA AAAAA
14. GD
15. UH. AAOW. WOAH.
23. OW
Jedan drugi lik, inače, 'kaže' :DHH i UH i GUH
Kako to da nisu i iz ostalih stenjanja/štagod izvukli nešto što je protiv onoga-za-štagod-da-su-ko-god-da-su?!
Ma ludaci. Video si da su ga nazvali škotskom liberalnom sisicom a posle, kao "car si, ti si okej". Iako tvrde da to nije bilo iz jurnjave za publicitetom za njihovu distribuciju, nešto mi da ipak možda jeste malo.
http://www.cracked.com/article_19435_6-movie-plot-holes-you-never-noticed-thanks-to-editing.html (http://www.cracked.com/article_19435_6-movie-plot-holes-you-never-noticed-thanks-to-editing.html)
Džon Čiz i Dejvid Wong zajedno, kao u stara vremena!!! Pet načina da prepoznate da ste prestari za video-igre:
http://www.cracked.com/blog/5-ways-to-tell-youre-getting-too-old-video-games/ (http://www.cracked.com/blog/5-ways-to-tell-youre-getting-too-old-video-games/)
Naravno, hajde da brojimo koliko se od ovoga odnosi na FatherJapeta a koliko na mene!!!
I kao dodatak, post Džona Čiza koji sam propustio:
http://www.cracked.com/blog/5-crucial-lessons-learned-by-watching-kids-play-video-games/ (http://www.cracked.com/blog/5-crucial-lessons-learned-by-watching-kids-play-video-games/)
Maj gad!!!!!!!! :? :?
http://www.cracked.com/blog/the-7-most-terrifying-rejected-tv-ads/ (http://www.cracked.com/blog/the-7-most-terrifying-rejected-tv-ads/)
Quote from: Meho Krljic on 16-09-2011, 13:54:28
http://www.cracked.com/blog/5-ways-to-tell-youre-getting-too-old-video-games/ (http://www.cracked.com/blog/5-ways-to-tell-youre-getting-too-old-video-games/)
Naravno, hajde da brojimo koliko se od ovoga odnosi na FatherJapeta a koliko na mene!!!
Challenge accepted!
Izbrojacu cim se vratim sa popodnevne dremke. -_-
Evo ovako:
5. Da. Mislim jesam spucao ko zna koliko sati u zadnjih godinu i po na League of Legends, a deo toga cak nije bio sa nasumicnim tinejdzerima, ali da, multiplayer is bullshit.
4.Da! Ranije sam sve igre prelazio od pocetka do kraja, sad gomilu preskacem, gomilu probam samo na sat-dva, a zavrsavam samo one krace. U proseku jednom godisnje zagrizem behemote poput Dragon Agea, ili sad New Vegasa sa svim prilozima.
3. Nah. Shvatio sam i sam da su me price ranije vise uzbudjivale jer sam bio tinejdzer. Dakle tu se slazem s clankom
2. U principu i ovde bih se na prvi pogled slozio s clankom. Mada se onda setim da je poslednja igra zaista nalik Imperialismu 2 bio... Imperialism 2. Koji je izasao pre 12 godina. Mogao bi se napraviti kejs da neki stari podzanrovi nestaju, ali bi se mogao napraviti i kejs da podjednaka kolicina novih, drugacijih dolazi. Previse sam star da bih razmisljao o tome.
... i na kraju
1. Samo retardirana deca su mislila da su igre all about fun!
:lol:
Kod mene je 5. Свакако на снази иако стално играм Стеет Фигхтер и Lефт 4 Деад онлајн. Али nemam ni želju ni snagu da se upuštam u Battlefield i slične ponude.
4. Apsolutno. Svakako problem u meni pre nego u igrama.
3. Ovde mislim da sam očuvao isti stav kao pre dve decenije. Neke igre imaju priče koje me zavedu (čak i smešni Hjumen Revolušn), neke ne.
2. Ne, mada on ovde pravi dosta dobrih poenti. Zaista je danas lakše igrati poznat i ispoliran naslov nego prebirati po đubretu u potrazi za bisejem. Ali opet je u pravu da je to stvar odmaklih godina.
1. Nikako. Zaista nikada nisam mislio da su "about fun" u prvom redu.
Dakle, nismo TAKO loši!
Quote from: Meho Krljic on 16-09-2011, 16:40:47
Dakle, nismo TAKO loši!
Ono sto ce biti zaista zanimljivo je videti kako stvari stoje kada ja budem tvojih godina, a ti... budes u kolicima sa bocom kiseonika pored. :lol:
Ili na samrtnoj postelji, razmišljajući kako još uvek nisam ni jedan Assassin's Creed odigrao do kraja.
http://www.vesti-online.com/Scena/Film/165820/Hrvatica-porno-zvezda-Toliko-snimam-da-ne-mogu-da-hodam (http://www.vesti-online.com/Scena/Film/165820/Hrvatica-porno-zvezda-Toliko-snimam-da-ne-mogu-da-hodam)
Komentari kažu sve:
QuoteTreba zabraniti te filmove.u njima su zene ponizene i osramocene
QuoteА није понижење кад Србин Српкињи виче да је - усташа?
На сабајле лицемерје.
Пријатан дан.
Mislim, to su drugi i treći komentar. Naš svet ume da oftopikuje with the best of them.
http://www.geek.com/articles/games/john-carmack-coded-quake-on-a-28-inch-169-1080p-monitor-in-1995-20110920/ (http://www.geek.com/articles/games/john-carmack-coded-quake-on-a-28-inch-169-1080p-monitor-in-1995-20110920/)
Pa, da, al Džon karmak je bog na Zemlji, vozi Ferari koga je sam modifikovao i iz hobija pravi kosmička plovila. Ima li ičega što on ne može?
Obavezno overi novu Catwoman! :!:
Ma naravno. Judd Winnick je i inače moj omiljeni scenarista.
Neki clanak o "female sexuality in comics" (http://www.comicsalliance.com/2011/09/22/starfire-catwoman-sex-superheroine/).
Ja nravno ne znam nista o stripovima, a kamoli o zenama ili seksualnosti. :cry:
Amiri Baraka on "This Planet Is Doomed: The Science Fiction Poetry of Sun Ra" (http://ttbook.org/book/amiri-baraka-planet-doomed-science-fiction-poetry-sun-ra)
btw već danima se drogiram sa http://www.myspace.com/igorrrrrrrrrr (http://www.myspace.com/igorrrrrrrrrr)
Šonbejbi!!!!1
24 Video Game Covers That Will Double Your Testosterone (http://www.cracked.com/blog/24-video-game-covers-that-will-double-your-testosterone/)
Takođe
6 Arcade Games Too Awesome to Get Released in the West (http://www.cracked.com/article_19447_6-arcade-games-too-awesome-to-get-released-in-west.html)
I malo ozbiljnije
5 Common Crime Fighting Tactics (Statistics Say Don't Work) (http://www.cracked.com/article_19455_5-common-crime-fighting-tactics-statistics-say-dont-work.html)
Бременские музыканты. Наши дни. (http://www.youtube.com/watch?v=0zxxM9EYQzY#)
http://hiphopwired.com/2011/09/04/boy-dies-after-masturbating-42-times-in-one-night-30097/ (http://hiphopwired.com/2011/09/04/boy-dies-after-masturbating-42-times-in-one-night-30097/)
Molim KAKO SU UTVRDILI BROJ? KAKO?
Quote from: zakk on 06-10-2011, 17:54:57
Molim KAKO SU UTVRDILI BROJ? KAKO?
Pa, znamo da je 42 ultimativni odgovor na ultimativno pitanje o životu, univerzumu i svemu. :evil:
јасно је да је неко бројао...према чланку, нема баш много кандидата.
Fans of the Superman, Batman, Watchmen and Sandman graphic novels will no longer be able to buy the series at Barnes & Noble stores. The company began removing DC Entertaiment's comic content from shelves this week in response to a DC deal that places digital versions of the works exclusively on Amazon's Kindle products.
Barnes & Noble chief merchant Jaime Carey said in a statement, "Regardless of the publisher, we will not stock physical books in our stores if we are not offered the available digital format. To sell and promote the physical book in our store showrooms and not have the ebook available for sale would undermine our promise to Barnes & Noble customers to make available any book, anywhere, anytime."
PHOTOS: Comic-Book Characters In Dispute
The Kindle Fire will have exclusive digital distribution rights to the books beginning Nov. 15, the first day the e-readers begin shipping.
Barnes & Noble customers can still special order the graphic novels at stores or buy them via the bookseller's website.
As first reported on the Bleeding Cool blog, 100 graphic novels are included in the move, including V for Vendetta, Fables and Blackest Night. With the shutdown of Borders stores, Barnes & Noble's decision also means there will be no mass market bookstore selling DC's titles.
PHOTOS: 10 Top Summer Superheroes Of All Time: Battle of Box Office Brawn
DC Entertainment said in a response statement, "We are disappointed that Barnes & Noble has made the decision to remove these books off their shelves and make them unavailable to their customers. DC Entertainment will continue to make our content available to our fans and new readers through multiple distribution channels including locally-owned comic book retailers, independent bookstores, other bookstore chains and other widespread means such as online through Amazon and through our apps on iOS and select Android powered devices as well as new and exciting devices going forward."
Pogledajte dečaka koga smiruje samo ,,Iron Maiden" (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/283036/Pogledajte-decaka-koga-smiruje-samo-Iron-Maiden)
2 Year Old Wants Iron Maiden (http://www.youtube.com/watch?v=jMeQR9E1p3k#)
klinja je predivan :-|
Fear Of The Dark - Iron Maiden (http://www.youtube.com/watch?v=PieS0zG228A#)
:-|
Ujebemti
http://www.cracked.com/article_19469_7-animals-that-are-one-flaw-away-from-taking-over-world.html (http://www.cracked.com/article_19469_7-animals-that-are-one-flaw-away-from-taking-over-world.html)
http://www.cracked.com/blog/8-hilariously-insane-examples-vladimir-putin-propaganda/ (http://www.cracked.com/blog/8-hilariously-insane-examples-vladimir-putin-propaganda/)
Eh, nema srpskih domaćica koje viču "Vladimire Putine, raširi mi butine"... :(
Aaron Eckhart has signed on to play Beach Boys drummer Dennis Wilson in the indie music biopic "The Drummer" at Unclaimed Freight Prods. says Variety.
The story chronicles the last six years of Wilson's life, before his death in 1983. Eckhart had been in negotiations to play Wilson for several months and will also serve as executive producer and record his own renditions of some of Wilson's songs.
Brad Rosenberger, Randy Miller and Jody Savin are producing while Savin penned the script. Shooting is slated to kick off late spring-early summer. xfuck5
Ovaj Džon Bonžovi stvarno retko divan čovek:
Jon Bon Jovi's charity restaurant opens in US (http://news.yahoo.com/jon-bon-jovis-charity-restaurant-opens-us-200357606.html)
Quote
RED BANK, New Jersey (AP) — In three decades as one of the world's biggest rock stars, Jon Bon Jovi has eaten in some of the world's best restaurants, savoring the best food the planet has to offer.
Yet there's no place he'd rather have dinner than The Soul Kitchen, a "pay-what-you-can" restaurant he and his wife Dorothea established in a former auto body shop in central New Jersey.
The restaurant provides gourmet-quality meals to the hungry while enabling them to volunteer on community projects in return without the stigma of visiting a soup kitchen. Paying customers are encouraged to leave whatever they want in the envelopes on each table, where the menus never list a price.
The restaurant is the latest undertaking by the New Jersey rocker's Jon Bon Jovi Soul Foundation, which has built 260 homes for low-income residents in recent years.
"With the economic downturn, one of the things I noticed was that disposable income was one of the first things that went," Bon Jovi told The Associated Press in an interview Wednesday before the restaurant's grand opening ceremony. "Dining out, the family going out to a restaurant, mom not having to cook, dad not having to clean up — a lot of memories were made around restaurant tables.
"When I learned that one in six people in this country goes to bed hungry, I thought this was the next phase of the Foundation's work," he said.
It started several years ago when Dorothea Bongiovi (she uses the legal spelling of her husband's name) and Jon started helping out at a food pantry at nearby St. Anthony's Roman Catholic Church. They later moved their focus to the Lunch Break program, which feeds 80 to 120 people a day, dubbing it "The Soul Kitchen."
They brought that name with them to a former auto body shop down the street from the Count Basie Theater, where Jon and his band have played many fundraising shows for local charities.
It took a year and $250,000, but the restaurant now rivals any of its competitors in trendy Red Bank, with entrees like cornmeal crusted catfish with red beans and rice, grilled chicken breast with homemade basil mayo and rice pilaf, and grilled salmon with soul seasonings, sweet potato mash and sauteed greens, many of which were grown in the herb and vegetable garden right outside the restaurant's doors.
Bon Jovi, who has a home in next-door Middletown, is adamant about one thing.
"This is not a soup kitchen," he emphasizes. "You can come here with the dignity of linens and silver, and you're served a healthy, nutritious meal. This is not burgers and fries."
___
Wayne Parry can be reached at http://twitter.com/WayneParryAC (http://twitter.com/WayneParryAC)
Mark Millar i Dave Gibbons najavjuju šestodelni strip Secret Service za Februar. (http://www.newsarama.com/comics/millar-gibbons-secret-service-111019.html)
Oooooh, svemir:
http://www.cracked.com/article_19479_the-6-most-mind-blowing-things-ever-discovered-in-space.html (http://www.cracked.com/article_19479_the-6-most-mind-blowing-things-ever-discovered-in-space.html)
Takođe: nauka
http://www.cracked.com/article_19442_8-simple-questions-you-wont-believe-science-cant-answer.html (http://www.cracked.com/article_19442_8-simple-questions-you-wont-believe-science-cant-answer.html)
Heh
http://www.cracked.com/article_19420_6-classic-songs-that-were-supposed-to-be-jokes.html (http://www.cracked.com/article_19420_6-classic-songs-that-were-supposed-to-be-jokes.html)
Meho, ubedise me sinoc da si ti pravi covek koji moze da mi pomogne :!: Treba mi soundtrack za Geek Girls The Gamers, tj. ne soundtrack nego info o istom. Hvala :)
Eh, nisam siguran da mogu da pomognem jer ni film nisam pogledao još, a New Sensations ne kažu ništra o saundtreku na svom sajtu... No, ako saznam bilo kakav intel, javljam.
Ok, tnx :)
http://www.cracked.com/photoplasty_273_26-ads-products-that-must-exist-in-video-games/ (http://www.cracked.com/photoplasty_273_26-ads-products-that-must-exist-in-video-games/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fecx.images-amazon.com%2Fimages%2FI%2F51%252BECXkvVdL._BO2%2C204%2C203%2C200_PIsitb-sticker-arrow-click%2CTopRight%2C35%2C-76_AA300_SH20_AA278_PIkin4%2CBottomRight%2C-47%2C22_AA300_SH20_OU01_.jpg&hash=13d0f020f7871c5fedcbb3d0cd5e16d3cae91296)
http://www.amazon.com/Iranian-Rappers-Persian-Porn-ebook/dp/B004N84I58/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1320393076&sr=1-1 (http://www.amazon.com/Iranian-Rappers-Persian-Porn-ebook/dp/B004N84I58/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1320393076&sr=1-1)
Da, zanimljivo, mada opet više kao kurio nego kao izvor ozbiljnih informacija... Ali dobro, i to je nešto. Da imam kindl, piratovao bih ovu knjigu!!!
Zanimljivo je sto su stavili i generalno nepovoljan prikaz kao blurb :-) I nemoj da se vadis, em postoji kindle za PC, em postoji Calibre :-)
Pa, mrzi me da sedim za kompjuterom i čitam knjigu a da znam da postoje udobnija tehnološka rešenja. Užasan sam, znam. :cry:
Uzmi Iphone od zene :-P
Lakše bi bilo oduzeti parče sirovog mesa nekoj od mojih mačaka.
Pih... jadno
Meho se sramoti u 3rd strike 4 (http://www.youtube.com/watch?v=I1lKZVj6_84#ws)
http://www.cracked.com/article_19507_the-8-creepiest-glitches-hidden-in-popular-video-games.html (http://www.cracked.com/article_19507_the-8-creepiest-glitches-hidden-in-popular-video-games.html) :-? :-?
Ujebemti
http://www.cracked.com/article_18657_the-7-most-insane-things-ever-done-to-get-out-something.html (http://www.cracked.com/article_18657_the-7-most-insane-things-ever-done-to-get-out-something.html)
i
http://www.cracked.com/article/18370_7-common-survival-tactics-that-will-get-you-killed/ (http://www.cracked.com/article/18370_7-common-survival-tactics-that-will-get-you-killed/)
Ima li smisla dati 10k na 4 HCa Powers Bendisa?
Sto evra za četiri HC Powersa??? Pa.... ja sam dao više za svoje trejdove... tako da svakako mislim da vredi. Doduše, na Amazonu su nešto jeftiniji, oko 23 i po dolara po komadu... Ali tu je i poštarina tako da, to je to... E, sad, ta prva četiri HC-a ne idu do samog kraja, to imaj na umu (mislim da posle ima još tri trejda), a i ako nikada nisi čitao Powers takođe imaj na umu da je to Bendis u prilično self indulgent modu. Mada je značajno bolje od većine onoga što radi za mejnstrim Marvel... Oeming takođe sjajno crta, ali kao i uvek, skini sken, proveri da li ti se dopada. Baš su juče-prekjuče izbacili digitalne verzije prvih šest epizoda Powers, ima da se kupi na Marvelovom sajtu, a imaš da nađeš i Empireov rip, pa pogledaj.
Najverovatnije cu uzeti sutra, hvala. Sem ako jos neko ne cita ovu nasu prepisku i krisom broji novce :)
Idiot nikako da objavi 3x08!!!! Gundj!
5 Insane Ways Fear of Masturbation Shaped the Modern World (http://www.cracked.com/article_19520_5-insane-ways-fear-masturbation-shaped-modern-world.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+CrackedRSS+%28Cracked%3A+All+Posts%29&utm_content=Google+Reader)
14 'Luxury' Sex Toys for the Extremely Rich and Creepy (http://www.cracked.com/article_19488_14-luxury-sex-toys-extremely-rich-creepy.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+CrackedRSS+%28Cracked%3A+All+Posts%29&utm_content=Google+Reader)
Ovo kačiš na ovaj topik jer misliš da sam extremely rich ili extremely creepy? :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi43.tinypic.com%2F35c4lyf.jpg&hash=15fd1d22bea2dea692207d52894c3f130cf25b76)
Slabije se vidi, ali Mardukov je patch. :)
Nešto da razgali tvoju trošnu dušu
The most insane moments of drummers (http://www.youtube.com/watch?v=ijs_xms5rGI#)
:lol:
Da, ništa je ne razgaljuje tako kao gledanje ljudi koji sviraju onako kako ja nikada neću svirati. :lol:
A ovo metalsko mače gore je do jaja. :-|
Neću da kvarim onaj topik sirotim vegetarijancima, ali moram da skrenem pažnju na razliku između tendencioznog naslova i onoga što se u tekstu zapravo tvrdi.
http://www.politika.rs/vesti/najnovije-vesti/Vegetarijanci-imaju-manji-mozak.sr.html (http://www.politika.rs/vesti/najnovije-vesti/Vegetarijanci-imaju-manji-mozak.sr.html)
Erm, 90% naslova su takvi?
Jesu, naravno, ali ovaj primer mi je baš bio podesan za sagitaške vegeterijance koji bi već jednom mogli da se ujedine kao progonjena manjina.
http://www.popboks.com/vest.php?ID=16025 (http://www.popboks.com/vest.php?ID=16025)
U Maloj sali Doma kulture Studentski grad u utorak, 22. novembra, održaće se predavanje o američkom stripu.
Saopštenje:
Amerika je prvo izmislila strip, a zatim sebe više od stotinu godina izmišljala kroz stripove. Od Yellow Kid do Kick-Ass, od Will-a Eisner-a do Robert-a Krumb-a, od Kapetana Amerike koji je nokautirao Hitlera do Kapetana Amerike koji je pokorio bioskopske blagajne, američki strip je ostao avantura u četiri boje što govori jezikom kao ni jedan drugi medij. Od pretnje za zdravlje omladine i cenzurisanja, preko spasavanja omladine od droge do razoružavajuće iskrenih autobiografija i istraživanja tuđih kultura, američki strip je ostao najpristupačnije izražajno sredstvo za generacije stvaralaca tokom više od jednog veka.
Gost: Uroš Smiljanić, program vodi: Mićun Ristić.
To ako nije znao, da ga obavestiš? :D
Ipak je moj mozak - manji.
Al si ekspresno zbrisao sinoć, svaka čast.
Dva sata o američkom stripu, mnogo za nas koji išta o tome znamo. Za neupućene - bilo je super (tako mi rekli neupućeni).
Elem, iz koje priče je Mićun? Stalkovanje izbacuje šokantnu činjenicu da ste vas dvojica pokrenuli "Zlo i naopako" :-? (mada da sam ikada otišao na to, možda bih ranije saznao :D)
Da, baš sam nestao u vidu lastinog repa. Jebiga, spavalo mi se, mačke mi poslednje dve noći dopustile samo po četiri sata spavanja. :oops:
A što se predavanja tiče, smorio sam ali najstrašnije... Ali kako spakovati sto godina istorije u svega dva sata a da to bude iole dublje? Nikako, pa sam zato gnjavio sa plitkoćom a širinom. Izvinjavam se svima namučenima.
A Mićun je celoživotni ljubitelj lepih umetnosti, autor eseja i misli, nesvršeni filozof, urednik u više publikacija... Ja sam ga upoznao u drugoj polovini devedesetih kada mi je bio urednik u dva magazina i od tada se družimo i sarađujemo :lol: Zlo i naopako je uglavnom uvek bio on, uz moje male asistencije na početku ali kasnije više nisam uspevao da nađem vremena za većinu tih stvari pa je on nastavio da gura sam...
Nisi smorio, ali je dva sata priče o nečemu što meni nije nepoznato jedno 40 minuta previše.
Jedino što mi je potpuno nepoznato je Cerebus, i to ću da ispravim u nekom trenutku :), te je vredelo poslušati!
Znači, ukucaj Dave Sim u google i provali koliko tog čoveka danas naizgled svi mrze jer je mizogin i šta ja znam. OK, zaista jeste malo problematičan poslednjih godina, ali koliko je on uradio za strip a to sad kao da više nije bitno :cry: Pa taj Cerebus je čudovišan opus!!!
Evo, ko nije bio sinoć na predauvanju, ovonedeljna UPPS kolumna razmatra neke od teza pomenutih. (http://www.upps-sajt.com/index.php?option=com_content&task=view&id=1400&Itemid=48) Na glup način, naravno. Za slučaj da nije jasno - poslednja slika je cosplay Wonder Woman i u skladu je sa tezom o kojoj se priča. Ostalo su slike iz A Contract With God, Little Nemo in Slumberland i naravno naslovna strana Bloodstara.
So what are you passionate about? Music? Human psychology? Pro wrestling? Video games? Anime? Pokemon? European history? NASCAR? Politics? Comics? Movies? MMA? Cars? Dolphin sex?
Meho, Cracked wants YOU!!
http://www.cracked.com/article_19574_are-you-secretly-great-writer-like-money-read-this..html (http://www.cracked.com/article_19574_are-you-secretly-great-writer-like-money-read-this..html)
Pa, dobro, Krekd ima otvoren konkurs za autore (http://www.cracked.com/write-for-cracked/)već godinama, zna se to. Ali njihov kvalitet je generalno jako visok, treba znati i engleski i imati besprekorno poznavanje popularne kulture i prst na pulsu cajtgajsta... Ja se divim neAmerikancima koji za njih pišu i prave fenonemalne članke (Cezary Jan Strusiewicz ili Maxwell Yezpitelok).
Znam da je kretenski što sam čovek od 40 godina koji se kikoće svaki put kad na Internetu neko napiše reč "penis", ali ovaj video na crackedu je genijalan
http://www.cracked.com/video_18348_the-unexpected-downside-having-worlds-largest-penis.html (http://www.cracked.com/video_18348_the-unexpected-downside-having-worlds-largest-penis.html)
Robert Brokvej i inače sjajno piše, ali ovaj tekst o Skajrimu je, pogotovo u poslednjoj tački meni bio toliko smešan da sam bukvalno ispljuvao ekran. :oops: :oops: (http://www.cracked.com/blog/5-personality-flaws-skyrim-forces-you-to-deal-with/)
http://www.blic.rs/Slobodno-vreme/Zanimljivosti/291585/Resavao-matematicke-zadatke-iz-pornica (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/291585/Resavao-matematicke-zadatke-iz-pornica)
a evo i originalnog bloga
http://blackboardsinporn.blogspot.com/ (http://blackboardsinporn.blogspot.com/)
:lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg85.imageshack.us%2Fimg85%2F7730%2F30720810150993065140457.jpg&hash=d0bafd90e90a7b7bb6c13d9d34235b7f52e8b22e) (http://imageshack.us/photo/my-images/85/30720810150993065140457.jpg/)
Da, to otprilike opisuje i moj mentalitet. Srećom, sad imamo i portabilne igračke konzole pa su nam outdoor opcije ogromne!!!
Quote from: Meho Krljic on 04-11-2011, 13:35:45
Ali dobro, i to je nešto. Da imam kindl, piratovao bih ovu knjigu!!!
Ovo bi mogao i da kupis :)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fstatic03.mediaite.com%2Fthemarysue%2Fuploads%2F2011%2F11%2Fvenuswithbiceps-439x550.jpg&hash=47aec5913489a724c46435d53e6c40e0caef262a) (http://www.amazon.com/dp/1551523701/ref=as_li_ss_til?tag=braipick-20&camp=0&creative=0&linkCode=as4&creativeASIN=1551523701&adid=04P9M40P4WEAFCPXQFX3)
Zvuči kao prava stvar!!
Znam tačno osobu kojoj bi ovo bio divan poklon. Jedan xremyb za Melkora. :lol:
:oops:
Syfy has ordered a pilot script for the one-hour drama "Booster Gold" based on the DC Comics franchise. "Fringe" scribe Andrew Kreisberg penned the script and will executive produce says The Hollywood Reporter.
The story will center on Booster Gold, a washed-up athlete from the future who travels back to the present in hopes of becoming the greatest super hero of all time.
Instead of chasing criminals, however, his main priority is chasing fame and money. But Booster Gold discovers that being a hero takes more than just a megawatt smile. Greg Berlanti ("Brothers & Sisters," "Eli Stone") will also executive produce.
The comic book character previously appeared on the animated series "Justice League Unlimited" and made a one episode appearance in the final season of "Smallville".
Krjasberg je meni prilično dobar, a pogotovo mu je rad na DC stripu Green Arrow bio OK tako da... možda ovo nije loš izbor.
Već je bi prethodno tekst o ovome, ali ovo je novo.
http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history/ (http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history/)
Quote from: Meho Krljic on 29-11-2011, 13:56:45
Već je bi prethodno tekst o ovome, ali ovo je novo.
http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history/ (http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history/)
Dobar :)
Kristina Hsu nadzire svog dečka kako igra Skajrim :lol: :lol:
http://www.cracked.com/blog/10-days-as-skyrim-widow-dark-side-gaming-addiction/ (http://www.cracked.com/blog/10-days-as-skyrim-widow-dark-side-gaming-addiction/)
Meho, znaš li išta o ovome?
http://www.imdb.com/title/tt0091134/ (http://www.imdb.com/title/tt0091134/)
Odnosno, ja ću svakako proveriti može li da se iskopa, al me zanima da li si ga ti gledao ili načuo nešto iole pouzdano.
Ne, prvi put i čujem za ovo. Sorry, ja baš i nisam neki priznat autoritet za Gombroviča. :oops:
Edit, vidim da se TV rip vucara po nekim argentinskim forumima ali svi do jednog traже регистрацију да би линк могао да се види...
Eh. Ako računamo u forumskim okvirima... boljeg nemam na raspolaganju. :lol:
Pa, imaš, imaš Džindžera mada je on utanjio sa pojavljivanjem...
Ed Veter je i inače simpatičan i treba da služi za primer metalcima, ali ova poučna priča je... poučna :lol:
Why it is fun to be able to grunt / growl (http://www.youtube.com/watch?v=jnKGF0LZKSc#)
World's Oldest Dog Dies at Age 26 (http://gma.yahoo.com/blogs/abc-blogs/world-oldest-dog-dies-age-26-181426364.html)
Quote
Pusuke, listed by the Guinness Book of World Records as the world's oldest-living dog, died in Japan on Monday. He was 26 years old - the equivalent of more than 117 human years.
The dog's owner, Yumiko Shinohara, said the male cross-breed died at Sakura in the Tochigi prefecture, north of Tokyo, according to the Kyodo news agency.
Pusuke was reportedly eating well and staying active until Monday, when he lost his appetite and had difficulty breathing. Pusuke died peacefully, minutes after his owner returned home from a walk.
"I think (Pusuke) waited for me to come home," she said, according to Kyodo.
Born in April of 1985, Pusuke was recognized last December as the world's oldest-living dog.
The oldest-known dog on record, according to Guinness, was an Australian cattle dog named Bluey, who lived to the ripe old age of 29 years and five months before it was put down in November 1939.
S druge strane... WTF?
Couple badly injured after bodybuilder attack (http://news.yahoo.com/couple-badly-injured-bodybuilder-attack-032149667.html)
Quote
Police say a naked, 300-pound bodybuilder savagely beat a Southern California couple at their home, leaving them in critical condition.
The Sun of San Bernardino (http://bit.ly/uen2Vt (http://bit.ly/uen2Vt) ) says 22-year-old Ruben Arzu apparently was under the influence of steroids and other drugs, and it took four police officers, two stun gun blasts and four sets of handcuffs to restrain him.
Police say the couple came home late Saturday to find Arzu naked on the front porch of their home in Colton.
When Arzu was confronted by the 35-year-old husband, police say the bodybuilder attacked the man, causing major head trauma.
The man's wife called 911. Police say Arzu then picked her up and threw her around, causing facial injuries and multiple cuts to her head.
Arzu was booked on suspicion of attempted homicide.
___
Information from: The Sun, http://www.sbsun.com (http://www.sbsun.com)
http://www.cracked.com/blog/6-video-games-that-just-didnt-get-it-and-6-that-did/ (http://www.cracked.com/blog/6-video-games-that-just-didnt-get-it-and-6-that-did/)
Naslov je malo misliding pošto se radi uglavnom o eksperimentalnim igrama, među kojima ima urnebesnih (igra koju kontrolišete vrištanjem) ali i zastrašujućih (igra u kojoj kontrolišete prave mikroorganizme koristeći elektricitet.
http://www.cracked.com/article_19558_the-7-dumbest-video-game-innovations-that-actually-exist.html (http://www.cracked.com/article_19558_the-7-dumbest-video-game-innovations-that-actually-exist.html)
Тако ти Алаха, Мехмете, па од панкера јавно правите скинхеде, шта је бре ово?
QuoteIndonežanska šerijatska policija uhapsila je i poslala na "moralnu rehabilitaciju" više od 60 pankera iz provincije Aće, na ostrvu Sumatri, s obrazloženjem da su "kaljali ugled provincije" i islama.
http://www.blic.rs/Vesti/Svet/295777/Indonezanska-policija-lovi-pankere-i-privodi-ih-na-moralno-prevaspitavanje (http://www.blic.rs/Vesti/Svet/295777/Indonezanska-policija-lovi-pankere-i-privodi-ih-na-moralno-prevaspitavanje)
Додуше, ја Индонезију пре знам по оију него панку, али опет није лепо, бога му... (упс. едит. Алаха му.)
No Man's Land: -=Pride of The City=- (http://www.youtube.com/watch?v=QgKqBaDo9nM#)
Oh, my:
http://www.cracked.com/article_19625_the-36-worst-action-figures-from-iconic-toy-lines_p1.html (http://www.cracked.com/article_19625_the-36-worst-action-figures-from-iconic-toy-lines_p1.html)
http://www.televictim.com/christianporn.html (http://www.televictim.com/christianporn.html)
Izvrsno. Sem ako nije sarkazam, naravno. Ali svakako, potrebna nam je diversifikacija u pornografiji i to ne samo takva koja uključuje jegulje i patuljke.
Dopada mi se merchandise :)
Ja nisam slep (mada sam slabovid), ali valja se ovoga podsećati:
Top 10 Blind Male Musicians (http://www.toptenz.net/top-10-blind-male-musicians.php?utm_source=theslingshot&utm_medium=referral&utm_campaign=top-10-blind-male-musicians)
Ko bi rekao da je Gladstone ovako mirotočiv... (http://www.cracked.com/blog/4-things-both-atheists-believers-need-to-stop-saying/)
Ima to smisla, ali imam problem sa brojem 1 kad objasnjavam sinu zasto ne treba da veruje u sve sto mu hriscani pricaju :)
Ma, on je još mali i sigurno misli da i deda mraz postoji... pusti ga da se razočara kad dođe vreme.
George Hooks (Sick Drummer) Playing At A Chasuna At Addison Park.mp4 (http://www.youtube.com/watch?v=QSjJzErQPng#)
Šmekerski je kad levoruki bubnjari sviraju bez okretanja seta. :-|
Misliš kao ja. :lol:
Mada je daleko šmekerskije kad desnoruki bubnjari na pola karijere odluče da žele nešto novo i nešto divlje, i počnu tako da sviraju. Kao Billy Cobham. :-|
Međutim svakako je nesvakodnevnija na tom klipu činjenica da lik razbija na svadbi ili kakvoj sličnoj proslavi, i to... na ortodoksnoj jevrejskoj svadbi. :-?
Da,da. :lol: Da sam ja tako probao da sviram (kad bih umeo) sa bilo kojim svojim bendom, popio bi po pičci zato što se izdrkavam...
John Cheese ponovo piše o alkoholizmu i borbi protiv njega i ponovo je to dobro. (http://www.cracked.com/blog/7-things-you-dont-realize-about-addiction-until-you-quit/)
Mislim... moram da priznam da je Cheese bio zabavniji kad je bio alkoholičar i da su mu stari PWOT tekstovi bili mnogo smešniji od ovoga što sada radi za Cracked, ali opet, dobro je videti čoveka koji je pobijedio svoje demone (u razumnoj meri) i sada drugima pokušava da pomogne da učine isto.
Hat cat. (http://www.youtube.com/watch?v=Ceyo0_k9AEw#)
Tvoja princeza, tvoja mala zvezda (http://www.youtube.com/watch?v=bGXKluHKjxo#ws)
mislim da je baš ovaj thread najbolje mesto za ovakvu lepotu
dios mio :shock:
odlično!!!
:-| ХАРДКОР! Требало је да ово да му окачиш током радног времена! :lol:
Danas sam bio sam u kancelariji tako da, i u radno vreme bi ovo bilo ispoštovano.
Zaista, lepota koja ispunjava oči i dušu.
Portrait of the ghost drummer (http://vimeo.com/34682556)
zakk je kriv što sad nema šanse da odem na spavanje! :lol:
Strah me sisa koje izgledaju k'o palačinke ili listovi salate.
Eh, što kuhinja od poštene žene učini... :cry:
Neće te sise nikoga da napadnu, nema razloga za strah.
Lako je tebi za reći, tvoje sisulje neće tako izgledati za 20 godina... :(
Neće ni tvoje ako na vreme posegneš za skalpelom.
Doduše moje već sada izgledaju grozno.
Quote from: Meho Krljic on 20-01-2012, 14:14:11
Neće ni tvoje ako na vreme posegneš za skalpelom.
To je varanje.
Pa varanje su i naočari koje nosiš. Kad se jednom krene, tu nema kraja.
I da se razumemo, meni su sise poput goreprikazanih savršeno drage, ne mislim da je skalpel išta više od udovoljavanja sopstvenom egu. Što isto nije ništa strašno.
наочаре нису варање! сочива су варање!
Tako je, Dejane! Reci mu!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi43.tinypic.com%2F293vhuh.jpg&hash=aa788db793ba4f4ad301a707735eabbf6dfa1567)
Nama je profesorica iz zemljopisa u osnovnoj školi uvijek navodila Naomaču kao prekrasan primjer rasnog miješanja. Pa, pogledajte samo te plave oči! :roll:
ma čak bih mu ih i pokazao ali ako izvadim sočiva neću videti kome šta pokazujem :(
Ja tebe jos uvek zamisljam sa naocarima, nista tu sociva nisu promenila :!:
Quote from: дејан on 21-01-2012, 00:18:34
ma čak bih mu ih i pokazao ali ako izvadim sočiva neću videti kome šta pokazujem :(
Zaboga, pa koju dioptriju imaš?
Meni je jedno oko -3 i nešto, drugo je zaostalo na -2 i nešto. Razmišljam da laserski to popravim, ali trenutno nisam pri parama. :(
Imamo negde topik o dioptriji, uz zivog Micu (i mene) ne bi se ja hvalio istom :?:
ja ne bih na laser, nus-efekti rastu kako godine dolaze. na stranu to sto su mi cvike generalno sexy. :lol:
Ok su naocare kako su prestali da ih prave od stakla. Ali bilo bi lepo...ujutru se probuditi i videti, tek tako... ili pred spavanje, propade mi koncept francuskog balkona u loznici :)
Inace, laser je no-no jos uvek.
Par mojih prijateljica je korigiralo vid laserom, i za sada su zadovoljne. Doduše, to je bilo nedavno, nus-efekti još nisu vidljivi. Dok se ja para dočepam, postat će laser yes-yes. :wink:
Jebga, u nekoliko postova pomenuli smo skalpel, laser...jos se na onom topiku intelektualno sumnjicimo...Kuda ide ovaj forum?!
tamo gde mu je i mesto! idiocracy!
нећу ни ласер ни скалпел. чекам старачку далековидост...а како ствари стоје нећу је дуго чекати :) (нешто преко минус 4)
мелкоре, ти се сећаш мојих наочара!!!!!!!1!!1
Dejane, da ti otkrijem nešto. Kad dođe staračka dalekovidost, ona se ne potire sa miopijom, već ti samo trebaju dvoje naočara. Jedne za daljinu, a druge za čitanje.
fak :(
A ne, Amos je izmislio bifokalne :)
http://espn.go.com/espn/page2/index?id=7479556 (http://espn.go.com/espn/page2/index?id=7479556)
Da, baš sam jutros gledao njegove brkove gledajući Stivena Tajlera kako peva himnu i mislio kako je carski da NFL igrač nosi takve facijalne malje.
vrlo informativna reklama
TENGA CUPS (Red Standard Series) - tengatango.com (http://www.youtube.com/watch?v=O3ZPBEi-A4w#ws)
Prosto čovek da poželi da svakom koga poznaje kupi po jedan komad, da im se nađe. :lol: Ume u našim godinama život da bude samotan.
1700 din (http://www.srecniljudi.com/Vagine-Mastrubatori/Deep-Throat-tenga-mastrubator-TOC-101.html), cijena sitnica zapravo.
stvarno povoljno!
pa da, mislim da bi taj deepthroat skuplje izašao inače...
http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde)
Quote from: tomat on 28-01-2012, 02:10:35
http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde)
:x Читајући текст, коначно сам схватио зашто нам је школство отишло у к.
Quote from: Skalar on 28-01-2012, 02:12:25
Quote from: tomat on 28-01-2012, 02:10:35
http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde (http://www.blic.rs/Slobodno-vreme/Zanimljivosti/303683/Najobrazovanije-porno-zvezde)
:x Читајући текст, коначно сам схватио зашто нам је школство отишло у к.
I ne samo školstvo, već i štampani/elektronski mediji, jer je sledeća vest u nizu:
Quotehttp://www.blic.rs/Slobodno-vreme/Zanimljivosti/303826/Klizacici-za-vreme-nastupa-ispala-bradavica
:roll:
Ja nisam shvatio zašto nam je školstvo otišlo u kuras posle čitanja ovog teksta. Doduše, ja nemam nikakvu školu a pornografijom se bavim pre svega na nivou konzumenta. Može li pojašnjenje?
Evo inspirativnog teksta na krekdu
http://www.cracked.com/article_19655_5-famous-late-bloomers.html (http://www.cracked.com/article_19655_5-famous-late-bloomers.html)
Quote from: Meho Krljic on 28-01-2012, 12:14:05
Evo inspirativnog teksta na krekdu
http://www.cracked.com/article_19655_5-famous-late-bloomers.html (http://www.cracked.com/article_19655_5-famous-late-bloomers.html)
Ovome ću se vraćati u hladnim, zimskim noćima potpuno lišenim samopouzdanja i vere u bolje sutra.
Plus, to znači da ti možeš krenuti sa pisanjem igara i negde tokom sledeće decenije. :lol:
Pa evo, i ja spadam u tu grupu. Nekad sam to zvala "sa zakašnjenjem". Sada mi se dopada. :)
Quote from: Father Jape on 28-01-2012, 13:01:34
Plus, to znači da ti možeš krenuti sa pisanjem igara i negde tokom sledeće decenije. :lol:
Ili to ili da mogu da mogu da započnem svoju dugo sanjanu karijeru ukrotitelja divljih mačaka.
Crna berza cveta
http://www.cracked.com/article_19658_5-things-you-wont-believe-spawned-black-markets.html (http://www.cracked.com/article_19658_5-things-you-wont-believe-spawned-black-markets.html)
Hm, da sam se nešto napal'la, baš i nisam, ali treba ceniti pokušaje:
Porno film kakav još niste videli (http://www.b92.net/zivot/sex.php?yyyy=2012&mm=01&dd=31&nav_id=578733)
Quote
Izvor: Dnevnik.hr
Luciano Foglia osmislio je nešto apstraktno, što postoji samo kao misao ili ideja, bez fizičkog ili konkretnog postojanja. Osmislio je geometrijsku pornografiju.
"Vizualna geometrija sadrži neeksplicitne opise seksualnih organa i aktivnosti. Kad gladalac videa to osvesti u svojoj glavi te slike stimulišu erotska osećanja", tvrdi tvorac ovog neobičnog koncepta.
Geometrijska pornografija projekat je multidisciplinarnog vizualnog umetnika Luciana Foglie. On već deset godina radi u dizajnerskoj industriji i fokusiran je na interaktivni dizajn, a u slobodno vreme istražuje nove načine izražavanja u muzici i umetnosti u svom studiju u Londonu.
Njegov najnoviji rad je ovaj neobičan video koji podstiče "grešne misli".
Geometric Porn (http://vimeo.com/35715162) from Luciano Foglia (http://vimeo.com/lucianofoglia) on Vimeo (http://vimeo.com/).
Bishke - Battlefield (http://www.youtube.com/watch?v=lh6Nf0lBtGw#ws)
http://extratorrent.com/article/1944/accused+file+sharer+claimed+porn+wasn%E2%80%99t+copyrightable.html (http://extratorrent.com/article/1944/accused+file+sharer+claimed+porn+wasn%E2%80%99t+copyrightable.html)
Quote... such acronyms as P.O.V. or M.I.L.F. aren't associated with such keywords as "science" and "useful arts", so they can't be qualified under copyright legislation. This means that copyright works only for the content that promotes the progress of science and the useful arts. The brief of the woman's lawyer also notes that early Circuit law in California held that obscene works didn't promote the progress of either science or the useful arts, and therefore can't be protected by copyright.
Interesantna odbrana :lol: Naravno, objasni ti to ovim nesreћницама и несрећницима који морају да у зноју лица свог зарађују за кору hljeba a bahata omladina gleda njihove koituse i drka za dž...
Quote from: Melkor on 01-11-2011, 13:00:35
Meho, ubedise me sinoc da si ti pravi covek koji moze da mi pomogne :!: Treba mi soundtrack za Geek Girls The Gamers, tj. ne soundtrack nego info o istom. Hvala :)
:)
Nemam svežih informacija, sorry. :oops:
http://www.cracked.com/article_19673_6-insane-but-convincing-theories-childrens-pop-culture.html (http://www.cracked.com/article_19673_6-insane-but-convincing-theories-childrens-pop-culture.html)
http://www.theatlantic.com/magazine/archive/2012/03/how-your-cat-is-making-you-crazy/8873/?single_page=true (http://www.theatlantic.com/magazine/archive/2012/03/how-your-cat-is-making-you-crazy/8873/?single_page=true)
Marina Viskovic - Superheroj [OFFICIAL HD VIDEO] (http://www.youtube.com/watch?v=8nhwSRE2J1Q#ws)
Nije potpuno odvratna pesma, samo da je manje zurli (i silikona...)
Meni je premalo zurli a silikona nikada nije previše.
Meho dzedaj :)
http://islamscifi.com/star-wars-an-islamic-perspective/ (http://islamscifi.com/star-wars-an-islamic-perspective/)
Pa, jasno je da je tako. Ja sam uvek govorio da je Islam religija budućnosti.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fa8.sphotos.ak.fbcdn.net%2Fhphotos-ak-ash4%2F423727_330223090354637_163890700321211_923284_67512271_n.jpg&hash=ef6a4d0bd198197dce9602408168dc10df585ea4)
:-| :-| :-| :-|
A evo i korisnog podsetnika
http://www.cracked.com/article_19683_6-terrifying-user-agreements-youve-probably-accepted.html (http://www.cracked.com/article_19683_6-terrifying-user-agreements-youve-probably-accepted.html)
не знам за боље место на ЗС за овај урадак
http://www.youtube.com/watch?feature=player_embedded&v=KbwPkJXddUA# (http://www.youtube.com/watch?feature=player_embedded&v=KbwPkJXddUA#)!
Here's one way to spend drug money: 18,753 comic books
Comic book collection
Federal authorities recently sold off the massive comic book collection of a Colorado man convicted of running a methamphetamine ring. Here, a man rifles through boxes of his comic books. (Ted S. Warren / Associated Press)
By Ashley Powers
February 29, 2012, 2:25 p.m.
The Denver Post dubbed him the "nerdiest meth king ever," and with good reason.
Aaron Castro of Commerce City, Colo., was one of the leaders of a 41-person methamphetamine ring, which federal authorities said brought massive quantities of the drug into Colorado from Phoenix. He also apparently had a huge passion for comic books – he used his earnings to buy 18,753 of them.
You read that right: 18,753.
Federal authorities said Castro's comic book spending spree served two key purposes: to launder the drug money and to lay the foundation for his own comic book business, the Post reported. Castro stowed meth in some of the books as well, authorities said.
But an associate told detectives that Castro's comic collecting also seemed to have turned into a kind of mania, and he "began to struggle with money because he would spend his drug money on comic books," court papers said.
Castro pleaded guilty last year to multiple felony charges and was sentenced to 45 years in prison, the Post reported. As for all those comics? Federal authorities seized them, along with Castro's Audi A8, Mercedes S500 and Lexus GS300.
Recently, the Post said, authorities sold the comic collection via a U.S. Marshals Service website. The auction, which drew 108 bids, brought in $125,050.
Ima i obrnutih slučajeva... :)
Kojih? Da ljudi kupuju velike količine droge da bi finansirali posao sa stripovima a savezna policija posle tu drogu proda na aukciji??? :-? :-?
Džon Čiz u jednom ODLIČNOM izdanju
http://www.cracked.com/blog/5-things-spammers-ruined-while-we-werent-paying-attention/ (http://www.cracked.com/blog/5-things-spammers-ruined-while-we-werent-paying-attention/)
Jan Terri "Get Down Goblin" (http://www.youtube.com/watch?v=uGOk-2V9Vt4#)
Neka mi netko prepiše lijekove, meni je ovo do jaja... :lol:
Ni SF fanove nije zaboravila:
Jan Terri "Journey To Mars" (http://www.youtube.com/watch?v=_uOwVg2B79E#)
Jan Teri, moja duhovna strina. <3
Ne bih ja ovo ni linkovala da me usred teksta nije dočekao sledeći pasus:
Quote
I didn't see real porn of any kind until I was 34, when I stumbled on it by
accident on TV in a hotel in Belgrade. I'd been told that porn was woman-hatred,
but it didn't seem hateful or hate-filled. What it looked like was people having
sex. Camerawork and lighting were devoid of subtlety but the fact that the film
showed people actually having sex rather than resorting to cloying visual
euphemisms and discreet elisions gave it the quality of a revelation. Despite
the aesthetic shortcomings it was a glimpse of crudely illuminated bliss. This
was in 1992; nowadays it is almost inconceivable that a man could have reached
that ripe old age without having encountered porn via its latest online mode of
distribution and consumption.
http://www.guardian.co.uk/artanddesign/2012/mar/02/porn-shadow-side-paradise-thomas-ruff (http://www.guardian.co.uk/artanddesign/2012/mar/02/porn-shadow-side-paradise-thomas-ruff)
Da, ja sam često umeo da razmišljam koliko je erotsko uopšte izmenjeno ubrzavanjem protoka informacija, to jest povećavanjem propusne moći ukupnih medija koji postoje. Kad sam ja imao 12-13 godina svaki prizor gole žene u novinama ili na televiziji se pamtio jer ih je naprosto bilo jako malo, danas praktilčno ne možeš da ih izbegneš i to sigurno menja ljudsku percepciju erotskog. Sigurno je zato za mene erotsko i dalje nešto vezano prevashodno za intimu, tajnu, skrivanje, dok mlađi ljudi imaju daleko manje opskuran i slobodniji pogled na to.
E pa ako je već tako, a desi ti se da te neki novci svrbe: http://offbeatr.com/ (http://offbeatr.com/)
Ovako se radi reklama za "opuštajuću pododeću" (uklonite decu mlađu od trideset godina pre gledanja!!!!).
Agent Provocateur Fleurs du Mal (Lingerie commercial) (http://www.youtube.com/watch?v=XkRJDTHOJq0#ws)
Quote from: lilit_depp on 08-03-2012, 02:15:34
Ovako se radi reklama za "opuštajuću pododeću" (uklonite decu mlađu od trideset godina pre gledanja!!!!).
Agent Provocateur Fleurs du Mal (Lingerie commercial) (http://www.youtube.com/watch?v=XkRJDTHOJq0#ws)
JEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!!!! xcheers xcheers xcheers
Ladno to kačiš na ovaj topik zbog Cveća Zla. Lepo!!!
Pa mislim, kako da propustim. :lol:.
Ima i "naopakog..."!
Meho, cirkus im je krvi:
Necrobutcher meets Bob Larson (http://www.youtube.com/watch?v=DiP5OpgaO3E#ws)
Jebote. :lol: :lol: :lol: Da se razumemo, i Mayhem je meni cirkus, ali Bob Larson... kakav komedijaš. I Nekrobučer je ispao pravi gospodin. :lol:
Quote from: Meho Krljic on 09-03-2012, 15:23:25
...ali Bob Larson... kakav komedijaš.
Naravno, ali ima i priglupih koji vjeruju u te njegove egzorcizme. Gledala sam neki televizijski prilog o njemu, čovjek milijunaš.
I da, Necrobutchera od milja zovu Microbutcher. :lol:
Mikrobučer??? Nadam se da to nije neka podsmešljiva referenca na njegove genitalne dimenzije. :cry:
Ne, nije, već je referenca na njegov patuljasti rast. :evil:
Ko zna šta od ta dva žene teže praštaju :cry: :cry: :cry:
Nazi rules for jazz performers (http://boingboing.net/2012/03/10/nazi-rules-for-jazz-performers.html)
By Cory Doctorow (http://boingboing.net/author/cory_doctorow_1) at 10:54 pm Saturday, Mar 10
Famed Czech radical Josef Skvorecky recently died at 87 in his adopted land of Canada. In the
Atlantic, JJ Gould remembers Skvorecky through his memoirs, including a detailed list of the rules for jazz performers during the Nazi occupation. The Reich's Gauleiter for the Nazi Protectorate of Bohemia and Moravia issued a 10-point regulation that Gould calls "the single most remarkable example of 20th-century totalitarian invective against jazz.
1 Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
2 in this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
3 As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
4 so-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
5 strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
6 also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);
7 the double bass must be played solely with the bow in so-called jazz compositions;
8 plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;
9 musicians are likewise forbidden to make vocal improvisations (so-called scat);
10 all light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.
Josef Skvorecky on the Nazis' Control-Freak Hatred of Jazz (http://www.theatlantic.com/entertainment/archive/2012/01/josef-skvorecky-on-the-nazis-control-freak-hatred-of-jazz/250837/) (
via JWZ (http://www.jwz.org/blog/))
S obzirom da je džez nigga mjuzik, to pokazuje da su ovi u Češkoj bili prilično meka srca.
Da, dobro, ali ja bih ocekivao ili zabranu jazza uopste, ili spisak cenzurisanih pesama; nekako mi ulozeni trud u ovu objavu prevazilazi obicnu triviju iz istorije cenzure i birokratije.
Pa to su nacisti, nenoirmalno razvijena birokratija.
In adr njuz, Dejvod Vog uobičajeno pametno:
http://www.cracked.com/blog/6-things-rich-people-need-to-stop-saying/ (http://www.cracked.com/blog/6-things-rich-people-need-to-stop-saying/)
Jewishly gloomy lyrics kao kod Lionarda Koena npr. :evil:
Viola umesto saksofona! :x
xuzi xuzi xuzi
Quote from: Meho Krljic on 11-03-2012, 14:48:08
In adr njuz, Dejvod Vog uobičajeno pametno:
http://www.cracked.com/blog/6-things-rich-people-need-to-stop-saying/ (http://www.cracked.com/blog/6-things-rich-people-need-to-stop-saying/)
Erm... možda je do mene, ali ne mislim da je naročito dobro izložio slučaj, jer sam se čitajući više slagao sa bogatašima nego sa njim.
To je sigurno zato što im i sam pripadaš!!!!!!!!!!!1
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.vomitron665.com%2Fstore%2Fimages%2Fmain-pic.jpg&hash=8c9d2504d5f805e7be1818bb1ad6e97c87291e98) (http://www.vomitron665.com/store/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.vomitron665.com%2Fstore%2Fimages%2Ftrack-listing.jpg&hash=f74b01f72a6e809b0a4e98b9921c3696d32fd170)
Some tips for surviving a VomitroN record:
- Do not listen on headphones. This has been known to cause brain hemorrhaging.
- Do not listen at a low volume. This will suck your eardrums inside-out.
- Do not wear underwear. It will just make things harder when you inevitably piss yourself.
- Vomitron CDs explode when placed in a microwave oven. Actually, all CDs do.
- Wrap tinfoil around your head in the shape of a cone. This will cause others around you to wonder what the fuck you're doing and thus result in free advertising for Vomitron.
- Do not stop a song halfway through. This will cause you to hear the song backwards in your mind and NOTHING else for the rest of your life.
- Do not try to PLAY a Vomitron song on any instrument, as it will immediately catch fire. Permanent injury or death can result.
- Please wait 45 minutes after eating to enjoy a Vomitron record. Hence the name "Vomitron".
- Do not download Vomitron songs. Lars Ulrich will paint a picture and then cry.
Da, prilično je kul:
Vomitron - Contra (All Levels) Rock-Metal Remix (http://www.youtube.com/watch?v=Xn9ub_aULgw#ws)
Dave Mustaine Unchained: Infowars Exclusive (http://www.youtube.com/watch?v=LR2OE3q8mbk#ws)
Алекса, Србине!!!! :-|
какав сам тотални сељак, пре неко вече сам, у разговору са санђамом, осуо дрвље и камење по дејву....сад ме је мало срамота.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fchzgifs.files.wordpress.com%2F2012%2F03%2Ffunny-gifs-head-banging-painters.gif&hash=5c2d07fe00808ed1ae22cc2bf887c9d6d7ad9ddd)
Aaaa, do jaja!!!!! Ovog leta moram da krečim, a ovo je idealan povod da pustim kosu.
ovo je matoro, a South Park me je podsetio, mogao bi tvoje mačke da naučiš ovako nešto
Oh Long Johnson... - talking cat (http://www.youtube.com/watch?v=9LBKVXyrHcw#)
Ma, govore i moje. Mislim, ovo deluje kao da je malo pičšiftovano na dole pa deluje više kao ljudski govor.
:shock:
http://www.stormfront.org/forum/t325372-117/#post10077113 (http://www.stormfront.org/forum/t325372-117/#post10077113)
:lol: :lol: :lol: :lol:
Pa dobro, ako nacisti imaju antikorporacijski stav (nisu to musolinijevski fašisti koji se zalažu za korprativnu državu) i smatraju da korporacije uništavaju ekosferu zarad profita, nekako je sasvim normalno da im se dopada ta pesma. I svakako ne bi bilo prvi put da se Akroholiji i nacistima poklope pogledi na svet :lol:
Novi bubnjar Sepulture:
Sepultura - Eloy Casagrande - Drum Solo and Subtraction (http://www.youtube.com/watch?v=e1nw_yY1_AU#ws)
http://www.cracked.com/article_19745_the-5-ballsiest-easter-eggs-hidden-in-video-games.html (http://www.cracked.com/article_19745_the-5-ballsiest-easter-eggs-hidden-in-video-games.html)
http://www.cracked.com/article_19776_6-disasters-caused-by-poorly-designed-user-interfaces.html (http://www.cracked.com/article_19776_6-disasters-caused-by-poorly-designed-user-interfaces.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fpics.blameitonthevoices.com%2F042012%2Fdistribution_of_heavy_metal_bands.jpg&hash=81f9dcd73213a7dc095a5b67d108ff0881a9974b)
Зашто је Бутан у некој нијанси која не постоји у легенди?
jebem li ga, izvor broj 1 nema nikakvih podataka o Butanu, pa možda zato.
Hihihihi
http://www.cracked.com/photoplasty_191_if-classic-movies-all-got-video-game-adaptations_p20/#20 (http://www.cracked.com/photoplasty_191_if-classic-movies-all-got-video-game-adaptations_p20/#20)
www.youtube.com/watch?v=Q-Am5AVQ_-8 (http://www.youtube.com/watch?v=Q-Am5AVQ_-8#ws)
Aaaa Leks Stil je Nik Fjuri! Do jaja!!!
Why I Love Weird Porn (http://noseriouslywhatabouttehmenz.wordpress.com/2012/04/23/why-i-love-weird-porn/)
Posted on April 23, 2012 by noahbrand
A note: as a courtesy,
most of the esoteric terminology in this article will not be clarified with links. Google is your friend, but be aware that you're rolling the dice; some of these things will be disturbing or upsetting to you, others may end up pushing buttons you never knew you had. So, y'know, heads up.
One of the most important speeches I've seen in the last few years is Clay Shirky's famous "Gin, Television, and Cognitive Surplus (http://www.edge.org/3rd_culture/shirky08/shirky08_index.html)", in which he lays out a theory stating that we are presently enjoying an unannounced renaissance in creativity made possible by the tools of technological empowerment.
Quote from: Clay ShirkyDid you ever see that episode of Gilligan's Island where they almost get off the island and then Gilligan messes up and then they don't? I saw that one. I saw that one a lot when I was growing up. And every half-hour that I watched that was a half an hour I wasn't posting at my blog or editing Wikipedia or contributing to a mailing list. Now I had an ironclad excuse for not doing those things, which is none of those things existed then. I was forced into the channel of media the way it was because it was the only option. Now it's not, and that's the big surprise. However lousy it is to sit in your basement and pretend to be an elf, I can tell you from personal experience it's worse to sit in your basement and try to figure if Ginger or Mary Ann is cuter.
And I'm willing to raise that to a general principle. It's better to do something than to do nothing. Even lolcats, even cute pictures of kittens made even cuter with the addition of cute captions, hold out an invitation to participation. When you see a lolcat, one of the things it says to the viewer is, "If you have some sans-serif fonts on your computer, you can play this game, too." And that message—I can do that, too—is a big change.
Now, I grew up around futurists, and one thing growing up around futurists teaches you is to have a hair-trigger bullshit detector whenever you're anywhere near a futurist. If I don't see immediately testable predictions that map to both the futurist's theory and my own experience, I just file it away with the Long Boom and VR helmets. Shirky's model of cognitive surplus passes that test with flying colors. People, young people especially, are getting home from work and school, sitting down, and
making things. Making lolcats, fan tumblrs, stupid YouTube videos. Making indie games, webcomics, 3-D printable models. Making crazy Rube Goldberg machines because the internet gives them an audience for their silly project. Making a
playable arcade out of cardboard because why the hell not?
Even watching TV is now a participatory act for many people. You vote for the winners, you jump in the online discussions, you help with the save-the-show write-in campaigns, you pick the best screencaps to put Texts From Last Night over. And the makers of TV know it. They plan for buzz, they build fan spaces, they put
fan jokes into the show itself. Consumption is no longer passive; it has become a give-and-take between art and audience in which the audience is an active and necessary part of the process, shaping both the art itself and the outcome of the symbiosis between them. Tell your grandchildren that you lived in the generation when postmodernism came to life and ate the world.
Of course, technology being what it is, one of the major things people are using this incredible participation for is making porn. SO MUCH PORN.
There's a term in the fan fiction community, "drawerfic". It arises from the answer to "What was your first fanfic?" given by everyone who grew up pre-internet: "This thing I wrote in a notebook when I was 14 and kept in a drawer and never showed anyone." Every little girl making porn (and not all fic writers are girls and not all fanfic is porn, but they mostly are and an awful lot of it is) thought she was the only one. Her creativity came pre-stifled and then it was back to
Gilligan's Island. Fan fiction only became a community, became huge, when these girls began meeting, began corresponding, began exchanging fictions as gifts and trades. First in homemade zines, then exploding beyond all measure on the internet. Now it's one of the largest gift economies on earth, with untold millions of words a day being exchanged, people (mostly women) making things in exchange for other things people made. There's your cognitive surplus right there.
Naturally, an awful lot of what's being made is weird porn. Yes, there are many fanfics that are silly jokes, or character studies, or casefic, or otherwise not porn. There's also universes of D/s, mpreg, knotting, and (for one-stop shopping) porn-oriented AUs like the
Alpha/Omegaverse, in which the way MRAs perceive masculinity becomes literally true and a lot gayer. This is why, when Gail Dines argues that the internet has made men addicted to porn, and influenced men's sexual fetishes until they make perverse demands on women, who themselves never enjoy porn and thus are free of sexual fetishes, I laugh until I can't breathe.
Of course, I don't want to imply that the weird porn of the internet is only restricted to women. Oh goodness, no. All genders and all types are accommodated, bless the internet's cold black heart. And more and more, especially at the weird ends of the spectrum, people are becoming more than consumers of porn, they're becoming producers. They're using the tools technology has given them to engage with their kinks, and they're drawing and writing and Photoshopping and molding the lovable 3-D people of Poser into configurations that god never intended. But then, who asked god's opinion anyway?
I am not kidding when I say that I find incredibly esoteric and specialized porn to be one of the most life-affirming things in the world. Even... no,
especially the stuff that doesn't do anything for me. Every giantess crush site, every furry vore gallery, every Shintaro Kago shit-and-dissection-fest, every body-inflation discussion group, every set of specialized apron-fetish films, every dendrophile fan club, every time I learn a new word like "boytaur" or "OT3″ or "docking" or "unbirth"... all these things bring me a genuine and unironic joy.
These things, these kinks, these flights of imagination, are the impassioned obsessions of real people, everyday people. At least one of your coworkers, at least one of your family members. And that's not creepy, that's
wonderful. Every one of those weird kinks is a shout of human individuality in a world that wants to reduce us down to buying patterns and demographic trends. "I am alive!" they cry. "I am not an emerging new style, I am not a market segment, I am not co-optable, I am not coming soon to a theater near you, I am not approved for all audiences, I am not available in stores, I am damn sure not fun for the whole family and
I never will be."
Maybe you don't find that life-affirming, but I sure do.
This is why people become makers of porn, participants rather than consumers. If literally all you want is women with too much makeup and hairspray joylessly fucking men with statistically-improbable megadongs in a universe where pubic hair was banished by dark magics in 2001, then "mainstream" porn has you covered and you can safely be a passive consumer. For the non-mainstream other 95% of us, we must look elsewhere. If what you really want is something made by people who understand your desires because they share them, you're going to wander into a gift economy, and once there, you're going to be a lot more popular if you contribute.
This is, I am not joking, an improvement on the previous 10,000 years of human history. Before, people lived their entire lives feeling they could never be understood, either suppressing their weird kinks or, in a few rare cases, becoming Irving Klaw or Robert Heinlein. Now we have 21st-century technology, which smiles and says "There are people who will understand, if you find them and make yourself understood. Here are the tools to do it."
We use those tools to keep
Community on the air, and we also use them to create animated GIFs of Jessica Rabbit with a huge dick. If either of those things strikes you as a strange use of time and technology, that's okay: it's not
for you. And that's the point.
Ovo je treće pozivanje ili citiranje Kleja Šrkija na Sagiti u poslednjih mesec dana. Lepo!
http://www.buzzfeed.com/daves4/12-extremely-disappointing-facts-about-popular-mus (http://www.buzzfeed.com/daves4/12-extremely-disappointing-facts-about-popular-mus)
Eh, američki muzički snobizam... :lol: Mislim, u redu, snob sam i ja, priznajem, ali njima ne valjaju crnci sem ako su sa Jamajke.
Da, bizaran mi je taj, iz moje perspektive, polusnobizam. Mislim ako ćeš da budeš snob, onda je i većina onoga s desne strane popkomercijala. Kao, Biber je lošiji od Makartnija. Ma da. -_-
Pa, ja ne znam da li Biber piše svoje pesme. Makartni je svakako pre svega autor, Biber pre svega izvođač. Utoliko već tu postoji neka razlika dovoljna snobu. Makartni je napisao Hej Džud ili Mal ov Kentajr koje su, eto kao, klasici pop muzike, Biber nije napisao ništa pa je to valjda ta razlika...
ALi naravno da je to snobovski pogled na svet koji u principu ne prihvata da je i interpretacija kreativan posao.
Priznaj da si spomenuo Mull of Kintyre samo zbog istoimenog testa (http://en.wikipedia.org/wiki/Mull_of_Kintyre_test).
Oh!!!!! Nisam!!! Ali moja podsvest očigledno radi i kad ja ne pazim.
VA-Live_At_Total_Kaos_Starlight-20-11-6TAPE-1993-PiCKLEnije novo kao takvo (snimak je iz 1993), pa ne bih kačio na onaj topik sa novim albumima (a nije ni album), reko da okačim ovde pošto mi se čini da će Mehmet ovo ceniti. dakle, preko 5 sati prštanja, bogovi džangla za gramofonima! uživam u ovome već nedeljama!
QuoteTrack List:
0.01: Grooverider – Side A – Live At Total Kaos Starlight 20-11 (24:49)
0.02: Grooverider – Side B – Live At Total Kaos Starlight 20-11 (24:51)
0.03: DJ Fabio – Side A – Live At Total Kaos Starlight 20-11 (31:51)
0.04: DJ Fabio – Side B – Live At Total Kaos Starlight 20-11 (31:51)
0.05: Slipmatt – Side A – Live At Total Kaos Starlight 20-11 (29:30)
0.06: Slipmatt – Side B – Live At Total Kaos Starlight 20-11 (29:08)
0.07: Jumping Jack Frost – Side A – Live At Total Kaos Starlight 20-11 (24:54)
0.08: Jumping Jack Frost – Side B – Live At Total Kaos Starlight 20-11 (24:23)
0.09: DJ SS – Side A – Live At Total Kaos Starlight 20-11 (23:55)
0.10: DJ SS – Side B – Live At Total Kaos Starlight 20-11 (23:32)
0.11: Ratty – Side A – Live At Total Kaos Starlight 20-11 (21:12)
0.12: Ratty – Side B – Live At Total Kaos Starlight 20-11 (21:08)
http://rapidshare.com/files/708028099/VA-Live_At_Total_Kaos_Starlight-20-11-6TAPE-1993-PiCKLE.rarinače, PiCKLE su u poslednje vreme izbacili brdo ovih snimaka sa kaseta, gde su zabeležene kojekakve džangl/dramenbejs/hardkor žurke from bek in d dejz, pa ko ima vremena nek overi.
Ooo, sjajno. Bek tu d rutz!!!!!!!
Mehmete, očekujem tvoju reakciju na CHRONICLE! Leakovao DVD rip.
Aha, pristavljeno!
Kakavo vizionarsko predviđanje gamifikacije od strane Fraja i Lorija:
A Bit of Fry and Laurie - A word, Timothy (http://www.youtube.com/watch?v=8U7GKdbiA2c#)
(skeč je iz 1992.)
Odlično! :-| :-|
Evo, koga interesuje moj četiri godine stari, na Popboksu objavljeni (u tekstualnoj formi) intervju sa Kevinom Martinom, dan nakon njegovog nastupa u Lagumu, sad može da ga pogleda na JuĆubu i da se smeje mom naglasku :lol:
Kmart the Bug vs. Friendly Neighbourhood Meho (http://www.youtube.com/watch?v=yklgWOikoDU#)
http://security.blogs.cnn.com/2012/04/30/al-qaedas-future-works-found-encoded-in-porn/ (http://security.blogs.cnn.com/2012/04/30/al-qaedas-future-works-found-encoded-in-porn/)
Ovo toliko toga objašnjava :lol:
Te zapadne službe stalno pokušavaju da diskredituju Al kaidu time što se implicira da ti ljudi troše pornografiju...
http://www.cracked.com/blog/8-books-that-prove-cat-lovers-are-insane/ (http://www.cracked.com/blog/8-books-that-prove-cat-lovers-are-insane/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fa5.sphotos.ak.fbcdn.net%2Fhphotos-ak-ash3%2F578147_10151031596769569_127231444568_13109963_1323829218_n.jpg&hash=e6105bc29c61fc080a695d9114490b67c0d1027f)
Meni je A Milli najdraža Lil Vejnova pesma. A i Koltrejn mi je najdraži muzičar evr. Dakle, divna kombinacija a to što je Koltrejn harmonski kompleksniji, pa bože moj!
Dobro, ovo o filmu je šlb... mene zanima ima li igde da se pročita išta interesantno o ovim nadolazećim serijalima.
'Watchmen' Prequels Coming - "Before Watchmen" (http://www.youtube.com/watch?v=TMHZL4fROOk#ws)
Pa verovatno ima al ja nisam, nekako me odbija ideja. Mada su dobri autori umešani.
Quote from: Meho Krljic on 07-05-2012, 22:17:01
... nekako me odbija ideja...
Pa to. I sam se pitam koliko je ovo dobra ideja.
Sigurno nije, ali hajde, da ne budemo mračnjaci pre nego što i sami iskusimo... Ne zaboravimo, da je Moore isterao originalnu ideju da koristi Charlston Comics likove (Questiona i druge), Watchmen bi bili deo DC kontinuiteta.
Još jedna (nezanimljiva) frtutma na interwebu, oko ovoga:
HARMLESS TRAILER OFFICIAL HD (http://www.youtube.com/watch?v=tWsHdGjLZ6o#ws)
Quote
http://www.harmlessmovie.com (http://www.harmlessmovie.com/) - The story is about a husband and father and his battle with pornography. Actual home movies and interviews tell the story of the terror the family faces when a box of pornography is opened and something is unleashed.
Demit sad mora Bekvalac nešto ovako da snimi :lol:
Michael Bay's giant alien robot antics get a free pass with them. Peter Berg's upcoming alien invasion on water epic "Battleship" essentially serves as a two-hour recruitment commercial. But when it came to "Marvel's The Avengers", the Pentagon decided not to help out with use of their equipment and personnel.
Phil Strub, the U.S. Defense Department's Hollywood liaison, tells Wired.com that, with the exception of some use of Humvees in the finale, co-operation with the U.S. military on "The Avengers" was halted. Why? Murky jurisdictional issues.
Namely S.H.I.E.L.D., the onscreen international peacekeeping organization of the Marvel Universe. Strub says the ambiguity of the relationship between S.H.I.E.L.D. and the U.S. government and military complex is what ultimately stopped it from happening.
"We couldn't reconcile the unreality of this international organization and our place in it. To whom did S.H.I.E.L.D. answer? Did we work for S.H.I.E.L.D.? We hit that roadblock and decided we couldn't do anything... It just got to the point where it didn't make any sense."
http://hudsonhongo.com/joyce/index.php (http://hudsonhongo.com/joyce/index.php)
Njah. Scored 10 out of 10 ovako s Marsa padajući.
Hm, ja sam bila malo manje uspješna... :mrgreen:
:lol: :lol: :lol:
Ja sam naravno imao nula od deset pošto smatram da Kool Keith JESTE James Joyce.
Mislim da je u pitanju fora jer sam uradila test dvaput, jednom glasajući 10/10 za jednog a drugi put za drugog (isti citati) i oba puta mi je izbacio 0 poena.
Zanimljivo... Mora da nešto ne radi na tom sajtu onda. Ne verujem da bi se neko tako surovo šalio sa nama!!!
evo sad sam iznabadao 7/10. your internets iz broken
Ja sam nalupetao proizvoljno i ubo 8/10
I Don't Believe You (http://www.youtube.com/watch?v=wwTDcxuzvv0#)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fchzmusic.files.wordpress.com%2F2012%2F05%2Fmusic-fails-your-taste-in-music-might-explain-why-youre-dumb1.gif&hash=b8106b23c9d97b42ebae8fba575b9836b177441e)
Ovo skoro ko da sam ja napravio :lol: :lol: :lol:
постоји верзија за књиге, управо гледам сајт...али то већ није за мехмете реагуј! :)
Daj, nema veze, ne mora on to da cita :)
Disaster assessment firm Kinetic Analysis Corp has estimated that the hypothetical economic cost of repairing the damage done to midtown Manhattan in "The Avengers" would come in at a staggering $160 billion says The Hollywood Reporter.
In a grim and somewhat distasteful comparison, the cleanup costs of Hurricane Katrina were $90 billion while the Japan tsunami was $122 billion.
On a lighter note though, Kinetics says the liability for the damage would be difficult to place as "Given the involvement of individuals considered deities in some cultures (Thor, Loki), there is even the potential to classify the event as an 'act of God,' though that designation would be subject to strenuous theological and legal debate."
The factoid comes after a report in Vulture earlier this week which clocked the screen time of each character in the film with Captain America and Iron Man scoring 37 minutes each, Black Widow gets 33.5 minutes, Bruce Banner is shown for 28 minutes, Thor has 26 minutes, and Hawkeye has just under 13 minutes.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Facidcow.com%2Fpics%2F20120510%2Facid_picdump_70.jpg&hash=6c37088693c7134110815873fb6421823b806cb1)
Ovo je više za DušMana da reaguje, ja sam ipak premator za nju :lol: :lol: :lol:
ma mislio sam pre svega na tron koji je, čini mi se, izrađen od Famicom kertridža.
Ma shvatam, ova je pravi geek girl the gamer. Incidentally, baš sam juče svukao taj film... Oh!
Soundtrack xtwak
:)
Znam, znam. Ako ništa, ripovaću iz filma. Dobro, biće filovan ženskim zvučnim efektima, ali ionako nisi mislio da ga slušaš pred djecom. Zer ne? ZAR NE?
Da. :)
Sta zna dete sta je zvucni efekat.
http://www.cracked.com/article_19816_6-japanese-video-games-that-will-make-your-head-explode.html (http://www.cracked.com/article_19816_6-japanese-video-games-that-will-make-your-head-explode.html)
http://www.cracked.com/video_18422_how-to-get-away-with-watching-porn-at-work-using-history.html (http://www.cracked.com/video_18422_how-to-get-away-with-watching-porn-at-work-using-history.html)
Poslužiće kad budem imao novi posao. Na ovom sada vlada anarhija pa je gledanje pornića najmanje što može da mi se zamjeri.
Cracked nudi odgovore na stoljetno pitanje: kako poboljšati mačke? (http://www.cracked.com/article_19881_5-ways-to-improve-cats.html)
:|
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi46.tinypic.com%2Fk4z72d.jpg&hash=8f8312526dd358f7159713cade556ac3bb039baa)
Heh:
http://www.cracked.com/article_19848_7-famous-musicians-who-stole-some-their-biggest-hits.html (http://www.cracked.com/article_19848_7-famous-musicians-who-stole-some-their-biggest-hits.html)
Нема Ем-Си Хамера?
Nema hip-hopa uopšte, to je ipak druga priča.
http://www.tvguide.com/News/DC-Gay-Superhero-1048384.aspx (http://www.tvguide.com/News/DC-Gay-Superhero-1048384.aspx)
dobro je, pomislih da ce biti Betmen :)
Da, Alan Skot je uvek delovao kao dostojanstven stariji homoseksualac. Aplaudiramo.
Quote from: DeHickok on 02-06-2012, 00:19:00
http://www.tvguide.com/News/DC-Gay-Superhero-1048384.aspx (http://www.tvguide.com/News/DC-Gay-Superhero-1048384.aspx)
dobro je, pomislih da ce biti Betmen :)
Heh, a bas sam u ponedeljak citao clanak u kome neki tip koji ima PhD "iz Betmena" objasnjava da to nikako nije mogao biti Betmen posto on uopste ne mora da izlazi iz ormana :)
Мехо, човече, шта раде ови твоји? :cry:
http://www.rts.rs/page/stories/ci/story/2/%D0%A1%D0%B2%D0%B5%D1%82/1113974/%D0%97%D0%B0%D1%82%D0%B2%D0%BE%D1%80+%D0%B7%D0%B0+%D1%82%D1%83%D1%80%D1%81%D0%BA%D0%BE%D0%B3+%D0%BA%D0%BE%D0%BC%D0%BF%D0%BE%D0%B7%D0%B8%D1%82%D0%BE%D1%80%D0%B0.html (http://www.rts.rs/page/stories/ci/story/2/%D0%A1%D0%B2%D0%B5%D1%82/1113974/%D0%97%D0%B0%D1%82%D0%B2%D0%BE%D1%80+%D0%B7%D0%B0+%D1%82%D1%83%D1%80%D1%81%D0%BA%D0%BE%D0%B3+%D0%BA%D0%BE%D0%BC%D0%BF%D0%BE%D0%B7%D0%B8%D1%82%D0%BE%D1%80%D0%B0.html)
Ma, ko zna ta je ovaj pisao... Mislim, ja naravno ne mislim da zbog bilo čega toga treba da se ide na sud, al kad imaju takve zakone... Nije turska baš najprogresivnija država na svetu po tom pitanju pogotovo od kada je Erdo'an na vlasti.
Quote"Када сам рекао да сам атеиста, сви су ме вређали, а власти су пратиле све што
сам објавио на Твитеру", рекао је Сај и додао да је вероватно прва особа у свету
којој ће се судити зато што је признао да је атеиста.
Hm... ovde mi nekako fale makar reči "priznao na Tviteru" jer će inače Đordano Bruno i kompanija poustajati iz (brojnih) grobova.
Evo nešto za FatheraĐapeta da reaguje. Znam da hoće:
Lux Drummerette - Decapitated "Spheres of Madness" - Drum Cover (http://www.youtube.com/watch?v=DEBmZ6maVhE#ws)
Lux Drummerette - Slayer "Postmortem" - Drum Cover (http://www.youtube.com/watch?v=2WMCSUbHPxg#ws)
Lux Drummerette - Judas Priest "Painkiller" - Drum Cover (http://www.youtube.com/watch?v=K7gr5RMODTw#ws)
Obratiti pažnju na porn heels!!! Kakva žena!
Mada je po stajlingu i po izboru muzike ova sigurno bliža Đapetu:
Meytal Cohen - Master Of Puppets by Metallica - Drum Cover (http://www.youtube.com/watch?v=takB0YTRTMo#ws)
Ipak je Meytal više moja šolja čaja. Ali rispekt za sviranje u onim štiklama. :-?
EDIT: Omg, dok sam se ja nakanio da kliknem post reply, Mehmet je upao sa Meytal. On me tako poznaje!!!1!11!111
:lol: :lol: Jour soul iz majn.
Prvi put ih vidim ali glasam za bosonogu koja lupa u kantu. Luxova smara...
Šta rade sa ovolikim setovima jebote? Čemu to?
Još ste vi mladi za prave žene, vidim ja.
Ja se nadam da ću dovijeka i ostati. -_-
Sreća da sam ja tu da poguram na pravu stranu.
Nisam neki fan Mocarta, ali... Pit Sendoval:
PETE SANDOVAL - MOZART (http://www.youtube.com/watch?v=ORbR3GjU2oQ#ws)
Хтедох да прокоментаришем Питово музицирање, али већ сам га толико спомињао да постајем досадан. Волим, бре, што је човек ударач. Човек лупа бубњеве, а истовремено их и свира. Ретка, ретка појава.
Quote from: Meho Krljic on 09-06-2012, 14:46:03
:lol: :lol: Jour soul iz majn.
Nije problem za dušu...
ovo je već dobra bidlerka
Vaiii Vaiii !!! (http://www.youtube.com/watch?v=NBxo8s__v-s#noexternalembed)
Slatko je ovo, al otkud to da je ona bilderka???
ja zaključio po ovome: Andressa Soares pumping iron
jesam li pogodio ili je greška?
Da, izgleda da cepa tegove
Andressa Soares pumping iron (http://www.youtube.com/watch?v=nDU1CAcNrv0#)
Mada je svakako ne bih okarakterisao kao bilderku, više kao ženu koja voli da bude u formi. :lol: Ali ako se takmiči, onda jeste!!!
Eh, da:
http://www.cracked.com/video_18422_how-to-get-away-with-watching-porn-at-work-using-history.html (http://www.cracked.com/video_18422_how-to-get-away-with-watching-porn-at-work-using-history.html)
(Ovo je već kačeno ali za svaki slučaj, da se ne zaboravi)
Mehmete , kakvo je ovo ludilo ???
EVE Online: Inferno Trailer (http://www.youtube.com/watch?v=kED11aGobUk#ws)
Pa... Eve Online je, rekli bi mnogi, najpametnija MMO igra na svetu. Dejan to igra (ili je igrao) a mislim da se i FatherJape tu pojavljivao, pa nek se oni oglase.
ja ne igram igrice,slucajno sam naletela na trejler .
ovo je potpuno ludilo,jbg, glupava sam ja za igrice :(
Prvo pravilo kod gledanja trejlera za igre je da se setiš da igra zapravo ne izgleda onako kako je trejler pokazuje :lol:
John Cheese je uznemiren Nintendovom E3 prezentacijom kao i mi ostali (http://www.cracked.com/blog/5-ways-we-know-nintendo-has-lost-its-mind/) :lol:
Ma dobro to, nego sam se smorila kad si rekao da je to najpametnija MMO igrica na svetu , pa ja, ja sam jedva presla IV nivo onaj stampedo na Tarzanu. :)
+ nikad nisam igrala online :oops:
Pa, hm.. najpametnija jer ima real money ekonomiju plus njeni dizajneri puštaju igrače da obavljaju najveći deo posla u kreiranju sadržaja...
Nego, ovo valja pročitati:
http://www.cracked.com/article_19860_5-scientific-ways-internet-dividing-us.html (http://www.cracked.com/article_19860_5-scientific-ways-internet-dividing-us.html)
Quote from: Meho Krljic on 12-06-2012, 15:05:16
Pa, hm.. najpametnija jer ima real money ekonomiju plus njeni dizajneri puštaju igrače da obavljaju najveći deo posla u kreiranju sadržaja...
Ahaaaa.Pa , jasno.
...cula sam neku bizarnu pricu vezanu za online ,to se valjda desilo xrotaeye , uglavnom neki lik Japanac, valjda , je pozajmio nesto nekom drugom i ovaj posle nije hteo da mu vrati i ovaj ga roknuo for real.
Ima dosta takvih priča, ali to nije bilo u Eve Online. Eve Online ima ovakve priče:
http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/ (http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/)
Quote
EVE Online's universe consists of 350,000 active subscribers piloting customizable space craft around 7,500 solar systems. Putting that many people in space with lasers might sound like an open horizon to awesome, but the players who hang out there created a fully functional free market economy that ends up feeling more like space accountancy. The ad may look like this ...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F0%2F8%2F64108_v1.jpg&hash=c8dae8785e6acd6e6f1dca50ea70f2f73281dbf8)
... but it doesn't tell you that you have to pay for those lasers. To do that, a lot of game play involves your screen looking more like this ...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F0%2F6%2F64106.jpg%3Fv%3D1&hash=b6fb49fd07ed9de0bc107e32d49af4753855fe55)
As with the real-world economy, making a profit in the world of EVE Online is easier if you form corporations. While many spend years working together for mutual gain, others behave a lot like corporations do in the real world. Or at least how they would if they operated in a universe where murder is legal.
For instance, the Guiding Hand Social Club assassinates people for profit and steals their stuff for bonuses. In one instance, they were hired to destroy "Mirial," the CEO of Ubiqua Seraph corporation. While many EVE Online players literally grind rocks for hours to make a profit, the GHSC use the assignment to show everyone what Ocean's Eleven would have been like if it took place in the Star Wars universe. No one has had so much more fun than everyone else playing a game since Michael Jackson suggested Junior Twister.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F0%2F7%2F64107_v1.jpg&hash=5973c227234c788b7b17e88beb61c7d00fdb3000)
First, they got jobs with the target corporation and worked their way up the ranks. The primary assassin became second in command of the entire firm because the background checks for imaginary space pilots aren't very good.
Then, after a year of real-time play, they struck harder than Keyser Soze (http://eve.klaki.net/heist/) in that one flashback scene where he's played by Fabio. They killed Mirial, emptied the corp's accounts and hangars, stole everything that wasn't bolted down and blew up everything that was, then killed Mirial again because EVE is specifically programmed to let you kill people twice. The first time gives you all the XP and valuable wreckage, but allows the murdered player to escape in a pod. The second does nothing but shout, "Screw You!" with murder (which is admittedly the best way to do that).
Mirial was in a Navy Apocalypse at the time, which is basically EVE Online's equivalent of the Death Star.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F0%2F9%2F64109_v1.jpg&hash=1ed7675ef5288e79eb8d6ec9f117e7300061c378)
And really, anyone who manages to get killed in one of those deserves it at least twice.
They scooped up the virtually vacuum-frozen corpse for delivery to a client who had paid the equivalent of 500 real dollars for the hit. Which pales next to the $16,500 (again, real-world money) worth of items destroyed or stolen in the raid. Also, holy shit, people are paying to assassinate hated video game characters now.
Read more: The 7 Biggest Dick Moves in the History of Online Gaming | Cracked.com http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/#ixzz1xaP7L9La (http://www.cracked.com/blog/the-7-biggest-dick-moves-in-history-online-gaming/#ixzz1xaP7L9La)
http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history_p2/ (http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history_p2/)
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#2. Vaporizing One Thousand Real Dollars (EVE)
Crowd Control Productions (CCP) infamously live up to their name with EVE Online, a spacefaring game where people pay to plug into a computer to pretend to work for simulated corporations. You could say they have a dedicated fanbase, but only because clicking on the player agreement means it's legally not slavery.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F1%2F4%2F103114.jpg%3Fv%3D1&hash=36d14a3c61cc30594e47622869a0737c5a7d0cb2)
Warning: more numbers than most careers.
In an act of diabolical genius CCP created their own currency without all the problems of being declared a rogue state or arrested by the Icelandic Ministry of the Interior. They set up PLEX, Pilot Licence EXtensions, where you can convert fake game money into 30 days of extra playing time. With a cash value of $15. So now players can work in the game to be allowed to continue to work in the game. It's the closest humanity has come to the Matrix.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.crackedcdn.com%2Fphpimages%2Farticle%2F1%2F0%2F5%2F103105.jpg%3Fv%3D1&hash=e0728dc407e66f4fa89e523a6bc2008e93beb19b)
Damn noob.
They invented their own world and cash currency to use there -- there are drug lords with less control over their customers. And if you think this was CCP's full evil plan, they haven't even started stroking their fluffy white cat yet. The diabolical dick move was to introduce PLEX as in-game items, meaning you could trade it and carry a cargo of real money through a universe of players out to murder you. When you destroy a ship there's a chance its cargo will turn up in the wreckage loot, and note the evil eighth word in that sentence.
Players "slickdog" and "Viktor Vegas" found a lone cargo hauler with carrying 74 PLEX, over $1,100, and promptly blew the shit out of it. And every single one of the dollars (http://massively.joystiq.com/2010/08/08/eve-player-destroys-over-1000-worth-of-game-time/). Not one PLEX survived. Over a grand was electronically vaporized, because that grand had already been paid to CCP who professionally don't give a shit what happens to money after that. They've set up a system where they make money when other people destroy it, and you can't even Occupy Jita because you'd have to pay them for the privilege.
Read more: The 7 Most Elaborate Dick Moves in Online Gaming History | Cracked.com http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history_p2/#ixzz1xaPMGYNB (http://www.cracked.com/blog/the-7-most-elaborate-dick-moves-in-online-gaming-history_p2/#ixzz1xaPMGYNB)
http://www.eurogamer.net/articles/2012-04-27-ccp-players-attempt-to-destroy-eve-online-economy-is-f-ing-brilliant (http://www.eurogamer.net/articles/2012-04-27-ccp-players-attempt-to-destroy-eve-online-economy-is-f-ing-brilliant)
Quote
CCP Games has given its blessing to a player-driven attempt to destroy the Eve Online economy.
Controversial former Council of Stellar Management boss Alexander "The Mittani" Gianturco - who CCP recently banned (http://www.eurogamer.net/articles/2012-03-29-ccp-delivers-verdict-on-eve-online-council-chairman) for encouraging the community to grief a suicidal player (http://www.eurogamer.net/articles/2012-03-26-ccp-launches-investigation-after-eve-online-fanfest-panel-accused-of-mocking-suicidal-player) during the recent FanFest event - tomorrow leads an assault on the centre of the in-game economy, called the Jita trade hub.
The "Burn Jita" action, which has been in the works for months, was scheduled to begin tomorrow - the day The Mittani's 30 day Eve Online ban ends. But reports indicate it has already begun, with some 14,000 Thrasher ships preparing all out war on the region.
Some players are worried the game will be ruined by The Mittani's Goonswarm alliance, but CCP promised not to interfere.
"I tell you what, it's going to be f***ing brilliant," Jon Lander, senior producer of Eve Online, told Eurogamer this morning. "Absolutely brilliant.
"There was one bug [the 'bookmark escaping agro bug'] in the game that meant that if they do the things they're going to do, they could have escaped the in-game consequences. So we fixed that bug about three weeks ago. And they went, okay.
"They're going to do exactly what you're able to do in the game, and people will have to roll with it. It'll be great.
"Last night I got an email - Jita was at 2100. Time dilation kicked in at 15 per cent. And there were people just watching the sh*t that was going down. It was brilliant. It was absolutely great."
Lead game designer Kristoffer Touborg insisted that player-driven events such as Burn Jita are what make Eve Online stand out from other games, and that it's CCP's duty to sit back and watch.
Do you want to play a 15 minute match of Call of Duty that you won't remember the next day, or do you want to spend four months manufacturing 14,000 Thrashers to do this? It's just so big and awesome - lead game designer Kristoffer Touborg. "It's what makes Eve a really good game," he said. "Do you want to play a 15 minute match of Call of Duty that you won't remember the next day, or do you want to spend four months manufacturing 14,000 Thrashers to do this? It's just so big and awesome."
Lander added: "We want people to be able to do this. If Goonswarm want to do it, we want them to do it and we want them to have a great time doing it.
"The worst thing we could do is to stop it happening. It would be appalling for the game. It would be against everything we stand for."
According to Touborg, the attempt to destroy the game's economy may even prove beneficial in the long run. "The people they're going to hurt now are people who have quite a lot of security," he said. "There's not a lot of turnaround on ships and goods in Empire. I think it might be healthy if we lose a lot of this industrial power, if they have to go back and save up for their ships again and be a part of the cycle of life everyone else is a part of.
"I don't like complete security, and I do like when a large group of players who live in complete security have that pulled away temporarily. It's going to be healthy."
Whatever happens, increased activity in the Jita area is guaranteed - and CCP has prepared for it by switching servers around. "The great thing was we had some fair warning," Lander said. "We've got some seriously grown up server kit. Where we know there's going to be some really big, epic stuff happening, we can put it on this kit.
"We've said, okay, stick Jita on the big, scary server, and put all the surrounding systems on these other servers."
Quote from: Meho Krljic on 12-06-2012, 14:44:49
Prvo pravilo kod gledanja trejlera za igre je da se setiš da igra zapravo ne izgleda onako kako je trejler pokazuje :lol:
Sad si mi uništio sve iluzije. :cry: Dobro, znam i ja to negde, ali ipak sam pomišljala gledajući onaj trejler za Diablo III kako je vama što se igrate mnogo lepo u životu jer imate iskustvo potpune uronjenosti u... er... svet gnusnih monstruma...
...
...dobro, makar su mnogo lepše dizajnirani od ovih u RL.
Da se razumemo, čitava je filozofija ispletena oko toga šta se vidi u trejleru a šta se vidi u igri, bilo je tu i sudskih zabrana emitovanja trejlera: na primer Call of Duty 2 je najvaljivan ovim trejlerom (http://www.youtube.com/watch?v=eNz_CrXC6eY#ws), a igra je u zbilji izgledala ovako (http://www.youtube.com/watch?v=UMaOIhzCi-4#ws). Što je vidna razlika i posle žalbe da je Activision koristio nedozvoljene reklamne postupke (tj. lagao, pokazujući prerenderovane scene koje podsećaju na igranje igre kao da je u pitanju zaista renderovanje u stvarnom vremenu u endžinu igre) zabranjeno je emitovanje na televiziji ove reklame.
No, stariji je to problem od Call of Duty, recimo nikad neću zaboraviti kada sam prvi put video trejler za Final Fantasy VIII koji je bio.. izuvanje (http://www.youtube.com/watch?v=2qH6gPZS1zI#). Igra je, naravno izgledala ovako (premotati na 4. minut da se vidi in-engine grafika (http://www.youtube.com/watch?v=1njLpZDfUCQ#)).
Danas je meni gledanje trejlera postalo prilično naporno jer najčešće ne vidimo kako igra zapravo izgleda. Sem ako se ne naglašava da je u pitanju gameplay trailer... A sve su ređi. :cry:
Mislim, nije to kao sa filmom gde čak i ako u trejleru vidiš scene kojih ni nema u filmu ipak vidiš iste glumce i lokalitete. U trejlerima za igre često vidiš nešto što nema nikakve veze sa time kako igra izgleda.
Ja načelno ne podnosim trejlere, ni igara, ni filmova, i trudim se da ih izbegavam.
Nije samo do ovoga što Meho spominje, već vipše do toga da ne vidim svrhu bivanja tizovanim, kad ću morati posle da čekam ko zna koliko to što me interesuje.
S druge strane bioskopski momenat gledanja trejlera za filmove koji me ne interesuju, i koje verovatno nikad neću gledati, sasvim je okej, posebno što ima tu komičnu notu njihovog silnog upinjanja da me zainteresuju za film, i učine da deluje kao najkul stvar ikad.
јах, ив онлајн је сигурно најбоља игра коју сам у животу играо (у смислу да одговара ономе што ја волим код игара) али толико одузима времена да сам на крају одустао....наравно са идејом да ћу јој се вратити...некад
не изгледа онако као на трејлеру, имаш на јутјубу снимке...попут овог (http://www.youtube.com/watch?v=dyykxCiaIUE#ws)
мада кад се зумира, у високој резолуцији, изгледа импресивно (баја на жалост не користи ракете, које у овој новој инкарнацији изгледају одлично)
ево још једног снимка, који показује шта ив одваја од осталих игара...Пандемик Лиџн и ТЕСТ (играчки корпови) против ЦЦП (власници игре и девови) (http://www.youtube.com/watch?v=0p0qYw4XRYo#ws)
...где то има да можеш да убијаш и убијеш оне који су правили игру иако имају специјалне ствари које нису доступне обичним ив смртницима (иначе свака коцкица је играч/брод)
Gospode, ovo je kao... seksines overloud:
http://www.blic.rs/Zabava/Vesti/328144/Srpska-porno-glumica-Stoja-u-drustvu-britanskog-pisca-Nila-Gejmena (http://www.blic.rs/Zabava/Vesti/328144/Srpska-porno-glumica-Stoja-u-drustvu-britanskog-pisca-Nila-Gejmena)
Stvarno šarmantno mada priznajem da bi meni bilo neprijatno da dotaknem nešto u čemu je jedno vreme prebivao deo Merilina Mensona :cry:
Reko ovde je možda najbolje da okačim Mehine koleginice :|
HOW TO PLAY DUALITY BY SLIPKNOT ON DRUMS - MEYTAL COHEN SOLO (http://www.youtube.com/watch?v=GcFhBDtqsHg#ws)
Lux Drummerette - Megadeth "Holy Wars" - Drum Cover (http://www.youtube.com/watch?v=XVP0byyVHzw#ws)
Ova zabada kako ja volem :|
A komentari su naravno :D
Quotewomen should not play drums.
Why not?
Because it's usually difficult to fit a drum set in the kitchen.
QuoteI was going to pay attention and learn how to play this song, but she had a cleavage revealing shirt on :/
Kad god gledam drumm covere uvek se popalim i hoću da kupim bubnjeve, ali niti imam para, niti imam gde da ih smestim, niti će okolina to dobro da podnese :cry:
Meho kliko para za neke polovanjake za početnika? :)
Eh, da si još prethodnu stranu pročitao. :lol:
biće nešto od ovog japeta. :lol:
Quote from: Dr00d on 14-06-2012, 22:55:58
Kad god gledam drumm covere uvek se popalim i hoću da kupim bubnjeve, ali niti imam para, niti imam gde da ih smestim, niti će okolina to dobro da podnese :cry:
Meho kliko para za neke polovanjake za početnika? :)
Pa, kapiram da bi mogo za 200-300 evrilija da kupiš neki krš da se malo zezaš.
Nego, ako ima nekog ko deli moju simpatiju prema starijim ženama koje vole život, Kikstarter ima projekat za finansiranje dokumentarca o njujorškim šarmantnim staricama:
http://www.kickstarter.com/projects/292182391/advanced-style-film (http://www.kickstarter.com/projects/292182391/advanced-style-film)
Quote
Advanced Style is a documentary film about stylish older women living in New York City. The film follows the daily lives and inspiring moments of New York's most fashionable seniors. These portraits of women aging gracefully with tremendous spirit will challenge conventional ideas about beauty, growing old, and Western culture's increasing obsession with youth.
For three years we have filmed many stylish, older women in New York City, but we need your help to turn this project into a full-length documentary film. Through our discussion of style, we've started a grander conversation about embracing age and living life to the fullest. Our *senior* starlets share their tips for choosing accessories, and perhaps more importantly, how they cope with their changing physical appearances and abilities, sex at an older age and, inevitably, death. No topic is off limits.
Projekat je već prebacio svoju metu (tražili 35,000, sad imaju 44,000) sa još osam dana do kraja pledžovanja, pa imate šansu.
joh mehane, da te nema trebalo bi te izmisliti.
nego, moram da podelim s vama jedan sentiment, na sta me asocirala ova recenica: "... how they cope with their changing physical appearances and abilities, sex at an older age and, inevitably, death...."
ajd sve, ali how to cope with their changing physical appearances...mislim, jasno mi je da neki ljudi imaju problema s tim (imam i koleginicu koja me smara najstrasnije, a ni ta surova grana hirurgije ne bi drala toliko da nema koga, a i psihologiju mi ne pominjite), ali opet...
ne moze bakuta od 70 ili od 40 da izgleda kao devojka od 20. prosto, sama ta promena je nesto protiv cega se ne bi trebalo boriti.
valjda. mislim, tesko mi je da proniknem da li je ta borba evolutivno uslovljena ili je nesto drugo u pitanju.
Ali ne znači da se one (ili iko) "bore protiv" toga. "How to cope" u ogromnom broju slučajeva može da se prevede kao "kako da se privikneš na" ili "kako da prihvatiš".
ma bre, ne pricam sad o tvojim babama, ali hvala sto mi prevede. :cry: xuss
poneo me sentiment, pricam in general o tome da postoji veliki broj ljudi koji ne moze da prihvati starenje kao, so zu sagen :mrgreen:, prirodnu lepotu zivota.
Sitne duše!!!
Quote from: Father Jape on 15-06-2012, 02:01:55
Eh, da si još prethodnu stranu pročitao. :lol:
:x
Jbga slabo pratim ovaj topik, ovo mi je promaklo :(
Grant Morrison dobija MBE. :lol: (dobro, u istim vestima, Kejt Vinslet je dobila CBE, a Ken Brana KBE, ali svejedno)
George Kollias 200 BPM to 280 BPM (complete !) (http://www.youtube.com/watch?v=nq5kFw1g-5I#ws)
:lol: Gledao sam pre neki dan. Čudovište je Kollias.
http://www.gameplox.com/2012/06/16/quoting-the-internet-playing-games-after-age-20-is-not-normal/ (http://www.gameplox.com/2012/06/16/quoting-the-internet-playing-games-after-age-20-is-not-normal/)
Meho, kad nakon jedne video-igre previše kreneš u neizbežni ubilački pohod, nadam se da nećeš početi sa nama sagitašima...
Quote from: Father Jape on 18-06-2012, 14:15:29
George Kollias 200 BPM to 280 BPM (complete !) (http://www.youtube.com/watch?v=nq5kFw1g-5I#ws)
Šta se računa u BPM? Sve što čukne ili kako?
Quote from: zakk on 18-06-2012, 18:42:30
Quote from: Father Jape on 18-06-2012, 14:15:29
George Kollias 200 BPM to 280 BPM (complete !) (http://www.youtube.com/watch?v=nq5kFw1g-5I#ws)
Šta se računa u BPM? Sve što čukne ili kako?
Ne, jedan udarac nogom ili rukom je jedan bit. Dakle, ne i ruka i noga.
a ako je istovremeno to se računa u isti bit?
Ne. Jedan bit je jedna četvrtina. U taktu ima četiri četvrtine (mislim ne nužno, ali u zapadnoj muzici je gotovo uvek tako). Ili, ako hoćeš jedan bit je jedan klik na metronomu. U uobičajenom rok ritmu na prvu i treću četvrtinu u taktu ide bas bubanj, na drugu i četvrtu ide doboš. Dakle o četiri bita u taktu imaš dva bas bubnja i dva doboša, naizmenično, ne u isto vreme.
Ovde on dok mu metronom daje tempo od 200 bpm svira uglavnom osmine jednim udom, odnosno kad upari recimo dve noge, to budu šesnaestine. U jednoj četvrtini, jelte, ima četiri šesnaestine, odnosno dve osmine.
Drugim rečima, on kada podesi metronom na kraju na 280, kada bi onu deonicu recimo gde svira duplom pedalom produžio na ceo minut, oni bi udario bubanj 280X4=1120 puta u toku tog minuta. Što je mislim nešto iznad svetskog rekorda za noge, a ispod rekorda za ruke*. Ali on verovatno ne bi mogao baš tim tempom da izdrži da svira šesnaestine ceo minut.
Rekord za singlove rukama mislim još uvek drži Mike Mangini, 1247. :lol:
Пу, мајку му! Да сам јуче умро, мислио бих да је Скот Луис најбржи бубњар. Наравно, нисам имао неки чврст или недајбоже емпиријски разлог за то... Него, оно, на уво, сељачки. :cry:
Ovaj FatherJape mnogo zatehničio ovde. Dakle, jedan udarac nogom je na ovom snimku ovde jedan bit.
Ali nije! Jer po tome bi ispalo da je udario nogom samo 200 odnosno 280 puta u minutu, tj. da bi udario kad bi deonice trajale toliko, a ne kraće kao na klipu. Kao što rekoh, on svira duplo brže od toga, jer ne svira četvrtine u tempu od 200 bpm (što može svako), nego osmine.
Ukratko, na klipu ne možeš čuti šta je bit. Idi na ovaj sajt, klikni na 200 i čućeš šta je jedan bit u tempu od 200 bpm:
http://www.metronomeonline.com/ (http://www.metronomeonline.com/)
A onda poslušaj Kolijasa na početku, i vidi gde je on u odnosu na klik. Čućeš da svaki njegov ud svira duplo brže od klika, odnosno udovi upareni sviraju četiri puta brže.
Dobro, u pravu si.
ALI SE SA TIM NE SLAŽEŠ, reci slobodno :D
fala Jape na objašnjenju!
(btw, reč ud sam sretao u ovolikom broju i učestalosti samo u Vjesnikovoj EROTICI :mrgreen: :oops: )
Ma, slažem se ja sa njim, korigovao sam i svoje mišljenje. Do sada sam lakonski mislio da se zaista broji svaki udarac nogom.
Quote from: Father Jape on 18-06-2012, 14:15:29
George Kollias 200 BPM to 280 BPM (complete !) (http://www.youtube.com/watch?v=nq5kFw1g-5I#ws)
Čemu ovo mrdanje nogom levo-desno dok cepa po bas bubnju? Jel postiže time nešto?
Nisam bubnjar, pa se nisam ni bavio istraživanjem, ali jesam par puta sedao za bubanj i znam princip po kome rade (mislim šta koja noga i ruka, itd), ali kako je najpravlnije udarati bas?
Za ruke ne pitam i znam da to ne izvodim tehnički i nije mi bitno, ali brate noga "odpadne" brzo :) Da li fiksiram skočni zglob, pa da rokam iz kolena (što mi je lakša varijanta) ili fiksirati koleno, pa iz skočnog zgloba udarati (gde dobijem momentlčnu upalu mišića posle 5 udaraca)?
Kako obično kažu, nema pravilnog načina, sve dok postižeš rezultate a pri tome se ne povređuješ. :lol:
A što se tiče onog mahanja nogom, neki koriste tu tehniku pri većim brzinama, evo recimo šta Dejv Vekl kaže o tome:
Drum Lesson Dave Weckl Back To Basics Part 4 Foot Technique (http://www.youtube.com/watch?v=e-3GU6Nry0Q#)
(njihanje spominje negde posle 4:40)
Ta heel-toe tehnika je, vele бржа, али такође веле и да је незгодна за зглобове...
Mrsko mi je kontrirati ti dvaput u jednom danu, ali ono što Vekl demonstrira nije heel-toe, već upravo njegova najčešća alternativa za dablove - slide.
Heel toe možeš videti recimo ovde (skoči na 6:00):
(dakle stopalo ne ide nimalo napred - nazad, već na izvestan način gore - dole.
http://www.youtube.com/watch?feature=player_detailpage&v=bMGCT-J-_N0#t=356s (http://www.youtube.com/watch?feature=player_detailpage&v=bMGCT-J-_N0#t=356s)
A sad vidim da ima i klip gde tri lika sad vremena objašnjavaju razliku između slajda, hil-toua, i nečeg trećeg :lol:
Heel Toe, Slide, and Flat Foot Bass Drum Techniques (http://www.youtube.com/watch?v=xCCJyYIBK9s#ws)
Za prvi klip iz prethodnog posta sam pojačao do daske da bih čuo šta ovaj priča, a onda sam pustio drugi klip i... pa... moraću da promenim gaće kad otkucam post....
Ok, sad je malo jasnije, šteta što nemam na čemu da provežbam :cry:
Jape jel sviraš ti štagod ili si samo ljubitelj teorije? :)
Sviram kaobajagi tu i tamo. Trenutno sam v.d. bubnjara u Seljačkoj buni, preko leta, dok im se bubnjar ne vrati. :lol:
Quote from: Father Jape on 20-06-2012, 00:34:02
Mrsko mi je kontrirati ti dvaput u jednom danu, ali ono što Vekl demonstrira nije heel-toe, već upravo njegova najčešća alternativa za dablove - slide.
Ma, šta ti je mrsko, kontriraj kad sam u krivu, ja nisam ni pogledao do kraja ovo očemu pričamo. :lol:
Evo je još jedna bubnjarica, Ya'el cepa sa Terijem Boziom:
Yael and Bozzio Jam on DC LIVE (http://www.youtube.com/watch?v=0uZVzK9Gafc#ws)
Izgleda da ne nosi štikle, ali dobro svira!!!
OTROCI SOCIALIZMA - TRAILER (http://www.youtube.com/watch?v=2YVptMFck0g#ws)
http://blogs.laweekly.com/arts/2012/04/taschen_boobs_breasts_book.php (http://blogs.laweekly.com/arts/2012/04/taschen_boobs_breasts_book.php)
An indie film based on the 1970's limited run Marvel Comic character "The Human Fly" is in development reports Deadline.
Alan Brewer and Steven Goldmann picked up the rights to the property recently with Eisenberg-Fisher Productions executive producing the project. Goldmann will direct while Brewer and James Reach will produce.
There were two versions of the character, the first proved a villain to various characters including Spider-Man.
The second was a young man of unknown identity severely injured during a car crash. Reconstructive surgeries replaced his skeleton with steel and he became a stunt performer who helped children with disabilities while getting into conflict with various criminals.
Three guesses as to which version is being developed.
Meho, sasvim slučajno naletih na dokaz da Katalin Vad, poznatija u svetu porno-biznisa kao Michelle Wild, ima sasvim solidnu televizijsku karijeru u Mađarskoj. Može biti da nije sasvim opravdan stav da žene iz te branše nemaju budućnost van struke, a može biti da je to moguće samo u Mađarskoj. Kako god, Michelle Wild je meni jedna od najzgodnijih porno-glumica žena svih vremena i prostora i ima redak šarm nedosežan većini njenih koleginica.
Michelle Wild poker star (http://www.youtube.com/watch?v=eF_3uvVHEEI#)
Shane 54 & DJ Junior & Michelle Wild - 69 (http://www.youtube.com/watch?v=2ji3G2dc-5w#)
Ajde, muzički spotovi nisu ništa novo za bivše (ili sadašnje) porno-zvezde, ali:
http://www.youtube.com/watch?v=sSGBNcDHkkU (http://www.youtube.com/watch?v=sSGBNcDHkkU#)
Mehmete jesi li upoznat sa sastavom Glim iz Rume
http://www.youtube.com/user/GlibGrind/videos (http://www.youtube.com/user/GlibGrind/videos)
Glib - Ja sam svoju Micu zaklao k'o gicu (http://www.youtube.com/watch?v=2E1Y8kbQIx8#)
:lol:
Quote from: ridiculus on 29-06-2012, 03:47:40
Meho, sasvim slučajno naletih na dokaz da Katalin Vad, poznatija u svetu porno-biznisa kao Michelle Wild, ima sasvim solidnu televizijsku karijeru u Mađarskoj. Može biti da nije sasvim opravdan stav da žene iz te branše nemaju budućnost van struke, a može biti da je to moguće samo u Mađarskoj. Kako god, Michelle Wild je meni jedna od najzgodnijih porno-glumica žena svih vremena i prostora i ima redak šarm nedosežan većini njenih koleginica.
Pa... ona je ovim dokazala da je sposobna i preduzimljiva. To neki dokažu kroz izgradnju sopstvenog pr0n biznisa (Džena Džejmison, Frančeska Le, Beladona itd.) a neke se brenčautuju i uspešne su negde drugde. Ali uspešna žena je uspešna žena, nema tu rasprave. I jeste, Mišel Vajld je prilično šarmantno stvorenje.
A za ove mladiće iz Rume nisam čuo ali Rumljani su uvek imali respektabilnu hardkor scenu, pa je ovo manje-više u duhu njihove svetle tradicije!!!
Atari je 40 godina star. (http://techland.time.com/2012/06/27/atari-at-40-catching-up-with-founder-nolan-bushnell/)
100 Riffs (A Brief History of Rock N' Roll) on Vimeo (http://vimeo.com/43426940)
http://www.cracked.com/blog/the-5-most-absurdly-expensive-items-in-online-gaming/ (http://www.cracked.com/blog/the-5-most-absurdly-expensive-items-in-online-gaming/)
http://mancave.cbslocal.com/2012/07/02/the-most-amazing-ly-stupid-spider-man-reboots/ (http://mancave.cbslocal.com/2012/07/02/the-most-amazing-ly-stupid-spider-man-reboots/)
http://auroramagazin.blogspot.com/2008/03/romantini-dejting-u-doba-kosovske-krize.html (http://auroramagazin.blogspot.com/2008/03/romantini-dejting-u-doba-kosovske-krize.html)
Zakk, što si ovo linkovao, što mi to uradio, život mi se ogadio...
Hm? Pa to je neki humor, mada ne odveć smešan...
A u nedostatku ovonedeljnog DJ Meho šoa, dobar je i krekdov kolumnista koji pobraja idiotske ribute Spajdermena u stripu:
http://mancave.cbslocal.com/2012/07/02/the-most-amazing-ly-stupid-spider-man-reboots/ (http://mancave.cbslocal.com/2012/07/02/the-most-amazing-ly-stupid-spider-man-reboots/)
Quote from: Meho Krljic on 05-07-2012, 18:04:10
Hm? Pa to je neki humor, mada ne odveć smešan...
Ma nije smešan uopšte, a nije ni pametan kao što misli da jeste, ali mene ubi radoznalost jer sam kliknula na post o Pahomiju i shvatila da je autor za potrebe svoje nesmešne humoreske o Pahomiju i deci brutalno plagirao deo iz Ane Karenjine kad ona krišom dolazi da vidi sina. :cry: Ne znam šta bih mu prvo uradila. xuss
Oh.. pa nisam ja toliko duboko... prodro u problematiku.
Vala ni ja, nisam ni pogledao to o Pahomiju tj Karenjini...
kondom ili bareback - pitanje je sad?
QuoteKondomi u porno filmovima - da ili ne?
Glasači u Los Anđelesu i okolini odlučiće u novembru da li će upotreba kondoma biti obavezna za glumce u porno filmovima.
Borci protiv AIDS-a prikupili su više od 360.000 potpisa podrške upotrebi kondoma u američkoj filmskoj porno industriji koja se nalazi u San Fernando dolini severno od Los Anđelesa. Predsednik Fondacije AIDS Heltker Majkl Vajnstan, čija je fondacija jedna od pet grupa koje su pozvale na glasanje o ovom pitanju, rekao je da je srećna okolnost što je ovo izborna godina pa će odziv birača biti visok.
"Izuzetno nam je drago što se naš zahtev da producenti filmova za odrasle moraju da dobiju sve zdravstvene dozvole uspešno kvalifikovao za novembarske izbore", rekao je on.
"Ova mera, koja je predložena po ugledu na slične dozvole kada je reč o studijima za tetovažu, masažu ili javnim kupatilima, pružiće veću sigurnost glumcima u filmovima za odrasle", dodao je Vajnstajn.
On je podsetio da je grad Los Anđeles u januaru glasao da glumci u porno filmovima nose kondome, a da će se sada o tom predlogu izjašnjavati čitav okrug. Zaposleni u kalifornijskoj porno industriji prošle godine su privremeno morali da prekinu sa radom nakon što je jedan glumac bio pozitivan na testu za HIV.
Kompanija "Film L.A. Inc." koja izdaje dozvole filmskim kompanijama za snimanje u Los Anđelesu navela je da je oko pet procenata od 45.500 dozvola koje ova agencija izda dnevno dato za snimanje porno filmova.
http://www.b92.net/zivot/vesti.php?yyyy=2012&mm=07&dd=06&nav_id=624319 (http://www.b92.net/zivot/vesti.php?yyyy=2012&mm=07&dd=06&nav_id=624319)
Глупости. Како ће снимати камшотове с куртонима? Додаваће специјалне ефекте?
u sličnom tonu
Fenomen: Čim vidi porno snimak, trpi neizdržive migrene
QuoteJedan Indijac (24) postao je predmet naučnog istraživanja nakon što se požalio na to da mu gledanje porno snimaka izaziva takve migrene da mu se čini da će "glava da mu eksplodira".
Mladić podvrgnut ispitivanju je profesionalni programer, nije oženjen, a od užasnih glavobolja pati poslednje dve godine, piše junski broj naučnog časopisa "Archives od Sexual Behaviour".
Migrene bi se pojačale i po nekoliko puta dok bi gledao pornografske video snimke, a najveći bol osetio bi desetak minuta nakon što "pritisne plej". Na toj tački, bol je toliko jak da mora da pobene od ekrana, sav u suzama izazvanim bolovima.
Autori studije, Kuldžit Sing Anand i Vikas Dikav, dodaju da njihov ispitanik "nije imao u prošlosti glavobolje koje bi se mogle povezati ni sa masturbacijom, ni sa seksualnim činom". Problem bi se pojavio samo kada bi gledao porno sadržaje.
Don Bjuz, profesorka neourologije na Medicinskom koledžu "Albert Ajnštajn", rekla je za mrežu ABC da se kod oko jednog procenta stanovništa javlja problem sa glavoboljama povezanim sa seksualnom aktivnošću. U nekim slučajevima je, kako navodi, dovoljno da budu lako uzbuđeni i da usledi glavobolja.
Anand i Dikav takođe su istakli da njihov ispitanik nije ranije u životu patio od migrena ili glavobolja zbog napetosti, da nikada nije povredio glavu, niti je neurološkim ispitivanjima pronađena bilo kakva anomalija.
Istraživači nisu mogli sa sigurnošću da utvrde šta mladom programeru izaziva glabolje, pa su dijagnozu ograničili na to da migrene izazivaju receptori za bol u vilicama i na licu mladića, prenosi MSNBC.
Pored toga, Anand i Dikav navode da nesrećni čovek oseća povećanje bola "zahvaljujući" tome što se "dovodi u stanje povišene emotivnosti povezane sa gledanjem pornografije".
U vreme dok je bio predmet studije, Indijac je počeo da se "uzdržava od gledanja videa kako bi izbegao glavobolje".
Naučnici su mu, međutim, predložili drugačije rešenje: prepisali su mu lekove protiv bolova i preporučili da ih uzima pola sata pre gledanja pornografije.
Indijac je, kako prenose mediji, tada osećao "izvesno poboljšanje i umirenje bolova".
http://www.24sata.rs/vesti/luda-planeta/vest/fenomen-cim-vidi-porno-snimak-trpi-neizdrzive-migrene/46267.phtml (http://www.24sata.rs/vesti/luda-planeta/vest/fenomen-cim-vidi-porno-snimak-trpi-neizdrzive-migrene/46267.phtml)
Je l' ovo nešto novo od engleskih čilagera :lol:
NAPALM DEATH - The Wolf I Feed (OFFICIAL VIDEO) (http://www.youtube.com/watch?v=el5ewJxBASo#ws)
С овогодишњег албума.
Meni je to neslušljivo. Ne zezam se, poslednja tri albuma sam pokušao da slušam nekoliko puta i nikada nisam izdržao duže od pola. Mislim, trude se, poštujem, ali... ne. Poslednji ceo album koji sam preslušao je... Fear Emptiness Despair, koji je negde iz, hm... 1994???
Pozdrav sa Stonerizera
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi52.photobucket.com%2Falbums%2Fg7%2FDry-Na-Nord%2Facroholia.jpg&hash=9dfc818dd67339c41acca58974068e99819688e3)
:lol: :lol: :lol: :lol:
:-| :-| :-| :-|
Jane McGonigal: The game that can give you 10 extra years of life (http://www.youtube.com/watch?v=lfBpsV1Hwqs#ws)
Znam da je užasno što je meni ovo urnebesno smešno. Ali jeste.
http://www.cracked.com/blog/so-youve-got-gerbil-stuck-in-your-ass/ (http://www.cracked.com/blog/so-youve-got-gerbil-stuck-in-your-ass/)
Sve najbolje drugu Mehmetu želimo uz prigodan novinski članak!
http://www.pressonline.rs/sr/vesti/dzet_set_svet/story/233820/Napisala+sam+strip+o+superjunakinji+iz+eks-Ju.html (http://www.pressonline.rs/sr/vesti/dzet_set_svet/story/233820/Napisala+sam+strip+o+superjunakinji+iz+eks-Ju.html)
Zahvaljujemo! Mada te ne vidim na Skajpu, dakle, ili se kriješ ili si zapisao datum u bilježnicu. :lol:
A ovi stripovi, ooooh, zvuči sjajno!!!!!!!!!!
a dušman i skajp...
Sumanuta stvar je u tome što ja na Skajpu držim DušManovu sliku pa moje kolege širom sveta misle da sam mnogo lepši nego što jesam.
nači mogu komotno i sa tobom da skajpujem, a da ugođaj bude jednak
Pa, kako bih rekao... nije sve u izgledu, ima nešto i u veličini. Ne mogu ja da se merim sa DušManom.
mogu ja da se merim s dušmanom :)))
Samo napred, vi mladi treba da se provodite.
ел то душман инсинуира да ти је данас рођендан???
pa da! zaboravih skroz.
mehane, živ ti nama bio sto godina i ovako palamudio još dvesta! xcheers
Mehmet grize kroz vekove! :|
Veliki je insinuator ovaj DušMan. Ali, da, u pravu je, stupio sam u petu deceniju života svom snagom.
I hvala, hvala.
срећан рођендан!
Da, da, čestitamo!
:-| :-| :-| :-| :-|
UK Air Guitar 2011 Championships Final with Air Picks - Champion Smokey Van P (http://www.youtube.com/watch?v=o31Q9ZZiz0Y#ws)
Quote from: Meho Krljic on 24-07-2012, 11:46:36
Ali, da, u pravu je, stupio sam u petu deceniju života svom snagom.
stupio si ti još prošle godine, ovo sad je nezaustavljiva posledica. :mrgreen:
btw, čestitke, pozdravi, želje na sagiti. jbt, dođe mi da qpuke .
:lol: :lol: :lol:
Oh, pa srećan ti onda rođendan Mehane!!!
ti si lav :) )))))))))))))))
s.r!
Hvala, deco. I, zar nije prva godina sa brojem jedan u deceniji početak decenije? A poslednja, sa nulom, kraj prethodne?? Ja sam ubijeđen da je tako!
Plus, što se lavstva tiče, slabo je to kod mene izraženo (mislim, da verujem u horoskopiju, bilo bi slabo izraženo) jer je danas valjda tek prvi dan lava...
I nekako mi je ovo "Mehane" vazda bilo mnogo slatko, podseća na mehanu, a mehana je meni uvek bila neka kafana gde se pored pića servira i nekakva mehanika. Ah, šta zna dete šta je jezik...
da, da...ti si mi baš stručnjak za mehane. :cry: :cry: :cry:
Pa, jasno je da nisam. Ali mi je reč slatka.
pridružujem se čestitkama.
Ja pridružujem zahvalu!
For he's a jolly good fellow (http://www.youtube.com/watch?v=1MsKW84b-7E#)
Malo u fazonu portala ili tako nešto :lol:
Sve najbolje!
Malo 40-50 year old nerd rage-a za tebe:
Old guy playing WoW nerd raging (http://www.youtube.com/watch?v=-uqdXVNPsP4#)
I malo Nine Hartli koja priča o 38godišnjem čovi koji:
"I've only had paid sex. Am I still a virgin?"
The 50-Year-Old (Sort of) Virgin (http://www.youtube.com/watch?v=ODS8U3b48Lk#)
Sad mi je krivo što ne živimo svi u istom gradu da vas vodim na kolače :lol: :lol:
Awwww.
Mada za koji vek možda bude postojala konurbacija Banjaluka-Beograd-Beč.
e jape, ma laže ko pas, ja da ti kažem. :lol:
al mehan je to i svi ga volimo uprkos silnim nedostacima. :lol: :lol:
Quote from: Meho Krljic on 24-07-2012, 15:07:43
Sad mi je krivo što ne živimo svi u istom gradu da vas vodim na kolače :lol: :lol:
S obzirom da su čestitke virtuelne, može i virtuelni kolač!!! Kao na primer:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.jacquiscakes.com%2Fphotos%2FSculpted%2520Cakes%2FCoffin%252050th%2520Birthday.jpg&hash=01ff6f7c7fd76e4d9d27ff19fa4188f65555353f)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffancythatcake.com%2Fwp-content%2Fuploads%2F2012%2F01%2FToilet-Birthday-Cake-2.jpg&hash=1fd33b112c2c88b75d03e6bede69b7b3a4f4e5d7)
:lol:
Mislim, ipak si ušao u petu deceniju!!! :)
Al imam još da guram do pedesete!!!!!!!!
I Lilita je u pravu, ja bih vas možda i izveo na kolače ali onda bih se tiho izvukao da puzim po žbunju u parku u potrazi za stonogama.
Ah, pa Meho je velikodušni lav, zato se lepo slažemo. :lol:
Živi ti nama bio i, što je najvažnije, zdrav i mršav! xcheers
Quote from: Meho Krljic on 24-07-2012, 15:21:36
Al imam još da guram do pedesete!!!!!!!!
I Lilita je u pravu, ja bih vas možda i izveo na kolače ali onda bih se tiho izvukao da puzim po žbunju u parku u potrazi za stonogama.
Da, ali za 40tu nisam našao prigodne torte!!!
Quote from: D. on 24-07-2012, 15:22:05
Ah, pa Meho je velikodušni lav, zato se lepo slažemo. :lol:
Živi ti nama bio i, što je najvažnije, zdrav i mršav! xcheers
Kakvi mršav, kad se pogledam u ogledalo imam utisak da zauzimam više od tri prostorne dimenzije.
Quote from: Perin on 24-07-2012, 15:25:35
Quote from: Meho Krljic on 24-07-2012, 15:21:36
Al imam još da guram do pedesete!!!!!!!!
I Lilita je u pravu, ja bih vas možda i izveo na kolače ali onda bih se tiho izvukao da puzim po žbunju u parku u potrazi za stonogama.
Da, ali za 40tu nisam našao prigodne torte!!!
Neka, neka, poješće se i ove!!!
Ama, D, jesi videla onu sliku od juče?! Mehmet se neprimetno iščlanio iz kluba mršavih!11!1 :cry:
ja, iskreno, ne verujem da je ono mehan. poslednji put kad sam ga videla bio je visok, lep i mršav. ono juče je neko... biće.
Meho nam lepo izgleda u svakom izdanju. :) Pogotovo na veliki, zreli i najbolji rođendan!!! :lol:
afiniteti su afiniteti, al, ipak, nemojmo preterivati.
Ma, ja sam gadno usvinjen. Nema tu vrdanja.
Quote from: Meho Krljic on 24-07-2012, 16:12:26
Ma, ja sam gadno usvinjen. Nema tu vrdanja.
Ima vrdanja, stani izmedju mene i Nightfliera, recimo, ima odmah da izgubis jos jedno 20 kila.
A i srecan rodjendan, kad sam vec ovde :-)
Oh, hvala, hvala!!!
Quote from: Meho Krljic on 24-07-2012, 15:07:43
Sad mi je krivo što ne živimo svi u istom gradu da vas vodim na kolače :lol: :lol:
...ali nema opravdanja da ne vodiš nas koji zapravo i živimo u istom gradu!!!!
Nema mnogo... Daću sebi neopravdani!
Quote from: Melkor on 24-07-2012, 17:01:36
Quote from: Meho Krljic on 24-07-2012, 16:12:26
Ma, ja sam gadno usvinjen. Nema tu vrdanja.
Ima vrdanja, stani izmedju mene i Nightfliera, recimo, ima odmah da izgubis jos jedno 20 kila.
A i srecan rodjendan, kad sam vec ovde :-)
Jes', vala! Potpisujem i za mršavljenje i za čestitanje! A mogli bismo i da se vidimo, pa da se uzajamno častimo?
Biće svega, čašćavanja i viđanja i gojenja!!!
Iskoristio bih priliku i da se najtoplije zahvalim Perinu na poklonima na Steamu!!!!!!!!1
Quote from: Meho Krljic on 25-07-2012, 10:57:49
Iskoristio bih priliku i da se najtoplije zahvalim Perinu na poklonima na Steamu!!!!!!!!1
Nema na čemu!!! Igra je svakako prigodan poklon za čo'eka tvojih godina!!!
Nego, kad god neko krene da priča da je muzika danas kurac na biciklu, da sve zvuči isto i da je bilo mnogo boljije nekad, ja ga naranim gomnima, kažem mu da je mator, da nema pojma, da se predao i tako to. Kad, cvrc, nauka veli da tu ima istine!!!
Evo ga istraživanje u fulu:
http://www.nature.com/srep/2012/120726/srep00521/full/srep00521.html (http://www.nature.com/srep/2012/120726/srep00521/full/srep00521.html)
A evo i članak u Economistu koji to malo sažima za tl;dr ekipu:
http://www.economist.com/blogs/babbage/2012/07/science-music (http://www.economist.com/blogs/babbage/2012/07/science-music)
Emejzing
http://www.cracked.com/blog/8-sped-up-videos-that-shatter-your-idea-ordinary-things/ (http://www.cracked.com/blog/8-sped-up-videos-that-shatter-your-idea-ordinary-things/)
Quote from: Meho Krljic on 04-08-2012, 11:06:24
Emejzing
+1
Nego, su javili ribama da će da uruše branu?
Ne verujem, i sam Džon meditira o tome kako su ribe morabiti bile iznenađene.
Meho pozdravio odluku vlade o Aćifu :-| :-|
http://www.b92.net/info/vesti/index.php?yyyy=2012&mm=08&dd=08&nav_category=12&nav_id=633237 (http://www.b92.net/info/vesti/index.php?yyyy=2012&mm=08&dd=08&nav_category=12&nav_id=633237)
Sex in Comic! The top 100 strangest, suggestive and steamy vintage comic book panels of all time!
http://mitchoconnell.blogspot.com/2012/08/sex-in-comic-top-100-strangest.html (http://mitchoconnell.blogspot.com/2012/08/sex-in-comic-top-100-strangest.html)
http://www.cracked.com/article_19742_the-5-most-insane-examples-chinese-counterfeiting.html (http://www.cracked.com/article_19742_the-5-most-insane-examples-chinese-counterfeiting.html)
Kad se spoje Džeki Čen i Šonbejbi može da nastane samo klasika. Nisam se ovako jako smejao, još od... Šonbejbijevog stripa o Grin Lanternu - pervertitu, a Džekijevi stantovi su, kao i obično, dokaz da Supermen postoji i da je Kinez.
http://www.cracked.com/blog/the-6-most-needlessly-dangerous-jackie-chan-stunts/ (http://www.cracked.com/blog/the-6-most-needlessly-dangerous-jackie-chan-stunts/)
tuga :(
Hollie Stevens, 'Queen of Clown Porn,' dies of cancer at 30
NYDailyNews – The adult film community is mourning the death of a young starlet hailed as "The Queen of Clown Porn," who lost a battle with breast cancer earlier this month. Hollie Stevens' death in San Francisco was announced by her husband, Eric Cash, in a Facebook post on Friday. Stevens, 30, was credited with pioneering a genre of porn films known as "clown porn," which featured actors in clown makeup having sex.
http://www.nydailynews.com/news/national/hollie-stevens-queen-clown-porn-dies-cancer-30-article-1.1112066 (http://www.nydailynews.com/news/national/hollie-stevens-queen-clown-porn-dies-cancer-30-article-1.1112066)
http://i.minus.com/igIoflJLECeP8.gif (http://i.minus.com/igIoflJLECeP8.gif)
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(https://p.twimg.com/A1DPyGeCcAAgUE7.jpg:large) (https://p.twimg.com/A1DPyGeCcAAgUE7.jpg:large)
Deluje kao neka Šonbejbijeva smicalica. :lol:
http://ncannasse.fr/file/ld24/ld24.html (http://ncannasse.fr/file/ld24/ld24.html)
4 Armed Mohawked Robot playing the drums (http://www.youtube.com/watch?v=X1jsU1lBZMc#ws)
Dobar je robot, mada, naravno, pored postojećih ritam mašina ovo je čista dekadencija :lol:
http://www.cracked.com/article_19987_the-6-craziest-ways-creators-hid-themselves-in-video-games.html (http://www.cracked.com/article_19987_the-6-craziest-ways-creators-hid-themselves-in-video-games.html)
Quote from: Gaff on 31-08-2012, 12:01:13
4 Armed Mohawked Robot playing the drums (http://www.youtube.com/watch?v=X1jsU1lBZMc#ws)
awwww kako je sladak ovaj robot
Oko mene neprestano šetaju u odelima sa punom ratnom kiber opremom, mašu rukama ispred ispred ekrana... ludilo...
Kako bi se ti ovde gde sam ja sada radovao, a ja na nekom kongresu o vodama...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimageshack.us%2Fa%2Fimg840%2F5361%2Fwcgam.jpg&hash=e1b2fca8c5d4e5a3bc300a57a001be19be0b59c3)
:lol: :lol: :lol: :lol: Dobro, i vode su lepe.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi47.tinypic.com%2F2i930uu.jpg&hash=c6d785de4f2b4b2eadd4548f588597eab19db796)
Mehane, si bio na Marduku? 8)
:lol: xremyb
QuoteSve nameštene Putinove avanture (FOTO)
Vladimir Putin priznaje da je većina njegovih avantura u prirodi koje su mediji prenosili zapravo brižljivo izrežirana, ali tvrdi da na taj način pokušava da privuče pažnju na važnost očuvanja životne sredine.
Još fotografija nameštenih i pravih avantura ruskog predsednika možete pogledati u našoj galeriji.
Ruski predsednik se često pojavljuje u društvu životinja: od sibirskog tigra, do kitova, a zahvaljujući tome u javnosti važi za neku vrstu političkog Indijane Džounsa.
Neki misle da je to samo propaganda u sovjetskom stilu, ali Putin kaže da je to najbolji način da se javnost upozna sa značajem očuvanja prirode.
Poslednja takva avantura bila je let sa ždralovima, a predsednik priznaje da je brižljivo izrežirana.
Ponekad, kaže on, nameštanje se otme kontroli, a on je zbog toga "često besan".
"Ipak, avanturu sa tigrovima sam sam osmislio. Dvadeset drugih zemalja u kojima žive tigrovi počele su da se brinu o njima", rekao je on u intervjuu za jedan ruski list misleći na incident od pre četiri godine kada je snimljen kako uspavljuje tigra kako bi ga pratili u okviru jednog od projekata očuvanja.
Kritičari su kasnije ukazali da je tigar doveden iz zoo vrta, samo da bi ga Putin uspavao pred kamerama. Slično se desilo i sa leopardima, a Putin je priznao da su scene bile nameštene.
On je priznao i da je i prošlogodišnji događaj, kada je navodno u ronilačkom odelu iz Crnog mora izvukao dve drevne amfore, takođe "ulepšana".
"Zašto sam ronio? Ne da se hvališem, nego da ljude učim istoriji. Naravno, sve je bilo namešteno", rekao je Putin.
Još fotografija nameštenih i pravih avantura ruskog predsednika možete pogledati u našoj galeriji.
http://www.b92.net/zivot/vesti.php?yyyy=2012&mm=09&dd=14&nav_id=643100 (http://www.b92.net/zivot/vesti.php?yyyy=2012&mm=09&dd=14&nav_id=643100)
Quote from: Vampirella on 15-09-2012, 02:16:24
Mehane, si bio na Marduku? 8)
Nisam. Problemi sa mačkama.
A ovo za Putina, video sam to i to nikako ne umanjuje njegovu muževnost.
Nego, druga tema.
Premalo ovde pričamo o dečijoj pornografiji što je valjda i normalno, ko bre želi da se toga dotiče? No, baš takav stav je i doveo do mnogih kontraproduktivnih političkih i legalnih odluka poslednjih godina, koje ne čine ništa da zaštite decu od zlostavljanja, i proizvod su religijskih i copyright lobista, argumentuje Rick Falkvinge, čovek koji se najviše bavi politikom vezanom za slobodu informacije, ali koji je napisao nekoliko naširoko diskutovanih tekstova o dečijoj pornografiji i dokumentovanom zlostavljanju dece a koji poslednjih dana haraju Internetom i izazivaju žučne rasprave. Evo tri:
http://falkvinge.net/2012/09/07/three-reasons-child-porn-must-be-re-legalized-in-the-coming-decade/ (http://falkvinge.net/2012/09/07/three-reasons-child-porn-must-be-re-legalized-in-the-coming-decade/)
http://falkvinge.net/2012/05/23/cynicism-redefined-why-the-copyright-lobby-loves-child-porn/ (http://falkvinge.net/2012/05/23/cynicism-redefined-why-the-copyright-lobby-loves-child-porn/)
http://falkvinge.net/2012/09/11/child-porn-laws-arent-as-bad-as-you-think-theyre-much-much-worse/ (http://falkvinge.net/2012/09/11/child-porn-laws-arent-as-bad-as-you-think-theyre-much-much-worse/)
Quote from: Meho Krljic on 15-09-2012, 12:50:07
A ovo za Putina, video sam to i to nikako ne umanjuje njegovu muževnost.
Kako to? Uspavljuje tigra iz zoološkog vrta, a ne divljeg, opasnog, gladnog. Kako ga to ne čini mekušcem? :lol:
To ćemo da proverimo kad neko od nas uspava tigra - makar iz cirkusa.
:D
Oh, genijalno!!!!!!!!!!!!!!!!!!!!
Slayer - Angel of Death - 800% Slower!! (http://www.youtube.com/watch?v=c2GqW5F_C5M#ws)
КУВАЛДА - Алконоид (http://www.youtube.com/watch?v=H3rrknj_YPI#ws)
Slatko :lol: al meni je bliže ovo recimo:
Anal Nosorog-Condom Of Hate (http://www.youtube.com/watch?v=NDAEBC1ZrTU#)
Naravno da jeste. :lol:
ovaj slejer je vaistinu genijalan kako god ga okreneš.
odnapred, otpozadi, usporen, ubrzan, šta god!
Vala genijalan. ovaj ga je usporio a nije mu smanjio pič. Baš dobro zvuči.
Oceano - Ending Intellect (Death Metal Cat Drum Cover) (http://www.youtube.com/watch?v=u2LTf-dVfuo#)
Nego kad videh 800%, onaj Bieber što je Gul(beše?) kačio na fb je odličan!
Justin Bieber 800% Slower (http://www.youtube.com/watch?v=QspuCt1FM9M#)
Da, Biber je ko neki Sigur Ros istripovaniji :lol: A ova ded metal mačka je odlična, znao sam da postoji razlog što je Alah stvorio Oceano.
meho nam je nešto tužan.
Otkud to??? Meni ne deluje ni malo tužno!!!!!!!!!!
:-D
džaba mu, ja za to imam šesto čulo!!!
Nikako. Ne bih tugom nazvao uzgrednu frustraciju što nemam vremena da u jednom opširnom eseju obrazložim zašto je Slayerova pesma Black Magic (http://www.youtube.com/watch?v=8CoGDjtBtVE#)bolja od Metallicinog Motorbreath (http://www.youtube.com/watch?v=VOiYF4PbGe0#), iako su obe pesme dobre. Tuga je ipak nešto dublje!!!!!!!!!!!
:lol:
dobro, de, melanholičan. ali meni je to isto!!!
Ma nisam, sad sam se okupao!!!!!!!!!!1
xrofl xremyb
http://www.cracked.com/blog/the-7-most-shameful-diy-sex-toys-internet (http://www.cracked.com/blog/the-7-most-shameful-diy-sex-toys-internet)
:shock: Neke od ovih stvari nikada ne mogu biti odviđene.
David Wong u još jednom depresivnom ali zabavnom članku:
http://www.cracked.com/blog/5-reasons-humanity-desperately-wants-monsters-to-be-real/ (http://www.cracked.com/blog/5-reasons-humanity-desperately-wants-monsters-to-be-real/)
Ne sugerišem da si ti osoba koja bi ikad slušala Pulp, ali ovo je toliko bizarno da ne znam gde drugde da okačim:
Pulp - Srpski Jeb (http://www.youtube.com/watch?v=aBDMphTJ0BQ#)
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet loves
All she wants is Srpski jeb
Hoi!
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet sex
All she wants is Srpski jeb
Hoi!
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet sex
All she wants is Srpski jeb
She don't want no Soviet sex
All she wants is Srpski jeb
She don't want no Soviet sex
All she wants is Srpski jeb
Hoi!
Srpski jeb
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet loves
All she wants is Srpski jeb
Hoi!
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet sex
All she wants is Srpski jeb
Hoi!
Village maiden picking mushrooms
by the woodland lakes and brooks
She don't want no Soviet sex
All she wants is Srpski jeb
She don't want no Soviet sex
All she wants is Srpski jeb
She don't want no Soviet sex
All she wants is Srpski jeb
Hoi!
:lol: :lol: Ne bih ali da, lepa tema za ovu pesmu
http://www.pulpwiki.net/Pulp/SrpskiJeb (http://www.pulpwiki.net/Pulp/SrpskiJeb)
Quote
Details
- Status: Unreleased: a demo recording does exist
- Length: 2:50
- First played live: 1984
- Recorded: 8 May 1984 (Wicker Karate Rooms, Sheffield) (Sudan Gerri demo (http://www.pulpwiki.net/Pulp/SudanGerriDemo))
Srpski Jeb means 'Serbian fuck' in the Serbian language. It is a euphemistic term for mock rape.
Први пут чујем, али давно је била 1984.
Jasno je da Džarvis Koker već treću deceniju radi na kaljanju naše reputacije.
Mada je "mock rape" prejak izraz, verovatno se misli na žestok seks, poput onog što Velimir Živojinović reklamira u filmu u Raljama Života.
http://youtu.be/Mx1sN15C5rs (http://youtu.be/Mx1sN15C5rs)
Malo mu se prispavalo, Seasons in the Abyss je ipak spora pesma :lol:
Možda nije pravo mesto, ali nisam smeo da rizikujem da Meho ovo ne vidi... :)
"Kriminalna biblioteka" 1937. god.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg831.imageshack.us%2Fimg831%2F4628%2Fmeho1.jpg&hash=3266a3fc62c32c189134a40fc4f319a074beaa8d)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg208.imageshack.us%2Fimg208%2F972%2Fmeho2i.jpg&hash=113ac065d5ce7ca92318290829d16d1a6090510c)
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PS: izvinjavam se Novosađanima...
Zaista je sjajno, pogotovo objašnjenje urednika zašto piše o ovome :lol: Dobrom policajcu će ovo biti korisni podaci. :-| :-|
E, ima nešto što me umereno zanima, ali ne toliko da bih skrnavila oči guglajući odgovarajuće ključne reči, pa je svakako bolje da se obratim lokalnom ekspertu: da li postoji neko stručno (terminološko i ino) razlikovanje osoba koje svoje SM sklonosti iživljavaju u strogo kontrolisanom okruženju (kao ovo gore), uz uzajamni dogovor, lozinke za prestanak itd, i onih koje se tome okreću više onako stihijski u privatnom životu, sve uz teške telesne povrede i smrt nevoljnih učesnika? Mislim, da li je sadista koji se iživljava SAMO uz takvu strogu kontrolu i neku vrstu nadoknade "pravi" sadista i da li je ovo moje pitanje ekstremno glupo, kao što mi se sada već čini?
Sadizam je jednosmerna komunikacija (monolog) nasilja.
Quote from: Jevtropijevićka on 10-10-2012, 20:53:13
E, ima nešto što me umereno zanima, ali ne toliko da bih skrnavila oči guglajući odgovarajuće ključne reči, pa je svakako bolje da se obratim lokalnom ekspertu: da li postoji neko stručno (terminološko i ino) razlikovanje osoba koje svoje SM sklonosti iživljavaju u strogo kontrolisanom okruženju (kao ovo gore), uz uzajamni dogovor, lozinke za prestanak itd, i onih koje se tome okreću više onako stihijski u privatnom životu, sve uz teške telesne povrede i smrt nevoljnih učesnika? Mislim, da li je sadista koji se iživljava SAMO uz takvu strogu kontrolu i neku vrstu nadoknade "pravi" sadista i da li je ovo moje pitanje ekstremno glupo, kao što mi se sada već čini?
Nije glupo, ali to je otprilike poodela između ljudi koji igraju fudbal sredom i petkom uveče u sali, sa trenerkama, patikama i dobrim ortacima i ljudi koji ga igraju na ulici, polupijani, u pocepanim farmerkama i martinkama.
Drugim rečima, oni koji rade sa ugovorima, dogovorima, safewordovima, uz opremu itd. su tzv. lifestyle ekipa a ovi drugi su casual ekipa.
Naravno, teške telesne povrede i smrt su izuzetno retke među onim prvim i jako retke među onim drugim. Naravno da ih ima ali nije da su pravilo.
"Pravi" sadista bi više bio psihološka (a time i politička) odrednica nego bilo šta drugo. Ja baš ne verujem da se može praviti jasna podela, ne najmanje zato što na sceni ima mnogo svičeva, dakle osoba koje su u nekim setinzima dominantne, u nekim submisivne, ali i zato što je sadističko ponašanje u kontrolisanim uslovima stvar dogovora, ne stvar samo psihologije jednog od učesnika. Takođe, sadizam ne podrazumeva dominaciju i obrnuto, dominacija ne podrazumeva sadističko ponašanje itd.
Dakle, lifestyle ekipa po mojim skromnim iskustvima više govori u terminima subova i domova nego sadista i mazohista. Mazohista i sadista su pre svega psihološke kategorije ali nisu nužno kompatibilne sa lifestyle ulogama ili uopšte, ulogama u seksualnoj igri onako kako mi, vanila ekipa, to intuitivno zamišljamo.
Quote from: Lord Kufer on 10-10-2012, 20:55:52
Sadizam je jednosmerna komunikacija (monolog) nasilja.
Pa, da, otprilike, kao što je mazohizam jednosmerna komunikacija primanja nasilja. U smislu seksualnog/ lifestyle odnosa ne može da postoji sadizam ili mazohizam, već samo sadomazohizam, dakle odnos, razmena.
Hteo sam ja da napišem jedan tekst o tome za prošli (trenutno aktuelni) Libartes, ali nisam stigao od silnog pisanja o igrama i muzici. A i nisam baš stručan za ovu temu. :oops: Mada, nisam ni za igre ili muziku, kad smo već kod toga.
Izvorni mazohizam je po ugovoru (kod Mazoha). Ali, u psihologiji je drugačije to protumačeno, mislim.
Kod sadizma nema razgovora između sadiste i žrtve.
Kod mazohizma postoji dogovor.
Nije baš tako prosto. Na primer iz wikipedijinog uvoda:
Quote
The term sadomasochism denotes the co-occurrence of sadism and masochism in one person, as discrete mental disorders. Some contend masochism to be the spiritual inner self-punishment for acts inwardly acknowledged to be sadism. In psychiatric theory, the term "sadomasochism" may be used exclusively. The medical (http://en.wikipedia.org/wiki/Medicine) definitions (denotations and connotations) of "sadism" and "masochism" have been modified as required by medical progress, since the Austrian psychiatrist (http://en.wikipedia.org/wiki/Psychiatrist) Richard Freiherr von Krafft-Ebing (http://en.wikipedia.org/wiki/Richard_Freiherr_von_Krafft-Ebing) (1840–1902) introduced the terms to psychiatry in the 19th century. This article presents the development of "sadism" and "masochism" as medical terms, leading to their contemporary definitions as a paraphilia (http://en.wikipedia.org/wiki/Paraphilia) in the Diagnostic and Statistical Manual of Mental Disorders (http://en.wikipedia.org/wiki/Diagnostic_and_Statistical_Manual_of_Mental_Disorders) (DSM). As erotic practices, the sadomasochistic subculture, and related matters, are noted historically.
Dakle, ima ovakvih i onakvih shvatanja mazohizama i sadizama i sadomazohizama... U svakom slučaju treba praviti razliku između psiholoških definisanja i lifestyle izbora.
Ima raznih shvatanja zbog prakse, ima različitih slučajeva.
Što se erotskog momenta tiče, tu imam neko svoje mišljenje, koje verovatno nije dovoljno precizno.
Ono što je potrebno za odnos između dvoje, pa neka je to i seksualni odnos, jeste razlika u potencijalu. Mislim, ako nedostaje taj hormonski napon između muškog i ženskog, onda se ide na drugu vrstu odnosa koji to omogućuje - recimo, gospodar-rob, nasilje prema pasivnom, ili ko zna još kakve fore.
Neki parovi se prvo posvađaju pa tek onda mogu tu energiju da pretoče u strast. Toga sam se dosta nagledao. Ne mora to nužno da bude silovanje, ali može da liči. Mnogi muškarci zaista veruju da žena voli kad je pokatkad "stave na svoje mesto". Glavni razlog za to je nemaštovitost, ispraznost, neznanje, neiskorištenost sopstvenih resursa.
Uglavnom, potrebno je postići polaritet kako bi bila omogućena razmena komplementarnih sadržaja. Bez toga nema dešavanja.
Ali, mislim da je glavna stvar, recimo u seksualnom odnosu, to što se tu radi o odnosu dva tela, samo što se taj odnos opterećuje psihološkim sadržajima, koji smetaju. Previše emocija i emocionalno nerazumevanje može da izazove kurcšlus. Isto važi i za ideološke forme (društvene forme) odnosa. Očekuju se određene reakcije, a kad one izostanu, lako sledi udarac koji stvari dovodi u red :twisted:
Quote from: Meho Krljic on 10-10-2012, 21:02:58
Quote from: Jevtropijevićka on 10-10-2012, 20:53:13
E, ima nešto što me umereno zanima, ali ne toliko da bih skrnavila oči guglajući odgovarajuće ključne reči, pa je svakako bolje da se obratim lokalnom ekspertu: da li postoji neko stručno (terminološko i ino) razlikovanje osoba koje svoje SM sklonosti iživljavaju u strogo kontrolisanom okruženju (kao ovo gore), uz uzajamni dogovor, lozinke za prestanak itd, i onih koje se tome okreću više onako stihijski u privatnom životu, sve uz teške telesne povrede i smrt nevoljnih učesnika? Mislim, da li je sadista koji se iživljava SAMO uz takvu strogu kontrolu i neku vrstu nadoknade "pravi" sadista i da li je ovo moje pitanje ekstremno glupo, kao što mi se sada već čini?
Nije glupo, ali to je otprilike poodela između ljudi koji igraju fudbal sredom i petkom uveče u sali, sa trenerkama, patikama i dobrim ortacima i ljudi koji ga igraju na ulici, polupijani, u pocepanim farmerkama i martinkama.
Drugim rečima, oni koji rade sa ugovorima, dogovorima, safewordovima, uz opremu itd. su tzv. lifestyle ekipa a ovi drugi su casual ekipa.
Naravno, teške telesne povrede i smrt su izuzetno retke među onim prvim i jako retke među onim drugim. Naravno da ih ima ali nije da su pravilo.
"Pravi" sadista bi više bio psihološka (a time i politička) odrednica nego bilo šta drugo. Ja baš ne verujem da se može praviti jasna podela, ne najmanje zato što na sceni ima mnogo svičeva, dakle osoba koje su u nekim setinzima dominantne, u nekim submisivne, ali i zato što je sadističko ponašanje u kontrolisanim uslovima stvar dogovora, ne stvar samo psihologije jednog od učesnika. Takođe, sadizam ne podrazumeva dominaciju i obrnuto, dominacija ne podrazumeva sadističko ponašanje itd.
Dakle, lifestyle ekipa po mojim skromnim iskustvima više govori u terminima subova i domova nego sadista i mazohista. Mazohista i sadista su pre svega psihološke kategorije ali nisu nužno kompatibilne sa lifestyle ulogama ili uopšte, ulogama u seksualnoj igri onako kako mi, vanila ekipa, to intuitivno zamišljamo.
E da, da, to sam otprilike pitala. Oću reći, meni je nekako blizu zdrave pameti sledeće - kad je neko dovoljno osvešćen u pogledu svojih sklonosti da traži neke prihvatljive kanale za njih, i da pokušava da izbegne potencijalne razorne posledice po svoje i tuđe zdravlje, što fizičko što duhovno, onda se da pretpostaviti da je dovoljno osvešćen i da makar pokuša da ih izbegne u, er, životu, i time koliko-toliko ispada iz date psiićke kategorije. Mislim, dovoljno sam se nagledala u životu ljudi koji sebe smatraju normalnim a samo traže nekog da ga kinje/da ih kinji da bih njima i njihovim vezama u svakom trenutku pretpostavila ovu lifestyle ekipu - pod uslovom da su ovako sofisticirani i etički opredeljeni kako ja to
idealistički intuitivno zamišljam. :mrgreen:
Samo ti njih prosledi na http://www.vezime.com/ (http://www.vezime.com/)
A evo nešto iskustava iz prve ruke: http://okoviljubavi.blogspot.com/ (http://okoviljubavi.blogspot.com/)
BTW nazivi ovih sajtova su tako dražesni <3
BTW2, upoznao sam devojku 22-23 godine ima, metar i pokušaj, jedva 45 kila, slatka je i voli da se igra na conquiztador.rs i — radi kao domina... i dalje mi je teško da povežem sve to u istu osobu.
jbt pa ovi su baš, ovaj, ozbiljno odgovorni i preventivni:
"Zato od Vas očekujemo da pravovremeno reagujete i sprečite Vašu decu da posećuju sajtove kao što je naš. Da bismo Vam pomogli u tome, pripremili smo Vam listu korisnih sajtova koje možete posetiti i saznati kako da to sa lakoćom učinite."
A kako si je upoznao?... ne, nemoj da mi kažeš, dosta mi je otkrovenja za mesec dana najmanje.
Quote from: Jevtropijevićka on 10-10-2012, 23:12:07
Mislim, dovoljno sam se nagledala u životu ljudi koji sebe smatraju normalnim a samo traže nekog da ga kinje/da ih kinji da bih njima i njihovim vezama u svakom trenutku pretpostavila ovu lifestyle ekipu - pod uslovom da su ovako sofisticirani i etički opredeljeni kako ja to idealistički intuitivno zamišljam. :mrgreen:
Ja opet velim da nemam sad neka velika znanja o ovome, ali znam da je forum na kome su se okupljali (mahom američki, kanadski i nešto britanskih) BDSM likovi bio najpristojnije mesto koje sam ikada video na Internetu. Nikada na njemu nisam video svađu, ljudi su se sa velikim uvažavanjem ophodili jedni prema drugima i tokom žestokih političkih rasprava itd. Reklo bi se da su to ljudi naučeni na samokontrolu i uvažavanje druge osobe.
Quote from: Jevtropijevićka on 10-10-2012, 23:28:19A kako si je upoznao?... ne, nemoj da mi kažeš, dosta mi je otkrovenja za mesec dana najmanje.
Ništa dramatično kao kafanski razgovori :)
Prosto, devojka drugara mog prijatelja. Zabavni ljudi.
Is It Safe? - Marathon Man (4/8) Movie CLIP (1976) HD (http://www.youtube.com/watch?v=kzw1_2b-I7A#ws)
Jesi li video ovo:
Superman quits Daily Planet day job to go online
...In the new issue of DC Comics' Superman series, out tomorrow, Clark will stand up in front of staff in a "Jerry Maguire-type moment" which will see him resign from the Daily Planet and mourn "how journalism has given way to entertainment", writer Scott Lobdell told USA Today.
http://www.guardian.co.uk/books/2012/oct/23/superman-job-online-dc-comics (http://www.guardian.co.uk/books/2012/oct/23/superman-job-online-dc-comics)
Pa, nisam, jer sutra izlazi, ali lepo je da se Lobdel trudi. :lol:
Heh, video igre su definitivno medijum DANAŠNJICE. Interaktivan, kreativan, i naravno, naklonjen osobama sa OCD-om :lol: (http://www.cracked.com/article_20063_the-6-most-mind-blowing-and-pointless-gaming-achievements.html?wa_user1=3&wa_user2=Video+Games&wa_user3=article&wa_user4=companion)
Quote... Zoe Smit, dizačica tegova i njen fantastičan odgovor kritičarima njenog izgleda. Zoe je između ostalog napisala:
...ne dižemo tegove da bismo izgledale seksi, naročito ne takvim muškarcima. Zašto misle da mi ŽELIMO da im budemo privlačne? Ako smo vam privlačne, hvala, polaskane smo. Ako ne, zašto uopšte morate da izrazite svoje mišljenje, i zašto mislite da nas je briga što vi, lično, ne smatrate da smo privlačne? Šta hoćete od nas? Da prestanemo da dižemo tegove, promenimo dijete kako bismo se otarasile naših "muških" mišića, i postale domaćice samo da bismo jednog dana imale makar malo šanse kod vas?!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg854.imageshack.us%2Fimg854%2F3122%2Fzoesmith3.jpg&hash=4052b5a670607d00e073d115c297d84b63fc7e8e) (http://imageshack.us/photo/my-images/854/zoesmith3.jpg/)
carica 8)
http://izvankuhinje.blogspot.com/2012/08/sinoc-su-zatvorene-xxx-letnje.html (http://izvankuhinje.blogspot.com/2012/08/sinoc-su-zatvorene-xxx-letnje.html)
Ne znam, nije seksepil samo u izgledu, jelte...
mislim da to i ona kaže :wink: a postavila sam je jer znam da voliš mišićave žene. i ja bih se, recimo, zaljubila u ovu. divna je.
Whoa, ne preterujmo odmah sa zaljubljivanjem!!! Da vidimo prvo kakav smisao za humor ima, kuva li, toleriše li lošu tehniku u seksualnog partnera, tako te stvari...
Ova maca zasluzuje pravog vlasnika (ovaj, mislim, batlera). Ustavno pravo svake mace je da ju se mazi.
Pat the cat (http://www.youtube.com/watch?v=8fwXeBCMrT4#)
Oooooooooooooooooooooooo, kako je slatkaaaaaaaaaaaaaaaaaaaaaaa xsmlove2 xsmlove2 xsmlove2
Kaže maca, mani miša, mene mazi.
De su joj uši :shock:
Da, takve su one. Imam neke u ponudi akoje neko zainteresovan :)
Pa jesam li ja jedini koji ne obraća pažnju na mačku??????????????????? :?
Quote from: Barbarin on 30-10-2012, 17:20:00De su joj uši :shock:
http://en.wikipedia.org/wiki/Scottish_Fold (http://en.wikipedia.org/wiki/Scottish_Fold) :)
A twelve year old boy used his Dungeons and Dragons manual to help his fathers research and wound up as an author on a paper published in a journal from the Royal Society. (http://blogs.discovermagazine.com/notrocketscience/2012/10/30/12-year-old-uses-dungeons-and-dragons-to-help-scientist-dad-with-his-research/)
A evo i tog članka! (http://rsbl.royalsocietypublishing.org/content/early/2012/10/25/rsbl.2012.0850)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi542.photobucket.com%2Falbums%2Fgg429%2FBojan_B%2FRazno%2F13041012.gif&hash=da81e164f3dbb5049440c157571aa7bdbf4cc62b)
Omg, upoznao sam Meha! :?
Nastupiće smena paradigmi!!!!!!!!!!11
Ili bar generacija!!!!!!!!!!!! Nešto se mislim, FatherJape svira bubnjeve deset puta kraće od mene a verovatno najmanje pet puta bolje, dakle i jeste vreme za smenu!!!!!!!!!!!!!!!! Inače u životu deluje nežnije nego na forumu, ali to svi već znate!!!
Quote from: Meho Krljic on 13-11-2012, 00:07:15
Inače u životu deluje nežnije nego na forumu
That's what she said!1!1!!!
Quote from: Meho Krljic on 13-11-2012, 00:07:15
Inače u životu deluje nežnije nego na forumu, ali to svi već znate!!!
Ali samo ti smeš da kažeš!!!!!!!!1
Pa, kako bi on rekao, ja nemam nikakav vested interest tu, pa mogu da pravim opservacije bez mnogo brige!!! Nežan je to čovek, NEŽAN!!!
Zakk mi je skrenuo pažnju na ovo: Paolo Pederaci, autor mnogih indie/ eksperimentalnih/ browser igara, od kojih je najpoznatija možda Every Day the Same Dream, ovde izlaže svoje viđenje seksa u videoigrama i prilično je zanimljivo (ne kopiram ceo tekst jer ima gomila slika i klipova u istomu):
Fucking polygons, fucking pixels: On procedural representations of sex (http://www.molleindustria.org/blog/fucking-polygons-fucking-pixels-on-procedural-representations-of-sex/)
Zašto disonantna muzika smeta ljudima koji nisu ja:
Why dissonant music strikes the wrong chord in the brain (http://www.nature.com/news/why-dissonant-music-strikes-the-wrong-chord-in-the-brain-1.11791)
Quote
The common aversion to clashing harmonies seems to be due to mathematical relationships of overtones.
Many people dislike the clashing dissonances of modernist composers such as Arnold Schoenberg. But what's our problem with dissonance? It's long been thought that dissonant musical chords contain acoustic frequencies that interfere with one another to set our nerves on edge. A new study proposes that in fact we prefer consonant chords for a different reason, connected to the mathematical relationship between the many different frequencies that make up the sound1 (http://www.nature.com/news/why-dissonant-music-strikes-the-wrong-chord-in-the-brain-1.11791#b1).
Cognitive neuroscientist Marion Cousineau of the University of Montreal in Quebec and her colleagues evaluated these explanations for preferences about consonance and dissonance by comparing the responses of a control group of people with normal hearing to those of people with amusia — an inability to distinguish between different musical tones.
Unpleasing sounds Consonant chords are, roughly speaking, made up of notes that 'sound good' together, like middle C and the G above it (an interval called a fifth). Dissonant chords are combinations that sound jarring, like middle C and the C sharp above (a minor second). The reason why we should like one but not the other has long vexed both musicians and cognitive scientists.
It has often been suggested that humans have innate preferences for consonance over dissonance, leading some to conclude that music in which dissonance features prominently is violating a natural law and is bound to sound bad. Others, including Schoenberg himself, have argued that dissonance is merely a matter of convention, and that we can learn to love it.
However, there has long been thought to be a physiological reason why at least some kinds of dissonance sound jarring. Two tones close in frequency interfere to produce 'beating': what we hear is just a single tone rising and falling in loudness. If the difference in frequency is within a certain range, rapid beats create a rattling sound called roughness. An aversion to roughness has seemed consistent with the common dislike of intervals such as minor seconds.
Yet when Cousineau and colleagues asked amusic subjects to rate the pleasantness of a whole series of intervals, they showed no distinctions between any of the intervals. In contrast, normal-hearing people rated small intervals (minor seconds and major seconds, such as C–D) and large but sub-octave intervals (minor sevenths (C–B flat) and major sevenths (C–B)) as very unpleasant.
Out of harmony Then the researchers tested how both groups felt about beating. They found that the amusics could hear it and disliked it about as much as the control group. So apparently something else was causing the latter to dislike the dissonant intervals.
Those preferences seem to stem from the so-called harmonicity of consonant intervals. Notes contain many overtones — frequencies that are whole-number multiples of the basic frequency in the note. For consonant intervals the overtones of the two notes tend to coincide as whole-number multiples, whereas for dissonant intervals this is no longer the case: they look more like the irregular overtones for sounds that are 'inharmonic', such as metal being struck.
The control group preferred consonant intervals with these regular harmonic relationships over artificial 'consonant' ones in which the overtones were subtly shifted to be inharmonic while the basic tones remained the same. The amusics, meanwhile, registered no difference between the two cases: they seem insensitive to harmonicity.
Co-author Josh McDermott at New York University reported previously that harmonicity seems more important than beating for dissonance aversion in normal hearers2 (http://www.nature.com/news/why-dissonant-music-strikes-the-wrong-chord-in-the-brain-1.11791#b2). In the new paper he and his colleagues argue that the lack of sensitivity both to harmonicity and dissonance in amusics now adds to that case1 (http://www.nature.com/news/why-dissonant-music-strikes-the-wrong-chord-in-the-brain-1.11791#b1).
Diana Deutsch, a music psychologist at the University of California at San Diego, says that the work is "of potential interest for the study of amusia", but questions whether it adds much to our understanding of normal hearing. In particular she wonders if the findings will survive in the context of everyday music listening, where people seem to display contrary preferences. "Rock bands often deliberately introduce roughness and dissonance into their sounds, much to the delight of their audiences", she says.
Sandra Trehub, an auditory psychologist at the University of Toronto at Mississauga, agrees, saying that there are plenty of musical traditions in which both roughness and dissonance are appreciated. "It's hard to imagine a folk tradition based on something that's inherently negative," she says.
But McDermott says that the results do not necessarily imply that there is anything innate about a preference for harmonicity, and indeed he suspects that learning plays a role. "Other approaches will be needed to address the innateness issue," he says.
Journal name: Nature DOI: doi:10.1038/nature.2012.11791 References (http://www.znaksagite.com/diskusije/javascript:;)
- Cousineau, M., McDermott, J. H. & Peretz, I. Proc. Natl Acad. Sci. USA http://dx.doi.org/10.1073/pnas.1207989109 (http://dx.doi.org/10.1073/pnas.1207989109) (2012).
- PubMed (http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?holding=npg&cmd=Retrieve&db=PubMed&list_uids=23150582&dopt=Abstract)
Show context (http://www.znaksagite.com/diskusije/javascript:;) - McDermott, J. H., Lehr, A. J. & Oxenham, A. J. Curr. Biol. 20, 1035–1041 (2010).
- Article (http://dx.doi.org/10.1016/j.cub.2010.04.019)
- PubMed (http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?holding=npg&cmd=Retrieve&db=PubMed&list_uids=20493704&dopt=Abstract)
- ISI (http://links.isiglobalnet2.com/gateway/Gateway.cgi?amp;GWVerhttp://links.isiglobalnet2.com/gateway/Gateway.cgi?amp;GWVersion=2&SrcAuth=Nature&SrcApp=Nature&DestLinkType=FullRecord&KeyUT=000278662500030&DestApp=WOS_CPL)
- ChemPort (http://chemport.cas.org/cgi-bin/sdcgi?APP=ftslink&action=reflink&origin=npg&version=1.0&coi=1:CAS:528:DC%2BC3cXnsVarsr0%3D&pissn=0028-0836&md5=4ce058e7fb368af05fc142974f455eae)
Show context (http://www.znaksagite.com/diskusije/javascript:;)
Naravno, ovo i dalje ne opovrgava citiranu Šenbergovu tvrdnju da možemo da naučimo da volimo disonancu.
http://www.flickr.com/photos/digital_elysium/sets/72157626213515542/with/5504666171/ (http://www.flickr.com/photos/digital_elysium/sets/72157626213515542/with/5504666171/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffarm6.staticflickr.com%2F5177%2F5505299362_bd637565d5.jpg&hash=83f1d42e460318981c07669c16b3c395a01bcde9)
Ti... naučnici... evo čime se bave:
The Sunny Side of Smut (https://www.scientificamerican.com/article.cfm?id=the-sunny-side-of-smut)
Quote
For most people, pornography use has no negative effects—and it may even deter sexual violence
By Melinda Wenner Moyer (https://www.scientificamerican.com/author.cfm?id=2339)
It used to be tough to get porn. Renting an X-rated movie required sneaking into a roped-off room in the back of a video store, and eyeing a centerfold meant facing down a store clerk to buy a pornographic magazine. Now pornography is just one Google search away, and much of it is free. Age restrictions have become meaningless, too, with the advent of social media—one teenager in five has sent or posted naked pictures of themselves online, according to the National Campaign to Prevent Teen and Unplanned Pregnancy.
With access to pornography easier than ever before, politicians and scientists alike have renewed their interest in deciphering its psychological effects. Certainly pornography addiction or overconsumption seems to cause relationship problems [see "Sex in Bits and Bytes (http://www.scientificamerican.com/article.cfm?id=sex-in-bits-and-bytes)," by Hal Arkowitz and Scott O. Lilienfeld; Scientific American Mind, July/August 2010]. But what about the more casual exposure typical of most porn users? Contrary to what many people believe, recent research shows that moderate pornography consumption does not make users more aggressive, promote sexism or harm relationships. If anything, some researchers suggest, exposure to pornography might make some people less likely to commit sexual crimes.
Does Porn Harm Women?
The most common concern about pornography is that it indirectly hurts women by encouraging sexism, raising sexual expectations and thereby harming relationships. Some people worry that it might even incite violence against women. The data, however, do not support these claims. "There's absolutely no evidence that pornography does anything negative," says Milton Diamond, director of the Pacific Center for Sex and Society at the University of Hawaii at Manoa. "It's a moral issue, not a factual issue."
In 2007 researchers at the University of Zagreb in Croatia surveyed 650 young men about their pornography use and sex lives. As they reported in the Archives of Sexual Behavior, the scientists found that users of mainstream, non­violent pornography were neither more nor less sexually satisfied than nonusers. Both groups felt the same degree of intimacy in their current or recent relationships and shared the same range of sexual experiences. But when it came to violent or fetishist porn, the groups diverged. Consumers of these types of pornography appeared to masturbate more frequently, have more sexual partners over the course of their life, and experience slightly less relationship intimacy than their nonviolent porn–viewing counterparts.
Regular pornography use does not seem to encourage sexism, either. In 2007 Alan McKee, a cultural studies expert at the Queensland University of Technology in Australia, designed a questionnaire to assess sexist tendencies. He enclosed his survey in shipments of pornographic material distributed by a mail-order company and also posted it online. Responses from 1,023 pornography users indicated that the amount of pornography the subjects consumed did not predict whether they would hold negative attitudes toward women. The survey respondents who were most sexist were generally older men who voted for a right-wing political party, lived in a rural area and had a lower level of formal education.
But the questionnaire may have missed a key nuance. In a study published in 2004 in the Journal of Psychology & Human Sexuality (https://www.scientificamerican.com/topic.cfm?id=sexuality), researchers at Texas Tech University administered a different survey to male and female college students and found that although consumers of pornography did not display more negative attitudes toward women, they were more likely than other respondents to believe that women should be protected from harm—what the investigators call "benevolent sexism."
Self-Medicating with Fantasy
Perhaps the most serious accusation against pornography is that it incites sexual aggression. But not only do rape statistics suggest otherwise, some experts believe the consumption of pornography may actually reduce the desire to rape by offering a safe, private outlet for deviant sexual desires.
"Rates of rapes and sexual assault in the U.S. are at their lowest levels since the 1960s," says Christopher J. Ferguson, a professor of psychology and criminal justice at Texas A&M International University. The same goes for other countries: as access to pornography grew in once restrictive Japan, China and Denmark in the past 40 years, rape statistics plummeted. Within the U.S., the states with the least Internet (https://www.scientificamerican.com/topic.cfm?id=internet) access between 1980 and 2000—and therefore the least access to Internet pornography—experienced a 53 percent increase in rape incidence, whereas the states with the most access experienced a 27 percent drop in the number of reported rapes, according to a paper published in 2006 by Anthony D'Amato, a law professor at Northwestern University.
It is important to note that these associations are just that—associations. They do not prove that pornography is the cause of the observed crime reductions. Nevertheless, the trends "just don't fit with the theory that rape and sexual assault are in part influenced by pornography," Ferguson explains. "At this point I think we can say the evidence just isn't there, and it is time to retire this belief."
What if it turns out that ­pornography use actually reduces the desire to rape? It is a controversial idea, but some studies support it. Work in the 1960s and 1970s reported that sexual criminals tend to be exposed to pornographic materials at a later age than noncriminals. In 1992 Richard Green, a psychiatrist at Imperial College London, disclosed in his book Sexual Science and the Law that patients requesting treatment in clinics for sex offenders commonly say that pornography helps them keep their abnormal sexuality within the confines of their imagination. "Pornography seems to be protective," Diamond says, perhaps because exposure correlates with lower levels of sexual repression, a potential rape risk factor.
A Personal Concern
Repression seems to figure prominently into the puzzle of pornography. In 2009 Michael P. Twohig, a psychologist at Utah State University, asked 299 undergraduate students whether they considered their pornography consumption problematic; for example, causing intrusive sexual thoughts or difficulty finding like-minded sex partners. Then he assessed the students with an eye to understanding the root causes of their issues.
It turns out that among porn viewers, the amount of porn each subject consumed had nothing to do with his or her mental state. What mattered most, Twohig found, was whether the subjects tried to control their sexual thoughts and desires. The more they tried to clamp down on their urge for sex or porn, the more likely they were to consider their own pornography use a problem. The findings suggest that suppressing the desire to view pornography, for example, for moral or religious reasons, might actually strengthen the urge for it and exacerbate sexual problems. It's all about "personal views and personal values," Twohig says. In other words, the effects of pornography—positive or negative—have little to do with the medium itself and everything to do with the person viewing it.
This article was originally published with the title The Sunny Side of Smut.
Web pornography's effect on children (http://www.apa.org/monitor/nov07/webporn.aspx)
Quote
Although research is scarce, investigators see links between young people who access Web porn and unhealthy attitudes toward sex.
By Tori DeAngelis
Monitor Staff
November 2007, Vol 38, No. 10
Print version: page 50
Finding pornography on the Internet is as easy as Googling the word "sex," as the 40 million Americans who visit porn Web sites each year can attest. Critics worry about online pornography's effects on adults' work and family lives, but even more about its impact on children and teens.
Despite the handwringing, however, only a handful of investigators have examined the validity of these concerns. Many are reluctant to explore the topic, thanks to its morally loaded nature, the methodological challenges of Web pornography's effects on children studying an underage population, and the difficulty in showing whether exposure to online porn actually changes sexual attitudes and behavior.
"We need a lot more research to keep tabs on this phenomenon and to separate hype from reality," says sociologist David Finkelhor, PhD, director of the University of New Hampshire's (UNH) Crimes Against Children Research Center and a lead researcher in the area. To give the issue some perspective, his team has examined a variety of social trend indicators during the time that concerns about Internet use among the young have risen--between 1996 and 2005--and found that teens are actually displaying healthier behaviors in domains that might be negatively influenced by greater access to Internet porn.
"There have been drops in crime, drops in teen pregnancy, increases in the number of kids who say they're virgins, declines in various kinds of victimization and less running away," Finkelhor says. "You have to hold that image on one hand as you're confronting all of the things that are happening online."
That said, a few studies are beginning to show relationships between Web porn use among young people and sexual attitudes. For example, those who frequent porn sites more often are more likely to view sex as a purely physical function and to view women as sex objects. They're also more likely to hold such views if they perceive the material as more realistic, research finds.
Who is affected?
Each year about 40 percent of teens and preteens visit sexually explicit sites either deliberately or accidentally, studies here and abroad show. In a study in the February Pediatrics (Vol. 119, No. 2, pages 247-257), for example, attorney Janis Wolak, psychologist Kimberly Mitchell, PhD, and Finkelhor, of the UNH center, found that 42 percent of a nationally representative sample of 1,500 Internet users ages 10 to 17 had been exposed to online porn in the last year, with two-thirds reporting only unwanted exposure. In fact, the incidence of unwanted exposure has risen for this age group, from about 26 percent between 1999 and 2000, to 34 percent in 2005, the team has found.
Perhaps not surprisingly, boys are much more likely to seek out pornography than girls, and use increases with age, research finds. In the UNH team's study, for instance, 38 percent of 16- and 17-yea-rold male Internet users deliberately visited X-rated sites in the past year, compared with 8 percent of girls. Similarly, Australian sociologist Michael Flood, PhD, of La Trobe University, reported in the March issue of the Journal of Sociology (Vol. 43, No. 1, pages 45-60) that 38 percent of boys and 2 percent of girls ages 16 and 18 deliberately accessed such material.
Teens' sexual attitudes
Because all published studies about the influence of Internet porn on teen attitudes are correlational, researchers can't say for sure whether access to Internet porn causes certain attitudes and behaviors, emphasizes Jochen Peter, PhD, a communications researcher at the University of Amsterdam. But he and colleague Patti M. Valkenburg, PhD, are finding some intriguing links.
In one study surveying 471 Dutch teens ages 13 to 18, the researchers found that the more often young people sought out online porn, the more likely they were to have a "recreational" attitude toward sex--specifically, to view sex as a purely physical function like eating or drinking.
In the study, reported in the December 2006 Journal of Communication (Vol. 56, No. 4, pages 639-660), the team also found a relationship between porn use and the feeling that it wasn't necessary to have affection for people to have sex with them. Boys were much more likely to hold these views than girls, and they tended to hold these attitudes more strongly when they perceived the material as realistic, the team found.
In a related study in the March issue of Sex Roles (Vol. 56, No. 5/6, pages 381-395), the Dutch team found a link between the type and explicitness of sexual media the teens saw and their tendency to view women as sexual "play things." The more explicit the material viewed, the more likely young people were to see women in these ways--and Internet movie porn was the only media type to show a statistically significant relationship, they found.
Another study not yet finalized will likely add more rigor to the way such variables are measured. Emory University health psychologist Ralph J. DiClemente, PhD, and colleagues are using high-tech software to capture which and how many sex Web sites 560 young people access over 16 months. The team also will survey the teens every two months on their sexual attitudes, onset of sexual behavior and frequency of sexually risky behavior.
Proactive parenting
Most likely, many factors can buffer young people from online pornography's negative effects, say researchers.
Psychologist and technology researcher Larry Rosen, PhD, of California State University, Dominguez Hills, is looking at one such shield: parents. In an as-yet-unpublished study, he found that young people's actions on MySpace--including looking at others' risqué poses, displaying their own and tapping into porn links--are strongly influenced by parenting styles.
His team asked parents and young people to rate the way parents monitored young people's computer use, dividing parents into four categories: authoritative, combining warmth and control; authoritarian, melding control and low warmth; indulgent, displaying warmth and low control; and neglectful, combining low warmth and low control.
Authoritative and authoritarian parents were much more likely than indulgent or neglectful ones to limit their youngsters' use of MySpace, for example by keeping tabs on their children's MySpace pages and requiring them to keep the computer in family rooms, the team found. In turn, the teens appeared to internalize those messages by, for example, not looking at suggestive poses of fellow MySpace users as much as those with indulgent or neglectful parents.
"Basically you're looking at clear, obvious differences in parenting styles, even in what kids see on MySpace," says Rosen (see "Creating a space for MySpace" (http://www.apa.org/monitor/nov07/creating.aspx)). "These kids have rules, and they're following those rules."
Protect or educate?
It's too early to say what these findings mean--or even what to do if clearer results are shown. Some, for example, believe that being sexually curious is part of the developmental process and that Internet porn is one, albeit problematic, way to satisfy that curiosity. And it may prove nearly impossible to completely prevent it, says Peter.
"When teenagers are old enough to be interested in sex, they are competent enough to find ways to access Internet porn," says Peter. Hence, "our research is motivated by educating young people rather than protecting them," he says.
For example, one databased educational effort could be to counsel teens that online porn "is one very specific notion of sex and sexuality, and may not correspond with what they, and most adults, experience in their sex lives," he says.
Others, though, suspect that frequent exposure may erode young people's ability to see the opposite sex in a wholesome way.
"We don't really know, but we suspect that exposure to, say, 10, 20, 30,000 pages of pornography may bias a young person in terms of what they consider a normal relationship," says DiClemente, who says it will be up to policymakers and parents to decide what to do if that turns out to be the case.
What is clear to researchers, though, is the need for more research. Their wish list includes a more detailed look at the effects of online pornography on young people under a range of exposure and family conditions, more longitudinal studies and a closer look at how inadvertent exposure may affect the young.
Tori DeAngelis is a writer in Syracuse, N.Y.
QQ i majko! Samhau, aj lajk it!!!!! Potpuno mi ide uz karakter! I horoskop!
(bolje ovo kod tebe nego kod D.)
(https://lh3.googleusercontent.com/-HfU-TYWXdYQ/UKokR6HBGRI/AAAAAAAAPN8/-3OMRlZpQ7c/s513/I%2520believe%2520in%2520Pink.jpg)
Fancy living Iron Maiden style?
Steve Harris is selling his house,
(football pitch with home and away
changing rooms...etc)
http://bit.ly/RkLOAy (http://bit.ly/RkLOAy)
Moćno izgleda, ali moćna je i cena.
Lepo izgleda. Ali poskupo.
81 INCH PRIME ASS !! (http://www.youtube.com/watch?v=mg-hJ9pKjbA#)
zašto niko nije obznanio ovog cara? :D
Dejvid Vong je napisao možda najnegativnije intoniran inspiracioni tekst u istoriji univerzuma (http://www.cracked.com/blog/6-harsh-truths-that-will-make-you-better-person/) :lol:
Odličan tekst. Ništa ne pokreće ljude bolje od šuta u zadnjicu, makar i verbalnog.
Kao neko ko prati Vonga, Čiza (i kolegu Pinkertona) već skoro deceniju, čitajući njihovo genijalno i često poludementno pisanje i glupiranje po Internetu, moram da kažem da me malo brine što i Džon Čiz i Dejvid Vong poslednjih par godina u svojim tekstovima zvuče kao očajni sredovečni ljudi (obojica mlađi od mene, pritom) koji su nezadovoljni svojim životima (iako su neka vrsta Internet selebritija) i pokušavaju drugima da pokažu, kroz pisanje puno saveta ali i gorčine, kako da ne završe kao njih dvojica. Mislim, Vong deluje malo pribranije mada uz sve što piše imam utisak da je jako nezadovoljan time gde je sada (iako je uspešan pisac, po čijem se romanu snima film, urednik relativno uspešnog sajta), a Čiz je prepun priča iz svoje prošlosti koje su užasne - nasilje u porodici, alkoholizam, siromaštvo, razvod - iz kojih se, eto izvukao, ali ne deluje zadovoljno iako sad radi ono što je uvek želeo...
Ne znam, mnogo se brinem za te ljude. Oni su mnogo dobrog učinili za ovaj svet... Posebno se posramljeno osećam što sa zakašnjenjem shvatam da je Džon Čiz svoje najbolje, najduhovitije radove napravio dok je bio hronični alkoholičar koji je zapostavljao svoju porodicu.
Quote...Džon Čiz svoje najbolje, najduhovitije radove napravio dok je bio hronični alkoholičar koji je zapostavljao svoju porodicu.
можда жали за тим временима
Ne zvuči kao da žali, naprotiv, zvuči kao da ga je sramota svega toga. Ali mene je sramota što često pomislim da mi nedostaju takvi njegovi radovi.
Quote from: Meho Krljic on 18-12-2012, 14:29:45
Dejvid Vong je napisao možda najnegativnije intoniran inspiracioni tekst u istoriji univerzuma (http://www.cracked.com/blog/6-harsh-truths-that-will-make-you-better-person/) :lol:
Ja nisam redovan čitalac Krekta, ali posle ovoga želim njegove bebe!
Pa, da, da. Zgodno je onda da znaš da mu je pravo ime Džejson - dakle PROROK!!! A i da je jedan seksi madrfakr:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi46.tinypic.com%2Fvomn20.jpg&hash=c9a93f58dd0e45ca7fd82cb3997cc60f0e97b76a)
Quote from: дејан on 19-12-2012, 12:22:48
Quote...Džon Čiz svoje najbolje, najduhovitije radove napravio dok je bio hronični alkoholičar koji je zapostavljao svoju porodicu.
можда жали за тим временима
joj, pronadjoh se u ovoj mehanovoj mudrosti!!!! ego works!
Quote from: Dacko on 19-12-2012, 08:45:25
Odličan tekst. Ništa ne pokreće ljude bolje od šuta u zadnjicu, makar i verbalnog.
ah dacko,
gde su tu empatija i altruizam???!!!!!
Quote from: Father Jape on 19-12-2012, 14:41:07
Quote from: Meho Krljic on 18-12-2012, 14:29:45
Dejvid Vong je napisao možda najnegativnije intoniran inspiracioni tekst u istoriji univerzuma (http://www.cracked.com/blog/6-harsh-truths-that-will-make-you-better-person/) :lol:
Ja nisam redovan čitalac Krekta, ali posle ovoga želim njegove bebe!
na otimačinu djece se narod mršti, sam' da znaš :lol:
Quote from: lilit_depp on 19-12-2012, 19:50:53
ah dacko,
gde su tu empatija i altruizam???!!!!!
A gde je empatija za finog dečka koji obećava?
Quote from: lilit_depp on 19-12-2012, 19:50:53
Quote from: Dacko on 19-12-2012, 08:45:25
Odličan tekst. Ništa ne pokreće ljude bolje od šuta u zadnjicu, makar i verbalnog.
ah dacko,
gde su tu empatija i altruizam???!!!!!
Nadam se da nikog nisam nenamerno dovela u zabludu da te osobine posedujem. :)
Od empatije nema vajde, od dobro usmerenog šuta ponekad bude. U životu sam dobila nekoliko i veoma su mi koristili, za razliku od tapšanja po ramenu, vajkanja i saosećanja.
Quote from: Meho Krljic on 19-12-2012, 11:51:29
...moram da kažem da me malo brine što i Džon Čiz i Dejvid Vong poslednjih par godina u svojim tekstovima zvuče kao očajni sredovečni ljudi (obojica mlađi od mene, pritom) koji su nezadovoljni svojim životima (iako su neka vrsta Internet selebritija) i pokušavaju drugima da pokažu, kroz pisanje puno saveta ali i gorčine, kako da ne završe kao njih dvojica...
Lično zadovoljstvo ili nezadovoljstvo nema mnogo veze sa tim šta je sve čovek postigao u životu – ako si svakog dana negde gde ne želiš da budeš ili radiš nešto što ti se ne radi, slaba vajda od toga da sebi ponavljaš: ,,Ja sam uspešan pisac, ja dobro zarađujem, ja imam ovo ili ono, upravo ovo sam hteo da budem pre pet ili deset godina." To što neko ima objektivne razloge da bude srećan samo mu još pravi osećaj krivice što se tako ne oseća, što je, doduše, opet dobro kao izvor humora, koji i ne nastaje usled veselog, supersrećnog, zadovoljnog pogleda na svet. Psiholozi su to dosta proučavali i objasnili kako to da stvarno postoje ,,siroti mali bogataši" te iz čega u stvari izvire suštinski osećaj zadovoljstva u ljudima, pa tu nabrajahu sve i svašta što nema veze sa slavom i novcem (premda ipak ima veze sa izvesnošću da će ga svakog meseca biti!), da bi umuljali i jedan zaključak koji malo poništava silne knjižurke o samopomoći: ljudi se i rađaju s određenom predispozicijom da se osećaju srećno, i prirodnim baksuzima svakako je teže da zadovoljstvo uoče u malim stvarima, pa se upravo takvi ljudi češće bacaju na razna stimulativna sredstva. Stoga nije ni čudo što je i tvoj omiljeni kolumnista stvarno bio vedriji i smešniji u alkoholičarskom razdoblju (makar duhovitost najčešće izvirala upravo iz nekog nezadovoljstva), dok se meni, kao srodnoj namćorskoj duši, ipak više sviđa u poslednje vreme, tako razočaran i ,,sredovečan", dok svima prenosi tradicionalnu roditeljsku, mentorsku, učiteljsku itd. pouku ,,nemoj da završiš kao ja".
Ali oni su u teoriji sad baš gde žele da budu. Dakle, Vong je uspeo da svoj hobi pretvori u profesiju - napustio je stari posao i sad može da krekduje i piše knjige po ceo dan. Čiz se skinuo sa alkohola, prvi put u životu ima posao gde solidno zarađuje, piše uglavnom o svom životu i radi od kuće koliko hoće i kad hoće, ima verenicu koja zna tačno ko i kakav je itd.. Morali bi da budu zadovoljniji :cry: :cry:
Da, pa? Kad si namćorasti duhoviti pesimista (a ove osobine idu u paketu kod silnih pisaca komičnih tekstova i komičara uopšte), konačno ostvarenje cilja jednako je razlog za nezadovoljstvo kao što bi to bilo kad bi se ispostavilo da je cilj potpuno nedostižan.
Zaboravih: oni su sada očito tamo gde su želeli da budu, što ne znači da već nemaju sasvim drugačije želje, verovatno po starom dobrom ,,nikad srećan nikad zadovoljan", što mi deluje kao verovatnija osobina stvaralaca u bilo kojoj oblasti nego ono ,,kad si srećan i kad želiš, s drugim deli sreću tu". :wink:
Dobro, ne mogu ja sad da sa sigurnošću objasnim šta se s njima dešava i zašto i kako to izlečiti, samo velim da mi je teško zbog njih :oops: :oops: Ipak su ti ljudi mnogo učinili za moj život.
Čuh juče na jednom podkastu, na muzičkom ekvivalentu Kickstartera Dave Weckl i neki lik imaju mali projekat:
http://www.pledgemusic.com/projects/daveweckl (http://www.pledgemusic.com/projects/daveweckl)
Dakle nisu samo velikani sveta igara odlučili da skoče na te taljige. :lol:
Nisam neki ljubitelj Weckla, ali dobro, sve što ljudima pomaže da opstanu u ovakvoj klimi je ipak dobrodošlo.
Kome treba još inspirativnih tekstova sa krekda, evo mu:
The 6 Most Aggressively Badass Things Done by Pacifists (http://www.cracked.com/article_20157_the-6-most-aggressively-badass-things-done-by-pacifists.html)
A za Džona Čiza u raspojasanom izdanju:
The 5 Most Hilarious Abuses of Video Game Glitches (http://www.cracked.com/blog/the-5-most-hilarious-abuses-video-game-glitches/)
Neki od ovih videa izazivaju bol u stomaku od smeha.
smatrajte se upozorenim
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fsphotos-f.ak.fbcdn.net%2Fhphotos-ak-snc6%2F282928_10151637766324569_337548039_n.jpg&hash=e89923a9d8d9dec69bd781eb9b77f8793fb95b52)
Zarđali Ekser - Oldtajmerka (Official HD video spot) Novo 2012. U spotu igra Suzana Mančić (http://www.youtube.com/watch?v=6L9JW4ZAX7o#ws)
"Hanna" scribe Seth Lochhead has been hired to pen the script for the film adaptation of popular PS2 video game "Shadow of the Colossus."
The story follows a man named Wander who must travel across a cursed wasteland and defeat sixteen creatures, known as the colossi, in order to restore the life of a girl.
Josh Trank ("Chronicle") remains attached to direct the project and will oversee the writing of the script.
Justin Marks penned an earlier draft back when the project was set up in 2009. Kevin Misher is producing.
Da, upravo sam to čito na Jurogejmeru. Frenkli, ne vidim kako ta igra može da funkcioniše kao film - sem kao praktično nemi film koga bi režirao Takashi Miike - ali nek im je sa srećom...
Nego, da ja pitam nešto konkretno. Da li bismo i kako mogli da organizujemo gostovanje Washtub Jerry-ja kod nas. Čovek svira na koritu.
Pa, zavisi koliko para traži za nastup i kakvi su mu uslovi, ako je jeftin, sigurno bi ga neki promoter doveo.
Ako je Charlesu teča, onda mi je Jerry praktično familija. Čovek je inače elektroinženjer i na opservatoriji Ft. Davies na Roki Mauntins zadužen za praćenje kretanja Meseca. Pojavljivao se jednom na TV i tom prilikom objasnio da on ne bi imao posao da na Mesecu nije postavljeno ogledalo sa koga reflektovani signal prati, te je to jedinstven dokaz da je čovek stupio na Mesec. Slušao sam ga i gledao kad se popne na korito i cima sajlu sa Porshea, dok mu snaja svira na klaviru. Svirao je jednom sa simfonijskim orkestrom dal' u Karnegi ili nekom drugom Hall-u. Sve u svemu, pojava je, a pre nedelju dana, u Pensacoli, mi je rekao da bi rado došao da svira u Beogradu, jer sam ga zaludeo pričama o njemu. Naravno, mislim da bi najmanje trebalo platiti njemu i njegovoj ženi avion, a ja bih ih smestio kod sebe. I, naravno ranio bih ga. Ti bi ranio Jane jer je ona vegetarijanac! Ha!
Vegetarijanka, štaviše!!!
Pazi, dok sam zarađivao ja sam se povremeno i upuštao u organizovanje koncerata, nije mi bilo žao da gubim pare. No sad, kad ne zarađujem, ne smem, tako da, moraće neko drugi.
Šteta. Jerry je čudo od sagovornika. Jedino je pitao da li neko u Srbiji svira na harmonici, jer mu za pratnju odogovara i pijanino i bas, ali harmonika je najbolji izbor.
Nadam se da si ga slagao da mi ovde za harmoniku nismo čuli, da mu bude manje žao.
Ih, Meho, a ja se ponadao da ćemo, kad se vratim, poraditi na hepeningu Jerryja Vyanta. Mix moon space informatike i drndanja Poršeove sajle za kvačilo.
Pa, ako ti obezbediš novac, ja ću lako da obezbedim sve ostalo.
Quote from: Meho Krljic on 08-01-2013, 23:41:46
Pa, ako ti obezbediš novac, ja ću lako da obezbedim sve ostalo.
To je i moja baba govorila, ali sam se kasno rodio.
Znala je baba šta pokreće svet.
Mrka Kapa - 4 Žene (http://www.youtube.com/watch?v=M3nLt5pKvb4#ws)
Meho, imaš poštovalaca!
:lol: A svira pet puta bolje od mene. :lol: :lol:
Assassin's Creed III - Benjamin Franklin's 8 Reasons for Dating Older Women (http://www.youtube.com/watch?v=8JzXG-G3Asg#ws)
lep nam je meho. :)
Daleko od toga, ali mrak kafane je čudo.
dobro, nije bio baš toliki mrak. a ja sam bila smorena (zato i nisam htela u kafanu), ali nisam se pokajala. :)
Sigurno se nisi pokajala jer si kelneru došanula da ti u cijeđeni sok od cijeđene narandže doliva votku kad niko ne gleda. Zato je i mrak kafane delovao lepšije!
:lol:
grešiš, ovaj, grdno grešiš, sinko. votku sam odradila kada sam "trknula" do kancelarije!!! 8-)
Videlo se, kad si se vratila sva rumena, mada smo mi mislili da je to od kardio treninga.
:D
bilo je tu svega po malo!!! :lol:
:-? :-? Tu mač informejšn!!!!!!!!!!!!!
xrofl
xremyb
P.S. ipak nisam tako divlja, vidiš. nisam te ni poljubila!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi49.tinypic.com%2F11v4ig8.jpg&hash=8105d78e3a29b1fa9768cb0f1913a3b03f8f7903)
hm, stvarno ima hemije izmedju vas dvoje. :)
Sve implikacije (i insinuacije) da su se sinoć u kafani gutali amfetamini odbijam sa gnušanjem. GNUŠANJEM!!!
Mada treba reći da je Jevtropijevićka nakon tvog kontrolnog poziva rekla "e, sad konačno mogu da se opustim", opsovala i krenula da naručuje votku za votkom. Gadnog je tu haosa posle bilo, ispraznila je suteren Orla za pet minuta, ljudi su uspaničeno plaćali račune i bežali ostavljajući nepojedene obroke, a kelner je morao da stavlja čašicu od rakije na glavu da nam Jevtra pokaže kako njen Valter P-38 (ima dršku ukrašenu sedefom) sa deset metara razdaljine ne zanosi ni pedalj ulevo.
A ja sam sve to vreme bio s one strane Save, u bioskopu. :cry:
Pominjala je i tebe dok je vitlala pištoljem. Ali ne smem da ponovim šta je sve rekla.
Milos je sve zapisivao dok nije dohvatila i viljusku. Tu su stvari vec postale zajebane.
Intermeco: Deset najgorih reklama vezanih za videoigre u istoriji reklamiranja:
Top 10 Worst Video Game Commercials (http://www.youtube.com/watch?v=luZZQ4K3lqs#)
E, sad, neke od ovih uopšte nisu najgore, recimo ona za Kirbija je slatka, za Activisionov Hokej sjajna (a ona za GBM takoreći pornografska), ali čovek ne može da se ne šokira da vidi kakve je sve reklame Nintendo pravio u ne tako davnoj istoriji, sa opsceno debelim ljudima koji su simbolizovali igrače :lol: Sa Wiijem i prizorima zdravih, srećnih porodičnih ljudi i promocijom zdravog života i rekreacije su stvarno napravili veliki zaokret.
Ah, kako ovaj nas Mehan skrece temu na krivi kolosek!
Skrećem, jer nije baš sve što smo sinoć u kafani radili za javnost (a ponešto je za sud).
Evo recimo, druga tema: donji klipovi su meni jako zabavni ali najviše zato što mislim da su oni ono kako "normalan" svet vidi ljude koji igraju video igre. Prvi je kraći i koncizniji ali i drugi ima zlata vrijednih momenata (This is why we shouldn't have socialised medicine, so people like this can just die)
I'MA TURN OFF THE SERVER - [url=http://www.myg0t.com]www.myg0t.com (http://www.youtube.com/watch?v=H8VzUlnQ2eE#ws)[/url]
THE BIG FAGGOT WHO FREEKILLS PEOPLE (http://www.youtube.com/watch?v=K6iA2Pxucwc#ws)
Osamnaest savršenih minuta:
SONOR @ NAMM 2013 Jojo Mayer Drumming (http://www.youtube.com/watch?v=Ma04Nady1nk#ws)
(od 6:00 kreće tuc-tuc, a na 9:45 podvikne basisti "Half-time!" i... oohhh <3)
Dakle, ljudi koji su trošili kvalitetnu pornografiju devedesetih godina prošlog veka sigurno pamte Aimee Sweet po dobru. E, sad možete u Bosni da naručite umjetnu vaginu modelovanu po, jelte, njenoj:
http://www.pik.ba/artikal/3950771/pomagalo-za-sex-umjetna-vagina/ (http://www.pik.ba/artikal/3950771/pomagalo-za-sex-umjetna-vagina/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi54.tinypic.com%2Fxldp5c.jpg&hash=cbf9c9f926658e1f40420bcd1b5fcde5e07f114c)
Naravno, potražnja je tolika da se stokovi brzo prazne:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi53.tinypic.com%2Fo8b3x2.jpg&hash=1b82daa4a266fb1692f644f1c85e0f33112c5398)
Naravno, pravi urnebes nastaje kad kliknete na tab "pitanja":
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Behemoth - Slaves Shall Serve (mini drum cover) (http://www.youtube.com/watch?v=0Ghg7kozMYg#)
O jebote, kakav delija!!!!!!!!!!!! :lol: :lol: :lol: :lol: Ispada da su i Behemot imali svoje mesto u grandioznom Alahovom planu za ovaj svet.
Ja na ovo moram, MORAM da odgovorim mojim omiljenim JuTjub videom:
Death Metal Office Drumming (http://www.youtube.com/watch?v=MJJHk4hSFB4#)
OK, osećam se kao da sam se probdio u nekom alternatrivnom svetu iz Zone sumraka.
Miodrag Kuzmanović ne postoji?
Auh.
Još će se o ovome pričati.
Quote from: Meho Krljic on 27-03-2013, 15:06:45
OK, osećam se kao da sam se probdio u nekom alternatrivnom svetu iz Zone sumraka.
Miodrag Kuzmanović ne postoji?
Auh.
Još će se o ovome pričati.
ништа те не разумем, шта се то десило?
Na mestu regularne kolumne Miodraga Kuzmanovića u novom broju Sveta Kompjutera ide redakcijsko objašnjenje da MK ne postoji, da nikada nije postojao, da je u pitanju kolektivni identitet njihovih autora bla bla bla, a da sada otkrivaju istinu jer im se revizor najebao majke što imaju čoveka koji se u impresumu vodi kao urednik a nema ga ni na jednom platnom spisku itd. Tim esu prekršili zakon o informisanju i u teoriji mogli da plate milijunsku kaznu a i da glavni urednik malo robija ali su dobili najblažu kaznu (šestomesečno isključenje iz svih esnafskih tela). Naravno, ovo je aprilski broj koji je izašao nekoliko dana pre prvog Aprila tako da ovo treba uzeti sa zrnom soli.
првоаприлска шала, сигурно. можда кузма укида своју колумну (или је фасовао отказ-укидање), па је ово 'вук сит овце на броју' варијанта.
едит....
нисам купио СК, сад морам да отрчим да узмем!
U čast mog muslimanskog prijatelja ispred najznačajnije bogomolje u Ouagadougouu (valjda imam sve samoglasnike).
I ovde ste većina...
Sitan sam da stane cela...
Iza se mogu kupiti jeftino u prostirke za molitvu i literatura, uglavnom na arapskom...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg547.imageshack.us%2Fimg547%2F293%2Fimg2021h.jpg&hash=f9c86b1237d654227a1efc36a83518de1f169884)
Quote from: Meho Krljic on 27-03-2013, 15:06:45
OK, osećam se kao da sam se probdio u nekom alternatrivnom svetu iz Zone sumraka.
Miodrag Kuzmanović ne postoji?
Auh.
Još će se o ovome pričati.
Ma najočiglednija aprilska šala. Provali kako je I/O port "umesto" Kuzmanovića pisala osoba sasvim sigurno izmišljenog imena. :lol:
Quote from: Mica Milovanovic on 06-04-2013, 00:59:24
U čast mog muslimanskog prijatelja ispred najznačajnije bogomolje u Ouagadougouu (valjda imam sve samoglasnike).
I ovde ste većina...
Sitan sam da stane cela...
Iza se mogu kupiti jeftino u prostirke za molitvu i literatura, uglavnom na arapskom...
Ја, naravno ne znam ništa o Burkini Faso ali ova džamija izgleda osvežavajuće skromno za grad od preko milion i po ljudi i za najvažniju bogomolju u istom. Mislim, jednobojna je praktično, nema neke nadrndane prilaze itd. U odnosu na džamije građene u Prištini poslednjih deset godina, ovo je izvanredan primer muslimanske skrušenosti i skromnosti.
Inače, evo zašto je uvek bolje kačiti sliku na tajnipik kad hoćete da je prikažete u postu, umesto da je hotlinkujete sa originalne strane:
http://www.znaksagite.com/diskusije/index.php/topic,2942.msg232008.html#msg232008 (http://www.znaksagite.com/diskusije/index.php/topic,2942.msg232008.html#msg232008)
Originalna slika, sa omotom albuma postala je ovo (cenzura dodata da tajnipik ne ubije):
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Brutal/Deathcore/Grindcore is NOT Music! (http://www.youtube.com/watch?v=gi3qC_zQ4Po#ws)
:x
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi47.tinypic.com%2F2ir3pmh.jpg&hash=45e5810240162f75aecac17a60174716f9227e58)
Mislim, razumem da je uporedio Drim Tijtr sa Masonnom ili tako nečim, ali ovo je prilično lejm. Missim, Sujsajd Sajlns? Get aut ov dodž, dečko.
Dejvid Vong o vatrenom oružju. (http://www.cracked.com/article_20396_5-mind-blowing-facts-nobody-told-you-about-guns.html?wa_user1=1&wa_user2=Weird+World&wa_user3=article&wa_user4=trending_now%C4%91)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.rts.rs%2Fupload%2FstoryBoxImageData%2F2013%2F05%2F02%2F12622672%2FMajli%2C%2520foto%25202.jpg&hash=58422809a67b69baff3adcb9bcb213b11d68ec8a)
Uvek sam volio Hanu Montanu tako da sigurno neću sad da menjam stav.
Znači ovaj intervju (crowd-interview) sa Džonom Mekafijem je URNEBESAN:
http://features.slashdot.org/story/13/05/07/2017203/interview-john-mcafee-answers-your-questions (http://features.slashdot.org/story/13/05/07/2017203/interview-john-mcafee-answers-your-questions)
Njegov život je kao neki film Majkla Vintera.
Ne moraš da reaguješ, no nisam znao gde da turim, a možda će da te zanima.
The John Bonham Story - BBC Radio 2 (http://www.youtube.com/watch?v=tCm_e7TFVHs#ws)
Oh, pa hoće, Bonzo je meni jedan od ipak temeljno važnih bubnjara i uticao je na formiranje mene kao čoveka i komuniste.
https://www.youtube.com/watch?v=Nm4CQOx1c3E (https://www.youtube.com/watch?v=Nm4CQOx1c3E)
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Nightwish songwriter announces concept album about...Scrooge McDuck?!? Details:
http://www.metalinjection.net/latest-news/nightwishs-main-songwriter-is-writing-an-album-about-scrooge-mcduck (http://www.metalinjection.net/latest-news/nightwishs-main-songwriter-is-writing-an-album-about-scrooge-mcduck)
Sinoć dok sam slušao kako Kraljevski Apartman kako završava set sa Posle Oluje, palo mi je na pamet da su se za potrebe refrena oslonili na besmrtni hit Karizme - Vrati se.
Sigurno ne mogu biti jedini koji tako misli?
Karizma - Vrati se (Studijska Verzija)1988 (http://www.youtube.com/watch?v=zzEN4MYaW4g#)
Kraljevski apartman - Posle oluje (Javi se...) (http://www.youtube.com/watch?v=1BKcbe6IiDo#)
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Au, brate Meho :shock: !
Feliks!!!!!!!!!!!!!
http://www.cracked.com/blog/4-awkward-scenarios-you-only-tolerate-from-sexual-partner/ (http://www.cracked.com/blog/4-awkward-scenarios-you-only-tolerate-from-sexual-partner/)
Ja ovu divnu ženu potpuno razumem:
Weather camera spider scares Kristi (http://www.youtube.com/watch?v=Nq1M0MEB-W4#ws)
Dejvid Vong daje korisno uputstvo za to kako delegalizovanje zakona o zaštiti braka u USA utiče na svačije živote :lol: :lol: :lol:
http://www.cracked.com/quick-fixes/a-30-second-guide-to-how-gay-marriage-ruling-affects-you/ (http://www.cracked.com/quick-fixes/a-30-second-guide-to-how-gay-marriage-ruling-affects-you/)
6 Years Old BLACK METAL !!! America's Got Talent 2013 Auditions (http://www.youtube.com/watch?v=w2PwS8FCfxo#ws)
http://instagram.com/vukiceviclidija/ (http://instagram.com/vukiceviclidija/)
^ to što kaže
Divna žena.
Koliko bi koštalo da postanete Spajdermen? (http://www.b92.net/zivot/pop.php?yyyy=2013&mm=07&dd=16&nav_id=733153)
edit: Lidija Vukićević = const
http://forums.allaboutjazz.com/archive/index.php/t-22983.html (http://forums.allaboutjazz.com/archive/index.php/t-22983.html)
Yesterday, at Umbria Jazz festival in Perugia, Italy, Keith Jarrett went onstage and, before even sitting down, said these very words:
"I don't speak Italian, but I hope that somebody who speaks English tell those assholes to shut off those fucking cameras. Until you don't do it, music won't be at its best and you will have spent your money for nothing. I'm speaking to you, you, you, and you, and also you up there. If I see one single flash during the concert, I and Gary and Jack reserve to ourselves the right to stop playing and leave this goddamn city. It's your privilege to be here, not mine".
At the end of the concert, he refused to do an encore because of two (two!) flashlights he saw while the whole audience was honouring him with a standing ovation.
I swear it's the last time I pay to listen to this bastard egomaniac."
xdrinka xdrinka xdrinka
Heh... Kit imao loš dan. :lol: Doduše, ja ga i ne volim nešto specijalno, pa tako sad ni ne moram da učinm specijalan napor da ga bojkotujem.
Grandma Has Drum Skills (http://www.youtube.com/watch?v=S1PvX5--NMA#ws)
Paradise u blizini srpske "Kafane" : http://kafananyc.com/index.shtml (http://kafananyc.com/index.shtml)
http://www.fpnyc.com/New-York-Store/ (http://www.fpnyc.com/New-York-Store/)
:lol: :lol: :lol:
:lol:
Da, da, kogod od mojih poznanika ode u Njujork, probije mi uši sa Forbiden Plenetom. :lol: Uživaj!
Psychopathic criminals have empathy switch (http://www.bbc.co.uk/news/science-environment-23431793)
Quote
Psychopaths do not lack empathy, rather they can switch it on at will, according to new research.
Placed in a brain scanner, psychopathic criminals watched videos of one person hurting another and were asked to empathise with the individual in pain.
Only when asked to imagine how the pain receiver felt did the area of the brain related to pain light up.
Scientists, reporting in Brain (http://dx.doi.org/10.1093/brain/awt190), say their research explains how psychopaths can be both callous and charming.
The team proposes that with the right training, it could be possible to help psychopaths activate their "empathy switch", which could bring them a step closer to rehabilitation.
Mirror neurons
The ability to empathise with others - to put yourself in someone else's shoes - is crucial to social development in order to respond appropriately in everyday situations.
Criminals with psychopathy characteristically show a reduced ability to empathise with others, including their victims. Evidence suggests they are also more likely to reoffend upon release than criminals without the psychiatric condition.
Psychopathy is a personality disorder characterised by superficial charm, pathological lying and a diminished capacity for remorse.
Now scientists have found that only when asked to empathise did the criminals' empathy reaction, also known as the mirror system, fire up the same way as it did for the controls. Without instruction, they show reduced activity in the regions of the brain associated with pain.
This mirror system refers to the mirror neurons in our brain which are known to activate when we watch someone do a task and when we do it ourselves. They are thought to play a vital role in the ability to empathise with others.
'Bleak prospect'
Christian Keysers from the University of Groningen, the Netherlands, and senior author of the study, said it could change the way psychopathic criminals were viewed.
"The predominant notion had been that they are callous individuals, unable to feel emotions themselves and therefore unable to feel emotions in others.
"Our work shows it's not that simple. They don't lack empathy but they have a switch to turn it on and off. By default, it seems to be off."
The fact that they have the capacity to switch empathy on, at least under certain conditions, could have a positive side to it, Prof Keysers said.
"The notion psychopaths have no empathy at all was a bleak prospect. It would make it very hard for them to have normal moral development.
"Now that we've shown they have empathy - even if only in certain conditions - we can give therapists something to work with," Prof Keysers told BBC News.
But he explained that it was not yet known how this wilful capacity for empathy could be transformed into the spontaneous empathy most of us have.
Million-dollar question
Essi Viding from University College London, who was not involved with the study, said it was an extremely interesting finding, but that it remained unclear whether the psychopathic criminals' experience of empathy felt the same as that of the controls.
"It's dangerous to look at brain activation and say that it means they're empathising. They are able to generate a typical neural response, but that doesn't mean they have the same empathetic experience," Prof Viding told BBC News.
"We know they can generate the same response but they do that in an active and effortful way. Under free-viewing conditions they don't seem to. Just because they can emphasise, doesn't mean they will.
"Psychopathic criminals are clearly different. The million-dollar question is whether we can devise therapeutic interventions that would shift them do this more automatically."
Randall Salekin, from the University of Alabama, US, who works with youth offenders said: "These findings fit with much of the treatment I am doing using a mental model program, whereby youth are informed about how the brain works and then asked to make specific plans for improving their lives.
"This study is impressive because it actually shows the brain mechanisms or neural networks involved in activating the inmates' empathy."
ABC Female News Reporter 'Siobhan Riley' Draws P***s (http://www.youtube.com/watch?v=q5aBryfanU4#ws)
Meho, reaguj (ako već nisi)!
http://www.politika.rs/rubrike/Pogledi-sa-strane/Pornografija-je-kao-trojanski-konj.lt.html (http://www.politika.rs/rubrike/Pogledi-sa-strane/Pornografija-je-kao-trojanski-konj.lt.html)
QuoteSlobodan Vladušić
Pornografija je kao trojanski konj
Uz pomoć pornografije kojoj su izloženi, tinejdžeri oblikuju ideal žene: to je porno zvezda A-produkcije. Pred njihove vršnjakinje postavlja se alternativa: ili će se pornografizovati u ponašanju i izgledu ili će ostati nevoljene
Verovali ili ne, ali u Pragu je moguće pronaći i poneki muzej koji nema veze sa Francom Kafkom. Jedan od takvih je i Muzej seksualnih pomagala u kome se nalaze i dva porno-filma iz 1925. godine. Snimljena su na lični zahtev tadašnjeg španskog monarha Alfonsa XIII. U početku je, vidimo, pornografija bila elitna zabava. Sada to više nije: na internetu se nalaze nepregledne količine pornografskog materijala koji je praktično besplatan. Svake godine ta nepreglednost se uvećava za još nekoliko hiljada pornografskih filmova. Ono što se manje zna jeste da je između 2007. i 2013. godine, samo u Americi, stradalo više od 100 porno glumica (samoubistva, ubistva, droga, sida), te da je prosečni životni vek glumice nešto više od 37 godina.
No, korisnik, je li, ne mora da zna izveštaje sa ,,bojnog polja ljubavi". I obično sve to i ne zna. Pornografija danas deluje kao nešto što je oduvek tu. Ukoliko neko pokuša da se buni protiv nje rizikuje da ispadne smešan: pripisaće mu se ,,zastarela" shvatanja o moralu. Rekonstrukcija odbrane pornografije glasi otprilike ovako: seksualni odnosi su prirodni – pornografija opisuje seksualne odnose – dakle, onaj ko je protiv pornografije, taj je protiv prirode.
Međutim, nije baš tako: pornografija je pre način da se prirodnost seksualnih odnosa zameni njihovim surogatom koji u krajnjem slučaju ima sasvim jasne – uništavajuće – posledice po jednu zajednicu. Drugim rečima: pornografija je trojanski konj. Isprva deluje kao dar, a kada je pustite u svoj život, postajete njena žrtva.
Evo o čemu se radi: jedno američko istraživanje pokazalo je da u 68 odsto slučajeva zavisnost jednog partnera u vezi od sajber-seksa dovodi do toga da partneri izgube interesovanje za seksualne odnose. Drugim rečima, to znači da sajber-seks zavisnik (uglavnom, partner) svoje prirodne potrebe regularno ispunjava uz pomoć raznih oblika internet pornografije. Njegova partnerka pak, postaje višak: pošto ne može da se meri sa porno-zvezdama ni u disciplini ,,telo", ni u disciplini ,,opscenost"ona se oseća izdano, napušteno i beskorisno.
Pošto je dostupna u ogromnim količinama, pornografija danas nije za tinejdžere uvod u seksualnost, već barijera. Uz pomoć nepreglednih količina pornografije kojoj su izloženi, tinejdžeri oblikuju ideal žene: to je porno zvezda A-produkcije. Pred njihove vršnjakinje postavlja se otuda užasna alternativa: ili će se pornografizovati u ponašanju i izgledu, ili će ostati neugledne, nevoljene, marginalizovane. Pristati na pornografizaciju znači pristati na implante – od najjeftinijih do najskupljih – ali isto tako to znači i pristati na jedan životni stil koji nije naklonjen ni ljubavi ni majčinstvu. Naime, pornografija jeste pornografija upravo zato što seksualni čin u njoj nema nikakve veze ni sa ljubavlju ni sa produženjem vrste. Ali zato ima veze s poslom.
Pornografija nije bezazleno prikazivanje nečega što je prirodno. Naprotiv, unoseći u prirodnost seksualnih odnosa nešto neprirodno i hipertrofirano (hipertrofirane delove tela, hipertrofiranu uzbuđenost) ona funkcioniše kao oružje koje ima sasvim jasne zadatke. Prvo, ostvaruje profit: iako je obilje pornografskog materijala besplatno, pornografska industrija u Americi godišnje zaradi između devet i 13 milijardi dolara. Pored ekonomske, tu je i njena politička uloga: ona pacifikuje slojeve koji u lancu distribucije najgore prolaze, jer ih doslovno prazni od napetosti, zatim smanjuje natalitet i uništava dublje i trajnije veze između ljudi. Dakle, kada se sledeći put susretnete s poklonom koji preko torent klijenta besplatno stiže na vaš računar, učinite ono što Trojanci nisu učinili: zatvorite vrata i vodite ljubav sa Helenom.
Slobodan Vladušić
objavljeno: 25.06.2013.
Ne znam da li krenuti od implicitnog stava da je pornografija samo za muškarce; da su pornografija samo porno-filmovi; da se omladinski stavovi o telu i seksu formiraju jedino preko pornografije (a ne preko jednako štetnog a mnogo rasprostranjenijeg mejnstrima); ili ipak od fenomenalne rečenice "
Naime, pornografija jeste pornografija upravo zato što seksualni čin u njoj nema nikakve veze ni sa ljubavlju ni sa produženjem vrste."(A o skrnavom poznavanju grčke mitologije ne trošiti reči.)
Ja naravno uvažavam da pornografija pokazuje uglavnom jednu vrstu socijalnog modela koji, ako se shvati kao "stvaran" može da dovede do socijalno manje poželjnog ponašanja - baš kao i kung fu filmovi, jelte - no, s druge strane, da nema pornografije, gde bismo učili tehniku?
Porn Sex vs Real Sex: The Differences Explained With Food (http://www.youtube.com/watch?v=q64hTNEj6KQ#ws)
Ово да је просечни живот порно глумице 37 је сумњива тврдња. Погледах пре неки дан After Porn Ends документарац и после ми је "јутјуб" понудио још неке линкове на ту тему. Између осталог била је и подужа посвета мртвим глумицама и глумцима на каналу неке верске групе. Мало сам прочешљао и нашао да су до бројке 37 дошли тако што су урачунали само мртве глумице, што је апсурдно.
Study finds musical interaction cultivates empathy in children (http://www.rawstory.com/rs/2013/07/25/study-finds-musical-interaction-cultivates-empathy-in-children/)
QuoteSchools could one day add "empathy education" to their curriculum. New research suggests that understanding the emotional state of others is something that can be learned and practiced.
According to a study published in the July issue of Psychology of Music, playing musical games can help cultivate a sense of empathy in children.
"Perhaps the most important thing the study tells us about the development of emotional empathy is that it is amenable to intervention," Tal-Chen Rabinowitch of the University of Cambridge, the lead author of the study, told PsyPost. "We now have the (very friendly and enjoyable) tools to influence and enhance emotional empathy in children, a significant building block for shaping a more empathic and other-minded society."
The study was co-authored by Ian Cross and Pamela Burnard of the University of Cambridge.
For their study, the researchers ran a musical program over the length of an entire school year. Children ages 8-11 participated in the program in several small groups. The program was comprised of various musical games, which were based on previous studies that uncovered the specific elements in musical group interaction that promoted empathy.
"What is special about musical interaction is that it relies on a remarkably rich and intense blend of social, cognitive and emotional skills that appear to be also important for emotional empathy (e.g. imitation, entrainment, unarticulated communication, etc.)," Rabinowitch explained. "We believe that this is not mere chance, but that it is the product of what we hypothesize to have been a co-evolution of music and social structure. This being said, there are of course other forms of interaction that may also positively impact empathy, but music seems to stand out."
The researchers also established two control groups. One group participated in a program similar to the musical program, which included various games but no musical interaction. The second group of children didn't participate in any program.
Rabinowitch and her colleagues measured the children's emotional empathy before and after the study. They found a substantial increase in empathy scores following the musical program. In addition, the children in the musical program had higher average scores compared children in the control groups at the end of the study.
"As for caveats, in this type of study it is very difficult to control for experimenter bias," Rabinowitch told PsyPost. "Although the actual scoring for emotional empathy was completely computerized and automatic, the musical and control interaction sessions were mediated by me. One might argue that, in principle, I could have somehow subconsciously induced more empathy in the music group compared to the control games group (it should be noted though that empathy or anything to do with it were never explicitly discussed with the children)."
"But on the other hand, this allowed me direct access to the various group dynamics and also rendered the music and control interventions more comparable, since the children from both groups met with the same mediator. In any case, we plan in the future to run a much larger scale study including specially trained mediators."
Četnovizija - Republika Srpska - Neđad Savković - Ne klepeći (http://www.youtube.com/watch?v=GK3_GdZziGA#)
Siguran sam da mnogi među vama, kao i ja, deo svog slobodnog vremena provode brauzujući wishliste porno glumica na Amazonu. Nekako, to nam daje uvid u njihovu ličnost i čini ih bliskijim, izdižući ih iznad statusa prostog entertainment industry profesionalca i prevodeći u status prave osobe.
I uvek me iznenadi kad vidim koliko njih na višlisti ima smešne i jeftine stvari kao što je bižuterija od 40-50 dolara ili kupaći kostimi od trideset. Mislim, moguće da je to kalkulisano, da te stvari koriste za snimanja a ne za privatni život pa onda što da ih kupuju same ako ljudi hoće da im poklanjaju, ali zato se čovek uvek oduševi kad vidi da neke od njih tu stavljaju stvari koje razotkrivaju njihovu unutarnju, često sanjalačku prirodu. Pominjao sam već da je Lou Charmelle divna žena i retro gejmer kome je na višlisti gomila igara za 16obitne konzole, ali iz njene prefinjene pojave se to uvek i naslućivalo.
U kontrastu sa tim, Christy Mack je recimo tipična, gotovo stereotipna kalifornijska sponzoruša na čijoj su višlisti gomile nameštaja. Ispravno. Ipak je njen dečko, Warmachine, stalno u opasnosti da pogine ili bude invalidiziran u ringu, valja obezbediti kuću i okućnicu nezavisnim sredstvima.
Riley Reid je klinka (22 godine) i većina njene višliste su zaista bižuterija i jeftini g-string bikiniji, ali onda na njoj vidite ovako nešto:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi42.tinypic.com%2Fn70cqx.jpg&hash=7c53b28e2922d98a2609888d12e9cc73d4b8b1a4)
i pomislite kako vas Riley (inače veganka, ukusnih tetovaža) podseća na ćerku koju nikad niste imali.
Odsad ću, kad me ljudi pitaju ko je taj Meho o kome stalno pričaš, samo proslediti link ka ^ovome postu.
Inače, taj War Machine koga pominjem, dečko od Christy Mack, kakav je to lik!!!!!! Em MMA borac, em (bivši) porno glumac. Evo nekih čojs citata sa njegove wikipedia stranice:
QuoteSo... I said fuck it! I signed with La Direct Models this week and today I did my first porn scene! lol I shot for Digital Playground with their girl Riley Steele it was fucking awesome!! I was nervous as shit but I came through. I'm still gonna fight.....just gonna do this too because fighting isn't quite enough money and you all know I ain't trying to work! In life I have come to learn that all I enjoy is eating, sleeping, fighting and fucking!! Fuck it! I'm living the dream, getting PAID to fight and fuck! What more could I ask for? =)
No, njegova porno karijera se završila nakon što je na žurci porno glumice Brooke Haven prebio nekoliko ljudi:
QuoteFuck...last night was NOT good...lil' misunderstanding and then WM was back in effect and the bodies hit the floor. I'm fucked...Pretty sure my porn days are over. Prolly be going to jail too...when they find me...haha!
Posle je robijao i iz zatvora blogovao i tvitovao:
QuoteThe oppression of MEN is worse than oppression of Jews in Nazi germany, worse than the slavery of Blacks in early America... I'm not exaggerating either.
I tako dve godine... Nije lako ni njemu a sigurno ni sirotoj Christy. Tako da je ja razumem što joj je na listi gomila nameštaja i kućne opreme. Ipak se na ovog ludaka čovek ne može osloniti da će da bude propisan domaćin ili da će uopšte da bude tu...
Vredi istaći i burno detinjstvo!
QuoteKoppenhaver was born in Simi Valley, California. His German-American father was an officer for the Los Angeles Police Department and his Mexican mother worked as a nurse, but she later became a stay-at-home mom. Due to his mother's drug addiction, Koppenhaver would often take care of his little brother and sister.When he was thirteen, Koppenhaver unsuccessfully performed CPR on his father, only to witness him die during the process.
Pa, to. Meni su on i Christy nekako baš ono, likovi koji su kao ispali iz nekog starog Tarantinovog scenarija - True Romance ili Natural Born Killers. Amerika, divlja, nesputana, neodgovorna, neizšlifovana, veća od života itd.
Hrvatski dan pobjede: Kako ga slavite i što za vas znači Oluja? (http://www.vecernji.hr/vijesti/hrvatski-dan-pobjede-kako-ga-slavite-sto-vas-znaci-oluja-clanak-594080)
QuoteHrvatska 5. kolovoza slavi Dan pobjede i Domovinske zahvalnosti te Dan hrvatskih branitelja, a prisjeća se i akcije Oluja kojom je 1995. godine završio rat.
Kako ćete slaviti? Hoćete li izvijesiti zastavu na svoju kuću? Što mislite o obilježavanju Dana pobjede i čega se sjećate iz vremena Oluje? Šaljite nam svoje fotografije slavlja, zastava na kućama, mišljenja o proslavi i sjećanja iz tih slavnih dana, a mi ćemo ih objaviti na našem portalu.
5. kolovoza prije 18 godina naša vojska je ušla u Knin i oslobodila ga od neprijatelja, a hrvatska zastava se zavijorila na Tvrđavi. Simbolički je to bio kraj rata i konačno potvrđivanje naše neovisnosti u međunarodno priznatim granicama, iako je još slijedila i mirna reintegracija Podunavlja.
Svoje fotografije i mišljenja šaljite nam na mail: javi@vecernji.net
Sa njom bi muškarci varali svoje supruge...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.b92.net%2Fnews%2Fpics%2F2013%2F08%2F04%2F199713428751fe383631033802955043_640x491.jpg&hash=96f39c2bf522c03a99016169e41ee8e0f8ca6215)
http://www.b92.net/superzena/kolaz.php?yyyy=2013&mm=08&nav_id=739181 (http://www.b92.net/superzena/kolaz.php?yyyy=2013&mm=08&nav_id=739181)
Pa, jeste, ima Majli nešto u sebi što je čini nekako zabavnom - nije samo puka fizička atraktivnost u pitanju, štaviše, ona i nije nešto specijalno atraktivna - ali ima tu neku zabavnu prirodu, ume da se našali na svoj račun itd.
Quote from: Meho Krljic on 02-08-2013, 10:25:51
Inače, taj War Machine koga pominjem, dečko od Christy Mack, kakav je to lik!!!!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi42.tinypic.com%2F2l91ahj.jpg&hash=761081cfb376c6a391841046bb4519c2f75f8ebf)
Ali snimite Fleš gaće!!!!!!!!!!!!!! Sliku je inače okačila Kristi Mek, sa rečima "Hold your vaginas ladies... this hunk of mantie wearing, ice cream eating, muscular mess is all mine... oh joy. "
http://sarcasticcharm.com/photos-that-only-cat-owners-will-understand-14-pics (http://sarcasticcharm.com/photos-that-only-cat-owners-will-understand-14-pics)
Komisija može da potvrdi da su sve te slike realistične, realne i u realnosti susretane.
ne znam gde bih ovo stavio, a Mehmet ceni footwork, pa...
TERRA SQUAD VS BTS CHICAGO FOOTWORK CLASSIC! DA WAR ZONE ( WALA CAM ) (http://www.youtube.com/watch?v=_jTfw19RgBo#)
Lepo je, lepo je. I još jednom se pokazuje koliko plesovi afričke dijaspore u Americi imaju srodnog sa balkanskim plesovima.
Dejvid Vong sa još jednim svojim poučnim tekstom
http://www.cracked.com/blog/7-reasons-news-looks-worse-than-it-really-is/ (http://www.cracked.com/blog/7-reasons-news-looks-worse-than-it-really-is/)
evo Meho da poslušaš.
meni ovaj footwork fazon nije preterano zanimljiv. u stvari, zanimljiv mi je u miksu, još ako je DJ vešt pa ne drži ploču duže od minuta, onda to radi kako treba. jedno vreme sam ko besan slušao te Ghetto/Booty house mikseve, zanimljivo da čuješ kako u sat vremena miksa stave stotinak numera.
elem, ovo funkcioniše i van miksa, pa overi, ako već nisi.
DJ_Rashad-I_Dont_Give_A_Fuck-(HDB075)-WEB-2013-WC2R
http://fileover.net/59716927/DJ_Rashad-I_Dont_Give_A_Fuck-(HDB075)-WEB-2013-WC2R.rar
Skinuću pa ću da čujem. RP Boo-ov album mi je bio otkrovenje, ali ne verujem da je sve kao to. :lol:
Robin Rosenberg, "What is a Superhero" (https://www.youtube.com/watch?v=IaLnexXbtZA)
Raspisan tender za obrezivanje 180 dečaka u Novom Pazaru
Lokalna samouprava u Novom Pazaru raspisala je konkurs za javnu nabavku za uslugu suneta (obrezivanja) 180 dečaka, koji danas ističe. Ovo je već treća godina da grad Novi Pazar i grupa ,,Prijatelji Sandžaka" iz Istanbula organizuju besplatan sunet za dečake slabijeg materijalnog stanja i svečanost povodom tog čina.
Pomoćnik gradonačelnika Faruk Suljević pojašnjava da nema ničeg čudnog u tome što traže hirurga koji će po najpovoljnijoj ceni obaviti obred.
- Svake godine smo raspisivali javnu nabavku za obrezivanje socijalno ugroženih dečaka. Turci plaćaju veći deo, platili bi i hirurge, ali ne mogu hirurzi da dolaze iz Turske ovde - kaže Suljević.
Grad plaća sam obred suneta, a ,,Prijatelji Sandžaka" dodeljuju dečacima poklone, od tradicionalnog svečanog odela, do patika, slatkiša i bicikala.
Lepo, ljudski. Treba i ta siromašnija deca da imaju lepe uspomene na taj čin.
80s Porn Music (http://www.youtube.com/watch?v=ORD7KAgi8h0#ws)
Cracked je ispravno protumačio VMA nastup Majli Sajrus kao visoki koncept i još ispravnije pogodio da je Bili Rej čovek koji će mnogo imati da odgovara kad dođe strašni sud (http://www.cracked.com/quick-fixes/6-subliminal-symbols-you-missed-in-miley-cyruss-vma-show/). :lol:
severni bunker - pornografija
http://www.plastelin.com/images/stories/bunker/download/bunker21.pdf (http://www.plastelin.com/images/stories/bunker/download/bunker21.pdf)
Kakva postmoderna:
http://www.wimp.com/interpretationauctioneer/ (http://www.wimp.com/interpretationauctioneer/)
Šteta što nemam zvuk ovde pa da odmah uživam u toj postmoderni. Valjda ću se setiti večeras...
Majli Sajrus se ne zaustavlja. U novom spotu - potpuno gola!!!
Majli Sajrus nastavlja da šokira: Potpuno gola u spot za novi singl! (http://www.svet.rs/strane-vesti/majli-sajrus-nastavlja-da-sokira-potpuno-gola-u-spot-za-novi-singl)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ft1.stooorage.com%2Fthumbs%2F1805%2F9830981_137874438612.jpg&hash=39bbe2c7ea0ee2e72540e213b4f55a0ec58789df) (http://www.stooorage.com/show/1805/9830981_137874438612.jpg)
QuoteNakon šokantnog nastupa na dodeli MTV VMA, Majli Sajrus ostaje u centru pažnje, a zahvaljujući spotu za pesmu "Wrecking Ball" gde je većinu vremena vidimo potpuno golu. Čini se kako Majli i dalje po svaku cenu pokušava da dokaže kako je odrasla, a jedan insajder objašnjava zbog čega je za režisera odabrala baš slavnog fotografa, Terija Ričardsona.
"Majli je prethodnih godina često radila sa Terijem pa se uz njega oseća prijatno i veruje mu", prenosi jedan izvor za HollywoodLife.
"Odabrala je njega da režira video jer je on taj koji pomera granice. To je ono što Miley sad želi. Miley se svidela ideja da bude gola jer to pristaje pesmi – ona pokazuje svoje gole emocije. To je njena ranjiva strana i nije nešto što pokazuje često, tako da golotinja ima smisla", tvrdi isti izvor.
Miley Cyrus - Wrecking Ball (http://www.youtube.com/watch?v=My2FRPA3Gf8#)
Neko je pisao o Baji Petku i Donu Rosi a nije Meho: http://issuu.com/bookvar/docs/bookvar_003/81 (http://issuu.com/bookvar/docs/bookvar_003/81)
A posle ima i mali tekst o Spajdermenu koga isto nisam pisao ja. :lol: Lepo!
Quote from: Father Jape on 09-09-2013, 12:21:23
Kakva postmoderna:
http://www.wimp.com/interpretationauctioneer/ (http://www.wimp.com/interpretationauctioneer/)
Ovo je stvarno izvanredno. Pokazuje i koliko čovek kad ima volju da vežba može da napravi nešto čudesno a i koliko je ovaj konferansje aukcije muzikalan u svom radu.
http://www.theatheistpig.com/2012/06/11/satanic-summer-fest/ (http://www.theatheistpig.com/2012/06/11/satanic-summer-fest/)
Heh. Satanisti :lol: :lol: :lol:
Evo nešto kul:
http://www.liveleak.com/view?i=f54_1337075813 (http://www.liveleak.com/view?i=f54_1337075813)
Zanimljiv članak u NYT o istoriji, evoluciji i ulozi komentara na Internetu
http://www.nytimes.com/2013/09/22/magazine/no-comments.html?pagewanted=1&_r=0 (http://www.nytimes.com/2013/09/22/magazine/no-comments.html?pagewanted=1&_r=0)
Šinejd O'Konor kiping it ril:
http://tv.yahoo.com/news/sin-ad-oconnor-pens-open-letter-miley-cyrus-033500644.html (http://tv.yahoo.com/news/sin-ad-oconnor-pens-open-letter-miley-cyrus-033500644.html)
Quote
With over 20 years in the music business, Sinèad O'Connor has plenty of advice to give and give it she did in an open letter to Miley Cyrus.
The 46-year-old Irish singer-songwriter was compelled to reach out after hearing that Miley's Wrecking Ball video was inspired by the one for Sinèad's Nothing Compares.
PICS: Candid Celeb Sightings (http://www.etonline.com/news/139027_Star_Sightings_October_2013/index.html)
"I am extremely concerned for you that those around you have led you to believe, or encouraged you in your own belief, that it is in any way 'cool' to be naked and licking sledgehammers in your videos," Sinèad wrote. "It is in fact the case that you will obscure your talent by allowing yourself to be pimped, whether it's the music business or yourself doing the pimping."
"The music business doesn't give a sh*t about you, or any of us," she continues. "They will prostitute you for all you are worth, and cleverly make you think its what YOU wanted... and when you end up in rehab as a result of being prostituted, 'they' will be sunning themselves on their yachts in Antigua, which they bought by selling your body and you will find yourself very alone."
Sinèad went on to suggest that Miley, 20, missed the mark on capturing the true spirit of the Nothing Compares video, writing, "The look I chose, I chose on purpose at a time when my record company were encouraging me to do what you have done. I felt I would rather be judged on my talent and not my looks. I am happy that I made that choice, not least because I do not find myself on the proverbial rag heap now that I am almost 47 yrs of age, which unfortunately many female artists who have based their image around their sexuality, end up on when they reach middle age."
RELATED: Miley Pokes Fun at Herself in SNL Promos (http://www.etonline.com/tv/139063_Miley_Cyrus_SNL_Promos/index.html)
Still, Sinèad does praise the former Disney star for her "obvious" talent and leaves her with a somewhat uplifting message.
"As for the shedding of the Hannah Montana image... whoever is telling you getting naked is the way to do that does absolutely NOT respect your talent, or you as a young lady," she wrote. "Your records are good enough for you not to need any shedding of Hannah Montana. She's waaaaaaay gone by now.. Not because you got naked but because you make great records."
Miley Cyrus Illuminati VMA Performance Secrets Revealed (http://www.youtube.com/watch?v=eunn5MOIwHg#)
he he...
E, kako se zove japanski noise bend koji si kačio par puta? Ustvari, verovatno je bilo više od jednog benda. :lol:
Pa.. verovatno je bilo više od jednog. Ali najpoznatiji je Merzbow. Može da bude i Hijokaidan. Ili Masonna. Ili Dissecting Table.
Ali najverovatnije je Merzbow.
Merzbow - Minus Zero (http://www.youtube.com/watch?v=pGzrL8J0t-c#)
Hm... čini mi se da je Hijokaidan, ili možda nijedan od navedenih.
Hm, a šta ti treba konkretno? Pominjao sam i Aube.
Pa ne znam, samo znam da je bio klip... i neki bend... i da su Azijati... bio je mslim lajv snimak, ili možda muzika sa fotografijama... možda nije čist nojz baš... Ništa bitno, samo se sećam da sam ih ostavio "za kasnije" i kopka me sad. :lol:
Možda je u pitanju Zeni Geva?
Njihovu Dead Sun Rising sam kačio onomad jer je divna pesma
Dead Sun Rising - Zeni Geva - 17 February 2010 (http://www.youtube.com/watch?v=loixzNPHXU8#ws)
Hm, mislim da jesu ovi. Hvala!1!!1
Da, pomelo me to što si napisao noise a ne noise rock ili tako nešto pa sam ja prvo pomislio na ove power electronics siledžije.
Quote from: Meho Krljic on 03-10-2013, 11:38:39
Šinejd O'Konor kiping it ril:
http://tv.yahoo.com/news/sin-ad-oconnor-pens-open-letter-miley-cyrus-033500644.html (http://tv.yahoo.com/news/sin-ad-oconnor-pens-open-letter-miley-cyrus-033500644.html)
Mda. :(
http://gawker.com/sinead-oconnors-tiff-with-miley-cyrus-turns-into-full-1441165792 (http://gawker.com/sinead-oconnors-tiff-with-miley-cyrus-turns-into-full-1441165792)
Pesnik je odavno predvideo takav razvoj događaja:
Bruce Dickinson - Road to Hell (http://www.youtube.com/watch?v=nEOPm5Fl2Z0#)
E, Mehmete, kad te već priupitavam, imam ovu dragu mi pesmu:
Foetus - Time Marches On (http://www.youtube.com/watch?v=Qbe33jNTKz4#)
a ne znam ništa slično njojzi, pa reko da vidim imaš li mi ti preporučiti nešto što bi naličilo?
Pa... sad, ne znam u kom smislu slično njoj ti treba. Mislim, na jedan način Residents su slični. Na drugi... pa, da li si ikad slušao Sleepytime Gorilla Museum?
https://www.youtube.com/watch?v=EVhcjmffNxk (https://www.youtube.com/watch?v=EVhcjmffNxk)
Nisam ni jedno!1!!!1!1
Poslušaćemo. ^ ^
Shvatio sam maločas da su i Dejvid Tenant i Dilan Moran tvoje godište!
Mnogo važnije je da shvatiš da je Branka Blek Rouz, recimo, godinu dana mlađa od mene.
(https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-ash3/q71/1379679_10151730073476840_223650053_n.jpg)
O, apsolutno. Story of my life.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fs3-ec.buzzfed.com%2Fstatic%2F2013-10%2Fenhanced%2Fwebdr01%2F15%2F10%2Fanigif_enhanced-buzz-27208-1381845845-0.gif&hash=464bdd89342c31e86325d3702c8235f9c8f3756a)
Omar Souleyman - Warni Warni (Official Video) (http://www.youtube.com/watch?v=lVlgMEFu1PI#)
Da, opasan je Omar. Sandjama me je navukao na njega. :lol:
ovu pesmu, a i ceo album, je producirao Four Tet.
http://www.dump.com/guitarplayer/ (http://www.dump.com/guitarplayer/)
Izuva majstor. Emejzing.
http://pornhubcommentsonstockphotos.tumblr.com/ (http://pornhubcommentsonstockphotos.tumblr.com/)
http://www.cracked.com/article_20668_5-mind-blowing-ways-people-mastered-famous-video-games.html (http://www.cracked.com/article_20668_5-mind-blowing-ways-people-mastered-famous-video-games.html)
http://deshommesetdeschatons.tumblr.com/ (http://deshommesetdeschatons.tumblr.com/)
Nisam ja baš toliko gej koliko bi se iz ovog tumblra dalo pomisliti :lol: :lol: :lol:
(https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-ash4/374481_674346685942712_885882524_n.jpg)
:lol:
To je taj šarm koji je Tadića uspeo da pronese i kroz najveća iskušenja dok se nije skršio o hridinu Nikolićeve nepokolebljive patriotske emocije.
Mića, kao stari kolekcionar knjiga, će ovo sigurno umeti da ceni:
http://www.cracked.com/article_20757_8-hilariously-misleading-covers-slapped-classic-books.html (http://www.cracked.com/article_20757_8-hilariously-misleading-covers-slapped-classic-books.html)
Cica na Zakkovoj fotki je zatečena, da ne kažem zapanjena i potpuno zbunjena ukazanom joj pažnjom!
Sve mi se čini da bi rado utekla od ovog blagonaklonog pogleda - Mehi u naručje! :lol:
Ja imam utisak da je ovo mačor koji se pita šta se ovaj sedokosi delija tako preteći nadvio nad njim...
Dejvid Vong britko, kao i uvek.
http://www.cracked.com/blog/5-signs-tech-industry-finally-ran-out-ideas-in-2013/ (http://www.cracked.com/blog/5-signs-tech-industry-finally-ran-out-ideas-in-2013/)
Na krekdovom podkastu zvuči tako nježno i pribrano; dobro je setiti se da kad piše ume da isuče sablju i siječe.
Zasluzila je !!
Viewer Video: Cat attacks woman in the snow (http://www.youtube.com/watch?v=o-oVhu2fu20#)
Uhjebote, kakva strahota, ovako nešto nisam nikada video, da mačka skoči sa zemlje na lice... I ne bih išao tako daleko da kažem da je žena zaslužila, mislim, nije ni udarila ni gađala ičim mačku, samo je šutirala sneg prema njoj da je na relativno nenasilan način otera. Ja često svojim mačkama duvam u lice ili ih poprskam vodom kada mi se penju na sto dok ručam itd.
Jel vidis kakve su to zolje!! :lol:
Bezbedno je reći da ovoj mački ne bih više prišao na bliže od pet metara bez HTZ opreme.
Ko ima mnogo vremena, u ovoj će diskusiji na Escapistovom forumu naći mnogo interesantnih teza i kontrateza o sukobu između stare garde gikova i novih gikova koji nisu nužno "fake" ali su socijalno snalažljiviji/ prihvatljiviji:
Proliferation of geek/nerd culture, the rise of the beautiful people, and empathy for the old guard (http://www.escapistmagazine.com/forums/read/18.837519-Proliferation-of-geek-nerd-culture-the-rise-of-the-beautiful-people-and-empathy-for-the-old-guard?page=1)
Nije mi padao na pamet bolji topik, pa evo članka ovde:
https://www.jacobinmag.com/2013/08/on-geek-culture/ (https://www.jacobinmag.com/2013/08/on-geek-culture/)
Steam tvrdi da igraš Anno, a ti u stvari brauzuješ internet i deliš linkove... Koliko vas je u Father Japeu, koliko?????
Uzgred, tekst je okej, ali stejtuje obvijs poentu, to jest nešto što se zna decenijama unatrag - da je gik kultura ekstreman ofšot potrošačke kulture.
Public Masturbation Declared Legal in Sweden After Landmark Trial
Sweden is now "okay" with public masturbation. On June 6, a 65-year-old man took off his shorts at a beach near Stockholm and began masturbating into the ocean. The man was charged with sexual assault, but was acquitted last week after a judge ruled he was not targeting a specific person.
Even though the Södertörn District Court's judgment stated it "may be proven that the man exposed himself and masturbated on this occasion," the court decided the man had not committed a crime, a decision the public prosecutor agreed with, though he said in the future public masturbation might be considered disorderly conduct.
"For this to be a criminal offence it's required that the sexual molestation was directed towards one or more people," Olof Vrethammar said. "I think the court's judgement is reasonable. With that we can conclude that it is okay to masturbate on the beach."
The ruling in the case comes just three months after Sweden's last major sex scandal, when police in Stockholm announced that a man who fucks bicycles was on the loose.
Da, pa ovo je vest stara nekoliko meseci. Čim se zateknem u Švedskoj, furiozno ću onanisati u javnosti da proverim.
večito kaskam za vestima ovog tipa! :(
eto, mogo sam nekim slučajem da odem u švecku a ne bih ni znao za ovo!
To bi bio propust koji bi vječno žalio. Ili makar do sledećeg odlaska u Švedsku.
Obrati pažnju da bi svejedno bio kažnjen za nekakav prestup, samo ne za seksualni napad.
Al to je novčana kaznica koju će svaki pravi đuvegija platiti s osmehom svestan da bi do pre izvesnog vremena samo zato što je u autobusu izdrkao gledajući privlačnu saputnicu išao u zatvor.
Quote from: Meho Krljic on 15-01-2014, 14:19:45
Al to je novčana kaznica koju će svaki pravi đuvegija platiti s osmehom svestan da bi do pre izvesnog vremena samo zato što je u autobusu izdrkao gledajući privlačnu saputnicu išao u zatvor.
Pa to, nadamo se, i dalje stoji:
Quote from: Ghoul on 15-01-2014, 13:42:11
"For this to be a criminal offence it's required that the sexual molestation was directed towards one or more people,"
EDIT: tj. nema gledanja saputnica.
Da, ali moralo bi prvo da se dokaže na sudu da je on gledao baš u nju dok je onanisao. A kako to da se dokaže sem ako ga ona ne snimi telefonom? A ako ga ona snimi telefonom on nju može da tuži da ona njega molestuje narušavanjem njegove intime!!!! Gejm, set i meč!!!!!!
Cracked objašnjava koji su problemi moderne nauke:
http://www.cracked.com/article_20789_6-shocking-studies-that-prove-science-totally-broken.html (http://www.cracked.com/article_20789_6-shocking-studies-that-prove-science-totally-broken.html)
daklem :lol:, evo :mrgreen:, izvoli :?:, reaguj xnerd:
Quote
Science Denialism Crosses Party Lines
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fd1435t697bgi2o.cloudfront.net%2Fwp-content%2Fuploads%2F2014%2F01%2Fevolution-image.jpg&hash=9bb837b8ec6f82edc6afd3fae786da605ec4ee0f)
New research finds Republicans are no more likely than Democrats to express skepticism of the scientific consensus on contentious issues.
•
When scientists reach conclusions that challenge our cherished beliefs, do we rethink our positions, or discount the science? In recent years, a number of prominent thinkers have been warning about the dangers of the latter, with conservative climate-change skeptics receiving the bulk of the criticism.
It turns out that emphasis may be misleading. Newly published research presents evidence that science denialism does indeed exist, but refutes the notion it is particularly prevalent among members of a specific political party.
Examining public attitudes toward three controversial issues—evolution, climate change, and stem-cell research—two Nevada political scientists report that "party identification is virtually irrelevant to skeptical attitudes towards science issues."
With the exception of evolution, which has been debated in the U.S. since the 1920s, science-related issues "do not lend themselves to simple characterization, or incorporation into more general belief systems or ideologies."
"Given the nature of elite-level discourse on evolution and climate change, this is a rather unexpected finding," the University of Nevada's Ted Jelen and Linda Lockett write in the journal SAGE Open.
Noting that previous research on this issue "has focused on attitudes towards science at a relatively high level of abstraction," Jelen and Lockett decided to focus on the aforementioned three issues, all of which involve "contested science."
Using data from the 2006 General Social Survey, which includes detailed demographic information, including political and religious affiliation, they looked at answers to three specific questions: Do you believe humans evolved from earlier animal species? Should stem-cell research be funded by the government? And, in your opinion, is there is genuine disagreement among scientists regarding "the existence and causes" of climate change?
Their first discovery was the lack of "any constituency of science policy skeptics." While sizable numbers of people declined to endorse the scientific consensus on one or two of the three issues, "very few respondents exhibit consistently skeptical attitudes."
What's more, those skeptical attitudes toward science did not follow any predictable or consistent political lines. "With the sole exception of the relationship between Democratic identification and support for stem-cell research," they write, "partisanship is not significantly related to any of the issues considered here."
(Indeed, even on that issue, one could argue that support for government funding is more of an ideological than strictly scientific issue. One can agree with scientists on the value of stem-cell research and feel it should be left to the private sector.)
The researchers did find a strong (and expected) connection between certain religion-related beliefs and behaviors (including affiliation with a Christian evangelical denomination) and skeptical attitudes toward evolution.
"The same (religious) variables are related, albeit somewhat less strongly, to attitudes towards stem-cell research," they write, "but are not significantly related to a belief that there exists a scientific consensus about climate change."
Jelen and Lockett conclude that with the exception of evolution, which has been debated in the U.S. since the 1920s, science-related issues "do not lend themselves to simple characterization, or incorporation into more general belief systems or ideologies."
While that's an encouraging thought, it does leave open the question of why so many influential legislators continue to vehemently insist climate change is a myth. Clearly their views are not driven by the opinions of rank-and-file party members.
Hmm. Could it be that mollifying donors who have a financial stake in climate-change denialism trumps representing their constituents?
http://www.psmag.com/navigation/politics-and-law/science-denialism-crosses-party-lines-73021/ (http://www.psmag.com/navigation/politics-and-law/science-denialism-crosses-party-lines-73021/)
Još jedan argument u prilog tvrdnji da u Americi u stvari postoji samo jedna politička stranka :lol:
+ je to dokaz da je SD vrlo profitabilna industrija. :lol:
Pravi trenutak za ovaj znameniti Asimovljev citat:
Quote"Anti-intellectualism has been a constant thread winding its way through our political and cultural life, nurtured by the false notion that democracy means that 'my ignorance is just as good as your knowledge.'"
a dobar je citat, samo nisam bas sigurna da je u korenu ove konkretno discipline samo neznanje. recimo da sam danas misljenja kako je teorija globalnog zagrevanja mogla biti daleeeko prihvacenija da nije sa sobom u paketu nosila i efikasan predlog o kontramerama, koje su imale svoju cenu, da tako kazem. nekako sam danas misljenja da ju je upravo ogromnost te cene najvecma dotukla.
Jasno, i u pravu si, ali ne izgubimo iz vida da Asimov u prvom delu citata ne pominje samo "ignorance" nego i antiintelektualizam u političkom i kulturnom životu. Što je u organskoj sponi sa ovim o čemu govoriš. Dakle, ta neka vrsta "prirodnog" otpora prema eliti na kojoj je izgrađen veliki deo ne samo američkog mita već i dobrog dela zapadnjačke savremene misli, od francuske građanske revolucije naovamo je posle eksploatisana da se izgrade zgodni ljudi od slame protiv kojih mase mogu onda da osećaju otpor. Pa tako kad klimatolog dođe i kaže "valja smanjiti udeo uglja i nafte u našoj industriji", ovaj koji živi od prodaje uglja i nafte relativno lako to spinuje u "njanjavi naučnici žele da vam oduzmu stečene životne udobnosti i da vas nateraju da vozite priuse umesto od boga sertifikovanih SUVova, a još sve to na osnovu neke bogus priče da se Zemlja zagreva jer mi ložimo ugalj, al ako se zagreva što je meni zimus bilo onako hladno i uostalom ko ih jebe ako je njima vrućina što ne kupe jači klima uređaj".
Mislim da si u pravu i da je činjenica da bi zaustavljanje i reverzija antropogenih efekata na klimu zahtevalo ozbiljne žrtve u industriji ne samo razvijenih zemalja i njima pripadajućih tržišta, već i zemalja čije se ekonomije tek poslednjih godina ubrzano razvijaju - i njima pripadajućih tržišta od kojih se neka preklapaju sa onim prvim - svakako zaslužna za to što živimo u atmosferi meksikan stendofa gde niko ne želi da trepne prvi. Naravno, zapad će dosta učiniti na smanjenju individualnog carbon footprinta, postojaće subvencije na izgradnju bolje izolovanih stambenih prostora, a projekti poput Tesla automobila će ostvariti solidan kulturni ako ne već i ekonomski impakt (dok istok u globalu ima značajno manji carbon footprint na individualnom nivou), ali moj je utisak još uvek da su to sve sitnice u odnosu na količinu greenhouse gasa koju izbacuju industrijska postrojenja od kojih, dakako, neka, iako pripadaju zapadu, uopšte nisu na zapadu. Što se istoka tiče, dovoljno je videti kako izgleda vazduh u Šangaju da shvatimo da Kini ne pada na pamet da sebi seče krila sad kad je na putu da u iznenađujuće kratkom roku pretekne SAD na lestvici vodećih privreda sveta.
Da se vratim na Asimovljev citat i da samo još jednom progunđam, kao mnogo puta tokom rasprava na ovom forumu: to što svako ima pravo da učestvuje u raspravi ne znači da ćemo svačije mišljenje tretirati sa istom ozbiljnošću i posvećenošću: neko naprosto zna više o određenoj temi i kadar je da to bolje obrazloži. Nekako osim u temama koje se tiču bazičnih pitanja funkcionisanja društva (referendum o ustavnom amandmanu kojim se, recimo ponovo uvodi smrtna kazna ili se ženama oduzima pravo glasa), mislim da je teška zabluda kako je poenta javnog diskursa da svako kaže šta misli pa da se onda nađe sredina jer to kontrira čitavoj ideji civilizacije koja počiva na specijalizacijama unutar zajednice.
E, sad, naravno, i nauka mora da zna da ne funkcioniše u vakuumu i da političari koji donose odluke vazda vagaju to kako će prosta pučina razumeti odluku, njene posledice i razloge za njeno donošenje, pa onda i nauka mora da održava tu prljavu vezu sa pukom, da radi na popularizaciji svojih tema i koncepata, da, iako je to ružna reč, možda i lobira za "naučnu istinu" ili makar "naučni metod" a tu onda dolazimo do nezgodnog akta balansiranja na ivici između populizma i hardcore privrženosti svetosti objektivne istine. Da budemo sasvim jasni, a i ovo smo više puta pretresali na forumu:
Nauka uglavnom ne operiše sa objektivnom istinom, već sa dokazivim verovatnoćama. Što je naravno težak kamen spoticanja za prost svet poput nas. Kad pričamo o klimatskim promenama, pričamo o percipiranim trendovima i klimatskim modelima i simulacijama koje uzimaju u obzir konačan broj parametara, sve to vezano za druge trendove u drugim oblastima života (poljoprivreda, teška industrija, turizam) i međuzavisnost te gomile promenljivih daje jednu sliku koja kad se opiše na određeni način zaista deluje kao da je vreme da učinimo nešto radikalno da bismo spasli planetu za svoju decu prošlo pre otprilike pet minuta. Ali običnom čoveku iz mase poput mene je to i dalje jako apstraktno i nejasno i da bi on reagovao (kupio prius, izolovao stan, bojkotovao robu proizvedenu u Kini, pisao pisma svom predstavniku u skupštini) mora mu se sve sažvakati u citantne saundbajtove i nedvosmislene projekcije (kačio sam onaj sjajan tekst iz Rolling Stonea gore na temi o klimatskm promenama), a to onda i drugoj strani daje municiju da operiše sa saundbajtovima i širenjem konfuzije pa ispada na kraju ono što novine već izvesno vreme pišu: Amerikanci (i svi mi po ekstrapolaciji) veruju u globalno zagrevanje nakon što ih tokom leta spiči duže od tri nedelje vrelog sušnog vremena. Videćemo da li će i kako nauka i njeni glasnogovornici uspeti da iskoriste ekstremnu zimu u USA ovog Januara kao dokaz o klimatskim promenama ili će neprijatelj da se zakači na najprostiju prvu loptu i kaže "Ha, kurac globalno zagrevanje, pa kad smo se SMRZLI kao ove zime? Nikad, eto kad!!! VIDITE DA SVE LAŽU!!!"
Ja se sad izvinjavam na ovom dugačkom i meandrirajućem postu. Spojler alrt: nemojte ga čitati.
cudo bozje, ali... I concur! xwink2
nego, van tog mikroindividualnog nivoa, ima tu i jedna dimenzija problema o koju niko ne zeli ni da se spotakne, a kamoli je ozbiljno proucava, a to je da se tu ipak govori o fenomenu koji je i globalan i kumulativan ujedno.
jedan od najkliskijih kamena spoticanja je razgovor o, jelte, kompenzaciji.
kako stvari sada stoje, implementacija bilo kojih ozbiljnijih mera (one neozbiljne ne bi imale ni efekta, ionako) ce najvise da pogodi zemlje u razvoju sa jedne strane, a a sa druge one privrede kao sto je i Kineska, dakle zemlje koje su na samom rubu da postanu svetske ekonomske sile. Ocekivati od tih zemalja da se postuju bilo kakvih dogovora koji ne uracunavaju i kompenzaciju, to u bilo kakvoj formi i nacinu, pa to je zesce naivna kalkulacija. a cak i najgeneralnija razmisljanja o toj formi i nacinu u velikoj meri ukljucuju i drustveni i politicki aspekt, ne samo privredni. otud su nerazvijene i ekonomski ranjive zemlje oprezne do granice paranoje, i verovatno smatraju da je najbolja opcija u uzdrzanosti, bar dok god je to moguce.
Tako je, mislim da smo i to sa kompenzacijom već negde na forumu pomenuli kao očigledan problem u svim daljim pregovaranjima o promeni smera planete.
S druge strane imamo lošu reputaciju nuklearne energije kao potencijalnog proizvođača opasnog zagađenja i kataklizmi a što, vezano za činjenicu da se odmah skače za vrat "sumnjivim" državama koje razvijaju nuklearnu tehnologiju, rezultira time da se energetske alternative fosilnom gorivu skoro i ne istražuju na nekom ozbiljnijem nivou (dakle, bezbedniji raktori, bolji načini odlaganja otpada, bla bla bla) sem tamo gde to dopušta industrijski lobi baziran na fosilnim gorivima... Dakle, meksikan stendof se nastavlja.
Ako bi dovoljno veliki broj zemalja ograničilo trgovinu sa zagađivačima, ili makar opteretio tu trgovinu ekološkim dažbinama, onda bi ti zagađivači možda promenili svoj stav prema zagađivanju. A ako i ne bi samim tim što manje prodaju značilo bi da manje i proizvode, pa manje i zagađuju.
EDIT: Amerika i dalje mnogo zagađuje, pa bi to i njih pogodilo. Takođe, zagađenje ne zastareva, i oni koji su svoj bolji tehnološki položaj stekli zagađivanjem u prošlosti morali bi da vrate taj dug. Takođe, cenim da i patentni sistem treba radikalno unaprediti.
Ali upravo o tome pričamo: svi koriste fosilna goriva jer ona i dalje daju najbolji omjer između cene i količine upotrebljive energije, dakle praktično nema ko da izvede bojkot. U ovom trenutku čak i zemlje koje više skoro da nemaju industriju na svojoj teritoriji - poput Norveške - i dalje su neraskidivo vezane za fosilna goriva.
U onom pomenutom tekstu iz Rolin Stouna se i pominje neka vrsta intelektuanog bojkota koji bi predvodili pre svega univerziteti itd. a za primer se uzima način na koji je tretiran aparthejd režim u JAR, ali ovde su stvari ipak primetno drugačije, odnosno stvaran bojkot znači odricanje vrlo ozbiljnih elemenata svakodnevnog života.
Quote from: mac on 20-01-2014, 16:05:54
Ako bi dovoljno veliki broj zemalja ograničilo trgovinu sa zagađivačima, ili makar opteretio tu trgovinu ekološkim dažbinama, onda bi ti zagađivači možda promenili svoj stav prema zagađivanju. A ako i ne bi samim tim što manje prodaju značilo bi da manje i proizvode, pa manje i zagađuju.
Znaš, to je korektno (politički :) ) u teoriji, ali u praksi se nebrojeno puta dokazalo kao impotentna solucija, to još od fenomena prohibicije naovamo. Za istinska globalna rešenja zabrane ne funkcionišu, potreban je dogovor, i to održiv, a ne prinudan.
a to što kažeš "Takođe, zagađenje ne zastareva, i oni koji su svoj bolji tehnološki položaj stekli zagađivanjem u prošlosti morali bi da vrate taj dug" je upravo srž problema, samo što se niko time ozbiljno ne bavi, ili bar ne oni koji bi morali, a to su naslednici industrijskih (i kolonijalnih) sila 18tog i 19tog veka. Bez obzira kako to izgledalo iz današnje perspektive, taj argument ipak ima određenu snagu i dandanas, i ukoliko rešavanje tog konkretno problema izostane, teško da će biti iskrenog konsenzusa po pitanju osnovne industrijske žrtve koja se mora podneti u cilju saniranja rešenih posledica.
http://www.youtube.com/watch?v=6xljA6zJn4I#t=195 (http://www.youtube.com/watch?v=6xljA6zJn4I#t=195)
Greje srce što Rona i danas prepoznaju kao ikonu. Ako Jevreji uopšte imaju ikone, hm, hm, hm...
Endtimes!!! Ekonomista koji se onomad zakitio Nobelovom nagradom veli da bi legalizacija prodaje (sopstvenih, prizjumabli) organa donela mnoge pozitivne efekte: povećanu ponudu organa ljudima kojima je potrebna transplantacija, kao i... er... ne, to je zapravo sve. Dakle, članak priznaje da je jasno da bi organe pre svega prodavala sirotinja ali onda i ukazuje da sirotinja najviše i ispašta zbog male ponude organa (kadaveričnih ili donacija od strane rodbine) pa da se to kao u nekom smislu niveliše...
Sve u semu, provokativan članak. Ne zaboravimo da u Americi praksa prodaje krvi postoji i legalno funkcioniše već decenijama, tako da ovo nije tako outlandish koncept kao što se čini na prvi pogled i sasvim je u skladu sa idejom da slobodno tržište rešava sve, kao i da, jelte, bogati imaju problem za koji se sirotima može platiti da ga reše. Ne znam što sam ovako ciničan od ranog jutra, sigurno od ovog humusa koga sam doručkovao.
Cash for Kidneys: The Case for a Market for Organs (http://online.wsj.com/news/articles/SB10001424052702304149404579322560004817176?mod=WSJ_hpp_MIDDLENexttoWhatsNewsFifth)
QuoteIn 2012, 95,000 American men, women and children were on the waiting list for new kidneys, the most commonly transplanted organ. Yet only about 16,500 kidney transplant operations were performed that year. Taking into account the number of people who die while waiting for a transplant, this implies an average wait of 4.5 years for a kidney transplant in the U.S.
The situation is far worse than it was just a decade ago, when nearly 54,000 people were on the waiting list, with an average wait of 2.9 years. For all the recent attention devoted to the health-care overhaul, the long and growing waiting times for tens of thousands of individuals who badly need organ transplants hasn't been addressed.
Finding a way to increase the supply of organs would reduce wait times and deaths, and it would greatly ease the suffering that many sick individuals now endure while they hope for a transplant. The most effective change, we believe, would be to provide compensation to people who give their organs—that is, we recommend establishing a market for organs.
Organ transplants are one of the extraordinary developments of modern science. They began in 1954 with a kidney transplant performed at Brigham & Women's hospital in Boston. But the practice only took off in the 1970s with the development of immunosuppressive drugs that could prevent the rejection of transplanted organs. Since then, the number of kidney and other organ transplants has grown rapidly, but not nearly as rapidly as the growth in the number of people with defective organs who need transplants. The result has been longer and longer delays to receive organs.
Many of those waiting for kidneys are on dialysis, and life expectancy while on dialysis isn't long. For example, people age 45 to 49 live, on average, eight additional years if they remain on dialysis, but they live an additional 23 years if they get a kidney transplant. That is why in 2012, almost 4,500 persons died while waiting for kidney transplants. Although some of those waiting would have died anyway, the great majority died because they were unable to replace their defective kidneys quickly enough.
The toll on those waiting for kidneys and on their families is enormous, from both greatly reduced life expectancy and the many hardships of being on dialysis. Most of those on dialysis cannot work, and the annual cost of dialysis averages about $80,000. The total cost over the average 4.5-year waiting period before receiving a kidney transplant is $350,000, which is much larger than the $150,000 cost of the transplant itself.
Individuals can live a normal life with only one kidney, so about 34% of all kidneys used in transplants come from live donors. The majority of transplant kidneys come from parents, children, siblings and other relatives of those who need transplants. The rest come from individuals who want to help those in need of transplants.
In recent years, kidney exchanges—in which pairs of living would-be donors and recipients who prove incompatible look for another pair or pairs of donors and recipients who would be compatible for transplants, cutting their wait time—have become more widespread. Although these exchanges have grown rapidly in the U.S. since 2005, they still account for only 9% of live donations and just 3% of all kidney donations, including after-death donations. The relatively minor role of exchanges in total donations isn't an accident, because exchanges are really a form of barter, and barter is always an inefficient way to arrange transactions.
Exhortations and other efforts to encourage more organ donations have failed to significantly close the large gap between supply and demand. For example, some countries use an implied consent approach, in which organs from cadavers are assumed to be available for transplant unless, before death, individuals indicate that they don't want their organs to be used. (The U.S. continues to use informed consent, requiring people to make an active declaration of their wish to donate.) In our own highly preliminary study of a few countries—Argentina, Austria, Brazil, Chile and Denmark—that have made the shift to implied consent from informed consent or vice versa, we found that the switch didn't lead to consistent changes in the number of transplant surgeries.
Other studies have found more positive effects from switching to implied consent, but none of the effects would be large enough to eliminate the sizable shortfall in the supply of organs in the U.S. That shortfall isn't just an American problem. It exists in most other countries as well, even when they use different methods to procure organs and have different cultures and traditions.
Paying donors for their organs would finally eliminate the supply-demand gap. In particular, sufficient payment to kidney donors would increase the supply of kidneys by a large percentage, without greatly increasing the total cost of a kidney transplant.
We have estimated how much individuals would need to be paid for kidneys to be willing to sell them for transplants. These estimates take account of the slight risk to donors from transplant surgery, the number of weeks of work lost during the surgery and recovery periods, and the small risk of reduction in the quality of life.
Our conclusion is that a very large number of both live and cadaveric kidney donations would be available by paying about $15,000 for each kidney. That estimate isn't exact, and the true cost could be as high as $25,000 or as low as $5,000—but even the high estimate wouldn't increase the total cost of kidney transplants by a large percentage.
Few countries have ever allowed the open purchase and sale of organs, but Iran permits the sale of kidneys by living donors. Scattered and incomplete evidence from Iran indicates that the price of kidneys there is about $4,000 and that waiting times to get kidneys have been largely eliminated. Since Iran's per capita income is one-quarter of that of the U.S., this evidence supports our $15,000 estimate. Other countries are also starting to think along these lines: Singapore and Australia have recently introduced limited payments to live donors that compensate mainly for time lost from work.
Since the number of kidneys available at a reasonable price would be far more than needed to close the gap between the demand and supply of kidneys, there would no longer be any significant waiting time to get a kidney transplant. The number of people on dialysis would decline dramatically, and deaths due to long waits for a transplant would essentially disappear.
Today, finding a compatible kidney isn't easy. There are four basic blood types, and tissue matching is complex and involves the combination of six proteins. Blood and tissue type determine the chance that a kidney will help a recipient in the long run. But the sale of organs would result in a large supply of most kidney types, and with large numbers of kidneys available, transplant surgeries could be arranged to suit the health of recipients (and donors) because surgeons would be confident that compatible kidneys would be available.
The system that we're proposing would include payment to individuals who agree that their organs can be used after they die. This is important because transplants for heart and lungs and most liver transplants only use organs from the deceased. Under a new system, individuals would sell their organs "forward" (that is, for future use), with payment going to their heirs after their organs are harvested. Relatives sometimes refuse to have organs used even when a deceased family member has explicitly requested it, and they would be more inclined to honor such wishes if they received substantial compensation for their assent.
The idea of paying organ donors has met with strong opposition from some (but not all) transplant surgeons and other doctors, as well as various academics, political leaders and others. Critics have claimed that paying for organs would be ineffective, that payment would be immoral because it involves the sale of body parts and that the main donors would be the desperate poor, who could come to regret their decision. In short, critics believe that monetary payments for organs would be repugnant.
But the claim that payments would be ineffective in eliminating the shortage of organs isn't consistent with what we know about the supply of other parts of the body for medical use. For example, the U.S. allows market-determined payments to surrogate mothers—and surrogacy takes time, involves great discomfort and is somewhat risky. Yet in the U.S., the average payment to a surrogate mother is only about $20,000.
Another illuminating example is the all-volunteer U.S. military. Critics once asserted that it wouldn't be possible to get enough capable volunteers by offering them only reasonable pay, especially in wartime. But the all-volunteer force has worked well in the U.S., even during wars, and the cost of these recruits hasn't been excessive.
Whether paying donors is immoral because it involves the sale of organs is a much more subjective matter, but we question this assertion, given the very serious problems with the present system. Any claim about the supposed immorality of organ sales should be weighed against the morality of preventing thousands of deaths each year and improving the quality of life of those waiting for organs. How can paying for organs to increase their supply be more immoral than the injustice of the present system?
Under the type of system we propose, safeguards could be created against impulsive behavior or exploitation. For example, to reduce the likelihood of rash donations, a period of three months or longer could be required before someone would be allowed to donate their kidneys or other organs. This would give donors a chance to re-evaluate their decisions, and they could change their minds at any time before the surgery. They could also receive guidance from counselors on the wisdom of these decisions.
Though the poor would be more likely to sell their kidneys and other organs, they also suffer more than others from the current scarcity. Today, the rich often don't wait as long as others for organs since some of them go to countries such as India, where they can arrange for transplants in the underground medical sector, and others (such as the late Steve Jobs (http://topics.wsj.com/person/J/Steve-Jobs/605) ) manage to jump the queue by having residence in several states or other means. The sale of organs would make them more available to the poor, and Medicaid could help pay for the added cost of transplant surgery.
The altruistic giving of organs might decline with an open market, since the incentive to give organs to a relative, friend or anyone else would be weaker when organs are readily available to buy. On the other hand, the altruistic giving of money to those in need of organs could increase to help them pay for the cost of organ transplants.
Paying for organs would lead to more transplants—and thereby, perhaps, to a large increase in the overall medical costs of transplantation. But it would save the cost of dialysis for people waiting for kidney transplants and other costs to individuals waiting for other organs. More important, it would prevent thousands of deaths and improve the quality of life among those who now must wait years before getting the organs they need.
Initially, a market in the purchase and sale of organs would seem strange, and many might continue to consider that market "repugnant." Over time, however, the sale of organs would grow to be accepted, just as the voluntary military now has widespread support.
Eventually, the advantages of allowing payment for organs would become obvious. At that point, people will wonder why it took so long to adopt such an obvious and sensible solution to the shortage of organs for transplant.
Mr. Becker is a Nobel Prize-winning professor of economics at the University of Chicago and a senior fellow at the Hoover Institution. Mr. Elias is an economics professor at the Universidad del CEMA in Argentina.
Skroman neki predlog.
It is a melancholy object to those, who walk through this great town, or travel in the country, when they see the streets, the roads and cabbin-doors crowded with beggars of the female sex, followed by three, four, or six children, all in rags, and importuning every passenger for an alms. These mothers instead of being able to work for their honest livelihood, are forced to employ all their time in stroling to beg sustenance for their helpless infants who, as they grow up, either turn thieves for want of work, or leave their dear native country, to fight for the Pretender in Spain, or sell themselves to the Barbadoes.
I think it is agreed by all parties, that this prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and frequently of their fathers, is in the present deplorable state of the kingdom, a very great additional grievance; and therefore whoever could find out a fair, cheap and easy method of making these children sound and useful members of the common-wealth, would deserve so well of the publick, as to have his statue set up for a preserver of the nation.
But my intention is very far from being confined to provide only for the children of professed beggars: it is of a much greater extent, and shall take in the whole number of infants at a certain age, who are born of parents in effect as little able to support them, as those who demand our charity in the streets.
As to my own part, having turned my thoughts for many years, upon this important subject, and maturely weighed the several schemes of our projectors, I have always found them grossly mistaken in their computation. It is true, a child just dropt from its dam, may be supported by her milk, for a solar year, with little other nourishment: at most not above the value of two shillings, which the mother may certainly get, or the value in scraps, by her lawful occupation of begging; and it is exactly at one year old that I propose to provide for them in such a manner, as, instead of being a charge upon their parents, or the parish, or wanting food and raiment for the rest of their lives, they shall, on the contrary, contribute to the feeding, and partly to the cloathing of many thousands.
There is likewise another great advantage in my scheme, that it will prevent those voluntary abortions, and that horrid practice of women murdering their bastard children, alas! too frequent among us, sacrificing the poor innocent babes, I doubt, more to avoid the expence than the shame, which would move tears and pity in the most savage and inhuman breast.
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couple, who are able to maintain their own children, (although I apprehend there cannot be so many, under the present distresses of the kingdom) but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand, for those women who miscarry, or whose children die by accident or disease within the year. There only remain an hundred and twenty thousand children of poor parents annually born. The question therefore is, How this number shall be reared, and provided for? which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses, (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing till they arrive at six years old; except where they are of towardly parts, although I confess they learn the rudiments much earlier; during which time they can however be properly looked upon only as probationers: As I have been informed by a principal gentleman in the county of Cavan, who protested to me, that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old, is no saleable commodity, and even when they come to this age, they will not yield above three pounds, or three pounds and half a crown at most, on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriments and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed, is, at a year old, a most delicious nourishing and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricasie, or a ragoust.
I do therefore humbly offer it to publick consideration, that of the hundred and twenty thousand children, already computed, twenty thousand may be reserved for breed, whereof only one fourth part to be males; which is more than we allow to sheep, black cattle, or swine, and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore, one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in sale to the persons of quality and fortune, through the kingdom, always advising the mother to let them suck plentifully in the last month, so as to render them plump, and fat for a good table. A child will make two dishes at an entertainment for friends, and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt, will be very good boiled on the fourth day, especially in winter.
Da, manje-više, Swift je objasnio još u osamnaestom veku.
Quote from: Meho Krljic on 21-01-2014, 10:40:32
Ekonomista koji se onomad zakitio Nobelovom nagradom veli da bi legalizacija prodaje (sopstvenih, prizjumabli) organa donela mnoge pozitivne efekte
Kao i sve ostalo: još jedan sirac sa gadno velikim rupama.
A zna se šta kaže stara kineska poslovica: nisu rupe ono što u tom siru smrdi!!!!!!!
We Are Rail Fans - TS2014 (http://www.youtube.com/watch?v=C12aycIepqA#ws)
Čekao sam da krene neki brutalni dabstep i recimo skejteri koji voze po krovovima vozova u pokretu, ali ništa, samo topli glas Seana Beana i iskrena ljubav prema vozovima do kraja... Pa... dobro...
Ne razumem, kako ti topli glas Šona Bina nije bio dovoljan za sreću&radost???1
Star sam i namrgođen čovek. Meni bi više čučnulo ovao nešto:
Choose Life - Trainspotting (1/12) Movie CLIP (1996) HD (http://www.youtube.com/watch?v=Naf_WiEb9Qs#ws)
Pa ne, baš je Rentboy za mlade i napaljene, a Šonovi baršunasti tonovi iz Jorkšira su kao poručeni pripitomljenom sredovečnom gospodinu.
Pa, da, to je to stereotipiziranje kome pokušavam da uteknem sve ove decenije :cry:
Quote from: Jevtropijevićka on 23-01-2014, 21:38:31
Ne razumem, kako ti topli glas Šona Bina nije bio dovoljan za sreću&radost???1
A još ga i ne ubiju do kraja reklame (spojler!) Verovatno se zato pojavljuje samo glasom, inače bi ga pregazio voz!
Dovoljno sam matora da se sećam Š.B.-a iz perioda dok je preživljavao do odjavne špice! S mapetima!!!
Приповедач - Суђена невеста (http://www.youtube.com/watch?v=leDWGB6z6Lo#)
Lawrence Krauss vs Hamza Tzortzis - Islam vs Atheism Debate (http://www.youtube.com/watch?v=uSwJuOPG4FI#ws)
Uzgred, Brian me je vremenom dobio sa novim Deadpoolom, ali ne treba zaboraviti da je on i brat metalac.
BRIAN POSEHN - "More Metal Than You" (Official Music Video) (http://www.youtube.com/watch?v=Y24MmylTeY4#ws)
Ova ko i ti koristi udaraljke...
Csardas (http://www.youtube.com/watch?v=nhZ_cLf-uvo#)
Uvek sam te ljude koji sviraju marimbe i vibrafone smatrao za prevarante, jer ne samo da su sjajni perkusionisti već i razumeju harmonije, znaju akorde itd. Ja sam ipak samo udarač.
Evo za Mehu , kratka edukacija ;)
Funny commands in the bible by Ahmed Deedat. (http://www.youtube.com/watch?v=TMmqBFwT8VY#ws)
(https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-prn2/t1/1623776_10152202958054019_992842457_n.jpg)
Meni su kao djetetu na poklon kupovali one male igračke-gitare, pa ksilofone i melodike, verovatno da kikstartuju moj latentni muzički talenat ali pokazalo se da je on suviše latentan :( :( :( :(
U Srbiji prestaje dobrovoljno davanje krvi
http://www.tvbest.rs/33408-u-srbiji-prestaje-dobrovoljno-davanje-krvi (http://www.tvbest.rs/33408-u-srbiji-prestaje-dobrovoljno-davanje-krvi)
Naslov je svakako prebombastičan jer naravno da davalaštvo ide dalje i davanje neće stati. Ali dobro je da se malo problematika pretrese...
Oh, novi album Anaal Nathrakh je upravo završen (bar tako tvrdi njihova fejsbuk stranica). Ako bude približno kao Vanitas, to će biti razlog za beskrajno radovanje. Ovako nešto:
http://youtu.be/Zgs0eYKL4Xc (http://youtu.be/Zgs0eYKL4Xc)
Mishoggah Bleedsmith (http://www.youtube.com/watch?v=JQETWlCH1f4#)
Evo da reagujem tek sad pošto na poslu nemam zvučnike :( :( :(
Dakle, časno je ovo, časno!!!!! Znao sam ja da je ovo dete časno još onomad kada smo obarali ruke oko Skota Pilgrima. I lepo su ljudi prepoznali epsku širinu ove pesme!!!!!!!!!!
Naravno, ja bih još zaoštrio aranžman, dodao više duplih kikova, te death metal vokale, ali dobro, ima vremena. :-| :-| :-| :-|
Inače, da dodam, za nevokalni deo je zaslužan Šarki iz Seljačke bune. :lol:
Pa, piše to sve na JuTjubu, nismo propustili da vidimo. :lol: Valjan posao.
Rick Raemisch je izvršni direktor odseka za popravne institucije u Koloradu. Pošto mu je držanje ljudi u zatvoru posao, nedavno se podvrgao tretmanu samice... na dvadeset časova, da vidi kako je to. Veoma poučna kolumna u NY Timesu je izašla iz toga. TL;DR samica je varvarski način da se ljudi muče, treba je ukinuti:
My Night in Solitary (http://www.nytimes.com/2014/02/21/opinion/my-night-in-solitary.html?hp&rref=opinion&_r=1)
Quote
COLORADO SPRINGS — AT 6:45 p.m. on Jan. 23, I was delivered to a Colorado state penitentiary, where I was issued an inmate uniform and a mesh bag with my toiletries and bedding. My arms were handcuffed behind my back, my legs were shackled and I was deposited in Administrative Segregation — solitary confinement.
I hadn't committed a crime. Instead, as the new head of the state's corrections department, I wanted to learn more about what we call Ad Seg.
Most states now agree that solitary confinement is overused, and many — like New York, which just agreed to a powerful set of reforms (http://www.nytimes.com/2014/02/20/nyregion/new-york-state-agrees-to-big-changes-in-how-prisons-discipline-inmates.html?hpw&rref=nyregion) this week — are beginning to act. When I was appointed, Gov. John Hickenlooper charged me with three goals: limiting or eliminating the use of solitary confinement for mentally ill inmates; addressing the needs of those who have been in solitary for long periods; and reducing the number of offenders released directly from solitary back into their communities. If I was going to accomplish these, I needed a better sense of what solitary confinement was like, and what it did to the prisoners who were housed there, sometimes for years.
My cell, No. 22, was on the second floor, at the end of what seemed like a very long walk. At the cell, the officers removed my shackles. The door closed and the feed tray door opened. I was told to put my hands through it so the cuffs could be removed. And then I was alone — classified as an R.F.P., or "Removed From Population."
In regular Ad Seg, inmates can have books or TVs. But in R.F.P. Ad Seg, no personal property is allowed. The room is about 7 by 13 feet. What little there is inside — bed, toilet, sink — is steel and screwed to the floor.
First thing you notice is that it's anything but quiet. You're immersed in a drone of garbled noise — other inmates' blaring TVs, distant conversations, shouted arguments. I couldn't make sense of any of it, and was left feeling twitchy and paranoid. I kept waiting for the lights to turn off, to signal the end of the day. But the lights did not shut off. I began to count the small holes carved in the walls. Tiny grooves made by inmates who'd chipped away at the cell as the cell chipped away at them.
For a sound mind, those are daunting circumstances. But every prison in America has become a dumping ground for the mentally ill, and often the "worst of the worst" — some of society's most unsound minds — are dumped in Ad Seg.
If an inmate acts up, we slam a steel door on him. Ad Seg allows a prison to run more efficiently for a period of time, but by placing a difficult offender in isolation you have not solved the problem — only delayed or more likely exacerbated it, not only for the prison, but ultimately for the public. Our job in corrections is to protect the community, not to release people who are worse than they were when they came in.
Terry Kupers (http://www.wi.edu/psyd-faculty-terry-kupers), a psychiatrist and expert on confinement, described in a paper published last year the many psychological effects of solitary. Inmates reported nightmares, heart palpitations and "fear of impending nervous breakdowns." He pointed to research from the 1980s that found that a third of those studied had experienced "paranoia, aggressive fantasies, and impulse control problems ... In almost all instances the prisoners had not previously experienced any of these psychiatric reactions."
Too often, these prisoners are "maxed out," meaning they are released from solitary directly into society. In Colorado, in 2012, 140 people were released into the public from Ad Seg; last year, 70; so far in 2014, two. Continue reading the main story (http://www.nytimes.com/2014/02/21/opinion/my-night-in-solitary.html?hp&rref=opinion&_r=1#story-continues-3)
The main light in my cellblock eventually turned off, and I fell into a fitful sleep, awakening every time a toilet flushed or an officer yanked on the doors to determine they were secure. Then there were the counts. According to the Ad Seg rules, within every 24-hour period there are five scheduled counts and at least two random ones. They are announced over the intercom and prisoners must stand with their feet visible to the officer as he looks through the door's small window. As executive director, I praise the dedication, but as someone trying to sleep and rest my mind — forget it. I learned later that a number of inmates make earplugs out of toilet paper. Continue reading the main story (http://www.nytimes.com/2014/02/21/opinion/my-night-in-solitary.html?hp&rref=opinion&_r=1#story-continues-4) Recent Comments John Plotz 7 days ago I can understand (though not necessarily approve) how solitary confinement protects guards and other inmates from a particularly violent...
dcdriskill 7 days ago Having visited the remains of the infamous Port Arthur prison in Tasmania where complete isolation and even sensory deprivation were among...
OzarkOrc 7 days ago Please quit worrying about the "Torture" aspect of solitary confinement.Our entire "Prison Industrial Complex" is a cruel hoax, doing very...
When 6:15 a.m. and breakfast finally came, I brushed my teeth, washed my face, did two sets of push-ups, and made my bed. I looked out my small window, saw that it was still dark outside, and thought, now what?
I would spend a total of 20 hours in that cell. Which, compared with the typical stay, is practically a blink. On average, inmates who are sent to solitary in Colorado spend an average of 23 months there. Some spend 20 years.
Eventually, I broke a promise to myself and asked an officer what time it was. 11:10 a.m. I felt as if I'd been there for days. I sat with my mind. How long would it take before Ad Seg chipped that away? I don't know, but I'm confident that it would be a battle I would lose.
Inmates in Ad Seg have, of course, committed serious crimes. But I don't believe that justifies the use of solitary confinement. My predecessor, Tom Clements, who was as courageous a reformer as they come, felt the same way. Mr. Clements had already gone a long way to reining in the overuse of solitary confinement in Colorado. In little more than two years, he and his staff cut it by more than half: from 1,505 inmates (among the highest rates in the country) to 726. As of January, the number was down to 593. (We have also gotten the number of severely mentally ill inmates in Ad Seg down to the single digits.)
But Mr. Clements had barely begun his work when he was assassinated last March. In a tragic irony, he was murdered in his home by a gang member who had been recently released directly from Ad Seg. This former inmate murdered a pizza delivery person, allegedly for the purpose of wearing his uniform to lure Mr. Clements to open his front door. A few days later, the man was killed in a shootout with the Texas police after he had shot an officer during a traffic stop. Whatever solitary confinement did to that former inmate and murderer, it was not for the better.
When I finally left my cell at 3 p.m., I felt even more urgency for reform. If we can't eliminate solitary confinement, at least we can strive to greatly reduce its use. Knowing that 97 percent of inmates are ultimately returned to their communities, doing anything less would be both counterproductive and inhumane.
Rick Raemisch is executive director of the Colorado Department of Corrections. A version of this op-ed appears in print on February 21, 2014, on page A25 of the New York edition with the headline: My Night in Solitary. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2014%2F02%2F21%2Fopinion%2Fmy-night-in-solitary.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1154&title=My+Night+in+Solitary&publicationDate=Feb.+20%2C+2014&author=By%20Rick%20Raemisch)|Today's Paper (http://www.nytimes.com/pages/todayspaper/index.html)|Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp5558.html?)
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http://www.ebaumsworld.com/pictures/view/83707960/?autoplay=true (http://www.ebaumsworld.com/pictures/view/83707960/?autoplay=true)
Za Asiu se pričalo i da je dizajnirala skinove za Unreal Tournament. :lol:
https://www.youtube.com/watch?v=avUwaPRarXc (https://www.youtube.com/watch?v=avUwaPRarXc)
Koja je prva stvar ? ili jos bolje ako se setiš cele set liste :)
Iskucaću ujutro, nemam sad vremena. Ali prva je The Return of Darkness and Evil. Ima još Massacre, Sacrifice, naša Gloria Sathanas, verovatno Satan my Master, možda Rite of Darkness i Mayhemov Pure Fucking Armageddon na kraju. Ali preslušaću sutra ujutro redom pa ću da ti potvrdim.
Dakle:
1) The Return of Darkness and Evil
2) Massacre
3) Sacrifice
4) The Rite of Darkness
5) Equimenthorn :-| :-| :-| :-| :-| :-| njega sam zaboravio
6) Gloria Sathanas
7) Pure Fucking Armageddon
GTCMT - Robotic Drum Prosthesis Project (http://www.youtube.com/watch?v=ntrlHw6f4E4#ws)
Quote from: Meho Krljic on 07-03-2014, 08:38:36
Dakle:
1) The Return of Darkness and Evil
2) Massacre
3) Sacrifice
4) The Rite of Darkness
5) Equimenthorn :-| :-| :-| :-| :-| :-| njega sam zaboravio
6) Gloria Sathanas
7) Pure Fucking Armageddon
Da da, bolje od originala :)
Mada ja i nisam toliko merodavan, pošto sam ja više iz Hammerheart i Twilight of the Gods priče xcheers :-| :-|
Ronda Rousey HL 2013 - Like a Boss (http://www.youtube.com/watch?v=xinNENaGnKg#ws)
Dakle, neko je skupio svedočenja grupi djevojaka o veličini i generalnom seksualnom ponašanju dvadesetpetorice metal selebritija, pa sam mislio da je u redu da podelim link sa vama:
http://www.gossiprocks.com/forum/latest-gossip/104730-penis-chart-metal-groupies-kiss-tell.html (http://www.gossiprocks.com/forum/latest-gossip/104730-penis-chart-metal-groupies-kiss-tell.html)
30. Mehmet Krljić / Bethor
...
What happens in Bethor stays in Bethor.
xrofl xrofl xrofl xrofl xrofl
How To Be A BRUTAL Death Metal Vocalist (http://www.youtube.com/watch?v=b8AAIIJkZyc#ws)
Metallica: Lords of Summer (Garage Demo Version) [AUDIO ONLY] (http://www.youtube.com/watch?v=AiOtev3rEKI#ws)
Lep cracked tekst o realnostima života transrodnih osoba (u Americi, dodao bih):
http://www.cracked.com/article_20997_5-shocking-realities-being-transgender-media-ignores.html (http://www.cracked.com/article_20997_5-shocking-realities-being-transgender-media-ignores.html)
Btw, ja sam tek pre nekoliko meseci shvatio da je Christine Love trans. :lol:
O, ja to nisam ni znao. Eto. :lol: Mislio sam da je lezbijka.
Pa i jeste, u smislu da voli devojke. :lol:
Ali ima i Adamovu jabučicu vidno veću od moje.
Proverimo to! Evo njene slike, sad ti okači neku svoju adekvatnu!!!!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2Ffyg4eu.jpg&hash=36811ac47096cfafd4ef1aba1ce89958392565a2)
Nemam nijednu u crvenom džemperu! :cry:
Elem,
http://www.metalsucks.net/2014/03/20/will-never-another-metal-band-big-metallica/ (http://www.metalsucks.net/2014/03/20/will-never-another-metal-band-big-metallica/)
Da li je tačno da žene u suštini razlikuju boje bolje nego muškarci? Jer ovaj džemper nije crven, to čak i ja vidim. A nisam žensko, no se trudim.
Elem, naravno da neće biti nove Metalike, kao što nikada neće biti ni novih Bitlsa. Muv on, noting tu si hir :lol:
nema veze, daj onda bilo koju sa roze kosom.
Quote from: Meho Krljic on 21-03-2014, 11:19:56
Da li je tačno da žene u suštini razlikuju boje bolje nego muškarci?
Da (http://news.nationalgeographic.com/news/2012/09/120907-men-women-see-differently-science-health-vision-sex/), žene u proseku bolje razlikuju boje, a muškarci se bolje fokusiraju na detalje i pokretne slike. I ne samo to, nego natprosečne žene zbog određenih gena vide mnogo više boja (http://en.wikipedia.org/wiki/Tetrachromacy) nego što će muškarci ikada moći.
No, to i dalje nije povezano nužno sa jezikom. Osoba može da razlikuje 10 boja i sve ih naziva crvenom, ili da koristi 10 različitih termina, svejedno je. : P
Elem, džemper mi je crven ako sagnem glavu, a ako se maksimalno uspravim onda bih rekao da je nijanse ružičaste koja je drugačija od kose, ali ipak bih je turio u ružičasti koš. A to je sve na istom monitoru.
Meni je roze u svakom slučaju, nisam o njemu ni u jednom trenutku razmišljao kao o crvenom. Frdmor, iste mi je boje kao kosa, samo kosa deluje kao da je više osvetljena za slikanje. xwink2
Šta brat može s jednom žicom:
Brushy One String - Chicken in The Corn (Official Video) (http://www.youtube.com/watch?v=E8H-67ILaqc#)
Kakav gruv!11!!11!!1
Da, izvanredno. Još jedna demonstracija "duše" koju imaju ljudi afričkog porekla, potpuno nedostižne za 99% ostalog sveta. I posle me pitaju zašto sam rasista u slušanju džeza, bluza ili hip-hopa - pa zato što ovo što ovde vidimo i čujemo statistički gledano belac ne može da izvede a kad pokuša ispada posramljujuća karikatura.
jedna žica, tri note, to je sve što treba.
evo jedna malo crnja 'duša' -
Shiptarian Darkness - 05 - Kosovarian Hyperborea
http://youtu.be/Q6TujKEUY5A (http://youtu.be/Q6TujKEUY5A)
:lol: Znam ovo, pratim ja Kvočkine JuTjub avanture :lol:
Da podsetim i ukažem da je wikipedija trenutno u panhandling modu i željno očekuje vaše donacije:
Quote
Dear uros,
You are so fantastic. THANK YOU for supporting the Wikimedia Foundation, the non-profit that runs Wikipedia and its sister projects.
Your donation covers not only your own costs of using Wikipedia, but also the costs of other Wikipedia readers.
Like the retired farmer in upstate New York who's using Wikipedia to study the science of sludge, and the student in Kuala Lumpur who's researching organic chemistry. The British mechanic who, after he broke his back in an accident, used Wikipedia to retrain himself as a web developer. The civil servant in Finland who set up an offline version of Wikipedia for a small school in Ghana. And the father in Mexico City who takes his little daughters to the museum on weekends, and uses Wikipedia to help them understand everything they're seeing there.
Wikipedia's job is to bring the sum total of all human knowledge to everyone around the world in their own language. That's a pretty audacious mission, but with 30 million articles and 287 languages, I'd say that thanks to you and people like you, we are getting there.
On behalf of the Wikimedia Foundation, and the half-a-billion other Wikipedia readers around the world: thank you. The fact that you are helping to pay the costs of running Wikipedia means it can stay ad-free and independent of bias, focused solely on helping its readers. Exactly as it should be.
You may have noticed that for the first time this year we've tweaked our fundraising so that most people will only see the banners a handful of times, instead of for weeks. That's deliberate: we don't want people to get irritated by too many appeals. But it does mean that fewer people will figure out we're a non-profit, and that we want their help. So if you're willing, I'd appreciate if you'd help spread the word by forwarding this e-mail to a few of your friends.
And I'd love if you'd try joining us in helping to write Wikipedia. Wikipedia's written entirely by volunteers -- tens of thousands of ordinary people around the world, exactly like us. If you see a typo or a small mistake on Wikipedia, please fix it. If you know anything worth adding, please add it. Some people find it remarkably satisfying, and maybe you will too.
Thank you again. I very much appreciate your trust in us, and I promise you: we will use your money carefully and well.
Thanks,
Sue
Sue Gardner
Executive Director,
Wikimedia Foundation
donate.wikimedia.org (https://donate.wikimedia.org/)
http://www.boredpanda.com/metal-cats-alexandra-crockett/?fb_action_ids=10202136838436433&fb_action_types=og.likes (http://www.boredpanda.com/metal-cats-alexandra-crockett/?fb_action_ids=10202136838436433&fb_action_types=og.likes)
Oooo, slatko :lol: Mislim da ću da kupim ovu knjigu ženi. Iako sam od svih ponuđenih slika prepoznao samo Travisa iz Cattle Decapitation :lol:
Islamski seks-kult: "Sultan" poziva Turke na orgije
Sekta Haruna Jahija spaja pobožnost sa mekom pornografijom. Njegovi sledbenici propagiraju "Dizni verziju islama" i praktikuju grupni seks.
http://www.blic.rs/Vesti/Svet/454057/Islamski-sekskult-Sultan-poziva-Turke-na-orgije (http://www.blic.rs/Vesti/Svet/454057/Islamski-sekskult-Sultan-poziva-Turke-na-orgije)
Na Kikstarteru trenutno moguće podržati Miloša Slavkovića (http://www.galleryprovocateur.org/Mountings/Frazetta/Milos_Slavkovic.htm) u kreiranju originalnog fentezi stripa. Pa ko hoće, nek klikne da vidi:
https://www.kickstarter.com/projects/1257745865/enchanted-explorer (https://www.kickstarter.com/projects/1257745865/enchanted-explorer)
(https://s3.amazonaws.com/ksr/assets/001/682/295/94204838b81a3911bcacfb5c41f0e7f3_large.jpg?1393451541)
http://imgur.com/gallery/jvucy (http://imgur.com/gallery/jvucy)
da vidimo Meho tvoju verziju.
Napraviće se!!!!!!!
Snimak iz zadnjeg dvorišta Majli Sajrs:
http://instagram.com/p/nOApIESbCK/# (http://instagram.com/p/nOApIESbCK/#)
https://www.youtube.com/watch?v=1H14XFS1zVo&feature=youtu.be (https://www.youtube.com/watch?v=1H14XFS1zVo&feature=youtu.be)
:-|
Da se James Brown rodio u Japanu...
A kako se ovo zove? Rado bih ga skinuo, ali...
Edit: Aha, Zainichi Funk
http://bcove.me/pi8ma8mc (http://bcove.me/pi8ma8mc)
Umetnost!!! Pre petnaest godina bi ovako nešto radili Aphex Twin i Chris Cunningham a sada su to Majli i Quentin Jones!!!!!!!!
Ne mogu da se setim jesmo li već kačili nju ovde:
https://www.youtube.com/watch?v=Zae4Vo6Mx8I (https://www.youtube.com/watch?v=Zae4Vo6Mx8I)
Nismo. Možda bi trebalo da napravimo topik sa bubnjarkama?
http://youtu.be/7WzvmgXIksw (http://youtu.be/7WzvmgXIksw)
:lol: Mora se priznati da je mačak izuzetno pažljiv a i beba se ne plaši da će je ogrebati. Tu se verovatno najviše moramo diviti starateljima koji ne strahuju od toga da će dete biti ozbiljno ozleđeno ako se mačor malo zanese pa pusti kandže, što moje mačke kad se igram sa njima neretko znaju da urade...
Mislim da je (i) beba baš pažljiva, pa mačak uzvraća. :)
Da, pa i za bebe je to nekarakteristično :lol:
pa da, zato i okačih klip. :)
Vrlo lepo osmišljen tekst o tome šta superherojski kostim čini dobrim:
http://www.ign.com/articles/2014/05/16/between-the-panels-what-makes-a-good-superhero-costume (http://www.ign.com/articles/2014/05/16/between-the-panels-what-makes-a-good-superhero-costume)
Kakve su ti ono halucinacije na blogu da je Slayer snimio najbolji thrash metal album ikada????
Ja koliko znam, Ride the Lightning nije album Slayer-a! 8-)
Koješta. Iako će meni uvek Metalika ostati draži bend, sa kojim sam daleko intimnije upoznat nego sa Slayerom, titula najboljeg thrash albuma mora ići Reign in Bloodu (mada lično više volim South of Heaven).
A uostalom, u okviru opusa Metalike, samo je Kill 'Em All istinski thrash, ja bih rekao. A Master of Puppets najbolji an ženeral.
Којешта, заиста. Ако кажемо да Speak English or Die није thrash per se, па тиме испадне из конкуренције, онда прво место морају делити Reign in Blood и Game Over Nuclear Assaulta.
Koješta, nego šta, ako bi već entertejnovali pomisao da rangiramo Metaličine albume kao da spoljni svet ne postoji, Kill 'em all bi pobedio, sledio bi ga u stopu MoP pa onda Ride the Lightning. No uvažavam da sam stariji čovek koga je suret sa Kill 'em All, kada je taj album izašao, potpuno promenio.
No, sve to zaista ne može da se poredi sa čistotom i jasnoćom vizije Reign in Blood. Bato, ti taj album možda u stvari nisi ni slušao?
Nemate pojma!!! 8-)
Dakle, nisi ga slušao. :lol:
Da budem iskren, otkad sam čuo Reign in Blood (http://www.youtube.com/watch?v=yPGKlb8hklQ#) u meni više nije bilo dileme - ovo je najbolja thrash metal ploča ikad. Pitanjeje samo bilo koja konkurencija vlada za drugu poziciju.
John je već pomenuo Game Over (http://www.youtube.com/watch?v=J5ev1c-BsZI#ws) od Nuclear Assault i priznajem da je to meni izvanredan album koji sam slušao stotinama puta. Muzika je malčice raznovrsnija nego na Reign in Blood, sa malo hardcore uticaja, ali je i produkcija malčice tanja (Rick Rubin je sa Reign in Blood dostigao savršenstvo koje je malo ko ikada uspeo da dotakne), no to je veoma dobra i važna ploča koja je generaciju metalaca podučila postojanju hardcore panka i i danas je najbolji NA album.
Tu je dakako i Eternal Nightmare (http://www.youtube.com/watch?v=KjoVw1YmSnk#) grupe Vio-Lence, moj lični favorit. Vio-Lence su imali i odličan drugi album (o trećem je bolje ne govoriti) ali ovaj prvi je uzeo sve najbolje od Bay Area Thrasha i iskombinovao ga na izvanredan način. Album je istovremeno i brz i tehnički impresivan (bubnjar Perry Strickland ima fantasičan organski stil kome današnji trigeraši ne mogu ni da priđu), pankersko pevanje Seana Killiana mu daje poseban identitet, a to da su vio-Lence uspeli da brejkove, brejkdaunove i moš delove učine još ložačkijim od brzih delova me je uvek šokiralo :lol:
Pa, onda, Dark Angel: Leave Scars (http://www.youtube.com/watch?v=xatDgNL5f4A#). Dobri su njima svi albumi, ali ovo je možda najbolja kombinacija ekstremno brze i sirove svirke sa tehničkom prefinjenošću i inteligentnim songrajtingom. Ovo je jedan od retkih bendova koji na istom albumu mogu da imaju i instrmentalnu kompoziciju, i obradu Led zeppelin i nekoliko nepatvorenih thrash himni (Never to rise again i, dakako, Noone answers) i da to sve budeuklopljeno u karakterstični stil grupe sa dugačkim, teškim i brzim kompozicijama. Ron Rinehart je bio sjajan pevač a Gene Hoglan je jedan od retkih bubnjara koji Daveu Lonardu mogu da izađu na crtu bez problema. Često slušam naporedo Reign in Blood i Leave Scars i ako su Slayer mašina, dark Angel su divljina.
Ima tu još kandidata makar za treće mesto. Bloodcum su imali samo jedan album - Death by a... (http://www.youtube.com/watch?v=drM0dRJLJvI#) - ali je to bio baš divljački thrash metal na granici hardcorea, sirove produkcije i neretko malo infantilnih stavova ali davalo je to svemu energiju. Forbiddenov album Forbidden Evil (http://www.youtube.com/watch?v=Oz5EHATqAQs#)je klasik i slutim da bi se Bati dopao jer je muzika više mid-tempo i tehnički doterana ali ume da bude jako keči. Sa druge strane, prvi album šveckih Merciless - The Awakening (http://www.youtube.com/watch?v=hqFN0EjOfoo#) - je kad je izašao bio nazivan death metalom, danas se smatra nekom vrstom graničnog blek metal incidenta, ali je u suštini u pitanju izuzetno sirovi i superubrzani thrash metal koji je unatoč svemu bio jako keči. I oba (http://www.youtube.com/watch?v=QGwB0O7ihpU#)albuma (http://www.youtube.com/watch?v=MYv1uytuSj4#) benda Holy terror su bile odlične ploče u ono vreme. Dalje, Acid reign su redak britanski primer sjajnog thrash metala iz osamdesetih. ja najčešće ne umem da se odlučim koji mi je od njihova tri albuma najdraži pa bih nudio sva tri, ali možda zbog produkcijske superiornosti i kompozitorskog umeća mogu da izdvojim treći (http://www.youtube.com/watch?v=E0RO6ytwjX0#ws)mada su prva (http://www.youtube.com/watch?v=AX47NyQg_pc#ws)dva (http://www.youtube.com/watch?v=0uinXv9qEdE#) imala još više keči pesme.
Naravno i Sepulturin treći album, Beneath the Remains (http://www.youtube.com/watch?v=LVJmBH-0fGA#) je čudo. U ono vreme smo to zvali death-thrash muzikom ali smo se srećom do danas oslobodili ove besmislene etikete. Ova ploča kombinuje sve: brzinu, stav, tehniku i odlične pesme. Za malo tehnički ambiciozniju svirku, dakako ne smem da zaboravim Kreator i njihov četvrti album Extreme Aggression (http://www.youtube.com/watch?v=bLPcEzisQ0M#) koji je u globalu bio sporiji od prethodnih ploča ali je to nadoknadio odličnim songrjtingom gde ni insistiranje na "muzičarskim" forama poput stalnih promena ritma i tempa nije sasvim ubilo šmek (izdavajm hitove poput Don't Trust i dakako Betrayer).
Današnji revivalistički bendovi povremeno donesu i nešto vredno posedovanja i pamćenja. Beogradski Nadimač ima tri odlična albuma, na primer (http://www.youtube.com/watch?v=NCjQbhkP0tM#), a brazilski Deathraiser sa svojim albumom Violent Aggression (http://www.youtube.com/watch?v=pcSXKpz6tEs#) pokazuje šta bi bilo da je sepultura ostala na Beneath the Remains zvuku i razvijala ga dalje. Granični slučaj su holandsi Thanatos sa Justified genocide (http://www.youtube.com/playlist?list=PL99910C13F543AA8F)jer je u ptianju stari bend sa (sad već ne toliko) novim albumom koji je zapravo thrash metal poguran do ekstrema, sa Death metal zvukom, blastbitovima itd.
Mehmet! :-|
Treba tu verovatno dodati i Anthrax: Among the Living (http://www.youtube.com/watch?v=XxhlD6R8iMI#ws), mada je to malčice više "mejnstrim" svirka, ali je interesantno kako su Njujorčani kombinovali bay area uticaje sa hardcore uplivima, pa onda Sacrilege: Beyond the Realms of Madness (http://www.youtube.com/watch?v=UKDFXDu9Mlo#) jer je to maltene crustpunk čitanje thrash metala. Pa onda otići i preko stroge žanrovske granice, setiti se Celtic Frost i njihovog To Mega Therion (http://www.youtube.com/watch?v=9SgtScsVUg4#) koji je dosta uticao na razvoj death metala, kao i Bathory koji su naravno izmislili blek metal a čiji je meni najdraži album, Blood Fire Death (http://www.youtube.com/watch?v=SC6DvbEVHcI#ws), ujedno i vrhunska thrash ploča. Pa onda prvi talas švedskog death metala, posebno sve što su radili Nihilist/ Entombed/ Dismember a što je bilo death metal po štimu i vokalima ali u suštini samo jako surovi thrash metal. Proveriti Nihilistov kompletan opus ovde (http://www.youtube.com/watch?v=UXDNXO6Iq8k#) i čuti da to zvuči iznenađujuće bolje nego Entombedove verzije istih pesama.
što mi je trebalo da potaknem Mehovu skribomaniju :)
ko će to da čita sa
probao sam ja to davno da slušam, ali nije me privuklo
prije svega jer ja te čistokrvne žanrovske ne mirišem previše
jeste tačno ovo što Jape priča da je Metallica odmah počela da se distancira od thrasha, ali po meni je to i dalje izraslo odatle
a i nisam jedini, nađoh čak neku listu best thrash albums, Ride je 2. a Reign 1.
dakle, nije MoP najbolji za sve :)
Meni Ride ima više boljih pjesama, ne može jedna-dvije u MoP da nadomjeste ostale
i gdje spomenu Nadimač hahahha
A ja taman dođoh da okačim ovaj dečački iskreni demo Batorija iz 1983.
https://www.youtube.com/watch?v=9GHFvVOkj7k (https://www.youtube.com/watch?v=9GHFvVOkj7k)
Ja sam ovo više uradio za benefit opšte čitateljske populacije, svestan sam da Bata nema ni vremena ni volje da se udubljuje u istoriju treš metala. Ali mora se argumentovati ono što pričamo. :lol:
ma možeš ti da pišeš koliko oćeš, za mene je Ride isto što je Vučić za Slinu 8-)
Poštujemo. Kad se neko svojevoljno uporedi sa Nebojšom Stefanovićem, jasno je da je krenuo putem bez povratka.
pa nije valjda problem u samom ponašanju, već u objektu požude, mislim, ja imam bolji ukus od Sline!
ja sam siguran da si i ti slina u prisustvu nabildanih milferki, samo nećeš da priznaš!
To i jeste tajna mog uspeha: ne pričam o svojim slabostima naglas!!!!!!
http://youtu.be/nZ2ucr74YNk (http://youtu.be/nZ2ucr74YNk)
Mehmet na grafitu
(https://scontent-a-vie.xx.fbcdn.net/hphotos-xfp1/t31.0-8/10317636_454475581363600_3644602060756962588_o.jpg)
:-|
(https://scontent-b.xx.fbcdn.net/hphotos-xpf1/t1.0-9/10382754_1439272982994387_16775231084278224_n.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fscontent-b-vie.xx.fbcdn.net%2Fhphotos-xap1%2Ft1.0-9%2F10441290_10154194874805284_5924630513771277525_n.jpg&hash=83cd24fc0fcfced16ab15f2e44bb6205e7801d14)
Ova slika je više ja nego bar pola slika mog lica koje sam okačio na onaj drugi topik :lol:
Heh... Kognitivna disonanca jako napada. Džon Romita Junior crta... Supermena (http://www.washingtonpost.com/news/comic-riffs/wp/2014/06/24/john-romita-jr-drawing-superman-artists-new-gig-surprises-even-himself/)??? Naprosto zvuči... neprirodno.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FLCLgh2h.gif&hash=617416a17a093851c50ce5ee9959c164720cd606)
Te mačke baš znaju da budu nestašne. :lol:
meho, priznaj: koliko ovih nisi dosad znao?
16 BIZARRE ANIMAL SEX FACTS YOU PROBABLY DIDN'T KNOW
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fo.aolcdn.com%2Fhss%2Fstorage%2Fmidas%2Fb83f41fafd9f5869b6c38191e753fc46%2F200312020%2FMAIN.jpg&hash=f521e453fd2533087082077f795363350fae6137)
http://www.mandatory.com/2014/06/27/16-bizarre-animal-sex-facts-you-probably-didn-t-know/ (http://www.mandatory.com/2014/06/27/16-bizarre-animal-sex-facts-you-probably-didn-t-know/)
Pa, zapravo sam znao svega dva-tri. Ono za pande i porniće, recimo, te ono za bedbagz... I recimo da je bilo logično da su kitovi najzakićeniji.
Pedeset je godina od kada je film A Hard day's night napravljen ne bi li Ričard Lester uhvatio delić magije ranih Bitlsa. Evo pedeset komada trivije vezane za taj film, muziku , bend i vreme:
https://music.yahoo.com/blogs/music-news/you-learn-something-new-every--hard-day-s-night---the-beatles--classic-turns-50-022345865.html
http://www.businesscat.happyjar.com/wp-content/uploads/2014/07/2014-07-08-Photocopier.png (http://www.businesscat.happyjar.com/wp-content/uploads/2014/07/2014-07-08-Photocopier.png)
Meho, nema komentara o novom Toru? Ili bi možda trebalo reći "novoj Tori"?
Dao sam ih na drugom topiku. Dajdžest verzija: Marvel stalno radi ovakve stvari. Neće potrajati duže od 24 meseca, verovatno manje od 18.
Cracked srećom i dalje povremeno objavljuje dobre tekstove. Evo jednog o realnostima savremene pornografije:
http://www.cracked.com/blog/4-reasons-porn-stars-are-nothing-like-you-think/ (http://www.cracked.com/blog/4-reasons-porn-stars-are-nothing-like-you-think/)
mrzi me da proveravam dal je ovo sa satiričnog ili 'ozbiljnog' sajta, ne želim si rušiti iluzije da je stvarno! :)
Tinejdžerku (17) udario grom dok je masturbirala!
LUDI SVET
22:05, 30.07.2014.
Ova vest je odmah izazvala velike polemike kako na samom sajtu gde je objavljena tako i na mnogim internet forumima
SAD - Vest o tome da je tinejdžerku iz Nebraske udario grom dok je masturbirala objavio je internet portal jedne crkvene organizacije a prenesli su je i mnogi američki mediji.
Sama vest je odmah izazvala velike polemike kako na samom sajtu tako i na internet forumima.
Naime ovaj religiozni sajt se zalaže za zabranu masturbacije, navodeći da se radi o najsmrtonosnijem grehu, i da bi trebalo zaštititi decu da ne pokušaju da urade tako nešto.
Mediji navode da je Dženifer Koneri (17) iz Nebraske udario grom dok je masturbirala iza drveta.
"Ne dopuštamo da naša deca masturbiraju u kući pa predpostavljam da se iskrala napolje", navode strani mediji izjavu oca devojke Vinstona Konerija.
Dalje se navodi da prema izjavama lekara ono što je devojka radila proizvelo je "trajno oštećenje na nervnim završecima kako na prstima tako i na genitalijama".
"Dobro je što je koristila samo dva prsta inače bi prošla mnogo gore", rekla je medicinska sestra Kerol Rodžers a prenose mediji
Ova vest je izazvala oštre rasprave na internetu gde su se mnogi usprotivili da bilo ko, pa makar to bila i verska organizacija, propagira na ovaj način svoje stavove. Da je sve poprimilo ozbiljne razmere govori i činjenica da su neki u svemu tome videli i priliku za zaradu.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimages3.kurir-info.rs%2Fslika-620x419%2Fkrst-protiv-masturbacije-foto-printscreen-1406750051-543449.jpg&hash=4ae2530afdd00c6e74908e676326d8d9c7dd8cc5)
Tako se na internetu može naći takozvani krst protiv masturbacije koji je, kako se navodi, namenjen deci starijoj od 5 godina kako bi se roditelji osigurali da njihovi mališani neće masturbirati. Ovaj "krst" se prodaje po ceni od 199,99 dolara.
http://www.kurir-info.rs/zabava/ludi-svet/tinejdzerku-17-udario-grom-dok-je-masturbirala-clanak-1487903 (http://www.kurir-info.rs/zabava/ludi-svet/tinejdzerku-17-udario-grom-dok-je-masturbirala-clanak-1487903)
Ja bih svom detetu još i preporučila da redovno masturbira. I kupila bih mu krst protiv svih krstova.
(https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-xpf1/v/t34.0-12/10580501_4453412030181_31308235_n.jpg?oh=3341f150740b8d8b1a44e61984d7f5f7&oe=53DC1C8E&__gda__=1406923975_8b1eac59f51f738357ab8cd848ef04ec)
Pa, svakako je slika koju su iskoristili da ilustruju vest (na originalnom sajtu sa kog je potekla) slatka:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2Flwlea.jpg&hash=072fa1143482391655535b4ac76e8ef4db72d3ff)
No, uzevši u obzir da je taj sajt stopmasturbationnow.org, rekao bih da vest treba uzeti sa dosta soli. Odnosno da je stopostotno izmišljena.
Nego, da malo skrenemo sa ovih mračnih tema... masturbacije i... tinejdžerki. Evo najboljih cosplay momenata sa netom završenog komik kona:
San Diego Comic Con 2014 (SDCC) - Cosplay Music Video (http://www.youtube.com/watch?v=p1fAZxSkfRo#ws)
I'll just leave this here:
https://www.youtube.com/watch?v=VUxzaKF9I8A (https://www.youtube.com/watch?v=VUxzaKF9I8A)
Odlično je. Samo su komentari malo nejasni :lol:
12 HOURS OF CATS MEOWING IN HD STEREO (http://www.youtube.com/watch?v=sGvhq86zcEc#ws)
Ma, to imam i bez JuTjuba :lol:
http://slugsolos.tumblr.com/ (http://slugsolos.tumblr.com/)
Što se neobično uklapa sa činjenicom da sam juče ujutro našao puža golaća na parketu dnevne sobe, pored troseda, bez sumnje ubijenog od strane mačaka... Valjda ove silne kiše njih malo osokole da se zapute i tamo kud inače ne bi išli.
https://www.youtube.com/watch?v=K-Op1Mng4oY (https://www.youtube.com/watch?v=K-Op1Mng4oY)
Slatko :lol:
Mehmete, pratiš li novog Amazing Spider-Mana?
Naravno.
I? Šta kažeš na Silk? Može li se početi sa čitanjem od keca, ili moram da ispratim sve ranije evente/serijale? Mislim da ima šest godina kako sam prestao da čitam Spajdija - ne sećam se već zbog čega.
Pa... bilo bi dobro da pročitaš makar Slottov prethodni rad, to je neke poslednje tri-četri godine, pa će se onda sve lepo nadovezati jedno na drugo. Mislim, ne samo što se tu svašta izdešavalo nego je bilo i baš dobrih momenata. Ovo do sada u novom je pristojno.
Ne znam da li je ovo bilo, Vlada Džet pomalo i o Akroholiji ... :)
https://www.youtube.com/watch?v=0Jl4WZYHKk4 (https://www.youtube.com/watch?v=0Jl4WZYHKk4)
Car je Džet. Tu na toj gajbi smo i snimali album.
Meho, evo nesto da nam svima lakse projuri zadnji radni dan u nedelji! :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.boredpanda.com%2Fblog%2Fwp-content%2Fuploads%2F2014%2F08%2Fsexy-butt-peaches-with-lingerie-china-coverimage.jpg&hash=f15d6d3089ac2af65e731c7d4476e8dca1c08ddb)
http://www.boredpanda.com/tag/peaches/ (http://www.boredpanda.com/tag/peaches/)
Oh, simpatično je :lol: Mada bih se osećao jako čudno da ovo stavim u usta.
Jel ovo desno upuststvo za upotrebu?
Cracked ima uslužan tekst o tome kako Turetov sindrom stvarno izgleda
http://www.cracked.com/article_21418_5-ways-life-with-tourettes-way-weirder-than-you-expect.html (http://www.cracked.com/article_21418_5-ways-life-with-tourettes-way-weirder-than-you-expect.html)
Heh, heh, naučnik sa Stenforda ozbiljno obralaže moći Kapetana Amerike i Hulka:
Stanford researcher explains the science behind Captain America (http://www.youtube.com/watch?v=MvdbKGB7JbI#ws)
Stanford researcher explains the science behind the Incredible Hulk (http://www.youtube.com/watch?v=cwzpgHyq65s#ws)
O bozi... :( :( :( Znao sam da će onaj siledžija jednom da je povredi.. :( :( Kristi Mek dobila opsceno gadne batine od War Machinea (koji je s njom raskinuo još u Maju) jer je nenajavljen banuo kod nje na gajbu (veli da je hteo da je iznenadi vereničkim prstenom) i tamo je zatekao sa drugim muškarcem na gajbi, za koga Mekova kaže da joj je drugar (mada je Corey Thomas po svemu sudeći njen novi dečko) i koji je bio "fully clothed". Thomas je zaradio slomljen nos i izbačen je sa gajbe a onda se WM okrenio ka Mekovoj. Od batina je završila u bolnici (pričamo o izbijenim zubima i 18 slomljenih kostiju na licu uključujući nos polomljen na dva mesta, polomljenom rebru i povredi jetre od šutiranja; takođe ju je povredio nožem i odsekao joj kosu), a njega policija na kraju, posle potrage uhapsila i smeši mu se nova zatvorska kazna... Kristi veli da je umeo i ranije da je tuče ali nikad ovako. Klasična balkanska priča u Kaliforniji, jebote.
Videti ovde za njenu izjavu šta je sve uradio kao i za slike povreda (http://www.mmaweekly.com/war-machines-ex-christy-mack-releases-statement-and-graphic-photos-of-alleged-assault?vbox=1). :(
A ovde za izveštaj o hapšenju. (http://sports.yahoo.com/news/war-machine-apprehended-california-being-004741440--mma.html)
Naravno, sve je ovo njena strana priče, jelte, na njegovom tviteru stoji "I'm not a bad guy, I went to surprise my gf, help her set up her show and to give her an engagement ring and ended up fighting for my life." Razume se, znamo da je on i ranije imao ispade gde je napadao ljude i robijao zbog toga, a i na na tviteru i dalje stoji njegov tvit od pre napada " fuck u talking about? She's my Property and always will be." Naravno, posle napada tvitovi su mu klasični "maco ja te volim, a vidi šta se desilo" ("I love you and hope you're okay. I came him (SIC) early to surprise you and help you set up for your convention. I can't believe" "what I found and can't believe what happened. All I wanted was to surprise you and help and do something nice...now this.." )
Kako god bilo, nadam se da ovaj klasičan primer domestik abjuza i rodnog nasilja neće biti zamućen zbog činjenice da je žrtva porno glumica...
(Naravno, ostaje da se vidi šta se tu stvarno dešavalo i zašto recimo Thomas nije zvao muriju čim je izbačen iz kuće...)
Lindsey Raye Ward - Sia - Chandelier (Drum Cover) (http://www.youtube.com/watch?v=csxOgd0FuTY#ws)
Pa... lepo, ali Sia nikako nije moja šolja laudanuma... A i dram trek nije toliko impresivan da sad padnemo na bulju što to korektno svira ova mlada žena...
Tačno, ali ovo nas može ponukati da dublje istražimo njen video kanal!
Da, ali ako je najbliže mom ukusu što ona svira Blink 182, onda se tu nećemo osoliti. Ali ti samo navali!!!!!!!!!
Za svaki slučaj da se malko dezinfikujemo ritam-mašinom:
The Iron Maidens at Namm 2012 - The trooper (http://www.youtube.com/watch?v=wz9VyggeSbA#ws)
Meni je bila šarmantna ova obrada Lejdi Gage :lol:
Lindsey Raye Ward - Lady Gaga - Pokerface (Drum Cover) (http://www.youtube.com/watch?v=UEcbRk3Vo2k#)
Pa, šarmantna je, svakako, samo ponovo nema mnogo povoda da bude na ovom topiku.
Za razliku od ovih žena koje mogu da slušam u svako doba :lol:
The Iron Maidens - Aces High (http://www.youtube.com/watch?v=lmNah0OJROA#ws)
Pogotovo je divno da Kirsten ovo peva bolje nego što Brus to danas može (kao što smo videli pre dva meseca u Beogradu).
Pa kad nemamo topik o bubnjarima i bubnjarkama!
Trebalo je to pokrenuti odavno, ali.. lenjost!!!!!!!
Quote from: Nightflier on 10-08-2014, 15:37:16
I? Šta kažeš na Silk?
Potpuno sam zaboravio da odgovorim na ovo pitanje a kako sam upravo pročitao ASM 5, red je da kažem da mi se za sada dopada kako Slott vodi renumerisani serijal (Learning to Crawl je takođe bio zabavan mini) i da sam zadovoljan time da su do sada epizode imale i akcije i karakter-momenata, i humora i neočekivanih preokreta itd. Cindy/ Silk je svakako ovo poslednje, mada je, naravno, najavljena već na prvim stranama prvog broja i, ako na stranu stavimo to da ovaj konzervativni 43-godišnjak po difoltu reaguje uvređeno kada neko retkonuje pedeset godina stari oridžin stori, makar i ovako lako, meni se sama ideja dopada.
Treba ovde imati na umu da Slott vrlo očigledno ovde pokušava da nam popuni rupu koja je ostala iza nekoliko poslednjih pokušaja ljubavnih veza Pitera Parkera mada je i očigledno da Cindy Moon nije "Piterov tip" ako tako mogu da kažem. Njihova međusobna privlačnost je očigledno više totemska nego zaista erotska i Slott to ni ne prikriva, ali jeste zanimljivo kako to kombinuje sa Piterovim neobičnim odnosom sa Oktavijusovom ljubavnicom/ nesuđenom nevestom Annom Mariom Marconni i dobro je to za sada zapetljao Slott. Marvel je poznat po paničnom strahu od toga da će Piter parker "ostariti" i cela nesrećna One More Day/ Brand New Day frtutma je osmišljena upravo da bi jedan tridesetogodišnjak sa brakom i neuspelim pokušajem reprodukcije iza sebe mogao ponovo da bude dvadesetpetogodišnjak bez obaveza i balasta iz prošlosti. (To nikada nećemo moći da oprostimo Džou Kesadi mada je taj čovek toliko dobrog učinio za Marvel da zaslužuje statuu na park aveniji. Bez njih ih danas ne bi bilo.) Činjenica da je Slott na veoma pobedničkom putu poslednjih nekoliko godina očigledno dovoljno znači Alonsou i Kesadi da mu dopuste da Parkera povede put neke nove zrelosti - ima doktorat, ima firmu koju vodi, makar sve to stekao preko leđa Dr. Oktopusa - i meni se sviđa što se u to upliće i neki novi lik koji ima potencijala da bude zanimljiv odraz u ogledalu samog Pitera Parkera iz mlađih dana (i sa sisama).
Elem, Silk mi se dopada kao ideja, taj oldbojevski motiv sa njenom dugom izolacijom je zanimljiv i videćemo hoće li Slott ovo imati prostora da pošteno obradi. Neka bliska budućnost u kojoj bi sledećih godinu dana Slott trošio da nam pokaže kako se Cindy privikava na život među ljudima, prevazilazi magnetsku privlačnost koju oseća za Pitera (kao za totemskog sabrata/ ljubavnika, ali i kao za oslobodioca/ viteza u bijelom oklopu), kao i superherojsku temu koji joj je pauk nametnuo, a i gledati kako Piter pokušava da joj bude tutor a zatim shvata da ona mora ipak sama da odredi svoj identitet i sudbinu, to bi bilo odlično, platio bih da to čitam.
Problem je što nisam siguran da će to da se baš tako dešava jer Spiderverse DOGAĐAJ kreće za koji tjedan i tu će Slott opet da krene da meša paralelne dimenzije, da dovlači kojekakve C-list likove iz pozadine da igraju bitne uloge u DOGAĐAJU i mada Slott to, jebiga, ume da radi - Spider Island, Ends of the Earth i Goblin War su bile dobre priče - ja nisam naročito lud za tim aspektom njegovog rada i, generalno ne patim previše za ponovnim vraćanjem na klonove, gomile Spider-woman aspiranata, uplitanje Spider-man 2099 i Mayday Parker u sve. Da budem iskren, jedina stvar koja mi se iz te proširene paučije porodice u poslednjh nekoliko godina dopala bio je Yostov Scarlet Spider u kome je Kaine konačno dopbio priliku da pokaže svoju herojsku stranu koja je poslednjih dvadeset godina samo nagoveštavana a i tu je otprilike pola epizoda bilo dobro, dok je druga polovina bila... pa... na nivou podnošljivog. Još kad znam da će se u sve mešati i velike količine totemske tematike... nisam previše oduševljen. JMS-ova ideja o totemskom poreklu paukovih moći je bila primamljiva u ono vreme i izvukao je iz nje par dobrih priča ali od tada, bojim se, to je sve samo dodavalo nekorisni balast temeljnoj karakterizaciji Pitera Parkera a bez da ju je zbilja produbilo na bilo koji način (nije postao zreliji, mudriji, ciničniji, oprezniji ili šta već). Slott se u najvećem delu svog rada udro držao podalje od toga tako da sad uopšte nisam presrećan što ćemo dobiti i još jednu priču o Morlunu jer je već druga delovala kao podgrejana verzija prve...
U svemu tome Silk je, kako rekoh interesantna u postavci - neko ko je objektivno bio žrtva ali ko je mlad i snažan i pun želje za životom i koji će nekako morati da prevaziđe činjenicu da je osoba koja joj je danas najbliža zapravo manje-više nešto starija i iskusnija verzija nje same. Sviđa mi se i njen power-set mada sam video da ljudi po internetu komenatrišu da je pregolem kliše to što je ona slabija od Pitera ali istovremeno brža i, jelte, "osećajnija" (u smislu da joj je pauk-čulo osetljivije nego Piteru). No, hajde, meni to sza sada ne smeta toliko koliko mi smeta uprošćena karakterizacija Felicije Hardi koja je sada pretvorena u ful-tajm negativca što ne bi trebalo da je njen MO. Takođe, motiv sa Elektrom koji je razdiran moćima van kontrole (kao posledica toga da je Oktavijus u Parkerovom telu nad njim radio eksperimente) i koji želi i osvetu i izlečenje mi je dobar ali malo prevrnem očima svaki put kada se u priču upletu Phil Urich, Mr. Negative i tako ti negativci koji mi, iako ih poslednjih godina ozbiljno forsiraju, nikada nisu zaživeli kao ozbiljni likovi sa ozbiljnim mestom u Spajdermenovom životu. Bizarno će zvučati, ali čak i Slottovom inače odličnom radu na Spajdermenu zapravo nedostaju nakakvi novi-a-dobri negativci jer su, upadljivo, do sada najbolje njegove priče bile vezane za staru, oprobanu gardu - Kingpin, Doc Ock, Vulture, Jackal...
Tako da, videćemo kakav će biti Spiderverse. Ali ako sve drugo propadne, makar imamo novog Davidovog Spider-man 2099, a to smo ipak čekali nepunih dvadeset godina :lol:
http://www.cracked.com/article_21335_5-ruthless-dictators-hiding-in-plain-sight-as-normal-people.html (http://www.cracked.com/article_21335_5-ruthless-dictators-hiding-in-plain-sight-as-normal-people.html)
Najzad tekst u kome se pominjemo čak na dva mesta, kad ono mnoštvo faktografskih grešaka, nategnutih poređenja i nebuloznih naslova... for shame, cracked, for shame...
Quote from: Milosh on 17-08-2014, 19:23:02
http://www.cracked.com/article_21335_5-ruthless-dictators-hiding-in-plain-sight-as-normal-people.html (http://www.cracked.com/article_21335_5-ruthless-dictators-hiding-in-plain-sight-as-normal-people.html)
Najzad tekst u kome se pominjemo čak na dva mesta, kad ono mnoštvo faktografskih grešaka, nategnutih poređenja i nebuloznih naslova... for shame, cracked, for shame...
EDIT: evo bar jednu krupnu grešku su ispravili
Ja sam prestao da slušam njihov podkast kad su krenuli da neprijatno lupetaju o Mladoj Bosni i Crnoj ruci i Gavrilu Principu pre nekoliko meseci i nikad ga više nisam daunloudovao, a tekstovi u kojima se bave Balkanom i istočnom Evropom, te drugim svetskim ratom u Evropi su im u četiri od pet slučajeva netačni, maliciozno pojednostavljeni itd. Mislim, Petar Drugi "ruthless dictator"? Nigga, please. Šteta što je zabavna sekcija posvećena karadžiću u tako lošem društvu.
Ali ovo je samo druga verzija poznatig sindroma — ako si iole stručan za nešto, glavnotokovska štampa i uopšte mediji će nekako baš vesti iz tvoje oblasti uvek prenositi do te mere površno i nekužeći da je istina ili izvrnuta ili potpuno odsutna iz izveštaja. I onda shvatiš da to važi za sve oblasti, ali samo primećuješ za tu jednu jer o njoj zapravo nešto znaš.
Drugim rečima, šanse su da Balkan nije nikakav izuzetak, već da si samo u vezi s njim svestan ta četiri maliciozna pojednostavljenja.
Ma, naravno, naravno. Ali iritira.
Jedan od najubedljivijih kosplej radova koje sam video u poslednje vreme (a svestan sam da ovde skoro niko nije igrao The World Ends With You). Dakle, Nekku:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2Fi2oh83.jpg&hash=b772dea03c2008ea936e6b2e3259438d8d9f0bdf)
A i ova Lajči Fej Ling iz BlejzBlu je sjajna:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2F33.media.tumblr.com%2Ff314ac1dda975a76a0b176c2cb31956e%2Ftumblr_n5a5vedUZ61qdlvzfo2_r1_500.png&hash=b06e4717407db1c2e70851df996d21c98e79eb82)
Uzgred, ove nedelje je izašao prvi broj strip serijala Multiversity, novog DC projekta Granta Morrisona o kome se pričalo godinama a sada počinje realizacija. Multiversity je Morrisonov pokušaj da definitivno definiše "šta je DC" a već po naslovu se da, jelte, naslutiti da se tretira multiverzalna tematika. Ako je sudeći po poslednjih nekoliko godina Morrisonovih stripova, ovo će biti intenzivno metatekstualno sočinjenije namenjeno da se čita uz otvorenu wikipediju, mada prvi rivjui vele da je bolje od onoga što je radio u poslednje vreme i da se paralele mogu povući sa njegovim 7 Soldiers projektom od pre koju godinu. Ja još nisam seo da pročitam prvi broj (ali za vikend svakako hoću), no, na Comics Allianceu actually ima ceo prvi broj sa diskusijom/ anotacijama za svaku stranu. Pa, koga zanima nek navali. Crtao Ivan Reis što su uvek lepe vesti. Ja se, naravno, nadam da konačno dobijem Morrisona koji piše onako nadahnuto kako je pisao Flex Mentalloa pa ću ovome prići uz dosta nade i strijepnje.
http://comicsalliance.com/multiversity-dc-comics-grant-morrison-annotations-part-1/ (http://comicsalliance.com/multiversity-dc-comics-grant-morrison-annotations-part-1/)
A kad već pominjem Frenka Milera (na Kriplovom topiku), red je da ukažem i da novi Plejboj (američki) ima intervju sa njim (http://www.playboy.com/playground/view/20q-frank-miller), a u sklopu reklamiranja Sin City 2: A Dame to Kill For, a koji mi za sada ne možemo da pročitamo jer je paywallovan, ili geolokacijski zabranjen za nas. U svakom slučaju, na par drugih sajtova se dadu videti delovi intervjua i, naravno, biće tu lupanja po čelu i hvatanja za glavu. Miller bi se sjajno uklopio u određenu populaciju u Srbiji sa svojim izjavama kako je američki odgovor na 11. Septembar bio mlak, pa i odvratan, da je neko pobio 3000 njegovih komšija a Amerika se posle godinama svima izvinjavala zbog toga, da muškarci treba da štite žene jer su prirodno jači i da je sve otišlo u kuras kada je Rod stujart zapevao da ženi želi da bude i ljubavnik i najbolji prijatelj, pošto se u zlatno doba znalo ko ti je ljubavnik a ko prijatelj...
Kuku i lele. Plus, Miller, koji ima 57 godina, izgleda kao da mu je bar dvadeset više, mora da je bolestan. :( :(
Evo linkova:
http://www.unleashthefanboy.com/movies/frank-miller-answers-20-questions-playboy/115005# (http://www.unleashthefanboy.com/movies/frank-miller-answers-20-questions-playboy/115005#)!bH0VsV
http://comicsalliance.com/frank-miller-the-1940s-style-gentleman-needs-to-make-a-comeback/ (http://comicsalliance.com/frank-miller-the-1940s-style-gentleman-needs-to-make-a-comeback/)
http://comicsbeat.com/frank-miller-speaks-from-the-nytimes-to-playboy/ (http://comicsbeat.com/frank-miller-speaks-from-the-nytimes-to-playboy/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2Foud3le.jpg&hash=2581c28e100113c517d2b4e6181fd998b6b6a51d)
KUNG FURY Trailer on Vimeo (http://vimeo.com/83779832)
čini mi se da je neko već negde postavljao ovaj trejler, koji me neverovatno podseća na crtić Regular Show, koji se trenutno može pogledati na Kartun Netvorku. čak koriste i istu referencu na Power Glove kontroler za Nintendo.
Majli ima mudrog kreatora javnog imidža. Posle prošlogodišnjeg "seks skandala" na MTV Video Awards ceremoniji, ove godine je pustila Tejlore Sviftove i Niki Minađije da tresu guzama, a Bijonse da plače sa mužem (još malo) i ćerkom, a sama je dostojanstveno pustila jednog beskućnika da primi njenu nagradu i poduči naciju koliko ima beskućnika u Americi i kakav je to život, a na Majlinom fejsbuku je trenutno poziv za donacije da se pomogne beskućnicima Amerike (https://www.facebook.com/MileyCyrus?rf=110590932296176). Majli je, očigledno, i dalje potpuni fabrikat, kao i u vreme Hane Montane, sa dugoročnim planiranjem ponašanja, zaokreta u istom itd. Zastrašujuće ali i zanimljivo.
Plus, Majli je ikona stila:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi58.tinypic.com%2F32zmc1w.jpg&hash=96050f04b299015ea389459f7f0e4d82d98020c5)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fphotos-c.ak.instagram.com%2Fhphotos-ak-xfa1%2F10617095_1523142247900418_262564319_n.jpg&hash=bcf9a560986a429bd2001196984cb7b929cf4eba)
Spasile 31 psa sigurne smrti, a sada plaćaju kaznu od 60.000 dinara!
Ljubav prema životinjama uglavnom donosi prijatne trenutke, radost i nežnost. Ipak, dve devojke iz Beograda osetile su na svojoj koži drugu stranu medalje. Slučaj Andrijane Kozić i Tijane Protić dokaz je koliko je teško boriti se za prava, dobrobit i zaštitu životinja u našoj zemlji. Sve uvrede i prekorni pogledi koje ljudi koji u svom komšiluku brinu a napuštenim životinjama dobijaju svakodnevno, uspela je da zaseni kazna od 30 hiljada dinara koju su ove dve Beograđanke dobile, ukratko – jer su spasile 31 psa!
http://www.zivotinje.rs/vestiStrana.php?id=9814&name=spasile-31-psa-sigurne-smrti%2C-a-sada-placaju-kaznu-od-60.000-dinara&tip=vesti (http://www.zivotinje.rs/vestiStrana.php?id=9814&name=spasile-31-psa-sigurne-smrti%2C-a-sada-placaju-kaznu-od-60.000-dinara&tip=vesti)
:-| :-| :-| :-| :-|
Conflict- This Is the A.L.F (http://www.youtube.com/watch?v=7M0dIj3krcI#)
Cats Fight Internet Censorship By Scratching Kim Jong-un & Putin To Death
http://sobadsogood.com/2014/08/28/your-cat-can-now-scratch-kim-jong-un-vladimir-putin-death/ (http://sobadsogood.com/2014/08/28/your-cat-can-now-scratch-kim-jong-un-vladimir-putin-death/)
:lol:
E, da su dodali još i kog zapadnjaka, bog da nas vidi. :lol:
Samo da podsetimo da ove jeseni Marvel ubija Wolverinea. Naravno, naravno da će u nekoj formi on ubrzo oživeti (mada valja podsetiti da je u Ultimate univerzumu on već dosta dugo mrtav i da nema planova da se oživljava, jer Džimi Hadson, njegov sin, korektno popunjava ulogu neubijivog snagatora sa kandžama), ali makar neka ga ubiju dostojanstveno. Ovonedeljni Death of Wolverine broj 1 Charlesa Soulea je pristojan (Steve McNiven sve to sjajno nacrtao a Justin Ponsor na kolorističkim dužnostima je uobičajeno izvrstan) pa mi se čini da bi ovo mogao da bude miniserijal koji ćemo za koju deceniju da pominjemo više po dobru nego po zlu. Meni je poslednjih par godina u kojima je Wolverinea pisao Paul Cornell zapravo bilo značajno bolje od onoga što su pre toga isporučili Aaron i Bunn. Cornell piše neobičnim stilom u kome mnogi likovi imaju samo funkcionalnu ulogu, a filozofija često zaseni pripovedanje, ali bude to na kraju dobro. Pa se nadam da će ga imati u vidu pri nekom lansiranju novog serijala kada Logan oživi.
Elem, ovo je slika koju trenutno imam na desktopu: Gerardo Sandoval razume Wolverinea :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2F292a8nc.jpg&hash=15a54c847047ca9d5432579dacf6ceb287e9c10f)
Oh, kad smo već kod Wolverinea, IGN uslužno nabraja (i pokazuje) sve Loganove kostime od početka do danas:
http://www.ign.com/articles/2009/04/30/the-many-looks-of-wolverine (http://www.ign.com/articles/2009/04/30/the-many-looks-of-wolverine)
fejk ili jok?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fthefappening.eu%2Fwp-content%2Fuploads%2F2014%2F09%2Funnamed.jpg&hash=a0bf478d6b7c50bf9955861d29f3edb4e016cc67)
фејк
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Foceanup.com%2Fwp-content%2Fuploads%2F2014%2F01%2Fmiley-topless-picture.jpg&hash=dcc98debf15d53e31702ce328527be6e5d2db888)
Al je zato ovo ril dil:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2F29dimmx.jpg&hash=7eaa05a67a52062d34642c86d179c6d607656c15)
evo još jedne
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fphotos-h.ak.instagram.com%2Fhphotos-ak-xap1%2F10540479_270233279840095_1449381749_n.jpg&hash=3b6fe6977e41ad9512ddfef5d833457639b5dbfd)
уместо џаст бридх прочитао сам џастин бибер :shock:
xrofl
Uzgred, Majli je na tviteru objasnila da ono što mislite da je osip, nije osip, nego "pink glitter". Dakle, zdravo dete!!!!!!!
Fino je depilirala malje na grudima, pa onda isprskala necim, bezveze....
Mlado, ludo, a zna da se šminka :lol:
Maare te spominje u jednoj rečenici :lol:
http://xxxps.tumblr.com/post/97028246053/muzicki-mentori (http://xxxps.tumblr.com/post/97028246053/muzicki-mentori)
A zapravo sam došao da se požalim da je poslednji post na tvom blogu okačen 29. septembra prošle godine!
Pa, nije prošlo ni godinu dana, ne budi nestrpljiv!!!!!!!!!!
http://www.cracked.com/blog/4-ways-gamers-still-suck-at-dealing-with-women/ (http://www.cracked.com/blog/4-ways-gamers-still-suck-at-dealing-with-women/)
Kao neko ko nije iz te gejmerske priče, s jedne strane mi je fascinatno dokle ovo ide, ali s druge strane znam i sam da je internet samo omogućio da doslovno svako može da se čuje, i onda tu mnoge ružne stvari iskaču u prvi plan. Ali opet, i dalje sam u nedoumici u kojoj meri je sve stvar puke nezrelosti i svodi se na trolovanje a u kojoj je reč o ljudima koji imaju ozbiljan problem sa sobom što se onda odražava u njihovom pogledu na svet i druge... Elem, imaš li ti Meho da dodaš svoja dva centa na ovu priču ili misliš da je sve već rečeno?
Dodao sam ih gore, na topiku koji se bavi novostima iz sveta video igara.
No, ukratko, činjenica je da postoji podskup unutar šire igračke kulture koji sebe smatra tvrdim geek jezgrom i koji je mahom muškog pola i kavkaske provinijencije (uglavnom srednja i viša srednja klasa - dakle ljudi koji imaju vremena, novca i tradicionalnih razloga da su zainteresovani i mogu da prate ovaj medijum) a koji, kao i svako tvrdo jezgro reaguje dosta ekstremno na percipirane promene medijuma za koji su vezali svoj identitet. Da ne bude zabune, ne pričamo samo o promenama koje se tiču socijalnih odnosa, ja sam na istom topiku pre nekih godinu dana kačio linkove da se vidi kakve je pretnje dobio jedan od (muških) članova tima koji je radio najnoviji (u tom trenutku) Call of Duty naslov a koji je objavio da će snajperska puška u multiplejeru biti nerfovana tako što će vreme punjenja puške nakon ispražnjenog magazina biti povećano za recimo dve desetinke sekunde. Čoveku su pretili da će ubiti ne samo njega nego i njegovu decu, da će mu silovati ženu i zapaliti kuću itd. (http://www.eurogamer.net/articles/2013-07-24-cod-developer-appeals-for-calm-after-death-threats)
Dakle, ono što snađe Anitu Sarkessian ili Zoe Quinn je samo ekstremnije jer su žrtve 1) žene i 2) feministkinje ali je princip isti. Gore sam kačio analizu Terryja Wolfea koji nažalost pomalo naginje MRA strani u toj raspravi ali je dobro prepoznao podelu na "patriote", što bi bilo pomenuto tvrdo jezgro okupljeno oko 4Chan, Wizardchan i ostalih hardcore geek jazbina, i izdajnike, koji se hvataju u kolo sa feministkinjama i drugim "social justice warrior" tipovima kako bi korenito promenili i sam medijum i identitet gejmera. Zvuči suludo ali upravo ova vrsta percepcije je ispravna i poređenje sa načinima na koje su suprotstavljeni "patrioti" i "evropejci" u Srbiji je zapravo veoma precizno. Na strani evropejaca često postoji tendencija određenog slepila prema lošim potezima EU (ili generalno demokratskog zapada) ili se veruje da su oni počinjeni u ime nekog višeg cilja, dok na strani "patriota" ume da se nađe gaženje socijalnih solidarnosti i puke empatije jer se smatra da su žrtve koje će pasti među nevinima prihvatljive ako je cilj održanje nekakve svetle tradicije.
U gejmingu je stvar identična - SJW strana diskusije često gubi iz vida širu sliku i osobenost igračkog medijuma u izražavanju ideja i koncepata, te ljudi koji bi morali da znaju bolje neretko zanemaruju sve druge elemente medijuma u korist pozitivne socijalne poruke, dok MRA strana, naravno, često ispoljava potpuno sociopatsko ponašanje i smatra da se čistota medijuma mora očuvati po cenu uništenja ljudi koji je, kao, narušavaju.
Naravno, obe strane na kraju dana troše isti medijum, ako ne uvek i iste igre i ni jedna nije sasvim u pravu ali je svakako činjenica da je MRA strana VIŠE u krivu utoliko što su njihovi metodi često naprosto socijalno toksični, odnosno kreiraju više štete nego koristi na kratke staze dok na duge staze mogu samo da doprinesu ostrakizovanju gejmera kao podgrupe. S druge strane, ne treba izgubiti iz vida ni da SJW strana ugrožava medijum - mekše i u manjoj meri - utoliko što neki njeni eksponenti zarad "poruke" žrtvuju sve drugo što igre čini posebnim medijumom i žele da ih svedu na diskurzivni nivo koji naprosto nije njihov jedini niti, često, glavni nivo.
Ono što je verovatni ishod je, naravno, da će MRA strana biti potisnuta na račun SJW strane jer SJW strana naprosto ima više pristalica pa iako su pristalice MRA strane više aktivistički nastrojene, čista matematika će ih suzbiti u nišu. Slično kao što u društvima koja su se demokratizovala fašističke frakcije ne prestaju da postoje, i dalje su aktivne na političkoj sceni ali uglavnom nemaju većinu (jer demokratska većina već obznbeđuje veliki deo i njihovih zahteva). Ovo je bolji od dva ishoda, razume se, jer će žene biti integrisanije i na strani publike i na strani kritike i na strani autora i to će diversifikovati medij. S druge strane, ovo i dosta verovatno znači da će mejnstrim igre izgubiti deo svoje oštrice - kako god je danas shvatali, pozitivno ili negativno - onako kako je prosečan holivudski film za poslednjih dvadeset godina postao pitomiji, sa manje seksa, psovki i eksplicitnog nasilja. No, to nikako ne mora da znači da će igre izgubiti kvalitet. Ali jeste moguće da će procenat igara koje zahtevaju da se problemi rešavaju borbom ili u gorem slučaju, igara koje zahtevaju nadmetanje, biti manji. No, to ne znači da ih neće biti, već samo da one možda neće činiti glavni tok. Tako da, objektivno, ja ne vidim razloga za preveliku uzbunu.
Da sumiram, cela priča oko Zoe Quinn je užasna, ali dobrodošla da iskristališe neke stvari u domenu politike vezane za medijum video igara. Zoe Quinn je daleko od savršene osobe (postoje dokumentovane određene manipulacije kojima je bila sklona, plus, u domenu dizajna igara ona spada u marginu po klasičnom shvatanju - njene igre veći akcenat stavljaju na socijalni komentar nego na igranje) ali napadi na nju nemaju nikakve veze ni sa "štetom" koju ona čini mediju, niti sa izmaštanom zaverom igračkih medija da se namerno uništi identitet gejmera i u centar stave nekakve igranju neimanentne društvene vrednosti (rodna politika, pre svega). Ti napadi su simptom toga da hardcore igrači teško napuštaju ideju da igranje više nije prevashodno stvar dečaka - što je razumljivo i očekivano - ili, ako ćemo da posegnemo za političkim terminima, danas ili juče sam gore okačio sjajan članak iz techcruncha koji objašnjava da ta hardcore geek ekipa sebe smatra srednjom političkom strujom igračkog medijuma, iako su oni zapravo konzervativna desnica, dok feministi i ostali SJW čine levicu. Ali centar su onda "obični" ljudi, dakle odrasli, žene, mala deca, kežual igrači itd. Ovo je današnja realnost i politički (i socijalno) nezrele osobe se teško u njoj snalaze.
Cat plays with his friend (http://www.youtube.com/watch?v=dnqdpL9gd5o#)
Ima očigledno ljudi koji vide šta je u mojoj glavi i od toga prave stvarnost:
Replay: A Metal Tribute to the History of Video Games (http://www.youtube.com/watch?v=i8-V4yuM984#ws)
Kad krene Zelda na dva minuta ja se naježim :lol:
Meni je i dalje Tetris najbolji (tj. Коробейники/Кoробушка)
Powerglove - Tetris (http://www.youtube.com/watch?v=trGkPerU3-k#)
Majli & Kejti, pa ko voli da gleda mlade žene kako se ljube, ima šta da vidi:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2F2ij3kb9.jpg&hash=088b8c109585ccce4b8653f70c76f8a7e55898e2)
Moraš ovo poslušati:
http://nauk.rs/zapokoljduse.php (http://nauk.rs/zapokoljduse.php)
Evo Fridomovog prikaza:
http://mislitemojomglavom.blogspot.com/2014/10/za-pokolj-duse-o-pokojniku-sve-najlepse.html (http://mislitemojomglavom.blogspot.com/2014/10/za-pokolj-duse-o-pokojniku-sve-najlepse.html)
Ma znam, ja sam na Vitkovićevoj mejling listi :lol:
kolega
http://youtu.be/5z4PKBNzmuo (http://youtu.be/5z4PKBNzmuo)
Eh, ne mogu ja to da čujem ovde na poslu, ali i bez slušanja slutim da petogodišnje dete bubnjeve svira boljije od mene. :lol:
NYCC kosplej. Ima zapanjujućih kreacija:
http://io9.com/the-very-best-cosplay-from-new-york-comic-con-2014-1645678494/+tinaamini (http://io9.com/the-very-best-cosplay-from-new-york-comic-con-2014-1645678494/+tinaamini)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F33fccc8.jpg&hash=08d600f89aa539c21b3233dcdeb9ecee8eed47c2)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2Fnpni49.jpg&hash=1fe2445126af86caf6a30ea51dbad25415eea33e)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2Fmv3xqr.jpg&hash=1f8d9e172fe2e574e97d7d8f41920f26f7d5a713)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2F2dakhhw.jpg&hash=69ad6d9d7a61e00bc167b84476da83978738b906)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2Frj1p8h.jpg&hash=99c55d097a9586b542b8326caf23c5875b1bad0a)
Ovo mi je promaklo kad je objavljeno ali vredi da se ukaže:
10 Stupid Arguments People Use To Defend Comic Book Sexism (http://io9.com/10-stupid-arguments-people-use-to-defend-comic-book-sex-1636381824)
Jebote, dal je ovaj Džin Hoglan ljudsko biće???
http://youtu.be/uIGu4RQSy7M (http://youtu.be/uIGu4RQSy7M)
Zabavno i informativno: zbiljnosti zarađivanja od prodaje nošenog donjeg veša putem interneta:
http://www.cracked.com/article_21818_5-things-i-learned-selling-my-used-panties-internet.html (http://www.cracked.com/article_21818_5-things-i-learned-selling-my-used-panties-internet.html)
Koga zanima otkud to da Marvel reklamira odavno završene DOGAĐAJE (Secret Wars, Civil War, Armor Wars, Infinity Guntlet...) kao nešto što stiže u 2015. godini, evo jedne (možda) plauzibilne teorije:
http://popwatch.ew.com/2014/10/21/marvel-comics-wtf/ (http://popwatch.ew.com/2014/10/21/marvel-comics-wtf/)
:mrgreen:
Quote
Sense of disgust is '95 percent accurate' predictor of whether you're liberal or conservative
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.rawstory.com%2Frs%2Fwp-content%2Fuploads%2F2014%2F10%2FDisgusted-woman-via-Shutterstock-800x430.png&hash=748016327da9eaedefd0d887fbc8ccbf063c7ee7)
cientists say they can predict "with 95 percent accuracy where you'll fall on the liberal-conservative spectrum by showing you just one picture" and then studying how your brain responds to the image. Furthermore, studies show that political orientation may be as inheritance-based as height.
According to New Scientist, increasing evidence indicates that the sense of disgust is closely aligned with a person's political orientation. People who land on the conservative end of the spectrum have a more easily aroused sense of disgust than their liberal counterparts.
A team of scientists at Virginia Tech led by researcher Read Montague found that people who are more likely to sit on the right side of the political spectrum have a higher sensitivity to disgusting pictures like bodily waste, gore or the remains of dead animals.
These individuals also showed a greater preoccupation with ideas of bodily and spiritual purity and as a result tended to oppose things they view as unclean like same-sex marriage and abortion.
In their study — published Thursday in the Cell Press journal Current Biology — Montague's team took a group of 83 volunteers and performed fMRI brain imaging scans on them as the test subjects viewed a series of images. Some were disgusting, others threatening. Some were neutral and others pleasant.
After the images of their brain activity were recorded, the volunteers answered a questionnaire about a series of social and political issues, asking them to rate themselves on a continuum from "very liberal" to "very conservative."
In a press release about the study, Montague said, "A single disgusting image was sufficient to predict each subject's political orientation. I haven't seen such clean predictive results in any other functional imaging experiments in our lab or others."
When confronted with disgusting images, the people who classified themselves as conservatives showed increased brain activity in brain regions associated with disgust — the basal ganglia and amygdala — as well as in a complex network of regions involved in emotional self-control, information processing and attention. Liberals showed increased activity in their own brains, but in a diverse array of areas.
"In fact," Montague told New Scientist, "the responses in the brain are so strong that we can predict with 95 per cent accuracy where you'll fall on the liberal-conservative spectrum by showing you just one picture. This was surprising as there are no other reports where people's response to just one stimulus predicts anything behaviorally interesting."
The team's findings also indicate that since the structure and function of these areas of the brain are almost entirely determined by genetics, political leanings may be something we mostly inherit from our parents, just as much as height and hair color.
"We pursued this research because previous work in a twin registry showed that political ideology — literally the degree to which someone is liberal or conservative — was highly heritable, almost as heritable as height," Montague said in a statement from Virginia Tech's Carillon Research Institute.
However, that doesn't mean a person's political outlook is determined at birth, he cautioned.
"Genetics predetermines height — but not fully," he said. "Nutrition, sleep, and starvation can all change someone's ultimate height. But tall people's children tend to be tall, and that's a kind of starting point. If we can begin to understand that some automatic reactions to political issues may be simply that — reactions — then we might take the temperature down a bit in the current boiler of political discourse."
With regards to the approach of the 2014 midterm elections next week, Montague said it's incumbent upon voters to "Think, don't just react," he said. "But no one needs neuroscience to know that's a good idea."
http://www.rawstory.com/rs/2014/10/sense-of-disgust-is-95-percent-accurate-predictor-of-whether-youre-liberal-or-conservative/#.VFPgqMr_awk.facebook (http://www.rawstory.com/rs/2014/10/sense-of-disgust-is-95-percent-accurate-predictor-of-whether-youre-liberal-or-conservative/#.VFPgqMr_awk.facebook)
10 Hours of Walking in NYC as Batman (http://www.youtube.com/watch?v=zb2piKgDY9k#ws)
Добар коментар:
Some of those people were looking straight into the camera (like last girl). This one seems fake
:)
Ove novine su dotakle dno... :)
http://www.blic.rs/Zabava/Vesti/510106/NAPOKON-OTKRIVENO-Nauka-otkrila-ko-je-ZAISTA-najpametniji-u-bendu (http://www.blic.rs/Zabava/Vesti/510106/NAPOKON-OTKRIVENO-Nauka-otkrila-ko-je-ZAISTA-najpametniji-u-bendu)
Da se razumemo, ja jedva da umem da sviram bubnjeve.
Quote from: Meho Krljic on 11-11-2014, 22:06:51
Da se razumemo, ja jedva da umem da sviram bubnjeve.
da SVIRAŠ?
ja sam mislio da se u to samo LUPA.
drugim rečima, jedva da si najpametniji u bendu.
Ne, daleko od toga, u zavisnosti o kom bendu pričamo, ja sviram sa: inženjerima mašinstva, inspektorima interpola i tako to. Da sam pametan i ja bih imao nekakvo dostignuće u životu da njime paradiram :lol:
The sick and twisted history of Ultron, Marvel's lesson about the singularity (http://www.vox.com/2014/11/11/7077517/ultron-avengers-age-of-ultron-explained)
Ovo se već sigurno nedelju dana šeruje po Fejsbuku a ja sam tek sad shvatio da si ti s obe strane idealan za ovaj kviz :lol:
http://cummingordrumming.com/# (http://cummingordrumming.com/#)
Meni sve ovo izgleda kao svršavanje. To je zato što je čin stvaranja muzike za mene intenzivno erotičan. :lol:
http://youtu.be/k-X6MKrdgF0 (http://youtu.be/k-X6MKrdgF0)
Things drummers say in the studio (http://www.youtube.com/watch?v=_2zUYmgIxEU#ws)
Britanski zakonodavac je od juče promenio regulativu koja se tiče pornografije proizvedene u Britaniji, izjednačivši onu koja se strimuje sa onom koja se prodaje na DVDjevima, time pooštrivši kriterijume, er, pristojnosti. Rezultat je da mnogi seksualni činovi koji su do juče bili legalni, od juče to više nisu (http://www.independent.co.uk/news/uk/a-long-list-of-sex-acts-just-got-banned-in-uk-porn-9897174.html?cmpid=facebook-post). Dobar deo regulacija tiče se brige za zdravlje, pa se svakako može reći da je zakonodavac delao u dobroj nameri i sa razumevanjem da su neke stvari opšteprihvaćena igra. Na primer, pising i klistiranje su i dalje dopušteni ako fluidi po napuštanju tela ne dolaze u dodir sa drugom osobom; školska uniforma je dopuštena ako je u pitanju očigledan rolplej, odnosno ako se osoba koja uniformu nosi ne pretvara da ima manje od osamnaest godina; pretnje oružjem su prihvatljive samo ako nisu "uverljive" itd. Ovo je interesantno za one koji restrikcije/ regulativu u pornografiji posmatraju kao barometar koji najavljuje restrikcije ili regulativu u drugim oblastima izražavanja. Na primer, stav ove regulative prema BDSM-u je prilično indikativan: vezivanje je, recimo, dopušteno ako se jasno ostavlja mogućnost sabu da signalizira odustajanje od scene (dakle, sputavanje svih udova i istovremeno nešto u ustima što sprečava govor su nedopustivi). Što ima smisla u pogledu didaktičke funkcije pornografije - uvek i svuda podsetiti gledaoca da je ovo voljna igra koja prestaje kada bilo ko od učesnika ne želi da se dalje igra. S druge strane, u pogledu, hajde da kažemo, umetničke, ekspresivne funkcije pornografije ovo je očigledan kamen o vratu i osakaćujuće ograničenje - u teoriji, odrasla & zrela osoba ne mora da bude eksplicitno podsećana da je to što gleda igra i želi samo da uživa u toj igri neprekinuta signalizacijom da zakonodavac smatra da ovo neće gledati samo zrele i odrasle osobe već možda i nezrele itd. Pomalo kao kada bi u svakom akcionom filmu opasne scene uključivale i švenkovanje da se pokaže kako kaskader u stvari pada na gomilu kartonskih kutija, kako žrtve izgorele u plamenu sekund kasnije skidaju sa sebe zapaljenu odeću i odlaze za šank da se osveže itd.
Detaljnije:
THE FOLLOWING CONTENT IS NOT ACCEPTABLE (http://obscenitylawyer.blogspot.co.uk/2014/11/the-following-content-is-not-acceptable.html)
QuoteThe following content is not acceptable from the 1st December 2014
Today marks the beginning of a new phase in a sustained campaign of internet censorship which has wide-reaching consequences beyond the mere production and consumption of pornography.
These new regulations impose even more draconian restrictions on the types of pornography that can be depicted on regulated Video on Demand services. Previously the Crown Prosecution Service's Guidance on the OPA provided a list of sexual activities which were deemed illegal to publish.
However these new Regulations specifically state that only sexual content that is equivalent to the BBFC R18 Category can be sold via VoD service. This is a significantly lower threshold.
According to Nikki Whiplash, a regulated video on demand service provider who attended a recent ATVOD and BBFC led seminar on the impact of the new regulations, the following sexual activities will be deemed either acceptable or unacceptable at R18 classification level: Watersports and Squirting Peeing and squirting are acceptable if not performed onto another person and/or then consumed.
Squirting during sex or masturbation is acceptable if fairly brie, isolated and not deliberately consumed or put onto a body. It would be acceptable to imply that it was licked up if could be deemed as to be simulated.
Fisting Fisting is not acceptable. Penetration with all five digits beyond last knuckle is not acceptable; but all five digits of two or more hands would be acceptable as long as not past last knuckle.
Ofcom have sought medical guidance on fisting and don't believe it to be a dangerous act to perform. However, as the CPS' Guidelines specifically cite fisting as obscene the BBFC can't pass fisting for classification. The BBFC acknowledge that they are well aware of the decision in R v Peacock but are obliged to have regard to CPS' OPA Guidelines.
Amputee Insertion Since the BBFC haven't ever needed to consider amputee insertion, they reserve their position on the matter.
Enemas Enemas are acceptable if once they are squirted out they don't hit anyone else and does not contain feces. It is not acceptable to subsequently lick up what has been expelled; unless this is simulated (for example switched for another substance).
Catheters Catheterisation is acceptable, even if catheter connected to mouth; presuming that the tube is not transparent so that the liquid moving through cannot be seen.
Eating ejaculate Any form of consumption of (male) ejaculate is acceptable.
Vomiting Vomiting may be acceptable if it is not performed as part of a sexual act; and is not visibly enjoyed by the participants.
'Public' Sex Should the content features any nudity or other activity which might outrage the public decency, then the BBFC must be assured that the material in question was shot on private land with no public access or shot abroad. However, simulating the impression that it is in public is acceptable, fir example a vehicle with tinted windows. The key consideration that the material has not been created in the public eye.
'Age Play' Anything which might 'encourage' incest or sex with children under the age of eighteen is absolutely unacceptable.
However school uniforms are acceptable presuming that there are no references to the performer pretending to be under eighteen; and participants clearly 'of legal age' and participating in a consensual adult role play
Weapons Sexual activities performed at gunpoint are unacceptable if it is "believable". This will depend on tone and believability. Basically if it looks like it could be a non-consensual activity then it is not acceptable.
Bondage and Restraint Full bondage in conjunction with a gag is unacceptable, since there needs to be an obvious (to the viewer) means to signal to stop. Hence it is acceptable if not all four limbs are tied. Thus a means to indicate the withdrawal of consent must be visible to the viewer. For example full bondage and gagging would be acceptable if there is a safe signal which is defined as part of the scene.
Thus elements like artistic license, storyline and context become important. Hence a straightforward bondage scenario with no surrounding context is less likely to be acceptable than something with features a clearly signaled role play component.
BDSM Pain play Acts which if copied by the uninitiated have the potential to cause injuries more than transient and trifling are extremely unlikely to be acceptable.
Only "moderate" pain play is acceptable. Thus reddening of the skin acceptable but no raised welts, blood and bruising are not.
Needle-Play Needles are more likely to be considered acceptable as they only cause transient and trifling injury similar to legal tattooing.
Facesitting as Breathing Restriction Facesitting employed as a breathing restriction or any other form of smothering is unacceptable. However, facesitting without breathing restriction is acceptable. There is no flexibility on this. The airways must remain open. Apparently the rationale for this distinction is that men trying this at home might die.
Ballbusting Ballbusting may be acceptable, depending on the level. OFCOM recommend submitting clips in question for review. It will come down to definition of moderate pain and whether viewers at home are likely to sustain serious injury if they try it at home. Hence ball-yanking is not acceptable; whereas controlled ball stretching is acceptable.
Trampling This will depend on the surface upon which the person is being trampled on.
Urethral Sounds The insertion of urethral sounds is acceptable presuming that they are not inserted so far in as to enter the bladder; and that appropriate sterile and safety considerations are taken such as the use of lubricant and gloves.
Insertion of objects like buttplugs The insertion of other objects is acceptable presuming that it is clear that they couldn't get. Hence the use of buttplugs is acceptable. Hence a clip of a mobile phone vanishing up an anus would not be acceptable, despite being a spoof, on the basis that people might try it at home.
Power Tools The use of power tools is unacceptable, since most people have one lying around at home. However purpose designed "fucking-machines" are acceptable. The test in question is the 'association with violence'.
Head-Scissoring Head-scissoring is acceptable, presuming that it is gentle. However, if it is seen to be pushing on the carotid restricting blood flow then it is not acceptable. Hence, choking sounds or reddening of face as a result are not acceptable. As soon as any pressure is exerted it would be considered a choke hold and therefore not acceptable.
Wrestling Wrestling is acceptable only if knockout moves are not deployed. Facesitting and seemingly non gentle scissoring are not acceptable.
Gagging Gagging on cock and deep throat are acceptable if not for the whole scene. However, language of the 'gag on my cock' variety is unacceptable due to the reference to choking.
Definitions These guidelines should be interpreted subject to these definitions: "Fairly brief" = less than a minute "Isolated" = not more than a couple of occurrences in a scene.
COMMENTARY – THE CONSEQUENCES OF THIS CENSORSHIP
Pornography is the canary in the coalmine of free speech: it is the first freedom to die. If this assault on liberty is allowed to go unchallenged, other freedoms will fall as a consequence.
This declaration of State censorship will affect millions of consenting adults who choose to view British pornography; impose an unnecessary trade barrier, which has already caused independent UK producers to shut down; result in a significant loss of revenue to The Treasury; is practically unworkable as it can be circumvented by proxy servers; and has implications for all forms of freedom of expression on the internet.
Of particular concern in terms of loss of freedom is the underlying intent to allow undesirable foreign websites to be blocked under UK ISP's filtering systems. This has immeasurable implications on freedom of information and net neutrality.
Today, Backlash have launched a campaign to challenge this régime of State censorship disguised as regulation.
In the meantime, what follows is an explanation of the regulations and assessment of their impact.
What are the Regulations that came into force today? The regulations which come into force today, the Audiovisual Media Services Regulations 2014 (http://www.legislation.gov.uk/uksi/2014/2916/pdfs/uksi_20142916_en.pdf) (AVMS Regs 2014), only apply to Video on Demand (Vod) services which are regulated by the Authority for Television on Demand (ATVOD), and restricts the types of sexual content that UK VoD providers can provide for their consumers to BBFC R18 classification level.
So what is a Video on Demand Service? Video on Demand services offer consumers the opportunity to choose specific video content and then view it at a time which is convenient to them, rather than being slaved to pre-ordained broadcast schedules. Hence this would include catch-up services like Channel 4's online '4oD' service.
Who are ATVOD? The Authority for Television on Demand is a quango, specifically designated as the "co-regulator" of UK VoD by Ofcom. Otherwise know as The Office of Communications, Ofcom is also a quango, with regulatory authority over the UK's broadcasting, telecoms and postal (http://en.wikipedia.org/wiki/Mail) industries.
The Regulations: 'TV-like' Services ATVOD's regulatory authority is conveyed by the European AVMS Regulations, which pertain to 'TV-like' services. Hence, to be regulated, the video content must resemble broadcast television by dint of being similar to it, hence the phrase: 'TV-like'.
Thus in most European jurisdictions the vast majority of adult video websites are not deemed to be TV-like.Whereas ATVOD have applied their interpretation of what constitutes a TV-like service in the UK far more restrictively.This has allowed ATVOD to bring within its regulatory ambit any website it deems to be TV-like.
It is eminently arguable that this restrictive interpretation has created a trade barrier for UK VoD services when attempting to compete with their European trade-partners.
Challenges to ATVOD's Interpretation of TV-Like This restrictive interpretation of the definition of 'TV-like' VoD Services has been deployed in an attempt to catch a broad range of video services, both adult and otherwise. For example the BBC and The Sun newspaper were initially identified under ATVOD's aggressive regulatory regime as being TV-like; although they successfully appealed to Ofcom that their services in question were not TV-like
On the adult side, a client of mine successfully appealed ATVOD's determination that her esoteric Female Domination art site The Urban Chick Supremacy Cell was not TV-like.
How do the Regulations Impinge on Pornographic Content? These new regulations impose even more severe restrictions on the types of pornographic material that can be depicted on regulated VoD services. Prior to today the Crown Prosecution Service's Guidance on the Obscene Publications Act provided a list of sexual activities which were deemed illegal to publish. Yet the new Regulations specifically state that only sexual content that is equivalent to that categorised as R18 by the BBFC can be sold via VoD services. This is a significantly lower threshold. Before we go on to explore the disparity between the OPA and the BBFC R18 guidelines, it is essential to understand why this has been imposed. Why Impose R18 Classification on VoD? The original EU AVMS directive stated that content that "might seriously impair minors" should be restricted in order to protect those under 18. However, when Ofcom considered the research of 20 European States, they held that:
"No country found evidence that sexually explicit material harms minors".
Therefore, enshrining the already established R18 standard in law provides a convenient means to avoid the inconvenient evidence and the difficulty of establishing whether and what types of sexual content "might seriously impair minors".
Nonetheless, despite the absence of conclusive evidence, the regulations have been introduced under the aegis of "child protection", whilst having an adverse impact on consenting adults' sexual choices. With that in mind, we can explore the different standards between the CPS' OPA Guidelines and the BBFC's R18 Classification Guidelines.
CPS' Guidelines on The Obscene Publications Act According to the Crown Prosecution Service's Guidelines on The Obscene Publications Act:
"It is impossible to define all types of activity which may be suitable for prosecution. The following is not an exhaustive list but indicates the categories of material most commonly prosecuted:
sexual act with an animal realistic portrayals of rape sadomasochistic material which goes beyond trifling and transient infliction of injury torture with instruments bondage (especially where gags are used with no apparent means of withdrawing consent) dismemberment or graphic mutilation activities involving perversion or degradation (such as drinking urine, urination or vomiting on to the body, or excretion or use of excreta) fisting".
This should be read and contrasted with the BBFC's R18 guidelines.
The BBFC's R18 Guidelines According to the BBFC's own Guidelines on their R18 Category:
"The following content is not acceptable:
material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959
material (including dialogue) likely to encourage an interest in sexually abusive activity which may include adults role-playing as non-adults
the portrayal of sexual activity which involves real or apparent lack of consent. Any form of physical restraint which prevents participants from indicating a withdrawal of consent
the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity penetration by any object associated with violence or likely to cause physical harm
sexual threats, humiliation or abuse which do not form part of a clearly consenting role-playing game.
Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable
These Guidelines will be applied to the same standard regardless of sexual orientation of the activity portrayed."
THE CPS' OPA GUIDELINES AND THE BBFC R18 GUIDELINES – CONTRASTED It is now possible to discuss the legal and logical inconsistences of the CPS' Guidelines on the OPA, before contrasting them with the much lower level of sexual material permitted by the BBFC's R18 Guidelines:
1) Sexual act with an animal. Since animals cannot consent at law, this prohibition is consistent and logical.
2) Realistic portrayals of rape. This phrase is extremely problematic. "Realistic portrayals of rape" suggests simulation, role-play and acting. In itself, this raises questions regarding evidence of harm to performers and viewers of such material.
Regarding evidence of harm, the 2005 Home Office Consultation (http://news.bbc.co.uk/1/shared/bsp/hi/pdfs/30_08_05_porn_doc.pdf) on the possession of extreme pornographic material stated:
"As to evidence of harm, conducting research in this area is complex. We do not yet have sufficient evidence from which to draw any definite conclusions as to the likely long term impact of this kind of material on individuals generally".
Likewise, the Ministry of Justice's criminal policy unit also stated in clear, unequivocal and unambiguous terms:
"We have no evidence to show that the creation of staged rape images involves any harm to the participants or causes harm to society at large".
Hence, how can a simulated "portrayal" of rape become "realistic" enough to attract criminal liability for publication.
3) Sadomasochistic material, which goes beyond trifling and transient infliction of injury. This phrase explicitly references the case of R v Brown (colloquially referred to as "Spanner"), which stated that individuals cannot consent to injuries "beyond trifling and transient" in a sexual context.
The CPS now defines this level of injury as: "significant medical intervention and/or permanent effects".
Whilst the House of Lords' decision in Brown has been consistently criticised for being Paternalistic, homophobic and arcane; it is still currently binding law. Therefore the inclusion of this clause is, regrettably, consistent with the criminal law.
4) Torture with instruments. Since obscenity law is usually constructed in the context of controlling human sexuality, this clause is unlikely to prohibit the publication of CIA waterboarding or ISIS beheadings. Thus, it is unclear what might amount to "torture" in a sexual context and what might be classified as an "instrument".
5) Bondage (especially where gags are used with no apparent means of withdrawing consent). This clause is particularly poorly phrased; however it seems to suggest that it must be clear to the viewer that the performer in bondage is visibly capable of withdrawing consent.
6) Dismemberment or graphic mutilation; Whilst the act of committing "dismemberment" would be illegal (as per Brown, above), it is unclear what constitutes "graphic mutilation"? What about images of female genital mutilation? That is a clearly abusive and non-consensual practice.
However, it is likely to catch consensual sexual activities like "blood play" (cutting the top layer of skin for the purpose of sexual gratification), irrespective of whether it is performed in a risk awareness fashion. Hence this seems an unnecessary repetition of the "sadomasochistic material" and "torture with instruments" provisions above.
7) Activities involving perversion or degradation (such as drinking urine, urination or vomiting on to the body, or excretion or use of excreta). Confusingly, these activities are legal to perform in real-life with consent. Yet they are classified as obscene with the highly subjective and pejorative language of "perversion" and "degradation", ignoring the performers' right to consent to being "degraded".
8 ) Fisting.
Similarly fisting (both vaginal and anal) is legal to perform in real-life with consent.Yet the representation of that activity becomes illegal and classified along with bestiality? Hence, despite the jury finding Micheal Peacock not guilty in his #ObscenityTrial for the publication of both watersports and fisting material, the CPS have expressly refused to update their guidelines since then.
Cara Ellison je besna na Tviteru.
http://www.menshealth.com/best-life/doom-metal-show (http://www.menshealth.com/best-life/doom-metal-show)
Slušanje Sleepa je lekovito čak i sa ploče, a kapiram da su uživo praktično panacea.
Heh heh, nrd hjumor:
http://www.cracked.com/blog/15-leaked-text-messages-sent-by-famous-superheroes/ (http://www.cracked.com/blog/15-leaked-text-messages-sent-by-famous-superheroes/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg.memerial.net%2Fmemerial.net%2F6223%2Fi-gave-them-metal-jesus.jpg&hash=cf77488b33aa30f4e2eb90fc61b58823ff05fb51)
http://www.imdb.com/title/tt2481554/ (http://www.imdb.com/title/tt2481554/)
(https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-xpa1/v/t1.0-9/10686720_822285991168279_3987971878745782239_n.jpg?oh=2f47b944160b9c2d69f59debc0f1ca6b&oe=55136389&__gda__=1427170353_a8b53a7f837adf376b0a32db62822bae)
ja nisam neki stručnjak za metal, i možda bi po neki naslov Cannibal Corpse-a mogao da opiše moj seksualni život, pa reko' 'ajde da vidim šta kažu stručnjaci.
Pa, ja ne mogu da se izjasnim o tvom seksualnom životu jer za njega svakako nisam stručnjak.
Što se mog tiče, hmmm, reći ću samo ovo:
http://youtu.be/Oqbeo5A6ujE (http://youtu.be/Oqbeo5A6ujE)
Evo:
Honest Trailers - Guardians of the Galaxy (http://www.youtube.com/watch?v=dOyJqGtP-wU#ws)
;) This Is What Batman Would Look Like In 16 Different Time Periods
http://cu.viralnova.com/alt-batman/ (http://cu.viralnova.com/alt-batman/)
Uuu, fino. Vikinški i otomanski su sjajni.
Neki ljudi cosplay shvataju vrlo ozbiljno:
X-Men Epic Cosplay Video (http://www.youtube.com/watch?v=Ct4VGR4uJZI#ws)
Ema Frost i Wanda Maximoff su toliko dobre da mogu na film.
Ja Archie Comics nikad nisam čito ali zanimljivo je sad kad se serijal ributuje i u vozačko sedišete dolaze big guns: Mark Waid i Fiona Staples (http://www.nytimes.com/2014/12/15/business/as-archie-nears-75-riverdale-gets-a-youthful-infusion.html?smid=tw-share&_r=0#ftag=YHF6f45a36). Daćemo šansu.
Mrzi me da tražim na topiku World Today gde sam postovao o Justine Sacco i tvitu koji joj je uništio karijeru za vreme koje je potrebno da se iz SAD preleti do roga Afrike, pa ako nekog zanima nek traži (Edit: ne mrzi me toliko, evo ga ovde (http://www.znaksagite.com/diskusije/index.php/topic,9198.msg532078.html#msg532078)), ali evo odličnog, izvanrednog teksta sa Gawkera koji spaja lično i opšte i na izvrstan način hvata zeitgeist 2014. godine:
Justine Sacco Is Good at Her Job, and How I Came To Peace With Her (http://gawker.com/justine-sacco-is-good-at-her-job-and-how-i-came-to-pea-1653022326)
Ovde se Tarzanija nešto i ne ceni, ali ovo je lep tekst:
http://www.tarzanija.com/druga-strana-vikipedije/ (http://www.tarzanija.com/druga-strana-vikipedije/)
Druže Meho, sigurno si na ovo već nabasao, ali ja sam tek jutros za to saznala i silno me obradovalo, pa da podelim:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.ecorazzi.com%2Fwp-content%2Fuploads%2F2014%2F12%2Forangutan-592x399.jpg&hash=20dcdd73cfec4809484d59f0f62c4663753f927a)
Court Rules Orangutan Held In Argentina Zoo Is 'Non-Human Person' And Can Be Freed
BUENOS AIRES, Dec 21 (Reuters) - An orangutan held in an Argentine zoo can be freed and transferred to a sanctuary after a court recognized the ape as a "non-human person" unlawfully deprived of its freedom, local media reported on Sunday.
Animal rights campaigners filed a habeas corpus petition - a document more typically used to challenge the legality of a person's detention or imprisonment - in November on behalf of Sandra, a 29-year-old Sumatran orangutan at the Buenos Aires zoo.
In a landmark ruling that could pave the way for more lawsuits, the Association of Officials and Lawyers for Animal Rights (AFADA) argued the ape had sufficient cognitive functions and should not be treated as an object.
The court agreed Sandra, born into captivity in Germany before being transferred to Argentina two decades ago, deserved the basic rights of a "non-human person."
"This opens the way not only for other Great Apes, but also for other sentient beings which are unfairly and arbitrarily deprived of their liberty in zoos, circuses, water parks and scientific laboratories," the daily La Nacion newspaper quoted AFADA lawyer Paul Buompadre as saying.
Orangutan is a word from the Malay and Indonesian languages that means "forest man."
Sandra's case is not the first time activists have sought to use the habeas corpus writ to secure the release of wild animals from captivity.
A U.S. court this month tossed out a similar bid for the freedom of 'Tommy' the chimpanzee, privately owned in New York state, ruling the chimp was not a "person" entitled to the rights and protections afforded by habeas corpus.
In 2011, the animal rights group People for the Ethical Treatment of Animals (PETA) filed a lawsuit against marine park operator SeaWorld, alleging five wild-captured orca whales were treated like slaves. A San Diego court dismissed the case.
http://www.huffingtonpost.com/2014/12/21/orangutan-argentina_n_6363582.html (http://www.huffingtonpost.com/2014/12/21/orangutan-argentina_n_6363582.html)
Da, nisam video, ali se sećam ovih prethodnih habeas corpus pokušaja, čak su i spominjani ovde na forumu. Interesantan razvoj situacije, pratićemo šta se dalje dešava tokom naših života :lol:
Nego, malo mi zasuze oči kad vidim ovako eklatantno romantičnu priču u stvarnom životu: Patrik Švarceneger je spreman da se odrekne i trast fanda koji su na stranu za njega ostavili roditelji mu Arnold i Marija, a koji je vredan malo manje od pedeset milijuna dolara, samo da bi bio sa ljubavlju svog života. A već smo slušali kako mu Marija Šrajver govori da joj tu problematičnu devojčuru ne dovodi za božićnu trpezu a on odgovorio da onda ni on neće da dođe. Maj gad! Ali Majli Sajrus je toga vredna. Znamo da jeste.
Patrick Schwarzenegger Risks £32m Fortune By Dating Miley Cyrus (http://www.femalefirst.co.uk/celebrity/patrick-schwarzenegger-risking-32m-fortune-dating-miley-cyrus-572431.html)
iPad Drum Solo (http://www.youtube.com/watch?v=ztLEiNpE5PQ#ws)
Lepo :lol:
Ja sam došo da okačim kako nije lako biti uspešna porno glumica ako si arapska porekla i ne stidiš ga se:
Mia Khalifa Is Now PornHub's Biggest Porn Star - But Her Lebanese Compatriots Are Less Than Impressed (http://www.huffingtonpost.co.uk/2015/01/05/mia-khalifa-pornhubs-biggest-star-lebanese-compatriots_n_6415924.html)
E, moj Džimi :lol: :lol: :lol:
Jimmy Fallon Blew a Chance to Date Nicole Kidman (http://www.youtube.com/watch?v=qtsNbxgPngA#ws)
http://www.huffingtonpost.com/2015/01/07/slayer-on-childrens-instruments_n_6427440.html?ncid=fcbklnkushpmg00000063 (http://www.huffingtonpost.com/2015/01/07/slayer-on-childrens-instruments_n_6427440.html?ncid=fcbklnkushpmg00000063)
Vrlo simpatično osim što oni naravno ne sviraju Slayer, ali dobro, hafingtonpostu je to isto, a i originalni video na JuTjubu ovo zove Slayer Mashupom iako nema ni jednog jedinog Slayer rifa u svemu :lol: Luđe od svega je apsolutni festival trolovanja u JuTjub komentarima.
デモ演奏 【壬申の乱】 by 川口千里／菅沼孝三＆天地雅楽ドラムコンテストⅡ (http://www.youtube.com/watch?v=_NZImxGQEFY#ws)
http://www.blic.rs/Zabava/Vesti/527055/NE-ZNA-KAD-JE-DOSTA-Majli-okacila-fotku-masturbacije-i-jednu-na-kojoj-je-potpuno-gola-18 (http://www.blic.rs/Zabava/Vesti/527055/NE-ZNA-KAD-JE-DOSTA-Majli-okacila-fotku-masturbacije-i-jednu-na-kojoj-je-potpuno-gola-18)
Majli radi zaista važan posao na umanjenju straha od ženskog tela i ženske seksualnosti u našoj falocentričnoj kulturi. Nije to lako kad istovremeno dejtuje momka iz jako konzervativne porodice, tata joj je alfa rednek i rasla je kao Diznijeva ikona. Naf rispekt.
A ova mala što kida bubanj gore... Do suza ne te stvari dovode, do suza. :cry:
http://www.the-open-mind.com/homeless-cat-saves-abandoned-baby-in-russia/ (http://www.the-open-mind.com/homeless-cat-saves-abandoned-baby-in-russia/)
Da, bilo je to i u Politici pre neki dan. Zasuzilo mi je oko, pošteno. Mačka se, što ne piše u ovom RT tekstu, navodno zove Maša (tako je zovu ljudi iz zgrade), a i ja imam mačku Mašu, pa me je to dodatno raznežilo.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.knjizara.com%2Fslika%2FZavisnost-od-video-igara-57261.jpg&hash=7712b10bb2334d85254ca7005a72d39b5868b901)
Zavisnost od video-igara
Dženifer Mur-Malinos (autor)
Izdavač: Izdavačka kuća Pčelica
Naslov originala: Choices / author Jennifer Moore-Mallinos, illustrations Gustavo Mazali
Niko nije bolje od Jovana Vujovića znao koliko neumerenost može biti loša, a naročito kad je u pitanju igranje video-igara. Opsednom pobedom, Jovan postaje žrtva video-vampira, potpuno iscrpljen, bledog lica, praznog pogleda i ostaje bez prijatelja. Da li će video-vampiri sasvim ovladati Jovanovim životom i učiniti da zapostavi stvari koje su mu nekad bile bitne, kao što su škola, porodica i prijatelji ili će Jovan uspeti da se oslobodi ovih strašnih stvorenja?
2014
Broširani povez
ćirilica
24 cm, 31 str.
978-86-6089-492-4
Cena: 480 din
Ja bih samo voleo da je jasno da, ako je dete zavisno od video-igara (i izuzetno cenim što ne piše "od igrica"), to je isključivo krivica roditelja koji nisu dovoljno roditeljevali.
Ovoliku količinu muževnosti u jednom klipu samo ovaj topik može da podnese:
FIDLAR - Cocaine (http://www.youtube.com/watch?v=D2srovkhf0w#ws)
ovaj lik iz sata u sat kači muzičke zapise za koje se tvrdi da su demo snimci Aphex Twina. neki sumnjaju u autentičnost snimaka, neki vele da su to definitivno dela AT obzirom da liče na neke numere koje je kasnije i objavljivao. evo vidi, pa sam prosudi.
https://soundcloud.com/user48736353001
Oh, preslušaću večeras. Po naslovima deluje kao Aphex Twin :lol: :lol: :lol:
procureo je i poslednji EP, Computer Controlled Acoustic Instruments Pt 2, meni je onako.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.imgur.com%2Fax6Rhf5.gif%3F1&hash=0510358b576f13dfe1f64807042288a978d3ba37)
Nego, prošla godina je bila traumatična za nama uvek dragu Kristi Mek. Da vidimo kako se posle svega žena koja je bila žrtva brutalnog nasilja pokazuje kao jaka osoba intenzivne energije. Sa njenog tvitera, prvo da vidimo kako izgleda sa obrijanom glavom:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2Fzirw53.jpg&hash=a19f32f6094534decabe93b1596f6f3094168204)
Nije loše.
I još uvek zna da uživa u malim stvarima u životu... Well.. figurativno rečeno:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F2eobcix.jpg&hash=24c5af26fb1247d05f97113df1b42e5b586fe6ed)
Humor je bitan:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi58.tinypic.com%2Ffbhzkl.jpg&hash=6047de5f08b24d27f0200dde5e456cadee3188f3)
A ovo je kako kalifornijska devojka koja je izgorela kosu u solarijumu postiže izgled koji joj donosi novac:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F1499gqo.jpg&hash=ba1a5eb94217811758cc354934705f2c7dc942c3)
Da ne mislite da je sve pesma i šala, Kristi i dalje leči emotivne ožiljke koje je prošlogodišnji incident ostavio. Telo se izleči brže nego potpuno urušavanje poverenja u muškarce, čini se:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F2qdd2q8.jpg&hash=3d5c83a9cab2913dc3e08edf8b09904bace55b10)
Naravno, nije baš da njeni fanovi raspolažu moćima razumevanja pročitanog:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi59.tinypic.com%2F2uqiqmf.jpg&hash=8ea4e6d5c79fa4b9da87d22562acd1990f9cbd17)
No, duh je jak, a to je najvažnije:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi58.tinypic.com%2F34oo7q8.jpg&hash=f145df3710b7ed1b35d19a7378c914206d113233)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2Fr0e9zt.jpg&hash=cb6cb63c96a355d35892b244e018d99e74cbc41a)
Kristi zna da pravi muškarci ne haju za dlakave noge.
"18 broken bones, a broken nose, missing teeth, a fractured rib and a ruptured liver" nemam reči oO
A vidi kako se žena oporavila!!!!!!!!!!! Neuništiva!!!!!!!
Uzgred, poslaću ti ove nedelje one stripove za emitor (uz dodatke)!!!!!!!!!!! Nisam zaboravio, samo sam bio u poslu.
George Mason University marching band covers Rage Against The Machine (http://www.youtube.com/watch?v=EZwyRAzyk7Q#ws)
O, pa to smo kačili na onaj topik sa obradama pre dve godine. Ipak, lepo je podsetiti se. :lol:
Da ne bi ovaj post bio samo nadmeno podsećanje da je ovo već publikovano, evo kako je jedan momak na JuTjubu od "igre" PT o kojoj sam toliko lepog rekao napravio - film:
http://www.youtube.com/watch?feature=player_embedded&v=pK2fnVmbZbM#t=0 (http://www.youtube.com/watch?feature=player_embedded&v=pK2fnVmbZbM#t=0)
Švarcenegerova jutarnja rutina:
https://twitter.com/tferriss/status/563453008370221056
(u tvitu je link ka public FB videu, jer mi drukčije neće da prikaže)
Ovo je naravno šlagvort za Mehmetovu jutarnju rutinu. :lol:
Moja je vrlo slična njegovoj u tome što i ja ustanem u pet ujutro, onda pogledam mejlove, pregledam Kotaku i onda igram Wasteland 2 dok ne dođe vreme da budim ženu, kuvam joj kafu & spremam joj doručak. Skoro isto!!!!!!!!!!!!!!!!!!!!!!!!
Whoa, Cracked se zaista ne usteže da malo prodžara po osinjemu gnezdu. Za potrebe ovog teksta razgovarali su sa nekoliko pedofila (koji nikada nisu počinili ništa zlostavljački ili na bilo koji način nedopušteno) i pokušali da rasvetle fenomen o kome je gotovo nemoguće pričati racionalno jer su emocije uvek snažne:
http://www.cracked.com/article_20981_5-ways-were-making-pedophilia-worse.html (http://www.cracked.com/article_20981_5-ways-were-making-pedophilia-worse.html)
Koja je ovaj Kanje trolčina xrofl xrofl xrofl
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2F5vokyf.gif&hash=b46a3ce54d9afe3ae054dfbf6a98741f8995bba8)
Ne samo da je ponovio incident od pre neku godinu, nego ga je i duhovito varirao. Siroti Bek, potpuno zbunjen, al ipak pozitivac (https://www.yahoo.com/music/beck-responds-to-kanye-wests-onstage-interruption-110539953256.html).
Čitam i da dobija svoj koledž kurs a nikad nije zavrio koledž. Kanjea za predsednika Srbije! :D
Kanye West getting his own college course (http://fansided.com/2015/02/09/kanye-west-getting-college-course/)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FTa8WFIN.png&hash=3aa48070e77a93509082bb8a598790edfcb97963)
edit: preslušao Bekov album, skroz je uteko oh hip-hopa sa kojim je koketiro ranije, nije loš album, al nije ni da padneš na dupe.
lepo od njih!
Fundraising campaign launched for creator of Amen break
http://www.residentadvisor.net/news.aspx?id=28370 (http://www.residentadvisor.net/news.aspx?id=28370)
Da, stvarno je kosmička nepravda da neko ko je napravio tako ikonički bilding blok pop muzike nije mogao od toga da ikako živi, ali... to je samo simptomčić opšteg stanja danas, a to je da se od pop muzike generalno ne može živeti osim ako nisi u deset najpopularnijih.
Mehmete, je l ti bese kolega araknofob? Vid' ovog, jebo sliku sliku svoju... :!:
http://youtu.be/d_yYC5r8xMI (http://youtu.be/d_yYC5r8xMI)
Svaki dobronameran građanin Srbije je arahnofob. :lol: A ovaj pauk je... perverzija majke prirode. :cry:
Meho bi ladno mutirao u Pokemona (ili nešto drugo japansko šta stalno igra) da ga ujede pauk iz Rosmanovog klipa (onaj sa plavom "guzom"). 8-)
Setimo se da japanski Spajdermen ima i svog meka:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2F2w3oy0g.jpg&hash=16ceeaacfec270985a0a64491656c8475883c4b3)
Go go Spider Power Heavy Metal Meho! :| :| :|
Quote from: tomat on 29-01-2015, 12:58:49
ovaj lik iz sata u sat kači muzičke zapise za koje se tvrdi da su demo snimci Aphex Twina. neki sumnjaju u autentičnost snimaka, neki vele da su to definitivno dela AT obzirom da liče na neke numere koje je kasnije i objavljivao. evo vidi, pa sam prosudi.
https://soundcloud.com/user48736353001
istim stopama krenuo i Mike Paradinas
https://soundcloud.com/mikep
10 Incredibly Stupid Ways That Superheroes and Villains Have Died (http://io9.com/5971716/10-incredibly-stupid-ways-superheroes-and-villains-have-died)
Balkanci --- Kolo uz AC/DC !!!
Balkanci --- Kolo uz AC/DC !! bitno je da je aktivnost prisutna :) (http://www.youtube.com/watch?v=He2JvqV7nEM#ws)
The Hardest Marvel Comics Quiz You'll Ever Take! (http://www.morphsuits.co.uk/quiz-hardest-marvel-ever)
http://sadblixabargeld.tumblr.com/ (http://sadblixabargeld.tumblr.com/)
At zis point you may add some vanilla. "But Blixa, isn't vanilla a vainglorious luxury enjoyed only by the weak?" you might ask. NEIN. Vanilla is ze grace note which sets off ze unknowable depths of ze cocoa. Denial of ze body as a way of enlightenment is a wicker man in a blindfold. Set him on fire! Put ze vanilla in ze cocoa! It is ze only way.
Chat conversation end
Jel' neko išo da ga gleda ovo nekidan što je bilo? Bilo tu još dobrih stvari na festivalu, al ja nisam mogo da se odvojim.
Axel Alonso detaljnije objašnjava Marvelov Secret Wars, njegove namere i strukturu. (http://www.theverge.com/2015/4/22/8467119/marvel-comics-secret-wars-axel-alonso-interview) "Najveća stvar koju je Marvel uradio u svojoj istoriji", kaže Alonso, "Nakon što ovim uredimo multiverzum, imaćemo zdravu osnovu za sledećih deset ili dvadeset godina stripova."
Kao neko ko je generalno sumnjičav prema velikim DOGAĐAJIMA koji radikalno menjaju kontinuitet uglavnom zato što se u takvim situacijama gubi finije pripovedanje, ja nisam oduševljen idejom da Marvel sada, bez ikakvog ozbiljnijeg razloga, (i Alonso u intervjuu kaže da ne misli da je sa Marvelovim trenutnim kontinuitetom išta problematično) pravi svoj Crisis on Infinite Earths. Ali s druge strane, priznajem da ako bih ikome morao da poverim posao konstruisanja takvog DOGAĐAJA to bi bio Jonahan Hickman, koji je, srećnim spletom okolnosti upravo arhitekta cele priče. Iskazao se do sada i na Ultimates i na Avengers kao neko ko ume da radi velike priče sa opsežnim posledicama.
Opet, naravno, iza njega stoji Tom Brevoort, čovek koji već više od deceniju agresivno savija i lomi kontinuitet kad god mu se učini da će to prodati koju svesku više pa ćemo još da vidimo koliko će sve to biti prihvatljivo odrađeno. Alonso se kune da je sve pisano tako da i osoba koja o Marvelu zna koliko je videla u Avendžers filmovima može da shvati i isprati narativ i razume posledice stvari koje se dešavaju. Ovo je smela tvrdnja ali i potvrda da se Marvel trudi da igra za raju, ne samo za rezultat. Kontrast ovome je svakako DC-jev Final Crisis koga je Grant Morrison eksplicitno pisao kao narativom vođen kviz za DC opsesivce pa je centralni serijal bilo moguće ispratiti samo uz obilno korišćenje wikipedije :lol: :lol: :lol:
Elem... puding će, kao i obično biti mesto na kome nalazimo dokaze... Moram da kažem kako su recimo konstantne promene status kvoa koje se poslednjih deceniju i kusur dešavaju pod uticajem Brajana Bendisa bile izvor mnogih stresova ali da je Bendis često umeo silovanje kontinuiteta da kompenzuje odličnim pisanjem - i House of M i Death od Spider-man i Avengers Disassembled su bile dobre priče i često su drugi autori bili ti koji bi zasrali stvar kada je na njih dolazio red (abismalni Fractionov Fear Itself ili Millarov Civil War). A opet, i Bendis je napisao gomilu slabih do nepodnošljivih DOGAĐAJA, počev od Age of Ultron, pa preko Secret Invasion i Siege, do nekih manjih priča u Avengersu... Hickman je sa svojim Avendžers radom pokazao da je trenutno mnogo bolja osoba za ovakve stvari - dok Bendisu rad u X-Men ispade jedan od iznenađujuće boljih radova u poslednje vreme i tu su silne promene status-kvoa uzbudljive i inspirišuće (ove nedelje smo ne samo saznali da se Kiti Prajd i Starlord venčavaju, nego i da je - mlađi - Iceman... gej???), tako da od Secret Wars možda ispadne nešto nadahnuto - Hickmanov Infinity je svakako bio ohrabrujuće odrađen. A treba se setiti da Marvel ima i Remendera čiji je Uncanny Avengers ispao iznenađujuće moćan i da bih ja ovog sjajnog čoveka rado video na čelu jednog ili dva X-Men naslova kada Bendis (uskoro) ode.Pa... možda budućnost i ne bude tako loša.
http://www.cracked.com/article_22346_5-stories-everyone-assumes-are-in-bible-but-arent.html (http://www.cracked.com/article_22346_5-stories-everyone-assumes-are-in-bible-but-arent.html)
http://www.moderndrummer.com/site/2014/05/video-zero-one-jojo-mayer/#_ (http://www.moderndrummer.com/site/2014/05/video-zero-one-jojo-mayer/#_)
Oh, Alahu sačuvaj, ovaj košmar nikako da se završi. Valjda zato što je sad u toku veliki baz oko Dawn of Justice koji se, nagađali smo a trejler je i potvrdio, oslanja na Dark Knight Returns predložak, Frank Miller i DC su najavili i treći serijal iz Dark Knight sage. Najavljen za ovu godinu kao osmodelna miniserija, zvaće se...
...
...
wait for it...
...
Dark Knight: Master Race. (https://games.yahoo.com/news/dc-comics-announces-dark-knight-211502582.html)
Da. Tako će se zvati.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi59.tinypic.com%2F24dixdx.png&hash=0580f2315b53fa552077b38ef842a8eb9a6a1809)
Mislim, ja nisam od onih koji bi za Millera upotrebili reč "fašista" u nekom obraćanju javnosti, mada u kafani možda i bih jer na kraju krajeva, šta je reč, ništa, samo sklop fonema koje nosi vjetar, ali u nekom zvaničnom dokumentu verovatno ne bih. Ali JEBOTE, pa taj čovek prosto moli za to :lol: Naravno, pojma nemamo na šta se Master Race iz naslova odnosi, na slici vidimo i Supermenov logo, dakle, ko zna, nitko ne zna (sem Dena Didioa, Džima Lija, Džefa Džounza i još desetak urednika u DC-ju), ali je indikativno da čovek koji godinama unatrag nedvosmisleno izjavljuje da je zapadna civilizacija superiorna u odnosu na nazadne istočnjake, da žena muškarcu ne treba da bude prijatelj jer se zna ko su prijatelji a ko ljubavnici, čovek čiji su stripovi od ogorčene društvene kritike prešli u psihopatske fantazije o deljenju "pravde" od kojih se Čarltonu Hestonu i Tedu Njudžentu verovatno ozbiljno diže, da takav čovek na kraju nazove svoj verovatno poslednji notabilni strip "Master Race".
Ne bih voleo da moja politička užasnutost zamagli činjenicu da je Miller napravio neke od meni najdražih stripova ikad. Istina je, njegovo okretanje Betmena u mračnu, griti stranu, davanje mu puške u ruke i okretanje protiv vlade USA je već 1986. godine sugerisalo krosover iz "normalne" viđilante superherojštine ka teapartyjaškom, survivalističkom diskursu ekstremne desnice, ali Dark Knight Returns je bio elegantna i prirodna ekstrapolacija onoga što su sa Betmenom radili O'Neil i Adams i za Reganovu eru ovo je bio Betmen kakvog možda nismo zaslužili ali kakav nam je bio potreban. I do poslednjeg daha ću braniti stav da je ovo odličan strip. Takođe, kad se ode malo unatrag, Daredevil i Ronin pre njega su bili odlični stripovi koje i danas rado obnavljam i Millerovi sociopatski stavovi prema društvu su u njima bili balansirani moralnom čvrstinom koja karakteriše i Dark Knight Returns ali se posle izgubila. Dark Knight Strikes Again je bio sramota, Sin City je posle tri priče postao nepodnošljiv, 300 je meni sa godinama sve odurnija fašistička fantazija (ups!) (Hard Boiled ispade najčasniji Millerov rad za Dark Horse) a radovi u ovom milenijumu su dostigli neočekivanu razinu užasa. Nažalost UPPS sajt više ne postoji da se vidi moja zgranutost All Star Batman and Robinom i Holy Terrorom, ali nek mi se veruje na reč, ovo su stripovi koje, da imam dete, ne bih tom svom detetu dao da čita do punoletstva.
Da li će DK: The Master Race biti na sličnom nivou? Dakle, na dnu. Stenovitom.
Postoji par detalja koji sugerišu da možda, možda neće. Prvi je da će koscenarista na ovom serijalu biti Azzarelo. Azzarelo je daleko od bezgrešnog scenariste ali je istovremeno i jedan od, recimo trojice-četvorice najboljih koje DC ima na rosteru i mada superherojske stripove piše jer mora a ne jer su mu najdraži na svetu, mora se priznati da je poslednjih godina i tu napravio neke sjajne radove (Wonder Woman, recimo). Kako Azzarelo ima iste noir korene kao i Miller, ova kolaboracija može da bude galvanizujuća za obojicu.
Drugo je vezano za moje prethodne analize Millerovog rada a koje ukazuju da Miller sa dobrim urednikom iznad sebe pravi remek dela, a Miller bez dobrog urednika - dakle kad je sam sebi urednik ili kad ima urednika koji mu titra jajca umesto da ga kritički usmerava (Bob Schreck je bio Milleru urednik na dva njegova najgora rada - Holy Terror i All Star Batman and Robin) - takav Miller je doslovce abismalan. Pošto ne verujem da će DC PONOVO primiti Šreka u stado, nadam se da će ovaj serijal izhendlovati neko sa autoritetom i ozbiljnom vizijom kako bi na kraju možda, možda i dobili zadovoljavajući završetak DK sage.
Ali ne nadam se mnogo.
izvinjence na digresiji, ali ovo je staf od kog se pravi istorija, pa da se zna:
The New York judge who yesterday appeared to give two chimpanzees legal personhood has made it clear that she did not intend to give the animals human rights. After making her first ruling earlier this week, Supreme Court Justice Barbara Jaffe issued a revised court order on Tuesday with the writ of habeas corpus — a legal principle that allows people to contest their wrongful imprisonment — struck out.
--------------------------------------------------------------------------------
The judge struck out the writ of habeas corpus
A spokesperson for the court told Science that Jaffe had intended to grant a hearing to discuss the issues raised by the Nonhuman Rights Project, an animal advocacy group, but had mistakenly labeled the court order as a writ of habeas corpus. The Nonhuman Rights Project has raised several cases against institutions and individuals holding chimpanzees in captivity, arguing that the animals are intelligent and emotionally complex enough to be treated legally as people. Three lower judges had thrown the cases out, but Jaffe's ruling on Monday appeared to treat two chimpanzees held by the State University of New York at Stony Brook legally as people — a stepping stone in the group's fight to free the apes and curb the detention of intelligent animals.
Both parties will now convene on May 6th to discuss the legal status of the two chimpanzees — Hercules and Leo — held by the university. Steven M. Wise, in charge of the Nonhuman Rights Project, still responded positively to the amended court order. "These cases are novel and this is the first time that an Order to Show Cause has issued," he said in a statement. "We are grateful for an opportunity to litigate the issue of the freedom of the chimpanzees, Hercules and Leo, at the ordered May hearing." Stony Brook told The Wall Street Journal that it "does not comment on the specifics of litigation," and that it "awaits the court's full consideration on this matter."
http://www.theverge.com/2015/4/21/8464675/chimps-dont-have-human-rights-judge-says (http://www.theverge.com/2015/4/21/8464675/chimps-dont-have-human-rights-judge-says)
Quote from: Meho Krljic on 25-04-2015, 08:11:05
Nažalost UPPS sajt više ne postoji...
To je bio sajt na koji sam ja, kao neko ko nikad nije stekao naviku da čita
stripove, svraćao par puta godišnje, stoga tek sad saznajem da ga nema. Pa što to tako? :(
Pa, nema para.
Al pusti stripove, vidiš kakva se bitka bije da se konačno shvati da nije baš kul da se primati drže u zatvoru bez razloga. :(
Aujebote, ovaj Krekd. Taman ih pohvalim nekidan a oni onda objave ovakav tekst:
5 Ugly Realities Of Being A Woman Visiting India (http://www.cracked.com/personal-experiences-1600-5-ugly-realities-being-woman-visiting-india.html)
Bez želje da umanjim realne i proverljive izazove rodnoj ravnopravnosti koji postoje u Indiji, ovaj tekst ne mogu da okarakterišem drugačije nego kao potpuno američko neshvatanje planete na kojoj žive.
Pripreme za večerašnju svetkovinu su pri kraju.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2F2mmg187.jpg&hash=ed29ef57e7a125815d82207a70f91a6340748a84)
odakleti?!?!
Iz Irsku. :lol: Doneli prijatelji, kažu da su im rekli da će se dete kome su to kupili oduševiti. :-| :-| :-| :-|
Pomisao da Marvel neće nastaviti serijal Fantastic Four nakon završetka Secret Warsa i ributovanja koje će on doneti (http://www.pastemagazine.com/articles/2015/05/a-farewell-to-the-fantastic-saying-goodbye-to-marv.html)je... apsurdna i zabrinjavajuća. Nije da sam ja preveliki fan ovog serijala, ali ipak, Marvel je uvek negovao tradiciju i imao telući serijal Spajdermena, X-Men i Fantastic Four. FF je tu posebno bitan jer je njime upravo i počela era modernog Marvela. I, ne mogu ni da kažem da su poslednjih godina ovaj strip izbacivali iz dužnosti, Hickman, pa Fraction pa Robinson su sve big guns autori koji su napisali vrlo strastvene priče u ovom serijalu. Činjenica da Fantastic Four za sada ne figuriše u najavama za post-Secret Wars period je opominjuće podsećanje koliko je filmska produkcija preuzela prioritetnu poziciju za Marvel. Već mesecima se šuška da Marvel namerno uništava X-Men u stripu i forsira Inhumanse da bi Foksu smrsili konce i promovisali naciju nad kojom će imati kompletnu kontrolu po pitanju pravljenja filmova, ali to se za sada u X-Men stripovima još ne vidi. Ali Fantastic Four (na koga isto filmska prava drži Foks)... kao da najavljuje da je ta vrsta budućnosti realnost. Što je za mene neugodna pomisao. Marvel je uvek bio svestan koliko mu je kontinuitet i negovanje tradicije bio značajan za održavanje na poziciji jednog od vodećih strip-izdavača u USA. Jasno je da filmovi zarađuju MNOGO više i datrenutno Marvel u tom domenu suvereno vlada svetom, ali valjda je jasno i da su filmovi toliko skupi da se naprave da će jednom kada popularnost superheroja u bioskopu opadne, neko pogledati na devastaciju koju je Marvel napravio u svom strip-univerzumu i shvatiti da su presečeni svi mostovi ka onome što je originalno i donosilo kreativne ideje i novac.
Quote from: Meho Krljic on 02-05-2015, 07:51:29
...kada popularnost superheroja u bioskopu opadne, ... pogledati na devastaciju koju je Marvel napravio u svom strip-univerzumu i shvatiti da su presečeni svi mostovi ka onome što je originalno i donosilo kreativne ideje...
100%
razmislja se previse kratkorocno; tek da se koji pojedinac profilira po sistemu "nach mir die sintflut".
Svašta, pa rezurektovaće šta god im odgovara, kad god im odgovara. Za jedno 20 godina Fox će prestati da muze mrtvu kravu, i Marvel će kravu oživeti i sve ih uvesti nazad na velika vrata.
a originalno i kreativno u mas produkciji? ne ozivljava se to "samo tako"...
Quote from: mac on 02-05-2015, 08:58:46
Svašta, pa rezurektovaće šta god im odgovara, kad god im odgovara. Za jedno 20 godina Fox će prestati da muze mrtvu kravu, i Marvel će kravu oživeti i sve ih uvesti nazad na velika vrata.
To je, prezjumabli, ako stripovi uopšte budu komercijalno isplativo preduzeće za 20 godina ili za deset godina kada prestane popularnost superherojskih filmova. Trenutni bioskopski bum superherojskih tema jeste pozitivno uticao na tiraže stripova, ali 250.000 prodate sveske Spajdermena ili Betmena je smešno u odnosu na tiraže koje su ti stripovi imali ranih devedesetih. U tom smislu, odlazak u filmsku produkciju je svakako mudra odluka, ali ako to znači da se stripovi hendluju nepažljivo, napuštajući principe koji su ih i održali tokom sedam decenija, na ime bolje prodaje svoje filmske produkcije, to mi deluje kao sečenje grane na kojoj sediš i jurenje goluba na toj grani (da izmešam dve poslovice).
Ne znam kako ovaj epic rap battle nisam dosad video:
https://www.youtube.com/watch?v=2Tvy_Pbe5NA&feature=youtu.be (https://www.youtube.com/watch?v=2Tvy_Pbe5NA&feature=youtu.be)
Psiholog poznat po Stenford prizn eksperimentu (ovekovečenom, jelte, i na filmu) je uradio novu studiju i veli da mladi muškarci danas, pošto igraju puno video igara i gledaju puno pornografije, imaju problem sa "muškošću", odnosno, teže izolovanijim životima, kada ne igraju igre, misle na igre, kada su sa ženom, misle na pornografiju itd. Na to ću samo reći:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F1497cz7.jpg&hash=1cf4bdc3f128a689797a5528c72ee72d38e82185)
Porn and video game addiction leading to 'masculinity crisis', says Stanford psychologist (http://www.independent.co.uk/news/science/porn-and-video-game-addiction-are-leading-to-masculinity-crisis-says-stanford-prison-experiment-psychologist-10238211.html)
QuoteA leading psychologist has warned that young men are facing a crisis of masculinity due to excessive use of video games and pornography.
Psychologist and professor emeritus at Stanford University Phillip Zimbardo (http://www.independent.co.uk/news/people/profiles/maverick-academic-philip-zimbardo-says-we-are-all-capable-of-evil-is-he-right-789161.html) has made the warnings, which form a major part of his latest book, Man (Dis)Connected.
In an interview (http://www.bbc.co.uk/programmes/p02qyfc7) on the BBC World Service's Weekend programme, Zimbardo spoke about the results of his study, an in-depth look into the lives of 20,000 young men and their relationships with video games and pornography.
He said: "Our focus is on young men who play video games to excess, and do it in social isolation - they are alone in their room."
"Now, with freely available pornography, which is unique in history, they are combining playing video games, and as a break, watching on average, two hours of pornography a week."
Zimbardo says there is a "crisis" amongst young men, a high number of whom are experiencing a "new form of addiction" to excessive use of pornography and video games (http://www.independent.co.uk/life-style/gadgets-and-tech/gaming/teenagers-who-play-video-games-do-better-at-school--but-not-if-theyre-gaming-every-day-10106781.html).
http://youtu.be/FMJgZ4s2E3w (http://youtu.be/FMJgZ4s2E3w)
Zimbardo gave a TED talk in 2011 outlining the problems facing young men's social development and academic achievement, which he puts down to excessive use of porn, video games and the internet.
He cited the example of a mother he met while conducting the study whose son does not see the problem in playing video games for up to 15 hours a day.
Zimbardo said: "For me, 'excess' is not the number of hours, it's a psychological change in mindset."
Giving an example of the mindset of a gaming and pornography-addicted young man (http://www.independent.co.uk/life-style/health-and-families/health-news/pornography-addiction-leads-to-same-brain-activity-as-alcoholism-or-drug-abuse-study-shows-8832708.html), he says: "When I'm in class, I'll wish I was playing World of Warcraft. When I'm with a girl, I'll wish I was watching pornography, because I'll never get rejected."
Zimbardo claims that this relatively new phenomenon is affecting the minds of young men.
Citing the research he and his team conducted for the book, he says: "It begins to change brain function. It begins to change the reward centre of the brain, and produces a kind of excitement and addiction."
"What I'm saying is - boys' brains are becoming digitally rewired."
He also mentioned the growing problem of a disputed phenomenon called 'porn-induced erectile dysfunction', or PIED: "Young boys who should be virile are now having a problem getting an erection."
"You have this paradox - they're watching exciting videos that should be turning them on, and they can't get turned on."
An article from Psychology Today (https://www.psychologytoday.com/blog/women-who-stray/201308/erectile-dysfunction-myth), however, argues that there are no demonstrable scientific links between porn consumption and erectile dysfunction.
In his opinion, the solution is to accept that the problem is serious - parents must become aware of the number of hours a child is spending alone in their room playing games and watching porn at the expense of other activities.
He also blamed negative images of men in the American media, which show men as being "slobs, undesirable, only wanting to get laid and being inadequate in doing that."
He also called for better sex education in schools - which should focus not only on biology and safety, but also on emotions, physical contact and romantic relationships.
The pressing issue of male mental health is now a much more prominent concern than it once was. Last year saw the first Male Psychology Conference (http://www.malepsychology.org.uk/) at University College London, intended to encourage the British Psychological Society to introduce a male specialist section, to sit alongside its female equivalent.
The charity Campaign Against Living Miserably, or CALM (https://www.thecalmzone.net/), was started in 2006 and has gained a high profile in recent years, for its efforts to encourage men to discuss mental health problems and bring down the male suicide rate.
Phillip Zimbardo is famous for the 1971 Stanford prison experiment (http://www.prisonexp.org/), in which 24 students were asked to play the roles of 'guards' and 'prisoners' in a mock prison at Standford University. Intended to last for two weeks, the experiment was abandoned after six days, after the previously normal 'guards' became extremely sadistic and the 'prisoners' became submissive and depressed.
The experiment is believed to demonstrate the extreme impressionability and obedience of people when they are presented with a supporting ideology and power.
Kara Elison na svom tamblru piše na zanimljiv način o tome kako Black Widow nije sjajno iskorišćena u Age of Ultron:
http://caraellison.tumblr.com/post/118805819290/black-widow-is-not-a-hero-on-demand (http://caraellison.tumblr.com/post/118805819290/black-widow-is-not-a-hero-on-demand)
U svetlu neverovatno disproporcionalnog abjuza koji je odaslat na adresu Jossa Whedona u poslednje dve nedelje a na ime "mizoginog" ispisivanja njenog lika u ovom filmu (naravno da ima prostora za ovu diskusiju, ali Whedon ispade najveći šovinistički fašista u istoriji sveta, iako je čovek stvorio Bafi...), Karin tekst je zapravo trezveno i lepo urađen, bez čupanja kose i bacanja po podu a sa ukazivanjem na to šta fali i zašto bi moglo da bude tu gde jeste. S obzirom da sam maltene digo ruke od Kare u poslednje vreme zbog INTENZIVNO narcisoidnog pisanja koje sve više obuzima njene kreativne autlete, ovo me je prilično obradovalo.
No, siguran sam da je TheFatConsoler, kad je ovo pisao, mislio prevashodno na nju :lol: :lol: :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F2dtt8v4.jpg&hash=d878fff7ecf955a9b890013c05118c2c8411bab5)
Quote from: Meho Krljic on 13-05-2015, 10:27:57
Psiholog poznat po Stenford prizn eksperimentu (ovekovečenom, jelte, i na filmu) je uradio novu studiju i veli da mladi muškarci danas, pošto igraju puno video igara i gledaju puno pornografije, imaju problem sa "muškošću", odnosno, teže izolovanijim životima, kada ne igraju igre, misle na igre, kada su sa ženom, misle na pornografiju itd.
Gardijan ima ribatal ovoga:
The professor who thinks video games will be the downfall of men (http://www.theguardian.com/science/head-quarters/2015/may/11/the-professor-who-thinks-video-games-will-be-the-downfall-of-men-zimbardo)
Quote
Philip Zimbardo is worried that excessive gaming or porn watching is crippling masculinity. But the evidence just doesn't back up these sorts of claims
Philip Zimbardo is a superstar mainstay of introductory undergraduate courses in psychology – well, a lot of them (https://www.psychologytoday.com/blog/freedom-learn/201310/why-zimbardo-s-prison-experiment-isn-t-in-my-textbook). He's the man behind the infamous Stanford Prison Experiment (http://en.wikipedia.org/wiki/Stanford_prison_experiment) in 1971, which provided insights into the psychological impact of being placed in either a position of power, or powerlessness in a confined prison setting. But in a new book out this last week, Zimbardo's focus has shifted to – in his view – something much more concerning. Zimbardo thinks that there is a crisis in menfolk going on, and it's all the fault of video games and porn.
A bit of background first. In 2011, Zimbardo gave a TED talk called 'the demise of guys' (http://www.ted.com/talks/zimchallenge/transcript?language=en). "Guys are flaming out academically. They're wiping out socially with girls and sexually with women", he opined. On the back of this, he co-wrote with Nikita Coulombe a short polemic, 'the Demise of Guys: Why Boys are Struggling and What We Can Do About It', which weighed in at just over 100 pages. His new book – Man (Dis)connected – is essentially an update of 'Demise', and elaborates on the idea that certain aspects of modern technological life are becoming so much of a distraction for young men, that it's impacting all walks of like - their academic abilities are dropping, they are struggling in forming successful social relationships, and their employment prospects are taking a hit.
There are a lot of reasons why Zimbardo and Coulombe think these problems have come about – and a lot of those seem to be grounded in bizarre views about gender stereotyping and old-school sexism (http://www.theguardian.com/science/sifting-the-evidence/2015/may/11/if-men-are-failing-we-need-to-look-to-the-future-not-at-lazy-stereotypes) – but I want to concentrate on their ideas about video games in particular, because the evidence just doesn't stack up.
Is excessive gaming driving a crisis in masculinity? One of the main concerns that Zimbardo and Coulombe seem to have is that young men are playing video games to excess, and that they are using games as a form of extreme escapism from the worries and responsibilities of real life. To support this viewpoint, they provide an onslaught of statistics: that Call of Duty: Black Ops had been played for a collective 68,000 years (http://www.pcmag.com/article2/0,2817,2374762,00.asp) one month after release; that the worldwide revenue of the gaming industry totalled $66 billion (http://in.reuters.com/article/2013/06/10/gameshow-e-idINDEE9590DW20130610) in 2013; that since 2013, the number of UK children between 5 and 15 years old who own a tablet has doubled (http://stakeholders.ofcom.org.uk/binaries/research/media-literacy/media-use-attitudes-14/Childrens_2014_Report.pdf); that a study (http://js.sagamorepub.com/jlr/article/view/2507) of 349 marriages found that in relationships that consisted of one gamer, 84% of the time it was the husband. This is all fine, but there doesn't seem to be any coherent link between these numbers and the stated problem at hand. Part of the reason is that I'm not convinced that Zimbardo and Coulombe have clear definitions of excess – or even 'average gamer' - in mind.
As a case in point, in an interview (http://www.independent.co.uk/news/science/porn-and-video-game-addiction-are-leading-to-masculinity-crisis-says-stanford-prison-experiment-psychologist-10238211.html) in the Independent over the weekend, Zimbardo says, "For me, 'excess' is not the number of hours, it's a psychological change in mindset." Yet in the book, we get a different definition: "We consider four or more hours a day of playing video games alone to be excessive", the authors claim in Chapter 11. Unfortunately, it's not clear where this four hour figure comes from – no research evidence is cited to back it up. Kate Mills (http://www.kathrynlmills.com/internet/), a PhD student at UCL investigating developmental trajectories through childhood and adulthood, points out, "large scale population studies haven't really found evidence that we're using things like internet-related technologies to excess." She adds, "the studies that really have been conducted looking at excessive internet gaming and relating that to brain changes and cognition are looking at very specific populations, and probably do not apply to the majority of young people."
For Dr Andrew Przybylski (http://www.oii.ox.ac.uk/people/przybylski/), based at the Oxford Internet Institute, Zimbardo and Coulombe are asking the wrong question. "The book does a pretty good job of looking at summary stats, but the real question is, to what extent are these different levels or doses of video game systematically linked to the wellbeing of young people?" he says. Recently, his work (http://pediatrics.aappublications.org/content/early/2014/07/29/peds.2013-4021.full.pdf) has looked at the extent to which different doses of video game play might affect childhood wellbeing. "Essentially, compared to young people who don't play video games at all, those who play about an hour per day tend to have higher levels of life satisfaction, lower levels of externalising problems (so they're less likely to have issues with conduct and hyperactivity), whereas those who tend to play or more 3 hours per day tend to come off worse off on those measures" he says. "But these differences are very small – between 1 and 2 percent of a child's functioning is in any way correlated with their video game play."
At any rate, it's not clear how Zimbardo and Coulombe link video game play to maladaptive behaviours. Mills points out, "in the studies I've reviewed (http://www.cell.com/trends/cognitive-sciences/pdf/S1364-6613%2814%2900106-5.pdf) that look at the relationship between engaging in online behaviours and engaging in the real world, there doesn't seem to be a clear link to suggest that by connecting with people online, you're not doing that in the real world." She further adds "actually, there's sometimes a positive relationship between internet use in moderation and participation in real world activities like sports and clubs
So at face value, while there seems to be evidence to back up the four-hour definition of excess, in actuality such 'excessiveness' doesn't seem to have the impact that Zimbardo and Coulombe's believe it does. "The question in my mind is, 'does it matter what you're doing excessively?'" Przybylski explains. "Because built into Zimbardo's thesis is that there's something special about video games – and men – that is in someway different than the effect that it would have on women, or other forms of leisure." Debates along these lines have existed in the literature for some time. For example, is 'video game addiction' (http://www.isfe.eu/content/does-video-game-addiction-exist) a disorder in and of itself (and therefore special), or is it better characterised like other forms of psychological addiction (gambling for instance), or as an impulse control disorder? Unfortunately, by simply listing a whole raft of seemingly unrelated facts and figures without explicitly outlining how the popularity of video games is causing behavioural issues, I'm not convinced that Zimbardo and Coulombe's thesis adds anything meaningful to this debate.
Why would this just be a problem for men? Central to their ideas, Zimbardo and Coulombe are worried that these are issues solely for men. But again, the data don't seem to reinforce this idea. For example, they suggest that "for the ordinary gamer a sixteen-hour stretch would be just another typical weekend, and few parents would even bat an eyelid." Given that they provide no definition of the 'ordinary gamer', all we can do is to look to data that tell us something useful about age and sex. "We do have some pretty good research that suggest that ordinary gamers are middle aged women who play social games on facebook, and that the median age of gamers is probably in the mid-30s and less than a quarter are under 18, and of them, roughly half are female" says Przybylski. According to the Entertainment Software Association (http://www.theesa.com/wp-content/uploads/2014/10/ESA_EF_2014.pdf) (ESA), the average gamer in the US is 31 years old, and 95 percent of parents pay attention to the content of the children their games play, while 83 percent place limits on playing time. An increasingly large proportion of gamers are women aged 50 and over, and on average 52 percent of gamers are male, 48 percent women. In the UK, the numbers are similar – 52 percent of all people who played some form of video game in the first half of 2014 (http://www.iabuk.net/about/press/archive/more-women-now-play-video-games-than-men) were women. For most 'average' gamers then, these data just don't seem to play into the idea that anyone would simply have time to spend 16 hours playing games on an average weekend. That Zimbardo and Coulombe suggest that parents wouldn't care about the amount of time spent perhaps belies the perception of the typical gamer that they hold (http://www.theguardian.com/technology/2015/may/11/the-cliche-of-lone-male-gamer-needs-to-be-destroyed) – lone boys, below the age of 18. Yet even if we accept that sort of age range, games still aren't a solely masculine pursuit. In Przybylski's study (http://pediatrics.aappublications.org/content/early/2014/07/29/peds.2013-4021.full.pdf) mentioned earlier, of a sample of 2463 male and 2463 female children aged 10-15 years, 42.3% of boys and 40.4% of girls reported playing between 1 and 3 hours of computer games per day.
The trouble with Zimbardo and Coulombe's line of reasoning is that they don't make it clear how, specifically, video game use might be a causal factor in driving any sort of behaviour crisis. But even if we could tease that factor out, it still doesn't make sense how it would just affect men and leave women unscathed. By avoiding any sort of rigorous and systematic evidence base, they've had to rely on anecdotes, personal views, and ultimately, the same boring old arguments (http://www.theguardian.com/science/head-quarters/2014/oct/03/susan-greenfield-mind-change-technology-evidence) about the internet affecting the brain that we've seen other pundits spout before. It's frustrating and tiresome, and to be honest, they should both know better.
https://news.vice.com/article/one-of-the-worlds-biggest-extinction-crises-is-being-caused-by-cats
tekst je užasan, feral cats ne mogu da se namnože toliko koko mogu pacovi miševi i ostale odvratnoće i štetočine, misim da je sasvim okej da se mišovi istrebe
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.innocentenglish.com%2Fcute-pictures%2Fwp%2Fwp-content%2Fuploads%2F2008%2F04%2Fcute-baby-mouse-picture.jpg&hash=642025338109ac7995e6d181f762cfc6853b0c6c)
Sonja, Sonja, pa zar 'vako slatkog mišića da trebiš, c,c,c
Meho saznao da će mačke da okupiraju Australiju pa pakuje kofere! 8-)
fuj! prenosilac zaraza. izbelio dlaku udesio se i očistio nokte, ali iako malo liči na mog bivšeg hrčka skolda, te oči mene ne zavaravaju, you dont fool me!
Aww bas je slaaaadak!
[super reakcija @dejane]
Mrzim pacove, ali i to moze, samo bih komarce istrebila zasvagda. 8-)
Čujte, makar je ugodnije zamišljati Australiju kao kontinent podivljalih mačaka nego znati da je ona u realnosti kontinent gigantskih arahnida. :cry: :cry:
australija je diiiiiivan kontinent, možda i najdivniji
ima super floru i faunu, osim onih lizarda i sličnih reptila fuj fuj, a znači ima i puno mačaka znači nema glodare jaow <3
ima i čajno drvo lajklajklajk, volim čajno drvo
Pa, da, nema glodare. Pojeli ih pauci (http://www.planetdeadly.com/animals/australias-dangerous-spiders). :cry: :cry: :cry:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F2wc2tyw.jpg&hash=95b9341a84345bfcbf23f838dff757f107263277)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2Fjhadxh.jpg&hash=65b1a1d305d40761e9c06706e96afc51a8a786bc)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi58.tinypic.com%2F1zg3qts.jpg&hash=310ee57a0a069e6380510a87874a70445a369023)
Bas lepe boje... (https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.easyfreesmileys.com%2Fsmileys%2Ffree-scared-smileys-398.gif&hash=22c2636bab5d4ed4180b4bc0daa72d011275c6bf)
Lepe, lepe. Ovaj se, recimo zove The Mouse Spider:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F2ufft5w.jpg&hash=afdb4bc062ea6372c9521c06ecf82191164f748e)
I odgovoran je za pokolj miševa, žaba, guštera...
Najs! Potrazi funnel web, to je jedan od otrovnijih, ima ogromne kljove.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbladesmithsforum.com%2Fuploads%2Fmonthly_01_2013%2Fpost-32990-13578425172332.jpg&hash=825316eddeb7e60986212ede825c6bfe40327e37)
na tog mišjeg spajdera bi se i djavo zgrozio
Sama pomisao da delim planetu sa njim me ispunjava nelagodom.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi974.photobucket.com%2Falbums%2Fae228%2Ffossrekkr%2FFunny%2520GIFs%2Fdramamouse.gif&hash=d6d5b6d63e0cdf6ad3c9801ee51f60d742558803)
Brus Dikinson, naravno, pobedio rak:
BRUCE DICKINSON UPDATE (http://www.ironmaiden.com/bruce-dickinson-update.html)
QuoteWe are very happy to announce that following his recent MRI Scan, Bruce was today officially given the all-clear by his specialists.
Bruce says,
"I would like to thank the fantastic medical team who have been treating me for the last few months, resulting in this amazing outcome. It's been tough on my family and in many ways it was harder for them than me. I'd also like to send a heartfelt thanks to all our fans for their kind words and thoughts. I'm a firm believer in trying to maintain a positive attitude, and the encouragement from the global Maiden family meant a great deal to me. Right now, I'm feeling extremely motivated and can't wait to get back to business as usual, as soon as I can!"
Rod Smallwood continues,
"We are of course all absolutely delighted that Bruce's doctors have pronounced him free of cancer. Although Bruce is naturally eager to resume Maiden activities, it will take a while before he is completely back to full strength, as we explained previously. Because of this, the band will not be touring or playing any shows until next year. We know our fans will understand the situation and, like us, would prefer to wait until Bruce is back to his usual indefatigable levels of fitness before going out on the road.
For now, the focus will be on putting the finishing touches to the new Iron Maiden studio album and that is what we will be concentrating on over the coming weeks. The release however will definitely be this year. Meanwhile, I'd like to echo Bruce's words and thank all Maiden fans. You have been incredibly patient, putting Bruce's health and well-being first during this difficult time and the band and I appreciate all your positive support."
http://youtu.be/iCSd0slqzcQ (http://youtu.be/iCSd0slqzcQ)
Prigodno je. Neću da kažem da je ovo ko da sam ja piso, jer ja ipak ovo ne bih mogo da napišem, ali mnoge teze koje sam iznosio godinama putem DJMŠ se ovde potvrđuju od strane ozbiljnijeg autora od mene:
The Secret History of Ultimate Marvel, the Experiment That Changed Superheroes Forever (http://www.vulture.com/2015/05/secret-history-of-ultimate-marvel.html)
Quote
A reboot is a delicate thing. When a once-profitable franchise of characters becomes stale, outdated, or overly complex, there will always be voices calling for the slate to be wiped clean: to take the characters back to their basics, retell their origin stories, make them contemporary. But all too often, those rebooting efforts are laughable, pandering failures. Ultimate Marvel was the rare exception. It was a compendium of stories that saved the company that launched it, revolutionized the comics medium, and became the foundation of the multi-billion-dollar Marvel cinematic empire.
It began as a Hail Mary maneuver. Ultimate Marvel was a publishing experiment launched by Marvel Comics — the superhero-comics company that had invented the Avengers, Spider-Man, the X-Men, and countless other icons — during its darkest hour. The idea was simple: Launch various comics series where all the famous Marvel characters are young again and just starting their superhero careers in the modern day. Give the series flashy titles like Ultimate Spider-Man and Ultimate X-Men and make sure no reader will have to go back and read decades' worth of comics to understand what's going on. Return to core principles. Make these icons fresh again.
There were many reasons the initiative could have failed, but it instead succeeded beyond its creators' wildest dreams. Indeed, the world of Marvel movie adaptations — including this summer's megahit Avengers sequel and upcoming Fantastic Four — owe more to the Ultimate imprint than any other single Marvel Comics initiative. And yet, 15 years after the Ultimate line's birth, Marvel just killed it. Last week, a five-issue miniseries called Ultimate End debuted, and when it's done, there will be no more Ultimate Marvel. There is little mourning, even within die-hard comics fans who once loved the imprint.
What happened? Why dispose of something so successful? To find the answers, we must look at the secret history of Ultimate Marvel. It's a story of desperate ambition, shocking triumph, and fevered imagination. But it's also a cautionary tale: one about pushing limits too far, holding on too long, and learning to accept the forces of entropy. Here, then, is the tale of Ultimate Marvel, one of entertainment's greatest reboots — but also living proof that all reboots can become victims of their own success.
*****
"When I got hired, I literally thought I was going to be writing one of the last — if not the last — Marvel comics," says now-legendary comics writer Brian Michael Bendis, who wrote the first comic of the Ultimate line and will be writing the final one, too. When he wrote that first issue in 2000, the once-venerable Marvel was in chaos. "It's so the opposite now, that people don't even know."
Here's some context to understand the red-alert disaster the comics industry had become by the eve of the Ultimate experiment. In 1993, annual combined comics sales across all publishers had been close to a billion dollars; in 1999, that same number was a microscopic $270 million. In 1989, Batman was the most-talked-about movie in America; by 1999, the disastrous Batman & Robin had squirted a stink on the very idea of a cinematic comic-book adaptation. Marvel especially was feeling the burn: It went through a humiliating Chapter 11 bankruptcy in the late '90s, saw wave after wave of layoffs, and executive leadership was shuffled every few weeks. In 1999, after years of comics-publishing dominance, the company lost its top spot in industry market share and watched its rival, DC Comics, take the throne.
There was a wide array of causes for Marvel's woes — the collapse of a comics-as-collectible-items bubble and multiple defections by top artists, for example. But one ailment was obvious to any brand-new reader who bought a Marvel comic for the first time: There was so much backstory that the stories were almost incomprehensible.
Ever since Marvel's first comic in 1939, nearly every superhero story it published had to fit into a shared, ongoing universe of characters and events. There was some fudging of time frames (Spider-Man was introduced as a teenager in 1962, and by 1999, he was only in his 30s or so), but every story was built on the back of every previous story, and all stories were interconnected: Iron Man might talk about some battle that had occurred in X-Men, Mr. Fantastic would remember things that happened in comics published 20 years prior, and there were regular companywide "crossover events," where all the heroes would fight the same evil at the same time.
If you're confused by that description, don't worry — so was everyone else. Sixty years of continuity had set an insanely high bar for understanding what was happening in a Marvel comic, even if you were a die-hard fan. (To be fair: DC also had this problem.) What's more, everything in Marvel looked and sounded behind-the-times. In a world where geek audiences were flocking to watch the sleek, leather-clad, hip (by 1999 standards) action of The Matrix, Marvel's stories were alienatingly ridiculous. In the pages of Marvel's flailing comics series, you might see the Avengers — wearing uniforms of clownish purple or baby-blue — fighting wooden-dialogued villains with names like Kang the Conqueror and Lord Templar. Spider-Man was a married stiff who spent years trying to solve the mystery of whether or not he was a clone. And the characters were all so old: The phenomenon of ongoing continuity meant the original X-Men hadn't been teenagers for decades. A pop-culture empire lives and dies on young-adult interest, and Marvel's was fast receding.
Enter Bill Jemas. He was a relative outsider to the comics world (he'd gotten his law degree from Harvard before spending most of his career in the collectible-trading-card industry) who was put in charge of Marvel's editorial direction in 2000. He hated what Marvel had become: a place that was "publishing stories that were all but impossible for teens to read — and unaffordable, to boot," as he put it to me. But Jemas had an idea, born of a suggestion he says the CEO of Wizard, a comics-industry magazine, gave to him: "turn our middle-aging heroes back into teens." In other words, he wanted to launch a reboot.
Of course, that could have been a suicidally horrible idea if executed poorly. (Imagine some 55-year-old veteran comics writer penning a Spider-Man title where Peter Parker wears a backwards baseball cap and yells "Bodacious!" after hitting Green Goblin with a skateboard.) The company needed fresh and relatively young talent writing such stories. Luckily, Marvel had a charming, freshly minted editor-in-chief with great respect in the indie-comics world: Joe Quesada, who quickly sought out writers from outside the Marvel family. Quesada (who could not be reached for an interview) also had the virtue of being a devoted company man: Jemas recalled that Quesada would've preferred to "tell stories about new heroes, e.g., Peter Parker's nephew," rather than do a reboot, but went along with the Jemas plan nonetheless.
While Quesada was headhunting, Jemas struggled to find the right way to conceptualize his new initiative (at that time tentatively titled "Ground Zero," a name that fortuitously was abandoned). Comics companies had tried to jettison decades of storytelling before, and it usually ended in failure. Do you create a story where some cosmic event resets the clock on 60 years of continuity? DC had done that with its "Zero Hour" event in 1994, and it only ended up making everything more confusing for readers. Would you send your best heroes into another dimension, where they were somehow rejuvenated? Marvel did that with its "Heroes Reborn" event in 1995, and sales were abysmal (as were relations between executives and creators).
He opted for an extremely simple premise: There would be a new Spider-Man series and a new X-Men series, in which all the characters were still young. That's it: No explanations about why, no complicated in-continuity sci-fi justifications about interdimensional travel, nothing. Just stories where the most basic archetypes were in place — Peter Parker getting spiderlike powers after a spider bites him, the X-Men being superpowered mutants in a world that fears and hates them, Wolverine being grumpy, and so on — but where the characters were all starting out in the world of 2000, beginning a new continuity.
And Jemas had a firewall against failure, too: Marvel would continue to publish the existing Spider-Man and X-Men series, the ones with hundreds of issues of complicated, old continuity. They — the so-called "mainstream" Marvel series — would be unaffected. The rebooted tales would simply exist in another fictional universe — and if those stories didn't sell, Marvel could just cancel them without affecting existing mainstream continuity. There was no reason not to give it a try. Jemas and Quesada don't recall how they hit upon the name "Ultimate" for the branding, but it came up at some point and stuck in their minds. They aimed to launch Ultimate Spider-Man and Ultimate X-Men by year's end. But as the months wore on, the talent hunt was getting dire. "Honestly, I kissed a lot of frogs," Jemas recalled.
That's when Quesada made a fateful phone call to Brian Michael Bendis. At the time, Bendis was a struggling freelance indie-comics writer/artist whose biggest claim to fame was a mediocre-selling historical drama about a serial killer from the 1930s. "My normal was, I'll sell 2,000 copies of a comic, get a check for $400, and then hustle to do caricatures all weekend to make some real money," Bendis recalled with a laugh. So he was shocked when Quesada got in touch and told Bendis to pitch a back-to-basics Spidey story where Peter Parker was a teen and everything was a blank slate. Apparently, one of the previous auditionees had written a word-for-word adaptation of Spider-Man's 1962 first appearance, but with modern décor. Bendis knew he had to avoid that approach: "When you do that, it just dries it up. You're basically a cover band, at best."
Instead, he won the gig by writing an elegant script that read more like a TV pilot than a '90s superhero comic: There were no thought bubbles of internal monologue, no rushed exposition, not even a costume in the first issue. And it didn't feel self-consciously "modernized": There was no shock-value violence, and the 30-something Bendis wisely went easy on teen slang (though there are some snippets that haven't aged well, e.g., "See you on the flipmode"). The first issue was 45 pages long — more than twice the length of an average comic — which allowed for realistic pacing and Mamet-esque conversational dialogue. Peter is 15 and speaks in the awkward tones of a bullied child. His Aunt May and Uncle Ben are kind, aging hippies who charm the reader by calmly joking with each other. Peter's bitten by a genetically modified spider (in the mainstream version, the spider had been radioactive, but Bendis knew genetic tinkering would resonate more in 2000), and is genuinely confused and remorseful when he hits a bully and knocks the boy out with his strange new powers. None of it felt cartoonish and overwrought like mainstream Spidey. The now-famous final page is a single panel of Peter realizing he can stick to his own ceiling. He dangles upside-down, face forward, and mumbles, "Whoa — cool." In the context of the whole issue, it's a moment of earned, simple wonder.
Jemas was overjoyed with the issue, but retailers were skeptical. "I publicly said, 'If Ultimate Spider-Man made it to 100 issues, I would eat a bug,'" San Francisco–based comics-shop owner Brian Hibbs told me. The first issue debuted at No. 15 on the monthly sales charts for September of 2000, selling a modest 54,407 copies. But Jemas had a wild, risky scheme: He distributed millions of copies at chain stores like Payless Shoes and Walmart. Major media outlets picked up on Jemas's publicity push, leading to glowing reviews ("One of the most emotionally resonant depictions of teendom in comics," Entertainment Weekly wrote (http://www.ew.com/article/2000/11/17/ultimate-spider-man) of the series). That all added up to overwhelmingly positive — and widespread — word-of-mouth praise. Sales steadily rose.
Finally, in December, the buzz paid off and Ultimate Marvel hit the top of the comics sales charts. But it wasn't with Ultimate Spider-Man. The first megahit Ultimate comic was the first issue of Ultimate X-Men, which sold a staggering 117,085 copies that month. It was set in the same universe as Ultimate Spider-Man, and had been long delayed because Jemas and Quesada couldn't decide on a writer. They tore their hair out during the search, even rejecting their beloved Bendis's spec script for the series. The person they finally picked was a newcomer to Marvel with an extremely controversial reputation for his work at other publishers. He was a Scotsman named Mark Millar, and the work he created at Ultimate Marvel changed superhero fiction forever — for better or worse.
*****
The history of Ultimate Marvel is, in a way, a story about warring approaches to a reboot: Bendis's and Millar's. Bendis wanted to polish the old archetypes; Millar wanted to aggressively critique them. Bendis sought timeless stories; Millar craved biting contemporary political critique. Bendis was looking to inspire; Millar aimed to disquiet. As Bendis put it: "I'm writing about hope and he's writing about nihilism, and I know he doesn't always think he is, but he is. Constantly."
Millar is one of the most divisive — and successful — names in the history of comics, and he had already begun his meteoric ascent when Quesada and Jemas snatched him up. At DC, he'd written jaw-droppingly violent and provocative stories on a series called The Authority. One Authority story was even about the titular superteam fighting an army of horrific pastiches of Marvel superheroes, including a rapist Captain America, a baby-murdering Iron Man, and white-supremacist X-Men. But he'd gone too far and left DC after they told him he couldn't enact some of his more wild ideas (including George W. Bush authorizing the deployment of a government-created pedophile supervillain). As envelope-pushing as he was, Millar was also a brilliant crafter of action-story structure and — perhaps to a fault — knew how to grab attention unlike anyone else in the business. Jemas never shirked from controversy, and relished making this high-profile hire.
Millar's initial stories for Ultimate X-Men may have sold like gangbusters in 2001, but they weren't especially groundbreaking (other than the awful goatees that artist Adam Kubert gave to Wolverine and Cyclops). His greatest achievement was brewing in the background. Jemas and Quesada had asked him to team up with superstar artist Bryan Hitch for the launch of Ultimate Marvel's take on Marvel Comics' premier superteam, the Avengers. Hitch had drawn for The Authority (though his run didn't overlap with Millar's), where he earned a reputation for drawing comics that looked like movies: full of photorealistic figures and enormous action sequences. The Ultimate-universe Avengers series would be called The Ultimates, and Marvel wanted it to be the imprint's biggest series yet.
"The tout of actually being able to make an Avengers film wasn't on anybody's radar," Hitch told me. "So that's what we said, that this was 'Avengers: The Movie.'" They couldn't have known how true that cheeky philosophy would turn out to be. In a scant few months, the pair unwittingly concocted ideas that formed the foundation of the worldwide-hit Marvel Cinematic Universe. As Joss Whedon, writer/director of The Avengers and its sequel, put it (https://web.archive.org/web/20070523094916/http://www.newsarama.com/marvelnew/Ultimate/hitch_whedon_1.html): "It's my feeling that Ultimates brought Marvel into the modern age in a way no other book did."
The Avengers that hundreds of millions of people see on the silver screen are, for the most part, the Ultimates. The classic Avengers were a private club that hung out in a mansion with a wacky butler; the Ultimates were a military operation assembled by superspy Nick Fury to combat extinction-level threats. Classic Hawkeye was a wisecracking reformed criminal who wore a ridiculous purple mask; Ultimate Hawkeye was a hardened black-ops soldier in dark leather who was best buddies with Black Widow. Classic Iron Man was a wealthy-but-sweet ladies' man with a firm code of ethics; Ultimate Iron Man was a cynical, charismatic, womanizing alcoholic. Classic Nick Fury was white; Ultimate Nick Fury was African-American and explicitly drawn to look like Samuel L. Jackson (Millar had the idea to change Fury's ethnicity, but Hitch was the one who modeled him off of Jackson, just because he thought the actor's look fit their reimagined character's attitude). Which of those setups sounds more familiar?
The reliably high quality and ever-increasing sales of the existing Ultimate Marvel series had built a fever pitch of buzz, so when The Ultimates No. 1 hit stands in January 2002, it flew off shelves and became the single best-selling comic of the year. "It wasn't until The Ultimates came out that we recognized there was something legitimately big-time here with Ultimate," retailer Hibbs recalled. And what made that success all the more remarkable was how outspokenly political and deconstructionist Millar's story was. He knew there were unhealthy ideas at the core of the Avengers' archetypes, and he was unafraid to prove it.
All of these Ultimate versions of the Avengers were, to put it bluntly, complete assholes. They were also all very specifically post-9/11 characters. Hawkeye and Black Widow were unfeeling government murderers, Iron Man was a gleeful war profiteer, and Captain America ... well, Ultimate Captain America was just about the most blunt satire of War on Terror neoconservatism that popular culture had seen up until that point. He was a cold, stern prick in World War II, and when he was reawakened in 2002, he immediately felt an affinity for President Bush's crusaderlike worldview. Indeed, the third issue literally concluded with Cap saluting President Bush. Later, in one of modern superhero comics' most infamous moments, an alien invader tells Cap to surrender and he responds, "Surrender?SURRENDER??!!" and, pointing to his helmet's giant A, "You think this letter on my head stands for France?"
If you were a comics fan in 2002 and 2003, The Ultimates was all you and your friends could talk about. It was a panoramic action story that was thrilling in a way nothing else in comics was. And in retrospect, it's astounding how leftist The Ultimates was, during a period when American action movies were either pro-war or purely escapist. Millar declined to be interviewed for this article, but I spoke with him at length two years ago for a profile I wrote at (http://www.newrepublic.com/article/114150/mark-millar-kick-ass-2-author-comics-sickest-mind) The New Republic (http://www.newrepublic.com/article/114150/mark-millar-kick-ass-2-author-comics-sickest-mind), and he outlined his philosophy there. "Europeans tend to be pretty left-wing, and Scotland's always been a left-wing country, so I'm always suspicious of uniforms," the Scotsman said. But you didn't have to be a liberal to love The Ultimates: It was a rip-roaring action story with luscious artwork, and even though Ultimate Cap wasn't intended as a role model, many took him as such. "People would say, 'I joined the army after reading The Ultimates because I wanted to make a difference in the Middle East,' and I was like, 'Well, I kinda meant the opposite of that,'" Millar recalled with a laugh.
By the middle of the decade, the Ultimate Marvel line was a wild success, regularly dominating best-seller charts. Ultimate Spider-Man, Ultimate X-Men, The Ultimates, and the newly launched Ultimate Fantastic Four all existed in the same universe, meaning the sleek, Ultimate versions of Marvel's characters were all hanging out with one another in their own little pocket of fiction. Every week, readers would pick up issues of the Ultimate titles to see how the "Ultimized" versions of long-standing characters would fit into the Ultimate universe — a universe you could plausibly catch up on with just a few days of backissue reading. Marvel continued to publish dozens of series set in the old, mainstream universe — but the Ultimate universe was what fans and critics buzzed about.
"It really saved the industry at that time," longtime comics journalist Heidi MacDonald said. "Ultimate [Marvel] reignited interest among Marvel fans and got new readers." To bring some shine and excitement to its non-Ultimate universe, Marvel put Bendis and Millar in charge of mainstream Marvel titles like The Avengers and Wolverine as well. Marvel regained the top spot in market share, and Ultimate Marvel was the engine that drove it there. As Ultimate Fantastic Four writer Mike Carey put it, if you were an Ultimate writer, artist, or editor, you were in the "cool kids' club."
But there were cracks in the foundation, and they were widening. Jemas was ousted in 2004 after a string of high-publicity publishing flops — some related to Ultimate Marvel, some tied to mainstream Marvel. The second volume of The Ultimates began in 2005 and was perpetually delayed due to Hitch's agonizingly slow artistic process, infuriating fans and retailers. Aging sci-fi writer Orson Scott Card wrote a reviled Ultimate Iron Man miniseries. On top of all that, Marvel was simply running out of characters to Ultimize. To keep this massive reboot effort relevant, Quesada needed something big to get readers excited again, so he and longtime superhero writer Jeph Loeb concocted a major story to shake up the Ultimate line. What they created was one of the biggest creative disasters in comics history, one from which Ultimate Marvel never quite recovered.
****
Millar left the Ultimate line after Ultimates 2, but Quesada and Loeb opted to take Millar's sexed-up, ultraviolent, transgressive techniques and amplify them. Loeb launched Ultimates 3 in 2007, and in the very first panel, the Ultimates are watching a sex tape of Iron Man and Black Widow. A few pages later, brother-and-sister heroes Quicksilver and Scarlet Witch are caught in an incestuous tryst — and just a few pages after that, Scarlet Witch is brutally murdered in broad daylight. That kind of random sex and violence was rampant throughout the third Ultimates outing, without the political relevance or epic pacing of the first two volumes. Sales were good, but reviews were terrible.
As it turned out, it was all just a prologue for Ultimatum, a 2008 miniseries that would irreparably damage the Ultimate universe. When artist David Finch was recruited to draw for it, Marvel gave him a very simple description of the story's mission. "I was told it was a way to basically kill everyone in the Ultimate universe," Finch told me. "And that's pretty much what it turned out to be."
That's a bit of an exaggeration, but not by much. Loeb later told Newsarama.com (http://www.newsarama.com/4667-jeph-loeb-picks-up-the-pieces-in-ultimate-x.html) that Ultimatum was always intended to be "a big, blockbuster-y kind of thing," "a big, noisy, disaster story about a massive change in the Ultimate Universe," and "very much a Michael Bay movie." Indeed, in the Michael Bay tradition, the story begins with Magneto using a tidal wave to kill nearly everyone in Manhattan. But even Bay might have blushed at Ultimatum's subsequent violence. Over the course of just five issues, 34 different heroes and villains were murdered, often by gruesome means: Doctor Strange was squeezed until his head exploded; Magneto was decapitated; the Blob ate the Wasp and, while holding her half-devoured corpse, belched out, "Tastes like chicken"; and so on. It was an abattoir masquerading as a comics series, filled with anatomically improbable breasts and laughable dialogue. (I reached out to Loeb for an interview but was told he would only speak with me if we didn't discuss Ultimates 3 or Ultimatum.)
Fans and retailers were furious. "It was fucking terrible," retailer Hibbs recalled, adding that he was only able to sell about half of the copies he ordered for his store. "Ultimatum is a base and insulting comic book," read (http://www.letsbefriendsagain.com/2009/06/05/burning-the-m-bridge/) a review at comics site Let's Be Friends Again. "Ultimatum #5 could quite possibly be the single worst piece of writing in recorded history," wrote (http://www.panelsonpages.com/?p=9450) critic Jason Kerouac. But Jesse Schedeen of IGN most succinctly summed up (http://www.ign.com/articles/2009/07/30/ultimatum-5-review) the damage Loeb and Quesada had done to the Ultimate Marvel experiment: "I sincerely hope the Ultimate line is able to return to its roots and offer readers clean, accessible, and unique takes on these iconic heroes again," he wrote. "It had better, because I'm growing dangerously close to wiping my hands of the whole enterprise." He wasn't alone in his disdain: Overall sales for the Ultimate line never returned to their pre-Ultimatum levels.
But just as the Ultimate comics reboot was faltering, the ideas it had spawned in the pre-Ultimatum years were succeeding elsewhere — specifically, on the big screen. In 2005, Marvel announced plans to start producing its own movies (hits like Spider-Man and X-Men had been produced by Sony and Fox, respectively), and its first offering was going to be an Iron Man film. Millar and Bendis were brought on as consultants, but even without their help, the filmmakers had decided to have Robert Downey, Jr. play the Ultimate take on Tony Stark: a skeezy, boozed-up prick whom you still couldn't help rooting for. But the coup de grâce was the much-talked-about post-credits scene, co-written by Bendis, in which Tony meets Nick Fury ... as played by Samuel L. Jackson. It wasn't even Bendis or Millar's idea to bring Jackson-as-Fury to the big screen — producer Kevin Feige had loved Ultimate Nick Fury so much that he had reached out to Bendis. The movie was a smash, and a major vindication for the Ultimate Marvel experiment.
As Marvel's movie empire grew, the Ultimate vision became a deeper and deeper influence. When Hawkeye showed up in Thor, he was a dead ringer for Ultimate Hawkeye. When Captain America debuted, he wasn't a jerk like Ultimate Cap, but his costume was almost 100 percent lifted from Hitch's Ultimate redesign. And when Ultimates superfan Joss Whedon crafted The Avengers (released in 2012), the whole endeavor ended up feeling like an Ultimate production — epic action sequences, military-sponsored missions, naturalistic dialogue — and almost nothing like the Avengers of old.
And in the world of comics, even though Ultimate sales were dropping throughout the late '00s, Marvel's mainstream titles were doing quite well — largely because they had adopted many of the hallmarks of the Ultimate brand: a more realistic tone (well, as realistic as you can get in a world with telepaths and gods), sleek visual modernism, and a willingness to shake the status quo with operatic action. Mainstream Marvel heroes rarely pranced around in pastel leotards anymore, and they certainly didn't have clunky internal monologues in thought bubbles: They looked and sounded more and more like their Ultimate-universe counterparts from the pre-Ultimatum years.
As an imprint, however, Ultimate Marvel simply couldn't get back on track. Millar was brought back for a long run on Ultimates, but readers found the stories half-baked and dull. Up-and-coming writer Jonathan Hickman penned a major story about Ultimate Mr. Fantastic turning evil and destroying half of Europe — but simultaneously, DC Comics did a linewide relaunch that was, in essence, its own attempt to "Ultimize" its characters. (The DC push was an initiative called "The New 52," in which the publisher canceled all its existing comics titles and rebooted its characters in stories where they were younger and freed from old continuity.) DC's reboot (which is still ongoing) was a smash hit and drew attention away from Marvel's Ultimate tales. Sales simply couldn't perk up. What's more, Millar became a reviled figure among progressive comics fans, known for his creator-owned Millarworld comics, in which grisly murder and obscene rape were regularly on tap. Superhero fans would joke about classic Ultimates scenes like Cap's anti-France rant, dismissing them as cynical relics of a bygone era.
There was only one saving grace for the Ultimate universe and the promise it had once held: Bendis's Ultimate Spider-Man stories. Bendis was Marvel's golden boy, and although his stories acknowledged that Ultimatum happened, Quesada never forced him to change the optimistic tone of his beloved series. Sales were never spectacular, but they were solid and dependable. Indeed, Bendis and series artist Mark Bagley broke the record for longest-running unchanged creative team on a comic — and when Bagley left after issue No. 111, Bendis kept plugging along. But the series' greatest achievement came in 2011, when Bendis introduced a new character, one who represented the triumph of the Bendis approach to a reboot: finding hope and light in Marvel's core principles. The character's name was Miles Morales, he was Afro-Latino, and he will almost certainly be Ultimate Marvel's most lasting legacy in the world of superhero comics.
****
Bendis wasn't blind. He knew that by 2011, the decade-long Ultimate experiment had lost much of its luster. He was constantly talking to colleagues about how to fix the world he'd launched. "I would say, 'Hey, what did we do right? What did we do wrong? What would I have done differently?'" he recalled. "In those conversations of what we did right or wrong, we'd come about the idea of Peter Parker being of a different race. That if you really look at the origin, there's no reason that character wouldn't be of color. In fact, maybe it makes more sense."
He soon became fixated on the racial questions posed by the Spider-Man archetype. If a middle-class teenager was growing up deep in Queens in 1962, sure, he'd be white. But in the New York of 2011's profoundly multiethnic outer boroughs? Statistically, he'd almost certainly be a person of color. But if Bendis was going to introduce a nonwhite Spider-Man, what would he do with the existing Spider-Man? That's where the magic of the anything-is-possible Ultimate Marvel approach paid off.
"We started thinking about who ended up being Miles, and it became obvious that the only way Miles works is if Peter isn't there," Bendis said. "Then you realize that the trigger has to be pulled." Bendis wrote a story in which Ultimate Peter dies a hero's death. Around the same time, shy teenager Miles Morales gains similar abilities to Peter's and tentatively starts fighting crime in his stead. The ensuing story lines were classic Bendis: tender, streamlined, and optimistic. Miles wasn't just an Afro-Latino Peter Parker. He was his own person, kind and quiet, reluctant to stand out and perpetually struggling with self-doubt — in many ways, an even more believable teenager than Ultimate Peter had been.
Miles was also an enormous hit immediately after his August 2011 debut. Sales for the series spiked, but more important, Miles was a publicity sensation, drawing attention in mainstream media outlets and among fans who had long ago grown bored with Spider-Man. Just a few months into his existence, long before Marvel had made any Miles merchandise, fans were constructing their own Miles costumes (his uniform has a slightly different color scheme than Peter's) and wearing them to conventions. Marvel knew it had a hit on its hands, and has recently started cranking out Miles costumes, Miles toys, and a version of Miles in the hit Saturday-morning Spider-Man cartoon. "Miles was something that was vital and important, and he sold," Hibbs said. When Sony announced it was rebooting its Spider-Man movie franchise yet again, there were cries across the internet (http://www.ign.com/articles/2015/02/24/could-miles-morales-be-marvels-spider-man) for the new Spidey to be Miles. "It brought a lot of attention back to that book. But it didn't help the entire line."
Nothing could save the rest of the Ultimate line, which had larger problems than just the fallout from Ultimatum. More than a decade into the Ultimate project, Marvel had learned a harsh lesson about the concept of a franchise reboot: It tends toward chaos. If a new reader tried to digest an issue of an Ultimate comic in 2011, she'd run into the exact problem Ultimate Marvel was designed to combat: confusing continuity. Wait, why was Mr. Fantastic evil? What had happened four years ago in Ultimatum? Remind me how Dr. Doom died? As Hickman put it: "I think maybe the lesson might be that continuity eventually swallows everything." (Incidentally, now that the Marvel Cinematic Universe is 11 movies deep, this is becoming a concern for Marvel Studios. It remains to be seen how Marvel's movie producers might learn from the pitfalls of the Ultimate world.)
Creators and editors I spoke to said the decision to kill the Ultimate brand came sometime in 2013. There was a last-ditch Ultimate story that year, entitled Cataclysm, where a cosmic entity came to devour the Earth. Then-writer of Ultimates Joshua Hale Fialkov told me the writing was on the wall: "The way it was put to me was, we need to do something gigantic," he said, "but if it didn't raise the profile of the universe, then they'd end it." It was a sales failure. The trigger had to be pulled.
****
To Marvel's credit, the Ultimate universe is getting a Viking funeral. There has been a years-long story line in the mainstream Marvel universe, written by Hickman, which has climaxed in a massive crossover event called Secret Wars. The catalyst, seen in this month's Secret Wars No. 1, is an interdimensional apocalypse in which the Ultimate universe and the mainstream Marvel universe literally collide, destroying each other. At the end of the issue, a sparse page features text reading "THE MARVEL UNIVERSE • 1961 - 2015" and "THE ULTIMATE UNIVERSE • 2000 - 2015." This is, however, a bit of a misdirect: Marvel has already announced plans for its post–Secret Wars status quo, which appears mostly to be a reconstruction of mainstream Marvel (it remains to be seen how much of this new status quo will be a reboot of its own). The only real death here is an Ultimate death.
All is not lost. Marvel has also made it clear that the new status quo will feature some as-yet-unspecified synthesis of the two universes. We do have confirmation that Miles Morales will join the Avengers, which is a huge victory both for diversity and for the legacy of the Ultimate experiment. And in the world of the movies, African-American Nick Fury isn't going anywhere, nor is asshole Tony Stark or leather-loving Hawkeye. Plus, this summer's Fantastic Four movie is explicitly an homage to Ultimate Fantastic Four: Its titular heroes will all be teenagers, an innovation concocted in the Ultimate universe.
And that gets at the other big lesson of the Ultimate experiment: If a reboot succeeds, it bleeds into the world around it — often to its own detriment. "The biggest frustration with me was that the things that made the Ultimate universe so special were applied to the regular Marvel universe, making the Ultimate universe less special," Bendis said. In other words: Ultimate Marvel was so successful that it made itself unnecessary. As long as Miles is saved (and, perhaps, Ultimate Nick Fury), nothing very beloved will be lost in the death of the once-sensational Ultimate universe. All the themes and motifs have, thankfully, sprouted across the superhero genre and brought it to unheard-of heights of success.
There's one final lesson. According to Bendis — the alpha and omega of Ultimate Marvel storytelling — the key to the reboot was understanding what made the old Marvel archetypes worth rebooting in the first place. "The transition that we made was based on the fact that the concept of Spider-Man wasn't broken," he told me. "The Spider-Man origin and its themes are pretty much perfect. So adaptations are much like a Shakespeare play: The trick isn't to fix it and say you know better than Shakespeare. It's to find the truth of it and keep the truth going for a new audience."
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Devojčkica ZNA.
U drugim vestima:
http://io9.com/whats-behind-marvels-campaign-to-remove-the-x-men-from-1707514860 (http://io9.com/whats-behind-marvels-campaign-to-remove-the-x-men-from-1707514860)
'Hot Girls Wanted': A Good Film About Porn That's No Turn-On (https://www.yahoo.com/tv/hot-girls-wanted-netflix-rashida-jones-kim-120180172135.html)
Quote
A documentary about making it in the porn industry that works as an excellent warning to viewers who might be tempted to try it as a path to success, Hot Girls Wanted carries its ambitions lightly. This swift-moving film from directors Jill Bauer and Ronna Gradus, produced by Rashida Jones, doesn't lecture or hector. It spends time with a few young women involved in the "amateur porn" subset of the genre, finding out why they've chosen this work, and how their initial expectations compare to their subsequent realities.
The subjects of Hot Girls Wanted are mostly in their late teens, yearning to escape from parental control and make more money than they would at low-paying jobs in a lousy economy. After an initial montage of sex-positive pop culture — Miley Cyrus and Kim Kardashian are among the dignitaries acknowledged — the filmmakers' implication is that female role models can influence suggestible people into thinking sex work is a path to wealth and fame.
Hot Girls Wanted focuses particularly on Tressa (her last name is withheld), a teen from Texas who journeys to Florida, where the porn industry flourishes with such self-starters as her new employer, a poker-faced hustler named Riley, who lures new employees on Craigslist. You'd think Tressa and other girls who share an apartment-cum-office with Riley would become suspicious of their new boss' worldview when he flips through potential stars on his laptop and remarks approvingly of one, "She's 18, she looks like she's 12 — with double-Ds!" Ick.
But "ick" soon becomes something far ickier. At first elated to be enjoying a sorority-house atmosphere and making hundreds of dollars per shoot, Tressa soon finds herself in a loop of arduous labor and pain. The frequent sex leaves her with an infected vaginal cyst; a visit to the ER is required. The cameras follow her on return visits to home, where her mother is sad and her father is clueless (Tressa doesn't tell him what she's doing until long after her mother knows).
On-screen graphics dole out statistics about how the porn industry goes through thousands of such girls every year, noting that few of them last more than three months before giving it up. One woman says, "You're just processed meat." The filmmakers make sure we know just how many viewers see the work Tressa and others are doing. They also show us how depressed and degraded it ends up making most of the so-called "stars" feel. By mostly refraining from editorializing but simply by showing (discreetly — there's not a titillating shot to be seen in the whole film) and allowing these young women to say what they're thinking, Hot Girls Wanted makes its point, vividly and dismayingly. Hot Girls Wanted streams on Netflix starting Friday, 5/29.
Nema torenta za ovo još uvek, ipak je strimovano pre par sati. Tako da, ako se neko seti mene kad se to pojavi, neka baci dojavu.
Meho, ne znam koliko si fan Karpentera ili Dvejna Džonsona, ali ne znam gde drugde da stavim ovu vest:
http://www.theverge.com/2015/6/1/8701813/rock-dwayne-johnson-big-trouble-in-little-china
A, bogami, ne znam ni šta da mislim o njoj.
Pa, fan sam. Mislim, pre neki dan sam gledao Herkula koga sigurno ne bih gledao da Dvejn ne igra, a uz Karpentera sam bio i u najtežim trenucima i smatram da je Ghosts of Mars remek-delo. Tako da.. ovo je sasvim prihvatljiva vest. Opet, pošto ovo neće režirati Karpenter, a i originalni film se jedva držao noktima za ivicu gledljivosti, stalno preteći da sa litice kempa padne pravo u ambis jednostavnog kiča, nije da se od ovog očekuje bogznašta.
:cry: :cry: :cry:
BTiLC je jedan od mojih omiljenih avanturističih filmova iz 80-tih. Mislim, znam ja da je to kemp, ali spoj ironije, Kurta Rasela i nekih dijaloga mi je dovoljan da mi bude jedan od najdražih filmova tog perioda i žanra.
A Dvejn Džonson... da, bez njega Herkul bi bio Patuljak. Nije ni ovako sjajan, ali je bar gledljiv. Ima Tom Čik jednu internu šalu u svojim emisijama, kada pričaju kako je Džonson bolji glumac od Harisona Forda. Nisam ni razmišljao o tome dok nisam čuo njih tamo da pominju, ali živa istina. :lol:
Tu... tezu bi valjalo obrazložiti malko.
U drugim vestima, Krekd, srećom i dalje objavljuje povremeno interesantne napise. Na primer ovaj:
6 Things I Learned Having My Penis Surgically Removed (http://www.cracked.com/article_22462_6-things-i-learned-having-my-penis-surgically-removed.html)
Quote from: Meho Krljic on 02-06-2015, 14:12:18
Tu... tezu bi valjalo obrazložiti malko.
Ha-ha... pa da me linčuju fanovi Zvezdanih ratova i Indijane Džonsa!? Da, mnogima ideja zvuči suludo na prvi pogled. Naravno, kada kažem "istina", mislim na sopstveni stav. Ni Džonson ni Ford nisu karakterni glumci, a Ford ima neke ikonične uloge. Ali moguće je posmatrati stvari iz te perspektive. Jesi gledao Forda u poslednjih 15 godina? Igra samo sebe, mada bi neki rekli da je to bio slučaj oduvek. Njegova "duhovitost" iz gorepomenutih filmova više sledi iz samog scenarija i dobre režije, nego iz njegovih performansi. Blejd Raner mi je jedan od 5 najboljih filmova ikada, ali nisam siguran da i tu Ford doprinosi mnogo sam po sebi - ali u tom filmu je sve ostalo toliko dobro da Ford može da igra sebe koliko hoće. Možda jedino Apokalipsa danas - to nisam dugo vremena gledao. Sa druge strane, Džonson doprinese filmu čak i kad je ovaj u konačnom efektu loš (Southland Tales). I duhovitiji je, tj. ima bolji osećaj za tajming. Međutim, kako je komedija subjektivna stvar - možda i najsubjektivnija od svih - razumem da mnogi ne misle tako. Pogotovo što je teško zanemariti koliko nas je Ford sve opčinjavao u mladosti.
Hmmm, ja sam pretpostavljao da će argument biti to da Ford igra sebe u svakom filmu i svakako se to može argumentovati (ako ignorišemo Američke Grafite i još par naslova, naravno) ali sam onda pretpostavio da se i za The Rocka može reći isto, pogotovo što on dobija tipske uloge koje imaju manji ekspresivni opseg od uloga koje igra Ford. Čak i uloga u Pain & Gain u kojoj ima dublje napisan lik se pre svega bazira na ideji parodiranja mnogih stvari po kojima je The Rock prepoznatljiv.
Pa, da, to i jeste moja teza - rekoh, ni jedan ni drugi nisu karakterni glumci, što znači da se ne investiraju u različite ličnosti - ali Džonson ume da bude šarmantniji, duhovitiji, prirodniji, spontaniji, što, upravo s obzirom na ograničeniji opseg likova koje igra, čini da mislim to što mislim. Zameni Roka u mnogim filmovima nekim drugim - Džejsonom Statamom, na primer - i izgubićeš nešto. Zameni Forda istim Statamom (tamo gde je moguće, gde kasting ima smisla; recimo u Blejd Raneru, Svedoku) i nekako mi se čini da se ništa ne bi mnogo promenilo.
O, ali Han Solo i Indiana Jones su za čitavu našu generaciju definisali prototip (anti)heroja. A to bez Forda ne bi išlo tek tako. Probali su mnogi drugi - Majkl Daglas, Ričard Čemberlen...
Dobro, zato nisam ni pomenuo SW i Indianu. Suviše su ikonični njegovi likovi u tim serijalima. Naravno da to znači da imaju neki šarm, samo što ja mislim da je to više zasluga drugih nego Forda.
Kapiram da je po tviteru vriska i naricanje, pogotovo aktivista za muška prava što feminstički kolonizatori nastavljaju da uništavaju sveti medijum superherojskih stripova... Marvel je tizovao kako će novi univerzum izgledati po završetku Secret Wars (http://kotaku.com/the-next-marvel-universe-will-have-a-new-spider-man-and-1708967391), dajući nam par grupnih slika aktuelnih superheroja i, na ovoj drugoj, pored Daredevila u crnom kostimu, oživljenog Karnaka i Thinga u uniformi Guardians of the Galaxy, vidimo i - ženskog Wolverinea. Dakle, prvo Tor, sad Volverin, ko je sledeći? Naravno, Wolverine je u ovom slučaju Laura, X-23, ženski klon originalnog Džejmsa Hauleta i to sasvim ima smisla, uostalom pre nekoliko godina Wolverine je bio Daken, Loganov sin i mada ja nisam voleo taj serijal (Daniel Way ne bi trebalo da piše Wolverinea, nikad), voleo sam X-23 i uopšte, volim Laurin lik i sasvim mi je u redu da ona malo igra "tatinu" ulogu. Uostalom, vidi se i Wolverine iz Old Man Logan kontinuiteta, odmah pored nje, dakle, biće i on tu na neki način...
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Mene više od svega nervira NOVA renumeracija pošto se Marvel sad već sa tim sprda. Mislim, imali su pre tri godine Marvel Now, pa onda All New Marvel NOW, pa sad imaju All New All Different i tu više čovek ne može da se snađe sa brojevima jedan, jebote.. Da ne pominjem da gomila serijala nije imala nikakvog razloga da se renumeriše. Mislim, Spajdermen, u redu (menjan glavni junak), pa čak i X-Factor u redu (promenjen ceo tim), ali Iron Man? Uncanny X-men? Oba serijala su dvaput renumerisana iako je kontinuitet u njima tekao skoro bez ikakvih pauza i promena... Wolverine je renumerisan čak i zadržavši istog autora, samo jer je počeo novi story arc... Opet, shvatam da se ovo radi da se olakša pristup novim čitaocima, zaintrigiranim nakon gledanja filmova...
DC je naravno sa Convergence učinio još gluplju stvar :lol: Mislim, tri godine nakon što su uradili ono što Marvel radi - čišćenje kontinuiteta, kolabiranje divergentnih istorija u jednu, renumeracija - sad rade suprotno. Valjda misle da su loše kritike koje mnogi njihovi serijali dobijaju posledica urednijeg kontinuiteta :cry: Spojlr alrt: nisu.
Kada je Bendis najavio da uskoro odlazi sa X-men, slutio sam da je Iron Man njegov sledeći zadatak i pokazalo se da je tako (http://kotaku.com/when-secret-wars-ends-a-new-era-of-iron-man-begins-1709533095). Moglo bi to da valja.
Crowdfunding a porno movie in space (http://boingboing.net/2015/06/11/crowdfunding-a-porno-movie-in.html)
ima i vimeo klip, ali ne znam kako da ga postavim na forum :(
Pornhub Presents: Sexploration on Vimeo (http://vimeo.com/130377725)
Ima valjda i na Zemlji još devičanskih lokacija. Recimo Antarktik, paluba Titanika, ono ostrvo (http://en.wikipedia.org/wiki/North_Sentinel_Island) nastanjeno negostoljubivim domorocima... Sve ove lokacije imaju jednu prednost u odnosu na mesto sa mikrogravitacijom: seks je lakši. Možda to ima smisla kad bi se nekako privezali...
kako to dučine na palubi Titanika?
jbt, kad bi imali tolke pare dali bi im Francuzi dučine to i na Ajfelovom tornju, šta će im svemir
Pod zvonom, ili u batiskafu koji je na palubi. Zajedno istražuju u batiskafu, jada-jada-jada, i batiskaf je morao u servis, na dubinsko pranje i čišćenje...
Quote from: mac on 11-06-2015, 23:26:45
...jada-jada-jada...
Ko ratni poklič, bog te mazo... :)
propas u vijeni
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Dolazi naše vreme. :lol:
Jebemti ovaj Marvel. Taman nas navuku na nedeljni tempo Sikrit Vorz, a onda četvrti broj kasni a sa njim i jedno 60% celokupne njihove strip produkcije, da se ne otkriju slučajno neki elementi zapleta... Dakle, četvrta epizoda koja je trebalo da izađe juče, izaći će tek prvog Jula, a ovde ima spisak svega što se onda takođe, kaskadno odlaže (http://www.bleedingcool.com/2015/05/31/secret-wars-4-slips-two-weeks-takes-other-crossover-series-with-it/)... grrrr...
jako bitno... lazarus #17 ne kasni, image rules! :lol:
Naravno, spakovan je Lazarus 17. Mada, koliko sporo tu ide priča, ja sad čekam da se nakupi bar desetak brojeva koje nisam čitao pre nego što nastavim.
ja iznimno pratim kad nisam stao sa #15; #16 me navukao, religijski motivi.
greska, prica iz #16 pauzira, te se uvode novi zapleti. smor.
Jadni Indijana Džons. :cry:
Prvo su ljudi dokazali da film Raiders of the Lost Ark ima jednu od najvećih rupa u radnji koja se može pronaći u nekom filmu (prelazak Indijane sa broda na... PODMORNICU!), a sada se sprdaju sa samom koncepcijom.
Elem, u podkastu Doug Loves Movies (http://douglovesmovies.com/), u epizodi od 6. juna, komičar Dana Gould tvrdi da je Indijana Džons "complete failure" u prvom filmu. Ništa ne uspeva da uradi kako treba, jer:
1. ne uspeva da spreči naciste da dodju do kovčega
2. kovčeg ionako brani sam sebe
3. bez njegovog mešanja, kovčeg bi možda stigao do Berlina, i Hitler bi ga otvorio i... Drugi svetski rat bi možda bio završen!
Nije ovo prvi put da se ovakva teorija poteže u medijima - mislim da ima nešto slično u jednoj epizodi serije The Big Bang Theory.
Mišljenja? Brani li neko Indijanu?
Moje je mišljenje da plot holes ne smetaju naročito dobrom delu, a da takve razgovore uglavnom vode dokoni filistri.
Mada ako se sroči kao u tvom postu, može biti umereno uveseljavajući izvor komike.
Quote from: ridiculus on 18-06-2015, 22:39:01
Prvo su ljudi dokazali da film Raiders of the Lost Ark ima jednu od najvećih rupa u radnji koja se može pronaći u nekom filmu (prelazak Indijane sa broda na... PODMORNICU!)
Obrisana "periscope ride" scena (Indi skroz desno):
(https://patrickgilmore.files.wordpress.com/2012/08/14.png)
Re-imaginacija u stripu:
(https://blogintomystery.files.wordpress.com/2012/03/mss18e.jpg)
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Quote from: ridiculus on 18-06-2015, 22:39:01
Elem, u podkastu Doug Loves Movies, u epizodi od 6. juna, komičar Dana Gould tvrdi da je Indijana Džons "complete failure" u prvom filmu. Ništa ne uspeva da uradi kako treba, jer:
1. ne uspeva da spreči naciste da dodju do kovčega
2. kovčeg ionako brani sam sebe
3. bez njegovog mešanja, kovčeg bi možda stigao do Berlina, i Hitler bi ga otvorio i... Drugi svetski rat bi možda bio završen!
Sa tačkama 1. i 2. se slažem. Ali, takvo razrešenje se uklapa. Indijana je anti-heroj.
Sa tačkom 3. se ne slažem. Tvrdnja je smešna. Jasno je da bi nacisti ionako testirali moć kovčega, da se Indijana nije umešao, pre nego što ga predaju Hitleru.
Sve u svemu, tipično komičarsko karikiranje, preko isticanja dobro poznatog, pa preuvečavanja.
Preterivanje jeste, ali u službi dobre šale. ;)
Meni lično greške obično ne smetaju, pogotovo ako su u pitanju anahronizmi. Problemi doslednosti (npr. lik ima jednu frizuru u jednom kadru, a onda, pri promeni kamere, drugu) mogu da me nerviraju, ali nisu posebno bitni u filmu kao celini. Ali postoje i greške i propusti ozbiljnije vrste.
Prelazak na podmornicu je impresivno glupa odluka sa Indijeve strane: šta da je podmornica zaronila? Misao pomenuta u stripu, "nisam siguran da je ovo bila dobra ideja", ni izbliza ne objašnjava KOLIKO je glupa. Samo bi kačenje za svemirski brod to moglo da prevazidje. Indi bi se verovatno udavio i ovako prikačen za periskop posle mnogo sati puta. Ili bi umro od žedji. Ili bi bio primećen.
No, čak ni ta scena mi ne kvari primetno ukupan utisak o filmu, koji mi je još uvek veoma drag. No, ne bih nikako okarakterisao Indijanu kao antiheroja. Ima vrlo istančan osećaj za pravdu - i rukovodi se njim, što je bitnije - da bi bio tako nešto.
IRON MAIDEN Singer Bruce Dickinson Set To Launch His Own Airline (http://metalshockfinland.com/2015/06/17/iron-maiden-singer-bruce-dickinson-set-to-launch-his-own-airline/)
Quote
According to Dailymail.co.uk (http://www.dailymail.co.uk/travel/travel_news/article-3126408/Now-S-heavy-metal-Iron-Maiden-singer-Bruce-Dickinson-set-launch-airline-buying-new-plane.html), IRON MAIDEN singer Bruce Dickinson is set to hit a high note of a different kind as he launches a new commercial airline.
Swapping hard rock for the open skies, the heavy metal legend is taking on pilots and crew after buying a Boeing 737 for his latest venture.
The 56-year-old British rocker's passion for planes is no secret – he set up Cardiff Aviation as a maintenance company for jets in 2012 and obtained a commercial pilot's licence after he learned to fly in Florida back in the 1990s.
Dickinson said: 'The reason I do all the things I do now is because I love them. Life is too short to do the things you don't love doing. I fly airliners and in my spare time I sing a bit.'
Dickinson said the sky is the limit for his airline, VVB, which is now applying for a licence to operate flights within Europe.
The airline will be headquartered at Cardiff Aviation's base in St Athan, Vale of Glamorgan, in South Wales, and it has plans to acquire additional planes.
Dickinson and his Iron Maiden bandmates were one of the most popular and influential acts during heavy metal's heyday, and they continue to sell out stadiums worldwide.
Despite the demands of a rock and roll lifestyle, Dickinson managed to find time to pursue his passion and become a pilot for the now-defunct UK airline Astraeus.
He has been behind the controls on flights carrying his band members, Liverpool FC and Britons who were airlifted out of Lebanon during the Israel/Hezbollah conflict in 2006.
Formed in east London in the 1970s, Iron Maiden are known for hits such as Number of the Beast and Run to the Hills, and they are putting the finishing touches on a new album following Dickinson's cancer scare.
Doctors recently pronounced the rocker free from cancer almost a year after his illness was discovered during a routine check-up.
Dakle, nije Afroamerikanac već - Britanac Tom Holland Is Your New Spider-Man (https://www.yahoo.com/movies/tom-holland-is-your-new-spider-man-122260958047.html)
QuoteLadies, gentlemen, and entomologists — meet your new friendly neighborhood Spider-Man: Tom Holland
The three-headed monster of Marvel, Disney, and Sony today confirmed that the 19-year-old Brit, best known for his roles in The Impossible and the TV miniseries Wolf Hall, will be assuming web-slinging duties for a standalone Sony movie to be directed by Jon Watts (Cop Car) that will hit theaters on July 28, 2017. As expected Holland's Spidey will make his Marvel Cinematic Universe debut in next year's Captain America: Civil War (https://www.yahoo.com/movies/film/captain-america-civil-war).
Related: Behind the Scenes on 'Captain America: Civil War' (https://www.yahoo.com/movies/-captain-america-civil-war-c1431721667896.html)
Holland beat out a quintet of actors for the coveted web-head role. The half-dozen finalists auditioned in Atlanta on the Civil War set (https://www.yahoo.com/mov) on May 30 so Marvel could presumably screen test the candidates opposite the other superheroes currently working on the film (https://uk.yahoo.com/movie), due out May 6, 2016.
"For Spidey himself, we saw many terrific young actors, but Tom's screen tests were special," Tom Rothman, chairman of Sony Pictures, said in a statement. Former Sony studio boss Amy Pascal, who will co-produce the upcoming Spider-Man films, called Holland "a vibrant, talented young actor capable of embodying one of the most well-known characters in the world."
Holland first made a splash playing Ewan McGregor and Naomi Watts' older son in the 2012 tsunami drama The Impossible. His next major Hollywood film is the Ron Howard-helmed In the Heart of the Sea about the ill-fated whale ship that inspired Moby-Dick, which co-stars fellow Marvel hero Chris Hemsworth and arrives in theaters on Dec. 11.
Marvel and Sony announced in February that the vaunted wall-crawler — the comic publisher's most popular, most iconic character — would rejoin the fold (https://www.yahoo.com/movies/spider-man-will-finally-join-the-marvel-cinematic-110608545912.html) for a series of MCU team-up movies. In exchange, the Marvel braintrust would provide creative juice for the stand-alone films after Sony's Amazing Spider-Man franchise with Andrew Garfield struggled both critically and commercially.
Holland's Peter Parker will go back to his high-school roots (https://www.yahoo.com/movies/spider-man-deal-deta), but without redoing an origin story we've already seen play out with Garfield and Tobey Maguire.
The casting news comes just days after Wikileaks released more material from the Sony hack, including one document that states that Spider-Man/Peter Parker is "not a homosexual (unless Marvel has portrayed that alter ego as a homosexual)." It is "mandatory" that Parker is Caucasian, too. The memo dated back to 2011, before the launch of the first Garfield film. Coincidentally, on Monday, Marvel announced that its "Ultimate" version of Spidey, the alter ego of the half-black, half-Latino Miles Morales, was going to be part of the publisher's main continuity, coexisting with Peter Parker. Considering the wording of the contract left wiggle room to alter the character based on any comic reboot, some fans got their hopes up that Morales might be the basis for the new movie hero, but today's announcement — indeed the entire casting process — belied that notion.
"Spider-Man is one of Marvel's great characters, beloved around the world," Disney CEO Bob Iger said. "We're thrilled to work with Sony Pictures to bring the iconic web-slinger into the Marvel Cinematic Universe, which opens up fantastic new opportunities for storytelling and franchise building."We'll see if Holland's web-slinger, unlike Garfield's, manages to stick around to build that franchise, but Rothman is all in on his new hero. "All in all," he said Tuesday, "we are off to a roaring start."
Spider-Man Is The One Hero Who Can Tie All The Marvel Movies Together (http://io9.com/why-spider-man-is-the-connective-character-marvels-movi-1713617077)
Indiana Jones named greatest movie character of all time in new poll (http://www.theguardian.com/film/2015/jun/24/indiana-jones-greatest-movie-character-of-all-time-new-poll)
Holivud mi uzvraća udarac! Prvo sam izneo mogućnost da je Dwayne Johnson bolji glumac od Harisona Forda, a onda i da je Indiana Jones u Pljačkašima izgubljenog kovčega potpuno nepotreban lik (u narativnom smislu). Imam utisak da, ako budem rekao još koju reč protiv dr. Jonesa, ima da ga proglase za počasnog američkog građanina. A možda i običan narod dobije šansu na ženidbu ili udaju s njim! Pa ko pre...
Hm... čudi me prisustvo Batice na listi. Ali mi je drago, nije da nije.
Don't fak vid Holivud bikoz it faks bek.
U drugim novostima, Krekd ima interesantan članak o literarnoj pornografiji na Amazonu, tome da su dobar deo njenih čitalaca žene i kako autori od nje žive (http://www.cracked.com/personal-experiences-1772-180-books-counting-adventures-kindle-porn-author.html).
Evo kolekcije naslovnih strana (http://imgur.com/a/FOJ0Y)softributovanog Marvelovog univerzuma koje najavljuju kako će sve izgledati po završetku Secret Wars.
Ima tu stvari koje me snevesele, na primer to da Waid više nije na Daredevilu, niti Remender na Uncanny Avengers i Kapetanu Americi. Neke stvari su bile unapred jasne (Duggan ostaje na Deadpoolu, David ostaje na Spider-man 2099, Slott na Amazing Spider-man, Bendis na Spider-man, Aaron na Thoru), a neke su interesantne (Hopeless na All-New X-men, Bunn na Uncanny) dok je lepo videti transfere iz DC-a koji su tamo radili sjajne stvari i treba sad da pokažu da nisu slučajno došli u Marvel (Taylor na Wolverineu, Lemire na Old Man Logan, Hawkeye i Extraordinary X-Men). Možda najzanimljivije od svega: Wilson pored Ms. Marvel sad daobija i A-force (to je onaj "ženski Avengers") Waid dobija da piše Avengers i to bi moglo da bude fenomenalno (a nije da neće imati težak posao posle Hickmanovog rana) a Pak se vraća na Hulka :-| :-| Takođe, Hickman se ni na jednoj od ovih naslovnih strana ne pominje. Uh? Ni Remender ali hajde, on ima nekoliko vrlo uspešnih serijala na Imageu u ovom trenutku. Nije valjda da je Hickman rešio da postane novi Ed Brubaker posle samo par godina u mejnstrimu?
Newsarama istražuje jesu li se četiri milijarde dolara koje je Dizni platio da kupi Marvel pre pet godina isplatile (http://www.newsarama.com/24999-disney-s-4-billion-marvel-buy-was-it-worth-it.html). TL;DR: jesu :lol:
Tekst na io9 koji razmatra All Star Batman and Robin, najgori Betmen strip ikada i skoro da tvrdi da je Miller ovo uradio kao parodiju (http://io9.com/frank-miller-s-all-star-batman-robin-is-so-bad-its-a-1715010881). Hmmm, nije da to ne bi objasnilo mnogo toga. Maj gad, nije valjda da smo Millera sve ove godine pogrešno shvatali?
Cinici ne veruju da je romansa između Majli Sajrus i Stele Maksvel (https://www.yahoo.com/tv/s/miley-cyrus-makes-victorias-secret-200000507.html)stvarna, jer ipak, Majli većinu onog što radi, radi karijere radi, ali ja se zaista nadam da je nakon raskida sa Patrikom Švarcenegerom našla nekog da joj zaleči ranjeno srce. Majli to zaslužuje.
tl:dr: ako kliknete na link videćete dve mlade žene kako se ljube.
ma, crnci ostaju crnci , jednom crnac uvek crnac , šta od njih više da očekuješ..
Que??? :shock:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2F2q0r42o.jpg&hash=831cfa9076ae9f239d66f77cc1dd267da3facc92)
Mislim, da je Majli Afroamerikanka, to bi samo ulepšalo njenu pojavu, ali ona je baš suprotno, rednek.
Reklo bi se da se Sonja još nije rasanila. :)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2F25.media.tumblr.com%2Fc0317d9096740db9464a12137eff3228%2Ftumblr_mx6h5dPf7f1s7cerio4_1280.jpg&hash=2223a39ea9a9f8e913d099db8f29e10633ef30a5)
Quote from: Linkin on 03-07-2015, 09:48:58
Reklo bi se da se Sonja još nije rasanila. :)
Da, jedino poluobjašnjenje koje imam je da je reč "cinici" bunovno pročitala kao "crnci". Dobro, nije da se meni takve stvari ne dešavaju svakog dana.
Quote from: Meho Krljic on 03-07-2015, 10:12:16
Quote from: Linkin on 03-07-2015, 09:48:58
Reklo bi se da se Sonja još nije rasanila. :)
Da, jedino poluobjašnjenje koje imam je da je reč "cinici" bunovno pročitala kao "crnci". Dobro, nije da se meni takve stvari ne dešavaju svakog dana.
Ipak, simpatična mi je ideja da bi crnci razmatrali romansu dve belkinje na takav način. A tek o tome kako je Sonja emotivno odreagovala na sve to i da ne pričamo. :lol:
Neki od njih sigurno to i rade. Brojni su glasovi koji tvrde da Majli većinu svojih "skandaloznih" poteza vuče upravljana upustvima svog savetnika za medije, pa su verovatno među tim glasovima neki i crni.
Jasna stvar, ali isključivo crnci?! A deluje kao i da imaju potparola za medije svoje rase! :|
и ја сам циници прочитао црнци
Da mogu sad da odem i deditujem taj post, uradio bih to, promenio "cinici" u "crnci" kako bi se barem malo reda unelo u ovaj haos.
да пишеш ћирилицом то се не би десило :lol:
To bi unelo previše haosa u moj "rad" na forumu, s obzirom na to koliko stvari ovde citiram, pejstujem itd. Tako da... apgrejdujte svoje čitalačke skilove da budu kadri i sa latinicom se poneti, pohrvati i kao pobednici izaći!!!!!!
нек се латиница апгрејдује на квалитет разумљивости писма које је сам бог прописао да се народ описмени! +
Latinica je mnogo razumljivija od ćirilice. Pa, vidiš da je i Hrvati lako čitaju a njima je ćirilica nesavladiva!
prvo nisam lepo pročitala, onda sam ponovila da vidim da li sam lepo pročitala, a kasam pročitala kako je napisano smejala sam se onome kako sam prvo bila pročitala, pa sam pomislila da podelim s vama ?
u pet ujutru dobro nisu ispali Cincari!
Važno je da smo svi ujedinjeni u želji da Majli pošaljemo pozitivne vibracije kroz etar ne bi li i ona jednom pronašla sreću koju tako dugo traži.
da već , koliko, sedamnaest celih godina...
ja je tražim dvadeset i kusur pa mi niko ne šalje pozitivne vibratore...
Ali i imaš one divne mačke. Koga ima Majli? Gomilu "prijatelja" koji joj govore da je kul, da je najjača, ne bi li i sami dotakli deo zvezdane slave. Ćaleta koji je od nje napravio proizvod dok još nije znala ni na koju joj stranu dođe dupe. Korporaciju Dizni koja će eksploatisati njen lik i delo verovatno i posle naših smrti. Ne možemo ne saosećati sa dušom koja rastrzana između zvezda i blata čezne za malo istinske bliskosti.
taj Dizni, koliko je napravio ovih anđeoskih klinki u teen drolje, ima li takvih podataka... mislim, Picolato je sigurno negdje našao
http://youtu.be/S1dwtwmcUTg (http://youtu.be/S1dwtwmcUTg)
pa ja koko znam nekoliko tipova iz dizni korporacije su optuženi za zlostavljanje maloletnica, ako se dobro sećam, konkretno petnaestogodišnja,
svi su to poricali, verovatno i dan danas poriču,
i ja im želim svu sreću u tome.
heeee
Pošto mislim da je ovo pravi topik za japanske SF filmove rađene prema stripu, evo:
http://youtu.be/dcVuEbnq-8Y (http://youtu.be/dcVuEbnq-8Y)
Podeljen je u dva dela, a drugi još nisam gledao. Prilično sam zadovoljan prvim, a ti znaš koliki sam fan stripa (i možda koliko bežim od japanskih mejnstrim filmskih adaptacija). Doduše, na Kotakuu (http://kotaku.com/the-first-parasyte-movie-is-an-insult-to-the-manga-1666604162) su ispljuvali film - što ja mislim da je preterano do granice apsurda, jer se zasniva dobrim delom na razočaranju time što film nije isti kao strip - ali Variaty (http://variety.com/2014/film/reviews/film-review-parasyte-part-1-1201344567/) daje prilično solidnu ocenu, kao i ANN (http://www.animenewsnetwork.com/review/parasyte/.81813). Kao i Mark Schilling (http://www.japantimes.co.jp/culture/2014/11/05/films/film-reviews/parasyte-gory-invasion-cannibal-body-snatchers/#.VZ5jHVLEKSp) za The Japan Times, a on je neka vrsta japanskog Eberta (ok - preciznije rečeno - Eberta koji živi u Japanu).
Da, Kotaku ga je sahranio. Ako se dobro sećam, za drugi deo je napisao da je malo bolji. Eh, videćemo. Videćemo!!!!!!!!!!!!
мени се паразит 1 допао. није добар ко анима ал није добар ни ривју човека који за себе каже
QuoteAuthor Hitoshi Iwaaki's masterpiece quite literally helped define me as a person and I am quite aware that I carry a lot of baggage when it comes to talking about it.
фанбојевски чланци баш и немају места на таквом порталу као што је котаку...пут до крекда је лак ал одатле нема повратка.
O, pa Kotaku se od ovakvih optužbi uobičajeno štiti objašnjenjem da su oni najviše blog i opinion-based medijum, tako da... Ne zaboravimo i da su oni ipak jedan od Gawkerovih sajtova, a Gawker, iako je u pitanju solidno poznata mreža, nije baš neki ozbiljan medij...
јасно је све то, драги мехмете, али повремено нагињање неквалитету основни је предуслов пада у канту за ђубре...мислим...све то као благонаклоно али и благовремено упозорење драгим местима на интернету...
Kotaku zapravo ima začuđujuće visok prosečan kvalitet tekstova uzevši u obzir koliko ih publikuju i koliko su dugački. Da ne pominjem silne gifove kojima ih kite. Gotovo da nema igračkog sajta koji s njima može u tome da se poredi. Čak ni RPS...
Meni je tekst u Kotakuu apsurdan... ne bih ga ni spomenuo da ne znam da ih Meho prati. Ne zaboravite, i na mene je manga uticala formativno, u smislu da je oblikovala moj ukus i očekivanja za sve što sledi, a ja se ne slažem skoro ni sa čim što se kaže u prikazu.
Bilo sam skoro siguran da će film da padne na nivou specijalnih efekata. Prvo, zato što ih nije lako pošteno odraditi ni sa američkim iskustvom i budžetom, a onda i zbog tradicije japanskih igranih filmova te vrste. Da je bilo tako, čitav film bi se srušio kao kula od karata, pošto je to osnovno u njemu - međutim, i za divno čudo, to se ne dešava. Ne u prvom delu, a onda nema razloga da sumnjam ni u drugi.
Ovde imate intervju sa rediteljem (http://www.nippon.com/en/people/e00082/?pnum=1), Takašijem Jamazakijem, gde on priča o nekim odlukama u produkciji filma, i zašto misli da ovaj nije pogodan da ga snime u Holivudu.
EDIT: ispravljen link
Kristofer Prist na svom blogu o tome kako je bilo biti jedini afroamerički član Marvelove redakcije krajem sedamdesetih i početkom osamdesetih:
http://digitalpriest.com/legacy/comics/chips.html (http://digitalpriest.com/legacy/comics/chips.html)
Edit: a evo i sa istog mesta njegove diskusije o crnim likovima u superherojskim stripovima:
http://digitalpriest.com/legacy/comics/chips3.html (http://digitalpriest.com/legacy/comics/chips3.html)
Ovi tekstovi su stari više od deset godina ali Priest ih piše izvanredno odmereno, ukazuje na sistemski rasizam ali ne pronalazi ga tamo gde ga nema i ovo je vrlo zanimljivo čitati u svetlu današnje Marvelove inkluzivne inicijative.
U 2015. godini Toni Stark je jedan od najpopularnijih likova u Marvelovom kinematskom univerzumu zahvaljujući RDJ-evoj glumi, šarmu i harizmi. Međutim, pre 42 godine, Tonija Starka su morile ozbiljne brige:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F2qd2vlv.jpg&hash=38260d3309c9fb12ddcd7e04746ea9214402a9da)
Šire se glasine (https://twitter.com/elmayimbe/status/622160374712799233) da će George Miller da režira za WB nešto iz DC-jevog proširenog univerzuma. The Flash? Green Lantern Corps? Cyborg? Shazam? Ovo prvo je nekako najrealnija mogućnost, da ne kažemo da nam je i vreme prikazivanja najbliže.
Da, pa Fleš je zakazan za Mart 2018. godine tako da, ima smisla. A i glavni glumac se preziva Miller :lol: :lol: :lol: Naravno, nije da shvatam zašto Warner ne uzme Granta Gastina imajući u vidu da je ovaj uspeo da se solidno trejdmarkuje kod publike ulogom u seriji, ali nije da ja generalno shvatam korporacije.
Cracked tekst o tome kako izgleda biti bipolaran iz pozicije osobe koja je - bipolarna (http://www.cracked.com/personal-experiences-1822-hospitals-dont-help-5-weird-realities-bipolar-disorder.html). Korisno.
New Justice League Cartoon Is the Bleakest DC Universe Movie Ever (http://kotaku.com/new-justice-league-cartoon-is-the-bleakest-dc-universe-1719819065)
Već sam posvlačio sve epizode strip adaptacije ali posle ovog napisa mislim da ću da pogledam i crtani.
10 Real Marvel & DC Character Mashups That Would Be Crazy in Movies (http://screenrant.com/marvel-dc-mashup-characters-in-movies/?view=all)
Da prekinemo na trenutak redovne vesti zbog posebnog saopštenja od strane Iron mana:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi59.tinypic.com%2F2gt51eh.jpg&hash=c56651c00a40da138b371189ec642cb0b05e52bd)
Inače, u svetlu najava da će naredni filmski Spajdermen biti više komedija nego bilo koji Marvelov (ili Sonyjev Marvelov) film do sada treba da se setimo da je Stan Lee još šezdesetih imao ovakve epizode u Amazing Spider-man, prikazujući sa čime se urbani superheroj susreće kada mu se kostim zaprlja a mora da se pojavi u njemu pred kamerama:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2F1he0zr.jpg&hash=9519e2ff80a2286dffc907468bcd62ac74983118)
Quote from: Meho Krljic on 22-07-2015, 14:02:10
Cracked tekst o tome kako izgleda biti bipolaran iz pozicije osobe koja je - bipolarna (http://www.cracked.com/personal-experiences-1822-hospitals-dont-help-5-weird-realities-bipolar-disorder.html). Korisno.
Jeste.
Evo vrlo intimnog svedocanstva o jednom jos cescem poremecaju: Anksiozni Poremecaj (http://www.vice.com/rs/read/portret-anksiozne-osobe-u-mladosti)
U jednom slicnom tekstu na ovu temu sam procitala da od nekog vida anksioznog poremecaja pati 40 miliona Amerikanaca, ili oko 18%, ne znam kako stvari stoje ovde, ali to je very much bolest novog doba.
Dok bipolarni poremecaj (nekad poznat kao manicna depresija) iako ne redak, pogadja 'svega' oko 2.6% populacije.
Sreća, Srbi su tu da pomognu u izlečenju kroz saosećajne komentare :lol:
QuoteTi si prihvatila dijagnozu da si anksiozni neuroticar, i zato ti se sve vraca. Kad bi probala malo s meditacijom ili jogom,.. mozda se disanje i puls ujednace, pa se i pogled vremenom izbistri i fokusira, pa se stekne i hrabrost da se suocis sa svetom. I to se vezba. I naravno, treba ti saveznik i ljubav, ali ne da se njome pokrijes preko glave nego da ti pomogne da stanes na svoje noge!
Mislim da je dobro prosla, ovo je iznenadjujuce saosecajan i informisan komentar, za nase poimanje stvari. :lol:
Ja suočen sa ovakvom narodnom mudrošću uvek pomislim na onu "Znate kako se zove alternativna medicina koja daje rezultate? Medicina. (https://www.goodreads.com/quotes/456548-you-know-what-they-call-alternative-medicine-that-s-been-proved)"
Dobra! :)
Spajdi je od jutros na oprezu. Avgust je mesec koji bi najviše voleo da se opustimo i padnemo u svoju smrt!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FmmozJQq.jpg%3F1&hash=65dd3f7e4b86372428dc65c26490f83fd6488d9d)
ево нечега што се делимично дотиче мехмета (у вегетаријанско-веганском департману)...у питању је потпуно бесмислена дилема (ако мене ико пита (а не пита - но баш ме брига)). не знам да ли ми је више имбецилно или сумануто да неко има приговор савести само за животиње а нема за биљке поред толико доказа о осетљивости биљака на бол (http://science.howstuffworks.com/life/botany/plants-feel-pain.htm), опасност и способност комуникације (http://gizmodo.com/nice-try-vegans-plants-can-actually-hear-themselves-b-1599749162) (колико год рудиментарна била). па изволте да прочитате лицемерје у једној од својих имбецилнијих и нелогичнијих облика, и то од стране (само)прокламованог 'филозофа морала' - што ово лицемерје, међу многима, чини мени посебно одвратно. лажна дилема лажног филозофа цивилизације лажног морала
Quote
The Animal-Lover's Dilemma: I Don't Eat Meat, but My Pet Does (http://io9.com/the-animal-lovers-dilemma-i-dont-eat-meat-but-my-pet-1717715778)
When moral philosopher Gary Steiner first adopted his cat Pindar, the vet advised him to put the cat to sleep. A rescue animal, Pindar had tested positive for FIV (feline AIDS) and feline leukemia, and has since developed other chronic health issues, including kidney disease. Steiner decided to keep Pindar, triggering an ethical dilemma he still struggles with nearly a decade later.
I spoke with Steiner earlier this week, after he had just returned from an out-of-state vet appointment in Ithaca, NY, and was busy preparing for a 160-mile trip to Philadelphia, where Pindar was scheduled to undergo an MRI the following morning. "I'm hemorrhaging money over this little guy," he told me over the phone. And he has been for years.
When Steiner decided to keep Pindar alive against the vet's advice, "I knew then that it made no sense," says Steiner, a strict ethical vegan who nevertheless feeds Pindar meat-based, kidney-diet cat food from a can. "I knew that other animals would be killed in slaughterhouses so that Pindar could live."
Steiner is the John Howard Harris Professor of Philosophy at Bucknell University. An academic philosopher for more than three decades and the author of several books on animal rights, he has ruminated more than most people on the ethical arguments for avoiding meat, and the existential and social challenges of doing so in practice. Many of these are challenges he wrestles with personally, and chief among them are those associated with Pindar. I got in touch with him because, as someone who makes an effort to eat meat sparingly but also feeds his dog a predominantly meat-based diet, I wanted to know how Steiner resolves the tension between his personal ethics and the dietary needs of his pet.
Some bad news on that front: There may be no solution. Steiner has been a vegan for more than twenty years, and was a vegetarian for nearly fifteen before that. But for nearly a decade, Steiner says, Pindar has posed an ethical problem he cannot solve—"and it makes me feel, pardon my French, absolutely shitty."
Steiner isn't the only person who feels this way. In 2012, Bellarmine University psychologist Hank Rothgerber surveyed more than 500 vegan and vegetarian cat- and dog-owners, to better understand how they confront what he calls the "vegetarian's dilemma," i.e. the conflict that "pits feeding one's pet an animal-based diet that may be perceived as best promoting their well-being" against "concerns over animal welfare and environmental degradation threatened by such diets."
Rothgerber found that vegetarians and vegans who avoided meat for ethical reasons experienced significantly more guilt over their pets' diets than did test subjects who abstained from meat in the interest of personal health. Similarly, vegans reported feeling significantly more guilt than did vegetarians.
The explanation for this observation seems obvious: There are moral, spiritual, philosophical, mystical, environmental and health-related cases for abstaining from meat, to name a few, and where a person falls on the broad spectrum of meat-abstention will depend on the arguments they adhere to. It's reasonable to assume, however, that while Vegan A and Vegan B may subscribe to different ethical codes, those codes probably bear a closer resemblance to each other than either does to that of a vegetarian, and are probably stricter, too. It makes sense that someone like Steiner, whose personal and professional identities hinge on the denunciation of the ways human use animals to satisfy their desires, would feel worse about feeding his pet meat than would someone like myself: I may eat meat only on occasion, but I am neither a vegan nor a vegetarian, and my avoidance of meat has more to do with environmental concerns than with animal welfare.
Research supports the notion that loftier ethical goals correspond to a more acute sense of contrition. Compared to vegetarians, vegans tend to be more positive in their attitudes toward animals, believe animals to be more emotionally similar to humans, express greater concern over the impact of their diet on animal welfare, and give more animal-related justifications for their diets. It follows that a vegan would experience more guilt over the meat in his pet's diet than would an ethical vegetarian. Similarly, a vegetarian who abstains from meat because she loves animals will probably experience more guilt than someone who avoids meat primarily for the sake of his health. Someone who avoids meat because he's worried about heart disease doesn't necessarily care about animal suffering.
There's another layer to all of this that I haven't mentioned yet: In Rothgerber's study, ethically motivated vegans and vegetarians were more likely to own at least one cat or dog than respondents who abstained from meat for health reasons—74.8% of the former identified as pet owners, compared to 54% of the latter. (The American Pet Products Association estimates 37—47% of households in the United States have a dog, and 30—37% have a cat.) Respondents who avoided meat for ethical reasons also tended to own more dogs and cats than those motivated by health.
Again, these observations aren't exactly surprising. As Rothgerber notes, "it seems reasonable... that pet ownership may be one vehicle among many for [vegans and vegetarians] to express their compassion and warmth toward animals." But what a cruel paradox, that a person's affinity for other creatures should compel them toward situations in which they must regularly choose between the wellbeing of their pet and the lives of the animals that their pet eats.
On the phone, Steiner tells me about his internal struggle over Pindar. Nine years ago, he says, if he'd wanted to be a strict utilitarian about Pindar, "it would have made more sense to kill him." It would make more sense today, too. But he won't. "The only way I can make sense of it is the immediate connection that he somehow exercises over me."
Steiner is comparing a strictly utilitarian view on animal welfare (i.e. weighing the life of one's pet against the lives of the animals killed to feed said pet) against an emotional and psychosocial one. "There's something about the immediacy of a face-to-face connection with animals that awakens a sense of responsibility in us that isn't reducible to some abstract principle," he says.
Perhaps this is why most of the test subjects in Rothgerber's investigation put their minds at ease by feeding their cats and dogs diets reduced in animal protein, rather than eliminating meat altogether. One quarter of the ethical vegans surveyed reported feeding their pet a diet less than 25% from animal products, but the majority still fed their animals a predominantly meat-based diet. Vegetarians, and those motivated by health concerns, were even less likely to abandon their pets' traditional, animal-based meals.
In a followup study, Rothgerber compared the individual habits of dog and cat owners. He found that ethically minded dog owners usually assuaged their guilt by feeding diets reduced in animal protein. Cat owners, on the other hand, tended to alter not their feeding behaviors but their perceptions, in that they viewed vegetarian diets as inappropriate for their feline companions. These decisions reflect the consensus among veterinary scientists that vegetarian and vegan pet foods are unsafe for cats, which can develop serious health problems in the absence of meat-derived nutrients like preformed vitamin A and the amino acid taurine. Whether these and other nutrients can be added to a cat's vegetarian diet to fill nutritional gaps remains a controversial topic, though attempting to do so is usually not recommended. Supplemented vegetarian diets are thought to be less dangerous for dogs; but the prevailing view is that an ideal diet for both species should contain at least some quantity of animal protein.
"I wish Pindar could be a vegan, and if he had a healthier constitution I would probably consider trying it." Steiner says that after Pindar dies, if he adopts a healthy kitten, he "might give it a shot," though this too, he says, would be a compromise because this could come at the sacrifice of the cat's long-term health. "I don't see a simple, straightforward, clear cut solution to any of this," he says.
The deeper one digs, the more it seems Steiner is right. You could abstain, as some do, from adopting meat-eating animals altogether, though this gives rise to equally confounding conundrums that pit the ethics of animal domestication and pet ownership against humanity's obligations toward millions of shelter animals (for whose existence we are responsible in the first place).
It's tempting, also, to treat the vegetarian's dilemma like a variation on the classic trolley problem: A trolley car full of animals destined to become pet food is heading for a cliff. You can divert the trolley onto another track, but there stands one hapless Domestic Shorthair that will be killed if you do. Do you save animals aboard the trolley at the expense of the the cat on the second track, or do you do nothing? But sacrificial dilemmas like the trolly problem, while useful for teaching college freshmen about moral philosophy, are no more easily resolved. (There are also some who argue that the trolly problem has been so frequently construed and misapplied that its utility in deciphering one's moral reasoning has been lost. What's more, there is evidence that the classic utilitarian response—i.e. "kill the one to save the many"—do not reflect impartial concern for the greater good, and may actually be driven by broad antisocial tendencies. Yeah.)
What winds up happening, says Steiner, is you start with a very discreet question—How do vegetarians reconcile their personal ethics with the meat-based diets of their pets?—"and it immediately opens up onto a whole world of questions and values and prejudices that it can't ultimately be surgically removed from."
"There is a style of thinking in contemporary ethics (not just among professional ethicists but among everyday people reasoning about ethical questions) that is the product of a desire for clear and definitive answers to ethical questions," says Steiner. "But our perspective is limited, and there is absolutely no reason to suppose that every ethical dilemma has a straightforward solution. If a dilemma had a clear solution, it wouldn't be a dilemma."
Steiner's personal solution: adopt rescue animals only, spay and neuter them when he does, and advocate, simultaneously, an end to all forms of animal domestication.
"Yes, we interfere with the freedom of domesticated animals by preventing them from reproducing; but in my judgment this is the least bad solution to a genuine dilemma," he adds. "In the meantime, I am supporting the very regime of slaughterhouses that I decry, and I am confining Pindar in a luxury prison."
едит- мада, ето, колико год чудно било, слажем се са дотичним господином око овога -
Quote
Steiner's personal solution: adopt rescue animals only, spay and neuter them when he does, and advocate, simultaneously, an end to all forms of animal domestication."Yes, we interfere with the freedom of domesticated animals by preventing them from reproducing; but in my judgment this is the least bad solution to a genuine dilemma," he adds. "In the meantime, I am supporting the very regime of slaughterhouses that I decry, and I am confining Pindar in a luxury prison."
Što bi He-Man rekao:
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A inače, sve su ovo dileme kada čovek živi udobno i u izobilju, pa to tako i treba posmatrati. Naravno da je meni žao i biljaka koje jedem, kao i toga što moje životinje jedu meso, jelte, ali vodim se nekakvim kriterijumom manje štete koji je povremeno, razume se, sasvim bezdušan - mačka je sličnija meni nego krastavac, pa jedno jedem a drugo hranim mesom...
мени је то што си написао сасвим бесмислено
First world problems, sigurno. Ali je meni problem i to sto ovaj filozof primenjuje svoje moralne standarde i dileme na bica instinkta i primarno mesojede kojima zivotinjski proteini trebaju da bi bili zdravi/preziveli. Oni bi i u divljini jeli druge, sitnije zivotinje, tj meso da mogu da biraju.
Moji drze macke i nikad nisu htele da pogledaju hranu biljnog porekla, pa je dilema - ako bi je bilo - dal da ih pustimo da krepaju ili da im damo ono sto traze.
Quote from: дејан on 03-08-2015, 15:02:23
мени је то што си написао сасвим бесмислено
Kao i dobar deo drugih stvari koje pišem :lol: Pa, kažem, princip manje štete: jedem manje slično sebi a ono sličnije štedim itd. Nije to neko univerzalno moralno načelo, ali jeste donekle intuitivno.
Što se tiče ovog što piše Dibukica, tekst se ne dotiče moralnih standarda životinja, već priča o njihovim vlasnicima. I, naravno da mačke ne mogu da prežive bez mesa (psi mogu mada ne bi bili mnogo srećni da povremeno ne zabodu malo mesa) ali da bude i to jasno, većina njihove industrijske hrane sadrži veoma malo proteina životinjskog porekla po difoltu. Na primer, konzerva hrane za mačke ima svega oko 4-6 procenata proteina a sasvim je moguće da su neki od tih proteina actually biljnog porekla. Al, opet, nije da su proteini nešto što je u velikoj količini potrebno odraslom čoveku, pa tako ni odrasloj mački...
Da shvatam ja to, onoliko koliko sam pazljivo procitala, jasno da se govori o vlasnicima. xfrog Zivotinje nemaju moralne standarde.
Ne razumem te dileme, iskreno receno.
Ma, tu se radi o zaista filozofskom nivou stvari, dakle o apstraktnom razmišljanju tipa "Ako je kosmos stvoren iz velikog praska, šta je postojalo pre velikog praska?" Ovde je logika sledeća: "Volim životinje pa ih zbog toga ne jedem. Ali pošto volim životinje, o nekima se i staram. Ali one jedu životinje, i to ne neke koje same ulove u prirodi, što je ajde-de nekako 'prirodno moralno' nego jedu industrijski uzgojene i prerađene životinje, dakle ono protiv čega sam ja, zahvaljujući svojoj ljubavi prema životinjama, postavljen do srži svoje ličnosti."
Ja ovu dilemu generalno nemam jer, kako sam više puta rekao, ja svoje mačke nemam zato što mi je to zabavno, već najviše iz nužde - većina je spasena sa ulice i da se ja nisam postarao za njih, bile bi mrtve. Naravno, može da se raspravlja da sam reakcijom na pojedinačne slučajeve došao u situaciju da podržavam sistemski problem, što je sasvim u redu. Nisam ja nikada za sebe tvrdio da sam neki superdosledan čovek, više da sam sklon empatiji.
No, da malo razgalimo atmosferu, setimo se da je Džon Romita senior za život zarađivao crtajući ovakve slike i odmah će nam biti lepše i lakše:
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! No longer available (http://www.youtube.com/watch?v=d0qDx7f5A1k#)
Valja se setiti da egzistencijalna kriza nije nešto sa čime se samo mi budimo svakog jutra. I bolji ljudi od nas kroz to prolaze:
Zapitanost
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Depresija
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Poetsko preterivanje (koje u njegovom slučaju zapravo nije preterivanje, njemu se sve to stvarno događa):
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Misli o suicidu
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Ali na kraju... na kraju nema predavanja. Život se mora pogledati u oči i... er... pesnicom udariti u glavu? Pomaže ako život za potrebe ove metafore uzme formu debelog, ćelavog kralja organizovanog zločina. "Možda sam uvek bio neuspešan. Ali nikada nisam bio onaj koji odustaje." Reči uz koje se zaista može živeti (ili igrati Rocket League, u mom slučaju):
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Naravno, na kraju se može desiti da vam...
...izrastu još dva para ruku??? WTF? Kakva je ovo pouka i kakva je ovo priča? Na kojim je tačno drogama bio Stan Lee????????
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Ronda Rousey ne samo što je najzajebaniji ženski MMA star, nego je i častan gik. Pošto su fanovi počeli da joj šalju fan-art nje u Captain Marvel kostimu, ona je krenula da to kači na svoj instagram (https://instagram.com/rondarousey/)u suptilnoj kampanji ubeđivanja Marvela da joj da ulogu. Da sam ja Kevin Feige, pokleknuo bih za sekund:
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Nisam neki fan Lejdi Gage, ali kredit uer its du:
LADY GAGA: 'I'm The Next IRON MAIDEN' (http://www.blabbermouth.net/news/lady-gaga-im-the-next-iron-maiden/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+blabbermouth+%28Blabbermouth.net%27s+Daily+Headlines%29)
QuotePop superstar Lady Gaga has told CR Fashion Book magazine that she would rather be called the next IRON MAIDEN than be compared to pop veteran Madonna.
"They're one of the greatest rock bands in history, in my opinion," Gaga said about IRON MAIDEN. "Some people really don't know the importance of metal and the scope of it. Those guys were filling stadiums, and they still are. And it's because of the culture of the music, the poetry that's so powerful, that whenever the fans come together they unite in the essence of what IRON MAIDEN is all about. I always used to say to people, when they would say, 'Oh, she's the next Madonna.' No, I'm the next IRON MAIDEN."
Gaga graces the cover of the latest issue of CR Fashion Book, which will arrive on newsstands on September 3. The publication contains photos of Gaga in two different wedding dresses, including a goth-punk black piece underneath which she is wearing an IRON MAIDEN "The Number Of The Beast" t-shirt.
Lady Gaga previously spoke about her love for IRON MAIDEN and BLACK SABBATH. The singer also appeared in photos with Rock And Roll Hall Of Fame inductee Alice Cooper and ANTHRAX drummer Charlie Benante.
Back in May 2011, Gaga said: "I just saw IRON MAIDEN on their 'Frontier' tour and it totally changed my life. It was my first MAIDEN experience and I just realized in that moment in the show that that was the kind of artist I wanted to be. I didn't want people 30 years from now coming to see my show to see if I've still got it. But rather I wanted them to be fully unified, fists in the air, wanna hear every song. IRON MAIDEN's a lifestyle and those fans live and die by MAIDEN."
Read more at http://www.blabbermouth.net/news/lady-gaga-im-the-next-iron-maiden/#Dpe1eJjQzFVIWgDx.99 (http://www.blabbermouth.net/news/lady-gaga-im-the-next-iron-maiden/#Dpe1eJjQzFVIWgDx.99)
Mejdeni su svakako više kemp od nje, pa u tom smislu ima koje visine da stremi dosegnuti. :lol:
Da, a kod njih kampovanje ima jednu finu patinu jer ga rade već decenijama, dosledno, ne brinući za ostatak sveta pa su u njemu dosegli dostojanstvo kome zaista može da se stremi.
Kad korporacija razume kako da navuče ljudski lik :lol: :lol:
Marvel's Putting Cosplayers on the Covers of Its Biggest Comics (http://kotaku.com/marvel-s-putting-cosplayers-on-the-covers-of-its-bigges-1725600857)
Miley Cyrus just torpedoed her own career, and MTV helped (http://www.theverge.com/2015/9/1/9235025/miley-cyrus-mtv-vma-2015-nicki-minaj)
Jedna od naslovnih strana za prvi broj Master Racea. Nacrto Dave Johnson (http://www.comicbookresources.com/article/dc-reveals-first-dark-knight-iii-the-master-race-cover).
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Gospode, scena samoubistva u Povratku Mračnog Viteza je bila briljantna. Neće valjda da ga vraća opet? :-x
Milleru ja više ne bih pripisivao ikakve aspiracije na umetnički integritet. Posle Holi Terora je izgubio sva prava na to.
That said, možda je Master Race prequel, dok je Džoker još bio živ? Ne zaboravimo da se DKR i DKSA dešavaju nakon popriličnog broja godina koje je Betmen proveo u penziji.
Sad kad to pomenu, Betmen na ilustraciji ne izgleda staro.
Nisam uzimao u obzir mogućnost da piše prikvel jer je, koliko se sećam (a sećanje je varljivo) Betmen u DKR-u u sceni završnog obračuna zario Džokeru jedno od svojih sečiva u oko, kao što je prikazano ovde, pa sam pretpostavio da priča ide napred, ne nazad.
Opet, ja čak ne znam ni da li ikakav nastavak moguć, jer nikada nisam smogao snage da pročitam DKSB do kraja. Ostavio sam ga negde na dve trećine priče. Možda njegov završetak ni ne dozvoljava nastavljanje.
Taj strip (DKSA) je toliko loš da sam ja ne samo potisnuo sjećanja na njega nego ga i smatram nekanonskim. Miller je sa njim vehementno demonstrirao da je izleteo kroz bankinu i u ambis šovinističke paranoje i posle toga ga više nisam shvatao ozbiljno. Mislim, već je 300 najavljivao da imamo posla sa čovekom koji prestaje da deli konsenzualnu realnost sa većinom stanovništva na planeti, a što se naslućivalo tokom izlaženja Sin Cityja i Millerovih sve više zabrinjavajućih odgovora na pisma čitalaca, a kada je posle toga počeo da izlazi All-Star Batman & Robin to je bio samo pečat na dijagnozi.
Svojevremeno sam sa uživanjem čitao Brinovu lekciju Mileru o istorijskoj/ideološkoj (ne)realnosti njegovih 300. Ali sam svejedno uživao u tom stripu jer mi je ta Milerova naprženost za ideju superiornost profesionalnog vojnika nad običnim smrtnicima bila više simpatična nego što sam je smatrao opasnom.
Dobro, ti si srpski patriota i domaćin.
Meho ovim hoće da vas upozori kako i u mom slučaju imate posla sa čovekom
Quote from: Meho Krljic on 03-09-2015, 12:26:42
koji prestaje da deli konsenzualnu realnost sa većinom stanovništva na planeti.
:lol: :lol:
Eh...
Lemi je pre par večeri već u toku treće pesme prekinuo koncert i izašao sa bine u Ostinu jer više nije mogao da svira (http://loudwire.com/motorhead-lemmy-kilmister-walks-off-texas-stage-mid-show/). Mislim, čovek ima 69 godina i i dalje svira u jednom od najbučnijih bendova na planeti, preživeo je infarkt tokom snimanja albuma i sada je na turneji... Bozi!!!!!!!!!
Even the Gods Need Rest (http://noisey.vice.com/en_uk/blog/lemmy-take-a-break?utm_source=noiseytwitteruk)
Cracked u poslednje vreme ne može da napiše ispravan naslov iz prve pa da jebe oca, ali povremeno nabodu po neki dobar tekst. Kao ovaj:
http://www.cracked.com/article_23038_6-myths-about-crime-you-believe-thanks-to-hollywood.html (http://www.cracked.com/article_23038_6-myths-about-crime-you-believe-thanks-to-hollywood.html)
Mehmete, da li si ikad čitao ovaj esej/izveštaj Davida Fostera Wallacea s kraja devedesetih o AVN nagradama i ondašnjoj američkoj porno sceni?
http://social.rollins.edu/wpsites/sexwarandplague/files/2012/07/DF-Wallace-Big-Red-Son.pdf (http://social.rollins.edu/wpsites/sexwarandplague/files/2012/07/DF-Wallace-Big-Red-Son.pdf)
Ima i ovde za one koje ne vole skenove:
http://genius.com/David-foster-wallace-big-red-son-annotated/ (http://genius.com/David-foster-wallace-big-red-son-annotated/)
( Originally published in the September 1998 issue of Premiere (https://en.wikipedia.org/wiki/Premiere_%28magazine%29) magazine as "Neither Adult Nor Entertainment" under the pseudonyms Willem R. deGroot and Matt Rundlet)
Ne, ali rado ću ga pročitati. :lol:
ne znam di ću, a greota da ne stavim negde, pa reko ajde ovde
https://soundcloud.com/dkmntl/dekmantelpodcastautechre
Otekr. <3
Americans over 65 shared their greatest regret in life — and the most common one may surprise you (http://finance.yahoo.com/news/americans-over-65-shared-greatest-120000285.html)
Spojlr alrt: Najviše žale zbog toga što su previše brinuli u životu.
Krekd nas povremeno obraduje interesantnim tekstom. Ovaj je o ženama sa dve vagine ili dve materice:
http://www.cracked.com/personal-experiences-1824-5-weird-realities-life-with-two-vaginas.html (http://www.cracked.com/personal-experiences-1824-5-weird-realities-life-with-two-vaginas.html)
Take a Look at the Evolution of the Joker (http://www.comicvine.com/articles/take-a-look-at-the-evolution-of-the-joker/1100-153628/)
Toni Stark zna da je jedino prikladno raspoloženje za peti Oktobar suicidalna depresija:
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Dejvid Vong ima nov roman u prodaji, i to pominje nekoliko puta u ovom tekstu:
http://www.cracked.com/blog/5-shocking-ways-world-about-to-change/ (http://www.cracked.com/blog/5-shocking-ways-world-about-to-change/)
Šarmantno samoreklamiranje na stranu, neću da tvrdim da je Wong bogotac i da mu je svaka reč gospel ali njegovi futuristički tekstovi su već deceniju unazad prilično tačni pa onda i ovaj treba tretirati sa dužnim poštovanjem.
Roko Sifredi kao Sveti Sava porno industrije:
OTVORENA PORNO AKADEMIJA: Osnivač je živa legenda filmova za odrasle! (VIDEO) (http://www.telegraf.rs/jetset/1786864-otvorena-porno-akademija-osnivac-je-ziva-legenda-filmova-za-odrasle-video)
napisala sam ti pismo na e novinama kiss
Šta to uopšte znači??? :-? :-? :-? Ostavila si komentar na neki od mojih starih tekstova tamo?
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Tony Stark je uvek umeo da preispituje opravdanost svog postojanja, kao malo koji tehnokratski mogul. Treba učiti od najboljih.
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When @Playboy eliminated nudity "age of reader dropped from 47 to 30 & traffic jumped to 16m monthly uniques from 4m"
http://www.nytimes.com/2015/10/13/business/media/nudes-are-old-news-at-playboy.html?_r=0 (http://www.nytimes.com/2015/10/13/business/media/nudes-are-old-news-at-playboy.html?_r=0)
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ako nisi lud što čuvaš mačke - bićeš lud zato što čuvaš mačke!
Cat Parasite Linked To Development Of Mental Illness In Owners
http://www.iflscience.com/health-and-medicine/cat-parasite-linked-development-mental-illness-owners (http://www.iflscience.com/health-and-medicine/cat-parasite-linked-development-mental-illness-owners)
Quote...Although the parasite cannot reproduce within a human host, it can... bla... Apart from being acutely dangerous to those infected during pregnancy...
njah. :roll:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi60.tinypic.com%2F9iza4m.jpg&hash=8538022ac795a2dfbdea4671fde2da4027fec3a9)
Can Star Trek's world with no money work? (http://money.cnn.com/2015/10/11/news/economy/new-york-comic-con-star-trek-economics/index.html)
Krugman ima dobru opservaciju da u Star Trek post-scarcity ekonomiji replikatori mogu da naprave bilo koji predmet po zanemarljivoj ceni pa je zbog toga novac nepotreban, ali da, ako uzmemo u obzir postojeća znanja iz bihejvioralne ekonomije, ljudi troše svega oko 30% svojih prihoda na stvari a sedamdeset posto na usluge...
Video sam sad na Fejsbuku kod jednog bivšeg mi studenta (sad dakle upisao drugu godinu) kako mu je otac, karatista, rođen... 1973.
Ja sam predavao ljudima čiji su očevi mlađi od tebe! I koji bi mogli biti unuci mojoj majci. :-?
Nikad se neću navići na ovakve stvari.
Quote from: Father Jape on 16-10-2015, 18:33:58
Video sam sad na Fejsbuku kod jednog bivšeg mi studenta (sad dakle upisao drugu godinu) kako mu je otac, karatista, rođen... 1973.
Ja sam predavao ljudima čiji su očevi mlađi od tebe! I koji bi mogli biti unuci mojoj majci. :-?
Nikad se neću navići na ovakve stvari.
polako, navićićeš se :)
ja u nedelju dežuram na prijemnom ispitu za master studije, i od nas oko 25 saradnika i asistenata koji će dežurati tek njih 7-8 nije išlo kod mene na nastavu :(
Pošto nisam na vreme otvorio topik "notabilni tvitovi porno-zvezda" onda ne preostaje drugo nego da iskoristim ovaj topik da dropujem malo noulidža koji dispensuje Bonny Bon. Videti kako, recimo, žena koja bi u nekom drugom univerzumu bila prepoznata kao superheroina i poštovana zbog svojih neverovatnih atletskih kapaciteta (kako su i kapetana Ameriku umeli da opišu kao čoveka: "the peak of human physical capabilities"), izuzetno koncizno, praktično poetski objašnjava depresiju:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi62.tinypic.com%2Ff4fqly.jpg&hash=6b70fe08c9f71d36b81c2cc458672972edd6e69a)
Ali i ume da se sa istom našali:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi57.tinypic.com%2F2s8k3d0.jpg&hash=d5f391c6e5bb812850afc19b7dd9d7348e83b00b)
Na kraju, ipak stvari treba staviti u kontekst. Autorka je, znamo, Mađarica i, pored svih neverovatnih podviga koje je radoznalo oko kamere zabeležilo a u kojima je ona demonstrirala kako se sa osmehom prelaze granice ljudske telesnosti i duhovnosti, teško je pobeći svojim korenima. U ovom slučaju, reklo bi se da devojku-sleš-ženu možete da izvučete iz panonske depresije ali panonsku depresiju ne možete izvući iz nje...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi61.tinypic.com%2Fdynmoh.jpg&hash=5ed088c36e86edb0895996b3982ef4e68c8fc998)
A ona bi da nekoga pokopaju sa njom?
Ili da je sahrane u masovnoj grobnici? :lol:
Šalim se. Ovo treba čitati kao vapaj upomoć što dolazi od strane osobe koja je za nas uvek nasmejana, uvek pokazuje da je jaka, da može sve, da i ono što smatramo nemogućim ona može sa lakoćom da obavi, ali avet depresije je uvek tu i ne može se oterati, samo potiskivati, svakog dana, iznova i iznova, dok jednom ne dođe kraj. Ljudi su se iznenadili kada je Robin Vilijams na kraju samom sebi oduzeo život, Brus Dikinson napisao pesmu o "Suzama klovna", a možda samo treba da prepoznajemo kada ljudi šalju ove signale da se guše u samoći iako su inače vesele, naizgled izvrsno socijalizovane jedinke.
Depresija je jedna od tema koje me opsedaju poslednjih godinu dana, mislim da se to vidi. :lol:
Boze Meho, ti o njenim veselim podvizima ko da je ona neka komicarka a ne porno zvezda. Mozda i jeste komicarka? Izvinjavam se ne poznajem materiju :oops:
Quote from: Meho Krljic on 27-10-2015, 14:02:13
Depresija je jedna od tema koje me opsedaju poslednjih godinu dana, mislim da se to vidi. :lol:
Opsedala je i Rolingovu pa je izmislila Dementore, koji vladaju tim osećanjima odsusva svake nade i preko noći iz bede i siromaštva dosegla svetsku slavu. Dokaz da se i depresija, snagom volje, može izokrenuti ka kreativnosti. :|
Quote from: Dybuk on 27-10-2015, 14:14:29
Boze Meho, ti o njenim veselim podvizima ko da je ona neka komicarka a ne porno zvezda. Mozda i jeste komicarka? Izvinjavam se ne poznajem materiju :oops:
Nije greh ne poznavati materiju, zna se kako se kaže: ko može - može, ko ne može - nek gleda na JuTjubu. Ili RedTjubu u ovom slučaju.
Elem, nije komičarka ali jeste dobar primer nekoga ko svoj posao radi sa ekstremnim entuzijazmom, što je još upadljivije imajući u vidu da je specijalizovana za prilično granične tehnike.
Quote from: Link on 27-10-2015, 14:16:07
Quote from: Meho Krljic on 27-10-2015, 14:02:13
Depresija je jedna od tema koje me opsedaju poslednjih godinu dana, mislim da se to vidi. :lol:
Opsedala je i Rolingovu pa je izmislila Dementore, koji vladaju tim osećanjima odsusva svake nade i preko noći iz bede i siromaštva dosegla svetsku slavu. Dokaz da se i depresija, snagom volje, može izokrenuti ka kreativnosti. :-|
Ma, nisam ja depresivan, nego mi se drugar iz kraja proletos ubio a imao je dijagnostikovanu ali netretiranu depreiju, intenzivno se družim sa ljudima koji imaju dijagnoze depresije, moj dobar drugar piše master rad o staračkoj depresiji itd. pa je to nekako fenomen kome ne mogu umaći i često zatičem njegove tragove u pop kulturi (nešto od toga što se da uzgredno naći po superherojskim stripovima sam kačio i na ovaj topik).
Nova istraživanja na miševima ukazuju da je depresija samo simptom koji se javlja zbog hroničnih problema sa stomakom, tj. određenih bakterija koje pokreću rad creva.
Nažalost, i dalje su naša znanja o funkcionisanju naših organizama skromno mala, ali ostaje nada da će u narednim decenijama nauka dovoljno uznapredovati da se izbori sa svim tim problemima od kojih ljudi danas toliki ljudi, čak i oni poznati i slavni, toliko pate.
Kad razmislim, paralela izmedju komicara i porno zvezda zapravo moze da se povuce utoliko sto surova industrija od njih trazi da odrzavaju visok nivo performansi i zive jedan lazan zivot pred kamerama, prodaju maglu i uveseljavaju gledaliste, a taj pritisak mora da rezultira nekim padom zivotne energije i depresijom, kao u slucaju mnogih poznatih komicara.
Industrija za koju ove zene i muskarci rade je nemilosrdna masina koja melje, te nije ni cudo sto zapadaju u stanja tuge i depresije.
Mada, depresija ne mora da bude izazvana spoljnim uticajima. Bonny 'zvuci' kao da jos nije otkrila jednu od onih 'veselih pilula' doduse.
Quote from: Link on 27-10-2015, 14:32:41
Nova istraživanja na miševima ukazuju da je depresija samo simptom koji se javlja zbog hroničnih problema sa stomakom, tj. određenih bakterija koje pokreću rad creva.
Nažalost, i dalje su naša znanja o funkcionisanju naših organizama skromno mala, ali ostaje nada da će u narednim decenijama nauka dovoljno uznapredovati da se izbori sa svim tim problemima od kojih ljudi danas toliki ljudi, čak i oni poznati i slavni, toliko pate.
Da, ali ta istraživanja (http://www.iflscience.com/plants-and-animals/link-found-between-gut-bacteria-and-depression)samo vele da mikroflora u crevima doprinosi anksiozno-depresivnim poremećajima i da ne može da izazove depresiju ako ne postoje eksterni stres-faktori. Dakle, jeste to korak u pravom smeru, ali, kao što i kažeš, biće tu još koja decenija dok ne nađemo "pravi" lek za depresiju. Takođe, mnoga istraživanja tvrde da su nasledni faktori veoma bitni u domenu rizika od depresije... Plus, depresija nije jedna jasna, od drugih odvojena bolest, psihologija razlikuje depresivne varijante i po uzrastu i po ponašanju - tako da imamo osobe koje su "samo" stalno tužne i sklone samooptuživanju, ali i osobe koje imaju sasvim jasno psihotičke poremećaje u percepciji realnosti do te mere da čuju glasove itd. Kao i sa šizofrenijom (ili, eh, kancerom), malo odmaže to što imamo jedno ime za čitav spektar dovoljno različitih poremećaja i oboljenja da se ne mogu lečiti, sprečiti ili tretirati na isti način...
Quote from: Dybuk on 27-10-2015, 14:37:03
Kad razmislim, paralela izmedju komicara i porno zvezda zapravo moze da se povuce utoliko sto surova industrija od njih trazi da odrzavaju visok nivo performansi i zive jedan lazan zivot pred kamerama, prodaju maglu i uveseljavaju gledaliste, a taj pritisak mora da rezultira nekim padom zivotne energije i depresijom, kao u slucaju mnogih poznatih komicara.
Industrija za koju ove zene i muskarci rade je nemilosrdna masina koja melje, te nije ni cudo sto zapadaju u stanja tuge i depresije.
Mada, depresija ne mora da bude izazvana spoljnim uticajima. Bonny 'zvuci' kao da jos nije otkrila jednu od onih 'veselih pilula' doduse.
Ma, to važi za svaku industriju u kojoj imaš performere - od profesionalnog sporta do baleta, jelte. Naravno, porno industrija je nešto manje regulisana od drugih a po prirodi stvari nešto je problematičnija u odnosu na razvijanje onog što smatramo "normalnim" socijalnim životom i vezama, pa se može reći da je možda zaista verovatnije da će doprineti depresivnim stanjima.
Što se pilula tiče... plašim se da pomislim šta sve Bonny uzima.
QuoteŠto se pilula tiče... plašim se da pomislim šta sve Bonny uzima.
Da, pade mi na pamet. I to izaziva depresiju, ups 'n' downs.
Quote from: Meho Krljic on 27-10-2015, 14:45:00
Takođe, mnoga istraživanja tvrde da su nasledni faktori veoma bitni u domenu rizika od depresije...
Imaš druga istraživanja koja "prate" oblake bakterija oko svakog čoveka. U tim istraživanjima se tvrdi da se ljudi mogu čak i identifikovati po tim oblacima koji ostavljaju iza sebe i 20 minuta nakon što je osoba izašla iz prostorije. Ako su oblaci jedinstveni kao, naprimer, otisak prsta, to znači da verovatno deo toga kupimo i nasledno ili bar uslovljeno okruženjem, što opet znači porodica.
Naravno, sve stvari koje su nasledne mogu se i izmeniti kroz genetsko modifikovanje.
Dakle, sve je to i dalje u povelikom prostoru našeg neznanja.
Hahah, pa, da, modifikovanje gena deluje kao sledeća panacea kojom ćemo se opsedati, ali videćemo još koliko u tom domenu tek toga ne znamo.
Quote from: Dybuk on 27-10-2015, 14:50:41
QuoteŠto se pilula tiče... plašim se da pomislim šta sve Bonny uzima.
Da, pade mi na pamet. I to izaziva depresiju, ups 'n downs.
Pa, da, generalno je poznato da u porno industriji ima dosta hemije, što fizioloških performansi radi, a što one mood-altering-substances... Mislim da sam na prethodnoj strani topika kačio tekst sa Crackeda koji ovo pominje.
Quote from: Meho Krljic on 27-10-2015, 14:45:00
Da, ali ta istraživanja (http://www.iflscience.com/plants-and-animals/link-found-between-gut-bacteria-and-depression)samo vele da mikroflora u crevima doprinosi anksiozno-depresivnim poremećajima i da ne može da izazove depresiju ako ne postoje eksterni stres-faktori. Dakle, jeste to korak u pravom smeru, ali, kao što i kažeš, biće tu još koja decenija dok ne nađemo "pravi" lek za depresiju. Takođe, mnoga istraživanja tvrde da su nasledni faktori veoma bitni u domenu rizika od depresije... Plus, depresija nije jedna jasna, od drugih odvojena bolest, psihologija razlikuje depresivne varijante i po uzrastu i po ponašanju - tako da imamo osobe koje su "samo" stalno tužne i sklone samooptuživanju, ali i osobe koje imaju sasvim jasno psihotičke poremećaje u percepciji realnosti do te mere da čuju glasove itd. Kao i sa šizofrenijom (ili, eh, kancerom), malo odmaže to što imamo jedno ime za čitav spektar dovoljno različitih poremećaja i oboljenja da se ne mogu lečiti, sprečiti ili tretirati na isti način...
Nasledni faktori su važni, da...eksterni faktori su i važniji. Možda postoji genetska informacija ali bez nekog eksternog...klika, ne mora ista doći do izražaja. Takođe, treba uzeti u obzir i njen line of work. Recimo, koliko sam video ( :lol: ) ista često učestvuje u BDSM varijantama. E sad, to može da povlači i činjenicu da voli kad je neko, jelte, malko muči (ili da bude mučitelj, jer znamo da žrtva skoro uvek na kraju postane progonilac), što dalje povlači interesantnu stvar - da li to znači da kroz taj vid performansa ona ustvari ukazuje na sopstvenu želju za destrukciju ili samodestrukciju, da je tanatos nadvladao eros ili šta ti ja znam?
Depresija je širok termin, i ono što danas laici smatraju tim stanjem to uopšte nije to. Depresija je opaka bolest i ne daj Bože da te ona uhvati pod svoje...
Takođe, njene poruke su svakako vapaj za pomoć, ali mogu biti protumačene i kao olakšanje koje ona dobija samim pisanjem i objavljivanjem takvih poruka. Eksternalizacija tog...straha ili čega već, kao svojevrsna katarza. Mada to, verujem, pomaže samo na trenutke, ne nudi konačan izlaz, jelte.
Dobro je da se neko iz struke ovde pojavio da malo kanališe razgovor. :lol: Mislim, psihološke, ne porno struke, da ne bude zabune.
Quote from: Meho Krljic on 27-10-2015, 15:24:23
Dobro je da se neko iz struke ovde pojavio da malo kanališe razgovor. :lol: Mislim, psihološke, ne porno struke, da ne bude zabune.
I ovo su Mehmete samo nagađanja :lol: Ali treba se udubiti svakako. Mada ne volim to psihologiziranje, da budem iskren. Tu treba preduzeti konkretne korake, otići kod psihoterapeuta, psihologa itd. i reći "imam problem." To bi bio prvi korak. A onda taj neko stručniji od mene da pruži dijagnozu :)
tu pomazu samo elektroshokovi. 100%
Quote from: Perin on 27-10-2015, 15:27:25
Quote from: Meho Krljic on 27-10-2015, 15:24:23
Dobro je da se neko iz struke ovde pojavio da malo kanališe razgovor. :lol: Mislim, psihološke, ne porno struke, da ne bude zabune.
