novi film braće koen najavljuju kao povratak masterpis-mejkingu a la blood simple, fargo i sl.
dakle,
variety:
A scorching blast of tense genre filmmaking shot through with rich veins of melancholy, down-home philosophy and dark, dark humor, "No Country for Old Men" reps a superior match of source material and filmmaking talent. Cormac McCarthy's bracing and brilliant novel is gold for the Coen brothers, who have handled it respectfully but not slavishly, using its built-in cinematic values while cutting for brevity and infusing it with their own touch. Result is one of the their very best films, a bloody classic of its type destined for acclaim and potentially robust B.O. returns upon release later in the year.
itd.
a inserti, ovde:
http://www.commeaucinema.com/bandes-annonces=76586.html
MOST ANTICIPATED, INDEED!
Hey Fellas! Magoo here
Well it was another fun filled day at TIFF for me, most of which was spent in lines and pondering "why the hell are there hundereds of people lined up accross the street for over 5 hours just to catch the back of Brangelina as they walk into the theater?"
First movie I saw was the Coen's NO COUNTRY FOR OLD MEN, I spent around 3 hours in the rush line waiting to see this one. A quick summary would go a little something like this... Josh Brolin comes accross a bunch of murdered bodies out in the desert, finds a briefcase with two million dollars, nabs it, hits the road and is chased by a psychotic hitman the rest of the movie. Prety simple eh? Well it's a HELL of a lot more interesting than that.
For the majority of the movie we see the movie from Brolin's perspective, it's a cat and mouse sorta thing where the hitman is always just one step behind him. They meet up at one point and there is one of the most thrilling and tense shootout/hide and seek games I've seen in film, extremely well done. There is some serious edge of your seat stuff in this one. Long stetches of slow methodical scenes lead up to some awesome violent outbursts which really kick ya in the balls. The other narrative (and arguably the main narrative) is about Tommy Lee Jones' charactor who is on the trail of Brolin. He is at the end of his career as Sherrif and really wants to end this one clean so he can retire feeling like he has achieved something.
The hitman who is after him is one hell of a character. He has a fucked up moral code he lives by and is quite brutal in his murders. There is one great scene where he flips a coin and asks a gas station owner to call it, the gamble is the mans life, no if ands or buts about it, he's gotta call it and if he calls wrong he gets a bullet in the head. Another cool lil' thing I liked was this dudes rather unconventional use of a canister of CO2. He uses it to bust off locks which is prety cool but not as cool as when he calmly places it against a mans head and blows a fucking hole in it with the shear pressure of it. Also one of the end scenes when he meets up with Brolin's wife is prety sinister.
Now we come to the ending... SPOILER'S GALORE HERE!!! My buddy who I saw this with said up until the last 15 minutes it was probably one of the best movies he has seen all year, but the ending made him think it was total bollocks. I wont get too much into what happens but here are my thoughts on it. When Tommy Lee Jones shows up at the hotel and sees Brolin's dead body he feels exactly what the audience fells, disapointment. The last time we saw Brolin he was about to have a couple of beers with some random chick he met by the pool, now he is laying in a pool of blood. Jones' was too late, he failed, he is disapointed and so is the audience. The whole movie up til this point is tense and action filled, now we are sitting there in the audience going "what? what the fuck happened? gah!!!" I think this was tactic was used on purpose by the director. Jones really wanted to get this one right, to close the case and have everything wrapped up nicely. He failed and he is extremely disapointed with himself. He retires and is left with that feeling that his last signment was a failure. The rest of the movie the narrative is shifted to Jones' character who feels like he didn't do what he was sent out to do. He knows he is getting to old and can't do the job any more. This is really "No Country For Old Men"
So fuck yal who thought the ending was a cop-out or that it was disapointing, that's the friggin point! It was one sweet movie and for sure one of the best Coen Bros. films to date.
Alright the next 3 hours was spent debating with my buddy about whether or not "No Country For Old" men was disapointing or not, we had tons of time to kill because we where in line to see GEORGE A. ROMERO'S DIARY OF THE DEAD!
Koliko sam mogao da vidim na netu,kritike su uglavnom pozitivne.Evo,jedne od mnogobrojnih
Brilliant from first frame to last, Joel and Ethan Coen's "No Country for Old Men," a mesmerizing adaptation of the acclaimed novel by Pulitzer Prize-winning writer Cormac McCarthy, is their best film to date, an undisputed masterpiece that impresses on any number of levels. As of Day 4, it's easily the best film in the festival's main competition.