I ovo su Mehmete samo nagađanja :lol: Ali treba se udubiti svakako. Mada ne volim to psihologiziranje, da budem iskren. Tu treba preduzeti konkretne korake, otići kod psihoterapeuta, psihologa itd. i reći "imam problem." To bi bio prvi korak. A onda taj neko stručniji od mene da pruži dijagnozu :)
Apsolutno se slažem. Ali tu depresija i jeste podmukla jer često osoba koja pati od depresije ni ne želi da se leči, demotivisana je itd.
Pa da. Depresija ne udara odmah, lagano te obuzima. Lično smatram da je možda jedan od značajnijih znakova početka depresije lagani prekid kontakta sa drugim ljudima. Je l' bi Aristotel: čovek ako je sam, ili je životinja ili Bog.
Sent from my Samsung Galaxy Note 4
Quote from: Perin on 27-10-2015, 15:47:17
Pa da. Depresija ne udara odmah, lagano te obuzima. Lično smatram da je možda jedan od značajnijih znakova početka depresije lagani prekid kontakta sa drugim ljudima. Je l' bi Aristotel: čovek ako je sam, ili je životinja ili Bog.
Evo zanimljive epizode na konto depresije:
bbc.co.uk/programmes/b05s310m
Sent from my Samsung Galaxy Note 4
Sent from my Samsung Galaxy Note 4
Quote from: Meho Krljic on 27-10-2015, 14:25:24
...intenzivno se družim sa ljudima koji imaju dijagnoze depresije, moj...
depresiju smatram vanredno ucestalim i po "pravilnom" intenzitetu uglavnom non-patoloskim fenomenom, koliko god bila zeznuta.
ali to intenzivno druzenje moras kompenzirati; (pseudo-)depresivan narod moze tesko ubiti u pojam ako si normalan i dozivljavas. jedna od malo kvalifikacija koju pripisujem psiholozima je sposobnost distanciranja pri industriji "terapiranja", ostalo mlacenje prazne slame.
Quote from: Link on 27-10-2015, 14:53:27
...istraživanja koja "prate" oblake bakterija oko...
jutros slucajno snimih rezultate istrazivanja ejakulacije morskog krastavca, ali i ovo zvuci vrijedno citanja. :roll:
Porno industrija nije za svaki tip ličnosti. Imati seks sa toliko mnogo ljudi, a ne osetiti povezanost sa njima, može da rezultira krizom identiteta, depresijom.
To što glumi u BDSM varijantama (bar meni) govori da je zainteresovana za dublju povezanost (sado-mazo čin je intiman čin koliko i seks), tj. seks joj je zamena za intimnost.
Treba da izađe iz industrije i poveže se sa ljudima. Ne valja gledati toliki broj polnih organa. Sve izgubi smisao.
Da, pa, videćemo. Ona već ima natprosečno dugačku karijeru - generalno porno glumice traju u industriji od pola godine do par godina, ona je već osam godina aktivna a i počela je relativno kasno, posle tridesete, dakle, atipična karijera. Videćemo kako će to sve da se završi.
Možda je u sve to i ušla iz depresije i potrage za bliskošću i potvrdom, što je još gora situacija.
Sve je moguće, naravno. Dobro, makar je plaćaju za sve to... Dobar broj depresivnih osoba koje znam ne uspevaju da se dovoljno motivišu da rade ikakav posao.
Quote from: Meho Krljic on 27-10-2015, 16:21:51
Videćemo kako će to sve da se završi.
Ovako, možda?
https://www.lifesitenews.com/news/i-made-it-top-porn-star-quits-business-after-7-years-of-drugs-suicide-attem (https://www.lifesitenews.com/news/i-made-it-top-porn-star-quits-business-after-7-years-of-drugs-suicide-attem)
QuoteLike many in the industry, Brittni turned to alcohol and drugs - first cocaine, and then heroin - "to numb my pain, to get me through." This in turn led to other destructive behaviors, like "cutting" and several failed suicide attempts.
At one point, after reaching rock bottom, she took a year off from shooting porn. During that space of time she underwent a tentative conversion to Christianity under the influence of her grandparents, and cleaned up with the help of addiction recovery groups.
...
In the testimonial video produced by XXXChurch, Brittni says that it has been a "long seven-year journey of porn, prostitution, stripping, drugs, alcohol, and several failed suicide attempts."
"But," she says with a smile on her face, "I made it."
Hmm, rizikujuci da zvucim ko neko s grdnim predrasudama, mislim da veliki broj njih ulazi u taj posao s poprilicnim emotivnim bagazom. Ostecene, iz problematicnih porodica.
Ima i ko to skroz racionalizuje i zdrave glave udje da uzme pare i bezi, ali i tad je tesko ostati normalan.
Ma, jasno, to je emotivno (i fizički) izuzetno iscrpljujući posao a ne pomaže ni što , kako već rekoh, ta industrija ne pati od PREVELIKE regulacije i zaštite radnika...
Quote from: Link on 27-10-2015, 16:38:37
Ovako, možda?
Pa da, sasvim moguće... Mislim, nadam se da svako ko se tim poslom bavi iz njega može da izađe zdrav i prav.
Nesklad u očekivanjima između mene i mog poslodavca je sve izraženiji. Oni, recimo očekuju da ja na poslu radim, a ja očekujem da me ostave na miru dok gledam snimke mečeva sa Canada Cupa u Ultra Street Fighter IV :
https://www.youtube.com/playlist?list=PLnJYUs2wpsOKRdy5_UFOp3mqQGrcfuiFO (https://www.youtube.com/playlist?list=PLnJYUs2wpsOKRdy5_UFOp3mqQGrcfuiFO)
Eh. Ja sam sam svoj poslodavac, i imam slične probleme -_-
ne bih nazvao problemom. problem je sto radnik bez osjecaja nadzora nije produktivan.
tako da, i ja kad god radim samostalno, ukljucim shizofrenu neurozu, ortogonalnu hijerahiju na pet nivoa, pa ne probijam rokove. :lol:
Da, ali moja situacija je dodatno usložnjena time što moj poslodavac očekuje da radim potpuno besmislen, nepotreban posao u ovom trenutku pa nemam ni najmanji moralni problem što u pauzama gledanja Street Fighter nadmetanja čitam Daredevila.
Takođe, moj poslodavac je upravo uhvatio zalet ka izlaznim vratima iako ima da se radi još dva sata, pa onda zaista može da se kaže da se samo uklapam u generalnu radnu atmosferu.
Javi kad nekom zabijete nož u ređa, da pređem.
Ne smeta ti da radiš bez plate?
Uglavnom da.
(Osim za Komarčić i *stvar*)
Spojlr alrt: ovo nije ni Komarčić ni *stvar* :cry: :cry: :cry:
Pa kuku nesrećniče, jel i tebe žena izdržava?
Da ne grešim dušu, sada su se plate malo ustalile. Ali bilo je i po tri meseca bez prihoda tako da me je u tim trenucima izdržavala što žena što pametne investicije u prošlosti.
Investicije mog dede, that is.
Moram da se vratim u prošlost i kažem đedu makar neke orahe da zasadi.
Ili da pokupuje neke gajbe po Beogradu, to isto pali.
jadan meho. neciji pradjed feudalac iz legrad zadnjih godina zivota tek zvakao zemljicke uz evergrin 'prodaj zeno dok smo zivi bit ce'... ali ostalo je i za samouprava naroda. :cry:
Quote from: Meho Krljic on 02-11-2015, 16:33:36
...Ali bilo je i po tri meseca bez prihoda tako da me je u tim trenucima izdržavala ... žena...
allah se uvalio, empatishem... s tobom se vise ne svadjam. :cry:
Amber Lynn mnogi doživljavaju samo kao osobu uz čije su filmove masturbirali ali ona je tu i kada treba posavetovati u vezi sa time kako se gradi i održava funkcionalna veza između dvoje ljudi:
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! No longer available (http://www.youtube.com/watch?v=ZeCWngDaDTY#)
Hmmm, bez zvuka ovo deluje kao puka dobro uvežbana pantomima. Pretpostavljam da tu ima i neka muzika???
Senzorna deprivacija je čudo. Kejs in point:
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Slatko:
5 Idiotic Things Science Shouldn't Have To Put Up With (http://www.cracked.com/blog/5-things-even-science-shouldnt-have-to-solve/)
Bez patetike i smaranja. Naslov je bezveze ali to je kod crackeda uobičajeno, originalni u samom linku je bolji i više odgovara:
I Am Young And I Have Alzheimer's: 6 Awful Realities (http://www.cracked.com/personal-experiences-1984-you-might-have-alzheimers-now-i-do-heres-what-i-learned.html)
Ubre, gadno :( :( :(
Porn star James Deen accused by women of rape, assault (http://edition.cnn.com/2015/12/01/entertainment/james-deen-rape-assault-allegations-feat/index.html)
Kripl bi trebalo da malo popriča sa Stojom o ovome, da čujemo šta i kako se tu dešavalo, ali baš mi grozno.
A baš u intervjuima deluje kao fin momak. :(
Alah zna koliko volim Dejvida Vonga, ali Krekd stvarno poslednjih meseci objavljuje svakakve gluposti :( :( :( (http://www.cracked.com/blog/6-common-dating-techniques-tested-in-real-life/)
Mislim, simpatična je ta želja da se kombinuju ispovedni, slice of life, gonzo diskurs i listicle humor i povremeno to bude fenomenalno (pogledati tri posta iznad) ali ovo je baš bezveze.
Calvin and Hobbes ended 20 years ago. Here's how it changed everything. (http://www.vox.com/2015/12/30/10690090/calvin-and-hobbes-far-side-ending)
Ajs Ti po ko zna koji put dokazuje da je veći Srbin od Vučića (https://twitter.com/FINALLEVEL/status/682722509192445952). Evo kako su on i njegova supruga, majka i srpska domaćica bili obučeni za doček nove godine i svoju petnaestu godišnjicu braka:
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Šta li će tek biti za srpsku novu godinu?
! No longer available (http://www.youtube.com/watch?v=heg8l0zspSg#)
:| Skoro da čovek poželi da usvoji neko dete.
na ovo sam naleteo pre neki dan, ali nisam znao kud da stavim, pa ajde ovde kad je Džejp počeo :)
ponovo obrada, ovoga puta Rammstein, porodična proizvodnja.
http://youtu.be/ugNuaTZK7Lg (http://youtu.be/ugNuaTZK7Lg)
EXCLUSIVE: Inside Marvel's secret editorial retreat for 'Civil War II' as publisher plans death of major character (http://www.nydailynews.com/entertainment/marvel-kill-character-civil-war-ii-article-1.2491020)
Stan Lee: Spider-Man creator says he can no longer read comics due to failing eyesight (http://www.independent.co.uk/news/people/stan-lee-spider-man-creator-says-failing-eyesight-means-he-can-no-longer-read-comics-a6806761.html)
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The creator of Spider-Man, Stan Lee, is a superhero to fans worldwide but he has revealed that his failing eyesight means he can no longer read the comics he created.
The former president and chairman of Marvel Comics, 93, said that he still comes up with story ideas but relies on an assistant to write down his scripts.
"My eyesight has gotten terrible and I can't read comic books anymore," he told the Radio Times (http://www.radiotimes.com/news/2016-01-11/stan-lee-on-his-failing-eyesight-i-cant-read-comic-books-anymore). "I can't even read a script. I come up with ideas for stories and somebody writes an outline for me – but I can't read it. I have to hope it's good. If something is very important, they print it in very big type for me to read – but that's all I can do. I have the same trouble with hearing. It's awful to feel a thousand years old."
He described his loss of vision, which also means he cannot read newspapers or novels, as "my biggest miss in the world".
Lee has helped create scores of superheroes including the Fantastic Four, Iron Man and Thor. He denied comic books were harmful to young readers, saying violent content had been much reduced and that greater importance was now placed on the dialogue contained in the speech bubbles.
"When I first got into the business, my publisher would say to me, 'Stan, don't waste time worrying about characterisation and philosophy; just give me lots of action'," he said. "It's a whole different story today."
Sten! Video sam ga pre neki dan u jednom filmu (valjda iz devedesetih) gde grupa blentavih tinejdžera visi po šoping molu...
https://www.facebook.com/permalink.php?story_fbid=747095212087072&id=387939878002609 (https://www.facebook.com/permalink.php?story_fbid=747095212087072&id=387939878002609)
QuoteImam džamije Aziz Mahmud Hudayi u Uskudaru za vrijeme hladnih dana otvorio vrata džamije kako bi mačke mogle ući i ogrijati se. Još prije nekoliko godina, turski Reis Prof. Dr. Mehmet Görmez poručio je da su džamije otvorene za putnike koji nemaju novaca za hotel i one koji se žele skloniti od hladnoće. Islam je vjera merhameta.
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A evo i par komentara sa fejsbuka:
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Ništa iznenađujuće tu!!!!!!!!
Secret Wars Proved That Superhero Comics Are Too Complicated — and That It's a Virtue (http://www.vulture.com/2016/01/secret-wars-delays.html?ref=yfp)
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The superhero-comics industry is a strange beast. We live in a world where licensed properties based on superhero comics are some of the most consistent, reliable blue-chip entertainment products around: As our David Edelstein once pointed out (http://www.vulture.com/2014/05/movie-review-the-amazing-spider-man-2.html), too much money is at stake for a studio to allow any major superhero movie (well, excluding Fantastic Four (http://www.vulture.com/2015/08/timeline-of-fantastic-fours-terrible-buzz.html)) to be a true disaster. Even the much-delayed and director-swapping (http://www.vulture.com/2015/03/timeline-of-ant-mans-troubled-production.html) Ant-Man ended up as a smooth, easily understandable bit of filmmaking that fit seamlessly into Disney's totalitarian master plans for franchise-wide continuity. But the source material those movies are based on is more ambitiously crazy and disastrously overcomplicated than anything else in the artistic landscape — both in terms of the stories they tell and the business model their publishers use to tell them.
There's been no better example of comics' capacity for uniquely insane storytelling and convoluted business missteps than Marvel Comics' much-hyped "Secret Wars" project, which finally reached its conclusion this week with Secret Wars No. 9. Let's walk through the tidal wave of trouble this 35-page publication caused, as well as the delightful story it told. Neither would be possible in any other medium/genre combination.
In 2009, a critically acclaimed comics writer named Jonathan Hickman was recruited to take the reins of Fantastic Four, a title that has been part of the Marvel Universe since 1961. Marvel's caretakers have spent the following half-century priding themselves on the fact that that universe is wholly interconnected: In the pages of the comics, the X-Men talk to the Avengers, Iron Man hangs out with Doctor Strange, Spider-Man remembers stuff that happened to Daredevil from 30 years ago, and so on. What's more, Marvel's comics have regularly featured countless "parallel universes" in which things played out differently for the heroes: one where Peter Parker's girlfriend got spider-powers, one where all the bad guys teamed up and killed all the heroes, etc. It's hopelessly complex.
In other words: If movies are, as Roger Ebert famously said (http://www.rogerebert.com/balder-and-dash/moving-through-empathy-on-life-itself), "like a machine that generates empathy," superhero comics are a machine that generates obsession. They are quite often impenetrable to a casual reader, and total comprehension would require a near-infinite amount of reading, rereading, and Wikipedia searching. And no writer has been more openly obsessed with Marvel's convolution than Hickman.
For the better part of ten years, he crafted a megastory that involved all of Marvel's characters, stories, and parallel universes. It began in Fantastic Four, continued when he was put in charge of two series called Avengers and New Avengers, expanded when he orchestrated a so-called "event" (a comics-industry term referring to a major story that involves most of Marvel's series) called "Infinity," and ultimately led up to Marvel's biggest event in history: 2015's "Secret Wars."
Here's how that culminatory event was supposed to work: There would be an eight-issue mini-series called Secret Wars that Hickman would write and an exceedingly talented artist named Esad Ribic would draw. In it, we'd get the main story of the event: All the parallel universes blow up, the Fantastic Four are separated in the explosion, classic villain Doctor Doom uses magic powers to patch together some of the universes into a new planet called "Battleworld," the leader of the Fantastic Four teams up with some surviving heroes to overthrow Doom and create a new version of the main Marvel universe.
The mini-series would start in May and finish in October. During that little period, Marvel would simply stop all of its superhero comics series dead in their tracks and temporarily replace them with mini-series set in regions of Battleworld. The company had never tried a gamble of this size before, but was hoping the newness and interconnectedness of it would cause readers to buy as many Secret Wars–related comics as they could. Once the Secret Wars mini-series was done, everything would return to a new, post-Battleworld status quo in relaunched versions of Marvel's superhero series.
But here's the key: i]It wouldn't work if Secret Wars didn't come out on time. The relaunch was supposed to start with more than 50 rebooted series in October. But to explain what the hell was going on in the new status quo, you had to finish the main story and learn how Secret Wars ended. The refurbished Marvel universe simply wouldn't make sense otherwise.
You can guess what happened next.
Murphy's Law kicked in, and Secret Wars didn't come out on time. For reasons that aren't confirmed (though it's rumored that Ribic understandably just took too long on his gorgeous artwork, and Marvel didn't want to replace him), the publication schedule jumped the rails. There was an eight-week gap between Secret Wars Nos. 5 and 6. Then the mini-series got expanded by an issue, meaning everything would take an extra month to finish up. Delays compounded one another, and voilà: a mini-series that was supposed to end in the early fall of 2015 didn't end until January 13, 2016.
Due to the deliberate work habits of just one or two people, this one little mini-series screwed up the production schedule of an entire publication line. Many of the Battleworld tie-in series had to be delayed so they wouldn't spoil things happening in the core mini-series, and some new status quo series had to be held back for months. Some relaunch series came out as planned, like Invincible Iron Man, but they had baffling pieces of unexplained continuity, like Doctor Doom showing up without his character-essential facial scars and mask. Marvel's traditional approach to shared-universe storytelling had put its execs in the awful position of doing furious and frenzied calculations about what they could and couldn't put out, about what did and did not constitute a Secret Wars spoiler.
If you're utterly confused, it's not because you're dumb. It's because this particular kind of business insanity only happens in superhero comics. Imagine the delays on George R.R. Martin's The Winds of Winter impacting the publication dates and narrative content of every single novel his publisher was planning to release in 2016. It's that bonkers. Retailers were left in the lurch. They had, by and large, bet big on massive sales of Secret Wars, ordering way more copies than they normally do for a comics series (for comparison: Retailers collectively ordered 62,939 copies of Hickman's last issue of Avengers; they ordered 527,678 copies of Secret Wars No. 1). But sales suffered when things fell apart. I spoke to longtime San Francisco–based store owner and industry analyst Brian Hibbs (http://www.comicbookresources.com/?id=28&page=column), who told me his sales of the core Secret Wars story dropped by 27 percent during that eight-week gap between issues five and six. (Official sales numbers for the comics-store industry are nearly impossible to come by.) He said the new status quo series are suffering "dramatically underwhelming" sales, too, and that "at least some of that has to be laid at Secret Wars' feet." And yet! Creatively, Secret Wars was a triumph, largely because it was so uniquely complex. The very first issue featured virtually every major Marvel hero doing battle with a massive, flying army from an alternate universe, and it was utterly thrilling for anyone who has devoted their life (and wallet) to Marvel fandom. There were pitch-perfect character moments featuring all our favorites: Thor, Iron Man, Captain America, Black Panther, the Punisher, Cyclops, Captain Marvel, She-Hulk, Rocket Raccoon ... the list went on and on. It felt operatically apocalyptic in a way that's only possible when a story had been built up in literally hundreds of stories over the course of six years. When Battleworld was introduced, there was a dizzying sense of history on display, with characters from dozens of eras and versions of Marvel occupying the same space and cleverly interacting with one another. In today's masterful climax, we get to see the primordial hero-villain relationship of Marvel — the Fantastic Four and Doctor Doom — played out in a way that simultaneously caps off decades of history and offers a unique twist on that history. Plus, it's real pretty to look at.
None of this is possible in any other medium and genre — for better and worse. The impact on retailers is nothing to praise, but if you take a step back from the morality and the dollars and cents, there's something aesthetically majestic happening here. If you want easier-to-follow comics, there are plenty on the racks. If you want easier-to-follow superhero stories, the cineplex is filled with them. But if you want an endlessly shifting, massively scaled, unapologetically convoluted puzzle that rewards fixation and patience, there's only one game in town, and you can play it at your local comics shop.
Synergy killed the Fantastic Four (http://www.theverge.com/2016/1/19/10790450/marvel-secret-wars-comics-heroes-goodbye-fantastic-four)
Miley Cyrus & Liam Hemsworth Having A Baby?: She Wants To Start A Family With Him (https://www.yahoo.com/celebrity/news/miley-cyrus-liam-hemsworth-having-021545050.html?ref=gs)
Nek ljubav pobedi!!!!!!!
Bear Gazing at a Child Through Glass Enclosure Shows Us How Not to Teach Kids About Animals (http://www.onegreenplanet.org/animalsandnature/bear-gazing-at-a-child-through-glass-enclosure/)
Quote
Zoos have often justified keeping animals in captivity by claiming that it helps to educate children about animals' natural behavior, and also inspires them to take action toward conserving the animals' natural habitat. However, a great deal of doubt (http://www.onegreenplanet.org/news/research-suggests-that-zoos-do-not-educate-or-empower-children/) has been cast over these claims in recent years. Lori Marino, executive director at the Kimmela Center for Animal Advocacy (http://www.kimmela.org/) (KCAA) said (http://www.onegreenplanet.org/animalsandnature/does-keeping-animals-captive-really-help-kids-learn-how-to-respect-them/), "There is no current evidence, from well-controlled studies in the peer-reviewed literature, supporting the argument that captive animal displays are educational or promote conservation in any meaningful sense."
It is difficult to convince kids that animals are worthy of human respect when they are in a zoo or marine park that presents the animals as objects to be displayed for our amusement. In this type of environment, it is easy for a child (http://www.onegreenplanet.org/news/baby-gorilla-playing-with-a-toddler-in-zoo-is-sad-not-cute/) (or indeed, an adult (http://www.onegreenplanet.org/news/why-this-viral-video-of-a-man-showing-his-phone-to-a-gorilla-is-far-from-funny/)) to feel as though they are entitled to deprive the animal of sleep or privacy and demand to be "entertained." A recent study (http://ag.arizona.edu/research/azalfalf/pdf_pubs/zoo_visitor_behavior.pdf) of visitor attitudes at four U.S. zoos confirmed this. It found that 86 percent of visitors (http://www.onegreenplanet.org/animalsandnature/things-we-need-to-stop-telling-ourselves-about-zoos/) go to the zoo for "social or recreational purposes," while only six percent go there in order to learn more about animals.
In addition, the animal behaviors that kids typically witness in a zoo are highly unlikely to be "natural." The enforced suppression of captive animals' highly developed instincts to travel, seek out mates, find their own food, and experience natural family bonds (http://www.onegreenplanet.org/animalsandnature/things-captive-elephants-never-experience/) often causes them to engage in repetitive or self-destructive behaviors.
Captive elephants have often been seen (http://www.onegreenplanet.org/news/what-happens-to-elephants-in-captivity/) bobbing their heads and wobbling from side to side, while other animals (http://www.onegreenplanet.org/animalsandnature/zoochosis-and-the-many-ways-we-have-failed-zoo-animals/) have been observed excessively grooming themselves, vomiting, self-harming, or engaging in sudden outbursts of aggression. In moments of extreme stress, captive orcas have even been known to kill one another (http://www.onegreenplanet.org/animalsandnature/stories-of-5-orcas-still-in-captivity/) and their human handlers (http://www.onegreenplanet.org/animalsandnature/keto-the-other-whale-who-killed-his-trainer/). This phenomenon is known as zoochosis (http://www.onegreenplanet.org/news/zoochosis-what-really-happens-to-animals-in-captivity-video/). The use of Valium, Prozac and other mood-altering medication (http://www.onegreenplanet.org/animalsandnature/why-do-polar-bears-need-prozac/), as an attempt to reduce such behavior, is rampant in captive animal facilities. With all that being said, does a zoo really sound like the best place for a child to learn about how we should treat animals?
It is clear that the child in the bear suit idolizes these animals and was, no doubt, thrilled at the prospect of getting to meet one up close. However, the poignant sight of the bear languishing in an enclosure that can never hope to replicate their natural habitat (http://www.onegreenplanet.org/animalsandnature/ben-the-bear-celebrates-two-years-of-freedom/) – no matter how "big" zoo officials deem it to be – makes it abundantly clear to us that this is not how the child should have met his idol. If we truly want to teach our kids how to respect the planet and all of its inhabitants (http://www.onegreenplanet.org/environment/lessons-kids-need-to-learn-about-protecting-the-planet/), then we have to accept the fact that other animal species do not exist in order to serve or entertain humans.
To find out how you can help inspire your kids to care about wildlife and animal conservation, check out the articles below:
- 6 Lessons Kids Need to Learn About Protecting the Planet (http://www.onegreenplanet.org/environment/lessons-kids-need-to-learn-about-protecting-the-planet/)
- 5 Reasons You Should Never Visit a Theme Park That Keeps Wild Animals (http://www.onegreenplanet.org/animalsandnature/5-reasons-you-should-never-visit-a-theme-park-that-keeps-wild-animals/)
- Skip the Circus, Marine Park and Zoo: Here are 10 Humane Ways to Interact With Wildlife (http://www.onegreenplanet.org/animalsandnature/skip-circus-marine-park-and-zoo-how-to-interact-with-wildlife-the-right-way/)
- 5 Ways to Enjoy Wild Animals Without the Walls of Captivity (http://www.onegreenplanet.org/animalsandnature/5-ways-to-enjoy-wild-animals-without-the-walls-of-captivity/)
- 10 Amazing Children's Books That Will Inspire Your Little One to Stand Up for Animals (http://www.onegreenplanet.org/animalsandnature/childrens-books-that-will-inspire-your-little-one-to-stand-up-for-animals/)
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https://twitter.com/BUNCHofSTEVE/status/694438533386346496
Kieron je mudar čovek, pun takvih mudrosti. Na primer, ovaj njegov rendom tvit (https://twitter.com/kierongillen/status/694454504381665281):
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io9 intervjuišu Niciezu i Liefelda u pripremama za premijeru:
The Unlikely Origins of Deadpool, The X-Men Character Who Conquered All Media (http://io9.gizmodo.com/the-unlikely-origins-of-deadpool-the-x-men-character-w-1757814457)
Potvrđeno, DC od Juna renumeriše (skoro) sve svoje stripove. Ponovo :lol: :lol: :lol:
DC Comics reveals details of teased 'Rebirth' event (http://www.polygon.com/comics/2016/2/18/11056802/dc-comics-rebirth-reveal)
La Times intervjuiše Frenka Milera povodom 30ogodišnjice Dark Najt Ritrnsa (http://www.latimes.com/socal/glendale-news-press/entertainment/tn-gnp-et-frank-miller-batman-20160219-story.html).
Why history will have trouble remembering Marvel's Stan Lee as a good guy (http://www.vox.com/2016/2/23/11098942/stan-lee-legacy)
Heh, Marvel je otkrio ko će igrati Dannyja Randa u Netflix ekranizaciji njihovog kung fu stripa iz sedamdesetih, Iron Fist (http://variety.com/2016/digital/news/iron-fist-finn-jones-netflix-series-marvel-1201715086/)i u pitanju je Finn Jones koga publika zna iz Game of Thrones. Što je verovatno solidan izbor, makar na osnovu izgleda (GoT ne gledam, kako već rekoh) jer Jones uma baš taj plavušanski sveži izgled kakav je potreban "kung fu milijarderu" kakav je Daniel Rand. Kako sam bio zadovoljan kastingom Lukea Cagea, imam utisak da ću biti i ovim.
Naravno, pored pozitivnih reakcija, vidim da internet ima i mnogo komentara koji vele da je ovo bila prilika da se ispravi istorijska nepravda u kojoj je belac iz Njujorka ispao veći kung fu baja od svih kung fu baja sa istočne hemisfere i da je trebalo da se za ulogu odabere glumac azijskog porekla. Vidim da su neki i besni i vele da neće ni da gledaju ovo đubre od serije zbog tog, jelte, whitewashinga.
I meni je to zanimljivo. S jedne strane, naravno da je Danny Rand kao lik upravo bio ispunjenje fantazija ondašnje strip i film (i TV) publike, klasičan wish fulfillment. Bruce Lee, Sony Chiba i ekipa su doneli azijske borilačke veštine američkim konzumentima i svako je tada želeo da i on postane legendarni borac. Marvel je u svom poznatom bandwagon jumping stilu samo procenio da mu je publika uglavnom sastavljena od bele omladine i dao Randu ne samo arijevski belu kožu i svetlu kosu nego i porodično bogatstvo kao bonus. Kad se fantazira, nek je za sve pare. Ovo je naizgled u skladu sa tim da je glavnu ulogu u kultnoj seriji Kung Fu umesto Brucea Leeja igrao David Karadin jer se smatralo da će publika čak i u ulozi Kineza rađe gledati kakvazoidnog glumca.
Ali i nije. Marvel je actually bio očiglednije nastrojen wish fulfillmentu. Iron Fist je bio direktna i otvorena fantazija o tome kako beli klinac otkriva da mu je sudbina posebna, kako ulazi u tajne istočnjačkog misticizma, biva prepoznat kao odabran, mora da ludački vežba i žrtvuje se da bi bio dostojan nasleđa koje Iron Fist podrazumeva itd. Ovo nije bio toliko whitewashing koliko nesputan wish fulfillment i Marvel je toga i tada bio svestan. Pa je u tom smislu i sasvim logično da serija ispoštuje to nasleđe koje ima u stripu jer je ova vrsta transformacije lika od svilenkastog bogataškog deteta sa Menhetna do mitskog kung fu borca koji štiti nejake (ali i čitav mistični grad Kun Lun) snagom praktično natprirodnih borilačkih veština u srži lika. Naravno da može to da se menja, ali onda zaista nemate isti lik već samo koristite isto ime za nekog sasvim drugog. Meni je sasvim u redu da se likovima menja etnicitet, rasa, pol itd., to smo valjda do sada utvrdili, ali ima nečeg i u prepoznavanju da originalni character arc ima svoju vrednost koju je red ispoštovati kada se radi ekranizacija.
Takođe, vro je bitno da se ne zaboravi da je Marvel imao (i ima i danas) "pravog" azijskog kung fu majstora u liku Shang Chija, kao i da svi koji za Daniela Randa koriste termin "rasizam" ipak treba da se sete ovoga:
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So the white character who was in an iconic partnership with a black man and also had a black girlfriend while fighting alongside another Asian woman who was not his sidekick and was taught by Asians and showed nothing but respect to Asian culture is considered racist? Pathetic.
Heritage In Subtitles: Answering the Question of Arab-American Identity (http://harlot.media/articles/heritage-in-subtitles-answering-the-question-of-arab-american-identity)
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I bought the new Tomb Raider on a whim.
A reboot in the long running game franchise about a young British woman robbing ancient ruins of precious artifacts; it was an alright game that I never had any real attachment to. I'd played it before and I didn't feel a real need to revisit it.
What caught my eye the second time around was a small detail I hadn't noticed before: Arabic language support. While it was common to see games like this have options for say, Spanish or French,I'd never seen a game of this budget bother with Arabic. (I'd later learn this was the company's first game to get this treatment).
What struck me most, however, was how this game treated the language.That is to say, Tomb Raider's Arabic sounds like an Arabic that I recognize. While there are still men shouting aggressively in the language (as well as in Russian, making them fluent in both languages of the modern Axis of Evil), there is regular conversational Arabic in the game. People speak the way I know my relatives to, not in the same dialect, but with recognizable words and phrases. They speak like human beings.
Anyone who's been engaging with modern media, especially American media, will be exposed to Arabic pretty often. It has become the de facto language of our modern villains; Arab terrorists and Muslim extremists. It has become a shorthand for a fanatical evil beyond reason. When you hear Arabic, you are supposed to be scared. Speaking Arabic is justification enough for our heroes to open fire, or if you play videogames, to open fire yourself. It doesn't even matter what those words mean.
A friend of mine told me of her experience playing Army of Two, a shooter where you play as a team of mercenaries fighting in Afghanistan. She played it with her brother, simply because it came with her system. Eventually, they reached a certain part in the game where enemies were shouting at them in Arabic while attacking.
What exactly were the enemies shouting, exactly? Orders at a coffee shop. Any message delivered in Arabic, no matter the actual message, has become shorthand for fanatical, violent ideologies.
In fact, I'm surprised we don't hear about things like this more often. A while back, graffiti artists hired to work on TV show Homeland painted messages with statements such as "Homeland is racist", "There is no Homeland" and "#BlackLivesMatter" (http://www.complex.com/pop-culture/2015/10/showtime-responds-to-homeland-is-racist-graffiti-that-was-broadcast-during-show) in Arabic right in front of them, which even made it to broadcast.
At no point in the process did anyone even bother to check what the messages said. Having them in Arabic was threatening enough.
Hearing this everyday Arabic, to me, felt like being recognized. It might not have been coming out of the mouths of Arabic characters, but it felt like an acknowledgement that the language of my father was for more than the language of TV terrorists.
At the same time however, I couldn't help but feel mournful. Not only were moments like this so few, but I couldn't even enjoy them to the fullest. My mother is Filipino, my father Egyptian. They each speak with their friends in their native language, with English the common language between them. My family spoke only English in the house to communicate with each other; I lost my ability to speak Arabic very early. So with this acknowledgment comes the recognition that I am also still not quite part of that culture. I don't understand the dialects, and I pick up only a few phrases that I haven't forgotten.
I experience my own heritage in subtitles.
It's part of the particular alienation of being mixed. Even in on occasions where you can find representatives of your culture in the mainstream, they rarely look like you. Your face, your name, they're reminders that you serve as a link between the cultures you came from and yet exist outside of it.
We commonly separate racial origins into discrete categories, but being mixed disrupts those boundaries and reveals how tenuous they are. Those boundaries still remain, however, and despite the strength of your identification with those cultures you begin to be pushed out by the perceptions of what you need to be. I can't speak Arabic, I don't look Arabic, and I've grown up away from my extended family and their homes back in Egypt, so how much claim do I even have to being Arab?
Playing Tomb Raider, I wanted so bad for Lara to be Arab. "She could pass, right?" I told myself. I tried to convince myself that if I squinted and pretended, Lara could be an Arab heroine I could identify with. Maybe she was mixed like me? I'm sure there are plenty of mixed race Arabs with European ancestry. In the end these are nothing but rationalizations. Nothing but me using the flexibility of mixed race appearances to mentally reposition a character who was created, and always intended to be, white.
It didn't change the game series' relationship with Orientalism, or erase its history with the colonialist tropes of "Victorian adventurers" that it originated from.
Being Arab still feels like an alienating experience from day to day. Despite what some people would love to believe, race continues to be an overwhelming factor in the human experience. I'll still continue to see major news stations treat our existence as a threat, "well-meaning" people spread misconceptions and ignorance about us without understanding of how harmful it is, and my friends will still remain on the edge of panic attacks when passing through airport security. I might never feel truly recognized by the world, or my own community.
Even with all that, there will be these moments where I do feel that connection, where I know the understanding and common ground I share with other Arab people will connect me to something larger than myself.
Cracked ima interesantnu reportažu o disleksiji (http://www.cracked.com/personal-experiences-2128-my-wealthy-country-became-dystopia-6-realities.html).
Whoooo, kako se čini, u Marvelovoj Netflix seriji Iron Fist, postojaće i lik Shang Chija :-| :-| :-| :-| (http://www.cinemablend.com/television/Iron-Fist-Probably-Adding-One-Marvel-Greatest-Fighters-Here-Latest-122647.html)
Oh, da li smem da se nadam da će ona s njim zaista biti srećna?
How Miley Cyrus Is Changing for Liam Hemsworth: 'She Is Doing Everything to Make Him Happy' (https://www.yahoo.com/celebrity/miley-cyrus-changing-liam-hemsworth-212251355.html)
Quote
Her Instagram feed is as zany as ever, but Miley Cyrus (http://www.people.com/people/miley_cyrus) is putting most of her wild days behind her for fiancé (http://www.people.com/article/miley-cyrus-liam-hemsworth-re-engaged-beyond-happy) Liam Hemsworth (http://www.people.com/people/liam_hemsworth).
"For the past few weeks, they have lived a very secluded life," says a Cyrus source. "When they are not working, they rarely leave home. They often have people over for dinner, and Miley has gone from a wild child to a housewife."
And though the two formerly butted heads over Cyrus' wild behavior and ultimately called off their (http://www.people.com/people/article/0,,20735370,00.html) first engagement in late 2013, Cyrus "is doing everything to please and make Liam happy" since the pair reunited (http://stylenews.peoplestylewatch.com/2016/01/21/miley-cyrus-wears-engagement-ring-from-liam-hemsworth/) in January, according to the insider.
In their first go-around, "Liam couldn't handle when Miley acted nutty," says the source. "Miley's problem was that she thought Liam was boring when he complained."
But now the "Wrecking Ball" singer is "toning things down and acting more normal," says the source. "She even stopped hanging out with friends that are too wild. She is very focused (http://www.people.com/article/miley-cyrus-back-together-liam-hemsworth-never-wanted-split) on making things work with Liam."
The biggest drama in comic books right now is over Spider-Man and race (http://www.vox.com/2016/3/7/11173456/spider-man-miles-morales)
Quote from: Meho Krljic on 08-03-2016, 06:37:24
The biggest drama in comic books right now is over Spider-Man and race (http://www.vox.com/2016/3/7/11173456/spider-man-miles-morales)
Phih, idioti...
nemaju pametnija posla pa se cackaju...
enivej, meni se povraca i na crnog Dzoni Storma i digne mi se kita od srece sto su prrrrsliiiii, yeah!!!
muda mi oticaju i od Idris Elbe u Toru, itd,,,sve te kolor izdrkavanja...
Iskreno, bilo bi mi muka da stave Blejda i Luk Cageta kao belce, jelte...
Nik Fjuri mi je ok, on i nije neka ikona bio, SlDzekson mu je napravio ime, to moze da prodje,,,
I nakon tolko godina, Ajsmen pedercina!?!
Politicka korektnost je oksimoron!
10 Revelations From A High-Res Look At Spider-Man's New Suit (http://screenrant.com/best-details-spider-man-costume-civil-war/?view=all)
Snyder & Capullo Reflect on a Half-Decade of Reinventing Batman (http://www.pastemagazine.com/articles/2016/03/snyder-capullo-reflect-on-a-half-decade-of-reinven.html)
Mehmet u nekom drugom univerzumu:
(https://scontent-fra3-1.xx.fbcdn.net/hphotos-xlp1/v/t1.0-0/s526x395/10710751_1138565119535215_6453900860093296889_n.png?oh=9f48953882c1224629a21c02408e5d92&oe=57516F93)
brci su tu, naočare tu, dodaj još koju godinu i eto ga.
The incredible 75-year evolution of the Batman logo (http://www.businessinsider.com/batman-logo-evolution-2016-3)
Povodom pojavljivanja druge sezone Daredevila na Netflixu, Mashable se setio Frenka Milera :lol:
How Frank Miller brought Daredevil out of the shadows and into comic-book history (http://mashable.com/2016/03/18/daredevil-frank-miller-history/#e0bzzCFq3aqj)
A ima i ovo:
Marvel Comics' Civil War II Teams Revealed (http://screenrant.com/marvel-comics-civil-war-2-teams/)
LORDS of CHAOS (http://www.imdb.com/title/tt4669296/?ref_=wl_li_tt)
A teenager's quest to launch Norwegian Black Metal in Oslo in the 1980s results in a very violent outcome.
(Based on the life of former Mayhem guitarist Øystein "Euronymous" Aarseth)
Vidim da je hejt prema filmu od strane nekih fanova znatan, o cemu se radi? Nije (nece biti) dovoljno tr00?
Pa, nisam gledao film da bih znao ali valjda je za očekivati da će film o Euronimusu u kome igraju holivudski priti bojevi privući hejt.
Jos nije izasao, pise da je u fazi "pre - produkcije". Ja bih svakako gledala.
Pa, samo napred. Ta priča je svakako zanimljiva ali, naravno, ostaje briga za to šta se sve u njoj mora "dramatizovati" da bi bila prenesena na film, da li će Varg i Euronymous biti prikazani suviše nerdy, da li će se ispoštovati blek metal kultura ali tako da bude jasno da je paljenje crkvi imalo i određenu duboku sponu sa nekakvom skandinavksom istorijo i tradicijom ali i da se napravi častan, ne senzacionalistički spoj sa nacionalsocijalističkim uplivima koji su u to vreme već bili vidni u norveškom andergraundu (mada nikada nisu zaista prevladali), da li će biti jasno da je Euronimusovo ubistvo od strane VV-a bila stvar Vargove sociopatije mnogo više nego njegove (uostalom uglavnom kasnije razvijene i artikulisane) ljubavi prema nekakvim suprematističkim teorijama itd...
https://medium.com/@zaksmith_/james-deen-cookie-monster-c05490730609#.c5wlt39p8
Heh...
That Weird Time DC and Marvel Joined Forces (http://kotaku.com/that-weird-time-dc-and-marvel-joined-forces-1766422254)
When Frank Miller and Grant Morrison Used Robin to Make Fun of Each Other (http://thepoey.kinja.com/that-time-frank-miller-and-grant-morrison-used-robin-to-1766537452)
i
The Politics of Marvel's Black Panther (http://kotaku.com/the-politics-of-the-black-panther-1766701304)
Meho, imao bih jedno, unekoliko intimno, pitanje za tebe. Zanima me da li ti se ikada desilo da uđeš u konflikt sa nekim? Tu ne mislim samo na to da se aktivno sukobiš već da recimo daš svoje mišljenje, a onda te neka budala napadne? I kako si se u tim prilikama postavio?
Mogu ti ja odgovoriti: uvatiš toga sa drugim mišljenjem i iznabadaš, razbiješ mu tikvu dok se ne usaglasi sa tvojim stavovima.
Prosto brate ko pasulj.
Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom 8)
Quote from: tomat on 25-03-2016, 15:31:58
Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom 8)
osetio si to na svojoj koži? ;)
na sreću - nisam 8)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Frtv-horvat-dj.com%2Fplakati%2Falbums%2Fuserpics%2F10001%2FKAD_UDARA_TAEKWONDO____40_KN.jpg&hash=ad2341db9bec1bfdc37613e891c8a90ed1cac1b0)
xrofl xrofl xrofl
Pa, ja izuzetno retko dolazim u konflikt, ali sve zavisi od nekoliko faktora:
1. Kako te je napao taj koji te je napao?
2. Koliko ti je važno da mu se suprotstaviš?
Kod mene je ugodna situacija ta da mi uglavnom nije bitno da nekog u nešto ubedim ili, ako me napada i vređa, da mi zapravo nije bitno njegovo mišljenje i da ću se radije skloniti da ga ne iritiram više nego što ću da tu kao nešto branim svoju čast. Naravno, ne mogu da ovo nudim kao univerzalnu formulu jer razume se da neki ljudi više drže do svoje časti i ponosa nego ja. Takođe, bitno je kako te napada taj koji te napada, u smislu da ako možeš da se skloniš ili da ga ignorišeš i da on više ne postoji - to je ugodno rešenje. Ako ne možeš i taj neko te opseda, agresivno se ubacuje u tvoje dnevne rutine itd. onda tu naravno nije rešenje da se skloniš i ignorišeš ga.
U tom slučaju, ja se uglavnom trudim da sa tom osobom uspostavim komunikaciju koja će biti dugačka i iznurujuća do te mere da je napusti volja za napadanjem i da i sama počne da traži način da konflikt rešimo mirno, bez daljih sukobljavanja, uz stalna izražavanja poštovanja za mišljenje te osobe i razumevanja njenih okolnosti itd. Opet kažem, zaista je tu presudno koliko je i tebi bitno da "pobediš", tj. da se tvoj oponent prikloni tvom mišljenju. Ako ti nije bitno, onda mu samo ideš niz dlaku, priznaš da si pogrešio kažeš da nećete više o tome i mirna bačka. Ako ti je bitno - recimo da se svađaš sa nekim oko budžeta - onda unapred treba da spremiš sebi apsolutnu liniju ispod koje ne smeš da popustiš pa da raspravu počneš od neke više tačke tako da možeš da daješ ustupke oponentu koji će njemu psihološki delovati kao da "pobeđuje" pa da se zaustavite pre nego što stignete do tvoje apsolutne granice.
Naravno, ako je neko bahat i nerazuman do te mere da svaki ustupak tumači samo kao tvoju slabost koja ga ovlašćuje da traži još sve dok te potpuno ne porazi/ ponizi/ iskoristi ta taktika neće proći dobro po tebe, zato je bitno da u nastupu emituješ pravu količinu poštovanja i uvažavanja za oponenta i njegovu ličnost ali i totalne samouverenosti u sopstvenu vrednost i vrednost svojih stavova u raspravi ili već šta je predmet svađe. Tako da se tvoji ustupci ne tumače kao signal slabosti već dobre volje. To je jedna od bitnijih pregovaračkih veština i ona se valja trenirati i razvijati ali ključno je da sa sobom raščistiš dva pitanja koja smo gore postavili: 1. Kako te taj neko napada - dakle, koliki ti je prostor za uzmicanje i popuštanje i šta će biti ako te dotera do mesta sa kog nemaš kuda da uzmakneš? 2. Koliko ti je bitno da tog nekog ubediš u svoj stav - to jest koliko ćeš na ovo biti spreman da potrošiš energije i vremena u zamenu za kakav ishod? Ako nisi ugrožen, moja intuicija je da nema svrhe da se nešto mnogo cimaš i investiraš. Ako jesi, važe gonji navodi.
Naravno, ako sve drugo propadne, Aleksijeva taktika je legitimna ali ona ima popriličnu cenu.
Quote from: tomat on 25-03-2016, 15:31:58
Meho je trenirao tekvondo, i po potrebi vrlo lako prelazi iz gandijevskog moda u mod šamaranja nogom 8)
iz mehkog u krljanje!
Istina je da sam zapravo trenirao Šotokan - okinavljanski karate stil koji je trenutno u principu najrašireniji stil japanskog karatea na svetu, ali ima tu sličnosti sa tekvandoom, naravno.
Quote from: Meho Krljic on 25-03-2016, 15:42:18
i da on više ne postoji - to je ugodno rešenje
!!!
Mislio sam "više ne postoji na horizontu tvojih vrednosti", nisam mislio na materijalnu anihilaciju subjekta. :lol:
More, sačekaš ga noću sa kocem i prepeglaš sa leđa. Džabe ti tajvanski ili okinava karate kada te iskaraju u mraku seljaci. Znam jednog sudiju kome su tako presudili pre desetinu godina.
Zbog mišljenja, naravno.
Stranka nije prihvatila sudijin stav u presudi.
Hvala Meho na sjajnom odgovoru, manje nisam ni očekivao! Potpuno mi je nebitno da nekog ubeđujem u te svoje stavove, samo me zanima kako ti reaguješ kad te neko napadne na ličnoj osnovi po osnovu tvojih stavova a da se pritom to uopšte nije odnosilo na tu osobu već se ona sama osetila prozvanom. Da, takve treba ignorisati.
šotokan plus brzina od silnih blast bitova, ja ti se ne bih suprotstavljao, ne znam za Trumana 8)
томате, царе!
едит...мислим на постер! ви сте се баш рашамарали са постовима
jedva sam ga našao :)
Quote from: Truman on 25-03-2016, 15:50:09
Hvala Meho na sjajnom odgovoru, manje nisam ni očekivao! Potpuno mi je nebitno da nekog ubeđujem u te svoje stavove, samo me zanima kako ti reaguješ kad te neko napadne na ličnoj osnovi po osnovu tvojih stavova a da se pritom to uopšte nije odnosilo na tu osobu već se ona sama osetila prozvanom. Da, takve treba ignorisati.
Naravno, nisi ti plaćen da budeš nečiji terapeut.
Quote from: ALEKSIJE D. on 25-03-2016, 15:47:23
More, sačekaš ga noću sa kocem i prepeglaš sa leđa. Džabe ti tajvanski ili okinava karate kada te iskaraju u mraku seljaci. Znam jednog sudiju kome su tako presudili pre desetinu godina.
Zbog mišljenja, naravno.
Stranka nije prihvatila sudijin stav u presudi.
Klasično vansudsko poravnanje. S tim što su poravnali čoveka sa nivoom ulice :( :( :( :(
Quote from: tomat on 25-03-2016, 15:51:04
šotokan plus brzina od silnih blast bitova, ja ti se ne bih suprotstavljao, ne znam za Trumana 8)
Uh, zapravo...
Kod blastbita važi binarno pravilo: ako je brz nije jak a ako je jak nije brz. Brzi blastbitovi se sviraju posebnom tehnikom (guglati gravity blast ili megablast) a spori su samo običan kec/ skank ritam (mi smo ga zvali i kontrakec, naravno) samo sviran što brže možeš (primer, recimo drugi album Bolt Thrower). Ti sporiji mogu da te nabilduju, istina, ali praktično niko više tako ne svira, gravity blast je standard.
dakle brzina I snaga! kažem ja, sa tobom se nije kačiti 8)
A, da, zaboravio sam to da pojasnim: kod mene su spori PLUS slabi. :oops: :oops: :oops: Mislim, šta drugo da se očekuje od nekog ko ne vežba?
Meho je verovatno jedini čovek od svih koje poznajem u čijoj koži bih vrlo rado bio, tj. ne bih se bunio da svoj identitet zamenim sa njegovim. Svakom drugom sam u stanju da nađem manu, ali njemu nikako ne.
xrofl xrofl xrofl xrofl xrofl
Evo, recimo, debeo sam! Bilo bi u ovoj koži mesta i za možda dva Trumana!
Ali te izvlači visina pa se ne primećuje. No i da jesi zaista debeo ja sam govorio o ličnosti, a ne o spoljašnim manama.
Moja ličnost je samo dobro izrađena krinka iza koje se krije hladnokrvni narcisoidni psihopata :lol: :lol: :lol: :lol:
Ako je to tačno onda na civilizaciju treba baciti atomsku bombu i uništiti je sasvim.
Nije civilizacija kriva, psihopati se rađaju :lol:
Ako bi se zaista ispostavi da si psihopata izgubiću u potpunosti veru u čovečanstvo.
A kako mislis to da proveris, na koji nacin bi se 'ispostavilo'? :lol:
Ah, cuj sve dok svoju navodnu psihopatiju koristi za dobro, ne vidim problem. :lol:
Quote from: Dybuk on 25-03-2016, 16:45:54
A kako mislis to da proveris, na koji nacin bi se 'ispostavilo'? :lol:
Pa recimo krenemo da se družimo i uživo i on učini nešto psihopatski. Ili otvorim novine izjutra i saznam da je otkriven kao serijski silovatelj. Ili iznebuha krene da odstupa od svojih dosadašnjih stavova na forumu. No ja sam siguran da se to neće dogoditi jer je Meho oličenje visoke svesti.
Meho won't slip!!! 8-)
Naravno da neće. Život bi izgubio smisao kada bi se pokazalo da je Meho kao i drugi ili još gori od drugih.
Brus Vejn je psihopata koji manifestuje alter ego Batmana....
Meho Krljić ispada alter ego....
interesantno Krljić, "krljanje"...
moglo je biti"Spasić" "Blagojević" "Dobrić" "Milojević"...
...ovako, teeeežak slučaj, ts,ts,ts.... ;)
http://www.metalinjection.net/latest-news/metallicas-master-of-puppets-added-to-the-us-governments-national-recording-registry (http://www.metalinjection.net/latest-news/metallicas-master-of-puppets-added-to-the-us-governments-national-recording-registry)
Quote from: Ugly MF on 25-03-2016, 17:03:26
Brus Vejn je psihopata koji manifestuje alter ego Batmana....
Meho Krljić ispada alter ego....
interesantno Krljić, "krljanje"...
moglo je biti"Spasić" "Blagojević" "Dobrić" "Milojević"...
...ovako, teeeežak slučaj, ts,ts,ts.... ;)
Odakle ti to da je Brus Vejn psiho? Po čemu si to zaključio. On meni iz filmova deluje kao uzoran građanin koji daje pare u humanitarne svrhe i ima legitiman biznis.
jooooj...Trumane,,,objasnio bi ti,
...al' me mrzi.....
Izvini Truki, ali šta fali nama psihopatama?
Quote from: Truman on 25-03-2016, 16:49:21
jer je Meho oličenje visoke svesti.
Proverbijalni visokofunkcionalni psihopata :lol: :lol:
Butt seriously, da iskoristimo ovo
Quote from: Truman on 25-03-2016, 16:49:21
Ili otvorim novine izjutra i saznam da je otkriven kao serijski silovatelj.
da kažemo kako je pop-kultura učinila da mislimo da su psihopati nužno divno organizovane osobe sa prefinjeno zlim agendama dok su u stvarnosti oni neretko samo onaj dosadni bradonja koji napadno blene u žene dok se ujutro vozimo busom na posao ali nikada se ni jednoj ne obraća niti joj prilazi.
Ima i ono na krekdu:
You've Met One Today: 5 Creepy True Facts About Psychopaths (http://www.cracked.com/article_23148_5-reasons-psychopaths-run-world-according-to-science.html)
Slažem se sa Mehom.
Pobogu, zar je malo nas koji volimo da se oblačimo u ženski veš i mašemo kamdžijom po stanu? Šta tu ima čudno? I svi smo uzorni, sa odelcetom i kravatom kada se pojavimo u javnosti. Uzornost i smirenost dolaze nakon nalaženja lufta. Kao Betmen, uostalom.
Ja... ja sam mislio da mi korset i čipka naprosto dobro stoje... :oops:
Ni meni. ja obučem baletsku suknjicu i štiklice od 15 cm. Crvene cipelice i ljubičaste čarape sa halterima. Ki bombona. A na vašaru na Tresijama, to je na Sv. Iliju, kupio sam divan bič za konje. Onako, ima štap od metar i nešto, lepo ukrašen, lakovan i dugačka kožna traka sa kićankom. Divota. Malko nezgodno kad se razmahneš, morao sam mesto lustera staviti plafonjerku, ali radi radnju. I obavezno klip minđuše. Veće, kao španske, uz karmin br. 10.
Probaj, to je ono pravo.
Ženi obavezno kožne pantalone, kaubojski šešir i čizme oficirke.
Крекд ми дира дивног Доналда!
Мада, ако прочитате текст до краја, можда и гласате за Трампа!
Donald Trump... Not the hero we deserved, but the one that we needed...
I Tay je za Trampa! :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2F2static.fjcdn.com%2Fpictures%2FTay%2Btweets%2Bit%2Bs%2Ba%2Bbot_7fe092_5867625.jpg&hash=ccdc7f3d183a59c8b15b5c6570ce726c0bd1edc1)
Quote from: Meho Krljic on 25-03-2016, 17:40:40
Ima i ono na krekdu:
You've Met One Today: 5 Creepy True Facts About Psychopaths (http://www.cracked.com/article_23148_5-reasons-psychopaths-run-world-according-to-science.html)
Aha, sad mi je jasno zašto toliko Srba ratnim herojima smatra... xwink2
Malo detalja od DC-jevom novom soft ributu cele linije i renumeraciji:
http://www.polygon.com/comics/2016/3/26/11309638/dc-rebirth-writers-artists (http://www.polygon.com/comics/2016/3/26/11309638/dc-rebirth-writers-artists)
Zanimljivo je da gomila serijala prelazi na dvonedeljni tempo tako da će biti sedamnaest mesečnih i 14 dvonedeljnih magazina, Takođe, neka od imena koja će raditi na stripovima su intrigantna, na primer Sam Humphries koji dolazi (praktično iz Marvela) da radi Green Lanterns, pa Peter Tomasi na Supermenu i, oh, odlično, Greg Rucka na Wonder Woman. Ako Rucka bude bliži Rucki sa Checkmate nego Rucki sa Punishera od pre neku godinu, ovo će biti stripčina. Gene Yang se dobro pokazao na Supermenu do sada pa dobija svoj magazin "The Super-man". Posebno mi je divno da se Christopher Preist vraća i dobija da radi Deathstrokea. Suicide Squad pred ulazak u bioskop dobija novi kreativni tim, i to Roba Williamsa koji više nije Marvelov eksluzivac (nije ni da su ga iskoristili za nešto specijalno bitno) na scenariju a bogami samog Jima Leeja na olovkama. Uzevši u obzir kako su birali crtače za New Suicide Squad, ovde se vidi napor da se magazin da u ruke nekom stvarno reprezentativnom.
MARVEL NEXT BIG THING: "Civil War II" with Bendis, Brevoort & Alonso (http://www.comicbookresources.com/article/marvel-next-big-thing-civil-war-ii-with-bendis-brevoort-alonso)
Iz neog razloga neko je negde na internetu iskoristio ovu sliku da ilustruje tekst o hakovanju ajFouna u kome haker koristi Super Mario World kao vrlo lošu metaforu. Ali slika je ipak previše dobra da bi bila tako protraćena, pa da je ovekovečimo ovde. Dve ikone dve najvažnije stvari na svetu* u zajedničkom slavljenju Đavla? Pa može li lepše?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi67.tinypic.com%2F2z8b4t2.jpg&hash=c83d2f7b4c51d34c326f164f7f08a52c990defef)
* aproksimativno
A Brief History of Dick (http://www.slate.com/articles/arts/books/2016/04/the_history_of_the_gay_subtext_of_batman_and_robin.html)
Uprkos naslovu ovo je zapravo prikaz knjige koja se bavi gej podtekstom Betmen stripova.
Grant Morrison on Wonder Woman: Earth One's Birth, Race, and Sexuality Changes (http://www.ign.com/articles/2016/04/06/grant-morrison-on-wonder-woman-earth-ones-birth-race-and-sexuality-changes)
Pretpostavljam da bi bilo podignutih obrva da ovo lepim na "Enciklopediju mrtvih" pa onda bolje ovde, to na kraju krajeva sugeriše poseban, intimniji odnos koji sam imao sa Amber....
Amber Rayne: Adult film actor who accused porn star James Deen of rape dies aged 31 (http://www.independent.co.uk/news/people/amber-rayne-porn-star-who-accused-adult-actor-james-deen-of-rape-is-found-dead-at-age-of-31-a6968536.html)
Gerard Way me je pre nekoliko godina skroz iznenadio kad je od pevača benda koji se meni ne dopada a moja žena ga povremeno sluša transformisao u strip-scenaristu koji piše odlične stripove. Njegov autorski serijal The Umbrella Academy je bio odličan, freaky superherojski strip, kao neka low-cost varijanta Granta Morrisona. Way i Morrison su onda krenuli da se i druže i rezultat je da Way sada piše novi Doom patrol za DC :-| :-| :-| :-| :-|
http://www.newsarama.com/28744-doom-patrol-leads-new-dc-imprint-by-gerard-way.html (http://www.newsarama.com/28744-doom-patrol-leads-new-dc-imprint-by-gerard-way.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi66.tinypic.com%2F1vql4.jpg&hash=8d57e79555cc60ebd483d2b0be830486e6709926)
joj meho, tjednima se najintenzivnije borim da ne izgubim pregled nad reciklazom, rekoloriranim esencijalima vrijednih serijala, pa sad jos i ovo... kako se limitiras u must-read? (retoricko pitanje) :cry:
Da, kod mene je sve stvar nekakvog čitalačkog plana koji se napravi pa ga se ja onda ne držim... :oops:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi65.tinypic.com%2Fn6uat3.jpg&hash=6b9ff236d1660217fc26962d205f129da78f6760)
Evo, ko ima vremena (i interesovanja), može da čita studiju urađenu u Australiji o efektima koje proizvodi izlaganje dece i mladih osoba pornografskom materijalu putem interneta.
http://www.xyonline.net/sites/default/files/Flood,%20Senate%20submission%202016.pdf (http://www.xyonline.net/sites/default/files/Flood,%20Senate%20submission%202016.pdf)
nije neki skil, ali fino za oko
http://youtu.be/-6w_3P_l5FA (http://youtu.be/-6w_3P_l5FA)
Jutjub mi veli da nije available... možda je bubnjarka lajala protiv kineskog rukovodstva?
To su koreanska slova. Možda je Severnokoreanka?
Hmm, ne znam šta je problem, kod mene normalno otvara.
Evo, sad otvara i meni, verovatno je bio prolazni glič u matriksu. Slatko dete.
Evo ova ista klinkica odozgo ali u malo življem izdanju:
http://youtu.be/7NMBFa21ta4 (http://youtu.be/7NMBFa21ta4)
Garth Ennis kad tezgari, tezgari sa stilom :lol: :lol:
Preacher Writer Garth Ennis Will Write A New World of Tanks Comic Book (http://kotaku.com/preacher-writer-garth-ennis-will-write-a-new-world-of-t-1772801145)
Ovo će Mehmet nesumnjivo ceniti :lol:
! No longer available (http://www.youtube.com/watch?v=FK-O0dSBD_M&feature=youtu.be#)
Nesumnjivo. :lol:
Nego, u drugim vestima: kad čovek mora da se složi sa Robom Liefeldom a u odbranu Franka Millera, jasno mu je da je valjda omatorio....
Rob Liefeld Defends Frank Miller's New Work As "Stylized" & "Superior" (http://www.comicbookresources.com/article/rob-liefeld-defends-frank-millers-new-work-as-stylized-superior)
Meho, znam da si ljubitelj Marksa pa evo da te počastim jednom njegovom izjavom (http://www.bizlife.rs/vesti/savet-dana-karl-marks-nikad-nije-imao-problema-sa-izborima/) sa kojom se apsolutno slažem.
Jebote, ti ljudi koji vode taj sajt su zastrašujuće retardirani. Ne da ja od njih očekujem ne znam sad kako inteligentne i duboke tekstove ali stvarno... kad kače neki dubokomislen citat i potrude se da pronađu sliku citiranog, mogu barem da odu korak dalje da pogledaju ko je to zaista izjavio :cry: Naime, Marks je imao tri godine kada je autor izjave umro (https://en.wikiquote.org/wiki/Joseph_de_Maistre).
Nevezano za izjavu sa kojom se ja u dobroj meri slažem bar petnaest dana u mesecu, preporučujem da svemu što ovaj sajt publikuje pristupaš sa najvećim skepticizmom.
И кад кажем да је труки прикривени фашист нико ми не вјерује, ето сад де Местр куца на Марксова врата
Truki je suviše dobra duša da bi mu se lepile takve etikete. Al bitno je da pazi šta konzumira :lol:
Quote from: Meho Krljic on 05-05-2016, 19:22:42
Nevezano za izjavu sa kojom se ja u dobroj meri slažem bar petnaest dana u mesecu, preporučujem da svemu što ovaj sajt publikuje pristupaš sa najvećim skepticizmom.
Zahvaljujem, biću na oprezu ubuduće. A sa izjavom se slažem 30, kat-kad i 31, dan u mesecu. :lol:
Ево практичног примјер, Труки воли мирис метала, можда и бензина, али више онај стерилни мирис, као нов ауто или патике
Ali mi ljude ne delimo po tome ko voli kakav miris već kako ko miriše :lol:
The Story Behind Bucky's Groundbreaking Comic-Book Reinvention As the Winter Soldier (http://www.vulture.com/2016/05/bucky-winter-soldier-history.html)
Inače, ovo je zanimljiva vest:
Irredeemable Comic Book Movie In Development (http://screenrant.com/irredeemable-comic-movie-adam-mckay/)
Ja sam Irredeemable vazda hvalio, Mark Waid (i Peter Krause, naravno) je pokazao da je superherojski scenarista A-klase koji ne samo da besprekorno piše u tuđim univerzumima nego i kada izmašta svoj to bude praktično bolje od svega drugog na tržištu u tom trenutku. Pritom, iako je Irredeemable u suštini prevratnička superherojska priča sa ekstremnim promenama status kvoa koji bi teško prošle u nekom etabliranom univerzumu (ili bi trebalo da prođu decenije a ne svega tri godine), ona je istovremeno sasvim žanrovski superherojski strip. Dakle, nešto kao Justice League of America koji je svestan Watchmena ili The Boys ali se drži nešto klasičnije forme. Mnogo dobar strip i biće vrlo zanimljivo videti kako se ovo može transformisati u film. Uspeh Deadpoola zaista proizvodi neke interesantne aftershockove.
Naravno, scenarističko-režiserski duo na ovom zadatku ne uliva previše poverenja, ali hajde, nije da je i Tim Miller bio osoba od reputacije pre Deadpoola...
meho, provaljen si! :lol:
10 znakova da ste inteligentniji od proseka (http://www.b92.net/zivot/vesti.php?yyyy=2016&mm=05&dd=13&nav_id=1130819)
Džaba inteligencija kad se s njom ne radi ništa pametno, uvek ja kažem.
ali bar nudi raspolozivost endrofina tek kroz kreativnu samoobmanu; kakva trava, inteligencija it is. :lol:
Ma moje potrebe za endorfinom zadovolji i so iz jedne kesice čipsa, ja sam skroman :lol: :lol: :lol:
polazim od sebe (bata-testom ovjerene inteligencije) i projiciram. bah. :lol:
Quote from: shiver metimber on 13-05-2016, 10:53:17
meho, provaljen si! :lol:
10 znakova da ste inteligentniji od proseka (http://www.b92.net/zivot/vesti.php?yyyy=2016&mm=05&dd=13&nav_id=1130819)
Ovaj test stvarno kao da je pravljen za Mehu...pretpostavljam i da je bio mršav kao mlađi. A ja nemam mačku i nisam visok. :cry:
Uopste ne umanjujuci i ne sumnjajuci u Mehovu (dokazanu) inteligenciju, tekst je sprdnja :lol:
Ne treba čoveku baš mnogo inteligencije da zna da je tekst koji a) je objavljen na sajtu B92 i b) počinje rečima "10 znakova" sprdnja po definiciji :lol: :lol: :lol: :lol:
http://www.rollingstone.com/music/news/misfits-jerry-only-explains-how-he-reunited-with-glenn-danzig-20160513 (http://www.rollingstone.com/music/news/misfits-jerry-only-explains-how-he-reunited-with-glenn-danzig-20160513)
Posle toliko decenija ne uspevam da skupim entuzijazam za rijunion koji teško da će izroditi novu We Are 138 ili We Bite...
7 од 10, с тим што сам самог себе прогласио забавним 8-)
O, ne, Darvin Kuk umro od raka :cry: :cry:
Darwyn Cooke Has Passed Away at the Age of 53 (http://io9.gizmodo.com/darwyn-cooke-has-passed-away-at-the-age-of-53-1776654722)
Autechre su izdali novi materijal
https://www.residentadvisor.net/news.aspx?id=34844&comments=2 (https://www.residentadvisor.net/news.aspx?id=34844&comments=2)
ako dobro vidim, za sada je materijal samo dostupan u digitalnom formatu. cena je nenormalna, a zanimljiva debata se vodi u komentarima oko toga da li različite formate (mp3/FLAC/WAV) treba naplaćivati različito, i da li je digitalna muzika u 24-bitnom formatu izdrkavanje koje zapravo ne dodaje ništa slušalačkom iskustvu.
https://autechre.bleepstores.com/release/73330-autechre-elseq-15 (https://autechre.bleepstores.com/release/73330-autechre-elseq-15)
hvala bogu pa postoje pirati, te će cena ovog izdanja ubrzo pasti na nulu 8)
edit: sada vidim da se piracko izdanje pojavilo juče, tako da... 8)
Pristavljeno, pa da se čuje. Nemam velika očekivanja.
ja najvise volim elektronsku muziku cudesno je kako te masine mogu da proizvedu tako dobre zvuke trenutno istrazujem dub techno ima dobrih izvodjaca basic channel, deepchord...
Quote from: Cedo Medo on 20-05-2016, 18:08:49
ja najvise volim elektronsku muziku cudesno je kako te masine mogu da proizvedu tako dobre zvuke trenutno istrazujem dub techno ima dobrih izvodjaca basic channel, deepchord...
Probaj Deeptechno fm internet radio stanicu.
dobra je ova radio stanica tomate hvala
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F2djdi4j.jpg&hash=73653cc39ef9f8d0b5a20bb18b7ef796bf99254b)
O, mukica :lol: :lol: :lol: :lol:
STRIP ŠOKIRAO RODITELJE (http://www.alo.rs/lezbo-zabavnik/51799)
:roll:
Roditeljima je uvek teže nego deci u ovakvim situacijama jer deca još ne kapiraju te tabue kojima se matorci opterećuju itd. No, dobro, i to će proći.
meni je fascinantno da generacija koja u ovom trenutku ima malu djecu, pa neka i konzervativna, jos uvijek daje pojedince koji strip dozivljavaju u smislu sareno = za djecu.
i ovaj ozbiljno, sve pozivajuci se na reklamu, ako nije patka i prenategnuto zutilo, iscita (sa djetetom) ne znam koliko tabli posjete veneciji u smislu strumpfova, te se, zaboga, odjednom nadje u neugodni polozaj.
Ma, dobro, i meni su čitali avanturističke stripove kad sam bio mali. Ono što je više možda interesantno da se čovek zapita je zašto bi sad tu bilo kao nešto mnogo neprijatno da klincu pročitaš da se dve žene ljube i ako pita što to rade da kažeš da se njih dve simpatišu i da na tome ostane.
mda, no ja nikako ne mogu dokuciti da, ako vec u toj mjeri konzervativan, nije u stanju povezati ni sta cita, kad vec cita, te ostane zatecen, jer je strip crtani roman, te bi ocigledno morao biti tek zabava za djecu.
koliko li je tu jaka predrasuda i percepcija kroz filter iste, da ni nakon nekoliko tabli ne vidi da cita stivo za stariji uzrast, te ostane zatecen.
a da je jednostavno glup u slicnoj dimenziji, opcenito ne bi ni citao, vec ispijao pivo ispred lokalnog diskonta, pa ni zakukao zutilu.
Da, pa, možda i mi precenjujemo ljude. Ja nekako mislim da je očigledno da su rodna prava danas na višem nivou nego juče i da će biti na još višem nivou sutra i da se društvo neće kretati unatrag i potisnuti prakse koje se ne smatraju heteronormativnim natrag u klozete, pa da i roditelji već to prihvataju. Ali možda grešim.
Ovaj, kao neko ko je pročitao dvanaestak prevedenih epizoda Largo Vinča, moram da primetim kako mi je teško da poverujem da je bilo koji klinac od sedam godina (koji bi, uzgred budi rečeno, tada trebao da zna slova) mirno sedeo i slušao kako mu tata čita Larga Vinča, jer dve trećine tog stripa čine dugi i pomalo zamorni dijalozi i monolozi o kupovini i prodaji deonica, preuzimanju konkurentskih preduzeća i izvrdavanju poreskih obaveza. Taj dečko bi morao da bude buduća berzanska zvezda da izdrži 5-6 strana tog stripa.
Doduše, posebno mi je zabavna slika brižnog oca koji sinu uspešno, tokom čitanja, objašnjava mehanizam berzanske prodaje akcija ili trastove, ali izgubi inspiraciju kad se nađe pred dve žene koje su se malo izvatale.
mali tupson, treba tata da mu čita zabavnik...ako bude više ovakvih sadržaja deca ce trkom da hitaju da kupe novi broj...
Treba da promene preporučene godine sa 7-77 na 11-111.
Quote from: mac on 24-05-2016, 12:42:32
Treba da promene preporučene godine sa 7-77 na 11-111.
To! To! BRAVO, eto rešenja.
Vidi se da niko nije čito tekst :lol: :lol:
QuoteSa druge strane, Zafirino Grasi, glavni urednik ,,Politikinog zabanika", kaže za ,,Alo!" da strip ,,Poseta Veneciji" nije za decu.
- ,,Zabavnik" smo sada malo pomerili - ,,Mali zabavnik" se bavi dečicom od sedam do 12,13 godina, a malo stariji prelaze na ,,Zabavnik". To je nešto što postoji i prosto ne može da se izbegne. Ovaj serijal stripa najvećeg francuskog izdavača veoma je poznat. Ali nije strip za decu. Mada ta scena nije uopšte strašna! Taj strip se završava u idućem nastavku. Ponavljam, ovo nije za decu, a ,,Mali zabavnik" jeste. Isto je kao i na televiziji kada se napiše da neki sadržaj nije za mlađe od 12 godina - naveo je Grasi za ,,Alo!".
Ma, citirana je ta njegova izjava na jednom stripovskom forumu koji posećujem, nije to ništa novo. Kvaka je u tome što mi je teško da zamislim tu "brižni otac čitalac - mirno dete slušalac" opisanu scenu. Štaviše, ako se dobro sećam te epizode Larga (To je valjda "Vidi Veneciju..."), jedna od te dve devojke je malo pre te scene preživela pokušaj silovanja. Šta, to je bilo u redu?
Quote from: Meho Krljic on 24-05-2016, 12:47:10
Vidi se da niko nije čito tekst :lol: :lol:
QuoteSa druge strane, Zafirino Grasi, glavni urednik ,,Politikinog zabanika", kaže za ,,Alo!" da strip ,,Poseta Veneciji" nije za decu.
- ,,Zabavnik" smo sada malo pomerili - ,,Mali zabavnik" se bavi dečicom od sedam do 12,13 godina, a malo stariji prelaze na ,,Zabavnik". To je nešto što postoji i prosto ne može da se izbegne. Ovaj serijal stripa najvećeg francuskog izdavača veoma je poznat. Ali nije strip za decu. Mada ta scena nije uopšte strašna! Taj strip se završava u idućem nastavku. Ponavljam, ovo nije za decu, a ,,Mali zabavnik" jeste. Isto je kao i na televiziji kada se napiše da neki sadržaj nije za mlađe od 12 godina - naveo je Grasi za ,,Alo!".
nismo... :oops: ma sve na mestu...ovaj ćale je neki božemesačuvaj ko moj...samo strogoća i zabrane...zato sam ovakva i ispala
D plot tikens!
Neomedjeni baca novo svetlo na ovu mutnu storiju, to je otac izgleda sam citao pa kako mu je, "iako nema nista protiv gej populacije", zasmetala ova scena, odlucio je da o tome progovori i izvrsi pritisak na novine, uvukavsi savrsenog svedoka u pricu, kako bi dobila na patosu. Jer, kako detetu objasniti.
Mislim, on verovatno nema nista protiv lezbejki na filmu ali u porodicnim novinama (kako saznajemo razdvojenim na mali i veliki zabavnik) ipak...
Quote from: neomedjeni on 24-05-2016, 12:57:47
Ma, citirana je ta njegova izjava na jednom stripovskom forumu koji posećujem, nije to ništa novo. Kvaka je u tome što mi je teško da zamislim tu "brižni otac čitalac - mirno dete slušalac" opisanu scenu. Štaviše, ako se dobro sećam te epizode Larga (To je valjda "Vidi Veneciju..."), jedna od te dve devojke je malo pre te scene preživela pokušaj silovanja. Šta, to je bilo u redu?
hehe, ma to mu nije smetalo, pokusaj silovanja pet tabli prije zavrsava repetiranjem oruzja i izjavom cure kako s njom nema zezancije, jer, otac je nju naucio pucati kad imala 10 godina (onako, sine cura, a ti vec sedam pa nikako)... :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffs5.directupload.net%2Fimages%2F160524%2Ftemp%2Fuzd6drmm.jpg&hash=7d8dc0c4a874892ec3212a434172e00be22927e0) (http://www.directupload.net/file/d/4365/uzd6drmm_jpg.htm)
To samo ako je ćale Zoran Cvijanović. :lol:
Verovatno samo da bi sekirali Aglija, mangupi su na tviteru pokrenuli kampanju da se Kapetan Amerika (na filmu) pokaže kao gej ili bi (http://observer.com/2016/05/marvel-fans-want-captain-america-to-come-out-already/), pošto ionako već provodi većinu vremena čežnjivo gledajući u Bakija.
Što se mene tiče, gej likovi su u mejnstrim stripovima ili filmovima prikazani toliko bledunjavo i dezinfikovano da mislim da ne bismo ni primetili razliku.
Ovo ne znam ni na koji topik bi gurnuo pa neka ga ovde. Delom ovo se tiče feminizma, delom generalnih rodnih odnosa, delom šire političke svesti o tome da ravnopravnost u društvu ne znači "svi smo isti" nego "svi treba da budemo jednako zaštićeni i zadovoljeni u svojim potrebama, pa ako treba i na drastično različite načine". Delom se tiče videoigara, ne samo utoliko što je osoba u centru miniskandala na večitu temu "Muškarac ne razume baš savim neravnopravnost polova a i malo ga iritiraju napadne feministkinje pa onda kaže i stvari koje posle, kad se malo ohladio baš i ne bi rekao" autor najpopularnije igre na svetu (u međuvremenu penzionisan sa imovinom vrednosti veće od milijardu dolara), već i zato što su reakcije u delu gejmerskih medija otužno pogrešne u obe strane: jedni se sapliću preko samih sebe da napadnu čoveka da je svinja, govno i olinjali peder mrzitelj svega što je žensko, progresivno i pravično i propuštaju da se uopšte pozabave centralnom temom debate, drugi zato što potpuno dosledno pogrešno tumače ideje liberalizma i ravnopravnosti i perpetuiraju bizarne mitove o ugroženosti najpovlašćenije populacione grupe na svetu. Delom, poučno je uvek imati termin mansplaining na umu jer on em duhovito em kvalitetno sažima podrazumevanu diskriminatornu praksu u našim društvima o kojoj se inače retko i diskutuje jer se prosto smatra delom kulture.
Elem, krenulo je od ovog tvita:
(https://twitter.com/Gaohmee/status/733517792771641344/photo/1)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F2lmauyd.jpg&hash=7e8d4e371b9d6cec9eed6b636d30bbd731963aab)
A na koji je Markus Persson aka Notch, aka autor Minecrafta reagovao (https://twitter.com/notch/status/733957058140200960) govoreći da je "mansplaining" seksistički termin izmišljen da muškarce stidom natera da ućute. Rasprava koja se razvila mogla je da ima i edukativnu vrednost samo da obe strane nisu na kraju posegle za uvredama koje, čak i ako su korišćene ilustrativno, nisu promašile toksične nivoe zle volje kakve ionako očekujemo po tviterima i internetima.
Ovde ima solidno ispraćen tok diskusije:
https://heatst.com/tech/minecraft-creator-markus-persson-notch-bashes-mansplaining-twitter-brawl-ensues/ (https://heatst.com/tech/minecraft-creator-markus-persson-notch-bashes-mansplaining-twitter-brawl-ensues/)
A evo primera editorijala sa dva gejmerska sajta sa obe strane fronta u rodnom ratu, jedan koji kipteći od besa napada Notcha, demonstrirajući nažalost već tipičan SJWovski autrejdž:
https://www.destructoid.com/minecraft-billionaire-feels-oppressed-by-women-363094.phtml (https://www.destructoid.com/minecraft-billionaire-feels-oppressed-by-women-363094.phtml)
I drugi demonstrirajući nažalost već tipičnu lažnu smirenu borbu za nekakvu apstraktnu jednakost koja se može postići ako samo populacione grupe ugnjetavane stolećima prestanu da budu pičkice i naviknu se da trpe uvrede ko pravi muškarci:
http://www.escapistmagazine.com/articles/view/video-games/editorials/17074-Pundits-Are-Not-Journalists-and-Notch-is-Not-a-Villain (http://www.escapistmagazine.com/articles/view/video-games/editorials/17074-Pundits-Are-Not-Journalists-and-Notch-is-Not-a-Villain)
U celoj toj buci i besu kao i obično se nijanse gube, niti Notch stiže da shvati da uvrede "dick" i "cunt" apsolutno nemaju istu težinu, pozadinu, biološki, socijalni i istorijski kontekst, niti feministički protivnici prihvataju da postoje konteksti u kojima rodna komponenta u najmanju ruku nije bitna i da nije svako nasilje sistemska opresija na koju se mora odgovoriti zbijanjem redova i slepim pucanjem u masu... But, then again, ako je rasprava na internetu kao specijalna olimpijada - čak i ako pobediš i dalje si retardiran, onda je vođenje te rasprave u limitu od 140 karaktera kao da na specijalnoj olimpijadi učestvuješ obučen u frak, sa cilindrom i salonkama na štiklu od dvanaest santimetara, te po jednim majmunčetom dresiranim da te ujeda za guzove okačenim o svako rame... Sami pali sami se ubili, aj ges.
Quote from: Meho Krljic on 25-05-2016, 06:17:05
Verovatno samo da bi sekirali Aglija, mangupi su na tviteru pokrenuli kampanju da se Kapetan Amerika (na filmu) pokaže kao gej ili bi (http://observer.com/2016/05/marvel-fans-want-captain-america-to-come-out-already/), pošto ionako već provodi većinu vremena čežnjivo gledajući u Bakija.
Što se mene tiče, gej likovi su u mejnstrim stripovima ili filmovima prikazani toliko bledunjavo i dezinfikovano da mislim da ne bismo ni primetili razliku.
Ma mogu sve Marvelove junake da izjebu, a ovi da traže još što se UglyMF-a tiče,
jedino da ne diraju Hulka,DareDevila,Wolverina i...a, da Dedpul im je u filmu već rekao NE, kad mu je Vanesa svirnula Dilda Straponskog.
Ej, znaš da i pola one populacije koja je tzv 'moderna' ,proevropsko-njuejdžerska i ko fol podržava gej paradu, bi se izbljuvala da vidi dvojicu bradonja kako se žvalave, tako daaa...ono...
Mene iskreno najviše brine što ne možemo u Srbiji da vratimo smrtnu kaznu, a ne pederčići....
cita se kao da ovo nije bilo dovoljno... :cry:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffs5.directupload.net%2Fimages%2F160526%2Fci3qjmve.jpg&hash=9d030e5dccb95cc71938e0ecf9f965eba792b6f6)
Cracked reportaža, donekle interesantna:
My Fetish Is So Weird I Had To Invent A New Type Of Porn (http://www.cracked.com/personal-experiences-2266-i-make-niche-embarrassment-porn-heres-how21.html)
pusti amazonke, feminizam i oslatlo na trenutak, i razmišljaj o sledećem projektu: kako uvećati broj metal bendova na milion stanovnika
(https://pbs.twimg.com/media/Cjx8SmMUoAAa8vF.jpg:large)
Eh, metal nije vrednost sam za sebe :lol: Radije ću da imam manje ali dobrih metal bendova nego više ali pukih kopija, imitatora i klonova. Naravno, to ja pričam iz moje perspektive starosti i žudnje da slušam stalno nove i uzbudljive stvari umesto da se probijam kroz more klonova svaki put kad tražim novu muziku.
pa iz mase će se valjda izroditi i ponešto kvalitetno, mislim nadmetanje, razmena ideja i sve to. eto, Albanija ima 4 metal benda na milion stanovnika, ne verujem da su sva četiri dobra. sa druge strane, na Islandu maltene svaka familija ima bar jednog člana u metal bendu pa je i ponuda verovatno bolja.
A ipak ja znam albanske metal bendove i ni jedan islandski. :( :(
i? je l su dobri?
Eh, onako... Kačio sam ovde već Eugenta Bušpepu, a neko drugi (Gul?) je kačio Shiptarian Darkness - bend koji svira NS blek metal i Aleksandra Makedonskog smatra svojim. Nije da bih i jedne i druge nešto ekstenzivno slušao...
The Story Behind That Superman and Muhammad Ali Team Up (http://io9.gizmodo.com/the-story-behind-that-superman-and-muhammad-ali-team-up-1780537584)
Jes!!!!!!!1 :-| :-| :-|
http://youtu.be/wz0JyI2_0JE (http://youtu.be/wz0JyI2_0JE)
meho, jesi li se mozda gdje osvrnuo na/procitao koji broj island-antologije?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffs5.directupload.net%2Fimages%2F160608%2F389wmwnz.jpg&hash=b60f0d230e575628355133ae4bbbe1a4dfab61a0)
Nisam još čitao, ali uredno ga skidam :oops:
let's move! slicna urednica ne moze proizvesti bas previse loseg. ugh. :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ffs5.directupload.net%2Fimages%2F160608%2Ftemp%2Fq9hl43fw.jpg&hash=54890a3227110c218c5c3ce2eabfbf905f12d0af) (http://www.directupload.net/file/d/4380/q9hl43fw_jpg.htm)
so cute :lol:
http://kotaku.com/man-takes-love-doll-to-see-warcraft-movie-1781488986 (http://kotaku.com/man-takes-love-doll-to-see-warcraft-movie-1781488986)
Ja s tim nemam ništa, ja nikada ne bih nosio sa sobom lutku na projekciju filma ili neku drugu socijalnu situaciju. Šta ako nekog upozna tamo?
Misliš lutka? Ali vezana je, ne može da pobegne.
A šta ako je u lutki skrivena oprema za snimanje filma?
ne znam al mislim da će ta industrija tek da procveta
http://www.independent.ie/world-news/asia-pacific/indonesian-villagers-build-shrine-for-sex-doll-mistaken-for-fallen-angel-34682204.html (http://www.independent.ie/world-news/asia-pacific/indonesian-villagers-build-shrine-for-sex-doll-mistaken-for-fallen-angel-34682204.html)
Eh, kad bismo još verovali u ovakve vesti, gde bi nam bio kraj... Kao, Indonezija, to zvuči egzotično, tamo mora da nisu čuli da sad možeš od sintetičkih materijala da napraviš humanoidnu figuru i eto, oni odmah to misle da je anđeo.
Naravno, Indonezija je država čiji predsednik (http://www.metalinjection.net/latest-news/yes/this-metalhead-has-been-elected-president-of-indonesia)nosi Slayer i Napalm Death majice. Takođe, naravno, u islamu anđeli nemaju pol ali je takođe eksplicitno rečeno da nisu ženskog pola (https://islamqa.info/en/96306).
Mačke iz visokog društva... :)
https://www.youtube.com/watch?v=nknkO1I30hM (https://www.youtube.com/watch?v=nknkO1I30hM)
Ha! A pazi ove mačiće koji imaju dvorfizam:
http://youtu.be/XUbHNpgShqE (http://youtu.be/XUbHNpgShqE)
Meho, evo ga grindcore bend SINIŠE MALOG, gradonačelnika. Mali navodno svira gitaru a na početku svirke izlazi lik - pevač - ni manje ni više nego u fantomci.
Previše smešno da bi bilo istinito. Možeš li nam otkriti neke detalje? Jer ovaj bend je donekle savremenik bendova Urgh! i Acroholia.
https://www.youtube.com/watch?v=_ckqlgCGmQg (https://www.youtube.com/watch?v=_ckqlgCGmQg)
а у, па они су овде свирали после ТДПа у дадову, ладно сам их гледао :(
E, da, da ne zaboravim:
NMI jeste bio bend, Mali jeste u njemu svirao, to je relativno opštepoznato, bar jedna kolumna u Politici (mislim, neka od kolumni Igora Simića (http://www.politika.rs/sr/autor/778/Igor-Simic), ali možda i grešim) je to pominjala a Mali je sam to pominjao u ovom intervjuu za Novosti (http://www.novosti.rs/vesti/beograd.74.html:526873-Mali-Nekada-smo-ziveli-skromno-ali-smo-bili-veoma-srecni).
Na koncertu koji je na JuTjub linku nisam bio jer sam tad već bio u vojsci ali jesam bio na NMI nastupu par meseci ranije. Pevač koji na ovom snimku izlazi na binu maskiran je Dragoslav Ružić aka Ruža aka Guru Gagi, nezaobilazna popkulturna pojava devedesetih (i ranih dvehiljaditih) godina (a danas ugledni mašinski inženjer) koja je iz NMI prešla u TDP (Tri Debela Praseta) a posle razlaza sa TDP osnovala sa mojim bratom URGH! Ja sam sa njim i njegovim bratom (koji je zamenio mog brata u URGH! kad je ovaj otišao) išao u školu, u koju je išao i moj brat a i Siniša Mali. :lol: :lol: :lol:
I, uh, nemam bogznašta da dodam pametno - NMI su bili marginalan bend koji je održao nekoliko nastupa i snimio jedan demo (mislim da je Ruža već bio otišao iz benda a nisam siguran da je i Mali na njemu) a koji se da čuti na valjda trećoj Beogradskoj Hronici (kasetna kompilacija beogradskih pank i srodnih bendova koju su radili Dr. Srele i Dejan Šunjka).
http://io9.gizmodo.com/a-15-year-old-black-girl-is-going-to-replace-tony-stark-1783193133?utm_campaign=socialflow_io9_facebook&utm_source=io9_facebook&utm_medium=socialflow
Iron Person, for frak's sake!
Klasičan bendisovski potez. Prvo je za Spajdermena podmetnuo Majlsa Moralesa a sada ovo. Čovek ipak ima usvojenu žensku decu koja su afričkog, jelte, porekla. Naravno, Toni Stark neće nestati iz stripova, a verujem da će se prilično brzo i vratiti u ulogu Iron Mana, Robert DJ je suviše zgodan maneken za Marvel da bi ga se na duže staze odbacivalo.
Quote from: Meho Krljic on 05-05-2016, 23:31:52
Ali mi ljude ne delimo po tome ko voli kakav miris već kako ko miriše :lol:
Ja mirisem na jagode.
Podržava se! :lol:
Nemam problem sa ženskim crnčetom, već s Iron Person! Gunđ!
Japanese Politician Campaigns With A Cat (http://kotaku.com/japanese-politician-campaigns-with-a-cat-1783183084)
http://www.pushsquare.com/news/2016/07/these_alternate_no_mans_sky_ps4_covers_look_just_like_classic_sci-fi_books
so cute!
O, da, odlični su i sasvim prikladni jer je igra i pravljena pod uticajem klasičnih SF paperback naslovnica.
Nepoznati detalji iz biografije Siniše Malog
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Focdn.eu%2Fimages%2Fpulscms%2FMDc7MDMsMzE0LDAsMCwxOzAzLDFkNiwwLDAsMTswYywxZDc0Y2I0MTcwNTk1MDQzNjYyOWNhYmQ2MDZmNTBmNiwxLDAsNiww%2Fee1cb8d3acfb113b89160a1dae1837b1.jpeg&hash=8ee6c4cc221a2636a16eff16d9b2ca79a1e174f3)
,,Blic" otkriva dosad nepoznati detalj iz biografije gradonačelnika Beograda Siniše Malog(43), koji se aktivno bavio muzikom i bio hevimetalac.
Pre nego što je ušao u biznis i politiku, Mali je svirao gitaru u bendu ,,Nismo mi indijanci".
Surfujući internetom naišli smo na sajt outofthedarkness.rs, a u odeljku ,,retro", bend neobičnog imena. Na fotografiji-oglasu preko kojeg se svojevremeno mogla zakazati svirka mladih muzičara, poznato lice - gradonačelnik Siniša Mali. Znatno mlađi, u tinejdžerskim godinama.
U opisu stoji da je bend osnovan 1989. godine, a da ,,naziv ne nosi nikakve skrivene rasističke ideje ili prezir ka izvesnoj grupi ljudi".
- Osnovna ideja je spajanje melodičnog i grind kora sa još nekim muzičkim pravcima i sve je izvedeno u otkačenom stilu - piše na ovom sajtu. Takođe se navodi da su tekstovi neobavezni, bez težnji ka politici. Na kraju oglasa stoji i broj telefona preko kojeg se mogla ugovoriti svirka.
Siniša Mali, koji je svirao gitaru u bendu, ispričao je za ,,Blic" detalje svoje muzičke avanture.
- U to vreme sam živeo u zgradi u Cvijićevoj ulici, bubnjar Dejan je živeo na prvom, a ja na trećem spratu. Sa trećim članom benda, pevačem, išao sam zajedno u Petu gimnaziju. Slušali smo sličnu vrstu muzike i rešili da osnujemo bend koji smo nazvali N. M. I. (Nismo mi indijanci) - priča Mali.
On kaže da su prvu svirku imali u Dadovu, posle čega su počeli da nastupaju po celom gradu.
- Sami smo pisali muziku i tekstove. Imali smo publiku koja je pratila to što radimo. Zajedno smo na pisaćoj mašini ili rukom pisali najave za svirke, pa išli u kopirnicu i zatim lepili plakate po Knez Mihailovoj ulici. To je tada bio jedini način da obavestite ljude o svirci - kaže gradonačelnik.
Kako kaže, bend je vežbao uglavnom u stanu jednog od članova ili u jednom prostoru u Knez Danilovoj ulici. Postojao je tri-četiri godine.
- Kada sam upisao fakultet nisam više imao vremena za svirke jer sam u to vreme počeo i da radim. Ali to je stvarno bio lep mladalački period - navodi Mali i ističe da su mu idoli bili bendovi ,,Gang grin", ,,Metallica", ,,Suicidal tendencies", ,,Seven seconds".
- Tada je ta muzika činila da budemo drugačiji, što nam je u tom srednjoškolskom periodu bilo važno. Završio sam i muzičku školu, i sve to mi je tada pomoglo da na stvari gledam drugačije i da možda lakše prevaziđem neke mladalačke probleme.
http://www.blic.rs/vesti/politika/od-hevi-metala-do-politike-nepoznati-detalji-iz-biografije-sinise-malog/6z7f1ms
Ne znam po kom kriterijumu su to sad "nepoznati" detalji kad su o njima već pisale Politika, Novosti i Znak Sagite (videti iznad) ali dobro, dok god se grajdnkor proglašava za hevi metal, meni je sve to u redu :lol:
Mačak preživeo pranje u veš mašini
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.021.rs%2F%2Fimages%2Fa6f0094d1c35a139451d0928a59af33d%2Fmacak_bobi.jpg&hash=840531e3bf4ecaa0c6dd9b12b2131b636a317955)
http://www.021.rs/story/Zivot/Svet-zivotinja/141130/Macak-preziveo-pranje-u-ves-masini.html
QuoteNe treba zaboraviti ni da islam, kao najmlađa monoteistička konfesija, pragmatičnošću i odsustvom institucija crkve, patrijarhata, Svete tajne i bilo koje vrste monopolskog tumačenja svetih spisa, te uvažavanjem ideja mišljenja i diskusije o njihovom značenju ima najveći demokratski potencijal od sve tri religije iznikle iz Svetog pisma.
http://www.popboks.com/article/6668
У овом квотованом пасусу се јасно види како мали Перица замишља ислам, односно како Мехо јавно збори бесмислице које представљају његово непознавање ислама.
Осам година је прошло од тад, па се искрено надам Крљићу да се кајеш не само зато што си судио живима и мртвима и подстрекивао на некрофилију већ и због ових квотованих глупости које си писао.
Да ти појасним - нема патријархата ал има шеријата, а што се тиче монополског тумачења светих списа, најбоље је да се подсетиш на речи које је приликом уништења Александријске библиотеке 642. године изговорио муслимански калиф:
Оне (књиге) су или у супротности са Кураном што значи да су јерес, или се слажу са њим што се опет значи да су сувишне.
П.С. Баш си добро испао на фотки.
Quote from: T2 on 29-07-2016, 22:14:38
П.С. Баш си добро испао на фотки.
Hvala, trudio sam se :lol:
Ja sam pominjao potencijal, to je valjda vidljivo i iz citata. A aleksandrijsku bibilioteku su, pre muslimana, uništavali i zatvarali hrišćani, na primer car Teodisije i papa Teofil u četvrtom veku a pre njih je to radio i naš Mitrovčanin Aurelijan... Tako da ne znam šta je sad tu poenta.
Ti ubrajaš papu u Hrišćane!?
:D
Ovo je humor....
pa valjda je tada bila jedna crkva.
Svejedno...Tron u Rimu je paganski vazda bio i ostao.
(https://scontent-sjc2-1.xx.fbcdn.net/v/t1.0-9/13731589_1751057011843263_3118635412635239561_n.jpg?oh=81647107206dcf74624323f1a6c1ea62&oe=5829AF89)
Ima ovde par neobičnih omaški, naravno (mislim, napraviti ovakvu listu bez Emila Dragutinovića ili Frosta deluje bizarno), te previše bubnjara koji su samo solidni svirači u popularnim bendovima ali koje ne bih nazvao individualno bitnim, ali opet, solidna lista sa potpuno očekivanim - i na kraju krajeva potpuno zasluženim - prvim mestom a na kojoj sam bio uistinu raznežen da vidim Vinija Episija i Miča Mičela:
http://loudwire.com/top-hard-rock-metal-drummers-of-all-time/
Quote from: Meho Krljic on 29-07-2016, 22:48:06
Hvala, trudio sam se :lol:
Како си се трудио за фотку, тако си се трудио и за текст, па је фотка фрикшоу, а текст
образовано глупетање.
Quote from: Meho Krljic on 29-07-2016, 22:48:06
Ja sam pominjao potencijal, to je valjda vidljivo i iz citata.
Ти јеси помињао потенцијал, али то што ти помињеш потенцијал ислама за дијалог је само твоја празна прича заснована на твом
што је баби мило то јој се снило триповању и твом апсолутном незнању и непознавању ислама, јер једини потенцијал који има ова пустињска религија је потенцијал за силовање жена које не припадају тој накарадној религији.
Ево га твој потенцијал:
"O vjerovjesniče, reci ženama svojim, i kćerima svojim, i ženama vjernika neka spuste haljine svoje niza se. Tako će se najlakše prepoznati pa neće napastovane biti. A Allah prašta i samilostan je." (El-Ahzab, 59.)Ево и модерне верзије твог потенцијала:
Sami Abu Ju, imam džamije u Kelnu je u ekskluzivnom i ntervjuu za TV REN objasnio da su nemačke žene same krive zbog napada i da su ih izbeglice napadale i silovale jer su ih one izazivale svojom odećom i parfemima koje su koristile.
"Moramo da pravilno reagujemo, a ne da dodajemo ulje na vatru. Da razgovaramo i da nađemo rešenja. Ako neko napada i vređa druge, može nastati opasna situacija. Jedan od razloga zašto su migranti napadali je način na koje se žene oblače. Ako hodaju polugole, koriste parfem, onda se takve stvari dešavaju. Imate muškarca i ženu.... i to je kao dolivanje ulja na vatru .... ", rekao je imam iz džamija "Al Tevhida" u Kelnu, Sami Abu-Ju.Quote from: Meho Krljic on 29-07-2016, 22:48:06A aleksandrijsku bibilioteku su, pre muslimana, uništavali i zatvarali hrišćani, na primer car Teodisije i papa Teofil u četvrtom veku a pre njih je to radio i naš Mitrovčanin Aurelijan... Tako da ne znam šta je sad tu poenta.
Не причамо о историјату алекдандријеске библиотеке, већ о нетолеранцији муслимана на све остале што се јасно види из калифовог цитата који ћу ти радо понављати све док ти не уђе у главу:
Оне (књиге) су или у супротности са Кураном што значи да су јерес, или се слажу са њим што се опет значи да су сувишне.
И то побија твоју тврдњу да ислам не тумачи свете списе на монополски начин.
Он не да их не тумачи, него их спаљује.
Мали Перице.
Ja bih sa tobom polemisao ali uopšte ne znam koja je teza koju ti ovde pokušavaš da dokažeš ili odbraniš. Imam utisak da ne znaš baš mnogo o monoteističkim religijama uopšte - a s obzirom da si se u istorijskim i lingvističkim diskusijama pozivao na izvore koji se naširoko smatraju šarlatanima, ne bi ni ovo bilo neko iznenađenje - i da samo valjaš neke, kao, šokantne citate koje si pokupio usput po internetu. Šta tu sad da polemišemo? Da islam nema crkvu? Nema. Da nema kler? Nema. Da nema svetu tajnu i obred baptizma? Nema. Da nema dogmatsko tumačenje svetih spisa? Nema. Da ne postoji išta slično vaseljenskom patrijarhu ili papi u islamu? Ne postoji. Dakle, potencijal islama da bude demokratičan u pogledu tumačenja svetih knjiga postoji a monopol na tumačenje Kurana ili nečeg drugog ne postoji. Ovo ostalo što pišeš su nekakvi pokušaji polemike sa nečim što niko nije tvrdio.
Како бре ислам нема клер?
Ко завија по минаретима?
Случајни пролазници?
:lol:
Kao što smo i nagađali, ne znaš baš mnogo o monoteističkim religijama. Dobro, nije to ništa što malo čitanja ne može da reši.
Питам те ко завија по џамијама?
Случајни пролазници који дођу да клањају или екипа из Мешихата???
:lol:
Ti misliš da je mešihat sveštenstvo? :? Uh, pročitaj nešto o islamu, po mogućstvu neki citiraniji akademski rad. Biće lakše da pričamo tako.
Механе, Мешихат је између осталог и верски савет.
Међутим питање које је теби упућено је следеће: ко завија са џамија и позива на клањање???
Просто питање, желим прост одговор.
Не завијају обични верници, него ко???
И кажеш нема свештенства у исламу???
xrofl
Имам је муслимански свештеник коме је главна дужност да предводи скупно клањање намаза у џамији (свакођневно пет пута).
За време молитве имам стоји пред скупом и руководи клањањем. Зове се још и џамијски имам.
Ако је, поред тога, задужен и неким другим верским службама за целу једну махалу (као што је опремање умрлих за сахрану тј. џеназу и сл.). онда се зове махалски имам.
Ако је пак задужен таквим дужностима за читав један џемат (муслиманска верска општина) и уз то води верске матичне књиге, онда се зоне џематски имам или имам-матичар.
Мали Перице, не требаш да читаш академске радове да би просипао накнадну памет, већ изађи са гајбе и прошетај до Бајракли џамије, па питај надлежне из џамије да ли је ово што сам рекао тачно или није, и прекини да своје незнање пројектујеш на мене покушавајући да се од мог знања штитш имагинарним академским радовима.
Ja te uputim na neki ozbiljan izvor a ti kopipejstuješ ćiriličnu vikipediju. Šta je sledeće, citiraćeš Berčeka: "Čitao sam u stručnoj literaturi, Politikinom Zabavniuku"?
Значи инатиш се и даље и уместо да лепо признаш да си профулао са тврдњом да у исламу нема свештенства, ти се позиваш на имагинарне академске радове без имена.
Питам се само ко су ти академици који поред свих светских исламских свештеника-имама тврде да исламски свештеници-имами не постоје?
Мора да су то академици као што си ти академик. xrofl
Иначе, знати да у исламу постоје свештеници који се називају имами није академско питање већ ствар опште културе.
Дошао си и до тога да ти смета ћирилица, односно азбука?
Конвертуј у латиницу, можда тако лакше примиш к знању истину да у исламу постоје свештеници и да се називају имами.
Рекао сам ти да изађеш мало са гајбе и из виртуелног одеш у прави свет, прошеташ до Бајракли џамије и питаш новоизабраног муфтију о свештенству у исламу, па нек ти новоизабрани муфтија објасни шта су имами и која је њихова улога.
Поставићу ти два питања.
Једно питање од ова два сам ти већ поставио, али ти си манипулатор па си избегао одговор и вадио се на академике, али као што сам ти рекао - ово нису академска питања, већ питања из опште културе.
1. Ко позива вернике на клањање у џамију и ко завија са минарета?
Случајни пролазник или имам односно муслимански свештеник?
2. Ко покојном муслиману чита суру под називом Yassin?
Случајни пролазник или имам односно муслимански свештеник?
Одговори су јако прости, и као што рекох - у питању је знање из опште културе.
Srpska vikipedija se ne računa. Pronađi i pokaži na engleskoj vikipediji gde piše da je imam muslimanski sveštenik, umesto muslimanski vođa zajednice.
Mac, T2 je trajno banovan.
Ja sam već kačio pojašnjenja po čemu se islam razlikuje od drugih monoteističkih konfesija, ali evo ovde da zaokružimo. Islam tradicionalno ne razdvaja svetovnu i duhovnu vlast, kao što su i religija i pravo jedna nauka u tradiciji islama. S druge strane, ne postoji crkvena struktura i kanonsko/ dogmatsko tumačenje knjiga. Nameštenici koji bi u hrišćanstvu bili smatrani sveštenstvom u islamu imaju ili političke, ili akademske role. Evo kako to sažima vikipedija na engleskom:
QuoteIslam, like Judaism, has no clergy in the sacerdotal sense; there is no institution resembling the Christian priesthood. The title mullah (a Persian variation of the Arabic maula, "master"), commonly translated "cleric" in the West and thought to be analogous to "priest" or "rabbi", is a title of address for any educated or respected figure, not even necessarily (though frequently) religious. The title sheikh ("elder") is used similarly.
Most of the religious titles associated with Islam are scholastic or academic in nature: they recognize the holder's exemplary knowledge of the theory and practice of ad-dín (religion), and do not confer any particular spiritual or sacerdotal authority. The most general such title is `alim (pl. `ulamah), or "scholar". This word describes someone engaged in advanced study of the traditional Islamic sciences (`ulum) at an Islamic university or madrasah jami`ah. A scholar's opinions may be valuable to others because of his/her knowledge in religious matters; but such opinions should not generally be considered binding, infallible, or absolute, as the individual Muslim is directly responsible to God for his or her own religious beliefs and practice.
Pa onda detaljno o sunitskoj varijanti:
QuoteThe nearest analogue among Sunni Muslims to the parish priest or pastor, or to the "pulpitrabbi" of a synagogue, is called the imam khatib This compound title is merely a common combination of two elementary offices: leader (imam) of the congregational prayer, which in most mosques is performed at the times of all daily prayers; and preacher (khatib) of the sermon or khutba of the obligatory congregational prayer at midday every Friday. Although either duty can be performed by anyone who is regarded as qualified by the congregation, at most well-established mosques imam khatib is a permanent part-time or full-time position. He may be elected by the local community, or appointed by an outside authority – e. g., the national government, or the waqf which sustains the mosque. There is no ordination as such; the only requirement for appointment as an imam khatib is recognition as someone of sufficient learning and virtue to perform both duties on a regular basis, and to instruct the congregation in the basics of Islam.
The title hafiz (lit. "preserver") is awarded to one who has memorized the entire Qur'an, often by attending a special course for the purpose; the imam khatib of a mosque is frequently (though not always) a hafiz.
There are several specialist offices pertaining to the study and administration of Islamic law or shari`ah A scholar with a specialty in fiqh or jurisprudence is known as a faqih. A qadi is a judge in an Islamic court. A mufti is a scholar who has completed an advanced course of study which qualifies him to issue judicial opinions or fatawah.
Pa šiiti:
QuoteIn modern Shi`ah Islam, scholars play a more prominent role in the daily lives of Muslims than in Sunni Islam; and there is a hierarchy of higher titles of scholastic authority, such as Ayatollah. Since around the mid-19th century, a more complex title has been used in Twelver Shi`ism, namely marja' at-taqlid. Marja' (pl. maraji') means "source", and taqlid refers to religious emulation or imitation. Lay Shi`ah must identify a specific marja' whom they emulate, according to his legal opinions (fatawah) or other writings. On several occasions, the Marja'iyyat(community of all maraji') has been limited to a single individual, in which case his rulings have been applicable to all those living in the Twelver Shi'ah world. Of broader importance has been the role of the mujtahid, a cleric of superior knowledge who has the authority to perform ijtihad(independent judgment). Mujtahids are few in number, but it is from their ranks that the maraji' at-taqlid are drawn.
Sufije, koji su, ne zaboravimo, mistička sekta, manje-više zabranjena širom mejnstrim islamskog sveta:
QuoteThe spiritual guidance function known in many Christian denominations as "pastoral care" is fulfilled for many Muslims by a murshid ("guide"), a master of the spiritual sciences and disciplines known as tasawuf or Sufism. Sufi guides are commonly styled Shaikh in both speaking and writing; in North Africa they are sometimes called marabouts. They are traditionally appointed by their predecessors, in an unbroken teaching lineage reaching back to Muhammad. (The lineal succession of guides bears a superficial similarity to Christian ordination and apostolic succession, or to Buddhist dharma transmission; but a Sufi guide is regarded primarily as a specialized teacher and Islam denies the existence of an earthly hierarchy among believers.)
Muslims who wish to learn Sufism dedicate themselves to a murshid's guidance by taking an oath called a bai'ah. The aspirant is then known as a murid ("disciple" or "follower"). A murid who takes on special disciplines under the guide's instruction, ranging from an intensive spiritual retreat to voluntary poverty and homelessness, is sometimes known as a dervish.
During the Islamic Golden Age, it was common for scholars to attain recognized mastery of both the "exterior sciences"(`ulum az-zahir) of the madrasahs as well as the "interior sciences" (`ulum al-batin) of Sufism. Al-Ghazali and Rumi are two notable examples.
Itd. Na linku ima i spisak relevantne literature: https://en.m.wikipedia.org/wiki/Clergy
Onda evo citata sa sajta http://www.islamic.org.uk/nochurch.htm
QuoteThere is no church hierarchy in Islam
In Islam there is no church hierarchy no priests, ministers, vicars, deans, or popes. When a Muslim prays he prays directly to God not through any intermediary. When he serves God he is not serving an institution but God alone. Every human being is individually responsible for their own actions and their own beliefs. No one can take that responsibility away from you.
If you think that anyone is ordering you to act against what you sincerely believe to be the will of God you are duty bound to disobey that order and instead obey Allah. This is the principle that
Allah is the sovereign
and follows directly from the shahada
There is no god except Allah and Muhammad is a messenger of Allah
Of course in coming to your conclusions about what Islam teaches you will find it useful to consult those who have studied the religion's sources carefully. These are the scientists of the religion (in Arabic: 'ulema ud-din). These scientists may have varying interpretations and opinions but they all use essentially the same source material. This leads us to another principle which is that
There are no sects in Islam only different interpretations
Evo i razumljiv sažetak ovih koncepata sa detaljnom listom izvora:
http://factsanddetails.com/world/cat55/sub358/item1448.html
QuoteDa, ali ta NB obavijest sledi nakon izjave da je on "the blackest person these people have ever seen"
Slušajući ovaj podkast sam shvatio što su McTiernana prozivali N-wordom u Kilkeniju. Ispada samo zato što je jedini slušao rep i drugu "crnačku" muziku. :lol:
https://www.podcat.com/podcasts/c5b3gc-bodega-box-office/episodes/60fw9i-45-ghost-dog-rza-ft-nochorus
Inače, u pitanju je američki hip hop podkast, a McTiernan je gost u epizodi posvećenoj filmu Ghost Dog.
Mektirnan je i u najnovijoj epizodi Midnight Reistance (sad kad nema Andija, njemu nije problem da se opet druži sa njima :lol: ) i slušajući ga dva i po sata ja sve vreme ispred sebe vidim crnca :cry: :cry:
http://slutever.com/female-sexuality-metal-bands-vastum-couch-slut/
Couch Slut prilično dobro treskaju a Megan mnogo dobro peva:
https://youtu.be/hU6l_mprdD4
Vadtum je konvencionalniji ali nisu loši.
Ask Kieron Gillen Why Now Is the Right Time for a Comic About Super-Nazis Invading America (http://io9.gizmodo.com/ask-kieron-gillen-why-now-is-the-right-time-for-a-comic-1785889496)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi65.tinypic.com%2Fftltl3.jpg&hash=877a8d37fbb9ca73f3845dd27f1751cd561dea25)
https://youtu.be/9oQsKRyihEA (https://youtu.be/9oQsKRyihEA)
Ne znam ni ko bi na ovo trebalo da reaguje pa evo ga ovde. Inače, radi se o minornoj misteriji ali dobro, dajte šta ima:
Who Is Banksy? It could be Massive Attack's Robert '3D' Del Naja (http://www.gq-magazine.co.uk/article/who-is-banksy-massive-attack)
Fak jea!!!!!!!!!!
https://youtu.be/YOY-lRKTO4Q
Meho, jesi li čuo za "California proposition 60 (https://ballotpedia.org/California_Proposition_60,_Condoms_in_Pornographic_Films_(2016))"? Zakon koji će u Kaliforniji biti na glasanju u novembru, o obaveznim kondomima u svakom porno-materijalu snimljenom u Kaliforniji, ali fora je u tome da svaki građanin može da tuži producente ako primeti materijal koji se ne povinuje tom zakonu. Velika se frka digla oko toga u porno-industriji...
Pa, to je već višegodišnja drama, koje je ovo samo najnoviji čin. Kad god se pojavi neki predlog uredbe ili zakona koji bi obavezao industriju da uvede kondome kao obavezni minimalni standard, producenti se naroguše i prete da će da napuste Kaliforniju i odnesu svoj lukrativni biznis na drugo mesto, pa se zakonodavac povuče. Da budem iskren, nisam nikada ušao dublje u problematiku pa mi i dalje nije jasno zašto bi korišćenje kondoma bila takva prepreka. Marc Dorcel već godinama snima isključivo sa kondomima i ne vidim da je to ikom napravilo psihološke traume ili da je posao odjednom počeo osetno slabije da prihoduje. Mislim, ako se druga scena u filmu Initiation of Clanddi ovog velikog producenta događa pod tušem a partner sa kojim Jessie Volt ima analni snošaj uredno nosi kondom, onda stvarno ne razumem gde je problem...
Inače, korisna mapa (http://batmanbrony.deviantart.com/art/DC-Superhero-Cities-447475741) ako nameravate da se nastanite u DC univerzumu:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F2i0dxxl.jpg&hash=0bb302fec08ae0a99df7a6fc144488dfbbb8fddc)
Quote from: Meho Krljic on 09-09-2016, 14:46:39ako se druga scena u filmu Initiation of Clanddi ovog velikog producenta događa pod tušem a partner sa kojim Jessie Volt ima analni snošaj uredno nosi kondom, onda stvarno ne razumem gde je problem...
Sa Jessie Volt stvarno nema problema! :) Možda jedino to da je suviše niska (za moj ukus), al' ako je i glumac nizak, to se ne primećuje. [emoji38]
Šalu na stranu, Wicked Pictures koristi kondome u svojim produkcijama i danas, al ja ih ne gledam (kao ni Dorcela), pa ne znam kako se to odražava na posao. U Kaliforniji su smešteni i Digital Playground i Naughty America, pa će oni verovatno osetiti najveće posledice. Ali Reality Kings, Brazzers i Mofos imaju samo mali deo produkcije tamo. Doduše, RK ima sajt koji se zove Mike in Brazil, koji se snima u Brazilu sa lokalnim ženskim "talentima", i tu se koriste kondomi, zato što je takav zakon.
Treba imati u vidu da su Wicked Pictures i Digital Playground pravi filmski (visokobudžetni) studiji, dok su ostali više poput kablovske televizije sa raznim tematskim "kanalima" (moja lična preferenca, treba li reći).
Da, Wicked koriste kondome bar deset godina, ne znam šta toliko žulja ove druge.
Spider-Man: The 34 Spider-Men of the Spider-Verse
U Marvelu su izgleda rešili da još više porade na osećaju unikatnosti Marka Millara. U istoj godini Civil War II i Enemy of the State II? Pa čovek će eksplodirati od nadimanja :lol: :lol:
Wolverine Goes Rogue in Marvel's 'Enemy of the State II' Preview (http://screenrant.com/all-new-wolverine-marvel-enemy-of-the-state-2-preview/)
Whoa! DC vraća Wildstorm iz groba i Warren Ellis će biti na čelu? Zvuči kao fivr drim kam tru! :shock:
Game-Changing WildStorm Comics Universe Is Returning With Warren Ellis at the Helm (http://www.vulture.com/2016/10/wildstorm-comics-warren-ellis.html)
QuoteMore information on the new imprint will be revealed on the "Meet the Publishers" panel at New York Comic Con on Saturday, October 8 from 4pm-5pm Eastern Time.
i da vrate midnajtera gdje mu mjesto! nikakvi dc mini-serijali! :roll:
Takoje!!!!!!! Zapravo, novi Authority na starim filozofskim osnovama je ono što želimo da vidimo!!!!
e, uporno iscitavam vijesti i trazim je li bas bilo eksplicitne price oko authority(-lajk), reko, da se ne provalim sa juhuuuu, authority! ma moraju! :lol:
Da, ne pominje se The Authority eksplicitno, ali ako su tu Engineer i Jenny Sparks onda mora da će ga biti :-| :-| :-| :-|
Miley Cyrus on 'The Voice,' Donald Trump, and Coming Out (https://www.yahoo.com/celebrity/miley-cyrus-voice-donald-trump-coming-130057786.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi68.tinypic.com%2F15g6lj9.jpg&hash=7ea90eacf4ba8720aca97d7b107fb2c3a2d0e27c)
Dejvid Wong uobičajeno britko:
7 Reasons So Many Guys Don't Understand Sexual Consent (http://www.cracked.com/blog/how-men-are-trained-to-think-sexual-assault-no-big-deal/)
Odličan članak, a i scenu sa Han Soloom je ubo ko prs' u... :D Ratovi Zvezda više nikada neće biti isti
http://youtu.be/gz5FglI3XZ8 (http://youtu.be/gz5FglI3XZ8)
Otkad je postao glavni urednik Heavy Metala, Grant Morisson se baš razjario:
Grant Morrison Unveils His Jesus-Conan Mash-up Comic,
Savage Sword of Jesus Christ (http://www.vulture.com/2016/11/grant-morrison-savage-sword-jesus-christ.html)
QuoteAnd yet, we have to take some degree of personal responsibility for participating in this media ecosystem, no? Aren't you phone-addicted like the rest of us?
I don't have a phone!
You don't?
No, I don't. Because I'm a freelance writer who works at home, I tend not to need a phone, and my wife does all my business. She's the one who has the phone. I've actually been really lucky, and insulated myself from this in a lot of ways. I don't really have an email address at all, either. I have managed to hold out for a long time, so I do have a slight outsider's perspective on this.
How often do you even use the internet?
I don't use the internet much at all, except while I'm here in America, which is like four months of the year. When I do have internet access, I tend to use it for research. Back home, I live in the country in Scotland, and I can't even get a connection in the room that I work in, which is part of an old stone building. I'm surprised that people survive it, to be honest! I prefer to just meditate, or look at the trees, or watch the ducks on the water, to be honest.
B92: Neki od omiljenih porno-žanrova će uskoro biti zabranjeni, a evo i koji http://http://bulevar.b92.net/pop-kultura.php?yyyy=2016&mm=11&dd=24&nav_id=1202888
Pisao sam već o tome na ovom topiku, ima skoro dve godine: http://www.znaksagite.com/diskusije/index.php?topic=4207.msg566609#msg566609 (http://www.znaksagite.com/diskusije/index.php?topic=4207.msg566609#msg566609)
Pre dve godine? Toliko im treba? Ili je ovo novi predlog/zakon?
Meni samo nije jasno šta znači kada kažu da je nešto takvo "svima pristupačno"? Pa svi veći sajtovi naplaćuju gledanje, za šta je potrebna platna kartica, za šta su potrebne dovoljne godine! Ako se dotični sadržaji mogu naći i van prvobitnih izvora, zahvaljujući pirateriji, to je drugačiji problem. Kao kada bi rekli: ograničava se proizvodnja oružja, jer bi maloletnik mogao da dodje do njega! Ili: ne dozvoljava se da se prave kola koja jure više od 100 na sat, jer bi neko ispod 18 (ili 21) mogao da sedne u njih i slupa se! I slično. Ali, ovde niko neće da nameće zabrane produkciji, već samo distribuciji. Neko će možda reći da su ovakva poredjenja neumesna, i složiću se: oružje u rukama maloletnika je daleko opasnija stvar od pornografije.
Istina, u porno-industriji ima mnogo loših stvari, a čak me i ne privlače neke od pomenutih radnji koje će biti zabranjene (pogotovo sam protiv pravog nasilja tokom seksa, ako se može prepoznati), ali gde je jedna zabrana, možda nije daleko ni druga...
Ne, nije novo, ovo je to od pre dve godine. Britanski zakonodavac radi sporo ali temeljito.
"Pravo nasilje tokom seksa" je generalno već zabranjeno, u smislu da ne možeš da prodaješ (čak ni besplatno deliš) snimke prisilnog odnosa, silovanja, snimke načinjene bez pristanka učesnika itd. odnosno da zakon već ima stipulacije za ovakve slučajeve. S druge strane, naravno da zakon nije uvek, svuda i savršeno efikasan za sve slučajeve, ako se odmaknemo od pornografije na trenutak, JuTjub je prepun snimaka pravog nasilja.
No, naravno, ovo je i filozofsko pitanje jer u pravo nasilje može - zavisno od ugla gledanja - da spada i to da u videu prikazuješ simulaciju nasilja, dakle roleplay u kome se vidi udaranje šamara, gaženje po licu i šta već sve možemo videti u kink.com produkcijama, roleplay scene silovanja u kojima se preti oružjem (doduše, ovo su uglavnom ruske produkcije), te svu silu bondage/ torture videa u kojima se bez ikakve sumnje partneru nanosi fizički bol, a ako u nasilje svrstavamo i psihološko nasilje (a generalno se svrstava u teoriji i praksi koja se njime bavi) onda je tu i sva sila ponižavajućih činova i situacija. Za sada, u ovom trenutku, ovakve stvari se smatraju društveno prihvatljivim jer postoji koliko-toliko jasan pristanak svih učesnika na ovakve glumačke situacije, kink.com produkcije i produkcije Matta Williamsa za sopstvenu firmu prave poentu time što svaki video sadrži pre i post intervju sa učesnicima gde se eksplicitno izražava informisan pristanak i prolazi kroz bezbednosnu proceduru da se osigura jasnoća percepcije da je ovo profesionalna produkcija u kojoj su učesnici bezbedni i sve vreme svesni šta se može očekivati, te vlasni da ga prekinu, a u post intervjuu se proverava jesu li imali traumatičnih momenata. No, ovo je sve, razume se, balansiranje na oštrici noža i nije nezamislivo da javno mnenje u nekoj sasvim skorašnjoj budućnosti većinski odluči kako bez obzira na informisani pristanak, scene nanošenja bola i javnog ponižavanja ljudskog dostojanstva naprosto nisu prihvatljive kao komercijalni proizvod i da se sve to stavi van zakona u nekim jurisdikcijama. Ne treba, uostalom zaboraviti da je "prava" BDSM pornografska produkcija u SAD u stvari relativno novog datuma i da je bukvalno do pre desetak godina bilo zakonom zabranjeno da u istoj sceni imaš "nasilje" - dakle, recimo, vezivanje partnera i penetraciju delom svog tela u njega, odnosno da se to smatralo seksualnim nasiljem, pa su produkcije uglavnom sadržale alatke umesto, jelte... "alatki".
Vidiš, negde u sećanju mi je ostao komentar neuporedive Amarne Miler - porno-glumice (i režisera, pisca, i medijske persone) koju možda najviše poštujem - u kome kaže da Kink ima najbezbedniju i najprofesionalniju produkciju u čitavoj industriji. Tipa, iza kamere je uvek i pripravno profesionalno medicinsko osoblje. Tipa, glumica dobije formular na kome treba da popuni koliko se lagodno oseća u pojedinim radnjama na skali od 1-10 ("nipošto" do "totalno prihvatljivo"). I sl. Ali, naravno, običan svet ne može da zna za sve to gledajući snimke. Sa druge strane, pitam se zašto bi "običan" svet uopšte gledao Kinkove snimke... "Radoznalost je ubila mačku", kažu.
Tu negde, naravno, vreba mračna činjenica da devojke od 18-20 godina* često ne znaju u šta se tačno upuštaju, ali to važi i za ostatak ljudskog roda od početka istorije, tako da mi nije neki argument koji bi išta bitno promenio.
*iako na Kinku i nema baš mnogo takvih devojaka
Da, pa, po mom mišljenju, iz perspektive zakonodavca se uglavnom ne radi se o tome da li će te stvari gledati "običan" svet, dakle ta neka pretpostavljena odrasla osoba sa izgrađenim kognitivnim, iskustvenim i moralnim aparatima koja shvata principe dobrovoljnosti itd. Zakonodavac uglavnom razmišlja da treba da prevenira slučajeve u kojima će osobe nepripremljene na ovakvo iskustvo dobiti priliku da ga dobiju, dakle, taj neki proverbijalni impressionable youth itd. Mislim, uobičajena je debata to da li pornografija kvari omladinu time što im pokazuje nerealistične seksualne situacije kao da su uobičajene a uobičajeno marginalne fetiše normalizuje prezentirajući ih kao svakodnevne i očekivane, ili, pak deluje kao koristan socijalni ventil u kome potencijalni seksualni nasilnici (dakle ne samo psihopate već i obični ljudi koji mogu biti frustrirani) nalaze dovoljno dobro ispunjenje da u stvarnom životu onda nemaju dovoljno snažan impuls ka nasilju. Ja naravno nemam pojma šta je tu pravi odgovor jer verujem da je i jedno i drugo u solidnoj meri tačno... S jedne strane, pornografija u kojoj postoji roleplay koji uključuje seksualno nasilje je mnogo prisutnija u sveukupnoj produkciji danas nego kada smo mi odrastali, dakle, u ukupnoj masi je ima procentualno više jer je normalizovana (verovatno zahvaljujući internetu i proliferaciji "marginalnih" fenomena u opštoj populaciji koju je on omogućio), pa je sasvim lako shvatiti uznemirenje na obe strane političkog spektra da je ovo nešto što za mladu osobu može da predstavlja ne način da na bezbedan način upražnjava svoj urođeni/ stečeni fetiš već uzor po kome "treba" da se razvija, odnosno uobičajeno, očekivano socijalno ponašanje. S druge strane, seksualno nasilje je u stalnom, postojanom opadanju poslednje dve decenije u državama koje transparentno troše ovakvu pornografiju i vode transparentne statistike o ovome tako da... treba biti pametan.
Da, treba stvarno biti pametan. Nisam tinejdžer, pa ne znam, a svako poredjenje sa sopstvenom mladošću je nemoguće, jer bilo je drugačije vreme, i drugačiji uslovi.
Brazzers je mreža koja je čitavu svoju slavu maltene postigla na rolplej situacijama. Devojka sa momkom... i maćehom. Žena sa sinovim prijateljem. Čovek sa prijateljevom ženom. I slično, samo upotrebite maštu. :) (Iskreno, meni su oni užasno precenjeni, što zbog (uglavnom) takvih budalastih scenarija - iako shvatam da upravo to mnogi vole - što zbog sve plastike i silikona koji su prominentni među njihovim "zvezdama". Ali to je druga priča.) Taj Brazzers se pre nekoliko godina našao u vrlo nezgodnoj situaciji. Ne sećam se detalja, i mrzi me da kopam po netu, jer neće promeniti poentu, a ova je da su snimili scenu seksa u kojoj se pojavljuju obe rumunske sestre Romain, koja je da li odmah povučena ili nikad ni objavljena, iz straha od reakcije - svejedno, to govori koliko američko društvo zazire od incesta (mnogo više nego od BDSM-a).
Srećom, internet je tu scenu sačuvao za pokolenja :lol: Kome se BAŠ BAŠ BAŠ gleda može je izguglati pretragom "PRO, Wincest, romain sisters", mada naravno onda će pored anđeoske Alice morati da trpi ne toliko anđeosku Sandru :lol: :lol: :lol:
Zato je Sandra, sa svojim stažom, i svojim sklonostima, prava mašina za mlevenje muškog (i ženskog) mesa, a neki sigurno to vole. :lol: Sve ima svoje. xjap
Šalim se, nemam ja neke stvarne preference tu, ja sve te žene cenim kao ozbiljne udarnice koje rade težak, rizičan i psihološki veoma opterećujući posao, da ne pominjem socijalno i dalje prezern, a u ime ispunjavanja naše dokolice materijalom za koji uglavnom ne pružamo nikakvu kompenzaciju.
:shock: :shock: :shock: :shock:
Botox May Have a New Use: Treating Depression (https://www.yahoo.com/beauty/botox-may-have-a-new-use-treating-depression-205610606.html)
ovo nije na lekovima budućnosti jer tek treba da odrade studiju sa proper kontrolama? :lol: :lol:
Pa, da, mislim, tekst je prilično lightweight, u pitanju je jedna studija koja je našla nekakvu korelaciju itd. Ne bih za sada ovo preozbiljno shvatao, čak i lekar koga intervjuišu veli da ne vidi da će ovo zameniti antidepresive...
Jackie Chan's Major Injuries: A Catalogue of Pain (http://kotaku.com/jackie-chans-major-injuries-a-catalogue-of-pain-461465578)
Novi album trešera iz Nju Džersija, Overkill, a pod nazivom The Grinding Wheel je izašao danas. Zvuči baš kako i očekujete. Nema iznenađenja, Bobi i ekipa odavno ne prave ništa revolucionarno ali im je muzika zakucana u vrlo visoku policu kvalitetnog teškog roka :lol: U to ime:
https://youtu.be/GSbgxG-jLMU (https://youtu.be/GSbgxG-jLMU)
Razume se da je Marvel shvatio da je godina u kojoj poslednji film sa Hjuom Džekmenom u ulozi Wolverinea i pravi momenat za povratak originalnog Wolverinea u stripove...
http://wegotthiscovered.com/comicbooks/marvel-solicitations-wolverine-resurrection/ (http://wegotthiscovered.com/comicbooks/marvel-solicitations-wolverine-resurrection/)
https://foreignpolicy.com/2017/02/23/discovering-icelands-hottest-new-reality-tv-show-about-cats-keeping-up-with-the-kattarshians-pop-culture-internet-kittens/
P, tek sad vidim ovo za ovaj rijeliti šou, a to mi je i žena juče pomenula... Perverzno!
S druge strane:
Cats are full of mind-controlling parasites but owning one probably doesn't cause mental illness (http://www.theverge.com/2017/2/22/14696978/cat-mental-illness-health-toxoplasma-gondii-parasite-schizophrenia)
Pošto poslednjih dana slušam Katalepsy, red je da istaknem da je njihov bubnjar Jevgenij Novikov baš dobar tehničar i izvrstan da se pokaže kao neko ko ima i preciznost i brzinu i snagu (svira obrnutim palicama) i tehniku u isto vreme. Videto kako rutinski odrađuje gravity blastove i heel toe duplanja. Stvarno sjajan:
https://youtu.be/NNr8jx2DEFI (https://youtu.be/NNr8jx2DEFI)
https://youtu.be/OYeH80TXsDI (https://youtu.be/OYeH80TXsDI)
xyxy :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi64.tinypic.com%2F2wnmvsh.jpg&hash=94fa6dff0bc40ca41759a98ba4a151f2a4c4637e)
Tom Tejlor, koji piše meni dragi All-New Wolverine za Marvel veli da za sada odustaje od putovanja u Ameriku, Tramp, provere na granici, ovo ono:
https://www.facebook.com/TomTaylorWriter/posts/1471859196157810
QuoteSadly, I won't be attending Emerald City Comicon in Seattle this week.
I have also turned down all other US signing and convention invitations so far this year.
I know I'm far from the only person concerned about traveling to the States at this time, but I wanted to explain my decision.
I want to start by saying this decision was incredibly difficult. I was really looking forward to this trip. I have traveled to the US regularly since 2009. This year, I have four different books with three different publishers, and a TV series to promote. Beyond this, I have fans and colleagues I was looking forward to meeting. I also have many good friends in the States, and I was looking forward to catching up with all of them. Truth be told, I'm missing them.
But America, through no fault of most of its citizens, doesn't feel like a safe or welcoming travel destination at this moment.
There have been reports of interrogation, phone data downloads, requests for social media accounts, returns and five-year travel bans and everyone from children to the elderly being detained. All of this has many people I've spoken to reconsidering or cancelling their US travel plans.
I've had friends and people I work with suggest I leave my phone at home, or delete my twitter account for a month before I come.
I refuse those terms.
My twitter account isn't complimentary towards the current administration, but it's far from inflammatory and shouldn't need to be scrutinized to gain entry to a country where free-speech is so highly valued.
Traveling fifteen hours on a plane is bad enough. Travelling towards uncertainty, half-worried about being caught in limbo by overzealous border security, with my wife and children wondering why I haven't called, is nightmare fuel.
However, there is something else which bothers me more than all of this, and ultimately decided me in talks with my family.
And that's the idea that I have nothing to worry about. The idea that I could be let in without the extra scrutiny, without incident, without a care in the world... purely because I'm a straight white guy.
I don't want to happily visit a country that is in the process of denying entry to so many, purely because of where they were born or what they believe. And so, I won't.
I truly hope things change soon. I hope America becomes the welcoming place it has been for me, and so many others, for so long. I hope I can again visit without trepidation, and I hope the country, once again, welcomes refugees who need America more than I ever will.
Until then, I will continue to write stories of America's greatest fictional heroes every week, and hope that real American heroes step up.
Hopefully see you soon.
Tom Taylor.
tom tejlor u ulozi: dobro jutro, kolumbo.
em stare vesti em poznato odavno: akti koje su uveli Bushova a neke i Obamina administracija. i uvek se pitam da li će im nova administracija ukinuti ili produžiti expiry date, recimo, Patriot act ima rok trajanja, svaki put većaju da li da ga produže i svaki put glasaju "da".
a ovi tomovi i džeriji što su iznenada progledali, kao došao tramp pa uveo režim nas-rofl
kao da to isključivo ima veze sa trenutnom administracijom. :cry:
u to ime: USA, stižem. soon. :lol: :lol:
Pa, da, svakako. Postoji blagi dodatni strah sada u vezi toga da će te možda na granici pitati da im daš pasvord za svoj fejsbuk ili tviter itd. ili tražiti da otključaš telefon da oni to pregledaju.
Da, da, DA!!!!!
Donnie Yen To Headline 'Sleeping Dogs' For Neal Moritz's Original Film (http://deadline.com/2017/03/donnie-yen-sleeping-dogs-neal-moritz-original-film-1201948700/)
Ribut Dak Tejlsa iščekujem sa nadom i zebnjom. Verujem da će skript i gluma biti zanimljivi, ali animacija je, u ovom trejleru, prilično odbojnih kvaliteta...
https://youtu.be/0-LNgU4e1rE
Meni ovo izgleda kao neki generički Cartoon Network crtać. Možda lupetam, ali ni crtež mi ne izgleda kako treba, sve je nekako siromašno.
Pa, da, da, crtež i animacija ne obećavaju.
Quote from: Meho Krljic on 02-03-2017, 08:49:24
Pa, da, svakako. Postoji blagi dodatni strah sada u vezi toga da će te možda na granici pitati da im daš pasvord za svoj fejsbuk ili tviter itd. ili tražiti da otključaš telefon da oni to pregledaju.
to su mogli i ranije, i bez trampa i sad sa trampom. kao što su mogli i da te uhapse i niko ne zna gde si, etc. etc.
al divno je što su mnogi progledali posle trampove inauguracije. ima nade za humankind! nas-rofl
Пошто се често служиш неистинама, некако испада да те стално черечим, али не - само реагујем на твоје неистине, јер има овде случајних пролазника који могу помислити да су твоје неистине заправо некакве једине истине...
Quote from: Meho Krljic on 09-03-2017, 19:54:20
T2: u islamu sveštenstvo ne postoji. Vrati se i pročitaj o tome. Ili nemoj, nije toliko važno, rasprava je vođena, dovedena do kraja, koga zanima može da je vidi, sve stoji na drugom topiku.
Да будемо фер, расправа није доведена до краја јер сам био банован.
То што свештенство у исламу није истоветно свештенству у хришћанству - не значи да не постоји како ти кажеш, већ да је другачије структуирано.
У супротном, шта су:
муфтије, помоћници муфтија, главни имами, имами, помоћни имами, мујезини и слично.QuoteСвештеници шиитске и сунитске гране ислама противе се насилној праки екстремиста Исламске државе. Та организација сматра шиите отпадницима који заслужују смрт. Најмање 20 припадника ирачких Курда погинуло је у борбама против џихадиста.
Ево и слике исламског свештенства са скупа:(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.rts.rs%2Fupload%2FstoryBoxImageData%2F2014%2F11%2F23%2F17836344%2FSvestenici.jpg&hash=2bc3d2e6f0e4b9a55e99b4d732f913c527044f92)
Слика је говорила више од 1001 речи.
Навео си да је расправа окончана итд, али није.
Биће окончана тек када одговориш, својим речима, ко су и шта су:
муфтије, помоћници муфтија, главни имами, имами, помоћни имами, мујезини и слично.Значи само толико.
Хвала и пријатно.
Pa već sam naveo, na ovom istom topiku, evo ovde: http://www.znaksagite.com/diskusije/index.php?topic=4207.msg648026#msg648026 (http://www.znaksagite.com/diskusije/index.php?topic=4207.msg648026#msg648026)
I dao gomilu izvora da se radoznao svet uputi dalje u problematiku.
Значи не знаш ко су муфтије, помоћници муфтија, главни имами, имами, помоћни имами, мујезини и слично?
Значи оповргаваш да су на слици и линку који сам приложио исламски свештеници?
:lol:
Nema mnogo smisla da se ponavljamo, pogotovo na temu koja je toliko opštepoznata i dobro obrazložena od strane ozbiljne literature, pogotovo jer je ovaj razgovor otprilike ovog tipa:
Sagovornik 1: Tako je i tako.
Sagovornik 2: A jel' imaš ti za to neki dokaz?
Sagovornik 1: (pruža dokaz)
Sagovornik 2: ...
Sagovornik 1: ...
Sagovornik 2: A jel' imaš ti za to neki dokaz?
Dakle, pojasnio sam na više mesta na forumu da islam nije religija analogna hrišćanstvu samo sa polumesecom umesto krsta bez obzira na zajedničke korene u judaističkoj svetoj knjizi i da njegova specifičnost - da su vera i pravo intergisani, da ne postoji kanonsko tumačenje svetih spisa niti institucija od koje se ono očekuje - znači i da ljudi koji bi u hrišćanstvu bili sveštenici u islamu ne postoje i da su poznavaoci vere i izvođači određenih verskih aktivnosti bliži onom što bi u našem kulturnom kontekstu bilo smatrano akademicima ili političarima. Ti si slobodan da kažeš "za mene su to sveštenici", naravno, ali to je poopštavanje koncepta sveštenstva u koje bismo onda mogli da uključimo i sudije ustavnog suda ili pripadnike SANU.
Дакле Мехо:
1. ко су муфтије, помоћници муфтија, главни имами, имами, помоћни имами, мујезини и слично?
2. да ли су на слици и линку који сам приложио исламски свештеници? Ако нису, ко су људи на слици?
3. Како можеш да укључујеш судије и САНУ међу свештенике, кад немају додирних тачака са религијом?
Pa sve sam napisao u gornjem postu. Neću valjda opet da ponavljam??
Umesto toga, nek se peva i igra:
https://youtu.be/e9f3bsqkfT4 (https://youtu.be/e9f3bsqkfT4)
Ајде, на 1 и на 2 си некако и одговорио, али на 3 ниси.
По тој логици и ја тебе могу сматрати некаквим свештеником чедоморства, а Сташу Зајевић - првосвештеницом чедоморства....
:lol:
Pa, nije da bi to bilo iznenađujuće u odnosu na sve drugo što inače pišeš po ovom forumu.
Па друже, само користим твоју логику гледања на ствари.
Јер ако кажеш да су судије и академици САНУ - некакви свештеници (само не рече чега), онда истом том твојом логиком си ти свештеник чедоморства, јер га бесрамно заговараш.
Ne, ne, sve se tu po običaju naopako shvata. Već je o tome ispisano kola reči ali evo jedan mali FAQ za svaki slučaj:
Q: Dakle, ti se zalažeš za ubijanje dece?
A: Ne, nego za planiranje porodice.
Q: Ali deo tog planiranja je i abortus?
A: Elektivni abortus je deo planiranja porodice, njegov poslednji, najmanje elegantan i najskuplji deo koji mora da bude na raspolaganju ali istovremeno rad na edukaciji i obezeđivanju sredstava i savetovanja u domenu planiranja porodice treba da doprinese da ljudi (žene i muškarci) ni ne dolaze u situaciju da razmišljaju o abortusu već da potomstvo imaju kada žele, a ne slučajno.
Q: Dobro, edukacija, savetovanje, sredstva, ali zar ne bi bilo pametnije da u to uložimo svu energiju i novac a na račun abortusa koji bismo stavili van zakona?
A: Deluje tako ali se kroz istoriju pokazalo da stavljanje abortusa van zakona vodi tome da se abortusi izvode nezakonito - dakle umesto da imamo manje abortusa, imamo isti (ili veći, jer tipično uz zabranu abortusa ide i zabrana raznih drugih metoda planiranja porodice) broj, samo se izvode protivzakonito, u nebezbednim uslovima, uz ugrožavanje zdravlja i života osobe koja mu se podvrgava.
Q: Dobro, ali i dalje smo neprijatelji?
A: Zapravo, načelno, ljudi koji se zalažu za stavljanje abortusa van zakona i oni koji ga brane imaju isti motiv: zdravlje žena i njihovog potomstva tako da je moguće naći zajednički jezik. Oni koji se zalažu za abortus kao zakonom odobrenu metodu planiranja porodice zapravo najviše od svih rade na tome da do njega što ređe dolazi, promovisanjem drugih, elegantnijih metoda.
Poslednji A ima netačan detalj. Protivnici abortusa nemaju u svojoj listi prioriteta zdravlje žena i njihovog potomstva. Ono što imaju kao prioritet je komanda iz Biblije "množite se". Kao i demografski problem sa muslimanima. Kad bi muslimani dozvolili abortus verovatno bi ih i hrišćani sledili.
Mrrrrpfgh...
Mora se umešam...
Liberalizam koji Mehan 'čovekoljubno' i modernistički pokušava svim snagama da ispromoviše je meni sve više konzervativnom postao banalan.
Najnovije je isplivalo iz anlosaxonskkih govora 'planned parenthood', u nas uvaljeno kao 'planiranje porodice' ,što uvaljuje cajper jer je to prevod od 'planiranje roditeljstva',
što povlači da se briše porodica, jer je konzervativna, a dozvoljava roditelj. Ili roditelji. jedan ili dva, dva muška iki dva ženska, pederaja ulazi i na mala vrata ;)
Odobravate abortuse, ali samo ako vama i vašim doktorima debelo plate za to, zaboga sačuvaćete ih od seoskih vračara?!
Uvljujete im kondome, spirale , takodje za vaše pare, plus farmaceuti da zarade na pilulama!?! Koje poremećuju hormone i štasvene?!
Ali ste ih prvo EDUKOVALI da imaju PRAVA DA SE JEBU KO ŠTUKE kad god stignu i de god i sa kim stignu, jer zaboga, popili smmo Sexualnu revoluciju koja je bila dojaja i nastavićemo sa svim tim liberalnim sranjima i marihuanu legalizovati , ali nećemo povući ručnu!
Reći ćemo svima da paradiranje pederčina i ostalih nakaza je ok, moderno,evropski, svetski, jebote ,imamo ajfone, kojkurac, mi smo naj,
ali neka lezbo stoka je rekla da ne treba bebe se doje u javnosti ,jer im to smeta.
WhatTheFuck!?!?
Umesto lepo da najnormalnije objasnimo deci da se uopšte ne moraju sexati pre nego što budu zreli da odaberu osobu sa kojom čak i da se desi beba okej je čuvati, ako nećete vi, baba i deda će, kad ste već nepopravljivi debili, jelte.
Jer ni sex nije zajebancija, pa se ni to ne sme tek tako iz mase razloga!
DEČJA I LJUDSKA PRAVA DA SE JEBU KAD 'OĆE?!
Bravo! I onda ste divni sa abortusima.
Niko ne pominje zdravu porodicu gde se zna kome je šta DUŽNOST, nego pravite dve rupe a krpite jednu sa tim liberalizmom.
I nemoj niko da mi pomene civilizacijski napredak, jer sve se ovo dešavalo x puta dosada, samo sada može na planetarnom nivou, jebga komunikacija napravi svet na selo.
Moj veliki prijatelj Meho sve ovo zna, ali čovek je rešio da ide u taj zglajzani pravac misleći da čini dobro ljudima.Okej.
Ima vremena, mlad, rešiće zablude kad tad, treba mu neko reći, evo ja se javi prvi.
I bajdvej, to feminističko, moje telo, mogu radim sa njim šta oću, zajebi, to, za abortus su krivi oboje, tu su jedino ravnopravni.Šta god da rade, oboje imaju dužnosti, kaki kurac prava.
Ako ćemo vulgarno, volite se a mladi ste i glupi, naučite ih prvo da se 69 -uju dok mozak ne pokupi dovoljno informacija.
Mada dok ja ovo pričam, neke partije po belom svetu bi i pedofiliju da legalizuju uz istu tu spiku PRAVA i odobravanja....muka mi od takvih....
Za kraj, fala bogu što nismo u EU i ...Vučić bi bio skroz okej,zabole me, da nije dopustio Gej paradu. To mu je unforgiven, pa sve da nas sa onim usnicama svakog posebno cuki u guzu, džaba....
Каква су ово испирања мозга, па је абортус од чистог убиства доспео да буде средство планирања породице!
Породица се не планира убијањем нерођених...
Али ок, то је тај сатанистички Обамакер, само ви то фурајте и тиме утврђујте јасну разлику између нас који смо за живот и вас, који промовишете смрт.
Quote from: Ugly MF on 10-03-2017, 19:22:31
Odobravate abortuse, ali samo ako vama i vašim doktorima debelo plate za to, zaboga sačuvaćete ih od seoskih vračara?!
Uvljujete im kondome, spirale , takodje za vaše pare, plus farmaceuti da zarade na pilulama!?! Koje poremećuju hormone i štasvene?!
Ali ste ih prvo EDUKOVALI da imaju PRAVA DA SE JEBU KO ŠTUKE kad god stignu i de god i sa kim stignu, jer zaboga, popili smmo Sexualnu revoluciju koja je bila dojaja i nastavićemo sa svim tim liberalnim sranjima i marihuanu legalizovati , ali nećemo povući ručnu!
Reći ćemo svima da paradiranje pederčina i ostalih nakaza je ok, moderno,evropski, svetski, jebote ,imamo ajfone, kojkurac, mi smo naj,
ali neka lezbo stoka je rekla da ne treba bebe se doje u javnosti ,jer im to smeta.
WhatTheFuck!?!?
Umesto lepo da najnormalnije objasnimo deci da se uopšte ne moraju sexati pre nego što budu zreli da odaberu osobu sa kojom čak i da se desi beba okej je čuvati, ako nećete vi, baba i deda će, kad ste već nepopravljivi debili, jelte.
Jer ni sex nije zajebancija, pa se ni to ne sme tek tako iz mase razloga!
DEČJA I LJUDSKA PRAVA DA SE JEBU KAD 'OĆE?!
Bravo! I onda ste divni sa abortusima.
Социјалистичка партија Америке издејствовала је резолуцију која је омогућила да се 28.2.1909 у САД обележи "Национални дан жена" који је инспирисао Луиз Циц да предложи организовање "Међународног дана жена".
Ипак, због неспособности гђе Циц, идеја није спроведена у дело, па је уступљена Клари Цеткин, социјалистичкој политичарки, атеисти и борцу за права хомосексуалаца.
Њено деловање, поред борбе да међународна заједница призна датум, састојала се и од позива свим женама света на:
-Слободну љубав ( разврат, курварлук, разуздан секс, варање)
-Право на развод брака ради стицања материјалне користи
-Чедоморство ( "Абортус је права ствар.Он је корекција учињене грешке").
Čuo sam da u našem 'Srpskom' zakonu, dete nije živo do momenta presecanja pupčane vrpce!?!?
Znači kad se rodi, mož' da mu fikneš glavu ili vrpcu, biraš?!?
I znaš onda kolko treba se osvrćemo na te komunističke, boljševičke,marksističke,darvinističke,satanističke glupave zakone?!?
Болештине са запада које су се укорениле овде и које шире комесари који анс убеђују у небулозе да је убиство детета у ствари један леп, моралан и незаобилазан чин у планирању породице...
Колико мораш бити глуп, луд, очајан, декинтиран, полупан, уцењен или шта већ - па да фураш те ненормалне болести са запада и да их шириш међу Србима?
I, kao po obicaju, abortusom se bave uglavnom muskarci. Njih ubija sto se neka N zena iz njoj poznatih razloga odlucila na taj potez, zaviruju u matericu, histerisu.
Posto je kod nas i u civilizovanim drustvima ovo pitanje uredjeno, samo nastavite da placete. Cry me a river.
Da, dojenje u javnosti je ženama sramota.
Mogla bih knjigu napisati što sam proživljavala od strane "žena" jer sam dojila djecu "izvan 4 zida", ili wc-a.
A ove sise koje reklamiraju sve živo po medijima su im prava stvar...
Quote from: Ugly MF on 10-03-2017, 19:22:31
Najnovije je isplivalo iz anlosaxonskkih govora 'planned parenthood', u nas uvaljeno kao 'planiranje porodice' ,što uvaljuje cajper jer je to prevod od 'planiranje roditeljstva',
Zapravo i jedno i drugo se koriste. Ja sam više od dve godine radio za Međunarodnu Federaciju za Planirano Roditeljstvo i u svim njihovim zvaničnim papirima - pa tako i u onim koji su ovde publikovani govori se isključivo o metodama za planiranje porodice, ne roditeljstva.
Quote from: Ugly MF on 10-03-2017, 20:04:17
Čuo sam da u našem 'Srpskom' zakonu, dete nije živo do momenta presecanja pupčane vrpce!?!?
Na ovom forumu je "čuo sam" postao previše korišćen argument. Evo ti zakon o porodici:
http://www.paragraf.rs/propisi/porodicni_zakon.html (http://www.paragraf.rs/propisi/porodicni_zakon.html)
Ima i prednacrt zakona o pravima deteta koji još nije usvojen. Da pomognem, ni u jednom ne piše to što kažeš.
Što se tiče elektivnog abortusa, propisi i protokoli koji se njega tiču (detaljno sam ih iščitavao za potrebe jednog istraživanja koje smo radili pre četiri godine) ni slučajno ne govore o tome da je dete živo tek po presecanju pupčane vrpce i kod nas se, kao što je uglavnom standard po razvijenijem svetu, elektivni abortus može vršiti najkasnije do desete nedelje trudnoće, a samo u izuzetnim okolnostima posle njega, i to uz svu silu odobrenja koja daju stručna tela.
QuoteI, kao po obicaju, abortusom se bave uglavnom muskarci. Njih ubija sto se neka N zena iz njoj poznatih razloga odlucila na taj potez, zaviruju u matericu, histerisu.
Posto je kod nas i u civilizovanim drustvima ovo pitanje uredjeno, samo nastavite da placete. Cry me a river.
Pobačajem se i trebaju baviti muškarci. Da nije bilo njih, ne bi bilo ni začetog djeteta.
Muškarac je nositelj duhovnosti na Zemlji. Ženino je da u dobru i zlu bude uz svog čovjeka.
Ako žena misli da je njena maternica samo njena, onda neka je ne daje na korištenje, da se jasnije izrazim, neka se ne yebe qurcem.
Hehehe, to znači onda da sam loše čuo.Enivej, radilo se o nasilnom napadu, manijak nožem ubo trudnicu u stomak, tipa, nije živo, advokati ,sudstvo, itd, možda i to ima negde na netu, svejedno.
Kakav god da je zakon, sranje je, ali nema veze, mnoge su stvari sranje
pa nikom ništa.
Dybuk misli da joj je društvo uređeno jer žensko danas mož' se jebe kad hoće, s kim hoće, kolko hoće i abortira kolko god puta hoće.
Meni je to nebuloza, al' okej, izgleda svako živi u svom svetu bez obzira na kuckanja po netu.
Dojenje bebe.Nije mi jasno šta tu ikome može da bude povod da se išta kaže negativno.
Ali poenta je kolko god se društvo bude uređivalo, uvek će biti i njih i nas.
Neki će da se kriju iza državnih zakona i institucija, a mi ćemo našu decu da učimo da budu lukavi kao zmije i prepoznaju zlo u svakom obliku.
Prosto!
Quote from: Divlje srce on 10-03-2017, 20:26:27
QuoteI, kao po obicaju, abortusom se bave uglavnom muskarci. Njih ubija sto se neka N zena iz njoj poznatih razloga odlucila na taj potez, zaviruju u matericu, histerisu.
Posto je kod nas i u civilizovanim drustvima ovo pitanje uredjeno, samo nastavite da placete. Cry me a river.
Pobačajem se i trebaju baviti muškarci. Da nije bilo njih, ne bi bilo ni začetog djeteta.
Muškarac je nositelj duhovnosti na Zemlji. Ženino je da u dobru i zlu bude uz svog čovjeka.
Ako žena misli da je njena maternica samo njena, onda neka je ne daje na korištenje, da se jasnije izrazim, neka se ne yebe qurcem.
Bravou!
Quote from: Dybuk on 10-03-2017, 20:10:43
I, kao po obicaju, abortusom se bave uglavnom muskarci. Njih ubija sto se neka N zena iz njoj poznatih razloga odlucila na taj potez, zaviruju u matericu, histerisu.
Posto je kod nas i u civilizovanim drustvima ovo pitanje uredjeno, samo nastavite da placete. Cry me a river.
Мушкарци су на духовно вишем нивоу од жена.
Женама је лакше манипулисати и жене прихватају све, па чак и да убијају своју децу.
Познати разлози попут курварлука, трпања сваке вечери са другим партнером итд?
Не жалимо ми такве полупане олоше, већ убијену децу.
Иначе, јасно је да су овакве будалаштине могле прво да се укорене на западу, где је људима систематски испиран мозак, па да се полако шири даље, заједно са окупацијом коју је запад чинио ка остацима слободног света.
Сачувај нас Боже "цивилизованог" света у коме страдају нерођена деца!!!
https://www.youtube.com/watch?v=EMPiUJ0qPEk
njezina!
negujmo hrvatski standardni jezik.
Томат - стручњак за "хрватски" језик.
Жалосно је колико овде има ликова који у многе речи стандардног матерњег језика убацују ненормално Ј, ваљда жале што нису рођени као "Хрвати"...
Quote from: tomat on 10-03-2017, 20:34:01
njezina!
negujmo hrvatski standardni jezik.
Zahvaljujem na korigiranju. Budi ljubazan, obrati pažnju i da li pravilno koristim znakove interpunkcije, malo i veliko slovo, ije i je. Nadam se da lektoriraš besplatno, na dobrovoljnoj bazi, jer ti to trenutno ne mogu platiti.
Nema veze, platio mu je bog kad ga je učinio duhovno višim od tebe, tako da je OK.
Ili tako nešto?
A može li ovde o ženama u uniformi?
Који Бог?
Онај ваш бог коме се клањате и приносите на жртву нерођену децу убијену чедоморством и заговарањем чедомортсва?
Некад је била полупанија од Механа и Томата и лапрдаљке заједно, али онда је схватила...
Није ни за вас касно да следите пример ове жене која се исчупала из канџи феминистичке слободне љубави тј. курварлука и порнографије.
QuoteOD PORNO ZVEZDE DO PROPOVEDNICE: Šta je nateralo bivšu glumicu da osnuje svoju crkvu?
Kristal Baset je dok je bila porno glumica svoju celokupnu zaradu koja je iznosila i do 300.000 dolara potrošila na kola i pijanke.
Ona je pod imenom Nađa Hilton glumila u preko 100 filmova. Do promene je došlo kada je pronašla Boga i krenula u crkvu gde je upoznala sadašnjeg supruga Dejvida koji je tamo bio pastor.
Posle tri godina i Kristal se priprema da postane propovednica i pohađa specijalizovanu školu. Ona i suprug su i odnovali sopstvenu crkvu.
Sada majkra troje dece, prvo je dobila sa 16 godina i da bi ga izdržavala počela sa poslom foto modela, a kasnije i porno glumice.
U početku je bila prestravljena novim poslom, pa je posle prve scene napravila pauzu mesc dana, ali je ipak vratila.
Imala je podršku porodice, ali je svoju celu zaradu potrošila na piće, kola i svoj noćni klub. U jednom trenutku je osetila da mora da promeni život, otišla u crkvu i prvi put čula propoved, za koju kae da kao da je bila baš njoj namenjena.
U crkvi je upoznala muža, koji zna čime se bavila i ne osuđuje je. Sa njim je osnovala svoju crkvu "Novi počeci hrišćanskog života" i nada se da će i drugima pomoći da promene život.
http://www.kurir.rs/planeta/od-porno-zvezde-do-propovednice-sta-je-nateralo-bivsu-glumicu-da-osnuje-svoju-crkvu-clanak-2720553
Quote from: Meho Krljic on 10-03-2017, 20:49:44
Nema veze, platio mu je bog kad ga je učinio duhovno višim od tebe, tako da je OK.
Ili tako nešto?
Hahahaha, a jebiga Meho, nije život uvijek fer.
Njemu plaća Bog, tebi država, i vama fino. :D
Quote from: Stipan on 10-03-2017, 20:51:41
A može li ovde o ženama u uniformi?
Hahahaha, nije tebi lako ovdje, dragi Stevane.
Да будемо прецизни: пар страних држава. :D
Quote from: Stipan on 10-03-2017, 20:51:41
A može li ovde o ženama u uniformi?
Само за тебе Стипе, лепотица из Израела, па још у боундиџ акцији... ;)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Focdn.eu%2Fpulscms-transforms%2F1%2FGN8ktkpTURBXy81ZjVjMWQzMjVmNGIwOThmZWU3MTlkNTU2Y2U5MjFmNi5qcGeSlQLNAxQAwsOVAs0B1gDCww&hash=558f6e37fda52e852d29ec443f14219548aad065)
Quote from: Divlje srce on 10-03-2017, 21:02:10
Hahahaha, nije tebi lako ovdje, dragi Stevane.
Pa i nije, da znaš... Pogle samo šta mi ovaj T2 podmeće...
Мала је јака жена + БДСМ-у склона.
Све што волиш, на једном месту. ;)
Quote from: Stipan on 10-03-2017, 21:08:04
Quote from: Divlje srce on 10-03-2017, 21:02:10
Hahahaha, nije tebi lako ovdje, dragi Stevane.
Pa i nije, da znaš... Pogle samo šta mi ovaj T2 podmeće...
Auuu, hardcore!
Evo jedna vanilla švicarka za tebe:
(https://s15.postimg.org/50gu5vrmj/dcd5ef896b1106f6321a.jpg) (https://postimg.org/image/p7u9y6p3r/) (https://postimage.org/)
Шећерлем'ца :lol:
Uozbiljite se đeco!
(https://ae01.alicdn.com/kf/HTB1vbdcJFXXXXXdXVXXq6xXFXXX4/Sexy-font-b-Police-b-font-font-b-Officer-b-font-Jumpsuit-Erotic-Toys-font-b.jpg)
Прљава Хара ;)
Imamo sličan ukus, Stipane...
(https://s8.postimg.org/tc26a104l/e86c730894569798daae7807f35ae8ea.jpg) (https://postimg.org/image/eg3n2fopt/) (https://postimage.org/)
Вратимо још више достојанства овом полупаном топику кога смо оживели и усмерили на прави пут.
Сестре Израелке, у униформама и у бикинијима...
http://www.blic.rs/galerija/zanimljivosti/smrtonosne-lepotice-malo-pucaju-malo-se-suncaju-upoznajte-zanosne-pripadnice/c1skq12
http://www.blic.rs/galerija/zanimljivosti/smrtonosne-lepotice-malo-pucaju-malo-se-suncaju-upoznajte-zanosne-pripadnice/c1skq12
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Focdn.eu%2Fpulscms-transforms%2F1%2FRrLktkpTURBXy84MTNmMTEzMjk5YjhlNGQ1YmE2YjEzOTBiMDU5YjExOC5qcGeSlQLNAxQAwsOVAs0B1gDCww&hash=41135fbae06dbf3f08b9e12aa08c5472e292357e)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fcdn.tf.rs%2F2016%2F12%2F28%2FIzraelka-670x447.jpg&hash=56524b17401a2b72e62600f95af3654f00d582f6)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimages3.kurir.rs%2Fslika-724x489%2Fizraelska-vojska-devojke-fotoprintscreen-instagram-1483001395-1067969.jpg&hash=dbc3e5b07d0148443f8a97268322785be839f682)
Quote from: T2 on 10-03-2017, 20:58:25
odnovali
majkra
mesc
kae
Stvarno nam je štampa na najnižim granama kada Kurir neće da se ispruži ni za spelčeker...
Кад пресуше страни извори - ти се пријави да лекторишеш Курир.
До тада, вратимо достојанство овом полупаном топику и против плаћеничких глупости се боримо лепотом јаких жена...
(https://angusyoung111.files.wordpress.com/2013/06/1.jpg?w=631&h=348)
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
T2, za ovu golotinju ćeš pod mač, ako se ne zaustaviš!
Mehmete, reaguj!! :mrgreen:
Тек ће да профункционише како треба, и тек ће то бити право достојанство. :lol:
Реагирај, реагирај хахахаха
(https://rs-lat.sputniknews.com/images/110225/08/1102250837.jpg)
Quote from: Meho Krljic on 10-03-2017, 21:53:49
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
Mehmete, obećaj mi da će ovo proći. :(
Шмрц, шмрц, подршка, љубав, па онда под руку на чедоморску клинику...
https://www.youtube.com/watch?v=jVGWCfMFzik
Quote from: Agota on 11-03-2017, 01:03:41
Mehmete, obećaj mi da će ovo proći.
Taman posla... Tek smo počeli...
(https://s-media-cache-ak0.pinimg.com/736x/73/75/44/737544384d90c638c36c540b4eec1356.jpg)
Quote from: Agota on 11-03-2017, 01:03:41
Quote from: Meho Krljic on 10-03-2017, 21:53:49
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
Mehmete, obećaj mi da će ovo proći. :(
Pa, sigurno hoće. Pitanje je samo šta će ostati od foruma kad ovo prođe.
Oluja pročišćava....
Quote from: Meho Krljic on 11-03-2017, 07:42:28
Quote from: Agota on 11-03-2017, 01:03:41
Quote from: Meho Krljic on 10-03-2017, 21:53:49
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
Mehmete, obećaj mi da će ovo proći. :(
Pa, sigurno hoće. Pitanje je samo šta će ostati od foruma kad ovo prođe.
Ajme patetike! Ali stvarno...
Pa "Vama" i nije do OVOG foruma, ili nekog drugog, jer, potpuno ste omašili poantu forumske komunikacije.
Forum nije chat room, ćaskaonica istomišljenika.
Ono što VI radite, neovisno o VAŠIM imaginarnim oponentima, zove se zloupotrebljavanje forumske slobode i pažnje, omogućene samo na Sagiti, što, ne znam da li znate, ne bi imali na recimo forumu haer, ili nekom drugom.
Zapravo, mislim da ste vi jako dobro toga svjesni. Zato vas T2 i ugrožava. :)
Ako slučajno netko nepristran i prati ove "naši i vaši argumenti" postove, vjerojatno se misli da smo svi mi iste budale, i čudi nam se. Zabavlja.
Samo, meni je to jasno, ali tebi nije. Ti misliš da si velika nezamjenjiva forumska faca.
Zgadilo mi se tvoje i vaše preuveličavanje.
Quote from: Stipan on 11-03-2017, 09:05:02
Oluja pročišćava....
dobar si ti pjesnik, samo jos da svjesno natipkas nesto slicno. da razumijes sta napishes i s kakvim ucinkom. ali dobro je i ovako. :evil:
Napishem?
sta pjesniku nije jasno? usput, nedavno sam poslao na nekoliko mjesta gdje guras price na konkurse u hrvatsku esej da si vrlo predano sudjelovao u napadu na vukovar, kao i odlomke iz tvoje proze, sve uz nacionalisticke recenzije tvog prijatelja idiota. samo da znas, kad se pojavis negdje, kakva te pitanja cekaju.
Ah? Tako se to kod vas radi?
Pa dobro, svakom svoje, ali kako me ništa slično ne pitaju onda to jednostavno znači da sam suviše dobar da bi mi postavljali besmislena pitanja...
oluja prociscava! :evil:
Nego, da se vratimo izvornoj strani topika:
(https://s-media-cache-ak0.pinimg.com/736x/d2/44/ce/d244ce5a52e54d1075ae6b6cc6ef8f74.jpg)
Bravo Stipane!
Ovo sve više kreće da liči na one filmove što sam vid'o!!!
E, tako se to radi, braćo Sagitaši!
Mnogo ste matori da bi trolovali.
Oce li bit' te price o knjizevnosti skorije, ne mogu da iscekam....
Za uzvišenu umetnost trolovanja godine ne predstavljaju nikakvu prepreku.
To je duhovna kategorija nepojmljiva običnim smrtnicima.
dajte još slika
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.polyvore.com%2Fcgi%2Fimg-thing%3F.out%3Djpg%26amp%3Bsize%3Dl%26amp%3Btid%3D23184623&hash=eb7f81afff9092459af91b5034aa80214675f309)
A đe joj je uniforma?
još je mlada za uniformu
Quote from: Divlje srce on 11-03-2017, 11:22:34
Ajme patetike! Ali stvarno...
Patetika ili ne, forum je sasvim vidljivo izgubio veliki deo svog identiteta vezanog za žanrovsku književnost i kinematografiju. Gornji deo je skoro potpuno zamro, o knjigama se ne diskutuje, o filmovima i televiziji jedva malo bolje. Većina ljudi koji su nešto u ovdašnjoj publicistici, prevodilaštvu, žanrovskoj prozi ili kritici su sa foruma otišli ili se povukli u lurkerski status. Ima za to dosta razloga, ali trenutno stanje na forumu u kome vlada agresivno komuniciranje prepuno omalovažavanja, pretnji i govora mržnje sigurno ne poboljšava stanje i dokle god se to bude doživljavalo kao prihvatljiv način forumskog komuniciranja, legitimno je pitati se šta će ostati od foruma koji je imao određenu težinu u žanrovskim krugovima.
Quote from: Meho KrljicGornji deo je skoro potpuno zamro, o knjigama se ne diskutuje
Kako sad to? :shock: Evo Stipan nas ubedjuje u suprotno, mozda on vidi nesto sto nama smrtnicima izmice?
Quote from: Meho Krljic on 11-03-2017, 07:42:28
Quote from: Agota on 11-03-2017, 01:03:41
Quote from: Meho Krljic on 10-03-2017, 21:53:49
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
Mehmete, obećaj mi da će ovo proći. :(
Pa, sigurno hoće. Pitanje je samo šta će ostati od foruma kad ovo prođe.
Значи ни мање ни више него је форум угрожен?
Ајде наброј ко се то повукао?
Човек који најнеуморније ради - Крипл, ето- ради и даље.
Зато немој бре да лажеш и да измишљаш нешто о некаквом лурковању, видео сам ја овај форум од септембра до краја фебруара - титрали сте међусобно јајца на СФашизму и то је цела прича.
Немој да лажеш и да измишљаш ствари.
А на крају - кога брига што су се подржаваоци педера и западних болести као повукли???
Повукли су се пре њих са форума и неки десничари - па ником ништа.
Јел господи смета кад се каже да је абортус убиство???
То Вам смета?
Е па јесте абортус убиство.
Драг ми је брат, ал ми је истина дража.
Кажеш горњи део замро?
Па кад си ти последњи пут дискутовао смислено о некој књизи а да то није било увлачење у дупе аутору причом "купићу је - идеална је ко поклон за рођендан"...?
И тако даље - тај твој подмукли муфљузлуук ти неће проћи овај пут.
Quote from: Dybuk on 11-03-2017, 14:03:57
Mnogo ste matori da bi trolovali.
Oce li bit' te price o knjizevnosti skorije, ne mogu da iscekam....
Ти ионако ништа не читаш, теби је свеједно чега ће и кад бити.
Quote from: zosko on 11-03-2017, 12:10:03
sve uz nacionalisticke recenzije tvog prijatelja idiota.
Ево га и Тута Мутави.
Комплексаши и паћеници се увек служе најгорим лажима.
Сад си измислио националистичке рецензије???
А идиот знаш ко је - твој татица.
Quote from: Divlje srce on 11-03-2017, 11:22:34
Quote from: Meho Krljic on 11-03-2017, 07:42:28
Quote from: Agota on 11-03-2017, 01:03:41
Quote from: Meho Krljic on 10-03-2017, 21:53:49
Ovaj topik je sasvim lepo funkcionisao i pre vaše akcije vraćanja dostojanstva, a verujemo da će i kasnije.
Mehmete, obećaj mi da će ovo proći. :(
Pa, sigurno hoće. Pitanje je samo šta će ostati od foruma kad ovo prođe.
Ajme patetike! Ali stvarno...
Pa "Vama" i nije do OVOG foruma, ili nekog drugog, jer, potpuno ste omašili poantu forumske komunikacije.
Forum nije chat room, ćaskaonica istomišljenika.
Ono što VI radite, neovisno o VAŠIM imaginarnim oponentima, zove se zloupotrebljavanje forumske slobode i pažnje, omogućene samo na Sagiti, što, ne znam da li znate, ne bi imali na recimo forumu haer, ili nekom drugom.
Zapravo, mislim da ste vi jako dobro toga svjesni. Zato vas T2 i ugrožava. :)
Ako slučajno netko nepristran i prati ove "naši i vaši argumenti" postove, vjerojatno se misli da smo svi mi iste budale, i čudi nam se. Zabavlja.
Samo, meni je to jasno, ali tebi nije. Ti misliš da si velika nezamjenjiva forumska faca.
Zgadilo mi se tvoje i vaše preuveličavanje.
Све си лепо рекла и провалила како стоје ствари.
Знаш оно кад се "господа" шатро потресу кад им кажеш како стоје ствари, па онда не знају шта ће и како ће јер то им урушава програм којим су испрограмирани - па онда крену да
се пекмезе ко нека деца, да уцењују, да лажу и измишљају.
Јадници.
Quote from: T2 on 11-03-2017, 15:49:09
А на крају - кога брига што су се подржаваоци педера и западних болести као повукли???
Pa, mene je svakako briga da na forumu nema ni Jevtropijevićke, ni Skrobonje, ni Libeat, ni Ghoula, ni Nightfliera ni Gaffa, ni Kunca, ni Džindžera, da se Mića i drf, pa i Scallop oglašavaju samo incidentno. Ako nastavimo sa trenutnim tonom i sadržajem sigurno se neće stanje popraviti.
Вратимо трунку достојанства овом полупаном топику који његовом покретачу и угузљубима служи само као параван за сплеткарење против слободоумних чланова форума који не пристају на диктате са запада које покретач форсира!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimages3.kurir.rs%2Fslika-620x419%2Fzene-u-vojsci-foto-youtubescreenshot-1445506111-767477.jpg&hash=fae697f8f3c5ebc9d970db31280ff1e8b97f80d9)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg-fotki.yandex.ru%2Fget%2F9314%2F82015368.15%2F0_13014d_d99975a_XXL.jpg&hash=d08e0512e2a4cf37fa9aa76b2097b43fe3013e3f)
E, a oce li biti neke diskusije o knjigama skorije?
Quote from: T2 on 11-03-2017, 16:07:15
диктате са запада које покретач форсира!!!
Quote from: T2 on 11-03-2017, 15:49:09
Човек који најнеуморније ради - Крипл, ето- ради и даље.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi1228.photobucket.com%2Falbums%2Fee444%2Fdjeroctx%2Fseriously-bro-troll-harder.jpg&hash=179273f05e68afb89266a2cde4d6ce2ec883008e)
Quote from: Meho Krljic on 11-03-2017, 16:06:47
Quote from: T2 on 11-03-2017, 15:49:09
А на крају - кога брига што су се подржаваоци педера и западних болести као повукли???
Pa, mene je svakako briga da na forumu nema ni Jevtropijevićke, ni Skrobonje, ni Libeat, ni Ghoula, ni Nightfliera ni Gaffa, ni Kunca, ni Džindžera, da se Mića i drf, pa i Scallop oglašavaju samo incidentno. Ako nastavimo sa trenutnim tonom i sadržajem sigurno se neće stanje popraviti.
Какве ја везе имам са свима њима?
Јевтропијевићка је примала паре за рекламирање књига, па кад јој је Бобан то рекао она се покупила са форума.
Скробоње нема годинама.
Либеат не стиже јер води други форум.
Гул? Па што не вратиш свог другара Гула? Што не питаш другарицу дајбуккк и другара бату шта је с Гулом? Што им ниси реч рекао кад су правили антигуловску коалицију? Тад ти је то љигице било смешно да читаш? А сад кукаш што га нема? Отишо човек, није банован.
Кунац, Џинџер - не знам бре ни ко су ти ликови нит ме занимају.
Најтфлај - то беше онај што слави 4 славе и што би стрељао неистомиљенике?
Скалоп се у последње време оглашавао само да би демантовао и побијао твоје будалаштине које комесарски износиш по темама.
Толико о томе и немој мене да повезујеш са било ким са ове листе јер због мене нико од њих није напустио форум.
Па кад си ти последњи пут дискутовао смислено о некој књизи а да то није било увлачење у дупе аутору причом "купићу је - идеална је ко поклон за рођендан"...?
Quote from: Dybuk on 11-03-2017, 16:08:32
E, a oce li biti neke diskusije o knjigama skorije?
Е, а јел ти неко брани да дискутујеш о књигама?
Узгред, пошто видим да је дајбуккк најгласнија у жељи за књишким дискусијама, чисто сам бацио поглед на теме које је отварала.
Мислио сам да ћу пронаћи гомилу отворених топика о књигама, али авај!!!!
Нема књига, већ само глупости!!!
За две године бивствовања на Сагити, она није ни писнула о књигама, али је отварала следеће топике:
Sagitaski 'Dopelgengeri',
Zvoganj!!!! (Copetova kuhinja),
Protumacite/analizirajte tekst ove pesme, molim. :) ,
Narod protiv MrtvogOzbiljnog,
How do you pronounce Babadook?,
Poreklo/Znacenje vaseg nika/juzernejma, whatevs?
Загадила Сагиту својим трач глупостима.
Ako je tome tako, da ovaj forum gubi identitet u žanrovskoj književnosti, krivo mi je. Tu se hitno mora nešto poduzeti.
Izuzetno je nepravedno za to kriviti trenutnu situaciju, kada znaš što, meni kao potpunom novom forumašu i autsajderu potpuno je jasno da ovi "problemi" traju mnogo duže od zadnjih godinu dana.
Imaš ti ovdje forumaše koji su tu napravili od sebe "zvijezde", pišu osobne dnevnike ovdje :), koji se danonoćno ovdje druže, i znaš što, upravo ti su razlog da ste od Sagite napravili kokošinjac i rastjerali one koje zanima samo žanr.
Vi odvlačite pažnju sa priče o žanru.
Ti si također vrlo, vrlo aktivan na "nežanrovskom" dijelu foruma, i itekako si pridonio da "gornji dio zamre".
Imaš dalje evo Dybuk, imaš masu drugih forumaša koji rade enormne količine besmislenih postova.
Budi iskren. To je tako.
Zamisli samo kako bi izgledao forum bez vas recimo10-ak kolovođa šunda.
Gornji dio bi vremenom itekako oživio.
Pokušajte se kontrolirati, vi pokrenite teme koje su zamrle, umjesto da krivite druge za svoje propuste.
Ali kako ćete, ne znam, kada vam je milije trtljati o politici, kuhanju i holivudskim filmovima.
Tada, forumaš poput T2 sigurno ne bi imao razloge "praviti probleme", jer opet, i da sada opet nestane T2, ostajete vi, koji ovdje trošite forumski prostor ćaskajući o glupostima. Vi takvi odvlačite pažnju sa književnosti.
I zadnja budala to vidi.
Па кад си ти последњи пут дискутовао смислено о некој књизи а да то није било увлачење у дупе аутору причом "купићу је - идеална је ко поклон за рођендан"...?
Узгред, пошто видим да је дајбуккк најгласнија у жељи за књишким дискусијама, чисто сам бацио поглед на теме које је отварала.
Мислио сам да ћу пронаћи гомилу отворених топика о књигама, али авај!!!!
Нема књига, већ само глупости!!!
За две године бивствовања на Сагити, она није ни писнула о књигама, али је отварала следеће топике:
Sagitaski 'Dopelgengeri',
Zvoganj!!!! (Copetova kuhinja),
Protumacite/analizirajte tekst ove pesme, molim. :) ,
Narod protiv MrtvogOzbiljnog,
How do you pronounce Babadook?,
Poreklo/Znacenje vaseg nika/juzernejma, whatevs?
Загадила Сагиту својим трач глупостима.
Dakle, da bacimo pogled na forumsku statistiku...ona ne laze. Da vidimo gde se sve pise o knjigama.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Ftinyurl.com%2Fhrflk56&hash=871a8fa16d2f63f6d24af8c55befd869c9721eeb)
a moze i OVDE (http://www.znaksagite.com/diskusije/index.php?action=profile;area=statistics;u=143097)
За разлику од трач топика које је лапрдаљккка отварала - ево топика које сам отворио последњих дана...
Нема лажи нема преваре - више топика у последњих неколико дана - него дајбуккк за цео свој сагиташки век.
DOMAĆA OSTVARENJA, LOW-FI VIDEO / Равна Гора (РТС)
UMETNOST I KULTURA / Драгољуб Јовичић - Чувари Шуме (Лагуна, 2007)
UMETNOST I KULTURA / Људи без особина - зборник (Оксиморон, 2016)
Objavljena dela DOMAĆIH autora / Град уклетих - збирка (Пресинг 2016)
UMETNOST I KULTURA / Славица Мијатовић - Елез (Нова поетика, 2015)
UMETNOST I KULTURA / Славица Мијатовић - Принц спознаје (Нова поетика, 2013)
Dela STRANIH autora / Х.П. Блавацка - Сабласне приче (Metaphysica, 2015)
Elektronska izdanja / Argus Books Online #17 - VAŠARSKE, FESTIVALSKE I KARNEVALSKE FANTASTIČNE PRIČE
Dela STRANIH autora / Леополдо Лугонес - Фантастичне приче (Агора, 2016)
А наравно да причом учествујем свуда по форуму.
Својим постовима обогаћујем болидне теме које су започињали дајбуккк и мехо.
Овај пост погађа суштину, и вреди га пуно пута поновити.
Quote from: Divlje srce on 11-03-2017, 16:18:08
Ako je tome tako, da ovaj forum gubi identitet u žanrovskoj književnosti, krivo mi je. Tu se hitno mora nešto poduzeti.
Izuzetno je nepravedno za to kriviti trenutnu situaciju, kada znaš što, meni kao potpunom novom forumašu i autsajderu potpuno je jasno da ovi "problemi" traju mnogo duže od zadnjih godinu dana.
Imaš ti ovdje forumaše koji su tu napravili od sebe "zvijezde", pišu osobne dnevnike ovdje :), koji se danonoćno ovdje druže, i znaš što, upravo ti su razlog da ste od Sagite napravili kokošinjac i rastjerali one koje zanima samo žanr.
Vi odvlačite pažnju sa priče o žanru.
Ti si također vrlo, vrlo aktivan na "nežanrovskom" dijelu foruma, i itekako si pridonio da "gornji dio zamre".
Imaš dalje evo Dybuk, imaš masu drugih forumaša koji rade enormne količine besmislenih postova.
Budi iskren. To je tako.
Zamisli samo kako bi izgledao forum bez vas recimo10-ak kolovođa šunda.
Gornji dio bi vremenom itekako oživio.
Pokušajte se kontrolirati, vi pokrenite teme koje su zamrle, umjesto da krivite druge za svoje propuste.
Ali kako ćete, ne znam, kada vam je milije trtljati o politici, kuhanju i holivudskim filmovima.
Tada, forumaš poput T2 sigurno ne bi imao razloge "praviti probleme", jer opet, i da sada opet nestane T2, ostajete vi, koji ovdje trošite forumski prostor ćaskajući o glupostima. Vi takvi odvlačite pažnju sa književnosti.
I zadnja budala to vidi.
Ja svakako na sebe mogu da primim deo krivice što forum nije pametniji. Ali problem sa forumom je što godinama unazad gubi članove koji su bitni za žanr jer se diskusija vodi idejom da je dopušteno sve reći kako bi ono što je bitno (za žanr ili već, scenu) moglo da ispliva na površinu bez straha da će kritika biti otupljena cenzurom kako bi se čuvali egoi.
Ali ova strategija je sebe očigledno porazila ako se forum pretvorio u poligon da se ljudi napadaju i vređaju na ideološkim osnovama, da se potežu mačevi i pominju članovi porodice, da se intenzivno laže ne bi li se izazvale dalje svađe, a da se uopšte ne raspravlja o žanru i srodnim temama. Ovde bi svi trebalo da stanu i zamisle se nad tim da li je to smer u kome forum treba da ide.
Уместо што лажеш и кмечиш ко матори разваљени педерчић, боље узми и исчитавај поново и поново овај пост:
QuoteQuote from: Divlje srce on 11-03-2017, 16:18:08
Ako je tome tako, da ovaj forum gubi identitet u žanrovskoj književnosti, krivo mi je. Tu se hitno mora nešto poduzeti.
Izuzetno je nepravedno za to kriviti trenutnu situaciju, kada znaš što, meni kao potpunom novom forumašu i autsajderu potpuno je jasno da ovi "problemi" traju mnogo duže od zadnjih godinu dana.
Imaš ti ovdje forumaše koji su tu napravili od sebe "zvijezde", pišu osobne dnevnike ovdje :), koji se danonoćno ovdje druže, i znaš što, upravo ti su razlog da ste od Sagite napravili kokošinjac i rastjerali one koje zanima samo žanr.
Vi odvlačite pažnju sa priče o žanru.
Ti si također vrlo, vrlo aktivan na "nežanrovskom" dijelu foruma, i itekako si pridonio da "gornji dio zamre".
Imaš dalje evo Dybuk, imaš masu drugih forumaša koji rade enormne količine besmislenih postova.
Budi iskren. To je tako.
Zamisli samo kako bi izgledao forum bez vas recimo10-ak kolovođa šunda.
Gornji dio bi vremenom itekako oživio.
Pokušajte se kontrolirati, vi pokrenite teme koje su zamrle, umjesto da krivite druge za svoje propuste.
Ali kako ćete, ne znam, kada vam je milije trtljati o politici, kuhanju i holivudskim filmovima.
Tada, forumaš poput T2 sigurno ne bi imao razloge "praviti probleme", jer opet, i da sada opet nestane T2, ostajete vi, koji ovdje trošite forumski prostor ćaskajući o glupostima. Vi takvi odvlačite pažnju sa književnosti.
I zadnja budala to vidi.
Узгред:
Па кад си ти последњи пут дискутовао смислено о некој књизи а да то није било увлачење у дупе аутору причом "купићу је - идеална је ко поклон за рођендан"...?
Pa valjda ti je jasno da su ljudi koji bi rado diskutovali o knjigama rešili da se povuku sa foruma na kome je sasvim normalno da se jedan diskutant drugom obraća rečima:
Quote from: T2 on 11-03-2017, 17:58:55
лажеш и кмечиш ко матори разваљени педерчић
Ta vrsta javnog diskursa je toksična i na mestima gde se ovo prihvata kao uobičajeno obično ne živi zdrava & plodna rasprava. Naravno, pretpostavljam da kad neko rado koristi takav ton i sadržaj, njemu i nije do zdrave i plodne rasprave nego do provociranja i pravljenja šuma na forumu, ali ima ko treba da se bavi tim problemom.
Pa nije "forum" apstraktno biće.
TI si forum, VI "ekipa" ste sami "svoj" forum uništili, uništili ste radionicu, da se nitko nov ne usudi poslati priču, VI ste Meho takvi od foruma napravili prćiju.
Nisam tome kriva ja, T2, Stipan.
I ne odustajete. Tražite krivce u ljudima koji vam to govore.
OK, uživajte u svojim postovima!
Па лажеш и кмечиш као разваљени педерчић!!!
Матор си бре да би лагао толико.
Па кад си ти последњи пут дискутовао смислено о некој књизи а да то није било увлачење у дупе аутору причом "купићу је - идеална је ко поклон за рођендан"...?
Quote from: Divlje srce on 11-03-2017, 18:08:30
Pa nije "forum" apstraktno biće.
TI si forum, VI "ekipa" ste sami "svoj" forum uništili, uništili ste radionicu, da se nitko nov ne usudi poslati priču, VI ste Meho takvi od foruma napravili prćiju.
Nisam tome kriva ja, T2, Stipan.
I ne odustajete. Tražite krivce u ljudima koji vam to govore.
OK, uživajte u svojim postovima!
Скупили се полупани, па се сакрили под плашт фантастике, а о њој уопште и не пишу , него пишу шта су кували за ручак јуче.
Радионица је поново пропала, ови што пишу на њој нису напредовали - већ назадовали.
Овај матори буљаш Мехо није дискутовао о књигама годинама, једино га можеш видети како шири педерастију и болести са запада по форуму.
ОВАМО КУКА О ЖАНРУ, А СА ДРУГЕ СТРАНЕ ПОКАЗУЈЕ СВОЈЕ ТИГАЊЕ, ШЕРПЕ И ЛОНЦЕ!!!!
И ПОСЛЕ СЕ ЧУДИ ШТО ЉУДИ ОТИШЛИ СА ФОРУМА!!!
ПА НЕЋЕ О ШЕРПАМА И ЛОНЦИМА ДА ПРИЧАЈУ БРЕ!!!
Ту и тамо се увлачи ауторима у дупе причом како ће купити књигу јер је идеална као поклон за рођендан.
И сметамо им, капираш - сметамо им, јер говоримо оно што мислимо , што попу кажемо поп, а бобу - боб.
Ma, ne, bre, smeta to što se "diskutovanje" svelo na osnovnoškolsko vređanje i pravljenje što više buke da se zastraše ljudi da pišu ovde, ili da im se zgadi da pišu ovde. Rezultat je isti, naravno.
Да се подсетимо ко није на форуму и због чега:
Јевтропијевићка је примала паре за рекламирање књига, па кад јој је Бобан то рекао она се покупила са форума.
Скробоње нема годинама.
Либеат не стиже јер води други форум.
Гул?
Па што не вратиш свог другара Гула?
Што не питаш другарицу дајбуккк и другара бату шта је с Гулом?
Што им ниси реч рекао кад су правили антигуловску коалицију?
Тад ти је то љигице било смешно да читаш?
А сад кукаш што га нема?
Отишо човек, није банован.
Кунац, Џинџер - не знам бре ни ко су ти ликови нит ме занимају.
Најтфлај - то беше онај што слави 4 славе и што би стрељао неистомиљенике?
Скалоп се у последње време оглашавао само да би демантовао и побијао твоје будалаштине које комесарски износиш по темама.
Толико о томе и немој мене да повезујеш са било ким са ове листе јер због мене нико од њих није напустио форум.
Иначе , верујем да је свима њима било до јаја да гледају твоје шерпе и лонце у којима куваш твоје ручкове и вечере...
Quote from: Meho Krljic on 11-03-2017, 18:18:36
Ma, ne, bre, smeta to što se "diskutovanje" svelo na osnovnoškolsko vređanje i pravljenje što više buke da se zastraše ljudi da pišu ovde, ili da im se zgadi da pišu ovde. Rezultat je isti, naravno.
Glupost. U zlatnim danima Radionice diskusije su bile mnogo žešće nego ovo malo nina-nana ovih dana.
Ali se diskutovalo o kreativnom radu. Sada toga nema. Radionice nema, a uvrede lete. Valjda se vidi razlika?
Radionica je uginula pre no što se T2 vratio.
Quote from: Stipan on 11-03-2017, 18:33:28
Quote from: Meho Krljic on 11-03-2017, 18:18:36
Ma, ne, bre, smeta to što se "diskutovanje" svelo na osnovnoškolsko vređanje i pravljenje što više buke da se zastraše ljudi da pišu ovde, ili da im se zgadi da pišu ovde. Rezultat je isti, naravno.
Glupost. U zlatnim danima Radionice diskusije su bile mnogo žešće nego ovo malo nina-nana ovih dana.
Хха, ал пази Стипе, он то не може да зна јер човек непрекидно кува и то кување ставља по форуму.
Него пајац води кампању, о томе се ради.
Покушава да нас прикаже као неке катализаторе пропасти и слично.
Погубио се па баљезга.
Mene čudi da niko ne primećuje da je T2 napisao nekoliko finih i vrlo orginalnih osvrta na neke knjige (i to ne moje, da napomenem, čisto zbog one male beštije).
Ja sam radio sa dobrim recezentima više puta, ali malo ih je sa tako specifičnim pristupom delu kao što to T2 radi.
Pa ko da primeti kada su ljudi koje je interesovalo pisanje i čitanje o knjigama otišli?
I, takođe, valjda je jasno da sam gore napisao da je problem nastao daleko pre T2 i da je ovo što danas gledamo samo ishod filozofije koja se godinama pogrešno na forumu podržava u nadi da će razgovor bez kočnica poroditi kreativnu diskusiju o umetnosti a završilo se u ovom što gledamo.
Možda zato što je te fine i originalne osvrte zatrpao gomilom đubreta?
edit: utrča Meho
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
Quote from: Meho Krljic on 11-03-2017, 18:50:35
Pa ko da primeti kada su ljudi koje je interesovalo pisanje i čitanje o knjigama otišli?
А вас који сте остали - књиге и читање о књигама уопште и не занима.Тебе конкретно занима кување, ширење педерастије и чедомортсва.
Твог пајтоса Томата не занима чак ни кување, али фура и он педерастију.
Па јел видите бре на шта личите????
Гомила кувара и педера!!!
Јебо вас онај ко вас састави и ко вам даде дозволу да овде обитавате и загађујете овај форум.
Да се подсетимо сјаној поста који је написала Дивље Срце:
Quote
Ako je tome tako, da ovaj forum gubi identitet u žanrovskoj književnosti, krivo mi je. Tu se hitno mora nešto poduzeti.
Izuzetno je nepravedno za to kriviti trenutnu situaciju, kada znaš što, meni kao potpunom novom forumašu i autsajderu potpuno je jasno da ovi "problemi" traju mnogo duže od zadnjih godinu dana.
Imaš ti ovdje forumaše koji su tu napravili od sebe "zvijezde", pišu osobne dnevnike ovdje :), koji se danonoćno ovdje druže, i znaš što, upravo ti su razlog da ste od Sagite napravili kokošinjac i rastjerali one koje zanima samo žanr.
Vi odvlačite pažnju sa priče o žanru.
Ti si također vrlo, vrlo aktivan na "nežanrovskom" dijelu foruma, i itekako si pridonio da "gornji dio zamre".
Imaš dalje evo Dybuk, imaš masu drugih forumaša koji rade enormne količine besmislenih postova.
Budi iskren. To je tako.
Zamisli samo kako bi izgledao forum bez vas recimo10-ak kolovođa šunda.
Gornji dio bi vremenom itekako oživio.
Pokušajte se kontrolirati, vi pokrenite teme koje su zamrle, umjesto da krivite druge za svoje propuste.
Ali kako ćete, ne znam, kada vam je milije trtljati o politici, kuhanju i holivudskim filmovima.
Tada, forumaš poput T2 sigurno ne bi imao razloge "praviti probleme", jer opet, i da sada opet nestane T2, ostajete vi, koji ovdje trošite forumski prostor ćaskajući o glupostima. Vi takvi odvlačite pažnju sa književnosti.
I zadnja budala to vidi.
Quote from: Stipan on 11-03-2017, 18:53:57
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
Uh. Ne.
Quote from: Stipan on 11-03-2017, 18:53:57
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
I to je problem koji Sagitu dovodi do današnje situacije.
Ne znam na što aludirate kada VI koji ne pišete i ne čitate priče i knjige, kritizirate RAD koji radi T2, pokušavajući ga diskreditirati kao čovjeka, ako mu ljudi koji su stručnjaci po tom pitanju daju komplimente?
Kud ćeš boljeg dokaza ad hominema koji vršite nad čovjekom.
Pametnom dosta.
Ух, да!!!
Педеру и подржаваоцу педера ћу увек рећи да је педер!!!
Нећеш ти полупани Механе и ова полупана дајбуккк да одређујете правила Новоговора!!!
Одјебите бре обоје са тим срањима које фурате јер слободоумни људи на ваша срања нити пристају нити их поштују!!!
Да се подсетимо мало Новоговора и одакле потичу идеје да се прави Новоговор усади људима као стандардни начин изражавања!!!
Novogovor Novog svetskog poretka
Da li su nam već uveli Novogovor, jezik iz Orvelove ,,1984", koji bi trebalo da nam ograniči i – razmišljanje?
Ko i šta stoji iza takozvane političke korektnosti, i da li je uvek korektno - biti politički korektan?
,,Novogovor je bio zvanični jezik Okeanije, stvoren da bi zadovoljio ideološke
potrebe englsoca, ili engleskog socijalizma. Godine 1984. još nije postojao niko ko
je upotrebljavao, bilo usmeno bilo pismeno, Novogovor kao svoje jedino sredstvo
opštenja. Novogovorom su bili pisani uvodnici u 'Tajmsu', no oni su predstavljali
'fours de force', koje je mogao obaviti samo specijalista. Očekivalo se da će
Novogovor konačno zameniti Starogovor (ili standardni engleski, kako bismo ga mi
nazvali) otprilike do 2050. godine. U međuvremenu je on sve više osvajao, s tim što
su članovi Partije nastojali da sve češće upotrebljavaju novogovorske reči i
gramatičke konstrukcije u svakodnevnom govoru. Verzija koja je bila u upotrebi
1984. godine i sistematizovana u devetom i desetom izdanju Rečnika novogovora,
bila je privremena; sadržala je veliki broj suvišnih reči i arhaičnih oblika koje je
kasnije trebalo izbaciti. Mi ćemo se ovde baviti konačnom, usavršenom verzijom,
sistematizovanom u jedanaestom izdanju Rečnika.
Svrha Novogovora je bila ne da samo sredstvo kojim bi se izražavala filozofija i duhovne navike sledbenika englsoca nego da onemogući sve ostale načine mišljenja. Namera je bila da, kad Novogovor bude prihvaćen jednom zauvek, a Starogovor zaboravljen, svaka jeretička misao - to jest, misao koja bi bila u neskladu s principima englsoca - bude doslovno nepomisliva, bar u onoj meri u kojoj zavisi od reči. Rečnik Novogovora je bio sastavljen tako da da tačan i često veoma suptilan izraz svakom značenju koje bi član Partije legitimno želeo da prenese sagovorniku ili čitaocu, isključujući pri tome sva druga značenja kao i mogućnost da se do njih dođe posrednim putem. To se postizalo delimično izmišljanjem novih reči, pre svega izbacivanjem nepoželjnih reči i uklanjanjem neortodoksnih značenja iz preostalih reči; čak uklanjanjem svih sekundarnih značenja ukoliko je moguće" - ovako počinje odeljak ,,Principi Novogovora" u romanu Džordža Orvela ,,1984".
Saznajemo i da je Novogovor zamišljen da suzi krug pojmova dostupnih ljudskoj misli, i da je toj svrsi koristilo - smanjivanje broja reči na minimum. Da stanemo ovde. I da se zapitamo. Ima li ,,orvelovštine" u današnjoj realnosti? Da počnemo od onoga sa početka citata: redukovanje broja reči. I naš jezik, ne samo engleski, koji se pominje u ,,1984", koristi sve manje starih izraza, a sve više stranih reči, koje su, po nekoj našoj proceni, siromašnije u značenju, većinom ,,pozajmljene" iz engleskog jezika.
Prolokljuk za mase
A evo još jednog izvoda: ,,Ministarstvo se staralo ne samo za mnogostruke potrebe Partije, nego je ponavljalo celu operaciju na nižem nivou, za potrebe proletarijata. Postojao je čitav niz posebnih odeljaka koji se bavio stvaranjem književnosti, muzike, drame i svih vrsta zabave za proletere. Tu su se proizvodili bulevarski listovi koji su pisali gotovo isključivo o sportu, zločinima i astrologiji, senzacionalni petparački romani, filmovi prepuni seksualnih iživljavanja, i sentimentalni šlageri koje je od početka do kraja komponovao jedan posebni aparat sličan kaleidoskopu, nazvan versifikator. Postojala je čak i cela podsekcija - u Novogovoru nazvana Pornosekcija - koja je proizvodila najnižu vrstu pornografije i slala je u zapečaćenim paketima; njene proizvode članovi Partije, sem onih koji su na njima radili, nisu smeli da vide".
Sve je već tu, pa i Veliki brat (mislimo i na rijaliti programe u kojima su glavne zvezde skupe prostitutke i kriminalci, ali i na opštu bolesnu situaciju nadgledanja i praćenja, na koju često dobrovoljno pristajemo). Iskušenje da se razmišlja sve je ređe, jer nam ,,sa više instance" na globalnom nivou sve serviraju, da se ne mučimo. ,,Zabava za proletere" odlično je organizovana: kroz tabloidnu štampu koja vredno prati sport, zločine, petparačku astrologiju. Tu su i naslovi poput ,,nećete verovati šta se dogodilo kada je Cujka otvorila kutiju", ili ,,evo šta je zapalilo internet". Objavljuju se i fotografije slavnih (često je i sasvim nejasno zašto su određene osobe slavne) u provokativnim pozama, pričaju se priče koje grubo zadiru u sferu intimnosti, ali - to je cena slave. Ovo mu dođe kao materijalizacija novogovorske reči ,,prolokljuk" koja je označavala ,,zabavu niske vrste i lažne vesti kojima je Partija kljukala mase". Spinovanje je dostiglo vrhunac (koristimo ,,pozajmljenu" reč, jer kada je nastajao srpski jezik, ova pojava nije bila ni poznata. Ona je proizvod ,,novog doba".
A tu je i - takozvana politička korektnost i, koja i proizvela kontrolu jezika - ,,novogovor" ,,vrlog novog sveta". Politička korektnost u originalnom značenju predstavlja izbegavanje gestova, ponašanja ili korišćenja izraza koji se mogu protumačiti kao omalovažavanje ili vređanje neke društvene grupe. Korišćenje izraza započela je takozvana Nova levica u SAD 1970-ih godina. Međutim, autorka Maika Friman smatra da se radi o - Rotšildovom izumu:
,,Politička korektnost je kontrola jezika. A kontrola jezika je kontrola misli. Uspon moderne političke korektnosti je primer lukavog načina na koji deluju društveni inženjeri, poput manipulatora Novog svetskog poretka" - piše ona. Frimanova navodi da politička korektnost ima korene u marksizmu i komunizmu i da je sam izraz povezan sa primenom staljinističke doktrine.
,,Međutim, to nas vodi dalje do Frankfurtske škole (Institut za društvena istraživanja) u Nemačkoj, koji je osnovan 1923". Ona tvrdi da je Institut počeo sa radom uz podršku Kominterne, kao i da su ga tokom naredne tri decenije finansirali ,,različiti nemački i američki univerziteti, Rokfelerova fondacija, Američki jevrejski komitet, nekoliko američkih obaveštajnih službi, Kancelarija visokog komesara SAD za Nemačku" itd, itd. Dalje razrađuje tezu povezanosti sa Rokfelerovima: ,,Poznato je i da su finansirali širenje marksizma. Nejtan Rotšild je dao Marksu dva čeka od nekoliko hiljada funti da finansira socijalističku 'stvar'. Ovi čekovi su izloženi u britanskom muzeju". ,,Obe ove ključne porodice Novog svetskog poretka su, na taj način, umešane u marksizam, Frankfurtsku školu i političku korektnost".
Zašto ,,belac" nije loša reč?
A cilj je ,,ideološka subverzija", kako je tvrdio Jurij Bezmenov, bivši agent KGB, koja ,,može promeniti percepciju realnosti svakog Amerikanca". On je naveo da se proces sporog ispiranja mozga, kojim bi se zamenila individualistička kultura na Zapadu, sastoji od demoralizacije (prikrivena, 15-50 godina, u osnovi završeno); destabilizacije (otvorena, 2-5 godina); krize (6 nedelja); nasilnog ponašanja i normalizacije (može da traje godinama, i nastavlja se - zauvek). Da li je ova priča ,,nategnuta" i koliko u njoj ima istine, veliko je pitanje. Ali činjenica da je da između političke korektnosti komunizma i ovog današnjeg - ima neke sličnosti. Uostalom, kakva bi to ,,zavera" bila da u nju nisu umešani Rotšildi i Rokfeleri?
Da se vratimo Novogovoru. Kakve veze reči koje su politički korektne imaju veze sa Orvelovim Novogovorom? Prvo, po tome se diktira šta smete, a šta ne smete reći, pod plaštom procene da je neka reč ,,uvredljiva". Tako da je nešto što može da uvredi vrednosti Novog svetskog poretka eliminisano iz rečnika. Sve više reč ,,majka" postaje uvredljiva (ovo, osim na Orvela, asocira i na Hakslijev ,,Vrli novi svet"). Ovo je verovatno uvedeno da se odrednicom ,,majka" ne bi vređali homoseksualci koji usvajaju decu. Takođe, poželjnije je da se ne kaže ,,moja devojka" ili ,,moj dečko", već - moj partner (razlozi su jasni, a ovo, uzgred, i redukuje broj upotrebljenih reči - pamtite samo jednu: ,,partner", umesto dečko, devojka, momak, verenica, verenik, muž, žena, supruga, suprug i sl).
Zatim, stariji ljudi, bake i deke, bar na engleskom govornom području, postaju ,,ljudi izvesnih godina". Debeli i gojazni zvanično više to nisu (mada, zdravorazumski gledano - ostaje činjenica da jesu...), već su ,,people of size", što je teško prevesti na naš jezik. Uglavnom - nisu u standardu. Bogati (rich) više nisu bogati (valjda da ne ,,bodu oči"), već su ,,people of materijal wealth" (ljudi materijalno imućni). Amerikanci su postali ,,građani SAD". Znamo već da u Americi nema crnaca, već su to Afroamerikanci. Za divno čudo - belaca još ima. Ostaje pitanje zašto je reč ,,crnac" uvredljiva, a ,,belac" - nije?
Nije poželjno govoriti da je neko ,,retardiran" (bukvalno - usporen, ometen u razvoju), već su to ,,osobe sa posebnim potrebama). Ovaj prvi izraz smatra se pežorativnim, iako zapravo po značenju i nije uvredljiv, već samo označava činjenično stanje. Za Amerikance (pardon, građane SAD) nije poželjno ni da kažu ,,ilegalni useljenik".
Maika Friman navodi i nekoliko univerzitetskih pravila američkih visokih škola, koja ukazuju da se kontrola govora već preobratila u - kontrolu ponašanja:
– Univerzitet ,,Braun": zabranjuje bilo kakav govor koji ,,čini da se ljudi osećaju ljutim, nemoćnim ili obespravljenim".
– Kolbi Koledž: zabranjen bilo kakav govor ,,koji vodi do gubitka samopouzdanja"
– Brin Mor Koledž: zabranjen ,,sugestivni izgled"
– Haverford Koledž: zabranjen ,,nepoželjan flert"
– Univerzite ,,Konektikata": zabranjen ,,neprikladan smeh"
– Univerzitet Zapadne Virdžinije: zabranjeno korišćenje reči ,,mladić" i ,,devojka", već se sugeriše da se kaže ljubavnik ili partner.
A evo šta preporučuje ,,Grend Valju" državni univerzitet: ne pominjati rasu ili starost osobe, ukoliko to nije relevantno za priču, a tu je i primer. Politički je korektno reći ,,Čudan čovek je razgovarao sa mnom u prodavnici". Nekorektno je: ,,Čudan crni čovek je razgovarao sa mnom u prodavnici".
S jedne strane, novogovor sužava fond reči a, sa druge, insistira da sklapaju nove reči, koje nisu stvorene ,,prirodnim" razvojem jezika. Tako je i kod nas došlo do toga da više ni u novinama ne smete napisati da je žena - profesor, astrolog, biolog, vatrogasac ili pilot. Novogovorske reči su ponekad relativno logične i u duhu jezika, a češće to nisu. Pa su tako nastale astrološkinja, vatrogaskinja, a možda će i pilotkinja (još nije sve usaglašeno). Sve to da bi se žene osećale bolje, pošto se o njima i inače toliko brine u društvu. Ako bismo počeli sa listom primera, daleko bismo stigli, predaleko... Ali, setite se samo onih žena koje su uzaludno tražile pomoć centara za socijalni rad i policije, da bi na kraju postale žrtve porodičnog nasilja. Posebna je priča da li je ljudima koji su sebe vekovima zvali Ciganima nešto bitno lakše u životu otkako su Romi. I da li je Bosancima bolje otkako su Bošnjaci i otkako su u svoj (naš zajednički) jezik dodali više turcizama.
Dakle, jezik se prekraja globalno, a i lokalno. Recimo, svi razumemo ono ,,vrh, br'te" i ,,ekstra", iako to čuveno ,,ekstra" zapravo znači nešto sasvim drugo, različito od konteksta u kojem se upotrebljava. Nekada samo tražili, recimo ,,ekstra kečap" ili ,,ekstra sir" na pici. A da ne pričamo o skraćenicama u internet komunikaciji: LOL (smejem se glasno), OMG (O, moj bože), R.I.P (Počivaj u miru), ILU (volim te), CU (vidimo se) itd. WTF nećemo prevoditi.
U Orvelovom romanu bilo je zamišljeno da se Novogovor konačno prihvati do 2050. godine, a ne ranije - samo zbog tehničkih poteškoća prevođenja nekih dela klasika. A da li je nešto slično predviđeno i u stvarnom svetu... Kako je krenulo, ako je to plan - taman će na vreme biti sproveden.
Quote from: Divlje srce on 11-03-2017, 19:07:40
Ne znam na što aludirate kada VI koji ne pišete i ne čitate priče i knjige, kritizirate RAD koji radi T2, ako mu ljudi koji su stručnjaci po tom pitanju daju komplimente?
Kud ćeš boljeg dokaza ad hominema koji vršite nad čovjekom.
Pametnom dosta.
Видиш да је реч о тешким полупаним менталаћима.
То је оно кад не припадаш њиховом кружоку и кад те заболе за цео тај кружок - е онда иду напади на тебе, жеља да те потисну, да будеш банован и слично, а приписују ти се свакакве глупости.
Притом најгласнији у томе су управо они који нити пишу , нити књиге читају!
Pa znam u kakvom svijetu živimo: doveli su do toga da budali ne smiješ reći da je budala, jer odmah te optuže za vrijeđanje.
A kamo li da se usudiš kritizirati ostalo marginalno ponašanje...
Da ponovimo: sve će to mač.
A imalo je šansu za liječenje.
А кад већ говоре о нечијој агресивности - ево примера како су ових дана чопоративно нападали Стипана:
- Бики га је без икаквог повода назвала шоњом
- полупана дајбуккк едитује Стипанове реченице, измишља и прозива човека само зато што му подржавам рад.
- зосккко, па свима је данас јасно какав је тај умоболник напад направио на овој теми , а да не причам о нечему ранијем на две теме
- полупани Механ и његово баљезгање о хероину убризганом у пенис?
И онда ова багра напада Стипана само тако, али багра тврди да сам ја агресиван?
Паљба бре багро, паљба!!!
https://www.youtube.com/watch?v=XdXYt8vUNYc
Quote from: Divlje srce on 11-03-2017, 19:21:44
Pa znam u kakvom svijetu živimo: doveli su do toga da budali ne smiješ reći da je budala, jer odmah te optuže za vrijeđanje.
A kamo li da se usudiš kritizirati ostalo marginalno ponašanje...
Da ponovimo: sve će to mač.
A imalo je šansu za liječenje.
А у томе најгласнији ови полупани који немају везе са писањем, а ни књиге не читају.
Па под мач наравно, без емпатије.
Quote from: Dybuk on 11-03-2017, 19:00:40
Quote from: Stipan on 11-03-2017, 18:53:57
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
Uh. Ne.
Ne? A kad si ti to primirisala u Radionicu koja je bila kruna ovog foruma, pa znaš da nije?
Хаха, лапрдаљккка лапрда, шатро она зна све, али подаци говоре другачије.
За две године бивствовања на Сагити, она није ни писнула о књигама, али је отварала следеће топике:
Sagitaski 'Dopelgengeri',
Zvoganj!!!! (Copetova kuhinja),
Protumacite/analizirajte tekst ove pesme, molim. :) ,
Narod protiv MrtvogOzbiljnog,
How do you pronounce Babadook?,
Poreklo/Znacenje vaseg nika/juzernejma, whatevs?
Загадила Сагиту својим трач глупостима.
Quote from: Stipan on 11-03-2017, 19:28:26
Quote from: Dybuk on 11-03-2017, 19:00:40
Quote from: Stipan on 11-03-2017, 18:53:57
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
Uh. Ne.
Ne? A kad si ti to primirisala u Radionicu koja je bila kruna ovog foruma, pa znaš da nije?
A? Rec je o SAGITI, dakle, celom forumu.
Nije ni tvoja bratija primirisala, a ne mirise nesto ni tu raspravu o knjizevnosti kojom se busate, kao sto sam lepo demonstrirala. Reko bi covek da je samo ta demonstracija dovoljna da vam zapusi usta, ali ne, vi i dalje vezete.
Ajde jos malo spinuj. Neces od nenormalnog napraviti normu, koliko god se trudio.
Pricaj to svojoj babi, tetki ili komsinici.
Pogledaj koliko replika na post koji nije NJIMA upucen. I tako dok se prsti ne zgrce. To je normalno???
Dakle, kao sto rekoh, NE.
Pratila sam zadnji krug radionice... nisu ni primirisali tamo, kao da ih se to ne tiče.
Ne znam što glume sada, kako ih nije sram.
Sram?
I ja svašta pričam...
Njima su sramota proste riječi, a amo im nosevi vire iz septičke.
Moja bratija? Radioničari?
E ova Dybuk kad počne da lupeta, babe i komšinice padaju na dupe
Причај ти то дајбуккк свом фрајеру, кога волиш до последњег евра, а на депонији њашке о некаквој љубави.
Ове твоје трачерице могу да прођу по јуесеј дебилним форумима, мада ни тамо није прошло јер су те и оданде протерали.
Ал најјача ти била она лаж како модерираш америчке форуме.
То је оно, не знам да кувам, издржава ме фрајер, нисам завршила ни средњу школу, неспособна сам за живот, ал ето успела сам - модерирам јуесеј форуме (а које форуме, то се никад није сазнало, јер је у питању фантазија).
Ево још мало трач тема којима си загадила Сагиту:
Gluposti vol 2: 'no brainer' kvizovi i testovi odasvud
Sajsi Em - Si vs Mimi Mercedes
Meni je najslađe što je ova tako glupa da misli da se njoj netko obraća radi nje. Koji nizak egotrip.
Ne, ženo, ne bavim se tobom, nego tvojim laprdanjem, za razliku od tebe, koja se baviš sa mnom osobno. :)
Quote from: Dybuk on 11-03-2017, 19:34:52
Quote from: Stipan on 11-03-2017, 19:28:26
Quote from: Dybuk on 11-03-2017, 19:00:40
Quote from: Stipan on 11-03-2017, 18:53:57
Izvini, ali taj način razgovora koji nazivaš đubretom je sagitaški način komunikacije već godinama.
Uh. Ne.
Ne? A kad si ti to primirisala u Radionicu koja je bila kruna ovog foruma, pa znaš da nije?
A? Rec je o SAGITI, dakle, celom forumu
Ajde jos malo spinuj.
Pogledaj koliko replika na post koji nije NJIMA upucen. I tako dok se prsti ne zgrce. To je normalno???
Dy, on je izgubio sav kontakt sa stvarnošću. Kako da ti odgovori na to pitanje? :)
Quote from: Stipan on 11-03-2017, 19:40:43
Moja bratija? Radioničari?
E ova Dybuk kad počne da lupeta, babe i komšinice padaju na dupe
...
Ne, mora da se pravis, niko nije toliko glup.
Saturnice, ne mešaj se u ovo jer ćeš da najebeš.
Quote from: Dybuk on 11-03-2017, 19:45:44
Quote from: Stipan on 11-03-2017, 19:40:43
Moja bratija? Radioničari?
E ova Dybuk kad počne da lupeta, babe i komšinice padaju na dupe
...
Ne, mora da se pravis, niko nije toliko glup.
Pa dopire li išta do tog tvog pilećeg mozga, majke ti?
Quote from: Stipan on 11-03-2017, 19:46:48
Saturnice, ne mešaj se u ovo jer ćeš da najebeš.
Ma jel ti to meni prijetis? Cime? Kako?
Dobar dan, gospođo Saturnice.
Čestitam Vam na nagrađenom romanu.
Pohvale romana su zaista visoke, te mi je u planu za čitanje na ljeto.
Quote from: saturnica on 11-03-2017, 19:48:35
Quote from: Stipan on 11-03-2017, 19:46:48
Saturnice, ne mešaj se u ovo jer ćeš da najebeš.
Ma jel ti to meni prijetis? Cime? Kako?
Pa za početak te stavljam na ignor gde god je to moguće. A za dalje mere ćemo da vidimo.
Quote from: Stipan on 11-03-2017, 19:50:59
Quote from: saturnica on 11-03-2017, 19:48:35
Quote from: Stipan on 11-03-2017, 19:46:48
Saturnice, ne mešaj se u ovo jer ćeš da najebeš.
Ma jel ti to meni prijetis? Cime? Kako?
Pa za početak te stavljam na ignor gde god je to moguće. A za dalje mere ćemo da vidimo.
Hahahhahahahahahha....
Сатурница је ћутала месецима.
А онда се вратила сада, да подржи полупану дајбуккк.
Сестре у абортусу, јбг, морају се држе заједно.
Mala je postala zvezda, pa je sve zaboravila, zar ne? Ma nosi se bre.
Quote from: Divlje srce on 11-03-2017, 19:48:52
Dobar dan, gospođo Saturnice.
Čestitam Vam na nagrađenom romanu.
Pohvale romana su zaista visoke, te mi je u planu za čitanje na ljeto.
Милфара се много уздигла од кад је добила ту наградицу.
Не зна ни хвала да каже на честиткама.
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
Quote from: Stipan on 11-03-2017, 19:46:48
Quote from: Dybuk on 11-03-2017, 19:45:44
Quote from: Stipan on 11-03-2017, 19:40:43
Moja bratija? Radioničari?
E ova Dybuk kad počne da lupeta, babe i komšinice padaju na dupe
...
Ne, mora da se pravis, niko nije toliko glup.
Pa dopire li išta do tog tvog pilećeg mozga, majke ti?
Упоређивати пиле, кокош и ћурку са полупаном дајбуккк је увреда за пиле, кокош и ћурку. xrofl
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
hajde jos jednom da potcrtamo svu toksicnost ove osobe. sramota.
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
Дао сам јој комплимент.
Да сам заиста коментарисао њен изглед - сигурно не бих написао милфара, већ грдоба, наказа.
Saturnica nije nakaza, naprotiv, lepa je žena, ali je nepodnošljiva i bezobrazna kao i sve Dalmatinke.
siguran sam da je i ona to shvatila kao kompliment.
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
Pa oprostit ćeš, govorila sam u svoje ime.
A da te malo educiram, postoji nešto i što se zove obrnuti argumentum ad hominem.
U tom slučaju, to nije uvreda i smatra se ispravnim.
Стипане, понекад ме твој критеријум за лепоту мало изненади, али овај пут ћу ти поверовати. ;)
Jel nije MILF zrela žena koja je privlačna za seks?
Što je tu uvredljivo??
Quote from: Divlje srce on 11-03-2017, 20:07:41
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
Pa oprostit ćeš, govorila sam u svoje ime.
A da te malo educiram, postoji nešto i što se zove obrnuti argumentum ad hominem.
U tom slučaju, to nije uvreda i smatra se ispravnim.
Сигуран сам да ни сама сатурница нема ништа против тога што сам написао милфара...
Штавише, гарантујем да нема ништа против тога, већ да јој то импонује.
Quote from: Divlje srce on 11-03-2017, 20:09:58
Jel nije MILF zrela žena koja je privlačna za seks?
Što je tu uvredljivo??
Увредљиво је за глупана томата и прикривену лезбачу дајбуккк.
Што се сатурнице тиче - гарантујем да сад ужива у томе шта сам јој рекао и замишља како јој држим руку, те на увце шапћем - милфице...
xrofl
Eto... Jesam li je je lepo opomenuo da će najebati?
Sagita pod hitno da menja ime u "Meho reaguj".
Quote from: Onaj stari Sendmen on 11-03-2017, 20:29:45
Sagita pod hitno da menja ime u "Meho reaguj".
Haahahahaha! Može!
Hvala svima na dopisivanju, ali najslađa mi je bruka ovo dvoje finih ljudi:
Quote from: Dybuk on 11-03-2017, 20:02:38
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
hajde jos jednom da potcrtamo svu toksicnost ove osobe. sramota.
T2, jako si toksičan. :evil:
Quote from: Stipan on 11-03-2017, 20:18:08
Eto... Jesam li je je lepo opomenuo da će najebati?
Pa, da, "najebala" tako što je provocira osoba koja se zabavlja provocirajući razne članove Sagite, nadajući se da ih uvuče u kilometarske svađe. Stvarno, stigla je božija kazna.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.navalica.com%2Fwp-content%2Fuploads%2F2012%2F02%2Fmilf.jpg&hash=fa38d4bbe3a9a972985e579797aab7bb6bf2238d)
Quote from: Meho Krljic on 11-03-2017, 20:33:35
Pa, da, "najebala" tako što je provocira osoba koja se zabavlja provocirajući razne članove Sagite, nadajući se da ih uvuče u kilometarske svađe. Stvarno, stigla je božija kazna.
Ako ćemo pravo, ona se za mene zakačila. Pokušao sam da je sklonim, ali po njenom dobrom starom običaju počela je da frkće - opet na mene....
a opet, "najebala" je od drugog, ne od tebe.
Quote from: Stipan on 11-03-2017, 20:39:17
Pokušao sam da je sklonim
Zvuči skoro viteški. Oh, ali zapravo:
Quote from: Stipan on 11-03-2017, 19:46:48
Saturnice, ne mešaj se u ovo jer ćeš da najebeš.
Quote from: Stipan on 11-03-2017, 20:39:17ali po njenom dobrom starom običaju počela je da frkće - opet na mene....
Sigurno ga je uvredila, ili mu bar odbrusila... Oh, zapravo:
Quote from: saturnica on 11-03-2017, 19:48:35
Ma jel ti to meni prijetis? Cime? Kako?
I na kraju:
Quote from: Stipan on 11-03-2017, 19:55:43
Ma nosi se bre.
Stvarno, ko da imamo po 11 godina.
Pokušavaš da me ismeješ?
Quote from: Stipan on 11-03-2017, 20:18:08
Eto... Jesam li je je lepo opomenuo da će najebati?
Obzirom da sam ti na ignoru nisam sigurna hoćeš li ovo pročitati, ali evo ipak. Od koga sam ja to "najebala" i kako? Zar tako što me netko nazvao onako kako jest? To ne govori ništa o meni, valjda si toliko pametan da to shvaćaš, već o onom koji mi je te riječi uputio. I još nešto. Drugi put kad mi budeš prijetio, molim te budi faca pa reci činiš li to vlastitim kurcem ili tuđim. Čisto da znam koliko ti je "jako" zaleđe.
Quote from: tomat on 11-03-2017, 20:42:05
a opet, "najebala" je od drugog, ne od tebe.
Ofkors... Trebao sam biti jasniji... Koncizniji... Precizniji... Kako li već.
Quote from: Stipan on 11-03-2017, 20:39:17
Quote from: Meho Krljic on 11-03-2017, 20:33:35
Pa, da, "najebala" tako što je provocira osoba koja se zabavlja provocirajući razne članove Sagite, nadajući se da ih uvuče u kilometarske svađe. Stvarno, stigla je božija kazna.
Ako ćemo pravo, ona se za mene zakačila. Pokušao sam da je sklonim, ali po njenom dobrom starom običaju počela je da frkće - opet na mene....
Као и сви остали за које полупани мехо каже да сам их провоцирао.
Свако од њих се први закачио.
Интересантно је и веома индикативно да међу овима који су мене провоцирали - нема писаца, већ је реч о паразитима са сагите који ту развлаче шерпе и лонце и смрдљају ширећи педерастију и чедоморство.
Такође је индикативно и да мехо није реаговао када је полупана дајбуккк против његовог другара Гула правила коалицију.
Quote from: Pizzobatto on 19-08-2016, 00:07:13
Дибук је потенцијални члан антигуљ коалиције, можда нам затреба!
Па што тад ниси апеловао да се обустави формирање "коалиције" против Гула и да се исти тај Гул задржи на форуму?
Него, сад овде лијеш крокодилске сузе и мени продајеш неку финоћу, љигавче један, комесару за ширење педерастије и чедоморства.
Quote from: saturnica on 11-03-2017, 20:51:10
Zar tako što me netko nazvao onako kako jest? To ne govori ništa o meni, valjda si toliko pametan da to shvaćaš, već o onom koji mi je te riječi uputio.
Говори и о теби и о мени.
О мени говори да волим и милфаче, а за тебе то треба да представља комплимент.
Међутим, ти си јако некултурна милфица - честитам ти на награди, онда ти честитке упути и Дивље Срце.
Међутим, ти не умеш ни да се захвалиш на честиткама.
Е - то говори само и искључиво о теби, некултурна милфице, а не о мени.
Quote from: Stipan on 11-03-2017, 20:50:27
Pokušavaš da me ismeješ?
Ne, ne, više da pokažem kako pristojan svet nije navikao da se nalazi u društvu ljudi koji namerno, sistematski provociraju i šire konfuziju, pa ne zna kako da se postavi. Pre neki dan gledali smo kako se jedan član foruma javno izvinjava drugom zato što ga je provocirao a ovaj drugi koji gotovo isključivo provocira, pravio se da je žrtva. Pa smo videli čitavo objašnjenje "A što bismo se svađali, preterao sam, ne znam ja, sigurno ovaj nije loš čovek, ima i on emocije, ljudi smo itd.", sve pod pokroviteljstvom vlasnika foruma i evo nas sad tu gde jesmo: metastaza uvreda, pretnji, dalje provociranje. Obraćanje koje bi na svakom drugom mestu gde zalaze ljudi naših godina značilo automatsko udaljavanje iz rasprave.
U ovom tvom slučaju, gledamo kako se svrstavaš uz proizvođača salve uvreda zato što je rekao nekoliko lepih reči na tvoj račun. Ja naravno razumem da ovde godinama slušaš od Bobana kako si krš od pisca, nemaš pojma, bla ba bla, vrlo uvredljive i nefer izjave, zbog čega i velim da je uvek Boban najodgovorniji za sve ovde, pa onda kad se pojavi neko ko o tebi lepo zbori a pritom Bobanov forumski pristup slobodi izražavanja dovede do vrhunca nepristojnosti i beščašća ti instiktivno staješ uz njega i na kraju slušaš kako se ženi ovde obraća na ponižavajući način i nažalost u tome učestvuješ jer, naravno, kao i svako od nas, imaš svoj ego i štitiš ga. I niko ne treba da te osuđuje što štitiš svoj ego, svi mi to radimo, ali ima ovakvih i onakvih načina.
Ovde je na programu očigledno nameran sistematski rad na destrukciji forumske komunikacije zatrpavanjem foruma sadržajem koji je tu da povredi, uznemiri, zastraši, isprovocira, u prvom redu zakrči sve druge kanale komunikacije. Drugi pristojni ljudi neće da se oglašavaju jer će biti izloženi kombinovanom vređanju i klevetama, opaskama o članovima porodice, i sve će se to ponavljati, bukvalno kopipejstovano satima i danima. Uobičajen pristup kada "ekstremna" frakcija na internetu kolonizuje forum. Gazda na forum neće reagovati, a pristojan svet će da se priseća slučajeva u kojima je stvari rešavao puštanjem ljudi da se svađaju do iznemoglosti a onda banovanjem i onih koji su stvari izazvali i onih koji su bili izazvani. Pa će tražiti drugo mesto da na njemu provode vreme.
Onda će na forumu ostati samo svađa a posle nje, ako ikada stane, samo kopipejstovane naslage raznih ekstremnih ideja, koncepata, ideologija. Koje, razume se, mogu da budu predmet diskusije na forumu koji ima mehanizme da zaštiti diskusiju od zloupotrebe, ali kada počnu da dominiraju forumom, to je signal da mehanizma nema. Ovo je sve bilo jasno i očigledno godinama unazad ali dok god se makar raspravljalo o žanru, pisanju, filmu itd. pa makar uz obilno 'ranjenje govnima, to je, kao tolerisano. Ali u poslednjih godinu dana je očigledno za mnoge ljude koji su davali vredne doprinose ovde sve postalo previše i sveli smo se sada na ovo. Kao ljudi koji godinama znamo jedni druge i pregurali smo brojne rasprave, svađe i trvenja, trebalo bi da imamo duže fitilje i više poštovanja jedni za druge. Ali, naravno, nije da to iko može od drugog da ZAHTEVA, samo da priželjkuje.
Мехо, одлична анализа овог форумско социолошког феномена који је нажалост изабрао да узме ник по једном од мојих омиљених филмова.
Ја и даљем тврдим да је највећи проблем овог форума Бобан, а не такви као што је Т2. Но то се никада неће променити. Вучић у Србији, Бобан на форуму...
Quote from: T2 on 11-03-2017, 21:12:13
Quote from: saturnica on 11-03-2017, 20:51:10
Zar tako što me netko nazvao onako kako jest? To ne govori ništa o meni, valjda si toliko pametan da to shvaćaš, već o onom koji mi je te riječi uputio.
Говори и о теби и о мени.
О мени говори да волим и милфаче, а за тебе то треба да представља комплимент.
Међутим, ти си јако некултурна милфица - честитам ти на награди, онда ти честитке упути и Дивље Срце.
Међутим, ти не умеш ни да се захвалиш на честиткама.
Е - то говори само и искључиво о теби, некултурна милфице, а не о мени.
Ko god zine da govori govoriće o sebi.
Neosvesceni i niskointeligentni govore o sebi, govoreci o drugima. Mi ostali imamo taj superego koji nam omogucava bolji i kompletniji uvid u situaciju.
Mehov zadnji post - lektira xjap
zaista je pitanje hoce li neko odreagovati na izjavu clana zoska da je oluja prociscenje. usledila je nakon banalne ocene severnjaka da je ovom sajtu potrebna oluja, na sta se uvazeni nadovezao aluzijom na nemili dogadjaj iz nedavne proslosti. valjda zasluzeni veciti ban zbog namernog prsta u oko gotovo svim clanovima ovog foruma, opravdavanja zlocina, navijanja, tompsonovstine, propracene naknadnim lagodnim cavrljanjem o krupnim planovima maltezea. ako je prst malo, ne znam sta moderatrori i vlasnici ovog sajta smatraju za dovoljno, srafciger mozda
napomena da je gul bio kralj ocenivsi doticnog kao ustasu pre godini-dve. u to vreme mi je to delovalo preterano. danas se svesrdno priklijucujem kvalifikaciji
trt-mrt
Quote from: Meho Krljic on 11-03-2017, 22:25:08
... i na kraju slušaš kako se ženi ovde obraća na ponižavajući način i nažalost u tome učestvuješ...
Ne seri. Niko mi na ovom forumu nije draži od Lade, ali se umešala gde nije trebalo. To što smo nas dvoje ovim raskinuli dugogodišnje prijateljstvo se ne tiče nikoga osim mene i nje. Ako neko žali za izrečenim, onda sam to ja, ali samo u vezi nje. Nje, i ničega i nikoga drugog na ovom suludom mestu.
Pa zato što žališ ja tebe i svrstavam u pristojan svet. I naravno, da li je rezonski da se raskida prijateljstvo zbog ovoga?
Quote from: Stipan on 12-03-2017, 07:44:54
Quote from: Meho Krljic on 11-03-2017, 22:25:08
... i na kraju slušaš kako se ženi ovde obraća na ponižavajući način i nažalost u tome učestvuješ...
Ne seri. Niko mi na ovom forumu nije draži od Lade, ali se umešala gde nije trebalo. To što smo nas dvoje ovim raskinuli dugogodišnje prijateljstvo se ne tiče nikoga osim mene i nje. Ako neko žali za izrečenim, onda sam to ja, ali samo u vezi nje. Nje, i ničega i nikoga drugog na ovom suludom mestu.
prijatelju, miljama si ti udaljen od pojma prijateljstvo. ali, neka ti bude kako si sam pozelio. ignor na svim virtualnim razinama.
ma ok sto ti pises. taman posla da ustvrdim da si kriva. ali bi bilo lepo videti ljude koji su te nagradili. e to bi vec bila fora ;)
Што се тиче зоска...ако је дотични глорификовао Олују на неком другом форуму би попио бан али на овом не. Зашто? Зато што овде свако може да шири мржњу колико хоће. Нпр. Т2 подржава Кју Клукс Клан и шири мржњу према другим расама па није банован. Зашто би онда зоско...
Pa nije zosko rekao mnogo drugačije nego što zapravo jeste: svi znamo da je Oluja bila etničko čišćenje, tj. genocid, jel'te.
Sad komšije sve više koriste neke slične reči koje vrlo podsećaju, a za koju godinu ćemo se uskladiti verovatno i sa formulacijom. :lol:
@zig zag
Ono kad lociras problem.
Quote from: zag on 12-03-2017, 13:17:42
ma ok sto ti pises. taman posla da ustvrdim da si kriva. ali bi bilo lepo videti ljude koji su te nagradili. e to bi vec bila fora ;)
tako je. taman posla. što bi ja bila kriva. žiri je.
lepo si se sprijateljio sa zoskom truki, baš se lepo slažete
Mehmete, ne reaguj više!
Dosta oftopikovanja.... Vratimo se pravim stvarima:
(https://s-media-cache-ak0.pinimg.com/736x/e0/6b/34/e06b34fde5efa1d0280d5945a9827b1d.jpg)
Možda da otvorimo topik "Stipane, reaguj" pa da to bude neksus za ovaj konkretni fetiš?
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi66.tinypic.com%2F2hx9apg.jpg&hash=a92ed3e5f4fa60ea5b6a36fcfc868856e9cd1257)
Dajte Stipanu topik sa uniformama!!!
Pravda za Stipana!!!!!!!
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi68.tinypic.com%2Fo8vtwj.jpg&hash=dec7e2935dc02b7d68277374316c4f1ff7c6e2cd)
Što? Šta fali ovom topiku?
Pa meša se ovaj Mehan sa nekim nebitnim stvarima....
Quote from: klem on 12-03-2017, 18:29:48
lepo si se sprijateljio sa zoskom truki, baš se lepo slažete
зоско је мој омиљени усташа.
Koje ti predstave o ljudima imaš...
Nit' je Zosko ustaša, niti je T2 nacista. Zajebavaju vas..
T2 je gluplji od nacista.
Eto... I sad kad ti uzvrati svi će da nadignu dreku...
naravno da nije ustasa. mozda skoknes nekad do hrvatske na koje knjizevno vece, usput ih na licu mesta prosvetlis blagoglagoljivoscu i neobicnim darom pripovedanja kakav gotovo svakodendvno demonstriras ovde, a siguran sam i u svojim cenjenim delima, i naravno da bi bilo dobro da te ustasa ne saceka sa jos dvojicom-trojicom ustasa ispred nekog lokalnog doma kulture ili gde vec. s toga, naravno da nije ustasa
ono oko najomiljenijeg. pa, plasim se da je apsolutno nebitno cak i u najuzim okvirima sta je uopste tu najomiljenije
znate, ne mora bas svaki ustasa da bude onaj terenski. ima ih i kabinetskih
Quote from: Meho Krljic on 11-03-2017, 22:25:08
Quote from: Stipan on 11-03-2017, 20:50:27
Pokušavaš da me ismeješ?
Ne, ne, više da pokažem kako pristojan svet nije navikao da se nalazi u društvu ljudi koji namerno, sistematski provociraju i šire konfuziju, pa ne zna kako da se postavi. Pre neki dan gledali smo kako se jedan član foruma javno izvinjava drugom zato što ga je provocirao a ovaj drugi koji gotovo isključivo provocira, pravio se da je žrtva. Pa smo videli čitavo objašnjenje "A što bismo se svađali, preterao sam, ne znam ja, sigurno ovaj nije loš čovek, ima i on emocije, ljudi smo itd.", sve pod pokroviteljstvom vlasnika foruma i evo nas sad tu gde jesmo: metastaza uvreda, pretnji, dalje provociranje. Obraćanje koje bi na svakom drugom mestu gde zalaze ljudi naših godina značilo automatsko udaljavanje iz rasprave.
U ovom tvom slučaju, gledamo kako se svrstavaš uz proizvođača salve uvreda zato što je rekao nekoliko lepih reči na tvoj račun. Ja naravno razumem da ovde godinama slušaš od Bobana kako si krš od pisca, nemaš pojma, bla ba bla, vrlo uvredljive i nefer izjave, zbog čega i velim da je uvek Boban najodgovorniji za sve ovde, pa onda kad se pojavi neko ko o tebi lepo zbori a pritom Bobanov forumski pristup slobodi izražavanja dovede do vrhunca nepristojnosti i beščašća ti instiktivno staješ uz njega i na kraju slušaš kako se ženi ovde obraća na ponižavajući način i nažalost u tome učestvuješ jer, naravno, kao i svako od nas, imaš svoj ego i štitiš ga. I niko ne treba da te osuđuje što štitiš svoj ego, svi mi to radimo, ali ima ovakvih i onakvih načina.
Ovde je na programu očigledno nameran sistematski rad na destrukciji forumske komunikacije zatrpavanjem foruma sadržajem koji je tu da povredi, uznemiri, zastraši, isprovocira, u prvom redu zakrči sve druge kanale komunikacije. Drugi pristojni ljudi neće da se oglašavaju jer će biti izloženi kombinovanom vređanju i klevetama, opaskama o članovima porodice, i sve će se to ponavljati, bukvalno kopipejstovano satima i danima. Uobičajen pristup kada "ekstremna" frakcija na internetu kolonizuje forum. Gazda na forum neće reagovati, a pristojan svet će da se priseća slučajeva u kojima je stvari rešavao puštanjem ljudi da se svađaju do iznemoglosti a onda banovanjem i onih koji su stvari izazvali i onih koji su bili izazvani. Pa će tražiti drugo mesto da na njemu provode vreme.
Onda će na forumu ostati samo svađa a posle nje, ako ikada stane, samo kopipejstovane naslage raznih ekstremnih ideja, koncepata, ideologija. Koje, razume se, mogu da budu predmet diskusije na forumu koji ima mehanizme da zaštiti diskusiju od zloupotrebe, ali kada počnu da dominiraju forumom, to je signal da mehanizma nema. Ovo je sve bilo jasno i očigledno godinama unazad ali dok god se makar raspravljalo o žanru, pisanju, filmu itd. pa makar uz obilno 'ranjenje govnima, to je, kao tolerisano. Ali u poslednjih godinu dana je očigledno za mnoge ljude koji su davali vredne doprinose ovde sve postalo previše i sveli smo se sada na ovo. Kao ljudi koji godinama znamo jedni druge i pregurali smo brojne rasprave, svađe i trvenja, trebalo bi da imamo duže fitilje i više poštovanja jedni za druge. Ali, naravno, nije da to iko može od drugog da ZAHTEVA, samo da priželjkuje.
Ти бре матори љашбу лицемеру немој много да њашке!!!
Кажеш људи су заплашени - па не пишу на форуму?
Па ево због чега су заплашени...
Quote from: lilit on 29-11-2016, 16:55:02
don't get me wrong ugly, al ja bih ovo sve poslala u rudnik.
Quote from: Dybuk on 12-02-2017, 19:48:19
Njega treba preko zuba kad mlati gluposti, junacinu. A moze i preventivno.
Ово је писано пре мог повратка.
Две чланице - феминисткиње и подржаватељке педерастије прете људима и неистомишљеницима слањем у рудник и превентивним батинама.
Да ли је тада Механ реаговао и опоменуо своје другарице?
Није!
Шта више рећи?
О овом матором лицемеру и буљашу сам рекао и летос све, као и сада.
Најлешпше од свега - јасно сам показао његово очигледно лицемерје.
Након овог поста нећу се бавити више овом плаћеном будалом што шири педерастију.
Даље, да се вратимо на заплашеност.
Веома је могуће да су нови чланови заплашени управо ширењем педерастије по овом форуму, за шта је најзаслужнији управо овај стари буљаш Мехо.
Једноставно, пробајте да схватите да већина Срба не жели да дели ни виртуелни простор са заговаратељима педерастије и осталих болештина.
Треће - Обама ће се због фалсификовања крштенице наћи под истрагом.
Затвор му не гине.
Самим тим, сви његови акти су нелегални, па и Обамакер.
Питам, шта ће наша држава предузети против дебила попут маторог буљаша Мехе који су овде Србима фурали тај нелегални Обамакер???
Мехо, растајемо сад ми, али ја ти дајем један поклон - да ме памтиш.
Требаће ти.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fstatic.mondo.rs%2FPicture%2F297518%2Fjpeg%2Flisice-odelo-GG-1.jpg&hash=e18c4ee9eddb0175e402dff75ecbc164646cd98c)
Quote from: Pizzobatto on 13-03-2017, 16:53:42
T2 je gluplji od nacista.
Ево га овај изретардирани дебил, недоношче што гугла да би написало једну реченицу.
Магистар пушења курца.
Quote from: Dybuk on 12-03-2017, 00:21:54
Mehov zadnji post - lektira
Нек си и ти прочитала неку "лектиру" у животу, јадна лезбачо.
Hej, T2,šta očekuješ, ja izgleda jedini ovde na forumu verujem da je zemlja ravna i da je kupola iznad i da je NASA jedna velika prevara, kao i kompletna Astrofizika, planete, gravitacija, globalno zagrevanje, overpopjulejšn, demokratija.
I kako je meni jedinom normalnom ovde?
Pa opet, mirnim putem pokušavam da im objasnim istinu, i ne može niko i ničim da me zaplaši, niti ubedi u suprotno.
Mislim, kako će, kad nemaju nijedan argument.Kad znaš da si u pravu, ne može ti niko ništa :)
Quote from: T2 on 13-03-2017, 18:45:17
Самим тим, сви његови акти су нелегални, па и Обамакер.
"Obamaker" nije predsednički akt, nego zakon koji su izglasali predstavnici oba američka doma. Zato se republikanci i muče toliko da ga opozovu, a ne mogu, jer su i kongres i senat glasali da se uvede. Sad imaju mogućnost da ga opozovu, ali sad se ispostavlja da nemaju s čime adekvatnim da ga zamene, pa opet imaju problem.
Iz Vikipedije:
QuoteThe Patient Protection and Affordable Care Act, often shortened to the Affordable Care Act (ACA) and nicknamed Obamacare:
- Introduced in the House as the "Service Members Home Ownership Tax Act of 2009" (H.R. 3590) by Charles Rangel (D–NY) on September 17, 2009
- Committee consideration by Ways and Means
- Passed the House on October 8, 2009 (416–0)
- Passed the Senate as the "Patient Protection and Affordable Care Act" on December 24, 2009 (60–39) with amendment
- House agreed to Senate amendment on March 21, 2010 (219–212)
- Signed into law by President Barack Obama on March 23, 2010
Quote from: Ugly MF on 13-03-2017, 19:07:51
Hej, T2,šta očekuješ, ja izgleda jedini ovde na forumu verujem da je zemlja ravna i da je kupola iznad i da je NASA jedna velika prevara, kao i kompletna Astrofizika, planete, gravitacija, globalno zagrevanje, overpopjulejšn, demokratija.
I kako je meni jedinom normalnom ovde?
Pa opet, mirnim putem pokušavam da im objasnim istinu, i ne može niko i ničim da me zaplaši, niti ubedi u suprotno.
Mislim, kako će, kad nemaju nijedan argument.Kad znaš da si u pravu, ne može ti niko ništa :)
НАСА и јесте превара.
Сатанистичка лажовска организација.
А за Мацу - све што је везано за Обаму је превара.
Заблуда , капираш, не би било донето да нису били у заблуди око Обаме.
Према томе, потрудићу се свим силама да ове педере попут Меха, који су на фору Обамакера ширили педерастију и чедоморство код нас по Србији - стрпам где им је место.
Gluplji od nacista, ružniji od buba švabe.
Јеси, јеси, глупљи си и од нациста, а ружнији си од бубашвабе.
И смрдиш горе од смрдибубе.
А дебео си ко прасац.
U stvari gadniji od buba švabe, al jasna je poenta.
Pobegao Mehmet i od teme i od foruma.
To je zato sto je T2 normalan.
Љубоморан си Батице.
T2, ako dovoljno dugo budeš sedeo na obali reke, ugledaćeš kako voda nosi leševe tvojih neprijatelja... :D
Nemojte slucajno da ste reagovali ili se pobunili. To je za nas glupe.
Iliti
Ako vam je dobro - onda nista.
Pa dobro, imaju Boban i T pravo da žive, iako su moroni.
Al nikoga to ne sprečava da mi na pp javi adresu drugog foruma.
Pa evo, ja mu pomažem. Dybuk, da li ti znaš šta je bes??? Bes je u stvari - nemoć!
Ako pristojne ljude boli dupe da preotmu forum od trolova i zastrasivaca, onda nemaju prava da se zale sto se spustio na nivo septicke jame. Vrlo jednostavno.
Nisam pobegao, bio sam kod veterinara pa posle išao komšiji da kupim lek, u međuvremenu me startovao neki stariji čovek da me pita gde je policija, jer su mu neki ljudi ušli u stan a njegova žena je, kaže sinoć otišla i nema je da se vrati i tako... Imao sam druge sadržaje da se njima bavim.
Elem, ja sam mislio da je jasno da ja "reagujem" zato što je forum prekriven svađom, uvredama i pretnjama i da to ometa neki njegov uobičajeni život. U koji, istina je, spadaju i povremene neodmerene izjave, uvrede i pretnje, ali kada bih ja reagovao na SVAKI post koji smatram da je trebalo da bude drugačije ili nikako ispisan, od mene ne bi moglo da se živi ovde. A pošto je i ovako teško da se živi od mene, zamislite onda kako bi tek to izgledalo. Dakle, moje "reagovanje" ovde je puka higijenska (velika) nužda, ne ambicija da forum uredim po svom liku. Već sam rekao - mene privlači ideja da je forum slobodan i bez tabua pa da se na njemu može diskutovati i o najekstremnijim idejama, ali svakako je očigledna razlika između "diskutovanja" i "zatrpavanja".
Quote from: Ugly MF on 13-03-2017, 19:07:51
I kako je meni jedinom normalnom ovde?
KAKO MOLIM? A JA?
Sad još ustanovimo da moron posjeduje neku ideju.
Ovde je svako normalan za sebe :lol: Ali forum se polomi kad krene da se uteruje jedna ideja normalnosti. Loše izbaždaren za konsenzuse.
Quote from: Stipan on 13-03-2017, 16:33:54
Koje ti predstave o ljudima imaš...
Nit' je Zosko ustaša, niti je T2 nacista. Zajebavaju vas..
за зоска си ( можда ) у праву, али Т2 је право дно. Не зеза се он уопште...само је залутао на овај форум.
Такође, имам утисак да зоско кроз неке своје шале и цинизме заправо прикривено протура фашистичке идеје...То је чини ми се и сам пар пута признао, везано за његову подршку националсоцијалистима у Немачкој.
Quote from: Truman on 13-03-2017, 20:48:19
Т2 је право дно. Не зеза се он уопште...само је залутао на овај форум.
Grešiš... Mislim da ga ja ipak bolje znam od tebe i 99 odsto ljudi ovde.
Zalutao i drzi ga u opsadi...
Neki nisu da budu medju ljudima i to je sve. Vecina vas ne zna sta sa slobodom koju forum nudi - sto znaci da ne prepoznajete kad se ona brutalno zloupotrebljava. Moje resenje je jasno, svako preko 500 postova ima sredstva da se bori protiv govora mrznje. Ali vecina cita, slegne ramenima i prodje pored takvih postova.
Ma dajte.... Odradio sam sa čovekom najmanje tri zajednička projekta.
Nije on ni izbliza takav kakvim se ovde prikazuje.
Quote from: Stipan on 13-03-2017, 20:42:56
Quote from: Ugly MF on 13-03-2017, 19:07:51
I kako je meni jedinom normalnom ovde?
KAKO MOLIM? A JA?
Ah, pa nisi se izjasnio, jesi li za Biblijsku Ravnu Zemlju ili ovu Vavilonsku Jezuitsku Masonsku podmetnutu loptu?!?!
Mada, s' obzirom na tvoju sklonost ka uniformama, smatram da si na ispravnom putu ka apsolutnoj normali! :)
Eto, može li biti gluplja??
Tko nju dira u inozemstvu? Tamo radi što hoće, pa misli tako i ovdje. Koja bahatoća!
Quote from: Stipan on 13-03-2017, 20:42:56
Quote from: Ugly MF on 13-03-2017, 19:07:51
I kako je meni jedinom normalnom ovde?
KAKO MOLIM? A JA?
X
Quote from: Stipan on 13-03-2017, 20:56:44
Ma dajte.... Odradio sam sa čovekom najmanje tri zajednička projekta.
Nije on ni izbliza takav kakvim se ovde prikazuje.
Nikad ga necu upoznati - to me zanima koliko sesija cupanja noktiju nazivo. Pocetak i kraj mog interesovanja za sve vas je vasa forumska persona. A njegova je ultra destruktivna. Nemoj meni da pricas da "nije tako kako izgleda", pobogu!
Dakle, s oprostenjem, ne baljezgaj.
Quote from: Meho Krljic on 13-03-2017, 20:44:41
Ali forum se polomi kad krene da se uteruje jedna ideja normalnosti. Loše izbaždaren za konsenzuse.
Sagita je oduvek bila forum najboljih međ najboljima i kao takva poprište nametanja najodlučnije verzije stvarnosti. 8-) :lol:
Sve je ovo zbog toga što ustaše nisu dejstvovale po Vojvodini.
Quote from: Dybuk on 13-03-2017, 21:03:04
Dakle, s oprostenjem, ne baljezgaj.
Ako ovde neko baljezga to si ti. I to u kontinuitetu.
Quote from: Stipan on 13-03-2017, 20:56:44
Nije on ni izbliza takav kakvim se ovde prikazuje.
...sasvim čovekolik, ali, kad se najmanje nadaš... :)
Quote from: Stipan on 13-03-2017, 21:05:10
Quote from: Dybuk on 13-03-2017, 21:03:04
Dakle, s oprostenjem, ne baljezgaj.
Ako ovde neko baljezga to si ti. I to u kontinuitetu.
Kad mi to kaze neko kao ti, mogu samo da se zahvalim na komplimentu.
Neko kao ja? Otkud ti znaš ko sam ja?
Quote from: Stipan on 13-03-2017, 21:09:55
Neko kao ja? Otkud ti znaš ko sam ja?
Videli smo na ovoj temi vec. Onda kad si "najebao". Zbog svog pileceg mozga, bez sumnje.
Ma koji ste to "VI"?
Quote from: Stipan on 13-03-2017, 20:56:44
Ma dajte.... Odradio sam sa čovekom najmanje tri zajednička projekta.
Nije on ni izbliza takav kakvim se ovde prikazuje.
Ako je istina to da ovde ne prikazuje svoju pravu prirodu onda postoji nada da će se jednom umoriti od svog "ne-sebe".
Možda... A možda i neće dok god postojite "VI" i "ON".
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.reactiongifs.com%2Fr%2F2012%2F12%2Ftiniest_violin.gif&hash=3c4960d12b4254c5759c482faef1354707cdaf82)
(https://s-media-cache-ak0.pinimg.com/736x/6e/4f/9e/6e4f9ecc3362de1502d934e02147c247.jpg)
Quote from: T2 on 13-03-2017, 18:45:17
Quote from: lilit on 29-11-2016, 16:55:02
don't get me wrong ugly, al ja bih ovo sve poslala u rudnik.
Quote from: Dybuk on 12-02-2017, 19:48:19
Njega treba preko zuba kad mlati gluposti, junacinu. A moze i preventivno.
A kad ja napišem da treba sa dva tri šamara rastjerati onaj šljam u državi, koji uništava i krade opća dobra, onda se mene proziva da kakva sam to žena i što to pišem...
Fino, sad mi je jasnije...
Zavisi na koju državu misliš ;)
Quote from: Ugly MF on 13-03-2017, 21:43:14
Zavisi na koju državu misliš ;)
Ahh, ima li sada svrhe ijednu izdvajati?
To ti je po onoj ja te krstim, ti prdiš.
Pa i ima...
Ja bi u svojoj zemlji vrlo rado da gledam neke druge, ali u nekim drugim zemljama mi ne smetaju....
Quote from: Ugly MF on 13-03-2017, 22:16:31
Pa i ima...
Ja bi u svojoj zemlji vrlo rado da gledam neke druge, ali u nekim drugim zemljama mi ne smetaju....
Tema je bila Izbori u Srbiji, mislila sam na njene političare. Znači, prema tvojoj logici, toj Biki ne smeta da se Srbija pljačka i uništava.
Pa u redu, ima nas svakakvih. :)
Quote from: Dybuk on 13-03-2017, 20:34:30
Ako pristojne ljude boli dupe da preotmu forum od trolova i zastrasivaca, onda nemaju prava da se zale sto se spustio na nivo septicke jame. Vrlo jednostavno.
Да се подсетимо шта је ова тртљала пре мог доласка на форум.
Quote from: Dybuk on 12-02-2017, 19:48:19
Njega treba preko zuba kad mlati gluposti, junacinu. A moze i preventivno.
Тако би се она обрачунавала са неистомишљеницима, а сад тртља нешто о застрашивању.
Quote from: Truman on 13-03-2017, 20:48:19
Quote from: Stipan on 13-03-2017, 16:33:54
Koje ti predstave o ljudima imaš...
Nit' je Zosko ustaša, niti je T2 nacista. Zajebavaju vas..
за зоска си ( можда ) у праву, али Т2 је право дно. Не зеза се он уопште...само је залутао на овај форум.
Такође, имам утисак да зоско кроз неке своје шале и цинизме заправо прикривено протура фашистичке идеје...То је чини ми се и сам пар пута признао, везано за његову подршку националсоцијалистима у Немачкој.
Кад неком труккки каже да је дно...Смејурија.
Занимљиво, тобоже ја залутао на форум, а ови педери и лезбаче, ширитељи чедомортсва који немају везе са фантастиком (попут тебе и глупаче дајбуккк) - откуд они на форуму?
Него, ево труккки, за тебе и за твог омиљеног ујкицу, лектира бре...
https://www.youtube.com/watch?v=1on8VRdm6uM
Quote from: Stipan on 13-03-2017, 21:12:27
Ma koji ste to "VI"?
Стипе, не расправљај се са том дајбуккк сељанчуром што се стиди свог сељачког порекла.
Мала је прсла, зависна је од интернета и гудре, лаже, манипулише, и ваљда ти је јасно да ради све но што је радила прошлог лета.
Па видиш ваљда да у њој грама мозга нема кад сада, након свега, назива Дивље Срце мушкарцем (иако је прошлог лета лупетала да је Дс у ствари Д., па да је ДС у ствари - ја).
Ако оћеш да причаш са овом малом - ево га топик за причу са њом, на том топику је окруњена круном која јој приличи
http://www.znaksagite.com/diskusije/index.php?topic=4473.msg667924;topicseen#msg667924
Quote from: Divlje srce on 11-03-2017, 20:31:29
Quote from: Onaj stari Sendmen on 11-03-2017, 20:29:45
Sagita pod hitno da menja ime u "Meho reaguj".
Haahahahaha! Može!
Hvala svima na dopisivanju, ali najslađa mi je bruka ovo dvoje finih ljudi:
Quote from: Dybuk on 11-03-2017, 20:02:38
Quote from: tomat on 11-03-2017, 19:58:04
Quote from: T2 on 11-03-2017, 19:56:19
Милфара...
jer je ovo istinski primer bavljenja nečijim laprdanjem, a ne nekim osobno.
hajde jos jednom da potcrtamo svu toksicnost ove osobe. sramota.
T2, jako si toksičan. :evil:
https://www.youtube.com/watch?v=MfgBKsUmzb4
Meni je iskreno žao što sam naseo na T2-obećanja da neće nikoga prozivati i da će samo postirati svoja razmišljanja i komentare na dela, a ne na ljude ovde.
Izvinjavam se svima koji su pogođeni njegovim nastupima ovih dana, u narednih pola sata će biti ponovo odstranjen, ovog puta verovatno zauvek.
Ma, T2 je samo simptom, mi ostali smo problem koji treba dugoročnije rešavati. :lol:
Quote from: Boban on 14-03-2017, 01:46:24
Meni je iskreno žao što sam naseo na T2-obećanja da neće nikoga prozivati i da će samo postirati svoja razmišljanja i komentare na dela, a ne na ljude ovde.
Izvinjavam se svima koji su pogođeni njegovim nastupima ovih dana, u narednih pola sata će biti ponovo odstranjen, ovog puta verovatno zauvek.
:?
Pa i ja sam rekla da ću gledati svoja posla, ali si mi rekao da ti nemaš problem da uzvratim, ukoliko mi netko stane na put, dapače.
Ne želim biti član foruma gdje se ljudi baniraju na ovakav način.
Neću biti član ovakve zajednice ni iz razloga jer ću nadalje biti izložena paranojama tipa: Divlje srce je muškarac, bez obzira što i gdje da napišem, i to samo zato jer nisam na strani retardirane ženske solidarnosti onih forumašica koje smatraju da "dame" trebaju jedna drugu podržavati u napadanju muškaraca, bez obzira tko je u diskusiji u pravu.
Slobodno me odmah zauvijek baniraj, jer kad vidim što je po tebi normalna komunikacija, i što sve uopće ne sankcioniraš, a na što odmah reagiraš baniranjem i opomenama, ne pada mi na pamet da budem dio toga.
Nema ljutiš, fala na pažnji, zbogom.
Quote from: Meho Krljic on 14-03-2017, 08:40:33
Ma, T2 je samo simptom, mi ostali smo problem koji treba dugoročnije rešavati. :lol:
Tačno. Ako si shvatio šta si napisao.
Pa, verovatno jesam donekle shvatio, mi ovde često ne pokazujemo dovoljno uvažavanja za druge i normalizujemo ponašanje koje ne bi trebalo da je prihvatljivo u javnosti.
Nema šanse da upotrebiš reč JA? Nema šanse da izostaviš DONEKLE? Nema šanse da izostaviš U JAVNOSTI? Ne, nisi shvatio šta si napisao.
Pa, da mislim da sam samo ja problem na ovom forumu, svakako bih to i napisao. Ali ne mislim. Ja sam deo problema.
Ma, naravno da jesi. Posrali su te da se više ne vidiš, a ti u iste diple duvaš. Ne možemo da tražimo nešto od Bobana, ako sebe ne dovedemo u red. Mi ne vegetiramo, mi izdišemo. Najvredniji promaknu forumom, pa odu, neki drugi su se učaurili u svoje niše i ne izviruju. Da kojim slučajem imamo nobelovca i njega bismo očas izgubili.
Pa, ja svakako ne mogu na sebe da preuzmem SVU odgovornost. A trudim se da sa ljudima pričam pristojno i da iritiram što manje mogu.
Jebote, jedva primetimo da nam promiče najvažniji pregled domaće fantastike, Drf se postideo što ovde priča o o svom i Kordejevom, maltene masterpiece.
Meho, preuzmi svoj deo odgovornosti, onako kako ti uverenja koga zastupaš nalažu. Ti si za ZS važniji, pa ti je i obol veći.
Pa, trudim se. Nikad nije dovoljno, naravno, al onda se više trudim itd...
Ne, ne trudiš se.
Uz dužno poštovanje, ne slažem se. Mislim da sam danas manje iritantan nego pre.
Ne moraš. Ali, bez pokajanja nema oproštenja.
https://www.youtube.com/watch?v=Ppm5_AGtbTo
ma ne radi se ovde o tome da li ce se meho i kompanija pokajati ili nece, koga uopste zabole za to, pa nismo u crkvi, jel'te, vec sta ce se mehu i kompaniji uopste dogoditi. ovako se jedan kaznjava, a drugi jednkao odgovorni, ne da se ne kaznjavaju, vec se i nagradjuju kaznjavanjem odstranjenog
resenje je od samog pocetka bilo jednostavno. odredi se satnica od koje se dva tabora vise nece poznavati, i gotova stvar. mimoilazenje bez ikakvog stajanja na put
zato vracajte coveka, neka predstavlja procitano, pronalazi rok zvezde u horor filmovima, izmedju ostalog i da ne bi ovaj mac kojim se ovde vitla ipalo da je jedan od onih sa jednom ostricom, najverovatnije kupljen kod kineza
Quote from: Meho Krljic on 14-03-2017, 08:40:33
Ma, T2 je samo simptom, mi ostali smo problem koji treba dugoročnije rešavati. [emoji38]
Ma mi smo izlječiva boles!
Quote from: zag on 14-03-2017, 13:30:23
zato vracajte coveka, neka predstavlja procitano, pronalazi rok zvezde u horor filmovima, izmedju ostalog i da ne bi ovaj mac kojim se ovde vitla ipalo da je jedan od onih sa jednom ostricom, najverovatnije kupljen kod kineza
TAKOE! E sad,T2 treba samo da obeća a Boban da nasedne. :)
nema tu sta ko da obecava, a drugi da naseda. drugi samo postavi pravila i odreaguje u slucuaju eventualnog prekrsenja. toliko je to eto jednostavno
Ja opet da pokuša da podvučem: ovde se ne radi o ideološkim sukobima, nego o tome da forum posle jedne tačke postaje zagušen agresivnim svađanjem, vređanjem, podsmevanjem, pretnjama, sve to svedeno na nivo sasvim ličnog prozivanja i da se ne može reći da su "jedni" i "drugi" jednako odgovorni pošto je razlika u volumenu (dakle, tonu i količini izrečenog) više nego očigledna. Ponovo: ovim neću da kažem da se svaka disonantna nota koja iskače iz nekakve fiktivne sagitaške harmonije mora pod hitno odstraniti, dalekobilo, samo da nije dobro kada šum potpuno prevlada nad signalom. A tom šumu, priznaću, svakako, svi pomalo doprinosimo, zato je važno i da se s vremena na vreme zabremzamo i posvetimo signalu.
Quote from: zagnema tu sta ko da obecava, a drugi da naseda. drugi samo postavi pravila i odreaguje u slucuaju eventualnog prekrsenja. toliko je to eto jednostavno
Pa eto, pravila su vise nego eventualno prekrsena. Pa se i odreagovalo. Ali ti, droog, masis za sve pare. To je umetnost, I tell ya.
naravno da je umetnost. jok, umetnost je ono sto od filmova predstavljas ;)
ah, izvinite, meho, evo prepravljam
ma ne radi se ovde o tome da li ce se meho i kompanija pokajati ili nece, koga uopste zabole za to, pa nismo u crkvi, jel'te, vec sta ce se mehu i kompaniji uopste dogoditi. ovako se jedan kaznjava, a drugi nesto manje odgovorni a jednako agresivni, ne da se ne kaznjavaju, vec se i nagradjuju kaznjavanjem odstranjenog
https://www.youtube.com/watch?v=5NfQ3ay9oXQ (https://www.youtube.com/watch?v=5NfQ3ay9oXQ)
Ah, ta repeticija!
Ta bolna nesposobnost da se sarkazam druge osobe detektuje!
Moze biti samo jedan - na vise naloga.
zar ovo ne bi trebalo da ode na 'pesma koju mozes slusati do besvesti'? (odnosi se na dinastiju)
Quote from: zag on 14-03-2017, 13:52:16
a jednako agresivni
Ja to zaista ne vidim tako. Ono što sam ja video je jedna osoba sa očiglednom namerom da isprovocira druge osobe sistematskim ponavljanjem optužbi, uvreda, laži, omalovažavanja i relativno apstraktnih pretnji. Je li sa druge strane došlo po nešto što smatram da je ispod nivoa pristojne osobe? Jeste, bez sumnje ali je razlika u nameri, metodologiji i, kako rekoh, volumenu, za mene ogromna.
Quote from: Dybuk on 14-03-2017, 13:46:24
Pa eto, pravila su vise nego eventualno prekrsena. Pa se i odreagovalo. Ali ti, droog, masis za sve pare. To je umetnost, I tell ya.
Quote from: Dybuk on 14-03-2017, 13:55:21
Ah, ta repeticija!
Ta bolna nesposobnost da se sarkazam druge osobe detektuje!
sarkazam rekoste?! a gde to!? :)
edit: a, da, ono 'droog' je sarkasticno, nisam ni zapazio u pocetku. naviko da je to najnormalnija komunikacija, a ne pojacana cak i neslucenim sarkazmom ko u ovom slicaju :)
a paranoja? :)
Pa, zag valjda i jeste drugi nalog trt-mrta nakon što mu je originalni banovan? Hoću reći, nije T2, ako se to misli. Valjda bi bar pisao ćirilicom :lol:
Pod uslovom da nemamo posla sa psihopatom s pet naloga
Quote from: Meho Krljic on 14-03-2017, 14:08:54
Pa, zag valjda i jeste drugi nalog trt-mrta nakon što mu je originalni banovan? Hoću reći, nije T2, ako se to misli. Valjda bi bar pisao ćirilicom :lol:
Pa, da sad ne bih objasnjavala kako recimo muskarac moze da pise u zenskom rodu, pa sve ubedi da je, ahem, zensko, i kako je sadrzaj napisanog vazniji od odabrane forme, te kako vise naloga iste osobe nije dobra forumska praksa...bolje da se vratimo vaznijim temama. Ja sam ionako prilicno doprinela tvom konstantnom stucanju ovih dana :lol:
Da kažemo da sve to nije mnogo bitno dok god ovde pričamo sa minimumom uvažavanja, pa neka je to sve i jedan čovek sa 50 naloga :lol:
Recimo da Mehu poznajem i dobro znam kome čupam uši i zašto.
Znak Sagite se ne leči banovima, ako sadrži opasan virus. Da ne bude napamet, primetio sam T2 osobu kao recenzenta, sa imenom i prezimenom. Tek kad se sakrije iza nika pomišlja da je sve dozvoljeno. Takođe, da prosti zag, nemam dileme da je samo privremena verzija. Kao i trt-mrt, a da ne pominjem metastaziranu osobu koja barata sa desetak nikova na ovom forumu. Kada se ukloni rak ne nestaju metastaze. Da nisam ćutao i na mene bi se posrali. Onaj koji je odgovoran, a jeste beskrajno, odgovoran je i za sva vređanja svojih prijatelja, pa i porodice.
Quote from: Meho Krljic on 14-03-2017, 13:58:29
razlika u nameri, metodologiji i, kako rekoh, volumenu, za mene ogromna.
ima tu razlike u nameri, vi se zeleli njegov ban, a on vas ostanak na forumu, metodologija je bila slicna i desavala se svim sredstvima, a tacno za volumen, ali valja priznati da je covek samo raspisaniji od vas i nista vise. to se u diskusijama ceni kao kvalitet, znas. eto, i ti se ponekad raspises sa toliko hiljada karaktera, najverovatnije gledajuci na tekst kao na izuzetno postignuce :)
na kraju, neka o svemu ovome ipak odluci onaj ko treba da odluci. kao sto rekoh, sve se to lako moze dovesti u red
Pa, taj je i odlučio. E, sad, idemo dalje, svako svojim putem pa gde se sretnemo.
naravno, meho, ni dlaka s glave ;)
Pa, nisam siguran koji je moj greh u tome što sam razložno i sa argumentima polemisao sa drugim članovima na forumu pa da treba nešto da mi se desi, ali, pretpostavljam da mi ne bi ništa dramatično u životu falilo ni da sam, zbog mira u kući, banovan sa foruma.
Мехо, немаш ти никакав грех него други имају прљаве ауре.
Ćirilica!!!!! :? :? :? DRŽTE GA MOMCI!!!!!!!!!!!!!!
@ meho
a mislio sam s obzirom na vreme koje provodis ovde da bi ti dosta toga dramaticno u zivotu falilo kada ne bi bio ovde. ali, ipak moja pogresna procena :)
Quote from: Meho Krljic on 14-03-2017, 14:36:21
Ćirilica!!!!! :? :? :? DRŽTE GA MOMCI!!!!!!!!!!!!!!
Хехе, Мехо нећеш ме убедити да ниси чиста срца!
Šali se čika Meho, nego, sad me Truman podsetio da je incident koji se pre neki dan njemu dogodio zapravo dobar primer za "problem" Sagite kako ga ja vidim. On nešto napisao sasvim ljudski i korektno negde na gornjem delu foruma, a Boban mu odgovorio u stilu "A zar ti nisi još izumro?" i dok je ovo način komunikacije koji je držao vodu dok su na forumu visili isključivo (ili gotovo isključivo) ljudi koji se i inače viđaju u kafani i po kućama pa je ta vrsta grubljeg humora naprosto išla uz taj nivo intime, čini mi se da u ovom trenutku to deluje kao carte blanche bilo kome da se obrati bilo kome na forumu na ružne i agresivne načine jer je to, očigledno, "The Sagita way". A onda to ume da dovede do situacija koje ne želimo jer guše pametnije stvari na forumu itd.
Edit:
Quote from: zag on 14-03-2017, 14:36:46
@ meho
a mislio sam s obzirom na vreme koje provodis ovde da bi ti dosta toga dramaticno u zivotu falilo kada ne bi bio ovde. ali, ipak moja pogresna procena :)
Pa, otvorio bih drugi profil, kao i svako drugi, naravno :lol:
Да, сагита је права џунгла. Ко опстане свака му част.
Quote from: zag on 14-03-2017, 14:21:09
ima tu razlike u nameri, vi se zeleli njegov ban, a on vas ostanak na forumu
Pa zato što je i jedno i drugo kazna :)
E moj trte mrte
Quote from: Meho Krljic on 14-03-2017, 14:40:08
Pa, otvorio bih drugi profil, kao i svako drugi, naravno :lol:
i nastavio da se ponasas, pretpostavljam, isto. u pravu si, nista se tu dramaticno ne bi desilo :)
Pa,ja se stalno trudim da korigujem svoje ponašanje tako da, posle bana bih sigurno gledao da ga učinim manje problematičnim za forum.
Ако Меху банују одлазим и ја!!!
Quote from: Meho Krljic on 14-03-2017, 14:51:12
Pa,ja se stalno trudim da korigujem svoje ponašanje tako da, posle bana bih sigurno gledao da ga učinim manje problematičnim za forum.
ma jasno, ti si onaj koji se neprestano usavrsava. savremenici, pa slucajno i svedoci sve ove godine
Teško da bih koristio reč "usavršava", ali pokušavam da manje nerviram ljude, da.
Quote from: Truman on 14-03-2017, 14:53:23
Ако Меху банују одлазим и ја!!!
Ma, Boban strašno retko banuje ljude, tako da je rizik veoma nizak. :lol: Ja pretpostavljam da ni T2 ne bi bio banovan da je malo spustio loptu i rekao "dobro, dobro, smiriću se". Doduše, zaista ne znam je li ban dobio nakon što je to neko tražio (ako je to bitno, for d rekord: ja nisam, nikada) ili zato što je Boban sam video da je čovek odbanovan uz obećanje da će da bude manje konfrontativan prilično brzo prešao u mod konfrontacije i zakrčio većinu kanala komunikacije na forumu...
pa ja i pricam da ne treba da postoje obecanja i mod manje konfrontacije. odrediti pravila taborima u kojima nece biti mesta, ne za eventualnu konfrontaciju, vec i za bilo kakvu komunikaciju. ali, da se ne ponavljamo
Quote from: Truman on 14-03-2017, 14:53:23
Ако Меху банују одлазим и ја!!!
Dajte bre ljudi kakav Mehov ban?????
Ovde je veći problem što je saturnica napustila forum a niko se i ne osvrne, naravno, ovde se veća da se ološ vrati. Isto tako, Boban izmedju klema i Jevtre zadrzi njega! O čemu pričamo???
Quote from: Agota on 14-03-2017, 15:09:00
Quote from: Truman on 14-03-2017, 14:53:23
Ако Меху банују одлазим и ја!!!
Dajte bre ljudi kakav Mehov ban?????
Ovde je veći problem sto je saturnica napustila forum a niko se i ne osvrne, naravno, ovde se veća da se ološ vrati. Isto tako Boban izmedju klema i Jevtre zadrzi njega! O čemu pričamo???
+1
Ja nisam ni znao da je Saturnica napustila forum. :( :( :( :(
Apropo tabora, ja ne mislim da postoje, zaista, i da je problem bio u pojačanju šuma. Ali dobro da se ne ponavljamo, evo muzičkog predaha:
https://youtu.be/WKMNnd1TaUY (https://youtu.be/WKMNnd1TaUY)
Није ваљда и јевтопијевићка отишла? Па да, нисам дуго видео њене постове. Е Бобане, Бобане...где ти је образ.
Još ne znamo jel Saturnica definitivna, al šta koji moj da radimo kad Truman još nije skonto da Jevtropijevićke nema...
Quote from: Meho Krljic on 14-03-2017, 15:11:30
Ja nisam ni znao da je Saturnica napustila forum. :( :( :( :(
uf, sta joj bi? nisam ni ja znao. a bas je sinoc bila tako standardno neprijatna :)
Možda zato što trt ne služi ničemu na forumu a kao bitniji je od nje
Npr, trt je u kreativnom smislu fikus, al smatra da može da brblja.
Trt je naravno good cop u T juniversu, pa je malo manje iritantan, al poenta je ista.
Treba banovati Bobana i Stpana i bilo kog drugog na ana!
daj bre, bato, kad sam ja to tvrdio da sam bitniji od bilo koga odavde. ali, ok, ti uocio :)
sto se sluzenja tice, pa valjda je kvalitet ne sluziti nicemu ovde, i za razliku od mnogih, nikome
edit: covece, pa imam 37 postova, od toga desetek od pre deset godina :)
Quote from: Pizzobatto on 14-03-2017, 15:22:35
Treba banovati Bobana i Stpana i bilo kog drugog na ana!
Mehana? :? :? :? SVE JE JASNO!!!!!!!!!!
Klem je otišao odavno, pa je nik preuzet. I neki drugi. Admistrator je dozvolio da mi se brlja po forumu.
kada rehoh ne sluziti nicemu ovde, mislio na banalni horor, pocetnicku dramu, besmisleni z-grade, besmisleni a-grade, sluziti babaduku, djalu, sluziti i holivudu cak. nekako radije fikus :)
edit: mada, ruku na srce, sluziti sve ove godine onako predano babaduku ipak nije mala stvar ;)
Quote from: scallop on 14-03-2017, 15:38:38
Klem je otišao odavno, pa je nik preuzet.
Ovo se bar da dokazati: neka taj što se postavlja kao klem objavi novu, autentičnu epizodu o inspektoru Pušinskom.
Quote from: Meho Krljic on 14-03-2017, 15:27:14
Quote from: Pizzobatto on 14-03-2017, 15:22:35
Treba banovati Bobana i Stpana i bilo kog drugog na ana!
Mehana? :? :? :? SVE JE JASNO!!!!!!!!!!
Mehana banovati, ostaviti Meha i Mehmeta!
Quote from: zag on 14-03-2017, 15:43:07
kada rehoh ne sluziti nicemu ovde, mislio na banalni horor, pocetnicku dramu, besmisleni z-grade, besmisleni a-grade, sluziti babaduku, djalu, sluziti i holivudu cak. nekako radije fikus :)
edit: mada, ruku na srce, sluziti sve ove godine onako predano babaduku ipak nije mala stvar ;)
Tako je, vidiš da znaš a fikusiraš samo.
Nisi koristan ako od tebe nemam šta da naučim, a pritom se pojavljuješ u paketu s T2 i klemom.
Quote from: Pizzobatto on 14-03-2017, 16:05:19
Nisi koristan ako od tebe nemam šta da naučim
a ja kao od tebe imam :)
Izgleda da fikus dobija vodu s puno hlora.
izgleda da tebi nedostaje jod :)
Quote from: zag on 14-03-2017, 15:17:40
Quote from: Meho Krljic on 14-03-2017, 15:11:30
Ja nisam ni znao da je Saturnica napustila forum. :( :( :( :(
uf, sta joj bi? nisam ni ja znao. a bas je sinoc bila tako standardno neprijatna :)
Saturnica je otišla sa Sagite kada je dobila nagradu za roman, postala veliki pisac i prerasla forum. Sad se vratila nakon što joj je Dybuk poslala poruku da se T2 vratio na forum.
Ajde, Bobane, znam da tebe jako iritira što se podudaram u T2 stavovima, i sigurno se neću slagati sa ovim jadnicima, pa me fino blokiraj sa Sagite, budi muško i obrani čast "dama" sa Sagite, kao i Scallop što radi.
Pa, hajde, Bobane, čik!
Quote from: scallop on 14-03-2017, 11:42:28
Mi ne vegetiramo, mi izdišemo.
Pa stvarno, da se naočigled primjetiti, odjednom je ovdje zavladala grobna tišina.
Baš neobično.
(https://s9.postimg.org/w0bal09cf/Vijenac07.jpg) (https://postimg.org/image/l0q39eix7/) (https://postimage.org/)
Samo gledajte da izdahnete po Božanskom redu, od najstarijeg prema mlađima.
Mora se znati red, i tko nažalost, još neće dugo...
xbigok xbigok xbigok
(https://s15.postimg.org/ymudv1o8r/zdjelica_zelena_velika_4_366x260.jpg) (https://postimg.org/image/by56vh6uv/) (https://postimage.org/)
Evo još i svijeću da upalim za pokoj duše. Takav je red.
Hvala. Nećeš "svijeću"? Nema više foliranja? Nema držanja za lažni identitet? Može li te Boban uopšte izbrisati iz moderacije Sagite? Bemti, koja je on budala!
Ma, voli te on, samo se pravi.
Eto, Meho, zato si ti slaba ličnosti. No guts.
Kad su posjete?
(https://s1.postimg.org/o0dmlazr3/pic001.jpg) (https://postimg.org/image/6n3c6g4fv/) (https://pixxxels.org/)
Će potrošiš žuč.
Quote from: scallop on 14-03-2017, 22:47:53
Će potrošiš žuč.
Jok.
Inače, upravo sam pročitala priču za laku noć: "Berlin i Paralija".
Kažu pametni ljudi da se senilni starci vraćaju u djetinjstvo, i da im pamet ponovo postane dječja.
Ova pričica potvrđuje tu tvrdnju mudrih ljudi.
Tutsi, Hutui, Harry Potter, Mickey Mouse i Donald Duck.
I ovo je krema srbske fantastike??
Ma dajte, nemojte me zezati, Predrag Raos je za ovog ishlapjelog starčića - Tata, a Stevan Šarčević - i Tata i Mata.
Quote from: scallop on 14-03-2017, 21:42:41
Eto, Meho, zato si ti slaba ličnosti. No guts.
WTF, šta sam sad uradio??? Sedeo sam i igrao Metal Slug i Breath of the Wild poslednja tri sata, nisam ni prilazio forumu. :shock:
Inače, nalazim da su ove ejdžističke aluzije i izjave prilično degutantne i nije im mesto ni na forumu ni igde u javnosti. Pogotovo što nam je svima cilj da budemo stariji. Vrlo ružno.
Phihotična osoba vrši najdirektni napad na mene, na tvom topiku, a ti se igraš. Eto, na to sam mislio.
Quote from: Divlje srcesrbske
LOL
Quote from: Divlje srce on 14-03-2017, 22:56:18
Quote from: scallop on 14-03-2017, 22:47:53
Će potrošiš žuč.
Jok.
Inače, upravo sam pročitala priču za laku noć: "Berlin i Paralija".
Kažu pametni ljudi da se senilni starci vraćaju u djetinjstvo, i da im pamet ponovo postane dječja.
Ova pričica potvrđuje tu tvrdnju mudrih ljudi.
Tutsi, Hutui, Harry Potter, Mickey Mouse i Donald Duck.
I ovo je krema srbske fantastike??
Ma dajte, nemojte me zezati, Predrag Raos je za ovog ishlapjelog starčića - Tata, a Stevan Šarčević - i Tata i Mata.
Samo čitaj. To je ona knjiga zbog koje si napala i mene i svog sadašnjeg mentora. To je karakter! Nema više hrvaštine? Gde li je onaj što se zaklinjao da mu više nećeš stupiti na forum? I to je karakter. Mi smo bar dosledni, ne volimo se i nećemo se voleti.
Samo bez sekiranja, sad ce da podne ban i Divljem Srcetu
Metal slug!
Kakav car!!!
Quote from: scallop on 14-03-2017, 23:03:59
Phihotična osoba vrši najdirektni napad na mene, na tvom topiku, a ti se igraš. Eto, na to sam mislio.
Pa, jasno, kriv sam kad sam tu a i kad nisam tu. Izvinjavam se za pretrpljeni bol.
Quote from: scallop on 14-03-2017, 23:03:59
Phihotična osoba vrši najdirektni napad na mene, na tvom topiku, a ti se igraš. Eto, na to sam mislio.
Ma dajte molim vas, starčiću Scallope, umjesto da posljednje dane trošite tako što fantazirate nekakvu phihotičnu (valjda ste mislili psihotičnu) osobu, koja vrši najdirektni (valjda ste mislili najdirektniji) napad na Vas, bolje izađite u šetnju i prošetajte malo.
Ako to već niste napravili, vrijeme je da odaberete sanduk.
(https://s12.postimg.org/o5bs37cu5/extra_veliki.jpg) (https://postimg.org/image/klpudea49/) (https://postimage.org/)
Ili vam je draža kremacija?
(https://s2.postimg.org/os21pbgx5/URNA_UKRASNA_model_VAZA_sl_2.jpg) (https://postimg.org/image/vv9x4xmcl/) (https://postimage.org/app.php)
Ovo je neukusno, neduhovito i očigledno zlonamerno. Zaista mu nije mesto ovde.
Takođe, ono malo što znam o ženama mi govori da žena ne bi to tako uradila. The plot thickens..
EDIT: moram da se ogradim da slučajno neko ne počne da mi šalje razne privatne poruke. Nije "žena", nego "većina žena" (ne bi tako uradile, po mom skučenom znanju o ženama).
Quote from: Morbidni anđeo on 15-03-2017, 09:44:48
Ma dajte molim vas, starčiću Scallope, umjesto da posljednje dane trošite tako što fantazirate nekakvu phihotičnu (valjda ste mislili psihotičnu) osobu, koja vrši najdirektni (valjda ste mislili najdirektniji) napad na Vas, bolje izađite u šetnju i prošetajte malo.
Ako to već niste napravili, vrijeme je da odaberete sanduk.
(https://s12.postimg.org/o5bs37cu5/extra_veliki.jpg) (https://postimg.org/image/klpudea49/)
Ili vam je draža kremacija?
(https://s2.postimg.org/os21pbgx5/URNA_UKRASNA_model_VAZA_sl_2.jpg) (https://postimg.org/image/vv9x4xmcl/)
нек све што ти буде драго пакујеш у те кутије, дегенерику
Quote from: Divlje srce on 15-03-2017, 09:44:48
Ili vam je draža
Čiča Dražooo gde je moje deteeeee
Mršulazu, mršulazu!
Kretenko muškog roda, mi da znamo koji je tvoj problem mi bi ti i rekli, mršdoktoru!
Ao jbt ovo može samo na Bobanidi, ša treba psihijatriju da završim pa da elaboriram detaljno šta tikvan radi, da bi nekom bilo jasno.
Mršulazu, mršulazu!
Sramota
:(
Ne vređajte muškarce. Ali uživajte u niskosti. Posebno mi je drago što je na ovom topiku. Mehmete, reaguj!
Uzgred, igram Global Tracing. Biram kataklizmu u kojoj se da izbeći apokalipsa.
U mom kraju, kad neko uradi ovo kao Divlje srce, kažu - sere pa se maže po glavi.
Kakva je to igra Global Tracing? Google ne daje nikakve informacije.
Interesuje te? Postoji spisak mogućih kataklizmi na Zemlji. U tri nivoa: totalne, delimične i parcijalne. Totalne nisu zanimljive, bude ciao i nikad više. Delimične i parcijalne uvek prate apokalipse. Kad nas nešto načne, dobijemo inerciju. Dakle, kombinuju se kataklizma i apokalipsa, pa ko se izvuče.
mac, kad sabereš liberalizam sa heliocentrizmom i posoliš demokratijom, recept za uništenje je bulletproof!
Robovlasnički feudalizam na ravnoj Zemlji, recept za opstanak ljudske rase :| :| :| :| :|
Mnjeeee....
blizu si, ali ne toliko.
Pomoć prijatelja:
Teokratija na ravnoj zemlji sa...._________ (ovde popuniti)!
Fletrt adambezsteve trampizam!
Bato je takodjer blizu!
Marvel pokušava, što bi Amerikanci rekli, i da ima svoj kolač i da ga pojede:
Marvel's 'Generations': Original Wolverine, Hulk, Iron Man and more to return (https://gma.yahoo.com/marvels-generations-original-wolverine-hulk-iron-man-more-132304492--abc-news-celebrities.html#)
Vrlo interesantni novi razvoji koji pokazuju da u Trampovoj Americi neke stvari za koje se mislilo da su izborene, možda to i nisu:
Damage Control: In Wake Of Backlash, David Gabriel Elaborates On Diversity, Says Marvel Gets Both Sides Of Story (https://www.bleedingcool.com/2017/03/31/damage-control-wake-backlash-david-gabriel-elaborates-diversity-says-marvel-gets-sides-story/)
U svetlu nedavne diskusije o legalnom elektivnom abortusu, korisno je pročitati ovaj intervju na Crackedu:
http://www.cracked.com/personal-experiences-2477-pe-illegal-abortion-life-as-woman-before-roe-vs.-wade.html (http://www.cracked.com/personal-experiences-2477-pe-illegal-abortion-life-as-woman-before-roe-vs.-wade.html)
Ili, ko nema vremena, samo poslednji pasus:
QuoteToday, an estimated 68,000 women (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2709326/) worldwide die each year from botched abortions. In 2012, a year after passing a new law that closed 82 abortion clinics, Texas saw pregnancy-related deaths double (http://nymag.com/thecut/2016/08/pregnancy-related-deaths-doubled-in-texas.html). Georgia leads the nation in pregnancy-related deaths (http://www.georgiahealthnews.com/2013/12/georgia-leads-pregnancy-associated-deaths/), and it just happens to be a state where 58 percent of women (https://www.guttmacher.org/fact-sheet/state-facts-about-abortion-georgia) live without access to abortion clinics. At least 46 new anti-abortion laws (https://news.vice.com/story/at-least-46-anti-abortion-bills-are-already-in-front-of-state-legislatures-in-2017) have been put in front of various state legislatures this year. You get the implication.
Ako su uglavnom manjine te čije žene umiru onda je to uspeh za bele zakonodavce.
Inače, danas je Svetski dan zdravlja a ovogodišnja tema Svetskog dana zdravlja je Depresija.
Slogan koji je SZO odabrala za ovu godinu je Depresija: hajde da razgovaramo. Pa eto, razgovarajmo :lol: Hoću reći, problem sa depresijom je često stigma koja ide uz mentalna oboljenja a koju treba efikasno prevazići, pogotovo jer je depresija nešto što se ipak tretira i leči a pogađa poveliki broj ljudi.
Inače, evo ROI istraživanja koje se tiče ulaganja u prevenciju i tretman depresije:
http://www.who.int/mental_health/advocacy/investment_paper_lancet_psychiatry_final.pdf
Depresije nije bilo u vremena kad su kauboji se slikali s cigaretama!
Da, depresija je svakako u porastu sa, jelte, modernizacijom društva, produženjem životnog veka itd.
The outrage over Marvel's alleged diversity blaming, explained (http://www.vox.com/culture/2017/4/4/15169572/marvel-diversity-outrage-gabriel?yptr=yahoo)
Secret Empire, explained (http://www.polygon.com/comics/2017/4/18/15327018/secret-empire-explained)
Jedan poznanik:
http://www.youtube.com/watch?v=49SewG90dKM
ahahahahha kakav cart, kakav glas :|
Neka vrsta epiloga:
Former MMA fighter War Machine gets 36 years to life in kidnap, beating case (http://www.chicagotribune.com/sports/breaking/ct-mma-war-machine-sentencing-20170605-story.html)
Quote[
The former mixed martial arts fighter known as War Machine was sentenced Monday to 36 years to life in Nevada state prison for kidnapping, beating and sexually assaulting his ex-girlfriend and attacking her male friend at her Las Vegas home in 2014.
Jonathan Paul Koppenhaver, 35, offered an apology full of self-loathing during his sentencing on 29 felony and misdemeanor charges in the attacks on Christy Mack and Corey Thomas. He called himself a "very lost, very empty person" who hated his aggressive impulses and "should have killed myself by now."
"Sometimes I didn't realize what I did until I'd already done it," Koppenhaver told Clark County District Court Judge Elissa Cadish. "I hate that this happened."
Koppenhaver will be 71 before he's eligible for parole.
His lawyer, Jay Leiderman, said Koppenhaver tried to hang himself in jail in January, but that he has turned to religion and wants to become a role model behind bars.
The Associated Press normally does not identify people who say they are victims of sexual assault, but Mack gave AP permission to use her name. She has spoken publicly about her experience with domestic violence. Her legal name is Christine Mackinday.
She, her mother and Thomas also spoke during a lengthy sentencing hearing that Leiderman tried to avoid altogether.
The judge rejected Leiderman's bid for a new trial based on an obscure 1911 state law that the defense attorney said would have let Koppenhaver tell the jury that he "just lost it" and fell into a blind rage amounting unconsciousness during the attacks, and therefore could not have known he was committing a crime.
Leiderman said later that he will appeal to the Nevada Supreme Court.
Koppenhaver didn't testify at his two-week trial on 34 charges. The jury in March failed to reach a verdict on two attempted murder charges. The jury acquitted him of three lesser counts — battery with intent to commit sexual assault, burglary with a weapon and sexually motivated coercion.
Leiderman characterized Koppenhaver at trial as a "raging bull" with brain injuries from his fighting career and emotions inflamed by the use of steroids and non-prescription stimulant and antidepressant drugs that could have caused mood swings and violence the defense attorney termed "roid rage."
Koppenhaver legally changed his name to War Machine during his fighting career. He made his Ultimate Fighting Championship (http://www.chicagotribune.com/topic/sports/mixed-martial-arts/ultimate-fighting-championship-EVSPR000005-topic.html) debut in 2007 and had a 14-5 record as a welterweight. He used his given name in court proceedings.
The attack occurred after Koppenhaver arrived unexpectedly at Mack's home.
Thomas testified that he suffered a broken nose, dislocated shoulder, scrapes, bruises and bite marks before asking Koppenhaver if he was going kill him or let him go.
Mack testified that Koppenhaver spent two hours attacking her after Thomas left. Mack suffered with a broken nose, missing teeth, fractured eye socket and leg injuries. She also suffered a lacerated liver.
Mack said she ran bleeding to neighbors' homes when Koppenhaver went to the kitchen to fetch a knife.
Koppenhaver was arrested a week later in the Los Angeles suburb of Simi Valley. He was returned in custody to Las Vegas.
/quote]
io9 se potrudio:
The Greatest Spider-Men of All Time, Ranked (http://io9.gizmodo.com/the-greatest-spider-men-of-all-time-ranked-1796693647)
ubiće me ovaj odmor nas-rofl
http://www.magacinportal.org/2017/08/17/vladislav-djordjevic-zeitgeist-feminizacija-muskaraca/amp/
Nemam ovog trenutka vremena da detaljno pročitam ovaj uradak (mada vidim da piše "transdženerizam" što ukazuje da autor možda ne razume baš sasvim termine kojima barata) ali meni generalno ideja o feminizaciji muškarca nikad nije delovala kao neki dramatičan kraj sveta i samorazumljivo zlo. Mislim, ni maskulinizacija žene, kad smo već kod toga. Ali verovatno sam ja potpuno izvan normalnih društvenih tokova da bi me takve stvar doticale...
Zanimljivi rezultati istraživanja: Koliko su vlasnici bitni mačkama? (http://www.b92.net/ljubimac/vesti.php?yyyy=2017&mm=09&nav_id=1299802)
Quote...
Verovali ili ne, istraživanje Univerziteta u američkoj saveznoj državi Oregon pokazalo je da mačke osećaju veće zadovoljstvo prilikom druženja sa svojim vlasnikom nego prilikom obroka.
U istraživanju je odabrano 50 mačaka iz kuća, stanova i skloništa. Svakoj od njih su u određenom trenutku na nekoliko sati uskratili dostupnost hrane, igračaka i vlasnika. Nakon toga su im sve to ponovno učinili dostupnima, a najveći broj mačaka iz istraživanja je najveće zadovoljstvo pokazao kod kontakta s voljenim osobama.
...
Da, pa, ja iz iskustva znam da se kućne mačke uopšte ne potresaju kad im se ukine hrana na 24 sata (testirano više puta pri različitim pripremama za operacije) a pošto nas, "vlasnike", doživljavaju najpre kao nesposobne mačiće koji ne umeju sami da ulove hranu itd., ima logike da će se tu najviše "zainteresovati".
sad kad kazes, drugacije posmatram sjecanje na macku koja mi uporno donosila ulovljene vrapce. :lol:
To i jeste radna teza za njihovo takvo ponašanje kod tih nekih mačijih psihologa: donose nam hranu, često još živu, onako kako je donose mačićima jer misle da mi ne umemo da sami lovimo, pošto nas nikada ne vide da lovimo. Pa se nadaju da će uspeti da nas nauče na taj način.
nekad sam mislio da mi se tako dolazi pohvaliti, jednom cak spasavao vrapca. :cry:
Pa, da, to je naša česta zabluda jer o sebi mislimo kao o njihovim "vlasnicima", dok mačke to uopšte ne vide tako.
???
(https://img.cinemablend.com/filter:scale/quill/f/a/9/7/b/2/fa97b2a47345d6ac6daefdfbb9eccf9768f95104.jpg?mw=600)
http://www.cinemablend.com/news/1704330/new-tomb-raider-poster-ridiculously-stretches-alicia-vikanders-neck (http://www.cinemablend.com/news/1704330/new-tomb-raider-poster-ridiculously-stretches-alicia-vikanders-neck)
Pa, što jeste, jeste, malko se zaneo taj koji je vozio fotošop kad su pravili ovaj plakat. Al dobro, sad, ni prvi ni poslednji groteskan plakat za film.
Alicia, naravno igra "novu", ributovanu Laru koja je mlada, pred ogromnim iskušenjima i tek treba da postane zajebana tvrda pljačkašica grobnica kakvu smo znali devedesetih - a u skladu sa ributovanim igrama iz poslednje 4 godine.
Fotošop je heavy, ako je neko fragile onda je to Alicia Wikander. :)
Da, pa, film, koji, koliko sam upućen (ne mnogo), prati prvu igru iz ributovanog serijala, i treba da pokaže kako krhka mladunica suočena sa životnom opasnošću izrasta u jaku ženu koja preživljava i trijumfuje...
Dobra glumica može sve da iznese, a A. V. to jeste.
Ima li šta lepše od toga da pesme koje su nekada bile benčmark bubnjarske tehnike izvode adolescenti i pokidaju ih? Dobro, nije ovo ni blizu verzije koja bi išla na ploču, šikne klinac u obod po neki put, ali zna pesmu, sve note su na mestu, čak i preteruje s ukrasima, pogotovo nožnim, al ne ispada. Tempo mu nije sjajan ali opet, da li čuje sve kako treba je veliko pitanje. Prelepo.
https://youtu.be/_6Dr2bW3Br0 (https://youtu.be/_6Dr2bW3Br0)
Najbolja igra ikada? Nažalost, i dalje u razvoju.
https://hk-devblog.com/
Kako reče Šigeru Mijamoto: A Delayed game is eventually good, but a rushed game is forever bad. :|
Ovo je zanimljivo. C.B. Cebulski, koji je u Marvelu nasledio Axela Alonsoa na poziciji glavnogi odgovornog urednika - što je za mene odlična vest jer je Cebulski uvek bio razuman čovek - je otkrio da je on u stvari bio "Akira Yoshida", scenarista koji je pre više od decenije uradio dosta stripova za Marvel. Internet je, naravno u grču jer - rasizam.
Marvel's New Editor-in-Chief Just Admitted That He Used a Pseudonym Years Ago to Pretend to Be Japanese (https://io9.gizmodo.com/marvels-new-editor-in-chief-just-admitted-that-he-used-1820809573)
on that note, i Ilon Mask je "japanac"?
http://www.b92.net/biz/vesti/svet.php?yyyy=2017&mm=11&dd=29&nav_id=1330641
Mask demantovao.
Da, o tome se priča već nekoliko dana. Ne zvuči neverovatno.
Quote
Female Islamic Professor Says Allah Allows Muslims To Rape Non-Muslims In Order To Humiliate Them
A female professor from the renowned Al-Azhar University in Cairo, Egypt, says that Muslim men are allowed by Allah to rape non-Muslim women in order to "humiliate" them. Professor Suad Saleh made the bold claims while being interviewed on Al-Hayat TV. The professor says that the rape is allowed during times of "legitimate war" between Muslims and their enemies.
LiveLeak posted the startling video which shows the interview of the Islamic female professor Suad Saleh as she spoke on Al-Hayat TV. In the video, Suad Saleh is seemingly trying to discourage the purchase of slaves from Asian countries for sexual purposes. Instead, she says that Allah has given the Muslim men a way to have sexual relations with slave women that is "legitimate." Saleh suggests that the only time it is acceptable for Muslim men to enslave a woman for sexual purposes is during a "legitimate war" between Muslims and their enemies such as that with Israel. Therefore, the female Islamic professor says that enslaving Israeli women and raping them would be entirely acceptable and encouraged.
In the video transcript provided by The Middle East Media Research Institute, Professor Suad Saleh says that slavery existed before Islam and anyone could trade "freeborn men and women" which was the equivalent to human organ trade. However, she says Islam put slavery "into order" by regulating when slavery was allowed. Saleh claims that Islam clearly defines when slavery is allowed and when it isn't. She says the only "legitimately-owned slaves come from among prisoners from a war." Therefore, she says Muslim men currently taking women from East Asia for sexual purposes are acting against Allah and against the Islamic faith. Instead, she says these men should be taking female prisoners of war for sexual purposes as a means to humiliate them.
https://www.youtube.com/watch?v=hzTNtDtBiUk
Da li je uopšte potrebno objašnjavati da mišljenje jednog religioznog ekstremiste ne treba poistovećivati sa celom kulturom??? Mislim, svakako ne bih da se pomisli da svi Srbi misle isto što i Amfilohije itd.
Amfilohije rekao da treba jebati zarobljene muslimane?
xrofl xrofl xrofl xrofl xrofl
vala, za amfilohija je pitanje vremena kada će to predložiti...
Dakle, nije. Pa što Uroš kenja bez povoda? Malo mi je muka od tog načina komunikacije.
Od kog načina komunikacije? Davanja poređenja koja su na mestu čak iako ne repliciriaju 100% originalnu situaciju? Dajte, ne preterujmo. Tebi je muka od mene, po difoltu, teško da ima veze koji je moj način komunikacije.
Ako Amfilohije nije zastupao akcije koje krše Ženevsku konvenciju i ostala međunarodna prava, ona se ne može porediti sa ovom profesorkom.
Nazvao je žene "čedomorkama" i ja stvarno mislim da nije neophodno da po stotrideseti put na forumu objašnjavam zašto je ovako nešto loše, pogotovo kad stigne od jedne javne, socijalno uticajne figure i kako stavljanje abortusa u ovakav kontekst može da doprinese ne samo neugodnoj socijalnoj poziciji raznih osoba već i negativnim javnozdravstvenim posledicama. Dakle, kad sam napisao "ne bih da se pomisli da svi Srbi misle isto što i Amfilohije", to sam i mislio. Amfilohije je, naravno slobodan da tako misli, pa i da govori, ali je na onima koji misle drugačije da to i govore.
Amfilohije na stranu, meni se čini da profesorka zapravo svoje reči bira za publiku kojoj su reči namenjene, a u cilju da se spreči trgovina robljem. Ako ikada budu neki muslimani zaratili možda će profesorka reći da Alah dopušta demoralisanje neprijatelja silovanjem žena, ali da će oni koji to budu činili završiti po zemaljskim zatvorima.
чек да поновим тврдњу, чини ми се да је ниси добро прочитао:
Quote from: mac on 07-12-2017, 11:08:19
Ako Amfilohije nije zastupao akcije koje krše Ženevsku konvenciju i ostala međunarodna prava, ona se ne može porediti sa ovom profesorkom.
иако амфилохија не подносим морам овог пута устати у 'одбрану' - често ти се дешава да у поређењима аугументујеш локалне појаве које доживљаваш лошим...на страну то што си успео да будеш идентичан самом амфилохију својим поређењем (да подсетимо - амфилохије је абортус/ или ПЦ речником - контролу рађања, упоредио са злочинима наци/фаши режима - ти си упоредио амфилохија са особом, ако сам добро схватио из контекста, која позива на силовања)
да ли можемо да градимо бољи свет ако користимо начине које користе они против којих се 'боримо'?
едит. упао мац, ал нема везе :lol:
Poređenje za svaku pohvalu, Meho...
Zadrta crkvena pričam - ti - priču sranja koja nikog ni na šta ne obavezuju nasuprot silovanja u cilju disciplinovanja nevernica...
Jebote! Otkal ti takve ideje?
Meho ne poredi direktno profesorku sa Amfilohijem, nego poredi razliku profesorke s drugim muslimanima s razlikom Amfilogija sa drugim Srbima.
Nije problem u poređenju nego u defektu tolerancije koja se navodno prezentira. Nema tolerancije u netoleranciji. Kad prestane da bude važno KO, a postane bitno ŠTA, onda ćemo biti na početku slobodnog mišljenja.
Pitanje je sledeće: Da li je iko od vas bio na bojnome polju? Znate li kako to izgleda?
Ako ne znate; jedina stvar koja u toj situaciji deli ljude od zločina je DISCIPLINA.
Ukoliko se u doktrini pojavi išta što zločin opravdava sa moralnog aspekta - zločin će se dogoditi.
To je ono što u Mehinom poređenju ne štima.
Zavisi kako definišeš "zločin". Disciplina može da spreči individualne istupe najnižih nagona i krvožednosti, ali i da nametne hladno, sistematsko izvršavanje nečega što je, po mnogim merilima, najteži zločin.
Nemojmo olako uopštavati.
Mislim da se ovde gubi iz vida da sam poređenje napravio u funkcionalnom smislu: osoba koja ima određenog uticaja unutar religijske zajednice daje kontroverznu izjavu ali jasno je da je to ekstremno stanovište sa kojim se većina nominalnih vernika ne identifikuje.
Da li dalje treba da objašnjavam?
наравно да треба, пошто је поређење веома далеко од адекватног и мени више личи као намерно денунцирање некога и спуштање у ниво којем не припада - такорећи политичка употреба на српски начин :)
Quote from: Meho Krljic on 07-12-2017, 11:24:00
Nazvao je žene "čedomorkama"
Не лупетај.
Није назвао СВЕ жене чедоморкама, већ само оне које убијају своју нерођену децу.
Постоје жене мајке, постоје жене чедоморке, и ту није ништа спорно.
Са друге стране, ова Мухамедова професорка је позвала на силовања СВИХ немуслиманки, тако да не можеш да трпаш две потпуно различите изјаве у исти кош.
Међутим, обзиром да ти дуго промовишеш ислам по Србији, неке ствари постају јасније - рецимо теза о исламу, као религији љубави.
Очигедно је да исламисти када кажу љубав, они мисле на силовање!
Quote from: Meho Krljic on 07-12-2017, 14:10:44
ali jasno je da je to ekstremno stanovište sa kojim se većina nominalnih vernika ne identifikuje.
Са њеним куранским лудилом се слажу сви припадници Исламске државе, а са Амфилохијевом изјавом се слажу и они који нису верници спц-а, јер је његова изјава сасвим на месту.
Quote from: Stipan on 07-12-2017, 12:38:21
Poređenje za svaku pohvalu, Meho...
Zadrta crkvena pričam - ti - priču sranja koja nikog ni na šta ne obavezuju nasuprot silovanja u cilju disciplinovanja nevernica...
Jebote! Otkal ti takve ideje?
Идеју су му по задатку.
Покушава да изједначи луду баба Курану са једним владиком, и да њихове изјаве стрпа у исти кош.
Само не знам како је могуће да трпа у исти кош лудачу која позива на силовање СВИХ немуслиманки, и владику који даје најнормалнији савет женама и каже - Жене, рађајте децу.
Поврх свега, та луда баба Курана није никаква шехида и бомбашица, како Крља жели да је представи говорећи да је реч о "jednog religioznog ekstremiste", већ угледна професорка, али оболела од куранског лудила.
На делу се може видети како функционише граџанска Србија:
уместо осуде куранског лудила и осуда изјава луде баба Куране, имамо скретање са те опасне теме и баљезгање о безопасном Амфилохију.
Nije profesorka pozivala na silovanje. Nije rekla "idite i silujte". Ona je interpretirala Kuran, koji je između ostalog i zakonik. I u tom zakoniku piše šta je zabranjeno, ali i kada je dozvoljeno ono što je inače zabranjeno, recimo kada je dozvoljeno lagati, jesti nečisto meso, ubijati, pa i silovati. I naša crkva odobrava ubijanje u ratu, samo eto nije ništa precizirala u vezi sa silovanjem, ali ako je ubijanje dozvoljeno onda smo već prešli granicu dobrog ukusa.
A female professor from the renowned Al-Azhar University in Cairo, Egypt, says that Muslim men are allowed by Allah to rape non-Muslim women in order to "humiliate" them
Мац, кад већ глумиш адвоката баба Курани, провери да ли је то што је она изговорила спроведено на терену, над припадницама Језида...
Оно што погрешно радите је покушавање да изједначите две културе - европску и арабску.
Нисмо исти, постоје непремостиве цивилизацијске разлике.
И да не ширим причу даље, кад ти или Мехо будете чули да неко од свештеника позива на масовна силовања СВИХ припадница других религија, онда можете да трпате у исти кош свештенике спц-а и исламске фанатике.
До тада се задржите на изјави ове луде баба Куране, у јавности угледне професорке задојене куранским лудилом.
Quote from: ridiculus on 07-12-2017, 14:09:37
Disciplina može da spreči individualne istupe najnižih nagona i krvožednosti, ali i da nametne hladno, sistematsko izvršavanje nečega što je, po mnogim merilima, najteži zločin.
Slažem se, no u oba slučaja je u pitanju doktrina koja postavlja pravila ratovanja.
Citat koji je naveden je pretnja doktrini, tako da je svejedno da li sam omašio ili nisam.
Quote from: mac on 07-12-2017, 15:09:34
I naša crkva odobrava ubijanje u ratu, samo eto nije ništa precizirala u vezi sa silovanjem, ali ako je ubijanje dozvoljeno onda smo već prešli granicu dobrog ukusa.
Možeš li navesti neki primer? Baš sam znatiželjan.
Hm, zar je toliko teško da se shvati da je moja poenta da ne treba poistovećivati pripadnike jedne kulture sa nečim što govori neki njen ekstremni(ji) pripadnik, pošto to nije reprezentativno.
Kako znamo da je ova profesorka ekstremni pripadnik? Ekstremnost se ne meri spoljnim aršinom nego internim. Recimo da se 1% Srba i 10% muslimana slaže sa izrečenim. To bi bila ekstremistička izjava u Srbiji, ali u Egiptu to bi moglo da ti donese glasove za ulazak u parlament.
Poenta je da Uroš namerno potura Amfilohija kao poređenje tamo gde poređenje nije moguće.
Crni Mehmet...
ja se načelno slažem sa macom
QuoteMeho ne poredi direktno profesorku sa Amfilohijem, nego poredi razliku profesorke s drugim muslimanima s razlikom Amfilogija sa drugim Srbima
i mada ne poredim ovo dvoje, moram da kažem da na koncu oboje pozivaju na narušavanje telesnog integriteta žene, uz različiti stepen zlobe i netolerancije. NIJE isto, samo kažem da može i tako da se posmatra.
šta ćemo kad mi nemamo
toliko loše...primere za precizno poređenje, jel? :roll:
a i činjenica je da će ekstremisti sa obe strane, uz svoje nacionalne, religiozne i mentalitetske specifičnosti podržati ova dva narativa, svako na svojoj strani sveta.
Taf kraud na Sagiti. :lol: napravim komparaciju da bih pokazao da je jasno da je treba sve pripadnike jedne kulture gledati isto zato što neki ekstremni pojedinci daju ovakvu ili onakvu izjavu a onda se raspravljamo ceo dan ne o tome nego o tome da li je poređenje formalno stopostotno reverzibilno i kakve sam tajne agende imao.
Al dobro, forum gikova pa se onda često raspravlja više o detaljima nego o suštini, poštujem.
Čekaj malo... Šta si ti to pokazao? Da zalaganje za zabranu abortusa i poziv na disciplinsko silovanje nevernica ima istovetnu težinu jer ne možemo posmatrati pripadnike jedne kulture na isti način?
Quote from: Meho Krljic on 07-12-2017, 16:19:49
Hm, zar je toliko teško da se shvati da je moja poenta da ne treba poistovećivati pripadnike jedne kulture sa nečim što govori neki njen ekstremni(ji) pripadnik, pošto to nije reprezentativno.
Итекако јесте репрезентативно, јер из такве приче су проистекла конкретна дела.
Исламисти су у перманентном рату против неисламиста, и очигледно је да су послушали луду баба Курану, па зато немилице силују немуслиманске жене по Европи.
Quote from: Гражданка Шульц on 07-12-2017, 17:37:34šta ćemo kad mi nemamo toliko loše...primere za precizno poređenje, jel?
Ако немате
toliko loše примере за поређење, онда се уздржите од поређења.
Quote from: Гражданка Шульц on 07-12-2017, 17:37:34
moram da kažem da na koncu oboje pozivaju na narušavanje telesnog integriteta žene, uz različiti stepen zlobe i netolerancije. NIJE isto, samo kažem da može i tako da se posmatra.
Не може тако да се посматра, јер позив на рађање и позив на силовање нису и не могу бити иста ствар.
Није исто да те неко позове на Славу и да те неко позове да ти разбије главу.
Даље, какву је то нетолеранцију и злобу испољио Амфилохије?
Позив на рађање је последњи вапај, а не исказивање злобе и нетолеранције.
То што ти сматраш да је женска трудна утроба искључиво женска ствар је само још једна од твојих многобројних заблуда, јер женска трудна утроба је заједничка мушко-женска ствар, а не искључиво женска ствар.
Једина искључиво женска ствар која је везана за женску утробу је месечни циклус, менструација.
Само о менструацији можеш да причаш као о искључиво женској ствари.И то није злоба, мизогинија, већ чиста истина, заснована на фактима и законима природе.
Quote from: Гражданка Шульц on 07-12-2017, 17:37:34a i činjenica je da će ekstremisti sa obe strane, uz svoje nacionalne, religiozne i mentalitetske specifičnosti podržati ova dva narativa, svako na svojoj strani sveta.
Опет трпање у исти кош Амфилохија и ове луде баба Куране, изједначавање позива на рађање са позивом на силовање, и проглашавање позива на рађање екстремистичким...
Али хајде за тренутак да видимо шта се десило на различитим странама света након њихових изјава, мада ти и изјава о различитим странама света не држи воду (као и све остало што си икад рекла) јер је свет постао глобално село.
Након Амфилохијеве изјаве се није десило ама баш ништа.
Мало сте ти и теби слични сквичали на бееее92 и пешчанику против те изјаве коју подржава сваки верник спц-а и коју подржавају и многи који нису верници спц-а, али ваше сквичање је небитно.
Оно што је битно - стопа убијања неррођене деце је остала иста.
Ниједна чедоморка није шиканирана, нити изопштена из спц.
Ниједној чедоморки није зафалила ни длака са главе.
Ниједна чедоморка није претучена на улици и ошишана на ћелаво.
И даље чедоморке парадирају на телевизијама са националном фреквенцијом и хвале се тиме како су зарад каријере извршиле чедоморство.
Значи, ама баш ништа није угрозило ниједну чедоморку, осим што су им саопштавањем истине да су убиле нерођену децу повређене сујете .
Прича се и о некавом стигматизовању чедоморки том изјавом, али се заборавља да су убице увек и у сваком друштву итекако стигматизоване, те стога немојте очекивати да чедморкама подигнемо споменик за чедоморске заслуге.
А сад, да видимо шта се десило након баба Куранине изјаве?
Обзиром да је свет глобално село и да су исламисти у перманентном рату против немуслимана, екипа "имиграната" која је пристигла у Европу је наставила са силовањима европских жена, испуњавајући тиме адет саопштен у изјави баба Куране.
Quote from: Stipan on 07-12-2017, 19:55:12
Čekaj malo... Šta si ti to pokazao? Da zalaganje za zabranu abortusa i poziv na disciplinsko silovanje nevernica ima istovetnu težinu jer ne možemo posmatrati pripadnike jedne kulture na isti način?
Тешка је болест културални марксизам, а са овим небулозиним глупетањем је још једном потврдио своје баљезгарије.
O, kolika količina isprazne argumentacije* da se odbrani neodbranjiva teza o tome da jedan ružan glas predstavlja celu kulturu...
* Nagađam, pošto me mrzi da čitam.
Ali da napravimo da bude jednostvno: kao što valjda častan čovek ne bi oćutao da krenu da mu na nos nabijaju Amfilohija i tvrde da svi Srbi/ pravoslavci/ hrišćani/ sagitaši misle isto što i on, onda valja i da podsetimo da većina muslimana nije ekstremna i misli o silovanju isto kao i većina sagitaša/ hrišćana/ pravoslavaca i Srba, zaključno sa, pretpostaviću, Amfilohijem.
Očito ne umeš da izvučeš pouku. Kad zabrljaš, a zabrljao si, onda odeš u ćošak i sačekaš da prođe. Namerno si se uhvatio za Amfilohija i sad ćeš da podmećeš sve što ti padne na pamet. Upozorio sam te da svaki preterani pritisak izaziva reakciju i dobio si je.
nije zabrljao, nego stipe i aksentije metastaziraju
I ti si zabrljao. Ne možete govoriti ni umesto muslimana, ni umesto Srba. Možete da zastupate sebe. Ja sam samo napisao da je neprimereno povezivati tu islamsku govornicu (jebe mi se da li je profesor) i Amfilohija (jebe mi za njegove motive). Ostalo je posledica, na koju sam takođe upozoravao.
teško da sam ja zabrljao. samo ističem ko je prvi počeo da lepi gluposti ovde, a tebi je to scallope zgodno zbog animoziteta prema mehi, a ne jer se sa nečim slažeš ili ne (kako ono - akcija, reakcija, a od nekog mentalnog napora ili zapravo mišljenja ni ič).
ako prvo dobiješ po svemu glup link, onda nećeš dobiti ništa osim ovog poluraspada što ga iz pristojnosti zovemo konverzacijom. i stipana koji puca 180 stepeni levo jer voli da pukne
Sad ćemo da izmislimo animozitet? Ja sam samo upozoravao da pritisak na pojedinim temama na ZS nije zdrav i da će se pokrenuti reakcija. Ako misliš da sam srećan zbog poplave koju izaziva Aksentije - nisam. Podjednako je iritantno i pouzdano kao i teme za koje sam više puta tražio da se privremeno ograniče. Svako insistiranje postane naporno.
ne moram da izmišljam animozitet kada ga čak i ja vidim, a inače me boli... uvo za međusobne razmirice članova ođe. nije ni moja stvar, ali ne treba sada ispadne da je meho nešto kriv. ako neko reaguje na "pritisak" time što postane hibrid trola, zilota i mudžahedina, znači da ima vijugu više od kokoške, dovoljno da ne sere po dvorištu, i nikakva briga tu ne može pomoći (možda eventualno pomognu ljubav, pažnja, žensko društvo ili banovanje)
Uostalom, koliko vidim, a već sam ovde dovoljno dugo, meho ima svoje stavove (ne ulazim u to kakvi su oni) koje ne samo da ima pravo a iznosi, već mu je prostom forumskom logikom dozvoljeno da ih iznosi, i on to radi na neagresivan način s kojim se može komunicirati (onlajn, ne znam za uživo). to isto važi i za većinu drugih članova, ovde konkretno dejan i mac koji sasvim razumno diskutuju, a onda imaš ove dve metastaze. tako da nemojmo sada "zabrljao si meho", ko da smo u školici
Meho i Aksentije su podjednaki taman koliko i Amfilohije i ova sa klipa.
Ja naravno poštujem da je nekom neprimereno da se povuče veza između jedne i druge osobe koje inače nemaju veze, pa i da je to nekom uvredljivo, ali sam se nadao da je jasno što to radim i da je to u reakciju na zamorno zatrpavanje foruma provokacijama koje treba da podstaknu rasnu, versku, nacionalnu i drugu netrpeljivost. Ne da bi ubedilo postavljača tih provokacija da razmisli, jasno je da neće, nego da čitaoce podseti na to šta znači biti pristojna osoba.
Quote from: Scordisk on 07-12-2017, 20:44:52
nije zabrljao, nego stipe i aksentije metastaziraju
Nisi li ti nedavno izjavio da ne spominješ Stipana iz higijenskih razloga?
Bilo bi ti pametnije da nastaviš da me izbegavaš, da ne bi uvideo kako izgleda kad Stipan počne zaista da metastazira.
Quote from: Scordisk on 07-12-2017, 20:54:36
samo ističem ko je prvi počeo da lepi gluposti ovde,
Са џанки подљудима не желим да имам било какву комуникацију, па ме због тога заобилази у најширем могућем луку, а због сопствене "менталне и физичке хигијене" се добровољно пријави у Црну реку или се превентивно сам излопатај.
Quote from: Meho Krljic on 07-12-2017, 21:57:01
nego da čitaoce podseti na to šta znači biti pristojna osoba.
Довољно је да читаоци буду разумне особе, па да по дефиницији виде сву бесмисао свих твојих уписа и да скапирају праву позадину свега што ти ти износиш као "аргументацију".
Мислиш да ако си пристојан - онда можеш да потураш свакакве глупости које би наивни прогутали, јер су упаковане у обланду пристојности?
Вадиш се на пристојност да би прикрио своје лупетање.
Глуматаш пристојност да би био овде као уважен и да би њом прикрио своје незнање.
Само због пристојности очекујеш да те неко овде схвати озбиљно?
Ти пристојно можеш неког да убеђујеш и да су два и два једнако пет, али бесмисао те тврдње не можеш сакрити "пристојношћу".
Хвала на пажњи, сам си разоткрио своје лицемерје.
kakvi ste opasni :D:D
Mačevanje s kurci - Sagitina najomiljenija razbibriga :lol:
Quote from: Аксентије Новаковић on 08-12-2017, 05:28:24
Quote from: Scordisk on 07-12-2017, 20:54:36
samo ističem ko je prvi počeo da lepi gluposti ovde,
Са џанки подљудима не желим да имам било какву комуникацију, па ме због тога заобилази у најширем могућем луку, а због сопствене "менталне и физичке хигијене" се добровољно пријави у Црну реку или се превентивно сам излопатај.
Pazi, pazi... To govance se fiksa? Onda me zaista više ništa ne čudi...
Teške reči, jake klevete.
Da opustimo malo atmosferu:
https://youtu.be/aOQ-v3Kg7YM
Autsajder! Bravo Meho.
A Scordisk da se ne obazire (kao što sam sigurna da neće) na ove gluposti.
I za mene je onaj pisao da se drogiram, arapskim hašišom, ako se dobro sećam :lol: :lol: :lol:
credibility level: Informer
Него да се вратимо редовним вестима, ups, ćirilica.
Dakle, u redovnim vestima, znamo da se pričalo da je Marvel navodno primetio da im instaliranje insistiranje* na dajvrsitiju nije dobro za posao, drž ne daj, pa, da li su rešili da ga se lagano odriču?
Marvel's Launching A New Franchise Of Wonderful, Diverse Superheroes (https://www.buzzfeed.com/susancheng/marvel-rising?utm_term=.btgOLgo7e&bftw#.guy8YPME9)
Dakle, crtani film, da ne bude zabune. Ali pošto je Sana Amant tu odgovorna, a žena stoji kao urednica iza sjajnog Ms. Marvel, vidno sam zainteresovan da ovo pogledam.
* Samo vas proveravam dal' pažljivo čitate
Quote from: Гражданка Шульц on 08-12-2017, 15:21:49
I za mene je onaj pisao da se drogiram, arapskim hašišom, ako se dobro sećam
A šta? Hoćeš da kažeš da se ne drogiraš?
QuoteA šta? Hoćeš da kažeš da se ne drogiraš?
Hoću da kažem xrotaeye
ali, pošto me neki ovde poznaju bolje nego ja samu sebe, ne vredi dalje raspravljati. xrotaeye
gde nabavljate tu egzotičnu robu, kod mene samo albanka.
Pitaj Stipana i T2 :D oni imaju info.
Quote from: Гражданка Шульц on 08-12-2017, 15:21:49
A Scordisk da se ne obazire
već sam krenuo da se besim.
a što se tiče egzotične robe, voleo bih i ja da znam... pitam za drugara :D
Dakle, istina je. Napadi depresije praćeni pokušajima samoubistva jesu karakteristični za žešće tripove.
Quote from: Stipan on 08-12-2017, 12:51:40
Pazi, pazi... To govance se fiksa? Onda me zaista više ništa ne čudi...
Џанки у зикри сам баљезга по форуму како му је фрка да га мурија не навата док носи робу.
Кризирант, шатро ожењен а ко џанки живи.
Quote from: Meho Krljic on 08-12-2017, 13:16:40
Da opustimo malo atmosferu
Што си напет Мехо? ;)
Ал ок, капирам те, подршка ти стиже само од џанки кризиранта и дудикице. ;)
Уживај у песми, знам да волиш реп. ;)
https://www.youtube.com/watch?v=1JpecH2tDWw
Meho nek' oprosti.
(https://i.imgur.com/HaowFLp.jpg?3)
https://theoutline.com/post/2556/this-frostbitten-black-metal-album-was-created-by-an-artificial-intelligence
Da se razumemo, slušali smo i gore blek metal albume. Mada ne mnogo :lol:
Ali, sad ozbiljno, čuje se da je ovo pravio robot jer je u estetskom smislu razbacano na sve strane. No, dobro, bejbisteps...
Za godinu dana:
https://youtu.be/ii3n7hYQOl4 (https://youtu.be/ii3n7hYQOl4)
Goodbuy planned parenthood. :evil:
Planned Parenthood pod istragom zbog prodaje dijelova tijela pobačenih fetusa
Američko ministarstvo pravosuđa pokrenulo je saveznu istragu protiv organizacije Planned Parenthood po pitanju prodaje dijelova tijela pobačenih fetusa.
U pismu koje je objavio Fox News, pomoćnik državnog tužitelja Stephen Boyd traži od istražnog odbora američkog Senata pristup svoj dokumentaciji korištenoj prilikom njihove vlastite istrage spomenute organizacije.
,,Ministarstvo pravosuđa prihvaća pomoć u pribavljaju tražene dokumentacije, te traži od Odbora uvid u svu izvornu dokumentaciju na temelju koje je izrađeno izvješće, s ciljem daljnje istrage Ministarstva i donošenja potpunih i ispravnih zaključaka", napisao je Boyd.
,,U ovom trenutku, dokumentacija će se koristiti samo za potrebe istrage, razumijemo da bi za neke druge namjene bila potrebna rezolucija Senata, primjerice u slučaju pokretanja sudskog postupka", nastavlja Boyd.
Iz senatskog odbora potvrdili su da su zaprimili zahtjev iz ministarstva pravosuđa, te da će surađivati u potpunosti.
U izvješću pod nazivom ,,Istraživanje fetalnog tkiva: Kontekst i kontroverze", kojeg je odbor objavio u prosincu 2016. godine, tražilo se pokretanje istrage protiv organizacije Planned Parenthood. U njemu stoji da je odbor prikupio dovoljno dokaza koji ukazuju da su klinike za pobačaje tvrtkama prodavale tkivo i dijelove tijela fetusa, za potrebe raznih istraživanja, te za to naplaćivale znatne iznose koji su viši od realnih troškova.
,,Izvješće dokumentira neuspjeh Ministarstva pravosuđa, kroz više različitih administracija, da efikasno primjeni zakon koji zabranjuje kupnju i prodaju tkiva ljudskih fetusa. Također sadrži znatne dokaze da su znanstvena tijela uključena u nedavne kontroverze, odnosno pojedinci zaposleni u tim tijelima, možebitno prekršili taj zakon."
Ova savezna istraga rezultat je dobrim dijelom istrage aktivista Davida Daleidena i Sandre Merritt, koji su kao prikriveni agenti 2015. godine snimili pokušaj prodaje, odnosno kupnje tkiva fetusa od visoko pozicioniranih predstavnika organizacije Planned Parenthood.
Planned Parenthood u to je vrijeme odbijao javne optužbe i tvrdnje da se radi o kršenju zakona ili neetičnim radnjama. Organizacija se također protivila prijedlogu da se cijelim pitanjem pozabavi ministarstvo pravosuđa.
,,Unatrag dvije godine, građanski novinari iz Centra za medicinski napredak uhvatili su predstavnike Planned Parenthooda u seriji prikrivenih snimaka kako bezobzirno pregovaraju o prodaji dječjih srca, pluća, jetara i mozgova", rekao je Daleiden, poručivši da je ,,krajnje vrijeme da javni dužnosnici razotkriju kriminalne radnje u industriji pobačaja, te Planned Parenthood suoče s odgovornošću za kršenje zakona".
https://www.youtube.com/watch?v=MjCs_gvImyw
Onda potražiš tu istu vest na Njujork Tajmzovom sajtu (https://www.nytimes.com/2017/12/08/us/politics/planned-parenthood-fetal-tissue-transfers-federal-investigation.html) i:
Quote
Dana Singiser, Planned Parenthood's vice president for government relations, said the group had done nothing wrong and pointed to investigations into its handling of fetal tissue by other congressional committees and more than a dozen states, which concluded the same thing.
"These accusations are baseless, and a part of a widely discredited attempt to end access to reproductive health care at Planned Parenthood," she said in a statement. "Planned Parenthood has never, and would never, profit while facilitating its patients' choice to donate fetal tissue for use in important medical research."
Quote
Democrats on Capitol Hill castigated the department for the "flagrant politicization of its mission," as Representative Jerrold Nadler of New York, the top Democrat on the House Judiciary Committee, put it.
In the case of the 2015 video, Planned Parenthood said that its representative was merely discussing such legal charges and adamantly denied any wrongdoing. That did not stop Republicans, who controlled key congressional committees, including the Senate Judiciary Committee, from launching a series of investigations based on the video.
The Judiciary Committee's report, "Human Fetal Tissue Research: Context and Controversy (https://www.judiciary.senate.gov/imo/media/doc/2016-12-13%20MAJORITY%20REPORT%20-%20Human%20Fetal%20Tissue%20Research%20-%20Context%20and%20Controversy.pdf)," concluded that the executive branch had for years failed to exercise oversight on the tissue transfer process and created a situation where costs and fees were not properly accounted for. The report recommended that the Justice Department "fully investigate" the fetal tissue practices of Planned Parenthood, its affiliates, and three companies involved in the sale of the tissue for potential crimes.
Quote
Mr. Nadler, who was also a member of the special House committee assembled to investigate the issue, said he did not understand why the issue was being revisited.
"It is unclear what it expects to find after five congressional investigations, over a dozen of state investigations, and millions in taxpayer dollars found absolutely zero evidence of wrongdoing."
Boldovao sam ono najvažnije za čitaoce sa rasutijom pažnjom, čisto da bude jasno da je ovo tipično demagoško skupljanje političkih poena.
Quote from: Meho Krljic on 10-12-2017, 15:03:54
Onda potražiš tu istu vest na Njujork Tajmzovom sajtu[/url] i:
Не веровати том гласилу је у данашње време привилегија разумних...
(https://s8.postimg.org/t7u3zz5g5/nyt-jews-1569x2400.png)
Svačija je pravo da ne mora ni u šta da se veruje ili da bira da li da veruje Njujork Tajmsu ili kopipejstu sa nekog nepoznatog sajta. Privilegija bi bila da ne mora da gleda antisemitizam i rasizam na Sagiti ali valjda tu već previše tražimo...
Quote from: Meho Krljic on 15-12-2017, 16:31:27
kopipejstu sa nekog nepoznatog sajta.
YouTube је за тебе непознат сајт или си само превидео тај видео клип?
Quote from: Meho Krljic on 15-12-2017, 16:31:27antisemitizam i rasizam
Наши читаоци имају право да знају истину ко креира медијску слику презентовану у Њујорк Тајмсу.
Само у том случају свако појединачно може
Quote from: Meho Krljic on 15-12-2017, 16:31:27da bira da li da veruje Njujork Tajmsu
Такође, мој претходни пост јасно показује да би Њујорк Тајмс под хитно морао да буде диверзификован.
Сувише је кошер, фали ту мало белог, и црног, и жутог. :evil:
Valjda je jasna razlika između Njujork Tajmsa koji ima urednike, autore i izdavače sa imenom, prezimenom, istorijama i reputacijom, i JuTjuba gde svaka budala može da okači šta hoće? Pa nek narod bira kome bi radije verovao, dakako.
I valjda je jasno šta znači imati ime, prezime, istoriju i reputaciju a šta biti na meti anonimnih rasista...
mehane,
evo malo ozbiljne nauke: https://www.skeptic.com/downloads/conceptual-penis/23311886.2017.1330439.pdf :lol:
Ja poštujem svakog ko penis vidi kao ono što on jeste: instrument za emitovanje mokraće kome se uzgred prikačila i neka smešna druga funkcija. Lepo je da se nauka ovim bavi.
well, after reading that the conceptual penis is the reason for climate change nothing can shock me anymore! not even sagita! xrofl
Quote from: Meho Krljic on 15-12-2017, 18:26:21
reputacijom, reputaciju
Свако разуман зна да је "репутација" Њујорк Тајмса -
#fake news репутација.
Исто као и "репутација" сиенена, гардијана и сличних глобалистичких пропагандних гласила.
Разуман човек, алах га поживео. :lol:
ŠEIH IMRAN HOSEIN: Da Rusi nisu ušli u Siriju, svi pravoslavci bi bili likvidirani, nova meta je Iran
Uvod u metodologiju proučavanja Kurana napisao sam zbog muslimanskih vernika na Balkanu, da razumeju realnost istorije. U Kuranu, u čak 30 sura je zapisano da će savez s pravoslavnima na kraju istorije (koji se upavo događa) biti spas za Muhamedove sledbenike. Obožavanje NATO-a u Bosni, na Kosovu, u Makedoniji i Albaniji od strane muslimana, nespojivo je sa Prorokovim učenjem i suprotno nalozima iz Kurana.
U razgovoru za "Novosti", šeih Imran Hosein, ugledni islamski teolog i intelektualac, koji u Srbiji promoviše 13. knjigu koja tretira pitanja islamske eshatologije, ovako objašnjava svoju želju da muslimane nauči da na pravi način tumače svetu knjigu.
Muslimanski veroučitelj, koji je 2015. godine uzdrmao region tvrdnjom da je Otomansko carstvo bilo lažni kalifat, i koji je naglasio da 1995. u Srebrenici Srbi nisu počinili genocid nad Bošnjacima, kaže da hoće da pomogne muslimanima iz našeg regiona da se "ne stide" kada izađu pred Alaha. Prema njegovim rečima, pravoslavni i Alahovi podanici protiv sebe imaju zajedničkog neprijatelja: judeohrišćanski cionistički savez.
* Šta je cilj ovog, kako kažete, za pravoslavne i muslimane, neprijateljskog saveza?
– Oni nastoje da iz Jerusalima rasprostru političku vladavinu na celo čovečanstvo. Koriste NATO kao svoju moćnu vojnu silu, stručnjaci su za terorizam pod lažnom zastavom, kao i za blaćenje osoba koje su im nepodobne. Oni su ti koji satanizuju nevine muslimane kao navodne teroriste, dok istovremeno podržavaju i finansiraju lažnu i varvarsku Islamsku državu.
* Kako muslimani iz regiona reaguju na vaše tumačenje Kurana?
– Moja predavanja iz islamske eshatologije su javna i stavljam ih i na "Jutjub". Muslimani sa Balkana u početku su reagovali gotovo histerično, jer to nije bilo tumačenje Kurana na koje su navikli. Danas, kroz njihove reakcije, osećam da shvataju zablude, ali im je teško da priznaju da su ih učili pogrešno.
* I pravoslavni reaguju na, u Kuranu najavljeno, savezništvo s muslimanima?
– Ama baš svaki pravoslavni vernik koji se oglašavao povodom mog tumačenja Kurana imao je pozitivan stav po tom pitanju. To govori samo za sebe.
* Trampovo priznavanje Jerusalima za glavni grad Izraela već je ujedinilo islamske zemlje u odbrani zajedničkih interesa...
– Izreal je najznačajniji grad u hrišćanskoj i jevrejskoj civilizaciji, a značaj među muslimanima dobio je ne tako davno. Amerika je priznala Jerusalim za glavni grad, i to neće povući. Razvoj događaja oko Jerusalima ujediniće stavove hrišćanskog i muslimanskog sveta koji nije pod cionističkom kontrolom.
* Iz vaše poslednje knjige se vidi da ste od Trampa više očekivali.
– Krenuo je da isuši političku močvaru Amerike, a sada se svakog dana bori da politički preživi. Ali ono što je sigurno – da je na tim izborima pobedila Hilari Klinton, svetu bi se već dogodio nuklearni rat.
* Pozdravili ste rusku intervenciju u Siriji?
– Da je nije bilo na Bliskom istoku, svi pravoslavni bi bili likvidirani, a lažna ID bi zagospodarila ogromnim prostranstvom. Sirijska drama je sada pri kraju, ali Bliski istok tek čekaju izazovi.
* Koji?
– Nova meta je Iran, i on će najverovatnije uskoro biti izložen "fols fleg" operaciji. Građanski rat između šiita i sunita primarni je cilj Izraela, jer bi to stvorilo uslove da posle takvog jednog međumuslimanskg rata zagospodare svojim "biblijskim granicama" od Nila do Eufrata.
* Koliko su šiitske i sunitske vođe svesne opasnosti?
– Iranski ajatolah Ali Hamnei je taj koji umerenim ponašanjem pokušava da deaktivira upaljač s projektovanog rata. Ruski predsednik Putin je s njim razgovarao na aerodromu u Teheranu puna dva sata, i formirali su saveznički bezbednosni blok. Ruski predsednik je i sa sunitskim svetom u Pakistanu uspostavio bliske kontakte i on je jedini svetski lider koji razume kakva je opasnost koja se nadvila nad Bliskim istokom.
* Da li se promenom vladara išta menja u ponašanju Saudijske Arabije, najbližeg saveznika SAD?
– Poslednji nezavisni vladar ove prebogate zemlje bio je kralj Fejsal, koga je 1975. ubio "princ" doveden za tu priliku iz Kalifornije. Fejsala su Amerikanci upamtili po tome što im je uveo sankcije na naftu i što je tada cena petroleja u SAD sa tri povećana na 12 dolara. Od tada praktično oni kontrolišu vladare ove zemlje. A mladi vladar Saudijske Arabije kao da jedva čeka sukob sunita i šiita.
IMA I TITULU MAULANA
Šeih Hosein je stručnjak za islamska verska pitanja, kao i za međunarodnu politiku i ekonomiju. U islamskom svetu poseduje još i titulu maulana. Završio je islamske studije na Univerzitetu u Karačiju, u Pakistanu, zatim je učio na Univerzitetu Al Ashar u Kairu i u Institutu za visoke međunarodne studije razvoja u Ženevi.
Živeo je u Njujorku i 10 godina obavljao versku službu u zgradi UN. Bio je imam džamije Dar al Kuran na Long Ajlendu i direktor islamskih studija muslimanskih organizacija na području Njujorka, a zatim u Majamiju.
(Novosti.rs)
http://webtribune.rs/seih-imran-hosein-da-rusi-nisu-usli-u-siriju-svi-pravoslavci-bi-bili-likvidirani-nova-meta-je-iran/
Ima i u Politici na naslovnoj strani intervju sa njim danas. Postao je velika zvezda u Srbiji preko noći :lol: :lol: :lol:
Bio u Novostima u nedelju.
Quote from: Meho Krljic on 18-12-2017, 19:32:06
Postao je velika zvezda u Srbiji preko noći :lol: :lol: :lol:
Не баш преко ноћи.
Није му ово први долазак у Србију и први интервју.
11. oktobar 2015Šeih Imran Nazar Hosein: Istinu o Srbima CIA ne dozvoljava DOŠAO sam da ponudim reči ljubaznosti i prijateljstva pravoslavnim hrišćanima u Srbiji i da se obratim muslimanima u regionu. Govorim jasno i glasno da iza vratoloma na Bliskom istoku i iza drugih nesreća u poslednjim godinama stoje mračne sile zapadne civilizacije i CIA, a ne neka islamska država ili religija. Došao sam da vidim na čijoj su strani pravoslavni Srbi pred ova odsudna vremena. Govori ovako, ekskluzivno za "Novosti", Šeih Imran Nazar Hosein, jedan od najvećih islamskih teologa današnjice.
Jedan od tvoraca privrednog čuda u Maleziji, gde živi, kaže da je onog trena kada je ušao, po vizu, u ambasadu Srbije u Švajcarskoj, stekao pravi utisak o kavim se dobrim ljudima radi. Posle susreta sa našim akademicima, novinarima, običnim svetom, to osećanje je, veli, sve izraženije. Doći će ponovo, jer, kako naglašava, "teolozi, islamski i pravoslavni, imamo o čemu da razgovaramo i da se razumemo".
* Utisak koji muslimanski svet ima o pravoslavnim Srbima je vrlo mračan. Zašto?
- Bili ste izloženi strašnoj satanizaciji zapadnih medija. Ako želite da islamski svet razume događaje u Srebrenici, napravite državnu komisiju od najumnijih ljudi i pozovite sve koji nešto znaju o tome. Kada svi kažu istinu, zaključke punudite svetu. Jedini je problem što mislim da CIA to ne bi dozvolila po cenu egzekucije cele komisije.
* Da li postoji još nešto da se bolje razumemo sa muslimanima?
- Predsednik Rusije Vladimir Putin je u Moskvi dozvolio da se napravi velelepna džamija u svoj raskošnoj islamskoj arhitekturi. Gradonačelnik Moskve je bio protiv, ali je bogomolja nikla na oduševljenje ruskih muslimana. Tako je ruski predsednik učvrstio međunacionalno poverenje u svojoj zemlji za sva vremena. Možete da se ugledate na njega.
* Vaš stav prema ulozi Otomanske imperije na prostorima Balkana razlikuje se od mišljenja mnogih islamskih verskih vođa. Zašto?
- Otomansko carstvo na ovim prostorima je posejalo seme zla. Ovo carstvo je bilo lažni kalifat i to je činjenica. Iza njega su ostali ožiljci među narodima i na Balkanu, koje je engleska Deklaracija o Srebrenici trebalo dodatno da pozledi, da nikad ne dođe do pomirenja.
* Tumačeći Kuran, kažete da se Putinov ulazak u rat u Siriji očekivao.
- Prema Kuranu, Sirija se nalazi u srcu kraja istorije. Kako stoji u islamskoj svetoj knjizi, u Damasku će se, na kraju istorije, sresti lažni mesija (antihrist) i Isus Hrist, koji će sići, i to će biti mesto konačnog obračuna. Tako stoji i u Bibliji. Kraj istorije se naslućuje, a prema crkvenoj eshatologiji (religijsko učenje o tzv. poslednjim stvarima, o onome što posle smrti čeka pojedince, čovečanstvo i ceo svet, o smrti, besmrtnosti duše, strašnom sudu, smaku sveta, večnom blaženstvu i paklu) strašni sud će se odigrati baš u Siriji.
* Kako to vidite u svetlu sirijskih događaja?
- Nema sumnje da su pravoslavna braća ta koja odnose pobedu. To je zapisano, a o tome svedoči strah protagonista svetskog poretka oličenog u vladarima Amerike i njegovim satelitima. Ruski predsednik Putin je odlučio da interveniše, a pravoslavni hrišćani se jedini ne plaše satane pred odsudne bojeve. Oni koji danas u ime islama ratuju u Siriji, Iraku, Avganistanu i drugde vode "sveti rat", jesu vojnici CIA! Ulazak Rusije u sukob u Siriji zapisan je u Kuranu i to je Božija zadatost.
* Ipak, kraja sveta se svi plaše. Šta još prema Kuranu i Bibliji treba da se dogodi čovečanstvu pre sudnjeg dana?
- Ulazak u Konstantinopolj pravoslavnih zajedno sa muslimanima. To kažu i najugledniji pravoslavni ruski teolozi sa kojima vodim eshatološki dijalog. Biblija i Kuran pišu isto. U ranijim, lošim eshatološkim tumačenjima Kurana kao pad Konstantinopolja uzimana je 1453. kada su Otomani sa Mehmedom Drugim uzeli ovaj grad od Istočnogrčkog carstva. To je namerna greška u islamu. Uzimanje Konstatnopolja je veliki muslimanski greh prema hrišćanima, kao i pretvaranje najveće vizantijske bogomolje, Crkve svete mudrosti u džamiju Aja Sofiju. Sledeći islamaski greh prema hrišćanima je promena imena Konstantinopolja u Istanbul. Sve to će biti ispravljeno kada u grad na Bosforu ponovo uđu zajedno pravoslavni i muslimani. To će biti i kraj satane, kraj NATO.
* Vaš stav prema ruskoj ulozi u Siriji ne deli deo islamskog sveta.
- Turski predsednik Erdogan zapretio je da će zbog Rusa Evropi poslati novih tri miliona izbeglica, a 55 najviših saudi-arabijskih verskih vođa pozvalo je muslimane na džihad protiv Rusije. Reke izbeglice ne teku jer to hoće Erdogan. Ovi ljudi beže zbog surovosti onih koji, a da to i ne znaju, provode "CIA džihad". Kada su u pitanju saudijski verski učitelji, tu govorimo o "selafistima", ljudima koji svojim učenjem uništavaju islam. Naš prorok je sam dovoljan da poništi njihovu fetvu, a ja bih samo podsetio da u Kuranu piše da će iz tog dela Arabijskog polustrva i doći satana pred sudnji dan. Imam ogroman broj učenika u Saudi Arabiji koji preziru ove učitelje. Velika većina muslimana u svetu je protiv njih.
* Ipak, ogroman broj muslimana ratuje pod njihovom zastavom?
- Oni nisu svesni šta rade. ISIS, Sirijska oslobodilačka fronta, Al Nusra, sve su to formacije kojima je gazda u Vašingtonu. CIA u njihovo ime četiri godine razara Siriju, a kada su krenuli Rusi zakukali su otvoreno: Ne dirajte ih, to su naši!
* Nesreći na Bliskom istoku prethodila su "humanitarna bombardovanja" i obojene revolucije.
- U Cionističkoj agendi stoji da žele državu od Eufrata do Nila. Da bi dobili moćni Egipat, napali su Tunis i Libiju, pa Siriju. Prethodno, vladari mraka pokušali su narandžastu revoluciju u Ukrajini, a zatim oružanu pobunu kojom bi se dokopali Krima. u Egiptu, nisu do kraja ostvarili ciljeve, Libija je nažalost uništena, a uništili su je CIA džihad borci. Rusi su odbranili Krim i njime ostavili otvoren svoj put u istoriji.
* Događaje oko Krima takođe smatrate presudnim u istorijskom toku.
- Nisu Rusi uzalud polovnim 19. veka prolili onoliku krv da obezbede svoj izlazak na Mediteran. To je put koji im je zapisan i u Bibliji i u Kuranu. Oni treba da se nađu na braniku civilizacije pred sudnji dan.
* Niste optimista kada je u pitanju budućnost sveta?
- Ja slutim kraj ovakave civilizacije u nuklearnom ratu. Ne bojim se umiranja ako je ono cena da i oni što čovečanstvo vode u propast nauče lekciju.
U SREBRENICI NIJE BILO GENOCIDA
Za Srbe, Šeih Imran Hosein postao je poznat kada je, u julu ove godine, digao glas protiv predloga rezolucije u SB UN u kojoj je stajalo da su u Srebrenici Srbi počinili genocid nad muslimanima.
- U Srebrenici nije bilo genocida, jer bi to značilo da je ceo jedan narod (srpski) krenuo da uništi drugi narod (muslimanski). To se nije dogodilo, dok pokušaj da se u SB UN donese rezolucija koja bi stavila pečat na ovakvo viđenje istorije, svakako nije imao za cilj pomirenje naroda na Balkanu, kao što su to Britanci tumačili. Genocid je recimo ono što su (zapadni) Evropljani napravili kada su došli u Ameriku i kada su Indijance zgazili kao bubašvabe - rekao je tada Hosein.
http://www.novosti.rs/vesti/naslovna/drustvo/aktuelno.290.html:571289-Seih-Imran-Nazar-Hosein-Istinu-o-Srbima-CIA-ne-dozvoljava
https://www.youtube.com/watch?v=JyVjSRL2EEk
(https://i.imgur.com/aAU2zDT.jpg)
Snajder i Bendis zajedno. Paradigma se menja na naše oči!!!!!
(https://i.imgur.com/2bdj8sh.jpg)
Мехо, желим да ти честитам на на јубилеју од 100 страница теме који те ускоро чека.
Не може то свако!
Hvala :lol: Mada, naravno da može svako, samo postuju razne gluposti dovoljno dugo.
recimo nešto ovako :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi64.tinypic.com%2Ft00q3s.jpg&hash=f72ce818a68bbe2312f9741f3733b7923300fb4c)
(https://i.imgur.com/NUMFVYc.jpg)
Mi, sa blažim oblikom prosopagnozije sad bar možemo da se tešimo da nas je mnogo više nego što smo mislili:
One in 50 of us is face blind – and many don't even realise (https://www.theguardian.com/society/shortcuts/2018/jan/29/one-in-50-of-us-is-face-blind-and-many-dont-even-realise)
Bendis samo što je došao u DC a već ributuje ko besan:
DC 'Superman' Comic Reboot Will Briefly Create a New Canon (https://www.inverse.com/article/40817-brian-michael-bendis-superman-dc-reboot)
:( :( :(
'Picked Apart by Vultures': The Last Days of Stan Lee (https://www.thedailybeast.com/picked-apart-by-vultures-the-last-days-of-stan-lee)
The 100 Pages That Shaped Comics (http://www.znaksagite.com/diskusije/www.vulture.com/article/100-most-influential-pages-comic-book-history.html?utm_source=fb&utm_medium=s3&utm_campaign=sharebutton-t)
404 Page Not Found :cry:
meho zbrljo link. :lol:
http://www.vulture.com/article/100-most-influential-pages-comic-book-history.html?utm_source=fb&utm_medium=s3&utm_campaign=sharebutton-t
Izvinjavam se, nemam pojma šta sam uradio...
Zapravo osećam izvesno olakšanje što to može i tebi da se desi. :lol:
Hvala, Lilit. Nakon minut skrolovanja reklo bi se da članak uzima u obzir samo američke stripove. Biće i ovako uživanje čitati, ali sam se nadao nečem sveobuhvatnijem.
Da, pa, zato sam i stavio na ovaj topik radije nego na neki generalniji stripovski...
Da, na osnovu toga bi čovek verovatno pomislio da su ameri bili totalno nesvesni da se van USA crtaju stripovi.
A sećam se kako je u predgovoru Milerovog Ronina neki od DC-jevih urednika napomenuo kako su u njegovo vreme nabavljali Metal Hurlant samo da bi pratili kakve nove igrarije sa rasporedom kadrova na tablama su smislili oni evropski ludaci. :lol:
Pa, prodaja nekih evropskih stripova u Americi je postojala osamdesetih i devedesetih godina ali to je klasičan primer tržišne niše. Tek kada su mange kasnih devedesetih privukle veću publiku može da se kaže da su Amerikanci postali "stvarno" svesni tuđih strip-produkcija, u smislu da se stvorio fandom, nekakav ozbiljniji industrijski ekosistem. A i to je došlo nakon što su čitave osamdesete Amerikanci gledali japanske crtane filmove i igrali japanske igre, vrlo često posve nesvesni da su u pitanju ne-američke produkcije.
Američki strip je u neku ruku poseban jer je od tridesetih godina prošlog veka u dobroj meri, a definitivno od šezdesetih njihov mejnstrim vezan za superheroje (do te mere da su praktično svi današnji veliki autori aktivni u američkom stripu imali fazu kada su ,,morali" da rade superherojski strip iako su njihova inicijalna interesovanja bila drugačija – Bendis, Aaron, Hickman, Kirkman, Fraction, King, da nabrojim samo šačicu), tako da i američka publika generalno ima naviku da ,,pravim" stripom smatra priče sa dugačkim mesečnim serijalima, gde je veliki naglasak na kontinuitetu i njegovim promenama (za razliku od, recimo, italijanskih stripova poput Bonelijeve produkcije koji imaju dugovečne mesečne serijale ali kontinuitet nije specijalno važan). Zato čak i ne-suerherojski stripovi koji danas izlaze u Americi – na primer Vaughanovi ili Remenderovi ili Fractionovi ili Hickmanovi serijali za Image - generalno imaju istu strukturu pripovedanja, i isti naglasak na kontinuitetu i manje su struktuirani kao ,,grafički roman" kako inače vole da ih zovu.
Da, naravno, nisam ni ciljao da je postojala široka publika za neameričke stripove, znam da nije (sećam se jedne tribine kojoj sam prisustvovao na kojoj je pominjano kako je Moris uzalud pokušavao da popularizuje u Americi Taličnog Toma). Ali mnogi crtači su pozorno pratili šta se dešava preko bare i krali trikove zanata koji su im se svideli.
Ozbiljan pregled najznačajnijih i najuticajnijih strip tabli u istoriji stripa definitivno ne bi smeo da se koncentriše isključivo na američku produkciju. Ali mi nije problem da ovo čitam kao pregled koji se odnosi na istoriju američkog stripa.
Da, definitivno ovo treba čitati kao prolazak kroz američku istoriju. Američki kritičari/ publicisti koji se bave stripom ionako (generalizujem) ni ne znaju dovoljno o evropskom stripu da bi uopšte mogli da uključe primere iz Evrope na ovakvu listu. Sa japanskim stripom su malo bolje upoznati ali opet, mange imaju toliko drugačiji tempo pripovedanja daje veliko pitanje da li bi imalo smisla da se pojedinačne stranice mangi vade i stavljaju na ovakav spisak.
мехмете, брате, има ли неђе преглед продаја дц/марвел стрипова у последњих 15ак година? ја сам нешто копао ал ништа релевантно нисам пронашао.
Pa, industrija se uglavnom oslanja na Diamondove statistike: https://www.diamondcomics.com/Home/1/1/3/237
Ona nisu sasvim tačne ali su prihvatljivo približne. E, sad, naravno, poslednjih petnaest ili dvadeset godina je prodaja kolekcija postala značajan deo ove priče (što Diamond odvojeno vodi od mesečnih svesaka) a onda je i poslednjih desetak godina prodaja digitalnih stripova postala ozbiljna stvar, a za to statistiku nemamo, tako da...
Nego, neko se baš potrudio da zamisli kako bi filmski Avendžersi izgledali da su pravljeni devedesetih godina prošlog veka:
(https://i.imgur.com/lkvIB98.jpg)
хвала
(https://scontent-vie1-1.xx.fbcdn.net/v/t1.0-9/31117958_2138451319722852_486433298566873088_n.png?_nc_cat=0&_nc_eui2=v1%3AAeHtWntvWn7dKLu9yz1Amdl1u1X0wWaW6xlRmKm4uBW9Ns-4Io4ZZvMXtEwoTuH0MGIKlKjd5uptsae523eTKOcgLZyYdal1w8w2puo9eMOQpQ&oh=253ee92a8dd8bb8848904db474c687d7&oe=5B5B53C1)
Da, pa zna se to.
U drugim vestima:
Gibson files for bankruptcy to ditch electronics, focus on guitars (https://www.engadget.com/2018/05/02/gibson-guitars-bankruptcy/)
What Deadpool 2's fridging controversy says about comics culture's gender gap (https://www.vox.com/summer-movies/2018/5/22/17376052/deadpool-2-writers-fridging-women-in-refrigerators)
https://vimeo.com/263985244
Blade paved the way for the Marvel blockbusters of the new millennium (http://www.avclub.com/blade-paved-the-way-for-the-marvel-blockbusters-of-the-1826736327)
Nego, ovo dete odozgo odvaljuje bubnjeve. GTBT nije najkomplikovanija Led zep pesma, ali jeste sjajan šoukejs za Bonzov stil, a klinka je potpuno savladala ceo gruv, duple kikove, sve. Fenomenalna je.
Da, da, nije kao dete ima robotsku tehniku, nego baš kapira to. Milina.
Naravno, kad se padne niz zečiju rupu, shvati se da je "japanska deca sviraju Cepeline na bubnjevima" čitav podžanr na JuTjubu:
https://youtu.be/7wl1MCzqNxk (https://youtu.be/7wl1MCzqNxk)
Alal joj palica, razvalila je ''Thor AAAAAAAAAAaaaa song'' !
Hej, Meho, long time no see! (upotrebljeno figurativno, iako je i bukvalna komponenta tačna) xcheers
Vidim da forum šljaka i dalje xdrinka
Nego, video sve obelodanjene Marvelove filmske planove za idućih par godina, pa mi je sledeća stvar privukla pažnju: Eternals. Po meni, jedan od vrhunaca i inače neobuzdane Kirbijeve imaginacije, ali bolje funkcioniše zasebno. Nikad nisam oprostio Marvelu što je to priključio svom glavnom univerzumu, i time napravio kosmološku i mitološku zbrku kakvu ne mogu da raspletu ni 666 infinity stones-a. Ali, posebnu pažnju mi je privuklo to što izvori kažu da će glavni lik biti Sersi, ne Ikaris. :shock: 8) Sersi (aka Kirka u grčkoj mitologiji) je originalno, pa, najrazuzdanija od svih Marvelovih heroina i ne znam da li se taj koncept provlači i kroz novije njihove stripove (poslednje što sam čitao je mini-serijal iz sredine 80-tih), ali, ako je ostave takvom, biće zanimljivo pogledati film i samo zbog toga.
Ego (Kurt Rasel) u GotG 2 kaže "I am a celestial", ali, ako Marvel ima planove da koristi originalne Eternals (Večite? Večnike?), a samim tim verovatno i Celestials, to ne može biti istina.
U svakom slučaju, film koji me zanima mnogo više od Captain Marvel, koja (ili koji) mi nikad nije mnogo značio/la.
Ja sam prilično siguran da će Marvel za filmske potrebe radikalno adaptirati poreklo, prirodu, ponašanje, ciljeve itd. itd. itd. Eternalsa i da će ih prilagoditi potrebama produkcije i te neke metapriče koja već postoji u MCU. Kao što je i Ego u Gardijansima 2 vrlo izmenjen u odnosu na Ego the Living Planet u stripovima, tako verujem da će i Eternalsi biti dovedeni u ravan koja može da se isprocesuje i da bude konzistentna sa dosadašnjim pričanjem o infinity kamenju, Thanosu, Asgarđanima itd.
Ono što je primetno je da su i Marvel i DC najavili filmove bazirane na Kirbyjevim radovima iz njegove već dekadentne faze kada je imao odrešene ruke da sam crta, piše i uređuje i kada se razulario sa vizijama i mitologijama, ali su i New Gods i Eternals zapravo bili prilično neuspešni radovi inicijalno i, kako sam već možda negde pominjao, danas se verovatno ne bi ni pojavljivali u stripovima da ih se povremeno ne prihvati neki ludi entuzijast poput Granta Morrisona i Neila Gaimana. Tako da, zašto obe firme misle da će to biti uspešni filmovi - nisam siguran, meni bi to pre bilo logičnije za televiziju... (Mada, priznajem, jako skupu televiziju)
Takođe, Eternalsi su malko retkonovani u poslednje vreme, malo im je promenjen power set itd., Gaiman se tu dosta trudio da ih osavremeni, čisto da znaš.
I, naravno, lepo te videti!!!!!!
Uzgred:
Apropo Kapetan(ice) Marvel, meni je dosta čudno što je baš ona prvi ženski superheroj koji dobija solo-film u Marvelu, pored žive Black Widow ali biće da je to stvar knjigovodstva i činjenice da Marvel ne želi da plaća Skarlet Johanson onoliko koliko bi trebalo da je plati za jedan do tri filma.
Ali, ako nas Kapetan Marvel odvede, makar za desetak godina, u pravcu filma o današnjoj Ms. Marvel, Kamali Khan, ja to podržavam :| :| :| :|
Da, nije teško videti zašto ti Kirbijevi radovi nisu imali širu popularnost (izvan krugova zaluđenika), i mislim da ne može (ni) svaki (deseti) scenarista da obuzda takav sulud i epski materijal. Zaista je potreban neko poput Gejmana, koji ne samo da obožava mitologiju, već i razume kako ona funkcioniše, da preuzme takvu odgovornost da bi taj svet zaživeo. (Inače, hvala na ukazanju. Potrudiću se da nađem taj njegov mini-serijal.)
One otužne elemente Novih bogova koje smo videli u filmskoj montaži poznatoj kao Liga pravde sigurno neće pomoći Kirbijevoj popularnosti među modernom publikom. :roll: :cry:
Ne sumnjam da će Marvel da se potrudi da napravi manje-više koherentnu verziju Večitih u MCU...mislio sam na zbrku u stripovima. Originalno su bili zaseban serijal, odvojen od ostalih Marvelovih junaka. Tanos je tek naknadno napravljen jednim od njih. Ali njihovim uključivanjem, neke stvari su postale kontradiktorne, a mnoge nepotrebni višak. Nije to jedini ili prvi takav slučaj, ali mi je najupadljiviji. Imamo Večite kao osnov za mitove koje ljudi pričaju od početka istorije i za panteone bogova, ali imamo i te panteone nezavisno od njih (posebno bode oči u vezi grčkih mitova). Imamo Arišema, Sudiju, ali Marvel već ima kosmičkog sudiju zvanog Living Tribunal. Imamo jednu priču više o nastanku ljudskog roda. Imamo čitavu nadljudsku rasu (Devijante) koja nekako ne postoji (čast izuzecima!) kada se bilo šta bitno događa na Zemlji u bilo kom drugom Marvelovom naslovu. Itd, itd... I zato ja jednostavno volim da se pravim da je ono što ovde ne postoji zapravo sve ostalo u Marvelu. Jedina dobra stvar je što su nebesnici (kako ja volim da zovem Celestials po-srpski) zapravo najveća misterija u Marvelovom kosmosu - verovatno i dan-danas - što se slaže sa njihovim originalnim konceptom.
Ovo poslednje što si rekao... Drago mi je da ne čitaš savremeni Marvel pošto u aktuelnim Avendžersima Jasona Aarona mrtvi Celestialsi bukvalno padaju na Zemlju, u činu izuzetnog pojeftinjenja njihovog koncepta. :cry:
Heh, mogu to da gledam i sa pozitivne strane..."zadivljujuće je da su tek sad uprskali, posle 40 godina". No, svakako nemam nameru da čitam. Pisao si negde o tom serijalu? To bih verovatno čitao.
A kada već pričamo o superherojskim filmovima, da kažem zvanično da su mi Logan i Thor: Ragnarok dva najbolja predstavnika tog žanra u poslednjih 120 godina, pozicionirana na suprotnim krajevima tonskog spektra. Živimo u lepom vremenu za ljubitelje istog (žanra), iako WB više podmeće nogu nego što doprinosi nečemu. Otkriću samo dva razloga zbog kojih volim poslednjeg Tora toliko koliko volim, a za koje mislim da nisu dovoljno naglašena u javnosti.
1. scena između Tora i Dr. Strejndža.
Potpuno istripovana i nešto što sam očekivao (u najboljim nadanjima) da ćemo videti u filmu o Strejndžu. Uklonjena je vizuelna dimenzija magija (uglavnom) a zadržan je osećaj začudnosti. I više nemamo samo energetske štitove i oružja, i telekinezu, i mahanje rukama, itd, već nešto zaista "nematerijalno". (I Loki kaže "I have been falling...for 30 minutes!", što mi ne vidimo, ali nije zato ništa slabijeg efekta. Šteta što i drugi režiseri ne mogu tako da se nose sa mističnom materijom, već beže u udobnost vizuelnih efekata koji se vide sa Plutona)
2. i zapravo, mnogo bitnije - završetak
Ovde ne mislim na uvod u Infinity War, ili komični razgovor posle uništenja Asgarda, već na način na koji su pobedili Helu. Ispoštovana je snaga protivnika, koji nisu samo vreće za iživljavanje. OK, ima i toga, sa vojskom mrtvih (uvek najbezbednije rešenje, i možda je zato teško drugde naći scenu sličnu onoj kada Valkira seče glave protivnicima), ali zato je borba između Hulka i Fenrisa prilično ravnopravna, dajući osećaj uloga i opasnosti. Fenris, čak, uspeva da povredi Hulka. A ironija je u tome što je Tor, uz Hulka, zapravo najfizikalniji od Marvelovih junaka (iako nije samo to), a ovo je jedini MCU film koji mi pada na pamet (ispravite me ako grešim) u kome junak pobedjuje na način koji nema veze sa njegovom snagom ili moćima. Velika boljka superherojskih filmova je taj konačni obračun, jer se uvek svodi na to ko udara jače, ili čiji oklop ima više energije ili dodatnih smicalica, i sl, a Tor zapravo radi stvar koja nema veze ni sa čim od toga. Kako sam samo mrzeo poslednju bitku u prvim Osvetnicima (iako sam voleo taj film)! Wonder Woman - Gal Gadot je čudesna, i prvih sat i nešto su prilično dobri, ali poslednja borba je CGI budalaština. Civil War - dobra koreografija, ali poslednja borba? Besmislena. Guardians 2? Dva puta sam gledao film, ali taj obračun sa Egoom sam preskočio oba puta, jer sam tačno video gde vodi. Onu sramotu na kraju Lige pravde se trudim da zaboravim. Završetak Doktora Strejndža je blizu Toru na toj mojoj skali, ali čak i Strejndž koristi sopstvenu moć (iako i dobru dozu pameti). Dakle, Tor: Najmudriji heroj, a ne Tor: Idiot, kako ga predstavljaju neki zaluđenici koji tuguju za verzijom iz prva dva Marvelova filma. (U smislu: ovaj film je loš jer od Tora pravi idiota. Ali ja nisam imao taj osećaj ni u jednom trenutku.) Potpuno neočekivan obrt u trenutku kad sam gledao film.
Ima tu i mnogo drugih stvari, ali one su uglavnom naglašene u raznim prikazima širom Interneta, pa sam hteo da ukažem na ova dva elementa. A vizija Heline borbe sa Valkirama je verovatno najbolji skrinšot koji sam video u Marvelovom filmu, ikada, što svakako ne škodi.
U mnogome se slažem sa vašom analizom, uvaženi kolega. Naravno, kao (još) stariji čovek, ja imam nešto blaže stavove o svemu, ali se slažem da je Ragnarok po mnogo čemu vidno pomerio standarde za Marvel. Doduše, prošle nedelje na večeri LK u Domu Omladine sam dobio od jedne učesnice diskusije puno ozbiljnih argumenata protiv Thor: Ragnarok ali sam žurio kući da spavam pa nisam imao vremena da se njima mnogo protivim.
I, nisam još pisao opširnije o novom Avendžers serijalu, jer je tek ove nedelje izašla treća epizoda, ali jesam ga pomenuo u poslendjem napisu na temi o stripovima komentarišući završnicu prošlog Avengers serijala. Nije preterano reći da Avendžerski trenutno nisu najuzbudljiiji deo Marvelovih stripova, i ako već pričamo o Team Bookovima, Championsi su značajno bolji a i Weapon X/ H je više po mom ukusu mada, naravno, to je u nogome i do moje slabosti prema kastu :lol:
Quote from: Meho Krljic on 22-06-2018, 22:09:48
Doduše, prošle nedelje na večeri LK u Domu Omladine
Sposobnost da nepogrešivo propustim SVE događaje koji me zanimaju, bez obzira na okolnosti, mora biti inherentna supermoć. :cry: :cry:
(Pitam se samo na kojoj strani moralnog spektra se nalazim? Antinegativac?)
http://i.imgur.com/xnWuDGMh.gif (http://i.imgur.com/xnWuDGMh.gif)
The Litigious History of DC and Marvel's Rival Captain Marvel Characters (http://mentalfloss.com/article/542404/litigious-history-dc-and-marvel-rival-captain-marvel-characters)
The Weirdest and Most Wonderful Alternate Dimensions in the Marvel and DC Universes (https://io9.gizmodo.com/the-weirdest-and-most-wonderful-alternate-dimensions-in-1827550400)
Divno da je pomenut Weirdworld - nisam čuo ništa o tom svetu deceniju ili dve. Mada je meni vizuelno najdraže kraljevstvo More (Nightmare Realm), nepomenuto na gornjoj listi. Otvara divne mogućnosti maštovitom crtaču.
O, potvrđeno je da od Novembra kreće novi Green Lantern serijal, a koga će raditi Grant Morrison i Liam Sharp, sa fokusom na Hala Jordana (http://www.ign.com/articles/2018/07/19/the-green-lantern-relaunch-by-grant-morrison-and-liam-sharp-focuses-on-hal-jordans-life-as-a-space-cop). Pič je da će se ovaj strip baviti pre svega policijskim poslom koga GL obavljaju, dakle, bez OGROMNIH kosmičkih ratova i događaja koji prete da okončaju univerzum. Morrison, naravno, u svom CV-ju ima masu baš takvih događaja ali ovo bi i za njega moglo da bude sjajno osveženje. Posle sjajnog Vendittijevog rada sa Halom Jordanom, ovo je možda perfektan zaokret.
O istom trošku, pored već najavljene najave da će naša draga G. Willow Wilson preuzeti da piše Wonder Woman, sada smo čuli i da Kelly Sue DeConnick preuzima Aquamana (http://ew.com/books/2018/07/19/grant-morrison-green-lantern-kelly-sue-deconnick-aquaman-dc-comics/). Meni je Abnettov Aquaman bio (i još uvek je) odličan, ali ovo bi moglo da takođe bude sjajno.
Najsvežija informacija:
James Gunn Fired as Director of 'Guardians of the Galaxy Vol. 3' (https://www.hollywoodreporter.com/heat-vision/james-gunn-exits-guardians-galaxy-vol-3-1128786)
:?
Oprostićeš mi što stavljam ovde... ne posećujem politički deo foruma. ;)
Kaki su to kvazisnobizmi cccc
Quote from: Pizzobatto on 21-07-2018, 00:14:17
Kaki su to kvazisnobizmi cccc
Priznajem da nisam 100% siguran da li se ovo odnosi na rukovodioce Diznija, mene, ili oboje!
Eh, ja upravo to postovao na Kriplovom topiku, nisam još stigao do ovog... Evo reprize:
Quote from: Meho Krljic on 21-07-2018, 07:09:00
Džejms Gan popio šut-kartu i izgubio ugovor sa Diznijem jer je pravio neslane šale na tviteru pre desetak godina (https://www.yahoo.com/news/disney-fires-guardians-galaxy-director-214022709.html)... Kud ih ne obrisa.... Naravno, Gunn je dao izjavu u kojoj objašnjava da se od tada promenio i da više ne pravi takve šale (https://www.huffingtonpost.com/entry/james-gunn-fired-tweets-pedophilia-rape_us_5b5238d6e4b0fd5c73c5390a), što je legitimno, ali internet poništava koncept protoka vremena, jelte. Naravno, nije to sad došlo sasvim slučajno, autrejdž kalčr udara na obe strane a kampanja kojom je orkestrirano ovo je u centru imala - Majka Cernoviča (https://www.yahoo.com/entertainment/meet-mike-cernovich-wing-provocateur-got-james-gunn-212212820.html).
Meho is on fire [emoji16](https://uploads.tapatalk-cdn.com/20180721/e2d3d0f13f951445b3c7dc7147f8265d.jpg)(https://uploads.tapatalk-cdn.com/20180721/31265ebd7bd26273d67fe72f9eca321c.jpg)(https://uploads.tapatalk-cdn.com/20180721/9f5bfdaf5e9e0498b0cf6bfb7c052842.jpg)
Sent from my Le X626 using Tapatalk
Pa kad sam ja jedini budan u ovo vreme :oops:
Disney Fires Thanos After Uncovering Controversial Statements (https://babylonbee.com/news/disney-fires-thanos-after-uncovering-controversial-statements/)
Šala na račun Diznija nikad ne škodi. :)
Ou, jes!
New Spider-Man Comic Coming from Christopher Priest (http://www.denofgeek.com/us/books/spider-man/275065/new-spider-man-comic-coming-from-christopher-priest)
The book teams Kaine (a non-Ben Reilly clone of Peter Parker) with Spider-Woman and Ashley Barton (Hawkeye's daughter from the Old Man Logan timeline), along with two new alternate Spider people - Astro Spider, apparently a space adventurer with spider powers, and Spider-Boy, who appears to be a cross between a young Peter Parker and Nightwing.
Rečenica koja jasno demonstrira koliko je induistrija superherojskih stripova otišla u... nešto. :evil:
Kristofer Prist je kralj!!! Jedva cekam!
Quote from: neomedjeni on 24-07-2018, 08:58:16
Rečenica koja jasno demonstrira koliko je induistrija superherojskih stripova otišla u... nešto. :evil:
Meni, iskreno, ta rečenica zvuči kao da je mogla da dođe iz DC-ja ranih 80-tih (pre-Crisis) gde smo imali po 5-10 varijanti istog lika u aktivnoj upotrebi.
Drug Neomeđeni će uskoro shvatiti da su superherojski stripovi praktično sapunske opere samo sa malo atraktivnijim kostimima.
Naleteo sam na ovo:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F30mxpgw.jpg&hash=7f1e058ca5f693807e5ee2eca01b37e61380ded6)
Objavljeno u Amazing Heroes #76, što je bio - za one koje ne znaju - časopis za vesti i najave, namenjen pre svega kupcima, i taj broj je sa početka 1985. Podsetilo me koliku je prednost imao Marvel u to vreme.
Quote from: Meho Krljic on 25-07-2018, 21:36:03
superherojski stripovi praktično sapunske opere samo sa malo atraktivnijim kostimima.
Kažete to kao da mislite da je u pitanju nešto dobro. :lol:
Sve sto traje decenijama na kraju mora da postane sapunica.
The Return of Marvel's Five Top Villains Could Rock the MCU (https://www.forbes.com/sites/robsalkowitz/2018/07/30/the-return-of-marvels-five-top-villains-could-rock-the-mcu/#7a377b13a285)
Ovakav članak (o negativcima iz fiktivnog univerzuma iz stripa) je bilo gotovo nemoguće zamisliti u Forbes-u pre desetak godina, što pokazuje koliko je Marvel postao sastavni deo svačije popularne kulture.
Ali, podsetio me na neka moja razmišljanja od pre više meseci.
Mislim da je Marvel sa Thanosom pucao sam sebi u nogu. Možda zvuči čudno sa obzirom koliko su milijardi dolara zaradili na njemu, ali stvar je u dugoročnoj strategiji, ne u "zgrabi koliko možeš, dok možeš". Marvel ne može da ponudi ništa što je veća pretnja njegovim herojima. Članak naivno pominje Galaktusa u takvoj ulozi, ali to nećemo prihvatiti ozbiljno. Prvobitni Beyonder - da, sigurno, njega ne obavezuju zakoni univerzuma - ali on je više puta naknadno "prilagođavan" zahtevima velikih dešavanja, neki put jako...glupo (da ne upotrebim težu reč za mutantskog Inhumana). Svejedno, kod Beyondera se uglavnom nije radilo o borbi protiv njega, već o njemu kao katalizatoru za borbu između nama poznatih likova.
Elem, to me dovodi do sledećeg: moja prvobitna misao je bila, uzimajući u obzir da nam treba lik koji je čvrsto fokusiran na cilj (isto kao i Osvetnici, ako ne i više), dovoljno moćan da bude pretnja već uvedenim junacima, i relativno razumljiv - ako već ne dopadljiv - u svojim namerama, da takav lik već postoji. Njegovo ime je Kang Osvajač. Budimo realni: Tanosov prilagođen razlog je dovoljno nasumičan da nisu morali da ga obrazlažu uopšte - bolje da je ostao Zaista Ludi Titan, kakav je bio u stripu, bez pokušaja da se njegova želja za razaranjem svede na debilnu kontrolu populacije (koja mora da se vrši konstantno, dok nasumično uklanjanje polovine živih bića u jednom trenutku ne znači ama baš ništaTM, na širem kosmičkom planu). Kangov cilj je daleko razumljiviji i daleko plemenitiji.
Ali, onda mi je neko bacio lavor hladne vode u lice (ili bar verbalni ekvivalent tome) ukazujući da prava za Kanga drži Fox, a ne Marvel/Dizni. Moje iznenađenje je bilo...beskrajno. Ah, puny human companies!!! Ako postoji neko od negativaca ko pripada stripu Osvetnici, a ne nekom drugom, onda je to, uz Ultrona*, Kang, kakvo god bilo njegovo genealoško stablo, ionako naknadno smišljeno.
Tako da me ovaj Forbesov članak podsetio na neka razmišljanja i nedostatak logike u (američkom?) pravnom sistemu.
*stripovski Ultron, a ne "Diznijev robot" iz drugog filma o Osvetnicima
Stani, ali članak se eksplicitno bavi time da se sa Diznijevom akvizicijom Foksa ovi negativci sada mogu koristiti u aktuelnom Marvelovom kinematskom univerzumu i pominje Kanga i Englehartov rad na Avendžersima kao dobru polaznu osnovu, tako da, nema lavora hladne vode, sve je to sada, teoretski, dostupno.
Ma, znam, to je jasno, nego moje čuđenje je bilo po pitanju toga zašto Kang nije iskorišćen PRE Tanosa, kada se nameće kao logičan izbor, i iznenadila me je činjenica da je bio vezan za FF (i time za Fox). To saznanje je bilo "lavor hladne vode". Zvanično objašnjenje je bilo da se Rama-Tut pojavio u FF pre nego Kang u Osvetnicima, a, kao što čitaoci Marvela znaju, Kang = Rama-Tut, ali taj razlog mi još uvek ne štima najbolje. Suviše je formalistički.
Pre desetak dana sam čitao neki članak o tome šta ne valja u Toru: Ragnarok, pa, pošto si rekao da si imao raspravu sa nekim povodom toga (ili nisi stigao da imaš poštenu raspravu), prvo htedoh da stavim ovde, a onda me je nešto odvuklo dalje, pa sam zaboravio. Sad ne mogu da nađem članak da me ubiješ. Iako ih na netu ima gomila sličnih, ovde su bila postavljena neka pitanja koja imaju smisla, stvarnog ili prividnog, pa ću ih ponoviti nekoliko po sećanju.
1. Tor je bog munje i groma, a na Sakaaru uspevaju da ga ukrote pomoću elektrošokova?
2. Helina moć je vezana za Asgard, u kom slučaju je Asgard mesto, ali Torova nije (ili je vezana za Asgard kao narod :lol: )?
3. Zašto Valkira ima upravljač za Torov "disk poslušnosti" u trenutku kada ulazi u Hulkov apartman? Zar nije opasno i neogovorno da bilo ko ko nije Grandmaster može da onesvesti Tora po volji, čak i za vreme borbe?
Bilo je još pitanja, ali sam ih zaboravio.
Odgovor na prvo je lak, iako to nije najjasnije prikazano u filmu. Ako ćemo da sudimo po stripu Planet Hulk, disk poslušnosti se zasniva na neurotoksinu, ne na elektricitetu.
Odgovor na treće je lako smisliti, iako verovatno nije bilo tako planirano - recimo, upravljač se nalazi negde van Hulkovog apartmana, i Valkira ga je uzela neposredno pre ulaska, kao meru predostrožnosti.
Odgovor na drugo...hm, ne znam. xrotaeye Nije nešto što može mnogo (ako uopšte) da umanji moje uživanje u ovom filmu, koji se ionako ne zasniva na pažljivo i suptilno sklopljenoj radnji.
Evo šta je Kurt Busiek napisao na Tviteru o filmu pre više meseci, i to je stav koji i ja delim:
Quote
So THOR RAGNAROK was a blast and a hoot and all those things. Visually spectacular, exciting, satisfying. It wasn't very mythic, even though it's core concepts were rooted in myth. But Marvel Studios seems determined to lean away from the myth stuff with movie Thor, even though the best comics runs lean into the myths. So it comes across as a really great adaptation of a second-tier Thor run rather than something that truly captures the character and his world. But it's very good at what it's trying to do, so it seems inappropriate to ding it for something it's not trying to do.
Pa... Thor Ragnarok svakako i jeste redefinisanje toga kako gledamo Asgard i bogove koji u njemu stoluju. Ni prethodna dva Thor filma nisu preterivala sa mitološkim, drugi je pogotovo više išao na to da bude Star Wars u nordijskom kosplej, tako da je Waititijev film samo pojačao tu ideju da "bogovi" nisu stvarno bogovi već, eto, nekakva svemirska bića koja veruju u svoje mitove, ali što te mitove ne čini stvarnom istinom itd. U Ragnaroku se vidi da ima mnogo toga izvan Asgarda što je veće od Asgarda i ta transformacija metafore iz "Asgad je mesto" u "Asgard su ljudi" zapravo funkcioniše u smislu poražavanja Hele jer je ona i postavljena kao neko ko se drži "starih" shvatanja i ima tu neku tradicionalističku ambiciju da obnovi stare slave, običaje, prakse itd. dok je čak i Odin shvatio da društvo mora da evoluira ako bi da opstaje.
E, sad, ove neke druge stvari su svakako klasični plot holovi - to kako Tor i ekipa dižu ustanak gladijatora je praktično besmisleno, ispada da obezbeđenje najopasnije grupe ljudi na planeti iz nekog razloga zavisi samo od hirova jedne alkoholičarke koja čak i nije građanin te planete itd.
Evo da ne bude da samo japanska ženska deca kidaju bubnjeve:
https://youtu.be/42NkcbsVykc (https://youtu.be/42NkcbsVykc)
Мехо, честитам ти на јубиларној стотој страници и желим ти да их испишеш још 10х толико!
:|
Hvala, Trumane, svi ćemo mi ispisati bar još nekoliko stotina strana, makar i pre sedamdesete godine života!
Драго ми је што и ти пратиш моју тему. ;)
Мехо, само да ти кажем да сам те јутрос сањао. Као треба да ти дођем на славу, али касним. Онда коначно дођем са закашњењем и донесем ти поклон ( пиће и чоколада ) које ти са задовољством узмеш. То је само део једног дужег сна, ал да не давим...
Jasno je šta se dalje u tom dužem snu događalo :lol: :lol: :lol: Ali ne zameram, bila je noć, bili smo pijani!!!!!!!!!
Ма није се ништа дешавало, прекинуо се сан!
Takoreći somnium interruptus!!!
Ма не Мехо, ниси ми прекинуо сан. ја капирам да је поента сна да ти и ја имамо дубљу духовну везу. Ето, то је то.
To je očigledno i iz naših vickastih razmena na forumu :lol:
Да, и потврђено је кроз несвесно а несвесно зна боље и више од свесног.
Eh, gde je bilo to nesvesno kada je trebalo da polažem ispite na fakultetu. Sve je znalo AL ĆUTALO!!!! MA NEK JEDE GOVNA!!!
Мехо, несвесно не служи томе...Успут, ако питање није одвећ индискретно, памтиш ли своје снове?
Pa, kao i svi, samo neke. Pre neko veče sam sanjao zombi apokalipsu u kojoj smo poginuli svi: moja žena, naša najstarija mačka i naposletku ja. Naravno, sve je bilo loše režirano i posle sam na samog sebe bio besan što nisam napravio neku bolju zombi apokalipsu. Moje nesvesno se baš nije potrudilo.
Видиш, снове не треба да схваташ олако. Они имају дубље значење...међутим, мора доста да се истражује да би се само загребало по површини.
Čega li su zombiji bili simbol??!?!?!?!?
Може бити везано за негативне утицаје из окружења. Постоји једна група на фејсбуку где један Американац тумачи снове на врло духован начин, баш иде дубоко. Можда би ти он могао помоћи.
Znaš kako se kaže, meni samo bog može da pomogne :lol:
Al kad bi i bog tražio da prvo otvorim fejsbuk nalog da bi mi pomogao, ja bih i njemu reko da jede govna i da ću se već nekako snaći i bez njega.
Поштујем твоје право на избор. Само ме копка какву ауру имаш...
Sad sam se gledao u ogledalu - nemam nikakvu!!!!!!
Свако живо биће има ауру, укључујући и биљке.
Имао сам јутрос један занимљив сан који ни сам иако искусан тумач не могу да расветлим. Не очекујем да пружиш тумачење, али надам се да ћеш се барем насмејати. Наиме сањао сам премијерку Брнабић како пред странцима држи рокенрол концерт. Залетела се на бини, направи салдо и дохватила микрофона певајући неку глупу рокенрол песмицу ( на јави сам заборавио текст ). Испред је био велики екран.
Pa ona i izgleda malo kao rokerka/ pankerka, ima to smisla :lol:
Иначе, дан пре тога сам размишљао о њој...каква је особа. С једне стране ми делује опуштено и непосредно у комуникацији, а са друге неморално и љигаво чим ју је Вучко довео. Е сад, шта би несвесно могло да ми поручује? Можда да она својим глупим рок-панк песмицама заправо замајава/ забавља људе, у овом случају странце, видим да баш ових дана путује доста..
Мехо, одгледао сам вчр Казино Ројал по једно 8. пут! Никад ми није доста покера у Казину и Еве Грин!
Oh! Upravo je najavljeno da od Januara kreće novi Friendly Neighborhood Spider-man magazin u kome će Spajdija pisati - Tom Taylor. IMA PRAVDE!!!
https://www.marvel.com/articles/comics/a-new-peter-parker-tale-is-coming-in-friendly-neighborhood-spider-man?linkId=57798736 (https://www.marvel.com/articles/comics/a-new-peter-parker-tale-is-coming-in-friendly-neighborhood-spider-man?linkId=57798736)
(https://i.imgur.com/N8FCFWP.jpg)
ako ni zbog čega drugog, a ono zbog ovog razmislim da ipak nekad posetim šefild :lol:
https://www.eurogamer.net/articles/2018-10-15-uks-first-permanent-video-game-museum-opens-in-november
Мехо, јеси ли ти дао интервју Монду о суперхеројима ( Супермену ) или је то неки други...?
Nisam dao intervju, autor je prepričao jučerašnju tribinu sa Beokona.
Ааа...како год, лепо што те узимају као ауторитета за стрипове и поп-културу. Ако је то неко у Србији то је Мехо!
Eh, lako je biti autoritet u oblasti koja nikog ne zanima...
Шалиш се? Занима мене!
Eto, sad će Meho imati pune ruke posla! :lol: ;)
Elem, u uslovima kakvi su naši, on ne može da pokaže ni 10% znanja koje ima na ovakvim konvencijama ili u ovakvim prikazima po medijima. Zašto mene takve stvari ne interesuju? Pa, zato što, kada bi me interesovale, svaki put bih bio strašno razočaran. Konstantno se ostaje na bazičnom nivou. Ove godine, uvod u Supermena. Naredne, uvod u Betmena. One posle, uvod u Ligu pravde. Posle toga, moguće da nas opet čeka Supermen, ali opet samo uvod. Kao da se publika za takve stvari nimalo ne razvija i ne širi vidokrug ili razmeru interesovanja. Svako može da ode na bilo koji sajt sa programom neke konvencije u SAD, pa da vidi kakve tribine i predavanja ove sadrže. Recimo, sa poslednjeg baltimorskog festivala stripa (http://baltimorecomiccon.com/about/programming/), gde imamo po sat vremena priče o pojedinim naslovima (Louise Simonson i June Brigman o Power Pack-u ili Pinijevi o Elfquest-u) ili žanrovima (kao što je noar) ili autorima (Jim Steranko i Arthur Adams), i još svašta nešto između. Naravno, nerealno je očekivati da se mi merimo sa njima, ne samo zbog jezika ili pristupačnosti autora, ali, može se makar nekoliko puta godišnje napraviti prezentacija s sličnim nivoom kvalitetnog sadržaja, a, s druge strane, mi imamo možda i veći uvid u svet evropskog stripa (da ne pričamo posebno o italijanskom :lol: ). Naravno, pričamo samo teoretski, dok bi praktična isplatljivost takvih poduhvata (za organizatore) bila diskutabilna. Što nas vraća na početak.
Pa, to, isplativost je takoreći nepostojeća. Na ovoj tribini je bilo svega desetak ljudi u publici, a ipak je sa ove strane stola sedeo jedan Igor Stanojević, i jedan Lurd, dakle ljudi sa imenima i reputacijama. Nisam siguran da bi neka malo egzotičnija tema skupila i tih deset ljudi.
Odlična obrada Vio-lencea od strane ovih momaka iz Džrzija:
https://youtu.be/VIAi6SVjiMU (https://youtu.be/VIAi6SVjiMU)
Edit: Naravno, ovo je trebalo na topik o metalu, al neka, dobro je i ovde.
How Stan Lee, Creator of Black Panther, Taught a Generation of Black Nerds About Race, Art and Activism (https://www.theroot.com/how-stan-lee-creator-of-black-panther-taught-a-genera-1830406797)
Današnja svetkovina metala i satanizma odložena je zbog... er.. slave? :oops: :oops: :oops: :oops:
https://youtu.be/MsivdCbiymw (https://youtu.be/MsivdCbiymw)
Da li je ovo prvi put da na ovom topiku postavljamo link za Elle? verovatno. Enivej, intervju sa sjajnom i zaslužnom Sanom Amanat:
http://elle.in/culture/sana-amanat-marvel-first-muslim-superhero/
Jes!
A Spider-Gwen Film Is Leading the Charge for Sony's Animated Spider-Verse Plans (https://io9.gizmodo.com/a-spider-gwen-film-is-leading-the-charge-for-sonys-anim-1830689853)
(https://scontent.ftzl1-1.fna.fbcdn.net/v/t1.0-9/48364845_2545272728846575_218197704575025152_n.jpg?_nc_cat=1&_nc_ht=scontent.ftzl1-1.fna&oh=19cc41a33a5886f5782bad28cd8574b8&oe=5C981812)
Mehmete, sećaš se kad si slušajući Šona Maktirnana isprva pomislio da je karipskoga porekla?
E pa, poslušaj ovog gospodina levo na snimku:
https://www.youtube.com/watch?v=Q5cz6MtwnCM (https://www.youtube.com/watch?v=Q5cz6MtwnCM)
:lol:
Da ne mogu da ga vidim bio bih na ozbiljnim mukama da nagađam sa kog je kontinenta. :shock:
majčinski osećaji su najgore ograničenje nekad slobodnog ljudskog bića, al nadam se da će dete da se obraduje. :lol:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F289asnp.jpg&hash=a363e07a81bb963162c418a523379e7d7092b4c6)
Neka, neka, baš je lepo. Meni je majka kad sam imao nekih 10-11 godina donela malo model Lunohoda na daljunsko upravljanje sa službenog puta u Poljsku i mene je to toliko radovalo da ne mogu da opišem. Ovo će sigurno biti voljen poklon.
Nešto za Meha
https://www.blic.rs/zabava/bila-je-zvezda-rts-a-a-onda-nestala-sa-tv-ekrana-porodila-se-u-kadi-i-imala-problem-a/jbvs6vx
Divna žena ali naše seksističko društvo će uvek u prvi plan isticati da je žena "lepa" a ne da je obrazovana, kreativna ili, šta ja znam, vegetarijanka. I kako da ne poželimo da kometa zbriše ovu planetu...
ovo cu ti meho tesko oprostiti. :roll:
procitam lijepa, seksizam, reko, sad moram na link, kad tamo... ljudi, zaboga. :cry:
Nisam ja kriv što me privukla njena elokventnost, blaga priroda, otmenost u kombinaciji sa prirodnošću i dobrim vaspitanjem, kao i visokim obrazovanjem.
i to je vrlo upitno s obzirom da je u sustavu koji porodilji nudi max. mogucu podrsku i sigurnost u za to specijaliziranoj ustanovi izlozila i dijete i sebe nepotrebnom riziku porodjaja doma u kadi (?) po feng shui, cemu vec, bez adekvatne mogucnosti reakcije pri komplikaciji. cita se kao level ispod seljacke osmoljetke.
Dobro, to je prilično egzotična bizarnost. Ali dobro, ja sam spreman da tolerišem ljudima ekscentričnosti ako su u celini okej osobe. Da nije tako, teško da bih izdržao Sagitu ovolike decenije :lol:
Мехи је унутрашња лепота најбитнија. Зато га ти зоско не разумеш.
znaci do tebe je. pa bilo bi lijepo kad bi poradio na tim svojim vidicima i podigao sveopce sagitasko razumijevanje ili konkretno slucajno.
teta lilit ponosna! :lol:
najnovije vreme:
https://www.vreme.com/cms/view.php?id=1692437 (https://www.vreme.com/cms/view.php?id=1692437)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi63.tinypic.com%2F2n9f7q.jpg&hash=f80389cc44362ee775765897533cead3a205cf08)
Lepo. DušMan sve više izgleda kao filmski Brus Bener :lol:
Znate one zanimacije u kojima biramo idealnu, ali imaginarnu glumačku postavu za neki film ili TV seriju? E pa, evo jedne.
Ideja nije moja. Setio sam se ovoga kada su javili da Tom King učestvuje u pisanju scenarija za Nove bogove (The New Gods), koji su originalno bili strip Džeka Kirbija, koga nazivaju Kraljem. To kažem jer jedan deo publike koji zalazi ovde možda ne čita stripove, pa čisto da znaju o čemu pričamo.
Ovu postavu (i čitavu produkciju filma) je zamislio John Kane, veliki poznavalac i stripova i filmova, kao vrstu božićne šale za podizanje duha, i u celini se može čitati ovde (https://www.comixexperience.com/savagecritics/uncategorized/have-a-good-one-everyone). Ja ću samo preneti glavne podatke i glumačke podele.
JACK KIRBY'S THE NEW GODS (Amicus Productions (UK/USA),1975); Directed by Kevin Connor; Screenplay by Harold Pinter; Based on the DC Comics creations of Jack Kirby
Cast:
Richard Burton (Darkseid)
Robert Shaw (Orion)
Michael York (Light Ray)
Doug McClure (Scott Free)
Raquel Welch (Big Barda)
Robert Mitchum (Superman)
Caroline Munro (Beautiful Dreamer)
Malcolm McDowell (Glorious Godfrey)
Peter Cushing (DeSaad)
Christopher Lee (Metron)
Rod Steiger (Terrible Turpin)
Billy Dee Williams (Shilo Norman)
Woody Strode (The Black Racer)
Peter Cook (Funky Flashman)
Dudley Moore (House Roy)
Peter Ustinov (High Father)
Jim Dale (Jimmy Olsen)
S obzirom da je film navodno iz 1975, današnja omladina bi se verovatno pitala ko su, dođavola, ova glumačka imena! S druge strane, lokalni poznavaoci filma će se verovatno pitati ko su, dođavola, ovi likovi, i zašto je to bitno. Zato se ovo i našlo na ovoj temi, gde se te dve stvari ukrštaju! Jer mi znamo! I neka je Bog u pomoći grešnicima koji ne... ne, ne, izvinjavam se - kako se to našlo ovde? - to je neki drugi tok misli. Ili, preciznije, tok misli nekog drugog. ;)
Robert Šo kao Orion je genijalna ideja, ali možda ne toliko za 1975. Da je to Šo iz '65, ohoho! Dokaz je ovde (https://www.imdb.com/name/nm0001727/mediaviewer/rm1953722368). Hoću da kažem, u '75. je on bio previše mator. Makdauel kao Godfri! Genijalno. Kušing kao DeSaad? Zlokobno. Munro kao Beautiful Dreamer? Seksi. Kristofer Li kao Metron? Ovo mi je pomalo neočekivano, i priznajem da ga (tj. Metrona) nisam zamišljao na taj način, ali zašto da ne? (Metron je neka vrsta novog boga znanja, nauke, i tehnologije, vrlo je hladnokrvan, i... nema bradu! Ali ima guste obrve!) Mičam kao Supermen? Hm, nisam siguran. Iako je zapravo i Supermen bio crna ovca u ovom okruženju.
U svakom slučaju, ovo će ostati u domenu fantazije, i nadam se samo (i verovatno uzaludno) da neću zauvek da se opredelim za fantaziju, bežeći od realnosti filma koji ćemo dobiti i praveći se da se ovaj nikad nije desio.
Ovo bi zapravo bilo za temu "Linkine, reaguj!", ali nju nemamo... ili se dobro krije. Članak iz The New Republic, by Jon Greenaway, kulturni i književni kritičar:
Fans Are Ruining Game of Thrones - And Everything Else (https://newrepublic.com/article/153961/fans-ruining-game-thronesand-everything-else?fbclid=IwAR3MwhGBBpu2nuHv61G_R-o4sLeHBLd76yAYz5GXM8OAXz7tMMYvAlUxYLE)
Fanovi, uozbiljite se! Postali ste mnogo naporni! Do te mere da me je gotovo sramota da se nazovem fanom nečega. ;) :twisted:
Videh kako je Dark Phoenix bedno prošao na blagajnama. Ovaj feniks je mrtav. No resurrection. Box Office Mojo beleži (https://www.boxofficemojo.com/movies/?page=daily&id=foxmarvel18b.htm) nešto manje od 33 miliona $ na američkom tržištu preko vikenda, što je jadno za blokbastere te klase - ili, da kažemo žanra. S jedne strane, to je šteta, jer originalna priča je jedna od najkultnijih (i verovatno najboljih) ikada izašlih iz Marvelove radionice. S druge strane, ja sam digao ruke posle trejlera - iako obično ne gledam trejlere, činilo mi se da ovaj ne nosi rizike spojlera. I bio sam u pravu - u ovom nisam video (skoro) ništa što već nisam znao, i zaista imam utisak da nisam ni imao kratak pogled u neku novu priču ili bar novo izvođenje poznate priče.
Well, znali smo da Marvel opet (soft)ributuje X-Men, znali smo da se Hikman vraća da bude arhitekta ove promene, a sad znamo i koji će to sve serijali biti i ko ih radi:
https://www.polygon.com/2019/7/20/20702170/house-of-x-men-marvel-comics-excalibur-marauders-new-mutants-fallen-angels-x-force-sdcc-2019 (https://www.polygon.com/2019/7/20/20702170/house-of-x-men-marvel-comics-excalibur-marauders-new-mutants-fallen-angels-x-force-sdcc-2019)
Moram da kažem, ovaj Fallen Angels mi je, zbog kreativnog tima vrlo primamljiv, a i Percy i Cassara na X-Force obećava. I to da je Marcus To na Excaliburu je vrlo primamljivo ali problem sa hajpom oko crtača na najavljenim novim serijalima je svakako u tome što po pravilu oni zapale posle četvrte-pete epizode...
Quote from: ridiculus on 11-06-2019, 12:40:29
Ovo bi zapravo bilo za temu "Linkine, reaguj!", ali nju nemamo... ili se dobro krije. Članak iz The New Republic, by Jon Greenaway, kulturni i književni kritičar:
Fans Are Ruining Game of Thrones - And Everything Else (https://newrepublic.com/article/153961/fans-ruining-game-thronesand-everything-else?fbclid=IwAR3MwhGBBpu2nuHv61G_R-o4sLeHBLd76yAYz5GXM8OAXz7tMMYvAlUxYLE)
Fanovi, uozbiljite se! Postali ste mnogo naporni! Do te mere da me je gotovo sramota da se nazovem fanom nečega. ;) :twisted:
Pa naravno da su fanovi za sve krivi. Ko žena u lošem braku. ;)
Meni su ipak najzabrinjavajuće Martinove reakcije. To je čovek koji je svojevremeno kritički pljuvao kraj Losta, Galaktike i svake druge serije koja je otišla vragu, a sad gotovo da brani ovo... da ne kažem šta...
Ispada da je samo strateški pljuvao konkurenciju da bi skretao pažnju tuđih fandoma na sebe i svoje uratke. :lol:
Bree Olson on Leaving Porn and Surviving Hollywood Predators (https://www.thedailybeast.com/bree-olson-on-leaving-porn-and-surviving-hollywood-predators?source=articles&via=rss)
Ima li kakva uloga za nju u nekom našem budućem projektu? Vidite kakve probleme ima..
Uuuuffff... nadajmo se da Džindžer ima u sebi snage da ovo pregura... Rano je... Prerano.
Cream's Ginger Baker is 'Critically Ill in Hospital' (https://www.rollingstone.com/music/music-news/cream-ginger-baker-critically-ill-in-hospital-890731/)
"Why is Spider-Man so good at comebacks?"
Because with great power comes great response ability.
A, igre reči, moja jedina slabost!!!!!! :|
Ketrin Trendakosta:
The Decade Fandom Went Corporate (https://io9.gizmodo.com/the-decade-fandom-went-corporate-1840531064)
https://www.youtube.com/watch?v=Wd-mpAkkqA8&feature=emb_title
Šon se sa podcasta prešaltao na YT!
I to o knjigama. Dosta je dugo ovo najavljivao na tviteru i sam se sebi podsmevao što je izabrao najmanje "televizičnu" temu. Ali hajde, nek mu je sa srećom.
Opet sam se setio tebe i onoga kad si mislio da je Sean McTiernan nekakav Jamajčanin s njegovim umerenim irskim naglaskom. Šta bi tek mislio za ovog gospodina od šezdesetak godina iz Tajrona (Severna Irska):
https://chirb.it/6KkJAy
Pa, meni ovo više vuče na "irski" ili makar "keltski" naglasak kako ga ja shvatam. Za ovog ne bih pomislio da je sa nekih od kolonizovanih otoka.
Eto, a meni obratno.
Dobro, ti si školovan a ja totalni laik koji nema čak ni vokabular da objasni šta mu ovde zvuči "keltski", tako da, više verujemo tebi :lol:
(https://uploads.tapatalk-cdn.com/20200516/8599856d864bc476d55d2852193ba2d6.jpg)
https://www.tmz.com/2020/11/17/playboy-wants-shoot-dolly-parton-january-magazine-75-birthday/
obožavam je :)
Ona i Vera Vang dokazuju da su sedamdesete nove pedesete!
Ja sam, kao poklon čitaocima svog bloga koji su tokom 2020. godine baš u solidnoj količini bili zainteresovani za muziku o kojoj sam pisao pa je i dosta bendova izrazilo zahvalnost za promovisanje, napravio jedna miks, sastavljen isključivo od muzika izašle u 2020. godini i isključivo sa albuma koji su mi se dopali toliko da sam ih kupio. Na blogu ima detaljnije (https://cvecezla.wordpress.com/2020/12/31/poklon-za-novu-godinu-za-citaoce-mehmets-psychedelic-stoner-doom-new-years-eve-mix-2020/) obrazloženje kakva je muzika sve u pitanju i šta i kako, a ako vas sve to mrzi da čitate, a boli vas kuras i za spisak pesama, evo i ovde direktan link za skidanje i link za JuTjub verziju da slušate dok radite nešto drugo tokom novogodišnjih blagdana:
https://mega.nz/file/19RTzYQD#H4e4eLBtA79oXGpSPqsP1PK-tfBA2XVB06peVPe6EXg (https://mega.nz/file/19RTzYQD#H4e4eLBtA79oXGpSPqsP1PK-tfBA2XVB06peVPe6EXg)
https://youtu.be/ydYnTpiBCDU (https://youtu.be/ydYnTpiBCDU)
Pogledao sam Moolaadé, senegalski (ali ne samo senegalski) film iz 2004. godine, i jedan od najpoznatijih, a verovatno najvažnijih filmova snimljenih u Africi u ranim godinama ovog stoleća.
U poslednjoj deceniji afrički film je doživeo svojevrsnu renesansu, u dobroj meri zahvaljujući prodoru digitalne tehnologije i softvera u dubinu crnog kontinenta a koji su omogućili malim produkcijama i potpuno nezavisnim, partizanskim, grassroots inicijativama da procvetaju, unoseći mnogo novih ideja i svežih pristupa u ,,industriju". Naravno, ovaj fenomen nikako ne treba da zamagli činjenicu da je filmska produkcija u Africi, kao i svugde drugde, pojava sa jakim korenima – na kraju krajeva, ima skoro deset godina otkada su se ljudi svađali oko toga je li proslava dvadesetogodišnjice Nollywooda potpuna glupost, s obzirom da su se filmovi u Nigeriji i drugim okolnim državama snimali decenijama unazad.
(https://i.imgur.com/THNCgyQ.png)
Naša percepcija afričkog filma je, naravno, uvek ofarbana i našim predrasudama i prekoncepcijama o tome kako Afrika izgleda, na kom je stepenu tehnološkog a na kom stepenu sociološkog razvoja, i tu ima i mnogo kolonijalnih stereotipa kojih ne moramo biti ni svesni. No, ako gledamo samo senegalsku kinematografiju, vredi istaći da su prve bioskopske projekcije u ovoj državi održane još 1902. godine, a da se počeci industrije vezuju za 1963. godinu i prve radove autora po imenu Ousmane Sembène. Sembène je ne samo ključna figura senegalskog filma već i generalno smatran za pionira moderne kinematografije čitavog podsaharskog regiona. Naravno, i pre njegovog prvog filma, Borom Sarret, snimani su filmovi u Senegalu i regionu ali nije postojala komercijalna distribucija.
Ousmane Sembène je i ona najdragocenija forma javnog intelektualca koja ne samo da u svom umetničkom radu ima izraženo časno angažovanu dimenziju, već ona i ne dolazi iz pozicije zabrinutog pripadnika elite koji nastoji da razume i interpretira probleme sirotinje raje, već, naprotiv, od čoveka koji je došao direktno ,,iz baze", premetnuo preko glave suočavanje sa francuskim kolonizatorom, nisku proleterskih poslova, ratovanje na strani Francuske u Drugo svetskom ratu pa povratak u Senegal i rad na železnici gde je učestvovao u dugačkom štrajku 1947. godine u kome su se lokalni afrički radnici zainatili da ne uzmu čekić u ruke dok ne dobiju ista prava kao i Francuzi. Na ovom će iskustvu Sembène bazirati i radnju svog trećeg, najpoznatijeg romana, Les bouts de bois de Dieu, iz 1960. godine, a nakon štrajka je prešao u Francusku, radio u Sitroenovoj fabrici, pa na marseljskim na dokovima, bio aktivan u sindikatu, pa, nakon stupanja u Komunističku partiju Francuske i bio jedan od vođa štrajka koji je imao za cilj osujećivanje francuskog slanja oružja u današnji Vijetnam a tokom Prvog indokineskog rata.
(https://i.imgur.com/MjyTJT2.png)
Sa ovakvom ranom biografijom, Sembène je lako napravio krosover u kreativne vode i njegova literarna karijera sa kraja pedesetih i iz ranih šezdesetih bazirana je na njegovim iskustvima sa tretmanom radnika i sindikalaca, ali i rasizmom i ksenofobijom, uspostavljajući ga kao figuru od značaja u postkolonijalnom periodu afričke književnosti, sa daljim pisanim radovima što su se protegli do početka osamdesetih. No, Sembène je bio progresivac u svakom smislu pa je brzo shvatio i moć filma, medijuma koji je bio prijemčiv i, jelte, nepismenima. 1962. i 1963. godine je u Moskvi, u Filmskom studiju Gorki (Киностудия имени Горького) učio režiju da bi se zatim vratio u Senegal i snimio pomenuti Barom Sarret. Prvi, dakle, senegalski film u postkolonijalnom periodu (i, smatra se, prvi film čiji je autor bio crni čovek izAfrike), a koji je imao široku distribuciju, bio je osamnaestominutni socrealistički rad o dakarskom šljakeru koji jedva spaja kraj sa krajem, u demonstraciji da kraj kolonijalizma nije doneo društvenu utopiju i rešenje za velike klasne razlike i ekstremno siromaštvo.
Sembène je imao plodnu i dugu filmsku karijeru, i međunarodno uvažavanje (sa sve članstvom u žirijima na prestižnim evropskim festivalima) a njegov poslednji film, Moolaadé, snimljen tri godine pre smrti je fascinantan rad veterana koji se ni u devetoj deceniji života nije umorio od govora o društvenim nepravdama, a čiji je u tom trenutku jako izgrađeni, suptilni rukopis poslužio da se priča o jednom od najproblematičnijih elemenata podsaharske kulture i tradicije.
(https://i.imgur.com/deDLRLr.png)
Već krajem prošlog veka je u tom nekom levičarskom diskursu bilo dosta glasova koji su ukazivali da originalni prioriteti levice često nisu prepoznavali specifične izazove, probleme i pitanja vezana za populacije koje nisu spadale u prototip ,,radnika", dakle, mladog muškarca na tržištu rada, suočenog sa dehumanizacijom i otuđenjem. Danas se mnogi žale da imamo drugi ekstrem, sa velikim delom te neke progresivističke priče usredsređenim na identitet (rod, rasu itd.) uz ignorisanje klasnih protivrečnosti i značaja rada u kreiranju vrednosti. No, propisni levičari, koji su uradili domaće zadatke, shvataju da je sve to deo jednog prirodnog kontinuuma u čijem je temelju potraga za pravdom u društvu i otud je Moolaadé film koji uspešno spaja pitanja koja bismo tradicionalno smatrali ,,kulturološkim" i, er, ,,rodnim", sa jasnim prikazom društvene separacije na staleže u čijem je korenu moć, vezana za, jelte, rad i njegovu percepciju.
Moolaadé se bavi fenomenom ,,ženskog obrezivanja", nečim čega smo svesni uglavnom na ime rada raznih organizacija koje se bave ženskim pravima. ,,Sakaćenje genitalija" (tj. FGM – female genital mutilation), kako je ovaj fenomen danas raširenije nazivan je, pa, bukvalno to, deo tradicije koja još uvek opstaje u ruralnim krajevima podsaharskih regiona (ali i u Egiptu...) i tiče se uklanjanja delova ženskih genitalija koje predstavlja svojevrsni obred prelaska devojčice u ženu a kao razlozi za ovu praksu navode se i higijena i povećanje seksualnog užitka muškarca, ali i dalja ,,feminizacija" žene putem uklanjanja spoljnih manifestacija seksualnosti, koji je po nekim verovanjima čine više nalik muškarcu s obzirom da se u ovim delovima sveta materica i dalje smatra ,,esencijalnim" simbolom ženskog. Razume se, postoji i teza da se ovo radi kako bi se umanjilo seksualno zadovoljstvo žene eda bi ona, po stupanju u brak bila posvećenija porodici i vernija mužu, no koju god da od teza uzmemo kao ,,tačnu", problem sa ovom praksom je u tome što se izvodi uglavnom na nehigijenske načine, priručnim sredstvima, bez anestezije u jednom vrlo brutalnom primeru očuvanja starinske tradicije koja našim današnjim očima teško da može da izgleda kao išta drugo do varvarstvo.
(https://i.imgur.com/hkYBKh3.png)
Na zapadu postoji – pogotovo poslednjih godina u reakciji na uspon ,,woke" ideologija – diskurs kako je pravljenje pitanja od FGM samo puko mešanje zapadnjaka u kulturu koju ne razumeju i rešavanje ,,problema" koji se tamo ne doživljava kao problem, da je u pitanju deo kulturne tradicije i da su pokušaji da se ova praksa okonča naprosto kulturni imperijalizam i nametanje zapadnjačke liberalne agende kulturama koje nemaju isto zaleđe. Naravno, ne treba da odmahnemo rukom i kažemo da tu ne postoji ni zrnce istine ali su upravo zbog takve dileme bitni filmovi kao što je Moolaadé, napravljeni in situ, od strane domaćih autora, sa tretmanom domaćeg pitanja i ukrštanjem pogleda koji dolaze iz same zajednice.
Moolaadé nije samo senegalski film jer FGM nije samo senegalska praksa. Ovo je koprodukcija između Senegala, Burkine Faso, Maroka i Tunisa, sa pomoći koja je stigla i od Francuske kao i od Evropske komisije i ne treba se praviti da ovde ne postoji taj ,,zapadnjački uticaj" – na kraju krajeva Sembène je deo svog života proveo u Evropi i svoje je ideolške pozicije u dobroj meri bazirao na zapadnjačkim liberalnijim, mada prevashodno komuntarističkim idejama. No, ovo je u dobroj meri i njegova poenta i Moolaadé je značajan između ostalog zato što razbija tu lažnu dilemu o ,,autentičnosti" nagona za socijalnom promenom i potrage za socijalnom pravdom, prikazujući da kombinacija autohtonog bunta protiv ,,prirodnih" protivrečnosti u zajednici i progresivističkih strujanja iz razvijenijih zajednica čini dobitnu kombinaciju. Utoliko, Sembène, kao stari, iskusni aktivista, svojim poslednjim filmom nudi ne samo veoma naturalističku dramu koja prikazuje zašto je problem zaista ,,problem", već i jedno umetnički uobličeno ali sasvim eksplicitno ,,tehnološko" rešenje za ovaj problem. U nama jasnijim terminima, Sembène sa ovim filmom potvrđuje svoj status afričkog Živka Nikolića, molimlepo, nemojte me etovati.
(https://i.imgur.com/VE2Bntt.png)
Moolaadé, kao i mnogi savremeni afrički filmovi, bazira svoj utisak autentičnosti na korišćenju naturalističkih, gotovo dokumentarističkih snimaka života u ruralnim oblastima i upotrebi ne-profesionalnih glumaca i naturščika. Glavna glumica u filmu, Fatoumata Coulibaly je bivša novinarka, a onda glumica i aktivistkinja koja već dugo zagovara ukidanje FGM praksi. Glumeći od polovine devedesetih, ova žena iz Malija je sa ovim filmom privukla dosta pažnje i dobila i nagradu na festivalu Cinemania u Manili, a njena uloga žene koja se suprotstavlja ,,tradiciji" ali i muškoj dominaciji u malom selu duboko u provinciji je fantastičan prototip grassroots aktivizma koji ne deluje prepisano iz zapadnjačkih priručnika već zbilja autohtono i prirodno.
Dramski zaplet Moolaadé postavljen je vrlo jasno: u malom selu u Burkini Faso priprema se obred ,,pročišćenja" za grupu mladih devojčica koje stasavaju u žene ali šest njih odbija da učestvuje u tome. Dve pobegnu iz sela, a četiri traže zaštitu od Collé, druge, srednje žene u tom trenutku odsutnog domaćina a koja je poznata po tome da pre sedam godina nije dopustila da se njena prva (i jedina) ćerka podvrgne istom ritualu. Collé je otud doživljavana kao pomalo problematičan lik i njen je muž za treću ženu uzeo jednu vrlo docilnu i mirnu devojku baš da ne bi imao još jednog troublemakera u kući, ali film vrlo lepo prikazuje i na koji je način muž fasciniran svojom drugom ženom i njenim jakim karakterom. ,,Moolaadé" iz naslova se odnosi na tradicionalnu praksu traženja ,,magične zaštite" na koju su se devojčice pozvale a Collé im je obezbedila, a koja znači da dok su u njenom domaćinstvu, niko ih bez njene dozvole ne sme ni pipnuti.
(https://i.imgur.com/OVqKnKq.png)
Film tenziju gradi izuzetno prirodno, prikazujući kako ono što isprva deluje kao puko komšijsko trvenje, prevrtanje očiju i ogovaranje, prerasta u ozbiljan društveni problem koji u maloj, lepoj zajednici na površinu iznosi jasno isprofilisane neravnoteže u moći i protivrečnosti. Sembène snima podsaharsku provinciju sa puno ljubavi i siromaštvo malog sela nije prikazano u nekakvom represivnom ključu. Ovo je mesto na kome se ne živi lako, ali se živi polako, u harmoniji koja nije bajkovita ali dopušta svakome da ima nekakvu svoju autonomiju i da u životu nađe zadovoljstvo. ,,Sporost", kao prevashodni kvalitet života u ovakvim delovima Afrike ovde se može osetiti i prepoznati ne kroz tromost naracije već, naprotiv, kroz prirodno ubačene tangente u kojima protagonisti prolaze kroz male dnevne rituale, ali upadaju i u spontane momente pevanja i plesa, sa fotografijom koja izvanredno hvata kontrast između prašine i živih boja narodnih nošnji, prevashodno na ženama. Muzički skor koji je kreirao malijski muzičar Boncana Maïga, stari vuk zapadnoafričkog fanka i afrobita, ali i filmske muzike, je najvećim delom baziran na tradicionalnim folklornim motivima i instrumentima, dajući inače sve mračnijoj priči jednu gorkoslatku ali ne i patetičnu atmosferu.
Sembèneov tekst je ovde veoma razložan i neusiljen, puštajući aktivističku agendu da prirodno izađe iz likova. Moolaadé je film čija je argumentacija izvanredno vođena i završava se poentama koje daleko nadrastaju samo pitanje održanja jedne tradicionalne prakse. On pokazuje žene u selu kao snažne i delatne iako nemaju mnogo moći – sem kada podupiru patrijarhalnu strukturu u kojoj se mlade devojke kupuju, a muževi do kraja života odlučuju u njihovo ime. Ovo je jedan veoma nijansiran prikaz života na secištu starih tradicija i osobene verzije islama preovlađujuće u ovom regionu* sa velikim poštovanjem za svoje likove. Sembène uspeva da pređe iz prikaza jedne ruralne utopije u kojoj žene pevaju i neužurbano nose korpe sa vodom na glavi, dok jarići i živina trčkaju po dvorištima i igraju se s decom, u osvetljenje konflikta koji je stvaran, uverljiv i jasno baziran na nejednakoj raspodeli moći, ali i uvezan sa širim, globalnim kontekstom.
*konteksta radi, dodajmo i da je FGM praksa i u zajednicama koje su identitetski hrišćanske
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Ovo je možda i najbitnija poenta filma i vrlo jasan odgovor onima koji smatraju da mešanje u živote ovih zajednica predstavlja kulturni imperijalizam – Sembène se maltene eksplicitno podsmeva ovim salonskim liberalima jer njegov film precizno i odmereno prikazuje da se ,,mešanje" desilo toliko davno da danas postoji ako ne moralna obaveza koja iz tog pra-mešanja proističe, a ono tehnološka nemogućnost da se današnje zajednice ,,pročiste" i vrate u pre-kolonijalnu nevinost. Čak i u selu koje se nalazi daleko od gradova i puteva, postoji sin (najuticajnijeg muškarca u kraju) koji živi i radi u Parizu i dolazi nazad u Afriku da se oženi. Čak i u ovom selu žene – nepismene i neškolovane – uveče sede i slušaju muziku na olupanim radio-kasetofonima iz osamdesetih, za koje baterije kupuju od putujućeg trgovca i pevaju uz najnovije hitove sa senegalskih top-lista, ali i slušaju vesti, pa i ono što govore imami preko radija.
Posedovanje radija, kao simbola progresa i medijuma kojim se šire nove ideje postaje jedan od glavnih momenata zapleta kako se tenzije u selu povećavaju i muškarci kojima su do tada usta bila puna poštovanja za žene pokazuju svoju moć oduzimajući radije svojim suprugama. Ali, kao da kaže Sembène, progres se ne može zaustaviti a još manje preokrenuti. On se u najboljem slučaju može zakočiti na neko vreme ali će, u skladu sa Marksovim učenjem, protivrečnosti u društvu uvek biti izvor revolucionarnih napora pa se ,,ustanak" žena, i nasilni odgovor muškaraca koji se osećaju odjednom ugroženo jer gube deo vekovima u pitanje nedovođene moći prikazuje izuzetno elegantno i uverljivo, sa sve pesmom i igrom. Sembène ovde ne pravi ni jedan pogrešan korak*i mada u filmu ima i mučnih momenata, oni ne padaju u eksploatacijski format i kada na kraju vidimo zametke društvene promene oni su ubedljivi i ,,stvarni".
*mada film ima jednu manje uverljivu epizodu koja se tiče okončanja priče vezane za pomenutog putujućeg trgovca
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Razume se, čak i danas, sedamnaest godina posle ovog filma, brojna istraživanja pokazuju da veliki deo stanovništva, uključujući žene, iz ovih regiona smatra FGM važnim delom tradicije i higijene. Moolaadé je zato značajan rad jer bez preteranih stilizacija i umetničkih sloboda razara mitomaniju i geslajtovanje vezano za praksu koja sada već očigledno drži u podređenom položaju žene što naprosto znaju za bolje. U filmu vidimo i samoubistva, ali i umiranje devojčica koje su podvrgnute zahvatima izvođenim amaterski – a kad kažem ,,devojčica", podsećam da film prikazuje da se ovi obredi rade na doslovno deci koja u nekim slučajevima još nisu ušla u pubertet – ali od ovih šok-elemenata (opet urađenih u elipsi, bez eksploatacije) važnija je ta vertikala koja se povlači do izvora moći izvan samog sela a oni su, uobičajeno, vezani za kapital i relgiju. Moolaadé sasvim jasno i naturalistički prikazuje oslanjanje zajednice u selu na elemente društvenog progresa koji dolaze od spolja i koji se od strane svih prepoznaju kao ,,dobri" čak do mere kada vidimo da se pomenuti sin što radi u Parizu maltene eksploatiše jer ga doživljavaju kao momka sa beskonačno mnogo novca, gde onda pozivanje na ,,tradiciju" i gunđanje da ženama radio puni glavu novim idejama neprimerenim edenski čistoj zajednici duboko u provinciji naprosto deluje neiskreno i razotkriva patrijarhat kao puku piramidu moći lišenu utemeljenja u pravednosti. Naravno, finalni ekser se zakucava kada jedan od muškaraca ponovi po ko zna koji put da je ritual ,,pročišćenja" devojčica nešto što od njih zahteva islam, na šta mu se odmah odgovori da to nije istina i da je imam iz grada na radiju rekao da to nije tačno.
Moolaadé, da bude jasno, nije film ni protiv islama, ni protiv tradicionalnih zajednica. On svoje protagoniste ne predstavlja kao primitivne i zatucane, žene ne predstavlja kao puke žrtve a muškarce kao puke zlostavljače – ovo je isuviše nijansiran i, uostalom, suviše dobar film da bi se tumačio kao puki aktivizam i propaganda ljudi zadojenih liberalnim ideologijama. Ali njegova poruka je ne samo jasna, perfektno plasirana i snažna već i univerzalna. Sembène njime pokazuje da vera u proges nije samo zapadna smicalica i da je insistiranje da se manje razvijene zajednice valjaju čuvati od progresa na ime zaštite njihove čistote od aveti kulturnog imperijalizma ne samo besmislica s obzirom da je taj voz odavno otišao iz stanice i da su te zajednice htele-ne htele, vezane za globalizaciju i planetarni protok kapitala i ideja, već i da u sebi krije jednu radikalno antihumanu primisao kako zajednice u kojima su devojčice tretirane kao posed i u kojima izlaganje devojčica opasnoj i traumatičnoj praksi nekako može da se relativizuje u momentu dok ove iste zajednice činimo zavisnim od drugh globalnih procesa. Verovanje da bol i poniženje za decu od devet ili deset godina nisu isti ako su ta deca rodom iz Afrike je skoro pa i verovanje da ta deca ne pripadaju ljudskom rodu. A Moolaadé je, uz sve svoje specifičnosti vezane za region i kulturu koje prikazuje, jedan univerzalistički film koji podseća na srodnosti više nego na razlike. Divno.
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Pogledao sam film Beed-e Majnoon odnosno Vrba (američki prevod je bio The Willow Tree mada je imao i alternativnu verziju naslova: One Life More), četvrti celovečernji film koji je režirao Majid Majidi 2005 godine. Cenjeni iranski režiser koji ne samo što je počev od svojih ranijih radova, dokumentarnih i igranih, osvojio srca festivalskih žirija po Evropi, već koji je sa svojim filmom Deca neba iz 1997. godine napravio prodor i na američko tržište (sa nominacijom za oskara za najbolji film na stranom jeziku) i danas je aktivan radeći u Iranu ali i popularan širom Azije. Kao religiozan čovek, Majidi je svojevremeno istupio iz selekcije festivala organizovanog u Danskoj u vreme publikovanja uvredljivih karikatura proroka Muhameda, a 2015. godine će snimiti epski intonirani hagiografski film Muhammad Rasulollah koji se bavi ranim godinama prorokovog života.
No, Beed-e Majnoon se uklapa u senzbilitet nešto ranije faze Majidijevog rada, postavljajući radnju u savremeni Iran i baveći se temom koja, iako ima neskrivene religiozne elemente, zapravo nije nužno prevashodno spiritualna – ovo je film koji ima duhovnu dimenziju, ali i sociološku, možda pre svih psihološku, fokusirajući se u umetničkom postupku na lik protagoniste i pokušavajući da kroz njegove postupke, poglede i zapravo malo reči analizira tešku psihološku, emotivnu, socijalnu pa i moralnu dilemu.
Glavni junak Beed-e Majnoon je Youssef, univerzitetski profesor u Teheranu, oženjen i sa jednom malom ćerkom sa kojom ga vidimo da se igra na potoku blizu porodčne kuće u uvodnim scenama, tik nakon otvarajućeg monologa koji je pregnantan emocijom i strahom i odvija se preko potpuno crnog ekrana. Youssef ima uspešnu karijeru, studente koji ga cene i vole, familiju punu razumevanja i ljubavi, sa sve ženom, po imenu Roya, koja je i sama intelektualka ali i brižna majka, supruga, pa i pomagačica svom suprugu što prekucava njegove brojne radove i skripta koristeći posebnu mašinu za Brajevu azbuku.
Youssef je, naime slep od svoje osme godine – nakon incidenta sa petardama koji mu je oštetio oba oka. Pohađajući školu za slepe i, kako kasnije vidimo, potičući iz ipak pristojno stojeće srednjeklasne porodice iz Teherana, Youssef je bio u stanju da dobije kvalitetno obrazovanje i ostvari zapaženu akademsku karijeru. Rane scene u filmu perfektan su melanž pastoralne porodične fantazije i realističnih ali ne prenaglašenih barijera koje slepe osobe imaju u svom životu. Majidi je u svojoj karijeri stekao reputaciju režisera koji ume da se igra gorkoslatkim ukusom i Beed-e Majnoon u svojim uvodnim kadrovima nije izuzetak.
No, Youssef brzo potom kreće za Pariz – ujak, ugledni trgovac skupim nakitom mu plaća pregled i terapiju u bolnici specijalizovanoj za očnu hirurgiju gde ovaj odlazi prevashodno jer ima pritisak iza jednog oka za koji se ispostavlja da je tumor. Doktori moraju da ga uklone i izvrše biopsiju da bi znali je li u pitanju maligna izraslina i scene u pariskoj bolnici su urađene spretno, sa odličnim balansom napetosti, naturalističke banalnosti ovakvih institucija, sentimentalnih predaha u kojima Youssef na diktafonu sluša kasetu što mu je snimila ćerka gde mu govori da jedva čeka da se vrati ali i nabraja igračke koje treba da joj donese iz Francuske (2005. godina, braćo i sestre!). Youssef upoznaje i drugog Iranca u ovoj bolnici, starijeg čoveka koji u slepoočnici i dalje nosi parče glera iz rata iz osamdesetih a koji mu pomaže da sumorne bolničke dane lakše izgura svojim dobroćudnim humorom i podrškom. Ovde i čujemo kakva je simbolika vrbe iz naslova – a koja se tiče mirisa ovog drveta što ga Youssef pamti iz detinjstva kada je išao u školu za slepu decu i koji povezuje sa snagom i dobrim znamenjima.
Ispostavlja se, dalje, da je ne samo tumor bio benigna izraslina već i da hirurzi primećuju kako Youssefovo tkivo deluje bolje nego što su očekivali pa i da reaguje na svetlo. Predlažu još jednu operaciju koja bi mogla da mu vrati vid – makar parcijalno. Ovo su velike, uzbudljive vesti i film brzo prelazi do večeri pre dana kada je zakazano skidanje zavoja sa profesorovih očiju, gde on, do tada savršeno kontrolisan i zreo, u skladu sa svojim godinama i socijalnim statusom, pomalo izgubi kontrolu, sam pomeri zavoj, šokira se kada shvati da vidi tračak svetla, a onda potpuno skine zavoje sa očiju i u jednoj gotovo nadrealističkoj sceni posrće bolničkim hodnikom, osvrćući se oko sebe kao poludeo, koristeći čulo koje je bilo neaktivno 38 godina, gotovo kolabirajući pred ne samo senzacijama što ih je gotovo zaboravio već i, naročito, od pogleda na sopstveni odraz u staklenim vratima.
Narativ u kome osobe što su dugo – ili oduvek – bile bez vida, a onda im se on vraća nije tako jednoznačan u našem vremenu kao što je nekada možda bio. Slepe i slabovide osobe, kao i mnoge druge manjinske populacije, imaju specifičnu kulturu i svoj identitet i niti vole da budu svođene samo na ono što mi iz većinske populacije smatramo hendikepom i invaliditetom, niti, ako su radikalnije, to uopšte vide kao hendikep ili invaliditet. Ne mogu, naravno, da pričam u ime slepih i slabovidih osoba, ali one sa kojima sam se upoznao i sarađivao tokom nekih mojih profesionalnih godina, su svakako u prvom redu emitovale auru autonomnosti, preduzimljivosti i energičnosti i, nisam siguran koji bi njihov odgovor bio na to da im neko kaže da je sigurno najveća želja koju imaju u životu da im se vrati vid.
Beed-e Majnoon, međutim, nije zaista film o slepoj osobi kojoj biva vraćen vid – on samo koristi ovaj zaplet za analizu nečeg daleko univerzalnijeg a što bih ja definisao kao krizu srednjih godina kod muškaraca. Razume se, Majidi je religiozan čovek i film daje i dobru količinu materijala da se tumači i kao religiozna pouka o tome šta Bog duguje nama a šta mi dugujemo Njemu, jelte, a što je i apostrofirano od nekih kritičara u ono vreme. Youssef i pre i posle operacije kojom mu je vraćen vid u sebi sklapa poruke za Boga, neke od njih i ispisuje, obraćajući se nemom božanstvu, pričajući o tome da nikada nije dovodio u pitanje njegove odluke, ali ističući i to da je tiho i bez hroptanja provodio decenije lišen mogućnosti da vidi lepotu koju je božija ruka napravila. Beed-e Majnoon se može gledati kao verski opit u kome čovek od Boga posle dugog iskušenja dobije milost i posmatranje kako će on tu milost prepoznati, hoće li se pokazati nje vredan ili ne – film nesumnjivo ima ovu dimenziju od početka do kraja, pogotovo uz vrlo poetizovan režijski rukopis gde se likovnost mnogih scena nameće kao čudesna i, ako želite, od boga podarena, da ne pominjem činjenicu da se Youssef profesionalno prevashodno bavi verskom sufijskom poezijom, ali ovo nije jedini ni, za moje shvatanje, glavni ključ u kome treba gledati Beed-e Majnoon.*
*dodatna dimenzija naslova filma je i aluzija na staru persijsku poemu o Lejli i Madžnunu koju je Bajron nazvao ,,Romeom i Julijom istoka" gde muškarac gubi glavu za devojkom koju mu ne daju jer se smatra da nije dovoljno mentalno stabilan. Originalno arapska priča, adaptirana u persijsku poemu ona govori o tome da su se nesuđeni ljubavnici upoznali u škoi a što se reflektuje u elementima zapleta ovog filma
U prvom redu, likovnost filma je neosporna i naglašena i u scenama koje nisu pastoralne i konvencionalno lepe. Majidi je vrhunski autor a radio je sa fantastičnim direktorom fotografije Mahmoudom Kalarijem i kamera, svetlo i montaža su ne samo izuzetni, već i ekspresivni do mere kada je ovo maltene mogao biti i nemi film. Sam Youssef ima jedan grčeviti monolog u kome ,,objašnjava" svoju motivaciju za ponašanje koji svi smatraju čudnim, ali on maltene nije ni potreban jer je vizuelni jezik ovog filma dovoljan da se njegovo ponašanje razume. Od ruže u fascikli, preko papira bačenih u dvorište pa do spavanja ispod najlona tokom noćnog pljuska, Youssef prolazi kroz sekvencu scena koje objašnjavaju njegovo psihološko stanje bolje nego ikakav konvencionalni tekst.
Dakle, ovo ne treba gledati samo kao religijsku alegoriju već i socijalnu i psihološku analizu. Ovde imamo intelektualca srednjih godina, pripadnika društvene elite, sa zavidnom karijerom i porodicom koje je izgradio uprkos svom nominalnom hendikepu. No, ako hendikep stavimo na stranu – razumemo ga samo kao jednu od okolnosti koje su uobličile Youssefov životni put – dolazimo do vrlo ,,tehničkih" pitanja vezanih za njegov ,,novi" život. Youssef, recimo, ne zna da čita – sem Brajevu azbuku. On ne zna koja je koja boja, jer ih nije video skoro četiri decenije. On doživljava gotovo nervni slom kada prvi put vidi sopstveni odraz u staklu jer je poslednji put sebe video kada je imao osam godina. Youssef sebe pamti isključivo kao veselog klinca a sada u staklu vidi stranca, prepadnutog, gojaznog, izboranog sredovečnog čoveka.
Umesto, dakle, radosti i egzaltacije što ima priliku da vidi ,,božiju lepotu" oko sebe, Youssef oseća teskobu što ništa nije onako kako je zamišljao. Taktilni (i zvučni) svet koji je tako dugo upoznavao ne liče dovoljno na vizuelni svet koji ga sada napada sa svih strana. Ovo pogotovo postaje naglašeno u sceni Youssefovog povratka iz Pariza kada ga na teheranskom aerodromu sačekuju rodbina ali i studenti, bacajući cveće na prolaz kojim on hoda. Umesto osmeha, mi vidimo lice unezverenog čoveka okruženog strancima koji pokušava da u masi lica pogodi koje od njih bi moglo da pripada njegovoj majci i... njegovoj ženi?
Motiv krize srednjih godina ovde se analizira nemilosrdno, uzimajući Youssefovo ,,novo rođenje" kao zgodan format za teške sesije samoispitivanja, anksioznosti, defetizma, panike u koje upadaju mnogi ljudi – svakako mnogi muškarci – kada posle četrdesete krenu da preispituju sve u vezi sa svojim životom. Film ne koristi reči da ovo izrazi i umesto toga su pokreti kamere, montaža i ekspresivna gluma Parviza Parastuija ono kroz šta vidimo rastakanje Youssefovog sveta. Ovaj čovek, na kraju krajeva, nikada nije video lice svoje žene i sada kada može da vidi Royu, ali i mlade studentkinje koje mu se osmehuju, bez obzira na svu društvenu zrelost koju podrazumeva profesura, bez obzira na svu duhovnost koje podrazumeva Youssefova religijska dispozicija, u njemu se rađa ne samo sumnja u to da je odabrao ,,pravi" život već i resantiman.
Beed-e Majnoon je brz film – uprkos često kontemplativnim scenama – i traje svega sat i po i utoliko ovde nema previše oklevanja u razvoju drame. Majidi svog (anti)heroja provodi kroz nekoliko ključnih momenata i scena efikasno i brzo, puštajući ga da razgradi svoj život onako kako to samo sredovečni muškarac koji smatra da ima pravo na sreću ume da uradi. Religijska poruka i dalje stoji ali ovo je đavolski efikasno izvajan portret univerzalnog sredovečnog, srednjeklasnog muškarca kome su se ,,odjednom" ,,otvorile oči" i koji je ,,uvideo" da ne dobija od života ono što se, valjda, seća da mu je obećano kad je bio klinac. Osećaj ,,prava" koje mu je uskraćeno svakako može da se posmatra u verskom ključu ali je i nepobitni deo naše savremene kulture i potrage za srećom koja, bez obzira što je jedino u SAD stavljena u državotvorni dokument, preovladava u modernom dobu. Britanski profesor političkih nauka Nat Rutheford je nedavno pisao o tome (https://www.bbc.com/future/article/20210105-why-our-pursuit-of-happiness-may-be-flawed) kako potraga za srećom, stavljena u centar savremene kulture možda donosi više problema nego koristi, a film kao što je Beed-e Majnoon je jedna efikasna, vitka eksploracija ove ideje i njenih potencijalno destruktivnih posledica. Majidi ovde ne pruža odgovor – sem impliciran, ako ste vernik – ali je Beed-e Majnoon đavolski dobro postavljeno pitanje.
hvala meho, gledaćemo.
a ovim si mi ulepšao dan: https://www.bbc.com/future/article/20210105-why-our-pursuit-of-happiness-may-be-flawed
Da, to je prilično zanimljiv tekst. Ne i jedini relevantan, jelte. Deni De Ružmon je imao nešto na tu temu u esejima u "Budućnost je naša stvar" a, pretpostavljam i u "Ljubav i zapad", koju nisam čitao.
Dakle, Christopher Lloyd, najpoznatiji kao ludi naučnik Doc Brown iz Back to the Future filmova, Bob Odenrirk, komičar koji je nekad radio i za Saturday Night Live i RZA iz Wu Tang Clan ušetaju na set snimanja filma i treba da glume porodicu. Zvuči kao početak nekog vica ali ovo je zapravo samo ur-premisa filma Nobody, novog, drugog celovečernjeg akcionog filma koji je režirao zastrašujuće talentovani ruski maverik Илья Викторович Найшуллер, u daljem tekstu Ilja Naišuler.
(https://i.imgur.com/zT3fvXx.png)
Naišulera je publika izvan Rusije upoznala pre 5-6 godina kada je njegova akciona ekstravaganca, Hardcore Henry (životopisan ovde (https://cvecezla.wordpress.com/2016/04/17/film-hardcore-henry/)), zdušno podržana (i koproducirana) od strane Timura Bekmabetova pronašla put do zapadnih festivala, a zatim čak i bioskopa, kreirajući priličan buzz u zajednici ljubitelja akcionih filmova, ali i zaradivši zapravo vrlo solidan novac s obzirom da je bila u pitanju maltene amaterska produkcija. Sa Hardcore Henry je Naišuler pokazao najmanje dve stvari: da je u stanju da uz praktično priručnu opremu i budžet što bi u Holivudu pokrio jedva trećinu ili petinu sličnog filma, napravi profesionalan, visokostilizovan i jako intenzivan akcioni rad, ali i da je, možda i važnije, on neko ko razume jezik modernog video-medijuma i u stanju je da ga, bez kompromisa u ijednu stranu, kanališe u biskopsko iskustvo, spajajući Youtube/ Reality adrenalin i videoigračku estetiku na besprekoran način. Hardcore Henry je bio svojevrsni događaj, ako ne revolucija ono svakako proof of concept, film koji je ne samo legitimisao perspektivu subjektivnog kadriranja tokom celog trajanja već i tehnički pokazao kako ona ne mora da bude ni malo ograničavajuća u pogledu snimanja sumanute akcije – naprotiv.
Utoliko, više od pola decenije kasnije, Nobody, njegova prva holivudska produkcija (film je finansirao Universal, a sa budžetom od 16 miliona dolara koji prebacuje Henryjev čak osam puta, ovo i dalje spada u decidno niskobudžetnu produkciju) je lako videti i kao svojevrsno razočaranje. Naime, ovo ne samo što je ,,normalan" film, sa glumcima, koji igraju ,,prave" likove što imaju ,,stvarne" odnose koji se događaju u uverljivoj socijalnoj sferi, nego je u pitanju na neki način varijacija, i to nedovoljno pomerena, na jedan dosta utemeljen stereotip američkog akcijaša, onaj u kome mirni čovek koji samo gleda svoja posla biva uvučen u spiralu nasilja samo da bi demonstrirao kako se u njemu sve vreme krila zvijer.
(https://i.imgur.com/hBew60M.png)
Pokušavao sam da izbegnem pominjanje Johna Wicka, jer to je tek kliše, ali teško je ovde praviti se nevešt kada je Nobody napisao Derek Kolstad – scenarista Johna Wicka – a producirao David Leitch koji je, kažu, uz Chada Sathleskog režirao prvog Johna Wicka (kasnije i Atomic Blonde (https://cvecezla.wordpress.com/2017/08/27/film-atomic-blonde/) i Deadpool 2 (https://cvecezla.wordpress.com/2018/05/20/film-deadpool-2/)). Uz ovu vrstu podele karata, prilično je jasno da je Nobody od temelja pa do krova formatiran da se uklopi u kalup ,,novog akcionog filma" što cveta u Americi poslednjih godina, dovodeći direct to video estetiku u bioskope, deakcentujući CGI i forsirajući razrađene koreografije borbe i rad kaskadera. Naravno, ni visokobudžetni Holivud nije ostao sasvim imun na ovakve stvari – Captain America: Winter Soldier je iste godine kada i John Wick imao ove elemente – a sa Wickom koji je postao vrlo lukrativna franšiza za očekivati je da ćemo na svim nivoima produkcije viđati i više ovakvih radova.
Naišuler je svakako čovek kome se može poveriti zadatak ovog tipa – tamo gde su Neveldine i Taylor stali (https://cvecezla.wordpress.com/2010/01/05/gamer/), on je više nego opremljen da produži, obdaren izuzetnim okom za akciju i osećajem za režiranje kompleksnih borilačkih koreografija, i u tom smislu Nobody je neka vrsta njegove vizit-karte za dalju holivudsku karijeru, potvrda da nije u pitanju tek priučeni režiser video-spotova koga je jednom ukenjalo da napravi GoPro montažu od 90 minuta i ona neobjašnjivo zaradila 15 miliona dolara u bioskopu. Nobody je film koji je decidno ,,staromodniji" od Hardcore Henry i koji – iako vitak sa jedva sat i po trajanja i solidnog tempa – pravi malo pauza za scene refleksije i kontemplacije što treba da nas privuku bliže likovima, podsete da ovo nisu tek mašine za borbu od krvi i mesa, već, jelte, trodimenzionalna ljudska bića sa emocijama i unutrašnjim životom. Naišuler ovde ne samo da se legitimiše već je i pomalo razmetljivo dobar, sa uvodnom montažom prikaza ,,normalnog" života protagoniste koja je naprosto briljantna i sažima nekoliko znakovitih slika fantastičnim tempom. Nobody nam se ovde predstavlja kao film svestan da mora da ide ,,redom" i prvo nas uvede u depresivno predvidiv život porodice iz dobrostojećeg američkog predgrađa* i njene malograđanske trope, kako bi kasnija divljačka akcija imala sociološku težinu – ali to radi sa takvim vizuelnim stilom i visokim tempom da je jasno da za volanom ovde sedi adrenalinski džanki lično.
*film je delom sniman u Torontu a delom u LA pa postoji i određena kognitivna disonanca kada iz nečega što je vidno ,,kanadskog" tipa ušetate pravo na set GTA V
(https://i.imgur.com/3IEy4Sn.png)
Zaplet Nobodyja je, rekosmo već, oslonjen na jedan sada već dobro utemeljeni kliše koji, ako ćemo iskreno, vuče poreklo još od Pekinpoovih Pasa od slame – onaj o ,,običnom" čoveku koga ekstremne okolnosti neprijateljske okoline pretvaraju u mašinu za ubijanje. Originalno, ovo je bila parabola o rascepu između ruralne i urbane zajednice u Americi, o tenziji između liberalnijih, modernijih shvatanja i tradicionalnog života manjih zajednica, o paranoji intelektualca pred intelektualno inferiornom ali seksualno virilnom svetinom itd., ali Nobody ima tu otežavajuću okolnost da scenarist maltene prepisuje koncepte iz drugih filmova, pa onaj najslabiji element Johna Wicka* – čitava mitologija o najamnim ubicama i njihovom ,,društvu" – ovde dobija svoj odjek u aluzijama na prošlost protagoniste.
*zadivljujuće, ali ne mislim na Keanuovu glumu
Ovo donekle problematizuje Nobody jer čini Naišulerove napore da priču utemelji u ,,normalnom" životu utoliko jalovijim – Nobody se već od pre svoje polovine razotkriva kao čist žanrovski film u kome su likovi zaista zapravo pre svega mašine za ubijanje i ovim druga polovina, iako ispunjena briljantnim akcionim scenama, pomalo gubi na dimenziji ljudskog zahvaljujući tom poništenju uverljivosti prikaza suburbijskog ennuija iz prve polovine.
(https://i.imgur.com/jmkvam1.png)
Kako god, Hutch Mansell, naš protagonsit koga igra Bob Odenkirk, je hodajuća kriza srednjih godina, čovek zakopan u lepoj porodičnoj kući sa lepom ali pomalo otuđenom suprugom i dvoje dece od kojih ga starije – sin – sve više disrispektuje što se više vidi da je ćale izgubio životnu radost. Zaposlen u tastovoj firmi, Hutch ponavlja iste rutine svakog dana, tonući sve više u ,,samac u braku" depresiju, a kada jedne noći porodica bude meta small time upada u kuću i razbojništva gde prepadnuti napadači odu na kraju sa svega par desetina dolara – jasno je da su inicijalno planirali da upadnu kod srazmerno bogatijeg suseda koji kupuje skupa kola i unaokolo se njima kurči – Hutch pada još niže u očima svoje familije, partikularno sina koji prezire oca što se nije borio i pustio da se na ovaj način onečisti svetost porodičnog ognjišta. Reči ,,beta" i ,,cuck" se ne pojavljuju u dijalozima ali mogu se videti ispisane na licima protagonista u ovom delu filma.
(https://i.imgur.com/IBNCJpp.png)
Naravno, posle svega jedan naoko trivijalan detalj u Hutchu probudi užasan bes i on reši da na neki način kompenzuje poniženje naneseno porodici. Naišulerova režija je ovde za svaku pohvalu jer on kroz ove obavezne stavove prolazi sa maksimumom efikasnosti i minimumom bespotrebnog pojašnjavanja, dovozeći nas u nekoliko lakih poteza do prvog važnog set pisa u filmu, slučajnog obračuna u autobusu, u kome se vidi ne samo apsolutna briljantnost njegove akcione režije – i koreografije – već i u kome maltene čujete kako se zupčanici krljaju jedan preko drugog dok film – i do tada britkog tempa – prebacuje u višu brzinu.
I menja (pod)žanr. Ono što je do tog momenta bila low key analiza strahova sredovečnih belih muškaraca suočenih sa nesnosnošću porodičnog/ suburbanog života koji se pretvorio u seriju trivijalnih razgovora i ponavljajućih a sve manje smislenih rutina što ne donose zadovoljstvo već samo troše vreme, postaje film Stevena Seagala samo sa režiserom koga ovaj poslednjih dvadeset godina može samo da sanja da ima.
(https://i.imgur.com/DXEk7fQ.png)
Nije mi naročito smetalo što se ovde ide na vrlo klišeiziranu postavku u kojoj se naš junak, što je samo želeo da se malo izduva i potroši nakupljeni adrenalin, odjednom suočava sa masivnom, opasnom i dobro opremljenom ruskom mafijom – Naišuler se sa Rusima vrlo lepo izigrao, uspevajući i da koristi žanrovske stereotipe ali i da svemu da autentičnost već i time što su korišćeni ruski glumci koji pričaju na Ruskom. Štaviše, nije mi smetalo ni to johnwickovsko zaranjanje u prošlost protagoniste i njenu praktično mitološku dimenziju jer je ono zapravo veoma svedeno, a uplitanje likova Christophera Lloyda i RZA-e u završnom činu je i dovoljno zarađeno i daje svemu jednu lepršaviju estetiku. U svojoj završnici Nobody je vrlo razigran film, sa mnogo briljantne akcije i duha i dodatak ovih likova obogaćuje te njegove dimenzije. Pogotovo Lloyd prikazuje sjajnu transformaciju dajući svemu i element gerijatrijskog akcijanja kakav je uvek dobrodošao kada se izvede s poštovanjem i bez prenaglašenog parodiranja. RZA sa svoje strane, kao ozbiljan profesionalac (snajperista*) uspeva da u sve unese crtu te stručne ozbiljnosti i zrelosti koja vidno nedostaje dvojici belih protagonista što su – svaki za sebe – suočeni sa spoznajom da je normalan, odrastao život nešto što se dešava drugima i da će oni radije večno živeti u infantilnom svetu igre.
*koji u jednom brijlatno režiranom momentu, suočen sa čak tri neprijatelja uspeva da ih svu trojicu naniže na jedan metak
(https://i.imgur.com/dgCDSec.png)
Naišuler ovde nema ni mnogo para ni mnogo vremena pa je vidno koliko dovitljivih rešenja uspeva da napravi da film bude dinamičan, i da deluje skuplje i profesionalnije. Glavni negativac, ruski mafijaški bos Julijan (sjajni Алексей Серебряков koga sigurno pamtite iz Legende o Kolovratu) je prezentiran kroz dve vrlo uspele muzičke scene koje podsećaju da je Naišuler svoje veštine tesao režirajući spotove, ali koje ovom liku daju dimenzije kakve on u nekakvom uporedivom direct to video filmu naprosto ne bi imao. Nobody je, ponoviću, kao film Stevena Seagala ali koji je režirao nesrazmerno talentovan autor sa dovoljno vremena i para da najbitnije scene budu visokoestetizovane, režirane i izmontirane sa vrhunskom pažnjom.
(https://i.imgur.com/tfy8loW.png)
No, i dublje od toga, Naišuler se drži premise filma veoma dosledno – pa je njegov ,,nobody" u glavnoj roli čovek koji je ,,drugačiji" ali nije natčovek. Već tuča u autobusu pokazuje da je Hutch neko ko ume da napravi i pogrešne procene, da primi udarac, da pusti da ga ponesu emocije – za razliku od Seagalovih likova koji su uvek potpuno nepogrešivi – i time on do kraja zapravo ima prostora za rast i razvijanje. U Johnu Wicku ili Atomic Blonde (ili, hajde u Cruiseovim filmovima o Jacku Reacheru koji se mogu spakovati u ovaj podžanr) ovog rasta uglavnom nema i ako protagonisti ,,greše" to je najčešće iz simboličkih razloga. Hutch greši jer mu je pun kurac svega i ovo je vrlo osvežavajuće, a kada do kraja filma pređe u ,,full Rambo" mod, sa sve pripremanjem improvizovanih zamki za neprijatelje čije putanje kroz bojište anticipira, to je dosezanje njegove ,,finalne forme", poslednji stepenik na putu koji je prešao tokom devedesetak minuta. Odenkirk je u ovome vrlo dobar, transformišući se uverljivo iz ,,sad dad" snuždenosti u akcionog heroja koji je i dalje uverljiv i ne izvodi nekakve nadljudske podvige već pobeđuje na osnovu dobrog planiranja, hladne glave i iskustva.
Relativno ,,b" glumačka podela je ovde, mislim, Naišuleru zapravo išla na ruku. Lloyd i Michael Ironside donose sponu sa danas već mitološkim osamdesetim godinama*, RZA ima auru blaxploitation/ martial arts škole, Connie Nielsen nas povezuje sa holivudskim superherojskim blokbasterima dajući, ironično, vrlo prizemljenu, vrlo ,,civilnu" ulogu, dok je Серебряков Rus sa autentičnom harizmom. Odenkirk ovde samo treba da bude uverljivo smoren i besan, bez preglumljavanja i on ovo solidno iznosi na svojim plećima.
*a Ironside i sa gejmingom na ime svoje dugovečne uloge Sama Fishera u serijalu Splinter Cell
(https://i.imgur.com/d7zFLSO.png)
Nobody je, kao i skoro sve drugo što valja u današnjem akcionom filmu, jasan omaž osamdesetima, dekadi kada se ovaj žanr legitimizovao i otkačio od pretenzija na spone sa ,,prvom" dramom – a ovo se čuje, između ostalog i kroz saundtrak u kome Pat Benatar sa Heartbreakerom (https://youtu.be/mIosHNpGjTE) zauzima vrlo prominentnu poziciju – ali i, meni zapravo važnije, adrenalinski šat direct-to-video estetici. Naravno, Nobody ima duplo veći budžet od recentnijih Seagalovih radova i pet puta veći od ,,pravih" DTV produkcija, ali on vrlo dosledno ponavlja njihove trope, uključujući vizuelne, sa setovima koji su vrlo prepoznatljivi i praktično su mem u ovom podžanru, a da uspeva da sve fantastično estetizuje, izvede na tehnički zavidnom nivou sa praktičnim efektima i kaskaderima, dajući ako ništa drugo, metu prema kojoj drugi akcioni autori mogu da gledaju kada rade svoje filmove. Nobody, naravno, ne igra u istoj ligi kao Wrightov Baby Driver (https://cvecezla.wordpress.com/2017/10/15/film-baby-driver/), ali Naišulerov izuzetno sigurni jezik i osećaj za akciju, a da su i ,,normalne"scene urađene vrhunski ekonomično i sa istim nivoom vizuelne stilizovanosti i dinamike, je naprosto dah ogromne svežine u akcionom žanru. S obzirom da Nobody dobija solidne kritike, jedva čekam da vidim šta će Naišuler sledeće da napravi – nadajmo se da nećemo opet morati da čekamo pola decenije.
(https://i.imgur.com/9sGpUcp.png)
A evo šta je naš voljeni Šon Maktirnan imao reći o filmu:
https://letterboxd.com/murdermurder/film/nobody-2021/?fbclid=IwAR1KMbVrwftO4Z_m2OBGTSpT0dal2SnxV9th3YvVN1JaX5_vMNErHMi7FJE
:lol:
Gadan čiča raste Mektirnan :lol:
Edit: Što se, doduše vidi po tome koliko je Orson Vels preovladao na njegovom tviter fidu. :lol: :lol: :lol:
Edit 2: Mada slike mačora Novaka pokazuju da i Mektirnan ima mekanu, ljudsku stranu :lol: :lol: :lol: :lol: :lol: :lol:
Cria Cuervos (,,Podiži gavrane") je jedanaesti celovečernji film koji je proslavljeni španski sineasta Carlos Saura napravio u ulozi režisera ali, kako kažu, prvi koji je u bioskope i na festivale stigao netaknut frankističkom cenzurom. Sniman u vreme dok je Franko izdisao na samrtnoj postelji, i u ono vreme tumačen kao alegorična ali očigledna kritika fašističkog režima, Cria Cuervos je svakako profitirao i od toga što je njegov autor do te tačke već bio prepoznat kao najveće ime u istoriji španske kinematografije (ako ne računamo odbeglog Bunjuela) i cenzori su 1976. godine bili zabrinuti da bi otvoreno mešanje u njegov kreativni rad moglo da izazove javni revolt.
(https://i.imgur.com/6qBEfS1.png)
Saura je veoma plodan autor, još uvek aktivan u svojoj osamdesetdevetoj godini, sa novim filmom, mjuziklom El Rey de todo el mundo, koji bi ove godine trebalo da uđe u bioskope, no Cria Cuervos je na neki način bilo cementiranje njegove međunarodne slave. Počinjući svoju karijeru režisera u neorelističkom stilu, Saura je još 1960. godine imao zapažen debi na Kanskom festivalu svojim prvim filmom, Los Golfos, no do 1976. godine je već izgradio reputaciju ozbiljnog i najsmelijeg kritičara Frankovog režima, ali je i stilski napredovao ka izrazu nabijenom simbolikom i ambicioznijim režijskim zahvatima. Nakon osvajanja Srebrnog medveda u Berlinu 1966. godine, Saura će izvan Španije početi da biva prepoznat kao autor koji snima filmove fokusirane na individualne sudbine u represivnoj diktaturi, okrenute emocijama i unutarnjem životu. Cria Cuervos će tako na neki način biti sam vrhunac te faze njegovog rada, sa svojim simboličkim slikama, ali i sa svojim okretanjem prema ženama i još više deci kao protagonistima i ,,tihim" žrtvama diktature.
(https://i.imgur.com/ePXLWFb.png)
Naziv filma dolazi od španske izreke ,,Cría cuervos y te sacarán los ojos" a koja u bukvalnom prevodu znači ,,Podiži gavranove pa će ti izvaditi oči" – nešto slično našoj izreci o hranjenju kučeta da bi nas ono na kraju ujelo – i koristi se u vezi podizanja porodice, ukazujući na buntovnost dece i mogućnost da ona na dobra roditeljska dela odgovore neprijateljskim činovima. No, ovaj film nikako nije blagonaklon prema roditeljima.
(https://i.imgur.com/rhaLkhg.png)
Već prva scena nam pokazuje Anu, glavnu junakinju – koju igra u tom trenutku na ime svog prethodnog filmskog hita već poznata devetogodišnja glumica Ana Torrent – kako svedoči ne samo preljubi u kojoj njen sopstveni otac – odnedavno udovac – ima intimni kontakt sa suprugom svog prijatelja, kolege i ratnog druga, već i njegovoj smrti od, reklo bi se srčanog napada, a čiju scenu ljubavnica užurbano napušta da se ne bi znalo da je bila u tuđoj kući.
(https://i.imgur.com/yYJZo8K.png)
Ana je srednja od tri sestre koje ostaju siročad nakon što otac Anselmo umre i pošto je majku odneo kancer pre nekoliko meseci, nastavljaju da žive u istoj velikoj porodičnoj kući sa tetkom, nepokretnom i nemom bakom, te jezičavom i nezadovoljnom kućnom pomoćnicom. Radnja filma odvija se tokom letnjeg raspusta tri devojčice i završava njihovim polaskom u školu, dajući hroniku ranih dana života pod tetkinim staranjem – formatiranu kao seriju uglavnom depresivnih scena snimljenih u velikoj, skupoj ali mračnoj i hladnoj kući u odjeku Saurinih refleksija na sopstveno detinjstvo i opservaciju da ono za njega nije bilo srećno. Štaviše, Ana će, obraćajući nam se kao odrasla žena iz futurističke 1995. godine, pravo u kameru, rušeći četvrti zid, eksplicitno reći da njeno detinjstvo nije bilo srećno, da je bilo ispunjeno frustracijama, dosadom i jadom.
(https://i.imgur.com/oD24WOc.png)
Saurina kritika režima je, čini se i kritika građanskog društva u celini u ovom filmu – Anin otac je oficir vojske, za koga kasnije čujemo da je ratovao na strani nacista u SSSR-u u sklopu dobrovoljačkih odreda koji su iz Španije išli da se bore tokom Drugog svetskog rata, a njegova smrt tokom seksa sa ženom najboljeg prijatelja, u sopstvenom bračnom krevetu je onoliko optužujuća za frankističke strukture koliko i za samo špansko društvo onog vremena. Uopšte, odrasle osobe koje viđamo u filmu su praktično listom antipatične – tetka Paulina je izveštačena i pomalo autoritarna, a kasnije saznajemo da je očev najbolji prijatelj sa njom imao nekakvu romantičnu aferu, u sceni gde se žali na sopstveni brak a čija je žena ona sa kojom je Anselmo na početku umro. Kućna pomoćnica Rosa je jezičava i frustrirana žena, kojoj su seksualna uznemiravanja od strane pokojnog Anselma – visoko rangiranog oficira – bila neka vrsta socijalne validacije. Oficiri koje vidimo na bdenju pored pokojnog Anselma su možda najočigledniji izdanak ,,režima" ali Saura se ne bavi direktnim kritikovanjem.
U njegovom filmu jedina odrasla osoba koja prikazuje autentičnu toplotu i nežnost je pokojna majka, Maria, a koju je igrala tadašnja Saurina partnerka i muza, ćerka Čarlija Čaplina, Geraldine Chaplin. Maria, da bude jasno, Španski priča sa Engleskim naglaskom i ne pripada zaista Anselmovom svetu: ona je pijanistkinja sa potencijalno briljantnom karijerom, koju će napustiti na muževljev nagovor kako bi se bavila trima ćerkama – samo da bi on uživao u serijskim preljubama i emocionalnoj surovosti. Chaplinova igra i stariju verziju same Ane – ali u ovim scenama su njeni monolozi nasinhronzovani ,,propisnim" Španskim i ovo je samo jedna od dovitljivih tehnika kojima Saura svom filmu dodaje dimenziju iznad ,,obične" realnosti koja je, kao što se vidi, za decu izrazito depresivna.
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Ključno, čitav film je postavljen iz Anine perspektive i u njoj su i nesimpatična tetka, i brljiva kućna pomoćnica, i sestre – jedna jako mala a druga već na ulasku u pubertet – tek igrači na pozornici na kojoj legitimno igraju i pokojni otac i majka. Saura je ovde neustrašiv u svojim rešenjima za scene koje bez rezova i posebnog signaliziranja spajaju prošlost i budućnost, žive i mrtve likove, fantazije i stvarnost.
Ovaj ulazak u psihologiju deteta koje pokušava da izađe na kraj sa ogromnim bolom zbog gubitka voljene majke i manje voljenog oca u kratkom vremenskom periodu će, za mene bar, ostati ona trajna vrednost, i svakako najfascinantnija dimenzija filma. Metafore za frankistički režim su sigurno mnogo jače odjekivale pre četiri i po decenije dok je Španija kretala u svoju tranziciju ka slobodnijoj, demokratskoj državi i ovde je Saurino pokazivanje – suptilno i bez nabijanja na nos – da su žene u Frankovoj Španiji imale decidno podređenu ulogu pred muškarcima (jedna od kritika filma podseća da su žene u to vreme morale da imaju formalno dopuštenje od muža da otvore račun u banci), jedan od elemenatate kritike. No, Anino mešanje stvarnosti i želja, igre i zbilje, smrti i života je univerzalniji sloj ovog filma koji danas sa gledaocem, moglo bi se argumentovati, ima mnogo više potencijala za rezoniranje.
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Chaplinova ovde, naravno, igra ključnu ulogu sa svojim vrlo uspelim portretisanjem nežne i brižne majke – jedinog lika u filmu, reklo bi se, koji svoju ljubav izražava slobodno i bez ikakvog balasta krivice – samo da bismo u jednoj sceni u sredini filma imali zastrašujući prikaz agonije kroz koju je prolazila pred kraj života, sa bolnim konvulzijama, uplašenim vapajima da ne želi da umre a onda i ledenim, gotovo horor-intoniranim proklamacijama svojoj ćerki da ,,tamo" nema ničega ,,i da su je lagali". U ovakvim scenama je dobro podsetiti se da je Ana nepouzdani pripovedač – na šta, kao devetogodišnjakinja koja preživljava ozbiljnu traumu, ima puno pravo – jer bi inače pomisao da su ovo prizori koji su se zaista baš ovako odigrali pred detinjim očima bila gotovo neizdrživa. No, majčina agonija pred Anom kasnije će u filmu imati svečan kontrast u smrti Aninog ljubimca, jednog divnog morskog praseta po imenu Roni koga devojčica miluje dok ovaj umire i kasnije pažljivo sahranjuje, sa sve krstom nacrtanim na kutiji za cipele u koju je životinjica pohranjena. The kids are alright nije ZAISTA poruka ovog filma ali ovu scenu treba kontrastirati i sa početkom filma u kome su svi oni oficiri okupljeni oko kovčega preminulog Anselma – u njegovoj spavaćoj sobi gde je povaljivao ženu svog najboljeg prijatelja igde Ana odbija da poljibi mrtvo telo i pomoli se za pokoj duše.
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Deca nemaju samo depresivne reakcije na traumu i Saura kreira nekoliko scena koje pokazuju dečiju igru – i snove – kao mesta na kojima se ruše granice i ostvaruje autentična sloboda. Ove su scene, posmatrane iz perspektive 2021. godine gotovo drsko kompleksne sa čitavim spektrom dečijih ponašanja koja ruše seksualne tabue i rodne uloge i, pored sve njihove naivnosti, gotovo ih je nemoguće zamisliti u modernom filmu koji bi pretendovao na bioskopsku distribuciju. No, 1976. godina je u izvesnom smislu bilo slobodnije vreme gde prepoznavanje postojanja zametaka dečije seksualnosti i – u igri – savijanja granica rodnih uloga kao prirodnih elemenata dečijeg ponašanja nije ovaj film sprečilo da dobije specijalnu nagradu kanskog žirija. Štaviše, film je imao uspešnu distribuciju čak i u SAD i mada nije uspeo da uđe u trku za oskara, naišao je na odobravanje američkih kritičara.
Jedan od aduta je svakako bilo i korišćenje bezobrazno zapaljivog hita Porque te vas (https://youtu.be/uWYTTQFyt74) britansko-španske pevačice Jeanette kao lajtmotiva koji označava komplikovan odnos Ane sa svojom preminulom, ali za nju ne i zaista otišlom majkom – uostalom, to da odraslu Anu igra Geraldine Chaplin, kao i njenu majku je dosta snažan pokazatelj identifikacije devojčice sa jedinom osobom koju vidi kao čistu i ljubavi vrednu u svom životu a ona, kao i pevačica, Španski govori sa Engleskim akcentom.
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No, možda je najmoćniji element filma – i remek delo nepouzdane naracije – Anin konstrukt čitavog spleta okolnosti vezanog za smrt njenog oca koji nam Saura pokazuje eksplicitno u uvodu za film a zatim ,,pojašnjava" kroz majstorsko ponavljanje gotovo identičnih kadrova pred kraj, u sasvim novom kontekstu, prikazujući dete, devetogodišnju devojčicu, kao istovremeno sasvim dijaboličnu i sasvim, sasvim nevinu. Da ničeg drugog nema u ovom filmu, ovaj bi genijalni kontrapunkt bio vredan ulaska u istoriju.
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Ja sam ga odgledao pre par godina na Jevtropijevićkinu preporuku. :lol: <3
Jeviga, ja sam hronični slacker...
Ko prati moj blog video je da sam za praznike pripremio dva lepa dab mikstejpa uz koje se može bogougodno slaviti ali i proleterski roštiljati. Detalji su ovde:
https://cvecezla.wordpress.com/2021/04/30/dj-meho-desert-flood-dub-mixtapes/ (https://cvecezla.wordpress.com/2021/04/30/dj-meho-desert-flood-dub-mixtapes/)
A evo JuTjub linkova, kao i MEGA linkova za daunloud, pa ko voli, uživat će:
https://youtu.be/HKtP7WXVrbM (https://youtu.be/HKtP7WXVrbM)
https://youtu.be/bfLgtIeaUY4 (https://youtu.be/bfLgtIeaUY4)
https://mega.nz/file/805wzDRC#xk073-tHxUlwBdLkyqtzHCfxEtuKrkGAULqxr2daYmA (https://mega.nz/file/805wzDRC#xk073-tHxUlwBdLkyqtzHCfxEtuKrkGAULqxr2daYmA)
https://mega.nz/file/JpwDRCSJ#LxAWeEeqC_-PdFiukKlj3JVEntaMamtHKWciRQYN38I (https://mega.nz/file/JpwDRCSJ#LxAWeEeqC_-PdFiukKlj3JVEntaMamtHKWciRQYN38I)
Wonder Woman 1984 je primer filma u kome nijedna konkretna stvar nije po sebi katastrofalna ali koji krvari iz hiljadu sitnih posekotina dok se ne svede na izduvani balon što je koštao 200 miliona dolara, adut sa kojim je Warner toliko dugo čekao da uleti u šesnaesterac da na kraju film od dva i po sata deluje kao da je umoran sam od sebe i završnica više ostavlja utisak eutanazije počinjene iz samilosti nego spektakularnog ubijanja aždahe.
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Wonder Woman 1984 je i podsećanje na to da su superherojski filmovi sada de fakto mejnstrim – na filmu, na televiziji, u popularnoj kulturi, kulturi generalno – i da više nije dovoljno, ako je ikada i bilo, da publici prikažete lepe specijalne efekte i šarene kostime. Neverovatne green screen vratolomije i ljudi koji lete ionako nisu više ekskluzivni domen superherojske fantazije, danas svaki drugi film sa Tomom Kruzom i svaki film sa Vinom Dizelom prikazuju iste stvari, pa superherojski film, ako misli da se nečim izdvoji, mora da ima karakter, možda čak i harizmu. Nije neko veliko iznenađenje da je Wonder Woman 1984 jedna beskrvna, pomalo mlitava adaptacija voljenog stripovskog predloška, iznenađenje je da je Warner mislio da je ovo good enough. Neuspeh da povrati preduvani budžet u bioskopima – ali što je donekle i posledica pandemije – ali i uspeh u striming domenu su konfliktni signali koji će ko zna kako uticati na dalje radove u okviru Warnerovog superherojskog univerzuma, pogotovo posle recentnog spajanja WarnerMedia i Discoveryja...
Da bude jasno, prvi film je meni bio pristojan. Patty Jenkins verovatno nije sanjala o ovakvom razvoju svoje karijere i ovaj je film takođe patio od sindroma mnogo babica i teškog odlučivanja koliko ,,feminizma" sme da se pusti iz slavine da se izazovu pozitivne reakcije od strane woke kritičara, a da se ne poplaši publika koja Subote popodne provodi na porodičnim šetnjama, ali je prvi Wonder Woman imao zanimljivo sažimanje nekoliko kompleksnih nasleđa vezanih za lik svoje protagonistkinje – od originalnih stripova iz četrdesetih i kompleksnog sociološkog eksperimentisanja u njima, preko popularne televizijske serije iz sedamdesetih pa do savremenih strip-reinvencija – i ambiciozan period-piece pristup, te kulminaciju u finalu koje je imalo zgodan melanž religijske simbolike i pravdoljubive pobune protiv patrijarhata. Kao takav proizveo je puno dobre volje kod kritike i postigao zavidan uspeh kod publike, te nazidao visoka očekivanja za nastavak. U kontrastu sa tim Wonder Woman 1984 je niska set pisova, od kojih je svaki sledeći manje impresivan od prethodnog, povezana neambicioznom, stereotipnom pričom, postavljena u osamdesete godine prošlog veka bez ikakvog jasnog razloga.
Naravno, prvi Wonder Woman je bio vrlo uspešan i hajp oko nastavka je bio vrlo važan u Warnerovom radu prošle tri godine, pogotovo posle problematičnog Justice League ali i nezasluženog flopa jednog vrlo pristojnog filma o Harley Quinn. Warner je u punoj meri prigrlio ideju o tome da Wonder Woman simboliše žensku moć i Jenkinsova je pozvana da uradi nastavak a lično Geoff Johns je seo da sa njom napiše scenario.
I priča u Wonder Woman 1984 svakako ima Johnsove otiske prstiju svuda po sebi – Johnsovi kritičari poslednjih godina stalno insistiraju da ovaj autor u svojim stripovima voli da gradi na osnovama koje su drugi autori postavili*, ali da kao đavo od krsta beži od ikakve političke ili socijalne reference koju bi ovaj materijal po prirodi stvari nosio sa sobom. U tom smislu i Wonder Woman 1984 ima u svom centru jedan sasvim ,,stripovski" mekgafin – bukvalno kamen koji ispunjava želje – a postavljanje radnje u 1984. godinu samo podcrtava koliko film nema apsolutno ništa da kaže o bilo čemu u stvarnom svetu.
*a ti drugi autori su statistički najčešće Alan Moore
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Vrlo konkretno, ova priča će koristiti reference na hladni rat, pretiti u svom trećem činu globalnom termonuklearnom kataklizmom – sa sve kadrovima u kojima viđamo lansiranje interkontinentalnih nuklearnih projektila – prikazati nam tenzije na bliskom istoku i crne beskućnike po klupama u vašingtonskim parkovima, ali sve to je samo površni, tanki sloj ,,period piece" glazure ispod koje nema ničega. Treći svetski rat se magično zaustavlja samo što je počeo, Regan u Beloj kući koga viđamo je simpatični, pomalo dementni čičica, baš kao i crni beskućnik sa dve replike u filmu, a tenzije na bliskom istoku se tiču karikiranog teritorijalnog sukoba u Egiptu – zvučaće bizarno ali dva period piece filma u X-Men franšizi su u odnosu na ovo maltene oliverstounovski duboke analize svojih respektivnih epoha.
Moguće je da je postavljanje filma u 1984. godinu samo elegantan način da se izbegne pitanje ,,a gde su Supermen i Betmen" u priči koja ima izvesne globalne posledice, ali ovo deluje kao sasvim nepotrebna komplikacija i samo podvlači činjenicu da film ni na koji način ne sugeriše '80s senzibilitet. Svakako, ima tu muškaraca sa naramenicama i žena čija je kosa tretirana opscenim količinama sumporne kiseline, ali tamo gde se broji, dakle, u glavnom kastu i u najvažnijim scenama, ništa ne odaje utisak da ne pričamo o savremenom mizanscenu – sve je ultra HD, šareno i dezinfikovano, čak sa notabilnim odsustvom neonskih preliva u koloritu. Ne da je to bitno, ali prikaz kancelarijskih prostora u kojima niko ne puši u 1984. godini je meni veća fantazija od toga da Wonder Woman u ovom filmu ima nevidljivi mlaznjak i da nauči da leti. Hoću reći, svakako da podržavam Holivudovu odluku da svojim filmovima ne promoviše štetnu i ružnu naviku konzumacije duvana, ali odsustvo pušenja samo još jednom skreće pažnju na to da nema dobrog odgovora na pitanje zašto se ovaj film događa u 1984. godini.
Kad već zameram na glupim sitnicama: ja takođe podržavam ,,diverzitet" u kastingu i nisam od onih smarača koji pitaju otkud sad osobe afričkog porekla u Asgardu, ali svakako se nameće promišljanje porekla afričkih Amazonki na ostrvu Temiskira: istorijski, prisustvo osoba afričkog porekla u ovako belom setingu je posledica uvoza robova iz Afrike...
No, da se manemo detaljčića, Wonder Woman 1984 pati od nedostataka na mnogo višem nivou, već time da je prvi film u svom finalu prikazao borbu protiv boga i da negativci u ovom nemaju nikakvu šansu da deluju kao ozbiljna pretnja. Da ne pominjem da ova priča ima ne jedan nego dva origin storyja za negativce i da su oba smandrljana.
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Uzmimo recimo Cheetah – koja se u filmu nikada ovako ne naziva – koja je ovde zasnovana na najnovijoj inkarnaciji lika iz DC-jeve recentne Rebirth faze i njena transformacija u ovom filmu od zbunjenog nerda do agresivnog superzločinca je, pa, vrlo stereotipna. Da ne pominjem da je u svetu u kome su nerdovi trenutno praktično plemstvo pomalo i reakcionarno, a svakako lenjo igrati na kliše kako je simpatični, socijalno neuklopljeni lik sa početka uvek u sebi krio moći gladnog psihopatu. Slično je i sa drugim negativcem i Maxwell Lord ovde, u kontrastu sa stripovima, nije beskrupulozni biznismen i epitom ,,Wall Street psihopatije" već muljator i muvara koja se samo pravi da je harizmatični apeks-predator u nemilosrdnom naftaškom biznisu. Oba ova lika, ali posebno Lordov, imaju mnogo više potencijala da daju zanimljive priče nego što nam nude glavni junaci, a pogotovo se Pedro Pascal trudi u ulozi Maxwella Lorda i pokazuje obrise harizme i strasti, ali film je režiran površno, na prvu loptu, bez ikakvih ustupaka ,,karakternoj" glumi i zaista dramatičnim scenama, pa tako i njihovi karakterni lukovi nemaju težinu.
No, čak i tako oni čine snažan kontrast glavnom kastu. Gal Gadot je, zaključiću konačno, potpuno neupotrebljiva u ovoj ulozi. Kostimi i efekti joj mogu dati privid impresivne fizionomije, ali njena gluma je na nivou reklama za supe iz kesice. Nije da joj tekst koji izgovara pomaže i ovo je jedna vrlo nesrećna kombinacija ispraznih, bezkarakternih replika i glume koja je uhvaćena negde između stripovske stilizacije i Hallmark drame. Nije sasvim slučajno što je Aquaman lavovski deo svog uspeha bazirao na šarmu i harizmi svog glavnog glumca i nije se stideo komedije, pa i dramske patetike koji su tamo lepo ležali. Gal Gadot svakako može da pruži daleko bolji program od ovog što je dala u Wonder Woman 1984, ali primetno je koliko kadrovi živnu kada u njih uđe Chris Pine koga sumnjam da čak i njegova majka smatra nekim velikim glumcem. Njegov drski šarm i jebački fizikus su sasvim dovoljni pored smorene Gadot da nas podsete kako ovakvi filmovi mogu da budu i duhoviti, baš kao što i Pedro Pascal podseća da mogu da budu i cheesy dramatični i da je to okej. Kristen Wiig kao Barbara Minerva je zanimljiv neuspeh – ponovo ne greškom glumice koja uspeva da u poznim četrdesetim godinama odradi korektnu ulogu mlade, stidljive naučnice koja se transformiše u psihopatsku seks-bombu – i film na nju praktično i zaboravlja u finalu ražalujući je na status minibosa, a zatim propuštajući da ima stvarnog finalnog bosa. Ovo je samo jedna od neobičnih kreativnih odluka koje ne deluju originalno već samo kao da je film prošao milion verzija scenarija a zatim paklenu seču u postprodukciji i da je ovo što gledamo, pušteno iz rova pred kraj prošle godine da pogine u pandemijskom masakru, na kraju pokazatelj Warner/ DC-jevog pomanjkanja vizije o tome šta zapravo DCEU može ili čak treba da bude, a ne smeo kreativni eksperiment.
Koliko god da je Jenkinsova ovo kilavo režirala toliko su problemi vidni već na nivou scenarija i primarno oni vuku film na dole. Ne da je lovljenje nelogičnosti sad nekakav vrhunac filmske kritike, ali ovo je priča sa sasvim bespotrebnim odlaskom u Afriku – valjda da se ne bi baš čitav narativ događao u DC-ju – a koji se oslanja na ideju da čovek umro za vreme Prvog svetskog rata intuitivno ume da vozi mlaznjak iz 1984. godine i da let iz Vašingtona do Egipta i natrag u ovoj godini traje praktično kao vožnja tri stanice metroom. Uopšte, ceo film se događa u tri dana i ne pokazuje mnogo razumevanja za koncepte protoka vremena i kontinuiteta, načina na koji funkcioniše tržište energenata ili, uopšte, biznisa. U nekim scenama utisak je da Pascalov Maxwell Lord treba da bude ,,supervillain" verzija Stounovog Gordona Gekoa, sa na kraju iskupljujućim preokretom, ali film toliko nema ništa da kaže ni o čemu da je ovo u najboljem slučaju propuštena prilika.
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Dodatno, koliko god mi je bilo drago da vidim Chrisa Pinea i u ovom filmu, Johnsov i Jenkinsin scenario njegovim prisustvom samo dublje problematizuje jedan već problematičan element originalnog filma: muškarca kao ultimativnu motivaciju za ženu koja je – praktično ako već ne i formalno – boginja, odrasla na ostrvu sa funkcionalnom – i srećnom – zajednicom samih žena i čije samo postojanje treba da predstavlja disruptivnu kontru falocentričnom svetu i patrijarhalnom društvu. U Wonder Woman 1984 karakter glavne junakinje je praktično izgrađen oko ideje da ona sedamdeset godina nije prežalila šarmantnog američkog pilota i da je spremna da se odrekne i svojih božanskih moći zbog njega. I sad, postoji način da se ovakvi motivi pretoče u dirljivu, plemenito-patetičnu tragediju, a postoji i nezgrapno povlađivanje romantičnim tropima mejnstrim filma koji, pritom, u epohi u kojoj živimo, beži od erotičnosti i, nedobog, putenosti kao đavo od krsta. Pogađajte čemu je bliža Wonder Woman 1984.
Je li makar akcija dobro snimljena? Film otvara set pis na ostrvu Amazonki koji nema nikakvu narativnu funkciju sem da prikaže spektakularno snimljenu akciju i dok je ovo urađeno impresivno, posledica je da ostatak akcije u filmu deluje neupečatljivo. Pored toliko primera savremenih akcionih filmova u kojima kaskaderi čine prave podvige i kadriranje i montaža su izgrađeni oko njihovih fizičkih kapaciteta, akcija u Wonder Woman 1984 je naglašeno bez težine, sa likovima koji lete unaokolo pokretani specijalnim efektima i scenografijom koja se lomi u urednim CGI komadićima. Nekoliko kadrova u kojima se omažira Donnerov Superman su simpatični, ali ovo je, kao i sve ostalo u ovom filmu, ukras koji ne uspeva da popravi opšti utisak na nečemu što je fundamentalno nemaštovito i odrađeno maltene kao da prati bulet-pointe na prezentaciji. Utoliko, nestandardno – da li da se usudim i da kažem i ,,žensko"? – finale koje ne kulminira velikom tučom već emocijom i požrtvovanošću ne samo glavne junakinje, te glavnog negativca ali i običnih ljudi širom sveta, i koje ima u sebi dobrodošlu johnsovsku patetiku i cheesy plemenitost, zaslužuje bolji film koji bi mu prethodio. Videćemo, već, kakvi će biti već najavljeni nastavci, ali u ovom trenutku nemam mnogo nade za dalji razvoj DCEU...
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Wrath of Man je film kojim Guy Ritchie ne samo da dokazuje da je i dalje ,,lad" ili, još bolje, ,,one of the lads", već i da u pandemijskom svetu u kome bioskop i dalje ima stigmu pomalo neodgovorne i epidemiološki neprimerene zabave, kreiranje nečega što je na pola puta između direct to video hardkora i lo-budget star vehiclea za teatarsku distribuciju može da bude upravo ono što publika traži. Wrath of Man niti je veliki film niti je u bioskopima sad tu nešto kao POCEPAO, čak mu je i metaskor, ako ikog interesuju takvi indikatori, uglavnom jedva negde preko polovine, ali je ovo film koji je sa više od osamdeset miliona dolara zarađenih na boks ofisu sasvim u zoni komfora i, zapravo, proporcionalno gledano, ostavlja iza sebe u prašini ambicioznije i daleko skuplje projekte kao što je Wonder Woman 1984 (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/).
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Wrath of Man je zanimljiv po mnogo osnova a prvi od njih je svakako to da je u pitanju rimejk čak ni ne tako starog francuskog akcionog trilera Cash Truck (tj. Le Convoyeur) koji je snimljen 2004. godine u režiji Nicolasa Boukhriefa – poznatog možda prevashodno u ulogama koscenariste Kassovitzevog Assassin(s) i kasnije holivudskog Silent Hill. Iz nekog razloga bilo je potrebno da pogledam Wrath of Man da bih se lupio po čelu i shvatio da je Ritchie – nakon ulaska u mejnstrim orbitu svojim umešno rađenim lad-krimi-trilerima sa kraja prošlog veka, veliki deo svoje karijere zapravo proveo kao režiser adaptacija klasičnog materijala (King Arthur, Sherlock Holmes) ali i rimejkova (The Man from U.N.C.L.E. i nedavno Aladdin). Sa The Gentlemen (https://cvecezla.wordpress.com/2020/02/02/film-the-gentlemen/) Ritchie se, kako smo onomad pričali, vratio pristupu sa početka karijere i na određeni način rimejkovao samog sebe, da bi Wrath of Man bio neka vrsta quick 'n' dirty giga za drugu godinu pandemije, čist, direktan rimejk malo uspešnog francuskog krimića, rađen za dosta egzotično uparenu kombinaciju MGM i Miramaxa. Ovo će možda biti i poslednji ,,pravi" MGM film pre nego što Jeff Bezos stavi studio u svoj džep...
No, quick 'n' dirty ovde nema konotaciju tezge. Wrath of Man odiše direct to video jednostavnošću i postupkom koji forsira uhodana rešenja i prepoznatljive trope, ali ovo je najpre na nivou scenarija koji je iako adaptiran u Americi, dosta veran originalnom preldošku. Sama režija je, naprotiv, često vrlo mišićava sa vidnim trudom uloženim u rešavanje više set pisova i ključnih scena kojima se film bez sumnje ne samo izdvaja od ,,prave" direct to video ponude, već i izdiže iznad proseka mejnstrim akcijaša našeg doba.
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Naravno Wrath of Man je prevashodno film koji ponovno ujedinjenje Guyja Ritchieja i Jasona Stathama koristi da Stathamovu action hero harizmu mitologizuje na način koji je ovaj odavno zaslužio ali ga nikada nije dobio. Statham je, naravno, Ritchiejevo otkriće ali iako mu je ovaj otškrinuo vrata mejnstrima, ispostavilo se da je vreme ,,tvrdih" mejnstrim akcionih heroja po modelu osamdesetih godina ipak prošlo i da se posledice toga osećaju i iznad i ispod zemlje. U mejnstrimu danas kao logičnu posledicu diversifikacije u ovom domenu imamo ljude poput Toma Hollanda ili Andrewa Garfielda u ulozi Spajdermena (za koju je svojevremeno Cameron spremao Van Dammea), Bena Afflecka kao Betmena, RDJ-a kao Iron Mana, i Toma Cruisea kao Jacka Reachera a čak i ,,pravoverniji" akcijaši poput, recimo, The Hitman's Bodyguard (https://cvecezla.wordpress.com/2017/10/29/film-the-hitmans-bodyguard/) i John Wick imaju u glavnoj ulozi Ryana Reynoldsa i, jelte, Keanua. Statham je – što je potvrđeno i prominentnom ulogom koju je imao kod Stallonea u The Expendables – akcioni star starog kova, sportski tip sa ekspertizom iz više borilačkih veština i solidnom uličnom harizmom, ali za razliku od Wesleyja Snipesa, Dolpha Lundgrena ili Stevena Seagala, koji su od njega i stariji, nikada nije dobio šansu da svoj kratki bljesak u mejnstrim produkciji konvertuje u B-karijeru kojom će kasnije sam kormilariti. Naravno, Statham je bio presudan u uspehu franšiza poput The Transporter i Crank ali je zapravo pažnju koju zaslužuje počeo da dobija tek kada ga je dobio priliku sa Fast & Furious, pa je Hobbs & Shaw i prvi film u njegovoj već dvodecenijskoj karijeri na kome je imao deo kreativne kontrole i ulogu producenta.
Hoće li Wrath of Man promeniti Stathamovu sudbinu? Nadam se da hoće u nekom procentu, ali nema nikakve sumnje da ga ovde Ritchie tretira kao GLAVNO jelo, podređujući čitav film njegovoj figuri, dajući mu ultra-tvrdi, R-rated svetonazor i tehniku. Statham je ovde ona vrsta efikasnog psihopate kakve Steven Seagal igra u većini svojih filmova, sa body countom koji ne impresionira toliko sirovim ciframa koliko efikasnošću, hladnoćom i pomanjkanjem ikakve emotivne reakcije na strani našeg heroja.
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Naravno, Stathamov lik ovde nije heroj i Wrath of Man je prevashodno revenge flick, što se, čak i ako ništa ne znate o Cash Trucku, vidi iz aviona, no Ritchie ovde razigrava svoje režiserske mišiće na jedan vrlo zabavan način, dajući nam narativ iz nekoliko činova a koji ne samo da svaki za sebe otkrivaju dodatni sloj zapelta već i prilično uspešno menjaju žanr filma.
Tako Wrath of Man počinje kao film Stevena Seagala koga režira Clint Eastwood i Ritchie se kreće na ivici parodije sa ultra-mačoidnim uvodom vezanim za losanđelesku firmu koja se bavi prevoženjem novca za banke i njene zaposlene koji – čak i kad su žene – svi deluju kao da kad prdnu to izađe bar litar i po čistog testosterona. Statham je ovde čovek koji ćuti i radi u ambijentu gde je bitno i šta pričaš i kako izgledaš i posle vrlo malo vremena postaje jasno da ovo neće biti strejt osvetnička priča.
Štaviše, drugi glavni deo filma ne samo da se žanrovski pretvara u heist movie već Ritchie ima smelosti da njegov najveći deo odradi bez Stathama, prebacujući se u michaelmannovski modus rada i dajući nam ,,drugu stranu" u neočekivano visokoj, jelte, definiciji.
Da ne bude zabune, Wrath of Man nema ambiciju da bude nekakav inteligentan film, pa čak ni ikakva polemika sa Mannom, on je pre svega spretno i ekonomično napravljen akcioni triler u kome shvatamo da ćemo do kraja balade videti veliki oružani sukob dve dobro opremljene profesionalne ekipe i, kada do njega i dođe, Ritchie pokazuje da mu režiranje akcije veoma ide od ruke.
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No, rekao bih da je Ritchie ovde najbolji u flešbekovima, u cirkularnom pripovedanju gde nas prolaskom kroz događaje iz poslednjih nekoliko meseci spiralno približava kulminaciji narativa, otkrivajući nam pojedinačne, ključne scene iz više prolazaka, dajući nam da postepeno sami sklopimo sliku šta se tačno i kojim redosledom dogodilo i ,,kupimo" emotivni ulog koji obe strane imaju u sukobu do koga će doći. Ovo je klasičan Ritchie koga znamo iz najranijih njegovih filmova – minus lepršavi, ,,ladovski" humor – i uživanje je gledati ovu vrstu ekspertize na delu.
Naravno, akcija je esencijalan deo ovakvog filma i nešto na čemu neretko drugi režiseri padnu – Nolan, kao najvidljiviji primer – ali Ritchie je još sa filmovima o Šerloku Holmsu prostudirao metodiku kreiranja detaljne, pažljivo koreografisane akcione scene i mada, naravno, Wrath of Man nema studiozni, artistički ton ovih mejnstrim radova, režija pucnjave je odlična i dobijamo uverljive, kompleksne scene u kojima se ljudi nalaze na različitim mestima i logično ,,komuniciraju" oružjem, pretnjama, uvredama, imaju logične taktike i prave logične greške. Ritchie ovde pokazuje da može da izađe na crtu mlađim, drusnijim likovima poput Naišulera (https://cvecezla.wordpress.com/2021/04/23/film-nobody/) ili Wrighta (https://cvecezla.wordpress.com/2017/10/15/film-baby-driver/) i da se ne izbruka.
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Naravno, nije ovo film bez mane – razrešenje je dosta ravno i bez mnogo mašte a iako Stathamov lik dobija puno vremena za back story i ovo su neke od najupečatljivijih scena u filmu, to zapravo ne doprinosi previše da njegova uglavnom ravna i jednodimenzionalna gluma u ključnim scenama u finalu dobije sloj uverljivosti koji bi pomogao identifikaciji na strani gledaoca. Statham nije veliki glumac, za razliku od, jelte, Daunija ili Mekonaheja (pa čak i Kavila) koji su znali da i emotivno iznesu Ritchiejeve filmove, ali jeste propisan akcioni heroj i šteta je da se ovde nije igralo makar na njegovu energiju.
No, Wrath of Man je intrigantan, zabavan, dinamičan i krvav i, sa dva sata trajanja, taman dovoljno ekonomičan da bude više od ultra HD omaža direct to video sceni, a da se ne pogubi u tarantinovštini koja je Ritchieju jedan od zaštitnih znakova. Suma sumarum, meni se ovo dopalo i rado ću gledati još ovakvog, efikasno i lepo snimljenog, pažljivo režiranog ali ne suludo ambicioznog Ritchieja a Stathamu će ovo, nadam se, pomoći da osvoji neke od pozicija koje mu bez sumnje pripadaju a izmiču mu decenijama.
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Onibaba, film koji je 1964 godine režirao Kaneto Shindo je jedan od kamena-međaša japanskog (žanrovskog i inače) filma i zanimljiv ogledni primer za to kako su se tokom šezdesetih godina formirali i formatirali žanrovski tropi u susretu autorskog pristupa kinematografiji, intenzivnog vizuelnog horora i narodnog nasleđea. Utoliko, Onibaba, iako daleko od SAVRŠENOG filma, jeste jedan od najbitnijih primeraka japanskog novog talasa iz šezdesetih godina i, danas, 2021. godine, pruža kvalitetno i intrigantno gledalačko iskustvo.
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Shindo je jedan od najdugovečnijih japanskih filmskih režisera i scenarista bilo koje generacije koji ne samo da je doživeo stoti rođendan – uprkos tome da je živeo u prefekturi Hirošima, a onda tokom Drugog svetskog rata bio u mornaričkoj jedinici gde je većina kolega poginula a preživeli su proveli nekoliko meseci u logoru – već je i maltene do smrti radio, pišući i režirajući nove scenarije. Nekome se, eto, zalomi da bude ne samo zdrav već i zdravo kreativan gotovo do poslednjeg daha, a Shindo je tokom svoje dugačke karijere režirao 48 filmova i imao od strane drugih režisera filmovane scenarije za još više od dvadeset. U početku svoje karijere (prvi film je režirao 1951. godine, kada je imao već bezmalo četrdeset godina) bio je kritikovan za nedostatak vizuelnog stila, ali je Onibaba, njegov osamnaesti autorski uradak već imao veoma naglašenu vizuelnu poetiku, besprekornu sinergiju između fotografije, montaže, tematike i memorabilnog saundtraka i izazvao jake reakcije kako u Japanu tako i u inostranstvu.
No, Shindo je i pre Onibaba već požnjeo solidan internacionalni uspeh. Njegov film iz 1961. godine, Hadaka no Shima (Golo ostrvo, da ne kažemo Goli otok) skrenu je pažnju na Shindov beskompromisni rukopis svojom prkosno crno-belom fotografijom, činjenicom da je u scenariju jedva bilo dijaloga, te brutalnim, a minimalističkim tretmanom socijalne realnosti male porodice iz prefekture Hirošima. Film je, kažu, spasao Shindovu produkcijsku kuću dobivši nagradu na Moskovskom filmskom festivalu i prodajući se veoma dobro, a režiser je, putujući na ovu manifestaciju, prvi put napustio Japan.
No, japanska ali i internacionalna publika je za Shinda znala i pre ovog naslova, jer je tokom pedesetih godina ovaj autor već izgradio domaću reputaciju socijalno angažovanim radovima, a njegov film iz 1953. godine, Deca Hirošime, koji se direktno bavio posledicom nuklearnog bombardovanja glavnog grada ove prefekture je prvi put prikazan na Kanskom festivalu i predstavljao praktično prvi kinematografski rad koji se ovako ozbiljnom temom bavio bez cenzurisanja od strane američke okupacione administracije.
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Shindo je, pak, posle Golog ostrva rešio da promeni autorski pristup i pomerio fokus sa direktne političke i socijalne kritike na unutra, tražeći srž političke i klasne podeljenosti društva, i verujući da ju je našao u rodnom i seksualnom identitetu. Shindovi radovi od šezdesetih pa na dalje će se tako baviti ljudskom seksualnošću i odnosima moći unutar seksualnih relacija i Onibaba je izvanredan primer filma koji na ime ovakve tematske orijentacije na neki način predviđa danas mnogo aktuelniji socijalni diskurs koji pomera fokus sa klasnog i osnove identiteta nalazi u rodu i seksualnosti. Razlika između Shinda i nasumično izabranog današnjeg zatočnika ,,kritičke teorije roda" sa tvitera je svakako što Shindo ovi filmom povlači jasnu vertikalu od rodnog do klasnog, ne zapostavljajući ulogu rada u odnosima u društvu.
U primeru izvrsnog lingvističkog sinhroniciteta, Onibaba bi se na Srpski jezik mogao prevesti kao ,,Demonska baba" mada bi čak i jednostavno ,,Zla veštica" bilo sasvim odgovarajuće – ovo je film koji Shindovu vernu saradnicu, glumicu Nobuko Otowa, ženu sa više od stotinu filmova u svojoj biografiji, stavlja u ulogu starije žene u ruralnom, vrlo primitivnom okruženju četrnaestog stoleća i trasira njenu putanju od klasno najpotlačenije do osvajanja svojevrsne ,,natprirodne" moći koja dolazi uz ogromnu cenu. Onibaba je film koji se, da bude jasno, sav vrti oko seksa i erotike, izmešanog sa nasiljem i ako to zvuči kao tipičan recept za eksploatacijski horor, treba naglasiti da se ovde radi o filmu sa jakom socijalnom dimenzijom i jednim vrlo iskrenim istraživanjem erotike i nasilja, dakle, bez trunke eksploatacije. Štaviše, u prvo vreme ovaj film nije ni bio klasifikovan kao horor i percipiran je samo kao istorijska, socijalna drama. S druge strane, imaginarijum koji Shindo kreira u poslednjoj trećini filma, zajedno sa tehnikama kadriranja, osvetljenja, montaže, korišćenja pokreta kamere i saundtraka nedvosmisleno je utemeljujući za ono što ćemo docnije percipirati kao japanski horor film.
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Pošto je Onibaba film o kome mnogo više ljudi priča nego što ga je gledalo, verovatno treba naglasiti da u njemu nema ničeg natprirodnog, ni eksplicitno, niti implicirano. Ovo JE socijalna drama smeštena u četrnaesti vek i kada se natprirodno u njemu pominje, protagonisti po pravilu reaguju kritikovanjem sujeverja i insistiranjem da se radi o bapskim pričama. Ne samo da ćemo čuti da nema pakla ni demona, jedan od članova malenog ansambla će eksplicitno reći da ,,Buda ne postoji". Naravno, sa druge strane Onibaba je i film koji se vrlo eksplicitno bazira na klasičnim (šin-)budističkim parabolama u kojima se ponavlja motiv žene što na lice stavlja masku demona da preplaši svoju ćerku samo da bi masku kasnije bilo moguće skinuti tek uz gubitak kože i komada mesa sa lica. U tom smislu, Onibaba je deo talasa obnovljenog interesovanja za folklor koji se dešavao tokom šezdesetih godina u Japanu – već smo pominjali da je Shugeru Mizuki sa svojim stripovima odradio ogroman deo posla na revitalizaciji interesovanja mlađih generacija za narodne priče o duhovima (https://cvecezla.wordpress.com/2021/04/13/procitani-stripovi-kitaro/)– ali se ovaj film ne bavi raznovrsnim i šarenim asortimanom priča i likova koje nudi šinto tradicija, odlučujući se za strožu, intenzivno moralističku etiku šin-budizma, kao i imaginarijum koji dosta duguje noh-teatru.
Opet, u prvom redu ovo je drama o ljudima – prevashodno ženama – koji žive na samoj ivici egzistencije, i snažno prevrednovanje moralnih vrednosti unutar zajednice ali i porodice u suočavanju sa tako fundamentalnim nagonima kao što su ishrana i seks. Utoliko, film je brutalan iako u njemu, u poređenju sa kasnijim, ,,pravim" hororima, nivo viscere nije tako visok. Štaviše, ubistva koja u filmu vidimo su snimljena u gotovo naturalističkom ključu, bez obzira na visoko simbolički, veoma ,,likovni" kvalitet okruženja i Onibaba nije film koji nastoji da izazove jezu i saspens, koliko da prikaže surovost života u jednom teškom vremenu i urušavanje tih nekih stubova društvenog ugovora. Ako pogledamo pažljivo, najmanje moralno problematičan lik u filmu je crnoberzijanac Ushi – koji preprodaje oružje opremu što su ih lokalni seljani skinuli sa mrtvih vojnika – a koga narativ isprva prikazuje sugerišući da je, eto, baš on očigledan kriminalac i eksploatator nejači. Ali Ushi nikoga ne ubija, za razliku od ostala tri lika u filmu koji su običan svet, ono što bismo danas zvali radnicima i seljacima, uhvaćen u vrtlog brutalnog građanskog rata (Haichi, drugi od tri muška lika u filmu se vraća sa fronta i kaže da je u Kjotou, nekadašnjoj imperijalnoj prestonici, pobijeno sve, uključujući guštere i pse) i koji je svoj svetonazor resetovao na podešavanja primarnog preživljavanja.
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Konkretno, dve žene koje žive same u kolibi od trske – i čak nemaju ni imena u filmu – će vrebati vojnike koji prolaze širokim poljima pored reke i, krijući se u iždžikljaloj trski, ubijati ih iz potaje, skidati sa njih opremu i oklope a tela bacati u duboku rupu skrivenu usred trske.
Sama rupa, naravno, predstavlja jasan ,,horor" motiv sa svojom ,,fizičkom" konekcijom sa ,,donjim svetom" i jasnim htonskim konotacijama. Film nam je naglašava na samom početku dajući nam i nedijegetičku informaciju o tome koliko je rupa stara – i ona je bez sumnje centralni motiv filma do mere da sam u nekim domaćim napisima video da je film i prevođen kao ,,Rupa".
No, opet, Shindo je ovde vrlo jasan, dajući nam sve vizuelne simbole koje ćemo povezivati sa ,,hororom", uključujući ogoljene skelete vojnika koje su dve žene bacale u rupu, ali držeći narativ čvrsto u (socijalnoj) realnosti. Žene rade to što rade jer od zemljoradnje ne mogu da prežive – muškarci su u ratu, život je jeftin i nesiguran. U pitanju su svekrva i snaja koje se nadaju da će se sin/ muž jednom vratiti iz rata ali kada se komšija Hachi vrati sam – obučen i odoru sveštenika koga je ubio usput, uz obrazloženje da se ipak lakše krećeš kada ljudi misle da si svešteno lice – i objavi kako je ovaj poginuo, to je začetak napetog trougla u kome seksualna žudnja i egzistencijalna napetost – svedena na nivo ispod klase, utemeljena na čistoj snazi jedinke – prete da unište ovu mikrozajednicu.
(https://i.imgur.com/PG3rbgN.png)
Onibaba je, za ono vreme možda i šokantno, eksplicitan film, ali sa jednom otvorenošću, neposrednošću na kakvu danas naprosto nismo navikli. Seks – i to manifestno vanbračni – je centralna tema druge polovine filma, a prizori ogoljenih ženskih tela su naturalistički, ali i relaksirano artistički slikani. Ovde ne samo da nema govora o eksploataciji već mi se čini da čovečanstvo nakon šezdesetih godina prošlog veka nikada ponovo nije imalo ovako prirodnu a elegantnu prezentaciju ljudske figure, sa nevinošću koja je pritom bila sasvim erotična, nimalo naivna. Shindo je, po svemu sudeći, pozitivan stav prema pogotovo ženskoj seksualnosti i identitetu, nasledio od svog mentora Kenjija Mizoguchija i ovo nije jedini film u kome će se baviti ovakvim temama.
To da su seks i smrt dve strane jednačine postojanja nije nimalo iznenađujuće i Onibaba je film koji svoju skasku o ljudima na ivici egzistencije i s onu stranu morala postepeno i metodično uvodi u finale što će biti brutalno i povezati ove dve dimenzije u krešendu koji izuzetno uspešno spaja Shindovo interesovanje za pronalaženje socijalne i političke tenzije u domenu ljudske seksualnosti i rodnog identiteta sa folklornim motivima krivice i kazne. Film, pritom savršeno balansira između racionalističke, moderne interpretacije narodnog predanja i slika koje su upečatljive, jezovite, ukorenjene duboko u kolektivnom nesvesnom i deljenoj simbolici.
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Shindov pristup filmu kao ,,umetnosti montaže" gde se ,,dijalektički spajaju pokretne i nepokretne slike" ovde je u prvom planu i Onibaba ima jedan izrazito sveden a opet bogat vizuelni rečnik. Odabir naoko beskrajnih polja trske za mizanscen je značio pakleno leto za ekipu koja je ovaj film pravila, ali je rezultirao vrhunski estetizovanim, gotovo na granici sna, prizorima prostora koji je istovremeno divalj i čoveku blizak, istovremeno pružajući utočiše ali i noseći neslućene pretnje. Oštra crno-bela fotografija Kiyomija Kurode izgleda izvrsno i posle skoro punih šezdeset godina, sa fantastičnim kontrastima i linijama, te pažljivim kadriranjem. Pogotovo je osvetljenje na setu vredno isticanja jer film ima mnogo noćnih scena koje su morale da budu snimljene po danu i gde je upravljanje senkama i osvetljenjem rađeno uz korišćenje panoa. Atmosfera koju film kreira tim pažljivo usmeravanim osvetljenjem je prosto izvanredna.
Naravno, Shindova uobičajena glumačka postava je sjajna ovde sa odličnom Otowom u ulozi titularne ,,babe" i takođe izvrsnim Keijem Satom koji ovaploćuje kompleksnu smešu testosterona i nemorala a bez upadanja u kliše ,,toksične muškosti". Niko, naravno, u ovom filmu nije nevin, pa ni njegov Hachi, ali Shindo za svoje likove ima i razumevanja i empatije i svaki od njih, ma koliko uloge bile svedene, ima višeslojnost. Pogotovo je, naravno, Jitsuko Yoshimura u svojoj jedinoj ulozi kod Shindoa pokupila pozitivne kritike i njena ,,mlada žena" je i sama gomila konfuzije, konfliktnih nagona, krivice, straha, žudnje...
(https://i.imgur.com/Ri72j1H.png)
Onibaba, rekosmo, nije savršen film; sa svojih stotinak minuta trajanja on komotno može da ih izgubi minimalno petnaest i da bude efektniji, sa srednjim činom u kome Shindo definitivno ne može da se odrekne ponovljenih scena Yoshimurinih trčanja kroz trščana polja u mešavini straha, strasti i osećaja slobode. Ovo su divni kadrovi, ali film definitivno svoje poente napravi a zatim ih nekoliko puta ponovi bez nekakve potrebne gradacije koja bi pravdala usporen tempo.
(https://i.imgur.com/rxilCdO.png)
Opet, reći da neki film nije savršen ne znači i da on nije klasik, a Onibaba pogotovo u svojih poslednjih petnaest minuta ima krešendo koje se pamti i koje je maltene svojeručno kreirao ogroman deo estetike i imaginarijuma budućih horor filmova baziranih na folkloru i narodnim verovanjima. Maska demona, duga, raščupana kosa, ikoničke poze, osvetljenje, kretanje kamere i kretanje samog lika, sve ovo u gledaocu, bez obzira na svu racionalnost do tog momenta forsiranu, ne može a da ne izazove sasvim iracionalnu stravu i fascinaciju.
Naravno, nikako ovde ne treba zaboraviti skor Hikarua Hayashija koji film počinje mešavinom tradicionalnih perkusija i abrazivnog džeza da bi tokom najvećeg dela ključnih scena gotovo sve što čujemo bili zlokobni timpani i kikot manjih, toniranih udaraljki. Finale u malenoj kolibi od trske, sa velikim drvenim čekićem koji zamenjuje Čehovljevu pušku okačenu o klin je maestralno i završava se jednim perfektnim kadrom koji – nakon svih rasprava o tome postoji li pakao ili ne – plastično pokazuje da pakao postoji i da je on – na samoj Zemlji.
(https://i.imgur.com/0vuN1sO.png)
Pošto je leto uveliko krenulo, za sve ljubitelje dobre kapljice rok muzike napravio sam mali mikstejp sastavljen od uglavnom vrlo sveže vrlo prijatne, heavy rock glazbe. Detalji na mom blogu, a tamo su i link za danuloud ili, ako ste skloniji TiCevi, ima i embedovan YouTube link:
DJ Meho: Driving to Sunrise Mixtape (https://cvecezla.wordpress.com/2021/07/02/dj-meho-driving-to-sunrise-mixtape/)
Meho, ako nastaviš sa recenzijama filmova možda se i trajno vratim na forum!
Pa, stiže sledeće nedelje još jedna....
Pogledao sam Nippon Konchūki odnosno The Insect Woman, kako je ovaj film poznatiji u internacionalnom kontekstu, veoma cenjeni japanski novotalasni film iz 1963. godine. Iako i japanski naslov – koji bi se doslovno mogao prevesti kao ,,japanske entomološke hronike" – referira na insekte, ,,žena-insekt" iz međunarodnog naslova je metaforična i radi se, da bude jasno, ne o nekakvom kaiđu-spektaklu već o izuzetno potentnoj socijalnoj drami koja je naredne, 1964. godine bila zapažena na Berlinskom međunarodnom filmskom festivalu a fantastična Sachiko Hidari je tom prilikom dobila i Srebrnog medveda kao najbolja glumica u festivalskoj konkurenciji.*
*te je godine i naša Mira Stupica imala jednu malu ulogu u jednom nemačko-jugoslovenskom filmu prikazanom na Festivalu
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Shōhei Imamura, režiser ovog filma i jedan od autora scenarije je, naravno, jedna od stožernih figura japanskog novog talasa. Život od prodaje cigareta na crnoj berzi posle japanske kapitulacije u Drugom svetskom ratu (Imamura je 1945. godine napunio devetnaest), i sudbinska projekcija Kurosawinog Rashomona (https://cvecezla.wordpress.com/2020/06/22/film-rashomon/) kojoj je prisustvovao mogu se prepoznati kao najznačajniji uticaji na njegova interesovanja ali i pristup pravljenju filma. Shimamura je studirao Istoriju ali se više, kažu, bavio političkim aktivizmom nego učenjem. Ipak, diplomirao je a onda se bacio glavačke u svet filma, prvo kao asistent Yasujiru Ozuu, japanskoj režiserskoj veličini još iz ere nemog filma, od koga je – ističući da se sa Ozuom nije slagao u pogledima – ipak pokupio svoj trejdmark fokus na partikularnosti japanskog savremenog društva. Nastavio je kao asistent Yuzou Kawashimi, sa kojim je i napisao veliki hit Bakumatsu taiyōden iz 1957. godine, a što mu je nesumnjivo utrlo put do osvajanja autorske pozicije. Svoj prvi film Imamura režiraće već naredne godine, gde je demonstrirao poseban pristup režiji i obradi tema, a koji mu nije doneo mnogo simpatija na strani studija što je od koautora scenarija za uspešnu komediju nastavio da traži lakše, zabavnije filmove, pa je Imamura narednih par godina morao da balansira između svojih interesovanja i argatovanja na seriji komedija u kojima naprosto nije mogao da izrazi ono što je želeo.
Međutim, film iz 1961. godine, Buta to gunkan (Svinje i bojni brodovi) odjeknuo je kao bomba jer je Imamura ne samo pogodio temu već i vreme što su rezonirali sa velikim protestima iz 1960. godine u kojima se tražilo okončanje američke kontrole Japana (iako je okupacija zvanično okončana 1952, u Japanu je naširoko bilo rašireno – ne sasvim neutemeljeno – uverenje da SAD ekonomski ograničavaju ostrvsku naciju). Imamura je u ovom filmu imao jakuze, prostitutke, silovanja od strane američkih vojnika i mada je osvojio Plavu vrpcu kao film godine u Japanu, studio Nikkatsu je bio zaplašen da Imamura ide prejako i prebrzo pa mu sledeće dve godine nije bilo omogućeno da snima.
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No, kada se vratio u bioskope 1963. godine, to je bilo remek delom: The Insect Woman je film koji je u velikoj meri definisao japanski novi talas i bio najava za seriju kritičkih, često satiričnih, pseudodokumentarnih a kasnije i dokumentarnih filmova u kojima će režiser secirati japansku stvarnost, japanski mentalitet, japansku tradiciju i modernizaciju društva, često držeći kameru vrlo blizu tla (da ne kažemo dna) i pokazujući kako oni na margini žive u društvu koje se sa jedne strane ubrzano menja a sa druge održava u životu strukture koje i na margini osiguravaju raslojavanje i krvavu borbu za opstanak.
Naravno, najpoznatiji Imamurini filmovi doći će kasnije, i on je jedini japanski režiser do danas koji je dobio dve zlatne palme za svoje filmove, a prvi od kojih je bila nova verzija Balade o Narajami iz 1987. godine, jedan istovremeno odmeren, elegantan a brutalan film o nečemu što je deo tradicije ali ga to ne čini manje zastrašujućim.
The Insect Woman je, pak, lepršaviji film – snimljen, uostalom, dvadeset godina ranije, posle dvogodišnjeg posta – i prikazuje Imamuru u karakteristično britkom izdanju sa filmom koji je prava toboganska vožnja kroz scene i situacije tokom svoja dva sata trajanja a koji, iznenađujuće, ne ostavlja utisak fragmentiranosti ili užurbanosti. Imamura proleće kroz skoro pola stoleća života svoje protagonistkinje Tomé Matsuki, prikazujući bez gubljenja koraka koliko će se zemlja i društvo u Japanu promeniti između 1918. i 1961, demonstrirajući neverovatno lak rukopis kojim tretira ne samo te velike društvene promene već i vrlo ozbiljne i teške lične teme, kreirajući priču što je većinu vremena izuzetno naturalistička, sa samo povremenim elegantnim izletima u artističke (i satiričke) scene kreirane oko stop-kadrova.
(https://i.imgur.com/tOvbgFz.png)
The Insect Woman je, nažalost, i veoma aktuelan film za naš današnji trenutak jer se on u velikoj meri bavi onim što bismo danas nazvali zajedničkim terminom ,,seksualno nasilje". Imamura je već tretirao silovanje kao snažan motiv u prethodnom filmu ali The Insect Woman je naglašeno slojevit i naglašeno složeniji narativ koji prikazuje različita lica seksualnog nasilja nad ženama, kao ne incidenata vezanih za strast ili lokalizovane socijalne fenomene, već kao deo same strukture društva, kako bi se to danas reklo, ,,kulture silovanja" koja je tu da održi tradicionalne strukture moći na čijem vrhu su uglavnom, jelte muškarci.
No, Imamura nije značajan samo zato što razobličava nešto što danas znamo da je istina – da je nasilje koje žena trpi u nekom životnom dobu često samo nastavak nasilja koje je trpela i u prethodnim dobima – već i jer je udario jaku kontru tradicionalnom prikazu žena koje trpe nasilje, poglavito legendarnom japanskom režiseru starije generacije Kenjiju Mizoguchiju koji je kroz svoje filmove iskristalisao jedan model žene-heroine koja trpi iskušenja i žrtvuje se, demonstrirajući time svoju imanentnu plemenitost. Mizoguchijeva heroina-mučenica je doživljavana praktično kao ideal u jednom periodu i time je Imamurino preokretanje svega naopačke toliko značajno i toliko doprinelo – možda i više nego njegova dinamična, britka režija – percepciji toga da je novi talas nešto zaista suštinski novo i drugačije.
Vrlo konkretno – kako film sugeriše i naslovom i prvom scenom u kojoj se buba vidi kako tvrdoglavo hoda preko nanosa zemlje, ni ne pokušavajući da izabere pametniju putanju – kod Imamure je nasilje, uključujući seksualno, PRE SVEGA seksualno, ne incident, već sastavni deo života, a žene koje ga trpe nisu idealizovane martirke koje uzdišu, mole se i pronalaze apstraktnu snagu u sebi da preteknu*, već igračice koje su na možda najteži način naučile da je sve to igra moći i da u njoj one i same imaju deo te moći.
*Naprotiv, kada protagonistkinja flertuje sa religijom u ovim filmu to je rađeno u izrazito satiričnom ključu
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Utoliko, iako po jeziku sa kojim barata Imamura ne asocira na Brehta, njegovo nimalo patvoreno shvatanje položaja u kome se osobe sa socijalnog dna nalaze jeste brehtovsko po suštini. Imamura je, ako tako možemo da kažemo, brehtovski solidaran čak i kada njegov film, zapravo pokazuje onu staru da nasilje rađa nasilje i da će eksploatisani postati eksploatator onda kada mu se ukaže prilika, kada malo bolje nauči igru i osvoji – što bi moj bivši kolega Sekula rekao ,,na pičku" – dovoljno moći da može i sam da diktira neka od pravila.
Utoliko, protagonistkinja Tomé Matsuki rođena je u siromaštvu i u provinciji, od strane majke kojoj nije naročito bilo stalo do ćerke – da ne pominjemo da se ne zna baš najtačnije ni ko je otac – prvi ljubavnik joj je bio poočim, jedan jednostavni, radišni seljanin koji, UPRKOS tome da ga u filmu gledamo kako povaljuje i usvojenu ćerku pa posle i NJENU ćerku, zapravo biva jedna od retkih pozitivnih figura, čovek koji nudi podršku kada je potrebna i nikada ne napušta porodicu do koje mu je stalo. Tomé dalje prolazi kroz prvo za selo uobičajene faze praktično prodavanja devojke za ženidbu – a što propada zahvajujući njenom temperamentu – pa onda kroz rad u fabrici gde rat ali i njen libido komplikuju sve, da bi na kraju završila u gradu kao prvo guvernanta, zatim prostitutka a onda i madam.
Narativ o životu Tomé Matsuki je pričan ne samo brzo i neverovatno slojevito, serijom praktično polaroida koji savršeno, bez trunke praznog hoda ili teatralnosti prikazuju ključne scene njenog razvoja i odrastanja, već i na višem nivou prikazuje i evoluciju japanskog društva, njegovu urbanizaciju, poraz u ratu, život pod okupacijom, pa onda i onaj u ranoj demokratiji nacije koja je krenula da sebe ponovo gradi. Iako se film bavi izrazito mračnim temama, on ima i jednu suptilnu satiričnu crtu – Tomé sama u jednoj sceni iznenađeno i malo uvređeno kaže da je ovo danas demokratija – iako radi u strogo zabranjenoj privrednoj grani i prepire se oko toga koliko se para dobija za prostituisanje.
Najveći poklon koji Tomé dobija od Imamure kao scenariste i režisera je to da ona nije prikazana kao žrtva već kao neko ko preživljava. I to ne na jedan patetičan, nikako na jedan idealizovan način kako to, nažalost, neretko ume da bude slučaj u ,,woke" pričama o ženama koje preživljavaju nasilje. Ovo uostalom ne bi bilo korisno za Tomé ali ni za priču jer je poenta metafore o ,,ženi insektu" ta da je nasilje socijalni problem i da Tomé, kao deo društva ima deo svoje odgovornosti da ga spreči. Ona to, nagađate, ne čini, naprotiv, ulazeći u igru čim dobije mrvu moći, drukajući one iznad sebe, kasnije eksploatišući one ispod sebe, i napredujući na socijalnoj lestvici na ime pomanjkanja skrupula i skrivanja iza hinjene solidarnosti. Utoliko, Tomé nije heroina kakvu priželjkujemo ali APSOLUTNO jeste heroina kakva nam je potrebna iako je ne zaslužujemo, žena koju Imamura nikada neće poniziti prikazujući je kao žrtvu, ali kojoj neće dopustiti da pobegne od činjenice da je često – saučesnik.
Čak i u sopstvenoj ekspoataciji – Tomé ne zaobilazi ni onaj najgori momenat u kome muškarca koji je prvo bio njen sugar-daddy pa se posle prebacio i na njenu ćerku jer mu je mlađe, dakako, slađe, prvo najstrašnije narani govnima –PREVASHODNO iz ljubomore – i obeća mu da će da mu uništi život, da bismo ih kasnije videli kako zajedno jedu i diskutuju o tome kako ona da mu pomogne da on svoje odnose sa njenom ćerkom izgladi. Imamura ovde savršeno rukuje ekstremno kompleksnom materijom i kombinacijom motiva i karakterizacija, prikazujući koliko su odnosi nesrazmerne moći u društvu zapravo nepravični ali koliko ih likovi prihvataju kao prosto zadate vrednosti iz kojih moraju da izvuku ono najbolje što mogu. Iako film nimalo uzdržano kritikuje samu Tomé i pokazuje je kao nedvosmislenog krivca za perpeturianje ciklusa nasilja i eksploatacije koji, eto, stižu i njenu ćerku, on se ni u jednom trenutku ne postavlja na neku moralno superiornu poziciju iznad nje, stalno pokazujući da je umetnost jedno a da je svakodnevni život nešto drugo i da u ovom drugom zapravo stalno razmišljate kako ćete platiti svoj sledeći obrok.
(https://i.imgur.com/AjOfocA.png)
Žene u ovom filmu su ili prostitutke ili radnice na farmi, neke su i jedno i drugo, jedna je udata za američkog oficira pa opet završi kao prostitutka – ali one nikada nisu patetične žrtve koje treba žaliti već naprotiv, jasna i očigledna radnička klasa koja nema ni onaj marksistički prpleterski glamur oličen u tehnološkim sredstvima za proizvodnju. Ovo su žene čija su sredstva za rad doslovno njihova tela – i u jednom sasvim jasnom i genijalnom povlačenju linije spajanja, ta tela se jednako koriste za rad na farmi i za rad u bordelu ili na telefonu – i Imamura ovde besprekorno barata i psihološkim portretima ali i širom društvenom analizom da spoji ono što danas levičarski autori često ne umeju da prepoznaju kao deo istog kontinuuma eksploatacije i pobune: klasu i rod.
(https://i.imgur.com/H5yEolc.png)
No, pravi genij ovog filma je svakako u tome kako njegov autor, krijući se iza (svakako satirično intonirane) objektivnosti jedne, jelte, ,,entomološke" hronike odnosno studije, uspeva da pregršt teških tema – od pomenutog seksualnog nasilja, preko japanske kapitulacije u Drugom svetskom ratu, eksploatacije radnika na selu, prostitucije, eksploatacije radnika u gradovima, korupcije, ilegalne prostitucije i rada na ulici u kome je žena ženi, jelte, vučica – obradi lako, sa puno duha (nikako i ismevanja) besprekorno prelećući iz brutalnog naturalizma u savršeno koreografisane satirične minijature stop-kadrova. The Insect Woman nema nužno (pseudo)dokumentarnu formu koju će Imamura kasnije istraživati, ali uspeva da kroz svoju zaslepljujuće brzu montažu i opsesivnu pažnju za svaki detalj u svakoj od mikro-scena koje je snimio, pred gledaoca iznese grandioznu a nenametljivu cikličnu, ponavljajuću strukturu nasilja i eksploatacije u društvu gde su, u skladu sa onom Ničeovom, robovi više nego spremni da porobe sami sebe kada u blizini nema gospodara. Ovo se postiže neprebrojnim savršenim – prirodnim a opet do u zarez perfektno vođenim – dijalozima, besprekornim psihološkim portretima zapravo povelikog ansambla u kome likovi, iako ih viđamo na po svega nekoliko minuta imaju neophodne dubine i slojeve, i njihove interakcije su sažimanja čitavih društvenih prevrata (npr. odnos Tomé i njene Madam, ali i odnos Tomé i njene ćerke, i odnos njih obadve sa zajedničkim sugar daddy likom, Karasawom, koji bi po prirodi stvari morao da nam bude odvratan ali čak i on je trodimenzionalno ljudsko biće sa autentičnim emocijama i povremeno simpatičnim momentima), konačno izvanrednom glumom.
(https://i.imgur.com/CwzzaBj.png)
Sachiko Hidari ovde suvereno dominira ansamblom i njena izvedba u kojoj je gledamo u ogromnom broju scena što spajaju više od tri decenije života je fantastična, ali svi glumci su izvrsni, sa besprekornom facijalnom mimikom i karakterom koji i Madam i Karasawu čine životnim i uverljivim. Jitsuko Yoshimura koja će naredne godine glumiti u Onibabi (https://cvecezla.wordpress.com/2021/06/25/film-onibaba/) ovde igra ćerku protagonistkinje i njena je uloga, možda i najteža jer treba da priđe najbliže prototipu ,,žrtve" – dakle žene koja trpi i žrtvuje se i u patnji pronalazi transcendenciju – a da ne padne u mizogučijevski kliše, plus da na kraju, i to sa vrlo malo pojavljivanja pred kamerom, pokaže pragmatičnost i otškrine vrata kojima se može otići novim putem. The Insect Woman se završava u blatu, to je tačno, ali ne bez nade, naprotiv, zatvarajući krug na topao i optimističan ali ne i patetičan način. Patrijarhat – struktura moći ali i praksa eksploatacije koju ovo podrazumeva – je u ovom filmu osvetljen sa mnogo strana ali njegovo finale je dato u ruke isključivo ženama koje uprkos nominalnoj ,,slabosti" demonstriraju moć da ne možda celo društvo, ali njegovu mikro-ćeliju u kojoj žive učine ravnopravnijom i solidarnijom. Pa, malo li je?
(https://i.imgur.com/mgIQB2e.png)
Pogledao sam Los Muertos, drugi celovečernji film argentinskog režisera po imenu Lisandro Alonso, snimljen 2004. godine, a koji se vodi i kao centralni deo njegove labave trilogije o ,,usamljenom čoveku" kome prethodi La Libertad iz 2001, a za njim sledi i Liverpool iz 2008. Alonso je na sebe privukao solidnu pažnju sa La Libertad, koji je prikazan na Kanskom festivalu u selekciji Un Certain Regard što se bavi filmovima snimljenim na, recimo, dugačiji način, pa je Los Muertos, nastao tri godine kasnije jedan vrlo naglašeno sveden, skoro do parodije spor i odmeren arthouse film, urađen i uz izvesnu produkcijsku podršku što je došla iz Francuske, koji me je, moram priznati, malo i podsetio koliko je snimanje u stilu koji neobično podseća na Dogme 95 doktrinu – mač sa dve oštrice. Ili u ovom slučaju, naoštrena mačeta koja je jedan od centralnih motiva u filmu.
(https://i.imgur.com/bt1JtFH.png)
Alonso ne spada u ,,zvanične" Dogme 95 stvaraoce ali ako bismo išli redom, Los Muertos ispunjava veliku većinu zahteva sa znamenitog spiska. To da je autor potpisao sebe i ekipu na kraju je svakako prestup, ali ovo pravilo Dogme je kršio i sam Von Trier praktično od samog starta. Drugde, film ima muziku samo na odjavnoj špici što je skoro pa po pravilima (jer, da je SVE po pravilima, odjavne špice ne bi ni bilo), ali možda je najveće odstupanje od Dogme izvrstan rad kamere za koji je bio odgovoran Cobi Migliora i gde, mada u filmu nema veštačkog svetla, svakako imamo korišćenje stativa i manipulaciju sočivima za jedan od najimpreisvnijih pojedinačlnih elemenata filma. Drugi izvanredno impresivan element je zvuk koji je sniman ,,na lokaciji", bez foley room dosnimavanja, ali je snimljen savršeno i miksovan fantastično za jednu hipnotičku taspiseriju zvuka džungle što okružuje gledaoca skoro sve vreme.
Los Muertos je, da bude jasno, izuzetno snimljen film, sa besprekornim kadriranjem i hvatanjem ,,akcije" koja se u filmu vidi tako da se istovremeno dobije snažan naturalistički naboj ali i vrhunski artizam koji uspeva da pronađe likovnost u dugačkim, nominalno veoma banalnim scenama hodanja, veslanja, jedenja ili pijenja, lakih radova priručnim alatom... Snimljen duboko u argentinskoj provinciji, Los Muertos koristi mizanscen džungle i siromašnih naselja na rečnim ostrvima da postigne jednu skoro mitološku dimenziju u svom kazivanju. Ovo je film sa vrlo malo dijaloga – a i to malo što ima je sasvim banalno i izgovaraju ga uglavnom naturščici – a čiji je ,,narativ" putovanje, uglavnom lišeno tradicionalnih dramskih tropa, čija se simbolika pronalazi upravo u toj ispražnjenosti od ,,događaja" i reflektuje sa samih, prirodnih ,,kulisa". Šuma je ovde simbol koliko i čista likovna slika isprepletanog granja i senki koje one kreiraju blokirajući sunčevu svetlost – ovo film praktično manifestno podcrtava dugačkom prvom scenom gde nemo kretanje kamere kroz scenu u džungli i, čini se beskrajne, krošnje drveća i igre svetla (i sočiva kamere koje se ne fokusira na sve planove jednako) hipnotiše gledaoca koliko i hor zrikavaca, tako da tragovi nasilja koje mu pogled skoro slučajno okrzne deluju praktično artistički – kao što je simbol i voda, kako ona kojom se glavni junak umiva i kvasi kosu da se odbrani od sunca, tako i ona koja ga, kada nađe čamac, vodi sporo ali sigurno, ka njegovom cilju.
(https://i.imgur.com/8GTl5Xc.png)
Lisandro Alonso je vrlo svestan da radi sa odličnim kamermanima i njegov film zaista gotovo fetišistički snima okruženje. Smena ruralnog, veoma siromašnog, ali ipak civilizovanog okruženja sa početka i divlje prirode u drugoj polovini filma je intenzivna a sa njom se i glavni junak ,,razmotava" pred gledaocem, pretvarajući se iz bića ,,društva" (on na početku funkcioniše u zajednici, bavi se zanatom, učestvuje u trgovinskoj razmeni) u biće prirode, sa minimalnim tehnološkim pomagalima na raspolaganju i jednim surovim survivalističkim nastupom.
Film je, video sam to na nekoliko mesta, kod gledalaca sa raznih strana izazvao poređenja sa Konradom i njegovim Srcem tame, ali ovo je i pomalo površna paralela, jer je Los Muertos zapravo direktnija polemika ili makar varijacija na zajednički uzor – Homerovu Odiseju. Naravno, ovo je u neku ruku kontra-odiseja, kao što je bilo i Srce tame, sa glavnim junakom koji se ne vraća svojoj ženi već ćerki i koji ne dolazi iz rata već iz zatvora.
(https://i.imgur.com/97UOsPI.png)
Argentino Vargas je ime protagoniste ali i glavnog glumca, naturščika izuzetno upečatljive pojave, koji na početku filma izlazi iz zatvora posle kazne odslužene za ubistva. U jednom uzgrednom razgovoru oko polovine filma pominje se da je ubio svoju braću ali na to on samo kaže ,,ne sećam se, davno je bilo, idem dalje" i ovo kontekstualizuje scenu sa početka za koju smo ionako intuitivno znali da je flešbek*ali i, donekle, baca gledaoca na krivi trag u pogledu traženja dubljeg karaktera u Vargasu.
* koji bi, ako neko i dalje vodi evidenciju, i sam bio zabranjen u okviru pravila Dogme 95, pogotovo sa mrtvim telima koja krše tačku šest
Da bude sasvim jasno, njega on neće naći – Alonso, uprkos onome što je pre neku godinu pisao, recimo, Marko Pandurović (http://filmske-radosti.com/recenzije/los-muertos-lisandro-alonso-2004/), nije zainteresovan da nam prikazuje unutrašnji život bilo koga, ponajmanje protagoniste koji je pre svega delatna figura, čovek sa jasnom voljom, jednostavnom agendom i jednom preduzimljivom energijom. Njegove scene u kojima Vargas komunicira sa drugim ljudima su urađene vrlo veristički, sa elegancijom čoveka koji ne samo da voli i poštuje naturščike već koji razume i ume da sažme život u provinciji i u priličnom siromaštvu, sa ljudima koji verovatno i jesu drvodelje i prodavci, u radnjama, dvorištima sa živinom i kučićima, te kućama koje nemaju tekuću vodu već sveprisutne plastične kanistere, kasnije i kućom koja je samo puno najlonskh pokrivki zakačenih za grede.
(https://i.imgur.com/wfsodxh.png)
No, Alonso nije zainteresovan ni da nam priča o ovim ljudima niti će oni pričati o sebi – Vargas pri kraju filma vodi razgovor sa dečakom koji se bavi stolarijom i mora praktično da mu čupa iz usta odgovore na pitanja je li posao dobar i da li se okej plaća. Ovo nije socijalna drama već pre svega portret ,,usamljenog čoveka" koji se bolje vidi na pozadini gde su kontrastirane mikrozajednice i divljina.
Sam Vargas u filmu sve što radi – radi stopostotno, i kada jede i kada pije, i kad vesla, i kada jebe i kada mačetom seče i okresuje veliku granu da je koristi kao alatku, i kada nalazi gnezdo divljih pčela, zapali vatru i zaštićen dimom izvadi gomilu saća iz njihove košnice. Ovo su sve scene snimljene bez žurbe, iz jednog kadra, sa glavnim junakom koji ZAISTA radi sve što lik u filmu radi, preduzimljivo, spretno, bez suvišnih pokreta, sa jednom dominantnom ,,tehničkom" inteligencijom koja nema interesovanja za diskurs i teoretisanje već se ovaploćuje u čistoj primeni. Ovde bi se svakako mogla razvijati dalja teorija o tome kakav je ZAPRAVO Vargas čovek, sa svojih malo reči i, reklo bi se, manifestnim odbijanjem refleksije, je li ZBOG TOGA on ubica ili su to dve sasvim odvojene crte njegove ličnosti, ali ovo je svakako krivi trag i Los Muertos je film koji apsolutno sa sebe otresa višak filozofije i analize.
(https://i.imgur.com/inUZaZx.png)
Što svakako treba ceniti jer se film, kao i njegov protagonist postvaruje isključivo kroz akciju – čin snimanja i montiranja ovih scena je ono što je ,,kreiranje" ovog filma trebalo da iznedri, ovde nema dubljeg značenja, čak ni poziva na potragu za njim, sem potvrde kroz akciju koja je elegantna, efikasna i daje rezultate po sebi.
(https://i.imgur.com/u70cTO2.png)
Što je sve lepo, no uvek treba biti i malo sumnjičav prema umetnosti koja sebi stavlja u zadatak da prenosi nefiltriranu stvarnost. Naravno da je ,,uokvirivanje stvarnosti" legitiman umetnički postupak, koji može da pruži izvrsne, jelte, estetske rezultate, ali Los Muertos je film koji svakako pada u zamku svoje fascinacije ,,zanatom" odnosno tehničkom izvrsnošću rada koja se, čini se, nudi kao krajnja vrednost. Što, naravno, nema zaista veze sa umetnošću u smislu stvaranja vrednosti. Los Muertos, kao i svoj protagonista, pruža scene i kadrove savršeno kadrirane i izvedene u svojim radnjama, ali baš kada se gledalac zapita ,,dobro, ali je li to sve?", on na to nema drugi odgovor sem da ubije životinju pred kamerom.
Scena u kojoj Vargas ubija a zatim od droba čisti kozu je apsolutno perfektna u tehničkom smislu, potpuno fascinantan prikaz savršenog zanatskog umeća glavnog junaka koji ne samo da život oduzima brzo i efikasno već i životinju čisti od utrobe poput vrhunskog poznavaoca kozje anatomije, bacajući creva i druge organe preko ivice čamca i brišući trbušnu duplju krpom namočenom u reci. Ali ta je scena i podsećanje na to da umetnost, kada prezre svoju ART-ificijelnost i u potrazi za ART-izmom mora da posegne za ,,stvarnim", ume da izgubi svoju duhovnu dimenziju i grubo, pa čak i glupo, nam podmeće ,,realno" kao umetnički sadržaj.
(https://i.imgur.com/t7SCV5X.png)
Razume se da je ovo i svojevrsna subverzija – mislili ste da gledate čoveka koji GLUMI da ubija, gledajte sada čoveka kako UBIJA – ali, ponovo, ona samo podseća da autor filma zapravo nema šta da kaže – niti to želi – i da se nada da će ,,stvarnost" govoriti umesto njega. Ovo dalje rekontekstualizuje sve dugačke kadrove koje smo pre toga videli, sve te naoko beskrajne scene u kojima kamera snima zemlju, oblake ili reku duže nego što se išta na planu te pozadine događa. Alonso nam, mislili smo, daje prostor za kontemplaciju, ali Alonso, ispostavlja se, ne želi da mi kontempliramo jer se u njegovom filmu ne radi ,,zaista" o bilo čemu što zahteva reflektovanje, analizu ili kontempliranje. Njegove scene su žive i potentne KADA se dešavaju, i kada se završe, one nemaju dalja značenja niti simbolike koje treba povezati u jedno semiotičko tkanje filma. Kada se u poslednjem kadru kamera spusti do figurice koja, svojim položajem na zemlji podseća na telo dečaka koje smo videli u flešbeku na početku filma, ovo je skoro pa parodičan gest ka ,,zatvaranju kruga", udica za publiku koja misli da ovde i dalje treba naći neko značenje.
Njega, kao i Odisejeve Penelope, u ovom filmu na kraju – decidno nema, a Los Muertos je fascinantan mada, za moj ukus, umetnički faličan film koji ne mogu da zaista preporučim na ime njegove konfuzije u pogledu toga koliko umetnost treba da bude ,,iskrena" i odustajanja od umetničkog postupka na ime vrhunskog zanatstva. Naravno, ono što vidimo jeste često vrhunski zanat, ali film, na kraju, treba da ima hrabrosti da nešto i kaže.
(https://i.imgur.com/CvmzfL1.png)
Hitman's Wife's Bodyguard je nastavak filma koji ni sam nije imao neko veiko opravdanje da postoji i kao takav je praktično pokazna vežba iz ceđenja suve drenovine. No, kvalitetan ansambl, dobra kamera i nadahnuta režija akcije pomažu da se zamaskira činjenica da je, scenaristički gledano, u pitanju Writer's Block – The Movie. Ja sam prilično nezahtevna osoba kada su u pitanju akcione komedije pa sam prvi film iz ovog sada već serijala, The Hitman's Bodyguard, odgledao sa popriličnim zadovoljstvom (https://cvecezla.wordpress.com/2017/10/29/film-the-hitmans-bodyguard/). Čak i tako, nastavak je film na kome sam srazmerno više puta u jedinici vremena prevrtao očima i čudio se što su glumci od ipak popriličnog kalibra iskorišćeni da izgovaraju replike koje kao da je pisao talentovani trinaestogodišnjak kome neko tek danas dopušta pristup internetu od pre desetak godina.
(https://i.imgur.com/SnjmyxB.png)
Prvi očigledan ,,problem" koji Hitman's Wife's Bodyguard mora da smisli kako da savlada je sadržan već u samom naslovu. Originalni film je bio buddy akcijaš u kome je kontrapunkt između strejt mena i namazanog komedijaša bio postavljen sasvim klasično pa je Ryan Reynolds glumio blago socijalno neukopljenog i kontrolfrikastog belca na strani zakona a Sam Jackson virilnog i cool Afroamerikanca sa karijerom u plaćenom ubijanju i haosu. Postavljanje njihovih ,,boljih polovina" nasuprot obojici je služilo da se imanentni nihilizam koji ide uz ovaj žanr ublaži i da se film okrene ka jednoj vrlo buržoaskoj ideji važnosti porodice i davanja prostora svom partneru u životu (uprkos karijeri) a sve to na pozadini prikaza ,,Evrope" kao mesta na kome se i dalje događaju ratni zločini sa kjima birokratizovano i obezljuđeno tamošnje društvo ne ume da se snađe. Tako je evropska multikulturalnost prikazana kao nefunkcionalna i nesigurna u sebe a američka kao jedinstvo suprostavljenih opozita koji uprkos svemu imaju jak osećaj za pravdu izdignut iznad administrativnih definicija i začkoljica koje pristup pravdi u Evropi sasvim onemogućuju.
No ovaj film pokušava da ovu simetriju nadgradi time što beži od dualiteta i ulazi u trougao. Élodie Yung više nije u postavi ovog filma pa je Ryan Reynolds sada proverbijalni treći točak u odnosu Salme Hayek i Sama Jacksona a koji je, taj odnos, u izvesnoj krizi na ime toga što njih dvoje pokušavaju da naprave dete a ne ide im.
(https://i.imgur.com/Io4x9wV.png)
Oduzimanje Reynoldsu partnerke i njegova dalja dosledna infantilizacija* su jasni signali da ovaj film, i pored svog R rejtinga, zapravo ide još dalje prema gledaocu iz moderne srednje klase i vrlo je lako zamisliti Hitman's Wife's Bodyguard kao (pseudo)indie komediju od pre dvadesetak godina u kojoj je Reynolds prodavac nekretnina iz finije suburbije u nekom kalifornijskom mestu koji iako ima novac i ugled nije srećan u životu i zbog toga mu i karijera trpi, a malo divlji meksičko-afroamerički par iz komšiluka mu svojim glasnim seksom ometa sesije joge i meditacije pa se oni malo sporečkaju, onda jedan vikend, slučajno provedu zajedno i na kraju on nauči neke važne lekcije.
*u jednoj sceni je komični pančlajn doslovno to da on dobro razume žene zahvaljujući svojoj izraženoj aseksualnosti
I zbilja, da nema mnogo pucnjave, opscene količine psovanja i body counta koji bi postideo i mladog Stallonea, Hitman's Wife's Bodyguard bi bio upravo takav film – odnosi likova su baš takvi, replike su pomalo zastarele u svojim humorističkim ambicijama, rasna postavka je upravo takva da se belac sa svojim ,,default" identitetom predstavi kao skup kontradiktornih teza i mentalnih neuravnoteženosti gde je terapija jedini način da se postigne iole prihvatljiv nivo socijalne funkcionalnosti a pomenuta aseksualnost je zapravo simptom impotentnosti na jednom dubokom planu gde čovek sumnja u sve u vezi sa sobom i ima sasvim nerešene odnose sa roditeljskim figurama u svom životu. Nasuprot tome, Latina i muškarac afričkog porekla su u potpunoj harmoniji sa svojom prirodom, nemaju etičkih dilema niti sumnji u to šta rade u životu i jesu li ,,najbolja verzija sebe", njihov problem je zapravo sasvim biološke prirode a i on, kako se saznaje do kraja, potiče od belog čoveka.
(https://i.imgur.com/XOp6EXD.png)
No, naravno, Hitman's Wife's Bodyguard je PARODIJA na ovakve filmove a njegov problem je što ne uspeva da napravi dovoljan odmak od njih. Da se razumemo, na korak je to od uspeha i meni je, uz pomenuta prevrtanja očiju, gledanje i ovog filma bilo sasvim korektno zabavno ali primetno je da sam tekst filma naprosto ne ume da se snađe sa pomenutim potrebom da se parodiraju ti tropi srednjeklasne komedije sa početka veka i da su se scenaristi verovatno nadali da će glumci izvući prilično ravan tekst, a da će britka režija Patricka Hughesa nadomestiti ostalo.
Drugim rečima, Hitman's Wife's Bodyguard bi i pored sve pucnjave, tuče i prolivene krvi morao da ima i radikalnije zasecanje u sam tekst kako bi zaista funkcionisao. R rejting, nesputano psovanje i visok body count upravo zbog Hughesove brze i elegantne režije naprosto ne grade dovoljan odmak od te lagane buržoaske komike* u kojoj Reynoldsov lik na početku filma na savet svoje terapeutkinje uzima godišnji odmor i ostavlja na telefonu poruke ,,budućem sebi", samo da bi na silu bio uvučen u špijunsko-akcioni zaplet gde je na kocki čitava, jelte, ,,Evropa" a njegov omiljeni frenemy koga igra Jackson i njegova supruga, prevrtljiva i snalažljiva ali i nezaustavljiva Salma Hayek i sami bivaju uvučeni u zaplet, igrajući na strani ,,dobrih momaka", ne bi li osujetili zaveru grčkog industrijalca što želi da kazni Evropsku uniju zbog sankcija uvedenih njegovoj domovini.
* i ne trudi se, Reynolds je, recimo, skoro čitav film obliven krvlju ali kada treba da vidimo scene mučenja, iako mučitelj oštri sečiva, na kraju se kao jedina alatka koristi tejzer...
(https://i.imgur.com/5mwz0ij.png)
,,Kako mali Đokica sa američkim pasošem zamišlja Evropu" bio je osnov dosta parodijskog materijala i prvog filma a ovde su stvari pomerene još nekoliko koraka u pravcu farse. Grčkog bogataša igra Antonio Banderas – ofarban u plavo – teroristi će hakovanjem čvorišta mreže podataka srušiti sve najvažnije infrastrukturne servise ,,u Evropi" (kao privju služe scene iz Zagreba gde između pucanja gasnih instalacija gledamo i kako se u, jelte, nepostojećem metrou, vozovi otržu kontroli), a posle Holandije iz prvog filma, nastavak je napisan tako da prikaže turističke lokacije u Grčkoj, Italiji i Hrvatskoj. Naravno, ovde nema ni trunke prepoznavanja ikakvog mediteranskog identiteta, svi ,,Evropljani" prikazani su kao mišmeš sasvim bezukusnih, neprepoznatljivih ,,neameričkih" karakteristika – jedina ,,etnička" šala u filmu je na račun škotskog ženskog imena koje američkom liku zvuči slično kao ,,asshole" – i film ima vrlo malo ikakvog namernog podteksta u ovom smeru, što ga čini osetno plićim od prvog.
Ne da je prvi isuviše insistirao na tom ,,Evropa kako je vidi Amerikanac koji nikada u njoj nije bio" pogledu, ali Hitman's Wife's Bodyguard je pre svega komedija u troje, narativ u kome su i tekst i podtekst vezani za to da su Hayekova i Jackson nominalno begunci od zakona koji žele da začnu porodicu dok je Reynolds socijalno neuklopljeni samac koji je jedini legitimitet nalazio u svom poslu – a otkad je izgubio licencu nema nikakav legitimitet i to ga razobličuje kao emotivno nezrelog prikrivenog Edipovca koji sebe krivi za smrt majke a oca, ,,najvećeg telohranitelja u istoriji profesije" nikada neće dostići.
(https://i.imgur.com/0e187M8.png)
Film svakako ima dražesne momente u razradi TOG narativa sa uvođenjem Morgana Freemana kao očinske figure i finalnim bosfajtom koji lepo zaokružuje nekoliko tema vezanih za to emaskuliranje, ,,aseksualizovanje" i simboličku kastraciju koju Reynoldsov lik trpi, samo da bi finalna scena donela simpatičan komični preokret, no ovo je uglavnom nauštrb buddy energije koju je prvi film izgradio. Ne da mi smeta sama Salma Hayek – ona glumi iz sve snage i deluje kao da se dobro zabavlja čak i kada je primorana da izvodi tako niskohumorističke gegove kao što je pričanje sa britanskim naglaskom – ali scenario nikako ne uspeva da u trouglu postigne istu energiju koju je imao na relaciji dva para u prethodnom filmu. Dodatno, mada zaplet ovde zaista nije imao potrebu da bude kompleksan i slojevit da bi protagonisti imali opravdanje da jurcaju unaokolo po Evropi, Hitman's Wife's Bodyguard se jedva drži na okupu skupom mekgafina koje bi danas čak i scenaristi videoigara smatrali suviše nerazrađenim. Primera radi, podzaplet sa elektronskom narukvicom koja će eksplodirati ako se kofer sa važnim šiframa bude udaljio više od pet metara na duže od trideset sekundi, a koju nosi Salma Hayek, jedva da se ikako pominje posle scene u kojoj je uveden.
Ako se sve to može progutati, a ja sam ga progutao sa entuzijazmom, uključujući bukvalno bolnu glumu Dragana Mićanovića koji, nažalost mora da zarađuje za koricu hljeba igrajući istočnoevropske gangstere što su na evolutivnoj lestivici nešto ispod šimpanze, vredi istaći da Hitman's Wife's Bodyguard ima i taj dobri ansambl koji čak i kada radi sa nenadahnutim tekstom, može da kreira uspešne komične scene i plasira čak i slabo napisane replike sa kvalitetnim komičnim tajmingom. Svakako ostaje žalost što sam tekst nije radikalniji – R rejting je garantovao slobodu da se pored psovanja uđe dublje u identitetske i rodne teme a koje su samo dotaknute, ili makar u smeliju dekonstrukciju žanra koji se parodira* – ali film ima crtanofilmovsku energiju (uključujući ponavljajući, praktično looney tunes geg u kome Reynoldsa udaraju kola i bacaju u vazduh a posle mu nije ništa) i glumce koji znaju kako se glumi licem, kako intonacijom glasa, kako telesnom mimikom pa čak i ovakav tekst uspevaju da izdignu na nivo konzistentno zabavnog.
*film je naravno, sasvim svestan svoje derivativne prirode pa kada se pojavljuje podzaplet sa ženom koja je pala sa broda u more i izgubila pamćenje, ne jednom već dva puta se izgovara ime filma i dvoje glavnih glumaca iz produkcije iz koje je ovo citirano**
**Overboard iz 1987. godine, naravno
(https://i.imgur.com/sztGxqC.png)
Tu ponovo dolazimo do režije Patricka Hughesa koji verovatno neće biti zapamćen kako nekakav ,,auteur" ali koji i od ove salate referenci i ispraznih replika pravi brz, dinamičan, zabavan film o kome samo ne treba razmišljati previše. Posebno još jednom treba istaći da Hughes akcione scene snima sa izrazito mnogo entuzijazma i da su koreografija, kamera, montaža i kaskaderski rad u njima iznad nekakvog američkog akcionog proseka, sa uvek vidnim naporom da se kreira jedinstven set pis. A ja sam ipak čovek kome je to, kada gleda akcioni film, među najvažnijim elementima.
(https://i.imgur.com/4Gj9mk2.png)
Ima ovde prostora i da se primeti kako je, sa druge strane, ta Hughesova brzina režije, i lakoća kreiranja kompleksnih akcionih scena koje neosetno prolete, možda i deo problema jer Hitman's Wife's Bodyguard i na ime ove komponente ostavlja taj utisak potpune ispražnjenosti od ambicije da nešto kaže izvan svog fake-indie-comedy sloja. Akcija je ovde tretirana kao garnirung i mada spada u najbolji deo filma, ona nema nikakvog uticaja na likove, njihove odnose ili njihov rast i razvoj. Život se u ovom filmu oduzima tako lako i bez ikakvih daljih posledica po ičiju psihu da je utisak zaista da gledate crtani film, a kako smo ove godine već imali Nobody (https://cvecezla.wordpress.com/2021/04/23/film-nobody/,) kao podsećanje da akcioni film kroz akciju može nešto i da kaže (iako je i ovde u pitanju na kraju krajeva jedna priča o srednjeklasnoj porodici i njihovim odnosima), nije nerezonski da takve stvari zahtevamo i od drugih.
No, Hitman's Wife's Bodyguard je brz, plitak i pitak film, prelepo slikan, ekonomično režiran i mada nikada nije radikalno duhovit, nikada i ne prestaje da bude zabavan. Ako je to definicija idealnog letnjeg filma, molim lepo, upravo smo ga pogledali.
(https://i.imgur.com/wyzM0bf.png)
Ostaviću ovo ovde, pa nek svi vide:
https://www.odiseja.rs/konkursi/konkurs-recenzije/
Osam hiljada dinara deluje mi kao suludo mnogo čak i uz format od 10.000 karaktera po tekstu i činjenicu da autor od tih para dobije oko 5.000 zbog preza i doprinosa. Poređenja radi, ja sam za poslednje tekstove za Popboks, tamo negde 2013. godine dobio oko 1200 dinara a moj poslednji plaćeni tekst u životu je bio 2014. godine za Dajners magazin i on je bio nešto duži portret Marine Abramović za koji sam, na ugovor, dobio čini mi se oko 30 evra. Ovi daju više od toga a, er, nisu Dajners magazin. Mislim, sjajna prilika, to hoću da kažem, pa ko ume da piše svakako ovo treba da proba pre nego što nestane.
Piše 8000 *neto*. Dakle autor dobija toliko. :lol:
Sad, časopis ne izlazi često, i sigurno ne može da stane bađilion prikaza u pojedinačni broj, tako da su to downsidesi....
To je još luđe onda. Mislim, naravno, oni možda žele da imaju jako kvalitetne tekstove pa zato plaćaju ovoliko, ali ovolika cena po tekstu je moguća samo ako imaš nekakvu ozbiljnu dotaciju (mislim, čak je i Popboks živeo od toga, a ne od reklama) ili ako si paravan za pranje para... Kako rekoh, ovo je prilika koja se svakako ne propušta ako pišete i želite da budete za to plaćeni.
"Plan je da konkurs ima između nula i pet objavljenih članaka"
Quotesociološke pozadine stripova...
Ko li bi to mogao da se opari? :)
ZStef!!!!!!!
Sociološki gledano, Tabasko Pit je Australijanac, al ovaj Finegan mu falsifikovo pasoš.
A, lepo. Znam o čemu bi moglo da se piše sa velikim šansama da se to prihvati u tih 5 članaka - sami su nagovestili pravac u konkursu - ali zeza me ta "aktuelnost". Strip, relativno star, tema zaista nikad aktuelnija, ali sam strip nije objavljen ni najavljen kod nas.
To zvuči sjajno! Šalji! :lol:
Ridiculusov tekst o Eternalsima Jacka Kirbyja bi mogao biti i suviše napredan za časopis o nauci u društvu iz Zemuna :lol:
Nema veze sa tim. Ni blizu nije toliko staro, a i ne verujem da sam igde ikad pominjao.
ma bre 10.000 karaktera, to je 3-4 strane, šta tu ima da se dubinski analizira
Pa napišeš na 30-40 strana, pa izvadiš suštinu! :lol:
ali... suština je neoliberalizam, u tome je problem!
doduše, skoro sve serije su neoliberalne
Pogledao sam film Entotsu no mieru basho aka Where the Chimneys are Seen aka Four Chimneys, a koji je režirao legendarni japanski autor Heinosuke Gosho. Snimljen 1953. godine Entotsu no mieru basho je bio prikazan na trećem berlinskom filmskom festivalu, ali nije učinio mnogo na pronošenju autorovog imena na zapadu, no danas se smatra jednim od 3-4 najvažnija Goshoova filma, velikim delom i time što izvrsno epitomizira žanr u kome je najviše radio, dramu, neretko sa elementima komedije, o ,,običnim ljudima", pripadnicima niže srednje klase ili radnicima u predratnom i posleratnom Japanu, na zapadu nazvanu ,,shomin-geki".
(https://i.imgur.com/ZUcbO9Z.png)
Reč ,,shomin" označava proleterijat, a ,,geki" je drama, no kovanica je zapravo kreirana od strane Donalda Richieja i Josepha L. Andersona da obuhvati različite filmove iz različitih perioda za koje su u Japanu koristili termin shoshimin-eiga gde bi shoshimin bila ,,sitna buržoazija", a eiga, jelte, ,,film". Distinkcija nije presudna ali je svakako bitna utoliko što pokazuje razliku između onog kako je Japan video sebe u ovim filmovima a kako su ga videli – pritom vrlo naklonjeni i dobro upućeni – Amerikanci.
Gosho je jedan od najvažnijih japanskih filmskih režisera već i po tome da se u istoriju upisao kao autor prvog japanskog ton-filma, komedije Madamu to nyōbō iz 1931. godine u kojoj dramaturg sedi i pokušava da napiše pozoriušni komad dok ga ometa zvuk glasne džez-svirke iz susednog stana. Ovo nije bio prvi Goshov autorski film, ali jeste u dobroj meri sadržao mnoge motive i filozofske pristupe koji će beležiti i njegove docnija, važnija dela, pa i Entotsu no mieru basho o kome danas pričamo, snimljen osamnaest godina kasnije.
Gosho je izuzetno važan za istoriju japanske kinematografije i po nizu drugih osnova, kao cenjen autor koji je za vreme rata na sve načine nastojao da ublaži militaristički ton propagandnih filmova koje su svi u to vreme morali da snimaju, kao solidaran kolega koji se svrstao uz otpuštene štrajkače iz studija Toho 1948. godine iako je do tog vremena već bio zvezda (i radio za konkurentski Shochiku), kao preduzimljiv autor koi je 1951. osnovao sopstvenu produkciju, Studio Eight, koja je i uradila ovaj film, kao predsednik japanskog Udruženja režisera od 1964. go 1980. godine, kao jedan od prvih filmskih autora koji je ekstenzivno radio za televiziju i to kao scenarista, kao jedan od režisera koji su prdeloške za svoje filmove tražili u ,,ozbiljnoj" literaturi, izbegavajući popularne ljubiće i druge lake žanrove, kao posvećeni autor haiku pesama i direktor Japanskog Haiku udruženja...
Gosho je radeći za Shochiku dobro izučio zanat i svrstava se među najvažnije autore koji su radili za ovu veliku produkciju (a koja može da se pohvali kako je u svojoj dugoj istoriji stala iza ogromnog broja važnih imena: Keisuke Kinoshita, Kenji Mizoguchi, Akira Kurosawa, Masaki Kobayashi, Takeshi Kitano, Takashi Miike...), ali najveći deo njegovih filmova iz dvadesetih godina, pa i iz tridesetih godina prošlog veka je danas ili teško dostupan ili se smatra izgubljenim. Gosho je tokom samo tridesetih godina prošlog veka režirao 36 filmova od kojih se danas može naći manje od deset. Njegov posleratni rad je bolje očuvan ali on nije bio posebno poznat na zapadu sve do znatno posle svoje smrti 1982. godine kada su počele da se rade retrospektive.
Sa druge strane, u Japanu je Gosho bio veoma uspešan i njegovi filmovi su pogađali perfektnu ravnotežu između ozbiljne socijalne drame i zabavne, elegantne, dobronamerne komedije (o našim, jelte, naravima) tako da ih je publika volela i u njima pronalazila sebe, te razloge da plače i da se smeje. Shomin-geki odnosno shoshimin-eiga filmovi su, kažu, i nastali u Shochiku produkciji pa je Gosho bio neko ko je perfektuirao jedan popularan žanr.
(https://i.imgur.com/tm1xMuN.png)
Predmet našeg današnjeg interesovanja, Entotsu no mieru basho je primer rada autora koji je do 1953. godine već izuzetno izbrusio svoj rukopis a radeći za sopstvenu produkciju, bio u stanju da napravi tačno ono što želi pa pričamo o filmu koji zaista sažima i prirodu svog žanra ali i Goshov humanistički pristup likovima i njihovim pričama. Dimnjaci iz naslova odnose se na četiri visoka fabrička dimnjaka u Tokiju koji za stanovnike siromašnih predgrađa, kao najviši i najupečatljiviji element horizonta predstavljaju neku vrstu orijentira ka budućnosti u kojoj Japan grabi ka poziciji moćne industrijske sile, ali imaju i određena zbunjujuća, gotovo magična svojstva s obzirom da se iz različitih mesta u predgrađu ponekada vide samo dva, ponekada tri a ponekada sva četiri dimnjaka. Naravno, to da je život, uspeh u životu i uživanje u tom uspehu stvar perspektive nije naročito inovativna metafora, ali film i ne insistira na njoj, ovo nije teška, reflektivna priča opterećena dugačkim šutnjama već brza, lepršava, laka ali ne i plitka drama sa elementima komedije o ljudima koji žive u prljavom, siromašnom kraju – glavni junak i narator na početku filma ovo potanko objašnjava gledaocu ukazujući i da kad god padne kiša stanovnici ovog predgrađa strepe od poplava*– i zatiču sebe u neobičnim, pa i teškim situacijama, ali nikada ne gube svoje ljudsko dostojanstvo.
*mada u mnogim scenama kasnije pada kiša a poplava nema. Opet, blato je prominentno prisutno i ima važnu simboličku funkciju, sa omiljenim gubljenjem papuča u istom koje su koristili, čini se, svi japanski režiseri ove generacije
Priča Entotsu no mieru basho je bez sumnje ono što je gledaocima u Japanu u ono vreme bilo najinteresantnije. Baziran na romanu poznatog japanskog posleratnog romanopisca i dramaturga po imenu Rinzō Shiina, ovaj zaplet nas uvodi u kuću u kojoj žive dva para – jedan venčan a jedan koji se tek, jelte, muva – sa sve gomilom budističkih sveštenika koji svako jutro bučno udaraju u bubnjeve i mole se na sav glas, dok glavni junaci kunu sebi u bradu, ustaju, oblače se, umivaju i idu na svoje slabo plaćene i ne naročito zahvalne poslove. Ryukichi Ogata radi kao ćata i zarađuje toliko malo da njegova žena, Hiroko tajno uzima da radi razne privremene poslove samo da bi par koji vrlo pazi na to kada ima seks jer ne može sebi da priušti dete, sastavio kraj sa krajem. Kada muž ovo otkrije, veoma se naljuti jer smatra da je nedopustivo da žena suprugu radi iza leđa, pa makar i iz najbolje namere. Naravno, ovde više radi sujeta nego što je u pitanju nekakav stvarni problem – posebno što Ryukichi posle uzme te pare i mesto da ide na posao igra pačinko – ali kako je on Hiroko drugi muž – za prvog ona tvrdi da je poginuo u bombardovanju Tokija 1945. godine – u njemu bujaju sve moguće sumnje. Naravno, kad jednog dana dođe sa posla i zatekne u stanu bebu umotanu u ćebiće, ovo gotovo potpuno demolira njegovu sliku sveta, ove porodice, i samog sebe. Hiroko ga uverava da nema pojma odakle ova beba i kome pripada, a on je ubeđen da je ona i dalje udata za svog prvog muža, da ga je sve lagala, i da će sada oboje ići u zatvor zbog bigamije...
(https://i.imgur.com/XNpFp5V.png)
Ovo je zaplet koji, svakako, ima očigledne komičke predispozicije i Gosho ovo režira da se izvuče fina, dobronamerna komedija iz Ryukichijeve konfuzije, uvređenosti, straha, pa i iz njegovog pokušaja da navuče na sebe bezosećajnu fasadu i naredi ženi da reši stvar dok on sve ignoriše i igra pačinko. Ken Uehara je sjajan kao zbunjeni, uvređeni muž koji menja raspoloženje i stav po tri puta u trideset sekundi.
Drugi par koji živi u kući je nešto mlađi – Kenzo radi kao poreznik i nesrećan je jer od sirotinje koju obilazi u svom reonu uzima i poslednju crkavicu, dok je Senko mlada, samostalna i moderna žena (koja nosi pantalone), zaposlena na lokalnom radiju gde joj se posao sastoji od stalnog čitanja reklama uživo u programu. Njih dvoje su katalizator koji pomaže da se teška i napeta situacija u braku Ogatinih nekako pomeri sa mrtve tačke. Kenzo je energičan i pomalo smešno – ali dobronamerno – pravdoljubiv kada odluči da on lično uzme nekoliko slobodnih dana i potraži pravog oca – i majku, ako je ima – i stvar reši unutar nekakvih granica civilizovanog društva. No, finale filma, predvidivo, ima nekoliko neočekivanih preokreta a neki od likova se pokazuju kao više od pukog stereotipa kako nas film prvo navodi da ih vidimo...
(https://i.imgur.com/OVLc6SR.png)
No, zaplet, takav kakav je, zapravo i nije najveća vrednost filma kada ga gledate danas, skoro sedamdeset godina od njegovog nastanka. Gosho je uvek u sebi nastojao da pomiri crowdpleasera koji igra za publiku i pruža joj poštenu zabavu za njezin teško stečeni novac, smeh ali i suze u dobro odmerenim dozama, ali i ,,ozbiljnog" autora koji društvo posmatra oštrije, sa likovima radi snažnije, i u tkivo socijalnih tema zaseca dublje nego što bi obična laka komedija zahtevala.
Prikaz blatnjavog predgrađa Tokija u prvoj godini nakon okončanja američke okupacije, prikaz njegovih stanovnika koji nisu ona najgrđa gologuzija i sebe, zapravo doživljavaju kao poštenu srednju klasu, ovo je veoma vredan, dragocen zapravo element ovog filma, sa jakim kulturološkim podtekstom koji gotovo uzgredno razgrće priču i ukazuje na socijalne teme koje se ne mogu potisnuti ni komedijom ni samo ličnom dramom.
Životi u kući sa papirnim zidovima, gde jedna porodica drugima izdaje sobe, a svi onda praktični dele isti prostor u kome se sve čuje i, posledično, sve i zna, su ovde predstavljeni besprekornim, izvanredno ekonomičnim švenkovima kamere i montažom koje nas zajedno sa protagonistima smeštaju u kuću koja je i neka vrsta sažetka dela posleratnog Japana u malom. Ovo je Japan koji se još brže urbanizuje nego tokom prethodnih pedeset ili šezdeset godina, u kome i ljudi koji gaze po blatu i idu bosi po kući, spavajući na tatamiju i grejući stopala na čajniku, sebe smatraju građanima i kada krenu na posao obuku pristojna zapadnjačka odela i stave šešire. Žene više ne traže svoju samorealizaciju samo kroz uspelu udaju, naprotiv, film na nekoliko primera, koji su svi komični u određenoj meri, praktično ismeva ovu ideju: Hiroko mora da radi tajno od svog muža jer u svojoj kvazimačo, kvazikonzervativnoj pozi on smatra sopstvenim neuspehom da mu supruga ima posao (da ne pominjemo sada šta je STVARNO bilo s njenim prvim mužem, ne treba baš sve spojlovati); Senko će se možda udati za Kenzoa, ali mu ona otvoreno kaže da ga jednako voli i ne voli, što deluje komplikovano ali mnogo iskrenije od onog što svom mužu govori Hiroko, a ova žena koja radi i nosi pantalone uzgred napominje da je iskusna u podizanju dece iako se nikada nije udavala. Njena koleginica Yukiko se oblači kao američka filmska zvezda jer je postariji direktor nišani da mu bude ljubavnica koju će dovesti da živi kod njegove kuće ali čak i ona se opasulji na vreme i izuje visoke štikle, hodajući nasmejano po blatnjavom drumu predgrađa bosa ali slobodna u finalu filma. Posle svega i Katsuko, koja deluje kao puki kliše žene niskog staleža i još nižeg obrazovanja demonstrira jednu prirodnu mudrost i etiku i mada ovaj film nije nikakav feministički šoukejs, nesumnjivo je da žene u njemu efikasno, iz drugog plana demoliraju ideju da su im sudbine određene udadbom.
(https://i.imgur.com/UhxzlN2.png)
Istovremeno, pošto je ovo socijalni realizam sa velikom dozom optimizma (Goshovi zapadni uticaji ubrajaju majstore socijalne komedije poput Ernsta Lubistcha i Charlieja Chaplina), i muškarci na kraju uspevaju da se prizovu pameti i svako od njih posle svega uradi nekakvu pravu stvar. No njihovi likovi su nesumnjivo infantilniji i u neku ruku naivniji, pa i bespomoćniji od likova žena – jedan od njih na kraju izvršava samoubistvo (srećom, u elipsi) čime jasno signalizira kraj ere u kojoj su muškarci bili ti koji definišu brak ili životni put svojih supruga.
Ova promena paradigme koju film prikazuje iz drugog plana provučena je maestralnom, brzom režijom i efikasnom montažom koje su bile zaštitni znak Goshovog rada, a saundtrak velikog Yasushija Akutagawe je izvanredno važan za atmosferu filma, spajajući Akutagawine ruske uticaje sa holivudskim feelgood orkestracijama.
(https://i.imgur.com/SfZu2St.png)
Heinosuke Gosho je svoj poslednji film snimio 1968. godine, praveći lutkarsku predstavu na platnu baš u vreme kada je feministička, i uopšte levičarska agenda počela da potresa gotovo čitavu severnu hemisferu. Entotsu no mieru basho je pitak i dobronameran film koji gledaocu nije u lice gurao svoje agende ali koji je bez sumnje iz pozadine najavljivao taj talas što će promeniti svet. Dodatno, kao jedan od najboljih predstavnika svog žanra on je i dobar lakmus-test za ,,shvatanje" Japana. Povezivanje ovog žanra sa proleterima od strane zapadnih kritičara je svakako posledica i jakog siromaštva koje i ovaj film pokazuje, ali povezivanje ovog žanra sa ,,građanima" je presudno za japansku sliku o sebi i likovi u ovom filmu, čak i kada su vrlo siromašni i bez perspektive, čuvaju dostojanstvo i ljudskost koji mogu da svima služe za uzor. Kao takav, ovaj film i danas ima svoje mesto u istoriji filma i pruža nešto manje od dva sata dobrohotne, optimističke ali ne i plitke zabave.
(https://i.imgur.com/1BTjMdy.png)
dobro jutro mehane, ikono sagite, i živio ti nama još 50 godina!! xcheers
prolete vreme :lol:
Mehmete pa ti deliš zodijački znak sa mojom suprugom i ćerkom! :lol: Nije to bez vraga!1!!
Ako tvoje tijelo bude odveć slabo da doživi 2071. stavićemo tvoj mozak u teglu, ovo je obećanje!
Quote from: Father Jape on 24-07-2021, 09:16:49
Mehmete pa ti deliš zodijački znak sa mojom suprugom i ćerkom! :lol: Nije to bez vraga!1!!
Ako tvoje tijelo bude odveć slabo da doživi 2071. stavićemo tvoj mozak u teglu, ovo je obećanje!
EDIT: Od silnog uzbuđenja sam se zabrojao; supruga pada u drugi znak. :facepalm:
:lol: :lol:
Nema veze, važno da smo tu negde, ja sam ionako valjda prvi dan Lava tako da verovatno nemam neke ozbiljne lavovske atribute.
Hvala vam, dragi moji, ovaj jubilej ne bi imao značaja bez vas :| :| :|
ti granični znaci su najjači!
Meho kaćeš naučit astrologiju, to je nauka.
srečan rodžendan!
Hvala, hvala, i nikad, jer, da sam hteo da naučim neku nauku verovatno bih izabrao medicinu ili nešto od čega ima vajde i za mene i za svet. :lol:
očigledno si ovan u podznaku! 8-)
:? I to postoji? Jel' to isto što i jarac ili su to actually dva različita podznaka?
dete džejp, tetkino zlato, ima suprugu i dete :? :lol:
Quote from: Meho Krljic on 24-07-2021, 14:11:07
:? I to postoji? Jel' to isto što i jarac ili su to actually dva različita podznaka?
kako si uopšte živio i disao do sada bez razlikovanja zemljanih i vatrenih znakova, ccc
sad moram da znam kakav je to fenomen
https://horoscopes.astro-seek.com/birth-chart-horoscope-online
al moraš znati tačno vrijeme rođenja
Nekih 20 minuta po ponoći, ako sam dobro zapamtio šta mi je pokojna majka ispričala.
Živeo Meho!
I Komunistička partija Jugoslavije!
imaš u rodnom listu vrijeme, ali prije toga zastrašujući rezultat je da smo isti podznak - bik
jopet s rogovima!
ma isti ste, to se vidi iz aviona nas-rofl
evo bolji horoskop, pa da vas vidim. ja sam INFJ-A. logično xrofl
https://www.16personalities.com/free-personality-test (https://www.16personalities.com/free-personality-test)
mehane, đe je torta na SFašizmu?
Your personality type is:
Architect
INTJ-T
o ne, piše "nerd" u objašnjenju
Quote from: lilit on 24-07-2021, 15:34:41
ma isti ste, to se vidi iz aviona nas-rofl
lako je njemu, rođen pod srećnim saturnom i jupiterom, njegovo vrijeme tek dolazi
smooth-talking Venera u kući komunikacije, naš kaću ja to imat
Nema torta, 50 rođendan se ne slavi, to je više ko neki avansni parastos :|
bogami, ja next year pravim big party, ovako nešto https://youtu.be/arZZw8NyPq8 (https://youtu.be/arZZw8NyPq8) xanix
svi ste pozvani! :lol: :lol: :lol:
Quote from: Labudan on 24-07-2021, 16:05:50
Quote from: lilit on 24-07-2021, 15:34:41
ma isti ste, to se vidi iz aviona nas-rofl
lako je njemu, rođen pod srećnim saturnom i jupiterom, njegovo vrijeme tek dolazi
smooth-talking Venera u kući komunikacije, naš kaću ja to imat
pošto je gore pokazano da si nerd, mogao bi mi meni da odradiš horoskop i kažeš mi presudu :idea:
će ti gatam
mada pojma nemam haha
https://horoscopes.astro-seek.com/birth-chart-horoscope-online
ovdje doduše kad popuniš dosta tumačenja ti izbaci
baci sliku natala kad popuniš da vidimo kaka ti je sudbina
prosto ne mogu odoliti tim glupostima.
(https://s20.directupload.net/images/210724/dlkazm3j.jpg)
bato, budi koristan, spanska sela, interpretiraj, zovi trukija, sta god... nista ne razumijem, ali znam da imam najbolji horoskop! beat this!
sretan rodjendan mehi, mislim, bah...
najbolje da popuniš isti obrazac kao lilit, da vidimo koje đaole imaš u škorpiji
Quote from: džin tonik on 24-07-2021, 23:09:05
sretan rodjendan mehi, mislim, bah...
Hvala, hvala, pa da se ovako okupimo i naredne godine!
Meho, srećan jubilarni i od ovog konja matorog! :|
Sa zakasnjenjem, srecan rodjendan!!!
HB Meho. Da igraš "igrice", lupaš one tvoje bubnjeve, i pišeš nam recenzije bar još 50 godina.
Sent from my SM-A715F using Tapatalk
Hvala momci, skoro da poželim da živim još bar pet kad me ovako obaspete pažnjom :| :|
Black Widow je nesumnjivo značajan film za Marvel i Disney po više od jednog kriterijuma. Ovo je prvi film iz Marvelovog filmskog univerzuma koji Disney lansira nakon velikog poremećaja distribucije i generalnih praksi vezanih za bioskopsko gledanje filmova, pa je tako ovo i film koji paralelno sa ulaskom u bioskope pušten i na Diznijev Disney+ striming servis, da oproba sreću i na kućnom frontu. Iako je ovako nešto uradio i Warner sa svojim Wonder Woman 1984 (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/)(i to mu se isplatilo jer je film mlako primljen u bioskopima imao dosta uspešniji istovremeni juriš na dnevne sobe), moglo bi se argumentovati da Disney ovde igra nešto kompleksniju igru sa serijom, well, SERIJA za svoj striming servis koje su poslednjih godinu dana održavale vatru i gradile smisleni most između prethodno završene, treće faze Marvelovih filmova i četvrte koja ,,zvanično" započinje sa Crnom udovicom.
(https://i.imgur.com/eSAmFUq.png)
Ovo je, dakle, i po tom kriterijumu značajan film jer je završetak treće faze bio ne samo obeležen spektakularnim povezivanjem niti u Avengers: Endgame već i smenom generacija u kojoj je deo glumaca čiji su honorari u međuvremenu solidno porasli ispraćen iz Diznija, jedan deo, uglavnom sporednih likova zadržan za striming serije, a naredna faza filmske produkcije će se dobrim delom oslanjati na eksploataciju novijih likova (Captain Marvel (https://cvecezla.wordpress.com/2019/03/11/film-captain-marvel/), Doctor Strange, Ant-Man, Black Panther (https://cvecezla.wordpress.com/2018/02/16/film-black-panther/)...) i uvođenje i sasvim novih (Snag Chi, Eternals, pa i, može se argumentovati, Fantastic Four). Tu je i treće krilo, sa jakim franšizama koje se i dalje nastavljaju, ali uz dosta inovacija (Guardians of the Galaxy, Spider-man, Thor) a verujem da će petu fazu konačno obeležiti puna apsorpcija i eksploatacija X-Men franšize u svom, jelte, prirodnom okruženju.
Black Widow je ovde predstavnik nečeg odvojenog jer se radi o liku koji datira još iz prvih Avengersa a koji je tek sada dočekao svoj solo film, kasneći i za ,,novajlijama" poput Ant-Mana, Dr Strangea ili Captain Marvel iako je Disney ovde ne samo imao odlično primljen i odlično realizovan lik već i jedan dokazani glumački kapacitet (i popularno lice) u liku Scarlet Johansson. Svakako je i malo ironično da je Black Widow svoj solo film dobila nakon relativno manje popularne Captain Marvel – makar u mediju filma – a pogotovo nakon što je sam lik spektakularno ubijen u Endgame. Bilo je tu vike po internetu da je u pitanju i nepravda i neka vrsta ,,meke" mizoginije na delu, no, makar smo dobili film o jednom od najkuljih likova koji su do sada uvedeni u MCU a koga igra glumica specijalizovana za uloge kul akcionih heroina*.
*mada ne nužno uvek u filmovima koji su dorasli toj njenoj ekspertizi (https://cvecezla.wordpress.com/2017/04/10/film-ghost-in-the-shell/)
(https://i.imgur.com/rzTAUyU.png)
Kad se sve to uzme u obzir, Black Widow je neobično mali pa i donekle u sebe nesiguran film koji bi idealno legao negde u sredini jedne od faza, kao drugi film u sezoni u kojoj bi Marvel već imao nekakav ,,važniji" blokbaster. Ovako, stavljen na početak ,,faze", kao najavni plotun i nekakav stejtment of intent on ne saopštava ništa specijalno interesantno vezano za četvrtu fazu sem da će u njoj igrati novi, manje poznati glumci, u ulogama ,,novih" a svakako manje poznatih likova. Bez sumnje je interesantno spekulisati o tome koliko Marvelova inercija može da bude uspešna u guranju svog blokbaster-cunamija napred i pored opraštanja od jednog dela vrlo popularnih glumaca kao što su Robert Downey Junior ili Chris Evans, a ,,ražalovanja" drugih na televiziju, no, mora se priznati da je Kevin Feige do sada pokazao da zna šta radi pa čak i Black Widow koji kreće srazmerno teturavo i neubedljivo, do kraja uspe da se čvrsto uhvati za ,,Marvel formulu" i isporuči dovoljno zabave za moje potrebe. Što se publike i kritike tiče, oni su reagovali i bolje sa solidno visokim ocenama i ubedljivom zaradom već tokom prvog vikenda krajem Juna gde je film uzeo više od trista miliona dolara u bioskopima i više od 60 milina putem striminga.
(https://i.imgur.com/Whqb5TD.png)
I, svakako, Marvel formula tu radi posao – Black Widow, na kraju krajeva dolazi kao kulminacija cele sezone priča o nominalno manje popularnim likovima poput Scarlet Witch i Visiona, Falcona i Winter Soldiera, zaključno sa Lokijem u poslednjih mesec i kusur dana, a koje su se u formi televizijskih serija pokazale kao iznenađujuće potentne i kadre da pruže publici pravu meru drame, akcije, komedije i intrige, pravdajući ne samo investiciju u same glumce i produkcije već i u sam Disney+ kao platformu. Black Widow, iako ima skupi CGI spektakl ,,pravog" bioskopskog filma, zapravo i sama pomalo izgleda kao direct-to-streaming produkt sa svojom pričom koja je inkonsekventna i u najboljem slučaju pomaže da se uspostave novi sporedni likovi koje će Marvel moći da eksploatiše u budućim serijama i filmovima.
No, inkonsekventnost je ovde ime igre po definiciji s obzirom da se radi o liku koji je ,,danas" mrtav pa film Black Widow ide najlogičnijim putem osvetljavanja prošlosti Crne udovice i pokazivanja trauma i drama što su obeležile rast i formiranje ovog lika. Kažem ,,najlogičnijim" ali ne nužno i najboljim jer je Black Widow u filmovima do sada svakako osvajala i upravo tom fasadom savršenog profesionalizma i neumoljive efikasnosti. Kao produkt ruskog programa proizvodnje superšpijuna i prebeg u S.H.I.E.L.D. koji simboliše moralnu nadmoć zapada nad tradicionalno podmuklim sovjetima-u-modernijem-pakovanju, Crna udovica je uvek delovala i u određenom smislu superiorno u odnosu na ostale kolege iz Avengersa. Dok je za druge ,,superheroizam" bio stvar slučajnih akcidenata ili, u slučaju Kapetana Amerike veponizovanog patriotizma, Nataša Romanov je dizajnirana i psihološki uslovljavana od najranije mladosti da bude vrhunski profesionalni ubica i infiltrator* pa je time njen rad na strani ,,dobrih momaka" uvek imao i malo mračni, u najmanju ruku sivi preliv antiheroizma gde su najtamniji elementi njene prošlosti samo sugerisani a traume koje je preživela i ugradila u svoj karakter posredovane samo hladnom, minimalno ekspresivnom glumom Johanssonove.
*prateći u dobroj meri predložak stripa Ultimates Marka Millara i Bryana Hitcha koji se, deceniju i po pokazuje kao presudan za kreiranje tona čitavog Marvel Cinematic Universea
(https://i.imgur.com/P2pg0DG.png)
Utoliko, kada film Black Widow krene u vrlo detaljan prikaz detinjstva i formativnih trauma Crne udovice ovo je ne samo nedobrodošlo prepričavanje nečega što je bolje delovalo samo u naznakama i zloslutnim aluzijama već i jedan vrlo generički program opštih mesta i tehnički kvalitetno snimljenih ali nenadahnutih scena koje samo sa daleke distance aludiraju na vrhunce špijunskog filma kasnih šezdesetih i sedamdesetih godina prošlog veka. Prisustvo Davida Harboura u ovom otvaranju filma donosi i neizbežnu asocijaciju na Stranger Things a što samo podvlači da Black Widow radi sličnu stvar samo isforsirano, mehanički kondenzovano i bez dovoljno šarma.
Prvih pola sata filma je otud, iako nabijeno bombastičnom akcijom i snažnim emocijama koje treba u nama da proizvedu empatiju, kinematografski vrlo siromašno, sa utiskom da je ovo nekakav generički direct to DVD akcijaš koji je nekom kosmičkom greškom dobio visok budžet a sa kojim sada ne zna šta da radi. Nemaštovitost fotografije i samog teksta ne mogu da budu kompenzovane obilnim korišćenjem lens flare efekata, agresivnim forsiranjem plavih filtera, drmusajućom kamerom i nervoznom montažom.
(https://i.imgur.com/hjFamws.png)
Film počinje da dolazi na pravu temperaturu kada se Johanssonova upari sa Britankom Florence Pugh koja igra Yelenu Belovu, ,,drugu" Crnu udovicu a u ovom filmu njenu ,,sestru" iz tajnog ruskog programa špijuna u dubokom kaveru u SAD, i hemija između dve profesionalke koje su istovremeno vezane sa nekoliko godina života u istoj lažnoj porodici uspeva da film izdigne iznad generičke špijunske akcije i podari mu malo tipične MCU magije. Pughova odlično igra mlađu i impulsivniju sestru koja, za razliku od Nataše, nije uspela da prebegne kod Amerikanaca i postane internacionalno cenjeni superheroj, a njena tragična istorija vezana za program proizvodnje superšpijunki, Red Room, i želja da oslobodi druge Crne udovice praktično hemijskog robovanja direktoru programa, Drejkovu, čini narativni zamajac filma.
Smeštanje priče Black Widow u Civil War period koji smo gledali u trećem Kapetanu Americi je zgodan trik da se kanonski objasni zašto Nataša i njena sestra ne mogu da računaju na pomoć Avengersa, ali ima i skoro tipično stripovsku inflaciju pretnji, pokazujući da je pored svih Hydra zavera i Lokijevog a zatim Thanosovog ulaženja u rat za sveopštu dominaciju, na planeti Zemlji operisala i još – najmanje – jedna tajna organizacija sa resursima i ambicijom da vlada svetom. Program Red Room je ovde tehnički nezavisna inicijativa, otcepljen od ruske administracije i usredsređen na uređivanje sveta po Drejkovljevom diktatu pažljivo planiranim asasinacijama, no Black Widow, kao film, u ogromnoj meri igra na ,,red scare" kartu, oslanjajući se skoro bez ikakvog odmaka na hladnoratovske stereotipe o potpuno amoralnim Rusima. Čak je i centralni motiv u filmu to da Drejkov svoje operativke ne samo psihološki uslovljava još od detinjstva praveći od njih emotivno zavisne profesionalne ubice, već da koristi poseban biološki inženjering koji im u potpunosti oduzima slobodnu volju i čini ih doslovno robotima od krvi i mesa koje on direktno kontroliše.
(https://i.imgur.com/5Gc2cZV.png)
Ovo je svakako ,,stripovska" metafora i ona bi mogla da funkcioniše na filmu samo da Black Widow nema taj za MCU tipičan (kvazi)naturalistički ton gde glumci svoje likove igraju kao stvarne ljude koji samo uzgredno imaju supersnagu i druge natprirodne moći.* Ovako, bez obzira na to što je Drejkov danas slobodan strelac i nije vezan za Putinovu Rusiju, čitav film se bazira na agresivnoj antiruskoj, antikomunističkoj paranoji i ksenofobičnom zazivanju dehumanizacije drugog koji jesu obeležja značajnog dela pop-kulture iz doba hladnog rata ali danas, ovako posredovana bez dovoljno kempa ili nekog drugog odmaka, deluju zastarelo, ružno i neprimereno (pogotovo ovako pažljivo razdvojeni od ,,prave" Rusije koja je ipak, Putin be damned, solidno tržište i, uostalom, Disney ne želi stvarne političke talase u svojim filmovima).
*mada uglavnom supersnagu, brzinu, ofanzivnu tehnologiju ili ofanzivnu magiju – u skladu sa baziranjem MCU arhetipova na millarovskoj rekonstrukciji Marvelovih predložaka, supermoći se ovde maltene isključivo ovaploćuju u formi oružja i MCU je skoro pa i depresivno lišen imaginativnijih heroja sa ekscentričnijim moćima na kakve su nas navikli ur-majstori medijuma poput Leeja, Ditka, Kirbyja ili, čak, Claremonta
(https://i.imgur.com/CiA4ZRq.png)
Sa druge strane, korišćenje Davida Harboura u ulozi Red Guardiana je, recimo, jasna spona sa onim kako su predstavljani sovjetski superheroji u Marvelu u vreme Stana Leeja, samo, naravno, sve formatirano do jake parodije i kempa. Harbourov Red Guardian ne samo da je zbir hodajućih klišea o ,,Rusima" (sa sve tetovažom imena Karla Marksa na prstima, a što naravno, jedva da bi imalo smisla sve i da je Guardian bio rival Kapetana Amerike u Drugom svetskom ratu, a nije: u filmu čujemo da on sam tvrdi da se s njim borio u osamdesetima – kada je ,,ovaj" kapetan Amerika još bio zamrznut u santi leda) već je i jedna generalno socijalno nefunkcionalna pojava. No Harbourova gluma, preterana i sa izraženom komičkom dimenzijom uspeva da ,,proda" lik kao polomljenu ali u krajnjoj liniji humanu, pa i dragu roditeljsku figuru i njegovo prisustvo uveliko osvežava film kojim, sasvim prirodno, dominiraju jake žene. Sama Johanssonova je uobičajeno dobra sa svojim hladnim profesionalnim pristupom većini situacija ali i sa sasvim ljudskim, prijatnim karakterom u situacijama kada ,,ne radi" i ansambl solidno funkcioniše, zaključno sa Drejkovim koga Ray Winstone – još jedan Britanac – igra sa vrlo kvalitetnim projektovanjem ljige i, jelte, posebne vrste toksične muškosti.
Ako imam zamerku na kasting, ona je najpre na to da je Olga Kurylenko besmisleno protraćena na lik koji ne samo da ništa ne govori već ima i masivan oklop, kacigu i, kada je skine, deformisano lice pa njen glavni adut – upečatljiv lik i manekenski stas – ovde nemaju smisla. Naravno, traćenje koncepta Taskmastera na one-off negativca koji je definisan samo svojim setom supermoći je poseban prestup – čak i da na stranu stavim svoju ljubav ka stripovskom Taskmasteru i žal da malo ko razume potencijal njegovog karaktera (https://cvecezla.wordpress.com/2021/05/10/procitani-stripovi-taskmaster-the-rubicon-trigger/), notabilno je da film ideju o njegovom ,,super-fotografskom pamćenju" praktično samo pomene i nikako je onda ne iskoristi do finala u kome ga naši junaci pobeđuju kao najobičnijeg minibosa. Dodatno, finalni obračun između likova koje igraju Kurylenkova i Johanssonova se rešava metaforičkim pritiskanjem dugmeta za resetovanje u skladu sa temom čitavog filma da se ljudska volja može u potpunosti kontrolisati spoljnim, hemijskim uticajem, a što u potpunosti ignoriše važan deo zapleta u kome vidimo da Takmaster ima legitiman razlog da žudi za osvetom.
Film je, dakle, u dobroj meri sklopljen mehanički, po formuli, iz mase delova za koje unapred znate da moraju da budu tu gde jesu (uključujući zgodne mekgafine koji teraju naše junake na distinktne aktivnosti u finalu), sa ,,realizmom" u glumi koji mu više odmaže nego što pomaže i sa pristojnim ali na kraju krajeva i dosta generičkim akcionim scenama kakve danas imate i na televiziji. Kostimi su prilično kul i lepo dizajnirani ali filmu vidno nedostaje ,,superherojska" gizdavost i on je, zapravo, i blago ismeva kroz dizajn uniforme za Red Guardiana. Ako primetite da preko uvodne špice ide verzija Nirvanine Smells like teen spirit, a da ni jedna od devojčica koje ste upravo gledali nije još tinejdžerka a sam Kurt Cobain je do 1995. godine kada se sve to dešava, bio već odavno sahranjen, to je svedočenje o pomalo bezdušnoj prirodi ove produkcije koja više pritiska dugmiće i čekira kućice na formularu nego što, jelte, krvari za umetnost. Ono što film spasava je ta superiornost Marvelove formule u odnosu na ,,obične" akcione trilere, zapravo iznenađujuće dobra hemija među likovima i spoj humanosti i humora koji daje celoj priči vitalnost kakvu slične produkcije drugih studija nemaju.
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Sa druge strane, vredi i ponoviti da je ovo suštinski inkonsekventan film o ,,menace of the week" pretnji koja se u ,,kasnijim" filmovima ne pojavljuje i da je ideja kako svedočimo snažnoj i značajnoj katarzi za sam lik Nataše Romanov time vidno umanjena. Sa druge druge strane, iako je Johanssonova ovde dobila svoj ,,veliki" solo-film, njen lik nije dobio praktično nikakvo produbljenje i u određenom smislu Pughova i Harbour uspevaju da joj ukradu šou pa je i to nekakva pirova pobeda za ženu za koji se zna koliko je jako želela ulogu Crne udovice...
Dakle, srazmerno neubedljiv film za Marvel, ali i film koji jasno demonstrira zašto je Marvelov kinematski univerzum i u svojim slabijim momentima, svejedno za prsa ispred konkurencije. Za prvu polovinu druge godine pandemije, reklo bi se, sasvim optimalno.
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Pogledao sam film beloruskog režisera Josifa Hajfica, za koga danas kažu da je ,,zaboravljeno remek-delo sovjetske kinematografije", Dama sa psetancetom (Дама с собачкой) snimljen 1960. godine, u vreme kada je Nikita Hruščov gurao već drugu godinu u premijerskoj stolici najveće države na svetu. Snažno posvećen reformama – kako u domenu ekonomije, gde je forsirao prelazak na proizvodnju potrošačkih dobara radije nego dalja ulaganja gotovo isključivo u tešku industriju, tako i u domenu spoljne politike gde je SSSR pod njegovim vođstvom napravio zaokret i SAD (i ostatak zapadnog bloka) počeo da gleda više kao rivala nego kao neprijatelja – Hruščov je i kao jedan od svojih glavnih ciljeva, još pre dolaska na mesto prvog čoveka države imao slabljenje i konačno razmontiravanje kulta ličnosti koji je za sebe izgradio Staljin. Deo ovoga bilo je i određeno popuštanje stega u domenu umetnosti koja je do ovog vremena bila u dobroj meri upregnuta u kreiranje slike o komunističkoj utopiji i slavljenje revolucije i ratnih žrtava i pobeda.
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Iako se o Hruščovu, naravno, mnogo toga i lošeg govorilo, i to sa pravom, uključujući njegove pogrešne poteze u ekonomiji, spoljnopolitičko siledžijstvo (gušenje mađarske pobune), osnivanje Varšavskog pakta, čuveno bahato i nepristojno ponašanje na sednicama u Ujedinjenim nacijama, pa je i praktično oteran iz visoke politike već 1964. godine, ostaje da je za vreme njegovoga vakta, SSSR napravio ne samo odmak od staljinizma (i u vrlo konkretnim formama, sa ublažavanjem sankcija izricanim čitavim porodicama osumnjičenim za delovanje protiv, jelte, države), već i da je imao vrlo brz ekonomski rast, ubrzanu – i pristojno organizovanu – urbanizaciju, uvođenje minimalne zarade, a što je sve dovelo do obnove koncepta srednje, građanske klase. Naravno, liberalizacija rada u umetnosti je išla ruku pod ruku sa ovim, pa je Solženjicin, recimo, ovde napravio presudne korake ka obeležavanju kasnog perioda sovjetskog sistema svojim pisanjem.
Hajficov film svakako spada u ovaj ,,novi talas" umetničkih radova koji nisu morali da se oslanjaju na revolucionarne trope, socrealistički svetonazor ili otvorenu kritiku buržoaskih vrednosti, a svakako nije previše smetalo to što je režiser za ekranizaciju odabrao jednu od najpoznatijih – i najpopularnijih – kratkih priča velikog Antona Pavloviča Čehova.
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Hajfic je do 1960. godine već imao više od tri decenije iskustva rada u filmskoj industriji SSSR, a režirao je već punih trideset godina. Sa petnaestak filmova iza sebe, Hajfic je do 1960. godine bio veoma cenjen kao neko ko odlično hvata senzibilitet revolucionarnih i ratnih filmova, ali je i pre Dame sa psetancetom počeo da radi i drugačije naslove – recimo, Proleće u Moskvi, mjuzikl iz 1953. godine, ali notabilno Дорогой мой человек,ljubavnu dramu iz 1958. godine koja je bila neka vrsta rane najave onog što će tako majstorski biti sklopljeno u njegovoj adaptaciji Čehova. Hajfic je već sa svojim filmom iz 1954. godine, Velika porodica (Больша́я семья́) okusio ukus internacionalne slave kada je u Kanu dobio specijalnu nagradu za najbolji glumački ansambl, pa je i Dama sa psetancetom ušla u kanski izbor, ali nije ništa osvojila. Naravno, 1960. godina je u evropskom i svetskom filmu donosila neke osetno nove vetrove pa je sasvim zamislivo da je jedna ,,ljubavna" period-drama sa sve kostimima i dramatičnom glumom uplakanih žena delovala i pomalo staromodno...
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No, pošto smo mi ljudi, Sloveni, nama je ne samo tematika već i osobeni senzibilitet i estestski postupak Čehovljevog dela, mislim, sasvim blizak i nije nimalo izgubio na snazi ni posle, evo, više od stodvadeset godina od objavljivanja. Za potrebe ovog teksta osvežio sam sećanje na Čehovljevu priču i ovo je i dan-danas jedan neposredan, snažan i sasvim nemilosrdan tekst o, jelte, nesrećnim ljubavima i životu u građanskom bezizlazu. Ova se priča – koju možete, ako baš ne biste ništa da platite, naći ovde (https://pdfcoffee.com/dama-sa-psetancetom-apehov-pdf-free.html) – s pravom smatra Čehovljevim vrhuncem kratke forme, sa rušenjem svih pravila i uobičajenih tropa vezanih za ,,romantičnu" književnost, sa skoro nihilističkim početkom gde se glavni junak opisuje kao osoba koja je duboko nesrećna u braku bez ljubavi i životu bez nežne emocije, i koja svoju nesreću projektuje unakolo poput nekakvog hodajućeg kriptonita, a zatim sa transformacijom koja je tanana, suptilno oslikana, najvažnije – bez stvarnog hepienda ili uopšte, ikakvog razrešenja.
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Čehov je Damu sa psetancetom u jednoj meri bazirao na sopstvenom životu, sopstvenoj frustraciji, socijalnoj neuklopljenosti, strahu od braka i žudnji za srećom i mada je njegova afera sa značajno mlađom – i na određeni način i tuđom – Olgom Kniper imala hepiend u vidu ulaska u brak, tekst ove priče, a pogotovo njeno manifestno odbijanje da pruži bilo kakav zaključak i ostavi kraj potpuno otvorenim, sa dvoje ljubavnika koji nastavljaju da budu razdvojeni, nesrećni i osuđeni samo na maštanje i skrivanje, i danas udaraju kao Tadija Kačar. Maksim Gorki je ovu priču smatrao važnim ukazanjem ljudima da napuste ,,sanjivo, polumrtvo postojanje" i vrate se sebi, a Vladimir Nabokov je raspamećeno pisao o tome kako priča odbija da prikaže klasičan dramski problem a zatim i da da ikakvo razrešenje i da se time kvalifikuje za jednu od najboljih priča ikada.
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Hajficov film je legitimno nazvati remek-delom već i na ime toga da je režiser radio sa jednim od najboljih tekstova jednog od najvećih pisaca koji su ikada stvarali na Ruskom jeziku a da je najveći deo priče prikazan intenzivno filmskim jezikom, sa vrlo malo teksta ali i ,,akcije". Hajfic, naravno, nema ni luksuz Čehovljevog sveznajućeg pripovedača koji nam doslovno u prva četiri pasusa istrese ličnu i emotivnu istoriju Dmitrija Dmitriča Gurova i pokaže ZAŠTO ovaj bankarski činovnik koga su ,,udali" za ženu sa dobrim mirazom – kućama koje bračni par izdaje i od toga dobro živi – prema kojoj nikada nije osetio ništa (sem straha i odbojnosti), toliko duboko emotivno reaguje na nepoznatu mladu ženu koju upozna tokom samačkog letovanja na Jalti.
Hajficov film nam SVE servira sasvim organski, idući potpuno suprotnim smerom od Čehova, prikazujući nam prvo likove kao nosioce akcije i emocija a tek nam usput, kroz vrlo ekonomične replike pokazujući bekgraund.
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Ovo je impresivan postupak i kada gledamo kako Gurov ,,zavodi" Anu Sergejevnu ovo nema prizvuk ni romantičnosti niti, čak, nekakve dopadljive letnje igre sa malo flertovanja i rituala parenja. Čehovljev nihilizam iz teksta ovde se očitava u Gurovljevim agresivnim nastupima ka Sergejevnoj, u opsedanju žene koju na kraju ni ne pita za pristanak i nameće joj intimnost iako je očigledno da je u pitanju emotivno krhko – da ne pominjemo udato – stvorenje.
Zaključak prve noći koju Gurov i Sergejevna provode zajedno je zapravo i pomalo zastrašujući sa Gurovim koji izgleda kao najledeniji pick-up artist dok puši i jede u sceni u kojoj mlada žena gotovo doživljava nervni slom jer je – delom i protiv svoje volje – prekršila sve standarde bračne dužnosti, vernosti, pukog građanskog i ljudskog morala.
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Hajfic svoje glumce, a pogotovo velikog Alekseja Vladimiroviča Batalova, vodi izuzetno suptilnom rukom i portret Gurova nam postaje jasniji i produbljeniji manje na ime onoga što glumac izgovara – mada su replike koje su odabrane za uvršćivanje u scenario filma vrlo pažljivo birane i pozicionirane da referiraju na Čehovljev tekst mada ne nužno na istim mestima gde se pojavljuju u priči – a više na ime jednog upečatljivog prikaza unutrašnjeg života. Gurov nam facijalnim mimikom, položajem tela, kretanjem vrlo rečito prikazuje transformaciju iz čoveka okoštalog u životu u kome mu ne nedostaje ništa sem suštine u ljudsko biće koje je tu suštinu nazrelo i svesno je da mu je van domašaja.
Gurov od namrgođenog mačo-muškarca postaje očajnik sa kojim je teško ne saosećati iako je ono što radi, razume se, potpuno besmisleno i u kontekstu filma gde ugrožava i svoj brak i brak Ane Sergejevne, bez ikakvog plana ili ideje KUDA mogu njih dvoje da odu, i u kontekstu uopštenije koncepcije tog nekog ljudskog društva i, jelte, društvenog ugovora. U skladu sa Bašlarovom opservacijom koja kaže ,,Prava ljubav je divlja i tužna; to je treperenje udvoje u tami" dvoje ljubavnika u ovom filmu zaista – trepere. Oni ne znaju šta da rade, ne znaju čak ni šta žele i njihovi susreti su ispunjeni konfuzijom, krivicom ali i jednom iskrenošću od koje se, da budemo jasni, malo lomi i srce. Kroz malo priče i nešto više suza, značajnih šutnji i nesposobnosti, uostalom, da se komplikovane emocije izraze, Gurov i Sergejevna do kraja filma stižu uz sneg koji pada na noćnu Moskvu i zvuk klarineta (koji je dijegetički!), rastajući se, svesni da ovo nije poslednji rastanak jer su isuviše slabi da naprave racionalan izbor, ali da će ih svaki rastanak boleti kao da je poslednji dok se sve ne rastoči u besmislu.
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Nije samo rad sa glumcima Hajficova jaka strana već i brižljiva režija, montaža i korišćenje odlične fotografije Dmitrija Meskijeva i Andreja Moskvina da se gledalac ,,postavi" u scene, da razume šta protagonisti osećaju ali i da ,,čuje" šta misle bez ikakve potrebe da se Čehovljev tekst citira tamo gde usmeren pogled i jasan pokret kamere daju istu informaciju prirodnije. Ovo je pritom film koji, skoro neočekivano, ima prostora i za duhovite minijature, notabilno onu sa Gurovljevim prijateljem koji – i sam uhvaćen u ispraznoj buržoaskoj egzistenciji bez ljubavi ili makar strasti – iznova i iznova baca viljušku na pod kako bi livrejisani sluga morao da je glanca i donosi mu je na inspekciju. Nadežda Simonjan napisala je vrlo klasično emotivan saundtrak za film koji, kako je i Ingmar Bergman primetio potpuno lišen sentimentalnosti: ,,Sentiment ćete ovde naći u velikoj meri, ali sentimentalnost – nikada".
Zaista, Dama sa psetancetom je film o sirovim i gotovo neizdrživim emocijama tamo gde im mesta, reklo bi se, nema – usred uređenosti i funkcionalnosti građanskog društva. On uzima Čehovljev tekst i od njega pravi sporu ali ne usporenu, ekonomičnu bioskopsku sliku koja, držeći svoje protagoniste uvek na kratkoj uzdi i samo ih puštajući da napuknu kada niko ne gleda, priča o provaliji samoće iznad koje svi živimo i samo ponekad imamo sreću da pronađemo ono drugo u pravom trenutku. Hajfic je posle ovoga snimio još mnogo filmova i dobio nekoliko važnih nagrada za životno delo od Sovjetskog saveza, ali ovaj njegov susret sa Čehovim je verovatno taj momenat pronalaženja u optimalnom trenutku iz koga nastaje ta večna magija.
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The Sword of Doom je zanimljiv primer samurajskog filma sa polovine šezdesetih godina prošlog veka koji kombinuje ,,visoko" i ,,nisko", odnosno sasvim otvoren ,,crowdpleasing" sa impresivnim artizmom. ,,Artizam", možda čak i nije najsrećnija reč ovde ali fakat je da je film urađenm sa tako agresivno vrhunskom kamerom, montažom, režijom i glumom da finalni produkt uveliko prevazilazi razinu ,,običnog" akcionog filma zaogrnutog u psihološku dramu i nameće se kao ako ne radikalan a ono legitiman primerak japanskog novog talasa u kome su tropi klasičnog samurajskog filma izvrtani naopačke, propitivani pa ponekada i uništavani.
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The Sword of Doom je režirao Kihachi Okamoto, pouzdani profesionalac studija Toho koji je posle služenja u vojsci tokom Drugog svetskog rata razvio sovjevrsnu opsesiju rantnim temama. Otprilike trećina od skoro četrdeset filmova koje je režirao bavila se ratom, a Okamoto je bio poznat i kao ljubitelj mjuzikla kojih je režirao nekoliko. Razvivši veoma ritmičan stil režije i montaže, Okamoto je bez sumnje bio vrlo dobro ugođen na frekvenciju muzičkih, zabavnih filmova ili savremene akcije, no The Sword of Doom je bio obaveza nametnuta autoru nakon što su glavešine studija bile vrlo nezadovoljne njegovim prethodnim filmom, The Age of Assassins, savremenim akcijašem u kome je igrao Tatsuya Nakadai. Nakadai je već imao reputaciju legende, svojim saradnjama sa Kobayashijem (https://cvecezla.wordpress.com/2020/08/04/film-harakiri-aka-sepukku/), Kurosawom (https://cvecezla.wordpress.com/2020/07/26/film-yojimbo/), i Shindom, a neko je u Tohou bio vidno nesrećan što se ovaj harizmatični glumac pojavljuje u filmu smeštenom u savremeno doba, pa je The Age of Assassins držan u bunkeru sve do naredne godine. Umesto njega, za 1966. godinu će Okamoto, ponovo sa Nakadaijem u glavnoj ulozi uraditi ,,normalan" jidaigeki film i The Sword of Doom je već te godine dobio ne samo japansku nego i američku premijeru.
U Americi su, prirodno, bili prilično zbunjeni narativom koji je naizgled sugerisao više nego što je pokazivao. U Japanu, film je najavljen kao prvi deo trilogije – u kojoj druga dva nastavka nikada nisu snimljena – ali je svejedno bio dovoljno uspešan. Na kraju krajeva, Dai-bosatsu Tōge (odnosno ,,Bodisatvin prevoj"), kako je film nazvan u originalu, snimljen je po vrlo popularnom romanu sa kraja Meiđu ere, (pisanje i objavljivanje je započeti 1913. godine), a koji je pre Okamotove ekranizacije urađen ne manje od četiri puta na velikom platnu između 1935. i 1961. godine. U svojevrsnom primeru možda ne poetske pravde ali svakako lepe artističke simetrije, čak je i originalni roman, objavljivan u novinama, nakon 41. nastavka ostao nezavršen jer je autor, Kaizan Nakazato preminuo pre nego što će ga dovršiti.
Treba, svakako da bude jasno da se ne radi o nekakvoj visokoj literaturi – Nakazato je pisao sa publiku i za pare a ne za književne nagrade i za večnost. Takođe, jidaigeki filmovi, iako se ovaj termin prevodi kao ,,istorijska drama", su već u dvadesetim godinama prošlog veka bili vrlo stereotipiziran podžanr izrastao na popularnim pozorišnim tropima. Donald Richie piše da su počev od 1920. godine ovi filmovi postali kombinacija ,,realistične" glume – kako on kaže ,,gestikulacija je malo umirena" – ali i dalje vrlo teatralnih, nerealističnih scena borbe sa koreografijama koje nisu pretendovale na uverljivost nego na praktično plesačku eleganciju. Naravno, stari jidaigeki filmovi su još uvek mnogo dugovali pozorišnim produkcijama iz kojih je žanr izrastao, uključujući vrlo ,,scenski" raspored glumaca i konzervativno, ,,pozorišno" kadriranje. Četiri decenije kasnije, kod Okamota imamo fotografiju koja bar 40% vremena zaslužuje da se naziva genijalnom, sa fantastičnim kadriranjima, maštovitim pokretima kamere i korišćenjem osvetljenja, a montaža je korišćena na izrazito briljantan način da se filmu od dva sata da furiozan, znojav tempo a da ipak ostane prostora za statične, napetom šutnjom bremenite scene. Klasični jidaigeki filmovi su jedan od ranih primera ,,wakon yosai" filozofije u kojoj se spajaju ,,japanski duh" i ,,zapadnjačka kultura" i može se argumentovati da se The Sword of Doom sasvim uklapa u tu ideju sa svojim tretmanom samuraja kao praktično najamnih revolveraša koji izigravaju ,,zakon" tamo gde stvarnog zakona kao da nema. No, konfuzija na strani zapadne publike i kritičara je pokazala da ovaj film naprosto pretpostavlja da publika neke stvari već zna i da je, kao peta po redu ekranizacija već popularnog literarnog predloška, ne samo dopušteno već i neophodno imati maštovit, povremeno skoro avangardan pristup pripovedanju i portretiranju protagonista.
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The Sword of Doom se događa pred sam kraj perioda šogunata Tokugava u Japanu, u sedmoj deceniji devetnaestog veka. Ovo je, naravno, omiljeni period autora samurajske fikcije jer dopušta vrlo slobodno mešanje feudalnih, maltene srednjevekovnih tropa sa modernijim idejama. Kurosawin Yojimbo, koji se događa u istom periodu, recimo, ima prominentno iskorišćen motiv pištolja koji pravi veliku neravnotežu u moći među mačevaocima u toj priči pa se i u The Sword of Doom praktično kao deo obaveznog sadržaja pojavljuje vatreno oružje koje sugeriše dah modernosti i svojevrsnu ,,nepoštenu" prednost u borbi. No, nasuprot Čehovljevim načelima, pištolj koji vidimo u ovom filmu – doduše tek u nečemu što bi bio četvrti čin – ne opaljuje do njegovog kraja. Dobrim delom ovo je zato što film i nema razrešenja mnogih svojih narativnih lukova na ime toga da je trebalo da bude tek prvi deo trilogije.
No, Tokugava, odnosno Edo period je ovde iskorišćen da se prikaže kako su poslednje godine šogunata bila ispunjene nemirom, nesigurnošću pa i nasiljem, a protagonist filma, samuraj po imenu Ryunosuke Tsukue je najnasilniji od svih. Za razliku od plemenitih samuraja koje smo navikli da gledamo u ovakvim pričama, pa čak i od simpatičnih antiheroja kakav je bio Kurosawin Sanjuro, Ryunosuke je, najprostije rečeno – psihopata. Njegov otac, vlasnik škole za samuraje i Ryunosukeov prvi instruktor mačevanja i sam smatra da mu je sin odavno otišao putem bez povratka, da je opsednut mačem kao alatkom koja donosi smrt, da su jedini trenuci u kojima Ryunosuke prolazi ikakvu ljudsku emociju oni u kojima oduzima život.
The Sword of Doom ima vrlo tipičnu ,,akcionu" postavku u kojoj se samurajima pripisuju posebni stilovi i forme borbe do kojih su, poput Ryunosukea, neki sami došli dugim treningom i razmišljanjem o suštini borbe, i gde su različite škole rivalski nastrojene jedne prema drugima i beskonačno se prepiru oko toga čiji je stil superiorniji. Problem je što Ryunosuke zaista oseća ispunjenje samo kada ubija i film počinje scenom na titularnom Bodisatvinom prelazu gde on ubija bespomoćnog starca zato što ga je čuo kako, nekoliko sekundi ranije, u svojoj molitvi traži od Bude da mu oduzme život kako bi njegova unuka mogla da živi bez balasta koji joj on predstavlja.
Sledeći koga Ryunosuke ubija je rival iz druge škole sa kojim on ima sportski duel, drvenim mačevima, ali koji prekrši pravila fer pleja i napadne Ryunosukea nakon što sudija proglasi borbu nerešenom. Ryunosuke, kao da je sve vreme očekivao napad, stručno parira i jednim udarcem smrtonosno ranjava svog u svakom pogledu poraženog rivala.
Scena koja sledi posle ovoga je jedan od ranih indikatora o kakvom se filmu radi, dok Ryunosuke polako odlazi iz rivalske škole i efikasnim potezima ubija više od dvadeset kolega svog protivnika koji ga napadaju u nameri da se osvete za ono što smatraju nepravednom smrću. Ryunosuke, koji je pristao da ovaj meč izgubi kada je supruga njegovog rivala prethodno veče došla da ga moli da preda meč i ponudila mu seksualne usluge u zamenu,* ne pokazuje gotovo nikakve emocije dok ubija, ali je svestan da mora da se odseli iz očeve škole kako ona ne bi trpela dalju osvetu za ono što je uradio.
*a on ih je u jednoj superiorno nelagodnoj sceni uzeo praktično na silu
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Ovaj film je pomalo i kao da ga je pisao Siniša Pavić jer se do kraja pokazuje da su svi likovi međusobno jako povezani. Unuku hodočasnika kojeg je Ryunosuke ubio na početku, spasava lopov koji se pri kraju filma upoznaje sa bratom čoveka koga je Ryunosuke takođe ubio u pomenutom sportskom duelu, a njegova udovica sada živi sa Ryunosukeom jer je osramoćena i nigde drugde ne bi našla zaštitu. Njih dvoje čak imaju i dete, ali Ryunosuke ni prema bebi ne pokazuje nikakve emocije.
Tatsuya Nakadai u ovom filmu demonstrira sjajan ulazak u lik iako se, zaista, njegova gluma svodi na pravljenje grimasa koje sugerišu bolesnu, praktično nekrofilsku strast. No, upravo je to taj spoj niskog i visokog o kome smo govorili na početku. Ryunosuke uprkos svemu nije komplikovan lik i on zaista živi samo za jednu stvar koja mu donosi zadovoljstvo – ubijanje. Politički nemiri pred kraj Edo perioda mu pružaju mnogo prilike da od toga i zaradi pa on postaje i neka vrsta spoljnog člana grupe samuraja koja izigravaju lokalnu policiju a zapravo ubijaju one političke figure na koje im se pokaže prstom. Ryunosuke impresionira svakoga ko vidi njegov superiorni stil mačevanja, ali svi istovremeno smatraju i da on nije sasvim zdrav.
Jedan od impresioniranih je i Šimada Toranosuke, koga igra Toshiro Mifune, još jedan vlasnik škole za samuraje i kreator sopstvenog stila borbe. On i obučava pomenutog brata mačevaoca kog je Ryunosuke ubio na početku filma, a koji žudi da se psihopatskom samuraju osveti i za ubistvo i za obeščašćenje porodice. No, Šimada vrlo jasno stavlja do znanja mlađem borcu da on protiv Ryunosukea i njegove ,,tihe forme" nema nikakve šanse i da je jedini način da ga pobedi posebna vrsta probojnog napada mačem koja mu MOŽDA može dati neku prednost u borbi. Ovaj, po imenu Ohama, se zatim zatvara u prostoriju za vežbu i tu nedeljama vežba samo jedan potez usresređujući se na zrak svetlosti koji prolazi kroz procep na zidu vežbaonice...
Ako sve ovo zvuči pomalo nerdi, niste u krivu i The Sword of Doom nije ,,ozbiljna" drama sa ozbiljnom disekcijom ličnosti psihopatskog borca ili poznih godina vladavine porodice Tokugava. Ovo je mnogo više od toga nestašni akcioni film u kome je glavni junak nepovratno polomljen ali oko njega bez razlike izrastaju scene fascinantnog nasilja i brizantne akcije. A opet, rekosmo, u ovom filmu ima mnogo artizma.
Pomenuli smo već Nakadaijevu glumu ali vredi još jednom podvući sa koliko malo ,,rada" ovaj veliki glumac kreira portret samuraja koji u gledaocu izaziva istu količinu nelagode i divljenja. Ryunosukeove bolesne grimase, grčenje u snu ali i sladostrasni, iskrivljeni osmeh kada ubija ili samo priča o ubijanju su perfektne kreacije glumca koji je shvatio glavnu dimenziju svog ne naročito kompleksnog lika i izneo je u potpunosti. Drugi likovi u filmu su režirani da glume naturalistički i ansambl zapravo ostavlja izuzetan utisak sa ljudima koji imaju sasvim moderne manire ophođenja i pokazivanja emocija i raspoloženja, što uključuje i mlade samuraje, lopove, zanatlije, ali i kurtizane. Izuzetak je svakako Mifuneov Šimada koji je, u skladu sa formatom velikog glumca, jedno otmeno, od života veće prisustvo i jedini lik koji u Ryunosukeu proizvodi neku vrstu emocije što nema čisto somatsko poreklo. Jedna fantastično režirana scena u snegu pokazuje nam tridesetak Ryunosukeovih kolega koji greškom napadaju nosiljku u kojoj je Šimada, misleći da je u njoj političar kog su plaćeni da ubiju. Mifune na scenu ulazi gotovo magičnom kombinacijom brzog reza i panterskog skoka i on od atentatora zahteva da mu kažu kako će da isprave grešku koju su napravili. Čak i nakon što je ubio jednog od njih on je i dalje spreman da ih sasluša i da pomogne da se pronađe mirno rešenje, tražeći da se napadači identifikuju i izvine. Naravno, atentatori ne znaju šta da urade i reše da ga, svejedno, ubiju. Mifune u ovoj sceni gotovo bezbrižno, i naizgled bez ikakvog napora ubija tridesetak napadača dok Ryunosuke gleda sa strane, zamrznut, fasciniran, svestan da Šimadu ne može da ubije najpre i zato što se njegov stil zasniva na mamljenju protivnika da napadne kako bi uzvratio neočekivanom kontrom. Šimada, pak, ne može biti isprovociran na napad jer on svoje emocije potpuno drži pod kontrolom i ne ubija da bi dokazao svoju muževnost.
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Ovo je jedna od velikih tema u podtekstu filma – mač kao metafora ne samo smrti već i muškosti. Nakadai u jednoj sceni, dok formalno vodi razgovor sa svojom naložnicom istovremeno svoj mač čisti sa neverovatnom pažnjom i razlika između grubog, nebrižljivog odnosa koji tokom čitavog filma ima sa njom (da bi je na kraju ubio, ostavljajući dete samo) i senzualnog, nežnog tretmana svog mača ne može biti očiglednija.
The Sword of Doom, uprkos imenu koje je film poneo na zapadu, nije film o maču i ako ovde ima artističke dekonstrukcije, ona čak i nije usmerena na sam lik Ryunosukea. To gde Okamoto nalazi svoj artizam je pre svega u satirizaciji, iz duboke pozadine, bušidoa, kodeksa samuraja koji, da ne bude zabune najvećim svojim delom potiče iz fikcije pisane tokom Meiđi obnove što je usledila nakon kraja Šogunata. Portretisanje samuraja kao plemenitih, malih vlastelina vođenih isključivo čašću je bilo karakteristično za prozu i pozorište Meiđi perioda ali i za rane jidaigeki filmove i Okamotov film ide nasuprot ovom klišeu pokazujući kako Ryunosuke, ubilački psihopata, ni u jednom jedinom kadru u filmu ne krši bušido, ubijajući verovatno trocifren broj osoba, uključujući žene i starce, svaki put se držeći slova kodeksa. U pitanju su najčešće, formalno, ubistva iz samoodbrane bez obzira što je gledaocu od samog početka očigledno da Ryunosuke uživa u ubijanju i u njemu nalazi jedini životni smisao.
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Okamoto je majstor režije a direktor fotografije Hiroshi Murai je do tog momenta već do visokog sjaja izbrusio svoj zanat. Murai je pre ove produkcije već snimio tridesetak filmova najrazličitijih žanrova a sa Okamotom je radio, recimo, Samurai Assassin, još jedan legendarni rad sa Toshirom Mifuneom u glavnoj ulozi i u The Sword of Doom je likovnost njegovih kompozicija skoro agresivna. Naravno, legitimno je reći da ovde možda ima više stila nego supstance ali, kao i u slučaju mnogih drugih akciji okrenutih drama ovog tipa, stil na kraju postaje supstanca ako se radi dovoljno dosledno. Dodatno, Murai radi sa vrunskom ekipom pa je kostimografija ovde jednako bitna za izgled produkcije sa Ryunosukeom koji ima prepoznatljiv šešir, dok je Tsuruzô Nishikawa, odgovoran za svetlo na setu, kreirao neke od najupečatljivijih prizora u samurajskom filmu uopšte.
Finale ove priče u kome Ryunosuke praktično silazi sa uma i počinje da napada pregrade od bambusa na kojima mu se čini da vidi senke svojih žrtava je remek delo sinergije ekspertiza čitave ekipe, sa čovekom koji uverljivo deluje kao da se zatekao u samom paklu, sa grčevitim radom kamere i smelim rezovima što akciji daju vrhunsku dinamiku, sa svetlom i senkama koje jednoj jako artificijelnoj situaciji daju kvalitet lucidnog sna. Kada se, sledeći rasplet ovog čina, u zgradi pojave Ryunosukeove dotadašnje kolege što su odlučile da je sociopatski samuraj više problem nego što je koristan u njihovom biznisu, Okamoto režira još jednu klasičnu jidaigeki scenu u kojoj samuraj koji se jedva drži na nogama, uhvaćen na dnu ponora duševnog propadanja i fizičke iscrpljenosti, ubija desetine protivnika u plesu koji ima neverovatan ritam, za ono vreme neočekivanu količinu brutalnosti i taj smeli kraj u kome se film završava stop-kadrom koji ne razrešava ništa i, s obzirom da nastavci nikada nisu snimljeni, sugeriše da je pakao naprosto suočavanje sa svojim najvećim gresima iznova i iznova bez izgleda da to ikada prestane.
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Jidaigeki filmovi se često zovu i chanbara filmovima, dakle ,,filmovima sa mačevanjem" a na ime toga da u njima tipično imamo scene gde protagonist sam samcit poražava desetine protivnika u sceni kojom radnja kulminira. Okamoto je, nateran da snima ovaj film, uzeo ovu konvenciju a zatim kreirao ultimativnu chanbara produkciju pokazujući nam ne samo koliko je ubijanje bolesno – između ostalog pokazujući krv i amputacije, nekarakteristične za period u kome je ovo rađeno – već i koliko se ovakve scene mogu režirati da budu zaprepašćujuće umetničke. Iako su Kurosawa i Kobayashi sa završnicama Yojimbo ili Harakiri uradili slične scene, ni jedna od njih nema tečnost, ritam i baletski artizam onoga što vidimo (ne samo) u finalu The Sword of Doom. Utoliko, Okamoto pokazuje kako se i od niskog može napraviti visoko i da alhemijski principi rade i u suprotnom smeru: ono što je dole postaće ono što je gore u ovom filmu koji nema ambiciju da kreira MNOGO dubine ali koji na toj ,,površini" sa kojom radi, nalazi đavolski mnogo teksture.
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The Suicide Squad je, kako i ime ukazuje, onaj film koji je Warner očekivao da David Ayer snimi još 2016. godine, ali Ayeru to niko nije rekao. Ayer je, to znamo, inicijalno mislio da snima gritty, mračni super-anti-herojski film na tragu dark age superherojštine osamdesetih kad se pucalo pravim mecima a geopolitika ne samo imala ravnopravno mesto u pričama sa invazijama iz svemira već u njoj Amerika nije bila bezgrešni (i milosrdni) anđeo, samo da bi kasnije stigla direktiva da se sve mora ,,posvetliti" i začiniti frivolnim humorom. No, The Suicide Squad Jamesa Gunna umetanjem određenog člana na početak naslova pokazuje šta je ZAPRAVO trebalo već prvi film da bude – a to je parodija na Image Comics stripove iz devedesetih.
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Neko će reći da je ovo samo i jedino logično. Ako hoćete film koji imitira energiju stripova koji su imitirali energiju Marvelovih stripova na kojima su se njihovi autori proslavili, samo bez brige o tome šta će misliti urednici i izdavači – jer je Image bio creator-owned operacija – sa jednakim dozama frivolnosti i nihilizma, onda uzmete režisera koji se proslavio u Marvelu i pustite ga da radi šta hoće. James Gunn je i napisao i režirao The Suicide Squad i ovo je, od imena pa na dole, apsolutno njegov džoint i mada ovaj film svakako sadrži sve njegove već tradicionalne manjkavosti u pogledu favorizovanja gega u odnosu na konzistentnost ili uverljivost priče, u pitanju je daleko sigurniji film od Ayerovog originala, ali i film koji DCEU pomera dalje u pravcu dekonstrukcije i servira koktel akcije i komedije – sa pravim, zarađenim R rejtingom ovog puta* – koji se logično nastavlja na (kreativne) uspehe Aquamana (https://cvecezla.wordpress.com/2019/01/03/film-aquaman/), Shazam! (https://cvecezla.wordpress.com/2020/05/25/film-shazam/) i Birds of Prey (https://cvecezla.wordpress.com/2020/02/10/film-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn/). Nolanovski intelektualizam i snajderovski gravitas svakako još uvek imaju mesto u Warnerovoj produkciji ali sudeći po ekstatičnim – i svakako pomalo i preteranim – reagovanjima na Gunnov The Suicide Squad, studio će reći da je ovo konačno ono što je tražio od prvog Suicide Squad pa i od Justice League (https://cvecezla.wordpress.com/2017/11/18/film-justice-league/): ansambl-film koji fino balansira između likova, servira akciju i komediju zajedno sa zarađenim momentima patosa i ima sve te zgodne pop-kulturne citate za koje je Gunn, na kraju krajeva majstor a Ayeru nikako nisu išli od ruke.
*uključujući častan muški full frontal
Gunn je sa dva Guardians of the Galaxy filma (https://cvecezla.wordpress.com/2017/05/07/film-guardians-of-the-galaxy-vol-2/) definisao svoj distinktan pristup superherojštini, ublažujući ,,herojski" element i podcrtavajući socjalnu nefunkcionalnost likova, te uglavnom skoro slučajnu kompetentnost za superherojski posao. Iako su Marvelovi filmovi uvak imali element dualnosti junaka, prenoseći taj miks supermoći i ranjive psihologije iz stripova, Gunnov rad je ovo dodatno pojačao, gurajući svoje filmove praktično do granice parodije i nabijajući ih popkulturnim referencama bliskim mejnstrim publici sastavljenoj od ,,nestručnih" gledalaca što ne znaju napamet da kažu da li je Bloodsport film sa Žanom Klodom Van Damom ili DC-jev kostimirani plaćeni ubica. Iako njegov humor – kao i njegovo igranje na kartu emocije – često zna da bude plitak i na prvu loptu, nema sumnje da je Gunnova formula unutar Marvelove formule kod publike naišla na jaku rezonancu, pa su Guardiansi sa svojom temom ,,pronađene" porodice i šarolikom ansamblom zapravo bili više PG-13 mešap Fast & Furious i Ulice Sezam nego još jedan ,,klasični" Marvelov properti i izrasli u ogromne hitove za Dizni sa svom silom sekundarne monetizacije koju su predvodili likovi Rocket Raccoona i Groota.
(https://i.imgur.com/MT2iISV.png)
Ayerov originalni Suicide Squad (https://cvecezla.wordpress.com/2016/08/05/film-suicide-squad/) je i sam bio film u kome se baštini sličan motiv grupe nekompatibilnih, ali u ovom slučaju i sociopatskih likova koja kroz traumatično iskustvo na terenu pronalazi neku vrstu porodične topline ili makar počinje da shvata koncept prijateljstva i bliskosti. Nažalost, taj film je patio od nepovezanog narativa, nemotivisanih likova i nezarađenih skokova u njihovim odnosima i Ayer je nedavno i zvanično porekao da verziju filma koja je išla u bioskope smatra ,,svojom", dajući svu podršku Gunnu, po Gunnovim rečima, od prvog dana.
(https://i.imgur.com/Ygw6EKz.png)
Sa svoje strane, Gunn je, u ono vreme poluuspešno kenslovan od strane alt rajt aktivista na internetu i promptno skinut sa daljeg rada na Guardiansima (da bi ga Dizni manje od godinu dana kasnije vratio u franšizu jer neke stvari nemaju smisla a neke stvari imaju smisla), od Warnera dobio zeleno svetlo da radi praktično šta želi sa kojim god propertijem da želi pa je očigledno da se autor vrlo ozbiljno uložio u nešto što je mogla biti i njegova poslednja prilika da demonstrira da je profesionalno zreo za najvreliju igru u gradu – superherojske blokbastere. Na kraju krajeva, za razliku od dobrog broja Marvelovih režisera koji su pokupljeni sa indie festivalske scene, kao relativno neiskusni u pogledu visokobudžetne produkcije, Gunn ima iskustva sa takođe jeftinijim ali decidno žanrovskim Trominim filmovima i njegov pristup Marvelovim radovima uvek je imao primetnu dozu karaktera. Warner je, srećom, uvek insistirao na tome da njihova DCEU produkcija ne teži marvelovskoj uređenosti i konzistentnosti i da se kod njih ceni autorski pečat i vizija, pa je Gunn zaista dobio priliku da uradi stvari koje do sada nismo videli u ovim filmovima i The Suicide Squad stiže u pravi čas da se zaleče rane od vrlo slabog Wonder Woman 1984 (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/) koji je bio demonstracija potpunog pomanjkanja ikakve kreativne vizije. Možda i važnije, u poređenju sa direktno konkurentskim Black Widow koji je i sam imao premijeru u bioskopima i na strimingu pre nekoliko nedelja (https://cvecezla.wordpress.com/2021/07/27/film-black-widow/), The Suicide Squad ostavlja utisak pravog letnjeg blokbastera, tentpole filma koji se oseća ugodno u svom ekscesu i primetno pomera granice onoga što visokobudžetni superherojski akcijaš ,,sme" da kaže (i pokaže), podvlačeći koliko je Crna udovica zapravo šematski urađen, prilično ,,suv" film.
Opet, treba imati i malo mere u reakcijama – utisak je da, pošto Warner stalno pokušava da dostigne Dizni čije su Marvel produkcije sve redom komercijalni hitovi i dobijaju dobre kritike, čim imamo film koji demonstrira minimum kompetencije, na internetu krene lavina oduševljenja. Čak je i pre pola decenije originalni Suicide Squad dobijao ekstatične reakcije, pa tako treba primetiti da i nastavak – a zapravo neka vrsta mekog ributa – ima sada već za Gunna vrlo tipične nedostatke.
(https://i.imgur.com/8DdqhLX.png)
Jedan od njih je već pomenuta njegova tendencija da forsira trenutni efekat gega ili nekog drugog pančlajna scene u odnosu na konzistentnost celine pa i The Suicide Squad na momente deluje nepovezano koliko i Guardians filmovi, sa likovima koji doslovno zaboravljaju šta su radili u prethodnom kadru. Recimo, negde pred kraj filma u urnebesnom akcionom finalu, Ratcatcher 2, jedan od novih likovoma izmišljenih za film, beži od svog progonitelja koji se nalazi bukvalno 5-6 koraka iza nje, samo da bi nakon reza po ulasku u novu prostoriju stala da se čudi devastaciji što se u njoj desila, kao da bukvalno u sebi više nema ni trunku adrenalina i straha za život koji su je nosili do pre četvrt sekunde. Na višem nivou, postoje stalne nekonzistentnosti u motivisanosti likova, tonu, uverljivosti mizanscena.
Kada ovo iskombinujete sa Gunnovim čestim telegrafisanjem pančlajna komičnih scena tako da znate kako se vic završava pola minuta pre nego što to film pokaže – scena sa Harley i umirućim superherojem na plaži, recimo – ostaje činjenica da humor u ovom filmu ne radi uvek onako dobro kako scenario to izgleda misli. Naravno, možda je u pitanju samo povlađivanje publici koja je starija, nije ,,extremely online" i nije istrenirana za rafalno ispaljivanje gegova i referenci-unutar-referenci, pa se The Suicide Squad time izdvaja od, recimo, Deadpool 2 (https://cvecezla.wordpress.com/2018/05/20/film-deadpool-2/) i njegovog skoro neizdrživog cunamija gegova.
(https://i.imgur.com/UCVCf7m.png)
No, i na strukturnom nivou svakako se ovde još više primećuje koliko Gunnu treba vremena da uđe u pravi tempo. I sa drugim Guardiansima sam primetio da film tek posle sat vremena počinje da deluje kao propisan narativ a ne serija jedva povezanih sekvenci, i mada je The Suicide Squad spretnije sklopljena priča, može se reći da Gunnov stil sada podrazumeva konvergenciju fragmentiranih elemenata u nešto sa konzistentnijim tonom od polovine filma. Ovde ne mislim samo na to, niti prevashodno na to kako se uklapaju elementi zapleta, koliko na nekonzistentnosti u tonu, neujednačen rad sa likovima, uvođenje i izvođenje njihovih priča iz narativa pre nego što su zaista obavili posao. No, ova vrsta razbarušenosti očigledno jeste ono što Gunn želi da radi a producenti to od njega i očekuju. Sa The Suicide Squad postoji i dodatni sloj narativne hirurgije gde Gunn mora da napravi jasan rez koji razdvaja njegov od Ayerovog filma, pa se ovde radi sa još većim brojem likova i individualnih karakternih i narativnih lukova. Zapravo, tokom prvih sat vremena je The Suicide Squad pomalo kao da gledate dva filma koji se dešavaju paralelno ali nisu nužno povezani, sa različitim tonom i ambicijama. Sa jedne strane je priča o Ricku Flagu i Harley Quinn kao ,,povratnicima" iz prvog filma i ovaj narativni luk je i sam iseckan na pojedinačne tokove, sa parodičnim, dekonstruktivnim scenama koje pokazuju stanje u ,,direkciji" Task Force X, sa Flagom koji dobija humanizovanu dimenziju kakvu pamtimo iz stripova (uključujući i žutu majicu koju takođe pamtimo iz stripova) ali i sa Harley koja posle prvog filma dobija jasan put ka emancipaciji...
... sem što je, naravno, ta emancipacija već odrađena u Birds of Prey, pa je Gunn, koji tvrdi da je scenario pisao i pre nego što je znao šta će se u Birds of Prey dešavati, vrlo srećno pogodio kombinaciju humorističke psihoze i ipak ispravne etičke srži u liku Quinnove, dajući joj nekoliko ikoničnih scena akcije ali i par uspelih gegova.* A ovo je i tim bitnije jer film u neku ruku duplira njen lik kroz Ratcatcher 2 koja je i sama kombinacija superkriminalca sa uznemirujućom supermoći, ispravne etičke orijentacije i sestrinske energije u timu sastavljenom od mužjaka što se hvataju za predimenzionirane pucaljke svaki put kada se stide da rukom dotaknu sopstveni penis.
*pogotovo dobro je odrađen diptih vezan za ime Milton koji poštuje publiku i podrazumeva da će ona upamtiti ne samo sporedni lik koji jedva da figuriše u narativu već i da će shvatiti kako i zašto Quinnova greši u prvoj sceni
(https://i.imgur.com/un8LlzP.png)
Gunnova dekonstruktivna preduzmiljivost ovde može da se razmahne više nego u Guardiansima jer nije sputana PG-13 i family friendly tropima (u svakom smislu) pa je paradiranje i parodiranje mačo-klišea ovde u prvom planu, pogotovo sa likovima Bloodsporta i Peacemakera koji su programski postavljeni kao dva aspekta istog arhetipa alfa mužjaka. Obojica imaju parodično prevelike pištolje, obojica su superiorne ubice koje nikada ne promašuju, obojica nose kostime i maske koji ne služe da prikriju njihov identitet već, naprotiv, da ga naglase, predimenzioniraju ,,poruku" koju šalju već svojim imenima. Ovde se najbolje vidi taj element parodiranja ekstremnosti koju su Image Comics stripovi iz devedesetih forsirali i mada su i Peacemaker i Bloodsport DC-jevi likovi, obojica u Gunnovoj interpretaciji više deluju kao da su ispali iz Wetworks ili WildCATS, sa gotovo toksičnim oblakom testosterona koji se širi oko njih i praktično odsustvom ideje da iko od njih ima ikakav ,,civilni" život izvan poslovnih persona.
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Ovo je svakako element važan za Suicide Squad generalno – taj da su ovo više ,,operativci" a manje superheroji, da nose oklope, kacige i opremu radije nego spandeks kostime, da koriste vatreno i hladno oružje – a veoma zaoštren i ,,ekstremizovan" u Imageovim stripovima iz devedesetih gde su i sama imena likova bila više pojmovi a manje tipičan sklop nešto-čovek karakterističan za ,,stare" superheroje. Tako smo umesto Catmana, Batmana, Supermana, Plastic Mana, Hawkmana itd. u Imageu imali likove sa imenima poput Zealot, Void, Maul, Warblade, Grifter, Disperse, Noir, Claymore, Flattop, Dozer, Grail, Shaft, Diehard, Riptide, Twilight, Combat, Deadlock, Tag i, naravno, Fourplay. Peacemaker i Bloodsport se, očigledno, u ovo savršeno uklapaju, ali Gunn ih zatim umešno produbljuje dajući Bloodsportu izvesnu ranjivost i etičnost a Peacemakeru, iako je on nominalno predstavnik negativnog stereotipa o toksičnoj muškosti i imperijalističkoj interpretaciji patriotizma, taman dovoljno ljudskosti da ga vidimo kao časnog čoveka koji je doneo mnogo loših odluka radije nego kao nekog istinski zlog.
Ovde svakako vredi istaći da je kasting – za ova dva glumca ali i generalno – odrađen vrlo dobro. Iako je Bloodsport pisan praktično kao da će u filmu ovo biti nastavak Deadshotove priče iz prvog dela (sa sve maloletnom ćerkom), Idris Elba liku daje dobrodošlu energiju i osobeni karakter ne najmanje na ime odlično upotrebljenog londonskog akcenta. Sa svoje strane John Cena kao Peacemaker filmu donosi jedan potreban beefhead kvalitet, ubacujući u sve taman toliko ljudskosti da se ne svede na puku parodiju. Treći ,,mačo" lik, Rick Flag Joela Kinnamana dobija idealnu formu straight man karaktera smeštenog između svih ovih larger than life persona i sam Kinnaman ga igra sa više razmahanosti i zadovoljstva nego u prvom filmu, a da ne prelazi u kozerstvo i parodiranje.
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David Dastmalchian sa svoje strane daje Polka-Dot Manu (jednom old school liku koga je kreirao Bill Finger lično) idealan melanž parodične energije* i tragične milenijalske traumiranosti i ne bi me čudilo da on postane svojevrsna seksualna opsesija određenim populacijama. Stallone kao glas za CGI-animiranog Kinga Sharka je, po Gunnovim rečima bio poslednji izbor jer nijedan prethodni glasovni glumac nije uspeo da lik zaista oživi, a što je bizarno jer – iako Slaj posao obavlja odlično sa tih 7-8 rečenica koliko izgovara – u pitanju je jednodimenzionalni geg-karakter očigledno napravljen da bude ,,R" verzija iskombinovanih Groota i Draxa iz Guardians of the Galaxy koji su u prvom filmu svakako i bili jedan, pa dupliran lik. Margot Robbie je na ovom mestu u svojoj karijeri već zvezda koja je lik Harley Quinn internalizovala i njeni performansi u filmu, tamo gde ih Gunn ne usporava preko svake razumne mere (pomenuta scena na plaži) su uglavnom odlični. Srazmerno neiskusna portugalska glumica Daniela Melchior filmu daje vrlo ugodan ,,etnički" element a koji je dalje, a to moram da pozdravim, podcrtan činjenicom da se film najvećim delom dešava u latinoameričkoj ostrvskoj državi Corto Maltese, a gde lokalni likovi izgledaju autentično i među sobom pričaju na Španskom sa sve vrlo stajliš titlovanjem tokom ovih scena. Ovde se Gunnu valja skinuti kapa za smelost koja nije očigledna nama što ove filmove gledamo sa strane.
*Gunn ga je, na kraju krajeva, označio kao ,,najgluplji lik koji postoji u DC-ju"
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Film i jeste vrlo ,,stajliš", sa režijom koja često ide na mini-flešbekove da objasni kako smo došli na mesto na kom smo sada, naslovima ovih scena i činova u filmu ,,ugrađenim" u same scene, ali i intenzivnim i maštovitim koloritom. Ovde nema ni trunke plavo-sivog kolornog diktata koji je obeležio Nolanove i Snajderove filmove pa i Ayerov Suicide Squad, ali ni kičastog šareniša Aquamana. Gunnov možda najveći doprinos DCEU je to bestidno prihvatanje činjenice da snima ,,comicbook movie" i odbijanje priklanjanja nolanovsko-snajderovskim formatima ,,ozbiljne" drame. Gunn shvata da drama u superherojskm stripu ima sopstveni ukus, format i boju i uspeva da pogodi skoro idealan balans između razobručene psihodelične maštovitosti* i pažljivo formatiranog patosa i rasta likova. Scena u kojoj Harley (kojoj su tetovaže već izmenjene da označe raskid sa Jokerom) shvata da je na korak od ulaska u novu toksičnu vezu, gde onda pravi odlučan korak nazad i prema zrelijem emotivnom životu je urađena izvrsno, sa pravilnim odnosom kempa i autentičnog karakternog rada. Kasniji set pis sa njenim bekstvom iz mučionice gde svaka scena biva progresivno sve psihodeličnije intonirana a elegantno koreografisana je jedan od najupečatljivijih momenata u filmu i signal da je Gunn konačno rešio da zaista ,,uđe" u akcione scene i potrudi se oko koreografije i montaže a da ne izguubi taj sloj stilizovanosti koji je krasio njegove prethodne filmove. Rezultat je da The Suicide Squad DALEKO bolje prikazuje akciju ne samo od Ayerovog originala koji je forsirao mrak i snimanje iz ruke već i od Guardians of the Galaxy gde se Gunn često programski uzdržavao od akcentiranja akcije bežeći često, tokom akcionih scena, iz kadra u kome se dešava ,,glavni deo" scene, u stilizovanost ili parodiju.
*King Shark i Starro the Conqueror na velikom platnu? U istom filmu? I još se bore u finalu? Nisam očekivao da ću ovo ikada doživeti.
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A što je dobar način da se imaju i jare i pare. The Suicide Squad zaista udobno postiže balans između parodije i iskrene interpretacije stripova koji su, uz sve svoje kičaste slojeve, imali i sami jednu iskrenu, neposrednu srž, ali i balans između dekonstrukcije ,,starog" Ayerovog modela i, čak, vraćanja ,,pravoj" dimenziji Suicide Squad koncepta u kojoj članovi tima, iako okoreli kriminalci na kraju ne postaju heroji ali stižu do spoznaje da sve što su oni uradili i zbog čega su dospeli u zatvor, ne može biti gore od onog što rade za američku vladu. Gunn je, mora se priznati potpuno neočekivano, udenuo jednostavnu ali nimalo uvijenu kritiku američke spoljne politike u samu srž priče i mada sam video komentare da je razočaravajuće što likovi na kraju odaberu da se pogode sa Amandom Waller umesto da otkriju istinu čitavom svetu o najružnijoj strani Ujka Semovog sna, ovo je potpuno u skladu sa realističkim, pesimističkim tonom Ostranderovog strip-predloška.
Sve u svemu, The Suicide Squad je legitiman dah svežine u DCEU produkciji ali i u generalnoj superherojskoj filmskoj ravni sa ne revolucionarnom ali svakako pomalo prevratničkom energijom koja R rejting koristi prirodno, bez forsiranja, sa rizičnim ali dobro izvedenim tranzicionim raskidom sa ,,starim" Suicide Squad i sa odlično unapređenim modelom ,,nađene porodice" za ubilačke psihopate. Gunn ni ovim filmom nije sebe pretvorio u mog OMILJENOG savremenog režisera – pomenuta površnost u povezivanju scena i povremena trapavost u gegovima – ali jeste snimio film koji me je zabavio, a i koji je, sudeći po svemu, oborio i neke rekorde ovog prvog vikenda prikazivanja (mada nije dosegao svojih projektovanih 30 miliona dolara na domaćem boks ofisu) i izazvao lavinu dobre volje na internetu. Kameo pojavljivanja ne samo Michaela Rookera i Nathana Filliona već i Taike Waititija dodatno doprinose osećaju da su ,,svi" moderni superherojski i naučnofantastični propertiji nekako povezani a to u mnogome doprinosi prepoznavanju kod mejnstrim publike i Gunn ovo dobro zna. Warner ga se ne odriče, pa će Gunn pre početka rada na Guardians of the Galaxy 3 pvo napisati i nadzirati produkciju HBO-Max serije Peacemaker u kojoj ćemo videti i prošlost i budućnost titularnog antiheroja. Dakle, budućnost za Suicide Squad, posle svega, i dalje postoji.
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Izuzetno zabavan, i oku prijemčiv film. Ne mogu da ga posmatram na tvom "master of the DC universe" nivou, čak ni na nekom nižem jer apsolutno nemam pojma o likovima (znam samo da je Harli Džokerova partnerka), ali gospođa i ja smo uživali, iako stoje sve zamerke koje si pobrojao (predvidivi gegovi, nekonzistetnost u ponašanju likova u nekim "prelazima" itd...) Ništa nije smetalo. [emoji4]
Sent from my SM-A715F using Tapatalk
Da, pravi, što se kaže, letnji blokbaster. A R-rated!!! Čuda ne prestaju! Nego:
Pošto kum i ja delimo zdravu mušku fasciniranost* Tatsuyom Nakadaijem, nije mu bilo naročito teško da me utera u gledanje filma Goyokin poznatog japanskog režisera chanbara fimova, Hidea Goshe. Snimljen 1969. godine, sa vrlo izraženim programskim ciljem da se stil forsira primetno više od supstance, Goyokin je i jedan od prvih notabilnih chanbara filmova snimljenih u boji. Štaviše, videvši prominentni logo američke kompanije Panavision na uvodnoj špici, otrčao sam do vikipedije i saznao da je Goyokin, zaista, i prvi japanski film snimljen korišćenjem njihove tehnologije. I vidi se. U najpozitivnijem moguće smislu, da me ne shvatite pogrešno.
*ili bolesnu fetišističku opsesiju, jedno od ta dva...
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Hideo Gosha je snimio manje od trideset filmova za dvadesetosam godina svoje karijere režisera, ali interesantno je da je u pitanju autor koji zapravo nije išao u filmske škole. Nakon služenja u ratnoj mornarici u Drugom svetskom ratu , Gosha je išao u poslovnu školu na Meiđi univerzitetu pa je tamo diplomirao i godinama radio na televiziji, prvo kao reporter a kasnije kao producent pa, na Fujijevoj televiziji na koju je prešao 1957. godine, i kao režiser televizijskih propdukcija. Tamo je i krenuo da radi televizijske chanbara (ili chambara, ako volite jednačenje po mestu tvorbe, a Amerikanci ga, izgleda, vole) produkcije, snimajući serije mačevalačkih filmova o samurajima. Njegov rad na seriji Sanbiki no Samurai (Tri samuraja odmetnika) je bio i presudan za njegov prelazak u filmsku produkciju jer su šefovi studija Shochiku bili impresionirani i dali mu priliku da od ovog materijala napravi film za bioskope. Sanbiki no Samurai je bio vrlo uspešan na velikom platnu pa je od 1964. godine na dalje Gosha uradio masu samurajskih filmova. Goyokin iz 1969. godine kao i Hitokiri snimljen iste sezone smatraju se vrhuncem njegovog rada u chanbara žanru, nakon čega je, iako mu se i sedamdesetih godina vraćao, Gosha bio mnogo više zainteresovan da radi filmove o jakuzama, kriminalcima, kasnije i o prostitukama, sa dosta seksa i nasilja. Ovo jeste izazivalo kontroverze ali njegova stilizovana eksploatacija je dobro prolazila kod publike pa je Gosha redovno snimao sve do 1992. godine kada je umro sa svega 63. Njegova žestina i vizuelno izuzetno prijemčiv stil snimanja akcije su ostavili snažan pečat u radu mlađih režisera (Takashi Miike je jedan od njegovih najpoznatijih epigona), a, recimo Rian Johnson je citirao Sanbiki no Samurai kao važan uticaj na njegov scenario za The Last Jedi.
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Gledajući Goyokin, izuzetno je vidljivo – po ko zna koji put – koliko su japanski chanbara filmovi iz posleratnog perioda uticali na Star Wars generalno. Naravno, kanonski je potvrđeno da je Kurosawin Kakushi toride no san akunin (odnosno The Hidden Fortress) poslužio kao predložak za prvi Lucasov film u ovom opusu, ali niti je Kurosawa bio jedini koji je snimao filmove sa samurajima, niti je, kad pričamo o načinu kadriranja, koreografisanja i montiranja mačevalačke akcije bio jedini uticajan. Gosha je sa ovim filmom kreirao veliki deo vizuelnog jezika modernih chanbara filmova i nije neko čudo da će ostati tako uticajan sa obe strane pacifika. Doduše, Goyokin je u SAD u prvom ulasku u bioskope išao u integralnoj verziji da bi reizdanje iz 1974. godine bilo skraćeno na 85 minuta i nasinhronizovano na Engleski jer valjda u dekadi kokaina i disko muzike nije bilo dovoljno razumevanja za sve te bremenite pauze i tišinu koja prethodi jednom savršenom rezu – a što je George Lucas, da se razumemo, uz sve svoje kasnije grijehe, ipak ispravno razumeo.
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Tatsuya Nakadai, nećete se preterano iznenaditi, i u ovom filmu igra usamljenog samuraja sa teškom pričom iza sebe i pomalo sumanutim pogledom. Ako ste ga voleli sa šmekerskom bradom sedam godina ranije, u Harakiriju (https://cvecezla.wordpress.com/2020/08/04/film-harakiri-aka-sepukku/), Nakadai se ovde samo još više izšlifovao i, ponovo sa bradom, ima jedno još impresivnije prisustvo. Iako priča filma nije specijalno kompleksna niti je njegov lik istražen u mnogo slojeva (kao što je ipak bilo u tri godine starijem chanbara filmu The Sword of Doom (https://cvecezla.wordpress.com/2021/08/06/film-the-sword-of-doom-aka-dai-bosatsu-toge/)), Nakadai donosi u jednu najviše akciji okrenutu produkciju taj kvalitet proživljenosti traumatičnog događaja i daje nam portret čoveka gonjenog demonima koji posle tri godine bežanja odlučuje da se sa njima suoči.
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Scenario koji su Hideo Gosha i saradnik Kei Tasaka uradili je zaista dosta jednostavan, ali ima sve potrebne sastojke za priču o neizbežnom sukobu između nekada bliskih samuraja, o strasti i krivici, pa i pokušaju iskupljenja. Postavljen u devetnaesti vek, pred kraj perioda Šogunata – kao i većina chanbara filmova o kojima ovde povremeno pišem – Goyokin je priča koja se događa u zabačenoj provinciji na zapadnoj obali gde šogun ima ispostavu sa malim odredom samuraja koji ni sam ne zna šta tu čuva. Stalno na ivici gladi – omiljen motiv u radovima koji se bave poslednjim decenijama Edo perioda – ovi samuraji se i osećaju sasvim zapostavljeno i zaboravljeno od strane vojnog zapovednika što stoluje u današnjem Tokiju – tada zvanom Edo – i u jednom očajnom momentu njihov zapovednik odlučuje da opljačka brod koji prolazi ovim krajem i nosi šogunu iskopano i obrađeno zlato sa rudnika na ostvru Sado.
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Za potrebe ove zavere, nažalost, samuraji moraju da angažuju radnu snagu iz obližnjeg ribarskog sela, a da se ne bi otkrilo šta su uradili – i kako Šogun ne bi poslao lojalniju vojsku da ih skrši – oni posle uspešnog nasukavanja broda i pretovarivanja zlata pobiju sve stanovnike sela. Magobei Wakizaka, jedan od zapovednikovih poručnika – i muž njegove sestre – je toliko zgađen ovim planom da se konfrontira sa zapovednikom Rokugom Tatewakijem – svojim šurakom – ali ovaj mu kaže da je to naprosto njihova dužnost prema klanu samuraja koji ima 600 članova i mora da preživi. Magobei na tom mestu daje ostavku i postaje ronin, odlazeći iz utvrđenja i provodeći sledeće tri godine gonjen krivicom što je samo moralno osudio čin zverskog masovnog ubistva i ništa više od toga nije uradio. Spreman da proda svoj mač i potpuno napusti profesiju samuraja, Magobei slučajno saznaje da Tatewaki sprema još jedan sličan plan koji će značiti smrt još jednog čitavog sela. Nešto u njemu puca i Magobei rešava da ode kod svog bivšeg šefa – i tehnički još uvek šuraka – i zaustavi ga ledenim željezom pre nego što se zvjerstvo ponovi...
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Goyokin znači ,,službeno zlato", ali ovaj film se čitavim zapletom oko šogunovog zlata i samuraja koji napuštaju kodeks da bi ekonomski opstali ne bavi sa previše dubine, koristeći ovu postavku najviše kao opravdanje za gomilu vrlo lepo snimljenih scena konfrontacije, napetih pogleda, ruku koju stežu mačeve, visceralne borbe. No, Gosha je bio ozbiljan profesionalac i mada ovo svakako jeste produkcija u kojoj imamo klasične chanbara scene sa desetinama samuraja koji mašu mačevima dok crvena krvca šiklja uvis, dvosatni film se u dobroj meri vozi i na zanimljivim likovima. Nakadai, u ulozi Magobeija je skoro do karikature rastrzana pojava, sav u užagrelim očima, upalim obrazima, čovek od vrlo malo reči ali sa vidljivom, ogromnom težinom koja mu leži na plećima. Ako je u The Sword of Doom Nakadai dao sjajan portret psihopate svojim grimasama i pozama, u Goyokin je njegov Magobei gonjen vrlo jasnom, vrlo realnom krivicom – onom najgorom, krivicom nečinjenja – i pogledi zveri u kavezu koje unaokolo baca su toliko snažni da mu je potreban kontrateg u formi malo veselijeg, šarenijeg ansambla.
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Konkretno, Oriha, jedina preživela iz napada na prvo selo, a koja sa svojim sajdkikom Rokuzom sada vara lokalne gangstere dok se kockaju, te Samon Fujimaki, jedan klasični ,,rogue" lik, opasan sa mačem, još opasniji sa jezikom, oboje služe da priču malo izvedu iz formata surove melodrame koja prirodno izrasta oko Magobeija, njegovog šuraka ali i supruge Shino koja samo želi da joj se muž vrati i da njih dvoje, ako treba odu negde daleko od svog ovog ludila i žive anonimno i mirno. Yoko Tsukasa koja igra Shino je sva ustreptala i uparađena kao za pozorište sve vreme, a scene sa njom i Nakadaijem su prepune vrlo naglašenih, možda i prenaglašenih, teatralnih emocija. U kontrastu sa tim, Ruriko Asaoka koja igra Orihu je karakternija, višeslojnija, ima lik koji deluje kompleksnije, i, uostalom, ima najveću motivaciju da se osveti Tatewakiju. Scenario je stavlja u par stereotipnih damsel-in-distress situacija ali Asaoka uspeva da lik nametne kao preduzimljiv i nimalo stereotipan.
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Kad već pričamo o glumačkim dostignućima, Nakadai ima odličnog parnjaka u Tatsuru Tambi, američkoj (i našoj) publici poznatog pre svega u ulozi Tigera Tanake u džemsbondačini You Only Live Twice, a koji ovde sjajno igra mukama ophrvanog zapovednika što mora da se brine o 600 gladnih samuraja i odlično iznosi taj ledeni – a naizgled otmeni – svetonazor koji kaže da su životi njegovih vojnika na kraju dana vredniji od života seljana koje ti vojnici, jelte, treba da štite. Nakadaijeva vatrena strast kada govori o dužnosti samuraja da štite slabije zapravo dobija pravi kontekst tek kada se suoči sa Tambinim gospodskim racionalizacijama zašto je ovo što on radi zapravo neophodno i deo njegove velikaške dužnosti.
Ansambl sjajno popunjava Kinnosuke Nakamura, jedan pedigrirani kabuki glumac koji ovde igra pomenutog Samona Fujimakija i daje liku odličan raspon između šmekerske zajebancije i nenametljive, muževne efikasnosti.
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Gosha režira scene borbe u kojima su Nakamura i Nakadai sa vidnim guštom, dajući dvojici mačevalaca atraktivnu i efikasnu koreografiju. Film je, po prirodi stvari i najživlji upravo u scenama akcije, recimo u set pisu vezanom za brvnaru gde Magobeija Tatewakijevi ljudi zamalo spale živog, ali Gosha ovde u velikoj meri posao odrađuje već izborom lokacije na kojoj se snima.
Kada vidite kako ovaj film izgleda već od prve scene postaje jasno zašto Gosha nije želeo da snimi još jedan crno-beli chanbara film. Ne samo, jelte, zbog toga kako crvena krv izgleda na snegu ali ne da je to nevažan element. Shimonoseki, na zapadnoj obali u prefekturi Jamaguči okrenut je prema ostvru Tsushima, odnosno prema Južnoj Koreji i u filmu se vidi surov ali prelep obalski krajolik pun oštrog grebenja, ali i prekriven snegom. Konsekventno, likovi idu unaokolo u vunenim naglavcima, duvaju u prste da bi ih zagrejali dovoljno da stegnu dršku mača,* a bacanje snega u oči je legitimna taktika u neravnopravnim borbama.
*u jednoj sceni Shino greje Magobeijeve prste u svom bujnom dekolteu, jer Gosha je voleo ovakve stvari
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Gosha svakako nije išao na to da snimi film koji će dekonstruisati chanbara žanr, ali jeste na neki način doneo njegovu ultimativnu realizaciju fotografijom koja prosto cveta nošena Panavisionovim živim bojama i širokim kadrovima. Kozo Okazaki, direktor fotografije ovde, naprosto ne bi mogao da snimi isti film bez kolora, što se vidi već po tome kako su glumice obučene i našminkane da budu neizdrživo atraktivne, ali postaje kristalno jasno u spekatakularnoj završnici i sceni rušenja velike lomače sa visokog grebena u more. Gosha ovim prizorom udara tačku na ono što se moglo uraditi sa crno-belim filmom i legitimizuje kolor na najbolji način.
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Kada sam rekao da je ovaj film prioritizovao stil u odnosu na supstancu to svakako znači da priča uglavnom ide tamo gde je režiseru potrebno za sledeći set pis a ne tamo gde bi možda suptilniji rad sa tekstom i likovima vodio. Scene borbe (i priprema za borbu) imaju znatno više minutaže od scena u kojima se diskutuje o, jelte, ekonomiji i politici poznog perioda šogunata. No, stil je ovde veličanstven. Gosha jednu ranu scenu u filmu – u kojoj mlada Oriha istražuje avetinjski pusto selo puno vrana – snima kao praktično horor, držeći lekciju iz saspensa i perfektno odrađenih pančlajna (sa sve brutalnim muzičkim akcentima Masarua Satoa), a pripreme za akciju i sama akcija su urađene žestoko, koristeći jako široke planove i savršene rezove, sa zanimljivim rasporedom glumaca i naglašenom likovnošću završnih kadrova.
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Ako Satov saundtrak ima malo odjeka kraudplizing tema koje je ovaj iskusni kompozitor radio za Tohove Godzila filmove, dugačak set pis na kraju pokazuje da ni Gosha ni Sato ni Okazaki na kameri nisu bili spremni da se zadovolje pukim dosezanjem ranga ,,dovoljno dobro". Za finalni bosfajt između Nakadaija i Tambe ne samo da je priroda ravnopravan učesnik dvoboja, nego odnekud i dobijamo trio maskiranih noh bubnjara koji sceni daju vrlo teatralan, ali i pomalo mitološki kontekst sa bestijalnim maskama demona, kompulzivnim, iznurujućim ritmom i tradicionalnim kakegoe vokalizacijama. Da li Magobei ovde pobeđuje? Skoro da nije ni važno dok slušamo bubnjeve i gledamo dve zgrčene figure na snegu ispod kojih se širi cvena, krvava mrlja – Gosha je ovim filmom chanbara žanru doneo boju i sasvim novu dimenziju izražajnosti i u njemu priča služi samo da nam da taj vividni, atraktivni imaginarijum boja i pokreta. Pametnom, što bi Tibor Jona rekao – dosta.
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Pogledao sam film First Love koji je Takashi Miike režirao 2019. godine a za koji su pedantni hroničari njegove karijere izračunali da mu je stotreći režiserski uradak po redu. Koliko često možete da kažete da nečiji stotreći film demonstrira da je autor u životnoj formi i ne samo pokazuje do perverzije izbrušene zanatske veštine već i to da se odlično zabavljao dok ga je pravio? Miike, sada već u sedmoj deceniji svog života, je danas institucija i legitimno je reći da je odavno izgubio pravo da nosi nadimak ,,Agitator" ali Miike, sudeći po ovom filmu (a posle koga je snimio još barem četiri (a peti je trenutno u pripremi), ne da nije izgubio ništa od svoje poslovične ekonomičnosti i lakoruke ekstremnosti već se može i argumentovati da sve to on danas servira sa još više šarma i spretnosti.
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Činjenica je, naravno, da je poslednjih desetak godina Miike i na filmu i na televiziji uposlen u ogromnom procentu vremena kao autor koji znalački i efikasno prevodi popularne mange u medijum sedme umetnosti (Blade of the Immortal, Jojo's Bizarre Adventure, Terra Formars, As the Gods Will, Mogura no Uta) ili, ako pravi programe koji nisu zasnovani na strip-predlošcima, to često budu stvari za omladinu i decu (Secret × Heroine Phantomirage!, Idol × Warrior Miracle Tunes! I ostale televizijske stvari koje je recentno radio). Čak i ja sam, poslednji put kada sam o njemu pisao, pre više od deset godina, pisao baš o omladinskim filmovima pravljenim po manga i anime predlošcima (https://cvecezla.wordpress.com/2010/03/14/takashi-miike-autor-filmova-za-decu-i-omladinu-crows-zero-2-i-yatterman/). No, Miike, zahvaljujući zbilja neopisivo brzoj produkciji, sebi može da priušti da pravi filmove iz svih žanrova koji ga istorijski zanimaju pa je tokom prethodne decenije on uradio i nekoliko samurajskih, i nekoliko jakuza filmova, nekoliko horora, drama... Preterano bi bilo reći da je SVE što je Miike ikada napravio vrhunski i nezaobilazni filmski sadržaj, ali je činjenica da postoji veoma malo režisera u čitavoj istoriji medijuma koji imaju ovako visok odnos kvaliteta i kvantiteta svoje produkcije.
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First Love je, recimo, film koji se beznaporno vraća jakuza-motivima koje je Miike već toliko puta obrađivao, urbanom zločinu na ulicama Tokija, ljudima sa one strane zakona sa karakterizacijama većim od života i suludim planovima za bogaćenje, ali autor u njemu pronalazi sasvim sveže načine da već poznate motive smućka tako da finalni produkt bude ona poslovična visokooktanska vožnja kroz noć megalopolisa ispunjena nasiljem, svakako, ali i svojevrsnim otkrovenjima koja će, barem nekima od likova, nepovratno promeniti život nabolje. Ostali će do jutra ionako mahom biti mrtvi.
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Otkada mu je Quentin Tarantino igrao u Sukiyaki Western Django (pre, već punih četrnaest godina, jao nama), Miike je na zapadu neretko i dobijao poređenja sa američkim režiserom, velikim delom i jer su mu filmovi, ne napuštajući sasvim ekstremnost po kojoj se pročuo, postali u proseku nešto vedriji, ili su barem imali humor bliskiji zapadnom gledaocu. Bizarne, apsurdističke scene iz Dead or Alive ili Visitor Q ili Ichi the Killer ili Full Metal Yakuza su, da bude jasno, uvek u sebi nosile njegov karakteristični crni humor, ali su mu noviji filmovi, reklo bi se, postali za nijansu manje nihilistički. Otud je i First Love sasvim legitimno dobio reference na Tarantina u prikazima na Engleskom jeziku koje sam čitao, ali bi se moglo argumentovati da za razliku od Tarantina koji je danas vrlo programski usporio svoje filmove i uživa u ekstremno dugačkim tangentama koje znaju da budu i malo self-indulgentne, Miike i dalje razume važnost visokog tempa pripovedanja i anarhičnu energiju koja gledaoca možda povremeno može i da zbuni ali će ga poput bujice nositi napred.
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Utoliko, First Love bi se mogao posmatrati, ako ste baš voljni da povlačite paralele sa Tarantinom, kao Miikeova varijacija na ranog Tarantina, Reservoir Dogs ali i True Romance (koji je, naravno, Tarantno samo napisao a režirao ga je pokojni Tony Scott), film o običnim ljudima uhvaćenim gotovo slučajno u vrtlogu organizovanog kriminala, koji u sebi moraju da nađu snagu da prežive, a negde se usput i zavole. Postoje i direktnije paralele, recimo, sa ,,profesijama" glavnih junakinja oba filma, ali ovde pre svega pričamo o sličnosti na jednom konceptualnom nivou a ne o kopiranju priče. Ključno, gotovo čitav First Love smešten je u jednu noć,a Miike vrlo znalački barata povelikim ansamblom likova, da bih ih na različite načine spajao i razdvajao sve do urnebesnog finala koje sadrži sve ono što očekujete od ovakve priče, pa onda i još malo preko toga.
Glavni junak filma je Leo Katsuragi, mladi bokser koga su roditelji još kao bebu ostavili pored kontejnera i koji boksuje jer je to jedino što zna da radi iako nema bogznakakve planove niti ambicije u životu. Kada mu lekar posle jednog sumnjivog nokdauna u ringu pokaže MRI snimak glave, sa tumorom koji ne može da se operiše, Leo se suočava sa činjenicom da još nije naučio ni da živi a već treba da se sprema za umiranje.
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Njegova ,,parnjakinja" je Monica aka Yuri, mlada žena koja se prostituiše preko sajta za upoznavanje da bi vratila dug jakuzama koji je napravio njen otac raspokuća, alkoholičar i zlostavljač. Monica živi životom moderne robinje, zaključana u stanu koji koristi jedan od likova što jakuzama pomažu u rasturanju metamfetamina, izlazeći samo da odradi mušterije, a kada je vlasnik stana i njegova devojka nadgledaju pomoću GPS aplikacije na telefonu. Monica bi se ionako sama vratila posle svakog posla jer je i sama navučena na metamfetamine i nema mnogo izbora...
Ovo je vrlo mračan početak filma, ali Miike sve režira lepršavo, brzo i efikasno, dajući svakoj od scena i nešto duha, pazeći da gledaoca ne zaplaši nekakvim prenaglašenim pesimizmom. Sa druge strane su, naravno, oni najgori među najgorima, tokijske jakuze, tokijske trijade, dileri, ubice i siledžije. Jedan mladi i perspektivni jakuza po imenu Kase odlučuje da svoju porodicu izradi za skupi tovar metamfetamina, uz pomoć pokvarenog policijskog inspektora, a za taj plan mu treba da se inspektor nađe sa Monicom, dok će sva krivica biti svaljena na Kineze. Istovremeno, iz zatvora izlazi jedan od šefova kineske bande koji je izgubio ruku u sukobu sa jednim od Kaseovih šefova i zaklinje se na osvetu. Dolazi noć isporuke metamfetamina, a kao da je jedini koji to veče ne zna šta da radi baš Leo što besciljno luta tokijskim ulicama i meditira o svojoj skoroj smrti. U jednom trenutku, Monica, već na ,,sastanku" sa pomenutim prljavim policijskim inspektorom počne da halucinira (priviđa joj se sopstveni otac samo u gaćama, ogrnut krevetskim čaršavom) i da beži niz ulicu. Leo se sasvim slučajno tu zatiče i, pogrešno misleći da mladu devojku juri sredovečni muškarac, refleksno nokautira inspektora...
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Od te tačke nadalje First Love je toboganska vožnja noćnim Tokijom u kojoj nekoliko grupa ljudi pokušava da se snađe u sveopštoj konfuziji oko nestale prostitutke, nestale policijske značke, nestalog tovara metamfetamina pa i sve većeg broja leševa koji počinju da se pojavljuju sa svih strana. Leo i Monica su upućeni jedno na drugo najviše silom prilika, ali, kako i ime filma sugeriše, među njima se rađa i izvesna emocija, mada Miike nikada ne upada u otvoreno melodramski ton i njegovi glumci, iako oboje izuzetno lepi i mladi (Masataka Kubota je veoma popularan mladi glumac u bioskopu i na televiziji poslednjih nekoliko godina a Sakurako Konishi je ovo bio tek drugi film i odlično je ispala), posao odrađuju uzdržano, bez otvorenog ,,ljubavisanja". Hoću reći, ,,udržanost" je verovatno najređe korišćena reč u pisanju o Takashiju Miikeu ali on je u ovom filmu veoma pažljivo postavio stvari da ne uspori munjevito odvijanje priče ni jednim suvišnim kadrom, pa je otud (buduća) romansa dvoje mladih protagonista samo implicirana, nikako eksplicirana i to filmu vrlo lepo stoji.
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A što je dobro, jer Miike zapravo ovim dvoma likovima daje iznenađujuće malo vremena, koje mu je potrebno za pitoreskne kriminalce što čine ostatak ansambla. I ovde imamo mnogo sjajnih kreacija – Ichikawa Juna Murakamija je izuzetno kul jakuza-ideal, Yen Cheng-kuo je izvanredno prisustvo kao Jednoruki Wang, a šou gotovo da kradu Shota Sometani kao madi, ambiciozni ali nespretni jakuza Kase i pevačica i glumica Becky kao potpuno neverovatna Julie. A ovde čak nisam pomenuo ni odličnu Mami Fujioku ili sjajnog Naoa Omorija.
Sometani je izvor velikog dela apsurdističkog humora u filmu s obzirom da su čitav zaplet i zamešateljstvo oko metamfetamina i komplikovanog plana da se obogati na račun svoje bande a za sve okrivi Kineze – njegovo delo. Njegov lik, Kase je predstavnik mlade generacije jakuza, onih koji su verni tradiciji samo na rečima i po oblačenju a kojima, reklo bi se, naklapanja o časti i lojalnosti uđu na jedno a izađu na drugo uvo. Kase smatra da je u redu da ukrade od, jelte, lopova, čak i da ubije ljude koji ionako metamfetaminima ubijaju tolike druge ljude, ali Kase je i mlad, neiskusan, suviše samouveren pa se njegov plan raspada u realnom vremenu kroz nisku urnebesnih scena u kojima Miike savršeno odmerava humor i nasilje. Kada u jednm momentu Kase mora da ubije jakuza-kolegu da ovaj ne bi familiji otkrio njegov plan, njegova frustracija je sasvim opipljiva jer ne može a da ne promrmlja u neverici ,,koji mi je ovo leš večeras po redu?" Film njegov lik koristi kao neksus nemoralnosti i, ako hoćete, zla, koje ovde nije element postojećih sistema organizovanog kriminala već naprosto obična ljudska gramzivost, lenjost, prezir za druge.
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Otud je i Kaseova sudbina najbizarnija do samog kraja, sa prvo emotivnom i intelektualnom disocijacijom njegove ličnosti na ime ogromne količine metamfetamina koje nenamerno unese, a na kraju i sa fizičkom. Film ima više dekapitacija i amputacija ali Kase je onaj za koga je gledalac najviše vezan, pa i njime najviše fasciniran, i Miike odlično igra na kartu harizmatičnog mladog glumca.
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Sa svoje strane Becky (aka Rebecca Eri Rabone) u ulozi Julie odlazi podaleko iz svoje zone komfora i igra jednu od nekoliko ,,tough" žena u ovom scenariju, dajući ulozi jednu bestijalnu, zastrašujuću energiju. Iako Julie nije pozitivan lik – vidimo kako tretira sirotu Monicu na početku – Becky je do kraja potpuno proda gledaocu, pokazujući je ne samo kako se preduzimljivo i efikasno brani od seksualnog napada već i kao osobu kojoj je zaista stalo do svog partnera i koga ona do kraja filma legitimno želi da osveti. Kako se radi o atraktivnoj i popularnoj pevačici čija je karijera negde u ovo vreme bila žestoko potresena preljubničkim skandalom (tim gorim s obzirom na to koliko agencije u Japanu polažu na kreiranje iluzije da su njihove zvezde devičanski čiste), i da je morala da se javno izvinjava, može se spekulisati da je način na koji Becky igra Julie, sa tom divljačkom energijom i destruktivnim šarmom ponikao iz njenih stvarnih, proživljenih frustracija i osećaja sputanosti.
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Dve je stvari ključno prepoznati u tome kako Miike režira First Love. Prva je ta zanatska superiornost u kojoj film prikazuje gomilu likova koji su svi žrtve konfuzije, pogrešnih pretpostavki, slučajnih grešaka i prevarnih namera, a da gledalac ni u jednom trenutku nije sam zbunjen već ima kristalno jasnu nit koju prati kroz narativ i taj osećaj prijatne nadmoći nad likovima od kojih u svakom trenutku zna više. Ovo je nije Miike-kao-Tarantino, već naprotiv, Miike kao idealna verzija Miikea, sa pričom koja skače od lika do lika i mesta do mesta, velikom brzinom, a bez nejasnoća i dvosmislica. Pričamo o čoveku koji je uvek bio superioran u pogledu individualnog kadriranja, dinamične montaže, tečne akcije, ali verujem da su mnoga njegova remek-dela poput, recimo filmova Big Bang Love, Juvenile A, Gozu ili Izo – pa i samog Koroshiya Ichi – deo publike zbunjivala meditativnošću i refleksivnošću umetanim između scena žestine i viscere, čime su fimovi imali neujednačen tempo i zahtevali aktivno (često i ponovljeno) gledanje da bi zaista ,,legli". Sa First Love Miike nema ambiciju da nas angažuje filozofski dublje od toga da pokaže glavnog junaka koji se bori za pravu stvar iako je njegov sopstveni život praktično istekao, pa je i film primereno efikasan i jako efektan u svom nizu epizoda povezanih savršenom montažom u jednu impresivnu celinu. Pa pogledajte scenu sa psom-igračkom i svećama!
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Drugo je to da je Miike ovde sačuvao sve one elemente po kojima ga znaju i oni što nisu gledali ni jedan njegov film – First Love ima i atraktivnu akciju i transgresije najrazličitijih vrsta, sa gangsterom koji na zadnjem sedištu automobila što ga progone i jakuze i trijade krvari od metka a prostituka pokušava da pošmrče metamfetaminski prah koji mu se prosuo po pantalonama, od čega on dobija jaku erekciju, recimo – ali First Love izbegava da ih koristi bilo nihilistički bilo maniristički. Ovo je film koji uprkos svom krvoproliću, zlu i odlascima u akcione ekstreme (kao što je kratki upad animacije pred kraj priče i nervozni saundtrak Kojija Endoa) ima jedno toplo, humano jezgro, sa dvoje mladih i, neverovatno, neiskvarenih likova u srži koji ne žele ništa sem da imaju normalan, na kraju balade zajednički život.
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Ovaj humanizam je nešto što je Miike decenijama uspešno prikrivao dajući nam bizarne nihilističke kavalkade u Dead or Alive, Fudoh: The New Generation, Ley Lines, Ichi the Killer, psihološki osakaćujući čitavu jednu generaciju sa zastrašujućim Audition, no pod stare dane veliki majstor pokazuje kako se može napraviti i film koji je jednako ,,oštar" kao i njegovi stari radovi a da ima i jedno toplo, pa i romantično, ali nikako sentimentalno, nikako patetično jezgro. First Love je baš ono što je svetu bilo potrebno u ovom teškom pandemijskom vremenu, pa, ako imate mogućnosti i inklinacija, priuštite sebi dozu vrhunskog akciono-trilerskog, a komičnog i romantičnog Miikea. Zaslužili ste.
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Kako je Takeshi Kitano najavio da će mu Kubi (odnosno Vrat) koji bi trebalo uskoro da bude priveden kraju, biti poslednji film u karijeri režisera, pomislio sam da bi bilo lepo da nešto napišem o recentnijim radovima ovog velikog autora. Prošlu deceniju je obeležila njegova jakuza-trilogija Outrage, sa trećim filmom, Outrage Coda iz 2017. godine kao za sada poslednjim koji je Kitano režirao, pa ću o svakom od ovih filmova napisati po jedan tekst, a što će, ako nas posluže zdravlje i pamet i biti neka vrsta analize dekade njegovog rada (u kojoj je pored Outrage filmova režirao još samo akcionu komediju Ryuzo and the Seven Henchmen). Dakle, danas pričamo o prvom filmu iz trilogije, samom Outrage, snimljenom 2010. godine i nekoj vrsti destilata Kitanove karijere do tog momenta, beznapornog blenda brutalne jakuza-drame i uzdržane, bezizražajne, neme komedije.
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Takeshi Kitano je čovek sa CV-jem kakav se retko sreće. Na zapadu je ovaj autor postao poznat izvan uskog kruga weeboa i fanatika jakuza-filmova negde početkom stoleća kada je uradio film Brother, oporu a opet duhovitu gangstersku-dramu koju je Kitano napisao i režirao sa eksplicitnim ciljem da iskoristi interesovanje evropske publike za jakuza filmove. Brother, na kraju krajeva nema ni ime na japanskom, a značajan deo dijaloga je na Engleskom, sa američkim glumcima u nemalim ulogama, dok je internacionalna premijera filma bila na Venecijanskom festivalu svega par nedelja nakon japanske premijere.
Brother je zapadu, dakle, otkrio Kitana kao čoveka koji povezuje visoko i nisko, snimajući jakuza filmove u kojima se brutalnost ugodno spaja sa izvesnom melanholijom a scene ekstremnog nasilja bivaju izbalansirane često neočekivanom, uzdržanom komikom. Zapadna publika je pokazala dovoljno interesovanja da Kitanovi prethodni filmovi postanu na razne načine dostupni za gledanje, pa se danas njegov debi oz 1989. godine, Violent Cop, ili njegova melanholična jakuza-minijatura, Sonatine iz 1993. godine prepoznaju kao klasici novijeg jakuza-filma.
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Ono što je zanimljivo je da je Kitano paralelno sa svojim jakuza-sagama pravio i filmove drugačijeg senzibiliteta i žanrova (Kikujiro, A Scene at the Sea itd.), od kojih je na zapadu verovatno najpoznatija njegova verzija priče Zatoichi iz 2003. godine kojom se upisao na dugu listu režisera što su adaptirali ovaj klasik o slepom samuraju za veliko platno, no, brutalne jakuza-priče ostaju ono po čemu se on prepoznaje. A ovo je uprkos činjenici da je daleko pre karijere filmskog režisera Kitano već bio selebriti u Japanu sa dugačkim stažom komičara koji je krenuo još u sedamdesetima (i gde je u mnogim skečevima igrao jakuzu – što je verovatno posledica prirodno grube fizionomije). Njegova uloga u filmu Srećan božić, gospodine Lorens – prvi put da je Kitano glumio ,,ozbiljan" lik – je u Japanu shvaćena dosta neozbiljno jer se, kako se pripoveda, Kitano ušunjao na japansku premijeru da vidi kako će publika reagovati na njegov lik samo da bi mu se srce slomilo kada se celo gledalište zacenilo od smeha čim se pojavio na platnu.
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Kitano je bio jedan od prvih japanskih selebritija koji su producirali video-igru – Takeshi's Castle iz osamdesetih, smatran za jednu od najgorih igara svoje generacije, ali nastao na osnovu uspešnog televizijskog programa u kome je Kitano predsedavao žirijem u takmičenju osnovnoškolske omladine u nečemu što je podsećalo na Igre bez granica, samo malčice surovije. Njegova fascinacija jakuzama, pak, potiče još iz detinjstva (,,bejzbol igrači i jakuze su bili jedini kul likovi koje sam znao") i Kitano kaže da je kao popularni komičar često bio pozivan posle nastupa da pije sa gangsterima, pa je godinama sedeo i upijao lovačke priče pijanih krimosa, da bi poslednje tri decenije njegove karijere bile obeležene pretakanjem ovih priča u nasilne, fascinantne filmove.
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Outrage je film koji je, slično Brotheru, snimljen sa eksplicitnom programskom namerom da bude uspešan u bioskopima. Nakon Zatoichija iz 2003. godine, a koji je bio solidan hit, Kitano je ostatak decenije utrošio na autobiografsku trilogiju (Takeshis', Glory to the Filmmaker i Achilles and the Tortoise) koja je smatrana ekscentričnom i nije uspela da zaista pronađe publiku. Utoliko, Outrage je i najavljivan kao Takeshijev ,,povratak" onome po čemu ga publika najbolje zna i zbog čega ga najviše voli. Naravno, ne sumnjam da je samog Kitana ovo prilično zabolelo jer je sasvim očigledno da je smatrao da je u jakuza-žanru on već rekao sve što je imao da kaže i da je odbijanje publike da dublje prepozna njegova druga interesovanja i kvalitete morabiti delovalo frustrirajuće na njega. Čini se da sam Outrage ovo eksplicitno pokazuje jer je u pitanju film koji nihilizam Kitanovih jakuza-drama odvrće na jedanaest do momenta kada gledalac nema drugu reakciju do da počne da se smeje i zapita se kada je Kitano očekivao da ćemo prepoznati da se nalazimo u vicu.
Naravno, Kitano nije Miike i on svoje karte otvara veoma polako te je njegova režija u Outrage uvek odmerena, elegantna i uzdržana, baš kao i njegova gluma. U ovom filmu Kitano igra Otomoa, siledžiju iz jedne tokijske gangsterske porodice koji odrađuje najprljavije poslove za šefa, namazanog i prevrtljivog Ikemotoa. Otomo je tu kada treba da se zaplaši, povredi, pa bogami i ubije, ali je i veza sa lokalnim policijskim inspektorom koji obezbeđuje da porodica može nesmetano da operiše na svojoj teritoriji. Kitanovo prisustvo u kadru je uvek impozantno, sa nepromenljivim izrazom lica i kada preti i kada vređa i kada potvrđuje da je razumeo naređenja i kada se (a i to mu se dešava), čudi. Iako u par scena vidimo da Otomo ima devojku – vizuelno izuzetno upečatljiva Yuka Itaya – ona u filmu nema čak ni ime i nema apsolutno nikakvih pretenzija da ćemo preko nje upoznati Otomovu ,,nežniju" stranu – on je, naprosto, nema.
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Outrage je ,,staromodan" jakuza film utoliko što uzima trope jakuza filmova i zatim ih ređa jedan za drugim sve dok količina apsurda ne zaseni ozbiljnost drame koju gledamo. Otomov šef, Ikemoto se u zatvoru pobratimio sa šefom susedne porodice i sa njom mulja poslove oko prodaje metamfetamina, trudeći se da sakrije dodatni profit od glavešina klana. No, kada mu se sa vrha kaže da nije zgodno da se dve nominalno suparničke porodice vide kao maltene jedna, Ikemoto instruira Otomoa da kreira lažne sukobe između dve ekipe.
Prvih dvadesetak minuta filma izgleda kao da je u pitanju priča o sitnom krimi-planu koji izleće sa šina i proizvodi velike posledice, sa egoima jakuza koji su veći od njihove svesti o potrebi da budu disciplinovani vojnici i da uvek čine ono što je najbolje za porodicu. Kitano kao i uvek ima perfektan tempo u režiranju scena koje izgledaju statično, sa pozorišnim kompozicijama, sve dok ne eksplodiraju u bljeskovima ekstremnog nasilja i brzih rezova. Ali Outrage je generalno režiran ekstremno brzo – Kitano je bio i montažer na ovom filmu i između scena koje imaju potrebnu dozu naturalističkog ponašanja, značajnih pogleda, ćutanja i tišine se, zapravo, prelazi veoma brzo, skačući sa lika na lik i sa mesta na mesto u jednom majstorskom oslikavanju šire slike koja pokazuje kako rat za teritoriju između dve porodice dolazi kao partija komplikovanog šaha na više tabli odjednom, sa mnogim igračima koji nisu ni svesni da su njen deo niti ko sve ovo zaista organizuje.
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I ovo je, pokazuje se, zapravo tema filma. Outrage nije film o zaveri porodice protiv svog člana niti o ratu između dve porodice, ponajmanje o jednom poštenom gangsteru u moru korupcije, iako na momente spretno koristi signalizaciju da nas ubedi da baš to gledamo. Outrage je film o praktično matematičkom ništavilu, potpunoj ispražnjenosti života jakuza, ljudi koji su nominalno vezani komplikovanim sistemom pravila i hijerarhijom zasnovanoj na časti i lojalnosti, ali su to sve koncepti koje ovaj film potpuno demolira, ubijajući svoje likove sistematično i efikasno, sve dok ne postane jasno da igramo igru u kojoj nagađamo da li će IKO dočekati odjavnu špicu na nogama.
Utoliko, ovo se od filma koji vam je nelagodno da gledate jer nemate za koga da navijate – svi likovi su potpuni negativci i psihopate, skloni ispadima sadističkog nasilja – transformiše u pomenutu partiju šaha gde likovi zapravo imaju ličnosti i karaktera koliko i figure na tabli, a dinamika pripovedanja i njihovog kretanja kroz priču je ono što vas drži investiranim.
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Naravno, to znači da je Outrage i manje relatabilan film od nekih Kitanovih prethodnih jakuza-radova, jer se, na kraju krajeva, radi gotovo o parodiji, o filmu koji je procesija nasilnih scena, ne samo u grafičkom smislu (mada, naravno, imate i toga koliko hoćete, sa likom koji pregriza sopstveni jezik zbog udarca u donju vilicu i drugim kome u toku scene ,,ispitivanja" u kuhinji restorana zarivaju štapiće za jelo u uho a satarom odsecaju prste koji odleću u posudu sa vegetarijanskim nudlama što će potom biti poslužene mušteriji koja ne obraća pažnju na nasilje udaljeno pet koraka i blaženo igra svoj Nintendo DS...), već i u svakom drugom. Likovi jedni druge lažu u lice, zlostavljaju ih verbalno i teraju ih da rade ponižavajuće stvari. Ovo uključuje i civile i ovo je film koji na svim nivoima eksplicitno demolira jakuza-kodeks, ali ne (ili ne samo) kao praznoslovlje iza koga se oni najviši u hijerarhiji skrivaju dok ispod njih nastupa pakao za sve, već kao trop jakuza-žanra, poštapalica za autore da publici serviraju ,,dobre" i ,,loše" likove kako bi ovi mogli da pravilno odaberu stranu u dramskom konfliktu. Outrage to nema – ovde su SVI loši i ubijaju se jer publika to želi da vidi, sve surovije, sve ekstremnije, šireći nasilje poput krvave fleke po celom gradu.
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I to je, dakako, taj nivo nihilizma koji nije lako progutati. Ovde nema likova koji su simpatični – čak i Kitanov Otomo, iako obdaren old school šarmom, ide daleko preko linije prihvatljivog rano u filmu a i do kraja se pokazuje kao naivna budala što je, možda, još gore – ali druga strana tog novčića je i da ne osećate ništa kada bilo ko od njih umire. Kitano prolazi kroz kast kao da čisti zelen i likovi do malopre puni sebe, kočoperni i spremni da osvoje svet, završavaju u sa metkom u čelu ili otkinutom glavom a da niste ni stigli da se zapitate ko ih zapravo ubija i ko od toga ima koristi.
Ali niko – niko nema koristi a likovi maltene da ubijaju sami sebe. Iznenađujuće, ovo je upravo bila poenta u Sonatine, filmu koji je plenio melanholijom i humanizovao svoje jakuze pre nego što ih je pobio. Outrage je međutim mnogo ciničnija priča i ovde se krv pušta zato što se može a životi u nasilju završavaju se nasiljem bez ikakvih naučenih lekcija ili, čak, primisli da je možda moglo biti drugačije. Ne smem da tvrdim ali utisak mi je da je Boban Skerlić religiozno odgledao ove filmove pre nego što je pristupio režiranju Klana – serije koja ima sličnu ambiciju da pokaže nihilističku dimenziju ne samo kriminalnog života već i samog žanra.
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To da je film i pored svega gledljiv imamo da zahvalimo sa jedne strane Kitanovoj preciznoj, matematički postavljenoj naraciji koja nam pokazuje gotovo otvoreno ne samo da nasilje rađa nasilje već da je ono na kraju krajeva stavljeno u službu sasvim besmislenih ambicija koje se nikome nisu ispunile a oni koji na kraju ,,pobeđuju" u ovoj priči su jedino dobili znanje da su oni živi a da drugi to nisu – ovde se ne vide stvarni ekonomski ili bilo kakvi drugi dobici. Sa druge strane, naravno, likovi su svi izuzetno upečatljivi, koliko god da dobijaju malo vremena pred kamerom i opcija da pokažu višeslojnost. Jun Kunimura je savršen kao Ikemoto i zapravo njegovo lapidarno upravljanje svojom porodicom i incidentima koje izaziva i ,,lako ćemo" stav su jedna od ranih sugestija da je Outrage film koji negira postavke klasične drame i pokazuje da ona može da postoji samo ako likovi u nju veruju. Ikemoto ne veruje ni u šta – pred kraj filma vidimo da se kocka u kasinu ali da kad gubi samo traži od krupijea da mu da još čipova na poklon, ne prihvatajući, dakle, ni ideju o prepuštanju ćudima slučaja kao neke metafore za sudbinu – pa od njega i kreće taj talas nihilizma koji ponese sve ostale likove što ubijaju svoje pobratime, šefove, ali i vozače i devojke, sve dok skoro niko ne ostane u uspravnom položaju do kraja filma.
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Outrage, naravno, nije film sa porukom, ubijanje praktično celog kasta obezbeđuje da nemamo nikoga ko bi mogao da sedne i reflektuje na ono što se desilo, a njegovo pokazivanje da nasilje rađa nasilje ide pre svega na napolje, prema publici. Niste prepoznali Kitana kao ekscentričnog autobiografa, kao da kaže Outrage. Želeli ste još jedan film u kome on ubija jakuze skamenjenog izraza na licu i sa malo reči? Outrage će vam dati baš to pa onda deset puta više dok ne počnete da halucinirate i u njemu tražite transcendenciju koje, programski, u filmu nikako nema. Pa, doborodošli u retrospektivu Kitanove prošle decenije. Vidimo se u Beyond Outrage.
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Quote from: ridiculus on 20-07-2021, 17:26:47
A, lepo. Znam o čemu bi moglo da se piše sa velikim šansama da se to prihvati u tih 5 članaka - sami su nagovestili pravac u konkursu - ali zeza me ta "aktuelnost". Strip, relativno star, tema zaista nikad aktuelnija, ali sam strip nije objavljen ni najavljen kod nas.
Sada mogu da kažem na šta sam mislio. :lol:
Strip se zove Enigma. Jedno od prvih Vertigovih izdanja.
Središnji deo trilogije Outrage Takeshija Kitana, Outrage: Beyond pokazuje da se iz haosa može pomoliti red, ako znate šta radite. Štaviše, ovaj film skoro da me je ubedio da je Kitano od početka znao šta radi i da nihilistički haos prvog filma nije bio samo izduvavanje frustracija na obe nozdrve i pružanje publici onog što ona želi – nasilja i ultranasilja – pa nek svet izgori, već promoćurno kreiran prvi deo trodelne priče da privuče pažnju i postavi očekivanja na potrebnu razinu.
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Utoliko, iako mi je prvi Outrage bio nesumnjivo prijatan za gledanje (https://cvecezla.wordpress.com/2021/09/03/film-outrage/), ali u njemu nisam našao previše dubine i zaključio da je Kitano ovde mehanički, pa i dosta prkosno napravio film bez ijednog simpatičnog (ili makar dvodimenzionalnog) lika i bez zapleta dalje od ideje da su svi loši, svi će svakog izdati i (skoro) svi će do kraja poginuti, e kako bi publici pokazao šta se događa kada ona ignoriše njegove ,,umetničkije" radove, posle gledanja Outrage: Beyond čini se da je stari lisac uvek u pripremi imao višeslojniju i kompleksniju priču, pa i čitavu trilogiju na umu. Outrage je, očigledno, Kitanov magnum opus u domenu jakuza-filma, njegov niskobudžetni, opori, a opet duhoviti projekat građenja japanskog ,,Kuma". Iako je Outrage: Beyond i dalje izuzetno nasilna tvorevina, pa i dalje prilično klasičan, staromodan jakuza film sa neprikrivenim komercijalnim pretenzijama, strukturalno i ritmički ovo je zapravo značajno ambiciozniji ali i odmereniji rad koji lagano, sistematski postavlja figure na tablu pre nego što se razreši u seriji brutalnih krešenda. Da ne bude zabune, Outrage: Beyond je daleko od savršenog filma, ali je Kitanovo majstorstvo kreiranja višeslojnih priča i likova koji imaju dubinu iako provode najveći deo vremena projektujući ultramačoidne gokudo persone ovde izrazito vidljivo, počinjući od samog lika Otomoa, ostarelog gangstera kojeg je Kitano igrao i u prvom filmu.
Već sama činjenica da je Outrage dobio nastavak iako je nekih 95% likova u tom filmu završilo u večnim lovištima – uključujući samog Otomoa, delovalo je u finalu – je demonstracija Kitanove zanatske veštine. Naravno, sam Otomo mora da bude vraćen u priču magijom retkonovanja koja je negde u rangu Balkan Ekspres 2, ali Outrage: Beyond tokom prvih pola sata impresionira uvođenjem reda tamo gde je vladao samo haos, pokazujući nam da likovi koji su u prvom filmu delovali samo kao bića impulsa i nekontrolisanih afekata što prilike koriste onako kako one nailaze, a bez nekakvog ozbiljnog plana i strategije, zapravo pored gladi i besa što su ih tada karakterisali imaju i ambiciju, pa i organizacione sposobnosti.
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Outrage: Beyond, dakle, odgovara na pitanje (kako nastaviti film u kome je većina likova pobijena pre kraja) time što vrlo umešno rukuje likovima što su u prvom filmu bili samo deo zida zaglušujuće buke nasilja i ubijanja i prikazuje ih ne samo kao impulsivne oportuniste već i kao spretne taktičare pa i srazmerno napredne mislioce. A onda ih opet sve poruši kao kegle.
Početak nastavka je sporiji i uredniji: nakon pokolja koji smo gledali u Outrage i urušavanja nekoliko gangsterskih porodica pod plimom nasilja koja je izrasla u rat što ga niko nije ,,zvanično" proglasio, nakon puča u vrhu klana pod čijim se skutom sve to dešavalo, u Outrage: Beyond imamo neku vrstu Pax Sannoana (?). Klan Sanno, pod novim rukovodstvom je brutalna, vrlo disciplinovana kriminalna organizacija u čijem su vrhu ljudi koji su u prvom filmu pokazali da nemaju skrupule – niti neku veliku kontrolu impulsa – a koji sada ne samo da vladaju željeznom rukom već i imaju sasvim nove, neko bi rekao vizionarske, ideje za dalji rast i razvoj. Nije ovo, naravno, nekakav originalni pristup – mladi i divlji koji se pretvaraju u starije i konzervativne je česta tema u ovakvim filmovima – ali je Kitanova obrada vrlo zanimljiva.
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Ako je jedna od tema koje je prvi film baštinio bila ta tenzija između old school jakuza vojnika, vernih tradiciji, časti, klasičnoj hijerarhiji, i novog soja spremnog na sve samo zarad ugađanja svojim neposrednim željama, gde su izdaje i zabadanja noževa u leđa na kraju došli ne samo kao ishodi usijanih momenata preokreta već su komadovani sa vrha, pokazujući urušavanje čitavog sistema pravila i subordinacije na kome je organizovani kriminal u Japanu stolećima počivao, Outrage: Beyond je zapravo razrada ove formule u prvih pola sata, čak i odmerena, tiha satira ne toliko na sam organizovani kriminal koliko na čitavo društvo i biznis kao njegovu reproduktivnu granu. Klan Sanno nije puka skupina kriminalaca koji obrću keš od kocke, kenjaju o časti i traže od drugih da seku mali prst čim se ne poklone dovoljno duboko, već, na početku ovog filma, efikasna biznis-mašina koja gazi granice nekada nedodirljive za kriminalne klanove (sam početak pokazuje asasinaciju visokog policijskog službenika koji je počeo da preduboko čačka po klanovim poslovima), sarađuje sa državom (pominje se trgovina ljudima – u saradnji sa Ministarstvom spoljnih poslova) i generalno u centar svojih prioriteta stavlja rast i razvoj, po ugledu na korporacije.
Štaviše, Kitanova satira je duhovita baš zato što u jedan predimenzionirano žanrovski, mačoidni ambijent ubacuje priče o kretanju vrednosti deonica, hedž fondovima i sličan corporate-speak dok se matore glavešine porodica zgledaju i pitaju se kuda su nestala ona vremena kada se gledalo koliko si godina odrobijao za klan a ne koliko si mu para doneo. U jednom momentu čujemo i gunđanje na to da klan Sanno pod novim rukovodstvom za godišnje sastanke i slične prigode čak ne iznosi ni najosnovnije posluženje. Deluje da nova generacija gazi bez milosti i nema nikakvog poštovanja za ljude koji su decenijama podmetali leđa za opštu stvar – jedan od starijih egzekjutiva sa gađenjem ukazuje da Nishino, brutalni egzekutor iz prvog filma a sada čovek broj dva novog rukovodstva klana, nije nikada ni bio u zatvoru, da čak nema ni tetovažu.
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Ključna figura cele ove priče, uključujući prvi film je, pokazuje se inspektor Kataoka, koji nije samo podmitljivi pandur što često i rado ide na ručkove sa kriminalcima već, ispostavlja se, igrač koji svojim metodama rešava probleme disbalansa na tokijskoj gangsterskoj sceni. Ako je u prvom filmu delovalo da je Kataoka samo ubacio šibicu u gomilu baruta i sena koju su uveliko pripremile jakuze, da vidi šta će biti, u Outrage: Beyond vidimo da on prebrz – i destabilišući – rast klana Sanno rešava sa osmehom, mračnim mahinacijama u kojim nema mesta za sentimentalnost.
Osnovna priča u Outrage: Beyond pokazuje kako ono što je sagrađeno na nasilju, biva razgrađeno isto tako, veštim manipulisanjem iz pozadine i podsticanjem ,,prirodnih" impulsa za osvetom i zaštitom časti kod kriminalaca. Ali jedan od slojeva ove priče se bavi Otomom koji biva pušten iz zatvora neočekivano rano, baš zato što Kataoka njegovu osvetničku energiju vidi kao presudan kapacitet tamo gde su šefovi porodica što ne vole Nishinoa i novog šefa klana, Katoa, posrnuli jer se plaše da imaju previše izgube. Otomo je neko ko je već sve izgubio – prijatelje, porodicu, saradnike, slobodu, gotovo i život – ali njegova glad za osvetom, za Kataoku iznenađujuće, je skoro na nuli.
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Kitano lik Otomoa ovde umešno produbljuje dajući nam spori, odmereni portret jakuze koga zatvor nije ni slomio niti smekšao ali ga je naučio da sortira prioritete u životu. Otomo je sada ostareli, zamišljeni eks-zatvorenik koji samo želi miran život i lagani odlazak u penziju – a što mu se nudi od strane lokalne korejske bande koja kao da ima više poštovanja za starog vojnika od njegove japanske sabraće. No, kako se niko nikada u ovim filmovima nije mirno penzionisao, tako neće ni Otomo. Kataoka uspeva da ga upari sa Kimurom, likom iz prvog filma koga je Otomo (nepravedno) osakatio na početku i koji ga (sad to vidimo, neuspešno) ubija u zatvoru na kraju, i saradnja dvojice nominalno neprijatelja je naprosto prirodna. I jedan i drugi radili su ono što im je bilo naređeno ili ono što je nalagala čast i mada je potrebno malo gurkanja od strane Kataoke (pa malo i prljavih trikova...) na kraju se Otomo i Kimura praktično sudbinski usmeravaju na to da sruše klan Sanno uz pomoć klana Hanabisha iz Osake koji sa tokijskim kolegama ima pakt o nenapadanju.
Ima ove mnogo toga za raspakovati – to kako dvojica nominalno bivših kriminalaca iz vremena kad se kao, znao red, predstavljaju praktično simbolički presudan protivotrov za nasilni korporativni new school kriminal, to kako čak i među starom školom čast i lojalnost ne znače baš ništa kad se s druge strane pojave interesi, to kako se cela kriminalna imperija, od koje se trese i dobar deo Ministarstva unutrašnjih poslova, na kraju počisti serijom brutalnih, sistematičnih asasinacija koje kao da niko ne može da predvidi ili spreči. I pošto ga ima tako mnogo, ovo je pravo mesto da se primeti koliko je elegantan Kitanov autorski postupak.
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Drugi režiseri (i scenaristi) bi se zaplitali u detalje koji pojašnjavaju zašto ovo i kako ono i davali nam montaže i infodampove da vidimo kako kriminalci planiraju svoje akcije i kako znaju ko će biti gde kada krenu u atentat i kako će obezbediti da niko ne može da ih identifikuje, ali ovo je žanrovski garnirung koji Kitano već decenijama smatra nepotrebnim. Njemu su od ove logistike mnogo značajniji unutarnji život protagonista i likovnost scena tenzije i nasilja, sve to prikazano samo u najlakšim, natanjim crtama, pa u krešendu filma dobijamo čistu krtinu, nisku perfektno ekonomičnih scena egzekucija i likova koji prihvataju svoju ulogu u ratu sa stoicizmom ali i razumevanjem da je u pitanju sudbina koju su odabrali još pre nekoliko decenija kada su postali jakuze.
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Ima ovde i manirizma, naravno, i posle četvrte ili pete scene u kojoj grupa ljudi u odelima i sa tamnim naočarima pobije istu takvu grupu ljudi, bez mnogo predigre ili objašnjenja, setite se da je ovo samo Kitano koji maše Kopoli preko četiri decenije filmske istorije, ali opet, ta njegova ekonomičnost i efikasnost čine film lakim, brzim i impresivnim u praktično svakoj sceni, bilo da se radi o paru mladih wannabe jakuza koji treba da budu Otomovi telohranitelji a ne znaju gde im je dupe a gde glava, bilo o brutalnoj egzekuciji mašinom za izbacivanje bejzbol loptica.
Najmemorabilnije su svakako scene sa samim Otomom u kojima Kitanov uzdržani stil glume i jednako uzdržana režija postižu idealnu sinergiju. Iako se radi često o scenama ogromne brutalnosti – u jednoj jakuza sebi odgriza prst da bi pokazao svoju posvećenost očuvanju časti, u drugoj Otomo protera burgiju kroz glavu vezanog pripadnika klana Sanno – kakve se kasnije prepričavaju i služe kao neka vrsta viralnog marketinga za gore houndove u publici, svakako treba primetiti da u njima ima suptilne, skrivene ali ne nevidljive satirične supstance.
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Jer, kad je Kitano ozbiljan, kao u preokretu u bukvalno poslednjoj sceni, onda tu nema teatra, nema podilaženja publici, samo prodorne, nezaustavljive odlučnosti. Ovom scenom Kitano gledaoca naglo izvlači iz žanrovske uljuljkanosti onako kako likove izvlači iz predvidivih pravila i tradicija i Outrage: Beyond je efektno podsećanje kako ovaj autor ume da ubedljivo osciluje između dve suprotstavljene pozicije. Na jednoj strani je ta dekonstrukcija jakuza žanra, demoliranje ideja o tome da je ovo svet u kome je čast dragocena, skidanje kul i seksi fasade sa likova koji se samo prave da su veći od života (jedan od najnasilnijih likova u oba filma ovde je prikazan kako mokri od straha kada shvati da je uleteo u zamku), a na drugoj strani su i dalje perfektno kadrirane, snimljene, glumljene, ozvučene i montirane scene u kojima su jakuze ono što su uvek bile u svojim očima – ljudi koji čine ono što drugi ne mogu i ne smeju i kojima se svi dive barem onoliko koliko ih se plaše.
Drugim rečima Outrage: Beyond je praktično idealan središnji deo trilogije, delom dekonstrukcija, delom fan service, film koji čuva mračnu negativnu energiju originala, ali joj daje strukturu, jasan zaplet a onda i revolucionarne preokrete koji sugerišu da u poslednjem delu može da se desi maltene bilo šta. Pa se vidimo uskoro da prodiskutujemo Outrage Coda.
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Ako ste se danas nadali priči o trećem filmu u Outrage trilogiji Takeshija Kitana, primite moje izvinjenje. Osetio sam potrebu da gusti oblak jakuza-testosterona malo pročistim skretanjem u ekscentričnije vode pa sam krenuo da proverim šta je poslednje radio kultni japanki režiser Sogo Ishii. No, onda sam u pripremama da pogledam njegov najnoviji film, Punk Samurai Slash Down, skrenuo levo kod Albukerkija i sa zadovoljstvom se podsetio njegovog minimalističkog (skoro) remek-dela iz 2001. godine, Electric Dragon 80.000 V. Ovaj film povremeno pominjem kada pričam o savremenom japanskom filmu, kao izvrstan primer niskobudžetnog urnebesa koji spaja crtanofilmovski eksces sa ozbiljnim, autorskim filmmejkingom a koji je, na ime svoje kompaktnosti možda i odlična alatka za inicijaciju nedužnog gledaoca u podzemne rukavce japanskog žanrovskog filma.
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Pored njegovog ekonomičnog trajanja, i pank-artističke note za koju čovek uvek mora da ima vremena ako hoće da sačuva malo časti u životu, jedan od razloga što sam sa zanimanjem reprizirao Electric Dragon 80.000 V je i taj da sam, kada sam ga poslednji put gledao, to činio u vreme kad sam još raspolagao velikim CRT televizorom. Tada mi je ekspresionistička psihodelija ovog intenzivnog art-filma delovala maltene savršeno, ali me je kopkalo kako se film drži danas, kada je najudobniji način da ga pogledam taj da ga pustim na ravnom, ultra-HD ekranu sa 4K rezolucijom i HDR kapacitetima. Hoće li Electric Dragon 80.000 V zadržati svoju sirovu a elegantnu vizuelnu otmenost? Ili će mu odsustvo fosfornog krvarenja i uterivanje u oštrinu za koju nikada nije pravljen oduzeti energiju i taj primalni intenzitet? Čitajte dalje da saznate!
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Gakuryū Ishii (rođen kao Toshihiro Ishii, a od koledža pa do relativno nedavno koristio je ime Sogo Ishii) je jedna od centralnih ličnosti novijeg japanskog filma. Iako ne poznat i popularan kao Takashi Miike, Ishii je na neki način jednako uticajan, sa vrlo izgrađenom estetikom baziranom na osobenom shvatanju panka i filmovima koji su svojom sirovom, ali umešno kanalisanom energijom i veoma izgrađenom estetikom uticali i na izgradnju cyberpunk estetike po japanskom receptu. Počevši da pravi filmove još tokom studija, Ishii je na sebe skrenuo pažnju vrhunskim zanatskim umećem i tim sirovim, energičnim pristupom materijalu, radeći sa osmomilimetarskom i šesnaestomilimetarskom trakom i zaobilazeći uobičajeni put za mlade režisere u poznim sedamdesetim godinama prošlog stoleća. Njegovi rani filmovi dobili su podršku studija Nikkatsu pa je momak uzgojen na američkoj rok i pank muzici koju je slušao jer je odrastao u blizini američkih baza u okrugu Hakata, pravio bizarne akcione filmove o bajkerima i mutantima (i mutantskim bajkerima). Ishii nikada nije završio filmske studije jer je, na kraju krajeva, studirao samo da bi imao pristup univerzitetskoj opremi pomoću koje je pravio svoje kratke projekte, tako da je na kraju, kada je postalo jasno da od diplomiranja nema ništa, bio praktično izbačen. No, do tada je Ishii postao neka vrsta legende među japanskim bajkerima i pankerima, pogotovo posle filma Burst City iz 1982. godine u kome se pojavio solidan broj u to vreme aktuelnih bendova. 1983. godine Ishii je osnovao bend Sogo Ishii and the Bacillus Army sa kojim je snimio jedan album, a film iz 1984. godine, The Crazy Family biće mu i poslednji za sledećih deset godina jer studiji više nisu bili zainteresovani za njegov eksces i nemirni artistički duh.
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U devedesetima se Ishii vratio režiranju ali je počeo da radi nešto konvencionalnije filmove, delom jer je hteo da sebi pokaže da ume, a delom jer je to bio jedini način da nađe producente. No, 1996. godine se upoznao sa danas vrlo uglednim glumcem po imenu Tadanobu Asano i njih dvojica će osnovati bend MACH-1.67, eksperimentalni punk-noise sastav koji će Ishiija vratiti njegovim anarhičnim korenima. Otud je iznikao i Electric Dragon 80.000 V, povratak sirovoj energiji i primalnom filmmejkingu, kratak, bučan crno-beli film u kome glavne uloge igraju Asano i treći član benda, Masatoshi Nagase.
Electric Dragon 80.000 V je snimljen u izuzetno izražajnoj crno-beloj tehnici, sa jakim kontrastima i umešno korišćenim osvetljenjem na setovima, te jeftinim ali efektnim specijalnim efektima koji daju prizorima na ekranu posebnu energiju. Ovo je film u kome su panorame grada sa trepćućim svetlima i stroboskopski bljesci neonskog svetla i pucanja električnih pražnjenja elementi ,,sirove" psihodelije, destilovane do gotovo bolne efikasnosti. Što je u skladu sa narativom ali i generalnom ekonomičnošću u temelju ovog filma. Poređenja sa deset godina starijim filmom Shinye Tsukamotoa, kultnim Tetsuom su stoga prirodna, ali Electric Dragon 80.000 V ima svoju estetiku, i svoju priču.
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Electric Dragon 80.000 V nije nemi film, zvuk i pogotovo muzika su presudni elementi njegove estetike, ali on ima toliko malo dijaloga da je gotovo nevažan i zapravo se najveći deo diskurzivne informacije posreduje kroz objave naratora, praćene pankerski nažvrljanim katakana tekstom, a što u sećanje priziva tekstualne table klasičnih nemih filmova. Ovo je film gde se likovi izražavaju pre svega akcijom i vrlo malo rečima, a njihova akcija je nabijena fatalnom, simboličkom energijom.
Glavni junak filma, Dragon Eye Morrison je bivši bokser, otpušten iz biznisa zbog nekontrolisanih izliva besa koji ga prate još od detinjstva kada je preživeo udar struje sa dalekovoda na koji se pentrao, napona 80.000 volti. Kao jedini način da se smire Morrisonovi napadi besa pokazali su se elektroškovi koje je dobijao preko frontalnog režnja, dakle direktno u čelo, ali pošto ovo u ponovljenim scenama izgleda kao tortura, odrasli Morrison sam sebe leči posebnom spravom koja je neka vrsta kombinacije metalnog stola iz operacione sale i električne stolice.
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Struja je u Morrisonu probudila ,,zmaja" učinivši nešto njegovom ,,reptilskom" delu mozga i on kao odrastao sebe leči (i smiruje) strujom koju pušta kroz celo telo, vezujući sebe za sto, a za život zarađuje kao ,,Dragon Eye", odnosno privatni detektiv koji pronalazi guštere-ljubimce što su pobegli njihovim vlasnicima.
Ako ovo deluje kao zaplet nekakve mange, svakako, Electric Dragon 80.000 V se u dobroj meri oslanja na ovakvu estetiku. Ovo je još vidnije u Morrisonovom antagonisti – još jednom ,,električnom čoveku", po ,,imenu" Thunderbolt Buddha, smirenom i efikasnom urbanom viđilante liku koji danju popravlja električne instalacije a noću kruži opasnim gradom i kriminalce napada elektrošokovima. Thunderbolt Buddha je svoje ,,moći" dobio nakon što je preživeo udar groma i iako nominalno pozitivac, njegova opsesija je da pronađe i pobedi Morrisona u tuči.
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Film, dakle, uzima jednu klasičnu fighting-manga postavku i nimalo se ne izvinjava zbog nje – u japanskom stripu tradicionalno postoji ta struja formata u kome nam se pokazuju natrprirodno fantastični borci sa posebnim poreklima i filozofijama i gde je čitav narativ podređen tome da se oni dovedu u priliku da se bore. Ovo je osnova nekih od najpoznatijih shonen serijala, poput Dragon Ball ili Grappler Baki, ali se pojavljuje posvuda, uključujući ,,ozbiljne" radove kao što je, recimo, Crying Freeman.
Ishii, dakle, ne inovira na nivou postavke, ali apsolutno dominira na razini izvedbe. Njegovi likovi su ljudi malo reči i mnogo akcije, fantastično kontrastirani i sa puno ljubavi oblikovani kroz njihovu estetiku i ponašanje. Zanimljivo: Thunderbolt Buddha, koji je moć stekao ,,od prirode" je onaj racionalniji, smireniji od njih dvojice, opremljen skupljom tehnologijom, sa urednijim životom i jasnijim planovima. U scenama koje nam ga predstavljaju vidimo ga da koristi razne gadžete, uključujući (za 2001. godinu) sofisticirane kompjutere da pronađe Morrisona (i druge svoje mete).
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U kontrastu sa njim, Morrison je čovek haosa, čiji je životni i radni prostor nešto između metalnog đubrišta i zoološkog vrta punog reptila. Tamo gde Thunderbolt Buddha ima scene smirenosti i kontemplacije dok samo stoji i sluša (ili vežba), Morrison svira BOLNO distorziranu električnu gitaru koja kao da preuzima kontrolu nad njegovim telom, ili se vezuje za metalni sto i prži elektrošokovima.
Sukob između dvojice rivala je na kraju sukob između eksperimentalnog panka i elektronskog daba – oba legitimna žanra, oba napravljena od strane istog benda – MACH-1.67 – ali pobednik može biti samo jedan. Film zbog svog vrlo kratkog trajanja ne ulazi preduboko u filozofiranje i daje nam efikasan bosfajt na kraju u kome trijumfuje ono primalno, sirovo, ne čovek tehnologije i racija, već čovek-zmaj, probuđen tehnologijom ali prirodniji od onog koga je probudila priroda. Thunderbolt Buddha u jednom momentu ismeva Morrisona objašnjavajući da je bednih 80.000 volti ništa u odnosu na dva miliona koliko je on dobio od groma, ali ispostavlja se da nije sve u tome čiji je, jelte, napon – veći.
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Film je snimljen savršeno, sa Ishiijem koji izvlači ekstremno mnogo efektnog materijala iz izuzetne fotografije i osvetljenja. Pažnja obraćena na detalje – to kako su glumci obučeni ali i dizajn Morrisonove gitare daje svemu jednu finu, upečatljivu teksturu. Naravno, brza, efikasna montaža se podrazumeva – Ishii je svoje veštine tesao na kratkim filmovima i uparivanju muzike i filma pa Electric Dragon 80.000 V uspeva da smesti na idealnu poziciju između kratkog, eksperimentalnog filma i muzičkog spota bežeći od česte indulgencije onog prvog ali ne upadajući u plitki manirizam onog drugog. Ovaj film je u velikoj meri i oda rokenrolu, panku i buci, sa ponovljenim, izuzetnim scenama u kojima Asano svira gitaru kao da mu život od toga zavisi i urlajućim, ekstremno abrazivnim saundtrakom tokom scena akcije. Asano je ovde ostvario jednu od svojih najupečatljivijih uloga, a pričamo o čoveku koji je igrao Kakiharu u Miikeovom Ichi the Killer i koga su u ono vreme nazivali azijskim Johnnyjem Deppom. Ovaj je glumac zapadnoj publici najpoznatiji kao Hogun iz Marvelovih filmova o Thoru, ali u Electric Dragon 80.000 V on idealno spaja svoj idoru šarm sa neodoljivom pank sirovošću i ova mu kombinacija savršeno stoji.
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U kontrastu sa njim, Nagase je takođe perfektan kao izveštačeni, robotski smireni Thunderbolt Buddha, figura perfekcije i promišljenosti koja ipak, na momente pokazuje gotovo patološku adikciju vezanu za elektricitet i potrebu da se dokaže pronalazeći bes u svom odabranom antagonisti a onda ga pobeđujući. U filmu jedva da ima drugih likova ali sa svega 55 minuta trajanja, on je TAMAN dovoljno veliki da iznese moćne formate ova dva glumca.
Electric Dragon 80.000 V je, zaključiću, i danas impresivan i urnebesno upečatljiv kao i pre dvadeset godina. Njegova fotografija je, čak i na nepraštajućim površinama modernih ekrana konfrontativna i prelepa, režija i montaža su savršen spoj napadnog, drskog stila i zanatskog savršenstva, glumci su ikoničkih razmera a dizajn zvuka i saundtrak su legendarni. Bez obzira na to što se ne radi o delu prevelike dubine, ovo je filmmejking u svojoj čistoj, sirovoj formi, a opet umešno oblikovan tako da bude efikasan, pa na kraju i prečišćen u onome što ,,govori". Skoro pa remek-delo? Da, kao i sva najbolja pank ostvarenja u našoj istoriji.
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Završni deo trilogije Outrage Takeshija Kitana, Outrage Coda je impresivno sigurno parkiranje mašine i zatvaranje vrata garaže, film koji isporučuje sve što čovek od njega očekuje i njegova predvidivost je istovremeno i vrlina i mana koja u prvi plan ističe i vrline i mane čitavog ovog gangsterskog triptiha.
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Ko je čitao moje impresije o prethodna dva filma (Outrage (https://cvecezla.wordpress.com/2021/09/03/film-outrage/) i Outrage: Beyond (https://cvecezla.wordpress.com/2021/09/10/film-outrage-beyond/)) mogao je da primeti oscilovanje mojih emocija između blage iritiranosti time da Kitano ovde ide vrlo utabanom stazom, obilazeći opšta mesta svojih starih filmova i jakuza-filmova uopšte u jednoj ne naročito prikrivenoj ambiciji da kreira triling bioskopskih hitova i okrene dovoljno para za snimanje nečega što sam u ovom trenutku smatra umetnički vrednim, ali i impresioniranosti da čak i na autopilotu iskusni režiser, scenarista, i glumac kreira neke od najupečatljivijih momenata svoje karijere. Kitano je i na Outrage Coda sve napisao i režirao a na kraju i sedeo u montaži i ovo je još jedna izuzetno metodična priča o ratovima između klanova organizovanog kriminala u Japanu (i istočnoj Aziji – deo filma dešava se u Južnoj Koreji), gde se osećaj da pratite izuzeto komplikovanu partiju šaha – ili, možda tačnije, goa – uvećava sa svakim novim preokretom u scenariju.
No, ,,još jedna" je ovde operativni termin. Iako ovaj film ima podnaslov ,,Coda" i završava se vrlo definitivnim stavljanjem tačke na sudbinu glavnog junaka, on nije nekakva stvarna simbolička kulminacija već u najboljem slučaju još jedno obrtanje istog kruga koji smo gledali u prvom filmu, pa zatim u drugom filmu, sa praktično istim motivima i istim porukama koje smo već dva puta dobili.
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Razlike se ovde svakako mogu tražiti u detaljima. Outrage Coda je istovremeno i najmanje nasilan od sva tri filma u pogledu toga koliku minutažu zauzimaju scene nasilja, ali i najviše nasilan od sva tri filma ako se pogleda koliko ljudi svojeručno ubija glavni junak, Otomo. Takođe, strukturalno, iako i ovaj svoj narativ zasniva na ideji rušenja domina, gde jedan mali incident pokreće lavinu koja na kraju napravi tektonske promene na kriminalnoj sceni Japana, Kitano ovde troši izrazito puno vremena da postavi likove i njihove motivacije, mahinacije, zakulisne planove pa u filmu od nekih stotinak minuta glavni junak dolazi u Japan tek negde oko isteka prvog sata.
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Problem koji Outrage Coda ima je svakako taj problem umanjenih prinosa koji dobijate kada ponavljate iste motive, iste tehnike građenja odnosa među likova i njihove nasilničke razgradnje, isto kadrirane scene u kojima tradicionalno ćutljivi, bezizražajni Otomo izgovara pretnje i uvrede jedva podižući glas, slikan kao portret, blago kriveći usta i gledajući pravo u kameru, iste prizore soba za sastanke u kojima sede muškarci u tamnim odelima i ledenih izraza lica diskutuju o biznisu koji podrazumeva reketiranje, prodaju narkotika, prostituciju, nasilje i ubistva. U prethodnom filmu, Kitano se već spretno igrao temom generacijskog jaza i pokazao kako old school jakuze stenju i kukaju što se novo rukovodstvo klana više interesuje za investicije i oplodnju kapitala nego za čast i poštene godine robijanja za familiju, a Outrage Coda ponavlja gotovo istu postavku samo ovog puta pomerajući reflektor pažnje na Osaku prema klanu Hanabishi sa kojim se Otomo bio udružio prošlog puta da razori rukovodstvo tokijskog klana Sanno.
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Hanabishi su i sami pod novom upravom i Nomura, novi predsedavajući je na ovo mesto došao po porodičnoj liniji, bez stvarnog iskustva u ,,propisnom" kriminalnom radu, bez dana zatvora i, kako naglašavaju (gotovo identično kao i u prošlom filmu) – bez tetovaža. Nomura – koga sjajno igra pokojni Ren Ôsugi – je prototip new school geng bosa, biznismen koga interesuje uspeh poslovanja i koji nosi pulovere i polo majice, a uobičajene nasilničke jakuza-metode rada doživljava samo kao nužan alat, bez naročitog interesovanja za čitavu mitologiju o urbanim samurajima i pričama o čojstvu i junaštvu.
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Kao i u prošlom filmu, Nomura ispod sebe ima zamenika i zamenikovog zamenika, te gomilu glava pojedinačnih porodica koji svi imaju svoje agende i sopstvena mišljenja o njegovom stilu upravljanja klanom i Outrage Coda je, očekivano, hronika neprekidnih preokreta u lojalnosti, planova unutar planova da se eliminišu rivali i dođe na vrh piramide organizovanog kriminala. Kitanovi likovi su pitoreskni i upečatljivi i glumci koji igraju Nomurine saradnike (Nishida Toshiyuki i Shiomi Sansei) daju nam izvrsne portrete namazanih prevrtljivih starih mafijaša koji nikada ne otkrivaju karte i mada su im usta puna lojalnosti i časti, na kraju krajeva časti imaju vrlo malo a lojalnost čuvaju samo za sebe i svoje interese.
Važan šrafić u ovoj mašineriji je Hanada, sitna glavešina manje familije a od koga i kreće čitavo obrušavanje klana Hanabishi, nakon što on napravi haos u hotelu u Južnoj Koreji i odluči da mu je lakše da ubije jednog od vojnika lokalne bande koja ovo mesto poseduje, nego da plati dogovorenu odštetu. Hanada je bučan i drčan gangster, sav u tetovažama i testosteronu ali i predstavnik novije generacije koja naprosto nema poštovanja za disciplinu i hijerarhiju. Kako je ubijeni vojnik jedan od Otomovih ljudi, Otomo, sada praktično penzionisan u Koreji – provodeći dane na doku uz svoju desnu ruku, Ichikawu (harizmatični Nao Omori), koji sve vreme peca – rešava da ovo ne može tek tako da prođe.
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Outrage Coda ima možda i previše zapleta za ono što njegov glavni junak želi da uradi, mada ovo i jeste tema celog serijala. Otomov pokrovitelj, korejski biznismen i mafijaš Chang ne govori skoro ništa u filmu ali je (u sjajnom tumačenju Kanede Tokia) njegovo prisustvo u kadru dovoljno da se pokaže ozbiljnost i temeljnost kriminalne strukture koju predvodi. Na drugoj strani su japanski klanovi koji su oslabljeni jurcanjem za parama po svaku cenu, nedisciplinom nižih egzekjutiva ali i nepoštenjem i bolesnom ambicijom onih bliskih vrhu. Otomo i u ovom filmu biva korišćen kao navođeni projektil, kao pametno, jelte, oružje, da hirurškim udarima ukloni neke od ključnih ljudi i promeni – naočigled nemoćne policije – strukturu podzemlja u Japanu, idući od jednog incidenta do drugog i ubijajući svojim putem uz lanac ishrane sve do najvažnijih imena na vrhu, ali Otomo je i neko koga sve to zapravo uopšte ne interesuje.
Kao predstavnik old school jakuza, Otomo je čovek discipline, lojalnosti i bratstva i njega isključivo interesuje da naplati počinjene nepravde i pokaže da je ,,stari način" superioran u odnosu na moderno shvatanje organizovanog kriminala u kome se ne poštuju date reči a novac vlada iznad svega. Utoliko i Outrage Coda pokazuje procesiju izuzetno nasilnih činova koje će on organizovati ili sprovesti, koji zbilja menjaju mafijaški pejsaž u Osaki i Tokiju, ali je do kraja filma sasvim jasno da Otoma jedino zanima da osveti svog ubijenog čoveka sa početka filma i da ne zaboravi ljude koji su još u prošlom filmu ubili njegovog saradnika Kamuru.
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I kada se film svede na ovo, jasno je da je ovo još jedna, praktično, parodija, da Kitano ponovo svog glavnog junaka – koga, jelte, sam igra – formatira kao jednog ironičnog anđela osvete što nije nimalo zainteresovan za moć, uticaj, čak ni novac i kome ljudski život ništa ne znači ako nije upravljan čašću i disciplinom, do mere da ubija punu sobu ljudi koji su došli da čestitaju jednom starom jakuzi izlazak iz zatvora, samo zato što će ga to dovesti korak bliže njegovoj glavnoj meti – Hanadi.
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Pierre Taki koji igra Hanadu je naprosto izvanredan prikazujući perfektno taj new school gangsterski senzibilitet obeležen metamfetaminima, seksualnim fetišima i nasiljem, a onda, kada pritisak postane preveliki, on se pretvara u preplašenog klinca koji moli za milost. Taki je dve godine posle ovog filma uhapšen na ime kokaina koji mu je policija pronašla i jedno vreme je delovalo kao da je njegova karijera završena – u Japanu su ovakve stvari mnogo ozbiljniji incidenti nego u SAD ili u Evropi – no, čovek je prebrodio ovaj incident i još uvek je aktivan. On je na neki način perfektan protivteg Kitanovom Otomou u ovom filmu, ali i starijim, uzdržanijim mafijaškimbosovima, sa emocijama koje deluju autentično i upečatljivo. I naravno, scena njegove egzekucije je nešto posebno.
Naravno, sve ovo što sam napisao je moglo skoro od reči do reči da se kaže i za prethodni film, uz možda samo promenu nekih imena. Outrage Coda je tvrdoglavo, vrlo dosledno hodanje identičnom stazom sa istim porukama i istim arhetipovima likova koji, istina je, nose druga imena ali se ponašaju identično i mada su pogubljeni na još maštovitije načine u Codi, ne donose ništa supstancijalno različito u odnosu na ono što smo već videli.
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Takeshi Kitano ovde, dakle, radi sasvim maniristički i Coda umesto kulminacije serijala deluje kao još jedna epizoda televizijske serije, doduše rađene vrhunskim autorskim postupkom. Kitano ovde, mada se i TO od njega očekuje, apsolutno briljira i kao glumac i kao režiser, pružajući nam stalno samo krtinu ove priče, a izuzetni direktor fotografije Katsumi Yanagijima sa praktično svakim kadrom donosi po jedno remek delo kompozicije ili vizuelne naracije. Outrage Coda ima i najizrazitije spektakularne scene ,,akcije" mada je u Kitanovoj tradiciji i to da je akcija sa telima koja lete unaokolo u nasilnom, grčevitom plesu, uvek centrirana oko nepomičnih figura gotovo statua. To da Otomo maltene uopšte ne skida tamne naočari u filmu, čak ni u sceni gde ubija desetine ljudi, jedva se pomerajući da zahvati što više njih rafalom je još jedno podsećanje da Outrage treba gledati i sa komične strane i da Kitano ponovo uspeva da neke klišee parodira istovremeno dok ih u punoj meri eksploatiše. Ovo uključuje i pretučene prostitutke i pogubljenje automobilom i Changa koji u svakoj sledećoj sceni sve više liči na Marlona Branda...
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Outrage Coda je, dakle, ponavljanje svega dobrog, ali i svega manje dobrog što smo gledali u ovom ciklusu, manje kulminacija a više još jedna epizoda koja, s obzirom na odsustvo stvarnog krešenda zaista deluje kao da je arbitrarno odabrana da bude kraj ,,priče". Jer, da bude jasno, priče ovde nije ni bilo za tri filma i Coda je tek još jedan krug – počasni, ali gotovo identičan kao i onaj pre njega. Naravno da mi je prijao, ali bih voleo da Kitano prekrši ono što je obećao i da u sebi nađe inspiracije makar za još jedan jakuza-film koji bi se odmakao od templejta i na nekakav manje očekivan način zaokružio njegov rad u ovom žanru.
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Punk Samurai Slash Down iz 2018. godine je trenutno najnoviji film koji je režirao ekscentrični japanski režiser Gakuryû Ishii. O Ishiiju sam nešto opširnije pisao pre par nedelja govoreći o njegovom kratkom, crno-belom filmu iz 2001. godine, Electric Dragon 80.000 V (https://cvecezla.wordpress.com/2021/09/17/film-electric-dragon-80-000-v/) pa je za kratku biografiju ovog pank-režisera uputno na brzinu proći kroz taj tekst. Za potrebe današnjeg osvrta dovoljno je reći da je od početka stoleća pa naovamo Ishii nastavio da radi u vrlo intenzivnom ključu, snimajući žanrovski različite ali estetski srodne filmove, pa da je čak i dobio nekoliko sasvim pristojnih tezgi na televiziji uključujući rad na miniseriji New Ultra Q. Takođe, treba i podsetiti da je još 2000. godine Ishii uradio ,,propisan" samurajski film, Gojoe u kome je Tadanobu Asano igrao ratnika koji se zakleo da više neće ubijati nakon prelaska u budizam. Prošlo je skoro dvadeset godina ali sa Punk Samurai Slash Down Ishii se ponovo vratio ovom klasičnom japanskom žanru.
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Naravno, kod Ishiija nema ničeg ,,klasičnog" a i kada film u naslovu kombinuje reči ,,punk" i samurai" jasno je da se treba pripremiti na sve sem na ozbiljnu jidaigeki dramu. Ne pričamo ni o konvencionalnom chanbara filmu, da bude jasno. Ipak, iako je u pitanju visoko ekscentrično, veoma parodično delo koje se frivolno sprda sa tropima žanrovskog samurajskog filma, treba i primetiti da je u pitanju ekranizacija uspešnog romana što, kako je primetio i autor prikaza u Japan Timesu podseća da su japanski producenti (dosta slično holivudskim, uostalom) danas sve manje spremni da odreše kesu i finansiraju ikakvu produkciju ako ona nije zasnovana na već dokazanom (literarnom ili kakvom drugom) predlošku. Vremena su, jelte, kao i uvek, teška, pa je prodavanje filma već postojećoj publici verovatno hipotetički lakša stvar nego pronalaženje publike za nešto što od samog početka ide kontra svih očekivanja. Osim, naravno, ako ste čitali roman. Onda je ovaj film sasvim u skladu sa očekivanjima.
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Punk Samurai Slash Down, odnosno Panku-zamurai, kirarete sôrô, roman, napisao je Kō Machida, ugledni japanski panker, muzičar, poeta, pisac ali i neko ko se kao glumac pojavio u nekoliko Ishiijevih filmova do sada. Machida je početkom osamdesetih izgradio ime za sebe radeći sa bendom Inu, a zatim sa više različitih muzičkih grupa tokom osamdesetih, da bi početkom devedesetih počeo da izdaje svoju poeziju a za njom i romane. Ispostavilo se da je Machida vrlo talentovan pisac pa su različite njegove knjige dobile masu nagrada. Panku-zamurai, kirarete sôrô izašao je 2004. godine a deset godina kasnije i na Engleskom jeziku i okrenuo mnoge glave i u Japanu i na anglofonoj, japanofilskoj sceni svojim snažnim, drskim, sočnim i duhovitim parodiranjem klasičnih jidaigeki tropa. S obzirom da je Machida imaginarijum romana u dobroj meri zasnovao na klasičnim samurajskim filmovima, to da je četrnaest godina kasnije roman i pretočen u film je samo kosmička pravda na delu. To da je film režirao Ishii je pravda nad pravdama jer se radi o režiseru sa korektnim nivoom ikonoklastične, dekonstruktivne energije ali i vrhunskim zanatskim alatom u rukama da napravi film od dva sata neprečišćenog besnila.
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Ishii je možda i dalje nepoćudni pank-režiser ali Punk Samurai Slash Down je film koji, na tehničkom planu, ostavlja vrlo povoljan prvi utisak. Iako je pravljen u jeftinijoj produkciji, ovaj film distribuira uticajni Toei i govorimo o vizuelno vrlo upečatljivom radu gde su kostimi i fotografija impresivni i ostavljaju jak utisak ,,perioda", sa svom uverljivošću koju bi čovek očekivao od klasičnog samurajskog filma. Direktor fotografije Yoshiyuki Matsumoto ne toliko, ali kostimograf Kazuhiro Sawataishi i scenograf Yûji Hayashida imaju solidno iskustvo rada na žanrovskim produkcijama i ova kilometraža i uhodanost se vide sa pitoresknim interpretacijama Edo perioda u kostimima i lepo urađenim i još lepše slikanim setovima kojih, kada se na kraju osvrnete unatrag, zapravo ima vrlo malo. Uprkos svojoj anarhičnoj energiji, Punk Samurai Slash Down je film koji se dešava na malom broju lokacija i koji svoju sumanutu priču priča najviše kroz interakcije likova i njihove ekscentrične karakterizacije.
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Parodija kreće praktično od prve scene u kojoj posmatramo harizmatičnog lutajućeg samuraja po imenu Jyunoshin Kake kako naočigled pripadnika lokalnog klana predvođenog mladim ali otresitim gospodarom jednim snažnim udarcem mača ubija slučajno prisutnog hodočasnika. Iako su svi zapanjeni neisprovociranim ubistvom, Kake autoritativno objašnjava da se radi o pripadniku vrlo opasne religiozne sekte koja je na teritorijama sa kojih on dolazi već bila uzročnik haosa i nasilja pa i dovela do pada nekoliko klanova. Gledalac, naravno, odmah vidi da je u pitanju šarada, već na osnovu facijalne mimike glavnog junaka a ako to nije dovoljno, tu je i bestetelsni narator koji, sa sve natpisima što se pojavljuju u stop-kadrovima tokom celog filma, pojašnjava stvari ,,iza kulisa".
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Kakea igra sjajni Gô Ayano, momak sa ogromnom količinom televizijskog rada iza sebe i njegovi izrazi lica i poziranja donose veliki deo komične energije ovom filmu. Kake sam sebe naziva pank-samurajem i objašnjava da ima nadljudske mačevalačke sposobnosti (a što i vidimo u nekim od uvodnih momenata), ali Kake je istovremeno i klasična varalica, neko ko dolazi sa isfabrikovanim pričama i podupire ih sasvim nemoralnim potezima (kao što je ubistvo pomenutog hodočasnika koji tu ništa nije bio kriv i gledao je svoja posla), a sve to da bi sebi našao dobro plaćen posao u okrilju lokalnog klana Kurokaze. Na Kakeovu sreću, on stiže baš u momentu kada se dvojica oficira lokalnog gospodara bore za njegove simpatije i mada je obojici jasno da je njegova priča o pretnji horde religioznih fanatika puka izmišljotina, oni na nju reaguju radikalno različito. Jedan je odmah i javno demantuje i ljuti se što gospodar posvećuje i sekund vremena tim glupostima, zbog čega će biti ražalovan na dresera cirkuskih majmuna, dok će drugi uz pretnju smrću Kakeu zapravo podržati njegovu priču i Kakea onda vrbovati kao konsultanta da pomogne klanu da se pripremi za rat. Naravno, pravi plan je da Kakea onda pošalje da kako zna i ume proizvede nekakvu vojsku religioznih fanatika koju bi ova frakcija klana lako porazila i time ostvarila potrebnu političku simpatiju kod gospodara.
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Kake se tako nalazi ne samo u nebranom grožđu već i okružen bizarnom galerijom likova koji treba da izvedu bizaran plan o kreiranju sekte fanatika iz, praktično ničega. To su, redom, preduzimljivi ali plašljivi samuraj, emotivni, romantični špijun i lokalni seoski idiot sa telekinetičkim moćima. Naravno, guru na koga ova ekipa skoro čistom srećom naleće je pitoreskni, jako ekscentrični, tetovirani pripadnik sada rasformirane sekte na koju je Kake originalno upozoravao – a koja veruje da se ceo univerzum nalazi u utrobi džinovske pantljičare i vernici žele da budu iskakeni od strane božanstva u ,,stvarnost" – koji se ponaša psihotčno i ima dvojicu saradnika što služe da naglas proklamuju njegove misli, ali on se pokazuje kao dovoljno efikasan da ne samo prikupi grupicu lakovernih seljana da pristupe obnovljenoj sekti, već da i doslovno preko noći ovo pretvori u armiju fanatika koja će, plešući, slušati svaku komandu svog vođe. Plan, dakle, uspeva, ali uspeva možda i previše jer ova gomila religioznih zaluđenika sada predstavlja stvarnu pretnju za klan.
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Punk Samurai Slash Down režiran je energično, pa i grčevito, sa čestim skokovima unazad kroz vreme da se objasne neobjašnjivi događaji u sadašnjosti, čestim stop kadrovima i upadicama naratora koji pojašnjava unutarnje misaone procese protagonista i video sam da zapadni kritičari ovo porede sa postupcima Guyja Ritchieja, što je fer osim što je Ishii ovakve stvari radio daleko pre nego što je čuo za Ritchieja. Njegov humor je drzak, na momente sasvim infantilan i film definitivno ima pristup sačmare, ispaljujući na gledaoca sve što mu padne na pamet, sa nadom da će nešto od toga pogoditi metu. Ovde ima klasičnog slepstika, pokazivanja dupeta, majmunisanja (doslovno, scena u kojima majmuni od ljudi prave... pa... majmune...) (i gađaju ih izmetom), igara reči od kojih i glumci povremeno kao da prevrnu očima, pa onda na momenat sasvim ozbiljnih, sjajno montiranih scena borbe katanama koje se začas preokrenu u infantilnu parodiju gde protivnici jedni drugima guraju testise u usta. Ovo nije ,,dekonstrukcija" chanbara filmova koliko agresivno sprdanje sa svim žanrovima kojih Ishii može da se seti, uključujući mjuzikl i samu komediju.
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I taj pristup je, kako se i očekuje od strategije sačmare, ipak samo delimično uspešan. Punk Samurai Slash Down mi jeste bio zabavan tokom čitavog svog trajanja od dva sata ali ovde ima naprosto previše futidža za vrlo tanku narativnu premisu koju film rabi, pa je u poslednjih četrdesetak minuta ,,zabavnost" postizana najpre na ime zapitanosti kakvu će sledeću bizarnu scenu, ili atraktivnu (plesnu) koreografiju Ishii da nam servira a ne na ime nekakve konzistentnosti radnje ili privrženosti likovima. Utoliko, završna scena u kojoj film zatvara petlju zapleta sa početka ima značajno manji patos nego što je autor, čini mi se, nameravao.
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Drugim rečima, Punk Samurai Slash Down se ne drži nužno kao konzistentan film i ako vam pažnja malo popusti tokom gledanja može se desiti da u jednom trenutku sebe uhvatite kako vam se čini da gledate seriju skečeva. No, unutar individualnih scena Ishii demonstrira visoko tehničko majstorstvo a ansambl glumaca regrutovan za ovu produkciju čini čuda sa bizarnim materijalom koji mu je serviran. Shôta Sometani, koga sam nedavno hvalio za Miikeov First Love (https://cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/) i ovde ima sjajnu epizodnu ulogu kojom maltene krade ceo šou, transformišući se iz plašljivog, birokratskog samuraja u sumanutog religioznog fanatika. Jun Murakami i Jun Kunimura (ovog potonjeg sam nedavno obožavao u Kitanovom Outrageu (https://cvecezla.wordpress.com/2021/09/03/film-outrage/)) su izvrsni kao dvojica oficira i njihova borba za premoć unutar klana je možda najpribližnije što ova priča priđe drami, a neizbežni Tadanobu Asano hara veoma telesnom glumom koja komediji dodaje element onostranog.
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A koji je neophodan kada se prema kraju filma ispostavi da religiozna komponenta priče nije puka izmišljotina. U finalu Ishii mora da balansira velike setove, ogromne, masovne koreografije te baraž specijalnih efekata i ovo je možda najmanje zadovoljavajući deo filma jer Ishii ne nalazi idealan odnos između ,,klasične" chanbara estetike i parodične energije na kojoj se do tada vozio. Filmu nedostaje istinski klimaks između CGI armije majmuna koji napadaju religiozne fanatike, bizarnog uznesenja vernika sa sve naduvenim stomacima koji ih poput balona nose u uskovitlano nebo i telekinetičkog masakr-vatrometa koji izvodi gorepomenuti seoski idiot; Ishii ispucava ove scene i montira ih da gledaoca obori na pod lavinom intenziteta ali filmu ovde fali i malo subverzivne energije ali i emotivno usidrenje u barem nekom od likova. Ispostavlja se da, iako Gô Ayano ima lepo izbalansiran odnos parodičnog ikonoborstva i autentične pank harizme u svojoj glavnoj ulozi (da ne pominjem tu frizuru!), Ishii naprosto ne uradi dovoljno sa ovim likom da nam zaključak njegovog karakternog luka bude upečatljiv. Vizuelno, Kake dobija sjajne momente u završnici filma, ali njegova ,,loveable rogue" fasada na kraju nema dovoljno ,,loveable" dimenzije da za nju gledalac mari...
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Možda takođe indikativno, za film koji ima ,,punk" u naslovu, Punk Samurai Slash Down, istina, beži od šamisena i drvenih udaraljki ali uglavnom koristi prilično pitomi surf rock da ozvuči svoje scene. Ovo jeste efektno, kao što je umetanje modernog slenga i karakterizacija u film koji nominalno prikazuje period kasnog devetnaestog veka, ali i ukazuje na određenu uzdržanost koju je Ishii možda morao da demonstrira radeći ,,pravi" bioskopski film sa hitoidnim pretenzijama. Utoliko, iako Punk Samurai Slash Down nemilice parodira sve što mu padne pod ruku, i isijava anarhičnu energiju frivolnog, nezaustavljivog pank-cunamija koga je baš briga za žanr (sa sve Sex Pistolsima preko odjavne špice, molićulepo), on na kraju mora da taj žanr ispoštuje produkcijski i narativno u dovoljnoj meri da ta parodija bude vidljiva i nekako se završava raspet između potrebe da priča priču koja će imati formu chanbara filma i želje da tu priču rastrgne na komade.
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Dakle, ne sasvim zadovoljavajući film, mada u svojim elementima on radi stvari koje nigde drugde ne možete naći i na momente ruši na patos energičnom, ikonoklastičnom komedijom. No, kao celina, Punk Samurai Slash Down gledaoca dezorijentiše ne samo formalno-žanrovski, već i emotivno a što, ispostavlja se, na kraju radi u korist njegove štete. Opet, Ishiijeva režija i montaža stalnog saradnika Takahika Takede su u najboljim momentima ovog filma brizantne i brutalno efektne pa film ima puno kvaliteta koji zavređuju pažnju gledaoca bez obzira da li će ga na kraju ,,shvatiti" kao celinu.
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Kad čovek danima nema pristup internetu, nekako otkrije koliko mu vremena taj đavolji izum zapravo otima i da kad ne troši vreme na gledanje klipova sa mačkama (ili kako ko već voli, ASMR videa, kompilacija sudara na ruskim drumovima ili dobre stare transrodne pornografije), naprosto mnogo toga drugog kod kuće može da uradi. U mom slučaju, nisam siguran koliko je to dodatno slobodno vreme bilo produktivno pošto je uglavnom potrošeno na igranje igara starih četvrt veka i OPSCENE količine ulovljenih zmajeva u novom Monster Hunteru, ali sam sebe onda malo i razmazio, priuštivši dva sata najfinije humanističke drame u formi filma Ōsaka no yado (odnosno ,,Pansion u Osaki") proslavljenog japanskog režisera Goshoa Heinosukea.
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O Goshou sam pisao pre par meseci, a povodom prethodnog njegovog filma u bogatoj filmografiji, Entotsu no mieru basho (tj. ,,Tamo gde se vide dimnjaci"), dobronamerne komedije i ljudske drame u predgrađu industrijski sve nabildovanijeg Tokija ranih pedesetih godina prošlog veka. Kako je Ōsaka no yado snimljen već naredne, 1954. godine i bio Goshov sledeći projekat, filmovi su izuzetno slični i po režijskom postupku i po radu sa glumcima, i po montaži, i po muzici a na kraju krajeva i po temama, pa veliki deo onog što sam napisao za Entotsu no mieru basho može da se preslika i na Ōsaka no yado. Međutim, ovo je, za moj groš, još elegantniji, prefinjenije ispreden narativ surove socijalne realnosti spakovane u humanističku priču o glavnom junaku koji ne gubi veru u ljude i šarenom ansamblu oko njega, ali je i neka vrsta signala početka Goshove ,,mračnije" faze.
Da bude jasno, Goshov humanizam i vera u ljude ostaće zaštitni znak njegovog rada sve do duboko u narednu deceniju (čiji je kraj označio i završetak njegove karijere režisera), ali je ogromna nacionalna trauma kroz koju je Japan prošao u tridesetim i četrdesetim godinama prošlog veka u njegove filmove ušla na mala vrata i materijalizovala se u mračnijim temama, grubljim razrešenjima, povremenom odsustvu nade. Gosho je, pisao sam već o tome, u Japanu bio vrlo popularan i uticajan režiser tokom tridesetih i četrdesetih godina sa mnogo filmova koje je napravio a koji su se nalazili u secištu ambicioznije, ,,visoke" umetnosti (Gosho je bio predvodnik talasa ekranizacije ozbiljnih literarnih dela tamo gde su do njegovog vremena filmovani uglavnom romani iz kategorije lakog štiva) i senzibiliteta prilagođenog ,,običnom" gledaocu koji u bioskopu voli da vidi sebe ali ne preslikanog u toj meri da ga film sneveseli pokazujući mu isključivo mučnu realnost njegovog života, bez tračka optimizma.
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Amerikanci su žanr filmova kakve je pravio Gosho nazvali shomin-geki, percipirajući ih kao drame o radničkoj klasi, no u Japanu je ovo što su Gosho i kolege radili, radije opisivano kao shoshimin-eiga – filmovi o srednjoj klasi. Kako sam to već i rekao, razlika ne deluje dramatično ali je važna u svetlu toga kako su sami sebe videli autori ovih filmova i publika koja je u bioskop dolazila da ih gleda, pa iako su Goshovi filmovi o kojima pišem uglavnom smešteni u milje prilične nemaštine, oni se ne bave prevashodno proleterskim temama i zapravo su optimistične, mada u slučaju ovog filma i prilično gorke, priče o ljudima koji čine sve da se izdignu iz svoje socijalne realnosti i vide nekakav horizont nade.
Kako mu i naslov govori, Ōsaka no yado je priča vezana za mesto u Osaki gde ljudi žive i rade. Američki prevod ,,An Inn at Osaka" bi se kod nas možda najpreciznije ovaplotio kao ,,Gostionica u Osaki" ali mislim da je ,,Pansion" bolji izbor. Mesto na kome se priča događa nije prevashodno ,,lokal" za jedenje i pijenje, već za (privremeno) stanovanje, a gde se hrana služi u okviru usluge izdavanja soba. Vrlo slično prethodnom Goshovom filmu, ovaj je lokalitet jedno fizičko ali i metaforičko ,,mesto" gde se seku a onda i međusobno upliću različite ljudske sudbine i u njemu se osobe koje bi inače pripadale sasvim različitim socijalnim grupama – pa i društvenim klasama – nalaze upućene jedne na druge, pa i zbliže na povremeno neočekivano duboke načine. U odnosu na prethodni film, ovde je priča i ambicioznija, sa više važnih likova i izraženijim socijalnim tenzijama i razlikama među njima, a što je verovatno i refleksija toga da je autor književnog predloška za ovaj film bio Takitarō Minakami. Minakami je bio pisac nešto starije generacije – umro je 1940. godine pa je i ovaj njegov roman, očigledno, morao da bude značajno adaptiran na posleratni Japan – ali i pisac koji se rodio u bogatoj porodici čiji je otac bio jedan od osnivača uglednog osiguravajućeg društva. Minakami (pravo ime mu je bilo Abe Shōzō, a pseudonim je bazirao na jednom od likova Izumija Kyōke koji mu je bio najveći literarni uzor) je studirao ekonomiju u SAD i pre povratka u Japan da preuzme očevu kompaniju proputovao, kažu 16 svetskih država, a pozicija direktora u firmi mu je dala mogućnost da bude u blizini srednjeklasnih, kancelarijskih radnika čije je živote zatim pretakao u svoja literarna dela. Ōsaka no yado, pisan i objavljivan 1925. i 1926. godine mu spada u najpoznatija dela.
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Nimalo slučajno, dakle, glavni junak filma je službenik u osiguravajućem društvu, Kyōichi Mita, srednjeklasni i već pomalo i sredovečni muškarac koga na početku filma vidimo kako pije sa kolegom u Osaki, nakon posla, i pominje da mu je prilično teško da nađe pristojan smeštaj sa platom koju ima. Slučajni gost istog bara mu pomene pansion za koji se kune da je idealan za njegove potrebe a zauzvrat samo traži da mu daju jednu cigaretu. Mita će rado dati tu jednu cigaretu pomalo pripitom gostu ali će onda odlučiti da isproba i taj pansion...
Gosho ovaj film režira i montira velikom brzinom i ekspozicija u uvodnom delu je praktično perfektna. Sve što treba da o Miti saznamo, čujemo kroz razgovor sa kolegom Tawarom, koji je u hijerarhiji firme iznad njega, ali i koji Miti malčice zavidi jer je ovaj iz Tokija. U prethodnom filmu smo videli da Gosho Tokio prikazuje kao mesto na kome nije sve baš idealno, ali izvesna fascinacija građana Osake glavnim gradom, pa i određena doza ljubomore se fino provlače kroz ceo Ōsaka no yado i u uvodu gledalac vrlo organski, intuitivno shvata da je prebacivanje Mite iz Tokija u podružnicu u Osaki svojevrsno degradiranje i neka vrsta kazne – a ovo je MNOGO pre nego što oko polovine filma, takođe kroz usputni razgovor saznamo da je Mita ošamario jednog od kolega posle svađe a da je samo to što mu je deda jedan od osnivača kompanije zaslužno za činjenicu da nije popio otkaz na licu mesta.
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Mita, uprkos toj, jelte, ,,istoriji nasilja" nije nimalo nasilan lik, štaviše, u njemu nema ni trunke antiherojske energije. Gosho je sa ovim likom iz sve snage kanalisao svoju humanizam do mere da Mita u jednoj od scena doslovno deklamuje važnost vere u ljude i svoje programske orijentacije da u njima traži ono najbolje, ma gde na kraju sa tim svojim stavom završio.
Zašto je Mita takav? Na to nema specifičnog odgovora i on jeste neka vrsta literarnog ideala, ali ga od artificijelnosti spasava Goshov pažljivi rad na njegovoj dubljoj karakterizaciji. Jedan od svakako najvažnijih elemenata filma je to kako Shūji Sano igra Mitu, dajući njegovom liku dozu fine melanholije koja umekšava jednu inače vrlo drusnu, gotovo mačo personu. Sano je, slično Toshiru Mifuneu u ono vreme, imao izrazito muževnu fizionomiju sa klasičnom ,,holivudskom" lepotom i impozantnom ali ne pretećom figurom, pa je njegovo nijansiranje lika Mite kroz emotivnu facijalnu glumu jako bitno za postizanje pravilnog tona filma.
Mita je, da bude jasno, sa jedne strane veoma usamljen čovek, koji ima bolesnu majku u Tokiju a koju je morao da napusti zbog posla i koji, zarađujući značajno manje od onog što je zarađivao tamo, zapravo živi okružen ljudima što ne pripadaju njegovom staležu. A opet, Mitu ne interesuje druženje sa sitnim šefovima iz firme, kojima po obrazovanju i iskustvu prirodno pripada, smara ga njihovo opijanje i razvlačenje sa gejšama i radije večeri provodi čitajući neku od knjiga iz svoje ogromne kolekcije. Ćutljiv, skroman, a opet veoma muževan i privlačan, pa još uz taj premaz melanholije, Mita odmah postaje neka vrsta trofeja za koji će se boriti tri služavke što rade u pansionu.
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Gosho je i u prethodnom filmu veliki akcenat stavio na ženske likove i prikaz različitih puteva kojima žene mogu ići kroz život nezavisne od muškaraca, ali ovde je, rekosmo, krenula njegova mračnija faza pa su i likovi izloženi težim iskušenjima. Erotska tenzija u pansionu na početku filma kao da je glavni deo dramskog zapleta, sa tri žene tri različite generacije koje svaku na svoj način privlači Mitin kerigrantovski magnetizam, ali Gosho ovde majstorski razlaže jedan klasičan zaplet komične romanse, secirajući socijalni bekgraund svakog od likova dok gledalac, koji je mislio da kupuje kartu za Lea Steina, ne shvati da zapravo gleda Bertolta Brechta.
Žene koje rade u pansionu pripadaju radničkoj klasi – što filmu delimično zarađuje shomin geki etiketu – jer one imaju samo svoju fizičku snagu da ponude u razmenu za novac a njihova gazdarica, čiji je pokojni muž i osnovao ovaj pansion i koja njegovu sliku drži bukvalno kao ikonu na zidu i često joj se na kolenima obraća, je sitni kapitalist, odnosno shoshimin, čiji je kapital ne samo zgrada sa sobama i kuhinjom već i reputacija jeftinog, a pristojnog, čistog mesta gde mogu da odsednu ljudi kojima je potrebna soba na duži rok.
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Tenzija između ovih žena je jedan od najfinije urađenih delova filma i mada je Gosho svakako bio jedan od velikih podržavalaca ,,građanske" kulture, treba da bude jasno da on nije bio klasista i da su za njega žene došle sa sela da rade u pansionu u gradu jednako ,,građanke" kao i njihova gazdarica koja nominalno ima više šlifa. Eksploatacija koju trpe Orika, Otsugi i Oyone* od strane gazdarice je suptilna ali nimalo komplikovana – ovo je školski primer ucenjivanja proletera na tržištu rada i geslajtovanja u kome kapitalist svom radniku priča o tome kako je prirodno da deli sa njim viziju, pa i žrtve, iako, jelte, na kraju nema podele dividendi između njih dvoje.
*ne znam je li ova aliteracija bila namerna i da li se u romanu Minakani njome više bavio – kao i druga njegova dela, ni ovo nije prevedeno na ijedan jezik kojim se služim, a ko, za razliku od mene, razume Japanski, može ih pogledati ovde
Opet, Goshov rad sa likovima je slojevit pa ni gazdarica – kao ni Mita – nije jednodimenzionalni označitelj za nekakav literarni koncept. Njen strah za stabilnost biznisa je realističan i utemeljen i rezonski je što ga ona deli sa radnicama – niko od njih nema zaista bezbednosnu socijalnu mrežu koja će ih spasti ako pansion ,,pukne". Gazdarica je, to saznajemo kasnije, posle smrti muža bila u stanju da firmu održi u životu samo zahvaljujući zajmu iz banke a koji joj je sredio biznismen što živi u sobi broj jedan i koji na ime toga sebi uzima prećutne privilegije. Istovremeno, ona se ponosi time što sobe ne iznajmljuje na sat i što ima pristojnu klijentelu pa je lagano potonuće i napuštanje nekih principa prema kraju filma i prilično bolni sudar sa socijalnom realnošću za gledaoca. Opet, ova žena je ,,survivor" pa i energija sa kojom pred kraj filma reklamira da se u njenom pansionu mogu iznajmiti sobe – sada sa krevetima – na par sati za, jelte, posao ili zadovoljstvo (idealno oboje odjednom) u čoveku izaziva isključivo poštovanje. Prostitucija je, uostalom, jedan tipično proleterski rad i prema njoj ovaj film ne pokazuje nikakav prezir.
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Na kraju krajeva, jedan od glavnih likova je jezičava gejša Uwabami koju igra legendarna Nobuko Otowa (hvaljena onomad s moje strane za ulogu u filmu Onibaba), sa jednom praktično feminističkom energijom koja idealno leži uz klasičniji imaginarijum vezan za kostim koji nosi, te svirku i pevanje kojima zabavlja muškarce u nekim scenama. Uwabami je žena za zabavu koja neće biti zabavna muškarcima sa kojim joj nije zabavno i koja će neke od likova u filmu počastiti pljuskanjem sakea u lice kada joj se ne dopadnu njihovi nametljivi šovinistički stavovi – a ona je i još jedna od žena što u Mitinom spoju muževnosti, melanholije ali i dobrote pronalaze nešto neodoljivo.
Mita je praktično katalizator za sve što se u filmu događa, tihi, često nemi, tajni sastojak situacije koja je do tada delovala stabilno a koje će, vidimo to do kraja, eksplozivno izgoreti. Gosho ovo ne postavlja na nekakav jednostavan način i Mita nije samo erotski privlačan muškarac već pre svega čovek koji veruje da je prirodno da ljudi pomažu jedni drugima. On sa svim služavkama u pansionu priča pristojno, čak i kada najmlađa od njih sa njim vulgarno flertuje, na ulici svakog dana sreće istu mladu ženu o kojoj sanjari ali neće ni pomisliti da je smara čak ni kada sazna ko je pa i to da ni ona nije ravnodušna prema njemu; konačno, Mita će imati sasvim nestandardne reakcije na situacije iz tipičnog kataloga ,,socijalne drame".
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Likovi ovde, kako rekosmo, na početku deluju kao puni radnog elana, samo blago odvučene pažnje prisustvom lepog sredovečnog samca u pansionu, ali Gosho ih postepeno razotkriva kao sve izložene surovim socijalnim iskušenjima, sa dugovima, članovima porodice koji od njih zavise ili ih loše tretiraju kod kuće, pa i rastačućim moralnim nazorima. Život u Osaki nije lak i Mita je više puta u toku filma meta sitnih prevara i krađa, a njegov odgovor na njih je uvek emotivan i dosledan njegovom humanističkom principu sa sve lamentom pri kraju filma da se sve vrti oko novca a da je humanost nestala.
Iako Gosho, dakle, ne sakriva svoju poruku, stavljajući je direktno u tekst dijaloga, vredi istaći da su situacije u kojima se Mita zatiče kao i njegove reakcije i reakcije drugih likova izuzetno dobro urađene i uverljive, sa jednim holivudskim osećajem za dramu koji ih izdiže iznad naturalizma, ali im daruje uverljivost. Miti stvarno verujemo kada odustaje od novca koji mu sleduje za obeštećenje od prevare jer je Shūji Sano tako uverljivo višeslojan, ali i ostali glumci, prevashodno glumice, su perfektni. Kurosawina omiljena glumica Kamatari Fujiwara je ovde izvanredna kao lorinbekolovski lepa devojka koja se bavi trgovinom samo da bi po propasti posla nakon smrti oca završila u poslu prikupljanja i čišćenja američkih konzervi koje će posle biti prodavane firmama što će od njih praviti igračke i druge stvari od lima. Njen lik prolazi kroz možda najveću amplitudu dramskih ekstrema, oscilujući od sitnog biznisa preko prostitucije sve do bukvalno đubrišta, a da ona sve vreme emituje nepokolebljivo dostojanstvo, bez obzira na poniženja koja je očigledno bole.
Slično je i sa likovima služavki u pansionu koje su sve opet slojevite i ni jedna se ne može svesti na puki trop i koje njihove glumice tumače veoma ubedljivo.
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Naravno, Goshova režija je ovde presudna, ali direktor fotografije, kultni Jōji Ohara je ništa manje zaslužan za ubedljivost ovog filma slikanog na vrlo malom broju lokacija, ali tako kadriranog i osvetljenog – a zatim montiranog – da ne možete a da ne osetite majstorstvo na delu. Već kombinovanje tradicionalnih nošnji i zapadnjačke odeće u kadrovima u samom pansionu, kao i kadrova koji nam pokazuju likove kako jedu, briju se, greju se ili čiste prostor filmu daje izrazito puno karaktera i smešta ga u istorijsku i socijalnu realnost koje su mu tako bitne, a Ohara sve to mora da uradi prateći Goshovu vratolomnu režiju i brzo menjanje kadrova i lokacija. Muziku je i za ovaj film uradio Yasushi Akutagawa i pričamo o još jednom primeru majstorstva sa izrazito ,,holivudskom", skoro melodramatičnom notom, a koja i sama u skladu sa Goshovim zaokretom prema tamnoj strani, ima atonalne, preteće momente.
Ōsaka no yado se završava – žurkom. Oproštajnom, svakako, a one su uvek gorkoslatke, međutim ova je posebna jer glavni lik ukazuje da niko u filmu nije dobio ono što želi, da su svima planovi propali i da niko od njih nije imao sreće. ,,Ali", kaže Mita, ,,treba da budemo toliko dostojanstveni pa da umemo da se smejemo svojoj nesreći". U odnosu na uobičajeni nivo mračnjaštva filmova kakve gledam, ova poslednja scena je praktično vanila ukusa, a opet, u sklopu celog filma pa i Goshovog opusa, ona je zaista fino odmerena i smireno, tiho katarzična, sa ukusom poraza u kome će glavni likovi, bez gubljenja svog ljudskog dostojanstva, zajednički, uz smeh i pesmu, uživati. Prelepo.
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Pogledao sam Bara no soretsu aka Funeral parade of Roses kako je ovaj film poznat na zapadu, a u pitanju je prva dugometražna, celovečernja što se kaže produkcija koju je režirao Toshio Matsumoto 1969. godine i film za koga se i dan-danas priča da je u dobroj meri uticao na Kubricka kada je pravio Paklenu pomorandžu. Ovo je konfrontativan film, kojim je japanski novi talas na filmu praktično kulminirao, sa kontroverznom temom i energičnim, često eksperimentalnim režijskim postupkom. Svakako valja primetiti da je digitalna restoracija filma, urađena 2017. godine – upravo u godini Matsumotove smrti – a u pripremi za limitirano prikazivanje u bioskopima i Blu Ray izdanje koje je usledilo 2020. godine izvanredna i da Matsumotovom crno-belom materijalu i opsesivnom oku za detalj odaje punu poštu, prezentujući modernoj publici praktično idealnu verziju jednog važnog umetničkog rada starog sad već preko pola veka.
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Matsumoto je napravio vrlo malo ,,pravih" filmova u karijeri, svega četiri dugometražna od kojih je Bara no soretsu bio prvi a Dogura Magura iz 1988. godine poslednji, no njegov rad je pre svega bio vezan za kratku formu pa je u dugačkom rasponu, sve od polovine pedesetih pa do ranih devedesetih on napravio više od četrdeset kratkih filmova. Zainteresovan prevashodno za fotografiju i izražavanje kroz ,,čist" filmski jezik, Matsumoto je bio i pionir video-radova i instalacija koje su koristile video kao gradivini element, bavio se avangardnim teatrom i perfomansom, a i objavio više knjiga fotografije. Karijerno gledano, japanska ga industrija pamti kao profesora i prodekana na Univerzitetu za umetnost i dizajn Kjoto i predavača na Institutu za umetnost i dizajn Kjušu a bio je i predsednik Japanskog udruženja za vizuelne umetnosti i nauke.
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Bara no soretsu verovatno nikada ne bi mogao da nastane, barem ne u ovako celovitoj, profesionalno urađenoj formi, da iza njega nije stao Art Theatre Guild, produkcijska i distributerska kuća osnovana početkom šezdesetih sa misijom da distribuira strane filmove u Japanu ali sa praksom podržavanja japanskog novog talasa maltene od prvog dana. Ova je firma, pored Matsumotoa, pomogla i režiserima kao što su Nagisa Oshima i Shōhei Imamura da izguraju neke svoje bitne naslove. Bara no soretsu im je bila deveta produkcija i to odmah posle Matsumotovog kratkog filma Tsuburekakatta Migime No Tame Ni, a čiji je materijal kasnije inkorporiran u Bara no soretsu. Sam Tsuburekakatta Migime No Tame Ni je bio eksperimentalni rad sa tri projektora koja su ovaj film puštala u isto vreme, ali različitim brzinama kako bi svaka projekcija bila jedinstvena i drugačija od ostalih.
U poređenju sa ovim pristupom, Bara no soretsu je svakako konvencionalniji rad koji ima elemente eksperimentalnog i avangardnog filma, vorholovskog pop arta i francuskog novog talasa, ali ima i jasan narativ i zaplet, glavne junake sa imenima i biografijama, pa čak i, možda najviše iznenađujuće, i jedno žanrovsko pristupanje nekim svojim rešenjima. Povrh svega, ova priča je jasno bazirana na Sofokleovom Kralju Edipu, sa, za kraj šezdesetih godina tipično dovitljivim pa i ikonoklastičnim smeštanjem radnje u transgresivni mizanscen tokijske gej/ krosdresing scene.
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Bara no soretsu je briljantan rad i nije retkost da o ovom filmu ljudi pričaju u superlativima, govoreći, sa dosta argumenata da je u pitanju remek-delo. Matsumotova formalna disciplina je naprosto zastrašujuća, bez obzira na sve eksperimentalne i avangardne elemente ove produkcije. Film, recimo, počinje scenom snimanom u beloj sobi, sa jakim osvetljenjem i iz ogromne blizine, sa dva tela koja se dodiruju i uvijaju jedno oko drugog u vrlo intimno a opet sasvim artistički distancirano, ,,nezainteresovano", estetizovano urađenom snošaju. Reski zvuk atonalnih sintisajzera koji prati scenu daje joj dodatno tuđinsku dimenziju samo da bi Matsumoto naredni kadar, sa jako geometrijski strogim linijama nameštaja i opreme u stanu minirao jednim do krajnosti običnim razgovorom između protagonista. To da je žena u ovom dijalogu izvan kadra je značajan detalj jer glas koji čujemo zvuči na muški. Jedan od narednih kadrova je ponovo ta žena, samo ovog puta pod tušem i ovo je senzualna, pa i erotična scena, a gotovo bez ikakvog truda, skoncetrisana na konture i fraktalnu neuređenost kose, sve dok na Matsumoto dosta jasno ne sugeriše – a bez pokazivanja – da je ovo osoba sa penisom.
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U filmu se ne koristi termin ,,transrodna osoba" ni za jednu od žena što rade u klubu Genet. One se nazivaju ili ,,kraljicama" ili gej-momcima. U jednom od dokumentarističkih intervjua kojima su isprsecane scene fikcije, jedna od njih eksplicitno kaže da ne želi da hirurški promeni pol jer je to ,,previše" ali da voli da se ,,ponaša kao žena". One sve nose žensku odeću, perike, jaku šminku i imaju imena poput Leda ili, u slučaju glavne junakinje, Eddie; za egzistenciju zarađuju kao hostese u pomenutom klubu, a vidimo da tu ima i sasvim konkretnog seks-rada za novac, bilo kroz prostituciju, bilo kroz snimanje pink-filmova.
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Matsumoto film vodi maestralno, dajući nam cikličan, zapravo spiralni narativ koji naizgled labavo povezuje scene u više etapa u Eddiejinom životu, prikazujući ljubomoru između koleginica – posebno od strane madam u klubu koja sluti, ne bez razloga, da gazda, stariji, poslovni muškarac koji pored svega valja i narkotike, namerava da nju ražaluje i poslovno i emotivno i postavi Eddie na njeno mesto i u klubu i u svom srcu – provod sa mušterijama, scene priprema za izlazak u grad ili odlazak u salon lepote, presecajući ih sekvencama u kojima gledamo kako se Eddie druži sa ekipom mladih sineasta koja snima avangardne filmove a između snimanja puši masnu hedovinu i pravi spontane seks-žurke praćene mahnitim plesom i brutalnim psihodeličnim rokom. Između ovoga su momenti protesta na tokijskim ulicama kojima se traži zatvaranje američkih vojnih baza i odlazak svih vojnika iz Japana, ali i materijal koga mladi režiser, sa imidžom Muharema Bazdulja i nadimkom Guevara, sklapa koristeći bezbroj eksperimentalnih tehnika. Ovaj pristup filma u filmu je samo omaž Matsumotovom uobičajenom radu na kratkim filmovima jer povrh svega dobijamo i ,,film iznad filma", sa scenama u kojima se ruši četvrti zid, pokazuje Matsumotova ekipa kako radi neke od scena, dok glavni lik, Eddie, prestaje da bude Eddie i postaje Peter.
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Peter je gej-momak i krosdreser koga je Matsumoto našao kako radi kao hostesa u baru u Ropongiju i očigledno odmah prepoznao kao idealnu osobu za svoju glavnu ulogu. Na Peterovim plećima počiva ogroman deo uverljivosti ovog filma – iako su i druge ,,kraljice" značajne i veoma dobre u svojim ulogama – jer njegova Eddie mora da nam plasira korektnu dozu senzualnosti, kako bismo zaista kupili, bez ostatka, žesnki identitet koji nam se ovde nudi, a da opet ima u sebi dovoljno konfliktnih emocija za dramatično finale filma. Peter je imao svojevrsnu mejnstrim karijeru posle ovoga, igrajući već naredne godine u jednoj od ekranizacija Zatoichija, pojavljujući se u Kurosawinom Ranu polovinom osamdesetih da bi recentno pozajmljivao glas likovima u igrama koje je potpisao Yoko Taro, uključujući NieR o kojoj sam nedavno pisao (https://cvecezla.wordpress.com/2021/09/30/video-igre-nier-replicant-ver-1-22474487139/) i koja je imala vrlo produbljen tretman ljudske seksualnosti i rodnog identiteta, ali i u Yakuza: Dead Souls, nekanonskom, zombi spinofu hit-serijala Ryu ga Gotoku o kome sam, takođe, pisao pre nekih devet godina (https://cvecezla.wordpress.com/2012/04/22/gubljenje-nevinosti-cetrdeseta-tura/). Kao protagonist Bara no soretsu, Peter isijava nepokolebljivu harizmu, senzualost, ali i drsku, proaktivnu energiju koja je u dobroj meri dala ovom filmu osnažujući karakter. Matsumoto je, kako piše Jim O'Rourke, autor teksta za DVD izdanje*, tokom studija radio dokumentarce a zatim će biti fasciniran italijanskim neorealizmom i avangardnim filmom pa je Bara no soretsu bio njegov napor da pomiri ova svoja dva interesovanja i Peter je, kao osoba koja sa fiktivnim protagonistom/ protagonistkinjom, deli solidan deo životne priče i svetonazora neko na kome počiva veliki deo uverljivosti ali i višeslojnosti ovog rada.
*a koji možete pročitati ovde (https://thoughtandimage.org/wp-content/uploads/2014/11/Timeline-for-a-Timeless-Story.pdf) i veoma je informativan
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Rezultat je da dobijamo film koji deluje jako autentično, ne samo u dokumentarnim scenama intervjuisanja ,,kraljica" već i u sasvim artificijelnim momentima kada Matsumoto pokazuje izvrstan humoristički tajming, kako u rušenju četvrtog zida tako i u snimanju i montiranju momenata akcije koji imaju benihilovsku energiju i humor. Ovo, izmešano sa njegovim omažima avangardnoj filmskoj sceni u Japanu i istočnoj Aziji, ali i sa omažima ,,pink" filmovima koji su i sami dobili svoje andergraund krilo šezdesetih godina daje filmu snažan ,,here and now" kvalitet i on je na neki način i ,,vremenska kapsula" koja sjajno komprimuje mnoge umetničke ali i društvene trendove značajne ne samo za Japan sa kraja šezdesetih.
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No, posmatran u trećoj deceniji XXI veka, on je svakako ,,vremenska kapsula" i u pogledu posmatranja seksualnosti i rodnog identiteta i, uz prepoznavanje da se percepcija roda, seksualne orijentacije i identiteta i sama dosta promenila u međuvremenu, uključujući unutar manjinskih rodnih i seksualnih zajednica, vredi ukazati i da film na kraju, pored sve svoje osnažujuće i humanizujuće dimenzije, ima i nepogrešivo zlokobne elemente tretmana nestandardne rodne i seksualne orijentacije. Ovde je edipovski zaplet, koliko god bio spretno izveden i na kraju ovaploćen u sceni fascinatno grafičkog nasilja, koja kao da ima grafički omaž samom Hičkojkovom Psihu, praktično čist višak jer hteo, ne hteo, povezuje transseksualnu ili transrodnu prirodu sa patološkim devijacijama, zlostavljanjem u mladosti i, jelte, Edipovim kompleksom.
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Sve je to, da bude jasno, sjajno urađeno, ali film tim svojim skretanjem u žanrovski ključ ne čini previše usluga raspravi o rodu i rodnom identitetu, kolabirajući inače složenu diskusiju u jedno, tipizirano rešenje gde se već decenijama implicira mračna patologija što transrodnim osobama u stvarnom životu, koje trpe čitav spektar formi diskriminacije i statistički su mnogo izloženije nasilju, smrti od nasilja ali i riziku od siromaštva, nikako ne olakšava postojanje. Dok su komične scene tuče između devojaka u klubu makar, jelte, komične pa se nekako mogu progutati utoliko da barem menjaju ton filma ako se već mogu videti i kao podsmešljive za protagonistkinje, jedna scena u kojoj mlada Eddie, dok još živi sa majkom, kao dečak, maže usne karminom i ljubi sebe u ogledalu tera vodu direktno na vodenicu teze o autoginefiliji koju često i zamorno dosledno ponavljaju neki današnji ,,kritičari" roda koji smatraju da trans-žene žele promenu pola jer ih seksualno uzbuđuje da sebe zamišljaju kao žensko, grubo i nepravično svodeći složena pitanja rodnog identiteta i identiteta uopšte na puku seksualnu perverziju.
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Da bude jasno, ne smatram da Matsumotoa posthumno treba razapinjati, samo ukazujem na to kakve elemente film sadrži, a koji su možda vidljiviji (ili vidljivije problematični) u današnjem trenutku kada smo ipak nekih stvari svesniji.
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Opet, Bara no soretsu je, rekao sam već, impresivan film i delo koje ima toliko inspirisanih detalja i fotografsko-montažerskih bravura, koje ima toliko duha i smelosti, i koje toliko snažno sažima mnoge prelomne istorijske momente da mu izvesna politička problematičnost, iako je ne valja prenebreći, ne oduzima previše na sjaju. Ovo treba gledati i učiti.
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S obzirom na to koliko je pun brutalnosti, koliko dugo traje i koliko sam ga ja neispavan gledao, petnaesti film koji je Shōhei Imamura režirao, Vengeance is Mine iz 1979. godine mi je delovao kao nekakav košmar iz kog nikako da se probudim. Legitimno sam se brinuo šta ću zapravo sanjati kada posle gledanja odem u krevet, ali ne samo da su se mačke i komarci pobrinuli da tu ne bude baš MNOGO prilike da se sanja, nego je i na kraju prevashodni utisak koji je film na mene ostavio bio fascinacija vrhunskim kinematografskim radom. Ovo je film koji je niz kontroverznih tema spakovao u celovečernje događanje što na kraju ne ostavlja utisak brutalne eksploatacije – iako joj sasvim sigurno prilazi više nego jednom – već jedne iskrene, koliko god teška bila, istraživačke ekspedicije u najpolomljenije krajolike ljudskog duha i psihologije, u potrazi za makar tragovima humanosti tamo gde na površini vidimo samo ništavilo, agresiju i, u najboljem slučaju, ledeni cinizam.
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O Imamuri sam već pisao letos (https://cvecezla.wordpress.com/2021/07/09/film-nippon-konchuki-aka-the-insect-woman/)kada sam obradio njegovo remek-delo iz 1963. godine, The Insect Woman, jedan od egzemplara japanskog novog talasa u njegovoj punoj, razvijenoj formi. Imamura nije učio da bude režiser i posleratnu mladost je provodio na ulici, ali je ulaskom u filmsku industriju demonstrirao ogroman talenat i, radeći sa velikim režiserima, srazmerno brzo i sam došao do autorske pozicije. No, tamo gde su iz studija očekivali žanrovske hitove, Imamura je počeo da proizvodi novotalasne drame koje su beskompromisno zasecale u tkivo savremenog japanskog života. Istoričar po vokaciji, Imamura je kroz svoj rad pokazao i važnost postavljanja tog savremenog života u istorijski kontekst pa je, kako sam to već pisao, The Insect Woman prikazao priču kroz više decenija tokom kojih se japansko društvo dramatično menjalo.
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Ovaj istoricistički pristup je prema kraju šezdesetih godina u njegovim filmovima doneo sve više primetno kombinovanje istorije i fikcije, pa i pseudodokumentaristički rad, da bi Imamura sa komercijalnim neuspehom svoje skupe produkcije iz 1968. godine, Kamigami no Fukaki Yokubō bio praktično isteran iz filmske industrije tokom čitave naredne decenije. Kao nezavisni autor, koji nije bio zaposlen ni u jednom studiju, Imamura je u to vreme producentima verovatno bio problematičan utoliko što su ga interesovali nestandardni narativni formati a očekivao je pristojne budžete, no, sa druge strane, makar nije morao da radi kojekakve komercijalne projekte da bi opravdao platu. Ovo mu je i omogućilo da se još više usredsredi na dokumentarni film, pa je tokom sedamdesetih uradio nekoliko visokoprofilnih dokumentarnih naslova za televiziju koji se smatraju važnim delovima njegovog opusa.
Naravno, Imamura će se na kraju uspešno vratiti bioskopu i ,,pravom" filmu i drugi deo njegove karijere, što je trajao do 2002. godine doneo je neke od njegovih najcenjenijih radova, za koje je dobio i internacionalno priznanje. Ovde prevashodno mislim na Baladu o Narajami, za Imamuru srazmerno spor, meditativan i melanholičan film o mračnoj ruralnoj tradiciji a koji mu je doneo Zlatnu palmu na festivalu u Kanu. Narajama i film koji mu je direktno prethodio, Eijanaika, pokazali su Imamurino interesovanje za obrađivanje ,,istorijskih" era, sa pričama oba filma smeštenim u period Meiđi obnove iz druge polovine 19. veka. No, film koji je Imamuru vratio u bioskope a koji je urađen pre njih je ovaj o kome danas pričamo – Vengeance is Mine, odnosno Fukushū Suru wa Ware ni Ari odnosno, Moja je osveta, direktan citat iz novozavetne Poslanice Rimljanima gde se vernici podsećaju da je njihovo da na zlo uzvrate dobrim a da se Gospod stara o osveti. Ovaj film smešten je u savremeni Japan, ali i u njemu narativ tretira događaje u rasponu od više decenija, a najveći deo priče odvija se 1969. godine, poklapajući se sa onim kako su se ti događaji odvijali u stvarnom životu.
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Vengeance is Mine pripada ,,true crime" žanru, nečemu što danas, pored televizije i filma, čini se, najvitalnije operiše u formi podkasta i posvećenih JuTjub kanala. Ljudi imaju – zdravu ili nezdravu ali svakako statistički čestu fascinaciju zločinima, i to što patološkijim – to boljim, a koji su neka vrsta izvitoperenja društvenih vrednosti, simptomi maligniteta u društvenom organizmu, i sadržaj ovog tipa je, znamo, značajno popularniji od nečeg što bi se bavilo statistički štetnijim društvenim patologijama poput korupcije, sistemske diskriminacije itd.
Film je i snimljen po istoimenom romanu iz 1976. godine a koji je, opet na osnovu stvarnih događaja napisao Ryūzō Saki. Saki je bio autor fasciniran ,,true crime" temama i napisao je nekoliko publicistikih knjiga o poznatim zločinima u Japanu a za ovaj roman je dobio nagradu Naoki, koja se smatra najvećim japanskim literarnim priznanjem. Naravno, Saki je pisao o nečemu što je bilo još veoma sveže u japanskom kolektivnom pamćenju. Serijski ubica i prevarant, Akira Nishiguchi je u jednom momentu krajem šezdesetih bio tema o kojoj su svi govorili, sa doduše relativno malim brojem ubistava, ali sa snažno promovisanom policijskom potragom koja je na kraju zamalo bila neuspešna – Nishiguchi je tokom svog dugačkog bekstva dodao dvema originalnim žrtvama još tri ubijene osobe a na kraju je uhvaćen tako što je jedanaestogodišnja devojčica prepoznala lik sa plakata kojim je Japan bio oblepljen i alarmirala policiju, iako se zločinac zapravo nije krio i sve vreme je bio prisutan u gusto naseljenim urbanim sredinama.
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Imamura je u filmu glavnom ,,junaku" ime promenio u Iwao Enokizu i pošto nisam čitao roman ne mogu da kažem koliko je i da li je odstupao od već fikcionalizovanog prepričavanja Nishiguchijevog života, no, Imamurin film nije samo fascinantna studija karaktera sociopate koji od nasilnih početaka u ranoj mladosti izraste u harizmatičnog prevaranta i hladnokrvnog ubicu sa naočarima u svojim srednjim godinama. Da je tako, Vengeance is Mine bi i dalje bio odličan film, ali i deo podžanra filmova o serijskim ubicama koji je do 1979. godine već bio solidno razvijen. No, u svojoj punoj formi, Imamurin film je i brutalna disekcija japanskog mentaliteta, društvenih normi i običaja koji, čak i tako kasno u dvadesetom veku, zadržavaju veliki deo zastarelog balasta koji doprinosi ne samo neravnopravnosti već, pokazuje Imamura, patologijama koje bi trebalo da su odavno nestale.
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Biblijski citat u naslovu prevashodno je vezan za činjenicu da su protagonist, Iwao Enokizu i njegova porodica katolici i jedan od ranih flešbekova u filmu pokazuje način na koji je hrišćanska zajednica bila tretirana od strane imperijalne armije 1938. godine i Iwaoovo detinje reagovanje na ono što će percipirati kao očevu slabost i poginjanje glave pred grubom silom.
Imamura, da bude jasno, ne pokazuje hrišćane kao išta drugo do moralno korumpiranu zajednicu koja unaokolo sipa priče o Isusu, praštanju i obavezi etičkog ponašanja, dok se ponaša na duboko problematične načine. Opet, u skladu sa interesovanjem za humanizaciju praktično svakog od likova koji će se u filmu videti, hipokrizija i mentalna surovost koje hrišćanski likovi ovde ispoljavaju okrenuti su najpre na unutra, delom prema samim sebi, a delom prema članovima porodice. Imamura ovde ne upada u modus rada japanskog nacionaliste koji prezirno prikazuje hrišćanske vrednosti kao nametnute od strane zapadnih imperijalista i okupatora i njegovo je interesovanje pre svega za to da pokaže ljude koji pate, istovremeno dok i sami drugima nanose patnju.
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Utoliko, Enokizuova porodica je dobrim delom filma neksus u kome se seku uticaji različitih tradicija – hrišćanskih i nehrišćanskih – vezanih za japansko posleratno društvo, ali i Enokizuov nekontrolisani, patološki, ali u okviru onog što se događa u porodici, na kraju možda zastrašujuće razumljivi poriv za slobodom.
Naravno, Enokizu je sociopata i za njega je sloboda koncept u kome on može drugima da uradi šta god hoće, uključujući manipulacije, okrutne prevare, pa i ubistva iz koristoljublja, sve se usput smeškajući, i film ni ne pokušava da ga ikako ,,opravda" nekakvim prikazivanjem teškog detinjstva ili nekog sličnog klišea. Umesto toga, Enokizuova porodica je praktično dodatak na lik samog protagoniste, paralelni entitet vezan uz destruktivnu trajektoriju glavnog junaka, a unutar kog se događa dovoljno ,,autohtone" destrukcije. Utoliko, Imamura izlazi iz žanra filma-o-serijskom-ubici time što se ne fokusira na ubicu kao na ,,glavnog" nosioca patologije, pokazujući ravnopravno druge patologije u društvu a koje, za razliku od njegove, nisu medicinskog tipa i stvar su prećutnog društvenog dogovora.
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Tako dobijamo jedan dugački i bolni podzaplet sa ugovorenim brakom, nesrećnom suprugom i jednom kvazi-incestuoznom vezom između snaje i svekra. Imamura je već slične teme obrađivao u ranijim radovima, setimo se ,,ćaleta" iz The Insect Woman, i u Vengeance is Mine njegov je prilaz ,,problemu" još suptilniji. Likovi Enokizuovog oca i supruge su nešto najbliže ,,pozitivcima" što ovaj film ima, iako su i oni sami duboko problematični, sa izuzetno konfliktnim emocijama, pa i kontradiktornim, na momente patološkim ponašanjem. Veteran Rentarō Mikuni u ulozi oca i Imamurina omiljena glumica Mitsuko Baisho kao supruga su fascinantni u tome koliko slojeva ličnosti uspevaju da prikažu u svojim scenama, dajući nam portrete likova koji su istovremeno dobronamerni i duboko (po)grešni, koji istovremeno pate i nanose bol drugima, sa kojima saosećamo iz sve snage – ne najmanje u nadrealističnoj poslednjoj sceni sa kostima zamrznutim u vazduhu – a istovremeno ih osuđujemo. Scena kupanja je možda najelegantniji sažetak ovih fascinantnih kontradiktornosti filma sa prikazom nečeg što je na nekoliko nivoa pogrešno ali je istovremeno ne samo nepobitno erotično, već i gledalac ne može a da ne oseti empatiju za glumce koji praktično samo izrazima lica, pokretima i položajem tela komuniciraju svoju emotivnu ranjivost i racionalno shvatanje da rade nešto pogrešno u paru sa nagonskom kompulzijom da ga ipak rade.
Vengeance is Mine je utoliko po mnogo osnova tipičan film za sedamdesete – i ne samo tipičan japanski film za sedamdesete – utoliko što su u njemu strategije i estetike japanskog novog talasa ali i francuskog novog talasa pa i američkog novog Holivuda prepoznate kao sada već imanentne medijumu i primerene ,,klasičnom" bioskopskom filmu koji sa jedne strane ide u dekonstrukcije i ikonoklastične gestove ali je kao celina jedan čvrst, jasan, pa i prijemčiv narativ. Imamura ovde svakako priča o ljudima sa margina ne samo društva već i samog ljudskog, ali, kako rekosmo, njegovo primarno interesovanje je da zagrebe dublje ispod kože ,,normalnog" društva u Japanu i pronađe patologije koje sumarno nanose više štete od nasumično iskačućih serijskih ubica.
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Istovremeno, njegov pripovedni postupak je smeo i agresivno efikasan ali bez mogućnosti da se gledalac dovede u konfuziju uprkos skakanju između decenija, uprkos flešbekovima i čestim postavljanjem scena in medias res. Na primer, transformacija protagoniste iz mladog siledžije koji jedva kontroliše svoje napade besa – najviše time da ih kanališe u pretnje kojima ostvaruje materijalnu dobit – u odmerenog haizmatičnog prevaranta sa zalizanom kosom i naočarima nije ni na koji način ,,objašnjena" jer njena tehnologija nije značajna za film. Dve ,,forme" koje Enokizu ima u dve različite ere koje film prikazuje su važne jer stoje u opoziciji sa dve istorijske percepcije koje je Japan krajem sedamdesetih imao o sebi – onoj o posleratnom ranjenom džinu nepravedno bačenom u prašinu od strane okupacionih snaga koje smejući se siluju japanske žene*, i onoj o kasnije ponosno dignutoj glavi nacije koja je požrtvovanim radom sebe dovela u društvo bogatih, uspešnih i uticajnih zemalja.
*ovo je doslovno prikazano u jednoj sceni, tek prvoj od scena seksualnog nasilja u filmu, ali koja ima snažan ironijski preokret
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Utoliko, perfektni Ken Ogata (u narednih par godina Imamurin omiljeni glumac) naprosto POSTAJE zalizani, slatkorečivi Enokizu koji izigrava advokata ili univerzitetskog profesora i kao takav je idealan lik u iskrivljenom ogledalu za drugu polovinu filma koja metodično, odmerenim korakom ali ne maniristički sporo analizira život u pansionu gde Enokizu odseda, prikazujući neverovatnu skalu patologija među, ponovo, vrlo kompleksnim likovima. Pomenuo sam već da film ima scene seksualnog nasilja a jedna od njih događa se baš ovde, blizu kraja filma, sa Enokizuom koga u pokušaju da spreči silovanje zaustavlja – majka žene koja je na meti napada. A ovo je samo vrhunac složenih, patoloških odnosa u kojima se serijski ubica, trenutno u bekstvu ne samo sa puno zadovoljstva druži sa ovim ženama već i koji im na neki način postaje član porodice čak i NAKON što one shvate ko je on zaista.
Imamurina seciranja japanske socijalne zbilje u kojoj su čak i jaki ženski likovi neprijatno polomljeni trebalo bi podrobno analizirati, idealno od strane nekog sa dubljim poznavanjem japanske istorije i društva nego što sam ja. Kao što bi njegovu režiju u ovom filmu trebalo obrađivati u školi.
Ovo je, rekoh već, izrazito brutalan film sa više scena ubistava i silovanja – o mentalnoj surovosti sad i da ne pričamo – a koje su snimljene sa jednim naturalističkim pristupom što im sasvim oduzima pornografske, senzacionalističke dimenzije primerene eksploataciji, a sa druge im nimalo ne oduzima na likovnosti. Kadriranje Sinsakua Himede je izuzetno, sa veoma malo rezova ili pokreta kamere tokom ovih scena, a poverenje koje je Imamura imao da će glumci odigrati sve tako da nikakav dalji postprodukcijski trikeraj neće biti potreban je isplaćeno u fascinantnim performansima. Ogata je u ovim scenama zastrašujuće prirodan – uključujući onu gde, sav umazan od krvi, mokri po sopstvenoj šaci da bi je makar malo isprao – a njegovi partneri imaju neverovatno ubedljivu procesiju emocija kojima pokazuju iznenađenje, zaprepašćenost, onda potčinjenost dominantnom ubici pa na kraju i nekakvu nemu krivicu što se za njih sve ovako završava.
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Imamura koristi veoma malo muzike u ovom filmu a nimalo u scenama ubistava ili drugih napada, dajući im jedan pre svega likovni kvalitet (boje, uostalom, posebno dobro izgledaju u Criterion Collection verziji od pre neku godinu). Kurosawin česti saradnik Shin'ichirō Ikebe je napisao odličan saundtrak primeren policijskim trilerima sedamdesetih godina ali ova je muzika korišćena samo u međuscenama koje služe kao tranzicije između glavnih događaja. U ,,pravim" scenama nema ničega sem glumaca pa je čak i većina zvukova očigledno urađena u foley sobi, a primećuje se i da Imamura tokom filma izuzetno malo pomera kameru i da, kada to i čini, retko koristi šine već se odlučuje za ,,naglašeno" snimanje iz ruke. Većina scena je, dakle, rađena sa stativom, bez švenkovanja, sa glumcima precizno raspoređenim unutar kadra i ovo je čista magija na delu gde scenografija, svetlo i ljudi pred kamerom kreiraju neverovatne scene što i pored stroge artificijelnosti deluju prirodno i naturalistički.
Vengeance is Mine, dakle, nije film za laku zabavu i porodično gledanje ali ovo sasvim definitivno jeste pravi ,,feature" film, sa trajanjem od 160 minuta i apsolutno besprekornom produkcijom od prve do poslednje scene. U njemu nema eksperimenata (kao što su bili, recimo, stop-kadrovi u The Insect Woman) ali tehnike koje Imamura koristi su do pre svega desetak, čak i manje, godina smatrane praktično eksperimentalnim. Ovo je, dakle, mejnstrim film na samoj oštrici savremene filmske estetike, besprekorno sigurno vođen ,,asimetričan" i skokovit narativ centriran oko dijaboličnog glavnog junaka pored koga i policajci koji ga isleđuju deluju kao dosadni birokrati, ali čije je težište upravo na tragedijama koje se dešavaju oko tog glavnog junaka, kao deo nečeg svakodnevnog, uobičajenog, pa i društveno prihvaćenog. Nelagoda koju osećamo kada vidimo da Enokizu ne pokazuje nikakvo kajanje – a ovo je, vele, karakteristično za psihopate – je zapravo tim snažnija jer je utisak na kraju filma da kajanje nikom drugom ništa dobro nije donelo, sa ostalim likovima koji su svi u dobroj meri žrtve sopstvenih odluka koliko i Enokizuove destruktivnosti. Društvo ne proizvodi psihopate, kao da kaže film, ali njemu i nisu potrebni psihopati da se ponaša duboko patološki. Enokizuove kosti što ,,protivprirodno" lebde u vazduhu u poslednjim kadrovima su podsećanje da se patologija ne možemo osloboditi pukim računanjem na imunološki odgovor zajednice i prošišćujuća svojstva ognja i da pravi napredak zahteva mnogo više napora. Ili ja to tako vidim jer sam optimista?
(https://i.imgur.com/gTsTTrQ.png)
Ova jesen je, odlučio sam, između ostalog dobra i za to da se upoznam sa opusom jednog značajnog japanskog režisera iz doba novog talasa, po vokaciji filozofa a po umetničkoj naobrazbi italijanskog đaka iz one najbolje generacije, po imenu Yasuzô Masumura. Sad, pokazaće se da prvi film koji sam odabrao za ta upoznavanja nije najreprezentativniji uzorak, ali to sam, uostalom, znao i unapred. Afraid to Die (aka Karakkaze yarô), njegov trinaesti film, režiran 1960. godine sa još tri režijska rada koje je Masumura potpisao u istoj sezoni je jedan klasičan, čak prilično lapidarno odrađen jakuza-film koji sa svojim vitkim trajanjem od jedva preko sat i po i pričom što je manje-više regurgitacija jakuza-klišea nikako ne spada u nekakve prevratničke radove o gangsterima u Japanu, niti u cenjenije filmove ovog režisera. No, dva su razloga što sam ovaj film želeo da vidim i što mislim da ga vredi preporučiti zainteresovanim gledaocu: direktor fotografije u ovoj produkciji bio je Hiroshi Murai, veteran kamere koji je upisao u svoj CV skoro šezdeset filmova, uključujući vizuelno upečatljivi Sword of Doom za koji sam nedavno hvalio (https://cvecezla.wordpress.com/2021/08/06/film-the-sword-of-doom-aka-dai-bosatsu-toge/); a glavni glumac u ovom filmu je glavom i (golom) bradom – Yukio Mishima.
(https://i.imgur.com/Tfsvxja.png)
Yasuzô Masumura nije isprva učio za režisera i njegov prvi pokušaj završavanja fakulteta ticao se prava. No, nakon što je od toga odustao, radio je kao pomoćnik režisera na filmovima studija Daiei Film i studirao filozofiju a potom i dobio stipendiju da ide u Italiju da u Centru za eksperimentalni film (Centro Sperimentale di Cinematografia) uči kod najvećih ondašnjih autora kao što su bili Luchino Visconti, Michelangelo Antonioni, pa i sam Federico Fellini. Ovo ga čini jednim od retkih japanskih režisera njegove generacije sa ovom vrstom naobrazbe.
Po povratku u Japan je za Daiei radio kao režiser druge ekipe na pet filmova – i to sve kod asova te generacije: Kenji Mizoguchi, Kon Ichikawa, Daisuke Ito – ali je već posle dve godine dobio mogućnost da radi svoj prvi film kao autor. Njegova karijera je bila interesantna i zapravo imala prilično osobenu trajektoriju sa 66 filmova i televizijskih serija koje je sam režirao (i 28 koje je napisao) između 1957. i 1984. godine a gde smo dobili i prilično originalne, pa i perverzne radove poput Blind Beast ili Red Angel. Daiei Films je bila produkcija koja je, između ostalog zaslužna za Kurosawin Rashomon, međutim, iako je Masumura u njihovom okrilju kreirao dobar broj radova koji su bili agresivno moderni i spajali eksploatacijske, šokantne ideje sa ambicioznim umetničkim izrazom, radeći rame uz rame sa režiserima japanskog novog talasa, njegovo svojstvo čoveka sa stalnim zaposlenjem u studiju zaslužno je za to da se u većini retrospektiva novog talasa on uglavnom ne pominje uz autore svoje generacije.
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No, o tome možemo kada budem pisao o nekom njegovom važnijem filmu. Afraid to Die to nije, ali jeste u pitanju vitka, pa i zabavna priča iz gangsterskog života sa tom distinkcijom da je ovo bila prva glavna uloga za Yikua Mishimu.
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Mishima je, naravno, svoju nacionalnu pa i svetsku slavu stekao najpre kao pisac i poeta, a zatim kao ekstremni nacionalistički aktivista koji je zahtevao povratak tradicionalnim vrednostima japanskog carstva. No, on je bio i figura od sasvim mejnstrim prepoznatljivosti u Japanu sa veoma velikim brojem filmova snimljenim po njegovim pričama i romanima, pa i sa direktnim učešćem u filmskoj industriji.
Patriotizam, njegova čuvena kratka priča iz 1961. godine je na kraju bila i u određenom smislu predskazanje za to kako će se njegov sopstveni život okončati – utrobe rasečene katanom, nakon neuspešnog vojnog udara, baš poput protagonista priče – ali i predložak za jedini (a kratki) film koji je Mishima sam režirao. No, kao glumac, on se pojavio i dva filma pre Afraid to Die da bi mu Masumura dao glavnu ulogu u priči o mladom, impulsivnom gangsteru koji, neočekivano, shvata da postoji život i izvan nasilnog i strogo kodifikovanog sveta jakuza i – gotovo se stideći samog sebe – čini sramežljive korake ka izlasku iz podzemlja i transformaciji u civila.
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Jedan od scenarista Afraid to Die bio je i Ryūzō Kikushima, cenjeni autor scenarija za nekoliko Kurosawinih filmova (uključujući Krvavi presto, Yojimbo, pa i The Hidden Fortress), no, Afraid to Die se ističe efikasnim, ekonomičnim, ali prilično predvidivim scenarijom koji gotovo da je kreiran algoritamskim spajanjem gangsterskih tropa. Mladi protagonista filma, Takeo Asahina je naslednik šefa u maloj tokijskoj jakuza-familiji koju je nekada predvodio njegov pokojni otac a sada, dok je on u zatvoru zbog napada na šefa druge familije, je vodi njegov stric, a gde mu je Takeov brat desna ruka. Takeo na početku filma izlazi iz zatvora ali ne pre nego što shvati da se rivalska porodica, Aikawa i dalje radi o glavi, tražeći osvetu za to što je njihovog šefa u neuspešnom atentatu osakatio. Takeo samo što izlazi iz zatvora a već se ponovo upliće u komplikovanu partiju šaha na tokijskim pločnicima koju igraju besni gangsteri sa pištoljima, i mora da smisli ne samo kako da preživi prvu noć već i šta da dalje radi sa svojim životom.
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Ono što je kod ove priče zanimljivo pa i simpatično je to portretisanje ,,malih" jakuza porodica u Tokiju. U jednoj sceni pred kraj filma imamo priliku da vidimo i predvodnika klana kojoj obe porodice pripadaju, a koji ima sa sobom mnogo dobro naoružanih vojnika, no i Asahina i Aikawa su male porodice koje zaista sede unutar zajednica koje ,,štite" i vidimo kako izgleda njihov svakodnevni život. Aikawa, recimo, šuruju sa lokalnim industrijalcima i razbijaju – rame uz rame sa policijom – štrajk u lokalnoj fabrici koji su pokrenuli komunisti.* Sa svoje strane, porodica Asahina ,,štiti" lokalnu pijacu i od ljudi sa tezgama uzima novac za ovu uslugu, a drugi glavni izvor prihoda im je lokalni bioskop. Kasniji sukob tiče se jednog jedinog salona za masažu koji obe porodice smatraju maltene zlatnim rudnikom.
*tu dobijamo vrlo ljupku scenu u kojoj japanski radnici, sa sve crvenim zastavama pevaju Internacionalu na Japanskom
(https://i.imgur.com/xB8e882.png)
Ovo su osvežavajuće prizemljeni motivi i mada su svim gangsterima u ovom filmu usta puna časti, čojstva i junaštva, jasno je da su u pitanju smalltimeri, sitni krimosi koji sanjaju čak ne ni o tome da se obogate već da ih istorija nekako zapamti. Od svih se razlikuje Takeov brat koji je završio pravni fakultet i koji legitimno mašta o napuštanju ovog života. No, stric – koga igra sjajni Takashi Shimura u još jednoj impresivnoj transformaciji, sa sve ogromnom tetovažom Bude na leđima – bez obzira na to koliko je familija mala i beznačajna, smatra da je čast najvažnija i da Takeo mora da ,,dovrši posao" i likvidira šefa suparničke porodice a da će umesto njega u zatvor ovog puta ići brat.
(https://i.imgur.com/DYA4XdE.png)
Ovo su zanimljivi elementi zapleta, pogotovo što, iako Takeo emituje jednu veoma ,,bad boy" personu i insistira da on ništa drugo ne ume da radi i da je ovo, što reče Nas, ,,the life we choose", vidimo da nakon upoznavanja žene koja samo tangencijalno pripada gangsterskom miljeu i sam počne da razmišlja o napuštanju cele te toksične priče, preseljenju na neko drugo mesto, započinjanju života iz početka. Naravno, kako rekosmo, pravilo u jakuza filmovima je da se niko nikada ne penzioniše i niko nikada ne napušta ovu profesiju (takođe Nas, u istoj pesmi kaže ,,the only way out is death or going broke") pa i Takeo doživljava da zaista oseti dah tog drugog, skoro idealizovanog civilnog života pre nego što se pakao podigne i povuče ga u svoje dubine. No, zanimljivo je kako je ovo jeftin ali ekonomičan film koji zapravo ima vrlo malo akcije i nadomešćuje veći spektakl samo pričom o njemu.
Tako, recimo, šef suparničke bande nekoliko planova svojih podređenih seče u korenu jer shvata da su besmisleni u datom trenutku, gaseći u startu nekoliko potencijalnih set-pisova filma. Isto tako, prema kraju, film kao da nagoveštava da ćemo ipak gledati veliku džejmskegnijevsku pucačku scenu u kojoj će Takeo otići u istoriju ali onda kao da uradi reality check i shvati da je ovo besmisleni jakuza-kliše a da njegov glavni junak od svog života želi nešto drugo. Iako na prvi pogled deluje kao da se publici obećava žanrovska isplata a koju film ne može da finansira, pa umesto nje dobijamo samo filozofiranje, ovo je zapravo lep psihološki zaokret, u skladu sa temom filma gde ljudi veći od života, koji sebe vide kao oživljene holivudske gangstere shvataju da je sve to fantazija i da pravi život zapravo prolazi pored njih. Da još jednom citiramo Nasa: ,,His reputation is bigger than his whole life span. He never planned to fail he just failed to plan."
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Da bude jasno, citiranje američkog repera koji priča o životima gangstera oko sebe što zamišljaju da su na filmu je u vezi sa tim da je ovaj film i režiran vrlo holivudski. Masumura jeste učio od Italijana ali je Afraid to Die jedan klasičan gangsterski film sa jasnim dugovima holivudskim radovima iz četredesetih i pedesetih. Ovde nema naturalističke disekcije urbanog raspada niti dekonstrukcije gangsterskih arhetipova – film je po tonu i dinamici izrazito američki, sa likovima koji se sa vrlo malo izuzetaka svi oblače kao da su u Americi i ponašaju kao da su išetali iz ,,Burnih dvadesetih". Da je ovaj scenario pisan na engleskom, možete biti sigurni da bi sve žene bile ,,dames" ili ,,broads" a da bi se Takeo svim likovima, pa i starijim od sebe obraćao sa ,,kid".
(https://i.imgur.com/m7NvB0A.png)
No, Masumuri ovo izrazito ide od ruke, pogotovo sa izvanrednim Muraiem iza kamere i njegov Tokio ima topli, užurbani šarm urbane košnice pune ljudskih sudbina koja nas fascinira isto onoliko koliko nas i odbija. Muraijevi kadrovi su puni neonskih znakova na zgradama i svetlećih firmi, noćne scene su mu prepune živog kolora, prljavi i jeftini enterijeri u kojima protagonisti rade i spavaju deluju živo i razrađeno a ne tek potrošeno i odbojno. Povrh svega, Masumura snima i jednu perfektnu scenu u klubu sa plesačicama i kostimiranom džez-pevačicom, te moćnim orkestrom koji izvodi klupski hit o banani koja je koreografisana i montirana kao da pripada nekom mnogo skupljem filmu.
Uopšte, iako se ne radi o značajnom delu iz Masumurinog opusa, njegovo vrhunsko zanatstvo je ovde sve vreme očigledno. Film ima prirodan a opet zapravo veoma brz tempo, sa odličnom montažom i beznapornim tranzicijama između scena ali i vremenskih planova u priči, uspevajući da u jedva nešto više od sat i po spakuje mnogo radnje i akcije. Masumura ima i vrlo dobre glumce na raspolaganju koji fino kombinuju taj holivudski geng-glamur sa reflektivnijim, ličnijim momentima. Ayako Wakao je pogotovo izvrsna u ulozi žene koja – ni ne trudeći se – osvoji srce glavnog junaka i Masumura će sa njom maltene opsesivno raditi u nekoliko svojih filmova (uključujući sve filmove koje je snimio te godine).
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Nažalost, film posrće baš tamo gde treba da bude najjači – a to je u kastingu glavnog junaka. Vodeći se verovatno ambicijom da u Japanu nađe ličnost od formata koja bi na velikom platnu donela neodoljivog bad boy antiheroja poput onih koje su u SAD ovaplotili Dean i Brando, studio je napravio sasvim dobar izbor u pogledu fotogeničnosti kastujući za ulogu Takeoa Yukia Mishimu.
Njegov Takeo izgleda kako treba, sa kratkom, mašinicom napravljenom frizurom, mišićavim rukama i crnom kožnom jaknom koju u nekim scenama nosi na golo telo, dajući nam korektnu dozu muževnog erotizma uporedivu sa onim što smo gledali u Buntovniku bez razloga, Na dokovima Njujorka ili u Divljaku. No, Mishima naprosto nije sjajan kao glumac i njegov Takeo je dobar uglavnom kada treba da stoji i ćuti, a daleko slabiji kada treba da priča i glumi.
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Ovo problematizuje film u nekoliko ključnih elemenata, ne dajući nam da zaista osetimo tu transformaciju kroz koju Takeo prolazi, čineći da scene u kojima Mishima preglumljava deluju afektirano i veštački, pogotovo jer ostatak ansambla ume da odmeri energiju kako bi pogodio holivudski šmek. Mishima se ovde trudi da glumi ,,fizički", sa jakim pokretima snažnom gestikulacijom i grimasama i mada mu Masumura pomaže koliko može dinamičnom montažom, on nije sjajan.
Ovo dodatno baca senku na neke trope koji u ovom filmu ispadaju mračniji nego što bi možda trebalo – recimo to kako glavni junak siluje ženu koja se potom zaljubljuje u njega. Da ne bude zabune, ni Brandova sodomija u Bertolučijevom Tangu nije ništa drugo do ,,male gaze" fantazija o isceljujućoj i blagorodnoj moći kurca po žensku psihu i ne morate u 2021. godini biti neki razjareni feminista da biste doveli njen etički status u pitanje, ali Mishimin nastup u Afraid to Die i posledična romansa koja plane između njega i Yoshie Koizumi – koja, naravno, sad odmah hoće i njegovo dete – su izrazito neugodni velikim delom i jer Mishima naprosto deluje kao – siledžija.
Ono gde Mishima ipak opravdava svoj kasting je, ironično, i pomalo zloslutno u poslednjoj sceni gde ćemo dobiti izvrsno urađenu tragičku završnicu filma sa potrebnom dramom i patosom ali i jednim srazmerno tihim, vrlo ,,noir" razrešenjem u kome smrt dolazi diskretno, bez herojske operete u pozadini a samrtni ropac je težak, mučan i na neki način mučenički dostojanstven. Deceniju kasnije Mishima je život okončao sopstvenom rukom, shvatajući da se njegov san o rekonstrukciji japanske imperijalne, fašističke slave nikada neće ostvariti – kažu da mu se vojska u bazi koju je ,,zauzeo" naglas smejala – i ima nečeg sudbinskog u tome da je jedina scena u kojoj on u ovom filmu zaista blista ona u kojoj njegov lik umire.
(https://i.imgur.com/zC1Cz6W.png)
Afraid to Die je film koji ima solidan koncept i zanatski kvalitetnu egzekuciju ali koji posrće na par ključnih tačaka, od scenarija koji ne opravdava uvek svoja rešenja,* pa do glavnog junaka koji ne kanališe uvek uspešno taj sentiment ,,čoveka nošenog vetrovima" a što bi bio korektan prevod japanskog izvornika.
* a što je posebno šteta jer su neke druge stvari napisane briljantno dovitljivo kao cela uvodna scena sa atentatom u zatvoru
On, srećom, ima nekoliko zanimljivih likova, taj odlično snimljeni, ,,holivudski" intonirani noir-Tokio, brz tempo i završnicu koja perfektno spaja protagonistu što je tek počeo da dobija treću dimenziju sa negativcem koji je programski napisan i glumljen kao jednodimenzionalni, sociopatski pervertit. Uz nešto dobre muzike i, ponoviću, odličnu fotografiju Hiroshija Muraija, pa i Mishimin star-power, bez obzira na ne uvek ubedljivu glumu, ovo je prijatan gangsterski film koji, ako ste ljubitelj žanra, svakako vredi videti.
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Već sam se izvesno vreme pripremao da pogledam Hitokiri (aka Tenchu), film konsenzualno smatran za jednu od najboljih produkcija koje je potpisao Hideo Gosha i jedan od ultimativnih chanbara filmova ne samo šezdeetih godina nego verovatno svih vremena. Idealan trenutak se pomolio upravo nakon što sam gledao Afraid to Die, živopisan prošle nedelje (https://cvecezla.wordpress.com/2021/10/29/film-afraid-to-die-aka-karakkaze-yaro/), a u kome je, kako smo rekli. Yukio Mishima igrao svoju prvu glavnu ulogu na filmu. Snimljen 1969. godine, Hitokiri skoro tačno deceniju kasnije ima Mishimu u sporednoj ali veoma upečatljivoj ulozi, njegovoj poslednjoj na velikom platnu pre nego što će, nakon neuspelog, i apsurdnog državnog udara sebi u frustraciji i pokušaju da sačuva ratničku čast pred vojskom koja se smeje njegovim fašističkim sanjarijama, katanom prosuti sopstvenu utrobu.
(https://i.imgur.com/JtVN8wa.jpg)
Mishima ovom filmu, doduše, donosi samo delić njegove ikoničnosti. Hideo Gosha je iste godine režirao Goyokin, takođe veoma cenjen chanbara rad a o kome sam pisao na ovom mestu (https://cvecezla.wordpress.com/2021/08/20/film-goyokin/) i ukazao da se radi o kvalitetnom, dostojanstvenom akcionom filmu čiji su dramski elementi svakako u drugom planu ali ne manje kvalitetno izvedeni od samurajskih borbi.
Hitokiri je, pak, druga strana ove medalje i film koji s punim pravom zaslužuje da se klasifikuje kao jidaigeki produkcija, dakle, ,,istorijska drama". Za razliku od Goyokin, Hitokiri nije samo smešten u period pred kraj Tokugawa šogunata, već se blisko bavi životima nekoliko ključnih istorijskih figura ovog vremena i predstavlja do danas verovatno najbolji portret samuraja po imenu Izō Okada. Takođe, Goyokin, pored odmerenog tempa i prostora za refleksiju, pazi da gledaocu da žanrovski zadovoljavajuće razrešenje u vodu titanske borbe na samom kraju sa sve ritualnim bubnjevima koje sviraju maskirani noh-glumci, prosipanjem crvene krvi po belom snegu, poslednjim odlaskom glavnog junaka prema horizontu. Hitokiri ima jednako upečatljiv kraj, osim što je njegov predznak potpuno suprotan, bez borbe, sa prihvatanjem sudbine i trijumfom, ako ga ima, samo na duhovnom planu. Štaviše, iako ovaj film ima neke od najupečatljivijih akcionih scena svoje generacije, poslednja trećina Hitokirija je lišena borbe i usredsređena na minuciozno seciranje karaktera samuraja poznatog po svojoj ratničkoj veštini ali i strašnom kraju života.
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Okada Izō pripadao je čuvenoj pa i zloglasnoj ,,Četvorici sekača iz Bakumacua". Radi se o grupi samuraja iz perioda Bakumacu koji su smatrani najopasnijim mačevaocima svog doba. Hitokiri doslovno znači ,,sekač ljudi" i Kawakami Gensai, Kirino Toshiaki, Tanaka Shinbei te Okada Izō su se proslavili prevashodno na ime toga koliko je svaki od njih ljudi ubio tokom svoje karijere u planiranim, besprekorno izvršenim atentatima.
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Okada je od sve četvorice možda najpoznatiji u smislu da je o njemu snimljeno najviše filmova ali radi se o veoma značajnim ličnostima Edo ere, čuvenim ubicama, ali i oficirima – Toshikai je kasnije, tokom Meiđi obnove bio general u carskoj vojsci. Okada je bio dete iz samurajske porodice koje je od mladosti učilo da se bori i moralo da smisli kako da pomiri dosta skromno, provincijsko poreklo sa burnim istorijskim periodom što se oko njega razvijao ali i sa ambicijama Hanpeite Takechija koji mu je prvo bio učitelj a kasnije i jedan od najvažnijih poslodavaca.
U filmu Hitokiri, Takechija igra Tatsuya Nakadai i ovo je jedna od najfinijih uloga glumca kome je dovoljno da stoji i malo intenzivnije gleda pa da vam bude nelagodno. Njegov Takechi proizvodi sličnu nelagodu kao njegov lik, samuraj-sociopata iz The Sword of Doom (https://cvecezla.wordpress.com/2021/08/06/film-the-sword-of-doom-aka-dai-bosatsu-toge/), sa istim otrovnim pogledom, i štaviše, Okada će u jednom trenutku, pred kraj filma, za njega doslovno reći da je ,,nečovečan", ali ovog puta nemamo posla sa pukim psihopatskim sadistom već sa namazanim vojnikom koji razmišlja kao političar i svestan je da je najbolje oružje ne ono najveće i najglasnije već ono najoštrije i najtiše.
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Njegovo oružje u ovom filmu je – sam Okada. Hitokiri se događa pred sam kraj Tokugawa ere, pokazujući klanove samuraja lojalnih caru, vrlo nacionalostički nastrojenih, koji se spremaju za finalni rat protiv šoguna i rušenje starog režima. Britanski i Nizozemski brodovi su već doplovili do Japana i svima je jasno da je promena u vazduhu. No, ono što NIJE jasno je kako će promena izgledati. Okada, recimo, misli da će posle rušenja ratnog zapovenika i ponovnog uspostavljanja monarhije, zavladati ravnopravnost u kojoj će siromašni ali časni, hrabri i efikasni samuraji poput njega biti na ravnoj nozi sa plemićima, a što će mu omogućiti da za ženu uzme lokalnu knjeginju na koju je bacio oko.
Okada, očigledno, nije mnogo pametan i njegova biografija, koja je u centru ovog filma, prikazuje uspon preko planine leševa koje on ostavlja iza sebe slepo slušajući Takechijeva naređenja, a zatim bolni, dugački pad čoveka koji je spoznao da je za druge ljude bio u najboljem slučaju borbeni pas.
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Gosha nije naročito zainteresovan za puko prepričavanje Okadinog života i njegova tragedija u ovom filmu je alegorija za japanski fašistički uzlet tridesetih godina prošlog veka, imperijalne ambicije prema azijskom kontinentu i bahat, za posledice potpuno nezainteresovan tretman domicilnog stanovništva na osvojenim teritorijama.
Analogno tome, Izō Okada film započinje kao maltene doslovno gologuzi roin koji stalno trenira na metama od bambusa i ima vrhunsku tehniku ali nema od čega da živi i pokušava čak i da proda svoj oklop ne bi li se nekako prehranio. Prve scena borbe u filmu je visoko koreografisana asasinacija koju je Izō pozvan da gleda jer, kako mu kaže Takechi, on još nikada nije ubio čoveka. Gledajući smrt koja nastupa u vrlo teatralnom ali i upečatljivo visceralnom igrokazu na kiši, Izō samom sebi kaže da on to može da uradi bolje.
Prvi sat filma prikazuje Izōv uspon u Takechijevoj službi, sve efikasnije i masovnije asasinacije koje izvodi na gospodarev mig, uveren da pomaže ne samo Takechiju već čitavoj oblasti Tosa po kojoj je klan nazvan, pa i restoraciji monarhije u Japanu. Njegov usklik ,,tenchu!" dok ubija svoje mete znači da sebe smatra oruđem koje isporučuje kaznu sa samog neba, iako su neke žrtve policajci i inspektori poslati da istraže zašto je među nominalno savezničkim lojalističkim klanovima tako mnogo žrtava visokog profila.
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Takechi je hladan, proračunat i dekadentan plemić koji se u slobodno vreme bavi kaligrafskim slikanjem po pirinčanom papiru a Okadu tretira kao kuče koje se nagrađuje novcem i retko po kojom uzdržanom pohvalom. Okada, pak, u ovome vidi genijalnog stratega i nepokolebljivog carskog lojalistu pa za njega ubija sa sve više strasti, a pare troši na ogromne količine sakea i lokalnu prostituku Omine (odlična Mitsuko Baisho kojoj je ovo bio i prvi značajan film a gledali smo je i deset godina kasnije u Vengeance is Mine (https://cvecezla.wordpress.com/2021/10/22/film-vengeance-is-mine-aka-fukushu-suru-wa-ware-ni-ari/)). On je, ma koliko to za profesionalnog ubicu delovalo neprilično reći, i jako naivna osoba koja niti shvata kako politika funkcioniše niti razume svoju ulogu navođenog projektila. Kada Takechi odluči da ga neće povesti u napad na susedni klan (problematičan sam po sebi zbog već pomenutog savezništva), Okada misli da je on kriv jer se uspavao i jedna od retkih otvoreno humorističkih montaža u filmu ga pokazuje kako bukvalno trči u susednu varoš, tamo se, kad stigne usred borbe koja oko njega bukti, polije sa nekoliko kofa vode po glavi da se malo rashladi, pa potegne katanu i krene da ubija, izvikujući sve vreme svoje ime, da bi svi znali da je ipak stigao, kao da je u pitanju profesionalni rvač a ne tajni ubica.
Ovo je i prelomna tačka filma u kojoj Takechi shvata da je Okada sada za njega više rizik nego korisna alatka i manipulacija kojom se do juče superstar asasinacije pretvara u prvo pukog ubicu a onda u rasposednutog pijanca koga hapsi lokalna patrola i završava u zatvoru jer odbija da im kaže ime i klan, je naprosto bolna. Takechi se posle momenta u kome Okada pokušava da povrati deo svoje samovlasnosti i dostojanstva – i da otkaz – ponaša kao ledeni, vrhunski geslajter i nakon što će ga iskoristiti za najpodmukliju asasinaciju koja treba da mu obezbedi vodeću poziciju u budućoj imperiji, otresa ga kao slinu.
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Ovde dolazimo do Yukia Mishime čiji je Tanaka Shinbei, jedan od četiri legendarna hitokirija, ovde veoma upečatljiva figura. Mishima se do ovog filma izšlifovao kao glumac a i dobio je ulogu primerenu njegovim tadašnjim opsesijama i njegov kratki ali upečatljivi karakterni luk, a koji služi i kao neka vrsta inspiracije za samog Okadu da shvati ko je i šta mu se dešava, završava se spektakularnom scenom harakirija u najavi onog što će Mishima u životu učiniti svega nekoliko meseci kasnije. Izlazak sa scene i izlazak iz života su na kraju za Mishimu bili gotovo identični.
No, iako je Mishima ovde ubedljiv a Nakadai, sasvim očekivano, dominira kao mračno prisustvo u centru narativa, glavnu ulogu ipak neverovatnom energijom ispunjava Shintaro Katsu. Katsu je kasnije bio dosta problematičan lik, Kurosawi je napravio haos na prvom danu snimanja kao prvi izbor za ulogu u Kagemushi – i na kraju je zamenjen baš Nakadaijem – a tokom sedamdesetih i devedesetih je hapšen zbog kokaina, opiuma i kanabisa, o alkoholu da i ne govorimo. Možda je baš zato Katsu bio tako upečatljiv kao Izō Okada, dajući ovoj ulozi praktično celog sebe, bez ostatka, pokazujući čoveka koji niti razume svet oko sebe niti je spreman da planira mnogo dalje od toga da ubije svakog na koga mu Takechi pokaže. Katsuov Okada je čovek ne toliko strasti koliko detinjaste, nikad sazrele želje da ima stvari koje su mu uvek bile izvan domašaja, ne ambicije koliko pomalo patetične žudnje koju vidimo i u seksu i u borbi i u piću.
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A opet Izō Okada koga Katsu prikazuje je ne samo stvaran već i ubedljivo ljudski, gledaocu blizak lik. On je otelovljenje svega onoga o čemu ljudi sanjaju a nikada ne dobiju priliku da ostvare, lutka na koncu moći koja je tu posredstvom tradicije i nerazaznatljivih istorijskih datosti, marioneta vladajuće klase kojoj, zapravo, kao da nije na kraju krajeva ni bitno da li na čelu države stoluje šogun ili car, koja će uvek nekako naći načina da druge žrtvuje za svoje ciljeve i da učini da se osetite krivim što se niste DOVOLJNO žrtvovali.
Utoliko, Okadino sazrevanje, ili makar otrežnjenje pred kraj filma pa i požrtvovanost koja je makar jednom u njegovom životu autentični čin volje a ne patetični gest psetanceta što traži da ga potapšu po glavi, su drugi deo te ljudskosti karaktera koji oživljava Katsu.
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Svi znamo kako Okada završava, on je samuraj o kome je snimljeno mnogo filmova a nama, zapadnjacima, najpoznatiji je verovatno Izō Takashija Miikea iz 2004. godine u kome Izō Okada umire već u prvoj sceni i zatim biva pretvoren u simbol nasilja koje ne napušta ljudsko društvo bez obzira na stotinu godina koje su protekle. U Miikeovom filmu uvodna scena sa Okadom raspetim na krstu i bodenim oštrim kopljima do smrti samo je rekonstrukcija Goshine finalne scene u kojoj Okada o sebi priča kao o konačno slobodnom čoveku, svestan da odlazi sa ovog sveta na način koji ga razdvaja od ,,plemenitih" ljudi kao što je Takechi kome se takođe sudi zbog izdaje ali će mu biti dopušteno da izvrši harakiri.
Ova scena je jedna od najupečatljivijih u istoriji samurajskog filma, jednostavna, zastrašujuća i simbolički potentna; takođe i verovatno prilično drugačija od onog kako je Izō zaista pogubljen, ali sa očuvanjem njegovog finalnog prkosnog i srećnog momenta osećaja slobode u kome smrt, makar i ovakva, znači konačno, oslobađajuće raskidanje sa Takechijevim kužnim prisustvom u njegovom životu.
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Hideo Gosha je posle ovog filma praktično prestao da radi jidaigeki drame i njegovi kasniji filmovi su bili okrenuti savremenim događajima, jakuzama, kockarima i prostitutkama. Možda je, s pravom, osećao da je rekao poslednju reč u chanbara podžanru, razarajući mit o plemenitim samurajuma i vrhunskom mačevaocu Izu Okadi, pokazujući naivnost kao neophodan sastojak gutanja samurajskih priča iz Meiđi ere i, šire, naivnost od koje se nacija nije izlečila ni u dvadesetom veku, uvučena u političke manipulacije za koje je na kraju platila ogromnu cenu.
Gosha je sa Hitokiri pokazao da potpuno vlada kolor-filmom i ako sam hvalio Goyokin kao jasan i razložan raskid sa crno-belom tehnikom, Goshino korišćenje boje i osvetljenjau ovom filmu je još suptilnije. Ovde ima nekoliko scena prirode, snažnih talasa i neumoljive kiše ali je direktor fotografije u ovoj produkciji, Fujio Morita, koristio tamnije tonove i veoma izraženo geometrijska kadriranja sa mnogim scenama gde su kompozicije namerno i oštro sečene dijagonalnim linijama ili su formatirane kao maltene dvodimenzionalni crtani film koji se sav događa u jednoj ravni.
(https://i.imgur.com/IuJNKCk.jpg)
Scenario je ovde potpisao Shinobu Hashimoto, legendarni scenarista iza radova kao što su Krvavi presto (https://cvecezla.wordpress.com/2020/07/13/film-krvavi-presto-aka-kumonosu-jo/), Sedam Samuraja, Rashomon (https://cvecezla.wordpress.com/2020/06/22/film-rashomon/), Harakiri (https://cvecezla.wordpress.com/2020/08/04/film-harakiri-aka-sepukku/) i još osamdesetak filmova, a kome je ovo bio jedan od najboljih radova.
Muziku je i ovde radio Masaru Satô ali u Hitokiri nema noh-intonacija i naglašeno tradicionalnog skora. Ovo je, i pored nekih tradicionalnih instrumenata, mnogo više holivudski saundtrak sa jakim naglaskom na modernosti izraza samog filma koji samuraje iz omiljenog perioda popularne fikcije dovodi na ravan vestern-antiheroja što i sami pokazuju da je mit o plemenitom osvajanju Divljeg zapada bio tek to – mit što je sakrio genocid i otimačinu.
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U Goshovom filmu, veliki ratnik je, u najboljem slučaju, veliko dete kome je dopušteno da odraste tek kada je spremno da umre za cilj koji je mnogo puta manji od lojalističke bajke i vaspostavljanja monarhije za koju je ubijao godinama. Izō Okada na kraju ovog filma umire srećan jer zna da je srušio makar jednog lošeg čoveka koji njemu samom nikada nije omogućio da bude čovek i konačna smrt na krstu je njegovo konačno ne obogotvorenje, već – očovečenje. Savršen kraj za film koji se pamti.
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Ponekad čovek samo želi da se opusti uz dobar akcioni film i, O BOŽE JESAM LI JA DOBRO VIDEO ON JE TOM ČOVEKU PESNICOM OTKINUO GORNJI DEO GLAVE ODAKLE OVOLIKO KRVI KAKO ĆU NOĆAS DA SPAVAM KAKO ĆU IKADA PONOVO DA JEDEM!?!?!?!?!
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Riki-Oh: The Story of Ricky je kultni hongkonški eksploatacijski film iz 1991. godine a koji je režirao takođe kultni Lam Ngai Kai, odnosno, kako je u ovom filmu potpisan, Lam Nai-Choi, čovek koji je karijeru direktora fotografije za niskobudžetne akcione filmove snimane za studio Shaw Brothers, a koja je trajala od polovine sedamdesetih godina prošlog veka uspešno apgrejdovao u karijeru režisera takođe niskobudžetnih akcionih filmova što su u njegovoj izvedbi neretko imali dimenziju horora. I to ne nekakvog suptilnog, egzistencijalnog ili psihološkog horora, ne nekakve interpretacije folklornih mitova ili moćnih simbolika, Lamovi filmovi su u Aziji uglavnom poznati po svom oslanjanju na jeftine praktične efekte, hektolitre krvi, kreativna unakaženja i telesne disocijacije koje su mu, makar na Wikipediji, zaradile pominjanje Baktinovog koncepta grotesknog reralizma i grotesknog tela.
Da bude jasno, Lam verovatno nikada nije prošao pored biblioteke u kojoj su imali neku Baktivnou knjigu i samo se, siguran sam, radi o tome da niko od urednika odavno nije pročitao ovu stranicu i dodao ,,citation needed" upozorenje. Lamovi filmovi, a sudeći po ovom jedinom koji je na zapadu poznat, su praktično gore-porn, jeftina, brutalna, pankerska orgija niskobudžetnih specijalnih efekata i fokusiranja na fiziološki – i fizički – neverovatne stvari koje se događaju ljudskim telima. Lam Ngai Kai je, tvrde, bio jedan od najboljih direktora fotografije koji je radio za Shaw Brothers pre nego što je prešao u režisersku stolicu i Riki-Oh: The Story of Ricky je vidno najjači upravo u domenu fotografije, a za njom sledi muzika, dok su montaža, praktični efekti i gluma često na poluamaterskom nivou.
Ovo nije neko iznenađenje. Otkada je prešao u studio Golden Harvest polovinom osamdesetih, Lam je radio u različitim žanrovima, od osvetničkih akcijaša, do erotske komedije, ali je distinktni ton njegovih fimova bio pre svega u inventivnom korišćenju niskobudžetnih praktičnih efekata. Za Golden Harvest je Lam režirao i nekoliko filmova baziranih na japanskim mangama (Peacock King i Saga of the Phoenix) pa je i Riki-Oh baziran na istoimenoj mangi i rađen u saradnji sa crtačem mange kao koscenaristom filma.
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Manga Riki-Oh koju su radili scenarista Masahiko Takajo i nešto poznatiji crtač Tetsuya Saruwatari je krajem osamdesetih ostvarila dovoljnu popularnost da po njoj budu snimljena dva OVA animirana filma u Japanu. Sa nekih 75 epizoda i trajanjem od 2-3 godine, nikad izašla na Engleskom jeziku (sem, naravno, ako ne računate vrlo solidno prevedni pirat (https://mangadistrict.com/read/riki-oh/)), ova manga je samo kap u moru brutalnih borilačkih serijala koji su nastali u deceniji kojom je suvereno vladao Fist of the North Star i kao takva, može se, pogotovo na početku, čitati i kao vidljiv omaž Buronsonovom i Harinom klasiku, sa protagonistom koji ima istu stoičku, herojsku dispoziciju i praktično natčovečanske borilačke sposobnosti.
Lamov film je impresivno veran originalnom materijalu i mada se bavi samo prvim delom priče, koji se događa u zatvoru, on uspeva da izgura najveći deo značajnih scena i da iznese njegovu brutalnu, transgresivnu eksploatacijsku energiju. Ovo je bio pretposlednji Lamov film, snimio je još samo naučnofantastični The Cat 1992. godine, ali i jedini koji je dobio kakvu-takvu distribuciju na Zapadu 1993. godine a zatim 2006. u kućnoj verziji, da bi na Netflks stigao 2012. godine. Ipak, i ovo je bilo dovoljno da Riki-Oh: The Story of Ricky postane ne samo kultni film trešerskih sladokusaca već i da u određenoj, nimalo beznačajnoj meri ostvari uticaj na zapadnu pop-kulturu uopšte. Jacksonov kultni zombi-trešer iz 1987. godine, Bad Taste je svakako bio jedan od ključnih filmova osamdesetih godina u pogledu niskobudžetnog gore-hound sadržaja ali Riki-Oh: The Story of Ricky ima tu distinkciju da baštini nekoliko ukrštenih nasleđa azijske popularne kulture: nasleđe filmova o borilačkim veštinama, borilačkih seinen mangi ali i distopijske naučne fantastike sa socijalnim podtekstom.
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Konkretno, Riki-Oh: The Story of Ricky se događa u 2001. godini, kada su ,,zatvori potpuno privatizovani u kapitalističkim zemljama" i zatvorenici se tretiraju ne samo kao najjeftinija radna snaga već je od samog početka jasno da njihovi životi u konkretnom zatvoru u koji je titularni Riki dospeo ne vrede po lule duvana. Upravnik i njegov zamenik su sadističke svinje a među zatvorenicima vlada stroga hijerarhija gde četiri vođa bande iz četiri zatvorska bloka, nazvani Gang of Four, imaju apsolutnu vlast u ćelijama, dvorištima i hodnicima i direktno su uvezani sa upravnikom i njegovim zamenikom koji, naravno, u zatvoru uzgajaju mak i proizvode heroin.
Postoje mnoge teorije o tome da su Lamovi filmovi u ovoj fazi između ostalog u podtekstu imali sloj nelagode, tenzije i anskoznosti vezan za kinesko preuzimanje Hong Konga od Ujedinjenog kraljevstva, a koje se formalno dogodilo 1992. godine, i ulazak u strogi komunistički sistem Kine. Utoliko, iako je film veran mangi po zapletu i glavnim set-pisovima, postoji i sasvim razložna teorija da su četiri vođe bande sa kojima će Riki, razume se, morati da se obračuna, ovako nazvani da aludiraju na četvoro funkcionera Kineske komunističke partije iz vremena kulturne revolucije a koji su prvi bili nazvani ,,Gang of Four" (po čemu je i britanski bend, da bude jasno, dobio ime). Ova ekipa je bila snažna maoistička frakcija u Partiji – jedna od četvoro je bila i Maova poslednja žena, bivša glumica Jiang Qing – i tokom perioda Maove vladavine imala veliku moć odlučivanja, pogotovo u domenu medija i komunikacija. Nakon Maove smrti, Gang of Four je izgubio moć, bio nadvladan drugim frakcijama u Partiji i četvoro članova su optuženi za izdaju i uhapšeni, da bi na suđenju najveći deo eskcesivnog nasilja koje je počinjeno za vreme kulturne revolucije pripisano upravo njima. S obzirom da je naša percepcija Kine da se tamo i za malo jači prekršaj dobija smrtna kazna, ovo četvoro su zapravo dobro prošli sa izrečene dve zatvorske i dve smrtne kazne a koje su kasnije preinačene u kazne zatvora. Frakcija koja je nakon njihovog silaska sa scene preuzela kontrolu nad Kinom imala je uz sebe i rehabilitovanog Denga Sjaopinga, i ostalo je, kako se obično kaže, istorija.
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Riki-Oh: The Story of Ricky se ne bavi nekim prevelikim ulaskom u paralele sa ,,pravim" Gang of Four ali postoji svakako taj nimalo prikriveni kritički pogled na zatvorski sistem, hijerarhiju u njemu, potčinjavanje ljudske slobode i ljudskosti same ekploataciji koja donosi profit onima koji su na vrhu piramide moći. No, Riki-Oh: The Story of Ricky je vrlo kemp film koji prioritizuje dramatične, emotivne izraze lica svog glavnog glumca, njegov robusni fizikus, i scene u kojima on pesnicama pretvara ljudska tela u eksplozije tkiva, fluida i organa.
Louis Fan Siu-wong se u vreme snimanja ovog filma zvao samo Fan Siu-wong i imao je svega osamnaest godina, ali već i izvesnu reputaciju u industriji filmova o borilačkim veštinama na ime zaista impresivne građe i gimnastičke i borilačke ekspertize. Fan Siu-wong je glumio u Shaw Brothers produkcijama od svoje četrnaeste godine, nakon što ga je otac dao na vežbanje gimnastike i vušua, i od prve scene ovaj momak pleni svojom harizmom. Naravno, i ona u sebi, kao i sve drugo u filmu ima popriličnu dozu kempa, ali šarmantnog, dobrhotnog kempa, bez ikakve sumnje. Na kraju krajeva, Fan Siu-Wong, ne jednom, ne dvaput, nego čak četiri puta u filmu prstom skine krv sa svog lica, oliže prst i nasmeši se pre prelaska u akciju.
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Već u prvoj sceni, kad nove zatvorenike dovode u zatvor i tamo im čuvari prete disciplinom i pendrecima, Riki-Oh (odnosno Lik Wong u kineskom izvorniku) stoji sa rukama u džepovima i pokazuje da se ne plaši. Kada detektor metala otkrije da momak ima pet metaka u svom grudnom košu – ostalih iza dilera heroina koga je Riki ubio i zbog čega je i dospeo u zatvor – na pitanje jednog od čuvara zašto mu lekari to nisu uklonili, Riki kaže da su za njega to suveniri.
U vrlo tipičnom setapu za azijske priče ovog tipa, Riki je duhovni, smireni centar jednog haotičnog ekosistema u zatvoru gde ,,obični" zatvorenici drhte zbog bandi i čuvara podjednako a pojavljivanje otresitog momka koji mrzi nepravdu i koga ni najjači među gangovima nemaju snage da zaustave, služi kao izvor inspiracije. Riki biva bačen na brojna iskušenja, od pokušaja asasinacija, preko brutalnog isleđivanja i ucena, a svi koji mu pokažu imalo naklonosti završavaju na grozne načine. No, Riki ne ume da odstupi sa pravog puta, pogotovo kada otkrije da se u zatvoru gaji mak i njegova borba, isprva potpuno reaktivna i defanzivna, na kraju završava masakrom u kome on doslovno ruši ceo sistem i vodi ,,poštene" zatvorenike u slobodu.
Ovaj revolucionarni narativ je, kako je uobičajeno, uokviren flešbekovima koji pokazuju Rikijev život pre zatvora, uključujući njegovu vezu sa koleginicom sa fakulteta a čiju je smrt svetio kada je počinio to svoje ubistvo, ali i učenje posebnih borilačkih tehnika od strica, i to na groblju gde mu je sahranjen otac.
Ne mogu to da kažem drugačije – ovde je sve urbenesno smešno, od Rikijeve frizure i koledž-uniforme, preko scena u kojima on i njegova devojka puštaju avione na daljinsko upravljanje i kikoću se ko blesavi, pa do momenta kada stric* baca kameni blok na njega a ovaj ga smrvi u prah stiskanjem svojih pektoralnih mišića.
*uzgred, Rikijev zatvorski dosije kaže da je on odrastao u sirotištu i da mu se ne zna porodica
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Ali Riki-Oh: The Story of Ricky je film koji želi da se smejete, ne njemu već zajedno sa njim. Lamova režija je usklađena sa kempi pričom koju ima kao predložak – na kraju krajeva, Riki je bukvalno nadčovek u pogledu snage i izdržljivosti ali je posle slabog uspeha u osnovnoj i srednjoj školi upisao muzičku akademiju da studira, čekajte da proverim, sviranje frule – ali ona se ni sama ne podsmeva svom materijalu. Ovo je film koji nema ni para ni ambicije da bude ,,ozbiljna" zatvorska priča ali koji sasvim veruje u svoju poruku čistote duha, jasnoće etičke orijentacije i požrtvovanja koje heroj mora da pokaže kako bi zajednica bila ne samo ,,spasena" od zlikovaca već inspirisana da se sama spase. Kraj filma otud prikazuje pobunu u zatvoru gde ,,dobri" zatvorenici ne štede ni svoje živote jer veruju da je trenutak da se sruši nepravda njih vredan.
I kad kažem da je Riki-Oh: The Story of Ricky film koji želi da se smejete, ovo važi i za akciju. Ovde ima vrlo malo tipično hongkonških kompleksnih koreografija i Lam film režira više kao japansku splatter-tokutatsu ekstravagancu gde su borilačke scene centrirane na neverovatne udarce od kojih tela pucaju kao lubenice a udovi proleću kroz meso i kost kao da su ovi od pudinga. Na kraju krajeva, Riki je ovde majstor ćigonga, jednog od onih kineskih učenja disanja i kretanja, koje kao i tai či čuan mi danas shvatamo kao prevashodno rekreaciju ali se radi o nečemu što je sa svojim usredsređivanjem na kanalisanje energije i disanje, u osnovi borilačke veštine kao što je vušu.
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Elem, režija, u skladu sa eksploatacijskim tradicijama, glumci su zapanjeni i zgroženi užasima koje vide pred sobom ali kamera je njima fascinirana do sasvim nezdrave granice, pa dobijamo usporene kadrove, na par mesta čak i montažu istog prizora iz više uglova, sa sasvim pornografskim pristupom nasilju.
Riki ovde protiv sebe ima ,,tematske" protivnike od kojih je svakako najzanimljivija Huang Chung a koju igra harizmatična Japanka Yukari Oshima aka Cynthia Luster, kako su je znali na Filipinima gde je u svoje vreme smatrana nekom vrstom ženskog Džekija Čena. Oshima i svakako ima najuverljiviju koreografiju, i efekti njenih napada se najmanje oslanjaju na specijalne efekte. Ali opet, naglašavam da ovo nije tipično hongkonški borilački film i Lam koristi kadriranje i rezove koji su tipičniji za japansku kinematografiju ovde, sa fokusiranjem na jedan udarac koji ima ogromne efekte. Dakle, onaj ko očekuje scene atraktivnih blokiranja, pariranja i kombo-napada to će videti samo u praktično simboličnoj meri. Onaj, pak, ko je došao da gleda kako Fan Siu-Wong napinje mišiće, dok kamera skače oko njega u nervoznim rezovima, da vidi udarce koji probijaju torzo i izlaze na drugu stranu, da se zapanji kako od jačeg šamara i oko oće da izleti iz lobanje, taj je došao na pravo mesto. Na neki način je Riki-Oh: The Story of Ricky kao ekranizacija igara poput Streets of Rage ili Final Fight, samo uz nekoliko hektolitara krvi i iznutrica ubačenih da se postigne pravi ukus.
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Fan Siu-Wong je, kako rekosmo, izuzetno fizički spreman u ovom filmu i ima potrebnu naobrazbu iz borilačkih veština – čovek će polovinom naredne decenije igrati u prva dva Ip Man filma pored samog Donnieja Yena – ali njegov zadatak je da izgleda kul i APSOLUTNO PREJAKO a ne da nas zadivi skokovima i koreografijama. Kai ovde apsolutno prelazi sve granice ne samo skromnog budžeta već i nekakvog, jelte, ukusa publike koja misli da gleda ,,normalan" akcioni film u zatvoru. Ljudi ovde jedni drugima skidaju kožu s lica sečivima, a sam Fan Siu-Wong jednom zamahne da udari zamenika upravnika zatvora pa zaustavi pesnicu na nekoliko santimetara od njegovog lica a ovom krene krv na nos – takav je to film.
To je i film u kome Rikija zaliju u beton a on napne mišiće i sav beton popuca, u kome mu napune usta žiletima, zalepe flaster preko istih i udaraju ga besomučno s obe strane, a on, kada mu skinu flaster ispljune žilete pravo u lice sadističkog upravnika. To je, na kraju krajeva film u kome Hai (aka Oscar) koga igra Frankie Chi-Leung Chan aka Frankie Chin, kada shvati da ne može da pobedi Rikija ,,na ruke", uhvati nož, raseče sebi utrobu i pokuša da Rikija zadavi sopstvenim crevima. I to nakon što Riki sopstvene tetive i vene, presečene tim istim nožem veže zubima i nastavi da se bori kao da ga je u najgorem slučaju ujeo komarac.
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Ovakve scene su ključni elementi filma i ako Lam nije napravio nekakav ozbiljan spoj drame i akcije, svakako je u stanju da devedesetominutni narativ vodi konstantno uzlaznom putanjom sve do krešenda u finalu koje se mora videti. Jer ovo nije film ,,narativne logike", čak ni u meri u kojoj to manga-predložak jeste. Na primer, u mangi je jasno zašto Riki ostaje u zatvoru iako bukvalno može da pesnicom razbije zid zatvora i išeta kad hoće – što, bukvalno, u poslednjoj sceni i čini – dok u filmu tog narativnog motiva (potrebne su mu informacije koje ima upravnik) uopšte nema.
Naprosto, film mangu čita na jedan kempi način, uzimajući od nje ultranasilje, kul faktor i politički podtekst ali ne pokušavajući u svojih sat i po da uđe u karaktere dublje nego što objektivno ima kapaciteta. Otud je ovo film u kome bizarne scene telesne i druge destrukcije nisu samo ukusni garnirung nego čitava poenta. Pravda se u ovom filmu deli amputacijama, dekapitacijama i, na kraju, mašinom za mlevenje mesa industrijskih razmera. I to nakon što se upravnik zatvora transformiše od krhkog starca koji guta tablete i nosi sa sobom pištolj, u, praktično Hulka.
Ne verujem da je ova hulk-out scena prva u azijskom filmu, ali ona je do tog vremena bila karakterističnija za mange i animacije nego za film, pa je simpatično pomisliti da je ono što uradi Shinya Tsukamoto u Miikeovoj ekranizaciji Ichi The Killer na neki način inspirisano finalom Riki-Oh: The Story of Ricky – kao što je, makar preko proksija, i finale igre Metal Gear Rising: Revengeance Hidea Kojime.
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Ono što zasigurno znamo je da je Riki-Oh: The Story of Ricky imao dalekosežnog uticaja na zapadnu kulturu preko igračkog serijala Mortal Kombat koji je direktno iskopirao neke njegove trikove (uključujući ,,rentgenske" prikaze fraktura lobanje u trenutku udarca) i čiji je Liu Kang direktan omaž Rikiju. U Aziji, notabilno Japanu, verujem da je uticao na popularnost niskobudžetnog gore-akcijaša kao što su bili Tokyo Gore Police ili Samurai Princess (https://cvecezla.wordpress.com/2009/12/21/samurai-princess/) ili, dakako, Vampire Girl Vs. Frankenstein Girl (https://cvecezla.wordpress.com/2010/04/24/vampire-girl-vs-frankenstein-girl/).
Neko će reći da je to skroman legat ali taj neko je sitna duša koja verovatno misli i da je pank muzika bila ultimativno loša ideja s obzirom da, kako to onomad reče sestra Davora Kodžomana, ,,oni uopće ne znaju svirati".
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Za Lam Ngai Kaija je jasno da ume da režira ali da je njegova estetika do ovog momenta bila zakucana duboko u srcu kempa, pa će on s ljubavlju napraviti svoje scene eksplodirajućih glava i udova, a sve drugo odraditi uz maksimum ekonomičnosti kako bi te scene stizale dovoljno brzim tempom. Filmu svakako mogu da zamerim stereotipni prikaz ,,zle osobe sa invaliditetom" i silovanje kao deo motivacije glavnog junaka, ali ovo su toliko očekivani tropi za superniskobudžetni eksploatacijski film iz 1991. godine da mi je teško da mu oduzmem poene na ime njihovog prisustva. Na kraju dana, Riki-Oh: The Story of Ricky je enciklopedijski primer ,,so bad it's good" filma, koji napušta pretenzije da je u pitanju ikako ,,ozbiljna" dramska postavka na ime nesputane i radosne orgije u telesnim fluidima i komadima muskulature i kosti. Nije za gledanje sa tazbinom, ali za ljude koji razumeju specifični humor na secištu akcije, horora, parodije i elegije, ovo je nezaobilazni klasik.
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Glavni problem filma Shang Chi and the Legend of the Ten Rings nije u tome što on obilato pozajmljuje od Star Wars – na kraju krajeva, George Lucas je obilato pozajmljivao iz orijentalističke palp proze pa se može pričati i o napajanju sa istog izvora na kome su se inspirisali originalni stripovi o Shang Chiju – već u tome što pokušava da spakuje nekih šest Star Wars filmova u jedan rad od dva sata. Rezultat je jedan koloplet opštih mesta, likova definisanih kroz kratke dosetke i pošalice, agresivnog korišćenja kompjuterski generisane grafike i animacije tamo gde bi nam valjao promišljeniji scenografski rad, te površne, stereotipne priče za koju se autori nadaju da će biti dovoljno probavljiva na ime osvežavajuće ,,diverse" kasta i azijske reprezentativnosti. Hm.
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Shang Chi and the Legend of the Ten Rings nisam gledao kada je išao u bioskopima iz najbanalnijeg mogućeg razloga – smatram da u toku još uvek sasvim razularene epidemije nije preporučljivo imati više socijalnih kontakata nego što je apsolutno neophodno, pa sam, bez obzira na moju ljubav prema Marvelu generalno i Shang Chiju partikularno, strpljivo čekao da film bude pušten u zvaničnu striming distribuciju putem kanala Disney+. Dizni je procenio da je profitabilnije da se stvari resetuju na predpandemijske standarde i da film, za razliku od Crne udovice (https://cvecezla.wordpress.com/2021/07/27/film-black-widow/), treba prvo da ima ekskluzivan život u bioskopima a tek onda da bude pušten na striming servise i mada imam razumevanja za ovakav potez, koji, uostalom, bioskopima mnogo znači, mišljenja sam da je još uvek rano za ,,povratak u normalnost".
Ovo napominjem jer sam, tokom bioskopskog života ovog filma video dosta prilično dobrih reakcija na njega i, uostalom, on na sajtovima koji agregiraju ocene i dalje ima jako visok skor – Rotten Tomatoes mu dok ovo kucam pripisuje 92% kritičarskog poverenja i čak 98% od strane publike – pa moje gledanje filma u kućnim uslovima i prilično mlaka reakcija koju sam imao nosi tim značajniju ličnu težinu za mene. Hoću reći, ne jednom sam se tokom i posle gledanja samozapitao jesam li naprosto prerastao Marvelovu formulu ili je problem, objektivno (koliko objektivnosti uopšte ima u ovom bezbožnom univerzumu), u samom filmu.
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Neću vas držati u neizvesnosti: problem je dobrim delom u samom filmu. Shang Chi and the Legend of the Ten Rings je sa jedne strane dobronameran, pozitivan korak za Marvel i Dizni, napor da se napravi film sa novim licima, novom pričom i novom estetikom a gde će ulazak u azijski – najviše kineski, naravno – folklor i popularnu kulturu biti osvežavajući iskorak iz MCU standarda ali i svojevrsna kompenzacija ne samo za dugo ignorisanje azijske manjine u domenu protagonizma u superherojskom filmskom mejnstrmu, već i za decenije, praktično čitavo stoleće orijentalističkih stereotipa u zapadnoj popularnoj kulturi. Sa druge strane, najveći deo ovoga je ostao samo na papiru i film je sklopljen praktično povezivanjem tačkica, jednim sada možda i previše mehaničkim praćenjem ,,formule". Ono što je Marvelove filmove krasilo još otkada je prvi Iron Man začeo ,,zvanični" život Marvel Cinematic Universea bila je ta kombinacija superherojske harizme i humanizma posredovanog kroz likove koji su i pored svojih larger than life persona bili čvrsto uzemljeni i relatabilni – uključujući bogove poput Tora, Odina i Lokija. Shang Chi and the Ten Rings pokušava da taj kombo ponovi na silu ali ispostavlja se da se negde između prevelikog kasta i preteranog oslanjanja na digitalne efekte zaturila i jedna i druga njegova komponenta.
Drugim rečima, likovi u ovom filmu decidno do kraja odaju utisak drugopozivaca – radije nego underdogova koji do kraja priče evoluiraju u asertivne protagoniste – bez mnogo harizme ili identiteta, a sa druge strane im ta humana, naturalistička dimenzija koju se film upire da utemelji u prvih dvadesetak minuta, vrlo brzo biva izbijena iz ruku kada režija ubaci u veću brzinu i počne vratolomna vožnja CGI slaloma.
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Jedna stvar koju je Marvel dosledno radio tokom poslednje decenije razvoja MCU je to biranje relativno nepoznatih glumaca za protagoniste a kojima će iz pozadine pomagati jači, pedigriraniji epizodisti. Sa jedne strane, naravno, ovo je pojednostavilo kreativni proces i donelo uštede u domenu honorara, ali sa druge je sasvim fer reći da su trojica Chrisova, pa pored njih Tom Hiddleston, Tom Holland, Mark Ruffalo, Anthony Mackie, Sebastian Stan, Dave Bautista itd., pa čak i srazmerno poznatiji Benedict Cumberbatch i Scarlett Johansson, zaključno sa pokojnim Chadwickom Bosemanom, kroz svoje učešće u MCU produkcijama potpuno transformisali svoje karijere i pretvorili se u ikone modernog doba. Shang Chi and the Ten Rings će možda postići sličan efekat imajući u svojoj srži sveža, nepotrošena a kvalitetna lica. A možda i neće jer ovo je film čiji protagonisti uglavnom do kraja ne uspevaju da se izdignu iznad grubih skica.
Kanađanin Simu Liu u glavnoj ulozi ima baš onakav everyman šarm kakav očekujemo od Marvelovih filmova u ovom trenutku. Ovaj kaskader i glumac nije imao glavnih uloga na filmu pre Shang Chija a ovde je morao žestoko da se bori za vreme ispred kamere sa zapravo nešto iskusnijom Kineskinjom Meng'er Zhang koja ovde igra Shang Chijevu sestru Xu Xialing, ali i sa američkom reperkom Awkwafinom (aka Norom Lum) koja ovde igra praktično drugu glavnu ulogu Shang Chijeve najbolje prijateljice Katy. Kad se na to dodaju otac, majka – pokojna ali vrlo prisutna u flešbekovima – i tetka, kao i gostovanje Bena Kingsleyja sa likom iz Iron Man 3, a koji postaje deo ,,ekipe", ispada da je Shang Chi and the Legend of the Ten Rings zapravo ansambl-film.
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I naravno, dobar deo njegovih problema se odnosi na to da ansamblu treba vremena da ,,proradi" a čega u ovom filmu naprosto nema, pa je režiser, Havajćanin Destin Daniel Cretton neke stvari morao da izvede praktično na silu. Poznato je da sam ja dosta gunđao i na to kako je James Gunn u prvom Guardians of the Galaxy forsirao stvaranje ,,tima" i ,,porodice" iz grupe nekompatibilnih pojedinaca, ali taj film je makar imao scene u kojima je simulirano kreiranje ,,hemije" između protagonista. Shang Chi and the Legend of the Ten Rings za ovo nema vremena pa ostaje nada da će frivolne opaske i brza akcija odraditi svoje. Uglavnom, što se mene tiče, neće.
U temelju filma, ironično, stoji jedna gorka porodična priča a koja je zapravo mogla značajno snažnije da zablista da nije morala da se umotava u sedam slojeva CGI-ja, animiranih sisača duša i interdimenzionalnih zmajeva. Hongkonški veteran Tony Leung u ulozi oca Shang Chija i Xu Xialing, po imenu Xu Wenwu ostvaruje jednu od upečatljivijih uloga, dajući filmu potrebnu dozu patosa i utemeljenja u opipljivoj ljudskoj emociji. Ironija je svakako da Leung igra najmanje ,,stvaran" lik u priči, hiljadu godina starog azijskog gospodara rata koji je na ime natprirodnih moći što mu ih daje deset titularnih prstenova (a koji su, da stvari budu ironičnije, zapravo narukvice) kroz milenijum ratovanja i ubijanja postao jedan od najopasnijih ljudi na ovom svetu pa, logično, odlučio i da posegne i u drugi svet i uzme ono što želi.
Xu Wenwu je u Marvelovim stripovima kreiran da putem retkonovanja zameni lik Fu Manchua, a koji je originalno bio otac Shang Chija. Fu Manchu, kreacija engleskog pisca Saxa Rhomera jedan je od najpoznatijih primera praktično rasističkog ,,yellow peril" stereotipa u zapadnoj popularnoj kulturi, mada je Marvelova odluka bila zasnovana na mnogo prozaičnijoj činjenici da za sopstveni lik nikome ne moraju da plaćaju autorska prava.
(https://i.imgur.com/no3DXoS.png)
Utoliko, Wenwu kao glavni negativac filma ne samo da je dobar izbor – posebno uz Leungov vrlo solidni performans gde on, za razliku od drugih likova, pokazuje da ima više od jedne brzine kojom može da priča i više od jedne emocije koju može da pokaže – već je i prilika da se dekonstruišu orijentalistički stereotipi i prikaže nam se čovek koji je nesumnjivo ,,loš", sa milenijumskom istorijom nasilja, asasinacija i eksploatacije, ali koji, zapravo, u svojoj srži na kraju dana traži isto što i svi mi – srodnu dušu uz koju bi da ostari. Leung pravi hvalevrednu kreaciju lošeg čoveka (i oca) koji je u jednom trenutku poverovao da može da bude bolji, samo da bi njegova prošlost ušetala na scenu u najmanje oportunom trenutku itd. itd. itd. ali film je, rekosmo, prekratak da bi ovo bio zaista uspešan projekat. Star Wars je, ne zaboravimo, potrošio šest filmova da iznijansira lik Dartha Vadera i Leung nema nikakvu šansu da kroz svojih 5-6 karakternih scena ostvari ikakvu dubinu.
Druga velika azijska zvezda u ovom filmu je omiljena malezijska glumica sa moćnim pedigreom u hongkonškim akcijašima, Michelle Yeoh, a koja je na ime uloga u Tomorrow Never Dies i Crouching Tiger, Hidden Dragon ostvarila i solidnu penetraciju u zapadni mejnstrim. Njena uloga je mala i maltene se svodi na eye candy, ali Yeohova vrlo pristojno ispunjava rolu vodiča/ instruktora i, takoreći za oko prijatnijeg Jode koja joj je dodeljena.
(https://i.imgur.com/RHcw6I6.png)
Ben Kingsley je, eto, ovde sveden na komični predah i glumatanje sa CGI tvorevinom koja nema lice i ne ume da govori. Stari laf to odrađuje sasvim dobro, ali momenat njegovog pojavljivanja u filmu je i onaj u kome postaje jasno da upadamo u CGI kaleidoskop iz koga se do kraja nećemo izvući i poslednjih 45 minuta je dramaturški smandrljano čisto da se štrikliraju sve kućice na spisku, a ljudska drama je zatrpana ispod naslaga HDR filtera i green screen ekscesa.
Na ovom mestu postaje jasno koliko je zapravo doprinos braće Russo kvalitetu MCU autputa možda nepravidno potcenjen. Iako su njihovi završni Avengers filmovi bili orgija specijalnih efekata i green screen produkcije, oni su imali vrlo važne, utemeljujuće ,,realistične" sekvence gde su protagonistima obezbeđeni momenti low key drame, slikane sporo, sa umirenim kolornim tonovima i jednim gotovo televizijskim naturalizmom. Ovo je MCU filmovima treće faze garantovalo tu relatabilnost i kod publike koja sebe smatra filmski obrazovanijom pa i probirljivijom, a borbama ispunjenim specijalnim efektima davalo težinu*.
*Da ne ponavljam još jednom koliko su njihove borbe, oslonjene na pošten kaskaderski rad a ne na specijalne efekte bolje od ovog što smo dobili u Shang Chiju...
Shang Chi ovo nema i njegov ton je čak i u mirnijim scenama koje treba da imaju dramsku dimenziju vidno uzburkan agresivnom scenografijom ili specijalnim efektima. Rezultat je da film ne deluje ne ,,realistično" već ni ,,smisleno" u pogledu investicije gledaoca u njegov svet. Od scene borbe u sanfranciskanskom autobusu pa do momenta kada Wong* prođe kroz dimenzioni portal a zatim momenta kada Shang Chi i njegova svita stoje usred mape koju kreira animirana, ,,pametna" voda prolazi toliko malo vremena da početak sa kineskom porodicom u Kaliforniji i mladim, perspektivnim protagonistima koji radije parkiraju kola za pare nego da odrastu i nađu karijere deluje kao da je iz sasvim drugog filma, ne, sasvim drugog SVETA. U svetu u kome se događa ostatak filma ,,normalne" ljudske brige pa i normalne ljudske emocije deluju ne samo sitno u odnosu na ogromnost multiverzuma, već i potpuno trivijalno, bezkarakterno, suvišno.
*da, taj Wong, onaj iz Doktora Strejndža
(https://i.imgur.com/l1w9TJL.png)
Shang Chi naprosto, zahvaljujući svom ograničenom vremenu, mora od nula do sto da stigne prebrzo i kada postane jasno da je pretnja u ovom filmu interdimenzionalni zmaj koji se hrani ljudskim dušama i koji će uništiti čitavu realnost niko od likova nema dovoljno prostora da na to ima uverljivu ljudsku reakciju. Cretton je Shang Chija u najavama filma opisivao kao ,,fish out of water" lika, nekoga ko mora da prihvati da od momka što parkira automobile za kalifornijski hotel preko noći mora da se apgrejduje u spasioca univerzuma, sa svim problemima koje nosi njegovo teško poreklo itd. ali Shang Chi ovde na kraju nema nikakav karakter. Liu nije neki veliki glumac ali fer je reći i da mu film ne daje da radi sa bogznačim – scene u kojima ima ,,normalne" ljudske reakcije na onostrano su već stereotipni deo MCU produkcija i verovatno Kevin Feige režiserima deli uputstvo pred početak snimanja kako one treba da izgledaju, a finale filma u kome on treba da izraste u ratnika što poznaje i težinu žrtve ali i odgovornost moći je toliko smandrljano da u njemu nema prostora za ikakve ljude pored uzvitlanih CGI zmajeva.
(https://i.imgur.com/ETHq64g.png)
Slično prolaze i drugi likovi. Dok Awkwafina kao Katy treba da bude dodatno sidrište u ,,normalnom" i ona to dobro igra, film na kraju insistira da od nje napravi i ratnicu. Sa jedne strane ovo značajno umanjuje smislenost postojanja lika Xu Xialing koja i sama igra prototip ratnice, nekog ko je, iako mu je bilo onemogućeno da uči da se bori, snažnom voljom i gledajući druge (naravno, muškarce), raskinuo rodne okove i izgradio sebe u samovlasnu, moćnu osobu, a sa druge Katy biva nosilac onog izlizanog tropa o običnoj osobi koja preko noći postaje majstor ratnih veština. Ovo je opet nezadovoljavajuće ne samo sa nekakvog ekstrinzičnog gledišta – gledaocu se pokazuje da godine vežbanja nisu potrebne ako ste talentovani i za koji đavo su Shang Chi i Xu Xialing prikazani kako godinama krvare učeći da se bore ako cura iz Kalifornije bukvalno za jedan dan postane majstor u rukovanju lukom i strelom koji na kraju maltene reši celu stvar – već i intrinzično, film besmisleno tera Katy da ,,promeni klasu" i od izvrsnog vozača kakvim nam je prikazana na početku, a kao koji je mogla da odigra nekakvu presudnu ulogu u finalu, postaje natprirodno precizni snajperist koji će, nagađam, dobiti ulogu Hawkeyeja u nekakvom narednom Avengers filmu.
Što se tiče harizmatičnih negativaca, notabilno je da pored Leungovog Wenwua imamo još samo njemačko-rumunskog boksera Floriana Munteanua sasvim neiskorišćenog u ulozi Razorfista. Munteanu je već imao iskustva sa ozbiljnim produkcijama igrajući sina Ivana Draga u Creed 2, ali njegovu ulogu je ovde mogao da odigra i čisti CGI, a najveći negativac u filmu – Dweller in Darkness i jeste čist CGI... Marvel je uvek kuburio s negativcima ali ovde je sa Leungom imao priliku da uradi znatno više...
Film veoma mali deo svoje postavke crpi iz stripa. Postoje jasne reference na recentni praktično meki ribut koji je uradio Gene Yang (https://cvecezla.wordpress.com/2021/02/02/procitani-stripovi-shang-chi/), ali i ovo je samo opšta smernica. Originalni radovi sa početka sedamdesetih su ovde prisutni samo u vrlo, vrlo širokoj referenci.
(https://i.imgur.com/5ibMuls.png)
Da bude jasno, ovo nije naročito značajna zamerka, ali i da bude jasno zašto to uopšte pominjem: Shang Chi u stripu je originalno imao vrlo specifičan kulturni preliv a filmu ovo sasvim nedostaje.
I sad, da bude jasno, to možda nije bio idealan kulturni preliv: originalni Master of Kung Fu i Deadly Hands of Kung Fu stripovi su nastali kao reakcija na veliku popularnost borilačkih veština u SAD nakon meteorskog uspona što ga je krajem šezdesetih na filmu i televiziji napravio Bruce Lee. Shang Chi je bio tek jedan od stripova iz ove Marvelove ponude koja je uključivala i Sinove Tigra, kasnije Belog Tigra, Gvozdenu pesnicu itd. a izdvajao se time da je u glavnoj ulozi imao nativnog Kineza (kome je doduše majka bila Amerikanka) uzgajanog u vrlo strogom, ratničkom i tradicionalnom okruženju da bude vrhunski ubica za svog oca, vrlo orijentalističkog gospodara zla.
Opet, iako je bio pun orijentalističkih klišea, Shang Chi je u svom originalnom radu bio mešavina špijunske intrige i borilačkih veština, ali je prevashodno bio strip o tome kako mladi, sasvim neiskusni (pa i neiskvareni) Kinez susreće savremeno američko društvo i u njemu prepoznaje brojne protivrečnosti a na koje reaguje mešavinom srčane mladalačke naivnosti i istočnjačke, prevashodno konfučijanske filozofije. Pisan velikim delom od strane vrlo mladih belih muškaraca ovaj je strip bio interesantna – mada gruba, naravno – analiza post-hipi Amerike sa spojem spiritualističkih koketiranja i mračnijih, pesimističnih meditacija o sve prominentnijem urbanom zločinu i organizovanim etničkim bandama a koje će kulminirati u sledećoj deceniji.
Hoću reći, taj je strip govorio nešto – možda nevešto i uz predrasudu, svakako – o nečemu OVDE i SADA. Film Shang Chi and the Legend of the Ten Rings apsolutno ne pokušava da ima ikakav iskaz na ovde-i-sada sem jedne jedine replike u kojoj glavni glumac kaže da je kao klinac u SAD bio na meti maltretiranja vršnjaka iz istog razloga kao i svi drugi azijski klinci. A na šta nema nikakve dalje reakcije ili razrešenja.
(https://i.imgur.com/0rUiVbJ.png)
Svakako, moguće je staviti hipotezu da je napravljen svestan izbor da se ne ulazi u bolne teme i da je posao koji će odraditi kast na reprezentaciji Azije važniji od ,,diskurzivne" disekcije rasizma, ali ma koliko ja zdušno pozdravljao ansambl u kome gledamo azijska lica i mizanscene koji su prepoznatljivo ,,azijski" odnosno kineski, stoji i da je ovde na programu sasvim površan napor, ponovo, kreiran pre svega štrikliranjem kućica na nekom spisku.
Utoliko, prominentnost ženskih likova u ansamblu valja pozdraviti ali i primetiti da scenario s njima na kraju nije znao šta da radi, duplirajući uloge i funkcije likova da ih nekako uglavi u film. Da li je bolje imati više slabijih ili manje boljih ženskih likova? Neka istorija o tome presuđuje, ali meni je ovde očajnički falilo malo dubine.
Naravno, ja razumem da su ovako skupe produkcije ne serija kompromisa već prevashodno serija bezbednosnih procedura koje treba nekako na kraju da daju zanimljivu priču pa utoliko valjda treba i slaviti male pobede kao što je da se dobar deo filma dijalozi odvijaju na Mandarinskom, sa Engleskim titlom, kao i to da je Marvel na kraju odlučio da lik Bena Kingsleyja bude u filmu uprkos strahu da bi zbog toga ovaj mogao da bude zabranjen u Kini. Štaviše, njegov lik treba da bude i neka vrsta dalje dekonstrukcije orijentalističkih klišea ali... da bude jasno, svu potrebnu dekonstrukciju je Shane Black već izveo u Iron Man 3 i Shang Chi and the Legend of the Ten Rings ne dodaje ikakav važan zarez na ovu raspravu.
Sa akcione strane film je, takođe, žrtva preteranog oslanjanja na CGI. Moram da priznam da sam posle jedne od ranih scena koja je bila sasvim solidan omaž visokobudžetnijoj Wuxia tradiciji imao određene nade da ćemo do kraja gledati interesantno koreografisane borbe ali... Uglavnom ne. Naravno, za holivudski prosek Shang Chi and the Legend of the Ten Rings ima pristojne borilačke scene, rana tuča u autobusu je sasvim prihvatljivo režirana, ali ne samo da ni ovde ne pričamo o radu koji ikako da može da se meri sa hongkonškim produkcijama i koji se previše oslanja na rezove i efekte, nego se i do kraja film strmoglavljujuje u CGI rupu iz koje nikada ne izađe. U finalu sa letećim zmajevima, animiranom vodom i svetlećim prstenovima sam se po ko zna koji put podsetio koliko je ,,mačevanje" u prvom Star Wars filmu bilo minimalistički režirano sa jasnim omažima Kurosawi i koliko je George Lucas ispustio loptu za prikvele. Shang Chi and the Legend of the Ten Rings ni u jednom trenutku ne uspeva da priđe stvarno dobrim borilačkim filmovima u kojima su pre trideset godina igrali Leung i Yeohova a kolorni šareniš kineske (doduše magične) provincije, stilizovani CGI zmajevi i lavovi, te borbe u kojima ništa nema težinu – metaforičku ili stvarnu – na kraju od filma prave prilično razočaravajuću preskupu a opet ispraznu produkciju ,,za decu", ako prihvatimo ideju da deca ne umeju da osete površnost.
Utoliko, uprkos uvođenju novih lica, istorija i estetike, Shang Chi and the Legend of the Ten Rings je zapravo još jedan ,,stop gap" film čiji je jedini značajan intrinzični legat to da su budući Avengersi dobili dva nova azijska člana, a ekstrinzično je ,,azijska reprezentacija", bojim se, svedena na manje orijentalistički uvredljive klišee, ali ipak klišee o šarenišu, zmajevima i površno rađenoj vušu koreografiji. S obzirom da ovo kucam u momentu dok Eternals dobija srazmerno loše ocene kritike, biće zanimljivo videti da li u Dizniju misle da formulu treba menjati ili će je se još čvršće držati za naredne filmove. U ovom trenutku, Shang Chi and the Legend of the Ten Rings je jedan od najslabijih MCU filmova za moje kriterijume i žao mi je što je jedan za mene značajan strip dobio nezadovoljavajući ekranizaciju. Idemo dalje...
(https://i.imgur.com/G5kZuqr.png)
Večne moraš gledati u IMAX Galeriji, da ne doživimo opet ovakav šok.
Najpre Ridli Skot, sad i Meho. Pa nismo ni mi od kamena. :lol:
To jedino ako se pandemija završi u sledećih nedelju dana... :(
Bezbedno je rerći da su Venom filmovi jedna neobjašnjiva anomalija u savremenom superherojskom krajoliku. Pogledao sam Venom: Let There Be Carnage, drugi deo sage o Marvelovom antiheroju, a koji je u bioskope ušao pre nešto više od dva meseca i do sada zaradio više od 440 miliona dolara a što je, na budžet od oko 110 miliona i na OVU pandemiju, ne solidan nego izuzetan rezultat. S obzirom da se radi o filmu koji ne zna ni gde mu je glava ni gde mu je rep, koji nije siguran ni kog je zaista žanra, koji napušta ionako klimavu unutarnju konzistentnost ,,Venom univerzuma" i čiji je, reklo bi se, jedini razlog da postoji to da nekako uveže Venoma u Spajdermen-univerzum, a inercija brenda će, valjda, da uradi ostalo, ja sam iznova šokiran koliko je ljudi na kraju otišlo u bioskop da ovo tamo pogleda. Ne spadam u njih, film sam pogledao u kućnim uslovima, posredstvom, hajde da kažemo nezvanične distribucije i ako sam za prvi film već imao ozbiljne dileme zašto je i kako dosegao status bioskopskog hita, za Venom: Let There Be Carnage stupamo već u teritoriju bizarnog, alternativnog univerzuma gde je sve upravo suprotno od onog što bi logika diktirala.
(https://i.imgur.com/i2BF5B3.png)
Svojevremeno sam napisao prilično detaljno obrazloženje zašto mislim da je prvi Venom loš film (https://cvecezla.wordpress.com/2018/10/28/film-venom/) i po kojim je sve osnovama to loš film, pa kako nastavak sa njim deli dosta tih fundamentalnih problema – nedorečenost glavnog lika, žanrovska konfuzija, neuverljivi specijalni efekti, raspetost između PG-13 rejtinga i potrebe da se postigne ubedljiv horor-vajb itd. – sugerišem da se taj tekst pročita kako bi se shvatilo sa koje polazne tačke smo Let There Be Carnage i ja krenuli jedan prema drugom u čeoni sudar.
Venom je, da bude sasvim jasno, na filmu nastao prevashodno kao Sonyjev pokušaj ne da ZAISTA izgradi sopstveni filmski univerzum koji bi po kompleksnosti a možda i po boks-ofis rezultatima bio rival Diznijevom Marvel-konstruktu, već pre da japanskoj firmi obezbedi nešto jaču pregovaračku poziciju u neumitnim daljim pregovorima sa Diznijem oko toga kako će se dalje razvijati najveći filmski biznis na svetu i ko tu treba da ima koliki deo kolača. Dizni je, posle dosta Sonyjevih neuspešnih napora sa Amazing Spider-man filmovima, uspeo da ubaci nogu u vrata i aktuelni Spadjermen filmovi su koprodukcija a Spajdermen je legitimno postao deo filmskog univezuma nominalno konkurentske firme, pa je Sony, osećajući verovatno da je prodao veru za večeru, možda i malko očajnički posegao za Venomom kao alternativnom pričom koja može da pokaže da u ovoj produkciji ipak umeju i sami da naprave NEŠTO.
(https://i.imgur.com/KwmPnU3.png)
Ali to nešto je, čini se od samog početka bilo osuđeno na drugu ligu. Tom Hardy na stranu, prvi Venom je bio decidno B-film u poređenju sa raskošnim Spajdermen produkcijama pa čak i Marvelovim ,,sporednim" filmovima tipa Ant-Man, trudeći se da svoj identitet pronađe prevashodno u body horror koketeriji i aluzijama na '80s preteče, bez mogućnosti da se ikako poveže čak i sa Spajdermen filmovima, a kamoli sa mainline Marvel produkcijom. Na kraju se ispostavilo – za mene i dalje neobjašnjivo – da smo dobili hit. Film je ne samo zaradio brdo para nego i toliko ojačao Sonyjev položaj da je Venom: Let There Be Carnage film koji pred kraj ima zvaničnu poveznicu sa Spajdermenom, a kako će novi, treći Spajdermen, biti multiverzalna saga što povezuje sve Spajdermen filmove snimljen u ovom veku, tako se i može reći da je Venom sada skautovan da igra u prvoj ligi.
Sony je, reklo bi se, uspeo u svom naumu, a neobjašnjivost ovog uspeha je tim snažnija što bi moglo da se kaže da je studio ovde agresivno igrao protiv sebe. Tamo gde je prvi Venom bio častan, loš ali častan B-pokušaj pariranja ,,pravoj" superherojštini referencama na Aliena, The Things i ine '80s predloške poput The Hidden, Venom: Let There Be Carnage je praktično direct-to-video nastavak, produkcija vrlo skromne ambicije sa jasnom željom da se nakači na postojeći brend izgrađen od strane prvog filma, ali da se na svim nivoima naprave uštede. Od scenarističkog trojca zadržala se samo Kelly Marcel, režiser je promenjen a na nivou radnje i zapleta, ovo je onoliko svedena priča koliko je to danas u Holivudu moguće. Venom: Let There Be Carnage je film bez podzapleta, bez preokreta, bez ikakvog iznenađenja, sa jedva dva-tri skromna akciona set-pisa uključujući finalni sukob između Venoma i Carnagea, jedva dostatan da ispuni tih minimalnih sat i po koliko je praktično neophodno da se priča o ,,pravom" bioskopskom filmu.
(https://i.imgur.com/H7xOoEh.png)
Ovo je na neki način i oslobađajuće jer time film ne mora da se bavi sporednim likovima i njihovim tlapnjama i može da se usredsredi na centralni odnos između Eddieja Brocka i tuđinskog simbiota, a koji su ankete pokazale kao najomiljeniji element originala među publikom. I zaista, Venom: Let There Be Carnage je, iako uvodi lik Carnagea kao ,,zli" opozit Venomu – a koji ovim i ,,zvanično" biva apgrejdovan na nivo simpatičnog antiheroja – u velikoj meri posvećen odnosu Brocka i Simbiota, džekilhajdovskoj (ne)ravnoteži tamne i tamnije strane muškarca u post-milenijumskom San Francisku i prva polovina priče se bez preterivanja može opisati kao vudialenovska niska dramsko-komičnih skečeva gde Tom Hardy glumi uprazno - trudeći se da tikovima i grimasama nadomesti žestok osećaj ponora u sebi koji mora da ga napada kad god su na redu ovakve scene – i ima dijaloge sa nasnimljenim CGI simbiotom, uglavnom u svom stanu ili u nekoj od lokacija u komšiluku, a koji su disekcija otuđenosti modernog muškarca što misli da je umakao konzervativnim klopkama života provedenog u kancelariji i braku sa decom, samo da bi se susreo sa svojom infantilnom stranom koja prezire čak i uređenost samačkog života i poziva na totalnu anarhiju.
Ako bismo da budemo darežljivi, mogli bi da kažemo kako je Venom: Let There Be Carnage simbolički prikaz i kritika moderne (u najširem smislu) gik-kulture koju istorijski iznose na svojim plećima (toksični) muškarci – na jednom polu oni koji sebe smatraju nešto zrelijim i socijalno integrisanijim i samo su odlučili da porodični život i normalan rad nisu za njih jer moraju da se posvete svojoj strasti, ali ne pokušavaju aktivno da unište društvo, dok su na drugom ~chan nihilisti i destruktivci koji stalno plešu na ivici samoubistva i sve što čine je ,,for the lulz" jer se ne usuđuju da ikoga – ponajmanje sebe – shvate ozbiljno. Simbiot je ovde CGI konstrukt, upravo onako kako često sebe predstavlja ,,chan" populacija – virtuelna reprezentacija radije nego opipljiva materija te komunikacija serijama readymade dosetki i kodiranih, recikliranih poruka radije nego putem ,,autentičnog" teksta.
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Simbiot u ovom filmu ne pravi direktne aluzije na popularne grafičke meme ali dualitet između njega i Hardyjevog brocka koji je i grafički u scenama kada njih dvojica razgovaraju a povezani su tuđinskim tkivom, ali i pre svega tonalni u boji glasa, intenzitetu govora i frazeologiji izrazito podseća na ,,Big Dog Small Dog" ili ,,Chad vs. Virgin" predloške sa interneta. Pored toga u filmu ima više scena koje su sasvim očigledno snimljene da budu GIF-ready i zažive u viralnoj beskonačnosti daleko nakon što elementi zapleta filma budu anihilirani u kolektivnom pamćenju ljudske rase.
Utoliko, kako Venom: Let There Be Carnage nije mogao da režira, jelte, Woody Allen, studio je možda i sasvim razložno zaključio da im ni ne treba ,,pravi" režiser, pa čak ni, ako ćemo, pošteno ni ,,pravi" glumac za ovaj posao. Stavljanje Andyja Serkisa u pilotsku stolicu je, uostalom priznanje da je Serkis praktično siva eminencija poslednje dve decenije holivudskog autputa sa ključnom ulogom u motion capture delu produkcije na najvećim radovima, od Gospodara Prstenova, preko Planete Majmuna, pa do Marvelovih filmova (a gde je i ,,zvanično" igrao jednu od sporednih uloga u Avengersima). Serkis je, da ne bude nejasno, bio i režiser druge ekipe na Hobit-filmovima a pre drugog Venoma je režirao i Moglija, pa je što se tiče tehničkih veština, Venom: Let There Be Carnage urađen sasvim korektno.
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No, što se tiče bilo čega izvan najosnovnijeg standarda produkcije, ovo je film bez kormilara, a sasvim moguće bez i same krme. Uvođenje Carnagea kao Venomovog neprijatelja je disruptivni element koji uništava to malo podteksta koji je film izgradio u svojoj prvoj polovini i ,,normalan" konflikt koji se u njemu razvija ga čini tek ,,monster of the week" naporom.
Carnage je u stripu – iako pričamo o jednoj od najmanje zanimljivih ideja u istoriji Spajdermena* – imao nekakvo opravdanje za postojanje na ime toga da je sam Venom bio višeslojan lik, raspet između patološke žudnje za osvetom i deluzije o sopstvenom heroizmu. Nasuprot njemu, Carnage je bio čist bes, puka patologija sa nogama, ubilački instinkt sa svim moćima samog Venoma ali bez njegovog složenog moralnog koda.
*negativci iz stenlijevske škole su praktično svi redom imali operetske persone i duboke motivacije za ono što rade, uključujući ne samo teškaše poput Doktora Oktopusa ili Šakala, već i trećepozivce poput Skorpiona. U kontrastu s njima, Carnage je nastao kao praktično najava strip-senzibiliteta devedesetih, koincidirajući sa osnivanjem Image Comicsa i unapred anticipirajući da ulazimo u eru ekstremnog, grafičkog, agresivnog i lišenog dubine.
(https://i.imgur.com/ZKXCvee.png)
No kako Venom na filmu nema ništa od originalne stripovske kompleksnosti tako je i Carnage isforsiran kao njegova patološka ekstrapolacija. Još više na ime toga da film potpuno napušta pravila koliko-toliko uspostavljena u prvom filmu o tome kako simbioti preuzimaju ljude, gde mogu da prežive bez domaćina, kako biraju domaćina itd. Venomov simbiot tako sada slobodno menja domaćine i jedino ,,ograničenje" koje ima odnosi se na to da mu je potrebno da jede mozgove kako bi opstao, ali ovo je motiv koji se koristi pre svega u komičnom ključu i simbiotu se serviraju piletina i čokolada kao supstitut. Nastanak Carnagea nema praktično nikakvu simboličku pozadinu i film pokušava da retroaktivno uspostavi odnos u kome će njegov domaćin, Cletus Kasady i Eddie Brock biti nekakvi ,,prirodni" rivali a gde će Carnageov simbiot Venomovog smatrati ,,ocem" i patiti od Edipovog kompleksa, ali niti je Serkis zainteresovan da odradi makar minimum tekstualnog rada da se ovo postigne, niti mu je, da budemo fer, produkcija ovo dopustila. Cilj ovog filma nije čak ni da se ima upečatlljiv set-pis u katedrali na kraju nego da se, posle tog set-pisa stigne do post-credits scene u kojoj vidimo spojnicu sa krajem drugog Spajdermena i sve ostalo pre toga je praktično nevažno.
No, koliko god da je film loš zbog ovoga, toliko je Serkis makar slobodan da radi praktično šta hoće pre te post-credits sekvence, pa tako dobijamo gomilu lošeg ali makar donekle transgresivnog humora. Venom: Let There Be Carnage nije preterano duhovit film ali sama činjenica da većina scena praktično parodira ne samo superherojštinu generalno nego prvi Venom film partikularno je već pomalo zabavna. Michelle Williams i Reid Scott stoga ovo igraju kao sitkom, pa njihovo preglumljivanje malčice smanjuje jaz koji je postojao između Hardyja i ostatka kasta u prvom filmu.
(https://i.imgur.com/dkGf5Uu.png)
Hardy sa svoje strane poduplava svoju fizičku glumu, punu tikova i naglašenih gestova, valjda i sam pokušavajući sebi da olakša činjenicu da glumi pred praznim prosotorom i artificijelnom zelenom pozadinom. Naravno da to sada već deluje maniristički i na par mesta sam zažalio što film uopšte mora da ima specijalne efekte jer bi Hardy verovatno bio značajno efektniji i transgresivniji da je ovo neka Youtube produkcija koja bi sasvim otvoreno parodirala glupu postavku Venom filmova. Dalje, više puta sam se zapitao kako je moguće da film u kome Hardy sve vreme izgleda što gore može – neobrijan, slinav, podbuo – bude koristan za ikoga, uključujući njega, ali, eto... izgleda da može.
Woody Harrelson je svakako zaradio svoju platu i njegov Cletus Kasady ima taj stripovski patološki vajb koji očekujemo od Carnageovog domaćina. Film, opet, generalno, šepa jer se ne usuđuje da sasvim ode u stranu stripovske stilizacije koju i Harrelson i Hardy kao da forsiraju, ali se makar do kraja drži fokusa na komediji i parodičnim elementima pa je i poslednjih dvadesetak minuta ispunjenih akcijom i CGI borbama sasvim zabavno gledati, uz svest da film niti išta pokušava da kaže niti se uopšte seća šta je rekao pola sata ranije.
Ne u potpunosti, makar. Koda ove priče fizički realizuje nešto što je Venomov simbiot izgovorio metaforički nekih sedamdeset minuta ranije i Venom: Let There Be Carnage stiže do svog finala uz ignorisanje većine dramaturških, fizičkih i bioloških zakona ali uz pretpostavku da su Brock i Simbiot dosegli zreliji odnos i zapravo i jednu emotivnu pa možda i duhovnu simbiozu. Biće zanimljivo videti da li će Venom 3 ikada biti napravljen – a što s obzirom na kurobolju sa kojom je ovaj film pravljen ne deluje zagarantovano – i šta će scenaristi tada da rade s obzirom da sada pred sobom imaju prazan list hartije. S druge strane, možda Venoma 3 i ne bude i lik bude iskorišćen onako kako jedino ima smisla, kao pomoćni igrač u sagi o Spajdermenu. Opet, sa Venom franšizom na filmu ništa nema smisla pa kako će ovaj film sasvim verovatno do kraja godine i sam dobaciti do pola milijarde dolara zarade, sasvim je moguće da se u Sonyju već workshopuju ideje za treći deo. Živi bili pa videli, a do tada, Venom: Let There Be Carnage je loš, nepotreban i ultimativno besmislen film, jedan od onih koje uhvatite na televiziji u jedan ujutro, kad ste malo pospani a malo, bogami, i pijani posle izlaska u grad, gledate ga ne verujući svojim očima i ujutro se pitate jeste li STVARNO sve to videli ili ste malko već i sanjali. Pa ako vam to deluje kao obećanje dobre zabave, a vi navalite.
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Kako sam i pomenuo pišući o filmu Karakkaze yarô pre nekoliko nedelja (https://cvecezla.wordpress.com/2021/10/29/film-afraid-to-die-aka-karakkaze-yaro/), ovaj jakuza-triler je trebalo shvatiti samo kao zagrevanje za pravu stvar, ili, da budem u skladu sa senzibilitetom današnjeg predmeta naše pažnje, toplo predjelo ali i laki peting. Danas, sestre i braćo, večeramo u paklu jer danas je na meniju Blind Beast (aka Mōjū).
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Već smo delimično obradili biografiju režisera ovog filma, ali vredi podsetiti se ključnih stavki u životu Yasuzoa Masumure: to da je studirao prava i filozofiju, ali da je tajne filmske umetnosti savladao u Evropi, učeći se pod Antonionijem, Fellinijem i Viscontijem, da je posle dodatno istesao zanat snimajući kao režiser druge ekipe za neka od najvećih imena japanske kinematografije (Ito, ichikawa, Mizoguchi), da je, kada je krenuo da radi svoje filmove, bio pouzdan studijski vojnik koji je režirao preko pedeset filmova u gomili žanrova a da mu je njegova vernost kompaniji, doduše, obezbedila redovan posao i platu ali ga je i lišila pominjanja u tekstovima koji se bave najvećim novotalasnim autorima japanskog filma, a kojima on svakako sa velikim pravom pripada.
Bolji primer za to od filma Blind Beast nije potrebno tražiti. Ova svedena, ali veličanstvena produkcija, tek nešto duža od osamdeset minuta u finalnoj verziji primer je ne samo vrhunskog Masumurinog umeća da sa svega troje glumaca i na svega tri lokacije napravi upečatljivu, moćnu dramu koja ne deluje ni mrvu ,,pozorišno" i u punoj meri kreira utisak gledanja autentičnog, ,,velikog" filmskog dela, već i njegove smelosti u preuzimanju motiva i radnje jednog transgresivnog predloška, a onda kreiranja vernog, autentičnog ali i kreativnog filmskog čitanja knjige koja je s razlogom duže od trideset godina imala prilično nestašnu reputaciju.
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Roman Moju: The Blind Beast napisao je početkom tridesetih godina prošlog veka Edogawa Ranpo, jedan od vodećih autora ,,proze tajanstva" u Japanu. Ranpo (pravo ime Hirai Tarō) je pisac koga često pominjem u svojim osvrtima na japanske filmove i stripove jer je u pitanju ekstremno uticajna figura u japanskoj kulturi glavnog toka. Iako pseudonim koji je koristio jasno sugeriše da je Edgar Allan Poe bio glavni Tarōv uzor, Ranpo je žanrovskoj prozi dao nepogrešivo japanski ukus, kreirajući seriju uspešnih detektivskih romana u kojima je glavni junak bio istražitelj Kogoro Akechi. Ovaj serijal, delimično inspirisan Doyleovim serijalom o Šerloku Holmsu, a kojeg je Ranpo pisao četvrt veka, sa sve uspešnim kreiranjem spinofa u vidu The Boy Detectives Club serijala namenjenog mlađoj publici, smatra se utemeljujućim radom japanske detektivske proze, sa gomilom ekranizacija i derivativnih proizvoda a dan-danas u japanskoj popularnoj kulturi vidimo reference na njega (nedavno, recimo, u igri Persona 5 (https://cvecezla.wordpress.com/2017/08/14/video-igre-persona-5/) gde se genijalni dečak-detektiv sa kojim protagonisti imaju posla zove Goro Akechi).
No, Ranpo nije pisao samo detektivske radove niti je njegov utemeljujući rad bio vezan samo za ovo krilo žanrovske literature. Ero guro radovi, odnosno umetnička dela iz domena erotske groteske, tog dosta prepoznatljivo japanskog žanra su nam tokom decenija dali mnogo memorabilnog i uznemirujućeg materijala spajajući erotiku i horor na inventivne načine (svojevremeno sam pisao o izuzetnim manga-radovima jednog od najvažnijih savremenih ero guro autora po imenu Suehiro Maruo (https://cvecezla.wordpress.com/2009/06/20/113/)), ali njihovi koreni nalaze se u dvadesetim godinama prošlog veka i dekadentnom novom literarnom pokretu koji je žario i palio bujajućom populacijom urbane čitalačke publike, pod imenom ero guro nansensu. Ovaj je žanr dodao, dakle, reč ,,nonsens" na erotsku grotesku a u jednom uzbudljivom periodu za japansku književnu scenu, izdavači ovih romana su se dovijali na različite načine da izbegnu državnu cenzuru pa su ove knjige često distribuirane daleko od očiju javnosti, kroz ,,tajne" čitalačke klubove, sa čestom taktikom izdavanja romana tako da se najveći deo tiraža proda odmah, pre nego što obavezni proces prolaska kroz državnu komisiju bude kompletiran i knjiga cenzurisana ili zabranjena.
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Da bude jasno, pričamo često o vrlo tiražnim i popularnim delima, a Edogawa Ranpo je u dobroj meri doprineo popularnosti žanra svojim radovima iz dvadesetih i tridesetih. Kada je u drugoj polovini tridesetih godina carska služba još više pojačala cenzuru obrušavajući se jednako na prozu koja je promovisala socijalističke ideje kao i na ero guro radove, Ranpo je prošao kroz kratak period ostrakizacije, trpeći ne samo zabrane objavljivanja već i povlačenje njegovih prethodnih knjiga iz prodaje. Ali da bude jasno, Moju: The Blind Beast je izašao 1931. godine i u prodaji je dobar deo kasnijih godina bila skraćena verzija koju je Ranpo sam cenzurisao, smatrajući (moguće i posle razgovora sa izdavačem) da je u nekim elementima otišao predaleko i kreirao isuviše ekstreman tekst.
Scenarista filma Yoshio Shirasaka je tokom karijere, kao i sam Masumura, uradio veliki broj filmova sasvim različitih žanrova (Ninja in a Business Suit, The Good Little Bad Girl itd.), većinu od njih za Daiei, ali i Shirasaka i Masumura su adaptaciji Ranpovog romana pristupili ne samo sa apsolutnom ozbiljnošću već i sa izraženom ambicijom da kreiraju moderni ero guro klasik koji će transcendirati puko eksploatacijsko oduševljenje predloškom a koje bismo očekivali od prekaljenih tezgaroša što rade za platu.
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Prva stvar koja pada u oči u Masumurinom filmu – pogotovo ako gledate novi master filma izašao početkom prošle decenije – je vrhunski kvalitet fotografije. I to doslovno – film počinje serijom fotografija glavne glumice Mako Midori koje imaju naglašeno helmutnjutnovski kvalitet sa svojim vrhunskim crno-belim glamurom i neprikrivenim fetišističkim motivima. Iako je shibari – japanska umetnost vezivanja – popularna dekadentna tradicija sa korenima još u devetnaestom veku, fotografije koje vidimo na početku filma su decidno ,,zapadnjačke". Na njima ne samo da nema obaveznih formi koje očekujemo od shibari modela – sama reč doslovno znači ,,lepota čvrstog vezivanja" i podrazumeva ,,oblikovanje" tela u različite figure uz pomoć konopca – već se i umesto tradicionalnog užeta od konoplje koriste lanci. Masumura je sasvim izvesno jednim okom gledao prema zapadnoj publici i njenim festivalima, i uostalom, u sceni ulaska u galeriju gde su izložene ove fotografije možemo da vidimo jasnu referencu na Bodlerovo Cveće zla.
Sama Mako Midori takođe deluje vrlo zapadnjački, sa modernom frizurom i garderobom – uključujući veš i obuću – koje joj daju glamur foto-modela. Midorijeva je imala – i još uvek ima – plodnu i uspešnu karijeru glumice kako za film i televiziju (sa preko sedamdeset produkcija) tako i za pozorište, i mada u ovom filmu pruža hvalevredan performans, slutim da je u velikoj meri za svoje prve filmove početkom šezdesetih bila kastovana najpre na ime svog izgleda. Sa prefinjenim crtama lica i krupnim, upečatljivim očima, te vitkom, izduženom figurom, Midorijeva je praktično idealan spoj zapadnjačkih i istočnjačkih elemenata ,,lepote" i kao takva je i definitivno idealan objekat ovog filma.
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Blind Beast nije samo priča o ženi kao o objektu muške pažnje i zapravo njen najbolji trik je da izbegava da uopšte priča o problematici ,,muškog pogleda" time što naspram veoma erotizovane žene – Aki, lik koji igra Midorijeva, je foto-model koji je relativno neuspešnu karijeru kvalitetno revitalizovao pivotirajući u smeru erotske, mada i prilično artističke fotografije i skullpture – stavio slepog muškarca. Već u prvoj sceni, kada Aki posmatra nepoznatog slepog čoveka koji prstima prelazi preko njene statue u prirodnoj veličini izvajane u glini, i kada njeno telo reaguje na dodire iako ona samo posmatra pažljivo taktilno istraživanje dobijamo masu zanimljivih inverzija tipičnog erotskog teksta. Ovde je žena bukvalno pretvorena u objekat – putem skulpture koje je ne samo reprezentuje već i, prirodno, idealizuje – a žena-subjekat ima ulogu voajera nekarakterističnu za žanr i problematizovanu ekscentričnošću situacije u kojoj ona pogledom obuhvata scenu u kojoj pogled uopšte ne figuriše.
Ovaj uvod veoma dobro sažima veliki deo tema koje će do kraja biti istražene u filmu – spiritualnu komponentu BDSM postavki, odnos između tela, njegove reprezentacije u umetnosti i identiteta jedinke, konačno, dodir kao čulo koje svet percipira na sasvim drugačijoj ravni od vida i sluha, time kreirajući neku vrstu paralelnog univerzuma, ali i dodir kao izvor zadovoljstva čak i u kontekstima koji su nominalno neprijatni – a priča se kreće britkim i efikasnim korakom. Najveći deo filma se, na kraju krajeva, odvija na zabačenom prigradskom placu na kome Aki završava nakon što je lažni – slepi – maser kidnapuje i tamo u velikom skladištu pretvorenom u atelje zatoči sa namerom da na osnovu studiranja njenog tela dodirima kreira svoje ultimativno vajarsko remek-delo.
(https://i.imgur.com/tQaJTB4.png)
Interesantnost ove postavke nije samo na ovom visokom filozofskom i erotskom planu već i u odnosu koji slepi vajar, Michio ima sa svojom majkom, Shino. Ona mu je ne samo podrška u životu, žena koja ga je sama odškolovala i podigla bez obzira što je rođen slep, već je i lojalna do samog kraja, sa aktivnim učestvovanjem u njegovom planu o kidnapovanju i utamničenju osobe kojom se Michio opseo nakon što je u galeriji istražio njenu skulpturu. Michio i Shino imaju sasvim očigledno patološki odnos a koji je, uostalom, bio popularan u žanrovskoj literaturi pa posle i na filmu i na zapadu i na istoku u svoje vreme, i središnji čin filma Blind Beast zapravo se u dobroj meri oslanja i na neku vrstu društvene kritike vezane za majke koje sinovima nikada ne dopuštaju da odrastu.
Naravno, ovo je i danas popularan trop – RTS-ova serija Radio Mileva ga snažno eksploatiše u liku koji igra Dara Džokić – ali u Blind Beast ovo je element praktično šahovske partije koju Aki igra sa Michiom i Shino, pokušavajući na sve načine da osvoji slobodu. Igranje na kartu erotske privlačnosti vajara koji je zapravo sasvim neiskusan sa ženama i insinuiranja da majka prema njemu u krajnjoj liniji gaji incestuozne žudnje je tako istovremeno mini-drama (pa i crna komedija) vezana za patološke majčinske strahove o drocama koje će iskvariti njihove neiskusne sinove, ali i pažljivo nameštanje filma za ulazak u treći čin.
(https://i.imgur.com/F8r0Wxq.png)
Čak i pre tog trećeg čina Blind Beast impresionira svojim jako odmerenim a efektnim balansiranjem između erotike i horora. Prostorija u kojoj je Aki zatočena i u kojoj je prinuđena da pozira Michiu bi u nekoj savremenoj (zapadnoj) produkciji verovatno imala opresivni senzibilitet zatvora, upadajući u zamku lake, stereotipne eksploatacije. Ali u filmu je scenografija VRHUNSKA i Aki je zatočena u prostoru što pre podseća na muzej, a kome se nikada tačno ne vide granice, ispunjenom Michiovim radovima – uglavnom delovima tela groteskne veličine što simbolišu ne samo čula koja vajar smatra inferiornim i – bez obzira na velike dimenzije skulptura – očigledno nemoćnim da prikažu ,,stvaran" svet čoveku već i elemente njegovih žudnji. Naravno, Michio jeste duboko edipovski usmeren i čitav zid prekriven velikim ženskim dojkama, a onda i ogromno telo žene sa raširenim nogama i snažnim, u tavanicu usmerenim grudima šalju sasvim jasnu poruku čak i pre nego što Aki kaže da joj je jasno da je on mamin dečko i da zato sve pravi iz perspektive bebe.
Art-direktor na filmu je bio Shigeo Mano, još jedan pouzdani studijski čovek koji je uradio masu naučnofantastičnih filmova pre i posle ovoga, i način na koji je ljudsko, a prevashodno žensko telo ovde istovremeno posmatrano kao skup elemenata što ne čine nužno delove identiteta, ali i kao doslovno neopisiva erotična celina koja se samo iznova može istraživati dodirima a nikada zaista obuhvatiti je duboko impresivan. Kameru je radio Setsuo Kobayashi, čovek sa takođe velikim iskustvom i istorijom saradnje sa Masumurom i to kako su setovi osvetljeni da dobijemo jaku podsvesnu sugestiju o tome da je ovo prostor u kome živi slepa osoba, koja se pre svega orijentiše dodirom je istovremeno zastrašujuće i impresivno.
(https://i.imgur.com/7H9uZr8.png)
Drama između tri lika u filmu se svakako bazira i na kvalitetu glume. Michia igra Eiji Funakoshi, glumac koji je desetak godina ranije bio ovenčan dvema nagradama za ulogu u Ichikawinom ratnom filmu Nobi, ali je dobar deo svoje karijere u šezdesetima igrao u kaiđu produkcijama tipa Gamera – a što je bio Daieijev pandan ToHo-voj Gojiri (tj. Godzilli). U Blind Beast on daje teatralnu, intenzivnu rolu vajara koji je na ime svog slepila ali i ljubomorne majke radikalno odvojen ne samo od ljudskog društva već i od ljudskog sveta i mada to ume da ode i u pomalo farsičnom smeru, pričamo o upečatljivom radu. Majku, pak, veoma naturalistički i bez forsiranja igra izvrsna Noriko Sengoku koja je bila odlična u nekoliko Kurosawinih filmova (od kojih sam ja do sada životopisao Psa lutalicu (https://cvecezla.wordpress.com/2020/06/08/film-pas-lutalica-aka-nora-inu/), Pijanog anđela (https://cvecezla.wordpress.com/2020/05/25/film-pijani-andeo-yoidore-tenshi/), Tihi duel (https://cvecezla.wordpress.com/2020/05/31/film-tihi-duel-aka-shizukanaru-ketto/), Idiota (https://cvecezla.wordpress.com/2020/07/06/film-idiot-aka-hakuchi-i-ziveti-ikiru/)i Skandal (https://cvecezla.wordpress.com/2020/06/14/film-skandal-aka-shubun/)). Nasuprot Midorijeve čija Aki zrači modernim, manekenskim, zapadnjačkim glamurom, njena Shino je obična, konzervativna žena koja nosi tradicionalnu odeću i život je posvetila požrtvovanju za sina do mere koja je daleko prešla granicu patološkog, a Sengokuova joj daje veoma dobro odmeren prirodni senzibilitet koji služi kao korisno usidrenje u filmu gde ostala dva lika sve intenzivnije izleću iz gravitacionog klinča bilo ljudskog društva, bilo biologije.
Otud je treći čin, iz koga je lik Shino izmešten jedan jasno telegrafisan ali time ne manje fascinantan prikaz spuštanja u neljudsko, sa dvoje likova koji ispituju taktilnu ravan ljudskog postojanja na opsesivan, veoma transgresivan način.
(https://i.imgur.com/PMKYeCq.png)
Da bude jasno, modernom oku neki elementi ove priče mogu i neugodno delovati – i ovde ne pričam o očiglednim elementima nasilja i groteske – pa savremena osvrtanja na Blind Beast moraju da ukažu kako trop o silovanju iz kojeg se rađa strast pa za njom i svojevrsna izvitoperena ljubav nosi sa sobom mnogo problematičnih koncepata.
Ali tu ne treba ispustiti iz vida da je film ništa drugo DO problemske eksploracije u tom trećem činu, da je on bukvalno istraživanje patologije ličnosti koja se zasniva na odsustvu primarnog ljudskog čula i forsiranju jedne do krajnosti fetišizovane funkcije drugog čula za koje nije uobičajeno da vezujemo umetnička dela i druge duhovne koncepte.
Dodir, dakle, u ovom filmu, ne samo da dobija vrhovnu poziciju na skali erotskih nadražaja, on je, u skladu sa fetišističkim tonovima koje imamo u filmu od samog početka, nešto što na kraju uspešno potiskuje ne samo moral – koji postoji prevashodno da bi jedinke radile u korist opstanka zajednice, makar ponekad i na sopstvenu percipiranu štetu – već i još bazičniji nagon za samoodržanjem. Michio i Aki prema kraju filma više ne prave razliku između umetničkog izraza i zadovoljenja erotskog nagona, za njih su umetnost i seks doslovno neodvojivi, a povezuje ih čulo dodira i mada ovo svakako jeste u skladu sa novim društvenim trendovima sa kraja šezdesetih godina, ponovo valja biti svestan da film nimalo ne prikriva, čak u prvi plan stavlja činjenicu da se ovde radi o fetišizmu, fokusiranju na element radije nego na celinu i podređivanju svega jednom vrlo ovisničkom jurenju sledećeg velikog stimulansa.
(https://i.imgur.com/U3w93Qd.png)
Hoću reći, silovanje iz kog se izrodi romansa u ovom filmu nije tek eksploatacijski trop – a za šta sam već kritikovao Masumuru i njegov Afraid to Die – nego tek najava da će do kraja priče stvari postati mnogo gore, da će gubljenje slobode a zatim i kontrole nad svojim telom za Aki biti tek inicijacija za silazak u svet taktilnog u kome će bol i gubljenje telesnog integriteta biti stepenici do finalne ekstaze.
Blind Beast je, dakle, film o fetišu i ako želite da njegovo destruktivno finale posmatrate pošteno, i njegova kritika. Dobronamerna, sa razumevanjem, ali nesumnjivo kritika. Ovde treba ukazati da film zapravo pokriva tek deo romana i da u romanu Michio posle Akine smrti kidnapuje druge žene, a čime je priča u filmu čistija, sa jedne strane i romantičnija, ali sa druge i još više zastrašujuća jer pokazuje destruktivnost adikcije u kojoj se fetiš deifikuje, izdiže na transcendentni nivo, i gubljenje delova tela, ritualna disocijacija ličnosti u finalu je samo ,,plastična", ili ako hoćete, taktilna realizacija nestajanja ličnosti u adikciji kojoj se pripisuje nekakva tajna, ,,prava" istina.
A ako već tražimo razlog da filmu zamerimo neosetljivost i političku nekorektnost, sasvim je fer i reći da je prikaz osobe sa invaliditetom kao socijalno neuklopljene i patološki izvitoperene na ime između ostalog tog nedostatka jednog čula – nešto što bi možda vredelo kritički promisliti.
(https://i.imgur.com/2hKR5kE.png)
Ali, opet, to jeste polemisanje sa detaljima a ignorisanje celine. Blind Beast je eksploracija erotske perverzije na prvom mestu, i njenog odnosa prvo sa društvom a onda i sa samim pojmom ljudskog, uzimajući za polaznu osnovu klasike poput radova markiza De Sada i poezije i proze uticajnog francuskog filozofa Žorža Bataja, a zatim ih lomeći kroz japansku, a partikularno ranpovsku ero guro prizmu. Ovo je kratak, efikasan i ekstremno efektan film koji uspeva da svoje zastrašujuće teme – a prema kraju se od zatočeništva i nanošenja bola spuštamo sve do povređivanja, kanibalizma, amputacija... – iznese sa vrhunskom jasnoćom, pokazujući ljude što napuštaju prostor ljudskog i prepuštaju se ekstazi, kako sama Aki na par mesta kaže, koju poznaju jednostavnija bića poput ameba, svesni da se ona može okončati samo potpunom anihilacijom.
Za film kome je u centru kombinacija seksa i, na kraju ekstremnog – ali putenog – nasilja, Blind Beast je snimljen maestralno, sa Masumurom koji bez greške kreira scene izuzetne erotske tenzije i perverzne atmosfere a da ne gazi po eksploatacijskom mulju. Žensko telo je ovde fetišizovano tako da ni u jednom trenutku ne izgubi misterioznost neophodnu za erotičnost, a da porcije fetiša redovno dobijamo kroz groteksno predimenzionirane skulpture i statue, ali i kontrastiranje ,,pravog" ženskog tela sa njegovim kamenim reprezentacijama. Blind Beast time pored eksploatacijskih, uspeva da izbegne i arthouse klopke, bežeći od pukog naturalizma i banalizacije tela, dajući mu privlačnost i tajnu čak i u momentima kada ga ritualno poništava, ukazujući da će u ultimativnom dodiru ono što se dodiruje morati da nestane jer, na kraju krajeva, kada više ničeg novog nema da se dodirne – za šta telo, ali i ljudski duh mogu dalje da služe?
(https://i.imgur.com/eML1xJA.png)
Pogledao sam film koji je ove godine dobio Zlatnu palmu u Kanu, francusko-belgijsku produkciju Titane i mora se priznati da makar Kanski filmski festival korektno reflektuje tenziju u kojoj se svet, ili makar njegov zapadni deo u ovom trenutku nalazi. Hoću reći, Titane je istovremeno žanrovski i umetnički ambiciozan film, napravljen veoma spretno i sa nekim od gorućih tema zapadnog sveta u svojoj srži, ali mora se priznati da bi mi pre svega desetak godina bilo prosto šokantno da prestižnu evropsku filmsku nagradu ponese film koji je kao da ste ubacili u blender Ballarda, Cronenberga, Koontza i Ellisa pa onda rezultirajući smoothie izbljuvali po prvih pet redova publike u kanskoj svečanoj sali uzvikujući ironično radikalne feminističke parole. No, poslednja dva puta palme su uzimali azijski filmovi koji su i sami bili radikalno nastrojeni i žanrovski formatirani pa je za povratak nagrade u Evropu i, štaviše, samu Francusku, odabrano nešto čime će se pokazati da stari kontinent ume da igra te moderne igre egzistencijalnog horora koji se ovlapoćuje u vrlo fizičkim, u ovom slučaju praktično fiziološkim dimenzijama.
(https://i.imgur.com/uUSTWu3.png)
Titane je imao i premijeru u Kanu a režirala ga je Julia Ducournau koja je već svojim prvim kratkim filmom iz 2011. godine, Junior, dobila nagradu na tadašnjem Kanskom festivalu i praktično rezervisala za sebe glavni zgoditak u nekoj od narednih sezona. U međuvremenu je uradila jedan dugometražni igrani film, Raw iz 2016. godine, skrećući na sebe pažnju sa pregršti nagrada koje je taj rad osvojio na različitim festivalima u Evropi i SAD – uključujući FIPRESCI nagradu u Kanu – i Titane je došao pola decenije kasnije kao srazmerno visokobudžetnija realizacija iste estetike.
Kažem ,,visokobudžetnija" ali ovde se radi o tipično evropskom radu sa masom produkcija koje su se učipile u proizvodnju ovog filma, uključujući Eurimages, no, Titane je sa nešto više od pet i po miliona dolara u budžetu matematički značajno skuplji film od Raw čiji je budžet bio ispod četiri miliona dolara.
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Ovo su cifre koje u Holivudu bukvalno ne bi pokrile ketering u nekoj ozbiljnoj studijskoj produkciji, no Titane je iscedio svaki (euro)cent vrednosti iz svog budžeta i u pitanju je vizuelno izuzetno siguran, pa i impresivan film u kome se estetska rešenja besprekorno uklapaju sa tehnološkim kapacitetima produkcije i rezultat je visoko stilizovana, čak, ako ćemo strogo da pričamo, naučnofantastična priča koja istovremeno odiše naturalističkom ubedljivošću i uspeva da nam proda postavke koje su sasvim očigledno alegorične ali tako da one funkcionišu na bazičnom pripovedačkom nivou. Ovo me je, moram da priznam, veoma impresioniralo, ali to je i zato što sam navikao na holivudsku kombinaciju naduvenog budžeta i mass-market-friendly rešenja gde se prečesto ikakva naznaka nijanse i suptilne simbolike mora išmirglati užurbanom pojašnjavajućom signalizacijom kako bi se izbegla i hipotetička mogućnost da gledalac bude nesiguran u to da li u prvih trideset sekundi nakon gledanja filma o njemu ima definitivno mišljenje.
Iako je Titane pohvaljen za svoju originalnost, mislim da to nije njegova najjača strana, ne najmanje jer u prvih dvadesetak minuta, kako rekoh, film obilazi neka od vrlo poznatih mesta iz (novije) istorije transgresivne žanrovske produkcije, literarne i kinematografske. Uvodna scena u kojoj devojčica nakon automobilske nesreće zbog koje joj je u glavu ugrađena titanijumska pločica, da nadomesti parče lobanje koju je izgubila, sa puno ljubavi grli automobil i rez preko narednih dvadeset godina gde vidimo da je izrasla u devojku što izvodi striptiz tačke na sajmovima automobila je nedvosmisleno ballardovski inspirisana. Cronenberg je u svojoj ekranizaciji Ballardovog ikoničnog romana Crash imao trenutak slabosti i upustio se i u malo psihologiziranja kako bi objasnio transgresivnu fetišističku dimenziju ovog narativa, ali Ducournauova nema ovakvih odstupanja. Njena režija je impresivno efikasna – uprkos praktično razmetljivo dovitljivom radu sa kamerom i osvetljenjem – i ovo je film koji koristi vrlo malo reči da priča svoju priču, i to samo kad su neophodne, pa je scena na sajmu sa devojkama koje igraju oko i na automobilima jedan upečatljiv i samorazumljiv prizor erotizacije automobilske tehnologije i naglašava ,,muški pogled" u meri koja makar simbolički ako ne moralno opravdava zastrašujući lanac ubistava i nasilja koje će počiniti protagonistkinja u narednih nekoliko minuta.
(https://i.imgur.com/DDnP955.png)
Ovde Crash susreće Američkog psiha, sa protagonistkinjom koja lako i impulsivno ubija bez stvarnog povoda, ali unutar opresivnog konteksta eksploatatorske savremene kulture u kojoj je žena bez obzira na sve sociopolitičke prodore, formatirana kao objekat – čak i od strane drugih žena kako to ovde vidimo – i koja to što radi ne radi u samoodbrani ali radi sa ubeđenošću nekoga ko naprosto čisti svoj životni prostor od štetočina.
Film uspeva da gledaoca više impresionira nego uplaši procesijom scena ekstremnog nasilja na svom početku jer ono ima jasnu simboličku dimenziju, ali i jer je svet u kome se sve odvija, kako rekosmo, savršeno postavljen da bude istovremeno realističan – ovaj ,,naš" – ali i alegoričan. Kada protagonistkinja ima snošaj sa sopstvenim automobilom, ovo je perfektno urađena, potpuno ubedljiva scena koja u gledaocu ne proizvodi konfuziju je li u pitanju ,,stvarnost" ili njena fantazija i prihvata se kao datost u svetu filma.
(https://i.imgur.com/aMejkJ4.png)
Mnogo tehnika koje Ducournauova koristi ovde pomažu da nam se ovaj mizanscen proda tako da nemamo dodatna pitanja – ovo je između ostalog jedan od onih filmova u kojima se kolor korekcija i kolorni filteri upotrebljavaju upravo da bi se postigla fina ravnoteža između toga da gledaoca držite u stalnoj šokiranosti a da istovremeno on voljno suspenduje svoju nevericu i ovde izuzetno efikasna režija, brza montaža, odlični uglovi kamere, ali i izbor muzike rade fantastičan posao.
No, možda je najveći teret na glumici Agathe Rousselle kojoj je ovo prva glavna uloga u celovečernjem filmu i koja je proždire sa zastrašujućom energijom. Veliki deo Titanea se bavi pitanjem identiteta, ličnog i rodnog, pozicijom individue, ali i žene u kolektivu koji se bez obzira na sve ,,woke" poene koje zapadni svet sebi upisuje, vidi kao decidno muški i po prirodi represivan, i Rousselleova ni jednog trenutka ne prestaje da bude impresivna u svom prikazu identiteta kao stvari volje i rada a ne stvari datosti i usuda. Da se razumemo, njen lik, Alexia je patološki serijski ubica, lažov i manipulator, ali ona ne samo da nam efikasno prodaje taj shvatljivi, relatabilni gnev osobe koja čitav život provodi u okruženju koje je za nju neprijateljsko, već i kroz svoje transformacije uspeva da nas ubedi da biti neko, ili neko drugi, stvar izbora a ne sudbinske determinisanosti.
(https://i.imgur.com/5nFV1fY.png)
Razlika između Crash i Američkog psiha, sa jedne strane i Titane sa druge je svakako u tome da su ova prethodna dela imala drugačiji osnovni kontekst. Crash je bio orijentisan na transhumanistički fetišizam kao ekstrapolaciju uspona konzumerističke kulture kasnih šezdesetih i ranih sedamdesetih godina prošlog veka, dok je Ellisov roman satirisao konzumerističku kulturu osamdesetih i nezvanični kastinski sistem koji je ona kreirala. Titane je pre svega orijentisan na pitanje identiteta, seksualnog i rodnog u svetu koji je omeđen tehnologijom, metalom, gorivom. I ovaj film ima naglašenu transhumanističku komponentu za koju bi preteča bio Koontzov roman Demon Seed (sa svojim zapletom u kome žena rađa dete koje je na silu napravio napredni kompjuter) ali njegovo primarno interesovanje nije kritika društva sa materijalističkih pozicija već je, u skladu sa savremenim trendovima, okrenut pre svega pitanju rodnog identiteta i ravnoteže moći u društvu koja počiva na tradicionalni, rodnim podelama što odolevaju socijalnoj evoluciji.
(https://i.imgur.com/TQYIgmc.png)
Utoliko, Titane nema naročito originalne motive, ali njima barata vešto, uverljivo, pa i zabavno ako vam je gotovo konstantan užas koji osećate prihvatljiva komponenta zabave. Film ovoj tematici prilazi iz više uglova, u jednom trenutku dajući potpuno naturalistički prikaz verbalnog nasilja koje žene trpe, a koje u svakom momentu ima snažan potencijal da bude realizovano kao fizičko, opipljivo nasilje, a u drugim nas provlačeći kroz svirepe osvetničke fantazije u kojima protagonistkinja nije nekakav pravednički anđeo, jelte, osvete, već praktično demonska figura što ne kažnjava konkretne grehe već istorijsku, praktično mitološku postavku o položaju žene u društvu i njenoj, uostalom, ulozi u seksu.
Da bude sasvim jasno, film protagonistkinju ne postavlja kao heroinu, pa čak ni kao antiheroinu – ona je formatirana podjednako i kao počinilac i kao žrtva, neko ko se zatiče u okolnostima što su po definiciji i od početka okrenute protiv nje i gde je nasilje jedan od odgovora, niti idealan niti, nužno, uopšte funkcionalan. Alexia je nesumnjivo kriva za ono što čini ali je njena situacija istovremeno i vrlo plastičan prikaz trudnoće kao stigme, ograničavajućeg elementa u njenom životu, a koji se pojavljuje kao posledica Alexijine decidno ,,neprirodne" strasti usmerene ka automobilu, kao nekoj vrsti artificijelnog sažetka muškog, tehnološkog, propulzivnog, drsko glasnog i osvajački nastrojenog svetonazora.
Drugi deo filma nam prikazuje protagonistkinju koja ne samo izvesnu socijalnu uključenost već i – ironično formatiranu – porodičnu sreću nalazi tek kada se transformiše u muškarca. Ovaj deo filma ima naglašenije satiričan ton kome ponovo pogoduje taj nedorečen, blago fantastičan mizanscen u kome su vatrogasci kojima se ona pridružuje nešto između porodice i javne službe, a pre svega grupa lepih, mišićavih muškaraca koji uspešne radne dane završavaju znojavim plesanjem uz elektronsku muziku. Alexijin novi ,,otac", iskusni francuski glumac Vincent Lindon je veličanstvena karikatura homoerotskog klišea i film ovde uspešno radi sa gomilom stereotipova predstavljajući neku vrstu ,,muškog raja" kao maltene neprestanu gej žurku.
(https://i.imgur.com/beuvpLB.png)
To da su žene ovde isključene je ponovo simbolički element jer finale prema kome film radi uspeva da postigne dvostruki nokaut sa nekoliko nežnih scena u kojima između sve ironije i nasilja bljesne par momenata stvarne emocije – uključujući pijetu na podu kupatila koja ne beži od svog ironičnog kvaliteta ali i od iskrene empatije – ali i sa brutalnim finalnim poništenjem žene u trenutku koji je, po mišljenju mnogih u današnjem svetu, prevashodno definiše. Porođaj i rođenje deteta iz veze sa automobilom je i pored nepatvorene nežnosti koju u toj sceni vidimo istovremeno i najhladniji trenutak koji bez imalo ublažavanja udaraca podseća na tradicionalnu ulogu žene u društvu kao, u krajnjoj liniji, medijuma za prenos DNK u narednu generaciju.
(https://i.imgur.com/IC1wQ4F.png)
Film ovo, ponoviću, radi izuzetno efektno, sa odličnom primenom praktičnih efekata, gde se stomak protagonistkinje groteskno ali uverljivo uvećava sve do pucanja kože ispod koje se nazire metal, sa mašinskim uljem koje curi iz dojki umesto majčinog mleka i Ducournauova svuda postiže idealnu ravnotežu između realističnosti i šok-efekta. Njene filmove kritika opisuje kao body-horror, iz očiglednih razloga, ali način na koji su scene transformacije – ili samo eksploracije – tela Agathe Rousselle kadrirane i režirane, dok gledamo ožiljke, tetovaže, kožu koja ne može da izdrži pritisak, stezanje dojki zavojem, nadimanje trbuha, iako ne mogu da se opišu kao ,,tople", ,,humane" ili empatične, plene upravo odsustvom ,,muškog pogleda" ali i distancirane, artističke fasciniranosti destrukcijom tela žene koja karakteriše intelektualnije krilo horor-žanra. U ovim trenucima, Titane je najjači u svom izrazu, nudeći na gledanje i refleksiju ne bol i torturu, već pre svega oznake identiteta i ogroman napor koji protagonistkinja, takva kakva jeste, nepovratno polomljena, ulaže da pronađe ili, bolje, izgradi identitet u kome bi bila srećna.
Utoliko, Titane jeste uznemirujuć, pa verovatno i mučan film ako niste navikli na žanrovska krvoprolića opšteg tipa, ali je on u krajnjoj liniji empatična hronika potrage progonjene osobe za pribežištem koje joj je od najranije mladosti, omeđene automobilima i nestrpljivim muškarcima, nuđeno i ultimativno uskraćivano.
(https://i.imgur.com/cU9qzxB.png)
Pošto očigledno nemam ništa pametnije da radim sa svojim slobodnim vremenom koga – uprkos tome što ne radim ništa ili bar ništa korisno – kao da imam sve manje, pogledao sam Godzilla vs. Kong, ovogodišnju Warnerovu i Legendaryjevu ekstravagancu sa džinovskim čudovištima, ili, kako ja to negde u svojoj glavi vidim, ali retko naglas kažem iz straha da me ne proglase za matorog džangrizavca kome ništa na svetu ne odgovara, dokaz broj 4. da Amerikanci ne kapiraju kako se njihova nesposobnost da naprave pristojan kaiđu film ne može rešiti bacanjem JOŠ VIŠE novca na naredni film u serijalu.
(https://i.imgur.com/EqMmDBg.jpg)
Razlog što su filmovi o Godzilli japanskog studija Tōhō (koji je, da ne bude zabune i dalje vlasnik prava na lik i svet Godzille/ Gojire i distributer je ovog filma u Japanu) postali tako popularni u svojoj domovini pedesetih godina prošlog veka bila je specifična forma eskapizma koja je koristila jeftine i skoro parodične specijalne efekte, a uz koje je išla i određena društvena opservacija i kritika, refleksija na ulazak planete u nuklearno doba, vrlo osobena za jedinu naciju na svetu koja je nekoliko godina pre toga bila na meti nuklearnog bombardovanja itd. Naravno, nisu filmovi o Godzilli, kao ni njihovi kaiđu i tokutatsu ispisnici iz rivalskih produkcija bili uvek i isključivo nekakva sofisticirana umetnost koja je o ljudskom stanju pričala sa poetikom nedostižnom za ondašnji Holivud, i ogroman broj nastavaka i krosovera koji će uslediti šezdesetih i sedamdesetih godina svakako će razvodniti poruku i kasnije filmove pretvoriti pre svega u platformu za reklamiranje sekundarnog merčandajsa koji će vlasnicima licence donositi pravu zaradu,* no teško je oteti se utisku da Amerikanci i danas serijski promašuju temu.
*godinama pre nego što će George Lucas ovaj pristup ustoličiti u Holivudu kao podrazumevan
A, mislim, reklo bi se da je kreiranje filma o džinovskom morskom čudovištu koje pustoši gradove tematski tako čist i jasan koncept da morate žestoko da se potrudite da ga zaserete. Legendary Pictures nam, nažalost, već, evo, sedmu godinu pokazuje kako se može potrošiti najveći deo milijarde dolara a da dobijete bukvalno samo jedan polupristojan film za svoje pare. Ako je i za holivudsko knjigovodstvo, malo je, jebem mu mater.
Taj polupristojan film bio je Kong: Skull Island Jordana Vogta-Robertsa (https://cvecezla.wordpress.com/2017/03/19/film-kong-skull-island/), i sam opterećen viškovima u konceptu ali suštinski časno urađen monster-akcijaš sa ambicijom da kingkongovski narativ smesti unutar omaža Kopolinoj Apokalipsi sad i Konradovom Srcu tame, time uspevajući da ova priča o džinovskom čovekolikom majmunu i ljudima koji ga prvo doživljavaju kao lovinu, onda kao hodajućeg demona a na kraju kao nosioca nedužne proto-ljudskosti, ima nekakvu simboličku dubinu i, eh, poruku. U tekstu o tom filmu izrazio sam – sada to vidim, naivnu – nadu da je ovo znak da posle kilave prve Godzille, Legendaryjev ,,monsterverse" ide pravim putem i shvata da filmovi moraju imati nekakvu izraženu temu i jasan individualni karakter da bi ikako imalo smisla da ih se uvezuje u zajednički ,,univerzum", najnoviju Holivudovu opsesiju franšiziranjem i kros-marketingom.
(https://i.imgur.com/W5q0FUe.jpg)
Nažalost, Godzilla: King of the Monsters koji je usledio 2019. godine je stvari resetovao na početne pozicije. Ovaj film je, da ne bude zabune, poduplao napore da nam se pruže atraktivna, upečatljivo dizajnirana CGI čudovišta i urnebesne borbe među njima, na čemu sam mu aplaudirao i uživao u novom dizajnu klasičnih ,,likova" kao što su Rodan, Mothra i fantastični King Ghidorah, ali je istovremeno u pitanju bio ,,narativ" koji je prosto vrištao za ekstravagantnijom obradom. Ovo je sada već vidno generalni problem Legendaryjevih monsterverse produkcija: insistiranje na ,,ozbiljnom" tonu filmova koji nam sugeriše da ćemo tu čuti nekakve značajne filozofske koncepte i gledati ljude do kojih nam je zbilja stalo, ali onda i ekstremno površno rukovanje motivima koji imaju u sebi mnogo egzistencijalne težine. Ovi filmovi bi UŽASNO profitirali od manje napumpanih budžeta, gde bi scenaristi umesto da napišu scene tipa ,,onda Godzila i King Kong poruše pola Hong-Konga" i zavale se natrag u fotelju paleći džoint posoljen kokainom, morali da rade na likovima koji bi verbalizovali, čak odglumeli suočavanje sa istinom da je svet drugačiji, nepoznatiji, strašniji nego što smo mislili, da su džinovska čudovišta predstavnici jednog nama tuđinskog lanca hijerarhije i, što da ne, ishrane, u univerzumu. Možda bismo tada, makar kroz cheesy proklamacije i preglumljavanje osetili da ovi filmovi razumeju grandioznost svojih koncepata.
Ali naravno da to ne dobijamo. Godzilla vs. King Kong je film najvećim delom urađen pre početka pandemije – i u bioskope ušao Marta ove godine a ja sam ga dočekao na HBO-u pre neki dan – pa je teško dati mu popust na svedenu, prostačku priču koje, apsurdno, i dalje ipak ima previše. Očigledno je da je komercijalni kiks Godzilla: King of the Monsters malo trgao ljude u Legendaryju pa je odluka da se ide na krosover između Godzile i King Konga donesena kako bi se teturajući serijal o Godzili nakačio na ipak umetnički uspeliji King Kong ali i da bi priča, s obzirom na to koliko je Kong simbolički zapravo tu da predstavlja (pra)čoveka u njegovom plemenitom, ,,čistom" obliku, pre iskvarenosti civilizacijom, dobila humaniji okvir.
(https://i.imgur.com/vXTV5uQ.jpg)
Originalni King Kong vs. Godzilla iz 1962. godine bio je, da bude jasno UŽASAN hit i dan-danas je najgledaniji film iz Godzila serijala u Japanu. Nastao sedam godina nakon što je drugi film o Godzili – skrpljen na brzinu posle uspeha prvog filma – prošao dosta loše, on je predstavljao zapravo neočekivano i neočekivano plodonosno ukrštanje japanskog kaiđu programa sa zapadnjačkom simbolikom King Konga, kada je originalna zamisao o priči koja je Konga trebalo da suprostavi Frankenštajnovom čudovištu bez znanja autora prosleđena u Japan i transformisana u najprirodniji zamislivi krosover. U Japanu ovo je proizvelo trend nastavaka u kojima je Godzila bio suočavan sa drugim kaiđuima iz Tōhō produkcije – Mothra vs. Godzilla, Ghidorah, the Three-Headed Monster, Godzilla vs. Hedorah, Godzilla vs. Gigan, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla itd. itd. itd. – i ovo je, pogotovo u sedamdesetima prešlo u manirističku hiperprodukciju koja nije imala bogznašta da kaže i publika je i sama serijal počela da shvata kao površnu popkorn zabavu.
No, spajanje King Konga i Godzille je simbolički moćan, narativno potentan čin, već u tom sukobu reptila i sisara, zmaja i primata, simbola nuklearne ere sa čistim, neiskvarenim, ponositim predstavnikom (pra)čovečanstva, no Godzilla vs. Kong posrće na istim mestima na kojima su se saplitali i prethodni filmovi o Godzili, kao da Legendary nije zaista naučio nikakve lekcije. Adam Wingard koji je ovo režirao je izuzetno svestran i sposoban zanatlija ako već ne neki veliki filmski umetnik, ali Godzilla vs. Kong je film koji naprosto ima previše likova i isprepletanih niti narativa, a da bi na kraju na likove potpuno zaboravio a narativ smandrljao bez ikakvog obraćanja pažnje na posledice.
(https://i.imgur.com/DmyYmtj.jpg)
Hoću reći, ovaj zaplet događa se u kontekstu gde je čovečanstvo sada svesno da postoje orijaška čudovišta – Titani – koja nisu od ovog svijeta, gde je Godzila doživljavan kao spasitelj planete od ,,zaista" zlih Titana, ali scenario ni na koji način ne pokazuje da postoje ikakve društvene ili kulturološke posledice ovih zastrašujućih znanja. Sve se, umesto toga svodi na business as usual trope gde sada umesto jedne megakorporacije koja će uleteti u dil sa Đavolom zarad obećanja beskonačnih profita imamo dve, a gde se časni mali ljudi koji za njih rade moraju iscimati, pa i malo žrtvovati kako bi na kraju Titani, u ovom slučaju Godzila i King Kong, imali mogućnost da to čovečanstvo na kraju spasu od njega samog.
Ne da se od ovakve priče očekuju nekakve oceanske dubine i potraga za novim izvorom energije u dubini planete Zemlje – sa sve teorijom o šupljoj zemlji i malo zloupotrebljene fizike – je sasvim pristojan uokvirujući narativ i, čak, Legendaryjevo insistiranje na ,,loreu", gde stalno postoji strah da će Godzila odmah napasti King Konga ako postane svestan njegovog postojanja, jer može postojati samo jedan Alfa-Titan, to je takođe sasvim prihvatljiv temelj sukoba koji nam već naslov filma obećava. To da bezdušna korporacija koristi dobrohotne ali kapitalu podređene naučnike da zatočenog Konga iskoriste kao ,,vodiča" kroz šuplju Zemlju u potrazi za izvorom energije koji bi rešio sve zemaljske probleme je takođe okej zamajac radnje.
Ali film je naprosto preopterećen ,,loreom" i s obzirom da traje svega stotinak minuta, mora da stalno žonglira njegovim elementima i prenaduvanim kastom u kome ima previše likova. Umesto jedne preduzimljive i smele devojčice sada imamo dve, tu je i dvoje naučnika, jedan tinejdžerski sajdkik koji sebe naziva hakerom a u stvarnosti je samo pročitao par HTML tutorijala, jedan autor konspiratološkog podkasta koji želi da svetu otkrije istinu o radu korporacije, dva visoka egzekjutiva u dve različite kompanije koji svaki na svoj način rade na svojoj verziji budućnosti planete, ćerka jednog od njih što nadgleda projekat potrage za energijom, japanski inženjer koji radi na kreiranju ne robotske već MEKA Godzile... Znam da se kaže da je mnogo samo kad biju ali Godzilla vs. Kong se naprosto urušava pod teretom ovoliko likova od kojih ni jedan nema dovoljno vremena pred kamerom da ostavi ikakav utisak ili makar da kaže nešto memorabilno.
(https://i.imgur.com/ygaS8g2.jpg)
Ovo je, verujem, posledica činjenice da je televizija poslednju deceniju otela ogroman deo kolača od filma i filmovi, pogotovo oni koji su deo ,,deljenog" univerzuma, i sami preuzimaju televizijske tehnike, dajući nam individualne karakterne lukove i podzaplete ne zato što priča time profitira, nego što se valjda misli da to publika očekuje. Tako je ceo podzaplet sa Brianom Tyreem Henryjem, Millie Bobbi Brown i Julianom Dennisonom ne samo potpuno bespotreban za film koji VEĆ ima prisutne likove na mestima gde se oni zatiču – a njihova je funkcija samo da nas dovedu do otkrivanja Mechagodzille – nego on aktivno umanjuje vreme koje dobijaju likovi Demiana Bichira i Shuna Ogurija a koji bi trebalo da budu nosioci tog ,,tehnološkog zla" i korporativne amoralnosti kome se suprotstavljaju ,,prirodni" likovi Godzile i King Konga.
Čak i u tehničkom smislu, ovo je bačeno pa ispušteno u letu, sa likovima koji ne samo da nemaju stvarnu funkciju u priči već film bukvalno ne zna šta sa njima da radi pa ih uklanja bez ikakvog simboličkog značaja i na njih zaboravlja – videti Ogurijev neceremonijalni odlazak ili završetak luka Eize Gonzalez, na primer. Ovde ne da nema čehovljevske elegancije u povezivanju narativnih i simboličkih niti već film maltene doslovno gazi preko leševa kako bi se nekako dokopao spektakularnog finalnog sukoba u Hong Kongu.
(https://i.imgur.com/4F9cEGI.jpg)
Da ne bude da ništa ovde ne valja, reći ću da je CGI veoma dobar. Film ima očigledan deficit svesnosti o velikoj slici i, recimo, preko scena pustošenja Hong Konga u kojima po definiciji mora da ginu hiljade ljudi prelazi se bez ikakvog komentara, sa ,,srećnim krajem" u kome se korporacijski šef ponovo ujedinjuje sa svojom ćerkom, a King Kong nalazi neki svoj mir, ali scene tuče su korektno režirane i dobro montirane. Nedavno sam se žalio na odsustvo ,,težine", fizičke i simboličke, u scenama akcije Marvelovog filma o Shang Chiju, ali za ovako nešto se Godzilla vs. Kong ne može optužiti. Wingard korektno kreira scene brutalne, energične akcije u kojoj se zgrade mrve u prah a instalacije eksplodiraju dok orijaške životinje – a posle i jedan animalni robot – jedna na drugoj primenjuju zahvate iz asortimana MMA i profesionalnog rvanja. Ova antropomorfizacija kaiđua je u skladu sa japanskim izvornicima i ima svoje simboličko mesto i mada ovaj film baš i ne puca od simbolike, ne mogu da kažem da nisam uživao gledajući kako se velika čudovišta mlate bez milosti, sa sve korišćenjem ,,kvarnih" fora kao što je grebanje kandžama i korišćenje ,,atomskog daha". Kada u velikom finalu Godzila i King Kong moraju da rade kao tim ne bi li pobedili Mekagodzilu, ovo je kruna Wingardovog pažljivo koreografisanog spektakla.
I moram da progunđam kako mi je žao što film nema više TOGA a manje bespotrebnog i samo na momente duhovitog bantera unutar tima Millie Bobbi Brown. Drugi podzaplet sa nemom nativnom devojčicom i Kongom koji uči znakovni jezik makar ima svoje simboličko mesto u ,,loreu" i na kraju se pokazuje da je ovaj film možda trebalo da bude prevashodno film o King Kongu a gde bi mu Mechagodzilla bila dovoljan i dostojan protivnik, gde bi onda simbolike bile posložene urednije a ansambl imao vremena da malo prodiše. Ovako kako jeste, Godzilla vs. Kong se opasno približava lapidarnosti i površnosti Tōhōvih produkcija iz sedamdesetih i nemam baš mnogo velikih očekivanja od narednih monsterverse filmova...
(https://i.imgur.com/6W2YPsp.jpg)
Pogledao sam Irezumi, treći film ove godine kojim sam nastavio upoznavanje sa opusom japanskog režisera po imenu Yasuzō Masumura i, snimljen 1966. godine ovaj se film i hronološki a, rekao bih, i estetski nalazi skoro tačno na sredini između dva prethodna filma o kojima sam pisao. Afraid to Die (https://cvecezla.wordpress.com/2021/10/29/film-afraid-to-die-aka-karakkaze-yaro/)iz 1960. godine je bio klasična, pa malo i osrednja jakuza-drama koju su izvukli Masumurin zanatski kvalitet i harizma (mada ne i sjajna gluma) Yukia Mishime, dok je Blind Beast (https://cvecezla.wordpress.com/2021/12/03/film-blind-beast-aka-moju/)iz 1969. godine bio smelo artističko istraživanje graničnih područja erotske groteske sa upečatljivim filozofskim ali i vizuelnim slojevima. Irezumi prolazi kroz neke od motiva koje je Masumura obrađivao i u ovim filmovima, ali je u pitanju za razliku od savremenog mizanscena ove dve produkcije, kostimirana period-drama sa tretmanom jedne zanimljive teme koja ima i istorijsku ali i savremenu dimenziju.
(https://i.imgur.com/W3k83wi.png)
Masumura je neke od svojih najupečatljivijih filmova snimio po književnim predlošcima pa je to slučaj i sa Irezumi, gde je u pitanju ekranizacija priče Shisei, jednog od najranijih publikovanih radova spisatelja po imenu Jun'ichirô Tanizaki. Tanizaki je jedna od stožernih figura japanske književnosti 20. veka; rođen 1886. a preminuo 1965. godine, on je bio u poziciji da isprati neke od najdramatičnijih događaja u japanskoj istoriji, od ubrzane modernizacije društva tokom Meiđi obnove koja je pratila ponovno uspostavljanje imperijalne vladavine u Japanu, pa preko sve naglašenijeg građenja kulta nacije i cara i ulaska u radikalni nacionalizam godina pre Drugog svetskog rata, do poraza u ratu i posleratne obnove. Tanizaki se smatra jednim od najvažnijih autora svog vremena jer je umeo da piše o društvenim promenama prelamajući ih kroz prizmu promena na nivou porodice ali i kulturne tenzije između Japana i zapada i japanske potrage za modernim identitetom. Radi se o srazmerno poznatom piscu na zapadu, sa dosta njegovih romana koji su prevedeni na Engleski jezik i godinu dana pre smrti je bio u užem izboru za Nobelovu nagradu za književnost. Uopšte, u posleratnom periodu Tanizaki je u Japanu doživeo vrhunac svoje literarne slave, osvajajući brojne nagrade i svrstavajući se uz Mishimu i Yasunarija Kawabatu u trio najvažnijih pisaca ostrvske nacije.
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Neiznenađujuće, solidan deo Tanizakijevog stvaralaštva bio je usredsređen na erotiku u kombinaciji sa mračnim, destruktivnim stranama ljudske prirode. Već i pre uspona ero guro talasa u dvadesetim godinama prošlog veka, Tanizaki je za sebe izgradio reputaciju pišući priče i romane o fatalnim ženama koje (metaforički) proždiru muškarce, uključujući seriju romana između 1910. i 1912. godine sa imenima Kirin, Shonen, Himitsu, Akuma... Priča Shisei je jedna od njegovih prvih (njegovo prvo objavljeno delo je drama iz 1909. godine a publikovano u magazinu čiji je Tanizaki bio jedan od osnivača), izašla 1910. godine i bila praktično prototip kombinacije erotike i pretećeg horora utemeljenog u tradiciji na kome će autor kasnije graditi.
Tanizaki je tokom dvadesetih godina imao i izvesnu filmsku karijeru, prevashodno kao scenarista za neme filmove koje je radio studio Taishō Katsuei i gde je bio jedan od zatočnika pokreta ,,čistog filma" i zagovornika modernijih tema i njihovog savremenog tretmana. Otud nije neko iznenađenje da su njegovi radovi, pogotovo u posleratnom periodu i nakon njegove smrti često i rado adaptirani za veliko platno, a nekoliko tih naslova je potpisao ugledni Kaneto Shindo.
Irezumi je, pak, režirao Yasuzō Masumura, ali je Shindo bio taj koji je Tanizakijevu priču adaptirao u scenario i ovo je praktično idealan spoj autora priče, scenariste i režisera, što nalazi secište opsesija seksom, identitetom i tamnijom stranom ljudske prirode koje su sva trojica delili.
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Za razliku od kasnijih Tanizakijevih radova koji su se bavili savremenom porodicom, i odnosom japanskog kulturnog identiteta prema stranom (prevashodno američkom), Irezumi je, barem po onome kako se da videti u filmskoj adaptaciji, neka vrsta istorijske drame. Smeštena u pozniji Edo period – bez specifikovanja godine, a koja nije ni bitna jer ovo nije politički narativ – ona tretira pre svega jednu od kontroverznih japanskih kulturnih tradicija – naime, tetoviranje.
Sama reč Irezumi znači ,,ubacivanje mastila", i kako je Tanizakijeva priča bila nazvana Shisei (tatu-majstor), tako se i film može prevesti kao jednostavno – Tetoviranje. Tetoviranje, pak, ima dugačku i zanimljivu tradiciju u Japanu. Danas smo uglavnom svesni da su tetovaže u ovoj naciji doživljavane pre svega kao oznaka pripadnika organizovanog kriminala, sa jakuzama koje se još uvek često ukrašavaju ogromnim slikama zmajeva, šarana, tigrova, demona itd. a od kojih svaka ima jasno definisanu simboliku. Znamo i da ovo znači da u mnogim javnim kupatilima, kojih je Japan i dalje pun, pristup tetoviranim osobama nije dopušten što je često (metaforički!) hladan tuš za zapadnjake koji dolaze sa tetovažama što nemaju ovu vrstu simbolike i kulturnog bagaža.
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No, moramo biti svesni da je tetoviranje zapravo bilo van zakona skoro čitav vek i da je tek 1948. godine, pod američkom okupacionom administracijom zakonska zabrana ukinuta. Zabrana je bila uvedena početkom Meiđi obnove, krajem šezdesetih i početkom sedamdesetih godina devetnaestog veka, uz želju da se Japan svetu predstavi kao civilizovana nacija bez obeležja koja bi sugerisala zastarele tradicije i razmišljanja, mada je istina i da je ovo imalo represivnu komponentu suzbijanja autohtone kulture etničke grupe ainu, ali i okinavljanskih običaja gde su tetovaže prevashodno bile nešto što su nosile žene. Ljudi su i hapšeni, mada, kaže istorija, mnogo više na Okinavi nego u glavnom delu zemlje, a ako odemo još nekoliko stotina godina unazad, videćemo da je i tokom dela perioda šogunata tetoviranje bilo smatrano obeležjem kriminalaca – neki su bili tetovirani za kaznu – mada je bilo i vremena u kome se tetoviranje nižih društvenih slojeva suzbijalo a tetovaže su smatrane privilegijom vlastele. Ukidanje zabrane tetoviranja posle Drugog svetskog rata koincidiralo je i sa većim uvođenjem vodenih instalacija u japanskim kućama što je omogućavalo kupanje kod kuće za pripadnike srednje klase, kao i sa usponom novog talasa jakuza-filmova za koje su mnogi smatrali da, jelte, kvare omladinu, što opet znači da je tetoviranje ponelo stigmu direktne veze sa gangsterima i najnižim društvenim klasama, koje se praktično do danas nije oslobodilo.
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Utoliko, film iz 1966. godine koji ima reč tetoviranje u naslovu je već u startu morao biti pomalo kontroverzan, a Masumurin izbor predloška, a zatim njemu svojstven energičan, brutalan tretman su svakako kreirali jedan od važnih, upečatljivih filmova japanskog novog talasa.
Rekli smo već da je Masumura radio za veliki studio i da ga često preskaču kada se priča o uticajnim novotalasnim autorima, ali i da je u pitanju veoma potkovan režiser sa naobrazbom koji je dobio i u Italiji kod nekih ključnih autora ovog doba (Visconti, Fellini, Antonioni), pa je i Irezumi izuzetno pismeno i ubedljivo urađen film koji svoj svedeni, kratki književni predložak spretno pakuje u nešto manje od sat i po kvalitetne filmske akcije. Kao i drugi njegovi filmovi o kojima sam pisao, i Irezumi demonstrira jedan veoma izgrađen zanatski pristup, gde svaki kadar i svaka scena imaju promišljenu funkcionalnost i ulogu u kompletnoj priči, a tempo pripovedanja je ekonomičan, bez lutanja ili pretencioznog umetničarenja. S druge strane, Irezumi je bez sumnje i artistički film, drama u pravom smislu te reči, sa ljudima koji prolaze kroz prelomne momente svojih života – i koje mnogi od njih neće ni preživeti. Irezumi ima i komponentu horora, svakako, i ovo je film koji erotiku prikazuje odmereno i pažljivo, ali od nasilja se ni malo ne uzdržava, dajući nam nekoliko visceralnih scena, a da uprkos celoj svojoj postavci nema ni malo eksploatacijski ton. Onako kako je tri godine kasnije Masumura uspeo da u Blind Beast ispriča sadomazohistički erotski narativ a da mu podari visokokonceptualnu filozofsku dimenziju, tako i Irezumi svoju pripovest o transakcionom seksu i ubijanju stavlja u okvir višeslojne priče o ,,fatalnoj" ženi koja je, zaista, samo uterana u svoju ulogu od strane izrazito patrijarhalnog društva što žene nimalo prikriveno tretira kao svojinu.
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Otsuya je, naime, ćerka lokalnog zanatlije koji ima sopstvenu radionicu i trgovinu, te više zaposlenih radnika i na neki način to njoj daje oreol ,,elite" u ruralnom kraju gde se priča dešava. No, Otsuya shvata i da ovo za nju znači dogovoreni brak i doživotno robovanje muškarcima pa ona rešava da zavede jednog od očevih zaposlenih i sa njim pobegne u Kjoto. Njihov plan se raspada već posle nekoliko dana kada lokalni krčmar, koji im pruža privremeno pribežište i obećava da će izgladiti sve sa njihovim roditeljima i omogućiti im da se uzmu uz blagoslove, prvo izvrši seksualni napad na Otsuyu a onda je hladnokrvno proda lokalnom gazdi bordela koji od nje napravi gejšu. Ključni elementi ovog uvoda su to da je Otsuya neko ko od početka koristi svoju zavodljivost kao alat za probijanje kroz svet koji je prema njoj nastrojen sasvim neprijateljski, kao i to da je muškarci gledaju isključivo kroz taj njen seksualni identitet. Utoliko, ne samo da je ona predmet strasti, snishodljivo-obožavajuće ali i nasilne, već je i ovejani profesionalci tadašnje seks-industrije identifikuju kao ženu sa potencijalom da muškarce ,,proždire", odnosno da im zavrti glavu do te mere da će oni na nju potrošiti ogromne pare, opsednuti time da je osvoje, nikada do kraja uspešni u tome.
Ključni momenat u priči je onaj kada Otsuya dobija veliku tetovažu na leđima a koja predstavlja otrovnog pauka sa ženskim licem. Ova je tetovaža njoj nametnuta, odnosno, njen gazda plaća tatu-majstora da ovu tetovažu uradi praktično na silu – vidimo da protagonistkinja prolazi veoma bolnu proceduru kao i da je tokom jednog njenog dela protiv svoje volje opijena etrom – a simbolika je jasna: Otsuya treba da postane žena koja će muškarce trovati i proždirati, odnosno da se još više uskladi sa prirodom za koju joj se već kaže da je centralni deo njenog identiteta.
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Gledajući ovaj film skoro neposredno nakon što sam pogledao ovogodišnjeg kanskog pobednika, Titane (https://cvecezla.wordpress.com/2021/12/10/film-titane/), skoro da se neizbežno nameću paralele između dva dela. Iako pričamo o filovima koji prikazuju dve kulture na dva kraja sveta razdvojene sa skoro dva veka, a i sami filmovi su rađeni u razmaku dužem od pola veka, motiv žene koja je u patrijarhalnom društvu posmatrana pre svega kroz funkciju svoje seksualnosti snažno figuriše u obe priče. Dalje, obe protagonistkinje rade u seks-industriji, i mada je jedna od njih na to primorana a druga to radi nominalno od svoje volje, njihova percepcija ove svoje društvene uloge je upadljivo slična. Obe ovu svoju profesiju na kraju tretiraju kao nešto što im daje izvesnu društvenu moć u svetu u kome je žene nemaju i obe dalje to saznanje o moći kanališu kroz osvetničke činove gde se udarom na partikularne predstavnike toksičnog patrijarhata na neki način kažnjava čitav sistem.
Naravno, u Titane protagonistkinja ima mnogo nasumičniji pristup osveti ali je i njen pokušaj da umakne patrijarhatu dramatično komplikovan naučnofantastičnom trudnoćom koja ženu svodi na drugu njenu ,,osnovnu" funkciju u društvu. U Irezumi je Otsuya pre svega žena za zabavu i njena destruktivna angažovanja ,,protiv muškaraca" imaju formu ekonomske eksploatacije, emotivnog zlostavljanja, ucenjivanja i obmane.
Ovo je film Yasuzōa Masumure pa je jasno da će u njemu biti i visceralne akcije na granici horora. Na kraju krajeva, žena u njegovom centru je obeležena zastrašujućom tetovažom pauka na leđima i mada u filmu nema momenata trovanja, muškarci (ali i žene) oko nje padaju mrtvi sa predvidivom pravilnošću. Ovo uključuje sve, od njenog nesuđenog budućeg muža i ljubavnika čiju nesigurnost i slabašno javljanje etičkih dilema Otsuya otvoreno prezire, preko ljudi koji su je prodali u roblje, svog gazde od koga je kasnije otkupila slobodu prilježnim radom, pa do samog tatu-majstora.
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Ovo nije prikazano u patološkom ključu i Otsuya je ovde, bez obzira na izvestan stepen autonomije i ekonomske nezavisnosti koji dostiže kasnije u filmu, i dalje žena koja zavisi od muške volje i čija je najbolja strategija da još više izbrusi svoju sposobnost manipulisanja muškarcima ako želi da preživi, kamoli napreduje u životu. U tom smislu, njene laži, obmane i okretanje jednih muškaraca protiv drugih, bez obzira na njihovu ,,objektivnu" etičku neispravnost, film prikazuje i kao činove nužne samoodbrane. Masumura i Shindo nisu pravili puki horor film o zloj ženi koja uništava muškarce iz osvete – pravične ili nepravične – već slojevit narativ u kome se muškarci ponašaju onako kako misle da je prirodno i doslovno ženu tretiraju kao imovinu, dok žena, bez obzira što još od prvog kadra ona nikako nije moralno čista i ispravna heroina, zapravo vodi unapred izgubljenu bitku za slobodu. U krvavom, visceralnom finalu priče je upadljivo koliko muškarci koji čine najgore zamislive stvari (seksualno nasilje, ubistva, prevare) uspevaju da narativ izvitopere tako da izgleda kao da su oni tek žrtve okolnosti, sa sve tatu-majstorom koji samoj tetovaži pripisuje volju a kojoj on mora da se pokorava, te da je ono što on na kraju počini njegov pokušaj da zaustavi zlo koje je, eto, možda i nehotično sam kreirao.
Masumura film snima ekonomično, sa lepim studijskim setom ali i sa nekoliko finih scena koje se događaju na kiši ili snegu i koje odišu ,,prirodnom" energijom. Posebno sam bio zadovoljan kvalitetom Criterion Collection remastera ovog filma za UHD ekrane a gde je, recimo, noćna scena borbe dva muškarca po kiši i u blatu izvanredno upečatljiva sa veoma funkcionalnim osvetljenjem i korišćenjem elemenata da se svemu da nota naturalističkog. Da sam ovaj film gledao pre četrdeset godina, na televiziji, ova bi scena, najverovatnije, bila nerazaznatljiva muljavina mraka i bljeskova svetla.
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Naturalistički ton je ovde, takođe, veoma važan element priče. Irezumi jeste drama i njegovi likovi prolaze kroz i sasvim teatralne scene, ali one uspevaju da spoje određenu scensku artificijelnost sa zaista ubedljivom, prirodnom glumom i režijom. Recimo, scena kidnapovanja Otsuye je perfektna sa izvrsnim prikazom glavnog lika koji, bez obzira što je očigledno nemoćan i stavljen u podređen položaj, i dalje u nekom malom procentu pokazuje da u sebi razmišlja o tome kako da se iz ovoga izvuče i šta od svojih kapaciteta može da iskoristi da situaciju nekako preokrene. Filmu to daje dubinu i uspeva da ga spase i od eksploatacije ali i od pojednostavljene basne o dobru i zlu, čime je njegov prikaz žene u bezizlaznoj situaciji tokom celog svog života utoliko prirodniji i uverljiviji.
Setovi, kostimi i osvetljenje su, dakle, sjajni, ali Ayako Wakao u glavnoj ulozi je presudna za ubedljivost filma. Ova veteranka japanskog glumišta (danas, sa 88 godina i donedavno vrlo aktivna) započela je sa radom još ranih pedesetih i do 1966. godine naređala već veliki broj produkcija, a solidan broj ovih uloga je potencirao njenu lepotu i erotičnost (uključujući Afraid to Die). No, u Irezumi ona nije samo lepo lice sa velikim očima već zaista trodimenzionalna žena koja je u stanju ne samo da pokaže veliki broj emocija nego i da gledalac bude svestan kada neke od ovih emocija lik u filmu glumi. Svi ostali glumci su, da bude jasno, odlični, ali lik Otsuye mora da prikaže najveću dubinu i raspon – i erotičnu putenost, i žensku snagu, i autentičnu ranjivost, i nemilosrdnu manipulativnost – i Ayako Wakao ovo odrađuje fantastično.
Irezumi je perfektno snimljen film, sa Kazuom Miyagawom – direktorom fotografije na Rašomonu (https://cvecezla.wordpress.com/2020/06/22/film-rashomon/)– iza kamere i pouzdanim Hikaruom Hayashijem na muzičkim dužnostima (a koji je pisao skor i za recimo Onibabu (https://cvecezla.wordpress.com/2021/06/25/film-onibaba/), pa kasnije i za Blind Beast). Posebno, takođe treba istaći montažera Kanjija Suganumu, još jednog prekaljenog profesionalca koji uspeva da Masumurine ,,akcione" scene u ovom filmu, snimane iz više uglova i sa zapravo dosta teatralnom koreografijom – svo to ubadanje noževima i mahanje katanama – iseče tako da im se podari naturalistički, sirov ritam koji daje utisak ubedljivosti.
Pričamo, dakle, o izvrsnom filmu kojim je Masumura i najavio svoja interesovanja za istraživanje seksualnosti i perverzije, i jedan artistički prilaz narativima koji bi u rukama drugih autora neizbežno bili eksploatacija. Kratak, ekonomičan i izuzetno elegantan, ovo je samo jedan od tri filma koje je prolifični režiser potpisao 1966. godine, cementirajući svoju reputaciju studijskog čoveka koji je u stanju da sa skromnim sredstvima i jasnom vizijom napravi atraktivne, slojevite i memorabilne filmove. Irezumi je remek-delo kakva je Masumura naizgled bez napora pravio šezdesetih i vredi ga gledati i pola veka kasnije jer se, kao što vidimo, mnogo toga u međuvremenu nije dovoljno promenilo.
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Skrivena tvrđava, odnosno The Hidden Fortress (Kakushi toride no san akunin tj. Tri lupeža skrivene tvrđave) je neobično zapostavljen film u opusu Akire Kurosawe. Iako je u pitanju majstorski režirana istorijska drama* sa do tada neviđenim snimcima moćnih eksterijera prefekture Hjogo i planie Fudži, stotinama kostimiranih statista, upečatljivom muzikom i koreografijama, te nezaboravnim glumačkim radom nekolicine Kurosawinih uobičajenih asova ali i devojke u jednoj od glavnih uloga kojoj je ovo bio prvi film, iako se radi o hitu koji je zaradio lepe pare i zapravo istovremeno bio i najgledaniji film studija Toho 1958. godine (a četvrti u Japanu uopšte), te najuspešniji Kurosawin film do tog momenta (tri godine kasnije će ga sa trona skinuti Yojimbo), danas se ovaj film, ako se o njemu uopšte priča, doživljava kao relativno površan Kurosawin rad, komercijalni projekat koji je morao da uradi kako bi opravdao dva ,,artističkija" i svakako značajno manje komercijalna filma što ih je napravio pre toga (Ikimono no kiroku i Donzoko (https://cvecezla.wordpress.com/2020/07/20/film-na-dnu-aka-donzoko/)), ,,pravi" istorijski spektakl kakav je obećao sa Krvavim prestolom (https://cvecezla.wordpress.com/2020/07/13/film-krvavi-presto-aka-kumonosu-jo/) a koji je na kraju bio (pre)ozbiljno čitanje Šekspira kroz prizmu Noh teatra, i Skrivena tvrđava je skoro pa svedena na fusnotu u istoriji filma, a u kojoj piše da je ovo film koji je George Lucas pokrao kada je pravio prvi Star Wars.
*ili da li je? Mislim, drama. Majstorstvo se ne dovodi u pitanje.
Čak i George Lucas, intervjuisan za Criterion Collection izdanje Skrivene tvrđave (a koje sam upravo pogledao) priznaje da ga je The Hidden Fortress inspirisao ali da nikako ne spada u njemu omiljene Kurosawine filmove.
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Vredi, dakle, istaći: Skrivena tvrđava je IZVRSTAN film koji svoju dužinu od oko 140 minuta nosi sa velikom elegancijom pružajući gledaocu ne samo do tada vizuelno zaista najimpresivniji Kurosawin rad već i dovitljivu, duhovitu avanturu čija incijalna jednostavnost do kraja priče uspeva da isplati velike tantijeme u pogledu dubine karaktera likova koje gledalac prati i njihovih odnosa, ali i u pogledu kritike, kako one opšte usmerene na društvo i gledaoce u bioskopu, tako i one partikularne, usmerene na savremeni žanrovski film u Japanu.
Pretpostavljam da kritičari onog vremena naprosto nisu očekivali da Kurosawa snimi film koji je pre svega akciona komedija, on the road avantura sa družinom sasvim nekompatibilnih likova koji se uzajamno lažu i preveslaće jedni druge čim im se pruži prva prilika, te da im je finale u kome momenat patosa i karakternog preokreta u liku ključnog negativca okida pevanje pesme što smo je pola sata ranije videli u ekstravagantnoj plesnoj sceni Festivala vatre, delovalo kao suviše romantično, da ne kažemo cheesy, i neubedljivo. Dodatno, upućenost zapadnjačke publike i kritike u tradicije Noh teatra koje je Kurosawa i ovde, kao i u Krvavom prestolu, rado baštinio bila je na niskom nivou pa je sve to svakako proizvelo dosta konfuzije. Ali znate kome sve to nije smetalo? Pa, znate, naravno: Georgeu Lucasu.
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Nije neka novost, a to smo već i pominjali u nekim prethodnim pisanjima o japanskoj kinematografiji, da su se perjanice (ne samo Novog) Holivuda ozbiljno inspirisale savremenim japanskim filmom. Kurosawin veliki internacionalni hit bio je Sedam samuraja (o kome očigledno nisam stigao da pišem ove godine ali se spremam za narednu), epski ,,istočni vestern" iz 1954. godine, a koji će šest godina kasnije dobiti svoj holivudeki rimejk u formi Sturgesovog filma Sedam veličanstvenih. Čak je i Sergio Leone – ne baš holivudski autor, ali dovoljno mu blizak za naše potrebe – Kurosawin Yojimbo obradio u svom remek-delu nedavno repriziranom na RTS-u: Za šaku dolara. Martin Scorcese nije direktno ,,obrađivao" Kurosawu, ali jeste objavio ,,Kurosawa was my master" kada su ga 2009. godine pitali za uticaje.
Naprosto, Kurosawa je snimao filmove koji su imali gotovo perfektan spoj istočnjačkog patosa i holivudskog zanatskog rukopisa i bili su istovremeno prijemčivi za američku publiku a da su donosili taman toliko egzotike koliko im je bilo potrebno da odskoče i izdvoje se od druge ,,strane" ponude. George Lucas nije, da se razumemo, bio tek inspirisan Skrivenom tvrđavom. Njemu se ovaj film toliko dopao da je jedno vreme planirao da ulogu Obi-Wan Kenobija ponudi upravo Toshiru Mifuneu. Druge očigledne paralele između dva filma ubrajaju to da se sve događa na marginama velikog rata, sa likovima koji su intenzivno nevažni u kontekstu ,,velike slike" a na kraju odigraju presudne uloge, da u oba imamo drčnu, asertivnu princezu oko čijeg spasavanja se vrti veliki deo zapleta a da ona praktično manifestno beži od ,,damsel in distress" klišea, te da imamo kombinaciju komičnih likova i smrtno ozbiljnih akcionih scena snimljenih sa, pa, samurajskom preciznošću.
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Ključna sličnost, i ona koju Lucas možda najradije priznaje, je to da u oba filma pozadinu velike ratne priče koja lomi društva i tera narod u zbegove, sa političkim implikacijama koje će pogoditi čitave nacije, posmatramo kroz oči dva marginalna lika. Kod Lucasa ovo su dva droida koji su postali temelj merčandajsing strategije Lucasfilma tokom narednih nekoliko decenija i, kroz prikvele retkonovani da budu toliko stožerni likovi cele priče da nije preterano reći da je serijal Star Wars zapravo priča o C3PO i R2D2 a da se tu pojavljuje i nekoliko ljudi. Što je sjajan primer kako se kreacija na kraju otme kreatoru i zaživi svoj život – ne uvek u nekom umetnički najkorisnijem smislu. Kod Kurosawe su ovo, a ovo kažem kao osvdočeni obožavalac Star Wars mitosa, dva notabino dublja i zanimljivija lika iako ih obojicu pre svega karakteriše prostačka, nimalo plemenita – pohlepa.
Skrivena tvrđava je poslednji film koji je Kurosawa snimio za Toho, pre nego što je osnovao sopstvenu produkciji, ali prvi koji je snimio u Tohoscope tehnologiji, odgovoru studija Toho na američki Sinemaskop, a koju će ovaj režiser koristiti narednih desetak godina,*kreirajući takve hitove kao što su Yojimbo i Sanjuro. Snimljen velikim delom u ravnicama prefekture Hjogo i na obroncima planine Fudži, on jako privlači pažnju svojim upečatljivim širokougaonim kadrovima i postavljanjem kamere tako da dvojica likova preko kojih pratimo najveći deo priče deluju malo, nevažno i izgubljeno u negostoljubivim, tuđinskim predelima u koje su došli da ratuju. Lucasovi kadrovi Tatuine duguju, da tako kažemo, SVE Kurosawinom očiglednom uživanju u novom anamorfnom sočivu što ga je Kazuo Yamasaki, iskusni direktor fotografije kome će ovo biti pretposlednji film, koristio za snimanje. A da ne pominjem čuvene ,,wipe" tranzicije između scena koje je Kurosawa maltene patentirao a Lucas – i režiseri koji su kasnije radili na Star Wars filmovima – potpuno prekopirao. Sam Kurosawa se nikada posle ovog filma neće vratiti filmovima snimanim u standardnom aspektu, a neke stvari koje radi sa kadrovima u Tvrđavi pokazuju koliko je široki plan promenio njegovo razmišljanje o organizaciji kadrova i usmeravanju akcije u scenama. Kurosawa ovde vidno sebe sprečava u pravljenju rezova, dajući umesto toga kamermanu i glumcima da rade mnogo više nego što bi bilo potrebno u nekakvoj ,,standardnoj" chanbara produkciji. Srećom, imao je savršene glumce.
*dok u Japanu nije na kraju kao vladajući standard za widescreen filmove prihvaćen Panavision a prvi film snimljen u Japanu u ovoj tehnologiji bio je Goshin Goyokin o kome sam pisao ovde (https://cvecezla.wordpress.com/2021/08/20/film-goyokin/))
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Dvojica pomenutih likova su temelj ovog filma. Minoru Chikai i Kamatari Fujiwara su obojica igrali u prethodnoj Kurosawinoj produkciji, Donzoko, adaptaciji Maksima Gorkog, a gde su bili deo većeg ansambla bez pravog predvodnika. U ovom filmu Fujiwara i Chikai su srce cele priče, ali, u suprotnosti sa klasičnim period-drama filmovima, i njen zamajac, kreatori tempa i tona koji će film nositi, i mada do kraja i Skrivena tvrđava postane ansambl-film, Fujiwara i Chikai su način na koji se u priču ubrizgava sam gledalac, običan čovek, neko ko prisustvuje ogromnim istorijskim prevratima i surovim društvenim preokretima a na koje ne samo da ne može da utiče već, kad sranje lupi o fen, može samo da legne na zemlju, pokrije glavu i nada se da će ga sile-koje-drmaju ignorisati.
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No, Tahei i Matashichi, kako se ova dva lika zovu, nisu samo insertovana publika, niti SAMO komični predah, a na koji otpada dosta njihovog rada u ovoj priči. Oni su, da bude sasvim jasno, i sloj društvene kritike koju ovaj film nemilosrdno provlači između sve svoje komedije i mahanja kopljima i mačevima. Ovde je sasvim očigledno kako je u Holivudizaciji Kurosawinog predloška Lucas umekšao pristup materiji i svoje droide pretvorio u zaista primamljive modele za igračke što će biti prodavane milionima dece tokom narednih decenija.
Jer, iako Tahei i Matashichi na prvi pogled deluju vrlo slično C3PO i R2D2 ,,naslednicima", sa svojim non-stop prepirkama i potrebom da se sklanjaju od jakih ili, kad ne mogu da se sklone, da im se servilno ulizuju, njihove glavne karakteristike su mnogo ,,ljudskije". Na kraju krajeva oni nisu roboti i, onako kako roboti to ne mogu da budu, oni su ne samo siromašni i neobrazovani već su istovremeno na momente i agresivno glupi a onda i izrazito pohlepni. Jedna od prvih stvari koje saznajemo u filmu je da je u toku rat između nekoliko klanova – priča se događa u šesnaestom stoleću – a da su Tahei i Matashichi dva priprosta seljaka koja su u rat krenula kada je bilo jasno da se završava, kako bi ,,učestvovali" u trijumfu pobedničke strane, samo da bi ih po pristizanju u ratnu zonu pobednici tretirali kao ratne zarobljenike i gurnuli u prinudni rad koji se sastojao od kopanja grobova za mnoge poginule u poslednjim borbama koje su srušile klan Akizuki.
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Iako Tahei i Matashichi uspevaju da pobegnu i planiraju da se vrate kući – mada su sve iz svojih kuća rasprodali da se opreme za rat – Yamana klan ih ponovo hapsi i prinudno upošljava na traženju zlata za koje se veruje da je negde skriveno kada je princeza Juki pobegla nakon pada svog klana. Njih dvojica ponovo pobegnu ali kada shvate da je priča o zlatu stvarna i da se ono zbilja nalazi sakriveno negde u ratom razorenoj okolini, gramzivost im nadmašuje instinkt samoodržanja. Usput naleću na ćutljivog ali veoma autoritativnog neznanca za koga – pogrešno – veruju da je samo avanturista koji kao i oni traži zlato. Predstavljajući se kao Makabe Rokurōta, general poraženog Akizaki klana – na šta mu oni kažu da nisu baš pali s Marsa pa da mu veruju da se jedan samurajski general smuca unaokolo u gaćama i traži zlato po blatu – ovaj ih neznanac prirodno ,,regrutuje" da zajedno sa njim, ali zapravo radeći za njega, traže zlato u tvrđavi skrivenoj između okolnih brda...
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Skrivena tvrđava od samog početka ima ton komedije, sa Fujiwarom i Chikaijem koji su izrazito komički postavljeni likovi, čija su gestikulacija, izrazi lica, pokreti, položaj tela, hod, emotivni ispadi svi rađeni u veoma teatralnom, karikiranom ključu. Kurosawa je računao da dva praktično ista lika mogu da uzajamnom interakcijom donesu ne samo željenu količnu komike već i da posluže kao ilustracija koruptivnosti društva. Tahei i Matashichi su, na kraju krajeva, ,,obični" ljudi, sirotinja koja legitimno smatra da je zaslužila da joj se jednom sreća osmehne, kad je već jebe kogod prođe pored nje (skoro i doslovno, kako se kasnije vidi u jednoj sceni sa prodavanjem žena sa poražene teritorije), ali čija je snalažljivost i, uopšte, shvatanje načina na koji svet funkcioniše u jakoj disproprociji sa njihovim ambicijama. Njih dvojica su pokvareni, ali su i glupi i ovo je fino pogođen balans u kome će gledalac, ako je pošten, na kraju prepoznati sebe, ne kao zlo sa velikim Z koje svet uništava jer ima mračnu agendu već kao puko, malo, svakodnevno zlo koje je samo ishod koruptivnosti, potkupljivosti, verovanju u bajke radije nego u očiglednu stvarnost, precenjivanje svojih kapaciteta u uverenost da su i svi drugi pokvareni koliko i mi, sklonosti traženju prečica i linije manjeg otpora. Par zlatnih poluga kojima se mahne ispred očiju Taheiju i Matashichiju nije dovoljno da kupi njihovu lojalnost ali jeste dovoljno da im se na leđa natovare ogromne količine zlata skrivenih u cepanicama, koje će onda, mučeći se i radeći kao verovato nikada u životu, tegliti najveći deo filma, ubeđeni da će Rokurōta, kao sposobniji i snalažljiviji od njih, uspeti da im svima sačuva glave dok se ne dokopaju slobodne teritorije a da će oni onda njega nekako već prejebati i vratiti se kući sa zlatom koje je doslovno teže od njih samih.
Ovo je fina satirična komponenta filma i nekoliko scena pokazuje da Tahei i Matashichi nisu so zemlje i dobri ljudi kojima samo nikada nije pružena šansa, već ljudi koji će uvek verovati u verziju stvarnosti u kojoj neko nekog zajebe. Tako, mada su sasvim svesni da ih Rokurōta i laže i eksploatiše, ubeđeni su da je to zato što sa njima deli pohlepu prema zlatu, pa čak i kada u družinu stupi sama princeza Juki, oni i dalje veruju da je istina ono što im je Rokurōta rekao, kako je princezu sam odcinkario vlastima i da je ona juče pogubljena, a da je ova klinka koja sada sa njima putuje tek nekakva sirota – i nema – faćkalica koju je negde pokupio ne bi li je natenane trošio usput.
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Ovo je zaplet dostojan pravog sitkoma, no Kurosawa ovde radi zaista majstorski pažljivo razdvajajući slojeve filma. Dramski element sa generalom Rokurōtom i princezom Juki, njegovom požrtvovanošću i herojstvom i njenom svojeglavšću – na kraju krajeva ona ima samo 16 godina i nikada nije živela slobodan život, poznajući od rođenja samo rat – ali i nepatvorenom plemenitošću je izveden besprekorno. Misa Uehara koja je u vreme snimanja filma jedva prešla dvadesetu godinu – i ovo joj je bila prva uloga – je sjajna kao teatralna, odsečna princeza koja ne samo da pokazuje željeznu volju i odlučnost tokom teškog i neizvesnog bekstva ka solobodnoj teritoriji, već je i nepokolebljivo pravična i ne samo da emotivno proživljava momente u kojima se njeni saradnici žrtvuju kako bi ona imala šansu da preživi i obnovi klan (sjajni Kurosawin veteran Takashi Shimura ovde dobija jednu malu ali lepu ulogu) već i kada tokom jednog predaha u lokalnom gradiću vidi da tamo prodaju ženu sa teritorije poraženog Akizaki klana, kako bi služila za rad i plaćen seks, ona natera Rokurōtu da je otkupi, i to za novac koji je upravo dobio prodajući jednog konja, a što znači da mala družina sada neće imati dovoljno mišićne snage da prenese svo zlato.
Napori koje mala, ali zapravo sve veća što dalje ide, družina ulaže da stigne do granice i sačuva zlato do kraja su stavljeni na brojna iskušenja. Rokurōta je mozak ove ekipe i Toshiro Mifune nikada do tada nije delovao ovako moćno i impresivno. Obučen – doslovno – u gaće, prsluk i naglavke, njegov inkognito general je izvrsni strateg, promišljeni improvizator koji i u najneverovatnijim situacijama ne gubi glavu i nalazi neočekivane načine da sačuva svoje saradnike – prevashodno princezu – i zlato, ali i fantastičan borac. Kada na početku filma Tahei i Matashichi zaključe da on ne može biti samuraj jer nema mač, ovo je važan momenat, jer Rokurōta je borac koji će na protivnika nasrnuti goloruk i očas njegovo oružje preoteti za sebe. Kurosawa ovde režira jednu uzbudljivu jurnjavu na konjima, a odmah posle nje pažljivo koreografisani duel kopljima u neprijateljskom kampu koji je ritualan koliko je i visceralan (mada se ne proliva ni kap lrvi) i pored, očigledno, Georgea Lucasa, uticao je na generacije kreatora filmova i igara koji su svi nastojali da rekonstruišu njegovu vrhunsku dramatičnost i estetsku destruktivnost.
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Finale filma je možda najveće odstupanje od jidaigeki žanra, ali najpre zato što Kurosawa ne snima puku komediju sa mačevanjem (koga i nema TAKO mnogo) već jednu laku, zabavnu ali i sasvim ozbiljnu dekonstrukciju period-drama sa kojima se ovaj film isprva naizgled ,,samo" šegači. Kako smo na početku naglasili, japanski izvornik govori o ,,tri lupeža" i Rokurōta, bez obzira što je u pitanju plemeniti, požrtvovani samuraj koji nije ni trepnuo kada je rođenu sestru poslao u smrt predstavljajući je kao princezu, zapravo do kraja i sam u sebi prepoznaje lupešku prirodu. Laži koje koristi, svirep tretman kojem izlaže dvojicu priglupuh seljala, smrti koje je usput izazvao ili sam udelio, sve ovo kulminira u pomenutoj sceni borbe kopljima gde je na kraju njegovo rešenje za konflikt osvežavajuće originalno, pa na neki način i transgresivno, sa lomljenjem oružja radije nego protivnika. U poslednjem set pisu dobijamo odjek ove scene sa poraženim protivnikom koji je besan što mu nije oduzet život jer je umesto njega izgubio čast – nešto što bi trebalo da je važnije za jednog samuraja. Ali kada princeza Juki zapeva pesmu o životima koji se svi pretvaraju u pepeo na kraju i planeti koja pluta u ništavilu, naoko nihilistički stihovi, prvi put u filmu prikazani tokom festivala vatre uz ples i moćnu muziku, sada otpevani tipično Noh intonacijom, dobijaju kvalitet potvrde vrednosti života dok on traje. Poslednja akciona scena, sva u praktično neverovatnim potezima gde jedan čovek u beg nateruje desetine naoružanih vojnika je utoliko lepša baš jer je neverovatna, praktično bajkovita, ali je i ljudska humana, stigla na red nakon pesme koja resetuje prioritete i ljude nateruje u odbacivanje uloga koje su prihvatili a koje vode, vidimo, samo u dalje ratove i nesreće.
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Muzika je svakako važan deo ovog filma. Onako kako kamera orgija u širokim kadrovima i moćnim teksturama stenja i oštrih travnjaka, tako saundtrak Masarua Satôa farba crno-bele slike reskim zvukovima trščanih duvaljki i udarima dvrnih perkusija. Za razliku od vrlo stroge Noh estetike Krvavog prestola, Skrivena tvrđava ume da nagne više na Kabuki stranu i mada je Kurosawa insistirao da ga Kabuki ni malo ne zanima – jer je to ipak bila manje umetnička, ,,narodskija" forma pozorišta – i mada kraj filma sa svojim kostimima i praktično binom na kojoj se dešava (još jedan element koji će Lucas rado preuzeti) nesumnjivo baštini elemente Noh koreografije, muzike i kostimografije, ovde ima dovoljno Kabuki elemenata da se, pomalo šokantno, vratimo unazad kroz vreme do Kurosawinog filma Tora no O o Fumu Otokotachi (https://cvecezla.wordpress.com/2020/04/30/film-tora-no-o-o-fumu-otokotachi-ljudi-koji-su-isli-po-tigrovom-repu/), jeftine, na brzinu i za beskrajno malo novca urađene adaptacije popularnog Kabuki teksta a koja u svom središtu takođe ima priču o ljudima što beže kroz neprijateljsku teritoriju koristeći ,,social stealth" i ogromnu dozu drskosti radije nego klasične vojničke veštine. Ne mogu ovo da potvrdim ali imam utisak da su Kurosawa i saradnici na scenariju (all-star ekipa u sastavu Ryūzō Kikushima, Hideo Oguni i Shinobu Hashimoto) prilično pogledavali prema ovom filmu dok su pisali Tvrđavu. Da bude jasno, Kurosawa jeste više puta govorio o tome da bi voleo da napravi skuplji rimejk Tora no O o Fumu Otokotachi i izgleda da je sa ovim filmom napravio baš to, ne obaveštavajući o tome studio i dajući sebi puno slobode u teatarskim kompozicijama i kadriranjima koja nisu bila moguća u praktično ,,snimljenom pozorištu" kakav je bio taj stari film. U mnogim scenama kada dvojica ,,glavnih likova" nešto rade ili, često, samo padaju po nekoj padini, Mifune se pojavljuje na uzvisini, sa rukama na kukovima, postavljen kao polubožanstvo ili pevač koji ulazi na scenu u operi i kada grmne moćnim glasom pitajući dvojicu nesrećnika ŠTA TO RADITE IDIOTI, ovo su teatralni momenti u najprefinjenijoj filmskoj interpretaciji.
Skrivena tvrđava je obavezna lektira ne samo za svakog ko proučava Kurosawu – ili Georgea Lucasa – nego za svakog ko voli film. Donald Richie je, komentarišući film i podsećajući da je bilo nekako sumnjivo da Kurosawa radi ,,običnu" chanbara produkciju kakve Japan ispaljuje po par stotina godišnje, ukazao da je poenta bila upravo u tome. Kurosawa je spretno pronašao način da snimi autentični bioskopski hit sa kostimima, konjima, statistima, plesnim tačkama i mačevanjem, a da ga onda iznutra dekonstruiše bez zle namere ali sa jasnom agendom. ,,Kao da Bunjuel snima Masku Zoroa", kaže Richie i, zaista, ovo je Kurosawa koji je sa ogromnom sigurnošću upario ,,auteur" dimenziju svoje ličnosti, nesuđenog slikara, posvećenog literatu i filozofa, društvenog promatrača i kritičara, sa ljubiteljem pustolovne, zabavne kinematografije i snimio film koji čoveka na mnogo mesta nasmeje, za čije će likove navijati čak i dok shvata koliko su zapravo problematični, a gde će na kraju osetiti i kao da je malo, BAREM malo pročistio svoj duh i postao nešto bolja osoba. Pa valjda i to nešto vredi.
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Iskoristio sam praznike da na HBO-u pogledam film Monster Hunter (aka, jelte, Lovac na čudovišta) a koji je krajem 2020. godine ušao u bioskopsku pa potom, negde na proleće 2021. godine. i u kućnu distribuciju. S obzirom na sveopštu situaciju sa pandemijom i činjenicu na to ko je pravio ovaj film, podatak da se Monster Hunter zvanično vodi kao neuspeh koji je jedva uspeo da povrati tri četvrtine svog budžeta od šezdesetak miliona dolara, nije neko iznenađenje. I malo je i verovatno da bih se preterano trudio da sve to i pogledam samo da se ne radi o prvoj ekranizaciji jedne od mojih omiljenih video-igara ikad.
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O igrama iz Monster Hunter serijala sam pisao mnogo puta u prošlosti, uključujući i štampane medije u vreme kada su postojali, a najnovija iteracija, Monster Hunter Rise (https://cvecezla.wordpress.com/2021/01/14/video-igre-monster-hunter-rise-demo/) mi je i najigranija i najbolja igra 2021. godine. Capcomova franšiza se za ovih sedamnaest-osamnaest godina postojanja razvila u distinktnu, a skoro idealnu, kombinaciju žanrova kombinujući visoku fantastiku sa slepstik humorom, dobrohotnu estetiku i atmosferu sa nekim od najstrašnijih čudovišta protiv kojih ste se ikada borili u igrama, akcionu mehaniku i RPG metodičnost, sakupljanje materijala, kreiranje, kombinovanje i dizajniranje opreme, naoko beskonačnu petlju ubijanja sve težih čudovišta kako biste od njihovih tkiva i organa napravili bolju opremu da ulovite još teža čudovišta...
Iako je u okviru Capcomovog kataloga Monster Hunter još od druge polovine prve decenije ovog veka bio sasvim pristojno popularan u Japanu, ne samo da mu je trebalo MNOGO godina da zaista osvoji zapadni svet, već se i ovaj serijal nije mogao meriti sa uspesima drugih Capcomovih franšiza poput krunisanog vladara Resident Evil, ali i Street Fighter pa i Devil May Cry. No, proverbijalni stolovi su se okrenuli i sa Monster Hunter World iz 2018. godine je ovaj serijal postao veliki hit i na zapadu, preuzeo dominaciju u okviru Capcomovog kataloga, a povrh sveha dokazao da je na neki način osnovni igrački lup ovih igara bio ispred svog vremena i anticipirao trenutnu fiksaciju industrije na ,,beskonačne" igre u kojima se igrači stalno vraćaju u ista okruženja da tamo sami ili, radije, u društvu, obavljaju nove zadatke, skupljaju nove materijale i rade, korak po korak, ka ostvarenju nekih ciljeva koji nisu nužno vezani za NARATIV.
Igre-kao-usluga su poslednjih nekoliko godina apsolutni sveti gral velikih izdavačkih kuća, način da igrače ,,zarobite" unutar svog ekosistema i pružite im mnogo prilika da potroše u njemu novac, radije nego da se zaustave na tradicionalnom modelu kupovine same igre čime su svoj potrošački zadatak obavili i dalje se igraju ,,besplatno". No, diferencija specifika Monster Huntera je u tome da je Capcom u slučaju ovog serijala izbegao stalno prosjačenje sitniša od igrača putem mikrotransakcija i podrazumevao da će nove stvari unutar sveta igre oni dobiti pre svega na osnovu svog intrinzičnog rada a ne serijskim hvatanjem za kreditne kartice. Otud su Monster Hunter World i Monster Hunter Rise primeri ,,dobrog" igre-kao-usluga modela, gde autori igre delaju u dobroj veri i računaju na povoljan ,,narodni" marketing od strane zadovoljnih igrača.
(https://i.imgur.com/qV23of4.jpg)
Sve ovo sam napisao da bi bilo jasno ne samo zašto volim Monster Hunter – ovo su igre sa jako raznovrsnim sadržajem, jako visokim plafonom u domenu razvoja veština kod igrača, ali i srećno odmerenom kooperativnom komponentom – već i zašto je kreiranje filma zasnovanog na ovom propertiju zapravo mnogo manje logičan razvoj za franšizu nego što bi se reklo na osnovu njene popularnosti.
Naime, Monster Hunter ima mnogo toga – simpatične arhetipske likove, impresivna čudovišta, živ, vibrantan svet – ali ono što decidno od samog početka nema je jasan i interesantan dramski zaplet. ,,Priča" doslovno svake Monster Hunter igre svodi se na to da je igrač lovac-početnik u selu okruženom divljim, bogatim ekosistemima punim sitne i krupne flore i faune, i da on sledećih stotinak ili dvestotinak sati provodi ubijajući sve redom, idući naviše uz lanac ishrane, koristeći kožu čudovišta za nove, jače oklope, njihove kandže i žlezde koje luče otrov (ili, jelte, plamen) za bolje i ubojitije oružje kako bi na kraju bio u stanju da ubija i zmajeve veličine luksuzne jahte koji bljuju vatru i zamahom repa mogu da ga oduvaju u susedni srez. U ovim igrama nema stvarnih likova sa unutrašnjim životom ili ikakvim životom sem odlazaka u lov, nema interesantnih dijaloga, moralnih dilema ili iznenadnih promena prioriteta kod glavnog junaka – njihova poenta je igranje a ne pričanje priče.
(https://i.imgur.com/scPOgqh.jpg)
Ali tamo gde vi vidite nesavladivu prepreku u prevođenju takvog propertija u neinteraktivan, tradicionalno na narativima i likovima baziran medij, Paul W. S. Anderson vidi budžet od šezdeset miliona dolara i Milu Jovović obučenu u kožu odranih čudovišta. Anderson je, mnogi će reći, čovek skromne umetničke ekspertize, večno osuđen na pravljenje direct-to-video smeća koje nikada neće omirisati crveni tepih kanske Kroazete niti na roten tomejtosu videti viši skor od 50, ali Anderson već više od četvrt veka pravi filmove bazirane na video-igrama koji uspešno žive svoj sopstveni život. Ovaj čovek nije VELIKI režiser, ali je pouzdani profesionalac koji tačno zna dokle sme da se protegne i uz koga je, na kraju krajeva, Mila Jovović pronašla ne samo bračnu sreću već i način da evo već skoro dvadeset godina živi život akcione heroine koji joj, očigledno, prija.
Možda će delovati kontraintuitivno, ali ono što najviše cenim kod Andersona je to da čovek NEMA ambicije da pravi filmove koji će publici obećavati nekakve ,,više" sadržaje. U savremenoj popularnoj kulturi ,,lore" je sveta reč, nešto zbog čega su priče koje jedva da imaju materijala da izguraju dvosatni film postale televizijske serije od pet sezona a video igre su zatrpane tekstom u količinama kakve biste, da ste ozbiljna osoba, pročitali tokom pripreme doktorske disertacije. Sve je povezano, sve je referenca na nešto drugo, svaki lik ima istoriju,da ne pominjem istoriju sa drugim likovima, jedan zaplet je ODLIČNA stvar ali je još bolje ako vaš narativ ima bar 3-4 zapleta koji se prate paralelno itd. itd. itd.
Ovakav pristup ne samo filmu, televiziji i igrama već i savremenoj žanrovskoj literaturi i stripu je svakako zaslužan što se sve više osećam izopštenim iz modernog sveta ne samo na ime hroničnog pomanjkanja vremena potrebnog da se sve to isprati* već i na ime toga da imam očigledno sasvim staromodno shvatanje toga kako treba prioritizovati zaplet u pripovedanju i kada su podzapleti i tangente opravdani a kada ih valja izbegavati.
*nije preterano iznenađujuće da se paralelno razvila čitava mala industrija podkasta i Jutjub videa koji analiziraju, objašnjavaju i sažimaju ,,lore"
(https://i.imgur.com/DYWvbIR.jpg)
Utoliko, Anderson je neko koga ne mgu da ne cenim jer njegovi filmovi naprosto preziru dodatni rad koji je potrebno uložiti u ,,lore", u reference i povezivanja, aluzije i semenke podzapleta koje će se rascvetati tek mnogo sati kasnije. Anderson je, da bude sasvim jasno, čovek koji zna koliko mu žena izgleda dobro dok u kožnoj odeći kliza na kolenima i puca iz dva pištolja u slou moušnu i shvata da nikakva superstruktura ,,lorea" neće ove scene učiniti boljim, ma koliko rada u njih ulagali.
Otud su Andersonovi filmovi rađeni po motivima igara Resident Evil ne samo – kontraintuitivno ali ultimativno mudro – imali sa igrama samo najpovršnije veze, bežeći od poznatih likova i elemenata zapleta, već su i unutar samog filmskog serijala bili povezani sasvim labavo, bez ikakvih ambicija da element zapleta iz drugog filma razviju u neakakav majndblouing pančlajn u četvrtom. Njegovi Resident Evil filmovi bili su prosto jeftine, sirove porcije zombi-akcije i mada se meni čak i nisu naročito dopadali, zaradili su dovoljno novca i dobre volje u publici da Capcom na kraju Andersonu poveri i svoj trenutno najpopularniji IP – Monster Hunter.
Ovaj film je, najprirodnije moguće, došao kao korpodukcija američkih, japanskih i kineskih studija a Anderson je, svojstveno sebi, napravio tipično jednostavan scenario u kome je uspeo da odvoji bitno od nebitnog, ,,lore dumpove" sačuva za do pred sam kraj a pre svega se fokusira na jasnu, i jasno motivisanu akciju koja će uspeti da inkorporira i delić filozofije samih igara.
Da odmah bude jasno, ovo nije sjajan film, ali da jednako bude jasno – onaj ko od Andersona očekuje ,,sjajne" filmove, pa još bazirane na predlošku koji praktično nema priču i likove, taj je neoprostivo naivna osoba. Monster Hunter, kao film, gledate da biste videli kako se Mila Jovović i Tony Jaa bore protiv CGI čudovišta koja poznajete iz igara i sva ambicija preko toga da uživate u Tonyjevoj borilačkoj ekspertizi, Milinom no-nonsense stavu i besnom Diablosu koji ih stalno vreba ispod peska je naprosto protraćena na ovo.
Anderson film smešta u ,,isekai" podžanr – ono što u japanskoj popularnoj kulturi označava ulazak protagonista iz ,,našeg" sveta u fantazijski svet. Ovo je izazvalo malu kontroverzu u najavama za film jer američki rendžeri za mitraljezima kalibra 12 milimetara u trejlerima decidno nisu nešto na šta igrač pomisli kada govori o Monster Hunteru. No, film uspeva da ekspresno očisti zaplet od ,,modernih" elemenata i ostavi Artemis, lik Jovovićeve, kao insertovanog gledaoca u nepoznati svet kojim haraju neverovatni monstrumi i gde će gledalac, zajedno sa protagonistkinjom otkrivati njegova pravila.
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U tome će pomoći Tony Jaa, a koji igra lokalnog lovca što ga na početku filma vidimo u brodu koji plovi po pesku (kao u Monster Hunter 4) od čije posade biva nasilno odvojen napadom Diablosa. Jaa je sada negde usred pustinje, kao i Mila Jovović, i njih dvoje, isprva jedno prema drugom nepoverljivi, moraju da pronađu način da savladaju krvožedno čudovište veličine rukometnog igrališta, ako žele da se ikada dokopaju drugog kraja ovog mora peska. Jovovićeva želi da se vrati u svoj svet, Jaa da pronađe svoje drugove i nastavi potragu za načinom da svoj svet učini bezbednijim, a to što njih dvoje ne pričaju isti jezik ne sprečava ih da rade zajedno, pa i efikasno.
Anderson ovde pravi neke smele, ali efektne odluke pa je početak filma iznenađujuće brutalno čišćenje kasta od ,,suvišnih" likova sa demonstracijom da su ,,obična" oružja koja američki rendžeri koriste, ma koliko ubojita bila, nedovoljna za orijaškog Diablosa, ali i za podmukle, arhanidske Nerscylle. Ovaj deo priče režiran je u praktično horor ključu sa sve scenom koja je jasna referenca na ,,Alien" trop gde mali arahnidi izlaze iz tela još uvek živog ljudskog bića da bi krenula da se njime hrane, da bi film potom prešao u praktično ,,Enemy Mine" format, prikazujući Jaaa i Jovovićevu kako od neprijatelja koji jedno drugo bacaju u okove postaju prvo nevoljni a zatim i vrlo lepo sinhronizovani saradnici.
Ovo je potencijalno najproblematičniji deo filma jer posle uvoda koji se bazira pre svega na akciji i anihilaciji američkih vojnika što svi ispaljuju klasične onelinere, dobijamo srazmerno sporiji i na likovima bazirani srednji čin gde dvoje ne sasvim profesionalnih glumaca* moraju da prikažu postepen i ubedljiv preokret u svom međusobnom odnosu i od nepoverljivih, pomalo očajnih samotnjaka, postanu harmoničan tim.
*ona manekenka koja je postala glumica, on majstor muj taija, koji je postao glumac i režiser
Ali znate šta – oboje su dovoljno harizmatični da ovo prođe bez previše muke. Pomaže što Anderson poziva u pomoć logiku video igara na kojima je film baziran, pokazujući princip da materijal prikupljen od manjih čudovišta drži u sebi ključ za poražavanje većeg, i ovaj centralni motiv se drži dovoljno dobro da protagonisti oko njega izgrade plauzibilnu saradnju. U i inače vratolomno brzo izmonitranom filmu, ovde dobijamo i montažne-sekvence koje još više komprimuju pripovedanje i dovode nas do željenih scena monstruozne (!!) akcije u finalu bez puno oklevanja i smaranja.
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Ovo je svakako i posledica činjenice da je Anderson ovde radio sa budžetom od 60 miliona dolara i zapravo mogao da priušti atraktivne scene na početku i na kraju, bez potrebe da srednji, ,,karakterni" čin filma produžuje duže nego što Jaa i Jovovićeva imaju goriva da ga izguraju. Ovako smo dobili nekoliko šarmatnih lingvističkih gegova, nekoliko momenata nešto jednostavnije ,,low key" akcije i solidnu pripremu za finale.
Ono gde finale svakako popušta je u tom uvođenju ,,lorea", sa sve Ronom Perlmanom koji, kako neko reče, izgleda kao kombinacija Marvelovog Sabretootha i Square-Enixovog Cloud Strifea, i služi da izrecituje ne samo ,,lore" nego i predložak za nastavak filma, ali ono gde finale NE razočarava je u pogledu akcije.
Ako sam nedavno imao dosta primedbi (https://cvecezla.wordpress.com/2021/12/17/film-godzilla-vs-kong/) na to koliko je u Godzilla vs. Kong trebalo da izdržimo podzapleta i smaranja sa nebitnim likovima da dođemo do blagoslovene finalne three-way šorke u Hong Kongu, onda je Monster Hunter primer kako ove stvari treba raditi. Uvod za film daje krvavu, visceralnu i dobro režiranu akciju gde svaki od likova (uključujući kralja Dirty South repa, T.I.-ja) ima svoju jasnu ulogu i slavan silazak sa scene, sredina filma je fokusirana na likove dvoje lovaca sa dva sveta koji uče da postanu tim i ovo je vitko, efikasno i bez smaranja sa njihovim istorijama, nekakvim flešbekovima ili nedajbože ubacivanja kojekakvih podzapleta. Onda kad stigne kraj dobijamo 15-20 minuta urbenesne akcije sa bljuvanjem vatre, eksplozijama, mačevima veličine daske za surf i pošteno, časno kadriranim scenama koje se manje pozivaju na nasleđe same igre, a više su tu da pokažu ono najbolje što tim za specijalne efekte ovog filma može da ponudi.
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Ovo je svakako Andersonov coup de grace i podsećanje da kad hoće i ima budžet, on apsolutno ume da režira atraktivnu akciju. A moglo je da bude drugačije – jedna scena nešto pre sredine filma u kojoj se Jovovićeva i Jaa bore jedno protiv drugog je sva u tipično zapadnjačkim brzim rezovima, gde se Jaaova borilačka ekspertiza mora praktično sakrivati pred korektnom ali ipak značajno manje zanimljivom koreografijom koju može da izvede Milina dublerka i ovo je podsećanje na to koliko je žalosno što zapadne produkcije nastavljaju da kastuju verovatno najboljeg savremenog filmskog borca samo da bi ga stavljale u uloge u kojima on nema prostor da pokaže zašto je najbolji.
No, Jaa makar blista kao glumac, onoliko koliko treba da glumi, prenaglašeno i karikirano, pa je njegov duševni, ,,prirodni", praktično poludivljak sasvim dobar kontrast tvrdom military stavu Jovovićeve koja i sama ima prostora da se legitimno zapanji svetom u kome se našla i da ima momente straha i dvoumljenja iz kojih će ipak izaći snagom volje i odlučnošću.
Kada se njih dvoje spoje u urnebesom finalu, ovo je sasvim pristojan money shot kakav smo jedino i želeli od filma što ga je koproducirao i japanski Toho.
Monster Hunter, dakle, nije sjajan film, ali je film koji se gleda lako, a ako ste ljubitelj serijala igara na kom je zasnovan, daje taman dovoljno fan servicea da budete zadovoljni. Čudovišta su ovde, bez ikakve sumnje, prikazana kao zastrašujući behemoti kakve pamtimo iz igara a koja ljudi, uz mnogo smelosti i puno snalažljivosti, na kraju uspevaju da savladaju i iskoriste da svoju zajednicu ojačaju. Utoliko, Diablos na početku i Rathalos na kraju više nego zadovoljavaju glad ljubitelja igračkog serijala pružajući mu onu vrstu spektakla koji i sam oseća kada se u igrama sa njima suočava. Za ostalu publiku Monster Hunter će biti tek još jedan monster movie, ali blagosloveno lišen podzapleta i drugih stvari koje odvlače pažnju i troše vreme. Sa jedva 98 minuta trajanja, ovo je taman dobro pogođena trešerska zabava za trešersku publiku koja podseća da to što volimo treš ne znači da još treba da nam ga pune kojekakvim filerom. Anderson, na kraju, servira krtinu – nezdravu i sasvim moguće toksičnu – ali dovoljno kompetentno napravljenu da se lako zguta. Pa, eto, zgutajte.
(https://i.imgur.com/vWpWBLv.jpg)
Pogledao sam niskobudžetni japanski akcijaš Hydra iz 2019. godine a koji je tek tokom prošle godine postao dostupan angolofonoj publici u Engleskom prevodu i koji se zato pojavio na nekim godišnjim listama severnoameričkih ljubitelja akcije*. U pitanju je naglašeno svedena produkcija u vrlo časnoj direct to video tradiciji ali i jedan od najboljih primera kako svedenost i nizak budžet mogu da fokusiraju autore tako da se u konačnici dobije iznenađujuće vitalan, šarmantan film čije će se akcione scene dugo prepričavati (i šerovati po tviteru) među ljubiteljima borbe i akcije.
*Nemci su ga, pak, gledali isto kad i Japanci...
(https://i.imgur.com/xMUhgok.png)
U Japanu je akcioni film trenutno na relatino niskim granama i velike produkcije nisu voljne da investiraju u ,,čiste" akcijaše ako oni nemaju naglašenu samurajsku ili jakuza dimenziju. Čak i Takashi Miike radi sa relativno malim budžetima a i on se velikim delom prihvata ekranizacija anime predložaka kako bi bio u stanju da izgura svoje akcione ekstravagance. Utoliko, Hydra je maltene anomalija jer se radi o ,,običnom" akcionom filmu sa kriminalističkim zapletom ali bez aluzija na jakuze i generalnu operetsku dimenziju organizovanog kriminala u japanskoj popularnoj kulturi. Ali on je anomalija i po nekoliko drugih osnova, što mu obezbeđuje poseban karakter i identitet na savremenoj japanskoj sceni.
Ovaj film predstavlja režiserski debi čoveka po imenu Kensuke Sonomura, iskusnog profesionalca u japanskoj industriji čija se ekspertiza prevashodno odnosi na koordinaciju kaskadera i borilačku koreografiju. Sonomura je, možda slično zapadnim primerima prelaska uspešnih kaskadera u uspešne režisere (gde su David Leitch i Sam Hargrave verovatno najpoznatiji savremenom gledaocu), kreirao film sa izraženom akcionom dimenzijom, vraćajući na neki način ono ,,ljudsko" u žanrovski film kojim sve više, bez obzira na nivo produkcije, dominiraju digitalni efekti i CGI. Hydra je svakako pravi primer kako apsolutno ništa ne može da zameni rad pravih, živih ljudi ispred kamere, pogotov kada su u pitanju apsurdno utrenirani borci koji izvode kompleksne i zapravo sasvim realistične koreografije. Ovaj film nema mnogo borbe – ali ni samog filma nema mnogo, pričamo o svega 74 minuta trajanja sa sve špicom – ali je ta borba urađena i ,,realno" i sasvim brutalno, veoma ,,stilski" ali bez žanrovskih stilizacija i tropa, sa pažnjom za detalje kakvu očekujete od ljudi čija karijera počiva prevashodno na dobijanju – i davanju – grdnih ubedljivih batina a da opet sutradan dođete na isto radno mesto i sve krenete iz početka.
(https://i.imgur.com/P9zkYMG.png)
Sonomura je radio na nekim važnim akcionim filmovima iz poslednjih nekoliko godina, radeći kaskaderske koordinacije i koreografije i za velike produkcije kao što je bio Kingdom, ali i za televizijske serije poput Nowhere Man, pa i za video igre (notabilno rimejk Resident Evil 3 (https://cvecezla.wordpress.com/2020/11/25/video-igre-resident-evil-3-remake/)) a u vezi sa njegovim autorskim debijem najzanimljivije je to kako on ekstravagantnu akciju spaja sa elementima sasvim drugih žanrova, kreirajući jednu iznenađujuće ubedljivu, jeftinu ali jednostavnu priču koja zapravo počiva na svežim i šarmantnim likovima.
Druga zanimljiva stvar je koliko je Sonomura zapravo vizuelno pismen. Ovde ne pričam o akcionim scenama za koje očekujete da budu dobro koreografisane, već o jako efikasnom pripovedanju kakvo nisam očekivao. Ovako niskobudžetni filmovi generalno se rade na malom broju lokacija i bez mnogo originalne scenografije i Hydra nije izuzetak, ali Sonomura uspeva da vrlo autoritativno promeni i ton, pa praktično i žanr filma između uvoda i početka glavnog zapleta, dajući nam dve različite i upečatljive estetike.
(https://i.imgur.com/WVktlc9.png)
Početak je, tako, praktično miikeovski, sa serijom scena sasvim bez dijaloga koje isključivo vizuelnim jezikom prikazuju hladnu, metodičnu asasinaciju i uklanjanje dokaza o ubistvu. Sonomura ovde ekstremno sigurno kreira izrazito ,,stajliš" i ,,kul" uvod, koristeći boje ali i kadriranje, pa i izgled jednog od glumaca da aludira na trope manga estetike, samo da bi smo se, kada prođe uvodna špica i film se smesti unutar malog tokijskog bara po imenu Hydra, odjednom obreli u drugom žanru. Zgode zaposlenih u baru Hydra su režirane kao maltene omladinska komedija, sa šarmantnom vlasnicom, interesantnim gostima, šeretskim konobarom koji voli da flertuje i da malko i podjebava starije od sebe ali mu je srce na pravom mestu, i, konačno, sa kuvarom Takashijem koji priča vrlo malo ali čije je oko za detalje toliko izvežbano da jedna od gošći za njega govori da je ,,ESPer".
Takashi je, naravno, pravi protagonist ovog filma, što se vidi već i iz toga da ga igra Masanori Mimoto, vredni majstor borilačkih veština, kaskader i glumac koji se iskazao u mnogo filmova i videoigara, uključujući Death Note, Alien vs. Ninja, Metal Gear Survive, te u Miikeovim Ninja Apocalypse i First Love (https://cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/).
Anomalije koje sam gore pominjao vidne su u tome kako Sonomura vodi priču i mada je Mimotov Takashi tipično ćutljivi, asketski, martirski heroj filma – pogotovo sa vrlo izlizanim zapletom koji podrazumeva da je u pitanju penzionisani ubica što mora da se vrati zanatu kada oni bliski njemu bivaju ugroženi – ostatak ansambla je neočekivano vibrantan i u mnogome doprinosi energičnosti srednjeg dela filma. Miu u ulozi mlade vlasnice bara, Rine, i Tasuku Nagase kao konobar Kenta daju filmu vrlo lepo uzemljenje i mada Hydra, tipično, nema mnogo prostora da prikaže grad u kome se sve dešava i društvo u kome se, jelte, događaju mračne stvari u koje će se naši junaci uplesti, životnost i ubedljivost ovog ansambla oživljava priču i izdiže je iznad tipičnog DTV rada.
(https://i.imgur.com/ZltAKNw.png)
Ovo jeste značajno jer film, na planu samog zapleta, nema bogznačime da se pohvali. Dosta uobičajeno za japanske žanrovske radove, scenario koji potpisuje Jiro Kaneko bavi se, praktično, sukobom dve suprotstavljene ekipe profesionalnih ubica, od kojih jedna ima moralni imperativ u onome što radi, pokušavajući da društvo očisti od najštetnijih elemenata, dok je druga motivisana pre svega pohlepom i profitom. Vrlo kratko trajanje filma ne dopušta da se ovi motivi nešto posebno razrade i oni su prevashodno iskorišćeni da se definišu odnosi glavnih likova i Takashiju podari motivacija da pređe u akciju onda kada je to potrebno u spektakularnom finalu. No, ovo zapravo ne predstavlja smetnju uživljavanju gledaoca u konflikt jer na svaku flešbek scenu koja daje potrebnu ekspoziciju i snimljena je u niskobudžetnom trilerskom ključu čestom kod DTV produkcija, na svaku Takashijevu nemu scenu introspekcije i tihe patnje, dobijamo živahne i ubedljive scene prijatnog, zanimljivog ansambla, pa i sukob sa ,,negativcem" koji nije ,,glavni" u ovom filmu i koji, ponovo, pruža neku vrstu uzemljenja u zajednici što humanizuje ovu priču.
(https://i.imgur.com/7Stmn82.png)
Konačna anomalija ovog filma odnosi se na režiju i koreografiju akcije i ovo je mesto na kome Hydra impresivno ruši očekivanja. Kako sam već negde ranije pisao, iako to nije apsolutno pravilo, japanska akciona koreografija i režija su prevashodno bazirane na samurajskim tropima a gde je jedan kontakt između protivnika uglavnom ono što rešava borbu. Koreografije ,,mačevanja" ili ,,pesničenja" su srazmerno retke u japanskim akcionim scenama i ovo je, na kraju krajeva, u skladu sa filozofijom u temelju borilačkih veština kao što su karate ili kendo gde se smatra da jedan, perfektno izveden udarac završava sukob.
Sonomura, očigledno, nije neko ko se moli na istom oltaru i, uostalom, Mimoto je kao glumac i kaskader radio i nekoliko hongkonških produkcija, a i Sonomura je radio sa Johnom Wooom na Manhunt pa je koreografija koju njih dvojica pripremaju zajedno sa Naohirom Kawamotom (koji igra i glavnog ,,neprijateljskog" borca) mnogo više u ključu atraktivne, brze hongkonške akcije nego japanskih statičnijih kadrova.
(https://i.imgur.com/efBDbn8.png)
Ključni element atraktivnosti ove koreografije – koju vidimo u dve poduže scene borbi jedan-na-jedan – je brzina a koja počiva na fantastičnoj tehnici i disciplini boraca koji razmenjuju napade, finte i blokade tako munjevito da sam video nekoliko američkih prikaza filma čiji su autori osećali da je važno da se naglasi da film nije sniman usporeno kako bi se brzina pokreta ubrzala kada bude pušten normalnom brzinom. Naprosto, ovi ljudi su ZAISTA ovako brzi a način na koji se bore deluje realistično, bez ,,žanrovskih" preterivanja, sa jasnim taktikama, psihološkim igrama i odlučivanjima u deliću sekunde. Takođe, vrlo bitno, iako režija ovih borbi podrazumeva česte rezove, one su na sasvim drugoj strani od ,,američke" muljavine i utisak da gledate jednu neprekinutu scenu borbe koja traje nekoliko minuta u stvarom životu ne biva narušen.
Sonomura vodi ove borbe pažljivo varirajući tempo i u drugoj – koja traje puna četiri minuta – dopušta sebi par slo-mo kadrova kao akcente unutar zaslepljujuće brzih razmena, dajući nam lo-budget kompresiju onoga što smo voleli u Raciji 1 i 2 i završavajući akciju impresivnim uključivanjem MMA elemenata rvanja, poluga i borbe u parteru kakve retko viđamo i u hongkonškim filmovima (iako se Donnie Yen povremeno ovoga prihvata) a koji su ovde odrađeni perfektno i sa izvrsnim dovođenjem filma do moćnog pančlajna.
Hydra je u svakom pogledu mali film ali, ako volite brizantnu, brutalnu akciju a koju uokviruje iznenađujuće prijatna ,,ljudska" drama sa elementima dobrohotne omladinske drame, on isporučuje savršen program. Nadam se da će Sonomura imati još prilike da režira – sa nešto većim budžetom, možda – jer je ovim filmom pokazao sigurnost i čistotu vizije koje ne treba ignorisati.
(https://i.imgur.com/gtzIrlo.png)
Jigokumon (Vrata pakla)
https://www.imdb.com/title/tt0045935/
Ako nisi gledao ovaj film preporučio bih ti pošto voliš japance.
Hvala Pink Classicu što mi je omogućio da odgledam ovo ostvarenje.
Da, trebalo bi to obnoviti, hvala Truki. Sećam se filma otkada sam bio dete ali ničega u vezi sa njim. No, ima vremena, ovog Petka sledi prikaz aktuelnog Netflixovog hita, sledeće jedan klasični japanski novotalasni rad, pa možda posle toga. :|
Jedna od stvari koje su me izuzetno odobrovoljile na početku gledanja ovosezonskog Netflixovog hita, Don't Look Up bilo je ime Davida Sirote na špici u ulozi jednog od autora priče. Drugo je bilo kada je Jennifer Lawrence započela film odsutnim repovanjem stare srpske himne, Wu-Tang Clan Ain't Nuthing ta Fuck Wit, izgravajući doktorandkinju koja sedi za skupom astronomskom opremom i posmatra eksplozije supernova daleko u svemiru. Treće je bilo kada sam posle petnaestak minuta sa olakšanjem shvatio da je Don't Look Up prevashodno satirična komedija a ne nekakav ozbiljni i dramski ambiciozni pokušaj da se spoje stroga naučna fantastika i upozoravajući narativ o klimatskim promenama koje ceo svet ignoriše sve dok mu se ne sruče na glavu.
(https://i.imgur.com/2so4mHB.jpg)
Hoću reći, Sirota je ozbiljan lik, sa ozbiljnim, dugačkim stažom rada u američkoj unutrašnjoj politici, pristojnim tragom dobro argumentovane kritike spram korporacija koje su, tvrdi on u svojoj knjizi Hostile Takeover, zapravo pravi kreatori te unutrašnje (i spoljnje) politike, te istorijom saradnje sa Bernijem Sandersom na njegovoj predsedničkoj kampanji iz poslednjeg izbornog ciklusa. Ako se on samoregrutovao da sarađuje na priči za satiričnu komediju o, jelte, kraju sveta koji stiže al jebiga, šta ćemo mu mi sad, onda će to, rezonovao sam ja, makar biti promišljena satira.
Ali i sasvim dovoljno frivolna za moje potrebe – Lawrenceova na kraju krajeva u ovom filmu posle svega nalazi dečka stonera koji ima tvič kanal gde strimuje igre ali je i tajno ozbiljan, promišljen vernik ("Roditelji su me podigli u evanđelistčkoj tradiciji. Mrzim ih zbog toga ali sam našao svoj način da se povežem sa bogom"), a Jonah Hill je šef kabineta prve Predsednice Sjedinjenih američkih država koja je istovremeno i njegova majka, a na svim pozicijama u administraciji su joj, reklo bi se, glavni donatori koji su se učipili za njenu kampanju. Meryl Streep je u karijeri pokupila masu oskara i igrala i ozbiljne političke figure, ali se ovde izuzetno zabavlja kao frivolna predsednica koju biste očekivali da zateknete u nekom kablovskom sitkomu radije nego u jednoj od najvećih a svakako najdiskutovanijih striming produkcija ove zime.
Slično tome, Leonardo DiCaprio je očigledno zadovoljan što je došao u fazu kada kredibilno može da igra sredovečne muškarce u krizi srednjih godina gde samo dobro odmerena kombinacija sredstava za smirenje, antidepresiva i cijalisa može da ga ujutro digne iz krveta a uveče, jelte, digne U krevetu, ako baš mora, i Leo se ovoj ulozi prepušta sa možda i prenaglašeno oblapornom strašću, glumatajući iz sve snage, sa grimasama, unezvernemim pogledima i psovanjem odvrnutim na jedanaest. Opet, to uglavnom funkcioniše jer, iako je Don't Look Up FILM, pa možda i fim sa sasvim ozbiljnom tematskom podlogom, njegova realizacija je negde na pola puta između, zaista, kablovskog sitkoma i nekakvog uwebollowskog fristajlovanja gde se u blender ubacuje sve što je pod rukom, dok god održava brutalni tempo filma od skoro dva i po sata.
(https://i.imgur.com/nVFkPF5.jpg)
No, naravno, ovo nije pravio Uwe Boll a Netflix zapravo pokazuje pažljivu producentsku pažnju poklanjanu svojim originalnim produkcijama, pa je Adam McKay u ulozi drugog saradnika na priči, autora scenarija i potpisnika režije ovog filma bio svakako pravi izbor da idealno iskombinuje anarhičnu energiju SNL skečeva (pisanje za Saturday Night Live je McKayju ionako bio prvi ozbiljan posao u industriji) ali i zaokruživanjen proizvoda u formi koju firma što na američkim berzama vredi više od jedanaest milijardi dolara može da iznese pred publiku kao događaj sezone.
Dosta je elektronskog mastila proliveno u posledjih nekoliko nedelja na diskusije o tome je li Don't Look Up metafora za klimatske promene kroz koje naša planeta trenutno prolazi i odnos čovečanstva prema njima, i koliko je film o kometi koja juri ka Zemlji i zakucaće se u nju za pola godine proizvodeći ,,događaj nivoa istrebljenja" zapravo uspešno pohvatao sve nijanse tog odnosa i preneo ih u umetničku formu. Ali Don't Look Up ne da nije metafora za klimatske promene, već se uopšte i ne bavi tom vrstom uzbunaškog diskursa i u pitanju je satira i kritika značajno nižeg nivoa, koja ,,extinction level" narativ koristi prevashodno da se bavi fenomenima kao što su skraćenje ,,raspona pažnje" kod današnjeg prosečnog korisnika interneta, te simulakrumima koji se protežu daleko izvan koncepta ,,lažnih vesti" i zadiru u percepciju sveta na fundamentalnom nivou. Drugim rečima, iako je zaplet sa naučnicima koji otkrivaju da se zalutala kometa iz Ortovog oblaka pojavila niotkuda i zabiće se u Tihi okean za pola godine, te naporom kosmičkih agencija da lansiraju misiju koja će ovu kometu skrenuti sa puta dovoljno da promaši Majčicu Zemlju, zapravo dosta sličan kultnom televizijskom filmu Fire in the Sky iz 1978. godine i ponavlja nekoliko motiva vezanih za reakciju javne administracije na loše vesti, realizacija je urađena u sasvim drugačijem ključu i ima više veze sa Idiocracyjem Mikea Judgea, baveći se sličnim motivima konzumerizma i antiintelektualizma.
Naravno, u 2022. godini je pogotovo ova druga komponenta u fokusu filozofske pažnje sa pandemijom koja se pretvorila iz javnozdravstvene situacije u novu formu ,,kulturnog rata" i Don't Look Up u dobroj meri žanje stvari koje je Tramp posejao tokom svog mandata, dajući nam pri kraju filma nimalo prikrivenu vizuelnu referencu sa velikim javnim skupom koji organizuje sama Predsednica, gde je podržava masa običnog, časnog sveta sa crvenim kačketima na kojima piše ,,Don't Look Up" dok im se iznad glava, na noćnom nebu ocrtava već vidan trag komete za koju bar 23% anketiranih izjavljuje da misli da je izmišljena.
(https://i.imgur.com/7MQOn4u.jpg)
Don't Look Up je zabavan pa i uspešan film jer kredibilno plasira ideju o tome da je kartezijanska temeljna sumnja kao osnov racionalnog procesa zaključivanja danas pretvorena u svoju karikaturu i zapravo služi kao regrutna alatka za armije aktivista što su motivisani propitivanjem svega što govore ,,autoriteti" do mere da poriču stvari koje se mogu van svake sumnje iskustveno potvrditi. Ovo je, kao što znamo, zametak iz koga niču brojne konspiratološke populacije a koje su nabujale tokom postojeće pandemije, no ova vrsta prezira prema autoritetima u liku intelektualaca cenjenih od strane establišmenta ima dugačku istoriju. Ako ćemo se držati samo naučnofantastičnih dela koja su se bavila ovakvim fenomenima, svakako možemo posmatrati roman 1985 Anthonyja Burgessa (autora Paklene pomorandže) iz 1978. godine kao jasnu preteču koja satirično prikazuje (naravno lažno i manipulativno) zbližavanje između istorijski suprotstavljenih društvenih klasa bazirano urpavo na preziru prema intelektualizmu i autoritetima zasnovanim na akumulaciji znanja, a koje je u praksi eksplicitno realizovano nekoliko decenija kasnije sa usponom lidera poput Donalda Trumpa i Aleksandra Vučića. Možemo otići i još koju sezonu unatrag do romana Bogovi lično Isaka Asimova objavljenog 1972. godine koji u svom središtu upravo drži tu tenziju između nauke kao mehanizma da se akumulira znanje i kidnapovanog kartezijanskog rasuđivanja koje znanje smatra precenjenim i oslanja se na ,,zdrav razum".
Don't Look Up, naravno, osavremenjuje ove motive i na njegovoj meti su pre svega površnost diskursa generalno, koji je danas smešten ne samo u dvadesetčetvoročasovni ciklus ,,najnovijih vesti" što se gomilaju jedna preko druge kao sediment bez ultimativnog značenja, čak i informacije, već i u medijume koji su podešeni da troše malo vremena i izazivaju jake reakcije kod konzumenata. McKayjeva efikasna i brza režija vrlo efektno prikazuje način širenja ,,diskursa" kroz društvene mreže ali i način na koji se tradicionalni mediji prilagođuju ovoj vrsti propagacije sadržaja, sa talk show voditeljima koji bar pet puta nedeljno imaju goste što upozoravaju na kraj sveta, ali i sa državnom administracijom koja sve posmatra kroz prizmu rejtinga, dinamike izbornih ciklusa, poruka i slogana koji se mogu upotrebiti za mobilisanje biračkog tela. Kometa koja hita ka Zemlji je u ovom kontekstu tek još jedan od elemenata simulakruma javne komunikacije gde se mora nadmetati sa kontroverzama oko kandidata za vrhovni sud koji je snimao meku pornografiju i sa javnim raskidom pa pomirenjem poznate pevačice i njenog dečka, didžeja.
(https://i.imgur.com/cNoipxa.jpg)
Naravno, kako je Sirota koautor priče, parabola koju Don't Look up kreira na kraju kao fatalni fokus leži pre svega u domenu pohlepe amplifikovane kroz korporacijsku politku fetišizovanog rasta, maskiranog u odgovornost i brigu za budućnost ljudskog društva. Da se kometa sa potencijalom da ubije čitavu planetu od jednog momenta u filmu tretira ne kao pretnja već kao prilika deluje kao koncept koji je nemoguće prodati u filmu što pretenduje da ima makar tangencijalne veze sa realističnošću ali McKay ovo prodaje bez greške praveći sasvim jasne paralele sa današnjim techbro-bilionnaire diskursom, kreirajući sasvim majkdžadžovsku kritiku i karikaturu savremenih tehnoloških lidera poput Zuckerberga ili Muska.
Zapravo, tehonološki milijarder koga odlično igra Britanac Mark Rylance je i onaj element filma koji podseća da je ovo producirao Netflix. Film i inače ima osetno ,,televizijski" senzibilitet u svojim sitkom elementima a to da je Rylanceov lik prikazan kao karikatura aspergerovca koji se klanja na oltaru algoritama i, čak i kad njegov plan krene da puca po šavovima veli da su ga inženjeri uveravali da ima dovoljno redundansi u tom planu, očigledno pokazujući da nema blagog pojma o tome KAKO zapravo sva ta tehnologija koju je pokupovao zaista funkcioniše, to je momenat u kom film kao da prikazuje i malo neprikrivene zlobe.
No, Don't Look Up se svakako do svog finala doveze uz dovoljnu količinu autentičnog patosa koja će ispeglati bilo kakve strahove o tome je li film dovoljno ,,politički korektan"*. Ovo, na kraju, uspeva da bude i priča o likovima koji, bez obzira na sav apsurdni simulakrum što ih okružuje i groteskno izopačene prikaze političkih i tehnoloških lidera, na posletku imaju dovoljno duše da kreiraju sopstveni simulakrum u kome se na jedan ne-religiozan, ali duhovan način proslavi sav besmisao ali i lepota života. Sasvim dovoljno.
*nije jer se reč ,,nigga" čuje u jednom od stihova i vidi u titlovima koji ih prate
(https://i.imgur.com/y8DgJpA.jpg)
https://www.youtube.com/watch?v=h3NhX6-5mO0
#Onokad je najava za poluvremensku predstavu verovatno bolja od same utakmice...
Ovo je pre za Cripple reaguj, ali dobro, prihvatiću :lol:
Tako se nekako potrefilo da sam Red Angel (odnosno Akai Tenshi), jedan od najpoznatijih radova režisera Yasuzoa Masumure gledao praktično u istom danu kada sam pročitao nedavno opisani strip Onward Towards Our Noble Deaths (https://cvecezla.wordpress.com/2022/01/19/procitani-stripovi-onward-towards-our-noble-deaths/) i poklapanje tema, motiva i senzibiliteta ova dva umetnička rada u meni je proizvelo snažne sinergijske reakcije. Naravno, radi se o dva produkta u dva različita medijuma, sa različitim pričama, ali u oba slučaja govorimo o naglašeno antiratnom sentimentu, prikazanom iz perspektive ljudi koji su bili ,,na terenu" u vreme kada je teren bio – pakao.
(https://i.imgur.com/KGYXiOJ.png)
O Masamuri sam dosta ekstenzivno pisao tokom prošle godine, prikazujući do sada tri njegova filma, sva tri iz šezdesetih, a koje se smatraju njegovim najplodnijim periodom. Između njih su Irezumi (https://cvecezla.wordpress.com/2021/12/24/film-irezumi/) i Blind Beast (https://cvecezla.wordpress.com/2021/12/03/film-blind-beast-aka-moju/) posebno upečatljivi radovi jer se i jedan i drugi bave vezama između ljudske seksualnosti i nasilja, eksploatacije i različitih fetiša, sa izraženom psihoseksualnom dimenzijom u oba filma. Takođe, oba filma su u koloru i predstavljaju neke od vrhunaca fotografije u japanskom novom talasu šezdesetih godina prošlog veka.
Red Angel, snimljen 1966. godine, dakle iste godine kada i Irezumi, i sa istom glavnom glumicom, Ayako Wakao, pak, prikazuje drugu stranu medalje. Iako je i ovde u glavnoj ulozi žena izložena seksualnom nasilju i eskploataciji a koja dalje nalazi način da ostvari izvestan nivo samovlasnosti i svrhovitosti u okruženju što je gotovo nerazaznatljivo od pakla, Red Angel nije ,,period drama", nije kostimirana priča o vremenima prošlim gde se okrutnost društvenih normi može pripisati ,,starom" Japanu iz vremena pre Meiđi obnove i modernizacije društva, već brutalan, gotovo naturalistički a svakako traumatizujući prikaz ratnih dešavanja starih jedva više od četvrt veka iz vizure medicinske sestre poslate na kinesko bojište tokom japanske imperijalne ekspanzije na kontinentu što je prethodila ,,zvaničnom" početku Drugog svetskog rata.
(https://i.imgur.com/1XmU65k.png)
Kako smo već rekli, Yasuzo Masumura je u svom najplodnijem periodu često radio po književnim predlošcima pa je i Red Angel urađen po romanu Akai Tenshi autora po imenu Yorichika Arima. Arima nije poznat na zapadu i nisam siguran da je uopšte prevođen na zapadnjačke jezike ali radi se o uspešnom i nagrađivanom spisatelju rođenom 1918. godine. Arima je najpre poznat kao autor detektivskih romana i ,,proze između", odnosno onog specifično japanskog ,,žanra" koji se nalazi između lake literature i ,,prave" književnosti. No, iako je prvu knjigu objavio još 1937. godine, kao devetnaestogodišnjak – radi se od zbirci kratkih priča – naplaćivanje tantijema od ovog izdanja pokazalo se kao priličan izazov. Nažalost, zbog toga je Arima morao da napusti školovanje a što je odmah rezultiralo nemogućnošću da dalje izbegava mobilizaciju. Tako je 1940. godine poslat u Mandžuriju da ratuje za cara i proveo tamo tri godine.
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Arima se vratio živ i zdrav iz rata, radio kao novinski reporter, oženio se gejšom Chiyoko i pisao antiratnu prozu i ratne dnevnike. Krenule su i prve nagrade, ali posle japanskog poraza u ratu njegov otac, Yoriyasu Arima, ratni Ministar poljoprivrede (da bude jasno, Yorichaku je došao iz vrlo ugledne porodice, majka mu je bila kraljevskog porekla) je bio uhapšen pa je čitava porodica pala u nemilost ali i ekonomski tesnac. No, Yorichika Arima nije prestajao da piše, objavljujući svoje radove i samostalno sve do polovine pedesetih (finansirajući izdavanje prodavanjem delova očevog imanja) da bi nakon dobijanja Naoki nagrade 1954. godine – jednog od najviših literarnih priznanja u Japanu – njegova karijera krenula uzlaznom putanjom. Arima je od pedesetih akcenat stavio na detektivsku prozu koja je bila cenjena zbog njegovih socijalnih i psiholoških analiza između standardnog proceduralnog rada, a između 1956. i 1988. godine (Arima je umro 1980.) po njegovim delima snimljeno je čak jedanaest filmova i dve televizijske serije.
Arima je imao turbulentan život, pokušavajući i samoubistvo početkom sedamdesetih godina nakon smrti legendarnog pisca i kritičara Yasunarija Kawabate, a koja ga je jako potresla, da bi svoje poslednje godine proživeo sa ljubavnicom što ju je upoznao u bolnici gde se oporavljao od pokušaja da se otruje gasom. Nažalost, nakon 1971. godine nije napisao ništa (ili ništa značajno) i period do svoje smrti proveo je potpuno razdvojen i od svoje porodice ali i od književne zajednice.
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Red Angel, zanimljivo, spada u kasniji Arimin rad, u vreme kada je već veliki deo njegovih romana činila detektivska proza (i nešto pisanja o bejzbolu koji je obožavao i pre rata i okupacije). Objavljen 1966. godine bio je odmah adaptiran u scenario od strane Ryôzôa Kasahare, jednog iskusnog i plodnog scenariste koji je radio od 1937. pa sve do polovine osamdesetih sarađujući sa više studija. Zapadna publika zapravo Kasaharu najpre zna po američkom akcionom filmu Blind Fury iz 1989. godine jer je scenario koji je na kraju korišćen za snimanje baziran na Kasaharinoj prvoj verziji.
Sam Yasuzo Masumura je već bio u ozbiljnom naletu do 1966. godine i studio Daiei mu je davao dosta slobode pa je Red Angel napravljen u iznenađujuće, možda i šokantno direktnom, neposrednom ključu, bez skretanja pogleda pred najružnijim licima rata ali i kritikama upućenim partikularno japanskoj strani. Slično Mizukjevom stripu o kome sam pisao pre nekoliko dana, u filmu Red Angel se neprijatelj – kineska vojska koja se do ovog momenta okanula unutrašnjih konflikata i nacionalističke snage Čang Kaj Šeka su se udružile sa komunistima da brane Mandžuriju od Japana – gotovo i ne vidi. Masumura ,,neprijatelje" prikazuje najviše posredno, kroz minobacačke granate i metke koji doleću nitokuda a kada u poslednjim kadrovima filma i vidimo kineske vojnike oni su praktično apstraktne, nejasne figure u daljini.
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Red Angel, dakle, nije ,,ratni" film već utoliko što ne formira svoju priču oko srži konflikta i prevazilaženja koja je prirođena žanru. Ovo je izraženo antiratni film jer se pre svega bavi iskustvom medicinske sestre koja radi delimično u pozadini a delimično na samom ratištu i prikazuje ne samo emotivne ekstreme što će ih ona proći izložena neprestanom užasu ali i naučena da pokaže empatiju i pruža pomoć sve dok je u stanju da stoji, već i neke izrazito mračne momente koje ona preživljava od ,,svojih".
Masumura je, rekosmo, i u drugim svojim filmovima rado i često istraživao teme seksualne eksploatacije i samovlasnosti žena prinuđenih da žive u muškim okruženjima koja ih posmatraju prevashodno kroz prizmu seksualnosti, no Red Angel je najsiroviji, najmanje stilizovan prikaz ovog koncepta, sa glavnom junakinjom koja u prvih šest minuta filma preživljava silovanje od strane vojnika što leži u vojnoj bolnici u pozadini a čije kolege mu pomažu jer im je ionako ,,dosadno".
Red Angel, pak, nije film o jednoj traumi, već pre svega o životu unutar traume koja je neprestana i koja taj život obesmišljava. Sakura Nishi, mlada medicinska sestra u centru ovog filma, prijavljuje silovanje glavnoj sestri koja primećuje da je pomenuti vojnik poznat po sličnim incidentima. Nešto kasnije vojnika šalju natrag na front jer glavna sestra podnosi izveštaj da se potpuno oporavio. Kada i sama Sakura stigne na front nešto kasnije, da radi u tamošnjoj poljskoj bolnici i prisustvuje smrti ovog vojnika njena reakcija je prevashodno to da je ona odgovorna za njegovu smrt.
Utoliko, Red Angel nije fokusiran samo na iskustvo pretrpljenog nasilja nego na jedan opšti sistem nasilja u kome svi imaju svoje uloge kao njegove žrtve ali i počinioci. ,,Antiratnost" ovog filma vidi se već u prvim scenama gde glavna sestra objašnjava novim medicinskim sestrama koje su stigle iz Japana da im je glavni zadatak ne da ranjenu vojsku leče i neguju već da prepoznaju ko se od vojnika folira da mu je još uvek loše, iako se oporavio, kako bi bio poslat natrag u rat. Kao što se može zamisliti, nikome od vojnika se ne žuri da se vrati na front i zapravo jedna scena kasnije u filmu pokazuje bolničara koji psuje i udara vojnika što je pustio da mu se – inače laka – rana upali i inficira (čak i larvama muva) kako bi bio poslat natrag u Japan umesto da se vrati u borbu. Ovaj na to odgovara da mu je sin rođen dva meseca nakon što je regrutovan i da mu nikada nije video lice.
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Prizori koje Masumura prikazuje u poljskoj bolnici i, kasnije u filmu, u izbačenoj vojnoj ispostavi gde glavna junakinja bude poslata pred finale su ekstremni, ne samo u grafičkom smislu – a u tom smislu su zaista upečatljivi, sa besprekorno koordinisanim kadrovima ranjenika na nosilima i medicinskog osoblja oko njih, zbilja podsećajući na scene samog pakla – već i u konceptualnom. Sakura je deo medicinskog tima koji bukvalno radi po dva ili tri dana bez prestanka nakon velikih ofanziva gde se ranjenici broje hiljadama a jedan hirurg u poljskoj bolnici radi po 150 operacija jednu za drugom. Medicina je ovde svedena na zanat a uloga lekara na odlučivanje ko će umreti a ko živeti, često bez udova koji bi mogli biti spaseni da ima vremena, opreme i resursa. Hirurg, doktor Okabe, je grub, možda i okrutan čovek koji više ne može da zaspi bez uzimanja morfijuma i svestan je da radi posao onako kako nikada nije trebalo da bude rađen i on i sam koristi svoj čin i autoritet da mladu medicinsku sestru iskoristi za zadovoljavanje svojih potreba.
No, film je ovde zapravo nijansiran i Okabe nije seksualni napasnik već mu je samo potreban neko da sa njim priča, da sa njim pije i da sedi pored njega (ili leži, ako sama to poželi) dok morfijum ne proradi i pošalje ga u san. Sakura se, kako to već ume da bude u ovakvim narativima, u njega zaljubljuje i njihova romansa dobija neobično, pomalo nastranu seksualnu realizaciju ispunjenu borbom protiv opioidne adikcije ali i za Masumuru karakterističnim fetišima.
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Romansa nije zaista centar narativa. Red Angel se zapravo velikim svojim delom bavi, iznenađujuće ili ne, krhkošću muškosti u muškaraca koji su stavljeni u ekstremne situacije. Što duže gledate film, shvatate da je mlada i idealistički nastrojena sestra koja preživljava seksualno nasilje i drugu eksploataciju zapravo najsnažniji lik u filmu, koji ne samo da zna šta hoće već i dobija to što hoće i ne žali da žrtvuje ni zdravlje ni život da bi to imala. U kontrastu sa njom, muškarci su suočeni sa poništenjem svoje muškosti i ni jedan od njih ne preživljava film. Vojnik koji siluje Sakuru na početku pokušava da joj se izvini u svom poslednjem, samrtnom ropcu, Doktor Okabe je impotentan zbog redovnog korišćenja morfijuma i sa prezirom gleda na Sakurine izjave ljubavi sve dok i sam ne počne da joj govori da je voli, svega nekoliko sati pre nego što će čitava postaja biti zbrisana u napadu kineskih trupa. Pogotovo upečatljiva epizoda nam prikazuje vojnika kome su amputirane obe ruke i koji se ne samo stidi svog sada ,,nepotpunog" tela pa moli Sakuru da ga sunđerom kupa samo po mraku da ga drugi ne bi gledali već i shvata da nikada neće videti svoju ženu natrag kod kuće jer bi prizor osakaćenog vojnika loše uticao na moral stanovništva. Svestan da će ostatak svog života provesti negde sakriven daleko od javnosti u ustanovi zatvorenog tipa, ovaj vojnik Sakuri priznaje da je on i dalje seksualno biće da i dalje ima potrebe, a koje ne može sam sebi da zadovolji jer nema ruke i Masumura ovde kreira sebi svojsten suptilan i višeslojan odnos između dvoje mladih ljudi koji bi maltene u bilo čijim drugim rukama bio čista eksploatacija ili pornografija.
Kontrast između Sakurine dobrote, a koja nije samo odraz naučene krotkost japanskih žena već autentične empatije, njenog truda da pomogne svakome, i, sa druge strane, gotovo apsurdno stravičnih scena u poljskoj bolnici – ali i kasnije u isturenoj ispostavi gde ,,žene za opuštanje" dobijaju koleru a vojnici, slepi od testosteronskog gneva i dalje ne mogu da se uzdrže – je onaj majstorski sloj ovog filma. Masumura doslovno slika lekare koji testerišu ljudima noge i bolničare koji odnose odsečene udove u kante sa otpadom, a među njima kao da lebdi Sakura, uvek prisutna, uvek spremna ne samo da radi svoj posao, već i da ponudi emociju i utehu. Ayako Kawao je jedan plamičak svetla u urlajućoj tmini ovog crno-belog filma, sjajno i nežno lice žene koja, kada se poslednja velika tragedija sruči na jedinicu kojoj je pridružena, i dalje radi na tome da pomogne koliko god može i ode sa ovog sveta radeći nešto u šta veruje.
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Fotografija koju potpisuje Setsuo Kobayashi, česti Masumurin saradnik (između ostalog na Blind Beast) je ovde izrazito ekspresivna sa jakim senkama, svetlima koja se jedva bore protiv njih i minuciozno postavljenim, širokim kadrovima. Muziku je radio prolifični Sei Ikeno i njegov mračni orkestarski skor dobro pristaje atmosferi filma, no ovo je pre svega film u kome briljiraju režiser i glumci. Masumura ovde pokazuje izvanrednu efikasnost u pripovedanju, britak tempo i zastrašujuću ubedljivost u režiranju scena koje prikazuju užas rata, a bez upadanja u horor trope. Rat koji on prikazuje je pre svega ,,indirektan" i mada ćemo videti i scene borbe na kraju, i one su, kako rekosmo, uglavnom indirektne, bez jasnog prikaza ,,druge strane", sa fokusom na protagonistima i njihovom proživljavanju najgorih trenutaka svojih života. Ti najgori trenuci su, razume se, obeleženi pre svega besmislom, najgorim elementom rata za koji niko ovde ne zna za šta se zaista vodi, a Masumura njima kontrastira likove koji su, naravno, na ivici pucanja sve vreme, ali koji u tom besmislu rata pokušavaju da pronađu ostrva mira ako već ne smisla.
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Empatija i dobrota koje Ayako Wakao pokazuje, kroz svoj lik, ali i njena strast, pa i na neki način nastranost prema kraju filma, su u izvrsnom kontrastu sa razočaranim, nasilnim cinizmom doktora Okabea koga dobro igra iskusni Shinsuke Ashida i koji u svojim poslednjim trenucima kao da zaista pronalazi mir i svrhu. Red Angel nije jednostavan narativ sa jednim jasnim slojem motiva i njihove obrade, i njegovo igranje na polju seksualnog nasilja, fražilne muškosti i pomalo izvitoperene romanse na pozadini neprestanog užasa i besmisla znači da on nije tek ,,japanski hemingvej" niti nešto lako za gledanje, pogotovo za modernog gledaoca. Ovde nema urednih, pa možda ni ispravnih odgovora na pitanja koja film pokreće ali to i jeste česta odlika antiratne proze i kinematografije napravljene na predlošcima iskustava onih koji su u ratovima zaista učestvovali. Što, valjda, znači da su ta pitanja o kojima pričamo – i dalje aktuelna.
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Eternals je do mog domaćinstva stigao sa reputacijom najgore ocenjenog filma iz Marvelovog filmskog univerzuma. ,,Zvanični" početak Marvelove četvrte faze i ufilmljavanje kompleksne, glomazne i ne naročito interno dosledne vizije Jacka Kirbyja su naišli na uglavnom zbunjene reakcije i kritičarske lamente što je oskarom ovenčana autorka Chloé Zhao svoje talente protraćila na film koga na dno vuče balast stripovskog nasleđa i Marvelove formule. Utoliko, bezbedno je reći da sam svoja očekivanja postavio na tako niske setinge da mi je gledanje filma proteklo u stalnom iznenađivanju da film, zapravo, nije tako loš.
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Ne da je ovo sjajan film, ali je u pitanju ambiciozna priča koja u dobroj meri uvodi sasvim nove likove u Marvelov kinematski univerzum, zatim i sasvim novu istoriju – i to čitavog kosmosa – i nastoji da nas u dva i po sata zavede da saosećamo sa likovima koji decidno nisu ljudski u pogledu, jelte, svetonazora, slobodne volje itd. Pre par meseci sam prilično oštro kritikovao prethodni Marvelov film, Shang Chi and the Legend of the Ten Rings (https://cvecezla.wordpress.com/2021/11/19/film-shang-chi-and-the-legend-of-the-ten-rings/) koji je i sam smelo uvodio sasvim nove likove i istorije u MCU i koji, po mom osećaju naprosto nije imao snage da iznese ovu svoju ambiciju, gubeći se u readymade rešenjima i hladom, bezličnom CGI spektaklu. Eternals je, rekao bih film koji, uz sve svoje mane, uspešnije barata svojim materijalom.
A to, da se razumemo, samo po sebi nije mala stvar jer je prva mana Eternalsa upravo to da je zasnovan na strip-predlošku koji je već više od četiri decenije problematičan. Za detaljniju raspravu o stripu Eternals, njegovom istorijatu i bezbroj načina na koji je Marvel tokom decenija pokušavao da od divlje i nedorečene Kirbyjeve vizije napravi nešto konzistentno, ili makar funkcionalno, moliću da odete do ovog mog teksta (https://cvecezla.wordpress.com/2021/08/25/procitani-stripovi-eternals-only-death-is-eternal/), a za ovu priliku dovoljno je reći da je Eternals bio veliki projekat velikog Jacka Kirbyja po njegovom povratku u Marvel u drugoj polovini sedamdesetih godina, koji ne samo da je ignorisao najveći deo aktuelnog kontinuiteta i istorije Marvelovih stripova, već je i sam bio opterećen grandioznim idejama o istoriji života na Zemlji i kosmosa, koje Kirby nije stigao da ikako zaokruži, čak ni razradi pre nego što je serijal zbog slabe prodaje bio otkazan, te da se decenijama nakon toga pokreću novi Eternals serijali koji pokušavaju da poređaju Kirbyjeve motive u nekakav konzistentan red.
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Aktuelni serijal koga rade Kieron Gillen i Esad Ribić je verovatno i najbolje što je sa Eternalsima urađeno do danas (računajući i miniserijal Neila Gaimana i Johna Romite mlađeg iz prve decenije ovog stoleća), ali on podrazumeva i određeni kontinuitet sa svim onim što je pre njega došlo. No, ovaj film nikako nema ambiciju da ulazi u kompleksan i nedosledan kontinuitet stripova. Jedna od pobedničkih strategija Marvelove formule je od praktično samog početka bilo tretiranje stripovskog kontinuiteta kao pukog švedskog stola sa koga ćete uzeti ono što je zgodno i na njemu ostaviti sve što komplikuje pravljenje filma. Tako su Marvelovi filmovi uspeli ne da kondenzuju vrtoglavo komplikovani kontinuitet stripova, koliko da na glavnim motivima stripova izgrade interno konzistentan, shvatljiv i ubedljiv kontinuitet gde će se i tonalno i motivski različiti filmovi uklapati bez mnogo frikcije. Utoliko potrebno je povremeno naglašavati koliko su Ragnarok (https://cvecezla.wordpress.com/2017/11/09/film-thor-ragnarok/) ili Civil War (https://cvecezla.wordpress.com/2016/05/08/film-captain-america-civil-war/), recimo, bile spretno izvedene vežbe u korišćenju motiva iz stripova, sa pažljivo fokusiranim pričama da se ti motivi pošteno iskoriste a da se filmovi ne pretvore u neprohodnu šumu referenci i info-dampova.
Eternals radi u principu istu stvar ali ovde je situacija po definiciji kompleksnija jer je u pitanju ne samo ansambl-film bez stvarnog glavnog junaka već i ekipa likova koji ni među stripovskom publikom ne uživaju nivo prepoznatljivosti kakav imaju nacionalne ikone poput Kapetana Amerike, ili, eto, Kapetanice Marvel. Eternalsi naprosto nikada nisu mogli da računaju na to da su osmotskim širenjem kroz kolektivnu svest postigli nivo prepoznatljivosti uporediv sa prvim ešelonom Marvelovih likova, pa je i u filmu uvek u prvom redu morao da bude sam koncept – zašto oni postoje, koja je njihova uloga na planeti Zemlji, kako se to uklapa u istoriju kosmosa – radije nego njihove ličnosti i karakteri. Opet, u Marvelu su sasvim svesni da njihove filmove u prvom redu prepoznaju na ime likova pa je ovde morao biti napravljen pravilan balans između toga koliko će se akcentovati sama grandiozna (pozadinska) priča, a koliko će se raditi na ikoničnosti likova, ali i njihovoj, jelte, relatabilnosti.
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Činjenica da je veliki broj reakcija na film koje sam pročitao insistirao na tome da je priča prekomplikovana i nerazumljiva, kao i da su likovi – pohvalna raznovrsnost i reprezentativnost na stranu* – relativno bledi i teški za identifikaciju govori da je Eternals publici možda dao malo veći zalogaj od onog što je ona bila spremna da proguta. Malo je tu i do publike, da se razumemo.
*ovo je prvi MCU film u kome je jedan od glavnih likova gej i živi u braku sa drugim muškarcem, u kome je jedan od glavnih likova gluvonem i igra je gluvonema glumica, da ne pominjem zadovoljavajući šareniš naglasaka i telesne građe u glavnom ansamblu
Jer, teško mi je da se složim da je zaplet ovog filma komplikovan ili težak za praćenje. Nelinearnost i česti flešbekovi u prvoj polovini filma nisu dezorijentišući i služe da nam istovremeno pokažu složenost univerzuma u kome Eternalsi igraju značajnu ulogu, ali i da organski prikažu odnose između likova i izvajaju njihove karakterizacije tako da, kada posle sat vremena krene stvarni zaplet, gledalac ima neku investiciju u likove i saoseća sa dramom koje oni, protiv svoje volje, postaju centralni deo.
Ono što je istina je da je Eternals film koji ima vrlo tanke veze sa bilo čime što je viđeno u prethodnim MCU filmovima i da te neke ,,prirodne" spone treba naći u usputnim referencama na Thanosa ili Thora. Mislim da je ovo u popriličnoj meri zaslužno za srazmerno hladan prijem filma, ali, sa druge strane ovo je i dvadesetšesti film u Marvelovom kinematskom univerzumu i to da je u njegovu priču moguće ući bez nekog posebnog predznanja je svakako signal da u Marvelu ozbiljno razmišljaju o tome da četvrta faza treba da bude otvorena i za novu publiku, i da niko ne želi da se uhvati u istu kloplku u koju su se uhvatili stripovi sa svojim zastrašujućim naslagama decenijskog kontinuiteta što odbija nove čitaoce i pre nego što su otvorili prvu svesku.
(https://i.imgur.com/aF6Fne9.png)
Ono za šta mogu da pohvalim Chloé Zhao i njene saradnike na scenariju je da su od kirbijevskog haosa motiva i ideja napravili po širini vizije skromniju ali interno doslednu konstrukciju prirode i istorije kosmosa i položaja bića kao što su Celestials, Eternals i Deviants u njemu. Neću da kažem da sam sasvim zadovoljan ovde, pogotovo su Deviants svedeni na funkciju i oduzet im je sav karakter, ali kosmos koji nam film opisuje ima logiku pa i umetničku, literarnu lepotu sa formom dirigovane evolucije i kontrolisanog odabiranja koje ne samo da se dobro uklapaju uz ono što likovi u filmu rade i ono kako reaguju već i istinski postavljaju filozofske temelje za naredne filmove u MCU. Razmišljanje o tome postoji li pravednost na kosmičkom nivou, i je li svesno žtvovanje jedne forme života da bi se iz nje rodile druge etički prihvatljivo kada se razmišlja na srazmeri čitave vasione jeste onaj nivo filozofske grandioznosti koju superherojski stripovi u svojim najboljim momentima uspevaju da dosegnu i bez ozira što se ne radi o striktnom praćenju Kirbyjeve vizije, legitimno je reći da film poštuje Kirbyjev duh i ambiciju.
(https://i.imgur.com/B2fAHlE.png)
Egzekucija je već druga priča i ovde filmu svakako može mnogo toga da se prigovori. Postoje tu razne sitne nedoslednosti i džombice (počev od toga da Sersi veli da je bila u romantičnoj verzi sa Ikarisom pet hiljada godina iako se iz kasnijih flešbekova vidi da ovo nije tačno), ali film ima dva osnovna problema koja nije rešio. Prvi je činjenica da je ovo produkcija od 150 minuta u kojoj i dalje nije bilo dovoljno vremena da poveliki ansambl sasvim novih likova legitimno proradi. Malo je to do glumaca, a malo i do, naprosto, strukture priče koja bi, ne mogu da verujem da ovo pišem, možda bolje funkcionisala u epizodnom formatu. Veliki deo filma odnosi se upravo na ponovno prikupljanje ekipe na gomilu kako bi se suprostavila novoj pretnji i, to kako su Eternalsi živeli na zemlji stotinama godina nakon što se njihova misija (naizgled!) završila i kako su svoje večne živote uskladili sa prolaznim, propadljivim životima ljudi među kojima su živeli, to je deo filma koji treba da humanizuje svemirske borilačke mašine oblikovane da izgledaju poput ljudi i neprimećeni žive među njima. Neke od ovih epizoda su vrlo lepo uobličene i zaista daju taj efekat uzemljenja i povezivanja sa publikom, notabilno to kako je Phastos sklopio brak sa čovekom i ima sina ili kako je Kingo postao zvezda Bolivud filmova i ima personalnog asistenta koji zna sve o Eternalsima i smatra da je to ekstremno kul. Neke, nažalost, dobijamo samo u osnovnim crtama i one pate od plitkosti i neubedljivosti a ovo se, na nesreću svih nas, prevashodno odnosi na Sersi, ženu koja je najbliža ,,pravoj" protagonistkinji filma a čija priča, iako najkompleksnija, deluje najmanje uverljivo. Nije da se film ovde nije potrudio – Eternals imaju i prvu pravu scenu seksa u istoriji MCU, da bi se Sersina veza sa običnim čovekom* prikazala kao stvarna i trodimenzionalna – ali film naprosto nema dovoljno vremena da se zaista utemelji u realnosti i između previše likova i previše vremena potrebnog za ekspoziciju. I onda, umesto da gledalac oseti da su Eternalsi zaista emotivno vezani za planetu Zemlju i čovečanstvo o kojima se staraju milenijumima, utisak je više da gledamo predstavu na pozornici, apstraktnu i udaljenu od stvarnog sveta i stvarnog čovečanstva.
*ili DA LI BAŠ običnim? Činjenica da se Sersin dečko zove Dane Whitman je strip publici dovoljan mamac čak i pre nego što se stigne do druge end-credit sekvence u kojoj se najavljuju avanture jednog solidnog trećepozivca iz istorije Marvelovih stripova (https://cvecezla.wordpress.com/2021/08/24/procitani-stripovi-black-knight-curse-of-the-ebony-blade/)
Što je, svakako, delimično i posledica tehnike snimanja. Chloé Zhao i direktor fotografije Ben Davis (a koji je već radio Kapetana Marvela (https://cvecezla.wordpress.com/2019/03/11/film-captain-marvel/), Doktora Strejndža i Čuvare galaksije za Marvel) su apsolutno na svom terenu kada treba snimati široke planove smeštene u divlju, naoko netaknutu prirodu, igrati se sa sunčevim svetlom i morskim talasima, ali film nema ubedljivu poveznicu sa ,,stvarnim" svetom koji je ovde na kocki. Urbane scene deluju prazno i avetinsjki pusto, a scene sa većim brojem ljudi u njima ne profitiraju od snažnog osećaja koreografisanosti i artificijelnosti koji, istina je, scenario opravdava, ali se propušta prilika da se film smesti u relatabilan, ,,pravi" ljudski svet.
(https://i.imgur.com/HG6Ggci.png)
Što se glumaca tiče, sa jedne strane imamo sasvim očigledne promašaje: Angelina Jolie je agresivno nezainteresovana za ovu ulogu i vozi se na autopilotu do samog kraja, dok, recimo, Ma Dong-seok koji u svoju ulogu unosi dosta autentčne topline i duha iz filma ispada prerano na ime potrebe da i, jelte, naši imaju žrtve. No, i sa ostatkom ansambla problem je što ih film retko stavlja u situacije koje ne deluju namešteno i teatralno. Kumail Nanjiani, recimo, unosi potrebnu dozu swashbuckling duha i karakterističnog humora u priču ali to toliko štrči među inače strašno uozbiljenim likovima koje igraju Gemma Chan, Richard Madden ili Salma Hayek da je tonalna disonanca snažna. Film ovo rešava tako što Nanjianijev lik, Kinga, sasvim uklanja iz dramatičnog finala, za svaki slučaj.
Hoću reći, čini mi se da je rad sa glumcima ovde malo zakazao i da, svi specijalni efekti i kolor filteri na stranu, Zhao kao da je svima objasnila da treba da glume kao da snimaju neku RTS-ovu televizijsku dramu iz osamdesetih, sa sve stegnutim vilicama, značajnim pogledima i perfektno izgovorenim tekstom. Utoliko, film ima pomalo neopravdane dramske role a premalo autentičnog superherojskog vodvilja koji bi sigurnije izgurao njegovu grandioznost.
Sa svoje strane, i ta grandioznost ima jednu upitnu dimenziju pogotovo kada film mora da zastane kako bi na gledaoca izručio tonu važnih informacija ne bi li kontekstualizovao ono što se u njemu događa. Susreti sa jednim od glavnih Celestialsa – bića koja su, praktično bogovi i to u mnogo ,,ozbiljnijem" smislu od onog koji važi za Thora i njegovu ekipu – Arishemom su pogotovo razočaravajući i nemaštoviti, umotani u neanimiranu CGI grafiku i bez stvarnog rešenja kako da se gledaocu predoči da je u prisustvu jedne od temeljnih sila u vasioni – gotovo kao da gledamo nekakav direct to video nastavak Eternalsa a ne izvorni film.
(https://i.imgur.com/cXd2uMa.png)
Film, svakako, kao i najveći deo MCU produkcije, pati od nedostatka propisnih negativaca. Arishem je, rekosmo, tek simpatičan, neanimirani 3D model sa glasom provučenim kroz pičšifter, a Deviantsi su nažalost, nezanimljive CGI ,,životinje" bez ikakvog karaktera ili stvarne agende. Kada jedan od njih, zapravo, demonstrira samosvest i kritičko razmišljanje, film se odjednom nađe na ivici da pređe u dekonstrukciju ali se brzo postidi ove ideje i pobegne nazad u glavni zaplet koji je, bez obzira na to šta su vam o njemu pričaki, detinje naivan i jednostavan.
No, završni čin, bez obzira na to da nije sasvim jasno ni šta Eternalsi stvarno pokušavaju da urade protiv extinction-level događaja ni šta na kraju urade, makar donosi dobru, lepo režiranu i koreografisanu akciju. U filmu u kome je akcija uglavnom tretirana kao garnirung – jer, da, MCU filmovi su konačno počeli da pristižu stripove i shvataju da neke priče zahtevaju više, pa, pričanja, a manje pesničenja – završni obračun je dobrodošlo energičan, dobro osvetljen, sa jasnim postavljanjem protivnika u sukobu i razumevanjem njihovih pojedinačnih moći i kako se one mogu iskoristiti u borbi*. Ovde i sam dizajn – kako kostima tako i ,,svetlosnih" oružja i artefakata koje Eternalsi koriste – dobija svojih pet minuta da zablista i Eternals makar može da kaže da ima poštenu akcionu scenu za kraj.
*pogotovo pozdravljam što Eternalsi ovde imaju specijalizovane moći i niko sem Ikarisa nije ,,omega level" heroj. Ovo nije, tehnički, u skladu sa direktnim strip-predloškom ali jeste u skladu sa starijim Kirbyjevim radovima gde su timovi uvek sastavljani sa idejom da njihovi članovi imaju pojedinačne snage ali i ranjivosti i da je smisao tima da jedni druge dopunjuju i jedni drugima čuvaju leđa
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Što se samog dovođenja priče do finala tiče, film uspeva da se poveže sa, jelte, bazom, i podari nam te potrebne humanizujuće scene kada se sve završi, ali je odnos ovih scena i te kosmičke dimenzije čitavog događaja i dalje prilično labav. Naprosto, čini mi se da u rešavanje toga kako da se Arishem, Celestialsi i kosmos približe gledaocu nije uloženo dovoljno razmišljanja i da film ostaje apstraktniji u svojoj predstavi drame nego što je potrebno da bi u gledaocu izazvao željeni emotivni respons. Ovde svakako valja podsetiti da je u građenje Thanosa kao negativca-sa-ličnom-filozofijom iz starih MCU filmova uloženo puno vremena, razmišljanja, dizajna i glumačkih kapaciteta i da je prilično nezadovoljavajuće videti kako Marvel kao da zaboravlja ove lekcije.
No, možda će srazmerno loš prijem Eternalsa nešto promeniti. Treći Spajdermen, izašao nekoliko meseci kasnije i nosilac nekolko rekorda vezanih za gledanost, je svakako pokazao vrednost dubljeg rada sa svetom i likovima i moguće je da će Marvel Eternals shvatiti kao potrebni temelj na kome će se dalje graditi, a koji sam po sebi nije imao zaokruženost forme. No, kao nekome ko ove stripove čita više od četiri decenije unazad, Eternals su svakako i demonstracija jedne smele, možda malo sulude ambicije da se u formi filma-sa-specijalnim-efektima (i laserima iz očiju) diskutuje o prirodi kosmosa, vrednosti života po sebi i opravdanosti intervenisanja u nečemu što je, bez obzira što se radi o svesnom, dirigovanom procesu, najbliže ,,prirodnom" poretku stvarti što se može prići. Ovoj vrsti filozofskog hubrisa je apsolutno mesto u superherojskom filmu i drago mi je da je Eternals, posle ipak filozofski daleko skromnijeg Shang Chija, pokazao da ambicija postoji.
(https://i.imgur.com/kC6oWxE.png)
The Street Fighter odnosno Gekitotsu! Satsujin ken (Sudar! Ubilačka pesnica) je jedan od tajno najuticajnijih, a svakako jedan od najkultnijih pa i najozloglašenijih borilačkih filmova svih vremena. Ovu je japansku ekstravagancu 1974. godine režirao Shigehiro Ozawa, iskusni režiser i scenarista autorski aktivan još od polovine pedesetih godina prošog veka, a kome će nekoliko filmova snimljenih u serijalu The Street Fighter što je u narednih par godina izrastao na uspehu prvog filma, biti i kruna karijere i ono po čemu se danas pamti njegovo ime. Ozawa je od početka svoje karijere radio za studio Toei, jednu od četiri ,,glavne" produkcije u Japanu, a koja je od ranih pedesetih godina kroz spajanje sa drugim firmama započela ozbiljan rad na proizvodnji filmova. Ozawa je tako u pedesetima radio naporedo sa režiserima kao što su bili Tsuneo Kobayashi, Tomu Uchida, Kinnosuke Fukada itd. Toei je vrlo rano posvetio dobar deo svojih kapaciteta proizvodnji žanrovskog filma pa će firma kasnije u šezdesetima i sedamdesetima postati jedan od vodećih proizvođača anime i tokutatsu filmova i serija za televiziju. Toei Animation, recimo, u svom katalogu ima ključne propertije kao što su Super Sentai (https://cvecezla.wordpress.com/2021/05/11/procitani-stripovi-super-sentai-himitsu-sentai-gorenger/) i Kamen Rider (https://cvecezla.wordpress.com/2022/01/24/procitani-stripovi-kamen-rider-the-classic-manga-collection/).
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No, naravno, Toei je tokom pedesetih i šezdesetih mnogo radio na uspostavljanju produkcije žanrovskog filma – samurajskih, nindža, ali i kriminalističkih akcionih filmova – i postao jedan od vodećih studija u radu na jeftinim, B produkcijama koje su podrazumevale kraće filmove što su mogli biti puštani po dva ili tri za redom u okviru jedne celovečernje predstave, ali i koje su razvijane u serijale sa više nastavaka.
The Street Fighter je nastao upravo u okviru ovakve produkcione filozofije i u pitanju je jeftin, grindhouse film čiji je uspeh u Japanu, a pogotovo na zapadu značio da će odmah biti napravljena još dva nastavka (i to iste godine), a urađena su i dva spinofa, Sister Street Fighter 1974. godine i Karate Warriors iz 1976. Ozawa nije režirao spinofove ali drugi ključni čovek je ono što povezuje svih ovih pet filmova: glavni glumac, Sonny Chiba.
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Shinichi ,,Sonny" Chiba je bez ikakve sumnje najpoznatija japanska zvezda borilačkih filmova. Iako je radio za Toei od početka ezdesetih, glumaći u tokutatsu/ superherojskim radovima i akcionim krimićima (Invason of the Neptun Men, Special Tactical Police, Tokyo Untouchable: Prostitution Underground Organization, Judo for Life: The Devil of Kodokan, Yakuza G-Men: Meiji Underworld, Kamikaze Man: Duel at Noon), nanizavši više od 125 filmova tokom svoje karijere, Chiba će postati fenomen tek sa The Street Fighter, a koji će obeležiti njegovu karijeru i doneti mu svetsku slavu. Da bude jasno, Chiba je bio praktično rođen za ovakvu ulogu, kao čovek sa impresivnom istorijom bavljenja različitim sportovima uključujući bejzbol, odbojku i gimnastiku tokom srednje škole i fakulteta, ali i dubokim poznavanjem japanskih borilačkih veština. Chibina borilačka ekspertiza je, naravno, ono što je bilo presudno za njegovu filmsku trajektoriju: čovek je imao majstorske titule u nekoliko stilova karatea (Kjokušin kai, a koji je učio pod samim Masutatsuom Oyamom, utemeljivačem stila, Gođu rju, Kempo), kao i u ninđutsuu, kendu i džudou.
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Nastao u post-Bruce Lee eri, The Street Fighter u sebi još uvek nosi elemente ,,klasičnog" japanskog akcionog filmmejkinga, odnosno sponu sa tradicijom i mistikom – u jednoj od uvodnih scena glavni junak, prerušen u budističkog sveštenika će osuđeniku na smrt u zatvorskoj ćeliji zadati ,,tajni" udarac iz ,,drevne" borilačke tehnike koji će ga za desetak minuta ubaciti u duboku komu,a što je sve deo plana da se ovaj osuđenik umesto na vešala pošalje u bolnicu kako bi protagonist presreo kola hitne pomoći i kidnapovao ga – ali je u pitanju, u skladu sa erom u kojoj je nastao i usponom novog akcionog filma, mnogo savremenije, surovije, pa i urbanije iskustvo. Da bude jasno, sam naslov je delo američkog distributera, New Line Cinema, i kako sam gore naveo, originalni naslov govori o sudaru i ubilačkoj pesnici. U filmu, istini za volju postoji možda jedna scena u kojoj se borba odvija na nečemu što bismo nazvali uicom, ali ovo decidno NIJE film o ilegalnim uličnim turnirima u borilačkim veštinama koji su šezdesetih, sedamdesetih pa i osamdesetih bili predmet urbanih legendi među ljudima što su trenirali karate i ostale stilove.
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New Line Cinema je sa ovim filmom u Americi postigao svoj prvi komercijalni uspeh – u Britaniji je film izašao pod naslovm Kung Fu Street Fighter kako bi se razlikovao od prvog filma Waltera Hilla, Hard Times, objavljenog 1975. godine a koji je tamo išao pod naslovom The Streetfighter jer se u njemu zapravo radilo o borilačkim takmičenjima na ulici – ali po cenu da je ova firma u popriličnoj meri intervenisala na originalu. Pored dvojice japanskih scenarista (Kôji Takada i Motohiro Torii), za verziju filma na englesom jeziku potpisan je i Steve Autrey kao treći scenarista. Kako je film objavljen samo sa nasinhronizacijom na Engleski jezik, jasno je da je Autreyjeva hirurgija na dijalozima bila prilično velikog obima.
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Ključni podatak u vezi sa The Street Fighter i njegovim uspehom u SAD i Evropi je svakako to da je ovo bio prvi film ikada koji je u Americi dobio zloglasni X rejting, rezervisan prevashodno za pornografske filmove, a praktično samo na ime ekstremnog nasilja. Iako su borilački fimovi i do tada, naravno, imali nasilne scene a japanske samurajske produkcije prema kraju šezdesetih i početku sedamdesetih volele da prikažu šikljajuću krv pa i amputacije, The Street Fighter je otvorio sasvim novi horizont visceralnog, eksplicitnog nasilja, stupajući bez imalo stida u teritoriju brutalne eksploatacije. Na listi Tarantinovih najomiljenijih dvadeset grindhouse filmova, kaže nam trivija sekcija svake stranice koja priča o ovom filmu, The Street Fighter je na trinaestom mestu.
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Taj post-Bruce Lee senzibilitet filma pomenut gore ogleda se delom u tome kako Chiba usvaja glumačke tehnike a Ozawa pristup režiji koji je tako dobro palio u hongkonškim Golden Harvest produkcijama što su Leeja od simpatičnog televizijskog glumca pretvorile u planetarni kung fu fenomen. Veliki deo koreografije u The Street Fighter otpada na scene nepokretnog poziranja ili sporog, kalkulisanog kretanja u stavu, te napetih posmatranja između protivnika, a razrešenja napada podrazumevaju nekoliko trenutaka provedenih u skoro ili potpuno statičnom položaju gde se energija udarca na neki način i dalje emituje iako je napad završen. Chiba pritom pravi karakteristične grimase i, slično Leeju, steže mišiće i u momentima kada ,,pravi" borci zapravo opuštaju mišiće što više mogu, kako bi emitovao utisak snage, jedva kontrolisane energije što samo čeka molekul provokacije pa da eksplodira sa ubilačkim efektom. Naravno, tu je i scena u kojoj se Chiba bori go do pojasa...
(https://i.imgur.com/s0jr3DR.png)
The Street Fighter je, ipak, bio jeftinija produkcija i od Golden Harvestovih hitova sa Leejem, pa su ovde i kamera i specijalni efekti značajno manje atraktivni nego u hongkonškim hitovima, dok su koreografije prljavije, manje lepršave, ali time brutalnije. Chiba u ovom filmu golim rukama ubija masu protivnika (kao bonus, u kožnim štitnicima za podlaktice koje nosi, njegov lik štekuje male noževe za bacanje što takođe dobijaju mesto pod reflektorom u furioznom finalu filma), ali nisu ovde suvi brojevi ono zbog čega se film pamti, kao što nije ni kompleksna koreografija, već pre svega brutalna, visceralna dimenzija borbe.
Ovo je, svakako, delom i element standardne razlike između kineskog i japanskog borilačkog filma. Kineski filmovi tradicionalno više forsiraju složenu, elegantnu koreografiju, borilačku dinamiku koja u dobroj meri podseća na ples i sadrži veliku količinu udaraca, blokada, skokova. Japanski film generalno gradi na tradicijama kedno i karate pristupa gde se ,,borba" idealno svodi na jedan perfektno izveden udarac koji eliminiše protivnika, pa su japanske borilačke koreografije manje plesne, često statičnije, fokusirane na jedan udarac radije nego na zaslepljujuću kanonadu udaraca.
(https://i.imgur.com/nW6ZRXw.png)
The Street Fighter sa svojim pogledavanjem preko plota prema Golden Harvestu svakako malo savija ovo pravilo i ovde ima razrađenijih, dužih razmena poteza, ali je u skladu sa svojim grindhouse senziblitetom, ovo film koji se pre svega fokusira na brutalne, visceralne završnice.
Grindhouse komponenta odnosi se i na to da film ima jedva razumljiv zaplet i priču, a što je, možda, i rezultat američkog intervenisanja na dijalozima. Takuma Tsurugi (u verziji koju mi gledamo, Terry Tsurugi) je plaćenik sa velikom ekspertizom u borilačkim veštinama (najveći deo njegovog stana zauzimaju sprave za vežbanje) koji na početku iz zatvora, maltene sa samih vešala, kako smo već opisali, oslobađa čoveka (Tateki Shikenbaru, u verziji na Engleskom samo Junjo) osuđenog na smrt, a za šta su ga platili sestra i brat ovog čoveka. No, kada sestra i brat Terryju kažu da mora malo da ih sačeka sa drugom tranšom plaćanja jer su sirotilja, Terry se toliko razbesni da odmah usledi fizički sukob. Brat, u jednoj legendarnoj, mnogo puta prepričavanoj sceni, promašuje Terryja letećim napadom nogom i proleće kroz zatvoren prozor, završavajući svoj tužni život mnogo spratova niže na hladnom asfaltu, dok Terry sestru odvali od batina, a onda proda u seksualno ropstvo.
(https://i.imgur.com/UpH4YFI.png)
Ovo sažeto prikazuje i karakter glavnog junaka. Terry Tsurugi nije ni heroj ni antiheroj nego bezosećajna psihopatska mašina za borbu što se prodaje najboljem ponuđaču i nema praktično nikakva moralna načela. Kada mu lokalni krimosi pristupe s planom da se kidnapuje bogata naslednica malezijskog naftnog koncerna, a sve u kombinovanoj ,,produkciji" kineskih mafijaša i lokalnih jakuza, Tsurugi iznapušava wannabe poslodavce sa objašnjenjem da ako oni njemu ne veruju u dovoljnoj meri da pričaju direktno, bez posrednika, onda on neće da ima ništa sa njima. Ovi, dakako, odluče da je onda neophodno da ga ubiju.
No, Tsurugi je sve samo ne naročito dosledan lik. Tako da je sledeće što čini upad u karate-školu starijeg rođaka pomenute petro-naslednice, gde če na nju nasrnuti poljupcima nakon što je prebio nekoliko perspektivnih učenika, a sve da bi naterao vlasnika škole da se bori sa njim. Ova borba je, pokazaće se, Terryjev način da sebi obezbedi neku vrstu audicije kojom će pokazati da je zapravo kvalifikovan da naslednicu, Sarai Chuayut-Hammett odbrani od kombinovanih snaga mafije iz dve države...
(https://i.imgur.com/Ne1gSJj.png)
Ostatak filma sasvim izleće sa šina sa borilačkim scenama povezanim jedva koherentnim literarnim alatkama. To se, nagađate, kidnapuje i ucenjuje, drugi ljudi se koriste kao mamci za Tsurugija koji, pokazuje se, nije baš toliki psihopata i ima izvesne emotivne reakcije na to kada mu najbolji prjatelj, a posle i sama Sarai budu izloženi smrtnim rizicima. Saznajemo, u jednom simpatičnom flešbeku, da je Terry imao i traumatično detinjstvo – u ratu, dakako – i film kao da pokušava da njegovu ledenu, nimalo simpatičnu personu sa početka malo otopli i prikaže ga gledaocu kao, jelte, figuru nevoljnog, polomljenog antiheroja.
Tu svakako postoji jaka tonalna diskrepanca. Tsurugi, ponavljam, ženu koja ga je platila da oslobodi njenog brata ne samo da kasnije prebije već i proda gangsterima koji će je preseliti da radi u bordelu, a u jednoj vrhunski nelagodnoj sceni on ne mrda prstom dok je pred njim napada, drogira i siluje grupa kriminalaca kojoj ju je prodao. A kasnije, u drugom delu filma, kada Terry radi za ,,dobre" likove dobijamo legendarnu, u školskim dvorištima mnogo puta prepričavanu scenu u kojoj isti silovatelj, koga igra afroamerički glumac Chico Lourant, biva, da tako kažemo, ,,razoružan" Tsurugijevim činom kastracije koja podrazumeva bukvalno čupanje čitavog reproduktivnog aparata sa tela wannabe silovatelja.
(https://i.imgur.com/wMHDzNZ.png)
Film, dakle, šalje prilično zbrkane signale, formatirajući prema kraju priče Terryja i kao maltene martira, koji sasvim očigledno ide daleko preko granice nekakve profesionalne dužnosti i čini sve da oslobodi kidnapovanu Sarai, primajući u jednom momentu i metak. To je, dodaću još jednom, naprosto grindhouse i The Street Fighter nosi sve elemente ovog estetskog identiteta na reveru sa ponosom.
Utoliko, film svakako ima i sloj apsurdnog, maltene parodičnog brljana u egzekuciji. Pored scenarija koji, rekosmo, jedva da uspeva da poveže scene sa nekakvom doslednošću, tu su nasinhronizovani dijalozi koji su, očigledno, rađeni u različito vreme i u različitim studijima pa kvalitet zvuka osetno varira, tu su gotovo komične Chibine poze i grimase, apsurdna stezanja mišića i sadistička uživanja u povređivanju protivnika. Ali, notabilno, ovo je i sama srž grindhouse iskustva. Ovakvi akcioni filmovi nisu samo prikaz vrline (ratnička disciplina, požrtvovanost, askeza...) već i tamne strane ,,herojskog" posla, a koja podrazumeva užitak ne samo u pobedi već u anihilaciji protivnika, izazivanju ne samo bola već ekstremnih somatskih reakcija. U jednoj od ranih scena dobijamo čoveka koji posle udarca pesnicom u lice ispljune gomilu sopstvenih zuba a negde u legendarnom finalu na brodu, jedan Terryjev protivnik posle udarca izbacuje kroz usta čitav poslednji obrok koji je pojeo.
(https://i.imgur.com/8eX7NKn.png)
Film je prepun krvi i fraktura, u finalu ljudi padaju sa velikih visina i kreiraju krvave fleke kao da ste na palubu broda bacili balon napunjen pireom od paradajza,* a Terry svoje protivnike eliminiše sa sadističkim, nimalo prikrivenim žarom. Kada na njega krenu sa pištoljima, on će i ovo rešavati efikasno i atraktivno, u jednoj posebno memorabilnoj sceni gazeći po ruci zle mafijaške šefice dok ova bespomoćno puca u plafon. Jedna od scena koje su dalje uticale na čitav žanr pa i na druge medijume, je svakako momenat kada Terry udara protivnika pesnicom u teme a film prikaže kratak kadar rentgenskog snimka koji pokazuje mrvljenje lobanje pre nego što brzim rezom pređe na kadar u kome ovaj ispljune ogromnu količinu krvi (https://preview.redd.it/2wppcrfcj1671.gif?format=mp4&s=ee6924af808ddaade867bfd7de7ef10074def929).
*a što je, verovatno i bio slučaj
U pogledu koreografije, film ide već pomenutim srednjim putem između klasične japanske efikasnosti i kineske razrađenosti. Chiba, naravno, prenaglašeno pozira veliki deo vremena, ali kada izvodi stvarne poteze, vidi se majstorstvo pravog poznavaoca, sa besprekornim čišćenjima, blokadama, napadima iz skoka, džudo-bacanjima i polugama. Iako se redovno sukobljava sa gomilama protivnika, film legitimno prikazuje njihov strah kada se suoče sa Terryjevom bestijalnom, nezaustavljivom energijom. Ovde svakako vredi pomenuti i vrlo lep, mada i sam ,,uprljan" grindhouse estetikom, rad kamere Kena Tsukakoshija a koji je koristio ,,actionscope" tehniku, kako su u Toeiju za ovu priliku nazvali 35milimetarski format, te upečatljiv saundtrak Toshiakija ,,Tonyja" Tsushimae koji uspeva da klasične elemente muzike krimića sedamdesetih – fank gruv, wah-wah gitaru – ukombinuje sa memorabilnom kvazi-folk temom. Ne manje značajno, kao art-direktor potpisan je Takatoshi Suzuki koji filmu daje distikntni šarm akcione ekstravagance sedamdesetih, savršeno spajajući elemente istočnjačke tradicije i modernog zapadnog dizajna.
(https://i.imgur.com/Xhlj5uQ.png)
The Street Fighter je, iako naivan, narativno nekoherentan i generalno jeftin, apsolutna lektira za svakog ko se interesuje za filmove o borilačkim veštinama. Njegova akcija je moćna i visceralna a strastveno ukrštanje sa eksploatacijskim filmom inspirisaće mnogo toga i na istoku i na zapadu. Pričali smo već o kultnom kineskom filmu Riki-Oh: The Story of Ricky (https://cvecezla.wordpress.com/2021/11/12/film-riki-oh-the-story-of-ricky/) sa početka devedesetih koji je pogurao ovu estetiku na naredni nivo, a serijal video igara Street Fighter, najvažniji boričaki serijal u istoriji Japana je nazvan po ovom filmu.
Na zapadu, naravno, Mortal Kombat predstavlja deo produženog legata ovog filma, ali su sam film The Street Fighter i Sonny Chiba zapravo dobili novi život nakon Scottovog kultnog filma True Romance iz 1993. godine a za koji je scenario napisao Tarantino i u kome se o Chibi i ovom filmu priča u gotovo religioznom tonu. Chiba će kasnije igrati u Tarantinovom Kill Bill pa onda i u The Fast and the Furious: Tokyo Drift (naporedo sa ulogama kod japanskih majstora novog šok-filma, kao što su Takashi Miike i Kinji (i Kenta) Fukusaku), i biti aktivan sve do prošle godine kada je, u Avgustu, u svojoj osamdesetdrugoj godini, umro od posledica COVID-19.
(https://i.imgur.com/ax3s1dw.png)
Dobra vest je da je danas The Street Fighter prilično lako pogledati jer studio na njega više ne drži kopirajt pa se dobre kopije filma mogu, ako nemate para da ih platite, pogledati na JuTjubu ili bilo kom drugom besplatnom srvisu za video striming (čak i u video-igri The Darkness iz 2007. godine). Ovo je srećan splet okolnosti već utoliko što zaista jeste u pitanju jedan od ključnih žanrovskih radova i neka vrsta spoja između tradicionalnijeg akcionog filma i brutalne grindhouse eksploatacije, te film koji se u ogromnoj meri vozi na harizmi i energiji svog glavnog glumca. Ne treba to propustiti.
(https://i.imgur.com/iCupTqH.png)
Pogledao sam Dabba odnosno The Lunchbox, prvi film indijskog režisera po imenu Ritesh Batra, a koji je ne samo 2013. godine, posle premijere na kanskom festivalu dobio nagradu kritike (Zlatnu, jelte, šinu), već je bio i veoma uspešan kako na domaćem terenu tako i u međunarodnoj distribuciji. Dabba je bio solidno primljen u SAD ali i u Britaniji gde je bio nominovan za BAFTA nagradu u kategoriji filmova koji nisu snimljeni na Engleskom* i zaradio priličnu količinu novca na ovim tržištima. A što ne treba da nas čudi jer sam sve vreme gledajući ovu produkciju mislio kako ne mogu da verujem da još uvek nisam čuo za nekakav britanski rimejk koji bi napravio isto ovo ali pomereno dva-tri sitna koraka u smeru romantične komedije i sa Hjuom Grantom u glavnoj ulozi. Nije da mu ne bi pristajala jer glavni junak ovog filma – ako ga junakom možemo nazvati – započinje film najavom da za mesec dana odlazi u penziju.
*Iako se, da primetimo, sasvim solidan deo dijaloga u ovom filmu odvija na Engleskom
(https://i.imgur.com/PKySAGa.png)
Ritesh Batra je sa ovim filmom sebi isposlovao solidan međunarodni profil i njegovi kasniji filmovi – neki rađeni na Hindu jeziku, neki na Engleskom – imaju uspeha na međunarodnom boks ofisu, i imaju premijere na raznim festivalima na zapadu, uključujući, recimo Sundance, koji je i bio jedan od mnogih podržavalaca njegove prve celovečernje produkcije. Batra je pre ovog filma pažnju na sebe skrenuo sa više uspešnih kratkih filmova kojima se uspešno probio u razne programe, između ostalog baš Sundance festivala. Nakon što je jedno vreme učestvovao u studijskim programima Sundancea, vratio se u Mumbai da tamo snimi dokumentarac o raznosačima hrane i njihovom svetski poznatom sistemu koji su, vele, proučavali na fakultetima u inostranstvu i od ovog projekta nastao je prvo koncept za igrani film Dabba a onda je, uz pomoć različitih što domaćih što stranih institucija (TorinoFilm Lab, Institut Français itd. itd. itd.), ali i nacionalno prilično šarolike ekipe profesionalaca snimljen i čitav film.
(https://i.imgur.com/6XzMfPN.png)
Iako je pravljen, što se kaže, na lokaciji, u Mumbaiju i duh mesta i ljudi koji tamo žive je veoma prisutan u filmu, Dabba je, napisan i režiran od strane samog Batre, imao nemačkog kompozitora (doduše samo po rođenju, Max Richter živi i radi u Ujedinjenom kraljevstvu već decenijama*), američkog direktora fotografije (Michael Simmonds koji je snimao, recimo, Halloween iz 2018. godine i njegov nastavak Halloween Kills iz prošle), i montažera (John. F. Lyons) a među koproducentima se pojavljuje čak i Danis Tanović.
(https://i.imgur.com/WzZLXwK.png)
Ovo napominjem zato što je Dabba, iako na zapadu percipiran kao ,,film kakav je mogao nastati samo u Indiji" zapravo dosta izmešten iz standardne indijske flmske produkcije i pravljen je od strane autora koji je veliki deo svog posla naučio na zapadu i koji je taj film, mislim, u sasvim solidnoj meri i napravio jednim okom gledajući prema zapadnim festivalima i bioskopima. Otud, to što je izbila izvesna kontroverza kada film i pored velike popularnosti u Indiji na kraju nije izabran da predstavlja ovu zemlju na dodeli Oskara sa jedne strane ne treba da čudi, ali iako to nije izrečeno može se naslutiti da članovi komisije Filmske Federacije Indije na kraju nisu hteli da ovu čast udele nekakvom malom, nezavisnom filmu očigledno pravljenom za zapadnu publiku.
*i mada je njegov skor diskretno elegantan, mnogo su upečatljivije scene u kojima raznosači hrane u vozu spontano pevaju popularne narodnjake, tapšući u ritmu u nedostatku instrumenata
(https://i.imgur.com/ed3QC1Z.png)
Dabba je neka vrsta romantične meditacije koja bi u nekakvoj stvarno na zapadu pravljenoj verziji dobila čvršću formu romantične komedije. Svi sastojci su tu: lepa, tužna i pomalo usamljena glavna glumica, stariji, namrgođeni ali harizmatični glavni glumac, njemu dodeljen komični sajdkik koji uprkos svemu postane miljenik ne samo publike već i protagoniste do kraja, te neobična, slučajnošću pokrenuta romansa koja je toliko čista, nedužna i, u krajnjoj liniji neverovatna da publika ne može a da ne navija iz sve snage da se ona razbukti u nešto, jelte, konkretno.
(https://i.imgur.com/P50tw7B.png)
No, Dabba nije zaista komedija i ovo je, kako rekoh, pre svega romantična meditacija o modernom životu u urbanoj košnici Mumbaija, sa muškarcima kojima je njihova služba u velikoj meri preuzela životne prioritete i ženama koje pored njih kopne. Sve to ima vrlo prepoznatljivo indijsku gorkoslatku, pa zašto da ne i patetičnu notu, i moram da priznam da sam na više mesta pomislio kako bi na kraju bilo zanimljivo videti rimejk napravljen u više komičnom ključu a koji bi uspešno potkazao najromantičnije elemente priče, no, ovo je s druge strane efikasna i ne odveć kontemplativna produkcija od sto minuta a koju u priličnoj meri nose kvalitetni glumci pa Dabba svakako nije neprijatna za gledanje.
(https://i.imgur.com/edoYSIt.png)
,,Neverovatni" motiv u srži ovog filma je da mumbajska služba za dostavu hrane pravi ne jednu grešku već istu grešku iz dana u dan. Sistem koji firme u ovom gradu imaju za prenos oborka od restorana (ili od privatnih adresa) do ljudi na njihovim radnim mestima je nadaleko čuven po svojoj efikasnosti i nepogrešivosti – u filmu se u jednoj uspelo komično intoniranoj sceni naglašava da su ovaj sistem ,,proučavali na Harvardu" i da je sam ,,kralj Engleske" dolazi da se nadivi njegovoj perfekciji – ali glavna junakinja, domaćica i majka Ila, koja svom mužu ujutro spremi ručak a onda mu ga dostavljač donese do firme u podne, jednog dana shvata da je ručak završio kod nekog drugog, uprkos tome što su joj limene posude u kojima ga je poslala uredno vraćene.
Naravno, Ila ima probleme u braku – muž je napravio jedno dete i sada kao da ga zanima samo posao u firmi koju, putem mobilnog telefona, donosi sa sobom i kada je kod kuće i nema vremena za lepu, malo tužnu suprugu koja shvata da njen život ulazi u depresivnu kolotečinu – pa je trud oko novih recepata praktično njen vapaj za pažnjom u nadi da će mužu putem ukusnih, inovativnih obroka probuditi malo stare vatre koja kao da je posle rođenja ćerkice zgasnula.
Film, naravno, da bi uopšte mogao da postoji, ide filmskom a ne ,,pravom" logikom pa Ila i sutra spremi ručak i, mada su šanse da služba za dostavu opet pogreši i opet dostavi hranu istom pogrešnom čoveku praktično nepostojeće, uz njega doda pisanu poruku da kaže da joj je bilo drago da je videla da je sva hrana pojedena.
(https://i.imgur.com/nZimLf5.png)
Tako počinje njeno dopisivanje sa starijim službenikom velike lokalne firme koji po ceo dan sedi za stolom i raznobojnim markerima podvlači finansijske izveštaje u ,,kancelariji" u kojoj pred njega sedi još stotinak istih takvih. Saajan Fernandes je pred penzijom jer mu je posle 35 godina službe omogućeno da ode u prevremenu mirovinu i jasno je da ovaj namrgođeni, od strasti ispražnjeni udovac koji se od sveta brani strogošću i mirisom duvana samo želi da ode negde gde neće svaki dan morati da se gura sa masom po natrpanim mumbajskim vozovima. Fernandes je čovek rutine, ponavljanja malih rituala svakog dana i njegova kolotečina biva, nagađate, prijatno osvežena dopisivanjem sa mladom ženom koju nikada nije video ali koja mu sada svakog dana šalje ukusne i raznovrsne obroke. Ovo čak njega izvodi iz uobčajene mrzovolje pa i mladog pripravnika koji treba da zauzme njegovo radno mesto nakon penzionisanja, Shaika, tretira sa prijateljskijom dispozicijom.
(https://i.imgur.com/VBv0590.png)
Film je, naravno, vrlo topao i pokojni Irrfan Khan u ulozi Fernandesa prodaje tu transformaciju ćutljivog nadžak-dede* vrlo ubedljivo dok mu je Nawazuddin Siddiqui u ulozi Shaika odličan parnjak. Njihova dinamika se prema kraju priče razvija prirodno i stariji muškarac uz mlađeg bez puno reči i objašnjenja kao da se ponovo priseća nekih lepih elemenata života koje je u svojoj samačkoj, udovičkoj rutini zaboravio. U jednoj dirljivoj sceni Fernandes nalazi VHS kasete svoje pokojne žene sa poznatim indijskim sitkomom iz osamdesetih, Yeh Jo Hai Zindagi, provede celu noć gledajući ih i onda Ili piše vrlo uzdržanu ali jasnu poruku u kojoj se kaje što nije više pažnje posvećivao svojoj supruzi dok je bila živa.
* iako je u vreme snimanja filma imao svega 45 godina
Ilu igra manekenka i glumica Nimrat Kaur koja zapravo ima najteži zadatak jer je u gotovo svim scenama sama. Ima nekoliko scena u kojima razgovara licem u lice sa svojom majkom ili ćerkom ali najveći deo svoje minutaže ona provodi u kuhinji i dovikuje se sa komšinicom sa sprata iznad, koju nikada ne vidimo, a koja je izvor ne samo mudrih kulinarskih (i ljubavnih) saveta već i u korpi spušta Ili začine kada joj zafale. Kaurova je pre svega veoma lepa žena i njen glumački zadatak ovde jeste da prikaže ružu koja kopni bez sunca i zalivanja a da to bude uzdržano, odmereno, bez uskakanja u bolivudski eksces. Mislim da je u tome dosta uspešna.