After a whole decade of making disappointing features, including the goofy and trivial "O Brother Where Art Thou?" the unwatchable Tom Hanks-starring remake "The Ladykillers," and the silly screwball divorce comedy "Intolerable Cruelty," the Coen brothers have smartly gone back to their roots and to what they do best, as manifest in their "smaller," more regional films, such as "Blood Simple" (1985) and "Fargo" (1996), arguably their last great work.
In many ways, the 2003 novel represents a perfect match between McCarthy's uniquely American literary sensibility and the Coens' uniquely American cinematic sensibility, resulting in the helmers' most mature and poignant work to date, a contemporary Western that is effective both as a suspenseful thriller and as a philosophical meditation about the roots and nature of violence as an integral part of the American Way of Life.
In this and other respects, "No Country for Old Men" is the Coens' least movieish work, one that is self-reflexive without being self-conscious, a film that is based on strong literary material rather than old Hollywood movies. Each of the Coens' films up until now paid a tribute, or was inspired by, or was homage to a particular Hollywood genre and often a specific film. For example, the stylish black-and-white noir "The Man Who Wasn't There" (2001) was more of a tribute to "The Postman Always Rings Twice" and countless classic noirs of the 1940s than a movie that had life and identity of its own.
In contrast, "No Country for Old Men" seems to be deceptively simple but is actually highly ambitious in its intellectual and metaphysical concerns, yet amazingly without being at all pretentious or overreaching.
The book (and the film's plot) is set in 1980, when rustlers have given way to drug-runners, and small towns have become free-fire zones. However, as a movie, "No Country for Old Men," like most good Westerns, transcends its particular historical time and geographical locale.
Anchored by three terrific lead performances, from Tommy Lee Jones, Josh Brolin, and Javier Bardem, and three supporting ones, by Woody Harrelson, Kelly Macdonald, and Tess Harper, "No Country for Old Men," displays meticulous attention to detail, from the precise mise-en-scene to the calibrated tone to the visual look and ominous sound.
Visually striking, the first reel consists of two or three sequences that are nothing short of brilliant. A crime suspect, whose identity is unclear at this point, is arrested by an officer, but as soon as they arrive in the station, the suspect strangles his captor to death in the most primitive way--with his handcuffs. He then kills an innocent driver to get a car, using a gun made for slaughtering cattle. From that point on, the criminal-- Chigurh (Javier Bardem)--walks around with one or two of these huge guns, often evoking nervous laughter just by his sheer appearance and serious way he goes about his "job."
Story proper begins when hunter Llewelyn Moss (Josh Brolin) finds a pickup truck surrounded by a sentry of dead men. A load of heroin and two million dollars in cash are still in the back. Later that night, when Moss returns to the scene of the crime (with a bottle of water for the one wounded man who's still alive), he's chased and shot by Chigurh. Missing his target, Chigurh unleashes his nasty dogs into a nasty chase that continues in the water. The river scene, with Moss trying to escape the swimming dogs behind him, is so powerful and outrageous scene that it inevitably evokes laughter and cathartic release when the dogs get shot in a close-up!
When Moss takes the money out of impulse, he sets off a chain reaction of catastrophic violence that not even the law–embodied by the aging and disillusioned Sheriff Bell (Tommy Lee Jones)--can contain. A single, random act of theft thus ricochets in many unforeseen and unpredictable directions, affecting the lives of numerous people along the way, with a carnage ratio seldom seen in an American movie (and that would include works by Tarantino and Rodriguez).
Moss' decision to lift the money posits a moral dilemma for us as viewers, asking us to take stance, namely, given the situation, could we resist the temptation of doing the same thing? Would we have gone to the police to report about the cash?
As Moss tries to evade his pursuers-–in particular the mysterious mastermind Chigurh who flips coins for human lives--the film simultaneously strips down the American crime drama, broadening its concerns to encompass themes as ancient as the Bible and as contemporary as headlines torn from today's newspapers.
Like the book, "No Country for Old Men" features a visceral, multi-layered and contemporary saga, a sinewy, suspenseful, humor-spiked thriller that revolves around an honest American man who happens upon $2 million in cash on the Texas borderlands. Also like the novel, the movie offers a provocative meditation on good and evil in the modern American West, a place that has grown into a land more violent and lawless than the mythic frontier of yore.
Set in West Texas, the film is brilliantly shot by the Coens' regular cinematographer Roger Deakins, who captures the austere and rugged landscape in stunning tableaux that match perfectly the spare dialogue and somber tone of the film. (According to the press notes, the movie was shot in New Mexico).
The film's first hour is almost silent, with little dialogue and almost no music, depicting Chigurh chasing Moss, and then the Sheriff bringing up the tail. As co-writers and co-directors, the Coens emphasize the darkly humorous and humanly revealing interplay between Llewelyn Moss, after discovering the money in the wreckage of drug deal gone wrong, and the two antithetical men who are tracking him: the chilling psychopath Chigurh on the one extreme, and the town's profoundly decent Sheriff Bell on the other.
"No Country for Old Men" is the closest the Coens have ever come to making an action feature, in which most of the screening time is taken by numerous chases, of different kinds and lengths. Nonetheless, as usual, the Coens play with genre conventions and subvert genre expectations. For starters, the movie dispenses with simplistic psychology and dramatic motivation. There is no attempt to explain or to understand the behavior of the psychopathic killer Chigurh, or, for that matter, that of the good old American cowboy Moss, who not only risks his own life, but also the lives of his naive country wife (beautifully played by Scottish Kelly Macdonald), whom he clearly loves, and those around her, including her mother.
The movie is all about physical details, and quite impressively, the Coens don't "cheat" in what they show or don't show, or trick the viewers in any manipulative way, as the helmers have done in former films. Through bravura crosscutting and parallel montages, we get to see the "resourceful" ways in which Moss and Chigurh go about their business: How Chigurh kills in cold-blood after "chatting" with his victims, how he takes care of his endless wounds, how Moss hides the cash in one motel after another, how they almost meet or miss each other.
What adds considerable color—and humor—to the proceedings—is the gallery of men and women the hunter and hunted meet along the way, from gas station attendants to store owners to motel managers to innocent teenagers and children, all of whom become crucial players in the labyrinth-like plot that continues to surprise up to the very end. Two or three sequences in which youngsters are involved across the border, with Chigurh and Moss negotiating (separately) for a shirt or another item are mesmerizing to watch, not least due to the cultural differences they accentuate.
The dialogue, most of which is sharp and crispy, conveys in brief strokes what we need to know about the characters, and then comes the last reel, in which Tommy Lee Jones (who was born to play the sheriff's role) delivers a metaphysical speech about good and evil and basic mores of the American Way of Life. The very ending is quite poignant, but might upset some viewers since it's abrupt and, once again, defies genre expectations.
Like Peter Bogdanovich's elegiac (but not nostalgic) "The Last Picture Show," based on Larry McMurtry's seminal novel about life in Texas at the end of the 1940s, "No Country for Old Men" is at heart a story about the fast-approaching end of an entire way of Western life. The movie deals with the last stand of honor and justice against what's become a broken world; the ongoing human struggle against the sinister; the dark comedy and violence of post-modern times; and the interplay of temptation, survival, and sacrifice.
The movie is very dark and extremely violent—even by standards of the Coen brothers---but it's a rather faithful adaptation of McCarthy's novel, its distinctly American themes, its rapid-fire pace, and its inky black comic tone. The Coens are able with their distinctive skills to transform McCarthy's rich, wry, resonant, and often humorous storytelling into a bravura movie, based on striking images, spare dialogue, darkly humorous tone, and splendid acting from all around. (This review is already 1900 words, thus I will analyze the acting in another column)
It's hard to imagine a better match for the dusky wit and stark humanity of McCarthy's characters than the Coens. Watching "No Country for Old Men" inevitably brings to mind Billy Bob Thornton's failed rendition of another McCarthy seminal novel "All the Pretty Horses," several years ago. If memory serves, McCarthy has written about ten novels, and there is no reason why they should not provide fertile stories for other gifted filmmakers like the Coen brothers.
Credits
Running time: 122 minutes
MPAA rating: R
Paramount Vantage and Miramax Films
A Scott Rudin/Mike Zoss production
Directors-screenwriters: Joel Coen and Ethan Coen, script based on the novel by: Cormac McCarthy
Producers: Scott Rudin, Ethan Coen, Joel Coen
Executive producers: Robert Graf, Mark Roybal
Director of photography: Roger Deakins
Production designer: Jess Gonchor
Music: Carter Burwell
Costume designer: Mary Zophres
Editor: Roderick Jaynes
Cast:
Sheriff Ed Tom Bell: Tommy Lee Jones
Anton Chigurh: Javier Bardem
Llewelyn Moss: Josh Brolin
Carson Wells: Woody Harrelson
Carla Jean Moss: Kelly MacDonald
Wendell: Garret Dillahunt
Loretta Ball: Tess Harper;
Ellis: Barry Corbin
Man who hires Wells: Stephen Root
El Paso sheriff: Rodger Boyce
Carla Jean's mother: Beth Grant
Poolside woman: Ana Reeder
Sheriff Bell's secretary: Kit Gwin
Strangled deputy: Zach Hopkins
Man in Ford: Chip Love
Agua man: Eduardo Antonio Garcia
Gas station proprietor: Gene Jones
Managerial victims: Myk Watford, Boots Southerland
Desert Aire manager: Kathy Lamkin
Cabbie at bus station: Johnnie Hector
Waitress: Doris Hargrave
Gun store clerk: Rutherford Cravens
Sporting goods clerk: Matthew Posey
Mexican in bathtub: George Adelo
Hitchhike driver: Mathew Greer
Nervous accountant: Trent Moore
Hotel Eagle clerk: Marc Miles
Pickup driver: Luce Rains
Border bridge youths: Philip Bentham, Eric Reeves, Josh Meyer
Flatbed driver: Chris Warner; INS official: Brandon Smith
Well-dressed Mexican: H. Roland Uribe
Chicken farmer: Richard Jackson
Boys on bikes: Josh Blaylock, Caleb Jones
Odessa cabbie: Dorsey Ray
Norteno band: Angel H. Alvarado Jr., David A.