(https://i.imgur.com/4Frd6fB.png)
Ključni, prelomni momenti filma se dešavaju kada sama Ila postane proaktivnija u svojim kontaktima sa Fernandesom a što u njemu proizvodi momenat duboke samospoznaje koji je pošten i vodi film ka neizbežnom gorkoslatkom finalu koje, zapravo, gledaocu ne otkriva šta se na kraju dešava. No, likovi su do tog momenat svi uspešno izmenjeni u odnosu na svoje početne pozicije a čak i ako film ne kulminira stvarnom romansom, svaki od likova je već izveo nešto što će ga na karmičkom obračunu staviti u plus.
(https://i.imgur.com/OGV4tSR.png)
Kvalitet ovog filma je bez sumnje ta uzdržanost u realizaciji a da sa druge strane nema davljenja u kontemplaciji. Kontemplacija postoji, i protagonisti o njoj reflektuju u pisanim pprukama koje šalju jedno drugom jednom dnevno, putem isporuke hrane i film vrlo školski, mehanički povezuje vizuelne motive koje je posejao na početku da nam sugeriše emocije koje bujaju u finalu a da glumci ovde ne moraju da nam ih glumataju, čuvajući ih, dostojanstveno, u sebi.
(https://i.imgur.com/T8NLtDi.png)
Ovo svakao valja pozdraviti mada i treba primetiti da film svakako pati od malo školskog, mehaničkog pristupa u pogotovo prvoj polovini. Batra i Simmonds više od devedeset posto scena u filmu snimaju sa stativa, iz jednog ili više uglova, bez ikakvih pokreta kamere (čini mi se da prvi jedva primetni švenk dolazi tek u pedesetom minutu), montirajući zatim radnju vrlo predvidivom, gotovo manirističkom dinamikom. Ne da je to loše kadrirano, naprotiv, ali filmu ne bi škodilo malo slobode u radu kamere, koja bi, verujem, oživela radnju što je, kao i ta fotografija, prilično predvidiva.
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Opet, film nam uspešno predstavlja jednu nemoguću romansu dve pristojne, dobre osobe koje, uprkos svemu nisu u životu dobile ono što bi im karmički ili po pravilima žanra, sledilo i uspeva da mračnije tonove depresivnh stanja, suicidne ideacije i cinizma provuče bez eksploatacijskih impulsa. Takođe, ovo je film gde tri glavna lika pripadaju različitim konfesijama (Ila je hindu, Shaik je musliman a Fernandes hrišćanin) a što je element možda ubačen samo da se na ,,diverzitet" navuku napaljeni zapadnjaci, no, s obzirom na prilično bujanje Hindu nacionalizma poslednjih godina i diskriminaciju na koju se posebno muslimani sve otvorenije žale, ne mogu a da ne pohvalim ovakav umetnički izbor. U konačnici, ponekad treba pogledati jednu pristojnu, odmerenu romansu, pa je Dabba, mislim, sasvim dobar izbor za ovakve momente.
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Kowloon Walled City je kineski borilački direct-to-streaming film urađen pred kraj prošle godine a koji je među ljubiteljima kung-fu akcije i na zapadu izazvao dosta pažnje na ime svog glavnog glumca. U ovom filmu, naime, glavnu ulogu igra Xing Yu, čovek impresivne fizičke pojave i izvanredne borilačke ekspertize, sa popriličnom količinom dobrih akcionih filmova u svojoj biografiji. Iako je ovaj film toliko ispod radara ,,normalne" publike da za sada nema čak ni stranicu na IMDb-u, vredi istaći da je Xing Yu ovde ne samo odigrao glavnu ulogu već i osmislio akcionu koreografiju, a što je rezultiralo nekim od najboljih borilačkih scena koje sam video poslednjih meseci.
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Sam utvrđeni grad u Kovlunu je jedan važan istorijski pojam u kineskoj povesti. Kao kineska, neregulisana i utvrđena enklava usred Hong Konga kojim su vladali predstavnici britanske imperije, Kovlun je za Kineze neka vrsta simbola dugog i tvrdoglavog otpora okupatoru, neka vrsta ,,stvarnog" Asteriksa i prkosnog sela okruženog neprijateljskim armijama, a koje nikada nije dalo na sebe. Kovlun je prvo bio vojno utvrđenje a zatim samostalno naselje usred britanske teritorije koju je kineska država predala pred kraj devetnaestog veka. Nakon što je Japan napao i okupirao Hong Kong tokom Drugog svetskog rata, veliki deo kineske populacije se iz grada povukao u tvrđavu, pridruživši se već postojećim stanovnicima grada. Procene su da je do 1990. godine na prostoru od svega 2,6 hektara živelo oko pedeset hiljada duša, ali se tačan broj verovatno nikada neće znati s obzirom da su skoro stotinu godina ovim gradićem-utvrđenjem vladale trijade, uživajući u odsustvu ikakve prave administracije i okrećući lepe pare na ime kocke, prostitucije i narkotika.
Nakon što je Kina preuzela kontrolu nad Hong Kongom, krenulo je raseljavanje i grad je srušen između 1993. i 1994. godine, a na njegovom se mestu danas nalazi neka vrsta spomen-parka. No, Kovlun je dugo bio inspiracija za razne priče u raznim medijima, pa je, recimo, Jackie Chan svoj Crime Story smestio u ovaj grad, William Gibson ga je obilato koristio u svojoj trilogiji o Mostu, manga Crying Freeman mu daje značajnu ulogu, a pored pomenutog Jackiea Chana, filmove o i u ovom gradu radili su i Lam Ngai Kai (pominjan ovde na ime svog kultnog splatter akcijaša Riki-Oh: The Story of Ricky (https://cvecezla.wordpress.com/2021/11/12/film-riki-oh-the-story-of-ricky/)), Johnny Mak, braća Pang, a i Van Dammeov Bloodsport je za mesto odvijanja svog turnira odabrao baš Kovlun.
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Ovogodišnji film režirao je čovek po imenu Channel Choi, o kome ne znam apsolutno ništa sem da mu ostali filmovi imaju primamljive naslove (Tiger Killer? Khepri Cockroach Tide? Kako ne poželeti da se to gleda?), ali i da je u pitanju očigledno kompetentan režiser koji se vrlo dobro snalazi u mešavini komedije, drame i akcije. Svakako, za ovo poslednje zadužen je sam Xing Yu, ali Choi ima pred sobom scenario koji jedva da se trudi da održi narativnu koherenciju i od njega pravi probavljiv i, što se tiče komedije i akcije, zabavan film.
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Naravno, imamo posla sa niskobudžetnom, direct to streaming produkcijom koju potpisuje masa firmi za koje niste čuli, ali ovo je film čija je primarna ambicija da istakne vrhunsku eleganciju i energiju borilačkih koreografija a zatim i da pošalje jednu toplu, jelte, ljudsku poruku o snazi solidarnosti, kapacitetu ljudi da se menjaju i postaju bolji, kao i o tome da su Britanci jebeni rasisti koje je trebalo jebati i ubijati dok su još bili tu.
Nije neko iznenađenje da se azijski filmovi i u 2021. godini po automatizmu oslanjaju na trop o kolonijalnim tlačenjima i zapadnjacima koji su prevrtljivi, podmukli, bez respekta za lokalnu kulturu i zainteresovani samo da eksploatišu pošten svet. Ovo je nešto što se provlači kroz kinematografiju istočne Azije decenijama, pa ćete slične stvari videti i kod Tajlanđana (Prachya Pinkaew u prvom Ong Bak, recimo), i kod Japanaca (na pamet mi padaju i Kurosawa (https://cvecezla.wordpress.com/2020/04/08/film-sugata-sanshiro-dzudo-saga/), i Yoshihiro Nishimura (https://cvecezla.wordpress.com/2010/04/24/vampire-girl-vs-frankenstein-girl/) i mnogo drugih autora između) i, eto, kod Kineza. U ovom konkretnom slučaju, tenzija između još uvek prisutnih okupacionih vlasti britanske imperije i domicilnog stanovništva prikazana je kroz odnos građana sa policijom koju, naravno, predvodi jedan prefrigan i pokvaren bijeli đavo.
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No, priča se najvećim delom fokusira na sam utvrđeni grad i njegove stanovnike koji, tu negde, pred kraj osamdesetih ili početkom devedesetih godina, sede jedni drugima na glavama i žive u stanju stalnih nestašica svega ali i mafijaških pravila koja zamenjuju pisane zakone na teritoriji izdeljenoj između bandi. Glavnu žensku ulogu igra vrlo simpatična Yu Lang čiji se lik, Jiahui, školovao na zapadu, ali, umesto da tamo pronađe svoju sreću i započne nekakvu uspešnu karijeru, Jiahui se vraća u Kovlun i uspeva da se nametne kao predvodnik neformalne (ali tehnički jedine) vlasti u svom, južnom distriktu. Jiahui veruje u to da život pod mafijaškim pravilima i privređivanje isključivo od kriminalnih aktivnosti nije život koji većina stanovnika želi i film spretno pokazuje ,,normalne" ljude koji žive pod nenormalnim režimom, navikli da se snalaze, ali i željni slobode, pravde, pa i dostojanstva.
Okolnosti se tako skockaju da Jiahui u autobusu naleti na momka iz provincije po imenu Aneng, a koji upravo u tom momentu beži od britanske policije. Jiahui mu pomogne oko alibija i podmiti policiju viskijem koji je donela iz preka, a Aneng joj uzvrati uslugu nekoliko minuta kasnije kada sa asfaltom poravna ekipu uličnih mangaša što su se drznuli da smaraju devojku.
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Ubrzo saznajemo da ovo nisu bili baš obični lokalni đilkoši i da je sve bio deo strateškog napada od strane vođe istočnog distrikta. Film nam prikazuje da u južnom distriktu cveta kocka, u zapadnom prostitucija, a u istočnom (Chasing Dragon, kako se primereno zove), heroin i do kraja priče postaje jasno da su i kocka i prostitucija manja zla od heroina, makar u očima autora filma. Britanske vlasti, nagađate, sarađuju baš sa ovima što prave p-do, i banda iz ovog distrikta bez mnogo zazora upada na tuđe teritorije i napada tamošnje stanovništvo.
No, Jiahuin optimizam i Anengove pesnice brzo menjaju ravnotežu i njima se pridružuju opasna (a posle shvatimo i u srcu zlatna) upraviteljka bordela i čitave svoje četvrti, Sestra Hong (igra je odlična Sun Zi Jun) te bivši policajac, a sada prevrtljivi polukriminalac Akun (Peter Lu), u naporu da postepeno odvoje stanovništvo Kovluna od kriminala, prekinu ekonomsku zavisnost ove teritorije od droge, kocke i prostitucije i inspirišu ljude za nešto bolje.
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Ovo je zapravo vrlo simpatično uokvireno u ono malo minutaže koliko film uspeva da posveti ovoj velikoj temi i Yu Lang ubedljivo glumi mladu, srčanu devojku koja autentično inspiriše ne samo prost narod što počinje da se priseća koncepta dostojanstva, već i okorelije krimi-likove koji počinju da veruju da ima života i izvan svinjca za koji su sebe ubedili da im je dovoljan.
Ali naravno, film kraći od sat i po ima vrlo malo vremena za ove teme, jer treba tu uglaviti i simpatičnu romansu između dvoje glavnih likova, komično intoniranu kvaziromansu između dvoje sporednih likova, nekoliko scena koje nam pokazuju negativca, predvodnika istočnog distrikta, po imenu Hai Ye (igra ga harizmatični Yang Xiao Bo) za koga znamo da je ,,stvarno" zao jer je ćelav, ima tetoviranu lobanju i mentalno zaostalog sina koga je ekstremno razmazio i sprema ga da nasledi njegovo carstvo itd. Svi ovi klišei kulminiraju u jednoj od prvih scena kada Hai Ye nezadovoljan izveštajem ubija jednog od svojih posilnih jednim udarcem vadičepa.
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Svi ovi klišei naravno i blede pred onim kako je prikazan ,,pravi" negativac, a koji je, rekosmo, Englez, ali pošto on ne ume da se bije (i, kukavički, kad dođe red na akciju pri kraju filma, vadi pištolj na goloruki narod*), Hai Ye služi kao finalni bos u poslednjem akcionom set pisu.
*dobro, ne SASVIM goloruki, u ovoj sceni je Aneng već ubio bar 6-7 ljudi mačem
Moram da priznam da sam, iako je Kowloon Walled City u principu zabavan, brz, britak film sa nekoliko vrlo lepih scena koje imaju i korektno napravljenu komiku i romansu, ipak bio i donekle razočaran činjenicom da je kulminacija akcije zapravo već na samom početku filma. Ne da su scene u finalu kada Aneng i simbolički i vrlo fizički poražava glavne negativce loše, daleko bilo, odlične su, ali mislim da se tu vidi da je budžet bio sitan i finale je zapravo relativno skromno sa malim body countom i srazmerno kratkom borbom između Anenga i Hai Yea. Makar u njemu Sestra Hong ima presudnu ulogu – uvek je dobro videti da akcioni filmovi žene ne koriste isključivo za uloge dama u nevolji (a što ovaj film, ne brinite, radi).
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Xing Yu je, svakako jedan od najvećih aduta ovog filma. Pričamo o čoveku koji je autentični šaolinski monah, gde je trenirao od svoje dvanaeste godine i kasnije vodio i šaolinsku školu u Šenženu nekih osam godina. Yu je uglavnom epizodista, sa malim brojem glavnih uloga iza sebe ali je svejedno igrao pored nekih velikana hongkonške scene, kao što su Andy Lau, Tony Leung Ka-fai, Jackie Chan i, posebno, Donnie Yen, u čijih je mnogo filmova igrao, uključujući ulogu u Ip Man. Njegov lik je u ovom filmu onaj prigodni stereotip o neiskvarenoj, čistoj duši sa sela (Aneng dolazi sa severa Kine) koja dolazi u grad i ne dopušta da ga njegova prljavština ukalja, već, naprotiv, snagom vrline (i snagom... eh... mišića) inspiriše druge da se osvrnu oko sebe i prepoznaju u kakvom svinjcu žive.
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Naravno, Aneng je i neverovatna borilačka mašina a Xing Yu uspeva da ne preglumljuje i da nam da sasvim plauzibilne transformacije od dobrice sa nežnim emocijama prema svojim prijateljima, do razarača koji se baca na čitave grupe protivnika i demolira ih izrazito snažnim, destruktuvnim tehnikama.
Sama koreografija je veoma dobra mada film, možda malo pogledujući ka zapadu, koristi više rezova nego što je standard za hongkonšku akciju. Neki od njih su čisto estetske prirode i kombinuju se sa radom kamere iz ruke. Film, srećom, nikada ne postaje holivudska muljavina i ovo snimanje iz ruke i brza montaža ne rezultiraju nejasnim i smandrljanim kadrovima. Neki od rezova su, jasno je, potrebni zarad kaskaderskih akrobacija, pa u više navrata imamo scene udarca kolenom u lice posle kojih ide rez na telo što pravi salto unatrag od siline ovog poteza. Mislim da će se većina članova porote složiti sa mnom da pričamo o opravdanom korišćenju makaza.
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No, Xing Yu je ovde napravio i gomilu koreografije koja oduzima dah ,,čistim", poštenim kaskaderskim radom od koga pucaju koske i ostaju bolni podlivi. Scene tečne, brze borbe gde završnice uglavnom dolaze posle 2-3 udarca snimljene su vroma efektno, i ovde rezovi i promene ugla kamere dolaze samo da se naglasi silina udarca – onako kako hongkonški režiseri tradicionalno rade. Samo par scena pri kraju filma u kojima Xing Yu ima urnebesne napade kolenom iz skoka su dovoljne da se po ko zna koji put namrgodim što prokleti Marvel nije uposlio nekog propisnog koreografa i režisera za akcione scene u svom Shang-Chiju (https://cvecezla.wordpress.com/2021/11/19/film-shang-chi-and-the-legend-of-the-ten-rings/). Naprosto, ovde se još jednom potvrđuje koliko je Hong Kong ispred Holivuda po pitanju akcije.
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Pomenuta scena na početku filma je, pak, zaista hajlajt u akcionom smislu i zapravo, pošto je narativno potpuno odvojena od ostatka priče, slutim da je snimljena prvo i korišćena kao pič producentima za potrebe snimanja ostatka filma. Xing Yu je ovde URNEBESAN, a lokalitet – luksuzno javno kupatilo na severu Kine puno mafijaša – perfektno odabran. Kontrast sjajnog belog mermera i krvoločne, visceralne akcije je tim potentniji što koreografija u punoj meri koristi tvrdoću kamena kao element same te akcije i Xing Yu i ostali glumci u ovoj sceni pružaju gledaocu takav akcioni program – uključujući borbu u parteru sa polugama i rvanjem koje će BJJ aficionadosi umeti da cene – da je teško ne razočarati se malko što inače odlična završnica filma ne može da mu parira po volumenu i intenzitetu.
No, nadam se da je ovaj film ispao dovoljno jak u prodaji da dobijemo nešto slično u narednim godinama. Channel Choi je vrlo kompetentno odradio priču i akciju, kamera je ubedljiva, a scenografija uniformno odlična. Sa raspoloženim glumcima koji veoma dobro nose skromni scenario i odličnim saundtrakom, Kowloon Walled City je osamdesetak minuta pristojne zabave za ljubitelje borilačkih veština i film koji, da ponovim još jednom, podseća na reklo bi se sasvim nedostižnu poziciju hongkonške kinematografije kada je akcija u pitanju.
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Sa dosta interesovanja sam pogledao Furie (aka Hai Phuong), potresnu vijetnamsku dramu o požrtvovanoj majci koju život nije mazio a koja očajnički pokušava da spase svoju ćerku od internacionalnog kriminalnog klana čiji je glavni posao tgrovina decom. Zajebavam se, naravno, Furie je borilački akcioni film iz 2019. godine koji koristi neke od najizlizanijih tropa u istoriji akcionog filma da nam prikaže malo brutalne tuče koju sa pravdoljubivim gnevom isporučuje veteranka Veronica Ngo. Film je produciran od strane nekoliko malih kompanija – kad krene uvodna špica u pitanju kao da je nadmetanje za najužasniji animirani logotip firme – ali je glavni igrač ovde Netflix. Film je imao i bioskopsku distribuciju u SAD (i, pored Vijetnama možda i u drugim azijskim državama), kao prvi vijetnamski film koji se tamo nije zadržao samo na festivalima već ušao u sale širom Amerike, ali da bude jasno, ova produkcija prosto smrdi po direct-to-streaming znoju i ambiciji da bude pre svega film koji će se dopasti zapadnom, američkom gledaocu.
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Što, da ne bude zabune, nije nimalo negativna ambicija. Furie je još jedan od onih filmova koji pokušavaju da pronađu pravu meru lokalne egzotike i zanatski kvalitetnog filmmejkinga da američkom i drugom zapadnjaku budu idealan koktel, sve jureći tragom koji je iza sebe pre, evo skoro dvadeset godina iskrčio tajlandski Ong Bak. Kineska – tačnije hongkonška – dominacija u žanru filmova o borilačkim veštinama je tom prilikom ozbiljno načeta i pokazalo se da zapadna tržišta sasvim rado gledaju i filmove iz drugih azijskih zemalja. Indonežanski The Raid je samo još više razvalio vratnice, jelte zapada, nudeći izvrsnu borilačku koreografiju i produkcijsku ozbiljnost kakva je najčešće odsutna iz hongkonških radova.No, Furie svakako ide i malo previše iskalkulisano u svoju misiju kopirajući bez mnogo kreativnosti brojna rešenja što smo ih videli onoliko puta – uključujući i u Ong Bak – i ovo je film koji se prevashodno spasava na ime zaista kvalitetne fotografije i solidnih borilačkih koreografija. A kojih bi bilo lepo da je bilo više. Le-Van Kiet, koji je ovo režirao zapravo nije poznat pre svega po pravljenju akcijaša. Njegov prvi film, Dust of Life bio je drama o odrastanju sa zaranjanjem u neke traumatične epizode skorije istorije Vijetnama i jugoistočne Azije – konkretno egzodus vijetnamskih porodica čamcima u osamdesetim godinama gde je narod bežao od opresivnog komunistilkog režima – a nakon njega Kiet je radio malo drame, malo trilere, malo horore, sa sve ekranizacijom Dostojevskog u filmu Gentle. Kao američki đak – diplomirao je na filmskoj školi Univerziteta u Los Anđelesu – koji shvata da je žanrovski film način da ima više posla, Kiet je očigledno odabran za ovu produkciju i jer ima štofa da pravi filmove koji će zanatski i estetski biti prijemčivi američkom oku.
(https://i.imgur.com/9FzkCHo.png)Glavna atrakcija u Furie je svakako Veronica Ngo aka Ngô Thanh Vân, državljanka Norveške rođena u Vijetnamu krajem sedamdesetih a odakle je njena porodica čamcem bežala od komunista i završila u Skandinaviji. Kako je Ngo jedna od ,,boat people" izbeglica o kojima je Kiet snimio svoj prvi film (i čija je porodica imala slično iskustvo), verujem da je ovo bio sasvim prirodan spoj između autora i glavne glumice. Veronica Ngo je svoju karijeru ipak izgradila u Vijetnamu u koji se vratila 1999. godine, prvo da učestvuje na takmičenju u lepoti (osvojila je drugo mesto), a onda da glumi i peva. Pored vrlo solidne nacionalne muzičke karijere, ova svestrana žena krenula je i sa televizijskim ulogama, pa prešla na film gde je imala dosta uspeha, uključujući male uloge i u velikim zapadnim produkcijama, uključujući The Last Jedi, Spike Leejev Da 5 Bloods, Netflixov Bright i The Old Guard. Za ovo potonje joj je Furie verovatno solidno pomogao pogotovo što je Ngô Thanh Vân ovo potpisala i kao (izvršna) producentkinja, najavljujući, ako sam dobro razumeo da će joj ovo biti poslednja akciona uloga (pretpostavlja u Vijetnamu).
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Pre nego što krenem u kritiku samog filma, vredi napomenuti da je vijetnamska kinematografija ne baš u povoju, ali svakako u periodu tranzicije. Nema ni puna decenija otkada su vlasti – na čelu sa tadašnjim premijerom – odlučile da je neophodno ulagati u domaću filmsku industriju, pa je otvaranje multipleks bioskopa širom države i investiranje novca u produkcije koje će se baviti socijalnim pitanjima i lokalnim kulturnim značajkama donelo vidne pomake. Činjenica je, pak, da Vijetnam još uvek nema visoku ekspertizu u ovom domenu kreativne industrije, sa svega par visokih škola na kojima se stiču potrebna znanja pa nije ni čudo da je i ovaj film na zanatskom nivou profitirao od prisustva stranih stručnjaka. Kameru je, recimo, radio Amerikanac Morgan Schmidt, akcione scene koordinirao iskusni francuski kaskader Yannick Ben dok je borilačku koreografiju pravio Kefi Abrikh, kaskader sa dugačkim stažom uključujući u japanskim produkcijama poput Ultramana. Ipak, montažu, scenografiju, muziku, šminku itd. su radili vijetnamski profesionalci i film se može podičiti jednim zdravim, lepim izgledom. Furie ostavlja utisak profesionalnosti pa čak i zanatske rutine a što je pogotovo solidan podvig imajući u vidu da je sve snimljeno za budžet od svega milion dolara. Svakako se mora istaći kvalitet fotografije sa odličnim korišćenjem svetla i boje (akcionim autorima omiljeni neonski prelivi urbanih sredina su upotrebljeni ukusno, a scene rađene u provinciji prosto pucaju od života i energije), ali su i šminka, scenografija, zvuk i montaža svi impresivni, kao da je lokalna ekipa pokazivala šta sve zna da uradi.
(https://i.imgur.com/AvvP04D.png)Veronica Ngo je svakako centralna atrakcija ovog filma. Sa jakom prezentnošću u kadru i pristojnim rasponom ekspresivnosti i emocija, ona je više nego pristala za ulogu siromašne majke koja u vijetnamskoj provinciji sama podiže ćerkicu i pokušava za život njih obe da zaradi uterujući dugove za lokalnu zelenašicu. Inicijalne scene rađene u malom ribarskom mestu na jugu, Can Tho su urađene izvrsno i mada u njima protagonistkinja već demonstrira svoj borilački svetonazor, film uspeva da nam proda jednu dovoljno naturalističku situaciju. Majka, umorna od svog zahtevnog posla gde se po ceo dan svađa i tuče sa ljudima, uveče preko volje kuva za sebe i ćerku, dete mrzi da radi domaće zadatke i pita majku zašto naprosto ne ulože pare koje imaju u domaći ribnjak, od koga bi živele časnije. Niko nije srećan u ovoj postavci, pogotovo kada uveče ljudi dolaze da lupaju na vrata glavne junakinje da se žale i prete joj što im je rodbini nanela ozlede uterujući dugove. No, odnos glavne junakinje, Phuong i njene ćerke Mai je i pored svega odnos uzajamne ljubavi i privrženosti i mada dete trpi maltretiranja u školi jer joj je majka samo malecni stepenik iznad kriminalca, jasno je da dve žene jedna drugoj daju snagu potrebnu da se prebrodi svaki novi dan. Nažalost, već sutradan Mai na pijaci optuže da je ukrala novčanik od jedne žene, dok Phuong pokušava da proda svoje stare minđuše ne bi li stvarno imali para da ulože u ribnjak i okrenu novi list, majka je oštro iskritikuje iako dete nije krivo, i kako već to ide jedno sa drugim, Mai završi kidnapovana od strane bande koja radi za sajgonske trgovce decom.
(https://i.imgur.com/e8fr7V5.png)Jedna od prvih akcionih scena u filmu je produžena jurnjava Phuong za kidnaperima koja podrazumeva nekoliko tuča i vožnju motora i ovo je sve snimljeno vrlo solidno. Scenario, naravno, zahteva da ova potera bude bezuspešna i očajna majka, sa već solidnom količinom modrica uskače u kamion za Sajgon...Phuong je, saznajemo kroz flešbekove, iz Sajgona i pobegla u provinciju kada je zatrudnela. Bivša striptizeta/ igračica u klubu, bila je već u to vreme poznata po kratkom fitilju pogotovo kada su siledžije u pitanju a sada kada joj je dete kidnapovano, ona pokušava sve, od odlaska u policiju, do prisiljavanja lokalnih kriminalaca da joj ukažu na neki trag. Film, nažalost, radi vrlo malo na likovima koje Phuong sreće u svojoj potrazi i oni su pre svega lica u prolazu, počev od bivšeg gengbengera koga ona privoli da joj ustupi informaciju nakon brutalne tuče pred njegovom majkom, preko rokstar policijskog inspektora Luonga, pa do Nu Quai, brutalne, tetovirane šefice bande koja kidnapuje decu i prodaje njihove organe. Postoje gestovi u smeru kreiranja izvesne hemije između Phuong i inspektora kao i u građenju gotovo mitološkog antagonizma između očajne majke i ledene, nemilosrdne gangsterske predvodnice koja je i najbolji borac u filmu (well, tehnički, drugi najbolji), ali su oni nedovoljno ubedljivi. Film nije nužno prekratak, ali Le-Van Kiet troši previše vremena na slatkaste flešbekove i emotivne reminscencije, prilazeći opasno preblizu azijskim sentimentalnim ponorima, da bi rad sa glavnim likovima mogao da bude produbljeniji. Potpuno, recimo, bespotrebno, se uvodi lik Phuonginog brata koji nema nikakvu funkciju u narativu i bio je sasvim dovoljan kao lice u flešbekovima ako je bilo potrebno da se protagonistkinji da ,,humanije" utemeljenje.
(https://i.imgur.com/TU66ThW.png)Ali ovo, zapravo uopšte nije potrebno. Motiv majke koja će učiniti sve da spase svoje dete – a pritom, zgodno se pogodilo, ima ekspertizu iz više borilačkih veština – je sasvim dovoljan i čak je i ekstenzivna metafora o tigrici koja će do kraja života loviti lovca što joj je ubio mačiće bespotrebna. Veronica Ngo svu potrebnu humanizaciju odrađuje perfektno već u uvodu kada ona i ćerka drhte u tišini dok im na vrata lupa besni sugrađanin koji preti da će im zapaliti kuću, a dodatna ,,pravdanja" za svoju protraćenu mladost mogla je da uruči usput inspektoru Luongu čiji Phan Thanh Nhien i sam dobija premalo vremena pred kamerom da bi bio išta više od kartonske figure na kojoj je nacrtana solidna količina harizme. Jer, da se ne zaboravi, Furie je pre svega borilački film i izražavanje likova treba da dođe prevashodno kroz borbu. Naravno da jeftine, direct-to... produkcije često moraju da ubacuju ,,karakterne" momente kako bi nekako premostile vreme između akcionih set pisova što pojedu najveći deo budžeta, ali Furie taman zagreje stvari na radnu temperaturu a onda ponovo moramo da gledamo Veronicu Ngo kako – doduše sasvim solidno – glumi potresenu majku iako smo svi već kupili tu njenu personu i samo želimo da je gledamo kako jebe kevu zlotvorima.
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No, borba u filmu je solidna i možda je glavni problem Furie to koliko je sve u njemu do koske stereotipizirano. Idući tragom Takena i Ong Baka, Furie je priča o potrazi očajne i preduzimljive osobe koja, iz provincije – što i sama nije sasvim nevina, videli smo – dolazi u veliki prljavi grad gde će rasturiti sve samo da spase svoje dete. Ovo je do sada mnogo puta obrađivana postavka i ovaj film naprosto ne uspeva da se izdigne iznad tipskih rešenja koja su, sasvim moguće, neka vrsta testa za vijetnamsku ekipu što pokazuje da ima zanat u rukama kao i bilo koji bugarski, rumunski ili američki film crew, ali koja filmu daju ukus izlizanosti. Dijalozi, poze, gestovi, tranzicije između situacija, sve je to toliko puta viđeno i reciklirano bez praktično ikakvog odmaka da čekanje na akcione scene pada teško najpre zbog tog deja vu osećaja što ispunjava prostor između njih. Film na trenutak pravi trzaj u nekom, recimo, džekičenovskom smeru, sa delimično duhovitim načinom na koji Phuong organizuje svoje bekstvo iz bolnice, ali ovo je epizodica iza koje nema nadgradnje. Akcione scene su, srećom, prilično dobre. Ne savršene, svakako ne na nivou Ong Baka koji je i dalje, evo, dve decenije nizvodno, zlatni standard za azijsku produkciju izvan Kine, niti na nivou drugih koerografija koje je potpisao legendarni Panna Rittikrai (na primer Chocolate) ali Veronica Ngo, sa svojim prilično krhkim fizikusom pruža iznenađujuće ubedljiv borilački program, unoseći se snažno u udarce i terajući gledaoca da skoro poveruje da žena od 60 kila može da jednim udarcem pesnice nokautira muškarce od devedeset.(https://i.imgur.com/wyJxwUN.png)Kefi Abrikh je ovde podastro pred glumce i gledaoca prilično raznovrstan jelovnik tehnika, oslanjajući se pre svega na hongkonške recepte i u nekoliko scena imamo fina baletska obigravanja protvnika jednih oko drugih sa superbrzim razmenama i jasnim razrešenjima situacija. Korišćenja hvatanja i poluga su podsećanje da popularnost MMA, pogotovo njegove BJJ komponente podrazumeva prisustvo ovakvih tehnika i u filmu – a što je pogotovo relevantno za film gde postoji velika razlika u telesnoj masi između protivnika – i mada film tretira neke poteze što legitimno lome zgobove i ostavljaju trajni invaliditet kao tek atraktivne momente u borbi od kojih vam malo padne HP ali vam posle bude bolje, svakako je lepo videti ih izvedene brzo i efektno. Štaviše, jedan od presudnih momenata u bosfajtu pri kraju filma jeste oduzimanje noža iz ruku nečasne protivnice koja ga potegne kada shvati da njena fizička superiornost nije dovoljna da se porazi srčana, posvećena Phuong. Ovo je i fer rešenje jer Hoa Thanh (aka Tran Thanh Hoa) koja igra Nu Quai ima naglašenu fizički prednost u visini, masi, dužini udova i kad ova opasna, tetovirana žena udara, to deluje ekstremno uverljivo (i bolno). Nadam se da ćemo ovu harizmatičnu ženu sa očiglednom borilačkom ekspertizom imati prilike da ponovo negde gledamo.
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U kontrastu sa tim, Veronica Ngo deluje dobro, ali film mora da poseže za rezovima kako bi neke elemente koreografije mogao da spakuje u efektne scene. Možda sam samo ja nepovratno deformisan decenijama gledanja Jackiea Chana, pa za njim boraca kao što su Donnie Yen i Tony Jaa ali osetljiv sam na scene u kojima se rez koristi da se glumac ,,namesti" za stant, a da se to vidi. Ovde režiser i montažer naprosto moraju da budu na visini zadatka da bi gledalac dobio tečnu, perfektnu sekvencu poteza koju je koordinator borbe osmislio.Da me se ne shvati pogrešno, većina koreografije u Furie je dobra i moje mrštenje oko rezova je više žal što ovaj film ne može da se poredi sa najboljima u svom žanru nego neka ozbiljna osuda. Ovako kako jeste, više žalim što borbi nema više i što nisu duže jer je ono što dobijamo u filmu 99% izvrsno.
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Furie, dakle, impresionira odličnom kamerom i scenografijom, solidnim glumcima i dobrom borbom. Pritom ovo je film koji možda i namerno radi u low-key feminističkoj dimenziji, gde su sve glavne uloge dobile žene a koje imaju izražen protagonizam (i antagonizam) a da to, zahvaljujući ubedljivosti glumica (uključujući malu Mai Cát Vi u ulozi ćerkice Mai) ne deluje kao puko ulagivanje zapadnjačkoj ,,woke" publici. Ono što ga zadržava da ne stekne status klasika je taj veoma klišeizirani narativni nivo, malčice previše šlajfovanja sa emocijama i karakternim momentima koji, nažalost, ne vode stvarnom razvoju likova, te činjenica da borba, pošto je dobra, naprosto treba da zauzima više minutaže u filmu. No, za nekakav prvi ozbiljniji rad vijetnamske kinematografije u ovom žanru, bez obzira na oslanjanja na readymade rešenja i možda preterano imitiranje onog za šta se misli da Amerikanci očekuju, Furie je prilično solidan film koji uz te razumne rezerve preporučujem svakom ljubitelju akcije.
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Priznajem da nisam znao šta da očekujem, pa da sam imao i blagu bojazan odlučujući se da pogledam film Ulysses, prvu ekranizaciju ključnog romana Jamesa Joycea, pa i čitavog dvadesetog veka, makar na zapadnoj strani Zemnog šara, koju je 1967. godine režirao američki režiser, scenarista i producent Joseph Strick.
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Strick je bio zanimljiva ličnost i nikako ne neko ko bi mi bio prvo ime na pameti da sam šezdesetih godina prošlog veka bio živ i kognitivno sposoban da razmišljam o potencijalnim autorima koji Joyceovom monumentalnom romanu mogu da udahnu adekvatan filmski život. Strick je prve dodire sa filmskom produkcijom imao još kao mlad dečko, dok je radio kao pomoćno osoblje u Los Angeles Timesu, a kada je, kažu napravio svoj prvi film. Nakon Drugog svetskog rata, koji je služio u ratnom vazduhoplovstvu, a gde je imao ulogu fotografa iz vazduha, Strick je kameru koja je otpisana kao vojni višak 1948. godine upotrebio za svoj prvi ,,pravi" rad, Muscle Beach, kratki dokumentarni film o bilderima iz Južne kalifornije. Iako ovo deluje kao da se Strick spremao za karijeru stunt-filmmakera, negde između Herzoga i Angera, njegova trajektorija tokom pedesetih godina najpre se ticala niza uspešnih kompanija koje bismo danas zvali startapovima, a koje su kreirale i proizvodile razne električne uređaje. Strick se tu pokazao kao solidno uspešan biznismen sa njuhom za inovaciju i zdravim poslovnim instinktima ali on je i sam u intervjuima objašnjavao da je u ovo ušao isključivo zato da bi namakao sredstva sa kojima će snimati filmove onako kako on želi.
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Da bude jasno, film je za Stricka bio mnogo više od strasti, on ga je praktično smatrao ,,glavnim" savremenim umetnički medijem. U jednom intervjuu je on tako objasnio da je i njegov rad za novine bio samo usputna stanica na putu ka tome da postane režiser filmova – to je bila jedina uloga koju je za sebe u životu zaista želeo. Tvrdio je da su u njegovim očima i najveća literarna dela inferiorna u odnosu na najbolje filmove, da ga ona ne mogu dotaći na isti način i da ga filmovi interesuju pre svega zbog svog kapaciteta za ,,instant komunikaciju", bez umetanja reči između onog koji poruku šalje i onog koji poruku prima.
Hoću reći, kao neko ko bi se usudio da se rve sa Joyceovim Uliksom, knjigom nad, jelte, knjigama, koja ne samo da je sastavljena od skandaloznog broja, jelte, reči, već i koja je jezik u literaturi iskoristila na načine što skoro da nisu imali nikakve veze sa onim što su radili njegovi savremenici, kreirajući praktično fraktalnu teksturu značenja, aluzija, referenci, zagonetki, rima, aliteracija, metrika i poetika, Strick mi nekako nije delovao kao prava osoba na pravom mestu.
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No, Stricka su smatrali i jednim od najliterarnijih autora svog doba, čoveka koji je svesno i prkosno stajao izvan filmske industrije, sa nimalo prikrivenim antagonizmom spram ljudi iz studija koji su se plašili bilo čega što bi izlazilo iz srazmerno uskih okvira trenutne komercijalne produkcije. Kako je i sam rekao u istom intervjuu, nazivajući ljude na visokim pozicijama u holivudskim studijima ,,polupismenim", kada je pokušavao da ih zainteresuje za adaptaciju jednog od romana Marcela Prousta, nekoliko njih nije znalo ko je to.
Strick je, naravno, nalazio načine da pravi svoje filmove pa i snimio nekoliko cenjenih produkcija, između ostalog adaptaciju Millerove Rakove obratnice i Joyceovog Portreta umetnika u mladosti. U par navrata je u Britaniji radio i u pozorištu, režirajući za Royal Shakespeare Company i Royal National Theatre, a kao autor dokumentarnih filmova ostavio je iza sebe vrlo zapažene radove, poput The Savage Eye iz 1959. godine, eksperimentalnu produkciju koja je rađena gerilski i mešala dokumentarni materijal sa dramskim elementima, ali i Interviews with My Lai Veterans iz 1970. godine za kojeg je dobio i oskara.
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Adaptacija Uliksa je došla kao prirodan rad za autora koji je tokom te decenije već dobio dosta pohvala, kao deo cinema verite pokreta, ali i kao neko ko ima sposobnosti – i smelosti – da se hvata u koštac sa delima iz savremenog literarnog korpusa. Adaptacija Genetovog pozorišnog komada Balkon iz 1963. godine bila je očigledna demonstracija Strickove ambicije i spretnosti, pa je scenario za Uliksa napisan zajedno sa Fredom Hainesom – a što je dvojici autora zaradilo i nominaciju za oskara – a film je, kako kažu ,,sa skromnim budžetom" (oko 900.000 dolara) snimljen na lokaciji, u Dablinu i prvo pušten u bioskope u Americi proleća 1967. godine da bi mesec i po dana kasnije njegovo prvo evropsko (?) prikazivanje na Kanskom festivalu bilo praćeno popriličnim skandalom.
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A što je, da se ne lažemo, jedini primeren način da se Joyceov magnum opus uopšte privoli na veliki ekran. Ljudi danas pričaju o ,,nefilmljivim" predlošcima – i obično citiraju Mooreov strip Watchmen od koga je, da podsetimo, napravljen skupi holivudski film i kasnije televizijska serija – i aplaudiraju kada neki studio u Holivudu ispovrće maltene doslovno kamione novca da se napravi nova verzija Herberotve Dine ili Tolkienovog Gospodara prstenova, ali Ulysses je roman koji je toliko utemeljen u jeziku, njegovom ritmu, zvučnosti i poetskim kapacitetima da saopšti više informacija u isto vreme, nudeći čitaocu slojeve i slojeve mogućih, verovatnih i neverovatanih značenja, da je sama pomisao da se ovo nekako može adekvatno preneti u medijum filma pomalo i sumanuta na prvi pogled.
Jedna deo kritike je svakako mislio isto pa je Strickova adaptacija bila dočekana na nož u nekim prikazima koji su objavljeni 1967. godine, gde je nazivan ponižavajućim za roman, dok su drugi primetili da je u pitanju samo ,,čitanje teksta, uz slajdove."
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Naravno, Uliks je u svojoj književnoj formi među normalnim svetom čuveniji na ime svojih površnih elemenata nego na osnovu svoje suštine koja je, da se složimo, umotana u mnogobrojne slojeve značenja, aluzija i zagonetki (sam Joyce je rekao da je količina kriptičnih referenci koje namerno stavlja u tekst tolika da će se akademici doslovno vekovima sporiti oko toga šta je hteo da kaže). Inicijalno izlazeći u nastavcima u američkim novinama, pa onda pogođen kritikom da je opscen i da se to kosi sa tamošnjim zakonima, Ulysses je svoj prvu kompletnu ediciju dobio tek u Francuskoj – nije neko veliko čudo da u Ujedinjenom kraljevstvu niko nije hteo da objavi roman Irca, ma koliko cenjen bio, za koji se već čulo da je praktično pornografski. U SAD je ovo potvrđeno i sudski pa je njegovo izlaženje u novinama prekinuto a postojeće a neprodate i neuručene kopije novina sa do tada objavljenim tekstovima su spaljene.
Ljudi koji za Ulysses znaju na ime njegovih manje ,,skandaloznih" elemenata uglavnom umeju da ponove onu floskulu da je ovo toliko detaljno ispisan roman da bi se, kada bi danas ceo Dablin izgoreo do temelja, mogao u potpunosti verno rekonstruisati na osnovu ovog romana.
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Ovo je naravno, netačno i zvuči kao roman koji ionako niko ne bi hteo da čita, čak i da ne mrzi Irce onako kako su u ono vreme bili omrznuti u Engleskoj ali i u dobrom delu SAD. Ono što jeste tačno je da je Uliks bio neka vrsta vrhunca modernističke proze, često ga navode kao njen literarni sažetak, a čime se može govoriti i o tome da je u pitanju i neka vrsta preteče postmodernog romana. Jer, Uliks je, nimalo prikriveno, kako mu i naslov kaže, dobrim delom roman o literaturi i mnogim njenim večnim temama ali je, istovremeno, u mnogome on i jedan sažet, ne taksativan ali iznenađujuće sveobuhvatan pogled na zapadnu kulturu i misao počev od antičke civilizacije pa do ranog dvadesetog veka. Kao takav, on se može čitati na gotovo bezbroj načina – a što su mnogi i radili, Derrida je recimo imao predavanje o tome koliko se puta rečca ,,da" ponavlja u ovom romanu i zašto je to značajno – i da uvek iz njega dobijete nešto novo.
Mala personalna ilustracija značaja ovog romana za mene samog je ta da sam ga čitao 1999. godine, nakon NATO bombardovanja, radeći kao ulični prodavac umetničkih slika u Beogradu a gde je kombinovanje Joyceovog pristupa Dablinu kao mikrokosmosu u kome se seku istorija, kultura, i umetnost, te psihologija, seksualnost i tanatologija zapadne civilizacije, sa konstantnim razgovorima sa potencialnim mušterijama, intelektualcima ali i prolaznicima koji su samo bili privučeni nečim na slikama, pijancima i drugim uličnim svetom, za mene kreiralo jedan bogat set impresija i materijala za refleksiju koji, evo, ni skoro četvrt veka kasnije nisam istrošio.
Drugim rečima, Uliks je za mene knjiga koja živi, ne samo knjiga koju sam jednom pročitao, pa sam otud imao prilično sumornu predrasudu u vezi sa Strickovom dvočasovnom crno-belom adaptacijom u kojoj igraju irski glumci, a snimio ju je austrijski majstor fotografije Wolfgang Suschitzky.
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Ispostavilo se da su Strick i kolege na kraju zapravo imali sasvim zdravu ideju kako se uhvatiti u koštac sa Joyceovim nesagledivim romanom i kada se u opisima filma kaže da je on tek u širem smislu baziran na Ulyssesu, ovo je i tačno i netačno. Netačno jer radnja filma veoma verno prati ,,radnju" ili makar scenosled romana i prenosi popriličan deo teksta – mahom dijaloga i unutarnjih monologa – direktno iz knjige. Tačno jer su Strick i Haines ovde naprosto morali da odaberu jednu nit koja se kroz roman provlači ili, makar, u svakom trenutku po samo jednu nit iz isprepletanih snopova mini-dešavanja, referenci, aluzija, zagonetki i poetskih vratolomija koje je Joyce utovarivao na svaku stranu, i da ovo uspostave kao ,,radnju" filma.
Utoliko, Strickov Ulysses Joyceov veličanstveni rad na neki način svodi na nekoliko tema koje su u njemu vidne i značajne ali koje bilo koji čitalac romana može – sa argumentima – proglasiti za sporedne u odnosu na dublja značenja i refleksije koje Ulysses krije. Da li će vam to smetati zavisi od toga kakav ste čitalac. Ulysses je, mislim, jedno od onih definitivnih umetničkih dela dvadesetog veka u kome se spaja nekoliko prelomnih filozofskih koncepata koji su ovom veku dali identitet – od smrti autora, pa sve do teorije rizoma Deleuzea i Guattarija – i Strickovo čitanje je, time, legitimno utoliko što sve ono što on pronalazi u Uliksu i vrlo spretno, vrlo efikasno postavlja na film, zapravo ima istinitost koju bi Joyce – autor što je svom tekstu udahnuo sasvim nezavistan život, nadajući se da će kroz akademske rasprave on živeti vekovima – sasvim sigurno i sam prepoznao.
Je li Strickovo čitanje na momente prebukvalno? Može da tako deluje, ali treba imati na umu i kada je film nastajao. Prilično česta ponovljena insistiranja na rasističkom odnosu Engleza prema Ircima, a onda samih Iraca prema Jevrejima imaju svoje nepobitne korene u romanu, ali su ovde na neki način izvučena u prvi plan sa očiglednom ambicijom da se filmu obezbedi dimenzija savremene socijalne kritike.
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Sa druge strane, Strickov akcenat na odnosu Leopolda Blooma i njegove supruge Molly (Milo O' Shea i Barbara Jefford), komplikovana priča o preljubi-sa-prećutnim-odobravanjem, korišćenje motiva ,,cuckolda" tj. rogonje, Bloomov nikada izgovoreni ali jasni lament za izgubljenim sinom i neka vrsta pseudo-usvajanja Stephena Dedalusa (Maurice Roeves), njegova zarobljena, pritajena a opscena seksualnost, sve su ovo elementi koji, ponovo, iako važni za roman u meri da predstavljaju ono što se može nazvati njegovim ,,zapletom", su u filmu izraženije tretirani kao pogonski mehanizam, energija za kreiranje drame potrebne ovakvom medijumu, iako su u romanu oni mnogo zaravnjeniji i podređeni eksperimentima sa jezikom i istraživanju kulture i ljudske psihologije.
No, ovo na krau zapravo funkcioniše iznenađujuće efektno, pogotovo sa filmom koji postepeno napušta svoju estetiku prizemljenog, ,,verite" pripovedanja o običnim ljudima u Dablinu u ulazi u smele dramske, pa i komične minijature koje časno prate i odgovaraju na Joyceovo skakanje između literarnih žanrova i pripovednih postupaka u romanu. Od druge polovine film se pretvara u otvoreno alegoričnu, na momente farsičnu ali uvek spretno vođenu priču koja se razvija naizgled na osnovu slobodnih asocijacija u tekstu i Strick i montažer Reginald Mills ovde prave brojne bravure prelaženjem iz kadra u kadar i scene u scenu onako kako ,,normalan" film, pa čak ni normalan novotalasni film nije imao običaj da radi.
Završnica posle noći u kojoj Bloom preživljava i suđenje ali i Dedalusovo odbijanje da prihvati ulogu Telemaha Bloomovom Odiseju je maestralna sa čitavim Mollynim unutarnjim monologom rekonstruisanim kroz seriju kratkih, perfektno asociranih scena koje prate njene sve nepovezanije, sve više meandrirajuće misli dok pada u san. Ovaj deo je jedan od najcitiranijih i najanaliziranijih delova romana, sa prefektnim prikazom onoga kako je Joyce pisao tok svesti – pa je i svođenje Strickovog rada na filmovanju ove scene na ,,čitanje teksta sa slajdovima" svakako preoštra kritika. Sa druge strane, Joyceov (ne)iznenađujuće progresivan tretman ženske psihologije i seksualnosti je i danas zlatni standard za literarne radove i Strickov tretman ovog sloja teksta je praktično besprekoran. To da je film cenzurisan na samom Kanskom festivalu – brisanjem ,,najvrelijih" delova teksta iz titlova – i da je Strick, kome nisu rekli da će biti ovakvih intervencija, usred projekcije ustao i glasno objavio da je ovo cenzura, zatim se zatrčao u projekcionu kabinu i tamo, suočen sa ,,komitetom", kako je nazvao grupu zaposlenih na festivalu, uleteo u frku iz koje je izvukao deblji kraj, uključujući bacanje niz stepenice i slomljeno stopalo – to je deo mitologije kinematografije dvadesetog veka i podsećanje na vreme kada su se ljudi i fizički borili za sovju umetnost. Mollyin dijalog je kasnije u nekim bioskopskim verzijama zamenjivan serijom nerazaznatljivih zvukova da bi se izbeglo dodeljivanje ,,X" rejtinga od strane britanske komisije za filmsku cenzuru, da bi film na kraju ipak bio prepoznat kao umetničko delo u celini i prikazivan bez izmena 1970. godine.
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Ovo je i dobro podsećanje da malo toga može da podigne kosu na glavi konzervativnijem gledaocu od prikaza ženske seksualnosti. Naravno, Uliks se ne može – i ne sme – svoditi samo na ovaj element, iako je taj element, kao i mnogo toga drugog u njemu, dragocen, pa tako ni ovaj film ne smemo posmatrati samo kroz prizmu njegove izvanredne završnice. No, moram da kažem da sam posle dva sata Strickove beskompromisne kanonade sa ekrana bio više nego zadovoljan. Ulysses je prvo i samo jedno čitanje Joyceovog remek-dela ali ovo je čitanje neopterećeno monumentalnošću svog zadatka, snažno, beskompromisno, majstorski izvedeno, konfrontativno i – duhovito. Teško da bih išta više od njega mogao da poželim.
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Da su neka druga vremena, tj. da nije pandemija, film Dina (Prvi deo) odnosno Due (Part One) bih verovatno odgledao još jesenas u nekom od IMAX bioskopa prisutnih u miloj nam prestonici, poučen oduševljenim reakcijama onih koji su sebi priuštili takvo iskustvo. Da bude jasno, nisam neki veliki ljubitelj Denisa Villeneuvea, ali književno delo Dina (aka Peščana planeta) Franka Herberta koje je ovde poslužilo kao predložak, čini važan deo građe koja je oblikovala moja interesovanja u osetljivim detinjim godinama, pa bih u svakom scenariju imao barem radoznalost da vidim kako se ovaj serijal romana interpretira više od pedeset godina nakon izlaska prve knjige.
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Ali jeste pandemija, pa sam disciplinovano, neki bi rekli svetački strpljivo sačekao da se film privoli HBO-u kako bih ga pogledo u miru svoje sobe gde će samo ritmičko kuckanje moje žene u laptop i mačije predenje na trosedu svuda oko mene (i na meni) kreirati eksternu atmosferu koja treba da me barem malo usidri u realnosti i podseti da nisam JA taj koji je zarobljen na planeti što je sedam miliona stereotipova o Bliskom Istoku i pustinjskoj klimi srolala u jedan paket od nepuna dva i po sata.
Da ne bude zabune, nisu Denis Villeneuve i njegova dvojica saradnika na scenariju ti koji su krivi ili odgovorni za relativno slobodno korišćenje elemenata kulture arapskih društava u ovom filmu, sam Herbertov roman je, dakako, nastao upravo na temelju višegodišnjeg istraživanja a onda uzimanja i korišćenja svega što se autoru činilo pogodnim za kompleksnu priču koju je zamislio. Bilo je to, uostalom, nevinije vreme u kome termin ,,kulturna aproprijacija" još nije bio izmišljen a to da je američki autor napravio vidan napor da stvarne (i izmišljene) arapske termine upotrebi unutar fikcije koja se dešava mnogo godina u budućnosti i mnogo svetlosnih godina u, jelte, svemiru, te da napravi možda i nenamerne ali svakako legitimno prepoznatljive paralele sa Lorensom od Arabije, i sasvim očigledne i neprikrivene paralele sa Rajskim sabljama, pa, to je polovinom šezdesetih godina zapravo bio prilično progresivan smer u kome je žanorvska naučna fantastika pružala svoja, jelte ticala.
Hoću reći, Dina se i danas, ne bez razloga, smatra jednim od ključnih romana čitavog naučnofantastičnog žanra po više osnova. Književna naučna fantastika je šezdesetih godina definitivno sa sebe stresala stigmu trivijalne, palp-magazinske proze i mnogi autori su se smelo i eksplicitno hvatali u koštac sa filozofskim i egzistencijalnim temama – videti pod Asimov, Clarke, Bester... Sa druge strane, pomenuti Asimov je na izvestan način utemeljio i ideju književnog serijala koji neće biti tek niska palp romana sa istim glavnim junacima već kompleksan narativ koji se razvija kroz dugačak istorijski period. Herbertova Dina je preuzela štafetu u trku i uspostavila verovatno prvi veliki prozni naučnofantastični serijal koji se bavio složenim i, pa, ,,ozbiljnim" temama a da je istovremeno i dalje donekle ostajao u formi spejs opere.
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Ta forma spejs opere i nemala doza egzotičnosti koju je Herbert ugradio u narativ sa svojim referencama na Bliski Istok i arapske kulture je svakako velikim delom i zaslužna za to da je ovaj roman već decenijama percipiran kao prirodan materijal za filmsku (i televizijsku) adaptaciju iako se, kada sednete da ga čitate, zapravo ne radi o previše ,,kinematičnoj" priči.
Jasnije rečeno, Dina nije ,,dovoljno" akcioni ili avanturistički narativ. Putovanja koja se u ovoj priči preduzimaju zapravo nisu toliko fizička koliko, jelte, misaona i filozofska a Pol Atreid, (tj. Paul Atreides) nije ni makar konfliktni heroj koji prvo neće pa posle hoće da se stavi u službu, jelte, dobra, već zapravo komplikovan i svakako pomalo tragičan lik koji upada u stoletnu borbu što nije njegova i u kojoj, strogo gledano, ne bi ni trebalo da učestvuje, da bi tamo postao ne puki heroj već mesija i prorork.
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Utoliko, ovaj je narativ sebi istorijski privlačio u dobroj meri artističke tipove. Alejandro Jodorowsky nije ni uspeo da snimi svoju adaptaciju Dine sedamdesetih godina prošlog veka, a kada David Lynch jeste uspeo da snimi svoju 1984. godine ovo je bio jedan od poslednjih pokušaja italijanske familije De Laurentiis da napravi ,,svoj" Star Wars. Kako im to nije uspelo sa Flashom Gordonom pola decenije ranije (a bio je tu i prvi pokušaj pravljenja Dine još sedamdesetih), tako im to TEK nije uspelo sa Lynchovim spektaklom koji je, kažu, u originalnoj verziji bio toliko problematičan za producenta da je za potrebe bioskopske verzije drastično skraćen – pa i tako trajao solidnih 137 minuta – i na kraju pred publiku dospeo u formi koja se gotovo univerzalno percipira kao nešto na skali gde je sa leve strane ,,mnogo dosadan film" a sa desne ,,svetogrđe".
A ipak, Dina je izdržljiv i zavodljiv narativ, makar zbog te svoje egzotike i atraktivne tehnologije i komplikovane priče koja prosto zaziva spinof narative i prepričavanja, pa je i posle Lynchovog debakla Herbertov predložak adaptiran i proširivan u različitim medijumima, uključujući televiziju i video-igre.
To da je kanadski režiser Denis Villeneuve danas neka vrsta ,,go to guy" persone za ,,ozbiljnu" bioskopsku naučnu fantastiku je za mene pomalo nesrećan sticaj okolnosti. Villeneuveu svakako ne manjka ambicije da se hvata u koštac sa cenjenim i ,,teškim" materijalom i producenti mu očigledno veruju jer je sa svojim prethodnim radovima uspeo da napravi respektabilnu zaradu, ali Villeneuve, da tako to kažem, ima svu pripovednu ambiciju Christophera Nolana ali bez njegovog zasecanja u metafiziku, kao i sav vizuelni vatromet Stanleyja Kubricka ali bez njegove odmerenosti.
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Već to da je posle pristojne mada ne i naročito smele adaptacije Chiangovog Story of Your Life u formi filma Arrival, Villeneuve odmah regrutovan da radi novog Blade Runnera sugeriše da se radi o autoru koji ima poverenje studija, u smislu da će, možda i sigurnije nego sam Nolan, isporučiti. Zabeleženo je da je meni Blade Runner 2049 bio prilično bolno iskustvo (https://cvecezla.wordpress.com/2017/10/09/film-blade-runner-2049/), ali dobra vest je svakako da je sa Dinom Villeneuve već imao gotov i uglavnom dobro poznat narativ pa da se izazov pred njim prevashodno odnosio na to kako ga formatirati za modernu publiku, radije nego ŠTA reći.
Jer, da se razumemo, kada odgledate prvi deo Dine, film koji i sam traje solidnih dva i po sata, niko vas ne može osuditi ako se zapitate šta ste ovo, zapravo gledali?
,,Šta je pisac hteo da kaže" je obično podsmešljivo korišćena fraza koja upućuje na nejasno napisana, zbrkana prozna (i druga) dela, ali u vezi sa Herbertovim romanom ovo je zapravo sasvim legitimno pitanje s obzirom na njegovu istoriju publikovanja. Originalno, Dina je izašla kao tri knjige (prvo serijalizovana u magazinu Analog u dva serijala) a što se, ako ste čitali domaće edicije, transformisalo u čak šest (doduše tankih) tomova u meko koričenom Kentauru, i ono što pokriva ovaj prvi film odnosi se na prvu knjigu (odnosno prve tri u Kentaurovoj izvedbi). Ovde možda vredi ukazati da se čak i integralna verzija romana koja je obuhvatila sve originalne delove i izašla 1965. godine, prodavala dosta slabo i istrpela dosta snažne kritike na ime toga da se dramatično razlikovala od onog što su ljudi očekivali od naučne fantastike polovinom šezdesetih. Umesto svemirskih brodova i ljudi u kosmonautskim odelima, Herbert je nudio masu arapske terminologije, komplikovanu ekološku parabolu i religijski, mesijanski narativ.
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Jasnije: na kraju ovog filma gledalac može da kaže da je tek video prolog i da su likovi za koje je mislio da će biti važni za priču iz nje zapravo uklonjeni daleko pre njenog kraja, a glavni lik, Pol Atreid je, sasvim očigledno, tek zametak onoga što će postati u kasnijim filmovima. To da nam fleš-forvard sekvence pokazuju Pola kao akcionog heroja koji sa dva kris-bodeža u rukama, napravljena od zuba pustinjskog, jelte, crva, Šai-Huluda, jebe kevu neprijateljskoj vojsci je svakako neka vrsta mamca za gledaoce koji su u ovom filmu morali da istrpe veliku količinu značajnih šutnji i pogleda što blude u daljini, ali ako ste čitali roman, znate već da Polova budućnost sadrži još manje akcije nego ono što smo već videli.
No, da bude jasno, Villeneuve ovde demonstrira dobro rukovanje materijalom koji je naprosto prkosno prekomplikovan. Dva i po sata ovog filma su taman dovoljna da nam postave osnove svemira u kome se priča događa i približe nam odnose među likovima u meri koja će nas držati uz priču i dalje. Ovo nije mali poduhvat uzevši u obzir koliko je Herbertov roman složen. Njegova vizija svemira ne samo da je egzotična i spaja naizgled klasične space-opera trope sa hard-SF tretmanom tehnologije, već su tu i gusto prepleteni slojevi ekoloških eksploracija, pa onda i raspakivanje kolonijalne istorije Bliskog Istoka, sve izmešano sa religijskim narativom u kome se momak što ga pripremaju za svemirskog nindžu posle transformiše u svemirskog, jelte, proroka. Sve to na planeti koja je cela sastavljena od pustinje i jedino je mesto u svermiru gde proizvodi resurs od koga zavisi međuzvezdano putovanje.
Herbertovo kombinovanje feudalnog sistema uređenja kosmosa – sa padišahom na vrhu i moćnim porodicama koje čitavim planetama i sistemima vladaju stolećima – i napredne tehnologije, te nečega što je delom parapsihologija a delom, praktično, magija, dobija prilično siguran tretman u Villeneuveovim rukama. Ovaj filmski svemir deluje dovoljno dosledno a antagonizmi u priči su dovoljno jasno iskomunicirani uprkos veoma komplikovanoj istoriji koja je kreirana vekovima unatrag od mesta na kome počinje film.
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Primarni problem ovog narativa je isti koji je imao i roman: gledalac mora da odabere da ga bude briga za ono što se dešava na ekranu. Ovo nije ,,obična" spejs opera u kojoj je jasno za koga treba da navijate i ko su negativci. Odnosi između porodica i padišaha su komplikovani i još kao trinaestogodišnji klinac sam morao nekoliko puta da čitam prvi deo romana da razumem zašto ovde kuće jedna drugu napadaju, šta hoće padišah i kako je to vezano za sudbinu glavnog junaka, a pogotovo kako se to uopšte uklapa u proročanstvo o dolasku mesije (i proroka) koje je vezano za jednu planetu na kojoj on nikada ranije nije bio, i red sestara-veštica što stolećima iz pozadine utiču na politiku u kosmičkom carstvu.
Villeneuve, stoga, dosta spretno film deli na organske celine, formatirajući ih oko set pisova koji sadrže akcione i saspens elemente i gledaocu drže pažnju jasnim ulozima vezanim za ovde-i-sada pa dok on shvati da je prošao kroz nekoliko takvih celina i da nema pojma na koji način je Pol Atreid zaista značajan za ovaj narativ i koliko treba da smo potreseni onim što se desilo njegovoj porodici, op, dva i po sata je isteklo, vidimo se u nastavku.
Ovo je sasvim legitiman pristup pripovedanju pogotovo uz tu pažnju da se gledaocu približe najvažnije istine o peščanoj, jelte, planeti i kosmičkom društvu kroz dosta srećno izvedene, organske scene dijaloga i akcije radije nego kroz ekspozitorne infodampove. Naravno, pomaže ako ste čitali roman ili makar gledali Lynchov film jer i ovako morate da se probijete kroz dosta žargona i koncepata koji će postati jasniji tek u drugom (ili trećem, ako ga bude) filmu, ali Villeneuve uspeva da vas drži uz likove i od vas dobije investiciju u njihove sudbine već time da ih stalno stavlja u situacije gde za njih strahujete na ime neposredne i jasne opasnosti iako možda u tom momentu ne umete da tu opasnost kontekstualizujete u okviru šireg narativa.
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Drugi pozitivni elementi filma obuhvataju neke od sporednih likova koji jednoj inače vrlo uozbiljenoj, pa i, jelte, suvoj priči daju malo ,,običnog" ljudskog mirisa. Josh Brolin i Jason Momoa ovde donose malo superherojskih refleksija narativu koji svakako rizikuje da se malko izgubi u svom rektumu sa svim tim pričama o proroku i vizijama što svakih pet minuta prekidaju normalno pripovedanje, a Oscar Isaac kao Leto Atreid je svakako dobro iskoristio svoje vreme pred kamerom, dajući gledaocima lamberseksualnu, otmenu projekciju persone o kojoj, kad malo razmislimo, ne znamo ništa značajno, niti imamo stvarnu brigu vezanu za to da li će on živeti ili umreti. Zli Harkoneni su takođe odrađeni sasvim korektno, izbegavajući Lynchovo insistiranje na, jelte, najgrđim nastranostima, a opet uz dovoljan, ,,filmski" nivo odbojnosti da se ovde dobiju jasno profilisani negativci.
Najveći adut filma su svakako kamera (Greig Fraser je radio i Rogue One i Zero Dark Thirty pa ima iskustva sa, jelte, pustinjama), kostimi i scenografija. Scenografiju je radio stari Villeneuveov saradnik Patrice Vermette, čovek sa dve nominacije za oskara u biografiji i mada moram da kažem da vizuelno film zapravo ne komunicira naročito snažno taj neprijateljski nastrojeni ekosistem oko koga se ceo kosmos bori, svejedno su slike pustinje, njenih dina i svedene ekologije, te dizajn zgrada i mašina, izuzetno impresivni. Villeneuve je ovde mogao da pusti na volju svojoj ljubavi ka monumentalnim, post-brutalističkim scenografijama i mada i ovaj film pati od istog problema koji je imao njegov Blade Runner – to da vidimo grad koji deluje pre kao velika maketa nego kao stvarno mesto na kome žive ljudi – ne može se reći da Arakis i njegov glavni grad ne deluju impresivno. Još bolje, tehnologija koja se u filmu koristi je atraktivna a na jedan ne predizajniran način, sa ornitopterima koji su u inženjerskom pogledu besmisleni ali koji se uklapaju u ostatak tehnike što je vidimo na planeti (recimo mehaničke žeteoce začina), ali i međuzvezdane brodove što su svi ogromne komadine metala bez mnogo vidne elektronike.
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Isto važi za kostime i uniforme, bojne oklope i oružje koje koriste vojnici i Dina svakako izgleda konzistentno i lepo, sa sve dizajnom zvuka koji se dobro uklapa sa naglašeno perkusionističkim saundtrakom koga-drugog-do-Hansa Zimmera.
No, Dina je i film koji podseća da je Villeneuve režiser koji se često izgubi u detaljima onda kada treba da ima jaču kontrolu nad celinom. Onako kako sam ga pohvalio za nizanje set-pisova u kojima su mikrozapleti jasni i gledalac je u njih investiran, tako ću i reći da, nažalost, film ne uspeva da nam zaista približi glavnog junaka kao osobu koja ima protagonizam ili čiji, makar, unutarnji život uspevamo da osetimo. Za momka koji u jednom kataklizmičnom događaju gubi praktično sve što je imao celog života, i postaje ne samo de fakto predvodnik svoje porodice koja je svedena na dve osobe i nula imovine, već i mesija u najavi, Pol Atreid u tumačenju Timothéeja Chalameta nažalost pati od istog mesečarskog posrtanja kroz film koje je karakterisalo i Goslingov performans u Blade Runneru. Pol Atreid ovde nije ni preplašeni tinejdžer koji pokušava da shvati šta mu se događa niti arhetipski heroj koji transformacije sveta oko sebe hvata u letu i preduzimljivo se stavlja na čelo kojegod frakcije da je odabrana za ,,pravičnu" (mada je jasno koja je to, s obzirom da se pustinjski narod, među kojim ima jako malo Arapa, u ovoj verziji, naziva ,,slobodnjacima") već, prosto, koščati momak koji često gleda u prazno i ispaljuje po neku zamišljenu frazu.
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Ne kritikujem film, da bude jasno, što nismo dobili emo-tinejdžera koji naširoko diskutuje o traumi kroz koju prolazi, ali kao neksus cele priče, Pol Atreid je ovde naprosto nezanimljiv, plitak lik koji, kao i ostatak centalnog kasta, najveći deo replika izgovara bezizražajno, monotonim šapatom, bez jasne emocije na licu. To je naprosto Villeneuveov potpis u ovom trenutku a, nažalost, njegovo rešenje kako da nam ipak približi unutrašnji život glavnog junaka i usmeri nas na dramu koja će se razviti iz ovog filma je to da nam, zaista, svakih pet minuta daje Polove vizije budućnosti. I kad ih vidite prvih par puta, to je okej, standardni trop ovakvih narativa, ali kada shvatite da ih režiser ubacuje stalno, sve do samog kraja, dajući nam kratke skokove u budućnost za koju nemamo kontekst – pa, to postaje ne samo manirizam već i loše pripovedanje. Sve moje kritike o tome da bioskopski, žanrovski film poslednjih godina napadno imitira televizijske serije, kao da su dobile sažetak u filmu koji maltene doslovno svakih nekoliko minuta ima ,,najavu" za narednu epizodu, slikanu i montiranu zaista više kao ,,preview" nego kao propisan filmski narativ.
Utoliko, Dina (Prvi deo) me nije naročito iznervirala, štaviše, neki njeni delovi su impresivni, ali nije ni rešila probleme koji idu ne samo uz Herbertov složeni i ambiciozni narativ već i uz moderni blokbaster čiji autor misli da neke od najbanalnijih, vizuelno jasnih dešavanja mora dodatno da objasni kroz replike, ali istovremeno ne uspeva da bazičan posao oko kreiranja ljudske drame vezane za protagoniste gledaocu približi na zadovoljavajući način. No, Villeneuve na kraju krajeva zna da živimo u vremenu gde nemali deo publike pada na dizajn i obećanje ,,misterije" i utoliko ovaj film ispunjava svoju svrhu kreiranja atraktivnog ako već ne samog po sebi zaokruženog prologa.
To da se on ne hvata ZAISTA u koštac sa kolonijalnim tropima – makar u meri većoj nego što je to radio sam Herbert – svakako ne deluje preterano progresivno ali i ovakav kakav je, ovaj prvi deo uklapa se u trend kreiranja trilogija i serijala koji dominira Holivudom u ovom veku i mada je svakako više The Last Jedi nego The Force Awakens, makar kreira dovoljno interesovanja za nastavak.
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Nikad skrolovat koliko spamate
Pa što uopšte dolaziš na ovaj topik kad znaš šta je na njemu??? :shock:
Pogledao sam, dakako na HBO-u, četvrti deo serijala Matriks, barem ako pričamo samo o filmskim uratcima, znameniti i pomalo ozloglašeni Matriks: Uskrsnuća aka The Matrix Resurrections što je u bioskope posle mnogo anticipacije ušao prošlog Decembra. Kao osoba koja, naizgled protivno svim logikama, nema naročito visoko mišljenje o originalnom Matriksu (još manje o ostala dva filma iz trilogije), i više ga smatra važnim fenomenom nego dobrim filmom, nisam ipak mogao da propustim dolazak Uskrsnuća na HBO, nekoliko nedelja pre pravoslavnog vaskrsa, kao da nam namerno guraju prst u oko. Matriks je uz sve svoje objektivne ili subjektivne grijehe, film koji je uticao ne samo na to kako će se žanrovski film u Holivudu razvijati tokom narednih dvadesetak godina već spada u jedan od onih fenomena popularne kulture kojima se pripisuje i određena mera proročkih sposobnosti, ali i sasvim merljivog uticaja na budući razvoj ljudskog društva – ili barem zapadne kulture – koga smo savremenici i, jelte, svedoci.
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Taj prvi film je, da budem jasan, za mene pokleknuo na nekoliko mesta još na prvo gledanje, tamo negde u Sava centru 1999. godine – od toga da, evo, do danas nisam u stanju da progutam neprogutljivo neuverljivu glumu Keanua Reevesa, preko etički dubioznih rešenja koje grupa revolucionara usvaja kao samorazumljiva, pa do čitave te ideje da administrator kompleksnog softverskog sistema sa hakerima koji sistem napadaju može da izađe na kraj samo šaljući softverske konstrukte da im se direktno suprotstave (a da su ljudska tela ikako koristan izvor energije). Naravno da je ovo bio potreban narativni izgovor da bismo film koji se bavi relativno cerebralnim temama mogli da gledamo kao akcionu ekstravagancu sa za to vreme neviđenim specijalnim efektima, ali stoji i da smo još u devedesetima, a pogotovo danas, više od dve decenije kasnije, sasvim svesni da se bezbednost mreža i softverskih sistema zasniva pre svega na unapređivanju verzija ovih sistema i promeni arhitekture koda da se zapuše sigurnosne ,,rupe" koje omogućavaju upad u sistem.
Ovo napominjem ne zato što se time cela metafora Matriksa nezadrživo ruši pred malo zahtevnijim gledaocem – kako rekoh, u zamenu za malo savijanja poznate logike dobili smo vrlo atraktivan akcioni film – već zato što nastavak trilogije koji stiže osamnaest godina nakon poslednjeg filma u toj trilogiji vrlo naglašeno beži od ideje unapređenja verzije koda samog Matriksa, vrtoglavo složene kompjuterske simulacije koja imitira ljudski život dok ljudi, nesvesno uključeni u matriks, zapravo spavaju u svojim čaurama i telesnom toplotom obezbeđuju energiju za svet kojim vladaju mašine, i tvrdoglavo se drži ne samo iste premise već, u izvesnom smisu i nudi isti film. Ovde, dakle, odbrana sistema idalje dolazi iznutra, putem sofisticiranijih (inteligentnih) komada softvera koji manipulišu simulacijom na isti način kao i hakeri i jedina razlika je što je gruba sila, u originalnoj trilogiji simbolizovana ,,agentima" , donekle zamenjena programima koji pacifikuju najproblematičnije ljude na pritvornije načine, dovodeći u pitanje njihov kapacitet da razlikuju realnost i iluziju.
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Ovo je, da budem jasan, mesto na kome se Matrix Resurrections saplete o šansu da nešto zaista i kaže o svetu koji je izrastao za dvadeset godina od originalnog Matriksa, delom i pod uticajem tog filma, o fantazmu postistorijskog ,,održivog razvoja" sa kojim smo ušli u 21. vek i postepenim propadanjem u močvaru postistinitosti i tribalizma zajednica zasnovanih na teorijama zavere i ekstremnim sociološkim konceptima. No, Lana Wachowski i njeni saradnici na scenariju su se odlučili za mnogo manje ambicioznu, neki bi rekli lenju trajektoriju u kojoj će Resurrections na neki način biti postavljen slično tome kako je The Force Awakens bio postavljen u sklopu Star Wars mitosa. Drugim rečima, Resurrections je prepričavanje originala nadeveno obilnim fan service citatima, aluzijama, referencama i direktnim prenošenjem scena iz prvog filma; on je priča što sledi gotovo isti narativni luk, samo sa nešto više ,,woke" zaključkom i kao takav je neobično neambiciozan.
Originalni Matriks je, uz sve moje zamerke, bio film koji je imao i ambiciju da kreira kompleksan naučnofantastični svet i filozofski problem, ali uz nju i snažan kul faktor sa svojim vizuelnim jezikom, dizajn-filozofijom i korišćenjem hakerskih trikova da populaciji gikova pošalje poruku kako su upravo oni heroji budućih ratova – a što se, ne mnogo kasnije, sa migracijom velikog dela ratovanja ,,na mrežu", sa napadima na instalacije i daljinskim upravljanjem ubilačkim dronovima, maltene doslovno ostvarilo. On je istovremeno povratio veru Holivuda u trilogije, prilično poljuljanu lošim prijemom prvog filma iz trilogije Star Wars prikvela, legitimisao kolor-korekcije i kolorne filtere kao jedan od ključnih elemenata vizuelnog identiteta modernog filma – što će dalje biti besomučno zloupotrebljavano na svim nivoima produkcije u i izvan Holivuda, ne najmanje na televiziji – i vrlo prirodno napravio sponu sa drugim medijima, proizvodeći ne samo nisku stripova, poseban projekat pregršti animiranih japanskih filmova (Animatix) sa kanonskim pričama, već i seriju video-igara od kojih su neke bile očajne (Enter the Matrix), neke zapravo prilično cool (The Path of Neo), a neke i presudno uticajne na dalji život franšize. Poglavito je MMO igra The Matrix Online poslužila i kao kanonski nastavak filmova sa događajima, poput Morpheusove smrti, koji se danas smatraju ključnim momentima čitave Matrix istorije.
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Matrix Resurrections nam situaciju ,,u matriksu" formatira tako da se u ovom svetu dešavanja iz prva tri filma poznaju najviše kao događaji iz videoigračke trlogije The Matrix a čiji je razvoj predvodio nadareni softverski inženjer Thomas Anderson. Ovaj nivo meta-stvarnosti je prirođen ovom propertiju i svakako služi i da se ponudi komentar o komodifikaciji revolucionarnih koncepata, no, sama priča ne radi naročito mnogo sa ovom premisom. Poveliki deo zapleta odnosi se na pokušaje ljudi iz ,,stvarnog sveta" da dopru do Andersona koji sedi u svojoj gejming kompaniji i pokušava da napravi igru koja će biti makar uporedivo uspešna sa Matrixom, te da ga ponovo ,,probude" i nateraju da se seti svog ,,stvarnog" identiteta i uloge koju je imao u poslednjem ratu sa mašinama.
Ovaj se rat, sećamo se, završio Neovom smrću i primirjem između ljudi i mašina a što je bilo finale koje, bojim se, nikoga nije zadovoljilo te davne 2003. godine, namećući status kvo i bežeći od razrešenja mase podzapleta posejanih kroz dva nastavka originalnog filma. I sami Wachowski, u vreme dok su se još identifikovali kao braća su se u igri The Path of Neo doslovno pred kraj narativa obratili direktno igraču priznajući da Neov ,,isusovsko" žrtvovanje na kraju trećeg filma naprosto nije zadovoljavajuća kulminacija za žanrovsku pripovest, pogotovo u interaktivnom medijumu kao što je igra, pa je ovaj narativ imao alternativno razrešenje sa mnogo više pesnica i metaka u svojoj postavci.
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Ovo je, svakakako i neka vrsta blagoslova i prokletstva Matrixa od samog njegovog početka – ovo su filmovi koji su publiku zaveli opušteno citirajući Baudrillarda i Williama Gibsona između scena zaslepljujuće akcije što su bile kinetični somenici filmovima Johna Wooa i ključnim anime radovima poput Akire i Ghost in the Shell – ali do kraja je priča završila preopterećena sve težim balastom nejasne metafizike i prilično slobodno korišćene simbolike tako da su se jasne i uticajne poruke prvog filma razvodnjile u oceanu replika što su sve išle otprilike ovako:
- Šta je odgovor na moje pitanje?
- A da li uopšte znaš šta je pitanje?
- Pitanje... ono je u meni oduvek... ponekad se zapitam... jesam li ja sam to pitanje?
- Sada i sam uviđaš: kada upitaš samog sebe onda ćeš znati i da odgovor dolazi pre samog pitanja
Itd. itd. itd.
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No Resurrections zapravo prigušuje ovu vrstu filozofske ambicije i ovaploćuje se u, rekosmo, nimalo stidljivom citiranju svega što je publika volela u prvom filmu, od Alise u zemlji čuda do Yuen Woo-pinga. Ovo je film koji vam maltene doslovno namigne svaki put kada napravi identičan kadar ili koreografisanu sekvencu što imitira ključne scene prvog filma i na momente ovo u gledaocu izaziva određeni transfer neprijatnosti. Matriks je, krajem prošlog veka delovao donekle i revolucionarno, inspirišući razne vrste hipoteza o antiautoritarnim porukama – od očigledne kritike techbro kapitalizma, koji će nam tek u narednim decenijama postati vidljiv kao ozbiljna pretnja po društvo, pa do ezoteričnijih ali ubedljivih čitanja Matriksa kao metafore za oslobađanje od na rođenju zacrtanih rodnih identiteta. Matrix Resurrections, pak, ne samo da doslovno ponavlja ove teze već ih i ponavlja sa jednim meta-odmakom, citirajući ih kao načine na koji je publika videla originalnu trilogiju (igara). Nazvati ovaj film ciničnim deluje kao prirodan potez, u njemu bukvalno grupa developera koji treba da naprave nastavak trilogije jer ih (doslovno) Warner Brothers na to primorava, diskutuje o tome šta Matrix predstavlja za konzumente i kako da im se nostalgija najbolje upakuje, a što deluje kao lukav način da se preduprede očekivani komentari na internetu nakon premijere filma, ali Matrix Resurrections ima i jednu iskrenu, pomalo naivnu želju da svoje poruke učini neposrednim koja ga čini i na neki način simpatičnim. Ne dobrim filmom ali ipak dobronamernim u meri u kojoj se to može pripisati korportativnom produktu ovih razmera.
Hoću reći, gotovo je nemoguće ne pomisliti kako je scena u kojoj jedan od likova kaže da smo umesto umetnosti i knjižvenosti dobili Fejsbuk toliko boomerska da je poruka ovog filma zapravo da poruke nema – da je sam Matrix sada jedan ,,bumerski" koncept, revolucija iz korporacijskog srca koja danas ne da nema kapaciteta za revoluciju već i koja se mnogo ugodnije oseća u status kvou. Otud je jedini častan način da se ovaj film doveze do kraja to da se podseti kako je ljubav važna ali i to da u jednom konstruktu kao što je Matriks – a koji je ionako metafora za današnje onlajn društvo – ideja o mesiji koji je muškarac i time ,,prirodno" opremljen da predvodi i spasava, u najmanju ruku ne pripada ovom stoleću.
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A što je, pa, simpatična, ali mršava poenta. Jer, da bude jasno, Matriksov uticaj na savremeno zapadno društvo je dalekosežan i, da bude još jasnije, ne nužno uvek i pozitivan. Antiautoritane poruke koje podrazumevaju sumnjičavost prema velikim narativima kreiranim od strane establišmenta su u međuvremenu proizvele čitavu grupu subkultura izgrađenih na konspiratološkim fantazmima u kojima se praćenje ,,pravih" istina – koje ionako dolaze iz kuhinje kontraobaveštajnih službi raznih država – smatra praktično dužnošću mislećih ljudi. Recentni primeri sa grassroots antivakserskim pokretima ili podrškom imperijalističkim potezima Rusije a koja se formatira kao ZAPRAVO otpor imperijalizmu zapada bi trebalo da su nam još sveži u mislima, jelte. Na kraju krajeva, sam čin uzimanja crvene pilule da bi se video ,,stvarni svet" je koncept kooptiran od strane grupa na internetu bliskih alt-right strukturama i, ironično, neretko korišćen da se regrutuju mladi, nezadovoljni muškarci u ratu protiv ,,ratnika za socijalnu pravdu", odnosno žena, transrodnih osoba, nebinarnih osoba i generalno manjina koje su u 21. veku, na zapadu postale fokus ,,kulturnih ratova". Čak je i sama Lilly Wachowski – koja nije učestvovala u produkciji ovog filma – imala jednu ključnu interakciju sa Elonom Muskom i Ivankom Trump na tviteru a koja dobro sažima čitav ovaj problem.
Matrix Resurrections, nažalost, nema apsolutno ništa da kaže o ovome i troši svoje vreme raspet između nostalgičnih citata prvog filma – te podsećanja i na nastavke ali bez ambicije da ispravi njihove najgore prekršaje – i narativa u kome je ljubav između Nea i Trinity ZAPRAVO bilo ono što je ljudskoj pobuni pre nekoliko decenija dalo revolucionarni potencijal i snagu da u ratu makar dođu do detanta, a ne puki koncept Nea kao ,,izabranog" mesije.
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A što je dosta skromna koncepcija. Sa Netflixovom serijom Sens8 su sestre Wachowski kreirale makar ambiciozniji narativ u kome su interesantni likovi bili u centru a naučnofantastični element je do kraja doveo do opipljive društvene promene makar na nivou zajednice. Kraj originalne Matrix trilogije je ponudio tezu da je status kvo bolji od nesigurnosti revolucije a Matrix Resurrections na jedan sasvim boomerski način nudi novu, bolju revoluciju koja će biti nešto izbalansiranija u rodnom smislu kao, možda, prijemčivije rešenje. Naravno, niti je Matriksu falilo jakih ženskih likova, niti je jasno ŠTA bi zapravo bila ta nova revolucija koju nude Neo i Trinity – sem da u njoj neće biti mesta pijavicama kao što su moderni pshihoterapeuti za koje ne sumnjam da su se ogrešili o obe sestre Wachowski tokom njihove rodne tranzicije – ali film se sasvim očigledno (samo)zadovoljio svojom završnicom u kojoj se status kvo ne menja, ali su protagonisti makar srećni jer su ponovo zajedno. Na neki način to je u skladu sa svetonazorom samog poststrukturalističkog koncepta filozofije na koji se Matrix filmovi istorijski naslanjaju, o kraju ,,velikih naracija" i cepkanju realnosti na individualne, male priče koje su sve istinite za sebe makar bile protivrečne jedne drugima.
Vizuelno, film pokazuje da je sniman za vreme pandemije i mada se može govoriti o minimalno kompetentno rađenim scenama akcije, Resurrectionsu vidno nedostaju memorabilni set pisovi kakve pamtimo iz prvog filma (lobi!), drugog filma (autoput!), pa čak i iz trećeg filma (mecha oklopi!). To da se i ovde korste glumci koji nemaju ekspertizu iz borilačkih veština za scene koje emuliraju hongkonške akcione koreografije je naprosto očekivano i ne mogu da budem posebno ljut na scene koje po prirodi stvari moraju da koriste sve moguće trikove za instant-zamenu glumaca dublerima kako bismo dobili uverljiviju borbu. Ono što filmu vidno fali je taj ,,wow" momenat koji je originalni Matriks doneo sa svojom revolucionarnom bullet time tehnikom snimanja i najviše što dobijamo je da se više puta u dijalozima bullet time ističe kao ono po čemu publika pamti originalnu trilogiju. Lana Wachowski, reklo bi se, nije imala ni ambicija ni živaca da sedi i duma o tome kakav bi specijalni efekat u 2021. godini uneo sličnu promenu u industriju i Resurrections se naprosto zadovoljava referenacama na stare trikove radije nego izmišljanjem novih.
Što se dizajna ,,stvarnog" sveta tiče, on u ovim filmovima nikada nije imao dimenziju ,,realnog" a što je možda i bila poenta, no kada četvrti film za redom (da ne pominjem sada radove u drugim medijima) ne uspevate da osetite da je stvarni svet u kome se sve ovo događa na bilo koji način opipljiv, sa scenografijom koja deluje naglašeno veštački i ničim ne sugeriše ,,stvarnost", vaša podsvest se nenamerno i sama zapita, oko čega se dođavola ovi ljudi i mašine bore. A što manje ovde da pričamo o prijateljskim mašinama koje imaju sladak dizajn i bacaju koske ljudima, to bolje.
To da Keanu Reeves, koliko god da je lepo ostario, i dalje ima izražajnost drvenog direka sa nacrtanim očima valjda i nije neka novost, ali njegov Neo jeste stožer oko koga se vrti ovaj film. Glumci iz Sens8 koji se pojavljuju i u ovom kastu su me većinu vremena podsećali na serijalizovani narativ koji je Lana Wachowski ne bez grešaka, ali značajno sigurnije realizovala u ovom stoleću, dajući nam relatabilne likove, imaginativnu naučnofantastičnu premisu i dinamično razrešenje u kome smo dobili puno pucnjave PLUS razuzdanu seks orgiju. U poređenju sa tim Matrix Resurrections je nenadahnuta, nemaštovita stilska vežba iz nostalgije koja se vadi na to da je svesna da je u pitanju stilska vežba iz nostalgije i nada se da će ,,ljubav je bila odgovor sve vreme" biti dovoljna poruka da zadovoljni izađemo iz bioskopa.
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I možda bi u nekom drugom filmu, u nekom drugom žanru i bila – zaplet u kome Thomas Anderson i ,,Tiffany", kako se u ovom filmu Trinity zove ,,u civilstvu", jedno drugo ne poznaju jer je Matriks učinio da se međusobno zaborave i u kome moraju da se ,,prepoznaju" i pronađu u tu sudbinsku vezu koja ih spaja – taj zaplet u sebi ima potencijala za solidnu melodramu koja ne bi posebno profitirala od specijalnih efekata ali koja bi mogla da bude mala, uspela indie drama o dvoje snažnih likova. Naravno, čak i ovde scenario mora da ode u ,,meta" smeru pa je tako Anderson prikazan kao usamljeni softverski inženjer koji nikada nije našao ljubav u životu i svako jutro pije plave pilule da odagna depresiju i halucinacije, a ona je (film doslovno koristi ovu reč) MILF sa dva mlada sina i mužem, koji se, pogađate, zove nikako drugačije do Chad (čak ga i igra Chad Stahelski). Ova vrsta aludiranja na popularne internet-meme je nažalost najdalje što se ovaj film usuđuje da se uhvati u koštac sa kulturom ovde-i-sada i, pa, uz neke prilično krindži pokušaje humora (poput Neovog neuspelog ,,lansiranja") donekle smo i dobro prošli što je ovaj film došao i prošao. Jer, ne znam za vas ali ja sam ne iz bioskopa, već iz svoje dnevne sobe izašao i u svoj krevet ušao sa pomišlju da je jedina gora stvar od postojanja ovog filma potencijal da on bude začetnik nove trilogije. Ako su Star Wars ikakava indikacija, najbolje je da se ovde zauvek stane.
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Moj HBO pohod po blokbasterima iz poslednjih nekoliko meseci nastavljen je gledanjem filma Space Jam: A New Legacy odnosno Svemirski basket: Novo nasleđe, konceptualnim ako već ne narativnim nastavkom originalnog Space Jam iz *gulp* 1996. godine. Morao sam, priznajem, da dvaput proverim godinu izlaska prvog filma jer mi je prosto bilo neverovatno da je prošlo punih četvrt veka od TE igrano-animirane ekstravagance. Kad čovek malo premota u glavi i shvati da će sledeće godine biti pune tri decenije otkada se Michael Jordan prvi put penzionisao i igranje vrhunske košarke zamenio danas ikonično-komičnim igranjem osrednjeg golfa, malo mu se, jelte, sloši.
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No, Space Jam je nesumnjivo zato bio tako dobro pogođen fenomen. U vreme premijere filma Jordan je već godinu i po dana ponovo igrao za Chicago Bulls i pokazivao da mu ,,penzija" nije umanjila kapacitete, a film koji je na neki način – potpuno fiktivan, naravno – prikazivao njegovo inicijantsko putovanje od ipak sobom nezadovoljnog penzionera do povratka tronu i kruni apsolutnog gospodara igre pod obručima imao je baš tu meru Looney Tunes nadrealizma da dostatno zamaskira činjenicu da je bio u pitanju masivni kapitalistički product placement na delu. Uostalom, Looney Tunes i NBA su se pokazali kao kompatibilni svetovi već i time da su u pitanju legitimni delovi moderne američke mitologije sa likovima većim od života i metapričom što spaja odvojene ,,epizode" praktično spontano i bez autorske namere.
No, Space Jam: A New Legacy, koji je premijeru doživeo prošlog leta se, naravno, pojavio u drastično drugačijim okolnostima. Da stavimo na stranu to da smo svi četvrt veka stariji i da je u toku ta proverbijalna jednom-u-stotinu-godina pandemija koja prevrednuje sve vrednosti pa svaki film koji se događa u savremenom trenutku a nema nikakve reference na nju deluje u startu kao priča iz alternativnog univerzuma, Space Jam: A New Legacy nastao je i pojavio se u trenutku koji je koincidirao sa prodorom koncepta ,,metaverzuma" u kulturu glavnog toka. Naravno, ova reč znači mnogo toga za mnogo različitih ljudi – filozofima jedno, publici drugo a korporacijama, pogotovo onim iz medijske sfere najpre mogućnost da slobodno i što žustrije mešaju likove, mesta i koncepte iz različitih delova svog kataloga, forsirajući ideju da je na neki način sve prirodno povezano i moleći se bogu Mamonu iz sve snage da potrošači prepoznaju moć sinergije i zavitlaju svoje kreditne kartice prema ekranu.
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Možda je ovo, da budemo fer i samo instinkt samoodbrane na delu. Dizni je izrastao u crnu rupu kapitala koja snagom svog gravitacionog polja guta čitave imperije, po jednom krilu onda prodire Amazon a po drugom Microsoft, dok su tik uz njih i Epic Games, Sony, Tencent... Tendencija ukrupnjavanja ,,content creatora" je zastrašujuća i tek će se videti kakve će zaista posledice ostaviti po biznis koji se ipak na kraju dana oslanja na kreativnost a ne na puki proizvodni proces, ali nije, dakle, neko iznenađenje da je posle Marvel/ Disney demonstracije potentnosti povezanih svetova u poslednjoj sezoni sitkoma u koji se društvo na planeti Zemlji pretvorilo, stidljivi pokušaji kreiranja ,,povezaih filmskih univerzuma" eksplodirali u kolopletu buzzwordova i ideja za koje ni 80% onih koji ih koriste ne zna šta znače. Virtualna realnost, kriptovalute i kriptoSVE, NFT-ovi, METAVERZUM, ovo su sve načini ne da se ZAISTA zaradi već da se privuče preduzetnički kapital što tumara po divljini i traži novi viralni uspeh koji će bez mnogo rada i, ako je moguče preko noći omogućiti monstruoznu, da izvinete, oplodnju.
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Utoliko, Space Jam: A New Legacy biva malo opterećen tim očiglednim naporom da se napravi film kojim će Warner Bros. autoritativno zapišati granice svoje, masivne naravno, teritorije. A nije da već slične poduhvate nisu imali sa Spielbergovom ekranizacijom Ready Player One. Originalni je Space Jam, u retrospektivi, imao gotovo naivno-plemenitu ideju u svojoj srži: šta ako spojimao Michaela Jordana i Duška Dugouška i pokažemo da su OBOJICA bića nadrealizma i neverovatnosti? Space Jam: A New Legacy je umesto toga često kao nekakav katalog Warnerovih propertija u kome su kompleksne i decenijske sage poput Matriksa i Harija Potera svedene na pančlajnove koji se događaju u bekgraundu.
A što, da budemo fer, na neki način i pristaje Looney Tunes pristupu. Inspirisani Diznijevim crtanim filmovima iz dvadesetih godina prošlog veka, originalni Looney Tunes su do kraja četrdesetih godina, pod Warnerom, za sebe kreirali distinktan identitet sa visokim kvalitetom animacije, nadrealističkim imaginarijumom primerenim animaciji tog doba ali i jednim anarhičnim, pa donekle i antiautoritarnim čitanjem klasičnih zapleta u kojima su likovi poput Duška Dugouška, Ptice trkačice, Tweetieja, Brzog Gonzalesa itd. bili nosioci prkosa ali i vrline malih ljudi i pripadnika manjina suočenih sa predstavnicima agresivne društvene većine a kasnije i sve više establišmenta oličenog u velikim kompanijama. Utoliko, pozivanje na druge artefakte popularne kulture, njihovo sažimanje i korišćenje u parodičnom ključu pripada Looney Tunes senzibilitetu i naravno da je vrlo pogodno za današnji istorijski trenutak u kome se veliki deo poplularne kulture sveo na citiranje postojeće popularne kulture, da li kroz DIY prečice kao što su gifovi i memi na internetu, da li kroz masivne inter-kompanijske krosovere u, na primer, igri Fortnite.
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Space Jam: A New Legacy ipak nije samo procesija parodija na poznate filmove (i, bogami, kratkih inserata iz VRLO starih filmova, kao što je, recimo, Kazablanka, pa onda nešto novijih kao što je Mad Max Fury Road) i on, kao i prethodnik, mora da ima uokvirujuću priču za svoje šašave, jelte, melodije. U glavnoj ulozi je, naravno, LeBron James, vladar moderne NBA košarke i trenutni krilni centar LA Lakersa, sa bogatom istorijom MVP titula i ocenama da je u pitanju možda najbolji igrač svih vremena. Možda, kažu neki, bolji i od samog Jordana.
LeBron James u ovom filmu je, naravno, fiktivni LeBron James, sa fiktivnom porodicom koja ako malo zažmirite podseća na njegovu pravu porodicu, i sa centralnim zapletom koji je zapravo manje centriran na njega koliko na njegovog (filmskog) sina, Dominika. Dominik je dvanaestogodišnjak koga otac, po prirodi stvari, kao i starijeg brata, sprema za karijeru u košarci, ali koji zapravo više voli videoigre i vreme provodi dizajnirajući i programirajući sopstvenu košarkašku igru, nadajući se karijeri game developera. LeBron James, koga u jednoj od prvih scena vidimo kako kao klinac krajem devedesetih godina mora da odustane odigranja starog, originalnog Game Boyja kako bi se potpuno usredsredio na treniranje i postao najbolji igrać svih vremena, je onda prikazan kao pomalo i strogi otac koji ,,igrice" smatra gubljenjem vremena a svog sina, malčice i protiv njegove volje uteruje u treniranje basketa.
Katalizator promene biće u ovom slučaju, ljubomorni algoritam Al-G Rhythm, veštačka inteligencija zapravo, koja živi u Warnerovom ,,serververzumu" i koja, pa... nije zapravo jasno šta Al-G Rhythm želi da uradi sa Jamesovima osim što se gadno naljuti kada LeBron odbije da učestvuje u igrano-animiranom filmu koji je algoritam smislio kao naredni prirodni filmski hit za Warner, uz obrazloženje da kad sportisti pokušavaju da glume, to bude propast, ali njegov plan na kraju podrazumeva uvlačenje i oca i sina u virtualnu realnost, umiljavanje sinu time što će mu se obećati da može da programira koliko god hoće jer je za to vrlo talentovan, a onda objašnjenje ocu da, ako želi svog sina natrag, mora da igra basket protiv Rhythmovog izabranog tima – i pobedi.
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Ova bajkovita postavka je IZUZETNO zakomplikovana već standardnim holivudskim nadgradnjama zapleta jer valjda mogućnost da otac nikada više ne vidi sina ne deluje kao dovoljno strašna za gledaoce, pa dok košarkaški meč konačno ne započne, Al-G Rhythm u ovu virtualnu realnost uvlači masu ,,normalnih" ljudi iz stvarnog sveta i preti da će oni zauvek ostati u njegovom serververzumu ako LeBron i njegov tim izgube. Ne treba ni napominjati, Jamesova supruga i ostala deca su među njima.
Space Jam: A New Legacy je, dakle, delom Tron – ali Tron je u vlasništvu Diznija pa je ovo samo, jelte, ,,citaton needed" referenca, u kojoj korišćenje Dona Cheadlea da odigra Al-G Rhythma, koga najveći deo publike zna po ulozi War Machinea u Marvelovim filmovima u dovoljnoj meri deluje kao drzak inter-metaverzalni mig. Cheadle je odličan kao pasivno agresivni, manipulativni a ipak kul psihopatski algoritam i kako i LeBron primećuje – algoritam je crn. U filmu koji afroameričku kulturu prikazuje u najsterilisanijim, najopštijim mestima – do mere da u sceni rep-borbe za ,,naše" repuje veoma belo prase – ovo je otprilike najdalje što priča odlazi u smeru ,,say it loud" iskaza.
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I da bude jasno, ja bih svakako voleo film u kome je košarka formatirana manje kao mitološki sukob superheroja a barem malo više kao i dalje socijalni katalizator koji mnogim mladim Afroamerikancima predstavlja jedini put iz siromaštva do nekakvog pristojnog života, a što je svakako moglo da bude upleteno u priču sa ovako bajkovitom postavkom. Looney Tunes likovi koji se u filmu pojavljuju apsolutno daju podlogu za jače socijalne iskaze već svojim poreklom i istorijama i šteta je što smo dobili jednu izrazito bezmirisnu korporacijsku tvorevinu koja se centrira oko ideje da LeBron jeste veliki košarkaš ali nije nužno i dobar otac, kao i oko (lažnog) antagonizma između uloge košarke i videoigara u životima mladih Afroamerikanaca.
LeBron je, naravno, LIKČINA i mada naravno ne može da parira Cheadleu čisto glumačkim alatom, on svakako ume da stoji ispred kamere i zapravo je šteta što mu režija Malcolma D. Leeja ne daje više prilika da demonstrira svoju harizmu i šarm. Kontrastiran sa šašavim Looney Tunes likovima, LeBron je često previše ozbiljan i smrknut.
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Srećom, film ima dugačku animiranu sekvencu prikupljanja tima u kojoj Duško Dugouško i LeBron lete između svetova u ukradenom letećem tanjiru Marvina Marsovca i ovo je rađeno u klasičnom 2D stilu animacije (ili barem u CGI tehnologiji koja imitira ručno crtanu animaciju) i ovde animirani LeBron prirodno sedi uz sumanute likove koje volimo iz Warener Bros. istorije. Scenaristi su pokazali i hvalevrednu uzdržanost, fokusirajući se na relativno mali tim likova sa zaista klasičnim korenima pa čak i matori ljudi poput mene dobro znaju sve članove LeBronove ekipe frikova i otpadnika koja u završnici filma treba da se suoči sa Rhythmovim timom digitalizovanih a onda ojačanih NBA igrača i WNBA igračica.
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I ovaj meč je, svakako, vizuelni tur d fors. LeBronovi ,,toonovi" su za ovu priliku prebačeni u impresivni 3D, sa krznom Duška Dugouška koje nikada nije uzgledalo ovako bogato a košarka koja se igra treba u dugačkom centralnom set-pisu filma da spoji i estetiku videoigara ali i nadrealizam klasičnog Looney Tunes haosa i ovo je, zapravo izvrsno vođeno. Malcolm D. Lee kome bazično pripovedanje nije najjača strana, pak prilično autoritativno režira jednu psihodeličnu smešu pravila, akcije i komedije sa sve napetim krajevima četvrtina i beat the buzzer poenima, vodeći priču kroz emocionalno predvidivi ali ubedljivi set krešenda, praveći još referenci na poznate propertije i ubacujući i jedan sjajan bait-and-switch (što bi mi ovde rekli ,,moša") geg vezan za Michaela Jordana. Iako znamo kako će se utakmica završiti, čista radost posmatranja klasičnih Looney Tunes likova kako uprkos apsolutnoj anarhiji kojom se vode, dela kao tim greje srce i donosi osmeh na lice.
Space Jam: A New Legacy je, dakle, film prilično skromne narativne ljušture sa izlizanom pričom i ljudskim likovima koji su korektni ali deluju naprosto artificijelno suočeni sa sumanutim ,,toon" likovima. Energija koju donose Looney Tunes likovi i scene u kojima su oni pušteni s lanca podseća na moć što se krije u hrabrijim čitanjima njihovih istorija – kao što je, recimo, bio izvrsni Zemeckisov Zeka Rodžer – ali ovaj film to naprosto nije. Opet, kvalitet animacije i sigurnost režije u scenama koje se fokusiraju na toonse su izuzetni i znače da vreme uloženo na gledanje ovog filma smatram ipak dobro potrošenim.
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Konačno sam i ja pogledao Spider-Man: No Way Home, treći film u aktuelnoj trilogiji o Spajdermenu koja je, sada je to možda bezbedno reći, i komercijalno, ali u proseku verovatno i umetnički najuspešnija od sve tri iteracije filmskog Spajdermena koje smo imali u ovom stoleću. A ovo je uprkos tome što Jon Watts, režiser sva tri filma o ,,sadašnjem" Spajdermenu, niti ima žanrovski i artitstički pedigre jednog Sama Raimija, niti osećaj za stripovske stilizacije koji je ipak imao Marc Webb.
(https://i.imgur.com/yyiMwVj.png)
Pomalo je i neobično da je Spajdermen, možda i u apsolutnom smislu najpopularniji superheroj ovog stoleća, imao jedan klizav i nesiguran put na filmu, sa originalnom Raimijevom trilogijom koja je, reklo bi se, sve uradila kako treba na početku da bi do trećeg filma upala u dekadenciju koja je zahtevala ribut. Webbova dva Amazing Spider-man filma posle toga su se trudila da spoje uverljiv milje omladinskog filma sa vrlo stripovskim, prilično vodviljskim negativcima i imala odlične glumce u glavnim ulogama, ali je smatrana u kreativnom smislu promašenom do te mere da je Sony pristao da licencu deli sa Marvelom samo ako Marvel uspe da izgura Spajdermena na zaslužene pozicije. A što je kroz sinergiju i vrlo uspešne krosovere sa, složićemo se, uglavnom veoma solidnim Avengers filmovima na kraju i postignuto i prvi Wattsov Spajdermen je bio izrazito solidan film (https://cvecezla.wordpress.com/2017/07/19/film-spider-man-homecoming/) centriran na glavnog junaka i lokalnog negativca, sa jednim jakim utemeljenjem u zajednici i bez zapleta koji se bavio sudbinom čitavog sveta. Već je drugi Wattsov Spajdermen, Far From Home (https://cvecezla.wordpress.com/2020/03/29/film-spider-man-far-from-home/), događajući se u post-Thanos periodu, išao na podizanje uloga i stavio protagonistu naspram negativca koji je imao izvesnu meru ambicije da bude igrač na globalnoj ravni. I, Mysterio, sa svojom motivacijom i prefriganim grifterskim planovima je svakako bio hajlajt ovog filma, a moji su problemi sa njim bili najviše u domenu toga da je sam Spajdermen u priličnoj meri odlutao od svoje sržne karakterizacije ali i tog jednog samačkog etosa obeleženog krivicom i ispaštanjem koje se transformiše u herojstvo, za račun davanja publici, praktično, ,,malog Iron Mana" za epohu u kojoj se Robert Downey Jr. ispisao iz kluba i sišao sa vrteške hladeći oznojeno čelo čekovima od po pedeset miliona dolara.
No Way Home ne rešava ovaj problem ni na koji smislen način, u njemu je naš Peter Parker navodno momak koji se mnogo stresira oko toga da li će MIT prihvatiti njegovu aplikaciju i upisati ga na prvu godinu studija, plus oko toga kako onda da obezbedi stipendiju da plati te skupe studije, ali Peter Parker je i momak sa kostimom napravljenim od nanomašina i uređajem koji je praktično replikator iz Zvezdanih staza što mu stoji negde u špajzu.
(https://i.imgur.com/0laBo3D.png)
No, No Way Home ima i izvesnu svedenost koja je možda posledica pandemijskog vremena u kome je produkcija filma rađena, a možda i svestan odabir koji su napravili scenaristi Chris McKenna i Erik Sommers. Ova su dva čoveka sada već veterani superherojskih ekranizacija i u No Way Home se vidi jedna konceptualizacija koja ne samo da prepoznaje da je ovo treći film u trilogiji a koja je i sama treća inkarnacija trilogije filmova, već i razume da je za ovakvu priliku ne samo opravdano već i poželjno da se usvoju jedna intertekstualna pozicija koja će na neki način predstavljati i pogled na istoriju ali i suštinu Spajdermena, ali u najmanju ruku neku vrstu gikovskog proslavljanja njegove dugovečnosti koja se oslanja na ributove i osveženja lika što ga drže, pretpostavka je, sinhronizovanim sa cajtgajstom.
Utoliko, iako No Way Home ima vrlo atraktivne akcione set-pisove, njih zapravo, za produkciju od skoro dva i po sata, nema ni tako mnogo, a lokacijski se sve dešava u Njujorku i mada bi bilo pogrešno opisati film kao ,,pozorišni", on je svakako fokusiran na likove i njihove verbalne interakcije više nego na borbu, te strukturiran kroz tri jasno odvojena čina.
(https://i.imgur.com/fcQmHLt.png)
Ova podela na činove je svakako primerena jednom narativu koji se trudi da ima meru šekspirovske, možda i antičke tragedije, da podseti na cenu koja se plaća za slobodu što ide uz veliku moć, ali je primerena i glavnom junaku čija se mladost, i njoj svojstvena svojeglavost i idealističnost, ovde ponovo potencira. Utoliko, centralni problem u ovom filmu naslanja se na kraj prethodnog filma u kome se poslednjim Mysteriovim velikim trikom svet ubeđuje da je Spajdermen ubica, ali mu se i otkriva njegov civilni identitet, ali taj centralni problem, da bude jasno, kreira sam Peter Parker pokušavajući da svoje najbliže – devojku MJ Watson, najboljeg druga Neda Leedsa i strinu May Parker – poštedi golgote koja ide uz razotkrivanje tajnog identiteta kontroverznog heroja.
Naravno, MCU je mesto na kome identiteti superheroja ne moraju nužno biti tajni – ceo svet zna i ko je bio Iron Man i ko je Hulk i ko je bio Kapetan Amerika, Crna udovica, Winter Soldier itd. – i, zapravo, pošto je Spajdermen već prošlim filmom formatira kao ,,mali Iron Man", ovaj film mora da pravi silne akrobacije da nas ubedi kako je otkrivanje Peterovog identiteta svetu BIG DEAL. Ne sasvim uspešno, i prvi čin filma, koji je postavljen kao svedenija omladinska drama, je srazmerno neubedljiv sa problemom koji deluje veštački pogotovo u svetu u kome se zna da je Spajdermen bio jedan od presudnih članova ekipe što je na kraju porazila Thanosa i spasla pola univerzuma.
(https://i.imgur.com/lJXVRo0.png)
No, Peterov iskreni, ali pogrešni impuls da stvari ispravi tako što će se obratiti Doktoru Strangeu je dobrodošlo skretanje narativa u stripovskiju stilizaciju, da ne pominjemo jasan omaž izdržljivoj fanovskoj teoriji sa kraja prve decenije ovog veka da će Spajdermen, koji je u stripu tada otkrio svoj identitet javnosti a brzo zbog toga gorko požalio, lako ovaj problem rešiti obraćanjem Vrhovnom čarobnjaku ove ravni postojanja. U stripovima, naravno, do ovoga ne dolazi jer ova vrsta manipulacije realnošću naprosto nije u skladu sa karakterom originalnog Spajdermena* ali aktuelni filmski Spajdermen je već prikazan kao manje zreo, skloniji tim klinačkim rešenjima za koja se nada da su ispravna samo jer deluju kao da će poštedeti nedužne ljude daljih nevolja.
*mada smo, da podsetimo, umesto toga dobili mnogo gore rešenje vezano za skoro univerzalno omrznuti pakt sa samim Mefistom
Ovo je, voleo ja to ili ne, konzistentno sa dosadašnjim karakterom Spajdermena Toma Hollanda i mada je scena u kojoj Strangeova čarolija prođe naopako pre svega zbog rastresenog tinejdžera koji mu stalno dodaje nove parametre režirana u prilično komedijaškom tonu, njene posledice jesu značajne i ozbiljne po dalju radnju ovog filma.
(https://i.imgur.com/HKytgnw.png)
Sem ako niste živeli pod kamenom poslednjih godinu dana, verovatno znate – i bez gledanja filma čija je premijera bila u Decembru – da ove posledice ubrajaju neku vrstu kršenja barijere između univerzuma i susrete sa likovima iz drugih univerzuma a koji su, za ovu priliku, univerzumi starih filmova o Spajdermenu. Ovim se No Way Home pre svega utemeljuje kao savremeni film o superherojima koji je prešao u zrelu fazu karakterisanu time da su centralni konflikti interni, unutar zajednice supermoćnih bića i nisu nužno vezani za ugroženost planete ili neke značajnije šire zajednice. U superherojskim stripovima ovo obično kreće posle nekoliko epizoda, kada se među likovima izgrade odnosi, antagonizmi, itd. i dalji narativ je često sapunska opera sa pesničenjem i laserima iz očiju radije nego krimić sa supermoćima, dakle, priča se bavi prevashodno tim uzajamnim odnosima likova a ne uticajem likova na ,,spoljni svet". U filmovima smo, čini mi se, upravo stupili u tu fazu, i Spajdermen je vrlo primeren properti da se ovo u njemu desi s obzirom na svoje bogatstvo nasleđa koje uključuje i Raimijeve i Webbove filmove.
Drugi čin je, dakle, prihvatanje koncepta multiverzuma – baš u trenutku kada je ,,stvarni svet" agresivno počeo da dobija diskurs o ,,metaverzumu" – interakcija sa negativcima koji su iz drugih univerzuma i imaju odnose sa drugim Spajdermenima, ali i dalje građenje lika ,,našeg" Spajdermena koji će ići i nasuprot eksplicitnoj volji Doktora Strangea – i njegovim pokušajima da zaštiti multiverzum od anomalija – kako bi isterao pravedan ishod, u ovom slučaju prepoznavanje da su svi negativci na neki način nesrećne osobe kojima se nešto desilo a koje mogu biti ,,izlečene" od svojih sociopatskih tendencija.
(https://i.imgur.com/9QAoJIS.png)
Ovaj srednji deo filma je možda najdžombaviji jer posle relativno lake komedije mora da se nosi sa odjednom povećanim brojem likova, sa etički dubioznim potezima Spajdermena i njegovog tima (Watsonova i Leeds – dok je Strange uspešno sklonjen na neko vreme) i prilično neodređenom Peterovom ambicijom da ,,izleči" ljude koje drži u zatočeništvu. Ovde se malo i primećuje da poveliki ansambl ovog filma pati od neujednačenosti, sa, recimo, Willemom Dafoeom koji je u modu karakternog glumca i baš se trudi, sa Alfredom Molinom koji je očekivano odličan, ali onda sa meni inače vrlo dragim Jamiejem Foxxom koji izgleda kao da se dosađuje sve vreme*. Ovaj čin se završava mučnim porazom i žrtvom koja ima potencijal da umesto sazrevanja, glavom junaku donese samo nihilističku ogorčenost, a da zapravo na njegovom kraju ne ostaje jasno šta zapravo sada priča očekuje da se dalje dešava i koja je dalja motivacija likova.
*ostala dvojica su zatrpana CGIjem...
(https://i.imgur.com/zBqEjg0.png)
Srećom, treći čin uveliko spasava stvar uvođenjem još dva Spajdermena, u tumačenju Tobeyja Maguirea i Andrewa Garfielda koji su igrali u Raimijevim i Webbovim filmovima i prosto je neverovatno koliko energije se dobija stavljanjem ova tri lika u iste scene. Hemija je naprosto opipljiva sa Maguireom koji sada u fullu usvaja pozu socijalno uvrnutog gika, možda i aspergerovca koji svejedno ima jedan praktično svetački osećaj za pravdu, i Garfieldom koji se vrlo udobno smešta u svoju pinup personu i umesto arogancije zrači zrelošću i jednom teško stečenom skromnošću. Njihov uticaj na Hollandovog Spajdermena je snažan, primetan na više nivoa i dinamična završnica filma ne samo da ima atraktivnu akciju već i ponovo vrlo solidan karakterni rad koji uspelo zaokružuje ne samo ovu trilogiju već čitav spajdermenovski korpus igranih filmova u ovom stoleću.
(https://i.imgur.com/iM5udi1.png)
Što se režije tiče, Watts ovde ume da prikaže veoma dobru akciju i mada je najbolja scena u prvoj trećini filma, sa borbom Spajdermena i Dr Oktopusa na mostu, ni finale nije rđavo. Komične scene takođe funkcionišu i film je možda najbezukusniji u scenama teške drame. Ne da su u njima glumci loši, naprotiv i Holland i Zendaya ovde pružaju odlične momente, ali Wattsovo shvatanje ovih scena je prosto halmarkovski klišeizirano, bez nekakvih zanimljivih rešenja. Primetno je da film mnogo oživljava kada su u kadru Molina, Cumberbatch ili Dafoe koji mu donose potrebnu dozu stripovkog vodvilja i gizdavosti, a kako već rekoh, scene sa druga dva Spajdermena su hajlajti, možda i cele trilogije.
(https://i.imgur.com/L9mjpzk.png)
U konačnici, Into the Spider-verse ostaje daleko najbolja dugometražna Spajdermen produkcija ikada napravljena (https://cvecezla.wordpress.com/2018/12/22/film-spider-man-into-the-spider-verse/), ali No Way Home uspeva da se nakači na njegov centralni motiv – multiverzum – sa jednim dobrodošlim razumevanjem koliko ,,lorea" ali i karaktera nudi dosadašnji korpus igranih filmova o Spajdermenu i postiže ne samo korporacijsku sinergiju već i jedan pomalo nostalgičan, dobrodušan ton u kome se prepoznaje višeslojnost Spajdermenovog lika, njegova pravičnost i odlučnost ali i njegova sklonost da pravi greške koje, uvek, na kraju sam najviše plaća. Spona sa Venomom napravljena je samo u mid-credits sekvenci – a tu je i spona sa televizijskim Daredevilom – pa ostaje otvoreno kuda će i na koji način franšiza ići dalje, ali sa sumanutom popularošću i ogromnim zaradama No Way Home skoro je nezamislivo da je ovo poslednji Spajdermen u kome gledamo Toma Hollanda.
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Gledajući prošlogodišnji Warnerov naučnofantastični neo-noir film Reminiscence (aka Sećanje) na HBO-u pre neki dan, već negde oko pola sata unutar filma sam jedno tri puta sa iskrenom zapanjenošću rekao ,,ne mogu da verujem koliko je ovo LOŠE". Moja, uvek pragmatična žena je, prolazeći kroz sobu u kojoj se ispred televizora više nego na televizoru odvijala ova drama, razložno pitala zašto to uopšte gledam. Nespreman da joj priznam duboke emocije koje su u meni tokom proteklih par decenija izrasle spram naočitog Australijanca, Hugha Jackmana, promrmljao sam nešto o tome da noir narativi, čak i kada su veoma loši, imaju u sebi meru ugodno predvidivog a koja je starijim ljudima poput meni dovoljna za minimum dopaminskih emisija. Film poput ovog, napravljen ne po šablonu nego kao da ga je maltene napravio AI kome su nekoliko dana puštali klasične noir radove, ali iz druge sobe i dok je sa zvučnika u podrumu sve vreme dopirao nekakav postmilenijalni darkwave, takav, dakle, film, je bilo interesantno pogledati makar kao stilsku vežbu iz žanra koja pokazuje kako može da se napravi film u kome se uredno obilaze svi žanrovski klišei ali u kome fundamentalni elementi ne funkcionišu.
(https://i.imgur.com/VMyRwCs.jpg)
Reminiscence je prvi bioskopski film režiserke Lise Joy koja je napisala i scenario i s obzirom da sam sa se njenim radom originalno upoznao preko serije Westworld kojoj sam posle par epizoda druge sezone rekao zbogom-čujemo-se-ne-zovite-vi-mene-zvaću-ja-vas, bilo je na neki način i katarzično gledati formu u kojoj Joyeva nema prostora za beskrajne tangente i podzaplete već mora da se drži jedne, čvrsto uvezane narativne linije, a koja gledaoca treba da zaintrigira, pruži mu preokret i emotivno zadovoljavajuće razrešenje do svog kraja, istovremeno obilazeći opšta mesta žanra, sve unutar dva sata.
(https://i.imgur.com/zd86p31.jpg)
Hoću reći, iako je ovaj film u dobroj meri pravljen sa istim kadrovima koji su potpisali i Westworld, uključujući Jonathana Nolana kao producenta, te Thandiwe Newton u jednoj od glavnih uloga, koliko god da on pati od mnogih sličnih problema u režijskom smislu, uključujući zabludu da kada glumci replike izgovaraju skamenjenih izraza lica i pregnantnim polušapatom, to automatski znači da će bilo šta što je scenarista nakucao u svojim najranjivijim monentima u tri ujutro odmah zazvučati produhovljeno i značajno, on istovremeno profitira od jedne poznate, isprobane i razgažene narativne strukture vezane za noir žanr i ova ga struktura, pored još par pozitivnih elemenata spasava od negledljivosti. A nije da joj nije vrlo blizu prišao.
(https://i.imgur.com/LeKXnAV.jpg)
Mislim, ljudi umeju da kažu kako su superherojski filmovi upropastili savremenu kinematografiju tim svojim šematskim pravljenjem filmova po formuli, ali, da budemo jasni, formula je maltene jedino što Reminiscence izbavlja iz ponora potpunog amaterizma u koji ga je Lisa Joy ubacila.
Originalnost svakako nije jača strana Reminiscencea, ovo je neo-noir smešten u polupotopljeni Majami, posle velikog rata što je nastupio nakon što je postalo jasno da klimatske promene ZAPRAVO imaju jakog uticaja na to kako će ljudi živeti kada mora krenu da se podižu a Sunce se od dobroćudne zvezde pretori u razjarenog tiranina, i Joyjeva kreira mizanscen što kao da je sklopljen nasumičnim lapanjem od drugih autora, malo od Blade Runnera, malo od Gerryja Duggana (https://cvecezla.wordpress.com/2021/01/28/procitani-stripovi-analog-a-cyber-dystopian-noir/), malo od Williama Gibsona i njegove generacije kiberpankerskih autora, a onda malo i od Džona Hjustona, Romana Polanskog i tako te bratije...
Nije da se u noir radovima pre svega ceni originalnost, naprotiv, ali Reminiscence je zaista jedan pačvork, da ne kažem krpež motiva i ideja koje su drugi doneli na ovaj svet i već time sebe osuđuje na u najboljem slućaju drugorazredni status. No, kako već rekoh, to što se film drži proverenog i oprobanog je zapravo njegova snaga, jer neki bazični njegovi elementi ne funkcionišu od samog starta.
(https://i.imgur.com/oOKinl9.jpg)
U prvom redu tu je jedna čak ne ni videospotovska koliko ,,trejlerska" režija, kadriranje i vizuelno pripovedanje oslonjeni na jaki CGI, beskrajne stilizacije i neopisivu količinu širokih kadrova koji uspostavljaju mesto na kome se priča dešava. Nije da u samom vizuelnom domenu nema šarma u ovom filmu sa njegovim spojem post-apokaliptičnog Majamija gde stalno gacate po vodi i noir klišea gde gangsteri nose Fedora šešire a dobri momci ili makar polupolomljeni antiheroji nose mantile i olabavljene kravate. I, naravno, film je, tehnički, impresivno osvetljen i snimljen. No, naravno, ako se noir između ostalog definiše svojim ,,gritty" senzibilitetom, jednim teksturiranim ako već ne realističnim prikazom sveta, Reminiscence ovde dosta jako promašuje metu pružajući nam scenografiju, osvetljenje i režiranje koji su naglašeno stilizovani i efekat toga je da sve što vidimo pred našim očima više deluje kao predstava, ili simulakrum, nego ,,gritty" stvarni svet u kome žive stvarni ljudi sa čijim emotivnim tlapnjama treba da se identifikujemo.
Verovatno ipak najveći problem dolazi od samih glumaca. Jackman je prihvatljivo dobar glumac i svetsku slavu je na kraju krajeva stekao igrajući lika koji je kolekcija noir klišea, ali Hughu, i pored upečatljive fizionomije iznenađujuće loše leži bogartovska antiherojska poza sa promrmljanim monolozima o fatalnim ženama i svetu koji ide dođavola dok gledate u dno čaše i prizivate u sećanje bolje momente iz svog života. Joyjeva je, istina je, napisala i neke izrazito glupe replike koje glumci moraju da izgovore, ali verujem da nikakav tekst ne bi preživeo masakr koji su nad njim izvršili Jackman i Newtonova sa svojim bolno veštačkim imitiranjem klasičnog noir senzibiliteta.
(https://i.imgur.com/jHGcyRF.jpg)
Na sreću, sama priča je ipak bolja od dijaloga koji je delom čine i Reminiscence je zaplet o bivšem vojniku (koji je, jelte, ratovao u tim futurističkim ratovima) što sad zarađuje za život koristeći tehnologiju – originalno namenjenu ispitivanju ljudi u okviru tužilačke istrage – da im pomogne da ponovo prožive neka svoja najvažnija sećanja sa intenzitetom i opipljivošću kao da se sve to ponovo događa.
Ovo je, jasno je, dobra ideja (jer je uzeta od Williama Gibsona, dakako) i to da neki ljudi samo ponavljaju jedan isti trenutak kada su osetili veliku zaljubljenost, a neki drugi dolaze zbog banalnih razloga kao što je nemogućnost da se sete šta su uradii sa ključevima od stana – to lepo utemeljuje ovu priču u realističnom ili makar plauzibilnom. Jackman i Newtonova – koja mu je asistent – zapravo povremeno i sarađuju sa kancelarijom javnog tužioca i ovo je vektor preko koga film dobija i svoj krimi zaplet.
(https://i.imgur.com/zOuPBgA.jpg)
Naravno, ovakvim filmovima je potreban i femme fatale i za ovu priliku nju igra Rebecca Ferguson čija je rola verovatno najbolja u filmu. Fergusonova, za razliku od Jackmana koji sasvim neobjašneno priča sa australijskim naglaskom, uverljivo koristi svoj najbolji britanski govor (uostalom, majka joj je Engleskinja) ali i dar za poziranje (da ne kažem, jelte, glumački talenat) da i Jackmanovom liku i publici ,,proda" taj koktel ranjivosti, snage, intrige i opasnosti što je neophodan za noir zaplet u koji ćete na kraju poverovati. I, s obzirom da je njen lik zapravo najkompleksniji i prolazi najveći opseg ponašanja, emocija i moralnih ekstrema, da Fergusonova mora da bude i nedodirljivi, misteriozni ideal žene ali i ubedljivo naturalistička osoba u nekim scenama, rekao bih da je ova, inicijalno televizijska glumica, sa ovim filmom sebe apsolutno potvrdila kao kalibar sa kojim treba računati za ubuduće (uostalom, iste sezone je igrala i u Dini (https://cvecezla.wordpress.com/2022/03/18/film-dina-prvi-deo/) i nije se ni tamo izbrukala).
(https://i.imgur.com/NpzyNYT.jpg)
Šteta je što njena uloga nije dobila bolji film, ali Reminiscence do svog kraja uspeva da napravi makar nekoliko koraka ka iskupljenju. Prvi je svakako to što sam zaplet, iako prilično opterećen neverovatnim koincidencijama i srećnim okolnostima, uspeva da se razreši na zadovoljavajući način. Svakako predvidiv, ali kako rekosmo, novi noir radovi ionako treba da nas zadive pre svega egzekucijom klasičnih tropa i Joyjeva uspeva da ne samo korektno iznese te očekivane preokrete već i da centralni motiv filma – taj da priče generalno nemaju srećan kraj i da se priča može učiniti srećnom samo ako se sredina stavi na kraj – lepo uveže u finale. Lik Fergusonove ovde ima jedan ingeniozan momenat koji se oslanja na naučnofantastični novum u centru ovog filma i finale, na njemu zasnovano, uspeva da ima jedinu scenu stvarne, uverljive emocije.
(https://i.imgur.com/cNKQvom.jpg)
Drugo je što pored sve stilizacije i vrlo neubedljivog pravljenja noir atmosfere, režija akcije na kraju ispada jedan od najboljih delova ove produkcije. Nema ovde, da bude jasno, MNOGO tuče i pucnjave, ali dva dugačka set pisa u kojima Jackman pokazuje da nije klasični akcioni heroj već ranjivo ljudsko biće što na stisnute zube, očajanje i mnogo sreće ipak nekako pretekne, demonstriraju solidan talenat ekipe za tečno i ubedljivo vizuelno pripovedanje u kome nisu potrebni ni dijalozi ni neke velike konceptualizacije da publika bude uslužena.
Reminiscence je, očekivano, vrlo loše prošao na boks ofisu i, nažalost, verovatno će to biti pripisano manje relativno nekompetentnoj egzekuciji, a više činjenici da on nije deo neke ,,veće", ,,šire" priče, da nije deo franšize ili sveta koji ima prostora za dalji rast. Utoliko, žanrovska naučna fantastika će verovatno i sledećih nekoliko sezona u Warneru biti osuđena upravo na franšize i serijale dok će ovakvi, pojedinačni pokušaji biti smatrani rizičnim. Ironično je, naravno, što film baziran na motivu opsesije sećanjima na bolje trenutke prošlosti nije uspeo da svoje otimanje od Malteškog sokola, Kineske četvrti, ali i Inceptiona smesti u iole ubedljiviju formu koja bi pokazala da samo prisećanje – kako i njegov narativ pokazuje – nije supstancijalno i da, bez asertivne, kreativne akcije koja će poroditi nešto novo i supstancijalno, nema vrednost po sebi. No, makar smo dobili jednu dobru žensku ulogu i dve okej akcione scene iz cele priče.
(https://i.imgur.com/vKYezr3.jpg)
Ovogodišnji osvajač Oskara za najbolji strani film i žetelac gotovo potpuno složnog oduševljenja zapadne kritike, Drive My Car (aka Doraibu mai kâ) režisera i koscenariste Ryusukea Hamaguchija ne samo da je ultimativni festivalski film već je i ultimativna ekranizacija proze Harukija Murakamija. Ovo je film od tri sata u kome ljudi sede i pričaju, sede i ćute, voze se i pričaju, voze se i, jelte, ćute, jebu se i pričaju i koji će svoj unutrašnji život iznova i iznova pred gledaoca – i svoje sagovornike – iznositi ne akcijom, ne nekakvim teatralnim gestovima ili, nedajbože, mimikom (uprkos tome što je jedan od likova gluvonem i može da se izražava samo znakovnim jezikom) već isključivo kroz dugačke, neprekinute monologe, tipično opisujući neku od traumom ili snažnom emocijom bremenitih situacija iz prošlosti, dok glas malo drhti a u oku se skupljaju suze.
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Ovo je efektna forma rasplitanja ,,priče" koja zapravo i ne postoji i samo se radi o presecanju životnih tokova nekoliko likova od kojih svaki ima neki svoj bagaž da ga ćutke, mučno nosi godinama pre nego što ga izruči pred drugu osobu koju su okolnosti nanele pred njega u najosetljivijem trenutku, ali ovo je i, ponovimo, film od tri sata u kome ljudi ili značajno ćute ili pričaju ravnom, monotonom dikcijom o prelomnim momentima u svojim životima, bez stvarne interakcije sa svojim sagovornicima. Drive My Car je film koji vrlo manifestno smatra da je tekst najznačajniji element dramske komunikacije i ovo je, uostalom, eksplicitno navedeno u ne jednoj od scena tokom proba za Čehovljevu predstavu Ujka Vanja, čije pripreme zauzimaju najveći deo radnje.
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Neću, naravno, da kažem da filmska kritika na zapadu mrzi film i priželjkuje da u njemu ima malo manje vizuelnog pripovedanja a malo više čitanja teksta, ali Drive My Car je nastao kada je Hamaguchi odlučio da Murakamijeva pripovetka Drive My Car (nazvana, dakako, po poznatoj pesmi Bitlsa) zapravo nema dovoljno teksta. Odlučujući da se ova priča iz zbirke Muškarci bez žene (desetosatno čitanje cele zbirke glasom Slavice Nestorović možete putem JuTjuba potrošiti ovde (https://www.youtube.com/watch?v=_eGAtWRH3WY)) završava pre nego što je spisatelj istražio sve konsekvence svoje premise, Hamaguchi je, zajedno sa Takamasom Oeom napisao scenario za film koji će pripovetku ekstrapolirati, dodajući elemente još dve priče iz iste zbirke, prebacujući radnju iz Koreje u Japan i proširujući zaplet vezan za pripremu produkcije predstave Ujka Vanja u pozorištu u Hirošimi.
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Ovo je zanimljiv i koncepcijski interesantan kontrast jer naspram likova koji u stvarnom životu nalaze da je teško da govore o svojim emocijama, stoje likovi iz predstave koji sve vreme na sav glas izvikuju svoje emocije. Hamaguchi ovde odlazi daleko iza Murakamijeve postavke gradeći paralele između dva teksta i pažljivo tanjeći granicu između teksta predstave, poznatog, kodifikovanog, već mnogo puta protumačenog, i ekspresije onoga što sami likovi osećaju i, zbog društvene stigme vezane za ,,emotivnost" kod odraslih osoba (pogotovo u Japanu), zadržavaju u sebi.
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Utoliko, Drive My Car, film, je jedno dovitljivo poigravanje sa simulakrumima – supruga glavnog junaka, pozorišnog glumca i reditelja Yūsukea Kafukua mrtva je već dve godine u centralnom ,,činu" ovog filma, ali je sve vreme prisutna ne samo kroz razgovore u kojima figuriše već i kroz kasete sa njenim glasom gde ona čita druge uloge u predstavi Ujka Vanja kako bi Yūsuke mogao da uvežbava ulogu Ivana Petroviča Vojnickog. On ovo radi u automobilu tokom dugih vožnji do pozorišta i kada mu u Hirošimi kažu da po njihovim pravilima on ne sme da sam vozi svoja kola već da će mu biti dodeljena vozačica, ovo je povod za malu nervozu. No, kako su ovo Japanci, sve se to na kraju uljudno reši i Kafuku sluša svoje kasete sa glasom pokojne supruge dok ga mlada žena, Misaki Watari svakog dana vozi do i od pozorišta od hotela u kome je smešten.
Do kraja filma mrtvi i živi likovi imaju gotovo podjednako prisustvo u scenama ponovo zahvaljujući tome da se film ovaploćuje pre svega u tekstu i izgovorenim dijalozima. Likove veoma retko vidimo da nešto rade i pre svega slušamo o onome što su uradili a sad se kaju, što nisu uradili pa se sada kaju itd. Da je Hamaguchi – inače autor solidnog broja dokumentaraca uz nekoliko igranih filmova urađenih po relativno uporedivoj matrici – izuzetno dobro savladao svoj zanat svedoči i to da su ovi dugački razgovori bez velike dinamike i po pravilu bez stvarnih razrešenja uglavnom veoma ubedljivi. Sa jedne strane, tekst je, ma koliko da ga ima, ispisan uverljivo, sa prirodnim razvojem zapleta i raspleta u tim ispovestima. Sa druge glumci su naprosto JAKO dobri da samo najminimalnijim varijacijama u intonaciji ili jedva primetnim promenama izraza lica daju tim ospoljavanjima svojih unutarnjih života autentičnost.
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Sa treće strane, opet, ovo je film od tri sata u kome ljudi uglavnom sede i pričaju. I za to treba imati apetita. Scene su često režirane ekstremno statično, neretko sa jednim istim kadrom koji traje po nekoliko minuta dok glumac izgovara monolog, ali čak i momenti sa po desetak glumaca u sceni su uglavnom režirani tako da se ne kreira nikava ,,veštačka" dinamika. Svi govore odmereno, bez menjanja izraza lica i uredno čekaju da drugi završe svoje replike pre nego što otvore usta.
Ovo je, da ne bude zabune, sasvim programski pristup materijalu jer, kako već rekosmo, film sadrži čitav jedan simulirani konstrukt isprepletan sa svojom ,,pravom" radnjom. Čehovljev tekst je, za Kafukua koji ga je već igrao u Tokiju i u Hirošimu je pozvan da odabere glumce i režira predstavu, ne tekst koji se glumi, već tekst koji ispituje onog koji ga čita. Otud su njegove probe čitanja napravljene tako da glumce potpuno oslobode ideje ,,metodske glume". Kafuku insistira da svi treba da samo čitaju tekst, iznova i iznova, jasnom, sporom dikcijom, bez ,,upisivanja" sopstvenih emocija tekstu, bežeći od toga da ijednom od glumaca i glumica ikako objašnjava šta je njihova motivacija. Repetitivna čitanja teksta, naprotiv, njegova je filozofija, u glumcima će naći neke stvari koje oni možda i ne bi želeli da pokažu ni sebi a kamoli publici i mada se to nigde ne izgovara, ovaj detalj sirove, potpuno ranjive autentičnosti, jedne, jelte umetničke i ljudske istine, je onaj bijeli kit koga Kafuku zapravo i traži.
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Jer, kako film pokazuje, ljudsko društvo je i samo simulakrum, sa sve emocijama koje tvrdimo da delimo jedni sa drugima, pa čak i projektovanim personama po kojima nas drugi identifikuju. Ideja da je Yūsukeova pokojna žena, Oto, bila nesvodiva na predstavu koju su o njoj imali ne samo drugi – uključujući mladog TV glumca zaljubljenog u nju na ime njenih scenarija i rada sa njom na televiziji – već i sam Yūsuke je vrlo debelo podcrtana i pričom o svojoj pokojnoj majci koju Yūsukeova vozačica Misaki ispoveda pri kraju filma, doslovno prizivajući disocijativni poremećaj identiteta kao pomoć za gledaoce sa jeftinijim kartama.
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A opet, Hamaguchi je elegantan u sporom ali sigurnom povezivanju svojih narativnih niti. Seks i smrt kao dva snažna literarna motiva su isprepletani i pažljivo izbalansirani u narativu iako je ovo u suštini priča o ljudima iz srednje klase koji imaju u se, na se i podase i njihove živote ne biste nazvali imanentno dramatičnim. Naravno, sam Murakami je već uspeo da pronađe elemente magičnog u banalnom (da ne kažem buržoaskom), pa je i Hamaguchijeva nadogradnja ako ne magična, a ono zanimljiva, sa uspešnim korišćenjem Čehovljevog teksta da likove u svom filmu provede kroz emotivna krešenda koja oni, inače, nikada ne bi ni priznali da osećaju, kamoli pokazali. Jedan od najuspelijih momenata je svakako onaj u kome će u gledalac što ne zna napamet baš ceo tekst Ujka Vanje morati da se zapita da li izuzetno bolno priznanje koje čuje od Yūsukea o ispraznosti svog života i mučnini koju oseća kad pomisli da se on još neće završiti dolazi iz teksta drame ili iz Yūsukeove napaćene duše.
I to da se granica između te dve mogućnosti briše jeste trijumf ovog filma – ovo je na kraju krajeva film o tekstu, ali i film o intertekstualnosti i o tom murakamijevskom uvidu (koji je pre njega formulisao Umberto Eco, a pre njih i Roland Barthes) da svet u kome postojimo – kao misleća, konceptualizujuća bića – zapravo živi i izrasta na postojećem tekstu. Murakami svojim knjigama često daje naslove postojećih muzičkih dela, a Hamaguchijevi likovi se na kraju jedino zaista mogu autentično izraziti kroz Čehova, i kroz bukvalno kratke, murakamijevske pripovetke kojima uokviruju velike traume iz svojih života, dajući im uredne uzroke, posledice i preokrete. Utoliko, to što je film sklopljen od nekoliko malih urednih drama, koje su gledaocu prepričane, a da on sam čini sve da izbegne dramatičnost je na neki način finalna Hamaguchijeva dosetka.
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I sad, da li dosetku od tri sata sa namerno vrlo sporim tempom – mnoge scene se odvijaju u sasvim realnom vremenu, čak i kada u njima nema teksta – vredi snimiti je pitanje za milion dolara. Ali mislim da je Hamaguchi na njega odgovorio vrlo uspešno, osvajajući Oskara i lansirajući svoju karijeru u zasigurno višu orbitu. Sa moje strane, i pored vrlo lepe fotografije i rekosmo već odličnih glumaca, rekao bih da je pitanje je li Drive My Car suštinski profitirao od toga što je produciran kao film a ne kao radio-drama ili, možda, čak, samo novela. Naravno, samo u ovom formatu je bilo moguće zaista realizovati jednu od centralnih dosetki filma – tu da Kafukuove pozorišne predstave za svakog od likova imaju glumca koji govori drugim jezikom – ali sem podsećanja da je i jezik simulakrum sam po sebi, ovo zapravo nema neki esencijalni značaj u tkanju filma Drive My Car.
Svakako, u pitanju je film koji izuzetno spretno i efektno koristi tekst i kao metaforu i kao jedini značajan alat da natera svoje likove da nam postanu zanimljivi, ali u pitanju je i film koji je pomalo samozaljubljen, te zaljubljen u svoje metafore i alate i ponekad ne zna šta je dosta. Mislim da je tu značajno naglasiti da mi nije bilo dosadno tokom tri sata i da je Hamaguchi mnoge naoko slučajne motive do kraja dovezao na isplatu, ali ne mogu da se ne zapitam šta bi bilo da je režiser morao da se uklopi u nekada standardni format od dva sata i upotrebi ,,filmskije" tehnike pripovedanja u svom izrazu. Možda bi Drive My Car bio manje Murakami na steroidima a više film koji shvata da tekst ne oživljava ljude već da se u životu događa upravo obrnuto.
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Sa filmom The Batman Matta Reevesa koji sam upravo pogledao putem HBO Max servisa i, po mišljenju mog kuma, sebe lišio pravog bioskopskog iskustva koje bi, pretpostavka je, u značajnoj meri uticalo na moje mišljenje o filmu, dakle sa tim filmom Warner još jednom pokazuje da nema stvarne planove, već da smelo improvizuje u hodu. Što ne mora da bude loša stvar, naravno, ali je značajno ukazati na nju s obzirom na metodični, disciplinovani, štaviše šematski pristup konkurencije. DC Extended Universe, kako se naziva Warnerova filmska produkcija naslova rađenih po DC-jevim superherojskim stripovima je manje ,,extended universe" a više grupa univerzuma koji jedni sa drugima zapravo nemaju mnogo veze a kamoli kontakta.
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Za razliku od Marvel Cinematic Universea koji već uveliko profitira od krosovera između različitih filmova, uvlačeći silom Diznijeve monetarne gravitacije čak i Sonyjeve filmove i protagoniste u svoj sada vrlo manifestno proklamovani multiverzum (jutros sam iz autobusa gledao reklame za novog Doktora Strejndža koji ima multiverzum već u naslovu), Warnerovi filmovi se – za razliku od televizijskih produkcija po DC stripovima koje su se dosta uspešno dohvatile ovog koncepta – ne događaju u ,,multiverzumu" već u sasvim odvojenim ontološkim realnostima koje povezuje samo strip-poreklo, ali se istorije svetova, ali i ton i estetika među njima dramatično razlikuju.
Nije da Warner nije pokušao da uđe u integrativni proces – Snyderovi filmovi i Whedonovo preuzimanje Justice League krosovera (https://cvecezla.wordpress.com/2017/11/18/film-justice-league/) u letu jesu bili napor da se stvari uvedu u uredan deljeni kontinuitet, ali ovo nije proizvelo željene efekte, pa je dalje nastavio svako svojim putem. Tako smo dobili Wonder Woman 1984 (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/) sa jedne strane, The Suicide Squad (https://cvecezla.wordpress.com/2021/08/09/film-the-suicide-squad/) sa druge, Jokera sa treće a sada i The Batman i mada se za Wonder Woman i The Suicide Squad može argumentovati da dele isti univerzum, druga dva filma sa njima nemaju direktne veze – niti jedan sa drugim, iako se radi o, teoretski, dvojici najljućih oponenata u DC-jevom sveukupnom imaginarijumu.
I dok ovakav pristup može da deluje suludo u kontrastu sa Diznijevim pokoravanjem sveta pod Marvelovim barjakom (ili, hm, obrnuto?), on istovremeno i oslobađa autore da rade sasvim različite filmove koji će istraživati superherojski gradivni materijal na različite načine, posmatrajući ga iz različitih uglova i sa različitim ambicijama. Ovo ne mora uvek da proizvede dobre filmove, ali za razliku od Marvelove uniformisane, sada pomalo i represivne ,,formule" koja počinje da štancuje naoko identične filmove, Warner može da se pohvali da ima i komedije poput Shazama (https://cvecezla.wordpress.com/2020/05/25/film-shazam/), i akcionu satiru poput The Suicide Squad, i klasičnu superherojsku sapunjaru kao Wonder Woman 1984, ali i mračni policijski procedural sa odjecima brutalnog gangsterskog filma sedamdesetih godina prošlog veka, kao što je The Batman.
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U retrospektivi, svakako je bilo za očekivati da će The Batman, novi ribut za Mračnog Viteza, otići natrag na pozicije na kojima je na filmu istorijski bio najuspešniji. Nakon perioda u kome je Ben Affleck igrao sredovečnijeg, pomalo melanholičnog Betmena, sa aurom autoriteta i jakim kapacitetom za planiranje, smeštenog rame uz rame sa superherojima praktično božanskih moći, i nakon što je Affleck odlučio da ipak odustane od pisanja i režiranja solo-filma o Betmenu, verovatno i sam anticipirajući da bi to bio epski brodolom, a valjda mu je dovoljan bio blam sa Daredevilom sa početka veka, Reevesov The Batman je ne baš reset ali očigledno bacanje udica pravo u najtamniji deo ribnjaka gde je Warner u ovom stoleću već uspešno pecao sa Nolanovom Dark Knight trilogijom.
No, The Batman je, ugodno, mnogo svedeniji po konceptu od onog u šta su Nolanovi filmovi do kraja izrasli i mada u solidnoj meri imitira ton i postupke Nolanovih filmova, pa čak i neke elemente zapleta, on istovremeno sa sebe stresa dobar deo superherojskog baroka. Ima argumenata i da se tvrdi da ovo uopšte nije superherojski film i da je Betmen koga gledamo u The Batmanu mnogo više ,,ekscentrik u kostimu" a mnogo manje herojski, ili čak antiherojski prototip kakav su nam servirali Nolanovi filmovi.
Na prvom mestu, naravno, ovo je izrazito ,,gritty" film. Glavni junak i glavni antagonist izražavaju se, redom, hrapavim šapatom i polomljenm kadencama nekontrolisanih amplituda i ako je Nolan, poglavito u trećem filmu servirao glavnog junaka čije je zdravlje bilo pod znakom pitanja, Bruce Wayne Roberta Pattinsona je neko kome je očigledno loše. Iako je tek dve godine u superherojskom poslu, on je sasvim očigledno na rubu da se uruši pod PTSP-om. Opsednut superherojskim ,,radom", za koji i sam vidi da ne donosi nikakve merljive rezultate dok stopa kriminala u Gotamu raste, on sve svoje vreme troši na planiranje, istraživanje i ulične akcije, u potpunosti zapostavljajući bilo kakve socijalne obaveze koje bi njegov civilni alter ego, na ime svog društvenog statusa trebalo da poštuje. Bilo je dosta uznemirenja po internetu što je za ulogu Betmena odabran pretty boy Robert Pattinson, ali on veoma dobro paše skoro do karikature zaoštrenoj gritty matrici ovog filma. Ispijen, neuredan, čupav, maltene stalno umazan ajlajnerom koji nosi da bi kulje izgledao kad stavi masku, Pattinson daje jednu ubedljivu sliku nezdrave opsesije čoveka koga je ubistvo roditelja pretvorilo u borca za pravdu koji je tom borbom sebe osudio na serijska razočaranja i emotivne lomove.
(https://i.imgur.com/yED8U2m.jpg)
Ovo, dakle, nije ni visokotehnološki techbro Betmen kakvog je glumio Affleck, niti povratak bonvivanskoj auri Georgey Clooneyja, kao što film nema lunaparkovsku atmosferu Burtonovih i Schumacherovih filmova niti snyderovski sivo-plavi, ,,realistični" mizanscen. Reeves film počinje upečatljivim kadrom posmatranja scene kroz sočiva dvogleda i ova sužena, a na detalj usredsređena vizija praktično najavljuje celokupnu atmosferu filma. Gotam siti ovog filma je naglašeno mračan – svega par scena se dešava po danu a i one su srazmerno tamne – a kadrovi suženi, teskobni, često sa scenama koje su snimane bez rezova ili pokreta kamere, dok se na nekoj udaljenoj poziciji od sočiva događa nešto jedva razaznatljivo ali uglavnom loše.
Time je ulazak u psihologiju glavnog junaka efektno postignut i Pattinson zaista nema potrebu da išta glumata pa su i njegov Betmen i Bruce Wayne vrlo ubedljivi kada stoje i ćute, eventualno procede po koju neophodnu reč. Štaviše, u par scena gde je potrebno pokazati da ipak postoji potisnuta emocija, to deluje i malo preglumljeno i ovaj Betmen je najupečatljiviji kada se njegova figura zaista pretapa u pozadinsku tamu, tako da ne znate gde prestaje čovek a gde počinje senka. On za sebe, uostalom, eksplicitno kaže ,,ja sam senka".
Ova vrsta melodramatičnog, kvazi-noir monologiranja tokom filma deluje dosta nezgrapno i cheesy ali njena funkcija je i ta da Betmena pokazuje kao osobu te sužene vizure, usredsređenu na ,,borbu" ali čije ciljeve, pa ni ishode, ne vide ni ostali građani Gotama pa ni publika filma. On je i Betmen koji je daleko od savršenstva ,,zrelog" Mračnog viteza, sa ciljanim scenama u kojima ga vidimo kako pokušava atraktivne, ,,filmske" stantove, sa prilično blamantnim reuzltatima, uključujući jedno nezgodno prizemljenje posle skoka sa zgrade, ali i brojne tuče gde on ne demonstrira naročito veliku borilačku ekspertizu ili taktiku već pobeđuje pre svega na ime oklopljenog kostima kome bejzbol palice pa ni meci zapravo ne mogu mnogo da naškode. Kad u igru ulete sačmarice, naš junak se nalazi na korak od sramnog poraza.
Ovo je svakako najsvežiji, najzanimljiviji sloj filma. Takođe, Betmenov odnos sa policijskim poručnikom Gordonom je kreiran sa dosta pristojne hemije i funkcioniše najpre jer je sam film formatiran kao gritty '70s copsploatacija. U realističnijem, ali i ,,superherojskijem" prosedeu bi saradnja između Gordona i Batmana delovala neuverljivo, pogotovo što, kako film odmiče, stvari sve više izmiču kontroli i niko više ne poštuje nikakve propise policijskog posla. Da je ovaj film režirao Snyder, Gordon bi i sam bio u pritvoru sa lisicama na rukama već negde oko polovine. Jeffrey Wright je sa Westworld demonstrirao izvrstan kapacitet da glumi sredovečne, mrzovoljne muškarce i uloga Gordona mu veoma prija, pogotovo što na drugoj strani ima gomilu pitoresknih krimi-likova koje glume John Turturro ili Colin Farrell. Scene u kojima kriminalci imaju prostora da se razmahnu i pokažu svoje nimalo zanemarljive harizme su bez sumnje najzabavnije u filmu koji se izrazito trudi da bude ozbiljan i mučan i ovde se dobija druga, razuzdanija strana '70s post-Godfather produkcije.
(https://i.imgur.com/jZ8uc2j.jpg)
Manje sam zadovoljan likom Catwoman odnosno Seline Kyle koju igra Zoe Kravitz. Kravitzova izgleda dobro u akciji, ali je njena uloga praktično na silu upisana u film ne bi li se malčice razblažio toksični testosteronski oblak u kome se sve odvija i razvoj njenog odnosa sa Batmanom je isforsiran, a njegov prelazak u romansu potpuno nezarađen. Andy Serkis kao Alfred je simpatičan izbor kojim se još jednom potvrđuje da je Serkis ključno ime za visoku holivudsku produkciju poslednje dve decenije. Na kraju krajeva, Serkis je mocapovao maltene sve majmune u Reevesovim Planetama majmuna i bilo je samo pitanje koju će ulogu dobti u ovom filmu. Njegov Alfred je svakako pomalo melodramatičan, ali, da budemo fer, kako živi sa hronično izgorelim, ćudljivim viđilante osvetnikom u opresivnoj gotskoj kućerini koja deluje bolesno hladna sve vreme – ne možemo mu zameriti.
Paul Dano koji igra Riddlera je možda imao najlakši zadatak jer mu je uloga da deluje stereotipno ,,psihopatski" i on to odrađuje bez greške ali i bez ikakve druge dimenzije u karakteru. Riddler je u Reevesovom filmu, u skladu sa ,,grittyzacijom" svega mnogo manje kempi negativac visokog IQ-a koji voli dobru zagonetku a mnogo više kombinacija antagonista iz Seven i Saw koji operiše u eri društvenih mreža.
I zaplet stoga deluje kao apdejt poslednjeg Nolanovog filma za novu eru u kojoj su se revolucionarne ambicije koje je imao Bane u Dark Knight Rises potpuno degenerisale u čisti internet nihilizam. Sama tehnologija vođenja priče je zanimljiva, naravno, jer Reeves koristi oprobanu šemu u kojoj dovitljivi ubica koji radi ,,po ključu", istražitelje hrani zagonetkama i sugestijama tako da dobije ne samo osećaj intelektualne superiornosti što je uvek korak ispred njih već i postigne da mu oni praktično asistiraju u nekim od zločina. Ovo je uglavnom korektno vođena priča, a Reeves i koscenarista Peter Craig su se, vrlo plemenito, oteli impulsu utovarivanja ,,lorea" u scenario i mada se slučaj na kome Betmen i Gordon rade raspliće tako da se umešaju mnogi važni gradski zvaničnici ali i pokojna porodica Brucea Waynea, sve što ovde saznajemo je direktno vezano za sam slučaj i emotivne uloge koje likovi imaju u pogledu njegovog rešavanja, bez razvodnjavanja i suplementalnih informacija koje bi služile za potrebe budućih nastavaka. A što, u filmu dugačkom skoro tri sata, nije mala stvar.
(https://i.imgur.com/kCFEsun.jpg)
Problem je svakako što film traje tri sata dobrim delom na ime jednog na momente vrlo manirističkog građenja atmosfere. Antonionijevski disciplinovani kadrovi koji su na početku usredsređivali gledaoca i privikavali ga na tempo pripovedanja prema kraju postaju uobičajeni a zatim i naprosto dosadni, a Reevesova režija akcije nakon scena u kojima se mrak i neprozirnost koriste kao efektne alatke da publika sama oseti dezorijentisanost i strah (tuča u klubu gde jedino osvetljenje dolazi iz cevi oružja koje puca nasumice je solidan set pis), naprosto bude pešadijska. Dok s jedne strane svakako treba ceniti to da film ne odlazi celim putem do superherojskog CGI spektakla na tragu Justice League ili Dawn of Justice (https://cvecezla.wordpress.com/2016/04/09/film-batman-vs-superman-dawn-of-justice/), sa druge kada akcije ima, ona nije posebno efektna. Tu su neki kaskaderi, tu se ljudi udaraju i padaju i to je to. Jedna scena automobilske potere završava se izvrsnim kadrom gde naš junak poražava očekivanja i neočekivano trijumfuje ali njoj prethodi jedno pet minuta relativno nezanimljive jurnjave kolima koja treba da nas asocira na Friedkinovu Francusku vezu ali uspeva samo da nas podseti koliko je Friedkin to ekonomičnije i efektnije režirao.
Ideološki, pak, The Batman kao da ne pravi značajan iskorak od Nolanovih filmova a što je možda i poenta. Ovaj Betmen nije ,,surveilance state" agent uporediv sa onim Dark Knight filmova, ali to je možda i samo jer je mlađi i još uvek nedovoljno sazreo. Uostalom, Pattinsonov Betmen koristi sočiva koja snimaju i imaju automatsko prepoznavanje lica i on je na neki način year one (ili makar year two) verzija onoga što će nam dati Nolan, samo bez smaranja sa Ligom ubica i drugim egzotičnim konceptima.
(https://i.imgur.com/kF7srBB.jpg)
Ovaj Betmen sam prikuplja svoje informacije i utisak je da gedžete koje koristi i auto koji vozi sam budži u radionici, ali ovaj Betmen, uprkos proklamovanoj ideji da se bori protiv urbanog kriminala koji truje ulice Gotama, u tome uopšte nije uspešan. U jednoj jedinoj sceni gde štiti uličnog prolaznika od napada siledžija (koji igraju varijaciju na ,,the knockout game", urbani mit čiji je efekat bila veća represija prema froameričkim zajednicama u SAD pre desetak godina), žrtva je prepadnuta od Betmena isto koliko i počinioci, a do kraja filma Betmen ne samo da shvata da je gašenje pojedinačnih vatrica sasvim jalov posao već se i zatiče u situaciji da zapravo radi protiv ,,kriminalca" koji je na nišan uzeo ekstremno korumpirane javne službenike i dela kao ,,stvarni" viđilante aktivista ,,iz naroda", sa legitimnom agendom, mada diskutabilnim pristupom rešenju problema korupcije i sprege kriminala sa javnim službama.
(https://i.imgur.com/bg30WGh.jpg)
Da Betmen do kraja filma zapravo štiti establišment nije neko preterano iznenađenje jer on je jedan od superheroja koji najprirodnije stoje uz status kvo. Da film eksplicitno pokazuje da Betmen neće uspeti da zaštiti građane i samo će simbolički pomoći da se spase novoizabrana gradonačelnica (Afroamerikanka, naravno) je možda i najjasnije kritički usmeren komentar koji film ima spram Betmena i superheroja generalno. Sa druge strane, kako film umesto baneovske vojske koja fizički zauzima Gotam i sprovodi ,,narodnu" pravdu, naspram Betmena i establišmenta stavlja qanonovske konspiratologe i 8chanovske lone wolf aktiviste čija se zgađenost korupcijom u društvu izvitoperuje u ideološki nihilizam i na kraju ovaploćuje u terorističkim akcijama protiv civilnog stanovništva je pokušaj da se pokaže da SA DRUGE STRANE stoji nešto možda još gore. U ovom smislu, establišment koji Betmen štiti je, na kraju krajeva sistem za koji svi vide da ne radi, ali koji makar ima teorijsku osnovu da radi, dok su naspram njemu nezreli, društveno izopšteni nihilisti koji samo žele da vide da sve izgori. Drugim rečima, sa jedne strane, kao, Biden, sa druge, kao, Trump, pa vi, rođaci, birajte. Uzaludnost Betmenovog posla je svakako od svih dosadašnjih filmova ovde najplastičnije prikazana i The Batman na ime ove, možda i ne sasvim namerno dosledne analize besmislenosti superherojskog rada ovog tipa zaslužuje da se pogleda.
S druge strane, pitanje je, naravno, koliko će ko imati apetita da sedi tri sata u mraku, gleda spore scene sporih, bezemotivnih dijaloga i napreže se da razazna retka krešenda akcije da bi došao do poente koju ionako prave SVI koji ne vole superherojski strip i smatraju premisu naprosto neuverljivom. Matt Reeves demonstrira pristojnu viziju i doslednost u pogledu tona filma, pravi zanimljiv procedural i ima nekoliko upečatljivih scena sa dobrim glumcima, a najosetljiviji element u kastu, sam Pattinson je više nego na visini zadatka, i vizuelno, ali i muzički (Michael Giacchino u vrlo zadovoljavajućem džonvilijamsovskom pastišu) film ima mišiće, no film je istovremeno i vrlo zagledan u svoj pupak, ima višak likova i filozofije u odnosu na relativno jednostavnu poentu koju pravi i mada je ona svakako vredna da bude napravljena, spori tempo i neprozirnost slike ne mogu je učiniti dubljom nego što ona jeste.
(https://i.imgur.com/UpgAL7N.jpg)
Nije rđav The Batman, jes malo emo, traje previše, i ja sam imao utisak da je žena mačka višak, taman bi izbacivanje njenog dela priče skratilo film na razumnu meru.
Al onda bi Betmen i Gordon morali da se poljube u usta negde pred kraj filma a da li je globalna publika spremna na TO?
Meni nije jasno šta je Betmen tražio sa Ženom mačkom, koja je lezbejka, na kraju filma, sem ako i on nije lezbejka.
Cela ta završnica mi je bila totalno wierd i nisam baš shvatio šta su s tim hteli da nam kažu. Missim, logično da nema nikakve hemije između njih, so what was the point?
Možda si prespavao scenu u kojoj ona njega prva poljubi nešto ranije u filmu? Ne mogu da ti zamerim, moja žena je prespavala solidan deo filma.
Hoću reći, ona je ipak verovatno biseksualna*, a ko bi odoleo njegovom gotskom bad boy šarmu? Pa ja bih se s njim poljubio a ja sam uglavnom strejt!
*Seilna Kyle u filmu, ne moja žena
Sve mi je to bilo mlako, i poljubac, i kraj filma. I mlako i očekivano, s obzirom da je lezbejka, biseksualka, svejedno.
Samo ne shvatam što su taj mlaki i očekivani deo morali da prikažu u filmu, a ne ostave, recimo, kao kontekst koji se može izvući između scena, a same scene ostaviti na podu sobe za montažu. To se tako radi ako te scene nemaju neku drugu svrhu, već su same sebi cilj, predugi neprijatni momenti u inače predugom filmu.
Sem ako se nije želeo da ostavi utisak da su bilo kakvi hetero pokušaji neprijatni i neprirodni sami po sebi u okvirima nove normalnosti. To je jedino što mi pada na pamet.
Izaći će za par nedelja moj tekst o aktuelnom tekućem strip-serijalu Catwoman u kome se (ne mnogo detaljno, doduše) pominje i da je očigledno da je ona kozistentno prisutna u filmovima o Betmenu (a bez protagonizma) jer producenti to vide kao jedini legitiman način da se ima romantični podzaplet a koji, valjda, smatraju značajnim jer je glavni junak generalno socijalno izolovana osoba.
Što je podsećanje na to koliko su stripovi o superherojima ispred filmova. Brus Vejn se još za vakta Granta Morisona davio u pičetini, a posle je kod Kinga pedeset brojeva imao ozbiljnu vezu sa Selinom. Ovo na filmovima je samo najjeftinije rešenje da se pokaže da nije aseksualan i dobije oravdanje da se privlačna žena utegne u kostim i slika iz raznih uglova kako bismo mi, nrdovi, malo salivirali.
Doduše, da ne zaboravimo: mi smo MATORI. Video sam ozbiljne kritike filma u kojima doslovno piše da Kravitzova i Patterson imaju "insane chemistry" među sobom i možda za mlađe generacije zaista ovo predstavlja dobro realizovanu, relatabilnu formu romantične veze.
Ma, pobrkao si, to ona kaže za njihove scene. A šta pa jadna da kaže? :lol:
https://www.buzzfeed.com/andriamoore/robert-pattinson-zoe-kravitz-batman-chemistry
Al sam se napalila, baš sam se napalila. Pozovi me, BA. :D
Ne, ne, to sam video u prikazu filma. Doduše, možda je implicitno potvrđivano to što je ona rekla. Poenta je, ja nisam osetio baš neku jaku hemiju, ali možda ja nisam dovojno ljudsko biće u ovim poodmaklim godinama da prepoznam te nove forme hemije...
Ok, tvoj argument stoji da je to standardni romantični podzaplet u serijalu, ali je to ipak manjeg reda nego podzaplet između Betmena i glavnog zlikovca u serijalu.
Meni je neshvatlijivo da su oni isekli onu scenu između Džokera i Betmana, a ostavili ove mrtve ribe, Ženu mačku i Betmena.
Dobro, reći će neko, ta scena je redudantna sama po sebi, pošto je zapravo omaž slične scene u "Kad jaganjci utihnu" između Hanibala Lektora i Klaris. I to jeste tačno. Mada, objašnjenje reditelja je bilo da je isekao scenu jer je bi zasenila kraj filma, tj. rasplet sa Ridlerom.
Ispada da su Žena mačka i Betmen pretekli, jer ništa nisu zasenili. :lol:
Pa, da, mislim, film traje skoro tri sata tako da je verovatno studio ušo u sobu za montažu i nervozno insistirao da mora da se seče, pa je izbacio Džokera koji je ionako najavljen za neki nastavak onom poslednjom scenom sa Riddlerom i verovatno će ova isečena scena da se iskoristi u nastavku.
Yakuza Apocalypse (aka Gokudō Daisensō) iz 2015. godine je istovremeno i najbolji i najgori film sa kojim možete početi da istražujete opus plodnog japanskog režisrra Takashija Miikea. Kako se radi o jednom od srazmerno retkih filmova iz poslednje decenije koje Miike nije snimio uzimajući za predložak postojeći manga ili anime materijal, može se argumentovati da se radi o filmu koji je na neki način bliži njegovom srcu, no, naravno, ovaj film je od početka do kraja bizarna, apsurdistička horor-akciona komedija koja deluje, da citiram moju ženu, kao da su je svi pravili na esidu i ko Miikea poznaje prevashodno po ozbiljnijim radovima iz njegove klasične faze, tipa Audition, Gozu, Izo ili Visitor Q možda će se i zapanjiti da pod stare dane on proizvodi ovakve burgije.
(https://i.imgur.com/IWCQQd3.png)
No, istina je da je Miike UVEK imao naklonosti ka parodičnom i komičnom, uzimajući često nominalno ozbiljne žanrovske predloške, tj. filmove o jakuzama ili trijadama i zatim u njih injektirajući poveliku količinu sprdnje u jasnoj demonstraciji da ovog autora nikada zaista nije zanimalo proizvođenje ,,običnog" žanrovskog materijala. Nedavno sam pisao o nešto novijem Miikeovom filmu, First Love (https://cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/https:/cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/) i mada je u pitanju i ovde rad koji meša krimić i komediju, može se argumentovati da je First Love bio pravljen i sa zapadnom publikom na umu i da su njegova skokovita narativna struktura i akcenat na pitoresknim, pamtljivim krimi-likovima po senzibilitetu svakako dovoljno bliski toj Tarantinovštini koju Miikeu lepe i kad treba i kad ne treba.
U kontrastu sa tim, Yakuza Apocalypse je rad napravljen tako da uzme neke od najizdržljivijih tropa savremenijeg jakuza-filma a zatim ih izmeša sa bizarnom pričom koja se do kraja izmeće u otvoreno sprdalačko lutkarsko pozorište sa borilačkim veštinama. Gotovo da se može reći da Yakuza Apocalypse i nema stvarni zaplet ili radnju, koliko da je u pitanju kombinacija bizarnih premisa koja služi kao opravdanje za nekoliko scena koje mešaju karate filmove i kaiđu spektakle, završavajući se u ,,apokalipsi" koja je na ravni sa onim što smo videli na kraju prvog Dead or Alive. A znate već kakva je to ravan. Ravan čistog bunila.
(https://i.imgur.com/THAEgNE.png)
Scenarista ovog filma, Yoshitaka Yamaguchi ima u svom CV-ju više filmova i serija koje je režirao nego što je napisao. Samurai Cat, njegov scenaristički i režiserski hit imao je i film i televizijsku seriju i mislim da već njegov naslov objašnjava o kakvom se autoru radi. Miike je, naravno, scenario za koji ne mogu da zamislim da je imao više od desetak strana dočekao u letu i od njega napravio gotovo dvosatnu borilačku, fantastičku ekstravagancu. Za koju, da naglasim, morate imati afinitete i strpljenje. Nije, priznajmo to odmah, nezamislivo, da gledalac koji je filmu bio privučen Miikeovom reputacijom beskompromisnog autora koji radi brzo i ne pita za dozvolu, dodatno osokoljen podatkom da ovo nije adaptacija postojećeg materijala već ,,pravi" film, bude ozbiljno isfrustriran već posle pola sata. A to je tek malo više od prve četvrtine filma.
S druge strane, izdrži li taj gledalac do samog kraja, može se reći da je dobio ozbiljan trening za gledanje ostatka Miikeovog opusa, unatrag i unapred. Yakuza Apocalypse sa jedne strane predstavlja demonstraciju Miikeovog briljantnog režijskog rukopisa, sa scenama koje su upečatljive, memorabilne i spektakularne na jedan kul način, a zatim sa pripovedanjem koje je ekonomično i naglašeno ,,filmsko", dajući nam informacije u hodu, kroz akciju, ali onda predstavlja i demonstraciju njegove apsolutne neželje da dočeka gledaoca na pola puta. Mnoge scene u ovom filmu postoje samo zato što izgledaju kul, mnogi likovi su bizarni, egzotično dizajnirani, mnoge situacije su fantazmagorične i sasvim neobjašnjene i već negde na pola filma je jasno da premisa sa kojom se krenulo zapravo ima vrlo malo zajedničkog sa mestom na kome se film završava.
(https://i.imgur.com/xvvdS1j.png)
Ali Miike je TAKO zavodljiv. Njegov film stiže od nule do sto gotovo bez ikakvog ubrzanja i prvi kadar u kome ćemo videti katanu kako zaseca u ljudsko telo i izaziva vodoskok krvi je ujedno i prvi kadar u filmu, već u tridesetosmoj sekundi predstave. Ekstremno kul i opasni šef jedne od tokijskih jakuza porodica ide ulicom sa kišobranom kad na njega navale pripadnici protivničke bande. Genyo Kamiura (koga uz beznaporni mangaški šarm igra Lily Franky) ne dopušta da ga uhvate nespremnog i ne samo što masakrira napadače već onda upada u sedište bande, istrpi nekoliko pištoljskih hitaca direktno u telo i onda presudi katanom suparničkom bosu, pokazujući jednom za svagda zašto ga u njegovom kraju ovoliko poštuju.
Ovo je tako tipično miikeovski početak, sa mešavinom grindhouse akcijanja, perfektnog kadriranja i glume i nije zameriti gledaocu koji će na kraju sedeti i pitati se kako smo od TOGA došli do čoveka u kostimu žabe koji preti da uništi planetu u završnici filma. Yakuza Apocalypse, naravno, uživa u svojoj žanrovskoj nedoslednosti i zapravo predstavlja i kritiku jakuza-lajfstajla dok se intenzivno sprda sa opštim mestima žanra.
(https://i.imgur.com/PrpMzlb.png)
Prepoznajmo, na primer, da je zaplet u kome imate EKSTREMNO kul jakuza-bosa i mlađeg, napaljenog jakuza-siledžiju koji ga idolizuje i spreman je da žrtvuje sve u životu za njega, bilo da ga zaštiti ili da ga osveti, da je ovakav zaplet Miike već mnogo puta obrađivao, veoma često na parodičan način, dajući ovom odnosu neretko i satirično-homoerotske tonove. Ichi The Killer, Gozu i naravno Full Metal Yakuza svi na ovaj ili onaj način koriste ovaj predložak, a Yakuza Apocalypse ga posmatra iz vampirskog ugla.
Apokalipsa iz naslova se, pritom, odnosi na činjenicu da glavni junak filma, Akira Kageyama, mladi i perspektivni jakuza-vojnik koji će za svog šefa ići glavom tamo gde drugi ne bi ni tuđom nogom, nakon dobijanja vampirskih ,,moći" pravi nekontrolisani niz poteza u kome vampirizam počinje da širi kroz tokijsku četvrt u kojoj njegova banda čuva mir a vlasnici lokalnih biznisa plaćaju zaštitu da im niko ne bi pravio sranje po lokalima. Problem je što se uz vampirizam širi i ,,jakuza" mentalitet i gomila novokonvertovanih civila koji su dobili glad za krvlju i nadljudsku snagu, istovremeno sebe počinju da smatraju jakuzama.
(https://i.imgur.com/vrzLq9x.png)
Film ima duboko satiričnu dimenziju sa kojom, da bude jasno, zapravo ne uradi tako mnogo. Srednji čin filma u kome posmatramo kako se socijalni i ekonomski krajolik ove četvrti menja na ime porasta broja osoba koje su do juče bile prodavci u bakalnici, policajci ili srednjoškolke a danas sebe smatraju jakuzama, idu unaokolo, kurče se i izazivaju ,,prave" jakuze na fajtove je naprosto nerazrađen. Miike uzima jednu klasičnu premisu – šta biva kada omiljeni, legendarni šef bande koji je održavao mir u kraju i civili su ga poštovali više nije tu a njegovi naslednici nisu dorasli njegovom legatu – a onda je otera u apsolutni apsurd. Kritika koja nesumnjivo postoji je puštena da izranja spontano iz haosa kroz koji Miike provodi protagoniste, pokazujući da je ,,gokudo" način života jedna šarena laža i da parazitiranje na društvenom proizvodu sve što jakuze zaista rade, kreirajući usput isto onoliko problema koliko navodno rešavaju. Vampirska metafora ovde je iskorišćena da pokaže da jakuze doslovno sisaju krv zajednicama kojim tvrde da su zaštitnici a jedna posebno bizarna scena se tiče jakuza kapetanice, koju igra Reiko Takashima, koja shvata da, ako su svi civili sada jakuze, to potpuno uništava ekonomsku osnovu na kojoj jakuze preživljavaju, i odlučuje da zasadi nove civile u plodnu zemlju, kako bi brzo porasli i bili eksploatisani.
Ovo ni izdaleka nije najbizarnija scena u filmu koji već na početku pokazuje svojevrsnu ,,radionicu" za ostarele jakuze koji pokušavaju da se priviknu na ideju civilnog života i gde, vezani lancima u podrumu lokalnog restorančića, heklaju i moraju da trpe ne samo provokacije već i bolne nasrtaje na sopstveno telo, ako žele da ,,polože" ispit i konvertuju se u ,,normalne" građane.
Ovo su makar očigledno satirični momenti, ali film onda u njih ubacuje pojavljivanje japanskog folklornog kapa-demona (pored onija i tengua, kappa je, kažu, najpoznatiji varijetet joakaija u Japanu) i ima čitav podzaplet sa lovcima na vampire od kojih je jedan puritanski sveštenik kao ispao iz Đanga, koji bez razloga priča na Engleskom i nosi sa sobom posebno anti-vampirsko oružje, a drugi je Indonežanin Yayan Ruhian koga znamo iz oba dela indonežanskog borilačkog hita The Raid i koji ovde nosi naočari, ranac na leđima i ODVALJUJE vampire od batina.
(https://i.imgur.com/Ioy6FuU.png)
A onda je tu i Kaeru-kun, ,,najopasniji terorista na svetu", bizarna pojava u plišanom žabljem kostimu (ispod kog ima, heh, videćete sami) koji predstavlja najavu apokalipse i ,,pravog" bosa koga jakuze i vampiri zajednički u filmu moraju da poraze. Igra ga iskusni kaskader i borac, Masanori Mimoto koga sam nedavno pominjao na ime filma Hydra (https://cvecezla.wordpress.com/2022/01/14/film-hydra/), i mada mu nikada ne vidimo lice, vidimo mu pupak. Ne bez posledica.
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Čoveku se od svega toga malo zavrti u glavu jer Yakuza Apocalypse zbilja deluje kao da je ovde nekoliko filmova slepljeno jedan za drugi. Šloki vampirski horor, kaiđu kataklizma, borilački film, svi se oni bore za minutažu dok Miike paralelno priča priču o mladom jakuza-momku Akiri Kageyami (igra ga televizijska faca Hayato Ichihara) koji hoće i da osveti šefa i da zaštiti devojku u koju je zaljubljen (takođe televizijski zaposlena Riko Narumi), a da istovremeno pokaže i ostatke šefove bande sa nekim pitoresknim likovima (Sho Aoyagi i Kiyohiko Shibukawa čija harizma je komotno mogla da iznese čitav zaseban film). Posledica je da Kageyama, iako ključan za zaplet – onoliko koliko zapleta zapravo ima – u filmu dobija srazmerno malo minutaže i dobar deo vremena provodi ne radeći ništa značajno, spremajući se da zablista u bizarnom i spektakularnom finalu.
(https://i.imgur.com/oeUxNBh.png)
I Miike, bez sumnje, isporučuje. Film, ako vam ne smeta to da zapravo nema dovoljno razumljiv kontekst, nudi neke od najzabavnijih akcionih scena koje je režiser uradio u poslednje vreme nudeći perfektan melanž zapadnjačkog shaky cam rada iz blizine, istočnoazijskih koreografija i tripično japanskih demonstracija snage i muževnosti. Film se, da bude jasno, završava praktično parodijom japanske fetišizacije testosterona, stavljajući prvu rečenicu izgovorenu na početku – ,,U moje vreme je biti muškarac značilo biti jakuza" – i kasniju tvrdnju da jakuze karakteriše ne snaga već izdržljivost, u bizaran, ali jasan kontekst. Pre ove scene, naravno, dobijamo gomilu njegovog majstorstva gde se tuče dešavaju tako blizu i tako uverljivo da se sve vreme plašite da će kamerman popiti po pičci, uz tipično snažne, razorne udarce rukama i nogama na pola puta između karate-dođoa i klasične ulične tuče.
(https://i.imgur.com/3lX49xL.png)
Yakuza Apocalypse je film koji ima potencijal da vam razdesi sve što mislite da znate o filmu, japanskoj kinematografiji, pa čak i Miikeu već time da je u pitanju produkcija koju izrazito nije briga da li ćete film shvatiti, u njemu naći dublje slojeve značenja ili, čak da li ćete se zabaviti. Veoma labav narativ koji ide tamo gde je Miikeu zanimljivo a ne tamo gde bi ta neka dramaturgija sad nešto kao smatrala služi samo i isključivo da režiser snimi neke dobre scene sa nekim kul likovima i ubaci uzgrednu opasku vezanu za društvenu kritiku, ali tražiti u Yakuza Apocalypse dubinu, zaokruženost i, uh, poruku, je bez sumnje jalov posao. Utoliko, ako vam je ovo prvi Miikeov film, imate jedinstenu priliku da ga vidite na njegovom najrazobručenijem setingu, gde se stvari dešavaju jer su kul ili smešne, a ne jer to ima smisla u širem kontekstu, i to može da bude opaka navlaka, jer Miike koji juri bez stajanja unapred nema stvarnog takmaca na planeti. Ali može da bude i odbojno jer primisao da je kod Miikea i sve ostalo u opusu puki stil bez supstance ovaj film sigurno neće odbiti. Gledajte, dakle, na svoj rizik.
(https://i.imgur.com/qKKCQRw.png)
U pripremama za gledanje nekih od njegovih novijih filmova iz poslednjih godina, obnovio sam utiske na jedan od najvažnijih radova što ih je u početku svoje karijere uradio tokijski režiser i generalni anarhist Shinya Tsukamoto – brutalni, fascinantni Tokyo Fist iz 1995. godine.
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Kada sam pre dvadesetak godina prvi put gledao Tokyo Fist, još uvek sam bio pod snažnim utiskom eksplozivnog, (sajber)pankerskog body horrora rađenog uz pomoć štapa i kanapa a koji je karakterisao njegove rane filmove, Tetsuo: The Iron Man (i njegov nastavak) te, Hiruko the Goblin, pa je jedan srazmerno ,,uredniji" ili, ako hoćete, ,,običniji" film poput Tokyo Fist signalizirao snažan, siguran ulazak u novu, zreliju fazu Tsukamotovog stvaralaštva. Tsukamoto će sa godinama izbrusiti pripovedačke sposobnosti i uspeti da svoj neizdrživo energični vizuelni imaginarijum plasira u serijama dobro odmerenih krešenda umesto da mu čitav film bude krešendo kao što je bio originalni Tetsuo, ali Tokyo Fist je ona prelazna faza u kojoj završeni film i dalje deluje kao produkt intuicije i refleksnih poteza radije nego promišljena produkcija rađena uz storibordove i jasno zaokružen scenario, a da je njegova poruka, ili makar tema značajno jasnija od prvih Tsukamotovih radova. Tsukamoto i sam kaže da mu je ovo bio najlakši film za montiranje jer je sve teklo jedno za drugim.
Shinya Tsukamoto je jedan od onih modernih japanskih režisera čije se odrastanje i sazrevanje poklopilo sa bujanjem kontrakulturnih pokreta na istoku i na zapadu naše planete. Rođen 1960. godine,* Tsukamoto je filmove krenuo da radi već sa 14 godina koristeći Super 8 kameru koju je dobio od oca i mada u svoje najveće uticaje ubraja Cronenberga, Kurosawu i Lyncha, njegov rani, ali i kasniji autput će njihov vizuelni i pripovedački jezik – jasno vidljiv u njegovim radovima – destilisati u anarhičnu, ultranasilnu, hiperenergičnu leguru metala i živog tkiva koja pred gledaočevim očima mutira, rastače se, pulsira i drhti.
*za većinu biografskih navoda u ovom tekstu izvor je knjiga Iron Man: The Cinema of Shinya Tsukamoto autora Toma Mesa, a koju sam svojevremeno na poklon dobio od svog prijatelja Đorđa ,,George Matic" Matića
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Ekstremno talentovan i posvećen radu sa sopstvenom avangardnom pozorišnom grupom, Tsukamoto je osamdesete završio snimajući svoj prvi ,,pravi" film, pomenuti Tetsuo: The Iron Man, apgrejdujući se sa pozorišta na celoveečernji film i sa osmomilimetraske na šesnaestomilimetarsku traku, u veličanstvenoj crno-beloj postavci prikazujući neverovatno posvećenu destrukciju i rekonstrukciju ljudkog tela fuzijom sa metalnim otpadom, a za njom i orgijastičku destrukciju rodnog Tokija.
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Nije slučajno što Toyko Fist nosi ime grada već u svom naslovu. Tsukamoto je povodom svog prvog filma izjavio da on sa Tokiom ima odnos ljubavi i mržnje pa je uništenje grada u Tetsuu samo predujam za ulogu koju grad igra u ovom filmu. Represivnost betonsko-staklenih fasada, dehumanizovan krajolik pun oblakodera (a najčešće bez vidljivih ljudi) iznad kojih nebo kao da se i samo uvija od bola u ponovljenim kadrovima kamere što solitere posmatra u grčevitim švenkovima, kao da odmerava može li, uz dovoljan zalet da ustrči uz neljudska lica zgrada i pobegne nekuda, sve ovo vrlo snažno postavlja atmosferu čitavog filma.
Tsukamotove opsesije već obrađivane i egzorcirane u prethodnim filmovima su nešto urednije i, čak, mirnije sažete u Tokyo Fist. Grad je ovde predstavljen kao zamka za ljude, sistem koji im, istina je, obezbeđuje život, ali koji onda taj život čini nepodnošljivim. Glavni junak (ili barem, nominalno glavni lik) filma, Tsuda, je ,,sararīman", klasični srednjeklasni službenik u osiguravajućem društvu koji po ceo dan obija pragove pokušavajući da nezainteresovanim potencijalnim klijentima uvali polise i brzi tempo uvoda u film ga pokazuje gotovo izgubljenog u kafkijanski komplikovanim lavirintima ogromnih betonskih zgrada, sa praznim pogledima ljudi što od njega ništa ne kupuju, vrućinom koja ga uništava. Jedan sjajan kadar ovu vrućinu podcrtava brzim rezom na plamen šporeta u obližnjem restroranu, ali iako film koristi crvenu boju strateški da udari akcente u narativu, preovlađujući ton u njemu je plava boja. Tsukamoto je vrlo agresivno išao na kolorne filtere godinama pre nego što će u mejnstrim filmu kolor-korekcija postati sveprisutan alat, i metalno plavi tonovi grada, stanova, trening sala i drugih enterijera ne samo da sugerišu artificijelnost i otuđenost urbanog života, već i podsećaju da je inicijalno režiser razmatrao povratak crno-beloj tehnici za ovaj film.
(https://i.imgur.com/Kq2BzIi.png)
Verovatno i zato što bi crno-beli film bilo teže prodati, na kraju je produkcija ipak rađena u koloru, no, čak i tako, Tokyo Fist je, nakon što ga je većina produkcija koje su Shinya i saradnici kontaktirali odbila, finansiran najpre iz Tsukamotovih privatnih sredstava, odnosno pozajmica koje je uzeo od prijatelja i poznanika.
Ako to nije bilo dovoljno da filmu obezbedi meru ličnog uloga, Tokyo Fist je značajan i po tome da je u pitanju ponovno ujedinjenje braće Tsukamoto posle deset godina. Kōji Tsukamoto je sa bratom Shinyom kao tinejdžer rado učestvovao u proizvodnji više Super 8 filmova, ali je nakon zamomčenja otišao da radi kao kuvar i tokom decenije stekao solidan ugled, radeći kao glavni kuvar u jednom pristojnom tokijskom restoranu. U međuvremenu je počeo da trenira i boks, vežbajući u sali ujutro a zatim odlazeći na posao i ostajući u restoranu do uveče. Shinya i Kōji su se viđali samo o proslavama nove godine i tek kada je Kōji počeo da majci objašnjava da razmišlja o tome da boksuje i ozbiljnije, takmičarski, njen strah da će joj sin biti ozleđen podstakao je i Shinyu da stupi s njim u redovniji kontakt.
(https://i.imgur.com/GJTU5Uo.png)
Kōji je, ispostavilo se, imao gomilu zanimljivih priča vezanih za svoje jutarnje vežbanje boksa, pa je baziranje filma na njegovim prisećanjima, gde bi on sam igrao boksera koji želi da uđe u takmičarski režim bio idealan kompromis za sve, uključujući zabrinutu majku.
Shinya je isprva mislio da film, Morning Boxer, napravi u praktično dokumentarističkom stilu, te da uzme posebnog scenaristu i direktora fotografije koji će dati produkciji drugačiji ton od njegovog uobičajenog stila, ali kada je Hisashi Saito doneo gotov scenario, u pitanju je bio zapravo sasvim fiktivan narativ sa ljubavnim trouglom i ubistvima. Shinya se Saitu zahvalio i njegov scenario je na kraju odbačen (mada je Saito ipak potpisan kao autor originalne priče na kraju), ali je onda ideja ljubavnog trougla porodila Shinyin originalni scenario u kome će službenik Tsuda, umorni i dezorijentisani službenik sa mladom verenicom Hizuru sresti svog druga iz srednje škole, Kojimu, boksera, a što će pokrenuti čitav odron seksualnih bizarnosti ali i bolne analize muških nesigurnosti i onog što danas nazivamo toksičnom muškošću.
(https://i.imgur.com/83kfx6X.png)
Kojimu, očigledno, igra Kōji Tsukamoto i on je isprva bio prilično nesiguran da uopšte može da glumi u nečemu što je sada ,,pravi" film a ne tinejdžerska zajebancija, no kako on ovde u dobroj meri igra samog sebe i kako je, čekajući da brat skupi pare i sklopi finansijsku konstrukciju filma – a napustivši posao u restoranu – imao četiri meseca da trenira po ceo dan, Kōji je u ovom filmu jedno ultimativno zastrašujuće fizičko prisustvo, gotovo animalna pojava sastavljena od mišića i žila čija se snaga i nekontrolisana agresija sa početka zapravo sasvim pogrešno shvataju kao virilnost ili erotičnost.
Nasuprot njemu, Tsuda – koga igra sam Shinya Tsukamoto – je ,,mekani" white collar radnik koji, uplašen da njegova verenica sada kada je upoznala Kojimu, ima da shvati šta propušta i da ga napusti – a što se, zapravo i događa ali ne na način koji iko očekuje – prvo pada u ponor toksične ljubomore i posedničkih impulsa prema Hizuru a onda, posle nokauta koji pretrpi kada pokuša da se suoči sa Kojimom (a koji ga, da bude jasno, provocira lažima a ne STVARNIM alfa-mužjaštvom), počinje da trenira boks u istom klubu kao Kojima, rešen da ga u nekom momentu, u ringu ili izvan ringa, susretne, porazi, pretuče i na taj način vaspostavi sopstvenu muževnost.
(https://i.imgur.com/7eR7XpO.png)
Razlika u odnosu na prethodne Tsukamotove filmove je u kompleksnosti likova i njihovih odnosa. Shinya ovde ponavlja mnoge motive kojima se opsedao i u prethodnim radovima, recimo, grad kao obezljuđeni zatvor u kome prizor leša mačke na pločniku što ključa od crva deluje zapravo kao podsećanje na to da je život negde drugde i nešto drugo, nešto opipljivo, propadljivo, mutabilno. U kontrastu sa tim, prizori Tsudinog oca u bolničkom krevetu gde leži sklopljenih opiju i umire snimljeni su kao vrlo sterilne, praktično ikonične slike mirnoće i sasvim veštačke uzvišenosti. Tsuda povraća kada vidi mačku na pločniku ali nema nikakvu dramatičnu reakciju na smrt svog oca i život se ovde, očigledno, izmešta iz postojanja, sakriva od ljudi, maskira iza socijalnih rituala i svakodnevnog rada u žrvnju kapitalizma. Zbog toga su bol, nasilje, frakture i raspadanje ono što čini da ljudi život ZAISTA osete i mada Tsukamoto teško da je SUPTILAN u ovim prikazima, on je JAKO efektan. Kompleksnost likova i odnosa koju sam pomenuo ima težište pre svega u Hizuru, koju igra do tada uglavnom epizodistkinja Kahori Fujii, jedna visoka, tanka, upečatljiva žena koja već na početku deluje kompetentnije i jasnije usmerena u životu od dvojice mužjaka koji se oko nje, kao, bore, a do kraja sama prolazi kroz fazu praktično obrednog samopovređivanja i ispitivanja bola kao katalizatora transcendencije, da bi u jednoj jedinoj sceni pri kraju bila zaista realizovana kao seksualno biće o kom čitav film sanjare dva muškarca. Feministički element Toyko Fist verovatno ne treba prenaglašavati, ovo je zaista pre svega film o muškarcima koji se osećaju zarobljeno i teskobno i posežu za animalnim nagonima kako bi osvojili ,,pravu" muškost, sa užasnim rezultatima, ali ovde žena u centru priče, za razliku od prethodnih Tsukamotovih filmova, ima i asertivnost i više dimenzija karaktera, i žudnju za samovlasnošću koja je impresivna.
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Hizuru predstavlja i element raskida Shinye Tsukamotoa sa temama koje su ga opsedale u prvim filmovima – ona tokom potrage za sopstvom ima fazu intenzivnog umetanja metalnih ukrasa u svoju kožu, asocirajući direktno na ,,metalne fetišiste" iz Tetsuo filmova, ali Hizuru će pred kraj shvatiti da je njeno telo, bez ekstenzija DOVOLJNO i pomiriti se sa svojim telom kidanjem i odbacivanjem ukrasa u jednoj zastrašujućoj ali katarzičnoj sceni.
Naravno, katarza je sve što dvojica muških protagonista traže ali je na kraju dobijaju na razlilčite načine. Tsuda nikada neće postati ,,alfa mužjak" kakav on zamišlja da je Kōji. Njegova transcendencija dolazi nakon premlaćivanja koje dobija od same Hizuru, u činu potpune submisije gde, posle toliko meseci dobija stvarni fizički kontakt i telesnu senzaciju – iako je to senzacija bola i rastakanja njegovog lica a time i njegovog identiteta. Posle nje će se baciti na Kojimu i pretrpeti još veće povrede, voljno, čak strastveno želeći da bukvalno bude izmenjen, neprepoznatljiv. Njegovi podlivi na licu i produženo krvarenje u bolnici kojim se uništava sterilnost iz prethodnih kadrova su neka vrsta pobede života nad smrću iako po jako visokoj ceni.
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Kojima prolazi, makar nominalno, za nijansu bolje, savladavajući svoj strah od zastrašujućeg protivnika u ringu koji je neke od svojih prethodnih suparnika tu i ubio, i njegov meč na kraju filma je neka vrsta inicijantskog putovanja iz smrti u život, ali opet po cenu potpunog deformiteta, radikalnog telesnog, facijalnog poništenja svog identiteta. Kojima, podižući ruke u pobedi pred publikom koja se zamrzava u gađenju je slika muškarca koji je dobio tačno ono što je hteo, radio teško i pobedio svoje strahove, ispevši se na vrh lanca ishrane, a redukovan je na lice koje se raspada isto onoliko pod pritiskom njegovog unutarnjeg besa i straha, koliko od udaraca koje je pretpeo.
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Naravno, Hizuru je jedina koja zaista izlazi kao dominantna na kraju filma, krvava, ali smirena i slobodna, sa dvojicom muškaraca koji su, da bi pronašli sebe morali da se praktično unište. Pitanje je, naravno, šta će s njima biti ,,dalje". Film na ovo ne odgovara, ali Tokyo Fist i nije uredna dramska produkcija već film koji se velikim delom ovaploćuje u osećaju, u vizuelnim prizorima teskobe, straha i bespomoćne agresije, u scenama zastrašujuće testosteronske kanonade boksera koji vežbaju u sali, udaraju u kruške, fokusere i džakove, znoje se, stenju i urlaju.
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Element dokumentarističkog postoji u gotovom filmu sa tom dimenzijom duhovne potrage unutar discipline i krvave ritualnosti boksovanja a Tsukamoto koristi sve svoje vizuelne veštine da nas stavi u isti prostor sa bokserima. Kōji Tsukamoto je vežbao sa drugim bokserima, pripremajući koreografije i ovo su fascinantne scene izrazite fizikalnosti i impakta. Sninya je rekao kako je jedan od razloga što se odlučio za kolor-film bilo i to što već postoji Scorceseov Raging Bull kao ultimativni crno-beli bokserski film, ali njegova interpretacija boksa je, iako očigledno na Scorceseovom tragu, pomerena još nekoliko koraka u smeru telesnog horora ali i jedne mašinske, gotovo post-ljudske energije. Kadrovi rađeni iz prvog lica, ili iz neposredne blizine, praktično preko ramena bokserima, znoj koji lije sa tela i zaglušujući udari rukavica su dodatno podcrtani ritmičkim saundtrakom koji je uradio fantastični, danas pokojni Cho Ishikawa, Tsukamotov (ali i Miikeov) verni saradnik. Uzimajući za osnovu ritmičnost i agresivnost zvuka udaranja boksera u krušku, Ishikawa će muziku zasnovati na brzim pulsiranjima bas-bubnja i pretvaranjem agresije u ritual a boksa u, urpkos svemu, ples.
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Tokyo Fist je, da bude jasno, film za više gledanja. Njegove teme i nijanse u likovima neće biti odmah na prvo gledanje vidljive. Tsukamotovo pripovedanje je efikasno ali mnogo scena otpada na ponovljene opsesivne kadrove grada, njegovih fasada i pretećih solitera (dok, na primer, Kojima, sa svojim srazmerno nižim poreklom i društvenim statusom, živi u maloj, neuglednoj staroj zgradici okruženoj mračnim neboderima, a koja je brzo posle završetka snimanja srušena), dok likovi vrlo brzo prelaze granicu ,,normalne" drame koju početak filma sugeriše i svaki se strmoglavljuje niz spiralu svoje opsesije. Flešbekovi na Tsudine i Kojimine tinejdž godine i zavet da osvete silovanu i ubijenu drugaricu iz razreda deluje nerazvijeno i nepotrebno, ali ovo je i motiv koji će Tsukamoto zapravo razraditi u svom narednom filmu baveći se kontrastom nekontrolisane mladosti i sapetih srednjih godina sa dubljim zahvatom. No, Tokyo Fist je film za više gledanja već i tom svojom neverovatno upečatljivom vizuelnom dimenzijom, fascinantnim zvučnim dizajnom i neizdrživo intenzivnim glumačkim radom. Sa manje od devedeset minuta trajanja, ovo je film koji treba da pogledate barem 2-3 puta da biste ga do kraja osetili.
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Film Uncharted je bio toliko dugo u raznim stadijumima svog razvoja da je u Međuvremenu Mark Wahlberg, inicijalno predviđen za glavnu ulogu neustrašivog (sem ako su u pitanju klovnovi, naravno) lovca na drevna blaga, Nathana Drakea, ostario toliko da je u konačno snimljenoj verziji što je u bioskope ušla ove godine, prekomandovan u rolu Victora Sullivana, Drakeovog iskusnog, okorelog mentora. Ovo vredi imati na umu najpre zato što podseća da je pravljenje filmova zasnovanih na video igrama i dalje, očigledno, težak, nesiguran biznis.
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A igračka industrija okreće toliko para – više nego filmska, vole da istaknu u njoj – da je sasvim normalno da će i inače za predlošcima izgladneli Holivud, koji sada više voli da uloži pare u nešto već dokazano u drugom medijumu, sa izgrađenom publikom, nego da se kocka sa novim idejama, sve više i češće posezati za popularnim igračkim serijalima i od njih praviti uglavnom loše filmove.
Ali loše na različitim nivoima lošosti. Od quick and dirty krpeža kakve je početkom stoleća pravio Uwe Boll (Far Cry, Blood Rayne), preko Dooma koji je delovao kao direct to video ripof Aliensa, a što je sama igra Doom već, jelte, bila, samo u interaktivnoj formi (i time MNOGO bolja), i Silent Hilla koji je bio ripof smalltown horora opšte namene, pa do srazmerno visokobudžetnih radova sa uglednijim glumcima (Hitman, Prince of Persia), pokazalo se da prevođenje jednog iskustva karakterisanog pre svega aktivnim, pa i asertivnim učešćem konzumenta u sasvim pasivnu formu ide teže nego što misle u Holivudu. To što igre danas imaju ,,priču" i ,,prave" likove očigledno nije dovoljno, pa se u najidealnijim slučejavima publika najčešće mora zadovoljiti ljupkim trešom kao što je bio, recimo Andersonov Monster Hunter (https://cvecezla.wordpress.com/2022/01/06/film-monster-hunter/)(ili njegov prethodni Resident Evil serijal).
Uncharted je u tom smislu ipak neka vrsta prekretnice, i mada je i ovaj film dobio prilično loše kritike, radi se o produkcijski značajno ozbiljnijem i profesionalnijem ostvarenju. Čovek bi svakako pomislio da su Sonyjeve first party igre rađene eksluzivno za Playstation praktično perfektni predlošci za eksploataciju u medijumu filma. Svakako, industrija se i dalje muči da napravi dostojne filmske adaptacije igračkih klasika kao što je Shadow of the Colossus ili Metal Gear Solid (i jedna i druga se napinju već godinama da izađu iz faze razgovora u fazu stvarnog razvoja) i možete biti sigurni da u trenutku dok ovo čitate bar 3-4 scenarija koja imaju ,,Dark Souls" (ili ,,Elden Ring") u naslovu kruže između holivudskih producenata, ali Sonyjeve Playstation eksluzive imaju tu prednost da su one već pravljene kao interaktivni filmovi. Od doba treće generacije Playstation konzola Sony je vrlo ozbiljno radio na ,,sazrevanju" igara u svojoj ponudi pa su studiji do tada poznati po platformskim igrama sa životinjskim maskotama u glavnim ulogama počeli da prave ,,ozbiljnije" žanrovske priče sa ,,pravim" ljudima u glavnim ulogama. Utoliko, već više od deset godina Sonyjeve first party igre spajaju u sebi kinematski spektakl i prestige TV senzibilitet u svojoj estetici, tonu, pristupu produkciji...
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Uncharted je zbog toga bio i jasan kandidat za prevođenje u filmski medijum, formatiran od samog početka kao klasična, možda i malo staromodna akciona avantura što protagoniste, poglavito pomenutog predstavnika ,,lovable rogue" arhetipa, Nathana Drakea, vodi kroz niz egzotičnih lokacija – makar iz pozicije (post)kolonijalnog zapadnjaka – gde će se oni susresti sa uzbudljivim, opasnim izazovima ali i osetiti dah drevnih vremena kada je pustolovina, navodno, bila deo dnevne rutine. Iako često opisivan kao imitacija igračkog serijala Tomb Raider, istina je da je serijal Uncharted sebe izdvojio tim jakim akcentovanjem ,,filmske" komponente iskustva, sa snažno isprofilisanim likovima i njihovim odnosima, dijalozima i scenarijem koji su postavili novi standard za čitav medijum uspevajući da daju iskustvu mnogo ,,boje" i ne budu tek opcioni sadržaj uz mehaničku srž igre, te produkcijskim kvalitetima koji su zaista napravili značajan skok u smeru ,,realističnosti", ali i filmskog prezentiranja događaja na ekranu.
Iza Uncharted su sledile igre poput The Last of Us (https://cvecezla.wordpress.com/2020/07/15/video-igre-the-last-of-us-part-ii/)(pravljene od strane istog studija, Naughty Dog), InFamous (https://cvecezla.wordpress.com/2011/06/09/gubljenje-nevinosti-tridesetcetvrta-tura/), Horizon: Zero Dawn (https://cvecezla.wordpress.com/2021/04/26/video-igre-horizon-zero-dawn/), Ghost of Tsushima (https://cvecezla.wordpress.com/2020/09/28/video-igre-ghost-of-tsushima/), Marvel's Spider-man (https://cvecezla.wordpress.com/2018/10/24/video-igre-marvels-spider-man/), Days Gone, i novi nastavci u starom God of War (https://cvecezla.wordpress.com/2018/06/18/video-igre-god-of-war-2018/)serijalu, sve pravljene po sličnim principima spajanja televizijskog i filmskog jezika sa programom igračke akcione avanture. No, Uncharted je svakako ostao uzor po kome će sve drugo biti pravljeno i mada je serijal nakon šest (i po?) igara priveden kraju, dosežući prirodan zaključak narativa – retka pojava u igračkoj industriji – njegov je uticaj na medijum i dalje ogroman.
Sve ovo ne znači, pokazalo se, gotovo ništa u pogledu verovatnoće da će od Uncharted biti napravljen dobar ili makar uspešan film. Tomb Raider, uostalom, još od početka veka živi dinamičnim filmskim životom sa dva srazmerno profitabilna serijala, ali teško da ćete naći ikoga ko ume da vam navede ko je ove filmove režirao, o čemu se u njima radi i koliko ih uopšte ima ako mu onemogućite odlazak na vikipediju. Uncharted je i dobar deo poslednjih petnaest godina bio u raznim stadijumima ,,razvojnog pakla" sa raznim verzijama scenarija kojima se igrao ping pong između producenata, raznim idejama o tome kako zapravo adaptirati nešto što se IPAK najpre ovaploćuje u interaktivnoj formi za jedan sasvim drugačiji medijum. A nije da iza projekta nje stajalo ozbiljno ime – pričamo o Aviju Aradu na kraju krajeva.
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No, kako rekoh, Mark Wahlberg je prvo trebalo da igra samog Nathana Drakea, protagonistu igračkog serijala, ali ideja Davida O. Russella da ubaci masu novih likova i priču pretvori u sagu o porodici trgovaca umjetninama gde bi pored Wahlberga igrali Robert De Niro i Joe Pesci kao otac i stric glavnog junaka na kraju nije bila realizovana. Na svu sreću, ili makar olakšanje velikog dela ljubitelja igračkog serijala koji su ionako zagovarali ideju da Drakea treba da igra Nathan Fillion, po kome je Drake u igrama najpre i bio modelovan. Fillion će kasnije snimiti kratki fan-film za Youtube u kome zaista i igra Drakea, ali nekoliko godina i verzija scenarija kasnije, došli smo do filma decidno bez Filliona, koji je na kraju ušao u bioskope. Iako predviđen za premijeru krajem 2020. godine, pandemijsko kašnjenje je ovde učinilo svoje pa je premijera bila ovog Februara, možda i sasvim solidno kapitalizujući na popularnosti koju je u međuvremenu dodatno stekao glavni glumac, Tom Holland.
Recimo to odmah, iz perspektive nekoga ko je igrao i voleo sve Uncharted igre (čak i pomalo nesrećni Golden Abyss za Playstation Vitu (https://cvecezla.wordpress.com/2012/05/15/gubljenje-nevinosti-cetrdesetprva-tura/)), već sam kasting Toma Hollanda kao Natea i Marka Wahlberga kao Sullyja signalizirao je da film neće biti verna adaptacija igračkih predložaka. Nate, kao čovek već srednjih godina u igrama – čitava priča Uncharted 4: A Thief's End (https://cvecezla.wordpress.com/2016/06/22/video-igre-uncharted-a-thiefs-end/)se bavi njegovom sredovečnošću i potrebom da napusti pustolovni život koji mu više ne prija – i Sully kao stariji muškarac koji gleda da se posle tog proverbijalnog jednog velikog posla pošteno penzioniše su nosili veliki deo senzibiliteta igračkog serijala. U kontrastu sa tim, film se bavi vremenom u kome su se ova dva čoveka upoznala, dajući nam na neki način i ,,origin story", nešto što je u igrama dato samo u formi povremenih flešbek sekvenci u kasnijim nastavcima.
I ovo nije, da bude jasno, najsrećnije rešenje. Ako ste igrali Uncharted igre, imate sasvim određenu ideju o tome ko su i kako se ponašaju Nate i Sully, pa će vam film, koji pruža decidno drugačije verzije ovih likova, sa sasvim drugačijim odnosom koji oni imaju, verovatno u startu biti pomalo problematičan.
No, i da ste u film ugazili bez prethodnog iskustva sa ovim likovima, vredi ukazati da Uncharted uistinu ide možda najgorim mogućim putem. Ove igre su često opisivane kao igračka verzija filmova o Indiani Jonesu, akcione avanture sa puno humora i kul, samozatajnim protagonistom sa kojim je se lako identifikovati jer deluje da kroz sve neverovatne pustolovine prolazi na gotovo puku sreću, ,,padajući unapred" i samo se uzgredno oslanjajući na svoje intelektualne i fizičke kapacitete. No, filmovi o Indijani Jonesu tipično počinju ekstravagantnom akcionom sekvencom i onda idu dalje u pravcu pustolovine, oslanjajući se na harizmatičnog protagonistu čiji je lik uspostavljen kroz akciju i delanje radije nego kroz refleksiju i kontempliranje. Otimači izgubljenog kovčega imaju samo najkraći moguć interludij na univezitetu nakon eksplozivnog početka, čisto da se utemelji ideja da glavni junak nije puki oportunistički lovac na blago već intelektualac koji se drevnim kulturama bavi iz plemenitih, konzervacionističkih pobuda, pre nego što se nastavi u smeru pesničenja nacista na Tibetu i lude vožnje po severonafričkim lokalitetima.
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Uncharted, u kontrastu sa tim počinje apsolutno prejakom akcionom scenom – koja je, da bude jasno, direktna rekonstrukcija jednog od upečatljivih set pisova iz igara – a ona zatim vodi u ne jedan već niz flešbekova kroz koje će nas narativ uputiti u život i priključenije Nathana Drakea i ovo je, mislim, dosta loše rešenje. Ne kažem da režiser Ruben Flesicher slabo odrađuje scene iz Drakeovog detinjstva ali mislim da je izbor da se gledaocu Nate od početka sagradi kao kompleksan lik sa traumatičnim uspomenama iz mladosti i problematičnim ,,civilnim" životom u Njujorku naprosto neprikladan za ovaj tip filma. Pod jedan, utemeljenje velikog dela Nateove motivacije u ovom filmu na Nateovom odnosu sa bratom Samom, koga nije video od svojih predpubertetskih godina – i neće ga, zajedno sa gledaocima ni videti u ostatku filma - je prilično jalov i nezgrapan pokušaj humanizacije lika koji inače nije posebno zanimljiv, a pod dva, pa, Nate, kao lik, nije POSEBNO zanimljiv. Ovde problem izranja u tom pokušaju da se filmu da blago žanrovsko proširenje pa gledalac koji je očekivao da vidi lomatanje po egzotičnim džunglama i kul scene u drevnim hramovima mora da prođe kroz kratku slice of life dramu, pa zatim skromni heist movie pre nego što se stvari dovedu na pravu temperaturu.
Čak i tako, nakon uvodnih delova u Njujorku koji, iako imaju paralele u igračkom serijalu – ali Naughty Dog su čekali do četvrte igre da Natea i Sullyja izvedu iz džungle i ubace u heist movie – generalno šalju dosta smušene signale, kada priča pređe u Barselonu i muški duo u centru filma dobije vrlo solidnu Sophiu Ali u ulozi disruptivne Chloe Frazer, to je i dalje priča koja se odvija u urbanom mizanscenu. Naravno da je Amerikancima Barselona donekle egzotična, ali tumaranje po katakombama iz šesnaestog veka koje, između ostalog, vode do kluba gde didžej vrti dobar gruv a mladi se provode uz alkohol i narkotike nije ta vrsta egzotike koju bi Uncharted najudobnije baštinio.
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Poslednji deo filma se konačno događa u južnom Pacifiku i, kopirajući neke od scena direktno iz igara – ponovo najviše iz četvrte – daje filmu taj autentični dah egzotične pustolovine. Malo je to i kasno, da se ne lažemo, ali Flesicher makar pokazuje da ume da režira atraktivne mada daleko ,,preglasne" scene akcije i humora. Ako su videoigre pre petnaestak godina počele da koriste ,,holivudski realizam" kao standard za postizanje suspenzije neverice kod igrača, onda sada Holivud vrlo slobodno naplaćuje dug, koristeći ,,videoigrački realizam" kao polaznu tačku pa tako scene u kojima helikopteri lancima nose jedrenjake iz petnaestog veka, a pozitivci i negativci skaču sa broda na brod i tuku se na njima ko pomahnitali sto metara iznad površine okeana dolaze kao prirodan ishod poslednjih desetak i više godina bioskopa kojim dominiraju superherojski filmovi i Fast & Furious.
Što je sve u redu, sve dok se film potrudi oko borbene koreografije i likova, naravno. Uncharted ima korektno snimljenu akciju, bez nekog ogromnog nadahnuća ali Fleischerovi set pisovi imaju jednu doslednu logiku i mada je svakako potrebno suspendovati nevericu u popriličnoj meri, ove scene rade svoj posao. Padanje iz aviona bez padobrana, pomenuta dugačka tuča na brodovima koji, jelte, lete, sve je to pristojno urađeno po standardima današnjeg Holivuda.
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Što se likova tiče... recimo da sam i dalje prilično nesiguran u to da je Tom Holland ,,pravi" Nathan Drake. Uprkos karakterističnoj oznojenoj benkici kakvu Nate nosi i u igrama, Hollandov Nate je pre svega neko ko tek uči da bude pustolov i mada Holland svakako ima šarma i vižljast je i okretan, fakat je i da njegova bebeća fizionomija, uprkos teretani na koju su ga u Holivudu osudili, naprosto nije ono što želimo da vidimo na ekranu. S druge strane, ja sam – možda iznenađujuće – priličan ljubitelj Marka Wahlberga i njegov Sully, mada je i sam manje šarmantan a više sociopatski istesan u odnosu na Sullyja u igrama, na kraju ispada sasvim solidna neprikladna kvaziočinska figura za mladog Natea. Sully je lik koji ovde, za razliku od glavnog junaka, zapravo deluje višeslojnije, dok je Chloe Frazer koji igra Sophia Ali takođe vrlo energična i mada svakako manje kompleksna nego u igrama, daje filmu dosta energije. Nažalost, Tati Gabrielle je prilično protraćena kao crna antagonistkinja Braddock a koja, možda treba da asocira na Nadine Ross iz igara ali nema ni trunku njene harizme. Braddockova je napisana i režirena izuzetno klišeizirano a kako naspram nje stoji i jednako klišeizirani muški negativac koga igra Antonio Banderas (i igra ga sa izrazitim palpi guštom, dodaću), film ovde prilično posrće. Ne kažem da su filmovi o Indijani Jonesu nužno sveti gral, jelte, pustolovnog žanra, ali ima razloga što su u njima kao antagonisti u proseku najčešće stavljani nacisti. Prepoznatljive uniforme, prepoznatljiva, karikirana idelogija, jasan profil. U kontrastu sa njima, negativci u ovom filmu su, reklo bi se, ostaci iz onog scenarija koji se bavio trgovcima umjetninama i ne dostižu ni na koji način nivo negativaca koje smo imali u igrama, a o nekakvom ozbiljnijem filmskom programu nema ni govora.
(https://i.imgur.com/zzfCUJv.png)
Film nije neprijatan za gledanje i najveći deo energije izvlači iz odnosa među likovima, sa postepenim razvijanjem topline između Natea i Sullyja i Nateovim učenjem da, u skladu sa temom druge igre u serijalu, ,,nema poštenja među lopovima". Tu su i mali nakloni ljubiteljima igračkog serijala, između ostalog kroz gostovanje Nolana Northa, glasa Natea Drakea iz igara u jednoj sceni, no ovde svakako moram da primetim da je šteta što je uz postojeći narativni i karakterni predložak film odabrao da ide od nule i gradi nam likove kao drugačije, alternativne verzije Natea i Sullyja koje naprosto nemaju hemiju i šarm originala.
Fleischer nije nekakav veliki režiser – iako je Venom (https://cvecezla.wordpress.com/2018/10/28/film-venom/)bio veoma uspešan film, on nije bio i dobar, a činjenica da ga Sony nije zvao za nastavak verovatno govori dovoljno, uprkos toma što je delom to bilo i zbog Flesicherove zauzetosti na Uncharted. Naprosto, on ne pokazuje previše mašte a što i može biti razlog što ga studiji vole i poveravaju mu svoje licencirane produkte na izradu. Uncharted je tako kompetentno sklopljen rad – svakako u svakom smislu bolji od Venoma, sa mnogo sigurnijom i prijemčivijom fotografijom i uspelijom interakcijom između likova – i, mislim da je fer reći, i jedan od boljih filmova snimljenih po videoigračkom predlošku koje sam gledao. Njegov problem je što uprkos ozbiljnoj produkcijskoj postavci, sa ansamblom uglednih glumaca i kvalitetom u domenu kamere, montaže i specijalnih efekata, on zaista nema taj dah pustolovine i egzotike koji su čak i filmovi sa Budom Spencerom snimani u Africi uspešno kanalisali. Uncharted je, na kraju dana, previše usredsređen na svoje set pisove, a premalo na davanje svetu u kome se priča dešava samo malo šanse da gledaoca uvuče, zavede i intrigira. A što je za ovu vrstu pripovesti, mislim, smrtni greh. Čekaćemo nastavak, možda bude bolji.
(https://i.imgur.com/fztGA21.png)
Pogledao sam japansku akcionu komediju The Fable iz 2019. godine gde lepi dečko Junichi Okada igra legendarnog plaćenog ubicu koga znaju samo kao The Fable, i moram da priznam da sam impresioniran na više nivoa, a svakako u dovljnoj meri da sam već u pripremu stavio i nastavak ovog filma, snimljen prošle godine.
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U prvom redu impresioniran sam kvalitetom režije. Kan Eguchi ne da nije neko poznato ime nego je pre ovog filma imao samo jednu celovečernju produkciju u biografiji, sportsku dramu o biciklizmu Riding Uphill iz 2018. godine, te rad na kratkovečnoj televizijskoj seriji (igrala je samo jednu sezonu), Like a Dragon Poem of Soul, baziranoj na popularnom videoigračkom serijalu Ryu Ga Gotoku (https://cvecezla.wordpress.com/tag/yakuza/). Eguchi je, međutim, ovim filmom demonstrirao sigurnost, ekonomičnost i vrhunski zanatski kvalitet, pa sam prilično siguran da mu se smeši lepa karijera (trenutno radi televizijsku seriju Sanctuary u kojoj igraju prilično jaka imena kao što su Pierre Taki, Shota Sometani i bivša manekenka Koyuki).
(https://i.imgur.com/Jzx9V2f.png)
U drugom redu, impresioniran sam kako je jedan prilično opširan narativ efektno i, da, ekonomično spakovan u dva sata filmskog pripovedanja. Kao i, odoka procenjeno, jedno 95% svog akcionog filma koji se trenutno snima u Japanu i The Fable je urađen kao adaptacija manga predloška. Originalna manga je izlazila za uglednog izdavača Kodansha u magazinu Weekly Young Magazine između 2014. i 2019. godine i u formi kolekcije zauzima respektabilna 22 tankōbon toma. Autor, Katsuhisa Minami je sa ovim serijalom postigao lep uspeh i 2021. godine krenuo u rad na nastavku (The Fable: Second Contract), lansirajući paralelno i web-serijal koji se isto zove The Fable ali umesto originalne katakane koristi hiragana pismo za pisanje naslova. Minami je potpisan i kao koscenarista na filmu, mada je glavni rad na scenariju delo Yûsukea Watanabea, ali ne onog Yûsukea Watanabea koga IMDB urnebesno pogrešno linkuje na ovom filmu (u pitanju je jedna stara kuka japanskog filma sa više od četrdeset produkcija koje je potpisao kao režiser i karijerom začetom ranih šezdesetih), već njegovog znatno mlađeg imenjaka, rođenog 1979. godine i sa već vrtoglavo visokim brojem scenarija koje je napisao za televiziju i bioskop, uključujući rad na visokoprofilnim propertijima kao što su Gantz, Attack on Titan ili Gatchaman.
(https://i.imgur.com/15yVYmc.png)
Produkcija je rađena u saradnji gomile manjih firmi a distributer je Shochiku (izvan Japana NTV) i mada bi se moglo argumentovati da je po svemu ovo film namenjen pre svega japanskom gledaocu i sa vrlo malo kapaciteta da zainteresuje zapadnjaka, radi se, kako rekoh, o na više nivoa impresivnom i veoma zabavnom komadu urnebesne akcije, sa prstohvatom ljudske drame i dosta dobro plasiranim humorom.
(https://i.imgur.com/2TYGd0o.png)
Uslovno rečeno, The Fable spada u onaj podžanr akcionog filma u kome se naoko normalan, miran čovek do kraja razotkriva kao ultimativni akcioni heroj, zver koja je samo dremala u ljušturi građanina pokornog, sa recentnim primerima kao što su bili Nobody (https://cvecezla.wordpress.com/2021/04/23/film-nobody/) ili Affleckov The Accountant (https://cvecezla.wordpress.com/2016/12/25/film-the-accountant/). No, The Fable kreće iz jedne sasvim druge pozicije i zapravo svoju komičnu energiju nalazi upravo u inverziji ovog tropa, birajući da satirizuje jedan drugi trop, veoma karakterističan za Japan.
Legendarne plaćene ubice – a koje uspevaju da osvoje status ne ni antiheroja nego voljenog heroja – su neka vrsta konstante japanske popularne kulture već decenijama i ako zapad poslednjih nekoliko godina ima Johna Wicka, to je zato što je zapad dosta sporo učio neke bitne lekcije. U najkonkretnijem primeru, Golgo 13 je jedna od najpopularnijih mangi (tačnije, gekiga stripova, namenjenih zrelijoj, odraslijoj publici) u istoriji medijuma, koju je autor, Takao Saito radio počev od 1968. godine, priključujući se na revolucionarni duh onog vremena, pa sve do svoje smrti prošle godine. Golgo 13 je neka vrsta prototipa ,,legendarnog plaćenog ubice", čovek formatiran kao sila prirode koja malo govori, nikada ne pokazuje emocije i ubija za novac ali, kako se to nekako uvek namesti, najčešće ubija one za koje će se publika složiti da su zaslužili. Golgo 13 je, bez preterivanja, stub japanske savremene kulture, sa najsvežijim primerom da su upustva i podsticaji za nošenje maski isticani na javnim mestima tokom aktuelne pandemije rađeni sa njegovim likom.
(https://i.imgur.com/qCOFk1l.png)
The Fable je, dakle, jedna sasvim jasna parodija na ovaj arhetip, dobronamerna ali time ne manje smešna, pogotovo jer samog Fablea igra Junichi Okada, pripadnik (bivšeg) boy-banda V6, i već decenijski saradnik NTV-a, sa danas već vrlo bogatom biografijom koja se tiče glume u bioskopu i na televiziji. Iako, jasno, obdaren pin-up izgledom, Okada je uspeo da zabode prilično šaroliku nisku uloga u filmovima i serijama različitog žanra, zbacujući sa sebe imidž tek običnog lepuškastog srcolomca tokom poslednjih dvadesetak godina. Štaviše, Okada je u privatnom životu prilično rezervisan, srazmerno retko se oglašava i bavi se rezbarenjem drveta u slobodno vreme. Oh, i sertifikovani je instruktor za najmanje dva stila borilačkih veština.
Utoliko, The Fable je na neki način apsolutno idealna uloga za ovog čoveka i moram da kažem da, ako imam neke zamerke na ovaj film, najveća od njih je ta da se Okada ne pojavljuje u apsolutno svakom kadru.
(https://i.imgur.com/1lwVWMJ.png)
No, da budemo ovde sasvim pošteni, The Fable je iznenađujuće funkcionalan i ubedljiv film imajući u vidu da je nastao komprimovanjem opširnog manga-materijala, ali i to da je u pitanju osoben žanrovski mešap kakav ne bi trebalo da može da proradi, a ipak radi.
Da kažemo to ovako: kada pomislim na zapadnjačke akcione komedije, na pamet mogu prvo da mi padnu, recimo, Deadpool ili Hitman's Bodyguard serijali sa Ryanom Reynoldsom o kojima sam svima opširno pisao, i ovo su filmovi koje ja uglavnom veoma volim, a u kojima je dramski element tipično već u startu subvertiran komičnim pristupom. Niko u ovim filmovima ne pokušava da nam servira ,,stvarnu" dramu i koliko da u njima ima drame, ima isto toliko i sprdnje kreirane na njen račun, kako bi se obezbedila tonalna doslednost tokom čitavog trajanja. Konsekventno, i glavni junaci su često motormouth spadala koja će i scene najljuće akcije filovati gegovima, šaljivim onelinerima i sličnim komičnim programom.
(https://i.imgur.com/6hMi1w5.png)
The Fable ide sasvim drugim putem i ovo je film koji svoj ton ubedljivo i začuđujuće uspešno menja od scene do scene, dajući nam u jednom trenutku dramu, u drugom komediju, a u trećem eksplozivnu akciju i sve to nekako legne na svoje mesto do kraja.
Dobar deo toga je na Okadi koji je prosto idealan za ovu ulogu. Malog rasta ali mišićave građe, Okada kroz film ide sa ledenim izrazom lica i veoma malo reči, projektujući personu čoveka koji sve što dotakne osuđuje na smrt a zbog čega su scene u kojima izlazi iz ove persone i pruža jake, ekspresivne emocije tako smešne. Okada naprosto ima facu za ovako nešto, jedan izrazito efektan deadpan nastup koji i veoma jednostavne scene – ili samo kadrove, kao onaj u kome mu papagaj sedi na glavi – pretvara u uspele momente suzdržane komedije.
(https://i.imgur.com/EEiANjF.png)
Deo otpada i na to kako su scenaristi spakovali zaplet i likove u jedan dosledan, jasan narativ, izbegavajući razbijanje pripovedanja na epizode, ali dajući likovima prostora da rastu i menjaju se, pa i spajajući nekoliko linija zapleta u jednu logičnu celinu. The Fable, zapravo ima iznenađujuće komplikovanu priču: The Fable, lik, je, rekosmo, legendarni plaćeni ubica koji dela najpre u tokijskom podzemlju, i nakon urnebesne uvodne scene u kojoj ga gledamo kako poput Terminatora likvidira nekoliko desetina japanskih i američkih gangstera, šef organizacije mu saopštava da sad jedno vreme mora da miruje. Štaviše, naređuje mu se da godinu dana živi u Osaki, životom običnog civila, za koje vreme ne sme da ubije nikoga inače će mu i samom biti presuđeno. Njegova hendlerka, Yoko (igra je urnebesna televizijska glumica Fumino Kimura) će ići zajedno sa njim i njih dvoje, izigravajući brata i sestru, dobiće stan i zaštitu lokalnog klana jakuza koji duguje uslugu njihovoj organizaciji.
(https://i.imgur.com/grB05KO.png)
,,Profesionalac iz sveta organizovanog kriminala koji mora da nauči da živi civilnim životom" je popularan moderni trop u Japanu (pisao sam već o mangi Gokushufudou (https://cvecezla.wordpress.com/2019/09/25/procitani-stripovi-the-magic-order-prodigy-i-gokushufudou/)) ali ovde on izrazito dobro funkcioniše i zato što film zapravo vrlo pristojno radi sa likovima iz kriminalnog klana u Osaki. Ovo je organizacija usred perioda povišenih unutarnjih tenzija, sa predsednikom kome bi zamenik, kapetan Ebihara (odlični Ken Yasuda) rado video leđa, ali i sa poručnikom koji za svoj groš planira puč u firmi. Istovremeno, kapetanov štićenik Kojima (lepuškasti Yuya Yagira u razularenoj psihopatskoj roli) izlazi iz zatvora posle osam godina robije i šokiran je kad vidi da se gang zaista transformisao u firmu, sa Apple kompjuterima po stolovima i distinktno manje ,,gangsterskim" imidžom. Kojima je, pak, uprkos mladosti, jakuza starog kova, u smislu da je nekontrolisan, misli da mu je sve dopušteno i mada će mu njegov aniki, Ebihara, obezbediti sve potrebno za novi početak, on oseća da mora da se i nezavisno dokaže pa nasilno preuzima lokalni eskort biznis i pokušava da natera devojku iz susedstva, lepu Misaki (Mizuki Yamamoto), koja radi dva posla da bi plaćala terapiju bolesnoj majci, da postane njegov glavni kadar.
The Fable, ovde pod pseudonimom Akira Sato, za to vreme pokušava da shvati kako to žive civili i njegovo nastojanje da se integriše u život običnih građana Osake donosi nekoliko simpatičnih komičnih scena, pogotovo kada mu objasne da ,,normalni" ljudi idu na posao. Njegova potraga za poslom je, naravno, bezuspešna jer on niti ima iskustva niti ga zaista interesuje ijedno od low-skill radnih mesta za koja se prijavio, ali na kraju završava u firmi u kojoj radi i Misaki, na njenu preporuku jer je njoj bilo žao kada je videla kako su ga dva lokalna mangaša, bez ikakvog razloga pretukla nasred ulice.
(https://i.imgur.com/62Hp9OL.png)
Scena u kojoj The Fable dobija batine od ove dvojice je remek delo intelektualizovane, analitički posmatrane akcije nalik na Ritchijeve radove u serijalu o Sherlocku Holmesu, sa protagonistom koji, svestan da ne sme nikog da ubije naprosto rešava da se prepusti batinama, minimizujući štetu i, čak nanoseći i u tako pasivnom stanju povrede protivnicima, na ime svog preciznog, analitičkog pristupa borbi.
Ovo je samo jedna od scena u kojima se prikazuju gotovo nadljudske sposobnosti što ih The Fable ima – on na kraju krajeva može da se pronađe u onom tropu da je autizam supermoć – ali je posebno efektna jer pored akcionih ima i elemente drame ali i te fine, uzdržane komedije. Ova scena uspeva da poveže žanrovski različite segmente filma u skladnu celinu i kada od te tačke na dalje gledamo neumitni sukob u koji će The Fable ušetati kada se interesi nekoliko kriminalnih frakcija preseku u tački u kojoj je sirota Misaki, to zapravo deluje ubedljivo i zarađeno.
(https://i.imgur.com/ThNAowI.png)
Okada je, rekosmo, perfektan u svojoj ulozi, sa ekscentričnostima koje su neodoljivo simpatične (recimo to da se po stanu šeta go, spava u kadi, takođe go, vežba u teretami u garaži, takođe go), ali koje, kako film odmiče, grade sliku jednog socijalno zapravo izopštenog čoveka, čiji su pokušaji da bude normalan, sa svakom sledećom scenom zapravo sve više dirljivi. Flešbekovi na detinjstvo u kome je treniran da postane ubilačka mašina stoje u kontrapunktu sa momentima neposrednosti, prirodnosti, spontane ljudske topline koju dobija od Misaki i kada Fable otkrije da ima talenta za crtanje vrlo ,,kawai" likova, njegov odnos sa mladom devojkom dobija i jednu nedužnu, gotovo detinju sponu.
(https://i.imgur.com/IPLkpIn.png)
Ponovo, Kan Eguchi ovo odrađuje perfektno, dajući nam low-key dramu bez puno patetike i sa dobro plasiranim komičnim akcentima, gde su nam likovi dragi i navijamo za njih. Urnebesna energija Fumino Kimure ovde dosta pomaže. A odmah sa druge strane su negativci i ponovo treba reći da sam iznenađen sa koliko sigurnosti režiser upetljava nekoliko tokova zapleta u jedan dosledan narativ. Negativci ovde, da bude jasno, ne samo u većini već, skoro da kradu ceo šou. Kojima je bezobzirni, narcisoidni psihopata, tu je onda poručnik koji radi Ebihari iza leđa, ali tu su i dvojica plaćenih ubica iz Tokija koji idolizuju The Fablea i smatraju da, ako uspeju da ga ubiju, to ima da učini čudo za njihovu reputaciju.
(https://i.imgur.com/rauoiWy.png)
Sve ove niti povezuju se logično i na veliko zadovoljstvo ljubitelja akcije u brizantnom, dugačkom finalu spakovanom u fabriku za preradu otpada gde Fableov zavet da neće nikog ubiti dolazi na veliko iskušenje s obzirom da sa druge strane stoji nekoliko desetina mafijaša i profesionalnih ubica svesnih njegove reputacije i naoružanih do zuba.
Kan Eguchi sjajno režira akciju, ali da bude jasno, on SVE sjajno režira. Pre nego što do akcije dođe dobijamo jednu scenu isledničkog, forenzičkog rada u kojoj glavni junak na osnovu tragova krvi po nameštaju rekonstruiše nasilnu scenu koja se desila pola sata ranije u Kojiminom stanu i ovo je, bez preterivanja, zaista remek delo montaže i grafičkog pripovedanja.
(https://i.imgur.com/kWId9En.png)
A kad krene šibanje, vilice spontano kreću u slobodni pad. Okada je SUMANUTO ubedljiv borac, dubleri su svoj novac zaradili u bukvalnom smislu krvavo, a gun-fu koreografije urađene za uvodnu scenu i dugačko finale filma su izvanredne. Ovde ne samo da dobijamo uverljiv prikaz čoveka koji uleće u masu ljudi naoružanih pištoljima i porazi ih NJIHOVIM pištoljima, a da nikog ne ubije, nego film i Kojimu prevara u skoro simpatičnog sajdkika koji sa Fableom prolazi neverovatnu šibu i na kraju pretekne iako se u bar dve-tri scene čini da je sve gotovo.
Kazunari Tanaka koji je ovde radio kao direktor fotografije je neprocenjivo važan deo ansambla. Iskusni profesionalac sa karijerom još iz polovine osamdesetih je radio svašta, od tokutatsu ekstravaganci poput Kamen Ridera, pa do Miikeovih urnebesnih filmova pout Gozu, nastavaka Dead or Alive ili Detective Story. Njegovo kadriranje je besprekorno i beznaporno artističko, sa jednako savršenim okom za naturalističku dramu i za hipertrofiranu akciju (videti kako uspelo koristi klasičnu kombinaciju senke i papirnih zidova tokom uvodnog masakra), a montažer Tsuyoshi Wada se, bogami, propisno naradio u akcionim scenama dajući superbrzoj akciji još više dinamike.
(https://i.imgur.com/sH1l9NU.png)
No, The Fable je uspešan i zaokružen fiilm baš zato što pored akcije uspeva da pruži i dobre likove i ubedljivu jakuza-dramu koja se razvija paralelno sa fish out of water komedijom. Kapetan Ebihara je, na krau se pokazuje, višeslojan, produbljen lik, Kojima je narcisoidni psihopata ali sa kojim u jednom momentu gledalac počinje da saoseća, sam The Fable je hodajući trop, ali njegove reakcije na vruću hranu su toliko smešne da čovek želi da ga privije na grudi.
U celini, dakle, ovo je iznenađujuće pitak i zabavan film. Svakako, kako rekoh, zamerka se može dati na to da Okade u filmu ima premalo u odnosu na to koliko on dobro igra glavnog junaka, ali s obzirom koliko središniji deo filma zapravo uradi u smislu priče i drugih likova, ne mogu a da Kanu Eguchiju ne skinem kapu. Pa ćemo uskoro pogledati i nastavak iz 2021. godine i videti da li grom može da u isto mesto udari dvaput.
(https://i.imgur.com/HGCbiw1.png)
Kako je bilo i najavljeno, pogledao sam nastavak filma The Fable o kome sam pisao prošle nedelje a koji je, dosta deskriptivno naslovljen The Fable: The Killer Who Doesn't Kill. Originalni The Fable je postigao možda i neočekivani uspeh imajući u vidu da ga je režirao relativno neiskusni Kan Eguchi, ali ne samo da je star power glavnog glumca Junichija Okade i ostatka ansambla bio više nego dovoljan da obezbedi filmu interesovanje publike nego je i Eguchi demonstrirao visoke zanatske kvalitete i jedan jako fin osećaj za žanr, kombinujući komediju, akciju i jakuza-dramu na načine koji, kako sam tada rekao, ne bi trebalo da mogu ovako dobro da funkcionišu na gomili, and yet here we are.
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The Killer Who Doesn't Kill, urađen prošle godine je, naravno, dalji test Eguchijevih veština ali i samog koncepta – prvi film se vozio na toj komičnoj premisi o vrhunskom plaćenom ubici kome više nije dozvoljeno da ikoga ubije, a koji se upleo u rat jakuza-frakcija i sudbinu nedužnih civila (i manje nedužnih sociopata) čiji životi od njega zavise, i iz nje iscedio vrlo solidnu količinu zabave, akcije i drame. Drugi film, pak, ne menja praktično ništa u osnovnoj postavci – što se vidi i iz naslova – i pitanje da li možete dvaput da ispričate praktično isti vic i da on oba puta bude makar uporedivo smešan je svakako nešto sa čime se kreativni ljudi rvu već stotinama i hiljadama godina.
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Eguchi na ovu dilemu odgovara blagim pomeranjem balansa u drugom filmu. Ovo je i neočekivano dugačka produkcija sa minutažom koja prebacuje dva sata uprkos zapravo svedenijoj postavci priče i fokusu na likove, ali i nije možda toliko neočekivana kada postane jasno da scenario (koji su ovog puta pisali sam Eguchi i televizijski scenarista Masahiro Yamaura) ide na jedan ličniji ton i ulazak dublje u karakterizacije i motivacije likova. Drugim rečima, ,,pomeranje balansa" ovde znači da je The Killer Who Doesn't Kill zapravo više drama nego što je bio prvi film u serijalu i da je ovo možda i riskantna rekalibracija, pogotovo za zapadnog gledaoca koji možda neće imati stomak za pomalo sentimentalne prelive u odnosima između likova i njihovim prethodnim istorijama. Da ne pominjem da neće imati stomak ni za neke pomalo mučne dimenzije tih odnosa koji odlaze znatno dalje u smeru eksploatacije nego išta što smo videli u prvom filmu.
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Sebe ne smatram tipičnim zapadnim gledaocem i mislim da sam izbaždaren na prilično tolerantne setinge kada su u pitanju istočnoazijske drame pa je meni The Killer Who Doesn't Kill pružio osvežavajuće zaranjanje dublje u likove, mada možda ne u likove koje biste očekivali. Takođe je pružio neke fantastične akcione scene, svakako među najboljima koje sam video u poslednjih godinu dana, no zapadna publika koja ovo sada može da pogleda na Netflixu treba da bude svesna koliko ovde ima scena u kojima se govori tiho a likovi iznose svojim sagovornicima sumnje u sebe i žaljenje zbog stvari koje su učinili u prošlosti. Da ne bude zabune, ne govorimo o nekakvom sporom, meditativnom filmu sa mnogo značajne šutnje i namrštenih vjeđa, ali proporcionalno ovde svakako ima više značajne šutnje i namrštenih vjeđa nego u prvom filmu, a nešto manje eksplozivne akcije. Ovo može biti i posledica proste činjenice da je The Killer Who Doesn't Kill sniman usred pandemijskih problema, ali i plemenite ambicije autora da se psihološka dimenzija likova istraži podrobnije.
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Ono što možda najjače ukazuje da je Eguchiju drama ovde bila više na umu nego komedija je činjenica da što se tiče komedije, The Killer Who Doesn't Kill praktično samo ponavlja gegove koji su palili u prvom filmu. Ako ste voleli scenu u kojoj glavni junak, Akira Sato (tj. The Fable), sedi nag sa papagajem koji mu se odmara na glavi, i gleda televiziju bez ikakvog izraza na licu – Eguchi je siguran da ćete je voleti i sada. Takođe, Satov dobro dokumentovan problem sa vrućom hranom ovde nam daje par scena koje su i dalje smešne jer ih Okada odrađuje vrhunski teatralno, nudeći nam kontrast između ledenog profesionalnog ubice koga vidimo kako pada niz fasade zgrada, sprinta kroz kišu metaka i jedva se strese kada na metar od njega eksplodira ručna bomba, i momka koji nesigurno duva u zalogaj pre nego što ga stavi u usta a onda nekontrolisano odskoči unazad kao da ga je pogodio grom. Već sama anticipacija ovih komičnih krešenda sa Okadom koji malo panično duva u hranu je dovoljna da čovek počne da se kikoće.
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Ako je komedija negde proširena u odnosu na prvi film to je u nešto više prostora koji dobija Satov šef u maloj firmi za dizajn i štampu reklamnog materijala gde se ovaj zaposlio u prvom filmu, trudeći se da se uklopi u civilni život. Gospodin Takoda je zabavan u svojim hipijevskim eskapadama, a ako volite skatološki humor, uživaćete u sceni u kojoj on prdi naglas na radost Satove koleginice Misaki.
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No, ako ste voleli samu Misaki u prvom filmu, a oko nje se vrteo dobar deo zapleta, spremite se da je ovde vidite ražalovanu na status vrlo sporedne uloge – scenario naprosto od prve scene postavlja osnovu za sasvim drugu priču sa sasvim drugim likovima i zapravo je u realizaciji moguće i primetiti kada posle sat vremena film gotovo potpuno raskine veze sa ansamblom iz prvog nastavka i potpuno se okrene novim likovima.
Ovo nije zapravo loše samo po sebi i možda bi bilo dobro kada bi više nastavaka uspešnih filmova imalo smelosti da svoje protagoniste povede nekim novim putem u nastavku, ali svakako treba imati na umu da je The Killer Who Doesn't Kill drugačija priča. Ovde, je recimo, sloj jakuza-drame koji je bio vrlo važan za funkcionisanje prvog filma potpuno odsutan, jakuze se pojavljuju samo u par sitnih, praktično gostujućih momenata, a fokus je na drugoj vrsti kriminalnog preduzeća.
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Japan, makar u svojoj popularnoj kulturi, ima opsesiju prevarama što ih izvode jako namazani socijalni kameleoni kadri da zavaraju naivne i navuku ih na projekte u kojima će izgubiti puno novca. Specifičnost japanskog pogleda na fenomen ,,talentovanog gospodina Riplija" je u tome što je Japan skloniji da ovome doda preliv uznemirujućeg, brutalnog trilera pa i horora. The Killer Who Doesn't Kill daje dobar primer ovakvog zapleta u čijem centru stoji gospodin Utsubo, jedna impresivno snalažljiva sredovečna osoba koja, krijući se iza fasade nevladine organizacije što se zalaže za zaštitu dece, izvodi smele prevare, ali ih bez mnogo griže savesti, kada je to potrebno, uredno okončava metodičnim ubistvima potencijalno nezgodnih svedoka i dobro isplaniranim oslobađanjem od njihovih potencijalno kompromitujućih, zemnih, jelte, ostataka.
Utsubo je lik obdaren opasnim magnetizmom, mnogo pokvareniji i opasniji nego što njegova gospodska i prijateljska fasada sugerišu, a onda i mnogo izvitopereniji u svojoj psihologiji i moralnim načelima nego što smo spremni da vidimo u filmu koji je i dalje delom komedija. Veliki deo nelagode koje će publika možda osetiti otpada upravo na njegovu eksploataciju osobe sa invaliditetom na način koji je, svakako, osmišljen tako da ga prikaže kao nedvosmisleno zlu osobu ali koji bi mogao da bude naprosto previše za neke gledaoce. Opet, film sa ovim likom radi mnogo i mnogo toga dobrog do kraja a izvrsna gluma Shinichija Tsutsumija, jednog starog pozorišnog veterana sa desetinama filmova u svom CV-ju nam do kraja prodaje višeslojnost lika koji nam se gadi barem onoliko koliko nas fascinira.
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Možda je, pak, problematičnije to što film ima prominentan lik sa invaliditetom u svojoj priči a koji i služi kao motivacija protagonisti da se opet upetlja u stvari koje ne bi trebalo da ga se tiču. Sa jedne strane, svakako, iz sve snage pozdravljam to da imamo osobu u invalidskim kolicima koja ima višeslojnost karaktera, konfliktne motive za stvari koje radi, te prošlost koja joj daje patinu i prljavštinu neuobičajene za ovakve likove. Sa druge, plašim se da je natezanje konopca između Satoa i Utsuboa u tome kako tretiraju ovu osobu opterećeno klišeima o ,,invalidima" i koristi se kao stereotipiziran rezervoar motivacije ali i signalizacije prema gledaocu u vezi sa tim ko je ,,dobar" a ko ,,loš". Da se razumemo, kompleksna je ovo materija i nije da ne deluje prirodno to da će glavni junak, kao imanentno dobra, plemenita, čak detinje čista osoba (uprkos svojoj profesiji) poslužiti kao izvor nadahnuća osobi sa invaliditetom da udvoji i utroji svoje napore da ponovo prohoda, ali plašim se da film ovde upada u tradicionalne stereotipove vezane za invaliditet, recimo uz prikazivanje invalidskih kolica kao neke vrste malog zatvora iz koga treba pobeći iako je, kada pričate sa osobama sa invaliditetom, statistički znatno češće da ćete čuti kako oni vole kolica jer im ona predstavljaju način da budu aktivni i pokretni i ne provode svoje vreme u krevetu.
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Ovo su moje glavne kritike vezane za film, ali sa druge strane, moram da priznam da je Yurina Hirate koja dobija vrlo prominentnu ulogu i minutažu u filmu odlična i da uspeva da proda tu trajektoriju lika od uplašene devojke, predodređene da bude žrtva, do asertivne mlade žene koja preuzima sudbinu u svoje ruke. Takođe, Eguchi je ovde vrlo uspešan u fokusiranju priče na na kraju mali broj likova tako da se među njima izgrade neočekivano kompleksni odnosi pa je finale, zapravo mnogo više dramsko nego akciono, i uspešno u tome kako prikazuje glavnog junaka kao pre svega katalizator kojim neki od ,,negativaca" pronalaze svoj put do svetlosti, a drugi, jelte put do večne tmine.
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Sato, odnosno The Fable, i jeste najviše katalizator u ovoj priči. On, naravno, ima scene akcije i naglašene delatnosti ali je njegova vrednost zaista najviše u tome kako deluje na ljude oko sebe, neke inspirišući, neke izluđujući, ali film njega samog tretira kao nepromenljivu vrednost, ne pomerajući ga ni za milimetar od pozicije na kojoj je završio prethodni. To bi takođe mogla da bude zamerka, ali, ako ću da budem iskren, za mene je ovakav koncept sasvim idealan i, uostalom, sasvim u skladu sa ne samo pop-kulturnom već i folklornom tradicijom Japana gde protagonista koji je nepromenljiv i praktično natprirodno moćan, a sa druge strane ćutljiv i ispražnjen od afekata, zapravo služi kao stožer oko koga se okreću priče drugih ljudi. Od Kitara (https://cvecezla.wordpress.com/2021/04/13/procitani-stripovi-kitaro/) preko Golga 13, vanzemaljskog nastavnika u Assassination Classroom (https://cvecezla.wordpress.com/2016/01/19/assassination_classroom/) ili One Punch Mana, pa do Kazume Kirya (https://cvecezla.wordpress.com/tag/yakuza/), ova formula je dobro shvaćena i dobro funkcioniše u narativima što se oko nje kreiraju. Pa tako i ovde.
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Prijatno iznenađenje je i što Satova ,,sestra", Yoko, u ovom filmu ima mnogo više protagonizma i figuriše u zapletu i radnji na značajnije načine nego u prvom. Odlična Fumino Kimura ovde ima priliku da demonstrira ne samo svoj nemali komičarski talenat već i da je apsolutno izbaždarena za ulogu kul akcione heroine, pa par scena u kojima je gledamo kako izvrsno akcija podstiču kod gledaoca maštarije o spinof serijalu u kome bi u glavnoj ulozi bila ova žena.
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No, TO nije iznenađenje. Prvi film je blistao na polju akcije a The Killer Who Doesn't Kill ga vrlo lako dostiže pa i prestiže. Ponovo, akcije ovde nema TAKO MNOGO, ali su set pisovi koje je Eguchi kreirao ne samo briljantno osmišljeni već i izvedeni tako da čoveku zaista zastane dah kada shvati da ovo rade pravi ljudi, bez laži i prevare. Već scena koja film otvara, sa serijom asasinacija u centru Tokija kulminira vrhunskim kaskaderskim radom i prizorom iskakanja dvoje ljudi iz automobila koji pada sa visine od tridesetak metara na tvrdi beton, a kasniji akcioni set pis u filmu koji se odvija na fasadi višespratnice ispred koje stoji skela je naprosto izvanredan. Podsetio sam se, u trenutku, da je Marvelov Shang-Chi imao sličnu scenu sa borbom na skeli i kontrast između dva pristupa režiji skoro da ne može biti izraženiji. Eguchi rezove koristi da naglasi energiju poteza što ih glumci izvode i pušta kaskadere da blistaju u koreografijama koje su efektne onoliko koliko su i, očigledno, zahtevne, pa i opasne, snimajući scenu usred dana, sa glumcima što izvode neverovatno brze pokrete i impresivne skokove koji, opet, ne deluju ni za trenutak ,,nerealno". U kontrastu sa tim, Shang-Chi ima scenu urađenu u mraku, punu rezova koji akciju prekidaju i ne daju joj da ,,diše", oslanjajući se u ogromnoj meri na CGI da ,,popravi" relativno nezanimljivu koreografiju. Da sam profesor, ovo bi, što se kaže, bilo na ispitu. Ključno, Eguchijeva postavka za taj najveći akcioni set-pis u filmu pokazuje koliko je napredovao od prvog filma gde je akcija kulminirala scenom u fabrici, svakako odličnom, ali u poređenju sa ovim što dobijamo u nastavku manje maštovitom i manje odvažnom.
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The Killer Who Doesn't Kill je, dakle, vrlo solidan nastavak solidnog prvog filma i utisak je da je Eguchi ovde našao sasvim funkcionalnu formulu da, ako treba, ide dalje i, bez mnogo remećenja sržnog ansambla, kreira nove i efektne priče što neće biti samo varijacije na zaplet prvog filma. Kako je u pitanju još jedna srazmerno uspešna produkcija i u Japanu ali i na zapadu, verujem da će nastavaka biti i unapred im se radujem.
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Napravio sam mali dancehall/ raggamuffin mikstejp za početak leta, pa ko hoće može da ga sluša ili daunlouduje, može ovde:
https://mega.nz/file/llw3za5Y#dJjTIQSgpmO8AL-l3B-jYUDdOdagiXA4eK9fb7bXk34 (https://mega.nz/file/llw3za5Y#dJjTIQSgpmO8AL-l3B-jYUDdOdagiXA4eK9fb7bXk34)
A ko bi da i pročita, vidi koji su sve umetnici zastupljeni itd, ima ovde detalje:
https://cvecezla.wordpress.com/2022/06/09/dj-meho-saint-jacques-babylon-dive-mixtape/ (https://cvecezla.wordpress.com/2022/06/09/dj-meho-saint-jacques-babylon-dive-mixtape/)
Shinya Tsukamoto je svoj film Bullet Ballet snimio praktično odmah posle filma Tokyo Fist o kome sam pisao pre nekoliko nedelja (https://cvecezla.wordpress.com/2022/05/13/film-tokyo-fist/) i ovaj je ušao u bioskope i, po prvi put imao ozbiljan festivalski uspeh 1998. godine. A ipak, iako su oba filma donekle slična po tematici i bave se ,,običnim" čovekom koji mučan, težak i dosadan život službenika zamenjuje fantazijom što se pretvara u košmar poniranja u ,,drugačiji" Tokio, njihovi pripovedni postupci su različiti, njihov ton je različit a njihove produkcije su prolazile takođe vrlo različite faze. Tsukamoto je za Tokyo Fist rekao da mu je to bio najlakši film za montiranje u čitavoj karijeri, dok je Bullet Ballet prošao mučan proces montiranja koji nije bio završen ni sa ulaskom filma u bioskope. Štaviše, nakon nekoliko predstava u bioskopima, Tsukamoto se vratio u sobu za montažu i iz filma isekao desetak minuta uglavnom vezanih za podzaplet u kome njegov brat, Koji, ponovo igra boksera.
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To da Koji Tsukamoto ponovo ima boksersku rolu, u skladu sa njegovim interesovanjima u životu izvan bioskopskog ekrana jeste indikator mere dokumentarističkog koja je Shinyi bila zapravo vrlo značajna u ovoj fazi rada. Kao neko ko je krenuo od fantazmagorične i, pa, hajde da kažemo, vrlo alegorične (sa naglaskom na ,,gor") naučne fantastike, pa prošao kroz monstr-horor u Hiruko the Goblin, Shinya Tsukamoto je sa Tokyo Fist stvari zapravo doveo na neočekivano ,,naturalističku" razinu. Daleko od toga da je ovaj film izgledao ,,sasvim" realistički ali jeste bio baziran na Kojijevim iskustvima u amaterskom boksu i bavio se prepoznatljivim seksualnim frustracijama i strahovima, dok su Tsukamotove ,,stare" teme poput fetišizma metala bile potisnute u drugi plan (nikako i izbrisane) da film ne deluje ,,žanrovski" baš na prvu loptu.
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Tu svakako vredi primetiti to da je Tsukamoto krenuo iz žanra (mada iz njegove vrlo leftfield, pankerske verzije) i kada čitate naslove filmova kao što su Tokyo Fist i Bullet Ballet, tu naprosto očekujete nešto u čemu bi najprirodnije glumili Sonny Chiba ili Chow Yun-Fat, a umesto brizantne akcije i frivolnog nasilja završite sa karakternim dramama u kojima je akcija mučna a nasilje ima dimenziju patološkog.
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Bullet Ballet je u dobroj meri film ne toliko ispovesti koliko istraživanja melanholije i ispraznosti srednjih godina. Tsukamoto je, kaže, u kasnim tridesetima shvatio da mu se život sveo na naporan rad u advertajzing firmi i kancelariju u kojoj će neretko prespavati, budeći se uz šum nikada ugašenog monitora, da je preovlađujući osećaj za njega bio izolovanost i samoća. Ovo će biti zametak iz koga će izrasti Bullet Ballet, čiji glavni junak, Goda, takođe radi u advertajzing firmi i ponekad spava uz monitore, ali je Bullet Ballet svoju centralnu temu ipak izgradio na zeitgeistu što je devedesetih pohodio Japan.
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Jer, da ne zaboravimo, nakon decenija stalnog rasta privrede i životnog standarda, devedesete su sa svojom recesijom koja je probušila ,,bubble economy" mehur na kome je zemlja lebdela i podizala se u nebesa osamdesetih, donele mnogo sumnje, beznađa i agresivnosti Japanu, posebno mladima. Podučavani da je potrebno marljivo učiti i završavati škole kako bi posle imali dobro plaćen, siguran posao, mladi su oko sebe umesto toga gledali umorne, spaljene ,,sarariman" službenike čije je crnčenje po firmama od jutra do duboko u noć sada proizvodilo veoma malo dodatne vrednosti za familije koje su morale da stežu kaiš. Iako je Japan i tada bio srazmerno bezbedna i mirna zemlja, jeste zabeležen porast nasilja među omladinom, sa dvadesetogodišnjacima koji su preko dana išli u škole i radili u firmama, da bi uveče izlazili u grad, okupljali se u bande i vodili ratove sa drugim, protivničkim bandama.
(https://i.imgur.com/oraIQbd.png)
Tsukamoto kaže da je osećao snažnu podvojenost između svoje generacije i generacije tadašnjih dvadesetogodišnjaka, koji, za razliku od njega, nisu odrastali okruženi osobama što su se još živo sećale Drugog svetskog rata, odricanja svega, nemaštine, a da je okidač za početak rada na scenariju bio incident u kome je jedne večeri na ulici, parkirajući svoj bicikl bio opljačkan od strane bande maloletnih delinkvenata. Shinya kaže da je bio uplašen ali i fasciniran i da je pažljivo posmatrao njihovo ponašanje.
Utoliko, Bullet Ballet je razrada motiva koji su se već u zametku mogli videti u Tokyo Fist, sa omladinom, prikazanom kao nekontrolisanom bujicom hormona, emocija i energije, koja će u ovom filmu dobiti centralno mesto na pozornici.
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Tokyo Fist i Bullet Ballet imaju i druge sličnosti. Ako je u Tokyo Fist boks bio metafora za mušku seksualnost, potenciju, virlinost i snagu, falična fiksacija na revolver u Bullet Ballet nastavlja tragom opsesija koje je Tsukamoto u ovo vreme pažljivo, metodično analizirao, pokazujući kako samoća – iako likovi u oba filma žive sa nevenčanim suprugama – izolovanost i stalni žrvanj posla koji ne donosi nikakvo zadovoljstvo utiču na deformaciju percepcije samog sebe kod muškarca što stupa u srednje godine. Oba protagonista ovih filmova će pokušati da učine nešto radikalno da bi dokazali svoju snagu i muškost, ali u Bullet Ballet nemamo samo psihoseksualnu dramu u napetom trouglu već odnos između čoveka otuđenog od celog sveta sa mladima na kojima taj svet ostaje. Pa šta mu bog da.
Iako hitam da podvučem kako Bullet Ballet nije samo nastavak Tokyo Fist drugim sredstvima, paralele su svakako bitne. U Bullet Ballet glavni junak, Goda, neće imati devojku na koju će moći da projektuje svoje nesigurnosti jer se devojka sa kojom živi već deset godina u prvoj sceni ubije. Šokiran ne samo time da je izgubio životnu saputnicu – iako nikada nije predložio da se venčaju – već i time gde je ona uopšte našla pištolj u pitomom Japanu, Goda kreće u potragu noćnim Tokijom za nekim ko bi mu mogao prodati takav isti pištolj.
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Nije odmah jasno šta on zaista želi da uradi sa pištoljem i tokom filma Goda ravnomerno osciluje između želje da bude noćni osvetnik Tokija što tone u nasilje, prostituciju i nesigurnost i da naprosto izvrši samoubistvo, bilo tako što će sebi pucati u gflavu, bilo tako što će isprovocirati nekog drugog da ga ubije. No, Goda ne želi da pogine bilo kako, njegovi sukobi sa omladinskim bandama često se završavaju batinama koje dobije, ali očigledno je da on želi smrt isključivo od metka, na isti način na koji je otišla njegova (nevenčana) žena koju, eto, deset godina praktično nije primećivao
Ova fetišistička dimenzija filma ga bitno izdiže iznad pukog omažiranja tuđih radova. Ako je Tokyo Fist u sebi imao delić DNK Scorceseovog Razjarenog bika, onda Bullet Ballet ima u sebi odjek Scorceseovog prethodnog rada – Taksiste, ali i element Schraderovog Hardcorea. Oba ova filma pokazuju ,,obične" ljude koji se spuštaju u grotlo noćnog grada, ali oba ova filma snimljena su sedamdesetih, pre nego što će pank kultura biti jasno kodifikovana, i u boji.
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Tsukamoto, pak, radi u crno-beloj tehnici, snimajući uglavnom iz ruke, uz puno treskanja, kao da se radi o gerilskom dokumentarcu (mada je zapravo za sva snimanja na gradskim lokacijama uredno dobijena dozvola) a omladina koju Goda sreće na svojim ekspedicijama obučena je u kožu, sa nadrkanim frizurama, lancima, bejzbolkama u koje su zakucani ekseri, ova omladina radi spid i maltetira sarariman prolaznike što su zalutali u njihov kraj možda sramežljivo tražeći prostitutku, uzimajući im pare, ostavljajući im modrice i objašnjavajući im da joj se od njihovih odela povraća.
Fundamentalna razlika između Taksiste (i Hardcorea) i Bullet Ballet je što Tsukamoto protagonistu ne prikazuje kao psihopatskog ali ipak pozitivca (barem u odnosu na ljude koje Travis možda samo misli da je pobio na kraju) a ,,druge" kao negativce kojima sleduje kazna. Goda je neko ko pokušava da uradi pravu stvar iako ne zna šta je ta prava stvar, a među krimi-omladinom vidimo i one koji zapravo shvataju da je ovo samo faza, da život ispred njih zaista ima i drugih sadržaja. Jedan od najagresivnijih gengbengera, Goto, koga igra upečatljivi Takahiro Murase, zapravo preko dana ima ozbiljan posao u firmi i nosi odelo koje onda uveče tvrdi da prezire.
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Utoliko, Bullet Ballet ne ide identičnim tokom kao filmovi sa kojima bi se mogao uporediti – od Taksiste, preko Class of 1984 pa do, recimo Death Wish. Ovo nije osvetnički akcijaš koliko pokušaj jednog muškarca da pronađe način da prevaziđe fetiš što ga je izgradio umesto nekog stvarnog životnog sadržaja, a u čemu saučestvuju mladi delinkventi.
Lik Chisato, mlade, otresite prostitutke je ovde značajan jer ona služi kao orijentacija Godi da prvo projektuje svoje osvetničke, pa onda svoje spasiteljske fantazije, a onda da je prepozna kao ravnopravnu, punu osobu koja i sama zapravo traži prolaz do budućnosti što neće biti samo nasilje i speed (koji ona u nekoliko scena ekspolicitno kaže da na uzima, rušeći tako kliše). Mlada manekenka sa minimanlnim glumačkim iskustvom, Kirina Mano je veoma upečatljiva kao pojava a spona koja izraste između njenog lika i Gode je bolesna, možda i patološka, ali na kraju služi kao putokaz za izlazak iz tog Tokija koji proždire ljude.
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U centru TOG Tokija je Idei, nešto stariji predvodnik omldainske bande, dugokosi frajer koji valja spid i podstiče klince da ubijaju jer ,,u snovima možeš da ubijaš bez kazne a Tokio je jedan veliki san". Ova vrsta dijabolične figure je tipiziranija od onog što smo imali u Tokyo Fist gde je Kojima bio kompleksan lik, ali toje zato što je i dijaboličnost i plemenitost koji su kod Kojime tamo postojali ovde dispergovana kroz čitavu bandu. Idei, koga igra harizmatični bubnjar Tatsuya Nakamura (posle ovog filma će Nakamura nanizati finu seriju filmskih uloga) je onaj demon koji čeka na dnu pakla, koji se smeje svakoj pomisli na plemenitost i empatiju. Nasilje je njegova droga a droga je, pa... isto njegova droga.
Ali Idei neće biti ,,final boss" koga će Goda poraziti na svom putu iskupljenja ili makar akcidentalnog heroizma pošto ovo nije takav film. Idei jeste ,,veliko zlo" jer on nema drugi život niti želi da zamisli drugi život od ovog u kome noću klinci tuku pijane službenike i otimaju im keš a onda se mlate sa drugim istim takvim klincima, u kome su seks i spid samo transkciona roba od koje se živi, ali Idei nije final boss naprosto zato što je njega beskrajno lako ukloniti – kako vidimo u brutalnoj završnici filma.
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Bullet Ballet nikako nije najelegantnije ispričana priča i Tsukamoto čak i sa finalnom verzijom od nekih 86 minuta iako dobija na efikasnosti možda gubi na naglascima koji bi onda finale učinili jasnijim. Pojava starog ratnog veterana koji se sveti za ubistvo sina – počinjeno bez razloga, iz čistog mladalačkog kurčenja – je momenat otrežnjenja, momenat snage koju Goda – ali i Tsukamoto – vide u staroj generaciji koja je upoznala i nemaštinu i poniženje i žrtve. Naravno, Goda pokušava da ,,odbrani" klince za koje je u međuvremenu razvio izvesnu empatiju, ali jasno je da su svi oni samo šum u pozadini za čoveka koji je izgubio nešto najvrednije na svetu.
Ovaj film nije bio sjajno primljen u Japanu, ali je bio prvi Tsukamotov film koji će biti uvršćen u program neke strane revije i festival u Veneciji je učinio mnogo za uspeh ovog filma u Evropi. Naravno, Tsukamoto je svoj filmmejkerski zanat do ovog momenta izbrusio do visokog sjaja i ono što je nama, sa iskustvom njegovih starijih filmova delovalo kao malo umireni, čak malo maniristički Tsukamoto, mora da je prilično šokiralo gledaoce kojima je ovo bio prvi njegov film.
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Bullet Ballet, rekosmo, ima taj dokumentaristički vizuelni pristup, sa ljudima koji često prolaze ispred kamere u uličnim scenama i drhturećim, nemirnim kadriranjem. Tokio ovog filma ne liči na Tokio iz Tokyo Fist, ne samo na ime crno-bele tehnike koja jasno razdvaja grad na dnevnu verziju (urednu, umivenu, civilizovanu) i noćnu verziju (divlju, nekontrolisanu, bestijalnu), već i zato što je ovo grad pun ljudi, užurban, prljav i bučan, nimalo sterilan kao onaj kojim je Tsukamoto posrtao u prošlom filmu, daveći se pod opresivnim liticama solitera.
Ovde je Tsukamotov Goda uronjen u masu ljudi, pogotovo u prvom delu filma dok traži način da kupi pištolj, očajnički moleći dilere droge – od kojih su neki stranci – da mu završe tu šemu. Ovo su slike Tokija koji nije grad izolovanih jedinki što u samoći prolaze kroz strašne misli, već grad ljudi koji se taru jedni od druge, koji jedni druge napadaju. A opet, većina kadrova je uska, teskobna, sa retkim momentima u kojima Goda i gledalac mogu da vide šta ih čeka korak ili dva dalje. Dalje, scena tuče dve bande, u kojoj kamerman trči zajedno sa glumcima nije zaista scena ,,akcije" koliko scena urbanog haosa, eksplozije negativne energije na kakve Tokio nije bio navikao u prethodnim decenijama. I opet, iako jasno inspirisana stajlingom i ponašanjem iz (starih) američkih filmova ona nije puki omaž ni rokenrol ekscesu ni jamesdeanovštini već je i podsećanje na to kako se i pod kojim uticajima japanska urbana kultura razvijala među omladinom tokom decenija posle rata.
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Tsukamotova gluma je ovde standardno efektna jer njegov zblanuti, unezvereni pogled sredovečnog službenika advertajzing agencije (što je bio i u stvarnom životu u tom trenutku) daje sjajan kontrast opasnim i kul personama iz noćnog Tokija. No, njegova režija i montaža su ono gde je najjači. Iako ovde nema stop-motion kadrova koji su se još pojavljivali u Tokyo Fist, Tsukamoto podseća na svoje zanatsko majstorstvo montažama slika koje vatrenom oružju, posebno pištolju daju tu dimenziju fetiša. Čak i Tsukamotov stari fetiš metala dobija svoje mesto u prvom delu filma kada Goda, svestan da je kupovina pištolja na ulici praktično nemoguća za običnog građanina kao što je on, pokušava da sam napravi pištolj koristeći bravarski alat.
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Dizajn zvuka je možda nedovoljno pominjana a esencijalna dimenzija Tsukamotovih filmova. Naravno saundtrak Chua Ishikawe je ponovo vrtoglavi, razuzdani industrial punk sa metalnom osnovom, ali sam zvuk je i ovde radio Kenji Shibasaki, jedan vrlo zaposleni dizajner zvuka i zvučnih efekata koji će dalje i puno sarađivati sa Miikeom. Njegovo ozvučivanje scena u ovom filmu daje svemu jedan prizvuk mase, težine, pretnje, kao da sve zvuke čujemo kroz uho osobe što pati od napada anksioznosti, panike. Kada pištolji pucaju u ovom filmu to nije akcijaško držanje ritma već grmljavina koja poništava svaki zvuk, uništava svako tkivo.
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Bullet Ballet (u kome, da ne bude zabune, nikakvog baleta nema) nije najbolje realizovan među Tsukamotovim filmovima. On nema taj dijabolični vizuelni vatromet i ekscentričnost njegovih ranijih radova, ali ni disciplinovanost Tokyo Fist što mu je prethodio. I sam Tsukamoto njime nije bio naročito zadovoljan ali ovo jeste bila značajna tranziciona faza u njegovoj karijeri i, da ne budemo nerazumeni, čak i slabiji Tsukamoto je i dalje Tsukamoto koga gledate otvorenih usta i ne trepćući, svesni da se utapate u nasilje i teskobu što ne dolaze iz smera pukog žanra. Ovo su filmovi koji označavaju delove Tsukamotovog života i života ljudi sa kojima on svoj život deli i kao takav i Bullet Ballet je obavezna, nepropustiva lektira.
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Pogledao sam film Shura, koji je 1971. godine režirao Toshio Matsumoto. Ovo nije Matsumotov poslednji dugometražni rad – iza nega je sledio još jedan pripremljen 1973. godine ali pušten u skromnu nacionalnu distribuciju tek tri godine kasnije, pa onda tek 1988. godine stvarno poslednji film, Dogura Magura – ali za većinu poštovalaca Matsumotovog rada na zapadu Shura je njegov ,,pravi" finalni iskaz u domenu bioskopskog filma. A kakav je to iskaz!
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O Matsumotu sam pisao prošle godine, fasciniran njegovim prvim dugometražnim filmom, Bara no soretsu iz 1969. godine. U istoriji japanske kinematografije poznatiji kao teoretičar i edukator, Matsumoto je sebe verovatno video i kao više artistički usmerenog režisera, sa interesovanjem za fotografiju (i objavljenih nekoliko monografija sa ovom tematikom), umetničke instalacije i kratki, umetnički film. Ogromna većina njegovih filmskih naslova otpada na kratke filmove koje je radio od pedesetih – započinjući u dokumentarističkoj formi – pa sve do kraja osamdesetih. Poslednja njegova tri kratka filma objavljena su posthumno nakon njegove smrti 2017. godine, ali za bioskopsku publiku, pa i publiku žanrovskog filma, Shura je zaista neka vrsta snažno udarne tačke na Matsumotovu karijeru ,,mejnstrim" autora. A bio mu je to tek drugi dugometražni film!
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Naravno, ni njegov prvi film, Bara no soretsu, nije bio zaista ,,mejnstrim" ali jeste koincidirao sa, pa u dobroj meri i označio dosezanje vrhunca novog talasa u japanskom filmu. Snimljen u zapanjujuće prelepoj crno beloj tehnici, kombinujući dokumentaristiku, savremene – i kontroverzne – teme vezane za seksualni i rodni identitet, ali i za generalno raspoloženje omladine i njihovu prirodnu kontrakulturnu orijentaciju, sa nadahnutom, mada kako sam tada primetio i možda previše žanrovski predvidivom, obradom mita o kralju Edipu, Matsumoto je u ovom filmu uspeo da pomiri svoja avangardna stremljenja i uredan, veoma smiren narativni rukopis kako bi ponudio gledaocima sadržaj koji je po svakom merilu morao biti SKANDALOZAN ali je u ogromnoj meri približio publici glavnog toka stvarnost – ali i humane kvalitete – života na društvenoj margini osoba koje bismo danas zvali rodno fluidnim. Zanošenje u smeru horora što se događa u finalu tog filma jeste ,,politički" problematično kad se posmatra iz današnje perspektive i voleo bih da je drugačije ali ovo finale svakako ne umanjuje kvalitet i energiju ostatka filma koji je publici u tom momentu navikloj na već skupe i raskošne chanbara spektakle i esktravagantne kaiju i tokutatsu produkcije, sada već i na televiziji, doneo dah sirovog, urbanog života upakovan u elegantnu, artističku formu.
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Na neki način, činjenica da je Shura, film koji je sledio iza ove bombe svežine iz 1969. godine, na prvi pogled tek još jedan tradicionalni jidaigeki film, sa sve samurajima, gejšama i papirnim lampionima koji vijore na vetru a blistave katane prolijevaju potoke krvi, ta je činjenica morala delovati i malo razočaravajuće za publiku koja je u Matsumotou videla modernog, urbanog autora što priča o aktuelnim temama i bavi se ljudima ovde i sada. A opet, Shura je možda ultimativni jidaigeki film u tome kako uzima ,,period drama" format (što reč jidaigeki doslovno i znači) a onda ga dekonstruiše tako metodično i nemilosrdno da gledalac na kraju ostane da se previja na patosu, pokušavajući da dođe do daha i da shvati šta mu se to upravo dogodilo.
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Shura je na američko tržište stigao na Srpsku novu godinu 1974. godine i naslov je bio preveden kao ,,Demons", uz podnaslov koji je sugerisao da se radi o 48. roninu iz poznate priče o 47 ronina. Film je u kasnijim izdanjima prevođen i kao Pandemonium ali i Bloodshed. Ovo potonje je i najbliže značenju reči Shura, ali ona u prvom redu označava referencu na Asuru, poluboga rata iz budističkih verovanja, a onda se, kažu, koristi da opiše osobu u situaciji koja je toliko loša da joj ne ostaje ništa drugo do neprestane, mučne i nehumane borbe. Shura-do, posle svega, označava i jedan od šest svetova u paklu u koji veruju budisti.
Već prvi kadrovi ovog filma slute na zlo. Nakon krvavog zalaska ogromnog Sunca za horizont – a što je poslednja kolor scena u filmu pravljenom, očigledno, za ,,zemlju izlazećeg Sunca" – slede teskobne, horor-intonirane crno-bele scene samuraja koji beži pustim ulicama gradića a za njim jure u mraku gotovo nevidljivi progonitelji sa belim lampionima. Samuraj stiže do kuće u kojoj trenutno živi ali niko ne otvara na njegove sve više očajničke pozive. Kada u kuću na kraju uđe na silu, zatiče mrtva, iskasapljena tela i na posletku samog sebe kako visi obešen ispod tavanice. Sledećeg trenutka budi se uplašen i dezorijentisan u rukama svoje omiljene gejše.
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Jidaigeki filmovi vole ovu vrstu drame, horora koji ima snoliki, košmarni kvalitet i iznenađivanja gledaoca neočekivanim razrešenjem scene, ali Matsumoto ovde tek zbilja počinje. Ako je jidaigeki žanr prepoznat u Japanu kao kritički osvrt, neretko satira na klasične priče o samurajskom čojstvu i junaštvu (čiji je najveći deo ionako retroaktivno pripisivan legendama o samurajima tokom procvata pozorišta i romansirane proze u osamnaestom veku), Shura je neka vrsta ultimativne realizacije ove ideje, štaviše, brutalna dekonstrukcija samurajskih tropa, pogotovo onih iz predratnih chanbara filmova koji su se nudili publici kao drame bez obzira na jaku romansiranost svojih zapleta i likova. Shura se po svojoj radikalnosti može uporediti sa Krvavim prestolom, ali, da bude jasno, u tom poređenju Matsumoto po radikalnosti zapravo Kurosawu glatko prevazilazi. Za razliku od Kurosawine adaptacije Magbeta koja se makar pretvarala da je u pitanju ratni spektakl sa konjima, kopljima i akcijom, samo da bi pred našim očima razorila bilo kakvu primisao o plemenitosti glavnog junaka, Shura je praktično pozorišni film, lišen pretenzija da ga iko pomeša sa chanbara akcijašima, u kome je nasilje izraz ultimativne nemoći što u čoveku proizvodi zlo odvratno do te mere da će gledalac, posle gledanja filma, jedno vreme kontemplirati o tome da je ljudska rasa verovatno bila greška, umesto da ide na internet i gleda koliko koštaju katane i kako da mu ih isporuče što pre, dok je još znojav i napaljen.
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No, urpkos toj svojoj ultimativnoj dekonstruktivnoj energiji, Shura je film baziran na pozorišnom komadu iz ranog devetnaestog veka, Kamikakete Sango Taisetsu (što bi se prevodilo približno kao ,,zavet ljubavnika") poznat i kao Koman Gengobê, po imenima protagonista. Autor ovog teksta bio je Tsuruya Nanboku IV (rođen kao Katsujiro Ebiya, promenio ime u Inosuke kada je odrastao, ali je svoje komade potpisivao isključivo pseudonimima), jedan plodan kabuki-scenarista sa preko 120 komada što su dočekali da budu izvedeni na sceni. Nanboku je mnogo svojih komada kreirao tada popularnom metodom adaptacije popularnih tekstova iz 18. veka, ali poznavaoci tvrde da je unosio značajne inovacije i da su neki od kasnije popularnih arhetipova kabuki-drama nastali baš iz njegovog pera: iroaku (zli ali lepi negativci) ali i akuba (sredovečna žena koja ume i da blefira i da se bori i da bude prevrtljiva). U tom smislu, Kamikakete Sango Taisetsu je u originalu verovatno bila i nešto vedrija satira vezana za popularne samurajske i romantične trope, ali je Matsumotova filmska adaptacija mračnu, brutalnu satiru odvela maltene preko granice nihilizma.
Shura je neka vrsta spinof priče za popularnu istorijsku skasku o 47 ronina koji su se u osamnaestom veku samoinicijativno udružili da osvete smrt svog nepravično ubijenog gospodara. Ovaj događaj, sa samog početka stoleća je kasnije ispričan u tekstu Kanadehon Chûshingura, isprva napisanom kao predložak za lutkarsku predstavu (bunraku) ali adaptiranom u kabuki komad koji je sa velikim uspehom krenuo da se izvodi 1748. godine u Osaki. Radi se o jednoj od najizdržljivije popularnih kabuki predstava koja se i danas rado igra
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Glavni lik ovog filma, Gengobê, je, kako rekosmo, u teoriji 48. samuraj koji treba da se pridruži osvetničkom naporu svojih bivših kolega, ali problem je što to ne može da uradi pre nego što otplati pozamašan finansijski dug koji je nazidao u međuvremenu. Trop sirotog ronina koji nema para i to je jedna kosmička nepravda je jedan od najizdržljivijih u samurajskoj fikciji već vekovima ali Matsumoto ovde bez mnogo pompe prikazuje da je u Gengobêovom slučaju po sredi ne kosmička nepravda nego, da tako kažemo, loš materijal. Gengobê nije ćutljivi stoik koga fortuna kuša već je sve pare koje je imao nakon prestanka posla propio, prokockao i prokurvao. Gejša sa kojom ga vidimo na početku filma, Koman, mu, doduše na uho pijuče kako je divan čovek i kako je u njega zaljubljena do ušiju, pokazujući mu čak i tetovažu sa njegovim imenom koju je kao zalog večite ljubavi uradila na svojoj mišici, ne bi li njih dvoje ostatak života proveli zajedno, negde daleko od svega, ali Gengobê je ono što se u stručnoj literaturi zove ,,a fucking loser".
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Ovo vidimo ne samo po tome kako pije i kako ni na jedno pametno pitanje nema ni glup odgovor već i po tome da je njegov seks sa Koman u jednoj od prvih scena, svakako ispunjen putenošću ali i očajanjem, sumnjom u sebe, osećajem samoprezira koji se pokušava odagnati vatrom strasti.
Matsumoto ovde ne ide na radikalne fotografske ili montažne zahvate ali ovaj je početak i dalje zastrašujuće impresivan, sa korišćenjem svetla i senke kakvo je naprosto nedostižno za autore što su ,,avanzovali" na kolor-film, ali i i sa glumcima koji zarađuju svoje honorare baš pošteno. Katsuo Nakamura, koji igra Gengobêa verovatno nikada neće biti pominjan u istom dahu sa Toshirom Mifuneom ili Tatsuyom Nakadaijem, na kraju krajeva, njegova karijera (koja tehnički još traje) u sebi ima mnogo više sporednih uloga u produkcijama tipa Godzilla Against MechaGodzilla (ali iz 2002. godine) nego saradnji sa najvećim režiserima novog talasa (mada je igrao u Kwaidan), ali Matsumoto je očigledno znao šta radi i njegov Gengobê je takvo klupko sukobljenih emocija, nagona, naučenog ponašanja i nepromišljenih, impulsivnih reakcija da prosto ne mogu da zamislim ni jednog drugog glumca koji bi nam konfliktnog, polomljenog samuraja prikazao tako da sa njim i saosećamo, ali i u više scena u filmu u ekran govorimo ,,Ne to, brate, samo ne TO!"
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Yasuko Sanjo koja igra gejšu Koman ima ZNATNO skromniju filmografiju, ali ona je izvanredna u svom oscilovanju između vrlo naturalističke glume u scenama gde je ,,normalna" i izrazito uverljive persone gejše u scenama gde je, pa, gejša.
Prepričavanje filma pokvarilo bi budućim gledaocima veliki deo iskustva, ali da kažemo makar ovo: iako Gengobê voli da sebi dokazuje muževnost prazneći svoje samurajske testise u Koman i slušajući njeno pijukanje kako je divan, on naprosto ne zna šta bi tačno dalje u životu. Kada ona počne da insistira da se njih dvoje uzmu i budu srećni uvek i zauvek, on je otera kući i krene da traži neku nepopijenu bocu sakea u nekoj od soba. Kada par sati kasnije njen ,,pomoćnik" (Juro Kara) dođe i kaže mu da se pojavio samuraj koji će je otkupiti iz, jelte, krčme/ kurvarnika u kome ona radi i voditi kući da je ženi a ona plače i neće jer voli samo Gengobêa, ovaj uzme novac koji mu je pre bukvalno sat vremena doneo verni sluga Hachiemon (fenomenalni Masao Imafuku) a što su ga skupili seljani iz starog kraja kako bi njihov samuraj vratio dugove i pridružio se časnom osvetničkom pohodu, i odjuri u kafanu.
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Definišuća karakteristika Gengobêa na početku filma je da ne zna šta hoće. Danas bi ga uvredljivo nazvali ,,beta" karakterom, jer je on opterećen krivicom, seks želi ali ga se malo i stidi, a za ženom počne da žudi tek kada shvati da je na korak da je izgubi iako ju je malopre u mačo zanosu poslao kući da mu ne kvari veče sa flašom u ruci. Čak i kada stigne u krčmu gde se dogovara primopredaja Koman, on ne zna tačno šta želi da uradi.
Matsumoto ovde radi jedan maestralan, rašomonski trik, prikazujući nam dve različite verzije realnosti u svakoj od kojih Gengobê, očekivano, pravi loš izbor. Ali gledalac je izložen ogromnom broju varijabli i motiva i ne može na kraju da kaže je li u Gengobêu prevagla sujeta ili plemenitost.
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Stvari od te tačke odlaze u vrlo lošem smeru po sve likove u filmu. Iako pozorišna postavka, Shura podrazumeva dalje promene lokaliteta, ali većina radnje odigrava se u dugačkim scenama sa više likova u jednom prostoru i spori, odmereni tempo tragedije koja se odigrava pred našim očima je skoro nepodnošljiv. Ovo nije film koji preza od grafičkog nasilja, naprotiv, i neki momenti bukvalno teraju gledaoca da odskoči – setite se tetovaže sa početka i čekajte da vidite šta će joj se desiti pri kraju – ali njegov glavni trik je taj metodični, pozorišni korak kojim vodi svoje likove iz jedne u drugu scenu, pokazujući kako će na svakom skretanju oni jedni druge voditi sve bliže neizbežnoj propasti.
Shura nije poučna priča o ljudima koji su zli pa hoće da prevare i ljudima koji su dobri ali naivni pa najebu. Shura je priča o tome šta se dešava kada pomislimo da se sve završava na uspešnoj prevari i njegovo dugačko, sporo razrešenje je prepuno monstruoznog nasilja ali i brutalne vivisekcije karaktera, socijalnih normi i svetonazora. Ovo nije poučna priča o ljudima koje čeka pakao već ledena, brutalna, neki su rekli i borhesovska satira o ljudima koji su pakao doveli na zemlju. Ovde nema pozitivaca i negativaca i svi su krivi za ono što se dešava makar isto onoliko koliko nam ih je na kraju žao.
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Glumci su, da bude jasno, fenomenalni, ali Matsumotovo vođenje narativa je ono što im daje pravilan kontekst da briljiraju. Pripovedački postupak je disciplinovan i spor ali ne nedinamičan i Matsumoto koristi svaki trik koji zna da film nabije internim referencama i simbolikama koje priču spiralnom putanjom dovode do krešenda. Lampioni sa početka filma dobijaju priliku da zablistaju pred kraj. Tela koja je Gengobê sanjao na početku pojaviće se u jednoj od kasnijih scena. Matsumoto nastavlja da nam prikazuje scene ,,drugih realnosti" koje se nisu dogodile u ovoj, iako su mogle, pa čak i u okviru jedne scene montira po nekoliko verzija istog prizora kako bi pokazao gledaocu da ne gleda ,,pravo" pozorište, još manje ,,pravi" život, već visoko stilizovanu, simbolički bremenitu skasku o ljudima koji su samo odveć ljudski a to od njih na kraju stvori demone.
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Druge avangardne tehnike podrazumevaju i stilizovane dijaloge među likovima između kojih kamera prelazi kao da se svi nalaze u istoj ravni i govore ovraćajući se direktno gledaocu, i film sve vreme sugeriše jednu vrlo poroznu barijeru između stvarnosti i fantazije, stvarnosti i košmara (na šta nas je uputio uvodni set pis, sa kasnijim odjekom u ponovnom pojavljivanju lampiona posle polovine filma), ali i između prevarenog i prevaranata, nasilnika i žrtve.
Ovde je zgodno podsetiti i da je Matsumotov izbor starog kabuki komada i držanje ,,tradicionalne" teme (ma koliko dekonstrutkivan rad u stvarnosti bio) bilo iznenađenje za njegove savremenike pa je i Nagisa Oshima, superheroj japanskog novog talasa kritikovao ovaj film za odsustvo političkog sloja, odnosno za odsustvo jasne delineacije između ugnjetenih i ugnjetavača. Danas bi ova kritika došla sa levih pozicija i optuživala film za centrizam, a ko zna kako bi Matsumotova karijera dalje izgledala, naročito ako bi počeo da se prepucava po tviteru sa ekipom koja se nakanila da ga kensluje. No, sedamdesetih je tviter mogao da priušti samo Džordž Soroš, pa je umesto toga Matsumoto napisao eksplikaciju u vidu eseja kojim je ukazao da njegov film programski diskutuje potencijal za dobro i zlo u svakoj pojedinačnoj individui. Oh, da, i naslov eseja je bio ,,Da li je Oshima slep?"
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Shura svakako nije agitatorski film, možda ni polemički, ali je on, u svom beskrajnom crnilu nihilizma koji baca na gledaoca, paradoksalno i jako human. Izbegavajući lake, readymade role za svoje likove, Matsumoto sa ovim filmom pokazuje ljude u njihovim doslovno najgorim momentima, a da su oni opet prepoznatljivo ljudska bića, sa čak i simpatičnim osobinama koje ne samo da u sebi možemo prepoznati već i sa njima možemo da se identifikujemo. Utoliko, iako je u pitanju mnogo više komedija, Šijanova ekranizacija Kovačevićevih Maratonaca zapravo baštini istu estetiku humanističkog nihilizma, sa likovima koji su svi redom polomljeni i sa razlogom bivaju kažnjeni do kraja, ali od kojih ni jedan nije dovoljno udaljen od naturalističkog da u njemu ne bismo mogli da prepoznamo sebe.
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Ljubitelji kvalitetnog jidaigeki filma ovde će svakako imati MNOGO toga da obožavaju. Fatastičnu crno-belu fotografiju radio je ponovo Tatsuo Suzuki a iako muzike praktično i nema (ako se ne računa monotono udaranje u zvono u dve scene), nju potpisuje Bunichi Nishimatsu kome je ovo i jedini pripisan film na IMDb-u. Nazdravlje. Utoliko, iako je Shura, zaista, po svojoj prirodi iznikao iz teatra, on ni u kom slučaju nije filmovano pozorište i njegova realizacija je u istoj meri magična i oslanja se na napredno razmišljanje o mediju kao to je bio slučaj sa Bara no soretsu. Kao neka vrsta ispisivanja japanske kinematografije iz najvažnijeg perioda za samurajski film, Shura je autentično, gotovo perfektno remek-delo i kamen-međaš svetske umetnosti. Ja sam rekao a vi sad vidite.
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Mehmete, pošto te čitam ovde, na tvoj blog zalazim oko jednom godišnje, stoga tek sad vidim novi dizajn. Kad si ga uveo? :lol:
Pre oko... godinu dana?
Ne bih ja ali žena mi je sedela na kičmi da moram da se dovedem u 21. vek kad već toliko pišem i onda ajde, reko, evo vam 21. vek...
The Night Comes for Us je poučna priča o svetu organizovanog kriminala koja pokazuje kako ni jedno dobro delo neće ostati nekažnjeno... A, čekajte, ne, The Night Comes for Us je urnebesno preterani akcioni film u kome najfiniji indonežanski glumci od borilačke sorte (od kojih su neki očigledno kineskog porekla a ima i bijelih đavola) premlaćuju jedni druge štanglama, seku mačetama, upucavaju sačmarama, ali i malokalibarskom taktičkom municijom i nabijaju na kuke za meso barem osamdeset minuta od ukupnog dvosatnog trajanja filma. Ostatak minutaže ima nekoliko sporijih scena u kojima se vide i te neke... emocije, ali ima, da se ne lažemo, i momenat u kome glavni junak shvati da prema njemu idu tri naoružana, vrlo odlučna neprijateljska borca, pa on prema njima baci kanister sa gorivom, pogodi ga hicem iz sačmare kao da smo u nekoj videoigri iz 2004. godine i onda tri momka plešu padajući u plamenu, bez vrištanja ali sa muklim šumom vatre koja gori na visokoj temperaturi.
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The Night Comes for Us, da bude jasno, ima sve – gangstere, kineske gangstere koji pričaju Engleski because why the fuck not, gangsta 4 eva my boi, gangstere sa savešću, gangstere sa savešću koji su odlučili da savest može da jede govna jer njima treba puno para da servisiraju svoje skupe navike, preslatku predpubertetsku devojčicu oko koje se svi jure ceo film kao oko nekog simpatičnog mekgafina, ima desetine kineskih kalašnjikova i stotine lokalnih mačeta, ima scene neverovatnih kaskaderskih poteza za koje znate da su nekog poslale u bolnicu, ima verovatno sumanutu stavku u budžetu za kesice sa lažnom krvlju, ima čoveka koji znak da je patos mokar koristi kao oklop ispod majice kako bi na prsa primio 30-40 neprijateljskih kušruma a ipak im se na kraju nasmejao u lice, ima ozbiljne, zabrinute žene kojima ženstvenost ne smanjuje odlučnost i kul-faktor, ima kung-fu lezbejke* i najmanje jednu scenu u kojoj dvojica nekad nerazdvojnih prijatelja pokušavaju jedan drugog da ubiju koristeći majstorski alat, metalne profile i cirkularnu testeru koja jednom od njih odseče čuperak kose.
*dobro, penčak silat lezbejke, pedantni čitaoče
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Indonežanski akcioni film je stavljen na svetsku mapu sa diptihom The Raid i The Raid 2 i, kako je izvesno da nikada nećemo dobiti The Raid 3 (barem ako se Gareth Evans tu nešto pita), red je da se kaže da ovoj velikoj zemlji nije ZAISTA potreban velški bijeli đavo da bi pravila najbolje akcijaše na svetu. Od prvog The Raid je uostalom prošlo više od deset godina i u ovom periodu smo bili svedoci i strmoglavom usponu striming servisa pa je i zapadno (mada, naravno, i istočno) tržište postalo znatno pristupačnije kinematografijama država koje smo do nedavno smatrali ,,malim" ili u najmanju ruku ne odveć interesantnim za mejnstrim publiku na zapadu. Fakat je da su mnoge azijske države, uključujući najveće među njima , poput reciomo Indije, među normalnom pulbikom na zapadu večito percipirane kao proizvođači malih, duševnih filmova i toplih ljudskih drama koje se pojave na nekom festivalu i baš su medene iako pričamo o produkcijama koja po broju naslova tokom godine ostavlja Holivud daleko u prašini.
Indonezija svakako nije na nivou Indije, ali indonežanska kinematografija razvija se već decenijama, sa prvim vrhuncem koji je dosegnut osamdesetih kada je industrija ušla u prijatnu rutinu, pa onda sa reformacijom u post-Suhartovoj epohi gde smo dobili uspon nezavisnih radova. Krajem prve decenije ovog veka i početkom druge nekoliko se faktora skupilo da usmeri indonežanski film ka izraženije žanrovskim vodama, od promene načina oporezivanja stranih filmova u domaćoj distribuciji pa do, naravno, dostupnosti moderne tehnologije, tako da je Indonezija krenula vrlo ozbiljno da pravi horor i akcione filmove od kojih su neki počeli da stižu i na druga tržišta.
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The Night Comes for Us iz 2018. godine je neka vrsta solidnog sažetka ove epohe indonežanskog filma jer je u pitanju, rekosmo, URNEBESAN akcioni film sa toliko izraženim grafičkim nasiljem i još izraženijim pornografskim uživanjem u tom nasilju da se u neku ruku kvalifikuje i kao horor-ekstravaganca. Kako, rekosmo, The Raid 3 ne možemo da očekujemo, The Night Comes for Us može da posluži kao sasvim solidna zamena ali i indikacija kuda lokalni filmmejkeri vole da krenu kada sami prave svoje ludačke akcijaše. Naime, u smeru brutalnog splatter preterivanja a koje, opet ne odlazi do apsurdne, humorističke dimenzije kakvu smo navikli da gledamo u određenoj klasi japanskih horor-akcijaša (ako pretražite moj blog dovoljno godina unazad naći ćete pisanija o filmovima tipa Samurai Princess ili Vampire Girl Vs. Frankenstein Girl). Svima njima je, da bude jasno, tata (i mama) klasični hongkonški rad Riki-Oh: The Story of Ricky (https://cvecezla.wordpress.com/2021/11/12/film-riki-oh-the-story-of-ricky/) koji je na neki način, pre tri decenije, ozvaničio brak azijskih borilačkih veština i splatter horrora ali lepota indonežanskog novog akcionog talasa je, naglašavam, upravo u tome da ovo nisu apsurdno lo-budget produkcije niti filmovi čiji su set pisovi intencionalno smešni. Oh, smejao sam se naglas gledajući The Night Comes for Us, ali isključivo jer je intenzitet akcije na ekranu naprosto prevazilazio i moja najluđa očekivanja. A, mislim, posle The Raida očekivanja su bila u stratosferi.
The Raid je obavio važan posao, rekosmo, na legitimisanju indonežanskog akcionog filma pa je i The Night Comes for Us veoma brzo našao internacionalnu digitalnu distribuciju putem Netfliksa. Ovo je dobro najviše zato što su Engleski titlovi koje imamo na raspolaganju ipak razumno korektni i omogućuju praćenje radnje, onoliko koliko je ima.
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Timo Tjahjanto, čovek koji je ovo napisao i režirao nije se, da bude jasno, baš preterano zamarao pričom. Ovo mu je tek drugi dugometražni film – prvi je bio horor May the Devil Take You iz iste, 2018. godine – i njegov profesionalni kvalitet (Tjahjanto je studirao vizualne umetnosti u Australiji i prvo radio kao storibord ilustrator) je potvrđen ne nijansiranom gangsterskom rpičom sa mnogo slojeva niti naročito kompleksnim likovima već pre svega neverovatnom sposobnošću za kadriranje, snimanje i montiranje neverovatne akcije i sklapanjem sasvim korektnog filma oko nečega što je prvo morala biti kolekcija urnebesnih set pisova.
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No, ne bi bilo fer reći da The Night Comes for Us nema priču, Tjahjanto je nekoliko godina pokušavao da snimi ovaj scenario da bi 2014. odlučio da od njega napravi strip. Ipak, film je snimljen uz uletanje dosta različitih producentskih kuća i kućica (delom i sa zapada, naravno) i mada finalni produkt ima narativ i ton vrlo uporediv sa klasičnim zapadnjačkim direct to video radovima, razlika u kvalitetu produkcije i, konsekventno akcije i vizuelnog spektakla je kao dupe i miliprot.
Hoću reći, The Night Comes for Us priča vrlo jednostavnu priču. Glavni junak, Ito je nekad bio ,,običan" tough guy gangster iz Džakarte, gengbengovao sa svojom ekipom i mrštio se na ideju da uđu u posao sa kineskim trijadama koje valjaju nevaljali pajdo i koks. No, u jednom trenutku je, za dobro svoje ekipe, pristao da sam uđe u trijadu i zapravo, vrlo brzo avanzovao do pozicije ,,Six Seas" oficira koji je odgovoran za red, rad i disciplinu u poslovima bande. Konkretno, na početku filma vidimo Itovu kinesku ekipu kako masakrira čitavo malo ribarsko selu zato što je neko malo drpio od robe koja je pakovana za bandu. No, Ito je, nagađate čovek koji svoju savest nije sasvim sahranio i zakopao i kada shvati da je poslednja preživela devojčica od desetak godina, nešto u njemu se slomi i on pomisli kako je ovo ipak najposlednjiji trenutak da spasava svoju dušu.
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Trijade naravno ne vole kada im visokopozicionirani vojnik (pa još stranac) pobegne, iz, jelte, rezervata pa šef bande iz Makaa dolazi u Džakartu i na Itoa šalje njegovog starog ortaka iz lokalne ekipe, Ariana, kome se obećava nasleđivanje Itoveog posla ako bude uspešan.
I to je ČITAV zaplet. Sve ostalo je ne egzekucija već serija sve više eskalirajućih, jelte, egzekucija.
Tjahjanto vodi priču sasvim korektno, pogađajući ,,dramske" tonove i amplitude taman koliko treba. Nema ovde govora ni o kakvom nadahnutom čitanju stereotipne gengsta postavke ali su sve ,,spore" ,,dramske" scene vizuelno bogate i pametno sklopljene, sa nekim neočekivano inspirisanim tranzicijama. Direktor fotografje, scenograf i osvetljivač rade sve ono što očekujete od moderne istočnoazijske kinematografije i The Night Comes for Us je film pun boje, solidnog kadriranja i glumaca koji izgledaju ubedljivo čak i kad, jelte, glume a ne samo mlataraju mačetama i bacaju ljude kroz prozore.
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Razlog što sam onoliko pominjao The Raid je i u tome što ovde imamo gomilu njegovog kasta. Dvojica glavnih likova, Joe taslim i Iko Uwais oba su igrala u The Raid a isto važi za Julie Estelle (koja ovde JEBE KEVU i ako se ikada budu snimali novi Resident Evil filmovi, ona JE Ada Wong gaddemit), ali i za Zacka Leeja. Naravno, od azijskih filmova očekujete da će imati porciju kavkazoidnih glumaca u svom kastu, pogotovo ako pogledujete ka američkoj distribuciji, pa je ovde i Hannah Al Rashid koja skoro da ne mora ništa da radi koliko dobro izgleda. Ali radi. Ubija kukrijem, bije se ko đavo, ljubi se sa Dian Sastrowardoyo (a kojoj šiške stoje da je čovek smaže u jednom zalogaju) i generalno jebe kevu. Ako se ikada bude snimao spinof-prikvel za The Night Comes for Us on bi morao da bude fokusiran na ove dve urnebesne žene.
Urnebes je operativna reč ovde. Iako The Night Comes for Us počinje srazmerno sporo i dramski – mada uvek vizuelno moderno, ali ne SUPSTANCIJALNO iznad zapadnjačkog DTV senzibiliteta – kada posle jedno pola sata krene akcija, gledaocu postaje jasno da ovako nešto na zapadu ne može da se snimi. Svaka čast rumunskim kaskaderima i bugarskim kamermanima, svaka čast srpskim montažerima i ostaloj balkanskoj DTV braćali, ali zapadne produkcije naprosto nemaju nikakvu ambiciju da snimaju OVAKO preteranu akciju, koja zahteva brutalnu disciplinu u koreografisanju scena i nivo posvećenosti kaskadera koji se graniči sa samožrtvovanjem. U jednoj sceni, snimljenoj iz jednog jedinog kadra, Zack Lee prvo ima to zadovoljstvo da mu protivnik protera lice kroz zatvoren prozor, onda se on okrene pa protivnika nabije na krhotinu stakla u ragastovu, onda ga podigne pa ga baci sa trećeg sprata na zemlju i kamera sve ovo isprati kao da je kamerman duh koji lebdi oko dvojice muškaraca, dok se u pozadini šiba još nekoliko ljudi.
(https://i.imgur.com/bJHEI8p.png)
Tjahjanto je set pisove osmislio sa naprosto perverznom detaljnošću, ne praveći od njih krešenda ovog filma, kako bi to bilo normalno, već ih u jednom tantričkom stilu produžujući neverovatan broj minuta i nastavljajući jedan na drugi, sve vreme nudeći raznovrsnu, savršeno koreografisanu akciju koja samo sve više ide na intenzivniju stranu. Prvi akcioni set pis u kasapnici je momenat kada shvatite da gledate nešto posebno, sa kamermanom kome se doslovno plašite za život i telesni integritet, i korišćenjem kasapskog alata, polutki mesa, sačmara i razne priručne galanterije na najmaštovitije načine. Tjahjanto radi SVE što treba, ulećući direktno u frku kao da će kamerman nekog da glavom udari u lice, pažljivo se zaustavljajući da par sekundi gledamo kako nekome mačeta vadi unutrašnje organe, a da glumci oko ovog fokusa oka kamere uspevaju da nešto ,,rade" i ubede nas da je normalno da akcija šlajfuje u mestu dok gore-houndovi ne napasu oči na urbenesnim gadostima, dalje, radeći rezove TAČNO kad treba da naglasi neverovatne stantove koje kaskaderi rade a u drugim situacijama pružajući praktično bezobrazno dugačke neprekinute kadrove u kojima gledate koreografije za koje ne možete da verujete ne samo da su ih svi popamtili i izveli bez greške već i da su izvedene bez ljudskih žrtava.
(https://i.imgur.com/BvcbDY6.png)
I ovo nekako podseća na jednu istinu: zapad je imao Sama Peckinpaha i, mora se reći, njegov je legat danas, nažalost skoro potpuno skriven od modernog gledaoca, sa savremenim akcionim filmom pravljenim da bude prikladan PG-13 rejtingu i DTV produkcijom koja naprosto nema para za ambiciozniji rad čak ni koliko ga je imala početkom veka. Istok je, pak, imao Johna Wooa i danas ima neugašenu želju da potpuno preteranim grafičkim nasiljem gledaocu pruži katarzu koji na drugom mestu neće dobiti. The Night Comes for Us je apoteoza ovakvog pristupa filmmejkingu, film u kome se konstantno rade ,,loše" stvari ali je osećaj MNOGO dobar jer ste svesni da je ovo sve jedna velika koreografija, jer su likovi jednostavni i ikonični, pa onda i neodoljivo romantični i jer naprosto nema ičega što može da zameni spektakl telesne disocijacije spojene sa apsolutno zastrašujućim prikazom akrobatike i visoke borilačke veštine. Možda baš u tim sudaru na vrhu skoka nastaje umetnost?
(https://i.imgur.com/16DxOcF.png)
Kao što sam u svojim nekim prethodnim javljanjima i pominjao, skupio sam na kraju vreme da pogledam kao čovek (i kao žena!) jedan od najklasičnijih filmova jedne od najklasičnijih era svetske kinematografije, kinematsko remek-delo koje sam poslednji put gledao kada sam bio dečačić što je verovatno tek učio kako se koristi pribor za brijanje, verovatno u globalu najpoznatiji i najcenjeniji film Akire Kurosawe, spektakularni a opet tako svedeni samurajski ep – Sedam samuraja (aka Shichinin no Samurai). Nije možda ni slučajno što se to poklopilo sa vikendom u kome smo na nacionalnom servisu gledali nastavak filma Sedmorica veličanstvenih, a koji je, originalni Sedam veličanstvenih, bio praktično direktan rimejk japanskog predloška i objavio epohu u kojoj će žanrovski film i film uopšte širom sveta biti pod ogromnim, nepobitnim uticajem velikog japanskog režisera. Ova epoha, takođe, makar u Holivudu, biće obeležena i progresivnom komercijalizacijom velikih hitova u smislu kreiranja serijala i franšiza na značajno višem nivou nego što je nekada bio standard, sa Sedmoricom veličanstvenih koji će dobiti još tri nastavka, dok su perjanice Novog Holivuda, poglavito Coppola i Lucas od serijalizacije i franšiziranja napravile praktično novi biznis-model. Sa svoje strane, Kurosawa je sa Sedam samuraja kreirao ultimativni jidaigeki film sa ultimativnim krajem i jednom, pa, možda i ultimativnom poentom i iako ovo nije bio poslednji samurajski film koji je napravio – srećom, jer bismo bili uskraćeni za klasike kakvi su bili Sanjuro, Yojimbo (https://cvecezla.wordpress.com/2020/07/26/film-yojimbo/), Krvavi presto (https://cvecezla.wordpress.com/2020/07/13/film-krvavi-presto-aka-kumonosu-jo/) ili Skrivena tvrđava (https://cvecezla.wordpress.com/2021/12/30/film-skrivena-tvrdava-aka-the-hidden-fortress-aka-kakushi-toride-no-san-akunin/)– jeste u velikoj meri bio takav kamen-međaš u japanskoj kinematografiji da posle njega ništa neće biti isto.
(https://i.imgur.com/UNndo21.png)
Važno je, svakako, staviti Sedam samuraja u kontekst. Tokom poslednjih par godina sam pisao o više samurajskih filmova koji su, mahom, nastajali u periodu nakon 1954. godine kada je ovaj film ušao u bioskope, i isticao sam na koji način svaki od njih odstupa od klasične samurajske matrice, kako one predratne kada je chanbara film dosegao svoju prepoznatljivu formu, tako i one starije iz osamnaestog i devetnaestog veka kada su proza i kabuki teatar prepakovali stare skaske i priče o samurajima u novu formu za novo doba, način na koji su ovi filmovi išli na modernizaciju sadržaja, tretman savremenih moralnih dilema itd, mutirajući i dekonstruišući standarde o samurajima vođenim dužnošću i tradicijom, kako bi se u ovom žanru dali novi, moderni, relevantni iskazi.
U neku ruku, sve ovo jeste bila posledica Kurosawinog rada, a u najvećoj meri prevrata koji je izvršio sa Sedam samuraja. Iako ne prvi ,,film sa samurajima" koji je snimio, Sedam samuraja je bio prvi film u kome je režiser programski rešio da snimi ,,pravi" samurajski spektakl koji će biti namenjen najširoj publici i namamiti je u bioskope obećanjem konja, kopalja, ratnih barjaka i oštrih mačeva, a onda joj pored svega toga ponuditi i malo materijala za razmišljanje. Rashomon (https://cvecezla.wordpress.com/2020/06/22/film-rashomon/) i Tora no o wo fumu otokotachi (https://cvecezla.wordpress.com/2020/04/30/film-tora-no-o-o-fumu-otokotachi-ljudi-koji-su-isli-po-tigrovom-repu/) su i sami bili filmovi ,,sa" samurajima, ali je tek Sedam samuraja bio programski postavljen da se smesti direktno u žanr i, pokazaće se, zauvek izmeni njegove trope i obavezne forme.
(https://i.imgur.com/xjWrP6x.png)
Kurosawa je, to znamo, sebe uvek video kao umetnika, kao nekoga ko se filmom bavi onako kako se slikari – njegova nesuđena profesija – bave platnom i bojom, kreirajući načine da se neiskazivo ako ne iskaže a onda prikaže. Iako nije to pričao naglas, imao je, ne sumnjajmo, sasvim opipljivu sumnjičavost spram artističkih kvaliteta chanbara filmova, akciono-romantičnih skaski sa mačevima a koji su se neretko prodavali kao ,,prave" ,,period piece" tj. jidaigeki drame. Sa ovom produkcijom je Kurosawa u neku ruku hteo da pokaže čitavom Japanu kako se STVARNO rade ovakve stvari, i to ne samo u smislu same, jelte, produkcije, mada, DA, i u smislu produkcije, gde je Sedam samuraja označio mnogo prvih puta da je nešto urađeno u ovom tipu filma, ali u velikoj meri u smislu odnosa prema istoriji, tradiciji i identitetu koji oni kreiraju za Japan i njegove stanovnike.
Da kažemo to ovako: do 1954. godine su rane od poraza u Drugom svetskom ratu i Američke okupacije tek počele da zaceljuju a okupacione vlasti su tek malo popuštale stege cenzure koja je sumnjičavo gledala prema filmovima sa istorijskom tematikom, doduše i sa pravom se pitajući da li japanski nacionalizam oličen u ,,starim" temama može da ugrozi krhku transplantaciju zapadnjačke liberalne demokratije na ovo društvo. Japanski film koji je slavio stare ratnike i stare pobede svakako je u publici, gladnoj makar kakvih pobeda, nailazio na odobravanje. Kurosawa će sa svojim saradnicima na scenariju (Shinobu Hashimoto, Hideo Oguni) biti izolovan tokom šest nedelja pišući Sedam samuraja, bez prava na posete i telefonske pozive, kreirajući priču koja je, na neki način zaista ultimativni spoj optimističnog, idealizovanog pogleda na tradiciju, sa herojskim ličnostima samuraja formatiranim poput polubogova koji gaze zemljom, i dekonstruktivnog, otvoreno kritičkog, čak agresivnog rušenja mita o samurajskoj plemenitosti i idealnosti ,,starih" verovanja, starih sistema, starog poretka stvari koji, pokazuje ovaj film, može da se posmatra i kao puki rat svih protiv svih u kome ne pobeđuje najbolji ratnik već, pa, onaj ko je najprilagođeniji preživljavanju.
(https://i.imgur.com/9J4LHug.png)
Nimalo slučajno, dakle, film je smešten u Sengoku period, kraj šesnaestog veka i vreme žestokog građanskog rata u tadašnjem Japanu gde siroti seljaci koji jedva sastavljaju kraj sa krajem ako ih ne upropaste vremenski uslovi, moraju da se nekako suoče i sa činjenicom da bande naoružanih konjanika jašu po provinciji i zahtevaju da im se preda sav – ili skoro sav – pirinač koji su sa mukom zasadili, uzgojili i požnjeli. Kao što znamo, jedno selo mučene i nesrećne sirotinje na kraju se odluči da potraži zaštitu od strane samuraja koje će pronaći u obližnjem gradiću, ali kako seljani nemaju da ponude doslovno nikakav novac, nada da će naći samuraje spremne da ratuju za stan i hranu deluje sasvim neutemeljeno.
Kurosawa, naravno, već tokom prvog dela filma insistira na jakim socijalnim opservacijama: njegovi seljaci su presamićene, bedne kreature gotovo bez ikakvog samopoštovanja. ,,Građani" su nimalo laskavo prikazani likovi tek mrvicu više na društvenoj evolucionoj lestvici ali opterećeni kompleksom više vrednosti i ciničnim resantimanom. Hoće se reći, nakon jednog kratkog prikaza bandita koji ugrožavaju selo na početku, proći će BAŠ DOSTA vremena pre nego što ponovo vidimo bandite, a ,,negativci" u ovom filmu nisu nužno uvek posednuti na konje i sa katanama u rukama.
(https://i.imgur.com/OPDNXzE.png)
Jedan od ključnih tropa koji će dalje biti besomučno reciklirani i u Japanu i u Holivudu a koje je Kurosawa ovde uveo je to ,,okupljanje tima" i scenario ovde ulaže vrlo ozbiljne napore da nam prikaže distinktne ličnosti samuraja koji će na kraju ratovati za malo selo – bez plaćanja ili slave koju bi takav posao inače podrazumevao – ali i proces kojim oni postaju tim. Ovo nije samo sklapanje ekipe jakih ratnika od kojih su neki stoici što malo pričaju a puno seku sečivom, neki su blagorodni budistički blaženici, a neki su sprdalački nastrojeni klovnovi što u sebi kriju mučnu traumu – mada, naravno, sve to dobijamo – jer bi to onda bio samo feudalni Avendžers. Ovo je sklapanje ekipe od ljudi koji nisu samo ronini bez posla, već ronini koji će pristati da pešače nekoliko dana do planinskog sela u kome će vrlo verovatno ostaviti kosti, ratujući sedam protiv četrdeset, a da im je jedina nagrada to da naprosto rade svoj posao.
Na neki način, trop o samuraju čija je najsvetija dužnost zaštita običnog sveta ovde je Kurosawa doveo do apsolutnog vrhunca, dajući nam praktično do apsurda plemenite ratnike koji ne očekuju bukvalno ništa sem da ih nahrane kako bi mogli da ubijaju loše ljude, a onda je sa druge ušao u vrlo komplikovane i evoluirajuće motivacije koje će ih nositi kroz pripremu odbrane sela, proaktivne napade na neprijatelja, konačno finalnu opsadu i trijumf. Ovo je psihološki složen film sa likovima koji su postavljeni u kompleksne hijerarhijske i druge odnose, sa, ponovo, uspostavljanjem nekoliko arhetipa koji će kasnije biti opšte mesto ovog tipa filma.
(https://i.imgur.com/6SFGnXK.png)
U centru je, naravno, Kurosawin verni saradnik Takashi Shimura, čiji je samuraj, Kambei Shimada ne samo de fakto predvodnik i glavni strateg ovog malog odreda već i neko na čijim plećima počiva filozofska i, ako hoćete čak i neobično optimistička – u svoje vreme i solidno neshvaćena – poenta ovog filma. Publika navikla da gleda Shimuru u savremenim, urbanim ulogama policajca, lekara ili advokata ovde je dobila ultimativni portret idealnog samuraja koji uvek i sve žrtvuje dobrobiti ,,naroda". Scena u kojoj ga upoznajemo prikazuje kako mu briju glavu – a što je za samuraja tipično ili momenat sramote ili penzionisanja i odlaska u monahe – a to je samo zato da bi opasan zadatak spasavanja deteta od poludelog kidnapera mogao da obavi uz minimum rizika. Shimada praktično nema ego, sujetu, ali ni ikakve sumnje u sebe i ono što radi i ono što on naprosto jeste su konstantna inspiracija za sve oko njega.
Naravno, tu je onda mladi samuraj Katsushirō Okamoto (fenomenalni Isao Kimura) koji tek uči tajne zanata i tokom ovog filma će i ,,formalno" položiti test zrelosti, tu je ledeni, dostojanstveni Kyūzō (Seiji Miyaguchi) najbolji ratnik u grupi sa najmanje potrebe da se izražava rečima, tu su i drugi, ali tu je, dakako i Toshiro Mifune čiji je Kikuchiyo ubačen u kast nakon završetka scenarija da bi film imao i ,,zabavnu" komponentu, samo da bi ovo spadalo završilo kao jedan od psihološki najkompleksnijih likova u filmu, koji će pored svog kreveljenja i majmunskog poskakivanja – sa sve lupanjem po dupetu – u kameru izgovoriti njegovu najvažniju političku i ideološku poentu na osnovu koje se jedino može pravilno shvatiti filozofsko, reflektivno finale sa Shimadinom opaskom da su borbu izgubili, ali da su seljani pobedili.
(https://i.imgur.com/iGswMJa.png)
Jer, Sedam Samuraja na nekoliko nivoa brutalno i nemilosrdno pokazuje da su društvene strukture koja tradicija prikazuje kao, jelte, na neki način idealne, zapravo konstantni proces uzajamne eksploatacije, nepoverenja, zlostavljanja. U ovom filmu su samuraji heroji, svakako, i publika u bioskopu je dobila svoje impresivne mačevalačke scene i konje koji padaju maltene pravo u kameru i sve fantastične rezove katanama koje okončavaju živote, ali...
...ali većinu bandita ubijaju sami seljani, bodući ih po deset odjednom bambusovim kopjlima, dok ovi bauljaju po blatu, pokušavajući, kukavički da pobegnu. Nije samo da je rat ,,pre svega trčanje – u napadu ili u povlačenju i kada više ne možete da trčite, gotovi ste", kako seljanima objašnjava jedan od samuraja, već je i to da su ovo heroji, izašli direktno iz legende, sa, kako film pokazuje, praktično natprirodnim moćima i manirima polubogova, ali da seljanima nisu potrebni ni heroji ni polubogovi, da oni, štaviše, njima ne veruju možda ni trunku više nego samim banditima.
Ovaj ,,antiherojski" diskurs nije samo cool način da se protagonistima da preliv plemenitog gubitništva već je duboko utkan u srž filma u kome niko, uključujući sirote seljane, nije naročito socijalno idealan. Seljani sa svojim laganje da nemaju ništa – koje do kraja niko i ne propituje jer se od njih OČEKUJE da lažu – su samo evolutivno superiorniji soj seljana koji možda nekada nisu znali da lažu pa su stradali od samuraja jednako kao od bandita. Mali ljudi uhvaćeni u žrvnjeve rata, sa vojskama koje unaokolo jašu i svaka nešto zahteva za sebe, mali ljudi koji, kako god da okrenete, završe eksploatisani i jebani (Da li je veliko iznenađenje da seljani kriju svoje ćerke od plemenitih samuraja? Da je veoma veliki deo završnice filma posvećen ocu koji svoju ćerku naziva kurvetinom što se petljala sa jednim od samuraja?), da li je čudno što ti mali ljudi imaju štekove pune vojne opreme, oklopa, kopalja i šlemova koje su skinuli sa, da se složimo, ponekad i još uvek živih samuraja i vojnika koji su tuda prolazili i što ne dele baš sve što znaju sa svojim ,,zaštitnicima"? Da li da se čudimo da jedan od samuraja koji su došli da štite seljane u tom momentu kaže ,,Sad bih uzeo i pobio celo selo".
(https://i.imgur.com/Qniui6U.png)
Da je finalna poenta filma to da su ,,heroji" nužno zlo pa ponekada i neželjena smetnja u životu običnog čoveka, koji i sam nije imun na resantiman, pritvornost, laganje, prevarno ponašanje – to je Kurosawa kakvog poznajete i volite, sumorni tumač života koji je težak ali je i još teži kada se svi u njemu kriju iza fasada društvenih normi i tradicije a onda oštre noževe u potaji i traže najbliža leđa da ih tamo pohrane. To da će Kurosawa ovakvu ,,poruku" preseći sa nekoliko scena najizrazitije lepote koje je ikada snimio je ne sasvim neočekivano od autora koji je uvek radio na nekoliko nivoa paralelno, ali da će ta poruka doći 1954. godine, u vreme buđenja novog patriotizma i novog zaljubljivanja u tradiciju i istoriju – pa još u filmu koji je bio najskuplja produkcija studija Toho do tog momenta – to je već nešto što je zaista mogao da izvede samo ovaj režiser.
Kurosawa je sebe, eksplicitno video kao nekoga ko rad klasičnih režisera kao što je bio Kenji Mizoguchi pomera na sledeći nivo i produžuje konverzaciju, radije nego da samo emulira njihove uspehe i ponavlja njihove poente. Mizoguchi je za Kurosawu bio neko ko nikada nije napravio ni najmanji kompromis u isticanju ,,stvarnsti" u svojim filmovima – zbog čega je bio jedan od najvećih u istoriji – ali i neko ko je istoriju što ju je prikazivao u tim filmovima gledao ,,iz perspektive trgovaca i žena". Kurosawa je želeo da tu istoriju prikaže iz perspektive ratnika i samuraja, ali da onda postigne mizoguchijevsku ,,stvarnost" i demolira slatke laži o idealizovanoj prošlosti i veličanstvenom sistemu uređivanja društva koji joj se pripisuje.
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I Sedam samuraja ima tu distinkciju da sa jedne strane svoje samuraje istovremeno idealizuje ali tako da svaki ideal koji prikazuje (stoicizam, smelost, ratnička izvrnsost, požrtvovanje, lojalnost, veseli, inspirativni duh itd.) deluje realno, jer su likovi izuzetno humanizovani i ,,stvarni"* a sa druge onda sav njihov sistem verovanja, ponašanja i rezonovanja razobličava kao hrpu bajkica koje je elita izmaštala da jedna drugoj prepričava, dok ,,stvarni" ljudi, u stvarnom svetu, dakle, radnici i seljaci, na kraju dana za njima nemaju nikakve potrebe i samo bi voleli da im se skinu s kičme. Na kraju krajeva, finalna scena sa seljacima koji igraju, pevaju i sade pirinač nije samo vrhunski koreografisana i ozvučena već je i primer savršeno kanalisanog osećaja ,,šuplje", beznačajne pobede u kojoj je heroj, porazivši ,,zlo" zapravo razobličio i činjenicu da on sam ovom svetu više nije potreban, ako je ikada i bio. Jer, na kraju krajeva, stvarne socijalne probleme retko možete da posečete mačem.
*čak i oni koje će kasniji režiseri svesti na puke stereotipe – ne treba zaboraviti da Kyūzō, koji prilazi najbliže ideji jednodimenzionalnog lika napravljenog da deluje kao cool verzija psihopate što ubijanje pretvara u umetnost, zapravo ima čitav podzaplet u kome prati i na neki način štiti mladi par između kog je buknula zabranjena, očajnička ljubav
Kurosawa je ovde išao apsolutno mizoguchijevskim tragom bacajući Tohove producente i knjigovođe u očaj. Beskompromisnost u podcrtavanju ,,stvarnosti" priče prikazane u filmu postignuta je između ostalog i tvrdoglavim odbijanjem da i pomisli na korišćenje Tohove studijske scenografije i, sa sve ucenjivanjem studija da će dati otkaz pa oni nek gledaju šta će, izguravanjem ideje da se za potrebe snimanja izgradi čitavo selo u Suzuoki, što je bliže moguće ,,specifikacijama" iz šesnaestog veka. Autentičnost je uvek bila značajna za autora koji je često svojim glumcima krio delove scenarija da bi bili u jednakom mraku neznanja kao i njihovi likovi, ili ih terao da spavaju u istim prostorijama gde i likovi, i da se međusobno oslovljavaju imenima iz filma, no, Sedam samuraja je ovim i pretvoren u svojevrsno mučilište za celu ekipu.
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Snimanje je trajalo više od godinu dana, sa, činilo se, kišom što je neprestano padala, stalnim logističkim problemima i manjkovima u rekvizitima i opremi (konjima, takođe, kako je naglašavano) i do momenta kada je rezignirano primetio kako ova produkcija plastično prikazuje da je ,,ovakav film nemoguće snimiti u ovoj zemlji" Kurosawa je ne samo napravio najskuplju Tohov film ikada već i najskuplji film snimljen u Japanu do tog trenutka.
Ali ne bez razloga. Toho mu jeste dvaput prekidao snimanje a Kurosawa je dvaput odlazio na pecanje znajući da će količina para već ulivenih u film obezbediti da ga ipak pozovu da sve nekako završi. Dobio je i ne jednu već tri kamere, pa čak i skupo teleoptičko sočivo čime je filmu obezbeđen vizuelni kvalitet kakav naprosto do tog trenutka nije postojao u japanskoj produkciji.
Naravno, nešto je u opremi a nešto u ljudima, onako kako Shimurin lik u filmu rado crta mape i dijagrame kako bi gledaocu predstavio događaje koje će sat kasnije videti pred svojim očima i shvatiti namere napadaća i strategiju branilaca, tako je i Kurosawa svojim kamermanima crtao dijagrame, ne bi li svaka scena bila uhvaćena iz više uglova i kreirana kao pažljivo koreografisani, tečni ples kakav drugi – pa ni sam Kurosawa do tada – naprosto nisu imali. Količina kadrova koji akciju prate po dubini i uspevaju da glumci udaljeni jedni od drugih desetinama metara prave sinhronizovane, logične radnje, a gde gledaočevo oko biva vođeno besprekornim panovanjem baš tamo gde treba i tačno onoliko brzo koliko treba dovoljna je za bar 3-4 seminarska rada na bilo kojoj respektabilnoj filmskoj školi. A na to onda dolazi Kurosawin montažni postupak koji je, posebno sa ovim filmom, ušao u legendu. Ne pričam samo o ,,wipe" tranzicijama koje je on već koristio u prethodnim filovima i potpuno pomerio mozak mladom Georgeu Lucasu nego o pripovednom postupku koji film od tri i po JEBENA sata pakuje u neverovatno dinamičnu celinu kojoj naprosto ne nalazite delove što bi mogli da se izbace. Mada su naravno, svi strani distributeri suočeni sa ovakvom minutažom, ponešto izbacivali, a čak je i prošle godine po tviteru išao diskurs (pokrenut Synder's Cut verzijom Lige pravde) o tome kako su dugački filmovi zapravo forma toksične muškosti pa se neko setio da opauči i Kurosawu. Jeste, i to se dešava.
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Ali da se razumemo, ovo je film u kome su mačevanje i konji bitni – i imao je posebnog koreografa za sve to – ali je još bitnije da se vidi da mačevanje i konji čine minijaturni deo STVARNOSTI za običnog čoveka, čak i u Sengoku eri, i da se stvarnost pojavljuje u mnogim drugim, komplikovanim oblicima, pa da je bitno slediti mnogo likova, mnogo njihovih malih priča, gledati kako se te priče presecaju, kako koji lik reaguje, kako drugi likovi reaguju na njihove reakcije. Montažer suočen sa kilometrima OVE trake ne bi znao šta da radi a ni Kurosawa verovatno ni sam ne bi znao šta da radi da je ostavio stvari da se ,,ohlade" pa je umesto toga posle iznurujućih dana snimanja noću sedeo i montirao ,,naživo", kombinujući materijal sa više kamera u ekonomične, često prelepo elegantne celine.
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I svega tu na kraju bude, od golog dupeta Toshiroa Mifunea koji ceo film pokušava da bude samuraj koji će impresionirati druge samuraje a na kraju – i to pošto je ubio poslednjeg neprijatelja sa puškom – leži mrtav u blatu i pokazuje nam dupe, pa do žene koja se budi, svesna da drvena kuća u kojoj su nju i njene sapatnice držali zarobljenu i silovali gori, a onda se nasmeši i pušta je da gori jer izgoreće i muškarci koji među otetim ženama spavaju kao svinje, a u pozadini svira frula koja podseća na Noh dramu i ovo je scena sasvim bez reči, bez prave ,,akcije" a savršena u kontekstu sve tenzije što joj prethodi, sveg haosa koji joj sledi.
Muzika je, kad već pominjem frulu, bila važna za ovu produkciju pa Sedam samuraja ima ne samo distinktne teme za različite klase likova vć potpuno distinktne stilove za seljane, samuraje i bandite, sa mešavinom tradicionalnog i modernog koju je spravio Fumio Hayasaka što će umreti godinu dana kasnije, radeći na narednom Kurosawinom filmu.
Muzika je bila samo deo tog Kurosawinog napora da snimi stvaran spektakl i film koji će biti konvencionalno ,,zabavan" – sa sve humorističkim elementima i metodično koreografisanom, besprekorno snimljenom akcijom. A opet, ovo je film čija je poruka ne samo verbalizovana u Shimurinim monolozima (i Mifuneovim ispadima) već i jasno likovno prikazana (da ne kažem nacrtana) u tome kako humke sa sahranjenim samurajima deluju kao scenografija, dok ritual sađenja pirinča deluje kao koreografija u poslednjim scenama ovog filma – život ovde trijmfuje nad smrću ali najpre zato što je život pokret, stalna razmena energije i kruženje materije, a smrt je ono što tradiciju često čini nedodirljivom i daje joj oreol sakralnosti koga ovde Kurosawa iz sve snage pokušava da pocepa. Svakako, njegovi samuraji su plemenita, gotovo natprirodna bića, ali oni su stvar ne samo prošlosti, već legende koja nikada nije bila istinita, ma koliko da je lepo zvučala. Da najplemenitiji među njima, Shimurin lik, Shimada, ovo razume i smatra da je to u redu i da samuraj zaista jedino može da se nada da živi u skladu sa svojim načelima, bez zahvalnosti, bez, čak, eksplicitnog prepoznavanja te njegove plemenitosti, sve dok svet konačno više ne bude imao ikakve potrebe za njim je, pa, jedna od najsuptilnijih poruka koje ovakav film može da pošalje.
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Donald Richie poglavlje u svojoj knjizi o Kurosawi koje se bavi filmom Sedam samuraja završava rečima ,,Ovo je ne samo najvitalniji film koji je Kurosawa napravio već možda najbolji japanski film ikada napravljen", ali naravno, ova je knjiga izašla još 1965. godine, negde na polovini Kurosawine kreativne karijere. Ono što jeste nesporno je da je u pitanju zaista film koji je revolucionisao ne samo japansku već i američku kinematografiju – pa preko njih i druge.
Ne preko noći – uprkos dobrom prijemu publike u Japanu, domaća kritika mu je zamerala loš ,,odnos" prema seljanima, a na zapadu je film prikazivan u skraćenim verzijama koje su često dobijale prigovor da je prva polovina filma nerazumljiva – ali nezaustavljivo. Ne samo da je posle ovog filma Kurosawa imao slobodu da radi svoje dekonstruktivne samurajske drame poput Krvavog prestola i Yojimba, ali i zabavne, a opet višeslojne akcione avanture poput Skrivene tvrđave, već je i čitav japanski novi talas zgrabio tu energiju lomljenja kalupa tradicije i pronalaženja represivnog, autoritarnog ili naprosto zaslađeno idealizovanog u samurajskim epovima, hodajući tokom sledećih decenija na ivici između obožavanja plemenitih herojskih arhetipova i pokazivanja u kakvom su smutnom vremenu oni izmaštani da malo prikriju njihvu smutnost.
Na zapadu je ovo bila eksplozija koja će revitalizovati vestern žanr i njega samog naglavačke povući u dekonstruktivnu fazu koja je zaozbiljno krenula u šezdesetima a onda se prelila i na Italiju i kreirala čitavu epohu antiheroja, dripaca i čudovišta. Kurosawa je do tada već bio negde drugde, ali pečat koji je ostavio na medijumu filma ovom produkcijom do danas je neizbrisiv.
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U sklopu bližeg upoznavanja sa opusom japanskog režisera po imenu Seijun Suzuki, pogledao sam njegov film Fighting Elegy (aka Kenka erejii) iz 1966. godine, pretposlednji njegov rad za studio Nikkatsu. Sa svojim narednim filmom Suzuki je na neki način sebi zapečatio sudbinu kod ove firme, krunišući deceniju (i nešto jače) bizarnog rada u B-produkciji i prelazeći u neprijatni rovovski rat na sudu koji će, pa... potrajati. Nakon 1967. godine kada je snimio svoj poslednji film za Nikkatsu, jakuza-dramu Branded to Kill, za Suzukija će proći još čitava decenija pre nego što snimi naredni film ali nikada se posle ovaj prolifični autor nije vratio u tempo kojim je filmove pravio za Nikkatsu. Ako ništa drugo, bio je mirniji.
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Seijun Suzuki je jedna interesantna figura japanskog filma iz vremena Novog talasa. Do njega sam došao tako što su ljudi pominjali da je u pitanju neka vrsta Takashija Miikea pre samog Takashija Miikea, čovek neverovatne radne etike, nezamislivo visoke brzine pravljenja filmova, ali i čovek koji, iako radeći striktno u domenu žanrovskog filma i sa mizernim budžetima, nikada nije ni pomislio da ograniči svoju kreativnu viziju. Naprotiv, Suzukija smatraju autorom koji je praktično patentirao osobeni stil kao kombinaciju nadrealističnog humora, brizantne akcije, ali i fokusa na zanimljivim situacijama i set pisovima koji je bio važniji od narativne zaokruženosti čitavog filma.
Rođen kao Seitaro Suzuki, u porodici trgovaca tekstilom, Suzuki je nekoliko puta pokušavao da upiše a potom da završi visoke škole. U nekim slučajevima su ga sprečili loši rezultati na prijemnim ispitima, u drugim to što je bio mobilisan i poslat na Pacifik da ratuje protiv Amerikanaca. Suzuki je tokom ratovanja prošao prilično dobro, s obzirom da je preživeo i izvukao se bez ozbiljnijih telesnih oštećenja, ali i prilično loše s obzirom da su brodovi na kojima je bio potapani dva puta, da je plutao u okeanu satima pre nego što su ga našli i spasli... Opet, po sopstvenom svedočenju, on je u ovim situacijama pronašao i urnebesnu stranu, smejući se, kaže, dok je poput stereotipnog brodolomnika plutao u okeanu, svestan da je možda to – to.
Ipak, posle rata u kome je zaradio i čin potporučnika, uspeo je da uradi nešto po pitanju svog obrazovanja, ne bez ponovljenih neuspešnih polaganja prijemnih ispita na tokijskom univerzitetu, i poduči se pravljenju filmova na akademiji Kamakura. U industriji je prvi posao dobio za Shochiku ali sam kaže da je vrlo brzo postao poznat kao ,,relativno beskoristan" pomoćnik režije, koji je na poslu ozbiljno pio, brao cveće za svoju ženu i odbijao da napusti autobus kada bi ekipa stigla na mesto snimanja.
U drugoj firmi bi popio otkaz posle kratkog vremena, ali Shochiku je bio relativno mala kompanija u to doba, pa je Suzuki mogao da se tako razvlači sve dok 1954. godine nije konkurisao za posao u Nikkatsuu gde su ga zaposlili kao pomoćnika režije za, kažu trostruko višu platu od one koju je dobijao u Shochikuu. Suzuki je, valjda, bio i stimulisaniji da radi pa je pored rada sa drugim režiserima seo i napisao i svoj scenario – Duel at Sunset – koji je Hiroshi Noguchi 1956. godine pretočio u film, a iste godine je, još uvek pod imenom Seitaro, Suzuiki režirao i svoj prvenac, Victory is Mine, B-film kreiran da promoviše već popularnu pop-pesmu. Ovaj kratki rad je bio dovoljno impresivan za šefove studija pa je Suzuki dobio ugovor na duže vreme i bačen pravo u rovove da tamo pravi B-filmove tokom narednih jedanaest godina.
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Kao neko ko je bio zadužen da radi manje ambiciozne, budžetski daleko skromnije radove od A-produkcije studija, Suzuki je bio cenjen što radi brzo i što vrlo retko odbija scenarije (navodno je praksa u to vreme bila da je režiserima dozvoljeno da odbiju scenario ali da im onda preti rizik da dobiju otkaz). Za jedanaest godina snimio je četrdeset filmova i odbio svega dva ili tri scenarija, objašnjavajući da je njegov posao bio zapravo mnogo teži nego A-režiserima. Oni su ne samo imali ozbiljnije budžete već i slobodu da pristupe radu na svojim filmovima onako kako im sopstveni autorski senzibilitet diktira. Sa druge strane, režiser B-filma, dakle, drugog filma koji će ići iste večeri u bioskopu morao je, kaže Suzuki, da prouči šta sve radi režiser A-filma a onda da obezbedi da se u njegovom filmu ne ponavljaju ista rešenja i pristupi. Kako su, po Suzukijevim rečima, filmovi koje je studio pravio manje-više svi vrteli 3-4 klasične narativne premise, autorski je doprinos bio pre svega u domenu egzekucije, u načinu da se poznati tropi i reciklirani zapleti osveže originalnim pristupom.
Kako je Suzuki rano u karijeri postigao dosta uspeha svojim trećim filmom, jakuza-akcijašem Satan's Town, studio mu je uglavnom podmetao takve scenarije u daljem radu a Suzuki je sve sigurnije radio filmove o kriminalcima i nasilnicima, gradeći prilično sledbeništvo među mlađom publikom, poglavito studentima. 1963. godina je označila momenat njegovog probijanja i do nekakvog mejnstrima sa diptihom Youth of the Beast i The Bastard, gde je sarađivao sa Takeom Kimurom koji će dalje raditi scenografiju za njegove filmove i Suzuki će od tada pa na dalje koristiti pseudonim Seijun ali i insistirati da njegovi filmovi smelije prigrle magiju filmske trake i oslobode se pretenzija na realizam po svaku cenu.
Ovo će mu doneti i nešto popularnosti kod publike naklonjene Novom talasu ali je studio već tada počeo da ga upozorava da su mu filmovi postali previše bizarni i da mu kreše ionako sitne budžete. Suzuki je odgovorio pojačanom maštovitošću i snažnom avangardnom inspiracijom i njegov poslednji film za Nikkatsu, Branded to Kill mnogi smatraju avangardnim remek-delom ali je on vodio direktno do toga da studio odbije da ga dalje plaća, posle čega se krenulo sa suđenjem. Obrazloženje da su mu filmovi nerazumljivi i da ne zarađuju novac, da budemo fer, deluje sasvim na mestu s obzirom da je Suzuki trebalo da bude prosti zanatlija koji radi po, jelte, specifikacijama, a da je on sebe video kao divljeg maga filmske trake. Studio mu je sugerisao da traži drugi posao jer ga ionako niko drugi nikada neće uzeti da režira i, nažalost, iako je Suzuki na kraju dobio vansudsko poravnanje i izvinjenje, većina studija je zaista smatrala da je nebezbedno da radi sa čovekom koji, jelte, ne igra po pravilima, i njegovi kreativni impulsi će biti usmereno na pisanje knjiga i glumu u tuđim filmovima sve do 1977. godine kada je snimio svoj novi film za Shochiku – koji je prošao loše i kod publike i kod kritike. Dalji njegov rad je bio u dobroj meri vezan za televiziju, poglavito Anime, gde je radio kao supervizor za popularnu seriju Lupin the Third, a do kraja života, 2017. godine snimio je još samo osam filmova, završavajući, možda i prikladno, mjuziklom, kako je i počeo svoju karijeru.
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Fighting Elegy, dakle, predstavlja Suzukija na vrhuncu prvog dela njegove karijere, posle nekoliko desetina quick and dirty B-produkcija za Nikkatsu tokom decenije grozničavog rada sa malim budžetima i velikim vizijama u očima. Ovo je, iako, dakle, film za koga niko u studiju nije planirao da bude bogznakako ozbiljan i umetnički ambiciozan, svejedno film koji drsko i odvažno surfuje na vrhu, jelte, Novog talasa i spaja ambiciozan politički i psihološki narativ sa bizarnom, pomalo nadrealističkom komedijom.
Takashi Suzuki, po čijem je romanu urađen scenario nije naročito poznat pisac ni u Japanu – na zapadu, koliko umem da kažem, nije prevođen – a roman je u trenutku kada je Nikkatsu platio prava na adaptaciju bio još uvek veoma nov i bavio se srazmerno kontroveznom tematikom odrastanja u tridesetim godinama i radikalizacijom omladine koja će prihvatati fašističku retoriku i goreti od želje da ide da ratuje u Kini. Postoje indicije da je sam Seijun Suzuki od studija tražio da se ovaj roman otkupi za ekranizaciju i, na kraju krajeva, njegova prva knjiga koju je napisao kada je otpušten iz Nikkatsua i sama je dobila naziv Kenka erejii, pokazujući da se ovde radilo o mnogo ličnijem produktu od za njega uobičajenih jakuza-akcijaša ispunjenih seksom i nasiljem.
Studio je, nisam siguran kako i zašto, onda platio jednoj od autentičnih zvezda Novog talasa da napiše scenario. Kaneto Shindo je do 1966. godine već bio čvrsto etabliran kao nezavisni režiser i vlasnik sopstvene indi kompanije, ali i izuzetno plodan scenarista. Kako je Shindo predstavljao i izrazito levičarsko lice japanskog Novog talasa – pisao sam nešto o tome u prikazu njegovog filma Onibaba (https://cvecezla.wordpress.com/2021/06/25/film-onibaba/) – tako je i njegov odabir za scenaristu bio jasan signal šta je Suzuki želeo da postigne ovim filmom. Nikaktsu je sa svoje strane verovatno mislio da ne može da škodi da scenario napiše neko sa Shindovom reputacijom.
Međutim, Suzuki je, inače poznat po tome da scenarije tretira kao puke predloške i uživo na setu donosi značajne kreativne odluke, tretirao Shindov skript na sličan način, više kao sugestiju, manje kao recept. I Fighting Elegy je na kraju film koji o vezi između militarizma, striktne religijske discipline i fašizma govori kroz neobičnu i bizarnu smešu nasilne, neodgovorne komedije, psiholoških analiza i političkog simbolizma, sve spakovan u ni sat i po sirove crno-bele akcije.
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Smešten u 1935. godinu Fighting Elegy je zapravo adaptacija samo prve polovine Suzukijevog romana. Seijun je planirao da snimi nastavak ali je raskid saradnje sa Nikkatsuom ovo onemogućio. Čak i ovako, radi se o jednom prilično zaokruženom delu koje bazira svoj rad prevashodno na analizi karaktera glavnog junaka, mladog polaznikaa srednje škole u Bizenu, po imenu Kiroku Nanbu. Kiroku je katolik i striktno vaspitan, a što je zgodno s obzirom da je škola u koju ide vrlo militarizovana sa oficirima koji postrojavaju učenike i driluju ih za buduće vojničke potrebe, ali i nije zgodno jer je Kiroku smešten u pansion čija gazdarica ima vrlo privlačnu mladu ćerku Michiko koja je prema Kirokuu veoma prijateljski nastrojena, ali ne u meri da će ispuniti njegove snažne erotske žudnje. Kiroku, kao dobar katolik, svojoj ljubljenoj Michiko u svom dnevniku piše kako ne sme da masturbira na nju jer je to, jelte, greh, pa će nakupljenu tenziju da oslobodi tukući se po gradu.
Fighting Elegy je B-film i kao takav lako i rado koristi mnoge oprobane trope. Školske bande sa izraženim hijerarhijama i dugogodišnjim bifovima sa drugim bandama su jedan od ovih tropa i film kombinuje satiričnu komediju i ekstremno dobro snimljenu akciju da nam pokaže Kirokua koji stiče borilačku ekspertizu ali se i navikava na naglašeno toksično maskulinističko razmišljanje o životu.
Suzuki ovo, naravno, režira ekstremno efikasno, izbacujući sve što nije esencijalno za čak ne ni narativ koliko za jasno portretisanje glavnog junaka. Prva polovina filma je tako serija scena koje proučavaju Kirukove žudnje i krivicu vezanu za masturbaciju (sa remek-delom od set pisa u kome, nakon što je Michiko obećala da će Kirokua naučiti da svira klavir kako bi svoje tenzije oslobodio na taj način, on svojim ukrućenim penisom svira jednostavnu melodiju na klavijaturi, povezujući tako sebe sa objektom žudnje, a preko sada već u fetiš pretvorenog neživog predmeta, i doživljavajući svojevrsnu transcendenciju), ali i odnos sa različitim figurama autoriteta. Iako je katolik i, po svojim rečima, ozbiljan vernik, Kiroku u sebi nema mnogo stvarne skrušenosti i njega pre svega fasciniraju maskuline, liderske figure iz okruženja. Otac mu je neobično pitoresknog karaktera – dominantan ali ne nužno i nasilan – ali Kiroku se pronalazi u brutalnom režimu učenja borilačkih veština u koji ga ubacuje lokalni alfa-mužjak ,,Turtle", kao i u rivalstvu sa Takuanom, predvodnikom jedne od lokalnih bandi.
(https://i.imgur.com/wk4wPAv.png)
Film koji bi mogao da bude sam priča o nezbrinutoj i neshvaćenoj omladini u drugoj polovini dobija jasnije autoritarni prelov, kada Kiroku posle ozbiljnih problema koje je napravio u školi biva preseljen u prefekturu Aizu, da tamo kod strica i strine dovrši školovanje. Škola u koju Kiroku tamo ide prikazana je kao birokratizovna institucija ispunjena smešnim ćatama koji vrednuju isprazne slogane više nego bilo kakvu stvarnu akciju i Kiroku se odjednom zatiče u situaciji da nema ni jednu stvarnu figuru autoriteta kojoj bi mogao da iskaže lojalnost pa se njegova svakodnevnica pretvara u pisanje pisama Michiko i sve nasilnije ponašanje. Pojavljivanje neobičnog, harizmatičnog stranca u lokalnom baru će, pak imati velike implikacije na finale filma.
Ne pre nego što Suzuki kreira dugačku akcionu celinu u kojoj se tinejdžeri bore kao samuraji, jedni druge zarobljavaju, pa u smelim akcijama oslobađaju i poslednjih dvadesetak minuta Fighting Elegyja je kao da ste Rat dugmića ukrstili sa Paklenom pomorandžom.
Osim, naravno, samog finala u kome se saznaje da je misteriozni stranac iz bara bio niko drugi do Kita Ikki, uticajni desničarski radikal iz tridesetih koji je svojom knjigom i aktivizmom inspirisao pobunu vojske 1936. godine (https://en.wikipedia.org/wiki/February_26_Incident) i poveo hiljadu i po podoficira imperijalne armije u rušilački pohod u kome su ubijani liberalniji ministri i biznismeni. Kita je 1937. godine pogubljen zbog ove pobune ali iako je državni udar zaustavljen, imperijalna armija je posle nje konsolidovala svoje redove i, s obzirom da je vlada bila oslabljena nakon ovog incidenta, de fakto preuzela kontrolu nad japanskom politikom.
Finale filma na vrlo efikasan, vrlo simbolički potentan način pokazuje kako u Kirokuovoj glavi vojnici koji marširaju kroz sneg potiskuju u drugi plan njegovu žudnju ka Michiko – koja nešto pre toga i sama izjavjuje da će otići u samostan jer nije u stanju da rađa decu. Vizuelne aluzije na pobunu i grubo izguravanje sada ,,beskorisne" žene iz filma pravilno uokviruju finale u kome Kiroku kreće vozom za Tokio. Iako gledalac ovog filma ne može da zna da li će se on pridružiti pobunjenicima i podržati militarizaciju japanske države (u romanu hoće), slike su toliko jasne i upečatljive da nema mnogo sumnje kuda je sva nakupljena seksualna frustracija i opsednutost figurama snažnih muškaraca na kraju odvela protagonistu.
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Ono što fascinira kod Fighting Elegy je upravo ta ,,čista" filmska energija. Ovo nije film koji stane da nešto objašnjava i u njegovih 86 minuta vremena se sve što treba POKAŽE radije nego da se o njemu priča. Hideki Takahashi koji glumi Kirokua je najveći deo svoje karijere radio za televiziju, ali je do ovog filma u Nikkatsuu radi pre svega omladinske filmove. Iako je u vreme snimanja imao 22 godine i fizikus odraslog, snažnog muškarca, Takahashi perfektno kanališe taj kombo ultimativne naivnosti i fasciniranosti figurama snage i autoriteta koji će na kraju Kirokua odvesti na put ultimativnog izbora patriotizma i imperijalističkog, osvajačkog ratovanja.
Suzuki je ovde radio sa Kenjijem Hagiwarom u ulozi direktora fotografije, kreirajući jednu vizuelnu ekstravagancu koja je praktično tačno na pola puta između niskobudžetnog Kurosawe i niskobudžetnog Miikea. Kadriranje, scenografija, kostimi i generalni kvalitet fotografije su na toliko visokom nivou da je pomalo i postiđujuće pomisliti da se na OVO u Japanu misli kada se kaže ,,B-film". Suzuki je toliko spretan u koreografisanju scena sa mnogo glumaca i mnogo akcije da istoričarima ostaje samo da divlje špekulišu šta bi bilo da je ikada imao novca da snimi veliki samurajski spektakl.
Ali opet, taj ,,B" kvalitet filma možda i jeste njegovo najjače oružje koje bi moguće bilo otupljeno u A-produkciji. Fighting Elegy je film čiji je humor brz, efikasan i skoro uvek potpuno vizuelnog tipa, sa tekstom što samo daje kontekst ali sa smislim koji se dobija isključivo u domenu vizuelnog pripovedanja.
Takođe, iako tehnički manje nasilan od njegovih prethodnih jakuza-pripovesti, Fighting Elegy ima neke od najboolih scena akcije koje ste mogli da vidite 1966. godine u bilo kojoj kategoriji japanske produkcije. U tuči u kafani blizu početka filma kamera se drži u ruci, obilazi objekte na setu i gotovo direktno uključuje u akciju a Suzuki kreira dugačke, neprekinute scene iz jednog kadra u kojima glumci doslovno krvavo zarađuju svoj hleb gazeći jedni druge i koristeći priručnu opremu za maksimum destrukcije. Kasnije scene grupnih borbi emuliraju samurajske chanbara set pisove, samo i ovde sa priručnom opremom i Suzuki ovde ne zaostaje ni korak iza režisera koji su radili sa desetostruko višim budžetima.
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No, Fighting Elegy nije ni čist akcioni film ni čista komedija a ni čista drama. On je pre svega psihološki portret mladog muškarca sapetog između religijskih dogmi i autoriteta koje sreće u okruženju, punog neusmerene energije i strasti koju će na kraju najbolje iskoristiti fašisti. Kao takav on je poučna priča o tome kako se radikalizuje omladina kakve su danas popularne među levičarskim JuTjuberima, ali spakovan u nekarakteristično brz, efikasan i prkosno vizuelan filmski rad. Suzukijev tretman Shindovog scenarija nije lapidaran ili ispunjen nepoštovanjem za ,,ozbiljnu" tematiku koliko je zapravo svestan da drugi snimaju slične filmove i crtaju radikalne, politički intonirane stripove koji svi često govore istu stvar istim rečima. Njegov pristup je, stoga, da pokaže i adiktivnost akcije i nasilja – pogotovo u jednoj sasvim nadrealističnoj sceni koja koristi filtere da akciju prikaže kao fantazmagorčnu halucinaciju dok glavni junak pokušava da ne misli na seks – ali i da se podsmehne japanskim fantazmima o redu, radu, disciplini, samopregoru i surovom odricanju i samožrtvovanju za kolektiv. Naravno, ovo su i danas neke od definišućih karakteristika japanskog društva koje se uvek pominju kao najvažnije, ali ni pre pedesetšest godina kao ni danas one nisu STVARNO bile ono što vodi društvo, koliko ono što društvo voli da misli o sebi.
Kako je Novi talas u Japanu žestoko napadao sve ustaljene vrednosti, tako i Suzuki u jednoj genijalno montiranoj sceni pokazuje svu naučenu, površnu bezvrednost kolektivizma dok učenici po komandi odgovaraju svom profesoru a ekran sve brže biva deljen na levu i desnu stranu, sugerišući puku igru koja izvan ovog mesta nema nikakav značaj. Naravno, kada glavni junak besno išeta iz učionice i nekoliko minuta kasnije uleti u brutalnu tuču sa lokalcima, ovo nije puki bunt protiv besmislenog kolektivizma nego podsećanje da nas tako nešto neće zaštititi od fašizma koji dolazi po sve, i one poslušne i one agresivne.
Suzuki ovim filmom nije nudio rešenja ali je svakako dao pouku gledaocima, ismevajući svetinje i uživajući u agresivnoj vizuelnoj destrukciji simbolika koje treba da društvo sačuvaju od raspadanja. Radeći to kroz često frivolan humor, apsurdističku satiru i agresivnu, nasilnu akciju, sebe je kod svojih šefova osudio na dalje kritikovanje i, na kraju, otkaz. No, unutar Novog talasa teško da je bilo režisera sa uporedivo jakim ikonoklastičkim impulsom i Fighting Elegy je, iako atipičan za Suzukija, neka vrsta čistog filmskog izraza jedne vrlo jasne antiautoritarne satire koju morate pogledati možda i više nego jednom da je zaista razumete.
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Seijun Suzuki nije nameravao da Branded to Kill (aka Koroshi no rakuin, a što bi možda najtačnije moglo da se prevede kao ,,Stigma ubice") bude njegov poslednji film za studio Nikkatsu i, strogo tehnički gledano, on to i nije zaista bio, ali jeste označio kraj vratolomnog perioda od dvanaestak godina u kojem je prolifični režiser snimao po 3-4 rada godišnje argatujući kao u rudniku za potrebe proizvodnje B-filmova za svog poslodavca i početak mučnog sudskog procesa u kome se upinjao da dokaže kako ga je studio nepravično optužio da je kriv za sve njhove finansijske probleme ali i čitave decenije u kojoj je jedan od najvrednijih filmskih poslenika u Japanu bio praktično na crnoj listi svih studija i onemogućen da snimi bilo šta.
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Prošle nedelje sam pisao o pretposlednjem Suzukijevom filmu iz ovog perioda, satiričnoj i politički angažovanoj komediji/ drami skrivenoj u ljušturi akcionog filma, Fighting Elegy (https://cvecezla.wordpress.com/2022/07/08/film-fighting-elegy-aka-kenka-erejii/), i kako je ovaj film bio viđen kao značajno odstupanje od njegovih standardnih jakuza-eksploatacija sa puno seksa i nasilja i kako ga je studio već do tada bio ozbiljno uzeo na zub jer su mu filmovi bili sve ekscentričniji i sve dalje se odmicali od standardne B-ponude, uzimajući forme sve avangardnijih varijacija na poznate predloške, i kako su i šefovi u Nikkatsuu, pogotovo predsednik kompanije Kyūsaku Hori, insistirali da se Suzuki smiri i da radi po specifikaciji.
Branded to Kill je, na kraju ispao najdalje od specifikacije koliko se to može zamisliti u okviru relativno ozbiljnog studijskog sistema u 1967. godini, urnebesno avangardna, dekonstruktivna priča o profesionalnom ubici i koja je, da se razumemo, manje priča a više serija nadrealističnih epizoda godarovske inventivnosti i elegancije ubačene spretno u devedesetjednominutnu karoseriju high-concept krimića inspirisanog kineskim wuxia radovima i filovima o Jamesu Bondu koji su do tog momenta već pola decenije bili planetarni fenomen.
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Branded to Kill je, naravno, u prvom naletu prošao potpuno neshvaćen sa kritičarima koji su otvoreno pisali da kad odu u bioskop da gledaju celovečernju predstavu najmanje od svega očekuju da budu potpuno zbunjeni drugim filmom koji nema narativne logike i više se vodi principima sna, a finansijski neuspeh, za koji je bio kriv i A-film sa kojim je išao u paru je na kraju značio da je studio rešio da Suzukiju ukine platu i obavesti ga da ga od danas više ne smatraju filmskim režiserom jer on to ne ume da radi. Suzuki je, da bude jasno, već par sezona unatrag bio nezadovoljan što radi sa sve manjim budžetima i sa sve manjom podrškom studija za njegove vizionarske interpretacije generičkih scenarija i vajkao se kako slabiji režiseri od njega poput Shoheija Imamure (https://cvecezla.wordpress.com/tag/shohei-imamura/)uživaju slavu i poštovanje a njega tretiraju kao pukog zanatliju.
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Štaviše i sam Branded to Kill je bio apsolutno smandrljan i zbrzan projekat koji mu je uvaljen da radi nakon što je propao plan sa drugim režiserom i Suzuki je imao vrlo kratak rok da napravi ovaj film na vreme za ulazak u bioskope. Smatrajući da je originalni scenario slab, studio je Suzukiju komandovao i da ga preradi i finalni skript potpisuje Hachiro Guyru, kolektivni identitet koji je pored Suzukija činilo još nekoliko bliskih saradnika i saboraca, ali istina je i da će finalni produkt mnogo više izgledati kao produkcija pravljena ,,po sluhu", serija bizarnih scena i narativnih lukova koju zaista više treba tretirati kao da se dešava u (gledaočevom) snu nego kao čvrsto u zapletu utemeljen film o vrhunskom plaćenom ubici.
Za ulogu Hanade, tog, jelte, vrhunskog plaćenog ubice, trećeg po rangu u misterioznoj tokijskoj organizaciji koja unajmljuje plaćene ubice, Suzuki je dobio prekaljenog B-asa po imenu Joe Shishido (tj. Jō Shishido), čoveka koji je svojevremeno operisao jagodice na licu da bude upečatljiviji prepoznatljiviji publici i producentima. Iako nikada nije dosegao status stvarnih zvezda poput Mifunea ili Nakadaija, Shishido je svakako imao mnogo posla, snimivši više od trista filmova u svojoj karijeri, ali je glumeći u nekoliko Suzukijevih radova dobio imidž opasnog, tvrdog lika po kakvom ga najbolje prepoznaju na zapadu.
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Stvar je u tome da je Branded to Kill jedna agresivno egzistencijalističa dekonstrukcija baš takvih filmova u kojima je glumio Shishido, sputana i mučna disekcija lika profesionalnog ubice koji ima šmek džemsbondovskih tvrdih psihopata sa neodoljivim šarmom, preciznom rukom i uvek prodornom erekcijom, ali koji se potpuno urušava u sistemu što je temeljito, praktično kafkijanski obezljuđen. Suzuki sa Branded to Kill kreira svet visoke intrige, late-60s glamura sa krznima, skupim pićima i stanovima na dva nivoa gde muževni muškarci grubo, strastveno jebu stalno vlažne, mazne a opasne žene na spiralnom stepeništu, ali Suzuki svog protagonistu Goroa Hanadu stavlja u mučni psihološki kovitlac padanja i uspinjanja kroz ,,zvaničnu" hijerarhiju japanskih profesionalnih ubica.
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Ideja o rangiranju ubica, lopova špijuna itd. i njihovom tretiranju kao gotovo nadljudskih profesionalaca, te stalnoj borbi za rang među njima je danas u japanskoj popularnoj kulturi veoma raširena i prisutna u praktično svim medijima, mangama, anime filmovima (manga Lupin the Third, naravno, baštini ovu premisu a Suzuki je kasniji deo svoje karijere vezao za anime-adaptaciju ovog popularnog stripa), filmovima, video-igrama, itd. ali je Suzuki najverovatnije bio inspirisan kineskom žanrovskom literaturom a postoje i indicije da ubica rangiran brojem jedan u ovom filmu zapravo simboliše pomenutog Kyūsakua Horija, predsednika studija i njegovu noćnu moru i nemezu. Sam Hanada insistira na svom profesionalizmu i neke od akcionih scena ili scena asasinacija koje nam Suzuki daje u gotovo vragolasto brzoj, efikasnoj montaži su vrhunski stilizovane i atraktivne – utičući jako i na zapadne režisere u rasponu od Quentina Tarantina do Jima Jarmuscha koji će u svom Ghost Doggu napraviti direktan omaž asasinaciji izvedenoj kroz cev slivnika što je vidimo u ovom filmu – a žena mu je skoro pa holivudska seks-bomba koja kupuje skupa krzna iako je leto i trpi gnev svog muškarca koji će na kraju amortizovati seksom.
Ali Hanada nije nepogrešivi profesionalac i nije broj jedan na rang listi*. Kao zvanično treći po rangu on će do kraja filma pretvoriti razmišljanje o misterioznom prvorangiranom ubici u opsesiju a zatim i u autodestruktivnu potragu za ostvarivanjem smisla u životu koja, ne moramo da krijemo, neće da se završi na baš idealan način.
*da ne pominjemo da umesto da pije martini on fetišizuje miris kuvanog pirinča, a što mu je i svojevrsni afrodizijak kojim uveliko satirizuje džemsbondovsku booze 'n' sex kvazigospodsku pozu
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Odsustvo jasnijeg zapleta svakako treba prepoznati kao problem koji je Suzukiju zapečatio sudbinu u Nikkatsuu, ali je ovo film koji je žanr tako lako i tako jako oslobodio robovanja žanrovskoj galanteriji, obaveznim formama i generičkim motivima, da je osećaj kao da ste išetali iz bioskopa i ušetali pravo u timotilirijevski psihodelični san sličniji Joyceovom Uliksu nego jamesu Bondu. Hanadin prvi posao u ovom filmu zapravo nije ubistvo nego eskort-misija koja kreće po zlu jer radi sa ,,profesionalcem" koji je pao u nemilost šefova na ime svojih sasvim ljudskih slabosti i želje da ima ljudske emocije i da pije alkohol. Akcija koju gledamo je istovremeno veoma hi-tech tipa, sa zanimljivim oružjima i dizajnom set pisova, ali na kraju i vrlo visceralna, kada Hanada sebe pomera na lestvici ubica na jedan veoma varvarski, brutalan način.
Odmah posle toga smo u sasvim drugom okruženju, sa drugim postavkama, Hanada ima psihopatski odnos sa svojom ženom (i u seksualnom i u emotivnom smislu) i kada potom nailazi na drugu femme fatale koja je opsednuta smrću i živi u stanu što više podseća na endivorholovsku instalaciju ukrštenu sa podrumom serijskog ubice nego na prostor u kome se živi, on se njome potpuno opsedne. Naravno, u igranju sa bondovskim tropima, Hanadin tretman žena je zastrašujući, sa scenom u kojoj on jednu od njih doslovnu upuca pištoljem u vaginu, ali, da budemo fer, i sa činjenicom da će obe pokušati, sasvim opravdano, da ga ubiju.
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Presudni momenat u filmu za Hanadu je neuspela asasinacija kakvu je, uostalom samo profesionalac poptu njega makar teorijski u stanju da izvede – radi se o snajperskom hicu u srce za koji ima samo petinu sekunde na raspolaganju – a koja onda propada na ime leptira što u odsudnom momentu sleti na cev oružja i promeni trajektoriju metka na fatalan, tragičan način. ,,Efekat leptirovih krila" je danas svakako veoma izlizana sintagma ali Suzuki je koristi da svog protagonistu ubaci u košmar paranoje, straha i egzistencijalne teskobe koju će tek Coppola nekoliko godina kasnije zaista dotaći sa svojim The Conversation.
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No, Suzuki je do kraja filma prošao DALEKO kroz žanr špijunskog trilera i ušao u teritoriju čiste, moderne apsurdističke drame koja je više Samuel Beckett nego Ian Flemming. Hanada i njegova nemeza su do kraja filma neka vrsta tela i antitela koja kruže oko zajedničkog centra gravitacije, jedno sa sadističkim, oblapornim zadovoljstvom u progonu svog plena, mirisu krvi, psihološkoj torturi koja prethodi fatalnom hicu, drugo sa osećajem da je zatvoreno u svetu koji se sveo na samo jednu dimenziju. Hanadin život u poslednjoj trećini filma uteran je u praktično zlostavljačku matricu gde žrtva sve vreme pokušava da pronađe privid asertivnosti kako bi sebe ubedila da bilo šta kontroliše u ovoj situaciji, sa poslednjim, šupljim trijumfom koji se odvija na bokserskom ringu, bez sudija, ili publike, samo simulirajući pobedu.
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Teško je ovde ne učitati Suzukijeve personalne emocije i stanja, osećaj zarobljenosti u Nikkatsuu i slepog mahanja na sve strane, samo da se dodirom pesnice sa tuđim licem oseti neka vrsta ljudskog kontakta i neka vrsta dijalektičkog kretanja u bilo koju stranu. No, u kakvom god da je emotivnom stanju pravio ovaj film – a kažu da je mnoga rešenja smislio samo noć pred snimanje partikualrne scene ili ih improvizovao na nagovor ekipe na setu – Suzuki je snimio jedno od ultimativnih vizuelnih iskustava Novog talasa.
Širokougaono sočivo, moćni sinemaskop (za koji se spekuliše da je u Japanu bio tako dobro korišćen na ime tradiciješirokih bina kabuki-pozorišta) i Suzuki i direktor fotografije Kazue Nagatsuka koji ekstremno disciplinovano postavljaju kompozicije po dubini – sve to daje filmu izuzetno upečatljiv izgled. Kako je sam smatrao da scene akcije ne izgledaju dovoljno dobro sa širokim uglovima, u kojima se glumci gube i ne ,,iskaču" dovoljno pred gledaoca, tako je Suzuki obraćao pažnju na svaki detalj u svojim postavkama, terajući glumce i kaskadere da rade i pomalo neverovatne stvari u set pisovima akcije i ubijanja. Korišćenje rezova samo kad je potrebno u njima znak je, kao i uvek, izuzetno izgrađene zanatske veštine uparene sa profesionalnim ponosom nekoga ko i u B-filmu nalazi svoje umetničko poslenstvo. Montiran efikasno, Branded to Kill sebe radosno dekonstruiše na mnogo nivoa, od atonalnog džeza na saundtraku Naozumija Yamamotoa (ne treba da nas čudi da se John Zorn istorijski veoma loži na vaj film), pa sve do animiranih efekata koji u jednoj od scena imitiraju uobičajene dramatične prikaze kiše i drugih elemenata što treba da povise emocije protagonista.
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Branded to Kill je nazvan remek-delom mnogo puta do sada pa mi nije teško da i ja ponovim sličnu konstataciju. Vizuelno bezobrazno ikonoklastičan a neodoljivo zavodljiv, narativno i karakterološki dekonstruisan do momenta kada se grindhouse i Sartre nalaze na piću, pa se onda potuku i na kraju plaču jedan drugom na ramenu, Branded to Kill je film koji nije ubio karijeru svog autora, ali ju je teško ranio, dajući istovremeno Novom talasu jedan od najkultnijih, kasnije najcitiranijih radova. Nije neko čudo da su baš radikalni, revolucionarno nastrojeni studenti bili najveća podrška Suzukiju tokom njegovog suđenja sa Nikkatsuom jer je ovaj film nosio baš tu anarhističku energiju koju su im davali i gekiga stripovi, kao i ,,uredniji" novotalasni filmovi, a opet je ostao čvrsto u žanru, kopajući iznutra sve dok na svetlo dana ne iznese njegove najproblematičnije a najzadovljivije elemente. Nije čudo ni da je Nikkatsu par godina kasnije napravio ,,Roman Porno" rimejk ovog filma, grebući dno kace i pokušavajući da nekako ostvari finansijsku solventnost, kada se pokazalo da problemi sa parama nisu bili samo Suzukijeva krivica već posledica slabog upravljanja biznisom od strane ljudi mnogo iznad njega u strukturama. Čudo je možda samo to da je Suzuki dobio priliku da režira i nastavak ovog filma skoro tri i po decenije kasnije, ali o tom filmu, nazvanom Pistol Opera iz 2001. godine, pričaćemo nekom drugom prilikom.
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Kagemusha, odnosno Kagemuša – senka ratnika, kako je bio prevođen u jugoslovenskoj bioskopskoj distribuciji je prvi film Akire Kurosawe koga sam bio svestan, najviše zahvaljujući činjenici da sam do 1980. godine već bio dorastao da čitam novine i gledam šta sve to ima u bioskopima pa je bilo intrigantno saznavati da postoji neki japanski režiser koji uživa svetsku slavu i čiji je najnoviji film spektakularna istorijska drama o sukobljenim klanovima i starinskim shvatanjima časti, čojstva i junaštva.
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Četrdesetdve godine kasnije, Kagemusha je fascinantan film – nikako jedan od Kurosawinih najboljih ali bez ikakve sumnje jedan od njegovih najambicioznijih iskaza i najava finalnog dela njegove karijere koji su karakterisala duboka zaranjanja u ljudsku psihologiju sred skupog vizuelnog spektakla i povratak slikarskom razmišljanju koje je tako dugo morao da drži u zapećku. Na čisto likovnom planu Kagemusha je jedan od najuticajnijih japanskih filmova uopšte, sa beskompromisnim korišćenjem kolorita na način koji pre toga nije zaista viđen ali i smelim, pa možda i prkosnim povratkom teatru naglašenijim nego ikada pre u Kurosawinom opusu.
Kagemusha je značajna produkcija jer je na neki način predstavljala i kambek za čoveka kome je poslednjih desetak godina donelo mnogo frustracije i malo uspeha. Kurosawa je šezdesete godine načeo sa titulom nekrunisanog ali neupitnog kralja japanske kinematografije, jašući na vrhu Novog talasa kome nije zaista pripadao ali mu je dao veoma značajne smernice svojim socijalno osvešćenim radovima poput Pijanog anđela (https://cvecezla.wordpress.com/2020/05/25/film-pijani-andeo-yoidore-tenshi/), i potpisujući neke od najznačajnijih japanskih filmova svih vremena. Rashomon (https://cvecezla.wordpress.com/2020/06/22/film-rashomon/) i Sedam samuraja (https://cvecezla.wordpress.com/2022/07/01/film-sedam-samuraja-aka-shichinin-no-samurai/)su otvorili vrata zapada, Evrope i Holivuda za japanski film i opčinili jednako i kritiku i publiku a kod kuće je Kurosawa imao slobodu da za Toho radi skupe spektakle poput Krvavog prestola (https://cvecezla.wordpress.com/2020/07/13/film-krvavi-presto-aka-kumonosu-jo/) i Skrivene tvrđave (https://cvecezla.wordpress.com/2021/12/30/film-skrivena-tvrdava-aka-the-hidden-fortress-aka-kakushi-toride-no-san-akunin/), pa i da napusti okrilje velikog, uglednog studija i osnuje sopstvenu kompaniju uz Tohov kapital.
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No, sedamdesete su bile teško vreme kako za Kurosawu producenta i menadžera koji je morao dobar deo svog vremena da posveti vođenju firme što nije poslovala najsjajnije, ali i za Kurosawu autora. Nakon teške, naporne i mučne produkcije filma Red Beard, poslednjeg njegovog u kome će igrati Toshiro Mifune, Kurosawa je stekao reputaciju tiranina koji se na setu iživljava nad ekipom i čiji perfekcionizam naprosto ne opravdava sadistički pristup snimanju. Red Beard je bio uspešan u Japanu ali ne i jednako dobro primljen u međubarodnim okvirima i sam Kurosawa je odlučio da nešto mora da se menja u njegovom radu.
Ulazak u internacionalnu produkciju je predstavljao logičan naredni korak, pogotovo sa japanskom kinematografijom koja se početkom sedamdesetih nalazila u nezgodnom istorijskom momentu sa opadajućim prihodima i problematičnom tranzicijom u eru velike popularnosti televizije. Pominjali smo već da su studiji nalazili svakojake načine da uz mala ulaganja okrenu nekakve pare – studio Nikkatsu je kreirao novi žanr seks-eksploatacije nazvan Roman Porno i uradio rimejkove mnogih svojih prethodnih filmova u ovoj formi – a Kurosawa je računao da su njegova reputacija i, ostalom, ekspertiza takvi da ima otvoren blanko račun u Holivudu.
Nažalost, prva produkcija u koju je bio uključen završila se otkazivanjem 1968. godine zbog raznih problema sa scenarijom i logistikom a tek polovinom osamdesetih će film Runaway Train po ovoj priči biti snimljen od strane Andreja Končalovskog. Kurosawin naredni holivudski pokušaj, Tora! Tora! Tora! – ambiciozno zamišljena priča o napadu na Perl Harbur pričana iz perspektive japanske i američke strane, sa dva režisera – je bila epski katastrofalna produkcija tokom koje su Foxovi producenti Kurosawu slali na posmatranje kod psihijatra jer su smatrali da njegovi stalni problemi sa američkom ekipom moraju biti simptom mentalnog oboljenja. Praktično otpušten iz ove produkcije i zamenjen Kinjijem Fukasakuom i Toshiom Masudom, Kurosawa je i sa te strane okeana zaradio reputaciju problematičnog, kapricioznog autora koji troši mnogo vremena i novca a ne garantuje rezultate.
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Nazad u Japanu, i na čelu nezavisne produkcije koju je osnovao sa Keisukeom Kinoshitom, Masakijem Kobayashijem i Konom Ichikawom, Kurosawa će snimiti socijalnu dramu Dodesukaden, miljama daleko od njegovih trejdmark samurajskih epova i u srazmerno brzoj i jeftinoj produkciji. Nažalost, ovaj film je prošao slabo i kod kuće i napolju iako se radilo o prvom kolor-radu čoveka koji je učio da bude slikar i označio nastavak nesigurnosti i lutanja, te pokušaje prelaska na televiziju koji su urodili samo jednim dokumentarnim filmom.
Sovjeti će, pak, Kurosawi vratiti nešto samopouzdanja pa je Dersu Uzala koji je polovinom sedamdesetih snimio za Mosfiljm doneti režiseru svojevrsni povratak internacionalnoj slavi iako je u Japanu naišao na mlake reakcije. Kurosawa će, ovenčan oskarom za najbolji strani film i nagradama koje je Dersu Uzala dobio u Evropi, moći da ponovo pregovara sa Tohom oko finansiranja velikog i skupog filma, ali ovog puta i njegova reputacija sa druge strane Pacifika biće od pomoći.
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Kagemusha je snimljen po ideju koju je Kurosawa dugo imao na umu, o običnom čoveku, štaviše sitnom lopovu koji igrom neverovanih okolnosti dolazi na mesto velikog i uticajnog vojskovođe, predvodnika moćnog klana u Japanu šesnaestog veka, zamišljen kao kombinacija karakterne drame i spektakularne jidaigeki produkcije. No, Toho je do kraja sedamdesetih godina i sam ušao u finansijske tesnace i veliki deo njihove produkcije tokom čitave decenije otpadao je na žanrovske radove iz kaiđu repertoara, razne nastavke Godzile, Lone Wolf and Cub i vampirske filmove. Kurosawa naoružan ozbiljnim scenarijom i ambicijom nije bio dovoljan da pokrene investitore kojima je umetnost bila sekundarna u odnosu na profit, ali ovde je njegova reputacija kod perjanica Novog Holivuda presudila. George Lucas je, uostalom, bio vlasnik najvećeg – neočekivanog – holivudskog hita sa kraja sedamdesetih, Zvezdanih ratova, inspirisanih Kurosawinom Skrivenom tvrđavom i kada je Lucas posle razgovora sa Kurosawom saznao sa kakvim scenarijem i idejama ovaj pokušava da namakne budžet, uspeo je da ubedi vrlo sumnjičavi 20 Century Fox da koproducira Kagemushu, u zamenu za ekskluzivna distributerska prava u inostranstvu, regrutujući usput novoholivudskog kolegu Francisa Forda Coppolu da budu koproducenti internacionalne verzije filma.
Rekoh već da Kagemushu ne smatram jednim od najboljih Kurosawinih filmova ali ovo ni slučajno nije na ime nekakvog kompromisa koji je režiser napravio svestan da sada iznad sebe ima kapital iz dve države i obavezu da se dokaže u međunarodnoj areni. Ako ništa drugo, radi se o, naprotiv, beskompromisno urađenom filmu koji ni malo ne haje za komercijalne učinke i sa opsesivnim fokusom se bavi Kurosawinim omiljenim temama patološke političke ambicije na čijem se oltaru žrtvuju ljudski životi. Osobenost Kagemushe je i u tome što ovo žrtvovanje pokazuje na svim nivoima, od običnih vojnika i njihovih konja koji ginu u besmislenoj klanici na bojištu – finalna scena u filmu, tvrdi se, koristi čak pet hiljada statista – pa sve do vrha klana na čijem čelu je osoba čija se reč, nominalno ne dovodi u pitanje ali koji je u stvarnosti samo marioneta.
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Zaplet Kagemushe je generalno poznat ali uvodna scena, snimljena u jednom jedinom kadru sa glumcima koji sede i ne pomeraju se, pojašnjava o čemu će se ovde raditi: gospodar Shignen, predvodnik klana Takeda je i do sada povremeno koristio svog brata Nobukadoa, da se pojavljuje umesto njega u pojedinim prilikama, ali pronalazak lopova osuđenog na smrt pa pošteđenog zbog velike fizičke sličnosti sa Shingenom otvara mnoge nove mogućnosti za mudru političku strategiju. Shingen sada ima svog dvojnika, svoju ,,senku" i kada, nekoliko nedelja kasnije on pogine od metka zato što je prišao preblizu zamku koga je njegov klan opsedao, njegovi oficiri brže-bolje, sve sledeći instrukcije spremljene za slučaj iznenadne smrti, na njegovo mesto postavljaju Kagemušu, odlučujući da održe jedinstvo klana i inerciju borbe u kojoj su poslednjih godina videli više pobeda.
Kagemušu (tj. dvojnika – termin zaista znači ,,senka ratnika") u ovom filmu igra Tatsuya Nakadai, veteran samurajskih filmova, ubačen u produkciju nakon što je Kurosawa već prvog dana snimanja došao u sukob sa originalno odabranim glavnim glumcem Shintarom Katsuom koji je na set doveo sopstvenu ekipu da snima neku vrstu making of... dokumentarca. Katsuo je i inače imao reputaciju problematičnog, za saradnju komplikovanog lika, pa je Nakadai delovao kao sasvim prirodno rešenje. Obdaren ozbiljnim glumačkim kapacitetima ali i reputacijom čoveka koji je izneo neke ključne novotalasne jidaigeki drame (Harakiri (https://cvecezla.wordpress.com/2020/08/04/film-harakiri-aka-sepukku/), Hitokiri (https://cvecezla.wordpress.com/2021/11/05/film-hitokiri-aka-tenchu/), The Sword of Doom (https://cvecezla.wordpress.com/2021/08/06/film-the-sword-of-doom-aka-dai-bosatsu-toge/), ali i Kurosawine Yojimbo (https://cvecezla.wordpress.com/2020/07/26/film-yojimbo/)i Sanjuro), Nakadai je ovom filmu morao da podari podvojenost lika koji sa jedne strane biva tretiran maltene kao božanstvo što hoda zemljom i donosi odluke o životu i smrti desetina i stotina bespogovorno lojalnih podanika, ali je sa druge samo lutka na koncu kojom upravljaju iskusni oficiri a čije ga sluge i stražari, u javnosti spremni da žrtvuju život za njega bez razmišljanja, iza zatvorenih vrata tretiraju kao pukog glumca, bez respekta ili ljudske topline.
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Samo snimanje, nagađate, nije bilo lako, pogotovo jer je Kurosawa ovde radio sa doslovno hiljadama statista odevenim u atraktivne oklope, puno konja, oružja i pirotehnike, a da ne pominjemo da je japanska štampa opsesivno pratila svako posrtanje i kašnjenje u produkciji, spremna da na komade rastrgne autora koji se bližio sedamdesetoj i po mišljenju mnogih odavno pregurao vrhunac svoje karijere, sada već godinama u kreativnom opadanju.
No, ne mislim da je finalna forma ovog filma nesavršena na ime problema u samoj produkciji – naprotiv, Kurosawa je imao više nego dovoljno materijala i sam George Lucas tvrdi da je finalnu bitku kod zamka Nagašino on snimao čitav dan da bi u konačnoj verziji bila svedena na svega minut i po akcije – koliko da je sam Kurosawa u ovoj fazi svog kreativnog života bio zainteresovan za prevashodno dva prioriteta: psihološko portretisanje glavnog junaka koji se sve vreme nalazi u egzistencijalnom procepu i likovnost filma koju će mu omogućiti savremena tehnologija i snimanje u koloru.
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Otud je Kagemusha možda i paradigmatično prerazvučen film. Verzija koju danas možemo da gledamo putem Criterion Colection paketa traje okruglo tri sata i nešto je duža od onog što je išlo u bioskopima početkom osamdesetih, ali ne i značajno duža (vraćena je scena koju je Kurosawa napisao za svog omiljenog glumca, legendarnog Takashija Shimuru kome će ovo biti poslednje pojavljivanje u njegovim produkcijama). Ovo je naprosto film koji svoju dramu gradi sporo, pomalo i namešteno sporo, jednim pozorišnim jezikom, neretko kreirajući dugačke scene čistih, neprekinutih dijaloga koji se odvijaju u realnom vremenu, bez skraćenja i rezova. Uvodna scena, kadrirana kao da posmatramo pozorišnu binu je paradigma iz koje izrasta veliki deo filma, i Kurosawa, veoma zainteresovan za ,,filmovano pozorište" i u svojim starim filmovima, ovde će možda i iznenađujuće posvećeno raditi na rekonstrukciji pozorišta pred kamerom.
Štaviše, i pored svih konja, jahača, barjaka i kopalja, često se najbitniji momenti drame odvijaju u intimnim situacijama u kojima Kagemusha mora da prođe ,,ispite" pred slugama, pred Shingenovim ljubavnicama, pred Shingenovim unukom koji čim vidi čoveka koji se vratio sa bojišta posle navodnog ranjavanja tvrdi ,,ovo nije moj deda"... Ovo su momenti u kojima Kurosawa dekonstruiše uobičajenu jidaigeki formu, dajući Nakadaiju subverzivnu energiju i neočekivane komične momente. Time se i ostatak filma formatira na poseban način i posmatra iz drugačijeg ugla, sa scenama na bojištu koje sa uzvišenja posmatra lažni gospodar Shingen dok se njegovi paževi i mlađi oficiri bacaju pred metke da mu spasu život.
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Problem Kagemushe kao trosatnog filma je što se najmanje na kraju bavi samim Kagemushom. Kurosawa pravi opširne tangente pokazujući predvodnike suparničkih klanova koji sve vreme diskutuju o tome je li Shingen zaista preživeo snajperski hitac, da li je na čelu klana Takeda zapravo dvojnik, dajući nam njihove diskusije o tome kako da isprovociraju Takede da pokažu imaju li na čelu stvarnog ratnog vođu ili samo grupicu oficira i marionetu koji improvizuju i mada je ovo obavezan ,,politički" program u ovakvoj drami, on kao da pojede previše vremena koje bi trebalo da dobije Nakadai. U njegovim scenama glumac je često nem, prikazujući samo licem pritisak koji mu je na plećima ali ne i veoma složenu motivaciju koja ga je dovela na ovaj položaj.
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Ni sama ,,poruka" filma, ako moramo baš da vulgarizujemo, nije do kraja jasna jer Kurosawa prikazuje političke ambicije koje oko Kagemushe pletu oficiri ali i njegov sin iz jedne od veza koji večito pati što je preskočen u redu nasleđivanja na čelu klana, ali ne vodi priču na način da vidimo kako sam Kagemusha u bilo kom trenutku prelama odluku da se razotkrije i time pokrene fatalni sled događaja što će dovesti do finalne bitke kod zamka Nagašio i nestajanja ambicija u dimu baruta. Kada Nakadai, svedočeći besmislenom masakru u koji je vojska uterana samo da bi se merilo čiji je veći, ranjen i očajan sa kopljem u rukama sam juriša prema zabarikadiranim strelcima, ovo je kulminacija nekoliko minuta fantastično snimljenih scena užasa i besmisla rata, ali ne i kulminacija narativa ili psihološke analize protagoniste.
Utisak je svakako da je Kurosawin originalni scenario, prevashodno usredsređen na psihologiju glavnog junaka – i čiji se ostaci svakako vide u, na primer potresnoj sceni kada Kagemusha, nakon razotkrivanja traži da se oprosti od ,,unuka" ali ga umesto toga oteraju gađajući ga kamenicama kao psa – prerastao u ratni spektakl onako kako je rasla ambicija da se sa ovim filmom režiser konačno i definitivno ,,dokaže" kod kuće i u inostranstvu i da su elementi spektakla zamaglili fokus na motivaciji i dilemama protagoniste. I Kagemusha svakako nije režiran onako efektno i efikasno kao, recimo Sedam Samuraja koji je od njega još i pola sata duži.
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Ali Kagemusha na svojoj strani ima tu likovnost i beskompromisnost na vizuelnom planu koje su prethodni Kurosawini filmovi najavljivali ali tek su se pred kraj sedme decenije njegovog života uslovi stekli da se one i realizuju. Kurosawa je i u prethodnim dekadama svoju slikarsku naobrazbu stavljao u službu kreiranja detaljnih storibordova za svoje produkcije ali je tokom mučnog perioda sedamdesetih ozbiljnije počeo ponovo da slika, pogotovo u pripremama za ulazak u produkciju ovog filma tokom kojih će nastati više platna koja su daleko prevazilazila skice ili puke storibordove.
I film čije su boje toliko snažne i tako pažljivo uklopljene zaista je i mogao da snimi samo slikar gladan toga da scene koje je u glavi i na platnu postavljao nekoliko godina konačno vidi u pokretu. Ovo je prisutno i u svedenijim scenama – jedna legendarna sekvenca sna se praktično događa na oslikanom setu – ali svakako u najvećoj meri na velikim, otvorenim prostorima gde se Kurosawa baca u dubinu svojih kadrova, seče ih horizontima iznad kojih je nebo psihodeličnih boja, kreira kompleksne koreografije za stotine konjanika i pešadinaca sa njihovim farbanim oklopima i vijorećim barjacima, tretira čitave bataljone statista kao boju koju razliva po slikarskom platnu. Nekoliko scena u filmu doslovno se samo bave prikazom raspoređivanja trupa koje spadaju u različite delove Shingenove vojne sile na širokim bojištima i ovo su apstraktni, hipnotički momenti čiste forme i kolora iako su sastavljeni od živih ljudi u oklopima i na konjima.
Sa druge strane, Noh teatar kao Kurosawina celoživotna opsesija ovde dobija ne samo ljupke omaže u nekoliko pozorišno režiranih scena (u jednoj predvodnik suparničkog klana iz čista mira zapeva u momentu povišenih emocija) već i jednu višeminutnu sekvencu ,,čiste" Noh predstave u kojoj Kagemusha i oficiri gledaju glumce koji sviraju, pevaju i kreću se po bini, u kostimima, sa tradicionalnim isntrumentima, izvodeći program kojim se slavi pobeda ali koji i služi kao zloslutna najava finala ove priče.
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Kada film kulminira u dugačkim scenama bitke, u njima se spajaju i teatar i slikarstvo i čisti filmski spektakl. Vođa klana na uzvišenju iznad doline u kojoj se vodi bitka, uzvitlani barjaci i oklopi, konji koji jure i kuršumi koji lete, a na brežuljku publika, lažni ratni gospodar koji posmatra bitku dok se tinejdžeri oko njega zbijaju da prime u svoja tela metke namenjene njemu, i rat koji se ne vodi ni za čiju dobrobit već samo u ime sujete plemstva – ovo su scene koja snažno ostaju nakon gledanja filma, jače nego predugačka i previše ,,objašnjena" priča i nedovoljno istražen portret glavnog junaka. Uz muziku veterana Shin'ichirōa Ikebea – kome je ovo bio tek drugi film za koji je napisao skor, nakon Imamurinog Vengeance is Mine (https://cvecezla.wordpress.com/2021/10/22/film-vengeance-is-mine-aka-fukushu-suru-wa-ware-ni-ari/) – Kagemusha ostavlja utisak spektakla koji samog sebe sputava, sapliće i osuđuje na svakih nekoliko koraka, lomeći i pomisao na katarzičnu energiju borbe i oslobađajuću prirodu rata. Kurosawa i ovde kao da odlazi nekoliko koraka predaleko, dajući nam pri kraju filma nekoliko minuta dugačku scenu konja i vojnika koji posrću i umiru pokošeni mecima, prikazani u gotovo neizdrživom slow motionu koji će Holivudu dati drugu stranu artizma nasilja što ga je deceniju ranije na velika vrata uveo Sam Peckinpah, a Japanu definitivni iskaz o Kurosawinom preziru ka romantizaciji tradicije i gubitku humanizma u velikim, istorijskim narativima.
I mada je kao takav mogao da prestavlja i šamar u lice i jednoj i drugj strani pacifika, Kagemusha je osvojio publiku svojom beskompromisnom likovnošću ali i kritiku, osvojivši Zlatnu palmu u Kanu (zajedno sa Fosseovim All That Jazz) i otvorio vrata za finalni deo Kurosawine karijere u kome će režiser tretirati filmski ekran kao slikarsko platno i snimiti neke od vizuelno najupečatljivijih filmova svih vremena. Utoliko, Kagemusha, iako nesavršen i nedorečen na nekoliko nivoa, predstavlja jedan od najvažnijih radova velikog autora i obavezan deo lektire za doslovno svakog ko se interesuje za ne samo njegov opus već i filmsku umetnost uopšte.
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El Chacal de Nahueltoro (Šakal iz Nahueltora) je prvi film čileanskog režisera po imenu Miguel Littín, snimljen 1969. godine i sa statusom jednog od najvažnijih filmova Novog lationameričkog filma, labavo povezanog ali esteski prepoznatljivog trenda u južnoameričkom filmu koji se razvijao od pedesetih godina prošlog veka pa, kažu mnogi, sve do osamdesetih, sa partikularnim pogledom na realnosti ovog kontinenta u političkom i socijalnom smislu. Naravno, vreme posle drugog svetskog rata bilo je veoma turbulentno za populacije u Južnoj Americi a film, kao sve raširenije prihvaćeni mas-medijum ali i sve dostupniji umetnički medijum je ostao i jedno od bojnih polja na kojima se ratovalo za slobodnije, pravdenije, pa i modernije društvo. Ima ljudi koji smartaju da je El Chacal de Nahueltoro i najvažniji čileanski film svih vremena što bi mogla biti i hiperbola, ali svakako se radi o važnom, snažnom iskazu koji transcendira puku vivisekciju čileanske realnosti iz dekade koja će prethoditi Pinocheovoj vojnoj diktaturi utemeljenoj na neoliberalnim fantazmima, i stoji kao jedan od temeljnih iskaza dvadesetog veka o odnosu društva ka pojedincu i apstraktnosti pravde.
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Miguel Littín je bio jedna od bitnih figura latinoameričkog filma – i još uvek je, poslednji film je snimio 2014. godine – već i na ime toga da se nije zadržavao samo na partikularno čileanskim temama. Nije ni mogao. Nakon što je snimio svoj prvi film – upravo ovaj o kome danas govorimo – Littín je 1971. godine napravio dokumentarac Compañero Presidente o tranziciji Čileanskog društva u socijalizam, snimljen u formi dugačkog razgovora između fancuskog intelektualca Regisa Debrayja i čileanskog predsednika Salvadora Allendea, i imao vremena za samo još jedan igrani film – socijalističku dramu o čileanskim revolucionarima sa sela iz dvadesetih i tridesetih godina prošlog veka La Tierra Prometida – pre nego što će vojna hunta doći na vlast a on potražiti egzil u Meksiku. Prominentni socijalistički mislilac i režiser svakako nije bio dobrodođao u neoliberalnoj vojnoj diktaturi Čilea, pa je posle učešća na Moskovskom filmskom festivalu, Kanskom filmskom festivalu i festivalu u Njujorku sa La Tierra Prometida Littín radio filmove u Meksiku, u raznim koprodukcijama (uključujući meksičko-kolumbijski La Viuda de Montiel, sa Geraldineom Chaplin u glavnoj ulozi a po Marquezovoj kratkoj priči istog naslova), da bi se krajem sedamdesetih preselio u Nikaragvu, tamo snimio jedan film pa 1984. došao u Španiju.
Je li se tamo smirio? Nikako. Littín, inače po ocu Palestinac a po majci Grk je odlučio da se inkognito ušunja natrag u Čile kako bi snimio dokumentarac o životu pod Pinocheovim režimom. Acta General de Chile je izašao 1986. godine a Gabriel Garcia Marquez, u tom trenutku nakon susreta u parizu polovinom sedamdesetih već više od decenije Littínov prijatelj, je o ovom podvigu napisao i reportažnu knjigu La aventura de Miguel Littín clandestino en Chile koja je u samom Čileu zaplenjivana i spaljivana kao, jelte, nepoželjna.
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Po povratku u Čile nastavio je da snima filmove ali se bavio i politikom i bio gradonačelnik rodnog grada Palmilla u dva mandata i za svoje kasnije filmove imao razne nominacije i zapaženja učešća na raznim festivalima.
No, El Chacal de Nahueltoro ostaje, kako god da se okrene, film po kome mnogi najbolje prepoznaju ne samo Littína i njegov izraz već i čileanski moderni film jer je u pitanju izuzetno upečatljiv i ekonomičan rad koji je došao u pravom trenutku ne samo za latinoamričku publiku već, možda i bitnije, za internacionalnu publiku koja 1969. godine nikako još nije bila desenzitizovana žanrovskim pogledom na mračnu tematiku i tragični narativ kojima se ovaj film bavio.
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Šakal iz Nahueltora je nadimak koji su južnoamerički mediji dali čoveku po imenu Jorge del Carmen Valenzuela Torres, nepismenom, prostom muškarcu iz čileanske provincije koji se bavio nadničarskim poslovima i lutao od mesta do mesta sve dok nije 1960. godine počinio jedan od najstrašnijih zamislivih zločina. Živeći u seoskoj kući sa ženom po imenu Rosa Rivas i njenih petoro dece, Torres je bio izbačen napolje, delimično i zato što je njega pratila loša reputacija pijanice i raspikuće. Rivasova, deca i Torres su se ipak nekako skućili u privremenom smeštaju, da bi on, u jednom incidentu, tražeći njen novac od udovičke penzije – kako bi kupio još alkohola – ubio prvo nju, koristeći kosu, a zatim i svo petoro dece. Čileanska policija je potragu za ubicom naširoko publikovala kao jedan od najvažnijih svojih projekata a Torres je brzo uhapšen, osuđen na smrt i pogubljen streljanjem.
El Chacal de Nahueltoro je ekonomična, vitka filmska analiza ovog celog događaja, verna poznatim činjenicama, snimljena i montirana sa naglašeno modernom energijom. Littín je do ovog filma već imao iskustva kao pomoćnik režije Helviu Sotou i kao autor debitovao 1965. kratkim dokumentarnim filmom Por la Tierra Ajena, eksperimentalno režiranim prikazom siromašne dece koja po ulicama Santjaga traže način da se prehrane. U tom smislu, El Chacal de Nahueltoro je bila samo dobra prilika da se sve ono što ga je interesovalo, kako u autorskom postupku, tako i u tematici socijalne pravde i odnosa kolektiva prema pojedincu spakuje u priču koja je još bila veoma živa u svesti čileanske populacije.
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Littín, koji je i napisao ovaj film, daje nam danas već poznatu formu dugačkog flešbeka u kome uhapšenog, osumnjičenog ubicu vode u lisicama na mesto zločina kako bi tamo pred tužiocem priznao svoja nepočinstva i pokazao gde je šta uradio. Littín nam daje prikaz vrlo modernog, građanskog Čilea, sa policijskim i tužilačkim službenicima koji deluju poslovno i samo mrvicu reklamerski, ali i sa brojnim građanima koji su se okupili i koje policijski kordon mora sopstvenim telima da odguruje kako ne bi nagrnuli na nesretnog, uplašenog prestupnika što skrušeno stoji u lisicama i govori da se mnogih detalja šestostrukog ubistva ne seća. Tu su i novinari i fotoreporteri, naravno. Littín umešno skače između ove predstave institucija-koje-rade-svoj-posao i flešbekova na Torresov život, od detinjstva u kome je bio prilično nevoljen – majka mu je posle očeve smrti sa stricom dobila još dvoje dece – preko kratkog susreta sa organizovanom religijom i obrazovanjem koje se završilo nepismenošću i radom fizičkih poslova zbog jasne klasne determinisanosti u njegovom životu, momaštva obeleženog lutanjem, nadničarskim radom, sitnim krađama i alkoholom, pa sve do fatalnog susreta sa Rosom Rivas.
Ono što je značajno imati na umu je da filmovi o masovnim i psihotičnim ubicama 1969. godine još nisu bili solidifikovan žanr na svetskom nivou, pa ni u Holivudu. Otud je Littínova analiza Torresovog života i motiva koji su ga doveli do monstruoznog zločina sasvim lišena žanrovskog jezika što se ustalio u narednoj deceniji (mada, naravno, dobri su filmovi sa ovom tematikom i dalje izbegavali eksploatacijske trope (https://cvecezla.wordpress.com/2021/10/22/film-vengeance-is-mine-aka-fukushu-suru-wa-ware-ni-ari/)) i pogotovo pop-psihologiziranja koje je postalo veoma uobičajeno u ovom podžanru. Littín se dotiče psihologije svog nesretnog protagoniste i on će do kraja filma i do kraja svog života isticati da mu je majka najvažnija, brinuti se kako će ona posle njegovog pogubljenja živeti (iako je u stvarnosti nije video godinama), ali ubistvo žene sa šestoro dece ni na koji način nije prikazano kao latentna osveta odsutnoj majci koja sina nije volela i radije se posvetila deci što ih je imala sa njegovim stricom. U maltene bilo kom filmu snimljenom od sedamdesetih godina pa na dalje ovo bi bilo težište narativa i analize karaktera, ali Littín je snimao drugačiji film, sa drugačijim ambicijama.
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Iako, naravno, režiser svog glavnog junaka ne pravda, njegov prikaz klasnog prokletsva koje je pratilo ne samo Torresa već i Rivasovu je onaj ,,pravi" element ,,objašnjavanja" Torresovog zločina. Ovo su ljudi koji su uvek imali malo, koji od društva ne samo da nisu dobili ništa već je ono nastavilo da im otima i ono malo što su mogli da koriste – scena izbacivanja Rivasove i njene dece iz kuće je posebno upečatljiva sa njenom ambicioznom montažom i kontrastiranjem između uniformisanih policajaca i bespomoćne dece. Ovo je, pokazuje nam film, ono kako sirotinja jedino može da vidi sistem – kao organizovanu silu koja će uvek biti uperena protiv njih.
No, i pre toga su scene u kojima Torres troši svoju ličnu crkavicu na piće, plešući u provincijskoj kafani veoma upečatljive. On je priprosti, pijani seljak u sandalama i pončou a oko njega su doterane žene iz srednje klase i njihovi partneri što plešu uz popularnu muziku i provode se – susret klasa postoji ali nema ni primisli o njihovom mešanju, i sve se završava Torresovim izbacivanjem napolje.
Scena ubistva koje je glavni junak počinio je zastrašujuća. Littín je režira tako da ostavi i utisak halucinantnosti ali i ledene, verističke stvarnosti. Torres objašnjava da je Rivasovu ubio jer je bio pijan i besan, ali da je decu ubio jer mu je bilo žao da žive bez majke i muče se. Momenat u kome je posle pobijenih starijih devojčica shvatio da se i dalje čuje plač bebe u kolevci i odluka da bebu snažno zgazi stopalom je jedan od najstrašnijih koji ćete ikada videti na filmu.
A onda, ostatak filma pokazuje Torresov život u zatvoru i narativ o čoveku koji po prvi put u životu zaista živi u zajednici. Tamo ga uče da čita, tamo on prvi put nosi odeću koja nije od grubog seljačkog materijala, sa folklornim krojem, prvi put nosi cipele. Tamo mu daju zanat i on postaje majstor za pravljenje malih gitara, tamo ga sveštenik poduči empatiji i on se oseti kao katolik, tamo igra fudbal sa drugim zatvorenicima i po prvi put je deo kolektiva jednakih, koji se staraju jedni o drugima. Sistem će Torresu konačno dati ono što mu je nedostajalo u detinjstvu i mladosti – obrazovanje, zaštitu, posao i svrhu – samo da bi ga nakon toga ritualno ubio.
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Pogubljenje Jorgea Torresa je u Čileu bilo praćeno jakim kontroverzama jer je streljanje čoveka koji je bio školski primer rehabilitovane osobe što se iskreno pokajala za svoj zločin i želela samo da do kraja života u zatvoru služi društvu percipirano kao potpuno neshvatanje pravde od strane sistema. Littín finale filma režira metodično, koristeći novinskog reportera kao fokalnu tačku na kojoj se presecaju Torresova – kako je prikazano, sasvim legitimna – žudnja da mu se oprosti i da makar na doživotnoj robiji pronađe svoj put do iskupljenja, politička odmeravanja korisnosti pomilovanja jednog od najtežih zločinaca u novijoj istoriji, i apstraktnog, gotvo automatskog kotrljanja šrafića u birokratskoj mašineriji prema neizbežnom kraju.
Torres se skoro do poslednjeg trenutka nada pomilovanju i glumac Nelson Villagra gledaocu u potpunosti prodaje transformaciju osobe koja je bila maltene jedva nešto više od životinje u socijalno biće što je po prvi put osetilo da sistem postoji i može da radi u njegovu korist, samo da bi ga taj sistem sada vodio u neumitnu smrt. Torres je ovde dostojanstven ali i sasvim ljudski uplašen i nemoguće je prema njemu ne osetiti empatiju. U kontrastu sa tim, pripreme streljačkog voda za pogubljenje takođe nam pokazuju žive, stvarne ljude koji izvode neprijatnu dužnost i takođe u gledaocu izazivaju saosećanje, ali se sama procedura, sam ,,sistem", pravila, i filozofskih stavova koji su ta pravila izrodili identifikuje kao izvor ultimativne nepravde. Samo jutro pogubljenja i izvšrenje presude su urađeni maestralno, sa efikasnošću koja istovremeno podvlači obezljuđenost situacije koju gledalac posmatra i teške emocije svih prisutnih. Momenat u kome Torres moli da mu ne vezuju oči pred streljačkim vodom pa mu se objasni da bi to bilo jako nehumano upravo prema streljačkom vodu da bi na kraju on pristao je možda najhumaniji kadar u filmu koji o ljudskosti priča birajući neke od najnehumanijih činova što ih čovečanstvo poznaje – od divljeg, impulsivnog deceubistva, pa do apstraktnog, mehaničkog izvršenja smrtne presude koju je država donela nad pojedincem.
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El Chacal de Nahueltoro je dakle, prevashodno socijalna drama koja za svoje poente koristi priču iz života, uspevajući da izbegne zamke eksploatacije i pornografskog fokusiranja na nasilje iako , naravno, ne zazire od nasilja ali ga prikazuje artistički i sa sačuvanim dostojanstvom svih umešanih. Često korišćenje kamere iz ruke, grčevite, brze montaže i pogleda iz prvog lica u prvoj polovini filma u jakom je kontrastu sa drugom polovinom koja je režirana ,,standardnije", bliže dokumentarnom filmu sa jasnim prikazivanjem koliko Torresov život postaje mirniji onda kada konačno uđe u ljudsko društvo na najnerećniji zamislivi način. I saundtrak što ga je napisao Sergio Ortega ovo izuzetno prati, vozeći se između grčevitih, modernističkih atonalnih kompozicija i narodnih pesama sa savršenom elegancijom.
Kao iskaz o važnosti staranja kolektiva o pojedincu ali i o nalaženju kapaciteta u pojedincu da zaista bude osoba a ne samo živo biće, El Chacal de Nahueltoro je jedan od najupečatljivijih radova koje ćete ikada pogledati. Drugi Littínovi filmovi imaju kompleksnije političke i ideološke iskaze, ali El Chacal de Nahueltoro je idealan spoj sirovog, mučnog incidenta iščupanog direktno iz života i tužne ali snažne humanističke poente o tome kako društvo neke svoje pripadnike praktično od rođenja osuđuje na propast i kako, čak i kada oni pokažu da vrede mnogo više od te presude, toj propasti najćešće neće umaći. Moćno.
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Everything Everywhere All at Once mi je uleteo na radar pre nekoliko meseci kada je gomila ljudi azijskog porekla čije objave putem društvenih mreža ponekad čitam kako bih i ja bio na krvarećoj oštrici najnovijih dešavanja u svetu popularne kulture i interet-mema, dakle, kad je ta gomila ljudi počela da ga hvali iz sve snage kao primer spektakularnog i smelog naučnofantastičnog filma koji se usađuje u živo tkivo današnjeg blokbastera – partikularno onog od superherojske sorte – i pokazuje obezljuđenom i uostalom uvek nedovoljno iskreno ,,woke" Holivudu kako se, dođavola, to radi.
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I, da se ne lažemo, pohvale nisu prestale ni, evo, pet meseci kasnije. Everything Everywhere All at Once se i dalje rutinski pominje kao film koji je napravio pozitivni haos u toj ravni akcionog spektakla za publiku sa višim i visokim obrazovanjem, i kao film koji bi trebalo da se ozbiljno natječe za raznorazne nagrade koje će biti deljenje krajem godine, pa, ako bog da i u narednoj turi dodele nagrada američke Filmske akademije.
Ko je, hajde da vidimo, očekivao da braća Russo, posle svega budu producenti što dvadesettri godine posle originalnog Matriksa prave neku vrstu komedijaškog rimejka ovog filma, sa zapletom koji se još manje brine za tehničke i dramaturške detalje, ali sa tako izraženim intencijama da se pošalje pozitivna, inkluzivna, socijalno osvešćena i humana poruka da film izgleda kao 135 minuta dugačka, skupo producirana reklama koji narod oduševljeno šeruje po društvenim mrežama jer je pametnija i, pa, skuplja od većine drugih reklama? Svi? Svi ste to očekivali? Oh...
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Daniel Kwan i Daniel Scheinert, koji se, bez mnogo truda da sakriju namernu sličnost sa Wachowskima, naprotiv, i potpisuju kao Daniels, su pre ovoga, a posle karijere u režiranju spotova, režirali prilično ekscentričnu indie crnu komediju Swiss Army Man sa Danielom (!!!) Radcliffeom u jednoj od uloga, na neki način upisujući svoju legitimaciju i licencu za igranje u prvoj ligi slično onome što su Wachowskis uradili sa Bound. Razlika u trajektoriji će postati vidna sa narednim filmom jer Everything Everywhere All at Once nije dobio potporu velikog medijskog koncerna kao što je imao Matrix i ovo je ako ništa drugo trijumf različitih manjih produkcija koje su udruženo proizvele film o kome svi pričaju. Everything Everywhere All at Once je za sada zaradio oko sto miliona dolara u globalu, ali s obzirom da je urađen sa budžetom od oko 25, pričamo o ničim ukaljanom uspehu. Štaviše, Everything Everywhere All at Once se može koristiti kao udžbenički primer za to koliko moderna tehnologija može da obezbedi taj blokbaster ,,feel" a bez holivudski prenaduvanih budžeta i, čak i da vam se film ne dopada, teško je ne biti malo i oduševljen što jedna nezavisna produkcija, sa sve Michelle Yeoh u glavnoj ulozi, igra na istom terenu sa Marvelovim i Warnerovim čudovištima i negde ih i pobeđuje.
Everything Everywhere All at Once je, naravno, možda i više fenomen nego što je film po sebi. U zavisnosti od toga koliko ste stari – a ja sam veoma star – možda ćete ovaj film opisati kao videospot, reklamu ili epizodu televizijske serije u trajanju od 135 minuta i pitati se ŠTA STE TO UPRAVO POGLEDALI i biti možda i pozitivno šokirani činjenicom da se film bavi egzistencijalističkom filozofijom na jedan prijemčiv način, da šalje toplu i humanu poruku o snazi ljubavi, ali i da se usudio da u glavne uloge stavi osobe azijskog porekla koje pola vremena govore na Kineskom a pola na ne uvek savršenom Engleskom.
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I u ravni fenomena Everything Everywhere All at Once svakako zaslužuje ozbiljan respekt. Bez obzira na svu priču o tome da je Holivud postao suviše ,,woke" i da to uništava filmove, imati ambiciozan naučnofantastični akcioni film napravljen u SAD a u kome se kavkaske fizionomije vide tek u vrlo sporednim ulogama –Jamie Lee Curtis kao ubernegativac iz Poreske uprave – i američka publika mora da čita titlove između praćenja kompleksnih borilačkih koreografija je ipak DOGAĐAJ, sa velikim D i ostalim slovima. Reprezentacija je nešto o čemu svi pričaju ali na kraju mora biti nešto što se RADI ako stvarno verujete u nju pa Everything Everywhere All at Once zauzima tvrdokorniji stav od Marvelovog Shang-Chija i daje nam da okusimo makar delić ,,stvarnog" imigrantskog života u SAD.
Ali, naravno, samo delić. Ovo nije film o sudbinama kineskih imigranata u SAD koji drže perionicu veša gde se stalno nešto kvari, Poreska uprava samo gleda da ih kazni za brljotine koje prave, a nesrećni se muž svoja razmišljanja o razvodu konačno usuđuje da materijalizuje u formi formalnog, jelte, zahteva za razvod braka, baš na dan kada mu od posla, briga i neplaćenih računa poluludoj ženi dolazi stari otac iz Kine u posetu, a ćerka im na ponovno ujedinjenje sa dedom dovodi devojku koja je, jelte, em devojka, em kavkazoid.
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Dakle, ovo nije film o tome iako ikada ne odustaje od te humanizujuće, svakodnevne osnove. Ona služi kao okvir da se priča rasplete u ono što publika ZAISTA očekuje a to je priča o multiverzumu i paralelnim verzijama istih likova u bezbrojnim alternativnim univerzumima, nadevena kung-fuom i parodičnim humorom. Danielsi su pričali da su se usrali od straha tokom razvoja ovog filma videvši da svi drugi ,,rade" multverzum, od Spajdermena do Ricka & Mortyja, ali možda i nije bilo potrebe za tim. ,,Multiverzalna fantastika" je sada maltene podžanr za sebe i egzekucija je, reklo bi se, važnija od same premise.
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I egzekucije ovde ne manjka u tehničkom smislu. Da li zato što su braća Russo, ipak ozbiljne zanatlije ako već ne veliki umetnici, sedela u producentskim stolicama, tek Everything Everywhere All at Once apsolutno impresionira tim prevođenjem premise u ,,realnost", to jest filmsku realnost. U iskušenju sam da kažem da je ovo više montažerski nego režiserski film jer je Paul Rogers ovde radio ZA SVE PARE, ali neko je sigurno ispisao sve te tranzicije između univerzuma po deset u sekundi, iscrtao sve te storibordove i koordinirao tu tobogansku vožnju između desetina realnosti koju ovaj film servira vrlo sigurnim, a opet vratolomnim korakom.
Ono čega manjka je, možda i ne previše iznenađujuće, jer, jelte, braća Russo nisu veliki umetnici a Danieli su više vizuelci nego mislioci, je neke izraženije supstance. Kada se sljušti sva, istina, impresivna vizuelna dimenzija filma, sve minuciozne montaže što nas prošetaju kroz sedamnaest univerzuma u tri sekunde, sve vrlo solidne borilačke koreografije, ostaje film koji jedva da ima priču i poruku.
Gore, ono što od priče ima, Everything Everywhere All at Once bazira pre svega na parodiranju Matriksa, a poruka je kao neka magazinska, dajdžest verzija post-post-post-hipi ideje da će ljubav na kraju ipak spasti sve i da je porodica pribežište koje ne treba olako shvatati.
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I, dobro ,,parodiranje Matriksa" je možda i malo zlobna kvalifikacija, ali je fakat da se Danieli izrazito nerado odmiču od obrazaca koje je ostavio prvi film iz serijala Wachowskih, imitirajući bez previše stida mnoge njegove postavke, pa čak i direktno prepisujući mizanscene, uključujući ponovljene akcione scene u kancelarijskom prostoru. Danieli su očigledno fascinirani ne samo Matriksom već i drugim radovima Wachowskih, ekranizacijom Cloud Atlasa i serijom Sens8 pa je priča u Everything Everywhere All at Once, koliko je ima, nekakav mišmeš high concept priče o multiverzumu koji služi kao metafora za drugačije živote koje je svako od nas mogao voditi da je napravio drugačije odluke u prošlosti i humanističke, inkluzivne filozofije iz romana Davida Mitchella, autora Cloud Atlasa i saradnika na delovima scenarija Sens8.
Tako da reći da je Everything Everywhere All at Once komična ali sa puno ljubavi urađena varijacija na obožavane predloške Wachowskih i Mitchella nije zapravo preterivanje. Reći da je ,,poruka" koju film na kraju pošalje lepa i humana je takođe u redu, mada je utisak da ste gledali epizodu televizijske serije dužu od dva sata a koja samo ponavlja istu poentu kao i sve prethodne epizode takođe prisutan.
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Ako ništa drugo, film me je namejao više puta svojim sasvim pristojno urađenim komičnim scenama a akcione scene, kada nisu bile samo multiverzalne montaže preko kojih ide emocijom bremenita muzika, su bila sasvim solidne za američki film. Michelle Yeoh je pod stare dane doživela da glumi u filmu sa ,,ozbiljnom" umetničkom ambicijom a da ipak i GLUMI između scena borbe i ikona akcionog filma se ovde vrlo solidno snašla. Mada, za moj ukus, šou krade Ke Huy Quan, legendarni Short Round iz Indiana Jones and the Temple of Doom koji u ovom filmu ne samo da pokazuje svoju i dalje visoku borilačku ekspertizu već i zavidan kapacitet da glumi nekoliko likova koji su svi značajno različite varijacije na isti lik. Ke Huy Quan je jednako ubedljiv i kao zbunjeni ,,beta" muž i kao muževni, šmekerski Alfa i nadam se da će ovom još uvek mladom profesionalcu (čovek je mesec dana mlađi od MENE, molimlepo) ovaj film otvoriti i neka nova vrata. Jamie Lee Curtis se, očigledno, vrlo dobro zabavlja, za promenu igrajući osobu svojih godina.
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Borba je značajno bolja nego što sam očekivao, sa glumcima i kaskaderima koji, za razliku od Matriksa, ipak bolje znaju šta rade. Naravno da se ovde preteruje sa rezovima i generalnim vizuelni garnirungom akcije ali ovo je film koji se, rekosmo, pre svega ovaplotio u montaži a onda i treba biti fer i reći da je trud uložen u osmišljavanje i režiranje akcionih koreografija daleko prevazišao američki prosek. S obzirom da se radi o malom i srazmerno jeftinom filmu, ovde bez sumnje vidimo nešto od najbolje akcije koja dolazi sa severnoameričkog kontinenta u ovoj godini.
Everything Everywhere All at Once je zabavan i topao film koji naprosto ne nadrasta svoje uzore, zamenjujući osećaj začudnosti i filozofske misterije bezbednijom parodijom, prežvakanim porukama i fizičkim humorom. Kao takav on je svakako predugačak za količinu provokacije koju ima da ponudi, ali je načelno dobronameran, ne dosađuje i čak i kad nema šta da kaže pa ponavlja ono što je već rekao, to radi dobrohotno i sa likovima koji su simpatični. Što je na kraju i presudno: Matriks je mene nervirao na ime svoje pretencioznosti i, ako Everything Everywhere All at Once možda suviše kompenzuje u suprotnom smeru, parodirajući Matriks, držeći se magazinske psihologije kao pojasa za spasavanje, on svakako uspeva da se održi na površini vode na ime toplih, prijatnih likova i ipak impresivne vizuelne dimenzije. Daleko od savršenog ili, čak, odličnog, ali istovremeno i sveže, atraktivno i, ako vam očekivanja nisu da će vam film nešto značajno promeniti u životu, vredno da se pogleda.
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Kao poslednji film koji će Jean-Pierre Melville snimiti, Un Flic (odnosno Pandur) je jedan destilisan sažetak njegovih opsesija i interesovanja tokom jedva četvrtvekovne karijere koja je na kraju grubo prekinuta iznenadnom smrću za večerom u hotelskom restoranu u Parizu 1973. godine, ni dvanaest meseci nakon što je Un Flic imao francusku premijeru i pomalo zbunio publiku i pomalo podelio kritiku. Veliki režiser je do ovog momenta već imao jasnu i dobro zarađenu reputaciju kao ,,američki" čovek u francuskoj kinematografiji ili u najmanju ruku jedan od prvih režisera koji su francuski žanrovski film eksplicitno radili kao ekstrapolaciju američke krimi i noar estetike, uzimajući jasne simbole, prepoznatljivu ikonografiju i standardne trope, a onda ih stavljajući u novi, minimalistički koncept i kreirajući pomerene, vrlo formalistički disciplinovane varijacije na naizgled poznate teme.
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Utoliko, Un Flic se valja posmatrati ne samo kao još jedna Melvilleova rekonstrukcija/ dekonstrukcija američkih krimića iz četrdesetih i tridesetih godina dvadesetog veka, jer je ovaj film u ogromnoj meri njegova dekonstrukcija i rekonstrukcija njegovih sopstvenih filmova, poigravanje sa prepoznatljivim obrascima sa kojima je postao uzor drugim režiserima i oblikovao dobar deo estetike i jezika francuskog Novog talasa.
U smislu priče, Un Flic je veoma varljiva ponuda, od samog početka. Iako već naslovom sugeriše da će biti fokusiran na policajca i policajac iz naslova nas dočekuje u jednoj od uvodnih scena dajući nam svoje puno ime i prezime (Edouard Coleman), film zapravo provodi veoma dugačke periode na sasvim drugim mestima, pokazujući nam kriminalce radije nego policajca. Elementi policijskog procedurala su tu – dok komesar Coleman i njegov tim pokušavaju da raščivijaju pljačku banke u kojoj je jedan od četvorice maskiranih razbojnika ranjen i kasnije umro – ali Un Flic nije ,,pravi" policijski procedural jer se više fokusira na likove, njihovo mučno posrtanje kroz elegični, maglom (u jedoj sceni i doslovno) ovijeni moderni Pariz i okolinu, nasilje i otuđenost koji su neraskidivo vezani za njihov život i profesiju.
Un Flic ima i ,,heist movie" elemente ali on nije ni ,,običan" heist movie, ponovo jer naglasak stavlja na likove i njihove odnose, pa i unutrašnje živote i, uostalom, spektakularna scena velike, smele pljačke koja predstavlja centralni set pis filma je u savremenim, ali i kasnijim kritičarskim osvrtima uglavnom žestoko napadna zbog korišćenja maketa koje su filmu dale ukus jeftine, niskobudžetne produkcije nedostojne velikog režisera.
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U globalu, Un Flic je priča o tvrdom, pa i izrazito nepriatnom policijskom komesaru sa jedne strane i bonvivanskom vlasniku velikog, uglednog noćnog kulba sa druge strane, koji su privatno dobri prijatelji, ali koji se nalaze sa suprotnih strana zakona na ime prvo pomenute pljačke banke a onda i komplikovanog, ama sumanutog plana da se novac zarađen od pljačke iskoristi za izrazito rizičnu krađu velike količine heroina koji će onda biti prodat njegovim originalnim vlasnicima za velike pare. Kvaka je, naravno, u tome da Edouard i Simon i dalje jedan drugog viđaju dok traje istraga i lov na počinioce, piju zajedno pića i, uostalom, dele i ljubavnicu, fatalnu plavušu Cathy.
Već ovo su sastojci jedne dobre, trešerske noar drame, ali Melville nije zaista bio zainteresovan da ovu priču produbljuje u smeru ljubavnog trougla jače nego što je bilo minimalno potrebno. Njegov pristup sa ovim filmom je bio najviše okrenut u smeru sklapanja vrlo komplikovanog pačvorka arhitekture, odeće, automobila, oružja, ali i lokaliteta i događaja kako bi prikazao svoj dotadašnji filmski opus kao celinu koja se dalje, ,,iznutra" može analizirati pa i komentarisati, pronalaziti u njoj interna značenja i reference.
Sa spoljne strane, naravno, Un Flic fascinira tim spojem elegije, egzistencijalne magle u koju su svi uvijeni, jednim osećajem stalne propasti kroz koju svi nevoljko bauljaju. Scena pljačke na početku je metodična, uhodana i profesionalna ali ranjavanje jednog od pljačkaša dovodi kasnije do dijaloške razmene u kolima koja je gotovo ironična, posebno sa pančlajnom u kome, nakon uveravanja ranjenog saradnika da će sve biti OK, Simon pali cigaretu, stavlja mu je u usta a ovaj počinje da kašlje kao lud i izbacuje je, sugerišući, sarkastično i u skladu sa pravilima žanra, da neće dočekati kraj filma na nogama. Sa svoje strane Edouard i njegovi saradnici rade u svetu obezljuđene, robotizovane rutine sa automobilskim telefonskim pozivima na koje se uvek javljaju na isti način i sterilnim, hladnim kancelarijama.
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To da Melvilleov film predstavlja razbojnike kao življe i toplije od policajaca – jedan od pljačkaša je izrazito porodični čovek sa suprugom punom razumevanja za njegov strah da u poodmaklim godinama nikada više neće naći adekvatno zaposlenje – nije podcrtano samo u ravni dijaloga. Kasting je onaj element koji sugeriše kako se Un Flic mora gledati u kontekstu Melvilleovih prethodnih filmova u kojima je Alain Delon konzistentno igrao uloge harizmatičnih, opasnih kriminalaca. To da je ovde on kastovan kao tvrdi, nepopustljivi, štaviše sasvim brutalni policijski inspektor je signal gledaocu da se sva očekivanja resetuju, kako ona zapletska tako i ona etička. Naspram njemu su Richard Crenna i Michael Conrad, američki glumci iz vesterna, krimića i pravničkih serija koji ovde igraju kriminalce i pokazuju mnogo više humanosti i topline jedni za druge od policajaca.
Melville odeva svoje glumce po američkoj modi, u mantile, sa fedora šeširima, daje im američko naoružanje i smešta ih u američke automobile. Štaviše i smela pljačka voza uz korišćenje helikoptera je izrazito ,,američki" set pis, u kome je nečasnost radnje što je vrše ,,lopovi" problematizovana ne samo činjenicom da se krade heroin od kriminalaca već i očiglednim nivoom herojstva i preduzimljivosti na strani ,,negativaca". A Melville onda sve to smešta u film koji obilato citira njegove stare filmove, kreirajući čitav univerzum imena, lokaliteta, arhitektonskih objekata ali i lica, frizura koji svi prizivaju jedni druge i ukazuju da se ova priča odvija u svetu koji ima formalna, tvrda pravila što diktiraju značenja postupaka i da ih morate biti svesni ako ćete te postupke da ocenjujete. Mnogi kadrovi u ovom filmu su diretkan odgovor na kadrove iz ranijih Melvilleovih filmova, ali i polemika sa američkim autorima.
Catherine Deneuve je, recimo, u ulozi Cathy, prototip ,,fatalne plavuše" po uzoru na Grace Kelly, ali je i snažno i očigledno kontrastirana drugoj plavuši u filmu koja je ,,samo" krosdresing muška-prostitutka, i jedina osoba koja sa Edouardom kao da ima prisniji odnos – nazivajući ga ličnim imenom u prvim delovima filma, samo da bi je on na kraju išamarao i ponizio u vrlo brutalnoj sceni policijske dominacije. Sama Cathy, pak, nije fatalna samo na ime svojih velikih očiju i platinaste frizure, i scena u kojoj ubrizgava vazduh u venu ranjenog pljačkaša kako bi ga sprečila da govori sa policijom je zastrašujuća, ponovo na ime te metodičnosti i gotovo dokumentaristčkog prikaza.
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Melville je i inače bio pionir tog ,,doku" pristupa snimanju, odbacujući studijske setove i radije se odlučujući za snimanje na pravim lokacijama, a Un Flic je kao dokumentarni sažetak njegovih ranijih filmova – sa scenom u kojoj vidimo imena i brojeve telefona likova iz prethodnih filmova ispisane na zidu stana u kome policija pronalazi mrtvu seksualnu radnicu. Osećaj nelagode je tim veći što uz poslovni, rutinirani način na koji policija pristupa istrazi upućeniji gledalac shvata kolika je istorija zlostavljanja i nasilja što ih je ubijena žena trpela, kada se ona proteže i u stare filmove.
Ovaj osećaj komunikacije sa onim što je bilo pre, postavljanje obrazaca, pitanja i odgovora ili samo refleksija u ogledalu vidljiv je svuda u Un Flic – Edouard u jednoj sceni svira klavir u Simonovom lokalu a kasnije će Simonov plan biti razotkriven prisluškivanjem telefonskih linija koje imitira mehaničku prirodu proizvođenja zvuka u utrobi klavira jednim vrlo elegantnim, vrlo likovnim i vrlo koreografisanim rešenjem. Slično tome, Edouard i Simon kao da su jedini likovi u filmu koji ne nose šešire i idu unaokolo gologlavi: Edouard razbarušen i besan, Simon ulickan i elegantan. Štaviše, scena pljačke, jelte, vlaka, nesrazmerno veliki deo svog vremena posvećuje upravo prizoru Simona koji se oblači kao gospodin i uređuje svoju kosu ispred ogledala, kao da je to važnije od same tehnologije pljačke.
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I, naravno, Melville pokazuje da jeste. Pljačka voza se oslanja na helikopter koji iznad njega leti i omogućava neverovatnu, smelu infiltraciju i esktrakciju ali se u jednakoj meri oslanja na Simonov socijalni inženjering i harizmu. Melville je, vele proveo osam meseci montirajući Un Flic, a ovaj centralni set pis je naprosto remek-delo sapsensa i metodično praćenog posla koji na početku deluje toliko neverovatno da gledalac sa svakim Crenninim novim potezom ostaje široko rastvorenih usta. Naravno, makete voza i helikoptera mogu delovati smešno, danas i više nego pre pedeset godina, ali formalna disciplina sa kojom Melville slika i montira ovaj ceo set pis – dugačak tačno dvadeset minuta, koliko je rečeno da vremena za pljačku ima – nije zaista narušena ovim.
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Un Flic nije trebalo da bude poslednji Melvilleov film – veliki režiser je otišao prerano i skoro sigurno nedovršena posla – ali Un Flic je poslužio kao savršen sažetak njegove karijere, estetike, opsesija i prisupa, kombinujući lica, lokacije, odeću i događaje iz njegovih ključnih filmova u jednu brutalnu, mučnu ali istovremeno fascinantnu krimi-dramu u kojoj gledalac i protiv svoje volje pronalazi u sebi entuzijazam da navija za loše ljude i njima biva iskreno fasciniran. Ako je već morao da ode, stari skandal-majstor je makar i slučajno, pogodio perfektan momenat.
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Pogledao sam, uz dosta odricanja i ličnih žrtvi, četvrtu sezonu Netfliksove hit-serije Stranger Things i fer je reći i da sam iz nje ekstrahovao razumnu količinu zabave uprkos tome što sam imao utisak da duže od nedelju dana moj život orbitira na horizontu događaja preteće crne rupe koja u sebe usisava sve iz okruženja, uključujući kompletno moje slobodno vreme. Kažu da treba raditi da bi se živelo ali ja sam ovih dana imao utisak da radim da bih mogao da gledam Stranger Things, sa zastrašujućim pritiskom kad god dođem kući sa posla da moram da sve obaveze odradim po ubrzanom režimu kako bih ostavio dovoljno vremena da pogledam bar jednu epizodu ovog serijala pre nego što bude trebalo da se ustaje i ponovo ide na posao.
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Možda preterujem sa dramom (,,Misliš, Mehmete?", kažete vi, ,,Nemoguće! Kad si ti u IČEMU preterivao???") ali fakat je da je Stranger Things, pogotovo u ovoj poslednjoj sezoni vrlo paradigmatičan primer te ,,nove" a sada već i ne toliko nove filozofije televizijskih serija koje su pravljene za striming i bindžovanje radije nego za regularni televizijski program i koje stoga ne moraju da se uklapaju u formate i pravila što važe za medijum koji ima ograničene termine i strogu satnicu. Naravno da su pravila o kojima pričamo nastala po nuždi – pre svega komercijalnoj – i da nisu ni ona bila nužno pozitivna u smislu stimulisanja umetničkih ambicija u okviru jednog strogo entertejnment medijuma, ali ima nečega i u tome kako su najbolji autori na televiziji umeli da u okviru jednog, dakle, ograničujućeg, pomalo i tesnog formata, ponekada naprave i tu, jebem joj mater, UMETNOST.
Stranger Things je bez sumnje zabavna serija i činjenica da je apsolutno jedina serija u poslednjih, možda i svih deset godina, čije sam pogledao čak četiri sezone svakako govori i o tome da je zabavnija ili makar interesantnija za mene od skoro svega drugog što moderna televizija proizvodi. Što je, naravno, apsolutno nefer jer promil produkcije koju sam pogledao u poslednjih deset godina nikako ne možemo smatrati reprezentativnim. Ali kako sam to juče objašnjavao u jednom drugom kontekstu, radije bih pogledao pet italijanskih neorealističkih, francuskih neo noar ili japanskih novotalasnih filmova u vremenu koje sam istresao u četvrtu sezonu Stranger Things. Dobio bih, ako smem tako da kažem, više od života. Naravno, serije imaju svoju osobenu estetiku i elemente kojima čoveku daju ono što mu film ne daje (pa sve i da ga je režirao sam Luchino Visconti), ali ovde se ponovo vraćamo na to razobručenje koje je televizijskoj produkciji doneo striming i otrzanje ,,klasičnom" epizodnom formatu. Serije danas više podsećaju na film iscepkan na komade nego na ,,serijsku" naraciju i Stranger Things, Season IV je eklatantan primer za to šta je dobro a šta loše u filmu od jebenih dvanaest sati. Ima tu dobrog, da ne bude zabune jer bih, uz svu sentimentalnost, verovatno povukao ručicu za edžektovanje daleko pre finala, da nisam osećao da sam ipak u dovoljnoj meri zabavljen. Ali se i plašim toga šta će ovaj eksces, koji je doneo i solidne rezultate, sa velikim pohvalama od strane kritike (uprkos gunđanju na dužinu) i povratak publike Netflixovom pretplatničkom modelu, učiniti za budućnost televizije.
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Kad smo već kod budućnosti, ja se već sada osećam kao da su osamdesete godine prošlog veka trajale jedno tri-četri decenije. Sa količinom filmova, serija, stripova i igara koji se stalno vraćaju u ovaj plodni rudnik popularne kulture i kulture uopšte, ukrštajući nostalgiju sa novim uvidima u to kako su osamdesete promenile Ameriku ali i ostatak sveta, naprosto mi se čini kao da sam perpetualno uhvaćen u ponovnoj petlji proživaljavanja svojih tinejdž godina gde nove, artificijelne uspomene sve više zamenjuju one koje autentično imam. Je li to strašno osećanje? Pa, ne, ne zaista, mitologizacija osamedesetih je naprosto previše zanimljiv fenomen da bih se nešto mnogo štrecao i, uostalom, to analiziranje njihovih simbola i znalčajki mi pomaže da u nove kontekste stavim i ono što sam lično proživeo.
Osamdesete jesu u ovom trenutku mitologiziranije u popularnij kulturi od ijedne druge decenije – videćemo do kada će to trajati i koliko će druge decenije preuzimati primat kako populacija bude starila i nove generacije dosezale status ,,potrošača" – ali za to ima i dosta dobrih razloga. Vrlo grubo gledano, NARAVNO da su i šezdesete i sedamdesete bile jako važne za popularnu kulturu, sa rokenrolom i protestnom muzikom i pilulom protiv začeća i LSD-om i novim talasom superherojskog (i andergraund) stripa i nascentnom videoigračkom kulturom, ali osamdesete su momenat u kome je pop-kultura konačno postala naprosto kultura. Više tu faktora može da se nabroji, od HIV-a koji je LGBTitd. identitete i prakse, nažalost najgorim povodom, dovukao u mejnstrim a onda ih tamo ostavio, preko MTV-a koji je popularnoj muzici dao novu dimenziju i neprecendirano prisustvo POP-a u ljudskoj svesti, kokaina koji je bio droga ne ,,tripova" i spiritualnosti, ne mira i otupelosti već oštrine, energije i ambicije, VHS-a koji je ljudima (i važnije, deci) dao nikada pre dosegnuti nivo kontrole nad time kako troše svoju zabavu, pa do japanskh videoigračkih konzola koje su spojile estetiku crtanog filma sa interaktivnošću sna i dale čitavoj generaciji potpuno novu dimenziju ne samo potrošnje slobodnog vremena već i kreativnosti.
Otud su osamdesete danas u popularnoj kulturi takav fetiš i, možemo reći, možda i više žanr za sebe nego tema.
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A Stranger Things je jedan od najboljih primera ovog žanra, ne rodonačelnik ali svakako produkt koji je u najizrazitijoj meri definisao '80sploataciju, već svojom prvom sezonom koja je jedno uz drugo slepila Spielberga, Dungeons and Dragons, Stephena Kinga i mnogo drugih ikoničkih elemenata kulture osamdesetih.
Sa četvrtom sezonom Stranger Things se, naravno, nadmeće sa stotinama holivudskih filmova i drugih serija koje i same pokušavaju da osamdesete isprocesuju i ispovraćaju po gledaocu tako da u njemu izazovu potrebni val nostalgične endorfinske emisije i ovde je vidno da su braća Duffer učinila vrlo iskalkulisane napore da neke ključne elemente kulture osamdesetih iskoriste za jaču kontekstualizaciju svoje priče što je do ovog trenutka možda i bila samo prepričavanje Stephena Kinga i Stevena Spielberga.
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Nije to sad nekakav esejistički, akademski rad, ali ovde je ,,satanic panic" osamdesetih dosta uspešno uvezan sa dosadašnjim događajima u gradiću Hawkins – jednoj tipično stivenkingovskoj maloj zajednici sa puno prljavih tajni – i nadovezan na potku Dungeons and Dragons, kao autentične nerdovske kulture koja je nastala sedamdesetih a do osamdesetih već bila obeležje posebnog sloja omladine koja će kasnije, u devedesetima i narednom veku izrasti u lidersku silu današnje popularne kulture koja vrti najveće pare na svetu i definiše, jelte, kulturni identitet naše epohe. For betr or for vrs, naravno.
I, naravo, Braća Duffer su rođena osamdesetčetvrte godine i ništa od ovoga nisu zaista iskusila sama pa Stranger Things u svojoj četvrtoj sezoni deluje kompetentno ali ne sad nešto VIŠE autentično od drugih serija ili drugih sezona Stranger Things, ali kompetentno, to da. Kate Bush se i sama verovatno čudi da je skoro četiri decenije nakon što je snimila Running up that Hill, ponovo na vrhuncu popularnosti u svetu koji verovatno nije mogla ni da zamisli kada je snimala ovu pesmu. Master of Puppets kao jedan od krešenda finalne epizode je, pak, zanimljivo podsećanje na fenomen andergraunda koji je uspeo da ostvari mainstream doseg i pored činjenice da Metallica (sa albumom koji je izašao nekih 5 meseci pre događaja prikazanih u ovom serijalu) nije imala ni spotove za MTV, ni emitovanje na velikim radio stanicama a opet je prodala pola miliona kopija i označila početak ere legitimnosti ekstremnog metala u kulturi glavnog toka.
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Ali kad smo več kod krešenda, generalni utisak o četvrtoj sezoni svakako jeste taj da je ima previše i da je sastavljena od toliko krešenda da kada dođe vreme za finalnu epizodu, finalni bosfight, finalni, zašto ne reći, bossrush, jer svako tu sebi ubija nekog demona, gledalac već pomalo pati od sindroma prenadraženosti. Netflix je, možda i anticipirajući ovo, pustio poslednje dve epizode sa malo kašnjenja na mrežu, ne bi li gledaoci malo odmorili posle prvih sedam ali pošto sam ja seriju gledao sa zadrškom, fakat je da je u njoj jako vidljivo mnogo sasvim formalnih problema koji proističu iz dužine i kreativne razobručenosti.
Da ne bude zabune, na mikroplanu je sve uglavnom izuzetno dobro. Ovo je sada serija sa velikim budžetom pa su i fotografija i montaža i muzika i specijalni efekti i gluma na nivou koji očekujete (osim Đurička koji se naprosto ne trudi da glumi već se krevelji onako kako mu je neki asistent režije rekao da treba). Nimród Antal i Shawn Levy, koji su pored Dufferovih režirali pojedine epizode su svi veliki profesionalci i ovde je svaki detalj na svom mestu, od kadrova rađenih kranom uz kolor korekcije i ukusan CGI da se postigne potrebna atmosfera, preko energične, starmale glume sada-već-ne-dece u glavnim ulogama koja postiže skoro idealan spoj modernog senzibiliteta bliskog generaciji Z i mlađima, te ipak nekakvog '80s šmeka (uz sve termine koje američki tinejdžeri u ono vreme DECIDNO nisu koristili), pa do neprebrojnih smash-cutova kojima se okončavaju scene kako bismo usred najjače erekcije prešli na neko drugo mesto i ponovo tantrički bili vođeni ka uskraćenom vrhuncu.
Dakle, sve je to DOBRO, ali kada ga gledate dvanaest sati, naprosto postane očekivano i izgubi osećaj za tempo kakav biste imali u disciplinovanijem, ograničenijem formatu.
Drugo, naravno, ovo je sada serija koja živi daleko preko svojih očekivanja i mora da pronađe načine da isti stivenkingovsko-stivenspilergovski narativ ispriča PONOVO, a da pronađe nove načine da nas uplaši, zabrine i investra. To nije lako a rešenje Dufferovih je naravno da se vreme posveti ,,loreu", ne više samo osamdesetih godina već i samog serijala, pa dobijamo MASIVNE flešbekove koji su uglavnom masivno nepotrebni i dosadni a opravdani su samo time da pomažu da se kreira, za promenu, negativac koji ima lik, ime i nekakav karakter. Što je, u odnosu na bezlične demone prethodnih sezona korak napred, ali i korak nazad jer je u pitanju vrlo klišeiziran i ni na koji način originalan lik. Ovo je bez sumnje najslabiji element sezone koji jasno demonstrira da oslanjanje na ,,lore", prošlost, i odnose među likovima koje otkrivamo naknadno nije srebrni metak što će rešiti sve. Mora malo i da se zna da se piše.
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S druge strane, drugi novi likovi poput metalca Eddieja i stonera Argaylea su jako simpartični i svojim jasnim igranjem na kartu prepoznatljivih klišea odrađuju upravo onaj posao utemeljenja serije u epohi i sažimanja nekih njenih kulturnih elemenata u dve simpatične, karikirane ali relatabilne pojave.
Nažalost, veliki deo radnje otpada na zaplet u Rusiji koji naprosto nema nikakve veze sa glavnom pričom i možda je trebalo da bude sasvim odvojeni sponof serijal. Sam za sebe i on je prerazvučen za ono što nudi ali mogao je to biti sasvim solidan jednoiposatni film urađen u gritty maniru i sa više prostora za likove. Ovako, nakalemljen na glavni zaplet, samo je u retkim trenucima zaista realizovao svoj potencijal hladnoratovsog trilera sa D'n'D čudovištima.
Finale sezone je, uz sav spektakl koji je ponudilo, naravno, bilo i predugačko – sa poslednjom epizodom od čak dva sata – ali i nedovoljno ,,finalno" uz svoje jasno najavljivanje pete, poslednje sezone. Ovo bi u nekom drugom kontekstu možda bila samo slatka frustracija ali videvši koliko ovom produktu fali kreativne kontrole, pribojavam se na šta će peta sezona ličiti i kako ću to preživeti.
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Za promenu sam pogledao film snimljen u ovom veku a koji nije ni nekakva superherojska ekstravaganca ni naučnofantastična burgijada niti nekakav dalekoistočni akcioni uradak. Umesto toga, Dogman je možda najlepši primer kako italijanski neorealizam, pravac koji ne da je dvadesetovekovni po mestu u istoriji nego je i praktično obeležio italijanski film prošlog stoleća na najznačajnije načine, živ i zdrav i u dvadesetprvom veku. Dogman je, kada je te 2018. godine debitovao na Kanskom festivalu, dobio i pomalo podeljene kritike, najpre na ime toga da je njegov režiser, Matteo Garrone kod gledalaca nazidao visoka očekivanja tim povratkom u gritty kriminalističko okruženje što je karakterisalo njegov breakthrough hit Gomorra iz 2008. godine a onda pružio srazmerno malu, na karakter(e) vrlo fokusiranu priču u neorealističkom ključu.
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Gomorra je, svakako, bila Garroneova karta za, jelte, ne baš Holivud, ali za svetsko tržište i internacionalne produkcije pa je pre Dogmana uradio dva filma po duhu, tematici i esteticu na sasvim različitim stranama. Tale of Tales koji direktno prethodi Dogmanu je, na primer, sasvim paradigmatični pan-evropski fentezi film, na Engleskom jeziku sa zvezdama, između ostalog i onim dopremljenim sa one strane Atlantika, u glavnim ulogama, ali je bio i nepobitno promašena investicija koja je prilično loše prošla u bioskopima. Utoliko je Dogman svakako predstavljao prirodan back-to-basics gest za ne samo producente kojima je sigurno laknulo da ne moraju da plaćaju skupe glumce i digitalne efekte, već i za samog autora koji je sa ovim filmom sveo estetsku nameru na jedan vrlo uzak rakurs. Dogman je film o zlostavljanju i nasilju, posmatranim iz pozicije socijalnih determinanti, onako kako su cenjeni autori tradicije u kojoj je Garrone nastupio i radili u svojim najboljim delima, ali istovremeno i pravi ,,filmski" film, sa izrazitim prezirom spram objašnjavanja ili nekakvog diskurzivnog postavljanja svojih teza. Ovo je bez sumnje doprinelo i malo pomešanim reakcijama kritike na priču koja je, pa, svakako tragična, ali uz izbegavanje klasičnih tragičkih rešenja koja heroju do kraja obezbeđuju neku meru dostojanstva. Dogman je, da se razumemo, i prilično human, pa i humanistički film, ali time je njegovo kretanje ka finalu koje je destruktivno i ostavlja gledaoca sa osećajem beznadežnosti i potpune propasti ljudskog – strašnije. Dogman je neka vrsta moralne skaske koja nema didaktičku dimenziju. Ovo je film koji pokazuje da su stvari na kraju mogle, MORALE, samo ovako da se završe.
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Scenario koji su napisali Garrone i nekolicina saradnika, baziran u izvesnoj meri na stvarnim događajima iz osamdesetih godina kada je lokalni frizer za pse, Pietro De Negri ubio lokalnog siledžiju, tvrdeći da ga je prvo mučio sedam sati bez prestanka, zapravo ne puca od originalnosti pa je film time impresivniji što jednu vrlo prepoznatljivu pripovest, sa svim očekivanim preokretima u radnji i karakternim lukovima, plasira efikasno, ponovo, uzdržavajući se od raspričanosti i suvišnog objašnjavanja.
Štaviše, taj neorealistički pristup koga Garrone baštini ide vrlo manifestno nasuprot strukturi i tropima klasične tragedije, ne samo zato što je sidrište čitavog narativa lik koji ni pod kojim uslovima ne bi prošao krietrijume da bude nazvan ,,herojem", već i zato što film vrlo naglašeno izbegava da ima uokvirujući diskurs koji bi gledaocu tumačio ono što se dešava na ekranu. Drugačije rečeno, u Dogmanu nema grčkog hora, ne postoji ,,objektivni", utemeljujući sistem vrednosti i svetonazor sa kojim gledalac treba da poredi ono što protagonisti rade, svi likovi koji se u filmu pojave, a ima ih dosta, su deo tragedije i ne mogu u odnosu na nju da naprave stvaran odmak pa je sklapanje slike u glavi gledaoca zapravo vežba iz uklapanja delova slagalice, sa vrlo problematičnim osećajem da ćete do kraja zaključiti da niko nije u pravu.
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Elementi neorealizma su vidljivi već u samom produkcijskom postupku, pa je Dogman film snimljen u potpunosti ,,na lokaciji", bez studijskih setova i sa glumcima koji deluju kao da su naturščici – iako, da bude jasno, nisu – sa vrlo značajnom dimenzijom samog okruženja u pogledu ,,značenja" filma i pravilnog tumačenja postupaka protagonista. Dogman nije ,,mafijaški" film i kriminalci koje u njemu vidimo su od one prizemne, sitne sorte, a okruženje u kome se oni kreću priča njihove istorije i međusobne odnose makar isto onoliko koliko i njihovi šturi dijalozi. Direktor fotografije Nicolai Brüel neužurbano pokreće kameru i vrlo promišljeno postavlja široke kadrove da nam pokaže predgrađe Napulja u kome je tokom šezdesetih godina sprovedena žustra urbanizacija sa namerom da se kreira instant-turistički hotspot. Kontrast lepih, ali pustih pešćanih plaža, sa starim, olupanim betonskim fasadama i haotičnim ekosistemom radnjica i drugih spontano izraslih lokala u njihovim podnožjima je snažan i rečit i film ni na koji način ne mora da objašnjava o kakvoj se zajednici ovde radi. Ovo je naprosto mesto na kome se ne živi onoliko koliko se umire – mesto na kome je linija razdele između biznisa i kriminala istanjena do kraja, ne zato što u kraju žive sve sami kriminalni umovi i najnemoralniji građani Italije ikad, već naprosto što je očigledno da ničega nema dovoljno ni za koga. U jednoj od retkih scena ,,glamura", a koja se odvija u lokalnom noćnom klubu, gde vidimo nasmešene striptizete i plesačice sa anđeoskim krilima i oreolima, takođe vidimo i da ovo nije mesto sa užurbanim, vitalnim noćnim životom – naprotiv, pored naše dvojice protagonista koji šmrču kokain i pokušavaju da se osete muževno pred curama što samo rade svoj posao, u klubu đuskaju i raznorazni likovi koje biste inače sretali u lokalnom šahovskom klubu kad bi nešto tako samo postojalo. Ali ne postoji – ovo je zajednica koja umire a oni koji u njoj žive, pa, žive uglavnom od štrpkanja od onih koji umru pre njih.
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Glavni junak, Marcello je, u suštini dobra osoba, sa razvijenom empatijom. On ima malu firmu za friziranje pasa i ćerku iz razvedenog braka koji ponekad odvede na ronjenje i to su najsrećniji momenti u njegovom životu. On takođe, jako voli pse i u jednoj fantastično urađenoj sceni gledamo ga kako, iako je sebi spremio jednu večeru, a svom psu Džeku drugu, na kraju obojica jedu njegovu večeru, na smenu uzimajući zalogaje iz tanjira. Marcello ima prirodnu sponu sa životinjama a koja je, naravno, u kontrastu sa njegovim položajem u lokalnoj zajednici gde ga više trpe nego što ga cene. On, istina je, igra fudbal i ponekad ide na piće sa vlasnicima drugih lokala iz kraja, ali utisak je da se oni s njim ni ne bi družili da im ne prodaje kokain.
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Neksus filma je Marcellov odnos sa Simoneom, bivšim bokserom i lokalnim siledžijom koji ima izraženu auto/destruktivnu crtu, nikoga ne poštuje, stalno je na kokainu i koristi svoju fizičku snagu da dobije sve što želi, bilo kroz šarmiranje, bilo kroz ucenu ili direktnu pretnju. Simone je nekontrolisana, divlja karta u kraju i vlasnici lokala kojima je napravio mnogo štete i glavobolje u jednoj sceni otvoreno diskutuju o tome da li treba nekom platiti da ga ukloni jednom za svagda.
Simone Marcella i uvlači u razne loše kombinacije, ali njihov odnos je složen. On jeste zlostavljački u samo jednom, jasnom smeru, ali Marcello ima izraženu empatiju i Simonea tretira kao prijatelja iz detinjstva skoro do samog kraja filma iako ovaj postaje sve nekontrolisaniji i samom Marcellu nanosi merljivu štetu. Marcello mu u jednom momentu spasava i život, ali Simone mu to vraća tako što će mu ugroziti i posao i status u zajednici kako bi izveo glupu i loše osmišljenu pljačku susednog lokala.
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Dogman je film za koji je od početka jasno da će se loše završiti. Marcello je osoba koja naprosto nikada nije imala šansu – određena svojim mestom rođenja, ljudima sa kojima je odrasla, prilikama koje pruža život u zajednici što je izgrađena s plementitim naumom ali nikada nije zaista zaživela u skladu sa tim naumom. U nekom drugom životu, Marcello bi bio omiljeni lik u društvu i zadovoljni vlasnik bujajućeg biznisa. U ovom životu, on je smešni mali pseći frizer koji valja kokain ispod tezge, živi sa psom i uvek je jedan incident udaljen od zatvora.
I Marcello do kraja postaje neka vrsta čudovišta. Ali bez STVARNE drame, bez teatra i vatrometa – Dogman jeste tako upečatljiv film baš na ime svoje prirodne, realističke tranzicije likova u novi status.
On je i prevashodno glumački film. Snimljen u puno dugih kadrova, sa puno ,,mood shot" rešenja gde se ne događa mnogo toga osim što naslućujemo unutrašnji život protagoniste, on u velikoj meri visi o kvalitetu glume glavnog glumca po imenu Marcello Fonte. Fonte je pre ovoga imao solidnu karijeru i glumio čak i kod Scorcesea, ali je ne bez razloga, za Dogman dobio nagradu u Kanu i izneo film na svojim plećima od početka do kraja. Fonte je, naravno, deo i inače odličnog ansambla sa zaista naturalističkom, realističnom glumom, ali film je i geometrijski centriran na njega, stavljajući njegovu malu, iskrivljenu figuru u središte svojih kadrova, sa muškarcima koje on najčešće gleda odozdo i impozantnim slikama zgrada koje se nadvijaju nad opustelu obalu.
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Dogman nije spor film, u smislu da gledalac oseti nedostatak ,,akcije", ali jeste film raspoloženja u velikoj meri, sa odmerenim, metodičnim radom kamere i hipertalentovanim glumcem koji radi posao života, pa je u Dogmanu mnogo toga neizrečeno i naizgled tu samo da prenese atmosferu. Ali ovo i jeste njegova snaga, ovo je na kraju dana priča o transformaciji osobe u svoju najgoru formu, pod pritiskom koji nikada niko ne bi trebalo da trpi. I to što nam Dogman ovu transformaciju pokazuje kroz raspoloženja i ćutnje, poglede u daljinu i pokušaje da se sačuva to malo autonomije što nas čini čovekom, a ne kroz kompleksne dijaloge i mnogo objašnjavaja je naprosto jer respektuje gledaoca. Kada na kraju na njega baci užasne scene klinički snimljenog nasilja, ovo je jer zna da do tog momenta gledalac koji je ostao u sali to može da razume i, važnije, da izdrži.
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S obzirom da mi je Martin Scorcese, što se kaže, jedan od najomiljenijih filmskih autora u životu i da su njegovi radovi iz sedamdesetih i osamdesetih u prilično presudnoj meri oblikovali moj ukus u pogledu filmske umetnosti, može da deluje i malo bizarno da mi je trebalo, evo bezmalo tri godine da pogledam njegov za sada najnoviji film, The Irishman. No, kao i kada sam pričao o seriji Stranger Things (https://cvecezla.wordpress.com/2022/08/17/serija-stranger-things-cetvrta-sezona/), i The Irishman je znak tih novih razobručenih vremena u kojima se ne zna kad je dosta ni koliko je prijatno i onda na kraju završimo sa filmom OD PUNA TRI I PO SATA JEBOVASBOGNENORMALNI i tu onda pošten čovek treba da pravi detaljne planove za vikend kako da pored svih obaveza i generalno rasute pažnje uglavi sebi u itinerar gledanje filma od tri i po sata.
(https://i.imgur.com/zM5eUtw.jpg)
Da se razumemo, nije da ja imam išta protiv dugačkih filmova, neki od meni najdražih filmova su podugački (https://cvecezla.wordpress.com/2022/07/01/film-sedam-samuraja-aka-shichinin-no-samurai/), no The Irishman je u neku ruku zaista zanimljiv pokušaj uspostavljanja nove paradigme kojoj je i to epsko trajanje jedan od značajnih elemenata.
Ako sve drugo stavimo na stranu, stoji da je Scorcese, jedan od najcenjenijih autora Novog Holivuda i Holivuda uopšte, čovek sa nekim od globalno najcenjenijih filmova u poslednjih pola veka u svojoj biografiji, na neki način danas postao i simbol ,,stare" škole u onom negativnom, old-many-yells-at-cloud smislu. Naravno, Scorceseove pežorativne opaske spram superherojskog filma su za normalan svet naprosto deo kritičkog diskursa koga treba da imamo VIŠE a ne manje ne bismo li se nekako razabrali u apsolutnoj poplavi ,,sadržaja" u kojoj se utapamo poslednjih godina, ali sa druge strane, znakovito je da je Scorcese pre nekoliko godina posle samo jedne sezone izgubio projekat Vinyl na HBO-u, a što je, kad se zna šta se sve na tom istom HBO-u obnavljalo za drugu, treću i naredne sezone, predstavljalo neku vrstu ultimativnog disrispekta. Metodično rađen period-piece serijal u kome je Scorcese spojio mnoge svoje opsesije, od bluz i rok muzike do imigrantskih kultura u urbanim zajednicama SAD je ovim sahranjen maltene i pre nego što je živeo a Scorceseov film iz iste godine, Silence, inače projekat rađen iz ljubavi dugo godina, je prošao veoma loše na boks ofisu, pothranjujući ideju da je stari režiser definitivno izgubio kontakt sa savremenim, jelte, trenutkom, ili makar sa studijskim establišmentom u Holivudu.
(https://i.imgur.com/nnJk6dE.jpg)
I onda, na scenu ulazi Netfliks. Onako kako je striming-gigant na sebe uzeo da redefiniše serijsku produkciju, tako je u ovom slučaju uložen jasan napor da se napravi jasna razlika između obezljuđene, riziku nesklone mašinerije studijskih giganata u Holivudu i nove, jelte, škole, koja će cenjenim titanima filmske umetnosti dati sve ono za šta i njih same danas mrzi da se beskrajno rvu sa studijima. Netfliks je platio prava na film više od sto miliona dolara, a do kraja u produkciju The Irishmana uložio budžet verovatno veći od 160 miliona dolara (neke procene idu i do 250 miliona), dakle, minimalno trostruko više od Silencea, omogućujući Scorceseu da još jedan svoj projekat iz ljubavi realizuje bez ikakvih briga vezanih za produkciju ali i bez ikakvih kreativnih ograničenja. Naravno, neke stvari JESU suviše dobre da bi bile istinite i to da svoj naredni film Scorcese radi u kombinaciji studijskog i striming kapitala verovatno dovoljno govori samo za sebe (kao i to da je naredni Netfliksov blokbaster ipak bio Don't Look Up (https://cvecezla.wordpress.com/2022/01/21/film-dont-look-up/)), no u jednom trenutku je The Irishman zaista izgledao kao srećno dete divljeg preduzetničkog kapitala i još uvek mladog distributibnog sistema za digitalni sadržaj u kome nema čvrsto uspostavljenih pravila i ograničenja.
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Nesporno je da je The Irishman rađen iz ljubavi. Scorcese i Robert De Niro su na ovom projektu radili okolo-naokolo još od osamdesetih da bi stvarni pred-produkcijski napori krenuli još 2007. godine. Posle mnogo sezona prebivanja u, jelte, paklu razvoja i promena studijskog krajolika u Holivudu, Netfliks se pojavio kao spasitelj sve skupljeg i komplikovanijeg projekta i zamislio ga kao jasan simbol svog ulaganja u premijum sadržaj koji će ne samo ekskluzivitetom nego i kvalitetom predstavljati diferenciju specifiku u odnosu na ono što nude drugi pretplatnički servisi. Da The irishman nije transformisan u miniseriju, a što bi bilo sasvim prirodno već i po tome kako je konačni film jasno podeljen u činove, je verovatno signal da je Netflix ipak bio svestan da naredni – a možda i poslednji – veliki gangsterski film režisera koji je taj žanr, uz Coppolu, praktično izmislio predstavlja naprosto preveliku simboličku pobedu da bi imalo smisla na bilo koji način je razvodnjavati.
I The irishman je u umetničkom smislu zapravo... sasvim solidan film. Ekstremno trajanje se u ovom slučaju da pravdati i tim epskim senzibilitetom koji se želeo postići, dok film prolazi kroz epohe novije američke istorije ali i činjenicom da je ovo, pogotovo prema kraju, namerno spora, pa i elegična priča o gangsteru koji stari i ostaje sam.
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Baziran na istorijskim događajima i ličnostima, The Irishman kao okvir za svoj narativ, ali i njegovo emotivno sidrište koristi biografiju Franka Sheerana, irskog sindikalnog službenika sa istočne obale koji je ne samo imao ozbiljne veze sa pensilvanijskom mafijom već bio i poznat kao telohranitelj i jedan od najbližih saradnika Jimmyja Hoffe, stožerne figure u istoriji američkog sindikalizma.
I Scorcese je ovde bez sumnje pronašao originalan način da ispriča nekoliko isprepletanih priča koje publika zapravo već dobro zna. Sa jedne strane, gangsterske sage o wise guys likovima koji sede po italijanskim restoranima i pričaju u šiframa su monolit američke filmske istorije u koji je i sam Scorcese ugradio neke bezgranično važne cigle (sa Good Fellas, pre svega), doprinoseći, nakon Coppole i sam tome da Italo-mafijaši u SAD promene svoje navike ne bi li bili sličniji filmskim uzorima. Sa druge strane, Jimmy Hoffa je bio tako važna ličnost u novijoj američkoj istoriji da su o njegovom životu snimljeni neki ključni filmovi, počev od Jewisonovog F.I.S.T. snimljenog još 1978. godine sa Stalloneom u ulozi sindikalnog vođe preimenovanog u Johnnyja Kovaka, pa do saradnje Davida Mameta i Dannyja DeVita u filmu Hoffa iz 1992. godine. Da se Scorcese ne samo usudio da se poduhvati jedne detaljno izobrađivane teme u jednom sada do parodije formalizovanom žanru gangsterskog filma i da je pružio vrlo solidan program – pa, to je ipak podsećanje na to kakav je on kalibar autora.
I mada se svakako ovde može govoriti o tome da je The Irishman dete mnogih roditelja, uključujući vrlo investiranog De Nira, ali onda i Ala Pacina kome je ovo bila, neverovatno ali prva saradnja sa Scorceseom, ovo je definitivno film u kome se krajnji tempo odvijanja radnje, u kome se krajnji ton kojim nam se obraća, u kome se emocija koju u nama nastoji da izazove mogu pripisati baš Scorceseu. Ovo je definitivno zamišljeno ne samo kao njegov magnum opus već i kao zaista častan napor da se kaže nešto novo i sveže na stare teme.
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I, naravno, ne tvrdim da je ovo remek-delo na nivou Taksiste ili Razjarenog bika, ali prijalo je videti Scorcesea koga ni razvratno veliki budžet od koga je opsceno veliki deo sigurno otišao na CGI kojim su protagonisti prikazivani kao mlađi ili stariji ljudi u zavisnosti od epohe koju film trenutno prikazuje, nije na kraju odvukao u ponor ekscesa koji je karakterisao The Wolf of Wall Street. Scorcese je sa tim filmom imao priličan konflikt u glavi šta zapravo želi da kaže, a sličan konflikt svakako je morao postojati i u produkciji The Irishmana koji je morao naći osetljivi balans između glamurizacije gangsterske kulture, pogotovo iz perspektive u kojoj već pet decenija postoji kultura filmova koji to rade i filmova koji te filmove parodiraju, i prikazivanja oporih realnosti života u ,,biznisu". Ovde je taj konflikt razrešen najpre na ime De Nirove ubedljive glume kojom će ta elegija samoće pred kraj života provedenog u nasilju i konfliktima, biti stvarna za gledaoca. Ne da je time film napravio neku VELIKU poentu, ali je napravio ljudsku i emotivno ubedljivu poentu, ostavljajući svog protagonistu na mestu koje gledalac razume i oseća kao stvarno, uprkos svoj mitologizaciji koju je gledao prethodna tri sata.
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Ovo dobro funkcioniše i, kada Scorcese krene da film prizemljuje, usporavajući sve više odvijanje radnje i fokusirajući se na tišine, ćutanja i besmislene priče koje se ponavljaju iz dana u dan, to čini potentan kontrast u odnosu na prethodne scene i set-pisove prepune raspričanih mafijaša i pojava većih od života za koje nam film sve uredno saopštava kako su okončali živote čim se pojave na ekranu. Spojler: uglavnom nasilno i prevremeno.
Kontrast sa starim, samim čovekom koji iz invalidskih kolica u staračkom domu priča svoju priču, koga deca ne obilaze a medicinska sestra ga više trpi nego što joj je simpatičan je na kraju zaista potentan jer uspešno spaja mitotvorstvo vezano za holivudske epove o harizmatičnim lošim momcima sa jednim uspešno posredovanim elementom ljudskosti. Koji nije, da se razumemo nužno ,,pozitivan" ali gledaoca uvlači u vizuru glavnog junaka i uspelo mu prikazuje tu samoću i besmisao na kraju.
Naravno, samoća i besmisao sleduju skoro svima i svakome, i ovo nije ekskluzivna karakteristika samo života provedenih u nasilju i kriminalu, no, veliki deo epskog trajanja filma i jeste uložen upravo u prikazivanje brojnih sasvim ljudskih momenata u životima tih, jelte, ljudi većih od života i ovde Scorcese uspešno izbegava upadanje u (zabavni?) eksces koji je karakterisao The Wolf of Wall Street i davanje svemu jednog apstraktnog preliva.
A što jeste značajno jer je u fotografskom smislu film već dovoljno apstraktan. Kombinacija studijskih setova, kolor korekcija i CGI-ja koji podmlađuje lica protagonista (ali ostavlja tela sedamdesetogodišnjaka ispod tih lica) a onda povremeno i vrlo De Palmi nalik rešenja u dugačkim kadrovima sa kamerom na šinama filmu daje jedan vrlo ,,nerealističan" izgled i ukus i kada se na to doda uglavnom bluz-saundtrak, te uokvirujući monolog iz offa kojim De Niro prepričava film, The Irishman je dobar deo vremena na ivici da bude prijatan ali emotivno impotentan kvazidokumentarni period piece koji više ulaže u setove i CGI nego u ljude i više se bavi rekonstrukcijom epohe po uzoru na filmove koji su se njime bavili nego samom epohom.
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Naravno, druga strana te medalje je da radite sa ljudima, ma LJUDINAMA koji su definisali žanr. Od Roberta De Nira i Joea Pescija, preko Harvieja Keitela i Bobbyja Cannavalea, pa do samog Ala Pacina, ovo je kast sklon jakoj ekspresiji, glumatanju, ,,etničkom" izrazu i opet je lako moglo da se desi da poput Lea DiCapria u The Wolf of Wall Street, na kraju glumci pojedu film.
Ali nije. De Nirova već decenijama pomalo dementna facijalna mimika ovde je umirena – možda i CGI-jem – dok nije ostao samo čovek sa melanholičnim pogledom. Pesci je preteće hladan a Cannavale harizmatičan ali bez kreveljenja. Kad preglumljivanja i ima, to je uglavnom u sporednom kastu koji, valjda, misli da kod Scorcesea mora ovako da se radi.
Pacino je, naravno, bio najveći rizik, sa svojim statusom božanstva i prvom saradnjom sa Scorceseom, ali njegov Jimmy Hoffa je istovremeno harizmatičan, a opet iznenađujuće jednostavan kao ličnost, predvidiv u reakcijama i neodoljiv u tome što i sam zna da je predvidiv. Kako film u velikoj meri visi o niti ,,nezvanične" rekonstrukcije poslednjih dana Hoffinog života i uloge koju je u njegovom nestanku odigrao Sheeran, jedan od njegovih najboljih prijatelja, značaj hemije koju imaju De Niro i Pacino se ovde ne može prenaglasiti. Ovo nije samo istorijska vertikala koja spaja Godfathera II, The Heat i The Irishman, već i demonstracija čiste glumačke umetnosti u kojoj gledalac posmatra dva muškarca koji ne veruju apsolutno nikom na svetu kako jedan drugog iskreno, i bez rezervi vole.
I ovo je preovlađujući utisak na kraju The Irishmana. Oh, naravno, Scorcese perfektno režira low-key scene nasilnih ispada koji imaju kliničku čistotu i pornografsku jasnoću, i kompleksna, nehronološka struktura pripovedanja je savršeno izvedena, ali na kraju dana, magija koju ispred kamere stvaraju dva muškarca koji se vole, iako će na kraju završiti najžalosnije moguće je ono zbog čega gledamo filmove. Ili bar ja to zato radim.
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Ozzy Osbourne Opens Up on Living with Parkinson's: "I Feel Like I'm Walking Around in Lead Boots" (https://consequence.net/2022/08/ozzy-osbourne-opens-up-parkinsons-disease/)
Pogledao sam italijansku naučnofantastičnu komediju Omicron snimljenu 1963. godine, film koji nije preterano upečatljiv niti bitan za istoriju kinematografije a čija je relevantnost za naš današnji trenutak najpre u tome da je u nekom momentu prošle godine internetom žarila i palila teorija zavere kako je ovaj film pre više od pola veka najavio aktuelnu pandemiju COVID-19. Ovoj je teoriji – ekstremno glupoj kao i većina konspiratoloških ,,teorija" vezanih za panedmiju – doprineo i poster koji je neko napravio u šali koristeći reči Omicron Variant (sasvim neverzano za ovaj film), a zatim se uhvatio za glavu kada je video da ljudi po Fejsbucima i Tviterima ozbiljno shvataju ovu vrstu zajevancije (https://twitter.com/BeckyCheatle/status/1464866651678117892?ref_src=twsrc%5Etfw).
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Sam film Omicron, pak, je zabavna i prilično kompaktna priča o neuspešnoj invaziji vanzemaljaca na planetu Zemlju, neka vrsta satirične skoro-apokalipse izbegnute u poslednjem trenutku koja razobličava veliki deo ružnih strana ljudske prirode ali na kraju svoju poentu pravi podsećajući i na postojanje najmanje jedne vrline u Čoveku. Utoliko, ne mogu da kažem da se nisam nekoliko puta naglas nasmejao gledajući film, kao i da nisam u marksističkom zanosu više puta tapšao kada sam video kako je borba za radnička prava vrlo prominentno blizu samog središta zapleta koji ima izraženije metafizičku dimenziju.
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Omicron je napisao i režirao Ugo Gregoretti, jedan vredni italijanski filmski i televizijski poslenik, rođen još 1930. godine u Rimu koji je, ironično, preminuo polovinom 2019. godine, ne dočekavši da vidi da se reč ,,Omikron" danas koristi u ovako zlokobnom kontekstu. Gregoretti je svoju karijeru započeo na pozorišnim daskama, radeći adaptacije proznih tekstova i opere, a na televiziji je bio prepoznat ako uspešan dokumentarista, koji je 1960. godine osvojio i prestižnu nacionalnu nagradu za dokumentarac La Sicilia del Gattopardo. Dve godine kasnije je započeo svoju bioskopsku karijeru i ona je do 2017. godine obuhvatila dvadesetak igranih i dokumentarnih filmova ali i dalji rad na televiziji uključujući na nekoliko serija (npr. Tigrove Mompracema iz sedamdesetih sa Gigijem Proiettijem koji je u njoj igrao Sandokana). Iako je Gregoretti bio profesionalac koji je mogao da radi sve, njegova autorska interesovanja su obuhvatala političku i socijalnu opservaciju i kritiku ponuđenu kroz prizmu humora i satire. Reći da je Omicron dobrim delom urađen i kao klasična ,,priča o našim naravima" je svakako korektno, ali ovo je i film koji ide korak dalje kako bi se pozabavio teorijom političke ekonomije i raspodelom moći u društvu na jedan veoma eksplicitan način koji, čak, malo i štrči u odnosu na autorski postupak u ostatku filma. No, to je svakako i deo Gregorettijevog šarma koji ovim radom, trećim bioskopskim u svojoj karijeri bez sumnje pokazuje visok nivo zanatske ekspertize pa i ambiciju da koristi neke napredne pripovedne tehnike i likovna rešenja u pričanju jedne u suštini jednostavne pa i naivne pričice.
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Svakako vredi istaći da je direktor fotografije na ovom filmu bio Carlo Di Palma, koji će već naredne godine krenuti u svoju saradnju sa Antonionijem da bi kasnije cepao sa velikanima kao što su Bertolucci, Benigni i naravno Woody Allen sa kojim je snimio veliki broj produkcija. Di Palma u ovom filmu demonstrira stalno sveža i atraktivna vizuelna rešenja i ako samu priču možemo da zamislimo relizovanu i u Jugoslaviji možda ne baš ONOG vremena ali negde sa kraja šezdesetih, pod dirigentskom palicom nekakvog Lole Đukića, fotografska komponenta filma je podsećanje na to koliko su neke nacionalne kinematografije bile ispred drugih.
Notabilno ime je svakako i kompozitor Piero Umiliani, jedan ekstremno plodni i cenjeni proizvođač muzike za italijanski bioskop sa mnogim poznatim i cenjenim temama a od kojih sigurno znate Mah Nà Mah Nà, popularizovanu putem obrade u američkom Muppet Show.
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Zaplet Omicrona je ekstremno jednostavan: bestelesna vanzemaljska inteligencija po imenu Omikron ulazi u telo preminulog fabričkog radnika po imenu Angelo Trabucco jer je to standardni način da u ime svoje matične konfederacije planeta po imenu Ultra, izvidi stanje na novoj planeti i pripremi invaziju koja treba da Zemlju manje milom a više silom ugradi u proces kosmičkog progresa. Omikron je u stalnoj telepatskoj vezi sa svojom komandom i ima odobrenje da oživi telo preminulog Trabucca kako bi pobliže ispitao mentalitet i kapacitete nepoznate, ljudske rase.
Prvi deo filma je posvećen uglavnom ovoj vrsti prostog naučnofantastičnog novuma i humoru koji se zasniva na lakim metama. I Omikron i njegova Ultra-komanda se zgražavaju nad biološkom primitivnošću ljudske rase a kada Trabuccovo telo oživi tik pred početak zakazane obdukcije da se utvrdi uzrok smrti, pa Omicron, isprobavajući motoričke kapacitete nepoznatog tela, rukom šorne jednog od prisutnih stručnjaka u jaja, to je scena koja sugeriše da je Omicron mogao da bude samo Žikina Dinastija za gledaoce sa skupljim kartama. Srećom, film se na ovme ne zadržava.
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U prvom redu, moramo istaći Di Palmin nadahnuti rad koji i banalne scene pretvara u zanimljive set pisove, od uvodnih kadrova snimanih kroz velike vodovodne cevi, pa do, recimo, bizarno humorističkog momenta u kome direktor kompanije sedi za velikim okruglim stolom i svaki put kada treba da se javi na telefon asistenti rotiraju ploču stola da aparat dođe do njega.
U drugom redu, iako se Gregoretti ne žuri preterano da dođe do svojih sociopolitičkih poenti, on svakako ostavlja seme za ovu raspravu i u ranim momentima filma. Kompanija u kojoj je Trabucco radio – bukvalno do smrti – zove se SMS i ovo je tipična teškoindustrijska priča sa gomilom nezadovoljnih na štrajk spremih radnika i zadriglim menadžmentom koji na sednicama raspravlja o tome kako najbolje reklamirati svoje ulje za podmazivanje i kako najbolje razbiti štrajk. No, tajno oružje ovog filma je svakako njegov kast na čelu sa Renatom Salvatorijem, jednim nažalost rano preminulim glumcem koji je iza sebe ostavio ogroman opus komedija, drama, melodrama, krimića – sa nekoliko glavnih uloga koje je igrao naspram Claudie Cardinale. Salvatori je bio lepuškast, privlačan čovek, nedovoljno lep da bude više od sporednog glumca u nekoliko koprodukcija u kojima je igrao gde su u glavnim ulogama bili Belomondo ili Delon, ali sa prirodnim talentom za komediju. U Omicronu on mora da pokaže kapacitet za glumu mimikom, pokretom i grimasama jer titularni vanzemaljac ne uspeva da otključa intelekt i govor u telu koje naseljava sve do pred kraj filma i Salvatori ovde nosi prvu polovinu filma na svojim širokim, lepim plećima.
(https://i.imgur.com/TPpO0UK.png)
Naravno, nije on ovde sam. Prva polovina filma prikazuje rukovodstvo fabrike kako pokušava da iskoristi oživelog radnika za samoreklamu. Trabucco, vođen Omikronom koji imitira ono što druge ljude vidi da rade, biva vraćen u fabriku i tamo postiže neverovatne radne rezultate zahvaljujući činjenici da ne mora da se odmara i da je optimizovao svoje pokrete za mašinom do maksimuma. Šef smene već vidi unapređenje za sebe i tretra još uvek nemog Trabuccoa kao dobru investiciju, ali Omikronova radoznalost i testiranje daljih kapaciteta tela, naravno, dovodi do pregršti smešnih situacija sa seksualnim ali i sociopolitičkim predznakom.
(https://i.imgur.com/nD6iLMt.png)
Ništa od ovoga nije neka velika i moćna satira, ali su scene, pogotovo one u kojima Salvatori nadahnuto skakuće i glumata – smešne i donose gledaocu razonodu na jednom najbazičnijem nivou.
Od polovine Gregoretti kao da snažnije kreće u pravljenje svoje poente. Situacija se za samog Omikrona usložnjava jer mu je rečeno da mora da na Zemlji – koju ne podnosi – čeka okupacione snage i da je jedini način da sa nje ode da telo-domaćin koje koristi umre ili pogine ali da mu nije dopušteno da ga on sam ubije na ime novog intergalaktičkog zakona o zaštiti inferiornih rasa. Istovremeno, Trabucco, koga su ostali radnici u fabrici prezirali otkada je postao udarnik i poslovođino mezimče, se pridružuje pripremama za veliki štrajk – jer Omikron procenjuje da su šanse da njegov domaćin tu bude ubijen velike – i film dobija mnogo eksplicitnije kritičku notu. Partikularno, jedan set pis vezan za Omikronov izveštaj komandi o tome kako funkcionišu ekonomija i klasna podeljenost na Zemlji ima marksističku osnovu i situacionističku razradu, sa kamerom i montažom koji prikazuju svu Gregorettijevu ekspertizu iz domena pravljenja dokumentarnih filmova odvrnutu na jedanaest i sa mnogo uspelog vizuelnog humora.
(https://i.imgur.com/Q6eA6Vd.png)
S druge strane, Omikronovi napori da ,,ubije" Trabucca umeju da proizvedu zabavne, ali ne naročito politički korektne scene, počev od sprdanja na temu samoubistva (primerenog, recimo Looney Tunes estetici sa sve Salvatorijevom sjajnom facijalnom mimikom) pa do svakako predugačkog – i čak i za 1963. godinu verovatno problematičnog – zapleta u kome Omikron računa da bi nasilno oduzimanje nevinosti Trabuccovoj koleginici bio pravi put do toga da ga ona u odmazdi ubije. Srećom, film ne dopušta da dođe do prikaza seksualnog nasilja (ali ne beži od humorističkog nasilja nad ženom) i ima pančlajn u vizuelno izuzetno uspeloj sceni u kojoj se radnici podsmevaju poslovođi na ime njegovog statusa rogonje. Što, da se razumemo, nije NAROČITO progresivno ali je makar maestralno režirano.
(https://i.imgur.com/KD1BdUp.png)
Finale filma uspeva da dotakne i neku vrstu autentičnog patosa sa tim pronalaženjem vrline prirođene ljudima i mada je Omicron svakako neujednačen film koji govori nekoliko stvari u isto vreme a koje nisu nužno jedna sa drugom u vezi, on je makar kratak, dinamičan, vrlo lepo snimljen i sa nekoliko odličnih Umilianijevih pesama. Nisam zažalio tih osamdesetak minuta života što sam ih uložio u ovaj skoro šezdeset godina stari kvazi-naučnofantastični kurio.
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Pogledao sam sa dosta interesovanja mađarsku dramu Szelid (tj. Nežno) iz ove godine koja je, eto malog kurioziteta, i prvi mađarski film ikada odabran da bude prikazan u selekciji prestižnog američkog festivala nezavisnog filma, Sundance. Ovo na neki način i sudbinski uokviruje Szelid koji je sa jedne strane trijumf nezavisne kreacije i demonstracija kako i bez pomoći velikih studija i – za Evropu paradigmatičnije – države može da se snimi film zaokruženog estetskog profila i da to deluje ubedljivo i ,,svetski", ali je sa druge i neka vrsta made-for-Sundance studije slučaja u kojoj se koriste mnoga tipska rešenja pa onda i ono što je u filmu novo, dobro i intrigantno zapravo kao da ne uspeva da sasvim ispliva pored onog očekivanog i pomalo manirističkog. Opet, tematika filma je takva da Szelid nikako nisam smeo da propustim, a i njegov vizuelni sloj u dovoljnoj meri razume prijemčivost te tematike i smešta imaginarij na udobnu poziciju između fetišizma i naturalizma pa je ovo film što je u meni svakako ostavio pozitivan utisak i dobru vibraciju.
(https://i.imgur.com/dfJOSpy.png)
Naime Szelid je po postavci prilično stereotipna low key drama o sportisti koji ima priliku da se natječe u svetskom rangu, pa čak i da ima dobru šansu da osvoji svetsko prvenstvo u svom sportu, sa prikazivanjem kako iza svog glamura velikih takmičenja i svetala reflektora stoje godine i decenije mučnog, surovog, ne uvek ni sasvim moralnog odricanja, samožrtvovanja, žrtvovanja drugih i svakojakih drugih iskušenja, ekonomskih i emotivnih, koja će na kraju biti dubiozno isplaćena AKO taj sportista zaista dobije priliku da stupi nogom na pobednički podijum i shvati da iznad njega nema nikoga. Gledali smo mnogo filmova sa sličnim narativom, i to čak nisu uvek ni bili sportisti – nekada su to bili plesači, nekada modni kreatori ali je matrica uvek bila slična, sa doslednom vivisekcijom socijalnih realnosti industrije u kojoj se dela, i prikazivanjem visoke emotivne cene koja se plaća za uspon ka vrhu.
Osobenost Szelid je što u pitanju nije sportista već sportistkinja a i što je sport u kome se glavna junakinja, Edina Kovač takmiči – bodibilding.
Bodibilding je srazmerno mlad sport ako se poredi sa fudbalima, hokejima, košarkama, ali pogotovo sa atletikom ili gimnastikom kojima je načelno najsličniji. ,,Zvanično" formatiran kao sportska disciplina tek posle Drugog svetskog rata, ovaj je sport ekspanziju doživeo sedamdesetih godina prošlog veka, najpre zahvaljujući čuvenom dokumentarnom filmu Pumping Iron sa ikoničkim pojavljivanjima likova kao što su bili Arnold Schwarzenegger ili Lou Ferigni – ljudi koji će u narednim godinama igrati likove kao što su Konan Varvarin ili Hulk, ,,zvanično" pokazujući da osobe iz ,,ovog" sveta mogu imati fizikus donedavno rezervisan samo za likove iz stripova.
(https://i.imgur.com/ZsgLhwp.png)
A što donekle jeste paradigma čitavog sporta koji se, za razliku od tih srodnih atletika i gimnastika, ultimativno ne bavi upotrebom mišića i snage, koliko je njihovo građenje i prikazivanje svrha samim sebi. Bodibilding time zajedno sa nekim drugim sportovima koji su nastali i kao njegovi ofšotovi (takmičarski fitnes, na primer) u svom srcu nosi tu eksplicitnu fetišističku komponentu, gde se fizički izgled na kraju vrednuje sam za sebe, nezavisno od ,,objektivnih" kapaciteta da se snaga efikasno primeni.
Ovo je, svakako, još izraženije komplikovano kao koncept ako posmatramo ženski bodibilding koji je krenuo da se razvija šezdesetih godina prošlog veka i na neki način igrao i emancipatorsku ulogu izvlačeći žene iz njihove tradicionalne uloge ,,slabijeg pola" i dajući im mišiće nominalno rezervisane za muškarce.
Szelid je film koji veliki deo ovog narativa podrazumeva i spretno sažima mada se samo delimično bavi tim elementima fetiša. No, moglo bi se argumentovati da je to definitivno najinteresantniji deo ovog filma.
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Szelid su režirali zajednički László Csuja i Anna Nemes (koja igra i jednu malu ulogu u filmu), dvoje režisera što među sobom imaju nekoliko dokumentaraca i kratkih filmova i vrlo malo celovečernjih produkcija, ali u tehničkom smislu Szelid nema čega da se stidi i ovo je vrlo kompetentno sklopljena produkcija sastavljena od atraktivnih, vizuelno promišljenih kadrova i ne prenaglašenih dramskih momenata.Takođe, film traje svega 93 minuta i unutar njih kaže sve što ima, što je veoma osvežavajuće za 2022. godinu.
Narativno, ovo jeste vrlo naturalistička, relatabilna priča o pomenutoj Edini Kovač koja pobeđuje na nacionalnom takmičenju i dobija priliku da Mađarsku predstavlja na svetskom šampionatu. Njen trener – i nevenčani suprug – Adam Takač je svojevremeno bio šampion sveta i u jednoj emotivnoj sceni opisuje kakav osećaj je znati da nema nikog boljeg na planeti u tome što radiš. On je takođe potpuno uveren da Edina ima kapacitet da pobedi i da je samo potrebno da se uloži ogroman rad u pripreme za ovo takmičenje.
Već nakon dana u kome je pobedila na nacionalnom takmičenju i imala pravo na jednu bogatiju večeru, Edina se pod Adamovim vođstvom vraća u teretanu i na brutalan režim ishrane. Iako su oboje glumaca (Eszter Csonka i György Turós) u stvarnom životu bodibilderi film nimalo ne beži od činjenice da je ovo sport u kome je balansiranje biohemije jednako važno kao i dizanje gvožđa u teretani i osnovna tenzija priče vrti se oko činjenice da su suplementi, proteini i preparati koji treba da zaštite Edinine zglobove i pospeše varenje hrane naprosto skupi a da imamo posla sa sportom koji ne privlači sponzore i marketinške agencije. Adam i Edina su porodični tim i kadrovi snimani u njihovom stanu, uglavnom sa indirektnim osvetljenjem i dosta senki vrlo evokativno prikazuju koliko je ovo zapravo samotan, mučan rad usmeren na naizgled neuhvatljivu nagradu na kraju dugog tunela.
(https://i.imgur.com/tkUIY6P.png)
Sad tu naravno dolazi do raznih emotivnih napetosti i postaje jasno da je Adam onaj koji celu ovu stvar želi da izgura po svaku cenu jer ima san o tome da njegova devojka bude ono što je jednom i sam bio – svetski šampion – iako im na putu stoje mnoge ekonomske realnosti. Adam obećava Edini da će on obezbediti dodatni novac i da ne dolaz u obzir da se kupuju no-name suplementi ispod tezge, ali njegova karijera muške striptizete se brzo okončava jer čovek koji je celog života radio na svom telu ne uspeva da se opusti čak ni na audiciji u noćnom klubu i prihvati da se javno transformiše u puki fetiš.
Naravno, film nedvosmisleno prikazuje da patrijarhalna tradicija u dobroj meri monopolizuje i fetiše pa Edina umesto Adama uspeva da monetizuje svoje telo radeći za eskort-agenciju koja se fokusira na egzotičnije klijente kojima nudi ženska tela nestandardnog izgleda.
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Film Edinin rad u seks-industriji prikazuje bez ikakve osude, iako je jasno da ona ima brojne emotivne nelagode u svemu tome. Njeni klijenti uglavnom ne dobijaju, niti žele seks i njihov fetišizam ima temelje u dubljim slojevima podsvesti. Adam sa svoje strane ili ne zna ili se pravi da ne zna kako mu devojka zarađuje dodatni novac i fokusira se na to da je ozbiljno napada svaki put kada ona prekrši surovu dijetu na koju ju je stavio kako bi izvajala mišiće i egzoricala svaki miligram masti (i vode) iz organizma.
Otud se prema kraju filma kreira jedna drugačija tenzija sa Edinom koja shvata istovremeno i da njeno telo ovo ne može da podnese – sa srcem koje će je izdati tokom jednog treninga i lekarom koji savetuje dugačak odmor jer je ona u smrtnoj opasnosti – ali i da njen duh to, možda, i ne želi. Film koristi vrlo malo reči i na gledaocu je da tumači u kojoj meri je ovo osuda patrijarhalnosti savremenog srednjeevropskog društv, ali elementi su svakako tu: muževan, samozaljubljen muškarac koji fetišizuje svoje telo i pokušava od sopstvene devojke da napravi drugog sebe, otac koji živi na selu i nema razumevanja za ćerkinu profesiju, scena svinjokolja* i nelagode kada Edini iznesu supu koju ona čak i proba a onda, svesna da će Adam da siđe sa uma od besa, istrči iz sobe i natera se da povraća...
*sa, moram da kažem, IZUZETNO realističnim prikazom klanja svinje koji je u meni izazvao dosta jeze s obzirom da je, možda, u pitanju prikaz stvarnog ubistva
(https://i.imgur.com/a1r2XoT.png)
Film, pak, ima i jednu blago nadrealističnu, makar po imaginarijumu, dimenziju u kojoj Edina vidi neku vrstu bljeskova nekakvog drugačijeg života koji bi mogla da vodi, a što dolazi kroz ponovljene eskort sesije sa maštovitim bogatim klijentom. Ovog klijenta seks nimalo ne interesuje i njegov fetiš u kome Edina igra glavnu ulogu odnosi se na potpuno poništenje muške snage i predavanje snažnoj ženi. Kada Edina pokuša da od fetiša napravi nešto ,,stvarno", ovo je najbolniji momenat u filmu.
(https://i.imgur.com/FWjSHkL.png)
Szelid se završava na jedan predvidiv način i to je jedan od njegovih nedostataka. Drugi nedostaci su svakako u tom prepoznatljivom ,,Sundance" jeziku, sa mnogo scena koje su samo ,,tu" jer znate da moraju da budu tu – pumpanje gvožđa u teretani sa bolnom grimasom na licu, tihi, gotovo bezglasni dijalozi između protagonista sa apsolutnim minimumom ,,glume" – ali zapravo ne daju filmu mnogo sem tog obaveznog programa. Ovo jeste generalna boljka ne samo evropskog filma sa arthouse predznakom, gde se gluma pomalo i prezire i umesto nje se traži naturalizam kao da je to jedina vrednost u filmskoj umetnosti. Kao rezultat toga, Szelid čak i sa vitkih sat i po trajanja deluje kao da ima najmanje dvadeset minuta sala na svom skeletu i čovek poželi da su ga autori montirali malo pustolovnije, možda nehronološki, možda sa više atraktivnih nadrealističkih kompozicija i smelih scena iz jednog kadra koje vizuelno oživljavaju inače vrlo smiren film.
No, Szelid svakako, rekao sam, ostavlja solidan utisak. Ovo je film čija je priča srazmerno predvidiva ali koji u dobroj meri koristi svoju tematiku da promisli mesto fetiša u savremenom društvu i kaže po koju o tome kako se fetiš smešta unutar svakodnevne političke ekonomije. Bez sumnje bih svakom koga imalo interesuje tematika preporučio konzumaciju a iskoristiću priliku da Crippled Avengeru izrazim javnu zahvalnost što mi je omogućio da film pogledam.
(https://i.imgur.com/JO56y8F.png)
Pistol Opera (tj. Pisutoru Opera) je pretposlednji film koji je Seijun Suzuki režirao, posle dugačke pauze od jedne decenije koliko je prošlo od njegovog prethodnog dugometražnog filma, Yumeji, trećeg u trilogiji nadrealistčkih drama smeštenih u Taishō period u ranom dvadesetom veku. Yumeji je imao svoju premijeru 1991. godine kao nezavisna produkcija prikazana na festivalu u Kanu u programu Izvestan pogled, potvrđujući Suzukijev tadašnji status uglednog arthouse režisera koji je prešao veliki put od svojih B-filmova iz šezdesetih godina prošlog veka, proizvođenih maltene kao na traci za studio Nikkatsu. Onda je usledila desetogodišnja pauza tokom koje je Suzuki uglavnom radio kao glumac u tuđim filmovima.
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U tekstovima (https://cvecezla.wordpress.com/2022/07/08/film-fighting-elegy-aka-kenka-erejii/) o prethodnim filmovima (https://cvecezla.wordpress.com/2022/07/15/film-branded-to-kill-aka-koroshi-no-rakuin/) ovog, pa, legendarnog japanskog režisera potanko je opisano kako je Suzuki u Nikkatsuu bio jedan od najvrednijih proizvođača B-filmova kroz šezdesete godine i kako je sa vremenom postajao sve smeliji u razbijanju preskriptivne forme koja je samo zahtevala da se isprate očekivani tropi, i u svojim filmovima imao nadrealističke, artističke eskapade koje su se dopadale mlađoj, progresivnoj publici što je u žanrovskom filmu tražila nove umetničke ali i socijalne i političke sadržaje. Nikkatsuovo rukovodstvo, time, naravno, nije bilo zadovoljno a tekući finansijski problemi kroz koje je studio prolazio zbog ne sjajnog menadžmenta su delovali kao idealni da se pripišu nepoćudnom režiseru koji nikako da spusti rogove i snima ono što se od njega očekuje pa je usledio mučan raskid, dugogodišnje suđenje i dugačak period u kome Suzukija ni jedan studio nije hteo da takne ni štapom za pecanje jer je, eto, bio u pitanju onaj čovek što oće da krene u rat za ono u šta veruje.
Suzuki nikada više neće snimati intenzitetom kojim je radio u šezdesetima ali mu je rad na televiziji kasnih sedamdesetih i osamdesetih godina obezbedio stabilnost i prostor da radi svoju nezavisnu Taishō trilogiju psiholoških drama i priča o duhovima srolanih u jedno, a koja će ga odvesti na festivale po Evropi i u Japanu mu osvojiti prestižne nagrade. Suzuki je ove filmove snimao sasvim drugačije nego svoje radove iz šezdesetih, komentarišući da je rad na lokaciji potpuno drugačiji od rada u studiju gde sve imate pod rukom i pripremljeno. U duši ostajući čovek zanata, možda je i zbog toga oberučke zgrabio priliku koja se ukazala kada je pred kraj stoleća u komplikovanoj kombinaciji produkcija njegovog prvog poslodavca, Shochiku i koristeći Nikkatsuove studijske resurse, mogao da snimi nastavak svog poslednjeg filma urađenog za Nikkatsu, Branded to Kill, a koji je i bio momenat u kome se njegov odnos sa studijom potpuno raspao i krenulo je povlačenje po sudovima.
(https://i.imgur.com/mo5ewqE.png)
Suzuki je, da bude jasno, i ranije imao planove za nastavak Branded to Kill koji je uživao status kultnog, radikalnog filma među delovima japanske progresivnije omladine, ali i postao uticajan rada na zapadu. Branded to Kill Continued je bio u raznim stadijumima diskutovanja među Suzukijem i saradnicima i pre izlaska samog Branded to Kill, sa idejom da se pojača nadrealizam i još više pobegne od žanra ali je propast Branded to Kill i Suzukijevog odnosa sa Nikkatsuom ovo sve izbrisala.
(https://i.imgur.com/7D7dAIO.png)
Nikkatsu je u međuvremenu imao i nezavisno producirani ,,roman porno" rimejk Branded to Kill nazvan Trapped in Lust, ali ovo je bila faza kada su oni mnoge svoje stare filmove rimejkovali za novo tržište erotskih bioskopa i Suzuki nije imao nikakve veze sa ovim radom.
(https://i.imgur.com/71BLCGy.png)
Pistol Opera je, dakle, napravljen čak 34 godine nakon filma kome predstavlja nastavak, posle, praktično čitavog novog života koji je Suzuki proživeo kao glumac, literarni autor i televizijski supervizor za popularnu anime seriju Lupin III. Ako je iko očekivao da će sa novim filmom dobiti konvencionalniji krimi-triler od Branded to Kill, ljuto se prevario.
Pistol Opera je film koji je gotovo nemoguće prepričati jer on praktično i nema zaplet. Suzuki ga je pravio sa skoro osamdeset godina i sasvim očigledno bez ikakve namere da izlazi u susret bilo publici, bilo studijima. Ovo je bila prilika da se vrati nadrealističkom, za opisivanje skoro nemogućem svetu profesionalnih ubica u Japanu i ako je za ,,starog" Suzukija važilo da su mu zaplet i scenario manje važni od pojedinačnih scena i set pisova, ovde su kočnice potuno otpuštene i film je serija bizarnih, snolikih scena koje su veoma labavo povezane ne zapletom već bojama i vizuelnim motivima i čistom idejom o tome da postoji rang lista najboljih profesionalnih ubica u Japanu i da se te ubice međusobno bore za prvo mesto.
(https://i.imgur.com/22sM9fb.png)
Ovo je bio ,,zaplet" i Branded to Kill, ali, naravno, više koncept nego zaplet i na kraju tog filma je glavni junak nominalno pobedio i postao ubica broj 1 u Japanu. Suzuki je želeo da se Joe Shishido vrati i ponovi svoju ulogu Goroa Hanade i u novom filmu ali producenti su hteli da ga igra ,,najbolji japanski glumac u Šekspirovim komadima" Mikijirō Hira, pa je i ta najtanja spona sa originalnim filmom ovde još istanjena.
Goro Hanada ovde igra sporednu ali važnu ulogu ,,penzionisanog" ubice koji sada nosi počasni rang označen sa nula, da bi bilo jasno da više nije u aktivnom takmičenju, a glavni lik u filmu je ponovo ubica rangiran brojem tri, Stray Cat, a koju igra manekenski upečatljiva Makiko Esumi. Esumijeva je do ovog filma iza sebe već imala karijere odbojkašice i fotomodela, a sa glumom je počela polovinom devedesetih. Do početka novog stoleća već je bila poznata i voljena na ime zapažene uloge u Fujijevoj neočekivano popularnoj televizijskoj seriji Shomuni (aka Power Office Girls), a 2000. godine je objavila i prvi singl koji je kasnije bio na odjavnoj špici za drugu sezonu Shomuni. Esumijeva će se uskoro i udati za Fuji TV reditelja Shina Hirana sa kojim do danas ima dvoje dece i uspešnu televizijsku karijeru koju je samoinicijativno prekinula sa pedeset godina, želeći da se posveti porodici. Da je žena ovakvog izgleda i karijernog puta učestvovala u produkciji Pistol Opera je, pa, jedno malo čudo.
(https://i.imgur.com/BFmKD71.png)
No, Suzuki je svakako bio zainteresovan pre svega za čudno i začudno i direktor fotografije, Yonezô Maeda, te scenograf, stari Suzukijev saradnik, Takeo Kimura su ovde išli daleko preko onog što bi se smatralo pukom dužnošću, kreirajući nadrealističan, stalno jako vizuelno intenzivan program upečatljivih slika, kadrova, boja. Pistol Opera je nemoguće prepričati, istina je, ali to je i zato što je ovo još više snu nalik narativ nego stari Suzukijevi filmovi. I, mada se radi o vrlo artističkom naporu, ne treba izgubiti iz vida da je i ovo snimano partizanski, bez mnogo para i vremena, kombinovanjem studijskih resursa i snimanja na zanimljivim ali verovatno komplikovanim lokacijama. Otud je ovo i film u kome u masi kadrova možete videti mikrofone kako upadaju pred kameru i biti svesni da ovo samo doprinosi tom nadrealističkom, da-li-sanjaju-protagonisti-ili-gledalac ugođaju cele produkcije.
(https://i.imgur.com/dOMXKZe.png)
Stray Cat je, dakle, broj tri na japanskoj listi najboljih profesionalnih ubica i ono malo ,,zapleta" što film ima tiče se njene borbe da bude broj jedan, mada naravno da nije jasno ZAŠTO – film ovde naprosto preuzima wuxia trope bez ikakvog propitivanja i ne interesuje ga objašnjavanje. Čak i ono malo karakternog rada sa likovima koji je imao Branded to Kill ovde uglavnom izostaje. Stray Cat nam se pokazuje i kao vrlo sposobna profesionalka sa maštovitim set pisovima u prvih četrdesetak minuta filma koji podrazumevaju asasinaciju žene što sa trambuline skače u bazen (usred skoka) i sumanutu borbu sa ubicom u invalidskim kolicima. No, kada kasnije u filmu Stray Cat upozna misterioznu devojčicu (njenu sestru? Nsimo sigurni!) koja želi da nauči da bude ubica, ova ne želi da joj bude mentorka. Zašto? Ne zna se. Nije jasno da li Stray Cat ipak u sebi ima tragove građanskog morala ili naprosto ne može sve da podnese psihički. Devojčica koju pominjemo ima i plesnu tačku u kojoj – na Engleskom – peva Humpty Dumpty Sat on the Wall. Zašto? Ne znamo. Neki od likova usred japanskog dijaloga ubacuju engleske reči i fraze. Zašto? Ne znamo. Jedan od rangiranih ubica je zapadnjak koji priča tečan japanski. U jednom od dijaloga pri kraju filma Stray Cat i njena agentica razmenjuju uvrede od kojih je jedna i ,,debela kučko" a što je posebno suludo znajući da su i Makiko Esumi i Sayoko Yamaguchi bivše manekenke, Yamaguchijeva, istina, nešto starija ali sa građom koja joj je obezbedila internacionalnu karijeru kao jednog od prvih azijskih top-modela na globalnom nivou.
(https://i.imgur.com/2ZrLEpi.png)
Borba Stray Cat da dođe do broja jedan se komplikuje time što broja jedan niko nije zaista video i nije sigurno ko je on. Plavokosi ubica koji ljude snajperom pogađa u produženu moždinu tako da na onaj svet odu sa osmehom na licu i koji za sebe tvrdi da je broj jedan – to možda i nije. Film namerno, vrlo smišljeno zbunjuje i gledaoca i svoje likove na svakom koraku, vodeći se više vizuelnom logikom nego ikakvim stvarnim narativnim pravilima. Boje, vizuelni motivi, kadrovi koji se ponavljaju, kao i ponavljajući muzički motivi (Kodama Kzufumi na IMDB-u ima samo jedan film upisan kao kompozitor – ovaj, a za koji je spravio kombinaciju regea i elegičnih armijskih balada sviranih na trubi) su mnogo važnije poveznice između scena nego bilo šta u narativu.
(https://i.imgur.com/csxWNQH.png)
Da li je Pistol Opera onda uopšte ,,pravi" film ili samo serija scena bez stvarne priče? To zaista zavisi od onog kako definišete pravi film. Ovo je bez ikakve sumnje vizuelno i zvučno konzistentan umetnički rad sa jasnim komuniciranjem između scena i kretanjem protagonistkinje u jednom smeru, ali je istina i da simbolike pojedinih scena i motiva nisu jasne ni na prvo ni na drugo gledanje i da Suzuki slobodno asocira mnoge elemente, čas se hvatajući pozorišta, čas baleta, čas anime predložaka, čas klasičnog azijskog akcionog filma. On sve to na kraju spoji u celinu koja, rekosmo, ima logiku sva pre nego logiku stvarnog narativa a likove mnogo više definiše njihov ikonički izgled i ponašanje nego ikakva stvarna karakterizacija.
I ne može se reći da Suzuki ne zatvara krug kreirajući neku vrstu prototipa koji će ne tako mnogo godina kasnije biti vidljivo iskorišćen i u, recimo, tarantinovom Kill Bill, sa proto-feminističkim, ili makar girl-power izvrtanjem tropa originalnog Branded to Kill i jasnim, simboličnim ubijanjem starog da bi novo živelo. Utoliko, Pistol Opera je i žanrovski drugačijeg tipa od svog prethodnika, sa mnogo manje dugovanja džemsbondovskim korenima, i mnogo otvorenijim okretanjem nadrealizmu. Zapadni kritičari pominju Davida Lyncha ali rekao bih da Suzukijev rad ovde pre asocira na Kennetha Angera, a ako želite nešto ,,žanrovskije", može da se uporedi sa onim što je radio Jodorowsky uzimajući format vesterna a zatim ga potpuno rasturajući iznutra.
(https://i.imgur.com/In3oycV.png)
Slično tome, Suzuki pokazuje da i dalje ume da snimi uzbudljive veoma stilizovane akcione scene a onda između njih montira strastvene pozorišne monologe, kadrove posvećene čistom likovnom apstraktnom ekspresionizmu (u smislu omažiranja postojećih radova i tehnika), plesne tačke i koreografije. Pistol Opera nikako nije film koji ćete pogledati da biste shvatili šta je Suzuki ,,hteo da kaže" ali je film koji treba da pogledate da biste shvatili šta Suzuki jeste, ili makar šta je bio na početku stoleća, ali još uvek šesnaest godina udaljen od svoje smrti. Umetnik među zanatlijama, vizionar među pripovedačima i, uz fantastične boje ove produkcije, slikar među režiserima. Pistol Opera, dakle, svako treba da pogleda, a pošto je film između ostalog slobodno dostupan ja JuTjubu – sa dobrim engleskim titlom – svako to i može. Pa izvolite:
https://www.youtube.com/watch?v=tHGWhBMtxpc
Sa pompeznim naslovom kao što je Doctor Strange in the Multiverse of Madness, nastavak priče o Marvelovom najvažnijem magijskom liku sugeriše konvergenciju motiva kakva je i primerena filmu sada već duboko u četvrtoj fazi Marvelove filmske produkcije.
(https://i.imgur.com/GGpgmTv.png)
Konvergencija se ovde događa na više nivoa, od činjenice da je Marvel za ovu epohu u potpunosti prigrlio koncept multiverzuma – delom prateći, delom diktirajući tempo trke u popularnoj kulturi zapada generalno da se kreira ,,jedan multiverzum da vlada svima ostalima" – preko slobodnog mešanja likova iz različitih filmova, uključujući nekada Foxove franšize, pa do činjenice da se ovde manifestno povlači znak jednakosti između televizije i bioskopa. Doctor Strange in the Multiverse of Madness je film koji možete zaista ispratiti jedino ako ste gledali ne samo prethodne Marvelove filmove već i televizijski materijal proizveden ekskluzivno za servis Disney+. Ovo je na neki način ultimativno razotkrivanje ratnog plana ne samo Disneyjevih stratega već entertejnment korporacija generalno, sa idejom da ćete zauvek biti uhapšeni i osuđeni na ,,sadržaj" koji više neće dolaziti u diskretnim paketima svakih par godina već na koji ćemo biti neprekidno priključeni sa filmovima što samo udaraju akcente u stalno tekućem narativu.
U ovom smislu, Marvelovi filmovi još više insistiraju na formuli i ulaze u homogenizaciju koja naprosto ne mora biti zdrava, ali je sa druge strane i ovo neka vrsta urednije, disciplinovanije realizacije nečega što su stripovi odavno patentirali sa stalnim forsiranjem čitanja različitih serijala kako biste ostali u toku sa metanarativom koji se akcentuje povremenim – redovnim – događajima.
(https://i.imgur.com/XGfvjeb.png)
Doctor Strange in the Multiverse of Madness je bio žrtva COVID-19 problematike sa snimanjem koje je bilo prekidano zbog pandemije ali ovo je u krajnjem ishodu jedna u sebe prilično sigurna produkcija možda najviše jer je za kormilom sedeo Sam Raimi, vozeći film čvrstom rukom i upravljajući odličnim glumcima. Glavni problem filma je, možda i iznenađujuće, plitak, generički scenario koji forsira ,,formulu" i deo je Michaela Waldrona, srazmerno neiskusnog televizijskog i Youtube scenariste i producenta koji je sa Marvelom radio na televizijskoj seriji Loki ali čiji je skript za ovaj film ne samo sklopljen iz opštih mesta već i prepun izlizanih fraza i bledih replika. Da ovo nije režirao Raimi i da ispred kamere nisu stajali neki odlični glumci Doctor Strange in the Multiverse of Madness bi bio apsolutno zaboravljiv produkt uprkos atraktivnoj art-direkciji i kvalitetnim digitalnim efektima.
(https://i.imgur.com/rGq0stn.png)
Artificijelnost koju digitalni efekti donose ovom filmu je, ako ništa drugo, primerena narativu koji se bavi magijom i putovanjem između univerzuma i Doctor Strange in the Multiverse of Madness nema onaj ,,realistični" ton koji je neke od ranih Marvelovih filmova utemeljivao u uverljivom, No, njemu to nije zaista potrebno. Ovo je sad veoma zrela faza superherojske naracije u kojoj ,,stvarni svet" nije bitan jer se konflikti dešavaju unutar same superherojske zajednice i mada je ne samo univerzum već čitav multiverzum u opasnosti, negativac u ovom filmu nema ni trunku Thanosove grandiozne ambicije. Naprotiv, konflikt u ovom filmu centriran je oko suštinski intimne tragedije majke koja je mislila da ima decu a onda shvatila da je to bila samo iluzija, i njene potrage za univerzumom u kome je ovo stvarnost.
Iako film ima srazmerno mnogo likova sa sopstvenim agendama i prioritetima, uključujući različite ,,Vrhovne čarobnjake" različitih univerzuma (,,naš" Doctor Strange čak i nije Vrhovni čarobnjak svog univerzuma jer je ova titula otišla odgovornijem ili makar disciplinovanijem bivšem sajdkiku Wongu), te nekoliko alternativnih verzija samog Doctora Strangea, njegove nepreboljene simpatije Christine, te Wande Maximoff aka Skerletne veštice, ovo je zapravo relativno sveden narativ koji se uprkos svom multiverzalnom skakanju i paralelnoj radnji na više mesta odjednom prati lako i sa veoma jasnim motivacijama likova, što mora biti Raimijeva magija na delu. U poslednje vreme nisam imao previše lepih reči za Marvelove filmove, sa Shang-Chijem koji me je razočarao (https://cvecezla.wordpress.com/2021/11/19/film-shang-chi-and-the-legend-of-the-ten-rings/) i Eternalsima koji me nisu razočarali uglavnom jer su me kritike pripremile na mnogo gore (https://cvecezla.wordpress.com/2022/02/04/film-eternals/), pa je Doctor Strange in the Multiverse of Madness zapravo demonstracija da se iz FORMULE i dalje mogu nacediti solidni bioskopski radovi, ako se izrada poveri nekome sa vizijom ali i sa dovoljnom reputacijom da ga se pusti da radi. Raimi, rekosmo, ima posla sa scenarijom koji je u principu bledunjav, sa izlizanim replikama i začudnošću različitih univerzuma koja brzo ispari jer se po pravilu oslanja na lep ali na kraju dana zaboravljiv CGI, ali režiser ovde uspeva da film spase na najmanje dva plana.
(https://i.imgur.com/i03Xzi8.png)
Prvi je akcija koja je režirana atraktivno, smisleno i konzistentno, sa set pisovima gde se obraća pažnja i na detalj ali i na celinu, dakle, na tok borbe, akcente u njoj, tempo i ritam odvijanja radnji na ekranu. Svakako, Raimi ne radi sa nekakvim akrobatskim kaskaderima, koristi puno rezova i CGI-ja, ali ovo je za razliku od Shang-Chijevog uspavljujućeg finala sve vreme rađeno tako da angažuje oko i maštu gledaoca.
Drugi su likovi, prevashodno lik samog Doctora Strangea ali i antagonistkinje, Wande Maximoff. Ovde se, da bude jasno, podsećamo zašto je bitno da imate karakterne glumce i u filmovima koji su 98% green-screen zanat a možda 2% ,,pravi" filmmejking, sa Benedictom Cumberbatchom koji uspeva da donese slojevitost i kompleksnost lika što ima finu, dubinsku antiherojsku crtu veoma u harmoniji sa klasičnim Marvelovim stripovskim senzibilitetom. Doctor Strange je ovde heroj koji pati, heroj koji se žrtvuje, da, ali i heroj kome nisu strani ni arogancija, sebičnost i iskušenja što ih ovi atributi donose. Provozan kroz zabavni park što ga čine ostali univerzumi, on deluje kao maltene jedini stvarni lik u galeriji na brzinu sklopljenih karaktera alternativnih Kapetana Marvela, Charlesa Xaviera (da, Raimi je uspeo da dobije samog Patricka Stewarta za ovu ulogu, čisto jer mu se moglo), Black Boltova itd.
(https://i.imgur.com/omGTxNo.png)
Maltene ali ne i sasvim jer Elizabeth Olsen uspešno parira njegovom maskulinom antiherojstvu sopstvenim femininim padom u zločinstvo. S jedne strane, malo je i nelagodno pomisliti koliko je brzo MCU došao do ,,definitivne" karakterizacije Wande Maximoff bazirane na motivima stripa House of M a koja nekada voljen lik reformatira kao psihotičnu, duboko oštećenu osobu na ime frustriranih majčinskih nagona. S druge strane, Olsenova ovom liku donosi meru dostojanstva i odlučnosti koji je ne čine manje ,,zločinkom" ali joj daju relatabilnost i uverljivost. Da se razumemo, ovo je za Olsenovu manje karakterna uloga, više prenaglašena sapunica ali to je upravo način na koji glumica uspeva da usidri film u nečem opipljivom, publici familijarnom, ne dopuštajući razularenom CGI-ju i blaziranosti koju proizvodi let između univerzuma da potpuno otupe emocije kod gledalaca.
Raimi izvlači veliku kilometražu iz svoje horor-ekspertize i gura PG-13 rejting do krajnjih granica sa nekim vrlo uspelim scenama jezovitog nasilja i monstruoznim likom glavne negativke, a što pomaže da se temperiraju i neki više ,,goofy" elementi produkcije, pogotovo scenografija na planini Wundagore. Naravno, ovo je generalno ,,hororičan" narativ u kome jako figuriše Darkkhold, Marvelova verzija Lovecraftovog Necronomicona, ali Raimi je zaista impresivan u tome kako od Skerletne veštice pravi praktično slasher-negativca u filmu što je stalno na granici da se rapsline u apstraktnoj žvaki o multiverzumu.
(https://i.imgur.com/tqRakDm.png)
Sa svoje strane, pak, lik Americe Chavez je prilično bledunjav i ima samo funkcionalnu vrednost. Utisak je da je ovo bio napor od strane samog Marvela da od relativno recentnog lika koji ni u stripovima nije uspeo da specijalno zaživi napravi neku vrstu sveže senzacije – možda i neophodne s obzirom da su i Strange i Maximoff već godinama na ekranu – ali Raimi kao da nije znao šta da započne sa njom i ona je ostavljena na nivou mekgafina koji priču tera napred ali nema stvaran karkater. Što je, svakako, šteta.
No, u celini, Doctor Strange in the Multiverse of Madness je uspešan film. Nikako ,,veliki" i nikako prevratnički, ali film koji uspešno svodi svoju apsurdno preglomaznu premisu o ugroženosti celog multiverzuma na jasnu, relatabilnu ljudsku dramu između poznatih i voljenih likova. Ovde je premisa o alternativnim životnim putanjama karakteristična za multiverzalne priče (videti pod Everything Everywhere All at Once (https://cvecezla.wordpress.com/2022/08/05/film-everything-everywhere-all-at-once/) ili Spider-Man: No Way Home (https://cvecezla.wordpress.com/2022/04/08/film-spider-man-no-way-home/)) urađena bez velike inspiracije ili svežeg ugla iz koga se može posmatrati, ali glumci i dobar rad sa njihovim likovima spasavaju film u dovoljnoj meri da mogu da ga preporučim. Naravno, njegova suštinski ucenjivačka priroda, gde ćete dobiri ono ,,pravo" tek ako ste se kao talac svojevoljno predali Dizniju za vjeki vjekov jeste problematična, ali ona je znak vremena i sreća je makar da smo ovde imali Raimija da od ,,sadržaja" mestimično napravi, pa, FILM.
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Privoleo sam se da pogledam Sonyjev ovogodišnji superherojski uradak, Morbius, pušten na Netlfiks evo ni punih pola godine nakon što je ušao u bioskope i tamo bio ismejan, da bi ljudi nastavili da ga ismevaju na internetu, i mada bih voleo da kažem da je u pitanju neobjašnjivo loš film, istina je zapravo da je ovo tek logičan pančlajn u jednoj za Sony depresivno doslednoj situaciji mahanja rukama po mraku u nadi da će nešto da se samo podmetne pod šamar a novac, nekako magično, da šikne iz iznenađenog objekta. ,,Ovo je savršeno funkcionisalo ranije", mora da su frustrirano govorili šefovi studija na sastancima sa deoničarima koji su zahtevali da znaju zašto je njihov film od osamdeset miliona dolara izleteo iz bioskopa posle samo par nedelja i mada je Morbius zaradio dvostruko više novca nego što je u njega uloženo – a što bi MORALO da se piše kao uspeh u bilo kojoj ekonomiji – istina je i da filmski biznis danas ne funkcioniše ni po jednoj ljudima razumljivoj logici. Utoliko, činjenica da je Morbius dobio očajne kritike i smara se najgorim velikim superherojskim filmom koji je do sada napravljen verovatno ne drži noćima budnim producente koji novčanicama od sto dolara brišu suze, ali im svakako proizvodi nelagodu, pa možda i anksioznost glede jedine stvari koja se u 2022. godini računa – potencijala da ovo bude razvijeno u ,,metaverzalni" properti.
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Da se razumemo, Morbius i jeste produkt Sonyjevih napora da nekako iskoriste činjenicu da i dalje imaju prava na Marvelove likove koji su nekako povezani sa Spajdermenom. Ako je Marvel/ Disney gotovo u potpunosti uspeo da im kidnapuje samog Spajdermena, Sony je sasvim spremno iz zadjeg džepa izvukao Plan B i podsetio se da je još u drugom Webbovom Amazing Spider-man filmu bilo jasnih indikatora da se priprema čitav ,,spajderverzum" sa klasičnim Spajdermenovim negativcima i nestašnim krosoverima. I da se razumemo, sa Venomom je Sony, a ovo JESTE neobjašnjivo, napravio ogroman hit (https://cvecezla.wordpress.com/2018/10/28/film-venom/) koji je, kroz dva nastavka zaradio više od milijardu dolara i vrlo plastično prikazao da loši filmovi sa brljavim CGI-efektima, očajnim dijalogom i glumcima koji deluju kao da su ih tri meseca hranili samo kokainom mogu da igraju na maltene istom terenu kao i sam Spajdermen. Drugi film o Venomu je vrlo smelo (https://cvecezla.wordpress.com/2021/11/26/film-venom-let-there-be-carnage/), neki bi rekli drsko, uspeo i da se ugura u multiverzalnu priču koja ga je i kanonski povezala sa Spajdermenom, pa je Morbius zapravo predvidiv ishod ovakvog sleda događaja.
Lako je sada kriviti panedmiju COVID-19 za to što je film stigao do publike u ovakvom stanju ali je istina i da je to potpuno besmisleno – Morbius je svoju produkciju završio pre početka pandemije i premijera je naprosto odlagana kako bi se velika investicija opravdala propisnom bioskopskom distribucijom. Utoliko, razlozi što je ovo ovoliko loš film moraju da se traže na drugoj strani.
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Možda je problem u samom propertiju? Morbius je naprosto nevažan, zastareo i u suštini slabo promišljen Spajdermenov neprijatelj kreiran 1971. godine kada je nakon popuštanja stega Comics Code Authority cenzure postalo malo lakše da se u mejnstrim stripovima prikažu bića poput vampira. Za svaki slučaj, Roy Thomas i Gil Kane su Morbiusa zamislili kao ,,živog vampira", dakle, čoveka koji je putem naučnog eksperimenta razvio vampirske moći (i slabosti), žeđ za krvlju i modni stil negde između gotskog Drakule i profesionalnog rvača ali čak ni u sedamdesetima Morbius nije bio naročito harizmatična figura u stripovima o Spajdermenu a pričamo o dekadi u kojoj se Spajdermen borio i protiv nabildovanog kamiondžije Razorbacka čiji je kostim uključivao masivnu glavu divljeg vepra.
Jedan jedini element Morbiusove (dubiozne) važnosti u Spajdermenovom kanonu tiče se ekstrinzične činjenice da je on uveden u strip u broju 101 serijala The Amazing Spider-man, prvom koji više nije pisao Stan Lee. Roy Thomas će tako postati prvi scenarista da posle Leeja radi na njegovom možda najvećem liku a Morbius će vrlo brzo izgubiti na važnosti nakon što Marvel shvati da naprosto može da koristi pravog grofa Drakulu u svojim stripovima. Poslednjih godina Morbius ima samo sporadična pojavljivanja u stripovima i tretiran je pre svega kao neshvaćena, nesrećna džekilhajdovska figura koju je najbolje iskoristila Gail Simone u svom recentnom serijalu Domino.
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Filmska verzija je, makar, verna priči o Morbiousovom poreklu time što ponavlja čitav zaplet o briljantnom naučniku koji sopstvenu (retku i naravno fatalnu) krvnu bolest pokušava da izleči eksperimentalnim naučnim metodama (tj. serumom) koje mu daju i moć ali i prokletstvo koje uz nju ide. Naravno, Morbius nikada nije bio zanimljiv lik sam za sebe pa odsustvo Spajdermena iz ovog filma znači da su autori scenarija posegli za najgeneričkijim mogućim zapletom i radnjom koja gotske trope eksploatiše bez mašte i inspiracije.
Jared Leto kao Michael Morbius je makar neiritantan a što u filmu koji je ovoliko loš ipak nešto znači. Leto se smatra harizmatičnim glumcem ali je činjenica da mu u blokbasterima daju uglavnom uloge u kojima on drastično preglumljuje trudeći se da opravda svoju reputaciju, jelte, glumčine (videti pod Suicide Squad (https://cvecezla.wordpress.com/2016/08/05/film-suicide-squad/)ili Blade Runner 2049 (https://cvecezla.wordpress.com/2017/10/09/film-blade-runner-2049/)). U Morbiusu je on uglavnom sanjiv i zagledan u daljinu što je, iznenadio sam se, prijatna promena i liku koji je napisan samo u najgrubljim crtama zapravo dodaje malo humanosti a koja mu je potrebna s obzirom da je dobar deo vremena prekriven brutalnom prostetikom i ništa manje brutalnim CGI-jem.
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Daniel Espinoza nije neiskusan režiser ali utisak je da se njemu uglavnom gadilo da se bavi ovim materijalom pa je Morbius film koji opšta mesta obilazi sa jednom smrknutom determinacijom, odlučan da publici ne pruži ni trunku više od minimuma da se barem maglovito shvati šta se ovde dešava. Rezultat je da je ovo priča kojoj očajnički nedostaje kauzalnost. Ne pričamo o ,,fridge logic" rupama u zapletu koje hvatate par sati nakon gledanja filma i shvatate da priča zapravo nema smisla, već o potpunom odsustvu uzročno-posledične veze između scena koje slede jedne iza druge i proste logike ponašanja likova u njima.
Letov Michael Morbius je, tako, rokstar naučnik, čovek posvećen istraživanju krvnih bolesti ne najmanje na ime toga da i sam boluje od jedne koja ga celog života osuđuje na zamorne tretmane, hod sa štakama i najavljuje prevremenu smrt. Njegov doprinos polju hematologije se očitava i u dodeljivanju Nobelove nagrade za medicinu koju ovaj odbija da primi jer je ŠMEKER kog ne zanima da se slika za novine ili da, čak, juri investitore, već samo da izleči sebe i svet i da pomalo, jelte, beskrvno (!!) flertuje sa koleginicom koju igra Adria Arjona a koja bi trebalo da dobije oskara u kategoriji ,,žene u frižideru" na ime toga kako je njen lik mesarski iskasapljen da ne služi ni za šta drugo do da se napaljeni muškarci sa vampirskom erekcijom oko nje bore.
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Ah, da, za to nam je potreban još jedan muškarac sa (vampirskom) erekcijom i njega igra Britanac Matt Smith – nekadašnji Dr. Who a danas zvezda Kuće zmaja – donoseći jednoj anemičnoj (!!!!) produkciji meru dinamičnije glume. Smith igra Morbiusivog prijatelja iz detinjstva, Miloa, klinca iz old money porodice (,,što savršeno ide uz njegov britanski naglasak", mora da je pomislio direktor kasitnga) koji zapravo i finansira sva Morbiusova istraživanja jer i sam pati od iste bolesti a koji, iako vidi da je Morbius užasnut time u šta se pretvorio, ne samo rado već i sa entuzijazmom, pa još na prevaru, popije isti serum i pretvori se u ,,živog vampira" koji uživa u svom novom statusu zdrave, moćne i po prirodi nemoralne osobe.
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Hoću reći, ovde su Džekil i Hajd razdvojeni na dve persone i film čini manje od minimuma napora da iskoristi njihovu suprotstavljenost u svetonazorima. Morbius je čovek nauke koji ima veliki etički problem sa činjenicom da mu je za preživljavanje potrebna ljudska krv. Milo je čovek, well, nasleđenog bogatstva i njemu je najprirodnije da prost svet gleda kao resurs koji valja jesti i piti kad god dobijete apetit. Ovo nije nimalo slaba postavka za dramski akcioni film, ali ovaj film sa njom zaista ništa ne radi.
Naprosto, Morbius sa svojih jedva sat i po – kad se izbace špice – deluje kao da je montiran od nekog znatno dužeg filma, nakon što je neko iz studija stao iza montažera i govorio mu šta sve da iseče. Motivacija likova, dublje sociopolitičke implikacije, rasprava o evoluciji ljudske rase koja je ovde pogurana naučnim eksperimentisanjem, AMA ŠTA ĆE NAM TO, kao da je taj egzekjutiv razgnevljeno pitao, PUBLIKA SVE TO ZNA, GLEDALA JE DRUGE FILMOVE. Tako je u ovom filmu ostavljen samo najmršaviji skelet zapleta i puno CGI brljanja.
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Ali Morbius se ne drži ni na najosnovnijem nivou egzekucije – FBI i policija koji pokušavaju da uhapse Morbiusa nakon što ovaj u prvoj instanci uzimanja seruma postane, jelte vampir i satre ceo odred najamnih vojnika (i popije im krv) nikako da se sete da pogledaju da nije slučajno otišao u svoju, jelte, laboratoriju u bolnici u kojoj, jelte, on inače radi (spojler: baš je tamo otišao); Milo je old money trust fund kid (dobro, četrdesetogodišnjak) koji u jednoj sceni MANIFESTNO ima obezbeđenje (čak postoji i dijalog o tome) samo da bi se kasnije šetao gradom sam i da niko nije svestan gde je i šta radi; Martine (pomenuti ženski lik spreman za frižider) se u Morbiusa zaljubljuje valjda jer odlepi na njegov muževni torzo nakon što ga serum od mršave ruine pretvori u mršavog ali ipak sa teretanom upoznatog holivudskog stara (ali dobro, mommy porn kadrovi su opravdani nakon tolikih godina male gaze dominacije u bioskopu) iako između ova dva lika nema ni naznake ikakve hemije u prethodnom delu filma; konačno, možda najgluplji momenat je kada Morbius mora da nađe novu laboratoriju u kojoj valja smućkati nekakav ,,protivotrov" pa za to bira garažu u kojoj lokalni geng pravi falsifikovani novac, pošto su štamparije, jelte, po prirodi stvari opremljene centrifugama i aparaturom za ekstrakciju i destilaciju...
Sav ovaj narativni krš i lom dolazi do vrhunca u finalu koje pokušava da ima i akcioni klimaks i gotsku eleganciju i to mu uspeva otprilike onako kako zamišljate. Neću da kažem da je sve loše i mada psihodelični CGI i stalni ultra-slo-mo koje Espinoza koristi da da svojim akcionim scenama malo stila daju filmu filing jedne ambicioznije Youtube produkcije, to je makar bučno, i to je najbolja stvar koju mogu da kažem za produkt koji do samog kraja ne ume sa sobom da se dogovori oko toga kako vampirske moći funkcionišu i sebi ostavlja otvorena vrata za nastavke blatantnim uvođenjem novih ideja u minut do dvanaest a zatim i mid- i post-kredit sekvencama koje – iz ove perspektive gledano sumanuto ambiciozno – najavljuju krosover sa Spajdermenom.
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Nisam naročito siguran da će toga biti – Morbius je, rekosmo, ismejan u svom inicijalnom bioskopskom pokušaju, da bi zatim postao svojevresni mem na internetu gde je narod film (neautorizovano) gledao na Twitchu i pravio praktično žurke ismevanja u četu, a što je Sony podstaklo da PONOVO uđe u bioskope u Junu i zatim podvijena repa, posle vikenda koji je zaradio svega 300.000 dolara, digne ruke od daljeg blamiranja.
Ali, da se razumemo, ja ne mislim da u Sonyju iko ima stida i pošto je Morbius tehnički povratio pare i nešto zaradio, veliko je pitanje je li ovo kraj za film koji se usuđuje da omažira i Murnaua (pored Thomasa i Kanea), stavljajući sebe na neki način u istu ravan sa ključnim vampirskim radom ere nemog filma. Neće me previše iznenaditi ako za godinu ili dve čujemo najave za Morbius 2 sem ako u Sonyju odmah ne naprave skok prema krosoveru Sinister Six. Nije teško biti najgori, rekli su svojevremeno KUD Idijoti i čini mi se da Sony operiše upravo pod ovim sloganom.
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I treću nedelju za redom gledao sam superherojštinu a što je podsećanje na činjenicu da se superherojski filmovi danas proizvode kao na traci. Sumorna proročanstva o prskanju TOG mehura verovatno jednom MORAJU da se ostvare ali čini se da još nismo stigli do te granice. Na kraju krajeva ako jedan u principu tanušan, po ambiciji maltene direct-to-video nastavak u sagi o Marvelovom Toru, kao što je Thor: Love and Thunder može da košta četvrt milijarde dolara a da zaradi tri puta više, onda je preuranjeno pričati o zamoru tržišta i kolapsu čitavog žanra.
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Prethodni film o Toru, Ragnarok (https://cvecezla.wordpress.com/2017/11/09/film-thor-ragnarok/), delovao je na neki način kao ribut celog Marvelovog podserijala. Taika Waititi je film malo skrenuo sa putanje vagnerijanske pompeznosti, lansirao ga u svemir, dao mu preliv Star Wars akcije sa sve pucanjem i gerilskim lukavstvima i pretvorio ga u visokooktansku akcionu komediju koja je uzgred uspela da dokači neke prepoznatljive teme, od depresije i alkoholizma pa do ,,Asgard nije mesto već ljudi" koncepta koji je označio i izlazak iz ,,klasičnog" pripovedanja o Toru iz stripova što smo ih čitali u dvadesetom veku, te približavanje modernim pričama.
Štaviše, zanimljivo je videti da scenario ovog filma za osnovu uzima priče iz stripova o Thoru koje su nastajale u periodu kada su filmovi o Thoru već bili snimani, a što je u principu ,,najrecentnije" što su filmovi iz MCU prišli. Konkretno, Thor: Love and Thunder u dobroj meri zasniva svoj zaplet na radu Jasona Aarona iz prethodne decenije (https://cvecezla.wordpress.com/2020/04/01/procitani-stripovi-thor-king-thor-annihilation-scourge-i-gwenpool-strikes-back/), koristeći lik Gorra za glavnog negativca ali i smelo se lansirajući u smeru ,,woke" koncepcije u kojoj Thor može da bude i – žensko.
Ovo je poslužilo i kao primeren povod da se Natalie Portman vrati u ansambl, pa i da vidimo i neke sporedne likove kojih nije bilo u prošlom filmu i prva stavr koju valja primetit u vezi Thor: Love and Thunder je da je ovo prvi Marvelov serijal o pojednačnom junaku koji je došao do četvrtog nastavka i da se na ovom mestu sada već vidi priličan napor da se pomiri nekoliko disparatnih vizija koje su imali autori prva tri filma. Utoliko, Waititi, koji je u prethodnom nastavku smelo i bez previše respekta praktično uradio meki ribut serijala, ovde, možda pomalo i na nagovor studija i producenata, mora da nekako poveže ,,stare" Torove sa ,,svojim" Torom a da pritom nema u rukavu onaj najveći adut koji bi poslužio kao prirodno vezivno tkivo – Lokija. Što je, kad se uzme u obzir popularnost ovog lika i njegov televizijski spinof serijal, zaista bizarno podsećanje kako kreativne odluke moraju da ustupaju pred poslovnim odlukama.
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Thor: Love and Thunder već svojim naslovom sugeriše romansu i ona je svakako jedna od centralnih tema ovog filma. Ljubav između asgardskog boga groma i zemaljske astrofizičarke, Jane Foster, je u ,,starim" Thor filmovima bila uzgredni sastojak, više začin nego tema, a ovde je ona iskorišćena za rad sa likovima, kako Thorom tako i samom Jane Foster koja u skladu sa Aaronovim strip-predloškom, postaje Thor na ime vrlo ozbiljne životne krize, dok dvoje ljubavnika koji su se razišli pre mnogo godina sada treba da navigiraju kompleksni lavirint odnosa u jako promenjenom odnosu moći.
Waititi, koji je sa Jennifer Kaytin Robinson napisao scenario ovo koristi i za dalju vivisekciju lika Thora koji svoj status božanstva dopunjava sa sve više ljudskih osobina. U Waititijevoj interpretaciji Thora, on je mnogo više lovable goof ali i plemeniti hunk nego što je bio u prethodnim filmovima, a ovde je to dopunjeno i dekonstrukcijom simbolike muževnosti, koju predstavljaju Torov (razoreni) čekić Mjolnir i njegovo aktuelno oružje, sekira Stormbreaker. Waititi falusni fetišizam kombinuje sa ljubomorom na jedan sprdalački način koji nema mnogo dubine ali je simpatičan i doprinosi toj inkluzivnoj, ,,woke" atmosferi filma sasvim dopadljivo.
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Naravno, ne sumnjam da su ljudi i inače užasnuti time šta woke ,,ideologija" radi popularnoj kulturi ovde imali nekoliko nervnih slomova, od toga da ŽENA sad može da bude Tor, pa još i da bude kompetentna koliko i ,,originalni" Tor, preko toga da među Asgarđanima ima užasno mnogo osoba sa užasno mnogo melanina u epidermu, pa do toga da su mnogi elementi starih evropskih religija iskorišćeni isključivo za sprdnju. No, da bude jano, Thor: Love and Thunder nije sjajan film sam po sebi i to nema mnogo veze sa njegovim ,,woke" faktorom.
Meni deluje kao da Waititi nije zaista bio zainteresovan za pravljenje ovog filma. Chris Hemsworth je svakako sada već vrlo razradio svoju definitivnu Thor-personu, sa idealnom kombinacijom beefcake šarma, samozatajnog humora i autentičnog herojstva, ali utisak je da u ovom filmu on ne ide zaista dalje u razvoju lika i samo ponavlja najbolje momente iz prethodnih. Taj je utisak još pojačan time da Waititi i sam reciklira gegove koji su palili u prethodnom filmu (pozorišna predstava se ovde koristi dvaput) i mada je ta autoreferentnost simpatična, ona kao da signalizira da se ne zna kuda bi se zaista dalje krenulo.
Svakako je najgori element filma taj centralni zaplet koji deluje kao vrlo mehanički osmišljena ,,misija" za Thora i njegov ansambl što deluje manje kao epska herojska potraga a više kao malo razrađeniji sidequest iz nekog RPG-a. Osećaj putovanja, napredovanja, korišćenja komplikovanih načina da se obezbedi da ansambl ima vremena da se međusobno zbliži – sve to deluje potpuno artificijelno naspram već dobro uspostavljenih konvencija Torovog ,,univerzuma", toga kako se koriste borbene alatke za potrebe teleportacije sa mesta na mesto u kosmosu itd. Jedan vrlo tanan izgovor što dvoje Torova, plus Valkira i Korg moraju da putuju na kraj svemira drakarom a ne da se tamo začas bace svemirsko-vikinškom, jelte, magijom, u finalu i ispada sasvim isprazan a mnogi elementi filma za koje se veruje da će do kraja biti značajni – to nisu. Na kraju krajeva, Jane Foster je astrofizičarka, i nije sad neki preveliki zahtev da se ta njena ekspertiza – a ne samo novostečene moći Tora – iskoristi u herojskoj, jelte, misiji koja zahteva odlazak na drugi kraj svemira, na mesto na kome još niko nije bio. Da ne pominjem kriminalno neiskorišćene koze.
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No, najgorost se odnosi pre svega na glavnog negativca i njegovu agendu. Gorr, the God Butcher, kako mu i ime govori, je u Aaronovim stripovima bio jedno grandiozno prisustvo, nova paradigma u svemiru i deo decenijskog Aaronovog napora da u sebi pronađe balans između fasciniranosti božanstvenim i razočaranosti što ono nikako da nam zaista pokaže svoju milost. Gorr je u stripu o Thoru bio veličanstvena, zastrašujuća pretnja i označio početak i kraj Aaronovog rada na ovom stripu.
Film, nažalost, Gorra ražaluje na monster of the week status, dajući mu raspoloženog Christiana Balea ispod jake šminke ali i premalo karakterne dubine. Svakako je problem filma i to što stvari radi u obrnutom smeru od stripa. Dok je u stripu Gorr isprva delovao kao jednodimenzionalni, ,,stripovski" negativac, više prirodna pojava nego stvaran lik, pa posle pokazao dubinu i relatabilnu motivaciju za ono što radi (a to što radi je, ubijanje SVIH bogova u univerzumu, kako u stripu tako i u filmu), Waititi ovde, nažalost ide hronološkim redom, pokazujući nam Gora pre nego što je bio ,,the God Butcher" i ovo je mnogo manje efektan postupak.
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Naprosto, kao i drugi negativci u Marvelovim filmovima – sem retkih izuzetaka – Gorr je ovde više sredstvo nego lik, osoba sa promenljivim, neobjašnjenim moćima i armijom CGI monstruma koji se mogu ubijati bez griže savesti, a koja umesto da ide unaokolo i ubija bogove, kidnapuje gomilu asgardske dece da bi Tor imao motivaciju da ga potraži. Ovo jeste opravdano unutar zapleta, ali je u apsolutnom neskladu sa karakterizacijom samog Gorra koja je utemeljena ni sat vremena ranije i potpuno devastira ikakav karakterni rad koji je Bale pokušao da napravi sa njim.
Art direkcija u filmu je dopadljiva i starim strip-ljubiteljima je svakako malo krenula suza iz oka na prizore koji se direktno oslanjaju na ikonički dizajn Jacka Kirbyja iz raznih njegovih radova objavljivanih šezdesetih godina prošlog veka (Eternity!!!!!!!), no, iznenađujuće je koliko je akcija ovde nezanimljiva, svedena na koreografisani CGI i ponavljanje uspešnih kadrova iz prethodnih filmova u nadi da će autoreferencijalnost odraditi posao. Ovo dolazi u pari sa činjenicom da se Tor i njegovi mahom bore protiv nacrtanih, nezanimljivih bića i akcione scene, mada korektne, deluju kao da su urađene jer je to moralo, a da su Waititiju srce i interesovanja bili na drugom mestu. (Mada poštovanje sledi za scenu u kojoj Tor udarcem nogom iz okreta prevrće svemirski tenk.)
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To drugo mesto je svakako i humor i film je na momente samo niska gegova, lowbrow parodija i sprdačina. Kada se brat Australijanac, Russell Crowe pojavi da bude Zevs, ovo je samo na korak od Saturday Night Live šegačenja. S druge strane, Guardians of the Galaxy, kao tim sa izraženim komičkim potencijalom od samog svog filmskog debija ovde ima kameo na početku ali se ovaj deo fokusira na Thora baš da bi se naglasilo da ovaj film pravi odmak od ostatka MCU. To se signalizira i time da jedini lik koji konstantno ostaje uz Thora biva Waititijev Korg, ali i ovde se onda recikliraju fore iz prethodnog filma i mada mi je Thor: Love and Thunder bio sasvim prijatan za gledanje, njegova komedijaška dimenzija se velikim delom oslanja na Hemsworthov ogromni šarm i kopipejstovanje uspelih momenata iz prošlog filma.
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Ovaj je film, prosto, reklo bi se, sklopljen bez previše ulaganja napora u priču; Korg je, recimo, potpuni višak i ne figuriše na ikakav smislen način u zapletu ili raspletu bez obzira na šokantnu transformaciju koju preživljava. Čak je i sama Valkira višak, a odnos između Thora i Jane Foster, uprkos solidnoj komedijaškoj hemiji između dvoje glumaca, nikada ne doseže neku stvarnu romantičnu temperaturu pa je i finale koje bi trebalo da nam slomi srca neobično neefektno uprkos očigledno dobrim namerama. Filmu vidno nedostaje jedan lik poput Lokija koji bi mu dao malo dubine i gde bi Hemsworthov Thor imao jačeg parnjaka od onog što je postigao sa ženskim Thorom.
Opet, da ne bude da ništa ne valja, Waititi je generalno dobar u humorističkim scenama, čak i kad ih forsira preko mere u kojoj doprinose samom zapletu a Hemsworth se vrlo lepo snalazi u svojoj ulozi simpatičnog beefcake heroja i daje filmu jedan lep duh.
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No, kao celina, Thor: Love and Thunder zaista deluje kao film koji je morao biti napravljen jer postoji ugovorna obaveza, ali koji je urađen bez mnogo strasti, ili dubljeg razmišljanja. Reciklaža humora iz prethodnog filma, nezanimljivi ili nedovršeni karakterni lukovi bitnih sporednih likova (Korg i Valkira) i jedna relativno mehanički izvedena tragična romansa između dvoje glavnih likova, a sve na pozadini kosmičke pretnje koja deluje neubedljivo i šalje smušene signale o motivaciji – da ne pominjemo rupu u zapletu koju sam Tor objasni na kraju u jednom ipak dirljivom finalu – sve to za rezultat ima film koji ima duše, ali nema dovoljno srca da u nju upumpa krv i natera nas da joj verujemo. No, čini se da uspeh filma na boks ofisu sasvim garantuje da će se serijal o bogu groma nastaviti. Pa ko zna, možda nas još iznenadi. Meni je svakako prijatno da Hemswortha gledam u ovoj ulozi samo se brinem da će u sledećem filmu Waititi ponovo koristiti iste fore i da padanje žena u nevest kad vide Tora bez odeće neće biti smešno drugi put kao što je bilo sada...
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O, jadna Adriana Čečik. Povredila je kičmu na dva mesta i čeka operaciju da joj ugrade šipku, a sve to nema veze s pornografijom, nego s njenom paralelnom karijerom tvič strimera, gde se povredila skačući na (sada je to očigledno) nebezbedno pripremljenu gomilu koci od sunđera tokom Tvičkona. Baš mi je žao.
https://twitter.com/ClippyChimp/status/1579035656034344961 (https://twitter.com/ClippyChimp/status/1579035656034344961)
U vreme kada normalan svet gleda ribut Hellraisera, ja sam se okrenuo klasičnim zadovoljstvima protraćene mladosti i iskoristio protekli vikend da obnovim gradivo vezano za trilogiju Evil Dead Sama Raimija. U pitanju je svakako jedan od najfascinantnijih autorskih projekata osamdesetih godina (i zapravo ključna spona sedamdeseth sa devedesetima) sa toliko jakim uticajem na popularnu kulturu da se uvek pomalo iznova šokiram kada shvatim koliko je sve čime se na dnevnom nivou trujem u naporu da malo ublažim egzistencijalnu prazninu u koju svi kolektivno tonemo, duboko ukorenjeno u filmu koji je krajem sedamedesetih godina snimila grupica ortaka iz detinjstva u nameri da se probiju u filmski biznis. Zapravo, činjenica da sam pre nekoliko nedelja pogledao Marvelov Doctor Strange in the Multiverse of Madness (https://cvecezla.wordpress.com/2022/09/23/film-doctor-strange-in-the-multiverse-of-madness/)me je i podstakla da se vratim Raimijevim počecima i očima odrasle (well, makar ostarele) osobe pogledam filmove kojima je utemeljio ne samo svoju reputaciju profesionalca već i jezik kojim će presudno uticati na razvoj ne samo žanrovskog filma u naredne četiri decenije već i, rekosmo, na celokupnu popularnu kulturu na nekoliko kontinenata.
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Pre nekoliko godina gledao sam rimejk prvog filma iz ovog serijala, Evil Dead Fedea Álvareza, snimljen 2013. godine uz blagoslov Raimija i njegovih vernih saradnika, Roberta G. Taperta i Brucea Campbella koji su bili i producenti. Iako je ovo bio vrlo korektno urađen horor film sa disciplinovano i kompetentno urađenim narativom, fotografijom, scenografijom, maskom, efektima i glumom, meni je smisao ,,disciplinovanog" rekonstruisanja Raimijevog prvog biskopskog filma u priličnoj meri izmicao. Nije da je Raimi sa The Evil Dead iz 1981. godine pokušavao da napravi ,,normalan" horor produkt, ali još nije imao veštine za to. The Evil Dead je bio proračunat projekat njega i njegovih ortaka da naprave horor film, gađajući žanr koji je u tom trenutku na ime Dawn of the Dead, Halloweena i Friday the 13th dobijao novi zamah, kako bi se probili u filmsku industriju. Raimi jeste bio poštovalac rada H.P. Lovecrafta ali kratki filmovi koje je snimao sa Campbellom dok su bili tinejdžeri su bili različitih žanrova. Horor je ovde delovao kao najbrži način da se pokaže ekspertiza mladog režisera i njegove odabrane ekipe, a kao dokaz te veštine poslužio je Within the Woods, kratki horor film, osmišljen kao prototip za celovečernju produkciju, na ime koga bi se tražile pare od producenata. Naravno, film napravljen za 1,600 dolara nije generisao MNOGO pažnje pa je The Evil Dead na kraju velikim delom finansiran od pozajmica i moljakanja usmerenih na prijatelje i familiju.
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I bio je, pa... andergraund hit. Za moju generaciju, The Evil Dead je bio neka vrsta svetog grala, film koji se smeštao na teritoriju između slešera i horora sa zombijima, predmet apokrifnih prepričavanja scena koje su neki od nas videli i onda ih, kiteći, prenosili vršnjacima, ranopubertetlijama koji su samo mogli da zamišljaju bizarne prizore poput silovanja koje vrši granje. Srećom, kada smo fim mogli da pogledamo, ta scena – za koju u najmanju ruku mogu da kažem da je, jelte, ne-baš-ukusna – nije uspela da pokvari opšti utisak o, pa, andergraund hitu.
The Evil Dead, evo, i četrdesetjednu godinu kasnije ima ekstremno zdravu energiju i komprimuje puno atmosferične i visceralne zabave u svojih ni sat i po trajanja. Jedna od stvari koje oštro razdvajaju ovaj film od ključnih njemu savremenih naslova horor-žanra je i odsustvo stvarne teme. Dok su Romerovi zombiji imali jak element društvene kritike, a slasher podžanr bio neka vrsta kolektivne psihoterapije vezane za (ne samo tinejdžersku) seksualnost u savremenom američkom društvu, The Evil Dead je bio film lokacije i set pisova mnogo više nego film teme. Raimi je pokupio od Lovecrafta taman onoliko koliko mu je trebalo da opravda pojavljivanje demonskih prisustava u vikendici smeštenoj duboko u američkoj planinskoj provinciji, a ansambl filma je sklopljen od prijatelja i prijatelja prijatelja, bez ambicije da se žensko-muška petorka koja provodi stravičnu noć u oronuloj kolibi predstavi kao ikakav sažetak nekakve američke društvene istine.
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Pravila koja vezujemo za horor filmove ovog perioda u The Evil Dead ne važe – ovde se seks ne kažnjava niti film ima svoj scream queen, naprotiv, već u ovom filmu Raimi će ići u sasvim suprotnom smeru, gradeći kult glavnog junaka, Ashleyja ,,Asha" Williamsa, odnosno prikazujući ga kao jedinog sa kapacitetom da preživi demonsku najezdu, ne na ime neke posebne snalažljivosti ili veštine, koliko na ime jedne čiste i romantične misli koju je imao tokom večeri, a koja pravi sponu sa mnogo starijom, naivnijom filmskom tradicijom nego što je bio savremeni horor. Campbellova fizionomija je, pored činjenice da je u pitanju Raimijev najbolji prijatelj još iz detinjstva, bila presudna ne samo za to da on bude glavni junak ovog filma već da franšiza kasnije dobije uistinu neočekivan obrt i evoluciju, sa čovekom koji izgleda kao jeftinija, ali zabavnija verzija Kerija Granta u svom centru.
Campbellov Ash je u ovom filmu još uvek čovek-kome-se-stvari-događaju i koji ima vrlo malo delatne suverenosti – štaviše veliki deo ključnih scena on provodi zarobljen policama koje padaju po njemu – dok ljudi i žene oko njega imaju planove, ili makar predloge kako da se situacija reši. Ash preživljava ne zato što je pametniji ili snalažljiviji, čak ni beskrupulozniji, već samo zato što ga je zabavnije gledati.
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Ova logika je centralna za ne samo ovaj film već i naredne nastavke. Raimi se ne zamara pretereno kauzalnošću zapleta i mnogo više ga interesuje da kreira memorabilne scene što će ostati kultne reference za generacije koje dolaze. Jer, bez obzira na skroman budžet od 375.000 dolara, The Evil Dead je i dan-danas vizuelno remek-delo, štaviše možda najčistiji i likovno najkonzistentniji film iz celog serijala. Svakako, Raimi ovde nije imao skupe kranove ili para da napravi setove ali je to nadoknadio neverovatnom inventivnošću i kreativnošću koja je, bez preterivanja, obeležila ogroman deo žanrovskog filma u narednim decenijama. Raimi je uspeo da sa minimumom praktičnih efekata, samo inteligentnim, genijalnim zapravo, kadriranjem i montažom stvori utisak snažne jeze, stravične napetosti i visceralnih završnica. Veliki deo filma gledalac čudovišta ne vidi jer se akcija snima iz njihovih očiju, uz zastrašujuću muziku Joea Loduce i dizajn zvuka koji je potpuno redefinisao horor, dajući scenama punoću akcije i gustinu informacije nedostižnu za imitatore koji će krenuti Raimijevim tragom. Raimijeva zapanjujuće intuitivna vizuelna naracija oslanja se na fantastično precizno kadriranje i montažu u kojoj se stalne smene planova i kontraplanova koriste tečno i prirodno, ali onda, kada scena zahteva neprekinut duži kadar, ovo ekipa izvodi savršeno.
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Raimi je sa ovim filmom napravio čudo i on se i danas jako dobro drži, što zahvaljujući savršenom kvalitetu slike u danas dostupnim digitalnim masterima koji čuvaju toplinu filmske trake, što toj razbarušenoj kreativnosti režisera koja je ipak na kraju dala konzistentan ton i ogromnu vizuelnu energiju kratkom i slatkom horor-uratku.
Već nastavak, Evil Dead II će pokazati da je ova konzistentnost bila pre smišljen, iskalkulisan potez da se demonstrira veština nego estetski prioritet. Evil Dead II je urađen 1987. godine, nakon relativno neuspešne saradnje sa braćom Coen, Crimewave iz 1985. godine, a uz finansije samog Dina DeLaurentisa kome je Stephen King dao jake preporuke za Raimija i njegovu ekipu. Raimi je DeLaurentisu izložio svoj plan da se nastavak preseli u srednji vek i bude više akciono orijentisan ali je iskusni italijanski producent imao dva zahteva: da film bude sličan prethodnom filmu po tonu i mizanscenu, kao i da rejting finalnog produkta ne sme da pređe R.
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Ovo drugo Raimi na kraju nije ispoštovao – a nikada nije bilo ni realno da hoće s obzirom da je ovog puta imao pravi budžet i ekipu za specijalne efekte – i film je ostao bez rejtiga, osuđen na vrlo svedenu bioskopsku distribuciju. Ipak, Evil Dead II je postao planetarni hit na ime sekundarne eksploatacije na kućnim platformama, epitomizujući ,,žanr" VHS horora i proizvodeći neverovatan talas imitacija i ,,nezvaničnih" nastavaka po evropi (mahom Italiji) i Aziji (mahom Japanu).
Ono prvo pak... Iako je Evil Dead II nominalno nastavak prvog filma, sa sve nekakvom rekapitulacijom na početku, u pitanju je više rimejk, a dobrim delom i parodija prvog filma, horor koji je pokazao da je okej da se uz jeftine elektronske montaže i tešku šminku na licima glumaca, te urnebesne stop-motion efekte, sasvim lepo može pridružiti i slepstik humor. Kao posledica ovoga, Evil Dead II se može posmatrati kao horor-komedija, naročito prema svom kraju. Lik Asha Williamsa se ovde transformiše iz smušenog muškarca koji nekim čudom i snagom romantike preživljava neverovatnu noć do akcionog heroja koji će motornom testerom sebi odseći šaku kada shvati da je šaka posednuta demonom i pokušava da ga ubije. Campbellov trijumfalni poklič ,,Who's laughing now!" dok sebi odseca desnicu – plačući u isto vreme od bola – je momenat u kome ste sigurni da gledate komediju.
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Campbell je i inače apsolutni centar filma zbog koga ovo sve i funkcioniše, sa neverovatno fizičkom ulogom u kojoj se on često bori protiv nepostojećih neprijatelja, udarajući kao lud licem o zid, ili, u jednom trenutku, držeći sebe rukom za glavu, praveći salto unapred iz mesta. Njegova žudnja za životom je snažna a kada film u svom finalu dođe do Raimijevog toliko željenog putovanja kroz vreme, i Ash se obre u četrnaestom veku, njegov je put od '70s horor protagoniste koji preživljava za dlaku do bona fide '80s akcionog heroja sa skračenom sačmarom i motornom testerom na mestu gde mu je nekad bila desna šaka – trijumfalno okončan.
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Evil Dead II nije zaradio mnogo para ali jeste potpuno promenio industriju, fuzionišući horor i komediju, nudeći sumanuto goofy praktične efekte i stop-motion animacije, ali i dalje neprevaziđeno inventivan vizuelni jezik sa Raimijem koji je usred totalnog krvoprolića na platnu imao i ukusa i vremena za savršene set pisove kao što je Ashovo bežanje kroz celu kolibu, sve iz jednog kadra, dok ga kamera manijački progoni kroz lavirint vrata, ili momenat u kome krv pljusne po goloj sijalici a svetlo u sobo dobije fulčijevsku tamno crvenu nijansu. VHS kao vektor propulzije horora je i pre ovoga bio značajan u Evropi a sa Evil Dead II su američki studiji možda u potpunosti shvatili snagu ovog medijuma.
Jer, pet godina kasnije, Raimi će dobiti priliku da snimi srazmerno visokobudžetni Army of Darkness, punokrvni akcioni nastavak Evil Dead II sa filmom od sat i po koji bez gubljenja koraka preuzima Jenki-na-dvooru-Kralja-Artura-sa-demonima-i-dvocevkama pančlajn prethodnog filma, pročišćava mu premisu i upušta se u sasvim novi žanr. Ash Williams je sada vremeplovni heroj koji pomaže srednjevekovnoj vlasteli da se odbrani od onostranih monstruma ali i da pronađe u sebi pravu plemenitost, jedinstvo i lojalnost i ovaj film je manje subverzivna komedija a više – prosto komedija, sa ponovnim oslanjanjem, ali sada od početka sasvim eksplicitnim, na činjenicu da je Ash, pa... moron. Campbell ga ovde igra kao nabusitog, jednodimenzionalnog, narcisoidnog i sebičnog siledžiju koji će voleti da popije pojede i povali i koga samo zanima da se vrati u svoje vreme, a pukim će spletom okolnosti na kraju biti heroj. Raimi i njegov brat Ivan su scenaristički, verovatno, tražili pravu meru omaža i parodije usmerenih na '80s akcione heroje, ali Campbellov jedinstveni performans filmu daje sasvim osobenu notu čiste sprdnje.
(https://i.imgur.com/AxvFAbN.png)
Naravno, produkcija je ovde profesionalnija sa mnogo statista, kulisa, kostima, ratne koreografije itd. ali i Raimi je zanatski zreliji i zapravo manje razbarušen u radu pa Army of Darkness nema onu dimenziju sirove avangarde koja karakteriše prva dva filma u serijalu. Ono što ima, je, pak jedno nesputano, nimalo sramežljivo omažiranje starih fantazijskih spektakla i ako je već sa Evil Dead II Raimi pokazivao koliko voli Rayja Harryhausena, u Army of Darkness je imao priliku da ga maltene doslovno citira, sa armijama skeleta koji nose oružje i stop-motion animacijama koje su i u 1992. godini delovale simpatično zastarelo. No, sve to funkcioniše kada se gleda sa prave strane i film pleni šarmantnim borbenim koreografijama i jednim nimalo stidljivim korišćenjem maketa da se kreira veći spektakl nego što budžet dopušta. Army of Darkness će i ostati vrlo citantan film i ako su ,,join us" i ,,I'll swallow your soul" bile kultne replike zapamćene iz prva dva filma i zatim rekreirane diljem čitave pop kulture, sa Army of Darkness će Ash postati mašina za izbacivanje onelinera od koje će se dalje krasti i otimati. Gejmeri znaju da je Duke Nukem nimalo stidljivo pokupio sve svoje najbolje replike direktno od Asha, ali i da kultni horror-shooter Blood u svom prvom nastavku vrlo slobodno citira Evil Dead serijal. O death i thrash metalu i da ne pričam – Raimi je sa ovim serijalom kreirao ogroan deo ikonografije ovih podžanrova.
Naravno, sve ovo je danas dostupno u lepim digitalnim remasterima koji veoma vrede da se pogledaju i ne mogu da prenaglasim koliko je kompaktnost i ekonomičnost ovih filmova meni prijala. Sva tri su ispod sat i po u konačnim trajanjima i ovo je prava mera akcije, komedije i horora koje čovek može da pogleda preko vikenda i uživa. Nisam još pogledao seriju čije tri sezone su radili Raimi i ekipa između 2015. i 2018. godine – jer ko ima vremena još i za to! – ali uz najavu animiranog nastavka, možda se i nateram. Evil Dead mi je, na osnovu proteklog vikenda, s razlogom ostao u lepom sećanju kao ključni serijal osamdesetih i to da njegovog autora danas uglavnom znaju kao režisera originalne trilogije o Spajdermenu i jeste mala nepravda. No, ne i neispraviva. Gledajte Evil Dead, ako već niste jer, naprosto – ovo je istorija koja živi.
(https://i.imgur.com/IXGCs39.png)
https://faroutmagazine.co.uk/alan-moore-superhero-precursor-fascism/
Da, to je njegova dugovečna teorija. Pesimistična, svakako, ali ne nužno sasvim netačna...
Koja logika djeca mogu a stariji ne mogu, valjda bi trebalo obrnuto
Ma kakav pesimizam, Moore je blag kao jesenje sunce.
Veći pesimizam se rađa čitanjem komentara na taj intervju. A i link nije ka pravom izvoru, koji je na Guardianovom sajtu.
Ja sam link za intervju na guardianovom sajtu dao još pre dve nedelje, na topiku o strip vestima, niko živi nije pročitao.
Mora se to staviti i na ovaj topik, da Mehmet odreaguje. Samo bahato! :lol:
A, pa, pročitao sam ja taj intervju odavno nego nsam reagovao jer nekako ispalo bi da samo pričamo o Mooreu a to sam hteo da izbegnem...
U okviru moje neformalne retrospektive filmova Shinye Tsukamotoa naprosto sam morao da se sa velikim apetitom vratim njegovom prvom pravom bioskopskom filmu, filmu koji je uprkos svojoj izrazito anarhičnoj strukturi bio ne samo zametak kompleksnog korpusa tema koje će Tsukamoto analizirati u decenijama koje će doći, već i neka vrsta elektrošoka koji će reanimirati pomalo posrnuli japanski filmski biznis otvaranjem potpuno novih populacija na zapadu za čudesa sa dalekog istoka. Zvuči malo šokantno da je film što ga je snimila grupica prijatelja koji su tokom snimanja postajali sve manje prijatelji, skvotujući zajedno u stanu jedne od glavnih glumica i obilazeći lokalna đubrišta da upljačkaju materijale od kojih će praviti kostime, koji je Tsukamoto finansirao od ušteđevine i koji je JEDVA na kraju doterao do kraja, bio adrenalinska injekcija spasa za posrćuću industriju, ali svako ko je ovaj film video, pogotovo ako ga je video u ONO vreme, znaće tačno o čemu pričamo.
(https://i.imgur.com/IJ7ngTP.png)
Pričamo, naravno, o filmu Tetsuo: The Iron Man, filmu koji je pored Otomovog anime remek-dela Akira (a čija mu je premijera prethodila za svega jedanaest i po meseci) definisao japanski cyberpunk i zapadnjačku ospesiju japanom kao predelom budućnosti i oživljene mašte izvukao iz vlasništva elitističkih ranih weebova što su salivirali nad prozom Brucea Sterlinga i Williama Gibsona i opsesivno se ložili na Gundam i Macross, i ispucao je u srce mejnstrima. Tetsuo: The Iron Man je neka vrsta vrhunca osamdesetih, poslednji, veličanstveni momenat surfovanja na talasu ,,mehurske ekonomije" koja je osamdesetih Japanu davala preliv zemlje čuda i mesta na kome se ne samo osmišljava budućnost već se u njoj živi.
(https://i.imgur.com/tbgAHAk.png)
Nije neka preterano zamumuljena metafora to što nam film tehnologiju – prevashodno metal, žice, vodove, šrafove, klipove, diode itd. – od samog početka prikazuje kao amorfnu masu koja nema stvarnu funkciju već je ona puka naplavina civilizacije koja je tehnološki porasla brže nego što je rastao intelektualni potencijal da se ta tehnologija shvati, kamoli iskoristi na najbolji moguć način. ,,Fetišista metala" koga u filmu igra sam Tsukamoto i koji na početku raseca sopstvenu butinu da bi u nju ugurao dugačak komad gvožđa nije puki anime-pervertit već samo logični izdanak generacije koja je svedočila potpunoj eksploziji tehnologije i potrošačke kulture u zemlji što je poslednje ožiljke preostale iz dugog rata prebrisala okretanjem futurizmu ovde-i-sada. Tsukamoto nimalo nije krio da su njegovi glavni uticaji u ovom periodu bili Riddleyjev Blade Runner i Cronenberg generalno (mada partikularno Videodrome i The Fly), kao i rani Lynch sa svojim Eraserheadom, ali Tetsuo: The Iron Man je, da se ne zbunimo, EKSTREMNO snažna ekspresija Japana sa kraja osamdesetih godina i upravo je kao takva zarobila maštu i strast zapadne publike koja joj je prvo dodelila nagradu na žanrovskom festivalu Mostra internazionale del film di fantascienza e del fantastico u Rimu 1989. godine* a zatim počela u buljucima da nagrće na projekcije bilo čega što su okretni distributeri uzeli da naručuju iz Japana.
*Tsukamoto, tipično, nije imao para da ode na ovaj događaj pa je i propustio scenu u kojoj je publika, predvođena žirijem kom je predsedavao Tromin Lloyd Kaufman, a uključujući i Alejandra Jodorowskog kome je tom prilikom dodeljena nagrada za životno delo, složno skandirala njegovo ime
(https://i.imgur.com/sc992hG.png)
Tetsuo: The Iron Man je apsolutno prelomna tačka za Tsukamotov život i karijeru, film koji ga je ne samo izbacio u orbitu profesionalnih filmmejkera – mada će naravno, još godinama za hleb zarađivati praveći reklame a svoje filmove finansirati od pozajmica i ušteđevine – već i koji je označio njegov raskid sa velikim brojem prijatelja koji su kasnih sedamdesetih i ranih osamdesetih činili umetnički ambijent u kome je Shinya radio i stvarao. Štaviše, dobar deo osamdesetih Tsukamoto nije ni radio filmove, ostavljajući svoje osmomilimetarske eksperimentalne radove u prašini mladalačkih zabluda i okrećući se, razvejanih iluzija, avangardnom pozorištu. Ipak, Tetsuo nije izronio ni iz čega. Insipirisan Scottom i Cronenbergom i, naravno bujajućim novim talasom japanskog andergraund eksperimentisanja koje je predvodio Sogo Ishii svojim pank-bajkerskim filmovima poput Crazy Thunder Road i Burst City, Tsukamoto je bizarne i eksperimentalne produkcije svoje pozorišne družine konačno rešio da prebaci i na osmomilimetarsku filmsku traku. The Regular Sized Kaiju (Futsu Saizu no Kaijin) iz 1986. godine i Denchu Kozou no Boken (The Adventures of Electric Rod Boy) iz naredne su bili osmomilimetarsko seme iz kog će izrasti Tetsuo, kratki eksperimentalni filmovi u punom smislu otkrivanja novog jezika, novih tehnika i pristupa materijalu, ali sa temama koje će svoju stvarniju realizaciju dobiti tek sa Tetsuom.
(https://i.imgur.com/GjRcQ2V.png)
Oba filma inspirisana su japanskim kaiđu filmovima sa čudovištima i specijalnim efektima isto koliko i zapadnjačkim uzorima a oba su dobila i zapravo vrlo dobre ocene od strane onog dela kritike koji im je imao pristup. Štaviše, Denchu Kozou no Boken je trebalo da bude Tsukamotova vizit-karta, koja će mu obezbediti finansiranje od strane NEKOG studija u Japanu, što se, naravno nije desilo jer je industrija bila u raspadu i niko nije želeo da rizikuje sa ovom vrstom oživljenog bunila, ali film jeste dobio značajnu nagradu na festivalu usred rada na Tetsuu što je možda bilo i presudno da se Tetsuo na kraju i dovrši.
(https://i.imgur.com/iOazaab.png)
Osim toga kao da je sve išlo u suprotnom smeru. Tsukamoto je prvo nameravao da film snima u osmomilimetarskoj tehnici sa kojom je bio familijaran ali je onda video kako dobro izgledaju filmovi Dereka Jarmana i odlučio da potroši više od dve hiljade dolara na šesnaestomilimetarsku kameru koja će mu, uostalom, obezbediti lepšu sliku i ulazak u pravu bioskopsku distribuciju. Ekipa koja je sa Tsukamotom snimala prethodna dva kraća rada i imala iza sebe dugačak zajednički pozorišni rad okupila se u stanu glumice Kei Fujiware i tamo uglavnom živela tokom sledećih osamnaest meseci dok se film mučno pravio, stari prijatelji se sve više svađali i osipali a dugogodišnje veze raspadale. Jedini član ekipe koji će uz Tsukamotoa ostati do kraja bio je glavni glumac Tomorowo Taguchi koji i sam kaže da je odmah na početku video da će tenzije biti tolike da nije zdravo da se sve vreme bude na istom mestu pa je držao distancu i nekako uspeo da ne rasturi svoje prijateljstvo sa Tsukamotom koji je do kraja snimanja bio sve opsednutiji radom i sve manje sklon da čuva prijateljske odnose sa ljudima s kojima je delio dobro i zlo tolike godine.
(https://i.imgur.com/RbEPLM7.png)
Rezultat je da su Tsukamoto i Fujiwara, a koji su ravnopravno potpisani kao snimatelji na ovom filmu (Fujiwara veli da je osećala da Tsukamoto njoj poverava kameru iako je bilo obrazovanijih članova ekipe jer joj je verovao da je odgovorna) nakon svega više nisu bili prijatelji i gajili su samo pristojne ali distancirane i hladne odnose, ali je Tsukamoto tokom snimanja stekao i neke nove saradnike sa kojima će imati plodnu dugogodišnju kreativnu sponu. Ovde prevashodno mislim na kompozitora Chua Ishikawu koji će do svoje smrti raditi muziku za većinu Tsukamotovih filmova (i mnoge radove Takashija Miikea) a koji je Tsukamotoa osvojio svojom interpretacijom uputstva da saundtrak treba da zvuči kao udaranje metala o metal sve vreme.
(https://i.imgur.com/oMoU2ct.png)
Tetsuo: The Iron Man gledao sam pre dvadesetak godina po prvi put i ostao potpuno zatečen energijom i inventivnošću ovog filma. Reprizno gledanje prethodne večeri ne samo da nije ni na koji način umanjilo impresioniranost koju sam tada stekao za Tsukamotoa već ju je i produbilo. Ovo je film-fetus, film-pupoljak, film-zametak u kome će mnoge teme kojih se Tsukamoto opsesivno hvatao u svojim budućim radovima postojati već formirane, ali obrađene sirovo, agresivno, mnogo više intuitivno nego intelektualno. Ne da su naredni Tsukamotovi filmovi (recimo Tokyo Fist (https://cvecezla.wordpress.com/2022/05/13/film-tokyo-fist/)i Bullet Balet (https://cvecezla.wordpress.com/2022/06/10/film-bullet-ballet/)o kojima sam pisao ranije ove godine) bili nekakvi salonski, esejistički radovi, ali Tetsuo je pre svega film tehnike, stila i vizuelnog jezika, a mnogo, mnogo manje film karaktera ili, uopšte, narativa. On ima rudimentarni zaplet i radnju – a koji će i sami izvršiti zastrašujuće veliki uticaj na japanski film koji će doći* – ali ono što se događa manje je bitno od onog KAKO se to događa.
*Nije ni malo preterano reći da je, recimo, Ishiijev Electric Dragon 80.000 V (https://cvecezla.wordpress.com/2021/09/17/film-electric-dragon-80-000-v/) direktno ispirisan Tetsuom iako je Ishii, jasno, bio jaka inspiracija za Tsukamota kada je pravio Iron Mana
(https://i.imgur.com/RdXEnN6.png)
A, da budem iskren, ja sam i dalje bukvalno ispunjen strahopoštovanjem kada pogledam Tetsua i shvatim koliko je opsesivne pažnje i krvavog rada bilo potrebno da se napravi 67 minuta ovakve hardkor akcije, fantastike i body horrora*. Kada sam ga prvi put gledao pomislio sam da je u pitanju japanski-Matrix-sa-đubrišta barem isto onoliko koliko su Akira i Ghost in the Shell bili japanski-Matrix-crtan-ručno, a znati da je ovo napravila ovako mala ekipa, skoro doslovno pomoću štapa i kanapa (ili makar šipki i kablova) još više pojačava strahopoštovanje. Tetsuo je film u kome se granica između tkiva i tehnologije poništava agresivno, brutalno, sa metalnim otpadom, rđom, oštrim ivicama i prodornim vrhovima koji doslovno kidaju ljudsko telo i zamenjuju ga nečim narednim, nečim što prezire život, toplu krv i mekano meso, nečim što na kraju filma kreće da uništi Tokio a onda i čitav svet. Cronenbergova fuzija tela i tehnologije sa kraja The Fly kod Tsukamotoa nema konotaciju dostojanstvene tragedije i emotivne drame, ovo je pankerski agresivan film u kome stop-motion animacija kreira zapanjujuće energične scene transformacija, u kome se glumci unaokolo bacaju kao da ih udra struja od 80.000 volti a ispod kože im igraju nabubrele gomile metala i kablova, u kome glavni glumac Taguchi svoj kostim isprva nije mogao ni da podigne pokušavajući da ustane sa stolice na kojoj je sedeo dok mu je ekipa lepljivom trakom na telo lepila komade razbijenih televizora i drugog elektronskog i metalnog otpada sakupljenog iz kanti u blizini prodavnica elektronske opreme i metala.
*i to nakon skraćivanja filma sa inicijalnih 77 minuta izbacivanjem, između ostalog koreografije stepovanja koju je Taguchi uvežbao i snimio
(https://i.imgur.com/RR4rbHg.png)
Tsukamoto je ovde, rekosmo, upleo mnoge svoje opsesije u embrionalnoj formi. Odnos čoveka i grada, kao dva simbiotska ali ne nužno zaista saveznička organizma će u kasnijim filmovima biti eksplicitnije i dublje analiziran, ovde je sveden na halucinantne stop-motion jurnjave kroz tokijska predgrađa i ključni element zapleta koji se odvija na drumu i u šumi, signalizirajući još uvek otpadnički status Tsukamotoa i njegovih saradnika što su sebe smatrali avangardom koja ne pripada ,,normalnom" ljudskom društvu. Dalje, psihoseksualne eksploracije koje će u kasijim filmovima biti centralni elementi ovde imaju prepoznatljiv format koji će Tsukamoto dalje samo suptilnije razrađivati. U centru priče je i ovde mladi par gde imamo seksualno inhibiranog službenika i u ovom slučaju ekstremno erotizovanu devojku (Kei Fujiwara koja prosto proždire ekran harizmom) čija se veza produbljuje na ime fetiša čiji je katalizator metal a koji kontroliše pomenuti fetišista na osvetničkoj misiji. Tsukamoto ovde spaja klasični slasher horror motiv (mladi par je ne samo slučajno kolima pregazio čoveka i odneo ga u šumu da sakrije telo već je i imao divalj, bolestan seks kada je devojka shvatila da je žrtva zapravo još uvek živa i da ih posmatra, nemoćna da išta učini) sa balardovskim devijacijama seksualne žudnje a onda sve ubacuje u suludo kompleksnu montažu koja od ljudskih tela pravi sasvim nove konstrukte a akcione scene ovaploćuje sa takvom snagom i brzinom da ih gotovo ništa u naredne četiri decenje neće dostići.
(https://i.imgur.com/708jP29.png)
Naravno, tematski i vizuelno, Tetsuo nije BAŠ za svakoga. Ovde ima krvi i raspadanja tkiva, da ne pominjemo ogromni rotirajući metalni falus koji glavni junak dobija kao devijantnu kompenzaciju za svoju nerazrešenu, a tako japansku, seksualnu žudnju za ženom koja je zapravo mnogo manje inhibirana od njega. Ali Tetsuo je doslovno remek-delo kinematografije, režije, montaže i dizajna zvuka, sa Tsukamotom koji poseže preko nekoliko decenija filmske istorije, polazeći od prenaglašene ekspresivnosti glumaca iz nemih filmova, prolazeći brutalni telesni teatar gde su znoj i krv stvarni a završavajući u orgiji analognih specijalnih efekata, veštačke krvi i kostima napravljenih od gume i metalnog otpada, povezujući sve u priči koja je suštinski jednostavna pa i ne mnogo bitna, ali koja vam neće dopustiti da je ikada zaboravite, čak i ako je niste razumeli.
(https://i.imgur.com/s4lt3f4.png)
Način na koji je Tsukamoto pristupio montaži se ne može opisati drugačije do kao opsesivan, sa kadrovima koji traju po delić sekunde ali tvore besprekorno vođene mini-narative i gledaoca ni u jednom trenutku ne dezorijentišu već samo uvlače dublje u estetiku koja je mnogo više važna za duh ovog filma od njegovog zapleta. Ovo je metal koji proždire ljudskost i ovo vidite u svakom momentu filma, pa i čujete u svakom njegovom momentu. Tsukamoto je ovde prvi put radio sa profesionalcima iz domena dizajna zvuka i ova komponenta će ostati esencijalna za njegove buduće filmove. Scena u kojoj Fujiwara žvaće viršlu što je na kraju viljuške drži Taguchi a gledalac čuje zvuk drobljenja metala je istovremeno urnebesni, crtanofilmovski dada-humor ali i zloslutna najava budućnosti o kojoj Tsukamoto – ili u najmanju ruku Tsukamotov lik u ovom filmu – sanja. Svet bez ljudi, sa gradovima prekrivenom rđom i zdrobljenim metalom, ovaploćen u frazi New World koja se u jeftinom neonskom znaku vidi nekoliko puta u filmu. Tsukamoto možda nije svoje ideje zaista razvio u prvom Tetsuu ali ovo je najjači, najintenzivniji iskaz o namerama koji je meni poznat u istoriji filma. Ako ste gledali Eraserhead ili The Evil Dead, ali nekako ste propustili da vidite Tetsuo: The Iron Man, preklinjem vas da sve drugo bacate iz ruku ovog sekunda i sebi priuštite gledanje. Zaslužili ste:
https://archive.org/details/tetsuo-the-iron-man (https://archive.org/details/tetsuo-the-iron-man)
(https://i.imgur.com/ykvi7OX.png)
(https://i.imgur.com/LQIkPhd.png)
Tetsuo II: Body Hammer je film koji u principu ne bi trebalo da postoji – on nije estetski ni tematski zaista unapredio ni jedan element originalnog filma o kome sam pisao prošle nedelje (https://cvecezla.wordpress.com/2022/10/21/film-tetsuo-the-iron-man/) i u pitanju je ekscentričan ,,nastavak" originalnog Tetsua koji zapravo ništa ne nastavlja već samo ponavlja srodne motive – ali i film koji je značajan u opusu Shinye Tsukamotoa po više osnova. Jedno je svakako to da je ovo prvi njegov pravi film urađen u koloru i kao takav je najavio brojne njegove opsesije što će se provlačiti kroz kasniji opus. Drugo je to da je ovaj film uprkos tome što su se svi složili da nije u pitanju jednako moćna i urnebesna adrenalinska cyberpunk ekstravaganca kao što je bio originali Tetsuo, zapravo isposlovao za Tsukamotoa mnogo pažnje, poglavito na zapadu i doveo ga u orbitu autora kao što su Trent Reznor, Gaspar Noe ili Quentin Tarantino, gde se ovaj potonji iz sve snage trudio da bude producent trećeg filma u Tetsuo serijalu, a što se nikada nije realizovalo, doduše najpre zbog toga što je sam Tsukamoto sa ovim filmom uglavnom egzorcirao najveći deo svojih demona vezanih za destrukciju i post-ljudski horor i okrenuo se za nijansu pitomijim temama.
(https://i.imgur.com/fH2qcn6.png)
Naravno, skoro dve decenije kasnije nastaće i treći Tetsuo film ali o tome ćemo pričati drugi put. Za ovu priliku posmatramo Tetsuo II: Body Hammer i zaključujemo da je manje nekada zaista više, a da veći budžeti ne donose nužno impresivnije izgledajuće filmove. Zapravo, moja glavna zamerka na Tetsuo II: Body Hammer je upravo to da dobar deo akcionih scena izgleda kao generički direct-to-video sadržaj kakav biste očekivali iz jeftinijeg a ne skupljeg nastavka kultnog filma, sa varnicama koje se odbijaju o metalne aramture i cevi rashodovane fabrike i puno dima koji treba da sakrije odsustvo scenografije. U poređenju sa originalnim Tetsuom, nastavak, koji je petnaestak minuta duži, upadljivo nema isti nivo elegancije i ekonomičnosti, a pojedini njegovi elementi izgledaju naglašeno kempi, kao da je neko u ekipi shvatao da se publici, pogotovo internacionalnoj, jer je ovo delimično finansireo i EMI, mora malo podići, i nelagodu izazvanu silnim nasiljem i body horrorom ublažiti sa malo trešerskog humora.
(https://i.imgur.com/iRZK42P.png)
No, ovo je gotovo neizbežno samo varljiv utisak jer je Tsukamoto produkciji ovog filma pristupio vrlo ozbiljno. Dok je originalni Tetsuo i dalje izazivao tektonske pormećaje širom sveta, Tsukamoto je već razmišljao o nastavku, skautujući čak i napuštenu fabriku piva koja mu je delovala kao idealno mesto za snimanje. U međuvremenu je dobio ponudu da režira Hiruko the Goblin, po mangi legendarnog Daijira Morohoshija, pa je Tetsuo II pomeren na 1992. godinu i morao da pronađe drugu fabriku za svoje poprište.
No, ono što je ovaj film dobio tim čekanjem je bio značajno veći budžet – iako ga je Tsukamoto lako probio jer u cenu izrade filma nije uračunao sopstvene troškove, misleći da će, valjda, živeti od vazduha – i saradnja sa Toshibom i EMI-jem koja mu je odmah obezbedila ozbiljniju distribuciju nego što su je njegovi prethodni filmovi u startu imali.
(https://i.imgur.com/P0Pw7M4.png)
Veliki budžet je podrazumevao i veću ekipu. Rekli smo već da je tokom snimanja originalnog Tetsua najveći deo filmske ekipe otpao i odmetnuo se do kraja produkcije zahvaljujući teškim uslovima rada. Za nastavak je Tsukamoto uspeo da sakupi četu od šezdeset osoba – od kojih je svega njih nekoliko već sarađivalo sa njim – ali je, po svedočenju Hiromi Aihare on ionako radio većinu stvari sam i članovi postave su stojali unaokolo po setu nesigurni u to šta bi bila njihova uloga, da bi kraj snimanja Tsukamoto dočekao sa brojčanim stanjem od svega dvadeset ljudi. No, kako je trošak filma na kraju sa procenjenog budžeta od 300.000 dolara dobacio do milion, i kako se Japan nalazio na poslednjim metrima svoje ,,bubble economy" faze, može se argumentovati da su svi na kraju dobro prošli, kako Tsukamoto koji je uspeo da napravi film koji je želeo, tako i producenti koji su imali skromni internacionalni hit iz kuhinje japanskog maestra cyberpunka.
(https://i.imgur.com/a693P6o.png)
Tetsuo II: Body Hammer je za nijansu mirniji film od originala, sa nešto više likova, ali i trudom da se gledaocu podari eksplicitniji zaplet, te psihološka motivacija za ono što likovi rade. Ovo nije nužno njegova prednost jer i dalje pričamo o vrlo rudimentarnom zapletu i radnji koja se razvija više prateći logiku simbola kojima je Tsukamoto baratao a manje po nekim opšteprihvaćenim pripovedačkim pravilima, no, verovatno je to bilo dovoljno da se film od strane šire publike prepozna kao ,,pravi" akcioni/ horor uradak, radije nego kao eksperimentalna avangarda. Pomeranje težišta ka akciji, sa forsiranjem balističkog oružja u odnosu na down and dirty, in your face neposrednost originala je svakako takođe pomogla i publika koja je došla da gleda klasični shoot 'em up urađen po zakonitostima ranih devedesetih je možda i neočekivano dobila solidnu porciju transhumanističkog horora.
(https://i.imgur.com/tbdXP0s.png)
Tsukamoto kaže da ovaj film posmatra kao svojeg drugog sina, i da ga tako i voli bez obzira što se mučio i menjao ga u montaži (ali to je radio i sa kasnijim filmovima) i što je na kraju on ispao ,,ciničan", verovatno u poređenju sa neposrednim, iskrenim prvim filmom. Tematski, pak, Tetsuo II: Body Hammer je kompleksnija ponuda od originala. Tamo gde su na programu bile čista mržnja i nihilizam, sa osobom koja je kontrolišući metal odlučila da uništi čitav svet (otud ni Body Hammer nije mogao da bude napravljen kao puki nastavak), Body Hammer ima čitavu diskusiju u kojoj se naspram mržnje i ,,lepote pronađene u destrukciji" postavljaju ljubav, požrtvovanost i lojalnost porodici. To da je ovaj film ciničan svakako se primećuje u činjenici da ni jedna od dve porodice koju Tsukamoto prikazuje u ovom filmu nije zaista srećna, sa jednom koja je izvitoperena bizarnim transhumanističkim eksperimentima i seksualnom perverzijom, a onda drugom koja je, pored sve svoje iskrene želje da bude normalna, shrvana malograđanštinom. Tomorowo Taguchi praktično ponavlja ulogu iz prvog filma, on je i ovde srednjeklasni službenik, ali ovde taj službenik ima porodicu, suprugu i sina i nije motivisan samo seksualnom frustracijom, već mnogo čistijim motivima brige za sina koga kidnapuje, pa... banda ćelavih bodibildera.
(https://i.imgur.com/RQiAQIu.png)
Ima izvesne logike i metoda u ludilu koje nam Tsukamoto prikazuje sa vrlo stripovskim postavljanjem kulta sa kojim će se Taguchijev lik (Taniguchi Tomoo) sukobiti, a čijeg lidera samo naizgled pokreće želja za profitom koji dolazi uz kapacitet da se od ljudskih tela naprave balistička oružja. Pokazuje se da eksperimentalna tehnologija koja treba da okine ovu transformaciju u ljudima nije još uvek perfekturiana ali i da sam Taniguchi u sebi pronalazi snagu da bude više-nego-ljudski kako bi spasao svoju porodicu.
(https://i.imgur.com/WwccJKl.png)
U rukama nekog drugog režisera ovo bi bio klasičan B-akcijaš sa uhodanim narativnim tropima i nekoliko jasno prikazanih sukoba između ,,dobrih" i ,,loših" transhumanističkih monstruma. Ali Tsukamoto je već u ovom filmu počeo da gubi interesovanje za puki cyberpunk i mada je radio sa velikim budžetom, svestan da ga čeka internacionalna distribucija, udenuo u film mnogo scena koje su već najavile njegove buduće filmove. Korišćenje plavih kolornih filtera da se prikaže sterilnost tokijskog okruženja, kadrovi drhtećih fasada gradskih solitera potpuno lišenih ljudskog prisustva, pa čak i brutalana telesna fizikalnost scena sa bodibilderima, a pogotovo par kadrova boksera koji udara u džak su u punoj meri najavili ono što će Tsukamoto raditi dve godine kasnije u Tokyo Fist (https://cvecezla.wordpress.com/2022/05/13/film-tokyo-fist/), menjajući ton i tempo svoje naracije. Tetsuo II: Body Hammer je tranzicioni film i u njemu Tsukamoto možda ne egzorcira sve svoje demone, ali fuziju metala i ljudskog tkiva dovodi do skoro apsurdnih granica, sa glavnim junakom koji u svojoj transformaciji postaje praktično ljudski tenk, sa cevima oružja što mu izlaze iz torzoa i pucaju gotovo nasumično, masivnim oklopom i gusenicama na kojima se vozi na kraju, upijajući u svoje telo dotadašnje neprijatelje. No, poslednje scene, za koje, naravno, nije jasno da li su san, halucinacija ili ipak nekakva moguća stvarnost su gotovo manifestno završavanje ovakvog narativa i okretanje nečem drugom.
(https://i.imgur.com/qP3s8KL.png)
Psihoseksualna komponenta je, na prvi pogled, gotovo potpuno odsutna iz ovog filma, ali, naravno, Tsukamoto se nije tako lako odrekao ove svoje opsesije. Odnos glavnog junaka prema do apsurda naglašeno muževnom kultu sa kojim se sukobljava je u kasnijim filmovima suptilnije izražen kroz strahove koje imaju protagonisti Tokyo Fist i Bullet Balet (https://cvecezla.wordpress.com/2022/06/10/film-bullet-ballet/) naspram snažnih, muževnih muškaraca, a ovde je razrešen kroz transformaciju koja na kraju treba da restaurira edenski raj porodičnog mira što smo ga videli na početku. No, dugački flešbek na Taniguchijevo detinjstvo koji vidimo pred kraj i koji kontekstualizuje njegovu moć transformacije donosi i perfektno uokviren prikaz seksualne devijacije koja je suptilnija pa i erotičnija od onog što smo viđali ranije.
(https://i.imgur.com/et39BIA.png)
Naravno, Tsukamoto je, radeći sa kolor filmom ovde sebi pustio na volju, kreirajući fantastične, začudne kadrove neverovatnih fuzija metala i mesa, ali i montaže koje gledaoca vode brzinom misli kroz simbole i slike da bi razumeo nešto što ne može da se opiše rečima. Saundtrak Chua Ishikawe je ovde rađen sa mnogo preciznijim Tsukamotovim upustvima pa je time i harmonija slike i muzike – i naravno, zvuka, koji je i ovde ključna komponenta pripovedanja – viša. Tetsuo II: Body Hammer svakako pada u nekim akcionim scenama koje su nepovezane, konfuzne i na momente nenamerno smešne, ali sa druge strane briljira u drugim scenama, na primer u sceni potere za kidnaperima na početku filma koja je snimljena bez najave pa su reakcije kupaca u tržnom centru, koji misle da vide stvarno kidnapovanje, dragocene.
Tsukamoto ovde otkriva i brojne druge načine da dinamizuje svoje kadrove i kreira na momente urnebesan film akcije i visceralnog horora koji se graniče sa slepstikom. Iako će u narednim filmovima uozbiljiti svoj izraz, Tetsuo II: Body Hammer ostaje kao ekscentrični, pomalo cinični ,,drugi sin" čiji će se odjeci susretati u mnogim Tsukamotovim radovima decenijama kasnije.
(https://i.imgur.com/UAfp7CT.png)
Naš narod veruje da triput bog pomaže, pa se i Shinya Tsukamoto 2009. godine i po treći put vratio svom trejdmark cyberpunk/ body horror melanžu i opsesiji fuzijom metala i mesa u trećem ,,nastavku" franšize Tetsuo. No, naš narod zaboravlja da i bog ponekad ima loš dan i da će pružiti pomoć preko volje pa je Tetsuo: The Bullet Man film koji uz BAŠ mnogo napora jedva pronalazi način da opravda svoje postojanje. Opet, Shinya Tsukamoto je Shinya Tsukamoto i čak i kada film gledate smrknuti što vam se pred očima odvija spektakl manirizma uparen sa drugim elementima produkcije koji vrište da je ovo Direct to DVD materijal sakriven iza forme, jelte, smelog i brutalnog art-filma, teško je da se na nekoliko mesta ne osetite fasciniranim pa i da se zahvalite tom, jelte, nevoljnom svevišnjem što je ipak omogućio da se ovaj film dogodi a ljudska rasa precrta još neke stavke na svojoj beskonačnoj listi želja.
(https://i.imgur.com/zLrMuSa.png)
Tsukamoto je, kako sam već pomnjao u prikazu prethodnog filma iz Tetsuo ciklusa, Tetsuo II: Body Hammer (https://cvecezla.wordpress.com/2022/10/28/film-tetsuo-ii-body-hammer/), već početkom devedesetih iz sebe egzorcirao najveći deo svog besnog, spastičnog pristupa filmmejkingu i fetiša metala, te fiksacije na transhumanističko spajanje istog sa ljudskim tkivom. Naredni filmovi, poptu Tokyo Fist (https://cvecezla.wordpress.com/2022/05/13/film-tokyo-fist/) i Bullet Balet (https://cvecezla.wordpress.com/2022/06/10/film-bullet-ballet/) su prikazali Tsukamota u jednom manje futurističkom, manje apstraktnom modu rada sa reflektivnijim stavom u pravljenju filmova, autobiografskim elementima i blagim zaokretanjem ka cinema verite idejama, ali ne sa potpunim napuštanjem njemu svojstvenih stilizacija, te sa dodavanjem kolora u svoj kreativni arsenal, a koji će postati značajan element njegovog izraza. No, do kraja prve decenije ovog vekas, Tsukamoto je maltene dosegao i neku vrstu mejnstrim statusa, pogotovo sa diptihom Nightmare Detective koji je označio prvi put da Tsukamoto pravi nešto što bih ja nazvao repertoarskim filmom, sa jasnim priklanjanjem žanrovskim tropima i vrhunskim zanatskim umećem upregnutim u stvaranje horor narativa koji je imao ambiciju da, pa, pruži zabavu, makar u onom ,,thrill" ako već ne ,,fun" smislu.
Utoliko, Tetsuo: The Bullet Man, a koji je došao odmah posle drugog Nightmare Detectivea sa jedne strane deluje kao iznenađujuć zaokret unazad i povratak starim fetišima, opsesijama pa i traumama* ali sa druge, može se argumentovati da je ovo bilo po prvi put da Tsukamoto svesno i namerno pravi film koji treba da obezbedi njegovo šire prepoznavanje na zapadnom tržištu.
*Tsukamotov lik u ovom filmu ima ranu na butini na mestu koje podseća na scenu iz prvog Tetsua gde ranu pravi sam kako bi u nju ugurao dogačak komad metala i ostvario svoju toliko željenu, erotičnu, sudbinsku sponu sa neživim, stranim materijalom
(https://i.imgur.com/duTPECG.png)
Što može da deluje apsurdno imajući u vidu koliko smo strastveno pre par nedelja argumentovali da je prvi film iz ovog ciklusa, Tetsuo: The Iron Man (https://cvecezla.wordpress.com/2022/10/21/film-tetsuo-the-iron-man/) bio upravo ta legitimacija mladog filmmejkera upravo na zapadu koji je ne samo prepoznao hipertalentovanost i manijakalnu posvećenost autora svom prvom celovečernjem* ostvarenju već i razvio instant-glad spram novog japanskog filma i ponovo postao značajno tržište za žanrovske stvaraoce iz zemlje izlazećeg sunca.
*ako ste efikasni i veče vam celo stane u oko sat vremena komprimovane akcije
Ali s druge strane, do kraja prve decenije ovog veka, Tsukamoto je postao režiser koji pravi srazmerno sporije filmove, ne zaista kompromitovane u domenu tematike ili simbolike koju je režiser baštinio, ali donekle lišene visceralne energije koju mu je zapadna publika, s pravom, pripisivala po definiciji, inspirisana ranim bioskopskim autputom ovog autora. Nightmare Detective su bili filmovi što će snažno cimnuti dizgine u drugu stranu, ali ovo su bili možda naglašenije ,,japanski" radovi, bliži tipičnom J-horror uzoru i time, verovatno se mislilo, manje primereni za zapadnog gledaoca. Što možda i nije tolika besmislica kao što se nama sada čini, kad se uzme u obzir da su neki od najvažnijih japanskih horor filmova u ovom stoleću zapravo na zapadu trijumfovali najpre na ime američkih rimejkova.
Utoliko, Tetsuo: The Bullet Man stigao je na Venecijanski festival 2009. ghodine kao prvi Tsukamotov film snimljen gotovo kompletno na Engleskom jeziku, okupan sepija tonovima i kao neka vrsta rimejka, ili makar nove obrade motiva iz prevashodno drugog filma, Body Hammer.
(https://i.imgur.com/OvNWAoP.png)
Hoću reći, postoji opsednutost istim temama a onda postoji i naprosto korišćenje identičnih motiva jer su vas prošli put dobro poslužili i moj je utisak da se Tsukamoto ovde može optužiti za ovo drugo. A opet, sa druge strane, ovo nije film rađen u produkciji nekog velikog zapadnog studija koji bi Shinyu naterao da se vrati oprobanoj formuli i, nasuprot sopstvenim kreativnim instinktima, naprosto ponovi ono što je već funkcionisalo. Tetsuo: The Bullet Man je takav kakav je upravo jer je Shinya sam odlučio da njegov Kaijyu Theater treba da napravi ovakav film i on je sam kriv i zaslužan za sve dobro i loše u njemu.
Što se lošeg tiče, hajde da kažemo prvo ovo: Tetsuo: The Bullet Man se može, s pravom, optužiti za reciklažu istih motiva pa čak i delova zapleta koje je koristio prethodni film. Ponovo u centru radnje imamo tročlanu srednjeklasnu porodicu u urbanom tokijskom krajoliku, ponovo imamo oca koji gubi sina u nasilnom, zastrašujućem činu neobjašnjivog zla, a što u njemu okida šokantnu transformaciju mesa u metal i izrastanje cevi oružja ispod njegove kože kao fizičku emanaciju žudnje za osvetom.
Ako je Body Hammer već i sam pokazao da više zapleta i priče ne donosi nužno više smisla Tetsuo filmovima, The Bullet Man je nesrećno ignorisanje ove istine, pa je u ovom slučaju simbolika koju je Body Hammer stavio u centar svoje radnje dodatno ,,objašnjena" podzapletom koji se tiče naučnika – oca glavnog junaka – a koji je radio na proizvodnji ,,veštačkih tela", odnosno androidske tehnologije, a što je mogao da finansira, nagađate, samo investicijama što su došle od strane vojnoindustrijskog kompleksa. Otud je misterija ,,kako" se glavni junak, Anthony transformiše u hodajuće, ljudsko oružje ovde detaljno razjašnjena a što ovom,sedamdesetjedan minut dugačkom filmu zaprao daje višak ,,lorea" i ne doprinosi zaista uverljivosti događaja, naprotiv – ovo mu daje tu jeftinu Direct to DVD dimenziju sa elementima zapleta pokradenim iz treće generacije recikliranih motiva kakve biste očekivali u nekom spinoffu X-men stripova sa sredine devedesetih. Tsukamoto ovde barata sa nečim potencijalno veličanstvenim – ,,veštačka" žena koja rađa ,,pravo" dete – ali ovo nije film koji ima dovoljno prostora da se bavi simboličkim implikacijama onog što pokazuje jer previše vremena utroši na pojašnjenje tehnologije onog što, jelte pokazuje.
(https://i.imgur.com/Qlf1URN.png)
Drugo, a možda i prvo što će pasti u oči gledaocu, posebno ako mu je ovo prvi Tetsuo film koji gleda, je kvalitet glume koji je OPASNO prenizak. Tsukamoto je radio sa gaiđinima baziranim u Tokiju i nije bio preterano izbirljiv pa je tako u glavnoj ulozi Eric Bossick, više glasovni glumac nego neko ko se prečesto i ,,telesno" pojavljuje u filmovima (gejming publika ga zna kao Kazuhiru Millera iz Metal Gear Solid V: The Phantom Pain), a uz njega je tu i Stephen Sarrazin koji uopšte nije glumac. Kad se na to doda da japanski likovi takođe pričaju na engleskom (možete da zamislite kakvom), Tetsuo: The Bullet Man, avaj, ostavlja utisak superniskobudžetne produkcije na granici amaterizma, što je na direktno suprotnoj strani od onog što Tetsuo kao franšiza treba da ZNAČI. Svakako, Akoko Mono i Yuko Nakamura su žene koje izgledaju odlično, ali njihovi dijalozi, kao i Tsukamotov nemali tekst naprosto sede ispod granice prihvatljivog i savršen su parnjak neubedljivoj glumi Amerikanaca.
Dodatno, Tetsuo: The Bullet Man je naprosto prekratak film u dramskom smislu, sa previše ekspozicije i objašnjavanja i vrlo malo prostora da se kroz akciju istraže implikacije onog što film pokazuje gledaocu. Tsukamoto u suštini pravi dva set pisa koji treba da nas dovedu do kraja i mada su oni, znate to i bez gledanja, naprosto neizdrživo impresivni, filmu nedostaje pravo razrešenje.
(https://i.imgur.com/FUESF7Q.png)
Mada, tu negde dolazi i njgeova poenta i Tsukamoto se iz ovog filma zapravo izvlači kroz iglene uši ponavljajući teze iz prva dva, izgovarajući ih sam, štaviše, o ljubavi koja treba da uništi svet, ali onda puštajući Bossickov lik da pokaže volju koja je drugačija od onog što smo videli u prva dva filma i, možda, samo možda, konačno egzorcira tu kletvu metala koja je Tsukamotoa pratila od polovine osamdesetih godina.
Dobra vest je da je Tetsuo: The Bullet Man audiovizuelno SUMANUTO intenzivan. HD kamere i digitalna produkcija ne da nisu naškodili Tsukamotovom divljačkom vizuelnom stilu, nego su mu dali nove alatke u ruke i očigledno ga inspirisali. Naravno, fer je reći da je do 2009. godine shaky cam tehnika postala nepodnošljivo maniristička na globalnom planu ali ako je iko imao pravo da je ovoliko zloupotrebljava, to je Tsukamoto. Tetsuo: The Bullet Man je orgija tresenja, superbrzog rezanja, zumova i švenkova, klaustrofobičnih slika grada poptuno oslobođenog ljudi, montaža kablova i zupčanika koje se zarivaju u rožnjače kao laseri, ali onda i izvrsnog rada sa maskom, pa i nekih odličnih momenata akcije u zatvorenim, tesnim prostorima. Tetsuo: The Bullet Man je, mnogo više od prva dva filma, obeležen upravo enterijerima, silaskom u podzemlje, provlačenjem kroz tesne procepe između zgrada i Tsukamoto izvlači mnogo kilometraže (a u ekonomično malo minuta) iz ove postavke, završavajući ekstremno intenzivnim finalnim prizorima belog usijanja koje kasnije ustupa mesto prijatnim kadrovima plavičastih preliva koji, što je retkost kod njega, ovde nemaju opresivnu, mučnu dimenziju. Glavni junak ovde izlazi iz začaranog kruga uz osmeh i sa verom u budućnost a što je drastično suprotan zaključak nihilističkom finalu prvog i fantazijskom postapokaliptičnom finalu drugog filma.
(https://i.imgur.com/KzIH1A1.png)
Dizajn zvuka je, kao i obično, esencijalan za Tsukamotove filmove pa je i Tetsuo: The Bullet Man kanonada ritma, udaranja, zvukova mrvljenja metala i ljudskih glasova koji između sve te mehaničke kakofonije bivaju namerno utišani i miksovani jako nisko. Saundtrak Chua Ishikawe je, naravno, izrazito moćan a Nine Inch Nails koji sviraju preko odjavne špice su ispunjenje decenijskog sna i za Reznora i za Tsukamotoa.
U svom osvrtu na film (https://ljudska_splacina.com/2010/11/tetsuo-bullet-man-2009-ghouls-view.html) je doktor Dejan Ognjanović Tetsuo: The Bullet Man nazvao ,,impresionističkim" jer Tsukamoto ovde možda više nego ikada izlazi iz dimenzije pripovedanja na dugačke periode, fokusirajući se samo na bombardovanje slikama i zvukom. Voleo bih, da budem iskren, da je film na kraju bio samo ovo, skraćen na možda 40 minuta, lišen dijaloga i sveden na nemu, hiperintenzivnu montažu kojoj bi gledaoci, posebno oni sa iskustvom prva dva fuilma, sami uspeli da pridodaju narativ i značenje. Nažalost, Tetsuo: The Bullet Man dodaje u miks sastojke koji mu samo razblažuju ukus i ovo je na kraju dana film koji impresionira ali koji ne uspeva da zaista prevaziđe svoj spoj recikliraih motiva i lo-budget produkcije na zadovoljavajuće načine. Svejedno, svaki poštovalac Tsukamotovog opusa treba da ga vidi jer je u pitanju i dalje jedan od vizuelno najagresivnijih filmova koje je ovaj čovek ikada napravio. A to nešto znači.
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Pogledao sam Sonic the Hedgehog 2, odnosno, kako ga kod nas prevode, Sonikov film 2, trenutno četvrti najuspešniji film ikada rađen po predlošku uzetom iz medijuma video igara. Koja su prva tri? Ko zna, ali na teritoriji SAD, Sonic the Hedgehog 2 je trenutno rekorder po zaradi u domenu filmova rađenih po video igrama, što, kad se uzme u obzir da se radi o japanskom predlošku koji je svoju globalnu popularnost zaradio najpre na ime drskog, tvrdoglavog mešanja Amerikanaca u originalni japanski dizajn, neka vrsta kosmičke pravde. Odmah treba i da dodamo da Sonic the Hedgehog 2 nije neki sjajan film, ali da su dosadašnji filmovi rađeni na osnovu video igara kriterijume generalno postavili bezbedno nisko da se može uz malo dobre volje reći da je ovo jedno ipak gledljivo iskustvo. A što je, što se tiče plavog, suludo brzog ježa Sonika, već solidan bod u gostima.
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Hoću da kažem, čak ni film kao što je bio Uncharted (https://cvecezla.wordpress.com/2022/05/20/film-uncharted/), koji je u bioskope ušao nekoliko nedelja pre Sonika čija je premijera bila krajem Marta, a koji je zasnovan na igračkom predlošku ozbiljno formatiranom da bude film u interaktivnoj formi, sa, dakle, razrađenim likovima, zapletom, dramom, humorom i akcijom, čak ni takav film, skupo i dugo produciran sa Sonyjeve strane da deluje poput nekakvog tentpole naslova, nije uspeo, uprkos bona fide zvezdama u ansamblu, ni da primiriše stvarima koje su originalne igre imitirale (dakle, filmovima o Indiani Jonesu), pa šta onda očekivati od Sonika koji je istorijski umesto karaktera imao etitjud a umesto narativa seriju platformskih izazova koje je trebalo preći trčanjem i skakanjem?
Uspeh filma Sonic the Hedgehog 2 i posledično još dublje utemeljenje ove filmske franšize (sa trećim nastavkom najavljenim za 2024. godinu i televizijskom serijom za 2023.) su utoliko značajniji jer za naredno proleće čekamo novi film o Super Mariju, istorijskom Sonikovom rivalu (ili makar pop-kulturnoj ikoni na koju se Sega usudila da se baci kamenom i predloži alternativu u vidu Sonika) a koji, može se argumentovati, možda ne bi ni postajao da prvi Sonic the Hedgehog iz 2020. godine nije pokazao da je klasične igračke franšize koje su krajem osamdesetih i početkom devedesetih žarile i palile scenom i nosile barjake legendarnih konzolnih ratova (https://cvecezla.wordpress.com/2016/06/06/knjiga-console-wars/), moguće transformisati u savremene filmove.
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Prvi Sonic the Hedgehog je imao trnovit put od ideje do bioskopa, ali i iskren trud od strane Paramounta da, nakon prvih, negativnih reakcija na dizajn glavnog junaka, ode nazad u radionicu i prepakuje sav relevantan CGI u filmu dok omiljeni plavi jež nije dobio primeren izgled maskote koju su tri decenije pre toga zavoleli mladi milenijalci i nešto stariji dženekseri. Ovo je na neki način i simpatičan odjek činjenice da je i igrački Sonik u prvom, japanskom dizajnu, izgledao značajno drugačije, sa različitim vizuelnim i drugim porukama, a što je na kraju izmenjeno najpre na ime tvrdoglavog insistiranja američkog ogranka Sege da tako nešto neće proći na zapadu.
Američki ogranak Sege je, iako to japanski šefovi nisu rado priznali, bio u pravu i plavi jež u trkačkim patikama je postao kulturna ikona na ime demonstracije da Sega zaista radi ono što Nintendo ne može, ne u domenu nebulozne ,,blast processing" tehnologije za koju se pokazalo da je puki buzzword i da Segina konzola Mega Drive/ Genesis nema nikakav poseban tehnološki trik ispod haube, već na ime dizajna igre oko ideje brzine i stalnog kretanja, ali i na ime glavnog junaka koji je bio ne samo sumanuto brz već i prosto – šmeker, stalno sa malo podsmešljivom grimasom na licu pa čak i sa insistiranjem da se igrač malo uozbilji ako ovaj ne bi jedno vreme unosio komande putem kontrolera. Sonik je, za razliku od Super Marija imao šmeka i nije mu smetalo da prepozna kako se nalazi u video igri.
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Ono što Sonik NIJE imao je stvarni karakter, niti ikakav pravi zaplet već samo nisku mekgafina i klasičnu videoigračku šibu prepreka, neprijatelja i borbi sa bosovima pa je prvi film o Soniku, uprkos dugoj tradiciji stripova i animiranih serijala o Soniku zapravo od nule morao da smišlja ,,lore" i karakterizacije, uz mnogo dovijanja pogađajući pravi ton koji će plavo čudo što poslednjih decenija tek incidentno ima poneku dobru igru među masom slabih, pravično uspostaviti kao popkulturnu ikonu čiji je status zaradio devedesetih.
I, mislim, ni to nije bio sjajan film, ali je bio dovoljno uspešan, a sam Sonik je formatiran kao vetropirasti ali ne psihopatski neodgovorni tinejdžer iz svemira koji na Zemlji pronalazi svoju (ljudsku) usvojenu porodicu a u sebi zametke herojstva.
Sonic the Hedgehog 2 se ne odmiče predaleko od ove matrice i, naprotiv, još više insistira na porodici kao svetoj vrednosti bez obzira na krvno srodstvo – dodatno, Sonika usvaja rasno mešoviti par Tika Sumpter/ James Marseden a što je vrlo osvežavajuć prizor – a Sonika prikazuje kao pomalo infantilnog, neodgovornog tinejdžera koji naprosto uživa u porodičnom životu što ga do sada nije imao.
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Kako su superherojski filmovi danas, očekivano, predložak po kome se pravi sve ostalo, tako i Sonik ovde sebe vidi kao superheroja i jedna rana scena demonstrira njegovu relativno neodgovornu, hedonističku borbu protiv urbanog zločina u kojoj superbrzi jež pravi više štete nego što spasava ičiju imovinu od pljačke. Ovo je dosta poznat ali i potentan trop superherojskog medijuma, ali film ga brzo zaboravlja i prilično se bezbedno uljuljkuje u format direktnog nastavka sa ponovnim pojavljivanjem antagoniste Dr. Robotnika i njegovom potragom za smaragdom koji će mu garantovati moć da mislima oblikuje svet.
Rutiniranost u izradi ovog zapleta i scenarija jeste na tragu originalnog materijala u kome su ,,smaragdi haosa" uvek bili puki mekgafin potreban da igrača intelektualno motiviše da ide napred ako mu već sam čin igranja nije bio dovoljna motivacija, ali ona ne donosi puno bodova samom narativu koji je vrlo generički, sastavljen od opštih mesta i pripovedan uz veoma predvidivu punktuaciju u vidu gegova i lakih podzapleta. Kako je Sonikov odnos sa ljudima, prevashodno parom koji ga je usvojio, emotivno težište filma, tako i film mora da se dosta bavi likovima Wachowskih (pomenuti Marsden i Sumpterova) i ovi delovi su laka komedija koja ide na nežne rasne tenzije i uvijene seksualne aluzije što je i dalje karakternije od dela koji se bavi Robotnikovim planom da zavlada Zemljom i univerzumom i koji se muči da između nekoliko likova nacedi nekakve dijaloge i dinamiku radnje a kojih naprosto nema.
Ovo jeste jasan problem za scenariste jer Robotnik treba da bude prikazan kao kredibilni megaloman i pretnja po svetski mir a to se onda radi kroz uvođenje sporednih likova čiji je posao samo da gledaocu ukazuju na njegovu veličinu, no, u praksi sam Jim Carrey je dovoljno raspoložen i razigran u svojoj – tvrdi on poslednjoj – ulozi da mu ova vrsta pomoći nije ni potrebna i samo razvodnjava priču.
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Slično, čitav podzaplet sa Wachowskima i njihovim učešćem u Sonikovoj borbi protiv Robotnika je višak i nema gotovo nikakvo dramsko opravdanje i podseća da se uprkos lako dosegnutom šarmu u odnosu Sonika kao tinejdžera i Marsdenovog lika kao ,,ćaleta", Sonik po definiciji ne uklapa u ,,ljudski" svet i odnose jer njegove igre nikada nisu bile mimetičke, pa čak ni metaforične. Može se argumentovati da ni Super Mario nikada nije imao posebno konzistentan ,,lore" ali je Sega sa godinama u Sonikove igre utrpavala štagod je u tom trenutku delovalo zgodno i sem ,,trčite što brže možete" ove igre nikada nisu zaista imale nikakvu ,,temu".
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No, imale su dizajn i šarm likova i jedna od jakih strana ovog filma je uvođenje likova Tailsa i Knucklesa, a koji, slično samom Soniku, dosta uspešno ekstrapoliraju ono malo karaktera koji su imali u igrama u persone koje su shvatljive, relatabilne (Tails kao požrtvovani, slabunjavi tehnološki genije, Knuckles kao asketski, gnevni grubijan koji će tek naučiti šta znači prava požrtvovanost i herojstvo*) i simpatične. Odnos u četvorouglu Sonik-Tails-Knuckles-Robotnik je zapravo ono na čemu ovaj film počiva i kada se ostali viškovi stave na stranu, ostaje jedna zdrava, bajkovita postavka u kojoj imamo heroja, sajdkika, uberzloću i konfliktnog antiheroja koji svoje respektivne uloge igraju vrlo lepo. Ovde se CGI i brze animacije sasvim lepo uklapaju uz ,,real world" setinge jer je sve dovoljno odmaknuto od socijalne sfere i imamo jedan uverljiv videoigrački film, a što ne mogu da kažem za druge scene u kojima se neretko vidi da, recimo Tika Sumpter stvari odrađuje preko one stvari i pita se je li u školu išla da bi sedela ispred zelenog panoa i gledala u prazno.
* Knuckles je originalno dizajniran da asocira na Jamajku, sa frizurom koja podseća na dredloks (štaviše tokom razvoja se i lik zvao Dreds) pa je na neki način i davanje Idrisu Elbi da bude njegov glasovni glumac element izvornog diverziteta igara a ne nekakav moderni ,,woke" potez. Osvežavajuće, Tailsu glas daje Colleen O'Shaughnessey a koja mu ga već godinama daje i u igrama
Tehnološki je film vrlo korektan i reimaginacija brojnih ikoničkih elemenata iz igara, a kojih nije bilo u prvom filmu, odrađena je dobro pa će ljudi koji su se u Sonika zaljubili devedesetih godina imati mnogo prilika za nostalgične udahe. Glumci su uglavnom okej uz povremenu šmiru, mada je ovde HBO, na kome sam gledao film, napravio zanimljiv karambol, puštajući u premijernom terminu film sa originalnim engleskim dijalozima i bez titla, da bi sutra u reprizi išla domaća nasinhronizacija. Ovo je pomoglo da po ko zna koji put primetim da tendencija američkih scenarista da se za veliki deo humora oslanjaju na igre reči nema adekvatan odgovor na strani domaćih prevodilaca koji ne razmišljaju o tome da će na kraju ono što oni pišu neko morati da izgovara.
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Ali, da se dogovorimo, nije da je Sonic the Hedgehog 2 sad neki vrhunac komedije. Ima tu nekoliko simpatičnih gegova, ali dobar deo filma otpada na citate drugih filmova i vrlo generičke dijaloške razmene i moram da priznam da sam sve vreme gledanja razmišljao kako će produkcije danas utući grdne pare u CGI i animaciju kako bi film imao primamljive trejlere, ali da će scenario generalno biti izblendirana smeša recikliranih tropa i citata iz aktuelne pop-kulture, uključujući internet meme koji su bili aktuelni pre dve godine, možda u logičnoj progresiji gde će za pet ili šest godina scenarije za ovakve filmove pisati algoritam. A što je, mudrujem ja dalje, ipak šteta jer Sonic the Hedgehog 2 ovakav kakav je, sa sjajem i bogatstvom priodukcije koje prikazuje, treba da stoji na makar istoj ravni sa filmovima poput Back to the Future ili Who Framed Roger Rabbit, osim što to naravno nije slučaj i ovde na programu imamo samo najbezmirisniju nisku verbalnih gegova i poduka o snazi prijateljstva.
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To je verovatno najveći paradoks u slučaju filmova o Soniku koji su uzeli igračku ikonu čiji je specifični značaj bio upravo u buntovnoj reakciji na Super Marija usmerenog ka predadolescentskoj publici i obraćanju nestašnim tinejdžerima, a onda je infantilizovali, ukazujući današnjim tinejdžerima, eksplicitno da su još deca i da tako treba i da se osećaju. Što, da se razumemo, nije samo po sebi negativno, ali jeste u neskladu sa prirodom predloška na kome su ovi filmovi izgrađeni. Sonik možda nije bio ,,čist" panker ali jeste imao pank frizuru, električnu gitaru i sve rešavao brzinom i tvrdoglavošću. Ovaj današnji Sonik (a ovo kucam u nedelji kada izlazi igra Sonic Frontiers – novi Segin pokušaj da pomiri Sonika i trodimenzionalni dizajn) ima više karaktera, ali manje etitjuda i to ga, da li iznenađujuće, čini manje interesantnim. Opet, film je umereno zabavan ako ste dete (ili dete u duši) i nisam tokom gledanja prevrtao očima kao što JESAM tokom nekih recentnih superherojskih produkcija, a tu je i jedan šarmantan set pis sa takmičenjem u plesu, pa se ovde ipak mora pričati i o nekom malom ćaru.
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Pogledao sam, konačno, The Dirt, biografski rokenrol film o karijeri jednog od najvećih bendova ere glam metala osamdesetih godina prošlog veka, naime Motley Crue. Ovaj film je bio u raznim varijantama pripreme još od 2006. godine kada su Paramount i MTV otkupili prava na istoimenu knjigu iz 2001. godine, potpisanu od strane sva četiri člana grupe, u saradnji sa novinarom Njujork tajmsa, Neilom Straussom. Iako sam već 2019. godine, kada se The Dirt pojavio na Netflixu bio prilično zainteresovan da ga pogledam, slabe kritike su me odbile i bile su potrebne, eto, još tri godine da se privolim ovom iskustvu. Kritike su, nagađate bile u pravu. Motley Crue nikada nisu bili moj omiljeni bend ali neka me Đavo sad odnese ako oni nisu bend koji zaslužuje bolji, slojevitiji film.
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Motley Crue nikada nisu bili moj omiljeni bend ali jesu bili neizbežni u osamdesetima. Na mojim tadašnjim listama omiljenih heavy metal sastava Crue nisu bili ni u top 20 (trebalo je probiti se kroz masu NWOBHM, speed i thrash bendova što su u ono vreme delovali kao protivotrov za sintetičke osamdesete u kojima je popularna muzika postala producentski produkt radije nego sirova, vitalna transmisija energije direktno od umetnika ka slušaocu) ali nećemo da se lažemo, Crue su uvek bili tu negde, izbacivali pesme koje su imale pravi odnos bezobrazluka, provokacije i pop-dopadljivosti da ni ljudi tvrda srca poput mene nisu mogli da ih ignorišu. Sasvim svesni da je rokenrol u osamdesetim godinama bio u podjednakim udelima big biznis kao i dnevnički zapis najgorih godina najgore ekipe iz Los Anđelesa, Crue su umeli da naprave pesme poput Shout at the Devil, Smoking in the boys room ili Too young to fall in love pokazujući da postoji tehnološki proces kojim se kokain i Jack Daniel's transformišu u glasan, zabavan rokenrol sa priličnom pravilnošću.
Bilo je mnogo glam metal bendova u toj generaciji – mada smo mi to tada zvali sweet metal, a danas koristimo možda najispravniju klasifikaciju: sleaze metal – od LA komšija poput Dokken, Warrant, Rough Cutt, Great White, Faster Pussycat i LA Guns, preko ekipa iz drugih krajeva Amerike (Ratt, Skid Row, Cinderella, Enuf Z'Nuff, Poison, White Lion) pa do kolega sa drugog kraja sveta (Pretty Maids, Tigertailz, Hanoi Rocks...), ali ispravno je reći da su Motley Crue u jednom momentu bili najveći i na neki način epitomizirali celu scenu, muzički, kroz kombinaciju uticaja glam roka i pank roka sedamdesetih, scenski kroz kombinaciju feminiziranog imidža i mačo preterivanja, i životno kroz kombinaciju ekscesa svih mogućih tipova. Osamdesete su svakako bile era u kojoj je rok muzika potpuno izgubila nevinost i postala nesveti brak velikog biznisa i dionizijskog ekstremizma, a Motley Crue su bili na čelu juriša i, kako kaže i Tommy Lee u jednoj od scena u filmu, ,,Bend koji će popiti, pošmrkati i pojebati sve što mu se nađe na putu".
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Naravno, onda su 1987. godine Guns n' Roses izdali svoj prvi album i to će biti to što se tiče Motley Crue koji će zauvek biti ražalovani na poziciju pretendenta na presto.
To i dalje ne znači da se o Motley Crue ne može napraviti dobar film i The Dirt u prvih nekoliko minuta gledaocu makar daje koktel Sunset Strip anarhije ranih osamdesetih (žurke na kojima se pije, šrmče i tuče, na kojima žene skvirtuju za oduševljenu publiku a Vince Neil ima snošaj sa ženom u toaletu i divi se tome kako je dobro ispao na plakatu za koncert zalepljenom na zid vecea) i prikaza teške porodične situacije iz koje je Nikki Sixx (aka Frank Carlton Serafino Feranna Jr.) od dečaka iz razlupane porodice postao neko kome samo rokenrol može da spase život. Početni deo filma je svakako kompetentno nanizana serija scena očekivanog mladalačkog ekscesa i gluposti ali i umešno spravljenih momenata STVARNOG rokenrola koje glumci oživljavaju sa zavidnom autentičnošću. Scena audicije za Neila u kojoj bend mora da se preštimuje jedan ton naniže kako bi ovaj mogao prirodnije da peva preko njihove muzike je gotovo savršeno urađena da gledaocu prenese taj trenutak kada je bend ,,kliknuo" i od četvorke klinaca u garaži postao entitet za sebe.
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Avaj, rokenrol filmovi imaju, bojim se, prilično predvidiv šablon po kojima se danas prave i The Dirt ovaj šablon prati, reklo bi se, bez razumevanja, mehanički i do kraja prilično beživotno. I sami znate da će prva polovina filma biti nabijena mladalačkom energijom, da će onda doći momenti teških iskušenja u kojima samodestruktivnost počinje da preovlađuje nad adrenalinskom željom za životom, da će onda bend morati da kroz ta iskušenja sazri i da se sa druge strane pojavi stariji, mudriji i na neki način vredniji. Bohemian Rhapsody urađen godinu dana ranije je bio ne naročito sjajan film (https://cvecezla.wordpress.com/2018/11/12/film-bohemian-rhapsody/) ali je ovaj šablon pratio sa više razumevanja za dramske trope. No, taj je film režirao – barem načelno – Bryan Singer, a The Dirt je pravio Jeff Tremaine, čovek čiji je životni opus obeležen kreiranjem Jackassa pa je onda i The Dirt najjači u scenama divljeg preterivanja i rokenrol sumanutosti a znatno slabiji kada treba da nam prenese nekakav gravitas i natera nas da se zamislimo.
I, dobro, ako ste došli samo da gledate Motley Crue kako demoliraju hotele, Ozzyja Osbournea kako šmrče mrave na slamčicu i liže sopstveni urin, da se divite tome kako četiri glumca izgledaju autentično kad sviraju, The Dirt isporučuje dosta toga, sa sve simpatičnim rušenjem četvrtog zida, u nekim momentima čak i da se prizna da se neke stvari u životu zapravo nisu odvijale ovako kako film prikazuje ali da na filmu to bolje izgleda ovako. No, film se zatim razotkriva kao, nažalost, sasvim artificijelna priča sa mehaničkom dodelom uloga glavnim likovima i slabim kapacitetom da nam te likove ubaci u zaista dramske scene.
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Glumci su makar dobri u onome što rade, ali problem je što je svaki od likova napravljen da se ubaci u postojeći stereotip. Douglas Booth je vrlo upečatljiv kao Nikki Sixx i on treba da ima i najveći emotivni raspon jer njegovo potonuće u heroinsku adikciju i zatim klinička smrt treba da budu prekretnica filma, ali koliko god Booth dobro izgledao i solidno glumio, film naprosto nema šta da kaže niti želi da se zadržava kod njegove adikcije, smrti i odluke da postane strejter. Ove stvari se jednostavno dese, priča pored njih protrči i gledalac ne vidi nikakva iskušenja, muke, naučene lekcije.
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Slično važi za incident u kome je Vince Neil bio osuđen za ubistvo iz nehata u saobraćajnoj nesreći u kojoj je nastradao bubnjar Hanoi Rocks, Razzle – Tremaine ovu scenu režira gotovo na granici parodije a iz daljeg filma je odsutna ikakva primisao o naučenim lekcijama i promenjenim ličnostima učesnika. Najgore je svakako što film dalje ulazi u dosta detalja vezaih za smrt Neilove ćerke od kancera nudeći geldaocu mnogo neugodne eksploatacije dečijih suza a praktično ništa u domenu razvoja karaktera kod Neila.
I na drugoj strani imamo dobre glumce samo ubačene u tipske karaktere – Iwan Rheon je, naravno, odličan kao Mick Mars ali glumac njegovog kalibra bukvalno ovu ulogu igra samo slaganjem face, bez potrebe da zaista glumi. Machine Gun Kelly je iznnađujuće zabavan kao Tommy Lee ali i ovde je utisak da je persona koju je film namenio Leeju – simpatični goofy nerd koji za razliku od Sixxa dolazi iz fine, podržavajuće familije – svedena na jednu jedinu dimenziju i to onu za koju je scenaristički tim procenio da je potrebna radi balansa.
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Otud se film o četiri lika veća od života – ili makar četiri muškarca koji su u nekom trenutku verovali da su besmrtni – svodi na simpatično međusobo tapšanje po leđima, bez stvarne drame, čak bez i stvarne priče. The Dirt ne uspeva da u svojoj drugoj polovini zaista prikaže ikakva stvarna iskušenja na kojima se bend našao, ne pokazuje likove da stvarno sazrevaju ili da iko uči iz grešaka koje su pravljene niti uspeva da nam podari taj utisak da gledamo četiri ratna druga koji su preturili preko glave toliko toga da su zasta ,,jedina porodica koju sam ikada imao" kako kaže Sixx u sceni koja treba da nas emotivno trone. Umesto tronuća, poslednjih četrdesetak je minuta samo niska mehanički spojenih scena u kojima nekoga ostavlja devojka (Rebekah Graf kao zapanjujuće ubedljiva Heather Locklear iz osamdesetih), nekome umre dete, neko se nervira jer novi pevač nije po ukusu stare publike, neko se muči sa degenerativnom progresivnom bolešću zglobova, neko uzima heroin ali bend nekako kroz sve to prođe bez mnogo drame i, kako kaže glas iz offa na kraju, svira još dvadeset godina nakon ovog trenutka.
Naravno, to što su se Motley Crue ,,raspali" 2015. godine ne znači baš ništa jer se bend ponovo okupio 2018. i u trenutku dok ovo kucam je na turneji – doduše bez Marsa koji više nema snage da se bori sa svojom bolešću – a što je neobično odgovarajuće za film koji, na kraju, kao da i sam pokušava da ništa ne kaže, sem ,,ovi momci iz Motley Crue su baš šmekeri." A što je ista poruka koju smo dobili iz svakog od njihovih spotova. The Dirt je bila šansa da se ode dublje, dalje, da se ispod fasade rokenrol božanstava sa beskonačnim erekcijama i heroinskim linijama pronađu ljudska bića za koja znamo da moraju biti zakopana negde duboko. Ta je šansa ostala sasvim neiskorišćena pa nam na kraju ostaje samo da čekamo da neko kompetentniji konačno sedne i snimi taj film o Guns n' Roses...
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Imao sam trenutak slabosti i sebi dopustio da pogledam nemački film Nico iz prošle godine, skromnu indie dramu o iskušenjima mlade titularne gerontodomaćice u Berlinu, koja je iranskog porekla i koja posle incidenta u kome biva izložena rasnoj diskriminaciji i fizičkom napadu odlučuje da nauči karate. Verovatno su me taj karate i činjenica da je prvi film Stevena Seagala, Above the Law iz 1988. godine na nekim teritorijama bio distribuiran pod naslovom Nico navukle da se izložim ovom iskustvu. Čuj mene ,,torturi", iskustvu, ISKUSTVU. Uostalom, pomislio, sam, film traje svega 75 minuta. Odrastao sam muškarac, jebem mu sve, mogu da izdržim 75 minuta bilo čega.
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Ali kako su to rekli Napalm Death pre više od tri i po decenije: patiš, ali zašto? Nico je film koji je pokupio neke nagrade na nekim mestima, koji su uradili klinci, još bolje – klinke, a koji je nadrastao format njihovog studentskog projekat i uz pomoć Nemačke akademije za film i televiziju u Berlinu ovaplotio se kao analiza ne samo manjinskog rasnog iskustva u modernoj, multikulturalnoj Nemačkoj već i kao snažan gest u smeru promocije različitih vrsta raznovrsnosti kojih i dalje, jelte, manjka na filmu pa je Nico i proslava telesnog diverziteta ali i nenametljivo queer film. Ali, eh, Nico jedva da je FILM, a ne tek nabacana gomila scena bez smisla i značenja.
Kao stari simpatizer svega što nosi barjak progresive i obraća posebnu pažnju na manjinska iskustva, mislim da sam ja nekako prirodna publika za film kao što je Nico. I uopšte, ja imam mnogo simpatija za to da određeni deo kinematografije u zapadnoj Evropi čini napor da prepozna stvarnost 21. veka i činjenicu da ,,evropski kulturni identitet" danas ubraja i mnoge manjinske identitete, kako etničke, rasne i religijske, tako i one rodne ili seksualne, prekarijatske i razne druge. Diverzitet-po-svaku-cenu verovatno nije najvažniji kriterijum u pogledu kreiranja dobre umetnosti ali umetnost koja čini svesni napor da bude ranzolika tako što prepoznaje da postoje nezastupljena iskustva i njihove ekspresije i daje im prostor – pa, takva umetnost treba da postoji. Nico je, konkretno, autorsko delo meštovitog tima u kome preovlađuju žene i te su žene različitih etničkih porekla a Nemačka je onaj melting pot u kome su se susreli razni preduslovi da te žene budu u stanju da naprave film koji će, između ostalog kritikovati Nemačku za pomanjkanje kulturne senzitivnosti, gde će rasistički incidenti uvek biti jednu povišenu emociju udaljeni od izbijanja na površinu nominalno mirnog, inkluzivnog socijalnog mora.
A što je sve okej i Nico bez sumnje ima određene stvari koje mogu da pohvalim bez rezervi. Glavna glumica, Sara Fazilat istovremeno je i koscenaristkinja i koproducent filma i njen lik Nico je, ako ništa, jedno dobro prisustvo na ekranu. Fazilatova je dobila nominacije i nagrade za najbolju mladu glumicu na nekoliko festivala i mada Nico kao i mnogi slični evropski arthouse filmovi u principu gleda da u njemu bude što manje vidljive glume a što više prostog naturalističkog postojanja u kadru, Fazilatova svakako ima kombinaciju karakterne fizionomije, drusne, snažne fizikalnosti i jedne prirodne izražajnosti koji je čine upečatljivom. I ostali likovi su uglavnom solidni u tim svojim naturalističkim rolama. Priznajem da sam se dobar deo vremena vajkao što ove žene nisu imale priliku da igraju u filmu koji sa svojim likovima radi jače, dublje i interesantnije.
No, Nico je film koji jedva da ima zaplet što, s obzirom da u pitanju treba da bude drama, jeste problem. Ekipa je svesno išla na improvizovanje, koristeći naturščike bez ikakvog iskustva pred kamerom za uloge klijenata koje Nico obilazi u okviru svog posla, ali i koristeći scenario uglavnom bez unapred ispisanih dijaloga koje su glumci zatim adlibovali na licu mesta. Pretpostavljam da se snimanje kamerom iz ruke podrazumeva kao i to da je film, očigledno zaista nastao tek na montažerskom stolu (odnosno kompjuteru).
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Nico je, kako rekosmo, gerontodomaćica, što je svakako važan element šire kontekstualizacije istorijskog trenutka u kome se Nemačka (i po sličnom obrascu ostatak zapadne Evrope) nalazi, uvozeći mladu radnu snagu iz drugih zemalja – sa Balkana ali i bliskog i daljeg istoka – kako bi popunila radna mesta u pomažućim profesijama potrebnim stanovništvu koje stari i neophodne su mu nega i pomoć. Film ništa od ovoga ne ,,izgovara" ali je jasno da Nemačka danas zavisi od infuzije radne snage iz siromašnijih zemalja što rasističke incidente čini, jelte, ironičnijim. Nico i njena drugarica Rosa su, reklo bi se, druga generacija u Nemačkoj jer i među sobom pričaju Nemački uprkos bliskoistočnom poreklu, integrisane su u društvo u punoj, jelte, meri, jer se zezaju sa nepoznatim likovima po parku i smaraju vujspre*, takođe po parku, a Nico i kritikuje muslimanke koje se po Berlinu šetaju sa pokrivenom kosom jer ovo smatra retrogradnim i uvredljivim za one koju su se borili za ravnopravnost ali i za muškarce koji ispadaju nekontrolisane mašine za silovanje po toj logici.
*sleng devedesetih za koji nisam siguran da ga je i tada koristio iko izvan Zemuna
Sve je to lepo, jelte, osim što Nico ne pazi kuda ide gradom pa natrči na trio mladih belih Nemaca koje iznervira njeno kurčenje po ulici kao da je oslobodila Berlin i onda dobije batine i par rasističkih uvreda pride.
Film Nico ne prikazuje kao neku idealizovanu heroinu diverziteta. Ona jeste krupnija i tamnije boje kože ali je i nadrkana nadžak-žena koja voli da se svađa pa je fer reći i da je za ovaj incident pomalo i sama odgovorna, no, njena reakcija na njega je da počne da uzima časove karatea. I to je, er.. to je ceo film.
Nico nije drama u užem smislu jer u njemu nema dramskog zapleta niti tenzije. U njemu nema karakternog rada niti razvoja likova. Nico je smuljana procesija scena koja bi, da je režiserka Eline Gehring prema sebi bila malo stroža u montaži, trajala možda dvadeset-dvadesetpet minuta u finalnoj verziji jer film jedva da ima toliko materijala koji nešto govori. Ostalih pedesetak minuta su iritantno maniristički ,,arthouse" kadrovi gde Nico samo stoji i gleda u prazno i u kojima se ništa ne događa, koji nemaju nikakvu vezu sa kadrom pre ili kadrom posle, koji nam MOŽDA sugerišu nešto iz unutarnjeg života protagonistkinje osim što ne znamo šta jer je Nico lik koji, sa svojim odsustvom glume i dijaloga što imaju nekakvo značenje, zapravo nema nikakav karakter izvan tih scena kada se svađa sa ljudima. Je li ona besna, ogorčena mlada Iranka-u-Nemačkoj koja iz sve snage pokušava da potisne bes i bude dobra prema svima? Ne znamo. Je li u suštini vesela i dobro raspoložena devojka koju je istinski šokiralo kada su joj pokazali da misle da ne pripada ovom društvu? Pa, ne znamo ni to. Insistiranje filma da dijalozi treba da budu improvizovani na licu mesta i prirodni ih čini trivijalnim, a scene bez dijaloga u kojima samo gledamo protagonistkinju na raznim mestima u gradu su sasvim manirističke i bez ikakvog značenja.
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I, naravno, mora se prihvatiti i to da sam ja stariji čovek navikao da od filma očekuje GLUMU i naglašeniju estetizaciju, pa da je i to možda razlog što mi labava struktura Nico ne odgovara, ali u kontekstu filmova koje sam gledao poslednjih meseci, koji su i sami insistirali na naturalizmu, na dobijanju finalne forme tek u montaži, na naturščicima i improvizaciji, na scenama koje ništa ne kažu već samo nešto ne pokažu, u kontekstu, dakle, Shinye Tsukamotoa, Mattea Garronea ili Jeana-Pierrea Melvillea koji su svi napustili tradicionalnu strukturu za svoje drame, improvizovali, odbacili dijalog kao primarni vektor informacije i imali mnogo kadrova bez ,,akcije" – Nico deluje kao film koji naprosto ne razume filmski medijum.
Ovo je možda najprepoznatljivije kada Nico i Rosa na lokalnom vašaru upoznaju mladu Makedonku Roni (igra je vrlo solidna servernomakedonska mlada glumica Sara Klimoska) između koje i Nico plane blaga varnica privlačnosti. Scene sa Roni su praktično jedini deo filma u kome gledalac ima utisak da gleda FILM, u kojima jedno proizilazi iz drugog, linije dijaloga imaju uzroke i posledice a likovi prolaze kroz određeni opseg emocija, percepcija, pokušaja i zaključivanja. Ostatak filma su kadrovi u kojima se ništa ne događa i u kojima se ništa ne rešava i koji mogu da idu bilo kojim redosledom. I dok shvatam kako ovo može da bude oslobađajuće za autora koji ne mora da svojeručno ,,upiše" značenje u svaki kadar, mislim da taj autor malo i precenjuje i vreme i napor koje će gledalac uložiti u gledanje filma. Estetizacija filma nije tu da bi se autor osećao kao umetnik već da bi gledalac razlikovao film od nasumično urađenog video-materijala i ovo je lekcija koju mnogi mladi evropski autori, čini mi se, malko previđaju a Nico je baš paradigmatičan primer u tom smislu.
Prosto, ovo je film koji u vizuelnom pogledu pokazuje veoma malo estetske namere. Da ne budem pogrešno shvaćen, tehnički je on više nego korektan – direktorka fotografije Francy Fabritz zna svoj posao – i nemamo posla sa telefonom snimljenim kvazidokumentarcem, ali sem u retkih nekoliko scena u kojima se vidi da je uložen rad u osmišljavanje kadra (recimo u sceni napada gde uglavnom vidimo samo protagonistkinju i pozicije napadača saznajemo putem njenog pogleda), pravilo je da imamo samo funkcionalne prizore, bez likovnosti ili izražene estetike.
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I OK, vizuelno neupečatljiv film sa gomilom filer-kadrova bi bio sasvim prihvatljiv predlog da Nico ima tu, jelte, dramatičnost unutar svoje drame. Ali je nema. Ovo je film, praktično, bez zapleta, sa minimalom karakterizacijom, sklopljen od niza scena koje su uglavnom trivijalne i gde retki trenuci dramskog prevazilaženja nekakvog izazova naprosto nemaju kontekst u kome ih možemo tumačiti kao simboličke pobede što obeležavaju život protagonistkinje. Je li ona u traumi što je popila batine i šaku uvreda na ulici? Verovatno jeste, ali film baš ne bi da nam ovo nameće. Nico se malo duri pred drugaricom i malo, kao, intenzivnije trenira karate i to je to. U ponekoj sceni stane nasred ulice i, kao, priseća se batina, ali to je sve vrlo nemušto, nejako, bez stvarnog umetničkog rada. I, mislim, uvažavam da je naprosto odabrani stil autora bio taj sa minimumom estetizacije, dramatizacije i glume ali meni to naprosto ne daje efekte niti mi izaziva prostu empatsku reakciju.
Da stvari budu gore, kada film zapravo pokuša da ima dramatičnu scenu – a to je ona u kojoj Nico i Roni imaju kao neku svađu jer Nico shvata da je Roni bila prisutna na licu mesta neposredno posle napada koji je ova pretrpela – ovo je toliko loše, neuverljivo i neefikasno urađeno da je to trenutak u kome film potpuno pada i pokazuje da improvizatorski pristup ne može da funkcioniše podjednako dobro u svakom kontekstu.
Da ne pominjem scene vezane za karate-dođo. Ovde je sve pogrešno, od toga kako Nico vezuje svoj obi, preko nebuloznih scena u kojima trener svoje učenike udara bambusovim štapom kako bi valjda naučili da trpe bol, pa do njegovih sumanutih ,,podsticajnih" govora u kojima on Nico praktično sprema za ulične tuče. Ovo bi možda prošlo u filmu koji ima žanrovskiji nastup, ali u filmu koji se sve vreme trudi da bude što je moguće naturalističkiji te scene su prosto idiotske. Kao, jelte, penzionisani karatista, mogu da sa dosta autoriteta potvrdim da su svi naši treneri bili svesni da nas spremaju za sportska nadmetanja i da je njihov savet vezan za tuče na ulici uvek bio isti: okrenite se i bežite ili ako to ne možete, udarite, okrenite se i bežite.
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Niko od njih nije ni u ludilu želeo da bude odgovoran za zdravlje napaljenih klinaca koji bi pomislili da im vežbanje karatea daje prednost u uličnim sukobima pa su otud ove scene u Nico besmislene, neautentične i – do kraja filma nemaju nikakvu simboličku poentu. Ja lično verujem da je vežbanje borilačkih veština izuzetno korisno i za telo i za duh i da daje čoveku samopouzdanje koje nije vezano za pobedu u tuči, ali ovaj film to ne pokazuje.
Nico je, na kraju dana, jedna hvalevredna produkcija žena različitih etniciteta i seksualnih orijentacija, ali je u esteskom smislu samo lista progresivnih tema labavo spojenih neusmerenim, meandrirajućim, bledunjavim filmskim radom. U tehničkom smislu korektan, Nico je film bez maltene trunke filmske magije u sebi a što je poražavajuće s obzirom da se laća tema koje zapravo ištu snažnu, nadahnutu obradu. Ovo je, plašim se, i primer kako neki umetnici – ne samo filmmejkeri – čini se misle da je dovoljno pomenuti temu u svom delu pa da ono bude relevantno, ali to naprosto ne funkcioniše tako. Nico je film gotovo potpuno lišen estetskog napora – zapravo programski deestetizovan – ali koji svojim odustajanjem od toga da išta zapravo eksplicitno kaže izbija sebi iz ruke taj argument da odsustvo estetike prikazuje život kao realan i sirov. Upravo suprotno, Nico život pokazuje kao najvećim delom trivijalan a to radi bežeći od dramatizacije makar te trivijalnosti, nadajući se da je, opet, prosto ukazivanje dovoljno. Meni nije i žao mi je što su dobre glumice, dobra direktorka fotografije i dobra montažerka (koja je film i režirala) na kraju uložile dosta napora u film bez krvi i mesa koji ništa ne govori i nada se da će umesto njega govoriti gledalac. Ali sam se makar obradovao kada sam shvatio da je poslednjih sedam minuta odjavna špica i da ne moram da sedim sve do kraja.
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Black Adam je drugi Warnerov veliki superherojski film ove godine a ako je The Batman Matta Reevesa (https://cvecezla.wordpress.com/2022/04/29/film-the-batman/) bio ,,ozbiljan", ,,mračan" film sa ambicijom da rekonstruiše nešto od gritty estetike Novog Holivuda sedamdesetih godina prošlog veka unutar mračnog mizanscena koji je karakterisao stripove o Betmenu kada ih je pisao i uređivao Deny O'Neil (sedamdesete i osamdesete), Black Adam je – uprkos svojoj ozbiljnoj tematici i mračnom antiheroju u centru – zabavni ansambl-film pun šarenih kostima i sarkastičnih onelinera, namenjen, hajde da kažemo celoj porodici iako sa svojim visokim body countom on granice PG-13 rejtinga gura gotovo do pucanja. Black Adam je pravila New Line Cinema ekipa, na čelu sa španskim režiserom Jaumeom Collet-Serrom, čiji su koreni zapravo u hororu, a ovaj film je pokušaj da se frivolna ,,R" estetika jednog The Suicide Squad Jamesa Gunna – koji je u međuvremen stavljen na čelo Warnerove superherojske produkcije – privoli PG-13 rejtingu. I Black Adam je, ne sumnjajmo u to, dobio prilično mešovite reakcije za svoju kombinaciju konzervativnog, spojite-tačkice pripovedanja i pokušaja edgy poziranja i humora. Takođe, ne sumnjajte, Black Adam je dosta loš film, ali je ovo film koji je loš na dobar način.
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Warner je, kad se pogleda pažljivije, iznenađujuće mnogo oslonjen na strip-likove iz Zlatnog doba za svoju filmsku DCEU produkciju. Naravno, dok se likovi poput Supermena, Betmena i Wonder Woman podrazumevaju na ime svoje mejnstrim prepoznatljivosti koja prethodi aktuelnoj superherojskoj inundaciji u popularnoj kulturi, pa je i Shazam! (https://cvecezla.wordpress.com/2020/05/25/film-shazam/) shvatljiv na ime svoje nekadašnje (i, da se razumemo, poluapokrifne) popularnosti koja je prevazilazila Supermenovu, ima nečeg čudno konzervativnog u tome da likovi nastali četrdestih godina prošlog veka koji nikada nisu imali nekakvo veliko sledbeništvo – poput Aquamana (https://cvecezla.wordpress.com/2019/01/03/film-aquaman/) i Black Adama – danas imaju prednost u odnosu srazmerno popularnije likove iz Srebrnog doba, kao što je recimo Batgirl, čiji je gotovo potpuno završen film na kraju zatvoren u bunker a Warner njegove troškove iskoristio za odbitak poreza, ili dakako Nightwing, Deathstroke, nekakvi Teen Titani ili (moderni) Flash koji tek ima svoj set problema sa problematičnim Ezrom Millerom koji ionako nikada nije ni trebalo da preotme ulogu što ju je bog namenio Grantu Gustinu.
Utoliko, Black Adam je film čiji se nastanak da opravdati pre svega time što je jedan od najpopularnijih glumaca današnjice izrazio želju da bude superheroj, a i to nakon što je New Line Cinema postigao možda i neočekivan uspeh sa Shazam!, pa je Black Adam, lik sa dugačkom istorijom – kreirao ga je, 1945. godine, Otto Binder lično – ali sa srazmerno malo prepoznatljivosti u mejnstrimu, dospeo do bioskopa radije nego da se Warner ponovo kocka sa Green Lantern ili da, što da ne, osmisli nekakav film o Robinu koji smo ionako svi očekivali na kraju Nolanove trilogije.
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Black Adam je lik zanimljiv pre svega DC-jevom hardcore fandomu u prvom redu na ime svog seta moći koji je gotovo (?) ravan Supermenovom, a zatim i na osnovu rada sa likom iz ovog stoleća u kome je nekadašnji negativac nakon karijere na strani heroja u okviru tima Justice Society of America postepeno prešao u format antiheroja čije će se bliskoistočno poreklo i drugačiji etički aršin u odnosu ka nepravednima materijalizovati u državničkim ambicijama i odbacivanju imperijalističkog modela pravde koji nudi Amerika. Black Adam je bio jedan od zanimljivijih likova u velikoj reformi DC-jevih stripova pre deceniju i po sa serijalima 52 i World War III gde su njegov etnonacionalizam i državotvorne ambicije bili obrađivani sa više nijansiranja nego što je to pravilo u superherojskim stripovima. Bliskoistočno poreklo Geoffa Johnsa koji je već u to vreme bio arhitekta velikog dela DC-jevog univerzuma, a i pisao je Black Adama u nekim ključnim trenucima, je verovatno doprinelo ovome.
Problem sa ovim filmom je što nekoliko decenija stripova pokušava da kondenzuje u dva sata od kojih popriličan deo otpada na akciju ali i što ima ambiciju da uvede smele i kompleksne teme u jedan narativni sklop koji, vrlo očigledno, prati formulu i nije spreman na njihovu obradzu. Black Adam nije ,,autorski film" napravljen od korporacijskih para već film rađen da se klinci lože na namrštenog The Rocka i kul kostime Justice Societyja koji se onda dotiče i teme eksploatacije Bliskog istoka od strane međunarodne zajednice oličene u vojnoindustrijskom kompleksu.
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I da se razumemo, sa jedne strane, treba biti zadivljen time da je ovo tentpole superherojski film napravljen za 200 miliona dolara a u kome prominentne uloge igraju glumci smeđe boje kože i zaplet se tiče decidno belih, decidno zlih zapadnjaka koji zlosrećnu arapsku naciju eksploatišu skoro tri decenije koristeći privatne vojne trupe i praktično ,,diktaturu protektorata" da izvlače resurse. Sa druge strane treba biti i srazmerno iznerviran što je ovo film koji svojim ozbiljnim temama kakvih se malo koja uporediva filmska produkcija uopšte dotiče prilazi sa svom suptilnošću slona u staklarskoj radnji.
Black Adam je, u prvom redu, vizuelno napadno neatraktivan od samog početka sa forsiranjem kolornih filtera i agresivnim CGI-jem za utisak ne-stvarnog, ne-postojećeg mesta koje treba da bude Irak ali nije Irak i jednom generalnom sterilisanošću, neuverljivošću slike. Nešto kasnije imanje Cartera Halla deluje kao render napravljen od strane kompanije koja se bavi pejsažnom arhitekturom i nadmeće se da dobije skupi ugovor, a mnoge scene borbe više podsećaju na futidž iz video-igre Injustice nego na filmski režirane prizore, sa glumcima svedenim na mo-cap modele i kompjuterom koji diriguje događajima na ekranu.
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Dodatno, film ima do parodije prenaglašen fetiš ekspozicije. Princip ,,prikaži, ne prepričavaj" ovde je izvrnut u ,,pokaži i sve vreme prepričavaj" pa je tako uvodnih nekoliko minuta smeštenih u daleko prehrišćansko vreme jedan klasičan ,,intro" gde se velika ljudska i društvena drama, sa sve odlaskom u paranormalno i magično pakuje u skoro fast-foward format kako bi gledalac dobio sve potrebne informacije pre nego što film krene ,,odistinski". Ali i kad se krene odistinski gomila scena je opterećena ekspozitornim dijalozima koji su bukvalno komični. ,,what you are is a neo-imperialist enforcer, from halfway around the world, sent here to steal my country's natural resources, strip-mine our sacred lands, pollute our water, oppress our heritage, and make us wait in lines all day." kaže ranopubertetski arapski dečak naoružanom vojniku na čekpointu već u sedmom minutu filma a vama očne jabučice protestuju jer ne mogu da se prevrnu dalje od onog što im je priroda dodelila. Doduše, i kad film ,,pokazuje a ne prepričava" ovo je često trapavo i malo osramoćujuće: kako bi gledaoci znali da treba da navijaju za Arape a ne za belce u ovom partikularnom slučaju, pomenuti klinac vozi skejtbord i nosi DC-jeve stripove u rancu jer, jelte, nedajbože da se u nama probudi empatija za kolonizovanu državu čiji stanovnici nisu u dlaku isti kao Amerikanci, samo malo više preplanuli.
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Black Adam, film, ima tu tendenciju da stvari objašnjava prečesto, predugo i predetaljno i ovo u ogromnoj meri šteti njegovim karakterizacijama jer likovi koji su taman sugerisali da imaju nekakvu ličnost i možda hemiju sa drugim likovima moraju da pola minuta stoje i objašnjavaju sve, od istorijskog konteksta starog pet hiljada godina, pa do intrigantnih etičkih pitanja vezanih za to da li je i kada ubijanje opravdano i da li je državi Kahndaq – u kojoj se sve događa – treba heroj ili sloboda. Ovo ne šteti toliko tempu filma – koji se drži sasvim prihvatljivog trajanja od dva sata sa jasno odvojenim činovima – koliko samim likovima koji su svedeni na dispanzere informacija.
Sam Teth Adam u tumačenju Dwaynea Johnsona je, naravno, pomalo karikiran jer iako Johnson ume da glumi, režiseri u to uglavnom ne veruju (ironija je da je Michael Bay maltene jedini koji je iz njega izvukao pravi performans u Pain & Gain) pa je većina njegovog prebivanja u kadru svedena na mrštenje i naglašavanje vena ispod kože, te deadpan proklamacije koje treba da lik Teth Adama prikažu kao nekog iz prošlih vremena. Ovo ne pije vodu preterano ne samo zato što u filmu svi pričaju moderan engleski – to se da progutati na ime udobnosti gledanja – već pre svega jer lik Black Adama naprosto ne nudi kredibilnu psihologiju niti filozofiju za nekog starog četiri i po milenijuma koji se zatekao u nepoznatom svetu. Adam je prosto, grudva plastelina koja se od scene do scene oblikuje kako scenaristi zahtevaju i povremeno je komični bukvalista koji prolazi kroz zidove jer ga smara da traži vrata i ne razume koncept sarkazma, a povremeno samovlasni filozof-solipsista koji zna da nikada nije bio heroj ali zna da ubijanje loših ljudi nije greh – jer bi ga valjda neki od bogova koji su mu dali sve te njegove moći, već kaznio. Istovremeno, Johnsonu kao da je rečeni da što manje glumi i njegova ravna dikcija nikada nije sigurna da li treba da deluje preteće ili komično.
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Tako da je Black Adam u sopstvenom filmu prilično neupečatljiv a što njegovu trajektoriju od heroja, preko zločinca do superheroja – kondenzovanu, rekosmo, u jedva dva sata – čini mehaničkom i ne previše uverljivom.
Naspram njemu stoji Justice Society, stari DC-jev superherojski tim ovde iskombinovan od nekih baš klasičnih Golden Age likova i nekih novomilenijumskih trećepozivaca. Moram da priznam da Cyclone deluje kao da je ubačena samo radi diverziteta i mada Quintessa Swindell pruža korektnu televizijsku rolu, ovo je lik koji ne služi ni za šta sem da bude mlada, sposobna crna žena u ekipi sastavljenoj od napaljenih mužjaka, ali tako da nema nikakav karakter niti bilo šta zanimljivo u vezi sa sobom.
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Priznajem i da sam malo više trznuo kada sam video Hawkmana jer je on jedan od superheroja na koje se izrazito ložim još od detinjstva i mada je Aldis Hodge ovaj lik morao da svede maltene sasvim na sirovu muževnost – a Hawkman ipak ima MNOGO više da ponudi svetu od svoje svakako velike muževnosti – kostim, oprema i krila ovde rade sjajan posao i oživljena ikona Zlatnog doba ovde izgleda onako impresivno kako se samo poželeti može.
Atom Smasher, naravno, služi kao komični predah (i, da budem fer, kao napor ka humanizaciji superheroja posebno u kontekstu sada već višegeneracijskog bavljenja ovim poslom a što Noah Centineo sasvim solidno odrađuje) ali glavni lik u Justice Societyju je, naravno, Doctor Fate Piercea Brosnana, jedini lik sa više od jedne dimenzije i sa glumcem koji dobija nešto dramskog materijala da sa njim radi. Ja Brosnana volim i mislim da je odličan u ovoj ulozi ali fer je reći da su ostali likovi opterećeni ekspozitornim dijalozima koji inače vrlo solidne glumce bliskoistočnog porekla (Sarah Shahi kao majka, Bodhi Sabongui kao sin itd.) značajno sputava.
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Film pati i od površnosti u obradi koja je valjda već i očekivana u eri kada se produkcije prave sa gifovima i memima na umu i koja, naravno, iritira. Prva polovina je posebno naporna sa tom kombinacijom imperativne direktne ekspozicije ali i stalnim neskladom u tonu pa ozbiljniji dramski zaplet koji se tiče eksploatacije Bliskog istoka na kome se jako insistira, mora da se stalno sklanja pred komičnim predasima koji su urađeni u ključu vrlo jeftinog televizijskog sitkoma. Ali ta površnost je svuda. U jednoj sceni, recimo, slušamo Paint it Black (produkcija se isprsila za originalni snimak ali ga je onda mesarski editovala da tekst naglasi reč ,,black") preko prizora apsolutnog masakra dok Black Adam ubija plaćeničku vojsku i ovde ne samo da treba imati na umu kako sitar nije bliskoistočni instrument već i da je ovo pesma o čoveku što pati za ženom koja se ubila i da se ona nikako ne uklapa uz događaje na ekranu. U drugoj sceni ranjeni lik koji leži na podu nakon što je primio metak čuje da je Doctor Fate doktor i pita ga ,,How bad is it, doc?" da bi mu ovaj lakonski odgovorio ,,I'm not that kind of doctor". Što deluje kao prihvatljiv humor na prvu loptu – na stranu gotvo sadistička konotacija te razmene – osim što, naravno, u stripovima Doctor Fate apsolutno JESTE ,,that kind of Doctor" i ovde je legat lika starog više od osam decenija pregažen zarad jeftine pošalice.
Ono što Black Adam, pak, radi dobro, je da u drugoj polovini film uspeva da kreira plauzibilan akciono-dramski zaplet. Jednostavan, da se razumemo, naivan na nivou crtanog filma ali kada konačno izađemo iz perioda neprestane ekspozicije i film odluči da je gledalac apdejtovan, likovi odjednom prorade a pripovedanje postane dinamičnije i taj geldalac počne da oseća oseća kakvi su ulozi na kocki, za koga treba da navija, zašto ljudi koji su se do malopre šopali kao nenormalni sad odjednom rade zajedno itd. Nažalost, ovo znači i da su zanimljive rasprave o modernoj imperijalističkoj eksploataciji Bliskog istoka od strane zapadnih novo-kolonizatora ostavljene u prašini dok se priča fokusira na bajkovitog negativca i konačni sukob je između likova starih nekoliko milenijuma, a što je svojevrsna izdaja onog što je film naglašavao u prvoj polovini, sa sve prilično bednim izmišljanjem doslovne armije zombija u minut do dvanaest da bi se simuliralo nekakvo narodno oslobođenje.
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No, tamo gde gubimo na pripovedačkoj ambiciji, dobijamo na tempu i akciji i Black Adam je jedno bučno, atraktivno iskustvo u kome mnoge akcione scene uspevaju da prevaziđu kletvu CGI-ja i postignu makar neku likovnost. Dobro, delimično se tu naprosto čovek opčini šljaštećim bojama – Cyclone ima iste efekte koje su u Sonyju koristili za Morbiusa – ali između pitoresknih kostima, te videoigrački kadriranih duela koji podsećaju na Injustice/ Mortal Kombat i vidnog režiserskog napora da se kreira koreografija u tri dimenzije, koja će u obzir uzeti razne konotacije borbe što se odvija između supermoćnih likova, Black Adam uspeva da gledaoca angažuje i da mu pošten, bučan akcioni program.
Black Adam je film koji nikako nije mogao da bude uspešan – mada je na boks ofisu opravdao svoje postojanje – jer u njemu je bilo previše ambicije a premalo smelosti da se nešto kaže, a likovi su tretirani utilitarno i bez dovoljno karaktera da zaista zažive. Između drvenih dijaloga i CGI masakra na ekranu Black Adam svoje teme ne uspeva da izrazi ni diskurzivno ni vizuelno, ali on ima harizmatičnog i drugačijeg (anti)heroja u svom centru – i Johnson je apsolutno upčatljiv kada leti u otmenom, pa i agresivnom stojećem položaju, ni nalik Supermenovom više plivajućem stilu. On takođe ima i dopadljiv Justice Society tim koji nam se, a što je prijatno iznenađenje, servira bez prethodnih priprema i objašnjavanja ko je ko, tako da gledalac ima utisak sličan onom kada u ruke uzmete epizodu strip serijala koji ide decenijama unazad i svi već znaju ko su ovi ljudi tako udobno smešteni u narativ, a što je nezanemarljiv kvalitet za superherojski film. Voleo bih da su teme obrađene dublje i da je sam Black Adam tretiran ozbiljnije – ceo minizaplet sa frazom koju treba da izgovori kad nekog ubije je prosto neshvatljivo krindži – ali akcija me je zabavila a filozofija koja se makar pomalja u delovima ovog narativa je osvežavajući kontrapunkt uobičajenom superherojskom programu u bioskopima. Pa ni to nije malo.
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Pogledao sam Big Trouble in Little China, poznatu akcionu komediju Johna Carpentera iz 1986. godine i time popunio notabilnu rupu u neposrednom iskustvu i znanju vezanom za popularnu kulturu osamdesetih godina prošlog veka a koja je, kad se malo razmisli, prosto neobjašnjiva. John Carpenter je bio jedan od najvažnijih režisera u godinama kada se meni presudno formirao filmski ukus, čovek koji je napravio nisku besprekornih žanrovskih radova i utemeljio neka od i danas važećih pravila vezanih za žanrovski film. Smešten, recimo, na idealnu zlatnu sredinu između Stevena Spielberga i Sama Raimija, Carpenter je bio perjanica Novog Holivuda koju su drugi besomučno imitirali kroz osamdesete godine dok je on, činilo se bez napora, sa svakim novim filmom pomerao letvicu nekoliko pedalja više.
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Carpenter je neko ko je zapravo dugo odolevao sirenskom zovu velikih studija i najveći broj njegovih najvažnijih filmova urađen je za male produkcije, sa niskim budžetima i sa autorom koji je često radio više poslova, od pisanja, preko režije do komponovanja muzike. I ovo je verovatno i bilo zaslužno za činjenicu da su njegovi filmovi bili drugačiji od aktuelne holivudske ponude tako da ih i kritika i publika primete, a opet sklopljeni sa visokim novoom zanata i jakim autorskim pečatom da postanu hitovi daleko preko mere koju su diktirali skromni budžeti i izbor relativno nepoznatih glumaca.
Carpenter je sa svojim prvim bioskopskim filmom, Dark Star iz 1974. zapravo na neki način pretekao Star Wars za čitave tri godine, ne po žanrovskom potpisu – za razliku od Lucvasovog samurajskog vesterna inspirisanog Kurosawom, Dark Star je bio blue collar horor u svemiru – koliko po izvlačenju naučne fantastike iz utopizma Star Trek i generalnog predizajniranog lo-budget kiča koji je tada vladao, nudeći uverljiv, živ svet i okruženje koje deluje stvarno, sa likovima koji nisu kosmički heroji već obični ljudi što rade težak posao. Scottov ikonični Alien je, ako hoćete da budete strogi, praktično visokobudžetni rimejk Dark Stara...
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...osim što su svi ovi filmovi, naravno, varijacije na klasični The Thing from Another World iz 1951. No, Carpenter je, ne zaboravimo 1982. godine režirao The Thing, verniju adaptaciju romana The Thing from Another World i betonirao ,,creature feature" format za osamdesete godine koji će mnogi imitirati ali niko, uključujući i nastavke Aliena, neće zaista prevazići.
Iako je radio u različitim žanrovima, Carpenter je definitivno bio utemeljen u hororu, kreirajući sa Halloween moderni slešer – i, može se argumentovati, pružajući i definitivni moderni slešer koji niko nikada nije prevazišao – pa posle toga radeći različite varijetete horora; sa The Thing smo dobili kombinaciju creature feature i body horror rada, sa The Fog smo dobili smalltown horor sa duhovima, a Christine je bila adaptacija aktuelnog literarnog hita Stephena Kinga i prilika da se Carpenter okuša u okvirima savremenog, ,,tehnološkog" horora.
No, i njegovi ne-horor filmovi su u sebi nosili mnoge elemente njegovih horor produkcija. Escape from New York je bio rana forma '80s akcijaša sa mačo-protagonistom i urbanim, post-kolaps mizanscenom a Assault on Precinct 13 idealan spoj kvazivesterna, horora i akcione eksploatacije.
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Ovo sve nabrajam jer je njegov film iz 1984. godine, Starman bio tako neobičan otklon od dotadašnjeg rada. Sa jedne strane, studio je tražio nekoga ko će umeti da snimi romantičnu dramu o vanzemaljcu-među-zemljanima tako da se izbegnu – nepovoljna – poređenja sa Spielbergovim E.T. Sa druge, Carpenter je bio rad da sa sebe zbaci reputaciju režisera koji pravi isključivo horore i eksploatacije i da se progura u prvi ešelon novoholivudskih autora i Starman je bio čudan, neugodan spoj koji nije sjajno prošao na blagajnama.
Zbog toga će Big Trouble in Little China biti sa jedne strane bizaran a sa druge potpuno logičan naredni korak za Carpentera. Ako je Starman, sav ozbiljan i ambiciozan da pokupi silne Oskare* prošao srazmerno loše, onda je akciona komedija sa puno tuče, humora i bučnih specijalnih efekata, snimljena za prave pare morala biti uspešnija.
* mada je zaradio samo nominaciju Jeffa Bridgesa za glavnu ulogu i i dalje ostaje jedini Carpenterov dugometražni film koji je ikada dobio ikakvu nominaciju za Oskara
Osim što, naravno, nije bila. Big Trouble in Little China će označiti Carpenterovo razočaranje u velike studije i odluku da nastavi da radi u niskobudžetnoj produkciji, gde će tokom narednih decenija naređati još nekoliko uticajnih klasika i nekoliko notabilnih promašaja pre ,,penzionisanja" u 2010. godini. Carpenter je danas sasvim zadovoljan time da bude izvršni producent za silne nastavke svojih klasičnih radova (Halloween pre svega) i da pare koje od toga zaradi troši na video igre. Penzija kakva se, slažemo se, samo poželeti može.
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No, Big Trouble in Little China je i pored svog – mislim i prilično zasluženog – neuspeha u komercijalnom smislu, kao i veliki broj drugih Carpenterovih filmova, ostvario ogroman uticaj na popularnu kulturu i ostavio iza sebe značajan legat. Verovatno je samo činjenica da je ovaj film producirao veliki studio zaslužna za to što još uvek niko nije povukao Carpentera za rukav i pitao za mogućnost da se pravi nastavak ili makar rimejk. Big Trouble in Little China nikako nije sjajan FILM, ali jeste u pitanju intrigantan KONCEPT sa kojim studio na kraju nije bio najsigurnji šta da radi pa se to prenelo i u samu produkciju. Ipak, pričamo o rukama majstora koje su se ovde okušale u sasvim novom žanru i nekoj vrsti obavezne lektire za Carpenterove poštovaoce.
Jedan od razloga što film nisam gledao u vreme kada je bio u bioskopima je verovatno i to da je dobio srazmerno slabe kritike u domaćoj štampi – čak ga je i žanrovski vrlo friendly magazin YU Video okarakterisao kao vidno razblaženu verziju Carpentera – a i ja sam tada već bio u prvoj godini srednje škole i sebe smatrao probirljivim ljubiteljem filma, koji nema u životu vremena za polupečene, nedomišljene projekte.
Nije da sam u međuvremenu, jelte, dobio više vremena na raspolaganje, ali Big Trouble in Little China mi nije bio neugodan na ovo prvo gledanje u 2022. godini mada mi je jasno da bih se 1986. godine verovatno jako iznervirao u bioskopu što čovek tako hirurški precizne ruke kao što je Carpenter mora da se rve sa jednim meandrirajućim, cheesy scenarijom kao što je ovaj.
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Naravno scenario je bio problematičan u startu i zapravo originalni skript koji su napisali Gary Goldman i David Z. Weinstein (kao njihov prvi holivudski rad) je smatran veoma problematičnim od strane studija koji nije bio siguran u kombinaciju vestern-mizanscena, orijentalističkog misticizma i borilačkih veština – a i sam Carpenter je scenario ocenio kao ,,nečitljiv" mada je priznao da ima zanimljive ideje – pa je doveden iskusni skript-doktor W.D. Richter da modernizuje i adaptira originalni tekst. Goldman i Weinstein su se tu dosta svađali sa studijom i zahtevali da im imena budu na špici iako je Richter praktično napisao novu priču, smeštenu u moderno doba, ali je na kraju sve nekako ispeglano a i sam Carpenter je doradio Richterov scenario pre ulaska u produkciju.
Kurt Russell nije bio prvi izbor za glavnu ulogu – a i on sam nije bio naročito oduševljen scenarijom kada mu je na kraju ponuđen – jer je Carpenter želeo veliku zvezdu, kako bi se film takmičio sa Golden Child Eddieja Murphyja na ravnijoj nozi. Jack Nicholson i Clint Eastwood su bili zauzeti, pa je na kraju Kurt Russell i po treći put zaigrao kod Carpentera i ovo je, sigurno, bio odličan izbor. Russell, bivša zvezda Diznijevih produkcija iz šezdesetih i sedamdesetih je sa Carpenterom doživeo transformaciju u modernog akcionog antiheroja i njegove uloge u Escape from New York i The Thing su u mnogome definisale kako će protagonisti '80s akcijaša da izgledaju i da se ponašaju. Do 1986. godine se prototip mišićavog alfa-mužjaka već čvrsto utemeljio u akcionom filmu pa je Russell pored učenja scenarija krenuo i u teretanu i veliki deo filma provešće u majici na bretele, pokazujući jake mišiće i moćan torzo. Frizura na repove se podrazumeva i Russell je ovim filmom već jednom nogom zagazio u dekonstrukciju stereotipa '80s akcionog heroja.
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Sam lik Jacka Burtona je svakako konfliktan po mnogo osnova. Big Trouble in Little China je film koji eksploatiše orijentalističke trope i stereotipove primerenije početku veka nego osamdesetima, ali to radi sa iskrenom ljubavlju prema kineskim wuxia filmovima pa je u pitanju neobičan spoj. Sam karakter Jacka Burtona kao da je baziran na ideji parodiranja lika koji je u Peckinpahovom Konvoju igrao Kris Kristofferson, kombinujući mačo kodifikaciju sa goofy karakterizacijom. Kao veliki beli spasitelj u kastu koji je većinski sastavljen od kineskih glumaca, Russell i njegov lik su praktično višak u priči koja je naglašeno ,,kineska" i on vrlo očigledno predstavlja način da se gledalac insertuje u narativ. Utoliko, Russellova motivacija za sve ono što radi u filmu je prilično veštačka i neubedljiva – Carpenter je upravo i proširio lik koji igra Kim Cattrall kako bi on imao više motiva da se meša u interne Chinatown sukobe – i on prilično neugodno sedi između Kineza koji se ozbiljno i srčano bore za stvari koje su njima važne. Ali baš zato je Russellova karakterizacija uspešna jer je on zbunjen, zapanjen, većinu vremena iznerviran što ništa ne razume i daje sve od sebe da bude asertivan, delatan lik u narativu kome zapravo nije potreban.
Otud su goofy karakterizacija i ismevanje mačo-klišea prikladan izbor za film koji i na vizuelnom planu operiše sa ansamblom sastavljenim od vitkih/ elegantnih kineskih glumaca i kaskadera i gde Russellov nabildovani Burton deluje kao praktično komični predah.
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Verovatno bi bilo preterano reći da je Big Trouble in Little China programski pravljen da ismeva '80s akcijaš koji su Stallone, Norris, Schwarzenegger, Bronson i ostali izneli na svojim plećima uzimajući predloške od Millera, Peckinpaha i samog Carpentera, ali on jeste neočekivano efektan u svom omažiranju wuxia akcijaša i kontrastiranju njihove imaginativnosti i vizuelne razigranosti sa mračnom kvazi-ozbiljnošću holivudske akcije. Ako se Big Trouble in Little China uporedi sa Cosmatosovim filmom Cobra iz iste godine u kome Stallone i Brigitte Nielsen zapremaju sličan prostor kao Russell i Cattrallova kod Carpentera, primetno je da Carpenterova obrada tropa žene koju seksualno ugrožavaju i muškarca koji dolazi da je spase uz mnogo prolivanja krvi ima parodičnu dimenziju. Utoliko, neuverljivost Burtonove motivacije i odsustvo hemije između dva glavna bela lika služe da podcrtaju klišeiziranost ove postavke, pogotovo na planu čiste, bajkovite veze koja postoji između dvoje kineskih likova što se nisu videli decenijama i samo žele da žive u miru i slozi do kraja života. Naravno da Carpenter ovde jedan kliše suprotstavlja drugom, ali vizuelnost filma, u kojoj su Kinezi daleko zanimljiviji od WASP-ova, imaju daleko jasnije uloge u priči i bore se efikasnije i efektnije – jer je za njih ovo borba od sudbinske važnosti – je neporeciva. Naravno, i sam Jack Burton u finalu filma odbija da čak i poljubi ženu za koju se do tada strastveno borio, možda u demonstraciji mužvenog stoicizma, ali jednako se ubedljivo ovo može čitati i kao priznavanje autora filma da mu u ovoj priči nije mesto i da je njegova motivacija generisana mehanički.
Russell je svakako šarmantan u ovoj ulozi – fish out of water lik koji ništa ne razume ali se pridružuje borbi za koju nije opremljen i često ne zna šta da radi, pa i pravi komične greške, nastavljajući da time potkazuje stereotip mačo-protagoniste. Nasuprot njemu je okretni Dennis Dun, koji je debitovao prethodne godine u Ciminovoj Godini zmaja i koji ovde pokazuje zavidnu fizičku spremu i emotivni raspon kakve Russellov lik zapravo i nema. Naravno, i Dun je sveden na stereotip i ovo nikako nije film sa dubokim karakterizacijama i nekakvim ozbiljnim radom sa likovima. Njegova postavka je stereotipna pa su takvi i likovi, a priča je smuljana.
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Zapravo naracija je – atipično za Carpentera – konfuzna, sa dvaput ponovljenim skoro identičnim odlaskom u spasilačku misiju na neprijateljsku teritoriju i nejasnim rizicima, moćima neprijatelja, pa i blagom inflacijom specijalnih efekata i statista. Carpenter je kroz svoje dotadašnje filmove demonstrirao superiorno vladanje prostorom i postavljanjem/ kretanjem ljudi kroz njega tako da se sam gledalac oseća kao da deli isti prostor sa protagonistima i da ga razume kao i oni (Assault on Precinct 13, The Thing ali i Escape from New York) i ovo na mikro-planu apsolutno radi i u ovom filmu sa besprekornim malim set-pisovima svakih nekoliko minuta. No, generalna naracija je slabija, manje uverljiva i film na kraju više funkcioniše kao ta niska set-pisova nego kao uverljiva priča, čak i kad mu se obračuna popust na komediju.
No, možda je najveća vrednost Big Trouble in Little China sa koliko ubedljivosti on uspeva da omažira hongkonške borilačke filmove. Kostimi, koreografije i set-pisovi svakako nisu direktno prepisani iz azijske produkcije, ali vrlo jasno i upečatljivo koriste njihov jezik sa dinamičnom režijom borbe, izvrsnom montažom i likovnošću scena u kojima se različito uniformisani likovi bore na više lokacija na setu, na sve strane lete magije i drugi specijalni efekti a čudovišta se pomaljaju iza svakog ćoška. Carpenter je ovde superioran u spajanju wuxia energije sa sopstvenim talentom za pripovedanje i ovde ima nekoliko scena koje su naprosto izvanredne. Momenat u kome se, recimo, niz statua Bude ruši poput domina je izvrstan sažetak Carpenterovog shvatanja ne samo kadriranja – sa širokim uglom koji zahvata čitavu prostoriju po širini i dubini – već i montiranja tako da se dramatičan prizor, a koji ima potencijal i da postane monoton do kraja, spretno dinamizuje ubačenim kadrovima i tako se postignu i efekat simboličkog ,,završavanja" misije, ali i mikro-naracija unutar ove scene. A što je pristup od koga su savremeni režiseri žanrovskog filma po pravilu operisani.
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Big Trouble in Little China, dakle, nije sjajan film i snob koji sam bio sa petnaest godina bi verovatno smatrao da je protraćio stotinak minuta na njega. Gledan u 2022. godini on mi je bio simpatičan na ime toga što su kineski likovi, i pored mnogo prisutnih orijentalističkih stereotipa zapravo asertivni i imaju delatni suverenitet do mere kada se lik Jacka Burtona, rekosmo, maltene potpuno razotkriva kao puka prečica za gledaoca, kao i na ime dobre akcije, uspelog vizuelnog humora i, naravno, Carpenterove muzike. Takođe, postao sam svestan da je Kim Cattrall igrala – pored Porky's i prve Policijske akademije – i u još jednom ključnom žanrovskom filmu osamdesetih pa je time moj osećaj da je ona bila jedini okej lik u Seksu i gradu još više naknadno produbljen.
Carpenter je posle ovog filma odustao od pokušaja da se probije u visokobudžetne produkcije, svestan da on nije čovek za saradnju sa velikim studijima, i ,,zvanično" postao nezavisni filmmejker koji će zatvoriti osamdesete kultnim They Live a onda imati interesantnu i ne uvek sjajnu trajektoriju kroz naredne decenije. Ipak, iako Carpenter nikada nije postao režiser blokbastera poput, recimo, Raimija, njegov je uticaj na moderni film ali i popularnu kulturu u celini još veći i čak je i srazmerno neuspešan rad poput Big Trouble in Little China iza sebe ostavio ogroman legat, uključujući u vidu omaža u videoigračkom serijalu Mortal Kombat. To da će se Carpenter pokazati kao strastven gejmer i da je i sarađivao na nekim horor video-igrama (F.E.A.R. 3, recimo) je zbog toga na neki način i prirodno zatvaranje kruga.
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Ja se javljam da izrazim čuđenje što je takav konzument masovne kulture tek sad odgledao "Big trouble in Little China", i da ti kažem da se rimejk itekako pominje,i to takav u kojem bi naslovnu ulogu trebalo da tumači - The Rock, od svih ljudi.
Da, pa i ja sam u tekstu pokušao da obrazložim zašto ga nisam gledao. Mada nije to jedini važan naslov koji sam ja propustio. Recimo, nikad nisam gledao Bill & Ted filmove, mada to nameravam da ispravim uskoro.
A nimalo je iznenađujuće da je Dwayne Johnson zainteresovan za ovo :lol: :lol:
Ili on, ili neki od Krisova (Hemsvort, Prat, Pajn, Evans) ne vidim ko bi osim njih mogao. Ali da budem do kraja pošten - ne bih gledao taj rimejk, nije važno ko glumi; nisam gledao ni ove ostale rimejke filmova 80ih koji mi se dopadaju.
Da, ja sam gledao samo neke... Evil Dead, recimo, koji nije ni loš ali sam i u tekstu o originalnoj trilogiji rekao da je nekako besmislen... Gledao sam čak i Assault on Precinct 13 rimejk koji je isto pristojnjikav, mada naravno ne može da priđe Carpenteru... Ali rimejk Robocopa, recimo nisam gledao, mada ću MOŽDA jednom da se nateram. Vrlo me zanima kada će se neko usuditi da uđe u rimejk Terminatora i na šta će to da liči.. Pošto bi se reklo da je tom serijalu iscurelo gorivo i da mora da kreće od nule.
Ako ti neko zatraži i plati prikaz, onda svakako; osim toga iskreno sumnjam da ima smisla. Skoro sam imao priliku gledati prvi i drugi deo Robokapa (Pink filmski kanali često vrte te starije filmove) i šta znam...meni ti filmovi još uvek funkcionišu. Trejler rimejka Robokapa me nije ubedio da bih ja doživeo nekakvo zadovoljstvo gledajući to.
Naravno, lako je moguće da sam klasičan slučaj "žala za mladost", a da su ti rimejci objektivno bolji...ostavljam nekoh 0.5 % šanse da je to slučaj :)
A Terminatora što se tiče, jedini mi je strah da će snimiti još koji sa Arnoldom.
Da, poslednja dva Terminatora su bila strašno loša.
A, jeste, prva dva Robokapa i dalje stoje kano klisurine. Ne znam, koliko sam shvatio rimejk ima nešto svoje, pa ću ga verovatno pogledati u nekom momentu ali nije da se žurim previše...
Zar nije zadnji Terminator još i ok... Serijal je doduše vjerovatno najgori svih vremena po srozavanju, tu reboot možda bi samo Cameron lično opravio.
Pa ne baš, samo jedan u nizu filmova upodobljen da bude woke; o ostalim stvarima nije ni razmišljano preterano. A čitav taj koncept nije ni imao materijala da se snimi mnogo filmova, već treći nastavak je bio veoma tanak, sa suštinski istim neprijateljskim Terminatorom koji je već viđen u drugom delu.
Meni bio ok, maltene od dvojke nisu ništa kršteno snimili. I Linda se vratila, potrudili se malo.
Linda je meni bila jedan od najgorih elemenata tog filma. Detaljna eksplikacija:
https://cvecezla.wordpress.com/2020/07/11/film-terminator-dark-fate/ (https://cvecezla.wordpress.com/2020/07/11/film-terminator-dark-fate/)
Kod mene obrnuto, ja bih sad gledo neki novi Terminator kad bi izašao. Salvation, Genysis i ini su mi lošiji.
Iako sve stoji što si napisao, film je prvi put jasno povezao vrijeme i kontekst. Kec je jasno u osamdesetim, dvojka jasno 90s, sve ostalo do zadnjeg filma čovjek ne zna gdje se nalazi.
Topuzić kaže ovo je woke, pa ok, al onda su i kec i dvojka woke, a ovo ostalo ne znam šta je, nijedan nije razumio u kakvo društvo terminator zapravo upada. A to je bila snaga Kameronovih terminatora.
Dobro, bilo je mnogo povike na to da je Salvation "woke" film čim je iz najava postalo jasno da je ovo "ženska" priča, ali ja, naravno, ne obraćam pažnju na takve stvari pogotovo što je, kako isam kažeš, već prvi terminator imao Saru Konor kao vrlo delatan lik. Ali meni su to bili slabi, slabo vođeni filmovi. Mislim,gledao sam ih sa simpatijama, ali ne mogu da kažem da su dobri.
Da ne bude nekakve zabune, nemam ja ništa protiv žena i manjina u filmovima, samo bih voleo da ti filmovi budu bolji. I prvi i drugi Terminator imaju prominentan ženski lik, ali lik, a ne nekakav bilbord koji demonstrira političke opcije. Kad smo već počeli o tome, kec i dvojka ostvaruju ono što woke filmovi (deklarativno) žele, ali to ne mogu biti woke filmovi, nastali su u veoma drugačijem vremenu.
Meho priziva rimejk Terminatora, a ja bez problema mogu da zamislim rimejk keca u kojem nova Sara Konor kaže Kajlu Risu: "Ej, ne treba mi tvoja pomoć! Ja sam moderna nezavisna žena!" Malo sam video takvih filmova.
No, cela ova priča ode na drugu stranu - glavni problem serijala je što tu nema "mesa" za toliko filmova koliko je snimljeno, a i, brate, lice sa kojim se franšiza najviše identifikuje je ostarelo (a treba biti nekakav kiborg). Šta da kažem, osim - e moj Arni, ostara se, a Skajnet ne uništi se.
Tako i ja mislim. Kao celoživotni pinko commie faggot, ja navijam za wokeness, ali nikako da to bude važnije od umetničkog kvaliteta, jelte, filma, jer onda je to apsolutno promašivanje teme.
Enivej, Arnold jeste ostareo, ali ako Harison Ford i dalje uspeva da bude Indijana Džouns, onda nije toliko problem u Arnoldu.
Mi se zajebavamo, ali tokom poslednje dve decenije Južna Koreja je postala jedan od globalno najozbiljnijih igrača u domenu filmskog medijuma. Nije da sam sada otkrio nekakvu dobro čuvanu tajnu – korejski je film od početka veka prepoznat na svetskom nivou na ime svojih osobenih umetničkih radova a zatim na ime svojih žanrovskih, komercijalno uspešnih projekata – a i nemali broj korejskih režisera postali su velika imena i radili i izvan azijskog konteksta. No kada čovek pogleda film kao što je Alienoid malo se trgne i shvati da nakon što su raspakovali i sažvakali horor film, akcioni triler i istorijski spektakl sa zombijima, Korejci sada dolaze i po onaj najveći trofej – naučnofantastični (kvazi)superherojski spektakl, kakav ni zemlje kao što su Indija, Kina ili Japan (ili, jelte, Rusija) još uvek ne snimaju sa ovakvom sigurnošću.
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Naravno, odmah ovde moramo da udarimo nekoliko zareza – Alienoid je za sada samo jedan pokušaj spajanja azijskog borilačkog akcijaša i naučnofantastične fantazije, i kao takav on je divalj i neuredan, ni nalik na već etablirane radove koji dolaze iz Japana (recimo u Ultraman serijalu) ili Indije (KGF, RRR i ostali spektakularni akcijaši sa pucanjem i pevanjem), pomalo kao nastao iz tri odvojena scenarija koje je neko ubacio u mašinu za seckanje papira pa posle dao deci iz lokalnog obdaništa tubu lepka da ih spoje u jedan dokument, ali Alienoid ima jednu impresivnu energiju i, uprkos svojoj divljački prekomplikovanoj narativnoj premisi, jednu čitkost i lakoću praćenja radnje koji ga postavljaju par stepenika iznad tradicionalne azijske ponude i čine utoliko atraktivnijim zapadnoj publici. Dong-hoon Choi koji je ovo napisao i režirao je jedan od komercijalno najuspešnijih – i važnije, konzistentno uspešnih – južnokorejskih autora žanrovskog filma, sa osobenim potpisom vezanim za kriminalističke, heist i špijunske trilere (The Thieves, Assassination, The Big Swindle, Tazza: The High rollers...) i nije neko preterano iznenađenje da će baš on biti taj koji pogleduje prema holivudskoj superherojskoj konfekciji i misli ,,ja ovo mogu bolje". Choi je pre trinaest godina već imao jedan uspešan izlet u akcioni film bogat specijalnim efektima i istorijsko-fantazijske tematike, Jeon Woo-chi: The Taoist Wizard, i ovo je bio veoma solidan napor iz koga je posle nastala i televizijska serija, no, sa Alienoid je vidan trud da se sve podigne na viši nivo i zaista zaigra u međunarodnoj areni.
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Naravno, skoro dvoiposatni film na Korejskom koji izgleda kao da se rimejk Terminatora i Hiddena u istom fimu sapleo i upao na set nekakve produkcije braće Shaw je i narativno i žanrovski verovatno isuviše konfuzan da bi pretendovao na skidanje Marvelovih filmova sa njihovog zlatnog prestola, ali Alienoid na svojoj strani ima tu čitkost i jasnu, efikasnu režiju koja čini da gledalac čak i ako nije još u glavi pohvatao koje tu zaista ko i u kojoj je vezi sa pričom, u svakoj sceni ima potpuno jasnu konekciju sa likovima, njihovim motivima i ulozima koji su na kocki, pa su drama i akcija što uslede opipljivi. Choi pritom akciju režira izvrsno, kombinujući brutalan kaskaderski rad, upečatljive koreografije, artističke uglove kamere i digitalne efekte za nešto što na kraju deluje kao oživljeni strip mnogo više nego većina onoga što je Holivud izbacio tokom proteklih par sezona.
Hoću reći, gledajući Alienoid imao sam sve vreme taj ugodni osećaj kao da sam ponovo klinac koji u bioskop odlazi (ili pali televizor) rasterećen od diskursa, spreman na dva sata lude zabave u kojoj neću nužno odmah shvatati zašto scene idu baš ovim redosledom, ali će do kraja sve biti u redu jer će naši pobediti i pritom izgledati MNOGO ŠMEKERSKI dok pobeđuju.
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To da su južnokorejski i generalno istočnoazijski filmovi vizuelno uglancani do visokog sjaja je već i kliše na koji će se i mnogi kritičari pozvati kada kritikuju fimove za nedostatak supstance skriven iza vizuelnog vatrometa, ali Alienoid je svakako pre svega film-spektakl, akciona, borilačka ekstravaganca sa robotima, taoističkim čarobnjacima, džipovima, pištoljima i jednim magičnim ogledalom koje u minut do dvanaest postaje fokus apsurdno zabavnih specijalnih efekata. Naprosto, ovo jeste film koji mora da vas impresionira na vizuelnom planu jer ako mu to ne pođe za rukom, on neće raditi ni na jednom drugom nivou.
Alienoid ima iritirajuće komplikovanu postavku za priču koju želi da ispriča i zaista deluje kao da je nastao spajanjem nekoliko nezavisnih scenarija ali jedna od najboljih stvari u vezi sa filmom je da Choi do kraja uspeva da stvari poveže u koliko-toliko koherentnu celinu i da gledalac dobija isplatu za trud koji je uložio. Nakon sat i po praćenja dva čini se skoro potpuno nepovezana narativa od kojih se jedan dešava u četrnaestom veku a drugi u Septembru ove godine, Choi spretno otvara karte, slaže kockice i uvodi film u furioznu brzinu kojom se ovaj vozi do eksplozivnog finala. A nije da je furioznosti i eksplozija do tada manjkalo. Velika prednost junžokorejske kinematografije je i dalje to koliko je u njoj produkcija i dalje jeftinija u odnosu na američke standarde pa se ne samo dadu napravit spektakli sa stotinama kostimiranih statista i kompleksnim scenografijama za desetinu cene koju bi platio neki američki studio, već je i akcioni film sa specijalnim efektima poput Alienoida slobodan da u svojoj strukturi ima akcione scene mnogo češće, žešće i bez predigre koja je karakteristična za, recimo Marvelove filmove. Utoliko, Alienoid izgleda lepršavo, slobodno, pomalo i drsko razuzdano u odnosu na, na primer, Marvelov Shang-Chi, film takođe pun azijskih vizuelnih motiva i borilačkih veština, jer ne mora da prati "formulu" i može mu se da i akciju i komediju i horor i dramu raspoređuje redosledom koji Choi određuje, radije nego da se drži usteljene, školske dinamike.
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Naravno, ovo je mač sa dve oštrice jer se (ne samo) zapadna publika ONOLIKO navikla (i navukla) na formulu i Alienoid sa svojim naizgled haotičnim i nesređenim pripovedanjem tokom prve polovine može da odbije od sebe gledaoce koji su se taman navikli na ideju robota koji se biju u šahtovima liftova dok svemirski brod ponire nad gradom i ruši seulske oblakodere, kad ih film baci u četrnaesti vek i zaspe kostimiranim lokalnim plemstvom, lutajućim čarobnjacima koji kontrolišu vetar, ljudima koji se pretvaraju u mačke (ili mačkama koje se pretvaraju u ljude?), mladom devojkom koja nosi pištolj u svojoj narodnoj nošnji itd. itd. itd. Mnogo je to i mnogo zahteva od publike koja je navikla da joj se sve sažvaće i odmah razjasni.
Ali opet, Alienoid zaista uspe da do kraja poveže niti svog zapleta i potragu za vrlo skromnim mekgafinom (kristalnim bodežom koji je neka vrsta baterije što je vanzemaljci koriste i za dobro i za loše) poveže sa masom likova koji neće izgraditi neku veliku dubinu ali će njihove motivacije, pa i emocije postati jasne i relatabilne.
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Dakle, zaplet: film nam putem sveznajućeg naratora na početku saopštava da vanzemaljci već dugo Zemlju koriste kao zatvor za svoje zločince tako što se prestupnici tajno pohranjuju u tela Zemljana koji toga nisu svesni i gde će kriminalci, suspendovani u tuđem organizmu, na planeti čija će ih atmosfera ubiti za nekoliko minuta ako tela napuste, na kraju umreti zajedno sa svojim domaćinom. Do ovde je jasno, kao što je i jasno da dva robota – Guard i Thunder – sede na Zemlji i nadziru, te sprečavaju očajničke pokušaje bekstva.
No u ovu se formulu odmah upliće putovanje kroz vreme koje je vanzemaljcima dostupno i neki od pobeglih kriminalaca traže način da se sakriju u prethodnim stolećima, posedajući tela nevoljnih domaćina kako bi preživeli. Film nam ovo pokazuje vrlo plastično dajući nam odmah jaku akcionu scenu gde se lukovi i strele iz četrnaestog veka suočavaju sa automobilom iz dvadesetprvog, a roboti i sluzavi vanzemaljci sa sluzavim piplcima prave haos u tradicionalnom etno-selu, ali dalje shvatanje logistike držanja vanzemaljskih zatvorenika na Zemlji, ali i mogućih pobuna i bekstava u kojima zatvorenici kontrolišu svoje ljudske domaćine zahteva dosta objašnjavanja.
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Opet, svedočanstvo o Choijevom zanatskom kapacitetu je to da gledalac posle izvesnog vremena shvata sve što se dešava i uspeva da prati logiku koja je zaista zamršena. Pomaže što je predmet za kojim svi jure tako jednostavan i vizuelno upečatljiv i zapravo jedan od najboljih Choijevih trikova je to pažljivo oslanjanje na scenografiju, propove i kostime za prenošenje informacija, radije nego na sam tekst. A što je opet podsećanje na snagu same nacionalne kinematografije. Ovo je na kraju krajeva film u kome isti glumac igra više od jednog lika, a po dvoje glumaca igra isti lik i to da gledalac nikada ne izgubi nit radnje i da zapravo što film duže ide on sve bolje hvata sve komplikovaniju radnju, je zahvaljujući ne samo vrlo dobrim glumcima već i izvrsnom radu kostimografa koji bojama i stilom ,,kodira" likove za lakše praćenje. Sa strane specijalnih efekata, ovde se nije štedelo i dosta je para potrošeno na i neke ugledne majstore, od kojih su neki radili i aktuelni Netfliksov horor-hit Troll.
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Alienoid je u praksi zaista mešap žanrova i žanrovskih tropa. Dobar deo događaja u savremenom toku priče oslanja se na kombinaciju naučnofantastične akcije i horora, sa jasnim oslanjanjem na Terminatora i Hidden. Ovde imamo ,,dobre" i ,,loše" robote koji se bore u svakodnevnim, banalnim urbanim mizansenima na očigled zblanutog stanovništva koje ne zna ni šta vidi, imamo jurnjave automobilima, dronovima i letelicama, lasersku paljbu i koreografski spektakl, pa čak i trop nevoljnog robotskog oca koji mora da se pretvara da brine za ljudsku ćerku.
A onda u četrnaestom veku imamo magiju, blagu političku intrigu i zakazano venčanje, čarobnjaka koji iz lepeze vadi oružja, oruđa i mačke, imamo drvenu arhitekturu i upečatljive kostime i maske, legendarne mačeve, spektakularni wire-fu. Prvih sat i po Alienoid je kao da gledate dva filma koji se nasumično smenjuju ali, kako rekoh, kada Choi krene u spajanje dva kraka priče, ovo je prilično uspešna operacija.
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Opet, od Alienoid ne treba očekivati nekakav dubok karakterni rad. Likovi su zabavni i dopadljivi ali nemaju previše dubine i uglavnom su definisani svojim misijama. No, ovo je brz akcioni film sa elementima komedije i glumci su ovde veoma dobri u onome što rade, sa jakim, ekspresivnim performansom – čak i kada su u pitanju roboti – mimikom i telesnom glumom koji filmu daju mnogo energije. Ovo je, ustalom, film u kome dobar deo likova iz trka može da skoči na treći sprat i ta ,,fizikalnost" u glumi i u ,,neakcionim" scenama je važna da bi nam se prodao koherentan svet u kome ekstravagantna akcija neće delovati kao nalepljeni kompjuterski ,,sadržaj" već deo jedne konzistentne realnosti.
I Choi zapravo impresionira i time da je ovo film od skoro dva i po sata u kome nema usporavanja. Nije Alienoid SVA akcija SVE vreme ali gotovo svaka scena jeste set pis za sebe i ovde praktično nema momenata ,,atmosfere", nema montaža u kojima protiče vreme, nema nekakvih kvazikarakternih momenata u kojima likovi ništa ne rade nego samo, jelte, ,,glume". Alienoid je savršeno vitko, efikasno iskustvo u kome dobijamo svu kreativnost i dovitljivost niskobudžetnog akcijaša a bez za takve filmove karakterističnih praznih hodova i dobijanja na vremenu, i sav SFX spektakl visokobudžetnih blokbastera a bez njihovog često trapavog pokušavanja da se kreira ,,ozbiljna" drama. Alienoid svakako ima visoke uloge u svojoj drami – na kraju je čitava ljudska civilizacija ugrožena od strane vanzemaljske zločinačke zavere – ali oni su odlično postavljeni u samim likovima i mada, kako rekosmo, ti likovi nemaju sad neku veliku dubinu da kroz njih gledalac promišlja, jelte, ljudsko stanje, svaki od glumaca nam jasno i uverljivo prodaje svoju motivaciju i svoju investiciju. Naravno, pomenuo sam već da su i borilačke koreografije vrlo dobre i ovde se kaskaderski rad, specijalni efekti i CGI sjajno uklapaju, ali čak je i recimo scena u kojoj je dvoje čarobnjaka otrovano i ne može da se kreće definisana njihovom intenzivnom fizičkom glumom i daje odličnu kombinaciju drame i komedije.
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Kliše je već i to da u istočnoazijskim filmovima obično igraju neizdrživo lepi glumci, ali Alienoid ovde ne preteruje i mada ima nekoliko izuzetno lepih fizionomija – pre svih Woo-bin Kim koji je, uostalom, pre glumačke karijere bio maneken – raznolikost likova i telesnh tipova je osvežavajuća za produkciju ovog tipa koja, ponavljam, čini što više može da se dopadne zapadnoj publici.
Za moj račun, Alienoid je uz sve svoje objektivne mane, značajno zabavniji i energičniji ali i kreativno smeliji film od poslednjih nekoliko superherojskih produkcija koje sam gledao (uz, eventualni izuzetak Raimijevog Doktora Strejndža). Sa svojom komplikovanom ali na kraju dobro vođenom pričom, akcijom koja je brza, efektna, dinamična i savršeno spaja CGI sa poštenim radom pravih ljudi koji krvare za naše zadovoljstvo, besprekornom scenografijom i kostimografijom, Alienoid je onakav akcioni-naučnofantastično-fantazijski popkorn film kakav zaslužujemo ali ga retko dobijamo. Komplikovan u postavci ali osvežavajuće neopterećen ,,loreom", Alienoid najveći pretup pravi na samom kraju ostavljajući gledaoca sa masivnim klifhengerom i eksplicitno najavljujući nastavak. S obzirom na nedovoljno dobar odziv korejske publike i relativno skupu produkciju, nastavak najavljen za 2023. godinu bi već sada mogao biti u problemu. No, neka o tome brinu producenti a mi imamo pravo da uživamo u malo ekstravagantne, haotične akcije koja, istina je, od gledaoca zahteva malo više koncentracije da bi pohvatao sve niti zapleta, ali su isplate, pogotovo u urnebesnom finalu što na stiže nošeno predimenzioniranim šakama, velike.
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Trebalo mi je osam godina da pogledam RoboCop, onaj napravljen 2014. godine kao rimejk i ribut slavnog serijala. Osam godina sam odolevao nečemu za šta sam znao da može biti samo razočaranje uprkos činjenici da glavnu ulogu igra Joel Kinnaman, čovek koji u meni proizvodi poverbijalne (homoerotske? youbetya!) leptiriće u stomaku, kao i da je film režirao brazilski maverik José Padilha poznat po cenjenom Elitnom Odredu. Padilha je pričao i kako su mu u Sonyju nudili razne tezge nakon što je u Brazilu stekao izuzetnu reputaciju, i kako je on sve vreme mislio kako mu se ništa od svega toga ne radi i merkao poster originalnog RoboCopa na zidu da bi ih na kraju otvoreno pitao da li bi mogao da se radi rimejk ovog filma. S obzirom da smo i početkom prople decenije već udobno živeli u kulturi rimejkova, ributova i reciklaža, nije naročito veliko iznenađenje da je studio rekao ,,OK"*, kao i da su za ovu produkciju regrutovali vrlo solidan ansambl holivudskih drugopozivaca koji će sparingovati sa Kinnemanom i služiti da njegovu otetu ljudskost pronađemo u refleksijama i njihovoj emotivnosti.
* uostalom, priprema rimejka sa Darrenom Aronofskym u pilotskom sedištu je već nekoliko sezona bila tema o kojoj se pričalo
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Kada imate godina koliko imam ja, originalni Verhoevenov RoboCop iz 1987. godine je neka vrsta relikvije, svetinje kojoj se vraćate mnogo puta u životu samo da biste svaki put u njemu pronašli neki novi sloj refleksije, satire, kritike, ultranasilan, a opet otrovno duhovit film kome je uspelo da ima, što kaže naš narod i kurac u dupetu i dušu u raju, sa nekim od najekstravagantnije nasilnih akcionih scena urađenih u holivudskom mejnstrimu osamdesetih godina ali i sa izuzetno sigurnim rukovanjem naučnofantastičnom premisom koja je, kako to i treba da bude, rekla mnogo o sadašnjosti spekulišući o budućnosti. Originalni RoboCop je remek delo ne samo na ime svoje teme i njene obrade već i u zanatskom smislu, pokazujući da je nizozemski dramski režiser bio ne samo dorastao holivudskim akcionim standardima već da je bio u stanju da ih na mnogo nivoa sasvim prevaziđe i ponudi istovremeno ubedljivu distopiju, brutalnu satiru, elegantnu transhumanističku elegiju, kao i urnebesnu akciju.
Naravno, uspeh filma je porodio franšizu i već je nastavak, na kome Verhoeven nije radio, koji je režirao Irvin Kershner, čovek i dalje zaslužan za najbolji Star Wars film koji smo gledali, a po scenariju Franka Millera, verovatno najveće američke strip-zvezde osamdesetih godina, bio mnogo više studijski produkt nego nekakav smeli produžetak Verhoevenove vizije, dok je treći film iz 1993. godine bio već neprikriven najamnički rad kako i za Millera tako i za Freda Dekkera koji ga je režirao po scenariju pisanom zajedno sa Millerom. Ali RoboCop je bio toliko snažan simbol da je, ne zaboravimo, film koji je čak i u osamdesetim godinama bio primećen po IZUZETNO naglašenom nasilju i mnoštvu horor elemenata na kraju imao i ne jednu već dve animirane seriju za decu rađene po motivima franšize, te još par igranih serija koje su sve išle na ublažavanje radikalizma prvog filma iako su uglavnom ignorisale njegove nastavke.
Utoliko, rimejk originalnog filma jeste delovao kao interesantna ideja, pogotovo imajući u vidu koliko je akcioni film u Holivudu u periodu od bezmalo tri decenije promenio svoj senzibilitet i estetiku, umanjujući grafičku nasilnost i izmeštajući se dobrom delom iz desničarskih tropa koji su dominirali tokom zlatnog perioda osamdesetih i ranih devedesetih.
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No, ovaj partikularni rimejk je razočaranje utoliko što uspeva da o nekoliko tema koje pokrene na kraju ne kaže baš ništa, zadovoljavajući se time da ih samo pomene ali se žestoko braneći od bilo kakve njihove razrade. RoboCop (2014) je pritom i zanatski neobično sveden film sa budžetom od preko sto miliona dolara koji je, izgleda, otišao pre svega na scenografiju i kostime, ali sa sasvim neimpresivnim akcionim programom i dramaturškim posrtanjima koja naprosto ne bi trebalo da su dopustiva u filmu ovog nivoa koji pritom namerava da oživi franšizu ovakve reputacije.
Kako su originali scenaristi i ovde potpisani na špici, tako se može govoriti o tome da postoji jasna spona sa originalom mada je jasno da je Joshua Zetumer, relativno neiskusni skript-doktor, ovde stvarni autor. Film, kako je jedino i pravilno, prati radnju originala u načelu ali ima sopstvene teme i ideje, no, za razliku od originala, on je vrlo mlitav kada treba o tim temama i idejama nešto da se i kaže.
Ključna razlika u samom startu je što za razliku od starog RoboCopa koji se bavio za osamdesete vrlo karakterističnom panikom vezanom za urbano nasilje i kriminal, te stalnom (desničarskom) mantrom da je policija sputana propisima i nema dovoljno ovlašćenja niti resursa da zaštiti građane, novi RoboCop na početku filma ide drugim smerom i dotiče se aktuelnije teme militarizacije policije. Štaviše, televizijski komentator Pat Novak u svom prilogu na početku insistira da američka vojska već godinama uspešno koristi humanoidne robote kao čuvare reda u ,,pacifikovanim" zonama – ilustrujući ovo živim reportažnim uključenjem iz Irana koji je sada pod američkom kontrolom – i da su oni tamo dokazali svoju efektnost i efikasnost a da samo nekakvi salonski političari u Americi sprečavaju besmislenim propisima da se ova tehnologija prenese i na ulice američkih gradova. Argumenti da su mašine oslobođene predrasuda, da delaju efikasno u zaštiti civilnih života i smanjuju žrtve na strani, jelte, dobrih momaka su sve interesantne teze ali film ne stiže da se zaista pozabavi njima niti razrađuje ijednu od njih. Štaviše, talk show Pata Novaka deluje više kao alatka za ekspoziciju a manje kao mesto za sučeljavanje teza i kontrateza i Padilha ovde promašuje jedan čist zicer, emulirajući Verhoevenovu formu ali mašeći čitavu suštinu (i tablu).
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Utoliko, razrada sržnog zapleta se najpre bavi transhumanističkim elementom priče. Policajac Alex Murphy, u Kinnamanovom tumačenju, prolazi kroz ozbiljnu psihološku i filozofsku krizu kada shvati na šta se njegovo telo svelo nakon jedva preživljenog atentata koji je izvela detroitska kriminalna grupa nezadovoljna njegovom istragom i film ima par scena intenzivne, i dobro snimljene, emotivnosti koja treba da nam posluži da napunimo rezervne baterije jer će Kinnaman kasnije glumiti vrlo, vrlo svedeno. Naročito nakon što mu firma Omnicorp, zaslužna za njegovu rezurekciju u robotizovanom egzoskeletu, umanji dotok hormona vezanih za emocije u ono što je ostalo od njegovog centralnog nervnog sistema, a u cilju prevencije nekontrolisanih emotivnih reakcija na post-traumatske trigere.
Ovo je jedan slidno postmilenijalski pogled na transhumanizam generalno i RoboCopa partikularno sa fokusom na ljudske emocije i dubokim strahom od nestanka sopstva kome je definitivno mesto u ovakvoj franšizi, ali film nakon prvih 40 minuta vrlo malo pokušava da uradi sa ovim i pretvara se u predvidiv i vrlo pešadijski izveden akcioni film u kome set pisove možete da prepričate i pre nego što se oni dogode, te naracijom u kojoj Murphy vraća delić svoje humanosti iz kandži zle korporacije koja je – ta naracija – sasvim mehanička, bez diskusije o svojim temama, i ide od tačke do tačke bez skretanja ili ikakve kreativnosti.
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Ta mlitavost u pripovedanju ne može da bude zamaskirana vrlo dopadljivim scenografskim i kostimografskim rešenjima. Joel izgleda izuzetno kao lice postavljeno na vrh crnog, oklopljenog robotizovanog tela a Omnicorpove laboratorije i kancelarije su impresivne, no ovo je vatromet koji ide u prazno jer tamo gde se to najviše računa – u akcionim krešendima – Padilha kao da je radio sa skresanim budžetom. Takođe, odličan lajnap glumaca u sporednim ulogama – Samuel L. Jackson, Michael Keaton i Gary Oldman – čini moćan kontrast Kinnamanovom programski robotskom performansu ali film njihove likove, sa vrlo jakim izvedbama stavlja u funkciju te neubedljive, mlitave priče koja na kraju kao da nema snage da zaista nešto kaže o svojim temama.
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Utoliko, ceo podzaplet o tome kako korporacija emisijama hormona može da kontroliše raspoloženja kiborškog policajca i kako tokom akcije softver zapravo preuzima kontrolu nad njegovim postupcima, dajući mu samo iluziju da donosi odluke deluje kao da je u velikoj meri inspirisan temama koje je Hideo Kojima – vrlo opširno – obrađivao u igri Metal Gear Solid 4: Guns of the Patriots iz 2008. godine, ali ovde obrade zapravo nema i kada film dođe do svog emotivnog (i, pretpostavka je, akcionog) krešenda gde treba da vidimo kako se čovek otrže mašinskom programiranju i pokazuje da je ljudski duh jači od mašinskih protokola, ovo je smuljano na brzinu, bez odgovarajućeg dramaturškog rada, bez stvarne drame i isplate onog što je gledalac uložio sa zanimanjem prateći prvi deo filma.
Omaž Kojiminom igračkom serijalu se da primetiti i drugde, kroz redizajn ikoničkog robota (bez ljudske komponente) ED-209 a koji ovde ne samo da izgledom dosta podseća na kombinaciju Metal Gear REX i Metal Gear Gekko robota Yojija Shinkawe već i kada jedan od njih ,,gine", zvuk mukanja koji se čuje asocira na ono kako se Gekkoi oglašavaju u igrama.
(https://i.imgur.com/7qbwx06.jpg)
No, dok je omažiranje simpatično, ono što dosta snažno ranjava ovaj film je akcija. Kako je u pitanju rimejk vrlo ikoničnog filma koji je mnoge trope akcijaša osamdesetih doveo do ekstrema, nemoguće je ne uhvatiti se za glavu na pomisao da RoboCop (2014) naprosto ne nudi NIŠTA na polju akcije. Ovde ne govorim o odsustvu krvi i amputacija koje se podrazumeva u PG-13 produkacijama – a što su MNOGI filmu zamerili – već o intenzivnom odsustvu maštovitosti u režiranju akcionih scena. Da dam pohvalu tamo gde je zaslužena – film koristi Focusovu čuvenu pesmu Hocus Pocus za jednu scenu testiranja RoboCopovih borbenih sposobnosti i ova je pesma donekle oživljava, ali ovo je jedan udžbenički primer za to kako nije bitno biti prvi i Edgar Wright će tri godine kasnije u Baby Driver (https://cvecezla.wordpress.com/2017/10/15/film-baby-driver/)ovu pesmu iskoristiti NEUPOREDIVO efektnije, sinhronizujući akciju sa akcentima muzike, a u skladu sa sržnom temom svog filma. U RoboCopu je ovo, prosto, biranje lepog zvučnog tapeta, bez tematske relevantnosti ili ambicije da muzika na neki način postane i deo teksta filma pa je onda i Clashova verzija I Fought the Law na špici tek površno signaliziranje gledaocu kako bi trebalo da tumači razrešenje filma koji naprosto nije imao smelosti da se uhvati u koštac sa svojim temama, bilo da ih prodiskutuje, bilo da ih satirizuje.
RoboCop (2014) je prosto takav film koji počne a onda se završi i usput pomene i vojnoindustrijski kompleks, i softver koji donosi odluke umesto ljudi a oni misle da su to njihove odluke, i korporacijske marketare koji testiraju dizajn robotizovanog oružja na fokus grupama kako bi videli šta će biti najpopularnije kod različituh populacija, ali ništa od toga do kraja nije bitno i ujedinjenje Alexa Murphyja sa svojom porodicom, te masa koja kliče Robokapu su isprazni, feelgood prizori koji treba da nas zavaraju i ubede da smo zadovoljni što je ,,pravda" trijumfovala. Nažalost, ovaj i ovakav film je, i pored komercijalnog uspeha, zakopao franšizu i kasnije planirani nastavak originalnog filma iz pera originalnog scenariste Eda Neumeiera a koji je trebalo da režira Neill Blomkamp nikada nije ugledao svetlost dana uprkos tome što je delovalo kao da kosmos koačno počinje da ime smisla. Neumeier umesto toga sada priprema prikvel TV seriju za koju, ako ikada zaista bude nastala, ne verujem da ću skupiti dovoljno entuzijazma. Ovaj rimejk, ako ništa drugo, jasno pokazuje da vam za rimejkovanje vizionarskih filmova verovatno ipak treba vizija i da dobar tim u kokpitu naprosto nije dovoljan ako studio tu viziju nema. Nije mi žao što sam ga pogledao koliko mi je, jelte, žao što je napravljen. Ali dobro, sad mi preostaje da pogledam kraudsorsovani rimejk Robokapa na Vimeu i da vidim koliko je to pametno ili glupo. Stay tuned.
(https://i.imgur.com/Ueincr9.jpg)
Hvala na onom tekstu o podeli igara, a hvala ti i što si "primio jedan za tim" (no homo), odgledao ovo, i više-manje potvrdio moj osećaj glede ovog filma.
Prava tragedija je što je u okviru mog HBO paketa - kako sam ovo pogledao - dostupan ovaj film ali ne i originalni RoboCop. :cry:
Original je uklonjen, ili ga nije ni bilo?
Ah, to ne znam...
Ja sam shvatio da je originalni uklonjen čim si odgledao rimejk...iz nekog razloga, možda HBO misli da si uspešno preobraćen, pa ti stari nije potreban :) No, ne brigaj, dobri čovek Ž.M , vozeći leteći automobil, uskače u pomoć: ne samo da kod njega možeš videti prva dva, i onu nesreću od trećeg dela, nego pušta nekakve direct-to-video nastavke za koje niko nije ni znao da postoje.
Pa moj paket je takav da kada ja pretražujem Robokapa on mi daje ponudu sa svih televizija gde je to puštano u poslednjih nedelju dana pa mogu da strimujem ako želim i nudio mi je samo rimejk. Proveriću posle, verovatno te Pinkove kanale iz nekog razloga nije video ili je ŽM stavio stare Robokapove tek posle mog gledanja u prošlu Nedelju.
Eh, da, trenutno su u ponudi dvojkqa i trojka. Kecu je verovcatno isteklo sedam dana pa ne mogu da ga nađem...
Praznično raspoloženje zaziva i lakše, zabavnije sadržaje pa sam seo i pogledao Hiruko the Goblin (aka Yôkai hantâ: Hiruko tj. Lovac na demone: Hiruko), drugi celovečernji film koji je režirao japanski maverik Shinya Tsukamoto. 2022. godinu sam u dobroj meri posvetio obnavljanju ili prvim gledanjima njegovog ranog ,,komercijalnog" opusa, počev od Tetsuo: The Iron Man iz 1989. godine o kome sam sve peneći od uzbuđenja pisao ovde (https://cvecezla.wordpress.com/2022/10/21/film-tetsuo-the-iron-man/). Tetsuo je bio takva eksplozija kreativnosti i anarhične energije da je, rekosmo, u dobroj meri bio zaslužan za ponovno interesovanje zapadne publike za japanski film, ali je i karijeru mladog režisera koji je tokom osamdesetih godina smatrao da film više nije za njega i da će se radije baviti avangardnim pozorištem postavio na sigurne tračnice i odvezao je u pravcu nekakvog mejnstrima.
(https://i.imgur.com/T8Eik4P.png)
Svakako ne ,,pravog" mejnstrima. Većina filmova o kojima sam pisao tokom godine su bili u različitim formama avangardne interpretacije postavki različitih žanrova, od body-horror cyberpunka pa do nasilnih psiholoških drama, ali film o kome danas pričamo, Hiruko the Goblin je interesantan eksces u Tsukamotovoj filmografiji i na neki način anomalija koja će se tek nekoliko decenija kasnije prirodnije uliti u njegov opus.
Naime, Tetsuo je bio uspešan rad preko svake predvidive mere pa je nezavisni i nemirni režiser video kako se pred njim otvaraju brojna do tada sasvim nepristupačna vrata. Nastavak samog Tetsua je bio sasvim logičan sledeći korak i, sada u mogućnosti da dobije podršku nekih malo ozbiljnijih finansijera, Tsukamoto je počeo sa pripremama praktično dok je original još žario i palio internacionalnom scenom festivala i piratske distribucije. O Tetsuo II: Body Hammer sam pisao ovde (https://cvecezla.wordpress.com/2022/10/28/film-tetsuo-ii-body-hammer/) ali i tu sam napomenuo da je taj film ipak morao da sačeka da Tsukamoto završi svoj prvi pravi ,,komercijalni" rad, adaptaciju strip-predložaka koje je u svojoj kolekciji kratkih priča sakupio ugledni manga autor, Daijiro Morohoshi.
Ovo nije bio originalni plan. Tsukamoto je prvo imao ponudu da radi za produkaciju filmskog festivala PIA a gde su producenti želeli da filmuje poznatu dečiju knjigu Torigorasu. Tsukamoto nije bio oduševljen ovim predlogom ali, opet, smatrao je da ne treba ujedati ruku koja pokušava da te nahrani pa je u principu pristao na ovaj projekat. No, komplikovan proces odlučivanja na kraju je doveo do odustajanja pisca, Shuheija Hasegawe od ovog dila, a Tsukamoto, iako lojalan PIA produkciji koja mu je ponudila prve prave pare u životu je na kraju prihvatio poziv produkcije Sedic da ekranizuje mangu za njih. Tsukamoto veli da mu ni ovo nije delovalo kao pravi posao za njega dok nije čuo da se radi o Morohoshiju i njegovom Yōkai Hanta serijalu kojim se proslavio i koji je i sam režiser voleo. Ponuda da spoji dve prilče; Kuroi Tankysha (Crni tragač) i Akai Kuchibiru (Crvene usne) u jedan scenario i po njemu snimi horor-film mu je prijala između ostalog jer mu je studio ovim ukazao priličnu dozu poverenja, imajući u vidu da se i dalje radilo o mladom i još uvek nepotvrđenom autoru.
(https://i.imgur.com/5JhOBHf.png)
Naravno, ni Sedic nije planirao da Tsukamotu veruje sasvim na slepo, pa iako je Shinya bio scenarista i režiser ovog filma, studio je postavio svog direktora fotografije i montažera, kako bi se obezbedilo držanje određenih standarda. Tsukamotu je ovo bilo i dobrodošlo iskustvo u radu sa 35-milimetarskom trakom ali i prvi zaista intimni susret sa industrijom.
A koji nije prošao idealno. Na stranu što je film na kraju bio komercijalno neuspešan, za Tsukamota je ovo na neki način bilo i vatreno krštenje u prilično teškim uslovima. Veliki deo ekipe, stalno zaposlenih u studiju smatrao je da je on premlad da bi vodio ovakav projekat dok je on sa svoje strane nastojao da njihove sumnje ublaži ljubaznošću i predusretljivošću. Naravno, ekipa nije bila oduševljena njegovim tempom rada od sedam dana u nedelji a bilo je tu i čestih svađa vezanih za kreativne odluke koje je Tsukamoto pravio na setu. Podela između zaposlenih u studiju i manjeg dela ekipe koji je Tsukamoto doveo sam takođe nije mnogo pomagala pa se Tsukamoto sa ,,svojim" ljudima sastajao noću, ispred hotela, kako bi diskutovali naredni dan snimanja, svestan da bi komunikacija na samom setu narušila osetljive hijerarhijske strukture i donela još tenzija. On sam kaže da nije bio nezadovoljan atmosferom na snimanju i da je povremeno morao da se naljuti kako bi saradnici videli da nije slabić koji će se smeškati i poginjati glavu kad god mu se neko usprotivi, ali istina je i da je između njega i iskusnog glumca Hidea Murote došlo maltene do pesničenja (ostatak ekipe ih je razdvojio pre nego što su udarci poleteli). Murota, inače poznat po ulogama gangstera i siledžija u šezdesetim i sedamdesetim godinama je na snimanje često dolazio pijan i imao svoje ideje kako bi koja scena trebalo da se radi i to je bio izvor frustracije za Tsukamota.
(https://i.imgur.com/P3TItq4.png)
No, osokoljen iskustvom sa snimanja brojnih reklama, Tsukamoto je bio vrlo siguran u sebe da može da završi i ovakav film pa je snimanje odrađeno preko leta 1990. godine, delom na lokaciji a delom u studiju i, bez obzira na probijanje budžeta, Hiruko the Goblin je u bioskope ušao u proleće 1991. godine, praćen dosta skupom reklamnom kampanjom – uključujući televiziju – za koju samog režisera niko ništa nije pitao pa je i on tada odlučio da ako ikada više bude radio sa velikim studijima – a što u tom momentu i nije delovalo izvesno s obzirom na pustoš u bioskopskim salama i finansijski neuspeh filma – marketing mora da bude deo posla u koji će i sam biti uključen.
Naravno, znamo da će proći dosta vremena pre nego što Tsukamoto ponovo dobije priliku da radi žanrovski film i da su njegovi naredni filmovi bili finansirani od pozajmica i njegovog neumornog tezgarenja na snimanju reklama, no, na ovom mestu je veoma važno da podvučemo: Hiruko the Goblin je vrlo pristojan niskobudžetni horor film, britkog tempa i odmerenog trajanja, sa dobrim glumcima, odličnom kinematografijom i, s obzirom na sve, veoma pristojnim specijalnim efektima. Tsukamotova hardkor publika tradicionalno ovaj film smatra nedostojnim njegovog opusa, ali ovo je najpre na ime odsustva prepoznatljivih tsukamotovskih tema iz narativa, kao i donekle umirenog rada sa montažom, kamerom i specijalnim efektima. Ipak, iako Hiruko the Goblin nema anarhični ekspresionizam koji je karakterisao Tetsuo filmove, pa i Tokyo Fist (https://cvecezla.wordpress.com/2022/05/13/film-tokyo-fist/), on nije manje ,,tsukamotovski" u ekonomičnosti izvedbe i jednoj opipljivoj zabavnosti kojoj stremi i postiže je bez mnogo napora.
Ako bih tražio zapadni pandan ovom filmu to bi možda najpre bio Evil Dead Sama Raimija (https://cvecezla.wordpress.com/2022/10/14/film-evil-dead-trilogija/), iako naravno ne smem da tvrdim da se Tsukamoto njime ikako inspirisao. Ipak, paralele su prilično jasne, kako u niskom budžetu i snimanju na ruralnoj, udaljenoj lokaciji, tako i u besprekornom zvučnom dizajnu i izuzetno kreativnom radu u domenu specijalnih efekata da se sa malo novca ali mnogo dobro plasirane sugestije postignu snažan sećaj strave i uz njega senzibilitet akcionog slepstika.
(https://i.imgur.com/Is8UD6j.png)
Ono što je vrlo ne-tsukamotovski u ovom filmu je, naravno, odsustvo urbanih mizanscena i istraživanje odnosa čoveka i arhitekture grada – nešto čime se on opsedao kroz praktično čitave devedesete. Hiruko the Goblin ne samo da je ruralan film, snimljen u okolini malog grada gde je škola podignuta pored jezera i – ispostavlja se kasnije – na lokaciji starog groblja, već je i utemeljen pre svega na folklornim mitovima. Paralela sa Evil Dead svakako stoji i u tom domenu kombinacije horora, akcije i komedije, sa ljubavnim podzapletom koji u dobroj meri služi kao motor odmotavanja radnje, ali tamo gde je Raimi imao samo najprovršnije reference (i omaže) na lavkraftovski mitos, Tsukamotov scenario, utemeljen na Morohishijevim stripovima zahvatio je duboko u japansko narodno nasleđe. Titularni Hiruko je, recimo, demon iz najstarijeg poznatog japanskog folklornog teksta, knjige priča Kojiki iz osmog veka, koja je i danas deo kurikuluma u japanskim školama. Ovaj je demon deformisano dete bogova po imenima Izanagi i Izanami, a koji su, po legendi, kreirali japanska ostrva i, rođen bez kostiju, bio je odbačen od strane roditelja i doslovno stavljen na splav da ga voda odnese.
Film vrlo eksplicitno citira Kojiki, ali je sama radnja decidno manje epski ustrojena i tiče se standardnijih tropa zla koje vreba u okolini malog grada i demonima koji posedaju ljude. Opet, Tsukamoto ovaj vrlo klasični, već i tada maltene generički zaplet, vrlo uspelo oživljava britkom režijom i odličnim radom sa glumcima. Film, naravno, ima vrlo mali kast ali Tsukamoto sa njim postiže mnogo, gradeći dobru dinamiku između dva glavna lika, starijeg arheologa Hiede (koga igra Kenji Sawada, proslavljeni pevač benda The Tigers) i srednjoškolca na raspustu (Masaki Kudou), te ekspertski koristeći ostatak postave za građenje tenzije i strateško gomilanje tela kako bi bilo jasno kakva pretnja vreba ispod grada.
(https://i.imgur.com/x6w8OJE.png)
Strukturalno, ovo je takođe vrlo klasična priča sa jasno odvojenim činovima, krešendima u narativu, pauzama između akcije da se dobije malo ekspozicije itd. i Tsukamoto ovde pokazuje ekspertizu koja je zaista, da je ovaj film prošao bolje na blagajnama, od njega mogla da napravi komercijanog režisera. Anarhizam Tetsuo filmova, ali i ekspresionistički eksperimentalni rad iz Toyko Fist ili Bullet Ballet (https://cvecezla.wordpress.com/2022/06/10/film-bullet-ballet/) su ovde odsutni i Tsukamoto nam pruža dotegnutu, energičnu i duhovitu horor-akciju.
Naravno, ovo je cheesy film, sa glumcima koji povremeno igraju u potpuno komičnom ključu i nekim specijalnim efektima koji su naprosto neodoljivo goofy, ali Tsukamoto sve to radi vrlo šarmantno, a onda, kada je potrebno da se zaista naprave atmosfera, strava, tenzija ili splatter, vidi se ruka majstora na delu.
Jer, Hiruko the Goblin radi sa nekim vrlo tradicionalnim zamislima – prelepo lice tinejdžerke koju smo u flešbekovima videli kako bezbrižno vozu bicikl u pastoralnim provincijskim okruženjima kojima widescreen aspekt tako lepo stoji, te njeno anđeosko pevanje dečije pesme postaju, naravno, izvor intenzivne traume tokom filma kada se njima pridruže demonski, eksploatacijski kvaliteti. Dizajn demona koji kombinuje ljudske glave i paučije udove je kompaktan, efektan i ujedno goofy a Tsukamoto samo na strateški najvažnijim mestima koristi sebi svojstvene tehnike snimanja, dok je montaža ipak klasičnija i film čini čitkijim od onog što je za njega standard.
(https://i.imgur.com/e2q8CeS.png)
Ne nužno boljim, naravno, i možda bi Hiruko the Goblin profitirao od toga da je Tsukamoto imao puniju kreativnu kotrolu nad njim – ali ovo mislim isključivo u umetničkom smislu. Komercijalni neuspeh ovog filma svakako ne bi bio preokrenut da je Tsukamoto ubacio u njega VIŠE haosa i buke po kojima ga znaju, ali i bez haosa i buke, ovo je ipak NJEGOV film, disciplinovaniji i uredniji nego što ste navikli, ali zainteresovan i za telesne transformacije i za sav onaj bes i nihilizam koji ste tako jako ušmrkali gledajući Tetsuo i njegov nastavak.
Hiruko the Goblin je, koliko god to za niskobudžetni horor zvučalo kao kontraintuitivna tvrdnja, lep film sa izuzetno dobro korišćenim kolorom (iako ovde nema za Tsukamota karakterističnih filtera) i vrlo dinamičnim pripovedanjem, odličnom kombinacijom akcije i komedije, te uspelim specijalnim efektima. Finale sa dušama koje odlaze put neba je momenat za koji je Tsukamotov priznao da se radi o možda jedinom kompromisu u njegovoj karijeri jer ga on nije TAKO zamislio, ali i ono je uspelo i vizuelno snažno na jedan iskren, naivan način, zaokružujući film koji i pored svog horora i nasilja zapravo navija za vrlinu, dobrotu, požrtvovanost i ljubav.
Tsukamoto će posle ovog filma godinama raditi vrlo lične projekte, fokusiran na svoje opsesije, i povratak žanrovskom hororu desiće se tek 2006. godine sa Nightmare Detective a koji je na neki način prirodan nastavak onoga što je radio sa Hiruko the Goblin i – konačno – neka vrsta skromnog komercijalnog uspeha za ovog autora. U tom smislu, Hiruko the Goblin je neobično znalčajan film za sagledavanje celokupnog opusa Shinye Tsukamotoa a kako je ranije ove godine po prvi put objavljen na BluRay mediju za zapadno tržište, mislim da je bilo primereno da moj poslednji filmski prikaz ove godine bude baš na ovu temu. Gledajte Hiruko the Goblin, važno je.
(https://i.imgur.com/15fBwLa.png)
Sa solidne tri godine zakašnjenja pogledao sam Knives Out, film koji je, čini mi se, obeležio rane pandemijske dane za veliki broj ljudi što su, privikavajući se na ograničeno kretanje, spas nalazili u servisima za striming. Knives Out nije bio direct-to-streaming produkcija, naprotiv, imao je vrlo pristojan život u bioskopima počev od druge nedelje Novembra 2019. godine i tamo zaradio respektabilnih trista i kusur miliona dolara na budžetu od četrdesetak, i na neki je način, kako u biokopu, tako i na internetu, pokazao da itekako postoji prostor i za drugačije filmove sem superherojskog spektakla i generalnih decenijskih blokbaster franšiza, ne samo da poberu kritičarske pohvale već i da pristojno zarade.
(https://i.imgur.com/Xzo0xcX.jpg)
Naravno, pre nekoliko nedelja je izašao nastavak, Glass Onion: A Knives Out Mystery, a koji je i razlog što sam konačno seo da gledam veoma hvaljeni original. Glass Onion je interesantan ne samo jer ukazuje na napor ka građenju serijala koji je zapravo imanentan ovoj vrsti filma, već i jer je u bioskopima proveo svega nedelju dana, u cilju testiranja novog Netfliksovog modela hibridne distribucije. Kako je originalni Knives Out postao neka vrsta fenomena upravo zahvaljujući Netfliksu, tako je i za nastavak (i još jedan nastavak) kompanija platila Lionsgateu 469 miliona dolara, pobeđujući Apple i Amazon na nadmetanju i mada je i nastavak napravljen za budžet od približno 40 miliona, svakako se radi o velikom projektu na koji pomalo posrnuli striming servis ozbiljno računa.
No, o Glass Onion možemo da pričamo kada budemo pogledali taj film. Danas smo ovde da manje-više potvrdimo ono što su svi rekli gledajući originalni film: Knives Out je prečišćena, destilisana filmska zabava koja, u eri produkcija što se oslanjaju na skupe specijalne efekte i loreom natrpane franšizirane propertije, podseća da je za dobar film često dovoljna dobra priča, pregršt finih glumaca, lepa fotografija, malo dobre muzike i režiser spreman da stvari radi sa ljubavlju.
Posebno je prijatno što je u pitanju režiser koji je iskusio kako izgleda raditi na obe strane spektra. Rian Johnson je sa svojim prvim, lo-budget filmom Brick iz 2005. godine bio snažno inspirisan Dashielom Hammetom da kreira modernu noir krimi-dramu i uspeo da privuče pažnju establišmenta u dovoljnoj meri da posle još jednog filma u niskobudžetnoj produkciji uleti prvo u ozbiljnije finansirani naučnofantastični Looper a pravo sa njega u The Last Jedi. Iako uveden u samo srce tame moderne filmske industrije, Johnson ne samo da je ostao scenarista i režiser svih svojih filmova, već je sa The Last Jedi pokazao da se i u tom srcu tame može kreirati osoben film koji se ne priklanja tropima žanra i radosno ispituje, pa i pomera granice koje nameće tradicija.
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Naravno, mnogi smatraju da je sa The Last Jedi Johnson smrtno ranio Star Wars franšizu – mada to ne bi moglo da objasni njen veliki uspeh sa serijama na Disney+, koje su, čini se, u doglednoj budućnosti potpuno zauzele mesto novih filmskih produkcija – i izgledi za najavljenu narednu Star Wars trilogiju koju je on trebalo da napiše i režira (makar prvi nastavak) su trenutno slabi, verovatno na svačije zadovoljstvo.
Jer, ovako kako je, Star Wars hardlajneri ne moraju da strepe od ikonoboračkog scenariste i režisera kome možda još nije bilo dosta igranja u njihovom pesku i rušenja, jelte NJIHOVIH zamkova, a ljubitelji dobrog žanrovskog filma koji vole karakterne glumce, kompleksne, zabavne kriminalističke scenarije i kvalitetnu ali ne i razmetljivu produkciju mogu da se raduju novim naslovima u Knives Out serijalu.
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Knives Out je, valja primetiti, krunski dokaz da jurnjava za narednim SFX blokbasterom i prepisivanje studija jednih od drugih naprosto nije jedini, pa ni osigurani put do uspeha. Veliki studiji su trenutno zarobljeni usred trke u naoružanju sa eskalirajućim budžetima koji treba da obezbede skupe specijalne efekte i najvrelije zvezde što bi nosile njihove franšize, ako je ikako moguće uz sve moguće multiverzalne implikacije unakrsnog oplođavanja između raznih filmova iste produkcije i raznih drugih propertija u rukama iste korporacije. Filmski biznis je oduvek bio biznis ali se čini da nikada ranije u njemu nije bilo ovoliko uticaja knjigovođa na kreativni deo posla i pakao kroz koji trenutno prolazi Warner je dobar pokazatelj kako izgleda donošenje odluka na osnovu spredšit forkasta o potrošnji, zaradi, licenciranju i dugoročnim ugovorima.
Knives Out je, pak, potpuna antiteza celoj toj filozofiji, jedna samodovoljna priča, tokom koje upoznamo likove, oni nas zainteresuju, privuku, u nekoliko navrata i iznenade, uhvaćeni u vrtlogu spiralne naracije koja tokom dva sata trajanja filma kao da o istim stvarima, za koje se u startu činilo da su sasvim jasne, čak i banalne, otkriva sve više intrigantnih detalja. Knives Out je, da bude jasno, jedna toliko old school ,,murder mystery" forma da je gotovo drsko sa koliko je apetita Johnson (kome je ovo bila prva nominacija za oskara, za originalni scenario) upliće i raspliće pred gledaočevim očima, jasno mu do znanja stavljajući da on u ovom trenutku naprosto ne vidi stvari zbog kojih će se sat kasnije lupati po čelu i kunuti pred članovima porodice da je od starta znao ko je ubica.
Knives Out je nimalo prikriven omaž klasičnom whodunnit formatu velike Agathe Christie, sa naizgled jednostavnim zločinom u centru narativa a koji će se pokazati kao zapravo izuzetno kompleksan u tome kako povezuje grupu pitoresknih likova, te pomalo ekscentričnim, čak detinjastim detektivom koji će u odsudnim trenucima demonstrirati neverovatnu dedukciju ali i neodoljivu potrebu da u sobi gde sede praktično svi likovi iz filma, teatralno objasni u čemu je ZAPRAVO bila misterija u ovom slučaju. Štaviše, iako je produkcijski nešto skuplji i sadrži i jednu skromnu ali kvalitetno režiranu scenu automobilske potere, Knives Out po svojoj formi ne odstupa dramatično od britanskog serijala televizijskih filmova Poirot koji je, rađen od kraja osamdesetih pa do pre deset godina, adaptirao praktično sve relevantne tekstove Agathe Christie u sedamdeset odvojenih epizoda.
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Svi sastojci apsolutno jesu tu: uspešni, ostareli pisac kriminalističkih romana pronađen je mrtav u svojoj sobi velelepne gotske vile u Novoj Engleskoj i mada policija smatra da je u pitanju očigledno samoubistvo, lokalni privatni istražitelj, Benotit Blanc, koji se ponudio da ih pro-bono konsultuje u toku istrage smatra da tu ima detalja koje vredi istražiti. Naravno, pokojnik je iza sebe ostavio veliko nasleđe, uključujući šezdeset miliona dolara u banci ali i uspešnu izdavačku kuću fokusiranu na njegove romane koju vodi njegov sin. Tu su još dve ćerke sa svojim porodicama, i ovo je jedan ansambl sa više generacija i mnogo konfliktnih interesa okupljen u kući zarad davanja izjava policiji. Tu je i imigratska medicinska sestra, suštinski protagonistkinja filma, mlada i neiskvarena Latina koju je pokojni deda mnogo voleo i kojoj članovi porodice stalno ponavljaju da se ne brine i da je oni neće zaboraviti kada nasledstvo bude razdeljeno.
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Genije ovog filma i Johnsonovog rada na omažiranju Christijeve je svakako u tome da već u prvih pola sata gledalac saznaje ne samo mnogo prljavog veša vezanog za porodicu Thrombeyjevih već i to da teza o samoubistvu – koju policija i dalje enzuzijastično podržava – nema veze s mozgom. Film nam, reklo bi se, u tom prvom preokretu pokazuje i ko je ubica i koji su tu bili, jelte, motivi i okolnosti što su dovele da stari Thrombey završi prerezana vrata na svojoj sofi, da ga tako ujutro pronađe kućna pomoćnica i Knives Out u toj tački deluje kao da napušta whodunnit format te da će se baviti psihološkim portretisanjem nekoliko likova nevoljko uhvaćenih u vrzinom kolu zavere na čijem kraju može biti velika monetarna nagrada ali i velika zatvorska kazna, no, kako rekoh, genije ovog filma je što on uspeva da uvede nekoliko uspešnih preokreta do kraja, te da se vrati u whodunnit misteriju što će se zaista razrešiti tek u poslednjim scenama.
Johnson ovde koristi mnogo trikova da gledaoca navuče na pogrešne zaključke, uključujući flešbekove koji su ako ne otvoreno lažni a ono nepouzdani. U nekim slučajevima likovi se ne sećaju šta je tačno rečeno, u drugim se sećaju šta je tačno rečeno ali nisu u prvom trenutku razumeli reči koje su bile korišćene i ovo je sve jedna zabavna igra između autora i publike ali uvek čvrsto utemeljena na fundamentalnim pravilima kriminalističke fikcije: gledalac (ili, jelte čitalac) mora imati sve potrebne informacije da sam dođe do ispravnih zaključaka pre nego što mu ih film diskurzivno izloži; film ne sme da laže gledaoca ili da od njega krije kritične delove informacije koja je dostupna likovima.
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Knives Out uspeva, uprkos svom radosnom rastezanju formata i poigravanju sa njegovim tropima da ni za milimetar ne odstupi od ovih postulata, podstičući gledaoca da obraća pažnju na svaki detalj, od izgovorenih reči koje možda ne znače ono što likovi misle da znači, do prizora koje vidite gotovo uzgredno, tokom scena u kojima voiceover priča nešto sasvim drugo, praveći se da je slika na ekranu tu samo da vam popuni vreme do naredne, važnije scene. Utoliko, gledanje ovog filma je ona duboko zadovoljavajuća igra između gledaoca i autora u kojoj se informacije, aluzije, nagoveštaji i misdirekcija ređaju iz scene u scenu i SVE znači NEŠTO a na gledaocu je da bude pažljiv, metodičan, radoznao i – da uživa.
Naravno, nije ovo jedino zadovoljsto koje možete ekstrahovati iz Knives Out jer bi to značilo da bi drugo gledanje filma bilo potpuno besmisleno – Johnson ovde ponovo radi sa izvrsnim direktorom fotografije, Steveom Yedinom, koga je koristio na svim svojim prethodnim filmovima i mada Yedin ovde velikim delom radi u kamernom formatu – miljama daleko od kosmičke raskoši Star Warsa – Knives Out je vizuelno izuzetan film sa onim esencijalno važnim osećajem mesta i odnosa lokacija u prostoru koji je presudan za misterije ovog tipa. Muziku je i ovde radio Rianov brat Nathan Johnson, nudeći setni jazz i odmereni folk, a ansambl glumaca je naprosto drsko raspoložen za ovu vrstu igre. Naravno, sem protagonistkinje koju Ana de Armas programski igra nešto prizemljenije i naturalističkije, kako bi nam garantovala humano, empatsko težište filma, svi su ekscentrične, teatralne figure veće od života, i mada se u zapravo povelikom kastu lako zaboravi na nekoga, nemoguće je ne biti impresioniran autoritetom Christophera Plummera, pritvornošću Michaela Shannona, libertarijanskim vajbom Dona Johnsona, energijom Jamie Lee Curtis, influenserskim ,,šarmom" Toni Collette ili opsegom Chrisa Evansa. Razume se, Daniel Craig je ovde element na kome film u potpunosti počiva, kombinacija post-ljudskog intelektualnog kapaciteta i nespretne, ekscentrične socijalne persone, sa pravim odnosom samozaljubljenosti i iskrene humanističke ljubavi prema drugim ljudima. Craig je vrlo raspoložen i vrlo dobar u ovoj ulozi kombinujući prenaglašeni južnjački akcenat sa svojim australijskim govorom na zastrašujuće načine. Reklo bi se da je i njemu, posle godina igranja jamesa Bonda prijalo da za promenu bude u ulozi čoveka koji se protiv zločina bori pameću a ne pištoljem i kome je empatija a ne psihopatija primarna karakterna odlika.
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Knives Out je, dakle, žanrovski trijumf prvog reda, pametan ,,mali" film koji ne deluje ni malo ,,malo" baš naime te pameti ne samo u domenu zapleta već i u tome kako perfektno kombinuje taj murder mystery zaplet sa lako i dobro plasiranim socijalnim komentarom, sve do maltene direktnog citiranja klasičnih ,,tviter argumenata" a da to ne deluje isforsirano i neautetično. Veoma mi je prijalo da ga pogledam, a moja jedina briga u pogledu njegovog nastavka je, naravno to da li će potpuno novi ansambl glumaca i potpuno nova misterija moći da dosegnu nivo svežine ali i suvog kvaliteta originala. Videćemo, uskoro.
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Glass Onion: A Knives Out Mystery kao ,,nastavak" filma Knives Out o kome sam pisao prošle nedelje (https://cvecezla.wordpress.com/2023/01/06/film-knives-out/) radi sve ono što bi se očekivalo od drugog filma u serijalu započetog ekscentričnim, smelim čitanjem klasičnog ,,murder mystery" predloška. Naime, ide još smelije i radosnije u smeru ekscentričnosti, ekstrovertnosti pa i eksperimentisanja sa formom i, na neki način, dolazi do granice farse u kojoj se gledalac pita da li je ovog puta on zapravo pozvan da učestvuje u komplikovanoj igri zločina i kazne što se odvija na ekranu. Jer, da bude jasno, ovde ne samo da gledalac nema sve potrebne podatke da ,,reši" slučaj ubistva pre nego što to film učini za njega, već se film eksplicitno ponaša kao da to nije ni bitno.
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Pravljen ovog puta, vrlo ciljano za Netfliks – koji je iskeširao čak 469 miliona američkih dolara za distribuciona prava – drugi film Riana Johnsona u serijalu koji će, na osnovu ugovora između Lionsgatea i Netflixa morati da ima najmanje tri, Glass Onion: A Knives Out Mystery je proveo u bioskopima svega nedelju dana pre nego što je pred praznike pušten na najveći striming servis na svetu. Kako Netfliks u poslednje vreme dosta jako krvari pretplatnike što beže privučeni originalnim programima koje proizvode Diyney i Amazon za svoje servise, tako je i visokoprofilni novi rad prestižnog režisera, napravljen kao promišljeni nastavak velikog hita od pre tri godine i dostupan taman pred božić i Novu godinu svakako solidan potez u aktuelnom ratu striming platformi. I možete da pričate šta hoćete o sumnjivom komparativnom kvalitetu Netfliksovih serijskih programa u odnosu na konkurenciju, ali Glass Onion: A Knives Out Mystery je punokrvni rokenrol šou, još jedna vrtoglavo zapetljana priča o misteriji, ubistvima i ekscentričnoj grupi osoba koje su njima povezane na način koji privatnom detektivu Benoitu Blancu daje razlog da se naježi od slasti.
Rian Johnson je za ovaj film, naravno, krenuo od nule i ovo je another day in the office za Blanca, sa potpuno novim slučajem i potpuno novim ansamblom likova, bez ikakvih eksplicitnih veza sa prvim filmom. A što je, kad se sve sabere i oduzme i smela kreativna odluka u današnjem filmskom krajoliku u kome se ceni ,,lore" i sve mora da bude povezano sa svim drugim kako bi simbiotske industrije wikija i JuTjub pojašnjavača imale šta da rade i besplatno ložile hajp.
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Glass Onion: A Knives Out Mystery je i znatno drugačiji film od originala, već i po tome da je osetno moderniji po tonu i tematici, ali i po tome da se ovde ,,murder mystery" format razvlači do samog pucanja već i time da skoro do pola filma nije očigledno da li se i kada uopšte dogodilo ikakvo ubistvo.
U smislu modernijeg tona i tematike, Glass Onion: A Knives Out Mystery je prvi film koji sam gledao u kome se eksplicitno pokazuje da se desila pandemija COVID-19 i ovo je zanimljivo usidravanje narativa u ,,realnosti" koje mu odmah daje ne samo ,,stvarniji" već i ,,aktuelniji" ton. Originali Knives Out je bio ,,moderan" film po vremenu i mestu radnje ali je bio i staromodan po svojim temama i njihovoj obradi, baveći se vrlo klasičnim crime i pulp motivima i u svojoj socijalnoj kritici, uprkos referencama na influensere i internet ratove između woke i alt right frakcija, delovao tradicionalno. Glass Onion: A Knives Out Mystery, naprotiv, kreće od pandemije, prikazujući različite načine na koje likovi shvataju odgovornost za nošenje zaštitne maske, a nastavlja se vrtoglavim kolopletom referenci na stvari koje su još uvek u vestima. Kriptovalute, NFT, tehno-milijarderi, disruptivne tehnologije i biznis-modeli su ovde ,,meso" priče, radije nego garnirung, a to što glavni junak, Benoit Blanc pandemijski lockdown provodi u kadi, igrajući Among Us preko interneta sa svojim prijateljima – među kojima je i Kareem Abdul Jabar, recimo – je ne samo Johnsonov način da pokaže publici da je i dalje down with the kids, već i jasna najava toga kakvu ćemo priču dalje pratiti.
Naime, priču koja nije, kako rekosmo, očigledan murder mystery od samog početka jer od samog početka nije vidljivo da je iko ubijen. Blanc se ovde zatiče usred neobičnog društva izolovanog na privatnom ostrvu u Egejskom moru, a na poziv techbro milijardera po imenu Miles Bron koji jednom godišnje okuplja svoju staru ekipu iz kafane u kojoj se nekada sanjalo o tehnološkim prodorima i menjanju sveta, da se proslavi njihovo dugogodišnje prijateljstvo. Blanc ne spada u ovaj krug prijatelja i to da je i sam dobio pozivnicu je neobičan glič u Matriksu za koji i sam Bron nema objašnjenje ali scena u kojoj se o tome raspravlja sugeriše da on ionako predvodi poslovnu imperiju u kojoj se neke stvari dešavaju bez njegovog znanja ili kontrole i da je to naprosto tako.
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Ekipa Bronovih prijatelja je vrlo šarena i sastoji se i od naučnika i od političara ali i od modnih mogula i striming zvezda. Svi oni su u svojim industrijama veoma uspešni ali niko od njih nije uspešan kao sam Bron i Blancova promedba da svako od njih ima dobar motiv da Bronu želi zlo uklapa se uz Bronovu ideju da se vikend provede igrajući alternate reality game u kojoj će on biti ,,ubijen" a da će gosti, tragajući za indicijama po ostrvu na kraju rešiti misteriju i da će svi da se dobro zabave. Naravno, prisustvo najvećeg svetskog privatnog detektiva malo će pokvariti ovaj plan...
Daniel Craig se u ulozi Beonita Blanca sada oseća već veoma udobno i uspeva da prođe čitav opseg od autentične emocije koja podseća da on nije samo perceptivni apsergerovac već zaista empatično ljudsko biće, pa do ekstremno šarmantnih, komičnih goofy epizoda analognog čoveka u ultradigitalizovanom svetu. Film ne počiva samo na njegovoj glumi, naprotiv, ansambl je i ovde veoma dobar sa partikularno odličnom Janelle Monáe ali i Daveom Bautistom koji baš ovih dana priča kako mu je gluma kod Diznija dozlogrdila i da svakako traži ,,dramskije" uloge pa je ovde pružio vrlo solidan portret man's rights/ gaming Twitch strimera čiji je jedini neuverljivi element to da čovek sa ovakvim zanimanjem može da priušti da tri dana ne bude na internetu. No, generalno je ansambl odličan, a smeštanje najvećeg dela radnje na sunčano grčko ostrvo sa ekstavagantnom arhitekturom, ornamentikom i tehnologijama dalo je priliku ne samo direktoru fotografije Steveu Yedlinu da razmrda mišiće već je i scenograf Rick Heinrichs sa čitavom ekipom art direktora i dizajnera dekoracija imao prilike za ekstravagantne ideje i zamamna vizuelna rešenja.
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Ovo, pak, treba shvatiti i kao deo kritike koju film umeće u svoj murder mystery zaplet. Ekstravagantnost i glamur tretirani kao dokaz nečije vrednosti nisu nova tema, kao što to nije ni dekadencija bogatih, ali Johnson sa ovim filmom reaspravlja partikularnu alotrposku modifikaciju novog bogataša, techbro milijardera koji nije ,,stvarni" genije pa čak ni stvarni vredni radnik već neko ko je bio dovoljno srećan a onda dovoljno beskrupulozan da preuzme tuđu ideju i učini je svojom. Druga partikularna karakteristika ovakvih ličnosti je da su one selebritiji – na kraju krajeva niko od nas ne zna imena osnovača ili predsednika kompanija kao što su Sony, Toshiba, General Dynamics, British Petroleum ili čak Etihad, ali svi znamo ko su Jeff Bezos, Mark Zuckerberg ili Elon Musk.
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Johnsonov Miles Bron nema slučajno prezime koje asocira na ,,brony" subkulturu ,,bro" nerdova, kao i na ,,brawn" polovinu ,,brains and brawn" formule u kojoj je neko drugi – suosnivač njegove firme – u nju uneo svoju pamet a Miles je dopunio beskrupuloznošću. On je narcistički sociopata spreman na sve u ime ,,disrupcije" status kvoa koja će, pretpostavka je, doneti svetu novi evolutivni skok, ali zapravo nema klasičnu naobrazbu koja bi mu obezbedila zdravu perspektivu na problem koji pokušava da reši i probleme koje pritom kreira. Johnson ovde, da bude jasno, kritikuje pre svega taj karakterološki element techbro kapitalista i Glass Onion: A Knives Out Mystery vrlo malo ulazi u poslovnu kulturu firmi kakve predvode ljudi poput Milesa Brona, njihov tretman zaposlenih, neplaćanje poreza i too big to fail mentalitet. A što bi, priznajemo, bilo možda previše za film koji ionako ima mnogo likova i o svakom pokušava makar nešto da kaže kako bi pokazao spregu između rapidno napredujuće tehnologije, kulture celodnevnog spektakla i politike koja pokušava da jaše na obe odjednom. Reference na sweatshopove u Bangladešu ili neiskrene saundbajtove političara su tu bačene gotovo uzgredno i sasvim je legitimno reći da ih manje pažljiv gledalac neće ni upamtiti pored non-stop vatrometa referenci na sve živo, od Beatlesa (po čijoj je pesmi film i dobio ime), preko Betmena, Toma Cruisea u Magnoliji, Thomasa Pinchona, pa do Kanyea Westa i Fight Cluba.
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Ovo je, onda, istovremeno i element koji problematizuje sam film jer koliko god da on blago ili oštro kritikuje neke savremene trendove i manire svakako nije iznad toga da im žustro podilazi kad god mu se pruži prilika. Utoliko, u odnosu na original koji je bio umireniji na ovom nivou, Glass Onion: A Knives Out Mystery deluje kao film žestoko nameran da vam se dopadne na ime svog stalnog demonstriranja da je ,,here and now" i down with the kids.
Strukturalno, meni se dopala ideja o tome da film posle prve polovine ide u dugačak flešbek koji je prepričava iz druge perspektive, nudeći gledaocu stvarnu misteriju i ljušteći spoj po sloj titularnog luka da nam pokaže ono što je bilo u samom centru, svima nama pred očima a da smo mi gledali na drugu stranu i nismo ga videli. Razrešenje koje je Johnson na kraju napisao za svoje protagoniste je neobično ekscentrično, u skladu sa ostatkom filma, fokusirano više na poetsku pravdu nego na demonstraciju isceljujuće moći dedukcije stavljene u službu dobrobiti čovečanstva čime autor beži iz kalupa klasičnog murder mystery formata kako bi rekao nešto novo. I to treba ceniti. Iako Glass Onion: A Knives Out Mystery nema eleganciju i pravilnost identične prvom filmu, on je i dalje veoma zabavan ,,misaoni" triler sa nekim izvrsnim glumcima, sjajnim set dizajnom i kamerom, odličnom muzikom Nathana Johnsona i socijalnom kritikom koja nije naročito sažižuća ali gledaocu makar na kraju pruža satisfakciju u činu kreativne destrukcije. Ja sam zadovoljan i rado ću gledati i treći nastavak kada ga bude.
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Super kritika Meho, saglasna sam. Takođe sam primetila čitav niz omaža među kojima mi je Fight Club nekako najviše zapao za oko.
Jedino mi ne bi smetalo da Bautistu više ne vidim ni u jednom filmu. :(
Inače primetih "slučajnost" ili trend ove filmske 2022/23 sezone, Triangle of Sadness, Glass Onion, The White Lotus i čak The Menu su svi smešteni na kruzerima, egzotičnim evropskom ostrvima, luksuznim letovanjima. Svi sadrže kritiku društva i klase.
Možda ne bi bilo loše pročitati nešto na tu temu iz tvoje vizure, ako/kad pogledaš neke od pomenutih uradaka. :)
Pa, nešto od toga možda i stigne na red, ako se progura pored azijskih akcijaša kojima se trujem...
A Bautista valjda treba da bude poster-boy toksične muškosti pa je zato iritantan u ovom filmu. mada je meni bio manje iritantan nego u Guardiansima :lol: :lol: :lol: :lol: Ali to je zato što se ja ložim na Draksa iz stripova koji je u negovoj interpretaciji čist komični predah....
Da, ona slika sa Nortonovom glavom na Pitovom telu iz Fajt Klaba je slatka. Mislim, film je prpun i vizuelnih i tekstualnih referenci, što je generalno slatko ali mene to ne loži preterano jer, jelte, deluje mi kao da ljudi više pažnje obraćaju na to nego na, jelte, sam FILM. Video sam neku listu daljih referenci na Bitlse (pored naslova) u ovom filmu i ima ih milion. :lol:
Slika, daaa! A i ona kancelarija pod staklenom kupolom podseća na zadnju scenu FC.
Što se tiče trenda, biće da je i taj seting proizvod žudnje za holidays in the sun koju je upravo raspalio Kovid i silna ograničenja, pa se tu još zgodno nakače klasne razlike i privilegije koje je pandemija dodatno potcrtala, kao podtekst. Možda zaista jeste toliko jednostavno :lol:
A kod Bautiste nije problem lik nego on sam, loš je glumac brate. Bio je loš i u Army of the Dead, iako uloga nije zahtevala, eh, dramske nijanse.
Dobro, naravno, nije neki glumac, mada je u Blejd Raneru makar izgledao dostojanstveno. Ova uloga u Glass Onionu mu, čini mi se, paše, ali svakako nisam siguran da li je on istesan za te dramske role koje priželjkuje.
A naravno, verovatno ima svega toga što si nabrojala, pogotovo što su kruzeri bili rani rasadnici KOVID-a pa imaju izvesnu (modernu) mitološku auru. Ali što se socijalne kritike tiče, ona se, bar po ovom uzorku koji ja imam, vrti pre svega oko luksuza a ne oko eksploatacije a marksista u meni se, naravno na to mršti. :lol:
Lo and behold, ene ga i u novom M Night-ovom filmu :lol:
Marksistu u tebi će onda obradovati naslovi koje sam izlistala gore. :lol:
No da ne davim više, good talk!
Meni Bautista uopšte nema njušku glumca, izgleda kao skelar (radnik na građevini koji montira i demontira skele) koji je zalutao na set.
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xrofl vrlo tražen skelar!
Valjda lepši način da se kaže glupa faca (izvinjavam se ali jeste)
Dobro. čovek je rvač po profesiji. Ne očekujemo od njega sad neke velike dramske domete. Mislim, John Cena, Dwayne Johnson jesu popularni glumci ali nisu sad nešto "kvalitetni" pa što bi Dave bio...
Bautista >>> The Rock!
zaboravili ste novi Blade Runner!
Njuška mu je Davitelj protiv Davitelja sreće Dobar, loš, zao
Quote from: Labudan on 13-01-2023, 19:26:41
zaboravili ste novi Blade Runner!
Quote from: Meho Krljic on 13-01-2023, 17:29:19
Dobro, naravno, nije neki glumac, mada je u Blejd Raneru makar izgledao dostojanstveno.
A The Rock ima malo veći range za sada...
Bautista je kao neka klasična vestern njuška iz starih filmova
rođen za novog Terminatora
I za Terminatora je The Rock bolji izbor. I za Kindergarten Cop. I za Predatora. Možda bi Bautista bio bolji Konan...
koliko blasfemije u jednom postu...
ne mogu da zamislim Šrafcigera i Roka da se mlate nešto u Terminatoru
a đe ima džungla na Havajima
Nije da sad nešto pratim The Rocka, al sam promašio njegov range. U svakom filmu glumi The Rocka. Bautista se trudi.
Quote from: mac on 13-01-2023, 21:41:35
I za Terminatora je The Rock bolji izbor. I za Kindergarten Cop. I za Predatora. Možda bi Bautista bio bolji Konan...
Računaj da bi se pobili u kafani zbog ovog ovde izrečenog.
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Quote from: tomat on 13-01-2023, 22:47:50
Nije da sad nešto pratim The Rocka, al sam promašio njegov range. U svakom filmu glumi The Rocka. Bautista se trudi.
Pain & Gain!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Quote from: Labudan on 13-01-2023, 20:36:45
Bautista je kao neka klasična vestern njuška iz starih filmova
rođen za novog Terminatora
Podseća malo na Li van Klifa.
Čovek nema vrat.
Zašto može Konan bez vrata a Terminator mora sa vratom?
Rok da bude zmijski negativac u Konanu, s onim obrvama satanističkim
https://www.unilad.com/celebrity/dave-bautista-clause-movie-contracts-066216-20230115
Bautista said: "It's actually in my contract that I have to eat no less than every four hours."
eto zašto nema vrat!
The Roundup (odnosno Crime City 2 odnosno Outlaws 2) je bio najgledaniji južnokorejski film prošle godine u samoj Južnoj Koreji i najgledaniji korejski film od početka panedmije COVID-19. Istovremeno, radi se i o vrlo solidnom međunarodnom hit-filmu koji je pogotovo u istočnoj i jugoistočnoj Aziji poharao bioskopske sale, a i na zapadu dobio vrlo solidne kritike. Reklo bi se da je svet više nego željan lake a kalorične bioskopske zabave, filmova koji svoju dramu smeštaju u samorazumljive situacije što ne zahtevaju praćenje serijala i poznavanje ,,lorea" a komediju među likove koji su lepršavi, karikirani ali humani. I, oh, akciju, akciju smeštaju tamo gde se ona najbolje oseća: među ljude sa borilačkom ekspertizom i kaskadere koji ne žale koske i telesne fluide kako bi kreirali scene koje će naterati kolektivnu vilicu gledališta da lupi o pod a zatim biti prepričavane godinama i stavljane u JuTjub mikseve najboljih akcionih momenata azijskog filma.
(https://i.imgur.com/VexXeJs.png)
The Roundup je nastavak uspešne južnokorejske akcione komedije iz 2017. godine, Crime City (a koja je na zapadu distribuirana i kao Outlaws) koja je pre pola decenije u Koreji napravila ozbiljan posao svojim kombinovanjem policijsko-kriminalističkog filma, brutalne akcije i lake komedije, uzimajući džekičenovske i stivensigalovske predloške i dajući im osoben južnokorejski spin. Ovaj film je na svojoj strani imao i činjenicu da je u glavnoj ulozi bio Ma Dong-Seok, čovek koga starija publika pamti iz The Good, the Bad, the Weird, a koji je godinu dana pre Crime Cityja imao veliki hit sa Train to Busan. Ma Dong-Seok je uspešno iskoristio inerciju građenu tokom godina marljivog snimanja i rada, kako u Južnoj Koreji tako i u SAD (uključujući seriju Sens8) pa je nakon ovog filma dobio i vrlo solidnu rolu u Marvelovom Eternals (https://cvecezla.wordpress.com/2022/02/04/film-eternals/). The Roundup je onda došao kao puko ,,overavanje" slave svakako najuspešnijeg južnokorejskog glumca u ovom trenutku – a koji je, jelte, dosta dugo živeo i u Americi i ima i državljanstvo SAD.
No, The Roundup je veoma spretno napravljen film koji, uprkos velikoj harizmi svog glavnog glumca ne stavlja sva jaja u jednu korpu i oslanja se na nekoliko temeljnih vrednosti da postigne ono što želi. Ovaj film nije režirao autor prvog Crime City, Kang Yoon-sung, koji je tamo radio scenario i režiju. Umesto njega ovo je režirao Lee Sang-yong, koji je bio asistent režije na prvom filmu i mada se radi i u jednom i u drugom slučaju o srazmerno neiskusnim režiserima (Lee je pre ovoga režirao samo jedan film, a Kangu je Crime City bio prvi), Crime City filmovi su podsećanje na sazrelost južnokorejske kinematografije i jedan standard kvaliteta i ubedljivosti ispod kojeg je praktično nemoguće otići. To da je The Roundup imao budžet od tek nešto preko osam miliona američkih dolara a zaradio više nego desetostruko treba da ukaže i na jednu čistotu i neposrednost ovakvih filmskih radova sa kojima se publika identifikuje.
The Roundup svakako nije bila neambiciozna produkcija. Nakon uspeha prvog filma, produkcija je odlučila da za nastavak kreira narativ koji će otići izvan granica Južne Koreje i ne samo kreirati brojne fish-out-of-water momente već i publici u jugoistočnoj Aziji dati dodatne razloge da se zainteresuje za gledanje. Kao osnova uzeta je priča iz života, aktivnost bande južnokorejskih kriminalaca na privremenom radu na Filipinima, a koja je između 2008. i 2012. godine tamo kidnapovala, ucenjivala i ubijala južnokorejske turiste. Za potrebe filma radnja je prebačena u Vijetnam a ovo je onda kreiralo i izvesne probleme u produkciji.
(https://i.imgur.com/kgm4SPu.png)
Konkretno, zbog pandemije COVID-19, planovi za snimanje u Vijetnamu su morali da se pomeraju pa je na kraju The Roundup sniman iz dva dela, gde su prvo urađene sve scene koje se dešavaju u Seulu, da bi nakon ublažavanja epidemioloških restrikcija, ekipa mogla da se prebaci u Ho Ši Min i tamo snimi i prvi deo filma. Ironija je, naravno, da je film na kraju, iako otkupljen za distribuciju u Vijetnamu, tamo posle svega zabranjen za prikazivanje, navodno zbog previše nasilja u finalnoj verziji, ali najverovatnije zato što, kako to već zna da bude u azijskoj kinematografiji, The Roundup prikazuje južnokorejske policajce kao superheroje a njihove vijetnamske kolege kao pomalo blentave, u najboljem slučaju dosta nekompetentne. Naravno, sve to treba da bude prepoznato kao komični sadržaj, ali znate već kako je to kad vam se komšije smeju i očekuju da se i vi smejete sa njima...
Da biste gledali The Roundup nije potrebno da znate bilo šta o Crime City/ Outlaws serijalu. Iako se, naravno glavni likovi iz prvog filma ponavljaju, ovo je sasvim odvojena priča, bez ambicije da se prave značajne poveznice sa originalnim narativom i zaplet, antagonizmi, preokreti i razrešenja koje ćete ovde videti ne zavise od poznavanja istorija likova i njihovih međusobnih odnosa. Ovo je old school krimi-komedija u kojoj se stvari rešavaju na tuču i bezobrazluk i The Roundup nema ambiciju da gradi operetski, superherojski narativ.
Priznajem da me je početak filma, pa sve negde do prve polovine najviše asocirao na filmove Buda Spencera, pogotovo one kasnije u kojima su se glavni likovi ponavljali a svaki je pričao svoju priču. Već sam zaplet – dva južnokorejska pandura na službenom putu u Vijetnamu – je postavljen sasvim namerno da kreira nisku disruptivnih i komičnih situacija u kojima će protagonisti ,,raditi" upravo na ime činjenice da su u stranoj zemlji čiji jezik ne poznaju – sporazumevanje na polomljenom engleskom je više puta ponovljeni komični motiv u filmu – i da tamo prelaze DALEKO preko granica svoje jurisdikcije u progonu kriminalaca za koje lokalna policija kao da ne pokazuje dovoljno interesovanja.
(https://i.imgur.com/itCk1XY.png)
Ovde naravno postoji ta neka ozbiljnija srž zapleta. Detektiv Ma Seok-do (koji sasvim namerno ima isto prezime i slično ime kao glumac koji ga tumači) i njegov kapetan su u Ho Ši Min došli kako bi preuzeli južnokorejskog kriminalca koji se tamo predao vlastima i traži izručenje Južnoj Koreji gde želi da odrobija svoje prestupe, ali u kratkom periodu potrebnom da se sva papirologija uredi, dvojica kolega se upliću u složeni slučaj otmice i ubistva mladog i imućnog južnokorejskog investitora koga je kidnapovala južnokorejska krimi dijaspora u Ho Ši Minu, iznudila brdo para od njegovog oca a na kraju ga ubila. Otac je, u odmazdu poslao grupu plaćenika da satre ovu bandu i uzme pare natrag pa se Ma Seok-do i njegov nadređeni oficir zatiču usred masakra svojih zemljaka na koji lokalna policija obraća vrlo malo pažnje. Vođa južnokorejske bande u Ho Ši Minu, Kang Hae-sang (igra ga uspešni televizijski glumac Son Suk-ku u jednom naglašenom odstupanju od uobičajenih romantičnih rola) je jedan efikasan, opasan i nepredvidiv psihopata koji nema problem sa uzimanjem ljudskih života i predstavljaće kredibilnu pretnju ne samo za zabludele turiste u Vijetnamu već i, pokazuje se, za porodicu mladog investitora koga je oteo i ubio.
Prva polovina filma, smeštena u Vijetnam je naglašenije komična, sa Ma Dong-seokom koji zaista emituje taj badspenserovski šarm. On je vrlo dobro uglavljen u azijski arhetip muškarca praktično natprirodne snage koji sve probleme rešava na silu, a što film koristi za kreiranje više humorističkih situacija. Zapravo, nakon uvodne scene u Seulu u kojoj se utemeljuje ideja o Ma Seok-dou kao panduru koga zovete kada je potrebno rešiti nemoguće situacije,* dobar deo narativa u Ho Ši Minu prikazuje protagoniste kako krše sva moguća pravila i prave haos, kreirajući mnogo glavobolje za atašea za policijsku saradnju u južnokorejskom konzulatu. Ovo jeste rađeno u humorističkom tonu, ali je podtekst – taj da vijetnamska policija naprosto ne haje za rešavanje teških slučajeva u kojima su i počinioci i žrtve južnokorejski građani na teritoriji Vijetnama – ozbiljan i svakako osuđujući. Ma Seok-do je ovde, kako se i očekuje, jedna dobronamerna karikatura Dirty Harry stereotipa, neko ko eksplicitno kaže da jurisdikcije i zakoni nisu bitniji od hvatanja, jelte, loših ljudi, i on će primeniti svoje detektivske veštine ali prevashodno svoju veliku fizičku snagu da gazeći sve oko sebe po podzemlju Ho Ši Mina dođe na korak od hapšenja počinioca.
*i koja je, možda i zasluženo došla i na udar kritike udruženja osoba sa invaliditetom zbog svog prikaza osobe sa mentalnim problemima kao negativca
(https://i.imgur.com/Wnhbyrj.png)
No, film onda spretno prelazi u Seul i zapravo je druga polovina impresivno menjanje brzine. U ovom delu narativa komedija je osetno utišana a Lee Sang-yong autoritativno režira uzbudljiv policijski procedural dok se panduri igraju mačke i miša sa očajnim i opasnim kriminalcem i porodicom bogatih kapitalista koji treba da mu obezbede ,,pravičnu" nadoknadu za to što im je oteo i ubio sina. Seulski deo filma ima i izvrsnu televizijsku glumicu Park Ji-young koja igra majku ubijenog investitora i beznaporno lomi stereotipne kalupe ovakvih uloga, a i Ma Seok-doova policijska ekipa ovde dobija prostor da zablista. Tako, mada je Ma Dong-seok uvek u centru radnje, drugi deo filma se u priličnoj meri oslanja na hemiju ansambla i gledaoca uvlači u trilersku radnju, terajući ga da se brine i navija, pogotovo kada krene haotično, akciono razrešenje.
(https://i.imgur.com/hxJUed6.png)
Što se same akcije tiče, znamo da je Ma Dong-seok majstor borilačkih veština (da ne pominjemo predsednik južnokorejske Federacije obaranja ruku), ali sve borbene scene, čak i one u kojima njega nema su izvrsno urađene. Istočnoazijske produkcije često idu na puno prenaglašenog mahanja rukama i široke, suštinski besmislene pokrete udovima kojima se jasno ,,telefonira" napad, i The Roundup ni sam nije, jelte, imun od ovoga, ali ovo vrlo brzo prestanete da primećujete jer su koreografije vitke i efikasne a glumci i kaskaderi unose u borbu takvu energiju da morate biti impresionirani. Scena u kojoj se Kang Hae-sang i kolega bore u kući protov višestruko brjojnijih plaćenika je naprosto školski primer eskalacije od moćnog ka zapanjujućem, sa ljudima koji proleću kroz nameštaj, nameštajem koji biva oblomljen o nečiju glavu i noževima mačetama i satarama koje samo vitlaju unaokolo. Svakako, ovo je i krvoločno napravljena akcija, daleko od PG-13 standarda superherojskog Holivuda, ali The Roundup se ne upliće u eksploatacijske fetiše i ovde su amputacije uglavnom implicirane a ulasci sečiva u tkivo uglavnom prikazivani iz uglova koji su ,,uksuni."
(https://i.imgur.com/NNjMLGu.png)
Naravno, kad sam Ma Dong-seok učestvuje u akciji, ovo su neopisive erupcije snage. Šta su sve kaskaderi morali da urade da ne samo prežive njegova bacanja kroz zidove i šutiranja kroz šoferšajbne, već i da učine da to izgleda fantastično – to samo oni znaju. Rezultat je svakako da The Roundup daje neke od najboljih akcionih scena napravljenih u 2022. godini.
Ali uspeh ovog filma je svakako i to da on na svim nivoima radi gotovo jednako uspešno. Ovo je na kraju sasvim solidan akcioni krimić ali i policijski procedural, sa komedijom koja je nemametljiva a radi na ime hemije između likova radije nego da bude zasnovana na slepstiku, produciran sigurno i ubedljivo, sa kvalitetnim scenama akcije, jurnjave kolima, uspelom ,,egzotičnom" ekskurzijom u Vijetnam, zabavnim likovima i energijom koja ne popušta ni u mirnim scenama. Obavezno štivo za ljubitelje policjske akcije,a treći nastavak Crime City serijala je uveliko u produkciji pa ćemo mu se radovati negde naredne godine.
(https://i.imgur.com/NmRAKWD.png)
Uprkos zdravom razumu pogledao sam prošlogodišnji akcioni triler Marka Williamsa, Blacklight, a što dokazuje da imam previše slobodnog vremena, slabu kontrolu impulsa i nezdravu (erotsku?) fiksaciju na Liama Neesona. Bilo kako bilo, Blacklight je film koji već i imenom priziva niskobudžetne '90s trilere i svakom ko hoće da čuje sa razdaljine od bar jedno trideset kilometara saopštava da se uz njega neće dobro provesti.
Avaja, Liam Neeson je sa Taken od sebe napravio brend koji se sada eksploatiše tako da i naivni, a dobronamerni ljudi poput mene kažu ,,Ali možda će ipak biti okej" i saspu sto minuta svog dragocenog vremena koje nikada neće dobiti natrag u gledanje jedne jedva tehnički kompetentne papazjanije opštih mesta i ,,straight from the headlines" tematike.
(https://i.imgur.com/trA5mlj.jpg)
Nagađate, Liam Neeson je i u ovom filmu čovek koji ima ,,a particular set of skills" i kome se ultimativno porodica nađe na udaru – aluzije na Taken su ovde besramne i nimalo suptilne do te mere da se čovek mora zapitati da li Neeson zaista ne može da radi ništa bolje na pragu osme decenije svog života. Taken je bio film sasvim neoriginalne premise i neobične, internacionalne produkcijske postavke ali je on svoju reputaciju izborio besprekornom egzekucijom. U osnovi samo još jedna varijacija na stivensigalovski akcijaš u kome čovek praktično natprirodnih borilačkih i istražiteljskih veština proseca put kroz dehumanizovani čopor pripadnika etnički kodifikovanog organizovanog kriminala na misiji da zaštiti nešto što mu je sveto, Taken je pokazao da se od ovakve premise može napraviti zdrav, punokrvan akcioni film koji usput i potkazuje neke partikularne amaeričke paranoje.
Blacklight je, nažalost, mnogo bliži standardnoj stivensigalovštini iz njegove bugarske faze, relativno isprazni triler u kome akcije ima na kašičicu a tenzija se pored slabog zapleta i jedva korektne glume održava mood-shotovima između svake dve scene i kolornim filterima.
(https://i.imgur.com/ZVxkqrf.jpg)
Osim što je ovo snimljeno u Australiji. Liam Neeson je sa Markom Williamsom snimao i Honest Thief iz 2020. godine i prosto je zabrinjavajuće da čovek koji je nekada igrao u Star Warsu danas snima ovakav drek. Williams je jedva kompetentan režiser kome je ovo tek treći film iza kamere – on se uglavnom bavi produkcijom – a snimanje obaveljeno velikim delom u Kanberi podrazumeva i gomilu lokalnih glumaca u neobjašnjivim ulogama Amerikanaca koji govore sa jakim ozi naglaskom.
Zaplet je makar zasnovan na nekim aktuelnim događajima, prikazujući varijacije na Black Lives Matter proteste i mladu političarku – koja podseća na Alexandriu Ocasio-Cortez – čija karijera biva nasilno prekinuta atentatom koji je, očigledno izvršila, jelte, služba. Preokret u ovom filmu je da za razliku od '70s trilera na koje se Blacklight oslanja za potrebu te svoje paranoje prema državnim agencijama (čuje se tu i Džefersonov govor koji objašnjava da je država u najboljem slučaju nužno zlo a u najgorem nepojmljivo zlo), ovde ubijanje po zadatku vrši FBI.
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Sa druge strane, Neesonov lik, Travis Block je najbolji prijatelj direktora FBI-ja, a koji za biro radi posebne zadatle što se tiču spasavanja ali i reprogramiranja agenata koji su posle godina u deep cover operacijama malko pobrkali prioritete i možda i blago ,,gone native".
Ovo nije loš ugao da se iz njega krene u film koji se zasniva na pokušaju FBI agenta da ode u medije sa dokazima da direktor biroa ima tajni program uklanjanja politički destabilišućih faktora i Block, koji ovom agentu pokušava da pomogne da vidi stvari ,,na pravi način" zapravo sam shvata da je bio naivan i da njegov najboji prijatelj, gulp, zaista ima program eliminacije politički destabilišućih faktora. Pošto je do tog trenutka verovao da je mladu političarku što je mobilisala mase STVARNO slučajno zgazio neobeleženi džip na ulici i, eto, huh, policija nije uspela da nađe nikakav trag o počiniocu.
Neesonov lik bi morao da ima oštećenje mozga da se ponaša ovako kako se ponaša u ovom filmu i scenario, svestan toga, ga prikazuje kao čoveka sa kompulzivno-opsesivnim poremećajem koji mu, doduše pomaže da svoj posao radi bolje jer vidi i kapira mnogo više detalja nego druge osobe (što, naravno nije ono kako ovaj poremećaj radi ali DOBRO) ali mu s druge strane userava civilni život gde on pokušava da izgradi prirodan, prijatan odnos sa unučicom i svojom ćerkom a njenom majkom koje ga vole ali ih zrači njegova stalna paranoja vezana za bezbednost.
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Ima tu dosta interesantnih teza u scenariju, naravno, ali film je u realizaciji skarabudžen na najgori moguć način, bez uzročno-posledične veze pa čak i bez bazične logike. Kada krene lov na rogue agenta koji oće da ode u medije, likovi se pojavljuju na mestima gde je to potrebno bez ikakvog objašnjenja kako znaju da treba da budu tu, Neeson koji je inače prikazan kao superheroj biva zaustavljen jednom običnom ogradom, a mračni tipovi koji inače presuđuju civilima bez mnogo obzira nekako nikako da presude bilo njemu bili novinarki koja je rešila da istera istinu na čistac.
Naravno ni na metanivou film ne pravi potreban napor da stvari posloži u ikakav logični red. Ispada da direktor FBI ceo program ubijanja političara i novinara pravi na svoju ruku, bez dosluha sa ikakvom, jelte, ,,dubokom državom", nego tako, misli da neke ljude bolje da uklonite a već će se posle demokratija sama snaći. Ovde nema ni ideološkog pa čak ni nekog naprednijeg konspiratološkog programa, a logistika direktora Federalnog istražnog biroa je na nivu parodije. Em su svi dokazi koji mogu da ga oteraju na robiju uredno spakovani na jedan dobro organizovan harddisk, em sve asasinacije rade dva ista lika koji se čak ni ne trude da se maskiraju kad usred dana ubijaju ljude na ulici pred desetinama svedoka.
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Ovaj ,,kako mali Đokica zamišlja deep state" igrokaz bi ipak bio probavljiv da je akcija snimljena bolje. Neeson ima taj izmučeni, zbabljeni performans tokom celog filma, ali on je i dalje solidan glumac koji ima harizmu i prezentnost u kadru. Ostali glumci su šaroliki ali akcija je ono gde film tone. Par automobilskih potera režirano je korektno ako već ne uzbudljivo, ali kad Neeson treba da se pošiba, to su scene sastavljene od samih rezova i kadriranja koje treba da sakrije više nego što treba da pokaže. Pucnjava pred kraj filma u kući direktora FBI je ipak pomozi bože maštovito osmišljena da se film ne završi baš kao potpuna propast, ali je nažalost finale u kome ni ne vidimo kako to Neesonov lik svog starog prijatelja natera da sagne glavu pred konceptom pravde potpuno ispušteno. Makar je Travis Block dobio svoju porodicu nazad? Pa, jeste, sem što nije ni jasno zašto je ona uopšte i nestajala i kako EKSTREMNO nekompetentni FBI koji gledamo svojim očima (ozbljno, direktor Biroa nema čak ni telohranitelje i ko god hoće može da ga kidnapuje ili ubije u ofisu, na ulici, u njegovoj kući...) uspeva da istovremeno bude preteće prisustvo koje ukida telefone, briše tragove o ljudskom postojanju i prekida pozive broju 911 kad taj broj okrene pogrešna osoba.
Blacklight je, nažalost, podsećanje da će NEKO dati (udahnite duboko) 43 miliona dolara za pravljenje filma čiji je jedini kvalitet da ima istog glavnog glumca kao Taken i da će omažirati Taken lošim, neobjašnjivim piruetama u zapletu koje nemaju smisla i samo odvlače resurse od nečeg što je mogao biti probavljiv akcioni film. Skoro da se brinem šta će Williams sa Neesonom sledeće uraditi.
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Pogledao sam, smelo, odvažno i entuzijastično švajcarski film Die Schwarze Spinne odnosno Crni pauk, prošlogodišnju ekranizaciju jednog od ključnih švajcarskh proznih tekstova iz devetnaestog veka, istoimene novele koju je 1842. godine objavio Jeremias Gotthelf (a što je bilo umetničko ime čoveka inače znanog kao Albert Bitzius). Film je dobio entuzijastične reakcije kod publike sa nemačkog govornog područja i priznajem da sam se posle pola sata okrenuo svom odrazu u ogledalu i dosta posramljeno rekao ,,Ovo nije baš naročito dobro, zar ne?" A odraz u ogledalu je samo prevrnuo očima i pokazao mi srednji prst. Ponekada izlazak iz sopstvene zone komfora donese samo, jelte, nekomfor.
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Jeremias Gotthelf nije bio ni preterano poznat ni preterano uspešan pisac u svoje vreme, ali jeste se putem novele Die Schwarze Spinne upisao u istoriju ne samo švajcarske literature. Die Schwarze Spinne se danas navodi i kao jedno od ključnih dela Bidermajer perioda koji su karakterisali nova estetska i sadržajna interesovanja u srednjeevropskoj umetnosti, uključujući arhitekturu, dizajn, muziku ali i poeziju i književnost. Ovaj se period povezuje sa usponom srednje, građanske klase a Bidermajer estetika u dizajnu nameštaja i dekoraciji životnog prostora donela je, po prvi put u evropskoj istoriji pomaljanje pojma ,,životnog stila". U literaturi i poeziji ovaj je period karakterisalo okretanju istorijskim temama i životu u provinciji, pa su mnoge pesme zapaženih poeta onog vremena (npr. Eduard Mörike) završile kao uglazbljene i prihvaćene kao ,,prave" narodne pesme.
No, Gotthelfova novela je velikim delom odskočila od proseka, koristeći nominalno iste teme i standardno okruženje srednjevekovne provincije da kreira narativ po intenzitetu ravan najmračnijim narodnim skaskama tog i prošlih vremena, uronjen do obrva u hrišćansku ikonografiju sa intenzivno kritičkim pogledom na strukture moći u društvu izgrađene na religijskim osnovama. Sa svojim nemilosrdnim imaginarijumom i disekcijom ideje krivice u maloj zajednici, Die Schwarze Spinne je neka vrsta preteče horor-književnosti dvadesetog veka, drugačija od ,,standardnih" gotskih uzora koji se uobičajeno navode kao izvorište modernijeg horora. Ovo je novela sa brutalnom kritičkom oštricom postavljenom pod grlo hrišćanske utopije ali i namerna da se uhvati u koštac i sa konzervativnom podelom rodnih uloga u zajednici i, na kraju krajeva, osetljivim balansom moći u toj zajednici koji zavisi od činjenice da samo jedna polovina te zajednice decu može da začne, a samo druga polovina da je donese na svet.
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Die Schwarze Spinne je adaptirana u druge medije više puta, od opere Heinricha Sutermeistera iz 1936. godine, preko nemog nemačkog filma koji je 1921. godine režirao Siegfried Philippi, pa do slobodnije švajcarske filmske adaptacije iz 1983. godine koju je potpisao Mark M. Rissi, kontrastirajući savremeno okruženje i zavisnike o opijatima Gotthelfovom srednjevekovnom narativu. Modernija opera, prvi put izvedena 1985. godine delo je ugledne britanske autorke Judith Weir i u novoj se verziji izvodi ponovo od prošle godine.
No, dok ova opera ima i komičnu dimenziju i predstavlja klasičniji pristup pripovedanu sa izraženom moralnom podukom, film o kome danas pričamo nema u sebi ničeg komičnog (ako se ne računaju frizure nekih od glumaca) i zapravo je, kako i rekoh, bliži hororu. Štaviše, film deakcentuje čak i originalnu poduku novele koja se završava jednom ipak utešnom religioznom slikom u kojoj požrtvovanje i čistota duše na kraju ipak trijumfuju nad zlom i osvajaju milost Božiju uprkos teškim iskušenjima i kaznama kroz koje je zajednica prošla. Iako i film na kraju prikazuje neku vrstu ponovo osvojenog mira i moralnog balansa u zajednici, najjači utisak koji on ostavlja je gotovo sadistička strava što je proizvodi pakt sklopljen sa Nečastivim i verovanje da se iz takvog ugovora – zapečaćenog poljupcem, da sve bude gore – možete izvući na bezobrazluk.
Markus Fischer, koji je režirao ovaj film je iskusni švajcarski producent, scenarista i režiser, prevashodno televizijskih produkcija ali i sa nekoliko bioskopskih filmova u svom opusu. Na Die Schwarze Spinne je iza kamere imao uglednog švajcarskog filmadžiju Briana D. Goffa i neke od scena pastoralne provincije rađene širokougaonim sočivom, sa ukusno filtriranim koloritom su upečatljivi momenti ovog filma. A sam Nečastivi zna da ovaj film svaki upečatljiv momenat koji ima treba da dobro iskoristi.
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Zaplet je smešten u srednji vek i švajcarsku provinciju gde seljaci žive teško i rade naporno za lokalnog vlastelina, Hansa koji sa svoja dva rođaka stoluje u obližnjem zamku, ožderava se, pije rujno vino, povaljuje seljanke i generalno unaokolo sere o tome kako krstaši ratuju na istoku za sve nas ovde i kako nezahvalni seljaci mora da to poštuju. Ovi mu razložno kažu da njegovi ekscentrični projekti – uključujući građenje novog zamka – njima oduzimaju vreme koje bi inače utrošili da proizvode, jelte hranu, koju svi jedu al njega to ne zanima. Hans je opsednut ostavljanjem traga na ovom svetu iza sebe i najnovija ideja mu je da selo ima 30 dana da nađe stotinu odraslih stabala koja će sa korenima iskopati i doneti da zasadi duž staze do novoizgrađenog zamka, kako bi on imao prijatnu senku kada dolazi da obiđe novi properti. To da je ovaj posao gotovo nemoguće obaviti u tako kratkom vremenu uz primitivnu tehnologiju koju seljani imaju – da ne pominjemo da niko od muškaraca neće imati vremena da obrađuje zemlju za to vreme – njega ne da ne zanima nego on doživljava očigledno zadovoljstvo što svoje eskcentrične prioritete nameće drugima kao opšte dobro. Nije da svako među nama ne poznaje nekog takvog, zar ne?
Elem, glavna junakinja filma je Christine, mlada žena sa frizurom kao da peva u nekom drugorazrednom grandž bendu a koja je lokalna, pa... frilensing babica. Za razliku od ostalih žena u selu koje su zadovoljne svojim ulogama fabrika za bebe, Christine je nezavisna, asertivna osoba sa specifičnom ekspertizom koja pomaže da se bebe zapravo i bezbedno rode i prežive porođaj, time provajdujući esencijalnu uslugu zajednici što je bukvalno stalno na dva dana lošeg vremena udaljena od kamenog doba. Christine ne vole, jer, jelte, ne pripada ni jednom muškarcu a bez nje se ne može ali kada Christine pronađe način da se nerazumni vlastelinov zadatak ipak obavi u roku od trideset dana, na kratko je ona junakinja svih muškarca i žena u selu.
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Ali baš na kratko, jer kada postane jasno da je ovakav aranžman mogao biti postignut samo tako što je Nečastivom obećana jedna nekrštena beba kao kompenzacija, selo se VRLO SNAŽNO okreće protiv Christine i pretvara je u neku vrstu žrtvenog, eh, jarca. Koze. Štagod. Ono što sledi je gomila scena intenzivnog iživljavanja zajednice nad ženom koja je barem pokušala da nešto uradi – ušavši u pakt sa Đavlom da bi ispunila hir jednog samoproklamovanog velikog vernika – i jedan pošten napor da se prikaže strukturna mizoginija koju vezujemo za srednji vek (ali nažalost i kasnija društva) pre nego što Đavo doslovno dođe po svoje i najezdom crnih paukova desetkuje malu zajednicu.
Nažalost, Gotthelfova novela i motivi predoška zaslužuju znatno boljeg režisera nego što je Fischer i ovaj film se sapliće maltene čim istrči iz svog boksa i zbunjeno krene da se osvrće oko sebe, ne znajući u koju bi se stranu zaleteo. Fischer kao da se zatekao tačno na pola puta od Paula Verhoevena do Wernera Herzoga praveći ovaj film i proveo gotovo dva sata ne uspevajući da se odluči kom bi se od njih dvojice zaista priklonio – pa je i rezultat produkt koji je vidno nesiguran u sebe i stalno samom sebi puca u noge rušeći ono malo atmosfere, estetske konzistencije, tenzije što ih je sagradio.
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Likovi, za početak ne izgledaju kao ljudi iz srednjeg veka već kao, pa, malo zapušteniji glumci iz XXI veka, ali film ne koristi farsični potencijal koji mu ovo donosi i ovde nema verhoevenovske energije potkazivanja okruženja i direktnog preslikavanja modernog na klasično. Film, prosto, ne zna tačno kuda želi da krene i kako da izgleda, pa su neke scene urađene veristički, bez intervencija, sa nadom da će likovnost prizora biti dovoljno snažna (i često jeste) ali ovo zatim sasvim remete naredne scene u kojima glumci glumataju, izražavaju se teatralno kao da su na pozornici nekog seoskog pozorišta 19. veka a film udara u snažne romantičarske strune.
Ovaj kontrast je neudoban i na kraju film nikako da stane na stabilno mesto gde bi mu gledalac poverovao. Na kraju krajeva, možete pomisliti, Christine je sama i na svoju ruku uradila to što je uradila, ne pitajući nikog iz sela za mišljenje, izlažući celu zajednicu užasnoj ceni koju treba platiti i mada nam se možda ne dopadaju metode koje selo (i vlastela) primenjuju na protagonistkinji, ne možemo da ne razumemo njihov gnev i strah.
Film, dalje, pati od nedostatka svesti o potencijalu koje mu daju dobra kamera, scenografija i ukusni kostimi koje ima, pa je MNOGO scena banalizovano ,,televizijskom" režijom gde se dijalozi rade u smeni planova i kontraplanova a montažer stalno ubacuje nove uglove kamere kako bi, valjda, dinamizovao prizor za koji se ne veruje da je dovoljno upečatljiv. Ovde nedostaje ta herzogovska diciplina koja bi filmu što imitira srednji vek ali želi da ima univerzalnu poruku dao malo dostojanstva a glumcima prostora da odglume.
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Die Schwarze Spinne je, možda iznenađujuće, najubedljiviji kada skrene u čist horor, nudeći jednu doduše izrazito šloki, ,,B" energiju, ali energiju koja deluje autentično i u kojoj se Fischerove ideje o dinamizovanju rakursa, igranju sa svetlom i senkama, te specijalnim efektima, da ne pominjem zastrašujuće CGI paukove na ljudima, na kraju spajaju u ugodan koktel jeze i katarzičnog gađenja. Nažalost, da bi smo ove scene konzumirali moramo da iskonzumiramo i ostatak filma koji ne zna je li istorijska drama, montipajtonovska farsa ili televizijska inscenacija rađena za potrebe nekog dokumentarca.
Gotthelfov tekst je sigurno zaslužio bolji film, ali na kraju je ipak važno primetiti da, iz perspektive srpskog gledaoca, čak i ovakav film ima progresivnu energiju kritike struktura moći u društvu, nametanja rodnih uloga i zloupotrebe verskih principa u svrhu manipulisanja društvom. Jer, meni je nezamislivo da bi čak i ovakav film mogao uopšte da se napravi u Srbiji u kojoj sada živimo gde su serije poput katastrofalnih Nemanjića sažetak naše kolektivne mitologizacije i idealizacije srednjevekovlja i gde kritička misao nema šansu da se pomoli među svim onim ,,a šta su oni NAMA radili" povicima kojima se sve pravda. U tom smislu, gleadnje Die Schwarze Spinne je opravdano makar kao neka vrsta podsećanja na to gde smo mi a gde je, eto, Švajcarska. Pa vi sad vidite.
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Pogledao sam prošlogodišnji film Rosalind Ross (ali u stvarnosti zaista film Marka Wahlberga i Mela Gibsona) Father Stu i on daje idealan povod da čovek meditira o tome kako je samopercepcija temelj identiteta ali da ona često nema mnogo veze sa tim kako nas svet vidi i kako stvari funkcionišu.
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Uzmimo, jelte, katolicizam, koji je u centru ovog filma, kao primer. U Evropi, katolička veroispovest je u dobroj meri dominantna ili je to makar bila dobar deo istorije poslednjih hiljadu i po godina – sa svojim krstaškim ratovima, inkvizicijama, ali i investiranjem u političke strukture i obrazovanje. Već to i da je opozicioni, alternativni pogled na hrišćanstvo nazvan protestantskim i da je demontirao veliki deo hijerarhijskih struktura unutar crkve na teritorijama gde je postao dominantan pokazuje koliko u Evropi katoličanstvo ima reputaciju autoritarne, pa i represivne verzije vere.
U Americi, pak, može se reći da se katoličanstvo često intuitivno vezuje pre svega za manjine. Protestantska verzija hrišćanstva kao da je vezana za uspešne i moćne porodice i grupe u populaciji dok katolici često dolaze iz manjinskih grupa – Hispano zajednice iz Centralne i Južne Amerike, ali i evropskih imigranata ,,nižeg" ranga kao što su Irci ili Poljaci. Naravno, ovo je samo stvar (samo)percepcije, ne zaboravimo da su Kenedijevi bili katolici, ali sa druge strane: John Kennedy je do pre dve godine bio jedini katolik koji je ikada bio predsednik SAD. Drugi u istoriji je aktuelni predsednik, Joe Biden i možda nije ni slučajno da film kao što je Father Stu stiže pred publiku upravo za vreme njegove administracije.
Čak i tako, ovo je film koji studiji nisu naročito entuzijastički promatrali u fazama predprodukcije. Iako ga potpisuju Columbia kao producent i njena majka Sony kao distributer, istina je i da je ovo rađeno u koprodukciji sa južnokorejskim CJ Entertainment a da je Mark Wahlberg, veoma emotivno investiran u ovaj projekat, na kraju uložio, vele, milione sopstvenih dolara da se on dovede do bioskopa. Na kraju krajeva, i ideja za projekat je nastala nakon što je Wahlberg godine večerao sa dvojicom katoličkih popova i čuo inspirativnu životnu priču Stuarta Longa, katoličkog sveštenika koji je, boreći se sa teškom progresivom mišićnom bolešću, bio neka vrsta duhovnog svetionika za mnoge vernike u Montani. Long je umro 2014. godine sa svega pedeset a Wahlberg je dve godine kasnije obznanio da radi na scenariju sa Davidom O. Russellom.
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Da je Russell ostao na projektu, možda bi Father Stu i bio cenjeniji film. No, možda je i za iskusnog skriptrajtera biografskih filmova ovo bio malo suviše hardcore projekat. Na kraju krajeva, Wahlbergu se ubrzo pridružio Mel Gibson i Father Stu je postao projekat-iz-strasti za dvojicu verovatno najvećih autovanih katolika u Holivudu. Finalnu verziju scenarija i režiju filma na kraju je potpisala Gibsonova aktuelna partnerka i majka njegovog najsvežijeg deteta, Rosalind Ross, srazmerno neiskusna režiserka ali koja je od predloška iz života napravila zapravo pristojan biografski film sa nekoliko upitnih elemenata.
Najupitniji element? Znate i sami: Marki Mark koji treba da odigra kompleksnu karakternu ulogu i pokaže transformaciju iz white trash jebivetra u čoveka koji je i okoštale strukture katoličke crkve u Severnoj Americi podsetio na to šta zapravo predstavlja snaga vere u božiju ljubav.
Možda će delovati kao iznenađenje, ali ja imam puno simpatija za Wahlberga kao glumca i mada nisam siguran da on ima nekakav ogroman ,,range", u pitanju je čovek sa nesumnjivom harizmom i dobro uvežbanim tehnikama koje ga nepogrešivo služe kada igra tipske karaktere. Prva polovina filma Father Stu se zato u ogromnoj meri oslanja na onakav format lika u kakvom se Wahlberg najudobnije oseća: belo smeće sa margina društva ubeđeno u svoju harizmu i nepobedivost, spremno da laže, preteruje, obmanjuje i sve odozgo soli grubim, nasilničkim šarmom dok se svet ne umori od pritiska i napravi mu malo mesta a što će on smatrati za svoju veliku pobedu i ići još jače dalje glavom kroz zid. Ovaj film prilično verno prati životnu priču stvarnog Stuarta Longa, ali karakterizacija koju u pripovedanje donosi Wahlberg je preslikana gotovo direktno iz Pain & Gain i film otud ima i sličnu komično-dramsku energiju u prvih sat vremena.
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Long je, originalno bio smalltime bokser sa više beznačajnih trofeja nego para u banci, majkom koja se brine što joj sin za život zarađuje (i to sitno zarađuje) primanjem urdaraca u glavu i otuđenim ocem što živi u prikolici na obodu grada, pije ko kreten i radi na gradilištu. Kada lekari objave da bi dalje bavljenje boksom Stuartu moglo ozbiljno da ugrozi život na ime nakupljenih hroničnih problema, njegovo je rešenje da se preseli u Holivud i postane filmska zvezda.
Naravno, čak i on je svestan da to ne ide BAŠ tako pa se zapošljava u supermarketu da ima od čega da plaća kiriju dok ga ne otkriju i ovaj deo filma je ispunjen šarmantnim vinjetama i epizodama koje pokazuju smalltime hustlera sa velikim snovima kako pokušava da šarmira blazirani veliki grad.
Preokret nastaje kada zbog lepe ali vrlo religiozne Meksikanke, Carmen, Stuart počne da pohađa mise u obližnjoj katoličkoj crkvi pa i pristane da se krsti. Otac mu je zgrožen, majka zabrinuta ali dok i sam glavni lik sebe ubeđuje da sve ovo radi pre svega zbog, jelte, pičke, život se dešava pa iskustvo bliske smrti u saobraćajnoj nesreći trigeruje vizije Device Marije i u Longu proizvodi stvarni religiozni žar.
Drugi deo filma bavi se Longovim naporom da postane sveštenik i otporom na koji nailazi ne samo u porodici (čak se i njegova devojka, Carmen, šokira jer je svesna da ovo znači da od njihovog planiranog braka neće biti ništa) već i u katoličkoj zajednici koja smatra da je ovo još jedan hustle lika poznatog po trikeraju i namigivanju.
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I to je onda materijal za zanimljivu nisku scena u kojima glavni junak demonstrira izvornu hrišćansku vrlinu, sa vrlo doslovnim shvatanjem (i prihvatanjem) ideja da je patnja pročišćujuća, da Bog u čoveku voli pre svega njegov kapacitet da se promeni i bude bolji, a sve to u kontrastu sa bogoslovijom koju pohađa i crkvom kojoj je ona pripojena, a koje su zapravo vrlo birokratizovane, formalizovane institucije i koje će mu prvo implicitno a onda i eksplicitno staviti do znanja da mu neće biti dopušteo da se zaredi čak i ako uspešno završi studije. Longova strast, pokazuje se, nije dovoljna jer on ima pogrešno poreklo, dolazi iz netradicionalne zajednice i samo zauzima mesto nekome ko je od rođenja predodređen da se bavi svešteničkim pozivom (a što je eksplicitno demonstrirano scenom ispovesti pred kraj filma).
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Da su Gibson i Wahlberg kreirali jedan kritički film usmeren na katoličke strukture u SAD kako bi ukazali da su se one odrodile od ideja izvorne hrišćnaske požrtvovanosti i ljubavi je zanimljivo ali ne sasvim iznenađujuće jer se radi o prilično istaknutim zilotima, pogotovo u Gibsonovom slučaju. Gibson je ovde, u ulozi Longovog oca, inače izvrstan, dajući potreban dramski gravitas pripovesti koja pokazuje transformaciju njegovog sina što i sama transformiše okruženje i proizvodi ljubav i saosećanje u ljudima koji su takve stvari odavno za sobom ostavili. Sam Wahlberg je sasvim pristojno odradio svoj deo posla i problem sa drugim delom filma je pre svega jer je manje zabavan od prvog koji se zasniva na niski epizoda nabijenih transgresivnom energijom i humorom. Druga polovina pokazuje ozbiljnijeg, kontemplativnijeg Wahlberga koji se bori sa otporom u crkvi i nastupajućom bolešću i mada se scenario trudi da i ovde ima dovoljno lepršavih dijaloških razmena i frivolnog humora, možda mu nedostaje više scena u kojima će Wahlbergov lik pokazati kako inspiriše druge.
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One scene u kojima toga ima su uspele i sveštenik koji psuje i priča običnim jezikom običnih ljudi, već deformisane figure od bolesti koja ga proždire zaista deluje kao sveštenik kome običan čovek veruje. Ne jer ga se plaši, ne jer ga poštuje na način na koji se poštuje institucija, već jer vidi pred sobom osobu u bolu koja mu se obraća njegovim jezikom, pokazuje da shvata i njegov bol i nudi nekog ko će ga saslušati.
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Film, utoliko ima strukturalni problem, radije nego puki zanatski – naprotiv, Rossova ima uz sebe vrlo solidnu ekipu koja proizvodi ubedljivo kadrirane i vođene scene što imaju tačno one emotivne ali i likovne kvalitete koji su potrebni. No, drugi deo filma bi profitirao od promenjenog pristupa, u kome bi drama izraženije zamenila dotadašnju komediju i gde bismo dobili jedan, recimo, scorceseovski eksces tako da i mi ateisti klimnemo glavom i izrispektujemo čoveka u potpunosti predatog Hristu i bez najmanje sumnje u to da ga, čak i kada zaista posumnja i rasplače se, Bog neizmerno voli.
Ovako kako je, film nudi humanu i upečatljivu priču kojoj se nema mnogo toga zameriti. Naravno, opet moramo imati na umu tu percepciju organizovane religije, hrišćanstva generalno i katolicizma partikularno u kojoj ih mi vidimo kao milenijumsku strukturu moći dok ih glavni lik vidi kao okoštali sistem koji malo i zaboravlja na jednostavnu suštinu vere i bezuslovnu ljubav što stoji u njenom temelju. Ali lično, kao, jelte, ne samo ateista već i veoma sumnjičavo nastrojena osoba kada su u pitanju ovakvi hijerarhijski sistem, skloni sili i korupciji, ovom filmu zaista nemam mnogo toga da zamerim.
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Gledanje filma Barryja Levinsona, The Survivor, snimljenog 2021. godine je, uprkos teškoj temi i drami bremenitoj mračnim emocijama je za mene bila i neka vrsta relaksacije, gotovo kao ulazak u onaj proverbijalni stari par nošenih farmerki koje se savršeno uklapaju uz svaku krivinu vaše figure i u kojima se osećate udobnije nego u sopstvenoj koži. Ima naprosto nečeg duboko umirujućeg za čoveka mojih godina kada naiđe na film koji ne samo da svoju kompleksnu temu tretira bez readymade rešenja i unapred-svarenih odgovora već njenu kompleksnost i višeznačnost tretira kao materijal za (celoživotno?) razmišljanje na strani gledaoca, nego i kada gledate rad reditelja koji duboko razmišlja o ne samo ritmu kojim će ići dijaloške razmene i rezovi u scenama, nego o kompoziciji svakog kadra, o osvetljenju i pokretima kamere ako ih ima. Ne da pokušavam da kažem da je, jelte, ,,u moje vreme sve bilo bolje" ali The Survivor je u vizuelnom i pripovedačkom smislu kulminacija karijere što traje bezmalo pet decenija i svedočenje o tome koliko nakupljeno iskustvo znači kada se stavi naspram ne samo ,,formule" po kojoj se prave mnogi moderni filmovi već i naspram autorske energije koja karakteriše mlađe autore. The Survivor je film brutalnih amplituda u svom prikazivanju nečovečnosti i nasilja koje daleko prevazilazi masnice na licima i polomljene zube (a čega ima u izobilju) ali sa druge strane film odmerene, kontemplativne analize svega onog što nečovečnost i nasilje mogu da polome u čoveku, do mere da on prestane da sebe smatra čovekom – i kako ga od toga spasti.
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Levinson je, sada je to fer reći, autor koji je definitivno uskraćen za mnoga priznanja što su ih ljudi njegove generacije čini se po čistoj inerciji požnjeli. Iako je došao pri kraju novoholivudskog talasa i nije imao sa sobom auru menjača paradigme kakvu su nosili Spielberg, Scorcese, Carpenter, Lucas ili Coppola, Levinson se pogotovo tokom osamdesetih dokazao kao izuzetno spretan režiser, kadar da menja žanrove bez mnogo muke i isporuči u svakom od njih. Iako zapamćen po low-key dramama i dramskim komedijama poput Diner, Tin Men, Good Morning, Vietnam ili, dakako Rain Man, Levinson je sasvim spretno okretao i komercijalne filmove poput Young Sherlock Holmes, ili Crichtonove Sphere. Osvajanje četiri oskara za Rain Man (uključujući za najboji film i režiju) je delovalo kao da bi od Levinsona moglo da napravi novog, jelte, Spielberga, ali ovo se nije desilo i on je morao da nađe za sebe karijeru koja u poslednje vreme sve više podrazumeva rad za televiziju.
Ali ozbiljan rad. Pored nekoliko serija sa kojima je Levinson radio u poslednjih desetak godina, The Survivor je primer televizijskog filma (distribuiranog putem HBO Max) kakav je nekada bio veliki bioskopski događaj, one vrste koju bi potpisivali Scorcese, Spielberg ili Coppola, čvrsto utemeljen u istorijskom periodu i sa ulogama u kojima glumci posežu duboko u sebe i na površinu iznose svoj najbolji rad, nadajući se osvajanju oskara.
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Kad već pominjeno Spielberga i oskare, i njemu su sa Šinlderovom listom prebacivali da je, eto, tek sada, kada baš želi oskara, pronaša Jevrejina u sebi pa je, ako se čovek postavi baš cinično, moguće i reći da je The Survivor za Levinsona neka vrsta napora da pod stare dane proizvede svoj definitivni ,,jevrejski iskaz". No, biram da pomislim kako je film, nastajao u atmosferi sve više rastućeg antisemitizma ali i zatim globalne nesigurnosti koju je pandemija uvela u svačiji život, više zaista oduživanje duga prema istoriji koju, jelte, ako zaboravimo, moramo da ponovimo.
The Survivor je biografski film snimljen po knjizi koju je uradio Alan Scott Haft i koja se bavi životom njegovog oca, Harryja Hafta (tj. Herschela Hafta, kako su ga zvali u rodnoj Poljskoj pre rata), bivšeg logoraša i kratkovečnog profesionalnog boksera u lakoteškoj kategoriji u nemačkoj a zatim u SAD gde je imao tu, jelte, nesreću, da deli istorijsku epohu sa jednim od najvećih boksera ikada, pa je Rocky Marciano, sa svojom osamnaestom pobedom, nokautom završio karijeru poljskog imigranta.
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No, Haftov život je bio do te mere obeleže iskustvom godina provedenih u koncentracionom logoru da je ovaj film neka vrsta metodične, nemilosrdne ali ultimativno humane disekcije PTSP-a kakav se u čoveku ukoreni nakon ne samo svedočenja nekim od najstrašnijih zverstava u istoriji čovečanstva, već i učestvovanja u nekim od njih.
Naime, iako je Haft tokom kratke profesionalne karijere u SAD od strane promotera reklamiran kao ,,preživeli iz Aušvica", tek susret sa novinarom koji želi da njegovu priču ispriča sa malo više detalja pokazuje nam svu dubinu rascepa koji Hart nosi sa sobom i pet godina nakon završetka Drugog svetskog rata. Nakon sukoba sa jednim od čuvara u logoru, gde je pokazao iznenađujuću požrtvovanost i jaku desnicu, Hertzko Haft je regrutovan od strane SS oficira da boksuje svakog vikenda u logoru, boreći se protiv drugih logoraša koji će volontirati, a na zabavu (i klađenje u rajhsmarke) prisutnog osoblja i oficira. Hertzko pristaje na ovo iako je sasvim svestan ne samo koliko je ovo ponižavajuće za njega samog već i da će njegovi protivnici na kraju možda biti ubijeni. Tokom naredne tri godine, on ima priliku i da možda pobegne i da možda kazni svog tamničara ali njegova odluka je uvek da učini ono najsigurnije da bi preživeo – pa ostaje u logoru i radi šta mu se kaže. U korenu njegovog ponašanja je racionalizacija da sebe čuva za devojku koju je imao pre rata, odvedenu u ženski logor još 1941. godine i da mora da preživi kako bi je jednom našao, možda spasao.
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Ben Foster, koji ovde igra glavnu ulogu daje nam jedan kompleksan portret ,,predratnog" muškarca opterećenog prvo svim onim idejama o muškosti, žrtvovanju i snazi, a onda i neopisivo ekstremnom traumom Aušvica i voljnim učestvovanjem u igrama koje priređuju nacisti. Njegova gluma asocira na velike uloge koje su iza sebe ostavili Brando ili De Niro (sa sve telesnom transformacijom u rangu bar 20-30 kilograma kako bi uverljivije prikazao događaje iz 1942, 1949. i 1963. godine) ali Fosterova uloga delimično je i da dekonstruiše arhetipe mačo antiheroja koje su ovi prethodnici izgradili. Njegov Harry Haft je neko ko zna da je u krivu i da robuje tradicionalnim stereotipima društvenog ponašanja, čak i sada, kada živi u novoj domovini, gde je bezbedan i ima na raspolaganju beskonačne mogućnosti. On je u stanju da ovo i artikuliše i mada ne priča Engleski naročito dobro do samog kraja filma, prelazeći na Jidiš kada mu je potrebno da se suptilno izrazi, neki od najuspelijih momenata su upravo oni u kojima on sa gotovo naučnom, objektivnom mirnoćom analizira svoje ponašanje i, i dalje se držeći svojih racionalizacija, potkazuje ih kao besmislene. Haft je, na kraju krajeva bio neko ko je živeo sa bremenom ekstremne krivice na leđima i čiji je jedini način da vidi svetlo na kraju tunela bio da se drži ideja o tome da ga tamo čeka nešto čisto i nevino, što će opravdati sve što je učinio.
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I Foster je dorastao ovoj ulozi, kao što je i Levinson dorastao metidočnom cepkanju priče na fragmente i pažljivom njihovom raspoređivanju u prostoru tako da dobijemo portret čoveka koji je izašao iz logora ali je poneo logor u sebi i Aušvic je sa njim kuda god da krene. Iako je boks za njega profesija, vrlo je jasno, već posle kratkog vremena, da je on prevashodno način da Hart sebe kažnjava iznova i iznova za to što je prihvatio da u zamenu za život deo svoje duše ustupi zlu koje mu se smejalo u lice. Ovde se mora istaći i odlična rola Billyja Magnussena koji nacističkog oficira Dietricha Schneidera igra savršeno, demonstrirajući racionalizaciju na strani jednog obrazovanog, otmenog čoveka koji nema u srcu nikakvu mržnju prema Jevrejima, štaviše, smatra i Treći Rajh propalim projektom, ali koji kaže da je samo izabrao da bude na strani istorije gde će umesto da bude nakovanj koji udaraju biti čekić koji udara (,,mada to ne znači da mrzim nakovanj i volim da ga udaram"). Schneider nije dobar čovek ali nije ni puka psihopatska zver i Magnussenov rad nam prikazuje tu složenost svetonazora pojedinaca ali i populacija koje delaju iz straha ali se zaogrću u moć, uspevajući nekako da pomire ideje da su istovremeno i ugroženi i u obavezi da se brane, sa idejom da je istrebljenje čitavih etnicitieta naprost njihova istorijska dužnost. Osamdeset godina posle Drugog svetskog rata ovaj način razmišljanja je, nažalost, isuviše prisutan u javnosti da bi ovaj film mogao da se otpiše samo kao Levinsonovo oduživanje duga svom jevrejskom nasleđu.
Tragičnost Haftove sudbine je do kraja filma razvijena kroz scene koje pokazuju njegov kasniji život sa suprugom Miriam i decom, u šezdesetim godinama, gde svrha njegovog preživaljavanja Aušvica dobija neku vrstu razrešenja nakon godina košmara, stisnutih vilica i praktično zlostavljačkog ponašanja prema porodici. Levinson režira potresno finale bez teatra, bez vatrometa i drame, prikazujući samo dvoje ljudi koji su potpuno izmenjeni iskustvom preživjavanja logora smrti a koji jedno drugom znače sve na svetu samo zato što su ustanju da prepoznaju da ono ljudsko u onom drugom nije do kraja ubijeno u logorima. Njihov dijalog je jednostavan, a suze uzdržane, no Levinsonovo postavljanje scene na obalu mora i u vetrovit letnji dan daje svemu auru sudbinskog bez potrebe da se sudbina zaziva u samom tekstu. Glumica Dar Zuzovsky ovde izvrsno koristi svojih pet minuta da naspram Fostera stavi portret žene onoliko jake da se muškarci tresu od straha i obožavanja u isto vreme.
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Levinsonov rukopis je ovde ekstremno siguran sve vreme, sa period-piece pristupom koji je sveden, uzdržan i bez egzibicionizma koji često vidimo u sličnim filmovima. Likovi su zreli, ozbiljni, čak i kada su pitoreskni (većina ansambla vezana za Haftov trening za meč sa Marcianom), oni imaju istorije i unutrašnje živote – Paul Bates, John Leguziamo i Danny DeVito ovde pogotovo briljiraju u svojim minijaturama a Levinson tokom kratke sekvence treniranja izvan grada i odmora za baštenskim stolom nakon vežbanja kreira jednu od svojih nezaboravnih vinjeta u kojoj pripadnici nekoliko nacionalnih manjina sede i smejući se diskutuju o Americi koja im je sada svima domovina.
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Kameru je ovde radio George Steel, poslednjih godina najviše zaposlen na televiziji (Black Mirror, Sandman, Sons of Liberty, Peaky Blinders itd.) i uz Levinsonov disciplinovan, vrlo klasičan režijski rad, pažljivu scenografsku (Kreka Kljaković u ekstremno nadahnutom izdanju) i kostimografsku (Marina Draghici, još jedna televizijska radnica) postavku, napravio izuzetno sveden a upečatljiv film pun senki i svetla a bez ekscesa koji, u današnje vreme superherojskih blokbastera neretko i ozbiljne drame osećaju potrebu da malko prodžaraju. Scenario je pisala Justine Juel Gillmer – žena uglavnom zaposlena na zabavnijim televizijskim propertijima (Halo, The Wheel of Time itd.) i ovim pokazala da se na nju može računati i za dramski program a muziku je radio ko-drugo-do Hans Zimmer, dajući filmu taj zaokružujući gest dostojanstva i odmerenosti u grotlu samog pakla.
The Survivor je film u kome se crno-bele scene ogromne brutalnosti iz Aušvica smenjuju sa pažljivo osvetljenim, umirenim kolor-kadrovima iz SAD kasnih četrdesetih i ranih šezdesetih sa takvom elegancijom i smirenošću da je prosto uživanje u fotografiji i besprekornoj montaži (Douglas Crise) neka vrsta grešnog zadovoljstva u filmu što gledaoca lomi krivicom koja protagonistu progoni gotovo do poslednje scene pre nego što mu bude dozvoljeno da sebi konačno oprosti. Reći da sam u ovom filmu uživao zaista zvuči pogrešno imajući u vidu njegovu temu, ali to je valjda potvrda da je umetnost, na kraju krajeva, čak i kada o moralu priča, zapravo sasvim izvan njegovog dosega.
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Pogledao sam Lovely Boy, drugi dugometražni film italijanskog režisera Francescoa Lettierija iz 2021. godine i bio pozitivno iznenađen energijom, sirovošću, ali i no-bullshit zanatskim nivoom ovog filma. Lettieri je pre ovoga režirao nekoliko video spotova, radio kao asistent režije i kao svoj autorski debi 2020. godine napravio Ultras, vivisekciju ličnosti omatorelog vođe navijača sa napuljskih tribina. Lovely Boy je nominalno glamurozniji film, koji se bavi mladim ljudima u raljama šou biznisa, a još i jedna prilično brutalna priča o adikciji, ali i egzistencijalnoj praznini na kojoj ona izrasta a koja je, ta priča (a možda i ta praznina), bojim se, bezvremena.
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Lovely Boy je umetničko ime momka po imenu Nicolo (Andrea Carpenzano) koji sa svojim najboljim ortakom, Borneom, ima neimenovani trap duo što na rimskoj klupskoj sceni i na tiktoku počinje da žanje ozbiljne uspehe. Dva momka smatraju da je vreme da i njima u životu krene, iako su tek u ranim dvadesetim i ne znaju ništa sem da konzumiraju narkotike i mrmljaju u mikrofon. Njihov menadžer, Pada, nešto stariji, iskusni lik sa rimske hip-hop scene pokušava dve mlade zvezde u usponu da zauzda dovoljno da se ne pretvore u padalice pre vremena a da se opet sačuva njihova zastrašujuća mladalačka energija i harizma. Naravno, ovo nije hip-hop iz njegovog vremena, trap je zaoštren u svom nihilizmu do krajnjih granica i Nicolo aka Nic ne samo što konzumira sve narkotike poznate čovelanstvu (osim heroina koji mu je, iako to ne kaže eksplicitno, suviše old school i povezuje ga sa istrošenim, matorim rokerima) nego ga i autentično boli kurac za sve. Njegov uspeh meri se lajkovima na tiktoku, a ambicija dvojice klinaca nije čak ni da snime album.
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Zapravo, oni eksplicitno odjebu ponudu koji imaju da snime ne jedan već dva albuma, odbijaju da potpišu ugovor i svom menadžeru daju pedalu, jer su sigurni da znaju šta rade – snimiće spot, nabosti ogroman broj pregleda na JuTjubu (najamanje, jelte, drei millionen (https://www.youtube.com/watch?v=m8OBCH2zea0)) i živeti u konstantnoj nirvani opijata i pičetine koliko god da još požive. Ova vrsta nisko postavljene ambicije, nerazumevanja načina rada industrije i traženja prvo inspiracije, a onda pribežišta u opijatima čini kičmu filma.
I, reći će neko, pa to baš i nije nešto novo. I nije. Lovely Boy je kao da ste uzeli pesmu Spotlight Kid od Rainbow, napisanu pre četiri decenije i razvukli je preko trap matrice na stošest minuta paljenja cigara, gledanja u prazno i cimanja svih mogućih hemikalija iz improvizovanih bongova i sa aluminijumskih folija. No, to što kombinacija šou-biznisa koji raste na spoju hedonizma i nihilizma i adikcije koje ih prati u stopu nije nova, ne znači da ovaj film ne govori neke esencijalne stvari o onome danas i ovde.
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Trap je, u prvom redu, kultura za sebe. Naravno da on ponavlja mnoge kulturne obrasce onog što je bilo pre njega, ali u bogatom nasleđu hip-hop istorije moderni trap se izdvaja između ostalog upravo svojim skoro agresivnim aistorijskim pristupom. Dok je tradicionalni hip-hop, u mnogim svojim formama, gotovo uvek čuvao sponu sa istorijom i rastao na stalnom citiranju i omažiranju, trap dvadesetprvog veka je gotovo programski okrenut sadašnjosti i snovima o budućnosti, odbijajući da se smešta u kontekst i da govori o ičemu sem o svojim najurgentnijim nagonima i željama. Kada u nekoj od scena u filmu glavnom junaku jedan od starijih likova kaže da mu se ne sviđa njegova muzika, jer ne voli rap, ovaj mu – inače letargičan i nesklon komunikaciji – brzo odgovara da njegova muzika nije rap. ,,Ona nema ime. U našoj muzici nema nikakvog sadržaja. I to je namerno." Trap koji provlače moderni klinci je u odnosu na hip hop kao krek u odnosu na heroin: sav njegov kik, nula njegovog glamura. Današnji trap, za razliku od onog sa kraja prošlog veka i hip-hopa generalno snažno nastoji da emituje auru čistog, destilovanog hedonizma urolanog u nihilističku rizlu i ispušenog iz sve snage: trap izvođači ne pokušavaju da kritikuju društvo niti da objasne ZAŠTO, ne zanima ih da se nadmeću sa drugim reperima ili budu u bilo kom kontekstu. Možda ključno, ne zanima ih put, već isključivo destinacija, njih zanimaju isključivo ,,highevi", postignuti kroz seks, sticanje bogatstva ili narkotike, pa je njihova muzika serija krešenda bez međuigre (uz, ne slučajno, najkompleksnije programiranje udaraljki baš na najvišim delovima registra – kontračinelama), sa kratkim tekstovima i pesmama svedenim na skeletalne perkusionističke forme u kojima se orgazmički ili narkotički vrhunci već tokom samog njihovog trajanja kontrastiraju sa odjekivanjem praznine koja ih okružuje.
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I čim zaustite da kažete kako je ovo mnogo, mnogo gore od bilo čega što je bilo pre (uključujući gangsta rap, g-funk, black metal, rock 'n' roll itd.) i kako današnji klinci jebeno ne znaju šta rade, treba da se ugrizete za jezik, jer naravno da ne znaju pošto nisu oni kreirali svet u kome odrastaju. Ako je vaše detinjstvo bilo obeleženo povremenom anskioznošću koju je u vama izazivalo društvo što vam se ponekad smejaolo, a ponekad vas podsticalo, epizode u kojima vam se činilo da ste na suđenju iako niste ništa krivi, treba da se setite da je za današnje klince ovo doslovno celodnevna aktivnost, svakog dana. Oni rastu uz doslovno numeričko ocenjivanje svega što rade svakog dana, dok gledaju instagram filtere, tik tok challenge videa i JuTjub prenkove, vrednovani kroz broj lajkova i pratilaca i izloženi ocenjivanju i presuđivanju i dok su budni i dok spavaju.
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Otud je ovaj film, svakako, još jedan fim o adikciji, ali film o adikciji 21. veka, o stalnim dopaminskim šotovima koje glavni junak oseća gledajući u telefon dok se skroluju komentari i tiktok lajkovi, o endorfinskom piku kada izađete pred ceo klub i izvodite svoj najveći (jedini?) hit koji govori o aluminijumskoj foliji kao putu do konzumacije hemikalije što čini da na trenutak možete da prikočite, o ženama koje vam se taru o kurac iako im niste zapamtili ni imena niti iz koje to dođavola advertajzing agencije tvrde da dolaze jer ste urađeni kao majka.
Hip-hop je uvek imao veze sa opijatima, naravno, ali u modernom trapu su oni od istorijskog bremena sirotinje iz geta postali svetonazor. Ako su Public Enemy osamdesetih govorili o crncu koji između crkve i prodavnice pića bira da uđe u ovo drugo, a čak i Ice Cube pre tri decenije govorio o tome kako establišment planski gura krek u crne krajeve grada, hip-hop 21. veka je od dilera napravio heroje (videti Milijevu Darko Šarić (https://www.youtube.com/watch?v=nfE5OQr-5EE) ili bilo koju pesmu Prti Bee Gee koji čak i nisu trap ekipa), a od narkotika kao što su tzv. soli za kupanje religiju. Ni malo slučajno glavni junak ovog filma nosi krst oko vrata, a pomenuti najveći hit priča o krstu napravljenom od aluminijumske folije.
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Lovely Boy je i tetovaža koju prvu vidimo u filmu, napravljena iglom ispod levog oka protagoniste, kao samo jedna od tetovaža koje on ima na licu. Pored datuma rođenja tu je i posveta njegovom preminulom psu – ovo je čovek koji doslovno tetovira svoje ime i važne događaje iz svog života na lice, jer sebe kompulzivno gleda na ekranu po ceo dan i pokušava da bude siguran da zna u koga gleda. Carpenzano je SAVRŠEN kao Nico, dajući gledaocu nenamešten, perfektan prazni pogled i nezainteresovan stav prema svemu u životu što nisu narkotici ili vagina (mada je najbolje kada se ove dve stvari kombinuju), ne sasvim presudno čija vagina. On nije samo ljudsko biće koje upada u bezdan, on je, najveći deo filma hodajući bezdan, ljudsko biće koje pati i trpi užasan bol, ali čiji je izvor bola on sam.
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Film je vrlo pažljiv u tome da ne prikaže Nica kao žrtvu neposrednog okruženja – naprotiv, roditelji su puni razumevanja za životni stil mlade zvezde u usponu, svesni da njegovo repovanje o opijatima nije samo umetnička fikcija. Ćale u jednom momentu kaže da je i on cimao hašiš kad je bio u njegovim godinama i pretpostavka je ovde da svi Nica tretiraju kao odraslu osobu koja zna šta radi.
Ali naravno da on to nije i da ne zna. On je – kao i mnogi filmski i životni (anti)junaci pre njega neko ko je dobio previše pažnje, pičke i pohvala prerano u životu, žrtva društva pozitivne povratne sprege u kojem se i male stvari nagrađuju velikim pohvalama, neko koga svi hvale za talenat, ali niko mu ne objašnjava da je talenat kurac ako se uz njega ne uloži strašno mnogo rada. Njegov najbolji ortak, Borneo, je jedini koji ovo shvata, jer je on zapravo znatno manje talentovan i harizmatičan, ali kada dođe do sukoba dva partnera deluje kao da je samo ljubomoran.
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Nehronološki pričan film je posložen vrlo sigurno tako da scene ekscesa, partijanja, nastupa i studijskih sesija gde se tekst u mikrofon mrmlja čitajući ga sa telefona, a okolo sede ortaći i ribaje, i znate već, cirka se, riva se itd., dolaze između scena Nicovog skidanja sa svih opijata odjednom u privatnoj instituciji zabodenoj negde u Dolomitima, a koja ima princip da su medikamenti manje bitni od uspostavljanja ponovne konekcije sa drugim osobama.
I ovo je jako dobro odrađeno, jer iako deluje kao apsolutna oda crnilu i nihilizmu, film Lovely Boy zapravo želi da ispod bezdana koji sve vreme vidimo u Nicu ipak nađe skrivenu ljudskost, a to dolazi postepeno, korak po korak, kroz scene u instituciji gde se on prvo podsmeva (koliko je u stanju da uopšte pokaže neku emociju) matorim đankozama koje se tamo skidaju sa heroina, neke od njh već decenijama, prevrćući lopatama konjsku balegu i šetajući se po čistom vazduhu.
Ovaj deo filma šalje vrlo jednostavnu, skoro banalnu poruku o tome da je ljudski kontakt doslovno jedino što leči (ili privremeno leči) adikciju, jedino što može zbilja da prekine petlju uzdizanja na talasu dopamina i padanja nazad u ambis. Andrea Carpenzano ovde bez mnogo drame i glumatanja dopušta da ispod maske nezainteresovanog, praznog (t)repera povremeno izroni klinac od dvadesetak godina koji je nekada i prirodno ljubopitljiv, a nekada sasvim jasno namešteno nezainteresovan. Scena pri kraju filma, gde sa reformiranim heroinomanom koji je predvodio najjači Queen tribjut bend u Južnoj Italiji izvodi pred ostalim pacijentima svoju pesmu koju nikada nije snimio, je perfektna ne samo u spajanju generacija i svetonazora nego u podsećanju na to koliko je umetnička interpretacija života zapravo esencijalna za razumevanje života. Brajanmejevska solaža na gitari uz monotono trap recitovanje je esetski nakazna kombinacija, ali pacijenti su dirnuti do suza, a zatim se smeju i tapšu sa oduševljenjem, jer ova pesma sažima njihove živote i pokazuje im najbolji kraj koji mogu da zamisle.
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U poslednje vreme sam prilično slabo reagovao na novije evropske filmove koje sam gledao, nezadovoljan njihovim čestim praznim hodovima i naučenim trikovima za imitiranje dubine. Francesco Lettieri je, međutim, surovo ekonomičan režiser i ovo je film u kome ni jedna scena nije tu tek tako, da nam da malo ,,mooda" ili pola minuta glavnog lika koji gleda pored kamere kako bismo mi nagađali o njegovom unutarnjem životu. Sve scene su svrhovite i imaju svoje mini-narativne, a Carpenzanovi pogledi u prazno su bolno jasni i pokazuju nam rezignaciju nad ispraznošću života koja nam je svima poznata samo smo možda imali sreće da nam ju je nešto negde nekada prekinulo. Film se završava na zapravo optimističnom mestu dajući svom protagonisti ne izlaz, ali šansu da ga potraži, potvrđujući njegovu ljudskost i podsećajući publiku da smo svi u ovome zajedno čak i kad svi mislimo da smo sami. Pa šta nam bog da. Sa pažnjom ću čekati naredni Lettierijev film.
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Iz pijeteta prema Bruceu Willisu, jednoj od najsjajnijih zvezda akcionog filma moje mladosti, a čija je nedavna dijagnoza frontotemporalne demencije označila i kraj glumačke karijere, ali i iz, priznajem, sociološke radoznalosti, pa onda i iz čiste gikovske žudnje pogledao sam film Johna Suitsa iz 2020. godine originalno naslovljen Breach a onda preimenovan u, valjda bombastičnije, Anti-Life. Radoznalost se nije ticala toga kako zapravo praktično nepoznati režiser i produkcija skrpljena od mase malih kompanija dobije Brucea Willisa za film koji je očigledno, sa sto metara se vidi, jeftini direct to streaming filer – Willisova karijera je poslednjih nekoliko godina, nažalost sastavljena maltene isključivo od ovakvih produkcija – već kako sve to uradite a čak mu i ne date glavnu ulogu. Willis, naravno, onda u ovom filmu pruža najminimalniji minimum koji bi predvideli sindikat i pozitivno zakonodavstvo, ali, možda neiznenađujuće ali svakako pomalo tragično, to je još i najmanji od njegovih problema.
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Bruce Willis je, iako nešto mlađi od ostale dvojice, sa nekoliko ikoničnih filmova uspeo da se potpuno reinventuje i od televizijskog glumca poznatog po romantičnoj, komedijaškoj seriji Moonlighting postane akcioni star na istoj razini prepoznatljivosti kao Schwarzenegger ili Stallone, pretičući u punoj brzini '80s sabraću sa transverzale Norris-Bronson-Van Damme-Dudikoff i radeći sa ozbiljnim autorima kao što su bili McTiernan, Gilliam ili Tarantino. To čini posmatranje poslednjih nekoliko godina njegove karijere posebno bolnim. Dok su Stallone i Schwarzenegger mnogo bolje upravljali trajektorijama svoje slave, kapitala i uticaja, birajući šta će da rade – na filmu i izvan njega – Willis kao da je u poslednjoj deceniji naprosto digao ruke i prihvatao svaki scenario koji mu je stigao na mejl. Prosto je teško pomisliti kako je treći iz svojevremeno čuvene investicione ekipe u franšizu Planet Hollywood, i time treći u trijumviratu akcionih zvezda kasnih osamdesetih, ovako temeljito izgubio kompas ili ovako temeljito upao u stanje očajničke potrebe za bilo kakvom infuzijom novca.
John Suits nije, što bi se reklo, nekakav autor. Njegov opus uglavnom se odnosi na snimanje reklama a sa Willisom je radio reklamu Die Hard is Back za automobilske akumulatore pa se ta saradnja onda nastavila i u filmu Anti-Life. S obzirom da je Anti-Life dobio rejting PG-16 i iz najava delovao kao sasvim razumljiva kaver verzija Cameronovog Aliens, pripremio sam se na sat i po niskobudžetne ali psovkama i krvopljusom ispunjene akcione horor-zabave. Nažalost, ovo je znatno lošiji film nego što se iz najava ili trejlera moglo razlučiti.
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Konceptualno, Anti-Life kreće vrlo robusno od samog početka. Dvadesetdrugi vek je i planeta Zemlja je pred istekom svog, jelte, roka trajanja. Neimenovana pošast kosi populaciju koje ima skoro dvadeset milijardi a lideri su odlučili da je jedini razuman potez da se odabere srazmerno manji deo stanovništva – pedesetak miliona – i da se korišćenjem brodova kadrih da postignu nadsvetlosne brzine, taj deo prebaci na tzv. Novu Zemlju, naseljivu planetu na drugom kraju kosmosa gde će ljudsko društvo moći da krene iz početka ali sad, što se kaže, sa OVIM znanjem.
No, naravno, ovo je film iz treće decenije dvadesetog veka i svaka pomisao na idealističku, pozitivističku naučnofantastičnu koncepciju u kojoj se stara, islužena planeta napušta uz izmešana osećanja a u budućnost se gleda ne bez strepnje ali sa svešću da ljudska rasa konačno izlazi iz svog detinjstva je temeljito dezavuisana. Odlazak poslednjeg broda sa Zemlje obeležen je haosom i neredima dok mase ostavljenih pokušavaju da se ukrcaju na njega a razglas na samom brodu obaveštava one što su se ukrcali da će slepi putnici biti pogubljeni na licu mesta. Kada brod i poleti i ostavi Zemlju u retrovizoru, čak i među samim likovima čuju se sumnje u to da je, filozofski gledano, napuštanje stare planete i pronalaženje nove koja se može upropastiti od nule, najetičkija stvar koju čovečanstvo može da uradi. Kao i mnogi klasični B film iz naučnofantastične branše, i Anti-Life svoju sociopolitičku opservaciju stavlja pred gledaoca dovoljno jasno da ga zaintrigira, iako će, naravno, najveći deo vremena provesti u scenama tenzične jurnjave kroz slabo osvetljene hodnike i dovikivanjem da su čudovišta, jelte, iza ugla.
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Grandiozne scene sa puno statista sa početka su, naravno, nešto što film ovog budžeta ne može da ima sve vreme, pa se najveći deo od trista hiljada ljudi brže-bolje spakuje u kriogenske komore kako bi prespavali put do Nove Zemlje a na brodu ostaje budna posada od dvadesetak inženjera, čistača i bezbednjaka da motri njegovu putanju kroz, jelte, ,,kvantni" svemir. Naravno, film ima izrazito komičnu dimenziju već na ovom mestu u zapletu kada se shvati da putovanje traje svega šest meseci i da moguće uštede u hrani, vodi i pranju toaleta koje se na ovaj način ostvaruju verovatno ne mogu biti veće od cene koštanja kriogenske, jelte, tehnologije, ali opet, za potrebe kreiranja horor-situacije u kojoj mali broj likova na velikom brodu pokušava da shvati šta ih to ubija i odakle je, dođavola, došlo, ovo je prihvatljiv kompromis.
Mnogo manje prihvatljiv je, nažalost, način na koji film dalje razvija svoju priču. Obično u ovakvim situacijama koristimo Sy Fy-jeve produkcije kao merilo i smatramo da je sve što je bolje od njih dovoljno dobro, ali Anti-Life je izrazito loše vođen film. Suits je dobio na raspolaganje neke solidne glumce, od Willisa i Thomasa Janea, preko Callana Mulveyja, Kassandre Clementi pa sve do Codyja Kearsleyja koji ovde igra glavnu ulogu, ali čak i vrlo tipska podela karaktera ovde ne funkcioniše.
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Anti-Life, sasvim očekivano, ide na gritty, prizemljenu estetiku blue-collar šljakera u svemiru. Glavni junak, Noah, je na brodu kao čistač i doslovno riba klozete zajedno sa Bruceom Willisom čiji je lik završio vojne škole ali je u nekoj od akcija dobio napad savesti pa je ražalovan na, jelte, higijeničara. Willisov lik, Clay je ciničan, agresivan, neprijatan, nedruželjubiv i zanima ga jedino da nateže iz pljoske i da nekako stigne na Novu Zemlju gde će, pretpostavka je, nastaviti da se opija dok ne umre. Noah pokušava da sa okorelim svemirskim veteranom uspostavi nekakav ljudski kontakt ali to ne biva – mladi muškarac ima suviše toga čemu se u životu nada (uključujući trudnu partnerku u kriogenskom snu) da bi sa razočaranim i umornim Willisovim Clayjem mogao da ima dovoljno zajedničkog.
Onda sranje krene da udara u fen i likovi, koji se međusobno svi uglavnom znaju sa raznih misija, misle da je Noah – koji je nov i zapravo se na brod ušvercovao na kvarno – po definiciji kriv. Clay se tu zauzme za njega i određeno prijateljstvo iskovano na, jelte, bojištu počne da se pomalja. No, film je toliko kratak i usredsređen na ubijanje svog kasta da nema govora o tome da ovde dobijamo solidan karkterni rad. Glumci su režirani slabo, sa proklamacijama koje su neobične, nespretne, u najmanju ruku nezarađene, psovkama koje deluju namešteno u jednoj maltene pozorišnoj isporuci teksta i jedino što i dalje asocira na ikoničke '80s radove koje Anti-Life omažira (Alien/ Aliens, Predator, The Thing, pa i The Hidden...) je scenografija.
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I ovde makar ima šta da se pohvali. Naravno, ,,metalni hodnici sa treperavim svetlima" nije sad neki najnadahnutiji i najoriginalniji set dizajn, ali scenografi i direktor fotografije su ovde postigli vrlo pristojne rezultate sa malo para, dajući nam jedan samorazumljiv i funkcionalan prostor gde i kada shvatate da je ,,kvantni reaktor" samo hrpa izukrštanih neonskih sijalica, to i dalje izgleda dovoljno lepo da ne pokvari filmsku magiju.
Nažalost, Suits je onda temeljito kvari vrlo slabo režiranom akcijom a što je verovatno najveći od njegovih grehova. Anti-Life pokušava da ima i horor i akciju i s obzirom na rejting, dopušteno mu je da proliva krv i raznosi tela na komadiće, ali ovo je urađeno vrlo slabo, sa loše zamišljenim rezovima, slabo akcentovanim dramatičnim krešendima i, kako se krećemo prema kraju, sa sve manje impresivnim dejstvom oružja. Čovek bi pomislio da je nemoguće umoriti se od gledanja bacača plamena kako prži zombifkovane članove posade u uskim hodnicima, ali John Suits uspeva da ove scene do kraja učini potpuno trivijalnim, pogotovo kada Noah, sa svojim ,,otkrićem" koje je telegrafisano vrlo rano u filmu, na trenutak preokrene tok, čini se, već izgubljene bitke. Hoću reći, plavi plamen koji gledamo na kraju deluje toliko fejk da gledalac uopšte ne uspeva da poveruje da ispred sebe gleda brutalni akcioni pokolj. Lično naoružanje ofarbano u žive boje – valjda da bude vidljivije u sivim, tamnim hodnicima – naravno samo deluje kao da utrenirani specijalci u rukama drže vodene pištolje i puške pa to dodatno slabi utisak.
(https://i.imgur.com/UsvnbZW.jpg)
Ako loša koreografija, urnebesno slaba montaža (scena u kojoj Noah sa dve ruke pokušava da odgurne zombija a onda nekom trećom rukom grabi flašu sredstva za čišćenje sa police) i smorena gluma svih likova nisu dovoljni, film u svojoj poslednjoj petini postiže neočekivani krešendo bede, kreirajući ,,čudovište" od delova tela raznesenih članova posade koje izgleda kao da ste deci u osnovnj školi dali pedeset kilograma plastelina i rekli im da od njega i letvica iz izlomljene gajbe naprave monstruma. Ovo je MNOGO loše a završna scena u kojoj glavni likovi imaju očajnički, poslednji prkosni juriš na neprijatelja je, ako je to moguće još, lošija sa CGI-jem koji jedva da bi prošao u nekom ambicioznijem modu igre Quake.
(https://i.imgur.com/0mbAv2N.jpg)
Anti-Life je film koji čovek poput mene uvek može da pogleda već na ime toga što izaziva asocijacije na Aliense, Invasion of the Body Snatchers, The Thing, The Hidden i neprebrojne druge horor-akcijaše koje sam – ponekada i malo neselektivno – voleo u svojoj mladosti. I generalno, filmovi koji se događaju u svemiru, razmeću pričom o kvantnim skokovima i kolonizaciji udaljenih planeta, sve to u meni uvek izaziva mali endorfinski piš već na samu pomisao i spreman sam da im dam MNOGO popusta, pogotovo kada u njima igra Bruce Willis a koji iza sebe, ne zaboravimo, ima i vrlo ugledne naučnofantastične naslove poput Armageddon, 12 Monkeys, The Fifth Element, Unbreakable, Looper, Surrogates... No, Anti-Life je podsećanje da je ipak potrebno da se u ovakvim produkcijama ima minimum zanatskih znanja, a koji će onda, pretpostavka je, i od glumaca izvući malo jači performans. Nažalost, ovo je primer filma koji jedan vrlo poznat, vrlo izučen i istestiran, čak vrlo klišeiziran model ne uspeva da replicira sa dovoljno spretnosti, završavajući sa par pristojnih glumačkih napora (Clementijeva pre svega) i scenografijom koja plače za boljim filmom da se u njoj dogodi.
(https://i.imgur.com/KqEhDJ7.jpg)
Uppps, wrong topic.
U sklopu akcije proveravanja na kom se stepenu evolucije trenutno nalazi regionalna produkcija, pogledao sam prošlogodišnji bugarski hit, Жълт олеандър, odnosno Žuti oleander, odnosno Yellow Oleander ako vas baš zanima distributerski naziv na Engleskom jeziku. Ova je crna komedija urađena u jednom izrazito žanrovskom ključu i mada ne mogu da kažem da sad nešto poznajem modernu bugarsku kinematografiju, čini mi se da film u dobroj meri odskače od onoga što biste očekivali da dođe iz regiona. Ovim hoću da kažem daje u pitanju ,,pravi" bioskopski film, bez pretenzija da je u pitanju festivalska, jelte, ozbiljna disekcija trenutnog stanja u zemlji, regionu, Evropi i svetu, bez agresivnog oslanjanja na tradicionalne trope i teme i bez, jelte, naglašenije artističkog izraza a sa, naprotiv, dosta sigurno demonstriranim zanatom. Režiser ovog filma, Lačezar Avramov je pre ovoga uradio samo jedan celovečernji film, u tandemu sa istim scenaristom po imenu Dimiter Stojanovič i ovo je bila ozbiljnija, dramska forma sa bračnim parom koji iz Kanade dolazi u Bugarsku radi veštačke oplodnje ali u tragičnom incidentu gubi bebu.No, Avramov je pre svega televizijski autor sa serijom Точно В ПетЬк Пет (aka Friday Five Sharp) koju radi od 2015. godine.
(https://i.imgur.com/qAR6yRy.jpg)
Точно В ПетЬк Пет je emisija kratke forme u kojoj glumac Kitodar Todorov ima satirične monologe obraćajući se direktno u kameru, secirajući realnosti (i apsurdnosti) bugarske politike, unutrašnje, ali i spoljne, u kontekstu članstva ove države u Evropskoj uniji ali i jednog čvrstog ostanja na, jelte, Balkanu. Ova serija je u Bugarskoj prilično popularna a Kitodar Todorov je na osnovu nje ostvario izrastao u jednog od omiljenijih glumaca u ovoj državi.
Otud nije neko čudo da će Avramov za svoj drugi bioskopski film, ali prvi koji ima, reklo bi se, komercijalnije ambicije, uzeti baš Todorova da igra glavnu ulogu. Ovaj robusni, iskusni glumac ima i fizionomiju i harizmu potrebne za odrađivanje uloge namazanog, oportunisitičkog psihijatra transformisanog u političara, poslanika Evropskog parlamenta sa velikim ambicijama i manjkom skrupula, a kako naspram njega stoji mlada i vrlo upečatljiva Stefani Ivajlo, mislim da je kasting za Žuti oleander bio pun pogodak.
(https://i.imgur.com/vNq0V3w.jpg)
Ovaj film je, da se razumemo, srazmerno jeftina, ne sasvim kamerna produkcija, ali film napraljen na malom broju lokacija i sa vrlo skromnim ansamblom likova, čiji je najimpresivniji čin ne to žongliranje sa likovima koji svi do kraja pokažu da imaju tajne agende i minimalno dva seta etičkih standarda, već naprotiv, jedna ubedljivost same produkcije, sa kvalitetnom maskom, efektima, kostimima, osvetljenjem, montažom i pre svega scenografijom koji, da i to bude jasno, dosta duguju Holivudu, ali što je i u redu jer ovaj film svakako gađa publiku koja uveče seda ispred televizora da pogleda nešto zabavno i opuštajuće – a ne i banalno – i prijaće joj taj prepozatljivo ugodni, dobro podmazani kvalitet produkcije.
(https://i.imgur.com/cbMhCd5.jpg)
Scenografiju ovde svakako vredi istaći kao jak adut filma jer se najveći deo scena događa u velikoj lovačkoj kući a zapravo velelepnoj vili koju je otac glavne junakinje, bivši general i karijerni diplomata podigao za sebe da ima gde da provodi letnji odmor kada se vrati u Bugarsku. Sva u tamnom drvetu, puna stilskog nameštaja, luksuznih kreveta, statua rimskih papa i kojekakve druge ornamentike, ova je kuća karakter za sebe i daje celoj produkciji jedan klasični trilerski kvalitet. Direktor fotografije, Torsten Lippstock uglavnom vrlo uspelo koristi ovaj enterijer i njegovu šumsku okućnicu da filmu podari pravilnu atosferu mračne, crne ali zabavne komedije.
Što se tiče vođenja priče, film nije savršen, ali mislim da demonstrira dovoljno pozitivnih elemenata da zabavi gledaoca. Možda je najveći problem sa Žutim oleanderom to da naprosto ne umire od originalnosti i ovo je jedna vrlo oprobana formula koju Avramov nastoji da osveži satiričnim elementima vezanim za – ponovo – bugarsku politiku u kontekstu evrointegracija. No, čini mi se da film od toga da bude puka stilska vežba, makar za ne-bugarskog gledaoca, spasava ne ta satirična dimenzija koliko brz tempo i solidni performansi glavnih glumaca.
(https://i.imgur.com/5NafjUr.jpg)
Jer, da bude jasno, likovi u ovom filmu su vrlo tipski i već do pravog kadra jasno vam je ko je kakav. Todorov igra profesora Kitova, jednog, rekosmo, uspešnog psihijatra i još uspešnijeg političara čiji uspesi ubrajaju ne samo visoku poziciju u internacionalnoj partiji koja u svom imenu uspeva da ima i konzervativizam i liberalizam, te mesto u evropskom parlamentu, već i mladu, trofejnu ženu Joanu, čiji su roditelji stradali u strašnoj nesreći a koju je on strpljivim terapijskim radom spasao ponora suicidne depresije i nagradio, jelte, brakom. Naravno ovom je čoveku sve u njegovom okruženju samo alatka za osvajanje više moći i uticaja, pa već na početku vidimo da on ženu drži na strogom režimu pilula i ucenjivačkih, geslajterskih verbalnih tehnika.
Veče u velikoj vili u provinciji počinje najavom da šef partije, bivši italijanski premijer a koji je najavio svoje povlačenje sa čela partije, dolazi u goste, na piće i razgovor o budućnosti stranke, i supruzi se sugeriše da prema gostu bude više nego predusretljiva, dok suprug odlazi hitnim poslom da gostuje na jednoj od prestoničkih televizija. Naravno, pravi zaplet filma počinje kada se supruga posle, jelte, pretpostavljamo divlje noći budi i zatiče visokog gosta nepomičnog na patosu.
(https://i.imgur.com/Q8A9mYr.jpg)
Od te tačke na dalje film se prilično zabavno odmotava u smeru kreiranja nekoliko scenarija koje kontrolom opsednuti psihijatar kreira ne bi li iz smrti svog šefa partije izvukao maksimum koristi za sebe. Preplašena supruga insistira da treba zvati policiju ali stvari se komplikuju i time što u kuću provaljuje njen bivši dečko, Mario, lokalni diler droge koji želi da njenog muža ucenjuje lascivnim snimcima njegove današnje zakonite družbenice, ali i pokazivanjem da njen drugi prijatelj iz mladosti, kratkovidi Ilija, koji se sada stara o kući i okućnici kada tu nema nikog i lamentira nad slikarskom karijerom što ju je napustio kada je njegova muza (dakle protagonistkinja) otišla u beli svet da bude manekenka, i dalje gaji ne samo simpatije za Joanu, već i neku vrstu opsesije. Naravno, kako to u ovakvim narativima već biva, scenariji postaju sve komplikovaniji, tela kreću da se gomilaju a kalkulacije koga se sve može i kako ubiti, da bi policijski islednici poverovali u povoljan scenario po profesora Kitova postaju sve bizarnije složene.
(https://i.imgur.com/6gLlVza.jpg)
Žuti oleander ne uspeva baš sve svoje končiće da savršeno poveže u celinu, pa od ovog filma ne treba očekivati jednako zabavan narativ kao što je bio recimo Glass Onion. Ima ovde sa jedne strane scena koje su višak – na primer ona sa policijskom patrolom na drumu – a sa druge strane su neki likovi nerazvijeni i nije najjasnija njihova istorijska spona sa protagonistima (tu je i blago preglumjivanje na strani leonida Jovčeva), tako da filmu svakako ne mogu da pripišem stopostotno holivudski kvalitet.
No, on na svojoj strani ima to dvoje odličnih glavnih glumaca i vrlo lepo urađeno finale. Todorov i Ivajlova su veoma solidni kao veoma očigledno patološki izopačen par u kome je ona očigledno zlostavljena i iskorišćena strana a bez potrebe da film upada u pamfletska objašnjavanja za gledaoce sa jeftinijim kartama. Otud se i njen osvetnički plan a koji saznajemo tek nakon finala filma, zapravo u flešbeku što ide tokom odjave, doživljava kao ultimativno pravičan, jer odgovara ne toliko na koruptivne ambicije beskrupuloznih muškaraca u centru zapleta koliko na njihovu intuitivnu nameru da žene koriste kao sredstvo i ne vide ih kao osobe. Tako da i njen potez u poslednjoj sceni koji bi u nekom drugom kontkstu delovao kao puka zloba ovde ima dimenziju rodne osvete a koja u celom narativu legne vrlo prirodno. Naravno, Ivajlova je odlična u svojoj ulozi naspram raspoloženog Todorova a kamera i vrlo dobar saundtrak (Ace Vapcarov) daju finalu vrlo zadovoljavajući kvalitet, čime se film završava na najbolji način.
(https://i.imgur.com/dR6qIG6.jpg)
Žuti oleander, dakle, nije savršen, ali jeste demonstracija da se u Bugarskoj može raditi znatno više u žanrovskom departmanu od prostog izvođenja radova za holivudske direct-to-streaming projekte. On je vedar i zabavan i pored svoje apsolutno mračne teme i njegova satira, mada jednostavna i ne odveć ambiciozna, bez sumnje će rezonirati i sa ovdašnjim gledaocem. Stotinak minuta koje nisam požalio.
(https://i.imgur.com/CG7bpbw.jpg)
Iako sam imao najbolju nameru da pogledam jedan od najnovijih filmova Džekija Čena, u meni je valjda prevagnuo osećaj dužnosti pa sam državnički, zrelo i odgovorno pogledao belgijski film Dealer snimljen 2021. godine kao celovečernji režiserski debi za jednog od poznatijih belgijskih televizijskih i bioskopskih glumaca modernog doba. Jeroen Perceval je pre Dealera režirao jedan kratki film, August iz 2014. godine, o dečaku koji uči neke teške lekcije u životu, a onda je i Dealer, delom zasnovan na njegovim iskustvima iz detinjstva i mladosti, film o četrnaestogodišnjaku koji diluje kokain na briselskim ulicama i, pa, uči neke teške lekcije o životu...
(https://i.imgur.com/ZC2w1Ml.jpg)
Perceval je oba ova filma i napisao i režirao i Dealer ima vrlo izraženu ambiciju da o teškoj temi progovori bez zadrški i rezervi, bacajući gledaocu pravo u lice te neke mučne realnosti života u jednoj od ikoničkih zapadnih metropola. Sve što možete da zamislite, videćete u ovom filmu.* I muškarca koji u kokainskom zanosu ima snošaj sa dve žene koje, dok on priprema svoju erekciju, zabavljaju jedna drugu kuniligvalnim tehnikama, i maloletnike spakovane u gepeke automobila, mučene tejzerom i nožem, decu koja diluju na ulicama i po klubovima gde glumci i manekenke plešu, šmrču i vataju se kao da sutra ne postoji, i dečake koji se međusobno tuku i jedni drugima objašnjavaju da su veliki jebači, četrnaestogodišnjaka kako radi heroin sa odraslima, od kojih bi jedan da sa njim ostvari i snošaj, čak i nekoliko kadrova avangardnog pozorišta. Naravno, jedan od glavnih problema umetnosti koja pokušava da bude što sirovije realna je to da rizikuje da ostavi utisak pukog nizanja klišea, čak i kad su ti klišei šokantni. Čak i kad su ti klišei zbilja prepisani iz nečijeg života. Teške lekcije kojima nas Dealer uči su, između ostalog, da što se umetnosti tiče, nije dovoljno samo pokazati stvari koje se dešavaju u životu i da nedostatak nekakve jasnije estetske namere zna da joj našteti.
*OK, možda ne baš TO, ili TO, ili... o jebote, za TO se u moje vreme išlo na doživotnu robiju
No, da ne mračim odmah na početku, nije Dealer tako loš film koliko smo mnoge od ovih stvari već gledali, napravljene kompetentnije. Njegov glavni adut je svakako mladi glumac Sverre Rous kome je ovo bio filmski debi i koji svoju ulogu klinca ,,iz doma" što diluje po gradu odrađuje na momente vrlo uverljivo.
(https://i.imgur.com/5KHHeSe.jpg)
Ono što je zanimljivo je da njegov Johnny nije ono što bismo doživljavali kao tipično dete koje stoji na ulici i poluglasnim šapatom pita prolaznike jel' bi da kupe malo belog. Johnny nije nacionalna manjina – Flamanac je – i ne dolazi iz tipično depriviranog socijalnog miljea. Njegova majka je zapravo slikarka i mada to znači da para nema baš mnogo i baš uvek u njihovim životima, Johnnyjeva tezga koja se tiče prodaje gudre ne dolazi prevashodno kao posledica nužde da se ne umre od gladi. Film, a ovo je sasvim moguće ta lična dimenzija koju je Perceval upisao u njega, zapravo ne zauzima tipično (i očekivano) levičarski stav u kome se društvene okolnosti poput siromaštva i socijalne isključenosti kodifikuju kao glavi uzroci maloletničkog kriminala. Dealer se znatno jače okreće u smeru kritike belgijskog (i generalno zapadnog) društva kao potonulog u dekadenciju i što duže gledate film sve jači vam je utisak da bi ovako nešto producirao Đorđe Vukadinović, napisao Miša Đurković a režirao Boško Obradović da živimo u paralelnom univerzumu gde bi njih trojica umesto svojih današnjih profesija bili filmmejkeri.
(https://i.imgur.com/dQrRHmp.jpg)
Ne tvrdim da je Perceval sad neki razulareni desničar, da se razumemo, ali jeste primetno da njegovoj društvenoj kritici u Dealeru sasvim nedostaje element dijalektičkog materijalizma koji bi povezao neke ekonomske i socijalne okolnosti sa nekim formama socijalnog ponašanja. Umesto toga, Perceval kao da polazi od premise da su ljudi govna i da se od govana ne može očekivati ništa drugo do još govana, a poruka ovog filma, ako je uopšte ima, svakako bi mogla da se nađe na nekom desnom kraju spektra. Nije to čak ni sad nešto prikriveno, iako film ne ide u pamfletsko objašnjavanje, pa se lako mogu identifikovati mnogi desničarski tropi: glavni junak je dečak što izrasta u problem jer nema očinsku figuru u životu. Očinske figure u životu nema jer se majka jebala iz zabave pa se malo zanela a posle rodila dete i valjda mislila da će da ga podiže društvo dok ona brlja po svojim platnima i misli da pravi ,,umetnost" koju niko ne kupuje, mesto da kuva ručak i oprema sina za vojsku. Da ne pominjemo da majka pati od psihotičnih poremećaja a društvo joj i dalje dopušta da se donekle stara o sinu, mada Johnny zapravo provodi popodneva i večeri u domu za, jelte, pomoć deci bez (adekvatnog) roditeljskog staranja (to jest kad se ne iskrade da diluje), a i taj dom se pokazuje kao dobronameran ali naravno neodgovoran jer štićenike daju na staranje drugi odraslim osobama koje im nisu ni rod ni pomoz bog, samo na lepe oči i čvrst stisak ruke.
Da budem fer, ovo ,,desničarsko" kritikovanje nema u sebi crtu nekakve ksenofobije, i pre svega se bavi dekadencijom društva starosedelaca, pa je ono zaokruženo i prikazom pomenutog avangardnog pozorišta kao maltene parodije umetnosti, sa glavnim glumcem predstave koji izvikuje dubokoumne misli u mikrofon na pozornici ne bi li publici otkrio neke bolne tajne o životu (,,šest meseci nisam izgovorio ni jednu repliku napisanu u scenariju!" hvali se on u jednom klubu kasnije) a onda ide u iznajmljeni stan da šmrče koku, trpa tetovirane kučke i posle, dok one spavaju, snima u veceu plačljive glasovne poruke za ženu u koju je i dalje zaljubljen a ona ga neće.
(https://i.imgur.com/iGAHcIr.jpg)
Film, dakle, eksplicitno odrasle i nominalno odgovorne osobe, što pripadaju umetničkom miljeu, prikazuje kao nezrele, neodgovorne, nedorasle da se staraju čak ni o sebi a kamoli o nekakvoj deci, a za dodatnu dimenziju te desničarske društvene kritike prikazuje institucije sistema kao impotentne ali i ultimativno nedovoljno zainteresovane za Johnnyjevu sudbinu – ni uprava doma ali ni policija sa kojom Johnny ima jedan od mnogih susreta na početku filma ne pokazuju skoro ni malo ambicije da se bave njegovom dobrobiti i manje-više računaju da je on sa četrnaest godina dovoljno zreo da razume šta treba a šta ne treba da radi i da ga treba tretirati kao zrelu osobu.
Sve to, jelte, na gomili nije onako kako bih JA pisao i snimao ovakav film, ali nije u tome problem Dealera. Problem je, kako rekoh što je i sve ovo nabrojano jedna hrpa klišea i film ne pravi dovoljno napora da se od klišea odlepi. Naprotiv, on ih vrlo rado koristi kao prečice do cilja u kome će gledaoca opomenuti da je nešto trulo u, jelte, savremenom društvu, da ono svoju decu ne čuva, prepušta je ulici, a ulica tu decu može i da ubije.
(https://i.imgur.com/e4HQtCg.jpg)
Perceval je kompetentan režiser ako pričamo o sažimanju pripovedanja i moj subjektivni utisak je da jedno pola filma otpada na montaže u kojima narativ protrčava kroz duže vremenske periode serijom brzih rezova i prikaza likova kako nešto rade i da to nešto označava značajnu aktivnost u njihovim životima. I mada je to samo za sebe efikasna tehnika, ima razloga što je ozbiljni režiseri koriste retko, razređeno, možda jednom tokom filma ili dvaput ako je film dugačak. No, Perceval je koristi na svakih nekoliko minuta i dok su ovo dobro urađene montaže, gde brzi rezovi i promene ugla kamere imaju svoju funkciju, opšti utisak je na kraju kao da autori filma naprosto nemaju strpljenja da sednu i pripovedaju već da publici gotovo eksplicitno kažu ,,dobro, sad vi već znate šta se ovde dešava pa da ne gubimo vreme". Ovo filmu oduzima karakter i osnažuje utisak da gledamo nisku klišea pokupljenih iz bezbrojnih drugih filmova što su se bavili maloletničkim kriminalom.
U čisto vizuelnom smislu Dealer ima izvestan karakter, sa jakim bojama, pogotovo tokom čestih noćnih scena gde neonska svetla čine uspeo kontrast tmini, ali priznajem da sam se brzo umorio od ideje da će ceo film biti snimljen iz ruke i sašiven od količine rezova na koju bi verovatno i George Miller malo podrignuo, potapšao montažera po ramenu i rekao mu ,,dobro je, rođo, odmori malo." Ovde je svakako na delu i to da sam ja zaista star čovek, čiji je vizuelni ukus formiran pre skoro pet decenija i da kada vidim film koji naprosto ne haje za to kako se kadriraju scene (jer ionako svaki kadar traje svega par sekundi), koga likovnost kao da ni malo ne zanima, to meni odmah sugeriše nekompetenciju radije nego svestan estetski izbor. Ali stoji i da ovde estetike ima veoma malo, a i kada je ima ona je banalna.
(https://i.imgur.com/Out6PLj.jpg)
Da ne bude zabune, kamera i osvetljenje su vrlo dobri, film ima lepe boje i naleti se tu na po koju umešno realizovanu ideju (na primer kako film često prikazuje glumca Antonyja – a koji postaje surogat-očinska figura za Johnnyja nakon što odbije da ga prijavu policiji za krađu novčanika i krene da kupuje kokain od njega – iz donjeg rakursa, dajući nam sugestiju o tome kako ga vidi sam Johnny), ali generalno film je isuviše nervozan u montaži da bi ijedna scena mogla da zaista prodiše. Primetno je kako scene snimljene u kolima odmah imaju ,,filmskiji" osećaj jer ovde nema prostora za previše uglova snimanja i rezovi su umireniji, prateći replike u dijalogu, naspram ostatka filma koji skoro da baštini estetiku pojedinih JuTjubera koji seku čak i pauze da udahnu između dve rečenice kako ništa gledaoca ne bi izvelo iz vratolomnog tempa.
Ovo filmu izazito oduzima na karakteru a to je šteta jer se glumci priično trude, posebno Ben Segers čiji Antony je poznati, cenjeni glumac, najbliže superzvezdi što Brisel može da podnese – lik kome on uspeva da podari prilično debljine i kompleksnosti sugerišući nekada ambicioznog umetnika koji je naprosto zastranio u kokain i seks i mada se još uvek seća značenja reči kao što su ,,lepota" i ,,ljubav", u praksi ih zamenjuje instant-šotovima najbližeg stimulansa. Antony je i Johnnyjeva potencijalna karta za izlazak iz, jelte, sveta maloletničkog kriminala, pogotovo kada u jednom momentu naprasno odluči da klinca ,,spase" i natera ga da obeća da će prestati da diluje ako on prestane da radi koku. Podsticaj dečaku da ostvari svoj san o tome da i sam postane glumac daje Antonyju i kratkovečni utisak da konačno radi nešto korisno i plemenito u životu, ali naravno da film nikome od njih ne obezbeđuje hepiend.
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Sa druge strane je krupni diler Luca (igra ga Bart Hollanders jer naravno da bi bilo problematično da je jedini ozbiljan kriminalac u ovom filmu pripadnik neke od manjina), druga pseudoočinska figura za Johnnyja, tetovirani lik koji klince vezuje uz sebe kombinacijom straha od kazne, izjava ljubavi i nekakve harizme koja se očitava u tetovažama i frizuri. Luca je mangaš koji klince ozbiljno zloupotrebljava dok im istovremeno objašnjava da nikog bližeg od njega nemaju i Johnnyjevo lutanje od jednog do drugog pseudooca je u srži drame ovog filma.
Ali zato je i šteta što je glumcima, a koji su očigledno bili raspoloženi da ostave utisak i kreiraju KARAKTERE dat tako banalan, jedva uslužan tekst da ga izgovaraju. Možda je Perceval i ovde išao naprosto na ,,realizam" ali primetno je koliko se Hollanders trudi da projektuje PERSONU malog kriminalca koji zamišlja da je veliki šmeker a da je u njegove replike uloženo malo rada i razmišljanja. Možda je, a ovo ne smem da tvrdim, ali možda je i ovo naprosto sindrom koji često vidimo u savremenom evropskom filmu, gde glumci improvizuju dijaloge na licu mesta, kako bi sve zvučalo autentičnije i Dealeru ovo daje efekat banalnosti, ostavljajući glumce da glumataju umesto da glume.
Da sumiramo: Dealer je film koji zapravo prilično snažno beži od estetizacije svog materijala, verovatno se vodeći idejom da time priča priču bližu, jelte, istini, ali ovo, mislim, dosta radi u korist njegove štete. Kamera i svetlo su u par scena gde se vodilo računa o kadriranju i likovnosti (na primer kada Johnny sprejem šara po ogledalu, ili kadrovi iz pozorišta) pokazuju da je tu itekako bilo i znanja i umeća da se napravi vizuelno interesantniji i simbolički snažniji rad ali je ovo žrtvovano brzim rezovima, maltne nasumičnim kadrovima iz ruke i montažama. Slično tome, tekst je tek uslužnog kvaliteta i imam utisak da izdaje glumce koji se veoma trude. Otud je ovo podsećanje da umetnost ne treba da doslovno priča istinu već da svojom snagom opsene koja se bavi isključivo nestvarnim, tu istinu učini prepoznatljivom za onog koji sa umetnošću ima posla, kroz interakciju i refleksiju. Dealer u svojim poslednjim scenama pokazuje da čak i ovo razume, nudeći svoju najbolju montažu u samom finalu filma, konačno raskidajući sa ,,istinom" i upadajući u čistu fantaziju. I jasno je da mu je ovo nedostajalo sve vreme. Likovi kojima smo mogli da poverujemo, da su glumci imali scene sa više prostora da glume i boljim tekstom da ga izgovore, su bili potencijal koji Dealer nije iskoristio pa smo završili sa oporom ali na kraju isuviše klišeiziranom pričom što ostavlja jedva nešto više od neprijatnog ukusa u ustima.
(https://i.imgur.com/sPb54uz.jpg)
Meho, zašto ja ne pratim ove tvoje filmske rivjuove a pratim recimo kriplove iako se u njima uopšte ne pronalazim. Da li je to zato što on koristi sistem od 5 zvezdica dok ih ti ne ocenjuješ. U tom slučaju, površniji sam nego što sam mislio. Od sada pratim tvoja pisanija. Dopadaju mi se.
Možda zato što Cripple ipak zna o čemu priča a ja nabadam na slepo? :lol: :lol: :lol:
Quote from: Meho Krljic on 18-03-2023, 19:27:15
Možda zato što Cripple ipak zna o čemu priča a ja nabadam na slepo? :lol: :lol: :lol:
To će za mene zauvek ostati misterija, ali definitivno se u mnogim njegovim rivjuovima ne pronalazim. Držaću se tebe.
Očekujem Džekija Čena, nisam ga dugo gledao.
Eh, da, Džeki će još malo da pričeka, na redu je izgleda nešto iz Irana.
Pogledao sam film Harka, igrani prvenac američkog režisera po imenu Lotfy Nathan, a koji je pre desetak godina uradio dosta zapaženi dokumentarac 12 O'Clock Boys o klincima u Baltimoru koji se trkaju na motorima. Nathan je, kako sam kaže zaljubljenik u film iako se originalno zanimao za klasičnije vizuelne umetnosti, pod uticajem svog dede koji je bio slikar, pa je kao klinac gledao Kuma, Lorensa od Arabije, filmova Vudija Alena i, kako kaže, bio jedno vreme opsednut Indijanom Džonsom. No, Let iznad kukavičijeg gnezda koji je pogledao sa šesnaest godina je bio, veli prvi film koji je u njemu proizveo poseban osećaj, ukazavši mu da filmovi mogu biti slojeviti, kompleksni i smisleni.
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Harka je, da se odmah razumemo, dosta jednostavan film ali film koji bez sumnje teži da bude slojevit i da nešto smisleno kaže. Njemu me je privukla pre svega interesantna tema i upečatljiva fotografija, a onda i činjenica da je napravljen u dosta neobičnim producentskim uslovima. Naime, iako je autor scenarija i režiser Amerikanac, film je kompletno snimljen u Tunisu, u kombinaciji francusko-belgijsko-nemačko-luksemburško-tuniskih produkcija, sa glavnim glumcem koji je francuski Arapin, a onda sa temom koja je veoma ,,arapska" i partikularno ,,tuniska". Film je dobio odlične kritike kada je prošle godine prikazan na Kanskom festivalu, u okviru programa Izvestan pogled a glavni glumac, Adam Bessa je za rolu Alija Hamdija dobio i nagradu za najbolju glavnu ulogu u okviru ovog programa ali i na još tri festivala, od čega dva u Francuskoj i jedan u Saudijskoj Arabiji. Naravno, ovo je delom i prirodno, s obzirom na to koliko je Francuska usko povezana sa Tunisom pa se može pričati i o izvesnom pranju savesti. No, Harka priča jednu savremenu priču, veoma aktuelnu ne samo za današnji Tunis već i za dobar deo arapskog sveta i ona nije direktno povezana sa kolonijalnom istorijom regiona. Mada indirektno itekako jeste.
Sam termin Harka, naime, u tuniskoj verziji arapskog ima dva značenja. Jedno se odnosi na gorenje u plamenu a drugo na odlazak u (ilegalnu) migraciju čamcem preko Sredozemnog mora, put Evrope koja je ovaj region držala u kolonijalnom ropstvu i ostavila ga u nekoj vrsti permanentne zavisnosti od sopstvene ekonomije. Oba ova značenja su relevantna i u centru su problema koji film tretira.
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Nathan je i sam severnoafričkog porekla, sa mešovitim egipatsko-britanskim nasleđem u porodici pa iako ovaj film nije ,,stvarno" tuniski ili afrički, njegov senzibilitet i razumevanje tuniskog aktuelnog trenutka nadilazi ono što bismo očekivali od produkcije koja bi bila američka, ili čisto evropska. Već to da je film snimljen u Tunisu, sa lokalnim glumcima dosta znači u pogledu autentičnosti izraza, mada je, kako rekosmo, sam Adam Bessa, iako tuniskog porekla, rođen u Francuskoj. Opet, njegova gluma je nešto na čemu uverljivost i značaj ovog filma počivaju u velikoj meri i ovde govorimo o vrlo dobro odabranom glumcu za glavnu ulogu.
Tunis je država iz koje je 2010. godine krenuo talas protesta, pa i revolucija širom siromašnijeg dela arapskog sveta poznat i kao Arapsko proleće. Usmeren na uklanjanje okoštalih režima ogrezlih u korpuciji i zaklonjenih iza fasada tradicionalnoh vrednosti, ovaj je pokret u dobroj meri bio nošen snagom običnih, često siromašnih ljudi koji su imali utisak da svet ubrzano napreduje a da oni ostaju zaboravljeni. Ovaj se talas pobuna u dobroj meri povezuje i sa prodorom bržeg interneta i porastom korišćenja društvenih mreža i u najsiromašnijim delovima sveta, što je svakako delimično tačno ali ne treba zaboraviti da je glavni pokretač bio čin samospaljivanja koji je preduzeo dvadesetsedmogodišnji tuniski ulični prodavac Mohamed Bouazizi, očajan zbog odsustva perspektive i voljan da svojim javnim žrtvovanjem skrene pažnju na bezizlaznost položaja u kome se nalazio i on ali i veliki deo njegove generacije i klase. Bouazizi se zapalio nakon sukoba sa činovnicima lokalne opštine, 17. Decembra 2010. godine, u kome mu je roba bila konfiskovana a, u zavisnosti od toga u čuje izjave verujete, on dobio i batine. Nesrećni mladić je pokušao da se žali guverneru, preteći da će se spaliti ako se ovaj ne sastane sa njim a onda se polio benzinom i zapalio. Uprkos borbi da mu se život spase, Bouazizi je umro četvrtog Januara i postao simbol ustanka protiv ekonomske i političke nepravde za veliki deo severne Afrike i drugih arapskih krajeva.
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Film Harka je sa jedne strane snažan i potresan jer pokazuje da se desetak godina nakon Arapskog proleća gotovo ništa nije promenilo u Tunisu ili regionu, pričajući priču o Aliju, mladom uličnom prodavcu benzina koji stoji na ćošku preko puta guvernerove rezidencije, valja benzin iz kanistera i policajcima plaća mito da ga ne diraju. Iako se ,,revolucija" odavno desila, sve je, reklo bi se ostalo isto. Sa druge strane, film Harka je depresivno predvidiv i ovo je njegova i jaka i slaba strana.
Adam Bessa igra Alija perfektno, pokazujući mladića koji se ne usuđuje čak ni da sanja. U nekoliko navrata on pominje da je želeo da sedne na čamac i zaputi se ka Evropi – bez obzira na zastrašujući rizik na koji se i u filmu uzgredno podseća sa radijskm vestima o utopljenim migrantima u Sredozemnom moru – ali u sceni gde uspešni gastarbajter priča da je za dve godine u Nemačkoj imao i pare i kola i drolje vidimo svu frustriranost koju u Aliju ovo proizvodi. Iako nema dijaloške diskusije o ovoj temi, jasno je da ima i nečeg izrazito ponižavajućeg u celom tom konceptu.
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Naravno, ljudi prave planove a život se dešava pa Ali, koji je otišao od kuće da bi živeo samostalno (a što podrazumeva ilegalno prebivalište u nedovršenoj građevini na napuštenom gradilištu) saznaje da mu je otac umro od raka a da stariji brat odlazi da radi kao kelner u udaljenom letovalištu. Brigu o sestrama koje su ostale same onda preuzima Ali, vraćajući se u porodičnu kuću – samo da bi onda postalo jasno da je otac iza sebe ostavio velike dugove i da će kuća biti zaplenjena na kraju meseca ako se dugovi ne plate. Ali svom ,,šefu", ilegalnom dileru benzina, kaže da želi da radi riskantnije, bolje plaćene poslove i ovaj ga stavlja na pustinjske rute prevoza velikih količina goriva koje podrazumevaju teške, duge vožnje i nadmudrivanje sa policijom...
Harka je umešno i vrlo lepim tempom vođen narativ, sa glavnim likom koji, iako nije nikakav heroj, pa čak ni ,,prirodni" protagonist, preuzima na sebe odgovornost, samo da bi metodično, jedan po jedan korak video kako mu se sva vrata zatvaraju. Pokušaj da se zaposli u očevoj firmi – pozivajući se na tradiciju da sinovi nasleđuju radna mesta svojih očeva – je neuspešan zbog, nagađamo korupcije i prodaje radnih mesta. Posao sa benzinom ide loše i Ali jedva izbegava hapšenje ali ne i kaznu od strane svog poslodavca. Kada ga na kraju policija privede – i prebije – posle svađe na ulici oko plaćanja mita, on je na ivici i odlazi u opštinu da traži pomoć kako bi tužio policajce, samo da bi i odatle bio ispraćen rečima da oni nisu nadležni za njegov slučaj i da se tužbe ne podnose ovde. Ali urla da mu nije jasno kako oni misle da ljudi žive kada im se sve uzima, a onda odlazi pred guvernerovu rezidenciju i traži sastanak, samo da bi i tamo naišao na potpuno nerazumevanje.
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Nathanovo pripovedanje je prirodno, uverljivo, naturalističko ali uvek sa merom filmske estetike i izvrsna Bessina gluma uvezana sa odmerenom režijom ovde rade odličan posao. Ove su scene onda presecane prikazom života kod kuće, sa sestrama, a gde film sebi dopušta notu sentimentalnosti koja je možda i tipično ,,arapska", sa mlađom sestrom koja u nekim delovima filma služi i kao narator. Mislim da je ta dimenzija ,,objašnjavanja" filma možda i nepotrebna jer su scene sa Alijevim naporima da NEŠTO promeni u svom životu dovoljno snažne same za sebe. Opet, prikaz domaćeg života pomaže da se priča utemelji u nečem opipljivom. Starija sestra je preduzimljiva, aktivna žena koja i sama radi, čisteći kuće bogatih sugrađana i film izuzetno spretno izbegava ,,misery porn" ugođaj koji je mogao da ga ukalja. Alijeva porodica jeste siromašna ali ovo su ljudi koji gledaju televiziju, nose odeću sa logotipima na Engleskom, vole slatkiše. Scena u letovalištu, kada Ali ode da potraži pomoć starijeg brata – koji ju je uostalom obećao – je takođe odlična jer pokazuje, a bez ikakvog napadnog pojašnjavanja tu vezanost Tunisa – i ostalih država u regionu – za industriju usluga koja ga drži ne samo u ekonomski podređenom položaju moćnoj Evropi (a što mu je već uzela prirodne resurse i otima radnu snagu) već i ima u sebi podrazumevanu meru klasno ponižavajućeg. Naravo, finale filma je mogue predvideti mnogo pre nego što se ono desi...
(https://i.imgur.com/XQJZazY.jpg)
A što je i donekle depresivno. Naravno, u umetničkom pogledu, smisao filma i jeste u tome da pokaže da dekada nakon Arapskog proleća nije donela gotovo nikakvu promenu za proletere i prekarijat, pa gotovo doslovno ponavljanje poznatih događaja što su doveli do revolucije ima jasnu umetničku intenciju. Sa druge strane, Harka je drama kojoj fali dramatičnosti ili, ako hoćete, dramaturgije jer vrlo rano u filmu znate tačno šta će se do kraja desiti i on sa svojih vitkih 85 minuta ni ne pokušava da skrene sa zacrtane putanje. Utoliko, Alijeva tragedija nema gotovo ništa izvan prepričavanja poznatih tragedija iz života a njegova borba za porodicu je osuđena na propast od početka ali i lišena dramatičnosti. Podzaplet sa zaplenom kuće se ne razreši ni na koji način, kao što ni Alijeva krađa novca od turista nema nikakvu dramaturšku refleksiju kasnije u filmu. Ovo Harku čini i donekle nedorečenom, ako ne u celini a ono u detaljima, sa propuštenim prilikama da se ispita glavni lik izvan te depresivne, mučne determinisanosti njegove sudbine za koju znamo kako će biti zapečaćena na kraju.
(https://i.imgur.com/Rilf4GQ.jpg)
No, Harka je film koji mnogo toga radi dobro pa sam na ime toga voljan da prihvatim i neke elemente koji nisu sasvim perfektni. Kako već rekoh, pripovedanje centralnog narativa je umešno, sigurno, sa odličnim glumcima i režijom koja scene čini naturalističkim ali ne bez ukusne, filmske estetizacije. Nathan je, rekosmo, prvo želeo da bude slikar i izbor Maximiliana Pittnera za direktora fotografije doneo je neke veoma lepo, likovno urađene kadrove ali i kvalitetan rad u scenama ,,akcije" gde se povišene emocije i konflikti odrađuju ubedljivo, sa dovoljno estetizacije a bez klizanja u žanr. Naravno, najimpresivnije je finale filma koje jedan mučan, tragičan momenat prikazuje dostojanstveno, pa čak i uzvišeno, ne bežeći od beznadežnosti i tragedije koji treba da upozore i, idealno, pozovu na akciju. Naravno, ironija ove snažne scene je što je njena poenta upravo da je tragedija normalizovana a žrtvovanje banalizovano do mere da je to sada nešto na šta smo navikli i prolazimo pored njega bez reakcije. Harka je uspešan film jer radi ono što film radi najbolje, prikazujući nešto što nije ,,stvarno" ali jeste istinito i ostavlja gledaoca da promišlja ,,večno vraćanje" koje ovde nije ničeovskog, apstraktnog tipa već je posledica nepravične političke ekonomije. Za koju smo svi delom odgovorni ali zbog koje se nećemo svi politi benzinom i zapaliti. Očajanje koje dovodi ljude do ovog za većinu nas nezamislivog čina u ovom je filmu prikazano pažljivo, bez eksploatacije tropa trećeg sveta, sa poštovanje za svoje likove i mada je Harka, možda, samo poziv u pomoć u ime onih za koje, možda, još nije prekasno, on dolazi iz pozicije dostojanstva i zahteva za njegovim prepozvavanjem u svim ljudima.
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Pogledao sam francuski pola-drama-pola-komedija-pola-akcija film iz prošle godine, Kung Fu Zohra i palo mi je na pamet da na nivou koncepcije ovde ima dosta sličnosti sa nemačkim filmom Nico iz 2021. godine koji sam gledao pre nekoliko meseci (https://cvecezla.wordpress.com/2022/11/25/film-nico-2021/). U oba filma gledamo žene iz migrantske ili makar manjinske populacije u velikim zapadnoevropskim državama koje, posle iskustva nasilja, počinju da treniraju borilačke veštine u naporu da izgrade samopouzdanje, istešu odlučnost i nešto promene u svom životu. Naravno, razlike su takođe ogromne. Nico je bio partizanska operacija gomile mladih osoba koje su se po praktično prvi put okušale u pravljenju celovečernjeg filma i, sa svojim vrlo improvizovanim pristupom filmmejkingu, više dao iskaz o tome kako može da se napravi film, nego šro je proizveo film-iskaz-po-sebi. Kung Fu Zohra, pak, predstavlja profesionalnu produkciju iskusnog stvaraoca i mada je u pitanju žanrovski transgresivan film, nema sumnje da je u pitanju u svakom pogledu prijemčiv rad koji bi trebalo da put do publike nalazi znatno lakše. Pomalo je i ironično kada vidim da na makar IMDB-u Kung Fu Zohra ima značajno nižu ocenu od Nico, s obzirom da u oba slučaja pričamo o izvesnoj meri eksperimentisanja a da u slučaju Zohre, za moj račun, eksperiment daje daleko bolje rezultate.
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Kung Fu Zohra predstavlja povratak Mabrouka El Mechrija velikom platnu. Posle solidnog uspeha sa interesantnim i postmodernim biografskim radom/ portretom Žan- Kloda Van Dama u JCVD, El Mechri je snimio još samo jedan film, visokobudžetni američko-španski akcijaš The Cold Light of Day sa gomilom jakih imena u kastu, da bi posle relativnog neuspeha ovog filma deceniju proveo radeći za televiziju, notabilno na serijama Maison Close i Nox. Sa Kung Fu Zohra, El Mechri kreira priču o jakoj, jelte, ženi, majci, borkinji koja u nemogućoj situaciji nalazi način da se izbori za svoje dostojanstvo ali i svoju porodicu, onoliko koliko je to moguće, kreirajući i neku vrstu moderne urbane bajke koja ozbiljan, realističan prikaz neprijatnih realnosti spaja sa žanrovskim elementima komedije i akcionog filma. Nije da to funkcioniše stoprocentno bešavno i prirodno, ali ima dosta šarma upravo u tim sudarima žanrovskog i realističkog koje El Mechri radi sa mnogo sigurnosti.
Motiv za pisanje ovog scenarija i kreiranje filma bio mu je, kaže autor, to da je želeo svojoj ćerki da podari ,,Rokija" koji će biti samo njen: priču u kojoj će i da se pronađe i identifikuje, dobije dobar fiktivni uzor. Koji će, pritom, imati ime njene bake. El Mechri veli da mu je kada je on bio uzrasta svoje ćerke – osam godina – uzor bio upravo Stalloneov Rocky i da je želeo da njegova ćerka ima nešto slično samo za sebe. Inspirisan elementima biografije njegove sopstvene majke, po kojoj je glavna junjakinja, dakle, nazvana, ovo je i film koji se bavi vrlo metodičnim analiziranjem situacije porodičnog nasilja u kojoj se protagonistkinja nalazi. El Mechri primećuje kako akcioni filmovi prave distancu u odnosu na nasilje – koje bi u ljudima trebalo da izaziva po definiciji odbojnost – dodajući humor u miks, te da se nasilje u tim filmovima retko shvata ozbiljno, i, mada Kung Fu Zohra ima solidnu količinu humora, pogotovo u scenama akcije, ta eksploracija nasilja koje se događa u porodici je ozbiljna i zapravo iznenađujuće nijansirana, pogađajući mnoge motive iz stvarnog života i izbegavajući readymade žanrovska rešenja, čak i kada je žanr o kome pričamo drama.
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Kung Fu Zohra svakako najvećim svojim delom jeste drama i govori o mladom bračnom paru arapskog porekla koji nakon upoznavanja u provinciji započinje život u predgrađu Pariza, on kao građevinski radnik, ona kao kasirka u velikom supermarketu. Iako su suštinski proleteri – i Arapi – Zohra i Omar žive lepo i bez mnogo briga, to jest, sve dok on ne počne da proverava liste njenih telefonskih poziva, da joj nenajavljen dolazi na posao i generalno se ponaša ljubomorno i posesivno. Ovo je u početku samo iritirajući razlog za prepirke, dok ne krenu otimanja oko telefona pa padne i prvi šamar iza koga odmah sledi užurbano izvinjavanje. Omar gubi i posao pa ima previše vremena da se bavi privatnim životom i da meditira o tome da njegova supruga jedina u ovoj kući zarađuje. Zohra je, naravno, vrlo posvećena kući, pa je jedina prijateljica koju ima zapravo lokalna vozačica autobusa kojim ona ide na posao i koja, primećujući modrice na njenom licu sugeriše da problem nasilja u porodici treba rešiti a ne čekati da prođe.
Naravno, problem se ne reši niti postane jednostavniji za rešavanje kada Zohra rodi ćerku Zinu čime njen spektar opravdanja zašto ne napusti muža i ostaje u situaciji stalne pretnje – i povremene realizacije – nasilja postaje još raskošniji.
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Ono što El Mechri radi izuzetno dobro je kreiranje jednog uverljivog porodičnog mizanscena u kome je dramatičnost tih nasilničkih ispada dovedena na razinu svakodnevnog, gotovo banalnog. Zohra se svakako oseća poniženo u ovim incidentima, ali ona je snažna žena sa izvesnom merom ekonomske moći u svojoj porodici i njen odgovor na pretnju nasilja je interesovanje za borilačke veštine, a u naporu da potvrdi svoju samovlasnost. Ovo je u skladu sa karakterizacijom protagonistkinje koju smo još u uvodu filma gledali kako gleda stare kung fu filmove i zapravo se sa svojim budućim mužem poveže na ime diskusije o Brusu Liju i Džekiju Čenu, a u nekom momentu i ćerki objašnjava da je od oca nasledila ljubav ka pravovernoj hongkonškoj akciji. I film njeno vežbanje tretira polurealistično a polužanrovski sa jasnim omažima Karate Kidu i klasičnim kung-fu akcijašima kada Zohru počne da podučava stariji kineski gospodin koji na crno tezgari kao domar u sportskom centru gde je ona prihvatila honorani posao kao čistačica da malo ojača kućne finansije.
Film na ovom mestu počinje da meša realistični, dramski prikaz sa žanrovskim stilizacijama i mada je fer reći da gledalac moće da iskusi blagu kognitivnu disonancu na prostoru između drame, (parodične) komedije i akcionog filma, tonalni prelazi zapravo nisu prejaki i El Mechri dosta umešno održava konzistentnost vizuelnog jezika, ritma naracije i generalno izraza.
Veliki deo funkcionalnosti filma otpada na kvalitet glumaca. Sabrina Ouazani, poznatija po komičnim ulogama ovde veoma solidno kreira portret žene koja je ,,normalna", čak, jelte, asertivna i inteligentna, a koja se plauzibilno hvata u matricu zlostavljanja. Takođe, njena transformacija u akcionu heroinu je u fizičkom smislu impresivna i Ouazanijeva radi sjajne, ubedljive koreografije prema kraju filma koje zadovoljavaju (moje) dosta visoke standarde.
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Ramzy Bedia je jednako sjajan kao suprug Omar, jer ima neverovatno ubedljivu kombinaciju šarma, pa i sasvim opipljive dobrote sa jedne strane i jedne tvrdoglavo glupe muške toksičnosti sa druge. Scene u kojima Zohra posmatra muža kako je fantastičan otac njihovoj ćerki ili kada se ona pravda njemu za sranje koje je on napravio su apsolutno savršene.
Pored dvoje Arapa u glavnim ulogama, vrlo su dobri i Eye Haidara i Tien Shue u sporednim, a što filmu daje i jednu lepu, vrlo prirodnu prevalenciju etničkih manjina u glavnom kastu (kavkazoidi se pojavljuju u filmu ali u mnogo manjim ulogama), a što je opet važno jer ovaj film pravi jako dobru uslugu svojim likovima time što njihove socijalne i etničke karakteristike tretira kao ni po čemu specijalne, ne bežeći od njihovog statusa manjina ali ga ne postavljajući u koren problema. Time film ima i osnažujući efekat u pogledu tretmana manjina, ali i jednu univerzalnu dimenziju, ukazujući na to koliko je porodično nasilje složen problem i da ono ne može da se svede samo na siromaštvo ili samo na ulogu tradicionalnog vaspitanja.
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El Mechri je vizuelno izuzetno pismen i Kung Fu Zohra je efektno ekonomično i atraktivno režiran i montiran film, sa prijemčivim koloritom, promišljenim kadriranjem, obilnim a opet opravdanim korišćenjem trening-montaža. Glumci su jako atraktivni i El Mechri s pravom filmu daje jednu snažnu fizičku komponentu sa puno pokreta i grimasa, a prema kraju i akcije, gde opet ekipa ima i priliku da pokaže i ekspertizu iz domena borilačke koreografije.
Da bude jasno, Kung Fu Zohra je pre svega drama i komedija a tek na kraju malo i akcioni film, no to znači da kada prave akcione scene stignu na kraju (i posle kraja, zapravo), nivo nadraženosti gledaoca zahteva vrlo jaku isplatu. I to se uglavnom i dobija. Katarzično razrešenje odnosa Zohre i Omara je urađeno vrlo dobro iako ruši žanrovska pravila i smešta gledaoca na međuprostor između drame i stilizovanog borilačkog akcijaša u kome on možda neće znati šta da misli i da li nešto od onog što gleda treba da tumači kao metaforu ili da ga prihvata kao ,,stvarnost". Film je svestan ove upitanosti i otud čitava druga akciona scena koja ide uz odjavnu špicu u kojoj je koreografija još razigranija a omaži klasičnim scenama iz filmova Brusa Lija i Dželija Čena još očigledniji.
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Ono što je bitno je da film pruža zadovoljavajući simboličku isplatu i ubedljivo razrešenje za odnos dvoje supružnika u kome je jedan nasilnik a drugi to nasilje trpi daleko preko granice racionalnog iz razloga koji gledaocu deluju sasvim ubedljivo, kao i da je taj krešendo filma vizuelno odličan. Čak i, jelte, vidna razlika u masi između ljudi koji se bore jedno protiv drugog, a koja bi u stvarnom životu predstavljala jasnu indikaciju kako bi se borba završila, ovde biva dosta uspešno kopenzovana pravilnim korišćenje žanrovskih rešenja koja su deo tradicije kung-fu filma.
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Kung Fu Zohra je, dakle, mali ali atraktivan film koji nikako nije savršen: korišćenje trećeg lica kao naratora za prepričavanje radnje deluje sasvim nepotrebno i ne donosi skoro nikakav poseban efekat a žanrovska legura koju na kraju dobijamo sigurno ne može biti po svačijem ukusu. No, sa druge strane, ovo je jedan od najefektnijih prikaza situacije porodičnog nasilja koje sam video na filmu, POGOTOVO jer ne samo da prikazuje koliko je to kompleksna problematika, nego i čuva dostojanstvo svih aktera, a onda na to dolazi i vrlo pristojna, atraktivna akcija. Drugim rečima, film koji svaka žena, devojka i devojčica treba da pogledaju zajedno sa svojim očevima, braćom, muževima i verenicima. Skoro svako od nas će se prepoznati u nekim elementima filma. Znam da ja jesam i nisam se naročito ponosio tim uvidima, ali Kung Fu Zohra je na kraju krajeva film zbog koga poželite da se trudite više.
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Prilično me je impresionirao finski The Blind Man Who Did Not Want to See Titanic, odnosno Sokea mies joka ei halunnut nähdä Titanicia, jedna vitka, veoma efikasna drama kraća od sat i po i sa samo najneophodnijim minimumom glumaca i scenografije. Ovo je primer filma kakav bi mogao, u teoriji, da snimi svako, i to ne mislim čak ni ,,svaka kinematografija" jer The Blind Man Who Did Not Want to See Titanic skoro da bi grupica enzutijasta mogla da uradi telefonom za jedan vikend, ali je istovremeno i primer filma kakav snimaju ljudi sa znanjem, iskustvom ali i nepatvorenom strašću za odabrani umetnički izraz. Drugim rečima, ovo je film kakav bi, u teoriji, mogao da snimi svako a to što ne dobijamo više ovakvih filmova je posledica činjenice da je on i pored vrhunskog zanata toliko stvaran i autentičan, da on toliko duboko zaseca u tkivo i grebe po kosti da se malo i preplašite kada shvatite da je granica između umetnosti i života ovde toliko zamagljena da ste upravo pogledali dramu koja je fiktivna samo utoliko što je neko seo i napisao neke dijaloge i izmaštao radnju – a inače je sve drugo u filmu praktično dokumentarno.
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Režiser i scenarista ovog filma, Teemu Nikki i glavni glumac, Petri Poikolainen upoznali su se početkom devedesetih zajedno služeći vojsku. Nikki je narednih trideset godina gradio karijeru kao montažer, scenarista i režiser, na filmu i televiziji i izrastao u jednog od najpouzdanijih finskih profesionalaca sa posebno velikim uspesima na ime komične direct to streaming serije #lovemilla od koje je posle urađen i film.
Poikolainen je, pak, imao vrlo kratku karijeru na filmu i televiziji početkom veka, usredsređujući se pre svega na pozorišne uloge, ali je njegovo bavljenje glumačkim poslom gotovo potpuno zaustavljeno kada je dobio dijagnozu multiple skleroze. Poikolainen je u međuvremenu oslepeo i vezan je za invalidska kolica a Nikki kaže da je želeo da radi sa njim i da je to bila glavna motivacija što je seo i napisao scenario za The Blind Man Who Did Not Want to See Titanic. U njemu Poikolainen igra čoveka koji ima multiplu sklerozu, od nje je oslepeo i vezan je za invalidska kolica.
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Danas se mnogo priča o reprezentaciji društvenih manjina u popularnoj kulturi, često sa dobrim namerama a neretko sa urnebesno nepromišljenim nastupima. Kao vrsta, u principu smo napredovali do nivoa svesti da ugađanje samo većinskim interesima u društvu naprosto nije, jelte, ljudski, te da smo svi bogatiji kada imamo pristup širem spektru iskustava življenja, ali i do toga da nije dovoljno da sednete i iz glave nalupate kako to izgleda biti manjina već da je često pravi izbor omogućiti manjini da se izrazi i dati joj, jelte, platformu da to učini.
Naravno, u nekim se onda primerima ide u, neki će reći, apsurdne ekstreme i da smo popili po jednu rakijicu svaki put kada je neko rekao ,,Kakve veze ima da li je glumac koji igra gej muškarca i sam gej muškarac? Važno je da je dobar glumac!" sada bismo bili na patosu i slepo bauljali ka izlazu – baš kao i protagonist ovog filma u nekim scenama. I možda, samo možda bismo na trenutak osetili kako je to kada vam trenutak izrazite slabosti zapravo preraste u svaki trenutak svakog dana.
Protagonist ovog filma, Jaakko Järvinen je čovek koji već godinama ima multiplu sklerozu, slep je, koristi invalidska kolica i dane provodi uglavnom držeći se jednog istog ritma. Telefon ga budi u devet ujutro kako bi uzeo miorelaksante koji pomažu kod jakih grčeva u nogama, tu je krstarenje društenim mrežama, onlajn klađenje, slušanje muzike, uzimanje terapije. A koje uključuje i pušenje kanabisa što ga dobija na recept i podiže u lokalnoj apoteci. Na po sat-dva ga posećuje personalna asistentkinja koja pomaže oko higijene stana i sličnih poslova. Jaakko skoro svake noći sanja kako trči.
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Snaga prikaza života osobe sa invaliditetom koji dobijamo u ovom filmu je već u tome da vrlo jasno i bez preteranog popovanja posreduje da je, čak i u društvu koje, kao što vidimo, pruža znatno više ovoj populaciji od većine drugih na svetu, jedan od velikih problema monotonija koja lako vodi u depresiju. Život koji Jaakko vodi je, da se razumemo, udoban. Ali je i stalno isti i onda, reklo bi se, pomalo besciljan. Otac koji ga zove svakog dana, da proveri kako je sinu i ponudi da ga izvede u park biva uvek dočekan rečenicom ,,Još sam živ" i mada Jaakko ovo izgovara sa zabavno ironičnim izrazom na licu, u pozadini zaista uvek stoji pomisao da se njegov život sveo na puko čekanje smrti.
Ali Sokea mies joka ei halunnut nähdä Titanicia nije film o potonuću u depresiju već, naprotiv, podsećanje da su svi naši životu čekanje smrti i da je na nama da vidimo kako ćemo to čekanje učiniti podnošljivijim. Jaakko je, recimo, upoznao ženu, takođe osobu sa invaliditetom, preko interneta i njih dvoje tokom dugih telefonskih razgovora jedno prema drugom razviju veliku naklonost. Da li se zalubljuju? Naravno da se zaljubljuju, jebem mu mater, možda jače i strastvenije nego što to ljudi njihovih godina inače rade. Oni svakog dana pričaju telefonom i duhoviti su i zabavljaju jedno drugo i hrabre jedno drugo i ispituju jedno drugo. Jaakko je okoreli flilmofil i kaže da je kada je shvatio da gubi vid, gledao uglavnom Karpenterove filmove snimljene pre devedesete godine, dobro shvatajući šta želi da sa sobom ponese u ostatak života koji će provesti bez čula vida. On još uvek ima svoju DVD kolekciju (i nekoliko kesa za smeće prepunih VHS kaseta) jer kaže da će polica sa njima svakom ko ga poseti jasno pokazati kakva je on ličnost. Ljudima koje upoznaje a kojima ne može da vidi lica, on pripisuje izgled likova iz omiljenih filmova. Njegova telefonska simpatija, Sirpa, tako u njegovoj glavi izgleda kao Ripley iz serijala Alien, odnosno kao Sigourney Weaver. Svoju personalnu asistentkinju naizmenično naziva imenima negovateljica iz filmova Misery i Let iznad kukavičijeg gnezda. Naravno, ona je klinka koja mora da izgugla njihova imena i kiselo reaguje na njegove nerdovske humorističke ekscentričnosti.
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Odnos Sirpe i Jaakkoa je topao i toliko uverljiv da mi se čini kako ovaj film, inače snimljen 2021. godine može da učini više za shvatanje koliko je čak i tako civilizovano društvo kao što je Finska zapravo neprijateljsko okruženje za osobe sa senzornim i motornim ograničenjima od milion kampanja nevladinih organizacija. Ovo su PRAVI ljudi, sa pravim, stvarnim emocijama i scena u kojoj njih dvoje zamišljaju da su zajedno u istoj sobi i da se dodiruju je onoliko moćan filmmejking koliko je iko drugi bio u stanju da napravi u 21. veku.
Naprosto, glumci su fantastični – Poikolainen, koji se nalazi u centru skoro svakog kadra u filmu je neopisivo izvrstan a Marjaana Maijala glumi praktično samo glasom i daje nam pun opseg emocija i misli koji je čini stvarnom. Kada sam shvatio o čemu se u filmu radi, jedno tri minuta sam imao strah da će se ovo pretvoriti u radio-dramu sa slikama, ali Nikki kao režiser, fantastični Sari Aaltonen kao direktor fotografije i montažer Jussi Sandhu su mi taj strah veoma brzo razvejali. Za razliku od, recimo, Drive My Car koji sam kritikovao upravo na ime toga da se sav ovaploćuje u tekstu i da mu slika, pa ni gluma 99% vremena nisu potrebne, The Blind Man Who Did Not Want to See Titanic je film koji daleko nadrasta puki tekst. Poikolainen je, rekosmo, u centru gotovo svih kadrova u ovom filmu i Aaltone koristi vrlo plitak fokus sočiva, tako da je sve osim Jaakkovog lica (i povremeno potiljka, ili šake) razmazano i nejasno. Dodatno, blisko kadriranje znači da ljude koji su povremeno oko Jaakkoa često vidimo samo delimično, a lica im nikad nećemo videti. Film ovim ne replicira na neki mimetički način iskustvo slepila, ali veoma uspelo gledaoca stavlja u svet u kome se orijentišete po zvuku (i dodiru) a glasovi su vam jedino sredstvo identifikacije drugih osoba. I ovo, uz izvrsnu kameru i montažu funkcioniše besprekorno, pogotovo u drugom delu filma kada se dobija blagi žanrovski zaokret.
Bilo bi svakako previše reči da se The Blind Man Who Did Not Want to See Titanic iz drame transformiše u akcioni ili horor film, ali Jakko je poštovalac klasičnog Karpentera i kada mu Sirpa kaže da joj je dijagnoza loša, plačući preko telefona on se odlučuje da pređe hiljadu kilometara koji ih razdvajaju i poseti je po prvi put, ubeđen da će finska železnica i taksi službe biti na visini zadatka.
(https://i.imgur.com/knvkqm4.jpg)
U prvom trenutku deluje kao da jesu i Jaakko kaže da će morati ukupno da se osloni na pomoć samo pet neznanaca da bi stigao do Sirpinih ulaznih vrata. Ali naravno da čak ni Finska sa svojim programom socijalne zaštite, sedištima za osobe sa invaliditetom u vozovima i taksijima prilagođenim osobama u invalidskim kolicima, nije raj na zemlji i u drugoj polovini filma ne samo da vidimo koje su sve prepreke u svakodnevnom okruženju prisutne za osobe sa teškoćama u kretanju – a o kojima većina nas ni ne razmišlja iako je najprostje rečeno neljudski da druge ljude osuđujemo na praktično zatvor iako možemo da im prilagodimo okruženje – već se i suočavamo sa predrasudama o ,,invalidima" koje su, pa... strašne.
Film je snažan jer ranjivost prikazuje bez infantilizacije svojih subjekata. Naše društvo često, kada govori o ljudima iz populacije osoba sa invaliditetom refleksno usvaja zaštitnički, patronizujući ton iako osobe sa invaliditetom ne traže da ih neko štiti već da im se omogući pristup i učestvovanje u društvu na koje imaju pravo doslovno isto kao i svi ostali. I Jakko ovo posredno prikazuje kada ocu odgovara sarkastično ili ga laže jer ovaj nikada nije prevazišao ideju toga da svog sina treba da tretira kao dete, pogotovo sada kada je ,,invalid", pa ne može ni da zamisli da se ovaj zaljubljuje ili pati zbog ljubavi, a ne zbog bolesti.
Dobijamo i neposrednije prikaze, sa komšijama koje namirišu kanabis i komentarišu da se ovaj narkoman sigurno opijao i možda pio antifriz pa je od toga oslepeo, ali i kasnije u filmu sa sumnjivim tipovima koji će pokušati da od protagoniste iznude novac jer ,,invalidi primaju velike pare od države kao pomoć".
(https://i.imgur.com/cpTzQKv.jpg)
No, film i u ovim momentima ostaje fokusiran na Jaakkoa kao na potpunu ličnost – čoveka koji voli film, ima mišljenje o Scorpionsima, odbija da ikada pogleda Titanik jer ga smatra prodajom režisera što je napravio neke od najboljih akcionih filmova osamdesetih i koji, kada je suočen sa ljudskom surovošću ne zaboravlja SVOJU ljudskost. Čak i kada moli, Jaakko je potpuno, dostojanstveno ljudsko biće koje moli zato što voli i ŽELI da živi, a ne zato što se plaši da umre. Razlika nije samo semantička a ovaj film, sa svojim emotivnim pančlajnom toliko jako uspeva da je predstavi da na kraju čovek nije siguran je li se uplakao od tuge ili od radosti.
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The Blind Man Who Did Not Want to See Titanic je obavezna lektira, film u kome ćete videti čoveka što gotovo da igra samog sebe a opet daje vrhunsku GLUMAČKU rolu, režisera koji je odabrao čvrst, vrlo ograničujući koncept a onda iz njega izvukao maksimum, direktora fotografije i montažera koji gledaoca stavljaju u tuđu kožu a bez često banalnog, ,,realoty", ,,smartphone" filmmejkinga koje danas mnogi koriste bez razumevanja njegovih konotacija. Ovo je težak i snažan, a duhovit, zabavan i optimističan film koji se smeje u lice smrti, bola, Jamesa Camerona pa i samih Scorpionsa i svako, uključujući Camerona i Scorpionse bi trebalo da ga vidi jer će se možda setiti šta TAČNO znači biti smrtan i šta TAČNO znači živeti.
(https://i.imgur.com/tmzHXLZ.jpg)
Prošlogodišnji akcioni triler Davida Leitcha, Bullet Train (kod nas preveden na kraju donekle korektno kao ,,Brzina metka") dočekan je kod američke kritike na nož, a što je valjda indikator da, kada mrdnete iz stripovske sfere i date glavnu ulogu Bradu Pittu odjednom počinju da vas shvataju toliko ozbiljno da će vam vrlo strogo zameriti to da su likovi ,,stripovski" a da je priča ,,toliko imbecilna da je ne biste pustili da sama pređe ulicu".
(https://i.imgur.com/GPIU5zc.jpg)
Leitch, naravno, nije školovan režiser, već dolazi iz sveta kaskadera i borilačke koreografije, no nakon što je – nepotpisan – u tandemu sa Chadom Stahelskim režirao prvi John Wick (i bio izvršni producent na nastavcima) nametnuo se kao pouzdan proizvođač vrlo uspešnih akcionih filmova koji zarađuju i pare i poštovanje publike što ceni dobru koreografiju i visoke oktanske brojeve u rezervoaru. Posle adaptacije inače više špijunski orijentisanog stripa u akcionu ekstravagancu Atomic Blonde (https://cvecezla.wordpress.com/2017/08/27/film-atomic-blonde/), Leitch se dokazao i kao čovek kadar da radi u okviru franšiza i tamo zablista, radeći prvo drugog Deadpoola (https://cvecezla.wordpress.com/2018/05/20/film-deadpool-2/), a zatim i spinof za Fast & Furious, obezbeđujući sa jedne strane kapitalističkoj mašini goriva da se vrti još koju sezonu a publici brzu, atraktivnu zabavu u kojoj se broj polomljenih kostiju kaskadera trka za hi-score sa brojem frivolnih pošalica što ih izbacuju glumci namesto kojih kaskaderi lome te svoje mučene kosti.
Hoću reći, Leitch je idealan akcioni režiser za moderno doba, sa filmovima koji imaju jako – ali i dalje ukusno – stilizovan set dizajn i kostime, gustinom dosetki po kvadratnom milimetru scenarija koja je opasno blizu presićenosti od koje možete da povratite na oči i uši, i akcijom što uz sav green screen abjuz karakterističan za moderni film zapravo deluje pristojno fizički i ubedljivo. U poređenju sa prvim Johnom Wickom, Bullet Train je film koji značajno bolje radi taj spoj mitologizacije profesionalnih ubica i eksplozivne akcije, što znači da je Leitch i čovek koji istinski uči kroz rad.
(https://i.imgur.com/lXvzT7o.jpg)
Ono što Leitch nije je AUTOR koji dekonstruiše žanr a u likovima traži karakterne dubine i rezonancu sa najtananijim titrajima ljudske duše. Otud sam ja bio i pozitivno iznenađen pa i impresioniran da je sa Bullet Train ovaj režiser sebi u zadatak postavio jednu prilično zahtevnu stilsku vežbu a zatim je i odradio neočekviano ubedljivo. Drugačije rečeno: Bullet Train je film koji se čitav* događa u jednom vozu što kreće iz Tokija i završava u Kjotou u toku jedne noći i u pitanju je akcioni triler zapravo snažno orijentisan na likove i njihove karakterizacije ali i na veze koje među njima postoje, formiraju se i mutiraju u toku te fatalne japanske noći gde jakuze dobijaju ubičaki svrab a grupica gaiđina, naoko slučajnih putnika istom linijom, na kraju ostaje skoro sama u superbrzom vozu što hrli ka konačnoj destinaciji na kojoj ga čeka reprezentacija najsvirepijih ubica što je Japan poznaje.
*sem povremenih, kratkih flešbek montaža
Originalno, ovaj film je trebalo da bude ,,ozbiljnija" adaptacija romana Maria Beetle (tj. Mariabītoru) koji je 2010. godine objavio japanski autor misteriozno-akciono-trilersko-humorističke proze i mangi o ubicama, Kōtarō Isaka. Antoine Fuqua je u vidu imao neku vrstu Die Hard akcijaša u vozu, ali je na kraju, prelazeći na poziciju producenta prepustio scenaristi Zaku Olkewiczu i Leitchu da likove – u originalu sve japanske – transformišu u međunarodni američko-britansko-rusko-japansko-latinoamerički ansambl, a da film bude formatiran kao stilizovana akciona trilerska komedija koja će imitirati tarantinovsko interesovanje za ikoničko prikazivanje kriminalnih psihopata ali neće imati mnogo od njegove nostalgične, kontemplativne disekcije istorije kinematografije.
(https://i.imgur.com/lJGNcos.jpg)
Utisak mi je da američki kritičari, doduše, kod Tarantina fetišizuju njegove gestove u smeru istraživanja nijansi ljudskog stanja a koja su kod njega implicitno prenesena iz palp proze, stripova i B-filmova na kojim je odrastao. Štagod mislili o Tarantinu, fakat je i da su režiseri što su krenuli da rade u sličnom ključu nakon velikog uspeha njegovih ranih filmova, uglavnom kopirali njegovu stripovsku/ palpoidnu stilizovanost, fasciniranost nasiljem i davali likovima ekscentrične karakterizacije jer je to kod njega funkcionisalo na prvu loptu. Je li neko od njih dostigao i prestigao samog Tarantina u pravljenju te spone sa filmskom istorijom i, možda, kreiranja smislenog komentara na istu? Uglavnom ne, pa tako nešto ne treba očekivati ni od Leitcha.
No, Leitch uspeva da napravi film od dva sata koji se, rekosmo, sav dešava u vozu a da to bude ekonomično, nabijeno energijom i zabavno. Naravno, stilizacije su ovde vrlo naglašene, od uvođenja likova u narativ sa sve potpisima na ekranu (koji uključuju i kanđi karaktere) preko agresivne kolor-korekcije, pa do korišćenja green screen tehnologije da se kreiraju brutalne akcione/ disaster scene, ovo je film koji ne beži od svojih korena u japanskoj popularnoj kulturi i, štaviše, radosno ih privija na grudi. Lik devojke po imenu Prince je vrlo očigledno zasnovan na popularnom manga-klišeu mlade devojke nedužnog izgleda i psihipatskog, ubilačkog karaktera.
I ostalim likovima se mogu naći pandani u manga i anime predlošcima – uostalom, neki od likova su jakuze – i Bullet Train jeste u jednoj meri weebo film, sa detaljima koji su očigledan naklon ljubiteljima savremene japanske pop-kulture (počev od otvaranja koje vrlo sugestivno emulira Šinđuku iako je film uglavnom snimljen u Los Anđelesu), ali ne treba ovde tražiti neki duboki zasek u Cool Japan.
(https://i.imgur.com/h24Ln2v.jpg)
Ovo je pre svega akcioni film od devedeset miliona dolara u kome igra Brad Pitt, ali Leitch je kod mene dobio solidnu dozu respekta za to koliko radi sa drugim likovima. Pitt, kome je Leitch bio dubler u pet filmova, je ovde dobio ulogu protagoniste, pomalo ostarelog plaćenika koji nakon polaska na terapiju pravi kopernikanski obrt u svom svetonazoru, odriče se nasilja i ide unaokolo ispaljujući self-help fraze, dok preuzima poslić u Tokiju namenjen drugom operativcu a koji se sastoji samo od ukrcavanja na voz, pronalaženja tamo jedne specifične akten-tašne i izlaska na narednoj stanici. Brad Pitt je ovde veoma kul i vidi se da uživa u ulozi koja mu dopušta da koristi neke vrlo izlizane termine i svoju old school stonersku fasadu iz True Romance i uverljivo nam prodaje profesionalog ubicu koji više ne želi da ubija a oko koga se, praktično kroz seriju bizarnih akcidenata ređaju tela.
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Film ima tu nestašnu dinamiku (crne) komedije zabune u kojoj se ispostavlja da nekoliko likova u istom vozu pripadaju međunarodnoj mreži profesionalnih ubica i plaćenika i kroz procesiju naoko slučajnih (i uglavnom nasilnih) interakcija shvataju da su deo nekog većeg narativa. Kōtarōv roman daje priči ovu propulzivnu sržnu ideju, ali je onda likovi zaista dobro prodaju, od Pittovih zabavnih telefonskih konverzacija sa hendlerkom (koju igra raspoložena Sandra Bullock), preko dvoje dece ruskog kriminalca sa velikom pravoslavnom ikonom tetoviraom na leđima što je preuzeo jednu od najopasnijih jakuza porodica u Japanu, a koja, deca, govore potpuno različitm akcentima i svako je na svoj način problematično (Joye King i Logan Lerman), pa do operativaca sa šifriranim imenima (Limun, Mandarina, Stršljen, Vuk) koji su svi tipično ekscentrični likovi veći od života. Produkcija je ovde sakupila neke vrlo pitoreskne glumce, pa tako Bad Bunny igra latinoameričkog siledžiju Vuka, sjajna Zazie Beets se maskira u Japanku sa dugom plavom kosom, a Aaron Taylor-Johnson i Brian Tyree Henry su braća-blizanci sa paklenim londonskim-naglascima i bizarnim opsesijama od kojih bi i Guy Ritchie malo podrignuo. Dodajmo još i azijske glumce koji fino odrađuju jakuza klišee (Hiroyuki Sanada i Andrew Koji) i ansambl je prijatno šarolik i zabavan. Hajlajt su svakako Mandarina i Limun od kojih ovaj prvi izigrava profesionalca frustriranog svojim bratom i njegovim površnim čitanjem brifinga za nove poslove, dok ovaj drugi ceo svoj svetonazor zasniva na čitanju dečijih knjiga Thomas the Tank Engine, a što je, jelte, prikladno za film koji se čitav događa u vozu.
(https://i.imgur.com/Iq79RTV.jpg)
Leitch ovde radi znatno više nego što bih ikada očekivao od njega. Od toga da se film praktično odvija u realnom vremenu, preko promišljenih akcionih koreografija koje dobro odmeravaju odnos brutalnosti i humora, pa do možda ključnog kreiranja hemije između likova koji svi imaju svoje agende i karakteristične emotivne reakcije na prepoznavanje da su deo priče čije odvijanje diktira neko drugi.
Utoliko, Bullet Train nije film sa nekakvom dubokom porukom i njegovi likovi, sa svojim unutrašnjim životima – koje će ospoljavati u svakoj prilici oslanjajući se na tarantinovsko-ričijevsku kompulziju deklamovanja nervoznih monologa – nisu više od zabavnih karikatura, ali interakcija ovih karikatura, njihovo prilagođavanje promenljivoj situaciji, sklapanje ad-hok savezništava i prepoznavanje profesionalne etike čak i u momentima kada pokušavaju jedni druge da ubiju golim rukama, sve to izvedeno brzim tempom uz jednu iznenađujuće organsku, efikasnu režiju, to je ono što Bullet Trainu daje njegovu nezaustavljivu inerciju kretanja napred.
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I, da se razumemo, uvažavam da su nekome ovi likovi iritantni i da mu akcione scene koje se maltene sve do jedne događaju u tesnom zatvorenom prostoru na kraju sve izgledaju isto (iako ne izgledaju, naravno – Letich ni slučajno nije Tarantino ali jeste majstor za koreografiju borbe), ali Bullet Train je film koji svoje metafore vozi dosledno od prve do poslednje stanice bez obzira na to što nema sa njima neke velike ambicije. Grupa likova zarobljena u vozilu na šinama koje ih vodi u smrt, i njihove suprostavljene filozofije i pogledi na svet više su nego dovoljan okvir za atraktivne, brutalne tuče i maštovita ubistva od kojih neka ne donose, jelte, permanentan rezultat, ali i za humor sa Pittovim njuejdžerskim pokušajem da pronađe mirno rešenje za svaku situaciju, Henryjevim opsesivnim posmatranjem svega kroz likove iz Thomas the Tank Engine ili Johnsonovim nadrkanim kokni-naglaskom. Kada pred kraj filma čujemo obradu Holding Out for a Hero u izvedbi Miki Asakure, sa sve prepevom na japanski, a koja je svojevrsni kontrapunkt obradi Stayin' Alive sa početka što je peva rodno difuzna japanska zvezda Avu-chan, film nam bez mnogo objašnjavanja pokazuje da se nalazimo u alternativnoj verziji sedamdesetih i osamdesetih godina prošlog veka koje se nikada ne završavaju i u kojima je Japan izrastao u neksus svetske kulture, onako kako je uvek i trebalo da bude.
(https://i.imgur.com/foQ7G9J.jpg)
Naravno, ovakvi filmovi nisu mnogo više od generalnog gestikuliranja u smeru Japana i insistiranja da je on kul, ali, srećom, Bullet Train ne postavlja sav svoj raison d'être u ovu ravan i uspeva da od proznog predloška preuzme tu kinetičku energiju mase ekscentričnih likova koji se na zanimljiv način sudaraju u omeđenom prostoru vozila što ih nosi ka fatalnom susretu na kraju, a onda pušta glumce da se dobro zabavljaju oživljavajući – i ubijajući – ove likove. Umešno snimljen (Leitchov stalni saradnik, Jonathan Sela kao direktor fotografije) i pažljivo montiran (takođe pouzdana montažerka Elísabet Ronaldsdóttir koja je pored Deadpoola 2 i Atomic Blonde radila i, recimo, Shang-Chija), ovo je film koji, za moje pare, veoma dobro odmerava akciju, karakterizaciju, humor i (karikirani) gravitas za dva sata finog fast food provoda što ostavlja prijatan ukus u ustima i kada na kraju izađete na poslednjoj stanici. A znate da kažu da je svaka vožnja vozom posle koje možete od voza – makar i prevrnutog – da odšetate na svojim nogama, dobra vožnja.
(https://i.imgur.com/oNCLyBl.jpg)
Pošto je HBO u svoju ponudu dodao masu restauriranih filmova iz šezdesetih godina, počastio sam sebe gledanjem pomalo ozloglašenog Le Bonheur (odnosno Sreća), belgijsko-francuske režiserke Agnès Varda, a za koji važi da spada u njene najprovokativnije filmove. Ovaj svega 78 minuta dugački, besprekorno snimljeni i izmontirani rad je dobio Srebrnog medveda na Berlinskom filmskom festivalu i može se smatrati jednim od stožernih radova francuskog Novog talasa, iako, naravno, istorija radije citira radove Godarda, Truffauta ili Chabrola. Uostalim, i sam Godard je Novi talas smatrao ekskluzivnim društvom malobrojnih autora pa je Vardu, kao i neke druge režisere (Alain Resnais, Alexandre Astruc, a čiji se esej iz 1948. godine o rođenju nove avangarde i kameri koju režiseri treba da koriste kao što pisci koriste pero smatra jednom od iskara iz koje se desetak godina docnije rasplamsao Novi talas) priznavao kao značajne savremenike ali ih nije ubrajao u novotalasno tvrdo jezgro.
(https://i.imgur.com/us3JzvO.jpg)
No, ako se složimo sa teorijom autora, odnosno da su se režiseri filmova imali smatrati de fakto autorima svojih dela (radije nego jednim od izvođača radova za produkcijski studio), a koja je utemeljena u magazinu Cahiers du cinéma – glasilu vrlo uticajnom za francuski film i novi pokret u njemu – onda je Varda nesumnjiva pripadnica Novog talasa i jedan od njegovih najprominentnijih ali i najdugovečnijih predstavnika. Uostalom, njena karijera filmske autorke – u ulogama scenaristkinje i režiserke – krenula je pre nego što je termin Novi talas i počeo da se koristi, sa filmom La Pointe Courte iz 1955. godine, a nakon uspešne karijere u svetu fotografije koja ju je i zainteresovala za prelazak u novi medijum. Francuski kritičar i istoričar filma, Georges Sadoul smatra La Pointe Courte začetkom Novog talasa, a film je doslovno nastao kada je Varda, došavši u mali primorski grad u kome je odrasla, Sète, da fotografiše, dobila napad inspiracije, iznajmila kameru i nagovorila ekipu da radi pro bono do daljnjeg. Kanski festival je bio mesto na kome je održana premijera i Varda je već tada na sebe skrenula pažnju osobenim autorskim pristupom ali i temama koje su je interesovale.
Agnès Varda je bila jedna od 343 žene koje su 1971. godine potpisale Manifest 343, u kome su potpisnice obnarodovale da su imale abortus u nekom momentu u svojim životima, uprkos činjenici da je ovaj zahvat bio nezakonit u Francuskoj u to vreme. Ovaj je manifest, a čiji je tekst napisala Simone de Beauvoir nedvosmisleno pozivao na legalizaciju abortusa ukazujući na činjenicu da svake godine milion Francuskinja sebe njemu podvrgne, izlažući se zdravstvenim i legalnim rizicima. Manifest je podigao dosta prašine u javnosti i uticao da se zakonodavstvo promeni pa je 1974. godine abortus učinjen legalnim a sredstva za planiranje porodice dostupnijim.
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Ovo navodim jer je Agnès Varda bila jedan od onih feminstkinja koje su borbu za ženska prava shvatale i kao prirodan deo borbe za pravičnije društvo za svakoga, pa je solidan deo njenog filmskog rada otpadao na dokumentarne filmove sa političkim temama a koji su onda u Francuskoj bili cenzurisani. Varda je išla na Kubu da intervjuiše Kastra, u Los Anđelesu radila dokumentarac o Crnim panterima – udarajući poseban akcenat na ženske članice pokreta – ali išla i u Grčku za vreme fašističke vlasti da pokaže kako tamo život izgleda.
Sve ovo je bitno jer, sa dugačkom karijerom koja je trajala sve do njene smrti od raka 2019. godine (sa punih devedeset godina), postoji tendencija da se o njoj priča najčešće na ime njenih kasnijih filmova, onih snimljenih osamdesetih godina prošlog veka (kao što je Vagabond) ali i radovima iz ovog (notabilno eksperimentalni Visages villages odnosno Faces Places iz 2017. godine), a da njen novotalasni opus ume da se smesti malčice i u senku koju tvore cenjeni savremenici. Utoliko, Le Bonheur je idealan povod da se čovek podseti kako je Varda bila radikalna i politički i umetnički od samih početaka u filmskom medijumu.
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Urađen kao njen treći film, 1965. godine, Le Bonheur nosi sa sobom vrlo tipične novotalasne odlike ali i karakteristike Vardinih interesovanja i izraza. Na primer, film je snimljen kompletno na lokaciji, bez korišćenja studijskih setova i scenografije, što je tipično za Novi talas, ali je istovremeno radnja smeštena u manje gradove, izbegavajući tipičnu ,,građansku" Francusku koju su tradicionalno prikazivali domaći filmovi. Glavni muški lik u ovom filmu, François Chevalier je stolar, njegova žena Thérèse je šnajderka a žena koja kompletira ljubavni trougao, Émilie Savignac je PTT šalteruša. Ovi ljudi pripadaju u najboljem slučaju nižoj srednjoj klasi i njihov život izvan posla podrazumeva odlaske na igranke, ponekada u bioskop, ali vrlo često proste izlaske u prirodu gde će se šetati po šumi i dremati u korenu velikog drveta.
Iako je Varda bila vrlo zainteresovana za socijalna pitanja u svojim filmovima, Le Bonheur se bavi jednom tananijom temom i dotiče ideje sreće koja se ne pronalazi u materijalnom imetku, pa čak ni u bogatstvu socijalnih interakcija, već pre svega u ljubavi i bliskosti koju obezbeđuje građenje porodice.
Le Bonheur s početka prikazuje vrlo srećnu porodicu Chevalier, gde muž, žena i dvoje dece provode dane radeći a vikende odmarajući se u šumi i družeći se sa tazbinom i ovo je jedna vidno idealizovana, ali ne parodirana slika porodične harmonije sa prominentim prizorom familuje u polju suncokreta u prvom scenama. Varda već ovde podmeće gledaocu onog vremena lukavu meta-fikciju s obzirom da bračni par igra stvarni bračni par iz života, televizijski srcolomac Jean-Claude Drouot i njegova supruga, Claire. Kada se François upozna sa poštanskom službenicom Émilie i između njih dvoje se rodi strast pa onda i zaljubljenost, flim svoju provokaciju ubacuje u višu brzinu i kreira imaginarijum koji više od pola stoleća kasnije i dalje zaziva različite, i suprotstavljene interpretacije.
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Ovo nije ,,samo" film o muškarcu koji vara svoju ženu sa ženom što na nju liči likom i karakterom, niti tek provokativni panegirik slobodnoj ljubavi šezdesetih godina, niti puka socijalna satira usmerena na konzervativno građansko društvo. Mnogi kritičari, pogotovo u kasnijim decenijama intuitivno definišu Le Bonheur kao horor film zahvaljujući njegovom besprekornom tempu i atmosferi koji pretnju sadrže samo u kontekstu i kada se radikalni prelom u poslednjoj četvrtini dogodi, njegovo – ponovo vrlo pastoralno – finale doživljava se na sasvim drugačiji način od veoma sličnih uvodnih scena.
Varda je film napisala i režirala uredno, sa pažljivo posloženim narativnim celinama u narativu koje se razdvajaju scenama boravka u prirodi i simetrijama koje gledaocu postaju podsvesno vidljive kako vreme protiče. Film je istovremeno i neužurban, sa pitkim, relaksiranim prikazom porodičnog života, ali i brutalno ekonomičan u naraciji. Recimo, scena plesa u sredini filma je doslovno genijalan način da se – bez reči ili nekakvih komplikovanih montaža prikaže evolucija odnosa između tri glavna lika u filmu, sa sve erotskim kontekstom i činjenico da je jedino muški lik onaj koji zna sve o svima.
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Varda kombinuje praktično dokumentaristički snimljene scene koje pokazuju svakodnevni rad ili odmor sa gotovo impresionističkim momentima u prirodi i ovde njena fotografska ekspertiza, ali i besprekoran rad kamere od strane čestog Chabrolovog saradnika Jeana Rabiera i Claudea Beausoleila (a koji je snimao i Godardov Do poslednjeg daha) dolaze do izražaja sa 35-milimetarskom filmskom trakom i bogatstvom boja kakve današnja digitalna tehnologija naprosto ne proizvodi. Film sam gledao u digitalno remasterovanoj 2K verziji rađenoj 2014. godine pod Vardinim nadzorom i za potrebe Criterion kolekcije i ovo je konačno verzija ovog dela kakvu naše digitalno doba zaslužuje.
Varda, rekosmo, režira neužurbano, osim kada montažerki Janine Verneau zadaje skokovite, grčevite rezove kakvi naprosto nisu bili uobičajeni na filmu u ono vreme. Scena kada François prvi put ulazi u stan kod Émilie je upečatljiva upravo zahvaljujući tome kako inače relaksiranu i pastoralnu atmosferu filma (sa sve Mocartovim razigranim a opet melanholičnim saundtrakom) probada hitrim fokusiranjem pogleda na detalje iz Émilienog okruženja, svodeći njen život, i njen karakter na nekoliko znakovitih elemenata.
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Likovi u filmu su definisani pre svega svojim rečima jer mnogo drugih informacija o njihovim unutrašnjim životima nemamo. François je čovek koji veruje u iskrenost i iskreno govori svojoj ljubavnici o tome koliko voli svoju ženu ali i koliko je srećan što sada ima i nju. Sreća je za njega ultimativna svrha življenja, reklo bi se ali film vrlo pažljivo prikazuje njegov bračni i radni život kao procesiju situacija u kojima François uvek zrači jednim budističkim, smirenim zadovoljstvom i vrlo primetno – do kraja filma – nedostaju momenti problema, nesuglasica, dilema. François je srećan i njega samo sreća i zanima, i on će i svojoj ženi govoriti o sreći i želji da i ona bude srećna čak i u momentima kada joj jasno stavi do znanja da nije jedina žena u njegovom životu.
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Višeslojnost Le Bonheur se pronalazi već i u tome da sreću, kao stanje permanentnog zadovoljstva i blagoslova postavlja u kontekst jedne izuzetno cinične tragedije i propituje temeljnu vrednost zapadnog društva, dakle sreću, kao nešto što se stiče, radije nego nešto što se pronalazi u sebi. Prikaz glavnog muškog lika kao nekog ko sreću traži i pronalazi u drugima stoji u jasnoj oopziciji sa činjenicom da isti taj François onda druge podešava prema sebi, da bi stalno čuvao blagosloveni osećaj ispunjenosti koji, da bude jasno, nije i ne može biti ,,prirodno" ljudsko stanje.
*ne zaboravimo da američki ustav, čak, eksplicitno stavlja potragu za srećom među neotuđiva ljudska prava
Utoliko, ovo je feministički film koji su u svoje vreme kritikovali da podstiče submisivnost i krotkost žena a što je, sigurno, bila posledica površnog gledanja. Jer finale u kome vidimo da je François praktično pretvorio jednu ženu u drugu, sa suncokretima iz prve scene od kojih su sada ostale samo stabljike i porodicom koja u šumu odlazi udaljavajući se od kamere, čini mračnu simetriju uvodnim kadrovima i pokazuje koncept sreće kao represivni, nametnuti imperativ kojeg je muškarac u ovom filmu postavio pred žene što se za to, ultimativno, nisu pitale. Ovo nije kritika buržoaskog mentaliteta ili kapitalističkog svetonazora koliko jedna dublja, intimnija kritika uma što smatra da se u stalnom blagoslovu pronalazi odgovor na sva životna pitanja. Naravno, život naprosto NIJE takav i otud i njegov gubitak u ovom filmu dolazi tako prirodno i neumitno, nudeći gledaocu egzistencijalni horor kakvom se nije nadao.
(https://i.imgur.com/wmnd1BP.jpg)
Ako nisi pogledaj i Kleo od 5 do 7 i Stvorenja... Mala remek dela...
Nisam, ali planira se, naravno. Hvala.
Pogledao sam film Arvéd, češku pomalo okultnu, pomalo kafkijansku, pomalo hermetčnu dramu o životu jedne interesantne istorijske figure iz prve polovine dvadesetog veka, snimljenu uz pomoć Češkog državnog fonda za pomoć filmu. Izvori navode iznos od 11 miliona kruna donacije, što zvuči impresivno mada se radi o cifri manjoj od pola miliona evra. Opet, svaka kruna koju je film dobio se, mislim da je fer reći, vidi na ekranu, sa priličnom trudom oko kadriranja i osvetljenja što ga je ekipa predvođena debitantskim režiserom po imenu Vojtech Masek uložila. Masek je poslednjih godina imao izvesnih uspeha kao scenarista a poslednji film koji je pisao, Okupace iz 2021. godine bavio se sovjetskim trupama u Čehoslovačkoj pa je i nekako prirodno da će njegov naredni film, a koji je napisao u tandemu sa Janom Poláčekom, i onda režirao biti još jedan ,,period piece", ovog puta usmeren na pojedinca koji se u svom vremenu izdvajao izuzetno ekscentričnim interesovanjima ali i istorijom mračne saradnje sa ne jednim već dva totalitarna režima.
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Masek nije potpuno neiskusan po pitanju režije i početkom stoleća je režirao nekoliko kratkih filmova i može se govoriti da film na planu pojedinačnih scena veoma impresionira, sa odličnom fotografijom Dusana Husára, sjajnim osvetljenjem, dobrim kostimima i scenografijom. Ovo je svakako film koji je iz svojih skromnih sredstava izvukao najviše, nudeći nam scene snimljene uglavnom u enterijeru i uglavnom sa minimumom osvetljenja, a da je utisak koji se ostavlja taj o jednom jasnom i zaokruženom umetničkom i estetskom imaginarijumu a ne o nekakvim dovijanjima iz nužde. Ograničen broj lokacija (unutar najviše tri zgrade) na kojima se radnja odvija ovde je od ograničavajućeg faktora transformisan u narativni motiv sa pričom koja epizode iz života titularnog Arvéda postavlja u jednu cikličnu ili makar spiralnu strukturu, oslanjajući se na snagu ponavljanja i variranja istih motiva, kadrova, dijaloga i afekata da nam sugeriše opsesije glavnog junaka ali i obrasce zloupotrebe u kojima je bio zarobljen dobar deo svog života.
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Jiří ,,Arvéd" Smíchovský rodio se krajem devetnaestog veka (dvadesetak dana pre Josipa Broza Tita koji se i sam pominje u filmu) u uglednoj praškoj porodici sa jakim buržoaskim korenima (istorija kaže da su već dva veka živelu u Pragu u vreme kada se Arvéd rodio) i vrlo naglašenom odanošću katoličkoj veri. Porodična kuća je, kažu, bila puna vrednih knjiga i umetničkih predmeta a oca su često posećivali ugledni umetnici (na primer slikar Max Švabinský) ali i druge javne ličnosti (poput slavnog generala Radola Gajde). Arvéd je tečno govorio Nemački i počeo sa studijama prava na Nemačkom univerzitetu u Pragu ali ga je početak Prvog svetskog rata omeo u završavanju fakulteta. Mobilisan i sa činom poručnika poslat da služi na frontu u Italiji, Arvéd će brzo dezertirati i kriti se jedo vreme među monasima u manastiru blizu Pize. Ipak, na kraju je bio otkriven, i proveo jedno vreme u logoru za ratne zarobljenike, da bi do kraja rata ponovo pristupio ,,svojima", služeći u dobrovoljačkoj Čehoslovačkoj legiji ali i sarađujući sa italijanskom obaveštajnom službom sa kojom je, kažu imao tesne veze sve do 1930-ih godina.
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Iako je posle rata završio prava, posle toga je počeo studije teologije u Italiji i filozofije u Francuskoj, privučen, jelte višim temama, pa će nešto kasnije doktorirati i jednu i drugu nauku, pristupiti Masonima, početi da izučava Kabalu i okultizam. Arvéd je držao predavanja u hermetičkom udruženju Univerzalija, ali je što se posla tiče radio prilično malo, na odseku za arheologiju Nemačkog univerziteta u Pragu i uglavnom se izdržavao od porodičnog, odnosno majčinog novca. Jer, zahvaljujući svojim političkim stremljenjima (prvo je bio socioldemokrata pa fašista) ali i homoseksualnoj orijentaciji, Arvéd je bio ono što danas zove bezbednosno interesantnom osobom. I ne bez razloga, politički ali pre svega lično radikalizovan učestvovao je u pokušaju zauzimanja Narodnog doma i napadu na Vinogradsku sinagogu krajem tridesetih godina, doduše prvenstveno zainteresovan za retke i vredne knjige koje su se tamo nalazile.
(https://i.imgur.com/fU9vxmO.jpg)
Odmah od početka okupacije sarađivao je sa nemačkom obaveštajnom službom Sicherheitsdienst, ali i bio tri puta zatvara od strane Nemaca. Kažu da je bio jedan od njihovih najrevnosnijih agenata, a kada mu je posle rata suđeno za kolaboraciju branio se na sudu sam, insistirajući da je bio primoran. I pored nekoliko svedoka koji su tvrdili da im je pomogao da se spasu od nacista, sud je utvrdio opsežnu saradnju sa okupatorom i osudio ga na doživotni zatvor. Arvéd je menjao mesta služenja kazne jer su ga drugi zatvorenici često napadali, delom zbog njegove istorije saradnje sa okupatorom, delom zbog obreda crne magije koje je navodno radio u ćeliji, delom zbog, a ovo je verovatno bilo presudno, daljeg doušničkog posla koji je obavljao ovog puta za čehoslovačku službu StB koja je koristila njegovo opsežno poznavanje tajni vezanih za visokopozicionirane ljude iz doba okupacije pa ga i izvodila kao svedoka na više suđenja. Zbog ovoga je imao izvesne privilegije u zatvoru, poput sopstvene ćelije i povremenog pristupa knjigama koje je tražio ali je početkom 1951. godine okončao život pod još uvek nerazjašnjenim okolnostima. Postoji nekoliko verzija priče vezane za njegovu smrt, od toga da se ubio, preko toga da je samog sebe obrezao u ćeliji i umro od trovanja krvi pa do toga da su ga iz nehata ubili stražari koji su voleli da ga povremeno propuste kroz šake.
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Film Arvéd se prevashodno bavi periodom okupacije i nakon rata, dakle, Arvédovom saradnjom sa nacistima i komunističkom službom i njegova velika snaga je u tome da uspeva da legitimno prikaže protagonistu kao opsednutog čoveka koji će zbog svojih okultnih interesovanja žrtvovati veliki deo svog života i saviti kičmu pred jednim i drugim režimom kako bi imao pristup za njega dragocenoj literaturi a preko nje onostranome. Poreklom iz, rekosmo, veoma katoličke porodice, Arvéd u jednoj od scena svešteniku sa kojim deli ćeliju (iako ga sumnjiči da je samo glumac podmetnut od strane službe) objašnjava zašto se okrenuo Satani i ovo je jedna u njegovom životu jasno i ubedljivo prikazana transformacija sa dobro povučenim linijama između hrišćanskog verovanja, njegovog života u ,,grehu", ali i poezije Stanislava Kostke Neumanna.
(https://i.imgur.com/GfwqAoo.jpg)
No, strastvenost glavnog glumca, Michala Kerna i vrlo pristojan rad ostatka ansambla (pogotovo Saše Rašilova koji igra funkcionera Štěpána Plačeka čiji je život Arvéd spasao dajući nacistima nepotpune informacije i koji mu posle rata vraća uslugu iako ga, efektivno, drži u zatočeništvu) nije sasvim dovoljan da gledalac koji nema nikakva eksterna znanja o životu doktora Smíchovskog baš odmah – ili uopšte – razume o čemu se u filmu radi. Masek je odabrao nehronološki pristup pripovedanju, sa stalnim skokovima između suđenja Smíchovskom, njegovih saradnji sa jednom i drugom službom, dijaloga u zatvorskoj ćeliji ili dijaloga sa agentima službe poslatih da sa njim sarađuju dok je još u kućnom pritvoru (a od kojih jednog pokušava da zavede). Ovi su skokovi namerno urađeni bez ikakvog signaliziranja da se radi o različitim vremenskim planovima a što se dalje dodatno komplikuje smišljenim ponavljanjem istih scena po nekoliko puta, sa nešto izmenjenim dijalogom ili izmenjenim akterima u nekim od uloga. Ovo je svakako smeo umetnički postupak, ali i riskantan jer postoji prilična verovatnoća da će gledalac biti pomalo izgubljen i nesiguran da li scene koje vidi treba da doživljava kao istorijske, simboličke ili deliričke.
Ovo, da bude jasno, na kraju nije TOLIKO bitno jer film svakako ne pokušava da bude dokumentaristički prikaz Arvédovog života, već više aproksimacija goruće tenzije jednog od najbriljatnijih umova svog doba a koji je bio stavljen u jaram saradnje sa službama i držan u podređenosti stalnim obećanjima ezoterične literature. Michal Kern ima taj opsesivni, adiktivni kvalitet u svojoj glumi i gledalac uspeva da oseti to uzbuđenje vezano za lepe stare knjige odštampane goticom koje on tretira gotovo isto kao cigarete kojih u zatvoru nema i koje mu se tokom razgovora sa službom daju kao mala nagrada.
(https://i.imgur.com/4PSO6JH.jpg)
No, ono što može da gledaoca ultimativno odbije je to da se film gotovo sav svodi na dijaloške scene u kojima su likovi mahom nepomični i gledaju ili jedni u druge ili u kameru. Masekovo kadriranje je izvrsno a osvetljenje i kolorit, zajedno sa kostimima i scenografijom su veoma ukusno urađeni, no ovo je film od gotovo dva sata koji 80% svog vremena provodi u ovakvim scenama dok ostatak otpada na kratke kadrove suđenja i repetitivne kadrove crnomagijskih rituala koji na kraju deluju samo kao začin.
Utoliko, Arvéd je film koji intrigira ali ne isporučuje do kraja, više služeći kao podsticaj da se sami upustite u istraživanje života i filozofije ovog čoveka nego što zbilja uspeva da prikaže svoju proklamovanu faustovsku temu. Tehnički svakako kompetentan na nivou svake scene on može i da umori tom ujednačenošću tona i atmosfere ali intrigantnost mu se ne može poreći pa sam zadovoljan da mi je HBO omogućio da ga pogledam.
(https://i.imgur.com/jHsQ7K4.jpg)
Uz dosta otezanja sam konačno pogledao Ant-Man and the Wasp: Quantumania, treći Marvelov film iz Ant-Man serijala čija je premijera bila pre nepuna tri meseca a koji maltene od prvog kadra deluje zastarelo i kao nešto što je nastalo više po inerciji nego što je iko upleten u ovaj projekat imao u sebi makar zrnce entuzijazma. Ant-Man filmovi su u početku delovali kao dobrodošla protivteža u tom trenutku već jako eskalirajućoj metanarativnoj drami Marvel Cinematic Universea, bežeći od grandioznih zapleta u kojima kosmički darvinistički fetišisti ugrožavaju polovinu sveukupe populacije univerzuma, postavljajući narativ u svakodnevn(ij)e kontekste i za protagoniste uzimajući male ljude sa antiherojskim profilom i brojnim ekscentričnim crtama u karakteru. No, uprkos izvesnom šarmu, i vrlo solidnoj zaradi što su je ovi filmovi doneli Dizniju, neko negde je odlučio da je neophodno da i Ant-Man uđe u višu brzinu i kreira narativ gde će biti ugrožen ne samo univerzum – to je tako 2012, jelte – već multiverzum. Reči su, na kraju krajeva, najjeftinije a kada maltene celu scenografiju u filmu pravite u kompjuteru, onda i paralelni univerzumi i neprebrojne verzije istog lika dolaze sa priličnim popustom.
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Rezultat je i da je Ant-Man and the Wasp: Quantumania, tehnički gledano, film u drugom žanru nego što su bila prva dva. I originalni Ant-Man iz 2015. godine i njegov nastavak, Ant-Man and the Wasp iz 2018. su bili u osnovi heist-thrilleri a ulozi su bili lični i fokusirani na likove koji se međusobno dobro poznaju. U kontrastu sa tim, Ant-Man and the Wasp: Quantumania je avanturistički naučnofantastični film smešten na tuđinski lokalitet koji je u svakom praktičnom smislu ,,druga planeta", i njegova oruđa treba da budu začudnost koju sa sobom nosi potpuno novi svet i nepoznata pravila po kojima on funkcioniše, a onda otkrivanje nekih, jelte, društvenih protivrečnosti u tom svetu i primenjivanje dobre stare američke revolucionarne pravde da se isprave nepravične postavke društva, diktatorima se pusti krv kako bi se zalilo proverbijalno drvo slobode, a potlačeno stanovništvo spase jarma i uvede u novo društveno uređenje.
Ovo je vrlo stara narativna matrica, solidifikovana tokom zlatnog doba palp literature, još sa radovima Edgara Ricea Burroughsa sa početka prošlog veka, a dalje eksploatisana u medijumima radio drame, filma i stripa. Neki od ključnih predratnih naučnofantastičnih stripova su se oslanjali u svojim najpoznatijim pričama upravo na ovu matricu, počev od Bucka Rogersa pa do njegovog apsolutno najuspešnijeg imitatora – Flasha Gordona. No, čini mi se da nije pogrešno reći kako se Ant-Man and the Wasp: Quantumania u presudnoj meri za svoj zaplet oslanja na drugog uspešnog imitatora Bucka Rogersa, konkretno na strip-serijal Brick Bradford a još konkretnije na njegovu petu priču, Adrift in an Atom (aka Voyage in a Coin) što je, napisana i nacrtana od strane Clarencea Grayja i Williama Ritta, izlazila u američkim novinama od drugog avgusta 1937. godine pa do prvog avgusta 1938. U ovoj priči, odvažni pilot Brick, profesor Kalla i Brickova simpatija June bivaju smanjeni posredstvom ,,K-zraka" a unutar vozila nazvanog ,,sfera koja se smanjuje" kako bi ispitali mikroskopski svet u oku Abrahama Linkolna na novčiću od jednog centa. Posredstvom nepredviđenih incidenata, Brick i družina se smanjuju više nego što se planiralo i dosežu subatomki nivo gde otkrivaju čitav univerzum, jelte, nebeskih tela a zatim i život pa i civilizaciju, koja je u previranju, sa ratom između suprotstavljenih nacija... Ant-Man and the Wasp: Quantumania ne samo da ponavlja ovu priču već ima i neke prilično indikativne vizuelne reference na ovaj strip – od toga kako izgleda ,,jezgro" pogona što omogućava putovanje između multiverzuma, a što je glavni mekgafin oko koga se likovi u filmu bore, pa do scene u kojoj prema glavnom junaku, Scottu i njegovoj ćerki velikom brzinom juri nešto što oni misle da je Sunce – i verovatno je značajno primetiti kako su režiser Payton Reed i scenarista Jeff Loveness inspiraciju tražili u starim stripovima a kako je Ant-Manov postojeći strip-legat u Marvelu agresivno ignorisan.
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Drugim rečima, ovaj film jedva da ima ikakve veze sa Ant-Man stripovima čak i u kontekstu MCU, gde je normalno da se mnogi motivi iz stripova transformišu, osavremenjuju, sažimaju ili slobodno ukrštaju zarad konzistentnijeg filmskog univerzuma.
Da budemo fer, Scott Lang nikada i nije bio preterano interesantna verzija Ant-Mana, kod čitalaca uglavnom solidno ignorisan sa nekoliko miniserijala (koje su ruku na srce radili kvalitetni autori – Ralph Macchio, Javier Garron, Zeb Wells, Leah Williams, Mark Waid...) koji nikada nisu izrodili tekući strip ili zanimljive krosovere, pa je verovatno i ovo uticalo na odluku da se sa Ant-Man and the Wasp: Quantumania gotovo potpuno odbace ton, senzibilitet i nekakav generalni ansambl stripa, ali i prva dva filma, i ode u sasvim drugom smeru.
Nažalost, u ovoj fazi MCU evolucije, formula koja je tako dobro radila u prvih nekoliko godina kao da se izmetnula u potpuno mehaničku, samoreplicirajuću, do apsolutnog bezukusa izblendiranu kašu elemenata zapleta i narativnih tehnika i ako su Taika Waititi manje (https://cvecezla.wordpress.com/2022/10/07/film-thor-love-and-thunder/) a Sam Raimi nešto više uspešno (https://cvecezla.wordpress.com/2022/09/23/film-doctor-strange-in-the-multiverse-of-madness/) od ovakvih, jelte, gomana, napravili kakve-takve pite, Payton Reed ne samo da možda nije ,,tehnički" kadar za otrzanje represivnim restrikcijama Diznijeve mašinerije (na kraju krajeva, on je na Ant-Mana i doveden da zameni nepoćudnog Edgara Wrighta) već je i verovatno srećan što uopšte i dalje dobija priliku da radi sa superherojem koji ima tu distinkciju da nije apsolutno ničiji omiljeni lik u Marvelovom filmskom univerzumu.
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Više je tu faktora na delu; sa jedne strane stoji i činjenica da je Paul Rudd naprosto najbelji muškarac u Holivudu sa glumačkim stilm pogodnim za poveremenog epizodistu u nekakvom sitkomu i bez vidne protagonističke/ star power harizme, ali sa druge je i to da je Marvel u prva dva filma upravo igrao na ovu njegovu neugođenost sa ulogom akcionog heroja/ superheroja i dodavao suplemente u vidu šarmantnih sporednih likova koji su protagonistu držali ukorenjenog u stvarnom životu, ne dopuštajući svoj toj suludoj graničnoj nauci da filmove pretvori u puki festival specijalnih efekata.
Naravno, Ant-Man and the Wasp: Quantumania ovde posrće već izbacivanjem tih šarmantnih epizodnih likova i Scott Lang je, kao lik, bez njih, da posluže za refleksije i reality checkove, bolno isprazan, dosadan i, dodao bih, neuverljiv u svojoj pozi običnog malog muljatora koji se nekako stroopoštao u karijeru superheroja a koji ovde treba da istovremeno pokaže da je i otac dostojan svoje ćerke, i da usput spase multiverzum.
Ovo ne ide tako lako iz više razloga, ne najmanje i zato što je ostatak glumakog ansambla vidno nezainteresovan za saradnju. Novopridošla Kathryn Newton u ulozi Scottove čerke Cassie je još i najproulzivnija sa energijom Gen-Z ispravljača krivih drina koji porodični legat superheroizma posredstvom ,,Pymovih čestica" stavlja u službu socijalne pravde, i deo zapleta se oslanja na njenu nemogućnost da oćuti nepravičnost kada je vidi u svom okruženju, a Netwonova ovo makar odrađuje sa dosta entuzijazma. U kontrastu sa njom, Michael Douglas i Michelle Pfeifer su vidno smoreni što moraju da stoje ispred džinovskih ekrana na kojima se prijazuju CGI pozadine* i izgovaraju tekst i njih dvoje donose filmu isključivo fizičku prezentnost dvoje preživelih iz old school Holivuda i ni gram više od toga. Evangeline Lilly je još vidnije deprimirana, što se sasvim korektno može objasniti činjenicom da joj uprkos tome što ime njenog lika stoji u naslovu filma, scenario oduzima ne samo svu asertivnost već i bilo kakvu primisao da može da kaže ili uradi išta zanimljivo. Wasp je ovde takav višak u ansamblu koji ionako ima višak likova da se može spekulisati kako jeneki ćata iračunao da je jeftinije da produkcija zadrži Lillyjevu u scenariju a da će ona posle ovakvog filma sama dati otkaz, nego da je otpuštaju i rizikuju razvlačenja po novinama.
*film je umesto klasične green screen tehnike rađen srazmerno novom StageCraft metodologijom ali to ga, da bude jasno, nije unapredilo
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O kameu Billa Murrajya koji je ovo očigledno uradio samo da uzme neki keš i sutra zaboravi na celu nesrećnu epizodu ne vredi ni trošiti reči, dok je Jonathan Majors sa svojim ,,peak TV" glumatanjem i neobjašnjivim britanskim akcentom u ulozi Kanga bolno neuklopljen uz ansambl koji maltene čitav deluje kao da jedva čeka da se skloni od kamere i ode da se opija u prikolici.
Setovi su, da se razumemo, simpatični u smislu da omažiraju stare korice naučnofantastičnih palp romana i njihove odjeke u psihodeličnoj rokenrol umetnosti poznih šezdesetih i sedamdesetih godina prošlog veka, i sav taj tuđinski svet u kvantnom, jelte, univerzumu je u pogledu dizajna intrigantan i na momente estetski vrlo prijatan. Ali problem je ovde i dalje ta, jelte, bezdušna formula koja i samim setovima oduzima vrednost. Sa jedne strane time što je sve to napravljeno bez mnogo razmišljanja o konzistentnosti sveta i načinima na koji bi sva ta kombinacija biologije, arhitekture i tehnologije uopšte mogla da funkcioniše. Ovde se ,,palp naučna fantastika" uzima kao readymade format i replicira na najpovršniji moguć način, nudeći individualno lepa dizajn rešenja ali svet koji bukvalno izgleda kao studentska vežba iz 3D modelovanja, bez konzistencije ili, nedobog, uverljivosti. Veliki broj savremenih filmova pokušava da se osloni na Star Wars kao formulu koja provereno funkcioniše, ali promašuje činjenicu da je Star Wars koristio srazmerno jeftinu scenografiju i kostime, što je sve – pogotovo prvom fimu – obezbeđivalo osećaj ,,stvarnog" mesta, na kome žive stvarni ljudi sa stvarnim odnosima. Ant-Man and the Wasp: Quantumania, naravno, sve pravi ,,u kompjuteru" i njegov CGI je sve vreme u najoštrijem mogućem vizuelnom fokusu sa najživljim bojama, pa svet kontinuirano izgleda kao živi LSD trip mnogo više nego pravo mesto.
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Sa druge strane je onda to da je skoro nemoguće osetiti dramsku tenziju i napetost u svetu koji ne deluje stvarno ni glumcima što izgovaraju agresivno osrednje replike. Scenario ovde ide na najjača podešavanja pa Kang the Conqueror – inače negativac iz opusa Fantastične četvorke – želi da ,,osvoji" čitav multiverzum jer, uh, pa... zapravo, nikada se ne razjasni zašto on to želi da uradi i da li svoje verzije iz paralelnih univerzuma vidi pre kao konkurente ili sao nesavršene saradnike. Kang je proteran u kvantni univerzum od strane svojih, jelte, drugih verzija i premisa je da ako ikada pobegne iz njega on ima jaku ambiciju da doslovno uništi prostorvreme u većini postojećih univerzuma, ali ZAŠTO bi on to želeo da uradi i šta je njegov krajnji cilj – pa, to ne znamo. U par scena Majors promrlja kako kad vidite čitavo vreme odjednom, morate da premotate na kraj i ono što tamo vidite će kontekstualizovati vaše postupke ali pošto Marvel sada svoje filmove sve više shvata kao epizode u metaserijalu, tako i ovde ne dobijamo ništa supstancijalno o Kangovom karakteru ili motivima i tekstualna poruka na kraju filma da će se Kang ,,vratiti" je više podsećanje da se sada narativi namerno parcelišu na najsitnije prihvatljive komade koji stižu u višegodišnjim nastavcima nego obećanje novih uzbuđenja.
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Pošto, jelte, uzbuđenja u ovom filmu ima vrlo malo. Svakako, specijalni efekti su dosta dobri,ali sama režija i koreografija akcije su bledunjavi i podsećaju na najgore momente Star Wars prikvela, sa CGI likovima koji se bore u scenama sastavljenim od samih brzih rezova i CGI pretvaranjem tela u (kvantnu) prašinu kada ih udarite kopljem jer, ipak, i pored tri instance izgovaranja sintagme ,,holy shit" i četiri izgovaranja reči ,,dick", ovo je film koji treba da gledaju deca.
Otud valjda – od nišanjenja dece – dolazi i umetanje lika kao što je M.O.D.O.K. u priču, a koji ni sam nema mnogo veze sa Ant-Manom i predstavja negativca iz orbite Kapetana Amerike sa čvrstim sponama sa nacistima (ovde sam o tome detaljnije pričao (https://cvecezla.wordpress.com/2021/12/14/procitani-stripovi-m-o-d-o-k-head-games/)). Jedna od bizarnijih kreacija Jacka Kirbyja i Stana Leeja sa kraja šezdesetih ovde je svedena na maltene puki komični predah i podseća na generalni problem koji MCU ima sa negativcima.
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U filmu maltene ništa ne funkcioniše. Scenario retkonuje veliki deo legata porodice Pym da bi insertovao lične uloge u rat u kvantnom univerzumu, Ruddova gluma je bledunjava čak i više od komičnih-replika-po-službenoj-dužnosti koje mu scenario stavlja u usta u nadi da će se publika u bioskopu malo nasmejati i na trenutak prestati da se pita šta uošte ovde traži, a pravila koja su do sada važila za korišćenje Pymovih čestica i menjanja veličine, uspostavljena u prva dva filma, ovde se u potpunosti ignorišu kako bismo dobili vizuelni spektakl. Naravno, ni spektakl nije zaista spektakualran zahvaljujući toj neuverljivosti set-dizajna i džinovski Ant-Man koji gazi po tuđinskim zgradama naprosto nema katarzičnu energju kojoj se scenario očigledno nadao.
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Ant-Man and the Wasp: Quantumania pokušava da spoji klasične palp SF motive sa idejom porodice superheroja što odlazi u druge univerzume, tamo ima neverovatne avanture i pomaže lokalcima da reše svoje probleme – a što je u Marvelu koncepcija kreirana kroz stripove o Fantastičnoj četvorki. Utoliko, mnogo bi prirodnije bilo da je sinopsis ovog scenarija sačuvan za ribut filmskog života ,,prve prodice Marvela", sa sve Kangom koji joj ionako pripada, nego što je iskorišćen za film u kome ništa ne funkcioniše i niko, reklo bi se, nije želeo da se tokom snimanja sad baš nešto previše oznoji. Ant-Man and the Wasp: Quantumania je pitak, klasičan, old school palpi film na nivou ideje ali na nivou realizacije ovo je maltene privju kako će za koju godinu izgledati filmovi kada ih budu pisale i režirale veštačke inteligencije. Pa, dobrodošli u budućnost.
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Kako je prošlogodišnji kratki film Diszfória (ili, jelte, Disforija) ovog proleća bezbedno stigao na HBO i HBO Max tako sam mu i ja posvetio 35 minuta svog vremena. I nisam požalio. Iako je moje iskustvo gledanja nesumnjivo bilo obojeno čitavom atmosferom straha, neverovanja i neizvesnosti vezanom za zastrašujuće incidente nasilja od prošle nedelje a Diszfória je film koji na teskobi, nasilju i destruktivnosti gradi veliki deo svog argumenta, pokazalo se da je u pitanju jedan, protivno svim nominalnim indicijama, ne samo spretno i umešno napravljen filmski rad već da je i njegov ultimativni napor da se pronađe proverbijalno zrno ljudskosti na dnu bunara očajanja i nihilizma bio više nego uspešan i da film može da posluži i kao neka vrsta ptoriv otrova za to očajanje i taj nihilizam, pogotovo u momentima kada deluje da je sve potpuno beznadežno.
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Mađarski autor Levente Nagy Borús iza sebe nema mnogo produkcija, ali je fer reći da njegov rad odiše karakterom što ga izdvaja i skreće pažnju. Pogotovo je, možda, bitno da skrene pažnju ljudi sa naših prostora pošto je Levente naš čovek, rođen 1994. godine u Vojvodini. Od 2013. godine, naravno, živi u Mađarskoj ali već je pre preseljenja pisao prozne radovie, pa je njegova novela Apsurdna kuća dobila nagradi i uleničkog i ,,pravog" žirija na umetničkom takmičenju srednjoškolaca u Vojvodini, a što je kaže, jedina prilika kada je njegov umetnički rad prepoznat u državi u kojoj se rodio. U Segedinu se školovao za psihologa, a na Univerzitetu za tehnologiju i ekonomiju u Budimpešti je radio svoj master, paralelno se baveći popularnom kulturom kroz pisanje za razne publikacije (uključujući popularni IGN) i intervjuisanje autora kao što su Brandon Sanderson i Mark Lawrence, ali i kroz rad kao prevodilac za Disney+, Netflix i razne mađarske televizijske kanale. Od 2019. godine radi za distributersku kuću Prorom koja se bavi promovisanjem i distribuiranjem nezavisnih filmova, ali je pre toga, radeći za firme iz grupe Viacom počeo da se uči pisanju scenarija i pravljenju filmova. Tokom rada u Viacomu je, kaže, kao intern pisao seriju koja je nažalost otkazana u poslednjem trenutku, a onda je 2019. godine bio na milimetar od toga da dobije podršku za snimanje serije koju je pičovao a koja se bavila ratom između srpske i mađarske mafije, sa glavnim mestom događanja u Vojvodini. Ako neko od srpskih producenata ovo čita, treba prepoznati da se gvožđe kuje dok je vruće i da je trenutna velika popularnost Južnog vetra sigurno razgorela glad u regionu za sličnim sadržajima...
Prvi veći projekat koji je Levente Nagy Borús potpisao kao režiser je televizijska serija Odabenn, na Engleski prevedena kao Inside, a koja je zapravo osmodelni serijal radio drama sa dodatim crtanim inscenacijama – neka vrsta kombinacije između klasične radio-drame i motion comic žanra. U pitanju je vrlo klasičan naučnofantastični narativ o Zemlji u praktično postapokalipsi i naseljavanju Sunčevog sistema od strane najelitnijih pripadnika ljudske civilizacije, te naglašenoj diskusiji o klasnom raslojavanju, diskriminaciji i eksploataciji. Levente Nagy Borús je već i publikovao priče u naučnofantastičnom magaznu Galaktika pa je ovo sasvim na liniji sa njegovim interesovanjima.
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Ipak, njegov prvi dugometražni film, Złość iz 2021. godine je, naprotiv vrlo svedena, u realističnom mizanscenu čvrsto ukorenjena priča o čoveku po imenu Károly koji proživljava najgori dan svog života, pričajući tokom skoro čitavih pedesetak minuta o onome što mu se desilo i što mu se dešava. Ovaj minimalistički pristup, sa samo dva glumca u filmu i Zsoltom Nagyom koji je zauzeo 90% svih kadrova je naišao na solidan prijem pa je Diszfória iz prošle godine zapravo logična nadgradnja, srazmerno ,,skuplji" film ali i inteligentno konstruisan kinematski narativ u uslovima vrlo niskobudžetne produkcije.
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Papp Kornél, Borúsov kolega koji je bio i montažer i direktor fotografije na prethodnim radovima i ovde stoji iza kamere a kamera je, reklo bi se, ili neki telefon iz srednje kategorije ili jeftina, poluprofesionalna digitalna kamera. Iako Diszfória sasvim neprikriveno emituje utisak jeftine, skoro partizanske produkcije, treba biti svestan da ovde zanat postoji. Koliko god da su Papp i Levente ovo radili u skromnim uslovima, sa skromnom tehnikom i sa verovatno ne previše vremena (pogotovo što koriste i neke poznatije glumce koji verovatno nisu imalli na raspolaganju beskonačan broj vikenda da se ovo snimi), Diszfória me je odmah u startu uhvatila na udicu jednim vrlo primetnim likovnim naporom. Iako je Levente, kao čovek koji dolazi iz proznog medijuma, možda prirodno fokusiran na likove, priču i dijaloge, Diszfória apsolutno nije jedan od onih evropskih indie filmova koji smatraju da je vizuelna estetika nešto što je najbolje prepustiti drugima. Ovde se, narotiv, vidi da je razmišljano o kompoziciji svakog kadra, montaža je gruba ali efektna i obavlja posao i u mirnijim, kontemplativnijim scenama, ali i u ,,akcionim" momentima, a osvetljenje je promišljeno i integralni je deo vizuelnog tona svake od scena. Papp definitivno ima onaj likovni njuh za kadrove sa vrlo dobrim shvatanjem efekta koji geometrije prostora ili predmeta ispred kamere imaju na gledaočevu percepciju, a sa druge strane Leventeovo pripovedanje koje je brzo, ekonomično i poentira u svakoj sceni bez isforsiranog artizma stoji u savršenom balansu sa samim radom kamere. Diszfória je mogao biti i duplo duži film sa dugačkim scenama ćutanja i zurenja u prazno – ovo je naprosto film tog tipa, u kome likovi imaju o čemu da razmišljaju a često se ne usuđuju da izgovore to o čemu razmišljaju – ali se autor odlučio za manje tog naglašenog arthouse tona, verujući, uostalom sasvim ispravno, da je narativ, ovako sveden i efikasan dovoljno snažan da u gledaocu ostavi rezonentni eho dugo posle gledanja i da nije neophodno da mu se tokom filma prave – evropskim arthouse režiserima tako omiljene – pauze u pripovedanju ispunjene samo značajnim šutnjama i dalekim pogledima.
Diszfória je time meni odmah bila draža. Ovo je na neki način pank film, u toj svojoj svedenosti i efikasnosti, ali i u tome kako u centar stavlja mladog, besnog čoveka koji u nasilju i otimanju nalazi najveći deo smislene komunikacije sa svetom, a koji će onda u sebi pronaći dimenziju čiste, nepatvorene empatije za osobu koju na početku kao da prezire iz dna duše. Diszfória nema VELIKI narativ i film je napravljen po formatu kratke priče sa kratkim flešbekom na početku čiji značaj postaje jasan u finalu, a zatim sa ekonomičnom centralnom pričom koja uspeva da i u svom vrlo svedenom trajanju ima jasnu tročinsku strukturu.
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Glavni junak – mada zapravo antiheroj – filma je Bence (igra ga fizionomijom za ovu ulogu idealni Kövesi Zsombor), momak koji sa svojim ocem ima ,,firmu" a koja se zapravo bavi sitnim kriminalom, iznudama, pozajmicama i sličnim poslovima. Vikend će Bence provesti kod babe i dede, jer je deda u finalnim stadijumima Alchajmera i provodi većinu vremena vezan za krevet, potpuno izgubljen u sećanjima, moleći da ga puste kući. Bence nije neki sjajan lik, na početku ga vidimo kako prodaje komad nakita za koji ne znamo je li ukraden, otet ili iznuđen, a i sa babom se odmah posvađa i postaje vrlo jasno da ona ne odobrava ni biznis niti generalni svetonazor svog sina i unuka.
Njena nega muža pogođenog snažnom demencijom je predstavljena u vrlo realističnom ključu – a što dolazi nakon srazmerno ,,žanrovskije", razigranije scene u zalagaonici na početku – u smislu da ovde nema ni sentimentalnosti ni previše objašnjavanja. Uostalom, nega dementne osobe u kućnim uslovima je težak, psihički, fizički ali socijalno i ekonomski izuzetno naporan rad koji obično traje duže nego što negovatelj zaista ima kapaciteta da ga izdrži i završava se, gotovo u 100% slučajeva, smrću negovane osobe. Neformalni negovatelji, odnosno članovi porodice, u značajnom broju ovakvih slučajeva i sami razvijaju izvesne probleme sa mentalnim zdravljem (aksioznost, depresivnost...) pa nisu retki ni incidenti zlostavljanja negovanih osoba. I sam Bence pita zašto je deda vezan za krevet, da bi mu baba, Magda (upečatljiva Mari Kiss) rekla da je to jer on svake noći pokušava da ustane da bi ,,otišao kući" pa pada na patos. Naravno, Bence ne ulaže u sve baš previše razmišljanja i smatra da je dedi malo pomogao kada ga ne veže posle pranja sunđerom – deda kao po komandi kasnije u toku noći ustane i padne, uz zapomaganje i plač i Bence tu uči jednu vrlo jasnu lekciju.
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No, Diszfória koristi Alchajmer i realnosti neformalne nege samo kao pozadinu za ,,pravu" temu ovog filma a to je činjenica da deda, koga igra srazmerno poznati mađarski glumac, Gábor Dióssi, zapravo u svojim momentima žalosti moli da mu se vrati – haljina. Kada Bence vidi slike (mnogo mlađeg) dede, kako pozira u ženskoj haljini njegova reakcija je ,,DEDA JE GEJ?" na šta mu Magda kaže da ne lupeta. ,,Dobro, trans ili šta već", kaže dalje Bence i ova scena je zapravo tajna prelomna tačka filma u kojoj jedan ultra-mačo muškarac, koji i sam kaže da bi deda koga je on poznavao mrzeo dedu koji je danas, zapravo prestaje da misli u terminima tvrdih rodnih definicija i ovo u njemu okida sećanja na detinjstvo i zlostavljanje koje je trpeo od oca.
,,Ti dedu uopšte ne poznaješ", kaže mu baba prezirno i dalje izgovara jednu od najbitnijih rečenica u filmu: ,,Dedi ništa nije falilo dok se nije razboleo, samo je rođen u pogrešnom telu".
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Ova jednostavna izjava, naravno, predstavlja osnovnu tezu filma. Mentalna bolest koju deda danas ima – Alchajmer – je neizlečiva i degenerativna. Ali disforija, ovo je važno primetiti, se danas ne smatra bolešću, već, najpre simptomom. I ona se može uspešno tretirati time što osoba dobija medicinsku i socijalnu podrku u rodnoj tranziciji ako je želi. Da budemo sasvim jasni ovde: pričamo o još uvek vrlo dinamičnoj temi koja niti je čisto medicinska niti je čisto biološka niti je čisto psihološka niti je čisto socijalna. Čak i u samoj zajednici transrodnih osoba postoji vrlo izražen jaz između najmanje dve škole mišljenja, one koja smatra da je dijagnoza disforije presudna u tome da se osoba može smatrati transrodnom (tzv. ,,transmedikalisti" ili, u žargonu, pežorativno ,,truscum") i one koja ne smatra disforiju, tj. medicinski utvrđeno stanje snažne nelagode nužnim prerogativom da bi osoba sebe smatrala transrodnom (u žargonu ,,tucute").
Ovo posmatraču sa strane, koji nije lično investiran u temu, može delovati kao apstraktno pitanje ili u najboljem slučaju cepidlačenje, ali identitetska pitanja JESU veoma apstraktna i često zavise od bukvalno nevidljivih detalja pa je diskusija o tome da li morate imati traumatičnu nelagodu kako biste mogli da ponesete identitetsku oznaku koja i sama ima mnogo bagaža zapravo ozbiljna i sasvim razumljiva.
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Ovaj film se ne bavi ovako suptilnom raspravom i u njegovom centru je reagovanje jedne ,,spoljne" osobe na prizor disforije koja je dodatno pojačana demencijom. Bence, rekosmo, nije baš heroj, ali jeste deo porodice, ma koliko da je proklamovano prezire i njegova reakcija na to kad mu baba kaže da je haljinu zapravo ukrala komšinica koja je povremeno čistila po njihovom stanu je, iako eksplozivno nasilna, zapravo čin plemenitosti onako kako on može da razume plemenitost.
Levente Nagy Borús režira tuču korektno, a glumci svemu daju dovoljno ubedljiv realistični preliv da se jedno suštinski žanrovsko razrešenje Benceove konfuzije – loš čovek radi lošu stvar sa dobrom namerom i ona, nekako ipak ima lowkey dobar ishod – proguta bez problema a da onda emotivno, čak romantično finale filma u svojoj jednostavnosti i jeftinom, a efektnom vizuelnom rešenju, deluje autentično i zaokruži film na pravi način. Naravno da se ništa tu na kraju zaista ne ,,reši" ali likovi su smisleno izmenjeni u odnosu na svoje polazne statuse i Diszfória, bez gubljenja u diskurzivnim objašnjenjima ili ,,atmosferi" postavlja, pokazuje i zatvara svoj slučaj dajući gledaocu emotivni tour de force i materijal za razmišljanje. To veoma poštujem. Autor je uspeo da jednu izuzetno kompleksnu temu, oko koje se vodi nemali broj kulturnih ratova razloži na sastavne delove i demonstrira – bez didaktičkog ,,objašnjavanja" – da je empatija u temelju svakog pravog pristupa problemu ma koliko on komplikovan bio. Glavni likovi filma nisu nerealistično transformisani – Bence na kraju krajeva nalazi u sebi empatski kapacitet pre svega jer je sam bio na meti zlostavljanja i dobio empatičnu podršku kada je bio mlađi – a njihove sudbine ostaju u najvećij meri iste. Samo sa malo više ljudskosti u njima. I to je lepo.
Levente za ovu godinu ima pripremljen novi film, Éger koji obećava još jednu savremenu, tešku priču i ja sam apsolutno spreman da ga pogledam. A do tada Diszfória je dostupna putem HBO-a, a ako razumete Mađarski, možete je besplatno pogledati i na ovom mestu:
https://videa.hu/videok/film-animacio/diszforia-2022-fVawMd17otdEFRwr
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Moj povratak u bioskop posle godina pandemije desio se sa Marvelovim Guardians of the Galaxy Vol. 3 koji je u našoj distributerskoj verziji dobio ingeniozan prevod kao Čuvari Galaksije Volume 3. Dakle, ne ni ,,volumen" nego, jelte, ,,volume". Nisam bio naročito iznenađen da su klinci koji su sedeli iza nas proveli film pričajući između sebe više na Engleskom nego na Srpskom, pogađajući unapred replike koje će izgovoriti glumci i generalno ćaskajući. Čak je i moj kum, koji je u jednom trenutku morao da ih snagom svog autoriteta utiša, na jednu repliku koja mu se posebno dopala (kada jedan od likova u očaju kaže ,,za ime Boga", High Evolutionary jetko odgovori ,,There is no God, that's why I had to step in.") promrmljao zadovoljan komentar na Engleskom. Hoću reći, sve je bilo onako kako inače čitam da Amerikanci opisuju svoja bioskopska iskustva, od nemirne publike koja sve vreme priča i svaki čas ustaje, preko gađanja kokicama i generalnog smetlišta koje je posle projekcije ostalo na patosu jedne od dvorana u Domu sindikata, pa do činjenice da se sada pravi filmofili od vikendaša razlikuju prevashodno po tome ko je ostao do kraja špice, da vidi post-kredits sekvencu.
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Guardians of the Galaxy Vol. 3 je oproštaj Jamesa Gunna od Marvel Cinematic Universea, i generalno od Diznijeve filmske produkcije, a što je onda pretvoreno i u sentimentalan rastanak od samih Guardiansa i konsekventno i njihovo (polu)rastakanje. Gunn je sa ovom franšizom sebe transformisao iz čoveka koji parodira superherojske filmove u čoveka koji snima neke od najuspešnijih mejnstrim superherojskih filmova svih vremena i ne samo sebe – i to posle dosta otužnog incidenta sa kenslovanjem – skupo prodao Warneru, stavivši se na čelo njihove superherojske produkcije kao koordinator i šef studija, već i kreirao serijal koji je Marvelove superherojske filmove dodatno humanizovao i dao im opipljiv kvalitet filmova za čitavu porodicu. Nije, naravno, da su drugi Marvelovi filmovi sad nešto naročito ,,edgy", ili ,,ozbiljni", ali u poređenju sa hororičnijim skretanjem najnovijeg Doctora Strangea (https://cvecezla.wordpress.com/2022/09/23/film-doctor-strange-in-the-multiverse-of-madness/), recimo, a svakako sa vagnerijanskim dramama Avengersa braće Russo ali i Waititijevog Thora, Guardians of the Galaxy su ispali filmovi koji blago satirišu superherojski glamur, odmičući se od herojske ikoničnosti u smeru antiherojske sive zone i likova koji su u svoje herojske role upali najpre spletom bizarnih okolnosti, pronalazeći jedni u drugima motivaciju da čine ta velika dela po kojima će ih na kraju upamtiti.
Tema pronalaženja svoje ,,prave" porodice, koja nije determinisana pukom biologijom je bila u srži ovog serijala od samog početka, i to je veoma rezoniralo sa publikom što je iz sve snage popušila ideju o grupi nekompatibilnih, pa i nefunkcionalnih likova što zajednički zapravo imaju kapacitet za ozbiljan heroizam. I druge produkcije su primetile da ova formula ima potencijal pa je Warner sa prvim Suicide Squad (https://cvecezla.wordpress.com/2016/08/05/film-suicide-squad/) probao da izvede istu stvar i slavno propao, da bi za drugi nastavak, The Suicide Squad (https://cvecezla.wordpress.com/2021/08/09/film-the-suicide-squad/), studio odlučio da ništa ne prepušta slučaju pa je za njega angažovan sam James Gunn.
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Ova interpresonalna dinamika je u središtu i trećeg filma o Čuvarima galaksije, samo još naglašenije nego pre. Da bude sasvim jasno: ovde nikakvog čuvanja galaksije nema na programu i centralni konflikt filma se tiče isključivo truda tima da pomogne jednom od svojih članova koji ima mračnu istoriju sa najnovijim MCU negativcem po imenu High Evolutionary, modernom verzijom Doktora Moroa, sa opsesijom kreiranja savršene društvene zajednice kroz genetsku manipulaciju koja jedinkama različitih vrsta garantuje ubrzanu evoluciju. High Evolutionary je zanimljiv kao filmski negativac – ne najmanje zahvaljujući vrlo strastvenoj glumi koju isporučuje Chukwudi Iwuji, sveže napaljen posle saradnje sa Gunnom preko u Warnerovom Peacemakeru – jer je u pitanju posebna vrsta, jelte, fašiste, sa fetišističkom odanošću ,,tvrdoj" nauci i slabim razumevanjem važnosti ,,mekih" nauka kao što su sociologija ili psihologija u njegovom projektu kreiranja perfektnog društva, ali on nije nikakva pretnja galaksiji. High Evolutionary, štaviše, nije čak ni pretnja postojećim društvima u galaksiji već gotovo isključivo slabim i nezaštićenim pripadnicima ,,nižih" oblika života kao što su vidre, kunići ili, jelte, šišmiši, i njihovim artificijelnim društvima koja je sam stvorio eksperimentišući sa pristupima razvoju inteligencije kod jedinki i njenog korišćenja za kreiranje većih zajednica.
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Otud, sa direktnom sponom jednog od članova Guardiansa sa High Evolutionarijem i suštinski ,,low stakes" zapletom u kome su ugrožene maltene samo imenovane jedinke a ne i galaktički poredak, ovaj je film imao preduslove da bude intimnija priča, više usredsređena na likove – prateći, uostalom standardnu superherojsku matricu da se u kasnijim pričama fokus sa zaštite javnog dobra i opšte zajednice prebacije na konflikte unutar zajednice osoba sa supermoćima dok se spoljni svet uglavnom ignoriše – ali kao treći film u uspešnom serijalu – naravno da to nikada nije mogao postati. Otud je Guardians of the Galaxy Vol. 3 bučan, neuredan narativ sa MNOGO vike, eksplodirajućim planetama, radnjom koja se događa na mnogo mesta u galaksiji i galerijom likova koja je tako velika da priča prosto stenje pod njenom masom.
James Gunn nikada nije bio autor kod koga je vođenje priče uredno, ili čak među prioritetima, pa je tako i dramaturgija u ovom filmu podrazumevana žrtva ne samo njegove tehnike režiranja koja uvek u prvi plan stavlja efekat trenutne scene i ignoriše njen odnos sa ostatkom filma, već i potrebe da se ovde obiđu sva voljena mesta, osobe, timovi i koncepti vezani za serijal Guardians of the Galaxy. Čak i tako, Guardians of the Galaxy Vol. 3 ima izluđujuće nespretan zaplet koji jedva da vrši svoju funkciju pokretanja protagonista u akciju i njihovog putovanja na razne lokalitete u svemiru. Film ne samo da ima jednu za drugom dve instance ,,guys on a mission" zapleta gde ekipa mora da se infiltrira duboko u neprijateljsku teritoriju i tamo dođe do konkretnog mekgafina koji služi kao motivacija – a što mu pravi ršum u pripovedanju, tempu i više podseća na dramaturgiju videoigre nego filma – već i mora da se oslanja na ideju da su određeni likovi neverovatno glupi kako bi opravdao preokrete u narativu. Ovo nije sjajan pristup pripovedanju i mada High Evolutionary kao naučnik sa viškom sociološke ambicije a manjkom etike i empatije jeste zanimljiv negativac, film bi morao da bude parodija koja bi u naslovu imala nešto tipa ,,Superhero Movie" da bi iko mogao da prihvati kako njegov veliki plan zavisi od bukvalno slučajnosti za koje ni on sam ne može da zna da li će se desiti.
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High Evolutionary, naime, na početku filma šalje Adama Warlocka na Knowhere – u svemiru plutajuću glavu pokojnog Celestiala (u svakom praktičnom smislu svemirskog božanstva na mnogo višem nivou nego što su Thor i njegova braćala) u kojoj je sada glavni štab Guardiansa – da odande kidnapuje Rocket Raccoona jer je od svih njegovih eksperimenata ovaj jedini koji je pokazao da ubrzana evolucija može da donese i kreativnu, delatnu inteligenciju što uči i iznalazi sopstvena rešenja. Warlocku ovo ne uspe jer i Guardiansi imaju u svojim redovima neke ozbiljne udarače, pa se radnja nastavlja time da sa jedne strane Guardiansi moraju da raščivijaju tajnu Rocketovog porekla, kako bi ga izvukli iz kome u koju je upao nakon fizičkog napada, ali i time da High Evolutionary besni na svoje saradnike i insistira da mu ,,nađu i isporuče" Rocketa iako nije nikakva tajna gde se ovaj nalazi i koji bi resursi bili potrebni da se Guardiansi poraze i komirani rakun donese na noge svom, jelte, kreatoru.
Štaviše, u nastavku filma se vrlo eksplicitno vidi kolike resurse High Evolutionary ima na raspolaganju i da su oni sasvim dostatni za frontalni napad na Knowehere i nasilno preuzimanje vlasti nad ovom stanicom kako bi se i rakun na kraju preuzeo pa gledalac koji je razumno budan tokom bar tri četvrtine filma opravdano može da se zapita je li High Evolutionary zapravo imbecil koji se umesto na planiranje i snagu oslanja na slučajnosti i vrlo labavo postavljenu ,,klopku" – a koja uostalom i ne funkcioniše – da bi nekako, više na sreću, došao do rakuna što mu je važniji od bukvalno hiljada životinja koje je proizveo u misleća bića.
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Ali nije High Evolutionary jedini koji kao da nema više mentalne funkcije – iako mu je, ironično, životni poziv da ih proizvodi u ,,nižim" bićima – čitav ansambl filma se ponaša kao da je u pitanju pozorišna predstava kreirana u obdaništu: Guardiansi ne rade apsolutno ništa tokom filma sem što se bave Rocketovim zdravstvenim stanjem, stavljajući apsolutno sve resurse Knoweherea u funkciju ove misije, uključujući 100.000 kredita koji se plaćaju Ravagersima za pomoć pri infiltraciji u arhivu velke galaktičke korporacije, ali kasnije i ulazak u praktično rat sa snagama High Evolutionaryja, kao da im je to tata ostavio u nasleđe. Likovi redovno zaboravljaju da imaju supermoći što su nam ih demonstrirali samo par scena ranije i to je jedino što čini dalje odvijanje radnje mogućim, ali po cenu da se svi ponašaju kao da su deca.
Što, da budemo fer svakako jeste jedna od temeljnih ideja ovog celog serijala. Guardians of the Galaxy nisu dobro nauljena mašina okorelih profesionalaca već s koca i konopca okupljena ekipa disfunkcionalnih likova koji nekim čudom funkcionišu kao familija i uspevaju da spasu, jelte, Galaksiju (ili u ovom slučaju jednog rakuna, par tovara dece i divljih životinja), i ta ,,goofy" komponenta je tu već od prvog filma. U tom smislu, a pogotovo gledajući simplifikacije koje su u scenario morale da budu ugrađene kako bi se u priču nekako spakovali i Knowhere i Adam Warlock, morao sam sebe da periodično podsećam da sam ja nominalno odrastao i zreo čovek i da ne treba svaki put kada vidim da se odstupa od ideja iz stripa demonstrativno da ustajem i objavljujem da ću napustiti bioskop. Guardians of the Galaxy na filmu ima svoj kontinuitet i karakterizacije i rekao sam sebi da ako sam progutao praktično osakaćene karakterizacije Gamore, Draxa i samog Star Lorda u prva da filma, sada svakako nije vreme i mesto da penim zbog Adama Warlocka i keruše Kosmo.
(https://i.imgur.com/YoL0sT7.jpg)
Ali to ne znači da je Guardians of the Galaxy Vol. 3 uredan i dosledan film u smislu funkcije i odnosa likova. Ovde, rekosmo, likova ima jako mnogo i neki od njih su apsolutni višak. To da Kraglin, koga igra Jamesov brat Sean Gunn nema nikakvu funkciju nije ni neko veliko iznenađenje, ali film uspeva da i samog Draxa pretvori u lik koji više ne služi ničemu u radnji. Sveden na puki komični predah – a Dave Bautista je, da se složimo NEŠTO bolji glumac nego što mu stupidne replike koje mu scenario stavlja u usta sugerišu – Drax više nije potreban ni kao snagator u timu (tu funkciju već imaju Groot i Nebula) pa mu scenario smišlja doslovno imbecilne postupke koji radnju preokreću u potrebnom smeru kako bi se prešlo na sledeći set pis.
Uopšte, film i funkcioniše kao niz set pisova, radije nego kao narativ sa konzistentnim zapletom, preokretima i raspletom a skupa scenografija i specijalni efekti treba da pomognu da gledalac ovo ne primeti i da njegova pažnja bude zaokupljena pre svega time kako se likovi simpatično prepiru a onda na posletku ipak maltene ginu jedni za druge.
I, da se razumemo, to svakako donekle funkcioniše. Bez obzira na sva moja gunđanja, Guardiansi do ovog nastavka nesumnjivo su izgradili izvesnu internu hemiju i sve dok se ne razmišlja o nekoj doslednosti priče i ponašanja između scena, individualne scene umeju da budu odlične. Momenat u kome Peter Quill otvara srce Gamori, obraćajući joj se preko nečeg za šta on misli da je privatan komunkacioni kanal je predvidiv ali uspeo komad sitkom humora koji dobro leži svim prisutnim likovima.
(https://i.imgur.com/hTxdIMP.jpg)
Ali to i dalje ne pomaže filmu da ostavi utisak ikako koherentne celine. Set pis sa upadanjem u sedište pomenute korporacije je spretno napravljen – osim što čovek očekuje da Nathan Fillion koji se ovde pojavljuje ima neku značajniju ulogu dalje u filmu, a to onda izostane – ali ga odmah potom anulira sledeći set pis sa dolaskom Guardiansa na Kontra-Zemlju, planetu na kojoj High Evolutionary sporovodi svoj veliki eksperiment sa kreiranjem savršenog društva. Ovo je ekstremno nategnuta akciono-trilerska minipriča koja se oslanja na glupo i nedosledno ponašanje likova i koja pritom propušta da išta kaže o sociološkom eksperimentu kreiranja čitave planete koja treba da emulira edenski mir i harmoniju '50s američke suburbije. Scenografi ovde rade čuda, ali Gunn nije Ray Bradbury i ovaj će deo filma biti promptno zaboravljen kada se mesto radnje pomeri na brod High Evolutionaryja i Guardiansi dobiju priliku da budu heroji spasavanjem BAR NEKOG ko nije član njihovog tima.
No, sve su ovo, naravno, dokona promišljanja vezana za širu sliku a ključno pitanje je da li film radi na sržnom nivou: u odnosima likova i evoluiranju tih odnosa. I ovde bih rekao da radi, mada maltene uprkos sebi. Gunn je doktorirao stil i atmosferu potrebne da publiku drži na udici i već sam početak filma koji nam pokazuje Rocketa kako setno lamentira uz Radioheadovu pesmu Creep dok mu se najbolji prijatelj, Peter Quill davi u samosažaljenju jer ga Gamora danas ne prepoznaje kao ljubav svog života – pritiska sve potrebne dugmiće. Da se razumemo, ovo je više demonstracija tehnike emotivne manipulacije nego nekakav artistički filmmejking* ali film ovim jasno postavlja svoju centralnu temu.
*a ovo kažem NEZAVISNO od toga što prezirem pomenutu pesmu i što je za puno shvatanje ove scene potrebno i da ste gledali ne samo filmove izvan GotG serijala već i novogodišnji GotG specijal koji je išao na Disney+
(https://i.imgur.com/5KZJv2F.jpg)
I onda, paradoksalno, provodi dosta vremena trudeći se da upropasti taj efektni početak. Rocket, kao najinteresantniji lik u Guardiansima, najveći deo narativa je odsutan iz radnje i pojavljuje se u flešbekovima iz vremena daleko pre nego što se pridružio timu. Peter Quill, iako motivisan Rocketovom povredom provodi ceo film pokušavajući da mu spase život, je u maltene svim dijalozima fokusiran na to da ga Gamora danas neće i od karaktera koji je bio legitimna post-milenijumska rekonstrukcja Hana Soloa se zvanično transformisao u nepodnošljivu cmizdravu ruinu očajnog muzičkog ukusa* i diskutabilnog emotivnog zdravlja. To da Gunn ceo film na kraju zaokružuje kao kraj pripovesti o Peteru Quillu je legitimno, ali kada se podvuče crta, karakterizacija Star Lorda** počiva na dva filma sa izraženom ,,Daddy Issues" tematikom i trećem koji ga svodi na dosadnog incela što smara poštenu ženu pričama kako je njena alternativna verzija njega mnogo volela. Opet, Pratt ima taj neporecivi goofy šarm u ovoj ulozi i sve je to slatko da se vidi ali čovek prosto poželi da Gunn ode dalje i doslednije u smeru dekonstrukcije/ satire superherojštine ili da nam podari propisnu herojsku akciju.
*svestan sam, naravno, da je saundtrak za ceo serijal jedna od njegovih najvažnijih komponentni kada se priča o toj prijemčivosti za celu porodicu, kao i da je Peter sa Zemlje otišao sa osam godina pa i ne zna za bolje ali nisam spreman da ovde prihvatim da je mogao da nauči žargon 21. veka i da vozi auto a da se u muzici nije odmakao od popa sedamdesetih godina i Beastie Boysa.
**to da i dalje koristim ovaj alias, a koji se u filmu jedva čuje je valjda dokaz mog stripovskog pedigrea...
Ono čega ne manjka je sentimentalnost a ona, možda iznenađujuće, zapravo najbolje radi u flešbekovima u kojima gledamo Rocketovu istoriju sa High Evolutionaryjem. Film se ovde transformiše u praktično animiranu basnu i ovde su emocije, vezane za eksploatisane nedužne laboratorijske životinje jasne, čiste, bez upadanja u sitkom gegove svakih par sekundi i nošene jednako pristojnom režijom, dobrom glumom i sjajnom animacijom. Kao vrsta se danas nalazimo na tom stupnju evolucije animacije da gledalac shvata da vidra, kunić, morž i rakun koje gleda nisu ,,stvarni" i da njihovi izrazi lica i gestovi daleko prevazilaze prirodne parametre, a da opet ima snažnu somatsku reakciju kada vidi šta im se radi u ime nauke. Dizajn robotskih proteza koje životinje nose je izvrstan i film u ovom delu legitimno podseti na kultni strip We3 Granta Morrisona i Franka Quietlyja, nudeći doduše zašećereniji sentiment, ali i dalje emotivno i simbolički dosledne motive i mini-narative. Rocket ovde dobija onu dubinu koju su gledaoci naslućivali u prva dva filma i legitimno se uzdiže do pozicije traumatizovanog antiheroja koji u završnom činu filma podstiče ceo tim na dodatni herojski napor. Jesam li otro koju suzu tokom ovih scena. Ne, ne, pa ja sam odrastao i ciničan čov... MA NARAVNO DA SAM OTRO KOJU SUZU, PA NISAM NI JA OD KAMENA, NA ŠTA ME TO PRAVITE!
(https://i.imgur.com/1p6ZIwf.jpg)
Gunn ovde radi i sa najvećim budžetom koji je do sada imao pa su scenografija i generalni dizajn filma prijemčivi i, pored pregršti referenci na staru naučnu fantastiku, kreiraju i neke memorabilne svoje koncepte, kao što je svemirska stanica od organskog tkiva (gde čak i oklopi koje nose stražari deluju kao delovi tela) ili simpatični retro dizajn arhive pomenute korporacije.
Drugde sam bio malčice razočaran što su Adam Warlock – čiji je lik i sam potpuni višak u filmu – i njegova majka dizajnirani kao da su krenuli na niskobudžetnu novogodišnju žurku pa su samo svoje pidžame i frizure isprskali zlatnom bojom, ali Gunn ovde i režira svoju najbolju akcionu scenu u celoj trilogiji, zadržavajući sebi svojstvenu stilizovanost ali konačno nudeći i atraktivnu koreografiju dok kamera, u nezaboravnoj borbi u hodniku, bez rezova i skokova, juri između desetina likova i prati, čini se, jedan neprekinuti juriš napred.
Guardians of the Galaxy Vol. 3 je, tehnički gledao, film koji se jedva drži na okupu. Likova je previše, priča je nedosledna i njen ton je neusklađen sa samim događajima a glumci kao da nisu svi u istom filmu. Stallone, recimo, svoj deo kao da je doslovno snimio preko telefona, dok Iwujiju samo što ne poprskaju vene na licu od napora. Zoe Saldaña ovde konačno deluje manje kao damsel u zelenom kospleju a više kao preduzimljiva ,,najopasnija žena u galaksiji" kakvu sam priželjkivao da vidim u prvom filmu dok je Pom Klementieff kao Mantis propulzivna i kao da zauzima prostor koji se čini da je na početku bio namenjen Karen Gillen i njenoj Nebuli što od vrlo asertivnog početka filma kao da se utopi u pozadinu do kraja.
Ali to je prokletstvo filmova sa ovoliko likova i vrlo ja važno primetiti i prihvatiti da su MCU filmovi na kraju krajeva sasvim promenili način na koji publika filmove percipira i prati. Iako nominalno zaokružene priče i samostalne celine, Marvelovi filmovi generalno a ovaj film partikularno su sasvim očigledno i neprikriveno delovi (meta)serijala što obuhvata i druge filmove i serije na Disney+ i njihova ,,ispravna" konzumacija podrazumeva postavljanje svega u kontekst daleko širi nego što je puki Guardians of the Galaxy i koji se pre svega treba shvatiti kao sapunska opera gde su repetitivni zapleti tu da se kroz njih istražuje evolucija odnosa likova. Ovime su se MCU filmovi – što su na početku imali prednost, pa i misiju, da komplikovani stripovski kontinutitet kolabiraju u nešto interno dosledno i jednostavnije za praćenje i pamćenje – približili strip medijumu, koristeći putovanje kroz vreme, alternativne dimenzije i različite verzje istog lika kao readymade pripovedne alatke. U tom smislu, iako Guardians of the Galaxy Vol. 3 sebe prodaje kao završetak trilogije, istina je i da je osećaj na kraju filma najpre kao da smo stigli do kraje sezone televizijske serije i da se ne postavlja pitanje da li ćemo dobiti još već samo da li ćemo imati dovoljno vremena da to JOŠ jednom i stignemo da pogledamo. Pola milijarde dolara koje je film zaradio za svega par nedelja prikazivanja je garancija da Marvel, čak i bez Jamesa Gunna, već sada smišlja šta bi sve moglo da se događa u narednom nastavku Guardiansa.
(https://i.imgur.com/PQLLub2.jpg)
Kako niko nije želeo da ide sa mnom da ga pogleda u bioskopu, tako sam i ja strpljivo sačekao da The Super Mario Bros. Movie dođe na striming platforme pa da ga pogledam. Da bude jasno, to da je film pušten na striming svega šest nedelja posle američke premijere (svega tri nakon japanske) je u normalnim uslovima znak teške, kataklizmične propasti na boks ofisu i žurba da se makar sekundarnim tržištem povrati deo troškova dok su efekti glavnog marketinškog juriša pred premijeru još uvek sveži u sećanju potencijalnih gledalaca. Međutim, sa The Super Mario Bros. Movie stvari stoje sasvim drugačije. Ovo je ne samo najdefinitivniji dokaz do sada da videoigre mogu da budu konvertovane u bioskopske blokbastere, već i najuspešniji film na planeti u 2023. godini, makar u prvih pet meseci. Da je Shigeru Miyamoto u svojoj sedamdesetprvoj godini potpisan kao producent filma koji je za manje od dva meseca zaradio jednu zarez dve milijarde dolara je... pa skup reči koje nikada nisam očekivao da vidim u jednoj rečenici.
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Naravno, Super Mario Bros. je jedna od najvećih igračkih franpiza svih vremena – toliko svi znaju. Ali Super Mario Bros. je i decenijama služio kao simbol nekompatibilnosti igračkog medijuma sa filmom. Iako površno srodne animiranim filmovima još od kraja sedamdesetih a, sa unapređenjem grafičkih kapaciteta modernih mašina i softvera sve (površno) srodnije ,,normalnim" filmovima i televiziji, video igre su bez ikakve sumnje i dalje distinktan medijum kome, uprkos Bruceovima Strahleyjevima i Hideima Kojimama (https://cvecezla.wordpress.com/2023/03/22/knjiga-the-creative-gene-how-books-movies-and-music-inspired-the-creator-of-death-stranding-and-metal-gear-solid-by-hideo-kojima/)ovoga sveta ambicija dostizanja konačne forme NIJE da se pretvore u film.
Stvari bi trebalo da su jasne izvan svake sumnje već time da je jedan od ova dva medijuma interaktivan a da se drugi bavi pasivnim posmatranjem, no naravno da je granica tokom decenija konstantno zamagljivana evolucijom igara čiji je jedan deo sa protokom vremena postajao sve ,,narativniji" i ,,kinematičniji" (ali i činjenicom da neretko u savremenim filovima namenjenim, jelte, publici odrasloj uz video igre, vidimo dramaturgiju koja kopira strukturu ,,kvestova" i misija iz igara). To uzajamno oprašivanje između dva medija je, naravno, dalo i mnogo zanimljivih i pozitivnih rezultata – koliko zimus, iste ove godine, The Last of Us je ovaploćen kao jedna od najuspešnijih televizijskih serija u recentnom sećanju, bazirana na serijalu igara koji je originalno vrlo programski, vrlo metodično zasnovao veliki deo svoje estetike i svetonazora na peak TV predlošcima. Naravno, postoji i velika populacija unutar (inače vrlo raznolike) demografije ,,igrača" koja video igre smatra medijumom umetničkog izražavanja ne samo kadrog već i na neki način dužnog da priča priče i bavi se analizom proverbijalnog ljudskog stanja pa igre u rasponu od Mass Effect i GTA, preko Bioshock i Gone Home, do Celeste i Undertale, sve vrlo različite u (videoigračkom) žanrovskom smislu, imaju veoma izraženu narativnu komponentu i obeležile su veliki deo sržnog duha čitavog medijuma poslednjih petnaestak godina.
(https://i.imgur.com/VYdV32k.png)
No, Super Mario Bros. je na neki način bijeli kit koga već skoro četiri decenije niko nije uspeo da ulovi. Shigeru Miyamoto, verovatno najvažniji živi japanski dizajner video igara, i otac ne samo ovog serijala već i lika Super Maria (a koji serijalu prethodi), je poznat po svojoj izjavi (a koja, čak i korigovana ove godine u jednom intervjuu ne menja svoju suštinu) da priča u igrama nije nebitna jer treba da ostane u umovima igrača, ali da je ,,prava priča upravo iskustvo koje igrači imaju u igri". Potencirajući ovu interaktivnu komponentu, Miyamoto je, iako danas ne kontroliše APSOLUTNO svaki produkt povezan sa Super Mariom, svejedno presudno propisao sržnu estetiku ne samo Mariovih igara već maltene svega što dolazi iz kompanije Nintendo. Naravno, moguće je naći GOMILU kontraprimera, od Nintendovih serijala poput Metroid ili The Legend of Zelda koji imaju značajno razrađenije narative od Super Mario Bros. igara, pa do spinofova unutar samog Super Mario Bros. univerzuma koji stavljaju jači akcenat na pripovedanje (razne RPG igre), ali ostaje da je sržni Super Mario Bros. definisan pre svega svojom mehanikom i svojim setingom, sa rudimentarnim zapletima, samo najprimitivnijim karakterizacijama i ,,narativima" koji su samo niska inteligentnih mehaničkih zagonetki.
(https://i.imgur.com/oFmvpQq.png)
Otud, kada je Super Mario Bros. eksplodirao u Americi osamdesetih godina prošlog veka, tranzicija u druge medijume, kao što je bio crtani film, pokazala je koliko je komplikovano da se properti definisan svojim ,,hands off" pristupom ne samo zapletima već prostoj logici sveta u kome se igre odvijaju, u kome likovi nemaju nikakvu dubinu i mogu se opisati jednom kratkom sintagmom, čvrsto utemeljeni u najprostijim tropima (žena u opasnosti, brkati heroj koji je spasava, orijaški neprijatelj koji želi da je ima za sebe) i gde ,,world building" onako kako ga danas shvatamo naprosto ne postoji već je svet kreiran sistemom slobodnih asocijacija i povezivanje apstraktnih grafičkih i mehaničkih celina tako da ima smisla za igru u kojoj je glavni glagol ,,skočiti", pretoči u neinteraktivan, narativni medijum. Crtani filmovi rađeni po Super Mario Bros. su bili ne samo jeftino animirani već i narativno oslonjeni više na komične rutine iz vremena pre Drugog svetskog rata nego na bilo šta u samim igrama, a prvi pokušaj prenošenja fenomena Super Mario Bros. na veliko platno smatra se i dalje jednim od najgorih filmova svih vremena.
Urađen 1993. godine, sa nekim ozbiljnim imenima za volanom (Roland Joffé kao glavni producent, ali onda i sa Bobom Hoskinsom, Lohnom Leguziamom i Dennisom Hopperom u glavnim ulogama), Super Mario Bros. se odmah skršio o bedem nemogućnosti da Holivud vizualizuje kako bi tačno trebalo da izgleda film baziran na igri koja nema priču, praktično nema dijaloge, jedva ima zaplet i postavljena je u svet koji je digitalna psihodelična halucinacija inspirisana Alisom u zemlji čuda. Naravno da je onda nastojanje bilo da se napravi postmoderna, subverzivna komedija sa mračnim elementima i ambicijom da bude prikvel za igre i pokaže kako je bruklinski vodoinstalater završio u magičnom svetu Kraljevine pečuraka, i naravno da je neuspeh ovog filma, u kreativnom i komercijalnom smislu obeležio naredne pokušaje fimovanja igara za decenije koje će doći.
(https://i.imgur.com/UkMIuvo.png)
Rekosmo da se dosta toga promenilo u međuvremenu, pa ne samo da je u ovom veku Uwe Boll kreirao masu loših filmova baziranih na igrama, već je konzistentni uspeh filmova rađenih po predlošcima igračkog serijala Resident Evil pokazao producentima da igre danas imaju dovoljno ,,priče" i karaktera, pa danas imamo srazmerno uspešne filmove rađene po predlošcima igara kao što su Assassin's Creed, The Prince of Persia, Silent Hill, Angry Birds (https://cvecezla.wordpress.com/2017/01/14/film-the-angry-birds-movie/), Monster Hunter (https://cvecezla.wordpress.com/2022/01/06/film-monster-hunter/)... Možda ključno, veliki uspeh dva animirana filma pravljena po predlošku igračkog serijala Sonic the Hedgehog (https://cvecezla.wordpress.com/2022/11/11/film-sonic-the-hedgehog-2/)pokazao je da properti iz ranih devedesetih, takođe poznat po vrlo oskudnom narativnom sloju (ali nešto uspešnijim tranzicijama u medijume stripa i animacije) dovoljno snažan da izgura bioskopske blokbastere. Baš kad je delovalo da se ostvaruje više od tri decenije stari slogan da ,,Genesis does what Nintendon't", Nintendo je ušao u partnerstvo sa Universalom i The Super Mario Bros. Movie je samo potvrdio da je Super Mario naprosto stvoren da vlada.
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Je li The Super Mario Bros. Movie dobar film? U osnovi, naravno – ne. Ali u kontekstu u kome je nastao – čiji smo deo prestavili iznad – on je, pa... zabavan fim koji uspeva na ime intenzivne referencijalnosti i oslanjanja na nostalgiju kod velikog dela publike, ali onda i na ime jedne nepretencioznosti u kreiranju scenarija i sveta. Ono što su kritičari listom proglasili generičkim zapletom koji nije imao smelosti da rizikuje, zapravo je demonstracija jedne budističke mirnoće na strani Nintenda – a koji je ovde imao mnogo aktivnije učešće u nastanku filma nego što je bio slučaj pre tri decenije – u razumevanju ZAŠTO i deca koja danas imaju osam ili devet godina i ne pamte te fatalne dane posle videoigračkog kraha iz osamdesetih i spasitelja u liku brkatog vodoinstalatera, zašto ta deca i sama obožavaju Marija i njegov ansambl.
Mario je jedna od najikoničkijih figura poslednjih četredeset godina popularne kulture. Nastao kao sledeći logičan korak nakon videoigračkih ikona poput Pac Mana i Space Invaders, Mario nije bio prvi lik medijuma videoigara sa imenom – uostalom, u prvoj igri u kojoj je bio glavni lik, Donkey Kong, nije ni imao ime i zvali su ga samo Jumpman – ali jeste bio prvi koji je imao karakter. Pitfall Harry iz američkog konzolnog hita Pitfall iz 1982. godine je bio samo Čiča-Gliša sa imenom. Kada je Super Mario Bros. stigao u američke konzole tri godine kasnije on je imao LIČNOST. Ili makar brkove, distinktnu odeću, glas.
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Svet Super Mario Bros. nema nikakvu dubinu ili makar konzistentnost u smislu ekonomije, politike, sociologije, on je, rekosmo, gomila apstraktnih koncepata povezanih pre svega svojom pogodnošću za mehaniku igre – u smislu toga na šta možete da skočite, šta da pretrčite, šta da razbijete, ali i šta je čitljivo i jasno na prvi pogled jer se radi o brzoj akcionoj igri gde nemate vremena da objekte detaljno proučavate i sve mora biti intuitivno shvatljivo čim ga vaše oko okrzne – i onda je i The Super Mario Bros. Movie sagrađen oko ideje da je to zapravo sve što će publici biti potrebno da se ponudi. Naravno, The Super Mario Bros. Movie daje malo dubine likovima – oni su je uostalom i sami u igrama dobili tokom ove četiri decenije – i dijalozi su snepi, ,,diznijevski", u modernom smislu, na rasponu između Aladina i MCU filmova, ali film fundamentalno NE pokušava da postavi pitanje za šta bi Super Mario Bros. mogao da bude metafora. Ovde su stvari naprosto takve kako izgledaju: Mario i Luigi su vodoinstalateri italijanskog porekla sa velikom familijom koja živi u Bruklinu i snovima da imaju svoju uspešnu firmu. Neobičan akcident u kanalizaciji prebaci ih obojicu u fantazijski svet gde pečurke govore i hodaju unaokolo, njima demokratski vlada (izabrana) princeza Peach – a koja nije pečurka već čovek kao njih dvojica – a džinovska, zla kornjača, Bowser vlada drugim kraljevstvom i pokušava da osvoju čitavu magičnu zemlju ali i da milom ili silom oženi princezu. Mario je heroj koji će pomoći da se Kraljevstvo pečuraka odbrani a Peach ostane neudata i film ovde ne samo da destiluje zaplet većine Super Mario Bros. igara na trope koji, slažemo se, jesu generički ali RADE, već i to uspeva da uradi izbegavajući one prevaziđene među njima.
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Na primer, u skladu sa evoluirajućim karakterom princeze Peach iz igara, ona ovde nije ,,dama u nevolji" već odgovorni političar koji se žrtvuje za svoje građane, njeni ,,podanici", Toads, su bespolna, blago queer bića svesna toga koliko su slatka, a Donkey Kong i njegova rodbina su Mariovi saveznici u borbi protiv Bowsera – ili makar to postaju nakon što Mario porazi orijaškogkog čovekolikog majmuna koji, poakzuje se kasnije, pati jer ga otac ne doživljava kao uspešnu, zrelu osobu.
Film ima te neke epizode refleksije, ukazivanja da likovi imaju unutrašnji život i da pate – sam Bowser je predstavljen više kao ranjivi incel nego kao brutalni tiranin, to jest sve dok pred kraj ne otkrije da će svadbu uveličati ritualnim žrtvovanjem zarobljenika iz svojih osvajačkih ratova – ali ovo je urađeno brzo, lako, u hodu, bez ambicije da film uspori svoj furiozni tepo. Svrha ovog narativa je da prikaže Marija kako od odlučnog, tvrdoglavog ali siromašnog bruklinskog šljakera postaje požrtvovani heroj, a njegov brat Luigi nauči da ne bude uplašen sve vreme i da se oslanja na brata da bi i u sebi pronašao snagu, i scenario ne dopušta da ga išta skrene sa ove putanje.
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Utoliko, nakon uvodnog dela, ostatak filma je niska brzih akcionih scena koje oživljavaju ikoničke momente iz igara radije nego nekakav dramski narativ. Je li to ,,dobar" filmmejking? U doba kada je Fast & Furious jedna od najuspelijih filmskih franšiza ovo deluje kao skoro neiskreno pitanje. Ne, naravno, The Super Mario Bros. Movie nije primer dobrog filmmejkinga, ali jeste dobro animiran, superbrz film (kraći od sat i po) koji razume svoj izvornik. A to nije mala stvar. Ako vam je adut nostalgija, i uspete da neke od ikoničnih elemenata igara u film uvežete smisleno, na mehaničkom planu, prinosi će biti veliki. Kraljevstvo pečuraka je, da bude sasvim jasno, BESMISLENO mesto, spoj psihodelične ruralne provincije prekrivene pečurkama i bizarnim stvorenjima, te urnebesno komplikovane urbane prestonice kroz koju se stanovnici kreću apsurdno složenim sistemom platformi, cevi i liftova – i ovo nije metafora ni za šta. Svi elementi originalnih Super Mario Bros. igara imaju smisla PRE SVEGA U KONTEKSTU IGRE, uključujući blokove koje razbijete da biste u njima našli pečurku koja vam daje supermoći, i svi ovi elementi su u filmu prisutni bez greške ali i bez objašnjenja, bez pokušaja da se kreira kozistentan ,,lore" ili pokaže u kakvoj je to vezi sa ,,našim" svetom. To čini ovaj film jednim sat i po dugačkim namigivanjem gledaocu uz neizgovoreno ,,a jel' se sećaš ovog" dok gledalac, pretpostavka je, doivljava multiple vrhunce kada prepozna zvučni efekat koji proizvodi gutanje pečurke i transformisanje Marija u džina, ili muziku koja prati koriščenje ,,super" zvezde, jednog od mekgafina na kojima počiva zaplet.
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The Super Mario Bros. Movie to sebi može da dozvoli jer franšiza Super Mario Bros. za četiri decenije nije izgubilla na potentnosti – naprotiv, ojačala je. Najnovije igre iz Mario univerzuma prodaju desetine miliona, pa je i uključivanje sekvence trkanja kartinzima u film sasvim jasna reakcija na činjenicu da je igra Mario Kart 8 Deluxe za šest godina prodala više od 53 miliona kopija. Naprosto, ovo je igrački metaserijal koji je danas relevantan više nego što je ikada bio iako Nintendo iz treće decenije dvadesetprvog veka nema na svojoj strani povoljne tržišne uslove ili monpolsku poziciju iz osamdesetih. Hoću reći – nostalgija kao oruđe je nešto što Nintendo dobro razume, ali njihove igre su i četrdeset godina posle Donkey Konga konzistentno nešto najbolje što medijum ima da ponudi, bez obzira na uspon propertija kao što su Fortnite, The Last of Us ili najnovijih igara rađenih po Spajdermen predlošcima.
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Iterativni ali istovremeno smelo eksperimentalni način evoluiranja igara vezanih za Super Marija nije u slučaju The Super Mario Bros. Movie preveden u nekakav avangardni pokušaj redefinisanja šta bi filmovi po video igrama generalno i Super Mario igrama partikularno trebalo, ili MOGLI, da budu. The Super Mario Bros. Movie je, jednostavno, direktna transfuzija energije i optimizma Super Mario Bros. igara u medijum u kome nema interakcije ali koji može da podjednako slavi opojnost slobode kretanja i skakanja onoliko koliko slavi čisto, neiskvareno srce i požrtvovanu odlučnost aktera ove priče. Utoliko, ne, The Super Mario Bros. Movie nije ,,dobar" film ali je odličan videoigrački film i nakon toliko godina zasluženo Mariovo (i Miyamotovo) uzimanje i te poslednje titule. Namenjen očigledno deci, koju će zabaviti brzina i šarenilo, i nostalgičnim odraslima koji će se smeškati na svako prepoznavanje reference na igre, on je sav na površini, bez namere da se ikako kritički postavi prema Nintendovom nasleđu ili svetu uopšte, opravdano zadovoljan da bude otvorena proslava četrdesetogodišnje istorije Super Marija. I mnogi su se, rado odazvali pozivu da na proslavu dođu, jer ponekad samo želite da dobri momci (i devojke) pobede. Priča u ovom filmu je, naravno, plitka, nemaštovita i zaboravljiva. Gledaoci posle njega neće sedeti i diskutovati o slojevima značenja i nijansama u karakrterizaciji, još manje o neverovatnim preokretima u odvijanju radnje. Ali iskustvo GLEDANJA ovog filma, upijanja njegovog optimizma, energije i vibrantne likovnosti – možete biti sigurno da ono u vama ostavlja trajne tragove, pogotovo ako ste o ovakvom filmu sanjali godinama ili decenijama. Da je pokojni Nintendov predsednik Satoru Iwata (https://cvecezla.wordpress.com/2021/05/20/knjiga-ask-iwata/)– naveden vrlo distinktno na špici, jer u Nintendu znaju koliko je prvi Nintendov predvodnik poreklom NE iz porodice Yamauchi učinio za njih – još uvek među nama verovatno bi se skromno nasmešio, rekao da stvari naprosto idu svojim prirodnim tokom i izvinio se jer mora da ide da dalje radi. A o tome da li su Nintendo ZAISTA dobri momci svakako možemo neki drugi dan.
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Kako je Warner čekao jedva dva meseca da drugi nastavak New Lineovog komičkog superherojskog serijala Shazam! nazvan Shazam! Fury of the Gods pusti na HBO, tako sam ga i ja ropski poslušno pogledao pre nekoliko dana i, pa, imao nekoliko momenata u kojima sam se iskreno i od srca nasmejao. Naravno, Shazam! je serijal sasvim vidljivo osuđen na smrt i ako to nije bilo očigledno polovinom Marta kada je film imao bioskopsku premijeru, danas je, uz razočaravajući performans na boks ofisu*i dalje promene unutar filmskog DC univerzuma koje najavljuje James Gunn, kristalno jasno da su David F. Sandberg i Zachary Levi odigrali svoj poslednji DC valcer.
*naravno, film je za dva meseca povratio sav svoj proklamovani budžet i zaradio još desetak miliona dolara odozgo, a to se danas smatra teškim promašajem
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Ima i neke logike u tome da je superherojski film zamišljen kao svojevrsna dobronamerna parodija na DC-jev superherojski mejnstrim, i pravljen izvan Warnera, na kraju tretiran kao neželjeno kopile koje se omaklo u jednom trenutku slabosti. Sa Levijevim koji je u Januaru na sebe privukao pažnju dosta neopreznom kritikom ,,big pharma" korporacija, nadovezujući se na Tviteru na pisanje jednog prilično poznatog britanskog antivaksera*, i činjenicom da je ovaj film u bioskopima prošao mnogo lošije od originala, sasvim je razumno smarati da je Shazam! Fury of the Gods poslednji put da gledamo Levija i njegov šareni ansambl unutar DC univerzuma. Ovo je sa jedne strane šteta jer je porodični tim u drugom nastavaku počeo da dobija naznake hemije kakvu priželjkujete od omladinskog filma sa rasno, rodno, seksualno i uzrasno šarenim, zanimljivim kastom, ali je sa druge možda i blagoslov jer sa Fury of the Gods su slabe strane Shazam! koncepta mnogo izraženije nego u originalu.
*što se nekako pa i nažalost prirodno nadovezalo na njegovo divljenje Jordanu Petersonu kod Joea Rogana koji mesec pre toga... Levy je, avaj, reklo bi se ,,bro" u onom najlošijem smislu...
O originalu, kao i o generalnoj genealogiji Shazama/ Kapetana Marvela kao lika sam opširno pisao na ovom mestu (https://cvecezla.wordpress.com/2020/05/25/film-shazam/)pa se tu može i videti da je moj utisak nakon gledanja bio više pozitivan nego negativan. Utisak je i da je Warner u tom momentu bio u fazi eksperimentisanja i pokušavanja novih pristupa, posebno otvoren za ideju komedije-sa-superherojima pa je ovaj film imao i generičkog negativca i zaboravljiv centralni konflikt ali i prilično uspešnu subverziju u ideji da je glavni junak u stvari dečak od 14 godina sa problematičom porodičnom istorijom a koji izgovaranjem čarobne reči postaje superheroj sa moćima praktično ravnim Supermenu – ali karakterom i dalje čvrsto ušančenim usred puberteta. Nije ovo sad bila neka naglašeno transgresivna parodija ali jeste bila funkcionalna, posebno sa pažnjom sa kojom je izgrađen odnos između samog Shazama i Freddyja Freemana, dečka sa invaliditetom a koji je i najbolji prijatelj – i član iste hraniteljske porodice – za Shazamov civilni identitet, Billyja Batsona. Freddy kao suštinski socijalno prilagođeniji i snalažljiviji – uprkos svom, jelte, fizičkom ograničenju – je bio fina dopuna problematičnom Batsonu i potpuno nesnađenom Shazamu i jedan dobro odrađen trop superherojskog žanra koji je, uz prilično srećno kreiran ansambl ostatka klinaca u usvojiteljskoj porodici, predstavljao noseći oslonac prvog filma.
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Shazam! Fury of the Gods sebi pravi problem već time što ovaj odnos između Freddyja i Shazama stavlja u drugi plan i tako ovom filmu odstranjuje emotivno i koncepcijsko središte. Ovo je urađeno uz dobru nameru, kako bi ostatak porodice Marvel – gde sada svi klinci, uključujući Freddyja imaju superherojske alter egoe – imao više vremena pred kamerom ali Shazam! Fury of the Gods je film od dva sata u kome gotovo ništa od postavljenih elemenata zapleta ne uspeva da se razvije u iole intrigantniji narativ.
Film svakako načinje mnoge teme, od činjenice da je najnoviji superherojski tim u Filadelfiji (koga mediji nazivaju posprdnim imenima i ukazuju da on pravi više štete nego koristi gradu svojim jedva koordiniranim akcijama) sastavljen od tinejdžera koje mrzi i da saslušaju brifinge što im šef tima sprema, a kamoli da se na terenu ponašaju u skladu sa onim što on misli da su dobro uvežbali, preko individualnih karakterizacija koje sve prikazuju kako deca i omladina različitih uzrasta izlaze na kraj sa idejom posedovanja tajnih supermoći, pa do karakternog rada samog Shazama koji ima krizu identiteta i pita se je li istinski zaslužio da ima moći i da se smatra ravnopravnim Supermenima i Wonder Womanima ovog sveta. No, malo toga je razrađeno i zapravo ono što bi trebalo da je centralni motiv filma – Billyjeva briga da uskoro puni osamnaest godina i da će po zakonu morati da napusti hraniteljsku porodicu u kojoj se nalazi – jedva da dobija dve scene sažete naracije pa finalni emotivni pančlajn nažalost deluje mehanički isporučen i usputno odrađen.
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Zachary Levi svakako ovde ne može da bude kriv jer je njegov performans u ulozi Shazama energičan i uglavnom veoma duhovit. Kao čovek od preko četrdeset godina što glumi lika od trideset koji ima intelektualni i emotivni sklop klinca od osamnaest, Levi je dominantno prirodan, eksplozivan i zabavan u svom korišćenju komičnih fraza, facijalnoj mimici i generalnom govoru tela. Film svakako procveta svaki put kada je on u kadru sa naglašeno drečavim crvenim kostimom, uvežbanim epskim pozama ali i ponašanjem tipičnog napaljenog tinejdžera.
Na drugoj strani je Freddy koji uprkos posedovanju supermoći i dalje susreće razne barijere u civilnom životu, od maltretiranja u školi do zbunjivanja kada treba da priča sa novom devojkom u razredu koja je em zanimljiv lik em prema njemu kao da gaji izvesne simpatije. Freddyjevo posezanje za supermoćima kako bi impresionirao pomenutu devojku i njeno prepoznavanje da je uprkos tom grehu gordosti zapravo njegova ličnost ono što je herojsko u njemu – a ne moći – je emotivno jezgro filma i njegova prava pouka. Nažalost, onda se OVO stavlja u drugi plan jer je Freddy ipak samo support character a film insistira na sazrevanju samog Billyja/ Shazama. Što je nesrećno šaranje između motiva samo po sebi a još nesrećnije jer se svodi na generičku pouku o porodici kao izvoru snage i stabilnosti što glavnom junaku pomaže da prevaziđe sindrom samozvanca.
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Sve ovo se dešava kroz nepotrebno prekomplikovan zaplet o boginjama – ćerkama boga Atlasa* – koje traže način da se osvete ljudima za, uh, milenijumsku zatočenost u svetu lišenom magije a gde ih je zatvorio čarobnjak (koji se zove samo Čarobnjak) što je Shazamu originalno i dao njegove moći. Motivacija boginja je smuljana, nejasna, pogotovo što radnja filma počiva na tome da od njih tri svaka ima svoju interpretaciju toga šta zaista nameravaju i treba da urade sa svetom i ljudima kada se dočepaju žezla što služi kao magični mekgafin oko koga se vrti dobr deo narativa. Otud se centralni deo filma, sa sukobom porodice Marvel i porodice, eh, Atlas, odvija kroz nekoliko set pisova koji kombinuju akciju, šunjanje i krađu, nadmudrivanje, pregovore...
*znamo, ZNAMO da u helenskoj mitologiji Atlas, tehnički, nije bio božanstvo, ali ovo je tek prva od kreativnih sloboda ezanih za mitologiju, koje film sebi uzima da bi ispričao svoju konfuznu priču
Sve to na papiru ima smisla jer Shazam! ne treba da bude stereotipan superherojski film u kome se sve rešava pesnicama, ali u praksi se na kraju svede baš na to. Shazamovi planovi da boginje prevari i nadmudri su prostački, kako i dolikuje osamnaestogodišnjaku, ali i boginje se ponašaju kao da imaju dajbože 15-16 godina, iako saznajemo da su stare preko šest hiljada – pa centralni zaplet filma brzo sleće sa šina i postaje nejasno ko šta hoće i zašto čini to što čini. Ovde na delu imamo i sasvim protraćene poznate glumice poput Helen Mirren i Lucy Liu koje su dobile vrlo grube karakterizacije i izuzetno šture dijaloge pa su njihovi likovi svedeni na ono što često pežorativno zovemo stripovske karikature, i gde se dobra namera filma da pokaže kako se tri boginje među sobom razlikuju po shvatanju principa pravde na kraju vrlo slabo realizuje sa premalo teksta (i glume) koji bi ovo zaista verodostojno prikazali.
(https://i.imgur.com/OPvE3yR.jpg)
No, i dramaturški gledano Sandberg i scenaristi Herny Gayden i Chris Moran kroz skript prolaze sa jednom umornom metodičnošću, svesni da moraju da imaju 1) apstraktnu pretnju po čitav svet, 2) konkretnu pretnju za zajednicu u kojoj žive protagonisti 3) dovoljno topovskog mesa na terenu da ostatak porodice Marvel ima s kim da se bije dok sam Shazam kreće na Atlasove ćerke. Zbog svega toga se film sav raspara po šavovima u svom trećem činu sa generičkom CGI armijom bića iz grčke mitologije koja hara Filadelfijom, nezanimljivim korišćenjem porodice Marvel koja mora da se oslanja na dovitljivost u odsustvu supermoći* i samim Shazamom koji uprkos naporu da nam se pokaže kako je Billy sazreo i sada razmišlja strateški a ne klinački, ne nalazi bolju strategiju sem da se zaleti na džinovskog zmaja direktno, čeono, i sebe žrtvuje kako bi ostatak Filadelfije i sveta živeo.
*pošto je pravilo da svaki drugi po redu film u superherojskom serijalu mora da ima motiv gubitka supermoći stečenih u prvom
Problem sa ovakvim razrešenjem je što se ne razlikuje ni za mrvu od onog što smo već gledali u superherojskim filmovima tokom prošlih dvanaest meseci, od Black Adama (https://cvecezla.wordpress.com/2022/12/02/film-black-adam/) do Thor: Love and Thunder (https://cvecezla.wordpress.com/2022/10/07/film-thor-love-and-thunder/)i Shazam! Fury of the Gods sasvim propušta priliku da pristupi svom finalu originalno, koristeći parodični potencijal i komični ton celog serijala, odlučujući se umesto toga za vrlo mehanički sklopljeno, vrlo generičko ,,superherojsko" finale.
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Je li film makar vizuelno zanimljiv? I da i ne. Kostimi i čitav dizajn porodice Marvel imaju potreban glamur, a magični svet vezan za Stenu večnosti oma malo haripoterovske začudnosti u svom dizajnu, ali film ne uspeva da taj dizajn pomiri sa ,,realističnim" ključem u kome je rađena Filadelfija pa onda i akcija u kojoj gledamo grad u opasnosti deluje neuverljivo i ,,kompjuterski" dok je sama režija borbi uglavnom neinteresantna. Zmaj je dizajniran estetski lepo a ni kiklopi, himere, harpije i jednorozi nisu ređavi ako se gledaju u izolaciji ali sve to je neki nivo Deviant Art portfolija u najboljem slučaju i 3D modeli se vrlo slabo uklapaju u realistični urbani mizanscen. Sandberg pokazuje bljeskove nadahnutosti kada režira momente u akcionim scenama tako da istakne neverovatnu apsurdnost moći koje heroji imaju, sa superbrzinom koja akciju ne čini kinematskom već praktično parodičnom, tj. skoro nevidljivom, ali sve ostalo je uredno, pristojno ali ne i specijalno zanimljivo.
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Shazam! Fury of the Gods kao da je i od strane Warnera pušten niz vodu već u startu, dok se korporacija sprema za svoj ovogodišnji glavni adut u formi Flasha. Videćemo koliko je oslanjanje na film mučno pripreman godinama, sa glavnim glumcem koji je značajno problematičnija figura u privatnom životu od Levija, zapravo dobra strategija, ali očigledno je, sa napuštanjem Black Adama i ostavljanjem Shazama da premine na barikadama, da Safranova i Gunnova vizija za novi filmski DC univerzum u dogledno vreme ne uključuje Fawcett Comics likove. Ovo nije nerazumno, s obzirom da je njihova transformacija u filmski properti više delovala kao eksperiment nego jasan, siguran drugi put, ali je šteta da taj eksperiment završava ne kao žrtva neke sržne problematike samih predložaka nego, reklo bi se, najpre Warnerove nesposobnosti da godinama, a sada već i decenijama, smisli šta tačno želi od svog filmskog superherojskog univerzuma.
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Pošto ga je RTS prikazao, ja sam ga pogledao: Zlatni dečko je film Ognjena Jankovića iz prošle godine, sa premijerom koja je bila negde u januaru 2022. ali i sa kasnijom televizijskom serijom koja je puštena na striming servise na dan početka svetskog prvenstva u fudbalu prošle godine i, ako je verovati PR-u Telekoma – jednoj od produkcija koje stoje iza ovog projekta – pokidala na Amazon Prajmu. Ili je makar bila otkupljena za Amazon Prajm a Telekom je gromoglasno objavio da je to veliko priznanje za ovu seriju i odraz njenog kvaliteta. Kako nemam Amazon Prajm a i ovdašnje kanale koji su seriju emitovali ne umem ni da nađem na svom televizoru, AKO IH ŠOLAK UOPŠTE PUŠTA NA SVOJU PLATFORMU, tako mislim i da je legitimno reći da ja tu seriju ne bih gledao ni pod ozbiljnim pritiscima a i kad bih je gledao nemam sumnje u to da bi mi utisci bili negativni. Nije fer reći da poslednjih godina žanrovska ponuda domaćih produkcija u okviru serijskog programa ništa ne valja, ali velika većina onog što sam pokušao da gledam je pala na ime nedosezanja nekog od kriterijuma koje imam – neke su naprosto dosadne, razvučene i koliko god da im je zaplet zanimljiv, nije dostatan da popuni osam ili deset sati vremena, neke se dave u klišema a neke prosto misle da je seksualno nasilje neophodno da bi ton odrasle, ali i malo provokativne, jelte, televizijske fikcije bio postignut na pravi način.
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No, film Zlatni dečko mi je zapravo bio sasvim korektan. Prepun klišea, svakako, ali ovo je jedan tehnički vrlo kompetentan žanrovski produkt koji se uspešno vozi na kvalitetnim glumcima, a mada ne govori nešto PREVIŠE inovativno ili produbljeno o aktuelnom trenutku povijesne zbiljnosti u kome živimo, on se svakako hvata zanimljive teme i uspeva da izbegne pretencioznost kada govori o njoj.
Da odmah neke stvari budu jasne: ovo je, najprotstije rečeno, film o fubalskoj mafiji ali tako da se ne pokaže fudbalska mafija. S obzirom da je državni telekomunikacioni gigant jedan od glavnih producenata, ovo nam valjda dovoljno i govori o tome kako država vidi fudbalsku mafiju i šta misli da je bezbedno da se u medijima o njoj prikaže, čak i kroz fiktivne narative. Da se razumemo, isto tako i razne druge serije koje smo videli poslednjih par godina, od Tajkuna, preko Kljuna, pa sve do Južnog vepra, idu na žanrovska koketiranja sa socijalnim komentarom ali vrlo će se retko u njima videti stvarne razmere društvene korupcije ili stvarna osuda nekakvog konkretnog zla u našoj zajednici. I, opet, da ne budemo nepravedni, nije da sad ja mislim da ih treba osuđivati a njihove autore streljati na Terazijama*. Žanrovska televizijska produkcija ionako nije mesto na kome treba da tražimo nekakav prodorni sociopolitički sadržaj, mnogo je više za očekivati da će se on baviti žanrovski utemeljenim, generičkim konceptima korupcije ili organizovanog kriminala i ako komentara ima, oni će se pojaviti uzgredno, u podtekstu, gađajući neke druge mete.
*ili barem ne zbog TOGA.
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U tom smislu,čekao sam momenat u Zlatnom dečku kada će film da nam pokaže ZAŠTO je glavni junak ovakva budaletina. Ali taj momenat nije došao. I svakako, moguće je, statistički nezanemarljivo verovatno, da je protagonista ovog filma, mladi i talentovani fudbaler Denis Marković (koga igra mladi i jako talentovani Denis Murić), prosto, jebena budala kakvoj nema pomoći ni od boga ni od čoveka, koji je takav nakrivo nikao i ne postoji jasan splet socijalnih okolnosti, porodične anamneze, istorijskih uticaja itd. koji je od normalnog, potencijalno srečnog deteta napravio baksuza što će sabotirati samog sebe uprkos velikom talentu što ga je dobio gratis na rođenju, ali dalje i havarisati sve u svojoj okolini i proizvoditi nesreću i jad gde god da se pojavi. Statistički, rekosmo, sasvim moguće, ali da li to onda daje podlogu za dobar film? Eh, nisam siguran. Fiktivne priče nisu po definiciji sve bolje što su realističnije, i mi ih gledamo – čak i kada su dokumentarni filmovi u pitanju – zato što od njih očekujemo narativ sa kauzalonošću, koji se može poopštiti i ukazati na društvene, što bi drug Marks rekao, protivrečnosti koje proizvode određene efekte i koje možda nekim našim delanjem možemo ispraviti, prevazići, unaprediti. Zlartni dečko ovo ne daje, njegov glavni junak je zatečen takav kakav je, besan, bahat, nadrkan i impulsivan i on takav ostaje sve do pred kraj filma gde, u poslednjoj sceni kao da ima satori i odlučuje da jednom u životu učini nešto jer ga je dotakla tuđa empatija i požrtvovanje. Ovo je emotivno zadovoljavajuće finale, ali bilo bi i više zadovoljavajuće da je film do tog trenutka Denisa pokazao kao ikako kadrog da na išta reaguje ičim drugim nego što je prva stvar koja mu instinktivno padne na pamet a što je najčešće konfrontacija, inat, bes, agresija. Preokret u finalu, gde je Denis pokazan kao misleće biće, sa kapacitetom da sklapa dublje veze sa drugim osobama je meni bio drag jer sam za protagonistu navijao od samog početka, ali nisam siguran da je zarađen.
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Film ovaj svoj nedostatak uspeva da dosta dobro zamaskira, najpre na ime te pomenute dobre glume. Denis Murić još uvek ima šmek klinca koji više glumi sebe nego nekog drugog i njegova intepretacija mladog, nadrkanog fudbalera koji misli da je neverovatan talenat dovoljan – u jednoj sceni doslovno kaže da smatra da je nedodirljiv u pogledu ikakvog kažnjavanja od strane kluba za skandalozo ponašanje jer je ,,novi Maradona" – i da on ima beskonačnu količinu pregovaračkog potencijala na ime tog talenta, je snažna, ubedljiva, i uspeva da nam proda momka koji je po svim parametrima iritantno derište i po okolinu štetna budala, kao nekog koga na kraju simpatišemo jer je, pa, eto, stvaran. Stvaran klinac očigledno odrastao u nemaštini i socijalnoj i emotivnoj deprivaciji, a onda odjednom suočen sa svetom u kome se oko njega otimaju, njegovo ime skandiraju, a kučke mu se, što bi reperi rekli, same trljaju o kurac. Ovo je sve sugerisano toliko minimalno da se tu upravo oseća taj nedostatak truda u filmu da lik Denisa malo ukoreni u nekakvim, rekosmo, okolnostima i na pamet mi je tokom gledanja često padao italijanski film Lovely Boy (https://cvecezla.wordpress.com/2023/02/24/film-lovely-boy/) koji je dosta sličan po formatu i ambicijama, ali čini malo više da glavnog lika ukoreni u nekakvom kontekstu pa je onda i njegova kasnija humanizacija ubedljivija i jače rezonira sa gledaocem.
Scenaristi, Vuk i Aleksa Ršumović i sam Ognjen Janković ovde zapravo više napora ulažu da prikažu bekgraund trojica kriminalaca koji otimaju Denisa njegovom starom menadžeru, Časlavu, što ga je našao na, praktično, ulici i uspeo da mu isposluje ugovor sa inostranim klubom, ali kome sklonost ka igrama na, jelte, sreću, nazida toliki dug da ga ovaj onda, pod pritiskom, doduše, u zamenu za oprost dugova, preda u ruke pomenute mafije. Mafija je ovde prikazana u liku tri mangaša koji su čukali zlatare ili neke slične lokale pa posle avanzovali na građevinsko-mafijašku, jelte, profesiju i činjenica da ovu četvoricu ljudi igraju vrsni glumci daje filmu mnogo energije. Andrija Kuzmanović je sad već doktorirao uloge pomalo ljigavih menadžera, i mada se ovde pojavljuje kratko, sjajan je, a i njegovo uključivanje u ansambl pravi lepu sponu sa Montevideom, na neki način zatvarajući krug vezan za fudbal u Srba gde se od diskursa o nacionalnom ponosu i maltene povlačenja paralele sa učestvovanjem u oslobodilačkom ratu dolazi do kokaina, viskija i trpanja anonimnih devojčica po veceima klubova, sve pod patronatom ljudi čiji je prvi milion, ako je miliona tu uopšte ikada bilo, došao po ceni robijanja jednog od njih za razbojničku krađu.
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Taj jedan je Maki, a koga igra Igor Benčina i još jednom demonstrira kako njegov minimalistički stil značajne šutnje ume da bude jebeno neodoljiv i za žene i za nas, nominalno heteroseksualne muškarce, kanališući bad boy energiju i uspevajući da bude moralno središte filma uprkos tome što je jedini sa stažom na mardelju od cele ekipe. Ostala dva mafijaša, Petar Strugar i Ljuba Bulajić nisu tako harizmatični ali su solidni, pogotoo u scenama gde se svađaju i oseća se neizrečena dugogodišnja tenzija rivaliteta između braće. Pogotovo je Bulajić ovim uspešno otresao sa sebe taj imidž slabunjavog momčeta koji ga prati na ime nekih starijih uloga i legitimno se prikazao kao gangster što uprkos svom pažljivom građenju imidža biznismena koji svaku reč prevrne triput pre nego što išta kaže, zapravo lako gubi živce i hvata se za željezo.
Tika Stanić takođe solidno igra mnogo namazanijeg mafijaša Omera ali nije sad da je neka novost da je on izvrstan glumac – veći je problem što film do tačke kada uvede njegov lik već jasno pokazuje ograničenost svog koncepta i mafijanje koje se vidi u drugom delu narativa je neubedljivo, svedeno na nekoliko likova koji se kurče jedni pred drugima i nikakav utisak ozbiljne koruptivne mašine što šljaka u pozadini nije kreiran. Recite šta hoćete o Bobanu Skerliću ali njegov Klan je makar napravio častan napor da pokaže veze između mafije, politike, policije i biznisa.
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Zlatni dečko to ne radi i njegov fokus je pre na liku samog Denisa i njegovim iskušenjima ali ovde film malo, kako rekosmo, oće da posrne na ime ostajanja na površini i odbijanja da malo zaroni u istoriju i genealogiju problema.
No, ako dramaturški tu fali dosta mesa, film ima pristojan kostur, i u drugim elementima je više nego korektan. Kamera Luke Milićevića, osvetljenje i scenografija su svi vrlo pristojni i iako film ni po čemu ne iskače iz onog što gledamo po drugim evropskim produkcijama, on ni slučajno ne ide ispod njihovih standarda. Nema sad ovde neke nadahnute likovnosti, ali kamera, montaža, kadriranje, svetlo, sve to nudi jedan dinamičan doživljaj u kome je uvek jasno kakav se osećaj želi postići i tu su žanrovski tropi pogođeni besprekorno. Slično važi i za dizajn zvuka, a pogotovo za saundtrak koji je vrlo adekvatno popunjen pop i trap muzikom što i sama beznaporno ukliza u kadrove i svemu daje tačno željeni mood.
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Ovim se još jednom potvrđuje da ,,naši" umeju da rade, ali Zlatni dečko je mogao da bude više od zanatskog showcasea i njegova pouka o gordosti mladosti i pokvarenosti šireg društa je mogla da bude dublja, promišljenija, manje robinja najoprobanijih žanrovskih rešenja a možda nešto više lična, idiosinkratična, da ponudi nešto što nismo gledali kod Danaca, Italijana, Nijemaca i Belgijanaca. Da je bilo svesti o tome da filmu treba i druga dimenzija – recimo dimenzija realnog, svakodnevnog, ,,normalnog" pokazuje i lik Sare, Denisove drugarice iz detinjstva a koja treba da bude element nevinog, neukaljanog biznisom i kriminalom. No, uprkos tome što Saru igra inače izvrsna Jovana Gavrilović – žena koja je do sada pokazala strahopoštovanja vredan raspon u svojim ulogama – ona je ovde čist višak i ne služi ničemu pa je finale u kome se ona odjednom pojavljuje kao motivacija glavnog junaka nezarađeno i neuspelo.
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No, da ne završim na negativnoj noti, film iza koga stoji, jelte, Telekom Srbije a režirao ga je čovek koji do sada nije imao apsolutno nikakve dodire sa žarovskom produkcijom ovog tipa je mogao da bude katastrofa kosmičkih razmera. Da je umesto toga ovo ipak sasvim korektan, mada faličan film koji se gleda bez hroptanja i sa autentičnim emotivnim ulogom u likove – pa to je apsolutni pogodak pod prečku pa makar i iz sumnjive možda-ofsajd pozicije. Nećemo da budemo neljudi. Kad smo se već, jebiga, zatekli kao Srbi.
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Filmovi sa životinjama u glavnim ulogama su, istorijski, a svakako danas, uglavnom namenjeni najmlađoj publici. Antropomorfizovani likovi u koje se upisuju ljudske karakteristike, emocije, ambicije i intelekt su danas dostupniji za manipulaciju nego ikada, zahvaljujući naprednim (i srazmerno jeftinijim) digitalnim tehnologijama koje dopuštaju uverljivo trodimenzionalno modelovanje uverljivih životinja koje se – uverljivo – ponašaju kao ljudi. No, decenijama unatrag postoji čitav spektar ,,filmova sa životinjama" gde se ovom konceptu pristupalo sa različitih strana i sa različitim ambicijama, često bez korišćenja ikakvih specijalnih efekata. Negde su samo kvalitetna režija, montaža i mnogo strpljivosti u radu sa ne-ljudskim glumcima doneli na kraju zadovoljavajuće rezultate, ali po pravilu ovakvi fimovi životinjama daju karakter koji gledalac treba da prepozna kao human ako ne stopostotno ljudski, i ako u pitanju nisu komične produkcije, onda su to najčešće sentimentalne priče u kojima treba pronaći izgubljenu ljudskost.
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Robert Bresson je 1966. godine, pak snimio film Baltazar, slučajno (Au Hasard Balthazar), neku vrstu antički formatirane drame sa magarcem u glavnoj ulozi, inspirisane Idiotom Dostojevskog. A onda u 2022. godini, poljski režiser Jerzy Skolimowski uradio je neku vrstu modernog rimejka, ili makar filma očigledno inspirisanog Bressonovom parabolom o ljudskoj grešnosti. Film Skolimowskog zove se Eo i ovo je i ime magarca koji ,,igra" glavnu ulogu i, slično Baltazaru kod Bressona, tokom priče menja vlasnike i okruženje, služeći kao nemi svedok fenomenima modernog društva
Skolimowski je početkom devedesetih godina prošlog veka prestao da se bavi režiranjem. Nakon karijere koju je obeležilo vrlo ,,autorsko" viđenje filma i jedan holistički pristup umetnosti – Skolimowski je pisao i objavljivao pesme, pripovetke i drame, glumio, bio scenarista za Wajdu i Polanskog, režirao autobiografske filmove i uspeo da još pre pada gvozdene zavese bude jedan od ,,istočnih" autora koji su režirali u zapadnoj Evropi pa i u SAD – kraj istorije (ili makar komunizma u Evropi) kao da ga je oslobodio da se bavi onim što u tom trenutku želi, bez obaveze da bude ,,filmmejker" pa se, u tom trenutku već u svojim pedesetim godinama, preselio u Los Anđeles i tamo povremeno glumio u ponekom filmu, uglavnom se fokusirajući na slikanje. Posle nepune dve decenije će se vratiti u Poljsku i ponovo početi da režira i Eo mu je četvrti film u ovom obnovljenom delu autorske karijere, a koju karakteriše osoben pristup narativima ali i režiji. No, dok su prethodna tri filma mogla da se smeste u format trilera, makar i trilera avangardnijih namera, Eo to nije. Ovo je jedan dramaturški labav, vrlo ,,likovan" film sa jasnom namerom da postigne određeni sentiment ali i sa ne uvek dovoljno jasnim diskurzivnim slojem, a koji se, kako i promotivni materijal uslužno kaže, bavi nekim fenomenima moderne Evrope.
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Eo je imao premijeru na Kanskom filmskom festivalu prošle godine i tamo dobio nagradu žirija, a bio je i poljski kandidat za Oskara, što jeste svojevrsno – i nimalo preuranjeno – podsećanje na to da je film vizuelni medij makar isto koliko i narativni. Eo predstavlja onu retku sortu filma u kojima se ,,priča" ostavlja gledaocu na tumačenje, ili čak na kreiranje iz pregršti ne nužno potpuno povezanih epizoda, dok je pravo ,,značenje" filma u intenzitetu njegovih prizora. Sklimowskom je ovo verovatno najenergičnije ukrštanje svoje dve velike pasije, filma i slikarsva, sa snažnim ekspresionističkim slojem u dobrom delu scena koje čine Eo.
No, naravno, danas živimo u eri telefona sa HD kamerama i sveprisutnog softvera za obradu slike i daleko smo od epohe u kojoj je čisto izražavanje slikama, pokretom i bojama na filmu bio domen samo avangardnih režisera ili studenata filmske režije. Eo, utoliko predstavlja važan primer vizuelne naracije koja ima disciplinovaniji, ,,filmskiji" senzibilitet od često slobodno asociranih prizora i samo ,,zanimljivih" slika na koje smo danas navikli posredstvom muzičkih video spotova, ali i raznih ,,vižualajzer" videa. Autorska ruka u Eo je sveprisutna i film u vizuelnom smislu profitira od ,,agresivne" režije i izuzetno efektne montaže.
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Eo je magarac koga na početku filma vidimo kako ,,radi" u cirkusu i izvodi tačku sa svojom – ljudskom – partnerkom Kasandrom, a koja magarca veoma voli i štiti ga od drughih cirkuskih radnika koji bi ga tretirali kao prostu vučnu životinju i koristili i bič kada je to potrebno. No, cirkus uleće u stečaj istovremeno sa agresivnim protestima grupe koja se bavi zaštitom prava životinja (transparenti ,,dresura je tortura" itd.) pa Eo biva ,,oslobođen" i odveden na imanje gde će biti terapijska životinja za decu sa posebnim potrebama. U jednoj sceni, dok magarca prevoze u novo stanište, on kroz prozor može da vidi krdo slobodnih konja koji jure po polju. Kasnije, na farmi će odbijati da jede, pa pobeći i imati zastrašujuće iskustvo u mračnoj šumi gde lovci sa zelenim laserskim nišanima pucaju na vukove. Osećaj mračnog inicijantnskog putovanja za usamljenog magarca podcrtavaju scene trčanja kroz kamenite hodnike i krvavo crvene, stroboskopske ambijente.
No, Eo nije ,,talking animal" i film ga ne antropomorfizuje. Zapravo, svaka scena u kojoj deluje kao da je Eo tužan, sentimentalan, uplašen ili razočaran, ovo postiže pre svega vrhunski spretnom montažom virtuozne Agnieszke Glińske. Direktor fogorafije Michał Dymek magarca često snima iz velike blizine, koristeći sočivo koje će njegove crte lica zaobliti i dati im neku vrstu ljudskosti, a montiranje scena da se kontrastiraju Eovi pogledi i događaji u okruženju kreiraju neku vrstu sugerisane kauzalnosti.
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Ali u stvarnosti nje nema. I empatija koju gledalac oseća za Ea je samo prirodno saosećanje sa životinjom koja očigledno prolazi kroz neke teške trenutke, ali bez ,,stvarne" ekspresije emocija od strane protagonista. Jedna od najdoslednijih – i time najefektnijih – tehnika filma je da Eo od početka do kraja ostaje ne samo nedokučiv već i suštinski prazan po pitanju nekakvih složenijih kognitivnih koncepata. Ovo je životinja instinkta, koja će se uplašiti, koja će biti tvrdoglava, koja će pobeći od ljudi što je tretiraju dobro i prići drugim ljudima kojima nema razloga da ,,veruje" i ako film išta pokušava da ,,kaže" u ovom domenu to je upravo da životinje imaju svoje ,,ja" ali da to ,,ja" nije svodivo na ljudske kategorije, da je njihovo sopstvo samo njihovo i da je najmanje što čovek može da učini to da ga poštuje. Eo, očigledno, ima emocije, kao što ih ima svaka životinja ovog nivoa, jelte, kompleksnosti, ali te emocije ne moraju biti one koje bismo mi osetili u istoj situaciji. Utoliko, to da film često prikazuje situacije u kojima čovek životinje eksploatiše, povređuje, ubija, jeste jasan element ,,poruke" ali ovde nema sentimentalne ,,humanizacije" životinja. Strah koji one osećaju pred licem smrti ili bol koji osećaju zbog torture su samo njihovi i film nas sa njim suočava bez romantizacije, pozivajući nas da ih prepoznamo i poštujemo.*
*ovde vredi napomenuti da film na odjavnoj špici eksplicitno kaže da je bio motivisan ljubavlju prema prirodi i životinjama i da ni jedna životinja nije povređena tokom snimanja
(https://i.imgur.com/KPgjWu4.jpg)
Ovo dobro funkcioniše jer Skolimowski i njegovi saradnici na fotografiji kreiraju izuzetan vizuelni imaginarijum, sa impresivnim kompozicijama – gde su posebno efektni kontrasti mehaničkog, arhitektonskog, ,,civilizovanog" sa životinjskim i prirodnim – i, kako rekosmo, često vrlo ekspresionističkim koloritom. U nekim momentima film asocira na transgresivne momente šezdesetih i sedamdesetih kao iz kuhinje Kennetha Angera ili Stanleyja Kubrika i Skolimowski ovde daleko nadilazi tradicionalnu disciplinu i urednost po kojim ga možda pamtite.
No, tim je sumnjivije što se onda u inače kratkom filmu (kraćem od sat i po) ritam vizuelnog pripovedanja razbija uvođenjem klasičnijih ,,dramskih" scena u kojima ljudi pričaju jedni sa drugima i rade jedni drugima loše stvari. Ove epizode su, da bude jasno, i same vizuelno vrlo disciplinovane i pažljivo režirane (a pojavljuje se i Isabelle Huppert, a veteranku je uvek lepo videti), ali njihova svrha je nejasna. One nisu eksplicitno vezane za ono što deluje kao da je prava ,,tema" filma – dakle, odnos čoveka prema životinjama i prirodi – i Eo se u njima pojavljuje samo tangencijalno, u više slučajeva zapravo i ne prisustvujući ,,glavnom" dramskom momentu.
(https://i.imgur.com/FETTt68.jpg)
Utoliko, smisao ovih epizoda je upitan i deluje kao da je Skolimowski naprosto želeo da napravi nasumične komentare na neke elemente modernog evropskog života – od fudbalskih huligana u poljskoj, preko tragične epizode koja se tiče migrantkinje iz afrike i poljskog vozača teretnih kamiona, pa do incestuozne katoličke scene u Italiji – ali strukturalno ovi momenti naprosto ne sede u filmu smisleno i zapravo razvodnjavaju njegovu centralnu premisu nemog ,,drugog" u ulozi protagoniste kome ćemo upisivati trope pikarskog romana, ali koje on eksplicitno neće slediti jer je nesvodiv na naše priče.
(https://i.imgur.com/drnIg1A.jpg)
Zbog toga Eo i ima u sebi tu malo neugodnu tenziju između odbijanja da priča ,,priču" koja bi bila ,,ljudski" narativ i davala gledaocu neku vrstu zaokruženog sklopa motiva i poduka, i ipak želje da nešto ispriča i uvede likove koji će imati eksplicitno ljudske drame. Kao ideja, ovo ima jasan potencijal u kontrastiranju ,,odveć ljudskog" sa svetom koji živi izvan ljudskog i ljudi su mu samo tuđinska pretnja, ali u realizaciji se nekako nikada ne pogađa stvarni balans između ova dva elementa.
No, Eo je svakako vizuelno impresivan i u svojoj nameri da nam da ,,heroja" koji nije kao mi i neće pristati da bude sveden na nas prilično uspešan. Slike magarca koji sam, bez ljudskog usmeravanja ide ulicama, mostovima ili kamenitim hodnicima su evokativne, moćne i efektne u svom odbijanju da glavni junak bude samo prečica za ljudsku nevinost koju smo sa godinama zaturili. Priroda nije nevina, ali ona nije ni okrutna – ovi koncepti isključivi su domen čoveka i Eo gledaoca poziva na odgovornost kada o njima samo i razmišlja, a pogotovo kad dela.
(https://i.imgur.com/Rg3K1nq.jpg)
Pogledao sam – putem HBO – film Bûka Baranê, preveden kod nas kao Milosna nevesta, a što je, pretpostavljam, bilo kreativno rešenje da se kurdski original i njegov engleski prevod (The Rain Bride) nekako privoli srpskom jeziku. Radi se o filmu iračkih Kurda, sa solidnim delom ekipe poreklom iz Turske i, s obzirom na njegove zanimljive teme i dosta ubedljivu realizaciju, malo je i iznenađenje da ova prošlogodišnja produkcija nije naišla gotovo ni na kakav odjek na zapadu. Trenutno ne vidim da postoji ijedan prikaz filma na Engleskom jeziku a to je verovatno posledica činjenice da film nije do sada obišao mnogo festivala. Što bi mogla biti i nekakva metafora za kurdski položaj ne samo u Iraku, već širom onog što nazivamo Kurdistanom, teritorijom koju dele najmanje četiri države u ovom trenutku.
(https://i.imgur.com/OZc73FA.jpg)
No, Bûka Baranê nije zapravo film koji naglašeno tematizuje kurdsko iskustvo u Iraku, naprotiv, on se dominantno bavi temom koja je zapadu i bliža, dovodeći u svoj fokus stvari kao što su lična sloboda i položaj žene u društvu koje je, iako prosvećeno i sa jasnim naporom da se postavi kao kontrast preovlađujućim arapskim (i persijskim) običajima iz okruženja, zapravo i samo još uvek upleteno u mrežu tradicije i balast koji ona sa sobom nosi.
Bûka Baranê počinje vrlo efektnom scenom u kojoj grupa žena i muškaraca u narodnim nošnjama pleše na tradicionalnu perkusionističku muziku, uspostavljajući odmah impozantne dimenzije nasleđa i tradicije koji deluju sasvim bezvremeno u toj prvoj sceni. No, kada se kamera udalji unazad a koreograf zaustavi ples, postaje nam jasno da posmatramo predstavu na bini, zapravo probu plesačke grupe koja priprema predstavu bremenitu tradicijom, a koju će izvesti za praznik što dolazi kroz nekoliko meseci. Glavni koreograf će plesačima objasniti kako treba da igraju ali odmah dolazi u blagi konflikt sa glavnom plesačicom – za koju par scena kasnije shvatamo da mu je i supruga i majka maloletnog sina – jer ona pita zašto u scenariju predstave žene stoje u pozadini a muškarci se bore protiv mitskog neprijatelja da ih zaštite. Kada joj muž odgovori da je to tako u tim pričama, ona ga pita zašto to ne može da se promeni, ali njihov razgovor ne dolazi do stvarnog zaključka.
Jedan od razloga je i to da njen muž biva mobilisan i poslat na front. Ili, tačnije, njegov stari komandant jedinice mu kaže da se rat protiv ISIS-a dosta zahuktao i da je njihova jedinica izgubila mnogo vojnika poslednjih meseci zbog neprijateljskih nagaznih mina. Kako je ovaj čovek tokom služenja vojnog roka bio zapravo odličan deminer on i sam, posle malo premišljanja odluči da je njegova dužnost da se pridruži ratnom naporu pa plesnu grupu ostavlja u amanet supruzi i najbližem saradniku a on ode u okolinu Mosula da tamo radi sa minama.
(https://i.imgur.com/dOO9lQv.jpg)
Glavna junakinja Lori, u početku bela udovica, brzo postaje i prava udovica kada joj se javi da je nesreća vezana za eksploziju mine raznela nekoliko vojnika, uključujući njenog supruga, na komadiće, i film se u velikoj meri bavi njenom navigacijom kroz socijalni, poslovni i porodični lavirint kurdskog/ iračkog društva u tom statusu samohrane majke sa malim detetom ali i sa porodicama koje žele da tragediju amortizuju kako najbolje znaju i umeju.
Lori igra turska (pretpostavljam kurdska) glumica Silan Düzdaban čiji je prikaz žene što u kontekstu velike lične nesreće, i napora njene okoline da joj se nađe, pokušava da artikuliše svoju žudnju za slobodom –vrlo ubedljiv. Kada Lori kažu da je još mlada i da može ponovo da se uda, njena reakcija je gnevna, agresivno defanzivna. Ona tvrdi da je sebi dovoljna, a da njenom sinu ne treba drugi otac, mada je ovo drugo svakako pod znakom pitanja jer film prikazuje petogodišnjeg Mema kako odbija da jede i intenzivno pati u mesecima nakon očeve smrti.
No, Lori jeste samostalna i zapravo situirana. Pored penzije koju prima od države na ime muža nakon smrti zvanično upisanog u šehide, ona dobija i platu na poslu koji je našla upravo da ne bi zavisila od tuđe pomoći. Istovremeno ona plesnu grupu počinje da usmerava po svojim zamislima, dajući ženama prominentnije uloge u predstavi i ovo, pored njenog stalnog kašnjenja na probe (ili potpunog izostajanja sa istih na ime obaveza samohrane majke) dovodi do tenzija u grupi do momenta kada svi muški plesači odluče da je napuste.
(https://i.imgur.com/n6WjX3M.jpg)
Film Lori ne idealizuje i Silan Düzdaban je autoritativno igra kao ženu koja pokušava da shvati šta joj se desilo i kuda uopšte ide. Njena asertivnost i preduzimljivost u filmu definisana je manje onim što želi a više onim što zna da ne želi i ovde je odnos sa familijom – svojim roditeljima ali i roditeljima preminulog muža – prečica preko koje režiser (i tumač glavna muške uloge) Hussein Hassan pažljivo raspakuje komplikovanu tenziju između modernog i tradicionalnog. Hassan je iskusan glumac ali i režiser što radi dugometražne filmove od polovine prve decenije ovog stoleća i njegov rukopis ovde je izuzetno siguran. Film ima zapravo vrlo brz tempo, sa vrlo malim brojem ,,mood" scena koje uglavnom služe kao kratke tranzicije između momenata u kojima se nešto bitno dešava i njegovo poštovanje za gledaočevo vreme je u ravnoteži sa činjenicom da priča jednu komplikovanu priču u kojoj su tanane ljudske emocije i nagon za samoodređenjem stavljeni u kontrast sa zastrašujućom pretnjom koju čini ISIS što napreduje ka daljim iračkim gradovima.
Duhok, u kome se narativ događa je veliki grad od oko 350 hiljada stanovnika a uprkos srazmerno siromašnom izgledu kraja u kome protagonistkinja živi, iz radnje je sasvim jasno da imamo posla sa klasičnim srednjeklasnim likovima. Glavna junakinja je, recimo diplomirala Engleski jezik i književnost i bavila se prevashodno plesom tokom karijere a kada vlasnik firme u kojoj se udovica zaposlila počne da joj poklanja nesrazmerno mnogo pažnje, uključujući mesečni bonus na platu zbog zalaganja na radu, ona ga vrlo decidno, pa i grubo odbije.
(https://i.imgur.com/8Z42W9i.jpg)
Glavni konflikt je sa tazbinom, i njihovim insistiranjem da se Lori uda za brata njenog preminulog muža. Ovim će porodica rešiti dva problema odjednom, zadržavajući snaju (i unuka) u svom vidokrugu ali i konačno vezujući svog mlađeg sina bračnim vezama. Naravno, to što ni on ni ona ne žele u brak jedno sa drugim – on već godinama pati za devojkom koja ga je ostavila i Lori posmatra pre svega kao, jelte, snaju – nije stvarno percipirano kao problem od strane navalentnog oca i samo za nijansu ,,mekše" majke.
I iako Lori i njen dever insistiraju da od braka nema ništa, na kraju se, zbog mira u kući uzimaju. Hassanov film se, dakle, drži vrlo čvrsto u sferi realnog i plauzibilnog, pokazujući na primeru dvoje nesrećnih ljudi kako se u životu kompromisi nameću kao na kraju najmanje nesrećna rešenja pa dok novopečeni mladenci provode dane odvojeno a noću spavaju u odvojenim sobama, Lori, uprkos gunđanjima svekrve da treba da prestane da se bavi plesom, sa svojom grupom kreira koreografiju koja će slaviti žene kao slobodna bića što šire krila i lete iznad sveta koji pokušava da ih sputa.
(https://i.imgur.com/loHFXur.jpg)
Ovaj kontrast vrlo simboličke, estetske pobune, i vrlo stvarnog rata koji nadire po iračkoj teritoriji (jedan od televizijskih izveštača kaže i da se svi plaše da će NAREDNI rat biti pokušaj konačnog rešenja kurdskog pitanja) je spretno smešten u centar filma i Hassan ovde ne nudi nekakva readymade rešenja i lake pančlajnove. Finale filma sa gracioznim plesom grupe nasmejanih žena kontekstualizuje komentar jednog muškarca koji, slušajući u taksiju najavu plesne predstave prezrivo komentariše da ljudi ginu svaki dan a one bi da plešu.
No, film je zbog toga i uspešan u provociranju gledaoca jer bez mnogo popovanja i ikakvih didaktičkih monologa postavlja to pitanje o važnosti samoodređenja, važnosti dosezanja sopstvene slobode – a kojima, pretpostavka je, svi težimo, iako ih defnišemo drugačije – na planu jedne velike kolektivističke priče. Scenario ne umanjuje ISIS-ovu pretnju i kada na početku zapovednik jedinice objašnjava zašto je pobeda u ratu prioritet on kaže da ako ISIS stigne do Duhoka, niko neće slaviti praznik a žene će biti prodate na pijaci za po sto dolara – ovo nije puko vojničko preterivanje. Opasnost je realna.
A sa druge strane, REALNI život se i dalje odvija, i u kontekstu rata kojeg u tim krajevima ionako nikada nije bilo premalo. I onda odbrana društva nejednakih od neprijatelja deluje kao neiskrena, poluistinita, nedovoljno pravična ideja. Film kroz koreografiju i sugestivnu glumu Silan Düzdaban ali i ostalih glumaca sasvim jasnoi bez reči šalje poruku da se rat mora voditi nanajmanje dva fronta ako će pobeda u njemu da ima dublji istorijski smisao i mada ni slučano ne povlači znak jednakosti između ropstva ISIS-u i života u srazmerno slobodnom društvu u kome se protagonisti trenutno nalaze, on se usuđuje da ih definiše kao kontinuum represije nad ženama. To da u poslednjih par minuta ima nepotreban i ne preterano efektan narativni preokret ne umanjuje ni na koji način ovu ,,glavnu" poruku.
(https://i.imgur.com/U0GrgpF.jpg)
Tehnički, pričamo o vrlo dobrom filmu. Pomenuo sam efikasnu režiju i efektnu montažu ali vredi istaći i kameru turskog direktora fotografije Semiha Yildiza koja je na momente izvanredna, sa pažljivim kadriranjima i često vrlo promišljenim kompozicijama. Finale filma sa predstavom koja na bini i sa svetlima i kostimima treba da deluje pomalo fantastično i nezemaljski je takođe veoma lepo snimljeno.
Moram da uputim i par kritika prevodu na srpski jezik. Uz sva uvažavanja činjenice da prevodioci danas rade u sumanuto lošim uslovima, sa užasno kratkim rokovima i za male pare, moram da primetim da je film – verovatno prevođen sa Engleskog a ne sa Kurdskog – u titlovima dobio uslužan ali vrlo neinspirisan, beživotan prevod a da je najveći prestup to besmisleno prevođenje naslova kao ,,Milosna nevesta". Bûka Baranê, odnosno ,,nevesta kiše" je kurdski termin za dugu a duga kao simbol i narativna poenta figuriše u najmanje dve scene u ovom filmu i uvezana je u rodnu tematiku što se nalazi u njegovoj srži. Samo malo više investiranja u materiju bi dalo, siguran sam, lepše rezultate.
No, u celini, Bûka Baranê je film koji ne gledate da biste se opustili – ovo je na kraju krajeva pripovest u kojoj su svi nesrećni sve vreme – ali je urađen vrlo korektno, spakovan u kompaktnu, funkcionalnu celinu i sa dostojanstvenom obradom komplikovanih, teških tema, a koja svoj zaključak daje u formi lepe plesne tačke. To bi trebalo da je dovoljno da ga svako pogleda.
(https://i.imgur.com/J2e2w4b.jpg)
Ljubaznošću Crippled Avengera, čiji mi je napis o ovom filmu i inicijalno privukao pažnju, pogledao sam iransku produkciju iz 2018. godine, Be Vaghte Sham, naslov preveden na Engleski, prilično nebulozno kao Damascus Under Fire, iako su plakati kojima je reklamiran na zapadu (ili makar u Australiji) nosili nešto precizniji prevod – Damascus Time. Da bude jasno, u filmu ne samo što Damask nije ni pod kakvom paljbom, već se proporcionalno ne više od 5% minutaže dešava u sirijskoj prestonici. No, prevod na stranu, gotovo da ne postoji element ovog filma kojim nisam bio impresioniran.
(https://i.imgur.com/076GH4B.png)
Kada se pomisli na iranski film, na pamet prvo dolaze ili gorkoslatke a tople ljudske priče u madžidijevskom ključu (Deca neba, Boja raja, Pesma vrabaca, Vrba (https://cvecezla.wordpress.com/2021/04/16/film-beed-e-majnoon/)) ili artističkije svedene drame kjarostamijevskog senzibiliteta (Ukus trešanja, Shirin...), ali naravno da ova velika država proizvodi i svu silu filmova drugih žanrova. Ratni film je nešto što, najverovatnije iz političkih razloga, nije često prisutno na zapadnjačkim festivalima niti u katalozima zapadnih distributera, ali režiser i scenarista Ebrahim Hatamikia je tokom devedesetih godina, nakon napuštanja studija dramaturgije, svoju reputaciju izgradio upravo serijom filmova koji će tematizovati dugački rat između Irana i Iraka na osobene načine. Hatamikijini filmovi poput Vasl-e nikan (Union of the God), Az Karkheh ta Rhein (From Karkheh to Rhein) ili Ajans-E Shisheh-I (The Glass Agency) su izmicali sudbini pukih propagandnih uradaka i uglavnom bili centrirani na likove, baveći se posleratnim sudbinama traumiranih veterana ili pokušajima ,,običnog" sveta da tokom rata vodi normalan život.
U izvesnom kontrastu sa tim Be Vaghte Sham bi se mogao posmatrati i kao u dobroj meri propagandni film, već i na ime budžeta koji je sasvim očigledno bio prilično visok za ovu produkciju zdravo oplemenjenu pravovernom ratnom akcijom i specijalnim efektima, ali on istovremeno čuva taj Hatamikijin fokus na likove i potragu za humanim u njima.
(https://i.imgur.com/1MtAAav.png)
Rat u kome se ovaj film dešava je rat u kome Iran zvanično ne učestvuje i ako smo prošle nedelje gledali irački film koji tematizuje rat protiv ISIS-a da priča o ženskim pravima unutar modernog Kurdistana, onda ove nedelje Be Vaghte Sham nudi pogled na sirijski deo ovog konflikta. Glavi junak, Ali (igra ga belmondovski fotogenični Babak Hamidian) i njegov otac Younes (igra ga još fotogeničniji televizijski i pozorišni reditelj Hadi Hejazifar) su iranski vojni piloti pozajmljeni sirijskim oružanim snagama da kao konsultanti, treneri pa i povremeno izvođači misija pomognu borbi protiv Islamske države. Film odmah na početku naglašava da je Iran bio prva zemlja što je pritekla u pomoć Siriji kada je Daeš napao, ali ovde nekakva eksplicitna propaganda staje. Sve ostalo što u filmu vidimo dobija se organski, kroz podtekst i spretnost autora je upravo u tome kako dobro odmerava odnos između ratnog trilera i (melo)dramatične ljudske priče da provuče i nekoliko jasnih političkih poruka kroz narativ filma.
Ali i Younes ne voze bombardere za sirijsko vazduhoplovstvo i njihova ekspertiza je, vidimo na početku prevashodno u tome da su obučeni za upravljanje ruskim letelicama, pa kada je neophodno da se izvrši evakuacija stotinak civila opkoljenih u gradu Palmira, a koji su na aerodromu zabarikadirani oko ruskog teretnog Iljušina čiji je pilot nestao u akciji, otac i sin se svađaju oko toga koji od njih dvojice treba da ode u ovu opasnu misiju. Ali se već spakovao u civilni avion koji treba da ga odveze kući kod trudne supruge i tašte što mu s pravom zamera da nikada nije kući i da mu je rat u drugoj zemlji važniji od porodice, no osećaj dužnosti ga ipak odvlači na jedan poslednji ,,službeni" let. Younes sa svoje strane ne dozvoljava sinu da dalje stavlja glavu u torbu i insistira da se ovaj vrati kući iako je njemu samom licenca za letenje odavno istekla i po pravilima ne bi ni smeo da sedne u kokpit aviona.
(https://i.imgur.com/R32OTHZ.png)
Naravno, sat vremena kasnije obojica su u Palmiri, svađajući se ogorčeno oko toga da je sin neodgovoran i beži od obaveza a da je otac celo sinovljevo detinjstvo proveo odsutan od kuće ratujući u Iraku i Bosni. Ipak, tu su da obave posao i pomognu opkoljenim civilima da se dokopaju bezbednosti u Damasku.
Hatamikia Irance prikazuje kao okorele veterane, obojicu sa priličnim bagažom vezanim za ratove u koje je Iran ovako ili onako bio umešan, ali im daje i crtu odgovornosti, profesionalizma i vojničke discipline koja treba da služi za ugled. Be Vaghte Sham nije klasičan akcioni film pa ni glavni junaci nisu prikazani kao Sylvester Stallone i Richard Crenna i stilizacije su ovde suptilnije.
Nasuprot njima stoje arapski vojnici u Palmiri a koji se nalaze na celom spektru od dostojanstvenih iskusnih oficira koji prepoznaju sebi srodne kolege u dvojici Iranaca pa do mlađe vojske usijanih glava koja maltretira zatvorenike. Kada počne ukrcavanje u avion i postane jasno da će sa civilima leteti i četvorica zarobljenih vojnika ISIS-a, vojska ipak dela u smeru umirivanja pobune koja nastaje među civilima. Ovo je vrlo dobro urađena scena u kojoj normalan svet, mnogi od njih ranjeni a svi prljavi i iznureni, besno protestuje što se prema ISIS-ovim ratnim zarobljenicima postupa iole humano. ,,ISIS ne uzima ratne zarobljenike, zašto mi to radimo?" pita jedan od njih, a oficiri podsećaju da je na njima svima dužnost da budu pre svega ljudi.
(https://i.imgur.com/o4nzoSc.png)
Naravno, Hatamikia ovu scenu sledi bez gubljenja koraka pokazujući da sa svima lete i tri civilna zarobljenika, sva trojica u lancima, a koji su pobunjenici iz redova Muslimanske braće. Kada Yousef pita jednog od njih koliko je dugo u pritvoru ovaj kaže da je to više od dvadeset godina i da nema ni najmanji razlog da ako jednom bude oslobođen ne uzme pušku u ruke i i sam zarati protiv Asadovog režima.
Naravno, legitimno je i reći da ovde imamo situaciju koju Englezi zovu ,,pot calling a kettle black", pogotovo nakon nedavnih (i zapravo još uvek aktuelnih) nemira u Iranu vezanih za smrt mlade žene Mahse Amini u rukama teheranske Moralne policije prošle jeseni, ali dobar deo političkog teksta ovog filma se bavi upravo razlikom između država i njihovih svetonazora u okviru zajedničke islamske kulture kojoj ovi narodi pripadaju, pa je ova vrsta indirektne kritike Asada i njegovih represivnih taktika konzistentna sa ostatkom narativa.
Jer, iako film počinje kao ,,normalna" ratna drama, posle nekih pola sata se on transformiše u ,,avionski" triler sa neočekivanim preokretom vezanim za ISIS i talačku krizu koja eskalira na sve bizarnije načine.
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Hatamikia ovde demonstrira vrlo siguran žanrosvki rukopis. Tih prvih pola sata filma su rađena u vrlo prepoznatljivogm džordžmilerovskom maniru sa prljavom pustinjskom akcijom, izvrsno kadriranim scenama improvizovanih oklopnih vozila i brzo montiranim krešendima pucnjave i eksplozija gde se automobili prevrću, unaokolo lete delovi tela a eksploziv raznosi ljude u paramparčad. Hatamikijina odmerenost u ovim scenama pomaže da film ne sklizne direktno u medmaksovsku eksploataciju i da sačuva osećaj ,,prave" drame.
Kada krene zaplet u avionu, ovde prelazimo na napete trilerske igre između ljudi koji svi drže parčence moći u pregovorima i mogu se povući paralele sa Air Force One i Executive Order, uz jednu bitnu razliku. Naime Hatamikia se izrazito uzdržava od ulaska u stereotip akcionih heroja i protagonist filma, Ali, će do kraja priče postati heroj pre svega na ime svoje humanosti i požrtvovanosti. Ovo je definitivno differentia specifica što Be Vaghte Sham izdvaja iz uobičajene moderne ratne filmske naracije i mada film ne čini manje ,,propagandnim", svakako ga čini propagandnim na jednoj drugoj ravni od one koju očekujete.
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Jedna od apsolutno najbitnijih tema kojima se Hatamikia ovde bavi a koja možda i potkazuje Be Vaghte Sham kao namenjen pre svega zapadnom gledaocu, je taj diverzitet između nacija i naroda umešanih u ovaj konflikt. Svakako, stvari jesu postavljene unutar predefinisanih kalupa – Persijanci su definitivno moralno najsuperiorniji i likovi oca i sina imaju najveću dubinu, sa najjače izraženim emocijama, ljubavlju prema porodici itd. Arapa ima i ovakvih i onakvih, ali u prikaz ISIS-a je uloženo najviše napora da se demonstrira zašto je njihova verzija radikalnog islama pogrešna i štetna PRE SVEGA po druge muslimane.
Film ovde svakako donekle karikira borce Islamske države, prikazujući autohtone sirijske Arape koji su pristupili ISIS-u kao napaljene ekstremiste koji jedan drugom stalno mere kome je veća odanost Kuranu i Alahu i ko je spremniji da se baci na metak, da iskoči iz avioan u pokretu ili na neki drugi ekstreman način prikaže odanost Jednom Bogu. Oni se stalno deru jedni na druge i pričaju u proklamacijama direktno citiranim iz Kurana i mada se ovde može govoriti o blagoj dehumanizaciji neprijatelja, ona zapravo nije radikalna. Autohtoni Sirijci koji pripadaju ISIS-u su ipak u krajnjoj analizi oslikani kao ljudi koji razumeju čast na isti način kao i ostali muslimani i mada su svirepi i radikalni, sa njima može biti postignut dogovor. Svađa između Yousefa i predvodnika ISIS-ovih boraca o teologiji se jasno postavlja na dva suprotstavljena pogleda: jedan koji je utemljen na humanosti što, u krajnjoj liniji može da se poveže sa zoroastrijanskim nasleđem, i drugi utemeljen na nihilističkom preziru za ljudski život a koji je posledica vekovne samopercepcije Arapa kao žrtve ,,krstaša" i eksploatisane populacije što jedino može da se nada osveti, a gotovo nikada pravdi. Film ovo sve pakuje u podtekst, ali je zavisnost bliskoistočnog sukoba od zapadnih uticaja vrlo, VRLO jasno prikazana.
(https://i.imgur.com/U0EWk1K.png)
Jer, u svojoj drugoj polovini film eksplicitno prikazuje da su zapravo najekstremniji, najviše nihilistički nastrojeni članovi ISIS-a sa kojima se protagonisti susreću svi poreklom iz Evrope, konkretno iz Belgije, Čečenije i Ujedinjenog kraljevstva i da je njihova investicija u ovaj rat negde i eksplicitno degenersana. Umesto muslimanske skrušenosti, njihov ,,Džihad" je sav u HD kamerama, vizuelnom spektaklu i lajvstrimovima, nametljiv, eksploatativan, nameran da uplaši, zgrozi i terorom ljude natera na pokoravanje. Ovo na kraju krajeva i jeste bio i eksplicitni modus operandi Abu Bakr al-Baghdadija i njegove vrhuške koja je sa projektom Islamske države i kreiranja modernog kalifata zasnovanog na javnim prikazima svireposti, seksualnog nasilja i ropstva namerila da osvojene teritorije drži u potpunoj pokornosti.
Hatamikijin film ovo prelama upravo kroz prizmu zapadnjačkih članova ISIS-a koje loži ova vrsta nihilističke energije. Čečen je tu jer uživa u nasilju. Belgijanac jer mu je važan spektakl i scena u kojoj on kao pozorišni reditelj postavlja i vraća svoje borce postrojene da svi u istom trenutku na komandu preseku grkljane zarobljenicima je sa jedne strane zastrašujuća jer vrlo verno prenosi duh stvarnih ISIS egzakucija koje su preplavile internet u prošloj deceniji, ali sa druge strane i mračno satirična.
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Konačno, tu je Engleskinja, žena nekada u postpank bendu što je u kameru, sa gitarom u rukama vrištala o kolapsu a sada nosi veo preko lica i drži u ruci daljinski upravljač za prsluk sa eksplozivom navučen na glavnog junaka kako bi se obezbedila njegova potpuna poslušnost. Njena vizija islama se iscrpljuje upravo u anihilaciji sopstva, u samoubilačkom gestu koji, slutimo, treba nešto da znači na ime drugih života koje će ona sa sobom povući u ništavilo, jer sa sopstvenim životom ona ne zna šta da radi.
Naravno, fer je reći da bliskoistočne nacije moraju da pronađu u sebi iskrenosti i snage da identifikuju i isprave i svoje nedostatke i da optuživanje ,,krstaša" za sva zla koja im se i danas dešavaju, mada donekle legitimno ne može biti univerzalno opravdanje. Utoliko je Hatamikijin film bitan kao napor da se uđe u dijalog između nacija i pronađu elementi zajedništva ali i jasnih podela koje moraju biti prepoznate.
Ponovo, ovo je sve deo podteksta i scenario dosta spretno uspeva da dijaloge između likova koji znaju da odlutaju na teritoriju teologije, prikaže organski i kao legitiman deo drame koja se odvija pred našim očima. Ovde svakako ima upitnih dramaturških rešenja – velikim delom vezano za samu logistiku korišćenja velikog aviona, njegovu situaciju sa gorivom ali i prostu činjenicu da on najveći deo filma leti sa otvorenim zadnjim vratima – ali likovi i njihovo ponašanje u sukcesivno sve dramatičnijim situacijama nisu među njima.
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Ono što je najvažnije i gde film radi skoro besprekorno je da do kraja priče glavni junak biva lišen gotovo svega što ga je činilo ličnošću, ali da njegovo ljudsko dostojanstvo ne biva dovedeno u pitanje pa je i njegov poslednji herojski čin, u najboljoj bombaškoj tradiciji, prikaz duboko ljudskog požrtvovanja. Snažan kontrast koji ovo čini u odnosu na prikaz ISIS-ovih boraca koji život preziru i zato ga tako lako žrtvuju sasvim dobro radi kao pančlajn filma uprkos nesumnjivo melodramatično intoniranom finalu.
No, kvalitet režije, montaže i specijalnih efekata je na takvom nivou da ni ta melodrama filmu zapravo ne škodi. Hatamikia ne stavlja u film akciju zato što je ona obavezan sastojak žanra već taman onoliko koliko je potrebno da se dobiju akcenti u priči koja je usredsređena na ljude i ovo, kao i kod mnogih dobrih ratnih filmova iz prošlosti, uključujući Dragojevićeva Lepa sela, u krajnjem produktu daje finu sinergiju žanrovskih elemenata a koji svi podupiru taj centralni, humani narativ. Vrlo, vrlo impresivna produkcija i film koji se lako i sa velikom investicijom gleda bez obzira na nacionalnu, religijsku ili ideološku pripadnost.
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Za Evil Dead Rise nikako ne može da se kaže da tvrdi pazar. Nećete stići ni da se okrenete da kažete gledaocu do sebe da je uvodna scena sa subjektivnim kadriranjem očigledni omaž Raimijevim pionirskim tehnikama snimanja iz prva dva Evil Dead filma, a jedna mlada devojka će već biti bez skalpa, krvava, uplakana i spremna da se pridruži legijama mladih žena u paklu žrtvovanih za užitak ljubitelja horor filmova tokom poslednjih pola veka.
(https://i.imgur.com/PlhmxHB.jpg)
Oko srca mi je malo toplo što četrdeset godina nizvodno Evil Dead i dalje hrani hlebom Sama Raimija i Brucea Campbella koji su na ovogodišnjem filmu potpisani kao izvršni producenti. Jasno je da oni tu nisu imali bogznakakav kreativni input i ovaj je film vrlo eksplicitno fanovski omaž, pa i pastiš njihovog revolucionarnog doprinosa hororu sa početka osamdesetih, kakav ni jedan od njih dvojice ne bi danas snimao, ali opet, ovo je posle svega priča sa srećnim krajem u kojoj je projekat iz ljubavi i eksperimentisanja grupice ortaka postao ne samo kamen-međaš savremene popularne kulture već i potentni savremeni brend što ljudima koji su sve to izmislili danas obezbeđuje mirnu starost. Svakako, Raimi je u ovom veku pokazao da ima potencijal da bude i blokbaster režiser u srcu korporativne tame ali čovek ne može da se ne nasmeši na pomisao da je Evil Dead Rise konačno jedan komercijalno uspešan produkt Evil Dead franšize i da se sumanuti, šloki horor iz šume koji su Raimi i drugari napravili trudeći se da naskoče na popularnost Halloweena i Friday the 13th danas piše sa toliko ništica da je za, evo, nešto jače od tri meseca bioskopske distribucije prihod uspeo da skoro desetostruo premaši budžet filma pa je i relativno rano puštanje filma na HBO manje znak nekakve Warnerove nelagode što se zahvata u stari, blatnjav bunar a više jedan zasluženi počasni krug.
Prošle godine sam, pišući o originalnoj Evil Dead trilogiji (https://cvecezla.wordpress.com/2022/10/14/film-evil-dead-trilogija/), rekao između ostalog i da mi je rimejk prvog filma iz 2013. godine bio tehnički korektan ali suštinski besmislen poduhvat uzimanja nečega što je VEĆ bilo rimejk samog sebe (ako smem da tako pojednostavim odnos Evil Dead i Evil Dead 2) i postalo legenadrno najpre na ime svoje partizanske snalažljivosti i inovativnosti nastale iz (finansijske) nužde i ubacivanja TOGA u modernu, upeglanu formu.
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Sasvim slično tome, Evil Dead Rise je častan, visceralan moderni horor film, koji gledaoca ne obavezuje nekakvim predugim trajanjem niti preteruje sa ambicijom da tu nešto sad polemiše sa originalima pa nudi strejterski, krvoločan, sadistički horor koji smo svi već videli, obilazeći opšta mesta bez stida ali brzo i efektno, i nada se da će to biti dovoljno. Nekome možda i hoće.
Irac Lee Cronin je pre ovog filma imao samo jednu dugometražnu produkciju ali je u Evropi snimljeni The Hole in the Ground bio dovoljno ubedljiv da ga New Line Cinema i Warner regrutuju da napiše i režira ovaj film. Dosta dobro primljena televizijska serija iz prošle decenije je uostalom pokazala da ovaj properti još ima potencijala i samo je ostalo da se vidi da li film bez tako intenzivnog glavnog junaka kakav je Ash u tumačenju Brucea Campbella ima ikakvog smisla u današnoj konstelaciji horora.
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Jer, evo, da budem neposredan pa možda malo i grub – rimejk Evil Dead je što se mene tiče bio film bez glavnog junaka jer se doslovno ne sećam glavnog lika iz tog filma. Evil Dead Rise ide korak dalje i gotovo da programski nema glavnog junaka. Lilly Sullivan, naravno, svaka čast i za prezentnost i za trud oko glume, ali njena Beth jedva da ima karakter i scenario se, uprkos svom upinjanju da je prikaže kao nestandardnu devojku-iz-horor filma sa njenom, jelte, profesijom roudija za rokenrol bendove što idu po svetskim turnejama i njenom, jelte, strašnom ali divnom tajnom (koju gledaoci znaju od druge scene), zapravo na kraju ni ne bavi njom pa Beth nije čak ni scream queen već samo, eto, alatka da se narativ dovede do kraja.
Evil Dead Rise svakako pokušava da neke stvari uradi drugačije. Ovde su žene skoro svi glavni likovi – i ,,negativni" i ,,pozitivni" – a nakon omaža originalima u uvodnoj sceni koja se dešava u šumi i, rekosmo, znalački podražava neke Raimijeve tehnike snimanja (pa onda i praktično eksplicitno gledaocu pokazuje da zna šta je ovaj pomislio kada se ispostavi da smo gledali samo kameru zakačenu na drona), radnja se prebacuje u urbani mizanscen.
(https://i.imgur.com/8FcfhJq.jpg)
Ovo je, naravno, sve sasvim u redu i vrlo poštujem što film programski beži od tropa koje su originali uspostavili. Ako je originalnmi Evil Dead ,,kažnjavao" svoje protagoniste za bekstvo iz sigurnosti zajednice i pomisao da tamo negde u provincijskoj vukojebini mogu i smeju da budu sami i slobodni, pa i da se, jelte, upuste u erotske igrarije, Evil Dead Rise prikazuje urbanu dramu kroz koju prolazi kul keva sa troje dece, zgradom predviđenom za rušenje, spajanjem kraja s krajem na mišiće i magiju (jer keva je tatu majstorica, a klinci su klinci), odbleglim mužem i sestrom koja se pojavljuje kad je niko ne očekuje i proglašava da je napravila sranje i da joj treba samo malo podrške.
(https://i.imgur.com/6pjxMXw.jpg)
Ovo legitimno bežanje od klasičnih arhetipskih postavki i ispitivanje modernih, jelte, tipskih ideja koje će možda postati arhetipi ako se autori budu dovoljno trudili, pa i jasan nastavak Croninovih opsesija roditeljskim strahovima iz prvog filma. No, Evil Dead filmovi nikada nisu imali uredno posložene motive, motivacije i simbolike, pa tako kad ovde krene rokanje, a krene prilično brzo, ni Evil Dead Rise više ne obigrava oko simbolike vezane za porodicu i krhke odnose između generacija i prosto šutira direktno u jaja, ne štedeći ni klince ni kevu. Ovde nema suptilno ispletenog narativnog opravdanja zašto se jednoj nesrećnoj ali hrabroj porodici dešavaju ovakve stvari, Cronin samo pobaca nekoliko horor klišea u dijaloge – zgrada u kojoj žive izgrađena je na temelju nekadašnje banke, slučajni zemljotres otkrije zvučne zapise stare čitavo stoleće koji trigeruju kaskadu demonskog užasa – i pređe na nasilje, sadizam i klanje.
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Sa jedne strane, svakako mogu da pozdravim tu vrstu vernosti originalnim filmovima koji su i sami bili tek pregršt nabacanih refernci na poluupamćenu lavkraftovštinu kao najtanji moguć izgovor za sumanutu glumu Brucea Campbella i praktične specijalne efekte. Sa druge, Evil Dead Rise je u svojoj prvoj polovini na momente prilično dosadan. Ne nešto uvredljivo dosadan, likovi su svi makar interesantni – klinac koji se loži da bude didžej pa otud i opravdanje što ima opremu na kojoj može da se pusti vinilna ploča iz 1923. godine, klinkica od 7-8 godina koja lutkama odseca glave jer se plaši da su duhovi stvarni, srednja sestra sa jednom simpatičnom androginom pubertetskom personom, pa onda i majka i tetka koje su obe na svoj način kontrakulturno usmerene – svi ti likovi imaju dovoljno, jelte, karaktera da budu zanimljivi, ali film ni malo ne interesuje da se tim karakterima zaista bavi. Ovi ljudi, prevashodno žene, su, zajedno sa još par komšija koji i sami imaju zametke karaktera, topovsko meso i film ne radi naročito zanimljivo kada pokušava da nas ubedi kako su njihove dijaloške razmene (,,A šta je mami? Hoće li biti dobro?") stvarne i kako treba da se za njih zainteresujemo.
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Ovde sam se malo i nervirao jer Cronin do pola filma ide samo najutabanijim stazama, uzimajući od Raimija koliko mu je potrebno i zahvatajući iz bogate škrinje kinematskih horor-klišea, pogađajući atmosferu, svetlo i kolorit ali ostajući na nivou jedne korektne stilske vežbe. Evil Dead Rise naprosto nema taj off-the-wall, nepredvidivi energetski naboj originalnih filmova, razmišljanje izvan formata žanra, probijanje novih puteva onda kada su postojeći nedostupni ili preskupi i nudi jednu uigranu ali mnogo puta viđenu cirkusku tačku u kojoj su mi izgled i gluma ansambla bili možda najsvetliji element.
(https://i.imgur.com/ZNn5XbU.jpg)
Srećom, od polovine pa nadalje ovo uglavnom prestaje da bude važno jer Cronin pravi seriju set pisova gde su u prvom planu pokolj, krvopljus, viscera. Evil Dead i jeste bio neka vrsta pionirskog prodora, pogotovo sa Evil Dead 2 u kome je prelaz sa horora na akcijaš bio praktično revolucionaran i mada Cronin ne prilazi nikakvoj revoluciji ni u jednom momentu, druga polovina filma će zadovoljiti gore houndove u svima nama. Prosto, gustina scena koje su sadističke, energične, mučne ili zaprepašćujuće visceralne (povraćanje crva, dekapitacija, makaze u facu, spaljivanje, kupanje u krvi, oh , korišćenje kuhinjskog rendeta kao oružja!) je ovde tolika da gledalac prestane da razmišlja o motivima, karakterima ili prostornoj logici između scena i prepusti se splatter stihiji koja šiklja sa ekrana. Kada glavna junakinja (or is she?) neizbežno počne da koristi kombo motorne testere i puške sa krupnom sačmom da razreši situaciju, već ste u sasvim navijačkom raspoloženju i svesni da gledate film koji zapravo ne ume da kaže ništa novo ali makar ume da se najebe keve demonima i omalteriše krvlju skoro celu garažu u prizemlju zgrade. Nekom je, rekosmo, i to dovoljno a kako je Cronin više nego raspoložen da radi dalje filmove a još se i šuška o Campbellovom povratku u serijal, biće zanimljivo pratiti dalje kuda bi Evil Dead, sada već u svojoj petoj deceniji filmskog života, mogao da zabasa.
(https://i.imgur.com/s9TM7cB.jpg)
Pogledao sam Ninja Gari odnosno The Ninja Hunt, kako je film preveden u distribuciji za američko tržište, akcioni jidaigeki film snimljen 1964. godine kao jedan od prvih ozbiljnijih samurajskih filmova koje je napravio studio Toei Company. Poznatiji po svojim kasnijim tokutatsu akcijašima i legendarim anime serijalima poput Kamen Rider (https://cvecezla.wordpress.com/2022/01/24/procitani-stripovi-kamen-rider-the-classic-manga-collection/) i Super Sentai (https://cvecezla.wordpress.com/2021/05/11/procitani-stripovi-super-sentai-himitsu-sentai-gorenger/), Toei su ipak uradili i nekoliko ozbiljnijih ,,period drama" naslova kojima je Ninja Gari na neki način bio rodonačelnik i postavio jedan vrlo ugledan nivo produkcije i tona, zadajući time drugima domaći zadatak.
(https://i.imgur.com/Dn94YDc.png)
Naravno, do 1964. godine japanski novi talas je uveliko harao ostrvskom kinematografijom sa revizionističkim pristupom klasičnim žanrovima koji su prevodili Shōhei Imamura (https://cvecezla.wordpress.com/tag/shohei-imamura/), Nagisa Ōshima, Yasuzo Masumura (https://cvecezla.wordpress.com/tag/yasuzo-masumura/), Toshio Matsumoto (https://cvecezla.wordpress.com/tag/toshio-matsumoto/), Masaki Kobayashi (https://cvecezla.wordpress.com/tag/masaki-kobayashi/), Kon Ichikawa, Kaneto Shindo (https://cvecezla.wordpress.com/tag/kaneto-shindo/)pa i nekrunisani kralj Nikkatsuovih B filmova Seijun Suzuki (https://cvecezla.wordpress.com/tag/seijun-suzuki/)... Utoliko, Ninja Gari, iako suštinski samo jedan častan pokušaj da se kreira ,,običan" chanbara film u kome će se gledati atraktivno mačevanje, a nindže, obučene u crno će da iz usta izduvavaju šiljke pravo u oči neprijateljima, ni sam nije umakao jednom modernijem čitanju tradicionalnih predložaka. Iako u suštini jednostavna priča o grupi ronina koja se nalazi pod opsadom povelikog odreda nindža, Ninja Gari je notabilan film po svojoj natmurenoj atmosferi i antiherojskim karakterizacijama protagonista. Ako je Kurosawin Sedam Samuraja deceniju pre toga načeo imidž samuraja i, još uvek ih prikazujući kao karijatide vrline, sugerisao da se svet pomerio napred i da su oni neka vrsta relikta prošlosti, Ninja Gari je tamna, gritty varijacija na sličan motiv, sa grupom samuraja čiji se metodi za rešavanje problema pokazuju povremeno kao i gori od samog problema.