Gomez, Milton Hernandez, John Mancha
evo šta mi o kojenima piše aca radivojević:
''auff... ovi Koeni su dosta heavy handed stuff. Ima tu, naravno, sjajnih momenata, ali iznad svega dominira pretenciozna želja da se dostigne 'nivo' visoke literature i 'velikog' filma, forsiranjem shyamalanovskog ritma. U najboljim trenucima – rani Karpenter, u najgorim – 'Signs'...Ceo film je konzistentno problematičan, ali znatno manje u prvoj polovini, gde vladaju efektne karpenter-bez-muzike scene, u drugoj kreće pretenciozno nenarativno batrganje sa povremenim biserima. Kraj je tu vrlo očigledno pripremljen, što moroni s neta ne kapiraju, kao i što ne vide da riba smrdi od glave.''
ZABRINJAVAJUĆE – ali i ako je ovo ovako, ja još ne vidim kako bi taj film kod mene mogao imati manje od (jake) trojke.
no, vidjet ćemo kad vidimo...
Quote from: "Ghoul"
no, vidjet ćemo kad vidimo...
http://rapidshare.com/files/71637212/cam.oldmen-bRown.part1.rar
http://rapidshare.com/files/71637278/cam.oldmen-bRown.part2.rar
http://rapidshare.com/files/71162660/cam.oldmen-bRown.part3.rar
http://rapidshare.com/files/71162240/cam.oldmen-bRown.part4.rar
http://rapidshare.com/files/71637205/cam.oldmen-bRown.part5.rar
http://rapidshare.com/files/71636998/cam.oldmen-bRown.part6.rar
http://rapidshare.com/files/71635817/cam.oldmen-bRown.part7.rar
a ti skini film, pa da cujemo komentare.
nije sad dvdrip, al je "gledljiv" sto se kvaliteta tice.
zvuk nije loš?
Quote from: "Kastor"zvuk nije loš?
nije los, al nije ni sjajan.
kao kod bilo kojeg prosecnog "kamerom u bioskopu snimljenog" filma.
moze prilicno solidno da se cuje sta se prica ako se slusa sa slusalicama.
ok, će probamo.
'No Country for Old Men' Tops With Critics' Awards
As the awards season begins, no less than four critics' groups announced their awards over the past two days, with the highest-profile group, the New York Film Critics Circle, giving its top honor to emerging favorite No Country for Old Men. Quickly turning into the movie to beat this season, the Coen brothers movie also won the Best Director, Best Screenplay, and Best Supporting Actor (Javier Bardem) awards from the Gotham critics. Top acting honors went to Daniel Day-Lewis (There Will Be Blood) and Julie Christie (Away From Her), with the supporting actress award going to Amy Ryan (Gone Baby Gone), who is appearing on as many winners' lists as the Coen brothers. Other winners included The Lives of Others (Foreign Language Film), Persepolis (Animated Film), and No End in Sight (Documentary).
In Los Angeles on Sunday, there was blood -- and lots of it -- as Paul Thomas Anderson's historical epic There Will Be Blood swept the awards, taking Best Picture, Director, and Lead Actor (Daniel Day-Lewis) honors. Marion Cotillard of La Vie En Rose was named Best Actress, Vlad Ivanov of the Romanian abortion drama 4 Months, 3 Weeks and 2 Days was the surprise supporting actor winner, and -- yes -- Amy Ryan was named best supporting actress for Gone Baby Gone as well as Before the Devil Knows You're Dead. 4 Months, 3 Weeks and 2 Days also won the foreign language film award, and Tamara Jenkins's The Savages received best screenplay honors. No End in Sight was the documentary winner, with Ratatouille and Persepolis sharing the animated feature award.