Ninja Gari nema ambiciju temeljite dekonstrukcije tradicionalnog prikaza samuraja i, uopšte, jidaigeki tropa, onako kako je to na primer Kobayashi uradio u svom remek-delu Harakiri (https://cvecezla.wordpress.com/2020/08/04/film-harakiri-aka-sepukku/), i ovo je svedenija, na akciju više okrenuta pripovest a koja najpre podseća na revizionističke vesterne šezdesetih godina. Ako je Kurosawin film o sedam samuraja odmah inspirisao američki odgovor u Sedam veličanstvenih, Ninja Gari na neki način stiže nošen talasom američkih radova poput 3:10 to Yuma ili One-Eyed Jacks a rame uz rame sa prvim naletom italijanskih vesterna iz šezdesetih poput Leoneovih For a Fistful of Dollars ili For a Few Dollars More. Naravno, Ninja Gari nema distinkciju velikih imena vezanih za ovu produkciju i zapravo je u pitanju režijski debi čoveka po imenu Tetsuya Yamauchi ili, ako više volite Tetsuya Yamanouchi.
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Yamauchi, rodom iz Hirošime, berba 1934. godine, i pre ovog filma radio je kao pomoćnih režisera na samo dve Toeijeve produkcije. Ali obe su bile kostimirani filmovi sa istorijskom tematikom (Mijamoto Musaši, Džingis Kan...) pa je Yamauchijev debi bio veoma sigurno urađen i demonstrirao kapacitet samog studija ali i mladog autora da napravi uverljivu samurajsku dramu. Scenarista je ovde bio Yamauchijev vršnjak, Kôji Takada koji je tokom plodne karijere što se produžila do duboko u dvadesetprvi vek napisao više od stotinu filmova, od samurajskih akcijaša do jakuza krimića. Takada je između ostalog bio i jedan od scenarista Toeijevog eksploatacijskog hita The Street Fighter iz sedamdesetih (https://cvecezla.wordpress.com/2022/02/11/film-the-street-fighter-aka-gekitotsu-satsujin-ken/) a samo 1964. godine je pored Ninja Gari imao još tri filmovana scenarija.
To da su ovakvi filmovi štancovani kao na pokretnoj traci nije neka preterana novost za ljubitelje japanske žanrovske produkcije, no, Ninja Gari je fin primer filma koji, uprkos tome što mu nije ambicija da pomera temelje žanra i preispituje sve njegove fundamentalne vrednosti, ne samo da impresionira na tehničkom planu već i zaista ima tu struju revizionističkog i krši neka tradicionalna pravila da bi pomerio gledaoca iz njegove zone komfora.
(https://i.imgur.com/uBqFEee.png)
Na glumačkom planu ovde je svakako najveće ime Jûshirô Konoe, veteran u tom trenutku na pragu svoje pedesete godine, sa desetinama uloga samuraja koje je već odigrao u skoro pune tri decenije karijere. Konoe u glavnoj ulozi čini mnogo na tome da se oseti ta revizionistička energija, sa čovekom čije je lice vezivano za tradicionalne samurajske skaske koji u ovoj priči demonstrira neku vrstu patološke opsesije pa, iako je na strani ,,dobrih momaka", čini gotovo nezamislive stvari u finalu.
Tetsuya Yamauchi nije izrastao u titana japanskog filma i zapravo je do svoje penzije polovinom devedesetih (umro je 2010. godine) potpisao samo deset filmova i jednu televizijsku mini-seriju. Poslednji, deseti film, urađen 1982. godine je bio upravo rimejk Ninja Gari, ovog puta u koloru, i o njemu ćemo pričati neki naredni put. Ovde je dovoljno reći da je Yamauchi radio kako mu studio kaže, pa je snimao i kaiđu filmove (The Magic Serpent iz 1966. godine) i detektivske filmove (Zenigata Heiji snimljen iste godine), ali se vraćao i nindžama sa Tobidasu Boken Eiga: Akakage iz 1969.
Nindže su, naravno, bile deo japanskog foklora i popularne kulture i pre šezdesetih ali su u šezdesetima doživele pravi bum kada su studiji (Toei, Toho, Daiei...) krenuli da ih forsiraju, dodajući klasičnim samurajskim pričama element misterije i tajnovitosti oličen u pritvornim antagonistima, ili, pak, prikazujući same nindže kao kompleksne, nestandardne protagoniste. Ninja Gari nije MNOGO komplikovan narativ mada je to prilično relativan iskaz s obzirom da zapadnjački gledalac može malo i da se iznenadi kada vidi da ovde isti autoritet sebe s jedne strane predstavlja kao vrlo formalizovan, i iznad svake sumnje u vođenju države i društva, a sa druge unajmljuje nindže da vrlo beskrupuloznim metodama dovedu do rušenja starog, tradicionalnog samurajskog klana.
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Priča se dešava pri kraju Edo perioda japanske istorije, u drugoj polovini devetnaestog veka i prati klan Matsuyama čiji ostareli predvodnik oseća da mu se bliži kraj. Kako je naslednik klana detence od 6-7 godina, patrijarh traži od šoguna da pismom garantuje da će prepoznati kontinuitet suvereniteta njegove organizacije, a što deluje neophodno imajući u vidu da je šogunat Tokugawa poslednjih godina apsorbovao nekoliko susednih klanova oslabljenih kako međusobnim čarkama, tako i, pokazuje se kasnije, delovanjem nindži. Iz Edoa stiže, kako bi to naš predsednik rekao, pismeno, kojim Šogun potvrđuje starini da priznaje suverenost klana, ali, eto, to je ta formalna kvaka da za nekoliko nedelja klanu treba da stigne i zvanični predstavnik Šoguna kome će onda biti prezentirano pismo a on će svojom rečju overiti ceo dogovor.
Deluje nepotrebno prekomplikovano, birokratizovano i formalistički, ali postaje jasno da je sve to zapravo samo deo plana šogunata da do dolaska predstavnika izazove nesreću u sedištu klana Matsuyama u kojoj će pismo biti uništeno, kako bi šogunat imao izgovor da klan naprosto asimilira.
(https://i.imgur.com/Xfy2GMW.png)
Savetnik umirućeg predvodnika klana je svestan cele ove kompleksne zavere pa on unajmljuje četiri ronina, lutajuća samuraja koji su ostali bez posla nakon što su njihovi klanovi uništeni i usisani od strane šogunata, i oslanja se na njih kao na specijalnu jedinicu koja će obezbediti da pismo do dolaska predstavnika iz prestonice ostane neoštećeno.
Četiri samuraja koji dobijaju ovaj zadatak igraju četiri upečatljiva glumca, na čelu sa Konoeom i njihova karakterizacija, iako svedena, primetno odskaće od samuraja zaposlenih u klanu. Sva četvorica su okoreli usamljeni vukovi svesni da se u ovom periodu istorije igra isključivo na prljave fore i mada im lokalni samuraji ne veruju i zahtevaju od šefa da otpusti ronine, njihova efikasnost je već u tome što niko od njih nije pod sumnjom da je na platnom spisku šefa nindži, jedne polulegendarne figure po imenu Yami No Kurando. Štaviše, glavni junak, Gorôzaemon Wadakura, a koga igra Konoe i koji se prirodno nametnuo kao šef četvorice ronina insistira da se provere svi zaposleni iz poslednje dve godine jer je gotovo sigurno da je među njima infiltriran neko koga plaća Kurando.
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Ninja Gari je, u suštini film o opsadi male tvrđave koju brane samuraji što jedni drugima više ne smeju da veruju a napadaju je nindže akrobatskih sposobnosti, obučene u crno, i ovo je izvor nekoliko atraktivnih scena mačevanja i borbe. No, suština tenzije koju film forsira, naravno, nije u tim scenama gde se maše katanama i unaokolo bacaju šurikeni, već baš u tom prepoznavanju da nindže ne igraju po pravilima, da će se rado maskirati i u regularne putnike-namernike, da će imati svoje ljude, pa čak i žene, odavno instalirane u tvrđavi, često i na pozicijama od poverenja. Wadakura očajava jer lokalni samuraji ne shvataju koliko se prljavo mora igrati da bi se izašlo na kraj sa ovakvim neprijateljem – delimično i zato što ovi ratnici, navikli na čast, čojstvo i junaštvo naprosto ne mogu da pojme da će šogun ići ovoliko ispod pojasa u svojim zakulisnim igrama.
Tako je jedan od centralnih momenata u filmu zamka koju Gorôzaemon Wadakura pravi za nekoliko najsvežije zaposlenih samuraja, kako bi isterao na čistac onog među njima koji je Kurandova krtica. No, iako je posle krvave scene borbe u papirnim hodnicima tvrđave jasno da je NEKO pokušao da izvrši sabotažu iznutra, i dalje se ne zna tačno ko, pa Wadakura prvo pribegava mučenju a zatim i nasumičnom ubijanju ljudi koji su formalno pod njegovom komandom. Ovo je scena puna napetosti i osećaja da su sva pravila prekršena. Kada jedan od samuraja sa osudom, pun besa, Wadakuri prebaci da je pobio nedužne ljude ovaj se jako iznervira i počne da objašnjava da su nindže beskrupulozne i da je jedini način da se u borbi sa njima pobedi taj da se bude ,,okrutan".
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U kasnijem toku filma vidimo i brutalnost u kojoj učestvuju žene a finale je jedan izvrsno napravljen set pis što se događa tokom sahrane preminulog patrijarha i gde se vodi poslednja grčevita borba u samoj kripti, sa nindžom koji se krije u senkama i Wadakurom koji će mačem proburaziti najbližeg saradnika i kolegu kako bi jednom za svagda stavio van stroja beskrupuloznog, sadističkog nindžu. Ova scena, pogotovo nakon što je kolega-samuraj demonstrirao veliku požrtvovanost, nosi tu transgresivnu, antiherojsku dimenziju koja ovom filmu tako dobro pristaje.
Naravno ona dolazi na kraju filma koji već, što se tiče kamere, osvetljenja, kadriranja i scenografije, ekstremno impresionira. Rađen sa širokougaonim sočivom, ovo je bio i prvi film na kome je Shigeru Akatsuka potpisan kao direktor fotografije i vidi se tu jedan napor da se, što kadriranjima, što dinamičnim zumovima, što upečatljivim korišćenjem senki i kontrasta, ostavi utisak maštovitosti i snažno sugerišu atmosfere. No, Ninja Gari nije film koji insistira na trikovima i razmetljivim tehnikama snimanja, ovde je sve odmereno i korišćeno sa ukusom. Tako na svaku scenu atraktivne nindža-akrobatike, gde kaskaderi sa mačijom lakoćom kao da lete uz zidove i veru se po krovovima, dolaze vrlo pozorišno kadrirane sekvence u kojima ima vrlo malo (ili nimalo) rezova, nema promena rakursa, nema ni značajnijeg pomeranja kamere i glumci odrađuju ceo posao u jednom dahu – ovo je pogotovo uspelo u sceni u kojoj jedan od samuraja shvata da žena koja se tu mota ceo film zapravo radi za neprijatelja, ali ne uspeva da se otme njenim ženskim čarima i, pa... stvari se ne završavaju dobro ni za jedno od njih dvoje.
(https://i.imgur.com/6qdGzEl.png)
No, verovatno je najupečatljiviji element produkcije saudntrak. Toshiaki Tsushima je za Toei radio decenijama, praveći muziku i za jakuza filmove, i za seksi komedije i za gomilu anime i tokutatsu serija i filmova na televiziji. Napisao je skor i za The Sreet Fighter a i Tarantino je jedan njegov komad umuvao u prvi Kill Bill da ispoštuje veličinu. Tsushima je u ovom filmu na idealnoj zlatnoj sredini između japanske tradicije i modernističke akademske kompozicije. Atonalne teme i reske, distorzirane udaraljke ovde prevazilaze puko prevlačenje kabuki stila u filmski medij, a Tsushimine kompozicije su dramatične i pažljivo prilagođene samim scenama. Kada u jednoj od scena ženski lik trpi mučenje iglama koje joj zabadaju pod nokte, do tada već poznata kombinacija duvača, analogne elektronike i perkusija dobija sitne, pointilističke note trijangla koja gledaocu sugerišu šta se događa i kada ne vidi.
(https://i.imgur.com/baE0XsU.png)
Uopšte, dizajn zvuka je na jako visokom nivou u ovom filmu, stojeći rame uz rame uz izvrsnu fotografiju i osvetljenje, te efikasnu montažu. Yamauchi, rekosmo, nikada nije izrastao u ime koje se sa strahopoštovanjem pominje u istom dahu sa Kobayashijem ili Imamurom, ali ovo nikako nije bilo na ime pomanjkanja veštine, znanja ili stila. Naprosto, Toei je imao svoje planove, on se njima prilagodio i ostao firmin čovek do kraja. Utoliko, Ninja Gari je neka vrsta ne sasvim izgubljenog (film je dobio digitalno remasterovano Criterion Collection izdanje u SAD) ali svakako pomalo zaboravljenog dragulja jidaigeki žanra, jedan u sebe siguran, efikasan gritty akcijaš koji svoje teme efektno plasira kroz podtekst dok u tekstu nudi brutalan, pravolinijski prikaz čoveka koji u potrazi za iskupljenjem žrtvuje sve oko sebe i na kraju trijumfuje, pomažući da dobro pobedi iako je učinio UŽASNO mnogo lošeg da bi se to desilo. Nimalo rđava pripovest i jako solidno izvedeno pripovedanje. A o rimejku ćemo prvom prilikom!
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Teško je reći da sam bio nostalgičan za filmom Top Gun. A opet, Top Gun: Maverick je u meni izazvao dosta prijatnih senzacija što, s obzirom na njegovu tematiku i likove mora biti da je bilo najpre na ime nostalgije za jednim filmom, jednim režiserom, možda najviše jednim vremenom koje je prošlo ali se vredno rekonstruiše iznova i iznova kroz artefakte popularne kulture našeg doba što su osamdesete godine prošlog veka izdigle na nivo legendarne, magične epohe. Moj imunitet na osamdsete je obično na solidnom nivou jer sam bio, jelte, uglavnom u subkliničkoj depresiji tokom većeg dela decenije, ali ima nečeg fascinantnog u tome sa kakvom naučnom preciznošću ovaj film izvodi nekromantski ritual na lešu Tonyja Scotta.
(https://i.imgur.com/uofRlHM.png)
Istina je, naravno i da sam ja u vreme kada je Top Gun ušao u bioskope bio klinac od petnaest godina, već dovoljno blaziran da se unapred ogradim od filma koji je delovao kao war porn za skorojeviće iz suburbije – a za razliku od muževnih, hipernasilnih fantazija za radnike, seljake i poštenu inteligenciju u kojima su igrali Chuck Norris, Clint Eastwood, Charles Bronson, Sylvester Stallone i Arnold Schwarzenegger – ali i dovoljno ozbiljno užieljen u svoju ulogu filmofila da bih otišao da ga pogledam motivisan idejom da je to naprosto stvar opšte kulture.
I nisam naravno, pogrešio. Top Gun Tonyja Scotta nije ni danas moj omiljeni film Tonyja Scotta, ali jeste jedan od filmova koji gotovo savršeno prikazuju zanatsku izvrsnost Tonyja Scotta. Iako nikada nije napravio artistički prodor u srcu holivudske tame, kao što je njegov brat postigao ne jednom već najmanje dvaput, sa Alienom i Blade Runnerom, mlađi Scott se formatirao kao režiser bombastičnih akcionih filmova i (akcionih) trilera u kojima će glavne uloge igrati ljudi izmešteni iz pozicije klasičnog ('80s) action stara. Will Smith i Denzel Washington u kasnijim danima, a pre toga Christian Slater, ali presudno Tom Cruise (pa i Eddie Murphy) stavili su Scotta na mapu sa pomeranjem akcionog filma iz ultra-gritty nihilizma koji je dominirao dobrim delom poznih sedamdesetih i osamdesetih godina i dali mu preliv romantike, high-tech pozitivizma i nije preterano reći da je činjenica da je Mission: Impossible presudno uticao na karijeru Toma Cruisea najvećim delom oslonjena na ono što je ovaj napravio sa Scottom u Top Gun pa onda i u Days of Thunder.
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S obzirom na to koliko je originalni Top Gun izdržljiv kao deo popularne kulture, koji ne napušta diskurs ni danas, više od tri i po decenije nakon premijere, malo je i neobično da nastavak nije bio napravljen do prošle godine. U osamdesetima ovaj film je bio monstr-hit, smeštajući se na presek više demografija i kulturalnih podgrupa, dajući ljubiteljima akcionog filma motore, kožne jakne i atraktivni dogfajting a ljubiteljima, pa, lepih ljudi i romanse, glavnog junaka koji je, pa, lep, i koji se ne stidi da bude zaljubljen. Jedna scena odbojke na pesku, mnogo nauljenih muških torzoa i homoerotske tenzije stavljene na mnogo vidniju poziciju nego što je bio standard za '80 akcijaše, postavili su ovaj film u poziciju game changera koji je presudno izmenio tok istorije. Nije preterano reći da lepi ljudi poput Keanua Reevesa ili Willa Smitha nikada ne bi postali akcioni starovi da nije bilo Top Guna i Toma Cruisea.
Cruise je, naravno, potvrda da ni decenijsko petljanje sa sajentologijom nije dovoljno da uništi čoveka koji sam radi svoje stantove i blagosloven je genima što ga drže u sada već neugodno mladalačkoj formi, pa je on danas jedna od retkih zvezda Holivuda osamdesetih koja ne samo da čvrsto drži uzde svoje karijere u svojim rukama već kreira i producira filmove i vozi jednu od najvećh franšiza u poslednje tri decenije upravo tamo kuda sam poželi.
Otud je njegova višegodišnja borba da napravo nastavak Top Gun imala samo jedan ali vrlo razumljiv problem. Naime, pitanje ,,zašto"?
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Originalni Top Gun je bio jedna od kasnijih refleksija na vijetnamsku traumu, ali za razliku od Stalloneovog Ramba i Norrisovog Missing in Action, umotana u high-tech oblandu i sa optimističkim svetonazorom. Tamo gde su Stallone i Norris bili old school otpadnici, razočarani u sistem i liberalnu Ameriku koja je izdala veterane, očajnički odbijajući da prihvate da se rat završio, fantazirajući o još jednom trku kroz džunglu, ali ovog puta u plemenitoj misiji oslobađanja zarobljenika napuštenih od strane američke javnosti omamljene zaslađenom pop muzikom, neonskim diskotekama i kokainom, Cruise je bio ,,maverick", dakle, neko ko, u teoriji, igra po svojim pravilima, ali na kraju dana dobri momak čvrsto unutar sistema koji sprečava Treći svetski rat i pokazuje da može da inspiriše i druge nepoćudne pilote lovaca da budu timski igrači. Top Gun je bio film o tome da se snovi mogu živeti i da ih ne morate napustiti čak i kada vam se ostatak sveta smeje, ali da ćete na kraju najlepše sanjati kada sanjate, jelte, zajedno. Umesto desničarskog lone wolf individualizma Chucka Norrisa i Sylvestera Stallonea (pa onda i Clinta Eastwooda i Charlesa Bronsona u njegovim neprebrojnim saradnjama sa J. Lee Thompsonom) Cruise je pokazao da individualnost ne mora da bude prepreka kolektivizmu, nudeći jedan prijateljskiji, svetlijim bojama obojeni fantazam Amerike koja je tehnološki slabija od svojih neprijatelja ali uspeva da prevagne na ime srca u junaka koje kuca najjače kada je sinhronizovano sa srcima drugih, jelte, junaka.
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Top Gun: Maverick radi isto ovo, ali u sasvim drugim okolnostima. Ako je Top Gun bio jedan od poslednjih pravih hladnoratovskih filmova, Top Gun: Maverick je jedan od prvih filmova novog hladnog rata, postpandemijski proksi-ratni spektakl u kome neprijatelj nikada nije imenovan (totalno je u pitanju Iran, jelte) a misija na kojoj se nalaze Cruiseovi piloti se tiče uništenja postrojenja za obogaćivanje uranijuma u neimenovanoj ,,rogue" naciji (dakle, totalno Iran). Ovde nema neposrednog rizika od Trećeg svetskog rata ili bilo kakve globalne eskalacije, u pitanju je samo praktično higijenska mera koja će obezbediti da nekoliko godina kasnije specijalne jedinice US armije ne moraju da se muče i traže teroriste sa atomskim bombama u arsenalu.
Naravno, STVARNI zaplet filma se pre svega odnosi na ideju da su piloti borbenih aviona danas skoro pa relikt prošlosti. Cruise je na početku i dalje samo kapetan Mitchell, neko ko je delom jer ga to ne zanima a delom i jer je i dalje malo svojeglav, uspeo da ne dobije unapređenje i kancelarijski posao. Dok njegov glavni rival (a na kraju prijatelj) iz prvog filma, Iceman Vala Kilmera, sada ima čin admirala i vodi Top Gun akademiju na kojoj su obojica diplomirali, Maverick je zadovoljan da bude test-pilot za nove avione koji Ameriku ponovo treba da iznesu na vrh lanca ishrane u međunarodnom vojnom kontekstu. No, tamni oblaci se nadvijaju nad ovim eksperimentalnim programom kada visoki oficir (Ed Harris u rutinskoj minijaturi) ukaže da su bespilotne letelice danas de fakto primarni način angažovanja dalekih meta i da će piloti uskoro biti iskorenjena profesija, preteći da oduzme čitav budžet ovom programu i preusmeri ga na drone warfare.
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Ovaj konflikt između ljudskog rada i automatizacije je danas, naravno, mnogo širi od puke vojne industrije. U trenutku dok ovo kucam štrajku američkih scenarista priključili su se i sindikalizovani glumci, svesni da studiji sanjare o bliskoj budućnosti u kojoj će scenarije pisati algoritmi a glumci biti 3D replike skeniranih fizionomija i tela koje se mogu slobodno kombinovati u naprednom softveru za modelovanje. Argument da automatizovana proizvodnja nema ,,dušu" je star makar i koliko Benjaminova rasprava o umetnosti u doba mehaničke reprodukcije (dakle skoro devedeset godina) i Top Gun: Maverick ga postavlja u centar svoje priče, ali ne radi zaista dovoljno na tome da ga i razradi. Umesto stvarnog jukstapozicioniranja ,,bezdušnog" drone warfarea gde udaljeni operator upravlja robotizovanim hardverom bez ikakvog rizika po sebe, sa pilotima koji stavljaju glavu u torbu svaki put kada sednu u kokpit, dobili smo samo ovo potonje, odnosno panegirik pilotima kao, jelte, modernim vitezovima što se izlažu neviđenim rizicima za slobodu slobodnog sveta, iako je i sama misija koju oni ovde izvode bombardovanje (bez objave rata) teritorije suverene nacije.
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No, makar je to, jelte, bombardovanje, urađeno zanatski korektno. Trojica scenarista i Joseph Kosinski u ulozi režisera su zanatski posao odradili vrlo solidno, nudeći refleksiju na originalni Top Gun u nekoliko slojeva. Cruise je ovde pozvan da bude instruktor a ne da sam leti na opasnoj misiji, njegov zadatak je da od gomile vrhunskih mladih pilota kojima se stalno govori da su najbolji na svetu napravi tim koji će raditi kao, jelte, tim a ne gomila individualnih usijanih glava, ali i da, ključnije, svoje iskustvo iz stvarnog konflikta (iz prvog filma) stavi naspram njihovog akademskog shvatanja korišćenja borbenih aviona.
Avioni koji se ovde koriste su F-18ice, popularni Horneti, stari u ovom trenutku više od četiri dekade i jedna od glavnih tema u filmu – makar diskurzivno – je da neprijatelj ima bolje presretače (lovačke avione ,,pete generacije" koje je za film dizajnirao Lockheed Martin, da izgledaju blago futuristički i opasno) a da je jedini način da se misija obavi uspešno i piloti živi vrate kući taj da sami piloti shvate da iz knjiga ne mogu da nauče da ratuju.
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Cruise je ovde duševni, humani veteran koji i dalje nije preboleo Gooseovu smrt iz prvog filma –a Gooseov sin (Miles Teller koji samo što je izašao iz teretane i pretvorio se u geek-Hulka) je, eto preokreta, jedan od mladih pilota koje on obučava, pun gorčine i resantimana za čoveka koga smatra odgovornim što nema oca – i čiji je prioritet da se njegovi piloti sa misije vrate živi. Naravno, naspram njega je komanda kojoj je bitnije da se bombing run odradi kako treba, a ako bude žrtava među našima, pa, to je deo vojničkog života. Ovo je sasvim lepo podešena tenzija u dramskom srcu radnje i Cruiseove nestandardne metode obuke gde sa klincima igra razne igre i pokazuje im da ništa ne znaju ako se slepo drže naučenog sa akademije daje rezultate u kreiranju hemije. Ovde pomaže što su glmci dobri pa im onda često prilično parodične replike makar lepo stoje. Cruiseov Maverick i Tellerov Rooster se tu malo kao i neugodno taru jedan o drugog, Maverick je na ivici suza u jedno dve-tri scene i to da je i u stvarnom životu prošlo više od tri decenije otkada je Goose poginuo zapravo pomaže da se ovim standardnim melodramatičnim momentima da malčice patine.
Naravno, govno udara u fen brže nego što se očekivalo pa mala ekipa kreće na misiju ranije nego što je bilo zakazano a njihov instruktor, uprkos svemu što se pre toga govorilo, leti sa njima kao predvodnik...
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Top Gun: Maverick ima gomilu šašave, kičaste drame i romanse (hipermladolika Jennifer Connelly ovde zamenjuje Kelly McGillis i koliko joj je dato da glumi, solidno je karakterna) sa članovima Cruiseovog tima koji prolaze kroz standardne stadijume neverice, inaćenja, razočaranja i na kraju slepog poverenja u senseija. Cruise sam na više mesta preglumljuje, pogotovo u emotivnoj sceni sa bolesnim (i u stvarnom životu) Valom Kilmerom koja sedi na samoj ivici makabr parodije, ali film svakako nudi prvorazrednu avionsku akciju. Ovde se, naravno, istorijska vertikala koja vodi još od filmova iz četrdesetih preko Hamiltonovog Battle for Britain iz poznih šezdesetih pa do Lucasovog Star Wars mora dalje nastaviti ekstravagantno snimljenim i režiranim scenama ogromne brzine, visokih uloga i ljudske dimenzije koju glumci moraju da ubrizgaju paničnim okretanjem glave u skučenim kokpitima i dramatičnim replikama. Sve je to prilično kempi, kako i treba – Kosinski je, na kraju krajeva, debitovao filmom Tron: Legacy – i kada u poslednjih pola sata krene da se udara po nostalgiji iz sve snage, sa sve rashodovanim F-14 Tomcatom koji je Cruiseu i Telleru, jelte, jedina nada da će ikada videti svoje najmilije, film je odavno prekoračio daleko preko granice plauzibilnog i pretvorio se u lo-tech Star Wars sa sve dramom koja kulminira u ,,trench run" katarzi i bezličnim neprijateljima u neobeleženim letelicama.
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Top Gun: Maverick je, da zaokružimo, kičast film, sa dosta scena čija je jedina svrha izazivanje nostalgije, i čiji kast dobrih mladih glumaca sugeriše hemiju što bi podsećala na uspešne spinofove Rockyja (dakle, na filmove iz serijala Creed) kada bi Cruise samo malo umeo da se izmakne iz centra događaja i prepusti pozornicu novoj generaciji. No, ovakav kakav jeste, Top Gun: Maverick je ograničen njegovim fetišizovanjem Maverickove duševne muževnosti i neugašene virilnosti i podsećanje da ispod velikog drveta ništa drugo ne može da poraste. Ovo jeste pristojno zabavan akcijaš lepe mada nemaštovite stilizacije, korektnog mommy-porn koeficijenta i ubedljive starwarsovske dogfighting akcije ali on kraju dana, posle svih tema koje je zazvao u prvoj polovini, ne govori mnogo više od toga do da bez starca i dalje nema udarca i da mlađarija bolje da još jače udari po teretani, steroidima i kozmetičkoj hirurgiji jer Cruiser nema nameru da se penzioniše u skorije vreme. Meni je sva ta parada kiča i lepih ljudi bila, pa, zabavna, i neću lagati ako kažem da ću ga rado pogledati još koji put kad naleti na nekoj televiziji ali Top Gun: Maverick nije ništa drugo do spomenik Tomu Cruiseu i njegovoj dijabolično mladalačkoj fizionomiji pa na te setinge treba postaviti i svoja očekivanja.
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Nayola, portugalski dugometražni animirani film iz 2022. godine je jedan od onih primera kako produkcije koje nisu tradicionalno poznate po animiranim bioskopskim hitovima imaju kapacitet da izbace nešto osobeno i zapravo instant prijemčivo. Ovo je još više impresivno jer Nayola velikim delom koristi 3D modelovanje i animaciju da oživi događaje što se odvijaju centralnoj Africi tokom više decenija, legitimišući ovu tehniku kao umetnički pristup koji, u pravim rukama može da ima artistički nivo na ravnoj nozi sa drugim tehnikama animacije koje tradicionalno vezujemo za filmsku umetnost (nasuprot pukom entertejnmentu).
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Možda je važno da naglasimo ovu podelu: naravno da savremeni animirani filmovi iz velikih produkcija, poput Pixara, Disneyja ili Universala poslednjih godina (u Pixarovom slučaju još od sredine devedesetih) koriste trodimenzinalnu kompjutersku grafiku kao primarni način kreiranja svojih svetova i karaktera ali ovde pričamo o produkcijama masivnih budžeta. Primera radi, Disneyjeva Zootopia je imala budžet od stopedeset miliona evra, Segin Sonic the Hedgehog 2 (https://cvecezla.wordpress.com/2022/11/11/film-sonic-the-hedgehog-2/) i Universalov The Super Mario Bros. Movie (https://cvecezla.wordpress.com/2023/05/26/film-the-super-mario-bros-movie/) oko sto miliona svaki, dok se za hibridni Space Jam: A New Legacy (https://cvecezla.wordpress.com/2022/04/01/film-space-jam-a-new-legacy/) barata rasponom od 150 do 300 miliona dolara. Naravno da ovakve planine novca nisu dostupne malim evropskim produkcijama – Nayolu je finansiralo čak pet evropskih kompanija, sa sve zahvatanjem i u državne fondove da se namaknu potrebna sredstva – i onda je i prirodno da će ovaj film u domenu grafike i animacije biti mnogo bliži jeftinim serijskim produktima koji se prave za sindikalizovano prikazivanje na dečijim kanalima, na striming platformama ili, čak, onim rađenim direktno za YouTube. To da Nayola i pored relativno jednostavne animacije i korišćenja tehnika koje su često bliže ,,motion comic" estetici i onome što viđamo u nezavisnim video igrama nego bioskopskim animiranim filmovima uspeva da deluje ubedljivo, artistički intrigantno i da obezbedi da se njegov senzibilitet jasno prenese je, dakle, trijumf koji vredi isticati u prvi plan.
Nayola je prvi dugometražni film režisera po imenu José Miguel Ribeiro, a koji je od sredine devedesetih aktivan u proizvodnji kratkih animiranih filmova. Njegova ekspertiza se ovde jasno prepoznaje jer je sa svojih osamdesetak minuta Nayola ubedljivo urađena priča koja govori o tri žene različitih generacija što su svaka na svoj način pogođene dugačkim građanskim ratom u Angoli. Film je sa svojim fokusom na karakter svake od njih pokušaj da se kreira jedna vrsta istorijske vertikale prelomljene kroz žensko iskustvo teških iskušenja afričke nacije što je svoju nezavisnost dobila tek polovinom sedamdesetih godina prošlog veka a onda direktno uletela u višedecenijski građanski rat.
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Recentna istorija Angole je poučan ogledni primer za to koliko je evropska kolonizacija vanevropskih teritorija radikalno unazadila populacije ovih prostora. Ne da Evropljani nisu doneli NIŠTA korisno Africi ili Latinskoj Americi ili Aziji, naravno, nećemo poricati da tehnološki ili medicinski kapaciteti danas na raspolaganju afričkoj populaciji njoj donose nekakav boljitak, ali čak i ako apstrahujemo istoriju robovlasništva i onoga što bi u nekim drugim okolnostima bilo proglašeno genocidom, stoji da je već samo to što su postkolonijalne decenije velikog dela afričkih država obeležene ratovanjem između frakcija koje zastupaju interese moćnih struktura drugih država (i sa drugih kontinenata) u uslovima veoma krhke vladavine prava, razlog da se evropske zemlje DANAS I OVDE ne samo posipaju pepelom već da plaćaju astronomske reparacije afričkim državama.
Angola je, rekosmo, svoju nezavisnost od Portugalije – zemlje za koju je danas skoro teško poverovati da je bila kolonijalna sila – dobila polovnom sedamdesetih i to nakon što je u Portugaliji ustanak i puč srušio stari, fašistički diktatorski režim u tom trenutku već šest godina pokojnog Antónija de Oliveire Salazara. Naravno, sloboda od kolonijalnog jarma je plaćena jako skupo i Angola je odmah ušla u građanski rat između tri frakcije, jedne sa podrškom Kube i Sovjetskog saveza (a koja je i bila najvažnija u procesu uklanjanja portugalske vlasti i uspostavljanja socijalističkog, jednopartijskog režima), jedne koja je u početku bila bazirana na maoističkim idejama radikalnog komunizma da bi posle toga bila kooptirana od strane službi SAD i Južnoafričke Republike i okrenula se za 180 stepeni, boreći se protiv socijalističke vlasti i komunizma generalno, i treće koja je radila za interese suseda i regionalne sila koja se u to vreme zvala Zair a danas je to Demokratska Republika Kongo.
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Ovaj je rat trajao sve do 2002. godine i mada se Angola danas smatra relativno stabilnom državom sa demokratskim režimom, pa čak i spada u jednu od najbrže rastućih ekonomija u svetu, ostaje i da populacija ima jako kratak očekivani životni vek, da je smrtnost novorođene dece ekstremno visoka a da energične antikorupcijske akcije aktuelne vlade imaju u sebi i meru populističkog, kako bi skrenule pažnju nacije sa još uvek jako niskog standarda života i čestih represivnih mera civilnih vlasti i policije.
Nayola pokušava da dobar deo ovog narativa sažme u priču o tri žene – unuci, majci i babi – koje su kolektivno videle tešku prošlost Angole, preživljavaju njenu ne baš ružičastu sadašnjost ali uz pogled u budućnost od koje se ne sme odustati. Titularna Nayola je žena srednje generacije, sa iskustvom ratovanja u građanskom ratu koji je odneo njenog muža. Veliki deo filma bavi se njenom potragom za suprugom koja se odvija kroz lutanje od ratišta do ratišta i učestvovanje u borbama, ali i svedočenje brutalnim praksama koje znamo da čine deo ratova u Africi – od postavljanja nagaznih mina do egzekucija zarobljenika. No, jednako je značajna i scena u kojoj se stric i nećak prepoznaju ratujući na suprtonim strana, i nakon kratkog ideološkog prepucavanja spontano razumeju da je krv važnija od ideologije.
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Ova minijatura je uspela jer je urađena jednostavno i bez stilizacija, dajući jedan realističan, paradigmatiča momenat u dugačkom ratu. On služi i kao povezivanje sa bazom u filmu koji je dobrom delom obeležen Nayolinim lutanjem kroz snolike kadrove nabijene fantazmagoričnim slikama i simbolikom. Delom je ovo prirodan deo umetničkog postupka koji nastoji da poveže žensku perspektivu na rat i folkolornu tradiciju sa realnostima ratovanja koje je, suštinski, proksi rat između sila koje nisu lokalnog porekla pa tako imamo scenu plesa u razrušenom gradu i strašne momente koji slede nakon otvaranja vatre ali i bacanja humanitarne pomoći iz aviona. No, delom je to, čini mi se i nastojanje da se Nayolina karakterizacija poveže sa totemskim, kolektivnim elementima centralnoafričkih verovanja, običaja i nasleđa i njena spona sa šakalom koji se pojavljuje spontano i ostaje u velikom broju scena, samo da bi ona kasnije praktično prihvatila na sebe njegov identitet je deo ovog napora, kao što je i nekoliko scena snova/ delirijuma koji imaju jake elemente šamanske simbolike i inicijantskih putovanja.
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Kontrast ovome čini deo filma koji se bavi njenom ćerkom Yarom, mladom, gevnom devojkom iz geta Luande koju ljuti socijalna nepravda i politička represija i koja svoj bes kanališe kroz repovanje. Ako je sama Nayola koncentrat ,,afričkog" u sponi sa precima i istorijom krvavog sazrevanja nacije, Yara je spona sa ostatkom sveta, ili makar onim njegovim delom koji sebe vidi kao progresivni zapad – devojka koja i vidi i gleda dalje od geta u kome živi sa babom, spremna da se bori za boljitak sada i ovde ali ne i da zauvek ostane u sada i ovde. Njeni stihovi su buntovni i inspirativni, narezani diskovi koje deli unaokolo su njen način scijalnog aktivizma, a u spavaćoj sobi ima postere sa Čeom Gevarom i feminističkim porukama i spremna je i da se žrtvuje da bi bilo bolje.
Scene sa Yarom, gde se ona suočava sa represijom u zajednici ali i gde sa kolegama i istomišljenicima svoja neposredna iskustva pretače u muziku su inspirisane, ali film u svojoj drugoj polovini mora da uspori kako bi povezao tri generacije u jednoj porodici i ovo nije nužno urađeno najidealnije. Od toga da baba, čije sećanje seže najdalje u prošlost i ima najviše iskustva, dobija premalo prostora i samo služi kao pomirljivo rame za plakanje, pa preko finala za Nayolu – koje je snoliko i simboličko radije nego konkretno – do finala za Yaru koje se, čini se, svodi na napuštanje svega što je do malopre gorljivo branila, film kao da ne zna šta je tačno njegova poruka koju bi da pošalje kroz pančlajn sem neke generalne ideje o tome da treba imati nadu. Za priču koja se potrudila da se pozabavi vrlo konkretnim pitanjima i svoje likove tretirala dijalektičko-materijalistički, ovo neodređeno finale, uprkos lepim, poetskim slikama, dolazi kao blago razočaranje.
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A što naravno i povlači za sobom neizbežna pitanja o autentičnosti celog narativa. Naravno, lepo je što se Portugalci bave ovom pričom uz odgovornost i nastojanje da pričaju u ime onih čije glasove – uprkos tome što i oni pričaju Portugalski – retko čujemo, ali Nayola mi u najboljem slučaju deluje kao dobronamerna, informisana fantazija iz evropske perspektive o tome koliko je teško u Angoli i gde leži nada za Angolu, ali, ipak, samo fantazija. Gledao sam intervju sa nekoliko ljudi iz publike sa premijere filma u Luandi a koji su svi, dakle, lokalci, hvalili njegovo bavljenje ženama i poruku o nadi i njenom nenapuštanju, ali i ove su mi reakcije delovale kao sasvim generalne i bez dublje interakcije sa ,,mesom" filma, njegovim tretmanom totemističke ikonografije, njegovim vrlo idealističkim pa time i dosta klišeiziranim prikazom mlade reperke (koja odiše onim što bi ovde nazvali distinktno NVO tonovima) itd. Moj utisak je da je filmu falilo još petnaestak minuta u finalu i dublja razrada sva tri lika, čime bi svoje intrigantne teme i karakterizacije dovezao do kraja kakav one zaslužuju.
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No, Nayola prilično ubedljivo pogađa svoje mete na grafičkom planu, nudeći lepo sašiven spoj ručno rađene dvodimenzionalne grafike i trodimenzionalnog modelovanja. Spisak 2D crtača i animatora na odjavnoj špici je podugačak i ovo nikako nije jedan od onih filmova napravljenih skoro stoprocentno ,,u kompjuteru", pa su ,,afričke" stilizacije u kojima se prikazi džungle pretapaju u naivno slikarstvo, a košmari prikazuju lavirinte od bodljikave žice i životinje u nju uhvaćene jako solidne. Ne mogu da svedočim koliko je folklorni element art direkcije autentičan ali film nesumnjivo ima i prepoznatljiv kolorit i aluzije na narodno likovno stvaralaštvo iz regiona pa su njegova estetika i ukusno urađena 3D animacija u lepom skladu. Muzika je, pak, vrlo pristojna, ali to da je praktično sva bazirana na evroameričkim predlošcima, od bitboksovanog hip-hopa, do portugalskog fada, sa nešto lokalne sembe koja, naravno, dosta podseća na brazilsku sambu, podseća na to koliko su stara i nova kolonizacija duboko ostavile svoj trag u kulturi ovog naroda.
Nayola je nesavršen film, ali vredan i vašeg vremea i vaše pažnje. Veoma siguran grafički stil i animacija i podsticaj da se sami pozabavite istraživanjem istorije i kulture ove povelike afričke države koji će vam dati narativ garancija su da vreme provedeno uz Nayolu neće biti uludo potrošeno. Za one koji imaju HBO, ovaj film je odnedavno na njemu u ponudi.
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Hidden Strike je film u čijem poslednjem činu gledamo teretni kamion kako na skijama, pokretan mlaznim motorom gotovo leti preko peščanih dina iračke pustinje i onda jednim naglim kočenjem – od koga John Cena, koji je prethodno otkinuo svoj bezbednosni pojas, odleće kroz prozor – kreće da se opasno zanosi i u tom zanošenju diže u vazduh tri šlepera puna ukradene nafte. Već na osnovu ove jedne rečenice znate da li će vam se ovaj film dopasti ili ne, sve ostalo je puki garnirung.
(https://i.imgur.com/uY3oEml.png)
Hidden Strike je u produkcijskom smislu brak iz računa između Kine i Amerike, udruženi zločinački poduhvat mase kineskih producentskih kuća do budžeta od, kažu, osamdesetak miliona dolara, sa američkim ekspertima za akcioni film, a sve u pokušaju da se kreira neka vrsta globalne sinergije istočnjačkog i zapadnjačkog senzibiliteta gde će eksplozije, pucnjava, vratolomne borilačke koreografije i frivolni humor biti smenjivani u matematički preciznim razmacima za jedan brizantni koktel visokokoncentrisane zabave. No, Hidden Strike je i brak u kome su problemi očigledno nastupili i pre nego što je prva bračna noć iskonzumirana pa je film, preimenovan iz X-Traction u još bezličnije i od značenja JOŠ ispražnjenije Hidden, jelte, Strike, proveo skoro pola decenije u nekakvoj završenoj formi pre nego što se na kraju ovog Jula pojavio na Netflixu. Moglo bi se argumentovati da mu je to samo pomoglo jer je jedan od dvojice akcionih starova u glavnim ulogama u međuvremenu značajno unapredio svoj brending i prepoznatljivost kod publike pa je John Cena, sa svojom još uvek impresivnom (akcionom) figurom i pristojnim humorističkim kapacitetima svakako jedan od aduta filma za publiku koja ga je poslednjih par sezona gledala u Warnerovim skupim produkcijama poput The Suicide Squad (https://cvecezla.wordpress.com/2021/08/09/film-the-suicide-squad/) i njenom televizijskom nastavku, The Peacemaker.
Za nas, old school konzumente akcionog filma što smo mladost (i dobar deo lumbalnog tkiva) upropastili kriveći se na drvenim stolicama bioskopa 20. Oktobar u Balkanskoj ulici, to da je Cenin (sparing) partner i ko-star ovde Jackie Chan je nesumnjivo i jača navlaka. Iako su film napisali i režirali Amerikanci, Chan ovde ima i dublju karakterizaciju i veću minutažu pred kamerom a svakako nudi i atraktivnije borilačke scene, i na kraju krajeva jeste pomalo magično čoveka koga smo voleli na velikom platnu još kada smo ulazili u pubertet gledati kako, naizgled bez ikakvog napora, izvodi iste vratolomije više od četiri decenije kasnije.
(https://i.imgur.com/HtjRRId.png)
Hidden Strike je režirao Scott Waugh, jedan od onih profesionalaca modernog akcionog filma koji se ne da podičiti velikim brojem produkcija niti nekakvom autorskom žicom, ali čija je tehnička ekspertiza ono što se broji. Waugh je kao montažer uradio nekoliko filmova pre nego što je 2012. režirao svoj prvenac a pored ovog filma radio je i Need for Speed, ali režirao i četvrti Expendables koji u bioskope stiže u Septemberu. Waugh je, naravno, i sam montirao ovaj film i koliko god da njemu nedostaje umeća kada su u pitanju vođenje priče i likovi, akcija i destrukcija su mu značajno jača strana. Scenario je, pritom, napisao sad već dosta cenjeni Arash Amel i uz Cenu u jednoj od dve glavne uloge može se reći da su kineski producenti ovde uzeli možda ne prvi ešelon američkog akcionog bioskopa, ali svakako ekipu kadru da Hidden Strike ovaploti kao akcionu CGI ekstravagancu na tragu radova Chada Staleskog, Davida Leitcha ili Jamesa Wana.
(https://i.imgur.com/aqDu94S.png)
Hidden Strike je, može se argumentovati na kraju ispao baš to, akciona komedija koja, doduše, ne koristi uvek potencijale svog kasta na najboji način ali koja ima dovoljnu količinu atraktivnih set pisova da ljubitelj ove vrste filma bude zadovoljan. Ovde vredi naglasiti da pričamo o toj modernoj, ,,američkoj" vrsti akcijaša koja se oslanja ne na požrtvovan kaskaderski rad i ubedljivu tuču koliko na agresivno korišćenje CGI-ja i scene toliko neverovatne u svojoj akcionoj dinamici da se nalaze na jedan malceni korak od Marvelove superherojske fantazije.
I tu je onda svakako fer detektovati prvi problem, a to je ,,kineski" CGI koji se ovde koristi za sve živo, od prikaza vozila koja lete u vazduh i u njemu eksplodiraju i lete u komade u pornografskom nivou detalja, pa do širokih planova koji nam pokazuju postrojenja što stoje u iračkoj pustinji. Snimljen u Kini (u autonomnom regionu Ningsja koji sadrži dovoljnu količinu ,,pustinjskog" eksterijera) film se od samog početka snažno i agresivno oslanja ne samo na kolor-filtere već i na čitave digitalne konstrukte i eksplicitne digitalne montaže, ostavljajući, kako je to uobičajeno, utisak da gledamo videospot ili trejler za videoigru. Izrenderovane pozadine setova u visokom nivou detalja daju filmu jedan nestvaran, fantazijski kvalitet prenaglašene oštrine i opipljive nematerijalnosti stvari u okruženju pa je Waughov talenat za dobro kadriranje i dovitljive švenkove negativno kompenzovan prosto neubedljivim, ravnim kvalitetom same slike.
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Naravno, kako je film režirao i montirao Amerikanac, tako se i akcione scene u kojima Chan pokazuje da, na polovini sedme decenije života još nije za penziju, seckaju na kratke kadrove povezane brzim rezovima i ovo, iako ide kontra Chanovog vrlo proklamovanog etosa, može da se razume na ime njegovih ipak poodmaklih godina. No, u Waughovu odbranu, većina akcionog programa sa Chanom u glavnoj ulozi je urađena posvećeno, sa razmišljanjem o svakom kadru i sinergijom između još uvek impresivne fizikalnosti akcionog stara i pažljivih rezova. Ipak, momenti u kojima vam je jasno da su rezovi korišćeni kako bi Chana zamenio dubler jesu podsećanje da i njemu idu godine ali i da je jedan od poslednjih ,,pravih" akcionih starova stare škole na zalasku karijere i da ljude koji danas na filmu rade svoje stantove i impresioniraju poznavanjem borilačkih veština verovatno nećemo gledati kako zamenjuju trenutni ansambl manekena u akcionom filmu.
(https://i.imgur.com/Y5ewe2r.png)
Zbog toga je nekako i dirljivo videti da je ovde Chanu partner Cena koji na neki način predstavlja povratak u vreme kada je krupni, nabildovani muškarac bio default podešavanje za zvezdu akcionog filma, a pre nego što će uspon MMA u kolektivnoj ljudskoj svesti i kreiranje megafranšiza poput Mission Impossible, Matrix ili John Wick u prvi plan izbaciti muškarce čiji je primarni kvalitet lepota i vitkija, elegantnija figura u teoriji privlačnija ženskoj publici. Cena je ovde jedan od modernih krupajlija na transverzali Dwayne Johnson-Chris Hemsworth-Jason Momoa pa i njegov lik baštini identičnu kombinaciju velike fizičke snage i bro-humora kakvu koriste i njihovi najpoznatiji likovi.
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Hidden Strike Waugha prikazuje kao i pomalo nesigurnog kada je u pitanju ne samo pripovedanje već i osnovni ton filma, a što svakako može biti i posledica previše producenata umešanih u njegovo nastajanje. Jackie Chan je na početku filma ozbiljni, pomalo setni oficir kineskih specijalnih jedinica, zadužen da iz kineske rafinerije nafte u Iraku evakuiše više od 400 zaposlenih kojima prete nativni pobunjenici i obezbedi da sva mehanizacija bude digitalno zaključana kako niko ne bi mogao da ,,njihovu" naftu krade dok oni nisu tu.
Relativno rutinska misija kreće sasvim naopako kada se neočekivano na ,,autoputu smrti" pojavljuje peščana oluja iz koje izranja gomila američkih plaćenika namernih da kidnapuje glavnu inženjerku rafinerije kako bi uz pomoć njenog enkriptovanog USB stika iz rafinerije istočili milione barela nafte u pripremljene cisterne i tankere do kojih će crno zlato stići velikim naftovodom što ide kroz pustinju. Ovo je bizarno neuverljiv zaplet iz dvadesetak razloga, ali gledalac zapravo o njemu i ne stiže mnogo da razmišlja jer ga film bombarduje malim ličnim pričama koje treba da svemu daju humanu dimenziju.
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Naime, Chanov lik, Luo Feng se suočava sa svojom prošlošću u vidu otuđene ćerke koja ga prezire zato što je njenu pokojnu majku praktično napustio vršljajući po tajnim misijama dok je ova bolovala i umirala. S druge strane, Cena je bivši američki vojnik koji sada u Iraku pomaže selu punom ratne siročadi da opstane i povremeno radi plaćeničke poslove sa grupom koju predvodi njegov brat. Scenario treba da nam Cenin lik, Chrisa Van Hornea, prikaže kao visokomoralnu osobu koja ne odobrava bratovljevo srebroljupstvo i odsustvo empatije za domicilno stanovništvo pa još da na sve to saznamo i da ovaj ima traume vezane za očevu pogibiju, ali ne samo da Cena nema nužno glumački opseg da ovo prikaže – njegova ekspretiza je pre svega vezana za akciju i komediju – nego su i scene u kojima treba da nam se prikažu ti humaniji, emotivniji momenti naglašeno slabo i neinspirisano režirane.
Otud je Hidden Strike u prvih dvadesetak minuta u opasnosti da postane dosadan sa svom tom ,,glumi" emocijom a koju dobro urađena akcija ne uspeva da dovoljno oživi.
(https://i.imgur.com/1W88scb.png)
No, kada se Cena i Chan konačno sretnu i posle obavezne inicijacije u vidu brutalne tuče, sprijatelje i krenu da rade zajedno, film pređe u višu brzinu i bude daleko prijatniji. Da bude jasno, hemija između dvojice akcionih starova se ovde pravi na silu, mehanički, i posebno Cenin lik ima problematičnu transformaciju iz čoveka koji shvata da mu je brat ubijen u čoveka koji, pet minuta kasnije ispaljuje humorističke dosetke a pola sata kasnije objašnjava Chanovom liku da bi mu rado obljubio ćerku. Ovde se verovatno radi o neskladu između nekoliko verzija scenarija i konačnom spasavanju filma u montaži a što sve na kraju ne daje ni uverljiv ni konzistentan narativ.
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No, film svakako koristi tu dosegnutu hemiju da kreira onaj koktel akcije i humora zbog koga smo i došli ovo da gledamo. U smislu evolucije likova, kako i očekujete, Chanov lik ima više dubine i empatije, njegova je trauma ubedljivija a scenario, iako ga nisu pisali Kinezi, definitivno ide na to da ga prikaže kao časnog borca koji ratuje za svoju naciju i ima jednu čistotu vizije koja je američkim plaćenicima naprosto nedostižna. Kada u jednoj od scena negativac pokuša da mudro poentira time da sve umešane strane kradu naftu od Iraka, jedan od kineskih likova mu na to odgovori ,,ne, mi je plaćamo". Kineski akcioni filmovi, naravno, imaju svoju meru propagande ali ovde ona i nije nametljiva i saradnja između Chrisa i Fenga vrlo brzo prevazilazi stadijum podozrivosti i rada iz računa i njih dvojica počnu da se oslovljavaju kao da su familija. Ovde kineska publika dobija simpatične momente u kojima Cena priča Mandarinski sa, verovatno, boljim naglaskom nego sam Jackie Chan a čiji je Engleski i dalje ljupko trapav, ali i njihova fizička, jelte, hemija u akcionim scenama je pažljivo definisana a zatim ispraćena kroz nekoliko dobro osmišljenih set pisova. Ponovljeni gegovi sa gesturalnom komunikacijom između obučenih vojnika koju stalno gledamo u akcionim filmovima su uspeli, a sinergija između velikog i jakog muškarca sa manjim i okretnijim je prepoznata od strane koreografa i režisera i vrlo korektno eksploatisana kroz nekoliko scena dobre tuče (pogotovo uz narativno opravdanje da se u rafineriji ne sme pucati da ne bi sve odletelo u vazduh).
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Film onda stavlja i veliki akcenat na scene vožnje vidno inspirisan Millerovim Mad Max ekstravagancama i ovde, naravno, ne može da se poredi sa praktičnim efektima, briljantnom montažom i neverovatnim kaskaderskim radom koje nam je priuštio Fury Road, ali zapravo donosi sasvim ugodnu količinu pustinjske vozačke akcije i krešendo na samom kraju koji jeste vezan za vozila i koji je sasvim zadovoljavajući. No, i pre njega će pogotovo Chan prikazati nekoliko scena u kojima je njegova trejdmark kombinacija akrobatske i komedijaške borbe uhvaćena dosta dobro, pogotovo u set pisu sa elastičnim trakama a koji se završava u neverovatnom broju kubika protivpožarne pene na ekranu.
Hidden Strike nije naročito dobar film i nije ni sigurno da opravdava tih osamdeset miliona dolara što su u njega Kinezi usuli, ali on uspeva da umakne DTV mračnjaštvu sa kojim kao da počinje i iz interakcije dvojice akcionih starova zapravo izvlači dosta ljupke kilometraže. Akciona krešenda su vredna svedočenja a humor je prihvatljiv pa sam ja na kraju bio korektno zadovoljen uz sve zamerke koje mogu da dam ovoj produkciji. Nastavka, slutimo, neće biti ali kombinacija Cena-Chan zavređuje ili boljeg režisera ili manje producentskih babica okupljenih oko ovog ipak na kraju živog i dovoljno zdravog deteta.
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Oluja Miloša Radunovića je, prilično urnebesno, film koga je posle pretpremijernog gledanja ,,stručnog tima" Zavoda za unapređivanje obrazovanja i vaspitanja, isti taj zavod preporučio za gledanje đacima završnih razreda osnovne i đacima srednje škole, na ime priče koja je ,,duboko humana, emotivna i budi rodoljubiva osećanja". Ovo je, velim, prilično urnebesno jer je Oluja film kome naglašeno nedostaje ikakav kontekst u kome bi se moglo tumačiti ili, uopšte, razumeti ono što se u njemu dešava i, da nema teksta na ekranu na početku i na kraju u kome se priča o zločinima nad srpskim stanovništvom u Hrvatskoj tokom Drugog svetskog rata a zatim tokom akcije Oluje po kojoj je film i nazvan, bilo bi gotovo nemoguće u njemu naći išta što ,,budi rodoljubiva osećanja" ili ikakva osećanja vezana za etnicitet.
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Slično, ova priča teško da se može opisati kao ,,duboko humana" – naprotiv, Oluja je film koji, možda malo i protiv sebe, prikazuje patološku dimenziju mentaliteta na Balkanu i Dinari, polazeći od bolesnog, deformisanog i nefunkcionalnog u porodici a završavajući u disoluciji privida države i naciji rasutoj po drumovima i kolektivnim centrima. Emotivna završna scena je, svakako, nekakav hepiend koji budi izvesnu nadu, ali ni ovo, ako poznajemo nastavak istorije, partikularno njenog hoda od 1995. do 1999. godine i proterivanja stotina hiljada ljudi sa Kosova u Centralnu Srbiju, među kojima je bio i veliki broj već proteranih Srba iz Krajine, nije nada dugog daha.
Ono što je fer reći je da Oluja iako reklamirana kao veliki nacionalni projekat, nije ni pravljena da bude film konteksta i ,,objašnjavanja" istorije i da je njegov fokus na male, individualne priče njegov definitivni estetski izbor. Takođe, Oluja je, kad se malo bolje pogleda, zapravo dva filma u jednom, od kojih je jedan skoro klasičan revenge thriller sa popom (or is he?) koji se maskira u neprijateljskog vojnika da bi našao jedinicu koja mu je ubila brata, dok je drugi ratni film o povlačenju srpskog življa sa svojih, kako i film na kraju podseća, vekovnih teritorija, a nakon početka akcije Oluja od strane hrvatskih policijskih i oružanih snaga.
Ova dva filma se malo i retko susreću i, zapravo, nakon određene tačke u kojoj se likovi definitivno i neopozivo raziđu, oni više nemaju veze jedan sa drugim. Utisak je, štaviše, da je autor scenarija i režiser Oluje, Miloš Radunović, kome je ovo prva celovečernja produkcija nakon rada na raznim televizijskim projektima, imao scenario za pomenuti revenge thriller ali da je jedini način da dobije sredstva da ga snimi bio da oko njega napiše još jedan scenario o stradanju življa iz Republike Srpske Krajine u pozno leto 1995. godine, te da time jednu nihilističku, gritty priču rađenu u maniru revizionističkih vesterna od pre pola veka proda javnosti kao veliki iskaz o egzodusu i martirskom iskušenju na koje je stavljen čitav narod.
(https://i.imgur.com/VuZsR2q.jpg)
Fakat je da Oluji nedostaje kontekst i da zapravo, gledalac koji ne zna mnogo – ili ništa – o ratovima na prostoru bvše Jugoslavije devedesetih godina prošlog stoleća teško da će razumeti ko tu koga napada, ko se tu (ne) brani, kuda je taj narod nagrnuo, na čijoj se teritoriji odvija napeta igra mačke i miša između maskiranih ,,naših" i skoro nerazaznatljivih ,,njihovih"*. Ovo je delom svakako opravdano u dimenziji tog nekog podteksta u kome se ovaj rat na kraju krajeva prikazuje kao bratoubilački, kao rat između komšija što pričaju isti jezik, žive na istom prostoru i nedovoljno se razlikuju da bi moglo jasno da se kodifikuje koje ,,dobar" a ko ,,loš", ali je delom i posledica Radunovićeve nedovoljno izgrađene dramaturgije i oslanjanja na readymade žanorvska rešenja u nadi da će ona izneti nedostajuće, ali valjda podrazumevajuće delove priče.
*likovi svakako nose uniforme Vojske Republike Srpske Krajine i Hrvatskog vijeća odbrane ali i jedno i drugo su maskirne bluze i pantalone, sa samo različitim prišivenim amblemima a gledalac koji ne prepoznaje te ambleme neće razumeti razliku. U ratnim filmovima je pravilo da se sukobljene strane vizuelno dizajniraju sa prepoznatljivim razlikama na ime konture ili boje (oblici šlemova, kapa ili rančeva, trake u jednoj jakoj, prepoznatljivoj boji itd.) kako bi gledalac mogao da poveruje da likovi na ekranu znaju na koga treba da pucaju. Oluja ovo nema i likovi ovde idu gologlavi i raščupani bez razaznatljivih razlika.
(https://i.imgur.com/7R73uuE.jpg)
Taj nedostajući kontekst svakako sprečava Oluju da bude ,,veliki iskaz" koji u njemu prepoznaju režimi trenutno na vlasti u našim, jelte, državama – ovo definitivno nije patriotska, rodoljubiva paškvila koja bi slavila nekakav idealizovani duh srpstva i prikazala Srbe kao narod koji se boji boga, iznad svega voli porodicu i uvek je tu da odbrani pravdu pa makar i na svoju štetu, a što je bio dominantni dsiskurs i tokom ovogodišnje ceremonije obeležavanja godišnjice Oluje* održane u Prijedoru. Štaviše, Radunovićev film je postavljen gotovo potpuno perpendikularno u odnosu na ovakav senzibilitet i, naprotiv, od samog početka je obojen decidno tamnim tonovima koji život u okolini Knina leta 1995. godine prikazuju kao opterećen besmislom, nasiljem, distorziranim porodičnim odnosima. Ovo je svakako u tradiciji domaćeg filma koji se u najmanju ruku od početka Crnog talasa često i rado vraća tim disekcijama ukletosti ovdašnjeg mentaliteta.
*pogroma, ne filma
Vojnici Vojske RSK koje vidimo na početku svakako imaju tragove buddy hemije, sa svojim šegačenjem oko dosadnog rata u kome učestvuju i odrađivanjem redovnih smena u kafani, ali brzo postaje jasno da bi oni radije pili nego da gledaju svoje porodice kod kuće. Ovde čak ni porodica glavnog junaka, Ilije, nije funkcionalna, sa jakom tenzijom u odnosima i povremeno nasilnim ispadima glave kuće koji je pod velikim pritiskom. Drugi su još gori i Radunovićev ,,band of brothers" koncept se još pre polovine dekonstruiše, prikazujući likove kako se urušavaju pod presijom, ginu, ponašaju se iracionalno itd. Ovde je možda potrebno povući izvesnu paralelu sa Dragojevićevim Lepa sela lepo gore, koji je zapravo i sam bio dekonstrukcija ,,band of brothers" postavke, sem što je Dragojević značajno uspelije vodio priču i imao scenario koji je kontekst provukao, pa, kontekstualno, uspevajući da brojni flešbekovi poređani oko centralog narativa zbilja ,,objasne" odnose na terenu.
(https://i.imgur.com/9576g2p.jpg)
Oluja, naravno, nema nikakvu ambiciju da prikaže ni način na koji je Republika Srpska Krajina nastala i funkcionisala, a što bi dalo nekakav pretekst akciji hrvatskih snaga, niti, naravno, način na koji je Republika Srpska Krajina na kraju puštena niz vodu od strane srpskog i jugoslovenskog režima, ali i od strane sopstvenog političkog vrha koji je evakuisan u samom startu a što je za sobom povuklo odsustvo ikakvog otpora i egzodus temeljno razočaranog naroda koji je do juče slušao napaljene patriotske priče ali i gledao oko sebe korupciju i otimačinu. Film vrlo blago sugeriše postojanje ,,ratnih profitera" na teritoriji RSK ali ovo je sve skoncentrisano u liku Brace koji, opet, ima komplikovan lični karakterni luk i nema poopštavajuću dimenziju kakva je, recimo, karakterisala lik Petra Božovića u Lepim selima, i možda je najdalje što ide u pravcu nekakvog iskaza izvan konkretnih ljudskih sudbina koje pratimo to da sugeriše kako su svi Krajišnici koji su izbegli iz Hrvatske poslati na Kosovo, na šta Ilijin lik kaže ,,sa jednog Kosova na drugo", anticipirajući naredni egzodus 1999. godine. No, ova skoro usputna opaska vrlo stidljivo smešta događaje u filmu u ikakvu ,,istoriju" i njegova se naracija pre svega zaista bavi individualnim ljudskim sudbinama.
Dobra vest je da je na mikro nivou film vrlo kompetentno urađen. Od rekvizitera i kostimografa, preko direktora fotografije (mladi ali sada već i vrlo iskusni Bogdan Babović), maske Tijane Draguljević, odličnog dizajna zvuka, pa preko briljantne montaže Arefa Zaabija do glavnih glumaca, ovo je film koji se više nego pošteno drži u konstrukciji dobrog dela svojih scena, uključujući i akcioni program u kome se ne dobija sad neki spektakl, ali su ti momenti pucnjave napeti i čitki, i jasno je ko na koga puca i sa koje strane.
(https://i.imgur.com/gVeL3xR.jpg)
Naravno, ovde ponovo treba podvući da nekakav gledalac koji nema prethodna znanja teško da će uopšte razumeti ko su jedni, ko drugi, kako uopšte izgleda ovaj sukob, gde je linija fronta a gde pozadina itd. Dragojević je u svom filmu spretno rešio deo ovih problema smeštajući gro akcije na jedan samorazumljiv lokalitet i ,,neprijatelje" redukujući na bezlične figure koje vidimo samo na delić sekunde i iz daljine (ne računajući lik Nikole Pejakovića koji opet daje potrebni kontekst i ima dubinu kakvu ni jedan od ,,neprijateljskih" likova u Oluji nema). Radunović ovo ne radi i zapravo kod njega su neki od ,,neprijateljskih" likova formatirani upravo suprotno, da budu prepoznatljivi po fizionomijama i ponašanju i da se pojavljuju više puta u toku priče, kako bi se između njih i protagonista stvorila spona koja će dovesti do katarzičnih bosfajtova. Ovo nije dovoljno uspešno urađeno jer ovi likovi, uprkos solidnoj glumi, pogotovo Marka Bacovića, naprosto nemaju spretno ispričane priče niti nekakve jasne motivacije. Utoliko, kada do tih katarzičnih scena borbe dođe, one su odrađene veoma dobro, ali nemaju stvarni narativni i emotivni impakt koji bi trebalo da uz njih ide.
Taj nedostatak motivacije na strani ,,Hrvata" je simptom tog nekog metaproblema koji film ima – već pominjanog nedostatka konteksta u kome se stvari dešavaju. Već i to zašto narod beži iz Krajine naprosto nije jasno jer hrvatske snage koje vidimo na ekranu broje dajbože 20-30 ljudi i fim ne nudi ni trunku objašnjenja zašto naoružana, opremljena vojska RSK ne pokušava da pruži nikakav otpor. A onda, na mikroplanu, kad Hrvati krenu da ubijaju civile iz pukog sadizma, uključujući poker partiju u kojoj pobednik dobija ne samo pare već i priliku da svojeručno ubije konobara u srpskoj kafani u koju su ušle snage HVO, ni ovo nema nikakvo objašnjenje, kontekst, jasan motiv.
(https://i.imgur.com/DKSilOW.jpg)
A što je svakako ponovo argument PROTIV ideje da je Oluja film koji daje ikakav stvarni, poopštavajući iskaz o celoj ovoj istoriji – naprosto likovi koji ubijaju starce i siluju žene u ovom filmu deluju, prosto, kao psihopate koje to rade jer je to sada moguće učiniti bez straha od kazne i dok je to svakako jedan od načina da se formatiraju priče o ratnim zločinima, on istovremeno i ispušta da prikaže da su od psihopata koji samo koriste oportuno vreme i mesto zapravo gori i opasniji ,,normalni" ljudi koji veruju da su zverstva i zločini u ratu opravdani kao činovi osvete, zaštite, odvraćanja itd. Oluja o ovome ne pokušava apsolutno ništa da kaže i to treba imati na umu i u sceni u kojoj hrvatski avion raketnim projektilima gađa izbegličku kolonu a koja bi trebalo da bude svojevrsni filozofski ili (ako ste režimski čovek) ideološki apeks filma. Ova je scena data kao tek još jedan dekontekstualizovani čin nasilja, fokusirana na jednog od likova i njegovu porodicu i ponovo taj neki neinformisani gledalac naprosto neće razumeti ni zašto se ovo događa, ni da li je ovo delo nekakvog pilota koji radi na svoju ruku jer mu se može ili je to deo šireg napora etničkog čišćenja, ni da li je ovakav potez hrvatskog ratnog vazduhoplovstva incident ili izvršenje komande itd. Naprosto, film veliki deo nasilja pokazuje u vakuumu i jedna usputna replika hrvatskog oficira o tome da će uskoro zemlja biti očišćena od, valjda, gamadi deluje jako stidljivo i ne čini sa svoje strane dovoljno da se pokaže zašto je etničko čišćenje ovih razmera koje se slavi kao temelj savremene državnosti Republike Hrvatske problematično. Nasilje ovde, time, ostaje prikazano kao datost, bez očiglednog motiva, konteksta i stvarnih istorijskih konsekvenci, svedeno na individualni nivo i očišćeno od pretenzija da bude alatka politike. Što, naravno, ne možemo da filmu eksplicitno zameramo, ali možemo da ukažemo na propuštenu priliku. Prosto – ovde možemo da saosećamo sa ljudima jer vidimo KAKO pate ali iz filma nećemo naučiti ZAŠTO su oni u poziciji da pate i ZAŠTO drugi ljudi žele da im nanesu bol.
A što nas onda organski dovodi i do obaveze da malo progovorimo koju i o tome da film u svojoj drugoj polovini pogotovo, dosta izraženo tone u eksploataciju. Što, da odmah naglasimo, ne mislim nužno kao negativnu kritiku. Vrlo je, uostalom, jasno, da je lik Daneta sa svojom kodifikacijom (preživeli iz para blizanaca, ,,božiji čovek" kako ga majka na početku opiše) išetao direktno iz nekog italijanskog vesterna sa kraja šezdesetih, čija su motivacija (brutalno ubistvo i silovanje najbližih), metode i konačno egzekucija bez izraženih emocija prepisane iz raznih uloga Clinta Eastwooda ili Charlesa Bronsona. Scenario ovde definitivno ima izoštreniji fokus na tome kako se lik ponaša pri infiltraciji, gde se sve radnja odvija onako kako on otkriva počinioce gnusnog dela i scena u kojoj će pogubiti poslednjeg iz hrvatske jedinice je čista, rafinirana ekspoatacija inspirisana bilo čim sa najjače '70s transverzale Dirty Harry-Mad Max-Death Wish. Radunović ovde žonglira prepozatljivim tropima, od brijanja nožem, preko pomenute poker-partije pa do postavljanja još žive žrtve u grob, sa sve Zippo upaljačem među rekvizitima i ovo je svakako ne originalan ali za ljubitelje gritty eksploatacijskog akcijaša sasvim prihvatljiv sadržaj. Dodatno, bosanski glumac Zlatan Vidović ovde možda ne preteruje sa glumom ali ima jednu antiherojsku, ubedljivu prezentnost u kadru i daje svemu pravi ukus.
(https://i.imgur.com/Bajj8io.jpg)
Znatno je slabije vođen drugi film u ovom filmu sa mučnom epopejom glavnog junaka, Ilije. Jovo Maksić, koji ga igra (koji je, kao i Vidović, igrao i u Dari iz Jasenovca, drugom ,,velikom srpskom" filmu iz recentne produkcje kojim je tretirana velika istorijska trauma iz novije istorije) je, da se razumemo, veoma dobar ovde i to da se ovaj deo priče gleda sa izvesnim zanimanjem i emotivnom investiranošću ogromnim delom ide na ime njegove izražajnog, ubedljivog rada. Ilija nije heroj, već običan čovek koji ima i svu silu mana i u nekim scenama se ponaša tako da poželite da ustanete i lupite mu šamar, ali to ga upravo i čini relatabilnim. Jovo Maksić liku daje dubinu, verovatno posežući delom i u sopstvena sećanja s obzirom da je upravo on bio jedan od Srba proteranih iz krajine 1995. godine i svoje dvadesete godine provodio kao izbeglica u državi koja je njegovu Republiku Srpsku Krajinu sagradila a onda pustila da se za jedan dan sruši odbijajući čak i da raspravlja o planu Z4. Maksić je emotivan, energičan, kredibilno uplašen ili besan i kod njega, za razliku od nekih kolega iz ansambla, nema preglumljavanja već samo ubedljive, intenzivne emocije.
Da nije tako, i da je u ulozi Ilije bio slabiji glumac, dobar deo Oluje bi bio na granici negledljivosti. Neću sad da izigravam neplaćenog konsultanta i sugerišem da je Radunoviću bio potreban iskusniji dramaturg da od brda fragmenata napravi funkcionalu celinu ili da nagađam da je finalni kat filma naprosto bio talac produkcije Telekoma Srbije koja je insistirala na ,,državotvornijem" tonu – tek vidljivo je koliko ovde ima neobičnih, nejasnih prelaza između scena, flešbekova koji štrče time što objašnjavaju stvari koje su već jasne a ne daju dublji kontekst što bi bio dobrodošao, jedne nekonzistentnosti vremena, mesta i radnje. Naravno da je film ,,velika iluzija" i da oni dobri među njima uspevaju da gledaocu zamažu oči da ne primeti ,,nemoguće" stvari koje se u njima dešavaju – Oluja ovde nije tako uspešna i pored tog odsustva šireg konteksta ona ima razne pripovedne nedostatke, sa likovima koji su višak i film ih ukloni samo zarad jeftine emotivne nagradice*, a onda sa likovima koji se pojavljuju iako su kodifikovani kao ,,mrtvi", samo da bi poslužili za još malo emotivne torture.
*sigurno ste čuli za scenu gde dete raznosi nagazna mina
Tanka je linija između drame i eksploatacije, naravno, i ovde, ponovo bez ambicije da kritikujem eksploataciju kao žanrovski izbor, svakako vredi ukazati da neki od likova služe maltene samo da bi bili mučeni i ubijani a što opet Ilijinu realističnu i, pa, zaista životnu priču čini tonalno neusklađenom sa finalnim delom filma. Oluja je u svom završnom činu zbrka signala nastala kao rezultat pretpostavljam sasvim plemenite ambicije da se prikažu različita lica rata – i njegove strahote i njegovi momenti nade – no to odsustvo šire slike i neizgrađenost nekih od likova čine da imamo osećaj kako gledamo dva sasvim različita filma, jedan sa verističkim, dobro glumljenim scenama u kojima makar ljudi mojih godina prepoznaju STVARNOST koju smo videli 1995. godine, i drugim koji je zasnovan na erzac-emociji što se signalizuje padanjem na kolenima i lelekanjem, nečim od čega su čak i ovi likovi – tako neizgrađeni i plitki kakvi su – zaslužili bolje finale.
Skoro da sam sklon da kažem da bi Oluja bolje funkcionisala kao televizijska serija – a što se uostalom i priprema za jesen – ali ja ne verujem ZAISTA u to. Oluja bi bolje funkcionisala kao (najmanje) dva zasebna filma koji bi bili očišćeni od obaveze pričanje velikog narativa – a za šta vidimo da naprosto nijedan nije bio raspoložen – jedan da bude eksploatacijski osvetnički triler a drugi ,,mali" film o Iliji koji se plaši da je izgubio sve i bori se da sačuva makar nadu. Ovako spojeni u jedan, opterećeni sa previše nedovoljno razrađenih likova i stalnim teretom (nedostajućeg) konteksta o vratu, ovi narativi su pokazali bljeskove plemenite veštine ali su i povezani nedovoljno dobrim vezivnim tkivom. No, ambiciju treba ceniti.
(https://i.imgur.com/u28GIHo.jpg)
U nekom mi je trenutku, dok sam gledao skoro dvoiposatni Spider-Man: Across the Spider-Verse pažnja malo odlutala i počeo sam da razmišljam o tome kako je prošlogodišnji Everything Everywhere All at Once (https://cvecezla.wordpress.com/2022/08/05/film-everything-everywhere-all-at-once/) dobio ne samo sedam oskara već i one najvažnije, kao što je oskar za najbolji film i režiju. I kako se verovatno ne nalazimo predaleko od istorijskog momenta u kome će animirani film o Spajdermenu legitimno moći da se nadmeće za ovu nagradu, pa možda i da je dobije. Na kraju krajeva, rezonovao je moj dokoni mozak, Spider-Man: Across the Spider-Verse je praktično isto što i Everything Everywhere All at Once ali je više kul jer je animiran, ima bolje scene akcije i preslatku bebu koja navlači masku Spajdermena pre nego što sa tatom krene u akciju.
(https://i.imgur.com/BADl2Yo.png)
Zvuči kao da se šalim, ali sa jedne strane Spider-Man: Across the Spider-Verse jeste jedan veoma impresivan film sa zanatske strane, nudeći još više energije i audiovizuelne svežine kojima je 2018. godine Spider-man: Into the Spider-Verse isprskao bioskopska platna širom sveta i ustoličio se kao najbolji ikada napravljen dugometražni film o Spajdermenu sa solidnom distancom ispred potencijalne konkurencije. Sa druge strane, nagrade Američke akademije za film i nauku, odnosno oskari, su već duže vreme u priličnoj meri signalizacija vezana za to koji filmovi i šta u tim filmovima najblje pogađa trenutni zeitgeist i ne moraju nužno oslikavati najviše umetničke domete po nekom strogo ,,akademskom" kriterijumu.
Spider-Man: Across the Spider-Verse koncepciju multiverzuma* nosi već u svom naslovu i vrlo autoritativno podseća na to da je ovaj serijal bio možda ne prvi koji se ikada igrao sa ovom koncepcijom ali jeste bio prvi koji joj je dao snažnu emotivnu dimenziju i pritom bio blokbaster razmera o kakvima Sony do tada nije mogao ni da sanja, stavljajući njihovu produkciju animiranih bioskopskih filmova u domet Diznijevih monstruoznih hitova kao što su Frozen ili Zootopia. Nagrađen oskarom za najbolji animirani film on je istovremeno vrlo lako nadrastao taj format animiranog filma i nametnuo se prosto kao kul, sada-i-ovde film koji će o superherojskim temama – od kojih je publika u 2018. godini već lagano krenula da se umara – progovoriti na svež način.
*spakovanu u tu pomalo apsurdnu polusloženicu ,,pauk-verzum" a koju su domaći distributeri u očaju i nemoći pre pet godina preveli kao ,,spajder-svet" uspevajući, impresivno, da joj daju i manje značenja od originala PLUS da ono značenja što je preostalo nakon prevoda bude pogrešno
(https://i.imgur.com/lHWJWvn.png)
Veliki uspeh Spider-man: Into the Spider-Verse je bio upravo u tome što je ,,stripovski" osnov sušerherojštne znalački i nadahnuto razvio u sasvim drugom estetskom smeru od onog što su u tom trenutku već više od decenije radili filmovi u superherojskom mejnstrimu. Kreirani često kao Halmark drame sa CGI akcionim scenama oni bolji među njima su obasipani pohvalama za svoje priče, likove i teme, ali oni slabiji su često otpisivani kao teški da se shvate ozbiljno na ime toga što im akcija ,,izgleda kao crtani film". Spider-man: Into the Spider-Verse je pokazao što STVARNO znači kreirati akciju koja ne mora ni da se pravi da se uklapa uz fiziku i biologiju stvarnog sveta, eksplodirajući u psihodeličnom vatrometu boja i izuzetno dinamične režije i uspeo da pored svoje vrtoglavo nadahnute kombinacije dvodimenzionalne i trodimenzionalne grafike i animacije ispriča i priču koja je odustala od šezdeset godina starih Spajdermen tropa i oslonila se na likove nove generacije, bliže današnjim klincima, pepoznajući status Spajdermena među ne-belačkim populacijama, prepoznajući prijemčivost ovog lika i koncepta među devojčicama, prepoznajući da je, kako sam nekako naveo i u prikazu tog filma (https://cvecezla.wordpress.com/2018/12/22/film-spider-man-into-the-spider-verse/), Spajdermen ,,deljeno iskustvo" radije nego unikatan lik koga će svojatati samo beli, muški nerdovi.
Ovo je, NARAVNO, samo proširivanje polja borbe na novi medijum nakon što su stripovi godinama i decenijama unazad radili to isto, kreirajući alternativne Spajdermene i svetove koji će uz njih ići, dajući ponekada redundantne, ponekada nadahnute varijacije na sržnu stripovsku istoriju Spajdermena. No, Spider-man: Into the Spider-Verse je uspeo da unutar jedne priče proda ne samo koncept multiverzuma već da nekoliko likova iz stripova apgrejduje u zbilja ikoničke figure sa velikog ekrana, posvećujući jednako pažnju grafičkom dizajnu njihovih kostima koliko i njihovom unutrašnjem životu, nudeći zaslepljujući spoj do tada neviđene akcije, halucinantnih prizora svakodnevnice koja to više nije kada ste svesni da napolju postoje drugi univerzumi u kojima se današnji dan odvija na nešto drugačiji način, i karakternih portreta koji su ideju o ,,Peteru Parkeru" kao default verziji Spajdermena sa poštovanjem ali bez mnogo sentimentalnosti pohranili u penziju. Bilo je veličanstveno – a to kažem kao čovek koji Spajdermena čita duže od četiri decenije i za koga će Peter Parker UVEK biti default verzija Spajdermena.
(https://i.imgur.com/s08Fywv.png)
Napraviti nastavak ovog filma a da to ne bude samo ponavljanje istih koncepata i ideja je svakako bio izazov, no, Phil Lord i Christopher Miller su ovde jasno demonstrirali da spadaju u apsolutno najjače igrače na polju animiranog filma u ovom trenutku i mada Spider-Man: Across the Spider-Verse ima potpuno drugačija imena u režiserskoj stolici ovo je vrlo sigurno dalje razmotavanje priče o multiverzumu povezanom likovima sa odličjima pauka i kreiranje korporativne franšize koja – još uvek – ima priličnu količinu duše.
Naravno, činjenica da filmska produkcija oslonjena na Marvelove stripove ima onolike decenije priča i likova da iz njih slobodno zahvata i bira ono što joj odgovara ne treba da zamagli drugu činjenicu: da Lord i Miller vrlo dobro razumeju šta mogu da iskoriste i šta će zapravo dobro raditi na velikom platnu. Na kraju krajeva i Warnerovi filmovi o DC superherojima imaju jednako dubok IP-rezervoar pa su im rezultati često upitnog kvaliteta, da ne pominjem neke od recentnijih Marvelovih filmova. Štaviše, Lorda i Millera moramo pohvaliti na ime toga kako uspevaju da uzmu i neke loše stripove, prepoznaju šta je u njima dobro i to dobro iskoriste za svoj film, uspevajući da iz prenaduvane, neusmerene celine izdvoje dragocenu, potentnu srž. I sam sam nedavno pisao o najnovijim ,,Spider-verse" stripovima Dana Slotta (https://cvecezla.wordpress.com/2023/05/31/procitani-stripovi-the-end-of-spider-verse/) ili o Ghost-Spider avanturama jedne Gwen Stacy (https://cvecezla.wordpress.com/2021/06/09/procitani-stripovi-ghost-spider/), vajkajući se da su u pitanju koncepcije i likovi koji naprosto zaslužuju bolje stripove. Spider-Man: Across the Spider-Verse ih onda na neki način osveti, stavljajući i koncepte i likove u jedan mnogo smisleniji, mnogo funkcionalniji okvir.
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I onda, kao magijom, Gewn Stacy, čiji su mi stripovi uvek bili propuštena šansa za propuštenom šansom u ovom filmu apsolutno BLISTA kao moralno središte i heroina bez oreola, glamura i prepoznavanja od strane zajednice. Gewn je ovde, naprotiv, kao i u stripovima, terminano nesrećna, skoro potpuno polomljena osoba koja nikada ne uspeva da nađe svoj mir ili makar izbalansiran odnos sa svojom okolinom a čiji je heroizam u naporu da zaštiti slabije i pomogne ljudima oko sebe tim nesebičniji i plemenitiji. Gwen je, da se razumemo, lik kome je potrebnija terapija nego lomatanje po multiverzumu ali u ovom filmu ona dobija jedan plemeniti luk iskupljenja koji na neki način spasava i te loše stripove.
Slično tome, ideja o stotinama spajder-likova iz paralelnih univerzuma koje gledamo u masovnim scenama i koji tu nešto zajednički rade na očuvanju ,,mreže života i sudbine" trudeći se da spasu multiverzum i ekonomišu sa pojedinačnim žrtvama da bi zaštitili SVE OSTALO – to je nešto od čega na sam pomen u stripovima ja malo povratim u svoja usta, toliko je to izlizan i nenadahnut scenario postalo. Ali u ovom filmu – ne. U ovom filmu ovo ne samo da ima zaprepašujuće imrpesivan vatromet vizuelnog dizajna i neverovatne animacije, nego i scenario izuzetno pazi da ne izgubi fokus i drži se centralnih likova, njihovih glavnih motiva, njihovih, jelte, emocija i sudbina.
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Ovo je, kao i prvi film, priča centrirana na Milesa Moralesa, Spajdermena koji NIJE trebalo da bude Spajdermen, dečaka koji je neka vrsta greške u multiverzalnom kanonu o Spajder-likovima i otud se Spider-Man: Across the Spider-Verse velikim delom bavi istraživanjem sindroma samozvanca ali i generalne ideje o tome da mlada osoba – Miles ima samo 15 godina u ovom filmu – mora da prepozna i razume ograničenja i sebi dostupne putanje kroz život i da je TO proces odrastanja. Radije nego, jelte, otkrivanje razmera svojih kapaciteta (i moći), eksperimentisanje sa sobom i svetom, sticanje iskustava za koja nećete unapred znati jesu li dobra ili loša i oslanjanje na bliske osobe da iz svega toga izvučete smisao i ZBILJA odrastete.
Sa ovakvom temom je pomalo i prirodno da ovaj film, iako ima glavnog negativca, zapravo njega sasvim deakcentuje, drži ga u pozadini i koristi ga više da omogući filozofski konflikt u središtu radnje nego da ga proizvede. Pritom, glavni negativac, Spot, je jedan ugodno kempi old school protivnik originalnog Spajdermena čija su motivacija i ponašanje zapravo vrlo dosledni, ali centralni konflikt o kome govorimo se zapravo pre svega tiče sistema uvedenog tako da Spajder-osobe iz različitih univerzuma rade zajedno na očuvanju multiverzuma, hijerarhiji koja unutar ovog sistema postoji, buntu protiv autoriteta koji nije samo moćan nego je na neki način i KUL.
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Ovo je sa jedne strane ulazak u standardnu matricu nastavaka superherojskih priča gde se opasnost po spoljni svet koristi samo kao uokvirujući motiv koji će dobiti poneku referencu, ali gde se stvarna borba, konflikti i stvarna radnja fokusiraju na odnose unutar zajednice supermoćnih bića i ostavljaju spoljni svet iza sebe. Sa druge, ovo je dobrodošla analiza moralnog sivila koje ide uz preinačavanje mladalačke ideje o pravednosti – ,,uz veliku moć mora ići i velika odgovornost" – koja definiše Spajdermena u organizovan, sistematičan napor u kome se gubi taj direktni kontakt sa bazom i pojavljuju se koncepti ,,cost of doing business", pa i prihvatljivih žrtava. Naravno, film nam pokazuje Milesa kao legitimno zgađenog birokratizacijom superherojskog posla, jer je mlad i idealističan, ali u jake strane mu se mora ubrojati i to da nikada antagoniste ne pretvara u puke psihopatske, autoritarne zločince koji se kriju iza parola, dopuštajući i njima da imaju nijanse i da njihova dela dolaze iz želje da se učini ono najbolje za zajednicu, a koja je prirođena svakoj Spajder-osobi.
Film se izuzetno autoritativno nameće kroz nekoliko akcionih set-pisova, prvo u njujorškom muzeju Gugenhajm, kasnije u Indiji, naposletku u neksusu Spajder-verzuma, kreirajući scene akcije koje su naprosto nedostižne za ,,live action" filmove ma koliko jak njihov CGI bio, pokazujući da je sinergija stilizacije i suspenzije neverice put u ,,stvarnu" ekstrapolaciju scena iz stripova na veliko platno. U ovim trenucima film je praktično savršen, kombinujući izvanrednu akciju, duhovite replike i savršeno kul kostime i poze likova. Posebno se mora pohvaliti korišćenje nekih alternativnih verzija Spajdermena koje DALEKO nadrastaju svoje stripovske predloške po kul-faktoru. Spider-punk Hobbieja Browna je ovde apsolutno neodoljiv dok je indijski Spajdermen, Pavitr Prabhakar toliko sjajan da nekako retroaktivno čini slabašni strip Spider-man: India star skoro dvadeset godina važnijim i lepšim nego što je ikada bio.
Vrlo su solidno urađene i ,,obične" scene civilnog života protagonista, sa Milesovim odnosom sa familijom i komšijama u Bruklinu ali i odličnom hemijom između njega i Gwen, dvoje neverovatnih a živih i toplih likova od kojih ni jedan nije trebalo da postane ,,Spajder-osoba". Utoliko, ono gde film posrće je ulazak u finale i pripremanje terena za nastavak koji sledi u Junu naredne godine.
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Nije što se Spider-Man: Across the Spider-Verse završava klifhengerom – ovo može da bude efektna dramaturška alatka – već je više problem u tome što film prelazi u spori, trilerski mod rada u finalu gde je prirodnije očekivati nekakvo razrešenje, pa onda još ide dalje u smeru alternativnih univerzuma, dajući jedan ,,sliding doors" senzibilitet završnim scenama u kojima Miles dobija uvid u to kako je njegov život mogao da izgleda da su se kockice samo malo drugačije složile. Na ovaj način Spider-Man: Across the Spider-Verse na svom kraju prelazi u jedan drugi film, drugu PRIČU kojoj su prethodna dva sata VATROMETA bila samo prolog a kul likovi poput pomenutih Browna i Prabhakara u njoj ne figurišu.
No, ako je ovo blago razočaranje, ono svakako ima šansu da bude ispravljeno trećim nastavkom koji nećemo predugo čekati. U ovom trenutku, Spider-Man: Across the Spider-Verse je impresivan, upečatljiv film za mladu i staru publiku koji ne impresionira toliko time ŠTA govori – mada su i njegove teme zrelije i relevantnije za gledaoca od većine ,,live action" superherojštine – već time KAKO to radi, nudeći pokretnu eksploziju boja, sudarajućeg dizajna (sa sve direktnim Lego Movie omažima, podsećajući na prethodnu, jelte, karijeru Millera i Lorda), strip referenci i nagradica za dugogodišnje fanove, a koja nekako, uprkos svim distrakcijama za oko i intelekt ne narušava centralnu priču o likovima koji pate, smeju se, ali imaju snagu da uvek izova navuku masku i zalete se u smeru najbliže nepravde ne bi li je ispravili. Da lik Bena Reillyja pred finale nije iskorišćen za jeftino podsmevanje (mada... videvši i šta je urađeno i sa Muguelom O'Harom, fer je reći da film nema mnogo simpatija za likove nastale devedesetih) imao bih još bolji završni utisak o Spider-Man: Across the Spider-Verse, ali i ovako, radi se o filmu koji postavlja letvicu kvaliteta i ambicije za – ne samo animiranu – superherojštinu bezobrazno visoko. Film je na Disney+ platformi dostupan već par nedelja a fizički nosači izlaze početkom Septembra pa ako ste Spajder-fen ili spajderfenovskog roda a nekako ste ovo do sada propustili, obradujte sebe. Zaslužili ste.
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Trebalo mi je dve godine da se nakanim, ali kako ove nedelje ovogodišnji Warnerov tentople superherojski film, The Flash, stiže na striming, tako sam se i ja vođen osećajem dužnosti upustio u epopeju gledanja skoro četvorosatne verzije filma Justice League čiju sam bioskopsku inačicu te sada već davne 2017. godine živopisao u prilično namrštenim tonovima (https://cvecezla.wordpress.com/2017/11/18/film-justice-league/).
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Priča o ovom filmu i njegovim granajućim sudbinama je na neki način primer paralelnih univerzuma u stvarnom životu ali i pouka o povremenoj lepoti ekscesa. Kao Batajev Prokleti Udeo uguran u kostim od lateksa, nakićen najskupljim digitalnim efektima koje je Warner mogao da plati, onda uteran u 4:3 aspekt ekrana i na kraju remasterovan u crno-beloj tehnici, Zack Snyder's Justice League je spomenik čvrstoj veri da superheroji ovaploćuju modernu mitologiju, a ne samo dobru bioskopsku zabavu, da se u njihovim pričama susreću političko, filozofsko i sakralno i da njihova publika sanja o nečem ambicioznijem, nego što je smandrljani, po diktatu studija skraćeni i ,,ozabavljeni" Justice league koji smo pre šest godina gledali u bioskopima.
Zack Snyder je u vreme snimanja Justice League bio na vrhuncu opijenosti uspehom njegove vizije filmskog DC univerzuma, gurajući smelo – pa nek crknu dušmani – svoje verzije superheroja iz kojih će se metodom rasada razgranati i individualni mitosi za likove kao što su Wonder Woman, Aquaman, The Flash, Cyborg. ,,Snyderverse" je delovao kao najprirodniji smer u kome će se Warnerove investicije u DC superheroje dalje kretati, sa Benom Affleckom koji je bio viđen za režiranje ovog filma o Betmenu i već pripremanim solo filmovima o Wonder Woman (koji je i ušao u bioskope nekoliko meseci pre zakasnelog Justice League (https://cvecezla.wordpress.com/2017/06/17/film-wonder-woman/)) i Aquamanu (https://cvecezla.wordpress.com/2019/01/03/film-aquaman/). Warner je konačno imao neku vrstu unificirane vizije o tome kuda njihov DC Extended Universe može da ide, kakvim glasom da priča i delovalo je kao da postoji kapacitet da se dosegne Marvelov u tom trenutku činilo se besprekorni nivo kvaliteta ali i uspeha na boks ofisu.
Film, kao što znamo, nikada nije bio završen u svojoj originalnoj verziji zbog smrti Snyderove usvojene ćerke Autumn, nakon čega su režiser i producentkinja Deborah Snyder, Autmunina majka, objavili da im je potrebno određeno vreme da isprocesuju ovaj tragični događaj i da se neće baviti daljom produkcijom filma.
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Warner je onda doveo Jossa Whedona, računajući ne samo da čovek koji je Marvelu napravio neprecendirane hitove u formi prva dva Avengersa može da spase nedovršenu produkciju i napravi superherojski ansambl-film kakav DC tradicija zaslužuje, već i da je vreme za neke radikalne rezove. Znamo da je Whedonu naloženo da film učini zabavnijim – po ugledu na Marvelov duh kombinovanja akcione drame i humora – i da gotova verzija mora da bude kraća od dva sata. Warner je, čini se, u tom momentu sasvim napustio ideju o superherojskim filmovima kao autorskim delima režisera sa vizijama kojom se do tada hvalio, i iz sve snage se nadao da je moguće i na ovu produkciju primeniti ,,formulu" koja je kod konkurencije palila (i žarila) već duže od pola decenije.
Propast Justice League na blagajnama ali i sahrana u kritikama su verovatno bili samo delić povoda koji je doveo do radikalnog prekomponovanja i spajanja Warnera sa Discoveryjem koje je usledilo ali su i značili da su planovi još jednom, po ko zna koji put izbrisani i dalja superherojska produkcija u ovoj kući je nastavila metodom probe i greške kroz Shazam! (https://cvecezla.wordpress.com/2020/05/25/film-shazam/), The Batman (https://cvecezla.wordpress.com/2022/04/29/film-the-batman/), Black Adam (https://cvecezla.wordpress.com/2022/12/02/film-black-adam/), abismalni drugi Wonder Woman (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/), ali i skoro šokantni uspeh The Suicide Squad (https://cvecezla.wordpress.com/2021/08/09/film-the-suicide-squad/) Jamesa Gunna i njegovo potonje postavljanje na čelo studija koji će se dalje baviti superherojima u Warnerovoj produkciji.
No, svo to vreme, na internetu je kuvao nemir, kako to na internetu već zna da kuva, i gikovski vapaj za oslobađanjem ,,Snyder Cuta" Justice League iz fiktivnog bunkera u kome se nalazio je bio sve glasniji. Ni prva ni poslednja tviter-kampanja i primer aktivizma usmerenog na najtrivijalnije ciljeve u istoriji čovečanstva rekli bi cinici, osim što je ovom prilikom kampanja urodila plodom, Zack Snyder bio raspoložen da sebi da drugu šansu a neko ili nešto u Warneru je pomislilo da je za lansiranje HBO Max zgodno imati nekakav ,,killer app", pa je na kraju Snyder dobio još 70 miliona dolara i dozvolu da sebi pusti na volju. Zamišljen i kao šestodelna televizijska serija, pa na kraju ipak pušten na HBO Max kao film od bezmalo četiri sata, Zack Snyder's Justice League je masterovan u ,,starinskom" 4:3 aspektu da bi bio ugođeniji sa ,,kreativnom vizijom Zacka Snydera" koji je negde objasnio (https://web.archive.org/web/20210319183227/https:/www.denofgeek.com/movies/zack-snyder-justice-league-4-3-aspect-ratio/)kako su superheroji ,,figure" i kako je vertikalnost njima prirođenija od widescreen aspekta danas uobičajenog za – pogotovo akcioni – bioskop. 2022. godine je urađena i crno-bela verzija, sa podnaslovom Justice is Gray i to je ona koju sam ja gledao na HBO, zabavljen destilisanim hubrisom koji emanira iz Snyderovog filma, ali i blago razočaran crno-belom tehnikom.
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Da kažem to ovako: ja VEOMA volim klasični crno-beli film i njegovo igranje na jake svetlosne kontraste, no Justice League nije sniman u crno-beloj tehnici, niti su originalne boje i osvetljenje birani da bi izgledali dobro u crno-belom masteru. Otud nikakva količina kasnijeg masteringa i trikeraja ,,u kompjuteru" ne čini ovaj film vizuelno impresivnijim od njegove kolor verzije. Jedna stvar koju možemo natuknuti je da smo ovim barem izbegli agresivno kolorno filterisanje koje je bilo zaštitni znak Snyderovih superherojskih filmova za Warner, ali to nije zaista tačno – Justice is Gray je, naprotiv, ekstremna forma kolor-filterisanja koja prosto ne izgleda tako dobro kao ,,nativni" crno-beli filmovi i gde se veliki deo specijalnih efekata pretvara u puke bljeskove.
Sa druge strane, sasvim je neosporno da je Zack Snyder's Justice League primetno bolji film od Whedonove bioskopske verzije, jedna epska priča kojoj uz sve kritike što joj je ljudski uputiti, ima viziju i ambiciju da superheroje sa zemlje kredibilno stavi nasuprot bogovima sa planete Apokolips čiji predvodnik Darkseid traži antiživotnu jednačinu kroz nebrojene galaksije i paralelne univerzume kako bi sve što postoji, u svakom univerzumu, lišio ne pukog života, nego sopstva i volje, i učinio ga ekstenzijom sebe. Darkseid u ovom filmu ne izgovara morisonovsku frazu ,,Darkseid is" koja ga postulira kao nad-biće što se poistovećuje sa samim postojanjem, ali makar u njemu vidimo Darkseida i imamo određeni uvid u širinu NJEGOVE vizije što se ne bavi samo planetom Zemljom već svim paralelnim svemirima koji postoje, postojali su i postojaće.
Jack Kirby je šezdesetih godina prošlog veka svoju DC kosmologiju bazirao na konceptu Novih Bogova, jednom kompleksnom spoju klasične mitologije i naučne fantastike, dajući DC-ju prebogatstvo materijala koji i danas biva eksploatisan u stripovima, ali je i u Warneru postojao plan da se snimi film o Novim Bogovima, barem dok je Snyderverse još uvek bio na meniju. Ova je ideja u međuvremenu tiho napuštena, a, da budemo iskreni, Snyderov tretman bogova Apokolispa nije naročito maštovit niti svedoči o nekoj game-changing perspektivi. S pravom kritikovan kao plitak CGI negativac iz bioskopske verzije filma, Steppenwolf je ovde treća violina nakon zluradog middle-managera Desaada koji služi kao Darkseidova desna ruka i samog Darkseida, gde su obojica i sami CGI-tvorevine i jednostavni ,,grandiozni" negativci nestrpljivih širokih gestova i pičšiftovanih glasova. Nema ovde naročite dubine u prikazivanju zla koje se nadvilo nad Zemljom i ostatkom multiverzuma, ali ima makar širine.
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Slično se može reći i za materijal koji se bavi pojedinačnim herojima što će na kraju postati Liga pravde (a koji termin ni jednom niko ne izgovara u ovoj verziji filma). Radeći na ovom filmu kao na semenu iz koga će nići Snyderverse, Snyder je Betmenovu regrutnu ininijativu proširio na više od polovine trajanja ovog filma, dajući nam opširne pozadinske priče za likove Cyborga, The Flasha, Aquamana i Wonder Woman. Ova poslednja je, naravno, imala svoj film pre premijere originalnog Justice League i tu je Patty Jenkins uradila značajno kvalitetniji posao – Snyder po običaju ovde demonstrira fasciniranost ,,klasičnim" i mitološkim na nivou imaginarijuma, dajući nam ostrvo ratnica obučenih u antičke oklope, sa frizurama od 300 dolara i šminkom od 150 i ulazeći u dugačke scene ozvučene melanholičnim ženskim pevanjem bez teksta, sa morem koje udara o bregove i strelama koje preleću čitava ta mora i pale vatre na dalekim ostrvima. Sve je to grandiozno ali i sasvim plitko i sugeriše da je originalni stripovski predložak zaista percipiran samo na nivou slika, pa kada pred finale filma Steppenwolf pokušava da isprovocira Wonder Woman insistirajući da je masakrirao njene Amazonke i da su one molile za milost pred njim, čini se da ni Gal Gadot, kao ni gledalac ne može u sebi da sakupi više empatije nego da promrlja jedno ,,lažove" pre nego što nastavi da se bori. Naprosto, u Snyderovoj viziji ostrvo Temiskira i društvo Amazonki ni u jednom trenutku ne deluju kao više od nekakvog plesno-pevačkog igrokaza pred antičkim kulisama.
Aquaman je takođe dobio značajno bolji prikaz društva Atlantide i političkih previranja pod morem u sopstvenom filmu par godina kasnije ali ovde Jason Momoa deluje kao mnogo uverljiviji voljni otpadnik od svog društva i energičnom glumom mnogo bolje od anemične Gadot gledaocu sugeriše da postoji čitav jedan svet koji bi ovaj voleo da upozna.
(https://i.imgur.com/cRc3QqK.jpg)
Najveći je svakako ,,back story" ovde posvećen Cyborgu, jedinom liku koji, ironično, do sada nije dobio svoj film i koji, za razliku od Aquamana i Wonder Woman nema iza sebe komplikovano mitološko nasleđe već, naprotiv, istoriju afroameričkog uzdizanja iznaad ropskog porekla i postizanja nezamislivih uspeha – pre nego što će postati osoba sa invaliditetom. Cyborg je značajno noviji lik u stripovima nego što su Aquaman i Wonder Woman i produkt je stripova sedamdesetih koji su se intenzivnije bavili socijalnim protivrečnostima i normalno je da i na filmu ima naglašeno drugačije poreklo. No, Snyder njegov lik koristi za dve bitne stavke. Prva je da napravi direktnu sponu između lika i ,,mother box" mekgafina oko kojih se vrti najveći deo radnje i tako da svemu jednu ličniju dimenziju. Za razliku od prva dva mother boxa koje su čuvale nacije (Aquamanovi Atlantiđani i Wonder Womanine Amazonke), Cyborg je praktično napravljen ili, ako hoćete, vaskrsnut korišćenjem ove tuđinske tehnologije i njegova spona sa kosmosom, kirbijevštinom i kibernetikom kao ,,prirodnom" ekstenzijom (i apoteozom) organskog je jedan od centralnih motiva filma.
Druga stavka je odnos sa ocem, koji je od njega i napravio Cyborga u pokušaju da mu spase život posle incidenta za koji Cyborg, eto sedamdesetih u punom sjaju, krivi upravo svog oca. Kompleksan odnos oca i sina ovde nije, doduše, rezervisan samo za Cyborga i ako Zack Snyder's Justice League ima jednu dominantnu temu a koja se ispituje iz više uglova to je odnos roditelja i dece, možda i naglašenije želja roditelja da budu shvaćeni i da njihov ponos decom bude prepoznat. Ovaj se obrazac ponavlja i sa Wonder Woman (znatno manje naglašeno s obzirom da ona zapravo nema scene na Temiskiri), i sa Supermenom, u elipsi i sa Betmenom i Aquamanom, a direktno je naglašen u priči o Flashu koji svog oca posećuje u zatvoru (gde ovaj, kao što sigurno znate, robija za ubistvo svoje žene koje nije počinio) i čitavu je svoju karijeru posvetio dokazivanju da mu je otac nevin. Snyder ima sedmoro žive dece i svakako bi bilo pretenciozno nagađati da li je samoubistvo Autumn uticalo na ovakav tematski fokus ovog filma, ali je tema vidljiva, prepoznatljiva i na neki način izuzetno primerena superherojima kao likovima uhvaćenim u perpetualnoj mladosti, kojima diktat prirode medijuma u kome su ponikli zabranjuje da ikada do kraja sazre i zaista nadrastu svoje roditelje (bez obzira jesu li im ti roditelji živi ili ne).
(https://i.imgur.com/4pWC4sj.jpg)
Ovde se svakako mora ukazati i na veliki jaz između glumačkih performansa. Već sam natuknuo kako Gal Gadot deluje beskrvno i neubedljivo i mislim da je ovde fer reći da ona naprosto nije neka glumica, makar ne za ulogu koja treba da nosi sa sobom težinu mitološkog ali i otrzanja mitološkim okovima. Wonder Woman iz stripa je svakako prekompleksan lik za film – pogotovo moderni blokbaster – ali Gadotova ovde posrće na najjednostavnijim zadacima uverljivog izgovaranja replika i davanja svom liku ikakvog stvarnog karaktera. Jeremy Irons kao cinični batler me je konceptualno nervirao ali njegova sočna britanska pozorišna gluma deluje kao teleportovana iz nekog značajno boljeg filma kada se stavi nasuprot Gadotovoj.
Sličan kontrast je između Rayja Fishera koji glumi Cyborga i Ezre Millera kao Flasha. Cyborg je na neki način centar ovog filma, problem i rešenje spojeni u jedno, lik koji više od svih drugih treba da nadraste balast svog nasleđa ali i neverovanja u sopstvenu ljudskost, sa pričom koja ide kroz najkompleksnije prikazivanje njegovog ,,postajanja" likom koji na kraju ulazi u Justice League. Ali Fisher liku ne daje ništa više od dimenzije ,,besnog crnog mladog čoveka" i on je sveden na jedan ton kojim govori, jedan izraz lica, jedan tip gestikulacije. Fisher je glumac sa ekstenzivnim pozorišnim radom i malo je verovatno da je ovde krivica što je Cyborg terminalno nezanimljiv lik na njemu – pa se ona mora tražiti u Snyderu i njegovoj režiji koja kao da je sav karakter ostavila za Momoinog Aquamana i Millerovog Flasha. Jer kad Miller radi ,,ono njegovo" ovaj film opasno prilazi ,,zabavnosti" a za koju bi se reklo da je Snyder želeo da je samo kontrolisano i samo svedeno pusti u svoj ,,cut". Miller je – na stranu da stavimo sve njegove privatne mane – glumac koji krade sve kadrove u koje ga puste i ovo bi se desilo čak i da njegov Barry Allen nije formatiran kao ,,razredni pajac" koji scenama dramskog gravitasa treba da ubrizga malo ,,marvelovske" humorističke kozmetike. Hoću da kažem, SADA znamo da je solo film The Flash najstrašnije pukao i kod kritike i kod publike, ali gledajući Millerovog Flasha u ovom filmu razumem što su u Warneru neki smatrali da je ovo jedini element Snyderverse mape puta koji treba da preživi masakr.
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Naravno, to nas ostavlja sa duom Superman-Batman i ovo je verovatno najparadigmatičniji element filma u pogledu Snyderovog shvatanja superherojštine i toga kuda je dalje želeo da vodi DC-jeve superherojske filmove. ,,Tužni Betmen" iz internet memova je ovde vraćen u punoj snazi, sa Affleckovim melanholičnim prilazom zadatku spasavanja sveta u koji on, vidimo to, odavno više ne veruje. Scene sa Betmenom u akciji su gotovo redundantne jer je jasno da je ovo Betmen planiranja i logistike, Betmen ekonomije ratovanja i cost of doing business procena, dakle, pre svega Betmen apstrakcije čija je motivacija da oživi preminulog Supermena ovde gonjena ne samo osećajem lične krivice za ulogu odigranu u njegovom umiranju, već i tim shvatavnjem da se borba na kraju krajeva i vodi za apstrakciju – slobodnu volju i ,,naš" način života – te da je u toj borbi na čelu tima potrebna još jedna apstrakcija. Kapitalista sa old money zaleđem i firmama koje prave oružje jeste onaj koji će isplanirati i iskoordinirati finalni otpor Darkseidu, ali taj otpor na terenu mora da vodi neko mnogo čistija obraza, neko u kostimu primarnih boja, sa licem jasno vidljivim i osmehom koji uliva nadu. Otud je Supermen toliko bitan za ovaj tim.
No, problem sa ovom – sasvim legitimnom – koncepcijom je u tome što Snyderova vizija Supermena ima – a to se vidi od prvog njegovog filma – fatalni problem. Snyder nije fasciniran Supermenovom velikodušnošću, skromnošću, empatijom i požrtvovanošću u koje je pretočio svoju snagu. Snyder je PREPADNUT od Supermenove moći i SVI njegovi filmovi su se suštinski bavili pitanjem ,,šta ako Supermen – biće sa moćima samo na korak ili dva udaljenim od božanskih – odluči da nas sve pobije?"
Otud Henry Cavill u ovom filmu ne ovaploćuje simbol nade, inspiracije i jedinstva, i njegov Supermen decidno, i uprkos celom halmarkovskom podzapletu sa Lois Lane, ljubavlju koja transcendira smrt i malom farmom u Kanzasu, NIJE dobroćudni country boy čijem širokom osmehu i ispruženoj ruci verujete na neviđeno. OVAJ Supermen je odsutan, neusredsređen na probleme koji more ovu planetu, samozaljubljeno fokusiran na svoju majku i verenicu, a onda i aristokratski nadmen u scenama kada interaguje sa drugim superherojima. Cavillov ,,celu noć sam pušio marokanski hašiš" performans iz Whewdonove verzije filma ovde ne samo da nije suštinski izmenjen novim scenama, već je čak i produbljen. Kada se Supermen u finalu pojavljuje u minut do dvanaest da spase, čini se, već izgubljenu bitku, njegova replika Steppenwolfu čiji je napad na Cyborga osujetio je jedno kozersko ,,nisam impresioniran" uz nadmen osmeh. Ovo nije Supermen koji, svestan da ceo multiverzum visi o koncu, dolazi da zaustavi čudovište što je već masakriralo Amazonke i Atlantiđane, demonstrirajući superiornost pravičnosti nad slepom, metakosmičkom pohlepom hipernarcisoidnih svemirskih fašista. Ovo je nadmeni snagator koji uleće u frku ne znajući tačno ni o čemu se tu radi, a koji je unapred spremio keči uanlajner što će ga ispaliti da ponizi protivnika a čije se lice krivi u grimasu sadističke mržnje kada se bori.
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I to je, naravno, formula za veliki deo Snyderovog rada sa likovima generalno – ovo su likovi koji poziraju nakon što zadaju snažne udarce protivniku, ovo je Betmen koji češće u ruke uzima automatsku pušku nego beterang, bezbedan u znanju da parademoni koje ubija predstavljaju nekada slobodna bića sada porobljena Darkseidovom dominantnom voljom i, nagađamo, bespovratno degradirana na podljudski nivo. Ovo je Wonder Woman čiju smo porodicu videlu masakriranu u snyderovskom slow motionu, ali čiji rad žalosti nam film neće prikazati jer je film ne vidi kao STVARAN lik već samo ikonu koja se dobro bije.
No, da ne izgubimo ovde iz vida širu sliku - Zack Snyder's Justice League je svejedno bolji film od originalnog Justice League, sa pričom koja je konzistentnija i, mada možete ne voleti Snyderovo otegnuto, vagnerijansko pripovedanje, zanimljivija i zaokruženija od onog što smo 2017. godine videli u bioskopima. Akcija je grandioznija, ekspanzivnija, likovi imaju mnogo više prostora da odigraju svoje uloge u timu i mada film ne uspeva da nas zaista ubedi da su ovi nekompatibilni ljudi postali ,,prava" Liga pravde, njihov rad na terenu je impresivan i pruža superherojskoj publici ikoničnost koja je bila gotovo sasvim odsutna iz Wheddonove verzije.
Nikako, naravno, ovo ne bih stavio u ravan sa filmovima poput Kuma, ili Sedam Samuraja na čiju je grandioznost Snyder makar prećutno išao jer, da budemo sasvim jasni, Snyder nema ni suptilnost simbolike ni rad sa likovima ni, na kraju krajeva, osećaj za to kada su scene predugačke, prespore i pre-kičaste da bi napravio nešto na toj ravni, ali ovo jeste bolja, doslednije realizovana verzija vizije koju je on uneo u Warnerove filmove po DC propertijima nakon Nolanovog prelaska u producentsku stolicu.
Finale filma je sasvim paradigmatično za sve ovo o čemu smo gore pričali, sa praktično petnaestominutnim tizerom za budućnost ovog univerzuma u kojoj Snyder uzima predložak iz videoigara i stripova vezanih za ,,Injustice" inačicu DC univerzuma, i konačno ima priliku da Supermena prikaže kao hiperfašističkog negativca na kog je aludirao još od Man of Steel, i Betmena koji radi rame uz rame sa Deathstrokeom i Jokeru doslovno kaže ,,and make no mistake, I will fucking kill you".
Ova vizija je, sasvim očigledno, bila previše za Warner i za sada ostaje kao jedan intrigantni What If..., bljesak budućnosti koju nismo doživeli, paralelnog univerzuma koji je MOGAO biti veličanstven. U međuvremenu je, rekosmo, izvršeno veliko prekomponovanje Warnerovog studija okrenutog superherojima a James Gunn i David Zaslav imaju sasvim nove vizije i sasvim nove ideje za glumce koji će tumačiti uloge ovih ikona. Kao pretposlednji trzaj Snyderversea, Zack Snyder's Justice League je zanimljiv alternativni put kojim je ovaj univerzum mogao da dalje krene, više fascinantan nego poželjan, više impresivan nego dobar film. S obzirom da je POSLEDNJI trzaj ovaploćen u filmu The Flash o kome ću pisati naredne nedelje, pitam se koliko će on biti u stanju da parira ovoj grandioznoj, ambicioznoj i na kraju prilično bizarnoj filmsko-televizisijskoj ekstravaganci koja je bila isuviše smela za ovaj univerzum.
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Meho, ti si pametan čovek i voleo bih da mi objasniš jednu stvar. Kako je Stefan Kapičić uspeo u Holivudu? Odgledah The Last Voyage of the Demeter i čovek ima jednu od glavnih uloga a nije "ruski terorista". Čovek u Srbiji nije bio ni top 50 glumaca a u Holivudu je faca.
Ima dobrog agenta/ jebao se s pravim ljudima.
Naravno, nemam pojma, ovo su teze koje možda imaju a možda nemaju smisla.
Pa, nije se nešto proslavio. " The Last Voyage of the Demeter" je horor, gde može da prođe njegov loš engleski skopčan sa lošom glumom, dakle traš. Glumi i u "Better Call Saul", gde su isto živopisni traš likovi. A najpoznatiji je po ulozi Colossusa iz Deadpoola, dakle ni lice mu se ne vidi, dakle sinhronizacija. Radio je i sinhronizacije za Call of Duty igrice. A sad je realno i mator, sve manje će dobijati uloga koje nisu sinhronizacije.
Quote from: Meho Krljic on 27-08-2023, 06:45:38
Ima dobrog agenta/ jebao se s pravim ljudima.
Naravno, nemam pojma, ovo su teze koje možda imaju a možda nemaju smisla.
Stefan je bukvalno sin Drakule, tako da je logično!
Da smo ozbiljna država, kao što nismo, verovatno bi se dalo istražiti otkud Stefanu Kapičiću "prvi milion" da ode u Holivud i živi tamo. Missim, na stranu lova koju danas ima moguće da jednostavno imao tamo uslove koji drugi nemaju, jer su se njegovi "obogatili", jelte, u komunizmu.
Moguće i da nema veze s tim, da je primenio "ženski metod" i dobro se udao. Ipak je lepuškast, a to je uglavnom dovoljan kvalitet za većinu žena da "odlepe", pa i da nema nijedan drugi kvalitet. :lol:
ali život zaista nije fer, jedan Sergej koji je 3x talentovaniji od njega nije uspeo a Stefan je. Inače, žena mu je Hrvatica, ne znam da li ona ima neke kontakte.
Sergej Trifunović? Ne znam da li je triput talenotvaniji, ali je sigurno triput kurčevitiji. A u Holivudu nema potražnje za kurčevitim Srbima.
Quote from: Truman on 28-08-2023, 00:12:17
ali život zaista nije fer, jedan Sergej koji je 3x talentovaniji od njega nije uspeo a Stefan je.
A u čemu se tačno odgleda taj 3 puta veći talenat?
Obojica bukvalno glume jednu istu ulogu gde god se pojave, tj. "glume" samog sebe.
The Flash je stigao na HBO tek nekih devet nedelja nakon svoje bioskopske premijere, ovenčan, ili je bolje reći STIGMATIZOVAN oreolom najnovijeg holivudskog visokoprofilnog neuspeha. Nije ni bio prvi ove sezone: za svaki letnji blokbaster u vidu Barbi i Openhajmera koji je industriji dao nova krila i citantne podatke o obaranju rekorda i nestašici roze boje NA GLOBALNOM NIVOU, dobili smo i po jedan ozbiljan promašaj u vidu, recimo novog Indijane Džonsa. Daleko od toga da propast na bioskopskim blagajnama znači da je film po automatizmu loš, ili, nedobog, obrnuto, da je uspešan film isto što i dobar, i The Flash sa svojih, za mene malko i prepumpanih dva sata i dvadesetak minuta trajanja zapravo nije toliko loš, koliko on dosta nseigurno dolazi na kraju niske uglavnom slabijih Warnerovih filmova vezanih za DC-jeve propertije i svedoči o ultimativnom neuspehu Snyderverse inicijative.
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Vredi svakako podsetiti da su The Batman (https://cvecezla.wordpress.com/2022/04/29/film-the-batman/)i The Suicide Squad (https://cvecezla.wordpress.com/2021/08/09/film-the-suicide-squad/) bili pristojan i dobar superherojski film, ali da su ovo decidno filmovi izmešteni iz one verzije DC univerzuma koju je Zack Snyder gradio od svog prvog filma o Supermenu. Nasuprot njima stoje Wonder Woman 1984 (https://cvecezla.wordpress.com/2021/06/02/film-wonder-woman-1984/), Black Adam (https://cvecezla.wordpress.com/2022/12/02/film-black-adam/) i Shazam! Fury of the Gods (https://cvecezla.wordpress.com/2023/06/02/film-shazam-fury-of-the-gods/), filmovi koji se kreću od očajnog preko nekonsekventnog do neobaveznog i ovo je možda i svedočanstvo Warnerove ambicije da eksperimentiše, da proba različite pristupe i vidi šta od svega toga može da zaživi.
Odgovor je, sada to znamo, ,,ništa". The Flash zakucava poslednji ekser u kovčeg Snyderversea, pre nego što ga porinu u talase zaborava i Aquaman 2, koji ga tamo čeka je sada film za koji studio, cenim, više nema nikakva očekivanja i samo je neočekivani uspeh prvog dela na blagajnama zaslužan za to što ova produkcija još nije otkazana. Warnerov superherojski univerzum je odavno krenuo novim putem u kome sve kreće iz početka a napor da se kreira niska povezanih filmova sa ikoničnim likovima što smo ih – ako ih ranije nismo poznavali – upoznali kroz Justice League (https://cvecezla.wordpress.com/2023/08/25/film-zack-snyders-justice-league-justice-is-gray/), je i zvanično napušten.
Kola su se slomila na The Flash iako je on možda i bolji film od sva tri nabrojana u pretposlednjem pasusu, a svakako nije gori od najgorih među njima, ukazujući da kada vaši planovi obuhvataju filmske serijale što traju godinama i rade ih različiti autori sa različitim timovima, uspeh ili neuspeh mogu zavisiti od gotovo bilo kojeg broja faktora, uključujući reputaciju samog glumca u narodu. Jedna od teza koju vam Google izbaci kada tragate za razlozima što je The Flash loše prošao na boks ofisu je i to da su film uglavnom gledali muškarci jer su žene masovno odbijale da ga gledaju zahvaljujući vrlo lošim stvarima koje je glavni glumac Ezra Miller uradio u poslednjih nekoliko godina a tiču se zastrašivanja i maltretiranja žena (i dece).
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Naravno da ovo možda nije tačno, ali jeste indikativno da je Warner, koji je praktično gotov Batgirl film bacio u đubre da bi dobio umanjenje poreskih obaveza, odustao od trećeg Wonder Woman, Jasonu Momoi saopštio da novih Aquamana neće biti, Dwayneu Johnsonu prestao da se javlja na telefon, a Henryju Cavillu se zahvalio na saradnji i odabrao novog glumca da igra Supermena u budućim filmovima, vrlo dosledno i nepokolebljivo išao na dovršavanje projekta The Flash koji je u nekim fazama razvojnog pakla bio najmanje deset godina, potrošivši mnogo para, centrirajući se na kenslabilnog glavnog glumca i generalno stižući na žurku u samu zoru, kada su kola hitne pomoći već krenula da odvoze glavne aktere na detoksikaciju, dok sa razglasa neko pušta Šemsu Suljaković.
Ima neke simpatične pravde u tome da je Warner rešio da The Flasha izgura u bioskope pa makar sve izgorilo – lik The Flasha je esencijalan za DC-jeve stripove ali i za savremeni superherojski strip generalno, nadilazeći po nekim elementima značaj ,,velike trojke" (Superman, Batman, Wonder Woman). Grant Morrison je u svojoj knjizi Supergods (https://cvecezla.wordpress.com/2021/08/31/knjiga-supergods-grant-morrison/) argumentovao da nije Zevs već Hermes onaj bog čiji su atributi izrodili koncepciju superheroja, a The Flash ne samo da je vidljivo baziran na Hermesu, već su neke od najbitnijih priča u DC stripovima zasnovane upravo na njegovim kapacitetima da, koristeći ,,siilu brzine" prevaziđe linearno kretanje vremena, ali i probije barijeru između dimenzija i upozna paralelne svetove. Flash of Two Worlds, epizoda 123 serijala The Flash iz 1961. godine smatra se temeljom ideje multiverzuma onako kako je DC stripovi poslednjih šezdesetak godina baštine, a i uticajni krosover Crisis on Infinite Earths iz 1985. i 1986. godine je u svom centru imao Flasha.
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Film Andyja Muschiettija, po scenariju Christine Hodson, neće vas iznenaditi, u ovom ili onom formatu citira i jedan i drugi strip, povezujući se sa DC-jevim decenijskim legatom, ali to nikako nisu i jedine spone sa istorijom koje ćete u ovom filmu videti. Štaviše, The Flash je ČITAV zasnovan na ideji legata, citata, reference i rekonstrukcije i u pitanju je okasneli postmoderni eksperiment sa budžetom od preko dvesta miliona dolara koji gotovo potone pod teretom citiranja i referenci.
Sigurno ste već negde čuli da je The Flash kao Back to the Future ali sa superherojima, ali on je mnogo više od toga – on je kao sva tri dela Back to the Future, pod presom spojena sa filmom Man of Steel Zacka Snydera, sa ubrizganim Batmanom Tima Burtona i prepričavanjem priča koje je vernija Warner/ DC publika zapravo već videla ne jednom već više puta.
Bioskopski The Flash je svakako uvek nad glavom imao hipoteku činjenice da na televiziji već deceniju postoji uspešna serija o istom junaku koja je veliki deo zapleta i motiva što će ih film koristiti – da ne pominjem likove, moći itd. – već proradila, opširnije, dublje i, zlobnici će reći (i neće baš SKROZ biti u krivu) sa boljim specijalnim efektima. No, i ideja multverzuma, paralelnih Zemalja i drugih verzija istih likova iz drugih univerzuma, sve, dakle, ono što treba da budu aduti ovog filma, već je takođe dosta solidno prorađeno u drugim Warnerovim produkcijama, od Crisis on Infinite Earths koji je u televizijskom Arrowerseu išao pre nekoliko godina, pa do animiranog filma Justice League: The Flashpoint Paradox iz 2013. godine.
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Utoliko, iako je The Flash u nekim elementima filozofski ambiciozan i zapravo pati od toga što nema dovoljno vremena da kompleksne ideje o više verzija istih likova i njihovim razlikama i sličnostima obradi dublje, a publici se ideja multiverzuma i razlika između paralelnih unverzuma mora objašnjavati kao detetu od 5 godina, on je istovremeno i kreativno dosta neambiciozan, koristeći kao osnov nekoliko starih motiva iz stripa (prevashodno Flashpoint Geoffa Johnsa iz 2011. godine iz koga uzima nekoliko ključnih scena) i onda naguravajući u scenario reference na stare Warnerove filmove u nadi da će čeklista koju publika mentalno vodi i podgurkuje se u mraku biti dovoljna kompenzacija za često nedopečenu akciju i te – čuli ste sigurno – iznenađujuće loše digitalne efekte.
Ezra Miller je, pa, energičan i, s obzirom da ga ovde imamo u velikom broju scena uduplanog na ekranu, mora se odati priznanje tamo gde je zasluženo: i Millerovo igranje naspram druge verzije sebe i efekti i montaža koji ovo omogućuju su dobri i da je The Flash bio ,,samo" Back to the Future sa superherojima, mogao je ovo biti osoben, karakteran "manji" superherojski film koji bi se pamtio.
No, The Flash, ili bar dobar deo njega, se događa unutar zapleta Snyderovog Man of Steel i tera(de)formiranja planete koju izvode kriptonske okupacione snage, s namerom da izbrišu ljudsku rasu i izgrade novi Kripton. Jedino što OVA verzija Zemlje, koju The Flash tvrdi da je stvorio menjajući prošlost na, mislio je on, sitan, nekonsekventan način, nema Supermena koji bi se invaziji suprostavio.
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,,Nauka" koja se koristi da objasni paralelne Zemlje, kauzalnost i grananje univerzuma ovde je toliko arbitrarna i odokativna da jedan od likova koristi tanjir skuvanih špageta umazanih sosom, da objasni kako to sve izgleda. Naravno, nije superherojski strip medijum naročito poznat po plauzibilnoj spekulativnoj fantastici, ali kada imate film koji dolazi u bioskope negde u sendviču između Spider-man: Across the Spider-verse (https://cvecezla.wordpress.com/2023/08/18/film-spider-man-across-the-spider-verse/)i Oppenheimera, dakle, filmova koji se bave paralelnim univerzumima i kvantnom mehanikom, možda se isplati da budete malo vredniji u kreiranju svoje naučnofantastične koncepcije. The Flash ovo shvata prilično lapidarno, ne dosežući ni nivo neke bolje epizode Zone sumraka, pa od te nedorečenosti i nedoslednosti u objašnjavanju pravila paralelnih svetova i multiverzuma dosta pati i emotivni ulog koji gledalac treba da ima. Flashova razumljiva ambicija da se vrati kroz vreme i spase majku a ocu sa imena skine ljagu vezanu za ubistvo koje nije počinio (preuzeta iz pomenutog Flashpoint) podupire se emotivnim, nostalgičnim porodičnim scenama, koje nisu loše ali nejasna pravila kauzalnosti i toga šta je paralelni univerzum a šta isti univerzum u drugom trenutku vremena dosta zamagljuje emotivni naboj filma.
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Slično tome, lik Superdevojke, kao zanimljiv odmak od Flashpoint predloška je nažalost nedovoljno razvijen. Iako je scenario u finalu koristi kao motivaciju za dalju manipulaciju vremenom kara Zor-El je – uprkos solidno prezentnoj Sashi Calle i vrlo lepom kostimu – ovde na kraju samo alatka a ne stvarni lik.
No, film donekle onda spasavaju Betmeni. Ben Affleck – koga ZAISTA nisam očekivao – sa objašnjenjem da su možda naši ožiljci ono što nas čini onim što jesmo, u kontrastu sa Michaelom Keatonom koji je optimističan i pun swashbuckling energije – to je zapravo možda najefektnija osovina ovog filma. Keatonova paralelna Zemlja je svog Betmena izgubila i film na zapravo malom prostoru odrađuje uspešan lik povratka i iskupljenja old school superheroja koji je jednom izgubio volju i svest o tome ZAŠTO navlači kostim i radi to što radi ali koji se, kada sebe vidi u ogledalu, jednom tako iskreno i zadovoljno osmehne da čitav taj superherojski posao odjedom ima (filmskog) smisla. Keaton je relaksiran, veoma zadovoljan, veoma ubedljiv kao Betmen koji zna svoj posao i nije emotivno osakaćen, već na kraju krajeva inspirisan gubitkom roditelja i, eto, ovaj film je zaista mogao da bude TO i da bude mnogo uspešniji, sa boljim fokusom na intimniji zaplet i manje gubljenja u spektaklu.
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Muschietti svakako nije štedeo na spektaklu i set-pis na početku sa spasavanjem beba koje ispadaju kroz prozore bolničkog krila što se ruši je baš onakav momenat u kome moći koje ima The Flash treba da zablistaju. No, ova scena a onda i ostatak filma po inerciji, imaju više od jednog problema. Prvi je naravno taj da je scena sa Quicksilverom iz X-men: Days of Future Past i dalje nedostižni standard na osnovu kog procenjujemo sve druge scene sa ,,speedster" herojima i koji ni jedna kasnija nije zaista dosegla. Drugi je ta potpuna odvojenost od realnosti i ulazak u džunglu šljaštećih specijalnih efekata koja sve čini naprosto nestvarnim. U filmu u kome se i radi o tome da vreme nije linearno i da posledice postupaka mogu biti promenjene ako se vratite kroz vreme onda imamo dvostruko odvajanje od realnosti i gledaočev gubitak stvarne investicije u likove i ono što im se dešava. Finalni sukob sa ponovljenim smrtima (ne samo jednog od) likova i očajanja u pokušajima da se ponovljenim povratcima kroz vreme stvari isprave bi trebalo da ima najveći stepen emotivnog gravitasa, ali apsolutna vizuelna buka u ovom delu filma, vrlo loš CGI i umetanje scena iz prastarih Warnerovih produkcija sve čine haotičnim i malo iritantnim. Čak i slatka vizuelna referenca na to kako je George Perez crtao ,,Infinite Earths" na nebu ne može da zaista spase to finale koje je prosto previše izdvojeno iz opipljivog sveta da bismo mi zaista uspeli da se tu investiramo.
I to možda i nije sasvim Muschiettijeva krivica. Njegovo finale uspeva da bude dovoljno čitko da publika razume šta se desilo, dok je mesto dešavanja UVEK moralo da bude neko mesto izvan svih univerzuma. No odabir vizuelnog dizajna za ,,hrono posudu" u kojoj se ovo događa i očajno renderovani trodimenzionalni modeli (za koje je režiser, ako su ga tačno citirali, negde izjavio da je u pitanju estetska odluka, u šta je stvarno teško poverovati) drastično vuku celu konstrukciju na dole.
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Kako sam pre par nedelja argumentovao, uspeh animiranih filmova o Spajderverzumu je velikim delom baziran upravo na ideji da gledamo stilizovan animirani prikaz nečega što simboliše ali ne pretenduje da reprezentuje realistično tu veliku borbu koju superheroji vode preko multiplih univerzuma. Animacija kao posebna grana vizuelne umetnosti ovde se pokazuje kao daleko bolji medijum za ovakve priče od ,,realističnog" filma koji pati od upitnog vizuelnog dizajna i povremeno loših efekata.
No, i sam narativ, sa potencijalom da ispriča jednu interesantnu priču o tome da sazrevanje znači život sa posledicama radije nego stalne pokušaje da se uzrok izbriše, odrađen je mnogo puta mnogo bolje od mnogo drugih autora. Back to the Future smo već pomenuli – a i ovaj film ga EKSTENZIVNO pominje više puta koristeći činjenicu da je u našem univerzumu Michael J. Fox na kraju dobio ulogu prvobitno namenjenu Ericu Stoltzu kao signal da smo u paralelnom univerzumu – no, Bradburyjeva čuvena priča A Sound of Thunder, ali i prva sezona video-igre Life is Strange iz 2015. godine su sa ovim motivima ispričale mnogo bolje narative.
Ultimativno, The Flash je haotičan u pripovedanju (Miller na momente mora da naglas izgovara objašnjenja za publiku pa njegov lik deluje kao da je poludeo), nesiguran u tonu i preterano oslonjen na citate i reference, sa neiskorišćenim (ženskim) likovima i par vrlo solidnih muških rola (Miller i Keaton pre svega). Ovo ga čini zanimljivim za gledanjem ali ga u najboljem slučaju kvalifikuje da bude okarakterisan kao ,,a beautiful mess". A to je i dalje, jelte, MESS. Ono što The Flashu ali sve više i drugim superherojskim filmovima nedostaje je, pa, uz rizik da zazvučim kao stara, ogorčena osoba, dakle – sam filmmejking. The Flash je paradigmatičan primer valjda i zato što je on maltene u svakoj svojoj sceni oslonjen na digitalne efekte, što za superheroje, kostime i moći, što za prisustvo dvojice Ezri Millera u kadru. I iz ovog filma, ali i iz dobrog dela superherojskog žanra je nekako postepeno nestalo sve ono iz klasičnog pravljenja filmova, od izbora lokacije, preko postavljanja svetla i biranja sočiva, do rešavanja kretanja kamere, reflektora, glumaca, mikrofona, dakle, sve iz domena rada EKIPE FILMMEJKERA koja od mesta, ljudi i svetla pravi filmski kadar. The Flash je u tolikoj meri pravljen ,,u kompjuteru" da njegov dodir sa stvarnim svetom ali i filmom kao umetnošću – dakle laži koja pravi stvarnost – gotovo da je potpuno iščileo. Ovo je ultimativno spektakl trodimenzionanog modelovanja, animacije i kolor korekcije koji se i dalje pretvara da je ,,stvaran" film i u tome ostavlja mnogo slabiji utisak nego što profesionalni potencijal ljudi koji su ga pravili obećava. I to je njegov veliki problem. Ali, da podsetim, ne mora da bude i naš. The Flash ima stvari koje ga spasavaju a ima i stvari koje ga sahranjuju i kao takav on je znak vremena. I kao takav je na neki način koristan.
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U pripremama za gledanje novijih filmova Waltera Hilla – jednog od najomiljenijih režisera moje mladosti – vratio sam se kroz vreme možda i malo jače nego što sam planirao i pogledao The Getaway Sama Peckinpaha, film za koji je Hill napisao scenario i koji je bio apsolutno najveći hit od svih njegovih scenarističkih pokušaja pre nego što će on početi da režira sopstvene radove. The Getaway sam prvi put gledao pre možda i tridesetpet godina i kako je ovaj film u bioskope ušao 1972. godine, malo sam se uplašio shvatajući da je prošlo više vremena između moja dva gledanja ovog filma nego što je prošlo između njegovog nastanka i mog prvog kontakta sa njim. Takođe sam se pitao hoće li kriminalistički triler koji sam upamtio po superiorno napetoj atmosferi očajničkog bekstva dvoje loših ljudi od gomile još gorih ljudi i puno izuzetnog vizuelnog stila biti i dalje impresivan pedeset i jednu godinu posle svog nastanka.
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Sam Peckinpah je, naravno, režiser koji je veoma uticao na moj ukus spram žanrovskog filma iako je prvi njegov film koji sam gledao bio The Osterman Weekend, njegov poslednji film, urađen godinu dana pred smrt, a koji ne važi za jednu od njegovih boljih kreacija. Istina je i da sam, gledajući ga u bioskopu sa dvanaestak ili trinaest godina i sam pomislio kako sam gledao bolje akcione trilere poslednjih godina, uključujući Hillove radove poput Southern Comfort – da ne pominjem da nam je naredne godine James Cameron dao Terminatora i da se onda SVE promenilo – ali da je spoj Ludlumovog političkog trilerskog zapleta i Peckinpahovog i dalje ipak prepoznatljivog vizuelnog stila imao izvesnog šarma čak i u verziji filma koju je studio, nezadovoljan njegovim originalnim katom, agresivno editovao pre puštanja u distribuciju. Peckinpahu je ovo bila mučna produkcija, kažu da on i producenti nisu više ni razgovarali do kraja snimanja a da je on od samog starta bio nezadovoljan Ludlumovim predoškom koji je smatrao preterano komplikovanim i nejasnim – a ako je za utehu, ekipa vrlo cenjenih glumaca kojom se ovaj film mogao pohvaliti tu je bila zato što se i dalje smatralo prestižnim da glumite u režiji Sama Peckinpaha, pa su Burt Lancaster, Dennis Hopper i John Hurt pristali da rade za manje novca nego obično.
Posle Ostermanovog vikenda vratio sam se starim Peckinpahovim filmovima i shvatio zašto je ovaj čovek bio tako značajan, tako uticajan, a opet na neki način i marginalizovan čak i u Novom Holivudu. Convoy je bio legendarni kamiondžijski film koji se prepričavao među dečacima iz kraja starijim nekoliko godina od mene gotovo isto onoliko koliko Hillowi Warriorsi, The Wild Bunch je bio najnasilniji vestern koji sam ikada pogledao, a Straw Dogs je sa svojim spojem nasilja i vrlo neugodnog psihološkog i seksualnog portretisanja dvoje glavnih junaka bio neka vrsta ukletog klasika.
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The Getaway je, pak, bio neka vrsta Peckinpahovog pokušaja da snimi marketabilan film. Ne toliko ,,komercijalan", jer ideja nije bila da će ovo nužno zaraditi mnogo para, već pre svega film koji će podići njegov profil kao autora u Holivudu i producentima ga predstaviti kao sposobnog autora što ume da pravi bioskopske hitove sa zvezdama, stilom i elegancijom. Psi od slame su bili izrazito kontroverzan naslov, sa čestom (i, da se razumemo, ne neutemeljenom) kritikom da je u pitanju mizogina muška fantazija – pa je film, recimo, i dugo nakon bioskopske distribucije bio zabranjen za distribuciju na kućnim formatima u Ujedinjenom kraljevstvu – a Junior Bonner koji je sledio iza njega je po rečima samog Peckinpaha bio ,,film u kome niko nije upucan i koji niko nije došao da gleda". Iako je bio u pitanju akcioni film snimljen u Arizoni sa u to vreme popularnim Steeom McQueenom u glavnoj ulozi, Junior Bonner je dobio mlake kritike i slabo prošao u distribuciji.
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A što se pokazalo i kao donekle srećna okolnost za The Getaway. Steve McQueen je znao da mu treba hit, a dopalo mu se da radi sa Peckinpahom iako je ovaj u to vreme već bio u ozbiljnoj svađi sa studijima i sve češće se mašao flaše, pa je The Getaway završio u njegovim rukama umesto da ga režira Peter Bogdanovich koga je McQueen originalno vrbovao da režira i zapravo ga uposlio da radi na scenariju. Baziran na romanu uglednog američkog pisca neo-noir krimića Jima Thompsona iz 1958. godine, skript za film je originalno i razvijan u kolaboraciji između Bogdanovicha i samog Thompsona ali je McQueen u jednom trenutku, nezadovoljan kvalitetom njihovog rada odlučio da se Thompsonu zahvali na saradnji a Bogdanovich je onda pozvao Waltera Hilla da pomogne.
Hill je do tog momenta imao samo jedan prodat scenario, za Hickey & Boggs će na kraju u bioskope ući dva meseca pre The Getaway, sa Billom Cosbyjem i samim režiserom, Robertom Culpom u glavnim ulogama. No, bivša žena Petera Bogdanovicha, montažerka Polly Platt je pročitala scenario za Hickey & Boggs i preporučila ga Peteru za saradnju, da bi nakon nekog vremena u kome su njih dvojica radili na ovom scenariju (i gde Hill kaže da je Bogdanovich planirao triler više hičkokovskog tipa) McQueen odlučio da i Bogdanovicha isključi iz jednačine pa je Hillu palo u dužnost da sve sam napiše ponovo od nule.
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Hill je, inače, u scenarističke vode ušao maltene slučajno, nakon što je već radio na nekoliko filmova kao pomoćnik režije, po sopstvenim rečima zaključujući, nakon čitanja raznih scenarija koji su se vrteli po studiju da bi on ovo i sam mogao da radi. The Getaway se smatra njegovim daleko najuspelijim scenarijom i zapravo je – uprkos lošim kritikama – bio vrlo solidan hit pa je i samom Hillu otvorio mnoga vrata nakon čega će on konačno dobiti priliku da režira svoje filmove. Peckinpah sa ovim filmom nije imao ambiciju da pravi umetnost, naprotiv, želeo je bioskopski film koji će se gledati i za koji će se navijati, a slično je želeo i McQueen. No, Peckinpahova osobena poetika nije mogla da izostane.
Nema sumnje u to da je The Getaway izvanredno režiran film koji jednu vrlo klasičnu hard boiled krimi priču na momente izdiže iznad proste žanrovske matrice i daje joj dimenziju egzistencijalističke zapitanosti kakva nije bila standard za ono vreme. Sa druge strane, ovo je i jedan vrlo tvrd akcioni triler koji na momente prelazi u čistu eksploataciju pa gledalac može da zadovolji i intelektualnu i animalnu stranu svog filmskog apetita.
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U prvom redu, The Getaway izgleda i zvuči izuzetno sveže i pola veka kasnije. Dirtektor fotografije Lucien Ballard je imao već skoro četiri decenije iskustva iza kamere pre nego što će snimiti The Getaway, sa nekoliko Peckinpahovih filmova u biografiji, uključujući Divlju hordu, a izbor lokacija u Teksasu, nakon Arizone u kojoj je sniman Junior Bonner mu je očigledno prijao. Snimljen u Todd-AO tehnologiji na trideseptetomilimetarskoj traci (a što je bila tehnologija koju je firma Todd-AO gurala u sedamdesetima i u kojoj su snimljeni i Loganov beg, Dina, pa i Konan varvarn i Pobesneli Maks), The Getaway je i dalje vizuelno raskošan film sa izuzetnim koloritom i besprekornim kadriranjem. Kada još u kadar stavite i zvezde kao što su bili McQueen i Ali MacGraw pa onda Alfredo Lettieri dobije da igra glavnog negativca, stvari ne mogu da budu ništa manje od vrlo glamurozne varijante jednog u suštini B-filma koji je Peckinaph radio da demonstrira zanat a McQueen diktirao kako će produkcija ići, uključujući kako će bioskopski kat filma izgledati. No, izbor Quincyja Jonesa za autora muzike svakako je bio inspirisan potez i dao The Getawayju nepogrešivo '70s spoj fanka i psihodelije.
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The Getaway traje duže od dva sata što je, slažemo se, mnogo za film koji ima relativno jednostavnu priču o pljački banke i bekstvu nakon pljačke u kome mnogo toga kreće po zlu, ali čitajući neke kritike koje ga optužuju da je ,,dosadan" stičem utisak da je filmu u kritičarskim očima jako naudilo to što je Peckinpah ovo radio u jednom neprikriveno plaćeničkom modusu, prepuštajući McQueenu finalne kreativne odluke. Opet, ovaj film iako ,,najamni rad" za Peckinpaha ima u sebi mnogo njegovog vrlo prepoznatljivog stila, počev od uvodnog dela koji nam prikazuje glavnog junaka, McQueenovog Cartera ,,Doca" McCoyja kako sedi u zatvoru i nada se uslovnoj slobodi što mu je komisija na kraju uskraćuje. Čitav uvodni deo filma sa prosto genijalnim kontrastiranjem prizora (i zvuka!) mehaničkih razboja na kojima osuđenici rade preko dana, sa vrlo strogom disciplinom koju sprovode naoružani čuvari sugeriše McCoyjevu žeđ za slobodom jasno i neposredno, bez potrebe da se ovde ulazi u dramske scene i prikazuje dimenzija zatvorskog nasilja i torture. Za režisera koji je u tom trenutku uveliko bio prepoznat i kritikovan za preveliko akcentovanje nasilja u svojim filmovima, Peckinpah u uvodu demonstrira izuzetnu poetiku i, završavajući McCoyjev izlazak iz zatvora savršenom, nehronološki montiranom scenom skoka u vodu – sa sve odećom – daje svom junaku meru ljudskosti koju nećemo videti maltene ni jednom do kraja filma.
Moguće je da je McQueen smatrao da njegov McCoy treba da bude više tvrdi mužjak a manje emotivni, ranjeni lav, tek prvih dvadesetak minuta filma u kojima glavni junak svojoj ženi indirektno saopšti i da je boravak u zatvoru uticao na njegovu samopercepciju sopstvene muškosti su među najfinijim Peckinpahovim filmmejkingom, i u mnogome uokviruju ostatak filma koji se smešta na relativno standardne tračnice akcionog trilera.
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No, čak i rad u međama standarda Peckinpah isporučuje sa mnogo stila. Hill u jednom kasnijem intervjuu navodi da je Peckinpah bio čovek koga je u životu zanimao samo i isključivo film (kontrastirajući ga sa Johnom Houstonom za koga veli da je ovaj voleo da vidi i sveta, da se provede, da popije i bude u društvu lepih žena) i su njegovi heroji bili Kurosawa i Bergman. The Getaway se svakako nastavlja na tradiciju američkog gangsterskog noir filma, ali Peckinpah je i u prethodnim filmovima već demonstrirao da je svestan načina na koji je francuski Nouvelle Vague preuzeo mnoge stileme američkog žanrovskog filma i onda sa njima radio nešto svoje pa je i ovaj film neka vrsta američke interpretacije francuske interpretacije američkog žanra.
Roger Ebert je u svom prikazu ovog filma, kao i mnogi drugi kritičari, sasuo lavinu prezira na zaplet i priču koji su često protivrečni i besmisleni, sa neverovatno prekomplikovanim planom za pljačku male provincijske banke a koja na kraju kreće po zlu jer su kriminalci što ih glavni baja iz senke dodeljuje McCoyju kao saradnike, pa, debili. Bo Hopkins i Al Lettieri su, vidi se to iz prve scene u kojoj ih srećemo, ljudi kojima ne biste dali da vam čuvaju nacrtanu ovcu i kada se kasnije utvrdi da je pomenuti glavni baja, (koga igra veteran vesterna, Ben Johnson) zapravo čitavu pljačku isplanirao da prikrije mahinacije u banci i da nikada nije nameravao da isplati Doca, film se razotkriva kao interpersonalna drama radije nego kao ,,čisti" heist thriller.
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I ovo je zanimljivo. Iako je, naravno, The Getaway manje ekstreman of Straw Dogs u svom tretmanu muških strahova vezanih za žensku seksualnost, i nešto manje mizogin, u njegovoj osnovi se svakako nalazi sličan motiv muškog užasavanja pred moći vagine i samovlasnošću žene. No, umesto intelektualca koji lomi okove društvenih normi i pretvara se u zver, ovde imamo tvrdog, mačo mužjaka, gangstera koji nema gotovo nikakav karaket osim te izgrađene ultramaskuline persone koja malo priča i kad priča hoće i šamarom da podvuče svoju poentu i čija je reakcija na činjenicu da njegova žena koristi seks kao sredstvo da njemu donese ne samo slobodu već i mogućnost da ponovo radi – pogotovo nakon tog momenta ranjivosti sa početka gde priča o tome da mu je zatvor ,,nešto uradio" u trenutku kada posle četiri godine on i supruga treba da imaju snošaj – praktično udžbenički primer toksične muškosti.
Naravno, teško je tvrditi da je Peckinpah zamislio film kao feminističku analizu muških strahova, pogotovo jer je, rekosmo, McQueen bio taj čija je bila poslednja u kreativnom domenu ali je moguće spekulisati da je McQueenov strejt krimi triler Peckinpah namerno špikovao svojim opsesijama.
I ovo bi verovatno bio i bolji film da su opsesije mogle i više da se istraže. No, umesto dublje analize odnosa likova McQueena i MacGraw koju kao da nam priča obećava, dobijamo zapravo podzaplet za sasvim drugom ženom koja pada na krimi-šarm lika Ala Lettierija i onda napadno kukolduje svog muža balaveći po nasilnom, nepredvidivom gangsteru što joj je doneo uzbuđenja koja njen suprug nikada ne bi mogao. Ovaj palpi sažetak kompleksnijih motiva iz Pasa od slame je gledaocima legao, verujem prilično loše, iako je Peckinpah odstupio od Hillovog scenarija i razrešenje ovog seksualnog trougla uradio za mrvu elegantnije nego što je skript predivdeo. Tu pogotovo vredi ukazati da Lettierijev lik, formatiran od samog početka kao arhinemeza za Doca McCoyja, horor-intonirani negativac što će ga pratiti kroz ceo film i biti pretnja na celom putu bekstva do Meksika koji, tradicionalno, sugeriše bezbednost, zapravo ima vrlo malu ulogu u raspletu i biva rešen vrlo neceremonijalno u finalu posle finala, skoro kao fusnota.
(https://i.imgur.com/zT3lOTS.png)
No, čak i ako nije zamislivo da je ovo Peckinpah uradio kao neku vrstu subverzije žanrovskih tropa (Hillov scenario predviđa značajno dramatičniju konfrontaciju sa Lettierijevim likom (https://docs.google.com/viewer?url=https%3A%2F%2Fwww.dropbox.com%2Fs%2F6wa8k6oau1vcvv7%2FGetaway%252C%2520The%2520%2528Undated%2529%2520-%2520Walter%2520Hill.pdf%3Fdl%3D1&hl=en)), stoji da on kroz čitav film deakcentuje sposobnost teksaških kriminalaca i da je Doc McCoy, sa svim svojim zatvorskim traumama i ćunom zabrinutom što mora da ulazi u sada već izgažen travnjak, praktično titan snalažljivosti u odnosu na ostale. Banda za čiji je račun izvedena pljačka banke je sastavljena od komičnih, zadriglih likova u kaubojskim šeširima koji očigledno ne kapiraju koncept delegiranja opasnih dužnosti profesionalcima i zapravo je McCoyjev beg posle pljačke najviše pod tenzijom jer je policija makar minimalno kompetentna i jer televizija i radio bruje o paru koji se nalazi u bekstvu sa tričetvrt miliona dolara.
Ovo Peckinpahu daje priliku da razmrda mišiće u nekoliko izuzetnih set pisova od kojih ni jedan nije morao da bude u scenariju (mada ih je Hill sve uredno ispisao) jer ne donose ništa daljem razvoju likova i njihovih odnosa, ali je svaki snimljen izvanredno, od potere za lopovom u vozu, preko bekstva u đubretarskom kamionu pa do finalne pucnjave u gradiću blizu granice gde Steve McQueen ima ultimativnu falusnu koreografiju sa pumparicom iz koje konstantno ispaljuje više patrona nego što je neophodno, raznoseći ljude, automobile i inventar, pa je onda, u jasnoj mačo fantaziji o nastavku seksa odmah posle ejakulacije, teatralno ponovo puni i nastavlja da puca. Akcija u The Getaway je snimljena izuzetno i mada film ne pokušava da ponovi katarzični završetak Divlje horde, savršeno režiranje pucnjave i jurnjave kolima je ispunilo svoju svrhu, pokazujući Peckinpaha kao kadrog da radi bioskopsku akciju kao niko drugi.
(https://i.imgur.com/bv0FiYZ.png)
Ovo je veoma pomoglo filmu koji je, uprkos kritičarskom provlačenju kroz šibu, u bioskopu prošao odlično i zaradio deset puta više od svog budžeta. No, Peckinpah je, iako sada na mestu na kome je želeo da bude, sa studijima što će mu dalje nuditi visokoprofilne poslove, produžio prilično autodestruktivnom nizvrtnom spiralom alkoholizma (uz poznatu opasku da ne može da režira ako je trezan), a zatim i kokaina koji će intenzivirati njegove i inače prisutne probleme sa mentalnim zdravljem. Dva vesterna koji su prošli loše u bioskopima se danas smatraju važnim momentima u njegovom opusu (Pat Garrett and Billy the Kid i Bring Me the Head of Alfredo Garcia), a The Killer Elite – čiji je veliki deo Peckinpah odsedeo u prikolici puštajući asistetima režije da režiraju – je, ironično bio srazmerno uspešan uprkos lošim kritikama. Peckinpah je rešio da ne prihvati ponuđene režije King Konga i Supermana, zapečaćujući na neki način sam sebi sudbinu i ratni Cross of Iron koji je sledio je bio komercijalni neuspeh, pa je posle njega sledio sasvim nekarakteristični Convoy koji je, ponovo uprkos slabim kritikama bio zapravo njegov komercijalno najuspešniji rad, da bi nekoliko godina kasnije usledio Ostermanov vikend i odlazak sa ovog sveta.
(https://i.imgur.com/nHw1GfI.png)
The Getaway je film koji se danas lako gleda i u njemu se lako uživa. Uprkos raznim problematičnim elementima, kako u ideološkom tako i u domenu same priče, ovo je film solidnih glumačkih performansa – Ali McGraw je impresivnija i od samog McQueena koji vrlo programski nema skoro nikakav emotivni raspon nakon uvodnih scena – lepo snimljen i na momente maestralno režiran i montiran. Kritike koje ga – čak i danas – opisuju kao ,,Peckinpah-lite" su, za moj ukus preoštre jer iako je ovo jedan relativno strejt neo-noir akcioni triler, iako ima dosta viškova i besmislenih momenata u zapletu, njegova atmosfera je prvorazredna a Peckinpahova sigurnost u izvođenju set pisova zavodljiva. Nisam ni malo požalio dva sata koja sam proveo uz The Getaway, srećan što nikada nisam gledao rimejk iz 1994 za koji čak i neki od glavnih glumaca smatraju da je smeće. Pa tako.
(https://i.imgur.com/AND4Jpi.png)
https://stripblog.in.rs/2023/08/30/teska-vremena-marvel/
Pa, sad... Mislim, nije to sad baš tako kako ovaj tekst opisuje. Prodaja fizičkih stripova danas nije dovoljno dobar kriterijum uspešnosti strip-izdavača s obzirom na digitalnu prodaju i programe pretplate na digitalne kataloge kao što je Marvel Unlimited. Plus, naravno, poslednjih najmanje deset godina, Marvel u dobroj meri stripove tretira kao, jelte, "inkubator IP-ja" i zna da su prave pare na filmu i strimingu itd. a koje hendluje Dizni. Warner je ovde znatno slabije koordiniran kad su u pitanju DC stripovi.
Drugo, neke temeljne činjenice na kojima ovaj tekst bazira svoje teze nisu tačne. Marvelovi stripovi se, ako gledamo liste prodaje, NE prodaju slabije od DC-jevih, naprotiv. Evo na primer liste iz proplog Septembra, iz vremena kada su i Marvelov i DC-jev godišnji company crossover bili aktuelni: https://www.comicbookrevolution.com/september-2022-single-issue-comic-book-sales-rankings/ (https://www.comicbookrevolution.com/september-2022-single-issue-comic-book-sales-rankings/)
Marvel ima šest a DC četiri naslova u top-10. Evo sad spiska za Jul 2023: https://www.comicbookrevolution.com/july-2023-single-issue-comic-book-sales-chart/ (https://www.comicbookrevolution.com/july-2023-single-issue-comic-book-sales-chart/)
Marvel ima sedam naslova u top-10 a DC tri. Marvel konzistentno prodaje više stripova od DC-ja tako da nisam siguran odakle ovaj tekst crpi svoje podatke da je "Marvel Comics, sada konstantno iza DC Comicsa na mesečnoj lestvici". I da se razumemo, tekst insistira da je došlo do opadanja prodaje nakon porasta prodaje tokom pandemije, ali to je tako za celu industriju, ne samo za Marvel, a mesečni superherojski stripovi se DANAS prodaju primetno bolje nego pre deset godina. Danas neka izdanja Betmena ili Spajdermena - kad su važni momenti u pitanju - prodaju i preko 300.000 kopija mesečne sveske (mislim, čak je i Spider-woman sa prvim brojem pre par godina podala preko trista hiljada) što je pre desetak godina bilo duplo ili trostruko više od realnih mogućnosti ovih stripova. Evo, neko je na redditu recimo ispisao koliko su kopija prodavali stripovi iz Spajdermenove One More Day priče i to je sve manje od 150.000 (https://www.reddit.com/r/comicbooks/comments/11drfkn/what_was_one_more_daybrand_new_days_impact_on/?rdt=54178). JMS-ovi Spajdermen stripovi pre toga su dobacivali do oko sto hiljada. Procena je da je aktuelni Wellsov Amazing Spider-man (koji je meni, for the record, smeće (https://cvecezla.wordpress.com/2023/06/12/procitani-stripovi-amazing-spider-man-21-26-death-of-kamala-khan/)) sa prvim brojem prodao 250.000 (https://comichron.com/blog/2022/05/27/april-2022-comics-sales-estimates-online-amazing-spider-man-tops-250k/), dakle, iako tačne cifre ne dobijamo već izvesno vreme, sasvim je fer reći da je teza o slaboj prodaji Marvelovih stripova iz ovog teksta netačna.
Što se tiče drugog dela teze, o kreativnoj krizi, eh naravno. Ali to je ne samo tako, pa... otkad ja pratim superherojske stripove (a pratim ih više od 40 godina), već je i u pitanju jedan ciklični fenomen. Autori stalno prelaze iz jedne u drugu firmu i to nije sad neki neobičan trend. A tekst se bavi nekim bizarnim primerima. Pominje se Matt Fraction koji je prestao da piše za Marvel doslovno pre deset godina a njegov "dolazak" u DC je bio pre tri godine i to sa jednim maksi serijalom od 12 epizoda (koji je bio fantastičan (https://cvecezla.wordpress.com/2020/11/12/procitani-stripovi-hawkeye-freefall-i-supermans-pal-jimmy-olsen/), don't get me wrong ali ne očekujte da vidite Fractiona na mesečnom serijalu u DC-ju - ili Marvelu - any time soon) tako da nisam siguran otkud uopšte njegovo ime u tekstu. Zdarsky jeste prešao u DC, da piše Betmena, i prošlog meseca završio Marvelovog Daredevila, ali je paralelno pisao i jedno i drugo skoro godinu dana. Aaron više nema ekskluzivni ugovor sa Marvelom i pisaće miniserijal o Betmenu za DC, ali je već najavio nove projekte za Marvel tako da je to bukvalno business as usual. Ram V je potpisao ekskluzivni ugovor za DC a pre njega Tom Taylor i tu je jelte, fer reći da su oni "prešli" iz Marvela u DC (mada su obojica pre toga radili za oba izdavača) ali sa druge strane imamo Stevea Orlanda koji je prešao iz DC-ja u Marvel i potpisao ekskluzivni ugovor a onda i Bryana Hitcha sa vrlo visokoprofilnom svađom sa DC-jem (i to oko zlosrećnog Hawkmana) i prelaskom u Marvel. I sad, sve je to zanimljivo i zabavno da se o njemu diskutuje, ali to je DOSLOVNO business as usual, to se stalno događa. Juče sam pisao o jedno recentnom Marvelovom stripu, kojim se obeležava 60 godina Avengersa (tekst će izaći negde u oktobru) i u tom tekstu se bavim činjenicom da je crtač tog stripa još osamdesetih godina prošlog veka radio ekskluzivno za DC, pa se posvađao sa urednikom oko veličine pištolja koji je trebalo da crta u Betmenu i onda prešao u Marvel da radi New Mutants i Uncanny X-Men i posle Excalibur (Milan će već znati o kome se radi). A scenarista tog stripa je doslovno preko 40 godina bio DC ekskluzivac (i zapravo predsednik kompanije pa i izdavač više godina) i pre tri godine se "penzionisao" a sada piše za Marvel. Po kriterijumu ovog teksta, jelte, DC je u krizi a Marvel im uspešno poučuje talenat.
Doduše, priznaću da mi i dalje nije jasno kako je sebi Marvel dopustio da izgubi Matta Rosenberga - unazad bar 4 godine se u svojim tekstovima iščuđavam što nikada nije dobio ekskluzivni ugovor sa njima - ali ako je to bila cena da dobijemo novi WildC.A.T.S. u DC-ju (https://cvecezla.wordpress.com/2023/03/14/procitani-stripovi-wildc-a-t-s-2022/), onda je sve u redu.
I istina je da su Tini Howard i Vita Ayala sada u DC-ju, nakon tesanja u Marvelu, ali Marvel je jednako dobio Lanzinga i Kellyja, ima Cristophera Cantwella, Ala Ewinga (na Thoru!!!), Gerryja Duggana, Rainbow Rowell, vratio im se JMS, tu je Si Spurrier (na Spajdermenu!!!), tu su onda veteranke tipa Ann Nocenti i Louise Simonson, pa isto veteran J.M. Dematteis, pa Gail Simone, pa je tu Dan Watters, kao jedan od najzanimljivijih novih britanskih autora, tu je Jed Mackay i, mislim, Marvel trenutno ima BESMISLENO jak talent pool, a ovde čak nisam pomenuo ni najjača imena.
Hoću reći, ta priča o tome da ljudi prelaze iz Marvela u DC je doslovno non-story. Ovo se događa ODUVEK i vrlo često je u pitanju samo aranžman na par godina. Evo, ko je stariji, i to dosta stariji može da se seti kako je Kirbyjev prelazak iz Marvela u DC početkom sedamdesetih bio oglašavan na sva zvona i kako je onda Kirby krenuo da radi New Gods pa na kraju nije uspeo ni da ga ljudski dovrši jer se slabo prodavao pa se onda, pravite se da ste iznenađeni, vratio u Marvel i radio Eternals koji takođe nije uspeo da ljudski dovrši jer se slabo prodavao itd. I najmanje pedeset godina ljudi koji su radili za Marvel radili su i za DC i to nije nikakva anomalija već doslovno stanje stvari u industriji.
Ključno pitanje je da li ova dva izdavača dobro upravljaju talentom koji IMAJU. I tu se naravno može spekulisati da je DC u jebenom rasulu sa krvavom sečom svojih zaposlenih poslednje dve-tri godine, ali naravno, za mene je jedini kriterijum kvalitet stripova. I svakako mislim da je Marvel poslednjih nekoliko godina umeo da iskoristi i Ala Ewinga i Donnieja Catesa i Rama V-ja, a pogotovo Kierona Gillena i Jonathana Hickmana na pravi način, dok je DC imao vrlo ozbiljne interne probleme sa svađom između Dana Didioa i ostatka firme koja se završila njegovim odlaskom i onda Williamsonovim Dark Crisis koji je, za mene, baš pravi egzemplar kreativne ispražnjenosti i odsustva vizije (https://cvecezla.wordpress.com/2023/09/11/procitani-stripovi-dark-crisis-on-infinite-earths/). Sa druge strane, u Marvelu je Gillen imao vrlo solidni AXE (https://cvecezla.wordpress.com/2022/12/28/procitani-stripovi-a-x-e-judgment-day/) a sada imamo Hickmana koji vraća Ultimate Universe u Marvel i to mi deluje kao značajno bolje postavljeno. Naravno, sve je stvar ukusa, i meni su u DC-ju mnogi aktuelni stripovi vrlo prijali (negde početkom Oktobra sledi prikaz Dark Knights of Steel, recimo), kao što mi se mnogi aktuelni Marvelovi stripovi ne dopadaju ali mislim da teza o tome da je Marvel u kreativnoj krizi koja bi bila nekako drugačija od kreativne krize direktnog konkurenta naprosto sasvim neutemeljena. Ove nedelje su izašla dva prva broja dva nova serijala koje piše Saladin Ahmed u Marvelu, jedan je tekući Daredevil (preuzet od Chipa Zdarskog), drugi je novi horor serijal o Spajdermenu. Možda ne budu dobri, ali Ahmed je čovek koji ume da napiše sjajne stripove, uparen je sa sjajnim crtačima i radi se o dva meni možda najdraža Marvelova superheroja i evo - ja sa 52 pune godine osećam uzbuđenje na pomisao da čitam ove stripove i, uprkos tome što sam onoliko blatio recimo Dark Web (https://cvecezla.wordpress.com/2023/05/03/procitani-stripovi-dark-web/) ili Smrt Kamale Kan (https://cvecezla.wordpress.com/2023/06/12/procitani-stripovi-amazing-spider-man-21-26-death-of-kamala-khan/), mislim da mi je to najvažniji kriterijum da kažem da Marvel i dalje nije u ikakvoj "stvarnoj" kreativnoj krizi u odnosu na konkurenciju.
Bullet to the Head je deset godina star film i do mene je došao sa deset godina loših kritika i snuždenih sleganja ramenima kako Walter Hill naprosto više ne pravi sjajne filmove. Iako je sama ideja o akcionom filmu sa Sylvesterom Stalloneom u režiji Waltera Hilla nešto na šta sam salivirao najveći deo svog života, pribojavao sam se ulaska u Bullet to the Head. Loše kritike, ali, više zabrinjavajuće, jedan taman, mutan vizuelni identitet na slikama, a koji me je snažno asocirao na direct to video muljavine stalno su odlagali ovu avanturu. Sada, nakon što sam živ stigao na drugu stranu mogu uz olakšanje da konstatujem: Bullet to the Head je slab film, ali slab na najbolje moguće načine. Što znači da ću ga rado pogledati još koji put kada vreme i okolnosti to dopuste.
(https://i.imgur.com/vc2dRy3.png)
Da bude jasno, aficionadosi akcionog filma su Bullet to the Head srdačno prigrlili – jedan perfektno sročen prikaz na IMDb-u daje gotovo konfučijevski prožet sažetak: ,,Kada jedem hamburger, ne očekujem biftek. Ovo je očigledno hamburger." – i prepoznali ga kao nasilan, R rejtingom ovenčani feelbad anti buddy-cop omaž gritty akcijašima sedamdesetih i osamdesetih koji je nastao ne baš slučajno ali svakako jednim pomalo haotičnim spletom okolnosti i konačno ukrstio putanje dve ikone akcionog filma koje su se poznavale duže od tri decenije, želele da rade zajedno duže od tri decenije, i na kraju se sudarile pod nikako idealnim uslovima. Ali uz želju da im makar bude lepo.
Walter Hill je vrlo eksplicitno najavio kako ovde niko ne pokušava da izmisli nešto novo i da je ideja da se napravi zabavan žanrovski film. Moj je utisak da je on ovo pomalo pravio i na autopilotu, upadajući u režisersku stolicu nakon što se Stallone zahvalio Wayneu Krameru čija je vizija za adaptaciju originalnog stripa bila značajno mračnija nego što je Sly zamislio. Stallone je na kraju pozvao Hilla kome se produkcija što ju je spremao godinu dana upravo rastočila pred očima i, pomalo očajan da nađe NEKI posao, od nekoliko ponuđenih scenarija prihvatio ovaj. Originalno strip, koga je napisao Francuz Alexis Nolent poznatiji kao Matz, a nacrtao novozelandski crtač Colin Wilson, Du plomb dans la tete, je u SAD objavljivao Dynamite 2010. godine i ovo će biti druga ekranizacija Matzovog stripa u SAD, sledeći poznatiji strip, Le Teur a koji je u SAD izlazio kao The Killer i dobio francusku ekranizaciju još 2007. godine.
(https://i.imgur.com/q6Vp9xH.png)
Istina je da Matz piše vrlo ,,kinematske" stripove sa laganim noir prelivom i puno visceralne, tvrde akcije, pa je pretakanje istih u old school akcijaše jedan praktično bogougodan posao. I sam Du plomb dans la tete počinje scenom gde dvojica plaćenih ubica u automobilu pričaju o italijanskim ručno rađenim cipelama od dve hiljade dolara, dok se voze na zadatak, prolazeći dalje kroz čitav spektar tema, kao što je da li je važnije da imaš pare ili da dobro lažeš kako bi osvojio ženu, ili zašto vlasnici pasa posmatraju svoje ljubimce kako kenjaju na ulici kao da je to nekakav zabavan prizor – sve je to jedan nimalo prikriven omaž Tarantinu i verovatno je da je Stallone želeo deo takvog vajba i u ekranizaciji. Uostalom, iako većina ovih dijaloga izostaje iz filmske verzije vožnje dvojice ubica na zadatak, Stallone je narator uokvirujućih scena ovog filma i on svom voiceoveru daje najhrapaviji, najgrgoljaviji stalloneovski sub-bas koji grlo šezdesetpetogodišnjaka može da postigne, ubacujući samo trag italijanskog naglaska, da sve začini do perfekcije.
No, Bullet to the Head je manje Tarantino a MNOGO više Walter Hill, iako je Hill ovo vrlo očigledno radio kao tezgu, ulećući u projekat kada je veliki deo produkcijskih odluka bio napravljen. Tako da je u krajnjoj instanci utisak pomalo shizofren – kao da gledate prosečan direct to video rad u kome bi umesto Stallonea verovatnije igrali braćala Lundgren ili Seagal, pa možda i Scott Adkins*, ali koji onda ima scene gde prepoznajete rukopis čoveka što je praktično izmislio moderni akcioni film i srce vam se rastopi od ljubavi.
Hill je, ako to nije kristalno jasno, veoma presudno uticao ne samo na moj ukus kada je u pitanju akcioni film već i na ukus cele generacije. Generacija mojih roditelja je odrasla gledajući vratolomije Errola Flynna i Burta Lancastera, a koje sam i ja kao dete voleo, srazmerno nevine, lepršave filmove, čija je akcija bila impresivna ali duh svetao, da bi sa usponom Sama Peckinpaha u šezdesetima klima počela osetno da se menja. Novi Holivud je dramatično protresao ideju toga šta film SVE može da bude pa je i akcioni film na Peckinpahovom tragu dobio sasvim novi preliv prljave teksture i nihilizma. Nije samo Peckinpah tu bio zaslužan, naravno, i neka vas niko ne laže da Coppolin Kum, Siegelov Prljavi Hari ali onda i Scorceseov Taksista nisu presudno oblikovali ono što će poznih sedamdesetih a zatim u osamdesetima biti oblikovano u jedan od najpropulzivnijih žanrova čije odjeke i danas imamo u produkcijama poput Fast & Furious pa i u superherojskim spektaklima.
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Hill naravno nije bio jedini koji je predvodio ovaj talas krajem sedamdesetih i Winnerov Death Wish iz 1974. godine je bio rani glasnik nove sorte brutalnog, nihilističkog, neretko desničarskog akcijaša, koja se razbuktala u osamdesetima obuhvatajući i visokoprofilne projekte poput serijala Rambo (i nastavke Death Wish), Commando i Terminator, ali i nešto naglašenije low-key radove poput serijala Missing in Action i drugih nižebudžetnih projekata Chucka Norrisa.
Hill, dakle nije bio sam ali je bio, pa – najbolji. Cameron je, možda tokom decenija imao uspešniju karijeru (i uspešnije se oslobodio klišea ,,akcionog režisera") a Michael Winner je postao mejnstrim zvezda u rodnoj Britaniji, ali između poznih sedamdesetih pa do sigurno polovine osamdesetih, ili, ako ste samo malo darežljiviji, do kasnih osamdesetih, Hill je nanizao takav spisak ikoničnih naslova kakav praktično ni jedan drugi režiser u istoriji filma ne može sebi da pripiše.
Hard Times, njegov režiserski debi iz 1975. godine (kod nas preveden kao Ulični borac, sledeći distributerski prepev na nekim teritorijama) imao je Charlesa Bronsona i Jamesa Coburna u ulogama koje su mogle reinventovati njihove karijere, The Driver iz 1978. godine je bio destilacija žanra do čistote kakvu niko sa ove strane Sama Peckinpaha (i EVENTUALNO Williama Friedkina) nije mogao ni da pomisli da napravi, a onda su naredne godne došli The Warriors i Hill je njima praktično – uz Millerovog Mad Maxa – izmislio osamdesete i lansirao čitavo sazvežđe klonova.
Neću da tvrdim da je The Warriors učinio za kulturu uličnih bandi ono što je Kum učinio za mafiju u SAD (naime, iz korena promenio samopercepciju unutar same mafije) ali jeste na velik ekran doneo prikaz geng-kulture koji će Americi (i ostatku sveta) predočiti ideju o permanentnom urbanom ratovanju što će u ogromnoj meri obeležiti ne samo kinematografiju već i unutrašnju politiku SAD u decenijama koje će doći. Nije nimalo preterano reći da su nastavci Death Wish iz osamdesetih, a svakako filmovi poput Robocop ili Cosmatosovog Cobra (još jednog Stalloneovog gritty akcijaša iz osamdesetih) gradili upravo na temeljima koje je postavio The Warriors.
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A Hill tu nije stao. The Long Riders je bio omaž Peckinpahovom vesternu, možda i pokušaj da se legitimizuju Peckinpahovi filmovi sa polovine sedamdesetih, vesterni koji su u svoje vreme bili neshvaćeni i prezreni. Southern Comfort je bio paranoidna (akciona, naravno) militaristička fantazija koju tek sa odmakom od nekoliko decenija možemo da pravilno prepoznamo kao vrlo oštru (i gorku) satiru vezanu za percepciju vijetnamskog rata u amerčkoj javnosti. I ovi filmovi su uglavnom bili komercijalno neuspešni, sa kritičarima koji su ih redom pljuvali. Ebert je Southern Comfort možda malo i zlovoljno pohvalio jer je morao da prizna da je u pitanju kvalitetan zanatski rad, ali veliki deo kritike onog doba je uglavnom žalio što Southern Comfort nije neka vrsta nastavka Boormanovog Deliverance, sa kojim je delio tematska interesovanja, sasvim ispuštajući iz vida militarističku satiru u Hillovom scenariju.
48 sati je konano bio komercijalni uspeh za Hilla, i izmislio moderni buddy cop žanr koji će poslednjih 40 godina biti besomučno imitiran, omažiran, parodiran, ali vrlo retko rađen bolje nego što je to uradio Hill, lansirajući usput filmsku karijeru Eddieja Murphyja. Vatrene ulice su onda cementirale Hillov novopronađeni mejnstrim potencijal, uzimajući uličnu akciju Warriorsa i stavljajući je u retro-pastiš izmišljenih pedesetih godina prošlog veka, sa rokenrolom, i duhovima Jamesa Deana i Marlona Branda urolanim u bajkoviti narativ u kome praktično niko ne gine i gde je Hillova poslovična akcija ostala na visokom illonivou uprkos pravljenju filma koji su mogle da gledaju i mame.
Posle Brewster's Millions, a koji je bio kompetentna komedija, Hill je uspešno napravio još jedan iskorak izvan akcionog žanra sa Crossroads, praveći neku vrstu ultimativne posvete južnjačkoj kulturi i prevashodno bluzu da bi se onda sa Extreme Prejudice vratio ekstremnom nasilju, vrlo direktno omažirajući Peckinpaha i njegove vesterne, ali u ključu koji je sa druge strane reflektovao činjenicu da je već bila druga polovina osamdesetih i da su filmovi poput Lone Wolf McQuade ili Commando otišli nekoliko koraka dalje, napuštajući Peckinpahovu poetiku i hvatajući u letu stripovske stilizacije. Red Heat je onda došao kao prirodna tačka na ovaj period Hillove karijere, sa visokoprofilnom saradnjom sa Schwarzenegerom i jasnim pokušajem da se ponovi formula kombinovanja akcije i komične hemije između likova iz 48 sati, samo sada ekstravagantnije, stilizovanije, stripovskije, uz očiglednu svest da su filmovi poput Lethal Weapon, pa i Beverly Hills Cop uzeli Hillov originalni predložak i od njega napravili komercijalne fenomene.
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Sve ovo nabrajam jer su dobri delovi Bullet to the Head očigledno Hillova prisećanja nekih svojih dobrih momenata iz najslavnijeg perioda njegovog kreativnog rada. Za početak, ovo je film snimljen na lokaciji u Nju Orleansu i predstavlja Hillov povratak mestu koje je prikazivao u Hard Times, Crossroads i Johnny Handsome (a i Southern Comfort je rađen na lokaciji u Luizijani), samo sada nakon uragana Katrina koji je devastirao ovu vibrantnu, vitalnu zajednicu.
I Hillov prikaz Nju Orleansa koji se oporavlja od katastrofe je pun ljubavi sa kritičnim delom zapleta koji se bavi rekonstrukcijom grada – a u koju su, naravno, upleteni biznismeni lišeni skrupula – ali pre svega sa vrlo hillovski spretnim scenama što organski, besprekorno vešto spajaju muziku, atmosferu, VAJB grada i njegovih zajednica sa elementima tog zapleta.
Sam zaplet nije preterano složen i bavi se plaćenim ubicom koga zovu Jimmy Bobo, što nakon rutinskog posla ne samo da gubi partnera i ne dobija ostatak novca nego shvata da je i sam na meti naručioca posla čiji identitet ne zna. Jedina svetla tačka je ovde policajac Taylor Kwon, a koji dolazi iz DC-ja putem istrage o bivšem partneru što je krenuo putem mita i korupcije i koji, shvatajući da je policija u Nju Orleansu dobrim delom u kandžama organizovanog kriminala, pravi neugodni savez sa okorelim kriminalcem, shvatajući da imaju zajednički interes i zajedničke neprijatelje.
Zvuči kao idealan temelj za gritty, prljavi akcijaš sa dva nekompatibilna lika koji će uz mnogo mrštenja i psovki naći način da ipak plodno sarađuju do kraja filma i UPRAVO to i dobijamo, sa Slyjem i Sungom Kangom (danas značajno aktivnijim na televiziji, ali i sa rolom u više Fast & Furious filmova) koji praktično ubijaju sve na svom putu uz lanac ishrane prema čoveku na vrhu kriminalne piramide u Nju Orleansu, ne obazirući se mnogo na pravilo policijske službe, ali ni na neku bazičnu logiku dramaturgije.
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Hill je i sam rekao da mu je ambicija bila da omažira akcijaše sedamdesetih i osamdesetih i Bullet to the Head se mnogo više bazira na likovima i njihovoj hemiji nego na pametno povezanim nitima zapleta i plauzibilnom prelasku iz jednog set pisa u drugi. Kada u jednom momentu Slyjev lik, Jimmy Bobo, nakon što su on i Kwon digli u vazduh čitavo odred plaćenika poslatih da ih zaustave kaže Kwonu da zna kako se ovaj sigurno pita ZAŠTO Bobo kuću u kojoj živi i spava drži celu miniranu sve vreme, ovo deluje kao gotovo neobično sitničav momenat u scenariju koji se do tada nije bavio takvim detaljima. Bobo i Kwon su do ovog momenta u prostore u kojima se nalaze opasni gangsteri, namazani, korumpirani perači novca i beskrupulozni investitori ušetavali bez skoro ikakve logističke pripreme, isključivo na kurčenje, i fim se nije bavio sitnicama kao što su kako su prošli obezbeđenje i kako to da ljudi što plaćenim ubicama keširaju po pola cigle dolara za posao, u turskom kupatilu dobijaju masažu a da u krugu od pola kilometra nemaju baš ni jednog telohranitelja. Čak i u finalu filma, kada Sly mora da uđe u zgradu namenjenu rušenju na čijem je vrhu glavni negativac koji kao taoca drži njemu jednu blisku osobu, vidimo scenu u kojoj ga telohranitelji prvo temeljito prepipaju da vide da ne nosi pištolj sa sobom, samo da bi kad nekoliko minuta kasnije krene pičvajz, Stallone počeo, valjda iz telesnih šupljina, da vadi USB stikove, detonatore eksploziva, skakavce...
No, makar mu Kwon na ovo odgovori da se UOPŠTE ne pita jer zna da kao i svi kriminalci i Jimmy Bobo, prosto, ima paranoidnu ličnost. ,,You had me at 'Fuck You'" , kaže mu Slyjev lik u jednoj malo kasnijoj dijaloškoj razmeni i ovo je bukvalno sažetak celog svetonazora filma: ili ćete od prve scene u kojoj Stallone raznese glavu tipu koji je Kwonu pretio pištoljem, biti u navijačkom raspoloženju i skakati sa stolice svaki put kad neko proleti kroz staklo ili dobije nož u bubrege, i potuno će vas boleti kurac za rupu u zapletu veličine trospratnice u kojoj je presudni mekgafin oko koga se svi jure USB stik sa osetljivim podacima koji nije enkriptovan i jasno je da su naši odavno mogli da ga iskopiraju, ili će vam film od početka do kraja biti smeće koje se dramaturški raspada kad god treba da promeni scenu (a često i u samim scenama) i čiji likovi, pa, iz sve snage pokušavaju da ostvare tu željenu hemiju, ali im to zapravo ne ide od ruke.
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Najproblematičniji element filma je apsolutno to da mnoge scene u kojima Sly i Kang imaju dinamične dijaloške razmene, jedan drugom po ko zna koji put drže uperene pištolje u čelo i mošnice im rade na overdrajvu da bi proizvele oblak testosterona, naprosto ne uspevaju da se prizemlje kako treba. Hill ovde ide na replikaciju onog što su Nolte i Murphy imali u 48 sati ili, ako ne može baš TO da dobije, onda na makar Belushijev i Arnoldov odnos iz Red Heat, ali utisak je da je ovde Stallone imao u glavi jedan film a svi ostali neki drugi i da se ta dva filma ne susretnu dovoljno često u ovakvim scenama. Stallone je, naravno, DOKTORIRAO te ultramačoidne replike ledenog izraza lica i ravne intonacije, gde se izgovaraju rečenice od kojih će reperi kasnije napraviti čitave epove, ali one često nemaju dovoljno veze sa dijalogom napisanim za Kanga, neugodno se uklapaju u dinamiku scene, i ne služe kao adekvatan pančlajn za scenu što treba da označi pomeranje na sledeći plato odnosa za dvojicu glavnih likova.
Moguće je i da je Stallone bio malko nadrkan što je nakon Thomasa Janea koji je originalno trebalo da igra ulogu koju je dobio Kang, Joel Silver insistirao da filmu treba malko ,,diverziteta" pa doveo glumca azijskog porekla u kast protivno željama najveće zvezde. I sam Hill je u intervjuima nimalo prikriveno rekao da se ovakvi filmovi sada snimaju za strano tržište (odnosno za Kinu) jer ih ovde ionako niko neće gledati* i da je ovo neophodni ustupak ekonomskoj realnosti. A što nikako nije moglo biti preterano podsticajno za samog Kanga, pogotovo uz skript koji je prepun rasističkih mikroagresija od strane Stalloneovog lika koje treba da budu, jelte, duhovite i pokaži Jimmyja Boboa koji je old school driipčina što svakog Azijata zove ,,Konfučije", tvrdi da ne znaju da voze, i u jednoj sceni svog (slučajnog) partnera nazove samurajem. Kada Kwon kaže da je on korejskog porekla, da su samuraji deo japanske kulture i da bi to bilo kao da on kaže da mu je omiljena italijanska hrana meksički tako, Jimmy Bobo na ovo samo kaže da to poređenje nema nikakvog smisla i to je kraj scene.
*i skoro da i nije, Bullet to the Head je u SAD zaradio manje od polovine svog budžeta od 55 miliona dolara
Naprosto, nema ničeg goreg kada se vidi da i režiser, pa i drugi glumac daju sve od sebe da se hemija napravi, ali kada zvezda filma to sabotira i pretvara sve u sopstveni šou – pa je rezultat isforsiran i nikada dosegnut pastiš 48 sati.
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I nema ničeg goreg u ovom filmu od toga a što je dobra vest jer ovo jeste najgori deo filma i jeste dosta nesrećno što jedna esencijalna žanrovska dimenzija ovde ne funkcioniše – ali je makar ostalo u filmu solidno a na momente ume da bude i odlično.
Za početak, ovo traje jedva sat i po, kreće se brzim tempom i poštuje vreme gledaoca. Svi, od režisera, preko montažera do producenata shvataju da mi nismo ovde da bi gledali glumce kako filozofiraju i diskutuju, još manje kako nemo gledaju u daljinu i Hill vrlo programski beži od bilo kakve tarantinovštine koja je sigurno delovala kao zavodljiva alatka. Čak i tako, ovde ima nekoliko ,,mood" scena karakterističnih za direct to video produkcije, znate već, noćne panorame grada snimljene dronom, pa puštene ubrzano, ali njih je malo i lako se zaborave kada Hill uzme da radi ono njegovo. A on to uzme na više mesta.
Drugo – kamera je mogla da potpuno upropasti ovaj film a nije. Hill veli da je očekivao da će produkcija od njega tražiti da se ovo radi digitalno kako bi se uštedele pare, no onda je sve ipak snimljeno na filmu – ali je direktor fotografije bio srazmerno neiskusni Lloyd Ahern II, kome je ovo bila prva bioskopska produkcija i koji zapravo osim ovog ima samo još jedan biopskopski film u biografiji (i to isto Hillov, Dead for a Dollar iz prošle godine) a sve ostalo mu je televizijski rad. Ahernov stil je PREOPASNO blizu već pomenute direct to video muljavine, sa manjkom osvetljenja i naglaskom na atmosferi na uštrb, jelte, pripovedanja ali ovde je već posle par minuta jasno da je u režiserskoj stolici sedelo jedno vanserijsko ime.
Kada Hill režira akciju, to je i dalje uzbudjivo. Sly je i sa 65 godina u ovom filmu (i već brutalno deformisan od anabolika) jedno ikoničko prisustvo i scene akcije su mu ubedljive, dinamične, jako FIZIČKE. Kako sa druge strane stoji Jason Momoa, kao mladi, napaljeni plaćeni ubica željan dokazivanja, konfrontacija dve hipemaskuline figure – posebno u finalu gde se, nećete se iznenaditi, njih dvojica bore vatrogasnim sekirama – ima sve odlike ikoničkog sukoba kakve pamtimo iz akcijaša osamdesetih. Homoerotski tonovi se podrazumevaju, pogotovo sa Kangovim likom koji je kodiran ,,milenijalski", u kombinaciji azijskog porekla, hi-tech ekspertize i poštovanja zakona, a čime biva jedini koji će osvojiti žensko srce u ovoj priči.
Ova bitka sekirama na kraju filma je neka vrsta omaža borbe macolama sa kraja Vatrenih ulica i samo je jedan od brojnih momenata u kojima Hill omažira samog sebe. Prva borba između Slyja i Momoe se, uostalom, odvija u javnom toaletu i ako istog trenutka ne pomislite na Warriorse, šta ste, ZABOGA gledali u Warriorsima? No, mnogo važnije, Hill pored ovih direktnih prepisivanja od samog sebe, kojih je film pun, i dalje vrhunski vlada pripovedanjem i scene su često kombinacija dve radnje na dva odvojena mesta a koje teku perfektno jedna uz drugu uz dinamiku i tempo montaže kakav naprosto ne viđate u današnjem Holivudu, a niste ga viđali ni 2012. godine.
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I zaista ne mislim da ovde sad treba da lamentiram nad tim da se filmovi danas snimaju kroz testiranja na fokus grupama i da se scene snimaju i montiraju tako da može da ih shvati i isprati i poslednji ADHDom pogođeni twinejdžer koji film gleda istovremeno sa skrolovanjem po tiktoku – mnenja sam da danas imamo koliko nam duša ište primera kinematografske izvrsnosti samo ih treba biti svestan – ali veliko je zadovoljstvo gledati Hilla kako besprekorno postavlja scene, prostorno i vremenski, kako nam ne gubi vreme beskrajnim saspens-momentima nego odmah prelazi u akciju i hvata za gušu. Akcija je ovde R rejtovana, ali nije pornografska, ljudi proleću kroz stakla i drvena vrata, padaju sa visokih pozicija i dobijaju ozbiljne aperkate po njonji i kaskaderi časno i pošteno zarađuju svoju platu. Hill čak i tako izlizane lokacije kao što je pomenuta konstrukcija namenjena rušenju u kojoj se dešava finale filma uspeva da perfektno slika i umontira tako da ovaj prostor dobije jedan simbolički značaj i da Slyjevo napeto uspinjanje a onda nasilno silaženje deluju kao inicijantsko iskustvo.
Hoću reći – Hill uspeva da bude staromodan i istovremeno isped drugih režisera koji rade slične gritty akcijaše, kreirajući niskobudžetni look ali vrhunski feel i dajući nam destilat '80s akcije od koga srce zaista zalupa snažnije.
Staromodnost filma je u nekim elementima i simpatično smešna – ovo je produkcija rađena 2012. godine u kojoj je policajac sa pametnim telefonom (a koji više liči na Blekberi nego na ajfon) anomalija i gde je jedan od karakternih momenata upravo to kada Slyjev lik, doduše namršteno mora sebi da prizna da ti klinci sa tim njihovim internetom i smartfounovima gde sve podatke dobiju na izvolte posle par sekundi, zaista poseduju budućnost. A da je on samo plaćeni ubica koji pije tako egzotičan viski da u kafane mora da nosi sopstvenu flašu i namrgođenim barmenima daje 20 dolara samo da mu iznajme čašu iz koje će ga piti. Film se ne bavi eksplicitno tom idejom da je Slyjev lik poslednji od stare garde, ali implicitno, pogotovo s obzirom na ekipu koja ga je pravila, ima i tu dimenziju i, kada se Momoin lik u minut do dvanaest otkrije kao i dalje psihopata ali psihopata sa idealima, ovo je iskorak za Hilla iz osamdesetih čiji su negativci gotovo uniformno bili ČISTE psihopate bez kapaciteta za empatiju. Za svaki slučaj, Sly ga ipak masakrira onako kako očekujete, koristeći upravo ono oružje koje očekujete. Jer ste gledali sve te filmove iz osamdesetih, dakako.
Bullet to the Head je pun simpatičnih retro momenata i mada je pun i, rekosmo, blago rasističkih pošalica koje nisu najsjajnije ostarile, makar glavni ženski lik ne predstavlja kao predmet lišen ikakve volje ili karaktera. Da bude jasno, Bullet to the Head nije ni blizu toga da prođe Behdelin test – film ima samo dva ženska lika i one nikada ne dele scenu, kamoli pričaju išta što nije vezano za muške protagoniste, ali Sarah Shahi uspeva da gritty tattoo umetnici iz Nju Orleansa da taman koliko treba tvrdoće i senzualnosti da bude dostojanstven apdejt tipskih likova iz osamdesetih, sa dovoljno delatne suverenosti da ne bude samo materijal za masturbaciju. No, feminizam ćete ipak morati da potražite negde drugde.
Kvalifikacija ,,toliko je loše da je dobro" je često pogrešno primenjivana na Hilla, posebno u pre-48 sati periodu dok establišment još nije prepoznavao njegov genij i samo je istorijska sreća da je ovaj režiser i pored čestih komercijalnih flopova uspeo da svoje najbolje filmove napravi, pošalje u svet i njima utiče na generacije autora koji će kasnije doći i doneti, naravno, i mnogo lošeg, ali i mnogo dobrog. Bullet to the Head je najbliže ovom opisu od svih filmova Waltera Hilla koje sam do sada gledao iako ovo nije ZAISTA loš film. Njemu nedostaje pomenute hemije tamo gde mu je najpotrebnija i da me stavite na muke ne bih umeo da kažem gde je ulupano 55 miliona dolara koliko je zvanično koštao da se napravi – ali on ima Nju Orleans kakav drugi režiseri naprosto ne umeju da snime, ima Christiana Slatera i Adewalea Akinnuoye-Agbajea kao white collar negativce sa mnogo karaktera i šarma, ima mlađeg i harizmatičnog Jasona Momou i mlađeg Sung-Hoa Kanga koji glumi iz sve snage i, iako je sasvim verovatno da je baš on sabotirao tamo gde je bilo najkritičnije, ima Stallonea koji je, pa, i dalje onaj Sly kome smo poklonili srce pre toliko decenija. Svakako, ovo je više Sly iz Kobre ili drugog i trećeg Ramba, Sly iz Rockyja 3 i 4 pre nego Sly iz Paklene četvrti, prvog Rockyja ili F.I.S.T. ali dajte da se ne pretvaramo da bismo mu oprostili.
No, Sly nije jedino što valja u Bullet to the Head i sada sam, osokoljen pozitivnom emocijom koju je u meni ovaj film izazvao, spreman da gledam dva preostala Hillova filma snimljena u poslednjoj deceniji. Utisci uskoro na istom mestu!
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Zvučaće kao sitnica, možda i ekscentričnost ali jedna od stvari koje su mi neizmerno prijale u vezi ovogodišnjeg, petog nastavka filmskog serijala o najkuljem od svih holivudskih arheologa, Indiana Jones and the Dial of Destiny* je to što su u njemu nacisti nedvosmisleno, apsolutno i bez ostatka negativci koje je moralno poželjno, štaviše HIGIJENSKI ukloniti iz političkog (i, uh, biološkog) života prvim sredstvom koje vam padne pod ruku. Nacisti ovde dobijaju metke i pesnice u glavu, mitraljesku municiju i goleme antičke strele u telo, bivaju izbacivani iz aviona, gurani pod točkove kamiona, a njihovi motorcikli usmeravani da se sudare sa drvećem. U jednoj posebno hororičnoj sceni će mlađi tinejdžerski dečak, pripadnik jedne od rasa koje bi nacisti smatrali niščim i time kandidovanim za brisanje iz genetskog kataloga, spretno sebe osloboditi iz lisica a onda nacističkog vojnika koji ga progoni vezati istima za rešetku, nekoliko metara ispod površine vode i ostaviti ga tamo da se udavi. I niko ni jednom do kraja filma neće pomenuti kako je, eto, ovim dečak postao svirepi ubica, izgubio simboličku nevinost i da će mu trebati godine terapije da se vrati u nekakvo stanje socijalne funkcionalnosti. Naravno da u stvarnom životu ljudske političke preference i stavove vredi tretirati sa više nijansi pa čak i neko ko se samoidentifikuje kao nacista ne treba baš na licu mesta da bude ubijen** ali je izuzetno osvežavajuće kada je izuzetno skupi holivudski letnji blokbaster u 2023. godini ima tako jasnu, nepokolebljivu ideološku opredeljenost. Glavni junak će u više navrata, kada ga budu pitali za antagonistu, cenjenog američkog naučnika nemačkog porekla koji je pomogao NASA-inom programu Apolo da dobaci čoveka do Meseca, prosto, i sa gađenjem reći ,,He's a nazi".
*naš prevodilac je ovde digao ruke i naprosto ga preveo kao Indijana Džons i artefakt sudbine, verovatno posežući za flašom i smrknuto se sećajući kako je povodom prvog filma početkom osamdesetih u naš jezik morala biti uvedena reč ,,otimači" da bi se prokletinja ikako mogla staviti na plakat
**ali treba da mu se pomogne da napusti ekstremističko intelektualno okruženje u kome se zatekao i da se vrati u nekakvu normalu
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Nije to, naravno, dovoljno da Indiana Jones and the Dial of Destiny bude automatski odličan film ali jeste ugodno da u osetljivom istorijskom trenutku u kome se nalazimo, gde je nekadašnji predsednik SAD (i budući kandidat Repulikanaca za isto radno mesto, po svemu sudeći) pre svega par godina grupu nacista koja je tokom svojih demonstracija izazvala i ljudske žrtve, spojio sa ljudima koji su protestovali PROTIV njihovih demonstracija u izjavi da ,,na obe strane ima finog sveta", i gde, tokom proteklih nekoliko nedelja Florida gleda nacističke marševe sa sve zastavama okićenim kukastim krstovima po svojim javnim prostorima, makar neke stvari ostaju dosledne. Indijana Džons je možda u ovom filmu profesor arheologije u penziji ali Indijana Džons zna ko su nacisti i zašto je bogougodno bacati ih iz aviona u letu.
Steven Spielberg je nakon Šindlerove liste prestao da naciste smatra pogodnim instant-negativcima za filmove o Indijanu Džonsu navodeći da je možda malo neukusno da se jedna ideologija (i dokazana praksa) skoro čistog zla svodi na crtanofilmovsku dimenziju faca pogodnih za bokserski trening, pa su oni i odsustvovali iz njegovo narednog (i poslednjeg) filma o Indijani Džonsu, onog o kristalnoj lobanji, koji je toliko loše prošao kod kritike da je Spielbergu praktično ugasio apetit za narednim nastavcima. No, kada je ugovor sa Paramountom potpisan tamo negde krajem sedamdesetih, za Otimače izgubljenog kovčega, on je glasio na pet filmova. Nismo tada mogli da znamo da će biti potrebne čak četrdesetdve godine da se ova ugovorena obaveza i ispuni, niti da će peti film producirati Dizni a režirati neko drugi, a ne Spielberg, and yet here we are. Harrison Ford sada svakako ima jednu od retkih distinkcija da je glumio u nastavcima čak tri velika serijala osamdesetih godina i da su njegovi likovi u sva tri kao jednu od svojih definišućih karakteristika imali to da su sada stari, pomalo džangrizavi ali svakako umorni od konstantne halabuke i jurnjave. Ford, naravno, ne misli bogznakako mnogo pozitivno o ovim svojim ulogama, pa se od Star Warsa oprostio posle prvog filma najnovije trilogije, Blade Runneru je takođe rekao zbogom, a Indiana Jones and the Dial of Destiny će, uprkos najavama producenata da se razmišlja o daljim naslovima u franšizi, svakako biti poslednji film u kome on igra titularnog antiheroja. Na kraju krajeva, čovek ima osamdeset i jednu godinu i nula potrebe da se sa bilo kim oko čega preganja. ,,Kada ja odem, i Indi odlazi", rekao je Ford, komentarišući moguće dalje filmove u serijalu i istina je i da su pokušaji da ga se zameni do sada bili vrlo neuspešni, do te, čak, mere da je lik Shie Labeoufa iz prethodnog filma, Indijev i Marionin sin, Mutt Williams u novom filmu izbrisan, uz objašnjenje da se dobrovoljno prijavio za ratovanje u Vijetnamu i tamo poginuo. Ovo je dalje dovelo do rastakanja Marioninog i Indijaninog braka pa je profesor Džons na početku filma jedan usamljeni, nadrndani profesor arheologije koji svoj poslednji dan na poslu pred penziju provodi mršteći se na studente i jedva trpeći kolege koji mu tapšu i poklanjaju sat za uspomenu na godine službe, a koji će on utrapiti prvom beskućniku kada izađe na ulicu.
Naravno, nije ovo SAM početak filma. Kada je rađen prvi film u serijalu, uspostavljena je i matrica po kojoj će dalje svi naredni biti pravljeni. George Lucas je želeo avanturističku, swashbuckling pustolovinu na tragu filmskih serijala iz tridesetih i četrdesetih koje je rado gledao kao klinac, a Spielberg je želeo džemsbondovsku set-pisovima bogatu kombinaciju akcije i karakternog šarma, samo u lo-tech okruženju klasične palp ere. Otud svi filmovi o Indijani Džonsu počinju slično Bond filmovima in medisa res, spuštajući protagonistu, bez mnogo smaranja oko konteksta ili motivacija, u proključalo grotlo trilerske akcije gde će on demonstrirati svoje sposobnosti kroz tipično ekstravagantno osmišljenu, kompleksnu scenu u kojoj su ulozi i akciona dinamika visoki onoliko koliko bi bili u samom finalu nekog drugog filma.
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U slučaju Indiana Jones and the Dial of Destiny imamo set pis smešten u 1944. godinu, prvo u stari zamak a onda u voz gde se Indijana Džons, maskiran u SS oficira nekoliko puta nalazi na korak od sigurne smrti, gde nacisti i pošteni anglosaksonski arheolozi vode krvavu borbu, i dosta umešno koordiniranu igru mačke i miša u natrpanom vozu, oko vrha koplja kojim je proboden Isus Hrist razapet na krstu i gde relativno mladoliki Indi ima prvi susret sa nacističkim naučnikom koji će mu, nagađate, zagorčavati život do kraja filma.
Glavna diferencija specifika ovog filma je što će vremenski skok između ove scene i ostatka radnje biti mnogo veći nego što je tipično slučaj u filmovima o Indijani Džonsu, smeštajući najveći deo akcije u 1969. godinu, sa početkom na dan nakon što su Neil Armstrong i Buzz Aldrin stupili na površinu Meseca, usred protesta protiv Vijetnamskog rata i mračnih spletki koje CIA pravi zajedno sa nacistima sada kooptiranim u američki svemirski program. Filmovi o Indijani Džonsu nikada nisu imali neku veliku ambiciju subverzivnosti ali jesu imali zdravu skepsu spram sistema i američke administracije pa se njena moralna neizdiferenciranost i neosetljivost na ideološke ekstreme ovde stavljaju ako ne u prvi plan a ono svakako u temelj narativa. Istina je da do kraja vidimo da nacisti u američkom svemirskom programu rade najviše na svoju ruku i ne haju ni za propise ni za želje američkog predsednika ali je istina i da imaju na raspolaganju državne resurse sve dok SAMI ne odluče da preseku veze sa državom. S obzirom na drugi veliki set pis ovog filma, smešten usred parade u Njujorku, organizovane povodom spuštanja na Mesec i prepune patriotskih simbola, dok u pozadini gledamo naciste u državnoj službi kako kidnapuju i ubijaju, ima ovde taman dovoljno ideološke tenzije da čovek počne ozbiljno da navija za nadrkanog matorog arheologa na konju, čak i ako nije gledao prethodne filmove.
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Ali možda će gledati naredne – uprkos Fordovoj proklamaciji da će Indija, da budemo malo melodramatični, poneti sa sobom u grob, Indiana Jones and the Dial of Destiny je na neki način i topla proba za potencijalne buduće filmove u kojima će glavni junak biti napravljen ,,u kompjuteru". Sve scene smeštene u četrdesete su digitalno obrađene sa Fordom koji je na setu radio mocap, a onda je ,,digitalno podmlađen" tako da u licu izgleda kao Harrison Ford iz vremena kada je snimao prve filmove o Indijani Džonsu. Do nekog narednog filma, verovatno razmišljaju producenti, već ćemo imati pravni –tehnološki već imamo! – način da bez Fordovog učešća, ako uopšte bude živ, napravimo dovoljno uverljivog digitalnog glumca sa telom kaskadera i licem što će ga AI uverljivo modelovati i animirati, trenirana na satima i satima Fordovog postojećeg materijala.
Naravno, ne treba ni da naglašavam da je ovo jedna od najtanjih komponenti OVOG filma. Kao što je bilo i u Scorceseovom The Irishmanu, uverljivo podmlađena lica ne znače bogznašta kada su na telima koja prosto ne mogu da rade ono što su mogla četrdeset godina ranije. Ford je prilično impresivno vitak čovek sa svojih osamdeset godina ali on ima i vidno pogrbljeno držanje starijeg čoveka i generalno figuru primerenu nekom u devetoj deceniji života i koliko god da se trudio u scenama koje prikazuju četrdesete, one naprosto ne mogu da budu onako ,,fizičke" kakvi su bili rani filmovi o Indiju.
James Mangold, jedini režiser za koga je Spielberg rekao da ,,uh, izgleda da neko drugi ipak može da režira film o Indijanu Džonsu", dosta toga mora da osloni na digitalne efekte i činjenica da Indi i njegov stariji akademski kolega na kraju uvodnog set pisa filma stoje na vozu koji juri bar 60 na sat pa onda sa njega i skaču u vodu nekih 40-50 metara niže i da se to tretira kao nimalo BIG DEAL na neki način fatalno obeležava i ostatak filma. Filmovi o Indijani Džonsu nikada nisu išli na ,,realizam", naravno, ali jesu bili oslonjeni na uverljiv fizički rad glavnog junaka koji je za razliku od većine akcionih heroja osamdesetih bio više intelekt a manje mišić i akcione scene je prolazio na stisnute zube, ludačku improvizaciju i mnogo sreće.
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Mangold je ovoga svestan i dobar deo akcije u Indiana Jones and the Dial of Destiny je rađen da bude što je moguće bliži faksimil Spielbergove magije iz osamdesetih ali naravno da poodmakle godine glavnog junaka postavljaju vidna ograničenja u mnogo situacija.
Druga ograničenja su samo Mangoldova i koliko god da sam bio impresioniran nekim elementima set pisova, stoji i da on nije Spielberg i da je, recimo, ludačka jurnjava vozilima po Tangeru u kojoj su isprepletani borba sa nacistima za artefakt iz naslova filma ali i neuredni raskid glavnog ženskog lika sa sinom lokalnog arapskog gangstera, duža i haotičnija nego što bi bilo poželjno. Delovaće kao da cepidlačim za sve pare, ali ,,jurnjava vozilima kroz uske uličice šire mediteranske regije" je podžanr filma za sebe sa slavnom i dugom istorijom* i podrazumeva briljantan kaskaderski rad i režisersko-montažersku sinergiju na najvišem mogućem nivou. Mangold ovde ima mnogo dobrih momenata ali nema mere i ova scena na kraju ide predugo, pokušavajući da svaki krešendo koji je postigla nadiđe narednim, dosežući na korak od spielbergovskog savršenstva ali nikada ga do kraja ne dotičući.
*Britanci su još 1969. imali The Italian Job, George Pan Cosmatos je deset godina kasnije imao Escape to Athena a fimovi o Džemsu Bondu i Indijani Džonsu su ovu plemenitu kinematsku disciplinu doveli do savršenstva
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I ostatak filma se može slično opisati, sa vrlo solidnim radom u detaljima ali onda blagim ispuštanjem dizgina iz ruku u celini. Ni svi detalji, naravno, nisu sjajni, recimo scena sa zaranjanjem u more i pronalaženjem starog rimskog broda na kome se, pretpostavka je, krije bitan predmet za kojim svi u filmu jure, je dosta musava, mračna, nečitka, sa dobrim momentima ali i puno muljavine koja je mogla i trebalo da bude izbegnuta.
Na makro planu, film ima jedan zanimljiv tematski fokus koji onda sve dovodi do relativno nezadovoljavajućeg finala. Glavna emotivna dimenzija filma je vezana za protagonistu koji, uprkos celoživotnoj karijeri kopanja po prošlosti i njenog čuvanja za budućnost, vrlo eksplicitno na više mesta pokazuje da on od svega najviše vrednuje sadašnjost. Uprkos svojoj namćorastoj dispoziciji i momentima refleksije u kojima Ford pokazuje da nije baš skroz zaboravio kako se glumi, osamdesetogodišnji Indijana Džons nije neko ko živi u prošlosti i tugaljivo nariče za boljim danima. Kada ga ženski glavni lik pita šta bi radio kada bi mogao da se vrati kroz vreme, njegov odgovor je da bi sprečio svog sina da ode u rat, a što je dimenzija humanog i neposrednog koja zapravo lepo leži filmu što inače barata palp-klišeima i, kako stvari odmiču, sve više crtanofilmovskom akcijom.
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I sad, finala ovih filmova se po pravilu odvajaju od prizemljenijeg, realističnijeg tona ostatka filma, pokazuju da ,,nauka" ne zna još sve odgovore i da ima nekih sila koje još ne umemo da opišemo a Indi, čovek nauke i zatočnik racionalnog u tim trenucima mora da prihvati da je deo nečega što ne može da razume i da se zahvali proviđenju što ga je smestilo na pravu stranu istorije. Indiana Jones and the Dial of Destiny, kao što i u svim drugim stvarima imitira Spielbergove filmove, neretko sa citiranjem starih replika kroz usta novih likova, i sam konstruiše ovakvu završnicu samo što je ona emotivno neobično slabunjava. Mangold (i njegova tri saradnika na scenariju) propuštaju priliku da profesoru Džonsu daju jedno dublje lično finale i smeštaju ga naspram figure iz evropske i svetske istorije koja je puki flavour of the week, bez dubljih spona sa Indijevom ličnom istorijom. Ovo je, naravno, problem ugrađen po defaultu u serijal čiji je glavni junak definisan pre svega mangupskim osmehom i snažnom desnicom, bez MNOGO karakternih nijansi, ali film zapravo kao da pravi pripremu za nešto dublje i značajnije kada počne da pušta naznake o putovanju kroz vreme i teško je ne biti nimalo razočaran kada se na kraju sve svede na maltene puku naučnu radoznalost penzionisanog profesora kao nekakav motiv za njegovo ponašanje u finalu. Ovde čak i nije problem što sam Indijana nema skoro nikakav presudni čin u tom završnom delu filma – zapravo je gomila slučajnosti koje dovedu do (relativno antiklimaktičnog) raspleta sasvim pristojna kao ideja, ali film naprosto propušta priliku da svom protagonisti da istorijsku težinu koju on zaslužuje.
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I to nije Fordova greška, niti greška ostatka ansambla. Glumci su ovde uglavnom vrlo solidni u tim svojim preteranim, palpoidnim karakterizacijama, od Madsa Mikkelsena koji perfektno kapitalizuje svoju fizionomiju i severnjačku hladnoću, preko preduzimljive, ali i prevrtljive Wombat koju odlično igra Phoebe Waller-Bridge pa do Ethanna Isidorea koji je obavezni tinejdžerski sajdkik, a da ne pominjem impresivni drugi red u kome se dobro zabavljaju Antonio Banderas, John Rhys-Davies, Shaunette Renée Wilson i Toby Jones. Glumačka podela i tipski karakteri su ovde podešeni prema očekivanjima publike koja je gledala sve dosadašnje nastavke serijala i nije, jelte, ni osetila da je prošlo više od četiri decenije, držeći se vrlo čvrsto Spielbergovih predložaka i, kako rekosmo, ponavljajući pored prepoznatljivih karakteroloških stereotipova čak i same replike. I to funkcioniše – glumci su dobri, njihova hemija uglavnom soidna (mada je i uz trajanje filma od dva i po sata i gomilu set pisova, fer reći i da neke od njih nećete primetiti ili zapamtiti pošto ih je naprosto previše) a Mangoldov omiljeni direktor fotografije, Grk Phedon Papamichael radi vrlo uverljiv faksimil pristupa Britanca Douglasa Slocombea iz prva tri filma – osim što je nakon svega njegova fotografija digitalno isprocesovana a što mnogim scenama daje nerealističan, crtanofilmovski kvalitet.
Vredi na pohvale dodati i to da film, kao i prva tri (a za razliku od četvrtog, snimljenog gotovo potpuno u SAD) ozbiljno pristupa snimanju na lokaciji pa je obilazak Maroka i Sicilije svakako doprineo astronomskom budžetu, ali se makar taj budžet na ekranu VIDI. Film naravno propušta da na bilo koji način prokomentariše imanentnu dimenziju kolonizatorskog i pljačkaškog u srži ne samo serijala već i čitavog žanra pa je jedina dilema oko ,,artefakta" to da li treba da ide u muzej ili na crno kolekcionarsko tržište. Naravno da je ovo dosledno prethodnim filmovima iz serijala, ali nisam mogao da ne poželim da u 2023. godini, sa glavnim junakom koji se penzionisao, ovaj film makar pokaže da je svestan eksploatacije trećeg sveta na kome je sagrađena ne samo ova franšiza, ne samo deo industrije zabave kojoj franšiza pripada već i mnogo toga drugog na proverbijalnom kolektivnom zapadu. Možda je ta moja želja bila inspirisana ko zna kojim po redu gledanjem filma Io sto con gli ippopotami dan ranije (posredstvom RTS-a naravno) a u kome Bud Spencer i Terence Hill kao dva belca u Africi ne samo da pokazuju ogromno poštovanje i autentično pripadanje nativnoj zajednici već aktivno rade na osujećenju planova belih eksploatatora i oslobađanju životinja iz njihovog zatočeništva. Taj je film snimljen još 1979. godine i nije preterano sanjati o tome da Indijana Džons iz 2023. malo manje svet tretira kao egzotični zabavni park sa nagradama koje se tamo osvoje i odnesu kući, kada već Indijana Džons iz 2023. toliko insistira da su nacisti kužno* zlo koje svet tretira kao, jelte...
*ne i nužno
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No, Mangoldova vizija Indijane Džonsa u 2023. godini je definitivno bila da se napravi pastiš Spielbergovih filmova i u Indiana Jones and the Dial of Destiny je sve isto, osim glavnog junaka koji je stariji, istrošeniji, tužniji, usamljeniji i time zapravo nešto dublji nego što je do sada bio. I rekao bih da film mudro igra na ovu kartu ali da je zatim ne koristi u dovoljnoj meri do svog kraja, ostajući negde između dostojanstvenog ispraćaja voljenog lika u penziju i nade studija da će digitalni efekti i AI omogućiti beskonačnu reciklažu do u nedogled u kojoj se ljudi neće više ništa pitati. Da budem i eksplicitan, Indiana Jones and the Dial of Destiny me je zabavio, na momente i baš solidno, ali je i film sa manama koje ga smeštaju stepenik ispod orginalna tri filma. Sama činjenica da ovaj film postoji i da sam ga gledao 42 godine nakon što sam kao napaljeni desetogodišnjak u bioskopu pogledao Otimače izgubljenog kovčega i bio zapanjen da Harrison Ford sada pored Hana Soloa ima JOŠ JEDAN lik ikoničke težine je dovoljna da ovaj film smatram obaveznom lektirom, ali on, u nekom objektivnom rakursu, uprkos nezanemarljivim manama i holivudskom knjigovodstvu koje ga računa u finansijske neuspehe – nije loš. Dođite do njega bez nekakvog velikog konceptualnog balasta – a od pre par nedelja je u striming ponudi – i imaćete nesavršenu, na momente i problematičnu ali zabavnu pustolovnu pripovest posle koje ćete se osećati sasvim okej. Sem ako niste jebeni naci.
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Meho, drago mi je što ti se svideo. Ni meni nije loš.
Pa, da, nije loš. Al nije ni dobar ko prva tri. Al nije ni realno da bude dobar ko prva tri...
Negde malo dalje od pola sata unutar filma Bad City, japanskog akcionog policijskog trilera iz prošle godine – odnedavno dostupnog na zapadnim striming servisima – mlada policajka iz odeljenja za krvne delikte koju smo par scena ranije gledali kako povraća zgrožena brutalnošću obračuna među bandama će aluminijumskom bejzbol-palicom nokautirati – i to, što bi naš narod rekao POSRED PIČKE – jakuzu koji je mislio da će lako izaći na kraj sa preplašenom devojkom krupnih očiju. Ovo je momenat kada će se čak i onaj gledalac koji je poslednjih par minuta gledao kako njen šef, okoreli policijski inspektor Torada premlaćuje grupu jakuza u bejzbol uniformama električnim megafonom sa sve mikrofonijom kod jačih udaraca, i mislio kako je Bad City možda ipak ozbiljni policijski procedural, udobno zavaliti u svojoj fotelji, pojačati ton i krenuti da navija.
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Početkom prošle godine pisao sam o niskobudžetnoj japanskoj akcionoj poslastici Hydra (https://cvecezla.wordpress.com/2022/01/14/film-hydra/), projektu koji su, praktično, izveli malo ambiciozniji kaskaderi apgrejdujući sebe u režisere i glumce i u vrlo skučenim produkcijskim uslovima podsetili da Japan još uvek itekako ima kadrove i potencijal da snima brutalne, atraktivne akcione filmove i da nije sav istočnoazijski talenat u dvadesetprvom veku odleteo u Južnu Koreju. Bad City je novi film iste ekipe i to da su korejski mafijaši ovde profilisani kao negativci, dok u kontrastu s njima domaći organizovani krimina oličen u jakuza porodici Sakurada ispada neka vrsta časne, viteške rabote, verovatno onda nije ni sasvim slučajno.
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Kensuke Sonomura je, kako smo pričali pre neka 22 meseca, pre svega koordinator kaskadera i koreograf borilačkih scena, dok je Masanori Mimoto pre svega kaskader sa velikom borilačkom ekspertizom (koju ste mogli da vidite i u Miikeovom Yakuza Apocalypse (https://cvecezla.wordpress.com/2022/05/06/film-yakuza-apocalypse-aka-gokudo-daisenso/), doduše ispod ekstravagantnog žabljeg kostima) no, njih dvojica su sa Hydra napravili film koji je imao rudimentarnu priču ali izuzetnu akciju i sasvim dovoljno karakterološko-mizanscensko uokvirenje da ne bude puka niska akcionih scena bez konteksta. Hydra je bila pravi mali fenomen pa je Bad City logičan sledeći korak, film snimljen sa nešto kompleksnijom pričom, nešto većim budžetom i sa najmanje jednom autentičnom zvezdom u postavi.
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Ta zvezda je Hitoshi Ozawa, japanski veteran V-Cinema produkcije iz osamdesetih i devedesetih (japanski pandan direct-to-video akcijašima i trilerima rađenim na zapadu) a koji je potpisan i kao producent ovog filma. Ozawa, čovek u svojim šezdesetim godinama, u ovom filmu je onaj prototip tvrdog, old school akcionog anti-heroja koji sve rešava snažnim pesnicama i izrazom lica kao da je pojeo nešto što odbija da bude svareno, a seda, oštra kosa mu stoji izuzetno dobro. Ozawa je igrao u desetinama filmova i videoigara (notabilno u videoigračkom serijalu Ryu Ga Gotoku a koji na zapadu bolje poznajemo kao Yakuza), uključujući milion quick 'n' dirty akcijaša iz devedesetih ali onda i saradnje sa Takeshijem Kitanom (Boiling Point) i Takashijem Miikeom (Agitator, Dead or Alive, Gozu) i u pitanju je jedna cenjena, rado viđena figura akcionog filma koja se ovde sasvim programski smešta uz mladu generaciju.
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U tu generaciju spada pomenuti Masanori Mimoto, ali i mlada (uglavnom televizijska) glumica Akane Sakanoue koju ste možda gledali u popularnim serijala rađenim po Ultraman i Alice in Borderland predlošcima, dok jednog od najopasnijih protivnika koje će ovaj trio u filmu imati igra opaki Tak Sakaguchi, akcioni stručnjak koga ste gledali u svemu, od ekranizacija popularnih shonen mangi poput One Piece, preko Godzile, pa do niskobudžetnih splatter-akcijaša kao što je kultni Tokyo Gore Police. Sakaguchi ovde donosi svoju borilačku ekspertizu ali, možda važnije, i svoju prezentnost u kadru sa cooler-than-thou etitjudom plaćenog ubice što čitave odrede jakuza tražnira na komade u rekordnom vremenu, ne ispuštajući ni jednog trenutka čačkalicu koji drži među zubima.
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Bad City je, dakle, vrlo jasan omaž V-Cinema radovima iz devedesetih i neka vrsta građenja međugeneracijskog mosta između old school legende i new school ekipe koja danas čini sve da plamen akcionog filma u Japanu ne ugasne. Otud nije neko veliko iznenađenje da je Bad City, iako dramaturški i produkcijski vidno unapređen u odnosu na Hydru, utemljen i na vrlo oprobanim, neko bi rekao klišeiziranim elementima zapleta. Kao i u jedno pola jakuza filmova snimljenih od sedamdesetih naovamo, neksus zločina u ovom filmu je postavljen u siromašnu četvrt grada Kaiko a koji lokalni biznismen, uz pomoć korumpiranih političara i lokalne jakuza-familije planira da pretvori u ekskluzivni deo grada sa skupim poslovnim i stambenim prostorm – nešto poput japanskog Beograda na vodi. Građani se protiv ovoga bune pa i javno protestuju ali namazani preduzimač ih uverava da mu je samo i isključivo njihova dobrobit na pameti pa, iako samo što je u prvostepenom postupku oslobođen optužbi za kriminal i veze sa mafijom, on na televiziji najavljuje svoju kandidaturu za narednog gradonačelnika. U ovom zapletu ima mnogo toga što smo već gledali nebrojeno puta u sličnim filmovima (pa i videoigrama, na primer recentni Yakuza: Like a Dragon (https://cvecezla.wordpress.com/2021/02/19/video-igre-yakuza-like-a-dragon/)) ali Bad City u ulozi ljigavog političara ima Lilyja Frankyja koji je SAVRŠEN za ovakve uloge (mada, naravno, ume da igra i opasne jakuza tipove kao što je bilo i u Yakuza Apocalypse), a pored njega i Ozawe tu je i upečatljiva Mitsu Dan u ulozi ledene pomoćnice javnog tužioca, a samog tužioca igra Masaya Katô, još jedan veteran čija se karijera proteže unatrag sve do osamdesetih.
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Ovo je, dakle, vrlo jak ansambl, a nisam ni pomenuo Rino Katase koja igra šeficu korejske mafije i još nekoliko notabilnih glumaca u epizodnim ulogama, pa se slobodno može reći da Bad City ima star power koji prilično izvlači taj relativno klišeizirani zaplet. Doduše, fer je reći i da Sonomura ide možda malo i preambiciozno u pričanje ove priče, sa filmom od dva sata koji ima najmanje tri kriminalne frakcije što su međusobno sukobljene, istoriju koju glavni junak ima sa njima, a koja se desila pre početka filma, ali veoma snažno utiče na radnju (jer likovi pamte i ne praštaju), policajcima koji su i sami podeljeni u odeljenja ali i u frakcije (od kojih je opet, najmanje jedna na platnom spisku mafije), i gledalac, pogotovo ako nije navikao na komplikovane, vodviljske jakuza-sage, legitimno može da malko oseti i vrtoglavicu. Sonomura se trudi da što više izčeneluje Takeshija Kitana sa prikazom gangstera kao likova većih-od-života, kojima su porodica i čast sve, naspram new-school gangstera-biznismena koje boli dupe za tradiciju i komplikovane običaje i samo ih zanima brzo, efikasno bogaćenje, ali film nema baš mnogo Kitanove elegije. No, kao neka vrsta dajdžesta ovih motiva, spakovanog između scena briljantne i brizantne akcije, Bad City više nego radi posao.
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Jer, da bude jasno, priča je tu da uokviri akciju, podseti na to da jakuze najviše vole da zapravo zarađuju od legalnog posla koji su dobili ilegalnim putem, ali ne da nas natera da se zamislimo na sudbinom japanskog društva. Centralna priča u okviru šire priče je ona vezana za Ozawin lik, policijskog inspektora Toradu, koji je nepravedno optužen za ubistvo što ga nije počinio a koji dobija šansu da uz malu grupu nekorumpiranih policajaca, kako zna i ume, dekonstruiše komplikovanu mafijaško-političko-biznisašku hobotnicu, aperkat po aperkat, nokaut po nokaut.
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Film izuzetno dobro spaja old school i new school pristupe akciji. Ozawa deluje impozantno i nesalomivo već i kad samo sedi i puši sa zgađenim izrazom lica, a kad krene da mlati po kriminalcima, to je milina za gledati. Sonomura i Mimoto su sa ovim filmom, pak, vrlo odlučno išli na to da apgrejduju dobar utisak koji je ostavila Hydra pa ovde pored nekoliko jedan-na-jedan i dva-na-jedan koreografija sa superbrzim potezima, puno finti i mešanja borbe u parteru i na nogama, a kakve smo imali i u tom filmu, dobijamo i nekoliko free-for-all masovki čestih u jakuza-akcijašima. Video sam kritike da ovim scenama nedostaje elegancija i fokusiranost tih jedan-na-jedan tuča, ali moj utisak je da su se koreografi i režiser ovde izuzetno snašli. Tuče su ne samo vrlo fizičke, čak vrlo ubedljive, već i vrlo čitke, sa jasnim i uverljivim tokom radnje gde gledalac zna ko koga i zašto, i može da poveruje da žena od šezdeset kila poražava muškarce od osamdeset. Sonomura radi u ključu povišenog realizma a koji nije karakterističan za moderni akcioni film, primenjujući mnogo real world akcione ekspertize, tako da njegovi likovi vrlo retko mašu u prazno i prave očigledno dogovorene napade, blokove i pariranja. Suprotno od toga, likovi prave razne finte, varke i u stilu MMA boraca paze na distancu, ulaze u rušenja i prelaze u atraktivnu borbu na tlu kada je to oportuno. Velika brzina kojom se sve to odvija nije prepreka da se akcija isprati, naprotiv, kadriranje i montaža su tu da obezbede čitkost akcije i daju gledaocu maksimum užitka.
Ovo je zaslužno i da film u kome ima pištolja doživljavamo kao realističan – pogotovo kada vidimo koliko često likovi promašuju kada pucaju, ali i kada likovi sa pancirima bivaju privremeno izbačeni iz igre nakon što popiju nekoliko hitaca u torzo – i da činjenicu da i policajci i gangsteri u presudne sukobe ulaze sa noževima, palicama, teleskopskim pendrecima, štanglama i ostalom hladnom galanterijom prihvatimo kao prirodnu. U velikoj tuči u finalu, uostalom, vađenje pištolja bi delovalo kao rizik i za svoju stranu pa je odrađivanje posla pesnicama i hladnim oružjem sasvim logičan izbor.
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Bad City je i film sa dosta stila. Direktor fotografije Moritada Ijû je ovde demonstrirao mnogo smisla za rad i u mirnijim i u akcionim scenama, a jakuza-tetovaže, ukusno plasirana prskanja krvi i frizure nekih od članova ansambla daju filmu jedan low-key cool izgled i karakter koji ga čini prijemčivim i garantuje želju da ga pogledate još koji put da biste uživali u akciji i tom finom šmeku koji emanira. Svakako, pričamo o filmu namenjenom pre svega publici gladnoj akcije, ali sa Bad City je Sonomura demonstrirao da ume da upotrebi jake glumce kada im ima pristup i ovo bi lako mogao da bude početak jedne lepe franšize. Sve preporuke.
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The Assignment iz 2016. godine su – ne bez solidnih argumenata – umeli da nazovu ne samo najgorim filmom Waltera Hilla već i filmom kojim se njegova karijera okončala na najgori moguć način. No, kako The Assignment – ako već odlučite da ga gledate – treba gledati koliko god je moguće nevino, neiskvareno, bez ikakvog znanja o čemu se u ovom filmu radi onda da odmah kažem i ovo: u tekstu koji sledi ću definitivno spojlovati ključne elemente zapleta ovog filma, pa ako ga niste gledali a želite, pogledajte ga pre čitanja ostatka. Jer, evo, i najgori Walter Hill je i dalje Walter Hill. Čak i u niskobudžetnom, vrlo trashy izdanju, u filmu koji ima apsurdnu premisu, te egzekuciju ozbiljno ograničenu na više načina, Hill isporučuje i napetost i zabavu i dobru akciju. Pogledajte The Assignment, ako već niste, vredi videti šta veteran žanrovskog filma radi kada više nema šta da izgubi. Činjenica da je prošle godine snimio vestern Dead for A Dollar sa vrlo solidnom ekipom glumaca, uostalom, svedoči i o tome da The Assignment nije bio kraj njegove karijere. A ako su to lagali, KO ZNA ŠTA SU JOŠ.
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Evo nas, dakle u spojler-teritoriji i odmah da kažemo da je The Assignment u 2023. godini, kada sam ga gledao, još problematičnija ponuda nego što je bio u srazmerno pitomijoj 2016. godini. ,,Kulturni ratovi" koji su danas deo skupštinskih rasprava diljem planete (uključujući domaći teren ali i kongres SAD) su u ono vreme još uvek bili ograničeni uglavnom na društvene mreže i organizovane akcije maltretiranja putem interneta kako pojedinaca tako i organizacija i firmi. Gamergate je još bio svež u sećanju, a Bruce Jenner je godinu dana ranije obznanio svetu svoju rodnu tranziciju, transformisao se u Caitlyn Jenner i ova je tranzicija na neki način označila početak ere mejnstrimizacije rodnih i transrodnih pitanja. U prvom momentu je atmosfera u globalnom selu bila srazmerno pozitivna sa mnogo podrške koju je Caitlyn Jenner dobila i ohrabrenjem mnogim mladim osobama koje su imale nelagodu ili samo nejasnoće u vezi sa svojim rodnim identitetom, da potraže podršku i pomoć.
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Sedam godina kasnije, naravno, nalazimo se u sasvim drugačijoj situaciji, od toga da značajan deo trans-zajednice smatra da Caitlyn Jenner ne zastupa njihove interese, do promene zakona u mnogim državama SAD kojom se ograničava pristup adekvatnoj zdravstvenoj zaštiti i terapiji za (ne samo adolescentske) trans osobe. I Srbija je nedavno videla (ne prvo) visokoprofilno ubistvo mlade trans-osobe i reakcije na ovu tragediju su bile u dobroj meri zabrinjavajuće sa javnim ispoljavanjem gađenja nad pomišlju da neko (javno) saoseća sa ubijenom osobom. Ključni deo atmosfere je svakako čitav taj diskurs koji se širi sa raznih delova političkog spektra, gde se tvrdi kako se hirurške tranzicije mladih osoba rade ,,prebrzo" bez potrebnih priprema i procena, pa mnoga deca koja su se samo povela za trendom što su ga videla na TikToku bivaju uterana u tranziciju praktično na silu od strane podmuklih lekara i neodgovornih roditelja i to im uništava život. Situacija, naravno, nije baš takva ali seme razdora je ne samo temeljito zasejano već je i dalo mnogo gorkih plodova tokom poslednjih nekoliko godina.
Ovo je sve možda nepotreban bekgraund ali će poslužiti da demonstrira zašto The Assignment u 2023. godini izgleda kao loša ideja koja nikada nije trebalo da napusti domen pukog maštanja i bude realizovana od strane režisera koji je, istina je, eksplicitno rekao da nikada ne bi napravio ništa što na bilo koji način može da naškodi trans-zajednici, ali jeste u sam film ubacio parafrazu Edgara Alana Poa o tome da umetnost ne duguje ništa ni moralu ni politici već odgovara isključivo i samo sebi. Ovo deluje kao dovitljiv preventivni gest ugrađen u film za koji je autor unapred znao da će biti predmet kontroverze, ali sa druge strane taj gest deluje i malo posrnulo uzevši u obzir da The Assignment nije neka velika umetnost pa čak ni naročito sjajan žanrovski film.
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Hill je ovaj scenario imao na umu još od poznih sedamdesetih a negde u osamdesetima je prvi put Denisu Hamillu platio prava za njega. I tada je već pripovest puna nasilja i neetičkih medicinskih praksi bila pomalo neugodan predlog za realizaciju i sam Hill veli da je – a ovo je mislio u najboljoj mogućoj konotaciji – smatrao kako Hamillov scenario ima potencijal da bude sjajan B-film. Ipak, i pored njegovih intervencija na skriptu, do produkcije nije došlo sve do polovine druge decenije ovog veka kada je Hill rešio da The Assignment napravi kao neku vrstu filmovanog stripa, inspirišući se klasičnim EC magazinima poput Tales from the Crypt. Imao je sreće da je tunisko-francuski producent Saïd Ben Saïd bio voljan da ovo finansira uz dva uslova: da produkcija bude vrlo jeftina i da, uprkos tome, ansambl filma ima makar jednu prepoznatljivu zvezdu.
Hill je, sa svojim ogromnim znanjem i iskustvom uspeo da isporuči na oba fronta. Film je na kraju snimljen za manje od tri miliona dolara u Vankuveru koji treba da imitira San Francisko, a najveće ime u ansamblu je Sigourney Weaver, u ulozi za koju joj verovatno nije trebalo više od jednog dana snimanja da je odradi.
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The Assignment je film o plaćenom ubici koji, kako to već ide, i pored vrlo profesionalno obavljenog posla na kraju plati ceh za to što je ubio brata moćne i bogate a etički deficitarne hirurškinje. No, Frank Kitchen, naš plaćeni ubica, ne plaća ovo životom nego identitetom. Naime pomenuta hirurškinja, već izbačena iz lekarske komore zbog neetičke prakse, i naviknuta da radi na crn, pružajući usluge mafijašima i njihovim finansijerima, Franka pretvara u neku vrstu projekta. Nakon što ga lociraju i zarobe ljudi za koje je do juče radio, Franka doktorka Jane podvrgava hirurškoj tranziciji i bradatog muškarca sa velikim penisom (koga vidimo u jednoj od ranih scena) pretvara u ženu. U snimljenoj poruci koju mu ostavlja u hotelskoj sobi sa dve bočice hormona, ona mu saopštava da ga je izbavila iz ,,mačo-zatvora" i dala mu šansu da život od sada živi kao žena, slobodan od svoje prošlosti i sa mogućnošću da napravi nešto bolje od svog života.
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Ova premisa je, naravno, bizarna već na bazičnom medicinskom planu, ali ovaj film svakako nije prvi koji se bavi idejom prisilne tranzicije – Almodovar je pet godina ranije snimio The Skin I Live in. Ono što The Assignment čini posebnim je svakako to da ovu delikatnu temu stavlja u skelet osvetničkog akcijaša gde Frank Kitchen, osećajući se nimalo oslobođeno iz mačo zatvora, kreće da redom ubija sve koji su imali ikakve veze sa ovim što mu je učinjeno. Hill ovde režira neke kratke ali ekstremno efektne akcione scene i film završava pokoljem koji nam je najavljivan več od uvoda.
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Jeftinoća ovog filma se vidi već iz toga što je Vankuver, nagađate, NI NALIK Kaliforniji, ali, bitnije, po tome što Hill, čovek sa izuzetnim smislom za vizuelnu naraciju, veliki deo pripovedanja mora da snimi kroz statične scene u kojima likovi pričaju u kameru ili se obraćaju drugom liku i prepričavaju radnju. Ovo je, da ne bude zabune, urađeno efektno, Weaverova svakako uživa u svojoj ekscentričnoj, narcisioidnoj doktorki Jane koja citira Šekspira i ponaša se kao da izvodi neku od njegovih drama, dok je Michelle Rodriguez u ulozi Franka Kitchena pre i posle trazncije ubedljivo tvrda, sirova i agresivna u jednom vrlo stripovskom ključu, pa i kada priča u kameru, to deluje intenzivno i snažno, ali film bi definitivno profitiao od više scena u kojima se stvari događaju, radije nego da se prepričavaju. Ovako kako jeste, Kitchenova naracija predstavlja okvir za kratke, minijaturne scene egzekucija koje ona izvodi nad mafijašima što, uglavnom, nisu ni svesni šta im se dešava, i film briljira u smislu kadriranja, režije i montaže ovih scena ali ovoga prosto ima malo. Scena u kojoj Frank – pre tranzicije – upoznaje u kafeu devojku, zatim je odvede na gajbu i tamo sa njom ima snošaj je, u kontrastu sa tim, remek-delo kinematskog pripovedanja, sa perfektnim tajmingom, montažom i glumcima koji odrađuju čitavu dramu bez ijedne izgovorene reči. U ovakvim momentima se setite šta je Walter Hill u stanju da napravi ako ima resurse i budžet.
No, The Assignment je valjda tipičan primer za ,,koliko para toliko muzike" pa je njegova ambicija samo da nam na kraju da koliko može te prljave, gritty akcije u kojoj žena ubija naoružane muškarce efikasno, efektno i vizuelno prijemčivo, zaokružujući krug nasilja jednim poslednjim gestom milosti i kažnjavanja. Ako do tada niste na njih pomislili, finale bi moralo da vas asocira na Millerove i Rodriguezove ekranizacije stripova iz serijala Sin City, koliko u smislu vizuelne estetike (sa tranzicijom u ,,crtane" kadrove) toliko i u smislu jedne nesputane, ,,stripovske" brutalnosti koja je već u 2016. godini bila daleko preko standarda bioskopskih filmova pa je The Assignment imao vrlo skromnu bioskopsku distribuciju (a za koju je, od svih firmi na svetu, bila odgovorna baš firma Haima Sabana) i svoj kasniji život nastavio na kablovskoj televiziji i striming servisima.
A gde se, da ne bude zabune, on uklapa sasvim dobro. Ovo nije rđav film i, iako skroman po budžetu i ambiciji, napravljen je MNOGO kompetentnije od prosečne direct to video produkcije, efikasan u naraciji kompetentan u glumi, veoma dobar u pogledu kamere i montaže, režiran bez mnogo filozofije.
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No, teško je i ne primetiti kako se Hill ovde sputao možda i više nego što je morao. Sa premisom koju je imao i Rodriguezovom koja je – kao otvoreno biseksualna žena – osoba sa jakim uporištem u LGBTIQitd. zajednici The Assignment se na kraju, nažalost, zadovoljio pukim postuliranjem da je nasilna rodna tranzicija loša po sebi i dalje se bavio tehnologijom Frankove osvete. Što je možda shvatljivo za film čije je seme zasejano sedamdesetih godina prošlog veka, ali je u drugoj deceniji ovog veka prosto bilo mnogo mogućnosti da se dublje istraži karakter glavnog junaka, da se ispitaju identitetske krize i snage, da se, na kraju krajeva, uđe u nekakvu polemiku sa sopstvenim skriptom u kome lik Sigourney Weaver eksplicitno priča o tranziciji u ženu kao o nekoj vrsti unapređenja ličnosti Franka Kitchena. Fraza ,,toksična muškost" se ne pominje u replikama, ali lik Weaverove gotovo doslovno namerava da izleči Franka – siroče od rane mladosti i karijernog kriminalca – od ovog njegovog stanja i teško je ne pomisliti da je film potpuno propustio da se pozabavi ovom idejom, njenim moralnim, socijalnim i drugim konotacijama, ili da se makar pozabavi likom Franka, njenim/ njegovim emocijama, strahom, identitetskom krizom.
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Nije da za ovo nema mesta u filmu, ima tu par scena u kojima Rodriguezova ne samo da pokazuje tračak emocije i nesigurnosti nekarakteristične za okorelog profesionalnog ubicu, već pred kraj ima i priliku da muškarce na trenutak zbuni pokazujući im svoje ženstvene atribute, ali film iz nekog razloga samo protrčava pored ovakvih mesta i vodi nas ka korektno rađenom revenge-finalu koje se neće baviti ovakvim pitanjima.
To je šteta jer, moglo bi se argumentovati da The Assignment u najmanju ruku duguje svojoj publici i ovu stranu medalje budući da narativ o prisilnoj tranziciji stavlja u centar zapleta hraneći tako sve one teorije zavere koju transfobična javnost voli da deli unaokolo i upozorava da su deca, to najveće blago jednog društva, jelte, ugrožena. The Assignment nije transfobičan film po namerama – kao što ni Hičkokov Psycho nije bio usmeren protiv krosdresing osoba – ali on svoju centralnu temu tretira nedvosmisleno eksploatativno i nije nefer reći da je, u epohi u kojoj je snimljen, a pogotovo u epohi u kojoj se gleda, ta tema zaslužila bolje.
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Priče sa putovanjem ili makar komuniciranjem kroz vreme su neizbežno taoci paradoksa: onda kada informacijom vezanom za događaje iz budućnosti izmenite tu budućnost, kako se uopšte desilo da ste dobili informaciju iz budućnosti koja se nikada nije desila? Mnoge su se umne glave u literaturi i na filmu lomile da pronađu interesantne i intrigantne ako već ne konačne odgovore na ova pitanja. Gregory Benford je sa svojim romanom Timescape napisanim 1980. godine – jednim od definitivnih naučnofantastičnih dela utemeljenih na ideji komuniciranja kroz vreme u cilju izbegavanja turobne budućnosti – dao kompleksan odgovor o kreiranju paralelnih stvarnosti nakon intervencija zasnovanih na podacima iz budućnosti, pa su i mnogi naredni radovi na sličnu temu usvojili ideje grananja stvarnosti i kreiranja paralelnih univerzuma. No, ono što je možda manje zapamćeno je da je Benford, po vokaciji pre svega profesor astrofizike, ovaj roman postavio ne samo na smelim naučnofantastičnim spekulacijama već i na kvalitetno odrađenim karakterizacijama likova iz dva vremenska toka čije su personalne drame učinile da čitalac oseti urgentnost sa kojom naučnici iz devedesetih očajnički šalju poruke naučnicima u šezdesetim godinama prošlog veka ne bi li čovečanstvo na vreme shvatilo kakvo će pustošenje planeti doneti čovekovo nehajno odnošenje prema klimatskim promenama.
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Irski film Lola iz 2022. godine priča manje kompleksnu priču sa manje likova i jednom mnogo jednostavnijom premisom u svom središtu, ali za razliku od mnogih drugih filmova o manipulaciji protokom vremena* on sa Benfordovim romanom deli upravo tu ideju o važnosti unutrašnjeg života likova, o neophodnosti zaranjanja u ljudsku prirodu kako bi se razumelo zašto su nauka i tehnologija moćna ali ultimativno opasna oruđa koja mogu da nas unište barem jednako onako kako mogu da nas spasu.
*uključujući takođe prošlogodišnji, kanadski film Timescape, koji sa Benfordovim romanom nema veze i u pitanju je avanturistički narativ o povratku u vreme dinosaurusa i očajničkom bekstvu iz ove epohe pre nego što u Zemlju udari ozloglašeni asteroid-ubica
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Lola je prvi celovečernji film Andrewa Leggea, talentovanog irskog režisera sa nekoliko kratkih filmova u CV-ju, a od kojih se najmanje jedan već bavio manipulacijom vremenom. Čini se da je u pitanju tema koja Leggea veoma interesuje pa je on i koautor priče i scenarija za ovaj film, a koji je snimljen na veoma malom budžetu, uz učešće nekoliko sitnih, keltskih produkcija. Iako bi čovek očekivao da će zbog toga Lola imati izraženi ,,irski" karakter, ovo je, naprotiv, film smešten u Englesku i centriran na jednu temu od istorijskog značaja upravo Englezima.
Ujedinjenom kraljevstvu, Velikoj Britaniji a svakako i Engleskoj je Drugi svetski rat jedna od temeljnih tačaka novije istorije i identiteta. Narativ o herojskom otporu fašizmu, odbrani od agresije Vermahta, postavljanju brane Hitleru koji je pregazio čitavu zapadnu Evropu a na kraju se skršio o otpor herojskih ostrva, sve je to osnova velikog dela posleratnog identiteta ovih teritorija i služi da u mnogome ispegla i relativno recentne problematične elemente kolonijalne prošlosti ,,Imperije nad kojom sunce nikada ne zalazi" i prikaže britansku kulturu kao progresivnu, požrtvovanu, beskompromisno okrenutu humanističkim vrednostima, pravdi, slobodi, samoodređenju.
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Ovo važi i za dobar deo onog što naši političari nazivaju ,,kolektivnim zapadom" pa onda narativi iz domena alternativne istorije u kojima se kao ključni motiv postavlja pobeda sila osovine, ali pre svega nacističke Nemačke u Drugom svetskom ratu, nisu retkost u žanrovskoj literaturi, videoigrama i na filmu (Čovek u visokom dvorcu Philipa K. Dicka kao možda najpoznatiji primer). Gledajući Lolu, na trenutak sam se uplašio da bi ovo mogla biti tek stilska vežba s obzirom da su i u centru ovog filma Drugi svetski rat posmatran iz britanske perspektive i alternativni tok istorije koji vodi ka pobedi nacista, no, Lola je inteligentan, maštovit i šarmantan film koji svoj skromni budžet koristi na dovitljive načine kako bi kombinovanjem arhivskog filmskog materijala i igranih delova snimanih na šesnaestomilimetarskoj i tridesetpetomilimetarskoj filmskoj traci, te spretnim korišćenjem digitalnih trikova i efekata, kreirao jednu svežu varijaciju na ,,found footage" podžanr, pomalo izlizan poslednjih godina.
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Ako se ,,tvrda" naučna fantastika definiše pre svega fokusom na plauzibilnu nauku i tehnologiju, Lola je jedna meka verzija tvrde naučne fantastike. Ovde su u središtu priče dve sestre u engleskoj provinciji početkom četrdesetih godina prošlog veka koje oslanjajući se na očev legat i urođeni genij konstruišu mašinu što može da prima televizijske signale iz budućnosti. Ova premisa oslanja se na bukvalno dve rečenice, jednu koja kaže da ako možemo da primamo signale iz prošlosti, verovatno postoji način da uhvatimo signale iz budućnosti, i drugu, kasnije u filmu gde se promumla nešto o kvantnoj fizici. Ovo je sve što Lola ima da kaže o nauci koja omogućava dvema raspuštenim devojkama u svojim dvadesetim godinama, a bez roditeljskog staranja, da se prvo klade na konjske trke čije rezultate znaju unapred zahvaljujući svojoj mašini, a onda i da otkidaju na Davida Bowieja koji, sav androgin i kao zaista doleteo iz svemira, na televiziji trideset godina u budućnosti izvodi Space Oddity i ponavlja ime Majora Toma.
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Thomasina i Martha (a koje jedna drugu zovu Thom i Mars) su hipsterke četrdesetih godina. On emituju jaku auru intuitivnog feminizma, vole da zajedno leže u kadi punoj pene i piju vino i ovo se ne menja ni kada krene rat a one postanu tajno oružje britanske kraljevske armije u borbi protiv nemačkog Blica. Njihovo plesanje pred ekranom uz Bowieja i nepoverljivost ka oficiru koji im je dodeljen kao osoba za vezu sa vojskom – nasleđena od oca što je bio doživotni pacifista – ih čini bitno, a možda i presudno bliskim modernoj publici koja, za razliku od nas matorijih, verovatno ima labaviji odnos ka Drugom svetskom ratu kao presudnom momentu u istoriji Evrope i sveta, te shvatanje fašizma, nacizma i Hitlera koje je posredovano kroz decenije pop-kulture i naslage internet-memova.
Utoliko, Leggeov film je definitivno još jedna upozoravajuća priča o tome koliko je lako da zlo pobedi ako dobri ljudi ne učine dovoljno, ali je postavljena u sredinu između eksplozivnog, dinamičnog sestrinskog dua i oficira koji sa njima sarađuje i po prirodi stvari postaje jedan deo emotivnog trogula što se formira tokom meseci u kojima britanska vojska beleži izvrsne rezultate, znajući unapred sve Hitlerove poteze.
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Lola je narativ koji inteligentno i nenametljivo ukazuje na uzdizanje koncepta ,,globalnog sela" i, još bitnije, na formiranje svesti o stvarnosti i istoriji kroz posredovanje elektronskih medija, naoko brzih, neposrednih, jasnih i prodornih, ali, kako smo toga danas veoma svesni, i kadrih da od ,,lažnih vesti" kreiraju stvarnost koja može da preuzme primat nad ,,stvarnom stvarnošću". Lola ne čini ništa tako grubo kao što je direktna referenca na ,,post-istinu" ali pokazuje kako se istorijski periodi sažimaju kroz nekoliko upečatljivih slogana, nekoliko vitalnih slika, par muzičkih numera koje hvataju ono što smatramo njihovom suštinom. Kada Mars u jednom momentu postane svesna da umesto Davida Bowieja početkom sedamdesetih godinana televiziji puštaju izvesnog Reginalda Watsona čiji razigrani pop-zvuk ima više zajedničkog sa komodifikovanim, represivnim popom osamdesetih godina nego sa Bowiejevim panseksualnim naučnofantastičnim psihodeličnim kaleidoskopom, ovo je znak za uzbunu.
Lola je spretno urađen narativ baš jer sada već zamornu praksu korišćenja starih pop-pesama u modernim filmovima da se publici čačne čulo za nostalgiju koristi na kreativan način. Scena u kojoj sestre zajedno sa britanskim oficirima slave jednu od ranih pobeda nad Luftvafeom u uglednom londonskom klubu sa džez orkestrom, i u kome Thom i Mars počnu da na klaviru intoniraju i pevaju hit Kinksa iz šezdesetih, You Realy Got Me, pa to onda prihvati ceo orkestar, pa onda ide montaža u kojoj ova pesma postaje nacionalni hit i mem što označava udaranje banane Hitleru je jedan od najumešnije, najorganskije odrađenih prikaza alternativne istorije u modernom filmu, BAŠ ZATO što je očigledno koliko je bio inspirisan Zemeckisovim Back to the Future a onda otišao idealnih nekoliko koraka dalje.
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Legge i njegova ekipa uspevaju, dakle, da snime jedan indie, skoro mumblecore film sa gomilom kadrova snimljenih iz ruke a da to ne naruši iluziju da zaista posmatramo Englesku iz četrdesetih, sa sve kadrovima iz Filmskih novosti i spretno digitalno retuširanim snimcima koji će nam dati kukaste krstove na Pikadiliju i Oswalda Mosleyja na mestu premijera. Čistunci bi MOGLI da zamere da su sestre Hanbury isuviše moderne u svom govoru i afektacijama da bismo – uprkos kvalitetu koji na ekran donose odlične Emma Appleton i Stefanie Martini – zaista poverovali kako gledamo dve curice osamdeset godina u prošlosti, ali ovde sam bio ozbiljno impresioniran kamerom što ju je radila Oona Menges gde su osvetljenje i kvalitet slike dovoljno bliski arhivskom materijalu da se iluzija ne poremeti, te odličnim scenografskim radom, pa mi sve to na kraju nije smetalo.
Kada film dobije naglašenije žanrovski ton u poslednjoj trećini gledalac će već zaboraviti da, tehnički, ono što gleda treba da bude ,,found footage", ali autori neće, i Lola održava iluziju dokumentaristike – uprkos skoro neverovatnom prisustvu kamere u nekim scenama – do samog kraja, nudeći emotivno, dinamično i u dovoljnoj meri ,,akciono" finale koje priču dovodi do od početka očekivanog pančlajna na jedan elegantan način.
Lola je zbilja ,,pravi" naučnofantastični film ne zato što u centru ima tehnologiju gledanja ,,kroz vreme" postavljenu na spekulativne ,,naučnomagijske" osnove već zato to na kraju imaju likove koji shvataju svoju poziciju u istoriji i imaju emotivnu, visceralnu, LJUDSKU reakciju na spoznaju da su učinili ljudskoj rasi nešto što niko nema pravo da joj učini. Spekulativna premisa i ljudskost u srži priče čine Lolu pamtljivim narativom čiji šarm će učiniti mnogo da i mlađu publiku zadrži uz sebe tokom tih sedamdesetšest minuta crno belih slika, iskrzanih filmskih traka i nekih starih, odavno mrtvih ljudi koji daju istorijske izjave a što se možda nikada nisu desile. U epohi post-istine, Lola je film koji podseća da je istina, kao pojam, ono u šta veruje najveći broj ljudi, ali da je istina kao vrednost, ono za šta će ljudi biti spremi da žrtvuju sve što imaju. Pitko i dobro odmereno.
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Walter Hill je negde jednom izjavio, ne tražite mi da se setim gde i kada, da je svaki film koji on snima, bez obzira na njegov nominalni žanr, suštinski vestern. Čovek je na kraju krajeva uradio pilot za Deadwood i mada HBO na kraju nije prihvatio TU verziju pilota, stoji da je njegov režiserski i produkcijski napor ono što je modernom vesternu uopšte omogućilo da postoji.
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I sad, ako Dead For A Dollar, snimljen prošle godine, bude njegov poslednji film – na kraju krajeva legendarni režiser, scenarista i producent sada ima osamdesetjednu godinu i tempo snimanja mu se ozbiljno usporio – biće sasvim simbolički korektno to da je u pitanju pravi vestern, i to nimalo loš, u kome se glavni junak, lovac na ucene, bez obzira na priču o tome da njega samo zanimaju pare i to da ih zaradi bez ikakve suvišne komplikacije, do kraja pokazuje kao poštena osoba vođena razumljivim, prirodnim osećajem časti i pravednosti. Christoph Waltz je možda za ovu glavnu ulogu odabran jer je jeftiniji od ,,pravih" holivudskih glumaca sličnog kalibra, ali ima i tu neke pravde da je ovaj austrijski maestro na kraju dočekao da igra glavnu ulogu u jednom vrlo klasično postavljenom američkom vesternu nakon osvajanja reputacije – i nagrada – na ime Tarantinovih filmova. Naravno, Dead For A Dollar mu nije doneo Oskara, ali Waltz ima već dva u svojoj vitrini, oba za sporedne uloge i oba za Tarantinove filmove, pa je ovaj film na kraju više jedno simboličko dosezanje kraja čekliste koju smo svi vodili u svojim glavama. Waltz je naprosto odličan kada igra uloge delatnih a istovremeno empatičnih likova koji rešavaju stvar ali ne izigravaju mutave, nihilistične stoike već imaju i razumevanja za osećanja drugih – takav je bio i u Djangu i u Aliti – i zaista je bio red da jednom dobije glavnu ulogu sa ovakvim profilom u kojoj će, bez obzira na svoju nominalnu profesiju čoveka koji lovi ili ubija druge za novac, njegov lik, Max Borlund pokazati zavidan nivo etičkog razmišljanja. Gotovo da zvuči kao parodija to da glavni lik u gritty vesternu emanira jednu maltene ,,woke" osvešćenost za socijalnu dinamiku koja vlada na jugu SAD krajem devetnaestog veka – i neki od negativnih prikaza ovog filma ga i jesu krivili da se nalazi na rubu parodije – ali Waltz ovo uspeva da iznese sa mnogo elegancije i dokazuje da je Hill napravio odličan izbor.
Nije Waltz bio jedini jak pik na ovom draftu, naprotiv, Dead For A Dollar je pun dobrih imena. Willem Dafoe je čovek koji ne bira sad baš nešto preterano u kom će filmu igrati, svestan da ga Holivud doživljava kao pouzdanog glumca mahom za sporedne role, i vrlo je uspešan u građenju karijere na ovoj osnovi. Tako je Dafoe igrao i u nekim od najvećih superherojskih filmova u recentnoj istoriji, ali i u crtanim filmovima, video-igrama, u nekim od ključnih filmova Olivera Stonea, pa u Engleskom pacijentu i u Baskijatu i u Cronenbergovom eXistenZ, pa u Lulu on the Bridge, u The Bondock Saints i American Psycho i u Scorceseovom Aviatoru, Von Trierovom Antichristu (i Nymphomaniac Vol. II) pa u Andersonovom Fantastic Mr. Fox i Asteroid City i Ferrarinom Siberia, namećući se kao temeljna institucija holivudskog filma poslednjih četrdesetak godina, koja će igrati i u najartističkijem od najartističkijih filmova ali neće odbiti ni videoigrački trešeraj ili novovalne akcijaše kao što je John Wick. Dafoe je snimio više od stotinu filmova u karijeri – igrajući već jednom kod Hilla u Vatrenim ulicama – ali prvi mu je, 1980. godine bio Ćiminov Heaven's gate, jedno vreme smatran za najveći holivudski flop svih vremena, ali, za našu današnju priču važnije – vestern. I ima neke lepe pravilnosti da u 2022. godini Dafoe svoju izraubovanu, karakternu fizionomiju donosi u još jedan vestern gde će igrati intgrinantnog, zabavnog negativca što ovoj priči daje možda i nepotrebnu ali dobrodošlu teksturu moralne ambivalencije.
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Hillov film, da bude jasno, nije zamišljen kao nekakav povratak dekonstruktivnim vesternima šezdesetih godina prošlog veka i ko je očekivao da u Dead For A Dollar vidi omažiranje Peckinpaha treba da se pripremi na to da je ovaj film zapravo eksplicitno posvećen Buddu Boetticheru starom majstoru B-filma koji je tokom pedesetih snimio niz danas od širih masa uglavnom zaboravljenih ali u ono vreme popularnih ,,kaubojaca" (u sedam od njih glavnu ulogu igrao je legendarni Randolph Scott). Boetticher je imao formulu koju je koristio za svoje žanrovske filmove, opisujući je rečima ,,Čovek ima da obavi posao, ili više ljudi ima da obavi posao. Trude se da to završe suočeni sa ogromnim preprekama. Na kraju uspevaju." i ova autorska mantra je, naravno, nešto što spretni režiseri i scenaristi mogu da koriste kao kredo kada rade u uslovima gde se očekuju brzina, efikasnost, ekonomičnost, više zanata a manje ,,umetnosti".
S obzirom da je Hill poslednju deceniju suočen uglavnom sa niskim budžetima i potrebom da radi ekonomično i bez ekstravaganacija, Dead For A Dollar je jedna ubedljiva demonstracija da rad ,,po formuli" ne znači i generički finalni produkt. Iako ovo nije film bez mana i fer je reći da kada Hill nije siguran kako da ga završi, odluči da ga završi malo i na silu, njegov povratak vesternu je obeležen jednim zaraznim entuzijazmom. Ovo je žanrovska produkcija, od početka do kraja, vestern koji se striktno bavi mitologijom Divljeg zapada i tropima žanrovskog filma, ali unutar njih, Hill sa puno apetita, ali onda i veštine uspelo analizira trope, razgrađuje klišea i mada svi znamo da će sve morati da se završi pucnjavom na ulicama prašnjavog gradića Guadalupe na severu Meksika, ovaj se film pre svega događa između likova, u njihovim dijalozima i razvoju njihovih odnosa.
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Zaplet Dead For A Dollar se zapravo ne bavi lovom na ucenjenu glavu nekakvog karijernog razbojnika – urpkos tome što uvodne scene uspostavljaju Waltzov lik, Maxa Borlunda, kao profesionalca koji hapsi kad može a ubija kada mora – i ima intrigantniju formu delikatnog posla za koji je Borlund angažovan baš zato što se radi o ozbiljnom profesionalcu a ne o psihopati koji se krije iza fasade zakona. Naime, tvrde na početku oficir lokalne vojne postaje u Teksasu i lokalni bogataš, Martin Kidd, jedan ,,buffalo soldier" iz ove jedinice je kidnapovao suprugu ovog uglednog člana zajednice, zapalio s njom u Meksiko i sad odande traži 10.000 dolara za otkup. Kiddu ne pada na pamet da plati ucenu i radije će Borlundu dati dve i po hiljade dolara da ode u Meksiko, ženu spase, dezertera uhapsi i obezbedi da se pravda dostigne po teksaškim standardima. Borlund prihvata posao, a oficir mu gratis još pozajmljuje i vojnika iz svoje jedinice koji će mu se naći kao ispomoć u ovoj misiji.
Naravno, Borlund i narednik Alonzo Poe ne pređu ni dvadeset kilometara pre nego što postane jasno da ovaj posao nije baš onakav kakvim su ga Borlundu predstavili. Poe je takođe Afroamerikanac, a navodni kidnaper, Elijah Jones mu se poverio da će sa svojom nastavnicom, koja ga je učila da čita i piše, gospođom Rachel Kidd, da pobegne u Meksiko jer njihova spontana međurasna romansa nikako ne bi preživela u Teksasu. Poe je spreman da Borlundu pomogne da nađe Jonesa i Kiddovu – jer zna da su na prvremenom stanu i hrani kod Amerikanca izbeglog od zakona u Meksiko i tamo čekaju pare za otkup kako bi sa njima pobegli na Kubu – jer misli da je Jonesov plan svakako sumanut, ali ostaje neizgovoreno šta misli da uradi kada on i Borlund nađu odbegle ljubavnike. Film dodatno usložnjava to što ni Poeov lik – koga sa puno kočopernog entuzijazma igra Waren Burke – a kasnije vidim, ni Jonesov lik (Brandon Scott) nisu puki žanrovski stereotipi bez volje, mašte i vizije.
Dead For A Dollar je intrigantan pa i pametan film jer stavlja kliše u kliše, ređajući ih kao ruske babuške i puštajući gledaoca da gradi očekivanja samo da bi ih onda posle svake nove dijaloške scene resetovao. Waltzov lik ne govori mnogo i na početku deluje kao pomalo bezosećajni profesionalac sa naučenim uglađenim ponašanjem ali distanciran od drugih ljudi (kada ga Poe posle vrlo kratkog vremena, siguran da su već izgradili buddy hemiju pita da li može da ga zve ,,Max", ovaj uz osmeh kaže ,,Mr. Borlund will be fine") ali on ga uspešno i organski gradi sa svakom sledećom scenom, dajući mu elemente inteligencije, humora, empatije, sve dok ne shvatimo da je u pitanju praktično svetac kome je samo ironija sudbine stavila revolver u šaku i uputila ga u smeru nekih od najgorih ljudi na svetu.
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Jedan od tih najgorih je i Tiberio Vargas, lokalni meksički gospodar života i smrti koji, kako sam kaže ,,zna Engleski ali samo kad sam to hoće" i koji, možda i iz čiste sujete, ne pušta da išta na ,,njegovoj" teritoriji prođe bez njega. Kada mu postane jasno da američki lovac na ucene ima misiju koja se tiče kidnapovane ili odbegle žene, otkupa ili nagrade, i da se ta misija ima okončati na njegovoj prćiji, pomenutom gradiću Guadalupe koji ima vojnu postaju ali nema iluzije da iko išta sme da radi bez Vargasovog amina, on odlučuje da se ugradi u ovaj posao, čisto da bi održao reputaciju.
Dead For A Dollar nema puno akcije – a i kada je ima ona je ekonomična, brza i surova – i zapravo se veliki deo sredine filma odnosi na postepeno građenje likova i njihovih odnosa. Film ima iznenađujuće veliki ansambl i likovi grade iznenađujuće kompleksne veze. Hill, koji je bio i koscenarista filma, pažljivo radi na tome da mačo-dimenziju ove priče – a koja se podrazumeva – osvetli iz različitih uglova, pa i da je dekonstruiše, iako se nominalno drži jedne relativno strejt matrice. Dead For A Dollar je zapravo vrlo osvešćen film – možda i donekle u kompenzaciji za kritike koje je pretpeo prethodni Hillov rad, The Assignment (https://cvecezla.wordpress.com/2023/10/06/film-the-assignment/) – pa su ovde illov afroamerički likovi delatni i karakterni i, pored implicirane matrice rasizma, film se prema njima ne odnosi pokroviteljski, dajući im prostora da imaju svoje agende i filozofije. Nije da Hill uspeva da do kraja poentira nekim velikim zaključkom na ovu temu, ali s obzirom da je ovo zaista u suštini jedan B-vestern, on već vrlo uspelo subvertira žanrovske trope i nudi likove koji gledaoca interesuju i angažuju.
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Slično je i sa brakom gospodina i gospođe Kidd – iako nam Rachel Kidd sama saopštava da je njen suprug jedan izopačen i surov čovek, njeno bekstvo od njega nije formatirano kao očajnički čin nemoćne žene koja napušta jednog mačo muškarca da bi našla pribežište u naručju drugog. Rachel Brosnahan igra Rachel Kidd sa energijom i besom jedne protofeministkinje, potekle iz imućne porodice i nimalo spremne da prisatane na ideju da će čitavog života biti privezak bogatom i uticajnom muškacu, pa je njeno igranje između socijalnih, rasnih, ekonomskih, mentalitetskih itd. međa u koje je smeštena protiv svoje volje ubedljivo i gledaoca pridobija na njenu stranu. Tako da, kada konačno dođe do susreta beskrupuloznog supruga (do tada već superiorno mrsko izrgađenog od strane Hamisha Linklatera) i razumljivo gnevne žene, nemamo mnogo dilema za koga ćemo da navijamo.
Hill vrlo solidno radi i sa manjim likovima. Luis Chávez je praznik za oči svaki put kada se pojavi u kadru kao Vargasov ,,pravni savetnik" i glasogovornik, objašnjavajući jednim formalnim rečnikom i gospodskim manirima brutalnost sa kojom će svako onaj ko ide protiv Vargasove volje biti kažnjen i dajući filmu dobrodošlu dimenziju diskretnog humora. Čak je i Diane Villegas u ulozi recepcionerke u hotelu gde se odvija deo filma dobila fin karakterni luk i katarzičnu završnicu iako ovakav lik u ,,normalnim" B-filmovima ne bi imao prilike da bude više od eye candy ukrasa.
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No, Dead For A Dollar je i nešto duži nego što je prosek za klasične B-radove i, kako rekosmo, akcenat stavlja na razvoj odnosa među likovima, a Hill ovde demonstrira svoj visoko izbrušeni zanat, ne ostavljajući u konačnoj verziji filma ni jednu scenu koja bi bila višak ili, čak, samo kreirala atmosferu. Sve ovde ima svoju svrhu i vodi istim putem pa je zato i važno primetiti da lik Willema Dafoea, revolveraš, kockar i generalno karijerni razbojnik sa željom da se osveti Maxu Borlundu, teksašain Joe Cribbens, zapravo nema nikakvu funkciju u ovoj priči. Moguće je da je neka ranija verzija scenarija imala jasniju ulogu za Cribbensa – Hill ju je pisao za Dafoea – ali on je maltene doslovno odozgo nakalemljen na narativ koji nema potrebu za njim niti on u njemu ispunjava nekakvu pripovednu potrebu. No, Dafoe je toliko dobar kao old school odmetnik od zakona koji smatra da naprosto živi slobodnim životom i njegov odnos sa Waltzovim likom je toliko šarmantno nabijen tenzijom ali i uzajamnim uvažavanjem, da je teško biti sad nešto smrknut što scenario prosto ne zahteva da Cribbens postoji kako bi se planirani događaji dovezli do kraja.
No, malo je teže ne primetiti da kada Hill treba da ima finale u kojem će se, naravno, pucati po ulicama opustelog grada, odjednom sva suptilnost karakterizacija i filigranski ispletena mreža njihovih interpersonalnih priča odlazi u drugi plan. Motivacija Tiberija Vargasa da uradi to što će na kraju da uradi je izvučena iz istorije žanra i nema skoro nikakve logike u priči filma i mada Hill vrlo lepo režira taj finalni obračun, gledalac će se sa pravom pitati ZAŠTO se ovi ljudi zaboga ubijaju i kako je do toga došlo. U intervjuu u kome kaže da je dosta toga pozajmio od Homerove Ilijade (,,kao i u Vatrenim ulicama") Hill veli da je Homerovo važno oružje bilo to da je prikazivao ,,obe strane" sa jednakom dubinom ali ovo notabilno nedostaje u Dead For A Dollar, sa Tiberiom Vargasom koji, uprkos vrlo solidnom tumačenju uloge od strane Benjamina Bratta, ostaje jednodimenzionalan i klišeiziran.
Ali, da, Hill VRLO lepo režira taj finalni obračun, sa besprekornim kadriranjem koje podrazumeva frikciju i prljavštinu – likovi često promašuju i neke od borbi se odvijaju na distanci koja se u klasičnom vesternu podrazumeva kao ona sa koje se ne promašuje pa su time uzbudljivije – i vrlo poštenim kaskaderskim radom.
Uopšte, kameru treba posebno pomenuti u ovom filmu jer je veteran Lloyd Ahern II ovde napravio jedan od svojih najfinijih radova. Ovaj čovek, čiji je otac takođe bio direktor fotografije, radio je jako mnogo toga tokom svoje ogromne karijere, snimao serije poput Magnum P.I. ali i jednu epizodu Deadwood, bio deo ekipe na Jurrasic Parku ali, za ovaj kontekst važnije, radio je kao jedan od kamermana na Hillovom Streets of Fire, kasnije bio direktor fotografije na isto Hillovom vesternu Wild Bill, ali i JOŠ važnije, zanat pekao snimajući televizijsku seriju Gunsmoke krajem šezdesetih i bio asistent snimatelja na Hawksovom poslednjem filmu, vesternu Rio Lobo iz 1970. godine.
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I, sad, iako je, kako rekosmo, Dead For A Dollar omaž Buddu Boetticheru, mislim da sam već u dvadesetom minutu filma sebi rekao da se ovde baš oseća taj šmek Hawksovih poznih vesterna, u jednom razrađenom, ležernom tretmanu setova i kostima, enterijera u kojima je sve prepoznatljivo i ikonički postavljeno, ali i u širokim eksterijerma gde kamera na kranu dopušta da osetimo veličanstvenost bespuća suncem oprljene pustinje. Dead For A Dollar je i primer filma kome agresivna kolor-korekcija ne smeta, naprotiv, a što me je posebno iznenadilo. U nekim scenama izbleđen do sepija monohromnosti, Dead For A Dollar izgleda elegantno, patinirano ali ne napadno ,,retro", a Hill i sam kaže da je sa jedne strane želeo da postigne taj efekat spaljenosti od strane sunca – koji je iskusio na severu Meksika – a sa druge da je radio sa starim, ,,nasleđenim" setovima i scenografijom u okolini Santa fea, sa kojima su drugi snimali filmove pre njega. Rezultati su izvrsni i odličan su pokazni materijal za druge autore koji bi da rade vesterne što deluju ,,autentično", makar u žanrovskom pogledu.
Dead For A Dollar nije film bez svojih problema ali on najmanje četiri petine svog vremena radi odlično, vozeći se brzo, sigurno, bez šlajfovanja, sa glumcima koji besprekorno grade međusobne odnose likova i vode nas ka nekoliko zanimljivh finala. To da je ono ,,glavno" finale obeleženo pre svega solidnom pucnjavom ali ne i svešću kako da zadovoljavajuće završi priče likova – pa tekst na početku odjavne špice to uradi umesto slika i glumaca – jeste vredno kritikovanja, ali Hill sa ovim radom demonstrira toliko – naoko beznaporne – filmske magije da ne mogu da budem ljut na njega. Ako mu je ovo poslednji film, pa, nije se izbrukao.
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The Foreigner iz 2017. je izluđujuć film. Zamislite da ste uzeli AI iz onog vremena, izručili u njega sve romane Roberta Ludluma, Toma Clancyja i Johna LeCarrea, onda ga zalili viskijem i grubo insistirali da napiše politički triler. Onda ste uzeli taj scenario i ušili ga u leš generičkog, direct to streaming osvetničkog akcijaša u kome glumi jedna od najvećih akcionih zvezda svih vremena – koja je film i producirala – ali ste onda montažeru namignuli i rekli mu da scene u kojima se ta zvezda pojavljuje ne smeju da pređu 20% vremena. Ah, da, i onda ste čisto iz iživljavanja uzeli možda najpoznatijeg irskog glumca poslednjih trideset godina, a koji je već igrao Jamesa Bonda u nekoliko filmova, i rekli mu ,,Ovde igraš IRCA, razumeš? Ne Engleza, ne Amerikanca. IRCA. Hoću da čujem naglasak AJMO TO MALO GLASNIJE." Jesam li pomenuo da je režiser koji je ovo potpisao režirao najbolji film o Jamesu Bondu napravljen u ovom veku? Onda na sve to, u film gde se gledalac svakih trideset sekundi lupa po čelu jer ne može da VERUJE da je neko snimio nešto ovako AGRESIVNO glupo, a on seo da ga gleda, stavite jedno tri IZVRSNO režirane i koreografisane akcione scene kakve zapadnjački politički trileri uglavnom mogu samo da sanjaju i The Foreigner neće biti samo loš, besmislen politički triler koji se danas pogleda dok jednom rukom skrolujete po umirućem tviteru a sutra ste ga zaboravili, već loš, besmislen politički triler koji vam aktivno vređa razum i čulo (filmskog) ukusa.
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Priznajem da sam od filma koji je režirao Martin Campbell, producirao Jackie Chan a u njemu Chan i Pierce Brosnan igraju glavne uloge očekivao da bude slab ali simpatičan, možda nekakav urnebesno neprikladan B-film sa daškom gerijatrijskog buddy akcijaša, ali ono što sam dobio je neobjašnjivo loše i, uopšte – neobjašnjivo. Ko je uopšte mislio da ovo treba ovako da se snimi? Je li bar Stephen Leather čiji je roman The Chinaman korišćen kao predložak posle gledanja premijere filma ustao i pomislio ,,Da, baš sam ovo imao na umu?" Jer, evo, ne znam, ako neko u 1992. godini izda roman u kome se jedan irski lik zove Pat O'Reily a drugi (Brosnanov) (i ne šalim se) Liam Hennessy (OZBILJNO, Liam FAKING Henessy), pa taj možda misli i da je ovaj film korektna produkcija koja izvlači maksimum iz ne samo izvornog materijala već i od star-powera koji ima u kastu.
Jackie Chan je potpisan kao prvi producent na odjavnoj špici ovog filma, a nekoliko drugih kineskih kompanija je odgovorno za ostatak produkcije, tako da se tragovi odgovornosti svakako mogu tražiti u tome da su Kinezi insistitali na partikularnim elementima filma iako se oni protive bazičnoj pripovednoj logici i osnovama dramaturgije. Film deluje sasvim kompetentno, ako već izrazito generički, bar osamdeset posto vremena koje provodi u modu političkog trilera i ovde Brosnanova harizma dosta uspešno premošćava bizarne scenarističke zaokrete vezane za privatni život čoveka koji je potpredsednik britanske vlade i bivši član IRA/ Sinn Féin koji je, javno se odrekavši nasilja i tri decenije radeći na pomirenju Iraca i Britanaca izgradio ozbiljnu političku karijeru. OK, Brosnanov naglasak je APSURDNO prenaglašen, zvuči kao kada bi Kesić imitirao Dodika koji imitira Shanea McGowana, ali čovek je ipak LIK i mada mu je tekst često kao da ga je napisao AI chatbot koga ste slagali da su reči ,,fucking" i ,,cunt" normalan deo svakodnevne konverzacije između političara i njihovih saradnika u Irskoj, on uspeva da svemu da meru disciplinovanog pripovedanja u ključu političkog trilera gde političar kome ruke nisu čiste i ima mnogo da izgubi ipak pokušava da bude donekle častan i makar sačuva mir koji bi usijane glave u nikada umirenoj IRA da žrtvuju zarad snova o nezavisnosti Alstera.
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A nije mu lako, jer scenario je potpuno off the wall – i to ne u smislu ,,album kojim je Quincey Jones Michaela Jacksona iz talentovanog deteta pretvorio u buduću superzvezdu" već u smislu ŠTA SE OVDE KOJI KURAC DEŠAVA? Možda to u Leatherovom romanu ima malo više smisla – iz sinopsisa vidim da je David Marconi, koji je radio adaptaciju u scenario uzeo neke Leatherove ideje i malo ih promešao, možda i na bolje, ko zna? – ali film pokušava da isplete oko Brosnanovog lika komplikovanu mrežu ličnih odnosa sa ženom, ljubavnicom, nećakom, ćerkom koja se nikada ne pojavljuje pred kamerom ali se stalno pominje, desetak bodigardova i masom bivših IRA saradnika koji su sada šatro normalni političari i biznismeni (a u stvari...) kako bi nam pokazao kako je ZAJEBANO kada se trideset godina pravite da ste mirotvorac a u stvari ste karijerista a malo i pokušavate da ucenite Engleze da iz zatvora puste neku rodbinu koja je tamo zbog, jelte, uh, terorizma, ali, mislim, stvari se pretvaraju u montipajtonovsku parodiju veoma brzo, veoma agresivno. Pa je tako žena zapravo doušnik terorista, ljubavnica je ACTUALLY terorista a netjak je, smejaćete, se, bivši pripadnik irskih specijalnih snaga sa dve ture koje je odradio u Iraku, a sada živi u Njujorku, sem kad ga strikan pozove da mu pomogne, kada ovaj dođe i jebe mu ženu. A ovaj ga, da se razumemo, ne zove da mu jebe ženu nego da ulovi Jackiea Chana koji se krije u šumi oko Hennessyjaevog imanja i kosplejuje tamo Ramba iz prvog First Blood.
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Vi se sada malo češkate po temenu i čitate ponovo poslednji pasus, ali to nije ni najgluplje od svega što se dešava u filmu. Like Jackiea Chana, ,,Kinez", ali koji nije zapravo ,,pravi" Kinez nego pripadnik kineske nacionalne manjine koja je živela u Vijetnamu (Nùng) i tamo imala autonomiju, je, sigurno ćete se iznenaditi, bivši pripadnik specijalnih jedinica koje su obučavali Amerikanci, a koji je posle sa ženom i dve ćerke, kad su Komunisti pobedili u ratu, izbegao prvo u Singapur pa posle u Ujedinjeno kraljevstvo. Ah, osim što te dve ćerke nisu preživele izbeglištvo* pa onda kada treća ćerka, rođena u UK**na početku filma pogine u eksploziji koju izazivaju irski teroristi, neugledni vlasnik kineskog restortana u Londonu pretvara se u Čarlsa Bronsona.
* vi se sada pitate koliko su temeljito ugurane u frižider u flešbekovima koje Jackiejev lik ima kad ga rane i, pa, vrlo temeljito. Silovali su ih i ubili rečni gusari a scene koje prikazuju otmicu su NEPRIJATNO blizu onom što smo gledali pre koju nedelju u Izraelu i to što je film snimljen pre šest godina ga ne abolira
** ako ste negde na spisku imali i ,,a majka joj je umrla na porođaju", štriklirajte i to, jebiga, vi i Martin Campbell ste roto romane zajmili iz iste biblioteke kao klinci
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Ali ne pretvara se odmah. Chanov lik prvo smara zamenika premijera (Brosnanov lik) telefonom pa posle i lično da mu ovaj da imena terorista jer ih sigurno zna pošto je bio u IRA pre trideset godina. Do polovine filma sam već bio spreman ne da ugasim televizor nego da kroz ekran proteram okovani vrh štapa (koji uopšte ne nosim) jer je logika Chanovog lika da ako ugrozi bezbednost i život, da ponovimo, ZAMENIKA BRITANSKOG PREMIJERA, podmetanjem eksploziva u njegovu kancelariju, garažu, okućnicu i ozleđivanjem njegovih telohranitelja rezultat može da bude išta drugo sem ,,ubijen snajperom po viđenju".
E, sad, postoji ,,filmska logika", postoji ,,holivudski relaizam", a onda postoji i potpuno bezumlje pa ovaj film pokušava da nas uveri kako šezdesetogodišnji Kinez u okolini imanja ZAMENIKA BRITANSKOG PREMIJERA pravi klopke za obezbeđenje pomenutog političara, uključujući male samostrele koji ranjavaju u dupe kad zakačite nogom žicu i da je to sad ozbiljan problem koji dvadeset naoružanih ljudi ne može da sredi pošto je on jedan ali TRENIRALI SU GA AMERIKANCI. Onda pomenuti netjak mora da doleti iz Njujorka jer i on ima spec-ops obuku ali taj se, eto kurca, ne žuri da ulovi penzionera koji je napravio magarce od pola irske tajne službe jer mora da pojebe ženu ZAMENIKA BRITANSKOG PREMIJERA, a inače njegovog ujaka, i da nesmotreno njoj otkrije kako njegov ujak, NJEN MUŽ, namerava da ulovi teroriste kako bi Britanskoj vladi pokazao da je lojalan, a ova, kurvetina, jelte, to onda odruka teroristima s kojima je u talu. Ali, ništa zato jer je i ZAMENIK BRITANSKOG PREMIJERA isto u talu sa teroristima ali kao malo manje, nervira ga što podmeću bombe da ljudi ginu on je mislio samo da se malo podigne prašina a ovi sad krenuli da rade na svoju ruku, proradila im žeđ za britanskom krvlju i sve je to jedan užasan nered, i, ah, da, ljubavnica sa kojom on vara ženu, i baš se i ne krije jer se viđaju po kafeima, ispostavlja se, radi za teroriste. Naravno, to ne saznaje ni jedna obaveštajna služba jer ŠTO BI IKO IKADA bezbednosno proveravao ženu sa kojom se ZAMENIK BRITANSKOG PREMIJERA sreće da popiju irski čaj i odrade snošaj ili dva, pa ZAMENIK BRITANSKOG PREMIJERA mora da svog nekadašnjeg saradnika muči da mu ovaj otkrije tu strašnu tajnu.
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Primećujete da se lik Jackiea Chana vrlo slabo pominje ovde, a to je jer film apsolutno ne zna šta bi s njim. Nije stvar samo u tome da su ,,Rambo" scene apsolutno besmislene, po bilo kom standardu logike da ih čovek meri, agresivno vređaju elementarnu inteligenciju gledaoca i natrpane su najizlizanijim klišeima koje su Zucker/ Abrahams ili Weird Al Yankowic produkcije parodirale još osamdesetih godina prošlog veka, nego je i jackie Chan, da se dogovorimo, OČAJAN kao karakterni glumac. Mislim, ja Jackiea obožavam ali njegov pokušaj da glumi od bola potpuno otupelog starog spec-ops vojnika koji više nema šta da izgubi je nepodnošljiv. Odjednom, to da se većina scena u filmu ne bavi njim i njegovom pričom ne deluje kao tako loša stvar, zar ne?
Ali nepodnošljiva je i ideja da onda Campbell koji je u Casino Royale snimio možda najbolje akcione scene u bilo kom James Bond filmu istu tu ekspertizu, pomnoženu sa Chanovom stručnošću, donosi i ovde i The Foreigner ima tri scene apsolutno izvrsne akcije, sa perfektnom montažom, moćnom, eksplozivnom borbom i kaskaderskim vratolomijama od kojih pucaju kosti. Prosto je neprijatno kad ovoliko loš film ima ovoliko dobre akcione scene a da ne pominjem da me je iznervirala pomisao da nismo morali da gledamo osrednji ali intrigantni politički triler koji se spotiče o bizarno irsko-mrzeću sapunsku operu da bismo dobili ove scene. Da je Chan prosto bacio scenario u đubre i rekao ,,OK, rođaci, šibamo se pedeset minuta ko pravi muškarci, ostalo nek bude drone footage iz vazduha, malo neke scene kao šuma, pa grad, ono, ubrzani snimak noću, piče svetla, sve šljašti od neona, Brosnan nek nasnimi neki voiceover po slobodnom izboru I TO JE FILM!" ovo bi bio mnogo gledljiviji produkt.
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The Foreigner je film koji na bar 2-3 mesta pokaže da je mogao da bude sasvim gledljiv B-triler ili B-akcijaš ali koji nikada ne uspe da se otme i pobegne svojim kidnaperima: katastrofalnom scenariju, generičkom revenge flicku, Chanovoj drvenoj glumi i Brosnanovom nepodnošljivom naglasku. Ovo je film koji akcija ne može da spase ali može da vas razljuti što nije stavljena u neki samo malo koherentniji narativ. Ona je dobra, eksplozivna i veoma zadovoljava sve čovekove potrebe za posmatranjem povređivanja drugih ljudi na ekranu a koje je samo malo manje od povređivanja koje ti ljudi glume da jedni drugima nanose. Ako je to dovoljno – a evo, ja sam odsedeo svih 110 i kusur minuta ovog filma – priuštite sebi The Foreigner. Nećete postati bolja osoba, to je sigurno. Ali možda sebi lakše oprostite.
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Pogledao sam Un varón, prošlogodišnji kolumbijski film usredsređen na maloletničku delinkvenciju i toksičnu muškost, postavljen u efektno slikane siromašne četvrti Bogote, sa sve živopisnim grafitima, ali i frizurama, pirsinzima i generalnom uličnom modom mladih, siromašnih stanovnika prestonice koji sa dna jedva vide nebo ali sanjaju, kao i svi drugi, o samorealizaciji, poštovanju, uspehu. Un varón, kod nas preveden kao ,,Muškarčina" a na Engleskom distribuiran kao ,,A Male" prvi je dugometražni film režisera i scenariste po imenu Fabian Hernández – nakon nekoliko kratkih filmova koje je uradio u prethodnoj deceniji – napravljen uz kontribucije nekoliko produkcija i fondova iz Evrope (Nemačka, Francuska, Nizozemska ali, interesantno, ne i Španija) je i kolumbijski kandidat za nagradu Američke filmske akademije, Oskar, naredne, 2024. godine i, uz izuzetno upečatljivu fotografiju, promišljeno korišćenu muziku, te fotogeničnog glavnog glumca, možda ga i dobije. Reakcije koje je film požnjeo nakon kanske projekcije naredne godine su svakako bile ohrabrujuće a Un varón je već osvajao nagrade po raznim festivalima.
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Tim gore što moram da primetim da Un varón uz svu svoju fotografsku upečatljivost i svoj pravoverni, štaviše veristički neorealistički naboj naprosto ne funkcioniše kao film, ili makar ne kao urbana, ljudska drama koja o realnosti priča realnim jezikom. Un varón je film koji ima NEŠTO radnje ali nema zaplet i film koji i pored skromnog trajanja – manje od osamdeset minuta kada se odbije odjavna špica – deluje kao da je mogao da bude sasvim ugodno spakovan u format kratkog filma od dvadeseta minuta, čime ništa ne bi izgubio a njegova nema, da ne kažem nemušta, pripovedna taktika bi bolje funkcionisala u formatu koji se ne bi pretvarao da ima tročinsku strukturu klasične drame. No, Un varón je još jedan predstavnik tog zabrinjavajućeg trenda u arthouse cinema orbiti 21. veka gde se tranzicione i ,,mood" scene iz tradicionalne neorealističke ere i evropskog arthouse fundusa, a koje su nekada korišćene kao vezivno tkivo između dramskih akcenata i služile da nam sugerišu unutrašnji život likova, a čiji će se delić efektno ospoljiti u katarzičnim amplitudama narativa, postale čitav film. Un varón je možda i ekstremni primer do mere da bih ga nazvao neuspešnim filmskim projektom kome fatalno nedostaje srž da bi uopšte bio to što pokušava. Film koji ovoliko naglašava verizam i odbija da kreira ,,artificijelnu" dramu prosto gubi na ,,artizmu" i ne jednom sam tokom gledanja pomislio da bi možda bolje funkcionisao kao dokumentarac u kome se narativ sugeriše, ali su ,,umetničke" tehnike kreacije odsutne ili makar dobro skrivene. S druge strane, fotografija je ovde naglašeno odlična, sa sjajnim osveljenjem, odličnim kadriranjem i promišljenim biranjem pozadina, sočiva i rakursa no, uz rizik da zvučim konzervativno, dodaću da bi Un varón takođe možda bolje funkcionisao kao izložba fotografija radije nego kao igrani film koji se pretvara da ima dramu ali ne uspeva da je proizvede.
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Da ne bude nejasno: meni je taj redukcionistički umetnički postupak u kome se iz umetničkog dela uklanja sve što deluje kao ,,lažno" ili ,,izmišljeno" ili ,,veštački", sve dok ne ostane ogoljena suština, jelte, STVARNOST, sasvim blizak, u svakom umetničkom medijumu, od muzike, preko grafičkih i plastičnih umetnosti do narativnih dela – mislim da ne moram da PONOVO dokumentujem svoje uživanje u i divljenje za muzička dela koja se bave čistim zvukom, slikarstvo koje se bavi samo boljom ili skulpturu koja nema nikakvu figuraciju, prozu koja se pre svega odvija na nivou jezika – ali Un varón nije avangardni film koji se rastaje sa tradicionalnim formatom i njegova namera JESTE da nam prikaže dramu, ali tako da film ne uradi ništa a da gledalac uradi sve. A što bi, da opet ponovim, možda i bilo uspešnije da je film urađen u formatu kratkog metra, sa još manje uokvirujuće priče nego što je ima, ili u formi serije slika.
Glavni junak Un varón je Carlos, šesnaestogodišnji mangaš koji živi u domu za nezbrinutu decu jer mu je majka na odsluženju zatvorske kazne a punoletna sestra se dan i noć prostituiše kako bi namakla pare za njega i sebe. Ako ste ikada poznavali slične likove, a valjda svi jesmo, znate i da Carlos oseća jak pritisak da se predstavi ne samo kao samostalna, delatna figura, već i kao MUŠKARAC, glava (sada nepostojeće) kuće koja ima viziju, ima sposobnosti, ume da zaradi i ženama obezbedi sigurnost. Otac se u filmu nikada ne pominje ali Carlos, naravno, ima procesiju kvaziočinskih figura u likovima sitnih krimosa za čiji račun prodaje lepak i kanabis i sa kojima razmenjuje ulične fraze o respektu, poslovima, seksu itd.
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Sve je to vrlo klišeizirano i viđeno u zabrinjavajuće velikom broju recentnih evropskih i latinoameričkih filmova, ali veći problem je što su dijalozi, kada ih ima, ne samo teški kliše već i deluju kao improvizovani na licu mesta. Možda grešim, naravno, ali čini mi se da veliki broj arthouse režisera danas misli da glumci naprosto moraju da BUDU lik koji igraju i da će oni najbolje znati šta da kažu kada padne klapa, pa neretko dobijamo samo persiflažu i imitiranje, koje je u Un varón još vidnije utoliko što glumci ne preteruju sa nekakvom glumom i samo izvode prepoznatljive ,,ulične" gengsta-pokrete kad pričaju, valjajući standardne žargonske fraze. Naravno, pretpostavljam da na Španskom jeziku to možda zvuči malo bolje i da pogotovo publika iz latinske Amerike rezonira sa njihovim ritualima nešto jače nego mi koji čitamo relativno krindži titlove, ali ostaje da je ovde režijski postupak vrlo sveden, da su u pitanju statični kadrovi gde likovi glume da glume da su ,,gengsta" i to meni ni u jednom trenutku nije delovalo posebno uverljivo niti mi dalo utisak da gledam geto Bogote u akciji – a što za film koji toliko polaže na verizam jeste problem.
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Druga stvar koja se primeti je da se, pored ESKTREMNO mnogo priče o seksu – normalne za okruženje mladih, napaljenih muškaraca – ali i drogama, film vidno usteže da ode u malo dramatičnijem smeru u domenu prikazivanja tog uličnog života Bogote. Carlos ima momenat sa seks-radnicom koja je tu da mu pomogne da skine mrak, ali dobijamo samo njihov dijalog, a kada momka, inače lepuškastog, sa androginim, upečatljivim licem, kriminalac drži u ,,kragni", sa pištoljem na slepoočnici i najavljuje da će ga silovati, scena se prekida uz prećutno razumevanje da se ipak nije ništa dogodilo.
Utoliko, kasniji kontrast Carlosovog stida – pred starijim gangsterima koji ga nazivaju pičkicom, ali i pred sobom – i Carlosovog lelujanja između tvrde, ulične mačo persone koju MORA da izgradi ako misli da opstane i ostane na ulici, i mekše, nežnije, možda više queer persone koju pronalazi negde u sebi posle ovog incidenta ostaje TRAGIČNO neiskorišćen motiv u ovom filmu. Dobijamo tu jednu efektno slikanu scenu kada glavni junak sebi karminom na ogledalu crta pune ženske usne, plus kasniju najavu da on svoju čast ima da povrati pištoljem u grupnoj egzakuciji ne samo wannabe silovatelja već i cele njegove ekipe, ali... Un varón je film koji voli da tizuje ali ne i da realizuje pa se ništa od svega ovoga unutar narativa filma ne rešava i ostaje kao samo doticanje motiva koje su drugi obradili a Un varón se samo zapljunuo i otkačio još jednu stavku na spisku elemenata ,,toksične muškosti".
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Druga neiskorišćena dimenzija je ta odsutna majka koja je Carlosu motivacija i sa kojom, kada u jednoj sceni priča telefonom, on na trenutak postaje uplakani mladi momak čiji je svet otišao u kurac ne njegovom krivicom i on ne može da ga prežali – no, opet, film ne zna šta bi dalje sa tim radio i ostavlja Carlosovu priči potpuno nerazrešenu nakon što je postavlja u kontekst proslave Božića, jedne deljene situacije između sirotinje na ulicama grada koja, uprkos tome što nema ništa i nedostaje joj sve, uključuje i sebe u opšte veselje kako zna i ume.
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U scenama koje pokazuju zajedničke aktivnosti više osoba – film kao da procveta. Direktorka fotografije, Sofia Oggioni odradila je fantastičan posao tokom celog trajanja filma a to što je režiser programski usredsređuje na lice glavnog junaka – deakcentujući pozadine, druge osobe, široke planove – kao da joj nije ni malo smetalo. Uostalom, glavni glumac, Dilan Felipe Ramírez Espitia ima fantastičnu fizonomiju i mada ne glumi mnogo, on izgleda izuzetno u svakom kadru. No, Un varón bi, mislim, mnogo profitirao od dinamičnijih interakcija njegovog lika sa drugim ljudima i okruženjem. Film se generalno usredsređuje na krupne planove njegovog lica, čak i kada su u sceni drugi likovi, podcrtavajući njegovu usamljenost i slepu veru da mora da bude solipsistički utvrđeni greben samoće i muževne snage, ali su momenti kada kadrovi imaju malo širine i dubine, kada su u njima drugi ljudi koji nisu kameri okrenuti leđima, ili kada vidimo ulice grada koje, uprkos teškom životu deluju ŽIVO, naprosto dah svežine u filmu. Nasuprot njima, ponovljeni kadrovi bagera koji raščišćava krš ili Carlosa koji leži u krevetu, budan, i ćuti su prosto pozajmljivanje iz ,,žanrovske" arthouse biblioteke i kad god ih vidite setite se da ovaj film umesto pričanja priče ređa slike i simbole za koje zna da ćete ih prepoznati jer ste već gledali pregršt drugih sličnih filmova.
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I nekima će ta referencijalnost biti osnažujuća, ali meni je bila nemaštovita. Nažalost, Un varón je film koji svoj odličan izgled ne koristi u dovoljnoj meri i za razliku od nekih drugih filmova o kojima sam nedavno pisao, na primer mađarskog kratkog, efektnog rada Diszfória (https://cvecezla.wordpress.com/2023/05/12/film-diszforia/), zaboravlja da ,,čista" realnost bez daha ,,umetne" drame retko daje dobre filmove. No, Un varón je makar kratak, lepo izgleda i vredi da se pogleda kao prvi draft nečega što će ova ekipa, nadam se, realizovati ubedljivije sa nekim narednim filmom.
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The Assassin, a koji je bioskopsku premijeru imao početkom godine a zatim se uspešno probio do Netfliksa i drugih kanala spremnih da nam dopreme krvoločnu akciju direktno u dnevne sobe ili na ekrane naših prenosnih sprava, je podsećanje da je kriza svuda, pa i u južnokorejskom akcionom filmu. Iako se već godinama unazad sa dosta argumenata govori da je Južna Koreja preuzela primat u domenu akcionog bioskopa istočne Azije, i da joj i Japan i Hong Kong, ali i za takmičenje vrlo zainteresovana Indonezija gledaju u leđa, The Assassin je indikacija da i tamo mora da se spaja kraj s krajem kako ko zna i ume i da je ponekad resetovanje na fabrička podešavanja i recikliranje isprobanog materijala jedini način da se koliko-toliko časno zaradi plata i premosti do prvog.
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Nije, dakle, što je The Assassin* niskobudžetna produkcija, južnokorejski akcijaši svakako po visini ulaganja nikada ni nisu mogli da se porede ne sa Holivudom nego ni sa propulzivnijim kineskim filmovima iz proteklih par decenija, nego je što je ovo film toliko usidren u mirnoj luci klišea i isprobanih, a neki bi rekli i izlizanih stereotipova, da je gotovo izvesno da će u grupi od deset gledalaca koji ovo pogledaju bar dvoje tvrditi da su ga već gledali a bar jedan od njih smrknuto reći da možda nije gledao baš OVO ali da je, očigledno, u pitanju rimejk nečeg pravljenog sedamdesetih ili tako negde.
* originalni korejski naslov ,,Salsu" je zapravo bliži frazi ,,Ubilačka ruka" a film je distribuiran i kao Night of the Assassin, na nekim teritorijama
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Iako mi danas smatramo da je južnokorejski žanrovski film začet početkom ovog stoleća i da je sve što vredi da se vidi snimljeno u postmilenijumskoj groznici kada je ova država počela da izbacuje naslov za naslovom notabilnih akcijaša, horora i drama sa elementima jednog i drugog, istina je i da je ,,muhyeop" – a što je termin kojim se danas označava ,,istorjski" akcioni film sa elementima borilačkih veština u Koreji – žanr sa tradicijom koja se proteže decenijama unazad, utemeljenom na još dužoj tradiciji herojske proze (takođe nazvane muhyeop) a koja je začeta sedamdesetih godina prošlog veka sa talasom istorijskih akcionih romana o herojima i antiherojima sa mačevima, inspirisanim kineskim wuxia romanima i filmovima. Muhyeop proza je i danas popularna, zahvaljujući niskom ekonomskom pragu koji treba preksočiti kada publikujete svoje pisanje digitalno, putem weba, a akcioni film rađen po motivima ovog književnog žanra je, takođe sasvim eksplicitno inspirisan kineskim wuxia filmovima, rađen decenijama unazad. Štaviše, Shin Hyun-joon, glavni junak The Assassin, je tokom devedesetih godina prošlog veka gradio svoju karijeru igrajući prvo negativce a zatim antiheroje u, između ostalog, korejskim istorijskim akcijašima, a što mu je, kada je južnokorejska industrija krenula uzlaznom putanjom početkom veka, raščistilo put do mejnstrim slave koju je osvojio igrajući u komedijama poput Guns & Talks ili Marrying the Mafia II.
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Shin Hyun-joon je i popularan televizijski voditelj pa je tim indikativnije da je pristao da ponovo pusti kosu i zaigra ćutljivog profesionalnog ubicu u filmu koji je napisao i režirao slabo poznati Kwak Jeong-deok, čovek koji je režirao samo jednu celovečernju produkciju pre ovoga, niskobudžetni erotski rad Good Wife u serijalu Temptaion of Eve iz 2007. godine. Otkud Kwak Jeong-deok u muhyeop žanru, i kako se Shin Hyun-joon pojavio u ovom filmu, ne znamo, ali mislim da se može govoriti o svojevrsnom ekonomskom kriziranju cele kinematografije i jednom daj-šta-daš mentalitetu koji je pratio čitavu produkciju.
Kwak Jeong-deok je ovde, malo je reći, išao na sigurno. Ne samo da je njegov scenario kolekcija vrlo razgaženih klišea istočnoazijskog akciono-istorijskog filma – ali i holivudskog vesterna iz šezdesetih godina prošlog veka – već je i čitav stajling koji Shin Hyun-joon dobija, sa dugom kosom i ,,kostimom" ubice jasan pokušaj da se napravi aluzija na Bichunmoo iz 2001. godine, jedan od ranih muhyeop filmova koji su eksplicitno imitirali aktuelne trendove u savremenoj kineskoj wuxia produkciji, uzimajući kineske koreografe i majstore specijalnih efekata za wire-fu program koji je tada bio popularan. Shin Hyun-joon je i tamo imao dugu kosu i mač, pa je, nakon decenija u kojima je postao miljenih televizijske publike (a koja ga od milošte zove i ,,arapskim princom" na ime egzotičnih crta lica) i za njega ovo nekakav reset i trud da se napravi jasna referenca na drugo vreme kada smo svi bili mlađi a korejski akcioni film tek uzimao zalet da osvoji svet.
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Ako hoćete da budete darežljivi, The Assassin bi se mogao gledati i kao dekonstruktivni prilazak materiji obrađivanoj u Bichunmoo i drugim filmovima onog vremena. Svakako i ovde imamo paradu prelepih glumaca (kojima je televizija glavno polje rada) u glavnim ulogama, ali glamur koji se tada smatrao legitimnom metom je notabilno odsutan. Kostimi većine likova su u zagasitim bojama (uz notabilni izuzetak lokalnog političara koji programski nosi vrlo šaren i napadan kostim kako bi se sugerisala raskoš u kojoj živi na ime korupcije), akcija je prosta i ,,realistična", a život u severnoj provinciji koji nam se prikazuje obeležen je teškim radom, siromaštvom, nesigurnošću (ekonomskom i biološkom), razuzdanom korupcijom i skoro otvorenom saradnjom lokalne administracije sa banditima u planini koji prodaju opijum i bacaju lokalce u dužničko ropstvo.
Sam glavni junak, Lee Nan je nekada slavni plaćeni ubica sa skoro natprirodnim borilačkim veštinama koji je morao da napusti profesiju na ime srčanih problema ali i nakon upozorenja lekara da bi korišćenje ,,borilačkih tehnika" moglo da ga košta života, a i da, ako baš mora da nastavi da ima povremene snošaje sa ženama, to ,,radi polako". Lee Nan, naravno, zna samo da ubija i sada kada igrom slučaja sebe zatekne kao čoveka bez prošlosti i imena u porodici što je čine majka koja drži krčmu i njen jezičavi sin, on po prvi put u životu prepoznaje da njegove fizičke veštine mogu biti korišćene i za druge stvari sem ubijanja, zarađujući obrok i konak cepanjem drva i drugim poštenim radom.
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Kliše o profesionalnom ubici koji u časnoj porodici što joj fali muška glava u kući pronalazi nikada ranije viđenu harmoniju, mir i svrhu je toliko star da je legitimno čekati da se vidi kako će ga Kwak Jeong-deok potkazati, ali to se zapravo ne dešava. The Assassin je VRLO strejt film koji svoje žanrovske trope upotrebljava kao readymade građu za priču kojoj svi znamo ne samo početak i kraj već i tempo kojim će se odvijati. Naravno da će Lee Nan, kada vidi da sin predusretljive (ali i blago sarkastične) krčmarice guta romane istorijske fikcije u kojima ubice ubijaju samo loše ljude i ispadaju na kraju heroji, detetu pokušati da objasni da to u životu ne postoji. Naravno da će spona lokalnih korumpiranih političara i bandita da ga natera da se vrati iz penzije i, po cenu života, krene da obavi jedan poslednji posao. Naravno da će žena-plaćeni ubica sa početka filma a kojoj je Lee Nan, suprotno svojoj reputaciji i praksi, poštedeo život, odigrati presudnu ulogu u finalu. Sve je ovo već viđeno, predvidivo, stereotipno.
Ono što The Assassin čini sasvim probavljivim je pre svega jedan solidnost u realizaciji. Iako je akcija, u skladu sa tim blago dekonstruktivnim pristupom, relativno umirena i svodi se na ,,normalno" mačevanje – često izvan kadra, dok gledalac samo čuje zvučne efekte zviždanja sečiva i udara metala o metal – fotografija je poslovično dobra, a kostimi i setovi lepi. Naravno da i ovde sve što je upečatljivo izgleda kao da je došlo iz nekog filma koji ste već gledali – borba ,,iz profila" a iza papirnog paravana na početku ali i manekenski (ili, zapravo još više K-Pop) stajling Honga Eunkija koji igra minibossa, mladog, napaljenog mačevaoca željnog da se dokaže poražavanjem legendarnog plaćenog ubice – ali film, uprkos svom trajanju od sto minuta, zapravo ima lep tempo i ni u jednom trenutku ne deluje dosadno.
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Glumci ovde na svojim leđima iznose dosta tereta, pogotovo jer film nakon vrlo ozbiljnog početka a pre takođe ozbiljnog, dramatičnog kraja, ima središnjicu koja je kodirana sasvim komično. Ovde i sam Shin Hyun-joon demonstrira solidan komedijaški kapacitet, a partnerka mu Kim Min-kyung i gogoljevski namazani korumpirani političar koga tumači odlični Lee Moon-sik donose scene koje su razigrane, zabavne i pomažu da se malo razbije utisak da gledamo rimejk nekog postojećeg filma.
Opet, ograničenja koja The Assassin ima ne dopuštaju mu da radikalno probije granice formata u koji je priča smeštena, pa se film prema kraju odvija baš onako kako zamišljate da će se odvijati. Kwak Jeong-deok se sa skromnim budžetom snalazi dosta maštovito, oslanjajući se na zvučne efekte i akciju koja se odvija u offu, te lepo slikane momente nakon što se akcija desila da nam sugeriše nasilje i energiju, a što svakako ne može da bude puna kompenzacija za odsustvo kompleksnijih boričakih koreografija. Opet, ono što od akcije dobijamo je gritty i jednostavno, više nalik na japanske novotalasne jidaigeki dekonstrukcije nego na kineske wuxia predloške. ,,Korektno" je svakako termin koji pristaje akcionim scenama, ali film nema ni ambiciju, ni pare ni, na kraju krajeva, ideje da ode preko ovog standarda.
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No, nije ni zakonom propisano da mora. The Assassin je uprkos solidnoj fotografiji – čak i uz iznenađujuće mnogo scena snimanih iz ruke – i trajanju od stotinak minuta decidno ,,B" film i predstavlja jednu prihvatljivu ako već ne naročito nadahnutu demonstraciju ovog formata. Uz dobre glumce, po koju uspelu komičnu scenu i cheesy ali efektno fetišizovanje glavnog junaka kao praktično superheroja u telu bolešljivog antiheroja, The Assassin radi taman koliko treba da bude prijatan obrok brze hrane i podsećanje na filmove koje smo voleli. S obzirom da finale obećava mogućnost nastavka, ako se zvezde srećno postave, lagao bih ako bih rekao da to ne bih sasvim rado pogledao.
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Malo sam se opustio uz jeftinu a dopadljivu hongkonšku kung-fu akciju u formi filma Angel Enforcers iz 1989. godine a koji ni slučajno ne spada u neke važnije naslove tog doba – pa čak ni u važnije naslove koju u, jelte, naslovu, imaju reč ,,angel" – ali jeste na neki način sažetak dobrog dela trendova, ideja i tropa koje je hongkonški akcioni film krajem osamdesetih baštinio. Plus, ko može odoleti ponudi gde hongkonške policajke sa legendarnim '80s frizurama većinu prepreka u svojoj istrazi rešavaju spektakularnim tučama? Možda neki bolji čovek od mene, ali da li taj čovek uopšte uživa u životu?
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Angel Enforcers, u originalu nazvan Huang jia fei feng (a što mi Gugl veli da znači ,,Žuti pečat potaše"????), samo je jedan od trinaest filmova koje je režiser Godfrey Ho (pod nekim od svojih pseudonima) potpisao kao režiser u 1989. godini. Namerno ne kažem ,,režirao" jer je Ho, kao neke svoje druge kolege, svoju profesionalnu prolifičnost dugovao između ostalog kreativnom montiranju snimljenog materijala. Poznat po svojim filmovima o nindžama iz osamdesetih godina (Night of the Ninja, Ninja of the Magnificence, The Power of Ninjitsu, Ninja Strikeforce, Ninja Powerforce, The Ninja Showdown itd.) koje je štancovao kao na traci, doslovno po 3-4 komada godišnje (uz još 5-6 filmova koji ne bi imali u naslovu reć ,,nindža"), Ho na dobrom delu ovih produkcija nije bio ni potpisan kao režiser jer se radilo prosto o sklapanju materijala koji je sniman u više nepovezanih sesija, i umetanju scena između koje bi trebalo da akciji daju nekakav narativni okvir.
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Naravno, sa nindžama je to još i bilo lako uraditi jer su u akcionim scenama glumci i kaskaderi svi u identičnim crnim kostimima, maskirani i anonimni pa se jedan isti futidž mogao koristiti u nekoliko filmova. No, sa Angel Enforcers je Ho, verovatno jer je neumorni rad Jackiea Chana učinio ,,policijske" akcione filmove vrlo popularnim u Hong Kongu ali i izvan njega, radio u žanru, dakle, policijskog akcijaša, nudeći urbanu akciju, kriminalce u pastelnim odelima, sačmare-pumparice i žene sa hladnim trajnama koje mogu nogom da vam polome nos a da im se savršeno naneseni karmin na usnama ni malo ne poremeti.
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Svakako, Ho, je ovom filmu prišao sa kakvom-takvom ambicijom da se napravi memorabilnija tvorevina, radeći sa nekim bitnim glumcima hongkonškog akcionog filma i bazirajući narativ na iznenađujuće velikom ansamblu likova. Pored četiri policajke u glavnim ulogama tu je i njihov šef koji samo sedi za svojim stolom i pokušava da mu krvni sudovi na licu ne eksplodiraju od nerviranja, tu je otac najmanje dve od njih, a koji je penzionisani policajac ponosan što njegove ćerke nastavljaju porodični zanat (od ostale dve najmanje jedna ovog čoveka naziva stricom pa je u pitanju policijski odred žena koje su ne samo, jelte, žene, nego i rodbina), tu je policajac ubačen u redove kriminalaca koji posle godinu dana, da bi spasao život koleginice mora da se autuje pa je sad na nišanu tih istih kriminalaca, tu su neimenovani ali stalno prisutni muški saradnici naših heroina, tu je ljigavi biznismen koji misli da se zakoni na njega ne odnose, plus je, naravno, pervertit i svinja*, tu je šefica opasne hongkonške bande koju policija nikako ni da identifikuje a kamoli uhapsi, tu su dvojica kriminalaca čije sudbine pratimo da bismo videli kako prolaze jajare na ulicama (i kamenolomima) Hong Konga, tu su JOŠ dvojica kriminalaca, ali ovog puta malo namazanije face, sa nadimcima ,,Lethal Weapon" 1 i 2, koje izvršavaju naručena ubistva, a koje se pokazuju bitne za zaplet, ili ako ne za zaplet ono makar za akcione scene u završnici filma i, mislim, Angel Enforcers je jedan haotičan film koji krene u jednu stranu ali mu onda pažnju privuče nešto drugo, pa nešto treće i tako dalje. Ho je potpisan i kao scenarista ove produkcije ali nije nezamislivo da je čitav scenario Angel Enforcersa imao svega 3-4 strane teksta a da je na kraju istinski nastao tek na montažerskom stolu.
*i ne baš neočekivano, pri kraju filma će biti – u zajedljivo humoristički intniranoj sceni – izložen (impliciranom) muškom silovanju a što je, nećete se iznenaditi, bio humoristički specijalitet osamdesetih, ne samo u Hong Kongu već i u Holivudu pa i u Jugoslaviji...
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I, da damo kredit tamo gde smo dužni, montaža ovog filma je nešto što primetite. Vincent Leung (aka Wing Chan Leung) je sa Hoom sarađivao na mnogo filmova i vidi se ovde jedan uhodan, uigran tim koji film od devedeset minuta pravi tako da sve bude brzo, efikasno i bez šlajfovanja. Za razliku od onog na šta će nas kasnije navići direct to video produkcije, Angel Enforcers se drži hongkonške akcione etike i ovde nema ,,mood" scena, nema momenata u kojima protagonisti meditiraju, nema gubljenja ičijeg vremena. Ovo je film čija je glavna ambicija da gledaoca što pre dovede do naredne akcione scene i on tu ambiciju dosta časno ispunjava.
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O čemu se u priči radi? To je sada dosta teško reći jer Angel Enforcers legitimno deluje kao da je sklopljen od 3-4 scenarija koji su možda bili namenjeni drugim filmovima. Uostalom, filmova sa ,,Angel" u naslovu je bilo koliko hoćete u ono vreme (sam Ho je režirao još i Angel Connection prethodne godine pa Angel Force kasnije 1989. godine) i oni su u prelascima na strana tržišta dobijali i nove identitete, onako kako su distributeri kreirali lažne serijale, držeći se pre svega ,,teme" (a to je da su pred nama žene koje umeju da se biju) a ne hajući previše za povezanost pričom ili likovima.
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No, u nekakvom globalnom zapletu Angel Enforcers se bavi policijskim odredom koji pokušava da razbije bandu pljačkaša dijamanata dobro naoružanu i spremnu na sve, a koju predvodi stereotipno lepa i opasna žena. Ako ovo deluje kao isuviše highbrow postavka za film u kome se lome kosti i pada sa kamiona u pokretu – samo da bi se nastavilo sa tučom – ne brinite, i Ho je isto mislio pa negde od polovine film biva potpuno kidnapovan od strane podzapleta a koji se tiče jednog od dva pomenuta ,,ozbiljnija" kriminalca koji želi da osveti svog kolegu tako što će pobiti policajke krive za njegovu smrt.
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Ovo je režirano dosta bizarno jer likovi koji u najboljem slučaju treba da budu minibossovi dobijaju više minutaže ali i karakterizacije od čak i nekih glavnih junakinja filma. Jedno objašnjenje za to je svakako da njih dvojicu igraju Phillip Ko i Dick Wei, popularni glumci akcionih produkcija onog vremena i da posebno Wei svojom harizmom ali i borilačkom ekspertizom čini jednu od glavnih atrakcija ovog filma.
Naravno, PRVA glavna atrakcija su četiri žene u glavnim ulogama a među njima najprvija Pan Pan Yeung aka Sharon Yeung, žena čija karijera i dalje traje (ili je makar trajala do pandemije) a koju su početkom osamdesetih nazivali ,,ženskim Jackiejem Chanom" na ime poznavanja velikog broja borilačkih veština i atraktivne, filmične tehnike koju je donosila na setove.
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Ni ostale žene nisu za bacanje u domenu borilačkih kvaliteta, uključujući policajke ali i pomenutu šeficu bande koja doduše najveći deo filma provodi za stolom, izdajući besna naređenja svojim minionima, ali kada jedno jutro krene u džoging – naravno bez telohranitelja jer ko bi udario na usamljenu džogerku za koju se ne zna da je kriminalni mastermajnd – završi u atraktivnom kung-fu obračunu sa dve policajke u trenerkama. Jer, da bude jasno, OVAJ policijski odred ne bavi se previše istražnim radnjama i radije će iz osumnjičenih batinama izvući priznanja.
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Naravno, film i počinje scenom u kojoj policajke pucaju na kriminalce koji beže od njih (i ne ugrožavaju ih) pre nego što skinu službene kape i puste da im se raspu ruse kose, pa je jasno da su one sve završile istu, ,,'80s action movie" policijsku akademiju, zajedno sa režiserom, rekviziterom i montažerom ovog filma. Krimosi su ovde likovi u sakoima sa naramenicama ispod kojih štekuju sačmare, svi nose tamne naočari i gel na kosi a čisto radi dojma, produkcija ne u jednu nego u dve scene filma ubacuje Carpenterovu legendarnu muzičku temu iz Halloweena. S obzirom da je Carpenter u ono vreme već bio pomalo ostrakizovan u Holivudu, nije isključeno da je on autorizovao ovakvo koršćenje svog starog saundtraka u zamenu za šaku dolara...
Dakle, da bude jasno, Angel Enforcers je loš film ako u njemu tražite priču, likove, najbazičniju logiku. On je serija akcionih scena i set pisova jedva povezanih narativom, u kome lik kodifikovan kao endboss biva pospremljen praktično usput, bez mnogo spektakla, a dok lik kodifikovan kao midboss izrasta u ultimativnu pretnju koja se ozbiljno userava u život našim heroinama, između ostalog kreirajući nepotrebno komplikovan set pis sa komadom leda, grejalicom, i ženom koja stoji na otapajućem komadu leda okićena ručnim bombma čije su sigurnosne igle vezane zategnutim najlon-koncem...
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Da je Ho samo malo ambicioznije ovo režirao, Angel Enforcers je mogao biti i neka vrsta genre-bending stilske vežbe sa žrtvovanjem likova za koje smo mislili da su nedodirljivi i orkutnom igrom sudbine što prkosi žanrovskim tropima. No, naravno, Ho nije imao mnogo ambicije ovde jer je jurio da pređe na sledeći film pa Angel Enforcers najpre izvlače lepi glumci, dobra kamera i, da, ta solidna akcija. Naravno, ne treba ovde očekivati džekičenovski nivo genijalnosti, Ho nije imao ni vremena ni volje da pravi kompleksne koreografije gde samo jedan pogrešan potez znači da sve vraćate na početak i upravo ste u đubre bacili pola sata rada, pa su akcione scene napravljene sa puno rezova, tako da neki potezi dolaze potpuno iznebuha, ali sve to izgleda vrlo atraktivno. Ove žene ne samo da umeju da se biju nego su i kaskaderi poslovično požrtvovani i posle blagog zagrevanja na početku filma gde ljudi padaju u vodu nakon brutalnih udaraca nogom, dobijamo masu scena od kojih legitimno malo stisnete zube i pomislite kako se nadate da je sa ovom ženom (ili čovekom) na kraju bilo sve u redu. Tu se pada kroz prozore, visi sa kombija u pokretu, pada sa nadvožnjaka na kamion, pa na njegovu prikolicu, pa sa nje na drum, upada se kroz šoferšajbne sa obe noge i generalno se ne štede ni bubrezi ni leđa ni ekstremiteti. Kaskaderke i kaskaderi su ovde zaradili svoj novac doslovno krvavo, a borilački potezi su često ludački atraktivni i u potpunosti će zadovoljiti gledaoca koji je do filma došao privučen ,,kung fu babes" šmekom što iz njega ekstenzivno emanira.
(https://i.imgur.com/d1LeiHP.png)
Naravno morate biti baš ljubitelj hongkonškog akcionog filma da biste ovome posvetili devedeset minuta svog života. Kako rekosmo, film je skrpljen iz delova koji nisu nužno originalno bili zamišljeni kao deo iste celine, mnogi elementi zapleta na koje nam se skreće pažnja posle bivaju zaboravljeni, glavni likovi nemaju mnogo vremena pred kamerom dok ga sporedni dobijaju iznenađujuće previše itd. ali s druge strane, ovo zaista nudi atraktivnu akciju na ulicama, dokovima i kamenolomima Hong Konga, i završni obračun je prilično brutalan i krvav. Ako volite, pogledajte.
(https://i.imgur.com/asLgGBO.png)
Google prevodilac meni kaže da je naslov filma "Royal Phoenix". Ne vredi da daš prevodiocu romanizovani tekst "Huang jia fei feng" jer se tu izgubi dosta informacije. Svaka od četiri reči tu može da se predstavi sa nekoliko kineskih simbola. Ja sam prevodiocu dao sliku plakata na kome su četiri kineska simbola, i tako dobio ovo gore.
Da se razumemo, ni Royal Phoenix nema veze sa bilo čim u ovom filmu, ali zvuči bliskije kung fu estetici nego, jelte, ono... :lol: :lol: :lol: :lol: :lol:
Ali onda sam otvorio Character Map koji postoji u svakom Windowsu, uključio Advanced View, odabrao "Simplified Chinese by PinYin", i pronašao simbole za prve dve reči, huang i jia. Za druge dve rečin nisam mogao da nađem jer verovatno ne spadaju u "simplified Chinese". Ali naoružan sa prva dva simbola i engleskim distributivnim naslovom pronašao na guglu sva četiri simbola:
皇家飛鳳
Google prevodilac opet kaže da to znači "Royal phoenix" na tradicionalnom kineskom, ali nudi i romanizovani tekst sa kvačicama, koji onda zadržava originalnu informaciju: Huángjiā fēi fèng.
Prvorazredna forenzika, druže mac :| :| :| :| Svakako onda, ovaj film u originalu ima to ime. Samo nije najjasnije na koga se to odnosi, na lika koji igra Pan Pan Yeung, ili na šeficu bande ili je to možda ime bande ili možda ime dijamanta koji se vidi na početku a u lokalizaciji na Engleski je preveden kao "African Star"...
Mora da je neobično u ovom trenutku biti deo ekipe koja je radila na filmu Blue Beetle i još uvek ima izvesne ugovorne obaveze da ga ne neki način promoviše. Kao deo franšize jednog od najvećih holivudskih studija od koje je taj studio ne samo digao ruke već manifestno odlučio da je ubije, pokopa i dokaze kontaminira kako niko više tu ne bi mogao da se snađe,* Blue Beetle je letos bio i uverljiv, glasan flop na boks ofisu. Kao deseti film u onome što je – nikada dovoljno jasno – definisano kao DC Extended Universe, ovaj je film komercijalno najgore prošao od svih, a što je prilično dostignuće imajući u vidu da su u Warneru u poslednjih dvanaest meseci već imali visokoprofilne promašaje poput Black Adama (https://cvecezla.wordpress.com/2022/12/02/film-black-adam/) ili The Flash (https://cvecezla.wordpress.com/2023/09/01/film-the-flash/). Već se zna da će posle drugog Aquamana koji u bioskope stiže za par nedelja DCEU biti i zvanično izbrisan iz bilo kakvih narednih Warnerovih planova, pa je mid-credits sekvenca na kraju filma u kojoj se, po tradiciji, ostavlja malecni zametak nekakvog potencijalnog nastavka ovde utoliko žalosniji naklon oprobanom formatu. Imajući u vidu koliko u današnjem Warneru nemaju sentimentalnosti prema svojim produkcijama, i spremni su da već gotove i na probnim prikazivanjima dobro ocenjene filmove unište pre ulaska u distribuciju kako bi dobili poresku olakšicu** fer je reći i da je Blue Beetle imao sreće što je uopšte video tamu bioskopa. Tamo su ga uglavnom ignorisali pa je film posle svega tri meseca stigao na HBO prošlog Petka i tamo smo ga, po dužnosti, pogledali.
*ovde prevashodno mislim na najave da će na primer Jason Momoa nastaviti da igra u superherojskim filmovima rađenim po DC predlošcima ali da će igrati drugi lik od onog koji je do sada igrao
**setimo se kako se proveo zlosrećni Batgirl
(https://i.imgur.com/dNjQHfS.jpg)
Blue Beetle je, da ne okolišimo mnogo, slab film. Obično na ovom mestu dodamo i neku umekšavajuću frazu tipa ,,ali ima srce" ili ,,slab na zabavan način" ali ovde je u pitanju film mehanički napravljen od elemenata koji su dobro funkcionisali u drugim filmovima, urađen sa neophodnim minimumom zanatske spretnosti, ali bez trunke nadahnuća u bilo kom svom segmentu. Nisam gledao prethodne filmove portorikanskog režisera Ángela Manuela Sotoa ali teško mi je da zamislim kako ovo i njemu nije bilo otuđujuće, neugodno iskustvo spajanja tačkica pod patronatom nekog producenta koji mu je sedeo nad glavom i prutom ga šibao po nadlanici kad god bi ovaj pokušao da izleti preko crte. Blue Beetle je kao nekakva algoritamski sklopljena procesija scena i dijaloga koje je AI izbljunuo nakon što su ga hranili nastavcima Back to the Future, komedijama Stevea Martina i superherojskim programom iz posledjih petnaest godina, sa promptom da sve mora da bude ,,Latinx as fuck". Na kraju krajeva, i Soto je DC-ju u inicijalnom periodu, kada se pričalo da Warner planira da godišnje snimi više jeftinijih superherojskih filmova koji će ići direktno na striming, pičovao masu svojh ideja, pa nagađam da se malo i smorio kada je shvatio da studio ništa od toga ne zanima i da je posao dobio prevashodno zato što je latinoameričkog porekla. Siguran sam da je propast ovog filma na blagajnama lansirala i mnogo zluradih ,,get woke, go broke" komentara, ali mislim da je važno da ovde odmah raščistimo: Blue Beetle nije slab film jer je ,,woke" već prosto, zato što je urađen mehanički, nenadahnuto, bez dovoljno energije tamo gde je bilo najpotrebnije – u superherojskom delu filma.
(https://i.imgur.com/h36UwO3.jpg)
Kako je Blue Beetle UOPŠTE došao na film, kad poznatiji i popularniji superheroji od njega to nisu uspeli? Zašto nikada nismo dobili Martian Manhunter ili (Teen) Titans film, ili, evo, da malo pustimo mašti na volju, film o Deathstrokeu ili Deadshotu, ali je u 2023. godini u bioskope ušao film o liku koji, tehnički gledano i nije ZAISTA DC-jev, već su ga samo kupili kada je početkom osamdesetih Charlton Comics zapao u finansijske nedaće* i prodavao svoje likove za, kažu, pet hiljada dolara po komadu?
*iz kojih se, SPOJLER, nikada nije iščupao
Verovatno je u pitanju komplikovan splet nečega što je delovalo kao masa povoljnih okolnosti. Imati prvi visokoprofilni superherojski film gde će protagonist biti latinoameričke provinijencije, sa snažnim naglaskom na latin-kulturi kao nezaobilaznim elementom kulture u SAD je verovatno delovalo kao značajna distinkcija, pogotovo videvši koliko je objektivno ne naročito sjajni Marvelov Shang-Chi profitirao od svog fokusiranja na azijsku kulturu. Pritom, mladi, nepotrošeni glumci, priča utemeljena u oprobanoj pripovedačkoj tradiciji,* te jedna uzbudljiva dinamika akcione komedije – verujem da niko nije očekivao da Blue Beetle bude fenomen na nivou Nolanovog Betmena ili Snyder's Cuta Lige pravde (https://cvecezla.wordpress.com/2023/08/25/film-zack-snyders-justice-league-justice-is-gray/), ali da su se nadali da će ovo makar napraviti talasiće uporedive sa onim što je uradio Shazam! (https://cvecezla.wordpress.com/2023/06/02/film-shazam-fury-of-the-gods/), pa, verujemo da jesu.
*znate već: Momak sreće devojku, momak se integriše sa vanzemaljskim inteligentnim oružjem koje mu da supermoći, momak dobija devojku
(https://i.imgur.com/7odn8Yl.jpg)
No, Blue Beetle je propao verovatno i na ime toga što u kastu nema praktično ni jednu šire prepoznatljivu zvezdu. Kada vam je najjače ime na špici Susan Sarandon koja sa skoro osamdeset godina mora da se krevelji i izigrava zlu tehno-milijarderku sigurno ne možete da računate na publiku koja će u bioskop doći naprosto zato što prepoznaje imena na plakatu i lica u trejleru. Drugo najpoznatije ime, George Lopez je na neki načini sažetak ambicije ovog filma da se pozicionira kao laka, optimistična komedija smeštena u imigrantski mizanscen na jugu SAD gde će sve one šale vezane za telenovele i babe koje su decenijama u Americi a i dalje ne pričaju Engleski biti udenute u jedan dobro razgažen format superherojskog origin story pripovedanja.
Nije da to po definiciji nema potencijala. Ovaj Blue Beetle zapravo JESTE DC-jeva kreacija. Jaime Reyes je treća ,,Plava buba" u istoriji stripa, nastao 2006. godine tokom DC-jevog pretumbavanja strip-kontinuiteta u događaju Infinite Crisis i predstavljao je distinktan kontrast u odnosu na najpoznatiji lik koji je nosio ovo ime. Ted Kord je i dalje voljeni drugopozivac Lige pravde i imao je i sopstvene stripove poslednjih godina (https://cvecezla.wordpress.com/2022/07/12/procitani-stripovi-blue-and-gold/), ali nije ni teško videti zašto je za potrebe pravljenja filma izbor pao na klinca meksičkog porekla iz skromne ali optimistične imigrantske familije, a ne na tehno-milijardera kakav bi bio Elon Musk kada bi bio kul, dobronameran i manje psihopatski narcisoidan. Jaime Reyes je u stripove doneo dah novog, neistrošenog, bacajući srednjoškolca iz manjinske zajednice u vatru i stavljajući ga rame uz rame sa veteranskim superherojima kojima je spasavanje čitavog svemira neka vrsta celoživotnog poziva.
(https://i.imgur.com/NNt6j6o.jpg)
Strip-miniserijal Blue Beetle: Graduation Day (https://cvecezla.wordpress.com/2023/05/23/procitani-stripovi-blue-beetle-graduation-day/)od pre otprilike godinu dana je dao i približan kontekst u kome se dešava i film, sa glavnim junakom koji se vraća u rodni grad nakon završene škole i istovremeno treba da se suoči sa realnostima života meksičkih imigranata ali i sa brutalnim nastupom korporacije čiji je apetit da tehnologiju koju ne razume primeni ne bi li dobila unosne ugovore sa državom za pravljenje oružja ravan samo njenom preziru za živote malih ljudi, često imigranata, čiji rad sve to zapravo omogućava.
Ovo je sasvim potentan sržni motiv: sukob između korporativnih CEO glavešina koje misle da je sve u idejama i gledaju da ljudski rad izbace iz jednačine što je pre moguće i raje koja održava ceo sistem na svojim plećima je jedan od temeljnih konflikta našeg doba a film koji taj sukob još zaoštrava prikazujući sistemski rasizam koji imigrante ne samo stavlja u slabiji početni položaj već i aktivno radi da ih zadrži u njemu je film koji ima šta da kaže.
Ali naravno da Blue Beetle neće bogznašta i REĆI na ove teme. Kao i mnogi moderni produkti koje zluradi komentatori optužuju da su ,,woke", ovaj film se zadovoljava navođenjem ovih tema i ne upušta se u njihovo detaljnije pretresanje. Jer njegova centralna tema je, pre svega, porodica i njena osnažujuća uloga u životu – čak i moćnih – pojedinaca.
(https://i.imgur.com/O6BeXdu.jpg)
Ni ta tema nije obrađena MNOGO suptilno i Blue Beetle se drži najoprobanijih pristupa ovde, kontrastirajući sirotinju koja živi život topline i uzajamne podrške u zajednici koja je skoro plemenske prirode, bogataškoj famili koja je otuđena, dekadentna, hladna i gde od strane libertarijanaca obožavani ,,rugged" individualizam biva do kraja dekonstruisan kao očigledna šarena laža. Susan Sarandon ovde nije ostvarila neku od svojih većih uloga ali njen portret korporativne kraljice koja je navikla da druge ljude posmatra u najboljem slučaju kao resurs i za milion godina nije ni zapamtila ime svog (Latino) pomoćnika pa ga, uprkos njegovim ponovljenim ispravkama, zove Sančez – taj je portret energičan i dobro oslikan i može da posluži kao bebino prvo upoznavanje sa neoliberalizmom.
I Blue Beetle i jeste film namenjen, reklo bi se, pre svega mlađoj publici. Jaime Reyes ovde, za razliku od pomenutog stripa, tek stiče moći pa nam sledi i neophodni program navikavanja na njih, šokiranosti, neverice, ali i komičnih scena u kojima momak iz meksičkog kraja velikog grada pravi haos u tom gradu pokušavajući da se navikne na gotovo bezgranične sposobnosti tuđinskog konstrukta koji se sa njim integrisao.
(https://i.imgur.com/8nqyPqV.jpg)
Mlađoj publici možda neće smetati gotovo nepodnošljivo nemaštovito, klišeizirano rukovanje svim ovim uobičajenim elementima prvog filma u serijalu. Black Adam i The Flash su bili slabi filmovi ali smo u njima makar izbegli najveći deo tih ,,origin story" stereotipa. No, Blue Beetle u njih uskače glavačke uz nadu da će ga duh meksičke komike spasti.
Neće, ali ne bi bilo istina reći da to nema šarma i da se nismo više puta glasno nasmejali zahvaljujući dinamičnom Latin-ansamblu koji igra Jaimeovu porodicu. Soto porodične scene režira lepršavo, brzo, postižući fine, energične razmene među glumcima i mada ovde George Lopez po prirodi stvari predvodi komičnu navalu, on nije jedini koji krade šou, sa solidnim učinkom čitave ekipe meksičkih glumaca i američkih glumaca meksičkog porekla a koja igra Jaimeovu familiju. Dodatno, mlada brazilska glumica Bruna Marquezine daje sasvim solidan kontrast razigranim Meksikancima kao mlada, konfliktna korporativna naslednica navikla na izobilje ali fatalno lišena porodične topline što Jaimeovoj familiji dolazi tako lako i prirodno.
(https://i.imgur.com/kGTF1RO.jpg)
Nažalost, jedan od najvećih nedostataka filma je sam Jaime i to ne na ime nekakve loše glume koju bi pružio glavni glumac. Naprotiv, Xolo Maridueña je beskrajno fotogeničan i šarmantno se snalazi u fish-out-of-water okolnostima u kojima se njegov lik zatekao, ali scenario Jaimeu ne daje apsolutno nikakav karakter i to je tim vidljivije jer je porodica režirana da bude SAV karakter SVO vreme. Jaime je, nažalost jedan od onih protagonista kojima se stvari dešavaju a ne koji stvari RADE i njegove flegmatične reakcije na to što se oko njega i njemu događa su posledica pre svega mlitavo napisanog teksta sa kojim ni on ni Soto, očigledno nisu znali šta da započnu. Scenarista Gareth Dunnet-Alcocer, takođe Meksikanac, svakako ume da prepozna rešenja koja su u tuđim superherojskim filmovima radila posao, ali nije se iskazao u tome da ta rešenja onda učini originalnim za ovu produkciju.
(https://i.imgur.com/d744fWt.jpg)
Maridueña tako dobija da izgovori samo najizlizanije fraze u prelomnim momentima filma i vidno je da ni sam nije umeo da skupi snagu i svom liku ulije nekakav karakter i identitet kad mu ih već scenario nije dao. Ovo je, naravno, prilično problematičan element u filmu koji inače slepo prati ,,superhero origin" matricu a gde se zna u kom momentu glavni junak od zbunjenog klinca koji ne razume šta mu se dešava postaje samouvereni heroj što kontroliše svoje moći i asertivno rešava probleme.
Ta tačka sazrevanja ovde je postavljena u odnos Jaimea i njegovog oca, ilegalnog imigranta u SAD koji je decenijama radio sve dostupne poslove da bi svojoj porodici obezbedio budućnost u ,,zemlji mogućnosti" i mada veteran Damián Alcázar ovde drži mali čas glume, taj impotentni tekst nabijen klišeima o tome da svako treba ,,da nađe svoju svrhu" ozbiljno vuče celu stvar na dno.
Štaviše poslednja trećina filma, ona u kojoj gomno udara o fen i svi moraju u sebi da nađu skrivenog heroja kako bi dobro ipak trijumfovalo nad zlim pokazuje koliko je kreativna ambicija autora filma bila u neskladu sa onim što bi Warner dopustio da se desi. Ovde u prvi plan izbijaju ne samo ti slabi, klišeizirani dijalozi već i nezanimljiv dizajn ,,buba", kao i nenadahnuta, bledunjavim CGI-jem pokretana akcija koja kulminira scenom gde glumci stoje jedni uz druge kao da su na pozornici nekog seoskog pozorišta na otvorenom, iako su upravo bili učesnici bitke između vanzemaljskih inteligentnih oružja što je u vazduh digla pola ostrva. To da je glavni neprijatelj Blue Beetleu u ovom filmu baziran na konceptu OMAC* slavnog Jacka Kirbyja i da je jedna od njegovih vizuelno najrazuzdanijih kreacija svedena na drugorazrednog, nememorabilnog kiborga koji se dalje transformiše u trećerazrednu imitaciju Gundama** sa Ali Ekspresa je jedan od najvećih grehova ove produkcije.
*One Man Army Corps, jelte
** da ne kažem Transformersa
(https://i.imgur.com/SOccgME.jpg)
Možda je najveći greh ipak to da niko u krajnjem produktu nije prepoznao kad se kliše mora napustiti da bi Blue Beetle imao NEŠTO svoje. Naravno, snažno podvlačenje latinoameričkog identitetskog sloja bi trebalo da je differentia specifica ovog filma ali apsolutni je problem što Blue Beetle i ovde ide samo na najprepoznatljivije stereotipe, pretvarajući porodicu Reyes u procesiju pančlajna prastarih viceva o Meksikancima. Ne pokušavam da kažem kako je ovo urađeno u nekom rasističkom, diskriminatornom ključu, naprotiv, mislim (a nasumična pretraga interneta to potvrđuje) da publika latin-korena sa radošću prepoznaje ,,svoj" duh, humor, običaje, porodične odnose, navike itd. ali teško mi je da ne zažalim što prvi superherojski film sa naglašenim latin-identitetom nema snage da se mrdne ni korak od sprdanja na račun telenovela ili impliciranja da je, jelte, baba učestvovala u nekoj meksiškoj revoluciji pa otud ume da rukuje mitraljezom kao da ga je imala umesto zvečke u kolevci.
Hoću reći, kliše je alat, kao i svaki drugi, sa kojim zanatlija radi onoliko koliko je potrebno da bi svom filmu dao meru prepoznatljivog i familijarnog, i onda idealno plasirao poruku koja je originalna, autentična, do tada neiskazana. No, Blue Beetle se maltene doslovno davi u klišeima i kada pred kraj filma dobijemo neočekivano snažnu osudu američkog imperijalizma i nedvosmisleni prikaz njegovih efekata u latinskoj Americi, sa scenama pogibija i torture dece, ovo gledaoca verovatno neće uspeti da trgne jer je u pitanju brza, crno-bela montaža što treba da podari dubinu liku koji je do tog momenta bio skoro doslovno hodajuća kulisa. Deluje maltene da je Soto ovu montažu provukao ,,na kvarno", dok producenti nisu gledali i mada se ona uklapa u ,,poruku" filma, to je pre svega poruka o porodici i dragocenoj podršci koju iz nje dobijamo i namenjena je, reklo bi se opet, mlađoj publici.
Blue Beetle nije neprijatan za gledanje, pa čak i ta poslednja trećina sa malo isforsiranim pomeranjem likova na šahovskoj tabli da nekako svi u finalu budu na istom mestu i rade istu stvar može da se svari. Ali njemu beskrajno nedostaje asertivniji, ili samo zanimljiviji glavni junak, nedostaje mu nadahnutiji vizuelni dizajn, bolje režirana akcija, tekst koji neće delovati kao da su ga sklapali algoritmi. Početak i sredina filma u kojima komični senzibilitet preovladava i meksički glumci imaju prilike da se razigraju pred kamerom su njegovi najbolji delovi ali gotvo sav superherojski sadržaj u Blue Beetle je otužno izlizan, nemaštovit i bezukusan, na planu teksta, akcije, dizajna i glume. Šteta.
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Izvestan čovek (u originalu Aru otoko, preveden na Engleski samo kao A Man) je četvrti film japanskog režisera Keija Ishikawe i vrlo kompetentno, čak i impresivno napravljena adaptacija istoimenog romana Keiichira Hirana iz 2018. godine, prilčno, u krajnjoj instanci oslabljena jednom uštogljenom dramskom realizacijom koja suštinski žanrovski zaplet tretira kao dramu svih drama koja će nam reći sve što može da se kaže o ljudskom stanju ili je neće biti.
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Ishikawa iza sebe ima dosta rada na televiziji kao producent, ali i kao režiser. Posle nekoliko kratkih filmova, njegov prvi bioskopski uradak (internacionalno pušten na festivalu u Veneciji), Gukoroku - Traces of Sin iz 2016. godine bavio se istragom ubistva koja je zapela i bila napuštena dok novinar nije otkrio nove detalje koji su zamrli slučaj ponovo vratili u rotaciju. Izvestan čovek je, analogno tome, pre svega film istrage, naizgled pravnički procedural u kome sredovečni, odgovorni, pa i empatični advokat Akira Kido, koji je klijentkinji pre nekoliko godina pomogao oko brakorazvodne parnice, nakon čega se ona odselila u provinciju da vodi papirnicu, sada prihvata da joj pomogne oko slučaja u kojem je njen drugi muž posle nešto manje od četiri godine braka poginuo, a onda, na godišnjicu smrti, njegov stariji brat koji je tek tada došao u kontakt sa udovicom, vidi sliku pokojnika na malom oltaru i pomalo iritirano kaže ,,Ovo nije Daisuke Taniguchi".
I nije. Čovek koji je danima dolazio u papirnicu, sramežljivo kupovao sitnice samo da bi mogao da zapodene razgovor sa raspuštenicom-prijatnog-izgledatm, koji joj je pokazivao blok sa svojim slikama što ih je nacrtao šetajući se po lenjom gradiću u unutrašnjosti, pokazuje se, nije bio Daisuke Taniguchi, čovek koji je pre dosta vremena raskinuo veze sa svojom familijom i njenim biznisom vezanim za termalno kupatilo i otišao da živi drugde.
Akira Kido je zaintrigiran celim slučajem, ne samo ako advokat, već i ako čovek. Pitanje da li je nepoznati čovek koji se predstavljao kao Daisuke Taniguchi (Kido ga dalje zove samo ,,X") ubio pravog Taniguchija je manje interesantno od onog zašto bi Taniguchi, ako nije ubijen, pristao na zamenu identiteta i gde se sada nalazi. Kido sledi trag papira, susreće ljude koji su poznavali jednog ili drugog čoveka i ima MNOGO sreće u par momenata kada ga praktično slučajnosti navode na pravi put.
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Publika navikla na japansku prozu, stripove i kinematografiju što se bave misterijama zna da odgovori u ovakvim zapletima po pravilu prevazilaze skromne razmere misterije što je vidimo u početku, ovdeći konzumenta putem sve šokantnijih otkrića i preokreta da bi se do kraja metaforički zubi njegove progresivno sve patološkije znatiželje zarili u samu srž onoga što čoveka čini čovekom i na videlo izneli najstrašnije tajne i najintenzivnije afekte. Štaviše, Ishikawa i režira film tako da nam sugeriše da se krećemo ovim putem. Prvi je deo priče usredsređen na razvedenu majku sa malim detetom koja pored stidljivog drvoseče (a što je posao koji X obavlja idući svakog dana u šumu i sekući veliko drveće za lokalnu firmu) pronalazi sreću a njen mali sin, Juta, oca koji mu, očigledno jako nedostaje. Majku, Rie, igra izuzetno zaposlena Sakura Ando (koja igra i u ovogodišnjem Godzilla Minus One) i ovaj je deo filma vrlo kompetentno oslikan pastelnim jesenjim bojama, plavim nebom, ukusnim kompozicijama malog grada i romantičnom, uzdržanom muzikom.
No, kada Kido krene da raspetljava slučaj, primetno je skretanje ka tamnijim tonovima – sam advokat nosi tamnu odeću, osvetljenje u njegovom stanu je uglavnom prigušeno, a on tamo pije alkohol i mada ima finu ženu i sina, kao da trpi izvesnu tenziju. Muzika se sve češće svodi na po jedan duboki ton okidan na najdebljoj žici nekog tradicionalnog instrumenta, a direktor fotografije Ryuto Kondo Kidove posete zatvoru da ispita osuđenika poznatog po prevarama vezanim za identitet kadrira i osvetljuje kao teskobne, kafkijanske, skoro horor-intonirane ulaske u podzemni svet.
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Najveće iznenađenje ovog filma je, pak, to da u njemu decidno nema te drame i eksplozivnog oslobađanja napetosti koje kao da nam se najavljuje. Ovo, kao da nam Ishikawa kaže, nije triler, i sasvim sigurno nije horor, iako navlači njihovu kožu. Ovo je mirna, pa malo i setna egzistencijalna drama u kojoj ljudi, da ne okolišimo, muškarci, dumaju o identitetu i pitaju se je li on datost i da li se mora trpeti.
Ali drama bez STVARNE drame. A što je i najveće razočaranje koje nam Izvestan čovek priređuje. Ishikawina režija je elegantna, ovde i pored par ,,mood shotova" nema mnogo gledanja u prazno i nametljive kontemplacije, teme se razvijaju organski, kroz rad teksta i glumaca u scenama i kada se kontemplacija i dešava, ona je primerena vremenu i mestu. Kada Kido stoji i misli, znamo o čemu misli i ovo nisu momenti nedefinisanog ,,nedogađanja" u kojima je gledalac pozvan da upiše svoje viđenje značenja scene, kako to arthouse fimovi neretko danas rade. Ono što Kidoa izjeda nikada nije eksplicitno diskutovano, ali film nam vešto sugeriše tenzije koje on proživljava, na primer kroz scenu u avionu gde ga prejako sunčevo svetlo prilikom sletanja iritira.
Naravno, glumci su dosta presudni da nam prodaju film u kome ne dobijamo stvarni dramski luk i razrešenje – Ishikawa je ovde radio sa vrlo dobrim ansamblom, počev od televizijskog lepotana Masatake Kubote koji svoju karijeru manga i anime adaptacija (ali i glumljenja kod Takeshija Miikea u Prvoj ljubavi (https://cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/)) ovde kredibilno proširuje ubedljivom dramskom ulogom. Satoshi Tsumabuki koji igra Kidoa je takođe prekaljeni profesionalac (uključujući pojavljivanje u kineskim i holivudskim produkcijama) i ovde odrađuje izvrsnu ulogu ,,strejt" advokata čiji je kolega zadužen za malo humorističkog predaha. Njegovu ženu igra takođe odlična Yôko Maki (ljubitelji igračkog serijala Yakuza/ Ryu Ga Gotoku je znaju iz šestog nastavka) a njena mala uloga zapravo dobija mnogo važnosti na samom kraju gde se Kidov život, čini se, iz korena menja i od nekoga ko istražuje slučaj on, znate već, SAM postaje slučaj.
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Ili bi barem tako bilo u filmi izraženije trilerske prirode. Izvestan čovek je, pak, isuviše fin, isuviše uzdržan da, čak i kada ima scene u kojima se tenzija eksplozivno oslobađa (Kidova reakcija na to kada mu sin prevrne čašu, ali i flešbek u kome X dobija batine od trenera), on posle automatski sebe koriguje i vraća se u svakodnevnu, slice-of-life normalu.
I svakako je fer reći da je možda greška gledati film iz žanrovske vizure, ali publika može da greši samo do pola, ali bar pola greha mora biti na autorima. Ishikawin postupak je taj da spretno postavi teme ali da onda možda misli da će publika sama odraditi posao vezan za njihovu analizu ili naprosto nema ideju kako i šta o njima treba da se kaže. Kidov lik je, recimo, tokom celog filma podsećan da je Korejac iako je ne samo rođen u Japanu već je i njegov otac rođen u Japanu. Na televiziji vidimo proteste protiv korejskih migranata kojima država daje socijalnu pomoć a čak i Kidov tast kaže da je sistem naopak i nagrađuje korejske lenčuge koje mogu da rade a neće, pre nego što se seti da mu je zet korejskog porekla pa se samo malčice koriguje. Kidu čak u par scena i pomenuti osuđenik u zatvoru spušta na ime korejskog porekla i kada pomislite da će OVA, nekoliko puta sugerisana identitetska tenzija nekako figurisati u završnici filma, Ishikawa je napušta i Kidu život menja na drugi način, sasvim nezavistan od do tada praćenih linija zapleta u narativu.
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Verovatno se može argumentovati da ima nečeg elegantnog u tome da iskoristite svu tenziju koju pruža žanrovski triler za to da na kraju kažete ,,ali STVARNI život nije takav, evo šta se zaista tu dogodilo", ali teško je u istoriji medijuma (i to bilo kog) naći mnogo primera u kojima je to na posletku dalo zadovoljavajući rezultat. Ishikawin film, koji je inače premijeru imao prošle godine na Venecijanskom festivalu i prošao vrlo solidno, pa je otud i stigao na HBO, pokušava da napravi upravo ovakav pivot, namerno iznenađujući gledaoca za kojeg je svestan da mu je nazidao očekivanja i namerno idući kontra žanra. Motivi koje X ima za ono što radi su sasvim na drugoj strani od onih koje smo zamišljali, kaže nam film i Masataka Kubota upreže svu svoju glumačku energiju u flešbekovima da nam pokaže čoveka gonjenog strašnom krivicom koja nije zaista njegova ali japansko društvo, taj prokleti tradicionalni mentalitet, mu je svejedno pripisuje, ali... bukvalno postoji bar 5-6 normalnih, administrativnih rešenja za njegov problem i ideja da će se umesto bilo kog od njih on odlučiti za bizarnu igru sa identitetima je isforirana za sve pare.
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Naravno, bez nje film (i roman pre njega) ne bi postojali, ali ovaj narativ ne uspeva, uprkos Kubotinim naporima, da nam proda lik koji nosi tuđ križ na leđima i odlučuje se za izuzetno komplikovano, nepraktično i nepotrebno drastično rešenje za taj problem. I opet, ima i nečeg pomalo kvarnog kada autor filma koristi sve žanrovske alate da gledaoca utera u jedan način razmišjanja a onda u završnici kao da ga prekoreva što se poveo za tropima i nije razmišljao šire od njih. Pogotovo što je Ishikawin pančlajn filma, Kidova konačna kontemplacija o svom identitetu ispred Magritove slike ,,Ne treba se reprodukovati", toliko slab, neubedljiv i isforsiran da minira čitavu do tada izgrađenu argumentaciju i služi samo da narativu na silu da nekakav privid zaokruženosti.
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Dakle, Izvestan čovek nikako nije idealan film ali ovo je film od dva sata dobre fotografije, dobre glume, dobre muzike i zapravo vrlo pristojnog tempa koji iako misli da je mnogo pametniji nego što jeste, nije ni dosadan ni neprijatan za gledanje. Njegova obrada tema, vidimo, do kraja ne bude onako spretna kako se autor nadao, ali makar su teme interesantne i sugerišu nam NEŠTO u vezi sa savremenim japanskim društvom. Pa ako ste japanofil ili japanofilskog roda, ima svakako gorih načina da se potroše dva sata.
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Završavamo nedelju posvećenu tridesetogodišnjici izlaska igre Doom na jedini moguć način: gledanjem filma Doom: Annihilation, relativno recentne kinematske reimaginacije igre koja se, evo, trideset godina opire ,,kinematizaciji" pa i u dobroj meri ,,narativizaciji". Ne da nije već postojao film snimljen po motivima Dooma: još 2005. godine su tadašnji zaposleni u id Softwareu oduševljeno pričali o tome kako Doom Andrzeja Bartkowiaka, snimljen te godine ,,nije materijal za Oskara", ali da jeste ugodan b film sa dovoljno akcije, horora i naučne fantastike za svačiji ukus. U njemu su, podsetimo se, igrali i danas prilično cenjeni Carl Urban i Dwayne Johnson, ali loše kritike i zarada jedva na nivou budžeta koji je, da se razumemo, bio na nerazumno visokom nivou (sa preko 60 miliona koliko je potrošeno na nešto čemu je na čelu bilo ispisano da je filer za kablovske televizije) su značile i da ovaj film nikada nije dobio nastavak niti se Universal sledećih desetak godina uopšte bavio ovim propertijem.
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I sam igrački serijal Doom upao je u svojevrsni limbo – što je tematski čak i adekvatno – pa je nakon igre Doom 3 iz 2004. godine, a koja je napustila apstraktni dizajn originalnih igara iz devedesetih i više akcentovala atmosferu i horor senzibilitet od usijano bele akcije, time se približivši par koraka bliže ,,filmskom" jeziku, napravljena velika izdavačka pauza. Doom je bio u krizi identiteta, sa sukobljenim idejama o tome kuda dalje voditi serijal. I dalje se priča o odbačenom prototipu koji je imao mnogo izraženiji narativ, ,,military" estetiku i bio usklađeniji sa visokobudžetnim look & feelom FPS igara sa kraja prve decenije ovog veka, da bi prvi pravi nastavak, i svojevrsni meki reboot, nazvan jednostavno Doom, 2016. godine vratio ne samo serijal u fokus pažnje igrača (https://cvecezla.wordpress.com/2016/06/14/video-igre-ratchet-clank-2016-i-doom-2016/)već i na neki način legitimisao ceo ,,boomer shooter" koncept jeftinijih, svedenije dizajniranih FPS igara fokusiranih na vrednosti koje su čitav žanr i pretvorile u takav fenomen polovinom devedesetih: urnebesnu akciju, kompleksan dizajn nivoa, kombinaciju horora i akcije. Sa Doom Eternal iz 2020. godine (https://cvecezla.wordpress.com/2020/05/04/video-igre-doom-eternal/)i njegovim (https://cvecezla.wordpress.com/2020/11/13/video-igre-doom-eternal-the-ancient-gods-part-one/)dvema ekspanzijama (https://cvecezla.wordpress.com/2021/03/22/video-igre-doom-eternal-the-ancient-gods-part-two/)serijal je na neki način došao do kraja, trijumfalno se završavajući u verovatno najintenzivnijoj FPS igri ikada, ali i spretno povezujući minimalne niti zapleta koje su ga do tada držale na okupu u neku vrstu mitološke skaske o paklu koji žudi da zauzme ceo univerzum i imunom odgovoru univerzuma u formi jednog svemirskog marinca koji poražava čitav pakao.
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Ovaj mitološki narativ – ili makar koncept, s obzirom na i dalje skromne narativne elemente najnovijih igara – se dobro uklopio uz čitav serijal dajući mu jednu konzistentnu ideju tokom skoro tri decenije igara usredsređenih na to da se ćuti i radi. Doom nikada nije bio igra u kojoj se diskutuje o ljudskim emocijama ili socijalnim nejednakostima i njegov je pogled na ,,ljudsko stanje" uvek bio samo kill-or-be-killed jednačina gde jedan čovek staje naspram armije demona, a apstraktni lavirinti u kojima se njihov rat odvija su bili manje alegorija za život kao izlomljenu putanju do neznanog cilja a više dijalog između dizajnera i igrača o tome kako se preko trnja stiže do, pa, zapravo, pakla. Ali sa stilom.
Odsustvo kompleksnijeg pripovednog koncepta u Doomu nije bilo nikakav problem kada je u pitanju bila igra u kojoj će igrač biti previše zauzet preživljavanjem i adrenalinskim cunamijima da bi mu trebalo mnogo teksta, ali prelazak u neinteraktivnu formu kao što je film, naravno, sa sobom donosi značajne izazove. Originalni film Doom iz 2005. godine je, sasvim očekivano, bio n-ta varijacija na pripovesti o svemirskim marincima suočenim sa nečim što nije sa ovoga svijeta i svoju diferenciju specifiku tražio u jednoj notabilnoj sceni pri kraju filma urađenoj u prvom licu, koja je direktno prepisivala vizuelni jezik igre i služila kao produženi naklon igračima što su zbog nje i došli u bioskop.
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Doom: Annihilation nema ništa slično i ovo je tek jedan ,,standardni" film o svemirskim marincima koji prolaze kroz, u jednom notabilnom slučaju, doslovni pakao. Doom: Annihilation, da bude jasno, nema ni ništa nalik budžetu prvog Doom filma, i ovo je striktno direct-to-video produkcija rađena u Bugarskoj od strane režisera (i scenariste) koji je naviknut na rad sa tuđim franšizama i nastavcima filmova koje nije sam originalno snimio. Tony Giglio nije nekakvo legendarno ime među ljubiteljima akcioog i horor trešeraja, ali on jeste do sada radio i sa Jasonom Stathamom, i sa Tilom Schweigerom i sa Wesleyjem Snipesom, režirao je nastavak filma u franšizi koju je započeo David Ayer i generalno je zanatlija koji zna kako se rade ovakve stvari.
Vrlo konkretno, dakle, Doom: Annihilation je niskobudžetni Aliens, bez ikakvog specijalnog napora da se ova činjenica zamaskira. Aliens je, da bude jasno tokom ovih tridesetsedam godina postao praktično žanr, a ne samo dobar i popularan naučnofantastični akcijaš i reći da je ovaj film izvršio presudan uticaj i na same igre iz Doom serijala (pored, razume se, takođe presudnog uticaja koji je stigao iz smera Evil Dead) deluje gotovo izlišno.
(https://i.imgur.com/mLwzDc3.png)
No, Aliens je bio više rekonstrukcija trauma vijetnamskog rata i brutalna satira usmerena na američki mit o militarističkoj nadmoći a manje samočestitajući ,,power fantasy" a što na prvi pogled stoji sasvim perpendikularno u odnosu na igre iz Doom franšize koje decidno u centar stavljaju jednog čoveka koji svojeručno poražava armije demona. Naravno, spona je ovde u tome da je Doom interaktivni fenomen, ne film, već igra u kojoj MNOGO toga zavisi od samog igrača i koji će osećaj moći, ako ikada stigne do njega, osvojiti tek posle mnogo mukotrpnog rada gradeći svoje razumevanje jezika i logike igre i unapređujući se od plena u predatora.
A što je element koji filmovi vrlo teško mogu da repliciraju – naprosto, ovo je nešto što se dešava izvan ekrana i posledica je aktivnosti konzumenta, ne njegovog pukog upijanja ,,sadržaj".
Otud Doom: Annihilation ovo ni ne pokušava, ovo je niskobudžetni, doslovno* bugarski Aliens, čije ćete narativne trope ne samo odmah prepoznati već i lako anticipirati čak i ako niste igrali ni jednu igru iz serijala Doom. Giglio nije u produkciju ušao ni sa kakvim sumanutim ambicijama da dekonstruiše žanr ili sa njim polemiše – Universal je njegov prvi pič iz 2015. godine, uostalom, odbio, dakle, ovde se moralo ići na sigurno – i Doom: Annihilation deluje kao da je pravljen na osnovu čekliste. Ovde imamo naučni eksperiment koji od prve scene vrišteći sugeriše da će krenuti po zlu, glavnu junakinju koja se budi iz hibernacije i priseća umiruće majke što joj je gurala krstić u ruku i govorila joj da nikada ne izgubi veru, imamo naučnika prefinjenih britanskih manira ali opsednutog davanjem ljudskoj rasi ultimativnog poklona koji na kraju, jelte, malo odlepi i džaba mu svi ti maniri i lep naglasak, imamo rodno i nacionalno ugodno šarolik odred marinaca koji uz dosta omalovažavajući ton govore o tome kako su poslati na Fobos da tamo, u naučnoj koloniji od svega devedeset članova izigravaju nekakvo obezbeđenje,** imamo veštačku inteligenciju prijatnog ženskog glasa koja kontroliše sve vitalne sisteme na brodu kojim marinci stižu na Fobos***, imamo nestanak struje na koloniji i poslednji snimak što su naučnici uspeli da ga pošalju a koji kakofonijom vrištanja i režanja sugeriše, kako i kapetan odreda kaže ,,da nije samo iskočio osigurač"...
*i ne pežorativno
**film ovo pravda činjenicom da neko mora da sprečava naučnike u prodavanju otkrića u eksperimentima putem crne berze što je verovatno najšašavije opravdanje za slanje grupe teško naoružanih vojnika na izolovanu civilnu lokaciju u istoriji filma. Naravno, opravdanje za pronlaženje motorne testere na mesecu planete od koje se najbliže drvo ili komad drvene građe nalaze udaljeni milionima kolometara je praktično elegantno u svojoj blaziranosti. Ali, uostalom, ovo je film koji mora da ima scenu u kojoj se marinci bude iz hibernacije iako putovanje od Zemlje do Marsa traje svega četiri meseca...
*** hint, hint
(https://i.imgur.com/LUCOLn5.png)
Problem sa ovakvom postavkom je očigledno u tome da gledalac sve već zna unapred jer je gledao milion filmova, čitao milion stripova i igrao milion igara sa identičnim elementima. Doom: Annihilation je narativno utemeljen pre svega na zapletu igre Doom 3 – jedine koja je imala izvesnu kinematsku ambiciju i, ironično, jedine koja se danas smatra nekanonskim delom serijala – ali u njegovom scenariju ćete prepoznati i naklone igračkim franšizama poput Dead Space, Resident Evil, Perfect Dark ili System Shock, a koje su i same u ogromnoj meri izrasle na legatu Aliena i Aliensa. I to potpuno odsustvo originalnosti može da bude ozbiljan problem ako ovom filmu pristupate sa kritičkom dispozicijom.
Ali zašto biste? Ovo je film napravljen na osnovu videoigre, sasvim neskriveno usmeren da rekonstruiše Aliens onoliko koliko mu skromni budžet dopušta i najprirodnije je da se gleda kao derivat i u tom derivatu traže elementi onog što smo voleli kod originala.
Jer, da tako kažemo, ima loših niskobudžetnih Aliens ripoffova, kao što je na primer bio Anti-Life o kome smo pisali ovde (https://cvecezla.wordpress.com/2023/03/03/film-anti-life-aka-breach/), a onda ima i dobrih niskobudžetnih Aliens ripoffova. Doom: Annihilation spada u ovu drugu kategoriju, ne izmišljajući ništa svoje ali pružajući sve ono što treba da pruži ljubitelju DTV akcije.
(https://i.imgur.com/nA52uZW.png)
Tako su ovde scenografija i kostimi korektni, sa jasnim naklonima dizajnu iz igara u korišćenju logotipa ali i opreme, posebno ključeva. Rane Doom igre su insistirale na apstraktnom dizajnu pa se film pre svega oslanja na novije radove, iz ovog stoleća i mada laboratorije i postrojenja u kojima se odvija radnja ne deluju skupo, scenografija radi posao a dizajn legendarnog oružja BFG-9000* je urađen baš kako treba.
*da, BFG je skraćenica za baš to na šta ste pomislili: Big Fucking Gun
Likovi su, za onoliko vremena koliko dobijaju u radnji, sasvim fino profilisani sa jasnim, famlijarnim klišeima koje ansambl ovog filma igra sa apetitom i energijom. Naravno da će najveći deo kasta izginuti pre kraja i naravno da neki od glumaca dobijaju velike, spektakularne scene odlaska, prepisane iz drugih filmova, ali prepisane sa guštom i razumevanjem.
(https://i.imgur.com/OtbTDl7.png)
Dizajn demona je prihvatljiv, pogotovo što ovde vidimo praktično samo impove, koji su najniži stalež Doomovih vojnika pakla. Ostaje svakako žal što se neki ekstravagantniji demoni u kojima bi Doomova tema spajanja organskog i kibernetskog mogla da zablista – poput Revenanta ili Arachnotrona – u ovom filmu ne vide i što je skupi CGI rezervisan samo za jednog od demonskih bossova koji nema veze sa igrama. No, nešto valja ostaviti i za nastavak, zar ne?
Ono što film prevashodno nosi je taj brz tempo i odsustvo komplikacija u rasplitanju radnje. Giglio je svestan da njegova publika ZNA kako će se film odvijati već od prvog minuta i ne namerava da izigrava nekakvog disruptivnog maverika. Njegova je ambicija da nas provede kroz scene dobre akcije, da nam da nekoliko memorabilnih smrti i neophodni završni momenat katarze u kome naša junakinja pokazuje celoj armiji pakla na koga su se namerili.
(https://i.imgur.com/9OY2rJi.png)
I to i dobijamo. Pucnjava je dovoljno energična, akcija je krvoločna, sa odličnim odnosom militarističke power fantazije i hororičnog kasapljenja, motivacija likova je uvek jasna a tempo je britak. Ovde nema standardog DTV dobijanja u vremenu dok likovi sede i kao nešto reflektuju i trude se da nam prodaju svoju emociju kako bi filmu uštedeli malo para potrebnih za akcione set pisove – ovakve scene su i same brze, britke i završe se pre nego što stignete da se uhvatite za telefon da vidite šta ima novo na društvenim mrežama, pa se ponovo prelazi na klanje.
Giglio, dakle nije neki umetnik, džentlmen i esteta ali mu je zanat na nivou i čak i scene saspensa u kojima marinci samo idu kroz hodnike nervozno gledajući oko sebe deluju solidno, sa, čak, sasvim korektnim držanjem cevi oružja uperenim u patos i prirodnim korišćenjem dostupnih zaklona. Hoću reći, Giglio se POTRUDIO ma koliko da je sa malim budžetom radio i Doom: Annihilation nam daje časnu malu priču o odredu korporacijskih vojnika koji se, ni slučajno to ne očekujući, našao između ljudske rase i totalne demonske anihilacije koja joj preti. Fotografija je zapravo par stepeni iznad onoga što smo navikli da očekujemo od DTV produkcija i direktor fotografije, Aleksandar Krumov nam nudi film koji izgleda kao da bi prirodno ležao i u bioskopu. Takođe, korišćenje glumaca u kostimima za impove, umesto pukih CGI animacija daje filmu fizikalnost koja mu neizmerno prija i čini akcione scene utoliko zabavnijim.
Naravno, iako igre o tome nisu morale da razmišljaju – jer je protagonist, u svakom praktičnom smislu u njima sam igrač – film je morao da ima i harizmatičnu ličnost u glavnoj ulozi. Giglio ovde sasvim fino radi sa Škotlanđankom Amy Manson (čije je ime čak pogrešno napisano kao Mason na početku filma) dajući joj minimum dubine na ime velike greške koju je napravila na prethodnoj misiji i okajavanja koje ova misija predstavlja i mada taj motiv nije ZAISTA iskorišćen,* Mansonova igra svoj lik sa dovoljnim balansom profesionalizma i ljudske ranjivosti da to bude kako treba. Svakako pozdravljamo što film umesto stereotipnog maskulinog protagoniste ima u glavnoj ulozi krhkije izgledajuću ženu kao i to da je njen odred marinaca sastavljen i od likova koji ne izgledaju kao glumci za akcione filmove. Ovo je jedan element u kome Doom: Annihilation odstupa od klišea i rezultat je zanimljiviji ansambl za koji nam je nesrazmerno žao kad krene da se gine.
*u čehovljevskom smislu: ako ste imenovali teroristu kog je glavna junakinja greškom pustila da pobegne, protiveći se direktnom naređenju, morate sa tim imenom NEŠTO uraditi u finalu filma
(https://i.imgur.com/J6m5oFZ.png)
No, znamo da će se ginuti već od samog početka i Doom: Annihilation nam ni u jednom trenutku neće prirediti iznenađenje. Simpatične reference na igre su tu da veteranima serijala donesu osmeh na lice – od toga da likovi u dva navrata izgovaraju frazu ,,ultra nightmare", preko pominjanja jednog Williama Blazkowicza pa do toga da jedan od prvih leševa na koji marinci naiđu ima karticu sa imenom John Carmack – ali film se do kraja ni slučajno ne otrže oprobanom templejtu i završava se takođe predvidivim klifhengerom koji, ambiciozno, predviđa i nastavak.
A koga će, sudeći makar po glasinama na internetu, biti. Giglio je još 2021. godine pisao da je Universal zadovoljan komercijalnom eksploatacijom filma i da se nastavak sprema. Ako se to i desi, biće to po prvi put da neka produkcija koju je on režirao dobija nastavak koji takođe radi on sam. No, i ako se ne desi, a koji bi uopšte povod bio bolji od tridesetogodišnjice izlaska prve igre, koja pada danas, Doom: Annihilation ostaje kao uredni, maleni crni biser niskobudžetnog akcijaša za ljude koji znaju da uživaju u životu. Pa uživajte, malo.
(https://i.imgur.com/hrr3823.png)
Kao ovce među vukovima (odnosno u originalu Come pecore in mezzo ai lupi) je, naravno, neprecizan navod citata iz Svetog pisma, konkretno jevanđelja po Mateji gde se kaže ,,Eto, ja vas šaljem kao ovce među vukove", i mada ova razlika u padežima nije mnogo bitna, donekle me je iritirala i možda i uticala na moju percepciju ovog filma, koji je premijeru imao letos u Italiji a meni je šaka pao putem HBO-a. A nije da film nije imao mnogo toga na svojoj strani da me pridobije. Ovo je noir krimi-drama o policijskoj infiltraciji u imigrantsku bandu u Rimu koja počinje kadrovima mišićave tetovirane žene kako radi zgibove. Imigrantsku bandu, pak, čine Srbi (za koje Italijani kažu da su ,,ozbiljna ekipa, počinili su genocide"), a srž drame je u tome da sestra i brat, neočekivano, i uz užasavanje, shvataju da su oboje regrutovani za isti posao pljačke oklopljenog transporta novca, sem što je on sitni kriminalac koji traži jedan isplativ posao što će mu pomoći da se stara o svojoj maloletnoj ćerkici, a ona policijska službenica ubačena u ekipu opasnih razbojnika kako bi pomogla da se oni privedu zakonu.
(https://i.imgur.com/aHtU0FE.png)
Come pecore in mezzo ai lupi je debi celovečernji film za režiserku po imenu Lyda Patitucci, a koja već ima iza sebe dosta rada kao režiserka druge ekipe na više filmova, i nešto televizijskog iskustva. Scenarista je, pak, Filippo Gravino, znatno iskusniji profesionalac a koji je između ostalog radio na scenariju za televizijsku seriju Gommorah i pisao filmove i serije koji se bave kriminalom i delinkvencijom (Fiore, Perez.) i njegova ekspertiza uparena sa očiglednom glađu režiserke da nam pruži mračan, gritty film u kome će uobičajena rodna podela uloga biti malo promešana kao da su garantovali dobar film. Nije ovo, naravno, neka skupa produkcija, ali i vizuelno, Come pecore in mezzo ai lupi izgleda kako treba, sa avetinjski pustim ulicama Rima i brojnim zabačenim lokacijama na kojima kriminalci imaju svoje dogovore i kuju svoje planove (kamenolomi, garaže...) što su snimljene dobro (Giuseppe Maio kao direktor fotografije) i sa sugestivnim, evokativnim ako već sasvim očekivanim tamnim, plavičastim koloritom. Film ima i sveden ali efektan saundtrak i, ono što bi nama ovde trebalo da bude posebno zanimljivo, reprezentaciju eks-ju glumaca sa jednim Hrvatom (Alan Katić), jednim Crnogorcem (Aleksandar Gavranić koji je već glumio u Južnom vetru i time se izgleda kvalifikovao za uloge kriminalaca) i jednim Srbinom (Miloš Timotijević) a koji su svi članovi ,,srpske bande" u Rimu što u sadejstvu sa Italijanima pljačka banke.
(https://i.imgur.com/aUIXngu.png)
Film taj motiv pljačkanja banaka tretira vrlo strejt, u jednom sasvim žanrovskom ključu sa jednom scenom koja pokazuje adrenalin i ludilo upada u objekat i izlaska sa bednom količinom novca koja naprosto ne opravdava sav taj stres i izlaganje opasnosti. Otud se za Italijane napad na oklopljeno transportno vozilo koje prevozi novac za banke nameće kao naredni posao što bi trebalo da donese profit u milionskom iznosu, a spona sa Srbima koji mogu da nabave posebno oružje i eksploziv potrebne za takvu akciju postaje stvar nužde.
(https://i.imgur.com/UMzYuU9.png)
Glavna junakinja, Stefanija – a koju krimosi znaju kao Veru – je pola Srpkinja (po majci) a pola Italijanka, infiltrirana u srpsku bandu, kao pouzdani spoljni saradnik koji može da nabavi vojno oružje ali istovremeno je vidimo i da služi i kao vozač, pa na kraju filma i aktivni učesnik razbojništva. Ovo bi trebalo da sugeriše da je ona u dubokom ,,kaveru" ali i deluje pomalo kao da kriminalci sa kojima ima posla nisu najorganizovanija ekipa na svetu i da svoju saradnicu tretiraju sa poverenjem samo zato što je ,,naša". Naravno, kad Timotijevićev lik pomisli da to obezbeđuje i prohodnost do njene intime, popije ozbiljan kroše u glavu tupim predmetom i njegova srpska muževnost ovde biva na trenutak suzbijena. Pozdravljamo.
(https://i.imgur.com/RngpZHl.png)
Da bude odmah jasno, film se Srbima ne bavi sa preteranim ambicijama da stvarno poveže stvari sa ratovima na području eks-Jugoslavije ili saradnjom sa službama. U jednom momentu se pominje da Vera treba da im nabavi oružje iz kragujevačke Zastave, ali sve puške koje u filmu vidimo su italijanske. Dodatno, jedan od Srba je neka vrsta religioznog čoveka koji pred svaku akciju pozove celu bandu da se zajedno pomole i onda recituje delove svetog pisma na ijekavskom sa jakim zagrebačkim akcentom. Ovo je simpatična žanrovska digresija, ali u njoj nema ničeg što bismo mi ovde prepoznali kao autentično. No, Timotijević, a pogotovo Gavranić su dobri, ovaj potonji sa jednim izuzetno prirodnim crnogorskim šmekom i uverljivim replikama. A koje onda budu još smešnije kada glumca slušate kako priča na našem i izgovara jedne reči a onda u titlovima, koji su prevođeni, slutim, sa Italijanskog čitate nešto drugo.
(https://i.imgur.com/M2NadA0.png)
Srbi su, dakle, ovde samo readymade ,,drugi" i film ne radi sa njima ništa duboko, inovativno ili zanimljivo, ali to je i u skladu sa ostatkom tretmana materijala jer Come pecore in mezzo ai lupi, uprkos sasvim korektnoj postavci i motivima, ne radi sa njima ništa duboko, inovativno ili zanimljivo. Isabella Ragonese jako solidno izgleda u glavnoj ulozi ali i njena gluma je rutinska, sa jednom predvidivom žanrovskom energijom kojoj se nema šta zameriti ali koju ste već videli u milion ovakvih filmova. Ambicija da film bude naglašenije ,,drama" nego puki triler se svakako valja pozdraviti, ali ni tekst ni gluma glavne glumice ne pružaju značajno više od nekakvog žanrovskog fast fooda. Stefanija aka Vera je, jasno nam je, osoba pod pritiskom jer ima lažni identitet i vodi lažni život i jedino kada izlazi iz uloge je kada priča sa svojim policijskim vezama (i to na groblju, kad nosi cveće na grob pokojne majke) a koje nju, vidi se to, i pored empatije na rečma, vide pre svega kao alatku da se stane u kraj razbojnicima. Zato Stefanija ponekad pravi i gluposti, od maltretiranja bivšeg dečka (koga je sama ostavila), pa do seksa sa barmenom u obližnjem bircuzu i mada su ovo lepo slikane i režirane scene, sve su one i puka žanrovska galanterija, sasvim nebitne za radnju filma, pa čak i za karakterizaciju glavne junakinje koji Ragoneseova već obezbeđuje svojim izrazima lica.
(https://i.imgur.com/skpBLTS.png)
Kad posao odjednom postane ličan i njen brat se pojavi u ekipi za posao gde svi treba da budu pohapšeni, Stefanija upada u blagu paniku, ali film zapravo oživljava kada njen brat, Bruno, dobije više mesta na ekranu. Nije da Andrea Arcangeli ima bolje napisan tekst, već je stvar pre svega u glumcu koji uspeva da pokaže mnogo nervozne energije i očajničke ambicije da se iz hroničnog luzerstva nekako spase jednim poslednjim velikim poslom, bivšoj ženi – alkoholičarki i adiktu opšteg tipa – nekako preotme ćerkicu i odvede je na mesto gde će život moći da počne ispočetka.
(https://i.imgur.com/AZyLukS.png)
Paradoks ovog filma je što je priča o Brunu i njegovoj tragediji, koliko god i sama bila kliše, značajno energičnija i za glednje interesantnija od glavnog dela priče. Arcangeli donosi mnogo energije u film gde se većina glumaca trudi da deluje kul i da ne priča, niti gestikulira više nego što je neophodno i kada imamo njega u kadru, stvari su kako treba da budu.
Naravno, ovo nije film u kome će svi na kraju živeti srećni i ispunjeni do kraja života. Likovi bivaju provaljeni, žrtve se prave i u završnicu se kreće uz ,,sve ili ništa" pogled u očima i stisnute zube.
(https://i.imgur.com/2ZGr3mW.png)
No, i ta završnica, iako je Patituccijeva režira vrlo kompetentno i pokazuje nam jedan klinički izveden hit and run na ulici, zapravo na kraju ispada pomalo i antiklimaktična. Protagonistkinja je, hajde da kažemo, nedovoljno delatna za žanrovski krimić a sa druge strane nedovoljno psihološki iznijansirana za dramu koju treba da prepoznamo. Scenario prolazi sva očekivana opšta mesta na kraju i gledalac dobija nominalnu zadovoljštinu koja je zarađena teško, uz žrtve, ali sve je to odrađeno prilično mehanički i bez dovoljno završne obrade da se izdvoji iz mase drugih sličnih filmova.
(https://i.imgur.com/g6aX7PZ.png)
Ali ima šta da se pohvali u Come pecore in mezzo ai lupi. Režija je efikasna i dobro radi sa montažom, nudeći britak, brz film od sat i po koji ima prostora za ,,atmosferu" iako ne smara čestim i dugim ,,mood shotovima". Krešenda uzbuđenja i akcije su urađena dobro, bez preterane komplikacije, na zlatnoj sredini između naturalističke mučnine i žanrovske amplitude. Film ima jasan vizuelni identitet sa ponavljanjem lokacija i dobrim radom kostimografa.
No, on je istovremeno ipak jedna stilska vežba iz žanra. Ovde nije ni malo bitno što se film dešava u Italiji niti što su ,,drugi" Srbi. Nema nikakvih značajnih lokalnih/ nacionalnih elemenata i ovo isto je moglo biti snimljeno na Engleskom jeziku, uz insistiranje da je u pitanju Čikago, Portland ili Memfis. Stavljanje žene u glavnu ulogu je svakako dobrodošli otklon od one baš najstereotipnije žanrovske sredine i tu se Ragoneseova dobro snalazi, ali ni scenario ni dramaturgija nemaju u sebi energije da onda u prostoru tog otklona urade mnogo više od onog što ste unapred očekivali. Pristojnih sat i po neo-noira, ali bez specijalno memorabilnih momenata.
(https://i.imgur.com/pgux4LC.png)
Neki jutjuber napravio gitaru sa rotirajućim vratom. Gatling gitara.
360° SPINNING guitar neck is incredible!! (https://youtu.be/p2kJMPfFOX8)
Dobro, simpatično je što pokazuje korak po korak koje je sve stvari morao da reši. :lol:
očekivao sam nešto drugo kad sam pročitao Gatling gitara pa sam se razočarao :(
Ashkal je film koji demonstrira kako se unatoč sasvim vidnim dramaturškim uzdržavanjima – da ne kažemo nedorečenostima – konačna poruka može ubedljivo poslati pre svega vizuelnim (i zvučnim) slojem filma, tako da publika ostane sa jakim slikama u glavi i željom da više istraži temu o kojoj se govori iako sam narativ tu temu tek osenči kroz nekoliko strateški postavljenih dijaloga. Ova prošlogodišnja, glumački i tekstualno svedena produkcija na svojoj strani ima veoma promišljeno korišćenje kamere, muzike i zvučnih efekata tako da njegova kombnacija policijskog procedurala, sociopolitičke drame i fantastičnog horora rezultira snažnim gledalačkim iskustvom.
(https://i.imgur.com/0dm5CxR.png)
Samospaljivanje Mohameda Bouazizija, uličnog prodavca voća u Tunisu, koji je ovo učinio krajem 2010. gofine, na javnom mestu u znak protesta protiv onog što je on video kao krajnju konsekvencu korpucije, nasilja i legitimizovane diktature sistema na čijem je čelu bio Zine El Abidine Ben Ali, bio je toliko radikalan čin očaja i bunta s onu stranu uobičajene političke ekonomije, da je ne samo pokrenuo ,,Revoluciju Jasmina" što je Ben Alija uklonila sa vlasti posle skoro četvrt veka dominacije svega deset dana nakon Bouzazijeve smrti, već i ostao neka vrsta permanentnog ožiljka na kolektivnoj psihi Tunižana, a koji nikako ne uspeva da zaceli. Ovo je najpre na ime činjenice da je u Tunisu i danas, više od decenije nakon što je Ben Alijev režim otišao u istoriju i bila pokrenuta i međunarodna lavina protesta i promena što je dobila ime ,,Arapsko proleće", socioekonomska i politička situacija mračna. Život je težak, ko god može šalje decu u Evropu da se tamo izbore za svoje egzistencije, dok građani iste te Evropljane dvore po letovalištima i risortima, razočarani što do ozbiljnog suočavanja sa najmračnijim stranama Ben Alijeve diktature, policijskim progonima i mučenjima, zaštitom bogatih i represijom nad sirotinjom, nikada nije došlo.
(https://i.imgur.com/0qS2eav.png)
Proletos smo već pričali o jednom filmu koji se bavio ovim temama (https://cvecezla.wordpress.com/2023/03/24/film-harka/). Iako Harka nije bio ,,stvarno" tuniski film, sa režiserom koji je, iako egipatskog porekla, pre svega Amerikanac, i glumcima od kojih neki žive u Evropi, on je uspešno načeo ovu tematiku i dobio veoma dobre kritike kada je dospeo do zapadnjačkih festivala.
(https://i.imgur.com/W1tnaLA.png)
Ashkal je korak dalje, prevashodno jer je ovo, uz činjenicu da ga potpisuje više produkcija od kojih neke nisu iz Afrike, film koji je ,,tuniski" u vrlo uverljivoj meri, sa režiserom i koscenaristom iz Tunisa, glumcima iz Tunisa, direktorom fotografije iz Tunisa, ali i tretmanom teme koji jasno i nedvosmisleno pokazuje neuralgične tačke što ih Tunižani odmah prepoznaju kao svoje.
(https://i.imgur.com/Yn7HWc7.png)
Ashkal, tako, počinje ukazivanjem da je građevinski kompleks ,,Vrtovi Kartagine" bila pompezno najavljena gradnja za elitu u vreme Ben Alijevog režima i da je ona napuštena nakon prevrata 2011. godine, te da je gradnja tek nedavno nastavljena. Bez mnogo daljeg objašnjavanja, kamera će nam zatim pokazati monumentalni ali avetinjski egzoskelet zgrade, mrtvu građevinu kao spomenik diktatoru, a koji živi jer ga je nemoguće ubiti* i koji, štaviše, preti da nadživi sve nade, snove i plemenite strasti sa kojima su građani dočekali smenu režima 2011. godine.
* i sam Ben Ali je, na kraju krajeva, živeo duže od svih diktatora svrgnutih za vreme Arapskog proleća
(https://i.imgur.com/ZfkX47E.png)
Prizori impozantne arhitekture i kranova, isparcelisanog zemljišta snimanog iz visokoletećeg drona, uredno pretvorenog u živu mapu za preduzimače i investitore, u kontrastu sa prašnjavim, pustim ulicama oko zgrada koje imaju samo fasade i gole betonske kutije i ni u jednoj od njih (još uvek) niko ne živi su upečatljivi i film njima – samo uz pomenuti minimalni tekstualni uvod na početku – dalje priča priču o tuniskom životu nakon Revolucije Jasmina a da ne mora da gledaoca zasipa velikim brojem reči.
(https://i.imgur.com/UShNYO8.png)
I sama dramaturgija je takva, svedena, čak uzdržana, sa scenama koje pružaju potrebni minimum informacija kroz tekst i dijalog, a bez ,,veštačkog" kreiranja drame. Policija na početku ispituje radnike na gradilištu o telu čuvara koje je nađeno spaljeno u jednom od nedovršenih betonskih stanova. Ovo je statična scena bez mnogo emocija na ičijoj strani. Policajka pita da li neko nešto zna o čoveku za koga se pretpostavlja da se polio benzinom i zapalio usred noći, sam, u nedovršenoj zgradi koju je čuvao, radnici kažu da je bio miran, povučen i religiozan, da nema šanse da bi se ikada ubio, da su šokirani, ali ovde nema prikaza tog šoka ili tuge ili besa ili zapanjenosti. Film govori ravnim, poslovnim tonom, sugerišući da policija samo radi svoj posao i da je ovo samo jedan od slučajeva sa kakvima se ona susreće na gotovo dnevnom nivou.
(https://i.imgur.com/aNBnLW2.png)
Brzo vidimo da nije tako. Par inspektora, Fatma i Batal, su zapravo na vrlo različitim stranama policijskog posla. Ona je mlada ćerka novinara koji predvodi ,,Komisiju za istinu i dostojanstvo" što treba da pokaže razmere korupcije, kršenja zakona i sagrešenja prema građanima iz vremena stare vlasti i zbog toga je drugi policajci preziru i otvoreno napadaju, a on je stari, ćutljivi inspektor koji je solidno isprljao ruke u ono vreme, nije srećan zbog toga ali smatra da je morao, i u potaji pomaže istragu o najgorim primerima torture i korupcije kako bi sebe malo oprao. Njihova hemija je dobro postavljena na sigurne žanrovske šine i ako ovde ima šta da se zameri filmu to je pre svega da on obavezne scene prikaza njihovih frikcija sa drugim policajcima ali i uvide u njihove privatne živote odrađuje rutinski, bez neke velike ambicije da se odmakne od standardnih žanrovskih tropa. Kada se to upari sa činjenicom da su glumci instruirani da glume bez mnogo afekata, naturalistički, onda su dramske scene uslužne i informativne ali ne osvajaju nekom velikom nadahnutošću sa kojom bi mogle da tretiraju žanr.
(https://i.imgur.com/C35loA3.png)
No, glumci su upečatljivi. Veteran Mohamed Grayaâ vrlo uspelo kanališe stoičko trpljenje onog što oseća kao težinu čitavog sveta kako počiva na njegovim plećima, od žene koja mu govori da treba da napusti policiju jer je sramota da i dalje radi za korumpirani sistem, preko njenih planova za privatni ugostiteljski biznis i novog deteta na putu, do pašenoga koji ga osuđuje, relaksirano, u prolazu. Njegov lik, Batal može samo da se mrgodi i da gunđa kako su oni ,,samo sledili naređenja" i da se nada da će aktuelni slučaj misterioznog samospaljivanja čuvara na mestu na kome to niko nije mogao da vidi – a što je antiteza onog to želite da postignete ovakvim činom – da se reši nekako sam od sebe pre nego što novine krenu da prave mnogo buke.
(https://i.imgur.com/HT6803c.png)
Fatma Ousaffi – kojoj je ovo, ako se ne varamo, prvi film – je empatičnija, ali i ona je pod pritiskom, sa kolegama u policiji koji je mrze i sa otkrivanjem drugog, možda povezanog slučaja gde je mlada, devetnaestogodišnja služavka u kući bogatih preduzimača pronađena takođe gola i spaljena na lokaciji nedaleko od prvog sličnog slučaja. Fatma (kako se i lik zove) insistira da ovde ima nečeg mnogo kompleksnijeg od slučaja samoubistva (kako se prva smrt klasifikuje) i silovanja pa ubistva mlade devojke – a za koje je policija privela dvojicu mladih radnika. Pogotovo kada se zna da ni na jednoj od žrtava nema znakova fizičkih ozleda koji bi morali biti tu jer se ljudi koji gore bacaju unaokolo i valjaju po zemlji čak i kada su sami sebe zapalili. Pojavljivanje još žrtava ali i nalaženje na njihovim telefonima video snimaka drugih ljudi u plamenu koji deluju mirno, kao da ne osećaju bol tera Fatmu putem opsesije koja daleko prevazilazi standardnu policijsku proceduru.
(https://i.imgur.com/d5qptsm.png)
Ashkal je režirao Youssef Chebbi (pišući scenario zajedno sa François-Michelom Allegrinijem), čovek koji je još 2012. sa nekoliko kolega bio zaslužan za haotično nastajali dokumentarac Babylon, o preko milion izbeglica iz Libije koje su se nastanile u ogromnom kampu unutar tuniske teritorije. Pre dve godine bio je jedan od režisera crno-belog horor-trilera Black Medusa, a Ashkal je neka vrsta prirodnog spajanja žanrovskog i dokumentarnog i jedna metodična, dosledna mutacija žanra dok iz policijskog procedurala i drame ne pređemo u fantazmagoriju.
(https://i.imgur.com/TksWz9h.png)
Iako je ,,linčovski" pridev koji je najlakše iskoristiti kao deskriptor za ono što Chebbi radi sa likom Fatme Ousaffi, film zapravo i u svojoj fantazmagoriji zadržava svedeni pristup drami, začudnosti i stravi bez za Linča često tipičnih momenata naglašenog kempa (pa i humora). Ashkal je rađen primireno, sporo – iako treaje svega sat i po – i vidan je trud da se pažljivim kadriranjem i odmerenim pokretima kamere ispriča sve što treba, sa jasnim odmakom od diskurzivnosti koja bi ga zakucala unutar jednog tumačenja.
(https://i.imgur.com/8RMWdu7.png)
Ovo je efektno. Fatma radi stvari koje bi bilo neobjašnjive da ikome treba da se objasne, ali film je vođen tako da momenti objašnjavanja nisu potrebni pa su njene noćne ekskurzije u utrobe nedovršenih zgrada, njena susretanja sa nekim (ili nečim?) što nije od ovog sveta, njena spavanja na zemlji, na otvorenom deo jedne intuitivno prepoznatljive i gledaocu jasne, bliske spirale kojom se kroz sve dublju opsesiju u susrete sa neobjašnjivim dolazi do disocijacije realnosti.
(https://i.imgur.com/D9FIb82.png)
Film ovome u kontrast ne nudi racionalno već, naprotiv, likovno. Prizori fasada zgrada, pogotovo ekstremno efektno korišćenje svetla kada samo odsjaji vatre sugerišu da se u nekom od nedovršenih stanova dešava nešto što zahteva pažnju gledaoca i protagonistkinje, su savršeni i direktor fotografije, Tunižanin školovan u Francuskoj (između ostalog i na Sorboni), Hazem Berrabah, čiji je otac bio režiser, ovde kreira idealan spoj dokumentarističkog i oniričkog, bez oslanjanja na vidne specijalne efekte ili nametljive filtere, samo kroz pažljivo kadriranje, dobro svetlo i odmereno pokretanje kamere. Uz dobar zvučni dizajn, te efektnu a i samu svedenu muziku Thomasa Kuratlija, Ashkal prema svom kraju dobija jednu onostranu dimenziju koja gledaoca uvlači istom hipnotičnom snagom kao prizori mirnih tela koja gore na telefonskim snimcima što ih Fatma opčinjeno posmatra iznova i iznova.
(https://i.imgur.com/cfHr9F3.png)
Otud je i finale filma samorazumljivo iako, naravno, scenario odbija da nam kaže išta o tajanstvenom, verovatno natprirodnom sastojku cele misterije. Ashkal se završava kao alegorija beznađa i razočaranja nakon revolucije, u kojoj je dostojanstveno nestajanje bolje od ponižavajućeg postojanja. A mi ovde o tome, nažalost, i sami dosta toga znamo.
Ashkal, da budemo malo i strogi, uspeva da se izvuče na ime tih efektnih vizuelnih momenata i odbijanja da diskutuje teme koje je postavio. Fer je reći da publika koja će film najviše gledati već najviše i zna o socijalnom beznađu koje i dalje drži ne samo Tunis već čitavu severnu Afriku, kao i da je korišćenje žanra način da se gledaocu zagolica radoznalost, ali da mu nikada neće biti pruženo i žanrovsko zadovoljenje. No, Ashkal je, kao demonstracija korišćenja žanra da se prenese jedna kolektivna emocija, jedna kolektivna trauma koja, nažalost, ne prestaje, vrlo uspešan. I treba ga gledati.
(https://i.imgur.com/66OFuBI.png)
To da je ovogodišnji film Barbie Grete Gerwig ne samo oborio svu silu rekorda na boks ofisu, pregazio anemičnu superherojsku produkciju ove sezone i plasirao se rame uz rame sa Oppenheimerom u vrhove svih lista vrednih praćenja, već i da je od američke kritike dobio uglavnom vrlo pozitivne reakcije, je naprosto podsećanje da je u toku treća decenija 21. veka, da javnost, trenirana na hiperubrzanim komunikacionim platformama više od svega reaguje na ,,diskurs", ali i da su korporacije uspešno kooptirale diskurs i uspešno ga prodaju natrag masama iz koga je potekao, spremne i da po sebi solidno ošinu kako bi diskurs delovao ubedljivije. Treba, svakako i ukazati da je Gerwigova, iako potiče iz sasvim drugog estetskog i produkcijskog okruženja, sasvim korektno svoju ekspertizu prilagodila hiperestetizovanoj postavci ovog filma i našla za sebe nekakav prostor da prodiskutuje, dobro, ne da prodiskutuje ali da makar pomene feminističke teme koje je istorijski interesuju. Skok sa najnovije ekranizacije Malih žena Louise May Alcott na Barbie svakako deluje manje sumanuto kada se zna da je Gerwigova bila pozvana od strane same Margot Robbie a koja je, pak, bila prvi producent što je Mattelu ponudio originalan pogled na potencijalni Barbie film koji je firma pokušavala da napravi još od osamdesetih.
(https://i.imgur.com/yLv9ogJ.png)
Naravno, ekranizacija nečega što je samo tip lutaka – pa makar i najpoznatijih lutaka na svetu – je ozbiljan izazov u pogledu kreiranja sveta i u tom svetu zapleta, radnje, drame. G.I. Joe nije imao ovaj problem s obzirom na vrlo cenjen strip-serijal koji Larry Hama uspešno vodi već četiri decenije i mada je Robbie inicijalno bila predlagana samo zbog svog izgleda kojim podseća na ,,živu Barbiku", njene su ideje da se očekivanja publike od ovog filma presretnu u letu i prevrnu naopačke, ali i njeno obezbeđivanje Gerwigovoj i njenom životnom i scenarističkom partneru Noahu* Baumbachu pune kreativne slobode u pisanju zaslužni su što je Barbie uspešno svetu prodala dah subverzije.
*!!!!
(https://i.imgur.com/5YxyMGG.jpg)
Mora da zvuči izrazito cinično kada se film koji je rađen uz Mattelov direktni uticaj i unutar modernog Warner Bros. sistema naziva ikako subverzivnim, ali kontekst je svakako određujući faktor ovde. Inicijalne rekacije publike koja je vodila decu na prve projekcije filma i sa njih izašla iznenađena feminističkim pamfletizmom su verovatno i bile ono na šta je Robbiejeva računala kada je najavljivala – doduše, malo i u šali – da će ovaj film zaraditi preko milijardu dolara. Naravno, sad znamo da je samo u bioskopima* film zaradio gotovo jednu i po milijardu i da Margot Robbie ima razloga da se itekako smeje.
*ovaj prikaz pisan je na osnovu gledanja filma na HBO-u na koji je pušten polovinom Decembra
(https://i.imgur.com/FLRUcqw.png)
I to ne cinično. Robbiejeva je, ako samo malo razmislimo, neka vrsta lica savremenog holivudskog feminizma. Naravno, ne u starom smislu revolucionarne retorike i spaljivanja brushaltera, ali možda makar u smislu pokazivanja devojčicama da na neke stvari ne moraju da pristanu. Njena Harley Quinn i Sharon Tate su dva primera žena-simbola koje, makar u holivudskoj izvedbi, uspevaju da prevaziđu prokletstvo sudbina koje su im namenili muškarci i otud je njen ulazak u projekat Barbie sa jasnom namerom da se filmom obrati pre svega ženama i umesto ,,ljudskog stanja" pozabavi se ,,ženskim iskustvom" najprirodniji naredni korak.
(https://i.imgur.com/fDfhXLW.png)
Barbie nije neki sjajan film, ali to skoro da nije bitno. Godarovski ,,problemski pristup" ovde je primenjen izrazito bukvalistički, sa naratorkom (Helen Mirren) koja daje ,,objektivni" opis stvari u voiceoveru, sa protagonistima koji svi verbalizuju svoje subjektivno iskustvo, sa strukturom koja se pomalja iz spoja ova dva naprosto zahvaljujući tome što se u filmu nikada ne priča ni o čemu drugom i nema ni prisenka naturalističkih dijaloga ili sugerisanja raspoloženja ili značenja scene pukim vizuelnim sredstvima, da bi napokon to sve bilo iskorišćeno da se napravi spona sa ,,životom", govoreći o partkularnom problemu ali definišući kompleksan spoljni fenomen – i publika je ovo intuitivno progutala. Genije Barbieja je već u tome da su dvoje scenarista – ali i produkcija u celini – prepoznali da moderni gledalac često više ne percipira film i diskurs o filmu kao dva odvojena fenomena i da su satelitske minindustrije Youtube analiza, TikTok parodija i twitter memova koje izrastaju oko svakog iole popularnog filma integralni deo iskustva njegove konzumacije.
(https://i.imgur.com/u1hYWsY.png)
Otud je Barbie film koji ne samo da poseže za čestim rušenjima četvrtog zida* već zapravo sve vreme samog sebe komentariše i diskutuje, koristeći ,,filmske" tehnike – koje uključuju i plesne i pevačke scene – ali suštinski se oslanjajući na Youtube i TikTok jezik ,,objašnjavanja".
*možda najduhovitije u sceni kada Mirrenova za trenutak zaustavlja dijalog da bi ukazala kako Margot Robbie koja o sebi govori kao da ,,više nije lepa" naprosto nije glumica kojoj ćete tako nešto poverovati
(https://i.imgur.com/aSzGefd.png)
Konsekvenca je da Barbie naprosto ne možete ,,ne razumeti" jer je ovo film u kome ne postoji podtekst i čitav je u tekstu, a taj je tekst većinu vremena potpuno bukvalan. Likovi će doslovno jedni drugima saopštavati šta osećaju (,,zbunjena sam", ,,tužna sam" ,,mislim da si luda") i prepričavati šta su uradili, neretko i stvari koje bi trebalo da budu intimne ili tajne izgovarajući naglas. I mada je to verovatno najmanje izgledna asocijacija, Barbie time podseća na neko studentsko pozorište, gde su sav skupi CGI i komplikovani roze set dizajn zaista samo naslikana kulisa dok likovi moraju da verbalizuju šta se na bini događa pošto su u nemogućnosti da nam to prikažu.
(https://i.imgur.com/gi7mTyV.png)
Ovo čini Barbie siromašnim u nekakvom ,,old school" filmskom smislu, ali mu i daje jednu propulzivnost. Pričamo o filmu koji pokušava da legitimiše tu produženu adolescenciju danas karakterističnu za američku i šire zapadnu mlađu generaciju, u kojoj se ,,prirodni" ciklus odrastanja i preuzimanja ,,zrelih" odgovornosti (rad, stvaranje porodice, kućenje) razbija na ime nenapuštanja mladalačkih opsesija stvarima ,,za decu" kao što su stripovi, videoigre, ili u ovom slučaju lutke. Barbie, uostalom, dolazi na petnaestogodišnjjcu rađanja savremenog superherojskog filma sa prvim Iron Manom i snažno demonstrira da se može još manje biti ,,film" nego što je Scorcese pripisao Marvelovim produkcijama, i pritom biti ne samo uspešan nego i ,,važan" film.
To ne bi bilo moguće da u pravljenju filma nije demonstrirana veština. Gerwigovoj se da zameriti – i ljudi to čine – da je film prestilizovan preko svake mere, što, kada se radnja događa u ,,Barbielandu" ima smisla, ali da je i njen prikaz stvarnog sveta toliko stilizovan i odvojen od realnosti da stvarnog kontrasta nema. Štaviše, tačno je da je deo koji se odvija u Kaliforniji naprosto najmanje ubedljiv već i na ime toga da Barbie i Ken koji se tamo pojavljuju na rolerima i sa neonskim štitnicima za kolena i laktove, u normalnim okolnostima ne bi verovatno bili ni dvadeseta najupadljivija stvar na Sunset Stripu u bilo koje doba dana.
(https://i.imgur.com/DWmk2Ss.png)
No, može se prihvatiti i teza da je prestilizacija bila namerna i da je Gerwigova ovde – svesno ili nesvesno – išla na replikaciju pristupa koji je John Waters imao u svojoj srednjoj fazi (poglavito sa Hairspray i Crybaby) gde je izrazito stilizovane – i kempi – filmove nabijao izvesnom dozom subverzije koju je smatrao da Holivud onog vremena može da proguta. Barbie pogotovo asocira na Hairspray sa sličnim izvođenjem akrobatike u jakoj stilizaciji i kompleksnim koreografijama samo da bi dijalog koji temu filma istovremeno postavlja i objašnjava prošao lakše.
I čini se da je to ovde bilo uspešno jer je feministički pamfletizam Barbie – koliko god da je ,,mek" u svojoj suštini – uspeo da dobaci do vrlo široke publike, nadajmo se na kraju u meri u kojoj je monolog što ga pri kraju filma ima America Ferrera, a koji je ,,ideološki" neksus filma dopro i do muškaraca i dao im uvid u ,,žensko iskustvo" što će informisati njihovo kasnije ponašanje.
(https://i.imgur.com/RKvmUVm.png)
Naravno, lako je filmu zameriti mnogo toga. Promena paradigme koju su Barbie lutke donele je jedva pomenuta u uvodnom voiceoveru i reklo bi se da je ona zaslužila više, dajući devojčicama, pored uloga majke vezane za prethodne lutke, aspiracione fantazije koje film kasnije uzima zdravo za gotovo i satiriše ceo taj koncept (jer Barbike u Barbielandu misle da je stvarni svet ,,rešio" nejednakosti između žena i muškaraca i da su žene sasvim ravnopravne i izvan njihove utopije). Dalje, naravno, ceo feministički napor filma koji poruku svodi na ,,u redu je da odrasla žena u sebi sačuva maštajuću devojčicu" i da je to onda nekako vezano za brendiranu i trejdmarkovanu lutku za igranje je slab ako imate iole ustaničke krvi u sebi, a naročito kada vidite kako je Mattel prikazan u filmu, sa svođenjem ,,zla" multinacionalne korporacije na to da prave igračke za devojčice a da su joj svi top-menadžeri muškarci (dok izumiteljku Barbike drže u podrumu). Ovde film ponovo podseća da je ovo u suštini TikTok skeč razvučen na malo manje od dva sata, koji se zadovoljava time da svoju poentu direktno iskaže a onda je ponovi i da nema ambiciju da o njoj diskutuje ili da problem koji ona tretira razloži na slojeve. Ali, prava poruka je ovde svakako da su, doduše sa dosta zakašnjenja primerenog tako kompleksnim sistemima, korporacije konačno shvatile zašto je Sandra Silađev – ili neka njena američka, kineska ili turska koleginica – popularna, i da je repliciranje te vrste satire zapravo za Holivud lako jer je dovoljno da glumci samo izgovaraju iste stvari koje publika već misli, a ružičasti setovi, glamur i dobra montaža će svemu dati privid filmske ,,istine" iako je najveći deo poenti filma doslovno mogao biti TikTok skit.
(https://i.imgur.com/wgZcGjY.png)
Zamerke da film muškarce postavlja u ponižavajući položaj perpetualne nezrelosti, neodlučnosti i površnosti i da ne vidimo ni jednog ,,dobrog" muškarca deluju manje opravdano s obzirom na izuzetnu stilizovanost i pamfletsku prirodu ovog filma. Na kraju krajeva nismo Otpisanima zamerali to što Nemce ne prikazuju slojevito i podsećaju da je i među njima bilo dobrih ljudi, i to što jednog od Kenova igra Simu Liu – čovek sa istorijom Men's Right bulažnjenja – bi trebalo da je dovoljno. Zamerke, pak, da su svi muški likovi površni i na prvu loptu bi možda imale više smisla, ali takvih je i 90% ženskih likova, jer je ovo TAKAV film. Naprosto, ne uzimate Ryana Goslinga za ulogu glavnog Kena ako vam treba nijansirana facijalna mimika i kompleksan glumački prikaz unutrašnjeg života već zato što on izgleda dovoljno dobro i dovoljno smešno sa izblajhanom kosom i u kaputu od lažnog krzna koji nosi na golo telo i farmerke. Naravno, na drugoj strani je Robbie koja glumi FANTASTIČNO, uspevajući da i film koji je gotovo sav u tekstu oplemeni, oživi, otopli jednom vrlo ubedljivom izvedbom.
Ismevanje muške identitetske kodifikacije kroz mini-frižidere i igračke sa kojima se Kenovi bore u jednom od krešenda filma svakako može da zasmeta osetljivim dušicama kada vide da se ženama poručuje da je u redu sačuvati devojčicu a da se muškarcima film podsmeva za tu produženu adolescenciju, ali ovo je, naravno, samo ,,muška krhkost" na delu. Film argumentuje dve pozicije ovde i one nisu zajamno isključive: jedna je da je ženama (mentalitetski) zabranjeno da ostanu devojlčice koje maštaju da su majke (manekenke, stjuardese, vozačice Formule 1...) onda kada se smatra da već treba da budu ,,prave" majke; druga je da su muškarci od svog produženog adolescentskog perioda napravili KULTURU i INDUSTRIJU i da ovo JESTE opsceno, a pogotovo u kontrastu sa prvom pozicijom.
(https://i.imgur.com/iqx0X0c.jpg)
Barbie nije PRETERANO zanimljiv u svom zapletu naprosto jer se sve dešava u stilizovanom svetu sa vrlo malo percepcije nekakvog ,,stvarnog" problema i jer je sav u tekstu i u tekstu postavlja problem, u tekstu ga ne diskutuje već ponavlja, a zatim rešava,* pa je jedini deo filma koji deluje zaista ,,filmski" a ne tiktokerski onaj u kome Barbike pripremaju kontrarevoluciju i gde se stvara neka vrsta trilerske tenzije i vidimo likove da komuniciraju i pogledima a ne samo tekstom.
*nije slučajno da se deprogramiranje Barbika dešava isključivo izgovaranjem rečenica koje opisuju kompleksnost današnjeg ženskog identiteta i stanja sa često sukobljenim imperativima ponašanja koji treba da daju danas idealno prihvatljivu kombinaciju ,,ženstvenog"
Nije da Gerwigova ne bi umela da režirta drugačiji film – scena u kojoj Michael Cera, kodiran kao queer saveznik ženskih Barbika u sukobu sa Kenovima koji su otkrili koncept patrijarhata, premlaćuje grupu vrlo homoerotski stilizovanih Kenova (radničke uniforme, šlemovi itd.) je sasvim efektna komično-satirična kemp-ekstravaganca i više puta se tokom gledanja da požaliti što režiserka svoj sasvim očligledan talenat za vizuelno pripovedanje ne koristi češće. Ali opet, Barbie je PROGRAMSKI pravljena da bude tačka susretanja TikTok skeča, Youtube analize filma (unutar samog filma koji se analizira) i kempi pozorišta i mada vam ta tačka susretanja ne mora doneti puno sreće, ona očigledno sa mnogima rezonira.
Barbie svakako neće doneti revoluciju što će konačno uspostaviti istinsku rodnu jednakost ili, makar, nekakav eksperimentalni matrijarhat – na kraju krajea i život u utopijskom Barbielandu je samo humoristički odraz ,,našeg" sveta, sa predsednicom, sudom, ustavom i drugim institucijama koje samo funkcionišu savršeno ne zato što je matrijarhat istinski transformisao društvo (jer onda institucije ne bi bile ni potrebne kako stara anarhistička naobrazba sugeriše) nego prosto jer to NIJE STVARNI SVET.
(https://i.imgur.com/UBoDN0I.jpg)
Ambicija Barbie je na kraju mnogo više utešiteljska nego revolucionarna, njena krajnja poruka je da žena treba da se udobno oseća u svom identitetu, i da prevaziđe stid, potrebu za pravdanjem, strah i frustriranost, i mada je ovo veoma mali feministički korak, gde sa pravom možemo da žalimo što nismo dobili neki radikalniji iskaz, imajući u vidu da je on napravljen u utrobi brutalne kapitalističke drobilice, jasno je zašto je mnogima delovao kao oplemenjujući, izlečiteljski zrak sunca.
Naravno, uvek treba da se podsetimo da ovo za korporacije nije čak ni performativna progresivnost već naprosto eksperiment u kome se proverava da li kooptiranje vrlo ,,meke" progresivne retorike može da im donese uspeh. Pošto smo videli da može, teško je ne očekivati više sličnih filmova u narednim sezonama, sa još većim naglaskom na identitetskoj politici (i svođenjem poruke na ,,ti si okej"), tiktokerskom neposrednošću u izrazu i rušenjima četvrtog zida u kojima će kapitalizam samog sebe povremeno satirisati. Nije to sad neki veliki korak napred, neki bi rekli da govorimo o smrti filma kao grane umetnosti, ali u svetu u kome antifeministički pokliči imaju sve više podrške i u najvišim instancama vlasti, moramo pobede prepoznavati tamo gde se pojave. Ma koliko male bile.
(https://i.imgur.com/Yh3o4vK.jpg)
Iz poštovanja prema Crippled Avengeru pogledao sam 3211, poludokumentarni, poluigrani hagiografski film o Stefanu Đuriću Rasti, jednom od najpopularnijih muzičara u za Balkan specifičnoj mešavini r&b, hip-hop, rege i dens muzike sa urbanim neofolk zvukom. Ovaj su projekat napisali i režirali isti ljudi koji su stojali iza projekata poput Mali Budo i Jesen Samuraja (https://cvecezla.wordpress.com/2016/10/08/film-jesen-samuraja/) – a koji su bili pristojni ako ne savršeni bioskopski, žanrovski filmovi – dakle, Dimitrije Vojnov i Danilo Bećković, uz Andrijanu Stojković, ženu sa solidnim iskustvom iz dokumentaristike, a koja je režirala dokumentarne delove ovog filma. Sa nekih sedamdeset minuta trajanja, 3211 je jedna nikada sasvim ugodno sklopljena kombinacija igranih insenacija vezanih za Rastino hapšenje i dane iza rešetaka, intervjua sa protagonistom urađenog ekskluzivno za ovaj film, found footage/ arhivskog materijala (koga zapravo ima vrlo malo s obzirom da pričamo o stvaraocu koji je stasao u eri pametnih telefona i čiji je prodor u mejnstrim bio najpre zahvaljujući JuTjub popularnosti) i muzičkih spotova sa materijalom nastajalim tokom Rastinog boravka u pritvoru krajem 2020. i početkom 2021. godine.
(https://i.imgur.com/yQ7R0au.png)
Rasta je svakako jedno od interesantnijih imena na balkanskoj sceni susretanja urbanog i ruralnog, ali i crne američke i karipske kulture i urbanih potkultura izraslih iz savremene folk muzike ovih krajeva. Radi se o autentično talentovanom samoukom muzičaru i autoru za čiji uspeh kod kuće i u dijaspori nisu zaslužni namazani menadžeri i prekaljeni producenti već pre svega lična nadarenost, ali važnije, predani rad. Rasta nije, kao neki drugi savremeni idoli mladih, prvo prodro u svest dece kao influenser i Jutjub prenkster ili TikTok komičar pa onda uzgred počeo da se bavi muzikom, već je u pitanju pre svega muzičar sa izvesnom merom i formalne naobrazbe (mada u filmu kaže da nije voleo školu pa je napustio muzičku školu, onda bio izbačen iz srednje, završio ,,neku privatnu" i onda batalio studije produkcije jer su ga na prvoj godini ,,opet učili kako se sklapaju kablovi a ja maltene živim u studiju") koji je celoživotnu ljubav prema regeu i crnim muzičkim uticajima, nakon uspešne karijere radijskog voditelja i didžeja orijentisanog na rege, postepeno pretapao u sopstveni kreativni opus što je osvajao sve više popularnosti iz godine u godinu.
Posmatraču sa strane može delovati kao da je Rasta prosto hakovao javno mnjenje, praveći pesme sklopljene od uličnih buzzwordova koje lože klince u petom razredu osnovne škole, metodičnog dropovanja referenci na konzumerističke fetiše (automobili, motori, brendirana odeća) i klasične kafanske patetike o duši koja hoće da pukne, pucanju iz pištoilja u vazduh da svi čuju emociju što se ne može izreći drugačije, tugi sa kojom je autor na dobar dan, vezama ispunjenim ljubomorom i stalnim telefonskim pozivima... no, na ovom mestu svakako treba da pitamo tog posmatrača a šta on zapravo misli da je pop muzika – makar ona uspešna – istorijski uvek bila? Rastina muzika, da ne bude zabune, sklopljena je od prvoloptaških emocionalistikih klišea i zaslađenih autotune melodija*, ali kada igrate u ligi u kojoj on igra – a ne zaboravimo da je čovek napustio prilično ugledni Bassivity da bi osnovao sopstvenu produkcijsku firmu Balkaton – pitanje je samo sa koliko autentičnosti možete da začinite tu hrpu muzičkih i liričkih stereotipova da vas publika šireg spektra prepozna a onda i zavoli.
*što je, ako uzmemo zdravo za gotovo Rastinu izjavu u jednom delu filma, o tome da ima apsolutni sluh, podsećanje da autotune nije puki način da loši pevači zvuče bolje već naprosto deo estetike jednog dela savremene popularne muzike
(https://i.imgur.com/fwnv2NV.png)
,,Ne baš MNOGO autentičnosti" je svakako odgovor koji je dovoljno tačan u većini slučajeva, pa je i 3211 neka vrsta projekta koji treba da pokaže Rastinu supstancu i, možda kopernikanski obrt u pogledu na život nakon iskustva sa one strane rešetaka, onako kako to kolege poput Voyagea ili Breskvice naprosto ne mogu da urade jer ga nisu proživeli.
No, 3211 je toliko iskalkulisan i artificijelan projekat da je teško shvatiti ga ozbiljno, delom i zbog ekstremno krindži estetike u igranim inscenacijama, ali delom i jer ono što je Rasta proživeo i o čemu se u filmu priča naprosto nije zanimljivo. Bez želje da se valjamo po tabloidnom glibu, svakako se može reći da je ono što je Rasta takođe proživeo i o čemu bi zapravo bilo zanimljivo da se priča u filmu, ovde pažljivo ignorisano, zaobiđeno, nikada pomenuto, i da sa 3211 umesto autentične životne štroke i uvida koji su iz nje iznikli, nismo dobili ništa više od niske izlizanih frazetina iz usta samog umetnika i niske iz treće ruke pozajmljenih inscenacija koje prikazuju hapšenje, isleđivanje, gledanje u zid u pritvorskoj ćeliji, mrštenja veđa u zatvorskom dvorištu ali i privikavanje na zatvorski život i pronalaženje ljudske topline između ledenih zidova itd.
(https://i.imgur.com/WAQHP2R.png)
3211 – inače nazvan po broju ćelije u kojoj je Đurić bio smešten tokom svog boravka u pritvoru – je fokusiran pre svega na to iskustvo gubitka slobode i transformaciju ličnosti koju je to donelo Rasti, ili bi barem tako RTS-ov marketing želeo da poverujemo (https://www.rts.rs/tv/rts1/5334631/3211.html): ,,Филм "3211" приказује једно трансформативно искуство које је динамично, трауматично и закључује се искупљењем и једном изоштреном сликом света.", no, istina je da je 3211 film o čoveku koji je pao za kesu skanka, sedeo tri meseca u pritvoru i za kaznu mu je dosuđeno osam meseci kućnog odmora sa nanogicom. Što, da se složimo, ne deluje kao nekakav ,,filmski" materijal. Kao sin uglednih univerzitetskih profesora i neko ko je čitavog života imao privilegiju da se bavi onim što ga interesuje, dakle, muzikom i opijatima, radio na državnom radiju i generalno mogao da se hobijem zanima koliko god hoće dok hobi nije počeo da donosi zaradu, Rasta je kroz ovu besmislenu epizodu svog života – zašto, zaboga, ikoga u 21. veku hapse zbog kanabisa? – projezdio like a boss. A što napore ovog filma da pokaže kako je u pitanju jedan prelomni trenutak u životu, nakon koga ni na šta više ne gledate na isti način, čini solidno jalovim.
A što je nekako i očekivano: Rasta naprosto nije ,,reper" ,,sa ulice" koji donosi dah proživljenih asfaltnih pustolovina što ih veština samoukih pesnika i producenata transformiše u urbane mitove. Reperi iz Bassivity ergele su se i pre dvadeset godina od kolega koji će kasnije završiti na Rap Cartel izdanjima izdvajali time da su u pitanju finija deca koja vole seks i narkotike i o tome repuju i čija su zavrtanja u ,,gangsta" smeru uvek delovala pomalo isforsirano. Rasta je svakako predstavnik novije generacije, ona u kojoj žudnja za lepim stvarima u životu ima konkretna, materijalna imena pa se u njegovim pesmama pominju modeli automobila i brendovi trenerki, verovatno ne samo kao deo reperskog maštanja već i kao plaćeni product placement, no, delom je to i jer njegov životni put, ono što se smatra jednim od najvećih blaga svakog cenjenog repera, naprosto nema čemu da nas nauči. U jednom od delova intervjua koji daje u filmu, on kaže da je njegova muzika dobra jer je on jako naslušan muzike svih žanrova i time je sposoban da pravi stvari koje pre njega nisu drugi pravili i, dok ovo nije tehnički netačno, ovaj iskaz takođe potkazuje i da Rastina muzika ne izrasta na životnom iskustvu delatne osobe već najpre konzumenta (muzike, ali i narkotika) i da onda ni kreativna transformacija takvog iskustva ne daje bogznakako interesantan sadržaj u krajnjem produktu. Kada je Timjah da Sensei pre ravno dvadeset godina disovao celu novu generaciju repera što su u 43Zla i Bad Copy gledali kao u bogove rečima ,,imate po petnaest, pišete svoje biografije (https://youtu.be/WtpQsYTZIHo)", ovo je bilo i vizionarsko predviđanje da će sve više rep muzike u narednim decenijama nastajati na pokušaju emuliranja muzike koju su autori kao klinci slušali i naprezanja da se autentičnost koju su čuli u tekstovima repera sa početka stoleća veštački dostigne pričanjem o svojim životima kao da su u pitanju herojske epopeje, iako se u njima, zaista, ne događa ništa spektakularno. Pa tako i Rasta.
(https://i.imgur.com/ey4IySU.png)
3211 je naravno deo iste ove matrice, i ovo je jedan čak ne ni vanity projekat repera kome se dopada da ga neko intervjuiše ozbiljno i da u seriji zatvorskih vinjeta ispadne cool i muževan, već prosto, poslovna investicija u dalje građenje mita o Rasti koji će njegova publika, kondicionirana na površnost i readymade emocije, readymade probleme i readymade rešenja, iskonzumirati disciplinovano i zadovoljno.
Utoliko, 3211 se na skali neizdržljivosti kreće kreće od nepodnošljivo krindži fejkeraja do uglavnom korektnog kinematskog i jedva korektnog dokumentarističkog rada i problem je najviše u tome da to nije problem. Za publiku naviklu na prepakivanje opštih mesta ovo je sasvim dovoljan kinematografski spomenik liku sa JuTjuba koji o sebi priča sa fascinacijom i samozaljubljenošću što su skoro neophodni kada radite posao kojim se on bavi, ali bez dovoljno transformativnih uvida i nekakvih iskrenih refleksija koje bi kod iole zahtevnijeg gledaoca opravdale uloženo vreme. I, to je možda i okej, možda zahtevniji gledalac naprosto nema šta da traži u Rasti – film je, uostalom bio vrlo uspešan u bioskopskoj distribuciji, uključujući izvan srpskih granica (barem ovih zvaničnih) i Rasta možda zaista nije neko čiju nutrinu vredi zaviriti
No, ja u to ne verujem. Rasta je sasvim zanimljiv za gledanje u smislu da mu kanabisom oprljena kadenca govora i upečatljiv izgled daju auru moderne pop-zvezde koja nije ispala iz neke menadžerske menažerije i vešt sagovornik a onda odgovoran montažer bi iz njegove priče mogli da izvuku znatno više supstance od onog što se u filmu vidi. No, u filmu on kao da nema da kaže ništa zanimljivo, jer nije proživeo ništa zanimljivo, a ruku na srce, verovatno ga ništa zanimljivo niko nije ni pitao. Njegov intervju ovde je najinteresantniji kada se bavi detinjstvom i prisećanjima napete atmosfere u Prištini krajem devedesetih a zatim preseljenja iz urbanog jezgra pokrajinske prestonice u ,,oslobođenu" Srebrenicu baš tokom NATO bombardovanja Srbije. Naravno da film ni na koji način ne pravi napor da stvari stavi u nekakav širi sociopolitički kontekst – za ovo bi bio potreban intenzivniji autorski napor od onoga što bi produkcija, Rastina, dakle, firma Balkaton, autorizovala – i ne vidi se ni simbolički napor da se ikako sugeriše kako je odrastanje na dve istorijski neuralgične tačke Balkana iz poslednjih nekoliko decenija, pre nego što će doći u Beograd, uticalo na Rastin razvoj kao ličnosti a onda i umetnika.
(https://i.imgur.com/lz6Xc6d.png)
Što opet, da budemo fer, nije obavezno. Rasta je momak kome su roditelji dali da sluša rege i prži kanabis koliko god je želeo i on je od toga napravio karijeru – njegova životna priča je toliko jednostavna i od ovoga je MOGAO biti napravljen i zanimljiviji film*. Dokumentarac u kome bi se pažljivije secirali usponi i padovi, neverovanje ili verovanje u sebe i druge, držanje principa ili napuštanje istih, krvarenje za nešto u šta verujete da je BITNO – ovo je mogao biti interesantan materijal. Kada Rasta na retkim mestima priča o tome da nije bio svestan svoje popularnosti dok nije nastupao uživo u klubovima po dijaspori, ovo je zametak mnogo interesantnijeg dokumentarca nego što je ovaj koji smo dobili. Jer ovaj koji smo dobili skoro da nema ništa sem opštih mesta o tome da je on ,,principijalna (sic) osoba" i da je zbog toga ,,mnogo puta u životu najebo", da je tek kada je izašao iz zatvora shvatio koliko je sloboda dragocena (sa sve ponovljenim ritualnim krštenjima) itd. Film u kome bi Rasta bio izazvan da se suoči sa svojim verovanjima ili neverovanjima, suočen sa svojim uspesima ili porazima bi bio interesantan film, ali, opet, to očigledno nije film koji može da u kreativnom smislu potpiše sam Rasta.
*alternativno, a RTS-ova novogodišnja filmska ponuda podseća, mogao je biti napravljen i kempi fantazijski spektakl poput Hajde da se volimo
Igrani delovi se, po sličnoj matrici, kreću od jedva probavljivih do korektnih. Bećković i Vojnov su kroz svoj dosadašnji rad svakako pokazali da poznaju žanr i snalaze se u njemu (Bećković je bio i jedan od režisera televizijske serije U klinču, u kojoj je Rastin kolega Voyage ostvario vrlo zapaženu rolu), ali da je, u presudnoj meri, njihov autorski opus zavisio i od egzekucije drugih profesionalaca koji su u njemu učestvovali, od glumaca, do producenata. 3211 je snimljen i montiran uglavnom zanatski korektno, i, kada su u scenama profesionalni glumci, odglumljen prihvatljivo (Rale Milenković kao upravnik zatvora, recimo), ali u kreativnom smislu ovo serija najizlizanijih zamislivih klišea. Bećković sve režira kao jedan veliki video-spot i nikada ne pada ispod granice zanatski prihvatljivog, ali kako film sadrži i nekoliko ,,čistih" spotova, dakle, sa koreografijom i lipsinkovanjem, utisak je da bi sve zapravo i bilo ubedljivije i smislenije da je Rasta naprosto umesto fejk igranog filma finansirao video-album sa desetak povezanih spotova gde bi futidž koji je Vojnov napisao a Bećković snimio sedeo prirodnije i delovao manje artificijelno, priklanjajući se prihvaćenoj estetici video-spotova. Čak i Rastina gluma – koja nije, da se razumemo, sad nešto specijalno rđava – bi u takvom kontekstu bila prirodnija. I zapravo, u privatnoj komunkaciji mi je potvrđeno da je projekat ovako i započeo i da je igrani deo 3211 napisan i snimljen upravo kao video-album, gde seriju spotova povezuju fiktivne inscenacije kojima pretenzija nije bila da predstavljaju ,,realne" prikaze hapšenja, pritvorskih dana i suđenja. Ovo ima smisla i da je 3211 ostao na ovoj formi, i moj bi utisak o njemu bio znatno povoljniji jer bi, u okvirima medijuma o kome pričamo, ovo bila jedna časna balkanska produkcija koja nema čega da se stidi pred zapadnjačkim uzorima.
(https://i.imgur.com/27DzixV.png)
No, nakon odluke da se doda dokumentarni deo i montiranja svega u trajanje od sedamdeset minuta, dobili smo manje ,,laž koja govori istinu" a više videospot koji se zaneo i zaboravio da puka minutaža ne čini film. Ovako kako je, film iz serije fragmenata, koji bi radili posao u spotovskom formatu, prerasta u filmsku priču kojoj je mikro-dramaturgija odlična ali je na makro-planu pun rupa. Naravno i kada traje koliko traje, fokusiranje na Rastino lice postaje fetišističko radije nego umetničko i što dalje idemo, scene u kojima ga gledamo kao centar skoro svih kadrova su nategnute – a, kao, poučne - zatvorske vinjete, i deluju arfiticijelnije i dramaturški upitnije bez obzira što su režirane ubedljivije od uglavnom preterano stereotipnih scena hapšenja sa početka.
Najprostije rečeno, 3211 je film bez supstance. Ovim ne pokušavam da minimizujem ičiju traumu sedenja u pritvoru niti mislim da je ,,samo" tri meseca na mardelju i osam u kućnom pritvoru nekako nedovoljno da se oko toga snima film. Ali, ovaj film nam niti govori koliko je Rasta bio u pritvoru, niti objašnjava za šta je bio optužen, niti kako se na kraju završilo suđenje i njegov fokus je pre svega na isfantaziranom odnosu protagonista sa ostalim ljudima u zatvoru (pritvorenicima, čuvarima, upravnikom) koji je stopostotno prepisan iz doslovno desetina i stotina američkih zatvorskih serija i filmova koje ste čak i vi gledali a možete se kladiti da Vojnov može veliki deo dijaloga istih da citira po sećanju.
Za Rastu je ovo, ne sumnjam, željen ishod investicije njegove firme u prvo kinematografsko sočinjenije ovog tipa, sedamdesetominutni, spori autofelacio koji, kao ni Rastina muzika, ne kaže ništa ni o njemu, ni o Beogradu, ni o zatvoru, ni o detetu koje on, mesecima nije mogao da vidi pa mu je baba govorila da je tata na nastupima u Nemačkoj. Ta priča je fejk isto koliko i spot usred filma tokom kog beogradski reper Mili igra klinca što upada u klub sa pištoljem a iz njega ispada sa metkom u trbuhu – skrpljen od opštih mesta i urađen sa samo zakonski obaveznim minimumom zanatske spretnosti. Čak i Mili može mnogo bolje od toga, što smo pre neku godinu videli u seriji Grupa, a mada je za svaku pohvalu to da su Bećković i Vojnov ovo radili čista srca i kao autorski napor, zadovoljni što mogu da primene svoju pismenost izgrađenu organski tokom decenija gledanja žanrovskih filmova i hip-hop videospotova, i udenu je u koliko-toliko autentičan balkanski prostor, ostaje i da film najpre može da se pohvali na ime zanatske spretnosti, ali da mu fali stvarna, autentična srž.
(https://i.imgur.com/za2IIjQ.png)
Naravno, 3211 je možda i vesnik novog doba za balkanski ,,rep" ili makar onu njegovu popularnu/ populističku varijantu u kojoj se susreću i JuTjub disovi, i Tikok skečevi, i kanabis i vinjak i kokain i domaća ljuta, i gazde klubova po Cirihu i balkanski distributeri skupih automobila, i Nataša Bekvalac, i Južni vetar, gde trap i anadolijski folk ruku pod ruku igraju uz autotune refren, i biće interesantno gledati kako će na 3211 uzvratiti kolege i konkurenti i da li će Buba Koreli ili, možda interesantnije, Desingerica i Pljugica sada da se polome da nađu način da i oni snime fimove o svojim životima. Desingerici je populistički nastrojeni gradonačelnik Banja Luke makar zabranio da nastupa u tom gradu a što je, da se dogovorimo, interesantniji incident nego bilo šta što je Rasta pustio da se vidi u SVOM filmu.
3211 je mogao da bude prilika, čak i uz činjenicu da je napravljen kao stopostotna samoljubiva fantazija sa pažljivo isturpijanim svim potencijalno kontroverznim elementima i napunjen do vrha izlizanim opštim mestima, da se uđe iza mita o Rasti i da se makar nazre OSOBA koja se tamo nalazi. Da se ispitaju džombe na drumu kojim se stiglo u 2023. godinu i šteta koje su napravile na šasiji, da se pronađe zahvalnost za karijeru koja se kretala uzlaznom putanjom tokom deset godina i potvrdi vrednost KRVAVOG RADA koji je Đurić uložio u sve to a koji on uzgredno pominje na par mesta. Ali ovo nije taj film. 3211 je jedva koherentna videospotovska iluzija koja treba samo najpovršnijoj Rastinoj publici da pruži potvrdu kako i dalje (makar malo) učestvuje u životu koji je vredan življenja. Svi ostali će naći snage da sebe same isključe sa aparata.
(https://i.imgur.com/CLbXneX.png)
Da ne bismo Cripplu spemovali topik, mogu ovde da adresujem par komentara vezanih za moj osvrt na 3211.
Prvo i najvažnije: mislim da je bitno odvojiti pogled na sam film od mišljenja o Rasti kao umetniku (ili čoveku ili pojavi) jer sam se i ja trudio da to odvojim u napisu.
Film jesam ocenio generalno negativno, i glavni razlozi za to su da je sama struktura za mene nedovoljno funkcionalna jer je u pitanju video-album proširen u "pravi" film a gde to ne radi kako treba. Spotovska režija generalno, tretman motiva koji se vide u spotovima i inscenacijama za mene ne rade dovoljno dobro kada se pokušalo da se to ušnira u jedan "filmskiji" narativ koji bi, po svom trajanju i po obimu scena koje su "igrane" (a nemaju muziku i koreografiju) trebalo da bude dramaturški povezaniji, koherentniji. Dakle, da izloži motiv, da ga argumentuje, da ponudi zaključak. No 3211 samo niže motive koji su opšta mesta a što je prihvatljivo i uobičajeno u formi muzičkog spota i tradicija hip-hop spota je često da imate kondenzovan film koji daje samo motive, samo prepoznatljive scene koje ste gledali razrađenije u filmovima a ovde se na njih pravi referenca, više nego što se ide na "realnost" ili na nekakvu kompleksniju dramaturgiju. No, u formi filma ovo mi nije bilo dovoljno. Takođe, poentiranje se doađa u dokumentarnom delu a koji je, opet pun opštih mesta i zapravo vrlo tanak kao dokument - uključujući to da se ne zna ni koliko je protagonist bio u pritvoru, koliko u kućnom pritvoru itd.
Dakle, to je kritika forme filma. Kritika suštine zahteva i to da ponudim tezu zašto mislim da film ne govori mnogo ili ne govori skoro ništa važno, a ta teza je kod mene da je ono što je protagonist proživeo zapravo relativno nezanimljivo iskustvo. U životu svakako ne bih to nikom poželeo ali naprosto ne deluje kao filmski materijal. Film se fokusira na hapšenje i pritvor ali ne nudi nikakav specijalan narativ u tome. Na mikro planu ima tu vrlo lepo urađenih scena (ona u sudnici je dobra, pa onda ceo mini skeč sa siledžijom sa bradom kome na kraju cela ekipa izađe na crtu) ali na makro planu se ne zna šta je zaplet, tj. čime se Rasti preti, te šta je rasplet, tj. koliko je on propatio i kako je na drugu stranu izašao izmenjen. Razlog svakako može da bude i to da autori nisu imali dovoljno materijala da sa njim rade jer Rastino zatvorsko iskustvo nije bilo naročito dramatično.
Ovo sve nema nikakve veze sa mojim mišljenjem o njegovoj muzici i generalnom stvaralaštvu.
Quote from: Truman on 05-01-2024, 17:56:02
Muzika mu je loša. Kako vreme odmiče primećuje se pad u kvalitetu muzike na globalnom nivou. Npr. nekad je pop muzika bila iq 110, sad je iq 80. Netalentovani likovi kao on namerno biraju taj žanr gde mogu da foliraju da su talentovani smećem od tekstova i nekim miksovanjem loših ritmova.
Da i ovde budem jasan: meni Rastina muzika apsolutno ništa ne znači. Ali ja ne slušam pop muziku generalno, nikada je nisam slušao i nemam mišljenje o njoj sem da me ne interesuje. Rasta je meni na nivou recimo jednog Merlina iz osamdesetih godina, dakle, formalno pop, suštinski (neo)folk, i ne bih od svoje volje slušao ni Merlin ni Rastu. Ali da bude jasno, ne mislim da je Rasta ikako lošiji, gluplji ili štetniji od Merlina.
Naravno za punu sliku treba da bude jasno da bih jednako (ne)rado kao i Merlin ja slušao i Depeche Mode, New Order, Pretenderse ili Smiths.
Ma ne radi se čak ni o tome što Rasta kao umetnik ne zaslužuje pažnju, a realno i ne zaslužuje, već najviše ono o čemu tvoj tekst govori vrlo plastično, da sam događaj oko koga se film vrti, Rastino zatvorovanje zbog posedovanja narkotika ne zavređuje ni dokumentarni film, a kamoli dokumentarni sa igranim deonicama. Jednostavno, događaj je besmislen i patetičan, a ceo film nenamerno presmešan i može se gledati kao treš komedija. Ima to i veze što se nikakvi biopici ne prave za života umetnika već posthumno, upravo da ovakve splačine od patetisanja samih živih umetnika ne bi izbile u prvi plan.
Eto, to je to, ukratko.
Napisao si dovoljno disklejmera Meho, valjda neće Rasta da te bije :lol:
Nije valjda lud da opet ide u zatvor...
Nije išao ni pošto je Loku nalupao :lol:
Dobro Loka sigurno nije hteo da ga tuži, dobar je to čovek.
(Disklejmer: Loku poznajem više od četvrt veka, nemam šta loše da kažem o njemu i siguran sam da je Rasta bio u krivu što ga je napao)
Quote from: Meho Krljic on 06-01-2024, 08:56:22
Nije valjda lud da opet ide u zatvor...
Što? Posle bi mogao da napravi 3211 O5! :lol:
Meho, ti beše voliš Johna Cenu? Sad sam odgledao The Independent, možda bi ti se svideo. Uloga kandidata za predsednika mu je legla. Glumi samog sebe, ali u ovoj ulozi to ima smisla.
Zar ima neko ko ne voli Cenu? Hvala na preporuci!!!!!!!!!
Nema na čemu, film je inače konvencionalan ali lepo upakovan. I glavna glumica mi se sviđa. Može da se pogleda.
Nedavne praznike sam iskoristio i da pogledam prošlogodišnji bioskopski hit (or is it?) Raše Andrića, Munje O5, posle više od dve decenije snimljeni nastavak jednog od svakako najkultnijih domaćih filmova urađenih u ovom stoleću. Iako napravljen od strane istog kreativnog tima, sa scenarijom koji je i ovog puta napisao Srđa Anđelić, Andrićem iza kamere i najvećim brojem glumačkih imena iz prvog filma koja su se vratila da ponove svoje uloge, Munje O5 je naišao na, reklo bi se, mnogo slabiji odziv gledalaca. Drugačije rečeno: ne znam doslovno ni jednu osobu koja misli da je Munje O5 iole gledljiv film, a u trenutku dok ovo kucam od sedam prikaza na IMDb-u svi su negativni a onaj koji je istaknut film naziva najgorim ikada snimljenim na Srpskom jeziku.
(https://i.imgur.com/Lf8guy9.jpg)
Što je svakako preterano. Andrić je imao veliku pauzu između Kad porastem biću kengur, neke vrste malo ozbiljnijeg duhovnog naslednika prvih Munja i još jedne sasvim kultne urbane komedije koju je snimio 2004. godine i sentimentalnog Leto kada sam naučila da letim iz 2022, ali radi se o kompetentnom režiseru čije su mnoge jake strane i dalje vidne u nastavku Munja. Ovo je vizuelno upečatljiv, uspešno stilizovan film veoma jakog tempa do mere da taj jaki tempo i radi u korist njegove štete, ne ostavljajući gledaocu dovoljno prostora da malo uzme vazduh i srodi se sa likovima. Jedna od posledica je da čak i neki od likova iz prvog filma kao da prolete ispred kamere i nemaju priliku da pronađu svoje mesto u narativu (Maja Mandžuka kao nedovoljno iskorišćen a intrigantan lik), a dodavanje obimnog ansambla novih likova je film opteretilo sa više jedva skiciranih minijatura od kojih su neke uspešne ali neke su vrlo slabe i predstavljaju balast koga priča ne uspeva da se oslobodi. Andrić je svakako režiser koji ume da se snađe sa velikim brojem likova u filmu i da u okviru jedne ili dve scene iz glumca (ali i kostima, maske itd.) izvuče maksimum tako da dobijete upečatljiv, pamtljiv karakter ali kada takvh likova ima mnogo film postaje preintenzivan u individualnim scenama i ostavlja utisak jedne dinamične, agresivne teksture ispod koje je nemoguće nazreti dubinu.
Nije da Munje O5 nije imao ambiciju, uostalom, snimanje nastavka jedne toliko voljene komedije posle više od dvadeset godina je projekat kakav se retko sreće i u svetskim okvirima, još manje da na poslu imate istog scenaristu i režisera i isti prvi ešelon glumaca. Scenario koji je Anđelić za ovu priliku spremio se velikim delom bavi upravo meditiranjem nad protokom vremena i time kako se ljudi sa njime menjaju ili odbijaju da se promene. Tenzija između karijernih luzera i karijernih vaćaroša prisutna u prvom filmu ovde je još naglašenija i Munje O5 je imao solidnu priliku da zaroni u svoje likove još dublje i pozabavi se melanholijom srednjih godina, refleksijama na život koji prolazi u čekanju da se dogodi ono što ste kao dete zamišljali da će vam zrele godine dati, konačno, jednim poslednjim jurišom na pijedestal slave za koji znate da ne može ništa suštinski da promeni ali koji dugujete detetu u sebi što ga nikad niste pustili da tiho ode u noć.
(https://i.imgur.com/QmctYM4.jpg)
I Munje O5 sve ovo zaista i radi, dajući nam likove Popa i Mareta dve decenije nizvodno, uhvaćene u samsari slabo plaćenih poslova, života sa roditeljima (iako su na pragu šeste decenije života) i stalnih fantazija o tome da su nekada, davno, bili na ivici toga da u životu urade nešto značajno. Početak filma dosta spretno razrađuje odnos viđen u prvom filmu, gde je Mare flegmatičniji ali i realističniji od dvojice, čovek sa ,,pravim" poslom, nesklon da se javno prepušta upadima u nostalgične epizode, ali vidno nesrećan u svojoj ,,odrasloj" personi, dok je Pop i dalje agresivno sanjarski nastrojen omatoreli klinac što još uvek pokušava da ,,uspe" u muzičkoj industriji iako mu se posao svodi na povremeno puštanje muzike na kućnim partijima. Jedna od uvodnih scena, na rođendanskom partiju Milorada Milinkovića Debelog svojim kondenzovanim repriziranjem replika i situacija sa slične žurke iz prvog filma spretno prikazuje Maretov egzistencijalni užas kada shvati da je suočen sa ,,večnim vraćanjem" i spoznajom da je osuđen na potucanje po žurkama sa poluraspadnutim gradskim facama iz vremena prošlog, da nikada ne izraste u onog zrelog, uspešnog čoveka kakav je trebalo da postane.
To da Pop, sa svoje strane smatra da je sve to okej i da povremena tezgica na kojoj se zabode pedeset evra služi kao nešto najpribližnije karijeri što on može da zamisli da mu se desi je takođe lepo postavljeno i Munje O5 sasvim fino radi na razvijanju tema prvog filma, ali onda pravi možda i fatalnu odluku time da najveći deo radnje smešta u Beč, na žurku za 30 godina mature koju tamo za svoje prijatelje organizuje sada uspešni menadžer Gojko Sisa. Naravno da Pop i Mare nisu pozvani na ovu žurku ali kada pukom slučajnošću u aktuelnom hitu pevačice Mile Sile čuju pitanje ,,koliko si jak?" i shvate da je kaseta sa njihovim starim demo snimkom na kraju završila kod Gojka koji je onda njihov slogan iskoristio da lansira plesni hit za generaciju Z, odlučuju da se, kako znaju i umeju prevezu do Beča ne bi li raspravili pitanje autorskih prava ali i, važnije, pokazali da komercijalizacija muzike koju su oni smatrali autentičnim izrazom svoje generacije neće proći nekažnjeno i da ,,pravi hardkor" nikada ne umire.
(https://i.imgur.com/IxP5xId.jpg)
Ovo su sve dobre teme, da ne bude zabune, kao što je na kraju krajeva i odnos srpske dijaspore u Beču sa maticom – provučen kroz neselektivnu nostalgiju i slavljenje svega što ima veze sa Srbijom, ma koliko možda bilo neukusno ili bljutavo – ali Munje O5 odlaskom iz Beograda gubi i jasno utemeljenje u nečemu što je prvom filmu davalo autentičnost. Nije ovo nepoznat fenomen – Jay i Silent Bob su bili mnogo kulji likovi u Clerksu nego u Jay and Silent Bob Strike Back jer su delovali više kao dva stvarna lika koje ste mogli poznavati ako ste se zatekli u izvesnom video-klubu u Nju Džersiju, nego kao stripovski likovi veći od života u koje su proizvedeni u kasnijim filmovima – i on čini Munje O5 jednim manje relatabilnim iskustvom. Drugačije rečeno, Pop i Mare su sada svedeni samo na svoju (anti)herojsku potragu za kasetom koju je Gojko otuđio i koja ima samo simboličnu vrednost jer je jasno da niko od njih nema iluzije da će ikada napraviti muzičku karijeru. Ovo jeste tiha tragedija u centru filma i daje mu i izvestan emotivni gravitas ali u egzekuciji deluje kao da imamo dva lika koji upadaju iz jedne u drugu suludu situaciju bez mnogo jasne motivacije, prolazeći kroz izuzetno bučan, dinamičan komički program u kome se lako zature te finije dimenzije karaktera i njihovih života.
Konsekventno, ako su originalne Munje delovale kao generacijski film, izašao svega nekoliko meseci posle Miloševićevog pada, kao prvi ,,slobodni" izraz ekipe koja je kroz svoje kontrakulturno delovanje bila, makar simbolički važan deo uzroka tog pada i korekcije kursa Srbije ka jednoj ,,građanskijoj" poziciji ukojoj će urbani mitovi zameniti nacionalne, Munje O5 nema na svojoj strani ovakvu prednost. Ovo je film pre svega o ljudima koji su se izgubili u smeni generacija i koji odbijaju da puste tu jednu sitnicu što – samo u njihovim glavama – čini razliku između kul luzera i običnog luzera.
Ponovo, tematski je ovo dobro postavljeno, a likovi Mareta i Popa rade posao kako treba tamo gde im je to omogućeno. No film, iako će to zvučati paradoksalno, preteruje s komedijom i dramske elemente zatrpava ispod naslaga mini set-pisova u kojima taj veliki ansambl filma prolazi brze i temeljne transformacije a čija težina opet gledaocu možda nije odmah shvatljiva zahvaljujući tom odsustvu prostora za refleksiju i ogromnom broju likova koji svi NEŠTO rade u kadru. Slično se desilo, podsetimo se, i Srđanu Dragojeviću čiji je nastavak ,,Anđela" bio jednako okrenut jednoj intimnijoj, manje opštoj temi i gde režiser, namećući sumanut tempo pripovedanja nije dao komediji da prodiše, nižući replike i gegove takvom frekvencijom da je gledalac brzo na njih otupeo.
(https://i.imgur.com/fmKmmk8.jpg)
Ovim ne želim da kažem da su u Munjama O5 sve scene zapravo odlične i da samo nije trebalo da budu nanizane jedna za drugom, već da je film urađen takvim tempom da gledalac naprosto više ne razlikuje dobru od loše scene, kreveljenje od glume, referencu na neku repliku iz prvog filma od product placementa (kojeg su Munje O5 prepune). Iako je Andrić zanatski veoma vešt i kada žonglira sa ogromnim brojem likova, i film mu je vizuelno jako solidan, Munje O5 na kraju ostavljaju utisak da ste AI botu dali da pogleda prvi film, onda ga nahranili komedijama Franka Capre i Braće Marks i zatražili da uradi nastavak. Sve je TU, ništa ne nedostaje, ali sve je ubačeno bez dovoljno osećaja za dinamiku pripovedanja i potencijal likova da se izraze.
Ali dobro, nije ni SVE tu. Likovi Nebojše Glogovca i Zorana Cvijanovića su u prvom filmu bili zanimljiva spona između mlađe generacije (koju su predstavljali Pop i Mare) i samo malo ,,starijih", ozbiljnijih ljudi prinuđenih da se bave bečim opipljivim kako bi sebi obezbedili egzistenciju (naravno, na dva sasvim suprotna kraja tržišta rada), dok Munje O5 nema ništa slično i umesto toga nam nudi kontrast između mlade generacije oličene u tri srednjoškolska tinejdžera koji idu u Beč na takmičenje iz hemije i ,,matoraca" koji tamo idu na trideset godina mature. Film ovo prepoznaje kao interesantan kontrapunkt ali ne uradi sa njim dovoljno, do mere da su Ivana Zečević i njena dvojica mladih kolega – uprkos sasvim solidnoj glumi – višak koji je lako mogao da bude izbačen iz filma.
(https://i.imgur.com/QgLNKbo.jpg)
No, oni su simptom i dramaturškog problema koji je Anđelić očigledno imao, i sam osećajući da potraga za kasetom u Beču nije dovoljno snažan motiv da iznese ceo film pa se na ovo dodaje čitav drugi zaplet sa nelegalnim biznisom Gojka Sise koji pored svog menadžerisanja i dovođenja gastosima u Beč srpskih muzičkih zvezda na noge, ima i tajnu hemijsku laboratoriju. Klinci-hemičari su presudan deo njegovog plana da napravi... pa, ne zna se tačno šta, jer film ovde nažalost nema dovoljno herca da malo stane i razradi ovaj motiv. Je li Gojko neko ko samo želi da napravi ultimativni sjaj za usne ili drogu koja će biti kao MDMA na steroidima? Evo, nikom nije jasno, verovatno ni samim glumcima koji su morali da odšmiraju efekte konzumiranja ove hemikalije u scenama čije se trajanje meri doslovno sekundama i ostavlja i gledaoca zbunjenog i bez jasnog razumevanja šta se zapravo dešava.
Na ovo je onda, ambiciozno ali možda ipak preambiciozno dodat i podzaplet sa lokalnim balkanskim gangsterima koji Gojku neće da dopuste uletanje u njihov biznis tek tako i Dragan Marinkovic Maca ovde pruža ulogu koja se svodi na mrmljanje i kreveljenje i odvlači film ka dnu jeftinih televizijskih produkcija u kojima se odsustvo budžeta i vremena za snimanje nadomešćuje skretanjem u bizarnost.
(https://i.imgur.com/O0EtaH8.jpg)
Štaviše ovi momenti filma podsećaju da je prethodna saradnja Anđelića i Andrića bila televizijska serija Ujka Novi Horizonti, jedan spoj staromodnog humora i handheld estetike, a i sama duhovni nastavak serije Mile protiv tranzicije, koju su Anđelić, Andrić i saradnici radili u prvoj deceniji stoleća. Obe serije su satirično gledale na prelazak Srbije iz ,,komunističkog" jednoumlja u modernu demokratsku državu koja stupa ka članstvu u Evropskoj uniji, prikazujući konspiratološke, populističke elemente onog što se smatra ,,tradicionalnom" i ,,domaćinskom" Srbijom, sa sve nominalno nekompatibilnim obožavanjem komunističkog nasleđa, ali u obe se takođe mogla naslutiti i mera razočaranosti samih autora u postmiloševićevsku Srbiju, nesavršenu demokratiju i možda nedovoljno blisku Evropsku uniju.
Munje O5 ništa od ovoga ne pominje ni eksplicitno ni implicitno, ali su ove teme notabilne upravo svojim odsustvom. Na kraju krajeva, ovaj film je nastao u Srbiji u kojoj Mile više nije ekscentrik kome se normalan svet smeje; naprotiv, Mile je sada na vlasti a njegov način spajanja kontradikcija u demagoškom svetonazoru i prekrivanja najvećih pukotina na fasadi glasnom vikom je najbliže ideologiji što Srbija ima u javnoj politici. To da Munje O5 ništa od toga ne prikazuje je dodatni nivo tragičkog u likovima, koji su toliko ubijeni u pojam, toliko svedeni na golu egzistenciju i nostalgično fantaziranje o budućnosti koja se nikada nije desila da je njihova nezrelost razlog da plačete a ne da se smejete.
(https://i.imgur.com/Zr79Nch.jpg)
A što je, verujem, u korenu lošeg prijema ovog filma. Iako Anđelićev scenario pravi značajan napor da likove pokaže kao na kraju svesne da je njihovo vreme prošlo, da danas klinci imaju neke druge idole i interesovanja, taj superubrzani tempo pripovedanja i komičkih gegova koji sustižu jedan drugi ne dopušta da se gravitas zaista oseti.
Naravno, to da Pop i Mare na kraju svoje potvrđivanje kao ličnosti, autora i umetnika dobijaju u krosover nastupu sa Milom Silom je POENTA njihove priče – oni nisu zaista ratnici beogradskog podzemlja i hardcore šmekeri koji ostaju pri istim stavovima i nakon što su se svi ostali prodali, već dva lika čija je relevantnost u jedom trenutku pre dvadeset godina za trenutak bljesnula, kada su se scene gitarskog hardkora i drum 'n' bass didžejisanja za momenat susrele i koji od tada pokušavaju da pronađu uporediv ,,high" u životu iako su hardkorovci u međuvremenu prodali gitare a drum 'n' bass više niko ne sluša. Anđelić i ekipa oko njega je devedesetih godina, uporedivo sa tim, bila neka vrsta opinion makera i influensera koji su jednako bili naklonjeni gitarskoj alternativi i elektronskoj plesnoj muzici i povezivanje tih scena je u tom momentu delovao kao bogougodan posao.
Ali Munje O5 nemaju sličan, jasan prosvetiteljski napor u svom centru i Popovo repovanje uz Mlu Silu i zajednički nastup (pa i ljubljenje) sa ženom koju je do pre neki minut nazivao seljančurom je – jasno – samo pokušaj da se na trenutak ponovo bude relevantan, po svaku cenu, ne da se napravi sinergija dvaju razdvojenih a opet, možda srodnihscena. Jer, naravno, Mare i Pop u ovom filmu odavno ne predstavljaju ni jednu scenu, a i sama Mila Sila je čist menadžerski produkt. Oznojena tela u klubu što skaču uz Cobyjev i Euffratov ritam su samo ,,publika", bez ideoloških ili čak generacijskih obeležja. I Popu i Maretu je to okej jer uz njihovu muziku nikada nije skakalo toliko ljudi. Godine i decenije nastupanja pred urbanim likovima sa raznih gradskih hardkor scena koji su suviše kul da bi pokazali da im se išta dopada naspram jedne lude noći u Beču gde gastosi gube razum na vaš bit i stihove – ovo je đavolja pogodba koju Mare i Pop oberučke prihvataju. Toliko je jednostavno.
(https://i.imgur.com/yarQ5Jb.jpg)
Jedan deo gledalaca ovo naprosto ne može da prihvati kao poentu filma – iako i u ranijim scenama vidimo tezgaroški bend kako izvodi kontrakulturne hitove uz koje se devedesetih protestovalo protiv Miloševića, u easy listening lounge verzijama, jasno nam ukazujući da kontrakultura na kraju opstaje kao puka komercijala ili naprosto časno odumire – i optužbe da Munje O5 izdaje pozicije prvog filma koketiranjem sa zvezdama reality televizije i JuTjub ,,reperima" iako prirodne, zapravo zamagljuju tu jednostavnu činjenicu da čovek od skoro pedeset godina čije samopoštovanje zavisi od demo kasete koju je sa ortakom u garaži snimio pre dvadeset godina ne da neće nikada ponovo biti kul, već i da nikada nije bio kul. Originalne Munje su bile samo fantazija od jedne noći u kojoj su se luzeri na trenutak našli, mislili su oni, na pravoj strani istorije. Munje O5 je prikaz šta se dešava kada pokušate da istu takvu noć ponovite posle dve decenije – parada pijanstva i kiča koja je prihvatljiva sve dok ceo klub na kraju skače uz vaše bitove.
Utoliko, Munje O5 je pametniji film nego što je većina njegovih kritičara spremna da prizna, ali ne i nužno lak za gledanje. Andrićeva režija krešenda filma sa tim krosoverom između old school hardcorea i moderne estrade je veoma efektna, ali veliki deo filma pre toga počiva na bučnom, dinamičnom humoru u kome i dobre fore počinju da smetaju jer se oko njih gomilaju osrednje i loše, a preobilje likova i dodavanje previše elemenata u zaplet slabi te dobre poente koje Munje O5 treba da naprave. Ne tako loše kako su vam rekli, dakle, ali značajno lošije od onoga čemu ste se nadali.
(https://i.imgur.com/QmKLbn2.jpg)
I original Munje sam kao klinac smatrao dosta plitkoumnim filmom, a taj nastavak ne bih gledao ni da mi plate.
Surovo, ali poštujemo. Mislim da su originalne Munje bili kultni film za generaciju koja je devedesetih bila u svojim tinejdž godinama i dvadesetima jer je emanacija upravo tog nekog duha Beograda. Ali drugima svakako ne mora da bude zanimljiv...
Moram da se složim s Trukijem.
Inače, meni ovo zvuči kao more of the same, samo elaborirano, apdejtovano i nagruvano na osnovu skice koju je predstavljao prvi film. Očekivano.
I još, ne mogu da verujem da Maca i dalje mrači javnim prostorom. xfoht
Maca je ubedljivo najveći promašaj ovog filma. Nezavisno za moje simpatije prema njemu (koje ne postoje), njegova gluma baš kvari tamo gde je najosetljivije.
Meni sve ovo zvuči kao Crni Gruja O5, gde Maca "menja" pokojnog Marinka Madžgalja.
Zar se ekipa već nije dovoljno iskompromitovala i bez ovog novog nedela?
Ne, ne, nije ovo baš na tom nivou. Moja argumentacija je da film nije onoliko loš koliko se misli.
Realno, mislim da ovo nije trebalo snimati bez pokojnog Nebojše Glogovca, čovek je imao talenat da uzdigne svaki film u kome glumio za klasu. Samo pogledaj atmosferu prvog filma i ovog sada.
Ja volim Macu, ali sam ga isključivo video u intervjuima. Dakle ništa rijalitiji, ništa stendap, ništa gluma.
Ovo je najveći biser:
Reditelj: Nastavak "Munja" posvećen Nebojši Glogovcu (https://direktno.rs/magazin/kultura/459098/munje-nebojsa-glogovac-film-radivoje-andric-.html)
QuoteU prvom delu Munja, jedan od omiljenih likova bio je Nebojša Glogovac, koji je tumačio lik policajca. Raša Andrić je otkrio i da li je u film uvršten omaž posvećen legendarnom glumcu.
- Jedan direktan i jedan indirektan. Imamo dva njegova sina u filmu, a sam film je upravo posvećen Glogovcu
Hahahaha. E, liče, dao si im "uloge" koje se propuste ako se trepnu: bukvalno jedan statični foto kadar i lik u zadnjem planu u masi u disko klubu. :lol:
A dobro, sad, nisu djeca pravi glumci (nagađam), to su uobičajene kameo varijante.
Quote from: Father Jape on 15-01-2024, 09:35:06
Ja volim Macu, ali sam ga isključivo video u intervjuima. Dakle ništa rijalitiji, ništa stendap, ništa gluma.
Oh, prva osoba koju znam da joj Maca nije odbojan na svakom nivou.
Meho, koliko osoba "glumi" u ovom filmu, nisu pravi glumci (nagađam), a imaju "uloge" daleko veće minutaže od kameo varijante? Okej, Maca možda najviše štrči, ali ima ih još podosta: Džus, Miloš Milaković to name a few... :roll:
Bukvalno ceo film naturščici, sa ubistvenom minutažom. Okej, i Munje su originalno bile neka kopija Gaj Riči fazona, sa iskarikiranim likovima, tako da su se u tome samo nadovezali. Ali, i taj Gaj Riči talas davno je prošao i nikad ponovo neće biti kul, baš kao i Popov i Maretov demo snimak i to je verovatno najveći problem ovog filma...
Pa, dobro, al možda ova djeca nemaju realan kapacitet ko Đus koji je rođeni šoumen?
I, mislim, to meni nije neka bitna zamerka filmu, da se razumemo. Možda je veća zamerka da je po senzibilitetu zaista blizak prvom filmu a da taj stil više nije tako svež i zanimljiv...
To stoji, ali malo su ipak taj stil gurnuli over the top. Jedini krindž momenat iz prvih Munja kojeg ja pamtim bio je kad deda Mraz Zoran Cvijanović gurne golu zadnjicu kroz prozor kola što uoči navodni posmatrač iz satelita. Čak i ta scena nekako je premašena u nastavku, tj. kad Smilja Tortura razvali ventilaciju bazukom, što uoče radnici obezbeđenja, sa gotovo istim komentarom iz originala. Plus, ima xy drugih krindž momenata, da ne nabrajam, ceo deo u diskoteci totalno krindž i teško se gleda, Đus mi je krindž, Arsa iz Istine i Laži mi je krindž, itd. Meni ni Maca nije toliko sporan (mada je topčina krindž), koliko je scenario bezvezan, jer su ubacili nadrogiranog lika da otima demo kasetu i medalje sa takmičenja, što sve logički nema baš puno smisla. Stvarno ne mogu da zamislim da bi neko drugi bio ubedljiviji u toj maltene ključnoj ulozi koja praktično nosi ceo film, pa ajd sad da okrivimo Macu da ne bi smo zaključili da je film glup i raspada se. :cry:
Ma ceo taj podzaplet je slab i nedopečen, ali na sve to dođe njegova gluma koja se svodi na kreveljenje i to jako loš utisak ostavlja. Kao da je Andrić tu računao na neki džonvotersovski efekata ali ga nije baš postigao...
On se tako krevelji i u intervjuima. Ranije to nije radio, to mu je neki novi fazon. Meni sve to deluje zabrinjavajuće i nimalo duhovito.
Naprimer: https://www.youtube.com/watch?v=W3QI1vA0954
Očigledno je on ostatku ekipe bio ekstra simpatičan, inače bi mu neko skrenuo pažnju pa bi se iskorigovao.
Ja i krivim Andrića pre svega.
Quote from: Meho Krljic on 15-01-2024, 13:45:16
A dobro, sad, nisu djeca pravi glumci (nagađam), to su uobičajene kameo varijante.
Quote from: Father Jape on 15-01-2024, 09:35:06
Ja volim Macu, ali sam ga isključivo video u intervjuima. Dakle ništa rijalitiji, ništa stendap, ništa gluma.
Oh, prva osoba koju znam da joj Maca nije odbojan na svakom nivou.
Maca solidan u Neprijatelju.
Pa...i ne bas. Samo je glumio besnu verziju sebe.
Toliko je bilo potrebno.
Eh, verovatno je bio dobar i u Psi laju vetar nosi al to čak ni ja nisam imao snage da gledam. Al kapiram da kad spojiš Radoša i Macu to bude TO.
ima bar 150 gorih domaćih glumaca od Mace
Meni Maca u Neprijatelju kida.
Ali i to je pre 10 godina, pre ove nove faze, kad se oprostio od realizma i krenuo da se krevelji i izigrava drogoše. A možda nista i ne izigrava, već je jednostavno dosegao tu fazu... sad mi treba da procenjujemo šta je tu gluma, a šta stvarno i koliko je propao i odlepio neki tamo blazirani Pink voditelj, uposlenik drogoša Mitrovića... :( :cry:
U Psi laju vetar nosi je loš, to mu je ta kasnija faza, kad je poludeo skroz i počeo jače da se dernja. Dernja se i besni i u prvoj fazi, ali može da prođe, druga faza čisti krindž. Teško je to gledati da ne dobiješ transfer blama. Kapiram da je korišćenje narkotika nužno i za takvu "glumu" i za gledanje iste. Reklo bi se da je kokain u pitanju...
RTS nam ga je dopremio u domove a ja sam rado pogledao prošlogodišnji ruski ,,svemirski film" Вызов, odnosno Izazov, prvi dugometražni igrani film čiji su delovi profesionalno snimljeni na Međunarodnoj svemirskoj stanici u Zemljinoj orbiti*. U svetlu prilično lošeg statusa što ga Rusija trenutno uživa na onome što se naziva ,,kolektivnim zapadom", Вызов je na kraju rađen i promovisan kao vrlo ozbiljan državni projekat sa koproducentskim naporom između ruske kosmičke agencije Роскосмос i prvog kanala državne televizije, Первый канал, sa premijerom koja je upriličena u Kremlju baš na dvanaesti April, datum kada su 1961. godine tadašnji Sovjeti poslali Jurija Gagarina u orbitu i time zvanično poveli u svemirskoj trci, demonstrirajući (kako to već ko tumači), premoć komunizma ili ruskog duha nad ,,zapadom". Вызов u neku ruku treba da ima sličan simbolički efekat, urađen kao drama koju smo do juče mogli nazvati naučnofantastičnom, ali koja je, snimljena baš ,,na lokaciji", time uklonila veliki deo ,,spekulativnog" iz svoje postavke. Вызов nije ,,žanrovski" film u smislu u kome obično koristimo tu reč ali se može ubrojati u korpus propagandnog filma koji je utoliko efektniji time što svoju osnovnu premisu – da Rusi mogu da pošalju u kosmos ljude koji nisu profesionalni kosmonauti, a koji će se tamo baviti SVOJOM profesijom i uspešno vratiti na Zemlju – demonstrira i umetnički i produkcijski.
*ovo ovako formulišemo jer je još 2008. godine snimljen osmominutni Apogee of Fear, kompletno urađen u orbiti, dok je ruski Возвращение с орбиты, još 1984. godine, imao delove koje su snimili kosmonauti na stanici Салют-7 i u letelici Союз Т-9 koja je išla na ovu stanicu
(https://i.imgur.com/I6hjBjr.jpg)
Utoliko, Вызов je impresivan film, a što morate da primetite i pre nego što se zapitate je li dobar (a dobar je prilično) i to da je, nažalost, svetsku bioskopsku distribuciju imao uglavnom po eks-Jugoslaviji, nekim zemljama bivšeg SSSR i arapskim teritorijama je nesrećno podsećanje na odvratnu geopolitičku situaciju u kojoj se trenutno, između ostalog i ruskom zaslugom, planeta nalazi. Вызов je film – a podsetio bih da izuzetno retko koristim ovaj kliše – snimljen za bioskop i koji treba videti u bioskopu sa slikama beskonačnog neba što se otvara pred vašim očima dok vam se puls ubrzava i rukom neke bliske vam osobe koju treba da stegnete u takvoj situaciji. Ovo je film koji bi, u nekom savršenijem svemiru, ljude dovodio u bioskope i odnade ih puštao izmenjene, ne toliko na ime jedne sasvim korektno vođene ljudske drame, koliko pre svega na ime utiska da ste zaista dotakli to beskonačno koje nam visi nad glavama a retko se usuđujemo da mu pogledamo u lice. Hoću reći, ovaj film nema avanturističku dramaturgiju ili glumu, ali ima avanturu upisanu u sam čin svog nastanka i to se broji, veoma jako.
(https://i.imgur.com/4NPIYhd.jpg)
Клим Шипенко je ovaj film napisao uz gruzijskog scenaristu Bakura Bakuradzea a koji mu je pre nekoliko godina bio producent na prethodnoj kosmonautskoj drami, Салют-7, i očigledno je da je rad na ovom filmu u velikoj meri informisao projekat Вызов. Za Салют-7 je Шипенко gledao da se što više drži realističnosti (sa scenarijom baziranim na stvarnim događajima sa polovine osamdesetih) pa je Роскосмос ovde imao veliku konsultantsku ulogu sa samim direktorom agencije i nekoliko kosmonauta koji su pomagali u razvoju filma, te glumcima koji su prošli vrlo ozbiljan trening. Štaviše, vežbe u bestežinskom stanju korišćenjem poniranja aviona Илью́шин Ил-76 rađene za ovaj film su za Вызов ne samo ponovljene već su i postale deo scenarija i gledalac će ih videti u pripremama glavnih junaka za gotovo nemoguću misiju koju treba da izvedu u orbiti.
(https://i.imgur.com/h80fViT.jpg)
Шипенко je očigledno čovek čija ambicija nema granicu, maker ne zemaljsku i za Вызов su on, Bakuradze i nekoliko saradnika pripremili jednostavnu ali uverljivu priču kojom se nakon nesreće što zadesi jednog od ruskih kosmonauta na Međunarodnoj svemirskoj stanici Роскосмос stavlja u neugodnu situaciju. Prvi impuls direktora agencije je da se izvede hitno spuštanje povređenog kosmonauta na Zemlju gde bi mu bila urađena operacija – scenario je ovde vrlo direktan: ako kosmonaut umre pri spuštanju, to se računa u nesrećan slučaj, ali ako umre u svemiru, celo osoblje projekta na Zemlji pada pod krivičnu odgovornost. Naravno, stvari komplikuje i što je povređeni komonaut Олег Богданов (igra ga stvarni kosmonaut Олег Новицки) heroj Ruske Federacije i što se njegov život mora spasti kako bi se sačuvao ugled agencije. No, kada lekari iz ugledne državne bolnice nakon pregleda ultrazvučnih snimaka zaključe da Олег naprosto ne bi preživeo ubrzanje koje se prolazi pri izlasku iz orbite, agencija se odlučuje za drugi scenario: na stanicu će biti poslat jedan grudni hirurg sa opremom i još jednim kosmonautom koji će na Zemlji proći kratku obuku kako bi asistirao. Operacija će biti izvršena u orbiti, u bestežinskom stanju.
(https://i.imgur.com/XtH4HjU.jpg)
Шипенков i Bakuradzeov scenario je funkcionalan i elegantan. Iako su namršteni stručnjaci u centru Роскосмосa i stari, iskusni hirurzi oni koji donose odluke, film je pre svega fokusiran na mlađu hirurškinju po imenu Женя Беляева, (igra je Юлия Пересильд), jednu ,,običnu" ženu koja ima brdo normalnih i sasvim relatabilnih problema. Početak filma pokazuje je kako kasni na posao, ima solidna nerviranja zbog ćerke u pubertetu koja se tuče po školi i šeta dečka skejtera sa dredovima do dupeta, a flertovanje sa kolegom Владиславом Николаевим (Miloš Biković) joj ni ne ide najsjanije – ona je na kraju krajeva mlada udovica, sa mužem poginulim u saobraćajnoj nesreći (za koju ona i dalje krivi sebe) i ćerkom kojoj pored svih pubertetskih mušica još i fali očinska figura, a on je jebač-presretač što ga ona zna još sa fakulteta koji je ne samo proveo cele studije na žurkama i u izlascima nego je i pola sestara kliničkom centru u kom oni rade pretvorio u svoje asistente koji mu kucaju izveštaje i ne mogu da se izmaknu silini njegovog sasvim očigledno narcističkog šarma.
I ona i on budu u grupi hirurga koje načelnik kliničkog centra povede sa sobom u sedište Роскосмосa gde će se diskutovati o tome kako da se operacija izvede u gotovo nemogućim uslovima, sa minimalnom opremom i bez obučenog osoblja (sestara, anesteziologa itd.), ali i da se serijom testova odluči ko od svih njih na kraju ima dovoljne psihofizičke kapacitete da ga stave u raketu i ispale u orbitu. Film izuzetno spretno implicira da je Беляева tu isključivo da bude konsultant i da pomaže muškarcima da se spreme za podvig i Шипенко i Bakuradze se, vrlo osvežavajuće, drže jednog prirodnog toka radnje u kome se bez woke parola i veštačke drame jednostavno prikazuje zašto je ovo i dalje ,,A man's world". Kada kasnije u filmu, u dramskom apeksu glavna junakinja odbija direktno naređenje jer smatra da lekar koji je doslovno ušao u toraks pacijenta zna bolje od stručnjaka za aeronautiku što joj se preko radija javlja sa Zemlje, čućemo i jedno promrmljano da je Сергей Павлович Королёв (otac sovjetskog svemirskog programa) bio u pravu, te da ,,ženama nije mesto u kosmosu".
(https://i.imgur.com/SFDnlug.jpg)
Naravno, Rusi su, u svojoj sovjetskoj fazi, bili i prvi koji su poslali ženu u svemir – možda će vas iznenaditi podatak da je Валентина Терешкова i dalje živa i zdrava sa krepkih 86 godina – i naravno da će Женя Беляева, sistemom eliminacije na kraju biti ta koju će sa bajkonurskog kosmodroma (sa koga je i sama Терешкова poletela u svemir) zajedno sa Антонom Шкаплеровим, penzionisanim ruskim kosmonautom koji ovde igra samog sebe, biti poslata u orbitu da izvrši hitan hirurški zahvat na sve slabijem Богдановy.
Шипенковa režija ,,na Zemlji" je efikasna, i veoma brza. Film praktično sprinta kroz svoj srednji čin u kome gledamo kako se hirurzi nadmeću ko će biti duhovitiji i veći šmeker tokom treninga i testova, sa jednim ponovo vrlo prirodnim, impliciranim muškim takmičenjem u tome kome je veći. Scene se doslovno pretapaju jedne u druge, sa zvukom koji će dovršiti radnju iz prethodne dok je gledalac već prešao na sledeću i mada sve to izgleda kao jedna velika montaža od pola sata, istina je i da Шипенко ima osećaj za dinamiku i da će smisleno usporiti i uneti scene refleksije i čistije emocije u pripovedanje. Kada Беляева razgovara sa ozleđenim kosmonautom putem video-linka i on kaže da se oseća dobro – iako vidimo da to nije tako – i da mu je važno da se vrati na Zemlju u zakazano vreme i dobrom zdravlju zbog ćerkice, ovo je ruska patetika na delu ali u jednom sasvim funkcionalnom, estetski opravdanom formatu. Film bi inače rizikovao da se pretvori u procesiju vrlo tehnički kompetentno snimljenih scena lekara koji su svi zanimljive face a neki od njih su i duhoviti, i bude puka sapunska opera od one sorte koju Rusi inače vrlo uspešno rade već dobar broj godina.
(https://i.imgur.com/GEmgaG0.jpg)
Kontrast ovome zapravo čine Пересильд i Biković, koji, iznenađujuće, glume vrlo svedeno. Пересильд je inače prevashodno pozorišna glumica i zanimljivo je videti da ona ovde glumi pre svega izrazima lica i sa malo reči dok je Biković, inače vrlo velika zvezda ruskog filma sa gomilom uspešnih komedija u siviju, ovde osetno smirio svoj šarm u pokušaju da pokaže alfa-doktora koji tokom ovog iskustva zapravo i sam iznutra, bez mnogo reči i emitovanja emocija, sazreva.
Gledalac će, zapravo, tek pred kraj filma saznati kako to da u svemir bude poslata Беляева a ne Николаев koji je imao najbolje ocene na testovima od svih i čija ga šmekerska lakoća sa kojom svakoga u prostoriji namah ubedi da on uvek sve ima pod kontrolom i da niko nema ništa da se brine prosto prirodno kandiduje za ulogu prvog hiruga u svemiru. I ovo je ponovo jedan sasvim pohvalan pristup naraciji, gde režija namerno deakcentuje ove dramske amplitude, znajući da će one prirodno doći kao puntkuacija između stvarne drame koja se događa u STVARNOJ orbiti.
(https://i.imgur.com/ZuhqR1O.jpg)
Deo filma snimljen na Međunarodnoj svemirskoj stanici je prosto veličanstven. To da su Шипенко i ekipa ovo snimili za svega dve nedelje provedene u orbiti – ali i da je film, sveukupno koštao manje od petnaest miliona dolara – je ništa manje nego čudesno, pogotovo kada se vidi sa koliko sigurnosti je urađena čitava drama oko hirurškog zahvata, koliko je Шипенко rutinerski a opet vizuelno nadahnuto uradio duge kadrove kretanja po stanici, ponovo izbegavajući da pravi veštačke dramske akcente. Vizuelno ovo je prosto izvanredno, sa klaustrofobijom ali i svemirskim trash-glamurom koji je neodoljiv u svom šarmu između ostalog i zatio što je najvećim delom stvaran a Шипенко gledaoca smešta unutar celog tog prostora i gotovo da mu daje da oseti kako je i sam u svemiru.
Naravno da film ima neke readymade trope. Беляева sa sobom vuče traumu vezanu za gubitak muža i ovo je možda i nepotrebno naglašavano u nekim presudnim trenucima, pogotovo kada znamo da su scene u orbiti ZAISTA snimljene tamo i da je sve što vidimo u bestežinskom stanju urađeno bez potrebe za green screen magijom i da je povišena emotivna frekvencija u kojoj se protagonistkinja nalazi gledaocu sasvim opipljiva i bez crno-belih flešbekova na saobraćajnu nesreću. Takođe, rekao bih da je čitav podzaplet sa Bikovićevim likom bolje zamišljen nego što je realizovan, da je ovaj vrlo nadareni glumac na kraju više IZGLEDAO nego što je GLUMIO i da su presudna uloga koju on igra u razrešenju problema što ga protagonistkinja ima u svemiru ali onda i konačna emotivna naplata na Zemlji urađeni previše ravno, bez dovoljno drame. Hoću reći, ako se Шипенко već hvatao tropa melodrame onda je trebalo u njima da doda malo gasa. Ovako je Bikovićev nemi performans na klupi na kojoj dočekuje jutro dostojanstven ali je scena na kraju filma u liftu jedan nezarađeni kliše koji glumci nisu uspeli da mi prodaju. Ima tu još momenata koji su prosto, tako, funkcionalni ali nenadahnuti, kao recimo scena u kojoj on sav namrgođen priča da ljudi oće da idu u svemir a nisu ni na Zemlji stvari sredili a ona mu onda kaže da možda tamo traže odgovore na pitanja koje nisu našli na Zemlji i to je jedan baš, onako, kliše, da se nekako završi scena ali bez ičeg pametnog da se u njoj desilo...
(https://i.imgur.com/i8ttLMA.jpg)
Ali ovo su, naravno, sitnice. Najveći deo filma urađen je besprekorno kvalitetno u zanatskom smislu, sa izvrsnom fotografijom i na Zemlji (Борис Литовченко) i odličnom montažom Тима Павелка, a čitav deo odrađen u orbiti, sa pravim kosmonautima je naprosto izvanredan. Ovde je odluka autora da se ne ide na ,,žanrovsku" dramu bila pun pogodak i, uostalom, nju je diktirala i činjenica da od četiri lika na stanici, tri nisu glumci već kosmonauti. Пересильд se i sama prirodno uklapa u ideju da je njen lik profesionalac koji će, kada operacija krene, zaboraviti i na bestežinsko stanje i na činjenicu da se sledeća najbliža osoba sa diplomom medicinskog fakulteta nalazi na dnu gravitacionog bunara kome je ona umakla. Ovde se na kraju sasvim elegantno film prepušta jednoj ,,slovenskoj" emotivnosti u zarađenoj sceni izlaska u šetnju po vakuumu izvan stanice i suočavanja sa beskrajem koji tek sa te pozicije možete zaista da pojmite. Пересильд izvrsno odrađuje ovaj apeks filma a sve scene nakon ove su prosto garnirung i služe samo da se dramaturški dovezemo nazad do čvrstog tla, izmenjeni, kao i protagonistkinja, jednim nesvakidašnjim iskustvom.
Вызов je fer zvati propagadnim filmom čija je estetika najpre utilitarna, ali ni slučajno ne treba misliti da on nije baš ništa više od toga. Шипенко je morao da uđe u biznis sa ozbiljnim državnim strukturama da bi ga napravio ali je napravio nešto što je u kinematskom smislu ipak značajno više od puke demonstracije ruske moći unatoč zapadnim sankcijama. Ovo je film koji možda nema estetsku ambiciju Kubrikove Odiseje u svemiru 2001 ali je makar ispunio ono proročanstvo da će film koji makar sanja o tome da je dosegne morati da bude sniman na licu mesta, i u procesu ispričao jednu pitku, simpatičnu priču augmentovanu čistom veličanstvenošću svemira koji je dotaknut tokom produkcije. To treba svako da pogleda.
(https://i.imgur.com/HUrrNyk.jpg)
Da se poslužim mehizmom, ovo je film koji ću rado pogledati kad se pojavi na televiziji.
Dakle, da se teleportuješ u prošlu sredu???
Ah, ne cepidlačimo. Prikazivaće ga valjda opet.
Zakasnio je bukvalno dva dana, mogao je premota EON snimanje sadržaja.
Na kablu se jedni te isti filmovi vrte mesecima. Uozbiljite se.
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Gledam ovih nedelja HBO dok ga opet ne zaključaju, pa ćemo da vidimo šta ćemo dalje.
Dobra taktika. A, da valjda će da Izazov puste ponovo, naravno. Nisu ga otkupili da ga jednom odvrte...
Ako imaš sbb i ako su ti otključali HBO onda bi trebalo da ga imaš i u video klubu?
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Petronije, ne pratiš fabulu radnje. Nije film sa kablovske, nije HBO, već ruski film koji je pustio ludi RTS. Ne moraju ga više nikad pustiti.
To je nažalost tačno, ako je RTS u pitanju.
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Ja sam kao klinac čekao 20 godina da RTS reprizira jedan film sa mojom omiljenom glumicom Kim Novak i nikad ga više nisu pustili. :cry:
Dobro, ako baš zagusti ima dobar pirat za ovo...
Ne znam tačno šta sam očekivao sedajući da gledam rimejk filma Death Wish koji je režirao, od svih ljudi, pa i neljudi, Eli Roth. Pitanje zašto bi iko u 2018. godini pravio rimejk utemeljiteljskog osvetničkog akcijaša iz 1974. godine koji je, na kraju krajeva bio ne samo začetnik serijala što je već drugim nastavkom otišao u sopstvenu parodiju već i porodio čitav žanr toskično-maskulinih fantazija je, nažalost, dobilo najgluplji i najpredvidiviji odgovor baš od strane samog Elija Rotha koji je primetio kako su teme originalnog filma i dalje relevantne, kako je četrdeset i kusur godina kasnije kriminal u SAD i dalje potpuno van kontrole a policija je nemoćna da mu se suprotstavi i da, koliko god da je zemlja napredovala u drugim pogledima, ona stagnira u pogledu smanjenja stope kriminala.
(https://i.imgur.com/vCB2N4I.jpg)
Sad, ne znam gde Eli Roth živi i koje to podkaste mučenik sluša ali od početka devedesetih godina je u SAD stopa kriminala postojano u toliko sigurnom padu da samo ljudi potpuno odvojeni od realnosti mogu da tako nešto izjave. Naravno, Roth je dovoljno odvojen od realnosti da uzme jedan u startu ideološki problematičan, ali i generalno ne naročito sjajan film a onda od njega napravi jednu bezukusnu trilersku papazjaniju kojoj čak ni Bruce Willis, Vincent D'Onofrio, Dean Norris i Elizabeth Shue ne mogu da pomognu. Najveći Rothov greh je da Death Wish iz 2018. godine u potpunosti ignoriše ekstremni smer u kome se originalni Death Wish serijal razvio tokom osamdesetih – za šta bi neko rekao da je već samo po sebi problematično – ali da sa druge strane temeljito fejluje kao drama o urbanom nasilju i osveti u kojoj osoba iz više srednje klase ubija pripadnike manjina u naporu da učini ulice velegrada bezbednijim. Naprosto, ovaj film ne govori NIŠTA ni o čemu, krijući se iza talk-radio dijaloga koji služe kao nekakav polaroid onoga što priča narod na ulici i bežeći od bilo kakvog komentara bilo na temu manjinskog kriminala u američkim gradovima, bilo na temu kulture (i fetiša) oružja, bilo na temu belih muškaraca iz više srednje klase kojima je fantazija o zaštiti svoje porodice od (seksualnih, dakako) prestupnika silom oružja tek deo posrtanja kroz pozne srednje godine.
Originalni Death Wish iz 1974. godine je pokojni Roger Ebert već u prvoj rečenici svog prikaza opisao kao ,,kvazifašističku reklamu za urbani viđilantizam urađen u u stilu brzog akcionog filma" ali Rothov rimejk je urađen u eri ,,diversity, equity and inclusion" i on čak ni ne reflektuje ikakve opipljive strahove koje današnja Amerika uzgaja. Sa premijerom u drugoj godini Trampovog mandata, Rothovom filmu primetno nedostaje ona vrsta konspiratološkog kriptorasizma i MAGA energije koja bi makar OVAJ Death Wish učinila na bilo koji način relevantnim ili interesantnim.
(https://i.imgur.com/4fj34GW.jpg)
Michael Winner je bio jedan od ključnih režisera akcionog filma osamdesetih godina (https://cvecezla.wordpress.com/2011/01/23/zasto-je-firepower-najvazniji-akcioni-film-u-poslednje-tridesetdve-godine/), već i time da je temelje njegovog žanrovskog identiteta udario u prvoj polovini sedamdesetih. Radeći sa Charlesom Bronsonom u nekoliko produkcija pre Death Wish, Winner je imao razrađenu ruku i talenat za kinematsku akciju i nasilje koji su ga činili nekom vrstom bezbednije verzije Sama Peckinpaha, zahvaljujući uostalom i tome da nije imao Peckinpahove probleme sa adikcijom. Death Wish iz 1974. godine došao je kao neka vrsta ,,žanrovskije" eksploatacije ideja sličnih onima koje je Kubrik imao u ekranizaciji Burgessove Paklene pomorandže a Peckinpah kada je sa Psima od slame ekranizovao Williamsov The Siege of Trencher's Farm. Lišen literarnih ambicija, Death Wish se mogao posmatrati i kao odjek onog što su beli srednjeklasni stanovnici američkih gradova mislili (i sve glasnije gunđali) posmatrajući efekte novih urbanističkih ambicija nacije koji su posebno pogađali manjine i pretvarali nekada siromašne ali srčane zajednice u legla bandi i maloletničkog kriminala, a koji se onda prelivao i u druge gradske četvrti.
Da bude jasno, originalni Death Wish nije bio eksplicitno rasno kodiran, trojica provalnika koji napadaju porodicu Paula Kerseyja nakon što ih razbesni činjenica da supruga i ćerka uglednog arhitekte nemaju više od sedam dolara u gotovini, su svi belci (jedan od njih je i mladi Jeff Goldblum u svojoj prvoj ulozi, a koji sa svojom dosta izraženom semitskom fizionomijom možda može da prođe kao nekakav latinski nasilnik), i tek u drugom Death Wishu, iz 1982. godine, koji zvanično otvara eru ,,desničarskog akcijaša" nasilnici (i silovatelji, dakako) budu većinski afroameričkog porekla. Štaviše, jedan od trojice ,,Freakova"* koji upadaju u Kerseyjev stan, a koji sprejem šara po zidovima ali i po genitalnim delovima tela dvaju žena, će u jednom momentu na zidu nacrtati i kukasti krst, kao neku vrstu tada još univerzalnog simbola zla i bunta usmerenog u pogrešnu stranu.
*u filmu napadači nemaju imena
(https://i.imgur.com/Q3sMqbX.jpg)
No, originani Death Wish je zasejao seme akcionog filma osamdesetih, utemeljujući neke rekurentne motive, počev od toga da su već u njemu srednjeklasni strah od urbane sirotinje i strah belog, sredovečnog muškarca od toga da će mu neko drugi dodirnuti ženu ili ćerku spojeni u jedno. Čak će i srazmerno crtanofilmskiji Commando Marka Lestera ponoviti neke od ovih motiva, a Lester je ionako par godina ranije, iste godine kada je izašao Death Wish II, snimio eksploatacijski revenge klasik Class of 1984, vrlo se jasno temeljeći na kombinaciji srednjeklasne paranoje, seksualne ugroženosti i ideje da pretupnici uživaju nekažnjivost jer policija sputana liberalnom politikom ne sme da ih pipne.
Rothov Death Wish nema ništa da kaže o ovome. U jednoj od scena policijski inspektor (vrlo dobri Dean Norris) objašnjava Willisovom liku kako većina nerešenih slučajeva ubistva zapravo spada u međusobne obračune među bandama (,,asshole on asshole violence") i kako se slučajevi kao što je ovaj u kome su stradali njegova žena i ćerka neizbežno na kraju reše. Dodatno, Willisov Paul Kersey naprosto nema Bronsonov pomalo manični pogled i legitimnu zlu silu koja ga iznutra vuče da noću luta gradom sa pronađenim pištoljem i traži nevolju koju može njime da reši.
(https://i.imgur.com/gUlOUXd.jpg)
Štaviše, Willisov Paul Kersey nema skoro ništa, i u filmu u kome masa televizijskih glumaca (D'Onofrio, Shue itd.) glumi kompetentno i ubedljivo, Willis je vidno indisponiran. Glumac poznat po ako ništa drugo ekspresivnim ulogama u serijalu Die Hard je ovde, možda i na ime već nastupajućih dementnih promena, bezizražajan, bez interesantne mimike ili ikakve harizme. Možda, naravno, samo imamo na delu i to da je Willis video jedan nezanimljiv, ravan scenario...
Nije da se scenarista Joe Carnahan nije baš ni malo trudio. On je, uostalom bio u nekom momentu viđen i da režira ovaj scenario (nakon što je Stallone odustao) i njemu verovatno postoji mera nekog njegovog ličnog pogleda na temu (nakon sređivanja koje su nepotpisani uradili još dvojica skript-doktora), ali se do kraja to u egzekuciji negde zaturilo. Film ima neke interesantne kontraste, na primer u tome kako prikazuje reklame za lično naoružanje i prodavnicu oružja gotovo kao radnju sa igračkama za odrasle, sa lepom, dobro raspoloženom prodavačicom koja će sve da pomogne, ali Roth ovaj volej koji sebi nabacuje ne koristi da nešto kaže, sem da Kerseyja, na kraju filma, jelte, lagodno slobodi odgovornosti jer je sve radio u skladu sa propisima. Ako je poruka filma trebalo da bude da sistem ne radi i da ljudi moraju da preuzmu pravdu u svoje ruke, Kerseyjev napor da sve bude ,,na belo" je jedna naivna, slabašna karika u tom lancu zaključivanja.
Dalje, ovom filmu izrazito fali ta atmosfera urbane paranoje koju je original imao a njegovi nastavci izdigli na fantazmagoričan nivo. Već drugi Death Wish na početku ima radijski voiceover u kome se o kriminalu govori kao o urbanom ratu u kome se Amerika nalazi a jedan od političara govori da je neophodan ,,positive policying" da bi se u tom ratu pobedilo. Kasniji nastavci su praktično doslovno transformisali gradove u ratne zone* ali Rothov napor u ovom smeru je samo slabašno imitiranje Winnerovog postupka. On nam pušta radijske voditelje koji nabrajaju broj pucanja i ubistava što su se desila u gradu preko vikenda i govore o rastućem kriminalu, pa kada se desi to što se desi, i Kerseyjeva porodica strada, čujemo i da u bogatom kraju u kome Kerseyjevi žive postoji jedan generalni problem sa čestim provalama u kuće.
* u Death Wish 3 Bronson prve žrtve ubija jer su mu seli na haubu od kola dok je on namerio da ruča sa prijatnim starijim bračnim parom što nema para da se iseli iz problematičnog kraja grada, a do kraja filma koristi vojno naoružaje kao što su visokokalibarski mitraljez i ručni raketni bacač
(https://i.imgur.com/MZOZN9e.jpg)
Niko nigde i nikako ne komentariše zašto se to dešava – a svi žive u kućama sa staklenim vratima, bez kamera, alarma, ikakvog obezbeđenja, jer je u pitanju poštena i, eto, naivna viša srednja klasa – i film se ne bavi klasnim raslojavanjima, nekakvom redistribucijom vrednosti koja dolazi jer sve siromašnije manjine oko sebe gledaju sve veće bogatstvo.
I dobro, sad, osvetnički akcijaši generalno nemaju tendenciju da se bave sociološkom analizom koja bi išla tako daleko, ali Roth ne radi ništa ni sa drugim nabačenim volejima. Willisov Paul Kersey, recimo, nije arhitekta nego hirurg i to, sudeći po svemu, koji radi i urgentnom centru jer stalno krpi žrtve upucavanja. I to da je on čovek koji spasava živote, čak i kad mu na operacioni sto dovedu tipa očigledno povezanog sa napadom na njegovu porodicu, film ne koristi ni na kakav interesantan način. Willis je prosto nekakva tabula rasa, čovek koji je imao nasilnog oca ali koji je naučio da živi mirno i čija bi transformacija u urbanog osvetnika što noću nabaci kapuljaču na glavu i gleda koga će da izroka jer narušava sigurnost gradskog ambijenta trebalo da nas mnogo više inbtrigira, šokira, zgadi ili impresionira.
(https://i.imgur.com/vzZg4yC.jpg)
Ali ništa od toga se ne dešava. Roth je kompetentan autor u vizuelnom smislu, ali ta njegova kompetencija dobacuje do solidno urađenih akcionih scena dok je ostatak filma kao da gledate bilo koju epizodu bilo koje sezone bilo koje CSI serije. Iako snimljen na lokaciji, u Čikagu, barem delom, ovaj Čikago ne deluje ni izdaleka kao nekakvo grotlo kriminala, nasilja i generalne paranoje koje je Roth valjda želeo da nam prikaže i umesto toga, ovo bi mogao i sve vreme biti tek Montreal u kome je veći deo futidža i napravljen.
Jedan od ključnih motiva u ovakvim filmovima je odnos između muškosti i vatrenog oružja, a što je još jedna stvar koju Roth kao da na početku kapira a do kraja zaboravi. Bronson će u Death Wish filmovima nositi progresivno sve veće pištolje (u Death Wish 3 koristi Auto Mag koji deluje svemirski u odnosu na old school automatike iz prethodna dva filma) i druga oružja, pa će i drugi filmovi iz ovog žanra vrlo fetišistički tretirati pucaljke, od krateža Mela Gibsona u druga dva dela Pobesnelog Maksa, preko magnuma u nastavcima Prljavog Harija (čiji se drugi deo, uostalom, doslovno zove Magnum Force, ali je tek u osamdesetima napravljena spona između seksualnog nasilja i Harijevog neoficijelnog deljenja pravde), do Stalloneovog korišćenja mitraljeza u Rambo: First Blood Part II i Venturinog mahanja minigunom u Predatoru. No, Rothov Death Wish ni ovde ne radi ništa interesantno, ni vizuelno ni narativno. Kersey koga bar u dve scene nazivaju ,,pičkicom" i dovode u pitanje njegovu muškost ne pokazuje nikakav zanimljiv razvoj ličnosti do kraja – Willis je prosto ravan i isti u svim scenama.
Toksični muški odgovor na fantaziju o seksualnoj ugroženosti ženskih članova porodice – a koji stoji u korenu ovog žanra i koji je, kako rekosmo, nakon Kubrikovog i Peckinpahovog srazmerno suptilnijeg rada, utemeljen originanim Winnerovim Detah Wishom – je ovde na kraju tretiran na najgori moguć način. S jedne strane, seksualni napad na ćerku je ovde ,,samo" planiran, a ne i realizovan, a ćerka, nakon buđenja iz kome ubrzo uspeva da se povrati i funkcioniše normalno, što rimejk čini manje mizoginim od originala u kome su nasilje i ponižavanje žena eksplicitni i brutalni a lik ćerke trpi ogromne posledice PTSP-a i katatoničan je dobar deo filma. Sa druge strane, Paul Kersey je ovde neki tip koji se, barem da mi vidimo, nije ni mnogo potresao zbog smrti žene i teške ozlede ćerke i njegova šetnja gradom i upadanje u nevolje su... besmisleni. Kada konačno nađe trag koji ga dovede do napadača na familiju, vidimo nakratko bljesak eksploatacijskog trilera koji smo MOGLI da dobijemo i koji je mogao biti časna DTV muljavina, ali Roth se naprosto nije odlučio da li radi dramu, triler, eksploataciju ili parodiju. Čak ni efektne scene talk radio debata i ukazivanje da je amaterski, telefonom snimljeni futidž Kerseyjevog viđilantizma postao senzacija na društvenim mrežama i da ljudi od njega prave meme i smišljaju haštagove nisu dovoljne da film ikako utemelje u sada i ovde jer se on, zaista, ne bavi ničim stvarnim i ne pravi ni dostatan napor da efektno potpiruje strahove Fox News publike i slušalaca konspiratoloških podkasta a to je, jebem mu mater, MINIMALNO što bismo zahtevali od Rotha u 2018. godini.
(https://i.imgur.com/iBcN2gC.jpg)
Kredit treba dati tamo gde je zaslužen: Roth akcione scene režira solidno, sa dobrim vizuelnim pripovedanjem i poigravanjem sa sistemima nadzora, a završetak scene u baru gde protivnik strada, što bi gejmeri rekli, od RNG-a* je duhovit i efektan. Takođe, scena u kojoj Willis muči a onda ubija napadača koji je želeo da mu siluje ćerku ima spretno urađen torture porn vajb i na trenutak podseti čoveka ko je Roth i šta on zaista ume da radi.
* a taj RNG ima formu kugle za kuglanje koja mu neočekivano padne na glavu
Ono što ne ume je, očigledno, da bude bolji od Michaela Winnera čak i u jednom od gorih Winnerovih momenata. Death Wish iz 2018. godine je vizuelno kompetantan ali iznenađujuće isprazan film kome efektno pripovedanje neuspešno maskira činjenicu da nema pojma šta bi da zaista kaže, da polemike koje zaziva ni ne pokušava da filmski reši i da je nastao samo zato što su rimejkovi danas sigurniji posao od bilo čega originalnog. Ne znam tačno šta sam očekivao sedajući da ovo gledam, ali dobio sam svakako manje, od bilo čega zamislivog.
(https://i.imgur.com/PGgB8ht.jpg)
Ponekada čovek samo poželi da pogleda osvetnički akcioni film u kome mlada žena pronalazi gangstera koji joj je zlostavljao prijateljicu – titularnu balerinu – i onda ga nožem ubode u lice, više puta upuca pištoljem i na kraju spali. I, ne, taj čovek ne mora da čeka do Juna kada će se prvi spinof serijala John Wick, sa Anom de Armas u glavnoj ulozi pojaviti u bioskopima, pošto je korejski film, pod istim naslovom, Ballerina, već snimljen i vrti se na Netfliksu.
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Ova dva filma, sem naslova i mlade, opasne žene u glavnoj roli, koja pravdu traži tamo gde prestaju zakon i institucije proverbijalnog sistema, nemaju mnogo toga zajedničkog. Korejska Ballerina je drugi dugometražni film mladog režisera po imenu Lee Chung-hyun, momka u ranim tridesetim koji kratke filmove snime od srednje škole a dugometražni debi, The Call mu je bio nadahnuti rimejk britansko-portorikanskog horora iz 2011. godine The Caller. The Call je bio sniman kao bioskopski film ali je pandemija, znate već, pokarabasila bioskopsku distribuciju pa je ovaj film imao premijeru na Netfliksu. Onda mu je pre dve godine kratki film The Bargain bio dobro primljen i ekspandovan u seriju koja je išla na striming a gde je i Paramount bio jedna od produkcija koje su učestvovale na projektu. I ovde je igrala i Jeon Jong-seo (koja na zapadu koristi i ime Rachel Jun), mlada glumica iz The Call, a kojoj je taj film dosta pomogao u izgradnji reputacije s obzirom na nagradu za najbolju glumicu dodeljenu u okviru tradicionalne Baeksang Arts Awards ceremonije što se u Koreji održava duže od pola veka, a koju je za njega dobila. Lee je svakako prepoznao talenat kada mu ovaj ušeta u kadar, pa je i za Ballerinu ponovo glavnu ulogu poverio baš Jeon Jong-seo i ona je, igrajući po prvi put akcionu (anti)heroinu što muškarcima treba da pokaže kako žene uzvraćaju kad krenete da ih tretirate kao resurs, dosta vozdigla film koji, da se ne lažemo, ima relativno rudimentaran scenario.
Lee Chung-hyun, koji je i napisao ovaj film se, zapravo, u priličnoj meri oslonio na vizuelno pripovedanje i to treba ceniti. Za Ballerinu se moglo čuti i da je ,,artsy" varijacija na korejski akcioni film i s obzirom na nehronološko pripovedanje, najminimalniji minimum teksta potreban da nekako ispratite ko tu koga i zašto ubija, te obilato korišćenje boja, filtera i maštovitih scenografskih rešenja, a da opet pričamo o prilično realističnoj priči u savremenom, ,,običnom" prosedeu, bez johnwickovskog mitologiziranja, ima ovde dosta zanata koji treba pohvaliti. Ono gde Lee Chung-hyun možda promašuje je ta blank-slate protagonistkinja i Ok-Ju, lik koga igra Jeongova, je u najboljem slučaju nezanimljiv, u najgorem jedan promašeni, od afekata lišeni akcioni vektor u središtu priče koji ima protagonizam i asertivnost, ima čak i motiv, ali gledalac u postupcima Ok-Ju ne nalazi stvarnu empatiju ili stvarnu osvetničku žudnju koja bi trebalo da izazove emotivnu rezonancu u njemu i time u idealnoj formi plasira moćnu, visceralnu završnicu filma.
(https://i.imgur.com/GmJyGvC.png)
Ovo je svakako rizik kod modernog (i ne samo modernog, naravno) akcionog filma koji se često gradi oko kaskadera i majstora borilačkih veština za koje se podrazumeva da nisu zaista glumci i da scenario ne treba niti može da se osloni na njihov performans u pogledu prenošenja emocije, motivacije itd. Otud je taj hladni, naoko bezosećajni glavni lik koji malo govori, izražava se akcijom i valjda je tu samo da gledalac u njega upiše svoju frustraciju i navija iz sve snage kad ovaj krene da roka po dušmanima, postao neka vrsta čak ne ni stereotipa već prototipa. Što, kao uspešan model za proizvodnju savremenog akcionog filma, kao da podupire ogromna popularnost baš Johna Wicka sa Keanuom Reevesom u glavnoj ulozi koji je, iako ,,pravi" glumac, i dalje jedva korak iznad nekog kaskadera.
(https://i.imgur.com/9sVqhoB.png)
A što je šteta, već i time da su, na primer, filmovi poput Taken ili From Paris with Love pokazali kako dobro može da radi spoj kvalitetne akcije i kvalitetnih glumaca. Na kraju krajeva i Nobody od pre par godina (https://cvecezla.wordpress.com/2021/04/23/film-nobody/) nas je sve razgalio između ostalog odličnim performansom Boba Odenkirka.
Poenta koju želim da napravim je da je Jeon Jong-seo vrlo solidna glumica i da ona ovde sa vrlo malo teksta ili, reklo bi se, mnogo direkcije, daje jedan intenzivan, energičan i ubedljiv performans. Na kraju krajeva, ovo je žena od dajbože šezdeset kila koja treba da do kraja filma zbriše najveći deo seulskog mafijaškog kontingenta i Jeonova u ovaj zadatak ulazi sa svim stisnutim usnicama i ubilačkim pogledima koji su potrebni da skočimo iz fotelje i glasno navijamo. Da je još dobila malo pametnog teksta da izgovori, film bi daleko dalje stigao u svojoj feminističkoj agendi.
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Jer, Ok-Ju u ovom filmu sveti svoju dobru drugaricu iz srednje škole, Min-Hee (igra je izuzetno dobra Park Yu-rim, koja je igrala i u Hamaguchijevom Drive My Car (https://cvecezla.wordpress.com/2022/04/22/film-drive-my-car/)), a koju na početku filma nalazi u kadi sa prerezanim venama i molbom da je osveti. U tom trenutku ne znamo ni kakav je odnos dve žene ni kakav kapacitet Ok-Ju ima da ikoga sveti, iako nas je uvodna scena u prodavnici robe široke potrošnje gde ona sa patosom poravna gomilu lokalih mangaša dovoljno glupih da misle da je pljačkanje novca iz kase u eri opšteg plaćanja karticama ekonomski mudar potez, uverava da je Ok-Ju žena sa "posebnim setom sposobnosti".
Ova uvodna scena režirana je sa svim šmekerskim stilom akcione komedije modernog doba koja svoj legat vuče iz Hong Konga osamdesetih i formativnih filmova Jackieja Chana, sa sve zbunjenim prodavcem, korišćenjem konzervi pića da se blokiraju napadi nožem i sumanuto brzom montažom koja tuču u neverovatno skučenom prostoru čini urnebesno dinamičnom.
(https://i.imgur.com/4h6o8m5.png)
No, film osetno menja brzinu nakon uvodne špice i sa vrlo malo reči i dosta slika pripoveda nam o dve drugarice od kojih jedna ima snove da bude balerina i predano vežba i nastupa da bi joj ovo postala profesija, a u poslastičarnici radi da plati račune, a druga je ćutljivi, asocijalni lik koji sam sebi kupuje tortu za rođendan jer nema dečka, ni sa kim se ne druži i nema nikakav život izvan svoje profesije koju je, koliko mi možemo da zaključimo, napustila nakon što je zaradila u njoj mnogo para. Koja je to profesija? Vidim da se na IMDb-u pominje da je bila telohranitelj bogatašima ali ja to u filmu nisam uspeo da prepoznam i koliko smem da nagađam, Ok-Ju je možda bila i pripadnica neke specijalne policije...
Lee nam daje mnoge scene nevinog devojačkog druženja u kome vidimo autentičnu sreću na licima obe devojke i ovo su cheesy, skoro parodični ali zanatski korektni flešbekovi što treba da nam objasne zbog čega će Ok-Ju ne otići u policiju, ne pozvati kolege ili ortake iz prošlog života, nego sama krenuti da uhodi mafijaša koji valja narkotike i podvodi žene, ali mu je specijalnost nalaženje mladih, čak i maloletnih klinki, navlačenje istih da mu se pridruže u intimi posebnog hotela na obodu grada, onda uvaljivanje sredstva za omamljivanje u piće, snimanje perverznih BDSM scena sa njima a onda dalje ucenjivanje istih da budu njegove nevoljne seksualne radnice pod pretnjom pokazivanja videa porodici, prijateljima, školi.
(https://i.imgur.com/jyj63j0.png)
Televizijski lepotan Kim Ji-hoon je izuzetan u ulozi podmuklog gangstera Choija, temeljito menjajući svoj neodoljivi boy-next-door šarm da se prikaže kao praktično psihopatski zlostavljač žena i mora se reći da mu i duga kosa i uloga grubog, okrutnog muškarca odlično stoje. I ovde je šteta da scenario ne ide malo više u dubinu kako bi temeljitije prikazao psihologiju muškarca koga treba da mrzimo i da željno iščekujemo odmazdu za koju znamo da stiže. No, Kim je toliko dobar da i bez previše verbalnog pojašnjavanja gledalac oseti koliko Choi ima plitak odnos sa ženama, koliko ih vidi kao stvari koje se koriste, koliko uživa u zlostavljanju.
Choi je inače i deo pomenute seulske mafije i scene sa njenim šefom (po imenu Chief Jo) daju filmu malo gajričijevske dinamike, najpre jer je Kim Mu-yeol fenomenalan kao Jo, i dobija i malo sočnog dijaloga kojim se pokazuje da veliki seksualni predator, kao što je Choi, zapravo u hijerarhiji gangsterske ekipe ne predstavlja neko veliko mudo i da mu se zapravo svi podsmevaju da je isuviše lep i da mu novi ožiljak na obrazu u stvari popravlja izgled.
(https://i.imgur.com/peGLdxq.png)
Kada naša glavna junakinja dobije priliku da se sama susretne sa Chiefom Joom, ovo je sjajan momenat ukrštanja pogleda dva apeks-predatora sa dve strane zakona. Jo je hladan i opušten i čak sasvim razložno kaže da njih dvoje nemaju nikakav razlog da se sukobljavaju. A onda kreće pakao i najbolja akciona scena u filmu.
No, pre toga imamo potragu za Choijem koju Ok-Ju preduzima, pa set pis u hotelu, i ovde je akcija briljantna, agersivna, dobro režirana, sa maštovitim scenografskim postavkama, dobrim svetlom i savršenim tajmingom pannčlajna scene u kojoj na našu junakinju kreće mafijaš sa upaljenom motornom testerom u ruci.
No, srednji deo filma je onda relativno spor i u njemu se dešava relativno malo toga i, da se razumemo, ne zameram Leeju što ovde ubacuje još flešbekova koji nam podebljavaju motivaciju protagonistkinje, već pre svega to da je njena priprema za nastavak lova na Choija relativno neinteresantna. Svakako, tu je jedna scena u kojoj ona kupuje oružje od starijeg bračnog para i ovo je suvo komični set pis koji se završava simboličnom ejakulacijom gospođe što demonstrira kako radi bacač plamena (,,koriste ga da čiste osinjake", kaže onda) i gledalac automatski zna kako će se film završti, čak i da će polovni pištolji koje Ok-Ju sa dosta nepoverenja pregleda u nekom momentu da je prodaju.
(https://i.imgur.com/teTLVw4.png)
Ali ono kako ona dolazi u poziciju da pronađe Choija i da se sukobi sa pomenutim mafijašima, to je rešeno nemaštovito, na mišiće, uz obilato laganje gledaoca koje naprosto nije ni opravdano jer scena u kojoj se proverbijalni stolovi okreću i Ok-Ju od lovkinje postaje lovina je namerno rađena da bude neprozirna i nejasna. Više kreativnosti u ovom delu filma bi dosta pomoglo da se zaradi njegovo urnebesno finale.
Dok do njega ne dođe, vredi da se osvrnemo na scenografiju, svetlo i fotografiju u filmu. Niskobudžetni akcioni filmovi, to je već decenijski kliše, često odrađuju svoje glavne set pisove u napuštenim fabrikama ili na gradilištima jer su takvi setovi dostupni i na njima nema mnogo toga što može da bude oštećeno. No, Ballerina, kao što je često slučaj sa korejskim akcijašima, sa neobičnom lakoćom prevazilazi ovu prepreku i Leeju se nikako ne može zameriti da je film vizuelno neinteresantan. Naprotiv, on, scenograf i direktor fotografije (osvetljivači itd.) su se izuzetno potrudili da čak i stan pokojne Min-Hee bude vizuelno zanimljiv, scena u diskoteci je odlično slikana, sa kvalitetnim korišćenjem svetla i boja, flešbekovi sa Min-Hee i Ok-Ju su briljantno minimalistički, bilo da se dešavaju u restoranu, bilo na plaži, bilo na ulici, čak su i Choijeva kuća i hotel u kome maltretira žene kvalitetno osmišljena okruženja, a to da se film završava u štalama sa rasnim trkačkim konjima i na obližnjoj velelepnoj farmi kanabisa* je prosto nadahnuto. Lee je svako od ovih okruženja iskoristio do maksimuma i dao svakoj od scena karakter.
*ili kako to sad kažu Koluvijine apologete, kudelje
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Kad krene finalno rokanje, ovo je odlično. Johnwickovsko kombinovanje pištolja i pesnica je odrađeno maestralno, sa odličnom koreografijom, dobrim korišćenjem slo-mo efekata i ukusnim korišćenjem viscere, a Jeon Jong-Seo je urnebesno energična i deluje ubedljivo u masakru nad gangsterima koji izvodi. Završetak na plaži ima i zarađenu simboličku težinu, a osvetnička kazna nad muškarcem koji žene vrlo očigledno i intenzivno mrzi je zadovoljavajuća sama po sebi, mada joj svakako nedostaje prethodni dramski rad da bude za anale.
No, Ballerina nije film sa velikom dramskom ambicijom. Ovo je solidni, vrlo lepo snimljeni osvetnički akcijaš koji svoje teme koristi koliko mora i najviše se ulaže u svoje set pisove i fotografiju, podcrtanu Grayjevim autotjunovanim R&Bjem. Priđite mu sa prave strane, očekujte pre svega vrhunski direct-to-streaming ugođaj i sasvim ćete uživati.
(https://i.imgur.com/0aF7BV4.png)
gledao si samo zato što upucava ovog Hrvata, priznaj
Hahah, ne, ali sam se podsetio da uradim skrinšot na kome se on vidi da razveselim sagitaške čitaoce.
Jedino ako si planirao da napucaš ekstremni rejting ovom topicu, jer spremi se, oni dolaze. Dvojica ih je i nemaju milosti.
Sent from my SM-A715F using Tapatalk
i ja sam to vidio ali nisam htio komentirati dok vi niste napisali nešto
mada sam htio napisati kako ti se bre da više te kobasice pisati na forumu
onda sam skontao da imaš blog pa ti je oprošteno
moj je profa besim spahić znao reći ako ne znaš nešto ispričati u 3 rečenice ne počinji (i onda monolog drži 2 sata)
čemu te kobasice na forumu?
ja paralelno čitam 4 knjige i sad trebam jelte neki bezvezni azijski film koji nikad neću pogledati iščitati
traćenje talenta meho meho
ja sam imao vremena rokati skrinšotove kad sam imao 23 godine
ali vidim da neki imaju za to vremena i u pedesetim
Ne jede ni meso, čudak!
Quote from: Truba on 02-02-2024, 14:48:46
čemu te kobasice na forumu?
ja paralelno čitam 4 knjige i sad trebam jelte neki bezvezni azijski film koji nikad neću pogledati iščitati
traćenje talenta meho meho
Pa nije to nužno za tebe. Nego za nekog putnika namernika, mlađeg od nas i sa možda zdravim interesovanjem za novi azijski film. Dakle, nekog ko ima vremena, entuzijazma i nije sve ove stvari koje ja pišem pročitao petsto puta do sada.
Takvih nema
Ali za slučaj da se pojave nek imaju šta da čitaju!!!!!!!!
Ma, Truki, ti si full time Sagitaš, ja ovde više mislim na lurkere koji sad imaju 20 godina i misle da su prve osobe na svetu koje su otkrile novi azijski akcioni film.
oni ce to otkriti na instagramu
Većina da, ali neki će želeti da nešto i pročitaju. Dakle ne samo da stupe u interakciju sa fenomenom na tom nekom blic-nivou, nego i dsa vide neku analizu, kontekstualizaciju itd. Ako im mi to ne ostavimo, koji smo kurac sve ovo i radili?
Quote from: Meho Krljic on 02-02-2024, 18:43:50
Ma, Truki, ti si full time Sagitaš, ja ovde više mislim na lurkere koji sad imaju 20 godina i misle da su prve osobe na svetu koje su otkrile novi azijski akcioni film.
Nije to nešto čime se ponosim nažalost. Više puta sam je ostavljao, ali taj neki talog, mračni deo nesvesnog, me uvek vrati ovde.
Čak sam i Krstaricu za ovu godinu otkačio, ali od sagite ne mogu pobeći. :(
Od Sagite možeš samo na Reddit, ili u šumu. Nema između.
Meho: Truman je full metal jacket Sagitaš, a svi Sagitaši su pomalo Trumani. :evil:
Truman: Sagita je mračni deo nesvesnog, ali je ipak Barker genijalniji od svih na Sagiti. :cry:
mac: Svi Sagitaši su došli iz ludare, a poneki se tamo i vrate. :evil:
Sad razmišljam kako na sagiti verovatno pisati do kraja...mog ili njenog, videćemo ko će da pretekne.
Voleo bih da na sagiti ima više sveže krvi, mladih talentovanih dama i kreativnih umetnika. Valjalo bi poraditi na marketingu iako je ovo davno propalo mesto.
Pogledao sam A Touch of Sin, kineski film čiji originalni naziv, 天注定, a koji bi se direktno mogao prevesti kao ,,nebeska sudbina", ima jake simboličke i religijske tonove. S obzirom na to da je u pitanju antologijski sklop sa četiri priče koje bi se najjednostavnije mogle opisati kao ,,socijalna drama" u modernoj Kini, prizivanje religijske simbolike već u naslovu* je iznenađujuće. Savremeni kineski film ne beži od mitoloških i religijskih motiva, ali njih pre očekujemo u akcionim i fantazijskim naslovima, ne u filmu koji se bavi migrantskim šljakerima u fabrikama, seksualnim radnicama i časnim provincijskim proleterima kojima je dosta korupcije što je gledaju oko sebe i treba da veruju da je Maco Ce Tung baš ovako zamislio put u komunizam.
*distributerski prevod je igra reči koja priziva naslov kineskog akcionog filma iz 1971. godine, a koji se na zapadu distribuirao kao A Touch of Zen, čime se sugeriše taj religijski element originala, ali i neočekivana spona sa Wuxia žanrom koju je A Touch of Sin napravio
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Nismo mi jedini iznenađeni, jednako su to bili i kineski cenzori kojima je trebalo dosta premišljanja da odobre prikazivanje ovog filma u bioskopima. Autor scenarija i režiser filma, Jia Zhangke je danas ugledni dekan filmske akademije Medijskog koledža u severoistočnoj kineskoj pokrajini Shanxi, kao i predsednik šangajske verzije Vakuverske filmske škole, ali njegovi rani filmovi, a snimao ih je još od polovine devedesetih, su pravljeni izvan kineskog državnog sistema, nisu prolazili cenzorsku kontrolu i nisu prikazivani u bioskopima, pa se smatraju andergraund produkcijom. Sa svojim četvrtim dugometražnim filmom, The World, Jia je zvanično ušao u sistem uz dopuštenje administracije i od tada je on režiser, scenarista, glumac i producent sa rastućim spiskom naslova.
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No, A Touch of Sin je predstavljao iznenađenje i za kinesku ali i za internacionalnu publiku jer je ovaj film uzeo smirene, meditativne prikaze moderne Kine koji su autoru pribavili i lepu količinu međunarodne pažnje – njegov film iz 2006. godine, Still Life, je dobio Zlatnog lava u Veneciji – i rastrgli ih na komadiće brutalnom socijalnom kritikom i visceralnim nasiljem. A Touch of Sin je dobio i nagradu za najbolji scenario na kanskom festivalu, ali reklo bi se da je ovo bila pre svega utešna nagrada što Jia ne može da dobije Zlatnu palmu, jer bi kineska reakcija na to možda bila isuviše problematična. Kan će mu se par godina kasnije odužiti davanjem Zlatne kočije i Jia je još uvek jedini Kinez koji je dobio ovo priznanje dodeljivano takvim teškašima kao što su Herzog, Scorcese, Kaurismaki, Carpenter, Varda, Cronenberg, Jarmusch... Ne bez razloga Slavoj Žižek smatra Jiu jednim od najvažnijih režisera na planeti u ovom trenutku.
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A Touch of Sin je elegantan film, ali nije scenario ono što ćete u njemu prevashodno pamtiti, štaviše, može se argumentovati da publici izvan Kine, koja ne poznaje kineske tradicije, religijske, pozorišne itd, ovde neizbežno mora da promakne nezanemarljiv deo značenjskog sloja filma. Korišćenje tradicionalne muzike i sekvenci uličnog pozorišta u prvoj priči i u epilogu, daje filmu utemeljenje u verovanjima i praksama koje su starije od revolucije i ako ih moderna Kina danas neguje samo kao folklorno nasleđe što treba da hrani nacionalističku energiju na kojoj počiva mnogo savremenog socijalnog inženjeringa, Jiina intencija je očigledno da kritikuje društvo ne kao dobronamerni građanin koji želi da ukaže na nesavršenosti, već kao neko zgađen onim što je društvo, posle svega, sebi dopustilo. I još u tome perverzno uživa.
Četiri priče koje gledalac prati tehnički su nezavisne jedna od druge iako Jia pušta da se likovima koji ih pokreću prepletu putevi. Utoliko, elegantnost ovog filma je već i u tome što počinje u dubokoj provinciji na severu, u selu koje je svoj rudnik uglja prodalo privatnom vlasniku – i nekim čudnim spletom okolnosti, svi u selu su ostali tačno onoliko imućni koliko su bili pre prodaje, osim direktora rudnika koji sada ima privatni avion i lepu ljubavnicu iz metropole – a zatim nas vodi po različitim krajevima zemlje intuitivnim putanjama praćenja običnih ljudskih sudbina koje se završavaju visceralnim krešendima ubistava i samoubistava.
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Ako ste odrasli na jugoslovenskoj tradiciji crnog filma i njegovih naslednika u osamdesetima, nemoguće je u A Touch of Sin ne videti istu energiju koju su u svoje produkcije ulivali Žika Pavlović i Živko Nikolić, sa prepoznavanjem korupcije, društvene, političke, opšte i reagovanjem na nju disruptivnim, brutalnim refleksom. Protagonist prve priče u A Touch of Sin je toliko besan što je zajednički rudnik prodat, direktor se obogatio a svi se prave da je to normalno i servilno ga celivaju u dupe, da pravi skandal tokom svečanosti, nakon čega ga lokalni, jelte, moćnik istovremeno i kažnjava ali i pokuša da ga potkupi. Njegova reakcija je... pa, recimo da u njoj glavnu ulogu igra ne samo rezignirani, besni izraz lic Wua Jianga već i jedna pogolema dvocevka sa sačmom za krupnu divljač. Jia Zhangke se za ovaj scenario inspirisao stvarnim događajima i vestima koje su promakle kineskim cenzorima, ali Wu daje razjarenosti glavnog lika jednu zastrašujuće uverljivu dimenziju, deleći pravdu velikog kalibra ne samo tamo gde je lično pogođen već svuda gde vidi stvari koje svi vide i svi ih prihvataju iako znaju da su neispravne. A to uključuje i šibanje sirotog zaprežnog konja koji nije kriv što je seoski put prekriven blatom...
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No, uvod za prvu priču nam pokazuje drugog lika, migranta sa sasvim drugog kraja Kine a koga na drumu zaustavljaju tri klinca sa sekirama i traže mu pare. Ovaj lik je protagonist druge priče, gde odlazi u rodni kraj da prisustvuje majčinom sedamdesetom rođendanu ali može da misli samo na to kakvu mu moć daje pištolj koji ima i za koji niko ne zna da je u njegovom posedu. Proslava majčinog rođendana je pomerena do kineske Nove godine baš da bi sinovi rasuti po zemlji mogli da dođu i da svi prisustvuju ali ni slavlje, ni tradicionalni vatromet, pa ni seks ne daju glavnom liku takav adrenalinski fiks kao pucanj iz pištolja. Jia ga zatim upućuje jednom izuzetno mračnom putanjom, režirajući njegov pad u ambis bez mnogo teksta, savršeno kamerom prateći razvoj njegovog plana o kome gledalac ne zna ništa sve dok ne počne da se pred njegovim očima odvija, a tada je već kasno da skrenete pogled... Ovo je kao da gledate nekakav francuski novotalasni film, proteran kroz Tarantinovu mašinu za mlevenje mesa i smešten u kineski, niskobudžetni mizanscen.
Kad već pominjemo budžet, A Touch of Sin jeste rađen digitalnom kamerom, ali direktor fotografije, hongkonški veteran Nelson Lik-wai Yu donosi jednu visoku ekspertizu u ovu produkciju, koristeći širokougaona sočiva, mnogo razmišljajući o svakom kadru i dajući, generalno, jedan prestižan izgled filmu. Mnogo ovde ima scena u kojima protagonisti hodaju ili se voze drumovima dok su oko njih polja i planine – jedna od implicitnih tema filma jeste veličina Kine i putovanje preko zemlje kao čin bekstva, otrzanja u naslovu pominjanoj sudbini – i ovo izgleda fantastično, skoro kao da je korišćena filmska traka, ali Yu Lik-Wai je podjednako dobar u urbanim scenama i enterijerima. Druga tema filma, prilično eksplicitna, je veliki klasni jaz u društvu koje teži besklasnoj utopiji i crnotalasovski snimci radničkih i seljačkih enterijera, punih prastarih kalendara, neobeleženih flaša i dotrajalog drvenog nameštaja čine snažan kontrast kasnijim scenama, u trećoj i četvrtoj priči, gde vidimo kako se oni sa više para provode u saunama sa, jelte, specijalnom masažom, ali i u hotelima koji su doslovno bordeli sa sve tematskim prostorijama uređenim da izgledaju kao vozovi za komunističke funkcionere i devojkama koje kosplejuju kondukterke i medicinske sestre...
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Jia ni u ovom drugom delu filma neće mnogo susprezati bes, ali i ovde se sve radi sa malo reči a veliki deo tereta iznose savršena kamera, osvetljenje, scenografija i kostimi, nudeći gledaocu koji je možda očekivao da film produži u crnotalasnom tonu ukus ,,druge" Kine, one koja ne samo plaća za seks, već i koja će se uvrediti kada joj radnica u sauni objasni da je ona recepcionerska i da ona ne daje masaže, obične ili... specijalne. Glavnu ulogu u trećoj priči igra Jiina druga (i aktuelna) supruga Tao Zhao i ona nakon komplikovanog incidenta u kome biva napadnuta od strane supruge svog ljubavnika, a koji nikako da se odluči za jednu od njih dve i preferira da sedi na dve stolice dok može, mora da istrpi nastraje bahatog gosta koji je doslovno besan što se ijedna žena usudila da mu kaže ,,ne" pa je šamara debelom butkom Juana. Wuxia filmovi su poznati po omiljenim prizorima lepih žena sa oštricama u rukama i Tao Zhao na momenat dobija kadriranje i poze koje su zaista mogle ispasti iz bilo kog krvoločnog akcijaša sedamdesetih ili osamdesetih.
Konačno, poslednja priča se bavi mladim momkom koji će pobeći iz fabrike gde je, sopstvenom greškom, napravio sebi situaciju da radi a da ga ne plaćaju dok se kolega, ozleđen jer ga je ovaj tokom rada na mašini zagovarao, ne oporavi. On se vraća u rodni grad i tamo mu drugar nalazi posao u hotelu koji vodi menadžer sa Tajvana i gde radna snaga mora da zna i Kantonski i Engleski jer ,,dolazi dosta gostiju iz Hong Konga i Makaa".
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Naravno, brzo postaje jasno da to nisu toliko ,,gosti" koliko ,,klijenti"*, pa je sav glamur u kome će se osoblje gostima uvek i isključivo obraćati sa ,,poštovani goste" samo deo bordelske etikete. Glavni junak nije baš ovako zamišljao svoju karijeru ali makar nosi lepo odelo, ne radi na traci u fabrici i upoznao je jednu od radnica koja se rado druži sa njim i izvan radnog vremena.
*u Engleskom prevodu drugar koji mu saopštava da hotel traži radnike i koristi termin ,,John"
Naravno, muškarci, pogotovo kad su neiskusni, umeju svašta sebi da uvrte u glavu pa momak ubrzo krene da sanja o tome da njih dvoje pobegnu i odu u drugi kraj zemlje da rade nešto drugo. Uostalom, on je navikao da poslove koji mu se ne dopadaju naprosto napusti a da nikome to ne kaže i ode negde drugde, jer je mlad i nema nikakve odgovornosti...
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...to jest, dok ga majka ne pozove telegfonom i podseti ga da ona čeka da joj pošalje pare jer nema da jede. Kada i od koleginice o kojoj je počeo da ozbiljno sanjari dobije jedan hladan tuš u kome mu ona kaže da ima ćerku od tri godine koju izdržava, pred našim je junakom izbor da pobegne sam ili da sazri i postane odrasla osoba. On, nažalost, bira treći put...
Jia zaokružuje flm spajajući dva lika iz prethodnih priča i pitajući jednog od njih, kroz usta pozorišne glumice, je li svesna svog greha. Naravno, ovaj lik je najmanje grešan od svih ali je i, izgleda, jedini koji poživi dovoljno dugo da ga more etičke dileme.
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A Touch of Sin je brutalan film, ali on scene nasilja koristi inteligentno, kao punktuaciju na krajevima priča koje nisu samo studije protagonista. Naprotiv, protagonisti dobijaju onoliko ljudskosti koliko je neophodno da gledalac oseti delić teskobe i besa sa kojima oni žive jer je SVET oko njih taj koji je brutalan. Ovo je društvo eksploatacije, korupcije, društvo kojim vladaju oni bez skrupula i oni sa mnogo novca, u kome ono što pripada svima uzimaju najmoćniji da bi sebe učinili još moćnijim a i ono što pripada samo nama, na kraju mora da ima svoju cenu jer ništa ne može da ostane izvan začaranog kruga uklete ekonomije. Jia sa ovim filmom, naravno, pravi univerzalniju erupciju besa, rezignacije i očajanja nego što je puko kritikovanje Xi Jinpingove Kine – uostalom ni Scorceseov Taksista nije bio SAMO kritika Njujorka ili Amerike – ali u procepima čistog kinematskog baleta koji je mogao snimiti baš i Scorcese ili Godard ili Žika Pavlović, on nudi nemilosrdnu disekciju baš kineske stvarnost, baš incidenata i nepravilnosti i odstupanja od proklamovanog morala koji, kada se nagomilaju čine nečije čitavo iskustvo življenja u ovoj državi. Elegantan, bez previše priče, ovo je film što gledaoca uvlači u svoje nasilne fantazije gde samo nakloni akcionom filmu u krešendima segmenata čine da gledalac ne kolabira pod teretom previše realnosti koja mrvi sve one dovoljno nesnađene i naivne. A Touch of Sin sam pogledao na Mubiju, a koji nam je u okviru promocije ponudio tri meseca pretplate samo za dolar, pa će verovatno narednih nekoliko nedelja mog filmskog programa biti duboko obeleženo njegovom arthouse ponudom. Pa ko preživi, pričaće.
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The Marvels, trenutno najsvežiji Marvelov superherojski film, čija je premijera bila početkom Novembra a ja sam ga, evo, otmeno i neužurbano, dočekao na kućnom formatu, je proverbijalna slamka koja kamili lomi kičmu. Ovo nije samo tridesettreći Marvelov film u jedva nešto više od petnaest godina užurbane i sve više eskalirajući skuplje produkcije, već i tačka preseka priča iz više Marvelovih fimova i serija, nešto što smo nekada u stripovima sa dosta uzbuđenja zvali ,,krosover" ali danas jedva da imamo snage da obratimo pažnju. Tridesettreći Marvelov film, a koji je nastavak ne samo Captain Marvela i čitavog Infinity War dešavanja već i Disney+ televizijskih serija Ms. Marvel i WandaVision (pa, u izvesnom smislu i serije Secret Invasion), je film u kome se susreću likovi što su ranije imali individualne životne puteve i motivacije, među njima se rađa sinergija i, suprostavljajući se skoro nezamislivo velikoj neprijateljskoj sili, uspevaju u poslednjim delićima dostupnih sekundi da spasu ne samo čitav univerzum nego i svoju savest. Trebalo bi da nas takav narativ dirne malo više nego što ovaj film uspeva i pored svih tih para i talenta skrljanih u njega. Umesto toga, The Marvels je finansijski najneuspešniji Marvelov film, koji nije dobacio ni do pola svoj projektovane granice profitabilnosti od (udahnite duboko) sedamsto miliona dolara i biće zapamćen po simpatičnoj, južnoazijski intoniranoj plesnoj sceni i rasi humanoida koja se sporazumeva isključivo pevanjem. I po mačkama, naravno.
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Disneyjeve glavešine su svojm investitorima nakon svega rekle da u narednu fazu kreću sa promenjenim planom, a koji podrazumeva manju frekvenciju filmova i serija a veći fokus na njihov kvalitet. Ono što je časno s njihove strane je da se nisu u svemu pozvali na ,,zamor superherojštinom", a koji već duže od decenije kritičari prizivaju ili u najmanju ruku očekuju. The Marvels nije žrtva ,,zamora" publike, koliko je naprosto u pitanju film za koji nemate osećaj da je bitno da ga vidite, jer se bavi likovima koji nikada nisu dobili mnogo prostora da vas zainteresuju ili, ako jesu, to je bilo na platformi koja zahteva pretplatu i koja sadrži još desetine serija što sve jednakim intenzitetom zahtevaju vašu pažnju, a u centru njegovog zapleta je negativac sa toliko malo vremena na ekranu da se kladim da 80% publike po izlasku iz bioskopa ne bi umelo da se seti da se lik koga tumači odlična britanka Zawe Ashton zove Dar-Benn. Darth Vader je nekada bio ikona zla sa komplikovanom istorijom koja je lansirala desetine hiljada stranica fan-fikcije. Čak je i Thanos Josha Brolina bio dovoljno komplikovan i harizmatičan lik sa sumanutom libertarijanskom agendom koja ga je odvela direktno u genocidni fašizam. Dar-Benn je... u najboljem slučaju monster of the week, žena koja pred kamerom jedva da stigne da objasni zašto radi to što radi pre nego što je titularne protagonistkinje lansiraju u svemir gde se ona raspadne u prah. Anihilacija čitavih svetova, naseljenih inteligentnim rasama, u ovom filmu na jedna kratki trenutak podseća na ono što smo još i u Novembru gledali da Izrael radi u Gazi, genocid kao legitiman politički program na ime toga što je vama takođe učinjena stvarna nepravda, ali The Marvels mora da drži toliko loptica u vazduhu da niko ne stiže da se ovim stvarno bavi: uništenje drugog sveta, koga se naše junakinje zavetuju da obrane se dešava ne samo izvan vidnog polja kamere, jer je radnja filma ekspresno prebačena na drugo mesto, već do kraja priče niko više i ne pominje šta se tamo desilo.*
*sem, naravno, u jednom kratkom usputnom dijalogu posle finala u kom Nick Fury, više da umiri gledaočevu savest, kaže da će sva šteta biti popravljena
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The Marvels ima legitimno dobru srž zapleta: planeta Hala je devastirana postupcima Kapetanice Marvel koje pamtimo iz prvog filma (https://cvecezla.wordpress.com/2019/03/11/film-captain-marvel/) (mada je Carol Danvers imala dobru nameru, uklanjanje veštačke inteligencije koja je upravljala ovim društvom bacilo je Kreeje u građanski rat i dovelo do kataklizmičnih rezultata po planetu i njen sunčev sistem) i sada nova, radikalna frakcija Kreeja, predvođena pomenutom Dar-Benn vodi neku očajničku kampanju otimanja resursa drugim planetama kako bi društvo Kreeja uopšte opstalo. Ovo daje podlogu za legitimne diskusije o pravičnosti i tome čija je genocidna istorija teža i bremenitija kolektivnom krivicom, ali film toliko brzo sprinta ka svojim akcionim set-pisovima da ima istu šansu da o tome prodiskutuje kao što bi Usein Bolt mogao da objasni istorijat palestinsko-izraelskih sukoba u nekom od svojih pohoda na rekord u trčanju na sto metara. Uostalom u jedva više od sat i po efektivnog trajanja radnje, ovaj film mora da sagradi zaplet u kome će gledalac shvatiti kako to uopšte Dar-Benn krade vazduh i vodu sa drugih planeta i šalje je na Halu, zašto je u tome bitan predmet koji izgleda kao samo komad skupljeg nakita, šta je tu Carol Danvers kriva i šta može da uradi, ali i da konstruiše celu tu hemiju ad-hok sastavljenog ženskog superherojskog tima od tri lika koji svi na ovaj ili onaj način imaju supermoći vezane za, uh, svetlost, i da ih postavi u poziciju da na kraju imamo i one koji su sazreli, i one koji moraju da isprave stare nepravde što su ih počinili, pa i one koje su žrtvovali.
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Zvučaću možda i reakcionarno, ali The Marvels nema ni najmanju šansu da sve to spakuje u ni sto minuta koliko, kad se odbije špica, ima na raspolaganju za pripovedanje i koliko god da film pokazuje šarma u svojim prijateljski kičlijskim predstavama civilizacija sa drugih planeta, u dovođenju srazmerno tradicionalne pakistanske porodice na kosmičku stanicu koja je pod bizarnom opsadom iz svemira, pa i u tome kako najmlađa članica tima, Kamala Khan, odlepljuje na Carol Danvers, ženu čije postere doslovno godinama drži na zidu, crta stripove u kojima se njih dve udružuju i uzela je svoje superherojsko ime po njoj, toliko isto jedva da uspeva da smandrlja sržni zaplet i pruži nam dva set-pisa u kojima tri ,,Marvel" junakinje rade zajedno.
Nakon više od decenije i po ekspanzije superheroja u bioskopu i na televiziji, Marvelov filmski univerzum je došao na onu poziciju na kojoj su stripovi bili negde već pred kraj osamdesetih i kao da su sve lekcije koje su učinile prvih deset godina Marvelove filmske produkcije tako uspešnim, temeljno zaboravljene. The Marvels je film koji se vidno ugiba pod naslagama nakupljenog kontinuiteta, istorija likova, njihovih porodica ali i galerija satelitskih likova i neprijatelja, mesta, na kojima su bili i borbi koje su vodili. 1991. godine je relansiranje strip-serijala X-Men sa Chrisom Claremontom i Jimom Leejem za kontrolama Marvelu donelo rekordnu prodaju koja do danas nije nadmašena, sa preko osam miliona kopija, samo da bi Kuća ideja narednu deceniju provela prepuštajući kreativnu kntrolu marketinškim stručnjacima koji su insistirali na što je moguće većem usitnjavanju priča i njihovom prodavanju na komad kroz beskonačne krosovere, spinof serijale, nastavke preko svake razumne granice, i Marvel će se za svega nekoliko godina zateći na ivici stečaja. Danas su X-Men stripovi srećni ako dobace do 300.000 primeraka po broju a industrija svoje nove superherojske stripove prodaje prevashodno ljudima koji ih kupuju već decenijama, bili su tu kada su Claremont i Lee bili na vrhuncu slave i doslovno umeju da vam izrecituju sve članove svih satelitskih X-Men timova u poslednjih 40 godina, sa kratkim ličnim i porodinim istorijama. Superherojski strip je, dakle, od mas-market fenomena postao tržišna niša, igralište za svirepe gikove, test-zona za opsesivce čiji je interes za stripove mnogo više epistemološkog nego estetskog tipa.
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Marvelov filmski univerzum je, činilo se, na početku bio protivotrov ovakvom načinu razmišljanja, nudeći uredne, jasne biografije očišćene od decenijskih naslaga istorijskih protivrečnosti i nebitnih detalja, svodeći likove na jasno motivisane, relatabilne arhetipe i dajući im priče sa klišeiziranim ali razumljivim urgencijama u čijem su se smeru imali baciti ako ne žele da sve nestane.
Ali The Marvels je podsećanje da ne možete eskalirati volumen do beskraja i da kada u svakom narednom filmu tvrdite da je ugrožen čitav univerzum,* postoji tačka na kojoj gledalac na ovakav predlog više ne reaguje. The Marvels ima nekoliko za oko ugodnih scena dobre koreografije, dinamične borbe i prijatno raznobojnih specijalnih efekata, njegove tri junakinje su promišljeno kolorno-kodirane i smela odluka da se u koreografijama njima zamenjuju mesta svaki put kada dve od njih u isto vreme koriste svoje moći na kraju je dala i par dobro režiranih akcenata, ali ugroženost planeta ili univerzuma je ovde posredovana najnezanimljivijim vizuelnim rešenjima koje možete da zamislite, bezličnim geometrijskim oblicima i nemaštovitim zvukom pucanja. The Marvels sa svojim ponavljanjem heskagonalnih oblika na nebu u scenama koje treba da sugerišu kako je govno opičilo o fen i da će svi izginuti kao da eksplicitno podseća da se ovi filmovi prave po FORMULI.
*Slobodno odaberite: Eternals (https://cvecezla.wordpress.com/2022/02/04/film-eternals/), Shang-Chi (https://cvecezla.wordpress.com/2021/11/19/film-shang-chi-and-the-legend-of-the-ten-rings/), Thor: Love and Thunder (https://cvecezla.wordpress.com/2022/10/07/film-thor-love-and-thunder/), Drugi Doctor Strange (https://cvecezla.wordpress.com/2022/09/23/film-doctor-strange-in-the-multiverse-of-madness/), treći Ant-Man (https://cvecezla.wordpress.com/2023/05/05/film-ant-man-and-the-wasp-quantumania/)...
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Neki delovi formule svakako i ovde funkcionišu. Kamala Khan je naprosto dobar lik i čak nisam bio ni besan što su njene moći u seriji i ovom filmu ptopuno promenjene u odnosu na ono što ona ima u stripovima kako bi se na silu uspostavio nekakav balans između nje, Carol Danvers i Monice Rambeau. Njeno ,,etničko" kodiranje nije prenaglašeno i, onoliko koliko film ima vremena da se bavi njenom familijom – grupom normalnih pakistanskih migranata u Nju Džersiju – bačenom na front intergalaktičkog rata, iz toga se ispumpa dosta šarma, komičkog i humanog, a što je bitno u filmu koji se dobrim delom dešava u svemiru i lako se zaboravi za šta se svi ti superheroji zapravo bore.
Takođe, Kamalin odnos sa Monicom i Carol je simpatičan i njihov trening za zajedničku borbu i kasnije izlazak na crtu Dar-Benn je korektno osmišljen i korektno koreografisan. Ali opet, film naprosto nema vremena da se stvarima zaista bavi onoliko koliko zasužuju. Prvih dvadeset minuta prepuno je ekspozicije koja galopira pred gledaočevim očima, nadajući se da on zna ko su ovi likovi i da će se sam snaći i mlada režiserka Nia DaCosta ovde kao da je potpuno raskrstila sa ikakvom idejom jedinstva mesta, vremena i radnje, dajući sebi opravdanje u ,,entanglement" efektu između tri protagonistkinje tako da njena naracija skače sa kraja na kraj svemira bukvalno po više puta u okviru iste scene, ostavljajući sve gledaoce – sem onih najžešće treniranih na kombinaciji TikToka i pisanja kontribucija za wiki stranice koje se bave Marvelovim serijama i filmovima – daleko iza sebe u prašini da se pitaju šta to dođavola gledaju. Svako će tu prepoznati nešto – eno ga Nick Fury, a ono je ona mačka što izbacuje pipke iz usta, a Kamala sedi u svojoj sobi i crta strip o team-up akciji sa Carol Danvers – ali skoro niko neće u ovome uživati. DaCosta mora da strpa toliko bekgraunda u svoje otvaranje da posle prvih pet minuta gotovo nerazaznatljivih skokova sa jednog na drugi lik film ulazi u flešbek kako bi pojasnio svoju postavku, a onda taj flešbek ulazi u flešbek koji je zapravo samo montaža najvažnijih elemenata iz prethodnih filmova.
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To da su superherojski stripovi tokom sedamdesetih godina prošlog veka rutinski morali da odvoje stranicu ili dve da prepričaju stvari iz prethodnih epizoda kako bi čitalac mogao da se snađe u tekućem narativu jeste element na koji se uvek nasmešim kada danas čitam neke stare serijale, ali ne verujem da postoji ijedan dramaturg na planeti koji bi to nazvao dobrom naracijom. To da Marvelov film iz 2023. godine mora da uradi identičnu stvar ne jednom već dva puta u jedva više od sat i po radnje (postoji, dakle, i kasnija scena gde sve tri ,,Marvelke" iz naslova prolaze kroz zajedničku flešbek-montažu) nije simpatičan omaž old school stripovima već potez očajnika koji se legitimno davi u filmu čija priča skoro da ne uspeva da se iskobelja iz mreže kros-promocije, referenci na prošle filmove i serije, ponavljanja istih gegova, postavljanja zametaka zapleta za naredne filmove itd.