Also handing out awards on Sunday was the Boston Society of Film Critics, which jumped on the No Country for Old Men bandwagon, naming it their best picture and Javier Bardem as the supporting actor winner. While Marion Cotillard (La Vie En Rose) was the lead actress winner, the group threw a couple curveballs with awards to lead actor Frank Langella for the acclaimed but little-seen drama Starting Out in the Evening, and to director Julian Schnabel for The Diving Bell and the Butterfly (which also won cinematography and foreign language film honors). Once again, Amy Ryan won the supporting actress award for Gone Baby Gone. Other winners included Ratatouille (screenplay) and Crazy Love (documentary).
And sharing in the fun was the Washington D.C. Area Film Critics Association, which along with Boston and New York named No Country for Old Men as their Best Picture, and giving the Coen brothers directing honors and Javier Bardem the supporting actor award; to exacerbate the sense of deja vu, Amy Ryan was again the supporting actress winner for Gone Baby Gone. A bevy of usual suspects rounded out the DC awards, with George Clooney (Michael Clayton) and Julie Christie (Away From Her) nabbing lead acting awards, and The Diving Bell and the Butterfly taking the foreign language film honor. Other winners included Michael Moore's Sicko (documentary), Ratatouille (animated film), Charlie Wilson's War (adapted screenplay) and Juno (original screenplay and breakthrough performance for Ellen Page).
Following up these critical honors will be the announcement of the Golden Globe nominations this Thursday morning; the Academy Award nominations will be unveiled next month on Tuesday, January 22.
Skinuo dvdscr na 2 cd-a, sutra ću da pogledam...
Inače, ja sam skidao odavde, ali ima ga valjda i na torrentima...
http://rapidshare.com/files/79092294/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part1.rar
http://rapidshare.com/files/79092308/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part2.rar
http://rapidshare.com/files/79092297/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part3.rar
http://rapidshare.com/files/79092293/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part4.rar
http://rapidshare.com/files/79092316/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part5.rar
http://rapidshare.com/files/79092301/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part6.rar
http://rapidshare.com/files/79092295/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part7.rar
http://rapidshare.com/files/79092172/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.1.part8.rar
http://rapidshare.com/files/79092491/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part1.rar
http://rapidshare.com/files/79092505/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part2.rar
http://rapidshare.com/files/79092484/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part3.rar
http://rapidshare.com/files/79092510/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part4.rar
http://rapidshare.com/files/79092515/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part5.rar
http://rapidshare.com/files/79092479/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part6.rar
http://rapidshare.com/files/79092495/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part7.rar
http://rapidshare.com/files/79092377/No.Country.for.Old.Men.DVDSCR.XviD-DoNE.2.part8.rar
Ostao sam bez teksta... Najbolji Koeni evr.
Pogledao i ja. To što Aca pravi poređenje sa Shyamalanom ima smisla, mada se uopšte ne slažem sa zaključkom. Naime, Koeni ovde uspevaju da isteraju do kraja sve ono što Shyamalanom i slični mu pokušavaju u svom less is more pristupu. No Country... je jedan od najpreciznije režiranih filmova koji sam ikada video, izazov je ovde pronaći višak (ili manjak) kadrova, dijaloga, muzike (nema muzike da podcrta tenziju već Koeni puštaju sliku da govori); scene su savršano tempirane da se sve što je prirodno da se iskaže kroz postupke tako i uradi, pa sami dijalozi dobijaju na težini, dok svaki od njih ima dobar razlog za postojanje. Dramaturška struktura jeste neobična, ali osim što je preuzeta direktno iz romana funkcioniše i u kontekstu filma gledano po sebi; jeste, prvo deluje kao iznenadni antiklimaks, ali izgleda da su neki zaboravili ili pak slabo povezali ono što sledi nakon toga. Mislim da je upravo ta namerna nedorečenost doprinela opštem utisku surovosti, i to ne one koja isijava iz samih likova (mada, Bardem ovde doslovno jeste mašina za ubijanje), već jedne opšte ravnodušnosti univerzuma spram malih ljudskih sudbina. To je neki sentiment koji ostaje na kraju i rekao bih da je Koenima to i bila namera. Od onoga što sam pogledao, za mene je ovo film godine, mada ne verujem da bih mogao tek tako da kažem da je i najbolji film braće Koen (imaju oni još masterpiseva). Ipak su tu Milerovo raskrše i Blood simple (koga bi baš mogao da repriziram, lepo ide uz No Country...). Posle ovoga, voleo bih da se Koeni dohvate Elrojevog Big Nowhere, ko je čitao roman shvatiće zašto, da ne spojlujem sad...
possible spoilers:
Otprilike bih potpisao gornji Miloshev post osim što bih dodao, u vezi dramaturške strukture i iznenadnog antiklimaksa. Scenario je tempiran tako da celokupna težina filma prelazi sa jednog lika na drugi. Do samog kraja, epitet protagoniste preuzima nekoliko likova da bi se na kraju, to breme spustilo na ramena onoga od kojeg je priča i počela kroz naraciju u prvim sekundama filma. Nema tu nikakve nelogičnosti i nedoslednosti, čitava fabula je usmerena ka završnom šerifovom lamentu. (i naslovu, uostalom)
Ono što eventualno mogu da priznam kao nedostatak je "tehnikalija" koja je nažalost neophodna za snagu filma. Težak južnjački naglasak proguta mnoge bitne (ili bar zabavne) replike pa je gledanje na malom ekranu mnogo lakše. S druge strane, pejzaž, kamera, zvuk i sl. zahtevaju veliko bioskopsko platno.
Što se tiče ostalih Koen-filmova, nijedan mi na prvo gledanje nije ostavio toliko snažan utisak. Reprizirao sam Blood simple, Fargo i Barton Fink pre nekoliko dana, planiram još Milera i Lebovskog, ali za sada, lista ide ovako:
1. No country for old man
2. Fargo
3. Millers crossing
4. Blood Simple
5. Barton Fink
Lebovski, Arizona, o brother, hudsucker, turam u donju grupu odličnih ali za mene ne toliko značajnih filmova.
Koenovi se najbolje bave surovošću kada u priču ne mešaju naglašene komične elemente.
Pogledao sam NO COUNTRY FOR OLD MEN Braće Coen.
Nisam očekivao ništa od ovog filma, štaviše očekivao sam da će biti prilično slab. Njihovih recentnih filmova se praktično i ne sećam, poslednji koji mi se zaista dopao bio je O BROTHER, a ovo ostalo sam redovno gledao i redovno sam bivao razočaran.
Mislim da su naslovi poput LADYKILLERS zaista za potiskivanje iako sam baš u tom miljeu očekivao da će zablistati.
U NOC COUNTRY FOR OLD MEN se nažalost ne vraćaju na BLOOD SIMPLE teritoriju iako se sa time koketiralo u najavama. U stvari ovo je kao FARGO koji je urađen sa ozbiljnopšću BLOOD SIMPLE.
E sad, meni je FARGO iu principu bio početak njihovog totalnog sunovrata, i ta vrsta neo noira sa obiljem idiosinkratičnih likova na ničijoj zemlji između komedije i krimića sa maltene tatijvskim izletima je bila potpuno pogrešan put za njih.
NO COUNTRY FOR OLD MEN je kao FARGO samo bez tog cinizma, bez smisla za humor, a opet bez stegnutosti i eruptivnosti BLOOD SIMPLE. Dakle, NO COUNTRY FOR OLD MEN ne uspeva da izbegne skretanje u teritoriju tradicionalnog krimića, što bi meni bilo super, da oni zaista žele da ga naprave.
Međutim, ne, oni prave art film unutar te strukture koja nažalost nema dovoljno potencijala za kontemplativan pristup glumi i kadriranju, gde čak više nema ni njihovih wisecrackova, ili su na njihovo mesto ubačene neke nezanimljive kontemplacije o smislu života na Zapadu u vreme pohlepe, trke za drogom i novcem, i sl.
Ali, NO COUNTRY FOR OLD MEN nije film o smrti Zapada. To je krimić smešten u 1980. godinu, bez ikakvog očiglednog razloga, čak ni dizajn ni soundtrack mu nisu nešto vezani za epohu, mada jesu prilično precizni.
I na kraju, NO COUNTRY FOR OLD MEN jedino i može da se gleda kao kompetentno urađen redneck krimić koji je nažalost trom, razvučen, i krase ga mane koje Coeni ranije nisu imali, dok su mu vrline sve ono što nam ionako pruža neko drugi.
* * 1/2 / * * * *
_________________
... malo skretanja sa staze - NO COUNTRY FOR OLD MEN je ekranizacija romana Cormaca McCarthyja, koji je u decembru dočekao i premijerni prevod u Srbiji - naime, novija izdavačka kuća BEOBOOK objavila je njegov mnogohvaljeni roman PUT (The Road), postapokaliptičnu priču sa primetnim elementima horrora, koja će, kanda, i sama doživeti skoru ekranizaciju u režiji Johna Hillcoata (pre 2 godine režirao aussi western THE PROPOSITION po scenariju Nicka Cavea)...
http://www.imdb.com/title/tt0898367/
Quote from: "ginger toxiqo 2 gafotas"... malo skretanja sa staze - NO COUNTRY FOR OLD MEN je ekranizacija romana Cormaca McCarthyja, koji je u decembru dočekao i premijerni prevod u Srbiji - naime, novija izdavačka kuća BEOBOOK objavila je njegov mnogohvaljeni roman PUT (The Road), postapokaliptičnu priču sa primetnim elementima horrora
E! Iskusno! Oćemo u martu o romanu i filmu u Lazi? Šta kažete? Ima li interesovanja?