Hoću reći, sve što su smrknuti old school filmofili već govorili za superherojske filmove, čak i dok su oni bili dobri, u The Marvels je doterano do paroksizma. Ovo je film koji ima dopadljive likove i koji od polovine do kraja uspeva da bude sasvim prijatno zabavan rolerkoster svemirske akcije i multikolorne girl-power tuče, ali on u ogromnoj meri trpi balast toga da je pravljen kao epizoda u tekućem serijalu a ne kao samosalna, ZNAČAJNA priča. Da li će iko pustiti suzu nad sudbinom Monice Rambeau u finalu filma?* Da li je IKO imao vremena da izgradi emotivni odnos sa superheroinom koja nema ni superherojsko ime,** čije su moći u filmu jedva objašnjene i koje se autentično sećate iz prethodnih Marvelovih produkcija samo ako ste alt-rajt imbecil koji se mršti na to što su svi superheroji odjednom sad žene tamne puti? A njene moći i njena žrtva treba da budu emotivni pančlajn filma.
*čak i pre nego što nam mid-credits sekvenca pokaže da je s njom, jelte, sve okej i, naravno, najavi krosover sa X-Men
**tekući geg u filmu je da ostale dve protagonistkinje smišljaju predloge za njen superherojski alter-ego i, verovatno sasvim namerno, pored svih kombinacija reči vezanih za svetlost, ni jednom se ne spomene ono ime koje Rambeau možda najduže nosi u stripovima: Photon
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Možda je, na kraju, važno napomenuti da The Marvels nije toliko loš film koliko je osrednji film, rađen, rekoh, više kao epizoda serije i da je problem mnogo više u toj apsurdnoj premisi da jedna epizoda serije, ma koliko produkcijski nabudžena bila, nekako ima break-even tačku u okolini sedamsto miliona dolara. Na toj strani, kako bi vas upozorio Martin Scorcese, a koji i sam zna jednu ili dve stvari o visokobudžetnim flopovima, leži ludilo. Takođe, ako je uopšte bitno da se kaže: The Marvels NIJE propao jer je ovo woke film sa tri žene od kojih dve nisu ,,bele" u glavnim ulogama. On je propao jer tim ženama jedva da dopusti da uzmu vazduh pre nego što ih – u jedno pola scena i doslovno – baci na drugi kraj svemira usred zamaha pesnicom i jer misli da su akumulirani kontinuitet iz drugih serija i filmova, šareni, gizdavi kostimi, lepe koreografije (borilačke i plesne), reciklaža gegova i šarmantne glumice dovoljni da prekriju skoro uvredljivo površan tretman ozbiljne teme u centru filma i nedovoljno vremena da sve ono što se pomene bude adekvatno prodiskutovano. Otud je i transformacija Carol Danvers na kraju filma u nekoga ko od krivice ne beži već je prihvata i ispravlja svoje greške nešto što gledalac skoro da ne primeti jer se dešava u sceni u kojoj pomenutu Carol Danvers i ne vidite, i umesto glumice koja bi nešto odglumila gledate kompjutersku animaciju zvezde koja ponovo počinje da bukti. Da je ovaj film snimio Kubrik, dobro, možda bi ovo bilo adekvatno finale, ali DaCosta – i verovatno ne sopstvenom krivicom – ne uspeva da jednom neverovatnom nebeskom fenomenu podari išta više težine i ZNAČENJA od scena u kojima gledamo gomilu mačića kako se vrzmaju po kosmičkoj stanici. A znate da će te scene sa mačkama makar živeti još koju godinu kao gifovi na društvenim mrežama. Što je, plašim se, najveći domet legata ovog filma.
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Narativi o srednjeklasnoj omladini koja ima u se, na se i podase a ipak je nesrećna i ima sve simptime depresije moraju da se ekstra narade da zadobiju moju pažnju a kamoli naklonost. Uzgojen na socrealističkoj matrici u kojoj klasna borba mora biti u korenu svih vrednih narativa, pogotovo onih o odrastanju, moj prvi refleks je uvek ne empatija nego razgnevljenost. ,,Imaju sve", pomislim uvek ljubomorno, ,,ništa im ne fali A ONI TO NE ZNAJU DA CENE i još traže da mi saosećamo sa njima, RAZMAŽENA BURŽOASKA DECA U MOJE VREME SU PARTIZANI BILI MANJI OD PUŠKE I SA DVE BOMBE U STISNUTIM ŠAKAMA JURIŠALI NA FAŠISTIČKE BUNKERE VAMA SAMO FALI DA VAS NEKO MALO UPREGNE DA RADITE PA DA VIDITE KAKO ĆETE BRZO DA OZDRAVITE".
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Lekcija ovde, pored činjenice da je ironično da jedna tako temeljito srednjeklasna osoba poput mene tolike decenije nije uspela da emotivno sazri preko granice mladalačkog ustaničkog bunta, je i da je Chien de la casse odnosno Junkyard Dog, kako je film preveden u međunarodnoj distribuciji, toliko umešno napravljen film da već posle pet minuta čak i gledaoca poput mene uvlači u svoj lavirint ljudskih odnosa i nedozrelih omladinskih emocija sputanih provincijskim mrtvilom tako da ovaj zaboravi na svoje predrasude i postane ozbiljno emotivno investiran u sudbine likova koji kao da su na ekran ušetali direktno iz stvarnog života. Chien de la casse je jedna od onih drama u kojima glumci skoro da ne glume, ili ako glume, kao da glume pre svega sebe, a pozornica na kojoj igraju svoju tihu tragediju je grad, nimalo stilizovan, ni malo estetizovan, grad u francuskoj provinciji u ovom slučaju u kome se ništa novo ne događa ni jednog novog dana i svi razgovori koji se vode u labavo definisanoj ekipi dvadesetineštogodišnjaka što svako veče vise kod fontane u centru su samo nastavak istog razgovora od prethodne večeri, bez cilja ili svrhe koja bi prevazišla slepo pipanje po mraku kako biste utvrdili da li još nekog ima tamo ili ste, konačno, kako ste se celog života plašili, potpuno sami.
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Sa premijerom pre nešto više od dvanaest meseci, Chien de la casse je na prošlogodišnjem festivalu Anže, posvećenom debitantskom filmu, bio nominovan za nagradu žirija ali i osvojio nagradu publike. Jean-Baptiste Durand, režiser i jedan od troje scenarista ovog filma je za svoje prvo dugometražno ostvarenje (posle više kratkih filmova) pokupio još par nagrada u Francuskoj, dok je glavni glumac Raphaël Quenard za svoju, takođe, prvu glavnu ulogu u dugometražnom filmu dobio nekoliko nagrada, nominacija i dosta pažnje. Iako je Chien de la casse nesumnjivo jedan od onih savremenih evropskih filmova koji manifestno beže od toga da gledaocu predstave jasan dramski zaplet a njihovi likovi malo pričaju, mnogo gledaju i ako komuniciraju to je često nemuštim grimasama i trudom da ne pokažu svoje emocije, on je istovremeno i FILM, dakle, kinematografsko delo koje ima u svojoj srži jasnu, vrlo snažnu dramu a čije je pripovedanje slikama efikasno, ekonomično, sa tek po kojim mood-shotom onda kada je zapravo potrebno malo stati na kočnicu i pripremiti narednu scenu koja će vam slomiti srce.
Quenard je, inače pre ovoga glumeći sporedne uloge u više dugometražnih produkcija kao i u trećoj sezoni Netfliksove serije Family Business, imao i tu sreću da je prošle godine pored ovog filma imao i glavnu ulogu u Yannicku Quentina Dupieuxa, komediji koja je postigla zavidan komercijalni uspeh u Francuskoj. Ipak, nagradu Lumier za glumca koji najviše obećava dobio je upravo za glavnu ulogu u Chien de la casse, jedan izvanredan portret mladog čoveka kome ambicija i kapacitet za velike snove nisu u skladu sa preduzimljivošću i odlučnošću potrebnim da konačno zaista svoj život uzme u svoje ruke i iz stadijuma deteta konačno pređe u svet odraslih. Glavni junak ovog filma, Quenardov Antoine Miralès tako živi u malom gradu na jugu Francuske, ne radi ništa sem što omladini prodaje vutru i izigrava kul dilera, depresivnoj majci – koja se godinama ne oporavlja od gubitka muža u saobraćajnoj nesreći – sprema da jede i visi sa svojim najboljim prijateljem i vršnjakom koga svi zovu Dog.
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U prikazima ovaj film nazivaju ,,toplom ljudskom komedijom" iako je Chien de la casse sve samo ne komedija. Glavni junak, Mirales, sebe verovatno smatra duhovitim, uostalom on po ceo dan ne zatvara usta, smišlja svakojake verbalne igrarije i pesmice za svog psa, ljupkog i poslušnog Staforda, i objašnjava drugima sve o svemu, bez obzira da li oni to žele da slušaju ili ne, ali film ovakve scene ne prikazuje kao nešto čemu publika treba grohotom da se smeje, pogotovo ne kada Mirales zabavu nalazi u prijateljskom podbadanju a onda i ponižavanju sebi bliskih osoba, a koje se na kraju uvek završava objašnjenjem da on njih voli i da je sve to deo ljubavi.
Najbolji Miralesov prijatelj je Dog, momak sa kojim se druži od šestog razreda, ćutljivi, povučeni dečko koji sa njim igra FIFU na Playstationu, ponekad ide na šeme da mu pravi društvo i podrazumeva se da visi sa njim kod fontane svako veče gde i ostatak njihove ekipe provodi večeri. Mirales uživa da Doga zadirkuje i u to uvlači celo društvo, ali je to uvek sa osmehom i bez malicioznosti.
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Sve dok se, nagađate, u gradiću ne pojavi devojka, Elsa a koja ustopira Doga dolazeći, da bi kasnije objasnila da je završila komparativnu književnost i da će malo da iskulira ovde u tetkinom stanu dok ne smisli šta bi radila u životu, dok svoj stanu u velegradu izdaje podstanarima. Mirales gotovo odmah počinje da zadirkuje Doga da je ovaj postao seksualno aktivan sa pridošlicom, ali i se i majmuniše više od proseka kad god je ona u blizini, pritiskajući papučicu za gas svog šarma do poda. Elsi se, eto, iznenađenja, ipak više dopada stidljivi Dog od na momente i preterano ekstrovertnog Miralesa...
Chien de la casse je besprekorno vođen od momenta kada gledalac prepozna kakva se drama ovde ZAPRAVO odvija. Evropskih filmova o omladini koja bleji po kraju, valja gudru na sitno i tripuje da će jednog dana ući u ozbiljne gangsterske rangove ima toliko da se o njih saplićemo na svakom koraku i veliki broj njih je samo konstatacija, ne uspevajući da jedno zatečeno stanje transformiše u dobar narativ. No, Chien de la casse ovaj format koristi zbilja samo kao format, pakujući u njega mnogo kvalitetnog karakternog rada. Durand nije od onih režisera koji insistirau da gledalac mora da ima prostora da promišlja film dok ga gleda i koji će vas zasipati dugačkim scenama u kojima se ništa ne događa. Ponovljeni kadrovi istih ulica, stanova i ljudi koji na istim mestima rade iste stvari – kao u nekom kompjuterskom RPG-u – svoju funkciju u naraciji besprekorno obavljaju upravo jasnim ukazivanjem gledaocu na to koliko je život u ovom mestu rutiniran, predvidiv, umrtvljen. Kada jedan iz ekipe sa fontane obznani svoje planove da otvori restoran i pokrene svoj biznis, Mirales ga ismeva iz sve snage – sve vreme insistirajući da je to što on radi legitimno i da ga on poštuje – pojašnjavajući da iako je on završio za kuvara, nema nameru da bude zakopan u malom mestu u provinciji i znoji se za šporetom celog života i da su njegove ambicije mnogo veće.
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Koje su to ambicije? Mirales ih nikada ne verbalizuje jer, naravno, da ih je makar pred sobom raščistio ne bi dane provodio slušajući hip-hop u kolima dok ide da šemi lokalnim klincima i izigrava baju, a onda malteretirajući Doga da mora da se aktivira i da sedenje sa Playstation kontrolerom u rukama ispred televizora čitavog dana nije pravi život.
Zapravo jedina ambicija koju ćemo čuti od Miralesa je ta da nađe takvu ženu sa kojom će poželeti da bude sahranjen u istom kovčegu. No, jedini koji u čitavom filmu nalazi ženu je, na njegovo veliko iznenađenje – Dog. Elsa i Dog se zapravo više zezaju nego što imaju ozbiljnu vezu, ali Dogu je Elsa prva devojka a Miralesa ovo šalje u orbitu nekontrolisanog gneva i frustracije.
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Nije problem u tome što Mirales ni sam, baš kao ni Dog, nikada do sada nije imao devojku, a u poznim su dvadesetima. Problem je u tom osećaju da gubi druga na koga je uvek računao uzimajući ga zdravo za gotovo i iako Dog ne pokazuje nikakve ambicije da se otrgne svom prijatelju, Miralesova bockanja se ubrzano pretvaraju u verbalno zlostavljanje. U nekoliko perfektno rađenih karakternih scena Quenard demonstrira proverbijalnu toksičnu muškost, prikazujući karakter osobe koja je navikla da bude u centru pažnje u svakoj situaciji kako upada u paniku kada vidi da to više nije, da bi onda PROIZVODILA situacije u kojima može da bude u centru pažnje, ma koliko to ruiniralo živote svih oko nje. Mirales se postepeno od iritantnog egoiste pretvara u ljubomornu, toksičnu pijavicu koja će nastaviti da Doga ponižava sve intenzivnije u nikada do kraja verbalizovanom ali očiglednom verovanju da je potrebno da samo svom drugu pokaže kako je on niko i ništa bez njega, pa da će mu se ovaj onda – iako nigde nije ni otišao – vratiti.
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Veličina Chien de la casse je u tome da film ovo radi kroz vrlo prirodne, neisforsirane scene u kojima ,,proizvodnja drame" dolazi od samo jednog lika i ta je drama upravo onoliko artificijelna koliko se Mirales upinje da svom drugi ,,objasni" da je budala što je pao na sirenski zov ženskog polnog organa i vječni ,,bros before hoes" zavet izdao čim mu je cura iz velikog grada – koja uostalom tamo ima dečka sa kojim samo laže da je raskinula – ukazala malo pažnje.
Za Duranda je ovo očigledno bio vrlo ličan film i u intervjuima je on primetio i da lik Miralesa ima dosta njegovog karaktera u svojoj konstrukciji a što je, valja primetiti, i časno i odvažno. Na pitanje kako će film o prijateljstvu koje se degeneriše u odnos zasnovan na emotivnim ucenama i ,,edukativnom" ponižavanju da dođe do iole zadovoljavajućeg kraja Durand ovde nalazi iznenađujuće funkcionalan ,,žanrovski" odgovor, dovodeći jedan naoko nevažan rukavac radnje – a koji na samom početku i Doga prikazuje kao osobu sa nemalim bagažom nerazrešenih emotivnih i mentalitetskih problema – u fokus razrešenja kroz uzbudljivo a i dalje naturalistički režiran ,,akcioni" krešendo.
Naturalizam kojim je film pravljen, treba takođe sa zadovoljstvom primetiti, ne stoji na putu njegovoj estetizaciji – i ovde čak ni agresivni kolor filteri ne deluju kao readymade signal ,,umetničkog" interpretiranja realnosti već kao legitimne alatke za sugestiju atmosfere. Direktor fotografije Benoît Jaoul kome je ovo takođe bila prva dugometražna produkcija posle nekoliko kratkih filmova nam pruža jednu sigurnu, ubedljivu sliku malog provincijskog mesta, učeći gledaoca vrlo brzo da prepoznaje iste lokalitete i iste radnje koje u njima rade isti likovi, a opet dopuštajući gradiću da ,,diše" sa dobro plasiranim širokim planovima – uključujući onim snimljenim u okolnoj prirodi – koji sugerišu i dubinu ove male ali guste urbane zajednice gde još uvek postoje neizrečene tajne i nedokučiva mesta na koja ljudska priroda može da vas odvede. Činjenica da se ipak svi ne poznaju u ovom mestu – iako ga dijalog u filmu naziva selom – je jasno sugerisana već vizuelnim prikazom grada, a ona je i jedino što omogućava glavnom junaku da živi taj život sitnog dilera koji jedino ima dok čeka da ga sreća pogleda, ali i jedino što plauzibilnim čini eksplozivnu završnicu filma.
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Chien de la casse je film koji varljivo jednostavnim jezikom priča o veoma kompleksnim temama. U nekim drugim rukama, svakako, ovo bi bio samo ,,boring man shit", ali Durand uspeva da mu film istovremeno bude i naturalistički i umetnički snažan, dajući nam idealan odnos ,,stvarnog" i ,,dramskog" u svojoj egzekuciji i pažljivom montiranju materijala u vitkih sat i po. Njegovo pozivanje na literarne motive – u par scena glavni junak, iznenađujuće načitan čovek s obzirom da je u pitanju nezrela, iritantna muška svinja, citira Michela de Montaignea – tu je da bi učvrstilo temu prijateljstva kao centralnu za film koji se tim prijateljstvom bavi nemilosrdno, prikazujući šta su sve ljudi u stanju da učine kada se brinu da im ono izmiče kroz prste.
Nagađate, neće im prvi impuls biti da se zapitaju jesu li to prijateljstvo zaslužili i nisu li i sami krivi za njegovo rastakanje. Ne mnogo iznenađujuće, čak i kada Mirales pozove svog najboljeg prijatelja da razgovaraju, ne može da se uzdrži a da ga ne vređa i da ga prekida kada ovaj pokuša da išta kaže. Mirales je, razoktriva nam film postepeno i bez ,,crtanja", all talk and no action, čovek koji je selebriti u svojoj glavi i čija veličina zavisi prevashodno od toga koliko su ljudi oko njega u stanju da tolerišu jedini način da on izlgeda veliki – njihovo unižavanje. Kada, u finalu filma, Mirales konačno više ne može da se izražava rečima i mora da pređe u akciju ovo je prelom koji deluje sasvim zarađeno i glavni ga glumac odrađuje besprekorno. Tako čovek koji večito čeka svoju šansu i radije će pričati o životu koji zaslužuje nego da ga živi na kraju mora da nešto UČINI i njegovo sazrevanje, nažalost, ne dolazi bez žrtava. Film svoj hepiend zarađuje skupo, nudeći lekcije za koje gledalac, što ih je dobio bespolatno, samo može da se nada da su bile vredne te visoke cene po glavne likove. Veoma dobro, veoma impresivno, pogotovo za prvi film. Duranda vredi pratiti u budućnosti a Quenardu se, gotovo neizbežno smeši jaka karijera.
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Još kada sam pročitao da je Io Capitano na svojoj premijeri na Venecijanskom filmskom festivalu prošlog Septembra dobio stojeće ovacije u trajanju od trinaest minuta (i mada nije osvojio Zlatnog lava, za kog je bio nominovan, jeste osvojio Srebrnog lava za režiju a sada je i italijanski kandidat za Oskara) oštrio sam se da ga pogledam. Film je tek pre nekoliko dana ušao u širu distribuciju, uključujući beogradski FEST, i nije prerano već u ovom prvom pasusu prikaza reći da se radi o ozbiljno obaveznoj lektiri, filmu koji ne samo verno prikazuje već i bez nekakvog moralisanja i popovanja DEFINIŠE jedan od najužasnijih paradoksa našeg vremena, dajući gledaocu efektan, ekonomičan dajdžest pakla na koji smo kolektivno, kao ljudska rasa, osudili jedan značajan deo populacije planete. Ko je za to kriv? Kao i u svim najboljim pričama o kolektivnom ispaštanju – niko i svi odjednom. Io Capitano su već u nekim osvrtima nazivali modernom Odisejom, ali naravno da je on sasvim suprotno, moderna Anti-Odiseja, ne pripovest o dugačkom, iskušenjima punom putovanju preko mora do kuće, već hronika patnji na putu na koji se odlazi iz očaja, gde putnici sami sebi priznaju da kuću više nemaju i da traže pribežište koje zavisi samo od toga da će drugi ljudi, privilegovaniji od njih, da u sebi prepoznaju univerzalnost ljudskosti i maleni deo svoje udobnosti žrtvovati da bi drugi imali makar ono najosnovnije da se nazovu čovekom.
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U tehničkim crtama, Io Capitano je dakle, prikaz puta dvojice senegalskih tinejdžera koji iz predgrađa Dakara kreću put mitske Evrope sa butkom uštekovanih para koje su krili u temeljima obližnje građevine, i mladalačkom ubeđenošću da to što oni znaju da igraju i pevaju, pa i prave svoje pesme, znači da će za koji mesec u Evropi da im ,,belci traže autograme". Seydou i Moussa (a koje igraju momci koji se takođe zovu Seydou Sarr i Moustapha Fall i NEMOGUĆE su dobri) imaju samo novac i mobilne telefone, pa čak i pasoše mora – po ceni od sto dolara – da im napravi jedan sumnjiv lik u Maliju koji im kaže da su od sada i oni iz Malija i da imaju nova imena. Naravno, ovo neće naročito zavarati nižersku policiju koja prepoznaje da na pasošima koji su navodno izdati pre dve godine momci imaju istu odeću u kojoj se trenutno nalaze. Još pedeset dolara odlazi na mito da bi dečaci ikako dobacili do libijske granice.
Libija je država koju su Evropljani temeljito rastočili u poslednjoj deceniji i po, uklanjajući Gadafija i bacajući nekada koliko-toliko stabilan sistem u haos, pa dva momka dobijaju vrlo jasne instrukcije pre prelaska pustinje na kamionetu gde se migranti voze u otvorenom teretnom delu i drže za zakucane direke da ne spadnu usred pustinje jer se mrzovoljni Arapin za volanom neće zaustavljati ni zbog čega. ,,U pustinji će vas zaustaviti pobunjenici", kaže im stariji, naizgled iskusniji migrant, ,,a neki od vas će pare da sakriju u patike ili da ih ušiju u odeću. Ali ovi likovi su profesionalci. Jedino sigurno mesto ne koje možete da ih sakrijete je da ih smotate u tubicu, umotate u plastiku i stavite sebi u dupe."
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Problem sa profesionalnim kindaperima i ucenjivačima je što su oni od svog posla napravili industriju i što znaju malo više fora od dvojice šesnaestogodišnjaka koji su do juče išli u srednju školu i uveče svirali bubnjeve na ulici da im sestre i majke plešu. Pare u dupetu onda i nisu tako pametno rešenje kao što se činilo dok su svi bili sa ove strane granice, još uvek u Nižeru, a naravno da ljudi koji pomažu migrantima na njihovom putu za Evropu nisu ni baš najčasnije osobe na svetu i da će ,,vodič" što sprovodi grupu migranata iz zapadne i centralne Afrike ka severu više misliti na svoju zaradu nego na njihovu bezbednost. Kada Seydou završi među ljudima koje je jedna naoružana milicija ,,uhapsila" i saopštila im da samo treba da pozovu porodice telefonom, kažu im da pošalju osamsto dolara otkupša i da će onda biti slobodni, film prikazuje scene mučenja koje, zahvaljujući ekstremno realističnom pristupu režiji, ne deluju kao eksploatacijski horor prizor. Vezani ljudi leže na kamenim stolovima dok ih naoružani ljudi pale vatrom a drugi to snimaju telefonima – ovo je bukvalno samo jedan radni dan u životu kidnapera na libijskoj granici. Ovde je kidnapovanje i traženje otkupa, a prodaja onih koji otkup ne mogu da plate u roblje, uhodan radni proces, jednom rečju – industrija.
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Planeta se sada nalazi u takvom istorijskom trenutku da veliki deo onoga što eufemistički nazivamo ,,globalnim jugom" – pokušavajući da se odmaknemo od patronističke konotacije ,,trećeg sveta" – ne samo ekonomski i socijalno zavisi od bivših kolonizatora koji su im uzeli sve a doneli, eto, KONZUMERIZAM, već i da mladi i sredovečni ljudi često kao jedinu šansu za ikakvu društvenu promociju vide odlazak u Evropu ispunjen opasnostima, ilegalnu imigraciju i nadu da će radeći na crno u raznim uslužnim delatnostima ili, već, na građevini, na kraju izgraditi nešto što podseća na život dostojan čoveka. Evropska kolonizacija Afrike je ostavila strahovito duboke ožiljke za kakve bi, da je pravde, reparacije bile plaćane sledećih 300 godina, a sveprisutna ekstaza komunikacije koju danas imamo, gde i bosonogi klinac u predgrađu Dakara na svom telefonu može da gleda fudbalere i repere kako žive život glamura i avanture i, slušajući urbane mitove o tome kako je odlazak u Evropu lak ako si snalažljiv, zaključi da je ovo za njega jedino rešenje. Jedan od mojih pokojnih kolega, lekar iz Malezije koji je dosta radio sa migrantima sa Bliskog istoka mi je više puta naglasio tu, ponovo ,,industrijsku" komponentu problema sa modernim migracijama, u kojoj ključnu ulogu igraju šverceri za koje je to biznis i koji za svoj biznis prave i adekvatan marketing čiji delić vidimo u ovom filmu. I onda, u Srbiji ljudi kukaju da niko neće da ostane na selu i da svi mladi odlaze u grad jer je tamo život lakši, ali ovo je samo embrionalna verzija problema savremene Afrike* u kojoj mladi i sredovečni napuštaju kontinent i, izlažući se strahovitim rizicima i, ne ni manje važno, ogromnim poniženjima, očajnički pokušavaju da se domognu Evrope gde će, ako budu imali sreće, biti baštovani, konobari, bejbisiterke, radnici na građevini.
*i ne samo Afrike, naravno – verovatno ste i vi videli ljude iz Bangladeša ili Sri Lanke koji po Srbijama i drugim Evropama voze za Wolt ili neku drugu sličnu izrabljujuću ,,app-based" službu gde radniku čak ni ne priznaju da je radnik, ismevajući ga sugestijom da je on nezavisni preduzetnik, dok iz njega cede svaki milivat rada u zamenu za novac koji određuje algoritam a ne ikakav društveni dogovor o pravičnoj naknadi koja bi obezbedila dostojanstven život
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Prošle nedelje sam pominjao kako u meni i dalje postoji marksistički refleks koji insistira da je svaka priča vredna pričanja kroz film u osnovi priča o klasnoj borbi i mada to, očigledno, nije baš svih sto posto tačno, Io Capitano je APSOLUTNO ta priča. Naravno da se ovde vidi i rasizam – u jednoj od scena u Tripoliju jedan od likova će pre da se odluči za opasni put poluraspalim brodom preko Sredozemnog mora, iako je ranjen metkom u nogu, nego da uopšte proba da uđe u libijsku bolnicu za koju je svima rečeno da ,,ne primaju crnce" iako vidimo da je sva radna snaga na obližnjoj građevini iz zemalja ,,crne" Afrike – ali i on je majstorski prikazan kao deo jednačine političke ekonomije u kojoj je ljudski rad osnovna merna jedinica iako savremeni kapitalistički lideri stalno pokušavaju da ga iz te jednačine izbace i dosegnu perpetuum mobile kapitala koji će sam sebe oplođavati i uvećavati, bez oslanjanja na ljude.
Naravno da je to nemoguće i ovaj film vrlo plastično prikazuje i moderno ropstvo – sa doslovnom prodajom ljudskih bića – ali i moderni prekarijat koji smo možda navikli da prepoznajemo u državama napredne demokratije gde odjednom mlade generacije imaju manje perspektive ali i manje IMOVINE od generacija svojih roditelja (a nedostaje im makar svest o klasnom identitetu koju su razvili proleteri u svoje vreme), iako on počinje upravo tamo gde ima najmanje para a najviše ljudi. U ovom slučaju u Africi.
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Io Capitano je snimljen na lokaciji (ili makar blizu lokacije: Senegal, Maroko, Italija) i urađen u, rekosmo, izuzetno realističkom ključu, sa korišćenjem autentičnih jezika, perfektnom kostimografijom i glumcima koji su toliko ubedljivi da na momente daluje kao da uopšte ne glume već da su ovo ZAISTA ONI. Iako bi, naravno, bilo idealno i da ovakav film snima autorska ekipa iz Afrike kako bi se dimenzija autentičnosti obezbedila izvan svake sumnje, ako već TO ne možemo da imamo u 2024. godini, onda je makar korektna zamena to da je film režirao i napisao Matteo Garrone. Iako je Garroneov prethodni, pretpandemijski film bila nova verzija priče o Pinokiju, ovaj je italijanski autor pre svega poznat po neorealističkim, brutalnim pričama o savremenoj Italiji koje u punoj meri kombinuju realističko pripovedanje o ,,pravim" ljudima i socipolitičku diskusiju provučenu kroz narativ organski, prirodno. Gomorra je Garroneu i dalje najpoznatiji rad a pretprošle godine sam pisao i o njegovom Dogmanu (https://cvecezla.wordpress.com/2022/08/19/film-dogman/), filmu izuzetne elegancije u pripovedanju i suptilne analize mnogih socijalnih elemenata savremenog italijanskog društva.
No, za Io Capitano Garrone je prešao na naredni nivo svog stvaralaštva sa filmom koji je, za Evropu, koštao poprilično – oko 11 miliona dolara – i koji je u svakom pogledu raskošniji od onog što smo navikli da gledamo u njegovim radovima. Ovo je produkcija kojoj na čelu piše da je zacrtala Oskara na kraju svog puta, for better, što kažu, or for worse. I sad, iako sam već u više navrata naglasio realizam njegovog tona, Io Capitano ima i nekoliko scena ,,magičnog realizma" koje zahtevaju specijalne efekte i deo su mladalačke, optimističke vere primerene protagonistima koji, iako posrću kroz, maltene bukvalno, pakao, gladni, napušteni, povređeni, mučeni i svesni da skoro sigurno neće preživeti ovo što im se dešava a kamoli ponovo videti svoje majke što su im pripretile da i ne pomišljaju na opasan put u Evropu i da ostanu u školi kao normalna deca, ipak u sebi čuvaju možda potpuno naivnu pomisao da je NEMOGUĆE da će se njihovi životi ovako završiti. Da bukvalno ni jedna folklorna priča koju su slušali kao deca, ni jedan film koji su gledali na telefonima nema kraj u kome mladi protagonisti posle strahovitih iskušenja ne dočekuju hepiend.
Garrone je ekstremno efikasan u pripovedanju i mada Io Capitano ne deluje kao zbrzan film – ovde nema montaža koje bi prikazivale protok vremena i svaka scena je metodično rađen prikaz jednog od iskušenja kroz koje migranti prolaze – on nema ni vremena za atmosferične prazne hodove ili scene u kojima protagonisti ne rade ništa i samo su zagledani u daljinu promišljajući svoje sudbine. Rizik kod ovako zgusnutog pripovedanja gde je svaka scena značajna i svaka je sledeća stepenica u naraciji, je da se negde uzgred zature karakterizacije i da likovi postanu samo alatke na nogama koje rešavaju situaciju za situacijom i ne stižu da budu – u ovom slučaju – deca.
Ali Io Capitano ovaj problem impresivno zaobilazi prvo time koliko Garrone ima osećaja za pripovedanje – i koliko veteranski direktor fotografije, Paolo Carnera, svaku scenu snima sa savršenim kadriranjem koje nekom magijom prikazuje i radnju i emocije njenih učesnika kao da je gledalac učesnik a ne puki posmatrač strašnih dešavanja – a onda i time da dvojica mladića (od sedamnaest i oasmnaest godina) u glavnim ulogama pružaju naprosto neverovatan rad. Reći da dva momka iz Dakara ,,samo" igraju same sebe je istovremeno i tačno, ali i ekstremno potcenjivanje njihove neverovatne prirodnosti pred kamerom i uverljivosti sa kojom prikazuju ljudskost koja se urušava kada se suoči sa strahovitim primerima neljudskog, i nikada se, barem u ovom filmu, ne uruši do kraja.
(https://i.imgur.com/WNGuyRb.png)
Scenario ovde nije didaktičan. Realistična naracija filma diktira prepoznavanje motiva i tema iz samih događanja i ovde nema ekspozitornih monologa kojima će neka dobra duša objasniti gledaocu šta treba da oseća i u čemu je problem. Umesto toga, Garrone samo prikazuje nešto što je delić života afričke populacije, od uličnih žurki i noćnih smena na pijačnim tezgama u Dakaru pa do arapskih kriminalaca u libijskim provincijama koji doslovno kupuju roblje i zapošljavaju ga da im gradi velelepne fontane u pustinjskim pripizdinama koje treba da impresioniraju druge slične krimose. Tu je onda i kostimografija u kojoj je nemoguće ne primetiti da je činjenica da gomila likova nosi Nike, Adidas i slične brendove ne puki product placement već doslovna činjenica života u delovima Afrike gde je nošenje originalnog dresa sa brojem poznatog fudbalera ne tek statusni simbol već i jedno snažno podsećanje da i ova deca pripadaju istom ovom svetu. Da gledaju iste utakmice, slušaju iste repere i kikoću se na iste skitove na TikToku kao i vaša deca. A da vaša deca nikada neće morati da prođu kroz ovo kroz šta Moussa i Seydou prolaze.
Jer, evo, kada pri kraju filma Seydou shvati da nema dovoljno para da plati švercerima da njega i Moussu prevezu preko Mediterana do Sicilije, rešenje koje mu se nudi je skoro farsično: možete da idete dvojica po ceni jednoga ali da ti sam voziš brod.
(https://i.imgur.com/WirDaLI.png)
Seydou ovo odbija jer shvata da će više od stotinu migranata, uključujući i žene i bebe, biti pod njegovom odgovornošću da, nakon ,,obuke" od pet minuta i objašnjenja da ,,samo treba da drži volan pravo" i da je ,,more uglavnom mirno", doveze poluraspadnuti, zarđali brod od Libije do Italije. Za švercere je brod očigledno već skinut sa stanja i to da ne moraju da rizikuju da nekog od njih trkeljiše obalska straža kad uđu u italijanske teritorijalne vode je samo zgodan bonus zbog koga su spremni da klincima daju popust. Tako Seydou postaje kapetan iz naslova.
I, u trenutku kada bi Kusturica, na primer, pustio na volju svom unutrašnjem Feliniju i pretvorio finale filma u magično-realističku fantaziju, Garrone se spušta na svoje najrealističnije podešavanje, prikazujući i strah i konfuziju i užase za koje niko nije ni znao da se kriju ispod palube natrpane iznurenim, žednim migrantima koji ,,samo" još treba da prežive plovidbu do Sicilije i ući će u evropski raj. Kada cela brodica počne da skandira ,,Alahu Akbar", ovo je direktan šamar u lice ušuškanom Evropljaninu koji ovaj film gleda na festivalskoj projekciji i možda, samo možda počinje da shvata da poklič za koji su ga kondicionirali da doživljava kao nešto gotovo ekvivalentno lozinci ,,hajl Hitler", za ove izmučene, očajne, ponižene ljude koji će SAMO AKO IMAJU NEVEROVATNU SREĆU, sutra da voze taksije u njegovom gradu i on će se žaliti da ne znaju ni grad ni jezik, da taj poklič za njih predstavlja jedini tračak nade kako i u svetu koji je za njih i dalje brutalno kolonizatorski podeljen* i gde obalske straže preko radija igraju ping-pong sa NVO-ovima što pomažu migrantima, i niko, čini se, neće da se mnogo iznervira ako na kraju brod potone, jer tonu svakih par dana i to je deo ekonomske cene jeftine radne snage koja vozi taksije i služi pića po evropskim kafićima, da u takvom svetu, makar bog nije zaboravio na svoju decu.
*Uz očiglednu opasku da je moderni kolonijalni duh pronašao način da autsorsuje troškove na potlačene nevoljnike, pa kao što gig-workeri koriste svoja vozila i sve troškove svog posla plaćaju sami u zamenu za iluziju da su sami svoje gazde, tako i umesto da robove iz Afrike u Evropu kao nekada prevoze beli porobljivači, sada oni sami plaćaju drugim Afrikancima da ih prevezu na Stari kontinent i, kao i nekada, mnogi od njih ne prežive put. Osim što Evropljani sada ne gube nikakve pare na onima koji su završili na dnu mora i time su u još jačem plusu.
(https://i.imgur.com/rfPBstn.png)
Što je, složiću se, naoko neobičan pančlajn za film koji sam već proglasio modernim marksističkim remek-delom, ali samo ako ste i dalje dovoljno slepi kod očiju i insistirate da današnja umetnost ne prepoznaje klasni rat i bavi se ,,identitetom" jer je to moderno, pa onda možda i film kao što je Io Capitano shvatate kao puku ,,woke" vežbu iz nametanja ,,bele krivice" Evropljanima ali u sklopu plana da se umilite Amerikoj filmskoj akademiji i odnesete kući Oskara. Ali on to nije. On je brutalna, brutalno realistična i brutalno iskrena priča o laži u koju smo svi poverovali, o tome da ljudski rad možemo da izbacimo iz jednačine u kojoj se kreira vrednost, i da će vrednost nekako i dalje nastaviti da nastaje. Migranti koji vise na kamionetima što prelaze pustinju i otimaju se oko kanistera za vodu na zarđalom brodiću što prelazi Mediteran sa šesnaestogodišnjakom za kormilom – scenario je, ne zaboravimo, pisan nakon obimnih konsultacija sa preživelima sa migrantske rute – znaju da je ovo laž već i time što Evropljani na kraju pokazuju da bez njih – ne mogu. Ali da im to nikada neće priznati i da je čitav kompleksni konstrukt rasizma na kraju podskup klasne podele iz koje, evo, u dvadesetprvom veku i dalje nema bekstva. Samo što nam revolucije danas obećavaju tehnomilijarderi koji ugrađuju čipove u ljudski nervni sistem a ne dobro organizovani, za borbu naoštreni proletarijat.
Naravno, možda Evropa zato i pušta da deca i mladi Afrike ginu, utapajući se u Mediteranu, praveći se da moderni fašisti koji na takve slike kliču nisu zapravo samo emanacija njene kolektivne podsvesti. Io Capitano ništa od ovoga ne pominje eksplicitno, rekosmo već da je ovo realističan film o ljudskom iskustvu a ne o konceptima, ali sa vama nešto nije u redu ako nakon gledanja filma ne budete o ovome razmišljali.
(https://i.imgur.com/UksuDd2.png)
Ninjababy nije možda film kakav bih ja normalno gledao – uprkos imenu u njemu se ne pojavljuju nikakve stvarne nindže a ,,baby" je zapravo zaista beba a ne žargonski termin za seksualno zrelu ženu – ali njegovih finih sat i po i malo kusura indie komedije/ drame o neželjenoj trudnoći su mi prošli ne samo bezbolno već i uz solidnu količinu proizvedene zabave. Možda bitnije, film je jedan trezven i pošten pogled na moderno zapadno društvo i njegove slobode i odgovornosti, sa sve spretnim ukazivanjem da su ljudske emocije ona nepredvidiva, divlja karta koje nije do kraja moguće propisati javnim politikama tako da na krju svi budu srećni, zadovoljni i, kako se to kaže, realizuju svoj puni potencijal.
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Kad smo već kod kraja, režiserka ovog filma, prilično iskusna televizijska a zatim filmska autorka Yngvild Sve Flikke kaže da je poslednja scena snimljena prvog dana snimanja i da joj je na neki način spona sunca koje se neočekivano prolomilo kroz oblake (nakon celog dana tvrdoglavo oblačnog neba) i činjenice da se direktorka fotografije posle tri pokušaja okrenula prema njoj i rekla da je to to i da su upravo snimili finalnu scenu filma dalo dobar osećaj, da će Ninjababy biti jedan uspešan projekat bez obzira na vrlo kratko vreme produkcije na raspolaganju, i da će ambivalentnost poruke koja treba da se pošalje biti jasna.
Tako i bi. Ninjababy je premijeru imao Januara 2021. godine na Međunardnom filmskom festivalu Tromsø u rodnoj Norveškoj, a par meseci kasnije predstavljen je i na Berlinskom festivalu i u svojoj daljoj distribuciji s pravom dobio vrlo solidne kritike.
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Flikkeova je rođena 1974. godine i ovo je smešta usred generacije X, pa je i film, njen drugi dugometražni zapravo interesantan amalgam modernijih kasnomilenijalskih ili gen Z senzibiliteta sa jednim klasičnijim indi šmekom kakav smo dobijali u mnogom američkom filmu u drugoj polovini devedesetih i početkom veka. To se uklapa sa godištem autorke, a film je i jedna spretna kombinacija naturalističkog pripovedanja sa elegantnom lo-budget produkcijom, te animacije koja služi za refleksije i ospoljavanje unutarnjeg života protagonistkinje na jedan duhovit, osvežavajući način.
Hoću reći, Ninjababy teško da kreće od originalne premise – mlada norveška žena koja ne zna šta bi u životu al zna da voli da crta, ali je mrzi da studira i radije pije, drogira se i jebe se sa svakim ko joj se bar malo svidi, jednog dana otkrije da je trudna A NIJE SPREMNA ZA TO NENENE – ali njegova komparativna prednost je u tome da je scenario (koji je pisala Flikkeova zajedno sa svojim televizijskim saradnikom Johanom Fastingom, a koji je baziran na stripu Fallteknikk autorke po imenu Inga H Sætre) realizovan jednim svežim, razigranim rukopisom koji inače sasvim naturalističke epizode uspeva da formatira kao dirljivu (mada sve vreme sasvim umirenu) dramu ili ugodnu komediju uz koju se ne valjate po podu od smeha ali imate prijatan osećaj u stomaku tokom celog dana i pride osećate i da ste prisustvovali jednom iskazu koji nenametljivo pokazuje da sloboda, jelte, mora imati cenu da bi imala i vrednost.
(https://i.imgur.com/7HHxFaY.png)
Ninjababy nije film koji osuđuje, to takođe treba da bude jasno. Ovo nije priča o tome da mladi ljudi danas, a koji uživaju sve društvene slobode plus dostupnost reproduktivne medicine i službi za usvajanje dece, nisu dovoljno odgovorni jer znaju da njihovu grešku sistem na kraju može da poništi bez posledica kakve bi trpeli njihovi vršnjaci u nekim tradicionalnijim sredinama. Štaviše, protagonistkinja, Rakel insistira na početku da već mesecima uzima terapiju protiv začeća a i da je čovek sa kojim je poslednji put imala snošaj, lepuškasti instrukltor aikida po imenu Mos (veoma dobri Nader Khademi) nosio kondom, te da je trudnoća posledica više sile a ne njene neozbiljnosti i film nikako ne pokušava da deluje sa nekakve patronističke pozicije i prstom preti deci koja se zajebavaju a onda, ups, i sama dobiju decu.
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Naravno, posle se pokazuje da je Rakel naprosto manje ozbiljna nego što voli da misli o sebi i da je, na kraju dana, omladina koja danas zna o začeću, zaštiti i odgovornosti više nego što smo mi, dženekseri, ikada znali, svejedno sklona greškama posrnućima i nepažnji. Shit happens, kako kaže stara američka poslovica i pitanje je samo šta će Rakel da uradi sa bebom koja joj se, eto, u utrobu ušunjala poput nindže i tamo strpljivo tihovala, bez mnogo jasnih simptoma da je devojka zanijela, dok nije postalo kasno da se uradi abortus...
U nekom drugom univerzumu, Ninjababy bi bio film mučne kontemplacije o stranom telu u telu žene koja nije spremna da prihvati da je spremna da postane majka, depresivna serija scena panike, straha, mržnje prema sebi i plodu, očajničkih poteza koji bi završavali pokušajima samopovređivanja, u najmanju ruku litanijom optužbi protiv same sebe. I to bi bio i sasvim razumno feministički prikaz toga u šta ženu čak i vrlo moderna društva danas uteruju kada se njen minimalni apetit da bude majka i starateljka sudari sa nečim što se i dalje smatra socijalnom ulogom ženske osobe.
(https://i.imgur.com/TcIBoQN.png)
No, Ninjababy je nežniji prema svojoj protagonistkinji, iako je ne abolira od krivice za nepažnju. No, cena koju Rakel plaća je pre svega emotivna, mnogo manje socijalna. Mali ansambl ovog niskobudžetnog filma ima prostora i za pragmatičnu cimerku i sa stariju polusestru koja je posle godina pokušaja da natera disfunkcionalne jajnike da ispune svoju funkciju odustala od ideje da će biti majka a sada joj se odjednom nudi da bude usvojiteljka deteta kome je tetka. Tu je i pomenuti aikido instruktor koji Rakel jedva poznaje jer su imali samo jedan pijani seks i koji pokušava da pronađe svoje mesto u životu devojke što mu se jako dopada u periodu dok ona pokušava da izađe na kraj sa činjenicom da čeka dete muškarca sa kojim je imala samo povremeni seks i koji joj se zapravo ni malo ne dopada kao perspektivni životni partner. Rakel njega interno zove Pikkjesus (što bi na Engleskom bio Dick Jesus a na Sprski ne smem ni da prevedem da SPC ne bi poslala hakere da mi presude), ukazujući da je u pitanju sjajan jebač ali, trezveno gledajući, osoba sa vrlo malo kvaliteta koje bi je preporučile za roditeljstvo. Pikkjesus pije, duva, povaljuje sve živo i u jednoj urnebesnoj sceni kada mu ona kaže da je on kriv jer je odbio da nosi kondom a onda ejakulirao u nju, njegova odbrana je ta da mu je ona sama rekla da svrši unutra. ,,Ne!", kaže Rakel", ,,rekla sam ti da neću da mi svršiš po licu A TO NIJE ISTO" na šta on ukazuje da je u usijanom momentu kada mora da se u magnovenju donese presudna odluka NJEMU TO ISTO.
(https://i.imgur.com/qkezvNd.png)
Arthur Berning je fenomenalan kao Pikkjesus i da film ima više scena sa njim, možda bi prevagnuo na stranu čiste komedije, no Filkkeova komičnu dinamiku ovih momenata balansira gorkoslatkim momentima Rakeline emotivne konfuzije a animacije u kojima ona vodi razgovore sa svojom još nerođenom bebom – dečačićem sa maskom na licu koji, ako već mora da ga se da na usvajanje, insistira da se nekako kontaktira Angelina Jolie – postižu finu ravnotežu komike i melanholične drame.
I ovo se pokazuje kao sasvim ispravan ton za film koji i u vizuelnom smislu radi da obezbedi balans između tog naturalističkog, ne naglašeno ,,likovnog" kadriranja i svetla (te ponašanja glumaca ispred kamere) i maštovitih ubacivanja animacija preko ,,normalnih" scena. Ima tu i malo brzih, uspelih montaža koje sažimaju neke momente narativa (uz melanholični gitarski pop kao podlogu, naravno) i vidi se da je autorka godinama radila na norveškom Javnom servisu i da joj zanata ne manjka. No, glavno je da film ima dušu.
(https://i.imgur.com/wkUaTCT.png)
A njegova duša se pre svega vidi u tome da svojim likovima dopušta da budu zbunjeni, nesnađeni, nezreli. I da je to naprosto tako u životu. Pored svega što pruža moderno građansko društvo. Na kraju krajeva, za to smo se borili. Da odrastao muškarac kao što je Mos može da radi kao aikido instruktor i ima hobi koji podrazumeva farbanje figurica i igranje Kings of War sa prijateljima preko vikenda, umesto da bude muž, otac, znate već, NORMALNA odrasla osoba, kakve nismo ni vi ni ja.
Rakelina potraga za rešenjem vodi je kroz zdravstveni sistem ali i sistem socijalne podrške Kraljevine Norveške i gledalac zajedno sa njom prati emotivnu sinusoidu koja ide od protagonistkinjine želje da se deteta oslobodi uz što manje žrtvovanja lične udobnosti pa do vrlo protektivnog ponašanja kada se suoči sa realnostima službi za usvajanje dece koje diktiraju strogu odvojenost majke od deteta nakon što ovo bude usvojeno, upravo da bi se dete zaštitilo od majčine naknadne pameti, napada krivice i emotivnih ispada koji mogu doći.
(https://i.imgur.com/QUarizu.png)
Naknadna pamet i jeste velikim delom tema finala filma, osim što reč ,,pamet" ovde pretpostavlja da će Rakel do kraja nešto postai jasno iako, kako vidimo u emotivnoj završnici, zapravo neće. U poslednjoj sceni je protagonistkinja jednako zbunjena i nesnađena iako je celo iskustvo u njoj proizvelo izvesno sazrevanje, pre svega na kreativnom planu, dajući joj pokretačku energiju za startovanje života odrasle osobe. No, izraz lica vrlo dobre Kristine Kujath Thorp u ulozi Rakel u tom poslednjem kadru zaista perfektno sugeriše da na kraju, uz sve dobronamerne ljude i kvalitetan sistem podrške koji postoji, prava odluka možda nikada ne može biti donesena jer možda, zapravo, ne postoji. Ninjababy nije film visokih emotivnih amplituda niti brutalne ekspresije ali njegova finalna poruka gledaoca svejedno potrese pokazujući da ponekada nema spasa od biološkog usuda i emocija koje možemo da racionalizujemo i diskurzivno objasnimo ali možda ne možemo da im pobegnemo. Film do kraja ostaje bez osude, pokazujući nam dostojanstvena ljudska bića koja u životu čine zrele, dobre stvari od svoje slobodne volje, ali i podseća da tu slobodu treba ceniti tim više jer ona KOŠTA.
(https://i.imgur.com/bevwuzR.png)
https://www.b92.net/zivot/vesti.php?yyyy=2024&mm=03&dd=11&nav_id=2494572
Meho, pošto voliš Cenu...
Haha, da, video sam. Dobro, čovek je toliko rada uložio u to telo, red je da ga pokazuje!!!!!!!!!!
Quote from: Meho Krljic on 11-03-2024, 12:56:43
Haha, da, video sam. Dobro, čovek je toliko rada uložio u to telo, red je da ga pokazuje!!!!!!!!!!
Drago mi je ako ti je njegovo telo ulepšalo dan.
Bio bih iznenađen da ima nekog kome njegovo telo može da NE ulepša dan!!!!!!!!!!
Disney Respond To Critical Drinker & "Toxic" Fandom (https://www.youtube.com/watch?v=IefUzOSMT6Y)
Slatko je kad internet kritičari misle da korporacija kalibra Diznija nešto radi jer su oni snimili video u kome su opsovali petsto puta a ne zato što su slabiji rezultati u poslednjih par kvartala najveće deoničare pokrenuli da priprete povlačenjem kapitala...
Zbog tog Critical Drinkera ja nisam gledao sijaset filmova, koje sam hipotetički mogao da gledam. Zbog njega Dizni nije dobio pare od mene.
Najcarskiji komentar na isti video:
(https://i.ibb.co/G3XWm4r/image.png)
Quote from: mac on 14-03-2024, 11:47:34
Zbog tog Critical Drinkera ja nisam gledao sijaset filmova, koje sam hipotetički mogao da gledam. Zbog njega Dizni nije dobio pare od mene.
Fer, mada verujem da si ti možda ne beznačajna ali statistički znatno manje značajna manjina u masi (potencijalnih) gledalaca. Narod danas ne čita kritike niti gleda kritičke video snimke u sad nekoj značajnoj meri da bi to osetno uticalo na performans filmova. Mislim da su instagram i tiktok, sa svojim superkomprimovanim komunikacijama uticajniji medij nego bilo ko ko se bavi dužom izražajnom formom ali čak ni tu ne bih stavio ruku u vatru da će Dizni (Warner, Sony ili već neko) reagovati kad vidi da se sprdaju s njim po tiktoku ili tviteru. Za te firme je tržište globalno, Kina je značajnija od najvećeg dela Evrope itd. a pretplata na striming i druge sekundarne monetizacije čine veliki deo nekakvog strateškog planiranja tako da mi, old school gledaoci koji idemo ili ne idemo u bioskop zbog nečije negativne ili pozitivne kritike imamo daleko manju važnost nego nekada...
Pa dobro. Ja sve to ne uzimam toliko direktno, već samo kao deo istih procesa. Naravno, tužno i smešno je tvrditi da je Critical Drinker bilo šta pokrenuo, ili bilo ko drugi, imenom i prezimenom, pa imao taj isti više od 2 miliona platilaca, kao što se u klipu vidi, ali da je on na neki način registrovao sve te loše stvari koje su kasnije pokrenule deoničare da priprete povlačenjem kapitala i u konačnici naterale Boba Igera da javno prizna kako je Dizni radio loš posao, taj deo je valjda nesporan.
Dakle, Diznije ipak priznao nešto što je godinama odbijao da prizna. A što se poklapa sa lošim kritikama revjuera.
Ljudi na vrhu su ipak samo ljudi. Imaju svoje Excel tabele, ali imaju i svoje ja. Ajd što ja pratim Critical Drinkera, ali možda ga i Iger prati..
Dobro, Iger skoro sigurno ne, ali neki mlađi egzekjutivi možda prate, ja više ukazujem da je pre situacija ova koju Sendmen pominje, tj. da je Dizni ne reaguje na kritike Jutjubera nego zbog opadajućih prinosa mora da se suoči sa analizom svog poslovanja koja ističe i neke odluke a koje je i taj jutjuber kritikovao. Hoću reći, ovo verovatno nije "pobeda narodne kritike" već prosto business as usual za firmu od koje deoničari zahtevaju promenu politike a to na osnovu plaćenih analiza poslovanja a ne na osnovu JuTjub video-eseja.
Meho, moje pitanje je zapravo bilo kako ti reaguješ na to što je Dizni konačno sateran uza zid i kakva su tvoja očekivanja, ako ih uopšte imaš?
Disney Announces SECRET Cancellation of MARVEL Movies - Armor Wars, Avengers 5 Status EXPLAINED (https://www.youtube.com/watch?v=n3U_tQgn7nw)
Neću otvarati tekst jer me ne zanimaju superherojske tematike. Mogu samo na osnovu naslova da se ponadam da je vreme takvih filmova prošlo. Da se audijencija zasitila i da joj treba nešto novo.
Pa, nije da se ja nešto strastveno bavim ovom temom. Dizni je definitivno prezasitio tržište, filmovima ali još više serijama i sebe uhvatio u istu zamku u koju su se stripovi uhvatili pre nekoliko decenija (pisao sam o tome u osvrtu na The Marvels) pa je smanjenje volumena proizvoda sasvim logičan potez... Evo sad teksta onovom Akvamen filmu koji stvari posmatra iz perspektive glavnog konkurenta:
Filmom Aquaman and the Lost Kingdom zaključena je Warnerova velika avantura naslovljena DC Extended Universe, ciklus (ili makar labavo povezani serijal od petnaest (ili šesnaest, zavisi kako brojite)) filmova superherojske tematike zasnovanih na DC-jevim stripovima, a koja je započeta nakon Warnerovog velikog uspeha sa Nolanovom Dark Knight trilogijom, u prepoznavanju da Marvelova taktika ,,deljenog univerzuma", odnosno tretiranja filmova kao pojedinačnih epizoda u dužem narativu daje neočekivano sjajne rezultate. Aquaman and the Lost Kingdom, sa premijerom krajem prošlog Decembra i mojim gledanjem-po-dužnosti na HBO Maxu pre neki dan je na neki način onakav pančlajn na DCEU kakav ova franšiza i zaslužuje – film u kome se zanatska ekspertiza i tragovi vizije sudaraju sa mašinskim, generičkim proizvođenjem ,,superherojštine", u kome opštija poruka, što treba da bude poveznica sa publikom glavnog toka koja nije decenijama zadajana superherojskim stripovima i ne zna komplikovane odnose između likova od kojih su mnogi nastali još u četrdesetim godinama prošlog veka, u kome dakle ta poruka dobija jedan uzgredni, površni tretman, dok film očajnički pokušava da replicira osećaj vrtoglave avanture na koju upućuje međusobno nekompatibilne glavne likove što do kraja priče sazrevaju i individualno i kolektivno i postaju dostojni titule (super)heroja.
(https://i.imgur.com/mMRk0hf.png)
Ima tu dobrih vesti, na primer to da je u ovom krugu reciklaže zapravo taj centralni deo o nekompatibilnim likovima na zajedničkoj misiji oslonjen na likove koji, za promenu, funkcionišu kao tandem. A ima i loših – Aquaman and the Lost Kingdom je pravljen sa svešću da je ovo kraj DCEU preduzeća i mada je režiser James Wan u nekim scenama demonstrirao ozbiljan trud da nam ponudi vizuelni sadržaj koji će nas angažovati, zabaviti, pa u nekim momentima i zadiviti, druge su smandrljane na brzinu uz utisak da su prihvaćeni prvi pokušaji glumaca da izgovore tekst, sa jednom opipljivom željom svih umešanih da se ovo samo završi i da mogu da se sklone od kamere, povade telefone i skroluju mejlove svojih agenata u potrazi za nečim manje turobnim na čemu mogu da rade.
Što... nije ispraćaj kakav je publika uvučena u DCEU pustolovinu filmom Man of Steel Zacka Snydera 2013. godine ikada priželjkivala. Fer je reći da se Warner kasno ,,upalio", gledajući kako Marvel sa svakim novim filmom osvaja sve više pohvala (i novca), konstatujući da je kulminacija u Whedonovim prvim Avengersima isplatila sva ulaganja u deljeni univerzum i pričanje jedne iste priče kroz više razdvojenih epizoda, ali DCEU u startu nije trebalo da bude puka kopija Marvelove formule, naprotiv. U Warneru su dugo insistirali da njihovi filmovi neće deliti ni senzibilitet niti se uplitati u metapriču, da je svaki od njih jedinstvena autorska vizija režisera koji ga potpisuje i, možda ključno, da su ovo ,,ozbiljni" umetnički radovi. Christopher Nolan je publiku po isteku prve decenije veka ostavio sa uverenjem da superherojski filmovi JESU medijum u kome se govori o ljudskom stanju i aktuelnim socijalnim neuralgijama i njegovo podpupiranje Snydera kroz producentsko angažovanje je obećavalo da će DCEU nuditi zrelije, umetničkije filmove od Marelovog rada po formuli.
(https://i.imgur.com/Y8KWvRe.png)
Naravno, ovo se raspalo negde na polovini staze i nakon što je Marvelova Infinity saga dosegla vrhunac superherojskog izraza (a koji ni sam Marvel posle toga nije uspeo da replicira, rasplinjavajući se kroz previše televizijskih projekata i kopipejstovanih filmova), Warnerovi šefovi su možda malo i panično pojurili da prepišu ,,formulu" i, pored i dalje ozbiljnih i ,,gritty" filmova (kao što su bili Joker ili najnoviji The Batman (https://cvecezla.wordpress.com/2022/04/29/film-the-batman/)), isprobavali razne ,,laganije" pristupe sa (prvim) Suicide Squad (https://cvecezla.wordpress.com/2016/08/05/film-suicide-squad/), sa Birds of Prey (https://cvecezla.wordpress.com/2020/02/10/film-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn/), Shazam (https://cvecezla.wordpress.com/2020/05/25/film-shazam/) filmovima (https://cvecezla.wordpress.com/2023/06/02/film-shazam-fury-of-the-gods/), sa zlosrećnom Ligom pravde (https://cvecezla.wordpress.com/2017/11/18/film-justice-league/) i, notabilno sa prvim Akvamenom koji je jedini postigao nešto što bi se moglo nazvati blokbaster uspehom.
(https://i.imgur.com/5LhX32x.png)
U ono vreme hipoteza je bila da će Akvamen preko reda biti apgrejdovan u tentpole serijal (https://cvecezla.wordpress.com/2019/01/03/film-aquaman/) i da će nastavak biti napravljen možda i u okviru osamnaest meseci, sa jasnom vizijom da su kombinacija harizmatičnog glavnog glumca i na Star Wars nalik akcione avanture dobitna kombinacija. Naravno, gledajući Aquaman and the Lost Kingdom još je jasnije koliko je odsustvo vizije pratilo DCEU tokom čitavog njegovog trajanja, pa je ovo, umesto da bude makar snažan, možda malo i svečan finalni iskaz unutar jedne neuspele ali ambiciozne inicijative o građenju deljenog univerzuma, jedan osrednji, umereno zabavni i umereno krindž superherojski rad koji je napustio ikakve pretenzije o ,,umetnosti" i jedinstvenom izrazu i ni ne krije da je njegov krajnji domet imitiranje onog što je bilo dobro u prethodnim filmovima, pa makar ti filmovi bili i Marvelovi.
Jedna dobra stvar u vezi Aquaman and the Lost Kingdom, a koja je, možda blago ironično, rezultat propasti grandioznog projekta o deljenom univerzumu, je ta da ovde nema nikakvih pokušaja da se film uplete u širi DCEU kontekst. Supermen, Betmen, Wonder Woman, niko se ovde od njih ne pominje, niti globalna drama koja se odvija pred gledaočevim očima na bilo koji način zahteva da se poznaje išta više od materijala iz prvog Aquaman filma da bi se pravilno kontekstualizovala. No, naličje ove jedne dobre stvari je to da Aquaman and the Lost Kingdom, napisan od stane scenariste koji je radio i prvi film, Davida Leslieja Johnson-McGoldricka, ne uspeva da bude skoro ništa više od ponavljanja priče iz prvog dela na bis, sa samo neznatno promešanim kartama. ,,Formula" je u ovom slučaju shvaćena maltene doslovno i kako Aquaman and the Lost Kingdom ne može u svom narativu da ponovi ,,origin story" mladog Arthura Curryja pre nego što se baci u ludu avanturu i time film utemelji u karakteru i njegovoj ljudskosti, tako je i prvih pola sata nastavka prilično zamorna procesija scena u kojima se likovi raspoređuju po šahovskoj tabli, deklamuju ekspoziciju i svoje motivacije i gledaocu objašnjavaju kako će da se dođe do toga da glavni junak, danas inače kralj Atlantide i otac maloletnog Arthura Juniora, umesto da sedi na prestolu i komanduje vojskom, sam krene na opasnu misiju koja će ga odvesti na neka egzotična mesta i suočiti sa velikom količinom krvožedne CGI flore i faune.
(https://i.imgur.com/Q0pzf22.png)
Nije da ovde nema simboličnih pokušaja da se NEŠTO promeni i sam lik Arthura je uhvaćen u osetljivom momentu tranzicije između lakomislene ,,bro" persone koja stvari rešava jakom desnicom i provodi slobodno vreme vozeći motor i cugajući pivo u oca porodice koji bebi menja pelene* i, ma koliko mu dosadno bilo, sedi po ceo dan na tronu, diskutuje sa savetnicima i pokušava da konzervativnim Atlantiđanima objasni da je krajnje vreme da se pokažu svetu i da suvozemna i podvodna civilizacija moraju da zajednički rade na preokretanju devastirajućih efekata klimatskih promena inače ih neće biti.
*i dvaput u isto toliko minuta dobija mlaz mokraće u lice, pošto je James Wan odlučio da je Akvamen, kad se već firma zatvara i neće biti više nastavaka, sada između ostalog i gross out komedija
(https://i.imgur.com/q4JNEMd.png)
Klimatske promene ovde i jesu taj ,,ozbiljni" sloj priče, za šta film ima utemeljenje u Akvamen stripovima, i tom tenzijom između zagađivača sa kopna koje nije briga za svet pod morem (koga nisu ni svesni), te resantimanom što Atlantiđani zauzvrat osećaju, ali scenario ovome posvećuje minimalnu i površnu pažnju, hitajući da ovaj motiv uplete direktno u priču. Ispostavlja se, naime, da iza ubrzanog zagrevanja planete stoji niko drugi do Black Manta, stari Akvamenov smrtni neprijatelj, kome nije mrsko ni da celu planetu spali do temelja samo ako će time moći Arthuru da se osveti za to što mu je (indirektno, doduše) ubio oca. Pa je tako ovde Black Manta ne samo pronašao staro atlantiđansko gorivo koje je drevna civilizacija napustila jer je bilo previše štetno za okruženje, već ga koristi upravo da bi podigao temperaturu na Zemlji i iz vječnog leda otopio, uh, takođe drevnu frakciju drevne civilizacije koja je bila toliko militantna da je stari kralj Atlantide upotrebio krvnu magiju, koristeći sopstvenu krv da lidera sa ekstremno imperijalističkim ambicijama, zajedno sa celom nacijom već transformisanom u agresivne monstrume zaledi u zabitom delu okeanskog dna. Manta će, da bi sebi pribaivo ove moćne saveznike, morati ne smo da fizički otopi led veći da nekako dođe do Akvamenove krvi jer jedino krv naslednika starog kralja Atlana može da razdesi stare magije. Naravno, perceptivni gledalac već razume da Akvamen ne mora da bude primarna meta...
(https://i.imgur.com/USdWLwe.png)
Ovo je MOGAO da bude uzbudljiv ratni triler o porodici koja ratom komanduje ali ne sme u njega da strupi direktno i izloži se mogućnosti ozlede jer doslovno jedna kap njene prolivene krvi može da neprijatelju obezbedi dmoninantnu prednost, ali Johnson-McGoldrick i Wan nisu sebi zadali ovako komplikovan zadatak. Umesto toga, nakon ekspozitornog uvoda, Akvamen kreće na solo-misiju da oslobodi svog polubrata iz zatočeništva u koje ga je, da se razumemo, SAM poslao nakon prvog filma jer je ovaj bio imperijalistički despot spreman da zapodene rat sa čitavom planetom, i propita ga kako da nađe Black Mantu i zaustavi ga pre nego što ovaj, jelte, zapodene rat sa čitavom planetom. ,,We need a thief to catch a thief" je sasvim legitiman zaplet za laku akcionu komediju, ali Aquaman and the Lost Kingdom ne može ovde tako lako da se izvuče, sa jedne strane jer nekim likovima ne daje ni trunku evolucije, dok druge na silu prilagođava preuzetom formatu prvog filma.
Tako je Black Manta, jedan od interesantnijih negativaca iz DCEU ergele ovde sveden na maltene oruđe. Njegova motivacija je identična onoj iz prvog filma, njegov lik nije ni na koji način ,,rastao" ili menjao se, a to da je dobar deo ovog filma on ionako pod kontrolom sile jače od njega samog ga dodatno degradira. Lik kraljice Mere je prošao još gore i ako sam se u prvom filmu vajkao da Amber Heard naprosto nije imala dobro napisan lik da sa njim NEŠTO uradi, u ovom filmu je ona dobila dajbože deset rečenica da izgovori, svedena na pozadinsko statiranje tokom scena u kojima se nešto važno priča i na CGI kosplej u akcionim scenama. Znamo da je ova produkcija imala silne probleme i Momoina želja da ne radi sa Heardovom se, nažalost prelila i u finalnu verziju filma na najgori način.
Sa druge strane, lik Orma, Akvamenovog polubrata onda ovde zauzima mesto koje je Mera imala u prvom filmu i Orm je nevoljni pratilac starijeg ali neozbiljnijeg kraljevića na misiji koja treba da spase ceo svet a koja se sastoji i od odlazaka u sumnjive barove ispod mora koji su kao ispali sa kamiona što je prevozio Star Wars merčandajs, pa su im isturpijani serijski brojevi.
(https://i.imgur.com/NDBjs5b.png)
No, ovo je, zapravo najbolji element filma. Nakon usiljene komedije-sa-mokrenjem-u-usta sa početka filma i mrtvački izlagane ekspozicije, te prvog velikog akcionog set-pisa, film se pretvara u komični buddy akcijaš sa dva ,,guys on a mission" lika a koji imaju iznenađujuće dobru hemiju. Naravno, očekivali smo da Jason Momoa bude vučna sila filma kada mu se dopusti da izađe iz uloge oca i kralja i podseti kako je dobro kada si ,,na terenu" i svojim rukama rešavaš probleme, ali Orm Patricka Wilsona je zapravo mnogo bolji ,,straight man" naspram spadalačkog Akvamena nego što je Heardina Mera bila u prvom filmu. Momoa ovde kredibilno plasira svoj dudebro šarm, prikazujući iritantno simpatičnog šmekera koji nikada nije ni želeo da bude tamo neki kralj i na poziciju na kojoj jeste je stigao skoro slučajno, ,,padajući unapred", još i natrljavajući na nos svom rivalu da se nije ni spremao za fatalni duel sa njim a da ga je ipak odvalio do batina i postao kralj. Momoi ovo odlično ide, sa sve scenama gde naizgled kompleksne probleme rešava primenom grube fizičke sile, dok je Wilsonov Orm prefektno uštogljen, sav u tradiciji i kraljevskoj odgovornosti, isprva zgrožen i pun prezira za bratovljev relaksirani odnos ka istoriji Atlantide, simpatije ka suvozemnoj civilizaciji, neobraćanje pažnje na etiketu... Ovo funkcioniše toliko solidno da film uspeva da proda ne samo neke zaista upitne gross out momente (kao što je kada Arthur prevari svog brata da pojede bubašvabu, objašnjavajući mu da su one ,,suvozemni škampi") već i da kada Arthur svog brata koji nešto zanoveta ućutka jednim ,,Dobro, dobro, čuli smo te, Loki" to bude simpatičan čin predaje pred Marvelovom nikada dosegnutom dominacijom umesto nešto zbog čega biste prevrtali očima.
(https://i.imgur.com/AKqbnm0.png)
Naravno, Orm je bivši despot, tiranin i imperijalistički ratni vođa a što film iz sve snage nastoji da zaboravimo pa je promena njegove karakterizacije najviše rezultat potrebe da se ima jedan ,,vedriji" lik naspram Momoe, nego nekakvog legitimnog rasta koji je on pretrpeo dok je bio utamničen. Šteta je, dakle, da scenario ovde ne napravi makar nekakav simbolički napor da pokaže Orma kao refleksiji sklonu osobu koja sopstvenim radom počinje da shvata kako ambicija njegovog brata o ujedinjenu suvozemne i podmorske civilizacije nije puka fantazija i da ima smisla u konstelaciji sveta-koji-se-menja. Umesto toga, Wan se ovde zadovoljava time da nam ponudi gegove i akciju i nada se da će to završiti posao...
I možda i hoće. Aquaman and the Lost Kingdom nije najbolji DCEU film, ali je ipak vidno energičniji i sigurniji u svom spektaklu nego što je zlosrećni Blue Beetle (https://cvecezla.wordpress.com/2023/11/24/film-blue-beetle/), a mada ja volim Dwaynea Johnsona,* Momoa je u ulozi Akvamena kudikamo udobnije smešten nego što je bila njegova interpetacija jednog ipak kompleksnog lika kao što je Teth Adam (https://cvecezla.wordpress.com/2022/12/02/film-black-adam/). S druge strane, Aquaman and the Lost Kingdom nema multiverzalnu ambiciju i metatekstualnu dimenziju koju je imao The Flash (https://cvecezla.wordpress.com/2023/09/01/film-the-flash/), ali makar može da se pohvali da nema ni katastrofalni CGI koji je ovaj film dosta osakatio u finalu.
*platonski, ali strastveno
(https://i.imgur.com/CvhjmSL.png)
Nije da je Aquaman and the Lost Kingdom vizuelno sad kao ELEGANTAN, ima ovde dovoljno Star-Wars-prequels-level CGI ekscesa da čovek malo počne i da podriguje, ali film ima i nekoliko nadahnutih scenografskih momenata – pogotovo sa starim atlantiđanskim mašinama, naročito onim u formi oktopoda i sličnih arhanida – pa i nekoliko momenata fine akcione koreografije. Ništa na nivou nezaboravne scene na Siciliji iz prvog filma, ali Wan i ekipa pokazuju da ,,first take and we're done" nije bio mentalitet tokom čitave produkcije pa ovde ima i zanimljivih poigravanja sa kranom (ili makar virtuelnim kranom) i perspektivom i mada film svakako ostavlja utisak da je ceo napravljen ,,u kompjuteru", te da ništa nije stvarno i prema tome ni bitno, ne bi bilo fer reći da scenografi, 3D modeleri, direktor fotografije i ostali vizuelci nisu dali nekoliko časnih momenata. Aquaman and the Lost Kingdom videno naglašenije tretira svoj predložak kao ,,strip", u smislu da se ne mora ići na kredibilan worldbuilding i da su ponekada sumanuto prekomplikovan dizajn ,,buba" koje braća jašu po pesku, ili generalno prekomplikovan dizajn SVEGA ispod mora, sa džinovskim morskim konjima i humanoidnim rakom koji na sugestiju da ,,držimo oči otvorene" kaže da će to biti lako jer se njegove ionako nikada ne zatvaraju, ono što je potrebno da se gledalac prosto opije neobičnim, duhovitim, začudnim, i da tu ne treba tražiti neke simboličke dubine već pre svega brza, jeftina zadovoljstva.
I kako se ovo ponekada vidi i u tekstu, ali i u glumi, sa farsičnim reakcijama likova na neke od momenata u zapletu, šteta je zapravo i što Aquaman and the Lost Kingdom nije ceo urađen u tom povišenom tonu filma-koji-zna-da-je-strip, gde bi Wanove gross out tendencije i everything-and-the-kitchen-sink pristup scenografa bili deo jedne konzistentnije produkcije koja zna da je poslednja u nizu, zna da od nje više ništa ne zavisi i da konačno svi možemo zajedno da se smejemo svim pogrešnim ili glupim odlukama koje su ljudi tokom godina pravili. Ovako, Aquaman and the Lost Kingdom ostaje na pola puta, ali je MAKAR pola puta ovog filma zabavno ako volite Jasona Momou i kičastu superherojsku akciju. A, mislim, ako ne volite, šta uopšte tražimo svi mi ovde?
(https://i.imgur.com/hwusvvF.png)
Quote from: Truman on 15-03-2024, 03:07:28
Neću otvarati tekst jer me ne zanimaju superherojske tematike. Mogu samo na osnovu naslova da se ponadam da je vreme takvih filmova prošlo. Da se audijencija zasitila i da joj treba nešto novo.
Pa sad... možda si preveliki optimista. Što možeš da pretpostaviš samo na osnovu sledećeg naslova...
Drinker's Chasers - Captain Marvel 3, Ant Man 4, Eternals 2 All Cancelled (https://www.youtube.com/watch?v=EcAHzp9t1kg)
Brutální vedro, ili kako bismo mi to rekli, Brutalna vrućina, tj. Brutal Heat u distributerskom prevodu na Engleski, debitantski celovečernji film mladog češkog režisera po imenu Albert Hospodářský je interesantna, vizuelno atraktivna minijatura koja za svoju osnovu uzima naučnu fantastiku u onom njenom najutilitarnijem smislu, da pruži spekulativnu premisu mogućeg kako bismo se jače usredsredili na fenomene – i potencijale – onog stvarnog i opipljivog, a onda se realizuje kroz niskobudžetnu road-movie ekstravagancu ispunjenu bizarnim epizodama i melanholijom koja zrači prepoznatljivom iskrenošću bez obzira na srazmerno uzdržanu komunikatvnost scenarija Hospodarskog. Ovo je, a to kažem uz punu svest da glavni junak, Vincent, polovinu filma provodi sa ozledom koja mu brutalno deformiše polovinu lica, pre svega film o pogledu na lice, o onom, sad se čini i proročanskom Levinaosovom etičkom utemljenju da nas pogled u lice drugog čini odgovornim za njega. Albert Hospodářský, svakako svestan da njegov brat, Vincent, a koji igra Vincenta i u filmu, ima nežno, emotivno lice, uz koje melanholija dolazi sasvim prirodno, veliki deo kadrova filma osmišljava upravo oko njega, dajući nam da i neke elemente drame koja se odigrava oko Vincenta, sa drugim likovima što s njim dolaze u verbalnu i drugu interakciju, iskusimo isključivo gledajući u Vincentovo lice i tražeći u njemu refleksiju samog sebe i toga kako bismo se MI postavili u ovoj situaciji.
(https://i.imgur.com/R1Cl2vT.png)
Brutální vedro nije film čiste dramske strukture, već više meditacija o svrhama i smislovima, o orijentisanju u svetu koji se menja brže nego što možemo da ga isprocesujemo. Pomenuti spekulativni, naučnofatnastični element odnosi se na komad Sunca koji se odlomio od zvezde i nalazi se na putanju ka planeti Zemlji koja će ga, naučnici nisu sigurni, za trideset godina dovesti u sudar sa njom ili će je on ipak promašiti. Ovaj komad užarenog komprimovanog metala se vidi na noćnom nebu nekim danima u godini i izaziva dodatno grejanje površine Zemlje. Kao očigledna metafora za klimatske promene koje čine leta sve vrelijim i na teritorijama koje su nekada koncept tropske vrućine znale samo iz televizijskih serija, ovaj ,,solarni fragment" skoro da nije ni potreban filmu kao uokvirujuća alatka, jer Brutální vedro nije film o ekologiji, društvenom aktivizmu, fosilnim gorivima ili odbijanju ljudske rase da razmišlja o problemu pre nego što postane apsolutno prekasno da se on reši. On najviše služi kao vizuelni fokus za gledaoca koji film progresivno sve više prepoznaje kao prikaz dana što prethode apokalipsi, urušavanju svega što poznajemo i prestanku važenja svih vrednosti. Utoliko, film suštinski lišen urgencije – Vincent je verovatno najnesposobniji i najsporiji putnik koji je ikada krenuo na ikakav put u istoriji putovanja – uspeva da ima jednu opipljivu tenziju i da Vincentovo lutanje po češkoj provinciji kredibilno predstavi kao neku vrstu simboličke Odiseje koja možda i ne može da ima srećan kraj. Konflikt između Vincenta i negovog oca na samom početku priče je tu i da bi ovo bila priča i o odrastanju, ali se odvija bez zapravo mnogo promene u Vincentovom ponašanju ili svetonazoru, a što je fer imajući u vidu da Vincent treba da odraste u svetu koji je najverovatnije osuđen na skoru smrt.
(https://i.imgur.com/iFBS5CB.png)
Film je svoju premijeru imao prošle godine na festivalu u Karlovim Varima, a gde je dobio dosta pažnje kritike. Ovo nije slučajno jer iako se radi o prvencu, Hospodářský impresionira na vizuelnom planu, nudeći ne samo sigurnost u kadriranju i postavljanju scena već i dosta stila u kreiranju vizuelnog identiteta posebnih lokacija i situacija u filmu. Tomás Uhlík, direktor fotografije je i sam ovo potpisao kao prvi dugometražni projekat na kome je angažovan, ali i njegov rad, kao i rad scenografa i kostimografa je impresivan, sa finim nivoom detalja koji se primećuje i u izboru boja i grafičkim rešenjima za neke od scena u filmu. Brutální vedro je jeftina, niskobudžetna produkcija, ali koja ima vizuelnu disciplinu pa i eleganciju daleko iznad svoje klase. U jednoj, recimo, sceni, Vincent je u baru u kome simpatična konobarica s njim razgovara, a onda prolazi po lokalu gde dvojica muškaraca igraju bilijar, pa njih usluži, pa kada jedan od njih jednu od bilijarskih kugli izbaci na pod, ona je pokupi i donese je nazad na sto. Sve se odvija unutar jednog neprekinutog švenka, nudeći veoma upečatljivu smenu svetla i geometrija u kadru i perfektnu sinhronizaciju glumaca.
(https://i.imgur.com/PbHC5i9.png)
U tehničkom smislu, dakle, ovaj film, a u čijoj je proizvodnji učestvovalo više produkcija, uključujući i Češku televiziju, podseća na to koliko češka kinematografija ima snažnu tradiciju vizuelne izvrsnosti i, iako je ovo priča o Gen-z klincu što se potuca po provinciji i izgleda tužno većinu vremena, i sam izgleda izvrsno.
(https://i.imgur.com/1BFh5vO.png)
Albert Hospodářský je scenario napisao kao svoj diplomski rad nakon što je zapazio koliko njegov brat deluje ranjivo i nežno u toku neke neprijatne situacije koju je imao na autobuskoj stanici kada su kretali u letnji kamp. Prizor Vincenta kako u neugodnoj situaciji ne zna šta da uradi, uhvaćen između detinje nevinosti i odgovornosti odrasle osobe je bio podstrek za scenario koji će čitavu generaciju prikazati kako nasleđuje svet koji se nalazi na rubu nestajanja a u čemu ona nije imala nikakvu ulogu. Ovo može da deluje pretenciozno ali fer je da se setimo da generacija Z jeste ta kojoj je pristup informacijama lakši i brži nego i jednoj pre nje, i koja se sa etičkim odgovornostima pukog postojanja susreće pre nego ijedna druga. Današnji klinci spravu koja će ih stalno podsećati na tenzije u društvu, na klimatske promene, ratove na svim krajevima sveta i nasilje u porodicama preko puta njihovih stanova nose sve vreme u džepu i nikada se ne isključuju iz dotoka informacija koje sve više i više traže akciju, a sve manje prostora ostavljaju za promišljanje pre akcije. Kada je pre nekih dvadesetak godina Slavoj Žižek držao predavanje u pretrpanoj Dvorani Beogradskog kulturnog centra, njegov lament već tada je bio da moderna kultura zahteva akciju bez prostora za razmišljanje, jer vremena za razmišljanje nema pošto sve oko nas gori sve vreme, i da je razmišljanje time postalo neetički proces.
(https://i.imgur.com/gRid4ks.png)
Vincent u takvom svetu živi od rođenja i prvi bizaran susret sa starijom gospođom u vozu koja civilizaciju što je planetu dovela do njenog kraja smatra NJEGOVOM a ne SVOJOM je zanimljiv, odmereno satiričan prikaz generacijskog jaza i neshvatanja.
(https://i.imgur.com/plXfoIH.png)
No, Vincent je dobronameran, nežan mladić koji paklenu vrućinu leta u gradu na kraju, posle dosta ubeđivanja, odluči da zameni odlaskom u ortakovu vikendicu gde se skupilo društvo i gde je vrućinčina ipak nešto manja. Njegov put do ovog lokaliteta, koji posle vrlo kratkog vremena dobija simbolički, maltene mitski kvalitet jedne nedostižne Itake u češkoj provinciji, ispunjen je dezorijentišućim ponašanjem službenika u transportnim službama, neugodnim susretima sa ženama koje vrućina pretvara u seksualne predatorke, nasiljem urbane omladine, sirotinjskim seks-radom preko Skajpa... Hospodářský slika sliku društva čiji se članovi, skoro svi koje u filmu vidimo, nalaze na ivici egzistencije, ne nužno u socioekonomskom smislu, ali definitivno u smislu prepoznavanja svrha u svojim životima, u pronalaženju snage da izguraju još jedan dan.
(https://i.imgur.com/qIQCcl5.png)
Nema ovde neke velike, artikulisane poente koja bi Brutální vedro do kraja uredno povezala u poučan narativ sa jasnim pančlajnom i Hospodarskog očigledno više interesuje pronalaženje iskrenog, autentičnog, ranjivog u ljudima, ma koliko ono da deluje neprikladno unutar uhodanih rituala svakodnevnog života a koji postojanje društva čine mogućim. Ovde mašinovođe promašuju stanice jer ih mori neizreciva tuga, radnica u prodavnici na pumpi ne može da prežali rastanak od nekoga ko joj je mnogo značio pa se njen čin altruizma prema Vincentu pretvara u emotivno neizdrživ nalet halucinantne psihoze, dve devojke koje pomažu Vincentu nakon što pretrpi prilične batine zahvaljujući pokušaju da i sam bude altruist, su niskobudžetni cam-girl duo za usamljene češke matorce kojima je Skajp i način da pričaju sa svojom rodbinom u rasejanju, i vektor za pronalaženje bar simulacije intimnosti i putenosti...
(https://i.imgur.com/8pM8uZV.png)
Dobro to Hospodářský ume da postavi i, kako rekosmo, sve je odlično snimljeno, ali kako je to neretko slučaj sa filmovima koji namerno idu na labaviju strukturu i vođeni su pre osećajem nego jasno postavljenim dramaturškim skeletom, Brutální vedro je mogao da bude i kraći pola sata i duži pola sata, i da svoje priče rasporedi drugim redosledom i da se u njemu ništa suštinski ne promeni. On jeste film-iskaz, ali nije film sa poentom do koje bi kolekcija vinjeta od kojih se ultimativno sastoji, ultimativno i neizbežno dovela. Nije da Hospodářský ne rukuje materijalom spretno: kombinacija kiše koja se pojavljuje u završnom činu da podari likovima malo poštede od sažižuće vrućine, i reportaže na televiziji koja govori o promenjenom ponašanju životinja u divljini od pojave solarnog fragmenta na nebu, sa primećenim uzajamnim ispomaganjem koje nije karakteristično za zveri, to je simpatičan optimistički način da se završi film koji se ceo bavio izgubljenošću, tugom i borbom protiv sopstvene bezvoljnosti glavnog lika, ali ovo, naravno, i znači da taj glavni lik nije ni naročito bitan za to finale filma pa onda, retroaktivno, možda ne ni za većinu njegovih priča.
(https://i.imgur.com/D4XaGx5.png)
Ovo ne treba da znači da Vincent Hospodářský obavlja loš posao, naprotiv, kao veoma lep i veoma fotogeničan mladić, Vincent je perfektno otelotvorenje Gen-Z momka uhvaćenog između želje da nikome ne bude na smetnji i odsustva strasti za bilo čim opipljivim. Kada mu se još već od početka na pleća natovari krivica koja nije njegova, već, eto, generacijska (uključujući to kako se prema njemu ponaša otac), pravo je čudo da je Vincent postao makar onoliki Uliks koliko je vožnja češkim javnim prevozom Odiseja. Svejedno, Brutální vedro, i pored svoje nedorečenosti i više pažnje uložene u emociju nego u dramaturgiju, kao debitantski rad, obećava makar interesantnu budućnost za autore. Vizuelno upečatljiv i generacijski dobro utemeljen, sa nekoliko razdiruće dobrih emotivnih momenata, on vam neće potrošiti mnogo vremena a može vas barem malo trgnuti iz letargije.
(https://i.imgur.com/EtlaKCQ.png)
S Akvamena na umetnički film. Meho, divim se tvojoj širini!
Inače ovaj češki film ima ocenu 4.2?!
https://www.imdb.com/title/tt28544245/
Pa, nije to sad neki FENOMENALAN film, kako sam i napisao, relativno je nedorečen, jači je u segmentima nego kao celina, ali ima vizuelni karakter i ima tog divnog glavnog glumca, pa vredi da se pogleda.
Svakako sam ga stavio na watch listu...čamiće tu sa još jedno 1600 filmova.
A usput mi je imdb inteligencija preporučila i Usvit koji ima značajno veću ocenu te sam i njega dodaohttps://www.imdb.com/title/tt21054472/
Eh, ja sam odavno shvatio da nemam vremena da pogledam sve što "treba"da gledam, pa onda nastojim da sebe iznenadim tu i tamo :lol:
Kao meditativna studija samoće što deluje istovremeno i umirujuće i destruktivno, južnokorejska tiha, kompaktna drama Aloners (u originalu Honja saneun saramdeul – ljudi koji žive sami) je prilično uspešna. Kao pokušaj da se otužna banalnost post-mileniujumskog postojanja ukrsti sa malo folklorne magije vezanu za narodne skaske o duhovima, ovaj film kao da nije siguran dokle sme da ide da ne naruši delikatnu ravnotežu samoće koja zavodi poznatim, predvidivim, umirujuće familijarnim ali i lagano mrvi STALNO ISTIM. Kao iskaz u kome nam se prikazuje kako se izvući iz samsare trivijalnog, i ovaj film se završava iznenađujuće trivijalnom promenom status kvoa. No, naravno, iz pozicije džen-eksera koji je seo da gleda dramu, ovo je sve kao posmatranje žutog lišća koje vetar sa drveta lagano spušta u baru i uviđanje, posle skoro devedeset minuta kako su neki listovi zapravo crveni i da to iz korena menja celu stvar. Za mlađe gledaoce, ovaj film može biti i prikaz egzistencijalne tenzije koji je i ISUVIŠE stvaran a njegov kratki, nedramatični pančlajn može delovati kao bukvalno izašao iz bajke, nudeći I DALJE samoću ali pod novim, boljim uslovima.
(https://i.imgur.com/tm9hhMB.png)
Skoro da je truizam reći da način na koji ljudsko biće DANAS može da bude samo prevazilazi sve što nam je poznato iz dosadašnje ljudske istorije, a da je ta ,,nova" samoća najprisutnija u visokotehnološkim, komunikacijski avangardnim društvima istočne Azije. Japan je i u popularnoj kulturi već i unovčio sve one alarmantne reportaže o mladim ljudima koji nemaju ni društvo ni posao ni romantične partnere, koji po više meseci i godina ne izlaze iz svojih stanova i intelektualnu stimulaciju nalaze u besomnučnom trošenju anime, manga ili gejming sadržaja, ali ne treba da zaboravimo da je zemlja sa najbržim, najšire dostupnim internetom na svetu i dalje Južna Koreja i da je u njoj premeštanje interakcija izvan fizičkog ,,meatspacea" u kompartmentalizovani ,,kiberprostor" već dugo deo kulture onako kako je kod nas ostalih to tek počelo da uzima maha.
(https://i.imgur.com/aVKAuZh.png)
Glavna junakinja ovog filma, Jina, pokazuje film, i u fizičkom prostoru postoji u jasno odeljenim, kompartmentalizovanim celinama, kreiranim da budu efikasne, ekonomične i funkcionalne. Njen rad u kol-centru gde rešava probleme korisnicima platnih kartica odvija se u prostoriji uredno odeljenjoj na ,,kubikle" koji simuliraju lični prostor ukrašen igračkama i posebnim šoljama kako bi se jednoj skoro do parodije dehumanizovanoj geometrijskoj pojavi dao privid individualizovane, imenovane, ljudske topline. Veliki ekran sa imenima i brojevima ispred nje, slušalice sa mikrofonom na njenoj glavi su sve što Jina vidi i čuje tokom svog radnog dana, a što je horor koji bi pre možda svega sto ili stopedeset godina naši preci smatrali doslovno opscenim, sa jednim tako radikalnim razdvajanjem onog gde JESTE od onog što RADITE da gotovo da u potpunosti poništava ljudskost koju su marksisti i drugi levičari nalazili u radu. Kada šefica, ističući da Jina ima najveći broj poziva u toku meseca i najefikasnije ih rešava, malo i poplaši ostale koleginice da se stalno priča da im se preti kako će ih zameniti AI i da moraju VIŠE DA SE TRUDE zbog toga, ovo je praktično satiričan momenat jer se Jina, vidimo to u scenama kada razgovara sa klijentima NE TRUDI. Ona vrlo doslovno, vrlo metodično prolazi kroz ispisane scenarije za sve slučajeve koji joj se javljaju, ne angažujući ni trunku svog empatskog potencijala, niti, koliko možemo da vidimo, percipirajući ljude sa druge strane žice kao išta drugo do tipskih problema koji se rešavaju tipskim pristupom, sa naučenim ljubaznostima i automatskim izvinjenjima na mestima gde to diktira scenario, bez obzira na to ko je uopšte za šta igde kriv.
(https://i.imgur.com/oltePOm.png)
Pauzu za ručak Jina uvek provodi u istom restoranu uvek jedući isti ramen, sa slušalicama na ušima, gledajući na telefonu emisije o kuvanju – film ovde vrlo umešno nudi još satire bez ikakvog diskurzivnog angažovanja gledaoca, prikazujući mu mladu ženu koja angažuje sva čula u isto vreme, potpuno različitim sadržajima, ponovo razdvojena ne samo od prostora u kome se nalazi već i od ukusa hrane koju jede.
Kod kuće, Jina živi u malenom stanu koji ima mesta samo za krevet i – ponovo – veliki ekran televizora, gde ona opet jede, gledajući televiziju, i zatim spava.
(https://i.imgur.com/Q0pjB7W.png)
Drama u Jininom postojanju što je inače sklopljeno od celog dana perfektno uklopljenih repetitivnih aktivnosti koje ona izvodi na autopilotu i ne angažuje ni intelekt ni emocije, dolazi iz dva smera. Jedan je otac, koji je stalno zove koristeći telefon što je ostao iza preminule majke i insistira da mu treba njena podrška, iako, bez obzira na njegove tvrdnje da je star i bolestan, zapravo ima dinamičniji i emotivno ispunjeniji život sa prijateljima iz crkve u kojoj su on i supruga bili aktivni poslednjih godina. Jina ima web-kameru postavljenu u dnevnoj sobi roditeljskog stana, jer je njom, dok je majka bila živa, mogla da nadgleda njeno zdravstveno stanje na svom telefonu, a sada njome može da špijunira oca koji udovičke dane provodi okružen razumevanjem, toplinom, ljubaznom podrškom ljudi koji ga razumeju i vole. Jina ne govori mnogo ali resantiman prema ocu je očigledan, na ime njegovih prevara spram pokojne majke ali i na ime, reklo bi se, toga, da je on uprkos prevarama i ostavljanju, pa vraćanju svojoj ženi, sa njom imao bliskiji odnos nego ćerka.
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Drugi smer je nova radnica u kol-centru koju Jina, protiv svoje volje mora da obučava. Ni šefica nije srećna zbog ovog aranžmana jer time Jina ima manje vremena da se javlja na telefone, a klinka, Soo-jin, vidi se odmah, nije za ovaj posao. Malo je plašljiva, malo je nesigurna, malo je emotivna, a malo bi i da se druži sa Jinom i tokom ručka, pa onda u jednom trenutku donosi i sprej za grlo koji je za nju i Jinu ,,kupio njen tata". Soo-jin donosi dah privatnog i emotivnog u depersonalizovani, sterilni radni prostor kakav Jina (barem misli da) jedino želi i u kome najbolje funkcioniše, i tenzije između nje i Jine dovedu i do nekih malo hladnih momenata sa Jinine strane.
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Autorka scenarija, režiserka, pa i montažerka ovog filma, Hong Seong-eun je zapravo odrasla u Francuskoj i u njenom pristupu ,,problemu" ima dosta daha novotalasnog francuskog, estetizovanog realizma. Ovo je minuciozno kadriran i osvetljen film koji je, kad se saberete i oduzmete, urađen na svega 5-6 lokacija, dajući gledaocu i podsvesnu informaciju o tome koliko je Jinino postojanje skučeno, programirano, stalno isto. Hongova, kako je to danas u arthouse filmovima raširena pojava, veliki deo tereta ,,prodavanja" ovog filma prebacuje na lice glavne glumice, Gong Seung-Yeon, koja inače glumi po televizijskim serijama i ovo joj je i dalje jedini bioskopski rad, ali koja ga iznosi fantastično. Njeno pravilno, simetrično lice je Jinina maska i štit, a samo senke grimasa koje sugerišu njen unutrašnji život su tu da bismo tek naslutili šta ona ZAPRAVO proživljava iako to nikada i nikome neće pokazati, još manje REĆI. Jinine replike sastoje se, uostalom, gotovo isključivo od naučenih, oprobanih fraza, i kada treba da razgovara izvan formalizovanih situacija ona, sve do pred kraj filma svodi komunikaciju na što manji broj reči, utilitarno ih koristeći da što manje SEBE spakuje u informaciju koja treba da se prenese.
Hongovoj je ovo prvi celovečernji film, inspirisan sopstvenim iskustvom samoće, ali i svešću da trećinu južnokorejskog društva čine jednočlana domaćinstva a da je fenomen ,,godoksa", tj. slučajeva da osoba koja živi sama umre u svom stanu i da to ne bude otkriveno nedeljama i mesecima sve rašireniji. Hongova zato odmerenim tempom i vrlo sigurnim radom kamere, ali i jako solidnim radom sa glumcima – koji svi svojim likovima daju karaktere, iako su istovremeno jako prirodni – kreira jedan ultimativno realistički prikaz života u modernom Seulu, a koji, bez mnog objašnjavanja i reči, pogotovo bez ikakvih vizuelnih ,,dramatizacija" prenosi atmosferu duboke otuđenosti.
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Odsustvo dramatizacije, štaviše odsustvo drame je i jaka i slaba tačka ovog filma. Jina nije nekakva izgubljena duša koja pati i treba joj spas i naprotiv, njen lik u sebi sažima generaciju koja samu sebe spasava od mrveće običnosti, predvidivosti, automatizovanosti postojanja time što je hakovala postojanje da u svakoj situaciji, a koje su za nju po prirodi stvari nepodnošljive jer JESU nepodnošljive u svojoj banalnosti, predvidivosti, beznadežnoj repetitivnosti i plitkoći, ima mrvu autonomije. Slušalice na ušima, ekran pred očima, naučene fraze na vrhu jezika, Jina ne čeka da je neko spase jer ona sebe spasava već time da nikad nije STVARNO tu.
A što je tiha, neizrečena ali stalna tragedija za koju smo mislili da je prirođenija nama starijima koji se pitamo kako nam je život – i kada, tačno – postao procesija istih, jednih od drugih nerazaznatljivih dana, meseci i godina. Jina, kao i dobar deo njene generacije je ROĐEN i ispaljen direktno iz porodilišta pravo u tu tragediju, u optimizovan i automatizovan svet koji skraćivanje vremena svega što radite kako biste mogli da ga radite VIŠE smatra idealom vrline, gde se komunicira spremnim autocomplete frazama, lajkovima i emođijima jer je to brže, efikasnije i kulturološki RAZUMLJIVIJE od verbalizacije onog što osećate ili smatrate.
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I mada je to, sa jedne strane, strašno, Jina u svemu tome nalazi prostor da bude sama, ali sama u DOBROM smislu, da se distancira od onog što je zamara, pritiska, muči, da bude sama jer je to manje otužno od toga da sa drugima razmenjuje besmislice i naučene priče. I onda je prava tragedija da kada susretne ljude koji imaju te neke ,,staromodne" direktne kontakte (otac), ili provincijsko shvatanje etikete obraćanja gde ne žele da se nekom izvinjavaju zato što je taj neko prema njima bio nepristojan (Soo-jin), ili koji u socijalnom kontaktu, ma koliko mali i trivijalan bio, nalaze autentčno zadovoljstvo i ljubazni su daleko preko granice ,,optimuma" (novi sused koji pravi pomen preminulom prethodnom stanaru ,,jer je to ljudski"), onda je prava tragedija da se Jina pred njima još više povlači u sebe, ispoljava pasivnu agresivnost i svoju samoću, onaj njen loš, po ljudskost poništavajući deo samoće – podiže ispred sebe kao štit.
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Film pokušava da reši ovaj paradoks dve samoće, ali ne nudi naročito upečatljiv pančlajn na svom kraju, prikazujući, doduše Jinu kako izlazi iz status kvoa, ali na načine koji nemaju veliki simboličku težinu, Opet, čitav film je rađen u vrlo tihom, nenametljivom, realističkom ključu i Jinino probijanje obruča ponavljanja možda nije POBEDA samo za sebe ali jeste najava borbe. Priznajem da sam poželeo da film ima makar još deset minuta preko svojih urednih sat i po trajanja kako bi nam pokazao protagonistkinju, makar i dalje samu, ali kako radi nešto što nije ni utilitarno, ni naučeno. Možda samo da sedi na klupi usred dana i sunča se, gledajući u nebo umesto u ekran. Aloners, uostalom, kao da sve vreme ide u ovom smeru ali kao da se na kraju plaši da gledaocu ponudi išta konkretno, ostavljajući i njega i protagonistkinju da i dalje kontempliraju tome da li zaista postoje dve samoće i jesu li u stanju da između njih izaberu pravu ili je sve to jedna ista, mučna i neljudska otuđenost iz koje spasa NEMA.
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Deluje zanimljivo, u poslednje vreme sam zavoleo južnokorejce. Ide na watch listu.
Ja sam to gledao na MUBI-ju ako je od neke pomoći. I naravno, stilski i tematski nema veze ni sa kakvom južnokorejskom kinematografijom kakvu mi ovde inače trošimo, al to je valjda jasno i iz teksta.
Nema veze, to su ipak južnokorejska lica i jezik. Za mene je to najbitnije. MUBI mi ne znači, ja sam stari pirat.
Ima nečeg halucinantnog u tome kada ste klinac koji je odrastao u sedamdesetima i osamdesetima a onda kao već stariji čovek gledate kako Holivud prepakuje filmove na kojima ste formirali svoj (loš) filmski ukus i pravi nove verzije starijih priča. To da smo u poslednjih nekoliko godina videli nove nastavke Mad Maxa, Top Gun (https://cvecezla.wordpress.com/2023/07/21/film-top-gun-maverick/), Ramba, Indiane Jonesa (https://cvecezla.wordpress.com/2023/09/22/film-indiana-jones-and-the-dial-of-destiny/), Evil Dead (https://cvecezla.wordpress.com/2023/07/07/film-evil-dead-rise/) i reimaginacije Death Wish (https://cvecezla.wordpress.com/2024/01/26/film-death-wish-2018/), Toxic Avenger, Jacob's Ladder ili Hellraiser, sa sve najavama za rimejkove Videodroma, Scarfacea, Romancing the Stone, Commandoa, War Games pa i Starship Troopers nije toliko svedočanstvo te poslovične kreativne ispražnjenosti Holivuda o kojoj ljudi moje generarcije sada već redovno i zamorno pričaju kad god ih neko sluša (kao što su to radili i naši očevi pre nas, naravno), koliko potvrda da je plan o dugoročnom uzgajanju publike kojoj se nikada neće dopustiti da izađe iz emotivnog puberteta uspešan i da daje rezultate.
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Možda je pre tridesetpet godina bilo nenormalno da ljudi – koji se smatraju filmofilima – u svojim pedesetima i dalje gledaju akcione filmove gde se muškarci udaraju flašama o glave i jedni druge bacaju preko šanka u gomilu sveže srče. Možda se tada mislilo da su Kurosawa i Wenders nešto na šta prirodno sebe apgrejdujete posle nižih razreda u kojima ste trošili Errola Flynna ili Brucea Leeja, ali industrija se ipak nekako opametila u međuvremenu i mada naravno ne može svaki od nastavaka ili rimejk-pokušaja biti dobar kao Fury Road ili Maverick – pa tako dobijamo ćorke poput Rothovog Death Wish ali i onakav nastavak Blade Runnera (https://cvecezla.wordpress.com/2017/10/09/film-blade-runner-2049/)... – ljudi koji RAZUMEJU zašto su akcijaši osamdesetih bili tako BIG DEAL su ljudi koji danas nešto mogu da urade sa tim istim materijalom i sagrade od njega, da kažemo, metaforičku novu kuću, BOLJU od stare.
Pretpostavljam da je jasno kuda sam krenuo sa ovom pričom o kući pa ću reći daje ovogodišnji Road House ogledni primer kako možete uzeti jedan film za koga smo još krajem osamdesetih kolektivno odmahnuli glavom i promrmrljali da ipak nismo došli da se vređamo, a onda od njega napraviti iznenađujuće pitku akcionu komediju koja ne namerava da nas nauči bogznakako mnogo toga o ljudskom stanju ali će nam ponuditi sukob između nagruvanog, dehidriranog torzoa Jakea Gyllenhalla, i gole, još uvek perfektno zategnute stražnjice Conora McGregora, nešto odličnog rada kamere i promišljene borilačke koreografije koja je, za promenu, delimično bazirana na MMA realističnosti, te likove koji se ponašaju ne kao da su u rimejku osrednjeg '80s akcijaša već kao da su u filmu nastalom po stripu koji je pisan kao postmoderna parodija na osrednji '80s akcijaš i ti su likovi svi sve vreme svesni u kakvo se apsurdnim situacijama nalaze.
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Tajni sastojak, dakle, taj čovek koji ZNA i RAZUME je, naravno Joel Silver, čovek čiji je producentski opus doslovno bez premca u Holivudu i koji , evo već preko četrdeset godina kreira ogroman deo popularne kulture koja je memefikovana, folkorizovana, ugrađena u jungiansko kolektivno nesvesno do mere da možda klinci na TikToku (ili kojugod novu mrežu koriste deca kojoj je TikTok danas postao suviše bumerski) nikada nisu za njega čuli niti gledali ni jedan jedini od filmova što ih je Silver producirao, ali se možete kladiti da koriste fraze popur ,,I'll be back", ,,Bluepill" ili ,,Yippe ki yay motherfucker" koje su u javni govor ušle upravo posredstvom Silverovog rada.
Silver je sebe uspeo da ovaploti kao neku vrstu konačne forme tandema Menahem Golana-Yoram Globus, koji su ekslploatacijski akcioni film pretvorili u ozbiljan biznis tokom sedamdesetih i osamdesetih. Silver je krenuo od iste premise ali ga je on onda iz pukog ,,biznisa" transformisao u kulturu, dosežući daleko širi krug publike nego što su to mogli Enter the Ninja, Death Wish, Cobra ili American Ninja. Silverovi filmovi poput 48 Hrs., Commando, Lethal Weapon, Predator, Die Hard, pa onda Matrix, V for Vendetta, Ritchiejeva trilogija o Sherlocku Holmesu ali i srazmerno jeftiniji ali kulturološki uspešni Kiss Kiss Bang Bang ili The Nice Guys su pokazali kako se osvaja mejnstrim, kako se od eksploatacijske zabave za napaljene dečake pravi filozofija i postaje deo kulture glavnog toka, stavljajući ga u poziciju kojom ni jedan drugi producent ne može da se podiči.
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Ali dobro, imao je onda i ćorke poput originalnog Road House iz 1989. godine, u ono vreme možda i neobjašnjivog pokušaja da se napravi filozofski redneck akcijaš gde će glavnu ulogu igrati plesač koji je svega dve sezone ranije imao svoj veliki momenat u romantičnoj dansing-drami Dirty Dancing. Utemeljen na western tropima i smešten u Misuri, ovaj film i dan danas ljude navodi da se svađaju oko toga je li on toliko loš da je zabavan ili je naprosto loš, ali sa rimejkom iz 2024. godine postaje jasno da je i originalni film Rowdyja Herringtona bio Silverov pokušaj da akcioni film izmesti iz nihilističkog homoerotskog geta u koji su ga uterali Stallone, Schwarzenegger, Norris i pozniji filmovi sa Charlesom Bronsonom. Sa glavnim junakom koji ima doktorat iz filozofije ali radi kao izbacivač u kafani jer tegli traumu da je u tuči nehotično ubio čoveka, i sa Patrickom Swayzeyjem u glavnoj ulozi, Road House je, kad se malo bolje pogleda, bio pokušaj da se ponovi formula Scottovog Top Gun, ukrštanjem romantičnog i akcionog u formi modernog vesterna.
Srećom, za rimejk Silver je na režiserske dužnosti stavio Douga Limana, čoveka koji makar zna ponešto o snimanju urnebesne CQC akcije i mada ovde pričamo o filmu srazmerno visokog budžeta, Road House iz 2024. godine ima ponešto od MMA kredibiliteta koji je nama matorima možda i najvažniji jer već četiri ili pet decenija gledamo ljude kako se tuku pred kamerom i želimo da vidimo KRV. Ili makar kredibilne modrice.
Glavni junak OVOG Road House je, da bude jasno, i sam penzionisani MMA borac. Gyllenhaalov Elwood Dalton (Swayzejev lik je bio James Dalton) je bivši UFC izazivač koji je u svojoj finalnoj borbi, za titulu šampiona u srednjoj kategoriji ubio protivnika, ne prestajući da udara ni nakon sudijskog zaustavljanja. To da je Dana White odobrio licenciranje UFC logoa (sa sve urednim Venum i Monster Energy sponzorajem u scenama flešbekova) je notabilno i po tome što film, koji nema preterane filozofske ambicije, ipak prikazuje UFC i kao prostor u kome ljudi mogu postati životinje. Naravno da to doprinosi auri MMA sporta kao nečem i dalje pomalo edgy i transgresivnom, ali je važnije to da je Elwood Dalton u filmu formatiran maltene kao superheroj, sa ne samo superiornom borilačkom ekspertizom već i sa skoro potpunim imunitetom na hladno i vatreno oružje.
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Elem, zaplet već znate, vlasnica lokala u nekoj vukojebini na Floridi ima problem sa bajkerima koji dolaze povremeno i prave previše haosa u kafani koju joj je ostavio stric. Stric NIJE bio Martin Luther King, ali jeste bio Afroamerikanac koji je močvarnim rednekovima u šezdesetima udario kurac posred nosa praveći prvu crnu kafanu u mestu Glass Keys i uspevajući da od nje napravi funkcionalan biznis. Vlasnica veli da nije problem kad se gosti malo pošibaju, sve je to deo folklora, ali da bajkeri o kojima priča predstavljaju nešto drugo. Dalton kaže da ga sve to ne zanima, radije će da se bori u andergraund mečevima za pare gde uglavnom i ne mora da se bori jer kad ga protivnici vide i prepoznaju odustaju od meča, ali naravno da na kraju pristane.
Trop o sporom, uzdržanom antiheroju koji naizgled protiv svoje volje pomaže maloj zajednici da se odbrani od opasnosti spolja je toliko izlizan da scenaristi, Anthony Bagarozzi i Charles Mondry* nalaze za shodno da ovo eksplicitno potvrde kroz dijalog sa prvom osobom koju Dalton upozna kad siđe iz autobusa u Glass Keysu. Klinka koja sa ćaletom drži knjižaru kaže da vestern roto-romani iz pedesetih praktično mogu da previde sudbinu Elwooda Daltona se, zapravo, obraća filmskim snobovima u publici da im saopšti da su scenaristi svesni njihovog mrštenja, ali, mislim OVO JE RIMEJK, pa otud ovaj filozofski element scenarija ne dobija dalje mnogo kilometraže.
*inače čauši Shanea Blacka, i Silverovi pouzdani izvođači, pa su na neki način i Blackovi otisci prstiju iz druge ruke i dalje veoma vidljivi na ovom filmu
Kad smo već kod filozofije, Gyllenhaalov Dalton je čovek malo reči i u akciju prelazi samo kad je neophodno, dakle, jedna stoička stena od čoveka, ali istovremeno najveći deo filma na licu ima kretenski osmeh koji zaista sugeriše da je, kako i sam lik u jednoj sceni kaže, primio malko previše udaraca pesnajom u glavu u životu. On nema doktorat iz filozofije ali scenario mu daje par simpatičnih filozofskih replika koje Gyllenhaal prodaje odlično, pokazujući da je lik svestan da se od njega očekuju i šmekerski uanlajneri i biseri mudrosti u svakoj situaciji i da će dati sve od sebe da ispuni ovu ulogu pa makar i ne rekao ništa pametno. Kad ga doktorka kojoj je doveo pet bajkera što ih je sve izlomio od batina a da se nije ni oznojio pita jel' bar pobedio u tuči on skromno slegne ramenima i kaže ,,Niko nikada ne pobedi u tuči" i to je nekako kul i šmekerski i nije neko čudo da doktorka, kako smo svi znali da hoće, kasnije poželi da se malko posluži tim mesom iz Montane. Mislim, nećete za ovu ulogu kastotvati sjajnu portugalsku zvezdu u usponu Danielu Melchior, sem ako ne želite malo mediteranske vatre na Floridi, u filmu koji i pored EKSTREMNE količine psovki po modernim holivudskim standardima, erotiku i dalje svodi na flešovanje Gyllenhaalovih vena ispod kože isceđene od vlage i McGregorovih gluteusa u krupnom planu. Homoerotska kvota je ovde ispunjena već na pola filma sa montažama Daltonovog vežbanja na brodiću u kome sad živi, a kad se McGregor prvi put pojavi u kadru on je doslovno potpuno nag.
*ali film je pravljen u Amazonu a ne u tradicionalnoj studijskoj produkciji pa tu pravila nisu ista
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Gyllenaal odlično stoji u kadrovima i kad narod u gradiću krene da priča o njemu a simpatična šankerka u Road Houseu* da flertuje sa njim, kada kelneri i šankeri krenu malo pod njegovom podukom da izbacuju pijane i besne goste i to svima ulije malo više osećanja sigurnosti, film dobija taj pozitivni, komuntaristički duh koji je original tražio, ali ga zapravo ne razvija mnogo u drugoj polovini radnje, pre se fokusirajući na individualne likove. E, sad, zgodno je što sa druge strane stoji Billy Magnussen koji ulogu ljigavog negativca igra sa ekstremnim apetitom.
*kafana, dakle, za razliku od one u originalu nema pravo ime, već samo Road House, ali naravno da ćete logo Double Deuce videti u filmu jer danas Holivud ,,easter eggs" shvata ozbiljno, češće ozbiljnije od mnogih ,,pravih" elemenata produkcije
Scenario uspeva da još jedan ogroman kliše – kafana je zapravo trn u oku lokalnom moćniku čiji preduzimački planovi o džentrifikaciji i građenju risorta za ,,rich assholes" nailaze na prepreku kad tvrdoglava vlasnica kafane, Frankie, odbija da je proda jer je to njen porodični biznis i deo emancipacije crnih Amerikanaca u tradicionalno belom delu SAD – besprekorno plasira u naše naručje, mudro igrajući na nedorasli, narcisoidni ego Magnussenovog lika koji je sin STVARNOG glavnog baje – a što trenutno robija – i misli da je ozbiljan gangster iako se okružio nesposobnjakovićima i ulizicama. Film tako posle relativno umirenijeg početka prebacuje stvari u očigledno komičnu traku sa uvođenjem Magnussenovog lika u priču a kada se posle toga pojavi McGregor sa misijom da, pa, reklo bi se, da samo pravi haos, on skoro da postaje crtani film.
(https://i.imgur.com/I9VayXA.png)
Ali to mu i priliči. Ovo nije neki INTELIGENTNI drugi pokušaj da se od starog Road House napravi novi Top Gun, već film koji sa puno razumevanja secira stari Road House na komadiće, pokazuje koliko je on bio iracionalno glup i bezumno pogrešan, i uživa u prilici da te gluposti potkazuje kako u tekstu tako i u besnim, brutalnim akcionim scenama.
Akcija je zaista odlična ovde i kada se posle prvih desetak minuta Liman mane sepija filtera i stvari prenese u šareniji, za oko prijemčiviji ambijent floridskog ostrvlja*, direktor fotografije, Britanac Henry Braham koji je već pokazao da apsolutno briljira u akciji sa drugim (https://cvecezla.wordpress.com/2017/05/07/film-guardians-of-the-galaxy-vol-2/) i trećim (https://cvecezla.wordpress.com/2023/05/19/film-guardians-of-the-galaxy-vol-3/) Guardians of the Galaxy ali i sa nesrećnim The Flash (https://cvecezla.wordpress.com/2023/09/01/film-the-flash/), i montažer Doc Crotzer (češće zaposlen na televiziji) imaju prilike da se pošteno razigraju. Liman ovde pravi nekoliko urnebesno dobro osmišljenih scena u kojima kamera leti zajedno sa likovima i tera gledaoca da prosto oseti težinu pada kada se on dogodi, dok su tuče koreografisane pažljivo (iskusni Steve Brown koji je radio stantove i na Loganu (https://cvecezla.wordpress.com/2017/03/05/film-logan/) i na Wonder Woman (https://cvecezla.wordpress.com/2017/06/17/film-wonder-woman/) i na drugom Black Pantheru, drugom Avataru, trećim Guardiansima) sa ukusnim prelascima u POV kadriranje ali i nekim rvačkim zahvatima i bacanjima koja vam malo i poremete osećaj za ravnotežu pa se malo čvršć uhvatite za ivicu sedišta. Liman je i u scenama koje nisu akcione, zapravo vrlo razigran sa kamerom, pametno koristeći snimanje iz ruke da scenama koje su samo uobičajeni dijalozi testosteronom zatrovanih muških sirovina podari duhovitu dinamiku i potkaže čitav žanr kao imanentno smešan. Hoću reći, Liman NIJE Ritchije ali Road House je definitivno njime inspirisan.
*koje za ovu priliku glumi Dominikana
A tu je onda i taj scenario, u kome likovi svaki čas pokazuju koliko su neke scene besmislene, razvedene od racija i nemoguće u stvarnom životu i mada je možda previše reći da su video-igre uticale na nastanak ovog scenarija, svakako postoji mera osmostskog upliva njihove logike u sve faze razvoja projekta Road House, gde ,,minioni" (što bi mi rekli ,,čauši") znaju svoje mesto u piramidi straha, prosto jer su gledali filmove i igrali igre u kojima su isti takvi kao oni tretirani praktično kao klonirani resursi, pa je svaki njihov napor da u scenu unesu malo karaktera i individualnosti jedna simpatična pobuna.
(https://i.imgur.com/3f9FMj1.png)
Naravno, Conor McGregor je karikatura Conora McGregora iz stvarnog života, irski kovitlac bahatosti i nasilja i mada njegova uloga očigledno postoji isključivo jer je Silver MOGAO da samog McGregora dobije za nju i nema neko specijalno dramaturško opravdanje, njegovo prisustvo svakako potvrđuje tu sponu sa MMA/UFC kulturom koja je danas važnija za akcioni film od bodibilderske koja je porodila akcione heroje osamdesetih.
I to je onda Road House, stara priča ispričana modernim jezikom, koja tek u svom rimejku zapravo dobija smisao, dotičući kulturu glavnog toka na način koji je plauzibilniji i relevantniji od bilo čega što je Silver pokušao 1989. godine sa originalom. Dakle, ovo nije ni na koji način TRANSGRESIVAN film, naprotiv, vrlo je mejnstrim, ali na jedan zdrav način u kome Silver pouzdano demonstrira da njegovo nebavljenje superherojštinom nije bila nikakava anomalija već da mu oni naprosto nikada nisu bili potrebni. Road House ima svu superherojsku akciju koju biste mogli da poželite od novog Marvelovog filma, ali bez naslaga ,,lorea" i CGI setova, sa sve naklonima UFC-u, Metaliki i letovanju na Floridi, da vam naprosto ponudi ugodnu srednjeklasu zabavu za Subotu uveče i ubedi vas da je Ponedeljak ujutro još godinama, možda i decenijama u budućnosti. A ako za 35 godina dobijemo novi rimejk ovog filma, tim zanimljivije.
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Nisam siguran da se u Srbiji mnogo zna o kosovskoj kinematografiji, već i time što bi se u atmosferi u kojoj živimo čak i diskutovanje o nečemu što bi bila ,,kosovska kinematografija", koju negde na teritoriji naše južne pokrajine prave ljudi izvan kontrole Beograda, moglo smatrati malo jeretičkim. Festival ,,Mirëdita, dobar dan", namenjen upravo povezivanju mladih osoba iz Srbije i sa Kosova može da posluži i kao pokazni primer kako mogu da prođu napori da se izgrade nekakvi mostovi između populacija koje bi po prirodi stvari trebalo da imaju zajednička interesovanja ili makar radoznalost, sa ,,neformalnim aktivistima" koji će se potruditi da se u taj napor useru kada procene – ili neko u njihovo ime proceni – da se tu prišlo preblizu davanja Kosovu statusa države. Malo li je izložbi bilo prekidano a za profesore univerziteta tražena ostavka, kako se to kaže, na ulici (ili makar u foajeu fakulteta) kada se patriotski, i još gore, tradicionalistički, vernički diskurs stavio u službu vrlo uskogrudo shvaćenih nacionalnih interesa...
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Tretirati film Në kërkim të Venerës odnosno Looking for Venera (odnosno U potrazi za Venerom) kao regionalnu produkciju, dakle, može da bude problem, ali praviti se da ne postoji je, naravno, jednako davanju za pravo onima koji i dalje rade na tome da se kosovski konflikt produži jer je dobar rat u najavi bolji od nepravednog mira. Što znači da je najjednostavniji način da se o njemu priča taj da se posmatra kao domaći film. I, evo, odmah na početku da kažemo, da domaća kinematografija makar jednom u dve godine izbaci ovakav film, skoro da bismo mogli da kažemo da se ovde nazire nekakav tračak svetla u tunelu.
Ne da je sad Në kërkim të Venerës nešto što nikada niste videli, ali ovde jeste u pitanju iskren, bez filtera urađen polaroid jedne svima nama bliske zajednice, napravljen u doslednom neorealističkom ključu, gotovo potpuno lišen didaktičkih pasaža i ostavljen da rezonira sa onim što znate dok vam pokazuje ono što samo slutite.
Në kërkim të Venerës počinje scenom seksa na otvorenom, u šumi iznad tunela, gde srednjoškolka, vraćajući se sa časova, a pre nego što će je otac pokupiti kolima zatiče svoju drugaricu sa dečkom u koga ova, pojasniće kasnije, ni slučajno nije zaljubljena. Seks je nespretan, grub, čak i neugodan za gledanje i ovde nema ni trunke ,,muškog pogleda" na akciju, naprotiv, ono kako je scena slikana verovatno značajno više rezonira sa ženskim iskustvima prvih tinejdžerskih snošaja, uključujući elemente straha, stida i mučnine.
(https://i.imgur.com/wEYCEaM.png)
Naravno da je ovo režirala žena i naravno da je Në kërkim të Venerës u suštini feministički film, ali režiserka Norika Sefa, koja je i napisala scenario, ne ulaguje se evropskom festivalskom gledaocu nekakvim obilaženjem opštih mesta i direktnim sricanjem problemskih celina koje ovaj film obrađuje. Naprotiv, pričamo o filmu koji je rađen uzdržano, na ivici dokumentarizma, sa kamerom koja kao da beleži dešavanja gotovo potajno, najčešće nepokretna, postavljena u zadnji plan, da snima scene po dubini dok se likovi ispred nje smenjuju, rade svakodnevne, banalne stvari i imaju drame koje se, u natrpanim kosovskim (ali i šire balkanskim) multigeneracijskim domaćinstvima moraju držati tihim, diskretnim, neprimetnim.
Sefa zna da radi ovakve stvari. U svojoj biografiji već ima hibridne dokumentarne filmove, od kojih je jedan rađen usred peruanske džungle, pod patronatom najvećeg gerilskog dokumentariste u istoriji sedme umetnosti, Wernera Herzoga. Autorka ima diplomu ugledne ,,Praške škole", odnosno Akademije FAMU u Pragu koju su završili i Kusturica i Paskaljević i Karanović i Marković i Grlić, pa u tom smislu, ako U potrazi za Venerom tretiramo kao domaći film možemo da govorimo o jednoj novom milenijumu primereno svedenijoj poetici u ekspresiji, ali i o izrazitoj vizuelnoj maštovitosti i disciplini. Direktor fotografije je ovde veoma iskusni Luis Armando Arteaga – pretpostavljam da ga je Sefa upoznala tokom svoje latinoameričke avanture – i kamera je ono po čemu film PRIMETNO odskače od domaće ili regionalne produkcije. Domaći film – i televizija – se svakako mogu pohvaliti solidnim zanatskim standardom fotografije kao jednim od svojih najjačih oružja, ali Arteaga ovde ide daleko preko granice zanata, dajući filmu naglašen karakter kroz promišljanje svakog kadra. Sefin rad sa glumcima, ali i produkciju zvuka ovde takođe treba pohvaliti, zaključno sa pažljivim, ukusnim korišćenjem kolornih filtera da se slici da dokumentaristički ali onda samo malo ,,zagrejan" kvalitet, tako da se filmu podari potrebna artistička dimenzija.
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Në kërkim të Venerës, dakle, izgleda veoma dobro i u umetničkom smislu, ali slika istovremeno nudi mnogo informacija koje bi drugi filmovi morali da ubace u tekst. Ne mogu da nagađam gde je tačno sve ovo snimano ali Kosovo koje se vidi u filmu je Kosovo raskopanih, neodržavanih eksterijera i natrpanih stanova u kojima živi po nekoliko generacija, sa televizorima – katodnim, naravno – na kojima još uvek stoje šustikle, videokasetama neuredno uguranim u police, telefonima na preklop. Ovde nema smartfounova i zapravo glavna junakinja i nema svoj telefon, pa je i njeno odsustvovanje iz porodične kuće time veći problem za roditelje koji joj moraju verovati na reč da će se ponašati kako treba i biti pametna. Scenografija je, dakle, takođe veoma dobra i film ne mora da troši reči da bi oslikao društvo koje analizira, odlučujući se samo na par prolaznih referenci na neimenovani rat a koji je, sudeći po svemu što se u filmu vidi, u tom trenutku star manje od decenije.
Sefa je ovaj film završila 2021. godine, za premijeru na festivalu u Roterdamu a gde je onda on dobio i specijalnu nagradu žirija, pa zatim bio i kosovski kandidat za Oskara 2023. Nisam, doduše, ni siguran koliko film koji praktično ni malo ne igra na kartu balkanske egzotike može da pobudi u zapadnom gledaocu – ili kritičaru – potrebne emocije. Zato i jeste važno da ovaj film gledamo mi, Balkanci jer to što je on smešten u malo mesto na Kosovu gde su ,,stranci", kako se čuje u prolazu, dosta toga obećavali ali na kraju nisu ponovo otvorili propalu fabriku, čini se maltene kao slučajnost i gotovo identičan narativ biste videli i u Srbiji, Severnoj Makedoniji (čiji su jednim delim i producenti ovog filma), Bosni i Hercegovini, Crnoj Gori, Albaniji...
Në kërkim të Venerës jeste pre svega narativ jer ovde nema mnogo ,,dramskog" zapleta. Glavna junakinja, Venera, od svoje drugarice, Dorine, čuje da ova uopšte nije zaljubljena u mladića sa kojim se povremeno tajno viđa i ima seksualne odnose, i ovo joj postepeno otvara horizonte radoznalosti. No, dok je Dorina sva ekstrovertna i čini se da svu svoju energiju i vreme ulaže u maštanja, planiranja i diskutovanja svojih budućih erotskih avantura, Venera je zagledanija u sebe i pokušava da spozna šta ona sama zapravo želi. Ovo glavni lik interesantno smešta između dva ,,tradicionalna" puta, onog u kome roditelji kontrolišu seksualnost svoje ćerke, čuvajući je budno od posrnuća sve do momenta kada se pojavi prava prilika za udadbu, ali i onog u kome se mlada i moderna devojka otrže okovima običaja i koristi svoju seksualnost za ekspresiju ličnosti, ali potencijalno po cenu socijalnog izopštavanja ili emocionalne nezadovoljenosti.
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Kosovare Krasniqi koja igra Veneru veoma solidno umeće svoj lik u taj procep gde se obe varijante čine podjednako ,,tuđim". Njena želja je prevashodno da dokuči sebe i bude samovlasna, a ne da robovanje krutom roditeljskom režimu zameni bacanjem u pravcu muškaraca po svaku cenu. Ovo se, rekosmo, odvija bez mnogo didaktike i Sefa izbegava readymade rešenja direktno iz feminističke literature. Film pokazuje glavnu junakinju kako izražava svoj resantiman prema roditeljima što se trude da je pretvore u svoju kopiju – onako kako su to njihovi roditelji uradili njima – ali i što tinejdžerku tretiraju daleko strože od dvojice mlađe braće koji su dva zajebana antihrista što prave haos gdegod se pojave i svi to, prirodno, smatraju dečačkim prerogativom, ali je njen bunt, kada se otrgne roditeljskoj kontroli, lišen glume i naučenog ponašanja koje vidimo kod Dorine. Venera ne želi da glumi da joj je lepo onda kada pokušava da shvati da li joj je zapravo lepo i Krasniqijeva ovo besprekorno (ne)odglumi.
Srazmerno iskusnija glumica Rozafa Celaj – koja igra Dorinu – je pak veoma dobra kao devojka istog uzrasta kao i Venera, ali kod koje su tragovi ,,detinjeg" u karakteru brižljivo zakopani ispod frizure, odeće, šminke ali i ponašanja kojim ona uvek emituje signal da sve unapred zna, da ima iskustva, da sve drži pod kontrolom i da će svaka situacija u kojoj se nađe biti situacija koju je ona odabrala. Film programski izbegava da lik Dorine prikaže kao nekakav ideal samovlasnosti jer i njeno postojanje u sitorinjskoj balkanskoj vukojebini obeleženo je patrijarhalnim okovima za koje se ova samo pretvara da ih je izigrala, ali istovremeno izbegava i da je na bilo koji način osudi. Dorina i Venera žive u modernom dobu, imaju televiziju, internet, mobilne telefone i Dorinin način da bude svoja, ma koliko bio zasnovan na glumi i pretvaranjima, je makar svetionik drugima da se ne mora igrati po pravilima starih generacija.
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,,Mojoj majci", kaže Dorina u jednom momentu, nešto nakon što smo saznali da joj je otac poginuo u ratu, ,,je moj otac bio prvi muškarac kog je poljubila." A biće, čujemo odmah potom, i poslednji jer se udovica mora baviti decom i bilo bi nečuveno da ona sebi traži novog muškarca.
Ponovo, Sefa ovakve stvari stavlja u jedan vrlo prirodan, vrlo uverljiv kontekst. Svi mi znamo da i dalje po svim našim zemljama žena koja u četrdesetim obuče crninu, često više iz nje nikada ne izađe, kao što znamo zašto dečaci mogu a devojčicama se ne da. I to se vidi kroz nekoliko besprekorno sugestivnih scena u kojima nema dijaloga i zapravo sve što se događa se događa izvan vidokruga kamere, ali zvuk i ono što vidimo pokazuju da dečacvi znaju da je svet njihov da ga naslede i oblikuju po svom nahođenju.
Čak i Venerina majka zna da je to nepravda i mada to nikada neće reći – i njoj je njen muž, Venerin otac, prvi i poslednji muškarac u životu – ona će ćerki malo i zavideti na hrabrosti da se suprostavi ocu, pa čak i njoj samoj. Naizgled kontraintuitivno, ali zapravo sasvim dosledno, nakon što Venera majku izvređa za to što je potpuni rob patrijarhalne norme, ova joj postaje bolji saveznik. Kad Venera treba da ide na žurku, majka joj kaže da je haljina suviše otvorena i, znate već, da će se prehladiti, ali onda i doda da je PRELEPA. Pa posle na Venerino uzbuđeno ,,idem na svoju prvu žurku" kaže da ona sama nikada nije bila na žurci. Ćerka tako, ne postaje kopija svoje majke već majka kroz ćerku ima delić uzbuđenja i avanture koji su njoj zauvek ostali uskraćeni.
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Filmovi ovog tipa, arthouse produkcije ciljano rađene za festivale, naturalističke u izrazu i programski lišene dramske strukture i dramske ekspresije, umeju da budu problematični. Često kod njih imate procesiju nekakvih scena koje brižljivo prikazuju banalnost svakodnevnice, često imate utisak da su scene mogle ići bilo kojim redosledom, da je film mogao biti i dvadeset minuta kraći ili, još gore, skraćen NA dvadeset minuta, da mu nedostaje artistička dimenzija i da se autor nadao da prosto izražavanje problema kojim se bavi znači i da je obavio svoj posao. Ali Në kërkim të Venerës nema ni jedan od ovih nedostataka. Izbegavajući strukturu i žanrovski jezik drame on svejedno ima jasan karakterni luk za Veneru, sa sve dramskim akcentima vezanim za buđenje svesti glavnog lika, za preuzimanje kontrole nad svojim izgledom i svojom seksualnošću, za sumnje koje ima ali i za pobede koje sebi priznaje. I sve ovo radi bez nekakvog diskurzivnog objašnjavanja gledaocu šta se to pred njegovim očima dešava. Taj povučeni, ne čak ni dokumentaristički, već, rekli smo, gotovo tajni rad kamere znači i da scene koje gledamo deluju prirodno, a dijalozi u kojima se govori o sramoćenju porodice a u sledećem dahu hvali domaćica kako je dobro umesila pitu, pa se onda kaže da su mladi, jeste, MLADI, ali da smo mi u njihovo vreme već radili i donosili novac u kuću, da su oni toliko TAČNI da ste do ovog momenta već zaboravili da gledate film na Albanskom sa gomilom srpskih tuđica i čini vam se da proživljavate traumatičnu uspomenu iz sopstvene mladosti.
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Srbija ne snima ovakve filmove, barem ne tako da oni završe na HBO Maxu i Mubiju. Srbija je nekada imala filmove kao što je bio smeli, prodorni Klip Maje Miloš, a koji su tretirali slična pitanja – samo u urbanijem mizanscenu – sa gotovo nečuvenim intenzitetom i iskrenošću. To da je Klip izašao 2012. godine (i, da podsetimo, i sam bio nagrađen na festivalu u Roterdamu), da Maja Miloš posle toga ništa slično nije režirala (dakle, ni jedan dugometražni igrani film), a da su nam se u međuvremenu desili Radikali i da danas imamo paradržavne projekte poput Oluje (https://cvecezla.wordpress.com/2023/08/11/film-oluja/), Dare iz Jasenovca i Heroja Halijarda (za koje nije problem što postoje, naravno, nego što monopolizuju srpski kulturni izraz) pored naplavina sve manje zanimljive žanrovske produkcije je verovatno i najbolji razlog da gledate Në kërkim të Venerës, ali i da ga preporučite drugima za gledanje. Pod izgovorom da nam je ,,prava" istorija bila skrivana i zabranjivana skrenuli smo već na sledećoj krivini direktno u ambis fetišizacije prošlosti i deifikacije tradicije i pustili da umetnost koja analizira i kritički posmatra fetiše tradicije, kolektivizma i patrijarhata dobije stigmu nečistog. Film kao što je Në kërkim të Venerës bi trebalo da nas trgne i natera da se zapitamo kada ćemo ponovo videti ovakve filmove na Srpskom jeziku. Do tada, eto, možemo samo da svojatamo Kosovo i busamo se u prsa junačka, dok puštamo da istorija na koju se toliko ložimo, teče mimo nas. Pa makar i ova tiha, diskretna istorija rodnog osvešćivanja na Balkanu, urađena spretno, časno i IMPRESIVNO.
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Meho, uživao sam u ovom osvrtu. Prava je šteta što ne objavljuješ u nekom ozbiljnom magazinu ili portalu.
Nisam siguran da to danas postoji, tako da, moj blog i Sagita su optimalni mediji :| :| :|
,,Osvetu ne možeš dobiti ljubaznošću.
Neprijatelja ne možeš pobediti saosećanjem.
Moraš nositi oklop napravljen od gneva i bola.
Jednostavno moraš postati kao životinja."
(https://i.imgur.com/CsNzClC.png)
Ako gornje reči deluju kao da se neko obraća direktno vama, i na svaku ste sledeću rečenicu klimali glavom sve jače i jače dok niste završetak proklamacije dočekali na nogama, uz zverski urlik oslobađanja primarnih instinkta, pa, onda ste prava ciljna grupa za film Shogun's Ninja I mada kasnite četrdesetčetiri godine za premijerom, nikada nije kasno da se čovek nadivi tome šta su sve posvećeni kaskaderi i majstori borilačkih veština bili u stanju da urade samo da bi bioskopska publika zadivljeno prepričavala njihove vratolomije po izlasku iz zamračene sale, ali i koliko su ondašnji scenaristi bili spremni da potegnu važnih istorijskih ličnosti da bi dali pravilan kontekst filmu u kome muškarci mačem odbijaju strele ispaljene na njih, kao da su u pitanju strukovi maslačka a žene vade čelične igle iz punđi i njima sa dvadeset metara, viseći naglavačke, pogađaju pravo u čelo vojnike što su se drznuli da na nišan uzmu njihovog ljubljenog. Shogun's Ninja je originalna japanska produkcija, samo jedan u nizu nindža filmova kakve je studio Toei – naporedo sa drugim studijima – štancovao bez milosti. Toei je od sedamdesetih godina prošlog veka imao dosta uspeha i sa televizijskim produkcijama, pa je studio čovečanstvu podario takve legendarne serijale kao to su Kamen Rider, Super Sentai i naravno Ninja Captor, ali u filmskoj sferi je ova firma imala ne-tako-tajno oružje u liku Sonnyja Chibe, verovatno najpoznatijeg i najvažnijeg japanskog filmskog majstora borilakih veština. Specijalizovan za B-filmove, Toei je početkom sedamdesetih napravio priličan ršum sa filmom (a onda i serijalom) The Street Fighter (https://cvecezla.wordpress.com/2022/02/11/film-the-street-fighter-aka-gekitotsu-satsujin-ken/)
koji je Chibu definitivno cementirao kao ,,japanskog Brucea Leeja", pa je do 1980. godine* pojavljivanje novog filma o nindžama u kome će Chiba igrati jednu od glavnih uloga, ali biti i koreograf i supervizor kaskadera, definitivno obezbediti dužnu pažnju javnosti. *ovde vredi istaći da IMDb unosi beskrajnu konfuziju time što ima dve stranice za ovaj film. Jedna gde je naziv filma Shogun's Ninja, tvrdi da je film izašao 1983. godine – iako nije, film je polovinom Novembra 1980. imao japansku premijeru – i nudi vrlo šture podatke o svemu, nikakve prikaze korisnika itd. Druga ima tačne datume, imena likova i gomilu prikaza, ali se na njoj film zove Ninja Warriors, a što je, pretpostavljam, bio prvi distributerski naziv u SAD i eto... (https://i.imgur.com/dNA766W.png) I to ne samo u Japanu. U SAD će naredne godine izaći Enter the Ninja, film Menahema Golana kojim je zvanično otvorena sezona američkih filmova o nindžama i ozvaničen generalni seizmički pomeraj u popularnoj kulturi. Nindže su odjednom bile svuda, od Shoa Kosugija koji je od uloge negativca u Enter the Ninja dobio glavnu ulogu u njegovom nastavku, Revenge of the Ninja, preko antagonista u stripovima Franka Millera, pa sve do Nindža Kornjača koje su i nastale kao parodija na stripove Franka Millera. U svoj toj gužvi lako je pomalo i zaboraviti da su filmovi poput Shogun's Ninja po većini merila i dalje bili superiorni u odnosu na bilo šta što je rađeno preko bare, nudeći ne samo razrađeniju produkciju sa sve kvalitetnom scenografijom i kostimima, borilačkom koreografijom i ekspertizom u snimanju akcije, već i privid ,,ozbiljnijih" narativa sa svojim istorijskim mizanscenima i fotografijom koja je delovala značajno umetničkije kroz korišćenje kvalitetnih širokougaonih sočiva i odabir atraktivnih lokacija. (https://i.imgur.com/RwfKaUU.png) Režiser Shogun's Ninja, Norifumi Suzuki, nije bio neko ko sebi umetnost stavlja u zadatak kada ujutro ustane da krene na posao, ali jeste bio u pitanju ozbiljan, pouzdan profesionalac koji je nakon napuštanja studija ekonomije – jer šta ste uopšte u još uvek okupiranom i razorenom Japanu mogli da učite o ekonomiji ranih pedesetih godina prošlog veka? – došao u Toei da radi kao asistent režije a onda se nametnuo kao solidan scenarista i vešt, svestran režiser. Do kraja sedamdesetih, Suzuki je Toeiju podario nekoliko pristojnih hitova i jedan BAŠ hit serijal, Torakku Yarō, gde je posle uspeha prvog filma o ,,Kamiondžijama" u četiri godine on režirao još devet nastavaka. Za Shogun's Ninja Suzuki je radio sa scenarijem koji su napisali Takao Ishikawa, Ichirō Otsu i Shirō Kannami, smeštajući radnju u preloman istorijski trenutak a Toei se svom šampionu isprsio za setove, kostime, konje, specijalne efekte i Sonnyja Chibu. I nisu zažalili. (https://i.imgur.com/l2xzgzo.png) Shogun's Ninja je na momente urnebesna akciona ekstravaganca sa Chibinim koreografijama koje prolaze kroz stadijum maštovitog i ulaze u teritoriju sumanutog. On je takođe na momente i čista akciona komedija ali do kraja pokuša da bude i malo dramatično ozbiljan, pa usput pobije dobar deo vrlo simpatičnog ansambla kako bi glavni junak imao motivaciju da u finalnoj, atraktivnoj borilačkoj sceni bez mnogo ustezanja presudi svom glavnom rivalu. Uobičajen program, ali uz neuobičajeno trajanje gde film, makar u ovoj BluRay verziji koju sam ja gledao, traje duže od 110 minuta i u opasnosti je da bude predugačak za nešto što je u suštini samo akcioni film sa nindžama, trambulinama, trapezima, katanama, šurikenima,nunčakama i nekoliko desetina pušaka-kremenjača. Ono po čemu je ovaj film notabilan u istoriji ne samo japanskog filma je da je u pitanju prva glavna uloga za Hiroyukija Sanadu, jednu od stožernih figura japanskog akcionog filma poslednje četiri decenije, a koja je napravila i uspešan, pa možda i najuspešniji, krosover u Holivud, ali i u, neočekivano, britanski teatar. Sanadu ste SIGURNO gledali jer je igrao maltene u svakoj franšizi koja bi mogla da vam padne na pamet, od Mortal Kombat, preko Rush Hour, Avengers, John Wick i Bullet Train, do televizijskih serija Lost i Westworld. Ovogodišnji FX-ov televizijski hit-serijal Shōgun ni sam nije mogao da prođe bez njega. (https://i.imgur.com/klgcVgo.png) A kad smo već kod šoguna, vredi reći da Shogun's Ninja, pravite se sad da ste iznenađeni, ima nindže ali nema nikakvog šoguna, naprosto jer se film događa pre uspostavljanja Tokugawa šogunata u Japanu. Ali se bavi – doduše vrlo slobodno – istorijskim ličnostima i događajima koji jesu neposredno doveli do njegovog uspostavljanja. Pričamo, dakle, o šesnaestom veku i velikoj kampanji Ode Nobunage da ujedini Japan time što će razjedinjeno, nezavisno plemstvo vojno poraziti i staviti se na čelo novoformirane države kao opšti vođ i gospodar. Nobunaga se pominje u prvoj sceni ovog filma, ali se u njemu ne pojavljuje a vredi podsetiti da on nikada nije dočekao da vidi ujedinjen Japan jer ga je jedan od njegovih generala, Akechi Mitsuhide, izdao i naterao da se ubije, da bi ga nasledio drugi zapovednik, Toyotomi Hideyoshi, koji je kompletirao Nobunaginu viziju. Hideyoshi jeste jedan od likova u ovom filmu i njegovi planovi za pokoravanje porodice Momochi demonstriraju nam kako njegov oficir, Shiranui Shōgen koristi pritvorne nindža-tehnike i taktike da sruši moćnu ratničku porodicu i pobije celu lozu osim deteta, Takamarua koje požrtvovani samuraji uspevaju da spasu i da ga prošvercuju u Kinu. Takamaru se vraća nekoliko godina kasnije i traži osvetu, ali i Hideyoshi se nada da će se ovaj vratiti jer na bodežu koji je malom Takuu ostavila pokojna majka ucrtana je mapa do tajnih rudnika zlata kojima bi Hideyoshi da finansira dalje pokoravanje suparničkih klanova i ujedinjenje Japana. (https://i.imgur.com/xkmBxJ7.png) S obzirom da je film prevashodno akcionog tipa, uloženo je nesrazmerno mnogo napora u istorijsku preciznost pa Hideyoshija igra vrlo kvalitetni Asao Koike a narativ prikazuje i njegovog sina i naslednika, Toyotomija Hideyorija i precizno ukazuje da je ovaj nakon očeve smrti sa svega pet godina preuzeo vođstvo nad klanom i, posledično, bio posmatran kao pretnja apsolutnoj vlasti šoguna Tokugawe Ieyasua koji će zvanično početi da vlada od 1600. godine, dakle u momentu kada je Toyotomi punio tek sedmu godinu. Ne da se film bavi nekakvom velikom razradom ovih tema, u Takamaruove trening-montaže uloženo je više vremena nego u obrazlaganje politike sa kraja perioda Sengoku, ali jeste zanimljivo videti da su pored svih ovih istorijskih likova scenaristi ubacili čak i Hattorija Hanzōa, jednog od najslavnijih samuraja svog vremena, za koga se smatra da je spasao život Tokugawi i bio direktno zaslužan što je ovaj zauzeo poziciju šoguna. Isao Natsuyagi koji igra Hanzōa je hodajuća harizma i to da ga film koristi i za prilično humoristički pančlajn u finalu je podsećanje da ovo NIJE ozbiljna ,,jidaigeki" produkcija istorijske drame već akcioni film sa simpatičnim viškom konteksta. (https://i.imgur.com/9ZtKUfA.png) No, akcija je fantastična. Sonny Chiba kao iskusni i opasni Shogen Shiranui i Hiroyuki Sanada kao Takamaru Momochi su naprosto čarobni. Chiba ovde više ide na harizmu i pojavu jer po prirodi stvari ima manje scena u kojima se sam bori protiv protivnika, budući da komanduje velikom jedinicom. No, za sebe je iskusni borac smislio gotovo perverzan borilački ,,potpis" gde u ozbiljne sukobe ide u kombinaciji sa svoja dva ađutanta od kojih je jedan nem a drugi gluv i koji mu se penju na ramena da odande napadnu zapanjene neprijatelje. Uvodni deo filma nam daje jednu savršenu scenu briljantno slikane i koreografisane akcije u kojoj Takamaruov otac, srčani neustrašivi plemić, nema nikakve šanse protiv gotovo magičnih nindža. No, film se dobro čuva da ne ode SASVIM u stranu magije pa su ovde koreografije bizarne, neverovatne ali uvek na granici uverljivog. Vraćanje filma unazad ili ubrzavanje reprodukcije korišćeni su zanatski perfektno da nam daju scene nindža koje izvode neverovatne skokove ili druge akrobatske poteze, ali da ne bude nikakve sumnje: kaskaderi su SVE u ovom filmu i bez obzira koliko puta da vidite nindže kako poput paukova gmižu niz stabla ili skaču sa grane na granu, svesni ste da ovde nema CGI trikova i da živi ljudi rade apsolutno sve što vidite. (https://i.imgur.com/54oLIcc.png) Naravno, najviše čudesa radi Sanada u ulozi Takamarua. Čovek je već sa šest godina počeo da snima filmove i do svoje dvadesete (koliko je imao na snimanju ovog filma) već je bio utreniran majstor kenpoa i kjokušink karatea. Kako mu je njegov mentor, Chiba, savetovao da prvo završi školu, Sanada je svoje treniranje borilačkih veština i bejzbola stavio malo na stranu ali je i dalje imao ambiciju da bude zvezda akcionih filmova pa je 1978. godine, nakon kraja škole ušao u audiciju za ovaj film i dobio ulogu, odmah se zatim vrativši treningu. (https://i.imgur.com/btqN3ed.png) I Sanada u ovom filmu daje takvu pirotehniku kakvu samo napaljeni, neverovatno uvežbani dvadesetogodišnjak koji je celog života o ovome sanjao može da isporuči. Da se razumemo, i ostatak ansambla je odličan, uključujući sjajnu Yuki Ninagawu kojoj je ovo takođe bila prva uloga, ali i Etsuko Shihomi koja je i sama bila jedna od Chibinih miljenica i imala ekspertizu iz nekoliko borilačkih veština. Iako za njenim likom nema praktično nikakve dramaturške potrebe u ovoj priči, prizor markantne dvadesetpetogodišnjakinje u crveno-beloj kineskoj odeždi kako sa dva para nunčaka obara u blato talase vojnika i nindža je nešto što se ne propušta. (https://i.imgur.com/5J1g4h0.png) I, mislim, ni ovaj film se ne propušta uprkos tom malo dužem trajanju i višku istorije. Pomaže to da Suzuki ovo nije pravio kao nekakvu ćutološku, ozbiljnu dramu sa sporim scenama i ekstenzivnim karakternim momentima i mada se svakako može zameriti da se radi tolika istorijska priprema a da se onda stvari razreše na lapidarne, na momente parodične načine, opštom tučom, mora se primetiti da ta tuča naprosto blista. Doduše, ako ćemo da budemo VRLO strogi, akcija i Chibine koreografije su maštovitije u prvom delu filma dok finale naprosto ima klasični chanbara free-for-all gde svi mašu mačevima i neki padaju mrtvi. No nekoliko scena ovde je naprosto antologijsko, od prvog Takamaruovog povratka na teritoriju Japana i sukob sa lokalnim snagama reda, preko scene pogubljenja njegovih drugova gde nindže iz klana pauka bukvalno kopaju kanale ispod zemlje kako bi izronile usred neprijateljske formacije a okupljeni narod na vojsku koja na njega puca iz kremenjača baca pravu kišu kamenica, pa do Sanadine gimnastičke tačke u kojoj se vrti na lijani i salve ispaljenih strela od sebe odbija samo silinom rotacije svog mišićavog tela. A onda imamo i taj finalni sukob između Takamarua i Shogena na litici iznad mora... (https://i.imgur.com/LJSEtZf.png) Sve je to puno klišea, razume se, i narativnih i karakteroloških i vizuelnih, i ti klišei su već do 1980. godine imali pola veka istorije, ali sve je i urađeno šarmantno, efektno, sjajno slikano i kadrirano, sa glumcima koji svoje uloge shvataju ozbiljno koliko god male ili apsurdne bile. Takamaru mora da ima i – prilično nepotreban – period u filmu kada misli da nije dorastao zadatku samo da bi se pojavio sedobradi sensei koji će brutalnim treningom, kako i sam kaže ,,tvoju istupljenu oštricu ponovo naoštriti" i skoro je savršeno kako se ovo može posmatrati kao praktično (mrtvo ozbiljna) parodija na trening koji će iste te godine u američkom bioskopu dobiti Luke Skywalker od Yode u Empire Strikes Back. Razlika? Pa, poduke koje Takamaru dobija od svog senseija nisu njuejdžerski zen-budizam već monolog sa početka ovog teksta o oklopu od gneva i bola i transformaciji u životinju, a i Takamaru na kraju treninga ima borbu na život i smrt sa svojim učiteljem i mora da ga zaistinski probode bodežima ako misli da diplomira. George Lucas nikada ovo nije radio, rekao bi Charles Bukowski... Shogun's Ninja je klasik akcionog filma, prosto i jednostavno, a to uključuje i saundtrak gde imamo smenu enka šlagera, psihodeličnog džeza i skoro pa porno-gruva i koji potpisuje ,,Buster" a slutim da je to pseudonim iza kog se krio Shunsuke Kikuchi. Naivan u ekspoziciji, ambiciozan u kontekstualizaciji narativa, on BLISTA u akciji i nudi ikonične uloge nekoliko bitnih glumaca koji su (ne samo akcioni, ali, da uglavnom akcioni) bioskop obeležili za celo čovečanstvo. Vredi to videti i danas. (https://i.imgur.com/hBaWv7L.png)
Deluje zanimljivo, ide na watch listu. Nadam se samo da ga nije tesko naci online jer vidim da ima jako malo ocena na IMDB-u.
Ne, ne, imaš torent ko kuća na Pajratbeju, živ i zdrav.
Quote from: Meho Krljic on 19-04-2024, 20:36:46
Ne, ne, imaš torent ko kuća na Pajratbeju, živ i zdrav.
Hvala, sad mi je lakse.
Gledam Shogun's Ninja i pre nego što (sa mukom) dovršim ovaj film moram reći da nisam nimalo fasciniran ni scenama borbi ni koreografijom. Deluje previše naivno i akrobatski, ipak preferiram (subjektivno) ozbiljniji i realističniji pristup. Mladi Sanada deluje kao neka B kopija Bruce Leeja, čak mu je i telo isklesano ali slabije. Takođe, scena njegovog mučenja je više smešna nego strašna. Ali to sam samo ja, moguće da za razliku od tebe nisam pohvatao sve lejere ovog filma. Prednost i dalje dajem Bruce Leeju, Jet Liju, Donnie Yenu. Ipak dao bih mu još jednu šansu jer vidim da je ovaj (https://www.imdb.com/title/tt0078513/?ref_=nmbio_mbio)film dosta dobro ocenjen.
Ma nema tu sad nekih velikih slojeva, nije ovo film za intelektualce. Mislim, ima cela ta istorijska dimenzija ali nije ona ni po kom osnovu neophodna da se film sad kao nešto "pravilno" oceni. Ovo je za epohu u kojoj je nastao film sa dobrom produkcijom (setovi, kostimi, propovi), nekoliko odličnih glumaca bitnih za prethodnu i dalju istoriju japanskog (i drugog) akcionog filma, nekoliko dobrih koreografija... Naravno, da je "naivan", to je sasvim u skladu sa standardima sedamdesetih i osamdesetih, ne bih ja to poredio sa onim što su decenijama kasnije radili Yen ili Li. Svakako da nije na istom nivcou kao filmovi sa Bruceom Leejem ali praktično ništa i nije.
Da, možda sam previše očekivao. Ako je bitan za istoriju poštujem.
Kad sam pominjao istoriju u prošlom postu mislio sam na to da se film veoma trudi oko prikaza istorijskih ličnosti i davanja istima važnih mesta u radnji. A što se tiče istorije filma, kako rekoh, najvažniji je jer je ovo prva glavna uloga za Hirojukija Sanadu...
Japan se vratio. Izgleda da postoje periodične oscilacije u tome koliko ostatak sveta, ili makar, mi na zapadu koji sebe iz nekog razloga smatramo jedinim relevantnim ostatkom sveta, obraća pažnju na japansku kinematografiju i prepoznaje njene vrhunce, pa smo tako ponovo, čini se, u jednom od pikova ovog ciklusa. Nakon šezdesetih u kojima su Kurosawa i njegovi savremenici, ali i novotalasne kolege zauzele zapad na juriš, otvarajući prostor i za japanski žanrovski film (prevashodno Godzilu) pa i televiziju u poznim šezdestima i sedamdesetma, da dobiju svojih nekoliko godina slave, imali smo period gubitka interersovanja – i kontakta – čini se kroz veliki deo osamdesetih dok u devedesetima nismo ušli u novu romansu koju su predvodili Shinya Tsukamoto, Beat Takeshi Kitano, Takashi Miike, Takashi Shimizu, Hideo Nakata. Ovaj je talas nekako stigao do svog vrhunca početkom ovog stoleća, sa nekim od ovih režisera koji su imali priliku i za holivudske produkcije (Kitano, Shimizu, na kraju i Miike) ali onda smo ušli u novi negativni period sa južnokorejskom kinematografijom koja će okupirati pažnju zapadnjaka zainteresovanih za istočnoazijsku produkciju, nadiranjem Indonežana, pa i Vijetnamaca i posledičnim ignorisanjem Japana, sa samo retkim izuzecima kao što bi, možda, bio Kiyoshi Kurosawa.
Jesmo li sada na vrhu talasa ili tek na uzlaznoj putanji neka kaže istorija, ali činjenica je poslednjih par sezona Japan naprosto dominira diskursom. Od Miyazakijevog prošlogodišnjeg The Boy and the Heron je koji je animiranom filmu vratio dostojanstvo i umetničku relevantnost u očima ,,ozbiljne" publike, preko takođe prošlogodišnjeg Yamazakijevog dekonstruktivnog Godzilla Minus One, a koji ćemo uskoro i mi moći da pogledamo, pa do Sonomurinih urnebesnih postmilenijumskih akcijaša kao što su Hydra i Bad City, japanski film kao da je pronašao novu energiju i prodoran izraz. A onda, tu je i Ryusuke Hamaguchi čiji je Evil Does Not Exist (aka Aku wa Sonzai Shinai) upravo postao dostupan internacionalnoj publici. I za film sa ovako malo reči i puno slika koje se ponavljaju uz melanholični, eterični saundtrak briljantne Eiko Ishibashi, Evil Does Not Exist kao da je jedan od najčistijih iskaza modernog doba. Ovo je film ne samo o sukobu modernog i tradicionalnog, industrijskog i ručno rađenog, proživljenog i memefikovanog, autentičnog i komodifikovanog, već i film o ljudima koji žele da ih ostave na miru, kojima ne treba ni novac, ni slava, ali kojima ultimativno ne trebaju ni nova iskustva, nova poznanstva, nikakve promene u životu koji je spor, repetitivan, zahtevan ali na kraju dana zadovoljavajući. Kao i sam film koji na sporosti i repeticiji gradi svoj iskaz, a gledaoca zadovoljava i tako što od njega zahteva mnogo.
Utoliko, Hamaguchi kao da pravi pun krug i dovodi dva savremena diskursa – onaj o ,,održivom razvoju" vođen humanističkim i egalitarističkim idejama sa plemenitom idejom da ćemo svi živeti sve bolje sve vreme (jer je alternativa nepodnošljiva) i onaj neoliberlano-kapitalistički o stalnom rastu kao jedinom pokazatelju vrednosti ikakvog posla – do potpunog ćorsokaka. Revolucionarno je, pokazuje Hamaguchi ovim filmom, konzervativno. I možda je to i jedini način da se bude revolucionaran u svetu gde su tradicionalno konzervativni nosioci moći i kapitala kooptirali, kidnapovali i stokholmskim sindromom temeljito intoksikovali revolucionarnu ideju promene, insistirajući da su promene zapravo vrhunska vrednosti i puna su im usta ne očuvanja životne sredine već adaptiranja na neizbežne promene, ne znanja koje treba da služi ljudima već disruptivnih tehnologija koje treba da poremete i naopačke izvrnu tržišta, društva i živote kako bi donela još brži i eksplozivniji rast. Od pomame za litijumskim nalazištima koja će magično pomoći da se svet nekako skine sa sise firmi koje eksploatišu fosilna goriva, samo da bi pohrlio u zagrljaj zagađivačima gotovo istog ranga kao što je Rio Tinto, pa do investicionih mehura zasnovanim na apsolutnim lažima o disruptivnoj moći WEB3 tehnologija, blokčejnova i veštačke inteligencije, revolucionarnost je postala marketinška reč i gospel onih koji žude za PERPETUALNOM promenom ne zbog njenog krajnjeg ishoda već, naprotiv, zato što u konfuziji koja nastaje dok promena traje, oni mogu bolje da zarade i svoj biznis, po pravilu zasnovan na odsustvu ljudskog rada i religioznom obožavanju kapitala koji se oplođuje sam od sebe, održe solventnim još neko vreme.
Hamaguchi, koji je ovaj film napisao i režirao sam, naravno, ne govori ništa ovoliko vulgarno u eksplicitnim terminima. Ovde nema diskusija o NFT grifterima, opscenim količinama energije koju troši savremena AI tehnologija da proizvede falsifikate ljudskog rada, niti o devastaciji prirodne okoline industrijskih razmera koja je nepohodna da bi najbogatiji potrošači sveta imali pristup ,,čistim" tehnologijama. Film se ne bavi ni održivim razvojem ni rastom poslovanja na ijedan direktan način. A opet, on je siže svih ovih rasprava i jedan glasno oćutan odgovor na poziv da se pridružimo ovoj žurci.
Hamaguchi je, naravno, svoju internacionalnu prepoznatljivost pa i slavu osvojio svojim prethodnim filmom, jednom elegantnom translacijom Murakamijeve poetike na film, sporim, na dugačkim dijalozima zasnovanim fimom Drive My Car koji je osvojio kritiku i publiku širom sveta pokazujući ponore samoće i emotivnih ispošćenosti savremenog čoveka, građanina, intelektualca i društvenog činioca od značaja. Ali Aku wa Sonzai Shinai ima vrlo malo dodirnih tačaka sa ovim filmom i u pitanju je ne samo kompaktniji i poetičniji iskaz već na neki način i ,,japanskiji" film, izuzetno fokusiran na ono što se njime NE govori, na ono što se NE ospoljava a prisutno je, opipljivo, neizbežno samim svojim oblikom koji se naslućuje oko onog što govore glumci, izvan onog što hvata kamera.
Jedan od primarnih načina na koji se Aku wa Sonzai Shinai razlikuje od Drive My Car je svakako da je ovo mnogo više ,,filmski" film. Prethodni Hamaguchijev rad je bio fokusiran na dva decidno ne-filmska motiva: teatar i tekst. Njegov raison d'etre je bio da ljudi pričaju jedni sa drugima, da svoj unutarnji život, skrivan, potiskivan i nepriznat u društvu koje naprosto nema vremena za vaše lomove, kolebanja i zapitanosti, iznesu na površinu, da se ogole i samim tim činom sebi potvrde da postoje, tražeći usput i vašu potvrdu. Takođe, on je koristio format pozorišne predstave i tekst Čehovljevog komada Ujka Vanja da postavi polemiku između umetnosti i života i zapita nas da li živimo samo za predstavu ili postojimo i izvan nje.
Aku wa Sonzai Shinai naprotiv, insistira na snazi slike, na poetici kadra, oblika i boje, komuniciranju scena preko pola sata ili sat vremena minutaže filma tako da jedna bude odraz u ogledalu druge, da gledoca uvuče u prostor i mesto, ali i u ritam života na tom prostoru i u tom mestu, radije nego u pojedinačnu emociju ili životnu priču likova. Ovaj film, na primer, počinje dugačkim kadrom kamere koja gleda u nebo i granje što ga od nje zaklanja, krećući se sporo i puštajući oko gledaoca da samo od sebe počne da u granama vidi talasanje nalik na korale, onda oblike koji će ga podsetiti na čipku ili fine, male krvne sudove, dok se svakog sledećeg trenutka sa suptilnim promenama svetlosti slika sve više pretvara u apstraktni splet oblika i boja. Ovaj autohipnotički obred koji gledalac spontano izvodi prateći neužurbano kretanje kamere je dovoljan da u film uđete svesni da priroda nije samo ,,lepa", već da je ona tajanstvena, nesvodiva na ljudske utilitarne mere, da je nedokučiva i da je čovek, odavno iz nje izašavši, mora tretirati ne sa poštovanjem, već sa STRAHOPOŠTOVANJEM koje smo tradicionalno namenili božanstvima.
Je li Aku wa Sonzai Shinai ekološka parabola, onako kako film opisuje kritika što ga je gledala na Venecijanskom festivalu prošlog Septembra? Jeste, ali ne onako kako bismo to vi ili ja napravili. Ovo je jedna duboko duhovna vizuelna poema o prirodi koje treba da se plašite, jer vas ona hrani, jer vas ona poji, jer vas ona greje – film, uostalom odmah po toj uvodnoj sceni pokazuje cepanje drva, zahvatanje čiste vode sa izvorišta, jedenje listova divljeg vasabija na koje su protagonisti naišli slučajno – i vi od nje potpuno zavisite. Čak i kad imate moć da je ubijete. POGOTOVO kada imate moć da je ubijete.
Hamaguchi je isprva nameravao da ovo bude polučasovni kratki film, nema meditacija u prirodi dopunjena Ishibashinim živim skorom i početak je baš takav, sa sporim scenama koje u realnom vrtemenu pokazuju cepanje drva, slaganje cepanica u kolica, paljenje cigarete tokom pauze, lagano zahvatanje izvorske vode kutlačom da bi se napunili kanisteri. Ove scene nisu samo prikazi pastoralne idile koja će služiti kao kontrast pretnji što stiže iz smera velikog grada kasnije u zapletu, i Hamaguchijev spoj slike i zvuka, svetlosti i muzike, kontrastiranje tišine i gudačkih instrumenata, nagli rezovi u jednom skoro hipnotički sporom pripovedanju, sve ovo ima svoju višu narativnu svrhu koja postaje jasna što jasnije postaje struktura samog filma.
A ona je varljivo jednostavna. Harasawa je ruralna, raštrkana planinska zajednica negde u šumama severno od Tokija. Ljudi u njoj žive sporo, mirno, u perfektnoj ravnoteži sa zemljom, vodom, šumom i planinom, živeći od zemlje, vode, šume, svog rada. Niko ovde nije bogat ni ,,uspešan", ali svi se poznaju i svi imaju svoju funkciju u malom sistemu. Hamaguchijev prikaz samodovoljne, visokofunkcionalne ruralne zajednice nije idealizovan, ali jeste na neki način ideološki: on bez mnogo reči pokazuje da onaj sklad sa svojim okolišem o kome Jovani Memedovići ovog sveta govore postoji samo ukoliko se prihvataju radikalna odstupanja od modernog života. Stanovnici Harasawe imaju automobile, ali u filmu ne vidimo ni jedan mobilni telefon – štaviše kada se pred kraj filma jedno dete izgubi i seljani krenu u potragu za njom, niko ni ne pominje da bi sve bilo lakše da je klinka imala mobilni telefon ili smartvoč sa sobom. Ovde se podrazumeva da je otklon od modernog života ne ,,žrtva" već jedini način da se živi mirno.
Da li i zadovoljno? Hamaguchijeva vizija ove ruralne zajednice počiva na ideji da ljudi zapravo ne razmišljaju o onom što nemaju onda kada je ono što imaju tako duboko protakano sa onim što rade. Lokalni restoran koji služi udon rezance počiva na radu jednog od likova koji ne samo cepa drva i razvozi ih po selu nego i donosi vodu sa izvora u kuhinju gde će onda biti kuvani obroci. Ovo je, iz perspektive savremenih teorija o optimizaciji rada i resursa, besmislen, nedomaćinski način da se posluje, anti-optimizovana perverzija koja čak ni ne služi nikakvoj višoj svrsi jer ovaj kraj ima vrlo mali turistički protok, dovoljan tek da postojanje restorana bude moguće.
Kontrast ovome, i izvor drame u filmu, onoliko koliko je ima, je plan agencije iz Tokija, koja se inače bavi upravljanjem talentima, dakle, radi sa pevačima i glumcima, da sagradi ,,glamping" risort u ovoj zajednici. Firma je kupila zemljište od opštine i šalje dvoje zaposlenih da popričaju sa lokalcima kako bi čuli njihove moguće nedoumice i strahove i ubedili ih da će sve biti u redu i da će zapravo ovaj projekat doneti Harasawi velike nove dobitke.
Zašto, za ime nečastivog, agencija koja se bavi glumcima hoće da uđe u biznis ,,glamuroznog kampovanja"? Zato što japanska vlada daje subvencije vezane za postpandemijski oporavak privrede a nekakav mudri konsultant je ubedio vlasnika da je ovo pivotiranje odličan način da se iz javnog budžeta dobije besplatan kapital. Taj isti konsultant – koji, primećujemo, NIJE došao da i sam razgovara sa zabrinutim seljanima jer, jelte, on nema PRAVO radno mesto i samo je kao neki duh koji lebdi izvan tržišta rada – ima ingeniozne ideje kako da se odgovori na legitimno iznesene brige lokalaca da će prisustvo risorta zagaditi lokalne vode a turisti koje noću nema ko da nadgleda, jer agencija štedi na ljudstvu i neće da ima i noćnog čuvara, mogu da izazovu šumske požare. Njegove ideje su, naravno, sve iz domena revizije budžeta tako da se dobije manji kvalitet rada ali ispoštuje forma, kao i da se angažuju lokalci da svojim radom – jeftinijim, dakako – učestvuju u nečemu što oni iz početka smatraju ne samo nekorisnim za sebe već štetnim za svoju zajednicu.
Hamaguchi ovde na par mesta mora da bude bukvalan jer, izgleda, zna ko će ovaj film gledati, pa tako jedan od likova koji dobije ponudu da bude čuvar u risortu što bi rešilo nedostatak radne snage i, misli se, pridpobilo poverenje seljana, namrgođeno kaže da nije siguran da ima vremena, ali onda i dodaje ,,a pare mi ne trebaju".
Ovo je praktično svetogrđe i postavlja Aku wa Sonzai Shinai u ravan metafizičkog, pogotovo kada film u svojoj poslednjoj trećini vrlo pažljivo rekonstruiše većinu scena iz svog uvoda ali sada u promenjenom kontekstu, pokazujući prirodu ne više kao samo ,,izvor resursa" koji morate tretirati sa poštovanjem, već i kao htonski, neizrecivi mračni prostor koji ne možete nikada do kraja razumeti, nikada zaista sagledati, sigurno ne drugima objasniti. Granje koje smo na početku filma gledali u zoru sada posmatramo kroz sumrak. Sneg je noću ljubičast a ne više beo, trnje na drveću o kome smo samo slušali na početku sledećeg je jutra okupano krvlju. Priroda će nas sve pobiti i neće ni da podrigne. ZATO je moramo poštovati, kao majku koja rađa i zaboravlja jer je rodila milijarde živih bića, a ne zato što je utovljena krava-muzara koju samo moramo da muzemo pažljivo da ne presuši pre vremena.
Hamaguchi do kraja filma ulazi jednom nogom i u zabran larsfontrirovskog horora, ali se Aku wa Sonzai Shinai ne iscrpljuje u tom rimovanju prve i poslednje trećine filma gde su iste scene, lokacije, prizori i radnje prikazane u praktično ogledalu sa čije druge strane vrebaju id i ekološka osveta. On ima i, za publiku prethodnog Hamaguchijevog filma vrlo prepoznatljive, scene dugih dijaloga i interakcija među likovima, gde od posebnog značaja stoje one koju dvoje zaposlenih u agenciji imaju dok putuju u Harasawu sa novim zadatkom. Kroz dijalog dvoje kolega, ekstremno naturalistički i snimljen gotovo ceo u jednom dugačkom kadru, Hamaguchi skoro taksativno obrađuje teme urbane usamljenosti, odsustva svrhovitosti u modernom životu zarobljenom u sve glupljim hijerarhijama, besmisla ,,profesionalne ekspertize", ponižavanja nečijeg znanja i radnih sposobnosti onako kako biznis pivotira na potpuno nove pozicije ne bi li održao korak sa ćudima investicionog kapitala (ili u ovom slučaju državnih subvencija), prikazujući i likovno taj osećaj zarobljenosti kroz kadar koji u centru ima autoput, monoton, ravan, prav kao strela.
Kontrast sa kadrovima šume koji uvek imaju više planova, gde su drveće, potoci, jezerca, ptice i njihova pera što padaju na tle, žbunovi i trnje, mrtve životinje i njihovi živi srodnici svi delovi jedne fraktalne beskonačnosti što oko može da obuhvati ali nikada da do kraja sagleda, je ono što gledaocu Hamaguchijevu ,,poruku" o tome da je priroda SVE a da smo mi samo njena možda i napuštena slobodna improvizacija, prenosi jače nego šturi, vrlo ekonomični, vrlo pažljivo ispisani tekst scenarija. Režiser je ovde sebi očigledno rekao da ako već napušta originalni plan o nemom polusatnom filmu za račun celovečernjeg rada, onda svaka reč mora da se računa, pa su i replike ali i rad sa glumcima apsolutno savršenstvo, sa svakom scenom u kojoj ljudi nešto rade ili razgovaraju kao malim remek delom realističkog filma koji u rečenice, izraze lica i gestove likova pakuje jednu epsku borbu što sam tekst može samo da sugeriše, nikada da ,,objasni".
Ali Aku wa Sonzai Shinai je film kome objašnjenje nije potrebno. On je jasan sam po sebi, kao narativ, serija slika i kadrova u kojima lepota i opasnost prirode nisu dva pola istog fenomena već su JEDNO i gde život avanture ne podrazumeva komodifikovana iskustva glamuroznog kampovanja i prikupljanja uspomena, anegdota i instagram-momenata, već život u kome je svaki dan ritual ulaska u prirodu, uzimanja delova prirode, tihog, svečanog posmatranja, osluškivanja, razumevanja njenog jezika sve dok sa njom ne budete jedno u meri da joj dajete isto koliko iz nje uzimate. Snimiti ovako tih a ovako veličanstven film nije mala stvar i s obzirom da ove i naredne nedelje on postaje dostupan publici u Evropi i SAD, nadajmo se da će reakcije na njega biti makar isto onako intenzivne kao na Drive My Car. Jer Aku wa Sonzai Shinai govori o nečem većem, većem od nas, koji filmove gledamo i o njima pričamo, većem od čovečanstva. Većem, na kraju krajeva, od čoveka, koji je zlo morao da izmisli kako bi imao nešto izvan sebe da ga krivi. A zlo, kako nam Hamaguchi suvo kaže u samom naslovu, ne postoji. Postojimo samo mi i samo priroda. I ako mi nismo isto što i priroda, pa... matematiku uradite sami.
Meho, hvala na iscrpnom osvrtu na istočnoazijsku kinematografiju i taj film, samo se bojim da će biti potrebno dosta više da se japanski film vrati na stari kolosek. Par lasta ipak ne čini proleće.
Dobro, sad, ne očekujem da vidim novi Sedam samuraja, ali Hamaguči je napravio vrlo ozbiljan spleš sa Drajv Maj Kar, a ovaj mu je film još jači, plus sve ono drugo što sam rekao gore, tako da, što se mene tiče VRATIO SE.
Pod jednom lastom mislim na jednog autora. Potrebno ih je više, kao recimo u južnokorejskoj kinematografiji. Slabo pamtim njihova imena ali znam da ih ima barem 5-6 vrhunskih, mnogo drugih solidnih.
Hamaguči je samo najpoznatiji. Tu je i čitava nova ergela, Kei Ishikawa, cela Ten Years Japan ekipa, pa Shimotsu Yuta, pa Kishi Yoshiyuki... Naravno, Takeshi Kitano i i Shinya Tsukamoto su takođe prošle godine izbacili nove filmove... Radi se u Japanu ozbiljno, ali su potrebni prodori poput Hamagučijevog i Godzilla Minus One da se ponovo privuče pažnja zapada.
Quote from: Meho Krljic on 26-04-2024, 18:03:49
Hamaguči je samo najpoznatiji. Tu je i čitava nova ergela, Kei Ishikawa, cela Ten Years Japan ekipa, pa Shimotsu Yuta, pa Kishi Yoshiyuki... Naravno, Takeshi Kitano i i Shinya Tsukamoto su takođe prošle godine izbacili nove filmove... Radi se u Japanu ozbiljno, ali su potrebni prodori poput Hamagučijevog i Godzilla Minus One da se ponovo privuče pažnja zapada.
Hvala, nisam znao za to. Zato tvoja tema ima prosvetiteljsku ulogu.
Pa, ja se actually trudim da ne forsiram samo Japan (ili Aziju) jer ima mnogo stvari koje se rade po Evropi, latinskoj Americi itd, a koje vredi da se vide, ali, svakako ću u narednih nekoliko meseci da pokrijem još nekoliko značajnih novih japanskih filmova.
Robert Downey Jr. Would 'Happily' Return to Marvel, but His 'Avengers' Directors Say 'We Closed That Book' on Iron Man After 'Endgame' Death (https://variety.com/2024/film/news/avengers-directors-robert-downey-jr-marvel-return-iron-man-1235983158/)
Prošlogodišnji film Monster (odnosno Kaibutsu) predstavlja kamen-međaš u najmanju ruku po tome da je ovo poslednji film kome je legendarni Ryuchi Sakamoto, autor velikog broja voljenih filmskih skorova, dao dve svoje kompozicije. Sakamoto je preminuo Marta prošle godine ali je već tokom produkcije filma osećao veliku slabost kao posledicu raka od koga je bolovao i terapije kroz koju je prolazio tako da bi pisanje sve muzike za ovaj film bilo izvan njegovih tadašnjih kapaciteta. Možda i zahvaljujući tome, dve njegove kompozicije koje se čuju u filmu, melanholične i optimistične i veoma prepoznatljivo sakamotovske, udaraju tako jako. U filmu se likovi dece nekoliko puta pitaju koliko brzo nakon nečije smrti možemo očekivati da ta osoba bude ponovo rođena, ali Sakamotova muzika tokom odjavne špice nam ne dopušta da o njemu zaista razmišljamo kao o nekom koga više nema. Osećaj je pre da smo mi ovde prolaznici a da je njegova muzika tu da ostane zauvek, ili makar dok god ima poslednje osobe koja može da je čuje.
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Monster je kamen-međaš i utoliko da predstavlja povratak režisera po imenu Kore-eda Hirokazu radu na maternjem, Japanskom jeziku. Ovaj prolifični televizijski i filmski režiser i scenarista odrastao je uz majku koja je, kako priča, obožavala Ingrid Bergman, Joan Fontaine i Vivien Leigh i ima neke pravde u tome da je izrastao u autora čiji je izraz prepoznat i na tom istom zapadu kom su pripadali filmovi što ih je porodica zajedno gledala (na televiziji, jer je novca za zajednički odlazak u bioskop čak i u poznim šezdesetim i ranim sedamdesetim godinama pročlog veka, u Japanu očigledno bilo premalo).
Kore-eda je još 2013. godine dobio nagradu žirija Kanskog festivala za Like Father, Like Son, onda se pet godina kasnije vratio da uzme i zlatnu palmu za Shoplifters (usput pomogavši da Lily Franky postane faca poznata i ljudima koji ne gledaju bizarne radove što ih potpisuju pervertiti poput Takashija Miikea i Shinye Tsukamota), koji je bio i japanski kandidat za Oskara te sezone. Iste je godine dobio nagradu za životno delo na festivalu u San Sebastijanu, da bi svoja naredna dva filma uradio u stranim produkcijama, The Truth u Francuskoj (sa tako jakim imenima u ansamblu kao što su Catherine Deneuve, Juliette Binoche i Ethan Hawke) a Broker u Južnoj Koreji (gde su mu igrali takođe veoma ugledni glumci, uključujući Bae Doona, Gang Dong-wona i verovatno najveću južnokorejsku zvezdu, Song Kang-hoa).
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Monster je, dakle, povratak Kore-ede kući, njegov prvi film na Japanskom jeziku i sa japanskom ekipom posle više od pola decenije, ali i prvi film posle skoro tri decenije koji je režirao a da za njega nije napisao scenario – a film je onda u Kanu dobio i nagradu za taj scenario. Ovo je dodatno značajno jer iako se Monster bavi temom porodice i njene uloge u životu jedinke – što je Kore-edina česta opsesija – za ovu je priliku, upravo zahvaljujući scenariju i izuzetno kompleksnoj i teškoj temi u njegovom centru, režiser napustio svoj uobičajeni pristup radu sa mladim glumcima. Umesto da decu-glumce izabere na ime njihovih personalitija i onda prilagodi scenario tim njihovim stvarnim karakterima koliko je potrebno – kako bi dobio naturalističkiju, uverljiviju glumu – Kore-eda je ovde odlučio da uzme decu koja će umeti da odglume nešto što ona nisu, dakle, nešto izvan svojih ličnosti. Prigodno, znajući da se radi u filmu u kome deca mnogo i često lažu i pretvaraju se jedna pred drugom, ali još više pred odraslima, da su neko drugi, nešto drugo, i da, ako baš nije sve u redu, barem navedu odrasle na krivi trag da to što nije u redu traže izvan njih, na mestima na kojima će ona ostati bezbedna.
Monster je film koji se ne prepričava jer, kao i njegovi protagonisti, on čini sve da gledaoca navede na krivi trag tako da ovaj pravi pretpostavke, pa i donosi zaključke pre vremena, ubeđen da je momenat da se reaguje a ne da se promišlja. On je jedan masterklas iz režije koja pokazuje, umesto da prepričava – štaviše ispostavlja se da skoro uvek kada glavni likovi prepričavaju događaje, oni lažu – ali je i kompleksan narativ u kome je pitanje KO je čudovište iz naslova nešto što visi iznad glave gledaoca kao damoklov mač i tera ga da preispituje svoje predrasude i stereotipe što ih zna iz života i sa filma, menjajući više puta mišljenje o ne samo pojedinačnim likovima već o kompletnoj stvarnosti koju film prikazuje. Ispričana nehronološki, sa nekoliko vremenskih petlji umotanih jedna oko druge, ovo je priča koja vas vuče kroz ponovljena gledanja istih scena, ali iz druge perspektive, tim mamcem što ga je zabacila već samim naslovom. Impuls da prepoznamo nepravdu kada je vidimo, da je osudimo i pokažemo na nju prstom je motiv koji gledaoca drži investiranog od skoro samog početka filma, kada vidi kako sin samohrane majke, osnovnoškolac Minato, sebi odseca kosu makazama a onda se dugo tušira, odbijajući da majci objasni da li se nešto loše dogodilo.
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Autor scenarija, Yûji Sakamoto napisao je četrdesetak televizijskih serija i celovečernjih filmova u svojoj dosadašnjoj, vrlo uspešnoj karijeri, ali Monster je jedna ličnija priča, zasnovana delimično na njegovim sopstvenim iskustvima i ovaj scenario je Kore-edi legao pravo na volej, sa njegovim skoro dvodecenijskim meditiranjem o homofobiji i njoj odnosnoj diskriminaciji koje je došlo kao posledica gledanja Arakijevog Mysterious Skin.
Postoje određene paralele sa ovim filmom i u priči koju Monster priča, sa dečacima koji su dovoljno mladi da i dalje imaju detinju maštu, detinje zablude, detinje načine da traume kompenzuju fantazijama, ali dovoljno stari da imaju začetak ,,odraslih" emocija i patnji koje dolaze uz njih. Čudovište u filmu je možda do kraja i personifikovano, ali čudovišnost sama se u njemu prepoznaje pre svega u tom napetom, neugodnom odnosu između sveta odraslih i sveta dece koji u idealnom slučaju treba da se susreću na formalizovane, bezbedne načine, ali je u Monster sve polomljeno od samog početka.
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Minato tako nema oca, a njegov drug iz razreda, Yori, nema majku. Oba dečaka na svoje, još uvek naivne, detinje načine, pokušavaju da izađu na kraj sa činjenicom da se razlikuju od standarda. No, kada Minato počne da se ponaša neobično, uključujući nešto što deluje kao pokušaj samopovređivanja ili samoubistva, njegova majka ga natera da joj kaže u čemu je problem. I deluje kao da je problem u školi i nastavniku razredne nastave, gospodinu Horiju, jednom mladom, možda neiskusnom pedagogu koji još uvek nije sa sobom raščistio kako se sa decom mora ophoditi i gde su granice koje odrasla osoba ne sme da pređe.
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Monster je zavodljiv film jer se dotiče mnogih tema dok onu glavnu spretno krije od gledaoca do momenta kada ovaj skoro pa trijumfalno shvati da ju je prepoznao. Scena u kojoj Minatova majka (Sakura Andô, koja je igrala i u Shoplifters, u A Man o kome sam pisao ovde (https://cvecezla.wordpress.com/2023/12/01/film-izvestan-covek-aka-a-man-aka-aru-otoko/), a pojavljuje se i u prošlogodišnjem Godzilla Minus One) odlazi u školu da vidi da li njeno dete trpi zlostavljanje je gorka satira vezana za japanski praktično ritualizovani odnos institucija prema individuama, sa nastavnicima i direktorkom koji se izvinjavaju u ekstremno formalnim terminima, ni jednog jedinog trenutka ne ulazeći u razgovor o tome šta se zaista dešava i ko je tu za šta kriv. Jedino Minotov razredni, Hori, kao da želi da se ovo raščisti, ali škola će mnogo radije sve zatrpati ispod naslaga formalnih fraza, izvinjenja, procedura i gestova koji pokazuju ,,da se nešto radi" nego dopustiti da iko od spolja zaista vidi gde je problem.
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Gledalac će ovaj problem posle izvesnog vremena moći sam da prepozna ali ne pre nego što mu film istu priču ispriča ne dvaput već triput. Kore-eda se za Monster odlučio na riskantan pristup spiralnog pripovedanja, sa nehronološkim skokovima kroz radnju, vraćanjem istim situacijama i ponavljanjem scena, a bez ikakvog vidnog signaliziranja da se to događa. Priča je, da ne bude zabune, sasvim jasna do samog kraja, ali film izbegava tročinsku strukturu, pa čak i da se odluči za to ko je glavni lik, i Monster zahteva od gledaoca da postepeno, organski prepozna ne samo teme i stvarni zaplet radnje, već i žanrovski identitet ove produkcije.
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Kore-eda je, srećom, izuzetno spretan pripovedač koji ne mora da poseže za lažima što bi ih film servirao gledaocu kad to već mogu da urade likovi, dosledno svojoj karakterizaciji i motivaciji. Odbijanje da se pripovedanje fokusira na jedan lik i da se hronologija događaja signalizira na nekakav nedijegetički način (pa čak ni na dijegetički – ovde nema ni kolornih filtera ili posebnog osvetljenja koji bi ukazali da neke scene pripadaju jednoj celini) u gledaocu proizvode utisak da priču sklapa sam iz komadića koji su mu dostupni, radije nego da ga režiser vodi kroz narativ i ta priča, još jednom da podvučemo, nije ona koju je mislio da će gledati ni posle prvih dvadeset minuta, ni posle prvih pedeset minuta. Čak ni posle prvih osamdeset minuta. Monster je ogledni primer filma koji nema viškove scena, čije je pripovedanje preko nešto više od dva sata trajanja ekstremno efikasno, zapravo strahovito brzo, sa gotovo svakim detaljčićem koji će do kraja filma imati isplatu u nečemu što ćete prepoznati i osetiti kako još više brinete za sudbine protagonista.
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A što je strahovit uspeh jer Monster, iako gledaoca ne laže, majstorski sugeriše da će ovaj gledati jedan film dok mu prikazuje nešto sasvim drugo. Ovde ima odjeka socijalne drame, pa i horora, ali Monster se jednako tačno može nazvati i nežnom ljudskom pričom o odrastanju, melanholiji i traženju topline u svetu koji nameće krute, neprijateljske formate i standarde čak i kada ima najbolje namere.
Retko se dešava da pogledate film u kome gotovo svaki od likova proučavate pod mikroskopom tražeći u njemu čudovište iz naslova, misleći da ste ga prepoznali, čestitajući sebi na etičkom čulu i sposobnosti da razlikujete dobro od zla, samo da biste nekoliko minuta kasnije uz uzdah saosećali sa likovima koji, možda, nisu čudovišta, a dobro i zlo u njihovom svetu nikada nisu bili dovoljno jasno razdvojeni. Monster nije film koji nas uči da među njima nema razlike, to ne, ali on pokazuje kako blizu mogu da budu jedno uz drugo, kako ljudske greške, ljudska samoća, ljudski stid i ljudska tvrdoglavost da greške priznaju, stid pokažu a samoću proaktivno okončaju na kraju kreiraju čudovište koje ždere ljudske živote. Čudovište je, na kraju, samo reč kojom pokušavamo da od sebe odgurnemo deo sebe koji nam se ne dopada i kojega se plašimo, ali Kore-eda ne dopušta da se film završi tek oporim prepoznavanjem ljudske nesavršenosti i daje nam sunčevo svetlo i nadu onda kada mislimo da smo pali najniže. Kada posle ovoga krene muzika Ryuchija Sakamotoa preko odjavne špice, teško je ostati na nogama.
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Prošlog vikenda je japanska kompanija Toho putem pres riliza izrazila razočaranje činjenicom da je njihov najnoviji film o Godzili, Godzilla Minus One (i na Japanskom doslovno Gojira Mainasu Wan) ,,najpiratovaniji film" u ovom trenutku naše povijesne zbiljnosti. I uvek je nekako malo šokantno kad shvatite da firme što postoje po devet decenija i bukvalno žive od prodaavanja intelektualne svojine i dalje kao da ne razumeju kako ona funkcioniše. U ovom konkretnom slučaju, recimo, kolektivni zapad, da ne kažem maltene čitav ostatak sveta izvan Japana je čekao na objavu da će film biti pušten na striming servise mesecima nakon što je ovaj povučen iz (vrlo uspešne) bioskopske distribucije na ime dogovora koji Toho ima sa Legendaryjem, da se napravi mesta za Legendaryjev Godzilla x Kong: The New Empire. Pošto je Godzilla x Kong: The New Empire, po svemu sudeći, još jedan od Legendaryjevih sada već potpuno uobičajenih površnih, neupečatljivih kaiđu-pokušaja (iako je prošao sasvim korektno i u Americi, i u Evropi i u Japanu), narativ o tome da je bolji i autentičniji film (Godzilla Minus One) izgubio bioskopsku distribuciju pre vremena a da se onda namerno odugovlačilo sa strimingom kako bi lošiji i manje autentičan film dobio sve šanse da zablista se, reklo bi se, sam nametnuo. Otud je pojavljivanje filma na japanskim i samo japanskim striming servisima prvog Maja proizvelo takvu globalnu provalu revolta i masovno piratovanje da čovek prosto mora da se zapita je li spaljivanje tolike dobre volje koju je ovaj film proizveo na svetskom nivou vredno dobrih odnosa sa Legendaryjem koji sada već serijski pravi slabe filmove od Tohovih predložaka... Pogotovo kada je sa Godzilla Minus One Toho vrlo jasno demonstrirao da je decenijama ispred američkih imitatora.
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Godzilla Minus One je ogledni primer da je ono što se na zapadu shvata kao plitka i pitka popkorn zabava pažljivo očišćena od bilo kakvog stava ili konfrontacije, u Japanu autentičan deo kulture sa ambicijom da se ide mnogo dublje od sasvim prirodnog impulsa da uživate u prizoru džinovskog reptila koji ruši zgrade i rvačkim zahvatima se bori protiv jednako džinovskih neprijatelja. Godzilla Minus One je, na neki način, Rambo: First Blood Part II svoje franšize, jedan katarzični pokušaj da se još jednom ode u rat koji se za neke nikada nije završio i da se u njemu po svaku cenu pobedi.
Nije sad neka novost reći da je Godzilla u svojim originalnim inkarnacijama bila pokušaj prevazilaženja traume koju ni jedna nacija do tada nije iskusila. Štagod da je Japan uradio u istočnoj Aziji tokom njihove verzije Drugog svetskog rata, a uradio je STRAHOVITO svirepe stvari, ni jedna druga zemlja nije na kraju bila poražena tako što je prvo prestonica gotovo kompletno pretvorena u zgarište fosfornim bombama, da bi potom druga dva grada bila podvrgnuta nuklearnom bombardovanju, sa do tada nezamislivim nivoom štete nanesene infrastrukturi i brojem mrtvih koji je u roku od nekoliko minuta dostigao desetine hiljada a onda nastavio da raste. Bačena na kolena, posle godina odricanja, sve većeg stezanja kaiša pod fašističkom vladom i iznurujućeg ratovanja po Pacifiku za koje nije imala kapacitete, imperija je završila pod okupacijom, da svoje rane leči pod budnim okom američkih vojnih i civilnih vlasti.
Kombinacija olakšanja što je rat gotov i senka gotovo sigurne smrti pod kojom je veliki deo stanovništva – a posebno vojnici imperijalne armije – živeo godinama konačno uklonjena, sa nuždom da se devastirana infrastruktura i ekonomija nekako rekonstruišu, a sve pod režimom uspostavljenim od strane Amerikanaca koji je pažljivo i sistematično cenzurisao javni govor, medije, umetnost, sve forme kreativnosti, kao rezultat je dala i danas fascinantnu smešu impresivnih, inspirišućih priča o japanskoj vrednoći i snalažljivosti da iz pepela razrušenog carstva sagrade neke od vodećih kreativnih industrija i prepoznatljivih popkulturnih obrazaca na globalnom nivou i, sa druge strane, gusto kodiranih produkata popularne kulture i kolektivnog nesvesnog u kojima se nacionalistička i imperijalna krivica Japana suočavala sa nečim što je smatrano neproporcionalno velikom kaznom i traženi su načini da se u uslovima temeljitog poraza na svim frontovima i dalje pričaju narativi o pobedi ili makar herojstvu u porazu.
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Otud je prva Godzilla iz 1954. godine, dakle film snimljen ni deceniju nakon što su Tokio, Nagasaki i Hirošima od strane američkog ratnog vazduhoplovstva preko noći (u slučaju Tokija doslovno) pretvoreni u masovna stratišta, a u kome gigantski radioaktivni gušter pustoši japanske gradove bio ne samo DOBRA ZABAVA za publiku već naviklu da gleda ljude u gumenim kostimima kako glume orijaška čudovišta s onu stranu delirične mašte i košmara, već i film o hororu kakav ni jedna nacija pre Japana nije iskusila i pokušaj da se on kroz alegoriju o otporu, prevazilaženju i požrtvovanju smesti u mitos herojskog profila. Da se, drugim rečima, naciji podari neka vrsta pobede nakon rata koji je izgubila pre manje od decenije i sa okupacijom koja se završila pre jedva dve godine.
Godzilla se smatra najdužim aktivnim filmskim serijalom u ljudskoj istoriji, koji će ove godine napuniti sedamdeset godina rada i prosperiteta, a Godzilla Minus One, film koji je imao premijeru – nimalo slučajno – tačno na šezdesetdeveti rođendan franšize, trećeg Novembra prošle godine, je potvrda da Japan svoje ratove, ali još više, svoje poraze u njima, još uvek nije preboleo do kraja. Štaviše, Godzilla Minus One je svojim tonom, svojim tretmanom alternativne istorije ali onda i svojim velikim uspehom u Japanu* i neka vrsta – a ne koristim ovaj termin olako – reakcionarnog napora da se priča o Godzili i njenoj alegoričnoj ulozi u japanskom prevazilaženju ratnih trauma dovede u savremene, vrlo romantizovane okvire, sa jasnim zabacivanjem udica ka nacionalističkim sentimentima u modernom Japanu. Uostalom, Liberalno demokratska partija, jedna prilično konzervativna i nacionalistička stranka u japanskom parlamentarnom životu je u ponovnom uzletu poslednjih dvanaestak godina, sa serijom predsednika vlada koji su imali sve eksplicitnije militarističke sentimente i značajnim podizanjem vojnog budžeta...
*više od milijardu jena zarađeno je tokom prvog vikenda prikazivanja a što je gotovo potpuno pokrilo budžet produkcije
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Utoliko, zanimljiv je kontrast između prethodnog filma o Godzili, Shin Godzilla iz 2016. godine, koji je i sam predstavljao svojevresni rebut serijala, i aktuelnog Godzilla Minus One. Shin Godzilla su režirala dvojica veterana žanrovske tokutatsu produkcije, Shinji Higuchi i legendarni Hideaki Anno, između ostalog otac izuzetno uticajnog anime-dekonstruktivnog serijala Neon Genesis Evangelion, smeštajući svoj rebut u savremene okvire i bazirajući njegove teme na neadekvatnom postavljanju japanskih vlasti prema recentnim katastrofama poput nesreće u nuklearnoj elektrani Fukushima. Dakle, moderno, progresivno, kritički.
U kontrastu sa tim, Godzilla Minus One je neka vrsta rekonstrukcije originalnog filma o Godzili, režirana od strane čoveka koji, da bude jasno, ima veliki pedigre u žansrovskoj produkciji, ali je svoje najveće uspehe postigao mejnstrim filmovima sa vrlo romansiranim interpretacijama priča iz vremena Drugog svetskog rata i posleratne obnove.
Ne pokušavam da kažem kako je Takashi Yamazaki u ulozi režisera Godzilla Minus One nekako kao da ste Zdravku Šotri dali da uradi novi nastavak Južnog vetra; Yamazaki je definitivno poznavalac i ljubitelj ne samo kaiđu žanra već i same Godzile, sa imaginarnom sekvencom u kojoj Godzila pravi ršum u urbanom okruženju Japana pedesetih godina koja je otvorila njegov Always: Sunset on Third Street 2 – a koja ga je i preporučila da radi ,,pravu" Godzillu. I, da i još jedna stvar bude jasna: Godzilla Minus One je veoma dobar film, pokazujući da kaiđu žanr, čak i na svojim najkonzervativnijim, najmanje avanturističkim podešavanjima, može da bude ne samo uzbudljiva drama izmešana sa katastrofičnom, urnebesnom akcijom, već i da nešto opipljivo KAŽE.
Jedna od svakako primarnih dimenzija uspešnosti i kvaliteta Godzilla Minus One je to sa koliko ozbiljnosti Yamazaki tretira svoj predložak i oko njega gradi iznenađujuće uverljivu argumentaciju i toplu ljudsku priču. Režiser je i sam napisao scenario za ovu produkciju, uzimajući dosta elemenata originalne Godzille iz 1954. godine, ali tematizujući tu ,,minus jedan" komponentu na veoma efektan način.
(https://i.imgur.com/9DecN8n.png)
Naime, za razliku od Godzille iz 1954. godine koja se događa u Japanu što više nije pod okupacijom i pršti od energije posleratne obnove i novopronađene nade, Godzilla Minus One se dešava (najvećim delom) 1947. godine. I ovde je prikaz iskušenja, muka, martirstva urbanog stanovništva vrlo ubedljiv.
Prva sekveca u filmu dešava se, pak, 1945. godine, na ostrvu koje prvo ima dodir sa čudovištem iz okeana a gde pilot-kamikaza, koji je preživeo samoubilčaku misiju na ime neispravnog aviona (ili to tako on TVRDI) svedoči pogibiji celog malog garnizona i strahu kakav nikada nije iskusio, suočen sa monstrumom koji nema nikakve milosti niti, čini se, može biti ikako povređen od strane bilo čega što slabo naoružana, demoralisana vojna postaja može da upotrebi protiv njega. Paralele sa japanskim iskustvom ratovanja na pacifičkom ostrvlju gde su bedno naoružano, izgladneli i bolesni japanski vojnici hiljadama kilometara od svojih kuća sa strahom čekali da ih napadnu dobro opremljene, sveže i odmorne američke trupe* su ovde više nego jasne.
*ko ima vremena i dovoljno znatiželje, može da se uputi u ovu problematiku dublje čitajući neke mange o kojima sam već pisao: Onward Towards Our Noble Deaths (https://cvecezla.wordpress.com/2022/01/19/procitani-stripovi-onward-towards-our-noble-deaths/); Okinawa (https://cvecezla.wordpress.com/2023/12/18/procitani-stripovi-okinawa/)
Kōichi Shikishima se na kraju vraća u Tokio, gde mu je oboje roditelja poginulo u noći bombardovanja i tamo mora da izlazi na kraj sa svojim kompleksom krivice preživelog, sa razrušenim gradom u kome su siromaštvo i beznađe na jelovniku svakog dana po čitav dan, sa prezirom koji dobija od poznanika koji znaju da se radi o kamikazi što nije imao herca da pogine za svoju naciju, ali i sa mladom ženom koja ima usvojenu bebu i koja ne zna gde će sa njom pa im Kōichi postaje nevoljni domaćin u ostacima svoje porodične kuće.
(https://i.imgur.com/uHDBKgP.png)
Yamazaki ne preteruje sa melodramom i ima neke odlične glumce da sa njima radi, od fantastične Sakure Ando (o kojoj smo pisali i prošle nedelje), preko veoma mlade i preslatke Minami Hamabe koja sa neverovatnom sigurnošću sebe transformiše iz prosjakinje i kradljivice u dostojanstvenu mladu ženu onako kako Japan staje na svoje noge i ,,pravi" poslovi postaju dostupni, pa do tridesetogodišnjeg veterana Ryunosukea Kamikija što je svoje prve glavne uloge imao doslovno pre nego što je pošao u osnovnu školu, a zatim radio sa Miyazakijem, Miikeom, ali i gomilom vrlo ,,komercijalnih" televizijskih režisera. I drugi red glumačkog ansambla je izvanredan pa Yamazakijev gorki ali inspirativni prikaz nacije koja se polako diže na noge i svojim radom i požrtvovanjem leči teške ožiljke ima vrlo opipljivu energiju.
Naravno, ovde moramo da pomenemo i fotografiju, scenografiju, kostime – film jeste dobio Oskara za vizuelne efekte, ali od modernog filma o Godzili je NAJMANJE što očekujete da samo titularno čudovište izgleda dobro; no to kako je uverljivo slikan porušeni Tokio, kako glumci izgledaju autentično (i samo ukusno romantizovano) i sve autentičnije kako se njihove sudbine pred našim očima vezuju za ponovno pojavljivanje Godzile koja sada preti da uništi i Tokio, to se naprosto mora podvući.
(https://i.imgur.com/2JEY0gq.png)
Godzilla Minus One ne ide izvan kalupa koji je franšiza uspostavila sa originalnim filmom. Ovde se vrlo uredno pominje američko nuklearno testiranje na Atolu bikini – koje je eksplicitno bilo tematizovano i u prvom filmu – i ponovno pojavljivanje Godzile i njeno usmeravanje na velike gradove je jasan motiv. A koji je, da se razumemo, istorijski revizionistički postavljen. Ovde Shikishima eksplicitno kaže da njegov rat još uvek nije završen – pa vidimo i simptome PTSP-a koji se manifestuju noćnim morama o Godzili – i kada postane jasno da je Godzila pretnja japanskoj posleratnoj obnovi (u jednoj FANTASTIČNOJ sceni pustošenja Ginze), glavni junak se, zajedno sa nekoliko desetina ratnih veterana, glavačke baca u smeru projekta koji treba da reši problem čudovišta koji američke i japanske administracije iz nekog razloga ne mogu da reše.
No, Godzilla Minus One unutar kalupa pravi razne akrobacije i za razliku od originalne Godzille, ovo nije film o hororu koji je japanski narod preživeo i naučio da se sa ovom strahovitom traumom i dalje nosi jer su nuklearna energija i nuklearno naoružanje postali trendovi druge polovine dvadesetog veka, već film o tome kako je Japan nakon rata dobio priliku da ovaj rat dobije. Shikishima ne ide tako daleko da izgovori ono Rambovo ,,ser, da li će nam biti dopušteno da pobedimo ovog puta?" i Godzilla Minus One je suptilniji, manje patetičan, humaniji film, ali da ne bude zabune: on je film prevashodno o snazi japanskog duha da pobedi ne u miru, kroz rad i obnovu, već o tome da su mir, rad i obnova iluzija i da se rat nije završio. I da, tako je, ovog puta Japanu biva dopušteno da u ratu pobedi.
(https://i.imgur.com/VuE1gdw.png)
Naravno, Yamazaki to radi veoma dobro. Shikishima je lik sa kojim je lako saosećati i njegova trajektorija od posramljenog neuspelog kamikaze pilota, preko nevoljnog oca i ne-sasvim-muža koji živi u celibatu i naporno radi, izlažući svoj život opasnosti svakog dana (jer mu je profesija čišćenje mora od nautičkih mina zaostalih iz rata) pa do (ponovo) vojnika koji će sada voljno, svesno i ponosno položiti svoj život u odbrani nacije je prijemčiva, ispričana isto onoliko kroz male karakterne trenutke i dirljive porodične vinjete koliko i kroz prizore urbane destrukcije u kojima gledamo tituralno čudovište. Ansambl koji se oko njega formira je takođe odličan, sa nekim veoma dobrim glumcima i jasno isprofilisanim likovima koji imaju vidljive funkcije u građenju Shikishimine motivacije i karaktera, a da opet sami nisu svedeni na puke alatke i imaju ličnosti. Fotografija Yamazakijevog čestog saradnika, Kōzōa Shibasakija je fantastična, a muzika anime-specijaliste Naokija Satōa je neodoljiva, pogotovo u finalnoj spektakularnoj sekvenci kada svi likovi polažu svoje živote na oltar nacije, sasvim svesni da su sve šanse i sva verovatnoća protiv njih. Godzilla Minus One ne samo da apsolutno poentira izuzetno dobro režiranim scenama u kojima se pojavljuje samo čudovište i koje i pored spektakla ne napuštaju estetiku i ton ,,ozbiljne" drame, već je i vođen jako solidno, sa perfektnom tročinskom strukturom i neosetnim trajanjem od dva sata tokom kog ćete autentično navijati za glavne likove, čuditi se njihovom suludom planu koji skoro da nema šanse da uspe, a ako na kraju ne pustite bar dve-tri suze, shvatajući šta su likovi mislili kada su rekli da je vreme da žive za svoju naciju umesto da za nju izginu, onda verovatno već izvesno vreme nemate puls.
Ali istovremeno, Godzilla Minus One nije samo priča o čoveku koji pobeđuje svoj PTSP, nije samo herojski narativ o običnim ljudima koji moraju da savladaju strah i povrate svoju humanost kroz suočavanje sa užasom koji ne prestaje da ih progoni, svesni da postoje VIŠE vrednosti od njihovih života. On jeste sve to, i za to ga treba slaviti, naravno, ali je istovremeno i alternativna istorija u kojoj Japan nikada nije zaista izgubio rat i u kojoj okupacija, koliko iz filma neupućen čovek može da vidi, nikada nije postojala. Dakle, Godzila sama po sebi, ovde nije deo ,,alternativne istorije" jer ona ima jasan, kroz poslednjih sedam decenija jasno shvaćen alegorijski kvalitet. Alternativna istorija se ovde odnosi na odsustvo Amerikanaca iz života Japana 1947. godine, štaviše na uzgrednu opasku da Amerikanci ništa ne mogu da urade protiv Godzile jer bi Sovjeti prisustvo japanskih ratnih brodova u blizini Japana smatrali za provokaciju. Japan u ovom filmu na ulice Ginze izvodi tenkove da odbrani grad od džinovskog reptila a što 1947. godine, ne moram to valjda ja da objašnjavam, naprosto nije bilo moguće.
Utoliko, Godzilla Minus One, u nekakvom blagonaklonom čitanju, ima i pomalo smušenu poruku: ovo je priča o grupi bivših vojnika koji se samoorganizuju u momentu kada su vlasti nesigurne kako da reaguju zbog viših geopolitičkih pitanja, i spasavaju naciju planom koji je ljupka varijacija na ono što je urađeno u prvom filmu iz 1954. godine, ali je istovremeno i fantazija o nikada poraženom Japanu koji, implicitno makar, i dalje ima suverenost i šansu da u ratu – za koji veliki deo japanskog naciona i dalje veruje da mu je bio nametnut – na kraju ipak pobedi.
I, ne, sugestija da se u filmu koji je ,,samo" celovečernja zabava sa CGI gušerom što repom ruši zgrade i atomskim dahom razara razarače, možda traži previše slojeva značenja ni slučajno ne sme da bude tretirana kao validna. Godzilla Minus One je iskaz, kao i veliki broj Godzilla filmova pre njega, i on je iskaz koji treba da bude tretiran sa ozbiljnošću sa kojom je i dat. Japan u ovom filmu poraz ne priznaje i iznalazi način da u ratu pobedi. Toliko.
Ohrabruje to da u Yamazakijevom scenariju fašističke, imperijalne vrednosti ratnog Japana bivaju eksplicitno napuštene i da se samoubilačko žrtvovanje za naciju smatra neadekvatnim odgovorom na iskušenja u kojima su već toliki životi uludo izgubljeni. Utoliko, biće zanimljivo videti kako će izgledati nastavak koji Toho, kako su sami rekli (https://screenrant.com/godzilla-minus-one-2-not-happen-good-reason/), ne priprema u neko skorije vreme. Do tada, ovaj je film svedočanstvo o i dalje živoj rani koju Japan skoro osamdeset godina pokušava da zaceli i čak i da vam se ne dopada, na tehičkom planu, ili naprosto jer ne volite kaiđu filmove, on je fascinantan zbog toga.
(https://i.imgur.com/DMEN08w.png)
Fantastičan prikaz kao i uvek, i dosta dobar film.
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Sladak je, da. :| :| :| :|
Da malo odmorimo od silnog japanskog filma, pogledali smo ove nedelje prošlogodišnjeg kanskog pobednika, a koji, uostalom trenutno igra u domaćim bioskopima. Anatomie d'une chute, odnosno Anatomija pada (ili Anatomy of a Fall za Anglofono tržište na kome je film vrlo solidno prošao) je drugi put u tri godine da kanski žiri dodeljuje Zlatnu palmu francuskom (ili dovoljno francuskom) filmu koji se u velikoj meri bavi prirodom (i identitetom) žene u današnjem društvu. Titane je, naravno, bio umotan u odoru kronenbergovski inspirisanog body-horror filma (https://cvecezla.wordpress.com/2021/12/10/film-titane/), a Anatomija pada je – makar na prvi pogled – old school sudska drama i utoliko se može reći da imamo posla sa jednim konzervativnijim pogledom na problematiku, štaviše sa jasnim nastavljanjem klasične filmske tradicije, a onda i sa izvesnom merom polemike sa njom.
(https://i.imgur.com/Oe3RT0R.png)
Kritičari su – sasvim logično – pronašli sponu sa klasikom Otta Premingera iz 1959. godine, Anatomy of a Murder, jednom ripped-from-the-headlines pričom baziranom na vrlo svežem romanu nastalom iz pera sudije vrhovnog suda a na osnovu njegovog iskustva kao advokata odbrane u slučaju ubistva starog nekoliko godina. No, ono što je karakteristično za Anatomiju Pada je to koliko je ovaj film zapravo anti-drama, sa emuliranjem tročinske strukture ali zapravo izbegavanjem da gledaocu podari materijal za navijanje za bilo kog od likova i korišćenjem svog formata da diskutuje prirodu ljudskih odnosa, da secira emocije, motivacije, strahove, nagone i potrebe, zaroni koliko može unutar persona što ih gradimo kako bismo se uklopili u konstrukt koji nazivamo ljudskim društvom i proveri ima li tamo nečeg autentično samovlasnog ili imamo posla sa uzvitlanim hormonima i bazičnim instinktima sve do samog dna.
U tom smislu, gledajući Anatomiju pada na pamet mi je padalo (!) i – očigledno samo meni očigledno – poređenje sa filmom Le Bonheur (odnosno Sreća) koji je Agnès Varda snimila 1965. godine – a o kome sam pisao ovde (https://cvecezla.wordpress.com/2023/04/21/film-le-bonheur-aka-sreca/) – i koji se zapravo bazira na iznenađujuće sličnim temama. I u njemu je pitanje toga koliko bračna zajednica ostavlja slobode partnerima da budu ,,ja" nakon transformisanja u ,,mi" u centru analize, i u njemu smrt jednog od bračnih drugova dolazi kao ishodište tenzija koje narastaju kada postane jasno da personalnu slobodu svi definišemo unilateralno i da je samo dobra sreća kada dve unilateralno definisane slobode moraju da dele zajednički prostor, a to ne dovede do nekakve tragedije.
(https://i.imgur.com/dvl9PvW.png)
Odmah da kažem da je Anatomija pada mnogo ambicioznije NAPISAN film od Sreće, sa diskurzivnim slojem koji eksplicitno detaljiše njegove teme, a gde je Sreća film neizgovorenog, koji svoje teze najčešće postavlja vizuelno i gledaocu bez reči saopštava stav autorke. I, oh, Sreća je film koji IMA stav. Utoliko, Anatomija pada je režirana spretno, pa na momente i vrlo nadahnuto, ima izvrsne glumce, muziku koristi vrlo uzdržano – i time zapravo prilično efektno – ali Anatomija pada kao da ima i blagi strah od toga da bi nešto na kraju trebalo da kaže ili pokaže gde stoji u odnosu na teme koje pokreće, zadovoljavajući se time da, poput svojih likova, sugeriše kako je i sam narativ koji priča i nesavršen i nedovršen, jedna ,,work in progress" diskusija koja ne treba da stane kada se film završi, pa i jedna programski nedosledna serija iskaza koji mogu biti i lažni i neiskreni, i samo reciklaža naučenog itd.
Što, da bude jasno, može da bude sasvim legitimno u smislu tekućeg društvenog dijaloga o – između ostalog rodnim ali i drugim – pitanjima slobode i kako je u društvu najbolje dosegnuti, čemu ovaj film notabilno doprinosi, ali da li to takođe proizvodi i vrhunsko kinematografsko iskustvo? Sklon sam da kažem ,,ne", ali u najdobronamernijem tonu.
(https://i.imgur.com/YAHjb18.png)
Justine Triet je ovaj film pisala zajedno sa svojim dugogodišnjim partnerom, i ocem svoje dve ćerke, režiserom Arthurom Hararijem i scenario je rađen ciljano za nemačku glumicu Sandru Hüller – sa kojom je Trietova već sarađivala. Ne samo da se u filmu jako oseti koliko su tekst – na Francuskom i Engleskom – i glumica perfektno usklađeni do mere da na momente zaboravljate da gledate film i čini vam se da su ispred vas stvarni ljudi, već je i krajnji produkt ovde jedan simpatičan Uroboros u kome umetnost inspiriše život koji inspiriše umetnost koja utiče na život. I lik koji Hüllerova u filmu igra se zove Sandra (i Nemica je koja živi u Francuskoj, u maloj planinskoj zajednici nadomak Grenobla) a i njenog supruga Samuela igra Samuel Theis, a kako su oba glavna lika spisatelji (u njenom slučaju po profesiji, u njegovom imamo posla sa čovekom koji godinama uz puno mučenja i neverovanja u sebe pokušava da porodi svoj prvi roman) pitanje koliko toga iz života završava u njihovoj prozi je jedan od centralnih motiva narativa.
Naravno, po istom principu sasvim je legitimno pitati se koliko su Trietova i Harari ,,svojih" životnih iskustava, stavova, ali i trenutaka slabosti, moralnih posrtanja i lutanja kojih se danas stide utočili u film. Sigurno je svakako da je Anatomija pada jedan vrlo iskren, vrlo detaljan inventar briga, dilema, neuralgičnih tačaka i skrivenih trauma koje generacija iks nosi na svojim plećima i, što je starija, pada sve dublje u zapitanost da li je možda negde usput napravila tragičnu grešku i je li generacija njihovih roditelja, kojoj je, reklo bi se, sve bilo jasnije, jednostavnije i prirodnije, bez potrebe da se ekstenzivno diskutuje o svim detaljima društvenog ugovora, uključujući na nivou gradivnih ćelija društva – porodica – bila zapravo srećnija.
(https://i.imgur.com/SnuFyfC.png)
Odgovor je, da se ne zbunimo, ,,ne nužno", i to što su neke prethodne generacije naučile da žive sa uskraćenostima i traumama i prihvate ih kao deo datosti u ovom deljenju karata, ne znači da su kasnije izborene, nesavršene slobode nužno bezvredne. Već samo da su nesavršene i da su, rekosmo već, ,,work in progress".
Trietova već u svojoj biografiji ima filmove u kojima se bavila ispitivanjem identiteta, položaja u društvu, dilema i zapitanosti, žena svoje generacije, ali su oni uglavnom bili rađeni u ključu romantčnih komedija. Anatomija pada je u tom smislu jasan zaokret i, sa svojim vrlo odmerenim tempom i jednom naturalističkom atmosferom, na neki način i logičan nastavak dokumentarnih filmova koje je režiserka pravila u prvom delu svoje karijere.
Zaplet je veoma jednostavan: Sandra i Samuel su dvoje intelektualaca koji žive u provinciji u okolini Grenobla, njegovom rodnom kraju u koji su se doselili iz Londona na njegovo insistiranje da mu je potreban mir kako bi mogao da konačno sedne i napiše taj svoj roman. Iako bi Sandra više volela urbanu zajednicu jer je ona uspešan pisac koji ide na promocije, susreće se sa novinarima itd, par nalazi način da i ovaj aranžman funkcioniše, sa lepom kućom na tri sprata na kojoj još ima štošta da se majstoriše, sinom oštećenog vida kojeg otac poduava kod kuće (mada ide dvaput nedeljno i u lokalnu školu) i lepim, velikim psom po imenu Snoop. Jednog dana, a posle malo svađe, a malo i pasivne agresivnosti sasvim standardnih za brakove ove generacije i klase, sin, Daniel, posle šetnje sa psom nalazi oca mrtvog u podnožju kuće, sa razbijenom lobanjom.
(https://i.imgur.com/CK3HlJq.png)
Najveći deo filma dalje otpada na suđenje na kome stari Sandrin prijatelj, advokat Vincent (odlični Swann Arlaud) sparinguje sa tužiocem (razigrani Antoine Reinartz koji kanališe svu energiju čoveka što je dobio mesto pod reflektorima i nameran je da iz njega iscedi sav mogući teatar, a što se perfektno uklapa sa ulogom tužioca koji ima posla sa sočnim slučajem potencijalnog ubistva iz strasti među intelektualnom elitom), trudeći se da dokaže da je narativ o samoubistvu depresivnog, razočaranog muža plauzibilniji od narativa o ubistvu od strane frustrirane žene, ali Anatomija pada, uprkos sasvim korektnom, pa i interesantnom forenzičkom obaveznom sastavu – sa sve kopmjuterskim animacijama, maketama, policijskim inscenacijama incidenta itd. – zapravo nije film u kome je u prvom planu dokazivanje je li Sandra ubila svog muža ili se on ubio.
Ono gde film kredibilno ,,radi" je unutar dokaznog postupka, ne jer se tokom njega otkrivaju posebno važni detalji vezani za dokazivanje ili obaranje optužnice, već jer se kroz iskaze, snimke, tumačenja stručnjaka, pre svega kroz govore optužene (na Francuskom i Engleskom), iscrtava slika braka koji je bio obeležen resantimanom, osujećenošću, prevarama, optuživanjima, prećutkivanjima pa onda nekontrolisanim eksplozijama afekata.
(https://i.imgur.com/89tJU66.png)
No, Anatomija pada programski i vrlo intencionalno izbegava da bude narativ o ženi koja trpi low key nasilje, ili o muškarcu koji se lomi pored žene kojoj nije dorastao, pa čak ni o dvoje ljudi koji vuku svako na svoju stranu i pretvorili su svoju bračnu zajednicu u teatar bola i stalnog uzajamnog poveđivanja, iako svaku od ovih teza vrlo metodično, režiserski perfektno obrazlaže. Njegova GLAVNA teza je da se brak ne može svesti na njegove najgore momente i to je ono što film zapravo ističe u prvi plan, ponavljajući ovaj postulat nekoliko puta ustima glavne glumice. Kada advokat Vincent kaže Sandri da se na sudu ne utvrđuje istina, to je sa namerom da osigura da će njeno svedočenje u poziciji optužene biti podešeno da porota dobije potrebnu percepciju događaja čiji deo uvek ostaje u domenu nesaznatljivog. Ali isto tako, ovo je poruka i gledaocu da metodično utvrđivanje ,,činjenica" i njihovo beleženje u formalnom registru ne može da pretenduje da bude istina onako kako su sami akteri tu istinu doživeli.
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Kroz nekoliko epizoda koje posmatramo posredovanjem Sandre, Daniela, a onda i u jednom (opravdanom) flešbeku i samog Samuela dobijamo jasnu sliku o ljudima kojima, zapravo, u životu nije uvek sve jasno. Koji su ušli u socijalne aranžmane i društvene ugovore pod pretpostavkom da ih razumeju i da će njihove odredbe zauvek biti jednako istinite i vredne, ali su onda na svoje veliko iznenađenje shvatili da oni, iako nominalno odrasle, ,,završene" osobe, ne prestaju da se menjaju. Da jučerašnje temeljite istine u njihovim životima nisu nužno istinite i danas. Sandra u jednom momentu kaže da se ne seća sebe od pre nekoliko decenija, eksplicitno gledaocu ukazujući da ona zapravo i NIJE ona osoba od pre deceniju ili dve i onda i implicitno postulirajući da ova osoba danas, ova DRUGA osoba ne može biti odgovorna za odluke koje je donela ONA osoba, niti nužno poštovati ugovore koje je ona sklopila.
Zvuči malo i cinično, slažemo se, ali deo agende filma i jeste da nam pokaže koliko sebično mogu da deluju supružnici koji jedno drugom tokom svađe kažu svašta, i tvrdoglavo se drže svoje slobode, pristajući da u braku zaista budu samo onoliko koliko ta sloboda neće da im se naruši. Generacija izrasla iz seksualne revolucije, uzgajana na situacionističkim teorijama i poststrukturalističkom prevrednovanju svih vrednosti i izlasku iz velikih priča je bila prva koja je demonstrativno istupila iz kolektivističke svesti, raskrstila i sa tradicionalnim rodnim ulogama, stavila u centar sveta sebe i svoje slobode, samo da bi se zatekla nekoliko decenija kasnije kako guta antidepresive, seks smatra činom mentalne higijene koji se izvodi iz nužne potrebe radije nego nečim esktatičnim, a svoju imanentnu kreativnost, toliko slavljenu od strane svih mladalačkih revolucija dvadesetog veka, ne može da realizuje sem ako ona nije terapijsko suočavanje sa životnim traumama kroz jedva prikrivene autobiografske autopsije.
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Likovi u ovom filmu su pisci, ali jedan od velikih ,,aduta" tužioca je da su Sandrini prethodni romani bili očigledno utemeljeni na njenom životu, problematičnim odnosima sa ocem i drugim ljudima pa čak i da je na neki način planiranje ubistva muža već opisano u jednoj od njenih knjiga. Naravno, Sandra razložno objašnjava razliku između fikcije i stvarnosti, a njena advokatica naglašava da se u konkretnom slučaju radilo o liku koji gubi razum i fantazira a nikada ne preduzme ništa konkretno i Anatomija pada spretno igra oko ove teme, podcrtavajući i njome svoju osnovnu tezu da su nesavršenost, nedoslednost i nedorečenost ugrađene karakteristike modernog života i da zbog njih niko od nas ne treba da se izvinjava.
,,Spretno" je svakako atribut koji može da se legitimno prilepi svim elementma ove produkcije. Scenario i dijalozi su studiozno urađeni. Tempo filma je odmeren ali ni jednom tokom dva i po sata njegovog trajanja nemate utisak da je spor. Kamera, svetlo, kadriranje i montaža su precizni, u svakoj sceni promišljeni i ovo je vizuelno ne samo pismeno već i nadahnuto, sa nekoliko sasvim finih artističkih rešenja (na primer u sceni lipsinkovanja očevog iskaza u kolima koju čujemo iz Danielovih usta čime film, ponovo SPRETNO, sugeriše i da Daniel možda sve ovo izmišlja). Muzika je, kako već rekosmo, u najvećem delu filma dijegetička (,,pravi" atmosferični saundtrak se čuje tek u poslednjih nekoliko minuta) i služi da podcrta emotivne amplitude tamo gde likovi (prevashodno petnaestogodišnji Milo Machado-Graner koji igra Daniela) nemaju prostora da ih drugačije oslobode, onako zarobljeni u svojoj terminalnoj srednjeklasnosti gde se o svemu slobodno priča ali se ništa na kraju ne IZRAZI, ali ima i izvesnu komičku funkciju u filmu koji je vrlo uozbiljen i u opasnosti da se dotakne sa pretencioznim. Glumci su, ako to već nismo dovoljno naglasili, izvanredni, sa izuzetno prirodnim afektacijama i ekspresijom koja savršeno pokazuje kako odrasli ljudi u formalnim situacijama ,,glume" svoje naučene persone i potrebno im je da svi, uključujući njih same, poveruju da su one stvarne. Film je su svim ovim dimenzijama zaista dobar.
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No, njegov konačni domašaj jeste ograničen time da on, rekosmo, NEMA STAV. Što nije ni sad neka egzotična retost u savremenom filmu gde se često samo iznošenje tema ili teza smatra kompletnim umetničkim radom. I naravno, ko sam ja da kažem da to nije tačno? Već smo se složili da ja imam terminalnu formu ugrađenog Marksizma i da ću uvek pomalo frustrirano reagovati na umetničko delo koje dijalektiku smatra samo kao vežbu iz identifikovanja suprotnosti, ali ne i iz njihovog prevazilaženja. Anatomija pada suprotnosti ne samo da prepoznaje već ih i izvrsno definiše, pokazujući da one ne stoje samo u prostoru između dve monade koje su same nedeljive i jedinstvene već i unutar njih, da su ljudska bića nesavršena, nedovršena, komplikovana i – urpkos svim slobodama koje su izvojevala – često nesrećna jer ne umeju da pomire ove suprotnosti u samima sebi.
A što je sve tačno i možda i bitno da se kaže naglas, ali ne mogu se oteti pomisli da mi, a pogotovo MI iz generacije iks, to sve već znamo i da smo žedni umetnosti koja onda barem pokušava da rešenje pronađe, pa makar u tome ne bila nužno i uvek u pravu. Utoliko Anatomija pada je izvrstan festivalski film je jer pun tema koje su odlično napisane a predstavljaju nam ih fantastični glumci u sasvim nadahnutom režijskom postupku, pa i osvežavajuće britak bioskopski film od dva i po sata koji nam obećava sudski procedural a nudi meditaciju o nesavršenosti, ali ne i stvarni klasik jer se on ipak na kraju uzdržava da o ijednoj od svojih tema nešto KAŽE. Praviti film da bi nam se reklo da život ne piše drame i da su one uvek i isključivo artificijelno rekombinovanje i sažimanje njegovih haotičnih i nedoslednih signala je verovatno legitimna rabota iz neke perspektive, ali u njoj ima i određene dekadencije za koju nisam siguran da treba da je bez ostatka pozdravljamo.
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Meho, uživao sam u svakoj reči ovog tvog dugog rivjua. I zaista delim utisak. Čak se nisi ni bavio samim pitanjem smrtnog slučaja jer na njega i nema odgovora.
Može li se reći da je ovo postmodernistički film koji relativizuje istinu?
Odlično, Meho, baš si bio nadahnut.
Videla sam u filmu i naznake francuskog kultur-šovinizma no dobro, to svakako nije presudno kad je po sredi moguće (samo)ubistvo. :lol:
Ha! Dobro, to je ipak na neki način izbalansirano činjenicom da je glavna junakinja Nemica i da pola dijaloga u filmu ide na Engleskom. a ipak je film dobio Zlatnu palmu :lol:
Quote from: Truman on 17-05-2024, 22:56:23
Meho, uživao sam u svakoj reči ovog tvog dugog rivjua. I zaista delim utisak. Čak se nisi ni bavio samim pitanjem smrtnog slučaja jer na njega i nema odgovora.
Može li se reći da je ovo postmodernistički film koji relativizuje istinu?
Da, pa nisam se bavio pitanjem smrtnog slučaja jer on očigledno nije centralna tema filma, već prevashodno alatka da se uđe u tu disekciju odnosa ljudi u braku. Što je, priznaću, najsrednjeklasnija, u neku ruku najdosadnija tema oko koje može da se pravi film, ali je film oko nje napravljen spretno :lol: Ne bih potezao postmodernizam u TOM smislu jer se on istinom i ne bavi (onako kako je to radio, recimo, Rašomon), ali jesam već u tekstu pomenuo poststrukturalistički ambijent u kome su protagonisti podizani, a i fer je reći da ima nečeg postmodernog u tretmanu samog žanra, pošto film koristi sudski procedural kao format ali namerno zaobilazi njegova pravila.
Da, tu dosadnu temu bračne svakodnevnice lepo su upakovali u murder mystery tako da i nije bilo toliko dosadno.
Jaggi, debitantski film režisera i scenariste Anmola Sidhua iz 2022. godine – od nedavno dostupan za striming na zapadu putem Mubija – je jedan od onih paradoksa koji susretnete nekoliko puta u životu: umetničko delo toliko snažno, neposredno i ogoljeno da želite da ga svi vide, i istovremeno toliko brutalno, traumatizujuće i pesimistično da se plašite da ga ikom preporučite. Mislim da sam se poslednji put makar slično ovome osećao gledajući Laugierove Mučenice iz 2008. godine ali je taj film barem preko sebe bio navukao tanki pokrov žanrovske stilizacije, dajući gledocu makar mali prostor za odstupnicu, za odmak, za uzimanje vazduha i skretanje pogleda. Jaggi nema toliko milosti i njegova neorealistička vizura je toliko gola, nemilosrdna i intenzivna da vam ispunjava celo vidno polje i pretvara vas u voajera želeli vi to ili ne. Jaggi je, velikim delom, priča o nasilju i njegovoj neizbežnosti, ali da bi gledaocu ova lekcija bila usađena najdublje što se može film i njega samog kao da pretvara u saučesnika, stavljajući ga u simbolički položaj bespomoćnosti kako bi jače iskusio bespomoćnost glavnog lika, dajući mu onda momente predaha, mirnoće, čišćenja, možda kratkotrajne nade, da bi se trauma, kada se – neizbežno – vrati, osetila jače, smrvila ga brže.
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Kinematografija indijske države Pandžab je bogata, uspešna, voljena u Indiji i izvan njenih granica, sa uzlaznom putanjom kojom se kreće poslednjih deceniju i po – ovo se smatra zlatnim dobom pandžabskog filma – jakim prisustvom na festivalima po celom svetu, žanrovskom raznovrsnošću i desetinama naslova koji se izbacuju svake godine. Neki od serijala, poput komedije Carry on Jatta su, zahvaljujući sigurno dobrim delom i indijskoj dijaspori, ostvarili respektabilan život i u zapadnim bioskopima sa milionskim zaradama i daljim ulaganjem u sve glamurozniju produkciju, uspešno se takmičeći sa Tollywood i Bollywood uratcima koji su možda nešto poznatiji među zapadnim gledaocima.
Jaggi nema nikakve veze sa ovakvom produkcijom i u pitanju je mali, nezavisni film urađen za stotinak hiljada dolara sa autorom scenarija i režiserom koji je pre ovoga uradio tri kratka filma, sve u periodu između 2020. i 2022. godine, sa glavnim glumcem kome je ovo prvo pojavljivanje pred kamerama i sa narativom i imaginarijumom toliko direktnim, brutalnim i SNAŽNIM da je i nezamislivo da bi ovakav film mogao da se napravi u studijskom sistemu bilo koje države. Ovo je fim nesvakidašnje snage, zastrašujuće hrabrosti na strani njegovih autora i bez imalo milosti.
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Naravno, svi smo gledali razaranje maskulinih mitova kroz činove seksualnog nasilja rezervisane – na filmu – gotovo isključivo za žene, i u takvim slučajevima neretko fetišizovane i ugrađivane u eksploatacijske narative, i ne bi bilo fer reći da presedani ne postoje, ali ono što Jaggi izdvaja od svega čega mogu da se setim je ta njegova neposrednost, realistički pristup koji naglašeno izbegava žanrovske stilizacije kako bi banalnost nasilja prikazao u tolikoj rezoluciji da gledalac ne može da se ne oseti krivim. Jer je gotovo neizbežno da će trauma na ekranu okinuti i podsećanje na traumu iz života, neku koju je sam doživeo, ili, ako ima malo više sreće, neku koju je doživeo neko iz njegove okoline a on, gledalac ju je, možda do sada ignorisao, potiskivao, sebi – ako je uopšte o njoj mislio – govorio da verovatno nije tako strašno kako se na prvi pogled činilo i da je ta osoba, koja je to preživela, posle ipak bila normalna.
Jaggi počinje neprekinutim kadrom od sedam minuta, kinematografskom bravurom koja ne deluje ni mrvicu razmetljivo već samo usredsređeno, sistematično, da nam pokaže muškarca koji plače, valja se po zemlji i jeca, zatim zapisuje neke svoje misli u svesku, ustaje, pravi se da je normalan i seda na motocikl kojim je po njega došao rođak da ga vodi na zaruku. Jaggi, koji u 2012. godini kada film počinje ima svega osamnaest ili devetnaest godina, treba da uđe u dogovoreni brak sa devojkom koju mu je pronašao stric, čiji su se roditelji složili sa dogovorom, pa je i sama devojka pristala kad je videla njegovu sliku i odlučila da izgleda lepo. Jaggi svoj dnevnik, u kome piše najmračnije misli što mu prolaze kroz glavu, nosi zataknut za pojas, a kada ga tamo ubaci, vidimo da pored dnevnika ima i pištolj.
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Film se zatim vraća nekoliko godina unazad. Još jedan briljantni dugački kadar nam prikazuje jutro u Jaggijevom domaćinstvu 2008. godine, sa majkom koja ustaje iz kreveta u kome spava sa muškarcem za kojeg u tom trenutku još ne znamo ko je, sa kućom koja još nema ni fasadu ni krov – jer znate već da se u mnogim zemljama porez na imovinu ne plaća dok objekat nije pod krovom – sa kravama koje provode noć u istoj prostoriji gde Jaggi, u tom trenutku srednjoškolac, i njegov otac, policajac sa punim radnim vremenom i prekovremeni alkoholičar, spavaju a majka ih budi da ih posluži čajem.
Jaggi nije čitav sastavljen od dugačkih neprekinutih kadrova i Anmom Sidhu, koji je ovaj film i montirao zajedno sa kolegom potpisanim samo sa Varnpreet, itekako razume jezik rezova, komprimovanja vremena kroz montaže, spretnih skokova kroz dane, godišnja doba i godine, ali ovi dugački kadrovi su često kulminacije njegovog vizuelnog izraza, rezervisani za neke od najstrašnijih scena u filmu a koje, na ime te discipline u kadriranju i savršene mirnoće kamere – i direktoru fotografije Pardeepu Taini je ovo prvi dugometražni film a što je gotovo nemoguće poverovati videvši zrelost jezika kojim barata – u gledaocu stvaraju utisak da ne može ni da trepne ni da odmakne pogled iako se pred njegovim očima odvija nešto užasno.
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Jaggi je u 2008. godini ,,deveti razred", odnosno prva godina srednje škole, spakovan sa još gomilom mladih momaka u školu za dečake gde, naravno, svi pričaju ne o tome šta su jebali već koliko puta su dnevno masturbirali, nadmećući se u lovačkim pričama o broju dnevnih ejakulacija i upotrebljavajući grubi, često ponižavajući rečnik da bi svoju muževnost dokazali jedino kako im pada na pamet – umanjujući muževnost drugih oko sebe.
Jaggi naravno brzo postaje meta zadirkivanja jer ima nežno lice, nešto dužu kosu, jer se ne nalazi niti snalazi u ovim pričama. Štaviše, on je dete sa sela, po ceo dan u polju, sa motikom u rukama pa je i toliko naivan da drugu iz razreda kaže da nikada nije masturbirao kada ovaj krene da ga ispituje koliko puta dnevno on može da svrši. Naravno da je prvo čime će ga ovaj momak nazvati ,,gej" ali vrlo brzo se ovaj termin izmeće u pežorative poput ,,homo" i ,,peder" i Jaggi postaje meta podsmeha reklo bi se cele škole, prvo verbalnog zadirkivanja i vređanja, a onda i vrlo fizičkog dodirivanja.
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Koje je sve, rekli bismo mi sada da smo u srednjoj školi, deo igre. Na kraju krajeva, ovo su sve dečaci razjarenih hormona, bez ijedne devojčice na vidiku da im malo zauzda ponašanje i izazove socijalni refleks stida i njihovo istraživanje sopstvene seksualnosti dešava se u ekskluzivno muškom okruženju gde se uvek mora preterati jer će onaj naspram vas preterati ako mu dopustite, gde uvek morate da dokazujete da ste pravi muškarac i veći muškarac od onog sa kojim komunicirate. Godina je 2008. i pošto je ovo duboka provincija, Jaggijevi drugovi još uvek nemaju ajFone i naloge na JuTjubu da snimaju zlostavljanje i aplouduju svoje ,,prenkove" ne bi li požnjeli malo popularnosti među globalnim vršnjacima, ali ono što oni čine je čisto, nepatvoreno vršnjačko nasilje, kome nije potreban Gospodar muva i pusto ostrvo, koje se dešava svuda gde mlade muškarce ostavite bez nadzora, svrhe, pažnje, podrške.
Svi smo to iskusili, pretpostavljam. Mogu da nabrojim barem 3-4 slučaja iz sopstvenog života, od osnovne škole, preko srednje škole, do vojske, gde su mladi muškarci izložili žene ili slabije – danas bi ih budale odškolovane na lošem internetu obeležavale pežorativnim ,,beta" deskriptivom – muškarce nasilju koje je imalo seksualne konotacije. Ja sam išao u fine škole, služio vojsku u velikom gradu i ovakve stvari su bile naprosto deo pozadinskog šuma. Osim, naravno, za one koji su bili na njihovoj meti i koji su mogli da računaju samo na nekakvu socijalnu mimikriju u velikoj zajednici i internalizovanje traume do momenta kada i sebe ubede da je to sve deo igre i da se ništa strašno nije desilo.
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Jaggiju se dešavaju strašne stvari ali on nema gde da pobegne. Porodica je jedva funkcionalna, sa ocem pijancem, majkom koja utehu nalazi kod njegovog brata, sa školskim drugovima koji nemaju milosti. Čak i školski domar kaže Jaggiju da je čuo da je gej i pokušava da ga poljubi u toaletu.
Jaggiju u pomoć priskaču dvojica starijih učenika, prvo ga štiteći od maltretiranja njegovih iz razreda a onda mu obećavajući da mu pomognu ajurvedskim lekom koji će izlečiti njegovu impotenciju.
Je li Jaggi impotentan? On misli da jeste isključivo zato što mu je to jedino ponuđeno objašnjenje na činjenicu da ne masturbira kao ostali dečaci. Ni otac ni majka ne pridaju mnogo značaja tome kada im sin kaže da ima problem sa erekcijom – naročito kada krenu pripreme za venčanje – i kažu da će sve biti u redu kada bude sa ženom u krevetu.
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Ali hoće li biti u redu? Ovo mora biti pitanje koje prolazi kroz Jaggijevu glavu jer i gledalac zajedno sa njim vidi brak koji imaju njegovi roditelji i koji je sve samo ne u redu. I jer je okružen dečacima koji se hvale da drkaju po osam puta dnevno. Koji ga nazivaju pederčićem. Koji će na kraju pokušati da ga napastvuju u toaletu. Jer sve je to bila igra i juče ali da bi igra ostala relevantna, da bi momci imali čime da se hvale i sutra, danas mora da bude žešća, da ode dalje, prodre dublje nego prošli put. Toksična muškost nije stanje, ona je neprestana eskalacija, do momenta kada se cela spavaona, recimo, 1991. godine, recimo u Nišu (ipak preko odeće) izređa na jednom od vojnika kome drugi drže ruke i noge. Recimo. I sutra je sve kao da smo se samo igrali.
Jaggija od napastvovanja u toaletu odbrane dvojica pomenutih starijih momaka ali naravno da njihova pomoć dolazi uz ogromnu cenu.
Film scene seksualnog nasilja prikazuje bez ikakve stilizacije, sa vrlo malo pokreta kamere, a opet ne bez svesti o artizmu koji mora doći uz prikaz nečeg toliko mučnog da je razložno očekivati izlazak bar trećine publike iz bioskopa već pre navršenog šezdesetog minuta.
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Prvo silovanje koje vidimo u filmu dešava se ispod mosta, u blatu, dok okolo pljušti kiša, istovremeno naturalistički mučno, nimalo ublaženo, niti imalo preterano, a da ima i elemente fetiša, baš onoliko koliko je neophodno da saviju mladu, još uvek neformiranu ličnost, da je bace u kovitlac preispitivanja, konfuzije, neverovanja sebi, možda na kraju konfuzije i fuzije nasilja i intimnosti. Znate kako su šamar i poljubac dva potpuno suprotna gesta? Ali znate koliko je lako da postanu izraz jednog istog odnosa u kome su intimnost i nasilje, dominacija i prisnost spojeni u jedinstven konstrukt POSEDOVANJA? Poništenja ličnosti. Ako ne znate, vi ste, pa, jedna srećna osoba.
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Naravno da je ovo scena iz jednog kadra, sa olovnim bojama neba i blata, sa prljavo zelenom vegetacijom okolo, belim košuljama pandžabskih seljaka koje do kraja promene boju. Kasnije scene su često kratke, grčevite, pune rezova, Sidhu dodaje i jednu montažu, koja je toliko zastrašujuća da će vam se okrenuti stomak, fokusirajući kameru na lice glavnog junaka, pokazujući nam ga kako plače, kako moli, kako ga nemoćnog ljube, ponižavaju, potpuno poseduju, svode na igračku.
O glavnom glumcu, Ramnishu Chaundharyju ne znam ništa sem da je sa svojim prvim filmom napravio ulogu koju bi 99% holivudskih glumaca čuvalo za svoju očajnički fazu kada su precvali za heroje i idole i vreme je, rekli bi nam u intervjuima, da potraže svoju ranjivost. Chaundhary ranjivosti ne daje ni trunku više glamura nego što joj pripada. Njegov Jaggi nije ni svetac-mučenik koji u patnji nalazi transcendenciju, niti obrazovani filozof koji će nekako iskonstruisati scenario u kome on na kraju nadrasta svoju traumu. On je dete sa sela koje nikada nije imalo šansu i koje zlostavljanje, nasilje i poniženje ugrađuje u svoj život kao njegov sastavni deo, nalazi predahe između užasa koji mu se dešava redovnim tempom, postaje sve spretniji u polju, sa poljoprivrednom mehanizacijom, za volanom traktora, gde povremeno sedi i sluša old school pandžabske narodnjake, kao da je 1988. godina i da se 21. vek nikada neće ni dogoditi.
Sve dok ne krene priča o braku, još jednoj stvari koja se Jaggiju dešava i u kojoj se on ni za šta ne pita. I čak i kada ga ne pitaju a on i bez pitanja i majci i ocu kaže da ne želi u brak, da ne misli da može da ima decu, oni na to reaguju razdraženo i kažu mu da ne pravi probleme i da im je potrebna pomoć u kući.
Film koji bi bio 100% traume 100% vremena naprosto ne bi mogao da traje stosedamnaest minuta i Sidhu pravi perfektan lagani zaokret posle polovine, pokazujući kako Raman, Jaggijeva verenica, u njegov život unosi crtu socijalnog, nečega što mladić, nakon što je napustio školu pre kraja devetog razreda, nema ni na koji način. Jaggijeva trauma i samoća se hrane jedno drugim pre nego što Raman donese u njegov život crtu normalnosti, običnih socijalnih rituala, nevinih spajanja dve mlade osobe koje se ne poznaju a predodređene su da život provedu zajedno. Jaggi nikada ništa slično nije imao i kada ga vidimo kako se nasmeši u jednoj sceni, to je skoro jednako bolno kao suma svog nasilja što smo ga gledali u prvoj polovini filma.
Jer, Jaggi ne živi u istom svetu kao i mi, ne zato što je provincija po definiciji manje socijalna – ona to ni slučajno ne mora biti – već samo zato što ga jedna sitnica vezana za funkcionisanje njegovog tela, a o kojoj ni on niti iko iz njegovog okruženja ne zna ništa, niti je iko ikoga pitao, stigmatizuje do mere da on ispada iz svih socijalnih mreža i gubi sve vrste podrške koje je možda mogao da ima. Od roditelja, od vršnjaka, od strica, od nastavnog osoblja, možda od radnika na farmi koji više voli da drži džoint nego motiku, od nekakvih hipotetičkih lekara – a da to nisu lokalni travari sa sumnjivim prodavnicama magičnih eliksira pored druma.
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Jaggi nema nikoga, ne zato što nije vredan da ima ikoga, već samo zato što živi u mitologiji muškarca koju nema ko da razobliči kao lažnu, detinjastu, toksičnu. Jer smo provincija. Jaggi je zarobljen u provinciji a ona se davi u mitovima o virilnosti koja njemu ne pripada – iako film, naravno bez reči ali maestralno, najveći deo vremena prikazuje Jaggija kako obrađuje zemlju i obezbeđuje porodici velike prinose – u ,,ili si tigar ili si plijen" dihotomiji koju je Dimitrije Vojnov u Malom Budu ispisao kao jasnu parodiju na toksičnu muškost, ali u kojoj preveliki broj muškaraca danas neironično, čak ponosno, i dalje živi. Provincija u kojoj je Jaggi zarobljen nije fizička – on i Raman u jednoj sceni odlaze u grad, provode vreme na vašaru, slikaju se i jedu slatkiše, imaju sve one normalne socijalne momente koje mladi imaju kada se upoznaju – ona je simbolička, ali simboličko, nažalost, ima mnogo veći doseg od bilo čega fizičkog.
Zato je završnica filma koja pokazuje da ,,safe space" ne postoji i da se od nasilja doslovno ne može pobeći toliko mučna ali toliko stvarna, jedva stilizovana najminimalnijim saundtrakom bubnjeva iz pera Jappreeta Singha. U ovoj završnici Jaggi nije neko ko može da preraste svoju traumu prosto jer trauma nikada neće prestati. Dečaci koji su vas maltretirali u školi izrašće u ljude koji će vas maltretirati gde god mogu da vas pronađu. A pronaći će vas jer sada imaju više resursa, jaču volju, veću fizičku snagu. Ako su vozili bicikl, sada imaju motor, a ako mislite da je ono nekada za njih bila samo igra, shvatićete da ste za njih OSTALI samo igračka. Jer oni su zarobljeni u istom mitu kao i vi, samo njihova strategija je da sebe gledaju kao tigrove, vas kao plen, dok se ne pojavi neki veći tigar.
Jaggi nije komplikovan film i njegov zaključak je onoliko neizbežan, brutalno prost i prosto brutalan koliko ste pomislili, ne, koliko ste se UPLAŠILI da će biti u prvoj sceni. Ovo ga čini jednom od najmračnijih priča koje ćete videti na ekranu ove godine. Ali će, ako ga vidite do kraja, nešto pomeriti u vama. Možda vas naterati da se isplačete, možda da potražite nekoga kome dugujete izvinjenje već tolike godine a možda, ako su karte baš toliko loše podeljene, i da podignete ruku na sebe. Jaggi, dakle, gledate na svoj rizik, i taj rizik nema nikakve veze sa time koliko ste jaki, koliko ste plemeniti ili navikli na svoju – ili tuđu – traumu. Od ovog filma nećete dobiti ni oproštaj, ni utehu, već samo, ako baš imate sreće, stid koji će vas motivisati da učinite nešto dobro za nekoga. Umetnost, da podsetimo, nije tu da oplemenjuje čoveka, već da ga suoči sa samim sobom. A za ono što ćete u sebi videti, neće na kraju biti ona kriva.
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Nikad nisi ovoliko spojlerisao, bar mislim. Ali vredelo je, jer sigurno neću gledati, a dovoljno si ga slikovito opisao da sam shvatio poentu i skoro kao da sam ga i sam pogledao.
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Da, mislim, ovo nije film sa zapletom koji treba čuvati od spojlera, a i, da, mislim da mnogi ljudi kada vide o čemu se radi, neće hteti da ga pogledaju. Apsolutno je onoliko mučno koliko misliš da jeste.
Quote from: Petronije on 24-05-2024, 15:04:47
Nikad nisi ovoliko spojlerisao, bar mislim. Ali vredelo je, jer sigurno neću gledati, a dovoljno si ga slikovito opisao da sam shvatio poentu i skoro kao da sam ga i sam pogledao.
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Yup.
Lepo napisano i opisano, doduše malo ironično da se film bavi seksualnim nasiljem nad muškarcima - koje zasigurno postoji - kad su u toj Indiji žene i devojčice najčešće žrtve silovanja. Overwhelmingly.
To nisam hteo da pominjem u tekstu jer mi se čini da je autor upravo to i imao na umu: Indija ima IZRAZIT problem sa seksualnim nasiljem nad ženama ali je ono normalizovano, pa je onda priča o muškarcu koji ga doživljava zapravo način da se muškarci trgnu i donekle osete kako to zapravo izgleda, zašto neko ko je preživeo silovanje ostaje u naoko dobrim odnosima sa počiniocima itd.
Quotezašto neko ko je preživeo silovanje ostaje u naoko dobrim odnosima sa počiniocima itd.
A ako prežive, devojke su često prinuđene da se za svoga silovatelja udaju.
Vidi, mislim da muškarci koji vrše nasilje odlično znaju šta je i kako izgleda, ali svoje žrtve ne doživljavaju kao ljudska bića.
Upravo to što je normalizovano predstavlja problem, nisu dovoljni dokumentarci koje pogleda festivalska publika i ljudi kao ja na youtube, treba se direktno pozabaviti sistemskim problemom nasilja nad ženama i kroz mejnstrim filmove.
Naravno, slažem se. Mi i nemamo pravu sliku o tome koliko je partnersko nasilje generalno prisutno u našem društvu (a silovanje u tom odnosu je kudikamo češće nego od strane proverbijalnog stranca) jer je ono normalizovano i na mnogo nivoa se smatra unutrašnjom, privatnom temom u koju ni komšije ni država ner treba da se mešaju. I čak i kad se desi neki visokoprofilan slučaj kao što je ovo što imamo sa Mikom Aleksićem, svedoci smo da na suđenju advokat odbrane igra na to da su se oštećene, jelte, i dalje ponašale normalno, nastavile da dolaze u školu itd.
Film kao što je Jaggi treba da pre svega MUŠKARCIMA - jer žene to nažalost dobrim delom već znaju - pokaže zašto to nije neobično, čak zašto je relativno uobičajeno da neko ko je prošao kroz ovakvo iskustvo pokušava da se ponaša kao da je ono delom bilo nešto u čemu je voljno učestvovao jer je to često doslovno jedini način da ima trunku osećaja da nije potpuno posedovan od strane druge osobe. Pisao sam pre dosta vremena o filmu Kung Fu Zohra koji pokazuje obrazovanu, preduzimljivu ženu kako ostaje u braku sa zlostavljačem (dok joj ne pukne film) i kako sebi racionalizuje zašto na taj način ima više dostojanstva. Taj film je imao i elemente komedije (i kung fu akcije) pa je pitkiji za gledanje ali Jaggi je neposredniji, jasniji, mislim da muškarcu može čistije da prikaže situaciju u kojoj može da zamisli sebe i shvati koliko je bespomoćnost strahovito snažan osećaj u kojem onda tražiš trunku samovlasnosti samo da se ne bi osetio sasvim poništenim.
Kad čovek provede svih – na mišiće nategnutih – devedeset minuta akcionog filma pitajući se kako je ZABOGA ikada iko pomislio da ovako nešto treba da se snimi i koja je TAČNO trebalo da bude ciljna grupa filma koji ne zna da li je detinja superherojska fantazija ili gritty, revizionistički '80s akcijaš sa elementima horora, znate da prava zabava dolazi isključivo od nagađanja koja su to, pobogu, bila očekivanja producenata od nečeg OVAKVOG, a ne od pukog gledanja filma. Mislim, gledao sam dosta lošijih filmova nego što je Samarićanin (odnosno Samaritan) iz 2022. godine i kao neizlečivi adikt prljave '80s akcije i njenih modernih derivata, nema sumnje da ću ih gledati još pre nego što me polože u postelju od ilovače, ali ipak je svojevrsni šok pomisliti da se Sylvester Stallone sa skoro 75 godina svesno i voljno podvrgao nečem ovakvom. Čuj mene ,,podvrgao", njegova firma Balboa Productions je jedan od PRODUCENATA ovog filma. Hoću reći, Bruce Willis makar ima kao izgovor dijagnostikovanu demenciju i ovo kažem bez trunke šale. Samarićanin je toliko loš film da doslovno ne razumem zašto bi Stallone na polovini osme decenije života trošio svoje vreme i novac na nešto ovakvo.
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Plan je, naravno, bio da se ovog vikenda gleda Furioza ali pošto ljudi planiraju a život se dešava, to se nije dogodilo. Na kraju sam krenuo da klikćem po HBO-u, tražeći nešto da me prikrpi dok se ne steknu uslovi da dobacim do bioskopa, a Dina 2 mi je delovala kao dvoiposatna tortura koju ne bih mogao da izdržim u treznom stanju. A prestao sam da pijem pre trideset godina! Neke odluke, kako i ovaj film ukazuje na jednom mestu, progone nas ceo život.
Izbor je onda – prirodno – jedino mogao da padne na Samarićanina, nešto što je delovalo kao gritty, jednostavan omaž jeftinijem krilu akcionog bioskopa osamdesetih u kome se jedan od njegovih najikoničkijih eksponenata vraća da ispali još po koji gotivan uanlajner dok šalje sociopate u spektakularnu smrt i da još koji put napravi onu njegovu animalnu facu kojom se sluti gubitak kontrole pre nego što počnu da lete glave, sa decenijama učinjenu još animalnijom na ime svih tih steroida kojima se Sly održava u borilačkoj kondiciji. Urađen u koprodukciji Amazona i Stalloneovog Balboa Productions, Samarićanin je krenuo sa snimanjem u proleće 2020. godine pa stao zbog Pandemije, pa onda ipak produžio krajem te godine jer, jebiga, glavnu ulogu u filmu igra četrnaestogodišnjak koji bi dramatično izmenio svoju fizionomiju da se sa snimanjem malo duže čekalo. Pubertet je prosto takva vrsta supermoći.
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Onda je i premijera filma – ako se puštanje na striming servise može tako nazvati – odlagana, sa nekoliko konsekutivnih datuma na koje je trebalo da se uđe u bioskop, pre nego što će film na kraju prosto biti pušten na Amazon Prajm Video, mesto na kome jedino i ima smisla da ovako nešto ponudite gledaocu i nadate se da neće posle pet minuta da se okrene prema vama i pita vas da li vi to njega zajebavate.
Čujte, kablovska televizija i striming servisi su tradicionalno puni smeća koje se gleda sa pola pažnje dok radite nešto drugo – ima razloga što se termini direct to cable i direct to streaming i dalje koriste u polupežorativnoj formi – ali Samarićanin je film koji je koštao oko sto miliona dolara da se napravi i ima Stallonea u (drugoj) glavnoj ulozi. Poređenja radi, Creed III koji je izašao iduće godine – još jedna Stalloneova saradnja sa Amazonom – koštao je sedamdeset pet miliona. I naravno da je već tu legitimno pitati šta ZABOGA košta toliko para u filmu koji je u suštini realistička drama bez specijalnih efekata, ali svakako je svima jasno da se ,,holivudsko knjigovodstvo" razbaškarilo i izvan tehničkih granica Holivuda i da firme kao što je Amazon sigurno nisu primer domaćinskog poslovanja kada je produkcija ,,sadržaja" u pitanju.
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Svejedno, i dalje je fascinantno pitati se za koga su tačno u Amazonu mislili da prave ovaj film. I jedino što mi pada na pamet – a čime se Samarićanin i ovaploćuje kao film koji je jedino i mogao da nastane u produkciji Amazona – je da su u Bezosovom kampu mislili kako televizijska adaptacija strip serijala The Boys, koja im je donela mnogo uspeha, pohvala i, pretpostavka je, nekakve zarade, formula koja se može replicirati bez mnogo razmišljanja, takoreći kopipejstovati. Samarićanin, da bude jasno, nije The Boys ni po jednom drugom elementu osim što je i ovo priča o superherojima lišena superherojskog glamura, smeštena u ,,praviji" ako već ne pravi svet, i što su i jedan i drugi produkt pre velikog ekrana zaživeli u stripu.
Sad, naravno, The Boys je pisao Garth Ennis, jedan od najboljih scenarista američkog mejnstrim stripa poslednjih tridesetak godina i ova superherojska dekonstrukcija je njegov kasnoživotni masterpis, u velikoj meri informisan dugim radom za Marvele i DC-jeve ovog sveta. U kontrastu sa tim, Samarićanin je napisao Bragi F. Schut, za koga niste čuli sem ako ste jedna od retkih osoba koja se istovremeno loži i na Escape Room i na seriju Ninjago, a koji je, nakon što je scenario uspeo da proda MGM-u (koji u tom trenutku još nije bio kupljen od stane Amazona ali otkup scenarija koje niko nije ni tražio ni naručio je jedno od mogućih objašnjenja kako su sebe doveli u poziciju da ih danas poseduje Jeff Bezos) isto tako uspeo da po njemu bude urađen i strip, za Mythos Comics. Za koji isto verovatno niste čuli. Ni za strip, ni za izdavača. I ako se sad u sebi mislite kako loših, gritty kvazisuperherojskih stripova koji izlaze za male, ne naročito izbirljive američke izdavače ima koliko hoćete i da nije jasno zašto bi takav jedan strip istovremeno bio i film od sto miliona dolara sa Stalloneom u glavnoj ulozi – evo nije ni meni jasno. Stallone bi trebalo da je svoj superherojski svrab pošteno počešao radeći Guardians of the Galaxy, a za rekonstrukciju i reviziju '80s akcije valjda mu služe The Expendables. Samarićanin je takav šitšou od početka do kraja da dolovno i dalje ne razumem kako se Slaj spustio na ovaj nivo i još ga producirao.
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Enivej, glavni problem filma je što je sklopljen iz potpuno nekompatibilnih delova. Ovo je delom, rekoh, detinja superherojska fantazija u kojoj klinac iz komšiluka preko uvodne, stripovski stilizovane montaže priča o dva supermoćna brata u gradu Granite City od kojih je jedan bio zao a drugi dobar i tome kako su se na kraju pošibali i onaj koji je bio zao je na kraju poginuo a onaj dobri je prestao da se bavi borbom protiv zla i utopio se u anonimnosti da hrani urbane legende sledećih dvadesetpet godina. Drugim delom ovo je '80s akcijaš u kome Slaj usred napuštene fabrike smrknuto prima metke na prsa i baca kroz zidove gangstersku pešadiju koja u njega prani svoje šaržere. Verovatno ima razloga što niko u Holivudu nikada spustio lulu sa hašišom i prommrljao ,,narode, upravo sam imao epifaniju: ŠTA AKO BISMO UKRSTILI GOONIES I ROBOCOP", pa od toga nastao film ali, Amazon nije Holivud i ovde očigledno nije bilo nikog da pozove hitnu pomoć.
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Julius Avery nije sad neki UMETNIK ali on je verovatno bolji režiser nego što ovaj film sugeriše. Na kraju krajeva, Overlord bi trebalo da je solidan film. Australijanac je, verujem, doveden pre svega kao nesindikalizovana radna snaga da radi stvari onako kako mu se kaže a ne kako propisuju tamo neki pravilnici – pogotovo tokom pandemije – a ovakav način pristupa proizvodnji filma dodatno objašnjava to što glumački ansambl izgleda kao da je sastavljan metodom RNG-a. Danac Pilou Asbæk igra negativca, direktno dovučen iz Overlorda (a igrao je i u nesrećnom Ghost in the Shell i tamo bio jedna od retkih svetlih tačaka tog filma), Sophia Tatum je posle devetog Fast & Furious – gde joj se uloga, ne zezam se, zvala ,,Racer Chick" – upisala još jednu rolu u kojoj se ne glumi i samo treba da se pravi da je nije blam da se ispred kamere šeta sa tetovažama na licu, Javon 'Wanna' Walton, pomenuti četrnaestogodišnjak, je kao talenat otkriven na društvenim mrežama, a Moises Arias – ove godine puni dvadeset godina – je jedini za koga se može reći da je posle ovoga otišao na malo bolje jer je imao solidnu ulogu u ovogodišnjoj, takođe Amazonovoj, seriji Fallout.
Da se razumemo, Samarićanin je film od sto miliona dolara koji služi kao dobar argument da je ponekada bolje, svakako katarzičnije, sto miliona dolara podići u kešu, nagurati u smederevac i zapaliti ih šibicom pa sve to snimati telefonom jer će makar snimak toga na TikToku da dobije dosta lajkova, no, Avery nije nekompetentan u nekom zanatskom smislu. On je sasvim svestan da ima Stallonea ispred kamere bar šestinu filma i ume oko ove ikonične figure da osmisli kadar, da je fetišizuje onako kako ona zaslužuje. I generalno, scenografski i kostimografski, u smislu kreiranja nekog here and now osećaja koji film treba da u nama proizvede, Avery i njegova ekipa rade dobar posao. Ovo je post-supeherojski film koji prikazuje pošten radnički grad u kandžama recesije, radnike kako gube posao i maloletnike koji na ulici okreću zajebane šeme jer ih niko ne pazi, prodavce u radnjama koji demoliraju više inventara pokušavajući da oteraju lopove nego što je vrednost robe koju lopovi izvuku, pesimističnih reportaža o otpuštanjima i štrajkovima koje svi gledaju na old school CRT televizorima ako uopšte uspeju da uđu u svoj stan kada im gazde od zgrade zapečate bravu zbog neplaćene kirije.
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Dah osamdesetih je, dakle, snažan u ovom filmu i mada je, naravno, slika preoštra a kolorna šema isuviše živa da bi nam se mozak skroz zavarao kako gleda nešto autentično, grafiti po zidovima i Stallone sa vunenom kapom na glavi su ipak ikoničke stvari.
Ali problem je onda što je ovo dobrim delom dečiji film namenjen deci. Stvarni glavni junak, Sam, je trinaestogodišnjak koga samohrano podiže etnički kodirana majka, po profesiji medicinska sestra. Ćale je čukao prodavnice pa više nije živ a Sam je opsednut pričom o Samarićaninu i Nemezisu, dvojici pomenute braće sa supermoćima od kojih je jedan želeo da grad razori/ opljačka/ potčini sebi (zaokružiti jednu ili sve ponuđene opcije, pošto se scenario ne trudi da objasni šta je Nemesis koji kurac zaista hteo da uradi nakon što isključi struju celom gradu) a drugi je štitio nejač i na kraju mu osujetio plan ali po cenu bratovljevog života. Ovo se sve dešavalo ZNATNO pre Samovog rođenja, ali pošto Samu fali očinska figura – kako je to već i red u filmovima koji fetišizuju maskuline stereotipe – a ima i puno slobodnog vremena jer mu keva radi dugo i naporno, on se opseda Samarićaninom, svako malo proklamuje da zna ko je on i koji mu je današnji civilni identitet i insistira, smarajući mnoge oko sebe, da je Samarićanin urbani heroj koji je štitio grad i građane pa je i njegovom ocu jedared spasao život.
(https://i.imgur.com/DF9ZcHW.png)
Ima tragova smislenosti u ovoj postavci. Scenario svakako – da kažemo i namerno – ide na to kombinovanje superherojske mitologije sa klasičnim urbanim mitovima i kada posle određenog vremena Sam i njegov komšija Joe budu spojeni spletom okolnosti, Sam počinje da se kredibilno opseda ćutljivim samcem koji radi kao đubretar a onda sa đubrišta spasava stare aparate, kod kuće ih strpljivo opravlja pa posle proda lokalnoj zalagaonici za neki sitan keš. Jer, jelte, Stallone – koji igra Joea – ima tu uverljivu pozu mačo-sveca-mučenika, i jeste neodoljiv u njoj. Pogotovo kada Sama odbrani od lokalnih mangaša koji bi da ga odvuku nizbrdnim putem sitnog kriminala.
I, da ne budemo nefer, ima tu malo i hemije u kadru kada su Sly i dete Javon zajedno. Klinac je pristojan glumac makar za standarde NEBULOZNOG scenarija koji mora da izgovara a Stalllone ne upada u šmiru i mada samo glumi samog sebe iz bar 10-15 starih filmova, tako samog, u celibat, depresiju i sitne životne rituale umotanog muškarca koji je svetu dao mnogo a taj svet to nikada nije znao da ceni, on to, jebiga, i dalje dobro igra.
(https://i.imgur.com/UynQEN1.png)
No, problem je sve ostalo u filmu. Scenario je skoro pa katastrofalan, bez trunke imaginacije u dijalozima, postavci motivacija, ili makar, MAKAR prisećanja šta je ko rekao ili uradio pre tri strane. Iznenađujuće solidni glumci su svedeni na svoje post-milenijalske kostime i maske – dakle, tetovaže po licima, pirsinzi, skupe brade, edgy frizure, kao da gledate intro za nekakvu multiplejer free-to-play igru koju je ceo art-tim pravio apdejtujući istovremeno svoje sivijeve za narednog poslodavca – i ako to filmu daje ,,stripovsku" dimenziju, on to ne primećuje, jer je sve režirano staromodno, obično, kao da se radi o normalnom akcionom filmu ili o normalnoj produkciji za decu i omladinu.
U jednoj sceni figuriše Martin Starr, kao novinar-publicista koji se trudi da živi od pisanja o Samarićaninu i malo je i opsednut celim tim mitom, ali potpuno je nejasno ne samo zašto biste odličnog Starra protraćili na scenu koja nema apsolutno nikakvu funkciju u priči ionako spakovanoj u jedva sat i po trajanja filma nego i šta u dramaturgiji ove produkcije tačno treba da bude Sam. Je li on vektor preko koga mlada, dakle predadolescentska publika treba da se identifikuje sa filmom i uđe u njega, pa zajedno sa Samom nauči neke lekcije i sazri? Evo, ne znam, Sly, nakon što njegov lik, po uobičajenom rasporedu za ovakve narative, prvo pokuša da se otrese klinca, postaje mu neka vrsta nevoljne očinske figure i onda ga uči nekim teškim lekcijama o tome kakav je STVARNI život i da se pravi šmekeri u stvari ne biju po ulici i ako ih neko napadne oni se krenu i beže. ,,Zašto bi se tukao sa nekim ko ti u životu ne znači baš ništa a ima mogućnost da ti život upropasti" je dragulj ulične mudrosti koji je možda i previše vredan za film koji apsolutno ne zna šta u stvari hoće da kaže jer Sam do kraja ne samo da ne nauči ni jednu lekciju nego i ide direktno KONTRA poduci koju je dobio od Stallonea, odlučujući se radije za dalju perpetuaciju mita nego za oslobađajući potencijal istine.
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Ali, mislim, kad smo već kod dramaturgije, film je apsolutni haos – likovi rutinski ne znaju šta su rekli doslovno u prošlom kadru i čine suprotno od onog što su proklamovali da će raditi, u nekim scenama negativci pucaju u zidove i nameštaj iako je jasno da je stan u koji su ušli prazan, ženu koja je maltretirana i tučena na krovu zgrade od strane kriminalaca Stallone posle nalazi na podu njenog stana, sa otvorenim vratima kao da se ta scena u stvari tu dešavala itd. Ključno, doslovno je nejasno šta glavni negativac, harizmatični lokalni gangster Cyrus hoće, kako zaboga ,,grafitne bombe" koje on koristi da to što hoće postigne uopšte funkcionišu (od scene do scene one menjaju svojstva i negde imaju kapacitet da ljude povrede a drugde ne), zašto on uopšte radi SVE što radi uključujući potplaćivanje policije, jer ga u više scena gledamo kako napada i ubija policajce bez ikakvog kasnijeg problema koji bi mu ovo napravilo.
Ali sad, vidite, sve to NE BI BILO PROBLEM da je Samarićanin samo iskoristio Stallonea onako kako je njega bogougodno koristiti. Nije da su filmovi poput Cobre ili, da se ne lažemo, bilo kog nastavka Ramba bili sad kao nešto dramaturški dosledni i napisani sa mnogo slojeva i nijansi. Ali imali su i tekst i podtekst, dok Samarićanin ima samo maglovitu ideju da hoće da naskoči na superherojski voz, da zbog toga mora da bude PG-13 film, kako bi ga gledala i deca, a da nekako u to ušnira i Stallonea koji će biti Stallone samo na superherojskim steroidima. O čije supermoći, ne šalim se, zavise od toga da li u frižideru ima dovoljno spremnog sladoleda. Ne, zaista, NE ŠALIM SE.
I, mislim, Avery nije baš toliko trapav da ne ume da snimi dobru akcionu scenu, ali opet, toga ima MALO. Recimo, u prvoj akcionoj sceni Stallone prebije grupicu klinaca koji su napali Sama i, mislim, ne znam za vas ali ja ne dolazim da gledam Stallonea da bih ga gledao kako odvaljuje od batina mlađe tinejdžere.
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Do kraja filma dobijamo propisnog Stallonea koji besno urla i ruši pesnicama i priručnim inventarom čitavu armiju Cyrusovih goonova dok oko njega sve gori i kada jednu od ručnih granata gurne u grudni koš jednog od negativaca-sa-imenom, aktivira je i odšeta uz preko ramena dobačeno ,,have a blast", ovo je, naravno dobrodošo-kući-domaćine momenat kakvih smo MORALI da dobijemo mnogo više. Ali naravno da nismo. Stallone je i u poodmaklim godinama u formi i mada montažeri moraju da dosta seckaju akcione scene, ima tu impresivnih kadrova, recimo onaj sa kreativnim korišćenjem protivpožarnog aparata. No, kreativnost GENERALNO nedostaje filmu koji ipak samo reciklira ikoničke momente '80s akcijaša ali bez mogućnosti da ih ikako nadogradi, zarobljen malko nedostatkom mašte a malko i diktatom rejtinga koji omogućava da vidimo kako klincu lome ruku francuskim ključem (sve dok se sam trenutak dodira željeza i nežnog detinjeg tkiva ne vidi pred samom kamerom) ali ni slučajno na dopušta da se prolije ni kap krvi dok Stallone masakrira Cyrusove momke. Otud je i u svojim najboljim scenama, gde je Stalloneova mačo-harizma na najmaksimalnijim nivoima, Samarićanin samo inferiorni omaž boljim filmovima i to ne može da bude dovoljno.
Recimo to ovako: odrastao sam gledajući desničarske maskuline fantazije o dobrim ljudima koje gurnete malo jače nego što treba i oni se pretvore u masovne ubice što pravdu moraju da isteraju sačmarama i motornim testerama jer institucije neće da rade svoj posao i samo nam se smeju u lice dok guze progresivne studentkinje i šmrču kokain, i u trećoj deceniji 21. veka sam sasvim voljan da i dalje gacam kroz tu vrstu političkog dreka AKO će filmovi koji se na njemu baziraju da prepoznaju i prigrle visceralni deo TE formule i pruže nam makar somatski užitak u pokolju. No, Samarićanin ovako nešto ne ume, ne sme, ne želi da uradi i njegov JEDAN ,,neočekivani" preokret, par smislenih linija teksta i Stallone koji izgleda vrlo dobro, naprosto ne mogu da pomognu. A ni meni. A Amazon i Stallone, neka nam sve nesveto bude u pomoći, trenutno pripremaju i nastavak.
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Meni je Samarićanin lepo legao. Ima priču i pouku, kritike me ne zanimaju previše. :) Verujem da se tinejdžerima dopada, a za njih je i pravljen.
Evo, ne znam, ja sam nekad bio tinejdžer i tad sam gledao Rambo II i Cobru. Ovo bi u to vreme bilo ismejano, ali poštujem da ima kome se sviđa!
Ovaj film ima efektan kraj i moralnu pouku. Meni dovoljno. Ali treba reći da nemam teoretsko znanje o filmu, ja sam samo običan filmofil koji reaguje stomakom a ne glavom.
Tu smo isti samo sam ja stariji par decenija pa sam i ogorčeniji :lol:
U nedelji prepunoj radnih obaveza do te mere da vam se čini da ste doslovno došli kući sdamo da prespavate a onda ujutro ustali da bi nastavili da radite, spas za namučenu ljudsku dušu je možda i neophodno naći u čini se sve kraćim procepima u vremenu. Srećom, MUBI ima vrlo solidnu selekciju kratkih filmova a od kojih je neke i sama ova firma producirala, pa smo se tako uspešno zalečili utapajući se u tople struje otmene ženstvenosti ofarbane gorkoslatkim jesenjim bojama, a onda spas potražili i u, čekajte da proverim u beleškama, u dakle javnom veceu tržnog centra transformisanom u plesnu pozornicu a onda, kad su tranformacije već krenule šteta je da stanu, u kvir-seksualnu revoluciju koja osvaja NAJMANJE celu Francusku a MOŽDA i ceo svet.
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The Staggering Girl, prvi u ovom diptihu kratkih filmova na pomenutom striming servisu, je urađen nešto pre pandemije, 2019. godine, u zanimljivoj produkcijskoj postavci i sa više nego pitoresknim ansamblom pred kamerom, no ovo je jedan od onih filmova u kome holivudske zvezde – i to od solidne reputacije – moraju da se žestoko potrude da budu upamćene pored čudesa koje nam serviraju fotografija, scenografija, pogotovo kostimografija ove produkcije.
Italijanski režiser Luca Guadagnino je svoju reputaciju cementirao kompletiranjem trilogije o strasti 2017. godine hit-filmom Call Me by Your Name i postao poznat kao onaj autor koji za svoje filmove bira glumce upečatljivih fizionomija i stavlja ih u kompleksne emotivne lavirinte akcentovane erotizmom i promišljenim, evokativnim vizuelnim radom. Njegov ne-sasvim-rimejk Argentove Suspirije koji je režirao 2018. godine je slabo finansijski prošao ali jeste označio Guadagninov neustrašiv prelazak u horor iz njegove osobene perspektive. Guadagnino je, uostalom, vrlo vizuelan režiser, čija je ambicija, reklo bi se, da gledaoca opčini pre svega složenom geometrijom i bojom, a tek onda da mu iznese narativ. U Guadagninovom radu su vrlo očigledni uticaji velikog broja ključnih italijanskih autora, od Bertoluccija i Viscontija, preko Rossellinija i Argenta do Pasolinija i Fellinija mada je vrlo zanimljiv njegov navod da mu je prvi trajni utisak – kada je imao pet godina – ostavio izgled pustinje u Leanovom Lorensu od Arabije, hipnotišući ga i uvlačeći ga u ekran.
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Naravno, Guadagninova majka je Alžirka a on je odrastao u Etiopiji i njegova najranija vizuelna sećanja su vezana za pustinjsko prostranstvo a što možda, nekom sumanutom logikom i objašnjava kako je u stanju da pronalazi toliko vizuelne začudnosti u naizgled najobičnijim stvarima kao što su pusti urbani prizori, žena koja na štiklama hoda ulicom gurajući kofer, stari plastični telefon sa kablom i brojčanikom koji ona u jednoj od ranih scena podigne sa poda i stavi na sto.
Julianne Moore je perfektna figura za The Staggering Girl već i time da je od statusa ,,devojke" podosta udaljena, a da zrači istovremeno emancipovanošću, samouverenošću, ali i ranjivošću, osujećenošću, frustracijom, pre svega neutaženom, možda i malo nezdravom strašću. Njen lik, Francesca Moretti je evropska spisateljica u pokušaju – koja danas živi u Njujorku – a koja se vraća u rodni kraj da majku, uspešnu slikarku koju je nažalost vid skoro potpuno napustio, ubedi da se preseli kod nje u SAD. Majka smatra da je i dalje samostalna i da joj ne treba ćerka da je drži u kavezu, kad već ima Bruna, vernog, oh, pa... slugu, i možda i nešto više, uz koga vodi sasvim ugodan život i od njega zahteva da joj opisuje prizore koje vidi na jezeru u parku kako bih ih ona zatim slikala, kreirajući sasvim apstraktne interpretacije tuđih verbalizacija mundanih slika.
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Sve ovo zvuči vrlo dramatično, ali The Staggering Girl nije nužno drama, koliko poetska oda erotičnom kao prerogativu žene – bez obzira na uzrast – jednoj slobodi koju ona nosi i koja može da bude i opasna, ali koja donosi trenutke olakšanja, čak smisla u životu koji je, kako već to zna da bude u tom 21. veku, često ispunjen preispitivanjem gde smo to pogrešili pa imamo i u se i na se i poda se, ali kao da smo izgubili svrhu.
Da bude jasno, film je rađen u tesnoj saradnji sa kreativnim direktorom modne kuće Valentino, Pierpaoloom Picciolijem i veliki deo njegove vizuelne estetike tiče se upravo isticanja ženstvenosti houte couture kreacija ove kuće, njihvih živih boja, evokativnih slika, transformativnih kontura. Guadagnino režira priču sa dosta efektnih rezova i prelaza – uostalom film traje svega 37 minuta i nema vremena za gubljenje – povezujući scene pokretima kamere, gestovima glumaca, replikama koje pronalaze značenja u različitim vremenskim periodima koje film obuhvata dok protagonistkinja skokovito prolazi kroz svoj život i odnos sa majkom tokom njega. Razigranost se možda i ne očekuje od filma koji isprva zrači veoma snažnim arthouse mirisima, sa sporim kadrovima i namerno uzdržanom glumom, ali The Staggerig Girl se završava plesnom tačkom koju izvode žene – mnoge od njih manekenke – u jednoj ljupkoj, pa i naivnoj ambiciji da se DNK visoke mode očisti od zaprljanosti ikakvim biznis-konotacijama, i da joj se vrati njena izvorna artistička dimenzija, ona koja telo, kožu, kosu, lice, udove ne sakriva odećom već ih čini integralnim elementima umetničkog dela koje se kreće i biva više od tela, izdižući ženu na nivo likovne kreacije.
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Ako je to previše ,,srednjeklasno" u tematici, vredi dodati da i Kyle McLahlan – koji nikada nije bio nešto VELIKI glumac – ni ovde nije nužno neka glumčina ali ima da odradi tri uloge i u najmanje dve se snalazi sasvim dobro. Mooreova je upečatjivija, ali njena uloga i jeste da bude nositeljka nikada utažene strasti, nikada dosegnutog ideala ljubavi koji možda i ne može da postoji izvan domena ideja i ideacija, pa su njene vlažne oči, enigmatični izrazi lica i frustriranost zapravo efektni i funkcionalni u narativu u kome se majka i ćerka spajaju u više momenata tokom svojih života i pronalaze jedna u drugoj najbolju prijateljicu, i da to deluje prirodno i oslobađajuće.
Sve to možda ne bi proradilo da The Staggering Girl nije tako sumanuto dobro snimljen. Tajlanđanin Sayombhu Mukdeeprom je posle Call Me by Your Name i Suspirije i ovde stao iza kamere i ono kako Valentinove haljine ovde plešu jeste magično, posebno kada se setimo da se u dobu u kome danas, pet godina kasnije, živimo, Razne Kylie Jenner i Hailey Beiber smatraju uspešnim modnim kreatorkama, kreirajući gotovo isključivo za Instagram i TikTok. U kontrastu sa tim, The Staggering Girl nudi filmsku traku od 35 milimetara od čije širine zastaje dah a čija je toplina i dinamičnost boja pravi melem za čulo vida. Pred Mukdeepromovim sočivom ženski likovi iz ovog filma plešu i pre nego što doslovno zaplešu u finalu jer su haljine koje nose kreirane da one nose njih. I to vredi videti. A ako vam dodam i da je muziku radio pokojni Ryuchi Sakamoto i da postoji veliki broj sitnih detalja koji su jasni omaži Woodyju Allenu, mislim da i na neviđeno možete da verujete da je Guadagnino ipak snimio nešto više od polusatne reklame za Valentino, a što je, čini se, najčešća kritika koju upućuju ovom filmu.
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Drugi film je novijeg datuma, izašao prošle godine i sa osvajanjem Kvir Palme na prošlogodišnjem Kanskom festivalu, a kako traje svega šesnaest minuta, sevap ga je videti. Posebno u godini u kojoj su nebinarni rodni identiteti konačno prodrli u mejnstrim, naravno PONOVO posredstvom jedne od najvećih muzičkih manifestacija na svetu, takmičenjem za pesmu Evrovizije.
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Boléro, dakle film tesno uvezan sa muzikom, je napisao i režirao Nans Laborde-Jourdàa, prevashodno poznat kao glumac i najnoviji je u triptihu njegovih kratkih autorskih filmova. Ovo je jedna skromna, ali zapravo vrlo pristojna produkcija koja i sama koristi pokret i ples kao oslobađajući gest što treba da u svetu kojim dominiraju heteronormativna shvatanja identiteta, a često i dalje ona koja shvataju mušku perspektivu kao prirodnu, dok su sve ostale otkloni (u koje po definiciji moramo sumnjati), kreira slobodne, autonomne zone. Naravno, The Staggering Girl je ples prikazivao kao ,,prirodno" ženski prerogativ, sa njegovom senzualnošću ali i po definiciji neprirodnim, možda na momente smešnim, mehaničkim podražavanjem ili sažimanjem prirodnih pokreta i poza, dok Boléro ide logičan korak dalje i daje nam ,,žensku" senzualnost kroz telo muškarca. Ili bi barem većina nas odabrala da ga tako identifikuje bar pre nego što zapleše.
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Da se odmah razumemo, Boléro nije muzički spot i Ravelovu kompoziciju čućemo samo u dva kratka segmenta u filmu koji počinje na plesnoj bini, odmah nam u lice bacajući provokativne kontraste između muških i ženskih vizuelnih označitelja i ponosnu, elegantnu figuru koja pleše uspevajući da ih iznese u jednoj očiglednoj harmoniji iako prkosi konvencionalnim shvatanjima lepote. U skladu sa samom kompozicijom, naravno, film je spora eskalacija koja doseže krešendo tek onda kada porazi očekivanja i pređe u apsurd, pa tako i kratka priča o nebinarno kodiranom ,,momku" koji se vraća u rodni grad, ima napete susrete sa majkom i sestrom, sreće profesora iz srednje škole koji mu predlaže malo akcije u staničnom toaletu, kulminira na način koji prelazi u magički realizam, apsurdistički – uzdržani – humor, religiozni simbolizam i sugestiju globalne kvir revolucije u prostoru od nekoliko plesnih koraka izvedenih na svega nekoliko kvadratnih pedalja i vremenu koje se odbrojava sa samo nekoliko taktova poznate kompozicije.
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Boléro je vrlo kvalitetno snimljen, sa pažnjom posvećenom i koloritu, i dizajnu kostima, uopšte, izgledu glumaca, erotičan u izrazito fetišističkom smeru i uprkos svojoj skoro suludoj finalnoj eskalaciji, zapravo uzdržano duhovit i apsurdistički smešan do svog kraja. Laborde-Jourdàa je vizuelno vrlo pažljiv i mada Boléro nema na svojoj strani magiju filmske trake, on izvlači iz svog glavnog glumca, Francoisa Chaignauda, veliku kilometražu sugestivnosti koja bez ekstenzivnog teksta vodi u promišljanje njegove svakodnevnice, prirode, na kraju krajeva simbolika koje on signalizira svojim izgledom, ponašanjem, odabirom kozmatičkih akcenata. Istovremeno i vrlo sveden i dinamičnim sadržajem nabijen kratki film.
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Evo, ovo je upravo ono o čemu smo pričali pre par nedelja. Life After Fighting je nezavisni australijski akcioni film kome možete da sastavite listu prigovora dužu od karijere Jackieja Chana. On ima prekomplikovanu priču za ipak debitantski nivo svog režisera, neupeglanu dramaturgiju gde se vidi da je sve napisao jedan čovek bez previše iskustva, gluma je često drvena, kompozicija kadrova i montaža tokom dramskog dela narativa umeju da neugodno podsete na televizijske sapunice i, na kraju krajeva, glavni glumac izgleda kao sirovija verzija Clivea Owena a koji je već dovoljno sirov sam po sebi. Ali Life After Fighting je film koji SVE to časno i perfektno iskupljuje takvom ekspertizom u pogledu akcije da ćete poslednjih pola sata navijati stojeći a kada se film završi i muzika na odjavnoj špici pređe iz folklorne emotivnosti u tvrdi ulični hip-hop kakav treba da slušate kada izlazite iz bioskopa još vrući od adrenalina, znaćete da ste gledali nešto što će se među aficionadosima borilačkog filma prepričavati u godinama koje dolaze.
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Life After Fighting je u svetsku distribuciju ušao pre neki dan, naravno u vrlo ograničenom broju bioskopa, pošto iza ovog projekta ne stoji nekakav veliki biznis već ga na američkom tržištu hendluje indi-distributer Vertical. I sreća da je tako jer je film istovremeno pušten i na VOD servise što je i nama iz pasivnijih krajeva omogućilo da ga pogledamo. U pitanju jeste svojevrsni film-događaj i zanimljiv kamen-međaš u modernoj australijskoj kinematografiji, pa i na izvestan način ozbiljna lekcija koju je ovde jedna mala nezavisna kuća očitala velikim studijima u pogledu toga kako se ZAPRAVO radi film o borilačkim veštinama izvan azijskog kontinenta. Naravno, Life After Fighting dolazi par meseci nakon velikog i uspešnog rimejka Road House (https://cvecezla.wordpress.com/2024/04/05/film-road-house-2024/) i sa njim deli više elemenata, ali pričamo, razumemo se, o sasvim različitim nivoima produkcije. Iza Road House, rekosmo, stoji Joel Silver, jedan od najuspešnijih holivudskih producenata u poslednjih pola veka koji, eto, i od ćorka sa kraja osamdesetih uspe da napravi kvalitetan akcioni film tri i po decenije kasnije. Iza Life After Fighting stoji uglavnom Bren Foster, koji ga je sam napisao, režirao, ko-producirao i igrao glavnu ulogu.
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Foster je studirao filmsku produkciju i ima solidnu glumačku karijeru (poslednji veći naslov u kome se pojavio bio je treći deo Deep Blue Sea što, valjda, objašnjava o kom nivou produkcije pričamo, dok ga gejmerska publika zna kao glas Maxa Rockatanskog iz igre Mad Max od pre nekoliko godina (https://cvecezla.wordpress.com/2017/06/12/video-igre-mad-max/)), započetu još u srednjoj školi ali da ne bude zabune, radi se pre svega o vrlo uspešnom sportskom borcu sa svetskom titulom u tekvondou ali i solidnom ekspertizom u nizu stilova, od hapkidoa preko hvarang-doa do brazilskog džiudžicua. Živimo u eri mešovitih borilačkih veština kao dominantne sportske borilačke forme* i one poslednjih desetak godina ostavljaju jak pečat i u kulturi glavnog toka, u koju se ubrajaju i akcioni filmovi.
*mislim da je bezbedno reći da je samo profesionalni boks danas popularniji od raznih MMA kombinacija
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Foster je ovaj film sam napisao i režirao a kako bi ga realizovao osnovao je nezavisnu producentsku kompaniju sa Navidom Bahadorijem, i Spinning Plates, kako se firma zove, namerava da zapravo pokrene malu revoluciju u australijskoj filmskoj produkciji sa svojom mantrom filmova koji će imati ,,veliku dramu i veliku akciju". Inšalah, braćo.
Life After Fighting je pokazni primer ovog pristupa jer je u pitanju film koji tokom prvih četrdeset minuta pa možda i svih sat vremena svog dvosatnog trajanja dosta uspešno simulira da se radi o ,,ozbiljnijem" ili makar realističnijem filmu sa dramskim tonovima koji izmiču Direct to Streaming rutini, sa likovima koji deluju ,,normalno", imaju civilne živote, porodice, vode neobavezne razgovore... U scenama koje su samo tranzicione i treba da pokažu ,,običan" protok vremena, tu neku svakodnevnicu škole za borilačke veštine negde u Melburnu koju vodi bivši MMA šampion što je posle izgubljene borbe za odbranu titule digao ruke od takmičenja pravdajući se brojnim povredama i operacijama koje je imao, dobijamo podsećanje da Foster možda nije VELIKA faca ali da jeste čovek sa profesionalnim kompetencijama i poznavanjem i američkih standarda produkcije. Scenografija, statisti, kamera, replike, montaža, sve u ovom prvom delu filma sugeriše da ćemo gledati zapravo sportsku dramu u kojoj će možda neka stara rivalstva i profesionalna reputacija glavnog junaka biti centralni za njeno odvijanje.
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No, nije zaista tako i prvi penal koji možete ispucati na nebranjeni gol Life After Fighting je upravo taj utisak da je Foster krenuo da piše dva ili tri filma a na kraju ih sve spojio u jedan. Ne na neki neizdrživ način ali šavovi se ovde svakako primećuju. Njegov glavni junak (koga, rekosmo, sam igra), Alex Faulkner film započinje time što mu se skreće pažnja da znatno mlađi borac, aktuelni šampion promocije u kojoj se on sam borio pre sedam godina, preko interneta stalno proziva veterana da treba da se vrati u ring makar još jednom jer sam neće smatrati da je STVARNO šampion dok ne pobedi Alexa.
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Ovaj podzaplet zapravo kasnije u filmu dobije neku svoju realizaciju ali je u potpunosti nebitan za njegovu glavnu priču i deluje, rekosmo, kao ideja za drugi film, a za koji nije bilo para, pa je na kraju uterana u ovaj scenario.
Glavni zaplet, zapravo, kao da kreće kada se u školu tekvondoa upiše mlađani, petogodišnji i dosta stidljivi Terry koga je na trening dovela mama, jedna još uvek mlada i držeća MILF-kodirana samohrana požrtvovana keva koja muku muči sa još uvek ekstremno posesivnim bivšim mužem. Između Samanthe (Cassie Howarth koju MOŽDA znate iz NCIS: Sydney) i Alexa brzo bukne i varnica romanse sa svim zamslivim tropima gde između njega i mlađahnog Terryja skoro odmah krene odnos kul očuha i posinka koji konačno ima PROPISNU očinsku figuru umesto neprijatnog biološkog ćaleta, a ćaleta igra prilično iskusni Kanađanin Luke Ford koji ima možda najteži zadatak u filmu, onaj da igra uverljivog psihopatu.
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I prvih četrdesetak minuta taj sapunsko-dramski koloplet sasvim solidno stoji na okupu, ali film onda prelazi na glavni zaplet koji se tiče kidnapovanja dece zarad seks-trafikinga*i tu onda mora da se reši jedan ozbiljan problem za koji ni Foster-scenarista ni Foster-režiser nemaju readymade rešenje.
*zabrinutima da odmah saopštimo da iako glavni negativac sasvim stereotipno, otetu djecu šalje svojim tajnim kanalima u smeru rodnog nam Balkana, Srbijica uspešno izbegava TAJ metak i za potrebe ovog scenarija pedofilski Mordor se nalazi u Rumuniji
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Naime, film koji je do tog momenta bio sportska drama i imao nekoliko odličnih scena akcije u kojima su putem odlične koreografije, kadriranja i montaže na kraju stradali samo muški ponos i proizvedena koja masnica, dakle, koji se držao jednog ne baš naturalističkog ali srazmerno realističkog tona, posle tričetvrt sata mora da pređe u mod klasičnog DTV akcijaša u kome se više ne bijemo po pravilima Mariza od Kvinsberija niti pregovaramo u okvirima Četam haus standarda i gde će ,,sranje postati realno", krenuti da se prosipa krv, da se koriste oružja sa oštricama – namenska i priručna – da ljudi lete kroz prozore, motke da lome kosti i kad BAŠ zagusti, da se potežu i pištolji tako da kad se borbe završe, najmanje jedan od učesnika neće moći da odšeta kući na svojim nogama. Iako u oba slučaja govorimo o ,,akcionom filmu" svakom gledaocu je jasno da zapravo gledamo dva filma spojena u jedan a koji ne rade po istim pravilima.
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Fosterov najbolji odgovor na ovu tonalnu – ali i vizuelnu – diskrepancu između dva velika dela filma je da ih poveže trećim delom filma koji je jedan klasičan DTV triler, gde nam se u podugačkom nizu scena pokazuje otkrivanje zločinačkog plana trgovaca ljudima a glavni junak gotovo potpuno odsustvuje iz kadra. Ovo nije, hitam da ukažem, nimalo nekompetentno snimljeno, ali film svakako gubi tu inerciju solidno izgrađenih likova do tog momenta i fokusira se na vrlo klišeizirane trope zlog psihopate i njegovog sajdkika koji je isto psihopata ali je pored toga što je zao još i glup kao noć i uspeva da mu ispred nosa ukradu svu decu namenjenu seksualnoj eksploataciji. A što je sve jedan komplikovan uvodni rad za poslednji deo filma koji prikazuje opsadu Alexove karate-škole i njegov očajnički, požrtvovani napor da odbrani grupicu devojčica od devet profesionalnih kriminalaca primenom sve svoje borilačke ekspertize.
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Naravno, ljubitelji akcionih fimova, pogotovo oni koji gledaju DTV i slične niskobudžetne produkcije neće sad sve ovo shvatiti kao nekakvu neprelaznu prepreku ali Life After Fighting tokom ovog tranczicionog dela jeste u opasnosti da izgubi gledaoca koji se nadao jednoj prizemljenijoj i humanijoj sportskoj drami što će trope azijskih borilačkih filmova o penzionisanom borcu i svetosti dođoa spretno prevesti u realističniji ,,zapadni" mizanscen.
No, ako imate kapaciteta da progutate brutalnost prema deci prikazanu na ekranu kao i jedva uverljivo objašnjenje zašto ,,naši" ne pozovu muriju nego idu goloruki protiv čitave ekipe trgovaca ljudima, film će vaše poverenje IZDAŠNO nagraditi u svojoj poslednjoj trećini, servirajući vam akciju kakvu IZUZETNO retko možete da vidite u današnjem Holivudu i koja je po nekim elementima bliža modernim indonežanskim (https://cvecezla.wordpress.com/2022/06/24/film-the-night-comes-for-us/) i japanskim (https://cvecezla.wordpress.com/2022/01/14/film-hydra/) akcijašima.
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Naime, kada sam video da se kreće u finalni obračun a da do kraja filma ima još četrdeset minuta priznajem da sam se zapitao da nije možda ovde na kraju dodat i nekakav polusatni dokumentarac o snimanju Life After Fighting jer mi nije delovalo da Foster ima scenarističku ambiciju koja bi izgurala četrdeset minuta skoro neprekidne akcije. I, evo, javno da se kaže: neću više sumnjati u Brena Fostera. Life After Fighting tokom ovih četrdeset minuta pokazuje da su odlične akcione scene iz prvog dela filam bile samo zagrevanje, laki kardio trening pred događaj večeri u kome ćemo gledati neke URNEBESNE tuče, mnogo lomljenja kostiju, bacanja kroz prozore, bodenja noževima, rezanja vratova, a kad se stvari baš otmu kontroli, bogami i udaranja u jaja, pa i jedno čupanje grkljana u prilično umešnom omažiranju Bruce Lee i Sonny Chiba klasika od pre pola veka.
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Foster je ovde na svom terenu i ima ispred sebe neke odlične saradnike. Masa Yamaguchi (nažalost ošišan do glave ali i dalje EKSTREMNO upečatljiv) je najpoznatiji od njih i Foster ga mudro kodira kao minibosa, koga će morati da porazi na najekstremniji način na putu do glavnog baje koji se štekuje u bezbednoj odvojenoj prostoriji i gladi pištolj za koji misli da će mu dati prednost u finalnom suočenju. Yamaguchi je školovan glumac sa karijerom dužom od četvrt veka, ali je borilačke veštine počeo da vežba već sa tri godine i uvek sam radi svoje stantove pa je ovde sukob između njega i Fostera jedna poslastica, naravno, ali on dolazi nakon što Fosterov Alex Faulkner već porazi gomilu ozbiljnih protivnika u progresivno sve urnebesnijim set pisovima.
Priznajem da sam, kada je postalo jasno da će se borba odvijati po raznim prostorijama Alexove škole, pomislio kako je Foster ovde sebi prilično otežao posao jer je zgrada PREPUNA ogledala, ali ekipa koja je film radila je ovde prevazišla sebe (čak i ako se samo radi o digitalnom editovanju snimaka da se izbace refleksije kamermana u ogledalima) nudeći hiperatraktivni borilački program u lokacijama koje su interesantne i koriste se na interesantne načine.
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Neki detalji ovde svakako štrče – kad vidite da Foster ne koristi tehniku već prikazanu u prvom delu filma da razoruža protivnika sa pištoljem, setite se da su te scene sa treninga verovatno rađene kasnije i da je prioritet bio da se snimi ova dugačka borilačka scena – ali ne treba da sad tu nešto sitničarimo, Foster ovde pruža PRVORAZREDAN akcioni program sa izvanredno dobro odmerenim eskaliranjem u intenzitetu i visceralnosti pa kad posle nokautiranja pesnicama na red dođu poluge kojima se lome udovi, vratovi i kičme, a posle NJIH krenu noževi i prozorska stakla, pa onda i kvake otkinute sa vrata, sve doseže nivo izvrsnosti koji vrlo retko vidite u današnjem akcionom filmu izvan Azije.
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Pritom, Foster koristi tehnike snimanja mnogo bliže savremenim azijskim borilačkim fimovima nego Holivudu – ovde je kamerman vrlo blizu akcije i kreće se oko boraca kao sudija u oktagonu, a borci prirodno prolaze kroz čitav asortiman MMA tehnika. Stari akcijaši su, recimo, generalno smatrali da je borba u parteru neatraktivna i kada bi je prikazivali to je bilo obično da se sugeriše kako je u pitanju kraj borbe i da su protivnici na izmaku snaga (videti ovaj Kurosawin film za pokazni primer (https://cvecezla.wordpress.com/2020/06/08/film-pas-lutalica-aka-nora-inu/)), da su napustili tehniku i bore se prosto, kao životinje ili deca. Ali pošto danas svi gledamo MMA na kablovskoj televiziji, Foster nastupa sa punim poverenjem da pred sobom ima kultivisanu publiku koja razume poteze u parteru, zna da prepozna tranzicije, poluge i davljenja, pa su ovde, kao i u nekim modernim japanskim filmovima, borbe prirodno sastavljene od stojećih tehnika kombinovanih od tekvondo i muj tai napada rukama i nogama,* od džudo bacanja i zatim od BJJ greplinga na podu. Naravno, sve tehnike su značajno čistije i formalnije izvedene nego što bi slučaj bio u oktagonu (ili na ulici) ali Foster očigledno klanja na oltaru azijskog filma i razume koliko je brzina važna za utisak uverljivosti, pa su borbe ekstremno dinamične, sa brzim tranzicijama, perfektnim pozicioniranjem kamere i montažom koja služi da podvuče izvanredan fizički rad glumaca a ne da ga nadomesti. Ovde nikako ne smem da preskočim dizajn zvuka i muzike tokom akcionih scena jer Life After Fighting ne samo da isporučuje masu prelepo hrskavih zvučnih efekata već i saundtrak koji prati akciju po dinamici i formi i nije samo royalty-free muzika nabačena preko gotovih sccena.
*Foster, ali i Yamaguchi rado koriste udarce nogom iz dva okreta sa fintom između i ovo je milina gledati, kao i Fosterov napad iz skoka pri kraju filma gde uspe da zada čak tri udarca nogom tokom leta
Kada se Life After Fighting za poslednjih par minuta vrati u modus humane, ljudske drame ovo je skoro nepotrebna postkoitalna cigareta za ljubitelja akcionog filma, momenat u kome ustajete da izađete iz bioskopa ili, ako ste kod kuće, da posegnete za flašom i otpijete malo vode jer ste se GRDNO oznojili tokom poslednjih pola sata. Life After Fighting svakako nudi pristojan omot da se u njega stavi akcija, ali će biti upamćen PRE SVEGA po akciji koja će, nadamo se, drugima služiti za primer i doneti renesansu zapadnog borilačkog filma. Čak i ako se to ne dogodi – jer živimo u univerzumu temeljito ispražnjenom od pravde – Foster je sa ovim filmom sebe vrlo snažno stavio na mapu i sa velikim ću zanimanjem pratiti šta on sledeće namerava da uradi.
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Dobro, očigledno je da ne mogu baš svi biti pobednici. Na papiru, Animalia, film sa početka prošle godine – u originalu naslovljen Parmi nous, a na srpski preveden kao Tuđini među nama – je film koji kao da je pravljen za mene. Režiserka i scenaristkinja kojoj je ovo prvi dugometražni rad je marokansko-francuskog porekla i smestila je radnju u savremeni Maroko gde na pozadini prvog kontakta čovečanstva sa nedokučivim vanzemaljcima, a kroz sudbinu mlade trudne žene, prelama pitanja o rodnim ulogama, klasnim podelama i životnim prioritetima moderne berberske populacije. Rađen u autentičnom okruženju i sa lepim glumcima on kombinuje realistički prikaz i kontraste marokanskog društva sa nekim jeftinim ali ukusnim, psihodeličnim apstrakcijama koje treba da nam sugerišu neiskazivo i ubace nas u kontemplacije. Da su ovaj film otkupili za prikazivanje u domaćim bioskopima verovatno bi na bilbordima pisalo ,,Ajmo, Mehmete, STAVI PARE TAMO GDE SI DO SADA STAVLJAO SVOJA USTA. TA SEKSI, NEODOLJIVA USTA."
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Animalia je dobila i dosta dobre reakcije od strane anglofonih kritičara koji su ga svi iz zaleta pohvalili kako je to jedan promišljen film o emancipaciji mlade žene u društvu gde se unapred dobro znaju i rodne i klasne uloge, a srećno smešten u low-key naučnofantastično pakovanje, ali kada sam ga na kraju i pogledao putem servisa nekada poznatog kao HBO Max a danas, ako se ne varam kao ,,David Zaslav piša po svima nama i to iz mržnje", to je bio kao da me je neko izložio proverbijalnom hladnom tušu. Zlatnom tušu. Jednom od ta dva.
Animalia je već u prvih petnaestak minuta film čija odlična fotografija i upečatljiva scenografska i kostimografska rešenja kvalitetno postavljaju mesto na kome će se priča događati, a kasnije scene u pustinji, sa Atlasom koji impozantno stoji u njihovom bekgraundu svakako imaju svoju eleganciju, ali Animalia je i film u kome se zapravo skoro ništa ne događa i već posle tih prvih petnaestak minuta sam počeo da se pitam zašto me, dođavola, ovo ne radi. Na kraju nije bilo iznenađenje što sam tokom gledanja par puta zaspao – ipak sam ja AGRESIVNO nenaspavan čovek – već to da sam gonjen krivicom posle svega vratio prespavane scene da proverim da se slučajno u njima ne krije nekakva tajna koja mi je promakla i koja Tuđine među nama transformiše u dobar film.
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Da vas ne držim previše u neizvesnosti: ne. Ne krije se. Nema tajne. Animalia je jednostavan film do mere da svoje poente ima lepo ispisane – čak, pri kraju filma, i u formi grafita na Engleskom jeziku na jednom zidu, za slučaj da ste i vi malo dremnuli tokom najuzbudljivijih nedogađaja u radnji ove priče – a onda ih glumci za svaki slučaj i izgovore da ne bude da tu ima ičeg dvosmislenog, nedorečenog, apstraktnog. Ali, pomislio sam na kraju, ako je rešenje to da glavna glumica u vojsoveru na kraju objasni gledaocu šta treba da zaključi iz onog što se u filmu jedva dešavalo do mere da je taj gledalac možda i zaspao, onda je možda to trebalo da bude PRVA scena u filmu a da ostatak budu samo snimci Atlasa ili gotivnih pasa koji se šetaju po ulicama malih marokanskih gradova i, ako je sudeći po ovom filmu, veoma su prijateljski nastrojeni prema mladim ženama koje ih hrane omletom. Mislim, ko im može zameriti? Psima, mislim, ko bi im TO zamerio? Only fucking assholes, eto ko.
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Sofia Alaoui je rođena u Kazablanki 1990. godine kao ćerka marokanskog oca i majke-Francuskinje. Dosta je uspešna bila sa dosadašnjim kratkim filmovima, sa solidnim festivalskim fidbekom i svakako valja iz sve snage pozdraviti to da neko uzme kameru, ode u vrleti Atlasa, nađe lokalce tamo, pita ih da li hoće da se pojave u filmu, ovi kažu da ih niko neće razumeti jer njihov jezik ne razumeju ni komšije Arapi a kamoli ostatak sveta, a ona kaže nema veze, samo vi furajte svoj fazon, a oni onda kažu i da, kad već pričamo, niko od njih nije, ono, glumac, nije išao u školu i tako to, ali ona im kaže i da je to okej i taj film (dvadesettrominutni Qu'importe si les bêtes meurent, odnosno Pa šta ako koze umiru) na kraju nagrade na Sandensu i dobije Cesara od francuske Akademije. To je, naprosto nešto čega nam na ovom svetu treba više.
E, sad, to ,,više" treba da bude Animalia. Alaouijeva je ovo napisala i režirala kao svoj dugometražni debi, za produkciju se učipilo više firmi, uključujući afričku dijasporu u Francuskoj ali i francusku stranu produkcije ARTE, glumci su kombinacija lokalaca i fine evropske dijaspore (Mehdi Dehbi je možda najpoznatiji Evropljanima jer je rođen u Belgiji), a fotografiju potpisuje izuzetno talentovani Noé Bach kome slikanje marokanskih gotovo onostranih pustinjskih krajolika jednako dobro ide kao i prikaz raskoši u kojoj živi glavna junakinja. Animalia je zanatski film urađen sa dosta sigurnosti, tematski apsolutno HERE AND NOW, pogotovo što se bavi temom koja i Africi i Evropi treba da bude zanimljiva, plus ima iza svega toga i taj ne prenaglašeni ali bitni naučnofantastični okvir, dakle, i publika koja je izrasla na Marvelu ima neku vrstu udice za sebe, ali na kraju u svemu tome kao da niko nije umeo da se snađe i da se na drugu stranu kamere istera jedna ubedljiva ljudska drama u kojoj ne bismo morali da čujemo šta autorka misli da je glavna poruka filma jer bismo već bili na patosu od svega što smo videli.
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U centru ove priče je mlada žena, Itto, poreklom iz siromašnije porodice sa sela (,,moj otac je bio niko i ništa" objašnjava ona mužu kao da on to ne zna, trudeći se da ponudi dokaze za tvrdnju da je tazbina ne voli), a koja se udala u bogatu familuju. Svekar je uspešni poslovni čovek sa političkim vezama i kućom koja izgleda kao muzej berberskog ali i šire afričkog narodnog i umetničkog stvaralaštva, sa skupim nameštajem, ukrasima od slonove kosti i minucoznim arabeskama po zidovima. On izgleda dosta kul ali problem je, kao da ne znate i sami, svekrva, koja Itto posmatra kao pre svega kontejner za mladunčad i to po mogućstvu da ovo prvo koje Itto na početku nosi u stomaku, odmah bude muškog pola pošto vidimo da pored sina za kog se Itto udala, imaju tu još neke starije sestre... Svekrva je stroga, neprijatna, pasivno agresivna žena i u jednoj uspeloj sceni na početku filma vidimo je kako snaju prekoreva što se ova druži sa kuvaricama umesto da, šta ja znam, sedi u svojoj sobi i održava trudnoću kvalitetnom molitvom. Svi su i inače jako religiozni i to su odmah puna usta Boga čim neko malo glasnije prdne, stalno se porodično ide u džamiju na molitvu itd.
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Naravno da je Itto ovde malko kao u zlatnom kavezu a ona samo, jelte, želi da leži na sofi, sluša muziku i skroluje Instagram na telefonu – ovo znamo jer čim ostatak familije ode na neku porodičnu obavezu sa koje se ona izvuče jer trudnicama svi veruju kad očigledno lažu da se ne osećaju dobro, ona to i radi, izvali se na sofu, odvrne muziku i zablene se u telefon. Slobodan dan, takoreći – kome od nas jedan takav ne bi dobro došao?
No, idilu brzo remeti prvo nevreme a onda, uh, dolazak vanzemaljaca na Zemlju. Film ovo drži, rekosmo, u jednom primirenom tonu, gde se ponašanje stanovništva u Maroku prikazuje kao da je u pitanju nekakav ,,zemaljskiji" akcident, rat ili državni udar (onaj iz 1971, neuspeli, se i eksplicitno pominje) i najveći deo radnje otpada na putešestvije same Itto, preko pola Maroka sada bačenog u strah i nesigurnost, da se pridruži svom mužu i tazbini.
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Ako je namera ovde bila da se prikažu neke marokanske realnosti kroz okvir on the road drame sa spekulativnim bekgraundom, Sofia Alaoui ovo radi samo u najtehničkijem mogućem smislu. Odlično je to slikano i mlada Oumaima Barid vrlo pristojno izgleda i ima ubedljive, ljudske reakcije na tenzičnu situaciju u kojoj se našla, ali tekst filma nažalost osciluje između banalnog i trapavo objašnjavajućeg. Itto se na svojoj Odiseji iz prve ruke susreće sa socijalnim protivrečnostima i krči svoj put do drugog grada parama koje je pokupila iz porodičnog sefa, a onda naleće i na ponosnog Fouada (igra ga Fouad Oughaou) koji je prekoreva što sve gleda kroz pare, a posebno što inače priča na buržujskom Francuskom ali prelazi na berberski Tamazigt kada joj zagusti, i to njoj, kao i bliski susret sa psihodeličnom vanzemljanima, kao, otvori oči.
No, ništa od ovoga u trećem činu filma neme nikakvu opipljivu isplatu i Animalia se, rekosmo, završava time što nam glavna glumica izrecituje poentu koju film propušta da prikaže.
Ima nečeg lapidarnog u tome kako Alaouijeva snima dramu koja treba da nas asocira na izbegličke nedaće severnoafričkog stanovništva i život u stalnoj nesigurnosti, a da ništa od svega toga ne daje filmu stvarni dramski naboj. Itto je plitak lik sa najminimalnijim minimumom unutarnjeg života i njene banalne proklamacije koje treba da nas ubede da je videla VIŠE od površne realnosti u kojoj većina nas živi većinu vremena su, pa, neubedljive. Neobično ponašanje životinja tokom filma je odlično snimljeno ali i ono je na kraju bez ikakve isplate i više je kao nekakav gest u smeru magičnog realizma jer to deluje kul samo od sebe nego što je sad nešto bremenito simbolikom.
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Ključno, treći čin filma je mesto na kome treba da vidimo kako Itto propituje svoj staleški, privilegoavni položaj i tu religijsku štaku kojom privilegovani sebe podupiru da ostanu u poziciji privilegije, ali joj film u usta stavlja samo najslužbenije, najprostačkije dileme – ,,šta ako sve vreme ne živimo u stvarnom svetu već pored njega" kaže ona mužu u očaju u jednom momentu a ovaj je gleda verovatno se pitajući gde je našla vinjak U OVO DOBA NOĆI i moli je da legne da spava – a i problem je što se tokom prethodnog čina nije desilo zapravo ništa STVARNO dramatično gde bismo mi videli kako Itto u hodu menja svetonazor, shvata da se zanela sa svojim iluzijama o tome da je život u izobilju i moći zapravo datost, prepoznaje muku malog čoveka.
Ne samo da film ne sadrži ni jedan takav postiđujući ali i oslobađajući ujebotebog-gde-su-mi-bile-oči momenat nego i tehnički sve ovo nema previše smisla jer Itto nije poreklom iz višeg staleža: rekosmo da je ona eksplicitno prikazana kao dete sa sela i iz relativnog siromaštva, koje je došlo i udalo se za sina bogatog i uspešnog čoveka. A pošto je lik u svojim dvadesetim godinama, teško je i poverovati da je nekako već zaboravila kako izgleda ,,stvarni svet" u kome je do juče živela.
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Ključno, i nešto zbog čega sam se pitao jesu li svi ti kritičari koji su listom hvalili ,,emancipaciju" glavnog lika na kraju, zapravo gledali film ili su samo prepričali press release, KAO DA BI IM BILO PRVI PUT, Itto do kraja filma eksplicitno NE emancipuje svoje ponašanje, ako je ikako emancipovala svoje razmišljanje. Štaviše, u poslednjoj sceni je nedvosmisleno vidimo kako je ostala u istoj porodici, sa istim mužem, rodila mu (muško, OEEEE) dete i kako je jedini gest u promeni svetonazora ta neka kontemplacija koju predstavlja gledaocu o tome da arbitrarne podele među ljudima ne treba shvatati kao datosti. Je li to zaista ,,emancipacija"? Za potrebe odgovora na ovo pitanje pripremili smo mali upitnik:
Q: Da li Itto na kraju filma ostvaruje ekonomsku samodovoljnost?
A: Ne, i dalje živi kao nezaposleno, izdržavano lice u potpunosti zavisno od tuđe volje da joj se obezbedi dobrobit.
Q: Da li Itto propituje i preokreće zadate rodne uloge i zauzima novu poziciju u porodici i/ ili zajednici? Tipa, je li ona na kraju samohrana majka koja ne zavisi od muškarca, bogatog svekra i kučke-svekrve kojoj se slošilo u džamiji na molitvi pa joj Itto još i pomagala?
A: Kurac propituje, na kraju je ona krotka mamika, sasvim zadovoljna svojom ulogom u sistemu produkcije potomstva.
Q: Je li makar eksplicitno pljunula na život u privilegiji i barem pokazala da se stidi što živi u nezarađenom bogatstvu dok narod unaokolo grca u nemaštni?
A: Dobro, uozbiljimo se sada, Itto nije autorka anarhopank fanzina iz devedesetih godina prošlog veka. Naravno da nije.
Tl;dr, ovde nema ,,e" od emancipacije i da biste gledali bolji film o ženskoj emancipaciji na pozadini zloslutnih društveno-menjajućih događaja, sugerišem da pogledate Bûka Baranê (https://cvecezla.wordpress.com/2023/06/23/film-buka-barane-aka-milosna-nevesta-aka-the-rain-bride/), ako već niste.
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A ako biste da gledate bolji, ili makar dosledniji film o naučnofantastičnom okviru koji služi za prikaz realističkih društvenih disekcija, imate Brutální vedro (https://cvecezla.wordpress.com/2024/03/22/film-brutalni-vedro-aka-brutal-heat/), koji je bivši HBO Max na kraju i imao herca da mi preporuči kada se Animalia završila. Naravno, ima ovde mnogo paralela, i jedan i drugi su debitantski filmovi koji naučnofantastični motiv koriste samo priručno i bave se nečim ovde-i-sada, ali ma koliko da je Animalia skuplje snimljen i raskošnije slikan film, bojim se da je njena poruka smušena a jezik nespretan. Želeo sam da mi se ovo dopadne, ali na kraju sam u najboljim momentima dobacio samo do letargične nezainteresovanosti.
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Gledajući, konačno, Furiosa: A Mad Max Saga u bioskopu, u jednom trenutku sam sa zebnjom pomislio ,,Zaboga šta ćemo da radimo kada George Miller prestane da snima filmove?" Čovek ima osamdeset godina, Furiosi je trebala gotovo puna decenija da se doveze do bioskopa nakon Mad Max: Fury Road, filma koji je redefinisio akcioni žanr i porodio omanju hordu imitatora i akolita, a opet neobjašnjivo ostao zapisan kao finansijski neuspeh za Warner Bros, firmu danas sve manje sklonu eksperimentu i kockanju sa parama, sve skloniju da već gotove filmove komisijski spali ne bi li dobila otpis poreza, radije nego da ih pusti u bioskope. U tom i takvom biznis-krajoliku, već i to da je Furiosa nastala i sudarila se sa našim licima u tami bioskopa, podrigujući na benzin i urlajući neartikulisano, deluje kao jedan mali blagoslov. Ali da li ćemo ikada zaista videti Mad Max: The Wasteland, prikvel za Fury Road centriran na titularnog Maxa Rockatanskog? Evo, ne umem da kažem.
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Ne zato što se Furiosa, po trenutnim boks-ofis rezultatima ukanalila značajno više od svog prethodnika (procene su da je Fury Road izgubio između 20 i 40 miliona dolara Warneru, dok se za Furiosu u ovom momentu predviđa minus između 75 i 95 miliona), već zato što je ovo toliko emotivno zahtevan, intenzivan, katarzičan, ali i mučan film, koji vas zabavlja, da, ali tu zabavu ekstremno skupo naplaćuje nepraštajućim terorom koji pohodi živote protagonista, da je razumno pomisliti da niko, uključujući Millera, neće imati snage da još jednom kroz sve ovo prolazi. A ovde vredi podsetiti i da se ovi filmovi snimaju na lokaciji, usred australijske pustinje, na vrelom, vrućim vetrom uzvitlanom pesku, u uslovima jedva nešto boljim od onih kakvi vladaju u postapokaliptičnom svetu koji filmovi od Mad Maxu i njegovom ansamblu prikazuju.
Na primer, negde posle polovine Furiose imate jednu scenu u kojoj grupa drumskih razbojnika napada ,,War Rig", ogromni šleper koji vuče cisterne, oklopljen i naoružan da se odbrani od napada sa zemlje i iz vazduha i u ovoj sceni ljudi bivaju vučeni po asfaltu, bacani u vazduh, ljudi vise sa padobrana i kopljima sa barutnim punjenjem bombarduju mladiće ofarbane u belo što brane kamion, tu su manijaci na paraglajderima, od kojih jedan za sobom vuče crnu ,,zastavu" koja daje vizuelni utisak da kroz vazduh na vas doleće sam Ktulu – ukratko, ovo je najbolja outdoor akciona scena koju ste videli još od Fury Road, i sasvim verovatno najbolja akciona scena koju ćete videti do kraja ove decenije. Ali ova scena je snimana punih 78 dana sa dve stotine kaskadera koji su po ceo dan prženi na suncu, bacani unaokolo kao krpene lutke, paljeni vatrom i eksplodirani – do mere da je ekipa celu ovu scenu na kraju krstila sa ,,stepenice do nikud".
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Pre nekoliko nedelja se čovek na internetu na mene gotovo naljutio kada sam sugerisao da je Fury Road između ostalog bio toliko različit film od drugih savremenih akcionih radova jer je sniman na lokaciji, sa pravim glumcima i propovima, umesto da se ,,sve to digitalno modeluje" ,,u kompjuteru". Čovek je – inače stručnjak za digitalne efekte u produkcijskoj kompaniji Holivudu – insistirao da smo svi mi koji fetišizujemo ,,stvarnost" baš to, fetišisti, i da ni ne znamo koliko digitalnog CGI ima u scenama za koje mislimo da su ,,stvarne".
Ali ovo je, naravno, bilo pogrešno tumačenje mojih reči (gde je naglasak bio na ,,sve") a razlika između Fury Road ili Furiose i bilo kog Marvelovog, ili, evo, Warnerovog superherojskog filma je tolika da će je i dete prepoznati. A ako niste dete i pre par godina ste se smejali snimcima sa seta snimanja drugog ili trećeg Tora, gde Chris Hemwsorth i Tom Hiddleston ispred sterilne zelene pozadine naprave tri koraka i bace se na zemlju, a posle se oko njih docrtaju eksplozije i ludilo, umećete da cenite praktične efekte u Furiosi, zaključno sa bizarnim prostetičkim nosem istog tog Chrisa Hemswortha koji, onako kako je Charlize Theron od Toma Hardyja ukrala šou u Fury Road, skoro preti da preotme Furiosu od svih ostalih glumaca (plus, uspeo je da uvali ženu da igra ne jednu već dve uloge u filmu – KRALJ).
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Energično, ambiciozno udaljen od beefcake prototipa koji smo navikli da sa njim poistovećujemo na ime Thora i Extractiona, Hemsworth ovde igra onu najopasniju ulogu: negativca sa takvom harizmom da gotovo da poželite da je film bio o njemu. A onda bi to bio Wolf of Wall Street u pustinji sa glavnim junakom koji je isti taj kompulzivni lažov i zamazivač očiju, korisnik velikih reči i nakinđurene retorike, obećavač prosperiteta, slave, pravde i dobre zabave, političar-šoumen i privilegovani siledžija čija bizarno šuplja priča i dalje prolazi kod nekih ljudi iako svi zajedno žive u vremenu doslovno posle kraja sveta. Dosta je mastila proliveno pre sedam-osam godina da se nekako argumentuje da je Fury Road bio nekakva proročka najava Donalda Trumpa, ali naravno da je sada, posle Furiose, mnogo jasnije da Immortan Joe nikada nije bio Trump, već u najboljem slučaju nekakav Dubya Bush Junior i da je tek sa Hemsworthovim Dementusom serijal filmova o Mad Maxu u potpunosti stupio u epohu post-istine, gde su reči sve jeftinije što skuplje zvuče.
Jedna od definišućih karakteristika titularne heroine je onda, vrlo pravilno, i to da ona vrlo malo govori. Već je i Tom Hardy u prethodnim filmu imao jedva dvadesetak rečenica da ih izgovori tokom celog njegovog trajanja, a Furiosa je još svedenija, još uzdržanija u replikama, sa dobrim delom filma u kome glavna junakinja programski ne govori – i smatraju je nemom – čime ono nekoliko izgovorenih rečenica ima i veću težinu, ali čime se i osobeni Millerov pristup režiranju performansa samih glumaca još više ističe.
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Možda je to zato što u njegovom opusu dosta veliki deo zauzimaju filmovi gde su likovi ili kreirani ili oživljeni digitalnom animacijom (Babe, Happy Feet), tek u Fury Road i Furiosi, Miller od svojih glumaca učestalo traži da se ponašaju gotovo kao da su na pozorišnoj bini. Njihovi izrazi lica su intenzivni do granice karikature, gestikulacija je prenaglašena, koreografije scena imaju teatralne, gotovo baletski stilizovane amplitude pokreta, a likovi se često kreću kao na ubrzanom filmu. Kada se to iskombinuje sa čestim intenzivnim promenama rakursa i munjevitom montažom (Eliot Knapman i Margaret Sixel su se ovde naradili kako je i običaj kod Millera), njegovi filmovi dobijaju energiju koju drugi savremeni akcijaši naprosto nemaju. Naravno, to da pozadinu velikog broja scena čini gotovo vanzemaljski negostoljubiv pustinjski krajolik nije nimalo nevažan element, no, upravo je to izražavanje telom i licem, radije nego pukim rečima i najverovatniji razlog što je umesto Charlize Theron – rezonujući da bi stavljanje digitalno podmlađenog lica na telo sredovečne žene izgledalo loše, i citirajući neke recentne filmove kao očigledan primer zašto bi to bilo loše – Miller za ovaj film uzeo Anyu Taylor-Joy da oživi Furiosu. Ogromne oči i dobro uvežbani ,,Kubrick stare" sa jedne strane, te prethodna naobrazba iz domena baletske umetnosti sa druge (kao, uostalom i kod Theronove) obezbedili su ženi koju inače vezujemo za uloge nežnih, ranjivih likova, mesto u filmu na kome može da legitimno zaurla kada je to potrebno, ali i da počini stvari tolikog sadističkog volumena da naslov završnog poglavlja filma – ,,S onu stranu osvete" – počinje da ima smisla tek nakon što počistite nered koji ste napravili nakon što ste od šoka na patos ispustili (u gorem slučaju ispovraćali) sav džank fud koji ste žvakali tokom trajanja filma. S onu stranu osvete, treba, mora da stoji pravda. Ili zaista nema nade ni za koga.
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Hemsworthov lik decidno tvrdi da nade i nema. Da je ovo kraj na kome se svi zajedno nalaze i da je jedino što iko može da uradi da pronalazi sve jače i jače senzorne stimulanse (,,sve dok previše više nije dovoljno") kako bi na momenat zaboravio na unutarnju prazninu u koju se survava. Hemsworthov lik je i onaj koji na početku filma ženu razapinje na krst i muči, strogo preko proksija, dok detetu veoma prijateljski objašnjava da ženin bol može da prestane ako mu ono samo da informaciju koja mu je potrebna. Ako su vam neophodne paralele sa aktuelnom politikom, Hemsworthov Dementus je harizmatični doomer, post-postmoderni alt rajt mesija koji kaže da se nikome nikada ne može verovati, da je svet uvek protiv vas i da jedino možete da se dobro naoružate i, čekajući smrt da urlajući doleti da vas ujede za lice, u međuvremenu pojedete, popijete i pojebete sve što možete, gazeći sve oko sebe, uživajući u sadizmu i nanošenju bola, okretanju ljudi jednih protiv drugih, dok su vam usta puna pravde i konstruktivnih parola o izradnji boljeg sutra. On je 4-Chan haos ispao iz internet-šina, postavljen na dvokolicu u koju su upregnuta tri motocikla i ogrnut ironično iscepanim belim plaštom dok poput nekakvogh lažnog cara jezdi pustinjom. Njegovo carstvo je, primetićemo, čak i da je pravo, baš to – pustinja – jer Dementus nije ni vizionar ni graditelj već prevrtljivi slatkorečivac koji brblja o pravdi i slobodi i dopire do centara za sumnjičavost u nutrini malog čoveka koji voli kad mu neko lep i harizmatičan kaže da su oni isti i da se valjaju udružiti protiv onih na vrhu koji ih sve drže potlačene – a onda pokuša da vam proda NFT, blokčejn, AI aplikacije za koje niste ni znali da vam trebaju, pa i kada ste ih kupili ne znate kako da ih iskoristite.
Postavka u kojoj su Immortan Joe i njegova klika degenerika – doslovni patrijarhat u kome se žene drže u sefu i služe za oplodnju – zapravo bliži društvu u kome se može opstati i koliko-toliko prosperirati u odnosu na divljaka iz pustinje koji dolazi sa velikim proklamacijama, ali, vidimo do kraja, ima kapacitet samo da sve što postoji zapali i pusti da izgori, ta postavka je ironična i govori nam upravo koliko treba o današnjem svetu u kome su stare strukture moći duboko pervertirale ideju poretka i pravednosti, ali gde je revolucionarni žar naroda kidnapovan od strane prevrtljivih, lažljivih prodavaca magle koji recikliraju govor revolucije iz vremena prošlih ali iza njihove harizme stoje samo praznina i business as usual bogaćenje na tuđoj prolivenoj krvi.
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Furiosa je, dakle prikvel koji uspešno apdejtuje političku analizu filma što hronološki dolazi nakon njega, ali i jedno uspelo insertovanje konkretnog na mesta koja su u prethodnom filmu stajala uglavnom u ravni apstraktnog. Bullet Town i Gastown su u ovom filmu lokacije na kojima se odvijaju značajni momenti radnje, a mitsko ,,zeleno mesto mnoštva majki" je stvarna lokacija što stoji u temelju Furiosine karakterizacije, kao izgubljeni raj ali i jedini ostatak nade u svetu koji joj stalno ponavlja da se završio, da nade nema i da jedino što postoji jeste izbor između stare strukture partijarhalnih eksploatatora i nove, haotične plime iz pustinje koju takođe čine patrijarhalni eksploatatori.
Anya Taylor-Joy se, uzgred, u filmu pojavljuje tek posle sat vremena a glumica koja igra još mlađu Furiosu, Alyla Browne koja nema ni petnaest godina u ovom trenutku, je izvanredna u portretisanju deteta koje poznaje ,,dobar" život, mesto na kome ,,ima muškaraca ali žene ga vode"*. Mlada Furiosa je već dete naviklo na zahtevan, težak i opasan život u postapokalipsi, i kada je banda lutajućih bajkera kidnapuje, ona ne gubi mnogo vremena pre nego što, viseći naglavačke sa motora, zubima ne pregrize crevo za benzin, onesposobljavajući svog kidnapera da ide dalje, ali u njoj još uvek ima više dimenzija i u emocijama i u ekspresiji. Kada joj se desi to što joj se desi, a pogotovo kada Taylor-Joyeva preuzme lik, Furiosa je svedena na masku, pozorišnu, karnevalsku ili možda obrednu, pogrebnu masku – u svakom slučaju na nešto što više decidno NIJE devojčica koja je strahovala za svoju majku i svoje ,,zeleno mesto" a koja i dalje sa sobom čuva seme što joj je majka na rastanku dala kao zavet restartovanje nove, zdravije budućnosti društva i ekosistema.
*citat iz stripa o Furiosi iz 2015. godine a čiji su neki elementi retkonovani ovim filmom, ali ne i sam ovaj detalj
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I ovo je zastrašujuće – Furiosa je u drugoj polovini filma gotovo horor-figura, ne zato što radi loše stvari, svi likovi u filmu ih rade, već zato što je tako intenzivno usredsređena na osvetu. A opet, njena ljudskost nikada ne nestaje u potpunosti ispod ove maske, ispod te urlajuće žudnje za osvetom. Uspomene na ,,zeleno mesto" i jedna semenka koju krije u kosi su njen orijentir i brana plimi nihilizma kojoj bi bilo možda prirodno da se prepusti nakon svega što je videla, nakon svega što joj je urađeno, nakon svega što je sama uradila. Otud, Furiosa, film, nije pripovest o antiheroini, o osobi koja ne veruje ni u šta i motivisana je samo osvetom. Miller je prerastao ovakve narative već posle prvog Mad Maxa i njegov najnoviji film govori o zrnima dobrote u pustoši nepravde, čuvanju srži ljudskosti u kakofoniji bestijalnosti, o pravdi u svetu koji insistira da ona ne postoji i da postoje samo sila i dobra zabava. ,,Do you have in in you to make it epic?", pitaće Dementus u jednoj sceni, ali pored svih neverovatnih scena vožnje i borbe na drumu, u belo ofarbanih war boysa koji lete unakolo na kablovima i eksplodiraju, bagera koji krše lake letelice i rotirajućih topuza na zadnjoj strani kamiona, epski u ovom filmu definisano je pre svega pronalaženjem načina da usred pustinje ne pronađete nego zasnujete svoje zeleno mesto. Miller nije Amerikanac ali ona fraza o zalivanju drveta slobode krvlju tirana dobija ironični, fascinantni vizuelno eho u završnici Furiose.
Drugde je film, naravno, prepun kreativne i duhovite hrišćanske ikonografije, sa čestim raspećima i krstovima, mučenicama i lažnim mesijama, plodom sa drveta koji, u ovom slučaju nije alatka kojom žena ljudsku rasu osuđuje na pad iz raja već simbol raja koji je ženama otet (i koji će na kraju jedna od njih pokušati da ponovo podigne, doslovno koristeći telo svog izrabljivača kao đubrivo). Ako je Fury Road bio prepoznat kao feministički akcioni film i bio najava kulturnih ratova koji će se voditi tokom naredne decenije, Furiosa je metodična, ekspresivna realizacija njegovih ideja urađena u veoma ambicioznom pripovedačkom modusu.
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Otud možda i mestimične kritike da je Furiosa manje efektan, manje intenzivan film nego što je Fury Road koji je bio maltene non-stop akcija tokom svog dvosdatnog trajanja. Furiosa traje gotovo čitava dva i po sata i tamo gde se Fury Road ceo desio u manje od dva dana, ovo je narativno najaambiciozniji deo Mad Maxa, sa praćenjem životne priče titularne heroine tokom jedne i po decenije poništenja i rekonstrukcije njene ličnosti. Otud, iako prihvatam da je Fury Road ,,zabavniji" film, Furiosa je emotivno intenzivnija, sa širim tonalnim opsegom, dubljim zaranjanjem u ljudsku tminu i pronalaženjem tračka svetla u njoj.
Štaviše, iako Furiosa podebljava tu metatematiku filma o post-civilizovanom društvu u kome darvinistička borba za opstanak zamenjuje javni moral, pustinjske mesije nose plastične oklope i metalne maske kako bi izgledale ,,bogovski", a ljudi – i pogotovo žene – su imovina, Furiosa je i film koji maestralno izbegava da eksploatiše ljudsku patnju radi postizanja jeftinih emotivnih efekata. Miller je u ovome praktično jedinstven i teško je setiti se još nekog modernog akcionog filma sa R rejtingom u kome se ljudska patnja prikazuje sa ovolikom empatijom, bez unižavanja samog LJUDSKOG. Pričamo o filmu u kome želite da ustanete da aplaudirate kada war boy ščepa upaljeni dinamit i uz jedno trijumfalno ,,witness me!" uskoči u neprijateljski oklopljeni automobil, u kome ženu razapetu na krstu muče a u jednoj kasnijoj sceni sa još uvek živog tela skidaju velike crve od kojih će se posle spremati obrok. Pričamo o filmu u kome je kanibalizam eksplicitan a seksualno nasilje implicirano na svakom koraku a da Miller (i, da ne zaboravimo, koscenarist Nick Lathouris) ni jednog trenutka od ovoga ne prave fetišistčki, neukusan, neelegantan torture porn.
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Kad smo već kod fetišizma, kostimografkinja Jenny Beavan, dizajneri opreme i scenografi su ovde imali možda najveće igralište da se na njemu zabavljaju, sa najvećim brojem lokacija i ogromnom količinom sporednih uloga i statista i rezultati su vrtoglavi. Miller u svojoj glavi ima čitav ovaj svet, razrađen do sitnih detalja, sa žargonom, lokalnim kulturama, verovanjima, iskrivljenim ili tačnim istorijama i filmovi nam daju da vidimo samo njihove deliće, ali ovi delići se savršeno uklapaju, pa su improvizovane ,,uniforme" (zapravo pre svega boja na licima i telima) war boysa ili pretorijanaca ne samo ikoničke, već i bez ikakvog tekstualnog pojašnjavanja jasno sugerišu razliku između ovih formacija i divljačkih bajkerskih hordi iz šatora usred pustinje. Ali, onda i među njima postoje ljudi sa više ili manje stila pa je ,,Octoboss", lik koji izgovara ne više od dve rečenice i vidi se u možda tri scene, u poslednjih par nedelja izrastao neku vrstu internet-opsesije.
Možda je najvažnije napomenuti to koliko je, kao i u slučaju Fury Roada, Furiosa DUHOVIT film bez obzira na svoju mrtvoozbiljnu koncepciju, tematiku, zaplet, karakterne lukove, religijski i politički podtekst. On nije tonalno nedosledan niti je napisan da umeće gegove između momenata ozbiljne radnje kako bi malo opustio gledaoca, već je čitav postavljen na jednoj satiričnoj osnovi koja se očitava i u pretenciozno poetizovanim naslovima poglavlja (Pol nepristupačnosti??????), u brbljanju glavnog negativca, u njegovom migoljenju kada ga uhvate u laži, u sramežljivosti Rictusa Erectusa kad mu plen umakne ispred nosa – Miller nam ovim filmom često prikazuje negativce u momentima koje drugi filmovi kriju, njihove momente nesigurnosti, frustriranosti, čak i dosade. A onda i kada pokazuje te bljeksove dobrote među lošim ljudima, to radi uz jedan vodviljski sving pa tako, recimo očinska figura Pretorijanca Džeka (Tom Burke), koja je jasna aluzija na samog Mad Maxa, istovremeno neodoljivo podseća na Elvisa Preslija ne onakvog kakav je zaista bio, ali onakvog kakav je mogao biti.
Sam Mad Max se u filmu pojavljuje na par sekundi, s leđa, bez učešća u samoj priči a što je i samo po sebi duhovito.
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Nisam od onih koji jedva čekaju da frazu ,,film koji se mora gledati u bioskopu" ubace u konverzaciju i, kako je Furiosa ove nedelje postala i dostupna na video on demand servisima, nikoga neću JAVNO OSUDITI ako je pogleda kod kuće ili, čak, eto, na telefonu. Ali Furiosa je film koji ekstremno mnogo dobija od bioskopskog iskustva. Velelepnost australijskog krajolika u kameri Simona Duggana je jedna stvar, ali ovo je film u kome motori treba da TRESU salu u kojoj film gledate, a eksplozije da vas tuku pod pleksus, pa iako je kvalitet reprodukcije u sinepleksu u Ušću bio, što se mene tiče substandardan, sa slikom koja je bila pretamna previše vremena, svakako bih savetovao bioskopsko gledanje (IMAX, po mogućnosti) ako vam je dostupno.
Na kraju, možda su baš ta finansijska pobacivanja zaslužna što je Furiosa ispala ovako jedinstven film, kako u krajoliku savremenog akcionog filma, tako i u serijalu Mad Max. Ono što je počelo kao jeftini eksploatacijski film sa AC/DC stihovima u scenariju i kostimografom koji se snabdevao u prodavnicama fetišističke opreme, klimaks je dočekao sa visokobudžetnim Fury Road a onda, bez dovoljno povraćenog novca, uspelo da izbegne transformaciju u ,,tekuću" franšizu gde bi brzo rađeni nastavci, televizijski spinofovi, strip (dobili smo jedan) i video igre (takođe samo jednu) nekako ovaj svet trivijalizovali a Millerovu viziju razblažili. Rezultat je da je Furiosa, koliko god veliki i kompleksan film bila, proizvod jedne laserski usredsređene vizije, studija karaktera i satirična kritika modernog sveta kroz metodični, petočinski proces građenja fiktivnog sveta i likova-većih-od-života, onoliko ,,autorski" koliko maltene ni jedan akcioni film danas ne može da bude. Zapanjujuće.
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Kao neko ko se više od dvadeset godina bavi demografskim starenjem sa njegovih raznih aspekata kroz svoj posao, tokom gledanja filma Plan 75, debitantskog dugometražnog ostvarenja tokijske režiserke i scenaristkinje po imenu Chie Hayakawa, dobar deo vremena sam sa odobravanjem klimao glavom. Plan 75 je film koji kompleksnost društva što stari razume na mnogo važnih nivoa a onda nudi i jednu tužnu, humanu, ali istovremeno i strašnu priču o tome kako (demografski) najstarija nacija na svetu pokušava da reši problem koji je neko svojevremeno dosta pesimistično opisao kao ,,srebrni cunami".
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Planeta de fakto postaje sve starija, sa razvijenijim društvima koja stare brže – ovo je jedan od retkih trendova u kojima Srbija prednjači, kad smo već kod toga – i sa ogromnim posledicama koje ovo ima na toliko aspekata naših života da nije ni malo preterano ili dramatično to što maltene svaki tekst koji sam na poslu napisao poslednjih nekoliko godina počinje rečima da je ,,demografsko starenje najvažniji trend dvadesetprvog veka". Starenje stanovništva ima velikog uticaja na ekonomiju, na to kako se organizuju zdravstvo i nega, a zbog toga posredno, ali veoma izraženo, na migracije stanovništva; ono veoma jako utiče na trendove na tržištu rada ali i na socijalne odnose sa sve dubljim shvatanjem da je uvećanje udela starijih u stanovništvu delom opterećenje za sisteme zdravstva, nege, penzionog osiguranja itd, ali sa druge strane velika pobeda nauke i medicine i izvor brojnih novih ekonomsnkih mogućnosti. Ono što mnogi u mojoj branši zovu ,,srebrnom ekonomijom", naravno, u dobroj meri zavisi od mogućnosti društva da obezbedi starijima adekvatnu negu, smeštaj i podršku u samostalnom životu kako bi oni mogli da svojim vremenom i resursima raspolažu onako kako žele i doprinose društvenoj dobrobiti.
Plan 75 je jedna skromno naučnofantastična, samo blago spekulativna dramska vežba koja uzima ove teze i zatim se njima igra u kontekstu samo jedne, jedine ,,fantastične" ideje koju film nudi. Naime, Japan, kao najstarija nacija na planeti, u fikciji ovog filma u jednom trenutku odobrava kontroverznu javnu politiku koja se zove Plan 75. Njome se omogućava da se svi građani stariji od 75 godina dobrovoljno prijave za asistirano samoubistvo, odnosno udobnu, pažljivo vođenu eutanaziju, kojom će svoju rodbinu ali i ostatak društva osloboditi tereta i doprineti demografskom ali i ekonomskom i socijalnom boljitku svoje zemlje. Od prijave do izvršenja imaju nekoliko nedelja tokom kojih primaju psihosocijalnu podršku i imaju pravo da odustanu na svakom koraku. Tako barem piše na papiru koji su potpisali...
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Chie Hayakawa je školovana u Njujorku i završila je Školu vizuelnih umetnosti u ovom gradu. No, nakon što je rodila dvoje dece, vratila se u Tokio 2008. godine i nastavila da se školuje i snima kratke filmove. Njen master-film Niagara je 2014. godine prikazan na Festivalu u Kanu i dobio nagradu Pia Film Festivala u Japanu. Plan 75 je sniman usred pandemije i imao premijeru u Kanu 2022. godine, gde je dobio Zlatnu kameru, a na japanskim festivalima je ovaj prvenac osvojio dosta nagrada, uključujući za scenario, ali je i glavna glumica, Chieko Baisho dobila nekoliko nagrada za svoju ulogu.
Hayakawa je scenario pisala sa Jasonom Grayjem, Amerikancem koji od početka stoleća radi u japanskoj filmskoj industriji, na raznim pozicijama, od prevodioca, preko režisera i producenta, pa do glume – igrao je jednu malu ulogu u Tokyo Sonata Kiyoshija Kurosawe – a film je nastao u kombinovanoj japansko-francusko-filipinskoj produkciji. No, sem činjenice da su neki od likova filipinski migranti u Japanu i da se sem Japanskog u nekim scenama čuje Tagalog izmešan sa Engleskim, Plan 75 je veoma ,,japanski" film. Njegov tempo je odmeren, nenametljiv a efikasan, bez scena koje su tu samo za građenje atmosfere, a opet mu je atmosfera majstorski izgrađena i nudi melanž duboke melanholije i veoma uzdržane socijalne satire. Hayakawa ga režira izrazito realistički, sa likovima koji imaju naturalističke dijaloge i ponašanje, i bez ikakvih nedijegetičkih informacija. Kada glavna junakinja, Mishi Kakutani (igra je izvanredna, pomenuta Chieko Baisho, inače rođena još 1941. godine) priča telefonom, gledalac neće moći da čuje sagovornika sem ako montažer ne ,,prebaci" kameru na drugu lokaciju tokom scene – ali gledalac će takođe prepoznati da Mishi često samo priča u telefon a da sa druge strane nema nikoga, jer njena ćerka više voli da joj majka ostavlja poruke na govornoj pošti nego da sa njim priča u stvarnom vremenu.
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Hayakawin i Grayjev scenario majstorski hvata mnoge elemente onoga što danas čini starenje mučnim procesom. Paradoksalno, iako su društva sve starija, ona još uvek nisu uradila potrebna prilagođavanja na ovu činjenicu. U Srbiji, na primer, imamo više osoba starijih od 65 godina nego dece mlađe od 15, ali i dalje mnogo više specijalističkih lekara i obučenih medicinskih sestara imamo za decu nego za starije, gde nam očanički fale gerijatri i gerijatrijske sestre.
U Japanu, jednom organizovanijem društvu u kome se dužnost prema kolektivu shvata ozbiljno i deo je mentaliteta to da uvek razmišljate kako da drugima ne budete na teretu, koncept kao što je Plan 75 deluje sasvim realistično. Ovo je, dakle, plan legalizovane eutanazije gde vlada daje starijima malu ali ne beznačajnu novčanu stimulaciju ako se prijave za ovaj plan i garantuje im dobro vođen, udoban odlazak na onaj svet, možda ključno: pod njihovim uslovima i u skladu sa njihovom voljom.
Ili je to barem ideja. No, film izrazito elegantno onda satiriše i kritikuje ovu ideju, pokazujući kako i odlazak u smrt ima klasnu dimenziju, kako obična raja ovu uslugu dobija besplatno (čak je i sahrana/ kremacija besplatna ako se prijave za grupni plan, dakle, da budu sahranjeni ili spaljeni zajedno sa drugima koji su se takođe za to prijavili) ali da bolje stojeći građani mogu da plate luksuzniji paket. Činjenica da Mishi i njene koleginice listaju kataloge i komentarišu kako imaju i ti neki baš dobri paketi, sa vikendom gde se dobije puno ukusne hrane i pića, pa spa i bjuti tretman i profesionalno fotografisanje, a još sa članovima porodice ako ste i to platili, je dobra poveznica sa drugim ansamblom u filmu, gde pratimo mlađe/ sredovečne osobe koje rade u jednoj od privatnih agencija koje nude Plan 75 i čiji je posao da učine odlazak starijima udobnim, ali PREVASHODNO da obezbede da se ovi ne predomisle.
(https://i.imgur.com/WQyICxK.png)
Hayakawa ovo režira veoma pažljivo, prikazujući nekoliko različitih službenika koji svi na svoj način imaju sumnje u to da je ovo što rade ispravno. Jedan od njih prodaje aranžmane (izvrsni Hayato Isomura koga ste možda gledali u drugoj sezoni Alice in Borderland) i njegov posao je da celu stvar nakiti isto onako kako bi službenik turističke agencije vama pokušavao da proda letovanje. Tu je zatim filipinska migrantkinja Maria (veoma upečatljiva Stefanie Arianne), negovateljica u domu za starije koja, zbog veće plate – a potrebne su joj pare da plati ćerki operaciju – prelazi da radi u istu firmu i tamo je zadužena da ličnu imovinu starijih, posle smrti razvrsta i stavi je firmi na raspolaganje. Iskusniji kolega joj kaže da sve što je vredno stavi sebi u džep jer ,,mrtvima neće trebati". Treća je devojka iz kol-centra koja starijima što su se odlučili na Plan 75 pruža psihosocijalnu podršku tokom tih nekoliko nedelja koje prolaze do izvršenja dogovorene eutanazije. Na obuci njoj i njenim koleginicama šefica objašnjava da je njihovo da starije sa poštovanjem slušaju, a onda i dodaje ,,i da ih vodite tako da ne odustanu".
,,Dobrovoljnost" ovog celog aranmžmana za starije se dovodi u pitanj vrlo organski, pokazujući kako oni bivaju primorani da poveruju u raširenu predrasudu da su društveni teret i da su tu samo zato što se drugi žrtvuju za njih. Film izuzetno plastično pokazuje mnoge probleme koji danas more starije, na primer tu ,,epidemiju usamljenosti" koja nastaje kada društvo svoje socijalne sadržaje podešava po potrebama i kapacitetima isključivo mlađih generacija (ovo važi i za prevoz, uslove stanovanja, komunikacionu tehnologiju...) i ostavlja starije da se osećaju odsečenim od sveta, neželjenim, nepotrebnim i nekorisnim. Dalje, Mishi i njenih nekoliko drugarica na početku filma rade u hotelu kao sobarice iako su debelo zagazile u godine za penziju, jer su im potrebni prihodi, ali kada incident u hotelu lišava Mishi ovog posla, ona mora da se suoči sa činjenicom da niko više neće da je zaposli i da je primorana da na kraju prihvati bizarno težak i naporan posao na ulici da bi ikako zaradila dovoljno novca za stan i hranu. Naravno, onda vidimo kako u njenoj zgradi sve manje stanova ima stanare – savršeno dijegetički prikazano kroz postepeno nestajanje poštanskih sandučića – da bi na kraju zgrada bila predviđena za rušenje a žena duboko u osmoj deceniji života se suočava sa beskućništvom jer svuda gde može da iznajmi stan, vlasnici traže da se kirija plati dve godine unapred kada vide da se radi o starijoj ženi. Chieko Baisho ima izuzetan pristup ovoj ulozi, kanališući više od pola veka glumačkog iskustva u evokativne izraze lica, glumu očima, jedan savršeni spoj dostojanstvenosti, tuge, straha, poniženosti ali i nepredavanja. U jednoj sceni, kada sa mlađom poznanicom ode na kuglanje i obori svih deset kegli odjednom njena sreća je neverovatno prirodna a momak koji prilazi da joj baci kosku ima jaknu na kojoj piše ,,against all odds". Film sa mnogo pažljivo postavljenih vizuelnih informacija u kome ništa nije u kadru preterano ali ništa u njemu nije ni slučajno.
(https://i.imgur.com/fj5cijs.png)
Mishi, dakle, u Plan 75 ne ulazi kao ponosna, odlučna japanska staramajka koja se glasno i gordo žrtvuje za buduće generacije, kako bi država želela da sve predstavi, već kao uplašena, tužna žena kojoj se čini da nema ni jedan drugi izlaz. Čak i sa devojkom iz kol centra ostvaruje topliji i prisniji odnos nego što ga ima sa ćerkom koja joj se više ni ne javlja na telefon, ali ova je na kraju mora obavestiti o proceduri na dan eutanazije i to je scena koja obema lomi srce iako je privid očuvanja društvenog digniteta očuvan.
Plan 75 sasvim jasno pokazuje sa koje strane debate stoje autori. Film je čitav snimljen iz statičnih kadrova, sa škrtim osvetljenjem tako da likove gledamo kako prolaze kroz unutarnje dileme i borbe, dok im je deo lica skoro uvek prekriven senkom. Stanovi su štedljivo osvetljeni i još štedljivije grejani – u više scena čujemo da je ,,danas baš hladno" a samo na jednom mestu vidimo skromnu kvarcnu peć postavljenu na tatami, u stanu koji, po tradiciji, nema ni stolice – a likovi izgledaju dostojanstveno, ali uplašeno i nesigurno u to da li zaista žele ono što su potpisali. Baishova kao Mishi i Takao Taka kao Yukio Okabe su dvoje starijih osoba čiji čitav put do ležaja u kome im na lice stavljaju maske i postepeno ih uspavljuju i ubijaju gasom, pratimo svesni da su ovo osobe koje ovako nešto rade ne jer podnose ponositu žrtvu za svoju decu, nego jer se stide svoje samoće, bespomoćnosti i konfuzije i jer se, više od svega, stide da traže pomoć, da drugima budu na teretu.
(https://i.imgur.com/TPT0wa3.png)
Ovo je veoma japanski po tematici i izvedbi, ali i veoma relevantno za Srbiju – više studija je pokazalo prominentni model samožrtvovanja kod nas, u kome stariji svoju imovinu i druge resurse dobrovoljno prepuštaju svom potomstvu i neretko dublju starost dočekuju u siromaštvu i potpunoj zavisnosti od tuđe dobre volje da im pruže pomoć a koja, pravite se da ste iznenađeni, neretko izostaje. Uostalom, film je prikazan na Kustendorfu prošle godine i iako nije imao bioskopsku distribuciju u Srbiji, makar se može i kod nas pogledati putem (HBO) Maxa.
Naravno, Plan 75 je, rekosmo, mračna satira i on i ne nudi konačni odgovor na pitanje kako rešiti problem demografskog starenja, ali je dosta uspešan u pokazivanju da poziv na požrtvovanje nije taj odgovor. Ovo je film koji uspešno prepliće obezljuđujući jezik državne birokratije sa marketingom privatnih firmi i industriju organizovanog ubijanja ljudi koji su samo usamljeni ili tužni prikazuje kao jedan ,,normalan" biznis u kome spretni, maštoviti preduzetnici nalaze nove načine da uvećaju profit a porodice i njihovi najstariji članovi elegantan, čist način da preduprede neurednost i negativne emocije starenja, razboljevanja i umiranja. Prekinuti život pre nego što se pokvari zvuči kao dobra ideja na papiru, pogotovo kada vam je predstavlja nasmejani službenik firme koja u logotipu ima smajli.
(https://i.imgur.com/qzyleC9.png)
To da Plan 75 u konačnici UOPŠTE ne deluje kao naučna fantastika i da bi verovatno bar sedam od deset osoba kojima biste ispričali da se u Japanu ovo već radi verovalo da je to istina, čini još važnijim njegovo nenametljivo ali jasno ukazivanje da i vlade i kapital uvek teže najefikasnijim rešenjima i da će oni koji su sami na kraju sami i verovati da nikome ne trebaju i – zato što se stide da priznaju da se plaše – do kraja nastaviti da se prave da je sve ovo na kraju bila njihova slobodna volja. Mali ali važan film i moćan debi.
(https://i.imgur.com/ZgB95YE.png)
Naoružani Eddie Murphy, Judge Reinhold i Joseph Gordon-Levitt sede u kamionu punom kokaina, jure niz kalifornijski autoput i izbegavaju metke lokalnog meksičkog kartela, a Murphy, koji je za volanom, počinje namerno da udara u poilicijska kola na drumu kao bi ova tri detektiva (jedan bivši, dvojica suspendovani i trenutno u bekstvu) imala makar nekakav ,,backup" kad ulete u dvorište vile gde ih čeka finalni boss. Osamdesete su toliko ,,back" u filmu Beverly Hills Cop: Axel F da je on i neka vrsta vremeplova.
(https://i.imgur.com/yyOQly4.png)
A što Beverly Hills Cop: Axel F čini i neobično kompetentnim i neobično izlišnim nastavkom serijala koji je u osamdesetima označio ako ne revoluciju a ono kvantni skok u studijskom razmišljanju o žanrovskom akcionom filmu. Da odmah budemo načisto, tokom Beverly Hills Cop: Axel F sam se više puta glasno nasmejao, sasvim iskreno navijao za naše i generalno se dobro zabavio za tih nekih korektnih stodeset minuta filma, ali ovo je film kome je NETFLIX ispisano posred čela, jedan vrlo dobar faksimil osamdesetih i sa razumevanjem prekopiran format buddy-cop akcijaša o ribi-izvan-vode, istovremeno bez skoro ičeg da ukaže kako se radi o filmu kojim se obeležava četrdeset godina serijala. Fraza ,,just another day in the office" se ne izgovara u njemu ni jednom, ali Beverly Hills Cop: Axel F je upravo to, nova epizoda u životima junaka koje poznajem od kada sam imao trinaest godina i koji, iako na rečima priznaju da je prošlo dosta vremena, i dalje rade iste stvari na isti način kao i pre četiri decenije.
Beverly Hills Cop Martina Bresta iz 1984. godine je umalo bio tek još jedan nihilistički akcioni film sa Sylvesterom Stalloneom u glavnoj ulozi. Sly je, u to vreme sa već dovoljno pregovaračke moći u Holivudu, na sebe uzeo da promeni originalni scenario i izbacio iz njega sve humorističke elemente, glavnog junaka preimenovao u Axela Cobrettija (gde smo li samo kasnije čuli to prezime?) i napisao poslednju scenu u kojoj Axel vozi ukradeni Lamborgini i zaleće se čeono u voz za čijim je kontrolama glavni negativac... Producenti su se dugo natezali oko njega sa ovim skriptom da bi sam Stallone odustao od filma, kažu dve nedelje pre zakazanog početka snimanja. Don Simpson i Jerry Bruckheimer su, vele, dva dana kasnije uspeli da ubede Eddieja Murphyja da je on pravi čovek za ovaj film i mada je na njegovu platu otišla skoro četvrtina budžeta, ovo je bio onaj jedan u milion pogodak u centar mete koji je ne samo doneo ogromnu zaradu i porodio serijal što ga, evo, četrdeset godina kasnije i dalje gledamo sa apetitom, već i jedno radikalno transformisanje akcionog filma iz osamdesetih u visokobudžetnu, uglancanu produkciju za celu porodicu.
(https://i.imgur.com/Ty85IkE.png)
Već sam, pišući o Tog Gun: Maverick (https://cvecezla.wordpress.com/2023/07/21/film-top-gun-maverick/) i Road House (https://cvecezla.wordpress.com/2024/04/05/film-road-house-2024/) pominjao da je ,,akcioni film osamdesetih" bio mračna, nihilistička, često prilično desničarska prćija Georgea Pana Cosmatosa, Michaela Winnera, J. Lee Thompsona (sva trojica Evropljani, inače) u toj nekoj visokobudžetnijoj sferi, a da smo tik ispod njih imali Canonov Golan-Globus opus. Kad pogledate transverzalu Rambo 2-Missing in Action-Enter the Ninja-The Evil that Men Do-Death Wish 2, 3, i 4-Murphy's Law-Cobra-Exterminator 2 itd, jasno je da su ovi filmovi, neki od njih i veoma gledani, imali i neku vrstu staklene tavanice koju nisu mogli da probiju i postanu ,,pravi" mejnstrim. Onda su došli Karate Kid (koga je režirao isti čovek kao i prvi Rocky, ne zaboravimo), Top Gun i Beverly Hills Cop, a na televiziji Miami Vice i, sa izuzetkom Top Gun koga je Tony Scott režirao 1986. godine, sve ove ostale produkcije su pred publiku došle 1984. godine. Akcioni film je, dakle, u toj orvelovskoj sezoni ušao u glavni tok, postao deo mejnstrim kulture i medijum za mnogo širu komunikaciju sa mnogo širom demografijom. Marketing i product placement su dobili čitave nove dimenzije da se sa njima zabavljaju i Beverly Hills Cop: Axel F nas i sam na ovo podseća kada u jednoj sceni veoma prominentno i iznenađujuće dugo u centru kadra drži logo Toma Forda.
Originalni Beverly Hills Cop je bio možda i ,,napotrošačkije" orijentisan, služeći kao neka vrsta promotivne razglednice Beverly Hillsa i Kalifornije američkoj srednjoj klasi što je uživala plodove ekonomije koja je u tom trenutku letela u nebo sa šestoprocentnim rastom BDP-a i nezaposlenošću manjom od jedna posto. Kako god da je reganomiks osakatio Ameriku na duge staze, u 1984. godini je delovalo kao da svi mogu da sanjaju o zlatnim plažama Kalifornije i buticima na Beverly Hillsu. Naravno da su filmovi poput Rambo 2, Cobra, Death Wish 3, Robocop i Die Hard došli već u naredne četiri godine, a da smo već u 1984-oj imali prvog Terminatora, i da je nihilistički, desničarski akcijaš bio živi i zdrav sve do prve polovine devedesetih, ali Beverly Hills Cop je bio ogromna prekretnica koja će prokrčiti put i za Top Gun i njegovu meku, seksi militarističku propagandu nafilovanu mišićavim muškim telima i odbojkom na pesku.
(https://i.imgur.com/dqVIQgK.png)
Ipak, ,,potrošačka" dimenzija Beverly Hills Cop je bila značajno balansirana prefinjenijim pristupom što ga je Martin Brest – kome je ovo bio tek drugi dugometražni film – preduzeo i jedan ,,običan" komično-akcioni scenario prilagodio senzibilitetima svoje zvezde u centru narativa. Ideja da crni, streetwise inspektor iz Detroita, srazmerno siromašnog radničkog grada, dolazi da reši slučaj u samom neksusu američke neoliberalne dekadencije, cunjajući po Beverly Hillsu, šarmirajući kalifornijske cure u bikinijima koje do tada nisu upoznale ovakve macane i zbunjujući ,,house-nigga"* poslugu po skupim ustanovama demonstriranjem da postoje i samovlasni ljudi sa kičmom, i karakterom koji nisu deo kalifornijske ekonomije ponižavanja i ulizištva, u Brestovoj viziji je realizovana dovoljno ubedljivo da se i ta izraženo ,,komercijalna" ambicija ove produkcije stavi u kontekst nekakve klasne rasprave. A zna se da ja smatram da su klasne priče skoro pa jedine vredne pričanja kada govorimo o filmu.
*ovom prilikom tom frazom obuhvatamo i belce
Beverly Hills Cop: Axel F, dakle, prvi i najizraženiji faux pas pravi upravo time da ovde nema ni trunke klasne svesti, čime se stavlja u istu ligu sa prva dva nastavka ovog serijala, filmovima koje su 1987. i 1994. godine režirali Tony Scott i Jon Landis, dakle dva od najkompetentnijih holivudskih režisera osamdesetih i devedesetih. Scott je pre Beverly Hills Cop 2 već režirao Top Gun a Landis je već dva puta režirao filmove u kojima je Murphy imao glavnu ulogu, no, njihovi nastavci originalnog filma su bili samo zanat na delu, daleko od vrhunaca rada bilo jednog bilo drugog autora. Sa svoje strane, Brest je 1988. godine sa Midnight Run snimio još jedan klasičan '80s komični akcijaš, koji je i sam dobio tri (televizijska) nastavka od kojih ni sa jednim on nije imao veze.
(https://i.imgur.com/3lPq2Eq.png)
Nije pogrešno prepoznati u Beverly Hills Cop: Axel F izvesnu televizijsku srž. Na kraju krajeva, ovo jeste Netflixovo maslo, a nakon skoro trideset godina development hella i odbacivanja više predloženih scenarija, na kraju su na ovoj priči radila tri čoveka a režiju je potpisao Australijanac Mark Molloy, kome je ovo prvi film. Ta neka štedljivost se vidi i u kastu – glavnu žensku ulogu igra Taylour Paige, poznata uglavnom u crnoj zajednici na ime uloga u nekim manjim hitovima i saradnje sa Kendrickom Lamarom – ali i u samom izvođenju filma koji, iako ima i jurnjave po autoputu i eksplozije usred gradskog jezgra, pa i u jednom set pisu, helikopter koji pravi haos po ulicama Los Anđelesa, zapravo baštini jedan old school senzibilitet, gde se pazi da se setovi ne oštete previše jer će biti potrebni i sutra. Pozitivna strana ovoga je da ovde nema vidljivog CGI ekscesa i scena pravljenih da nadjebu kojigod da je najnoviji nastavak Fast & Furious – a što je zamoran trend u visokobudžetnom akcionom filmu poslednjih godina – a negativna možda ta da današnja publika naprosto očekuje ambiciozniji vizuelni program. Molloy je, da bude jasno, perfektno kompetentan kada režira akciju ali ovo je film koji se drži jednog vidljivog '80s ,,realizma" u toj akciji, bez naklona superherojskim standardima koji danas vladaju.
(https://i.imgur.com/tXLv2Lr.png)
Kao čoveku koji će, evo, za par nedelja da uđe u pedesetčetvrtu godinu, meni je to i sasvim na mestu. Beverly Hills Cop nikada i nije bio serijal u kome su fizikalnost akcije i visceralni koeficijent pucnjave bili u prvom planu. Ambicija prvog filma je bila, naprotiv, da se akcija učini mrvicu staromodnijom, da se odstupi korak ili dva od winnerovsko-thompsonovske brutalnosti uzgajane još od sedamdesetih*i da se uhvati nekakav duh starijih vremena u kojoj su dobri momci imali jake pesnice i bili brzi na obaraču ali su retko skidali osmeh sa lica. Na kraju krajeva, glavnu ulogu je dobio čovek po vokaciji pre svega stend ap komičar, a čija mu je reputacija (pro)izvođača sirovog, sa ulice poteklog, rasno i klasno nadevenog humora obezbedila prvo prodor na televiziju (gde je revitalizovao pomalo posrćući kultni šou Saturday Night Live) a onda i na film gde će prvo kroz Landisov Trading Places a onda Hillov 48 Hours suočiti Ameriku sa rasnom i klasnom podelom na način koji je istovremeno bio drzak, opasan, bezobrazan ali i neodoljivo šarmantan. Posebno je scena u 48 Hours u kojoj se Murphyjev lik – kriminalac pušten na dva dana uslovne slobode da pomogne policijskoj istrazi – pretvara da je inspektor i postrojava celu kafanu agresivnih rednekova bila katarzična i, verovatno, isposlovala nadirućem crnom majstoru ulogu Axela Foleyja u Beverly Hills Cop.
*mada je naravno, uvodna akciona scena novog filma, u kojoj Murphy vozi plug za sneg i njegovim se raonikom štiti od metaka jasan omaž Winnerovom kultnom Firepower (https://cvecezla.wordpress.com/2011/01/23/zasto-je-firepower-najvazniji-akcioni-film-u-poslednje-tridesetdve-godine/)
(https://i.imgur.com/sKRa78y.png)
Beverly Hills Cop: Axel F, rekosmo, nema među svojim ambicijama to da mnogo priča o rasnom i sa njim uvezanim klasnim jazom u modernoj Americi. Istina, on ima dve scene u kojima se eksplicitno bavi ovim temama, ali one su tu više kao nekakav začin i nemaju nikakvu presudnu težinu za likove i njihovo sopstvo. U jednoj Axel cima kolegu-belca iz detroitske policije za to što ovaj koristi usiljeni woke rečnik kada priča sa njim, a u drugoj kada mu, tokom prvog od hapšenja u priči policajke sa Beverli Hilsa kažu da drži ruke podignute i da ne poseže u džep da bi izvadio legitimaciju, on gorko odgovara da je policajac preko trideset godina a da je crn i duže i da zna da to ne treba da radi. Obe ove scene su urađene kompetentno, spretno i Murphy u njima deluje autentično, ali ni jedna od njih nema apsolutno nikakav eho u ključnim momentima filma, što ih čini, rekosmo, samo začinom, ispunjavanjem woke kvote za ,,levičarsku" publiku, a što je šteta jer scenario, zapravo puca od potencijala da pokaže kako se za četrdeset godina nije DOVOLJNO toga promenilo. Axelova ćerka, Jane, je, na primer, advokatica, i to advokatica koja brani lika optuženog za ubistvo policajca. Policajac je bio belac, osumnjičeni je pripadnik hispanske manjine, advokatica je Afroamerikanka i ovo je kontekst prepun mogućnosti, a koje scenario dosledno ignoriše.
Umesto toga, u centru priče je predvidiva i sasvim klišeizirana tenzija između oca i ćerke koji se godinama ne viđaju niti su u kontaktu, a sad su i na, nominalno, različitim stranama (ona, rekosmo, brani čoveka osumnjičenog za ubistvo policajca), i gde tokom sumanutih par dana sukoba sa meksičkim kokainskim kartelom i korumpiranim ljudima iz losanđeleske službe za koordinaciju ,,rata protiv droge" – koju predvodi Kevin Bacon a koji je dobar čak i kada mu je MORA BITI muka od decenija typecastovanja – njih dvoje moraju da izvidaju porodične rane i pronađu toplinu jedno za drugo.
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Opet, i ovo je urađeno korektno, bez velikog nadahnuća ali i bez nekih ozbiljnih promašaja. Paigeova je okej onoliko koliko je scenario koristi, Murphy ume da se direktno iz tipično foleyjevskog kreveljenja prebaci u dramski mod ponašanja i bude ozbiljan i reflektivan, a Mark Molloy izbegava da film uspori upadanjima u nekakvu veliku, teatralnu melodramu i sve to curi dosta dobro do predvidivog finalnog bondinga između oca i ćerke.
Potencijalni rizik akcionog filma u kome su glumci u suštini u dobu za penziju je naravno u tome da propulzivnost i energija koje očekujete ne mogu da deluju uverljivo. Scenario ovo rešava time da likove Judgea Reinhola i Johna Ashtona drži uglavnom u drugom redu, koristeći ih za komični predah i bacanje referenci na stare nastavke, dok Foley najveći deo vremena provodi sa ćerkom i sa još jednim inspektorom iz BHPD-a, a koga igra Joseph Gordon-Levitt. I ovo je bio dosta briljantan kasting. Reinhold i Ashton su, da se razumemo, dobri u svojim gerijatrijskim komičnim epizodama, ali Gordon-Levitt filmu donosi tačno neophodnu meru pandurskog-akcijaša, obavljajući i ulogu straight mana za Murphyjeve komične kavalkade, ali i tipa koji zna da puca i odradiće posao u kritičnim momentima kada krene rokanje sa kartelom. Gordon-Levitt nekako deluje kao jedini lik iz ovog filma koji bi trebalo da dobije i naredni film – čak i ispred Murphyja – zato što i pored komične dimenzije kojom dobro rukuje, ne ostavlja utisak karikature. Film ih je svakako i prepun: tu je povratnik Bronson Pinchot (tj. Serge), tu je još jedna pouzdana SNL veteranka, Nasim Pedrad, pa onda i Luis Guzmán u jednoj predvidivo etnički-klišeiziranoj ali nepobitno efektnoj sceni, naprosto, Beverly Hills Cop: Axel F je pun funkcionalnih epizoda i malih situacija koje su šarmantne na jedan izrazito televizijski način ali od kojih ni jedna, da se mi dogovorimo, nije esencijalna, čak ni bitna za sam film.
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I zapravo film jednim delom i ostavlja taj utisak ,,televizije" zato što se često oslanja na likove koji su deo nameštaja i zabavni su po sebi, kao tekstura, a njegova slabost može se tražiti u tome da samog Axela Foleyja često ostavlja u pozadini ili sasvim izvan kadra i ne igra dovoljno na Murphyjeve intrinzične kvalitete. Sad, da ovde ne budemo nerazumeni, Murphy je jedan od producenata ovde, potpisan rame uz rame sa Burckheimerom, dakle, ne radi se o tome da su brata ovde mangupi izradili jer ne veruju da sa 63 godine njegova zvezda i dalje sjaji istim sjajem. Pre bi se reklo da je Murphy i sam verovao da je ovo zaista film o jednom dubljem, starijem, reflektivnijem Axely Foleyju koji će se prvo braniti od ideje da je vreme prošlo, da više nije mlad, da koliko god bežao od njih, on ipak ima roditeljske obaveze i dužnosti i da će do kraja večiti mladić sazreti. Scenario bez ikakve sumnje ima ovu vrstu ambicije, ali je u egzekuciji ovo samo jedan mehanički sloj filma, nešto da, eto, likovi imaju o čemu da pričaju između rokanja, ali niti je Murphyjeva uzdržanija gluma dovoljna da nam proda taj sloj karakterizacije, niti je nekakav katarzični momenat postignut kroz neku Molloyjevu intervenciju do kraja. Ono što dobijamo, već pomenuti bonding oca i ćerke, svakako ima šarma, ali je držan strogo u ravni (lake televizijske) komedije i izrazito mu nedostaje malo gravitasa koji ovaj serijal, makar na ime četrdesete godišnjice ipak zaslužuje.
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To nismo dobili, ali jesmo dobili film brzog tempa, sa dosta akcije koja je, rekosmo, down to earth i realistična u tom nekom '80s smislu*, sa nekoliko dobro osmišljenih scena – uključujući to kako Foley doskoči policajcu čak i kad je vezan lisicama i ostavljen u sobi za isleđivanje – korektnom kamerom i montažom, pristojnom muzikom (uključujući i nove verzije ikoničke Axel F teme) i Murphyjem koji je, na momente, onaj stari.
*sa sve činjenicom da policajac na dužnosti može da ubije dva člana meksičkog kartela na sred ulice i da ne samo niko ne pominje da sad mora da ide na ,,kaunselign" i terapiju, nego se ni čuje ni jedna progunđana reč o tome koliko ,,paperworka" sve to sad ima da iziskuje
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Zapravo, Murphy ne izgleda kao čovek u sedmoj deceniji života u ovom filmu, i što se njegovog fizikusa tiče ovo je bez problema mogao biti i period piece smešten u devedesete. Čovek je ostario ne dobro nego neprirodno dobro i mada, rekosmo, solidan deo vremena provodi i u ćutljivom, reflektivnom modusu, u nekoliko scena – kada njegov lik izigrava da je neko drugi, kako bi izblefirao naivne i ostvario ulazak u prostoriju gde mu nije mesto – ovo je Eddie Murphy prenesen iz osamdesetih bez ikakvih gubitaka. Štaviše, scenario onda i pažljivo radi sa ovim motivom i dekonstruiše ga do kraja filma, potkazujući Foleyja kao, ipak, relikta prošlog vremena koji misli da su ljudi i danas onako naivni kao što su nekada bili. Naravno da nisu, danas svi žive na telefonima i u neprekidnom doomscrolling dotoku konspiratoloških toksina programiranih da ih učini nepoverljivima, pa je i potencijal da ih čovek koji se široko osmehuje i izmišlja za sebe smešna imena mnogo niži nego ikada. Ovo je jedna od retkih dimenzija filma u kojim se sa razumevanjem tretira protok decenija i bilo bi lepo da ih je bilo više i da su bile možda i suštinskije za njegovu centralnu priču.
No, dobili smo šta smo dobili, jedan rutinerski buddy-cop akcijaš koji, ako ćemo pošteno, čoveka lepo zabavi. Ni sam Beverly Hills Cop iz 1984. godine nije bio film sa ne znam KAKVOM dubinom, i mada jeste, delom i na ime svog legata – i izvan sopstvenog serijala – zaslužio nastavak sa nešto više ambicije, ono što smo dobili je gledljivo i pitko. Ne mnogo više od toga, ali ovo nije film u kome se iko osramotio, naprotiv.
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Pogledao sam Yannick, prošlogodišnju crnu, simpatično nadrealističku komediju Quentina Dupieuxa, film koji se čitav dešava u pozorištu i koji je, dalje, jednostavna, pravolinijska dekonstrukcija pozorišta, ali i odnosa običnog, proverbijalnog malog čoveka sa društvom spektakla koje su nam dijagnostikovali situacionisti pre više od pola veka. Yannick je mali film u mnogo dimenzija – gotovo se čitav dešava u jednoj prostoriji, sa samo par kadrova sa lokacija koje su od te prostorije udaljene po nekoliko metara, traje jedva sat vremena kad se odbiju uvodna i odjavna špica, muzike jedva da ima u samom finalu i u pitanju je, jasno je, jeftina produkcija – ali kao takav on je i zapravo odlično odmeren da bude poligon za ekspresiju glumaca koji ga časno iznose na svojim plećima, a što je i primereno jer je ovo film, između ostalog, i o glumcima, i njihovoj funkciji u našim životima.
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Quentin Dupieux i nije ,,pravi" filmmejker, ako ćemo da gledamo tehnički. Iako mu je prvi hobi, kada je bio tinejdžer bila fotografija, pa onda pravljenje kratkih filmova, momenat u kome je shvatio da ne može da koristi tuđu, nelicenciranu muziku za svoje kratke produkcije – jer nije tako mogao da ih proda zainteresovanim televizijama – je sudbinski odredio dalji tok njegovog života. Dupieux je kupio sintisajzer da sam napravi novi saundtrak za film koji je koristio već postojeću muziku i onda počeo njime da se igra, pa onda otkrio house muziku i, evo, trideset godina kasnije on je svetski poznati muzičar i didžej koga svi znaju pod pseudonimom Mr. Oizo. Naravno, imao je Quentin i dosta sreće – priča je da je Laurent Garnier kupovao kola od njegovog oca pa je ovaj poznatom producentu i didžeju nahvalio talente svog potomka i mic-po-mic, desila se slava – ali nema sumnje u to da se radi o vrlo talentovanom muzičaru.
Slično je na kraju krajeva i sa njegovom filmskom karijerom. Danas Dupieux kaže da se nalazi u izuzetno ugodnoj situaciji da zna da štagod da napiše, naćiće se neko da to producira ali istina je i da je od momenta njegovog povratka filmu, krajem prve decenije ovog stoleća, on u tome bio dosta uspešan. Zapravo, nakon snimanja nekoliko spotova za Mr. Oizo pesme krajem prošlog veka, pa jednog kratkog filma početkom ovog, njegov naredni, ,,pravi" debi, Steak iz 2007. je bio komercijalno neuspešan i nije ni imao međunarodnu distribuciju ali već od narednog, horor-komedije Rubber iz 2010, u kojoj je protagonist filma samosvesna automobliska guma sa psioničkim moćima, Dupieux niže, praktično, samo uspehe. Njegovi filmovi su jeftine, ali kompetentno napravljene nadrealističke komične postavke, često izmeštene iz osnovne ideje barem jednim meta-slojem apstrakcije, a koje uglavnom dobijaju vrlo lepe reakcije na festivalima i solidnu međunarodnu distribuciju.
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Yannick je, kao njegov dvanaesti film, sasvim reprezentativan za Dupieuxov metod rada. Sniman u najvećoj tajnosti tokom šest dana u jednom od najstarijih pariskih pozorišta (Théâtre Déjazet u trećem arondismanu), Yannick je svetu obnarodovan preko Dupieuxovih naloga na društvenim mrežama krajem Juna prošle godine da bi u Avgustu imao premijeru i bio uspešan bioskopski hit, ali i pristojno ocenjen film od strane kritike. Možda će se u budućnosti pokazati da ovaj film vredi zapamtiti i po tome da je fantastični Raphaël Quenard u njemu glumio odmah posle svoje izuzetne – prve glavne – role u Junkyard Dog (https://cvecezla.wordpress.com/2024/02/23/film-chien-de-la-casse-aka-junkyard-dog/), za koju je dobio nekoliko nagrada. Za Yannick je Quenard bio nominovan na nekoliko festivala, ništa nije dobio, ali je pružio veoma upečatljivu ulogu i cementirao svoj status najuzbudljivijeg mladog muškog glumca u savremenom francuskom filmu. Kako je Yannick, za razliku od Junkyard Dog, veoma ,,glumački" film, i sav se događa u pozorišnoj sali, sa glumcima koji glume da glume, a zatim i glume da glume da glume, Quenardova rola razočaranog čoveka-iz-naroda je tim upečatljivija jer pruža gledaocu iluziju jedne titanske dijalektičke borbe u kojoj se istina i laž susreću na mestu organizovane iluzije i dogovorene suspenzije neverice. Naravno, ishod te borbe do kraja filma, kako to kod Dupieuxa već zna da bude, nije jednoznačan, niti uopšte diskurzivno dorečen, ali finale u kome inače vrlo raspisani, vrlo ,,dijaloški" scenario po prvi put pušta da muzika zakloni reči a da glumci svoj posao odrade izrazima lica, dok montaža i kamera pripremaju nemi pančlajn – Dupieux je, da bude jasno, bio i direktor fotografije i montažer – je i elegantno i emotivno potentno. Video sam kritike – poglavito američke – u kojima se prigovara da Yannick nije dovoljno artikulisao svoje teze ali imam utisak da ovi ljudi samo nisu film gledali sa prave strane. Pozorište, kao metafora za društvo se ovde koristi već i zato što u njemu oni gore pričaju onima dole, dok oni dole ćute. Poštujem da Amerikanci nikada nisu imali Zorana Radmilovića i da im je malo teže da sve to svare bez žvakanja.
Yannick je u suštini jednostavan film, gotovo malo duži vic, možda i nastao kao Dupieuxovo promišljanje pozorišta i poigravanje sa formatom pozorišne predstave. Ovo je jedan What if... u kome se tradicionalna podela na ljude-na-bini koji stvaraju umetnost i ljude-u-publici, koji je konzumiraju, remeti intervencijom nezadovoljnog pripadnika publike. Pozorišna predstava koju Yannick (Quenardov lik) gleda, da se razumemo, nije neka velika umetnost i radi se o komediji pod nazivom ,,Rogonja" u kojoj supruga saopštava mužu da je našla boljeg od njega, da je njena veza sa novim muškarcem platonska i da on to nikada ne bi mogoa da razume, ali Yannick i nema zamerke na ,,estetsku" dimenziju onoga što gleda. Njegov je prigovor, kada ustane i glasnim govorom prekine glumce na pozornici, da je ovo što gleda užasno, da je on u pozorište došao da se malo zabavi jer vodi težak život, ali da se sada oseća gore nego kada je ušao.
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Quenard je fantastičan glumac, što se videlo već sa Junkyard Dog, čovek kome prirodno leže uloge gde kompulzivno skreće pažnju na sebe, ne da nikom drugom da bude ,,glavni" u sceni, štaviše, koristi sve prljave trikove koje zna da druge unizi, suzbije, potčini svom egu i nametne priču o sopstvenim problemima, uskraćenostima, frustracijama. Njegov Yannick je istovremeno simpatičan, neodoljivim, zaraznim smehom obdaren šarmantni čovek iz naroda kome je dosta uloge nemog konzumenta što mora da plaća (i ćuti) industriji zabave, kao da joj duguje izdržavanje, ali sa druge strane i narcisoidni psihopata kome su moderna vremena dala platformu ne samo da se izrazi već i da sa nje poziva na društvene promene. Ovaj tekst kucam u danu nakon što je na američkog predsedničkog kandidata Donalda Trumpa pokušan atentat i nemoguće mi je da u Yannicku – koji da bude jasno, ne pravi nikakve otvorene političke aluzije* i bavi se striktno ljudskim stanjem radije nego referencijalnošću na događaje i ličnosti – ne prepoznam tu pobunu malog čoveka koja, avaj, nije ono kako se drug Marks nadao, buđenje samovlasnosti i ponovno preuzimanje suverenosti, dekonstrukcija društva spektakla i inercije kapitalizma koja stoji u njegovoj pozadini, već naprotiv, jedna duboka narcisoidna žudnja da u društvu spektakla VI budete spektakl, da vorholovskih petnaest minuta slave uzmete sebi ako treba i silom i da ih branite ne kao nekakvu bizarnu okolnost koja vam se desila jer se tako namestio božanski generator slučajnih brojeva, već kao svoje ljdusko pravo. Yannick nije film o mobilnim telefonima, internetu i društvenim mrežama i njegova je radnja mogla biti smeštena baš i u šezdesete kada su situacionisti i postavili dijagnozu, kroz Debordov istoimeni utemeljujući pamflet, ali Yannick je TOTALNO film o ljudima koji žele da ih slušaju kada pričaju jer se to danas, sa činjenicom da svi imaju ,,platforme" da se izraze i da su svi ,,kreatori sadržaja" doživljava kao ljudsko pravo. Koliko je bizarno to da se na ljudska prava (i njihovo kršenje i diskriminaciju) danas tako često pozivaju oni koji preziru koncept ljudskih prava, i smatraju da su oni alatka u rukama elita, nije eksplicitno obrađeno u ovom filmu, ali stoji u njegovom podtekstu.
* jedina replika koja se može pročitati kao usmerena na ,,stvarni svet" je ona u kojoj Yannick pita dvoje pripadnika publike da li su majka i sin, pa kada mu potvrde, on kaže da je morao da proveri jer se danas nikad ne zna, ima svakojakih parova. Ovo je, naravno, najmekša, najblaža zamisliva referenca na francuskog predsednika i njegovu znatno stariju suprugu Brigitte Macron, gotovo sigurno tu umetnuta najviše da pokaže Yannickovu psihologiju, to neko ,,narodno" rasuđivanje u kome se društvene devijacije, ako se već ne mogu staviti van zakona, imaju stavljati u izlizane ali konstantne šale.
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Izuzetno je zanimljiva ta analiza i dekonstrukcija društvenog, jelte, dijaloga, koju Dupieux smešta u pozorište, radije nego na tviter, jer ono vizuelno pruža mnogo jasnije metafore. Glumci su na bini, koja je postavljena tako da oni budu na višoj ravni od publike, a što je nominalno zato da bi svaki pripadnik publike lakše video šta se na njoj dešava, ali ovo glumcima daje i neku vrstu prirodnog autoriteta, doslovni ,,viši položaj" sa koga se obraćaju publici, sa koga je, ako hoćete da to tako gledate, i lažu. Ovo je, ako se prihvati da je pozorište ovde metafora za društveni ugovor, laganje-uz-pristanak jer je svima tako ugodnije za vreme koje provedu u pozorišnoj dvorani, ali šta se desi kada neko ustane, glasno progovori i natera i druge da otvore oči?
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Yannick, glavni lik u filmu Yannick, veruje da on dekonstruiše veliku društvenu laž, pred očima ostatka publike, da dela u, kako se to kaže, javnom interesu. On od ostatka publike traži potvrdu da je predstava koju svi zajedno gledaju smeće a zatim, jednim sasvim organski izvedenim preuzimanjem moći u ovoj grupi, insistira da sam napiše predstavu koju će glumci odmah pred svima izvesti, i da će ona biti bolja i zabavnija od smeća koje su svi gledali u tišini, praveći se da je sve to dovoljno zabavno i da se njihovi životi odvijaju baš onako kako su planirali.
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Ima nečeg zaista maestralnog u tome kako u daljem toku filma Yannickov odnos i sa glumcima i sa ostatkom publike osciluje između razumevanja, čak i izvesne prisnosti, i ledene, radikalne podvojenosti na tlačitelje i potlačene. U korenu Yannickove ,,revolucije" je, kao i u korenu svake revolucije, sila, ali ne nužno ona marksistička sila koja neizbežno izranja iz društvenih protivrečnosti. Yannick je revolucionar koji, primetimo, ne pokušava da izgradi bolje društvo već bolju ILUZIJU u koju se beži iz društva. To da je u pitanju noćni čuvar parkinga koji smatra da može na licu mesta da napiše i režira bolju predstavu od profesionalnih dramaturga i reditelja je, naravno, jasan sažetak jednog izrazitog prezira prema ,,eliti", intelektualnoj, stručnoj, naučnoj, umetničkoj, ne samo onoj tehnokratskoj, koju danas populistički predvodnici gnevnog naroda tako rado, često i dosledno iskazuju i instrumentalizuju. Generalni koncept post-istine i dosledno insistiranje da se naše neznanje mora tretirati isto kao nečije znanje, jer inače imamo posla sa diskriminacijom nije, da budemo ovde sasvim jasni, produkt nikakvih fiktivnih ,,kulturnih marksista" već jedno od najjačih oružja ,,alternativne desnice", jednog uspešnog poslovnog projekta u kome su se neoliberalni ideolozi (i investitori) udružili sa post-moralnim influenserima da kanališu buntovnu energiju masa, prodajući im maltene identične motivacione poruke kao nekada levica. Alt rajt, naravno, ne teži ,,pravoj" revoluciji već najpre jednom njenom simulakrumu koji će doprineti eroziji institucija kako bi kapital – a ne ,,narodna volja" – laše usmeravao dalje društvene tokove.
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Yannick, razume se, ovakve stvari ne prikazuje tako vulgarno kako ih ja ovde oslikavam, ali on nudi perfektan prikaz ravnoteže moći u društvu, koja zavisi ne od sile same već od verovanja u tu silu, od kombinacije sile i ubeđivanja da smo svi na istoj strani i da su DRUGI ti protiv kojih se moramo udružiti iako onaj ko raspolaže silom češće ima više veza sa onima protiv kojih huška mase nego sa samim masama. Kada u jednom trenutku vidimo glumce na bini kako se ponašaju kada veruju da su bezbedni i da je Yannickovoj pobuni došao kraj, ovo je gorko (mada duhovito) podsećanje da samo zato što su narcisoidni revolucionari iz naroda koji sistem ,,hakuju" masovnim pucnjavama i drugim aktivizmom što uništava ljudske živote, očigledno loš, patološki deo društva, ovo ne znači da su elite zapravo nedužne i da ih moramo držati iznad svake kritike. Ali upravo glumac koji u ovom filmu kaže da može da podnese kritiku – ,,ali ne u toku pozorišne predstave" – pokazuje se kasnije kao jednako frustrian i besan kao sam Yannick, možda i više od njega, sa izraženom sadističkom – ponovo vrlo narcisoidnom – crtom u svom ponašanju.
Niko tu, dakle nije nedužan, baš kao što su situacionisti i ukazivali, a to da se Yannick završava melanholičnom scenom u kojoj, protivno svim logikama sa kojima smo krenuli na ovo putovanje, likovi kao da nalaze nemu, empatičnu tačku slaganja, trenutak pre nego što tragedija nastupi, je zapravo jedan od najlepših pančlajna koji je Dupieux mogao da napravi. Mali, pitak, duhovit i mudar film.
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Da li je ,,zamor superherojštinom" stvarni fenomen u poslednjih par filmskih sezona ili su naprosto superherojski filmovi poslednjih par sezona bili loši? Teško je jednoznačno odgovoriti na ovo pitanje jer, evo, stigao nam je Deadpool & Wolverine i ne samo da u trenutku dok ovo kucam (jedan dan posle premijere), film ima ocenu od 81% na Rotten Tomatoes nego postoje i predviđanja da će do kraja prvog vikenda film zaraditi približno 350 miliona dolara. Ovo nisu neke REKORDNE cifre kada se radi o istoriji superherojskog žanra ali su svakako impresivne kada se pogleda kako su prolazili filmovi u proteklih par sezona, bilo da su dolazili iz Marvelove, domaće kuhinje (Ant Man 3 (https://cvecezla.wordpress.com/2023/05/05/film-ant-man-and-the-wasp-quantumania/), The Marvels (https://cvecezla.wordpress.com/2024/02/16/film-the-marvels/)), bilo da pričamo o Warnerovom zatvaranju stare firme (The Flash (https://cvecezla.wordpress.com/2023/09/01/film-the-flash/), Blue Beetle (https://cvecezla.wordpress.com/2023/11/24/film-blue-beetle/), Aquaman 2 (https://cvecezla.wordpress.com/2024/03/15/film-aquaman-and-the-lost-kingdom/)), bilo da je reč o Sonyjevim pokušajima da od Spajdermenovih, jelte, gomana, naprave pitu (Morbius (https://cvecezla.wordpress.com/2022/09/30/film-morbius/), Madam Web...).
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Takođe, ne treba izgubiti iz vida ni činjenicu da Deadpool & Wolverine nije sad neki sjajan film ili makar da on ponavlja većinu grehova koje su neuspeli superherojski filmovi iz poslednjih par sezona učinili delom obaveznog sadržaja, od humora zasnovanog dobrim delom na tviter i tiktok trendovima od pre godinu i po dana, preko referencijalnosti od koje se verovatno i opsesivnim JuTjuberima vrti u glavi, zapleta istovremeno i prekomplikovanog i generičkog, zasnovanog na multiverzalnim i hrononautičkim tropima, pa do vizuelne odbojnosti oteloveljene u duplom nokautu muljave kolorne palete i apsolutne vladavine CGI-ja. Ali nekako, iz nekog razloga, publika kao da je ovom filmu skoro uniformne rekla ,,HELL YEAH, dajte još!", baš kako su se Ryan Reynolds i Kevin Feige i nadali. Tokom filma će se, uostalom, Reynoldsov lik titularni Deadpool, više puta obratiti Hughu Jackmanu koji igra takođe titularog Wolverinea, podsetiti ga da se ovaj posle filma Logan (https://cvecezla.wordpress.com/2017/03/05/film-logan/)uz olakšanje penzionisao i odlučio da više ne igra u supeherojskim produkcijama, a onda mu zlurado reći da ga je Disney sada upecao mašući mu ispred nosa čekom sa prevelikim brojem ništica, i da će sada da ga teraju da ovo radi do smrti.
Jedna od glavnih diferencija specifika Deadpoolovog karaktera, u stripu, na filmu i u videoigrama nije to da je u pitanju moralno fleksibilni antiheroj koji ,,pravu stvar" na kraju uradi jer je u sebi pronašao neko dublje etičko utemeljenje – ova bi deskripcija, uostalom, sasvim pristajala i Wolverineu i ogromnom broju Marvelovih likova nastalih u kasnim osamdesetima i devedesetima – već da je svestan da je u fiktivnoj realnosti i da ovu svoju svesnost često deli sa publikom, obraćajući se direktno u kameru i rušeći proverbijalni četvrti zid. Ovaj metafikcionalni element njegovog postojanja je toliko duboko utemeljen da je čitav Deadpool & Wolverine zasnovan na njemu i daleko pre nego što Ryan Reynolds u jednoj sceni glavom nabode kameru i razbije joj zaštitno staklo obraćajući se direktno Disneyjevim menadžerima, zaklinjući se na vernost i sekući sve veze sa preminulim 20th Century Foxom čiji je leš Disney metodično poharao, uzimajući sav porodični nakit i organe.
Deadpool & Wolverine je takav film, koji tokom odvijanja radnje komentariše tu radnju, radnju prethodnih Marvelovih i Foxovih filmova, radnju Warnerovih filmova, biznis poteze i produkcijske odluke koje su dovele do nastanka ovog filma, uključujući veto Marvelovog Kevina Feigea na pominjanje kokaina u ovom filmu a koji se onda pominje bar desetak puta.
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Da li je ovo subverzivno? Deluje kao gotovo izlišno pitanje – ovo je korporacijski produkt superteške kategorije, film astronomskog budžeta u kome se nije žalilo para ni za skupi CGI ni za kameo-pojavljivanja ljudi za koje NEĆETE VEROVATI da su ih se setili, brižljivo umešena pita možda ne od gomana ali od referenci na skoro svaki superherojski film snimljen u poslednjih četvrt veka a koju su, tu pitu, mesila čak petorica scenarista, povezujući PRODUKT koji treba da u vama ponovo raspiri vatru superherojskog entuzijazma sa svim drugim superherojskim produktima koje Disney i Marvel štancuju kao na traci, sa direktnim, u kameru izgovorenim referencama na sezonu i epizodu serije Loki u kojim se prvi put pojavio jedan od minornih CGI ,,likova" u ovom filmu – i subverzivnost je verovatno poslednji epitet koji možete prišiti trećem Deadpoolu i, uh, četvrtom Wolverineu.
A opet, klinci po trideset i kusur godina mlađi od mene su se kikotali na skoro svaku repliku* koja je na ovaj ili onaj način razotkrivala ili potkazivala superherojski biznis kao, pa, BIZNIS, rad po formuli u cilju marketinške validacije onog nekog zrnca kreativnosti koje su neki scenarista i neki crtač imali u nekom momentu osamdesetih ili sedamdesetih godina prošlog veka i koji danas od silnih miliona što ih ovi filmovi zarađuju dobijaju ono što se u struci zove GOLA KURČINA, a ako baš imaju sreće, napravi im se mala posveta u bekgraundu neke od scena ovog filma. U slučaju Roba Liefelda, čoveka koji je uz Fabiana Niciezu kreirao Deadpoola, posveta je u vidu logotipa prodavnice ispred koje Deadpool i Wolverine stoje u jednoj od scena, spremajući se da se pošibaju sa stotinak multiverzalnih DRUGIH Deadpoola, a koji, taj logotip, zbija šalu sa više od trideset godina starim memom da Rob Liefeld, čovek koji je u jednom trenutku bio najplaćeniji crtač stripova na svetu, ne ume da crta stopala i da će svaku svoju kompoziciju nekako podseiti tako da se stopala protagonista ne vide.** Naravo, Liefeld je posle premijere tvitovao oduševljeni panegirik ovom filmu, ističući njegovu posvećenost, pa, posvetama i referencijalnosti na Marvelovu istoriju, a što, da se vratimo na poentu sa početka pasusa, kao da dobro prolazi i kod mladeži koje se nije ni rodila u vreme kada je Liefeld harao Marvelom.
*štaviše i pre nego što sam došao do bioskopa na autobuskoj sam se stanici gotovo sudario sa devojkom u Deadpool majici, a dok sam nosio svoju Wolverine majicu u kojoj i ovo kucam
**u interesu istine, treba reći da je lenjost da se nacrtaju stopala bila jedan od manjih Liefeldovih pretupa protiv ljudske anatomije i da je, kad smo već kod stopala, on često crtao žene kako stoje na vrhovima prstiju, jer ih to, znate sigurno i vi, čak iako, statistički skoro sigurno niste Quentin Tarantino, čini seksepilnijim
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Drugim rečima, a da se dalje vratimo na pitanje iz pretposlednjeg pasusa: ima subverzije i subverzije, odnosno, subverzija je kontekstualna. Vama i meni Vini Pu predstavlja samo dragu uspomenu iz detinjstva i podsećanje na to koliko smo i mi želeli da naše igračke ožive pa da konačno imamo prijatelje koji nas STVARNO shvataju i vole, ali u Kini je svaka referenca na nedužnog i blentavog plišanog medveda tretirana kao direktan nastraj na lik i delo vođe Sija Đinpinga i ne samo da su strani filmovi i serije zabranjivani zbog ovoga nego je služba uspela da i neke kineske produkte zatre na globalnom planu zbog zamumuljenih referenci na Vinija Pua.
U slučaju Deadpoola, jedan od njegovih pobedničkih trikova je to da on često produkte fikcije u kojima se pojavljuje tretira iz perspektive konzumenta, svesno amplifikujući i njihovo uzbuđenje onim stvarima koje gikove uzbuđuju*, a i jednako se svesno i solidarno oglašavajući kada se u produktu direktno vide korporacijski prsti, bilo kroz korišćenje izlizanih tropa, bilo kroz agresivno oslanjanje na kameo-pojavljivanja itd. Deadpool stoga nije tek fiktivni junak na koga projektujemo sebe u aspiracijskom smislu – da budemo heroj, martir ili plemeniti gubitnik poput njega – već fiktivni junak koji sebe projektuje na nas i postaje naš saučesnik. Deadpool RAZUME da volimo ovo superherojsko sranje čak i kada je ono, eh, SAMO sranje, i sam je pun besmislenih gikovskih opsesija – uključujući fetišističke fiksacije na likove iz popularne kulture – i reaguje sa autentičnim uzbuđenjem ili autentičnim, jelte, krindžom, na stvari za koje su petorica scenarista procenila da najveći deo publike ima konsenzualan stav. Tako je Deadpool u ovom filmu i panseksualan i rodno agnostičan, ali nema problem da proziva ,,woke" zilote ili da se podsmeva svojoj varijanti iz alternativnog univerzuma koja je isuviše napadno fina, plemenita, inkluzivna. Ne pričamo o nekakvom ,,centrizmu", nedobog, već o tome da je ovo lik koji vidi kada se ljudi pretvaraju, pošto se i on celog svog života, jelte, pretvara, živeći iza više maski, od kojih je ona bukvalna što mu prekriva lice samo najočiglednija.
*u ovom konkretnom filmu on doslovno publici najavi da je trenutak da izvade svoju ,,specijalnu čarapu" – dakle onu u koju ejakulirate kada krijući to od roditelja masturbirate u svojoj sobi – jer sledi akciona scena u kojoj će se dva junaka svojski potući
Ovo je i neka osnova zapleta filma Deadpool & Wolverine mada bi vam bilo oprošteno ako biste pomislili da Deadpool & Wolverine uopšte nema zaplet. Zaista, film ne samo da ima nehronološki tok odvijanja radnje i pre nego što se baci svom snagom u smeru multiverzuma (sa sve komentarisanjem da je multiverzum pase jer ge svi rade i da se ta koncepcija izlizala), i ne samo da glavni junak tu radnju sve vreme prepričava i komentariše dok se ona odvija, već i oslanjanje na manipulaciju vremenom i paralelne univerzume deluje kao samo dobar tehnološki izgovor što uz Deadpoola u ovom filmu imamo Wolverinea i što se oni, eto, biju sa nekim drugim likovima.
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Verujem da je Shawn Levy, prvi put za volanom Deadpoola ali ne prvi put da režira ni Reynoldsa ni Jackmana, uradio koliko je mogao da scenario sastavljen gotovo samo od metateksta a skoro nimalo od teksta, nekako uobliči u NEŠTO što ima NEKAKAV dramski zamajac. Kad film provrtite u glavi nakon gledanja shvatate da je u osnovi standardna matrica trećeg superherojskog filma u serijalu, gde glavni junak prolazi kroz krizu relevantnosti i mora da pronađe u ljudima oko sebe podsećanja zašto radi to što radi. Marvelovi filmovi su filmovi formule i za prvi Deadpool (i Wolverine) film rađen unutar Marvel Studios strukture formula se prati, poštuje, komentariše pa i ismeva, ali ne napušta.
Možda bi sve to bilo efektnije da film smisleno gradi na vezama koje je Deadpool izgradio sa ansamblom prva dva filma, pogotovo jer glavni lik eksplicitno svoju multiverzalnu pustolovinu zasniva na želji da spase svoje prijatelje koji su ,,čitav njegov svet", pokazujući mrzovoljnom Wolverineu više puta njihovu sliku. Ali naravno da za to prosto nema mesta između DESETINA kameo-pojavljivanja svih mogućih likova iz svih mogućih filmova i serija iz poslednjih 25 godina. Stefan Kapičić kao Colossus i Brianna Hildebrand kao Negasonic Teenage Warhead ni u prethodna dva filma nisu imali VELIKE uloge ali u ovom dobijaju da izgovore doslovno po jednu rečenicu. Leslie Uggams kao Blind Al ima samo malo više replika ali ovaj lik je od početka do kraja formatiran kao komični predah i u filmu koji je SAV u gegovima, svodi se na izmišljanje dovitljivih eufemizama za kokain. Karan Soni kao Dopinder proleti kroz kadar tako brzo da nećete biti sigurni jeste li ga uopšte videli.
Jasno je dakle, da Deadpool & Wolverine sledi istu logiku koju su sledili superherojski stripovi još pre pet decenija: prilježan, strpljiv napor na građenju autohtonog ansambla stripa je bogougodna rabota ali su krosoveri sa drugim superherojima ono što STVARNO pravi pare. Deadpool je svoju opsesiju Wolverineom eksplicitno prikazao već u prethodnim filmovima pa se njegovo gikovsko oduševljenje Jackmanovim likom kog ne može da vrati iz groba u koji je spušten na kraju Logana, ali može da ga ima, kako mu više puta kaže, DO GROBA sad kad se Australijanac vratio u superherojsko kolo, jedan-na-jedan preslikava na ne mnogo plemenite, niske, ali razumljive i istorijski autentične prohteve publike. Mnogo je digitalnog mastila proliveno poslednjih petnaestak godina da se u superherojskim filmovima nađu nijansiranja, suptilnosti, analize ljudskog stanja nedostupne drugim žanrovima, ali Deadpool & Wolverine sasvim vidljivo uzmiče pred ovakvim ambicijama i svoju metu postavlja mnogo bliže nišanu: deco zar ne bi bilo jebeno cool da se Deadpool i Wolverine konačno upoznaju A ONDA POTUKU? Ko će pobediti u borbi dva tehnički besmrtna lika koja se regenerišu nakon svake povrede? Čiji je kostim kulji? Onaj koji je Rob Liefeld napravio za Deadpoola, imitirajući DC-jevog Deathstrokea ali menjajući kolornu šemu da neko u Warneru ne bi pejdžovao advokata, ili onaj žuti, klasični, koji je John Romita Senior osmislio a Dave Cockrum betonirao kao ,,originalni" Wolverineov look?
Drugim rečima, zaplet, ali i nekakva smislena nadgradnja ljudskih relacija iz prethodna dva filma su ovde decidno u drugom planu i služe kao ne mnogo suptilno korišćen izgovor da se Wolverine i Deadpool prošetaju kroz vreme i dimenzije, upoznaju neke nove i neke stare likove iz Marvelove istorije i odaju i neku vrstu počasti 20th Century Foxu i njegovoj istoriji pravljenja filmova sa Marvelovim predlošcima. Nije ljudski da se ovde spojluje jer je film još uvek vrlo svež u bioskopima, ali ako ste old school ljubitelj (ili makar entuzijastični mrzitelj) superherojskog filma, koji ih je gledao (makar i gunđajući) daleko pre nego što je Feigeov MCU uspostavio standard (i formulu), ne samo da ćete biti ugodno nostalgično pogođeni nekim kameo-pojavljivanjima, već ćete i neke od pančlajna za šale umeti unapred da izgovorite i time impresionirate osobe sa kojima ste došli u kinoteatar.
Sve je to zabava i šala, ali i fer je da podsetimo na ono odozgo: Deadpool & Wolverine nije SJAJAN film u čisto kinematografskom smislu. O kameri, osvetljenju, set dizajnu itd. možemo malo kasnije ali čisto u pogledu priče, pripovedanja, narativnog postupka, ovo je još jedno podsećanje na to koliko je superherojski film duboko zaglibljen u dekadenciji i referencijalnom blatu. Ona scena iz Whedonovih Avengersa u kojoj Kapetan Amerika Crhisa Evansa ponosno kaže ,,I understood that reference" je tokom poslednjih dvanaest godina izdignuta na nivo poželjne, ultimativne forme konzumacije superherojskog filma. ,,Pravi" Marvel Zombie nije onaj koji je, kao, gledao sve MCU filmove, nego onaj koji je gledao sve MCU filmove po nekoliko puta, video sve serije, odgledao animirane filmove i ume da izdeklamuje na koju se epizodu koje sezone odnosi rečenica koju je neko od likova u sasvim drugom filmu ili seriji izgovorio.
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Jedna od velikih, OGROMNIH prednosti MCU filmova u vreme kada su Marvel i Feige započeli ovaj projekat bila je to da su se svi autori svesno, programski držali podalje od oslanjanja na stripovski kontinuitet. Sasvim svesni da su neverovatno zapetljane decenijske priče u stripovima postale odbojne za sve potencijalne čitaoce sem za najtvrđe jezgro dajhard gikova i da zbog toga stripove o, recimo, Deadpoolu čita po par desetina hiljada ljudi jer ostali prosto nemaju snage da prekopavaju biblioteke ili wikije svaki put kad scenarista napravi referencu na strip koji je čitao u svom detinjstvu a likovi u njegovom stripu se ponašaju kao da je to bilo prekjuče, autori MCU filmova su u prvih nekoliko godina kreirali uredne, zdrave nove kontinuitete i istorije za likove, dajući tim likovima jasna porekla i karakterizacije, logične motivacije i smislene životne priče, inspirišući se stripovima ali im ne robujući. Prvih nekoliko godina ste Marvelove filmove mogli gledati bez nekog specijalnog predznanja, naoružani samo osnovnim, osmotski stečenim predstavama o superherojštini, dobijajući narative koji su bili samorazumljivi i zaokruženi.
Ali u poslednjih pet-šest godina, a pogotovo sa usponom striming servisa Disney+ i serijskog programa kreiranog da bude ekspanzija MCU-a, Marvelovi filmovi su postali deo jednog tekućeg programa koji nikada ne staje, koji radi sve da vam ne da šansu da predahnete, da ikada skrenete pogled ili, nedajbože, odete da vidite šta radi konkurencija. U poslovnom modelu zasnovanom na intenzivnoj incestuoznoj kros-polinaciji svaki pojedinačni film i serija su postali manje bitni sami po sebi a ,,značaj" ili makar nekakva relevantnost im je pripisivana na osnovu toga koliko se uklapaju u metapriču ili koliko joj doprinose. Onako kako su superherojski stripovi migrirali od ,,univerzum u kome se događaju priče" do ,,univerzum JE jedina priča" tako je i superherojski film generalno a Marvelov partikularno došao do pozicije u kojoj su narativi ovih filmova i serija velikim delom čak ne ni nekakvo reformatiranje već ispričanih priča nego njihovo doslovno citiranje. Sa sve montažama scena iz prethodnh produkcija.
Deadpool & Wolverine je samo ekstremni primerak ovakvog filmmejkinga, kinematska remiaginacija one situacije kada se zateknete na dečijem rođendanu, opasno se dosađujete, pa se onda sa nekoliko jednako smorenih vršnjaka naduvate i krenete da pitate jedni druge ,,a jel' se sećaš ono kad je Blade u onom filmu uradio ono", sa sve traženjem klipova po Jutjubu. Ovo je serija referenci na stare filmove, serija kameo-pojavljivanja likova iz starih filmova, serija obraćanja kameri da se kaže kako je bilo gotivnih, ali i krindži stvari u starim filmovima, sve to nadeveno sa malo tuče i licencirane muzike sa naglaskom na sedamdesete i osamdesete godine prošlog veka.
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Dakle, ne, nije ovo SJAJAN film. Ali da li je zabavan? Pa, jeste, naravno, ako imate dovoljno staža i minulog rada i smešno vam je da glumca koga prosti puk najpre asocira sa jednim, mnogo poznatijim likom, vidite kako igra drugu, skoro zaboravljenu ulogu. I ima tu par pristojnih akcionih scena, doduše veoma oslonjenih na CGI ali i dalje sa malo okej koreografije, režije i montaže. Levy akciju tretira više kao nužno zlo i svaku od ovih scena postavlja više kao jednu likovnu kompoziciju nego što ima ambiciju da prolazi kroz pojedinačne etape svake tuče, ali ume i to da uradi i kada mora, bude to dobro. Tih par momenata u kojima se Deadpool i Wolverine potuku su, naravno, komički intonirani, ali imaju jasnu logiku i smisao.
Dalje, Ryan Reynolds je definitivno svestan da mu je Deadpool uloga života, uloga koja mu je promenila klasu i obezbedila mu igru u najvišim ešelonima Holivuda, pa je on ovde i producent i scenarista i igra Deadpoola za SVE pare. I sjajno je to i dalje, sa besprekorno internalizovanim koktelom kurčevitog bravada i samozatajnog humora, superherojskog profesionalizma i smrknute depresivnosti. Ima razloga što ovaj lik tako jako rezornira sa publikom još od devedesetih a Reynolds je otelovljenje tih razloga.
Sa svoje strane Jackman treba da bude straight man pored hiperaktivnog, metatekstualnog Reynoldsa, i mada vidim da kritičari hvale njegov dramski performans, ovo naprosto nije film koji može da ima gravitas jednog Logana. Tekst koji Jackman izgovara ogromnim delom je sastavljen od psovki (Wolverine ovde višestruko češće izgovara ,,fucking" nego ,,bub") a kada treba da dobijemo bivšeg superheroja koji se rve sa demonima svoje prošlosti, to je sasvim okej ALI SMO SVE TO VEĆ VIDELI. Jackman ovde korektno radi Wolverinea koji insistira da on nije heroj, pa ni dobar čovek, i sebe krivi za smrt svojih kolega i prijatelja, ali nema ovaj film zaista mesta da se ovakva uloga razradi i da publika nešto kod nje oseti, pogotovo jer ju je čitav ostatak filma izbaždario na obraćanje hiperpažnje na sve sitnice sve vreme, da joj slučajno neka referenca ne promakne. MCU filmovi istorijski vole da imaju mirnije, ,,ljudskije" scene između set pisova akcije i humora, ali u ovom filmu to je samo odrađivanje posla i ne postiže se bogznakakava emotivna investicija. Emma Corrin je pak vrlo solidna* kao Cassandra Nova ne samo vizuelno već i sa tim kanalisanjem ,,engleske" perverznosti i dekadencije što ide uz ovaj lik. Plus, ovde su specijalni efekti urađeni ukusno, smisleno i nadahnuto, sa prikazom prstiju što kopaju po ljudskim umovima koji će izazvati kod gledaoca sasvim poželjnu reakciju somatskog gađenja.
*kao i obično, to što za nebinarnu osobu koristim rodno određene formulacije nije iz nepoštovanja već jer u Srpskom jeziku prilično nezgrapno zvuči korišćenje množine u ovakvim situacijama i bojim se da bi ovo zbunilo čitaoca
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Nije ovo jedino dobro vizuelno rešenje u filmu i, imajući u vidu da u jednoj sceni vidimo stotinak Deadpoola i da svaki od njih ima nešto drugačiji kostim (old school strip-publika će ceniti MCU premijeru crno-belog kostima iz Remenderovog X-Force serijala), svakako treba odati priznanje kostimografima za prilježnost i trud. Ali dobar deo filma je naprosto brljivo dizajniran, brljivo snimljen, a zatim u postpropdukciji dodatno zbrljan. Realističnost i naglašene boja ranih MCU filmova (dakle, prvog Iron Mana, prvog Thora, prvog Kapetana Amerike) ovde su samo daleka uspomena i jarko žuti Wolverineov kostim je anomalija u filmu koji se davi u umirenim, mutnim kolorima, difuznom osvetljenju, kadrovima koji u prvi plan stavljaju likove a u drugom je samo nejasna, razmrljana, slabo osvetljena pozadina. Deo krivice tu MOGU da pripišem Domu Sindikata i njihovom neprihvatljivo slabom kvalitetu reprodukcije, ali neće biti da je baš srpski bioskop kriv za to što ovaj film dobar deo vremena izgleda kao da nije imao scenografa nego da je setove dizajnirao neki AI za koji se niko nije setio da uplati pretplatu pa je sve rađeno besplatnim, probnim paketom.
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Glavni štab TVA, shvatam ja to, treba da bude mračan jer je u pitanju karikirana uberbirokratska agencija koja se bavi apstraktnim manipulisanjem vremenom, ali u nedopustivo previše scena što se dešavaju unutar ove institucije ne zna se šta je gore: agresivno bezlični, slabo osvetljeni setovi neke bivše fabrike u kojoj su sada kancelarije, ili CGI dizajn ,,futurističke" mašinerije koji doslovno izgleda kao nešto što biste videli u demou sumnjive balkanske firme koja pokušava da vas prevari da plaćate godišnju pretplatu za njihov softver za 3D modelovanje. Pa jebem mu mater, nekada su ljudi išli po lokacijama, razmišljali, razgovarali, crtali na papirima, pa se svađali, pa je scenografija na kraju bila proizvod svih ovih procesa, ali i saradnje i kompromisa između osvetljivača, direktora fotografije, rekvizitera, režisera i producenata. TVA scene u Deadpool & Wolverine su toliko bezlične da doslovno izgleda kao da je ovo studio namerno forsirao kako bi za sledeći film moglo da se kaže ,,stanite što da plaćamo set dizajnere i rekvizitere kad ovako nešto SORA može da napravi za jednu noć I DA NIKO NE PRIMETI RAZLIKU". Hoću reći, kada vam film VEĆ izgleda kao da ga je dizajnirao AI, dakle, mlitavo, beživotno, bez vizije, šta će vas spasti kada sledeći put producent kaže da će koncept-art ili izradu setova i kostima poveriti veštačkoj inteligenciji?
Ne izgleda SVE u filmu tako bezveze kao sedište TVA (mada su i kostimi i oprema njihovih agenata KATASTROFALNI, sa ponovo zamuljanim tamnim bojama i nula karaktera), ali impresivno je koliko Deadpool & Wolverine zapravo imaju malo scenografije koju ćete zapamtiti. Dobar deo radnje dešava se u ,,pustinjskoj" dimenziji gde TVA odlaže problematične likove iz raznih univerzuma, i ovo je, kako i sam Deadpool primeti, manje kreativan ripoff Mad Maxa. No ovde se bar vidi da je NEKO radio na dizajnu vozila, opreme i kostima i film ponovo vizuelno padne tek kada se uđe u Cassandrin HQ koji, evo, manje od 24 časa nakon gledanja filma ne mogu ni da opišem jer u njemu nema ničeg što biste upamtili. Ostale scene u filmu su ,,podrum u kome je sve u neredu", ,,napuštena kafana u kojoj je sve u neredu", ,,druga napuštena kafana", i ,,drugi podrum". U kontrastu sa tim, scena blizu početka filma, gde se Deadpool u šumi bori protiv gomile TVA agenata je KUROSAWA – a ne smeta ni duhovita i krvoločna koreografija borbe – a Deadpoolov i Wolverineov sukob sa stotinu Deadpoola na ulici je Chan-Wook Park.
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Levy svakako nije neko ko film režira ,,po osećaju" i pažnja posvećena akcionim scenama, tajmingu komedije, na kraju krajeva pažljivom kadriranju i kretanju kamere da se primete neke od referenci, svedoče o zanatskom profesionalizmu visokog nivoa, ali problem sa Deadpool & Wolverine je onda baš u tome da se OVO htelo i da OVO uključuje i taj često neinspirisani a na momente i ružni vizuelni utisak koji film ostavlja.
No, da se ne zabunimo, pamte se uglavnom lepe stvari i ako ste dovoljno ugođeni na superherojsku frekvenciju, Deadpool & Wolverine ima mnogo scena koje su ikonične, epske, ugodno dinamične ili duhovite i koje će se memefikovati i prepričavati u mesecima i godinama koje slede. U globalu dakle, ovo je film koji uspeva da se nametne ne jer beži od toksičnih praksi koje unižavaju superherojsku produkciju poslednjih godina, nego jer ih oberučke prihvata a onda komentariše. I u tom komentarisanju je, velikim delom na ime posvećenosti Ryana Reynoldsa ali i drugih članova ansambla, iznenađujuće zabavan. Da li će ovo pokrenuti nekakvu renesansu superherojskih ili makar samo Marvelovih filmova kako se nadaju neki komentatori? Teško je u to poverovati jer je Deadpool ipak u jedinstvenom položaju da klišeima seče a da od klišea ne pogine, naprotiv, da na njih ukazuje i da se zajedno sa nama smeje činjenici da nas više zabavlja nešto poznato, sto puta ponovljeno i izlizano nego nešto novo, nepoznato, originalno. Praviti ,,ozbiljne" filmove sa ovim nivoom interreferencijalnosti i metatekstualnosti je vrlo VRLO ozbiljan izazov – čemu svakako može da posvedoči Warnerov zlosrećni The Flash.
Deadpool & Wolverine je nesumnjivo bolji film od The Flash, ali najvećim delom zato što prepoznaje šta je to što fundamentalno ne valja u filmovima kao što je The Flash, a onda to ismeva (dok radi skoro iste stvari). (I, dobro, nema toliko loš CGI) Ovo je definicija imanja i jareta i pareta ali ne samo da ne vidim kako bi drugi MCU filmovi mogli da ponove isti trik, nego ni to kako bi naredni film o Deadpoolu ili Wolverineu mogao da bude barem ovoliko gledljiv i zabavan. Umesto početku renesanse, možda prisustvujemo poslednjem zabavnom superherojskom filmu naše ere?
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https://www.forbes.com/sites/paultassi/2024/07/29/robert-downey-jr-as-the-mcus-doctor-doom-theres-two-explanations/
Posle mnogo meseci natezanja i traženja pogodnog termina konačno sam pogledao prošlogodišnji film Čuvari formule Dragana Bjelogrlića, a koji već i time da ima reč ,,formula" u imenu prilično uspešno sažima kvalitet iskustva koje se obećava gledaocu. Ovo ne mislim u nekom intenzivno osuđujućem tonu, ali od svega što sam do sada gleda a što je Bjelogrlić režirao, Čuvari formule su film koji je energetski najmanje uzbudljiv, sa svega par scena u kojima se prepoznaje karakteristična dinamika kojom je ovaj neočekivano dobri režiser osvojio publiku širom regiona, svojim prvim filmom, Montevideo, Bog te video.
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Nije besmisleno povlačiti paralele između ova dva filma već po tome da su i jedan i drugi rađeni po književnim predlošcima i da oba mitologizuju, ili makar snažno romantizuju delove istorije Jugoslavije, nudeći istovremeno nostalgična ali i naglašeno humanistička iskustva. I Bjelogrlić je, ako na stranu stavimo Senke nad Balkanom, sa Montevideo, Tomom i ovim filmom uspostavio dosta jasan obrazac u kome se on bavi ikoničkim elementima jugoslovenske i srpske istorije, prelamajući ih kroz ljude na velikim iskušenjima, a na čijim plećima na ovaj ili onaj način, počiva čitav nacionalni mitos. Bjelogrlić u svojim filmovima ima jednu ,,meku", građansku patriotsku perspektivu, uspevajući da eskivira koketiranja sa etnonacionalističkom mitologijom i gacanje po mulju u kome se srpska kultura nažalost poslednjih godina sve više davi. Štaviše, Bjelogrić sa ovim filmom naročito kao da sistemski gradi alternativu ,,državnim" projektima oličenim u Olujama i Darama iz Jasenovca, uzimajući i sam motive ,,nacionalne" traume i žrtvovanja za kolektiv ali ih postavljajući u naglašeno individualistički okvir i gradeći old school portrete likova koji prolaze Golgotu i na drugu stranu izlaze ne kao velikomučenici i sitni (nacionalni) sveci, već kao zrelije osobe sa većim kapacitetom za empatiju, čija grešnost nije time izbrisana. Što je, evo, da odmah kažemo, već dovoljno da Čuvare formule pozdravimo kao znatno odrasliji, umetnički suptilniji i mentalitetski savremeniji filmski rad od onog što sa druge strane rade ,,režimski" autori kreirajući naručena dela što treba da imaju efekat zbijanja redova u naciji koju valja stalno podsećati da joj preti spoljni neprijatelj i da nema kome da veruje izvan uskog, tribalnim simbolima omeđenog kruga bliskih. Što će uskoro da se sav smesti pod jednu šljivu, krušku ili koje je već drvo aktuelno u tom proročanstvu.
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Čuvari formule su u nekom ideološkom smislu i smeliji koncept od Montevidea jer se taj film bavio srpskim ,,belle epoque" periodom, štaviše, na neki način ga utemeljio u modernoj srpskoj kinematografiji, paralelno sa Šotrinim Ranjenim orlom, nudeći sliku prosvećene, moderne Kraljevine Jugoslavije sa požrtvovanim, odgovornim Srbima na čelu. Naravno, kod Bjele smo imali i demonstraciju korupcije i nacionalnih tenzija, i častan prikaz levičarskih političkih frakcija, dok je Šotra daleko više terao vodu na vodenicu tradicionalnih vrednosti, ali nema sumnje u to da je Montevideo pogodio senzibilitet vrlo širokog dela gledališta u Srbiji prikazujući Srbe kao motor razvoja one države, sposobne, požrtvovane, sa odlaskom na svetsko prvenstvo u fudbalu neskriveno poređenim sa odlascima srpskih vojnika u ratove na početku prošlog stoleća.
Čuvari formule su, pak, film koji prikazuje Jugoslaviju iz doba komunističke vlasti, sa Titovim slikama na zidovima svih kancelarija. Vojnici se ovde vide samo u pozadini kadrova, kao bezlična dekoracija, a atmosfera paranoje, u kojoj se reč ,,bog" ne valja izgovarati glasno jer nikada ne znate ko sluša, je u prvom planu.
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Opet, Bjelogrlić i ovim filmom gradi argumentaciju uporedivu sa Montevideom, prikazujući pre svega Srbe kao one koji se najviše zalažu (i najviše žrtvuju) za progres jugoslovenskog društva a i najviši komunistički funkcioner koga vidimo u filmu, koga igra sam režiser, je, naravno, Aleksandar Leka Ranković, čovek mitologizovan kao komunista kome je na srcu ležao pre svega srpski nacionalni interes i koji je zbog njega i sklonjen, da penziju provodi daleko od očiju javnosti. Kada je 1983. godine umro, tvrdi se, na sahrani u Beogradu bilo je oko sto hiljada ljudi. A što, uprkos činjenici da sam tada već bio na pragu tinejdž urasta ne mogu da potvrdim.
Čuvari formule se u nekoj široj slici bave jugoslovenskim nuklearnim programom, inicijativom započetom nakon krize sa Informbiroom i razlaza sa Sovjetskim savezom 1948. godine kada je komunistička vrhuška zaključila da je u svetu nepovratno podeljenom na dva nuklearna bloka nezavisnost srazmerno male evropske države jedino moguće očuvati uz atomsku bombu. Tvrdi se da je Edvard Kardelj podržavao ovaj program pa makar se na njega trošila i polovina bruto nacionalnog dohotka tokom nekoliko godina. Kao što se verovatno zna, Jugoslavija nikada nije i napravila atomsku bombu, ali institut u Vinči koga je osnovao Pavle Savić je svakako imao velike koristi od skoro tri stotine miliona dolara koji su, procenjuje se, uloženi u jugoslovenski nuklearni program tokom prvih pet godina.
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No, Čuvari formule ovu celu priču drži u pozadini i sebi u zadatak stavlja pričanje intimnijeg, na likove usredsređenijeg narativa, baveći se incidentom u institutu u Vinči nakon koga je konstatovano da je nekoliko naučnika primilo visoku dozu jonizujućeg zračenja i koji su, u pokušaju da im se spasu životi, poslati na lečenje u Francusku.
Ovo je možda prvi ograničavajući faktor filma koji, za razliku od Montevidea koji je, ambiciozno, kroz fudbal prelamao mnogo elemenata stanja u jugoslovenskom i srpskom društvu svog vremena, te velike priče striktno drži u pozadini. Drama u ovom filmu tiče se pre svega likova i njihovog kredibilnog straha da im nema spasa, te napora francuskog lekara Georgesa Matéa da im spase živote eksperimentalnim tretmanom. Jugo-komunistički nuklearni program je ovde samo pozadina, neophdoni kontekst za tu interpresonalnu dramu i taj kontekst ima samo onoliko dubine koliko je minimalno neophodno. Štaviše, iako film, reklo bi se po dužnosti, pominje to da naučnike UDBA špijunira dok rade i vidimo to opominjanje među kolegama da se ne pominje Bog jer, jelte, ne znate kako to može da se završi, Čuvari formule ni na koji način ne pokušava da prikaže incident u Vinči kao refleksiju stanja u društvu. On nije produkt ni nebrige autoritarnog sistema za ljudske živote, niti nekompetentnosti priučenih partijskih kadrova na odgovornim pozicijama, i time ovaj film svoj potentni bekgraund protraći, svodeći ga na puku kulisu.
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Utoliko, prvih četrdesetak minuta gledanja izazivaju vrlo slabu reakciju kod gledaoca. Ili je barem tako bilo sa mnom. Naravno, Bjelogrlić je VEOMA kompetentan u zanatskom smislu i sarađuje sa takođe kompetentnim profesionalcima. Scenografija Jovane Cvetković i Jelene Sopić pažljivo kreira potrebni osećaj ,,komunističkog glamura" poznih pedesetih godina prošlog veka, a naročito je efektna u scenama u eksperimentalnom postrojenju u Vinči gde analogni instrumenti ne samo da imaju kvalitetan estetski naboj već i jedan potencijalno teško čitljiv dramski momenat prikazuju kroz jasne, intuitivno shvatljive slike. Direktor fotografije, Ivan Kostić, ume da radi sa svetlom i dubokim kadrovima – tu je i malo učinkovitog kurosavaškog manirizma sa čestim prikazivanjem protoka vremena promenom klimatskih uslova jednog ponavljajućeg kadra – a montažerka Milena Predić ovim filmom potvrđuje da je izrasla u jednu od najboljih u svojoj branši na ovim prostorima, besprekorno vodeći gledaoca kroz česte flešbekove i promene mesta i vremena radnje.
No, kompetentnost koja postoji na svim nivoima – uključujući muziku Aleksandra Ranđelovića sa jasnim hanscimerovskim odjecima – počinje da bode oči kada postane jasno da filmu nedostaje stvarno dramsko središte. Čuvari formule, nažalost, pogotovo u tih prvih četrdeset minuta, deluje kao moderna televizijska serija, sa oprobanim ali i izlizanim rešenjima, i vizuelno, i karakterološki i dramski. Bjelogrlić se ovde striktno drži klišea i svaki put kada se glumac zakašlje pa pljune krv, kada iznervirani rukvodilac u firmi priđe stočiću u uglu kancelarije, pa natoči sebi tri prsta nekog bojenog pića, kada doktor koga svi oslovljavaju sa ,,doktore" pasivno agresivno kaže ,,profesore", teško je oteti se utisku da gledamo samo srpski napor da se rekonstruiše uspeh ,,period piece" produkcija poput Mad Men, baštineći isti glamurizovani, pa onda pomalo i fetišizovani pristup prošlosti, bez stvarnog sopstvenog identiteta. Ili ičeg bitnog što bi da kaže.
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Nije da su glumci loši, daleko od toga: Raša Bukvić je vrlo solidan kao čovek koji zna da je kriv za sve i pokušava da se iskupi, makar u svojoj glavi, nekakvim dobrovoljnim martirstvom i dobronamernim laganjem. On nije dobar čovek, a što će mu jedan od likova i reći, i, zaista, on ne IZGLEDA kao dobar čovek, niti dobar martir već kao loš lažov i neuspeli karijerista. Ognjen Mićović, Jovan Jovanović i Alisa Radaković su svi korektni u svojim minijaturama a francuski deo ansambla je takođe ubedljiv, na čelu sa Alexisom Manentijem čiji stoicizam i pasivna agresivnost uspešno kriju empatiju, sumnju u sebe, jedno humano srce koje kuca ispod ledene maske koju nosi na licu čitavog filma. No, scenario je predvidiv, nabijen stereotipima, i mada ništa u njemu ne štrči tako da se gledalac nervira, istovremeno mu nedostaje dublji ulazak u dramu, likove, muku koja se proživljava na ličnom planu i osetljivi politički trenutak u kome se sve to događa.
Nije da Bjelogrlić toga nije bio svestan: neksus drame leži u tome da francuska Tajna služba kroz intervjue sa pacijentima pokušava da utvrdi jesu li Jugosloveni pokušavali da naprave atomsku bombu u svom institutu, pa i pre odslaska u Francusku, profesor Dragoslav Popović – Bukvićev lik – od Rankovića dobija jasnu instrukciju da se tajna mora sačuvati.
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Ali ovo je neobično mlitavo obrađen motiv u srcu drame, sa trivijalnim, tenzije skoro sasvim lišenim momentima ,,ispitivanja" pa je time dramski naboj filma značajno oslabljen. Njegov drugi oslonac, odnos između tvrdoglavog pacijenta i frustriranog lekara koji želi da spase živote teških bolesnika ali ga nervira i to što mu se čini da profesor nešto krije, a i to što mu do sada ni jedan eksperiment na pacovima nije uspeo, je urađen nešto bolje i odnos dvojice muškaraca, profesora Popovića i Profesora Matéa je interesantniji. No, kako i on zavisi od katarzičnog preokreta u kome pacijent ne želi da ode u smrt lažući čoveka koji pokušava da mu spase život, finale je donekle oslabljeno tim odsustvom stvarne tenzije vezane za tajnu o ugoslovenskom naporu da se proizvede atomska bomba. Ovde su dobri glumački performansi dvojice upečatljivih muškaraca, nažalost, u funkciji jedne ponovo vrlo rutinerski odrađene a nezarađene završnice u kojoj se ono neiskazivo ipak saopštava i ne uspeva da u gledaocu proizvede potrebne reakcije.
No, Bjelogrlić u nekoliko scena podseća na to da on nije uvek samo dobar zanatlija i rutiner koji oprobana industrijska rešenja ume da primeni na svoje produkcije. Njegovi filmovi su po pravilu humane priče, sa likovima koje gledalac ima priliku da vidi iz mnogo perspektiva, prepozna njihovu nesavršenost ali i bliskost sa samim sobom, i ovde ima nekoliko dobrih momenata ovog tipa, sa požrtvovanim francuskim donorima krvi i koštane srži gde glumci daju kredibilne, lepe minijature, vizuelnom ikonografijom koja priziva raspeća i Hristove muke a da to ne čini na eksploatativan, ponižavajući način koji u gledaocu treba da izazove nelagodu i strah od boga. Pogotovo je memorabilna ,,montevideovska" scena sa slušanjem Radio Beograda u francuskoj bolnici gde se na trenutak podsetimo ,,starog" Bjelogrlića i njegovog talenta da diriguje grupama glumaca u scenama koje imaju snažnu energiju, puno emocije i duha, koje komuniciraju solidarnost i snagu kolektiva a lišene su patetike i podilaženja mitovima o specifičnoj srpskoj sabornosti. Još par takvih momenata tokom filma dobro dođu da podsete da je Čuvari formule mogao da bude originalnija, zanimljivija priča u kojoj će likovi nadrasti klišeima nabijeni tekst i tipske uloge, a drama biti manje mehanička, manje oslonjena na neiskorišćeni politički kontekst a više pronađena u samim ljudima. Sve to ovaj film ima u zamecima, sa komplikovanim odnosom profesora i mladih istraživača, složenim konstruktom autoriteta koji će svoje podređene i iskoristiti (uključujući seksualno) a onda žrtvovati svojoj narcisoidnoj ambiciji, ali se Bjelogrlićeva režija time ne bavi dovoljno, zadovoljavajući se time da stvari dokači u prolazu i hitajući ka finalu koje priča neku drugu, mnogo manje zanimljivu priču. Kompetentno, ali to je sve.
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Ne znam zanima li te A Quiet Place trilogija (vrv ne), ali poslednji film, Day One, ima 2 prednosti nad ostalima:
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Pa, čuo sam dosta dobrih stvari o ovim filmovima tako da možda jednom i sednem da pogledam. Mislim, moja žena je više horror-fiend nego ja pa možda ubedim nju da zajedno gledamo. A ova mačorčina je stvarno moćna :lol: :lol: :lol:
Pandemija COVID-19 nam je dala i čitav novi žanr filmova, pandemijski film, obično sporu, statičnu, klaustrofobičnu dramu o izolaciji i dosadi. Coma Bertranda Bonella iz 2022. godine je na neki način vrhunac ovog žanra prvo jer dosadu stavlja naspram veoma egzistencijalne anksioznosti koja nije produkt pandemije već je pandemija samo pomogla da ona priđe bliže površini i nametne se u kompoziciji konsenzualne realnosti, a drugo jer je ovo film kraći od sat i po, u kome dobar deo teksta odglume Barbi-lutke (ili njihova legalno distinktna imitacija), a jednu od poenti u kameri izgovara sam Gilles Deleuze. Dajte mi 3D-animiranu lutkarsku sapunsku operu sa scenama hardkor seksa i Žila Deleza na malom prostoru i gotovo je sigurno da ćete od mene dobiti makar solidan aplauz.
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Bonello je ovaj film snimio praktično kao tajni pandemijski projekat pripremajući svoj u ovom trenutku najnoviji film, naučnofantastični, futuristički (romantični) košmar La Bête. Javnost za ovaj film nije znala pre nego što je, na gregorijansko Badnje veče 2021. godine objavljeno da je autor završio svoj treći film u trilogiji o mladosti, a čija su prva dva rada, Nocturama iz 2016. godine i Zombi Child iz 2019, vrlo organski povezana sa trećim delom. Radi se, da bude jasno o individualnim pričama, ali Coma zapravo počinje montažom zrnastih, konfuzinih scena iz Nocturame, preko kojih ide autorovo pismo svojoj ćerki Anni kojoj je i prvi film bio posvećen, uz objašnjenje da treći, evo, radi u godini kada će ona napuniti osamnaest. Nema ovde vulgarne sentimentalnosti, ali tekst je jasan a podetkst još jasniji u Comi, koja je u velikoj meri meditacija o tome u kakvom svetu mladi danas treba da opstanu, da ga naslede i da u njemu pronađu neki svoj smisao. Da bude još jasnije, film se završava još jednim pismom Anni u kome Bonello eksplicitno pokazuje da ne može ni da zamisli šta će njegova ćerka uraditi sa svetom koji joj sada pripada – dok na ekranu idu prikazi ogromnih prirodnih kataklizmi, delom sigurno izazvanih antropogenim klimatskim promenama – ali i optimističnim, ljubavi punim obećanjem da će je on gledati kako to radi pun ponosa.
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Druga spona sa prethodnim filmovima je u glumici Louise Labèque koja je glumila i u Zombi Child i koja je u ovom filmu, sa svega osamnaest godina stavljena u ulogu tinejdžerke koja pokušava da se adaptira na mrveću jednoličnost pandemijske izolacije. Coma je snimana tokom 2021. godine, dok su lokdaun i izolacija još uvek bili delovi dnevne rutine – u flmu se nekoliko puta čuju i sirene kojima je u Francuskoj objavljivan početak policijskog časa – i kroz zatupljujuću rutinu života neimenovanog Louiseinog lika film prikazuje nešto mnogo opasnije od faksimila pandemijskog efekta zaustavljenog vremena, večnog vikenda, recikliranog sadržaja. Ako je La Bête stravu stavio u budućnost sa svetom kojim upravlja veštačka inteligencija, Coma je u sadašnjosti već pronašla dovoljno besmisla da se stariji zagrcnu i zamisle nad svojom krivicom a da mladi legitimno odustanu od bilo kakve ambicije i da zapravo svesno prigrle zaustavljenost pandemijske krize u kojoj ništa više nije bitno i time su i oni abolirani od krivice.
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Protagonistkinja, koja krivicu i eksplicitno više puta prijavljuje kroz mejlove koje piše a ne šalje, dane provodi fizički sama, a što je, nevezano za pandemiju, za dobar deo mladih danas default stanje. Već je desetak godina praktično kliše moderne kulture da mladi umesto da izlaze i traže svoje autonomne prostore negde izvan fizičkog domašaja svojij staratelja, radije sede u svojim sobama i dopisuju se/ četuju sa vršnjacima, gledaju influensere na internetu, možda igraju igre. Glavna junakinja ovog filma ima nekoliko drugarica sa kojima ima Zoom sesije na kojima se debatuje o tome koji je serijski ubica najbolji od svih i mada kriterijumi nisu sasvim transparentni, rasprava jeste živa. Dok se ne dogodi incident za koji nećemo dobiti objapnjenje. Drugi veliki deo ,,sadržaja" u životu protagonistkinje je JuTjub kanal influenserke po imenu Patricia Coma koja kombinuje self-help ,,lajfhakove", besmislenu vremensku prognozu (,,svejedno je jer ionako ne možete da izađete iz kuće") i egzistencijalnu filozofiju. Ovu jutjuberku igra Julia Faure (koja takođe igra manju ulogu u La Bête) i njen performans je jedan od hajlajta filma, prefinjeno satiričan a opet misteriozan, zavodljiv, tako da vam se čini da ste uvek na korak od toga da dotaknete neku duboku istinu ispod površnih trivijalnosti.
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Patricia Coma putem svog kanala prodaje neku vrstu jednostavne električne igračke, slične Simon Says prototipu, gde igrač treba da ponavlja tačne, i sve složenije, sekvence svetlosnih signala koje mu sprava zadaje. Coma ovu napravu naziva ,,revelator" jer je njena ultimativna funkcija da otkrije igraču kako slobodna volja ne postoji i ono što je u početku naizgled jednostavna igra memorije, namenjena prekraćivanuu dugih sati izolacije brzo postaje simbol zarobljenosti, nemoći, determinisanosti koja parališe još više od zvuka sirene kojim se objavljuje obaveza ostanka između četiri zida.
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Bonello nema ambiciju da se previše bavi nekakvim konkretnim sociopolitičkim pitanjima – film je vidno usmeren ka egzistencijalističkim promišljanjima i na više se načina dotiče ideje determinisanosti, odsustva slobode, zarobljenosti u ,,limbu" – ali nije iznad toga da ne iskoristi dobar volej kada mu se sam namesti. Kako je i sniman u vreme, rekosmo, i dalje aktivnih lokdauna, tako i nekoliko scena u kojima se glavna junakinja vidi kako ide ulicama svoga grada zapravo dolaze kroz CCTV futidž nepomičnih kamera razmeštenih po gradskim lokacijama uz dijalog dve osobe, muške i ženske, na Engleskom, a koje su, reklo bi se zadužene za praćenje kretanja mlade žene. Ovaj ,,CIA, snajka, CIA" geg nije nametljiv niti je tu da razgori nekakav ustanički žar kod gledaoca, ali film se vraća Americi kao neksusu, proizvođaču čak, brojnih savremenih anksioznosti kroz direktne citate Donalda Trumpa, tadašnjeg američkog predsednika, a koji stižu iz usta muške (ne)barbike što vara svoju partnerku i skreće temu na globalnu politiku i sopstveni status ,,stabilnog genija" kada ova pokuša da ga suoči sa njegovom prevarom.
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Coma je bizaran koloplet ideja, imaginarnih prostora i ponavljajućih rutina, ali Bonello postiže da film ne izgubi nit, britkom montažom i jednom propulzivnom energijom u kojoj se spajaju vrlo statične scene Labèqueine mrveće dosade (snimane tokom dvanaest dana u autorovom stanu), isprva statične a onda sve dinamičnije scene razgovora između (ne)Barbi lutaka koje glume u četvorodecenijskoj sapunskoj operi punoj recikliranih tajni i laži, scene dvodimenzionalne animacije u kojima glavna junakinja imeđu ostalog vodi razgovor sa serijskim ubicom koji je direktno pita šta je njoj je prosvetljenost dvadesetprvog veka donela a onda se završnim rečima razotkriva kao neka vrsta inkarnacije Petera Kürtena. Možda vizuelno najteskobnije su scene snimane u šumi gde glavna junakinja, u crno beloj tehnici i noćnom mizanscenu, dezorijentisana i uplašena kricima koji dopiru odnekud izvan vidnog polja, ima priliku da ,,lično" susretne Patriciu Comu i postavlja joj pitanja. Iako se ove scene *očigledno* dešavaju u snu, film postiže jednu od svojih poenti time da su one (snimane iz ruke, sa dinamičnim švenkovanjem) bliže onome što priželjkujemo da bude naša stvarnost od svega drugog snimljenog u enterijerima, sa statičnim kamerama i jakim ali stalno istim bojama.
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Coma nije nužno film koji gledate da biste se zabavili, toliko je jasno, ali on ima svoje zabavne delove, pogotovo sa tom sapunicom i melodramom koja se razvija između lutaka. Glasove lutkama pozajmljuju neki poznati glumci, uključujući Laetitiu Castu, ali i Gasparda Ulliela koji je, nažalost, poginuo na skijanju dok je film još bio u montaži. Sam Bonello kaže da je vest o smrti Ulliela čuo dok je montirao film i da je njegov glas u tom trenutku zazvučao kao da duh poginulog glumca pohodi sobu za montažu, a što ga je podsetilo na neke od rečenica iz pisma ćerki u kojima se govori o onima koje smo izgubili.
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Coma nije ni horor film ali uspeva da osećaj teskobe, zarobljenosti, nemoći, uklete determinisanosti prenese veoma ubedljivo. Sama Patricia Coma nije nužno preteća figura – ona ne čini niti sugeriše išta zaista negativno – ali jeste manifestacije nečeg većeg od sebe, neimenovanog, a što jeste preteće u svojoj bezličnosti, inerciji koja mu ne da da stane, u nametljivosti kojom ,,influenserski" sadržaj zamenjuje sve druge forme angažovanja (mlade) osobe sa bilo kojim materijalom. Poverenje koje influenseri imaju pogotovo kod mlade publike je odavno prešlo granicu zloupotrebe ali Bonello ovaj uvid prepušta nama da ga napravimo, baveći se umesto toga uznemirujućim sitnicama i detaljima, kao što je na primer izjava ove influenserke da električna mašina za usitnjavanje povrća koju koristi za supe što ih sprema pred kamerom ,,možda može da isecka i ljudsku šaku ali to niko ne zna jer ljudska šaka ne može da prođe kroz otvor na vrhu mašine". Teško je ne pomisliti na poslednji ,,challenge" koji ste videli na JuTjubu ili Tiktoku nakon što glumica savršeno profesionalnom dikcijom izgovori ovu naizgled banalnu opservaciju, pogotovo u sceni nekoliko minuta kasnije kada se kamera usredsređuje na njeno lice dok se izvan kadra događa nešto što možete samo da zamislite... ako se usuđujete.
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Coma jeste film konstantne pretnje i pritiska, meditacija muškarca u šestoj deceniji života koji gleda tinejdžere kako pokušavaju da se snađu u činjenici da je fizički svet za njih sada i ediktom sveden na kućni pritvor a da se onlajn svet iz pribežišta i mesta za razbibrigu pretvorio u lavirint koji je sve teže razlikovati od snova i košmara koji nastupaju uz radikalnu promenu njihovih životnih rutina. Nema ovde neke u kamen upisane artikulacije tog istorijskog trenutka za generaciju Z i svakako je i dobro da Bonello ne pokušava da govori u njeno ime, trudeći se da makar kinematski uhvati melanž konfuzije, pretnje i tračaka slobodnog horizonta koji se naziru u trenutku preloma naše zajedničke stvarnosti. Deleuzeov citat sa početka se ponavlja na još mesta u filmu ali ono što na počeku deluje kao preteća opservacija o tome da ne smete da dopustite sebi da budete uhvaćeni u tuđem snu jer ste tada gotovi, do kraja je samo, pa, zdrav savet mladima da se sete da nisu ni dužni ni osuđeni da žive snove koje drugi sanjaju i da svet, pa makar i taj, ranjen i namučen kakav nam Bonello prikazuje kroz scene drugih filmova u finalu, pripada pre svega njima. Kada sama Paticia Coma na jednom ranijem mestu citira Ciorana, ovo je takođe sjajno podsećanje na to koliko je samoproglašeni cinik i pesimista zapravo bio duhovit i, ako ste umeli da ga čitate, nudio osnažujuću, svežu energiju: ,,Samoubistvo nije vredno truda jer kad god da ste to učinili, učinili ste ga prekasno". Coma, dakle, mali film koji podseća da je život uvek ispred vas jer ste vi sami uvek korak ispred smrti.
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Meho, s pažnjom sam pročitao tvoj osvrt na Čuvare formula i iako se slažem sa mnogim poentama ne bih bio tako kritičan prema Bjelogrliću. Ipak je reč o drami i nisam siguran koliko tu ima prostora za eksploziju energije (no pun intended). Jeste film dosta šablonski odrađen kada je reč o razvoju likova ali to smo nekako i očekivali. Fotografija i režija su super, a ima i nekih lepih dijaloga. Sve u svemu, žao mi je što ovaj film nije bio srpski kandidat za Oskara jer bi se pored kvaliteta koji ima moglo jahati i na talasu Openhajmera. Ovako je pobedio neki bezveznjački film po partijskoj lini.
Pa, mislim da sam manje više isto to i napisao. Najviše mi smeta što to "čuvanje formule" koje je i u naslovu filma nema praktično nikakav dramski efekat, oni ga jednom pitaju, on im ne kaže i to je to...
evo trčim, znojim se, sklekovi, leđa,plivanje, trčanje, kad ono
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Izazov u snimanju filmova o adiktima je između ostalog u tome i što je to sada već žanr sa podugačkom istorijom i nekim kultnim radovima unutar tog žanra, pa je snimiti nešto originalno, i u smislu estetskog pristupa, ali i u smislu ,,poruke" značajno teže nego pre, recimo, pedeset godina. Zavisnost od različitih supstanci je bila tabu-tema dobar deo istorije kinematografije, pa i nakon što je stidljivo započeto prikazivanje alkoholizma (neretko uz obilatu romantizaciju), prošlo je još dosta vremena pre nego što je adikcija kao socijalni i medicinski fenomen dobila nekakav tretman koji bi išao dalje od prikazivanja ,,narkomana" kao avatara apsolutnog zla u društvu i počinilaca najjezivijih zločina, koji će, po žanrovskim pravilima, onda opravdati ekstremno nasilje na strani ,,naših".
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Kanadski film Werewolf iz 2016. godine se suočava, dakle, sa veoma ozbiljnim pitanjem kako da kaže ne samo nešto ,,realno" o ljudima koji boluju od zavisnosti već i da to kaže na način koji do sada nije bio već viđen, kooptiran od strane industrije, pa i izlizan. Autorka ovog filma, Ashley McKenzie je napisala ovaj scenario, režirala i montirala film, realističnosti radi posežući za primerom stvarnog para mladih ljudi u mestu New Waterford u Novoj Škotskoj a koje su lokalci šaljivo zvali ,,the lawnmower crackheads" na ime činjenice da su ovo dvoje po ceo dan unaokolo gurali staru, olupanu kosilicu za travu i zapitkivali ljude da im podšišaju travnjak u zamenu za neki kanadski dolar.
McKenzijeva je, uzgred, rođena 1984. godine, dakle tačno one godine kada je Joca Jovanović izbacio svoj poslednji, ali i najviše ,,mejnstrim" igrani film, Pejzaži u magli, jednu kvalitetno zaokruženu ljudsku dramu o adikciji unutar mizanscena crvene buržoazije poznih godina socijalističke Jugoslavije. Svestan mnogobrojnih nijansi u socijalnom statusu, porodičnim odnosima, poreklu i životnim okolnostima, ovaj je film svoje protagoniste uredno sve doveo do sličnog kraja, pokazujući da je adikcija ,,veliki izravnjivač" i da, u odsustvu kvalitetne i trajne podrške njen rezultat u principu uvek bude socijalna i zdravstvena propast ne samo jedne osobe. Tihomir Arsić je ovde ostvario svoju verovatno najboju a svakako najupečatljiviju ulogu prikazujući čoveka iz sasvim drugog miljea, onog koji tradicionalna shvatanja smatraju ,,imunim" na adikciju, kako tone u njen zagrljaj.
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Sve ovo napominjemo jer: 1. Pejzaži u magli ostaje ne samo jedan od značajnih vrhunaca jugoslovenskog filma već je i 2. prvi ovakav film urađen u nekoj socijalističkoj državi, sa jelte, smelošću da priča o ovakvom društvenom fenomenu i to sa nijansama i razumevanjem za ne samo okolnosti već i, važnije, likove, pa time i 3. jedan od boljih filmova o adikciji u istoriji kinematografije uopšte, ali i 4. film na koji Werewolf ne podseća skoro ni malo i u tom kontrastu valja tražiti posebnost kanadskog rada.
U svom drugom filmu, Queens of the Qing Dynasty, McKenziejeva se bavi nečim, u teoriji, savremenijim, unoseći i progresivne poglede na rodni identitet u priču o neuspelom pokušaju samoubistva, i u tom smislu, Werewolf je skoro pa staromodan rad jer se on bavi naprosto mukom koju uz sebe nosi adikcija, isključenošću iz zajednice koja je istovremeno i svojevrsna zatvorska osuda ali i test koji zavisna osoba mora uspešno da položi kako bi ostvarla pravo da se vrati u društvo, i u svemu tome film se drži jedne vrlo verističke, skoro dokumentarističke estetike.
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Zaplet, ako ga ima u Werewolf, pomalja se možda tek negde posle polovine filma i tiče se analize odnosa, pa i odnosa moći koji postoji između dve osobe u romantičnoj vezi koje zajednički pokušavaju da prebrode iskušenja bolesti zavisnosti. Blaise i Vanessa su mladić i devojka na metadonskoj terapiji, koji žive u raspadnutoj turističkoj prikolici negde u provinciji Nove Škotske i preko dana idu unaokolo sa olupanom kosilicom za travu, pitajući ljude jel' treba da im se pokosi travnjak. Naravno, takav život je težak, prljav, neuslovan i nedostojan ljudskog bića.
Blaise je onaj od njih dvoje koga kao da više pogađa to odsustvo dostojanstva i spreman je da se svađa sa ljudima za koje misli da ga tretiraju bez empatije i posmatraju samo kao raspalu narkomančinu kojoj se nikada više ne može verovati. Naravno, ljudi kojima se nudi da im se podšiša trava neretko kažu ,,Petnaest dolara? Ajde, evo, daću vam pet dolara, ne morate da šišate travu samo idite odavde" i ovo je vrlo uverljiv prikaz prepreka koje adikti susreću svakodnevno, obeležni svojom istorijom, svojim izgledom, prljavom odećom, crnim noktima, lošom kožom.
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S druge strane, Blaise i jeste neko kome ne možete baš da verujete. On se stalno svađa sa ljudima u klinikama i apotekama koji njemu, Vanessi i kolegama distribuiraju metadon, proziva ih da na njega gledaju kao na komad birokratskog posla za koji bi najradije da ga ne rade, da ni malo ne saosećaju sa njegovim bolom, da su spori, nespremni da imalo svoje udobnosti žrtvuju kako bi pomogli drugom ljudkom biću.
Ovo je, naravno interesantna socijalna dilema, pogotovo u uređenom društvu kao što je kanadsko, jedan realistični socijalistički konstrukt u kome teret terapije odvikavanja kroz koju Blaise i Vanessa prolaze pada na sve građane koji plaćaju poreze i druge dažbine. Film ovakve situacije predstavlja bez komentara, pa je na gledaocu da promisli koliko je ovde Blaise naprosto razmaženi neradnik, adikt navikao da se predstavlja kao žrtva i da radi na izazivanju krivice kod drugih kako bi nešto dobio, a koliko zapravo ima istine u tome da čak i najdobronamerniji javni sistem podrške, kad ga svedete na pojedinačne slučajeve, može da deluje hladno, bezosećajno, čak neprijateljski prema ljudima koji su, da to ne zaboravimo, legitimno bolesni.
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Najveći deo radnje filma do polovine tiče se epizoda u kojima vidimo kako protagonisti pokušavaju da rade, i povremeno dobijaju mogućnost da obrade neki travnjak, ali i dugačkih perioda u kojima nemaju šta da rade sem da promišljaju svoj očaj i siromaštvo. McKenziejeva ovde sasvim organski i bez ikakve nameštene dramatizacije povezuje beskućništvo, siromaštvo i adikciju kao prirodne saputnike, pokazujući gledaocu da su dani u kojima nemate NIŠTA da radite jer niko neće da vam da posao, niti postoji iko ko bi se družio sa ,,narkomanima" a da i sam nije jedan od njih, toliko teški da je potrebno nešto BILO šta da vam pomogne da kroz njih prođete. I da sačuvate onaj dragoceni delić ljudskog dostojanstva bez koga doslovno nestajete kao osoba.
Rani dramski momenat tiče se laganog umiranja kosilice koja je simbol napora dvoje lečenih adikta da budu korisni članovi društva, ali i njihova diferenciaj specifika u odnosu na ,,obične" proletere ili prekarne radnike. Blaise i Vanessa, dok god imaju kosilicu – Marksovo sredstvo rada – sebe mogu da posmatraju kao preduzetnike umesto kao puke proletere, kadri su da u pregovore o radu i naplati tog rada uključe nešto više od puke fizičke snage koju imaju, i time i sebi deluju dostojanstvenije. Naravno, iz perspektive drugih, oni su dosadni pajdomani koji idu unaokolo sa zarđalom, bučnom mašinom i smaraju komšiluk. No, McKenziejeva ovde pravi vrlo primetan estetski izbor da se ne fokusira na to kako dvoje protagonista vide drugi, rezonujući, verovatno, da ovde ne bi mogla da izbegne stereotipe i ponavljanja očiglednih klišea. Utoliko, sam film je snimljen gotovo ekskluzivno se fokusirajući na lica i tela protagonista, često iz velike blizine, sa neurednim kompozicijama u kojima predmeti stoje između sočiva kamere i protagonista, kadrovima često snimljenim iz ruke, drhtavim i ,,prljavim".
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Efekat je snažan i Werewolf* svojim režijskim postupkom uspešno sugeriše izolovanost koju protagonisti osećaju, upućenost jedno na drugo u kojoj je dobro imati podršku nekog ko vas razume, ali je i nekako prirodno tog nekog eksploatisati, emotivno, ekonomski ili drugačije, kad vam dođu loši momenti. Pritom, film je snimljen sasvim na lokaciji i pokazuje stare provincijske drumove, neodržavanu vegetaciju, prljave otpade, a što je sve ,,prirodno" okruženje za ljude koji su izopšteni iz društva. Ovde nema stilizacija, ali ni ,,misery porn" amplifikacije sirotinje, Blaise i Vanessa su uvek prikazani kako žive na obodima društvene zajednice, ali ni jedna scena u filmu nije napravljena da ih viktimizuje, ili da društvo osudi za činjenje ili nečinjenje.
*naslov filma sugeriše možda nekakav fantastični preokret u minut do dvanaest ali ovo nije takav film i u pitanju je od početka do kraja vrlo veristička, skoro dokumentarna priča
I taman kada se čovek spremi da promrmlja kako je film zaista realan ali da mu autorkino programsko odsustvo stava prema problemu koji obrađuje umanjuje efektnost, pojavi se taj zaplet, ili tačnije, gledalac postane svestan ŠTA je zaplet filma i da je ovo jedna od onih priča u kojoj dve osobe koje se vole i veruju jedna drugoj i zariču se da zajednički preguraju najveće iskušenje u svom životu, maštajući o odlasku ,,negde daleko" kad se za to steknu uslovi, zapravo nisu romantični monument zajedništvu, ljubavi i poverenju već, pa, to, dve osobe, u sličnoj situaciji ali ne sa istim pogledom na nju.
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Motiv dva adikta koji maštaju o odlasku iz okruženja koje ih pritiska je star i Hubert Selby Jr. ga je upečatljivo obradio u svom romanu Rekvijem za jedan san iz 1978. godine najavljujući drugačiji način da se priča o adikciji – a bile su potrebne još 22 godine da se po romanu snimi danas kultni film Darrena Aronofskog – i McKenziejeva ga ovde tretira sa sličnim odnosom cinizma i empatije koje je prikazao i sam Selby. Werewolf je minimalistički film, film o skučenim mogućnostima, provincijskim pustošima i generalnom siromaštvu, pa je i san o odlasku dvoje njegovih junaka na neko bolje mesto adekvatno siromašan, nediefinisan, klišeiziran već onog momenta kada izađe iz Blaiseovih usta.
Jer, Blaise i jeste neko ko postoji kao kliše i koristi svest o tome da je kliše za svoje interese. Na primer, film Ulija Edela iz 1981. godine, Christiane F. - Wir Kinder vom Bahnhof Zoo, urađen po romanu Mi djeca s kolodvora Zoo u dobroj meri pokazuje realnost adikcije u Nemačkoj sedamdesetih godina prošlog veka, sa seksualnom eksploatacijom koja je neraskidivo vezana za heroin (do mere da su mnogi statisti u fimu bili stvarni adikti i seksualni radnici). A Blaise govori o tome da će, ako stvari nastave da budu ovako loše na ekonomskom planu, on morati da nekome popuši za pare. Kad Vanessa ne odreaguje on kaže da se šalio. Za pušenje, naravno, ali je u njenu svest ugradio ideju da stvari MOGU da postanu toliko loše da bi NEKO možda morao da puši za pare.
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Film nam, za razliku od Jovanovićevog remek-dela ne daje nikakvu pozadinu dvoje likova, ni socijalnu ni porodičnu ni zdravstvenu. Mi ne znamo kako su ovo dvoje došli u situaciju da spavaju u prikolici i piju metadon pred budnim okom dežurnog farmaceuta jer, na kraju dana, kako je to i Jovanović pokazao, poreklo, istorija, porodica i edukacija NISU BITNI. Adikcija je bolest i svako je u riziku, POGOTOVO dok je društvo tretira kao voljni, slobodni izbor ljudi lošijih od ostatka društva. Blaise je svega toga svestan i on i igra na to da bude kliše, nadrkani narkoman koji će ljude iziritirati stalnim kukumavčenjem, pa će možda od njih da nešto dobije. Ako i ne dobije, možda će moći da ukrade. Ako se sjebe, neko će ga već odneti u bolnicu. U jednom momentu pominje ženi u klinici da zbog svoje situacije ne može da viđa svoju ćerku ali se ta ćerka nikada više ne pominje do kraja i gledalac mora da pretpostavi da je Blaise, kao i puno puta do tada, prosto lagao da iskamči malo empatije. To je ono što on radi, igra na stereotipe i pokušava da hakuje ljudske emocije.
Vanessa je ta koja ima konkretnu delatnu ulogu ovde, možda intuitivnu, ne očigledno planiranu, ali ona je ta koja uspe da ubedi rođaku da ih pusti da kod nje spavaju i da tako, sada sa propisnom prijavom stana mogu da metadon nose kući, u narednom koraku dugog procesa socijalizacije. Vanessa je ta koja, kad kosilica crkne, nalazi posao u industriji brze hrane (burger i sladoled na kiosku, naravno) i mic po mic pokušava da uvede nekakvu stabilnost u njihov život. Blaise je taj koji ide unaokolo i kuka da je sve loše, da ga svi mrze jer je narkoman. Vanessa je ta koja im nađe i prijatelje, takođe lečene adikte, sa kojima mogu da provode vreme blejeći na kauču i igrajući se na Xboxu. Ali Blaise je taj kome je to nova adikcija, pa će on blejati na kauču i igrati se na Xboxu dok Vanesa riba umašćene roštilje i znoji se.
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Postoji jedna vrlo prirodna, vrlo suptilna ali jasna priča o eksploataciji ovde, zaplet koji svi prepoznaju u nekom momentu ovog filma, i u sebi kažu isto ono što jedna od terapeutkinja kaže Vanessi: parovi koji se zajedno skidaju sa dopa veoma retko uspeju da se skinu ili veoma retko ostaju parovi. Werewolf ovo besprekorno prikazuje, podsećajući da čak i u okruženju gde su svi žrtve, razliku čini to da li neko pokušava da iz svog statusa žrtve izađe ili da ga iskoristi što više može da prosi pažnju i saosećanje.
Werewolf, međutim, do kraja ostaje toliko uzdržan da skoro da i nema rasplet i njegova drama je odvojena od gledaoca time da i dalje vidi samo delove lica i tela glavnih junaka, da je zajedno sa njima zatvoren u jednom vrlo skučenom, bliskom ali sputavajućem prostoru. Ovo je, verovatno i plan – McKenziejeva dobrim delom i igra na kartu toga da dramatične promene u svom životu neretko prepoznamo tek posle više godina pa je i Werewolf priča ne o spoznaji promene već o promeni koja je još neimenovana, nesigurna, nevidljiva, ali nepobitna.
Koliko je to teško gledati? Ne previše, film, kako rekoh, ne ide na misery porn i viktimizaciju likova, ali pripovedanje jeste sporo, sklopljeno od pojedinačnih scena koje ne moraju nužno voditi jedna u drugu i mogu ići i drugim redosledom. Ovo je više kao gomila isečaka iz života nego PRIČA sa zapletom, razradom, preokretom i raspletom, prezentirana bezinteresno i bez mnogo estetizacije. Zapravo, muzika se u filmu prvi put čuje u 48. minutu, signalizirajući bitan prelom u narativu, a kada Blasie u jedoj sceni tone u san, halucinirajući pritom igru koji drugar pored njega igra na Xboxu,* ovo efektno odudara od ostatka filma i njegovog fokusiranja na ,,stvarnost" do mere fetiša.
*kao gejmer od staža stidim se što ne umem da imenujem igru, mada da budemo fer, film nikada ne prikazuje ceo ekran i samo se može videti da je u pitanju neki od klonova Space Invadersa iz, verovatno Majkrosoftove XBLA ere
Dalje, glumci su dobri, nudeći izuzetno naturalistički performans, sa Andrewom Gillisom koji je i sam iz New Waterforda i jako je uverljiv kao pajdoman koji uprkos svemu što nema, i dalje pokušava da pokaže da ima planove, ambicije, potrebu za dostojanstvom iako nema ni planove ni ambicije, pa ni dostojanstvo, ali i odličnom, a skoro bez reči, glumom partnerke po imenu Bhreagh MacNeil. Rekviziteri i kostimografi su takođe obavili odličan posao, a ukusno upotrebljeni kolorni filteri podvlače atmosferu a da se izbegava kreiranja osećaja da gledamo nešto ,,nestvarno".
Nije to preteško, dakle, sa fotografijom koja jeste programski pravljena da sve deluje skučeno, sputavajuće, izolovano, ali ima i nečeg intimističkog pa i ugodnog u momentima kada Vanessa počinje da radi i može da se fokusira na točenje sladoleda u kornet ili pranje rešetki roštilja u kofi radije nego da ceo dan gleda Blaisea, dodajući sitne nove stvari u svoju svakodnevnu rutinu, praveći sitne, teške korake u smeru nezavisnosti. Werewolf ne govori mnogo novog o temi kojom se bavi ali to da bez mnogo reči i artificijalne drame prikazuje mladu ženu koja počinje da shvata da ne mora da bude zavisna – ni od opioida ni od emocija jednog manipulativnog muškarca – pa, to je njegova mala, lepa pobeda.
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U svemiru niko ne može da vas čuje kako vrištite, podučio nas je originalni Osmi putnik, film Alien iz 1979. godine, kreirajući atmosferu strahovite pretnje, klaustrofobije, bezizlaznosti upravo na ime odsustva atmosfere i ironije skučenosti zatvorenog prostora okruženog skoro beskrajnim vakuumom. Snažna simbolika seksualnog nasilja i prislilne trudnoće, osećaj da nemate gde da pobegnete, a sve dodatno amplifikovano činjenicom da se užas dešava NA VAŠEM RADNOM MESTU, koje je istovremeno i vaš životni prostor, u utrobi konstrukta korporacije toliko džinovske da premošćava taj skoro beskonačni vakuum i decenije ljudskih života, iskombinovano je u toliko savršen filmski iskaz da je, evo skoro četiri i po decenije kasnije maltene uvredljivo to da producenti i dalje pokušavaju da ponove perfekciju.
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Zapravo, najveći deo atmosfere pretnje, bezizlaznosti i osećaja da nemamo gde da pobegnemo vezanih za film Alien: Romulus (odnosno Osmi putnik: Romul) dolazi prevashodno od činjenice da su prošle skoro četiri i po decenije i da Holivud nema pametniju ideju do da ponovo čačka po nečemu što je mogao biti makar lep leš, a da iza svega stoji korporacija koja će, sasvim verovatno, dok stignu na red kalendarske godine u kojima se Alien fimovi odvijaju, zaista imati tehnologiju za međuzvezdano putovanje, rudarske kolonije u drugim sunčevim sistemima, brutalne ugovore sa prekarnom radom snagom koji će se menjati onako kako kompaniji u tom trenutku bude bilo potrebno. Šta ćete, uostalom da uradite ako vam se novi ugovor ne dopada? Da pronađete rashodovanu orbitalnu stanicu iste te koroporacije i u njoj nekoliko kriogenskih modula koji vas, usnule mogu odvesti u drugi planetarni sistem devet svetlosnih godina dalje, u kome, navodno, ova korporacija, nema jurisdikciju? Znate, svašta se može desiti za devet godina, čak i da Dizni kupi sebi tu jurisdikciju koju danas nema i vi se probudite iz kriogenskog sna sa ,,dobrim" vestima da vaš ugovor i dalje važi i da ste i dalje rob-nadničar u rudniku koji može biti metaforičan... ili manje metaforičan.
Čekajte, jesam li napisao ,,Dizni"? Oh, oprostite, mislio sam na korporaciju Weyland-Yutani, razumljiva greška za koji se nadam da mi je Dizni, kada dođe na vlast i u Srbiji, neće uzeti za zlo. Ali, evo, nekada je 20th Century Fox bio filmski gigant, vlasnik brojnih uspešnih filmskih franšiza, konkurencija kompaniji Walt Disney u raznim medijskim sferama, a danas je ovo samo 20th Century Studios, ljuštura u kojoj žive IP-jevi što ih je Disney progutao zajedno sa skoro četrnaest milijardi dolara duga koji je osamdesetpetogodišnja kompanija nazidala pokušavajući da se snađe u novom filmskom krajoliku sa svim tim striming servisima, pretplatama i činjenicom da su uspešne filmske produkcije danas finansirane ne od prodaje drugih filmova već iz fondova koji nemaju mnogo interesovanja za filmsku ili ikakvu umetnost.
Dizni danas poseduje ne-baš-ali-skoro-sve filmske franšize uz koje sam ja odrastao. Star Wars i Indiana Jones, Alien i Predator, najveći deo Marvelovih superheroja i da je Mehmet iz 1982. ili 1983. godine, kad je prvi put gledao originalnog Aliena, znao da će i posle svoje pedesete godine gledati nove nastavke u ovim serijalima, moguće je da bi bio i uplašen. Distopijska budućnost u kojoj se Holivud za četiri decenije ne odmakne supstancijalno od onog što je u kasnim sedamdesetim i ranim osamdesetim godinama dvadesetog veka bilo popularno možda nije na istoj ravni sa postapokalištičnim svetovima iz Mad Maxa ili Terminatora (dve franšize koje Dizni JOŠ ne poseduje ali se svakako kreće u tom smeru), ali da smo je bili svesni 1982. ili 1983. godine bila bi to potvrda grozničavih vizija iz proze Williama Gibsona i Brucea Sterlinga o kompanijama koje su preuzele kontrolu nad planetom Zemljom i za koje su ljudi samo resurs. Ljudski, jelte, resurs. Ali samo resurs.
(https://i.imgur.com/OMZHIYd.png)
Jer, da probamo da napravimo malo poređenje, to da 2024. godine gledamo sedmi nastavak serijala Alien (i ovde ignorišemo sve satelitske spinofove u drugim medijima) je analogno tome da smo 1979. godine, kada je prvi Alien ušeo u bioskope i kolektivno nesvesno ljudske rase, bili na šestom ili sedmom nastavku Hustonovog Malteškog sokola (sa sve fondacijom Dashiella Hammetta koja mora da potpiše svaki naredni scenario u franšizi) ili treći po redu ribut filma Prohujalo sa vihorom, sa novim, mladim glumcima, plaćenim pet ili deset puta manje nego što je bio plaćen Clark Gable te 1939. godine.
Alien: Romulus (kako ćemo filmu daljem tekstu zvati) je, u trenutku dok ovo pišem, a tri dana posle svoje premijere, već povratio svoj produkcijski budžet ali i dobio popriličnu salvu pohvala od kritike, sa vrlo smelim izjavama da se radi o trećem najboljem filmu u čitavom serijalu. Ovde naravno vredi pomisliti kako je David Fincher ni kriv ni dužan žrtvovan privlačnosti nečeg novog iako to novo nema u sebi mnogo INOVATIVNOG, ali i kako je posle ne jednog već dva pokušaja samoga Riddleyja Scotta da serijal Alien proširi i produbi, izvuče iz već iskorišćenih metafora o slasheru-u-kući i seksualnom nasilju, Disney bez mnogo sentimentalnosti ošinuo po dugmetu za reset, doveo Federica Álvareza da odradi ono svoje, i servirao nam jedan korektan, ne naročito maštovit, ali kompetentno napravljen horor-u-svemiru kakvi se prave svake godine na desetine komada, samo ne sa produkcijskim budžetom od 80 miliona dolara, četiri decenije nostalgije za izvornim užasom impregnacije-u-svemiru i marketinškim tepih-bombardovanjem od koga bi se države srednje veličine predale posle ne više od sedam dana kampanje.
Hoću reći, Alien: Romulus je film na koji u Petak uveče naletite surfujući po daljinskom upravljaču i tražeči nešto da zapušite prazninu u sebi, 119 minuta vriske, distorziranog metala i stroboskopskih svetala koje ćete sa apetitom smazati iako znate da ništa hranljivo u sebe niste uneli, vizuelno prijemčiva ali ni po čemu originalna ili nadahnuta varijacija na Alien predložak. Ovom filmu, s obzirom na to da je srazmerno brz, lišen smarajućih lore-dumpova i baziran pre svega na interakcijama energičnog ansambla mladih glumaca, skoro da može da se prašta to da se kači na nostalgičnu žicu za sve pare i svako malo podgurkuje gledaoca laktom u rebra i uz jedno mangupsko nudge-nudge, wink-wink poluglasno mrmlja ,,si vido brate šta smo ovde uradili, a?", ubacujući direktne citate iz prva dva filma. A onda tu ima i stvari koje se ne mogu praštati, i zbog koje bi valjalo bombardovati Disney iz orbite, jer je to jedini način da budemo sigurni.
Alien: Romulus je u startu bio zamišljen kao jeftiniji, direct-to-Hulu projekat, samo još jedan zalogaj u fast food nizu u koji je Fox transformisao Alien franšizu kada je počela masovna eksploatacija devedesetih godina prošlog veka. Disney je film pred početak produkcije apgrejdovao u ,,pravi" bioskopski događaj i, na osnovu dosadašnjih box-office rezultata, bili su sasvim u pravu. Ima neke depresivne ironije u tome da ovog leta Disney ima dva R-rated razbijača u bioskopima, od kojih je jedan (Deadpool & Wolverine, dakako (https://cvecezla.wordpress.com/2024/07/26/film-deadpool-wolverine/)) trenutno najuspešniji ,,R" film svih vremena, a drugi, rekosmo, po mišljenju mnogih, najbolji Alien film urađen nakon Cameronovih Aliensa, i da su oba Foxovi propertiji koje je Disney otresao od prašine i pretvorio u letnje blokbastere na nivou o kome pod Foxom nisu mogli ni da sanjaju. Disney je jedan, neizbežan, neumoljiv i večan, reklo bi se.
(https://i.imgur.com/wZAR6ax.png)
Ima i više sličnosti nego što bi se na prvi pogled reklo između Alien: Romulus i Deadpool& Wolverine, već i na nivou tog direktnog citiranja prethodnih filmova (kroz replike, muzičke motive ušnirane u bombastični saundtrak Benjamina Wallfischa), na nivou skoro beznačajnog zapleta koji je samo šasija na koju je zavarena skoro letalna količina set-pisova, a onda i na nivou kameo-gostovanja koje je, u slučaju Alien: Romulus praktično zločin protiv čovečnosti. Alien: Romulus je film koji svojeručno i nedvosmisleno pokazuje šta korporacije misle kada kažu ,,ljudski resurs", a to je da vas poseduju zauvek, do smrti, kako reče Deadpool Hughu Jackmanu, ali i posle smrti, kako možemo da vidimo u ovom filmu. Distopijski košmari o skeniranju živih glumaca u 3D modele visoke rezolucije koje će kasnije AI alati oživeti u budućim filmovima tako da ti živi glumci nikada više ne budu potrebni produkciji, a koji su bili predmet recentnog štrajka holivudskih glumaca u ovom filmu nisu puki košmar već realnost. Ian Holm ovako nešto nije zaslužio ali i pomenuti mladi glumci koji, sada je to već skoro izvesno, nikada neće dobiti priliku da postanu ugledne glumačke veličine kao što je bio pokojni Holm, takođe nisu zaslužili da budu samo predlošci za 3D modele i buduće animacije perpetualno reciklirane na ivici ,,doline neverovanja."
Alien: Romulus je, uprkos svom tom doomu 'n' gloomu koji ga okružuje, sasvim kompetentno napravljen film. Álvarez je čovek koji horor poznaje, razume i voli* i to da je meni njegov rimejk Evil Dead bio, da još jednom ponovim, besmislena stilska vežba ne znači da ga ljudi nisu voleli i da mu nije isposlovao puno dobre volje u Holivudu. Sa Alien: Romulus (i produciranjem rimejka Teksaškog masakra motornom testerom) ovaj se urugvajski režiser demonstrativno nameće kao ,,zovi čovika" profesionalac koji ume da kultne horor-produkte iz dvadesetog stoleća, opervažene gustom izmaglicom urbane mitologije, dovuče za kragnu u dvadesetprvi vek, rastereti od balasta konceptualizacije i pretvori u visceralne, vizuelno prijemčive orgije nasilja i krvopljusa. Dajte mu malo para i R-rejting i Fede će isporučiti.
*mada je u urnebesnom primeru života u post-istinitom društvu u kome smo svi zajedno zatočeni, pre par dana benovan sa reddita, jer se ,,lažno predstavljao kao Fede Álvarez"
Sa Alien: Romulus, dakle, Álvarez uprkos najavama da film treba da bude spona koja povezuje Scottove prikvele sa hronološki kasnijim Alien filmovima, zapravo hirurški uklanja naslage metafizike koji su Scottu toliko značili u Prometheusu i Covenantu i vraća stvari na praktično fabrička podešavanja. Ovaj film je o grupi ljudi u omeđenom prostoru koji shvataju da su inkubatori za mladunčad tuđinske vrste i sav konceptualni mambo-džambo kojim se nadgrađuje ova osnovna ideja je suštinski nebitan. Umešajte u to glumce koji pričaju, čuj mene psuju, sa sočnim britanskim naglaskom i skloni su iracionalnim reakcijama na okolnosti za koje nisu u startu svesni koliko su preteće i dobijate jednu propulzivnu slasher/ monster movie salatu u kojoj nema ničeg originalnog ali je makar jako promućkana i profitirala je od budžeta kakav klonovi Aliena i Aliensa kojih su pune kablovske televizije mogu samo da sanjaju. Uključujući veliku količinu praktičnih efekata umesto pustog CGI orgijanja.
(https://i.imgur.com/arwTMDn.png)
Cena te propulzivnosti je da se film ne bavi preterano mnogo svojom glavnom temom i zainteresovaniji je za atraktivne set pisove nego za poruku. A slanje poruke, zapravo, predstavlja i veći izazov nego što bi se reklo na prvi pogled. Alien je naprosto JAKO izraubovana franšiza i pored sedam filmova u glavnom serijalu, dva krosovera sa Predatorom i doslovno stotina stripova, romana i video igara maltene da ne postoji ideja koja nije već prorađena, reciklirana, izlizana i odbačena u vezi titularnih tuđina i svemira u kojem su oni na vrhu lanca ishrane. Imali smo militaristički SF i religijske metafore, analize seksualnog nasilja i kritiku klasnih podela, transhumanističke eksperimente i propitivanje ljudskosti kao takve u budućnosti u kojoj su kloniranje i genetski inženjering deo korporacijskog portfolija koliko i proizvodnja oružja ili rudarenje na svetovima što orbitiraju oko udaljenih zvezda.
Alien: Romulus bira da sve ovo pomene uzgredno, računajući na efekat sačmare, ali da se ničim od toga ne pozabavi detaljnije, da ne bi baš morao da se odredi prema bar jednom od ovih pitanja. Tako, recimo ovaj nastavak jače od svih filmova u serijalu naglašava hiperkapitalističku, obezljuđenu prirodu društva budućnosti u kojem obespravljeni radnici savijaju grbaču za korporaciju na planeti na kojoj nikada ne vidite sunce zahvaljujući gustom sloju oblaka u atmosferi, i samo bivaju obavešteni da su im uslovi pod kojima su potpisali ugovor retroaktivno promenjeni i hvala na vašoj saradnji, GLUPERDE, ali u daljem toku priče nema ni prisenka koncepta klasne borbe. Protagonisti filma, grupa mladih osoba koje ne izgledaju kao da rade ni u rudniku ni na farmi, odlučuje se za očajnički beg sa ove kolonije korišćenjem stare, rashodovane opreme zatečene u orbiti planete, ali ovde, dalje, nema ni trunke istraživanja ,,liminalnih prostora" i kolonizacije napuštene korporacijske infrastrukture koje smo viđali u radovima Williama Gibsona osamdesetih godina prošlog veka.
Drugim rečima, sva ova radnici-vs.-korporacija predigra je samo formalna i služi isključivo da se gledalac dovede na mesto na kome će prepoznati stvari što su nam već urezane u kolektivno nesvesno incestuoznim popkulturnim osmozama: kosmički brod Nostromo iz prvog filma, leš samog tuđina iz prvog filma, pa onda i, ako pominjanje Iana Holma nije bi dovoljana sugestija, androida koji se, verovatno iz nekih komplikovanih pravnih razloga ne zove Ash, ali je u svakom praktičnom smislu Ash iz prvog filma. Posle tu vidimo i pulsnu pušku iz Aliensa a finalni obračun sa, jelte, ,,novom" vrstom genetski splajsovanog tuđina je i neka vrsta reciklaže finala iz Jeunetovog Alien: Resurrection. Gejmeri dobijaju svojih pet minuta gik-slave na ime nekih komada svakodnevne tehnologije koje smo prvi put videli u Alien: Isolation.
Da ni najmanje koncentrisani među nama ne ostanu zaboravljeni, scenario Alien: Romulus na nekoliko mesta direktno citira replike iz Aliensa, oba puta kroz usta Davida Jonssona, koji kao da je imao problem da izgovori decenijama memefikovane komade dijaloga a da ne prsne u smeh. No, Jonsson igra anroida* pa je tu određena krutost i neprirodnost performansa feature, not a bug.
*koji se, da i najsporijima među nama bude jasnije, zove Andy
(https://i.imgur.com/4uapXuT.png)
Jonsson svakako i predvodi ansambl solidnih a malo poznatih glumaca jednim prilično ubedljivim izvođenjem kompleksne uloge ,,veštačke osobe" koja osciluje između različitih ličnosti onako kako joj se menja firmver. U 2024. godini, sa poplavom urbanih mitova o veštačkoj inteligenciji kojoj nas izlažu lovci na divlji investitorski kapital, Jonssonov Andy dosta uspešno šalje poruku da je ,,ljudskost" u presudnoj meri stvar empatije, manje nego inteligencije, ne posežući u konceptualnom smislu dublje od najpovršnijeg čitanja nekih kultnih manga, anime i cyberpunk radova od pre tri i četiri decenije, ali nudeći dobar glumački rad.
I ostatak ansambla je solidan onoliko koliko ih scenario koristi za išta više od topovskog mesa, i iznenađujuće mi je najmanje upečatljiva bila Cailee Spaeny, glavna glumica koja je posao odradila sasvim korektno ali bez mnogo karaktera, nudeći post-milenijalsku, empatičnu heroinu Rain koja uspeva da preživi najgori dan svog kratkog života, ali ne nudi memorabilne rečenice, gestove, izraze lica, makar vriske koje bismo pamtili. Ne sad da hoću da deifikujem Sigourney Weaver, ali njena Ripley je u Alienu bila ŽENA a Rain je u Alien: Romulus ipak samo devojčica, bez nekog vidnog stava ili ličnosti. Njena životna muka, sa preminulim roditeljima i samo crnim nebom rudarske kolonije koje pamti nekako se ne prevode u traumu čiju bi energiju film dalje eksploatisao iako je jasno da su napisani baš u te svrhe.
No, to je dalje boljka i ostatka scenarija koji je laboratorijski precizno odmeren da privuče mlađu publiku kroz svoje fokusiranje na mlade osobe bez mnogo prošlosti (ali je ona čitava bila teška), ali sa onda odsustvom mašte da se išta interesantno uradi sa tim osobama. Ovi ljudi se razlikuju po stilu govora, temperamentu, energiji, inteligenciji, snalažljivosti itd, ali ništa, apsolutno ništa od toga ne figuriše u načinu na koji se radnja filma odvija. Njihove smrti su samo u funkciji daljeg teranja narativa, bez ikakvih simboličkih težina ili dramskih akcenata.
A što je opet refleksija činjenice da Alien: Romulus prilično dobro pazi da ne kaže ništa posebno bitno što bi moglo da fatalno odredi dalji tok franšize ili, nedobog, proizvede negativnu reakciju na interetu svrstavanjem uz ove ili one ,,radikalne" ideje. Za film koji se EKSPLICITNO zasniva na back-to-basics pristupu prvog Aliena koji je snažno pretresao politiku telesne autonomije i u svoj centar stavljao čin seksualnog nasilja kao samo uspostavljajući gest dalje dominacije nad žrtvom, Alien: Romulus je izluđujuće nespreman da se ikako pozabavi ovim temama čak i dok nam pruža jednu od najodvratnijih scena ljudskog porođaja još od Srpskog filma. Alien: Resurrection je makar probao (i nije zaista uspeo) da korak ili dva dalje pomeri diskusiju o (prisilnom) majčinstvu koju je Fincherov Alien 3 stavio u prvi plan, ali Alien: Romulus se lupeški povlači pred ovim diskursom i zadovoljava se time da ima kul-izgledajućeg ,,novog" hibridnog tuđina u svom finalu koji doslovno ne radi apsolutno NIŠTA drugačije od bilo kog drugog tuđina u dosadašnjoj istoriji ovog serijala.
(https://i.imgur.com/N4XzRQX.png)
I sve ostalo je u filmu isto takvo, bazirano na nadi da ćete prepoznati reference na stare filmove i osetiti ugodni dopaminski piš na ime fan servicea kada Rain dobije kratak kurs u korišćenju pulsne puške, a jedini korak napred koji film pravi u pogledu mitologije/ osnovne konceptualizacije Aliena je u tome da nam saopštava kako Weyland-Yutani zapravo NE pokušava da od tuđina napravi biološko oružje koje može da kontroliše i u stvari ispituje fiziologiju tuđinske vrste kako bi ljudskoj rasi mogla da pruži napredni metabolizam što će joj omogućiti osvajanje zvezda a bez neudobnog kriogenskog sna i nepouzdanih asistivnih tehnologija.
I sad, film u svojoj konceptualnoj osnovi kontrastira dve suprostavljene ideje o vrednosti ljudskog života: jedna ga shvata kao vrednost po sebi i imamo korporaciju koja troši nezamislivo mnogo novca (i ,,ljudskih resursa", tj. izgubljenih ljudskih života) da obezbedi ljudima kapacitet da ne umiru bez obzira na promene okolnosti, a druga slavi život kao tranzicionu pojavu, nešto što kao najlepši poklon koji današnja generacija predaje budućoj, pa ova onoj posle nje, uz svest da će se sukcesivni životi prilagođavati novim okolnostima i da će ŽIVOT sam živeti iako pojedinalni ljudi umiru. Ova druga ideja je stavljena u amanet pripadnicima radničke klase koje vidimo u ovom filmu i koji za razliku od korporacije sa decenijskim strateškim planovima i investicijama, na svojoj strani imaju samo empatiju i ljubav prema životu. Naravno, nad svim ovim arbitriraju dva androida, dakle, sintetičke osobe (film i ne koriste termin ,,android" već isključivo ,,synth") napravljene od strane pomenute korporacije, i ovo jeste bogat koncepcijski obrok da se u njega zariju zubi ali film to na kraju NE čini, odlučujući se za jednostavnija rešenja koja recikliraju završnice prethodnih filmova i, eventualno, ostavljanje niti narativa da vise za naredne nastavke.
Ako sve ovo zvuči jako negativno, hitam da dodam kako Alien: Romulus, kada se otresete ideje da će film nešto REĆI, bude dovoljno zabavno iskustvo. Ponovo naglašavam, ne ORIGINALNO ili maštovito, ali zabavno. Pored dobrih glumaca, ovde je u prvom planu vrlo solidan set dizajn sa katodnim ekranima, starinskim mehaničkim tastaturama, klasičnim kliznim vratima, mnogo metalnih hodnika i raketnih motora koje vredi videti. Umesto bacača plamena, ovde imamo prskalice ,,kriogenskog goriva" koje u par sekundi zamrzavaju živi svet. Film ima par set pisova u nultoj gravitaciji koji su spretno koreografisani. Dizajn zvuka je odličan, sa puno škripe metala, grmljavine motora i alarmnih-signala između kojih čujemo gnjecave zvuke što ih proizvode tuđini. Muzika je takođe perfektno umiksovana u zvučni krajolik filma sa posebno efektnim korišćenjem kontrabasa i gudala u jednom momentu. Kamera je dobra, pogotovo jer se dobar deo filma odvija u mraku, i direktor fotografije, Meksikanac Galo Olivares ovde pokazuje svoju strast ka klasičnoj fotografiji i igranju sa svetlom, a što dodatno biva amplifikovano dobrom montažom Britanaca Jakea Robertsa (već radio sa Spaenyjevom na Garlandovom Civil War, ali je montirao i zabavni Hitman's Bodyguard). Ovde zapravo najveća zamerka može da se da na korišćenje samih tuđina koji su tretirani kao readymade vizuelni properti što ga svi znaju iz popularne kulture i Álvarez ne samo da u kompoziciji kadrova i ponašanju tuđina nikada ne ide dalje od reciklaže ikoničkih scena iz serijala već i u startu slabi trilerski potencijal ovog filma inflacijom ,,alienošvtine" u zapletu.
(https://i.imgur.com/BKq7bDc.png)
Naime, iako smeštanje radnje u omeđeni prostor sugeriše povratak na old school monster movie setinge po šnitu Thing from Another World, originalnog Aliena, Aliena 3 i Carpenterovog The Thing, gde je tuđin tako snažno ,,drugi" jer je jedinstven i, iako sam, postepeno konvertuje celo okruženje u sebi odgovarajući ambijent gde su ljudi samo resurs, Alien: Romulus od scene u kojoj vidimo svog prvog face-huggera* akcentuje mnoštvo, kreirajući poplavu face huggera, chest burstera i odraslih tuđinskih jedinki, vrlo liberalno baratajući njihovim ciklusom reprodukcije uz uzgrednu opasku da je ovo vrsta koja može voljno da ,,ubrzava ili usporava svoj metabolizam".
*koji ovde imaju nominalno ,,tehničkiji" naziv, ,,parazitoid"
Ovaj scenaristički hak je valjda neophodan jer se gotovo čitava radnja filma odvija u manje od dva sata realnog vremena pa onda propagacija aliena koja podrazumeva period prividne bezbednosti – dok vam u utrobi raste larva narednog čudovišta – ovde biva speedrunovana kako bi se gledalac što pre proveo kroz već poznate stadijume razvoja tuđinskog organizma, ne bi li se ostavilo dovoljno prostora za set pisove sa desetinama face huggera i odraslih tuđina što jurišaju na naše naoružane samo jednom puškom sa četiri stotine hitaca u magacinu.
Nije to najsrećnije rešenje ali se valjda drugo ne može očekivati od filma koji porsnulu franšizu treba da skine sa metafizičke pozornice na kojoj je pokušala da igra sa dva recentna Scottova filma, da ukloni komplikovani ,,lore" vezan za ,,inženjere" i demijurške sile izvan našeg poimanja, pogotovo da se mane aluzija na Isusa hrista i njegovu ulogu u istoriji filmova o Osmom putniku. Alien: Romulus se i imenom decidno smešta u predhrišćansko vreme, ne zaziva ni prometejski plamen (kasnije možda ne bez razloga pripisivan Luciferu) ni sveti zavet Scottova dva filma i time beži od spona sa svetim pismom koje je ovaj napravio. Ovo je film pre svega zainteresovan za pristojno snimljen visceralni horor i zastrašujući prizor predimenzionirane ,,bebe" u svom finalu, koja, kako rekosmo, sem tog svog izgleda po kome se od njih razlikuje, nema nikakvu drugačiju kodifikaciju od ,,normalnih" tuđina iz ostalih filmova. Nekome je i to dosta.
Stoji, dakle, da je Alien: Romulus nemaštovit film, a ako ste tako baždareni može se nazvati i blago kukavičkim. On se drži utabane staze na koju šalje pristojan ansambl glumaca a koji na njoj izginu bez previše ceremonije ili ičega po čemu bismo ih pamtili. Bučan je i vizuelno strašan ali u najvećoj meri na ime toga da ima već unapred pripremljen Gigerov ikonički dizajn koji uspeva da ne izneveri do kraja i ispraća ga uglavnom dobro odmerenom retrofuturističkom scenografijom. Politika ga ne zanima, i umesto nje u srcu svoje priče ima samo dobronamernu poruku o empatiji i tome da je porodica ona koju sami izaberete a ne ona koja vam je suđena. I mada je to dobra i lepa poruka, nemojte da se pravimo da nam već nije malo muka od toga da je gledamo u skoro svakom filmu skupljem od pedeset miliona dolara koji se snima u Holivudu, od Guardians of the Galaxy do Fast and Furious.
Da li Alien: Romulus vredi da se gleda više nego jednom? Zapravo, da. Ako se na stranu stavi pripadnost franšizi koja već duže od trideset godina ne govori ništa relevantno ali je pre toga bila IZRAZITO govorljiva i relevantna, Alien: Romulus je brzi, nezamarajući creature feature sa dobrim dizajnom, malo ukusne viscere, malo JAKO neukusnog ali valjda po tome upečatljivog imaginarijuma vezanog za ženski reproduktivni rad (i organe) i puno energije. Gledljivo, zaboravljivo, ali ne neprijatno, a kako je, po svemu sudeći i bioskopski potentno, verujem da ćemo u skorije vreme čuti i najavu nastavka. Pa se onda vidimo na premijeri filma Alien: Rem za četiri ili pet godina.
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Na društvenim mrežama me zatrpavaju informacijom da u ovom filmu glumi jedan od najviših ljudi današnjice, izvesni Robert Bobroczkyi, mladić iz Rumunije, bivši košarkaš, visok 2.31. On je neki monster nazvan offspring (nisam gledao film).
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Da, jako visok, glumi tog "novog" Aliena koji se pominje u tekstu. Mislim, "glumi" je naravno prejak termin, ali veoma cenim da su uzeli čoveka i napravili mu masku umesto da su samo nacrtali celo čudovište u kompjuteru.
MAX upcoming tv shows & movies in september.
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Vreme da se planira Ghostbusters maraton :lol: :lol: :lol:
Ne možete biti pravi ljubitelj Kensukea Sonomure a da niste gledali (i navijali uz!) Baby Assassins. Pošto se treći deo filma upravo priprema za premijeru i ulazak u japanske bioskope – i upućeni, koji su ga gledali na festivalima vele da je najbolji film u serijalu – onda je pravi trenutak da se upoznamo sa prva dva filma i dovedemo se na ivicu klimaksa. Ali idemo redom pa danas, pričamo o prvom filmu, nazvanom samo Baby Assassins, iz 2021. godine.
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Kensuke Sonomura, naravno, nije režirao ovaj film. O oba Sonomurina režijska trijumfa, filmovima Hydra iz 2019. i Bad City iz 2022. godine smo već pisali, ukazujući kako je čovek najpoznatiji po kreiranju borilačke koreografije za desetine japanskih akcionih filmova napravio uspešnu tranziciju u režisersku stolicu, prvo sa niskobudžetnim, skoro stripovskim Hydra (https://cvecezla.wordpress.com/2022/01/14/film-hydra/), a onda sa srazmerno glamuroznijim omažiranjem japanskog akcionog filma kasnih osamdesetih i ranih devedesetih u Bad City (https://cvecezla.wordpress.com/2023/09/29/film-bad-city/). Za Baby Assassins Sonomura je, naravno, radio akcionu koreografiju i spakovao nekoliko urnebesnih borilačko-pucačkih scena u produkciju koja bi se možda najpre mogla opisati kao slacker-komedija ali o tokijskim Gen-Z tinejdžerkama koje se suočavaju sa krajem srednje škole i nuždom, ili makar socijalnim pritiskom da se uključe u svet odraslih uz podrazumevano servilno savijanje kičme pod teretom zaposlenja i građenja karijere.
Naravno, nije ovde niko toliko pospan da nije primetio ,,Assassins" u naslovu filma i komedija koju je napisao i režirao Yugo Sakamoto se temelji upravo na toj prirodnoj apsurdnosti kontrasta između realistične, maltene dokumentarističke polaroid-rekonstrukcije života starijih tinejdžerki u Tokiju na početku treće decenije dvadesetprvog stoleća i zavodljive mitologije vezane za profesionalne ubice koja čini, reklo bi se, ogroman deo savremene japanske kulture.
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Sakamoto je relativno mlad autor, sa nekih trinaest filmova iza sebe u ulozi režisera, a koje je napravio u poslednjih sedam godina, krećući se između horora, akcije i komedije. Profesionalne ubice su mu očigledno trajna pasija jer je već napravio nekoliko filmova sa ovakvom tematikom, uključujući Green Bullet u kome šest devojaka idu u letnji kamp za profesionalne ubice i tamo postaju dobre prijateljice, ali i mocumentary Saikyou koroshiya densetsu Kunioka kanzenban, u kome Sakamoto, pišući svoj scenario za Baby Assassins upoznaje ,,pravog" profesionallnog ubicu – ,,najboljeg frilensera u Tokju" – i onda ga prati kada ovaj, nakon greške u komunikaciji sa klijentom ubija pogrešnu osobu i biva na meti osvete ali i besa samog klijenta.
Baby Assassins je neka vrsta kondenzacije i izoštravanja raznih motiva kojih se Sakamoto već poduhvatao u ovim filmovima i prvi njegov film sa statusom nekakvog hita na zapadu, uključujući, doduše dosta zakasneli izlazak BluRay edicija sa engleskim prevodima (2022. za prvi i tek 2024. godina za drugi film). Može se argumentovati da je sam Sakamoto posle desetak produkcija istesao svoje veštine i pronašao jasniji, propulzivniji izraz, ali takođe i treba primetiti da je za ovaj serijal uzeo da radi sa veoma dobrim ansamblom i da su neke stvari kliknule prosto jer su glumci u likovima pronašli nešto svoje i onda ga amplifikovali na potreban volumen.
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Glavne junakinje Baby Assassins su dve, pa, asasinke iz Tokija, introvertna, socijalno neuklopljena (i po sopstvenom priznanju, sociopatska) Chisato Sugimoto i ekstrovertna, vesela, socijalno propulzivna Mahiro Fukagawa. Ovu prvu igra Akari Takaishi, koja je iste godine već debitovala u Sakamotovom A Janitor – još jednom filmu o srednjoškolkama koje su profesionalne ubice – a gde je takođe igrala i njena partnerka. Saori Izawa je već pre ovoga imala jedan film iz 2016. godine a najveći deo njenog iskustva pred kamerom je u ulozi dublerke/ kaskaderke, radeći i na prilično visokoprofilnim projektima kao što su televizijske serije Kingdom (gde je koreografiju radio Kensuke Sonomura) i Alice in Borderland (Sonomura je ovde bio jedan od kaskadera), ali uspevajući da dobaci i do zapadnjačkih produkcija poput Snake Eyes: G.I. Joe Origins i John Wick 4.
Chisato i Mahiro su onaj standardni komični par nekompatibilnih likova koji rade isti posao i nekako do kraja vidimo da jedan drugom veruju više nego ikome na planeti, ali koji se stalno prepiru, stalno imaju momente preispitivanja svog odnosa, minijaturna ,,suđenja" u kojima onaj socijalno uklopljeniji onog drugog stavlja na stub srama i tera da se promeni itd, a poseban ugao iz koga Baby Assassins gleda na ove trope je to da su u pitanju dve maturantkinje koje su prinuđene da žive zajedno i da pronađu zaposlenja kako bi imale kredibilnu fasadu za svoj stvarni posao – ubijanje po narudžbini.
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Sakamoto ovde reciklira sebe iz Janitora i Green Bulleta, ali po svemu sudeći sa više spretnosti,* prepoznajući da dve glumice imaju odličnu međusobnu hemiju pa i da već na vizuelnom planu nude sjajan komični – ali ne samo komični – kontrast koji dinamizuje mnoge scene. Chisato je smorena, muškobanjasta, sa dečačkom frizurom ofarbanom u plavo i jedinom ambicijom da nikada ne izlazi iz stana, sem kada posao – ubijanje po narudžbini – to od nje zahteva, a i tada samo na onoliko dugo koliko je potrebno da se meta eliminiše i pozove ekipa za uklanjanje leša. Mahiro je, pak, ženstvena, druželjubiva, raspričana i energična – u jednoj izvrsno kadriranoj sceni ona više puta ustaje sa kauča da otrči do kuhinje i uzme začine za oden koji jede, svaki put imitirajući zvuk psa koji trči po parketu – i njoj društvo drugih devojaka ne smeta, naprotiv.
*u drugom filmu ćemo, kad dođe na red, videti i kako reciklira sebe iz Saikyou koroshiya densetsu Kunioka kanzenban sa celom tom idejom komedije zabune u kojoj profesionalne ubice eliminišu pogrešnu metu
Imperativ da ove dve devojke nađu ,,normalne" poslove sa nepunim radnim vremenom, kako bi delovale manje sumnjivo, je onda pokretač najvećeg dela radnje u filmu, koji se fokusira, dosta naglašeno, upravo na očajanje što ga protagonistkinje osećaju kad moraju da se bakću sa tržištem rada. Japan i dalje ima izraženu hijerarshijsku dimenziju u pogledu zapošljavanja i napredovanja i to da dve mlade žene talentovane za druge stvari moraju da gube mladost po prodavnicama, restoranima i kafeima-sa-sluškinjama je spretno udenuta satirična komponenta priče.
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Ne ide Baby Assassins, da se razumemo, sad nešto preduboko u smeru analize patrijarhalnog i gerontokratskog aspekta japanskog društva, koje mladost fetišizuje ali joj onda i ne da da nadraste dimenziju fetiša, ali je spretan u prikazivanju prepoznatljivih situacija i frustracija koje mladi susreću u svojim neretko traumatičnim inicijacijama u radnu snagu. Introvertna Chisato je ,,prirodno" nekompatibilna sa poslodavcima koji misle da ih to što upravljaju mini-marketom stavlja u prirodnu poziciju da budu dispanzeri mudrosti i filozofski autoriteti i jedna od uvodnih scena demonstrira njenu sociopatsku crtu na duhovit – vrlo krvoločan pritom – način, a da opet gledalac ne mora da brine za sopstveni moralni skor. Baby Assassins je japanski film o profesionalnim ubicama i u skladu sa tropima žanra, njegove protagonistkinje po pravilu ubijaju samo ljude za koje je, makar na filmu, legitimno reći da su to zaslužili.
Ali Baby Assassins je i komedija i ovde su oni koji su to ,,zaslužili" ponekad pripadnici japanskog podzemlja, ali ponekad i samo matori biznismeni koji plaćaju za seks srednjoškolkama. Nije zgoreg na ovo ukazati jer Baby Assassins ne samo da nema ,,fan service" kadrove gaćica svojih protagonistkinja već vrlo manifestno pokazuje eliminaciju (uz implicitnu osudu) iskorišćavanja – makar i, jelte, nominalno voljnih – tinejdžerki od strane sugar daddy likova sa hebi-fetišom. Utoliko, ovaj film po svojoj progresivističkoj agendi vidno odskače od japanskog proseka, a da je opet ona u priču ušnirana organski i bez popovanja.
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U ovo svakako spada i prikaz agencije za koju rade Chisato i Mahiro, a koja je birokratizovani, administracijom, budžetima i performansom, reklo bi se, opsednuti entitet čije će ćate objašnjavati protagonistkinjama koliko im se para skida sa plate svaki put kad ubiju nekog bez prethodnog ugovora i time zahtevaju angažovanje ekipe za uklanjanje tela koje ne pokriva njihovo osiguranje. Naravno, Chisato i Mahiro ne žele da se bave takvim trivijalnostima, one čak nisu ni pročitale ugovor za stan koji im je našla agencija u kome se navodi koliko mesečno ima da plate za režije i svaka od njih je pretpostavljala da će se time baviti ona druga. Ulazak u svet odraslih je za njih, iako to ni jedna neće priznati naglas, traumatičan, i one se sa traumom suočavaju kroz nemo, nikada izgovoreno ali vidljivo nalaženje utočište jedna u drugoj. Scene u kojima devojke zajedno jedu i ćaskaju – Mahiro sva rascvrkutana, Chisato jedna na pragu čujnosti – su sjajne, kao i one gde obe leže na kauču, isprepletane, pod istim prekrivačem, gde Chisato gleda nešto na telefonu a Mahiro igra neku onlajn igru i kuka da je server prepun čitera.
Sve je ovo urađeno sa maksimumom profesionalnizma i komičnog tajminga, uključujućio kada Chisato vežba borbu na lutki koju drži u hodniku ili kada Mahiro kreće da obavi ubistvo za koje je angažovana ali zaboravlja da ponese pištolj, ali ima li ovaj film svoju akcionu-dramsku komponentu, pitate se vi sad već sumnjičavo i pomalo zabrinuto.
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Ima! U centru ,,pravog" zapleta filma je lokalni Jakuza, Ippei Hamaoka koga igra izvrsni, vizuelno upečatljivi i iskusni Yasukaze Motomiya (igrao u Bad City, Samurai Cat, Tokyo Dragon Chef, sa Sakamotom već sarađivao u seriji Unfinished, a prošle godine je igrao u dva propertija rađena u okviru dugovečnog Kamen Rider serijala). Njegov lik je perfektan ,,glavni" negativac za ovaj film jer prikazuje ne samo čoveka koji je istovremeno šarmantan, rafiniran, ali i divljački, neosetljivi psihopata, već i kontrast između stare garde i novih generacija. Hamaoka, za razliku od ,,časnih" jakuza koje često vidimo po ovakvim produkcijama, koji se dobro biju i uglavnom se bave investiranjem u građevinu, uživa u prodaji droge i trgovini ljudima, a svoje dvoje dece je već uveo u posao i od njih napravio još dvoje malih psihopata. Njegova ćerka je ambiciozna, a istovremeno naglašeno psihopatska alapača koja uživa ne samo da drugi povređuju ljude u njeno ime već i da ponižava svog brata (igra je, vrlo ubedljivo, Mone Akitani kojoj je ovo bila prva uloga) dok je sin, jedan terminalno nesrećni lik sa URNEBESNIM brkovima, frizurom i oblačenjem, dobio sjajnu intepretaciju od strane Satoshija Uekiye.
Ova porodica dolazi na fatalno ukrštanje sa životnom putanjom naše dve junakinje ne jednom već dva puta u filmu i ovo je jedna od objektivnih slabosti Sakamotovog scenarija, sa nedovoljno razrešenim prvim podzapletom između Mahiro i Himari Hamaoke a koji onda i ne daje sasvim jasnu isplatu u urnebesnom finalu. Ali to je i jedna od retkih stvari za koje mogu da kažem da u ovom filmu ne rade kako treba.
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Jer, ostalo je jako dobro, uključujući kada Ippei Hamaoka objašnjava svom sinu da jakuze moraju da prepoznaju da se društvo menja i da se na tu promenu adaptiraju. ,,Vidiš, sine, danas je 'moe' kultura popularna i nameravam da razvijem biznis usmeren na devojke", kaže Ippei pre nego što njih dvojica uđu u Maid-Cafe gde inače zalaze samo terminalni gikovi sa fetišom na francuske sobarice i, ne sumnjajte, manga kolekcijama od po par kubika kod kuće. Ovo se dešava nedugo nakon što je Mahiro dobila posao da bude hostesa u ovom kafeu, obukla se u kostim i nabubala bizarne slugeranjske fraze i afektirane vokalne intonacije kojim ,,sluškinje" dočekuju svoje ,,gospodare" kad ovi uđu u kafić da u njemu preskupo plate omlet i ajskafu, na ime toga što ih se oslovljava sa uvažavanjem kakvo inače u životu ne mogu da dobiju.
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Sakamoto ovde režira PERFEKTNU scenu u kojoj opet nema nekakvog pamfletksog feminizma, ali se u tri poteza prikazuje ta refleksna superiornost koju muškarci osećaju da moraju da pokažu pred ženama, pretnja ženskoj slobodi koja dolazi na ime kontrolisanja tržišta rada, te ženska osveta koja svu energiju što ju je Kill Bill bio razvukao na dva filma, pakuje u jedan besprekorno izveden čin kazne.
Film, rekosmo, u velikoj meri počiva na odnosu dve nekompatibilne glavne junakinje, ali i Takaishijeva i Izawa imaju uspešne solo-scene koje ih prikazuju kao karaktere sa više od jedne dimenzije. Takaishijeva je dobija pred kraj, kada se u urnebesnom akcionom finalu susreće sa telohraniteljem jakuza-princeze. No, i drugi glumci imaju sjajne minijature i Sakamoto rećira nekoliko odličnih crnohumornih momenata, na primer onaj u kome Ippei uči svoj u ćerku da gađa iz pištolja, koristeći živog čoveka kao metu, ili onaj u kome se momak zadužen za uklanjanje leševa posle asasinacija ljubazno, ali vidno iritirano žali kako Mahiro uvek puca u žrtvama u glavu umesto u srce i time njega izlaže nepotrebnoj traumi.
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Sakamoto zna da se film mora završiti ubacivanjem u najvišu brzinu pa je spretan prelazak iz komedije (naše junakinje na poprište poslednjeg obračuna stižu vozeći se na jednom biciklu) u visceralnu akciju praktično pokazni primer kako se to radi. Teško mi je da se setim ijednog filma napravljenog izvan Azije – uključujući Johna Wicka – u kome se prikaz dve osobe sa izrazito giki karakteristikama (stan u kome naše junakinje žive je, naravno, prepun mangi) u završnom obračunu transformišu u ovako COOL, hiperfeikasne akcione heroine. Taj prelazak iz ,,kawaii" u ,,kakkoii" koji Sakamoto ovde naizgled bez napora izvodi je ključan za višedimenzionu prirodu filma ali i za te neizgovorene ali prisutne feminističke teze koje se unutar njega granaju. To da Akari Takaishi u najkompleksnije koreografisanoj sceni u filmu naspram sebe ima glavom i bradom Masanorija Mimotoa, majstora borilačkih iz Hydre, Yakuza Apocalypse (https://cvecezla.wordpress.com/2022/05/06/film-yakuza-apocalypse-aka-gokudo-daisenso/), Kingdom, First Love (https://cvecezla.wordpress.com/2021/08/27/film-first-love-aka-hatsukoi/)i mase drugih filmova i da je ovo fantastična borba u kojoj Sonomura ima priliku za svoju trejdmark mešavinu borilačkih stilova, korišćenja nestandardnih tehnika i predmeta iz okoline, je prava poslastica za svakog ljubitelja japanske akcije.
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Ali i inače je završnica urađena savršeno, sa Sonomurom koji ponavlja trikove sa borbom u hodniku i klizanjem po podu što ih je onomad radio u Oshiijevom Nowhere Girl, samo što to sada rade dve devojke i sve je još brže i luđe nego 2015. godine. I onda, posle svega, film uspeva da se prizemlji meko, prikazujući dve cimerke i koleginice kao malo kompatibilniji, malo funkcionalniji par. Ovo su mlade žene koje svoj posao rade sa strašću, jer imaju sreće da rade ono u čemu su najbolje, ali koje, a ovo je bitno za celokupnu argumentaciju koju film pravi, najradije ,,bleje" i ne vole da rade više nego što moraju. Koliko je ovo u kontrastu sa japanskim mentalitetom, ali i sa generalnim današnjim fetišom ,,optimizacije" rada kako bi se povećala njegova ,,produktivnost", čije plodove na kraju pokupe samo on na vrhu, toliko je i Baby Assassins subverzivan film. Ali čak i da vas subverzija ne zanima, on je duhovit, zabavan, sa izvrsnom akcijom i dve glavne glumice rođene da igraju ova dva lika. Vidimo se naredne nedelje za nastavak!
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Evo, ako nekog slučajno zanima, moj mikstejp pesama (rane) Riblje Čorbe sa kratkim meditacijama o svakoj od pesama kojima pokušavm da ukažem zašto su (rana) Čorba i (rani) Bora Đorđević bili tako značajna i unikatna pojava:
https://cvecezla.wordpress.com/2024/09/05/dj-meho-bora-dordevic-rip/
Bora je proizveo toliko kvalitetne muzike da bih mogao sa bar pola ove liste da se ne složim, ali u tome i jeste njegova veličina.
Inače, ako pričamo o omiljenim albumima, to mi je definitivno "Večeras vas zabavljaju muzičari koji piju", ali opet, ne poznajem nikoga ko nije odrastao ili životno vezan za neki njegov album na određen način, i ovo je 100% subjektivno.
Evo još jedna pesma koju niko nigde ne spominje a ja je baš volim i savršeno oslikava taj Borin fazon koji se kasnije pretvorio u Avionu slomiću ti krila (koju jednako prezirem koliko i ti). Jedino bih još napomenuo da i pored slabijih kasnijih albuma, uvek se našla minimum po jedna pesma koja je vanserijska.
https://youtu.be/G9Ov8FOzxNk?si=mFMZHjsusxZC3juF
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Da, pa ja sam stariji pa je i logično da su mi ti najraniji albumi i najdraži jersam ih slušao kako su izlazili. I, da se razumemo, bez obzira što ja posle 1986.uglavnom ne marim za Čorbu, činjenica da su toliko trajali znači da su uvek umeli danaprave nešto što rezonira sa mnogo naroda.
A ova pesma, da, to je još jedna iz serije poetskih tekstova koji su kasnije uglazbljeni.
Inače mi danas stariji sin (7. razred) priča da su ceo čas muzičkog slušali Riblju Čorbu. Ne znam ko je nastavnica ali nije još sve izgubljeno.
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Hahah, dobro, ipak su ti ljudi odrasli uz Čorbu. A istina je, u koji god da sam lokal ili taksi ušao juče i danas, čuo sam Čorbu.
Quote from: Petronije on 05-09-2024, 21:22:26
Inače mi danas stariji sin (7. razred) priča da su ceo čas muzičkog slušali Riblju Čorbu. Ne znam ko je nastavnica ali nije još sve izgubljeno.
Pa, tako je bilo i za Đinđića: bukvalno niko da pisne dok je bio živ, samo pljuvanja, kad je umro najveći heroj.
Ne znam kako to budi nadu, bukvalno je ubija. Što bi rekao Lane Gutovic: stoka, marva , naučilo to tako...
U rok i pop muzici se često govori o fenomenu drugog albuma kao prepreci koju mnogi bendovi ne uspevaju da preskoče. Teorija je da su za prvi album imali 18 ili 20 godina da ga pripreme, crpući inspiraciju iz čitavog svog života i stavljajući na njega pesme koje su sa njima na ovaj ili onaj način živele decenijama, dok drugi album treba napraviti već iduće godine, sa iskustvom uspeha, slave i promenjenih životnih okolnosti u kojima se odjednom sve vrti oko tog uspeha i slave, i onda su drugi albumi često muzički samo pokušaj imitiranja spontanosti koja je krasila prvi album, a tematski umesto da budu duboko proživljene priče iz života, nude narcisoidno rvanje sa novostečenom popularnošću.
(https://i.imgur.com/1cE5c0d.png)
Po verovatno ne baš SAVRŠENOJ analogiji, Baby Assassins: 2 Babies je drugi film u serijalu Baby Assassins – rekosmo prošle nedelje da treći upravo treba da počne da se prikazuje u Japanu i da je do sada dobio najbolje kritike od svih delova serijala – i on se rve možda ne sa SLAVOM i POPULARNOŠĆU koje su ga zadesile, ali svakako sa problemom kako da ponovi iste stvari koje je prikazivao prvi film a da to nekako bude novo, sveže, zabavno, interesantno, pa možda mrvicu i originalno. Baby Assassins: 2 Babies, da odmah kažemo, ne pomera diskusiju o post-milenijumskoj omladini uhvaćenoj u kovitlacu ubrzanog odrastanja i gotovo neprekidne recesije ni milimetar napred i ono gde je uspešan je da nudi još dobre akcije te da su njegove dve protagonistkinje još više razradile međusobnu hemiju pa je gledanje njihovih interakcija na ekranu zabavno. No, da je Baby Assassins: 2 Babies snimljen kao kratki JuTjub film od pola sata sa dva-tri slacker skeča gde bi najbolje drugarice blejale u stanu i vodile trivijalne razgovore, a ostalo bila urnebesna tuča, puškaranje i mlaćenje muškaraca sa sačmaricama i u bizarnim kostimima slušalicom kancelarijskog telefona, ovo bi možda bilo efektnije premošćavanje perioda između prvog i trećeg filma. Ovako kako jeste, Baby Assassins: 2 Babies je možda i malo bolna demonstracija razvlačenja jedva postojećeg zapleta na stotinak minuta radnje, koja je slikana veoma lepo, sa lepim, upečatljivim glumcima, ali sa izrazito mnogo šlajfovanja i praznog hoda. Toliko čak da, ako ste za prvi film morali biti priličan weebo da biste uopšte seli da ga gledate,* ovaj drugi bi mogao da vam ozbiljno testira strpljenje.
*"Da, evo, gledao sam neki film o dve japanske maturantkinje koje ubijaju za pare a između ubistava se razvlače po trosedu, igraju onlajn igre i kukaju što pored svega još moraju da traže i dodatni posao" – je rečenica koju naprosto ne izgovarate u pristojnom društvu, dakle, na slavi, u kancelariji, tokom primanja hemoterapije ili ispred kapele dok pop peva a vi čekate da završi da uletite sa cvećem koje niste stigli da šutem sa linije tri poena na vreme dobacite do kovčega
(https://i.imgur.com/jecIJta.png)
Da odmah bude jasno, Baby Assassins: 2 Babies je šarmantan film kao i prvi, i zapravo on VIŠE od prvog ide na šarm a manje nego na akciju ili taj kontrast između devojačkog slacker razvlačenja i sociopatske dimenzije protagonistkinja koje od njih čine hiperefikasne profesionalne ubice. Štaviše, film u samom svom finalu praktično mora da podseti, na prilično brutalan način da imamo posle sa dve moralno i mentalno oštećene osobe koje ubijaju jer to rade dobro i osećaju izvesni profesionalni ponos u tome, pošto je prethodnih sat i po proveo prikazujući naše dve junakinje u raznim stadijuma vrlo naglašene bleje i u samo par akcionih scena koje se ne završavaju ubistvima i nisu deo njihovog životnog poziva.
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Naravno da je uvek morao biti problem kako napisati scenario za nastavak filma koji je i sam bio jedan malo duži vic, pa je Yugo Sakamoto ovde posegao za jednim vrlo standardnim tropom, manevrišući kroz uvodne scene tako da naše dve omiljene asasinke dovede u situaciju da praktično popiju suspenziju od strane svog poslodavca. Film ovde pojačava tu korporativnu satiru, prikazujući organizaciju za koju Chisato i Mahiro rade kao još birokratizovaniju i sputaniju formalnom disciplinom i nebrojenim, zamornim pravilima nego što je bio slučaj u prvom filmu. Kontrapunkt između činjenice da je ovo firma koja upošljava profesionalne ubice* i toga da ta ista firma ima Zoom sastanke sa svojim zaposlenima gde stalno mora da ih podseća na propise, da citira paragrafe iz pravila službe i da ih kori što ne čitaju službenu poštu koju dobijaju, taj je kontrapunkt ovde intenziviran, sa podugačkim scenama u kojima naše dve protagonistkinje imaju ekstenzivne dijaloge sa šefovima i prevrću očima dok im se objašnjava kako su se sve ogrešile o pravila firme i kako će to biti sanckionisano.
*koje, u tradiciji široko shvaćenog ,,asasinskog" žanra u Japanu, a čiji je verovatno najpoznatiji predstavnik Golgo 13, likvidiraju uglavnom zlostavljače dece, nasilnike, reketaše itd.
(https://i.imgur.com/6hDbJjU.png)
Elem, rezultat cele te frtutme je da Chisato i Mahiro, zbog suspenzije ne samo da ne mogu da očekuju platu na kraju meseca, već im se i vrlo jako naglašava da ni slučajno nikoga ne smeju da ubiju dok ova mera traje, jer će se to računati kao nelicencirano tezgarenje sa strane, a za šta su kazne još veće. Da bude JOŠ gore, dve devojke saznaju da imaju popriličan dug – preko dvadeset hiljada dolara – na ime neplaćenih članarina za teretanu u koju su se učlanile kada su počele da rade za organizaciju a onda prestale da tamo idu posle prvog treninga JER KO IMA SNAGE ZA TO. Kad se tu nakarikaju penali, zatezne kamete i ostali bankarski marifetluci, ostajete sa dugom koji bi osobu sa lošije plaćenim poslom doveo do ruba bankrota. Chisato i Mahiro, pak, imaju dovoljno ušteđevine da ovo ne bude problem, AKO se dug vrati do određenog termina određenog datuma, a onda, kako to biva u komedijama, neočekivan upad pljačkaša u banku par sekundi pre isteka roka ruši sve njihove pažljivo izgrađene (dobro, zapravo od muke improvizovane) planove i šalje ih nizbrdnom putanjom neophodnosti da nađu privremene i povremene poslove koji će im pomoći da imaju da jedu i da vraćaju dug dok im suspenzije na istekne.
(https://i.imgur.com/vdE1efZ.png)
Ovo je, dakle, u velikoj meri ponavljanje istih narativnih motiva kao u prvom filmu i Sakamoto se trudi da istera koliko može kilometraže iz te ideje da dve devojke koje BAŠ NE VOLE da rade i mnogo će radije blejati na kauču kod kuće, sad moraju da nalaze tezge kao i veliki deo njihovih vršnjakinja. I mada je to sve zabavno, teško je ne primetiti koliko pomenutog praznog hoda ulazi u minutažu filma, sa devojkama koje imaju simpatične skečeve jedna sa drugom, ali gde se priča ne pomera ni za milimetar napred, sa sporim, dugim scenama iz jednog kadra gde je to što ovde dve drugarice rade slatko i kul, ali je u suštini trivijalno i zaista je na nivou nekog JuTjub skeča snimljenog telefonom.
Jedan od ,,set pisova" filma koji proističe iz ovog zapleta je i scena u kojoj se Chisato i Mahiro međusobno potuku, ali dok nose na sebi velike kostime životinjskih maskota kojima treba da animiraju decu na ulici i to je vizuelno jedan od najmemorabilnijih momenata ali je istovemeno kratak i ne služi ničemu sem da bude vizuelno memorabilan. Dalje imamo kratko koketiranje sa kockanjem tokom kog Chisato pokušava da na snagu volje pobedi u meču protiv profesionalnog uličnog igrača šogija (tj. japanske verzije šaha) iako jedva da zna pravila igre a koje je opet prilika da Akari Takaishi ima neke simpatične momente preglumljavanja, ali bez bitnih razvoja koji bi se ticali priče ili karaktera.
(https://i.imgur.com/aOdwuyE.png)
Da se film ne svede samo na seriju umereno zabavnih skečeva služi zapravo ,,glavni" zaplet a koji je kao teleportovan iz nekog drugog filma. On se tiče dvojice nadobudnih mladih poluprofesionalnih ubica, mladića po imenima Yuri i Makoto koji ubijaju sitne kriminalce za sitne pare, kao ludi se raduju kada im njihov hendler, jedan sitni ćata, za dobro obavljen posao plati da jedu roštilj i sanjaju da postanu pravi profesionalci koji će raditi za ,,organizaciju" i gde će primati redovnu platu za ubijanje. Pomenuti hendler im kaže da je razlika u prihodima zaista ogromna između te dve klase ubica ali i da je njihov jedini način da dobace do elitne prve lige i stalnog zaposlenja taj da pronađu Chisato i Mahiro i da ih eliminišu, čime će se uprazniti dva mesta u organizaciji a za koja će oni onda moći da konkurišu. Ovaj plan ima više rupa od ekipe koju vidimo da su je Yuri i Makoto u uvodnoj sceni entuzijastično ali sa malo veštine eliminisali kombinacijom pesnica i vatrenog oružja, ne najmanje i zbog toga što je njihov hendler relativno nespretan u svom poslu i, u odjeku zapleta iz jednog starijeg Sakamotovg filma, poslao ih je na pogrešnu adresu pa su momci počinili masovno ubistvo za koje nisu na kraju bili plaćeni. No, ova dvojica su mladi, napaljeni, gladni uspeha i njima je to dovoljno dobar plan.
(https://i.imgur.com/pXpDF6I.png)
Baby Assassins: 2 Babies do svog kraja onda ima dva problema koji se ne rešavaju u zadovoljavajućoj meri. Prvi je da su Yuri i Makoto zapravo interesantniji likovi od dve protagonistkinje već na ime toga da imaju strast za onim čime se bave, da su autentično gladni i napaljeni, dok su njih dve smorene, bezvoljne, nemotivisane i najradije se nikada ne bi mrdnule sa kauča. To je razumljivo postavljen kontrast ali ne čini mnogo za to da gledalac zapravo navija za dve antiheroine. Drugi problem je što su Yuri i Makoto na početku ali i tokom najvećeg dela filma prikazani kao zaista ne više od autentičnih amatera, kao dvojica blentavih spadala kojima je bitnije kako će da se obuku pred asasinaciju, da bi izgledali kul, nego da vežbaju gađanje ili borbu na bliskom odstojanju, momci zavedeni IDEJOM o tome da je asasinacija glamurozan i dobro plaćen posao ali koji prosto nemaju sociopatski mentalitet potreban da budete zaista hladnokrvni profesionalac. A onda, nekako, u finalu filma, oni predstavljaju kredibilnu pretnju za Chisato i Mahiro.
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I to sad prosto ne biva, bez obzira na kvalitet glumaca i veliki trud na obe strane, drama koju Sakamoto pokušava da sagradi za završni čin narativa se nikako ne drži na nogama. Film koji pravi velike napore da skoro sve u domenu profesionalnog ubijanja prikaže na farsičan, satiričan način – uključujući i APSOLUTNO predugačke interludije vezane za službu koja čisti teren posle asasinacija, uklanja tela, tragove itd. i gde opet imamo nekoliko gotivnih ,,JuTjub" skečeva ali koji ne služe da poteraju radnju u bilo koju stranu – u svom završnom obračunu praktično menja žanr i Saori Izawa ovde treba da ima do nervnog sloma napet meč jedan-na-jedan sa Joeyjem Iwanagom a koji je praktično kaver verzija njene tuče sa Masanorijem Mimotom iz finala prvog filma. I sad, Iwanaga – inače rođen u SAD – nije Mimoto, ali je odličan borac, sa već vrlo solidnim filmskim CV-jem koji se u popriličnoj meri tiče akcionog žanra, pa je ovo dobra tuča u kojoj Kensuke Sonomura isprobava neke nove trikove koje nismo videli u prethodnom filmu ili Hydra/ Fat City i to lepo izgleda. Jedino što, naravno, Iwanagin lik ničim u prethodnom toku filma nije pokazao da bi mogao biti borac koji bi Mahiro mogao da uopšte natera da se oznoji, kamoli da joj parira.
(https://i.imgur.com/6gbuKYE.png)
Dakle, dramaturški, Baby Assassins: 2 Babies ne funkcioniše kako treba – i to na fataliniji način od prvog filma čiji su dramaturški nedostaci bili sasvim vidljivi – i mora da se oslanja na sjajne mlade glumce i dobru akciju. To definitivno može da bude dovoljno ako ste spremni da filmu priđete sa prave strane, svesni da on, tehnički gledano, nije DOBAR. Saori Izawa i Akari Takaishi su naravno obe odlične mada ovaj film zapravo u određenoj meri traći potencijal koji je sa njima izgradio njegov prethodnik. Naime, kontrast između raspričane, žovijalne, ženstvene Chisato i ćutljive, asocijalne, muškobanjaste Mahiro je ovde značajno deakcentovan pa se oba lika sada ponašaju slično, sa uzajamno zamenjivim socijalnim neuralgijama u njihovom poašanju a koje su sad već ,,gen-Z" stereotipi, i razmenama koje su zabavne i lepršave ali gde drugarice praktično samo jedna drugoj dovršavaju rečenice. Kada Chisato, rekosmo, na treutak posrne u smeru pakla kockanja, deluje kao da će ovo biti tačka u kojoj se pravi razdelnica između likova a koju će, tu razdelnicu, one morati da prevaziđu sazrevanjem i samožrtvovanjem, ali to se u stvarnosti ne dešava.
(https://i.imgur.com/nCHkgL7.png)
S druge strane su Joey Iwanaga i Tatsuomi Hamada, obojica zabavni, fotogenični, sa likovima koji su zgodno plasirana satirična rekonstrukcija gikovskog ,,otaku" stereotipa samo što se ova dva lika umesto na mange, anime, rvanje i videoigre lože na profesionalno ubijanje. Kako je u srži ovog serijala upravo prikazivanje specifičnih socijalnih barijera i nesigurnosti sa kojima se generacija rođena kasnih devedesetih i u ovom stoleću susreće tako i ova dva lika sa sobom nose lepu kombinaciju razoružavajućeg gikovskog šarma i relatabilnih gubitničkih strahova i, ma koliko da su mi Chisato i Mahiro simpatične, Baby Assassins: 2 Babies je mogao da bude samo film o ova dva muška lika koji pokušavaju da uđu u biznis o kom imaju vrlo romantičnu, nerealističnu predstavu, dok istovremeno nespretno pokušavaju da se dopadnu konobaricama i zarade za život i te gotivne majice i znojnice koje nose.
(https://i.imgur.com/3SGWqhm.png)
Je li akcija onda makar kako treba? Oh, pa naravno da jeste. Kensuke Sonomura, u svojoj ulozi koreografa, film otvara neurednom, bučnom tučom u kojoj nema ni trunke elegancije i surove efikasnosti borilačkih veština što su njegov zaštitni znak, upravo da bi sugerisao kako su Yuri i Makoto tek dobronamerni amateri sa viškom entuzijazma i manjkom ekspertize. Ova tuča je zabavna a onda i postavlja jasnu referentnu tačku na osnovu koje ,,merimo" kvalitet scena u kojima se bore Chisato i Mahiro. I ovo su, naravno, odlične scene. Sonomura do pred kraj intenzivnije meša komediju i akciju, sa borbom u banci koja ima fantastične momente kakvih se doslovno ne bi stideo ni jedan Jackie Chan (pomenuto udaranje kriminalca u lice telefonskom slušalicom na kraju dugačkog kabla, a koje se dešava dvaput u jednom neprekinutom kadru) i koje Sakamoto režira i montira sa dužnom vizuelnom disciplinom a kaskaderi i borci rade odlične stvari. I ostale tuče do kraja su maštovite i duhovite, sve do finalnog sukoba u kome se Iwanaga i Izawa baš SVOJSKI poduhvate i ovde više nema humora i lepršavog igranja-za-publiku, pa je sve prepuno Sonomurinih trejdmark razmena superbrzih napada, blokada, pariranja, finti... Ako se Baby Assassins: 2 Babies razlikuje od prethodnog filma u domenu dizajna i koreografije akcije, ali i od Sonomurinih najpoznatijih radova, to je po deakcentovanju borbe u parteru, koje ovde gotovo da i nema iako su te njegove koreografije istorijski zapravo izrazito uspele sa strane čitljivosti i energije. No, ovo je i dalje izuzetno efektna borilačka scena sa brzim tranzicijama između stavova i ekstremno ubedljivim radom ruku i nogu, koju svaki ljubitelj ,,karate filmova" treba da vidi. Makar na Jutjubu.
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Problem Baby Assassins: 2 Babies je onda to da je ovo zaista film koji ćete pre gledati u komadićima na JuTjubu nego da odvojite stotinu minuta da ga vidite na Netfliksu. Zabavan u delovima, sa nekim,da ne zaboravimo, ODLIČNIM momentima, on je kao celina ipak manje od sume svojih komadića. Ako volite lepe mlade osobe koje rade zabavne stvari pred kamerom i ne smeta vam odsustvo jasnijeg dramaturškog usmerenja koje bi te stvari smislenije upakovalo, Baby Assassins: 2 Babies je film za vas. Ako ne, pa... onda ne.
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Madame Web je najgori superherojski film koji je Sony napravio u svom sada već maničnom kopanju po smeću da od restlova Sajdermena kog su iz očajanja morali da ,,vrate" Dizniju, pronađe nešto što bi poslužilo kao zametak nekakve nove uspešne superherojske sage. Pomislili biste da su im dva Amazing Spider-mana Marca Webba bila dovoljna lekcija, a ako ne to, onda da će Morbius (https://cvecezla.wordpress.com/2022/09/30/film-morbius/), film-mem, dvaput lansiran kroz gromopucateljne pohode na bioskope i dvaput ponižen pustim salama i praznim sedištima da trgne nekoga u Sonyju i da mu ukaže da je ionako vreme u kome je publika išla da gleda sve superherojske filmove, ma koliko loši bili, ipak prošlo. Nažalost, valjda je i dalje neobjašnjivi uspeh dva slaba, muljava Venom filma (https://cvecezla.wordpress.com/2021/11/26/film-venom-let-there-be-carnage/) dovoljan da ubedi nekoga u firmi kako i dalje vredi kopati po starim Spajdermen stirpovima i iz njih izvlačiti opskurne likove pa će možda jednom jedan od njih postati makar viralni hit na tviteru, a ostalo će valjda ići samo od sebe.
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Čak i tako, Madame Web je skoro neobjašnjivo očajan film, isteran u bioskope Februara ove godine, a što zvuči i kao da je neko ipak pazio da premijere ovog filma i trećeg nastavka Venoma (zakazana za kraj Oktobra) budu dovoljno daleko razmaknute da zlatnu koku slučajno ne sapletu loše kritike, novinski napisi o ,,zamoru superherojštinom" i tviter-zajebancije koje je ovaj film sa punim pravom sve popasao. Ali ako ZNATE da pravite smeće, zašto zaboga pravite smeće i trošite sto miliona dolara na film koji čak ni kao siroti Morbius, nije imao bar tu sreću da ga klinci gledaju na tviču i sprdaju se sa njim, praveći od njega svojevrsnu viralnu senzaciju? Madame Web je naprosto... potonuo, vukući sa sobom i reputacije žena koje možda i zaslužuju bolje.
Ali, eto, nije ni zgoreg reći kako je Madame Web režirala žena ne samo bez iskustva sa superherojskim ili žanrovskim filmom nego bez iskustva sa FILMOM uopšte. Britanska režiserka S. J. Clarkson ni slučajno nije bez zanata u rukama, ali njena dosadašnja ekspertiza vezana je isključivo za televiziju. I, sad, daleko od toga da režiranje britanskih sapunskih opera poput Doctors, Eastenders ili, eto Footballer's Wives nekog treba da diskvalifikuje od rada u superherojštini – trebalo bi da budete filmski snob posebnog kalibra da biste poginuli na TOM brdu – ali na osnovu svega prikazanog, ona sa ovim filmom nije imala pojma šta radi.
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Možda ne svojom krivicom, naravno, Clarksonova nije bez žanrovskog i superherojskog iskustva (radila je neke epizode Dextera a onda i Jessice Jones i The Defenders) ali sa Madame Web je sasvim moguće imala u rukama projekat gde studio, poučen time da su zbrljani, u svakom pogledu nekompetentno rađeni filmovi o Venomu bili veliki hitovi, gledao da se više pažnje obrati na ,,easter egg" nagradice za strip-gikove u publici i bacanje udica za neke naredne Sonyjeve Spajdermenu-srodne filmove nego na dramaturšku konzistentnost scenarija, na glumce, vizuelni dizajn filma, specijalne efekte... Ima nečeg skoro pornografskog u tome kako u Madame Web Sony ide tako daleko da nam pokaže Spajdermena na ekranu ali da nikada ne izgovori njegovo ime, da umesto fraze ,,Spider-man" čujemo ,,Spider-person", i da se neko na projekciji filma šefovima studija verovatno slavodobitno hvalio kako su se, evo, BAŠ POJEBALI sa Diznijem, a da im ipak nikada nije ušao.
Ako su, dakle, u takve gluposti ulagani vidni napori, a ne u dramaturgiju, scenografiju, kameru ili dijaloge, nije sad ni neko čudo da je ovo i film koji ne zna ni tačno kog je žanra, pa se pijano povodi između televizijski konstruisanih scena koje treba da prenesu sitkom energiju, horor-trilerske kodifikacije sa negativcem što nekako u sebi treba da spoji telesni horor i jezu društva pod stalnim video nadzorom, i superherojske akcije koje ima jedva da se napuni rakijska čašica.
Sad, Madame Web i nije, striktno gledano, nikada mogao da bude ,,pravi" superherojski film jer je teško – nećemo reći i nemoguće – da se napravi dinamičan akcioni film od nekih stopet minuta sa glavnom junakinjom koja je slepa i sedi u invalidskim kolicima, ali ovo odmah i ukazuje koliko je kopanje po Spajdermenovom kanonu i izvlačenju likova iz naftalina jalova rabota. Ipak, nemoguće je ne zapitati se: zašto Madame Web? Ako su vam već nedostupni likovi poput Scarlet Spidera ili Kainea, koji su ,,pravi" superheroji (a ni ne znamo jesu li zaista nedostupni), ako možda mislite da su Gibon ili, eto, Tarantula nedovoljno marketibilni negativci (a da se razumemo, i nisu kada se uporede sa Venomom), zašto bi slepa starija žena koja nikada ne izlazi iz svoje sobe bila vaša dobitna kombinacija? Kao sporedni lik u stripovima o Spajdermenu Cassandra Webb, naravno, ima svoje mesto, vezano za koketiranje sa parapsihološkim u meri u kojoj je ovom stripu to potrebno. Kao protagoniskinja, ona je značajno problematičnija.
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Film to rešava smeštanjem priče u prošlost (uglavnom u 2003. godinu), kreirajući origin story koji pokazuje kako je Cassandra stekla svoje parapsihološke moći, a što i znači da se niti u jednoj replici neće izgovoriti ,,Madam Veb". Cassandra Webb je u ovoj priči mlada bolničarka njujorške službe hitne pomoći i njeno tramuatično otkriće da može da u nekim, neočekivanim situacijama vidi budućnost, a onda i da je svojim delanjem izmeni, dolazi bez mnogo prethodne najave i pripreme. Sony u odnosu na Marvelove produkcije još uvek ima tu slobodu da njihovi filmovi ne sugerišu svet u kome su superheroji uobičajena, svakodnevna pojava, pa je i ovo Njujork u kome nema Spajdermena a Cassy legitimno ne zna šta i zašto joj se dešava kada počnu da je napadaju vizije.
Obrisi nekakvog plana studija se ovde vide i Madame Web nije sasvim ,,nekostimiran" superherojski film. Korišćenje tri njujorške tinejdžerke iz vremena pre nego što će svaka od njih obući kostim i postati jedna od budućih superheroina sa paučijom kodifikacijom (dve će poneti ime Spider-Woman a jedna Spider-Girl/ Araña, a sve ih u fleš-forvardima vidimo u kostimima), kao i smeštanje priče u praktično komšiluk porodice Parker koja očekuje sina a čije se ime nikada ne izgovori (kako bi pažljiviji gledaoci u bioskopu mogli da laktom gurnu one do sebe i objasne im veze sa Spajdermenom) ukazuje da je ovaj film bio zamišljen kao artiljerijska priprema za post-Venom produkcije u kojima će figurisati mlade superheroine čiji su kostimi, ruku na srce, u ovom filmu sasvim lepo dizajnirani. No, apsolutna propast Madame Web u svakom komercijalnom i umetničkom pogledu verovatno je TOJ budućnosti oduzela svaku šansu da se realizuje.
Ako je moguće naći neku lepu reč za ovaj film, ta je da on nije, za razliku od, na primer, Deapool& Wolverine (https://cvecezla.wordpress.com/2024/07/26/film-deadpool-wolverine/), sklopljen isključivo od fan-service referenci i mema. Takođe, u njegovoj postavci ima obrisa zanatske veštine. To da je glavna junakinja bolničarka u hitnoj službi se organski uklapa sa činjenicom da ona pod svoju zaštitu uzima tri devojčice što ih progoni mračni lik u crnom kostimu legalno-distinktnom-od-kostima-Spajdermena, ali figuriše i kasnije u finalu filma sa spretnim korišćenjem tehnologije na raspolaganju hitnoj pomoći i dobro plasiranoj sceni oživljavanja putem kardiopulmonalne reanimacije koja je odjek slične scene sa početka filma. Takođe, ovde ima nekih dobrih glumaca.
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No, tu moramo da stanemo. I da zapravo kažemo da je pomalo i iritantno kada uzmete dobre profesionalce da bi glumili OVAKAV scenario. Ne samo da je talentovani francuski glumac Tahar Rahim zaslužio bolje od ove ravne, klišeizirane, skoro potpuno isprazne i nezanimljive figure negativca Ezekiela Simsa, nego je i sam Sims zaslužio bolje scenariste. Kao kreacija J. Michaela Straczynskog, Sims ima tu distinkciju da je verovatno najslojevitiji i najdublje motivisan Spajdermenov negativac stvoren u ovom veku pa je ova njegova filmska verzija, umotana u kostim koji deluje kao odbačena work-in-progress ideja za crnog Spajdermena ne samo konceptualno već i vizuelno DOSADNA.
Isto važi za ostatak dizajna filma. Scene smeštene u Peru (snimane u, pravite se iznenađeni, Masačusetsu) su OČAJNE, sa iskusnim direktorom fotografije Maurom Fioreom koji je možda najveće razočaranje ovog filma. Fiore je, ne zaboravimo, dobio oskara za Avatar i snimao i produkcije kao što su Training Day, Spider-man: No Way Home ili Tears of the Sun, no, nažalost sa ovim filmom ili uporedivo problematičnim Dark Phoenix podsećamo se da dobar direktor fotografije ne vredi ako radi sa režiserom koji ne zna šta hoće i set dizajnom koji je, hajde da kažemo, nemaštovit.
Madame Web je vizuelno naprosto zaboravljiv film, bez čak i pamtljivog CGI ekscesa Morbiusa, sa scenama u Njujorku i Džersiju (snimljenim u Bostonu, naravno) koje vidno pate od nesklada između televizijske režije dijaloga i Fioreovih pokušaja dinamizacije ovih razgovora, kadrirane bez imaginacije, bez energije, povremeno i bez smisla. Scene u Južnoj Americi su još gore sa grozomornim dizajnom ,,domorodaca" koji znaju sve tajne paukova i moći što ih ljudi od njih mogu dobiti, lošim CGI efektima, korišćenjem filtera koji sliku čini razmazanom.
No, najveći problemi filma su očajan scenario, užasna naracija, bezvezan negativac i, bojim se, nedovoljno upečatljiva protagonistkinja. Da krenemo od ovog poslednjeg: Dakota Johnson je kroz svoju karijeru morala da se suoči sa mnogo kritike za nepotizam, kritike za otvoreno pričanje o svojoj depresivnosti i tome da ona može biti i ,,divna" (kao da je osobi koja boluje od depresije potrebno da se ceo internet obruši na pomalo nesmotren komentar), te kritike da naprosto nije sjajna glumica. Za ovaj film ona koristi sva svoja jaka oružja, prevashodno tu auru ,,jake ranjivosti" kojom podseća na Isabelle Adjani iz najboljih dana a što nije mali kompliment da ga nekom date. No, i bolje glumice od nje bi poginule na tekstu koji joj je dat da izgovara i, očigledno, potpunom odsustvu direkcije od strane ljudi iza kamere. Cassandra Webb u tumačenju Dakote Johnson nema TRUNKE karaktera i sve što izgovara su fraze na nivou daytime soap serija koje su možda Clarksonovoj po inerciji delovale kao dovoljno dobre, ali je prosto neverovatno da je neko OVO pustio u bioskope. Opet, i sama Johnsonova kaže da je scenario drastično menjan nakon što je ona potpisala ugovor pa se i, još u toku pres ture u doba premijere filma ona ogradila od konačnog produkta.
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Prepravljanje scenarija u toku produkcije je, pogotovo kod superherojskih filmova, sasvim uobičajena rabota, no teško je onda zamisliti koliko su prethodne verzije skripta morale biti loše ako je OVO smatrano dovoljno dobrim za bioskop. Madame Web je film prepun dijaloga za koje imate utisak da je su scenaristi probuđeni usred noći da hitno intervenišu jer scena mora da se snimi BAŠ SADA i da su onda u panici poslali SMS-om prvi draft koji im je stajao u fioci od pretprošle godine, govoreći sebi da je ovo samo privremeno rešenje i da će jednom sesti i napisati tu scenu ljudski i kako treba. A opet, pošto su ovo pisali Matt Sazama i Burk Sharpless, ekipa koja stoji i iza Morbiusa, možda je to naprosto nivo za koji Sony smatra da je optimalan.