Quotepre 2 godine režirao aussi western THE PROPOSITION po scenariju Nicka Cavea
IZVANREDAN film.
Quote from: "ginger toxiqo 2 gafotas"... malo skretanja sa staze - NO COUNTRY FOR OLD MEN je ekranizacija romana Cormaca McCarthyja, koji je u decembru dočekao i premijerni prevod u Srbiji - naime, novija izdavačka kuća BEOBOOK objavila je njegov mnogohvaljeni roman PUT (The Road), postapokaliptičnu priču sa primetnim elementima horrora, koja će, kanda, i sama doživeti skoru ekranizaciju u režiji Johna Hillcoata (pre 2 godine režirao aussi western THE PROPOSITION po scenariju Nicka Cavea)...
http://www.imdb.com/title/tt0898367/
Beobook, izgleda, ima slabog distributera. PUT sam tražio pred praznike, (nisam baš kopao i vršio isleđivanja) ali nisam našao.
@zakk
Film još nije snimljen.
Quote from: "Kastor"@zakk
Film još nije snimljen.
Jah, i učinilo mi se da mi se učinilo :-/ Pričali su mi o Makartiju i
Putu dok sam piljio u
No Country for Old Men i nalivao se Gorkijem listom... (ne da me to vadi, već me gura dublje :) )
Quote from: "Kastor"Quote from: "ginger toxiqo 2 gafotas"... malo skretanja sa staze - NO COUNTRY FOR OLD MEN je ekranizacija romana Cormaca McCarthyja, koji je u decembru dočekao i premijerni prevod u Srbiji - naime, novija izdavačka kuća BEOBOOK objavila je njegov mnogohvaljeni roman PUT (The Road), postapokaliptičnu priču sa primetnim elementima horrora, koja će, kanda, i sama doživeti skoru ekranizaciju u režiji Johna Hillcoata (pre 2 godine režirao aussi western THE PROPOSITION po scenariju Nicka Cavea)...
http://www.imdb.com/title/tt0898367/
Beobook, izgleda, ima slabog distributera. PUT sam tražio pred praznike, (nisam baš kopao i vršio isleđivanja) ali nisam našao.
...nisam proveravao, ali mislim da je gotovo sigurno da se ovih desetak naslova BEOBOOKa (uključujući KELER PLAĆENI UBICA Lorensa Bloka) može naći kod distributera njihovih izdanja KRUG COMMERCE-a u knjižari na drugom spratu Staklenca na Trgu republike. Ja, lično, ću proveriti i, hopefully, kupiti u subotu a.m., te javljam da li sam uspeo i prve utiske, should there be any..
Odlično, izveštaj da me čeka na stolu u popodnevnim časovima. :lol:
@Zakk, pređi na Jeger.
NO COUNTRY FOR OLD MEN J. Cohen
****
4-
Quote from: "ginger toxiqo 2 gafotas"...nisam proveravao, ali mislim da je gotovo sigurno da se ovih desetak naslova BEOBOOKa (uključujući KELER PLAĆENI UBICA Lorensa Bloka) može naći kod distributera njihovih izdanja KRUG COMMERCE-a u knjižari na drugom spratu Staklenca na Trgu republike. Ja, lično, ću proveriti i, hopefully, kupiti u subotu a.m., te javljam da li sam uspeo i prve utiske, should there be any..
Na DRUGOM spratu staklenca? :?
Ja bre ne znam nikog ko je UŠAO u Staklenac i poživeo da priča o tome! Sa srećom!
...na drugom spratu TRŽNOG CENTRA "Staklenac", a ne onog pothodnog Staklenca, koji je Uroš Filipović (whoever that might be!) opisao u svom istoimenom književnom literarnom delu...
... nadam se da su sada strepnje iščezle ili utihnule???
Quote from: "ginger toxiqo 2 gafotas"...na drugom spratu TRŽNOG CENTRA "Staklenac", a ne onog pothodnog Staklenca, koji je Uroš Filipović (whoever that might be!) opisao u svom istoimenom književnom literarnom delu...
... nadam se da su sada strepnje iščezle ili utihnule???
Ja sam o TC Staklenac i pričao!! :? :? :?
U "Papirus"u, ali prema rеčima prodavačice (jao, šta je to danas?)- to već znate.