Negativca smo već pomenuli, ali vredi podvući: Ezekiel Sims je ovde lik tanak poput flispapira, sagrađen isključivo od klišeiziranih motivacija i neodređeno ,,stranog" naglaska koji treba da sugeriše pretnju, obučen u muljav, nezanimljiv kostim i sa moćima koje deluju kao da je juče krenuo u Spajdermenisanje, nije još siguran šta sve može da uradi pa za svaki slučaj nosi u džepu i ručnu bombu, zlu ne trebalo. Kako već rekosmo, madame Web nije siguran kojeg je zaista žanra pa je njegov negativac malo nezaustavljivi slasherski ubica a malo okretni kvazi-Spajdermen koji nekako uvek uspeva da bude poražen tako što ga ljudi udare kolima na kvarno, dok ne gleda. Njegovo koketiranje sa digitalnim panoptikumom je površno i ne uspeva čak ni da dobaci do metafore ,,paukove mreže" u kojoj su ,,uhvaćene" nedužne tinejdžerke što će ih on, ,,pauk", na kraju proždrati a za njegove vizije, koje su mu i glavna motivacija za sve što radi, na kraju nema nikakvog objašnjenja, ni zašto ih ima, ni, jelte, zašto nisu istinite.
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Ali to je samo delić te zaista rđave narativne tehnike koju ovaj film dovodi do nivoa paroksizma. Flešbek i flešforvard montaže mogu biti efektno sredstvo komprimovanja informacija, pogotovo u superherojskim filmovima koji moraju da gledaocu stalno daju male podsetnike na prethodne avanture likova, ali i u filmovima koji se bave predviđanjem budućnosti, no, Clarksonova kao da je sasvim izgubila kontrolu kada se ušlo u sobu za montažu i film se transformiše u seriju mikro-trejlera za naredne epizode od kojih se neke, očigledno neće dogoditi. U jednoj od prelomnih scena, Cassandra bukvalno kao da gleda najavu za drugi deo filma koja u pola minuta objasni njegov zaplet i pokaže kako će se stvari odvijati, i zatim se, u skladu sa čestim prigovorima da trejleri danas otkrivaju previše i da kasnije nemate zbog čega da gledate film, ništa od svega ovoga ne dogodi. U rukama nekog drugog režisera, neke druge produkcije, ovo je mogla biti i efektna narativna tehnika, kratko otvaranje prozora u budućnosti koje su zatim izbrisane, ali u OVOM filmu sve deluje kao da su nas sve vreme pripremali na drugi film koji nikada neće biti snimljen. Ili makar koji nikada neće biti izmontiran.
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Istina je i da dobri kostimi za tri mlade superheroine (koje to u ovom filmu, da bude jasno, još nisu) ne znače i da bi filmovi o njima išta valjali, ali istina je i da bih mnogo radije gledao film o mladim superheroinama koje se bore protiv dinamičnijeg negativca, od ovog i ovakvog filma. Madame Web ima poneku svetlu tačku – na primer, Adam Scott i Mike Epps su vro dobri u svojim malim, sporednim ulogama od kojih bi lako mogla da se napravi low-key TV serija o ranim danima malog Spajdermena i da to bude SLATKO – ali je kao celina ovo projekat očigledno rastrzan odsustvom vizije i više usredsređen da poseje seme iz kog bi Sony mogao da uzgoji JOŠ spinof filmova, nego da bude valjano ispričana priča za sebe. Šteta, ali da ste pitali samu Madame Web, rekla bi vam da ni u jednoj budućnosti koju vidi ovo nije moglo da bude išta više od katastrofe. Pa, eto, onda, srešćemo se, kome JOŠ nije dosta, na premijeri trećeg Venoma.
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Here je interesantna, prilično artistička ali i prilično duhovita, pa onda i prilično mučna drama koja se dešava u posebnoj bolnici za tretman mentalnih oboljenja, a čiji se upravnik hvali u kameru kako ovde ne razdvajaju one što su na lečenje došli kao kriminalci kojima je sud umesto zatvora dosudio terapiju, od onih koji nisu počinili krivično delo. Sve to zvuči prilično demokratski, progresivno i humanistički, pogotovo kada se čuje da je ova bolnica još šezdesetih počela sa eksperimentalnim tipovima terapije i trenutno kao svoj glavni pristup lečenju pacijenata ima tzv. videolek. Moderna digitalna tehnologija omogućava njihovim pacijentima da traumatične ili samo prelomne momente u svom životu odglume pred kamerom i da zatim sede zajedno sa terapeutima za montažnim stolom i sebi dopuste da naprave drugu odluku, koja vodi drugom ishodu (na filmu). Film se zatim pušta svim ostalim pacijentima, tokom grupne projekcije i njihovi aplauzi i podrška ,,glavnom glumcu" treba da posluže kao katarzični okidač koji će njegovom umu dopustiti da zameni ,,stvarni" događaj i njegove ishode nečim boljim i izgradi aspirativne, motivišuće misli i emocije.
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Here je urađen 2009. godine u singapursko-kanadskoj koprodukciji i u pitanju je mali, jeftin film koji ekstremno efektno koristi svoju scenografiju, kostime, setove, ali i činjenicu da je snimljen na filmskoj traci i da mu ona daje veoma topao kolorit, a direktor fotografije Jack Tan znalački koristi sočiva koja pozadine u nekim scenama prirodno (dakle, optički a ne pomoću digitalnih efekata u postprodukciji) stavljaju u mekan, razliven fokus, dajući gledaocu da oseti tu mirnoću ali i svojevrsnu ,,nestvarnost" bolnice Island Hospital smeštene negde u severnoameričkoj provinciji.
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Primarni autor filma, Ho Tzu Nyen, koji je ovo napisao i režirao, nije primarno ni režiser ni scenarista. Here mu je prvi – i za sada jedini ,,pravi" – dugometražni film, a pre kojeg je već uradio nekoliko kratkih filmskih ostvarenja, mada su ona uglavnom bila vezana za posebne umetničke projekte. Ho je, naime, prevashodno obrazovan u klasičnom umetničkom domenu – studirao je u Australiji a kasnije išao na master studije u Singapuru gde je nastavio da radi. Njegove rane izložbe kombinovale su slikarstvo i video instalacije, da bi onda kombinovao video radove i performans. 2005. godine je za nacionalnu televiziju uradio dokumentarni serijal 4x4 o savremenoj umetnosti u Singapuru a onda nastavio sa video radovima, instalacijama i performansima. Jedan od njih je bio i ,,Projekat kralj Lir", naizgled ,,obična" pozorišna produkcija ali gde je pred publikom na pozornici umesto izvođenja samog Šekspirovog teksta režirana dramatizacija kritičarskih eseja o Kralju Liru. Veoma postmoderno.
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Ovo je Hou na neki način bio i uvod u film pa je 2009. godine pored Here uradio i Earth. Earth je imao premijeru na Venecijanskom festivalu ali ovo je više prošireni video rad nego konvencionalan film (tri kadra u 42 minuta tokom kojih se pedeset glumaca/ performera bude iz nesvesti i u nju vraćaju dok preko projekcije svira živi orkestar koji sinhronizuje muziku sa onim što se vidi na ekranu u realnom vremenu), dok je Here imao interesantan festivalski život, uključujući premijeru na 62. Kanskom festivalu, gde je bio nominovan za nagrade u dve kategorije, i pregršt festivala u Aziji i Evropi.
Ho nastavlja da se bavi umetničkim radom, sa izložbama i instalacijama koje dobacuju i do vrlo poznatih svetskih institucija – na primer ove godine je imao dvoipomesečnu izložbu u Tokijskom muzeju savremene umetnosti – a u Singapuru ga intenzivno prepoznaju i cene na ime njegovog analitičkog i maštovitog rada sa istorijom, dokumentaristikom i mitovima.
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No, ako se Here uzme kao pokazni primer – a ovo suštinski i jeste jedini ,,stvaran" film koji je Ho režirao – on bi mogao, ako poželi, da ima sasvim solidnu karijeru sineaste. Veliki deo šarma u Here je svakako sama ideja ali ovo je vrlo spretno sklopljen mali film u kome je jedan od producenata, Španac na sada već dvadesetogodišnjem produženom radu u inostranstvu (Singapuru, naravno), Fran Borgia bio i montažer i gde zaista na delu imamo arthouse produkciju koja je u svakom trenutku na korak ili dva od klasičnog repertoarskog filma. Here je, da je autor to hteo, mogao da bude i komedija. Zapravo, ako se kao referenca uzme jedan od najpoznatijih filmova snimljenih o pacijentima mentalnih institucija, Formanov Let iznad kukavičijeg gnezda, a koji je i sam imao izražene komične slojeve, može se primetitit da su Ho i Jack Tan dobar deo imaginarijuma zasnovali baš na ovom predlošku, sa naglašavanjem razlike između uniformi koje nose pacijenti i zaposleni, prikazivanjem enterijera bolnice kao neke vrste produžetka mirnog, pustog krajolika koji služi kao prvi i najvažniji sloj izolacije između pacijenata i spoljnog sveta. No, Here je film snimljen mnogo kasnije, drugačijom tehnikom i njegov vizuelni jezik je značajno bliži dokumentarnom filmu.
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Štaviše, najveći deo filma i jeste rađen kao mockumentary, sa ponovljenim scenama intervjuisanja pacijenata i osoblja, gotovo ritualističkim prikazom njihovog potpisivanja odobrenja da se snimci uvrste u film. Ho sa ovim scenarijom nije išao na neku otvorenu, direktnu kritiku ,,mentalnih institucija" kao neksusa represije nad najranjivijim delom populacije ali jeste konstruisao vizuelni i simbolički ,,zatvor" u kome se ne specijalno dvosmislenim sredstvima prikazuje da ova institucija, suštinski, svoje štićenike uče da ,,glume" da su zdravi. Korišćenje inscenacija tih prelomnih događaja njihovih života da im se pruži prilika da donesu bolju odluku, zatim davanje pacijentima autorskog učešća u montiranju video materijala koji prikazuje te glumljene bolje ishode, sve to je zamišljeno kao osnažujuć pristup tretmanu pacijenata za koje se veruje da su samo u odsudnim trenucima napravili loš izbor. No film prikazuje i da je ,,test" izlečenja takozvana čajanka, povremeni večernji događaj organizovan u bolnici sa zaposlenima ali i uglednim ličnostima iz lokalne zajednice, gde štićenici koji su zadovoljavjauće prošli terapiju imaju priliku da se praktično po prvi put od svog ulaska u instituciju kreću među ,,običnim" svetom kome nije posao da se njima bave. Jedan od pacijenata onda doslovno kaže ekipi koja snima dokumentarac, da ,,ludak" ovde pred normalnima treba da ,,odglumi" da je ,,zdrav" kako bi uprava bolnice donela odluku da ga pusti na slobodu.
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Film, rekosmo, nema prenaglašen kritički niti politički iskaz. To da uprava bolnice tretira ,,mentalno oboljenje" kao dobrim delom socijalan fenomen, dakle, fenomen uklopljenosti/ neuklopljenosti u zajednicu a koji se onda može lečiti ,,vežbanjem" socijalnih rituala nije predstavljeno posprdno, ali postoji jasna sugestija kako je na kraju dana bolnica ta koja raspolaže slobodom svojih štićenika ali i da njeni ,,napredni" tretmani ne moraju da daju nikakve rezultate i da niko nikada neće odgovarati za to. Štaviše, u dva se navrata pacijentima koji se spremaju za odlazak, jer su uspešno prošli ,,test" čajanke, objašnjava da će biti dobrodošli ako ponovo moraju da se vrate na lečenje, kao i da u tome nema nikakve sramote i da je bolnica za njih uvek tu da im pomogne, ma koliko puta i ma koliko dugo to bude potrebno.
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Ho ovo režira bez naglašavanja sociopolitičkog konteksta, ali ubacuje detalje u narativ koji gledaoca mogu da odvuku putem sopstvene kontemplacije o tome je li ovakav sistem zaista sistem podrške ili sistem kontrole ljudi koji su proglašeni nesamostalnima, i koji i nakon ,,izlečenja" za koje bi bolnica trebalo da jamči, i sami znaju da će možda ponovo u njoj završiti. Naravno da je tretman mentalne bolesti u stvarnom životu izuzetno kompleksan fenomen, ali naravno da treba imati na umu i da je veliki deo tog fenomena vezan za socijalne i – znali ste da će ova reč pre ili kasnije da se pojavi u tekstu – klasne okolnosti, te da se može argumentovati da ljudi iz manjinskih/ marginalizovanih zajednica nesrazmerno često dobijaju dijagnoze i tretmane koji im ograničavaju slobodu.
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U slučaju ovog filma klasu kosplejuje rasa i Ho instituciju smeštenu u Severnu Ameriku nesrazmerno mnogo popunjava azijskim glumcima. Naravno, film je većinski produciran od strane Singapura pa je ovo naprosto njegova ,,tehnička" realnost ali fakat da su pripadnici osoblja kavkaskih fizionomija i da pričaju Engleski, dok više od 90% pacijenata imaju azijska lica i radije govore Mandarinski kreira naprosto prevelik kontrast da bi se mogao ignorisati. Naravno, onda su tu scene same terapije koje Ho režira istom dokumentarističkom disciplinom kao i intervjue, ali uspeva da ih prikaže kao istovremeno apsurdno besmislene pa i represivne, pogotovo kada imamo posla sa glavnim junakom po imenu He Zhiyuan* (igra ga fantastični John Low) koji je izgubio moć govora posle traumatičlnog događaja i komunciria ispisivanjem kratkih rečenica u blokčetu koje uvek nosi sa sobom. Kad ovaj lik treba da ,,odglumi" scenu koju smo već videli na početku filma, zbog koje je i dospeo na lečenje, on to čini sa takvom izveštačenošću da je naprosto nemoguće u nju ne učitati samoodbranu zbog činjenice da pred drugim, pomalo nestrpljivim ljudima on sebe ogoljuje do srži.
*koje bi moglo biti drugi način da se transkribuje ime samog režisera i scenariste filma
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No, Ho je pre svega išao na to da snimi arthaus film, a što se vidi i iz nekih naglašenije ,,eskperimentalnih" momenata, uključujući impresivne zvučne montaže, ali i jednu pouku o večnom vraćanju koja do kraja filma sve pomera u smeru predivnog apsurda. To da se glavnom junaku do kraja filma dešava fizički nemoguća stvar u vezi sa njegovom bolešću, traumom, izlečenjem, a da je film tretira kao datost, neizbežnost, logičan ishod svih malih sugestija koje smo dobili tokom gledanja je popriličan uspeh za čoveka koji nikada pre ovoga nije ni napisao ni režirao dugometražni film sa dramskom strukturom.
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Here, naravno, nije ,,obična" drama, ali ima kvalitetnu i čitku naraciju, zapravo brz tempo i odlične glumce. Jack Tan kamerom radi sporo, elegantno, bez brzih švenkova, sa punom svešću da su prostor i scenografija važni koliko i ti odlični glumci što deluju kao da uopšte ne glume. Posvete Formanu su neizbežne u filmu koji se dešava na ovakvom mestu, ali Ho zapravo u stilu naracije, komponovanju scena i vizuelnoj tenziji mnogo više podseća na Kubrika i Antonionija, a to su imena koja se ne potežu olako.
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Here je, na kraju, film o neizbežnosti. Jedan od likova naširoko objašnjava princip ,,amor fati", ljubavi prema sudbini, odnosno da se ,,veličanstvenost" u životu postiže onda kada prihvatate sve, i prošlost i budućnost kao neizbežne, zapisane i nepromenljive i ne biste, čak ni da vam daju priliku, promenili ništa u njima. Ovaj princip, često vezivan za Ničea i njegovo večno vraćanje je, naravno, u oštroj opoziciji sa terapijskim pristupom koji kroz digitalnu montažu menja prošlost kako bi oslobodio budućnost za pacijenta. Jedan od pacijenata će ovo odbiti, lomljenjem monitora na kome ide scena koja se montira, a glavni junak će večno vraćanje na kraju oteloviti u mnogo mračnijoj formi, ostavljajući gledaoca da se pita je li prisustvovao nečem veličanstvenom ili prosto nečem na šta smo svi zajedno osuđeni. Here je arthouse film sa dovoljno umireno komičnog, dovoljno kratak i dovoljno brz da bude prijemčiv svakom gledaocu a kvalitet produkcije na svim nivoima, uključujući taj lepi ,,filmski" izgled slike je dodatni argument da ga za gledanje preporučim svima. Imate ga na Mubiju.
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Taxibol, pedesetominutni film Tommasa Santambrogia je zatečen između mnogo koncepata. Ovo nije ni celovečernji ni kratki film i ovom italijanskom autoru rođenom 1992. godine u Rimu došao je između nekoliko kratkih filmova sa kojima je startovao karijeru i prvog celovečernjeg filma koji je snimio nešto kasnije iste te 2023. godine. Takođe ovo je crno-beli film koji se završava montažom kolor-scena snimljenih pre skoro pedeset godina na Filipinima, proizvodeći u gledaocu šok kada shvati da je film od kvazidokumentarca, preko nemog, igranog filma odjednom utrčao direktno u Filmske novosti od pre pola veka koje nekako izgledaju jednako artistički kao i sve što je do tada gledao. Ovo je i, kao što se da primetiti, film koji žanr menja nekoliko puta tokom svog srazmerno kratkog trajanja, ali i film u kome Santambrogio radikalno menja svoj pristup režiji, omažirajući u prvom delu filma Herzoga a u drugom filipinskog režisera Lava Diaza. A onda i sam Diaz igra u prvom delu filma, ali u onom drugom, koji je režiran po uzoru na njegove radove, sa dugim nemim kadrovima rađenim u realnom vremenu njega nema i gledalac se tokom njih samo podseća njegovih reči i misije sa kojom kaže da je došao na Kubu. Takođe, ovo je film koji je dobrim delom snimljen u Hemingvejevoj kući i na njenom imanju na Kubi, ali ovaj podatak je nebitan za pravilnu apsorpciju poruke filma – kuća je bitna zbog svoje vizuelne prijemčivosti ali njena stvarna istorija u filmu glumi jednu drugu, fiktivnu istoriju, a koju autor koristi da izloži problem.
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Konačno, ovo je problemski film koji problem izloži direktno u kameru, monologom Lava Diaza u prvoj polovini ali onda drugu polovinu potroši ne rešavajući problem već samo ispitujući – nemo – gledaoca i njegove reakcije kada se gledalac suoči sa tim da problem opstaje (doslovno, ostaje živ) i da ga, eto, niko ne rešava. Diazova misija pomenuta na početku neće biti obavljena do kraja Taxibola, ali njegova vrlo manifestna izjava ,,jebeš umetnost rađenu samo radi umetnosti" neće dobiti odjek u akciji u finalu filma, naprotiv. Taxibol je film o odsustvu akcije, odsustvu pravde, o, ako hoćete, trijumfu zla. A koje trijumfuje tiho, banalno, odvratno ali bez drame, ponavljajući stalno iste stvari godinu za godinom, nekažnjeno, skriveno od očiju onih koji pedeset godina traže osvetu ako već pravde nema, ali koje je – u onoj svojoj banalnosti zla koju je Hannah Arendt dijagnostikovala – i samo prilično bedno, samotno, ukopano u trivijalne dnevne rituale i shrvano slabošću i besmislom.
Tommaso Santambrogio je pored Rima i Milana studirao i u Parizu ali i u Havani, na Kubi i tamo je, verujemo, došao u dodir sa levičarskim sentimentom koji je po prirodi stvari drugačiji od onog što ćete videti u Evropi, ali je, možda i bitnije, upoznao i taksistu Gustava Flechu. Santambrogio Flechu opisuje epitetom ,,ekspanzivan" i u filmu on, na Španskom, tokom vožnje sa Diazom objašnjava da voli svoj posao jer ga dovodi u dodir sa ljudima iz različitih zemalja i kultura i da ga to na neki način obogaćuje. Diaz, koji se sa njim po Havani i okolini, saznajemo to iz razgovora, vozi već par dana, priča Engleski, ali se dva muškarca dobro razumeju, i pun je pitanja koje se tiču ne banalne turističke radoznalosti, već dubokih zaseka u ljudsko.
Diaz je, naravno, najpoznatiji filipinski režiser i umetnik koji je uspešno sebe brendirao i na zapadu, uprkos tome (ili baš zahvaljujući tome) da je on jedan od prominentnih predstavnika ,,sporog filma", sa dugim statičnim kadrovima snimljenih amaterskim digitalnim kamerama i trajanjima između tri i dvanaest časova. On je i neko ko već decenijama umetničkim i vanumetničkim radom nastoji da se ne zaboravi u šta je njegovu državu pretvorila represija Ferdinanda Marcosa, započeta ranih sedamdesetih, sa vanrednim stanjem koje je trajalo čitavu deceniju, i sa svirepom autoritarnom vladavinom tokom koje su ljudi zatvarani, mučeni i tajno ubijani a država brutalno pljačkana. Imajući u vidu da je Ferdinand ,,Bongbong" Romualdez Marcos Jr, dakle Marcosov sin trenutno (od 2022. godine) predsednik Filipina, kao i naslednik bogatstva preotetog od građana tokom očeve vladavine, nije iznenađenje da je Diaz i dalje ekstremno fokusiran na ovu jednu temu ali ni to da film kao što je Taxibol, rekosmo, ne nudi rešenje za problem, već ga samo izlaže mučno sporim tempom da nam se dobro ureže u svest. Zlo nije ni pobeđeno ni kažnjeno, ono je ostavljeno da smrdi i uživa u nepravedno stečenom imunitetu i bogatstvu. A mi imamo samo umetnost da na ovo podsećamo. Diaz u prvom delu filma to eksplicitno kaže: da svako od nas treba da radi koliko može da se bori protiv plime autoritarnih režima i kultistički formatiranih lidera na njihovim čelima, pa ako neko pre svega snima filmove, onda nek to bude filmovima. Jer, rekosmo, jebeš umetnost rađenu samo radi umetnosti.
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No, Taxibol je nedvosmisleno arthouse film i, kako rekosmo, on problem ne rešava, čak ni ne obrazlaže, samo pokazuje da on još postoji. Prvi deo filma, razgovor Diaza i taksiste Fleche je ,,mockumentary" u kome Diaz praktično intervjuiše taksistu, raspituje se o njegovoj intimi, ljubavima i gubicima ali otkriva i svoje ožiljke. Ovo su dva muškarca koja vrlo hemingvejevski pronalaze utehu i razumevanje jedan u drugom iako, naravno, Hemingvej nikada ne bi napisao scenu u kojoj oni ovako otvaraju srca, pa je ovo postmilenijalna intepretacija Hemingveja za generaciju Z, možda i malo usiljena. No kontrast između Diazovog iskustva – uspeo je da dođe sa porodicom u Ameriku ali ga je žena onda ostavila jer je stalno išao nazad na Filipine da snima – i Flechinog iskustva – partnerka ga je napustila jer je našla način da ode u Ameriku i tamo se preselila i više nema vremena za njega jer je zanimaju ,,stvari a ne ljudi" – je simpatičan i u podtekstu sadrži dosta potencijala za dalje istraživanje ,,muškog stanja". Ali film bira da ne ide ovim putem i naglo prelazi u fikciju kada Diaz izloži svoju misiju koja se tiče bivšeg Marcosovog generala koji je mučio i ubijao ljude i danas živi negde na Kubi, uveren da je izbegao ruci pravde.
Drugi deo filma je, rekosmo, sasvim bez reči, sniman u dugim, statičnim kadrovima tokom kojih pratimo dnevnu rutinu čoveka za koga smo i bez objašnjenja svesni da je baš general o kome je Diaz pričao na početku. Ovo je procesija izvanredno kadriranih i osvetljenih scena snimljenih, rekosmo, u Hemingvejevoj kući i okućnici, i kada ljudi koriste frazu ,,snimljeno u prelepoj crno-beloj tehnici" misle na ovo. Naravno da bi snimanje na kvalitetnom filmu dalo još lepše rezultate, ali i ovaj digitalni snimak visokog kontrasta je veoma upečatljiv, pogotovo sa Santambrogiovim smislom za kadar (kameru je pored njega radio i Lorenzo Casadio) i besprekornim montiranjem Mattea Faccende.
U ovom delu filma ne događa se nikava drama, on je štaviše programski lišen i drame i postavljanja pitanja i samo prikazuje starog čoveka koji je zao na vrlo banalne načine, emitujući autoritarnu prirodu kroz neme komande i gestove kojima obaveštava poslugu kada šta smeju ili treba da urade. Ovo je na neki način rekonstrukcija Ozrena Soldatovića iz Bele Lađe samo bez satirične ambicije, prikaz čoveka kome je tlačenje prirodan način ophođenja sa okolinom, a od koje očekuje da ga bezpogovorno sluša i postupa po utvrđenom protokolu svakog trenutka svakog dana. Jer mora da se zna red.
Santambrogio ovo radi dobro, kao što su i glumci koji igraju generala i poslugu kvalitetni u svemu što rade. Ovde vidimo čistačicu/ kuvaricu, nekakvog ađutanta/ majordoma i još nekoliko radnika, i niko ne govori, a svi slušaju. Scene su vizuelno jasne, i nisu ,,spore" na neki maniristički način već spore kako treba da budu da bi pokazale da je ovo rutina svakog dana gde čovek sa ko zna koliko života na savesti jede večeru svakog dana u isto vreme (ponekad se kuvarica malo zaleti pa presoli), posle gleda televiziju i puši kubansku cigaru pa ga ista ta kuvarica otprati u krevet i pomaže mu da skine odeću jer je on sada već star i zanemoćao. Noću ima košmare a sutra sve ide iz početka.
Santambrogio ovde spretno radi sa podtekstom, prikazujući nasilje i represiju kao normalane elemente sveta podeljenog na gospodare i poslugu, kroz gestove rukom kojima starac komanduje služavki, kroz scenu klanja svinje i druge slične slike. Sve je izvanredno snimljeno i umontirano, ali film se završava, rekosmo, bez zaključka, samo uz podsećanje da je ovo i dalje PROBLEM.
I možda je to dovoljno, možda generacija Z zaista samo treba da vidi da ovo postoji i da joj to bude buđenje. No, ko god da od filma eksplicitno napravljenog da ne bude umetnost radi umetnosti očekuje poziv na akciju nakon što je problem izložen, možda ostane i razočaran. Taxibol je na neki način i vežba iz nemoći. Dostojanstvene, svakako, možda i nepokolebane da kad tad pronađe način da više ne bude nemoćna, ali na kraju nemoći, tihe, civilizovane, koju zlo gazi tokom čitave istorije, i kao da će nastaviti da to radi.
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Ranije ove godine lansirani akcioni film Davida Ayera, The Beekeeper, je jedan od najglupljih filmova koje sam pogledao u poslednje vreme, a ovo govorim sa punom svešću o tome da sam pre nekoliko nedelja gledao Madame Web (https://cvecezla.wordpress.com/2024/09/13/film-madame-web/). The Beekeeper je kao da ste krenuli da snimate Johna Wicka ali prvi dan snimanja shvatite da umesto Keanua Reevesa imate Jasona Stathama na svojim najfabričkijim podešavanjima, a onda otvorite scenario i u njemu umesto ruske mafije ili bilo koje druge koliko-toliko kredibilno borilački osposobljene kriminalne grupacije imate crypto-bros odvaljene od kokaina i opasne koliko i bilo koji dvadesetosmogodišnjak kome je jedini fizički napor u poslednjih par sezona bila vožnja skejtborda po kancelariji.
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Nisam siguran gde je sve ovo krenulo naopako – i Ayer i Statham su potpisani kao producenti ovog filma i jedno je prilično sigurno: ovo je upravo ono što su želeli da snime. Scenarista Kurt Wimmer – takođe jedan od producenata filma – je ime sa reputacijim i kilometražom, čovek koji je za Ayera već pisao Street Kings, radio za neke od potvrđenih holivudskih žanrovskih zanatlija poslednjih par decenija (McTiernan, Donaldson, Harlin) i mada nikada nije napisao nekakvo REMEK DELO, studiji ga znaju i veruju mu, a što se vidi i u tome da je nanizao gomilu scenarija za rimejkove u poslednjoj deceniji (Total Recall, Point Break, Children of the Corn). Wimmer je sa Stathamom već sarađivao na prošlogodišnjem Expend4bles i pričamo o čoveku koji se ubraja u pouzdane profesionalce kada se radi o žanru akcionog filma i trilera. No, moguće je da je od Wimmera sve i započelo jer scenario po kome je The Beekeeper snimljen više deluje kao prva ruka napisana tokom dve-tri celonoćne kokainske seanse, sa svešću da će to već neko manje plaćeno dete doterati, nego kao propisan shooting-script koji bi režiser Ayerove reputacije bacio na traku (ili makar SSD). No, reklo bi se da u Miramaxu danas vlada popriličan haos i da je tamo svako, od vratara do šefa studija video Ayera, video Stathama i slegnuo ramenima: nek rade šta hoće, biće to good enough.
U nekakvom komercijalnom smislu bili su upravu, The Beekeeper je zaradio preko stopedeset miliona dolara sa srazmerno skromnim budžetom od četrdesetak što bi skoro moralo da garantuje nastavak. I lepo je, da se razumemo, videti da Jason Statham ima punokrvan bioskopski hit posle tolikih decenija koje je proveo u rovovima B-produkcije, marljivo radeći jeftine serijale za radne ljude i građane. Ali jeste blago kridnži kada režiser kalibra Davida Ayera juri trendove i imitira filmove koje su režirali kaskaderi i proizvodi nešto ovako šantavo i nesigurno u sebe kao što je The Beekeeper.
(https://i.imgur.com/DIs9dix.png)
Direktor fotografije, Meksikanac Gabriel Beristain je i sam radio na Street Kings, a u svojoj četiri decenije dugačkoj karijeri ima i saradnje sa imenima kao što su Derek Jarman, David Mamet, Russel Mulcahy, Guillermo Del Toro, ili Hideo Nakata – dakle, ljudima veoma izražene vizuelne kulture. To da The Beekeeper najveći deo vremena izgleda kao malo budžetnija direct to streaming tezga se onda mora pripisati pre svega režiseru i njegovim kreativnim odlukama, od kojih je jedna, da film milom ili silom ceo poveže sa nekakvom (široko shvaćenom) metaforom košnice, prilično fatalno obeležila i njegov izgled.
(https://i.imgur.com/3M2SXDH.png)
Naime, Beristain je vizuelno pismen i kada ima dobar set i svetlo na raspolaganju, The Beekeeper nudi kvalitetne kadrove. No, Ayer najveći deo radnje smešta u vizuelno siromašne, neimaginativne prostore primerenije filmovima budžeta deset puta manjeg od njegovog, pa se i gledalac prečesto zatiče u kojekakvim zatamnjenim kancelarijama, demoliranim zgradama, spaljenim benzinskim pumpama itd. Ovo čini da film deluje siromašnije i vizuelno skučenije nego što bi trebalo – pogotovo u kontrastu sa scenama akcije od kojih su neke u prostorima osvetljenim velikim digitalnim ekranima i deluju makar interesantno – a odluka da se sve dalje potopi u žuti kolorni filter koji treba da nas asocira na košnicu, pleče i med, je jedan od najnapadnijih primera zloupotrebe kolor-korekcije kojih mogu da se setim. Ukratko – The Beekeeper izgleda grozno dobar deo vremena i kompetentno jedan manji deo.
Da se razumemo, Ayer nikada i nije bio režiser nekakve spektakularne vizuelne imaginacije i The Beekeeper možda samo naprosto nastavlja utabanom stazom, ali ovde onda dolazimo do toga da je struktura naracije problematična do mere da čovek mora aktivno da se bori protiv impulsa da uzme daljinski upravljač u ruke i premota scene dijaloga ne bi li nekako stigao do akcije. Vidan je tu kontrast između akcionih scena koje, iako ne u nekakvom vrhu ovogodišnje ponude, deluju energično i eksplozivno na ime Stathamove kondicije i uvežbanosti, dobre, mišićave režije i kvalitetne montaže Ayerovog stalnog saradnika Geoffreyja O'Briena (radio je i Bright (https://cvecezla.wordpress.com/2018/03/11/film-bright/) i The Tax Collector (https://cvecezla.wordpress.com/2020/08/18/film-the-tax-collector/)). No, sve između njih je u najboljem slučaju trivijalno, u najgorem u gledaocu izaziva transfer neprijatnosti. Ayer je čovek čiji su najbolji filmovi (uključujući one koje je samo napisao, poput Training Day) filmovi sa karakterom i pre svega o karakteru, i sa The Beekeeper, gde radi u jednom tuđem, njemu neprimerenom formatu, njegove slabe strane su bolno izražene.
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The Beekeeper iz naslova je, naravno, Jason Statham, čovek koji ima samo jednu želju, da ga ostave na miru da pravi med negde u šupi u američkoj provinciji koju je iznajmio od penzionisane nastavnice što sada rukovodi dobrotvornom organizacijom koja skuplja pare za nevoljnike. Ne znamo ni šta je Statham radio ranije ni koji je njegov ,,Very Particular Set of Skills", ali znamo da je dobrodušna crna penzionerka ,,jedina osoba koja se ikada starala o njemu". Kada zla firma za tehničku podršku kojoj se starija gospođa javila zbog straha da joj virus ne pobriše podatke sa hardrajva sa velikim apetitom iskoristi njenu dobru dušu i nesnalaženje sa modernom tehnologijom, pa joj počisti dva miliona dolara sa računa pomenute dobrotvorne organizacije, sve uz džukački smeh i čestitke da su, eto, nasnjkali još jednog penzosa, Statham će morati da stupi u akciju.
Osvetnički akcijaši nisu nekakav neistražen fenomen i, ma koliko ovaj scenario bio loš, on prati uobičajenu strukturu u kojoj ćutljivi pravednik ubija redom uz lanac ishrane, od anonimnih pripadnika obezbeđenja do finalnog bossa na vrhu kriminalne piramide. No, u pripovedanju se sve klati, od premise, preko motivacije glavnog lika, pa do zaključka.
U zapletu, tako, imamo modernu verziju nasrtaja na malog čoveka od strane beskrupuloznog kriminalnog elementa i umesto starinskih home invasion tropa vidimo bezobzirne techbro drznike koji rade phishing-šeme i podlo se smeju dok sebi prepisuju živcotne ušteđevine dobrih, časnih ali nesnađenih starijih Amerikanaca. Najslađe im je što ovde zakon, navodno, još ne ume da se snađe i odbrana da su penzosi od svoje slobodne volje sve što imaju prebacili na kompaniju što je samo jedna od gomile ćerki-firmi velikog data-koncerna navodno drži i FBI i sudove u konstantnom šahu. Film, nažalost, jednu potencijalno interesantnu premisu tretira trapavo, možda uplašen da publika ne bi razumela nekakav kompleksniji tech-speak i divlje tržište kriptovaluta i NFT-investicija, pa su interesantni događaji iz stvarnog života i pouke koje je svet naučio sa slučajem FTX i Sama Bankmana-Frieda ovde samo površno aproprirani i sve je zamenjeno generalnim mahanjem u smeru ,,interneta" i ,,tehnologije" koje nekakvi trust fund klinci koriste za brzo bogaćenje na grbači časne radničke i seljačke sirotinje. Film u potpunosti ignoriše stvarnu diferenciju specifiku koja definiše ,,kiberkriminal", sa njegovom automatizacijom i lakim nalaženjem stotina hiljada pa i miliona meta širom sveta i nespretno se kreće između truda da prikaže moderne cryptobro likove kao tumor na tkivu zajednice i kritike industrije tehničke podrške koja se pretvorila u puki marketing dodatnih usluga.
(https://i.imgur.com/Fl3H2D3.png)
No, koliko god da Wimmerov scenario loše radi sa osnovama zapleta, njegova glavna slabost je taj nesrećni pokušaj kreiranja johnwickovske mitologije – koja je i u samom Johnu Wicku, da se dogovorimo, bila najslabiji deo paketa – samo sklopljene oko koncepta ,,Beekeepera". Statham je, sad se vi kao iznenadite, u stvari bivši vladin operativac, nekada deo posebnog programa pod šifrom ,,Pčelar" a gde su se agencije i predstavnici najviše vlasti u SAD dogovorile da je neophodno da postoji jedan čovek u svakom trenutku koji ima najbolju obuku, opremu, resurse i najšira ovlašćenja, da dela u korist očuvanja društvene zajednice kada joj preti nešto protiv čega ni postojeće obaveštajne agencije i ostali državni organi ne mogu efikasno da se bore. The Beekeeper je, dakle, neko sa dozvolom da uradi sve u cilju ,,očuvanja košnice" – metafore za društvo – i onda dobar deo replika u filmu otpada na nezgrapne, blamantne pokušaje da likovi jedan standardni osvetnički akcijaš nekako uklope u filozofiju pčelinjaka.
Ovo je, da bude jasno, napisano veoma loše i ako glumci deluju neubedljivo i kao da jedva odrađuju svoj posao – a Statham i Emmy Raver-Lampman apsolutno tako deluju – to je zato što je teško zamisliti da iko sa entuzijazmom izgovara onakav drek. Ayer ovde sebi nekoliko puta nabacuje volej i ima priliku da film otera u smeru apsurdističke, stripovske preteranosti – na kraju krajeva premisa je zaista kao izvađena iz nekakve mange – ali nažalost do kraja ostaje veran ozbiljnom tonu, kao da je ubeđen da replike zaista nose nekakvu dublju filozofsku poentu.
(https://i.imgur.com/uVmgBlN.png)
Jason Statham je, naravno, skakač u vodu a ne profesionalni glumac ali kad ima režisera koji ume da ga iskoristi, on pleni harizmom (Guy Ritchie (https://cvecezla.wordpress.com/2021/06/07/film-wrath-of-man/), Neveldin i Taylor, Boaz Yakin...). No, ovde se čini kao da je svaku od replika snimio iz prve, dok su kamermani i osvetljivači proveravali je li sve dobro postavljeno, samo izgovarajući tekst, bez uživljavanja, bez glume, i rezultat je jedna bezlična, mlitava procesija rečenica koje na papiru deluju nemoćno a kad ih čujete izgovorene malo se i postidite. ,,Ukrasti od starije osobe je jednako loše kao da ukradeš od deteta... možda i gore. Dete bar ima roditelje da se o njemu staraju, a starija osoba nema nikoga". Ovakve filozofske truizme Statham izgovara kao da testira mikrofon, a onda prelazi na ,,pčelinje" metafore pa kaže ,,Kad neko povredi stariju osobu ponekada mora da se suoči sa stršljenovima sam".
Šta zaboga to uopšte znači, pitate se vi sada, ali problem ovog filma je što niko na setu nije zaustavio kamere i postavio isto pitanje. Čitava metafora pčelinjaka je nategnuta, nefunkcionalna, besmislena i samo usporava film filozofskim balastom koji mu ništa ne daje a troši mu vreme.
Dodatno, a ovo nisam očekivao, Stathama u filmu ima PREMALO. Imajući u vidu da je on bio producent filma, malo je i zapanjujuće koliko u finalnom katu minutaže otpada na agente FBI koji ga, kao, jure, a zapravo su stalno nekoliko koraka iza njega i samo na osnovu isleđivanja pizdarija koje on napravi uspevaju da sklope nekakvu sliku o tome šta se dešava i da tamo neke ,,data" firme bezličnih imena pljačkaju američke penzionere a nikoga za to nije briga.
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Opet, ovo bi trebalo da je Ayerova jaka strana, prikaz profesionalaca koji rade svoj posao u otežanim okolnostima i imaju priliku za refleksije na Beekeeperove gotovo nadljudske podvige, no i ovde je problem mlitavog, beskrvnog scenarija izražen i ni neki solidni glumci, pogotovo Bobby Naderi sa svojim serpikovskim old school portretom agenta-koji-je-samo-čovek, ne mogu mnogo da pomognu.
No, kad već pominjem Naderija, treba reći da u filmu, naravno, nije SVE loše i da neki od glumaca uspevaju da izvade svoje delove filma. Jeremy Irons je svakako imao boljih uloga u životu, ali čak i sa pola gasa, koliko je ovde dajbože uložio, on je solidan i malčice doprinosi loženju hajpa na Beekeepera kao ultimativne ubilačke mašine pred kojom i Navy Sealovima i drugim specijalcima ima da se tresu kolena. Minny Driver je u svojoj minijaturi korektna, Phylicia Rashad kao dobrodušna penzionerka sa početka filma isto dobra (samo je ima, po prirodi stvari, malo) a Josh Hutcherson verovatno daje najbolju rolu u filmu, hvatajući bankmanfriedovsku kombinaciju bahatosti, pomanjkanja empatije i razvojenosti od materijalne stvarnosti na jedan energičan način. Hutcherson je na kraju krajeva rođen iste godine kada i Bankman-Fried i njemu je ovo i neka vrsta generacijskog refleksa, sa svim tim odbijanjima da se suoči sa stvarnošću i jednim dubokim uverenjem da je ovo što njegov lik radi prosto najnovija verzija američkog preduzetničkog duha a ne praksa koja uništava tuđe živote. Njegov se lik u filmu nigde ne poziva eksplicitno na autizam kao izgovor, a što je dobro jer je proletošnja molba Bankmana-Frieda da se u obzir uzme njegov (nikada dijagnostički potvrđen) autizam pri određivanju kazne za njegova kriminalna dela, bila duboko neukusna, ali Hutcherson perfektno zaokružuje portret klinca lišenog empatije koji je naprosto odgajan u duhu krilatice da cilj opravdava sredstvo i da mu nije jasno što sad svi oko njegovog biznisa prave kao neki problem.
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The Beekeeper ipak najbolje funkcioniše kada se najmanje priča i najviše radi. Akcione scene imaju i taj koncepcijski problem da po prirodi stvari Stathamov lik uglavnom napada pripadnike FBI i drugih agencija koje se bave zaštitom društva i onda film mora da uvede razne klase plaćenika kako bi naš junak mogao da se razulari i pokaže šta STVARNO zna, pa ovde dobijamo, doduše na kašičicu, neke pitoreskne likove koji sa Stathamom rade neke zabavne stvari. Više borbi kao ona sa aktuelnim Beekeeperom bi dosta doprinele opštem utisku koji film ostavlja, no i ,,obične" borbe su režirane korektno, sa pristojnom koreografijom, montažom, zvučnim efektima. Daleko je ovo, da ne bude zabune, od onog što su nam ove godine priredili Bren Foster, Kensuke Sonomura ili Doug Liman i The Beekeeper na planu akcije ostaje u klasi vrlo solidnog direct to video rada, ali ovo su scene u kojima je Statham najubedljiviji a gomile tela koje padaju na pod to čine dovoljno visokom frekvencijom da mali krvožedni psihopata u našoj glavi sa kojim gledamo ovakve filmove bude makar na kratko nahranjen i sit.
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Nažalost, ništa oko ovih scena na kraju nema smisla i The Beekeeper se uprkos visokoparnoj filozofiji koju propoveda dešava u svetu u kome kao da nema kauzalnosti. Ayer sasvim proizvoljno rasteže vreme u akcionim scenama da omogući Stathamu praktično nadljudske podvige u borbi, ali i inače ne postoji apsolutno nikakva trilerska konvencija koje bi se ovaj film držao dok gradi narativ. Lik koji ide Amerikom i ubija sve ispred sebe i koga traži čitav FBI se čak ni ne maskira kada se infiltrira u prostor gde službe bezbednosti čuvaju predsednicu SAD, CIA se u priči ni ne pominje nakon što joj ovaj eliminiše najutreniranijeg specijalnog operativca a onda film na kraju i izdaje svoju najvažniju metaforu – onu o tome da pčelar nekada mora da ubije maticu zarad života košnice – i Stathamov lik odšeta od svega bez makar interesantne filozofske dvojbe koju film kao da je pripremao sat i po vremena.
Da je The Beekeeper napravljen u Japanu i iskoristio mitološke motive kojima se scenario igra na jedan dosledniji način, da akcije ima više nego priče i da su likovi sa kojima se Statham bori imali prostora da svoju harizmu razmahnu, ovo bi bio znatno bolji film. Ovako kako je, The Beekeeper je kreativno jalov rad sa nekim dobrim elementima za koji mogu samo da se nadam da će u nastavcima imati bolji scenario i više ambicije da se, kad je već uvodi, pozabavi svojom temom na doslednije i filozofski smelije načine.
(https://i.imgur.com/MZxm4JT.png)
Quote from: Meho Krljic on 04-10-2024, 05:47:43
,,Kad neko povredi stariju osobu ponekada mora da se suoči sa stršljenovima sam"
xrofl
Doslovno to kaže. Mislim, nije scenario jedini problem ovog filma al je verovatno najveći. :lol:
A plus, da ne bude zabune, ja dvadeset+ godina radim u programima koji se bave starijima, od toga poslednjih nekoliko u dobroj meri sa fokusom na tome kako starije zaštititi od raznih formi nasilja i zloupotrebe, od kojih je finansijska najučestalija (kod nas ali i u dobrom delu zapada), dakle, taj motiv je meni vrlo blizak. Al obrada sačuvajbože.
Ovo je kao stvoreno za tvoj forumski signature. xrofl
Mislim, toliko je glupo da je urnebesno smešno. xrofl
Pa, da, da, to je rezultat tog napora da se nekako, NA SILU u sve uguraju analogije sa pčelama i njihovim, jelte, životom. Možda je u nekoj prvoj ruci cenarija sve to imalo više smisla, možda je Stathamov lik imao ubedljiviju filozofiju itd. ali ovo što je snimljeno prosto smara tim veštačkim "pčelarskim" diskursom a Statham se svakako ne trudi da nam svoj lik proda kao nekog dubokog filozofa...
Ne pišem baš često o dokumentarnim filmovima – jer ih srazmerno retko gledam – ali prošlogodišnji (i još uvek najnoviji) rad brazilske autorke Elize Capai, naslovljen Incompatível com a Vida (Incompatible with Life) je ne samo tematski interesantan do mere da bih rekao da svako treba da ga pogleda – iako mu neće biti lako ni tokom ni posle gledanja – nego ima i jednu naglašenu estetsku dimenziju sa umetanjem scena koje nisu puke inscenacije već, recimo, ilustracije, pre svega emotivne kompleksnosti teme kojom se film bavi. Utoliko, iako je ovo film o pravim ljudima koji objašnjavaju kako su im se dešavale neke od najtužnijih stvari koje mogu da se dese ljudskom biću, a posebno ŽENSKOM ljudskom biću u najosetljivijim trenucima njegovog života, on se jednako gleda i kao dostojanstveno, odmereno umetničko delo čija estetika dotiče i najmučnije i najplemenitije koordinate ljudskog postojanja.
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Eliza Capai je autorka čiji dokumentarni filmovi generalno pokušavaju da osvetle različita socijalna pitanja, sa, nagađate, posebnim fokusom na davanje glasa ljudima iz zajednica koje se nalaze na margini društva. U desetak godina koliko se ovime bavi, Capaijeva je radila dokumentarne filmove koji su se bavili recimo izgradnjom ogromne hidroelektrane usred amazonske džungle (O Jabuti e a Anta), ali i time kako ovo postrojenje utiče na život lokalnog stanovništva, nepovratno menjajući ekološku ravnotežu i njihov tradicioalni način života, pa onda odgovorom studenata na smanjenje budžetskih sredstava za edukaciju u Brazilu (Espero tua (Re)volta) a koji je obuhvatio i barikade i opsadu škola. Capaijeva je režirala i prvu brazilsku ,,true crime" televizijsku seriju, Elize Matsunaga: Once Upon a Crime iz 2021. godine, sa dokumentarističkom analizom zločina u kome je žena ubila i raskomdala svog bogatog muža, trudeći se da uđe u socijalne dimenzije ovog slučaja.
Incompatível com a Vida nastavlja ovo interesovanje za socijalna pitanja, bavi se nečim što je, nažalost, i dalje znak ženske neravnopravnosti u modernim društvima, ali je i veoma ličan film za autorku, pošto je nastao nakon što je ona sama prošle kroz iskustvo sa trudnoćom kakvog se svaka žena plaši najviše na svetu.
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Dijagnoza da plod nije ,,kompatibilan sa životom" dolazi na ime mnogih odstupanja od onog što se smatra normalnim razvojem embriona i fetusa i ovde govorimo o velikim fizičkim malformacijama i anomalijama vitalnih organa. Jedna žena u ovom filmu doslovno kaže da su joj pokazali snimak deteta u njenom stomaku gde je sve savršeno, osim što ima rupu u glavi kroz koju mu je iscureo mozak. Film nije sniman sa idejom da se parazitira na ljudskoj nesreći niti da se pornografski usredsređuje na zgražavajuće detalje u vezi sa bebama, rođenim, nerođenim ili mrtvorođenim, ali on se i takvim stvarima bavi. U jednoj sceni majka drži u rukama mrtav plod, izašao iz nje pre vremena, i posmatra ga sa mešavinom bola i ljubavi koja na neki način sažima kompleksnost ovog filmskog prikaza. Smrt i dostojanstvo, neopisiv i neopisivo bolan gubitak uparen sa osećajem nečeg još uvek čudesnog. Jedna od žena kaže da ona sebe vidi kao majku iako nema dete, objašnjavajući da je i svom ocu rekla da to što je NJEGOV otac umro ne znači da ga nikada nije imao.
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Eliza Capai je sebe počela da snima odmah nakon što je utvrdila da je u drugom stanju, ne zato što je nužno planriala ovakav film – niko ne PLANIRA film o majkama kojima je saopšteno da njihovo dete nema šanske da preživi izvan njihovog tela – već zato što je prirodno, kao autor ali i kao samo žena koja živi u dvadesetprvom veku, bila zainteresovana i za beleženje svog života tokom njegove posebne faze. Trudnoća, nošenje deteta u svom telu, rađanje, ma koliko bile proste biološke činjenice i dobro uhodan prirodni proces koji nekada ne radi kako treba, ali uglavnom radi, su i dalje pojmovi koji u ljudskom simboličkom vokabularu imaju strahovitu snagu i već samo praćenje telesnih promena kroz koje je autorka prolazila tokom drugog stanja je bila dovoljna motivacija da sebe – i svog partnera koji je bio i otac deteta – stavlja ispred kamere. No, Elizina trudnoća nije urodila zdravim, živim detetom, a onda je i njena veza sa ovim muškarcem okončana, u velikoj meri i na ime velikog stresa kroz koji su oboje prolazili tokom mučnog procesa nošenja ploda za koji se znalo da neće živeti, i prekida trudnoće.
Tokom filma autorka razgovara sa nekoliko žena (i parova) koje su imale slično iskustvo, dakle, dijagnozu nekompatibilnosti ploda sa životom, nakon što su njihove trudnoće okončane na ovaj ili onaj način i ovo je prikaz nekih od najtežih situacija u životima ovih žena – i njihovih partnera, u slučajevima gde su partneri i dalje tu. Film je urađen posle dovoljno vremena da žene (i muškarci) o ovim stvarima pričaju sa izvesnom distancom i u stanju su da daju srazmerno objektivne analize onog kroz šta su prolazile, da se i našale u nekim trenucima. Naravno, onda postoje i momenti u kojima im se oči ispune suzama a glas zadrhti, ali, da još jednom napomenemo, Incompatível com a Vida NIJE film fokusiran na ljudsku patnju kao svoju glavnu atrakciju, on nije napravljen da bi gledalac u sebi osetio isključivo nalet empatije praćen, možda, i malim osećajem olakšanja što se njemu ovako nešto, srećom, nije desilo i posle toga nastavio da živi svoj život. Film, naprotiv, poziva na akciju a žene koje ovde pričaju ne traže od publike puko saosećanje, štaviše, većina njih emituje prevashodno snagu, stabilnost, jedno dostojanstvo koje ne samo da nije bilo ugroženo svojevrsnom tragedijom koje su proživele, već je njome možda i ojačano.
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Neke od njih su već majke, i njihova deca se pojavljuju u kadrovima. Neke su u srećnim vezama i brakovima, neke su same. Jedna je svog partnera upoznala kada je turistima čitala svoju ,,za žene osnažujuću erotsku poeziju" i pitala ih da doniraju neki dinar ako im se poezija dopala, a onda je sebi rekla da OVOG turistu mora da smota i već to veče su rešili da se uzmu a onda se desilo dete – koje se na kraju nije desilo. Ova žena, tetovirana i pirsovana, kaže da pre ovoga nije mogla sebe da zamisli kao stvarnu ličnost ako ne bi rodila dete u svom životu, ali da sada ne misli više tako.
Druga žena – poreklom iz starosedelačke populacije – je religiozna i kaže da nije ni pomišljala na abortus ,,jer život pripada bogu koji ga daje i uzima i da ona na to nema pravo". Treća žena, i njen muž, pripadaju konzervativnom, takođe vrlo religioznom sloju ali ona kaže da je samo želela da vidi svoje dete, da ga pogleda u oči, svesna da će ono umreti i da je želela da sa njim ima makar nekoliko minuta. I kaže da joj je tih nekoliko minuta bilo dragoceno i da je osetila da je njena beba vidi, oseća i razume.
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Ovo su neka veličanstvena ljudska svedočanstva, ali film se podjednako usredsređuje na socijalnu komponentu ovog problema i činjenicu da se u Brazilu, vrlo katolički orijentisanom društvu sa, pogotovo pod Bolsonarom (koji se pominje u uvodnim kadrovima), snažnim skretanjem ka konzervativnim političkim pozicijama, abortus ne može dobiti kao tretman uz dijagnozu nekompatibilnosti sa životom. Rađanje deteta koje ne može da preživi je onda obavezno i autorka problem osvetljava iz različitih perspektiva, pokazujući kako se lekari dovijaju da indukuju spontani pobačaj kod žena koje ne žele da iznesu trudnoću (,,sama procedura će biti legalna, ali pilule moraš da kupiš na ulici od tipa na motoru"), a gde i ženi preti zatvor do tri godine u slučaju da bude krivično optužena, i prikazujući različite pristupe različitih žena tom dodatnom problemu koji je, očigledno i socijalne i klasne prirode.
Neke od sagovornica će ovo i jasno reći u kameru, podsećajući gledaoca da mitologizovane ,,religiozne" floskule o svetosti života u praksi nemaju isti socijalni efekat na pripadnike viših i nižih slojeva stanovništva i da je onima koji zagovaraju tvrdu ,,pro life" liniju direktno sa vrha društvene piramide, dostupno mnogo više opcija u ovakvim situacijama nego sirotinji – i da ih oni koriste. Možda ključno, jedna od sagovornica govori o slučaju devojčice koju je silovao sopstveni stric i koja je ostala u drugom stanju i kojoj je zakonski bilo onemogućeno da dobije abortus. Čak i kada je pornađen način da se to obavi u odgovarajućoj klinici – druge sagovornice pominju i da većina klinika koje se bave reproduktivnim zdravljem kažu da nemaju infrastrukturu da rade abortuse – slušamo kako se ,,narod" okupio ispred svih ulaza u bolnicu ne bi li sprečio dete da abortira.
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Ovakve stvari su, naravno, zastrašujuće i stavljaju jednu ,,običnu" ljudsku nesreću, koja je posledica lošeg rezultata na genetskoj lutriji i drugih stvari izvan naše kontrole, u kontekst klasnog, socijalnog i političkog. Film ne insistira samo na ovoj poenti, ali je smatra dovoljno važnom da ispred odjavne špice tekstom na ekranu da neke ilustrativne statistike. Koje podsećaju da zabrana abortusa nikada ni u jednom društvu nije unapredila reproduktivno zdravlje žena, naprotiv, da ga je ugrozila.
No, druge poente koje film želi da naglasi tiču se tog dugog procesa kroz koji prolaze ove žene, sa izmešanim emocijama na ime nečeg čudesnog što se u njima dešava i nečeg strašnog što to čudo poništava. Eliza Capai sama ,,glumi" u svom filmu, pokazujući različite emotivne momente, ali i fokusirajući se na svoje telo, njegove promene, napore koje ono pravi da bude što je moguće bolja podrška novom životu koji u njemu raste. Ovo su često vrlo ,,kinematske" scene vrlo prirodne ali i vrlo estetizovane ženstvenosti, a dodatak njima su različite ilustracije emocija, od kojih su najupečatljivije one sa ženom koja se nalazi ispod vode. Metafora o tome da se osećate kao da tonete i da se davite dok vam u telu bujaju hormoni kreirani da od vas stvore najbolju moguću majku a administracija vas sprečava da budete barem dostojanstveno tretirani u najvećoj tragediji vašeg dosadašnjeg života je dovoljno jasna i bez slika, ali neke od ovih slika su VELIČANSTVENE, posebno kada u jednom trenutku površina vode i trag mehurića vazduha koje ispušta ova žena tvore znak krsta koji lebdu iznad njene glave. Možda slučajno, možda namerno, ali nemoguće za ignorisanje.
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Incompatível com a Vida je prošle godine prikazan na više festivala dokumentarnog filma, i dobio više nagrada i ako poželite da ove godine vidite makar jedan snažni ženski izraz koji se bavi temom što ne bi smela da zanima samo žene ali prikazuje je iz jedinstveno ženske perspektive, dostojanstveno, iskreno i otrežnjujuće, onda bi to možda mogao da bude baš ovaj film. Kod nas je dostupan na Mubiju.
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Bilo bi vam oprošteno ako biste zbog naslova pomislili da je film One Percenter nekakva politička drama, kompleksan uvid u psihologiju i životne navike pripadnika svetske elite finansijski i ekonomski postavljene u orbite koje mi, prosta raja, nikada nećemo moći ni da sanjamo. Ali da li bi u takvom filmu igrao Tak Sakaguchi? Njegovi aduti nisu karakterna gluma i ubedljiva facijalna mimika već moćna građa, kvalitetno baratanje nožem, duga, šmekerska kosa... One Percenter se na zapadu distribuira i kao One Percent Warrior a što deluje kao da ima malo manje smisla, ali svakako je bliže duhu samog filma koji je, nagađate, ipak japanski niskobudžetni akcijaš u kome je Kensuke Sonomura i ovom prilikom smućkao neke neverovatne borilačke koreografije, a naslov se odnosi na onaj jedan procenat ljudi koji se bave borilačkim veštinamaa koji u tom bavljenju idu preko granice proste replikacije onog što su naučili i transcendiraju postojeće stilove. Japan, dakle, koji voli svoje urbane mitologije.
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Imati Sonomuru kao direktora akcije i Sakaguchija kao glavnog glumca u istom filmu zvuči kao recept za akcionu nirvanu, no One Percenter je dosta neobičan, nekad se to govorilo POSTMODERAN akcioni film koji na svog glavnog junaka navaljuje nemali teret polemisanja sa modernim autorima akcionog filma u Aziji i, do kraja, jednom nogom kao da ugazi i u fantastiku kakvu bi Phillip K. Dick pravio da se rodio dvadeset godina kasnije, u Hongkongu, i proveo detinjstvo crtajući grafite Brucea Leeja po školskim zidovima.
Sakaguchiju je ova saradnja sa Sonomurom došla odmah posle Bad City, koji je Sonomura i režirao, a koji sam živopisao na ovom mestu (https://cvecezla.wordpress.com/2023/09/29/film-bad-city/). Akcioni star je u ovom filmu igrao negativca-sa-harizmom, jedinog protivničkog borca koji je našim pravednicima mogao da zada iole veće nevolje, i ovde su njegovo baratanje nožem i hiperkul izgled kod sigurno nezanemarljivog dela publike proizveli želju da ga ponovo vide kao glavnog protagonistu, po mogućstvu u filmu kao što je bio hit iz 2016. godine Re: Born. One Percenter nimalo implicitno pokazuje da je svestan reputacije koju Re: Born uživa među Sakaguchijevim poštovaocima pa njegov lik u ovom filmu jedan deo vremena provodi sedeći ispred plakata za film Birth koji je skoro pa direktna aluzija na plakat za Re: Born, već time da – drugačija poza na stranu – Sakaguchi na njemu ima gotovo identičnu jaknu i frizuru.
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Jer, vidite, Sakaguchijev lik u ovom filmu, Toshiro, je glumac. Ne samo bilo kakav glumac, nego glumac specijalizovan za akcione filmove. Uvod za One Percenter je urađen u mockumentary stilu gde različiti filmski poslenici ali i ljudi iz japanskih oružanih snaga hvale Toshihira kao najvećeg akcionog stara u Japanu, obučenog da se bori u tako egzotičnim stilovima kao što je ,,assassin-jutsu"* i generalno nezadovoljnog time da u akcionim filmovima danas koreografije zbilja pre podsećaju na ples nego na borbu. Od profesionalnih vojnika čujemo da bi Toshihira rado primili u svoju jedinicu ako bi odlučio da se mane glume i počne da svoju borilačku ekspertizu koristi u stvarnom situacijama, a i on tokom intervjua za pomenuti dokumentarac sipa drvlje i kamenje po borilačkim koreografijama koje su nerealne, ,,plesačke" i ne pokazuju borbu onako kako bi stvarno trebalo da izgleda.
* Na japanskom se koristi izraz koji nisam uspeo da razumem ali verovatno znači manje-više isto.
Ovaj stav ga, čini se, ostavlja na margini industrije pa deset godina posle uspeha filma Birth on igra sporednu ulogu u filmu koji režira izvesni Tony (igra ga muzičar Taro Suruga), nadobudni, narcisoidni režiser koji ne miriše Toshirovu old school etiku i unoseći mu se u lice govori mu da je on režiju učio u Hong Kongu i da ima da se radi kako on kaže. Jer akcioni filmovi nisu stvarnost i publika u bioskop dolazi da se zabavi a ne da gleda nešto ,,stvarno". Toshiro proguta sve uvrede i provokacije koje mu se bacaju u lice jer je on ipak ratnik starog kova i ispod časti mu je da slabije od sebe uči pameti pesnicama, ali jasno je da ovo nije put koji on bira za svoju dalju karijeru, pa ubrzo po završetku snimanja sa mladim sledbenikom Akirom (bejbifejs Kohei Fukuyama sa preslatkim velikim očima), koji je i sam kaskader uzgojen na Toshirovim starim filmovima, kreće sa pripremama nezavisnog filma koji će biti snimljen po njegovim zamislima. Toshiro je, uostalom, majstor borilačkih veština stvarno starog kova i ima i sopstveni stil (,,talas") a koji je u jednakoj meri filozofska koliko i borilačka škola, pa on i mladi Akira, koji je pun entuzijazma i slediće senseija i u vatru i u vodu, nalaze prodcenta i kreću u skautovanje lokacija za snimanje.
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One Percenter je s jedne strane naivan i prostački narativ, a sa druge strane dekonstrukcija i neka vrsta parodije. Toshirove proklamacije i sukobi koje ima sa ljudima u industriji su toliko naglašene u prvom delu filma da je jasno da je scenario napisan kako bi se Tak obračunao – makar rečima – sa nekim kolegama čiji rad iz ovog ili onog razloga ne ceni (uključujući, recimo, Kenjija Tangiakija), a onda je i čitav narativ filma formatiran da se demonstrira superiornost njegove filozofije u odnosu na ,,obične" borilačke koreografije. Toshiro u ovom filmu ne ubija protivnike, ali je, makar u teoriji, njegova borilačka filozofija bazirana na efikasnosti a ne na estetici. Dakle, on ovde protivnike treba da savladava minimalnim brojem udaraca i tehnikama koje će ih trajno onesposobiti da se vrate u borbu (uključujući nemalu količinu poluga kojima se lome ekstremiteti).
Naravno, to je teorija, ali ne uzimate Kensukea Sonomuru da vam osmisli koreografiju, režira akciju i koordinira borce, ako ne želite brzu, atraktivnu, estetski impresivnu borbu. Ovde, da bude jasno, nema hongkonških wire-fu trikova (sem u sceni u kojoj Takov lik sa prezirom gleda japanske glumce kako, u Tonyjevoj režiji rade borbu sa kablovima jasno inspirisanu kineskim filmovima) i zapravo veliki deo borbi se bazira na pitanju kako jedan čovek visoke borilačke ekspertize može da savlada grupu ljudi u pancirima i sa automatskim puškama. Sonomura ovde pravi koreografije drugečuje od onog što smo gledali u njegovim recentnim filmovima i samo u poslednjem sukobu jedan-na-jedan, sa najboljim borcem protivničke strane, vidimo njegove trejdmark razmene strahovito brzih udaraca, step-kretanje, čišćenja, finte itd. U ovoj sceni Sakaguchi dobija i posekotinu na licu, tačno na istom mestu na kome ju je dobio i u Re: Born, samo sa druge strane.
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Režiser i scenarista cele ove postmoderne mutljavine je Yûdai Yamaguchi, čovek sa velikim filmskim i televizijskim portfoliom, dobrim delom unutar žanra komedije (evo par naslova pa prosudite sami: Chin-Yu-Ki: The Journey to the West with Farts, When to Crush Fried Egg Yolks?, Men's Egg Drummers...), ali je čovek pre bezmalo dve decenije bio i jedan od autora unutar tadašnjeg novog japanskog talasa niskobudžetnih splatter horror akcijaša, pa je, recimo, režirao Meatball Machine. Sa Sakaguchijem je sarađivao još na Battlefield Baseball iz 2003. godine, nedugo nakon što je ovaj lansiran u orbitu novih akcionih zvezda filmom Versus Ryûheija Kitamure, autora zaslužnog za neke rane Sakaguchijeve uspehe, i u One Percenter se svakako vidi jedna uhodanost i vizuelna disciplina koja doprinosi da film nesumnjivo mikroskopski malog budžeta izgleda karakterno i pruži zadovoljavajuću akciju. Uostalom i Sakaguchi je kasnije igrao u Tokyo Gore Police i cela se ekipa snalazi u uslovima veoma jeftine produkcije kao riba u vodi.
Štaviše, Yamaguchi uspeva da unutar VRLO direct-to video mizanscena napravi film koji je brz, bez šlajfovanja i sa udelom akcionih scena koji je viši nego što sam u startu očekivao i ovo su sve stvari za koje ga treba pohvaliti. Takođe, on razume Sakaguchijevu fizičku harizmu i ume da ga postavi u kadar da ovaj impresionira tim tihim, stoičkim a opet dominantnim stavom, a u borbama ga stavlja u središte gledaočeve vizure i kredibilno prenosi tu auru maltene superherojske veštine koji njegovu lik ima.
Film je, i dalje postmoderno, smešten u rashodovanu fabriku za prerađivanje cinka. Tradicionalno, napuštena fabrička postrojenja su omiljeni setovi za niskobudžetne akcione filmove ali ovde je, naravno, trik u tome da glavni lik filma dolazi na takvo mesto jer traži pogodnu lokaciju za snimanje svog niskobudžetnog akcionog filma. Pošto je Toshiro, kako to već ide sa tim ćutljivim stoicima u akcionim filmovima, koji bi samo da gledaju svoja posla a nevolja neće da ih ostavi na miru, kurate sreće, tako se i u momentu kada on i mlađani Akira krenu da slikaju lokaciju, dese dve stvari. Jedna je da nalete na Tonyja, sa kojim su radili prethodni film i koji ovde sa ekipom kaskadera i superstar režiserom akcionih filmova (Keisuke Horibe koga možda takođe pamtite iz Tokyo Gore Police) slika storibordove za ,,kinesku produkciju koja će se distribuirati na svetskom nivou", pa Toshiro i Akira mogu da se čiste jer ovde oni svoj bedni indi film NEĆE snimati. Druga je da se BAŠ TADA pojavljuje grupa plaćenika što rade za jednu od dve rivalske porodice jakuza i kreće urnebes oko dve tone kokaina navodno sakrivenog u ovoj fabrici. Toshiro, naravno, može da odšeta sa lokacije i ostavi budale da se ubijaju međusobno, ali do tog trenutka je već preko dvadeset minuta jeo govna o ,,realističnosti" akcije koju on voli i tome kako njegov borilački stil, talas, dopušta utreniranom borcu čak i da izbegava metke u letu. Naravno da sledi sat vremena ozbiljnog rokanja i rolanja po fabričkom enterijeru.
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Yamaguchi definitivno UME. Oživeti ovakav prostor tako da ne bude vizuelno dosadan je izazov za svakog lo-budget akcionog režisera i Yamaguchi ne samo da ne poseže za izlizanim rešenjima kao što su vatra, varnice i figure rađene u kontrasvetlu (kada vatre ima, ovo je scena ozbiljno visceralne destrukcije gde ljudi gore kao u nekoj videoigri) već je napravljen i dodatni napor da se ,,neprijatelju" podari malo karaktera, pa su tata-jakuza (Hiranuma Norihisa) i ćerka-jakuza i njihov omiljeni asasin odlične face, stilizovani koliko treba, sa minimalnim, karikiranim ali sigurno iscrtanim ličnostima. I na strani naših pored ćutljivog i stoičkog Toshira imamo nekoliko dobrih likova koji filmu daju malo živosti i komičnog predaha, pa sve to dosta pošteno proleti i ne zamara gledaoca. Jednog od ovih sporednih likova glumi Masanori Mimoto, čovek koga često pominjemo jer stalno sarađuje sa Sonomurom i igrao je i u Bad City i u Hydra (https://cvecezla.wordpress.com/2022/01/14/film-hydra/) i u prvom Baby Assassins (https://cvecezla.wordpress.com/2024/08/30/film-baby-assassins/)... Čovek je i radio motion capture za protagoniste igara iz serijala Like A Dragon, uključujući Kazumu Kiryua i Ichibana Kasugu pa ga je uvek milina videti. Sa druge strane, vredi reći i da je Fukuda Rumika vrlo solidna kao Mari, ćerka drugog jakuze, ali da film sa njom nije siguran šta da uradi pa ona ni ne figuriše u razrešenju iako je njen lik dosta bitan za motivaciju glavnog junaka...
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Ono što filmu GENERALNO fali je spretnije razrešenje jer filipdikovsko poigravanje sa paralelnim realnostima koje dobijamo ima više potencijala nego što ga Yamaguchi realizuje. Iskreno, poželeo sam, gledajući intrigantno finale, da je ovaj film imao viši budžet, čak i *gulp* da nekako ovo dođe do nekog zapadnog producenta koji bi izvukao lajnu kvalitetne koke i pomislio da to gde se ovaj film završava u njegovom rimejku ima da bude tek polovina filma a da će uzeti Sakaguchija da igra istu ovu ulogu jer je Keanu ipak nerealan da radi ovakve stantove. To bi bio idealan scenario.
Ovaj scenario, pak, nije idealan i film se i završava jednom nedorečenošću u pogledu toga šta je parodirao, kome se smejao, šta je stav samo glavnog lika a šta stav autora. U krajnjoj liniji, ako ste pravili film o glumcu koji je akcioni star i u ,,stvarnom" životu, a onda nas ostavili zbunjene u pogledu toga šta je od ovog što smo videli bilo stvarno, to je momenat u kome našu zbunjenost treba da iskoristite a ne da na brzinu završite film. Ovako je Sakaguchijev lik spravljen da ima potencijalnu dubinu i ne bude samo hodajući kliše, ali film ovu dubinu pokaže samo na par desetina sekundi a onda se seti da nema budžet za dalje pa se završi. I onda jebiga.
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Ima ljudi koji su kritikovali i akciju u ovom filmu kada je ranije ove godine dobacio do zapadnih striming servisa (u Japanu je išao 2023. godine), jednim delom na ime toga da se Sakaguchi ovde ne bori sa nožem u ruci i da su njegovi udarci rukama neuverljivi i slabi. No, moram da kažem da ovaj problem nisam imao. Sakaguchi je veliki čovek i, naprotiv, kada se u poslednjoj borbi suočava sa čovekom koji je najmanje deset kila lakši od njega (fantastični Togo Ishii, jedan od danas najpoznatijih majstora Džit Kun Doa), imao sam problem da poverujem da ovaj može da predstavlja kredibilnu pretnju za njega. No, Sonomura je ovo standardno dobro napravio i oba borca pružaju lepršavu a dovoljno ,,realnu" koreofgrafiju, doduše ovog puta bez parterskih tehnika koje smo gledali u Hydra ili Baby Assassins.
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U ostalim scenama, pa, Sakaguchi izgleda odlično kada izbegava metke u letu, kada koristi tela protivnika da se zakloni od pucnjave ili njihove puške upotrebi kao projektile da savlada protivnike na daljinu. Naravno da ove scene zahtevaju malo ,,neodlučnije" neprijatelje, koji oklevaju da napadnu čim im se otvori šansa, a što je takođe zamereno filmu, ali ovo je praktično STANDARD za borilačke filmove, a Sakaguchi uspeva u većini scena da se postavi tako da deluje makar kredibilno to da se protivnici štekuju jer ne žele da povrede jedni druge. Rade tu i francuski ključevi, baš onako pošteno a onda na jednom mestu Toashiro prisloni vrh metka na protivnička krsta pa šaržerom iz kog je taj metak izvađen udari po kapsli da ga aktivira. Prelepo. Onda u jednoj sceni Tak umesto noža u ruci drži baterijsku lampu i kako se ova borba odvija u mraku (a sve se dobro vidi – još malo pohvale Yamaguchiju i direktoru fotografije Hiroyukiju Ozawi), njegova taktika je da je koristi kako bi zaslepio protivnike pre nego što im pritrči i savlada ih i ovde Sonomura radi neke zaista zanimljive trikove sa skrivanjem i otkrivanjem izvora svetla. IMDb ne daje informaciju o tome ko je autor muzike za ovaj film – a odjavna špica je na Japanskom – pa ne znam koga treba da pohvalim ali i muzika je iznenađujuće karakterna i pamtljiva, pogotovo u akcionim scenama.
U celini, One Percenter je interesantan ,,meta" eksperiment sa žanrom. Ne sasvim uspešan, film ipak ne plasira nekakav jasan iskaz u intelekt gledaoca da bi se ovo moglo smatrati ,,dobrim" ishodom eksperimenta, ali zanimljiv i mada je Sakaguci ovde na ivici da bude pretvoren u karikaturu, on se još uvek odlično drži a Yamaguchijeva zanatska spretnost (videti uspele scene rađene dronovima) i Sonomurina borilačka ekspertiza ga stavljaju u centar vizuelno sasvim atraktivnog filma bez obzira na generičko okruženje, slabo osvetljenje i mrtvačke boje. Dobar zvuk, dobra muzika, dobre borbe i jedva nešto više od osamdeset minuta na štoperici kad je zaustavite na odjavnoj špici, to su sve aduti koji će ljubiteljima savremenog azijskog akcionog filma biti dovoljni. Ostali nek počnu sa nečim drugim pa nek dođu do One Percentera kad sakupe malo iskustva.
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Desetak minuta unutar filma Decision to Leave iz 2022. godine, još uvek najnovijeg autorskog rada cenjenog Chan-Wook Parka čovek još uvek ne zna šta da misli. Park gledaoca u radnju spušta bez predigre i lubrikanta, usred radnog dana policijskih inspektora koji pričaju o svemu kao da je ovo sedma epizoda treće sezone popularne televizijske seriije i svi već unapred znaju i ko su oni i šta rade, a onda ga dodatno izvodi iz ravnoteže vrtoglavom montažom, imaginativnim kadriranjima koja ponekad prikazuju i ,,nemoguće" rakurse, bizarnim akcentovanjem detalja kojih ima toliko da ćete se do kraja filma pitati da li ste sve popamtili ili ste nešto bitno, što ovu sumanutu misteriju može da razreši, propustili u toj kaskadi slika, pokreta, rezova koji bešavno povezuju te slike i pokrete koje čine različiti ljudi na različitim lokacijama u različito vreme ili isti ljudi na različitim lokacijama u vreme kada oni nikako ne mogu da budu tamo gde ih vidimo.
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Decision to Leave je Parkov razigran omaž noir trileru u kome se policijski detektiv opseda ženom koja je pod (njegovom dakako) istragom, delom policijski procedural, delom tragična romansa, ali Decision to Leave je Park na svojim najodšrafljenijim podešavanjima. Pomisao da je ovo film koji kao da je napisao Philip K. Dick a režirao Seijun Suzuki će se vašu svest useliti tu negde, oko desetog minuta i biće je teško oterati do samog kraja, impresivne scene na plaži sa nisko okačenim suncem koje vodu i pesak boji u iste nijanse, a onda oštrim kamenjem i morem koje nezaustavljivo nadire sa plimom, dok se lice detektiva krivi u grimasu gubitka, ne prvog u ovom filmu.
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Park je sa svojom Vengeance trilogijom iz ranih godina ovog stoleća sebi isposlovao toliko reputacije i poštovanja – sasvim zasluženog – da se danas nalazi u vrlo ugodnoj poziciji da ne samo bira šta će da radi – i time ne mora da pravi filmove kao na traci, može da se bavi i kratkim filmom i televizijom tempom koji mu odgovara – već i da je u stanju da i sam producira ono što ga interesuje. To nisu nužno filmovi koje će sam režirati, pa je tako njegova kompanija Moho producirala Bongov izvanredno uspešni Snowpierceer i dalje otvorila prostor na zapadu za korejske autore i kinematografiju. Decision to Leave je tako jedan izuzetno ličan film ali i intenzivna žanrovska vežba koja stalno osciluje između dekonstrukcije i farse da bi do kraja zadržala ozbiljan izraz lica i zaokružila se kao iskren, žustar rad o autentičnim emocijama. U intervjuu koji je dao 2004. godine (https://web.archive.org/web/20221210221712/https:/entertain.naver.com/read?oid=028&aid=0000061311)Park je nedvosmisleno rekao ,,Hitchcock mi je promenio život", objašnjavajući period promena u svom životu tokom studija i odluku da postane režiser iako se školovao za sasvim druge stvari. Upoznavanje sa nekoliko uglednih starijih režisera u ovom periodu mu je mnogo značilo, ali su filmske projekcije održavane za studente bile presudne. Pogotovo Hitchcockov Vertigo koji ga je potpuno zaokupio, do mere da u tom intervjuu Park doslovno kaže ,,[Vertigo] je na mnogo načina početak mog života".
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Drugim rečima, Decision to Leave nije samo poigravanje sa žanrom i njegovim dobro poznatim, u literaturi detaljno opisanim tropima. Decision to Leave je na mnogo načina Parkov povratak na izvorište sopstvene kreativnosti i skupljanje hrabrosti da posle gotovo trideset godina filmmejkinga ,,odgovori" na izazov koji mu je Hitchockovo remek-delo postavilo.
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Možda je zato ovo tako energičan film. Iako ne onoliko nasilan kao što su bili filmovi koji su ovog autora proslavili, Decision to Leave je po intenzitetu u samom vrhu Parkovih radova, jedna vratolomna vožnja kroz narativ koji istovremeno deluje poznato, predvidivo i žanrovski standardno, ali i stalno zbunjujuće ekscentričan, sa neobjašnjenim (često neobjašnjivim) skokovima u vremenu, promenama tona, umetanjem likova u scene gde oni ne mogu biti prisutni. Ovo je onda film od nekih stotrideset (i kusur) minuta za koji niste zaista sigurni kada dostiže svoju kulminaciju, serija lokalizovanih krešenda i režiserskih bravura koje uobičajni žanrovski nameštaj razmeštaju na neočekivane načine, terajući gledaoca da se stalno sapliće i preispituje ono što vidi, oseća, pogotovo ono što predviđa da će se desiti.
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Ima ovde rizika, naravno, da Decision to Leave bude samo ekscentrična, hipsterska igrarija sa žanrovskim tropima, niska hičkokovskih scena koje su namerno oneobičene – kao da Hič već nije bio dovoljno WEIRD – kako bi arthouse publika, otpijajući svoj četvrti martini klimnula glavom i promrmrljala nešto o dijalogu preko šest decenija i postmodernoj transformaciji označenog i označitelja, ali Parku je ovaj film bio isuviše važan da bi on u njemu samo improvizovao na Hitchcockovu temu. Decision to Leave je u velikoj meri omaž Vertigu, naravno, ali on je istovremeno i vrlo prizemljena, naturalistička eksploracija jednog običnog braka u kome partneri, zreli ljudi i profesionalci uhvaćeni u krizu srednjih godina tragaju za onim daškom uzbudljivosti, daškom ŽIVOTA koji su nam svima obećavali kada smo bili deca.
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Glavni junak Decision to Leave je policijski inspektor Hae-joon Jang (igra ga Hae-il Park, čovek već dobro poznat i ovdašnjoj publici na ime uloga u The Host, Memories of Murder i War of the Arrows), profesionalac koji se ponosi svojim radom i iskustvom, do mere da on i njegova žena žive odvojeno, odnosno on dolazi kući, u grad u kome imaju stan a ona i posao, samo kada ne radi na nekom slučaju. Njihovi vikend-aranžmani razgovora i seksa na početku deluju kao funkcionalni, pogotovo jer Jeong-ahn (koju igra Jung-hyun Lee a koju možda pamtite iz kineske serije o Konfučiju sa početka prošle decenije) nije stereotipna azijska mamika, submisivna svom suprugu i usredsređena samo na njegovo blagoutrobije, već karakterna, duhovita žena zaposlena u lokalnoj nuklearnoj elektrani i u svakom pogledu ravnopravan partner u ovoj bračnoj zajednici. Jang je i sam muškarac sa mnogo šarma, alfa-šmeker koji nema problem da dođe kući i spremi ručak za sebe i ženu, iskusan i uvek spreman da mlađim kolegama da poduku na terenu. Kada se suočava sa kriminalcima, on ne uzmiče – u jednoj sceni gde progoni osumnjičenog sve do vrha zgrade, kada ovaj izvadi nož i okrene se prema detektivu, detektiv Jang uz ,,here-we-go-again" uzdah iz džepa izvadi pancirnu rukavicu, navuče je na levu šaku, uhvati nož kojim ovaj zamahne prema njemu, pa onda nasilniku očita poštenu lekciju razrađenom desnicom.
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Naravno, onda se dešava taj SLUČAJ u kome lokalni planinar biva nađen na zemlji ispod strmog vrha, baš pošteno mrtav, sa ručnim satom koji se razbio u trenutku udara o tlo i koji sugeriše da se ovde radi o nesreći jer u blizini počivšeg hajkera nije bilo nikog drugog u to vreme. Naravno, procedura zahteva da se eliminišu sve sumnje, pa Jang privodi udovicu na saslušanje. Radi se o kineskoj imigrantkinji po imenu Seo-rae (igra je Kineskinja na privremenom i sada već podužem radu u Koreji, Tang Wei) koja insistira da ne priča Korejski baš najbolje i koja, kako Jangov partner ukazuje, nije dovoljno šokirana smrću supruga. Jang je stavlja na, jelte, mere i kako to već biva u ovakvim filmovima, potpuno se opseda njom.
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Park režira scene uhođenja mlade udove sa takvom strašću i intenzitetom da gledalac i pre nego što shvati šta se stvarno dešava i sam počne da oseća Jangovu opsesiju lepom ženom. Tang Wei svakako ima u sebi žicu za projektovanje te fatalne ranjivosti i proždiruće dubine koje su imale Hičove protagonistkinje ovakvih filmova, od Kim Novak do Ingrid Bergman, a hemija između nje i Hae-il Parka je izvrsno razrađena, nudeći u jednakoj meri sirovu emociju i razigrani, farsični performans u kome glumci tu emociju ispituju kao žanrovski trop, scenski kliše, filmski stereoptip. U nekim momentima, kada Seo-rae želi da iskaže nešto kompleksniju, četo poetičnu misao a nema poverenja u svoj Korejski, ona će na Kineskom iziktirati izjavu u telefon pa će onda robotski muški glas preneti Jangu prevod na Korejski. Jang će ženu nadzirati spavajući u kolima ispred njenog stana kada ona spava ali – pošto on ionako pati od hronične nesanice – uglavnom prateći svaki trenutak njenog života kroz dalekozor. Toliko je jaka njegova fiksacija na čulnu, samu ženu – koja se sada i kredibilno plaši da ne bude proterana iz Koreje jer više nije udata – da u nekim scenama Park njega stavlja uz nju samu, prikazujući nam njegove žudnje i fantazije kao uverljive halucinacije uma pometenog insomnijom i generalnim premorom.
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Park je nakon svojih prvih nekoliko filmova koji su bili vizuelno disciplinovani, pa i moćni ali uglavnom svedeni u kompozicijama, razigrao svoje kadrove. Već sa Three... Extremes i Sympathy for Lady Vengeance njegovi su filmovi počeli da naginju halucinantnim, nadrealističkim kompozicijama, prepunim detalja najrazličitijih boja – na kraju krajeva, pored Hitchcocka i Narusea, Parkovi najomiljeniji filmski autori su Luchino Visconti, Abel Ferrara, Michelangelo Antonioni, dakle ljudi skloni bojama, detaljima, nadrealističkim iskazima – a što je u dobroj meri uticalo na južnokorejsku kinematografiju uopšte, ili makar bilo važan deo rastućeg trenda. Filmska produkcija ove države je od te tačke pa nadalje progresivno naginjala sve raznovrsnijem koloritu i razmahanom vizuelnom izrazu, potvrđujući (zapadnoj) kritici i festivalskim selektorima da i dalje evoluira (nakon vizuelno vrlo strogih filmova sa početka veka kao što su bili Kimov The Samaritan Girl ili Parkov Sympathy for Mr. Vengeance), ali je kod nezanemarljivog broja autora ovo umelo da pređe i u rutinu pa i u manirizam, nudeći šljašteći, prijatni ali uglavnom isprazni kolorit i pokret.
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Parkovo rukovanje scenografijom, svetlom i kamerom je na sasvim drugoj strani u Decision to Leave i ovo je film gde je vizuelni intenzitet, pa i neretko NERED važan deo priče koju autor priča i senzibiliteta koji želi da prenese na gledaoca. Naravno, disciplina je uvek tu, on se nje nikada i nije odrekao, ali ovde je maštovitost sa kojom komponuje kadrove a onda ih montira u scene često iznenađujućeg intenziteta i dinamike takva da joj u modernom mejnstrim filmu skoro nema ravne. Scene u kojima protagoniste vidimo ,,iz" ekrana mobilnog telefona, ili iz oka mrtvaca vidimo mrave kako šetaju po očnoj jabučici stavljaju gledaoca u jedno skoro bestelesno stanje, čime će on onda intuitivno prihvatati i scene u kojima je fizika očigledno narušena, u kojima se likovi pojavljuju na mestima gde znamo da fizički ne mogu da budu prisutni, nalazeći svaki put imaginativna, kompaktna rešenja da pripovedanje ne mora da usporava, da priču gura dalje bez dosadnih tranzicionih kadrova i ,,objašnjavanja" kako sad ovaj lik zna ovo ili ono.
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To je, naravno, demonstracija jedne izvanredno sazrele percepcije žanrovskog jezika na strani autora, ali i čini film zahtevnijim za gledaoca. Ovde mnoge stvari postaju jasnije posle pola sata ili sat vremena, a još jasnije na drugo gledanje kada počnete da prepoznajete koji su detalji posejani u ranim scenama kasnije izrasli u važnu signalizaciju što objašnjava stvari do kraja filma, i Decision to Leave je svakako jedna vrsta igre autora ne samo sa Hitchcockom i njegovim fatalnim i tragičnim junacima, nego i sa gledaocem koji misli da ih unapred (pre)poznaje a koji će do kraja filma ne jednom biti iznenađen onim što se dešava.
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Štaviše, Decision to Leave je mogao da se završi i negde oko sedamdesetog minuta, zaokružujući omaž Hitchcocku i pružajući inteligentnu, lukavo farsičnu varijaciju na Vertigo, stavljajući likove baš tamo gde ste očekivali da će oni biti na kraju filma. Osim što onda on ide još oko sat vremena i ne samo prikazuje ,,šta je bilo posle" već uspeva da iste motive vrati u mašinu da ona sa njima okrene još jedan krug i dovede likove – i sa njima gledaoca – do krešenda emocija. Decision to Leave je u svom drugom delu još intenzivniji film, kako u očajanju protagonista i fatalnosti njihovog odnosa, tako i u farsičnim, pa i parodičnim varijacijama na klasične motive a koje smo uglavnom već videli. Ovde pored dvoje glavnih junaka i drugi glumci dobijaju prostora za razuzdanije bravure i film se vrlo jasno usmerava ka eksplozivnoj završnici. A koja onda i sama uspeva da iznenadi svojom emotivnošću, dostojanstvenom dramom, perfektnim vizuelnim pripovedanjem u kome more i pesak govore više od teksta.
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Decision to Leave je, svakako, post-hičkokovski triler u kome figurišu mobilni telefoni pronađeni na dnu lokalnog zaliva, softver za praćenje signala mobilne mreže i druga moderna tehnologija koja beleži detalje i detaljčiće naših života hteli mi to ili ne i skoro da čini ideju o klasičnom hičkokovskom zapletu u kome ljudi druge ljude uspešno lažu i varaju neplauzibilnom. Ali on je i punokrvni hičkokovski triler u tome da su likovi na kraju ono što je u fokusu narativa, da svi mudri preokreti i ko-je-ovo-očekivao pančlajni moraju da budu u službi fraktura i krivih srastanja likova koji prolaze strašne katarze i iz njih izlaze sasvim promenjeni. Finale Decision to Leave je dramatično i vizuelno i muzički, ali pre svega LJUDSKI jer gledamo čoveka koji ima sve i, u principu mu se slučaj rešio sam od sebe, kako odbija da prihvati nešto što će biti najveća tragedija njegovog života i tetura po plaži tražeći nešto što je more zauvek uzelo sebi. U tom čoveku, pored sve ekscentrične i farsične dimenzije ovog lukavog, dovitljivog, izluđujuće duhovitog ali i ozbiljnog filma, na kraju svi vidimo sebe. A to je Park i hteo. Decision to Leave nije samo omaž velikom prethodniku nego zreli, SNAŽNI iskaz autora na vrhuncu svoje zrelosti. I jedina ispravna reakcija je da mu se duboko poklonimo.
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Pošto je juče bio, jelte, helouvin, praznik koji je snagom marketinga postao kalendarska stavka na mnogo većem delu globusa nego što je to bilo u mojoj nedužnoj mladosti i sada JA mora da se setim da kupim neke slatkiše 31. Oktobra jer će kostimirana dječica zakucati i na moja, nekada svetosavljem imunizovana vrata, onda sam i gledao da za današnji filmski osvrt budem koliko-toliko u tonu. Dragan Šolak je svakako pomogao, praveći, dobro možda ne SVOJIM rukama, lako pretraživ izbor svih horor flmova koji su dostupni na svim televizijama što ih njegov kablovski servis pušta kroz moj televizor, a moja lenja pretraga kroz desetine naslova za koje sam odmah odlučivao da me uopšte ne zanimaju i da ću samo zaspati ispred televizora I ŠTA ONDA ŠOLAČE KO ĆE TO DA PLATI, završila se kada sam se setio da nikada nisam odgledao Voz za Busan (aka Busanhaeng), korejski zombi-horor hit iz 2016. godine, ne samo proglašen za jedan od najboljih horora te sezone već i film koji je korejsku kinematografiju uspešno gurnuo na naredni nivo i proizveo potražnju za azijskim zombi filmovima u dovoljnoj meri da smo par godina kasnije dobili izuzetno cenjeni i srazmerno skupo producirani televizijski, istorijski spektakl Kingdom. Pa, izvinićete, to nije mala stvar.
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Voz za Busan mi je, evo, neverovatnih osam godina lebdeo negde u bliskoj orbiti ali se nikako nisam privoleo da ga pogledam. Sa jedne strane, svesno sam ga odlagao za neki intimni momenat u kome ću ga konzumirati kao grešno zadovoljstvo, uveren da će mi pružiti samo prečišćenu zabavu, trenja lišenu visokooktansku vožnju i azijski eye candy, bez nekakvih teških filozofiranja i žanrovskih dekonstrukcija. Sa druge, malo sam ga i odlagao baš na ime toga što sam bio svestan da je ovo film koji ne pruža posebno svežu perspektivu na zombi-trope i da se mogu nadati tek spretno zanatski izvedenom žanrovskom radu.
Ali znate šta? Kao što će svako ko je prijatne sate proveo u kovačnici, berbernici ili u prisustvu zaposlenog pica-majstora moći da posvedoči, ponekada je milina gledati ljude kako se dobro bave svojim zanatom. Voz za Busan zbilja nije nikakav tektonski pomeraj u žanru zombi-filmova ali Voz za Busan je i jedna mala, okretna demonstracija kako se ovakve stvari prave da budu zaista all-killer-no-filler krtina, letalno kalorična bioskopska vožnja toboganom SMRTI, prepuna ikoničkih prizora i kvalitetnog CGI krvoprolića, skoro kao nekakva pokazna vežba drugima kako se to radi.
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Nije da je zombi-žanr oskudevao u pokušajima u ovom stoleću. Od Boyleovog 28 Days Later i Andersonovog Resident Evil 2002. godine, preko Snyderovog rimejka Dawn of the Dead (i dalje sa ponosom neodgledanog sa moje strane, dvadeset godina kasnije), samog Romerovog povratka u žanr sa Land of the Dead, do zabavne komične dekonstrukcije Edgara Wrighta sa Shaun of the Dead, brana je provaljena dovoljno rano da smo uzgojili generacije što su televizijske adaptacije The Walking Dead i The Last of Us pretvorile u neke od najpopularnijih serija u ovom stoleću. Dodajte na ovo druge medije (videoigre sa serijalima Resident Evil, The Last of Us, 7 Days to Die, Left 4 Dead, Dead Rising, Dying Light, The Walking Dead, Day Z... a onda stripove sa, naravno, The Walking Dead, Marvel Zombies ali i možda najbrutalnijim mejnstrim stripom izašlim od početka veka, Crossed) i bezbedno je reći da su zombiji, iako ,,star" koncept, dobrano izlizan još osamdesetih godina prošlog veka sa imitatorima Romerovog genija što su došli sa raznih kontinenata, u ovom stoleću doživeli komercijalnu, a u nekim momentima i kreativnu renesansu.
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Voz za Busan je, dakle, ušao u VRLO gaženu travu i ako je išta novo uspeo da donese nečem vrlo izraubovanom to je pre svega ta izražena tehnička ekspertiza koja poznatim tropima daje novu energiju i gledaoca stalno drži u pred-klimaksu nepopuštajućom serijom izvrsno odrađenih set pisova, ali onda i sa malo humanizma koji prelazi u standardnu azijsku patetiku i uspeva da filmu koji zaista ne pokušava da kaže bogznašta NOVO, da jedno emotivno središte, taman toliko dobro formatirano da u poslednjih pet minuta gledalac bude na ivici suza iako POTPUNO svestan da autori njime manipulišu. Ali dobro, jelte, manipulišu i morate im malo aplaudirati i zbog toga.
Voz za Busan je, na osnovu originalne priče Joo-Suk Parka režirao Sang-Ho Yeon, čovek dosta spretan u poigravanju sa žanrovima i prodavanju svetu onog što je svet već mislio da ima, samo prepakovano na dovoljno originalne načine. Prvi Yeonovi međunarodni uspesi su došli na ime animiranih filmova namenjenih odrasloj publici (The King of Pigs i The Fake) a nakon Voza za Busan je napravio i prvi ,,zvanični" korejski superherojski film (Psychokinesis). No, Yeonova sudbina je, na ime velikog uspeha Voza za Busan, za sada čini se neraskidivo vezana za ovaj partikularni zombi-univerzum, sa animiranim prikvelom Seoul Station koji je urađen iste godine kada i Voz za Busan i zapravo u bioskope u Koreji ušetao jedva mesec dana kasnije, te sa ,,nastavkom" (odnosno filmom koji je smešten u isti univerzum i događa se nakon dešavanja iz prvog filma) Train to Busan Presents: Peninsula, urađenom u produćetku uspešne saradnje sa Parkom. Iako je Peninsula dobila značajno lošije kritike od originalnog filma, Yeon trenutno radi na scenariju za njegov nastavak a franšiza je uspešno prodata i Holivudu pa James Wan u ulozi producenta (sa još nekoliko partnera) već evo šest godina priprema The Last Train to New York, a koji je trebalo da u bioskope uđe još prošle godine ali se sada ne zna kada će se to desiti. Ovaj film ne bih ni imao interesovanja da gledam da Wan nije uspeo da ubedi indonežanskog maverika po imenu Timo Tjahjanto da ovo režira. Tjahjanto je OPASAN autor (ovde smo pisali o njegovom krvoločnom akcijašu The Night Comes for Us) i ovo bi MOŽDA moglo da bude za klasu iznad holivudskog standarda, tako da, imam neke male nade.
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Jer, da se razumemo, holivudski STANDARD, barem onako kako je uspostavljen u vreme kada je Voz za Busan nastajao, uspostavljen je možda i nerazumno popularnom adaptacijom romana World War Z za veliko platno (2013. godine), u produkciji Brada Pitta i sa njim u glavnoj ulozi (i Đuričkom u jednoj sporednoj, slatkoj roli od nekoliko sekundi). Ovaj film Marca Forstera je nekako uspeo da dobaci do mejnstrim publike – dezinfikujući zombi žanr i zamenjujući veliki deo obaveznog visceralnog sadržaja ružnjikavim digitalnim efektima i 3D modelovajem – i u jednom trenutku delovao kao naredna velika zombi franšiza ali je planirana trilogija (sa sve Fincherom koji je trebalo da režira drugi deo) kolabirala, priča se uglavnom zato jer je kinesko tržište postalo nedostupno na ime zabrane ,,filmova sa zombijima ili duhovima" koja je stupila na snagu negde u to vreme.
Utoliko, Voz za Busan je nekako srećno uleteo u nebranjeni šesnaesterac i zabio nekoliko golova dok nismo stigli da se okrenemo, ponoviću, na ime ne sad neke velike VIZIJE o tome kako bi ovaj žanr mogao da se reinventuje, već na ime dobrog, efikasnog zanatskog rada.
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U prvom redu, Yeon i njegov direktor fotografije Hyung-deok Lee srećno su se odlučili za to da ovaj film ne bude opterećen zamornim, očekivanim horor intonacijama od svog početka. Ovo je svetao, kolorno zdrav film koji se najvećim svojim delom događa preko dana u dobro osvetljenim enterijerima i eksterijerima, sa ljudima obučenim u uredne, poslovne kostime i odela, i kombinacijom ,,službenih" boja – žuto za železnicu, plavo za uniforme, crno-belo za poslovna odela – koja svemu daje ton ,,prave" drame, u kojoj ,,pravi" ljudi imaju ,,prave" probleme i zombi apokalipsa koja onda krene da se iritantno dešava i sjebe im planove za još jedan radi dan efektno obavlja posao katalizatora koji te ljude natera da promene svoju vizuru i pronađu ono što im je u životu zaista važno. Za najmanje dva lika ovo je očinstvo, jedan od njih kao neko koga će dolazeća beba naterati da se mane svojih ,,momačkih" navika i postane stvarni partner svojoj supruzi u projektu podizanja porodice, drugi kome se porodica već raspala i koji će kroz urlajuću plimu zombija* morati nekako da bude tu za svoju malu, ranjivu ćerkicu koja je samo htela da svoj rođendan umesto sa ćaletom koji radi po ceo dan u investicionom fondu i posle ne može da se seti ni šta joj je prošli put poklonio** provede sa majkom koja sada živi u Busanu i koju on sad, ćerku a ne majku, NE SME DA RAZOČARA. Ima i likova sa manje plemenitim izoštravanjima karakterizacije, kao što je šef transportne kompanije koji se ponaša kao da je važnije da on preživi nego bilo ko drugi, sve vreme komanduje svima uključujući mašinovođu i, kada proverbijalna jaja dođu do proverbijalne stražnjice, nije iznad toga da žrtvuje deo svojih saveznika kako bi osigurao svoj opstanak.
*da ukažemo na bitnu žanrovsku distinkciju: ovo su ,,inficirani" ljudi koji ne moraju da prvo umru pa da ožive, a što je manje-više standard za moderne zombi radove u svim medijima
**Nintendo ovde dobija mnogo vremena u kadru sa multiplim Wii konzolama i prominentno postavljenom magazinskom reklamom za njihov DS, što je više nego što dobija čak i Hyundai. Srpski patrioti koji već dva pasusa gunđaju što i u ovom filmu nema Nikole Đurička iako ne postoji ni jedan međunarodni zakon koji to zabranjuje, mogu, I TREBA, da se zadovolje simpatičnim ,,kameom" Novaka Đokovića na reklami za Seiko časovnike u istom magazinu. Japan ovde apsolutno dominira što se tiče product placementa.
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Ovo su sve jako razgaženi tropi i stereotipi horor i zombi radova, ali Yeon uspeva da ih proda sa dosta elegancije i uverljivosti. I to ne čak ni na ime nekakvog kvalitetnog teksta filma, naprotiv, Parkov scenario je vrlo utilitaran što se tiče dijaloga, stvaljajući likovima u usta samo zakonski propisan minimum teksta uglavnom sklopljen od žanrovskih fraza i ekspozitornih poštapalica. No, Yeon ima dva oružja na svojoj strani: dobre glumce i sopstvenu efikasnu, ama POŠTENU režiju.
Sa strane režije, naime, Voz za Busan je RAZORUŽAVAJUĆE brz, efektan, vitak, okretan. Ovo je film koji veoma časno koristi svoj relativno skromni (ali ne i za Koreju) budžet od osam i po miliona dolara i shvata da bi bilo džukački da priču nabijenu tenzijom i akcijom usporava nekakvim sporim karakternim momentima i proizvodnjom drame. Publika nije, na kraju krajeva, u OVAJ bioskop došla da gleda ljude kako sede, muče se i pričaju jedni sa drugima o svojim traumama, propuštenim prilikama i onome što bi voleli da su drugačije uradili u životu. Kada ovakvih momenata otvaranja srca i ima, to je uglavnom u grotlu bijelo usijane akcije, dok svi mišići pucaju jer lik pokušavaa da plimu nadirućeg, urlajućeg, KRVOŽEDNOG post-ljudskog mesa zadrži svojim telom još nekoliko sekundi dok njegovi još-uvek-neinficirani saveznici uspeju da se sklone u relativnu sigurnost sledećeg vagona, pa se poslednjim rečima oprašta od ovog sveta, i ostavlja preživelima zavet da ga ispune. Sve je to vrlo azijski emotivno, patetično, i slatko, ali je i brzo, efektno, bez gubljenja koraka. Yeon apsolutno odbija da filmu uspori tempo i mada on ima narativnu dinamiku i dobro postavljene mirnije scene koje pripermaju gledaoca za naredni volej strave i akcije, na njemu nema ni trunke sala. Set pis prelazi u set pis prirodno, logično i organski i to da se gotovo čitav film (sem uvodnih nekoliko minuta) dešava u vozu koji putuje iz Seula u Busan, tokom svega nekoliko sati (glavni junak, pomenuti menadžer u investicionoj kompaniji svom asistentu javlja da očekuje da se vrati u kancelariju do ručka, čim ćerku isporuči majci u Busanu) je vrlo uspešno posredovano tim njegovim jakim tempom i bežanjem od ,,veštačke" ljudske drame.
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Druga strana TOG novčića je da se likovi izražavaju maltene isključivo kroz akciju, što ja u svoje ime mogu da pozdravim, ali sam čitao i ne SASVIM neutemeljene kritike da likovi do kraja onda i ne nadrastu svoje tipske, žanrovski eksplicitno tipizirane postavke. No, tu onda imamo na delu činjenicu da su glumci mahom ODLIČNI.
Ovde pre svega mislim na prvi red ansambla. Yoo Gong će pola decenije kasnije igrati u korejskom televizijskom megahitu Squid Game, ali on se već ovim filmom preporučio kao običan-čovek-u-ekstremnoj-situaciji i uspešno izbegava i mačo-klišea sa jedne strane, ali i cmizdravu emotivnost sa druge. Njegova uloga, tog, rekosmo, neprisutnog oca koji nikako da se konektuje sa ćerkom što ju je uspešno oteo od žene posle razvoda, je ovde spretno razvijena do sasvim očekivanog ali efektnog finala, bez glumatanja ,,emocija" i sa jednom podrazumevanom, poslovnom, ZRELOM požrtvovanošću u završnici kojoj se mora aplaudirati.
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Onda je tu veteran Eui-sung Kim, čija je sada skoro tridesetogodišnja karijera procvetala posle ovog filma a gde je pružio odličnu ulogu jedinog ,,stvarnog" negativca, čoveka koji klasnu superiornost u odnosu na ostale ljude oko njega doživljava i kao neku vrstu prirodne potvrde da je njegov život vredniji i ako deluje da Kim ovaj lik malo i karikira, onda niste proveli dovoljno vremena okruženi imućnim ljudima.
Odlična je i Yu-mi Jung, kao trudna žena koja ne smara nekakvim slanjem neprekidnih signala ranjivosti i naprotiv, preduzimljiva je i požrtvovana, čuvajući hladnu glavu i spasavajući druge, a njenog muža igra internacionalno najpoznatiji korejski glumac, Dong-seok Ma, korejski akcioni star ali i jedan od članova ansambla Marvelovog Eternals. Ma je, naravno, u svakoj sceni u kojoj se pojavi, u centru pažnje i ima jedan udobni, a opet nenametljivi star-power koji mu obezbeđuje odličnu hemiju sa Gongom i rušenje zamornih mitologija o alfa i beta muškarcima.
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Sad, vredi primetiti i da je najveći ansambla instruiran da glumi primetno napadnije od glavnih glumaca, da su pogotovo likovi koji dobijaju kratke scene u kojima treba da izraze strah, paniku ili tugu režirani tako da glumataju i ovo je, uz taj utilitarni jednostavni tekst replika, neka vrsta namernog, smišljenog sloja ,,naivnosti" ovog filma a koji je, nagađam, konstruisan da bi se on uspešnije prodao zapadnoj, poglavito američkoj publici. Ta neka prenaglašena ,,azijska" dimenzija filma vidi se i po tome koliko je u vizuelnoj sferi citata preuzetih skoro pa direktno iz animiranih filmova (dakle, filmova, ne televizijske serije) Ghost in the Shell ili iz igračkog serijala Silent Hill, ali i po tome da je mnogo toga i na vizuenom i na tekstualnom planu prilagođeno anglofonom gledaocu. Vozovi, tako, imaju kontrole sa natpisima na Engleskom, pesmica koja predstavlja emotivno težište filma je havajska i znamo je doslovno SVI koji smo živeli na ovoj planeti u poslednjih stopedeset godina, srednjoškolski bejzbol-klub ceo nosi koledž-jakne sa Engleskim logotipima, a i replike su pažljivo očišćene od bilo kakve ,,korejske" sadržine, pa ovde mašinovođa zove telefonom ,,kontrolu", a kada se na televiziji vide prvi snimci izbijanja zombi-pošasti u velikim gradovima, komentatori samo kažu da su u u pitanju ,,protesti" i film i na koji način ne ulazi u bilo kakvu dalju alegoriju ili komentar.
A što je svakako šteta jer pored svoje vizuelne zrelosti i dinamične, sveže režije, Voz za Busan se apsolutno uzdržava od toga da bilo šta dublje u društvenopolitičkom smislu kaže o bilo čemu. Dakle, likovi mogu da budu loši očevi i beskrupulozni kapitalisti, ali sama zombi-apokalipsa nije alegorija za društvena previranja u Južnoj Koreji (mada se ova tema onda pomalja u animiranom prikvelu Seoul Station) i najdalje što film ode u nekakvom povezivanju tačkica je da se asistent glavnog junaka glasno i očano pita je li kompanija u koju je njihov fond najviše investirao nekako odgovorna za ovo što se dešava.
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Odgovora, naravno nema jer ovaj film time prosto neće da se bavi i to jeste šteta.
Ali je on i dalje jedna brza, zabavna, ekstremno spretno režirana zombi-akcija.
Prvo, sami zombiji su urađeni odlično sa tim iskrivljenim figurama, stakato kretanjem, krvoločnim facama i erbrašovanim kapilarima ispod kože. Ovo nisu spore, klateće figure iz Romerovih klasika nego strahovito BESNI, krvožedni likovi koji trče kao ludi kada vide čoveka i nekako su simpatično nemoćni i zbunjeni kada ga ne vide. To da zombiji ne umeju da se snađu u mraku (čak ni kada im samo prebacite jaknu preko glave ili nalepite novinu na prozor da vas kroz njega ne vide), niti umeju da otvore vrata koja nisu zaključana je i ljupko i dobro iskorišćeno za napete situacije i set pisove koji deluju uverljivo.
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Dalje, sam izbor voza kao primarnog mesta dešavanja radnje je dobro opravdan veštim odvijanjem narativa i pametnim stadijumima raspadanja ,,zajednice" putnika i konvertovanjem sve većeg broja istih u zombije. Yeon režira nekoliko IZVRSNIH akcionih scena koje se dešavaju u skučenom, tesnom prostoru i uspeva da sa kamerom uleti usred akcije i da sve bude i žustro i visceralno i besno i strašno, ali i da bude čitko i jasno, bez potrebe za mnogo rezova. Majstorstvo je majstorstvo i to se mora pozdraviti.
Konačno, čak su i CGI i trodimenzionalno kompjutersko modelovanje ovde iskorišćeni na zapravo dobar i dovitljiv način, sa povremenim kulminacijama scena u kojima su zombiji predstavljeni kao amorfna ali kompaktna masa tela što eruptira iz pozadine i daje ovim set pisovima njihova vizuelna krešenda a da se opet, za moj račun, ne prelazi (ili ne prelazi DUGO) fatalna linija uncanny valley uverljivosti koja bi filmu oduzela taj njegov osnovni ,,dramski" ton i pretvorila ga u animirani film gde ne osećate nikakvu tenzju niti brigu za likove jer ,,vidite" da ništa nije stvarno.
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Voz za Busan je time jedan od najzabavnijih zombi-filmova koje sam gledao u poslednjih, pa... par decenija. Ne inovativan u konceptualnom smislu i svakako ne dekonstruktivan pa ni SMEO, on je primer dobro zaokružene ideje o tome šta će se reći – dakle, film se bavi ocem koji mora da bude TU za svoju ćerku, pre svega i posle svega – i efikasne, dinamične režije koja vam ne dopušta da se dosađujete niti da, čak, postavljate sebi mnogo pitanja tokom odmotavanja radnje jer ste suviše zauzeti navijanjem. Kada se film završi tek onda na red stižu ta promišljanja o njegovoj dubini i onome što on kaže ili ne kaže, ali, dakle, dok traje, on je VEOMA zabavan, kaloričan a lišen sala i, da odmah i ovo kažem, sasvim, mislim, zgodan za ponovljena neobavezna gledanja. Pa ako ste ga i već gledali i ovaj tekst je u vama proizveo prijatne nostalgične flešbekove, dajte mu još malo ljubavi (možete ga strimovati putem Cinestara), nećete se pokajati. Ili bar ne MNOGO.
(https://i.imgur.com/HkLvNMW.png)
Ne znam di da metnem, tako da Mehmete, reaguj!
https://autechre.warp.net/AE_2022-
Sasvim ispravna adresa. Ne da sada MNOGO u životu slušam Ae, al neće da se baci!
Proletošnji brutalni osvetnički akcijaš Monkey Man je iz bioskopa konačno sleteo na naše striming servise pa sam sebi priuštio dva sata krvoločne, ali politički angažovane mano-a-mano zabave koju su neki kritičari, ulećući direktno u hiperbolu kao da sutra ne postoji onomad proglašavali i za ,,najbolji akcioni film decenije". Monkey Man sigurno nije najbolji akcioni film ni protekle ni naredne decenije ali imajući u vidu da se radi o srazmerno jeftinoj produkciji, prvom autorskom radu čoveka koji je po vokaciji pre svega glumac i to da njegova politička angažovanost, iako ni slučajno ne pogađa sve svoje mete, osvežavajuće glasno govori o problemu kog smo mi na zapadu u proseku samo marginalno svesni, a radeći na fonu mitologije sa trajanjem od dva i po milenijuma, fer je reći da se radi o obaveznoj lektiri za svakoga ko voli brutalnu akciju (a koja ga MALO tera i na razmišljanje).
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Rekao bih i za svakoga ko voli Deva Patela. Britanski glumac indijskog porekla je već sa sedamnaest godina skrenuo pažnju na sebe ulogom u seriji Skins (rađenoj u produkciji iste televizije E4 koja će dve godine kasnije napraviti još veći uspeh sa Misfits), da bi već sa osamnaest glumio u Boyleovom Slumdog Millionaire i skoro preko noći postao globalno poznat. Njegova je karijera zatim spretno oscilovala između televizije i filma sa, rekao bih, vrlo pažljivim (ili vrlo srećnim) izborom uloga tako da se iskombinuju ozbiljnije, dramske role (npr. i About Cherry, Lion ili The Man Who Knew Infinity) i nastupi u promišljenim žanrovskim produkcijama (The Last Airbender, The Green Knight, Chappie). Patel će tako postati jedan od globalno najpoznatijih glumaca indijskog porekla i to da je njegov prvi autorski film jedna žanrovski svedena ali komunikativna i u svojoj poruci ako ne sasvim dorečena, ono ideološki jasna slika moderne Indije je vrlo pošten potez. Možda autori Bollywooda i Tollywooda imaju i jasnije, prodornije iskaze vezane za aktuelni politički i socijalni trenutak u Indiji, ali malo njih ima doseg do globalne publike na način koji to Patel ima, čak i kada se radi o filmu kao što je Monkey Man a koji, sa budžetom od skromnih desetak miliona dolara predstavlja praktično gerilsku, skoro andergraund operaciju. Iako je Monkey Man, pored nekoliko nezavisnih produkcija koje su se udružile u njegovoj proizvodnji na kraju imao i zaleđinu u vidu Universala, ovo je bila doslovno slamka spasa u zadnji čas, nakon nekoliko godina bolnog, predugog porađanja i vrlo ozbiljnog rizika da film nikada ne ugleda svetlo dana. Da nije bilo Jordana Peelea, Monkey Man verovatno nikada ne bismo ni gledali.
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Ne zbog nedostatka strasti na strani Patela koji je ovo napisao i režirao, te odglumio glavnu ulogu, bazirajući celu priču na viziji o čoveku sa maskom majmuna na licu koja mu se vrzmala po glavi od 2014. godine. Patel je scenario uradio sarađujući sa Paulom Angunawelom i Johnom Colleejem i nakon dobre saradnje sa Neilom Blomkampom na Chappieju pitao Južnoafrikanca da on ovo režira, ali Blomkamp mu je predložio da ipak Patel sam bude režiser sopstvene priče. Produkcija je trebalo da počne 2020. godine u Indiji ali je pandemija TE planove potpuno ruinirala – sećamo se strašnih scena masovnog umiranja u zemlji koja je u ovom trenutku jedna od najbrže rastućih ekonomija sveta, a što nam daje dosta dobre podloge za razmišljanje o tome koliko su makroekonomski indikatori u vezi sa kvalitetom života (i smrti) u društvima u kojima danas živimo, ali i materijala da tumačimo neke stvari koje nam Monkey Man govori.
Tako da je produkcija onda započeta u Indoneziji i već tokom snimanja prve akcione scene Patel je slomio šaku. Da to ne bude i poslednja fraktura u filmu obezbediće jedan od kolega glumaca koji će mu nešto kasnije, tokom snimanja scene sa sekirom (ako ste gledali film tačno znate koje) nehotično polomiti i dva prsta na nozi.
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To da je Patel i metaforički i stvarno krvario za ovaj film je, naravno, dobra priča kad sednete nakon gledanja filma, još vrući od uzbuđenja, kupajući se u prijatnom dopaminskom spuštanju na fabrička podešavanja, i uzmete da pišete o njemu. Patel je, ustalom THE REAL DEAL. Još kao klinac se ložio na Brucea Leeja (nakon što se jedne noći, umesto da spava, ušunjao u dnevnu da bi gledao neki Leejev film) i zatim posvećeno trenirao tekvondo, osvajajući još kao tinejdžer medalje na svetskim šampionatima. No, ovo nije bilo dovoljno za Netflix koji je otkupio ekskuzivna prava na distribuciju Monkey Mana a onda pogledao futidž i ispustio jedno glasno WTF. Računajući da će film koji režira jedno od najpoznatijih imena indijske dijaspore i u kome igra nekoliko popularnih indijskih glumaca (a Pitobash Tripathy je već imao i holivudske uloge pored svoje bolivudske popularnosti) biti hitčina na indijskom striming tržištu, egzekjutivi ove firme su Patelu rekli otprilike ,,nemoj da nas zoveš, zvaćemo mi tebe" i počeli da razmišljaju kako da se najjeftinije izvuku iz sporazuma koji im je u krilo spustio film apsolutno previše nasilan, ali i politički više nego potencijalno problematičan za tu neku mejnstrim indijsku publiku.
Jordan Peele je onda utrčao u minut do dvanaest, video film, shvatio da se radi o časnom i važnom iskazu i uspeo da nagovori Universal da preuzme distribuciju pa je i dobio status producenta. Monkey Man je stigao u bioskope i zaradio, u svojoj biskopskoj distribuciji, nekih 35 miliona dolara, dakle, trostruko više od svog budžeta što je, za film koji JESTE vrlo nasilan, JESTE politički tenzičan i, Patel na stranu, natrpan je likovima koje globalna publika ne zna, vrlo solidan uspeh. Možda nikog neće iznenaditi da je film u trenutku dok ovo kucam, još uvek neprikazan u Indiji – mada se već mesecima najavljuje da će biti ,,uskoro prikazan" – a što je, na kraju krajeva, sasvim očekivano. Uprkos primetnoj autocenzuri u samom filmu i njegovoj prezentaciji (narandžaste boje, a koje su zaštitni znak vladajuće indijske partije BJP (Bharatiya Janata Party)primetno su uklonjene i zamenjene crvenima u kasnijim trejlerima za film a i u samom filmu crvena značajno dominira nad narandžastom), Patelov iskaz je nedvosmisleno usmeren na kritiku vladajuće klike i populističke eksploatacije hinduističkog nacionalizma, koja je aktuelnog premijera Narendru Modija dovela na vlast i tamo ga drži već čitavu deceniju.
(https://i.imgur.com/aUOkl0t.png)
Da kažemo to ukratko: Narendra Modi je indijski Vučić, samo kada bi Vučić, umesto što mora da snishodljivo pleše između Evropljana, Amerikanaca, Rusa i Kineza, između korporacija i službi, bio na čelu snažne nacije sa stvarnim rastom ekonomije od kojeg se tresu i Amerikanci i Kinezi, sa ogromnim resursima, još uvek moćnim sektorom javnog obrazovanja, svemirskim programom (koji je pre nekoliko godina Indiji doneo titulu četvrte svetske države što je uspešno prizemljila letelicu na površinu Meseca). Modi je, nažalost, ne samo populista svetskog kalibra već i pripadnik pokreta Hindu-nacionalista Rashtriya Swayamsevak Sangh, koji ima stogodišnju istoriju koketiranja sa fašističkom ideologijom, ali i vrlo stvarnog organizovanja paravojnih formacija i mobilisanja na nasilje protiv indijskih muslimana. Za vreme Modijeve vladavine, napadi na muslimane u Indiji su eskalirali. Vinayak Damodar Savarkar, ključni ideolog Hindutva ideologije – koja propoveda Hindu suprematizam u Indiji –u svom pamfletu ,,Essentials of Hindutva", napisanom 1923. godine u zatvoru nedvosmisleno je pozvao Hindu populaciju u Indiji da prevaziđe kastinske podele i da se ujedini u borbi protiv indijskih muslimana, doslovno pišući: ,,Ništa ne čini Sebe toliko svesnim kao sukob sa ne-sobom. Ništa ne može spojiti narode u naciju i nacije u državu kao pritisak zajedničkog neprijatelja. Mržnja razdvaja kao što i spaja."
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Stotinu godina kasnije, Modijeva Indija decidno NIJE raskrstila sa kastinskim sistemom i na njemu utemeljenom diskriminacijom, ali je na delu o mržnji i nasilju kao legitimnoj ujediniteljskoj sili itekako poradila, prisvajajući one delove Hindu mitologije, religije i folklora koji će poduprti viziju o naciji spremnoj na istorijsku sudbinsku borbu protiv iskonskog neprijatelja, i vođi koji otelovljava sve atribute muževnosti i snage na kakve se lože i zapadnjački Men's Rights influenseri, kulminirajući u ikonografiji Rame kao božanstva odabranog da simboliše savršenog čoveka (i savršenog muškarca) čemu moderni Hindu nacionalisti teže.
Rama je i glavni muški junak epa Ramajana, jednog od temeljnih tekstova indijske kulture (čije je pisanje započeto još u sedmom veku pre nove ere) i notabilno odsutan iz filma Monkey Man, a koji veliki deo svoje ikonografije, ali i zapleta bazira na Ramajani, fokusirajući se pre svega na ikonografiju Hanumana, ,,majmunskog boga", popularne figure Hindu mitologije koja je za mnoge klince iz ove kulture, kod kuće ali i u dijaspori, bliska onom što se danas podrazumeva pod pojmom superheroja. Hanuman je, treba i ovo naglasiti, u Ramajani veoma lojalan Rami.
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U filmu, Dev Patel igra neimenovanog mladića koji je iz provincije došao u grad nakon što je celo njegovo selo napadnuto i spaljeno od strane dobro organizovane ultra-nacionalističke grupe koja je tu namerila da gradi hram, a dobila pomoć gradske policije u svom nasilnom činu džentrifikacije. Majka protagoniste je, štaviše, ubijena od strane policijskog činovnika zato što je pružala otpor, pa glavni junak radi svakojake manualne poslove u velikom gradu i vreba priliku da se nađe na dovoljno bliskoj distanci od počinitelja kako bi se osvetio.
Počinitelj je u međuvremenu postao šef policije u gradu koji se ne zove Mumbaj ali je sasvim jasno da na njega aludira svojim vizuelnim označavanjem (pogotovo u ikoničkim kadrovima karton-sitija smeštenog u podnožju velelepnih solitera, ali i grafitima kojima su iscrtani zidovi), a glavni junak se izdržava boreći se u nameštenim MMA mečevima u kojima borci nose životinjske maske (njegov je posao uglavnom da padne onda kada mu se kaže). Kolonijalna istorija Indije zapravo se najpre vidi u ovim scenama gde je organizator i konferansje za ove borbe Južnoafrikanac (naravno da ga igra Sharlto Copley dodajući svom siviju još jednog pitoresknog ljigavca) a koji ikonografiju Ramajane, to jest maske što simbolišu majmunskog boga Hanumana, zmijskog boga Vasukija i medveđeg boga Džambhavana u svojim najavama svodi na pozapadnjene, trivijalizovane ikone (,,Kobra", Kiplingov medved Balu i, pogađate, King Kong).
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No, Monkey Man nije film koji će svoj politički iskaz presudno zasnovati na kolonijalnoj traumi, i zapravo ovo je nešto što bi uradili ljudi koje Monkey Man kritikuje. U praktično prvoj sceni Copley se obraća napaljenoj publici oko ringa pominjući da su oni svi ovde, bez obzira na etnicitet i veru isti, i da poštuju jednog boga – indijsku rupiju, ali je sasvim primetno da kada pomene hrišćane – kojima i sam pripada – iz mase dopiru glasni zvuci negodovanja. Ono što na prvi pogled može biti samo razumljiv bes u refleksiji na kolonijalne ožiljke, u filmu se dalje pokazuje kao zapravo nacionalistički žar koji nišani prema svim manjinama shvaćenim kao pretnja veličanstvenom nacinalnom preporodu.
Patel pokušava da ispriča veoma jednostavnu priču, ali u veoma komplikovanom kontekstu, prikazujući kastinsko i međuetničko nasilje – pa u jednoj sceni i ekplicitno vidimo transparente koji zahtevaju zaustavljanje nasilja nad muslimanima u Indiji – kao produkt sistema koji je spojio populistički Hindu-nacionalizam i religijski tradicionalizam sa ekstremnom korupcijom, prezirom prema zakonu (modernom, ali i tradicionalnom) i eksploatacijom slabih u društvu. Potraga glavnog junaka za policajcem kome želi da se osveti vrti se velikim delom oko ekskluzivnog noćnog kluba gde sposobna lokalna mafijašica političarima, krimosima i biznismenima podvodi ,,elitne devojke" iz celog sveta a ovaj prostor na kraju uspeva da usisa i religijske vođe koji daju podršku nacionalističkoj partiji što pred kraj filma trijumfuje na izborima sa pričom o tradiciji, religijskoj čistoti i ponosu.
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Patelu se moraju priznati mnogi uspesi u Monkey Manu. Lokalizovanje neksusa radnje na jednom mestu koje je profano (ali mu podršku daju ljudi koji se nazivaju svetima) i drugom koje je sakralno, ali se tretira kao leglo terorista (hram u kome transrodne osobe – poznate u indijskoj kulturi kao hidžra i u nekim indijskim državama zvanično prepoznate kao treći pol – propovedaju harmoniju suprotnosti i suživot) uspeva da veliki deo komplikovane političke i kulturalne pozadine na kojoj se priča događa smesti u samorazumljive, zapadnjacima probavljive slike i koncepte. Monkey Man veliki deo svoje fundamentalne kompleksnosti pakuje u pozadinu, svodeći priču na žanrovski shvatljivi revenge-plot, ali i na očiglednu nepravdu u kojoj ljudi sa parama, oružjem i lažnim pričama o moralu mobilišu institucije sistema kako bi gazili slabije od sebe i uzimali od njih resurse koji će uvećati njihovo već veliko bogatstvo i moć. Marksistički sloj ovog filma je jednostavan i efektan i služi kao spretna poopštavajuća dopuna osnovnom zapletu u kome čovek želi da osveti svoju majku. Za gledaoca koji je prvenstveno došao da gleda akciju, ovo apsolutno ispunjava svoju funkciju i stavlja likove u jasan, razumljiv konflikt gde je lako izabrati stranu za koju navijate. To da je Patel glumac koji jednako kredibilno emituje auru ranjivosti nekog ko je iskusio strahovitu nepravdu a zatim i auru pravedničkog gneva dodatno pomaže da se osnovna priča proda. Hoću reći, ako već moramo da Monkey Man opišemo i kao ,,indijski John Wick" (a naravno da se John Wick pominje i u jednoj replici u samom filmu i da je posle Patelu na NOS izašlo stalno poređenje Monkey Mana sa ovim serijalom), fer je da se primeti da bi John Wick ekstremno profitirao od Patela u glavnoj ulozi umesto dragog ali, jelte, nejakog Keanua, ali i od izbacivanja sve ,,mitologije" koju ovaj serijal očajnički pokušava da izgradi, recimo, i prihvatanja mitologije koje su narodi kreirali tokom hiljada godina.
(https://i.imgur.com/hht9MBZ.png)
Jer, za zahtevnijeg gledaoca Monkey Man onda ima čitav sloj koji ide odozgo i koji je neka vrsta dekonstrukcije i rekonstrukcije Ramajane, tako da se Rama nigde u filmu ne pojavi a da Hanuman bude heroj koji će s pravom zaslužiti svoje obožavanje od strane prostog naroda. Patel ovde rukuje obimnim religijskim imaginarijumom, prikazujući, recimo, hidžre u hramu gde je protagonist našao pribežište nakon neuspešnog atentata na policijskog službenika, kako obožavaju idola koji je polovinom sklopljen od Šive, boga uništenja a polovinom od Parvati, boginje obilja i rasta. Partija u filmu se naziva ,,suverenističkom" (Modijeva partija u stvarnom životu je ,,narodna") i suverenistički diskurs temelji na izrazito patrijarhalnom tumačenju tradicije, a čemu se hidžre i njihov izbor božanstava jasno suprostavljaju, tražeći harmoniju suprotnosti. Patelovo stavljanje Hanumana u prvi plan i suprostavljanje onima koji u stvarnom životu slave Ramu – vrlo muževnu, patrijarhalnu ikonu – za cilj, dakle, ima ne rušenje Hinduizma ili religije kao pokretačke snage u društvenim promenama već neku vrstu radikalne rekonstrukcije savremenih, u Indiji trenutno preovlađujućih hinduističkih tumačenja, tako da se agresivni, nacionalistički i patrijarhalni kontekst iz njih izbaci i bude zamenjen požvrtovanošću, empatijom i inkluzivnošću. A kako je ovo ipak akcioni film, on i poziva da se nepravda poruši, i fizički uništi pre nego što na njenom zgarištu bude mogla da se izgradi pravda. Dualitet (kao simbol inkluzivnosti) koji vidimo u hramu hidžra ali i u tome da je glavni junak istovremeno i čovek ali i avatar omiljenog boga iz Ramajane (središnji vizuelni momenat u filmu je otvaranje grudnog koša glavnog junaka koje prethodi njegovoj duhovnoj transformaciji a što je jedna od najikoničnijih, najčešćih predstava Hanumana u hinduističkoj likovnoj tradiciji) onda se i spretno posreduje u akcionoj završnici filma u kojoj vidimo da hidžre nisu samo nežni, feminizirani muškarci koji pričaju tiho i mole se dvopolnom idolu nego i gizdavi, sposobni ratnici koji svoju kuću i imovinu brane fizički bez ikakvog skanjeranja kada postane jasno da sistem koji ih je do sada tolerisao (mada najviše ignorisao) namerava da u dogledno vreme dođe i po njih.
(https://i.imgur.com/TCDKyLk.png)
Naravno, za prosečnog zapadnog gledaoca će veliki deo ovoga ipak biti isuviše egzotičan i zahtevati možda previše guglanja da bi se sve razumelo, tako da je Patelov veliki uspeh – i dobra kreativna odluka – bilo to da se narativ konstruiše oko samorazumljive osvetničke misije i da ikonografija koja predstavlja spregu koruptivne politike, instrumentalizovane religije i sistemskog kriminala bude prikazana jasno, svedeno i efektno. No, vredi ovde potrošiti još par redaka na ukazivanje da je Patel IPAK dijaspora i da njegova veoma dobronamerna ambicija da Ramajanu raspori, iz nje izvadi dnevnom politikom opoganjene delove i ponovo je zašije tako da se akcenat stavi ne na Ramu kojim se diče nacionalisti već na Hanumana koji je neka vrsta pravičnog underdoga, ni sama nije mogla da sasvim drži korak sa daljim razvojem situacije u Indiji. Dok je njegov film tavorio u postprodukcijskom limbu i čekao da vidi šta će biti s distribucijom, indijski nacionalisti su napravili velike nove korake da kooptiraju i Hanumana u svoj svetonazor (majmunski bog je, da ponovimo, uprkos svojoj generalno nepoćudnoj prirodi, Ramin lojalista). U napadima na muslimanske – i druge – manjine su tako pokliči ,,Jai Shri Ram" (,,slava gospodu Rami") dopunjeni sa ,,Jai Bajrang Bali", a gde je Bajrang Bali drugo ime za Hanumana, a i sam premijer Modi je počeo da koristi ovu drugu frazu u svojim obraćanjima, što onda veoma ironičnim čini scenu u Monkey Manu gde se ,,Jai Bajrang Bali" koristi kao poklič da se ohrabri sam glavni junak da udari na zlotvore koji simoblizuju Modija i njegovu kliku. Štaviše, u indijske je bioskope Juna 2023. godine ušao film Adipurush, još jedna, mnogo strejterskija, tj. tradicionalnija adaptacija Ramajane, a gde su putem javne kampanje gledaoci umoljavani da ostavljaju jedno sedište pored sebe praznim ,,za Hanumana", pa je zabeležen i najmanje jedan incident kada je čovek seo na mesto ,,rezervisano za Hanumana".
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U tom nekom smislu, poruka Monkey Mana, iako inicijalno sasvim jasno postavljena, u međuvremenu je iskomplikovana kooptiranjem i pervertiranjem ikonografije od strane istog tog proto-fašističkog neprijatelja protiv koga se Monkey Man žustro bori. A što je zgodno podsećanje na to da kada se laćate tradicionalne ikonogafije i želite da je upotrebite kao oružje, nemojte da se iznenadite kada vaš protivnik isto to oružje upotrebi za svoj račun, koristeći pritom sve moguće javne i privatne, zakonite i nezakonite resurse koji mu, pošto je, da ponovimo, proto-fašista, stoje na raspolaganju. No, činjenica da je, rekosmo, Monkey Man i dalje praktično zabranjen u Indiji valjda dovoljno govori o tome da ga se režim ipak donekle plaši. A to je dobro.
U tehničkom smislu, Monkey Man je VRLO SOLIDAN ako već ne IZVRSTAN akcioni film. Patel je, pogotovo za čoveka kome je ovo prva režija, vizuelno prilično efikasan i sposoban da pripoveda slikama, prizorima, akcijama i koreografijama radije nego pukim diskursom. Neki od elemenata pripovedanja su standardni za film koji dobar deo svog vizuelnog jezika preuzima od korejskih osvetničkih akcijaša, pa su scene sela u plamenu, ali i flešbekovi na detinjstvo provedeno sa nasmejanom majkom urađene izuzetno sigurno unutar nekakvih već kanonizovanih parametara. Patel svoj talenat i spretnost pokazuje u drugim elementima filma, ne samo u kompleksnim scenama potere i akcije koje, pogotovo u prvoj polovini filma demonstriraju njegovu sposobnost (ali i izraelskog direktora fotografije Sharonea Meira, te trija montažera: Dávid Jancsó, Tim Murrell, Joe Galdo) da se bez gubljenja koraka, u furioznom tempu, pređe velika razdaljina i promeni više lokaliteta, i prevoznih sredstava, sa sve non-stop borbom, već i u, recimo trening-montaži koja je praktično obavezan sastav u filmovima o borilačkim veštinama. Urađena kombinujući borilačku koreografiju sa furioznom svirkom na tradicionalnom tabla-setu bubnjeva ovo je memorabilna, dobro napravljena scena u kojoj ima i mommy-porn kadrova Patelove vitke ali mišićave figure koji nikako nisu za potcenjivanje. Na drugim mestima u filmu gledaćemo ga kako se divljački bori protiv ljudi koji zaslužuju samo sve najgore na svetu pa jedan momenat u kome hvata nož ustima i tako, držeći držalju u zubima sečivom preseca grkljan protivnika ostaje kao ,,gory" hajlajt filma.
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Monkey Man uspeva i da ne bude samo glasni politički iskaz, religijska rekonstruktivna hirurgija i fino koreografisan akcioni film sa protagonistom kome je zaista dosta svega i kad zagusti nije mu strano ni da šutne u jaja ili da ujede protivnika za lice. Ako smo već majmuni i majmunskoga roda onda je lepo videti blagi odmak od standardne ponude bilo zapadnog bilo istočnjačkog akcionog filma, ali i generalno Patelu lepo polazi za rukom generisanje te moderne, urbane indijske scene, sa spretnim prikazima uličnih muljatora i griftera na poslu, pažljivo i odmereno kadriranim kontrastima modernih indijskih metropola gde su ekstremno siromaštvo i nepristojni glamur više razdvojeni nevidljivim zidovima kastinske podele i klasnim sudbinama nego arhitekturom. Film je ozvučen zaraznim lokalnim hip-hopom a ekipu sitnih hustlera i polukriminalaca sa kojom se glavni junak po prirodi stvari meša na svojoj misiji predvodi pomenuti Pitobash sa svojim fast-talking mangupom Alphonsom koji je kao nekakav mladi, indijski Joe Pescy. I sporedne uloge, uključujući sposobnu ali beskrupuloznu gazdaricu kluba (igra je popularna televizijska glumica Ashwini Kalsekar), veoma lepu ali emotivno ispošćenu seksualnu radnicu koja će glavnom junaku očitati potrebnu lekciju kada je on u svojoj još nerazvijenoj formi (bivša misica Sobhita Dhulipala), odličnog Sikandara Khera kao svirepog policajca, Makaranda Deshpandea kao korumpiranog religijskog lidera i veterana Vipina Kumara Sharmu kao glavnog hidžra sveštenika, sve su odrađene odlično, i mada se može reći da su njihovi likovi tipizirani pa i da neki nemaju stvarnu funkciju u filmu (Dhulipala jedva da figuriše u njegovoj završnici), u pitanju je jedan upečatljiv ansambl koji Monkey Mana nedvosmisleno izdiže iznad proseka savremenog akcionog filma, i vizuelno i glumački. Patel ima dobro oko i scenografi, kostimografi, osvetljivači i šminkeri su kameri dali mnogo jači program nego što biste dobili u bilo kom holivudskom filmu koji bi koštao deset miliona dolara.
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Dobar revenge-flick je obično onoliko dobar koliko mu je dobar završni bosfajt i Patel ovde ne razočarava, mada Monkey Man ipak kulminira pre završne scene, nudeći urnebesnu opštu tuču u klubu i mnogo dobre koreografije ali i dostatno krvavih, brutalnih završnica. Poslednja scena je, naravno, pre svega borba dve filozofije, dva svetonazora, urađena u izvanredno odabranom prostoru, sa pažljivom kombinacijom svetla, vode i kostima i Patel svoj finalni iskaz sigurno (i doslovno) pesnicom zakucava u lice neprijatelja, dajući gledaocu emotivnu isplatu koja ide daleko preko zadovojavanja osnovne osvetničke žudnje protagoniste i podsećajući na mnogo puta citiranu Rortyjevu opasku da ,,ako jednom naletite na inteligentnog fašistu, morate da ga ubijete." Nezgodan savet za svakodnevni život – šta ako se fatalni susret odvija u obdanišu ili porodlištu? – ali u umetnosti, pogotovo kada je ta umetnost, brutalni akcioni film, to apsolutno ima svoje mesto i Monkey Man svoj doskok u naša srca ostvaruje sa mnogo sigurnosti.
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Humanist Vampire Seeking Consenting Suicidal Person, odnosno u kvebečkom originalu Vampire humaniste cherche suicidaire consentant svojim naslovom sugeriše šalu, komiku, možda i sprdnju sa današnjim klincima, njihovim hipersenzitivnim svetonazorom i visoko postavljenim etičkim standardima kojima se mi, stare, ogorčene osobe šibane vetrovima iskušenja i pune ožiljaka razočaranja smejemo i čekamo da se klinci facom zakucaju u šoferšajbnu stvarnog života pre nego što počnu da razmišljaju ,,zrelo" i ,,realistično". Ali Humanist Vampire Seeking Consenting Suicidal Person je na sasvim suprotnoj strani. Ovo je mrtvoozbiljna eksploracija upravo one etičke dileme koja je karakrteristična za generaciju Z i još mlađe klince rođene u ovom stoleću: da li je etička potrošnja MOGUĆA i koliki napor jedinka treba (ili, realistično, MOŽE) da uloži da je ostvari, da bude sigurna kako njena potrošnje resursa ove planete ne ide na štetu drugih jedinki koje jednako kao ona imaju prava na život, sreću, i te iste resurse.
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I dobro, sad, kad kažemo ,,mrtvoozbiljna", uzimamo u obzir i da je u pitanju komedija, prava, nepatvorena, sa primereno apsurdističkom premisom u svom središtu ali sa onda uspelom dramskom razradom te premise, predvidivim ali uverljivim karakternim lukovima, dosta čiste, ubedljive emocije, zabavnim preokretima i na kraju dostojanstvenom, zrelom završnicom koja uspeva da tu apsurdnu premisu filma i razvoj svojih likova na kraju uveže u nešto što u podjednakoj meri deluje kao pančlajn devedeset minuta dugačkog vica ali i humana, zrela meditacija o umiranju pod SVOJIM uslovima, u okruženju koje vas podržava, razume, pomaže vam da odete sa ovog sveta dostojanstveni i ako ne RADOSNI a ono mirni.
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Dodatno, Humanist Vampire Seeking Consenting Suicidal Person je jedan vrlo sladak film sa glumcima koji su za svoje uloge odabrani PREFEKTNO ali i sa vizuelnom zrelošću koja ide značajno preko granice puke kompetencije i nudi iznenađujuće sigurnu likovnost u kompozicijama kadrova i korišćenju kolorita zajedno sa razigranom ikonografijom koja se nalazi između omaža i dobronamerne parodije (a na kraju bude i SVOJA). Muzika je takođe iskorišćena efektno, pogotovo dijegetička i Humanist Vampire Seeking Consenting Suicidal Person je primer debitantskog dugometažnog filma koji stiže pred gledaoca potpuno formiran, sasvim siguran u to ŠTA ima da kaže, odnosno šta ima da doda tekućoj diskusiji – filmskoj i društvenoj – siguran u tehničkom smislu i, ako se odlučuje za komični ton kako bi izrekao svoje poente, to nije jer ne veruje u te poente već najpre jer neke stvari zaista najbolje vidimo kada ih redukujemo do apsurda. A komediju, da ona bude smešna, i nije BAŠ TAKO LAKO napraviti. Evo, pitajte Zorana Čalića. A, da, ne možete, umro je. I sada u njegovo ime govore samo njegovi filmovi. Aj rest maj kejs, jor onr.
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Neukusno smo se našalili – a krivim vas koliko i sebe – sa legatom pokojnika, ali Humanist Vampire Seeking Consenting Suicidal Person i jeste film koji igra na samoj ivici neukusa usuđujući se da zapita baš to od svih najnezgodnijih pitanja: ne samo šta jednom kad odemo u postelju od ilovače znači čitav naš život već šta znači naša SMRT. Je li neko imao koristi od nas za života ali i je li neko imao koristi od naše smrti i jesmo li mi, pokojni, otišli u tu smrt svesni da čin našeg nestanka (dakle ČIN, delo u kome smo imali volju i suverenost, a ne puki događaj) nekom drugom daje ono što mu je potrebno da živi a što smo mu mi rado predali, na kraju krajeva svesni da smo svi samo deo jednog ekosistema u kome se materija neprestano reciklira i da ćemo ovako ili onako za nekoga ili nešto biti hrana. Humanist Vampire Seeking Consenting Suicidal Person zapravo svoju poentu nalazi baš u toj distinkciji: biti hrana za NEŠTO ili biti hrana za NEKOGA, šta je od ta dva bolje?
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Kvebečka autorka Ariane Louis-Seize koja je napisala ovaj scenario (zajedno sa koleginicom Christine Doyon a koju je najviše ljudi pre ovog filma znalo po internet-serijalu Michaëlle en sacrament u kojoj se mlada žena stara o baki oboleloj od Alchajmera), i film režirala, već je imala zapaženih radova u domenu kratkog filma. Njen kratki film La Peau sauvage (tj. Wild Skin) iz 2016. godine je bio o ženi koja nalazi pitona u svom stanu i onda sa njim ima, hm, neočekivano erotsko iskustvo. La Peau sauvage je bio nominovan za nekoliko nagrada i utabao put za naredne kratke filmove autorke, Les petites vagues iz 2018. o tinejdžerki koja doživljava seksualno, jelte, buđenje sa neočekivanim partnerom, i Les profondeurs iz 2019. o mladoj ženi koja žali smrt svoje majke koristeći njenu ronilačku opremu da se izoluje u jednom tuđinskom svetu ispod površine mora. Nekakva tematska nit se dalje može primetiti i u Comme une comète iz 2020. godine u kome tinejdžerka ide na put sa majkom i majčinim dečkom (da gledaju zvezde padalice) i počije da shvata da se zaljubljuje u majčinog momka (sa sve seksualnom žudnjom koja nadire). Ovaj je kratki film dobio nekoliko nagrada i definitivno utro put za dugometražni debi, dakle za Humanist Vampire Seeking Consenting Suicidal Person, a koji je prošle godine imao premijeru na Venecijanskom međunarodnom filmskom festivalu i tamo autorki osvojio nagradu za najbolju režiju u okviru nezavisnog programa Dani autora. Odličan početak i veoma zaslužena nagrada jer je Humanist Vampire Seeking Consenting Suicidal Person, rekosmo, jedna vrlo sigurno izvedena produkcija koja sa malo para i dosta pameti postiže iznenađujuće mnogo.
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Na primer to da je uvodna scena koja nam uverljivo prodaje premisu izvedena sa perfektnom kombinacijom ubedljive a ne prenaglašene komike i sugerisanog, ali ne neukusnog horora. U pitanju je rođendanski parti za devojčicu po imeu Sasha čiji su roditelji, tetka i sestra od tetke svi vampiri i pored silnih poklona koje je dete dobilo, dovode joj i klovna da svojim humorističko-ekvilibrističkim programom učini žurku nezaboravnom. To da na rođendanu nema druge dece je odmah primetno a postaje jasno i zašto kada familija Sashi kaže da će sada svi zajedno da posrču krv iz klovna i da će to biti njeno inicijantsko pijenje krvi iz žive ljudske jedinke.
No, Sasha je MALA i klovn je nekako jadan i simpatičan i nju ova ideja ali i prizor sirotog čoveka koji ne zna šta ga je snašlo i umire žalosno i nedostojanstveno na kraju traumiraju do te mere da joj se očnjaci uopšte ne pojave a pomisao da ubije ljudsko biće joj postaje permanentno neprihvatljiva. Dosta godina kasnije, Sasha je tinejdžerka, barem likom, sa odsečenim šiškama i crno farbanom kosom, obučena kao da je krenula na gotik najt u KST, ćutljiva, stalno namrštena i sa krvlju koju pije isključivo iz kesa koje joj u frižideru ostavljaju roditelji, a koji se malo i stide što dete još nisu naučili da lovi samo.
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Komična dimenzija ove postavke je prepoznatljiva ma koliko godina da imate, sa decom koja odbacuju vrednosti svojih roditelja i zariču se na etičke vrednosti što ovima deluju apsurdno i nedostižno. Sasha bi u ovoj fazi filma mogla da bude i samo tinejdžerka koja maže nokte crnim lakom, svira električni klavir ispred lokalnog supermarketa da ne bi morala da gleda roditelje i meditira kako matorci ne razumeju njen veganski životni stil, ali kada roditelji izvedu intervenciju i saopšte joj da više ne može da živi s njima i da će morati da se preseli kod sestre od tetke, jedne nešto starije, samostalne devojke koja već dugo lovi sama (i živi u prerađenom magacinskom prostoru sa sve kukama koje vise sa tavanice), Sashi se u životu mnogo toga menja.
Pokušaji da se Sashi pokaže kako je prirodno da vampiri pronađu žrtve u populaciji ljudi i konvertuju ih u hranu su urađeni u udobno razrađenom komičnom ključu sa napaljenim dvadesetogodišnjacima koji ne mogu da odole prizoru dve ,,alternativne" devojke što se muvaju po vankuverskim klubovcima i barovima te incidentima fizičke, ne-baš-slepstik ali dinamične fizičke komedije, ali i spretno izvedenim parodijama na horor trope koji se rade ukusno, sa ,,strašnim" prizorima što se događaju izvan vidnog olja kamere i informacijom koja do gledaoca stiže samo putem zvuka. Gledajući rođaku kako rutinski ubija (mada pokazuje barem minimum empatije a to je bitno za finale filma), Sasha naposletku shvata da je jedini način da ostvari nezavisnost u životu to da počne sama da nalazi svoju hranu i onda prizor momka na ulici koji ima neuspeo pokušaj samoubistva u njoj nešto probudi.
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Ima nečeg odvažnog u tome da jednu od scena filma smestite u okruženje grupe za podršku depresivnim osobama sa suicidalnom ideacijom, da zadržite komički ton filma, a da te osobe predstavite kao i dalje puna ljudska bića sa slobodnom voljom, sposobna da odlučuju u svoje ime i da izgovaraju stvari koje su na granici ljudskog poimanja (barem u poređenju sa našim svakodnevnim iskustvima), a da ni u jednom trenutku ne skliznete u parodiju ili eksploatacijski misery porn. Na ovoj grupi Sasha upoznaje Paula, starijeg tinejdžera, a koga je već videla kako razmišlja o tome da li da se ubije i njih dvoje odmah jedno u drugom prepoznaju kompatibilnost na praktično animalnom nivou. Oboje su otpadnici iz svojih zajednica, neshvaćeni, nevoljeni, neugodno uglavljeni u svoja ,,prirodna" okruženja, oboje nemaju sa kim da zaista komuniciraju, oboje očajnički traže izlazak iz zamke koja deluje kao da će se protezati na ceo njihov život. Glavna razlika je da Sasha želi da živi ali ne zna kako a Paul želi da umre ali ne zna ZAŠTO. Kada Paul, usred razgovora grupe kaže da ne uživa u životu i rado bi ga dao u neku dobru svrhu, gledajući u Sashu, ovo je prvi put da na livcu ovog mladića – koga inače ismevaju i maltretiraju vršnjaci u školi i na poslu u kuglani – vidimo odlučnost, snagu, dostojanstvo.
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Izbor odgovarajućih glumaca za uloge je veština za sebe i u ovom smislu Humanist Vampire Seeking Consenting Suicidal Person je održao masterklas. Sara Montpetit i Félix-Antoine Bénard su SAVRŠENI kao dvoje mladih osoba sa deficitom socijalnih veština, ona maskirana iza ledene gotske maske Morticie Adams i umotana u crnu odeću, on permanentno prepadnutog izraza lica, velikih, toplih očiju, stalne, snažne želje da bude nevidljiv, neprimećen, ostavljen na miru da umre. Hemija između likova je izgrađena perfektno, spretno unovčavajući razlike i sličnosti između njih. Kada u jednoj sceni, neprekinutom dugačkom statičnom kadru Sasha i Paul slušaju – sa Sashinog old school gramofona – pesmu Emotions u izvođenju Brende Lee, ovo je majstorski režiran i odglumljen dramsko-komični igrokaz u kome likovi – i ne gledajući jedno u drugo – na trenutak uklanjaju svoje maske, pronalaze ,,prave" ljudske emocije i razotkrivaju se kao baš ono što jesu – tinejdžeri. Mada naravno Sasha u tom trenutku ima 68 godina. Ali, poenta je, ako se u njih u toj sceni ne zaljubite, jer su tako divni i blentavi i nevini, verovatno ne treba da gledate film do kraja, a verovatno ni većinu drugih filmova o kojima ovde pišemo.
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Sasha i Paul su simbiotski uklopljeni na najbolji moguć način: ona mora da ubija da bi živela, on želi da umre i biće srećan ako njegova smrt nekom drugom bude donela nešto značajno u životu, ali Humanist Vampire Seeking Consenting Suicidal Person nije samo Låt den rätte komma na Francuskom, nije samo Twilight sa izoštrenim komičkim čulom niti samo What We Do in the Shadows sa prelepim kanadskim tinejdžerima. On je neka vrsta idealnog preseka sve ove tri teze o modernim vampirima, prikazujući noć u kojoj Sasha i Paul pokušavaju da Paulovom životu u njegovim poslednjim satima daju barem MALO smisla, ali i romantična, nežna komedija o prvom STVARNOM zaljubljivanju, alegorija o gubljenju nevinosti (sva ta krv nije tu samo hrane radi, znate) pa na kraju i pouka o sazrevanju koje NE podrazumeva potpuno prihvatanje etičkog sistema svojih roditelja već pokazivanje, i tim roditeljima, da je etički ili barem etičkiji put ponekada zaista MOGUĆ.
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Humanist Vampire Seeking Consenting Suicidal Person je po prirodi stvari sniman gotovo isključivo noću ali je vizuelno izuzetno čitak. Pažljiva kompozicija kadrova i korišćenje dijegetičkih svetala kao tačaka na slici koje vode oči gledaoca i uokviruju scene daju svemu jedan odmeren, dostojanstven likovni ton koji radnju što bi inače zaista bila kodirana ,,džimdžarmušovski" podiže na nivo ugodnog artizma dajući mu samo malo fulčijevskih (pa i bergmanovskih) začina. Pošto je ovo i komedija, komički elementi radnje – pogotovo ti sa fizičkom komedijom, gde gladne žene zaskaču blentave stonere da im piju krv a ima i scena kada jedan od likova popije ašov posred face – pa onda i ono malo ,,pravog" horora što ga film sadrži su urađeni sa jednakom sigurnošću, bez shaky cam brljanja tako popularnog u današnjem filmskom jeziku (čak i kod visokobudžetnijih produkcija), sa pažljivo postavljenim kadrovima i spretnim korišćenjem rezova. Humanist Vampire Seeking Consenting Suicidal Person je ,,mali" film ali njegov izraz je veoma siguran, sa veoma funkcionalnim spajanjem izvrsnih mladih glumaca, pažljivo uobličene slike i kolorita, dijegetičke (i originalne) muzike.
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Konačno, njegova poruka, koliko god utopijska bila, jeste ubedljiva jer pokazuje ono što klinci intuitivno znaju a nas matore neko stalno mora da šutira u dupe i podseća: svet u kome živimo je NJIHOV a ne naš i oni će ga izgraditi po svom a ne po našem liku. Na nama nije samo da im se sklonimo sa puta ili pomognemo već i da u onome što oni jesu i pokušavaju da budu prepoznamo i sebe kada smo bili mlađi i budemo srećni ako naše smrti, pored naših života, njima budu donele nešto po čemu će nas pamtiti sa ljubavlju. Eto. Film je trenutno u rotaciji na MUBIju pa ako imate, pogledajte, ovo je prijatnih i krvavih devedeset minuta male, lepe filmske umetnosti.
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Pripremajući se da pogledam ovogodišnji rimejk filma The Killer Johna Wooa, a koji, makar iz krugova kojima ja nešto kao verujem, ne dobija sjajne reakcije, odvojio sam sat nekih stotinak minuta da pogledam prošlogodišnji Wooov ,,povratak američkom filmu" , takođe ne sjajno ocenjeni Silent Night. I, sasvim je fer reći da se svaki Woov poštovalac nadao malo visokoprofilnijem povratku u severnoameričko okrilje a ne jednoj skoro partizanskoj, niskobudžetnoj muljavini koja ceo svoj identitet stavlja na jednu jedinu kartu, pa nek je vrate kući sa štitom ili na njemu, jednom, dakle, skoro klasičnom ,,B" filmu koji dobar deo svog postojanja duguje činjenici da su producenti Johna Wicka odrasli gledajući Woove akcijaše pa se odlučili da mu malo pomognu. I to baš malo. Woo je u komentarima na Silent Night ukazao kako je ovo rađeno sa toliko niskim budžetom da je on morao da dobar deo svog uobičajenog pristupa prilagodi finansijskoj realnosti i mnoge scene uradi u jednom kadru kako bi se uštedelo na vremenu, materijalu, svemu. Ovo je, nagađate, u konačnici dalo i neke interesantne umetničke rezultate, ali teško da će ijedan štovalac ,,Mocarta masakra"* Silent Night svrstavati u njegova važnija dela.
*da tako, malo kreativno prevedem stari Woovo nadimak ,,The Mozart of Mayhem"
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Silent Night je, naprosto, od početka do kraja vrlo skučen film, a u skladu sa svojom premisom da je ovo priča bez dijaloga, film koji skoro da možete gledati bez titlova jer onih par dijegetičkih rečenica koje se u njemu čuju dolaze sa policijskog radija i tu je intonacija bitnija od sadržaja. Nije sasvim istina ono što je Joel Kinnaman negde izjavio, da je ovo jedan od retkih repertoarskih filmova koje publika u bilo kojoj državi sveta gleda ,,identično" u smislu da nema prevoda i interpretacije jer nema šta da se prevede; U jednoj sceni na samom kraju filma Woo krši ovo načelo i umesto vizuelnog pripovedanja koje mu je do tada odlično išlo odlučuje se za blisko kadriranje pisma ostavljenog da ga nađu a u kome jedan od likova objašnjava svoje motivacije i emocije i koje publika čita zajedno sa drugim likom u filmu. Ovaj ustupak melodramskoj konvenciji je ne samo iznenađujuće odstupanje od dotadašnjeg prećutnog ugovora, da ne morate znati jezik na kome se ovaj film dešava da biste ga ispratili, već je i u umetničkom smislu nepotrebno ,,objašnjavanje" nečega što bi trebalo da se podrazumeva i ova scena bi bila značajno efektnija da gledalac ne vidi sam tekst već samo lice lika koji ga čita i sam, jelte, pročita emociju koju izazivaju reči što ih neće videti.
Ovo napominjem jer je Silent Night u principu čitav raspet između ova dva ekstrema: smelog umetničkog eksperimenta i readymade žanrovskih rešenja. Ovo je akcioni film koji u mnogim momentima subvertira – pa i parodira ako prihvatimo da parodija ne mora da izazove prevashodno smeh već generalno jaku somatsku reakciju – elemente akcionog filma, ali onda, za svaki slučaj, ubaci i neke poštapalice, trope, pojašnjenja, standardna pa i generička rešenja koja kao da treba da gledaoca koji već gleda na sat i pita se kad će priča u stvari da počne, ubede da je sve okej i da gleda normalan akcioni film a ne nekakvu avangardu.
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Silent Night kreće izrazito in-medias-res, prikazujući jurnjavu kroz suburbani krajolik u kojoj okrvavljeni beli muškarac u džemperu sa crvenonosim irvasom u očaju trči za dva automobila meksičkih gangstera koji pucaju jedni na druge. Kada ih stigne, stvari se završavaju onako kako otprilike očekujete da se završe kad se beli ,,ćale" iz predgrađa suoči sa tetoviranom čolo-gengbengerima. Sreća u nesreći je da hitac u vrat, koji je trebalo da protagonistu pošalje na onaj svet, na kraju ,,samo" ima efekat da posle kome i operacije naš glavni junak dolazi kući na staranje kod brižne supruge nesposoban da govori.
Invaliditet je, dalje, dopunjen bolom drugog gubitka jer postaje jasno da je ovaj bračni par izgubio dete i da nesposobnost glavnog junaka da govori simboliše i neiskazivu tugu a dalje i narastajuću tenziju između supružnika koji, kako vidimo, i vrlo bukvalno, ,,ne mogu da razgovaraju" o tragediji koja im se desila. Glavni junak se onda, prirodno, češće hvata za flašu nego za ispruženu ruku pomoći svoje žene a ona ga onda sa respektabilne daljine gleda kako kopni i pita se šta je to u njegovoj glavi.
Woo sve ovo režira dosta ekonomično, svakako se držeći melodramskih tropa ali to odsustvo teksta daje filmu jednu sirovu energiju. Joel Kinnaman kao muž i Catalina Sandino Moreno* kao žena su primorani da glume izrazima lica i pozama i hajde da kažemo da ni Woo kao režiser ni Kinnaman kao glumac nisu baš poznati po nekakvom pozorišnom pedigreu koji bi ove scene učinio imanentno interesantnim. No, kako je ovde na delu ,,nemo" prepričavanje jedne vrlo klasične formule akcionog filma, taj odmak od standarda Woou daje jednu nepobitnu propulzivnost.
*a koja je, da se podsetimo, pre dvadesetak godina imala i nominaciju za Oskara a sada igra Meksikanku udatu za Amerikanca sa kojim živi u američkoj suburbiji, samo što film režira Kinez, Amerikanca igra Šveđanin a Ameriku glumi Meksiko Siti.
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Utoliko je onda gore što Woo oseća potrebu da napravi podugačak flešbek i, kada je gledaocu sve već jasno (ili DOVOLJNO jasno), posedne ga u stolicu da mu pokaže šta se dešavalo nekoliko minuta pre uvodne scene filma, kako bi i najmanje usredsređeni lik u bioskopu, onaj što je prvih pet minunta odgovarao na poruke na telefonu i čekao da krenu dijalozi kako bi obratio pažnju, imao tu neku potpunu informaciju. Ali ovaj flešbek ne donosi nikakvu zaista novu informaciju i predstavlja višak u filmu koji bi bio značajno efektniji upravo kao avangardniji, modernistički (u šćepanovićevskom smislu) akcijaš u kome se motivacija ne mora objašnjavati a likovi su samo vektori čije presecanje i kolizije gledalac prati sa estetskim interesovanjem, radije nego da se traži neka njihova dublja ljudskost i socijalno utemeljenje.
Dobar deo filma je i formatiran kao nemi igrokaz koji prvo omažira a onda dekonstruiše trope nihilističkog akcijaša sedamdesetih i osamdesetih godina prošlog stoleća. Woo se ovde manje bavi sopstvenom tradicijom a više preuzimanjem formule holivudskog osvetničkog filma i njenom analizom. Kada glavni junak odluči da je njemu jedino u životu ostala osveta, on na kalendaru obeleži datum kada će otići da se najebe keve ljudima odgovornim za smrt njegovog, jelte, deteta, i njegove sopstvene povrede i taj je datum, simbolično, Badnji dan, tačno godinu dana otkada se tragedija dogodila. A onda Joel (u filmu se zove Brian) kreće u pripreme.
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I sad je to jedna dugačka sekvenca scena u kojima gledamo Joela kako radi zgibove i diže tegove – znate već, prvo uz najveći napor ne može da uradi ni jedan zgib do kraja a posle nekoliko filmskih minuta znojem okupani mišićavi torzo švedskog hunka praktično leti do vratila i nazad – kako uči da puca u lokalnoj streljani, kako gleda JuTjub tutorijale za borbu nožem i sa keramičkom oštricom u ruci se vežba na polivinilskoj lutki, kako svoj automobil oblaže čeličnim pločicama i uči da ga okreće za 180 stepeni pod ručnom. ,,Trening montaža" je standardni deo ovakvog narativa ali kod Wooa ona traje značajno duže od standarda i Joelova transformacija iz ,,grieving dad" larve u ,,avenging angel of death" leptira je prikazana sa praktično nepotrebnim nivoom detalja. Sve je to, naravno, vrlo lepo režirano i vizuelno efektno (videti pogotovo scene u streljani koja su, na početku kadrirane od iza Joelovih leđa a posle, kad se ovaj izveštio u pucanju, iz perspektive same mete) ali ni ovde sav taj futidž zapravo ne daje gledaocu neku novu informaciju, pogotovo ne ako je gledao jedan ili dva akciona filma snimljena u Holivudu osamdesetih godina prošlog veka.
Ono gde Woo smisleno odstupa od priručnika je kada pokazuje susret Brianovog solipsističkog JuTjub treniranja i stvarnog sveta, gde je u prvih nekoliko akcija Brian zapravo potpuno nespreman za REALNOST nasilja i ne samo da se ušeptrlja i ne snalazi na tehničkom planu, već i Joel povraćanjem pokazuje da ubijanje nije tek, jelte, katarzična punktuacija jezika akcionog filma. Woo ovde pravi jasnu sponu sa prvim Death Wish Michaela Winnera, filmom koji je ovaj žanr praktično utemeljio, ali zatim, kada su porođajne muke prošle, prelazi u modus standardnog woovskog akcijaša i to je istovremeno i razočaranje i momenat kada se udobno zavalite i krenete da navijate.
Razočaranje dolazi, naravno, na ime tog napuštanja dramske tenzije u kojoj se nalazi ožalošćeni otac što sebe zamišlja kao Pola Kerzija koji će se pravično osvetiti gengbengerima samo da bi shvatio da je on tek još jedan beli, srednjeklasni, sredovečni ,,daddy" koji je svoju (nezasluženu?) klasnu superiornost pomešao da moralnom superiornošću nad imigrantskim bandama, a onda pogrešno mislio da mu moralna superiornost garantuje +1 na sve borilačke atribute kad krenu da lete meci. Džaba sav Kinnamanov trud da se po prvi put baci u vode metodske glume* i džaba ta cela drama koju Woo gradi i pušta gledaoca da i sam sumnja u to da li stvarno treba da navija za lika koji, za razliku od DeNirovog taksiste, Travisa Bicklea, nema ni opravdanje da je traumiran u ratu već je samo ,,radikalizovan" gledanjem Charlesa Bronsona i Clinta Eastwooda u osetljivim godinama. Kad dođe Badnji dan i Brian krene u akciju, sve ovo se zaboravlja i Woo radi ono što najbolje zna: masakr.
*to jest da uopšte ne govori dok traje snimanje filma, a što je, taj trud, bilo napušteno posle par dana i čovek se zadovoljo time da ujutro, pre početka snimanja ne izgovori i jednu reč
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I, mislim, dobar je to masakr. Sve moralne dileme koje je glavni junak imao u dotadašnjem toku filma – pogotovo kada se vidi da su gangsteri koje on smatra čudovištima zapravo voljeni od strane meksičke zajednice jer joj pomažu i pružaju joj podršku – se ovde zaboravljaju i Joel ima priliku da odradi nekoliko izvrsnih akcionih komada režiranih od strane jednog od najvećih majstora u istoriji ovog žanra. Već tuča u Brianovoj garaži gde on nesmotreno pokušava da uplaši gangstera koji je verovatno ubio više ljudi nego što je Brian opsovao u saobraćaju pokazuje da Wooa godine i dugo odsustvo iz američke produkcije nisu ni malo omekšale. Ovo je urnebesna, perfektno koreografisana, brutalno režirana borba dvojice muškaraca u kojoj se ne štede ni scenografija ni kaskaderi, majstorski upriličena na malom prostoru sa vrlo ekonomičnim i efektnim pokretima kamere i rezovima. Ovde nema danas nažalost sveprisutnih shaky cam glupiranja i svaki kadar je postavljen savršeno, oštro, sa perfektnom vidljivošću svakog pokreta i perfektnom ,,težinom" svakog udarca.
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U nešto slabije režirane akcione scene verovatno možemo ubrojati automobilsku jurnjavu pre finala, ali ovo je samo jer automobilske vratolomije koje Woo i dalje vrlo solidno režira prosto nemaju ,,fizičkost" njegovih set pisova sa živim, jelte ljudima a kojih do kraja imamo nekoliko. Joel ovde dobija priliku za jedno skoro transcendentno pentranje spiralnim stepenicama i punjenje oružja između grupa gangstera koje se na njega zaleću sa hladnim i vatrenim oružjem u rukama i ovo je Woo kakvog pamtimo i volimo i kakvog su mnogi, uključjujući čjude koji su pravili Johna Wicka, imitirali i omažirali u svojim filmovima. Finale ima simpatičnu, ako već klišeiziranu, kombinaciju melodrame i akcione amplitude u vizuelno primereno ,,božićnom" okruženju, sa negativcem – Harold Torres, sav istetoviran po licu – koji je i sam vizuelno upečatljiv i ono što donekle iznenađuje je da Woo ne koristi hrišćansku ikonografiju na neki intenzivniji način, imajući u vidu da se čitav scenario Roberta Archera Lynna (koji i sam nije imao snimljen film punih sedamnaest godina) vrti oko Badnjeg dana. Štaviše, prizor na kraju akcionog set-pisa više asocira na raspetog Isusa i dvojicu lopova sa njegove leve i dese strane nego na išta vezano za Hristovo rođenje.
No, Woo je i inače ovde išao na puki minimum vizuelnog baroka – golub koji poleće vidi se u jednoj ranoj sceni ali čak nije ni beo – uz vidan trud da film i pored sve vizuelne discpline i kvaliteta fotografije, bude utemeljen u realističnijim prizorima koji, možda, treba da budu i na neki način otrežnjujući za gledaoca koji je došao da gleda razmetljivu koreografiju i ,,bučnu" ikonografiju. Možda je ovo bio i samo odjek nižeg budžeta, kratkog vremena za snimanje, tek, ovo je Woo koji na svojim najmanje ,,baletskim" a najviše ,,gritty" setinzima. I, mada tu, kako rekosmo, imamo par akcionih scena kojima će i najprobirljiviji gledalac biti itekako uslužen, stoji i da Wooa uglavnom ne gledamo zbog melodrame i trening-montaža već zbog fizičke, propulzivne akcije, što baroknije to bolje.
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Silent Night je isporučuje, ali kao da ima previše onog što do te akcije treba da dovede a što sve obećava film sa dubljom poentom nego što je on na kraju pravi. Joel Kinnaman ovde i sam glumi intenzivnije nego što ste navikli da ga gledate, trudeći se da grimasama i mimikom nadomesti odsustvo kul onelinera i replika koje bi pojasnile mentalno i emotivno stanje glavnog lika i, uostalom, gledajući da ne zaboravimo kako je pred nama ,,običan čovek gurnut na ivicu". No, Joel je čovek sa velikom harizmom, ali sa ne uporedivo velikim rasponom pa onda to da film nekako na kraju ispadne Death-Wish-koji-režira-John-Woo radije nego nekakva avangardna dekonstrukcija u kojoj bi i sam John Woo otišao dublje u likove i tražio u njima mračne dubine koje do sada nije istražio, i nije neko iznenađenje.
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No, Death-Wish-koji-režira-John-Woo je sasvim prihvatljiva ponuda za gledaoca koji ni ne zna da u ovom filmu neće biti dijaloga i Wooova kvalitetna vizuelna naracija, te dobra akcija su na posletku dovoljni da ne odete kući razočarani. Ili bar ne sasvim razočarani. Ovo je film konzervativne postavke u kome taj glavni koncept – da nema dijaloga – na kraju ispada zanimljiv ali ne presudan za recepciju čitave priče. Woo naprosto ne radi dovoljno radikalno sa onim što ima i relativno je i nezanimljiv u srednjem delu dok glavnog junaka fizički i psihološki priprema za finale, nudeći sugestiju dubine koja se nikada zapravo ne realizuje. Kada se i ta sugestija napusti i dobijemo kvalitetno režiranu akciju na kraju, stvari nekako dođu na svoje, ali ne možemo a da se ne osećamo i malo iznevereno što je Woo sve vreme uhvaćen između dekonstrukcije koju nikako da realizuje do kraja i želje da ne ode predaleko u stilizaciji i time nas lišava onog što kod njega najviše volimo.
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Ponekad morate pogledati unazad da biste shvatili kojom brzinom idete unapred, pa sam ponesen ovom mišlju i činjenicom da, barem što se bioskopskog mejnstrima tiče, ne mogu da se setim baš mnogo animiranih filmova namenjenih odrasloj publici poslednjih godina, seo i pogledao stari francuski animirani film, Les Maîtres du temps (poznat i kao Time Masters ili Az idő urai na Mađarskom) a koji je znameniti francuski slikar koji je postao animator a koji je onda postao i filmski režiser, napravio u nezavisnoj produkciji 1982. godine. Čitaoci sa dovoljno izraženim ADHD-om su već registrovali da je ovo jedva šest meseci nakon što je američko-kanadski Heavy Metal, animirani film baziran na istoimenom strip-magazinu, ušao u bioskope i vrlo je zanimljivo promišljati kako smo, eto, pre nešto više od 40 godina bili na ivici da upadnemo u možda i značajno bolju vrstu budućnosti u kojoj su animirani filmovi za odrasle gledaoce bili neka vrsta avangarde naučne fantastike i generalno žanrovskog filma i da posledično danas živimo u svetu u kome filmski glumci nisu tretirani kao polubožanstva a animatori, 3D modeleri i ostala tehnička lica koja njihove filmove prave ,,u kompjuteru" kao ropska, u najboljem slučaju prekarna radna snaga koju ćemo uostalom da oteramo na socijalnu pomoć čim se još par šefova studija primi na ideju generativne veštačke inteligencije što će ne samo da će da animira buduće igrane (!!!) filmove nego će i da napiše scenario, sintetizuje glasove za glumce, da iskomponuje saundtrak.
(https://i.imgur.com/kJqk3Qt.png)
René Laloux nije bio znamenit kao slikar, da ne bude zabune, ali mu to jeste bila prva vokacija. Ovaj Parižanin rođen 1929. godine je učio za slikara, a onda radio u advertajzingu, da bi posle zapošljavanja u psihijatrijskoj instituciji, kažu, ,,počeo da eksperimentiše u animaciji zajedno sa pacijentima". Nisu to bili samo skromni terapijski eksperimenti pa je prvi Lalouxov animirani film, Les Dents du Singe, bio profesionalno produciran uz učešće pacijenata a u saradnji sa studijom uglednog Paula Grimaulta još 1960. godine. Laloux je zatim upoznao Rolanda Topora, jednu renesansnu ličnost francuske kulture (čovek je bio dramaturg, slikar, animator, strip-autor, filmadžija i glumac) sa izraženim nadrealističkim interesovanjem, pa je saradnja ova dva muškarca rezultirala u kraćim ali zapaženim animiranim radovima tokom šezdesetih, kao što su bili Les Temps Morts iz 1964. godine i Les Escargots iz 1965. godine a koji su i danas, nije preterano reći, ekstremno zanimljivo gledalačko iskustvo (i možete ih videti i na JuTjubu, ovde (https://www.youtube.com/watch?v=s1vHUbnVNiA)i ovde (https://www.youtube.com/watch?v=p2QYtv_4Ot0)). Kruna saradnje ova dva čoveka bio je dugometražni film La Planète sauvage (Fantastic Planet odnosno, na Češkom La Planète sauvage, tj. ,,divlja planeta") urađen u saradnji sa praškim studijom za animaciju koji je predvodio Jiří Trnka. Govorimo o divljoj, ali DIVLJOJ ,,svemirskoj" viziji iz 1973. godine u kojoj se naučnofantastični žanrovski jezik sudario sa poznim nadrealizmom i proizveo nešto toliko vizuelno upečatljivo da ko god da je ovaj film u životu video ne može da ga zaboravi. JuTjub ga ne nudi u celini, ali nudi POPRILIČNE komade filma u raznim varijantama, pa ako ste previše škrti da platite bar mesec dana pretplate na MUBI i sve ovo o čemu danas pričamo vidite u lepim, novim 4K masterima, onda prošetajte do ovog Googleovog sajta i ostanite zapanjeni.
(https://i.imgur.com/lM1KZQH.png)
Naprosto, La Planète sauvage je neka vrsta idealne, danas skoro nezamislive savršene oluje u kojoj su se spojili francusko slikarstvo i češka animacija, nadrealizam i žanrovska naučna fantastika, i to EVROPSKA, naravno uglavnom francuska naučna fantastika sa svim svojim socijalnim i ekološkim i futurističkim zabrinutostima i zapitanostima. Podsetićemo da je ključni francuski strip-magazin koji je vizuelno i generalno estetski kodifikovao ovu epohu u francuskoj fantastici, Métal hurlant, počeo sa izlaženjem tek naredne 1974. godine, delimično jašući i na talasu koji je podigao La Planète sauvage, jedan nezavisno producirani, osobeno dizajnirani i animirani film koji je dobio Posebnu nagradu na Kanskom filmskom festivalu 1973. godine.
Naravno, u ono vreme je animacija bila skupa zabava – otud, verovatno, i ideja da se koriste animatori s one strane Gvozdene zavese – a La Planète sauvage sa svojim alegoričnim narativom (o ljudskim pravima i rasizmu, DAKLE, TAD JE BILO NORMALNO DA SE BUDE WOKE), i hermetičnim look-and-feelom, da ne pominjemo psihodelični saundtrak Alaina Goraguera, nije bio neki razbijač bioskopskih blagajni pa će René Laloux tek skoro deceniju kasnije, 1982. godine ući u distribuciju sa svojim narednim celovečernjim animiranim filmom, Les Maîtres du temps, a o kome danas pričamo.
(https://i.imgur.com/EKaoFsn.png)
I razlika između dva filma – iako se u oba slučaja radi o naučnofantastičnoj alegoriji – je vrlo upadljiva, do te mere da dobar prikaza korisnika IMDb-a naglašava da ,,ovo nije tako dobro kao Fantastic Planet, ali šta pa jeste?" (Korisnici Letterboxd-a uglavnom lamentiraju nad sudbinom jednog slatkog krznenog stvora sa četiri noge i dve ruke koji strada pri kraju filma). I to je fer. Iako GOMILA korisnika pomenutog Leterboxda film opisuje kao ,,ludilo" i ,,šizenje" i da živ čovek tu ne može ništa da shvati, to je više odraz stanja svesti modernog, jelte, gledaoca koji je skoro sasvim bespomoćan ako film ne dolazi kao deo franšize o kojoj već postoji MASA sažvakanog i provarenog materijala što će vas podučiti ,,loreu" i svemu drugom što treba da znate, nego što govori o samom filmu a koji je, u poređenju sa La Planète sauvage VIDLJIVO pomeren u smeru nekakvog ,,mejnstrima" sa čak naklonima adolescentskoj publici. Jedan od likova je, uostalom, malo dete, ostavljeno samo na planeti o kojoj ne zna ništa i gde mu prete razni rizici i ono upoznaje čudnovatosti njene flore i faune i čak se na momente dobro zabavlja, i ne jednom ćete, čitajući o ovom filmu natrčati na reference koje pominju Mijazakija i njegove ikonične animirane filmove namenjene odraslima ali sa besprekorno funkcionalnim slojem radnje i estetike ,,za decu".
Les Maîtres du temps vizuelno uglavnom ne podseća na filmove studija Ghibli ali čim vidite prve kadrove znaćete na ŠTA podseća. Na pomenuti Métal hurlant, NARAVNO, ili, ako ste više anglofonski nastrojeni onda na njegovu prekoatlantsku verziju, Heavy Metal a koji je, pratimo na času, svega sedam meseci ranije u bioskope gurnuo sopstveni animirani film namenjen odraslima (i urađen na osnovu nekih od priča objavljenih u magazinu) naslovljen isto Heavy Metal.
(https://i.imgur.com/T600hNq.png)
Povezujući faktor je naravno, Moebius, tj. Jean Giraud, globalno najpoznatiji francuski strip-crtač i ilustrator svoje generacije. Naravno da su Enki Bilal (doduše Jugosloven) ili Milo Manara (doduše Italijan), Philippe Druillet ili Guido Crepax (doduše opet Italijan) i sami ostvarili vrlo lepu prepoznatljivost na globalnoj sceni, uključujući visokobudžetne filmove rađene po njihovim radovima (Bilal) ili ekstenzivan rad za američke izdavače (Manara), ali od svih autora stripova iz Métal hurlant koji su bili objavljivani u Heavy Metalu, Moebiusova estetika, ali i generalni svetonazor su prosto definisali ,,francuski" naučnofantastični strip za generacije koje će zatim u Heavy Metalu čitati Richarda Corbena, Bernija Wrightsona, ali i superherojske superstarove poput Walta Simonsona, Neala Adamsa, Briana Bollanda, Simona Bisleyja...
(https://i.imgur.com/SqKwwEV.png)
Moebiusu u produkciji Les Maîtres du temps nije u opisu posla stajala samo art-direkcija, ali naravno da je to prvo što će vam zapasti za oko kada film krene, jedan izgrađen, ikoničan, i, do 1982. godine već izvanredno pročišćen vizuelni jezik u kome ne da nema viškova već su praznine i velike bele površine veoma važni elementi kompozicija i generalno slika. No, Moebius je ovde bio i jedan od scenarista, zajedno sa samim Lalouxom i Jeanom-Patrickom Manchetteom (u to vreme vrlo uglednim piscem krimi-proze a koji je za ovu produkciju bio zadužen da napiše dijaloge), dok je priča bazirana (i u dobroj meri je verno prenela fabulu) na romanu L'Orphelin de Perdide francuskog pisca naučne fantastike, Stefana Wula. Ovaj Parižanin (pravo ime Pierre Pairault) je bio ekstremno plodan u periodu između 1956. i 1959. godine kada je objavio deset naučnofantastičnih romana (poslednji, jedanaesti je publikovao tek 1977.) i mada oni sami VEROVATNO nisu bili baš najvišeg literarnog nivoa – Wul je na kraju krajeva bio dentalni hirurg koji je istovremeno bio pasionirani ljubitelj naučne fantastike i aktivan u francuskom fandomu nekoliko decenija – izvan Francske ga znaju po dve adaptacije njegovih knjiga. Nagađate, prva je La Planète sauvage urađena po romanu Oms en série, a druga Les Maîtres du temps, dovezena u bioskope pet godina nakon što je Wul objavio svoj poslednji roman i prestao da piše, a pune dvadesetčetiri nakon što je L'Orphelin de Perdide izašao kao jedan od tri romana što ih je Wul publikovao 1958.
Ako ovo deluje kao mnogo babica koje se bave jednim u perspektivi kilavim detetom, valja dodati i da je film zatim, produciran od strane MASE evropskih firmi (uključujući iz Francuske, Švajcarske, Zapadne i Istočne Nemačke, Mađarske, pa čak i iz Ujedinjenog kraljevstva, pošto je i BBC bio jedan od koproducenata), gotovo kompletno animiran u Mađarskoj, a od strane studija Pannonia Film Studio iz Budimpešte, istorijski najvećeg mađarskog studija za animaciju ikada, osnovanog 1951. godine i konačno zatvorenog negde 2015.
(https://i.imgur.com/lrB8paU.png)
I znam šta mislite: ,,češka animacija je imala izvestan ugled i prepoznatljivost i van granica Čehoslovačke, pa i van granica istočnog bloka, ali MAĐARI? Pa oni su radili samo Gustava. Zar ne? ZAR NE?"
Naravno da ne, Pannonia Film Studio JESTE pravio Gustava, i to mu je bio uspešan izvozni produkt, ali pričamo o firmi koja je do 1982. godine nakon Gustava iz 1964. godine producirala još SEDAM drugih animiranih serijala i pet celovečernjih animiranih filmova, osvajajući i oskara za svoj kratki animirani film A légy snimljen 1980. godine. Pričamo dakle o studiju sa VRLO jakom tradicijom, ispunjenom vrhunskim animatorima koji su verovatno znali da se tamo negde u prokletoj Americi (i Kanadi) upravo priprema Heavy Metal, sa budžetom od koga bi pola Mađarske moglo da se greje i da lepo jede godinu dana i koji su uložili svoj najbolji napor da Moebiusove upečatljive slike pretvore u jednako upečatljivu, memorabilnu animaciju.
(https://i.imgur.com/nWDSKE4.png)
Veliki deo ovog filma odvija se na planeti Perdide, koju ste zapamtili iz naslova proznog predloška, a koja u OVOJ alegoriji glumi divlju, neistraženu granicu. Ljudska rasa je, kao što vidimo, u istorijskom trenutku koji film prikazuje, kadra za kosmički let, štaviše veliki deo njene ekonomije i socijalne dinamike podrazumeva komunikaciju između društava na različitim planetama (ali i sa vanzemaljskim rasama koje su i same deo pan-kosmičkog društvenog poretka) i otac Claude i sin Piel koji se zatiču na planeti Perdide sami i doživljavaju ozbiljnu nezgodu, uspevaju da pozovu u pomoć Claudeovog prijatelja Jaffara, čoveka koji je neka vrsta kosmičkog autoprevoznika što ljude i robu vozi gde mu se kaže i to naplaćuje ne bi li zaradio za koru hljeba. Jaffar ima tradicionalnu žanrovsku ,,cosmic rogue" kodifikaciju, ali: 1. ,,cosmic rogue" arhetip je na filmu tek počeo da se formira (najviše pod uticajem Lucasovog Star Wars i lika Hana Sola u tumačenju Harrisona Forda, a koji je u filmu Imperija uzvraća udarac iz 1980. godine utemeljio tu estetiku otmenog gubitnika koju danas baštine SVI, uključujući protagoniste Fireflyja ili Guardians of the Galaxy); i 2. Les Maîtres du temps nije akcioni film i mada će Jaffar u njemu imati prilike za svojevrsni akcioni program, on je do kraja filma mnogo više posmatrač i tumač događaja koje gledamo nego neko ko ,,rešava problem".
Les Maîtres du temps, ruku na srce, nije dramaturški najsrećnije postavljen. Iako ,,gospodari vremena" stoje u njegovom naslovu, oni se u njemu ne pojavljuju do desetak minuta pred kraj pa i tada samo kao alatka za razrešenje, a ne kao stvarno prisustvo u narativu koje je bilo delatno od samog početka samo to gledalac tada nije znao, iako film insistira da je baš tako. U tom nekom smislu, razrešenje i pančlajn do kog film dolazi ima manji emotivni ali i intelektualni impakt nego što su autori, moramo pretpostaviti, želeli. Naprosto, ovde imamo posla sa pametnim (ili makar ambicioznim) naučnofantastičnim konceptom što se laća temporalnosti kako bi produkovao emociju i kontemplaciju na strani gledaoca kada stigne do kraja, ali uvođenje komplikovanog, pa i neuverljivo objašnjenog ,,fantastičkog" elementa u narativ u minut do dvanaest, a bez dovoljno prethodnih sugestija da ova priča ima dublji sloj od onog koji se najpre vidi* rezultira osećajem šuta na prazan gol i prebacivanja prečke za metar-dva u finalu filma.
* i, kad smo već tu, i bez povezivanja niti radnje što su se pojavile u međuvremenu, zatvaranja karakternih lukova pa i zapušavanja rupa u zapletu
(https://i.imgur.com/RslSHGV.png)
Ovo je, naravno, podsećanje da kada pišete scenario nije loše da u timu imate BAR JEDNOG dramaturga (pored, dakle, dva ilustratora i dva romanopisca), ali je čitav film podsećanje i na to da FILM ne čini samo njegova dramaturgija, pa i da loša dramaturgija ne mora da bude fatalan nedostatak filma, ako on ima druge kvalitete.
Les Maîtres du temps ima MNOGE druge kvalitete. Jaffar i posada njegovog broda su zanimljivi likovi, sa naizgled jasno žanrovski kodifikovanim ulogama (i tu ne pričam samo o žanru naučne fantastike) ali sa onda neobičnom implementacijom tih uloga u odvijanju priče. Štaviše, to da karakterni lukovi ne dolaze nužno do jasnih razrešenja za sve likove čini da film deluje SVEŽIJE, originalnije i smelije od onog što danas gledate u žanrovskoj naučnoj fantastici koja je, koliko umem da kažem posmatrajući je uglavnom sa bezbedne udaljenosti, procesija readymade rešenja spuštenih u scenario da se uklope kao deo slagalice.
(https://i.imgur.com/mxzpt47.png)
Tu je i ta dinamika pripovedanja u kojoj film ima jasan osnovni zaplet – kosmički brod koji ima drugu misiju mora da tu misiju na trenutak ostavi po strani kako bi doleteo do opasne planete i sa nje spasao usamljeno dete što sa brodom razgovara aparatom za instant-komunikaciju a koji svi zovu samo ,,mikrofon" – ali se onda njime bavi jednim ležernim tempom, smišljajući dovitljiva obrazloženja zašto Jaffar i njegova ekipa imaju vremena da bleje po drugim planetama i plivaju po vanzemaljskim ribnjacima, pa i da svedoče komplikovanom i veličanstvenom događaju u životnom ciklusu jedne tuđinske vrste, umesto da su dali gas do daske i stigli na Perdide u rekordnom roku.
Ovde ta ,,loša" dramaturgija radi u korist filma tako što omogućava i Jaffarovoj ekipi ali i Pielu, dečaku koji je izgubljen na tuđinskoj planeti i čeka spas a za to vreme ništa ne kapira i istražuje divljinu kako mu dune, da prođu kroz niz epozoda koje nemaju nužne veze sa centralnim zapletom ali oslikavaju svemir u kome se priča događa, daju likovima momente rasta i razvoja, konačno, bave se nekom od tema koje, opet, nisu ključno vezane za sam ZAPLET ali su važne kao deo čitavog korpusa diskusije o tome kuda ljudska rasa ide na svom putu u budućnost i koji su etički načini da se u nju stigne. Pielove avanture na planeti Perdide su, tako, kodirane kao susret nevinog deteta, intelektualne tabule raze koja nema kontekst da tumači događaje oko sebe, sa neograničenom, pa i neshvatljivom ,,divljinom" u kojoj, kako nas je Ryusuke Hamaguchi podsetio, ,,zlo ne postoji (https://cvecezla.wordpress.com/2024/04/26/film-evil-does-not-exist-aka-aku-wa-sonzai-shinai/)" i u kojoj je ekonomija postojanja sasvim razdvojena od ljudskih shvatanja etike i morala. Kontrast između dva dela priče u dva odvojena dela kosmosa je zbog toga potentan, sa Jaffarovim delom priče koji je ,,čista" spejs-opera, uključujući kratke uvide u strukture moći i represije u kosmičkom društvu i sa Pielovim delom priče koja je spretno vođena alegorija o rajskom vrtu netaknute prirode u kome svaka (a ne samo jedna) voćka što je uberete da ne biste umrli od gladi može da bude fatalna a svaka životinja je potencijalna zmija.
(https://i.imgur.com/XXJrJ5C.png)
Moebiusova vizuelna rešenja a zatim crtež i animacija mađarskih umetnika predvođenih Tiborom Hernádijem su, svakako, ono što gledaocu ostaje urezano u sećanje nakon što, posle nekoliko decenija (ili godina, ili čak i meseci) sam zaplet i likovi izblede i počnu da se mešaju sa gomilom druge naučne fantastike iz šezdesetih, sedamdesetih i osamdesetih (na više mesta sam video da se ovaj film pominje kao neka vrsta animiranog ovaploćenja sociopolitičkih ideja i koncepata koje je u svojoj prozi baštinio američki SF velikan Jack Vance). U jasnom raskidu sa nadrealističkim pristupom iz prethodne decenije, Les Maîtres du temps vizuelno, rekosmo, odlikuje pročišćenost, pa i minimalizam karakterističan za Moebiusa ovog perioda a onda i animacija koja se smestila negde između ambicioznog animiranog artizma (videt scene sa ribama, notabilno onu u kojoj likovi plivaju pod vodom) i televizijskog mejnstrima namenjenoj mlađoj publici. Ne znam sa koliko je artikulisane ambicije Laloux planirao da ovaj film, za razliku od prethodnika, bude prijemčiviji za decu, ali stoji da nemai broj rešenja koja u njemu vidimo mogu da vas asociraju na, recimo, serijal He-Man and the Masters of the Universe a koji je sa emitovanjem krenuo tek naredne, 1983. godine.
Verujem da je Laloux priželjkivao izvestan komercijalni uspeh koji će doći sa svesnim okretanjem dela estetike filma ka mlađoj publici – scene sa Pielom pre svega – ali je fer i reći da je ova kombinacija artizma i ,,komercijalnijeg" pristupa u animaciji radila naprosto odlično. Les Maîtres du temps NIJE akcioni film i zapravo rizikuje da bude dosadan svakom ko od njega očekuje mnogo korišćenja zračnih pištolja i pesničenja sa tuđinima (mada IMA i toga), a dobija lepo napisane, ekonomične dijaloge i začudnost vanzemaljskih lokacija, ali on JESTE spejs-opera po svojoj širežanrovskoj kodifikaciji i kao takav demonstrira da se alatke i nameštaj spejs-opere (dakle, pankosmička društva sa pankosičkim ekonomijama, jezikom, politikom itd.) mogu iskoristiti i za priče koje ne slede ono što smo, na ime uspeha Star Wars danas počeli da smatramo praktično jedinom vrstom narativa unutar konstrukra spejs-opere, do mere da i Villeneuve svoje adaptacije Dine režira na takav način.
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Les Maîtres du temps je dragocen baš zato što ne radi ovakve stvari i što je u njemu DALEKO važniji taj za artikulaciju komplikovani ali za percepciju neporecivi OSEĆAJ koji na gledaoca ostavljaju prizori planete Perdide, mesta psihodelične, beskonačne maštovitosti, koje se pred gledateljkinim očima otvara polako, prikazujući sve više svoje dubine sa svakim Pielovim narednim korakom, ostajući nesaznatljiva i prkosno DRUGA do samog kraja. Jack Vance na stranu, u vizuelnom smislu Perdide u ovom filmu ima karakter mesta, ali pre svega jasno kodiranog jedinstvenog ekosistema kakav biste pronašli u romanu Svet se kaže šuma Ursule LeGuin ili, čak u Lemovom Solarisu.
To da se ovo posreduje samo vizuelnim sredstvima i da, strogo uzev, nije ni u vezi sa glavnom temom filma i njegovim zapletom NIJE problem dramaturgije. Naprotiv, to je podsećanje da, rekosmo, dramaturgija nije centralni kvalitet filma po definiciji i da filmovi kao što je Les Maîtres du temps mogu ostaviti u vašem sećanju strahovito jake slike – i sa njima povezane teme, ponovo, sugerisane samo vizuelno – dok njihova priča priča o nečem sasvim drugom. Kada to uporedim sa vizuelnim, da budem fin, SMEĆEM kakvo nam kao scenografiju podmeću moderni SF filmovi (videti šta sam pisao o Guardians of the Galaxy Vol. 3 (https://cvecezla.wordpress.com/2023/05/19/film-guardians-of-the-galaxy-vol-3/) i notabilno o trećem Ant Manu (https://cvecezla.wordpress.com/2023/05/05/film-ant-man-and-the-wasp-quantumania/)), značaj samog postojanja nečeg poput Les Maîtres du temps počinje da biva jasan. Ovo je film koji je sanjao da bude mejnstrim, ali koji nije kompromitovao svoju viziju unutar tog napora, uzor na koji vredi podsetiti svaki put kada čoveka uhvati malodušnost što su moderni naučnofantastični filmovi samo animacije koje se pretvaraju da su igrani film i nemaju mašte do te mere da kada dizajnere i animatore na kraju zameni AI, mi to nećemo ni primetiti. Spas će, kao i uvek, doći iz neke strane koju ne očekujemo. Pa makar i iz Mađarske. A vi ovaj film pogledajte na MUBIju i UŽIVAJTE.
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Gustav se gleda i zbog muzike.
Kao klinac nisam mogao da smislim, delovalo mi kao traćenje termina za crtani kojih nije bilo mnogo u to doba, za Gustava treba čovek da sazri.
Slažem se, ovo što sam pisao i jeste iz perspektive Mehmeta koji ima sedam godina i hoće da gleda Toma i Džerija ili Duška Dugouška i onda vidi da je Gustav na redu i sloši mu se.
Ali Gustav je zapravo vrlo solidan animirani rad POGOTOVO u odnosu na vreme u kome je nastao, sa pristojnim satiričnim nabojem i adekvatnom animacijom. Rispekt za Gustava.
The Killer, film Johna Wooa iz 2024. godine nikada nije imao ni teorijsku šansu da bude značajan, uticajan, ali ni DOBAR kao The Killer, film Johna Wooa iz 1989. godine. Fer bi bilo i pomisliti da je posle pristojnjikavog ali ne previše omiljenog Silent Night (https://cvecezla.wordpress.com/2024/11/22/film-silent-night/), kojim se Woo posle MNOGO godina vratio severnoameričkoj produkciji, The Killer neka vrsta kreativne kapitulacije, igranja na sigurno, potezanja najjačeg aduta iz špila u nadi da će čista težina LEGENDE vezane za originalni film nekako pomoći rimejku da dopre do publike koja bi novi Wooov autput inače verovatno ignorisala. Ali to možda ne bi bilo ni sasvim tačno.
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Rimejk The Killer bio je u raznim pripremama, predprodukcijama, pregovorima i fantazijama skoro od momenta kada je originalni film stigao u američke bioskope i osvojio ih na juriš. Još 1992. godine su Walter Hill i David Giler pripremali scenario za rimejk u produkciji Tri-Stara u kome je trebalo da igraju Richard Gere (naravno) i Denzel Washington (još naravnije). Od tog filma nije bilo ništa jer su, i ne šalim se, producenti imali problem sa odnosom dva centralna lika, plašeći se da će ga publika protumačiti kao homoerotski i da bi to moglo da ošteti reputaciju filma. Terence Chang, producent koji je dosta radio sa Wooom je predložio da se za ulogu policajca uradi ,,gender flip" i da se ona dodeli legendarnoj Michelle Yeoh, ali od toga na kraju nije bilo ništa.
Godinu dana kasnije producenti su naručili novi scenario koji su ovog puta napisali Jim Cash i Jack Epps Junior, a koji je u središte priče stavio belog plaćenog ubicu koji radi u Hong Kongu i akcenat udarao na odnos između ubice i oslepele pevačice radije nego na odnos između ubice i policajca. Ni od ovoga nije bilo ništa. Naredni pokušaj je usledio 2007. godine sa scenarijom smeštenim u korejsku četvrt Los Anđelesa (ali i LA Čajnataun i Saut Central) pripremanim za režiju Johna H. Leeja, a gde je Woo trebalo da mu bude producent, dok bi Jung Woo-sung igrao glavnu ulogu. Woo je o ovom filmu pričao sve do 2015. godine ali ni od ove produkcije na kraju nije ništa ispalo. Na kraju je, dakle, postalo jasno da će, ako ovog filma na Engleskom jeziku uopšte bude, režiju morati da potpiše Mozart of Mayhem lično.
Originalni The Killer je jedan od ne samo najboljih nego i najuticajnijih akcionih filmova poslednjih pedeset godina. Za Wooa je ovo bio film iz zrele faze, nakon već više od dve decenije režiranja komedija, akcionih i borilačkih filmova, i adaptacija opera za veliko platno. On je došao i nakon što je Woo solidifikovao svoj akcioni vokabular i svetu podario dva filma koja su označila novi evolutivni plato u azijskom akcionom bioskopu – A Better Tomorrow (kako se danas i zove Woova producentska kompanija) i A Better Tomorow II – i bio neka vrsta plotuna ispaljenog ne samo prema azijskoj publici već i prema Americi i Evropi. The Killer je na ova dva kontinenta prvo imao uspešnu festivalsku turneju (uključujući Sundance i Kanski festival) a onda stigao u bioskope i razlupao svačije ideje o tome kako zapravo azijski akcioni film može da izgleda i šta sve može da kaže. Terence Chang naglašava i da je The Killer bio popularniji u Americi, Evropi, Japanu, u Koreji i na Tajvanu nego što je bio u Hong Kongu a gde je, kako on veli, postojao i određeni resantiman spram činjenice da je baš Woo nekako ostvario internacionalnu slavu i dobio bioskopsku distribuciju na teritorijama koje su hongkonški filmovi uglavnom pohodili u formi muljavih VHS izdanja što su u video-kubovima neretko delila police sa XXX produkcijom.
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The Killer je svoj put po Evropi nastavio ranih devedesetih i proizvodio interesovanje za Wooa, a koji je bio u svojem najkreativnijem zaletu i proizvodio klasik za klasikom. Bullet in the Head, Once a Thief, Hard Boiled su svi ugradili još cigala u monument Woove mitologije na zapadu pa će njegov prvi američki film, Hard Target sa Jean-Claudeom Van Dammeom uslediti već 1993, da bi ga dalje pratili Broken Arrow, Face/ Off, Mission Impossible 2...
Čak i da je Woo stao i da ništa nije snimio posle The Killer, uticaj tog filma na akcioni žanr bio bi svejedno strahovit. U Aziji je Woo praktično postao templejt za rad mlađih režisera, pogotovo u Hong Kongu i Kini. U Francuskoj su Luc Besson i njegovi Nikita i Léon bili pod jasnim uticajem The Killer a u Americi su Robert Rodriguez i Quentin Tarantino u svoje filmove ubacivali neprebrojne omaže i citate iz Wooovog filma. O broju semplova koji su se tokom devedesetih pojavili na pločama američkih hip-hop autora (notabilno u Wu Tang Clan taboru) da i ne pričamo...
Govorimo, dakle, o filmu koji je legitimisao ,,novi" hongkonški akcioni bioskop pred celim svetom, otresao sa sebe do tada neizbežne asocijacije na braću Shaw i Jackiea Chana, goofy komediju i ponekada parodično kodirani kung-fu, i otvorio zapadnoj publici i autorima sasvim nov horizont percepcije akcionog filma sa akcionim scenama koje će biti disciplinovano koreografisane ali i improvizovane na samom setu, uz uplive glumaca i kaskadera koji nisu bili tipični za zapadnjačke produkcije, a onda i sa pričom koja je, sasvim atipično za ono što se do tada podrazumevalo pod hongkonškim akcionim filmom, imala opersku grandioznost, ogroman naglasak na odnosu među likovima i evoluciji njihovih relacija koja će neizbežno dovesti do finala gde se srce lomi a suze kuljaju slobodno, bez stida. Woo je ovaj film sam napisao i režirao i na više od jednog načina The Killer je njegov magnum opus, njegov najčistiji i najveličanstveniji iskaz, zmaj koga će decenijama kasnije mnogi juriti ali ga niko neće uloviti.
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The Killer iz 2024. godine naprosto nema ovu vrstu težine. Niti grandioznosti. Niti, da bude sasvim jasno, pretenzija da bude bilo šta od toga. The Killer iz 2024. godine, film o kome danas pričamo, je Woo koji potpuno razume da je njegov originalni film bio više mitološki uzor nego puka ,,priča", da je The Killer više grupa interesantnih likova smeštenih u evoluirajući odnos nego nekakav ,,zaplet" per se. I da je sasvim u redu da se drugi ljudi prihvate proizvodnje scenarija koji će on režirati.
The Killer su napisali Josh Campbell i Matt Stuecken (10 Cloverfield Lane) a onda je na scenariju radio i iskusni Brian Helgeland (režirao Payback ili A Knight's Tale, ali napisao L.A. Confidential, Man on Fire, The Postman, rimejk The Taking of Pelham 123...) i scenario je, avaj, verovatno jedna od glavnih prepreka koje stoje između publike i uživanja u ovom filmu*. Strimlajnovan i na više načina osavremenjen, The Killer iz 2024. godine notabilno gubi svoju opersku grandioznost i možda i fatalno prekomponuje odnose među likovima, nudeći sasvim drugačiji senzibilitet. Ako bismo da tražimo predloške u samom Wooovom opusu, The Killer iz 2024. godine je po atmosferi uzdržane, otmene razdraganosti i direkciji likova koji jedni sa drugima igraju igre, pogađaju šta onaj drugi misli i smeškaju se znalački, bliži nečem poput Once a Thief nego dramatičnom, grandioznom emotivnom zahvatu originalnog The Killer. Ako bismo da budemo sumnjičaviji, možda možemo da primetimo da je ovaj The Killer, smešten u Pariz i sa internacionalnom postavom glumaca koji igraju likove iz raznih zemalja i sa raznih kontinenata, iznenađujuće mnogo nalik nekakvom bessonovskom euroakcijašu, možda najpre takođe razigranom From paris With Love Pierrea Morela. Snimljen u digitalnoj tehnologiji, ekstremno čiste, tople slike i brze, raspoložene montaže, a svakako sa većim budžetom nego što ga je imao Silent Night, ovaj The Killer deluje kao nešto sa čime se John Woo, čovek u vrlo zrelom delu osme decenije života, dobro zabavljao dok ga je pravio.
*sem ako niste ,,anti-woke" zilot koji peni što je u glavnoj ulozi žena ne-sasvim-kavkaske fizionomije. Ali ako jeste, vama nema pomoći i ni bolji scenario ne bi vam ništa značio.
Ta zabava je, da odmah kažemo, zagarantovana i gledaocu. Pogotovo onom koji original nikada nije gledao ili je odrasla, zrela osoba, sposobna da rimejk posmatra kao varijaciju, jedan zanimljivi What if... a ne nekakvu zaveru kojom original treba egzorccirati iz kulturnog sećanja planete i zameniti ga modernim, woke surogatom.
Gore smo ne bez razloga navodili različite varijacije na originalni The Killer kako bi bilo jasno da su ideje o ,,stranom" ubici u gradu gde nije rođen, ali i o promeni polova protagonista nastale daleko pre nego što je ovaj scenario napisan. Utoliko, The Killer iz 2024. godine ne samo da nije nekakvo na silu propisano ,,woke" čitanje originala već je fer reći da ovaj film nije DOVOLJNO ,,woke" u odnosu na to šta mu sve njegova postavka pruža. I da bi napor da bude VIŠE ,,woke" zapravo bio verniji duhu originala.
Jer, znate, pomenute homoerotske tenzije koje su neugodno žuljale Tri-Starove producente u Hillovom i Gilerovom scenariju su tu bile sasvim namerno i sasvim su časno prenosile duh originala u kome su lik plaćenog ubice i lik policijskog-inspektora-koji-ga-lovi tokom filma razvijali međusobnu bliskost što je do kraja daleko prevazišla saradnju-iz-računa i zbiljski se ovaplotila u nečem emotivnom i erotskom, a što je u azijskoj popularnoj kulturi široko prisutan trop, vidljiv u nebrojenim akcionim filmovima kineske, japanske, korejske itd. produkcije.
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U tom smislu, The Killer iz 2024. godine je opipljivo film za 21. vek, jedna dezinfikovana, u rukavicama izvedena varijacija na temu u kojoj je bilo kakav erotski, ali čak i dublje emotivni podtekst moguće naći samo ako ga svojeručno tu donesete. Glavna junakinja, Zee, a koju tumači izvrsna Nathalie Emmanuel je najbolji plaćeni ubica u Parizu i neko ko više puta u filmu naglašava da samoću i nezavisost doživljava kao najveće vrednosti u svom životu. Kao neko ko je preživeo trgovinu ljudima i prisilnu prostituciju iz čijih se kandži iščupala nakon što je svojeručno ubila makroa, Zee živi povučenim i, koliko gledalac može da kaže, aseksualnim životom, ubijajući po narudžbini svog hendlera, Finna (Sam Worthington koji svoj australijski naglasak na najzabavniji način mutira u irski način govora) i trošeći zarađeni novac na falafele i lepa odela što ih pravi lokalni pariski krojač. Zee živi urednim, možda i zadovoljnim životom, ali ubijanje za nju nije trivijalna aktivnost i ona će Finna uvek pre posla pitati zaslužuju li mete koje su joj zadate da umru. Finn će uvek to potvrditi, podsećajući se na to da Zee ima svoj kodeks – bez ubijanja civila – i da joj on daje samo poslove koji se u njega uklapaju. Nakon obavljenih poslova, Zee će odlaziti u napuštenu crkvu da za svaku ubijenu osobu – a koje su po pravilu okoreli kriminalci – upali po jednu sveću.
Regilijski imaginarijum je bio prominentan i u originalnom filmu, sa temama greha, martirstva i iskupljenja postavljenim visoko na agendi obrade glavnog lika, ali Zee nije Ah Jong iz originalnog filma i ona sebe ne opterećuje krivicom na isti način na koji ne on to radio. Štaviše, ona svoj posao možda i voli, i scena u kojoj ulazi u noćni klub sa oštricama od ugljeničnih vlakana skrivenim na neverovatnim mestima u njenoj inače veoma šik haljini je pokazuje kako pleše, izaziva, zavodi a onda ubija kriminalce sa apetitom. To da je ugovor koji je uzela specifikovao da SVI u prostoriji moraju umreti, ona, pokazujući neočekivano zrno empatije, tumači tako da svi NAORUŽANI MUŠKARCI moraju umreti, dok mlada američka pevačica koja ih je do tog momenta zabavljala pevanjem ostaje pošteđena, ali od povrede zadobijene u gužvi gubi vid.
Zee od Finna dobija kritiku što je pevačica ostala živa, ali i mogućnost da ovaj svoj prestup ispravi odlazeći u bolnicu gde je ova smeštena. No, tamo se neočekivano pojavljuje policijski inspektor Sye (Omar Sy) koji istražuje sinoćni pokolj u klubu i između njega i Zee bljesne izvesna varnica. Naravno, kada se pokaže da Zee ima rezerve vezano za ubijanje mlade žene za koju ona smatra da nije ZAISTA zaslužila da umre jer se zatekla na pogrešnom mestu u pogrešno vreme, odnos između nje i Finna krene da erodira i ovaj šalje druge ubice da dovrše posao. Zee mladu pevačicu, Jenn, doživljava kao svoju odgovornost i najbolja plaćena ubojica grada Pariza u svoj inače hladno i profesionalno obavljani posao unosi emociju koja do sada nije postojala.
The Killer iz 2024. godine programski menja ravnotežu u odnosu na The Killer iz 1989, time da je spona između dve mlade žene snažnija i, makar sa Zeeine strane, emotivnija nego odnos koji Zee ima prema policijskom inspektoru po imenu Sye. Ono što je u originalu bilo građenje iskonske, snažne veze između dva alfa-šmekera sa različitih strana zakona u ovoj je verziji pretvoreno u igru nagađanja i entuzijastičnog nadmetanja između policajca i asasinke dok su emocije rezervisane za odnos Zee i žene koja je njenom krivicom izgubila vid. Sa jedne strane, film je time konzervativniji od originala, veći akcenat bacajući na odgovornost ubice prema nedužnoj žrtvi (koja je, da bude jasno, postojala i u originalu) nego na prepoznavanje svoje srodne duše sa druge strane nišana, ali takođe i ne ide dovoljno daleko u ispitivanju tog odnosa između Zee i Jenn.
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Štaviše, ovo je bez sumnje najslabiji element rimejka. U originalu je manja dubina odnosa između Ah Jonga i Jennie (tj. Yeh) bila kompenzovana time da je ,,prava" priča filma bila zbližavanje Ah Jonga i inspektora Lija Yinga, no u rimejku je odnos između Zee i Seyja ,,poslovniji" a svakako neobavezniji i ma koliko da dvoje likova jedno u drugom prepoznaju sličnosti i svetonazorskih identičnosti, oni ne dolaze u stadijum intenzivnog obožavanja za ono drugo koji je bio sugerisan pri kraju originala. Istovremeno, odnos Zee i Jenn ostaje relativno površan i u njemu ne da nema erotike i nekakve lezbijske komponente koju bi woke koncept – ako prihvatite da je on ugrađen u scenario planski i programski – skoro pa obavezno sugerisao, već je lik Jenn relativno plošan i do kraja filma uglavnom sveden na funkciju pokretanja radnje, a o nekom dubljem prodoru u psihologiju same Zee i ispitivanje njenih motivacija da se uopšte bakće oko Jenn (čije ,,spasavanje" podrazumeva veliki broj drugih žrtava, uključujući među civilima) nema ni govora nakon kratkog verbalnog objašnjenja koje sama Zee daje, ukazujući da za Jenn, koja je i sama, jelte, grešna, ,,ipak još nije kasno". Ova etika druge šanse za grešnika koju drugi grešnik nastoji da mu obezbedi i tako na neki način iskupi sebe je u srži priče ali nije ni analizirana, ni naročito naglašeno proživljena. Film koristi, pogotovo u završnici, dosta naglašene hrišćanske ikonografije, ali ne postoje direktne spone sa ispaštanjem-za-drugog i voljnim, isusovskim martirstvom da se spase tuđa duša koje bi čovek očekivao. Štaviše, jedini lik koji dobija isusovsku pozu je najočigledniji katolik u celoj ekipi i ona mu sleduje, praktično, po ironijskoj logici a ne jer se ovim govori nešto značajno za transformaciju koja Zee prolazi tokom priče.
Dakle, film u konceptualnom smislu trpi u poređenju sa originalom, a kakva je egzekucija?
Uglavnom odlična, sve dok ne očekujete nivo fantastične anarhije i harizme koje su krasile original, a koje su u mnogome bile deo vremena, mesta, istorijskih okolnosti i naprosto ne mogu da se tek tako ponove 35 godina kasnije. Da budemo fer, Woo je ovoga sasvim svestan i ni ne pokušava da ponovi neponovljivo. Chow Yun-fat i Danny Lee su 1989. godine bili na sredini svojih tridesetih godina i obojica već apsolutne legende hongkonškog filma, na vrhuncu fizičkih sposobnosti i harizme. Čitava ekipa bila je napumpana do očnih jabučica uspehom prethodna dva Woova akciona filma i svi su bili svesni da prave nešto neviđeno, krerajući set pisove ,,po osećaju", kroz dogovore režisera sa ostatkom ekipe i kolektivnim odlučivanjem šta bi bilo najprirodnije i najefektnije da sledi iza koje scene ili poteza u okviru scene.
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The Killer iz 2024. godine nije takav film. Ovo je mnogo više spretno, brzo vođeni krimi-triler o stilizovanoj profesionalnoj ubojici i kriminalcima koje, od svih ljudi na svetu predvodi baš Eric Cantona (a koji se odlično snalazi kao kingpin pariskog podzemlja, Jules Gobert, iako ga nećemo videti kako udarcem nogom iz skoka ikome čita lekciju iz lepog ponašanja), sa većim akcentovanjem stila i daha Pariza kao opasnog ali zavodljivog melting-pota i distkinktnom, visokobudžetnom ali direct-to-streaming estetikom. Naravno, The Killer i jeste ekskluzivno debitovao na NBC-jevom servisu Peacock i ovo je film u sebe vrlo sigurne lepote, ali ne i bioskopske grandioznosti.
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Već smo rekli kako film ostavlja snažan utisak da je Woo uživao u režiranju ove produkcije, i već prvi set pis u kome se već negde posle sedmog minuta filma automobil prevrće nasred pariske ulice a pod njega podleće motocikl sa kog je kaskader skočio u poslednjem trenutku sugeriše da ovde nećemo gledati generički DTS akcijaš. Woo je jedan od najboljih režisera svih vremena u pogledu predstavljanja mesta, prostora, položaja i kretanja ljudi u tom prostoru i The Killer pokazuje da se ni slučajno još nije umorio od postavljanja teških kompozicija i odbijanja da koristi rezove tamo gde bi skoro svaki drugi režiser to podrazumevao. Već ova scena u kojoj prestupnik u kolima beži od policije a policijski metak ga pogađa, tako da u kadru vidimo i njegovo lice i inspektora koji je pucao, pa čak i njegovog kolegu koji ranjen leži na zemlji je podsećanje na Wooovo majstorstvo i visoke standarde od kojih ne odustaje, nudeći nam čistu likovnu umetnost unutar krvlju poprskane karoserije klasičnog akcijaša.
No, i sve PORED akcije je režirano energično, propulzivno, sa opipljivim entuzijazmom. Česti flešbekovi, paralelno montiranje po dve ili tri slike u istom kadru, naracija koja stoji na samoj ivici toga da preplavi gledaoca neizdrživo prevelikom količinm senzacija i informacija, sve ovo Woo radi sa takvom lakoćom da se čovek refleksno podseti zašto ga režiseri poput Tarantina i Rodrigueza posmatraju sa strahopoštovanjem i kako to da je kineski veteran često pominjan u istom dahu sa Melvilleom ili Godardom.
Fotografija je RASKOŠNA pa čak ni puristi filmske trake ovde neće naći mnogo zamerki. Film je osveteljen i kolorisan veličanstveno, a direktor fotografije, Mauro Fiore, koga sam pre par meseci onako okrpio za grozno slikani Madam Web je ovde uradio jedan od svojih najboljih poslova, pokazujući kakva je razlika kada radite sa jednim od najvećih ikada verzus mučne tezge za Sony gde niko nije imao pojma šta radi.
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The Killer naprosto izgleda fantastično u svakom svom aspektu. Gotska veličanstvenost ,,napuštene" crkve u kojoj Zee kontemplira, žali svoju pocrnelu dušu i pali sveće za ubijenima je iskorišćena i za finalni set pis koji je, opet, obeležen izvanrednom koreografijom gde vam je jasno da su glumci, a pogotovo Nathalie Emmanuel propišali krv da odrade te stantove iz jednog kadra koji deluju skoro natprirodno, a svakako su bili bolni. Kaskaderi i inače filmu daju jednu fizičku dimenziju koja se ne može fejkovati specijalnim efektima, a toga je i sam Woo svestan pa ima ne jednu već dve scene u kojoj se lik baca u prostor između stepenica i nekoliko se spratova spušta hvatajući se za tkaninu dugačke zastave što visi sa jako udaljene tavanice.
Ali onda su tu i maska, kostimi, generalni dizajn likova. Nathalie Emmanuel je ovde dobila nekoliko apgrejda u odnosu na Fast & Furious filmove sa kojima se izborila za svoju prepoznatljivost, i ako su stare Woove filmove karakterisale impozantne figure muškaraca u crnim odelima, sa kravatama (u The Killer je, pak, belo odelo na Chow Yun-fatu imalo simboličku ulogu), ovde je ta stilizacija eksplodirana u različite kostime, haljine i odevne kombinacije koje glavna glumica nosi sa izvanrednom elegancijom i, zapravo, nezanemarljiv deo filma otpada na njene razgovore sa krojačem koji za nju šije. No, ljubitelji impozantnih muškaraca u odelima ovde će imati priliku da se nauživaju gledajući Omara Syja, i inače visokog, krupnog čoveka, koga Woo u dobrom broju scena smišljeno kadrira iz niskih pozicija, prikazujući ga kao gotovo beskrajno visoku planinu od čoveka. Već vizuelni kontrast između njega i Nathalie Emmanuel daje ovom filmu poseban identitet i razložno gledaocu ukazuje da ne treba da ga posmatra kao ,,rimejk" originalnog The Killer već pre svega kao varijaciju na isti mit.
A što onda nekako i prirodno postavlja pitanje kuda će Woo ići posle ovog filma. Beli kit je, što se tiče Holivuda, konačno ubijen i Universal je posle tri i po decenije upisao u svoj katalog rimejk jednog od najvažnijih akcionih filmova svih vremena, a koji je režirao njegov originalni autor. Skoro da bi bilo prirodno da Woo posle ovoga odluči da je vreme za penziju, ali to bi bila praktično nepravda. Sa ovom verzijom The Killer veliki režiser, naravno, nije napravio nešto onako monumentalno kao što je bio original, ali to mu, očigledno, nije bila ni ambicija. Ono što jeste napravio je film nemirne, nestašne energije, neopterećen VELIKIM narativom, ali izvanredno efektan, ekonomičan, zavodljiv u svojoj naraciji. Uz pažljivu stilizaciju likova i uspešno građenje hemije među njima – uprkos, dodao bih, scenariju koji, rekosmo, nije otišao dovoljno daleko čak ni kada se smer sam nametao – te onu slo-mo-sa-sve-golubovima akciju kakvu i dalje niko ne radi kao Woo, jasno je da ovaj čovek u sebi ima JOŠ energije, ali i da, a što je možda i najbitnije, i dalje VOLI da radi ovakve stvari. Pa se nadamo da u sebi ima još koji akcioni film što ćemo ga sa apetitom pogledati, a da će njegova ćerka, Angeles Woo koja u ovom filmu ima malu ali btitnu ulogu dočekati da kod oca igra glavnu rolu. Bio bi red.
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Bad Boys: Ride or Die, četvrti film u sada već trodecenijskoj franšizi koja je od dvojice komičara napravila uverljive akcione heroje a mladim crnim gledaocima možda i ponudila iznenađujuće cool fantaziju o tome da rade sa, jelte, ,,ove" strane zakona, je zapravo DOSTA DOBAR. A to možda i nije morao da bude. Prošli Bad Boys, Bad Boys For Life je bio i prvi urađen bez Michaela Bayja u režiserskoj stolici i mada je uhvatio poslednji voz pred pandemijska zatvaranja bioskopa, uspevajući da u prvih par meseci 2020. godine nazida dovoljno zarade da serijal ostane kredibilan komercijalni predlog, naredni period bio je obeležen nesigurnošću, lutanjem, pa malo i skandalima.
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Režiseri ovog filma su preko, kod Warnera imali tu nesreću da im se završen i – po reakcijama test-publike solidan – Batgirl film baci u đubre zarad umanjenja poreske osnovice, a što im je bio drugi veliki projekat u pola decenije koji nije ugledao svetlo dana (prvi je bila televizijska serija po stripu Scalped Rajka Miloševića Gere i Jasona Aarona gde su Adil & Bilall režirali pilot epizodu), što se može sasvim legitimno tumačiti kao zla sreća. Onda je Will Smith lupio ONU šamarčinu Chrisu Rocku (koji je, da zapišemo, to malo i zaslužio, iako smo naravno protiv toga da publika fizički napada komičare kada joj se ne dopadne njihov šou) i time obezbedio da ga svako mlađi od 25 godina sada prepoznaje isključivo kao onog lika koji je na dodelu Oskara poneo samo snažnu desnicu i puno zlovolje. Martin Lawrence je, sa svoje strane imao neuspešan pokšaj krosovera u žanrovski film izvan komedije i kada se sve to skupi na gomilu Bad Boys: Ride or Die, kod nas korektno preveden kao ,,Sve ili ništa" je zaista delovao kao možda poslednji veliki juriš ispranih nekadašnjih zvezda kojima Jerry Bruckheimer daje još jednu šansu da ih makar zapamte po jednom velikom promašaju radije nego da izblede u ništavilo.
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I, mislim, da li je velikom producentu ovaj film uopšte bio potreban? Bruckheimerova i Simpsonova kompanija je već ove godine imala film sličnog žanra ali iz uspešnije franšize, Molloyjev Beverly Hills Cop: Axel F (https://cvecezla.wordpress.com/2024/07/12/film-beverly-hills-cop-axel-f/), koji je koštao šezdeset miliona dolara više od Bad Boysa, išao direktno na Netfliks, ali nije bio osedlan skandalima. Bad Boys: Ride or Die, sa sve svojim R rejtingom je u ovoj vizuri delovao kao skoro nepotreban eksperiment sa povampirenjem dve posrnule karijere u epohi u kojoj više ni superherojski film nema garantovanu gledanost i gde publika kao da se već malo i zamorila od silnih serijala.
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No, belgijanski duo marokanskog porekla, Adil & Bllall (Adil El Arbi i Bilall Fallah) je isporučio jedan iznenađujuće propulzivan akcioni film koji nekako uspeva da žonglira i komičnim materijalom, i da ušnira neviđenu količinu ,,lorea" serijala u narativ, i da pruži vrlo majklbejevski režiranu akciju u svojih nekoliko set pisova, kredibilno nudeći mrvicu prljaviju alternativu Dieselovom serijalu Fast & Furious. Ova su dva čoveka svoje ime izgradila radeći niskobudžetne filmove o belgijskim gangsterima iz manjinskih grupa, ali sada u ovoj franšizi imaju isti broj filmova kao i Michael Bay i ako u nju ne donose ništa prepoznatljivo SVOJE, onda makar taj pastiš Bayevog glossy, glamuroznog akcionog krimića rade sa puno uverljivosti.
Ride or Die počinje možda i prenaglašeno komično, uspostavljajući kao glavnu temu taj protok vremena i starenje svojih protagonista. Lawrenceov Marcus je bespomoćno navučen na junk food i, kad se to ukombinuje sa stresom policijskog posla i podizanjem velike porodice, nije neko iznenađenje da nasred svadbe svog najboljeg druga on pretrpi srčani napad koji ga ostavi u životu ali ga i provuče kroz psihodeličnu ,,vision quest" halucinaciju koja u njemu probudi spiritualnost, pročisti mu pogled na svet, udahne mu novu, pozitivnu, ali i malo maničnu energiju. Marcus se, naravno, onda do kraja filma ponaša kao da je sve oko njega predstava a da je on režiser i Lawrence, uz mnogo karakterističnog kreveljenja i glumatanja sasvim pristojno – i bez zlobe – parodira nju ejdž spiritualnost i sa njom povezane odluke u životu.
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Sa druge strane, pomenuti najbolji prijatelj, Smithov Michael se, kako rekosmo, ovde ženi. U Bad Boys For Life se desilo mnogo toga da pomeri Michaelov status kvo sa mesta na kome je bio u prva dva nastavka – otkrio je da ima sina a koji je profesionalni ubica za meksički kartel, skoro je umro – pa je ovde on stariji, mudriji i spremniji da se malo primiri, ženeći se svojom fizioterapeutkinjom (britanska glumica Melanie Liburd) – ali naglašavajući da je u pitanju fizioterapeutkinja, pošto, jelte, pravi muškarci preziru psihoterapiju i pomisao da imaju potrebe za ikakvim intervencijama vezanim za mentalno zdravlje – ali onda, ironično, vidimo kako tokom filma ima napade panike vezane za sav taj PTSP koji se nakupio kroz skoro trideset godina života na ivici noža.
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Ride or Die, dakle, manifestno pravi odmak od ,,playboy cops" rutine originalna dva filma i svojim protagonistima daje makar malo prostora da reflektuju o svojoj ranjivosti, propadljivosti, smrtnosti, ali ovo, da se neko ne zabrine, na kraju dobija svoje pančlajnove u isključivo funkcionalnom smislu uzbudljivih preokreta u finalu, i neke dublje analize psihologije i fenomena (toksične) muškosti vezane za rad u policiji koji podrazumeva brza kola, mnogo nasilja, stalno držanje pištolja u ruci, nema. Adil & Bilall se ovih ,,ozbiljnijih" tema dodiruju tek koliko je potrebno da film dobije patinu i prizna protok svog tog vremena i to je na kraju sasvim u redu jer je emotivno težište ionako pre svega vezano za odnos Michaela i njegovog vanbračnog sina Armanda (Jacob Scipio, još jedan britanski glumac a koji je, eto malo trivije, glumačku karijeru započeo sa svega devet meseci) koji ovde dobija priliku za iskupljenje i veoma je solidno koristi.
Uopšte, nakon pomalo isforsiranog otvaranja filma sa nastojanjem da se pokaže kako tandem Smith/ Lawrence i dalje ima svoju komičnu, šmekersku hemiju, i uspostavljanjem glavnog negativca koji je, uprkos dobrom izgledu Erica Danea, prilično bledunjav, film dolazi na pravu radnu temperaturu tek kada se Marcus i Michael – ponovo – zateknu sa pogrešne strane zakona, progonjeni od strane policije, US Maršala, ali i svih bandi grada Majamija, zarobljeni u oštećenom helikopteru koji se ruši u močvare Floride. Gacanje po baruštinama i skupljanje drva da se noću ogreju, pa onda susreti sa bayo rednekovima su, naravnom, omaži ozbiljnijim filmovima nego što je Ride or Die, ali OVAJ film ih koristi da se poradi na odnosu Michaela i Armanda i kada onda oni budu prinuđeni da sarađuju u eksplozivnom finalu i veruju jedan drugom iako su celog života bili na suprotnim stranama, to je zarađen, solidan narativni luk, ne najmanje na ime kvalitetnog Scipiovog projektovanja antiherojske harizme.
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Scenario i generalno uspeva da nam proda tu ideju da na kraju mala grupa nepotkupljivih pandura, sa sve osuđenikom na doživotni zatvor, mora da nasrne na omanju vojsku kartela, kako bi se spasli kidnapovani članovi porodice, sve postavljeno u napušteni akvapark na Floridi u kome, legenda kaže, i dalje luta ogromni albino aligator, i da je to sve nekako logično finale za film koji je do tog momenta body count već digao na iznenađujuće visoke vrednosti. Adil i Bilall možda sa Bad Boysima nisu ušli preduboko u psihologije i filozofije na koje scenario aludira, ali jesu uspeli da jednu besmisleno zamršenu priču o kartelu koji smešta igru VEĆ pokojnom policajcu (Joe Pantoliano čiji se lik ovde pojavljuje putem magije video snimaka urađenih pre svoje smrti u prethodnom filmu) i nekako na kraju targetira porodice dva čoveka koji su izgubljeni u močvarama Floride, dovede do jednog shvatljivog finala u kome je jasno ko je gde i za šta se vodi borba, i da gledalac samo treba da se zavali i navija.
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Ride or Die je svakako pravljen po formuli i na kraju krajeva scenario (Chris Bremner i Will Beall) je napisan tako da se naprave logični nastavci, komentari ili refleksije na gotovo sve što je prethodni film uradio, pokazao i rekao, ali on ima i tu majklbejevsku podmazanost u pripovedanju, jedan efikasan, ekonomičan tempo naracije u kome se radnja nikada ne usporava toliko da nam se zapreti dramskim sadržajem, a da opet likovi ne budu puke karikature bez dubine, kako deluje da će biti na tom vrlo isforsirano komičnom početku.
U vizuelno smislu imamo posla sa nečim što je ipak značajno više od pukog odrađivanja posla pa i od pukog omažiranja Bayja (koji i ovde dobija kratak, blink-and-you-miss-it kameo). Režiseri su fotografiju ponovo poverili svom starom saradniku Robrechtu Heyvaertu a kome glamur Majamija i na momente praktično videoigračka akcija podjednako dobro idu od ruke. Bayjevi Bad Boys filmovi su programski bili rađeni da kreiraju fantaziju o asertivnim, nezaustavljivim crnim pandurima koji ne igraju nužno BAŠ po pravilima ali su obdareni nepogrešivim etičkim čulom, dok sa druge strane imaju život luksuza sa porodicama i prijateljima koji ih vole. Plaže Majamija, bazeni, kokteli, kupaći kostimi i žurke sa kubanskom muzikom su bili značajni za identitet prva dva filma isto koliko i količina metaka što su ih Smith i Lawrence ispalili ka *pravim* lošim momcima, a reinvencija dvojice televizijskih komičara kao akcionih heroja koji nikome sem svojoj savesti ne polažu račune i imaju nepoljuljan respekt od strane svojih najbližih (kolega, familije, čak i šefova) na kraju avanture je, kako rekosmo, ponudila, pogotovo mladoj crnoj publici, jednu aspirativnu fantaziju.
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Heyvaert i ostatak vizuelnog departmana produkcije ovog filma se onda ne igra sa uspostavljenom formulom i Bad Boys: Ride or Die izgleda onako kako ste upamtili i stare filmove, sa gradom koji je prelep, vodom koja je neodoljiva, ljudima koji su svi kao glumci i manekeni. Ovde nema pandurskog nihilizma i luzerstva i Majklovi i Markusovi stanovi (odnosno kuće) su prostrani habitati za velike familije, učinjeni još prostranijim korišćenjem sočiva koje ih često prikazuje u vrlo širokom apsketu, sa vrlo jakim švenkovima kamere levo i desno. Adil & Bilall, naravno, znaju i koja je godina i da je gledanje stvarnosti preko ekrana primarni način na koji ogroman deo publike uopšte stupa u interakciju sa stvarnošću, pa primetno veliki broj scena ima u sebi ekrane preko kojih se odvija komunikacija, ili preko kojih se posmatra akcija. U jednom od akcionih hajlajta filma imamo scenu koja bez reza prikazuje prelazak sa strima nadzorne kamere u dinamični rad kamere koja je na patosu, među glumcima, a gde Marcusov zet, Reggie, ubija petnaest ljudi u jednoj izvrsno koregrafisanoj, tečnoj demonstraciji moći.
I mada onda finale filma ne može da ima baš isti nivo ekstatične, all-bets-are-off katarze kakvu je predstavljala invazija na Kubu iz poslednjeg Bayjevog nastavka, desant na napušteni akvapark, sa sve dronovima, snajperima, ali i dobrom, starom borbom noževima – u veličanstvenom R rejtingu gde se sečiva zabadaju u meka tkiva bez imalo milosti ali sa mnogo profesionalne ljubaznosti – je prilično dobra zamena. Kada onda Michael biva stavljen pred nemoguć izbor da bira hoće li mu umreti žena li najbolji prijatelj, njegovo rešenje je utemeljeno na poverenju u prijatelja koje nadilazi racionalno i povezuje sva parodiranja spiritualnosti, reinkarnacija i one-with-the-universe diskursa iz dotadašnjeg toka filma u jedan ludo smeli stant na kraju.
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Možda smo i mi, zajedno sa Lawrenceom, Smithom i ostatkom ekipe samo imali sreće da smo dobili zabavnu, tobogansku vožnju starim akvaparkom koja ne ide DUBOKO ali ide brzo i glatko, i možda je sada pravi trenutak za stari ansambl da se pokloni i dostojanstveno povuče, ali... Armando i ostali mlađi likovi u filmu su se ovde pokazali vrlo solidno i nekako mi se čini da ovaj serijal ima još goriva u rezervoaru. Ko je TO očekivao?
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Witches je, kako bi to rekli Aleksandri među nama, hibridni dokumentarni film i to u više od jednog smisla. Ova mala, okretna, a pametna i dovitljiva britanska produkcija napravljena je kombinacijom direktne ispovesti autorke filma, intervjua sa ženama iz njene, hajde da kažemo interesne sfere, ali i savršeno uklopljenim arhivskim materijalom iščupanim iz desetina, pa možda i više od stotinu filmova iz ljudske kolektivne istorije, od Häxan i Čarobnjaka iz Oza, preko Suspirie, Witchfinder General, Veštica iz Istvika, Rozmarine bebe i Girl, Interrupted do neimenovanih reklama, za jednu izuzetno smelo a onda i izuzetno maestralno spravljenu diskusiju o mentalnom zdravlju trudnica i porodilja u kontekstu stoletnih nepravdi u tome kako društvo tretira žene, i predloženog rešenja za te nepravde i to mentalno zdravlje, a preko slavljenja koncepta veštica i veštičarenja. Nisam bio sasvim siguran u šta se upuštam kada sam seo da gledam ovaj film koji je za sada distribuiran eksluzivno preko MUBI-ja, ali su me već izvrsna stilizacija protagonistkinje i izvrsna fotografija u onome što se dalo videti u najavama privukli da ga pogledam. Na drugu stranu sam, devedeset minuta kasnije, izašao ozbiljno impresioniran snagom argumenata iznesenih od strane nekih vrlo hrabrih žena (i jednog hrabrog muškarca, takođe).
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Elizabeth Sankey je u filmskoj industriji najzaposlenija kao glumica i glasovna glumica, ali je svoj autorski pečat već i pre ovog filma ostavila sa dva prethodna ostvarenja, bez previše okolišanja ulećući u ,,ženske" teme i baveći se imanentnim rodnim neravnopravnostima koje i dalje postoje u savremenom društvu. Romantic Comedy iz 2019. godine je bio pačvork inserata iz nebrojenih romantičnih komedija u naporu da se kroz kritičku diskusiju promisle prošlost, sadašnjost i budućnost ovog filmskog žanra – a ako ste pre par dana čitali moj prikaz knjige Vizuelna i druga zadovoljstva (https://cvecezla.wordpress.com/?p=14953), znate da ovo nije tako trivijalna tema u kontekstu rodne ravnopravnosti – a onda je Boobs iz 2022. godine bio televizijski film o, jelte, sisama i percepciji ženskog tela u društvu koje je i dalje patrijarhalno čak i kada se zaogrće u plašt plauzibilno poricateljskog agnosticizma (aka neoliberalizma).
No, Witches, izašao na MUBI-ju krajem Novembra je, čini se, uspešno uzvitlao najviše prašine nakon svoje letošnje premijere na festivalu Tribeka, praveći idealan presek između dva prethodna filma ove autorke, nudeći sa jedne strane diskusiju o konceptu veštica i veštičarenja u zapadnoj kulturi, sa sve važnim podsećanjem na lov na veštice, desetominutna suđenja i brutalna pogubljenja koja su se i u Evropi i u Americi dešavala u doba koje se, inače, nazivalo prosvetiteljskim, a sa druge detaljnu, odvažnu vivisekciju zdravstvenog problema o kome se i dalje veoma malo priča i komplikovane stigme vezane za majčinstvo i mentalna iskušenja koja psihološki i fiziliološki preokreti u životu žene uvode u porodičnu dinamiku.
Sankeyjeva, rođena 1991. godine, je svog sina rodila 2020, nesrećno se sinhronizujući sa urgentnim prekomponovanjem sistema javnog zdravlja u Ujedinjenom kraljevstvu da se odgovori na izazove razbuktale pandemije COVID-19. No, u filmu se o dodatnom pandemijskom otežavanju zapravo ne govori mnogo – pominje se da je njen odlazak u psihijatrijsku ustanovu podrazumevao određena ograničenja vezana za posećivanje i to je otprilike sve – i zapravo prikaz britanskog NHS-a, kao jednog od najcenjenijih (i naravno interno najkritikovanijih) sistema javnog zdravlja u Evropi je ovde srazmerno pozitivan, sa nekoliko zdravstvenih radnica koje se pojavljuju da govore u kameru o sopstvenim iskustvima. Sama Sankeyjeva nema ni jednu lošu reč za zdravstvene radnike koji su se bavili njenim slučajem, niti za njihov pristup i protokole koji su joj na kraju obezbedili stabilizaciju, olakšanje pa i izlečenje – uz, ipak, napomenu, da bi do kraja života trebalo da koristi terapiju kako bi izbegla recidiv – i Witches se, kada se priča o mentalnom zdravlju žena, konkretno trudnica i porodilja, zapravo bavi jednom mnogo više sociološkom nego medicinskom činjenicom. A to je, najgrublje rečeno, da perinatalni problemi sa mentalnim zdravljem ne samo da nisu progresivno sve bolje i više rešavani na zadovoljstvo pacijentkinja nego da, naprotiv, statistika pokazuje porast broja suicida među porodiljama tokom poslednjih decenija i godina.
Svakako, može se dosta toga pričati i o generalnim depresorima koji utiču na svačije živote, od sveprisutne pošasti društvenih mreža koje razaraju ljudski kapacitet za obraćanje pažnje i algoritamski amplifikuju najgore vesti zahtevajući stalnu REAKCIJU vašeg organizma, preko britanske nesrećne avanture sa Bregzitom pa do pandemijskih tenzija, no poenta koja se ovde pravi je, rekosmo, više sociološka nego medicinska: žene koje NA VREME stignu do lekara, i koje lekari ZAISTA saslušaju, dobiće adekvatan tretman i biti izlečene, ne samo u onom užem smislu odstranjivanja simptoma bolesti, već i u onom širem, dakle u smislu uspostavljanja opšte dobrobiti. Ako se majčinstvo kroz modernu mitologiju stalno reklamira kao najlepši koncept u životu žene, zaista je sumnjivo da je za mnoge žene neophodno da se savlada gomila naoko neprelaznih prepreka pre nego što se dosegne ta lepota.
Jedan od inserata koji je Sankeyjeva upotrebila u svom filmu kaže da nekih osamdeset procenata žena nakon porođaja prolaze kroz simptome poremećaja mentalnog zdravlja, velikim delom na ime hormonske promene koja im se događa u organizmu. No, ono što je valjda očigledno je da, ako je ovo praktično normalan proces za porodilju, onda odgovor društva na taj proces nije adekvatan sve dok je perinatalni suicid tako učestao. Jedna od sagovornica u filmu, doktorka specijalizovana za perinatalnu psihijatriju kaže da je, uz svu njenu profesionalnu ekspertizu i svest da lično prolazi kroz period opasne post-partum depresije, bilo potrebno nesrazmerno mnogo napora da je kolege saslušaju i prihvate da joj je potrebna psihijatrijska pomoć. Druga, koja se profesionalno bavi podrškom HIV-pozitivnim osobama i uklanjanjem stigme vezane za ovu infekciju naglašava da je nemali deo njenog problema bila, pa, STIGMA, njen stid da uopšte prizna i otvoreno govori o svojim emocijama, osećaju bezizlaznosti, odsustvu one ,,majčinske ljubavi" romantizovane kroz tolike folklorne i popkulturne konstrukte.
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Sankeyjeva je i sama iskusila oluju suprotstavljenih senzacija i emocija, sa strahom od svog sina, sa strahom ZA svog sina, sa ljubavlju prema svom sinu ali i panikom da će ga povrediti ako ostane sama sa njim u prostoriji, sa nemogućnošću da zaspi danima, sa osećajem bezizlaznosti, mraka, propasti u periodu koji joj je celog života najavljivan kao najlepši što će ga ikada iskusiti, sa nemogućnošću da jede, danima, sa strahom da ikome PRIZNA šta oseća i šta joj se događa.
Sankeyjeva o ovome priča tri godine kasnije, živo govoreći i uz osmeh gestkikulirajući u kameru i uspevajući da ne samo plastično dočara ponor depresije u koji je zapala, neprekidni osećaj užasa i bola u kome se nalazila, već i da se povremeno našali, da prikaže sebe kao osobu koja je, uprkos strahovitoj ranjivosti koju nam je upravo dočarala, ostala ne samo živa, već i snažna, na kraju dostojanstvena i u mogućnosti ne samo da se smeje i da uživa u životu nego i da pomogne drugim ženama da prebrode slične periode.
Jedna od njenih sagovornica govori o tome da je njena dijagnoza bila post-partum psihoza, dakle, korak DALJE od depresije, i o halucinacijama, o glasovima a onda i licima đavola koja je viđala svuda oko sebe. A što Sankeyjeva spretno koristi da se vrati na priču o vešticama kao službenicama samog Nečastivog.
Uvodni deo filma se zapravo ne bavi mentalnim zdravljem porodilja i služi kao jedan zanimljiv pregled koncepta veštica i veštičarenja, polazeći od ličnog – autorka govori o sopstvenoj percepciji veštica u adolescenciji i fantazija o moći koje veštičarenje donosi ženama – a prelamajući se onda kroz mitologiju, istoriju i popularnu kulturu. Neprebrojni inserti iz filmova o vešticama, uglavnom ali ne isključivo američkih su onda kroz čitav film besprekorno uvezani sa narativom, bilo sa njegovim esejističkim delom u kome Sankeyjeva govori o problemu i izlaže svoje viđenje rešenja, bilo sa dokumentarističkim gde su mnogi delovi intervjua sa samom Sankeyjevom i drugim ženama koje su prolazile kroz perinatalne depresije i psihoze izvrsno ilustrovani ne samo sjajno odabranim insertima iz starih filmova već i izvanredno dobro sinhronizovanim dešavanjem na ekranu sa rečima koje gledalac sluša.
Teza koju Sankeyjeva gradi do kraja filma može da deluje smelo ali je veoma dobro argumentovana. Jedan njen deo je možda i očigledan: činjenica da su mnoge žene u šesnaestom ili sedamnaestom veku svojevoljno priznavale da su veštice – istoričarka koja se bavi ovom temom naglašava da je u kasnijem periodu mučenje bilo zabranjeno zakonom i da one, makar tehnički, nisu mogle biti primorane da ,,priznaju" kako se bave veštičarenjem – se, nakon pola filma u kome slušamo o užasu vezanom za perinatalnu depresiju i psihozu i osećaju bezizlaznosti, krivice i suicidnoj ideaciji na strani prosvećenih, modernih žena, lako može povezati sa problemima vezanim za mentalno zdravlje.
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No, sa druge strane, Sankeyjeva kredibilno prikazuje jednu drugu dimenziju ,,veštičarenja", ukazujući, sama ili preko stručnih sagovornica kako su u vremenu kada je lov na veštice doživeo svoj uzlet, žene bile primarni nosioci medicinskih veština u zajednicama, pogotovo ruralnijim. I da su babice, isceliteljke, travarke, kostolomke itd, bile prevashodno žene koje su od drugih žena, po sili nužde naučile a dalje po diktatu solidarnosti i empatije prenosile na druge žene. Da studenti medicine onog doba, muškarci dakako, tokom svojih studija uglavnom nisu imali kontakte sa pacijentima i da njihovo akademsko znanje naprosto nije bilo na istom nivou sa praksom koju su imale žene koje pomažu drugim ženama (i, naravno, muškarcima). Te da su progoni veštica označili i period u kome su muškarci praktično na silu preoteli medicinsku praksu od žena, odneli je iz zajednica i ogradili je akademskom ogradom, keirajući jedan od najvećih činova sociološkog nasilja u novijoj istoriji.
Na ovom mestu postaje jasno zašto autorka, kojoj su na kraju ,,obične" žene, bez medicinske ekspertize ali sa iskustvom post-partum depresije presudno pomogle da dobije adekvatnu zdravstvenu zaštitu i terapiju, govori o njima kao o vešticama, a o ženama sa kojima je delila dobro i zlo u psihijatrijskoj instituciji kao o svom ,,veštičijem krugu"* gde je prolazak kroz istu torturu i iskušenja bio prirodan vektor izgradnje solidarnosti i uzajamne pomoći i podrške.
*ako imate bolji predloženi prevod za englesku reč ,,coven", rad sam da editujem ovaj tekst naknadno
Ima, naravno, nečeg istovremeno strašno dirljivog i samo strašnog u tome da su neformalne veze, krugovi i odnosi, ono što na kraju presudno stoji između žene koja je u agoniji i suicida. Sankeyjeva naravno uviđa ovu dihotomiju i ukazuje koliko je bitno da se, prvo, ženama veruje kada govore o svojim problemima (naravno, film podseća i da su žene iz manjinskih populacija dodatno izložene riziku da im se ne veruje ili da ne dobijaju dovoljno pažnje od zdravstvenih profesionalaca) i drugo, da se neformalna podrška prepozna kao apsolutno esencijalna i da joj društvo na neki način da podsticaj. Film se završava više poetski nego suvo sociološki, sanjarijama o modernim vešticama koje svoje moći koriste da pomažu drugim ženama kako bi ove pomagale trećim ženama itd, zaključujući ,,luk iskupljenja" za veštice kao neshvaćene, nepravično progonjene članice zajednice čiji patrijarhalni diktat ne može da podnese žensku autonomiju.
A što je, dalje, podsećanje na to koliko je aktuelni rat protiv ,,woke" kulture naprosto produžetak iste patrijarhalne matrice u kojoj se direktna linija od naprednjačke romantizacije figure majke i domaćice, preko gunđanja da više nema akcionih filmova u kojima igraju muškarci pa do spaljivanja živih žena na lomači u sedamnaestom veku povlači sama od sebe. Ravnopravnost žena na papiru ne znači baš MNOGO ako su u praksi one i dalje tretirane kao manje vlasna manjina i ako nas ogroman deo ne samo popularne već i visoke kulture i dalje podseća da je primarni pogled na ,,stvarnost" onaj muški i da se određena doza sumnjičavosti prema ženi koja uopšte razmišlja o autonomiji mora sačuvati. Witches je veoma spretno napravljena rasprava o ovim temama zasnovana na ličnom, proživljenom iskustvu i onda besprekorno ekstrapolirana u diskusiju o umetnosti, mitologiji, kulturi i zdravlju, sa savršenom kamerom, osvetljenjem i scenografijom u svom malom ,,artificijelnom" (i artističkom) postavljanju prostora za intervjue, sa harizmatičnom glavnom junakinjom koja nas drži za ruku dok nas vodi kroz najmračniji period svog života (reklamiran i kao njen najsrećniji period) i sa energijom nade u snagu solidarnosti koju je teško ignorisati čak i ako ste muškarac. Pogledajte Witches da već jednom prestanete da se plašite veštica i shvatite da su vas svo ovo vreme lagali.
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Ako Srbi nemaju reč onda uzmu od drugih. Vidi šta Hrvati kažu. Ako ne kažu ništa onda je prosto "koven".
Al nisam siguran da dovoljno ljudi na keca razume šta je to, pa sam onda ipak ovako... skromno, skrušeno.
Pa, ako hoćeš da posrbiš termin, onda pored kruga može i "veštičije kolo". A ako živiš u svetu socijalističkog samoupravljanja iz kruga dvojke može i "veštičiji kružok"...
Kružok sam naravno najpre imao na umu, ali sam se plašio bašda ne budem stigmatizovan da živim u svetu socijalističkog samoupravljanja iz kruga dvojk.
A kolo je dobro rešenje mada ne znam da li kod nas to ima, jelte, aplikaciju. Kod nas su valjda vilinska kola ono što se zna a veštice nisam siguran da smo uopšte smatrali da su organizovane u nekakve grupacije, kao zapadnjaci.
Kao svaki dobar vojnik, pogledao sam Yakuza Princess, brazilski film iz 2021. godine, rađen po brazilskom stripu, napravljen da omažira japanske jakuza akcijaše iz sedamdesetih i dodatno nameran da lansira filmsku karijeru japansko-američke pevačice Masumi. Ovo bi bilo ambiciozno i u redovnim uslovima a za film koji je sniman i montiran tokom najžešćeg pandemijskog udara je valjda dovoljno to što se pojavio i što u njemu ima dosta toga što se može pohvaliti. Drugim rečima, Yakuza Princess je dosta slab film koji će, svejedno, biti lepa uspomena ljubiteljima akcionog bioskopa, pogotovo onima koji se lože na japanske jakuza filmove od pre pola veka i njihovu rekonstrukciju u ovom stoleću od strane režisera kao što su Beat Takeshi Kitano ili Takashi Miike.
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Yakuza Princess je režirao Vicente Amorim, jedan od prodornijih savremenih autora u Brazilu, čovek sa nekoliko uspešnih televizijskih serija uključujući Netfliks radove kao što je ovogodišnji biografski miniserijal o Ayrtonu Senni, Senna, ali i sa desetak bioskopskih filmova od kojih su verovatno najpoznatiji Motorrad iz 2017. godine (o grupi dirt bike rekreacionista koje progoni motoristička banda sa mačetama) i akcioni krimić A Divisão (The Division) iz 2020. godine. The Division je bio srazmerno uspešan i dobro primljen film pa je Amorim za svoj sledeći projekat odabraio ekranizaciju grafičkog romana Samurai Shiro poznatog savremenog brazilskog autora po imenu Danilo Beyruth. Beyruth je iz Sao Paola i neki od njegovih autorskih stripova su finansirani i iz javnih fondova, a što je slučaj i sa ovim filmom koji, iako čista fantazija, ima utemeljenje u činjenici da ovaj grad sadrži najveću japansku dijasporu bilo gde u svetu sa više od milion i po japanskih migranata, pečalbara i njihovih potomaka koji žive u kvartu Liberdade. Iako Beyruth ima već solidno prisustvo u severnoameričkom stripu – radio je za Marvel mada sam ga ja proletos ekstremno hvalio za izvrsni Imageov Deep Cuts (https://cvecezla.wordpress.com/2024/03/27/procitani-stripovi-deep-cuts/)– Samurai Shiro, u Brazilu izašao 2018. godine, koliko znam, još nije dobio izdanje ni u SAD a ni, bogami u Evropi (sem ako postoji neko opskurno portugalsko izdanje koga nisam svestan). Utoliko, sasvim je prihvatljivo i razumno što je ekranizacija odabrala da se brendira pod drugim imenom, pogotovo jer je ovde, kako rekosmo, u centar priče stavljen ne sam Shiro, već žena po imenu Akemi a koju igra pevačica Masumi.
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Rođena u Los Anđelesu, Masumi je dobar deo svog detinjstva provela na transverzali Tokio-Njujork-DC da bi onda u Teksasu, i to baš u Dalasu, započela muzičku karijeru. Masumi je više klasičan singer-songrajter nego nekakav severnoamerički J-pop derivat i zapravo je krenula od, jelte, donjeg stepenika, nastupajući sama sa gitarom po barovima. Kažu da je jedan od formativnih momenata u njenom životu bio kataklizmični zemljotres u Japanu 2011. godine koji ju je na neko vreme zarobio u kafeu ispod nivoa tla u Tokiju, a gde je došla (u Tokio, ne u kafe) da studira na Međunarodnom hrišćanskom univerzitetu ali ju je onda zemljotres resetovao pa se tri meseca kasnije vratila u SAD i rešila da je muzika ipak njena najveća strast i da će se njome baviti u životu. Pesma Run, Baby, Run koju je napisala da na neki način uhvati ceo komplikovani psihološki konstrukt lutanja, potonuća u depresivnost i vozdizanja iz depresije sa novom čistotom vizije o svom životu je onda, zgodno, dospela i na saundtrak ovog filma a koji je, ako se ne računa kratko pojavljivanje u seriji Posse iz 2019. godine, njen kinematografski debi.
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I, da se razumemo, Masumi se vrlo solidno pokazuje u ovom filmu, a koji je prepun japanskih glumaca iz Japana koji moraju da glume na Engleskom, a onda i japanskih glumaca iz Brazila koji moraju da glume na Japanskom a to čine sa neodoljivom tvrdom akcentuacijom brazilske verzije Portugalskog jezika.
Kao i dobar deo produkcija koje su sklapane više po principu brand-power rejtinga a manje sa ambicijom nekakve koherencije, Yakuza Princess je frankenštajnovska – a ovo mislim u najljupkijem mogućem smislu – reimaginacija Sao Paola kao mračne metropole neona, nakita i noćnih klubova (dnevnih scena u filmu jedva da ima) koja ni ne pokušava da nam proda nekakvu autentičnost. Iako sniman na lokaciji, u četvrti Liberdade, ovo je mnogo više film imaginarnih prostora i halucinantnih noćnih pustolovina nego bilo koja vrsta dokumentarističkog prikaza života japanske dijaspore u Brazilu. Svakako, ,,stvarnost" postoji tamo gde želite da je nađete, od prepoznatljivih kadrova buvlje pijace na kojoj Akemi, Masumin lik, radi (i tetovira se) pa do pojavljivanja stripa Samurai Shiro u trinaestom minutu filma, ali ovo je film koji sa žanrovskim tropima radi toliko intenzivno da je fer reći kako u njemu suštinski nema ničeg autentičnog. Dve jakuza frakcije sa korenima u Japanu se i u Sao Paolu sukobljavaju vadeći pištolje i katane bez ikakve brige o tome da će nekakva policija da naiđe i prekine ih kada je najslađe, gangsteri su prekriveni irezumi tetovažama živih boja i nose crne sakoe sa značkama koje ukazuju na pripadnost klanu, a na malom imanju na periferiji grada živi grupica old school gokudo-penzionera (oba pola) u tradicionalnim nošnjama, koji sede, pričaju o tome kako se u njihovo vreme među kriminalcima cenila čast, i gledaju, na prastarom crno belom televizoru, Langov nemi špijunski masterpis, Spione, i to scenu u kojoj Matsumoto izvršava harakiri, koliko može da se kaže, na beskonačnom ripitu.
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Yakuza Princess je ceo sagrađen od klišea, stereotipova, citata, omaža* i reciklaža – na primer, mač oko koga se vrti deo zapleta ne može da bude obična, kvalitetna katana već, znate već MASAMURA katana sa ISTORIJOM i MITOLOGIJOM koje se više ne mogu razdvojiti jedna od druge – i njegov problem nije u njegovoj suštinskoj derivativnosti već u tome da ekipa koja ga je radila, prevashodno ona zadužena za pripovedanje, nije obavila sjajan posao.
* lik koji se zoveTakeshi očigledno aludira na Takeshija Kitana, a Chiba na Sonyja Chibu
U prvom redu ovo je, a tu čak ni ne računam Beyruthov scenario za strip, potpisalo čak SEDAM scenarista i na šta je shooting script ličio neću ni da mislim. Onda je Amorim i u egzekuciji napravio neke dosta nesrećne odluke i Yakuza Princess je film koji počinje i završava se sa par scena koje slobodno možemo smatrati izvrsnim, ali ga ka dnu vuče predugačak, prespor, prePRAZAN središnji deo u kome se ne događa ništa zanimljivo a likovi propuštaju nabačene voleje da se malo razrade, očoveče, podebljaju.
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Nije neka velika retkost da ovakvi narativ kreću in medias res. Amorim nam odmah na početku prikazuje masakr na maloj svečanosti mafijaške porodice u Japanu i ovo je izvrsno stilizovan momenat nasilja i akcije – ginu i DECA, za ime sveta – gde nam je odmah jasno kako devojčica koju gledamo izrasta u mladu ženu iz čije kendo-maske posmatramo dobar deo scene koja se dešava dvadeset godina kasnije dok je sensei (odlična mala uloga sa Toshijija Takeshimu) podučava da mora da postane ,,jedno sa mačem". Kadriranje je ovde maštovito, rezovi dinamični i smisleni, a druge uvodne scene gde gledamo muškarca bez imena, bez pamćenja ali sa MNOGO ožiljaka (Jonathan Rhys Meyers) kako se budi u bolnici i na kraju iz nje beži noseći sa sobom katanu sa kojom su ga par dana ranije pronašli onesvešćenog, su takođe dinamične i zabavne. Treća nit priče u kojoj prekaljeni jakuza-veteran Takeshi (Tsuyoshi Ihara) direktno iz kreveta u kome je, sugeriše nam se, od seksa odvalio lokalnu profesionalku odlazi u podrum da ispituje vezanog kriminalca i tokom tog ispitivanja saznaje strašnu tajnu je takođe izvrsno formatirana i mada nemamo pojma ŠTA se dešava, Yakuza Princess nam u prvih petnaest minuta zabacuje mnogo vrlo prijemčivih mamaca.
Masumi je sasvim solidna u svom prikazu Akemi, mlade žene koja se nikada nije osećala sasvim-svoja na svome u Brazilu i nikada nije ZAISTA shvatila zašto je siroče koje je podizao sada-mrtvi-deda i mada film i ovde prolazi kroz hrpu klišea (najbolja ortakinja je crnkinja sa izblajhanom kosom, Masumi peva na svoj rođendan u lokalnom klubu, pojavljuje se grupa pijanih lokalnih đilkoša koja ne ume da shvati kada im se kaže ,,ne"), sve je urađeno vrlo efikasno i priču tera napred lepim korakom.
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No, nakon što se Akemi i bezimeni gaiđin utekao iz bolnice sretnu i, kroz sukob sa lokalcima skuju neugodan savez iz koristi, film kreće da strahovito šlajfuje. Akemi se pretvara u isprazan lik kome se stvari događaju i Masumi do kraja baš i ne uspeva da nam proda tu ideju da je konačno shvatila oko čega se sukob vodi i kako ona u njemu pronalazi svoju stranu, a Jonathan Rhys Meyers je KRIMINALNO neiskorišćen. Zapravo, nisam siguran kako je njegova karijera uopšte došla do tačke da igra sporednu ulogu u jednom ovakvom filmu jer u pitanju je verovatno jedan od najlepših muških glumaca koji su omirisali Holivud u poslednjih četvrt veka i do sada je trebalo da bude ime sa TEŽINOM. No, Irac kao da će večno biti osuđen da igra sporedne uloge u akcijašima koje prave van-holivudski autori sa ambicijama da Holivudu pokažu da i na drugoj strani ima ljudi koji ZNAJU. Rhys Meyers, da se dogovorimo, možda nije najveći glumac svih vremena, ali on ovde baš i nema šta da glumi, plus, kako rekoh, on je i na polovini svojih četrdesetih godina i dalje veoma lep čovek a Amorim ga ceo film prikazuje kao neobrijanog, naduvenog od batina, izlepljenog flasterima i lica išaranog ožiljcima. Besmislen miskast i propuštena prilika.
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Mnogo bolje prolaze, mislim, Tsusoyhsi Ihara i Eijiro Ozaki koji filmu daju propulzivnu energiju suprotstavljenih jakuza-oficira sa svim nakupljenim besom i decenijskom ogorčenošću koje ovakve uloge zahtevaju. Ne pričamo o nekakvim veteranima jakuza-filmova, Ozaki pogotovo igra prevashodno u zapadnim, serijskim produkcijama (uključujući Altered Carbon, Shogun, Magnum P.I., The Man in the High Castle itd.), dok je Ihara nešto bliži akcionim korenima sa istorijom učenja da bude kaskader a onda sa ulogama u akcionim filmovima tipa Brave Hearts: Umizaru ili Mission Impossible: Samurai, pored neprebrojnih komedija, porodičnih filmova i televizijskih serija u kojima je glumio. No, i Ihara ima respektabino međunarodno iskustvo i igrao je u Florentinovom Ninja iz 2009. godine, naspram Scotta Adkinsa, u Kiriyaovom Last Knights (pored Clivea Owena i Morgana Freemana, moliću) a pojavljuje se i u prošlogodišnjem Sidonie in Japan koji je režirala Élise Girard i igra ljubavnika jedne i jedine Isabelle Huppert. Ljubitelji Takashija Miikea pamte ga i iz Miikeovog 13 Assassins i mislim da je fer reći da je Ihara, čovek koji i sasvim solidno barata Engleskim jezikom, neko ko zaslužuje da ga zapadna publika više gleda.
Pogotovo što je njegov lik verovatno najbolji u celom filmu. I ovde imamo stereotipnu karakterizaciju na delu, naravno, ali Ihara podseća zašto su loši momci poput njegovog Takeshija često tako magnetski privlačni, emitujući neumoljivu harizmu i rođen-loš cool faktor kad god se pojavi u kadru. Kada se on i Ozakijev lik Kojiro nađu jedan naspram drugog u tih par scena koje imaju zajedno i krenu da ukrštaju metaforičke penise, čoveku bude malo žao što ovo nije film prevashodno o njima dvojci.
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Yakuza Princess, dakle, pati od sporog, dosadnog srednjeg dela, tokom kog sam se izrazito borio sa snom. Ovo je bez problema moglo biti skraćeno za petnaest minuta, da film dovede na trajanje od vitkih sat i po a da gledalac ne izgubi ništa bitno ni u priči, koja ne postaje jasnija na ime ,,objašnjavanja" koje se ovde odvija, ni u likovima koji ne produbljuju ni svoje karaktere ni nekakvu međusobnu hemiju. Postoji tu i dramaturški upitna odluka da se u par koji čine Akemi i Shiro (kako Rhys Meyersov bezimeni lik biva retroaktivno nazvan u završnici) dekonstruiše uvođenjem Takeshija koji u poslednjoj trećini filma postaje Akemin saradnik, slučajni partner, neugodni saveznik od kojeg je do malopre bežala a sada zajednički objavljuju rat ,,lošim" jakuzama, i to nakon što joj Takeshi otkrije ,,strašnu" tajnu vezanu za Shira. Jasno je ZAŠTO se ovo radi – dinamizuje se odnos među likovima, protagonistkinja više ne zna kome sme da ZAISTA veruje itd. – ali Amorim ne barata materijalom kako treba, pogotovo ne dopušta samoj Masumi da proživi ovaj kopernikanski obrt i ovo film sapliće onda kada je najranjiviji.
No, ur-problem koji Amorim samom sebi pravi i ne uspeva da ga reši je što gledalac nema nikakvu emotivnu investiciju u Akeminog pokojnog dedu a koji je glavna motivacija za sve što ona radi i moralni etalon prema kome ona podešava svoje odluke, pa onda ni otkriće vezano za Shirovu ulogu u njegovom smaknuću istom tom gledaocu ne znači ništa. Rizik koji donosi započinjanje priče usred već odavno započetog rata i davanje likovima i gledaocu informacija samo upust i na kašičicu je i taj da, kad dođe do klimaksa priče, gledalac nije sasvim siguran šta se dešava, za koga navija – pošto likovi, naravno, menjaju lojalnosti – i zašto bi za sve trebalo da ga bude briga. Amorim ovde ne uspeva da položi TAJ ispit.
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No, ono gde briljira su izgled i vizuelni stil filma. I sad, lako je reći da je ovde Pedro Saboya, zadužen za kolorne korekcije odradio najveći deo posla i da Yakuza Princess svoj bajkovito-psihodelični izgled duguje pre svega njegovom naoporu, ali ovo bi bilo nepravednao ne samo prema scenografima, osvetljivačima i kostimografima koji briljiraju kroz ceo film (iako Warner Bros. sebe potpisuje kao jednog od koproducenata, sav ovaj talenat je lokalni, brazilski, i to vredi da se prepozna) već i prema samom Amorimu koji je u vizuelnom smislu izuzetno posvećen. Svaki kadar je ovde promišljena kompozicija i Yakuza Princess naprosto nema filer-momente koje vidite da je snimila druga ekipa i da služe samo da popune minutažu. Ovde se, posledično, nećete saplitati o direct-to-video readymade rešenja u kojima dronovi slikaju grad iz visine kroz riblje oko ili onima gde gledate ubrzani snimak urbanog sabraćaja sa svetlima koja jure po ulicama kao termiti po košnici – Yakuza Princess svaki kadar stavlja u službu pripovedanja i u svakom pazi šta će se u njemu naći, kako će objekti biti raspoređeni na slici, uključujući po dubini, i koje će boje biti naglašene.
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I mada u nekom estetskom smislu Yakuza Princess ne donosi inovaciju u žanr gritty akcijaša, dakle, sav taj neon, noć i nasilje su standardni žanrovski nameštaj, nivo egzekucije koji Amorim demonstrira je daleko iznad proseka. Direktor fotografije, Gustavo Hadba, iza sebe ima bezmalo četiri decenije iskustva i njegove prethodne saradnje sa Amorimom su očigledno izgradile jedno međusobo razumevanje visokog nivoa pa se ovaj film naglašeno ističe između žanrovskih sestara i braće, sa bilo koje strane Pacifika da gledate.
I, u istom dahu, Yakuza Princess ima IZVRSNO urađenu akciju. Nema je ni iz daleka dovoljno, kad se gleda cela minutaža filma, ali ovde je Agnaldo Bueno uradio neke vrlo solidne koreografije a način na koji ih Amorim snima a onda i montira je osoben i veoma memorabilan. Pritom, pristup koji se ovde vidi je visoko rizičan jer su akcione scene razbijene na komadiće povezane brzim rezovima (Danilo Lemos i još dvoje saradnika u montaži) a što je, barem što se mene tiče, u 99% slučajeva smrtna presuda za akcioni film. No, Amorim uspeva da stalne smene pozicija kamere i kretanje po sceni, od lika do lika, kroz rezove bude ne samo strahovito energično već i neočekivano čitko. Ovo je pritom visceralno urađen akcioni program, sa krvlju, probadanjima sečivima i jednom slatkom goofy amputacijom (imamo i jedno odsecanje glave na kraju ali ono je urađeno ,,artističkije"), ali energiju svemu pre svega daje ta kinetičnost tela u pokretu, padanje po inventaru, skakanje i bacanje. U jednoj sceni pred kraj filma se u istoj prostoriji bori nekoliko osoba i Amorim dve od njih oblači u žute trikoe u očiglednom omažiranju ikoničkog izgleda Brucea Leeja (iz Zmajeve igre smrti, mada ga je on nosio i ranije) i ovo je izvanredno dinamična, moćna scena brutalne akcije. Završnica, koja je sporija, sa dosta napetog spremanja i kratkim akcionim detonacijama (Shiro sa vezanim rukama ovde briljira) je bliža japanskim predlošcima i odlično snimljena.
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I to je onda Yakuza Princess – film koji bi ZNAČAJNO profitirao od pročišćenije dramaturgije ili, ako ne to, onda barem od strožeg pristupa materijalu u sobi za montažu. Napravljen da podseća na jeftini direct to video naslov ali sa vizuelnim i akcionim programom DALEKO iznad nivoa koji ovo sugeriše, on ne uspeva da dobaci do statusa ,,kultnog klasika" ali i ovako nesavršen kakav jeste zavređuje da ga svaki ljubitelj akcije, pogotovo one sa azijskim šmekom, pogleda.
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This Closeness generalno nije tip filma kakav bih ja gledao sa nekim velikim interesovanjem. Ovo je prototipska indi drama smeštena u izrazito kamerni ambijent, sa skromnim ansamblom likova koji nemaju ni jedan pravi problem u životu a ipak im je TEŠKO. Kada korišćenjem termina ,,mumblecore" ne bih zazvučao kao da imam dovoljno godina da sam učestvovao u Drugom svetskom ratu (i u njemu POBEDIO, prokleti bili), rekao bih da ovaj podžanr ne samo živi nego nas i drsko šamara penisom po licu u ovom drugom po redu dugometražnom radu američke režiserke Kit Zauhar snimljenom 2023. godine, a koga sam pogledao putem MUBIja*.
*mada se u trenutku dok ovo kucam ceo film može pogledati i na DailyMotionu: https://www.dailymotion.com/video/x98gddu (https://www.dailymotion.com/video/x98gddu)
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No, This Closeness je i iznenađujuće – ili, pak, sasvim neiznenađujuće jer je pokupio i neke nagrade na festivalima u Americi i Evropi – propulzivna kamerna indi drama o likovima koji nemaju ni jedan pravi problem u životu, a ipak im je TEŠKO a da gledalac, tako išamaran penisom po licu na kraju ostane ne samo prilično dobro nasmejan, ali i zamišljen, već i da oseti sasvim autentičnu empatsku reakciju prema ljudima koji se, eto, probijaju kroz život iako ne znaju baš kako. Ovo ne samo da traje vrlo dobro odmerenih 88 minuta, već je i snimljeno sa jednom ipak pristojnom vizuelnom ambicijom, uredno i disciplinovano, bez držanja kamere u ruci i iživljavanja sa prirodnim osvetljenjem, montaža je ekonomična i efektna a glumci su odlični. Povrh svega, scenario Kit Zauhar je razigran, na momente nestašan, uspevajući ne samo da da od ničega napravi nešto, već i da likove vivisecira tako da gledalac uđe u njih možda i dublje nego što se na početku nadao, do momenta kada će da i sam oseti delić praznine u koju svi oni na momente osećaju da upadaju. Ovo je film sa svega pet ljudi u glumačkom ansamblu, sa produkcijom koja je jednako partizanski sklopljena (od, dodaću sa zadovoljstom, uglavnom žena), ali koji izgleda ne samo kompetentno već i nadrasta taj ,,prikazaćemo vam realnost i ništa više od toga" manifest mnogih drugih indi drama i uspeva da se ovaploti kao kinematografsko iskustvo u kome magija svetla, kamere, scenografije, kostima, dijaloga i živih glumaca u kadru radi tačno ono što treba da radi: prikazuje nam nešto nestvarno da bismo videli nešto stvarno. I sve to u jednom stanu! Sve to me je prilično odobrovoljilo, čak i impresioniralo, a da u celoj postavci nema ni PRISENKA priče o klasnim podelama. Pa to je šokantno!
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Kit Zauhar je ćerka kineske imigrantkinje koja je došla u SAD da studira medicinu i kavkazoidnog Amerikanca ali da se u filmu, i to negde 15 minuta pred kraj, ne pomene eksplicitno da ona ima i azijsko poreklo, ja toga ne bih ni bio svestan. Diplomirala na Univerzitezu Njujork, Zauharova je prvo napravila dva zapažena kratka filma, a svoj prvi celovečernji, Actual People, uradila usred pandemije, prekidajući zbog toga svoje master studije na Univerzitetu Kolumbija. Actual People je bio nekakav spoj memoarskog i fiktivnog, film inspirisan njenom poslednjom nedeljom na Univerzitetu Njujork, a This Closeness takođe, kao i mnogi slični indi filmovi, dolazi kao neka vrsta fikcionalizacije sopstvenih životnih iskustava i možda i svestan napor da se od stvari koje nisu imale smisla u životu napravi nešto što će imati malo više smisla na filmu.
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Kit Zauhar igra i jednu od dve glavne uloge u This Closeness, naspram Zanea Paisa, a gde njih dvoje glume par koji je došao u Filadelfiju preko vikenda jer Zaneov lik, Ben, treba da ide na godišnjicu mature. Iako je Ben odrastao u Filadelfiji, njegovi su roditelji prodali porodičnu kuću pa on i devojka mu, Tess – lik koji igra autorka – iznajmljuju stan preko Airbnba ili neke slične neoliberalne institucije koja vas ubeđuje da ćete platiti manje ali ne pominje da ćete RADITI više, da u njemu budu preko vikenda i da imaju gde da se vrate posle bančenja i pijančenja koje se podrazumeva za mlađe milenijalce u ovakvim situacijama. Tess, inače, živi od dizajna zvuka za video produkciju, mada je njen, reklo bi se, ,,pravi" posao njen ASMR kanal na Jutjubu gde ima dosta pratilaca, mada nije, kako to i sam Ben kaže, stvarno ,,poznata".
Dramski zamajac u filmu čini to da je gazda stana u kome će Ben i Jess biti preko vikenda i sam tu sve vreme. Adama (!!!) igra Ian Edlund i on u ovaj lik unosi svu arhetipsku white indie kid energiju koju možete da zamislite. Duže, bezoblične kose, sa nerdovskim naočarima na licu, visok, mršav i stalno u šljampavoj odeći, Adam je kao da ste uzeli vremeplov i otišli četrdeset godina u prošlost, odande kidnapovali Thustona Moorea i rekli mu da samo stoji u kadru i da ne mora ništa da priča.
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I to je onda ,,drama". Ben od prvog momenta krene da insistira kako je Adam ,,weirdo", kako je čudan, socijalno ,,awkward" i što film odmiče dalje, sve više ga stigmatizuje kao ,,pervertita" i ,,fetišistu". Tess se generalno s njim slaže, ali ispostavlja se da i Adam tezgari u video-produkciji, montira promo materijale za lokalnog proizvođača sportske opreme 'n' shit i Zauharova vrlo spretno, bez nepotrebnih prenaglašavanja, ukazuje da između njega i Tess postoji izvesna ,,prirodna" spona.
This Closeness ide na neki način utabanom stazom u kojoj devojka koja ima lepog, socijalno veoma propulzivnog, ekstrovertnog i omiljenog momka, na kraju, možda i na sopstveno iznenađenje, sebe zatiče neobjašnjivo privučenu introvertnom, terminalno zbunjenom, pa možda i zaista blago creepy liku koji se u njihovoj okolini nalazi pukim slučajem i sam ne pravi nikakav napor da se insertuje u odnos između Bena i Tess. Starinski žanrovski filmovi bi od Adama svakako napravili negativca, i This Closeness svesno pravi napor da ukaže da su zidovi tanki, da se mnogo toga kroz njih čuje, da Adam kada je u svojoj sobi obraća pažnju na to šta mu stanari rade i pričaju, ali Zauharova dobro pazi da ne sklizne u žanorvske stereotipe i dovoljno je da nam pokaže da ih je svesna.
To važi i za indie stereotipe i ovde se ta vivisekcija ljudske intimnosti i potrebe za bliskošću koju, reklo bi se, niko ovde nema u potrebnoj količini, odvija ne samo kroz naturalističke dijaloge već i kroz vrlo dobro snimljene i montirane scene u kojima nema priče i glumci posao odrađuju pokretima, pogledima, zatvaranjima očiju. Nije ovo Almodovar i nema ovde nekakve uzvišene vizuelne naracije, ali Zauharova vrlo pažljivo i efektno gledaoca vodi od situacije do situacije, pokazujući mu sa svakim narednim skretanjem koliko su likovi kompleksniji nego što na početku izgledaju, koliko su manje zreli nego što se predstavljaju, koliko su puni predrasuda ali i kajanja zbog tih predrasuda. Niko ovde nije STVARNO negativac, ali niko nije ni bezgrešni anđeo, već svako na kraju krajeva igra sa kartama koje su mu podeljene i snalazi se kako zna i ume.
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Zauharova se pritom u podtekstu filma bavi nekim fenomenima vrlo prisutnim za poznu generaciju milenijalaca i generaciju Z (makar za one delove tih generacija na zapadu koji imaju srednjeklasnu bezbednosnu mrežu ispod sebe) i dotiče se anksioznosti koju niko zaista ne leči, čak i kad je tretira – a što dovodi do proliferacije ASMR sadržaja na internetu između ostalog – i epidemije usamljenosti koja, iako se u nauci generalno vezuje za starije osobe, zapravo sve više dijagnostikuje i među mlađim generacijama. Ništa od ovoga nije u dijaloge ubačeno nekakvim grubim didaktičkim tonom i svaka scena koja gledaocu prikazuje dublje i ranjivije delove likova je osmišljena pažljivo, a ceo film sekvenciran promišljeno, tako da nema viškova i nedorečenosti. Kada sam film neke stvari ostavi namerno nedorečenim, to jesu jasni pozivi na kontemplaciju, radije nego prizanje autorke da ne zna šta da kaže u nekim momentima pa je tako i poslednja scena odrađena, slobodno se može reći, savršeno.
Zane Pais od svih glumaca u filmu ima najviše iskustva i možda je i fer da njegov lik onda i dobija najviše prostora da ,,glumi". U zgodnom preokretanju ,,klasične" podele uloga, Tess je u filmu onaj lik koji je nesiguran u sebe, koji je dugo vremena imao problem sa percepcijom svog izgleda i skloniji je introvertnosti i zatvaranju u sebe, dok je Ben šarmantni, omiljeni lik u koga su, kako kaže i njegova drugarica Lizzie, bile zaljubljene sve devojke u školi. Pais Bena igra sa apetitom, nabacujući šmekerske osmehe i koristeći kvalitetne prijave, i scenario njemu i daje neke od najduhovitijih momenata u filmu, na primer ono kada pita Lizzie ,,A ti si sada u fazonu da si baš drolja?" samo da bi onda bez gubljenja koraka dodao ,,Ali, mislim, ono, u osnažujućem, feminističkom smislu".
Dijalozi su generalno takvi, sočniji nego što biste očekivali i to da likovi, u dobroj mumblecore tradiciji imaju česte dijaloge u kojima naglas analiziraju svoj odnos sa sve čestim pauzama u pričanju i ,,um", ,,ah" i ,,uh" paraleksemama je ovde znalački iskorišćeno baš da se likovi razotkriju kao bespomoćni, naučeni da koriste dekartovski, racionalistički način govora kada pokušavaju da reše problem, iako im problem i dalje nije jasan i ne uspevaju da ga zaista spakuju u govor.
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This Closeness nema muziku, sem na samom kraju kako bi se podvukla emotivna završnica, ali zapravo autorka i ovo radi domišljato, puštajući gledaoca da samo čuje dijegetičke ,,muzičke zvuke" iz slušalica koje neki od likova imaju na ili pored sebe u nekim scenama, a što je zanimljiv način da se sugeriše da je muzika samo još jedna komponenta odbrambenog zida koji likovi podižu između sebe i sveta. Tess će u jednom od razgovora sa svojim terapeutom (preko Facetimea, WhatsAppa ili Zooma, naravno) uz dosta postiđen i bolan jecaj reći da se oseća usamljena kada je sa Benom, a gledaocu ovo neće delovati kao puka regurgitacija fikcionalnog (ili stvarnoživotnog, svejedno) klišea jer je pola sata ranije video scenu u kojoj Tess i Ben plešu uz muziku, u donjem vešu, dinamično i naizgled radosno, ali tako da svako od njh ima par bežičnih slušalica u ušima i muziku čuju sa telefona dok gledalac čuje samo udaranje njihovih stopala o pod. Što reče Jon Chang u jednoj svojoj pesmi (https://discordanceaxis.bandcamp.com/track/come-apart-together-come-together-alone): Come Apart Together, Come Together Alone.
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This Closeness je, na kraju krajeva, film koji ne bez razloga ,,blizinu" stavlja u svoj naslov. On je možda i kvintesencijalna kontemplacija za generaciju naviklu da živi sa cimerima sa kojima deli životni prostor ali ne i intimu, koja je koncept ,,ličnog prostora", silom prilika a dalje silom navike, naučila da svodi na slušalice u ušima i ekran u koji se gleda, KROZ koji se gleda neko drugo mesto od onog na kome se fizički nalazite. ASMR kao Tessina profesija nije ni malo slučajno u tekstu filma, sa svim tim temama pružanja nežnosti, pažnje, afirmacije, koje su deo ASMR-video iskustva, a koje je po prirodi stvari parasocijalno i zamena za STVARAN ljudski dodir, pažnju, bliskost, pa i intimu.
Kit Zauhar je, dakle, neko ko stvari i poznaje i razume, ali i na kraju ume da ih pokaže tako da ih i mi prepoznamo i razumemo. This Closeness nije film TEŠKE drame od koje se umire, niti patologije koju u društvu treba prepoznati da bi se društvo lečilo. On je film intimne, male drame, i tupe, tekuće tragedije koju ljudi nose u sebi i nikada ne znaju gde da je stave kada krenu da spavaju. Elegantno.
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Solidno sam se zabavio gledajući City Hunter, japansku akcionu komediju lansiranu na Netfliksu prošlog proleća. Kao najnovija reimaginacija vrlo popularne medijske franšize, ovaj film, čini mi se, promišljeno kombinuje harizmu svojih glavnih glumaca, atraktivan mizanscen i zreo, moderan vizuelni jezik za nešto što bi moglo, čini mi se neizbežno moralo, da bude začetak novog serijala. Režiser Yūichi Satō nije neko preterano poznato ime na zapadu, ali čovek potpisuje televizijske serije i filmove, kao i bioskopske naslove već duže od trideset godina sa nekim sasvim solidno uspešnim žanrovskim radovima poput Time Keepers, Attention Please, Strawberry Night, kao i Kasane. Sklonost ka vedroj komediji, često izmešanoj sa naučnofantastičnim elementima i motivima, i jedan naoko beznaporni glamur koji krasi njegov rukopis učinio ga je, mislim, prirodnim kapetanom ovog najnovijeg broda kojim City Hunter treba da doplovi u srca nove generacije publike.
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City Hunter je, naravno, veoma cenjena, veoma uspešna japanska medijska franšiza. Začeta je još 1985. godine sa shonen mangom u najpopularnijem japanskom strip-magazinu Shonen Jump i šest godina je uspešno osvajala srca i umove tinejdžera prikazujući avanture privatnog detektiva po imenu Ryo Saeba u urbanoj košnici Tokija. Kolekcije ovog stripa – 35 tankōbon izdanja – prodale su više od pedeset miliona kopija i od autora po imenu Tsukasa Hojo napravile zvezdu. Hojo je pored ovog stripa imao i druge uspešne serijale, poput Space Angel ili Cat's Eye, a u ovom veku i Angel Heart, ali City Hunter onaj glavni, majstorski rad koji obeležava njegovu karijeru i po kome poznaju i njega i njegovog asistenta po imenu Takehiko Inoue (a koji će posle napraviti sopstveni hit serijal, košarkaški blokbaster Slam Dunk). Hojo je, naravno, sasvim svestan da je City Hunter presudno odredio tok njegove karijere i života pa je Angel Heart, njegov za sada najnoviji serijal, pogađate, spinof City Huntera, koji se dešava u paralelnom univerzumu i menja neke od ključnih događaja originalne mange kako bi dobio svežu, alternativnu budućnost.
Iako veoma popularna u Japanu, ova manga je imala ozbiljnih problema da se probije u SAD. Hojo je u prvo vreme insistirao da strip na Engleskom mora da izađe u originalnoj formi, dakle, da se čita sa desna u levo, pa su pregovori trajali duže od decenije i kada je na kraju City Hunter krenuo da izlazi u SAD, to je bilo u antologiji Raijin koja je otkazana nakon što je ovaj strip stigao tek do 46. epizode. Tek 2022. godine je – verovatno ohrabren najavom Netfliksovog filma – ovaj serijal počeo ponovo da izlazio u Americi, doduše samo digitalno distribuiran od strane firme Coamix.
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No, naravno, u Japanu se uspešnost mange najvećim delom meri po tome je li adaptirana u animiranu seriju, a City Hunter je počev od 1987. godine imao četiri anime serije – kasnije sakupljene u boks-set sa 32 DVD-a – a koje su onda dobile i uspešan život na neazijskim teritorijama, uključujući SAD ali i Francusku gde je Ryo Saeba preimenovan u šarmantnog Nickyja Larsona.
Sledila su i tri bioskopska animirana filma još krajem osamdesetih, pa onda i nekoliko kasnijih naslova, ali i igrani filmovi. U Hong Kongu su urađena najmanje tri, a u najpoznatijem od njih je igrao Jackie Chan. Francuzi su 2019. godine uradili Nicky Larson et le parfum de Cupidon (Philippe Lacheau je režirao i igrao glavnu ulogu), a i Kinezi i Korejci su napravili sopstvene licencirane televizijske serije, da bi i Japan 2015. godine uradio igranu seriju Angel Heart.
Drugim rečima, City Hunter je u možda i drsko dobrom zdravlju gotovo četiri decenije od svog nastanka a najnoviji film, bez obzira što nije u pitanju nekakav kinematografski kamen-međaš, je idealan momenat da se i publika koja je rođena posle 2010. godine lako uključi u priču i upeca se na zarazni, malo i toksični šarm glavnog junaka i njegovog šarenog ansambla.
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Tajna uspeha City Hunter nije preterano, jelte, tajna. Ovo je naprosto dobro podešena žanrovska kombinacija nošena harizmatičnim ali relatabilnim protagonistom u kojoj se klišei hard boiled krimića i sirove, muške akcije (uključujući ,,pravu" ali i seksi akciju) dobronamerno parodiraju i kreira se jedan ugodan, pa i inkluzivan ,,safe space" za čitaoce i gledaoce različitih profila. Hojo je bio vrlo svestan žanrovskih standarda kada je uzeo da piše i crta svoju mangu i njegov Ryo Saeba je kao da ste uzeli sve toksično-muške klišee Spilenaovog Mikea Hammera a zatim dali ženama da ih razobliče u jednoj žestkoj, vreloj sesiji ogovaranja i smejanja muškarcima čija percepcija sopstvenog identiteta tako fatalno zavisi od držanja fasade muževnosti i virilnosti. Satôv film – scenaro je radio relativno neiskusni Tatsuro Mishima adaptirajući Hojove predloške sa dosta uspeha na moderni mizanscen – ovo ne samo da dobro razume već u potpunosti temelji svoj predmet upravo na toj dualnoj prirodi glavnog junaka. Ryo Saeba je muževan, snažan muškarac strahovito prodornog pogleda i abdominalnih mišića od kojih bi se i opaticama što su se udale za Isusa pre trideset godina malo zamaglile naočari, on je neverovatno opasan i snalažljiv u borbi na bliskom odstojanju a kada potegne vatreno oružje, pogađa muvu u letu u levo oko sa dvadeset metara razdaljine. Policija ga ne voli jer njihov posao radi bolje nego što ga rade oni a jakuze ga poštuju jer NJIHOV posao radi bolje nego oni. Saeba je, mada mu to niko neće, naprosto ključni igrač na ulicama Tokija od kojeg zavisi stabilnost grada i bezbednost običnog sveta kome i policija i jakuza-klanovi obećavaju stabilnost i sigurnost svakodnevnice a stalno se pojavljuju nekakvi nepredviđeni, često i neobjašnjivi fenomeni koji je ugrožavaju i sa kojima samo Saeba može da izađe na kraj.
Ryo Saeba je, takođe, serijski ženskaroš, virilan, seksualno natprosečno potentan muškarac koga stalno viđate kako se po noćnom Šinđuku šeta zagrljen sa po najmanje dve devojke koje se cerekaju njegovim opscenim šalama i aluzijama, a da njemu neće biti problem da i tako sve vreme zvera u DRUGE žene u prolazu, pa i da im dobacuje.
Naravno, kada promenite perspektivu za samo nekoliko stepeni, vidite da je Ryo Saeba zapravo nikada odrasli tinejdžer, čovek kome se karijera sastoji od stalnog izlaganja pogibelji o kojoj najveći deo onih zbog kojih to radi nikada ništa neće znati, neko ko dobija tapšanja po plećima od ljudi koji zvanično ili nezvanično drmaju gradom i kome se lokalne sojke javljaju na ulici ali koji nema ni jednog stvarnog prijatelja izvan partnera sa kojim radi. Koji živi u svojoj kancelariji i čiji se ceo seksualni život sastoji od dobacivanja ženama i trošenja nezdravih količina pornografije.
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Ovakav predložak je u Japanu dobro prepoznat kao idealno podešen da se dopadne publici shonen stripova jer se uklapa u sliku koju tvinejdž i tinejdž dečaci imaju o sebi – kao o inteligentnim ljudima obdarenim mnogim ,,tehničkim" veštinama, a koji su ipak neshvaćeni i izopšteni od strane zajednice, nrepreoznati od strane žena, večito nezadovoljene emotivne i seksualne žudnje. Na zapadu je u novije vreme Marvelov Deadpool napravio ogroman uspeh upravo ovom kombinacijom identifikujućih elemenata karaktera*, ali ne treba da zaboravimo da je Akira Toriyama još početkom osamdesetih kreirao prototip ovakvog lika u svom strahovito uspešnom (a rađenom pre Dragon Ball Z kojim će Toriyama osvojiti svet) manga serijalu Dr. Slump.
*sa doduše manjim naglaskom na incel energiji
Satōv film kreće na istom mestu na kome je krenula originalna manga, pokazujući Saebu i njegovog partnera Makimuru kako prihvataju slučaj nestale devojke a onda ulaze u sukob sa čitavim vodom jakuza da bi je oslobodili i vratili uplakanoj sestri (sa velikim sisama). Ne uspešni do kraja u ovom poslu, Saebino i Makimurino partnerstvo se, nažalost, okončava iste noći kada ovaj potonji gine u incidentu koji izaziva čovek, reklo bi se, pod uticajem neke do tada nepoznate droge što ljudima daje natprirodnu snagu ali im oduzima razum. Saeba ne pokazuje koliko ga je Makimurina smrt potresla, ali Makimurina mlađa sestra, Kaori (Misato Morita koja poslednjih godina PAKLENO radi na televiziji pa je igrala i u prošlogodišnjoj seriji Like A Dragon o kojoj bih MORAO uskoro da nešto napišem), insistira da će ona, sa njim ili bez njega pronaći odgovorne i osvetiti se. Dvoje neugodno uklopljenih partnera – on mračni, cinični mačo-detektiv koji ne može bez ženske pažnje, ona tek iz škole izašla klinka puna ideala i skrhana bolom – kreću u pustolovinu noćnim Tokijom koja će ih dovesti u klinč sa pretećom međunarodnom terorističkom organizacijom punom fanatika, finansiranom od strane moćnika sa drugih kontinenata.
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Mishimin scenario ne samo da uspešno apdejtuje neke od osnovnih elemenata zapleta – mada, naravno, eksperimentisanje na ,,običnim" ljudima u cilju kreiranja bioloških oružja nije ni slučajno nekakva inovativna ideja – već i, možda bitnije, postavlja priču u sada-i-ovde na jednom fundamentalnijem nivou. Sam zaplet je, da se ne lažemo, generički i videli smo ga u milion mangi, animea, filmova, videoigara itd, ali to da se dobar deo priče vrti oko velikog kozmetičkog brenda, a da je devojka oko koje se svi otimaju i koju Saeba i Kaori pronalaze i štite zapravo prospektivni ,,kontent krijejtor" je skoro pa potez genija. Kurumi (igra je vrlo mlada Asuka Hanamura) je devojčica koja se slika za instagram i pravi klipove za tiktok, proto-influenserka i kosplejerka i njeni snovi o uspehu i slavi su temperirani tipično japanskom (štaviše PROTOTIPSKI japanskom) posvećenom odgovornošću vezanom za ideju da ona može postati idol drugih devojaka. Kurumi se možda samo oblači u šumsku vilu i uvežbava osmehe pred kamerom, ali ona to radi iz najdubljih, najplemenitijih ponuda i time ovaj film ne samo da deluje ,,stvarno" u kontekstu 2024. godine već i kreira potreban protivotrov za Saebino, da se razumemo, više nego svinjsko ponašanje kada se zatekne u blizini žena.
I to je sasvim programski: kadrovi izraženog ,,muškog pogleda" koji se fokusiraju na istaknute ženske grudi, stražnjice, visoke štikle i druge fetišizovane atribute žena nisu ovde samo kao ,,fan service" za uspaljene tinejdžere već i kao podsećanje da je Ryo Saeba, pa, suštinski jedan od njih, neko ko zaista samo gleda, ali praktično nikada ne dodiruje, kome je sva priča o ženama i seksu zapravo način da druge i sebe ubedi da je onakav muškarac kakav jedan okoreli privatni detektiv naprosto MORA da bude.
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Bilo bi sad previše reći da film potencira nekakav tragički rascep u karakteru glavnog junaka – ovo je ipak u velikoj meri komedija – ali činjenica je da je Saeba vrlo pažljivo prikazan kao visokokvalitetni incel, čovek obdaren skoro natprirodnim borilačkim sposobnostima i fino izoštrenim deduktivnim čulom, ali ko u socijalnom smislu nije u stanju da izgradi normalan odnos sa ljudima oko sebe i najbliže ,,prijateljima" što ima su policijska inspektorka koja se iznervirano breca na njega što joj kvari posao i jakuza-patrijarh koji gleda da ga iskoristi kad god može da odradi NJEGOV prljavi posao.
Za ovakvu ulogu vam treba pravi glumac i apsolutni adut ove produkcije je upravo Ryohei Suzuki, jedan od najvrelijih japanskih glumaca poslednjih nekoliko godina. Sada već četrdesetogodišnjak, Suzuki je spretno ekstenzivan televizijski rad iz prošle decenije uspelo pretočio u seriju glavnih filmskih uloga tokom ranih dvadesetih, zabadajući i hitove poput Miikeovog The Mole Song: Final, filmskog serijala Tokyo MER: Mobile Emergency Room i jakuza-akcijaša Last of the Wolves. Suzuki je u Japanu ali i izvan Japana, u Aziji, pokupio i gomilu nagrada poslednjih godina i njegova se karijera sada nalazi u zenitu, garantujući filmu ogroman uspeh diljem Azije.
I Suzuki onda Saebu igra sa takvim bezobraznim šarmom, ali i kvalitetnom samozatajnošću, da je to prosto milina gledati. Ovaj muškarac je obdaren veoma upečatljivom fizionomijom koja asocira na holivudske old school mačo-šmekere poput Branda ili Josepha Cottena i kostimografi u filmu mu daju rolke i mantile koji se savršeno uklapaju u tu neizdrživo cool kombinaciju luzerstva i osvajačkog šarma. Kada u jednoj mommy-porn sceni Saeba izvodi striptiz-ples pred klubom punim dobro raspoloženih žena, ovo nije samo prilika da se nadivimo njegovoj kao od mermera isklesanoj figuri – onakve trbušne ali i pektoralne mišiće obično vidimo samo u video igrama poput Tekkena – već i da ponovo shvatimo da je ovaj film napravljen za žene isto koliko i za muškarce i da, zapravo, to kakva se hemija stvori između Kaori i Kurumi, a iz koje je Saeba isključen jer je ,,matori muškarac koji uostalom i nije čuo za najpoznatiji kozmetički brend na svetu" služi da se podvuče ta socijalna izolovanost koja ide uz njegov lik, ali onda i da se (muškom) gledaocu pokaže kako se ta izolovanost ne okončava time što ćete još jače akcentovati ,,muške" elemente svoje ličnosti, već, naprotiv, tako što ćete one manje muške pustiti da slobodno dišu.
(https://i.imgur.com/wjZrXIB.png)
Kada se Kaori, bez Saebinog poziva, praktično useli u njegovu kancelariju, jedna od njenih prvih akcija je da pobaca OPSCENO ogromnu količinu pornografskih blurejeva koje ovaj drži po policama, stolovima i kutijama i neuverljivo joj objašnjava da su oni tu jer su deo detektivske istrage. Ovaj čin nije samo puka komična scena u kojoj se ,,mačo" muškarac nađe postiđenim zbog svojih sramotnih fetiša već i manifestna poruka otakuima u publici da sedenje kod kuće i drkanje na pornografiju nije mesto na kome treba da završe sa razvojem svoje ličnosti i da napolju postoji čitav svet koji treba istražiti sa samo MALO smelosti. (A to da mačo šmeker poput Saebe po gradu vozi smešni crveni Mini Moris je dalji putokaz ka toj smelosti.)
A kako taj svet izgleda! Satō priču vodi sasvim korektno, bez dramaturških posrtanja, ali i bez nekakvih velikih nadahnuća, ali vizuelno, on je najpraviji čovek na najpravijem mestu koga je ovaj film mogao da ima. Velikim delom smešten u Šinđuku četvrt Kabukičo namenjenu noćnom provodu i zabavi*, City Hunter je jedna razuzdana, gizdava proslava Japana koji više nije tek ,,cool" već i nesputano ,,weird" pa i ,,queer". Satō ovde kreira jedan fantastičan kaleidoskop boja, arhitekture, dizajna i fizionomija, vodeći gledaoca kroz tokijske ulice i pokazujući mu mlade osobe koje žive na internetu ali onda taj internet dovode na ulice, osobe koje su prevazišle tradicionalne formate izgleda i identiteta, koje su hodajući tiktok filteri i kosplejeri likova koji postoje samo u njihovim glavama i, možda, u doujinshi radovima što ih prave za sebe i svoje pratioce na internetu.
*a ako ste igrali bar dve-tri igre iz serijala Yakuza/ Like A Dragon, prepoznaćete gomilu ulica i drugih lokaliteta na kojima se radnja dešava
Ova šarena, inkluzivna slika koju nam Satō prikazuje – a onda nastavlja, smeštajući jedan važan set pis filma na događaj koji organizuje pomenuti kozmetički brend – je, dakle, protivteža old school mačo fasadi koju glavi junak nosi ispred sebe kao smokvin list a u jednoj urnebesoj sceni je simbolizuje figura pastuva što je on nosi na preponama i, štiteći Kurumi, prima strelice za uspavljivanje direktno u nakurnjak, ali i svedočanstvo o izvanredno izgrađenom vizuelnom jeziku kojim Satō barata. Ne znam koliki je budžet ovog filma Netfliks odobrio ali svakako deluje da je ovo bilo bar red veličine iznad onog što dobija tipična akciona komedija u Japanu ovih godina i ekipa (uključujući direktora fotografije Motonobua Kiyokua) se potrudila da se na ekranu vidi svaki dolar.
(https://i.imgur.com/2fNtCrQ.png)
Isto važi i za akcione scene. City Hunter nije samo lepa reprezentacija grada i njegovih stanovnika, već i propulzivan, brz film u kome nema trivijalnih kadrova, niti ikakvog šlajfovanja u vizuelnom smislu. Iako smo u savremenom japanskom akcionom filmu videli i smelije koreografije, u akcione scene u City Hunter je uloženo MNOGO promišljanja i svaka je poseban set pis u kome se ističu Saebine jedinstvene veštine. Suzuki karate radi izvanredno a kadrovi neverovatnih hitaca iz pištolja su urađeni perfektno.
Blaga kritika možda može da ide na to da je poslednja velika akciona scena zapravo najmanje atraktivna jer se dešava u najmanje zanimljivom okruženju a glavni junak uglavnom puca u protivnike i obara ih efikasno sa po jednim metkom (mada i ovde, naravno, dobijamo izvrsnu dinamiku između njega i Kaori koja mu dobacuje nove pištolje kada on isprazni one koje drži u rukama i, da vam kažem, Robert Rodriguez bi bio presrećan da pod stare dane potpiše nešto ovako), ali to je samo jer su prethodne akcione scene, ona koja film otvara i u kojoj je koreografija najkompleksnija, ali onda i ona na pomenutom kozmetičkom događaju tako maštovite i originalne. Suzuki u bizarnom kaubojskom kostimu i manekenka Moemi Katayama obučena u fetišistički crni kostim sa sve bičem će vam dati taj beznaporni blend akcije, komedije i erotike koji ovaj film obećava i onda ga, uz sve drugo što smo već pomenuli, isporučuje.
Dakle, City Hunter je veoma zabavan i, mada u smislu zapleta i radnje ide jednom vrlo utabanom stazom, vizuelno je toliko upečatljiv i siguran da se mora videti ČAK i ako sebe generalno ne smatrate publikom za akcione filmove. Dramaturški disciplinovan, on jedino može da vas nažulja jer izvanredni – i veoma iskusni – Masanobu Andô u njemu dobija prekratku ulogu, ali ovo je svakako film dobrog raspoloženja i jedan siguran prvi kamen u nečemu što bi moralo da izraste u novi deo multimedijalne građevine City Huntera. Gledajte.
(https://i.imgur.com/p8gFmeU.png)
Nimalo prerano, u prvom danima 2025. godine smo dobili priliku da pogledamo Baby Assassins: Nice Days, treći deo serijala Baby Assassins a koji je svoju premijeru u Japanu imao krajem Septembra prošle godine. Čekanje je bilo podugačko, pogotovo što su utisci publike sa raznih zapadnih festivala gde je film prikazan (u Njujorku, Montrealu itd.) bili veoma povoljni, sa više reakcija koje su film kvalifikovale kao najbolji u serijalu. Dodatno, hajp oko filma se perfektno slepio sa hajpom oko televizijske serije Baby Walkure Everyday! koja je svoju prvu sezonu sa dvanaest epizoda uspešno započela istog tog Septembra, nudeći japanskoj publici još avantura dve omiljene Gen-Z asasinke. Seriju verovatno nećemo videti tako skoro, ali ona je potvrda da je Yugo Sakamoto, autor scenarija i režiser sva tri filma, kao i glavni scenarista serije sa ovim konceptm našao svoju zlatnu koku i kreirao neku vrstu malog fenomena na preseku akcionog filma, komedije i socijalne satire.
(https://i.imgur.com/b5sotHI.png)
O prva dva filma smo pisali letos, na ovom (https://cvecezla.wordpress.com/2024/08/30/film-baby-assassins/)i ovom (https://cvecezla.wordpress.com/2024/09/06/film-baby-assassins-2-babies/)mestu, ali ko nema strpljenja da prolazi kroz kilometarske tekstove o filmovima čiji autor verovatno ni sam nije očekivao BAŠ TOLIKO analize, evo sažetka: Baby Assassins je serijal filmova o dve najbolje drugarice koje su plaćene ubice što rade za veliku tokijsku organizaciju čija je specijalnost vršenje ubistava po narudžbini i čišćenje scene zločina tako da ne bude nikakvih dokaza koji bi ikoga inkriminisali, ali su istovremeno i (sasvim namerno) stereotipizovane japanske pripadnice generacije Z. Prva dva filma su u velikoj meri počivala baš na kontrastiranju scena profesionalnog rada, dakle, akcionom, visceralnom programu, i scena slobodnog vremena u kojima se Mahiro i Chisato razvlače po neurednom stanu natrpanom mangama, brzom hranom, dekorativnim jastucima i igračkama, igraju onlajn igre ili samo bleje po internetu i sve im je dosadno a pogotovo kad neko sugeriše DA BI NEŠTO TREBALO DA RADE. Oba filma su bila naglašeno usmerena ka analizi i satirizaciji osetljivog mesta na kome se nalaze pozni tinejdžeri u Japanu u ovom trenutku, sa tradicijom koja nalaže ulazak na tržište rada i praktično obećanjem da će prva iskustva sa zaposlenjem biti traumatična, mučna i resetovati očekivanja mladih osoba na ,,realističniji" nivo, sa podrazumevanjem da će sledeće decenije doneti eksploataciju, ponižavanje, prekarne radne odnose i možda samo blago, postepeno popuštanje ove muke onako kako se penzija bude bližila. Prikazane kao briljantne slackerke koje učestvovanje u TOM kapitalističkom žrvnju ni malo ne privlači, Mahiro i Chisato kroz svoje karijere profesionalnih ubica zapravo ukazuju na nedostatak izbora ponuđen mladima u Japanu a gde je ubijanje po narudžbini ljudi koji siluju, kradu, varaju itd. praktično aspirativna karijera što donosi ne samo društveno korisne rezultate već i protagonistkinjama obezbeđuje udoban život sa dovoljno slobodnog vremena i dostatnim prihodima da ne mora da se razmišlja o tome kako će se platiti računi, može li se danas jesti malo bolja hrana, sme li se otići na letovanje.
(https://i.imgur.com/ChrKbBR.png)
Činjenica da jedan od najuspešnijih novih filmskih serijala u Japanu veliki deo svoje koncepcije bazira na opservaciji da mlade (i ne samo mlade) osobe u jednoj načelno stabilnoj i uspešnoj ekonomiji ne mogu da više računaju na socijalnu sigurnost koju bi donelo ,,normalno" zaposlenje i pošten rad, kao i da su prikazana iskustva dve glavne junakinje sa poslodavcima satirički preterana ali uverljivo traumatična daje ovom serijalu jednu osnovu za identifikaciju koja ide dalje od populacije poznih japanskih tinejdžerki i obezbedila mu je priličnu količinu goriva. Yugo Sakamoto je sa ovim filmom mnoge motive koje je već koristio u svojim prethodnim radovima spretno uvezao u taj širi satirički i komički okvir i, radeći sa najboljim akcionim koordinatorima u industriji proizveo nešto što na papiru možda ne bi trebalo da funkcioniše ali u realnosti daje dobre rezultate.
(https://i.imgur.com/YwANBld.png)
No, istina je i da je drugi film u dobroj meri ponavljao poente prvog, odnosno da je veliki deo njegovog vremena otpadao na statične kadrove dve glavne junakinje kako se razvlače po kauču u dnevnoj sobi i kukaju što moraju na posao, kao i na Zoom sastanke sa upravom organizacije za koju ubijaju, dugačke dijaloge vezane za čišćenje scena asasinacije, te da je onaj glavni sadržaj tog filma, sukob Mahiro i Chisato sa dvojicom frilensera koji pokušavaju da zauzmu njihova mesta u organizaciji, bio srazmerno nerazrađen.
Utoliko, Baby Assassins: Nice Days nije samo treći nastavak serijala već i smislen apgrejd, prilika da se neke greške poprave a da se onaj stvarni potencijal ove produkcije stavi u prvi plan.
(https://i.imgur.com/RMeJvjG.png)
Naime, deluje kao da je u stvarnosti Baby Assassins: Nice Days trebalo da bude nastavak prvog Baby Assassins jer umesto recikliranih ideja i koncepcija iz prvog filma ovde imamo na programu jasnu evoluciju. Baby Assassins: Nice Days se ne dešava u Tokiju već u prefekturi Mijazaki gde se Chisato i Mahiro nalaze, kako na početku deluje, na odmoru, uživajući na plaži i blesaveći se po suncu, pesku i morskoj vodi, dogovarajući se kuda će uveče na večeru i generalno uživajući. Film predstavlja vrlo snažno podsećanje – pre svega same produkcije – na to da ova franšiza prilično presudno počiva na hemiji dve glavne glumice (Saori Izawa kao Mahiro i Akari Takaishi kao Chisato) pa je onda i Baby Assassins: Nice Days zapravo pre svega film o ljubavi ovde dve devojke jedne prema drugoj, o lojalnost, podršci i brizi koje su uvek tu samo se možda ne vide ispod naslaga Gen-Z blaziranosti i generalnog slacker poziranja.
(https://i.imgur.com/I2Pg2Ms.png)
Zapravo, Baby Assassins: Nice Days u prvi plan stavlja činjenicu da Mahiro puni dvadeset godina (Chisato ima urnebesno smešan nemi nervni slom dok, sedeći sa njom za stolom shvata da joj ništa nije kupila za rođendan) i da je ovo svojevrsna simbolička prekretnica u životu mlade osobe. Na kraj krajeva, u Japanu tek sa punih dvadeset možete da kupujete alkohol i da ga javno konzumirate i mada su dve scene u kojima naše devojke piju pivo generalno smešne jer, jelte, pivo ipak ima dosta gorak ukus, pogotovo ako ga nikada ranije niste probale (Akari Takaishi pravi čitavu predstavu od milovanja svog grla od spolja kako bi umirila reakciju koju ima na ovo piće), neizgovoreni deo priče je taj da se dve drugarice više ne mogu smatrati decom ni po jednom kriterijumu i da zvanično stupaju u svet ,,stvarno" odraslih.
(https://i.imgur.com/CZBd6MU.png)
Da bi se ova poenta snažnije utvrdila, u ovom su nastavku dve tokijske asasinke uparene sa dvoje pripadnika iste organizacije koji su bazirani u Mijazakiju i ovde dobijamo svu silu dramskih tenzija i komičkih raspleta vezanih za generacijski jaz, ali i mentalitetske razlike između ljudi iz prestonice i ljudi ,,iz provincije". Yugo Sakamoto, koji je i ovde napisao scenario, imao je priliku da za ulogu ,,starije" asasinke Iruke Minami, koja nema strpljenja za detinjarije dve tokijske klinke dobije Maedu Atsuko, bivšu vrlo uspešnu J-pop zvezdu (prvo sa bendom AKB48 a posle solo) koja je poslednjih godina napravila i veliku karijeru na filmu i televiziji. Mondo Otani koji igra njenog partnera je značajno manje poznat glumac ali je njegov lik, Riku Nanase, pitoreskan i zabavan sa svojom fiksacijom na fitness/ body building i generalnom pažnjom koju obraća na svoj izgled. Povratak ekipe za čišćenje iz prethodnih filmova je ovde takođe urađen sa merom i ansambl Baby Assassins: Nice Days funkcioniše kao dobro podmazana mašina.
(https://i.imgur.com/QfZ2nya.png)
Pogotovo jer sa druge strane stoji lik zanimljive psihološke oštećenosti, Kaede Fuyumura (ekstremno impresivni Sôsuke Ikematsu), lokalni freelance ubica-za-novac koji svoj posao shvata STRAŠNO ozbiljno i kada se ispostavi da Chisato i Mahiro zapravo nisu na odmoru već da treba i da ubiju lokalnog ćatu koji je proneverom zavio svoju firmu u crno, a da taj lokalac pokušava da ubije istu metu, dobijamo zapravo značajno zanimljiviji i po posledicama DRAMATIČNIJI rivalitet među ubicama nego što smo imali u drugom nastavku.
(https://i.imgur.com/31pfuxJ.png)
Sakamoto ovde pokušava, i uglavnom uspeva da napravi jasnu razliku između simpatično sociopatskih protagonistkinja sa jedne strane i Fuyumure sa druge strane koji je komično ali naglašeno psihopatski portretisan. Ovo je ubica koji nema drugih interesovanja u životu sem unapređenja svog zanata, čovek sa očigledno traumatičnom prošlošću koji u sopstvenom stanu ima razapet šator u kom spava, koji vodi dnevnik gde analizira svako ubistvo koje je počinio i po pravilu insistira da će sledeći put biti bolji, čovek koji rangira sve ljude sa kojima se borio u životu na jedinstvenoj listi.
Sakamotov rukopis je retko sad nešto literarno elegantan, ali ovde on pravi vrlo pravilnu odluku da kontrast između dve protagonistkinje i primarnog antagoniste bazira na tekstu isto koliko na akciji. Baby Assassins: Nice Days je ugodno prepun akcionih scena a sukobi između Fuyumurei naše dve junakinje su mesto na kojima se razlika između njihovih svetonazora vidi još jasnije nego u citiranim delovima njegovog dnevnika ili u dijalozima.
(https://i.imgur.com/l3ioH7B.png)
Rezultati su onda izvrsni na svim planovima. U prvom redu dobija se jasan satirički kontrast između ljudi koji posao rade kompetentno i efikasno ali se nisu pretvorili u njega i ljudi koji osim posla nemaju ništa drugo na svetu i nezdravo su, patološki usredsređeni na njega. Dalje, Fuyumura kredibilno postaje zaista opasan, preteći ,,endboss" za koga nismo sigurni da čak i Mahiro može da ga porazi pa je time scena finalnog sukoba sa svom svojom velikom tenzijom i urnebesnom akcijom efektnija. Konačno, gledalac vidi te nijanse razlike između likova a koje imaju velike reperkusije za to kako ih percipira i sa kim se identifikuje, gde je Fuyumura, sasvim očigledno neko ko je pretrpeo velike traume u životu ali je na kraju (zbog toga? Možda ne?) lišen empatije i monomanijački usredsređen na ubijanje, dok Chisato i Mahiro svoj posao tretiraju pre svega kao, dakle, posao i mada ga rade sa strašću, profesionalnim ponosom i apetitom, nikada ne dopuštaju da ubijanje zaseni njihovu imanentnu humanost a koja se vidi pre svega u empatiji.
(https://i.imgur.com/cJdRhDV.png)
I to ne samo u empatji koji imaju jedna za drugu. To da njih dve Iruku Minami vide kao iritantnu karijeristički usmerenu smaračicu koja sebe shvata preozbiljno i smara ih formalnostima ne sprečava ih u tome da je prime u ,,sestrinstvo" onda kada se ova nalazi na najnižim granama, povređenog ponosa (i tela) i poljuljane vere u sebe.
(https://i.imgur.com/MzER0z8.png)
I to film čini vedrim i optimističnim bez obzira na svakako najkrvaviji program koji smo do sada u serijalu dobili.
Kensuke Sonomura je, naravno, i u ovom filmu radio akcionu koreografiju i mada je kliše reći da je prevazišao sebe, verujem da nije izlišno još jednom naglasiti koliko je akcija u filmovima na kojima on radi bolja od praktično svega što možete videti u zapadnim akcionim blokbasterima. Tokom nedavnih praznika sam, recimo, pogledao Hobbs & Shaw i Around the World in 80 Days i, da ne bude zabune, ovaj prvi film je režirao kaskader a u njemu igraju dve velike akcione zvezde sa solidnom borilačkom ekspertizom (Dwayne Johnson i Jason Statham) a u ovom drugom igra veličanstveni Jackie Chan, ali ni jedan od ova dva filma nema energiju, propulzivnost, maštovitost koju ima Baby Assassins: Nice Days.
(https://i.imgur.com/S6pY3h8.png)
Sonomura kao da je sebi u zadatak stavio da sa svakim narednim filmom u ovom serijalu pomeri letvicu još par pedalja više i publici koja John Wick smatra etalonom modernog akcionog filma pokaže kako, naizgled lako, može da se uradi bolje, brže, zabavnije, LUĐE. Ovde ne samo da ponovo dobijamo izvanredno dinamične jedan-na-jedan scene u kojima njegova dugogodišnja saradnica Saori Izawa apsolutno briljira, pogotovo jer su neke od njih sada izvučene iz standardne dvoje-ljudi-u-jednoj-sobi postavke i događaju se u pokretu, trku, tokom potere, sa izvanredno imaginativnom jurnjavom dvoje protivnika oko pištolja tokom koje ne samo pokušavaju da ubiju jedno drugo već i da stignu metu koja beži, već su i koreografije u kojima Izawa i Akai Takaishi nastupaju zajedno vidno apgrejdovane u odnosu na prošli film, sa naprosto fantastičnim radom kamere, kaskadera, montažera. Kada pri kraju filma naše junakinje treba da se sukobe sa celim lokalnim kontingentom plaćenih ubica (a koji su doslovno kodirani kao zemljoradnici, čime se to kontrastiranje ,,urbanih" tokijskih likuša i ,,provincijalaca" iz Mijazakija dovodi do praktično apsurda) ovo je takva demonstracija moći, sa dve klinke koje rade kao jedna, noževima i pištoljima krče put kroz masu ljudi i koriste tela protivnika kao štitove da naprosto ništa slično nećete videti ni u jednom filmu snimljenom 2024. godine. Ili, da se ne lažemo, ikada.
Tako da, dok nam Sonomurin treći režiserski projekat, Ghost Killer iz prošle godine ne postane dostupan, Baby Assassins: Nice Days je vrh akcionog žanra a koji MORATE videti čak i da vas ne interesuju problemi japanske omladine na tržištu rada i nemate u sebi toliko duše da se srodite sa dve devojčice koje se NEIZMERNO vole. Obaveza je obaveza.
(https://i.imgur.com/6gA0HFs.png)
Možda je to samo znak mojih poodmaklih godina, andropauze, ranih stadijuma demencije itd. ali veoma sam se solidno zabavio gledajući Sonic the Hedgehog 3, treći deo filmskog serijala koji je sada toliko sigurno ustoličen kao najuspešnija ekranizacija videoigračkog predloška da u Nintendu, uprkos veoma velikom uspehu filma Super Mario Bros. (https://cvecezla.wordpress.com/2023/05/26/film-the-super-mario-bros-movie/)verovatno malo škrguću zubima i proveravaju da se nisu jutros probudili u pogrešnom tajmlajnu. ,,Sega does what Nintendon't" u ovom slučaju znači da su Sega i Paramount na narativno jedva artikulisanim predlošcima napravili, evo, već treći film za pet godina koji nekako organski, bez vidnog natezanja uspeva da nedosledne, ponekad protivrečne elemente karaktera i zapleta, razbacane kroz mnogo igara pravljenih na mnogo različitih konzola od strane mnogo različitih ljudi, ušnira u filmove koji imaju sav patos, humor i akciju superherojskih filmova, ali isporučene bez pomalo zamornog ,,ozbiljnog" tona koji preovladava u dva velika filmska superherojska univerzuma, bez opterećivanja priče nekakvim kompleksnim ,,loreom" i stalnih podsećanja gledaoca da treba da gleda i druge radove u metaserijalu da bi imao uvid u celu priču.
(https://i.imgur.com/GwD6WpY.png)
Kada su Marvelovi režiseri krajem prve i početkom druge decenije ovog veka spretno i domišljato kondenzovali složeno i preobimno nasleđe decenija stripovske naracije u jasne, konzistentne filmove, to je bio dah svežine i, pokazalo se, idealan mamac za publiku MNOGO širu od one koja i dalje čita superherojske stripove. Sonic the Hedgehog je nešto slično postigao u domenu videoigračkih ekranizacija, obezbeđujući jasne narative, dobro definisane heroje, antiheroje i antagoniste, jednostavnu i efektnu dramaturgiju. Treći film, uprkos tome da nas iskustvo uči kako mora uslediti posrtanje, nekako do gledaoca dolazi sa minimumom frikcije i isporučuje sve što treba još efikasnije i energičnije nego prva dva.
Sa premijerom početkom Decembra, Sonic the Hedgehog 3 je svakako profitirao od prazničnih privilegija i svoj budžet od 122 miliona zaradom u bioskopima prebacio skoro četvorostruko, a sa objavljivanjem na striming servisima krajem Januara, Paramount i Sega mudro igraju na inerciju marketinga i od svog filma prave prvorazredni događaj za decu, omladinu i nostalgične milenijalce, potvrđujući Sonicovu vladavinu na filmu. To da Sega već duže od dvadeset godina kao da ne može da napravi Sonic igru koja bi po kvalitetu ili makar popularnosti dosegla filmove je, naravno, užasna ironija, ali verovatno i podsećanje da je ,,plava mrlja" tokom devedesetih postala tako važan i velik kulturni artefakt prevashodno na ime karaktera, etitjuda i manifestnog odbijanja da bude ,,za decu", a nešto manje na ime kvaliteta igara koje su vrlo brzo počele da se ne snalaze sa evolucijom medijuma.
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Štaviše, kada čovek vidi da se u trećem filmu kao prominentan karakter pojavljuje Shadow the Hedgehog, neka vrsta mračne, ,,gritty" verzije titularnog Sonica, skoro po automatizmu se mora pomisliti da ćemo prisustvovati raspadu franšize. Malo toga signalizira kreativno očajanje na strani autora serijala od ulaska u fazu gde se smatra da je najbolji, možda i jedini način da se on nastavi to da se vrline prepunom heroju suprotstavi njegova ,,negativna" verzija, gotovo po pravilu iskarikirana do nepodnošljivosti i svedena na mali broj degenerisanih, prenaglašenih emocija. Reminiscencije na trećeg Raimijevog Spajdermena na stranu, Shadow the Hedgehog je problematičan lik već na ime toga da je u igrački serijal nekada karakterisan plavim nebom i zelenim brežuljcima, glavnim junakom koji sve prepreke savladava brzim nogama i uz mangupski osmeh, uveo mračni urbani mizanscen, flešbekove na tragičnu prošlost, i pištolj u rukama glavnog junaka*. Igra Shadow the Hedgehog iz 2005. godine je na neki način simbolički označila momenat u kome je Sega priznala da više nema blagog pojma o tome šta ovaj serijal predstavlja i koje su njegove sržne vrednosti i estetike. Ali film Sonic the Hedgehog 3, uprkos tome što citira dobar deo Shadowljeve životne priče i vizuelno rekonstruiše neke od scena iz uvoda te igre, zapravo MNOGO bolje rukuje materijalom i donosi pred gledaoca iznenađujuće funkcionalan spoj komedije, akcije, drame i tragedije.
*a koji figuriše i u filmu, srećom samo u jednoj sceni, valjda da se ispoštuje nasleđe serijala i zatim ga, milosrdno, do kraja nema
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Štaviše, to da je već drugi film u serijalu (o kome sam pisao ovde (https://cvecezla.wordpress.com/2022/11/11/film-sonic-the-hedgehog-2/)) ide na sučeljavanje lakomislenog ali plemenitog, požrtvovanog glavnog junaka sa nekom vrstom svog antiherojskog odraza u ogledalu u liku Knucklesa, a da onda treći film ponavlja istu osnovnu postavku je već samo po sebi razlog za zabrinutost no, trojica scenarista (Pat Casey, Josh Miller i John Whittington) i režiser Jeff Fowler (kome je ovaj serijal i dalje jedini bioskopski rad u životu) rukuju i premisom ali i sada već ozbiljno naraslim ansambom serijala sa iznenađujuće mnogo sigurnosti.
Štaviše, to da animirani likovi sada brojčano prevazilaze ljude od krvi i mesa u ansamblu filma (i najava da će u narednom nastavku akcenat na ,,pravim" ljudima biti i značajno manji) je možda i prepoznavanje toga da je Super Mario Bros. postigao ogroman uspeh kao ,,čist" animirani film, ali i znak samouvernosti na strani produkcije. Sonic, Knuckles i Tails su sada u punoj meri ,,tim" (uprkos sasvim očekivanom koškanju i razlici u temperamentima) oko koga se okreće centralna radnja filma i suplementalni ljudski likovi su tu tek da se ne zaborave te poruke o važnosti ,,porodice", podržavajućeg odnosa neposrednog okruženja itd, i više su alatke nego likovi. James Marsden i Tika Sumpter ni u prethodnim filmovima nisu uspeli da nas ubede kako je u pitanju zaista funkcionalan par pa je onda i redukovanje njihove minutaže u filmu verovatno dobra odluka.
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Sa druge strane, Ben Schwartz, Idris Elba i Colleen O'Shaughnessey kao trio animiranih, vanzemaljskih likova što su na sebe preuzeli dužnost zaštite Zemlje u ovom filmu apsolutno dominiraju, kanališući tu nestašnu energiju trojice tinejdžera koji su braća i najbolji drugovi ali se uprkos tome stalno međusobno koškaju, podbadaju i imaju eksplozivne rasprave. Ekspresivne animacije i generalno povišeni ton filma koji ga pomera stepen ili dva u smeru ,,pravog" crtanog filma se dobro uklapaju sa mladalačkim, lapidarnim dijalozima u kojima svako ima svoju ulogu: Tails kao glas razuma i empatije, Knuckles kao glas toksične muškosti koja radi na tome da se unapredi, Sonic kao nesnosno spadalo čija narcisoidnost nikada ne prelazi granicu šarmantnosti ali koji će svoj herojski status potvrditi onda kada se to najviše broji, donoseći i loše odluke ali nikada na štetu drugih.
Naravno, bez Jima Carreyja na drugoj strani ovi filmovi ne bi imali potrebnu težinu a Carrey se iz penzije ovde još jednom vraća za ne jednu već za dve uloge. Tema ,,porodice" kao osnovne gradivne ćelije ne društva već zdrave ličnosti se u Sonic the Hedgehog 3 spretno ispituje sa nekoliko aspekata pa Carreyjev ,,glavni" lik, Ivo Robotnik, zli naučnik sa sumanutim snovima o pokoravanju čitave planete dobija interesantnu varijaciju u liku Geralda Robotnika, sopstvenog – davno izgubljenog – dede koji će ušetati u njegov život sa puno slatkorečivih izjava i još sumanutijim planom za planetu. Film insistira na odnosima starijih i mlađih generacija, pokazujući koliko će prisustvo ili odsustvo podrške u formativnom periodu biti presudno za nečiju socijalnu uklopljenost ili, uopšte, empatiju u odraslim godinama, pa Carrey ima priliku da se odšrafi do kraja i prikazuje komičnu zloću na nivou koji mu je ranije bio nedostupan – Gerald Robotnik na kraju krajeva nije oportunista već nihilista i doslovno samo želi da gleda svet kako izgara u pepeo – ali i da Ivu Robotniku da svojevrsni luk iskupljenja, formatirajući ga sasvim spretno kao ipak višeslojnu figuru koja nam na početku demonstrira i ranjivost a onda na kraju i kapacitet da bude nesebično (mada i dalje narcisoidno) požrtvovana.
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Ovo je zgodno postavljeno naspram samog Sonica koji i sam demonstrira iste karakteristike, ako već ne istim redosledom, i razlika između dvojice suprostavljenih nosilaca serijala je, kako film tvrdi u tome da je jedan imao podršku i ljubav a drugi je bio okružen isključivo laskavcima i sikofantima. Shadow se tu onda umeće kao najmračnija verzija životnog puta, sa možda i neočekivano tragičnom biografijom ispunjenom samoćom, gubitkom i uništenjem.
Sve je to standardni žanrovski nameštaj ali Jeff Fowler zaista umešno operiše sa tim poznatim veličinama i klasičnim jednačinama, dajući likovima u Sonicovom timu šarmantne ,,dodatne" persone u odnosu na ono što su imali u prethodnom filmu (Knuckles, recimo, pored sve svoje mačo poze ratnika-askete, pati od ugodno komički prikazanog sujeverja) i kreirajući među njima finu dinamiku podrške, sukoba, razrešenja, nove podrške, sa sve dobro odrađenim komičkim predasima. Shadow je sa svoje strane ubedljivi ,,drugi", antiheroj nesaznatljive nutrine, obeležen traumom kakvu niko od ostalih ,,animiranih" likova u filmu nije preživeo i gotovo degenerisan – u suštini opravdanom – žudnjom za osvetom. To da film ubedljivo i bez ispuštanja lopte prikazuje kako Shadow od strašne pretnje postaje neko sa kim likovi saosećaju i bez sumnjičavosti prepoznaju njegovu imanentnu plemenitost se mora računati u pobede Jeffa Fowlera. Da ne pominjem da Keanu Reeves, na svojim najdžonvikovskijim podešavanjima ovde dosta uspešno glasovnom glumom sugeriše dubinu i tragičnost like Shadowa.
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Ne funkcioniše sve u filmu dramaturški perfektno. U prvom redu, iako se neki delovi dijaloga spretno nabacuju na početku filma da bi se njima poentiralo na kraju – notabilno ono o svetosti zvezda kojih više nema a čime Shadow demonstrira kapacitet za ,,lični rast" i ubedljivo postaje nešto više od ogorčene olupine opsednute osvetom – film preterano šara sa ostalim ,,ključnim rečima" pa se možda nabacuje i previše opštih izjava o ,,porodici" o ,,biti onom što jesi" o ukazivanju da je srce ključni organ identiteta itd. Malo oštriji rad u montaži je trebalo da prepozna da filmu nije potrebno ovoliko didaktičke artiljerije i da ona zapravo slabi njegovu glavnu poruku.
Dalje, sa uvećanim ansamblom dolazi i do momenata kada glavni junak nije u fokusu, ili do onih u kojima se taj osetljivi balans tima gubi, scenario mora da smišlja razloge da i dalje drži Marsdena i Sumpterovu u rotaciji iako je jasno da i publika više želi da gleda animirane, značajno zabavnije likove, a onda se pravi dodatni salto mortale ne bi li se skoro na silu ubacio i dinamični duo Natasha Rothwell/ Shemar Moore. Ovo su viškovi koji za malecnu komičku isplatu filmu usporavaju tempo i razvodnjavaju kvalitetan rad sa centralnim likovima, a taj se simptom još izraženije primeti kod lika Direktorke Rockwell koja u organizaciji GUN – militarizovanoj agenciji Ujedinjenih nacija što Sonica i njegov tim zove u pomoć kada su na redu misije gde su potrebni superheroji – igra onu ulogu koju je u Marvelovom SHIELD-u igrala Maria Hill. Film kao da Rockwellovu priprema za nekakav značajan preokret na kraju, ali je onda u trećem činu sasvim zaboravlja i mada je uvek prijatno videti Krysten Ritter, fer je reći da ni ona sama nije imala pojma šta ovde treba da radi.
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Tamo gde film nema savršenu dramaturšku konstrukciju, dosta se toga izvlači na vizuelnom planu. Izbor da art-direkcija bude naglašenije ,,animirana" se pokazao kao dobar jer su podvizi modelera, animatora, i ostalih ,,vizuelaca" iz ekipe filma definitivno impresivniji od glume glavnih ,,ljudskih" likova čiji interpretatori, da se razumemo, verovatno već malo mrze sebe što su se vezali za franšizu u kojoj se 90% posla odrađuje pred zelenom, bezličnom pozadinom i glumi se tako što se obraćate nepokretnoj konstrukciji žica i loptica. Film ne samo da ima i dalje odlične vizuelne efekte koji Sonicovu trejdmark brzinu prikazuju ubedljivo, sada sa još više mašte kada su u postavi i Knuckles i Shadow (koji može i da se teleportuje), nego je i dizajn svakog set pisa upečatljiv i memorabilan. Scena u tokijskom kafeu sa kostimima maskota je jedan od ranih hajlajta, igranje sa gravitacijom u GUN-ovom sedištu je vrlo dobro odrađeno, ali i dizajn Robotnikovog orbitalnog oružja na kome se odvija finalni obračun je veoma pristojno rešen i kada se dva Robotnika poduhvate, sa svom silom nanotehnologija kojima pojačavaju svoje fizičke kapacitete ovo je lepo odmeren komički protivteg epskom sukobu Sonica i Shadowa koji je kao da gledate dva Supermena kako se bore a zatim zajedno plaču.
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Sonic the Hedgehog 3 nije, naravno, nekakva revolucionarna kinematografija, ali za ono što JESTE – popkorn film za hipnotisanu omladinu i nostalgične sredovečne ljude – on je ugodno propulzivan, energičan i u egzekuciji iako ne savršen, lišen velikog dela fatalnih promašaja i loše odmerenih eksperimenata koji često umeju da donesu probleme superherojskim serijalima. Nismo to očekivali i prijatno iznenađenje koje su nam Sega i Paramount priredili treba da se zabeleži.
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2 i 3 su mogli biti malo kraći, ima dosta filer sadržaja, ali generalno vrlo zanimljivi i gledljivi filmovi. Tradicionalno idemo porodično u bioskop kad se pojavi novi deo.
Haaha, da, ti imaš decu pa to nekako ide. Moja žena ne bi pristala da ide sa mnom da ovo gledamo (nekad ranije bi ali otkad ja odbijam da idem na koncerte koji me ne zanimaju ona mi ovako vraća) a nemam decu pa je creepy da idem sam da gledam ovakve stvari. I onda, eto, čekam striming verzije :lol: :lol: :lol:
The Tango of the Widower and Its Distorting Mirror (odnosno El tango del viudo y su espejo deformante) je film koji ćete videti dva puta, čak i ako ga budete gledali samo jednom. Možda će vas zbuniti, možda će vas smoriti, nije isključeno da će vas uznemiriti. Štagod da se od toga desi, autori ovog filma su, ne brinite, baš na to računali.
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Iako je čileanski režiser Raúl Ruiz (odnosno Raúl Ernesto Ruiz Pino) umro još 2011. godine, sa solidnih sedamdeset godina i karijerom koja je od eksperimentalnih, radikalnih početaka došla i do neke vrste internacionalne slave sa uglednim evropskim i američkim glumcima kojima je bilo zadovoljstvo da se upare sa maestrom, njegova filmografija nije završila svoj rast i razvoj tom njegovom smrću. Kao nekakav majstor magije, opsene i misdirekcije, Ruiz je, posredstvom velikih, posvećenih napora svoje udovice, montažerke, scenaristkinje i režiserke po imenu Valeria Sarmiento, nastavio da živi i s onu stranu groba, pa je već 2012. godine, njegov u tom trenutku završen film Night Across the Street bio prikazan na Kanskom festivalu, da bi Valeria Sarmiento vredno radila na završavanju drugog filma koji je bio gotovo kompletiran i Lines of Wellington se iste godine nadmetao za Zlatnog lava na venecijanskom festivalu.
No, Valeria Sarmiento se nije zaustavila na recentnom materijalu i zapravo je zahvatila do duboko u prošlost pa smo u poslednjhih osam godina dobili kompletirane verzije još nekoliko Ruizovih filmova koji su započeti, pa nedovršeni iz različitih razloga, a koji su rado viđeni na raznim, pogotovo evropskim festivalima. Ruiz je, uostalom, imao strahovitu reputaciju baš u Evropi, notabilno u Francuskoj, gde je počev od 1973. godine živeo a tokom sedamdesetih i osamdesetih, nakon buke koju su oko njega pravili kritičari i publicisti, imao i prilike da režira popriličan broj kraćih, eksperimentalnih filmova, neretko bez skoro ikakvog budžeta, a podrška je, kada ju je bilo, dolazila od strane francuske ustanove Institut national de l'audiovisuel.
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Ovaj rad se na kraju materijalizovao ne samo u popularnosti među, jelte, kinematografskom elitom već su Ruizova zanatska spretnost ali i vizionarski, eksperimentalni žar prepoznati i od strane producenata nešto bližih radovima glavnog toka – najčešće francuskih – pa je od devedesetih Čileanac imao prilike da radi ,,prave" arthouse filmove i sarađuje sa autentičnim filmskim zvezdama kao što su bili Catherine Deneuve, John Malkovich, John Hurt, Marcello Mastroianni, Isabelle Huppert... Ovi su filmovi bili festivalski prepoznati ali ni jedan od njih, naravno nije bio nekakav bioskopski blokbaster, sa kritikom koja je često umela da zagunđa da nije sigurna šta da počne sa njegovim radovima, da li da ih posmatra kao farsu, kao eksperiment, ili kao mejnstrim film koji naprosto nije realizovan dovoljno zanatski uredno... Ali Ruizova ambicija je celog života bila da se izmesti iz proste zanatske formacije i razmišlja ,,izvan kutije", često i izvan formata samog medijuma, žudeći da spoji filmski jezik sa pozorištem, instalacijama, video-radovima...
Tango udovca i njegovog distorziranog ogledala, o kome danas pričamo, je stoga odličan način da se gledalac resetuje jer je u pitanju jedan do vrlo ranih Ruizovih radova, snimljen sa vrlo malo para i zapravo nedovršen jer je ponestalo para. The Tango of the Widower and Its Distorting Mirror je trebalo da bude Ruizov dugometražni debi 1967. godine a pre koga je on kompletirao tačno nula prodkcija. Kratki film La maleta iz 1963. je ostao nedovršen pa je onda sačuvani materijal rekonstruisan i nekako kompletiran 2008. godine, još uvek za autorovog života, dok je drugi kratki film, La retour iz 1964. ostao nedovršen i u takvom je statusu do danas. Ruizu svakako nije falilo ambicije da ide dalje, pa je The Tango of the Widower and Its Distorting Mirror snimio 1967. godine a onda ga ostavio nedovršenim, zbog nedostatka novca. Ruiz će šest godina kasnije sa Valerijom Sarmiento emigrirati u Pariz i tako se spasti Pinochetove vojne diktature, ali vredi i ukazati da za razliku od nekih poznatih čileanskih režisera njegove generacije (na primer, Miguel Littin, o čijem sam debi filmu pisao ovde), on nije imao izražen politički jezik u svom izrazu i bio je zainteresovaniji za ekserimente sa filmskim pripovedanjem, dekonstrukciju medijuma, ironijske odmake. Njegov debi film, Tres tristes tigres (odnosno Tri tužna tigra) iz 1968. godine je, uostalom, sam autor opisao kao ,,film bez priče" ukazujući da su svi elementi priče tu, ali da su ,,oni korišćeni kao pejsaž a pejsaž je korišćen kao priča".
No, verovatno su filmovi poput kratkog Militarismo y tortura iz 1969. godine i La colonia penal, ekranizacije Kafkine priče ,,Kažnjenička kolonija" iz 1970. bili dovoljni da fašistički Pinochetov režim stavi Ruiza na ,,to do" listu pa je, iako su mu kasniji filmovi bili politički nekontroverzne drame i komedije rađene u koprodukciji sa evropskim i američkim producentima, Ruiz sa suprugom digao sidro i prizemjio se u Francuskoj da tamo nastavi sa radom.
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Valeria Sarmiento je inače studirala i film i filozofiju i uvek isticala koliko joj je značilo što je mogla da vidi filmove Orsona Wellesa i Alfreda Hitchcocka u detinjstvu. Takođe, veli da je Godardov Do poslednjeg daha, a koji je videla sa dvanaest godina, dosta fatalno odredio njen život. Sarmientvoa je bila Ruizova supruga i montažerka, ali i nezavisna autorka koja je svoj prvi film, Un sueño como de colores, dokumentarac o čileanskim striptizetama uradila još 1972. godine, u rodnom Čileu. Od polovine osamdesetih radi dugometražne filmove kao režiserka i scenaristkinja i gradi prepoznatljivu solo-karijeru, ali se od muževljeve smrti najviše bavila rekonstrukcijom i kompletiranjem njegovih ,,izgubljenih" radova.
I to, da bude jasno, nije nekakav formalan napor, Valeria Sarmiento je, naglasićemo još jednom, ozbiljna autorka sa sopstvenom reputacijom i vizijom, a čiji trud vezan za oživljavanje i dovršavanje muževeljeve ostavštine ide dalje od puke konzervatorske pažnje i na delu je veoma dubok ulazak u samu suštinu onoga što je Ruiz pokušavao da izrazi svojim filmovima i smelo ,,nastavljanje" njegove vizije na što je autentičnije moguć način.
Uzmimo, recimo, El tango del viudo y su espejo deformante, film o kome danas govorimo. Valeria Sarmiento je u Ruizovim stvarima našla šest od sedam rolni tridesetpetomilimetarskog filma koje je ovaj snimio radeći ovu produkciju, ali kada ih je pogledala, shvatila je da ne postoji zvuk. Neko drugi bi slegnuo ramenima, seo za montažni sto, spojio ovih šest rolni i pustio tako sklopljen-a-nedovršen film u distribuciju, da podseća na Ruizov legat i da podstakne njegove poštovaoce da kontempliraju šta je ovaj film MOGAO biti da je originalni autor imao sredstava da ga dovrši.
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Ali Valeria Sarmiento je uradila nešto sasvim drugo, kontaktirajući Ruizove saradnike iz onog vremena, konkretno glumce koji su učestvovali u ovom projektu i razgovarajući sa njima o tome šta je ovaj film trebalo da kaže, da uradi, da ZNAČI, plaćajući čitače usana da zapišu što više mogu originalnog dijaloga, a onda sela da sa svojim saradnicima (Chamila Rodríguez i Galut Alarcón) kreira kompletan film na neki način unatrag, koristeći postojeći snimljeni materijal da se na njega dodaju priča i dijalozi. Dovedeni su glasovni glumci da snime dijalog, a nedavno preminuli kompozitor Jorge Arriagada, Čileanac koji je i sam izbegao u Pariz da se skloni od Pinocheta, i koji je od kraja sedamdesetih sarađivao na desetinama Ruizovih filmova, napisao je avetinjski, fantastični skor.
Rezultat je da El tango del viudo y su espejo deformante IZGLEDA i zvuči kao film iz 1967. godine snimljen sa vrlo malo novca ali sa vrlo mnogo spretnosti i još više ambicije da se izađe iz standardnog formata filmmejkinga i kreira halucinantna, pa i košmarna storija o čoveku koji ne uspeva da prevaziđe traumu smrti svoje žene koja ga progoni u trenucima samoće.
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El tango del viudo y su espejo deformante nije striktno horor-film jer nema – očiglednu – moralnu jednačinu koja je praktično po pravilu deo ovog žanra, ali koristi mnoge tehnike horor-filma da u gledaocu proizvede osećaj klizanja iz realnosti i upadanja u psihotičke halucinacije, postižući strahovito velike efekte srazmerno malim, dovitljivim gestovima.
U prvom redu, čitav film je snimljen sa veoma bliskih rastojanja, najvećim delom iz ruke, sa jednom dokumentarističkom dimenzijom pa i skoro opscenom intimnošću koje ovo podrazumeva. Glavni junak, sredovečni profesor, ima neke svoje saradnike i prijatelje sa kojima provodi vreme na ,,obične" načine ali već i te praktično banalne scene u kojima oni pričaju, piju, puše ili plešu, izazivaju nelagodu time koliko je sve to BLIZU gledaoca. Utisak da ste zarobljeni u scenama kojima ne pripadate, da gledate delove života drugih ljudi na koje nemate pravo – proizveden bliskim odstojanjima i slobodnim kretanjem kamere po sceni – onda jako korespondira sa tim dubljim slojem filma u kome glavni junak, profesor Iriarte (Rubén Sotoconil, sa glasom koji mu daje Sergio Hernández) ima utisak da je njegova pokojna žena stalno uz njega, da ona odbija da ga napusti i posle smrti, štaviše, da je fatalno povezana sa njim sve vreme i da joj je to uhođenje njegovog života nakon njene smrti neka vrsta perverzne igre.
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Film nam ne daje naznake o tome kakav je stvarno bio odnos Iriartea i njegove supruge Marije (Claudia Paz uz glas koji daje Chamila Rodriguez) i sugestiju da je ona izvršila samoubistvo sam video samo u ekstrinzičnim materijalima*, no sasvim je vidno da u odnosu koji protagonist ima sa uspomenama/ halucinacijama na svoju ženu postoji mera perverzne, opscene igre koja njemu remeti mišljenje, ponašanje, čitav život.
*scena u kojoj vidimo njeno mrtvo telo na podu kupatla ne ukazuje na uzrok smrti, koji bi jednako mogao biti nesreća, suicid pa i ubistvo od strane supružnika
Valeria Sarmiento je u svojim ,,solo" filmovima često tretirala ,,ženska" pitanja, kontrastirajući snažne ženske likove sa muškarcima koji žele da ih kontrolišu i moguće je, naravno, da je tretman ,,ženskih simbola" u ovom filmu delo njenih ruku, ali opet – ona je samo izmontirala već gotov materijal i nije dodavala nikakvu novu minutažu u ono što je Ruiz snimio 1967. godine. Otud je veoma uzbudljivo – i ne malo uznemirujuće – videti kako glavni junak svoju ženu u njenom posthumnom delanju, doživljava kao preteće ali erotizovano prisustvo, istovremeno nestašnu i razigranu, a opet nikako do kraja saznatljivu, baš onako kako muškarci neretko doživljavaju i žive, jelte, žene, pa neretko i SVOJE žene. Profesor Iriarte svoju pokojnu suprugu zatiče u ormanu kada ga otvori, kako ga gleda i provocira, zna da mu je ona pod krevetom kada se noću probudi da popije malo vode, uostalom njena gola stopala će viriti izspod kreveta, a ona će mu u nekim scenama i prilaziti s leđa, da ga dodirne, ili da ga divlje, bolno ujede za potiljak.
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Erotski imaginarijum – spavaća soba, orman, krevet, ćutljiva supruga koja prilazi s leđa – je dalje zaoštren time da se žena dekonstruiše i razlaže na distinktne komade koji simbolizuju ,,žensko", onako kako, uostalom, muškarci često fetišizuju delove tela žene i fokusiraju se na njih radije nego na celinu. Upadljivo je da između Iriartea i ,,duha" njegove supruge nema razgovora, da ona sa njim ne priča, ne samo zato što je nesaznatljiva, distancirana a uvek ga progoni i nikada ga ne pušta (da ode ali ni da zna šta ona misli) već i zato što je Iriarte, očigledno, podsvesno više pamti kao sliku nego kao ličnost sa intelektom i kognitivnim sposobnostima, razlažući je na delove koji ga onda progone. Pomenuli smo stopala, ali jedan od najefektnijih i svakako ,,najženskijih" vizuelnih simbola u filmu je suprugina kosa koja se koristi kao stohastički vizuelni haos u nekim kadrovima i time sugeriše tu zastrašujuću nesaznatljivost ,,ženskog" a onda biva i diskorporirana, pretvorena u neku vrstu demonske autonomne prikaze koja juri po sobi kao čupavi pacov, krije se ispod kreveta, ima sopstveni život. Kosa, kao vizuelna sugestija stidnih dlaka a time prečica za ,,celu" ženu (ili makar za onaj deo žene koji muškarce u razgovoru najčešće jedini zanima) a koja se odmetnula, trči po podu i provocira udovca iz naslova filma je i izvor najdublje zasecajućeg horora ali i u njega duboko ušuškanog ironičnog humora, sa sve automobilima na navijanje koji služe kao kosino ,,transportno sredstvo", čime film pravi simpatičan odmak od proste narodne priče o duhovima i gazi dublje koritom psihoze. Posebno je potentna scena u kojoj profesorov asistent njega na neki način ,,porađa", vadeći mu kosu iz košulje, sekući nepostojeću pupčanu vrpcu i proklamujući slavodobitno pol deteta (muški, ne sumnjajte).
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El tango del viudo y su espejo deformante nudi popriličan baraž ovakvih kadrova ali gledalac ne mora da brine da je nešto bitno propustio jer u tretmanu koji je Valeria Sarmiento dala ovoj priči, svaku scenu ćete u filmu videti barem dvaput. Repetitivnost koju je Ruiz zacelo imao na umu kao efektan način da se pokaže zarobljenost glavnog junaka u traumi iz koje ne vidi izlaz, ovde je i doslovno primenjena na materijal a ogledalo iz naslova se ogleda i u tome da je druga polovina filma velikim delom prva polovina filma puštena unazad pa ,,distorzije" dolaze od slušanja replika unatrag, posmatranja ljudi kako uvlače duvanski dim iz vazduha u svoja pluća, ili kako sa izrazom velikog zadovoljstva vino iz usta bljuju u čašu.
El tango del viudo y su espejo deformante je, srećom, dovoljno kratak – jedva preko šezdeset minuta – da ponovno posmatranje istog materijala, samo unatrag, gledaocu daje prostora za pažljivo proučavanje Ruizovih imaginativnih postavki scena i briljantno režiranih kadrova ali i uživanje u još halucinantnijem kvalitetu koji se dobija preokretanjem protoka vremena. Dijalozi puštani unatrag nisu razaznatljivi ali naravno da nisu bitni i mučni, melanholični, uplašeni ali prkosni monolozi profesroa Iriartea koji i unutar sada već očigledno raspadajuće realnosti pokušava da pronađe neku autonomiju i ospolji svoju volju, upareni sa Arriagadinim jezovitim, atonalnim gudačima ostavjaju gledaoca sa jakim osećajem da je video mesto na kome niko ne bi trebalo da bude a oni koji su se tamo zatekli o njemu ne pričaju. Film se, kao i drugi ,,novi" Ruizovi naslovi može pogledati na MUBI-ju, a što snažno sugerišem i potrudiću se da barem o još kojem napišem nešto u nedeljama koje dolaze.
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Čuo sam dobre stvari o kineskom serijalu Eye for an Eye pa sam sebi priuštio gledanje prvog dela, Eye for an Eye The Blind Swordsman (aka Mu zhong wu ren) iz 2022. godine, jedne ozbiljne istorijske drame koja razmatra nesigurnost života u istorijskom periodu obeleženom opadanjem centralne vlasti i usponom lokalnih siledžija koji kreiraju simulaciju reda i poretka kako bi se bogatili na grbači sirotinje i otimali sebi zlato, vino, žene... Šalim se, Eye for an Eye The Blind Swordsman je, naravno, akcioni film u kome glavni junak, titularni slepi mačevalac u jednoj sceni kaže mladoj ženi da ne treba da mu hrani konja senom ,,pošto on jede meso". Ako je njegov konj TOLIKO hardcore, koliko li je hardcore sam glavni junak, Cheng, pitate se vi. Mnogo. Mnogo je hardcore. Mada slabo podnosi alkohol i moglo bi se reći da ovog filma ne bi ni bilo da par scena kasnije Cheng ne padne u nesvest od pića. Istina je da prvo malo vina iz mešine sipa konju u valov, pošto, jelte, nema mesa, ali pola-pije-pola-Šarcu-daje egalitarizma ovde decidno nema i Cheng popije najveći deo slatkog, osamdesetjedan dan fermentisanog napitka od grožđa koji je mlada, lepa, optimistična Ni Yan spremila za dan svog venčanja, i promptno se komira, propuštajući celokupnu tragediju u koju se svadba izmeće.
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Niko do kraja filma neće Chengu eksplicitno zameriti što se teleportovao u blaženu nesvest dok se oko njega klalo i silovalo, ali Cheng je, uprkos emitovanju grube, okorele, bezosećajne persone svudda gde se pojavi, zapravo čovek sa komplikovanom prošlošću i pravedničkim čulom. Iako će odbiti zahtev Ni Yan da ode i pobije ljude koji su joj usrali venčanje, ubili brata a nju podvrgli seksualnom nasilju, objašnjavajući da je on lovac na ucene a ne plaćeni ubica, kada shvati da je njegovo insistiranje na formalizmu i upućivanje devojke na institicuije sistema dovelo do daljeg nasilja i viktimizacije osobe koja je već dovoljno propatila, Cheng preuzme pravdu u svoje ruke i kreće praktično sam na ceo klan Yuwen. Ne pre, primetićete smrknuto, što JOŠ JEDNA njemu bliska žena nastrada od njihove ruke, mučena i na kraju ubijena jer on nije na vreme primenio svoje superherojske sposobnosti. Eye for an Eye The Blind Swordsman je, dakle, po mnogo čemu vrlo old school film, uključujući tu motivaciju muškog protagoniste da KONAČNO stupi u akciju i prevenira DALJE nasilje time što će ni krive ni dužne žene iz njegove okoline biti podvrgnute ekstremnom nasilju. Ovo je stari, izlizani kliše žanrovskih pripovesti u kojima muškarac, iako ima moć, ima i komplikovane razloge što tu moć ne koristi da kreira pravedniji svet, često vezane za neka njegova razočaranja iz prošlosti, pa je onda neophodno da se na oltaru pripovedanja sadistički žrtvuju žene kako bi on progledao i konačno učinio ono što je ispravno. Sem što, jasno vam je, Cheng neće i doslovno progledati do kraja ovog filma pošto onda ne bi bilo nastavaka.
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Slepi mačevalac u centru komplikovanog zapleta o nepravdi, osveti, kazni i iskupljenju je naravno jedan od najizdržljivije voljenih arhetipa azijskog žanrovskog filma. Japanski pisac Kan Shimozawa je kreirao lik Zatoičija, slepog masera i fajtera 1948. godine a popularnost ovog lika je eskalirala šezdesetih godina prošlog veka kada je produkcija Daei poverila njegovu ulogu legendarnom glumcu (i pevaču) po imenu Shintaro Katso. Daei je između 1962. i 1989. godine uradio dvadesetšest filmova o Zatoičiju a između 1974. i 1979. godine je išla i televizijska serija (takođe Shintaro Katso, i još neki glumci iz filmova) koja je za pola decenije emitovanja naređala stotinu epizoda pravoverne chanbara akcije.
Popularnost Zatoičija u Japanu je značila da će i neko u Holivudu primetiti da se nešto dešava pa je akcioni film uz 1989. godine sa Rutgerom Hauerom u glavnoj ulozi, Blind Fury rimejk i adaptacija sedamnaestog filma sa Katsom, Zatōichi chikemurikaidō iz 1967. godine. U novom veku će se i neki od najuglednijih autora novog japanskog, jelte, akcionog i akcionom filmu srodnog filma prihvatiti ovog predloška pa je Takeshi Kitano imao svoj Zatoichi iz 2003. godine a Takashi Miike je 2008. godine izbacio video-snimak pozorišne predstave Zatoichi koju je sam režirao. Iste godine je Fumihiko Sori režirao Ichi, ,,žensku" verziju ovog predloška a 2010. godine će Junji Sakamoto za Toho napraviti Zatoichi: The Last, za sada poslednju ,,zvaničnu" priču o Zatoičiju.
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Nezvaničih, naravno imamo toliko da ne možete da se okrenete oko sebe a da mačem ne dokačite neku Zatoiči adaptaciju, imitaciju, omaž. Još početkom sedamdesetih su se radili italijanski vesterni sa slepim glavnim junacima, 1994. godine je HBO producirao Blind Justice u kome Armand Asante igra slepog revolveraša, jedan od likova u popularnom videoigračkom serijalu, Guilty Gear zove se Zato-1 (a gde se jedan na japanskom izgovara, znate već, ,,iči") i upitanju je slepi mačevalac, Admiral Fujitora iz hiperpopularne mange One Piece je eksplicitno baziran na Zatoičiju, a Donnie Yen je, ako se sećate u Star Wars: Rogue One bio slepi borac koji u odsudnim trenucima pomaže našima, da bi onda isti glumac imao još jedan jasan omaž u John Wick 4.
Naravno, u Aziji je takođe bilo koliko hoćete neautorizovanih imitacija i omaža, notabilno u korejskoj produkciji sa filmom Blades of Blood iz 2010. godine, baziranim na stripu Like the Moon Escaping from the Clouds. Tako da je bilo krajnje vreme da Kinezi bace rukavicu u ring i pokažu šta znaju.
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Eye for an Eye The Blind Swordsman je niskobudžetni, direct to video rad scenariste i režisera po imenu Bingjia Yang, a kome je ovo bio i prvi režijski zadatak. Yang je pored dva Eye for an Eye filma režirao još samo Fight Against Evil 2, zajedno sa Pengfeijem Qinom, a za koga je i napisao prvi Fight Against Evil. Ovo je, čini se, vrlo čvrsto uvezana, efikasna ekipa – pošto na kraju krajeva, Miao Xie (odnosno Mo Tse), glavni glumac u Eye for an Eye igra glavnu ulogu i u oba Fight Against Evil filma. Miao Xie je, može se reći, i najveći adut, pa i najveća zvezda ove produkcije, čovek rođen 1984. godine ali sa karijerom koja traje već duže od trideset. Ljudi sa boljim pamćenjem će se setiti da je Miao Xie još kao desetogodišnji dečak igrao praktično drugu glavnu ulogu u The New Legend of Shaolin iz 1994. godine, rame uz rame sa jednom od najvećih zvezda azijskog borilačkog filma svih vremena, čovekom koga znamo pod imenom Jet Li. Iste godine je Miao Xie zabeležio manju ulogu pored jednako važnog hongkonškog superstara, face koja je obeležila najkultnije filmove Johna Wua, Chowa Yun-Fata a u filmu The Return of the God of Gamblers. Naredne godine će Miao Xie imati novi duo sa Jetom Lijem u My father is a Hero a onda će, nakon Teenage Master iz 1995. godine napraviti pauzu da završi škole pa se vratiti glumi 2003.
Miao Xie je, dakle, neka vrsta vunderkinda, neko ko je borilačke veštine trenirao od rane mladosti i pored pobeda na više turnira istesao svoju tehniku na toliko visok nivo da su producenti smatrali da je dostojan parnjak jednoj od najvećih zvezda hongkonškog/ kineskog akcionog filma u uzrastu od svega deset godina. Iako je igrao i u nekim prominentnijim produkcijama kao što je The Thousand Faces of Dunjia kog je 2017. godine režirao legendarni Yuen Woo-ping, ali i Ip Man: The Awakening iz 2021. godine, Miao Xie je poslednjih godina pre svega pouzdani direct to video profesionalac kome, čini se, zaslužena slava na nekom višem nivou za sada izmiče. Nadajmo se da će serijali Eye for an Eye i Fight Against Evil napraviti dovoljno buke u kineskoj kinematografiji da se i neki budžetniji producenti sete ovog čoveka kada budu pravili kastinge...
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Miao Xie ovde, naravno, nema ni prostora ni nužde da demonstrira nekakve velike glumačke kapacitete. Njegov lik, Cheng je, rekosmo, stereotipno mračni, ćutljivi antiheroj koji gleda svoja posla i sa okolinom komunicira frktanjem prostoproširenih rečenica kada baš mora. Ovee nema čak ni scene osmeha koja je praktično neizbežna u ,,pravim" filmovima o Zatoičiju. Imajući u vidu da kroz ceo film – sem u jednoj sceni – njegov lik ide zatvorenih očiju, Miao Xie se zapravo dobro snalazi, nudeći svedenu ali jasnu facijalnu mimiku i karakteristične poze koje sugerišu osluškivanje i intelektualni rad kojim se primljena zvučna informacija obrađuje a zatim pokreće akcija.
Ideja da slep čovek može ne samo da se bori protiv ljudi koji vide, već i da bude u toj borbi skoro natprirodno superioran je, naravno, fantazijska u punoj meri i ubedljivost sa kojom nas Miao Xie uljuljkuje u ovu fantaziju je hvalevredna. Gledalac će poverovati da Cheng zaista ima tako oštar sluh da prepoznaje kakva i sa koje mu strane opasnost preti i da uvek nalazi idealnu reakciju na istu, slažući na gomilu desetine protivnika koji misle da će sa ,,slepcem" lako da izađu na kraj. Miao Xie u filmu na više mesta demonstrira svoju wushu ekspertizu, nudeći izvrsno tehnički izvedene poteze, slikane kvalitetno od strane čak trojice ljudi koji potpisuju fotografiju, a onda i izmontirane dinamično, da se akcentuje pomenuta borilačka ekspertiza a ne da se njen nedostatak sakrije, kako je to slučaj u mnogom (zapadnjačkom!) akcionom filmu gde glavni glumac možda zna da glumi (možda i ne zna, ako je u ptitanju Keanu Reeves) ali decidno ne zna kung fu.
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Eye for an Eye The Blind Swordsman je i inače vizuelno veoma prijemčiv. Iako skromnog budžeta, ovo je film u kome je svaki kadar bogato komponovan, sa kvalitetnom scenografijom i kostimima ali i radom kamere koji sugeriše jasnu ambiciju da se svemu podari dah spektakla. Vizuelno pripovedanje je veoma dobro i čak su i tranzicioni kadrovi snimljeni i montirani sa puno pažnje, a svaka nova scena, novo okruženje su uvođeni dugim, perfektno vođenim švenkovima kamere na kranu, uz promišljanje svakog detalja, od kostima likova na sceni do osvetljenja. Utoliko, Eye for an Eye The Blind Swordsman je neka vrsta podsećanja da istočnoazijska kinematografija, poglavito kineska, ne mora nužno da počiva na raskoši, ali da je voli i ovaj film svoj mizanscen istorijske drame kreira sa mnogo apetita, izgledajući i zvučeći skuplje nego što zaista jeste.
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Naravno, pomažu i veoma lepi, upečatljivi glumci. Dve pomenute žene igraju Wei Man Gao i Di Zhag, obe rođene polovinom devedesetih i obe prelepe, sa distinktnim crtama lica i distinktnim karakterima koje glume. Ni Yan koju igra Wei Man Gao je mlada žena čiji je najsrećniji dan u životu obeležen strašnom traumom a koja zatim nastavlja da proizvodi nove traume i šteta je što prema kraju filma ova glumica, koja na početku pleni energijom i ekspresivnošću mora da bude svedena na pasivnu, traumatizovanu žrtvu čiji je jedini posao da bude zahvalna muškarcu koji je sveti. Di Zhang prolazi marginalno bolje uglavnom jer barem dobija spektakularan kraj, ali mislim da je i njena interpretacija žestoke, sposobne žene koja je Chengu neka vrsta hendlerke i nalazi mu poslove, govoreći mu da samo što, evo, nisu skupili dovoljno para da mu se izleče oči, odlična i da je zaslužila više prostora u filmu.
No, Eye for an Eye The Blind Swordsman je kratak film, sa jedva sedamdesetsedam minuta trajanja, a od čega je odjavna špica dobrih pet. Ovde nema mnogo prostora za razrade, pogotovo što je osnovni zaplet možda i prekomplikovan za ovo trajanje. Ali mislim da se Bingjia Yang solidno snalazi u pripovedanju, otkrivajući gledaocu pozadinu nasilja koje gleda na organske načine, kroz dijaloge i akciju protagonista radije nego kroz nekakve statične infodampove. Kada u jednoj sceni Cheng muči pripadnika Yuwen ekipe, gledalac uz inventivan vizuelni program dobija i potrebne informacije da razume šta se to i zašto dogodilo pa da Cheng ima obavezu da ode u utvrđenje klana Yuwen i tamo se obračuna sa nekoliko desetina naoružanih muškaraca koji su umislili da su lokalna sila i da se na njih nikakvi zakoni ne odnose.
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Sve je to u smislu zapleta i motivacija vrlo standardizovan jelovnik, ali film definitivno osvaja gledaoca brzim, propulzivnim kretanjem radnje i tom lepom vizuelnom dimenzijom. Akcija je, rekosmo, energična dobro snimljena i montirana i Cheng čak, uprkos svojoj hardcore personi, do pred kraj filma gleda da ljude uglavnom mlati koricama mača (koje koristi i kao ,,pipajući" štap za slepe) i da ne pušta krv dok to nije apsolutno neophodno, pa se u ranijim scenama vidi dosta wushu poteza sa blokadama, polugama, torzijama i frakturama, bacanjima i preciznim udarcima koji protivnike onesposobljavaju ali ih ostavljaju u životu. Ima tu i ukusno urađenih wire-fu momenata a, naravno, kada sranje opali o fen, i Cheng prelazi na naredni nivo pa je pomenuta scena mučenja (i, kasnije, pogubljenja) urađena maestralno. Finalni obračun, po snegu (verovatno digitalnom) koji mu daje jedan raskošan estetski sloj, i gde Cheng, između ostalog, potegne vino iz mešine, pljune ga prema protivnicima, pa mačem udari o metal da napravi varnicu i zapali grupu neprijatelja je, naravno, veoma dobar i jedina zamerka koja se na akciju može dati je da bi bilo lepo da je ima više.
Eye for an Eye The Blind Swordsman ne pomera granice wuxia filma, ali je u pitanju veoma kompetentno urađen istorijski akcijaš koji izgleda jako dobro i gledaočevo vreme poštuje, ne smarajući kojekakvim tangentama i filozofijama. Žal što se klišei o ženama-u-frižideru ovde koriste bez ikakvog odmaka ostaje, ali ako je i drugi nastavak filma, urađen prošle godine, na ovom nivou kvaliteta, biću vrlo zadovoljan. O tome neke od narednih nedelja.
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Kako sam nekako i pretio, pogledao sam i drugi u nizu u komadima pronađenih, strpljivom hirurškom intervencijom sklopljenih i publikovanih ranih filmova čileanskog režisera Raúla Ruiza, a što je pojekat koji je na sebe posle njegove smrti preuzela njegova supruga, udova, ali i celoživotna dragocena saradnica, montažerka, a onda i samostalna režiserka Valeria Sarmiento. Socialist Realism (ili, u originalu El realismo socialista) je važan film da ga pogledaju svi koji su ikada razmišljali o revoluciji, o društvu u kome radnici konačno dobijaju poštovanje koje im pripada jer njihov rad je doslovno jedino što od potencijala zarobljenog u materijalu i kapitalu gradi set u kome živimo, ali i o društvu u kome pripadnici srednje klase sa nesumnjivim simpatijama prema levičarskom, marksističkom uređenju društva moraju da prođu kroz ozbiljne transformacije (i, ne manje važno, konfabulacije) kako bi bili onako dobri saveznici u revoluciji kako sebe zamišljaju. Ovaj je film, mislim, još važniji za nas danas i ovde jer se u srpskom društvu trenutno dešava neka vrsta socijalne transformacije ili u najmanju ruku etičkog ustanka u kome se prevrednuju mnoge do sada uspostavljene vrednosti. El realismo socialista je film o tome šta se dešava posle, dakle, nakon što je druptvena transformacija uspela a diktatura proletarijata nije baš USPOSTAVLJENA ali deluje kao neizbežan naredni stadijum društvenog uređenja. Spojler: nije se desila. Nigde. Ni u Jugoslaviji a svakako ne u Čileu koji je, i to da se podsetimo, MNOGO kraće od Jugoslavije uživao plodove socijalističkih reformi i mnogo brže a i mnogo brutalnije dočekao da klatno odleti u drugu stranu i da zemlja upadne u fašističko-neoliberalnu diktaturu predvođenu vojskom a podržavanu od strane jednih SAD. Mi smo bar imali četiri i po decenije nesavršenog, na momente izrazito brutalnog a svakako kasnije u birokratiju potonulog socijalizma, ali... prošli smo ipak bolje od Čileanaca. Za ono posle smo sami krivi, n'est-ce pas?
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Možda je Čile imao tako kratak period socijalizma i zato što on nije u društvo uveden revolucijom već, da kažemo, regularnim putem, kroz izbore. Presednik Eduardo Frei Montalva, predstavnik hrišćanske demokratske opcije je nakon svog izbora apsolutnom većinom 1964. godine svoje reforme nazvao ,,revolucijom slobode" uvodeći programe obrazovanja, građenja stambenih objekata za radnike i seljake, organizovanja zemljoradnika u sindikate, implementiranja agrarne reforme, ali ovo nije bila ,,stvarna" revolucija. Tokom narednih godina se Frei suočavao sa sve većim otporom i od levice koja je smatrala da njegov program reformi ne odgovara zaista na potrebe naroda, ali i naravno od konzervativne desnice koja je reforme videla kao preterane i atak na slobode. Kao što se zna, senator Salvador Allende, kandidat Socijalističke partije (i šire levčarske koalicije Narodna sloga, odnosno Unidad Popular) na predsedničkim izborima 1970. godine je, i pored svega 35% glasova na opštenarodnom glasanju, kroz glasanje u kongresu i odbijanje hrišćanskih demokrata da se protiv njega udruže sa desničarima dobio mandat i krenuo sa širokim programom podrške radničkoj klasi i seljacima, ali je posle ni dve godine morao da gasi ozbiljne vatre vezane za strmoglavo opadajući privredni rast izazvan reakcijom domaćih i međunarodnih kapitalista koji su, oštro suprostavljeni njegovom socijalističkom programu, izvlačili novac iz banaka, ali i opremu iz fabrika.
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Allende se ovde snalazio kako je znao, zamrzavanjem plata, ali i štampanjem mnogo novca da nadoknadi odsustvo stvarnog kapitala na tržištu vrednosti, nacionalizacijom mnogih strateških industrijskih jedinica, stavljanjem banaka pod državnu kontrolu, raspuštanjem sudova i uvođenjem socijalističkog sudskog sistema i grupa narodne milicije (MIR), ali nezaposlenost je nezadrživo rasla. Čak i tako, inicijativa da se nacionalizuju rudnici bakra, koja je poticala od prethodnog predsednika, je pod Allendeovim vođstvom jednoglasno izglasana u kongresu i možda je mogla i da bude slamka spasa za posrćuću latinoameričku ekonomiju, da se Nixonova administracija ovde nije umešala, štiteći interese proverbijalnog krupnog kapitala i kroz međunarodne restrikcije nametnute Čileu ubrzala ekonomski pad, a kroz podršku vojnim pučistima taj pad i implementirala 1973. godine. Poznato je da je Henry Kissinger otvoreno rekao da su SAD ,,indirektno" pomogle Pinochetov državni udar, ironično, iste godine kada je ovaj čovek dobio Nobelovu nagradu za mir na ime pregovaranja o prekidu neprijateljstava u Vijetnamskom ratu. Kissingeru su, da ne budemo sad i ovde nejasni, ruke krvave do lakata a ovo je i samo jedna od stvari koje treba da imamo na umu u kontekstu navodne nominacije srpskih studenata za Nobelovu nagradu za mir.
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Da ne idemo preterano u širinu, zna se da je Pinochetova vlast bila izrazito neoliberalno orijentisana i neka vrsta in vivo eksperimenta za Čikašku školu neoliberalne ekonomije pa i danas mnogi citiraju Pinochetov režim kao primer uspešne, zdrave ekonomije koja se najbrže oporavila od svih južnoameričkih privrednih sistema nakon latinoameričke dužnike krize osamdesethih godina prošlog veka. Naravno, možda nije zgoreg podsetiti da je Pinochetov režim gore pomenute rudnike bakra držao pod striktnom državnom kontrolom – dakle, sve suprotno od neoliberalne doktrine – kao ni to da je u pitanju bila čista, nepatvorena diktatura. Pinochetov ,,karavan smrti" je u danima posle državnog udara 1973. godine išao po zemlji helikopterima i ubijao neprijatelje novog režima (bar 72 egzekucije su urađene na ovaj način) a, pored dodatnih dve hiljade ubijenih drugim sredstvima, skoro trideset hiljada ljudi je mučeno po zatvorima...
Sav ovaj bekgraund je bitan da se u pravilan kontekst stavi prvo život Raúla Ruiza i Valerije Sarmiento koji su 1973. godine izbegli u Argentinu pa u Francusku iako, za razliku od nekih drugih čileanskih autora svoje generacije Ruiz nije bilo prenaglašeno politički angažovan u svojim radovima (ali jeste bio član Allendeove Socijalističke partije), ali onda i sam film El realismo socialista, koji je snimljen 1973. godine i nikada postprodukcijski dovršen baš jer je u državi izbio vojni udar a svako ko je imalo delovao sumnjivo, a Ruiz je bio i svojevrsni funkcioner u partiji, imao dobrog razloga da spasava glavu.
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Iako je za razliku od prethodnog Ruizovog filma o kome smo pričali, koji, kada je Sarmientova prikupila sve rolne, nije imao ni snimljen ton, El realismo socialista nađen u boljem stanju (dakle, imao je ton), reč ,,nađen" ovde navodi na malo krivi put. Sarmientova je, da bi sklopila ovih 77 minuta crno-belog futidža, morala da pretura ne samo po muževljevoj fizičkoj zaostavštini već i da juri razne funduse raznih arhiva po raznim državama i da onda od svog tog materijala napravi nešto što podseća na viziju koju je njen pokojni muž imao.
Stvari svakako komplikuje to da Ruiz za ovaj film, kao ni za neke druge rađene sličnim postupkom (na primer La expropiación iz 1974. koji je uspešno spasen iz Čilea i montiran kako je autor želeo) nije imao napisan scenario već samo postavku scena i generalnu ideju šta likovi u scenama treba da rade. Dijalozi, improvizovani na setu su bili ,,režirani" utoliko što se unapred znao ,,ton" scene – Ruiz je u jednom intervjuu naveo primer da dve osobe razgovaraju, jedna priča glasno, druga priča tiho a ta što priča tiho je zapravo ona koja u ovom odnosu ima moć – kao i to koja je klasna razlika između aktera, kakav će naglasak koji od njih imati, kakav mu je stil govora. U tom smislu, Sarmientova nije imala ni jasnu hronologiju kojom bi trebalo poređati scene pa je i finalni produkt neka vrsta kombinacije satiričnog kvazidokumentarca koji do kraja sklizne u – praktično – nadrealistični horor.
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Postoji i izvesna mera konfuzije u recepciji ovog filma na ime toga je li ovo ,,dokumentarni" ili ,,igrani" film, reflektovana već i time da je domaću premijeru ovaj film imao prošlog Maja na festivalu Beldocs, posvećenom,dakle, dokumentarnim filmovima. Ne tvrdim, da ne bude zabune, da su selektori festivala bili u zabludi, misleći da je ovo dokumentarac – sajt Beldocsa korektno karakteriše ovaj film kao ,,docufiction" – ali mi je sasvim zamislivo da će ljudi koji nemaju direktnog iskustva sa socijalističkim društvima ovo intuitivno percipirati kao dokumentarac i možda se samo na kraju trgnuti kada budu suočeni sa nasilnim, očigledno ,,igranim" krešendom.
Puni planirani naslov filma – Socijalistički relaizam kao jedna od lepih umetnosti – zapravo potkazuje Ruizove namere, želju da ovo bude umetničko delo mnogo više nego dokumentaristička persiflaža i, pogotovo ako imate iskustava sa socijalističkim sistemima i društvenim mentalitetom, ovo je očigledna i dobar deo vremena urnebesna, ali i bolno realna, satira na socijalizam i njegove napore da peva o slobodi onako kako su sužnji pevali o njoj.
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Ruizov inicijalni plan je bio da ovo budu dve priče u istom filmu, o dva protagonista iz dva različita miljea i da te dve priče budu razdvojene poemom koja će označiti sredinu filma i biti lirički most između dva narativa. Kao savetnik za film u Socijalističkoj partiji, Ruiz je kasnije pričao da je svakodnevno susretao slikare, filmadžije, pesnike itd. koji su u partiju dolazili da pitaju šta je partijska linija koju treba da prikažu u svojim delima. Ovo odsustvo imanentne estetske potrebe za izrazom ga je, očigledno, dovoljno žuljalo iako je bio na u tom trenutku pobedničkoj strani.
Poema je na kraju odbačena, ali je Ruiz i dalje imao dve priče o dva glavna junaka a koje su, plan je bio, imale da se dotaknu samo jednom u toku filma koji bi trajao duže od četiri sata tako da taj dodir između dve strane čileanske realnosti bude sekundaran u odnosu na totalitete tih realnosti. Već iz tog objašnjenja je, valjda jasno, gde je bila Ruizova estetska pozicija u radu na ovom filmu, no, da bude još jasnije, čak i u ovoj MNOGO kraćoj verziji gotovog materijala od one koju je autor imao na umu, ta razdvojenost između dve vizije socijalističkog, jelte, realizma Čilea ranih sedamdesetih je upadljiva i kreira brojne simbolički potentne kontraste.
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Film, da bude jasno, uključuje u svoju minutažu i ,,prave" dokumentarističke snimke, uglavnom optimističnih grupa radnika, radnica i srednje klase na ulicama čileanskih gradova, verovatno u periodu neposredno nakon Allendeove pobede i najavljenih reformi i ovo, praćeno poletnom narodnom muzikom gledaocu prenosi nepatvoreni revolucionarno-reformski optimizam, nimalo nesličan onom koji danas mnogi od nas osećaju gledajući na tviterima, instagramima i tiktokovima telefonske snimke protestnih okupljanja u malim mestima po Srbiji, parole i transparente studenata, solidarnost između generacija, klasa i ljudi iz sasvim različitih društvenih slojeva.
Kontrast ovim snimcima čine Ruizovi vrlo metodični prikazi dva distinktna miljea u aljendeovskom, socijalističkom Čileu. Jedan se tiče radnika, pravih, nepatvorenih proletera, koji žive u radničkom naselju i zaposleni su, makar formalno, u fabrici koja trenutno ne radi a vlasnici i menadžeri iz nje iznose sve što vredi. Drugi se tiče srednjeklasnih intelektualaca sa levičarskim otklonom, ekipe koja je iščitala Marksa, diskutovala Lenjina, dizala obrve na Kropotkina i pitala se o Bakunjinu, a koja danas živi u društvu o kome je tokom studija sanjarila.
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Ruiz je u istom intervjuu gde je objašjavao odsustvo ispisanog scenarija za ovaj film pričao i o tome da je u pravljenje filmova originalno i ušao jer je, citiram: ,,imao utisak da filmovi mogu nasilno da pred nas dovedu čileansku realnost: mesta, lica, načine govora koji nam se inače ne prikazuju". On je video vrednost po sebi u idiosinkrazijama klasa sa dna društvene lestvice ali i provincijalaca koji nikada nisu bili predmet filmske obrade ili makar ne u svojstvu protagonista, svakako ne prikazani onako kako stvarno žive. Njegovo objašnjenje je bilo da ljudi ne treba da čitaju ispisan scenario već da pokretima, naglaskom, govorom, svim onim elementima koji čine nečiji identitet, prikažu svoje likove.
El realismo socialista, dakle, radi baš to, ali tako što te svoje likove smešta u jedan praktično do apsurda zaoštren kontekst, prikazujući rastakanje socijalističkog sna iznutra. El realismo socialista nije, da bude vrlo jasno, prikaz raspadanja aljendeovske bajke isključivo pod pritiskom domaćih kapitalista koji rade sve na tome da ona ne uspe, već u većoj meri prikaz mentaliteta koji je vuku ka dnu u samom, jelte, proletarijatu i poštenoj inteligenciji. Danas, kada znamo koliko su neliberali i fašisti mnogo i ozbiljno ulagali u uništavanje socijalističkih režima u Južnoj Americi možda smo skloni da sve greške koje su ovi pravili posmatramo sa manje osude i da naglas kažemo kako je ovim zemljama trebalo nešto više vremena i nešto više podrške, ali to ovu Ruizovu kritiku ne čini manje relevantnom. I jugoslovenski film je imao nekoliko vrlo pristojnih radova koji su kritikovali negativnosti jugoslovenskog socijalizma (U ime naroda Živka Nikolića kao najlakši primer) i mislim da je svakoj budućoj socijalističkoj inicijativi važno da ima ova podsećanja na to koje se sve opasnosti kriju ,,iznutra" u društvu koje pokušava da izgradi sistem što u svakom momentu podupire ideju socijalne pravde.
Ruiz je ovo zasta snimio pre svega kao procesiju scena koje stoje same za sebe, u najvećem delu se ovaploćuju kroz razgovore i imaju sopstvene poente i pančlajne, ali Sarmientova je film izmontirala tako da se dva distinktna narativna toka odvijaju logičnim hronoliškim redosledom i kulminiraju u toj nasilnoj završnici koja skoro da podsvesno predviđa Pinochetov karavan smrti. Narativ o proleterima čija fabrika polako nestaje pred njihovim očima dok oni pokušavaju da se dogovore sa predstavnicima Narodne sloge o tome šta će država duradi i da li sami radnici da je preuzmu pod svoju kontrolu pre nego što iz fabrike bude odneseno sve što vredi je jedna ozbiljna, a istovremeno urnebesna disekcija sudara ideologije, prakse, socijalističke teorije i brutalne realnosti, birokratizovane proceduralne religije i borbe za život radnika koji počinju da uviđaju da svi komiteti, delegati, plenumi itd. na kraju njih ostavljaju golog dupeta na vetrometini dok oni koji su i do sada držali sredstva za proizvodnju ta sredstva sada otuđuju pred nosom nove, navodno radničke vlasti.
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Ima tu još dobrih scena, između ostalog vezanih za ulazak novih stanovnka u radničko naselje i susret, ponovo, teorije koja podrazumeva klasno svesnog i društveno odgovornog pojedinca, sa praksom u kojoj smo svi mi ipak samo ljudi, grešni i počesto pogrešni.
U drugoj grani filma, naravno, susrešćemo ljude koji eksplicitno kažu da radnicima fali klasna svest i da im je potrebna ona proverbijalna poštena inteligencija da ih usmerava. U jednoj od najizrazitije didaktičkih (i urnebesnih) scena grupa srednjeklasnih levičara ima neku vrstu grupne terapije/ seanse verbalnog tapšanja jednih drugih po plećima gde svaki od ovih ljudi u svojim treidesetim godinama otkriva kako je postao, jelte, levičar. Poslednji koji govori pokušava da naglasi da on samo sumira ovo što su drugi rekli i da on to radi bez ikakve osude, ali ga svejedno besno prekidaju kada ukaže da je svima zajedničko potpuno odsustvo iskustva proleterskog života ali i stvarne levičarske prakse, a što je i nama danas, sa našim tviterima i instagramima preko potrebno podsećanje.
El realismo socialista je briljatno sklopljen film od napabirčenih scena improvizovanih od strane savršeno ubedljivih glumaca čiji je stvarni život nesumnjivo informisao razgovore što ih njihovi likovi vode sa sve formalnim oslovljavanjem sa ,,druže" (,,kompanjero", naravno zvuči toplije i smešnije od onog što smo mi ovde koristili četiri i po decenije), stalnim uzajamnim proveravanjem ko je verniji Narodnom jedinstvu, ko je član a ko simpatizer i jednom atmosferom opšteg – neizgovorenog – prihvatanja da niko više ne veruje u srećan kraj. Ako sebi želimo srećan kraj, vredi da se podsećamo tuđih iskustava a ovaj sjajni film bezmerno pomaže u tome, pa skočite do MUBIja i počastite sebe.
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Već to da Eye for an Eye 2 nema nikakav podnaslov (i na Mandarinskom je naziv takođe samo Mu zhong wu ren 2) – osim što u nekim distributerskim najavama vidim dodato ,,Blind Vengeance" – sugeriše da u proizvođenje nastavka vrlo solidnog kineskog niskobudžetnog istorijskog akcionog filma Eye for an Eye The Blind Swordsman, a o kome smo pisali pre par nedelja (https://cvecezla.wordpress.com/2025/02/14/film-eye-for-an-eye-the-blind-swordsman/), nije uloženo previše imaginacije. Ovaj film iz 2024. godine ne bih mogao da nazovem rafinmanom prvog filma, već najpre nastavkom po dužnosti a koji se mora napraviti kada je prvi film postigao dosta dobar uspeh na kineskim striming servisima ali i na zapadu. To da je distribuciju Eye for an Eye 2 na sebe preuzeo servis iQIYI, kineska firma sa više od sto miliona plaćenih pretplatnika (i, tvrde, više od petsto miliona mesečnih aktivnih korisnika čime se svrstava u šačicu najuspešnijih striming servisa na planeti), u vlasništvu moćne korporacije Baidu svedoči da je prvi Eye for an Eye napravio ozbiljne talase kada se pojavio 2022. godine na manjim platformama (prevashodno na servisu Hi-YAH! koji je specijalizovan za filmove o borilačkim veštinama). Imam utisak da je nastavak uhvatio autore malo nespremne pa je Eye for an Eye 2 jedan korektan film koji ne unapređuje koncept originala ni na koji način, ali su makar kvaliteti originala – odličan vizuelni sadržaj, kvalitetna akcija – očuvani bez gubitaka.
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Ekipa koja je radila ovaj film je, što se tiče glavnih imena, ista ona koja je radila i original. Bingjia Yang i ovde potpisuje scenario i režiju, a Miao Xie igra glavnu ulogu, slepog lovca na ucene, Chenga, koji malo priča a mnogo pije. Produkciju je radilo takođe nekoliko istih imena, ali pošto ne mogu da nađem ko je bio zadužen za fotografiju, ne smem da tvrdim da je u pitanju potpuno isti tim. No, vizuelna dimenzija filma je i dalje impresivna i mada možda ne iznenađuje inventivnošću nakon prvog filma, ovde definitivno ponovo dobijamo vizuelni program za klasu iznad onog što se očekuje od niskobudžetnih neo-wuxia radova.
Kredit se mora dati tamo gde je debelo zaslužen, pa još jednom moram da hvalim kostimografe, maskere, scenografe i rekvizitere, ali i osvetljivače i one koji su radili gradiranje boja u postprodukciji jer Eye for an Eye 2 izgleda izuzetno dobro. Ne smem, naravno, da tvrdim da je Kina u periodu između sedmog i desetog veka izgledala BAŠ ovako – film nam ne daje precizniju vremensku odrednicu sem da se događaji koje posmatramo odvijaju za vreme dinastije Tang – ali postoji jedan intuitivan sklad između boja i materijala koji se koriste u filmu, odeće, opreme, nameštaja i drvene arhitekture koje gledamo na ekranu. Takođe, glumci su odabrani pažljivo a zatim još pažljivije kostimirani tako da gledalac nikada nije u dilemi ko je tu ,,naš" a ko ,,njihov". Glavni negativac, Li Jiu Lang je jedna dekadentna, psihopatska persona a Huang Tao koji ga igra izgleda odlično u kostimu i sa frizurom koji sugerišu čoveka naviklog da se ceo svet pred njim klanja i sklanja i da za njega ne važe ni ljudski ni prirodni zakoni.
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No, Eye for an Eye 2 primetno podbacuje u odnosu na original u domenu zapleta i priče a što je već područje na kome ni original nije nudio bogznašta, jelte, originalno. Već smo u prošlom prikazu naširoko guslali o tome da je ovo kineska varijacija na avanture omiljenog japanskog slepog mačevaoca, Zatoichija, ni prva, a sigurno ne poslednja, ali u dobroj meri vitalna na ime kvalitetne fotografije, dobre akcije i harizme glavnog glumca. Klišeiziran zaplet gde se mrzovoljni ali u suštini pravdoljubivi lovac na ucene trgne i reši da ispravi nepravdu bez novčane nadoknade tek kad zbog njegove inertnosti najebu ne jedna nego dve nedužne žene je u prvom filmu svakako bio njegov najslabiji element i nisam oduševljen što moram da izvestim kako u Eye for an Eye 2 zaplet uspeva da bude istovremeno jednako klišeiziran, konceptualno ambiciozniji ali onda i slabije vođen nego u prvom filmu.
U nekim je najavama Eye for an Eye 2 opisivan kao prikvel za prvi film a što bi, naravno, imalo mnogo smisla jer bi nam omogućilo da u jednoj od sporednih uloga ponovo imamo odličnu Di Zhang, međutim, Eye for an Eye 2 DECIDNO nije prikvel. U pitanju je, hronološki gledano, nastavak prvog filma iako nekakav kontinuitet sa njegovom pričom nije bitan i samo to da lika koji je Di Zhang igrala nema sugeriše da se radi o događajima nakon onoga što smo gledali u prvom filmu. Po svemu drugom, ovo je tek još jedna priča o Chengovom životu i poslu, iznenađujuće do kraja formatirana i kao poslednja priča iz ovog univerzuma a što znači da će autori, ako budu imali prilike da produže franšizu, morati da zaista i posegnu za prikvelima.
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Ovo naglašavam zato što se u scenariju vide tragovi napora da se glavni junak Zheng malo produbi, možda humanizuje, da se pokaže kako njegova ,,mean motherfucker" persona zapravo predstavlja samo preraslo tkivo ožiljka ispod koga se krije ljudska duša što pati i u stanju je da se priseća vremena kada nije svaki dan bio samo crnilo ispred očiju koje presecaju zvuci metala i ljudski bolni krici. Zheng ovde u jednom momentu čak eksplicitno kaže da napušta svoj posao lovca na ucene i odlučuje da se vrati u rodni grad Chang An za koji ga vežu srećnije uspomene, samo da eto posvršava još par obaveza.
No, ovaj pokušaj razvoja lika je dosta neuspešan u finalnom produktu jer film, sa svojih devedeset minuta i dosta jakim akcentom na drugom liku, ne daje protagonisti dovoljno prostora da raste i razvija se. Štaviše, Cheng kao da je još jednostavniji lik nego u prvom filmu, sa motivacijama koje su svedene na to da hoće da jede, pije i spava (ali prevashodno da pije), i reakcijama na sve što mu odvlači pažnju koje su oterane u domen karikature. Kada ga taj pomenuti drugi lik moli za pomoć – a koja mu legitimno treba – Cheng se ponaša kao najizdrkaniji mizantrop na svetu i zapravo ne samo da je gledaocu teško da sa njim saoseća kada ga vidi kako samo i bespomoćno dete izbacuje iz kuće na ulicu jer ga smara da o njemu razmišlja, nego je još teže da se posle kupi njegova transformacija u kojoj Cheng postaje praktično brižni surogat-roditelj kome je do pomenutog deteta stalo. Možda je scenario imao više koraka između ova dva ekstrema, suptilniji put od neprijatnog drkadžije do nesavršenog ali posvećenog staratelja, ali u devedesetak skromnih minuta trajanja ovog filma nismo dobili dovoljno vremena da Miao Xie zaista prikaže ovu promenu.
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Ako iz prethodnog pasusa nije bilo jasno, drugi lik oko koga se film vrti je dete. Devojčica Zhang Xiaoyu je žrtva lokalnog silnika, pomenutog Lia Jiu Langa, koji ne samo da teroriše sirotinju nego nema nikakav problem da ubija i decu kad mu se zateknu na putu. Nakon što ostane prepuštena samoj sebi i sa traumatičnim scenama pogibija majke i brata urezanim zauvek u sećanje, Zhang Xiaoyu pukim slučajem nabasa na Chenga i traži od njega da joj osveti porodicu tako što će ubiti Langa. Čak i nacrta poternicu na platnu, slično poternicama koje Chengu daju ljudi od kojih prima poslove, ali Cheng je, naravno, odjebe i, rekosmo, bez imalo empatije izbaci na ulicu.
Zhang Xiaoyu igra izvanredna Yang En You, veoma slatka i talentovana klinka koja je već igrala siroče što jedva preživljava akcident u komedij Lighting Up the Stars iz 2022. godine i film možda i prirodno u svom centralnom delu najviše pažnje posvećuje njoj. Tamo gde je sam Cheng veliki deo vremena statičan, nesimpatičan lik, koji se na dete breca u pauzama oblokavanja do nesvesti, Zhang Xiaoyu je topla, nežna ljudska duša koju je zadesila velika nesreća a koja preduzimljivošću i odlučnošću sebe tera da spidranuje odrastanje ali i da mizantropskom lovcu na ucene dokaže svoju vrednost kako bi je zadržao u svojoj blizini i na kraju joj pomogao oko pomenute osvete.
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Tako onda Eye for an Eye 2 za jedan period postaje omaž Lone Wolf & Cub i tamo gde Bingjia Yang ne demonstrira originalnost u scenariju, makar ima prilike da režiera dosta vrlo uspelih scena zbližavanja dvoje glavnih likova na terenu. Zhang Xiaoyu ne samo da kuva, pere i čisti za gazdu kod koga se sama, na silu zaposlila, već mu pomaže – i pored njegovih insistiranja da mu njena pomoć ne treba – i ,,na terenu", identifikujući ucenjene kriminalce pa ih onda i dovodeći na noge ,,šefu", kako bi ih on brže i efikasnije uhapsio. Film ima i nekoliko scena u kojima Zhang Xiaoyu pomaže Chengu u akciji i nazire se tu zaista nekakva sinergija što se rađa između dvoje likova, pogotovo kada Cheng pristane da uči devojčicu kako da se bori, ali time da joj prvo u ruke umesto mača stavi kičicu i pošalje je da ljudima u gradu neprimećeno iscrtava tačkice na vratovima.
No, kratka minutaža filma i ovome presuđuje, reklo bi se, pre vremena i Eye for an Eye 2 mora da odvoji i dovoljno prostora kako bi se pokazalo da Cheng nije SASVIM bezosećajna osoba, pa je onda zbližavanje dvoje likova preko jahanja njegovog konja – sećate ga se iz prvog filma, to je onaj što navodno ne jede seno nego meso – jedan malo skarabudžen readymade alat da se ovo desi. Film ovde prelazi granicu otkrivanja empatije zakopane duboko u Chengu i strmekne se pravo u sentimentanost dok dvoje likova jure na plećima vranca i osećaju se, eto, po prvi put slobodno posle mnogo vremena. Ovo pogotovo bode oči jer konj, makar u ovom finalnom rezu filma, nema nikakvu dramaturšku funkciju sem da bude simbol te slobode i nesputanosti...
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No, neka niko ne kaže da lep konj ne može da pomogne filmu makar vizuelno. Scene na širokim stepama, sa jahanjem ili bez njega, su odlično snimljene i daju filmu malo te simbolike širine i slobode na koju ljudi zaboravljaju kada su okupirani svakodnevnim kulukom ali i mislima o osveti...
Akcija je i dalje odlična a ovo pogotovo vredi da se naglasi jer Bingjia Yang radi dve stvari koje bi njegovim akcionim scenama mogle da budu smrtna presuda, držeći kameru često veoma blizu likova i koristeći puno rezova koji menjaju ugao gledanja na akciju i, kada je ta akcija brza, mogu da solidno dezorijentišu gledaoca. Imam utisak da su on i njegovi koreografi borbe – ponovo Peng Fei Qin plus Xiaohui Du – ovde veoma pažljivo promislili svaku scenu ne samo u domenu njene interne konzistentnosti i eskalacije, već i u kontekstu čitavog filma pa tako ovde imamo više akcionih scena od kojih su neke kratke i služe da pumpaju – jelte – tenziju a koja će biti oslobođena većim, kompleksnijim set pisovima. Miao Xie je, rekli smo već, veoma ozbiljan majstor borilačkih veština a koreografija scena ga stavlja u neke izuzetno kinetičke, elegantne kontekste, sa veoma ukusnim korišćenjem kablova za momente koji nisu napadni ,,wire fu" već zaista deluju pre kao da gledate ,,realistične" poteze ljudi koji su naprosto TAKO DOBRI u borbi, kretanju, percepciji prostora oko sebe. Borba sa žensko-muškim tandemom u kući na vodi tokom prve polovine filma je jedan od vizuelnih hajlajta cele produkcije, ali naravno da je finale u kome Cheng mora da pregazi doslovno stotine mačevalaca kako bi došao do Lija vizuelno najraskošnije. Ovde opet imamo sneg, pažljivo kolorno kodirane protivnike i glavnog negativca koji je upečatljiv.
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Eye for an Eye 2 je možda i previše surovo nazvati stilskom vežbom ali ovo jeste film za koji bi se reklo da je urađen bez dovoljno vremena da se promisli kako da se zaista prodube motivi i karakterizacije iz prvog filma. Umesto toga, Miao Xie, a koji je počeo svoju glumačku karijeru kao dete, nekim karmičkim obrtom dobija dete za partnera i to dete ima zanimljiviji karakterni luk i svakako simpatičniju karakterizaciju od njega. Film je, bez ikakve sumnje, dovoljno zabavan i produkcijski, vizuelno i akciono dovoljno impresivan da ga svaki ljubitelj istočnjačke akcije obavezno pogleda, ali jeste šteta što u domenu priče pruža zapravo MANJE od svog prethodnika i što prostora da se uradi treći film možda neće ni biti.
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German Lessons odnosno, u originalu Уроци по немски je debitantsko celovečernje ostvarenje bugarskog režisera po imenu Pavel G. Vesnakov, urađeno 2020. godine, solidnih trinaest godina nakon što je Bugarska ušla u Evropsku uniju na krilima, mnogi će reći, podrške koju je ova država zajednički sa Rumunijom pružila NATO paktu u agresiji na Saveznu Republiku Jugoslaviju 1999. godine. Naravno, nije zgoreg podsetiti da je za sve ove godine Bugarska imala neku vrstu ,,malog" članstva u ,,porodici evropskih naroda", sa lokalnom valutom lev koje tamo i dalje na snazi – a što je, iz najmanje jedne perspektive za državu dobro jer je sačuvala suverenost nad jednim od osnovnih tržišta – te sa punim ulaskom u šengenski granični režim tek prvog Januara ove, dakle, 2025. godine, na osamnaestu obljetnicu učlanjenja u Uniju. Evropska unija se, da se razumemo, ni jedan jedini put eksplicitno ne pominje u dijalozima ovog filma i njeno odsustvo iz svesti likova je rečito koliko i bilo koja kritika na domaće ili ,,briselske" političke elite koju smo mogi da vidimo u drugim recentnim bugarskim filmovima.
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Pavel G. Vesnakov je rođen u Sofiji 1987. godine, i mada se jedno vreme zanosio da paralelno studira dva fakulteta, od kojih je jedan bio Istorijski fakultete Univerziteta Sofija, na kraju je sve to batalio i upisao režiju na Novom Bugarskom univerzitetu, privatnoj instituciji osnovanoj u Sofiji još 1991, od strane grupe intelektualaca (i uz rezoluciju nacionalnog parlamenta) sa eksplicitnom misijom da se modernizuje visoko obrazovnaje u Bugarskoj. Danas se ova firma smatra prilično uglednom i kvalitetnom, sa niskom počasnih predavača uz raznih delova sveta a koja uključuje i Richarda Rortyja i Terryja Eagletona i Juliju Kristevu, pa i Ennia Morriconea. Vesnakov je, kako kaže njegov mentor Georgi Djulgerov (inače plodan old school režiser koji je svoje prve nagrade na internacionalnim festivalima dobijao još sedamdesetih) ovu školu upisao skoro slučajno, a za svoj prvi film, kratki film, Trains iz 2011. godine, pozajmio pare od majke, inače doktorke po struci, i snimio ga za manje od hiljadu evra. Drugi je snimio od novca što je išao uz nagradu koju je dobio za prvi film, a treći je već rađen u bugarsko-nemačkoj koprodukciji mada je i tu bilo povuci-potegni da se nađu sredstva. No, kada je završen, taj treći, Pride, je dobio glavnu nagradu na Međunarodnom festivalu Clermont-Ferrand u Francuskoj a naredni, Zeus, iz 2015. je istu takvu nagradu osvojio na festivalu u Brestu, takođe u Francuskoj.
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Naoružan nagradama ali i iskustvom snimanja kratkih filmova, Vesnakov je 2019. godine (pored još jednog kratkog filma) režirao i dve televizijske serije, da bi u 2020. godini uspeo da završi svoj dugometražni debi, German Lessons, o kome danas pričamo, a posle solidnih šest godina ovakvog ili onakvog rada na ovoj produkciji. Naravno, kada German Lessons pogledate – na primer putem HBO-a – vidite da je u pitanju ,,mali", sasvim niskobudžetni film u kome nema ni akcije, ni skupih setova, ni pirotehnike, ni specijalnih efekata, čak ni nekakvih posebnih kostima i maske. Glavni junak na kraju krajeva nosi samo dva seta odeće tokom celog filma: sivu, odrpanu majicu bez rukava preko koje navlači trenerku sa natpisom nekog nemačkog sportskog društva, i belu košulju na golo telo, kakvu oblače ljudi nenavikli da iko proučava kako su obučeni, kada žele da ostave utisak, jelte, urednosti. German Lessons je, dakle, JEFTIN film a njegova jeftinoća je ,,feature, not a bug", štaviše, ona efektno šalje onu poruku koju tekst filma pažljivo izbegava da pošalje ali čitav njegov podtekst na njoj počiva.
Glavni junak filma, Nikola, je, ,,suma svih kompleksa i strahova" koje Vesnakov ima vezano za svoju budućnost, a kao čovek koji je gotovo istih godina kao i glumac Julian Vergov, mogu da kažem da je on dao jedan izuzetno ubedljiv portret pedesetogodišnjeg luzera koji u jednom trenutku filma kaže ,,sve što uradim je pogrešno" a što je istovremeno i blanko izgovor za sva sranja koja je napravio u životu, ali i za sva sranja što će ih do kraja filma napraviti. Kada je SVAKA stvar koju uradite pogrešna, onda nije ni bitno da li ste ,,uspešni" ili ,,neuspešni".
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Nikolina neuspešnost se, ipak, može meriti nekim standardnim parametrima: u trenutku kada ga u filmu zatičemo on je na uslovnoj slobodi, zbog nasilničkog ponašanja, razveden od bivše supruge koja ne može očima da ga vidi, sa dvoje dece od kojih ga mlađa ćerka jedva toleriše kad je smara SMS-ovima, dok sin neće da ima ništa s njim. Nikola radi u fabrici gde su ga primili na jedvite jade kao osuđenika kome treba pružiti šansu za integraciju u, jelte, zajednicu, ali kada od šefice zatraži preporuku jer hoće da ode da radi u Nemačkoj ona mu kaže da njemu izgleda nije baš najjasnije koje mesto zauzima u društvenoj hijerarhiji.
No, Nikola ne odustaje. On i ortak u Nemačku polaze prekosutra, da rade u firmi koju drže Bugari a koja se bavi razvoženjem radnika po gradilištima, i Nikola je naumio da svojh poslednjih 48 sati u Bugarskoj, pre nego što se otisne u pečalbu, iskoristi da svede svoje račune sa svima koje poznaje. Naravno, svi koje on poznaje takođe dobro poznaju njega i gomila solidno teške interpersonalne istorije teško da može da se razreši kroz jedan ili dva razgovora u kojima on svima mehanički ponavlja da mu je žao za svako sranje koje je napravio i da je sad drugi čovek i da će se iskupti šaljući pare iz Nemačke.
Nikola je, naravno prototip luzera, veliki, ćelavi lik sa bradom, uvek u trenerci, koji se nikada nije snašao u životu a koji i autentično veruje da čini sve da ljudima oko njega bude dobro. No, i on je razveden, i roditelji su mu razvedeni, aktuelna devojka ga toleriše, ali padne tu nekoliko svađa u toku filma, deca ga, kako rekosmo ne mirišu i kad im on patetično kamčeći MALO emocije kaže da ih voli, zauzvrat ne dobija ni protokolarne izraze naklonosti, a prva rečenica koju mu bivša žena izgovori u filmu je ,,Priđi mi još korak i zovem policiju". Nikola je svoj život toliko temeljito usrao za svojih pedeset godina na planeti Zemlji, da je sasvim jasno što mu ta neka ideja reseta, novog početka, na mestu gde ga niko ne zna i nikome ne mora da objašnjava da je ,,on sada drugi čovek" (iako izgleda isto kao onaj prvi čovek kome niko ne veruje) nešto što mu jedino izgleda kao slamka spasa. I uspešni ljudi u ovim godinama prolaze kroz krizu poznih srednjih godina, preispitujući svoje odluke i dostignuće u životu, a Nikola je hodajući maneken neuspeha, čovek koga bi ste, da je partija Tetrisa, odavno restartovali jer ste svesni da se od govana pita ne pravi.
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Za Nikolu, međutim, čovek mora imati empatije – Julijan Vergov ga igra sa jednim perfektnim koktelom perpetualne zbunjenosti svetom koji stalno ide u levo kad Nikola krene udesno, osećaja krivice, zlovolje, postiđenosti, potisnutog besa, ali i autentične, skoro detinje želje da se ne samo dokaže pred drugima već i da zaista tim drugima bude od koristi. On i majci i ocu objašnjava da će slati pare iz Nemačke iako su, naravno, oni ti koji NJEGA opremaju za odlazak i od svojih teško ušteđenih sredstava mu obezbeđuju ,,kickstarter money" za pečalbu, sasvim svesni da ne ispraćaju u tuđinu sina poznatog po preduzimljivosti, snalažljivosti i metodičnom planiranju. Nikola je po karakteru bliži protagonistima Selbyjevog Rekvijema za jedan san, neko ko o spoljnjem svetu ima samo maglovite predstave jer nikada nije imao prilike da ga upozna, primajući na bradu krošea ovog bližeg, intimnijeg sveta što mu nije dao da izraste u išta drugo do hrpe ožiljaka.
Nikola, dakle, izaziva empatiju kod gledaoca jer je, na kraju krajeva, ovo čovek koji, koliko god da slepo, blentavo kreće u novu avanturu o kojoj ne zna ništa, ipak po prvi put zaista čini nešto proaktivno u svom životu i ima iskrenu želju da se pomeri s mrtve tačke. Citat Nasira Jonesa, kome se vraćam u mnogim prilikama je i ovde perfektan opis Nikolinog mentaliteta: ,,He never planned to fail, he just failed to plan", pa je onda dirljivo pratiti kako Nikola ova dva dana života, koliko nam film prikazuje, u kolima iznova i iznova vrti iste lekcije Nemačkog jezika, učeći kako se kažu dani u nedelji, spremajući se da zaista postane neko drugi kada ode u mitsku Nemačku.
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Bugarski, ali i generalno balkanski kompleks inferiornosti u odnosu na zapadnu Evropu a koju u ogromnoj meri simbolizuje baš Nemačka, jak usisivač gastarbajtera još od šezdesetih godina prošlog veka, je u ovom filmu podloga na kojoj nije izrastao samo Nikolin život već i život njegovih roditelja. Otac mu po ko zna koji put prepričava kako su u vreme socijalizma njih vodili u Istočnu Nemačku a i kod majke je vidljivo koliko na Nemačku doživljava kao mitsko mesto na kome će čak i socijalno levelapovanje na nivo građanina drugog reda za Bugarina biti jebena premija. Otac Nikoli u jednom nekarakteristično emotivnom momentu kaže da beži iz ovog pakla u Nemačku i da se nikada ne vraća.
Pakla, dakle, koji je u trenutku izlaska filma već trinaest godina u članstvu EU. I film ne mora da elaborira ovu poentu, dovoljno je to kako Vesnakov i njegov direktor fotografije Orlin Ruevski slikaju sofijske blokove ižrvljane gotovo identičnim low-rent grafitima koje u Beogradu možete da gledate po Jerkoviću, kako izgleda policijska stanica u koju se Nikola jedan poslednji put javlja da potvrdi da mu je istekao period uslovne slobode, kako izgleda državna veterinarska klinika – mada izgleda i dalje MALO bolje od onog što biste ovde videli.
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Vesnakov sve ovo radi u ključu tvrdog neorealizma, maltene Dogme 95 puritanizma, sa kamerom koja snima isključivo iz ruke, dugim kadrovima koji su fokusirani samo na glavnog junaka i njegov unutrašnji život što na površinu izlazi kroz pore na licu, bez bilo kakvog baroka u kompoziciji scena. Sve je, da se razumemo, slikano dobro i montirano besprekorno (Vesnakov zajedno sa Victoriom Radoslavovom), ali German Lessons nije film likovnih uzleta. Kamera je ovde da prati glavnog junaka kao nekakav parazitski oblik griže savesti, da ulazi sa njim u očev stan u kome ovoga nema, pretražuje sobe vireći mu preko ramena.
German Lessons uspeva da ne bude samo niska scena u kojima Nikola ne uspeva da se, pored sveg kajanja, smisleno poveže sa jedinim ljudima koje poznaje, a od kojih se rastaje možda i zauvek, time da ima spretno udenutu nit ,,pravog" dramskog zapleta. Poetska dimenzija filma je takođe dosta vešto podvučena dijalogom koji glavni junak ima sa ocem poginulog prijatelja koji, otac, leži u bolnici a Nikola mu posramljeno vraća knjigu poezije koju je jednom bez razloga drpio kad je bio u gostima, pročitao je i, kako kaže ,,ništa nije razumeo". To da je autor pesama u knjizi baš stariji muškarac koji leži u krevetu i prima infuziju i to da oba muškarca, sa vrlo različitih životnih pozicija nalaze sponu u stihovima jednog od njij je, naprosto, divna scena, pogotovo izvedena tim strogim, puritanskim neoralističkim alatom.
No, pomenuti dramski zaplet tiče se psa, ženke rase Malinoa a koju je Nikolin otac poveo u šetnju – jer je Nikola tog jutra kasnio, zauzet svim svojim planovima da se oprosti od svih koje poznaje i plati sva svoja simbolička dugovanja – pa je izgubio. Nikola, u potrazi za psom, nažalost otkriva da je sirotu Sofi zgazio auto a onda, takav blesav a BESMISLENO DOBRONAMERAN kakav jeste, odmah smisli da nekako nađe istog takvog psa u roku kraćem od 48 sati i dovede ga ocu i tvrdi da je našao Sofi.
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Ovo nije samo, očigledno, nemoguća misija čoveka koji ,,never planned to fail, he just failed to plan" već i tračak komičnog u okeanu mučnog i neuspešnog i poraznog od čega se sastoje ova dva dana Nikolinog života, pred odlazak u novi život.
I film onda ima, možda i neočekivano, kvalitetnu završnicu sa pančlajnom koji je i emotivan, i smešan, i potresan ali i ispunjen, ipak nekakvom nadom. Nemačka možda nije raj na Zemlji ali jeste bolja od pakla koji je Bugarska, i u to veruje, verovatno, svaki Bugarin koji je još uvek u Bugarskoj, baš kao i svaki Srbin koji je još uvek u Srbiji. Bez obzira što je Nikola ipak osoba sa dna društvene lestvice. Vesnakov je u intervjuu koji je dao povodom ovog filma rekao da se oseća kao da će mu ovo biti i prvi i poslednji dugometražni rad – iako je već tada radio na svom drugom filmu – ali uz svo svoje odsustvo VELIKE priče i perfektno baratanje malim, suptilnim i sirotinjskim, ovo je film za koji bi nastavak imao ITEKAKO smisla. Pa da mu se nadamo onako kako se Nikola nada svom resetu kad sutra ujutro sa ortakom sedne u kombi, odvrne Rammstein i krene u zemlju o kojoj čitav Balkan sanja kao o izgubljenoj Atlantidi.
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Svaki film u kome gledate trenirane profesionalce kako rade ekshumaciju pre nekoliko decenija preminulog dede samo da bi na istom grobnom mestu ispod njegovog kovčega našli još jedan kovčeg, bez ikakvih obeležja, zakopan uspravno pa još umotan u bodljikavu žicu mora u čoveku da prouzrokuje zrnce nelagode ali i jaku znatiželju. Exhuma je film koji ovu kombinaciju sasvim razumljivog straha ali i morbidne radoznalosti eksploatiše iz sve snage kreirajući nekih 135 minuta prilično dobre zabave, uspevajući pritom da bude više neka vrsta moderne bajke o duhovima nego ,,čist" horor rad.
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Korejski režiser Jang Jae-hyun je i neko ko kroz celu svoju dosadašnju karijeru dosta uspešno radi upravo na tom susretu folklorne strave i filmskog horora, baveći se u svojim scenarijima i režijama doslednim istraživanjem situacija u kojima savremeni protagonisti imaju kontakte sa nečim što dolazi direktno iz narodnih verovanja i ovaploćuje se u modernom svetu kao pretnja kojoj se ne možete suprotstaviti nekakvim savremenim sredstvima. Exhuma se razlikuje od The Priests iz 2015. godine i od Svaha: The Sixth Finger iz 2019. prevashodno po tome da akcenat ovde nije na hrišćanskim ili budističkim protagonistima već da ovde narodna tradicija, oličena u šamanskim praksama i animističkim azijskim verovanjima stoje u prvom planu. Takođe, ovo je i film koji se dosta eksplicitno bavi recentnom istorijom Azije, japanskom aneksijom Koreje i traumom koju je tridesetpet godina okupacije i kulturnog ugnjetavanja ostavilo na kolektivnoj svesti nacije.
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Jang je sa Svaha: The Sixth Finger imao veliki hit. Ovo je bio jedan od najgledanijih filmova godine sa više od milion gledalaca već posle pet dana prikazivanja u Južnoj Koreji pa je onda i postpandemijski povratak autora sa novim, sličnim filmom privukao veliku pažnju gledalaca kod kuće. Sa premijerom na Berlinskom filmskom festivalu i ulaskom u korejske bioskope Februara 2024. godine, film je posle velikog uspeha na domaćem terenu – najgledaniji film u Južnoj Koreji 2024. godine i šesti najgledaniji svih vremena – solidno prošao i na zapadu, sa izlaskom na BluRay disku krajem godine i prilično dobrim reakcijama publike. Ostaje da je veliki broj zapadnih zamerki na film podvukao da ovo ,,nije jednako dobro kao The Wailing", ali i da je struktura pripovedanja u kojoj ,,pravi" zaplet filma pred gledaoca stiže tek nakon što smo debelo zagazili u drugi sat potencijalno problematična. No, možda je najveća prepreka punom razumevanju i uvažavanju onoga što Jang radi sa ovim filmom kod zapadnjaka to koliko je film snažno baziran na folkloru i narodnim verovanjima, a što nije element samo teksta i dijaloga već i vizuelnog pripovedanja, verbalnih i gesturalnih aluzija koje likovi prave. Čak je i sama ta struktura u kojoj se film naoko završava već posle sat vremena jer je originalna misterija razrešena, spretno postavljena da gledaoca baci iz jednostavne priče o duhovima i nemirnim dušama preminulih koje pohode jednu porodicu, u nešto dublje, strašnije, traumatičnije i po mogućim posledicama mnogo veće. Ova eskalacija je interesantna i glavni je adut pripovedanja ali ona može da deluje kao da ste seli da gledate jedan film a onda autor na pola odlučio da zapravo želi da snimi nešto drugo.
Meni, da to napomenem, ova tranzicija iz individualizovanog, porodičnog horora u nešto opštije, sa istorijskim korenima i potencijalno nacionalnim posledicama nije bila problem. Jang stvari radi spretno, koristeći duže trajanje filma baš da bi ritam pripovedanja gledaoca doveo na ranjivu poziciju u kojoj će otkrovenja što stižu u drugoj polovini bila efektnija. Exhuma nije, rekosmo, prevashodno horor film ali mislim da su horor stilizacije pri njegovom kraju, ma koliko bile skromne, pa i jeftine, sasvim prihvatljive za nešto što je u osnovi priča o ljudima koji rade svoj svakodnevni posao samo da bi, bez najave, bili suočeni sa nečim što ima potencijal da razori čitavo društvo u kome oni žive.
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Exhuma, dakle, priča o grupi profesionalaca koji se bave, da to tako kažemo, mrtvima. Popularna filmska i televizijska glumica Kim Go-eun igra mladu šamanku Lee Hwa-rim, sa ađutantnom koga igra mladi, lepi i na televiziji veoma zaposleni Lee Do-hyun, a koji su pozvani od strane imućne korejske porodice što sada živi u SAD, da provere šta se dešava sa najmlađim detetom koje prolazi kroz zdravstvenu krizu kojoj lekari ne mogu da nađu uzrok. U posao se upliće i Kim Sang-deok, koji je geomant i stručnjak za Feng šui, i njegov kolega Go Yeong-geun, a gde se njih dvojica karijerno uglavnom bave prodajom parcela za sahranjivanje. Vredi napomenuti da engleski prevod koristi termin ,,geomancer", ali da je i istina da geomanti u zapadnoj tradiciji uglavnom rade proricanje sudbine na osnovu znakova iscrtanih na zemlji. Kimov ,,posao" je nešto drugačiji i on ima više animistički odnos za tlom, u stanju je da oseti prisustvo onostranih sila, ali i da klijentima ponudi konsultacije vezano za odabir najbolje parcele, najbolje orijentacije kovčega itd. Svi ovi likovi prikazani su kao autentični profesionalci čiji su kontakti sa onostranim stvarni i mada im egzorcizam nije deo ,,zvaničnog" posla, oni ga rade kada je to potrebno.
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Kima igra Choi Min-shik, pozorišni glumac sa više nego tridesetogodišnjom karijerom na filmu a njegovog kolegu Yoo Hae-jin, samo nešto mlađi ali takođe veoma iskusan profesionalac. U glumačkom ansamblu koji je VEOMA dobar – vredi pomenuti i Honga Seo-juna – ova dvojica glumaca daju produkciji utemeljenje u poznatom, familijarnom, nudeći role ljudi koji nisu akcioni heroji niti standardni horor-protagonisti već pre svega ,,matori" tipovi koji imaju puno iskustva i koje svi poznaju.
Filmu ovo obezbeđuje i jedan human, topao ton, a što jeste osvežavajuće i jedino može predstavljati problem ako ste kao gledalac ovome prišli očekujući nihilistički, dehumanizujući horor. No, Exhuma, uprkos mračnim temama nije takav film i ovo je po tonu bliže nekakvoj televizijskoj seriji za koju znate da će naši junaci biti na iskušenjima ali da će na kraju ipak preteći i u poslednjoj se sceni smejati jedni sa drugima, svesni da je njihov odnos sada još bliskiji i topliji, produbljen kolektivnim strahom koji su iskusili ali i solidarnim odgovorom na taj strah.
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Ovo naglašavamo jer koliko god da je Exhuma meni bila osvežavajuće drugačija od standardne (pa čak i standardne korejske) horor postavke, toliko to može da zasmeta gledaocu koji bi od filma koji se bavi ekshumacijama, osvetoljubivim duhovima i, rekosmo, mrtvačkim kovčezima umotanim u bodljikavu žicu, očekivao nešto visceralnije, mučnije, katarzičnije. Exhuma IMA katarzično finale i u njemu se proliva krv (ne samo konjska) i bude tu i drame i vrištanja i straha, ali ono se pre svega usredsređuje na razumevanje simboličke prirode pretnje sa kojom se ljudi suočavaju i pronalaženja simboličkog odgovora, radije nego na nekakvu ekspanzivnu akciju.
Uopšte, film treba više posmatrati kao etnografski elaborat i meditaciju o azijskoj istoriji kolonizacije i kulturnog ugnjetavanja tokom dvadesetog veka, a koji koriste horor-rečnik da se izraze nego kao ,,pravi" horor film i sve će biti u redu.
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I ako se to tako posmatra, onda Exhuma nudi dosta toga lepog. Likovi su, iako ne dobijamo mnogo uvida u njihove privatne živote, svejedno životni, uverljivi, sa karakterizacijama koje su osvežavajuće ,,obične". Iako se ovi likovi susreću sa onostranim kroz svoj posao, oni su ipak normalan svet, koji na kraju dana voli da sedne sa prijateljima, da proćaska, voli dobru hranu i druženje. No, kada se zateknu u situaciji da spasavaju ne samo sebi bliske ljude od strašne pretnje, već i ostatak nacije, niko od njih ne ustukne pred ovim iskušenjem i to je, naravno, lepo.
Pored odličnih glumaca, film je i vizuelno uredan. Ne nešto razmetljivo atraktivan, ali uredno snimljen, osvetljen, kadriran, montiran. Ponovo, prelazak u ,,čistiji" horor pri kraju podrazumeva i dinamizaciju vizuelnog sloja filma, uključujući maske i specijalne efekte ali i ovo se radi na dovoljno sveden način da se ne poremeti tonalna doslednost toga što gledate. Rezultat svega je da Exhuma naprosto nije ,,strašan" film onako kako bi to bio nekakav čist horor, ali tamo gde treba da bude strašan i da se oseti pretnja, on nema čega da se stidi.
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I vizuelno i režijski su verovatno najmemorabilnije scene šamanskih rituala kojih ima nekoliko u filmu. Jang ulaže mnogo vremena i resursa u ove set pisove i rezultati su uvek atraktivni, sa kostimima, muzikom opremom, instrumentima itd. koji deluju autentično i uverljivo spajaju narodnu tradiciju sa savremenim trenutkom. Kim Go-eun je navodno dobila ozbiljne pohvale od stvarnih šamana da je njen performans u ovim delovima filma izuzetno ubedljiv i da deluje kao da se u životu zaista bavi ovakvim stvarima.
Exhuma apsolutno nije film za svakoga, ali on jeste jedan intrigantan uvid u moderne prakse sa tradicionalnim zaleđem, koje su u Južnoj Koreji itekako žive i sastavni su deo života bez obzira na modernije duhovne sisteme koji su u međuvremenu utkani u ovu kulturu. Likovi koji pripadaju budističkim i hrišćanskim tradicijama ovde ni u jednom trenutku ne dovode u pitanje šamanski ,,odgovor" na demonske pretnje, a film onda dodatno celu stvar problematizuje na jednom ,,zemaljskijem" planu, u tom svom traktatu o recentnoj istoriji japanskog ekspanzionizma u Aziji. A što je opet zanimljivo i spretno plasirano u nešto što na početku delje tek kao ,,obična" priča o duhovima – u kojoj doduše glavnu junakinju stjuardesa u prvoj sceni smatra Japankom pre nego što joj ova eksplicitno kaže da je korejka, a što je dovitljiv način da se neke od tema filma kredibilno i organski najave pre nego što krenemo u diskusiju o egzorcizmu. Exhuma je prijatno, zabavno iskustvo ako mu se priđe sa prave strane i preporučujem ga – uz već navedene ograde –svakome ko sebe smatra ljubiteljem azijskog, pogotovo korejskog žanrovskog filma.
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Captain America: Brave New World je trenutno po svom učinku na bioskopskim blagajnama treći najgori Marvelov film svih vremena (iza ipak univerzalno prezrenih The Marvels (https://cvecezla.wordpress.com/2024/02/16/film-the-marvels/) i Ant-Man and the Wasp: Quantumania (https://cvecezla.wordpress.com/2023/05/05/film-ant-man-and-the-wasp-quantumania/)) dok su ocene kritike, posmatrano iz najblagonaklonijeg rakursa, u najboljem slučaju mlake. Pritom Captain America: Brave New World zaista nije najgori Marvelov film i ako ništa drugo nudi povremeno korektno režiranu akciju i negde, ispod naslaga ,,lorea" u njemu se za život bori korektan, iako generički politički triler. Povrh svega, osvežavajuće je povremeno pogledati superherojski film koji je pre svega usredsređen na likove i njihova iskušenja a da to nije postavljeno na pozadinu najvećeg sukoba u istoriji sukoba. Scenario svakako svoju dramu gradi oko napete političke a zatim vojne eskalacije između dve velike nacije, ali ovde nije ugrožena ni čitava ljudska rasa, ni čitava planeta, ni čitav univerzumu niti multiverzum. Koliko je do njega bilo, talentovani nigerijsko-američki režiser Julius Onah se potrudio da film sagradi oko teške prošlosti, kajanjima ispunjene sadašnjosti i idealizovane budućnosti centralnog lika u ovoj priči a verovatno nije njegova greška to što centralni lik u ovoj priči nije Kapetan Amerika.
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Captain America: Brave New World je i zanimljiva studija slučaja kako eksterna studijska politika može da fatalno ošteti film: produkcija je bila pogođena SAG-AFTRA štrajkom tokom leta 2023. godine, rana test-publika je filmu dala slabe ocene pa su isplanirana ekstenzivna dosnimavanja za prvu polovinu 2024, Mark Rufallo je negde pomenuo da će ponovo igrati Hulka pa su posle krenula hitra demanovanja da to ima veze sa OVIM filmom. Premijera je planirana za leto 2024. godine ali se od toga odustalo da se napravi mesta za Deadpool & Wolverine (https://cvecezla.wordpress.com/2024/07/26/film-deadpool-wolverine/), na kraju su dosnimavanja završena tek na jesen i mada je plan bio da koštaju manje nego u prethodnim slučajevima i da čitav film bude napravljen za znatno manje novca nego The Marvels, konačna kalkulacija je jasna: kada se na sve dodaju troškovi marketinga, Captain America: Brave New World će morati da zaradi 425 miliona dolara da bi bio na nuli. A što u trenutku dok ovo kucam, nepunih mesec dana nakon premijere, deluje prilično nedostižno, makar oslanjanjem samo na bioskope.
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Drugim rečima, ,,superherojski zamor" je sada ozbiljna stavka u planiranju bilo kog narednog superherojskog filma i pomalo je i neobično da smo toga svesni svi mi koji ne radimo u Dizniju dok tamo kao da i dalje samo pritiskaju dugme na kome piše ,,MCU formula" i nadaju se najboljem. Ali MCU formula više nije MCU formula sa kraja prve i početka druge decenije ovog veka. Captain America: Brave New World nije loš film zato što Julius Onah ne zna šta radi – naprotiv, vide se jasni napori da se film ukoreni u realističnom, da se centralna geopolitička tenzija kreira plauzibilno, da ton filma bude konzistentan tako da teške lične drame, političke intrige i akcija budu smisleno uklopljeni, bez odletanja u svemir, bez napadnog humora – već zato što se MCU formula do 2025. godine transformisala u proizvođenje ,,sadržaja" kao na fabričkoj traci, pa se i filmovi sada prave da budu poglavlja u jednoj tekućoj priči radije nego, znate već, FILMOVI.
Ovde se mora ponoviti kritika koju vrtimo već nekoliko godina – praktično od kraja angažmana braće Russo koji su zaključili poslednju ,,dobru" fazu Marvelovih filmova sa Avengers: Endgame – a ta je da je Diznijev pivot na striming vidno i fatalno ranio Marvelovu filmsku produkciju. MCU filmovi su postigli nezapamćen uspeh u istoriji kinematografije i kreirali potpuno nove trendove u industriji (i investiranju u nju) time što su prekomplikovan, košmarno interreferencijalan kontinuitet decenija strip-predložaka na kojima su bili zasnovani razgrnuli, pronašli u likovima i zapletima ono ikoničko i uvek relevantno i oko toga izgradili seriju veoma labavo povezanih, narativno urednih pripovesti sa harizmatičnim likovima u centru. Gledalac je u bioskop dolazio ohrabren znanjem da mu je nekakvo generalno poznavanje koncepta superherojštine prikupljeno kroz socijalnu osmozu dovoljno i da će kada sedne da film gleda videti šarmantne protagoniste, razumljive zaplete kojima nisu potrebni veštački ,,lore dumpovi" da bi mu bili jasni, malo dobre akcije, malo simpatičnog humora.
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Ali Marvelovi filmovi u poslednjih pet godina su skoro pa svedeni na interpunkciju u rečenici koja kao da se nikada ne završava, dok Dizni pumpa striming-serije sa sporednim likovima iz MCU filmova a koje onda postaju ,,važan" narativni osnov na koji naredni fimovi moraju da se pozivaju. Captain America: Brave New World je paradigma ovog problema i zapravo je neka vrsta podviga da je Onah iz materijala koji je dobio napravio nešto gledljivo.
Prednost zapleta ovog filma u odnosu na recentne MCU produkcije je u tome da je ovo nešto najbliže ,,just another day in the office" premisi što smo videli u superherojskom filmu mnogo godina unazad. Titularni heroj i njegov omiljeni sajdkik (ne, ne Redwing, Redwing je u ovoj verziji Marvelovog univerzuma samo inteligentni dron a ne PRAVI soko sa kojim Sam Wilson ima telepatsku sponu) su na početku i na kraju filma manje-više isti kao što su bili, sa iskušenjima koja čine njihov odnos čvršćim, ali bez izmenjene perspektive na bilo svoje superherojske karijere, bilo na ljudsko stanje, bilo na geopolitiku. Drugi likovi prolaze nekakve karakterne lukove i njihov se status kvo menja, ali to zato i jesu drugi likovi – Kapetan Amerika koga vidimo na početku ovog filma je isti lik kao na njegovom kraju i za njega je sprečavanje sukoba dve nautičke flote u Indijskom okeanu na kraju krajeva ,,just a job".
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E, sad, taj ,,job" je, na našu nesreću, zatrpan ispod, rekosmo, naplavina DRUGIH zapleta a koji nemaju nikakve veze sa ovim filmom niti, da budemo fer, sa Kapetanom Amerikom uopšte. I prosto je apsurdno da su pomenuta dosnimavanja – nakon slabih reakcija test-publike – služila da se u film doda JOŠ zapleta, kada on, kada ga pogledate od početka do kraja, prosto grca pod težinom svojih priča i pričica, svojih sporednih likova i ,,harizmatičnih" negativaca kojih ima u dovoljnoj meri da se napune dve sezone bilo koje Diznijeve serije. Film, sa svojih ni stodvadeset minuta trajanja, onda nema nikakvu šansu da kroz sve ovo što je na kraju pisalo osam ljudi prođe smislenim putem.
Ali zaplet bar postoji a što je više nego što može da se kaže za Deadpool & Wolverine i to vredi isticati kao pozitivnu karakteristiku ovog filma. Sa druge, manje pozitivne strane, taj zaplet je praktično prepričavanje filma Captain America: Winter Soldier, ali mehanički, bez nekakve pripovedne elegancije, sa skoro direktnim prepisivanjem nekoliko set pisova iz ovog kvalitetnog i cenjenog superherojskog filma pomenute braće Russo.
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Politički triler Captain America: Brave New World je makar u teoriji zanimljiv jer je u njegovom centru predsednik SAD koji iza sebe ima pitoresknu prošlost – ,,I was a wartime general and now I'm a wartime president" kaže Thadeuss ,,Thunderbolt" Ross u jednom od apeksa ovog filma – i sada iskreno pokušava da globalne tenzije izazvane pojavljivanjem novog metala, adamantijuma, na planeti Zemlji (a koji je po karakteristikama još bolji od vibranijuma) razreši kreiranjem i globalnim potpisivanjem sporazuma koji će razvijene nacije obavezati na pravičnu podelu ovog ,,resursa budućnosti" diljem celog čovečanstva. Harrison Ford nije neki, jelte, veliki karakterni glumac, ali on Thunderbolta Rossa glumi u jednom ugodno povišenom tonu, kredibilno gradeći portret čoveka koji zbilja žali zbog nekih svojih starih odluka i pokušava da svet učini boljim mestom ne bi li njegova ćerka, Betty, ponovo počela da priča sa njim. Ford za promenu ne mora da igra akcionog heroja i utisak je da je u ulogu investiran više nego u nastavke Star Wars, Blade Runner i Indiana Jonesa u kojima je igrao tokom poslednje decenije, pa ni stripovska preterivanja u koja upada ne deluju odšmirano i uklapaju se u taj (pre)ozbiljni ton filma koji je Onah sebi stavio u zadatak.
Sa druge strane su Anthony Mackie kao bivši Falcon a sada Kapetan Amerika, i Danny Ramirez kao ,,mladi" Falcon, Joaquin Torres i njihova hemija superherojskog veterana što je već par puta spasavao čitav svet i mladog, napaljenog sajdkika koji je kao klinac u Majamiju superheroje gledao samo na internetu i sanjao da bude jedan od njih, je fino plasirana, bez nekog velikog odstupanja od oprobanih formula, ali korektno. Mackie, ako mene pitate, naprosto nije tip glumca za tvrde, okorele heroje ali on sasvim pristojno igra Kapetana Ameriku koji mora da odrađuje zajebane poslove protiv terorista na terenu, da zatim navigira rizični politički slalom vašingtonske administracije, a i da onda malo sedne i lamentira kako ne zna hoće li ikada biti dostojan legata superheroja čije je ime i funkciju preuzeo. Ramirez se sa svoje strane izšlifovao na televiziji, dokazao da ima kapacitet za veliki ekran u Top Gun: Maverick (https://cvecezla.wordpress.com/2023/07/21/film-top-gun-maverick/) i ovde skoro da krade šou svojim entuzijazmom i šarmom.
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No, problem je što film zapravo nije o njima i što je Captain America: Brave New World samo tehnički nastavak dosadašnjih filmova o Kapetanu Americi a suštinski nastavak za seriju The Falcon and the Winter Soldier, za film Eternals (https://cvecezla.wordpress.com/2022/02/04/film-eternals/)iz 2021. godine ali i možda i najviše za film The Incredible Hulk Louisa Leterriera iz 2008. I to je sad jedna užasna konfuzija isprepletanih referenci na događaje koje ste možda gledali, kojih se možda i ne sećate a možda ih i niste gledali, na odnose između likova koje su glumili drugi glumci, na žudnje za osvetom koje gaje superzločinci što se u Brave New World ređaju kao na pokretnoj traci. Jedan srazmerno elegantno postavljen kontrast između predsednika države koji svetu želi dobro ali mora da kontroliše superheroja obučenog u američku zastavu i superheroja koji hoće da bude ravnopravan a ne potčinjen u ovom odnosu a i pati od sindroma samozvanca je onda fatalno kontaminiran inflacijom podzapleta, do karikature kondenzovanih karakternih lukova i dijaloga koji praktično parodiraju stripovsko pripovedanje tim deklamovanjem sažetih radnji prethodnih filmova i serija kojima samo fali zvezdica i fusnota kojom će nas podsetiti na koji se film to odnosi i iz koje je on godine.
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Dublji problem je, pak, vezan za teme koje Onah bira da istakne u svojoj egzekuciji ili koje su, da budemo malo blaži prema njemu, za njega izabrane. Naime, ta ,,just another day in the office" aroma filma znači i da se ovde ni na koji način ne koristi, čak ni ne prepoznaje činjenica da su dva superheroja koji treba da rade za Ameriku a nađu se sa pogrešne strane predsedničkog besa, jedan Afroamerikanac i jedan Latino. Zamorni kulturni ratovi koje podstiču manipulativni, karijerni ,,desničari" diljem interneta i u kojima se stalno napadaju superherojski filmovi jer forsiraju ,,diversity, equality and inclusion" su naravno tumor na savremenoj popularnoj kulturi ali ovde treba primetiti kako film svo to svoje uključivanje likova iz manjinskih zajednica u kast radi pro forme, da se ispuni kvota, ali ne kaže baš ništa o tome koliko je značajno što Afroamerikanac nasleđuje ime i odgovornosti Kapetana Amerike nakon jednog belog čoveka koji se borio protiv arijevaca. Falcon u stripovima, naravno, ima značajno izraženiju ,,etničku" dimenziju i istoriju aktivizma u harlemskoj afroameričkoj zajednici* dok je Joaquin Torres iz stripa deo naglašeno kompleksne diskusije o latinoameričkim migrantima u SAD, njihovom pravnom položaju i eksploataciji kojoj su izloženi, ali scenario filma bira da se ničim od ovoga ne bavi i zadovoljava se ubacivanjem lika po imenu Isaiah Bradley, ,,prvog" Kapetana Amerike, čoveka na kome je serum za supervojnike testiran pre nego što ga je dobio Steve Rogers. Bradleyja i ovde, kao i u seriji The Falcon and the Winter Soldier igra – odlično – pozorišni glumac Carl Lumbly i scenario u ovom slučaju nudi makar malo ,,mesa" liku koji je s pravom ogorčen što je nakon Drugog svetskog rata njegovo ime ne samo izbrisano iz istorije već i da je dopao dugogodišnje robije, sažimajući na neki način sudbine velikog broja afroameričkih ,,buffalo soldier" vojnika.
*koga zanima više detalja o tome, pisao sam nešto o prvom Falconovom miniserijalu na ovom mestu (https://cvecezla.wordpress.com/2022/08/18/propitani-stripovi-the-falcon/)
Ali sve je to prilično površno i performativno. U stripovima je Bradley kreiran pre nešto više od dve decenije sa miniserijalom Truth: Red, White & Black i mada je i ovo, ne sumnjajte, izazvalo dosta negativnih reakcija već na same najave, u pitanju je bila kvalitetno napisana i uverljivo ispripovedana priča koja je svoje teme rase, segreacije, eksploatacije, istorijske nepravde itd. istražila časno i bez rezervi. Film ne radi ništa od toga.
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Ono što film RADI je da, sasvim bezrazložno utovaruje JOŠ likova u ansambl. Shira Haas je zanimljiva kao Ruth Bat-Seraph, u stripovima poznata i kao Sabra, mutantska agentkinja Mosada, ali njen lk je ovde sveden na erzac ,,udovicu" i ne dopušta joj se ni onoliko širine koliki je Scarlet Johansson imala u Captain America: Winter Soldier. Haasova radi sa onim što ima i nije se ni malo izbrukala.
Onda je tu čitava kolekcija superzločinaca ubačena u mašinu i potrošena bez dobrog opravdanja. Mackiejev kapetan Amerika se do kraja filma sukobljava sa Copperheadom (kome niko ne izgovara ime i on služi samo kao miniboss na kraju prvog čina a Jóhannes Haukur Jóhannesson je verovatno uhvatio poslednji voz da ipak dobije ,,ulogu" kakve će u nekim budućim sličnim produkcijama kreirati AI), sa Sidewinderom (Giancarlo Esposito uglavnom dodat u dosnimavanjima, i on emituje popriličnu količinu harizme sa kojom film ne zna šta da radi i zaboravlja na njega daleko pre kraja), te sa Leaderom a koji je neka vrsta ,,pravog" negativca što stoji u pozadini svega. No, naravno da film do ove tačke već jako kuša gledaočev kapacitet da poveže ko je ko, ko je odakle, i koliko je bitan za priču pa kada u drugoj polovini gledamo Tima Blakea Nelsona kako se krevelji pod groznim zelenim protetičkim moždanim tkivom što mu izbija iz glave film dotiče neke od najnižih estetskih tačaka celokupnog MCU.
Leader aka Samuel Sterns ne samo da nije zanimljiv neprijatelj za Kapetana Ameriku – pogotovo ne OVOG Kapetana Ameriku – jer je njegova diferencija specifika da ima strahovito razvijen intelekt nasuprot primitivnom, detinjastom ali fizički neverovatno snažnom Hulku već je u pitanju i, oh, pa Hulkov neprijatelj. I onda je Captain America: Brave New World priča pre svega o sukobima unutar zajednice Hulkova u kojoj kapetan Amerika i Falcon statiraju, a čak ni ,,pravi" Hulk se ne pojavljuje.
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Na sve to dolazi i očigledan problem ove produkcije što je svoj veliki money shot ona ispucala još u marketingu. Sam promotivni plakat za film na kome velika crvena pesnica udara u štit iza koga se krije Kapetan Amerika znači i da gledalac provodi film ne saživljavajući se sa dramom koju proživljava američki predsednik suočen sa cenom svoje manipulantske prošlosti i stvarnom krizom u kojoj savezničke nacije podižu avione jedna protiv druge i ispaljuju projektile na brodove, već čekajući da vidi kada će Harison Ford da se transformiše u Crvenog Hulka i koliko će CGI biti loš.
Naravno, strip-publika unapred zna šta je Rossova sudbina, ali film prilično snažno nastoji da nam Fordov lik prikaže kao ,,pravu", trodimenzionalnu ličnost, sa ružnom prošlošću ali i autentičnom motivacijom da bude bolja osoba i zanimljivo je što je takav lik neko ko kontroliše američki nuklearni arsenal, pa bi onda njegov ,,hulk-out" momenat trebalo da bude egzistencijalni lom i momenat strahovite katarze. Naravno, kada od početka znate da to sledi, njegov je impakt manji. Ako ništa drugo, Onah režira tuču između Crvenog Hulka i Kapetana Amerike sasvim solidno, sa pristojnim efektima razaranja po Vašingtonu i uspelog kontrasta između rascvetalog trešnjinog drveća oko šetališta i apsolutne destrukcije koja se na njemu dešava. Čak se i ,,lutkasti" CGI Hulk nacrtan preko Forda ponaša dovoljno dobro da ne upropasti imerziju gledaoca a što je osveženje nakon užasne maske koju nosi Nelson da bi glumio Leadera.
Captain America: Brave New World je, dakle, slab, rastrzan film u kome postoji zdraviji, korektni ,,B" film što se bori da izađe na površinu i pruži nam malo generičke ali ugodne trilerske akcije. On je i preozbiljnog, pretamnog tona – čak i fotografski, za film u kome je većina bitnih likova tamne boje kože, ovde ima premalo svetla i previše muljavih, nerazaznatljivih kadrova sem kada je u njima Ford čija svetla put i bela kosa sijaju kao svetionik – sa samo jednom jedinom uspešnom humorističkom scenom u kojoj Sebastian Stan zapravo parodira tu samozaljubljenu ozbiljnost Kapetana Amerike koju ostatak filma slepo forsira. Glumci su dobri i Onahova režija je U REDU kada se o režiji može pričati, ali Captain America: Brave New World je scenaristički skarabudženo nedonošče Frankenštajna, koje nema ni vremena ni smelosti da se bavi svojim imanentnim temama, umesto toga se sa bizarnom, fetišističkom usredsređenošću baveći zapletima i odnosima likova iz drugih filmova i serija, kao da nam već u stripovima ovoga nije bilo preko glave pre trideset godina. Marvel je definitivo u kanalu i prilično je malo verovatno da će ga Thunderboltsi odande izvući. Ali bićemo tu, gledaćemo da vi ne biste morali.
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Ako iz nekog neobjašnjivog razloga imate nostalgiju za ranim mesecima pandemije COVID-19, preporučiću vam gledanje filma Keiko, me wo sumasete (kod nas prevedeno kao Neustrašiva Keiko, a što nije zaista prevod orignalnog naslova ali je close enough), japansko-francuske koprodukcije iz 2022. godine a koja prikazuje život u Tokiju tokom poslendjih meseci 2020. i prvih 2021. godine, sa sve maskama i ograničenjima kretanja. No, to nije i POENTA filma i samo je osvežavajuće videti film koji pandemiju prikazuje kao deo života a onda taj život nalazi neke svoje teme da se njima bavi.
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Koliko je originalni naziv filma teško prevesti na druge jezike pokazuje i to da Engleski naslov filma, Small, Slow But Steady, na papiru deluje kao da je u pitanju nekakva ljupka američka indi drama, a što, iako nije FLAGRANTNO netačno (sem tog ,,američkog" dela), možda navodi potencijalnog gledaoca na krivi trag. Ali da budemo jasni, isto radi i ,,Neustrašiva Keiko". Ovo je film o profesioalnoj bokserki koja ima urođeno oštećenje sluha ali nemojte očekivati klasičan sportski film u najavi jer Keiko, me wo sumasete to nije. Ovo je mnogo ,,japanskiji" film po svom senzibilitetu, tempu, reflektivnosti, pa na kraju i toj distanciranoj toplini koju likovi samo u najprikrivenijim formama pokazuju drugim likovima do kojih im je stalo.
Režiser i jedan od scenarista ovog filma, Shô Miyake je ,,jedan od najuticajnijih mladih japanskih filmmejkera" kažu u nekim medijima za njega iako, naravno, čoveka koji je pregazio četrdesetu više i ne možemo zvati tehnički ,,mladim". Miyake radi dosta postojano i uspešno poslednjih deceniju i po, kombinujući dokumentarce, kratke filmove i igrane filmove sa veoma malim budžetima gde demonstrira svoju snalažljivost i inventivnost. Poslednjih godina je napravio prodor i na televiziju, radeći ,,komercijalne" projekte, kao što je na primer serija Yu-On origins, ali i serija Kamiki Ryunosuke's Shooting Holidays koja prati glumca Kamikija Ryunosukea tokom pauza u snimanju drugih televizijskih serija. No, Miyakeov najpoznatiji film je verovatno Kimi no tori wa utaeru (aka And Your Bird Can Sing) iz 2018. godine, spora, reflektivna melanholična drama o odnosima mladih osoba i ljubavnom trouglu koji se spontano razvija jednog leta. Ako vam se dopao Kimi no tori wa utaeru, onda je Keiko logičan naredni korak jer filmovi dele prepoznatljiv Miyakeov potpis u tome da je drama svedena, tempo odmeren, da je u centru radnje ženska osoba koja odskače od proseka svoje generacije, klase itd. Sve je to pripovedano jednim realističnom stilom a koji je vizuelno opet na momente vidno – i ukusno – estetizovan u kompozicijama, koloru, koreografijama...
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Sportski filmovi nisu bez razloga podžanr za sebe. Oni generalno imaju jednu prepoznatljivu matricu koju prate, a gde su iskušenja vezana za sportsko nadmetanje i iskušenja vezana za socijalne barijere ali i psihološke nedostatke likova prirodno prepletena i simbolički se dopunjuju. Horizont dramatične kulminacije najčešće je vezan za nekakav poznati momenat u budućnosti – važan meč, presudnu trku, susret sa dugogodišnjim rivalom – a za koji se protagonisti pripremaju.
Keiko, me wo sumasete od ove matrice odstupa na više načina, i zapravo se u određenoj meri bavi upravo njenom žanrovskom ustaljenošću i podrazumevanim građenjem drame na tome da se od gledaoca očekuje da navija za glavnog junaka a da se od glavnog junaka očekuje da pobedi. Ono kad je Roki Balboa zapravo izgubio presudni meč na kraju Rockyja je već bila skoro pa revolucionarna polemika sa rags-to-riches narativom, i Stallone se posle po tome svemu popišao kada je krenuo da gradi franšizu. Posle se malo iskupio sa Creedom, ali poenta je svakako ta da u slučaju Keiko, me wo sumasete poenta zapravo MOŽDA i nije u tome da glavna junakinja, Keiko, mora na kraju da pobedi nekakvu mitologizovanu protivnicu u ringu koji je metafora za čitav njen život i da ta pobeda daje smisao čitavom njenom životu. Film, zapravo govori nešto drugo i to je osvežavajuće mada nije ni sigurno da će gledalac, prilično sediran odmerenim tempom i ujednačenim tonom naracije uhvatiti poentu koju film zaista pravi pa se onda Miyake odlučuje za to da je jedan likova izgovori u kameru, za svaki slučaj negde na polovini filma pa se onda poslednja scena na to nekako prirodno ali i blago veštački nadoveže. No, film svakako misli sve najbolje sa tom poentom i ona je tako duboko ,,japanska" da je nemoguće ne osetiti mnogo simpatije za sve što film na kraju hoće da kaže.
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Keiko, me wo sumasete prati titularnu Keiko, mladu ženu koja ima, rekosmo, urođeno oštećenje sluha i od rođenja je gluva na oba uha. Ona je socijalno sasvim solidno uklopljena, ima ,,pravi" posao – sobarica je u nekom, koliko možemo da vidimo, pristojnom hotelu i dane provodi nameštajući krevete i zamenjujući peškire – a živi sa bratom, tokijskim hipsterom koji i sam radi u ugostiteljstvu i ima vrlo kul devojku, akustičnu gitaru i stalno se nešto snima na svom laptopu, verovatno sanjajući o kantautorskoj karijeri kada će moći da za deceniju ili dve, govori o tome da ga je rad u kuhinji restorana naučio životu. No, Keiko ima i ,,večernju" personu, kada ide u jedan od najstarijih tokijskih bokserskih klubova i tamo vredno trenira za svoje mečeve.
U početku filma, Keiko je već licencirana profesionalna bokserka i ima iza sebe jednu pobedu a uskoro vidimo kako osvaja i drugu. Uprkos svom senzornom oštećenju, a koje je sprečava da čuje uputstva trenera iz ugla, sudijine komande, pa čak i gong za kraj runde, njena posvećenost i istrajnost od nje čine legitimnu i uspešnu borkinju. Volja da se bori, pak, mora postojati kod onih kojima je borba zapisana u budućnosti i film predstavlja hronologiju Keikine potrage za motivacijom kroz period ozbiljnih iskušenja za sam klub.
Najveća prepreka koju gledalac ovde treba da savlada nije, kako su to razni napisi na internetu potencirali, spor tempo filma. Keiko, me wo sumasete nije naglašeno spor film i, imajući u vidu da je u pitanju niskobudžetna japanska drama o potrazi za unutrašnjom motivacijom i utemeljenjem identiteta, on je zapravo znatno britkiji od onog što biste očekivali da dođe iz Japana. Scene nisu dugačke, kadrovi nisu naglašeno nepromenljivi, Miyake NIJE Hamaguchi. Ne, film samo OSTAVLJA utisak sporosti na ime činjenice da on, tehnički gledano, nema zaplet. Ili, da to kažemo malo drugačije, da njegov zaplet takav kakav je, ima samo minimum dramske dinamike a koji čoveku može i da promakne ako ga hipnotišu scene koje samo prate Keikinu dnevnu i noćnu rutinu. Jer, Keiko nije ćutljiva protagonistkinja već protagonistkinja koja NIŠTA ne govori. Iako ,,tehnički" ne gluvonema, dakle, sa funkcionalnim glasovnim aparatom, Keiko nije zaista razvila moć govora na ime gluvoće pa se jedino, i to vrlo retko, usuđuje da izgovori reč ,,hai" (a to bi bilo ,,da") u momentima i pred ljudima kada se oseća emotivno a dovoljno bezbedno.
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Glumica Yukino Kishii, žena od tridesettri godine i sa preko šezdeset filmova i serija u svojoj dosadašnjoj biografiji je otud ograničena na glumu facijalnom mimikom, znakovnim jezikom i gestovima koji, pogotovo kada shvata da se oko nje nešto događa a ne može da čuje šta, imaju jednu razornu energiju i ranjivost u isto vreme. Izrazi lica, položaj tela i reakcije na pokušaje drugih da sa njom komuniciraju nam daju impresivan portret žene koja je intelektualno potpuno razvijena ali je potpuno odsustvo zvučnih senzacija tokom čitavog života čini nepobitno drugačijom od svoje okoline. Keiko je i emotivno ranjivija od ljudi oko sebe pa onda često, pogotovo u tekstualnoj komunikaciji sa majkom, bratom itd, ume da bude malo i agresivna, ne bi li kompenzovala tu ranjivost.
Boks je, onda, reklo bi se, idealan sport u kome agresija može da dobije svoje zdravo ili makar formalizovano (i srazmerno bezbedno) ovaploćenje, ali što film duže traje, gledaocu postaje jasnije da Keiko boks manje doživljava kao sukob u kome se pobeđuje a više kao kontakt između ljudi koji je ,,legitiman", nešto što joj, očigledno, u životu nedostaje.
Bazirana na knjizi koju je napisala Keiko Ogasawara, a koja je opet bazirana na stvarnim ljudima i događajima, priča ovog filma dosta presudno ovisi o likovima oko Keiko i ansamblu glumaca koji te likove oživljava i Miyake ovde radi sa nekim izvanrednim profesionalcima. Pogotovo su lik predsednika kluba (veteran Tomokazu Miura, koji je igrao i kod Kitana u serijalu Outrage o kome sam pisao pre par godina) i njegove supruge (takođe veteranka Nobuko Sendô) snažni i bitni za radnju time kako deluju na glavnu junakinju, i film onda u velikoj meri računa na njihove doprinose da perfektno oslika to kako i zašto se Keiko emotivno oslanja na predsednika, kreirajući spone koje idu dalje od pukog profesionalnog odnosa predsednika kluba i perspektivne bokserke.
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Realizam koji likovi uspostavljaju dopunjen je onda jednom elegantnom, ne nužno stalno nametljivom, ali umešno osmišljenom audiovizuelnom dimenzijom filma koja ide preko linije puke dužnosti i presudno je vezana za to kako Keiko percipira svet oko sebe. Kamera se često bavi Keikinim portretom u dužim, neprekinutim kadrovima – što je česta tehnika u filmovima gde je akcenat na unutrašnjem životu glavnih likova – ali su tu onda ponovljene scene sa ogledalima koje sugerišu ne samo da se među njima protagonistkinja oseća sigurnije (jer ima informaciju i šta je iza nje a koju ostali ljudi uglavnom primaju sluhom) već i da sebe vidi kao snažnu, sposobnu i zdravu. Bokserske koreografije tokom treninga su snimljene odlično i nude izvrstan vizuelni ugođaj, dajući gledaocu da oseti zašto se Keiko pronalazi u treniranju možda i više nego u samoim borbama. Na sve ovo dolazi vrlo pažljivo rađen dizajn zvuka koji gledaoca (i slušaoca) filma čini hiperosetljivim na informacije za koje je svestan da ih protagonistkinja nema. To kako bokserski klub odjekuje ritmičnim zvucima udaranja u džak ili krušku, tapkanjem preskakanja konopca i muklim vokalizacijama boksera čini da osetimo Keikinu ranjivost – i prepoznamo njenu snagu – upravo na ime toga što smo, zajedno sa drugim likovima iz filma, u prednosti nad njom.
I ovo je sve veoma efektan alat da se njime pravi jedna tiha, nenametljiva drama. Japanska finoća i formalno odnošenje u društvu su ovde takođe organski ugrađeni u prikaz Keikine borbe da nekako OSETI svet i ljude u njemu na intenzivniji način nego što se to od nje možda očekuje, pa iako ovaj film nije prenaglašeno konstruisan kao narativ o borbi za prevazilaženje invaliditeta, i generalno pokazuje borbu za samoidentifikaciju i uspostavljanje ravnopravnog odnosa sa svetom, on jako dobro funkcioniše na svakom od tih planova. Svaka čast.
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Venom: The Last Dance je toliko loš film da se iskreno nadam da je otvorio rupu u prostorvremenu i sve one ljude koji su iz neobjašnjivih razloga hrlili u bioskope da gledaju prva dva filma u Sonyjevoj najuspešnijoj franšizi napravljenoj od restlova ostalih nakon što im je Dizni kidnapovao Spajdermena makar naterao da se zapitaju koji im je kurac bio. U bioskope ušao prošlog Oktobra, od moje strane, po dužnosti i uz stisnute zube pogledan u bezbednim, kućnim uslovima pre neki dan, Venom: The Last Dance je poslednje ura za OVU verziju Venoma i, nadam se, poslednji put da Tom Hardy provodi šest godina neobrijan, slinav, podbuo, kako pokušava da seriju skečeva u kojima su potrebni i komičar i straight man odigra sam sa sobom. Venom: The Last Dance je i film koji kao da potvrđuje da kad neko jednom sedne da napiše istoriju Sonyjevih napora da od Marvelovih licenci naprave sopstveni filmski univerzum, ima da se otkrije da tu ničeg sem kokaina i prezira spram cele te superherojske dečurlije i ideje ,,filmmejkinga" kao nekakve grane umetnosti nije ni bilo.
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Zaista, teško je rečima dočarati sa kojom količinom kurobolje je napravljen ovaj film. Neću da kažem da su u Sonyju svesno i namerno sabotirali sopstvene napore i investitorski novac sa sladostrašću bacali u klozet zajedno sa praznim ampulama rekreativno korišćenog fentanila, ali ako se pogleda kako je ova firma tretirala superherojske predloške, pogotovo nakon što im je Dizni uzeo Spajdermena, utisak je da je to sve rađeno ne bez plana i programa nego potpuno preko volje, po dužnosti, na apsolutnom zakonskom minimumu produkcije i ni mrvu preko toga. Skoro da se čovek zapita što prave filmove kada je očigledno da ih mrze i da ne umeju?
I dobro, ako za Morbiusa (https://cvecezla.wordpress.com/2022/09/30/film-morbius/)i Madame Web (https://cvecezla.wordpress.com/2024/09/13/film-madame-web/) možemo da kažemo da su u pitanju bile dekadentne eskapade producenata koji za Morbiusa misle da je u pitanju francuski autor stripova a Madam Veb od Madam Baterflaj razlikuju samo kad su trezni (što se prošli put desilo jutro pred bar-micva obred najmlađeg bratanca Avija Arada), poverene na staranje ljudima koji nisu imali pojma šta se od njih očekuje i šta uopšte rade, pa su filmovi tako i prošli pred publikom, finansijski potonuli, osuđeni da u istoriji budu zapamćeni kao najniže tačke karijere svojih respektivnih zvezda (a koje su pre toga igrale u prvom Suicide Squad (https://cvecezla.wordpress.com/2016/08/05/film-suicide-squad/) i Fifty Shades of Gray, za ime sveta), Venom je bio retka svetla tačka Sonyjevog superherojskog autputa. Mislim, makar finansijski, prva dva Venoma su zaradila značajnu sumu novca i izborila Sonyju jaču poziciju u stalnim natezanjima sa Diznijem oko licence, pa je drugi Venom (https://cvecezla.wordpress.com/2021/11/26/film-venom-let-there-be-carnage/) i završen otkrićem da postoji multiverzum, sugestijom, ako već ne obećanjem, da će u nekoj narednoj iteraciji ovaj antiheroj konačno biti spojen sa Spajdermenom unutar nekakve buduće Diznijeve krosover akcije. I na kraju krajeva, prvi Venom (https://cvecezla.wordpress.com/2018/10/28/film-venom/) je režirao Ruben Fleischer, možda ne baš, jelte, jevrejski Martin Scorcese, ali čovek koji je pre tog filma ipak režirao, jelte, FILMOVE, i imao razumno dobro primljene radove poput Zombieland ili Gangster Squad.
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No, već sa drugim Venomom je Sony, kako smo i onomad pisali, pokazao da nema ni najmanju nameru da se stvari pomere na proverbijalni naredni nivo pa je Let There be Carnage režirao Andy Serkis, čovek koji, kako da kažemo, NIJE REŽISER, ma koliko meni bio drag, i taj je film bio, uz prihvatanje da su neki delovi bili tehnički kompetentni, još gori od već problematičnog keca. Pošto je i on zaradio respektabilnu količinu para – pogotovo jer je u bioskope ušao tokom još uvek postojećih pandemijskih restrikcija – treći deo ,,trilogije" smišljane u hodu i bez ikakve mape puta, improvizovane u letu, napravljen je tako što je scenaristkinja Kelly Marcel – žena koja je bila saradnik na scenariju sva tri filma pa se može nazvati svojevrsnim ,,lore keeperom" – apgrejdovana u režiserku.
,,Ali ja nikada nisam režirala film", možemo da zamislimo da se Marcellova branila kad su joj producenti ponudili viski, lajnu belog i standardni ugovor koji je otkucao ChatGPT, ,,pogotovo ne film sa budžetom od stodeset miliona dolara". ,,Nema veze, bejbe", verovatno su joj odgovorili, nakrivljujući kaubojske šešire i cereći se iza Rejban naočara, ,,nije da je ovo sad kao neki PRAVI film. To ti je više kao neka stendap komedija sa specijalnim efektima koje rade studenti druge godine filmske produkcije na Megatrendu".
,,Ali Megatrend je izgubio licencu..." verovatno je prošaptala Marcellova svesna da se njen jecaj nije ni čuo od bučnog ušmrkivanja sa druge strane stola.
https://i.imgur.com/9hRQ864.png (https://i.imgur.com/9hRQ864.png)
Šta je toliko loše u ovom filmu? U napasti sam da kažem ,,sve" ali ne plaćate me da svoje oštre, analitične kritike sažimam baš do te mere, a i to ne bi bilo sasvim fer. Venom: The Last Dance, recimo, ima Rhysa Ifansa, povratnika u ,,Sonyjev Marvelov univerzum", sada sa dužnosti igranja konfliktnog negativca u The Amazing Spider-man (i No Way Home (https://cvecezla.wordpress.com/2022/04/08/film-spider-man-no-way-home/)) ražalovanog na sporednu ulogu koja nema nikakve veze sa bilo čim što smo videli u prva dva Venom filma i zapravo nema nikakvu funkciju u scenariju. Porodica neo-hipika koja je keširala svu ušteđevinu oca što je dobro zarađivao u IT sektoru ali je rešio da ispuni davnašnju želju, ode u Oblast 51 u Nevadi i proveri postoje li ZAISTA ti vanzemaljci je u ovaj film spuštena kao iz nekog drugog scenarija, možda neke šarmantne, možda i crtane televizijske serije o Venomu koji sedi u kombiju šašave familije što se vozika po zapadnoameričkim pustarama i uz pratnju akustične gitare peva Bowiejev Space Oddity, povremeno se susrećući sa svemircima koje američka administracija i dalje ljubomorno krije. Marcelova i Hardy – koji zajednički potpisuju ovu priču verovatno jer je sve druge saradnike bilo sramota da im se ime pojavi na špici – su zamislili da ovo bude momenat humanizacije glavnog junaka, trenutak mirnoće, podsećanja na jednostavne lepote života neopterećenog velikim brigama i pitanjima, ali do kraja filma scenario skroz zaboravi na ovo i famlija koji je Eddie Brock pronašao pukom slučajnošču ne figuriše ni na kakav značajan način u finalu. No, Rhys Ifans kao pater familijas, jedan simpatični hilbili-kliše-koji-ipak-ima-nekakvu-dubinu-i-duhovnost je vrlo solidan i, u filmu prepunom tonalnih neusklađenosti između glumaca uspeo je da izbori autonomnu teritoriju u kojoj je izgradio NEKAKAV portret, sa sve karakternim lukom.
Takođe, tokom velikog akcionog finala filma, ima jedan kadar u kome je kompozicija urađena valjano a kamera se kreće promišljeno da uhvati Venoma-na-motoru kako juriša da spase-ceo-svet i ovo u čoveku izazove trunčicu uzbuđenja. I, evo, specijalni efekti i CGI iako ne sad kao DOBRI, za klasu su iznad katastrofalne muljavine iz prvog filma, pa i onog što je pružio drugi.
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Sve ostalo je uglavnom vrlo, vrlo loše. Ako volite, recimo, Toma Hardyja, teško mi je da zamislim da se nećete osećati posramljeno što ga gledate kako ceo film mamurno tetura po setu, bos, polubos (kasnije u ukradenim cipelama), neuredan i izgužvan i svađa se sa glasom u sopstvenoj glavi. Bilo bi darežljivo reći kako je cela Venom trilogija zamišljena kao satirična dekonstrukcija superherojske formule, sa glavnim junakom koji programski nikada neće dobiti trenutak da bude ,,pravi" heroj, pa čak ni da izgleda makar cool u nekoj od scena, i verovatno se i ovde može prevashodno govoriti o preziru koji studio oseća spram materijala sa kojim se radilo. ,,Ne date nam Spajdermena? Dobro, gledajte šta ćemo da uradimo sa OVIM luzerom" kao da su rekli u Sonyju pa je Venom: The Last Dance pretvoren u parodiju prva dva Venom filma, praktično sitkom u kome Eddie Brock ide unaokolo mrmljajući poput dementnog beskućnika, nesposoban da čak i kada priča sa drugim ljudima zaista fokusira svoj pogled na njihovo lice, dok mu se simbiot u glavi ponaša poput napaljenog tinejdžera koji je roditeljima rekao da ide kod druga da uče matiš preko vikenda a onda autostopom zapalio za Las Vegas.
To da se ni jedan jedini put nisam nasmejao tokom prve polovine filma u kojoj Hardy obe ove uloge igra odvrćući tikove i aspergerovsku mimiku do daske valjda pokazuje da se ova komička rutina do trećeg filma dobrano izlizala i da više ni tekst ni gluma ne mogu da je spasu od eksplozije krindža.
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Ali dobro, možda volite stripove o Venomu. Možda, čak, mislite da u trenutku dok Marvel, skoro pa slučajno nabasavši na scenaristu koji Venoma shvata ozbiljno, izdaje verovatno najbolji serijal o ovom glavnom junaku u svojoj istoriji, ima smisla da se strip-predlošci konačno uzmu kao legitiman izvorni materijal na kome bi bili zasnovani scenario i radnja filma. Možda ste se čak i malo ponadali najboljem kada u uvodnoj sceni filma Knull – kreator svih simbiota i božanstvo, jelte, ,,starije od univerzuma" – na vas izruči tovar ekspozicije i objasni da mu je potrebno da nađe ,,kodeks" kako bi se oslobodio iz zatvora u koji je smešten a da taj ,,kodeks", štagod TO bilo nastaje kada simbiot oživi svog domaćina a ,,životne sile" im se onda neraskidivo vežu. Knull je rekonstruisan dovoljno verno svom strip-predlošku to malo što se vidi (igra ga, naravno, Andy Serkis, verovatno se snimajući telefonom ispred grin skrina u sopstvenoj garaži), ali naravno da Venom: The Last Dance nema ni budžet ni ekspertizu ni, uostalom, odobrenje šefova studija da se ozbiljnije upusti u adaptiranje priče King in Black iz stripova i da je ovde Knull iskorišćen prevashodno da zabaci udicu za nekakav budući nastavak Venoma ili štogod slično, u kome neće više biti Toma Hardyja i sve likove će igrati AI.
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,,Dobro, ali multiverzum, kažete vi", sada već spremni da malo redukujete svoja očekivanja, ali PRC, Venom: The Last Dance multiverzum koristi kao pančlajn za neduhovitu slepstik scenu na početku u kojoj simbiot pravi haos u kafani trudeći se da mamurnom Brocku napravi Bloody Mary i njegova proklamacija da mu je posle svega ,,dosta multiverzuma" služi kao opravdanje da se ovaj film svede na mnogo skromniju priču o Venomu koji iz Meksika pokušava da stigne do Njujorka iako je Brock tražen od strane svih mogućih obaveštajnih agencija i gde god se na ulici pojavi snimi ga neka kamera, a ako on i simbiot pređu u ful-Venom modus, CGI čudovišta iz drugog univerzuma će odmah znati gde su i, sledeći Knullovu direktivu, pokušati da ih uhvate i unište.
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OK, a drugi Venomi? Scream? Agony? Toxin? Anti-Venom? Film u svom finalu ima scenu u kojoj se nekoliko simbiota različitih boja vezuje za ljude – sasvim ignorišući pravila koja se prvi film još kako-tako trudio da uspostavi – ali ovo je najobičnija CGI brljavina i najbolje što za nju mogu da kažem je da sam bio nekako sveže uvređen time što autorka u minut do dvanaest pokušava da nas natera da obratimo pažnju na sporedne likove koje je u film ubacila verovatno iz neke druge, ekstenzivnije verzije scenarija ali je onda direktiva studija, da ovo mora da bude kratak, ekonomičan film od sat i po, sve pretvorila u neugodnu procesiju lica i imena za koja ne znamo ko su i zašto bi trebalo da nas bude briga. Uzeti ženu koja prevashodno piše televizijske serije – mada, je pisala i scenario za pominjani Fifty Shades of Gray – i zadužiti je da napiše i režira brz, akcijom nabijen superherojski film je očigledno bila malo rizična odluka i vidi se da je Marcelova ovde imala i ambicija i ideja mnogo više nego što je u ovaj format moglo da se smesti. Otud i pristojni glumci kao što su Juno Temple, Chiwetel Ejiofor (igrao malu ulogu u drugom Doktoru Strejndžu (https://cvecezla.wordpress.com/2022/09/23/film-doctor-strange-in-the-multiverse-of-madness/), dakle, kod ,,pravog" Marvela), i Clark Backo u ulogama žena i muškaraca sa raznim prošlostima i razne investicijama u simbiote i motivacije da se njima bave, a koji moraju da spidranuju svoje karakterizacije kroz te dve-tri scene što imaju na raspolaganju i izgovaraju infodampove kako bi se gledalac nekako ubedio da su ovo stvarne osobe i da njihove sudbine nekako imaju određene važnosti u ovoj priči. Ali naravno da nemaju. Čak ni lik Stephena Grahama, koji se pojavljivao u prošlim filmovima ovde nema nikakav jasan kontinuitet sa onom što se u tim filmovima događalo i u par scena koje Graham dobija se objašnjava nekakva njegova veza sa simbiotima a koja opet, nagađate, nema nikakve veze sa onim što se do kraja filma dogodi sa Venomom. Takođe, zašto, uh, američka vojska ,,demontira" Oblast 51 time što preko svih zgrada i postrojenja sipa stotine tona kiseline, kao da one simpatične građevinske mašine sa kulgom na lancu u ovom univerzumu ne postoje? Da li to znači da ne postoji ni Duško Dugouško? A nemaju, setimo se, ni Spajdermena, dakle, ovo je NAJGORI od svih univerzuma? Oh...
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Dobro, možda ste se samo radovali dovitljivim alotropskim modifikacijama Venoma koji ne sme da bude ,,ful" ali može da se simbiotski poveže sa drugim živim bićima. Venom-riba, Venom-žaba i Venom-konj su onda bukvalno komični predasi napravljeni skoro isključivo za trejler filma i stvarno bitne scene u kojima se Hardy delimični ili čitav morfuje u Venoma su, rekosmo, za nijansu bolje urađene nego u prva dva dela ali ne donose nikakvu novu vizuelnu ideju.
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Štaviše i akcija je generalno snimana prihvatljivo (ako već ne inspirisano) ali je ima MALO, sa PG-13 kanibalizmom, probadanjima i dekapitacijama i previše komičkih gegova ubačenih u CGI animacije da bi akcione scene imale ikakvu energiju vrednu pomena.
Venom: The Last Dance je bedan, nedostojan kraj trilogije koja je, da se razumemo, bila loša od samog početka. No, režiseri prvog filma, pa delom onda i drugog su, MAKAR shvatali šta su žanrovske mogućnosti koje predložak pruža i tenzija između akcije, komedije i horora je bila koliko-toliko uspostavljena. Ovo nije u konačnici dalo dobre filmove, ali oni jesu, uz sve nedostatke u domenu pripovedanja, doslednosti motiva, kontinuiteta itd. imali priče koje se nekako drže na okupu. Sa Venom: The Last Dance je ovo potpuno razbucano. Priča je vidno skarabudžena iz više različitih verzija scenarija sa likovima koji imaju samo ostatke karakterizacija koje je trebalo da razviju. Komedija je je isforsirana, nije smešna i kontamnira i dramske i akcione delove. Horora nema ni trunke iako su tu nekakve koščate kreature iz svemira koje jedu simbiote i Andy Serkis sa prljavom koji se krevelji u kameru pa je nedostatak nekakvog zanimljivog negativca još vidniji kada se setite da se makar Woody Harrelson za prošli film ozbiljno potrudio. Film pritom obećava daleko više nego što isporučuje, pa tako ne samo da je čitav King in Black zaplet ostavljen za neki nastavak – za koji se molim da nikada ne bude snimljen – već čak ni Eddie Brock na svom putovanju do Njujorka ne stiže dalje od Las Vegasa. Road movie gde se na ,,roadu" provede manje od trećine radnje i pređe distanca koju malo jača kola odrade za tri sata je zaista promašio svoj žanr, ali Venom: The Last Dance je film koji je promašio sve.
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Pitanje da li je ovaj film gori od Morbiusa ili Madame Web je intrigantno ali je i posve akademsko – kada vas teraju da iz godine u godinu gutate pehar ispunjen mokraćom u koju je umešano tucano staklo nije toliko bitno je li mokraću donirao konj, medved ili mravojed. Svi ti filmovi su, dakle, najgori na svetu a Venom: The Last Dance ima tu distinkciju da sa prezirom sahranjuje jedinu uspešnu franšizu koju je Sony imao – mada je zarada i dalje zabrinjavajuće visoka za ovoliko očajan film – i u istom dahu ima drskosti da nam – putem ne jedne već sa dve post-kredits sekvence – najavljuje nastavke. Kad Marvel ima formulu, sigurno misle u Sonyju, šta je nama teško da se pravimo da je i mi imamo. Pa neka nam je Knull u pomoći.
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Bloodsuckers - A Marxist Vampire Comedy, ili u nemačkom originalu Blutsauger, je, naravno, film kao sniman za mene: farsična komedija smeštena u Baltičko priobalje Vajmarske Republike Nemačke, u leto 1928. godine kada je preko, u Sovjetskom savezu Staljin preuzeo dizgine daljeg, jelte, razvoja komunizma, a u kojoj se Marksova metafora o tome da su kapitalisti vampiri što sisaju krv radničke klase shvata doslovno i koristi kao zamajac (tragi)komedije zabune. No, Blutsauger je istovremeno i film koji prilično jasno pokazuje limitacije pristupa materijalu gde se pokušava da se istovremeno bude i Monti Pajton skeč o buržoaskoj dekadenciji ali i ozbiljan dvosatni film za festivale koji ima nešto bitno da kaže o ljudskom, jelte, stanju.
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Film sam pogledao u okviru MUBI-jeve promocije komedija dostupnih putem ovog servisa, i, imajući u vidu da je u pitanju MUBI, to da sam se tokom Blutsauger sasvim od srca i glasno nasmejao nekoliko puta je sasvim pristojan skor. Blutsauger decidno nije melbruksovska evisceracija istorijske epohe u kojoj geg stiže geg, parodija jaše parodiju a slepstik rutine i komične plesne tačke sa pevanjem i obraćanjem direktno u kameru garantuju da će smeh stizati kao na pokretnoj traci. Blutsauger je, naprotiv, niskobudžetni evropski film u kome se humor nalazi velikim delom u odsustvu: odsustvu reakcije likova na očigledno apsurdne okolnosti u kojima se nalaze, odsustvu razumevanja ansambla šta se zapravo dešava u simpatičnom nemačkom letovalištu gde je i leti dovoljno sveže da muškarci mogu unaokolo da paradiraju u prslucima, sakoima i sa šeširima na glavama, odsustvu snažnijih emotivnih reakcija karaktera čak i kada im se dešavaju strašne stvari, odustvu budžeta za specijalne efekte gde glumci doslovno moraju da se ukoče u istoj pozi kako bi se iz kadra ,,izmontirao" lik koji treba da nestane, konačno, odsustvu konzistentnosti između onog što nam film govori i onog što nam film pokazuje.
Farsičnost Blutsauger je njegovo najjače oružje ali i njegov najveći rizik, jer nešto što je samorazumljivo i po sebi energično u kraćoj formi, na primer skeča ili kratkog filma, može u dvosatnoj produkciji biti razmazano u pretankom sloju preko narativa koji pokušava da istovremeno ima nekoliko emotivnih drama u svojoj srži, da prati nastanak filma-u-filmu, da ima opširne flešbekove na prvu deceniju Sovjetskog saveza i to kako se u njoj Marksov narativ o diktaturi proletarijata pomerio u smeru obične diktature, da konačno i bez ostatka prikaže licemerje buržoazije ali i radničke klase, a na pozadini dva velika ideološka konstrukta – komunizma i fašizma – koji će, svaki na svoj način, uskoro ostaviti ogroman pečat na istoriji Evrope.
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Scenarista i režiser Julian Radlmaier je zaista i snimao kraće forme baveći se u svojim dosadašnjim radovima (kratki filmovi A Spectre Is Haunting Europe i A Proletarian Winter's Tale, te dugometražni prvenac Self-Criticism of a Bourgeois Dog) sličnim temama. Svi njegovi filmovi, uključujući ovaj, koji je premijeru imao 2021. i još uvek mu je najnoviji rad, su uzdržane komedije u kojima se marksistički posmatran klasni problem i njegova istorijski predlagana rešenja izlažu analizi i kritici protkanoj apsurdističkim elementima, sa očiglednim simpatijama za Marksovo mišljenje ali i sa željom da se pronađe gde su stvari zapele u implementaciji Marksove vizije. U jednoj od scena Blutsaugera jedna od radnica iz lokalne fabrike a koja je i članica radničkog kružoka što se skuplja na plaži da čita Kapital i diskutuje o Marksovim učenjima, insistira da prelazak iz eksploatatorskog, kapitalističkog sistema u besklasno društvo u kome radnici poseduju sredstva za proizvodnju a višak vrednosti se distribuira ekvitabilno na celu populaciju mora da dođe spontano, organski. A ovo se dešava u trenutku dok se lokalna masa okuplja noseći baklje i zemljoradnički alat, spremajući se da linčuje lokalnu buržujku, naslednicu kozmetičkog biznisa koji je razradio tata, jer se proneo glas da je ona vampirica.
Radlmaier već u uvodnim scenama sebi postavlja pančlajn time što jedan od radnika u pomenutom kružoku pita da li je istina da su kapitalisti vampiri, citirajući nekoliko odlomaka iz Kapitala u kojima se to pominje, da bi mu, jelte, drugovi objasnili da je u pitanju slikovito, alegorijsko izražavanje. Kada vidimo da pomenuta bogata naslednica, Octavia zapravo ujutro sisa krv svom slugi, Jakobu, a što je samo trešnja na vrhu torte njenog životnog stila sastavljenog od dokolice, ispraznog filozofiranja i čekanja da se NEŠTO zanimljivo desi, ovo postavlja osnov za ,,žanrovskiji" film u kome će se tropi old school vampirskog horora iskoristiti da kanališu radnju.
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No, ovo se dešava samo u najopštijem smislu. U praksi, radnja filma kreće kada Octavia upozna ,,Ljovušku", čoveka koji se predstavlja kao ruski Baron što je nakon revolucije morao da izbegne iz Sovjetskog saveza i tako razvlašćen, eksproprirane imovine, traži nekakvo mesto pod suncem za sebe u ,,slobodnoj" zapadnoj Evropi. Naravno, već u prvoj sceni u kojoj se on pojavljuje gledalac vidi decidno nearistokratsko ponašanje a već prve večeri koju on provodi u Octavijinoj kući gde je pozvan da bude gost, i Octavia shvata da nije u pitanju nikakav izbegli plemić: na kraju krajeva ovo je čovek koji ne zna kao se pravilno koristi escajg da se jedu puževi, niti zna u koje se čaše, po bontonu, sipa šampanjac.
Radlmaier ovde sebi postavlja sasvim zdravu osnovu za komediju situacije: Octaviji je toliko dosadno u životu da je i lažni plemić sasvim solidan dodatak jednoličnoj dnevnoj rutini sedenja na plaži, šetanja po šumi dok Jakob drži suncobran iznad njene glave, ispraznih konverzacija sa lokalnim pripadnicima njene klase. Ona mu i dalje dopušta da živi sa njom ali traži da u zamenu čuje njegovu stvarnu životnu priču, a Ljovuška objašnjava da je on u stvari skromni momak sa sela koji je posle revolucije pošao u grad, tamo se jedva nekako snašao da radi u fabrici ali posle toga bio regrutovan od strane samog Ejzenštajna da glumi Lava Trockog u njegovom monumentalnom Oktobru, a što mu je donelo svojevrsnu popularnost, uključujući i lepu verenicu. Znamo da je premijera filma, koji je trebalo da izađe na desetogodišnjicu revolucije, odlagana do Januara 1928. jer je iz finalnog reza valjalo odstraniti sve scene sa Trockim koji je u međuvremenu izbačen iz Komunističke partije i bio smatran disidentom. Ljovuška je, tvrdi on, onda i sam iskusio društvenu ostrakizaciju, devojka ga je promptno ostavila a on je spas od čak i mogućeg pritvaranja jedino mogao da nađe u egzilu.
Octavia prema Ljovuški oseća mešavinu sažaljenja i seksualne privlačnosti pa iako se radi o čoveku iz druge društvene klase, ona ne samo da mu omogućava da živi sa njom (on uzvraća time što kuva i sprema po kući) već ga i drugim buržujima iz svog socijalnog kruga predstavlja kao izbeglog ruskog barona, održavajući njegovu fasadu, ali mu i pomažući da snimi vampirski film kako bi imao nešto da ponese sa sobom kada krene preko Atlantika u Ameriku i holivudskim producentima pokaže da je zaista glumac sa iskustvom. Film snimaju Ljovuška, Octavia, Jakob i lokalni kineski imigrant koga zovu Algensammler – inače proizvođač i prodavac pomade od algi, a u mestu koje ima veliku fabriku pomada – a koji igra vampira jer je, naravno, egzotičnije i zanimljivije kada vampira igra ,,drugi". Ovo je Radlmaierovo signaliziranje završnice filma i prepoznavanje istorijske pravilnosti u kojoj su za klasne tenzije imanentne bilo kom kapitalističkom društvu često – lažno – optuživani imigrantski radnici. Štaviše, u jednoj prilično uspeloj geg-sceni vidimo kako radnici iz fabrike pomade dolaze da od gospodina Algensammlera kupe njegove pomade, napravljene od morske trave koju ovaj sam skuplja sa plaže, uredno mu daju pare a onda pljunu na morsku travu i odu svojim putem. Na pitanje zašto se to dešava, Algensammler objašnjava da je njegova pomada bolja od onoga što oni prave u fabrici pa ga radnici smatraju za pretnju i konkurenciju ali da istovremeno kupuju pomade kod njega a ne u fabrici jer nadnica koju dobiju od vlasnika fabrike nije dovoljna da kupe ono što sami, svojim rukama prave.
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Blutsauger je dosta efektan u ovakvim omeđenim momentima kada se gegovi odvijaju laganim tempom, sa likovima koji ne ispoljavaju prevelike afekte i ,,glasne" emocije a poente se spuštaju u tekst sa bezizraznom glumom i ravnom intonacijom. Apsurdistički humor ovde radi šta treba da radi ukazujući na apsurde u stvarnom svetu koje je ljudsko društvo nekako prihvatilo kao datosti i normalizovalo eksploataciju. Drugde film dosta spretno radi sa farsičnim materijalom, signalizirajući da ovo što gledamo nije ,,stvarna" rekonstrukcija epohe Vajmarske republike i post-revolucionarne Rusije, i da bi, zapravo, prikupljanje budžeta koji bi tu stvarnu – ili makar ubedljiviju – rekonstrukciju obezbedilo, na neki način bilo u suprotnosti sa poentom filma koji se trudi da pokaže dekadentnost kapitalizma. Crvena konzerva Koka kole koju Jakob pije za vreme večere u jednoj od ranih scena filma je samo najava daljih anahronizama, od modernog Kawasaki motora koji vozi Octavia, preko savremene odeće koju Ljovuška nosi u Sovjetskom savezu dvadesetih godina prošlog veka pa do butke novčanica od po sto evra koje on i Jakob dobijaju od Octavije u jednoj od scena kada ih šalje u grad u nabavku. Film ovde potkazuje samog sebe kao ideju koja nema način da se STVARNO ovaploti unutar svog odabranog medijuma i to svakako može da izazove raspoložen kikot na strani gledaoca.
No, kako rekosmo, film ima svoja ograničenja i ona nisu sva vezana za niski budžet. Štaviše, kvalitet kamere, osvetljenja i montaže, pa i muzike su na nivou koji ne sugeriše nizak budžet: kadrovi su ovde izuzetno promišljeno postavljeni, Radlmaier ni jednu sliku ne pravi dok ne bude siguran da je ona u likovnom smislu ,,puna" i angažujuća za oko i duh, u jednoj ranoj sceni kada Jakob silazi niz stepenište Octavijine kuće i nosi lampu, ono što se dešava sa svetlošću i senkama je fascinantno. No, sva ova lepota, a uključujući i neke vrlo solidne kostimografske radove sa likovima, bude malo i ispucana u prazno jer film, rekosmo, poentira pre svega u geg-scenama sa jasnim apsurdističkim naznakama kojima ta pedantna vizuelna disciplina malo doprinosi ali nije presudna, a sa druge strane spor tempo filma znači i da gledalac malo gubi interesovanje za likove koji su na kraju krajeva isuviše karikirani u svom ravnom, smorenom izražavanju, da bi bili ,,stvarni".
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To je, naravno, rizik pravljenja filma koji ima skeč-energiju ali pokušava da je ravnomerno distribuira na dvosatno trajanje i Radlmaierovo rešenje za ovaj problem je da unutar glavnog zapleta – snimanje filma o vampirima kako bi Ljovuška imao sa čim da dođe u Holivud – i metazapleta o kapitalističkim vampirima koji će uspešno za svoja nepočinstva optužiti druge, one koji pošteno žive od svog rada a ne od investiranja u sredstva proizvodnje i ekploatacije tuđeg, ubaci i podzaplet o ljubavnom trogulu u kome je Jakob nesrećno zaljubljen u Octaviu, koja to ni ne primećuje jer je ona sama fascinirana Ljovuškom i gleda ga kao zanimljivu igračku, a sam Ljovuška Octaviju od pukog sredstva da postigne svioj naum polako počinje da percipira kao zapravo privlačnu mladu ženu koja u njemu budi i iskrene emocije.
Ovo je dovoljno emotivnog balasta za sasvim solidan indi-film od osamdeset ili devedeset minuta sniman tokom pandemije, ali taj se film nalazi u ljušturi dvosatne farsične eksploracije marksističke alegorije o kapitalistima kao bukvalno krvopijama i mnoge stvari se tu dosta natežu. Kako su i drugi primetili pre mene, držanje ovolike količine loptica u vazduhu, gde istovremeno snimate What We Do in the Shadows i Death of Stalin, zahteva veliko majstorstvo u egzekuciji i ova produkcija nije uvek na visini zadatka.
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Individualni elementi su uglavnom dobri; glumci su, recimo zanimljivi i Lilith Stangenberg igra Ostaviu kao razmaženu naslednicu koja sebe smatra progresivnom pa iako Jakoba tretira kao ne samo slugu već i doslovno svakojutarnji obrok, ona insistira da je on njen ,,lični asistent" i da je ne zove ,,frojlajn", dopuštajući mu da obeduje sa njom i ukazujući Ljovuški kako njegovu konzervativnu aristokratsku prirodu sigurno šokira njen moderni, ,,američki" stil života.
Jakoba igra Alexander Herbst i on daje stereotipni portret zaljubljenog gika koji vrlo malo govori jer ga vrlo malo pitaju ali u svojoj glavi vodi duge monologe od kojih su neki, naravno, dosta duhoviti (na primer onaj da se ružni ljudi uglavnom zadovolje da budu sa drugim ružnim ljudima ali da je on zaljubljen u Octaviju koja je lepa, ergo, sam ne može biti ružan), no njegov lik je sveden na ,,puppy stare" statiku i nema dovoljno prostora da ga zaista percipiramo kao katalizator kulminacije radnje u finalu filma onako kako to scenario, reklo bi se, želi.
Gruzijski režiser i scenarista Aleksandre Koberidze igra Ljovušku i njegov performans je u skladu sa farsičnom osnovom filma, lišen gotovo svakog afekta, sav u bezizražajnim, statičnim pogledima u kameru, efektan ali, ponovo, pre svega unutar geg-formata. U okviru filma koji ipak treba da ima i ,,stvarnu" radnju sa zapletom, razradom, kulmnacijom, preokretom itd, njegov lik je vrlo jednodimenzionalan i snažan kontrast mu čine vrlo solidne minijature što ih daju Daniel Hoesl, Corinna Harfouch ili Andreas Döhler, dajući farsi malo, jelte, farsične energije. Poseban shout out zavređuje Anton Gonopolski koji Ejzenštajna igra u tih par kratkih kadrova što se ovaj vidi i mada ne stigne da izgovori ni jednu reč, SJAJNO skida sumanutu artističku energiju za koju makar zamišljamo da je krasila sovjetskog genija.
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Takođe, kako rekosmo, muzika je solidna – tamo gde je ima – i generalno uredan i lep vizuelni sloj filma pomaže da ovo bude sasvim prijatno za gledanje od početka do kraja. No, Radlmaier tovari previše podzapleta i likova u film da bi uspeo da se sa njima izbori, pogotovo u tom statičkom, sporom režijskom postupku koji je usvojio pa onda i finale u kome gledamo kako lokalci, uključujući proletere i buržuje, zajednički grade neprijatelja protiv koga mogu da se složno okrenu i odbrane svoju vajmarsku utopiju – što će je vrlo brzo, znamo, skršiti uspon nacista na vlast a zatim okupacija makar ovog dela države od strane SSSR – ne da nije dovoljno efektno već kao da se film u njemu malo raspada po šavovima, nesiguran da li da potencira emotivnu dimenziju odnosa likova, neiskrenost klasnog bunta proletera, dekadentnost građana ili nešto četvrto.
Dakle, film kao sniman za mene: nesavršen, nedopečen, možda čak i nedorečen, ali sa srcem na zanimljivom mestu i svakako ne neprijatan da se vidi i promisli. Pa ako volite, vi izvolite na MUBI.
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Donnie Yen nije samo jedna od navećih hongkonških i kineskih zvezda akcionih filmova, on je i neka vrsta podsećanja da nadljudi postoje i hodaju među nama, neko ko bi trebalo da na vreme bude prepoznat kao deo svetske nematerijalne baštine i tretiran sa dužnim poštovanjem. Čovek sa filmskom karijerom sada već dužom od četiri decenije je pre nekoliko godina svojoj ženi – manekenki Cissy Wang – obećao da se sprema za penziju, ali je ove planove poremetilo ne samo to Yenovo angažovanje u Holivudu i davanje neke vrste akcionog legitimiteta četvrtom nastavku filmskog serijala John Wick već i njegov prelazak u autorske vode u rodnom Hong Kongu.
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The Prosecutor je tek drugi film koji je Yen režirao, nakon što je iste godine kada i četvrti John Wick – 2023. – izašao njegov režiserski debi u Hong Kongu, new school wuxia akcijaš sa istorijskom podlogom i kostimima, Sakra, a koji je uprkos možda ne savršenim ocenama kritike postigao zavidan uspeh poglavito u istočnoazijskim bioskopima. Sa The Prosecutor se Yen vratio iza kamere sa takvom samouverenošću da je ovaj hibrid sudskog trilera i akcionog filma od svoje premijere krajem Decembra prošle godine (prvo u Hong Kongu, zatim u ostatku Kine, a onda i u inostranstvu) za, evo, nepunih pet meseci zaradio više nego trostruk iznos svog nemalog budžeta od, za hongkonšku produkciju vrlo respektabilnih, 38 miliona (američkih) dolara.
Možda je impresivnije od same zarade to da Yen, koji do pre dve godine nije ništa režirao (ako se ne računa da je potpisan kao ko-režiser nemačke televizijske serije iz devedesetih godina, Der Puma - Kämpfer mit Herz, na kojoj je prevashodno bio zadužen za koreografiju i režiju akcionih scena) sa ovim filmom demonstrira jedan artikulisani, ali punokrvni, pa na momente i razuzdani vizuelni izraz, pokazujući da jedna od najvećih zvezda hongkonškog akcionog filma ima štofa i spretnosti da kreira filmove glavnog toka što će rezonirati sa publikom širokog zahvata i legitimisati žestoku akciju kao deo jedne ambicioznije narativne i konceptualne konstrukcije. Mrmljanja fanova da je ovo najbolji Yenov film još od Flash Point iz 2007. godine nisu beznačajna, pogotovo ne kada se zna da su u pripremi nastavak Flash Point ali i peti Ip Man, dakle serijal koji je usledio odmah posle Flash Point (sa istim čovekom, Wilsonom Yipom, u režiserskoj stolici) i od Yena konačno napravio zvezdu u Kini ali i među zapadnim poštovaocima kineskog akcionog filma.
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Jer, na neki način, The Prosecutor je veoma dobar sažetak onoga kako Donnie Yen danas vidi sebe, film koji ima jednu didaktičku ambiciju, narativ u čijem je centru moralno beprekorni pojedinac sa dužnošću da establišment nikada ne dovede u pitanje ali da predstavlja njegovu savest i požrtvovani korektiv u momentima kada je to potrebno.
The Prosecutor je isprva bio zamišljen kao ,,čista" sudska drama. Scenarista Edmond Wong, inače i ranije Yenov saradnik, je tokom pandemije napisao film kao pravnički procedural i nadmetanje u sudnici, bazirajući priču na istinitom događaju u kome je čovek, čiji je jedini greh bio to što je drugome – uz naknadu – pozajmio svoju poštansku adresu da na nju stigne paket, završio na sudu kao osoba umešana u trgovinu narkoticima. Producent Raymond Wong je onda 2023. godine Yenu ponudio glavnu ulogu a ovaj je prihvatio i da igra i da režira, prirodno transformišući originalni narativni predložak u film sa dosta akcije. Produkcija je trajala nešto duže a film je koštao više nego što je inicijalno bilo predviđeno jer je Yen sa jedne strane tražio – i dobio – da u njemu glume neka od legendarnih imena hongkonškog filma, a sa druge je za potrebe akcione koreografije i koordinacije akcionih scena ovde upošljen iskusni japanski tim na čelu sa Takahitom Ôuchijem (sa kojim je u paketu stigao i njegov česti saradnik, Kenji Tanigaki) – koji je već sarađivao sa Yenom na Enter the Fat Dragon – i jezička barijera između dva dela ekipe je proizvela izvesne frikcije i usporila snimanje.
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Za The Prosecutor vredi reći da se u finalnom produktu ne primećuje da je film prolazio nekakve specijalne porođajne muke; ovo je u sebe vrlo siguran rad koji svoje skoro dvosatno trajanje pregazi dinamičnim korakom, koristeći oprobane narativne tehnike i vizuelna rešenja i uspevajući da taj svoj neuobičajeni žanrovski spoj učini više nego funkcionalnim. Fer je reći da ovde akcije ima, proporcionalno, manje nego što biste zatekli u ,,običnom" filmu Donnieja Yena, ali to je uglavnom zato što je ovo duži film pa je broj razbijenih glava i atraktivnih nokauta po jedinici vremena nešto niži. Fer je reći i da su pasaži sudske drame ultimativno jednostavni i da od početka do kraja ponavljaju jednu te istu dinamiku, sa sudijom koji se nervira što tužilac kao da diskutuje u korist optuženog, sa optuženim koji se znoji i moli u svom sedištu smeštenom iza rešetaka, sa hongkonškim pravnicima koji za suđenja oblače crne toge i meću na glave bele perike sa loknama i skloni su recitovanju inspiriativnih monologa pred publikom.
No, kvalitet akcije je takav da zapadne produkcije sa četiri ili pet puta više para u budžetima mogu o njemu samo da sanjaju, a scenario ionako scene u sudu ne zamišlja kao nadmudrivanje između advokata odbrane i zastupnika tužbe već kao mesta na kojima će Yenov lik, titularni tužilac, imati priliku da sistem podseti šta je ZAISTA njegova svrha i da kolege inspiriše da budu bolji.
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Da bismo znali šta dobijamo, The Prosecutor počinje scenom policijske racije na sklonište trgovaca ilegalnim oružjem i ovo je URNEBESNA porcija brutalnosti koja od nula do sto stiže za pet sekundi i postavlja očekivanja na sumanuto visok nivo. Yen kao režiser – ali i glavni učesnik šorke na ekranu – i japanski stručnjac kao koreografi akcije ovde spajaju standardni hongkonški shoot 'em up program sa borilačkim veštinama i kostolomnom kaskaderskom krljačinom, ali i prave naklone zapadnim produkcijama, prevashodno podsećajući kako je John Wick svoje dobro ime izgradio upravo imitirajući azijske koreografije, i demonstrirajući da se u Aziji to i dalje radi najbolje na svetu. Yenov i Ôuchijev pristup režiji i montaži je onakav kakav i očekujete od samog krema azijske borilačke akcije, sa kaskaderima na ivici samožrtvovanja u dugim scenama iz jednog kadra, ali i sa savršenim rezovima koji naglašavaju eksplozivnost i visceralnost onog što se dešava. Jedna sekvenca u kojoj se akcija kadrira iz prvog lica, dok Yenov lik koristi štit, automat i pištolj, naizmenično za napad i odbranu je naklon video igrama za koji sasvim moguće treba da zahvalimo Tanigakijevoj ekspertizi sa ovim medijumom.
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No, film onda spretno menja korak, prikazujući inspektora Foka, kako napušta svoju jedinicu i vraća se na fakultet ne bi li stekao diplomu iz prava i zaposlio se u kancelariji javnog tužioca. Jedna kratka montaža i sedam godina kasnije, tužilac Fok počinje da radi na svom prvom slučaju u kome je siromašni tinejdžer uhapšen jer je na njegovu poštansku adresu – koju je ovaj ustupio drugome za malu novčanu naknadu – stigao kilogram kokaina iz Brazila. Inicijalni iskaz da se optuženi smatra nevinim jer nije imao pojma šta će mu stići kada je prihvatio ovaj dil, momak nedugo potom menja, na nagovor svojih advokata, koji su se prijavili da ga brane pro bono, i priznaje krivicu za umešanost u trgovinu narkoticima. I on i njegov deda, a koji mu je jedini živi rod – i ukućanin što sa njime deli realnost života u siromaštvu – su šokirani kada na suđenju čovek koji je inicijalno i platio da upotrebi adresu biva proglašen nedužnim, dok klinac dobija dugogodišnju zatvorsku kaznu. Ubeđen da su ih advokati prevarili, deda urla na zastupnike svog unuka da on za deceniju, koliko će momku biti potrebno da izađe iz zatvora, neće više biti živ.
Film i pre ovih scena uspostavlja tužioca Foka kao nekog ko će u ovom poslu koristiti iskustva policijskog rada i intuiciju izgrađenu na ulici, u kontaktu sa stvarnim ljudima i stvarnim problemima i Yenov lik je onda neka vrsta ,,maverika" koji u tužilačku kancelariju, zatrpanu slučajevima i generalno srećnu kada se suđenje brzo završi priznanjem krivice optuženog, prvo unosi nemir, a onda počne da pravi probleme do mere da mu se nedvosmisleno sugeriše da on možda nije za ovaj posao. No, Fok veruje svojoj intuiciji, dedi koji je legitimno očajan i zna da mu je unuk nedužan i naivan, i smatra birkoratsku liniju manjeg otpora po kojoj je brzo suđenje isto što i dobro suđenje neadekvatno. U nekoliko govora koje će Yenov lik držati u sudnici ili u susretima sa drugim tužiocima on će insistirtati da je posao svih u sudu, uključujući tužioce, ne osuda krivih već utvrđivanje istine pa se Fok, uprkos i nasuprot svemu što mu kolege i nadređeni nalažu da radi, baca u dalje kopanje po jednom naizgled sasvim banalnom slučaju i traži nešto što bi mladog čoveka moglo da oslobodi krivice koju je nesmotreno priznao.
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Konstrukcija narativa je suštinski jednostavna ali je kvalitetno oživljavaju neki dobri glumci. Yen i njegov kolega, jedan matori pravnik koji ne voli da talasa i drži se pravila službe – izvrsni veteran Kent Cheng – otkrivaju da su slični slučajevi već zabeleženi u recentnoj praksi, da su uvek naizgled nedužni ljudi, po prvi put u prestupu priznavali krivicu i odlazili na odsluženja dugačkih kazni jer su ih tako savetovali advokati iz jedne iste kancelarije. Intuicija po kojoj prefinjeni ali ljigavi advokat Pak Man (igra ga sjajno transformisani Julian Cheung) i njegova nalickana koleginica (Shirley Chan) možda i rade za, jelte, drugu stranu, potvrđuje se daljom istragom u kojoj će gledalac sresti i nekoliko vrlo pitoresknih likova hongkonškog podzemlja, povezanih sa establišmentom upravo preko nemoralnih advokata spremnih da sa mafijom sarađuju na neetičke načine. Ovo je mesto na kome je legitimno zažaliti što film nije malo duži jer je Yen uspeo da okupi tim jakih faca da glume kriminalce i tu ima svakojakih slatkih minijatura, predvođenih likom koga Ray Liu igra kao da omažira Brandovog Vita Corleonea.
Nekih ogromnih iznenađenja i razbijanja kalupa ovde nema i film sledi jedan rutinirani narativni sled pokazujući kako su loši momci sve lošiji, a kako Yenov lik postepeno svojom požrtvovanošću na terenu i insipirativnim govorima konvertuje celu kancelariju na svoju stranu. U jednoj gotovo komičkoj sceni on i svog nadređenog (igra ga Francis Ng), jednog sposobnog ali opreznog pravnog stručnjaka uspeva da iznervira toliko da se jih dvojica potuku i ta scena izgleda sasvim dobro i realistično, pogotovo imajući u vidu da su oko nje raspoređene akcioni set pisovi u kojima se Fok bori sa desetinama naoružanih muškaraca i pobeđuje. Film, naravno, ne može da iznegne upadanje u tipično azijsku melodramu, pogotovo kada se bavi mladim osuđenikom i njegovim dedom, ali Yenova iskrena, čestita gluma pomaže da se ove stvari progutaju bez meškoljenja i mrštenja.
Štaviše, isti taj Yenov kvalitet je zaslužan i za to da se osnovna poruka filma konzumira bez protesta iako je legitimno reći da je The Prosecutor, ma koliko da se bazira u Hong Kongu sa svim tim perikama i ostalim recidivima britanskog pravosuđa, jedan otvoreno pro-establišment film koji kinesku propagandnu intenciju ispunjava entuzijastično i sa razumevanjem. Yen je, da se podsetimo, ipak na kraju dana čovek režima, čovek koji je mnogo svog novca uložio u humanitarni rad, ali i koji je od svog novca osnovao fond za odbranu javnih ličnosti od defamacije, čovek koji je nasledio Jackieja Chana na mestu predstavnika za književnost i umetnost u Političkoj konsultativnoj konferenciji kineskog naroda, savetodavnom telu koje Kineskoj komunistikoj partiji služi da, bez moći odlučivanja, prenese poruke iz, jelte, baze. On je i čovek koji je eksplicitno rekao da je ,,kineski patriota" i da će svoje učešće u holivudskim filmovima usloviti pozitivnim i reskeptabilnim prikazima Kine i Kineza, a nedavne proteste u Hong Kongu je pežorativno opisao kao ,,pobunu".
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Drugim rečima, The Prosecutor je film koji ministarstvo pravde prikazuje ne kao mesto na kome ima i trulih jabuka što ih treba identifikovati i pobacati da ne kvare sklad celine, već kao organizaciju prepunu ljudi koji marljivo rade i samo to što su preopterećeni poslom možda ponekada dovodi do toga da se iz vida izgubi idealizovana potraga za istinom, kažnjavanje krivih i oslobađanje nedužnih. Svi tužioci su ovde, do kraja, fin svet a negativce valja nalaziti među advokatima odbrane dok sudija – igra ga legenda hongkonškog filma, Michael Hui koji sa ovim filmom i takođe prošlogodišnjim i izuzetno uspešnim The Last Dance pod stare dane proživljava drugu bioskopsku mladost – svoju pitoresknu ,,sve ću da vas pohapsim" personu na kraju filma zauzdava kako bi ukazao da sistem nije savršen i da je potrebno da njegovi konstituenti učine ekstra napor ne bi li ga tom savršenstvu približili što je više moguće.
Ovo je, naravno, u jasnom kontrastu sa standardima žanra, gde bi čak i nasumično izabrani američki akcioni triler iz Reganovih osamdesetih, kada je sistem branjen svim silama, pokazao da se makar na jednoj poziciji među pozitivcima nalazi neko kome su draže mafijaške pare, kocka, kokain i kurve od pravde i istine. Ta je uloga ovde vezana isključivo za advokata odbrane – i štaviše film pravi ekstra napor da iskaže sumnju kako je Fokov nadređeni isto možda na kazanu kod narko-bosova, samo da bi posle prikazao da se radi o časnom čoveku prepopterećenom stotinama slučajeva – i takva poruka u sebi, dakako, ima i prisenak totalitarnosti koji nam se ne dopada.
Ono što nam se NEDVOSMISLENO dopada je taj britki korak kojim Yen prolazi kroz ovaj film i kao glumac i kao režiser, radeći dinamične scene i lepe kompozicije, montirajući stvari energično i prikazujući Hong Kong kao mesto na kome se raskoš i siromaštvo, modernost i tradicija, neon uličnih svetala i boja starog dvreta sudnice dopunjuju u harmoniji suprotnosti. I naravno: akcija.
Yen i kolege su ovde osmislili nekoliko izvanrednih set pisova pa iako je pomenuta urnebesna akciona scena na otvaranju filma memorabilnija od praktično cele karijere Jeana Claudea Van Dammea, ona je samo predjelo. Yen i kolega Michael Tin Fu Cheung (inače izuzetno popularni pevač kantopopa čiji hit iz 2021. godine, Pillow Talk samo na JuTjubu ima preko 34 miliona pregleda) kasnije u filmu imaju atraktivnu borbu na ulici protiv bande ljudi naoružanih mačetama i ovde se omaž old school hongkonškoj akciji spretno spaja sa korišćenjem novih ideja i sredstava (uključujući ogromne palice za hokej). Po kompleksnosti rada kamere svakako se ističe borba u noćnom klubu na visokim spratovima solitera u centru grada gde Yen, iako apsolutno odbija da upotrebljava CGI za efekte, efektno koristi dron-kameru, ali u centru filma dobijamo i predujam za finalni meč a koji je, taj predujam, nešto za šta bi trebalo da izmisli kategorija ,,najvratolomniji kaskaderski potez" na dodeli Oskara pa da se ovom filmu to retroaktivno dodeli. Jurnjava i skokovi po nivoima ogromne garaže i njenog spiralnog kolovoza je takva da vam se istovremeno i kosa na glavi i nivo adrenalina dižu na nepropisne vrednosti a to da samo naziremo lice Yua Kanga u ovoj sceni znači da ćemo, naravno, sa zadržanim dahom čekati da se ovaj lik pojavi ponovo.
I film naravno isporučuje. Poslednja akciona scena, u vozu, snimljena je i koreografisana izvanredno sa Kangovim likom, ogromnim, tamnoputim, tetoviranim likom sa bokserom u svakoj ruci, koji predstavlja finalnog bossa kakvog Donnie Yen zavređuje. To da Yen, koji je trenirao ogroman broj različitih borilačkih veština, učio Wing Chun pod stare dane da bi kredibilno igrao Ip Mana u biografskom serijalu o učitelju Brucea Leeja, za ovu scenu radi pokaznu vežbu iz džiu-džicu greplinga i rvačke borbe u parteru sa čovekom bar 20-30 kilograma težim od sebe i da to vizuelno izgleda SAVRŠENO je konačna potvrda toga da su MMA koreografije u modernom azijskom akcijašu ušle u mejnstrim i nisu više deo samo partizanskih napora Kensukea Sonomure da dinamizuje standardnu ponudu.
U ovom trenutku je nemoguće zamisliti da će se Donnie Yen uskoro penzionisati u bilo kom smislu. Iako već u sedmoj deceniji života, ovaj čovek pred kamerom radi stvari koje duplo mlađim glumcima i kaskaderima zadaju glavobolje i ambiciozne domaće zadatke i ma koliko da njegov lik u The Prosecutoru ponavlja da je iz policije izašao jer je ,,star" i ne može više da juriša u prvim redovima sve vreme, na neki način govoreći i o promeni karijernog puta za samog Yena, ono što na ekranu vidimo je Donnie Yen koji je bolji, žešći i ubitačniji nego ikada. Znajući da nam stižu još minimalno dva akciona filma iz njegove kuhinje, da je uravo najavljeno i da će Yen režirati novi spinof serijala John Wick, jasno je da kineski akcioni star neće skoro zameniti filmski set udobnom foteljom i suknenim papučama. Verujem da Cissy Wang nije presrećna zbog ovoga – žena je na kraju krajeva osamnaest godina mlađa od svog supruga i verovatno bi da provodi malo vremena sa njim dok su oboje još u snazi – ali ako je za vajdu, njena žrtva će nama ostalima doneti puno sreće.
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Dilemu koju sigurno svi mi imamo svake nedelje – da li gledati neki arthouse film na MUBI-ju ili neki kung fu klasik – razrešio je sam MUBI kada je u ponudu počeo da dodaje kung fu klasike, legitimizujući njihovo mesto u filmskoj istoriji i ukazujući koliko su neki od njih autentično zavredeli taj status klasika. Tako sam pogledao King Boxer (aka Five Fingers of Death), jedan po mnogo čemu ,,obični" kung fu film iz produkcije svemoćne braće Shaw, ali istovremeno i film čija je pozicija u istoriji kinematografije i popularne kulture uopšte nesrazmerno značajna u odnosu na njegovu sasvim korektnu ali ni po čemu revolucionarnu estetsku dimenziju. King Boxer jeste inovirao na jednom ne beznačajnom planu – koristio je više veštačke krvi da kreira scene koje će biti više ,,gory" – ali fer je reći da je njegovo mesto u panteonu kung fu filma zarađeno najpre na ime srećnih okolnosti i pametnih biznis-odluka i da je upravo to zaslužno za činjenicu da pola veka kasnije sedimo sa čašom soka od šargarepe u ruci i gladeći bradu divanimo o efektu brzog zumiranja na lice protagonista u hongkonškim filmovima, o naslikanim pozadinama setova koje treba da sugerišu kako se radnja odvija u autentičnom kineskom selu a ne u studiju, o pionirskim tehnikama montiranja...
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King Boxer je, rekosmo, na zapadu, partikularno u SAD mnogo poznatiji pod svojim originalnim distributerskim naslovom, Five Fingers of Death. Čitaoci će mi s razlogom zameriti što ne mogu da se setim je li ovaj film bio u distribuciji na tadašnjim jugosovenskim prostorima i koji je bio domaći distributerski prevod, ali pošto, eto ne mogu, pretpostaviću da ovog naslova NIJE bilo u našim bioskopima, da je njihovu kung fu đanu skinuo Bruce Lee i da smo Five Fingers of Death EVENTUALNO mogli videti deceniju kasnije na televiziji ako se on zatekao u nekom paketu hongkonških filmova koje je naša televizija povremeno kupovala od braće Shaw ili nekog od njihovih predstavnika. Molim, naravno, ljude sa boljim pamćenjem da se jave i isprave me.
Naravno, braću Shaw sam već više puta pominjao u nekim osvrtima na azijski akcioni film, ali King Boxer je, može se reći, za ovu kinesku kuću ključni naslov kada pričamo o prodoru na zapadno tržište i osvajanju globalne pozornice. Osnovana još 1925. godine u Šangaju, filmska produkcija preduzimljive familije je do polovine šezdesetih godina prošlog stoleća izrasla u najveću kinesku filmsku kuću i u tom trenutku izgradila najveći filmski studio na planeti, Movietown. Šezdesete su bile i zlatno doba za ovu firmu, a što se poklopilo sa njenim intenzivnim ulaskom u žanr filmova o borilačkim veštinama i partikularno veštinama borbe golim rukama, pa sve smešteno u savremenije okruženje (u kontrastu sa do tada popularnim wuxia filmovima koji su forsirali mačeve i prošle istorijske periode). Tada se krenulo i sa radom za televiziju a od 1969. godine je hongkonški deo firme počeo da posluje kao deoničarsko društvo.
(https://i.imgur.com/ekj3OYh.png)
Ovo je, naravno bila odlična podloga za izlazak iz okvira kineskog i istočnoazijskih tržišta, i ulazak, prvo kroz distribuciju a kasnije i produkciju na zapad. Vredi podsetiti da je firma braće Shaw koporoducirala Blade Runner, a, možda ironično, proliferacija VHS tehnologije u osamdesetima koja je velikim delom bila zaslužna za produženi život azijskog akcionog filma na zapadu je bila – na ime piraterije – razlog što je 1986. godine firma prestala da radi bioskopske produkcije i prešaltala se stopostotno na televiziju. Naravno, ovo nije doveka, pa se kasnije u devedesetima ponovo počelo sa radom na bioskopskim filmovima ali nikada u meri u kojoj je to nekada bio standard, i kompanija je na kraju ugašena 2011. godine ostavljajući iza sebe bezmalo stoleće rada u industriji pokretnih slika i jak kulturni legat.
Ima i neke dodatne ironije da je Shaw Brothers u vreme kada je produkcija ove kompanije konačno počela da osvaja svet – a nakon teške, rovovske borbe sa konkurentskom kompanijom Cathay Organisation, singapurskim gigantom koji je predstavljao najozbiljnijeg takmaca za istočnoazijska tržišta, u kojoj su braća Shaw pobedila – dakle, u sedamdesetima, gotovo niotkuda izronio novi rival i upravo na bujajućoj sceni kung fu filmova uleteo da otme titulu od firme koja je marljivo i metodično gradila svoju kung fu građevinu tokom dobrog dela prethodne decenije. Pričamo, naravno, o hongkonškoj produkciji Golden Harvest, praktično skorojevićkoj firmi utemeljenoj 1970. godine (u kontrastu sa recimo Cathay Organisation koja je krenula sa radom 1935.), ali koju su osnovali iskusni ljudi što su do 1970. godine radili za Shaw Brothers. Istorija navodi da je Golden Harvest našao svoj uspeh time što je ovo bila manje centralizovana firma, sklonija radu sa nezavisnim producentima, spremnija da garantuje kreativnu slobodu i bolje plati kreativni rad, no stoji i da je Golden Harvest imao ono što braća Shaw nisu: Brucea Leeja.
(https://i.imgur.com/hebAzko.png)
Gotovo je nemoguće prenaglasiti značaj Brucea Leeja u domenu rađanja ,,kung fu craze" entuzijazma na zapadu. Filmovi koje je on radio sa Golden Harvest su svi bili ozbiljni hitovi i fatalno obeležili popularnu kulturu sedamdesetih godina, ali je Leejev ključni strateški potez bio povučen još šezdesetih kada je posle već dve decenije rada na filmu u Hong Kongu, odigrao ulogu Katoa u američkoj televizijskoj seriji The Green Hornet koja je imala umereno veliku popularnost ali je napravila potrebnu artiljerijsku pripremu za kung fu ofanzivu u sedamdesetima. Zna se da je Lee radio na projektu koji je trebalo da bude televizijska serija sa njim u glavnoj ulozi, fokusirana na kung fu, i mnogo smo kasnije saznali da je ovaj projekat, barem kako tvrdi njegova ćerka, njemu praktično ukraden, i od njega je nastala serija Kung Fu sa Davidom Carradineom u glavnoj ulozi. Započeta 1972. godine ona je postala svojevrsni televizijski fenomen na kome je i Lee izgradio veliki uspeh kada su njegovi hongkonški filmovi rađeni između 1971. i 1973. godine za Golden Harvest dovezeni u američke bioskope i napravili ršum. Naravno, Lee je već leta 1973. godine bio počivši i jedva da je imao vremena da uživa u slavi koju su mu ovi filmovi isposlovali, da ne pominjemo da su neki od najuspešnijih – poput Enter the Dragon – imali premijeru posthumno.
(https://i.imgur.com/i1buSUu.png)
No, može se sa dosta argumenata tvrditi da od toga svega možda ne bi bilo ništa da Shaw Brothers nisu napravili svestan napor da se povežu sa Amerikancima i proleća 1973. godine, u distribuciji Warner Bros. pustili Five Fingers of Death u američke bioskope. Kumulativni efekat onog što su na televiziji radili Lee i Carradine, ali i propulzivnost samog ovog filma su bili takvi da je do kraja godine iz Hong Konga u SAD uvezeno više od trideset kung fu filmova, a dalje znate i sami: rađeni su stripovi i domaći filmovi sa ovom tematikom, vežbanje borilačkih veština je eksplodiralo po popularnosti a nunčake su visile na zidu svakog domaćinstva koje je makar malo držalo do sebe.
I mada Five Fingers of Death nije, rekosmo, bio revolucionaran film, on je bio više nego dovoljno dobar da mu se odgovornost za ovakav kulturni prevrat može mirne duše pripisati.
Je li takođe ironija da je jedan od ključnih filmova hongkonškog akcionog bioskopa režirao južnokorejski režiser a da je glavnu ulogu u njemu igrao jedan, pa, Indonežanin? Reklo bi se da ne: Hong Kong je u ono vreme bio autentičan kulturni melting pot i, kako rekosmo, dom jedne od najvećih, najsupešnijih filmskih produkcija u Aziji. To da su njemu gravitirali južnoazijski kreativci je naprosto prirodna stvar.
(https://i.imgur.com/cxq0Pcy.png)
Jeong Chang-hwa je tako već negde polovinom šezdesetih krenuo da sarađuje sa hongkonškim produkcijama a 1968. godine je potpisao ugovor sa Shaw Brothers, napravio im izvanredan posao sa ovim filmom pa potom prešao u Golden Harvest za koje je radio nekoliko godina posle čega će se vratiti u Južnu Koreju. Sa svoje strane, glavni glumac Lo Lieh (kome je pravo ima zapravo Wong Lap Tat) je bio etnički Kinez rođen u Indoneziji, poslat u Kinu da uči školu a gde je on onda učio i borilačke veštine kao i svaki častan čovek. Od 1962. godine je radio za Shaw Brothers i tokom deset godina snimio mnogo filmova za ovu produkciju. King Boxer je mogao biti tek još jedan u nizu da se nije desila ta prekomorska ludnica sa uspehom ovog filma. Iako je ostao veran braći Shaw, Lo Lieh je na ime ovog fima ostvario i uloge u američkim i italijanskim produkcijama, pa je kasnije i sam režirao i, iako otišao prerano sa svega 63 godine, imao plodnu karijeru ispred i iza kamere.
U King Boxer, Lo Lieh je sa neke tridesetdve godine na vrhuncu fizičke kondicije i fizičkog izgleda. Za razliku od Brucea Leeja koji je mnogo igrao na svoj bad boy šarm, Lo Lieh je forsirao svoje čestito, lepo lice i fine manire pa je i uloga koju igra u ovom filmu kao pisana za njega. U pitanju je, naravno, dobri, pošteni, ispravni mladi kung fu borac koji uči kod starog majstora a sa čijom ćerkom ašikuje i nada se da je jednom uzme za ženu. Konce će im smrsiti rivalitet sa drugom školom čiji predvodnik drži fasadu časnog majstora kung fua ali zapravo iza kulisa radi sve da obezbedi da na velikom regionalnom turniru pobedi njegova ekipa, predvođena njegovim sinom. Koji, taj sin, voli da puši, pije, da maltretira žene i generalno se ponaša kao kabadahija.
(https://i.imgur.com/6m0kOYu.png)
Glavni junak će biti hendikepiran ne samo svojim poštenjem već i činjenicom da ga njegov master šalje u drugu školu da uči, računajući da on nema kapaciteta da ga spremi za turnir a čiji će ishod odrediti koja škola, suštinski, vlada celim regionom. Chao Chih-Hao, kako se glavni junak zove, onda mora da ne samo naporno vežba već i da prevaziđe rivalitete unutar same škole, gde ljubomorni, do tada najbolji učenik radi sve pošteno i nepošteno da ga omete. Dodajte u kombinaciju i lepu pevačicu u lokalnom folk bendu oko koje mogu da krenu muška ljubomora i merenja čiji je veći, lutajućeg ratnika bizarne frizure koji se pridružuje onoj najgoroj školi da bude njihov batinaš i svi sastojci za kung fu klasik su na broju.
Bezbedno je reći da King Boxer nije film koji bi, čak i u 1973. godini ikoga oborio s nogu kompleksnošću narativa ili dubinom likova. Ovo je jedna sasvim klišeizirana priča u kojoj se dobri i loši likovi kodiraju već izgledom svojih obrva a glumci svi rade u prenaglašenom, melodramatičnom maniru koji se početkom sedamdesetih već smatrao zastarelim u većini probirljivijih filmofilskih krugova.
No, King Boxer je u tome što je radio bio dovoljno nov i dovoljno energičan da ovo ne bude problem. Većina klišea koje danas smatramo, jelte, klišeima hongkonške produkcije su u velikoj meri to postali na ime upravo uspeha ovog filma, od tog rivaliteta između ,,dobrih" i ,,loših" škola, preko toga da se film presudno okreće oko turnira na kome će borci da se nadmeću za prvo mesto, pa do te platonske romanse između glavnog junaka i učiteljeve ćerke koja je ovaploćenje nevinosti, nedužnosti i ćudorednog ponašanja. Takođe, King Boxer se kreće jednim ugodno brzim tempom, ima akcije značajno više nego što ćete DANAS zateći u prosečnom kineskom akcionom filmu i prosto pleni energijom svoje kamere, montaže i saundtraka.
(https://i.imgur.com/dDeCvWZ.png)
Odličan remaster koji nam je danas dostupan svakako u prvi plan izbacuje prednosti širokougaonog objektiva koji je korišćen i prilično dobrih kostima i scenografije (mada je MNOGO vidljivije kada je u pozadini naslikan krajolik umesto pravog). King Boxer je ,,period piece" utoliko što se događa u predkomunističko vreme ali je tačan period mudro držan neodređenim, pa tako, recimo, svi koriste meleme i nekakve sirupe da zaleče teške fizičke povrede, ali se u jednoj sceni onda pominje da nema svetla jer je možda pregorela sijalica.
Ono gde film nesumnjivo briljira je sigurnost sa kojom je rađena akcija. Same koreografije često nisu ni naročito maštovite ni naročito kvalitetne – posebno ne u odnosu na ono što će desetak godina kasnije raditi ljudi poput Jackiea Chana i Johna Wooa – ali su kamera i montaža tu da svemu daju energiju kakvu hongkonški film naprosto podrazumeva. Jeong Chang-hwa posebno forsira pomenute brze zumove kako bi naglasio dramu, a što se efektno kontrastira sa sporim koreografijama boraca koji idu unaokolo i pripremaju se za borbu, ili zauzimaju stavove, a montaža i dizajn zvuka rade naročito dobro da nadomeste ono gde je koreografija relativno jednostavna. Tako film može da ima i atraktivne leteće udarce, teške padove i momente u kojima se usamljeni borci junački suprostavljaju desetinama neprijatelja a da je i pored povremeno praktično parodičnih momenata (na primer na početku gde se stariji ,,master" u scenama kada se bori sa protivnicima zamenjuje mnogo mlađim kaskaderom) glavni utisak koji film ostavlja taj da je u pitanju energična, drusna akciona ekstravaganca.
(https://i.imgur.com/5etbSZl.png)
Jeong Chang-hwa ima sasvim uredno pripovedanje i tamo gde je scenario samo gomila nabacanih klišea on svejedno uspeva da stvari kauzalno poveže i kreira osećaj tempa, napetosti, kulminacije drame. Neke scene su i dan-danas pokazne vežbe za to kako se ove stvari rade, na primer ona u kojoj Chao Chih-Hao biva vezan za drvo a neprijatelji mu lome ruke kako više ne bi mogao da se bavi borilačkim veštinama. Iako je film za svoje vreme bio distinktan na ime svoje krvoločnosti – sa više scena u kojima su prikazivane povrede iz kojih lipti krv i jednom odsečenom glavom – ova scena je, naprotiv, izvedena sa mnogo ukusa i mnogo brzih rezova gde se u prvi plan dovode lice glavnog junaka, repetivni pokreti mučitelja i snažni zvučni efekti, radije nego puki ,,gore".
No, gorehoundovi će svakako doći na svoje sa scenama kopanja očiju – a koje Jeong Chang-hwa radi energično, naplaćujući aluzije što ih je film već napravio putem lika koji se igra metalnim kuglicama u svojoj šaci u nekoliko prethodnih scena – a film ima i užasno jeftin ali simpatičan specijalni efekat u momentima kada pokazuje kako glavni junak izvodi tehniku ,,gvozdenog dlana".
Ova apokrifna tehnika – citirana u nebrojenim drugim filmovima, da ne pominjemo Marvelov strip-serijal Iron Fist koji je praktično sklopljen oko nje – je i jedna od dodatnih distinkcija ovog filma, sa doduše korišćenjem ovog motiva samo radi šoka, a sa možda i premalo drame oko pitanja je li u redu upotrebljavati smrtonosne udarce u borbi, ali sa karakterističnom upotrebom crvenog reflektora i prodornog sintisajzerskog piska koji će i sam biti predmet semplovanja i omaža tokom narednih decenija (uključujući domaće bendove poput Block Out). Uopšte, da dodamo, kombinacija folklornog instrumentarija i vrućeg električnog fanka u saundtraku filma je jedan od najprepoznatljivijih njegovih kvaliteta, delo Frankiea Chana a koji je tokom nešto više od decenije uradio muziku za više od dve stotine hongkonških filmova.
(https://i.imgur.com/HtKILNe.png)
King Boxer ima, naravno, i crtu ksenofobije, vezanu, kao što je u kineskim i istočnoazijskim filmovima običaj, za Japan, pa su ovde japanski borci koje ,,kvarna" škola unajmljuje da budu ,,muscle" prikazani sa praktično demonskom kodifikacijom. Naspram njih čak i dokazano nečasni kineski likovi dobijaju obrise plemenitog i požrtvovanog kako bi se podvukla suštinska razlika.
King Boxer nije film koji će ikome promeniti mišljenje o kung fu kinematografiji, ali on to i ne mora. Ovo je film koji je promenio GLOBALNU kinematografiju i popularnu kulturu, više sticajem srećnih okolnosti, naravno, ali i na ime spretnosti njegovih autora. Meni je on bio vrlo zabavan za gledanje u 2025. godini pa ako imate pretplatu na MUBI* a volite poštenu ,,chopsocky" zabavu, nema šta da se mislite, već UDARAJTE.
(https://i.imgur.com/AWAAJka.png)
*ili alternativno samo nemate problem da filmove gledate na JuTjubu u niskoj rezoluciji:
https://www.youtube.com/watch?v=HouwAo7J3Mo
Bez naročite namere da se nešto specijalno izdvajam iz krda iznenadio sam se koliko mi je Havoc, najnoviji akcioni film Garetha Evansa prijao. Sa premijerom na Netfliksu prošlog Petka, Velšaninov prvi postpandemijski rad je bio dočekan na popriličan nož od strane zajednice ljubitelja akcionog filma, sa brdom komentara i prikaza koje sam video pre nego što sam seo da ga pogledam, a koji su lamentirali nad Evansovom odlukom da koristi CGI tamo gde su nekada korišćeni samo praktični efekti i podrazumevala se požrtvovanost kaskadera, ali i nad scenarijom koji je opisivan kao izrazito loš, klišeiziran, nemaštovit, dosadan, glup.
(https://i.imgur.com/8j7YrG7.png)
Ništa od ovoga nije sasvim netačno, naravno, ali Havoc je vizuelno STRAHOVITO intenzivan film a njegovo kretanje striktno unutar prostora akcionih stereotipova i readymade karakterizacija sam ja protumačio kao jasan, direktan omaž direct do video tradiciji i u najmanju ruku estetski izbor napravljen kako ,,dramski" delovi ne bi smetali urnebesnoj akciji. A tu treba da bude jasno: poslednjih meseci sam gledao dosta impresivnih akcionih filmova sa kreativcimau rasponu od Johna Wooa, preko Kensukea Sonomure do Donnieja Yena i Takahite Ôuchija/ Kenjija Tanigakija i Havoc je film koji uspeva da ne samo ima sopstveni estetski identitet već i da u sezonu prepunu urnebesnih koreografija i kaskaderskih podviga donese nešto novo, sveže, istinski impresivno.
Evans je, naravno, širim masama poznat pre svega po svojim indonežanskim filmovima. Tokom pola decenije, od Merantau, preko Raid do Raid 2 Evans je ne samo snimio neke od najboljih akcionih scena u istoriji ovog podžanra već je i indonežansku kinematografiju zakucao na svetsku mapu vojničkim nožem i, mada je eksplicitno rekao da on neće raditi na Raid 3 ako ga ikada bude, tremori njegovog rada u indonežanskoj kinematografiji se još uvek osećaju. Pisao sam pre neku godinu o izvrsnom The Night Comes for Us (https://cvecezla.wordpress.com/2022/06/24/film-the-night-comes-for-us/), filmu na kome je 2018. godine radio dobar deo ekipe sa Raidova, a koji je režirao Timo Tjahjanto. Tjahjantu je ovo bila vizit karta za ulazak u ozbiljne priče pa je talentovani Indonežanin trenutno potpisan na tri američke produkcije koje sve imaju ozbiljan akcioni brend i reputaciju što je treba održati (pričam, naravno o nastavcima filmova The Beekeeper (https://cvecezla.wordpress.com/2024/10/04/film-the-beekeeper/) i Nobody (https://cvecezla.wordpress.com/2021/04/23/film-nobody/), kao i o rimejku južnokorejskog zombi-hita Busanhaeng (https://cvecezla.wordpress.com/2024/11/01/film-voz-za-busan-aka-busanhaeng/) koji se u američkoj verziji zove The Last Train to New York).
(https://i.imgur.com/ej11Z4l.png)
Evans je svoju filmsku sudbinu još od studentskog filma Samurai Monogatari iz 2003. godine (u kome su glumili japanski studenti na razmeni u Kardifu) vezao za istočnu Aziju pa je posle svog prvog autorskog rada urađenog kod kuće (Footsteps iz 2006. godine) otišao u Indoneziju da snima dokumentarni rad o tradicionalnoj borilačkoj veštini Penčak Silat. Nisam siguran da li je ovaj televizijski projekat ikada kompletiran ali je Evans sa Merantau a posle toga sa dva Raida napravio ršum, kako rekosmo, podižući čitav akcioni žanr na naredni nivo i. Sa svojom mešaviom horor-viscere, sirove noir-drame i eksplozivnih borilačkih veština Evansovi filmovi su predstavljali kredibilnu konkurenciju u tom trenutku vladajućim akcionim franšizama iz istočne Azije poput Ip Man i Ong-Bak a režiser je sebe sa punim pravom mogao da svrsta u krem kreativnog talenta ove branše, kao što su Donnie Yen, Wilson Yip, Prachya Pinkaew, pokojni Panna Rittikrai.
No, nakon povratka na zapad, Evans kao da nije uspeo da naplati svoju s pravom zarađenu reputaciju. Jedan igrani film koji je uradio u međuvremenu – Netfliksov Apostle iz 2018. godine – je bio više okrenut hororu nego akciji i nije proizveo bogznakakve seizmičke efekte, a od tada će Evans uglavnom raditi na seriji Gangs of London i strpljivo pripremati svoj ,,pravi" Netfliks projekat. Havoc – taj projekat – počeo je sa snimkom na televiziji koji je Evans video, gde je na sceni, jelte, zločina, policajac sakupljao rasuti kokain u šolju. Sklon prepoznavanju ikoničkih slika i građenju čitavih mitologija oko njih (slično su nastajali i Raid 2 i Apostle), Evans je film pičovao Netfliksu kao kombinaciju omaža klasičnim američkim krimi-akcijašima Williama Fridkina, Johna Boormana i Michaela Manna (Francuska Veza, Point Blank, Thief) i honkonškoj akciji kakvu su potpisivali John Woo, Johnnie To i Ringo Lam. Ako se na sve doda i prstohvat francuskih dekonstrukcija američkog krimi-akcijaša (Evans eksplicitno pominje Melvillea, opisujući kako je uticaj njegovog Le Samouraï vidljiv u Woovom originalnom The Killer), osnova na kojoj je Havoc izgrađen deluje, složićemo se, VEOMA potentno.
(https://i.imgur.com/6d7nS4W.png)
Naravno, proverbijalni slon u sobi je činjenica da je zapadna akciona produkcija poslednjih godina u velikoj meri obeležena radovima bivših kaskadera kao što su Chad Staleski i David Leitch i da su njihovi radovci u franšizama poput John Wick, Deadpool (https://cvecezla.wordpress.com/2018/05/20/film-deadpool-2/), Fast & Furious i individualnim filmovma kao što su Atomic Blonde (https://cvecezla.wordpress.com/2017/08/27/film-atomic-blonde/) i Bullet Train (https://cvecezla.wordpress.com/2023/04/14/film-bullet-train-aka-brzina-metka/) značajno izmenili percepciju i resetovali očekivanja zapadnog gledaoca u pogledu toga šta akcioni film može da ponudi. Ovde govorimo i o tome da je akcija u ovim filmovima postala uglavnom DOSTA dobra, ali i da je avet ,,lorea", franšiziranja, generalnog akcentovanja zapleta, likova, njihovih interpersonalnih odnosa itd, sada nešto što je publika navikla da traži od ovakvih filmova.
Ne verujem da je to jedini razlog što su se čak i ljudi koje znam kao okorele ljubitelje akconog žanra, žalili da Havoc ima loš scenario, ali verovatno nije ni zanemarljiv. Ono što je činjenica je da Evans ovde zaista koristi readymade karakterizacije i dopušta glumcima da se sa njima poigravaju i da je napor da se sve to umota u poznu noir ikonografiju verovatno bio i malo rizičan, ali iz mnogo razloga, meni je ovakva odabrana estetika bila vrlo bliska, efektna i prijemčiva.
Naravno, Havoc ima tu distinkciju da se dešava na praktično nepostojećem mestu, sa gritty, urbanom košnicom velikog, prljavog američkog grada koja je cela kreirana u Velsu. U tom smislu, vizuelno Havoc više podseća na Warner/ HBO produkcije, partikularno različite imaginacije Gotam Sitija u različitim Warnerovim radovima, nego na standardni savremeni akcijaš u rasponu od John Wick, preko Fast & Furious, Brave New World (https://cvecezla.wordpress.com/2025/03/21/film-captain-america-brave-new-world/) i Beekeeper do Deadpoola. Štaviše, procesija izuzetno atmosferičnih gradskih kadrova, kombinacija napadalog, ugaženog snega, zaslepljujućih svetala automobila, smeća po zavučenim uličicama, stepeništa zgrada čij su hodnici išarani grafitima, sa readymade karakterizacijom glavnog lika koji je ,,bad cop" u gradu gde skoro ni jedan pripadnik policije ne bi mogao da se kvalifikuje za ,,good cop" dezignaciju, me je intenzivno podsetila i na igre iz serijala Max Payne, partikularno prve dve, smeštene u Njujork i rađene u Finskoj sa tim intenzivnim, intuitivnim mitologiziranjem Amerike koju su autori iskusili prevashodno iz druge ruke, kroz film i literaturu.
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Pomenuti glavni lik je, naravno, jedan od najvećih aduta filma jer Tom Hardy ovde spaja antiherojski, trapavi cool njegovog Mad Maxa sa neispavanom, rezigniranom I'm-too-old-for-this-shit rasutom pažnjom Eddieja Brocka iz Venom filmova (https://cvecezla.wordpress.com/2025/04/04/film-venom-the-last-dance/). Hardy je, naravno, LIK koji u kadru stoji sa takvom ubedljivošću da, kako su to svojevremeno pričali za Clinta Eastwooda, ni ne mora da zna da glumi. Hardy je i jedan od producenata Havoc pa on naravno možda i preterano glumi, dajući nam svu iritantnu mamurnost čoveka koji je SVE što je u životu radio uglavnom upropastio i sada, kada se suočava sa najvećim izazovom karijere, skoro da mu je teško da obrati pažnju.
I, dobro, verovatno ćemo još morati da čekamo da se Hardy seti kako je briljirao u Bronsonu, ali ovo što radi u Havocu je i dalje DOSTA DOBRO, pogotovo što ostatak kasta uspeva da nam policajca koji je korumpiran, nesnosno odvratan prema mladoj, sposobnoj koleginici, očajan otac i generalno ljudsko biće za koje vam ne bi bilo mnogo krivo da podleti pod kombajn, proda kao antiherija za koga ćemo do kraja ipak krenuti da navijamo. Hardyjev lik, Patrick Walker, ne prolazi neku veliku promenu do kraja dramatičnih događaja u filmu ali njegova trezvena, u poslednjoj sceni data refleksija na sranja koja je napravio jeste jedno dostojanstveno iskupljenje.
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Naravno, sa druge strane stoji gomila JOŠ GORIH pandura nego što je Walker, predvođena likom koga sa izvanrednom ljigavošću perfektno oživljava Timothy Oliphant i bad cop/ worse cop dihotomija ovde radi sasvim solidno. Havoc pritom ima iznenađujuće veliki ansambl likova i ma koliko da ljudi pljuju ovaj scenario on uspeva da temu (lošeg) roditeljstva i potomstva što pokušava da pronađe autentično svoju šansu ispita na mnogo oglednih primera. Producenti su se isprsili i za neka solidno jaka imena pa u kastu imamo Foresta Whitakera i malezijsku divu Yann Yann Yeo koji igraju u povišenom, možda i prenaglašenom ključu, trudeći se da svoje likove veće od života (on lokalni bogataš koji se uprkos vezama sa podzemljem kandiduje za gradonačelnika, ona matrijarh kineskog kriminalnog klana, koji dolazi u Ameriku da osveti ubijenog sina) odrade na memorabilan, upečatljiv način. Možda neznenađujuće, iako volim glumatanje u ovakvim setinzima, mislim da su najefektnije role u filmu dali mlađi glumci, Quelin Sepulveda i Justin Cornwell koji par što pokušava da pobegne od svog ovog ludila igraju prirodno, bez glumatanja, sa puno intenziteta, a partikularno Jessie Mei Li koja, u ulozi pomenute mlade policajke, daje zdravu protivtežu Hardyjevoj mamurnoj makspejnovštini. Tu je i nešto Indonežana koje Evans zna još iz svojih starih filmova (partikularno sjajni Sunny Pang), pošto je film pun kineskih likova A TO JE SVE ISTO, a naravno da je tu i Netfliksov pouzdani epizodista, portorikanski šmeker Luis Guzmán koji se, naravno, kroz svoju ulogu prošeta ležerno i ubedljivo.
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Dakle, argument koji pokušavam da napravim je da koliko god možda Evansov scenario bio natrpan opštim mestima, ona su produkt velike, vidne ljubavi prema žanrovskom filmu i data su na egzekuciju DOBRIM glumcima. Yann Yann Yeo, Luis Guzmán, Sunny Pang pa i sam Hardy su pojave koje imaju takvu prezentnost u kadru, magnetizam i upečatljivost da samo njihovo prisustvo u filmu svemu daje dozu ikoničkog a ta ,,klišeizirana" narativna rešenja farba dahom autentičnog.
A onda je tu kinematografija. I odmah da kažem, iako sam prvi koji će beskrajno gunđati na lenjo korišćenje CGI tehnologije, i uvek će mi biti draži dobro odabrani, pažljivo pripremljeni, znalački osvetljeni i slikani setovi, požrtvovani glumci i kaskaderi i vešto upotrebljeni praktični efekti od zloupotrebe green screena, ja nisam APSOLUTNO protiv CGI-ja i digitalnih efekata i zapravo mislim da dobri akcioni režiseri mogu da ih upotrebe na vrlo plemenite načine čime će svoje filmove iz domena mogućeg kredibilno gurnuti u domen nemogućeg ALI IMPRESIVNOG.
U tom nekom smislu, ISTINA JE da uvodna automobilska jurnjava po gradu koristi kompjuterski generisanu grafiku i da, ako ste zaista pažljivi, shvatate da su neke teksture isuviše kvalitetne, neka osvetljenja isuviše savršena, ali Evansova režija, mislim, u velikoj meri opravdava ovakav pristup, čak i ako ne uzmemo u obzir da on sigurno za ovaj film nije imao budžet u rangu nedavnih Netfliksovih akcijaša tipa Bad Boys i Beverly Hills Cop i da po Kardifu ne možete da snimate stvari koje možete u Bostonu, Torontu ili Los Anđelesu.
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Štaviše, mislim da je Evans ovde bar stepenik ili dva iznad praktično bilo kog zapadnog režisera po pitanju režije akcije i više puta sam se tokom filma divio tome kako je on svoj patentirani shaky-cam pristup doveo na naredni nivo, kreirajući procesiju strahovito dinamičnih pokretnih slika koje se smenjuju takvom brzinom i silovitošću da sve svakog trenutka preti da se pretvori u haos i konfuziju – da ne pominjemo da vam izazove agresivan napad povraćanja – a da opet granica čitljivosti, jasnog pripovedanja, disciplinovano vođene akcije NIKADA nije pređena.
Video sam dosta pritužbi na to što Evans vaj film nije montirao sam već su to radili Sara Jones i Matt Platts-Mills i dok mogu da se složim da izvesna puristička disciplina vidna u njegovim indonežanskim filmovima ovde zaista nedostaje, držim da za to takođe postoji estetsko opravdanje u generalnoj ideji koju je Evans sa Havoc imao. Ovo je film koji nosi lik na granici pucanja, neko ko se i samom sebi gadi zbog svega u šta je pretvorio svoj život, čije su dnevne rutine poremećene a ciklus spavanja razoren i način na koji je film montiran mi se uklapa sa Hardyjevom podnadulom facom, neobrijanim obrazima, nefokusiranim pogledom. Evansov stalni saradnik na fotografiji, Matt Flannery je dobro razumeo da je ovo u velikoj meri moderna reimaginacija poznog, dekonstruktivnog noir filma sa kraja šezdesetih i mislim da njegova kamera, osvetljenje i montaža sarađuju dobro. Scena u noćnom klubu, praćena Gesaffelsteinovom muzikom je bez sumnje ona koja će se najviše prepričavati na ime svoje urnebesne akcije ali ona je upečatljiva i pre nego što se povade pištolji i sečiva i krene da leti perje.
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Naravno, akcija JESTE ono gde ovaj film daleko iza sebe i u (krvavoj) prašini ostavlja Beekeepere, Hobs & Shawove ali i John Wickove našeg doba. Evans je i u Merantau i u Raid 2 imao scene borbe u noćnim klubovima ali u Havoc je otišao preko svake dosadašnje granice, ne samo po intenzitetu već i po inventivosti režije i montaže, uspevajući – a što je ključno – da haos i konfuziju koje trpe protagonisti što nemaju pojma šta se to dođavola događa i otkud sad odjednom toliko Kineza sa satarama i odakle se sve to puca, spoji sa preciznim, u mikrosekund usklađenim koreografijama, efektnom montažom, praktičnim efektima.
Finalnu akcionu scenu sa opsadom ribolovačke kolibe sam video da opisuju i kao ,,suvišnu" nakon one u noćnom klubu (mada sam video i suprotne utiske, da su široka, žustra paniranja u sceni u klubu suviše dezorijentišuća za gledaoca i, for the record, ne slažem se) ali ona je ne samo očigledan omaž bezbrojnim opsadnim set-pisovima iz filmova Sama Peckinpaha, Waltera Hilla, Johna Wooa pa i, dakako, Johna Carpentera, nego je i izvedena sa takvim intenzitetom da je deskripcija koji sam takođe video, da je ovo ,,kao videoigra" nešto što mogu da ponovim ali u najpozitivnijem mogućem smislu. Evans ovde očigledno odlazi preko linije ,,mogućeg" ali ne prelazi liniju kredibilnog i rezultati su, za moj račun, transcendentni.
Havoc je, mislim, svoj srazmerno loš odjek među kritikom, dobio pre svega na ime neadekvatnih očekivanja. Tamo gde su ljudi mislili da će dobiti shaneblackovsku gangstersku komplikacju, Evans je ponudio na kostur i ostatke krvavog mesa svedeni omaž dekonstruktivnom noir krimiću. Tamo gde je njegove indonežanske filmove krasila čista, precizna montaža i atraktivni Penčak Silat, u Havoc imamo halucinantni, haotični, hipernasilni omaž direct-to-video radovima, napravljen sa vrhunskim zanatskim umećem i komforno nekoliko koraka ispred bilo čega što se pravi na zapadu. Možda sam samo otpadnik iz krda, ali meni je Havoc film za gledanje sa stisnutim pesnicama, navijanje i mnogo više od samo jedne projekcije. Pa vi vidite.
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