...u Krug Commece-u u Staklencu Mekartijevog PUTA nema, oni su je distribuirali dalje po prestoničkim knjižarama (u BEOPOLISU ga, recimo, nema), međutim, u Krugu vas mogu uputiti gde ima, Kunca i mene su usmerili ka narečenom PAPIRUSU (da podsertimo, to je Radova knjižara na Terazijama 12, knjižara koja je u privatizovanom modu oklevetana u Živkovićevoj Poslednjoj knjizi), od tri postojeća, mi smo uzeli dva (cena, po primerku je 590 din), tako da još jedan možda čeka nekog od vas...
...srećan lov!!!
Jok, ja sam uzeo treći. Jbg.
Pročitao sam Put i izuzetno sam zadovoljan. Bilo je, u početku, malo rvanja sa stilom - Makarti je izbacio sve znake interpunkcije (ostavio samo neophodnu tačku, vrlo redak zarez i ponegde znak pitanja) kako bi rečenice izjednačio sa bespućem kojim tumaraju otac i sin (oko i u njima), ali sam se ubrzo navikao i preporučujem da se čita odjedared ako je ikako moguće.
Patetične epizodice su očekivane (ipak je ovo Oprah's choice), ali su prilično retke i blage u odnosu na ono što im prethodi pa ne kvare kompletan utisak. Kraj me je ostavio ravnodušnijim nego što sam očekivao, ali bi nekakav klimaks bio sušta suprotnost dotadašnjem toku romana. Sve u svemu, vrlo dobar 4+
P.S.
Roman ima i sjajnih slika poput ove:
"Stao je i pogledao preko polja... Sve je to već viđao. Obrisi sasušene krvi u strnjiki i sivi krugovi drobi gde su preklani tu u polju raščerečeni i odneti. Zid sa druge strane friz od ljudskih glava, sve gledaju u istu stranu, sasušene, trošne i iskežene, upalih očiju. Nose zlatne mindjuše u uštavljenim ušima a na vetru im se retka i umoljčana kosa uvija na lobanjama.... "
ima ih još naravno, ali me mrzi da kucam, a i ne želim da vam kvarim čitanje...
@zakke, ajd' premesti sve ovo vezano za Put na zaseban topik na prikladnom mestu...
Charlize Theron has signed on to join Viggo Mortensen in the bigscreen adaptation of Cormac McCarthy's bestselling novel "The Road" for 2929 Entertainment and Dimension Films reports Variety.
The story centers on a man who embarks on a nightmarish road trip after a nuclear explosion in an attempt to transport his son to safety while fending off cannibals.
Theron, who will play the wife of Mortensen's character, will be seen mostly in flashback. Aussie helmer John Hillcoat ("The Proposition") is directing from a screenplay by Joe Penhall.
Shooting is set to begin next month. Theron is currently filming "The Burning Plain," also for 2929.
Vidim da je i Guy Pearce bio jedna od opcija (igraće neku sporednu ulogu po svemu sudeći) ali mislim da je on bolji izbor za ispošćenog oca od Viga.
"The Coen Brothers used a photo of a brothel patron taken in 1979 as a model for Anton Chigurh's hair style. Looking at its weirdness after getting the hair cut, Javier Bardem said "Oh no, now I won't get laid for the next two months"." :D
Nesto ovako nepretenciozno, a savrseno, nisam odgledao jos od 'Tideland'-a. Apsolutno remek djelo. Pozdrav.
Quote from: "BladeRunner"Nesto ovako nepretenciozno, a savrseno, nisam odgledao jos od 'Tideland'-a.
ajd još i da priznam da neko može da tajdlend vidi kao 'savršen' - to je ipak subjektivno - ali nazvati ga NEPRETENCIOZNIM???
+ne bih ja baš taj epitet lagodno primenio ni na COUNTRY, a nekmoli na gilijama... :(
O Tidelandu sam vec negdje pisao na forumu, da ne trazim sad. Skraceno: Meni je taj film nepretenciozan u smislu da naizgled nema autorski pecat na nacin na koji to imaju, recimo, filmovi Tima Bartona. Dakle, moze se reci da je prica bizarna, ali reziser (Gilijem) nijednim svojim postupkom ne daje za ili protiv stav, vec gotovo kao da se svjesno iskljucuje iz filma. Nista od jezivo nesuptilnog drustvenog komentara Spilberga u 'War of the Worlds', nista od vizuelne upecatljivosti Tima Bartona koja je pocela da me smara, na isti nacin na koji me svaki film Emira Kusturice smara nakon 'Podzemlja' (nisam gledao 'Zavet'). Dakle, reziser nije superkul, vec svojim postupkom zeli da isprica bizarnu pricu, a da usput ne zauzme stav. Drugacije: u nijednoj sekundi ovog filma mi nije palo na pamet da ga neko REZIRA. Mislim da si i ti negdje napisao (kod 'Children of Men', necu da provjeravam) da su ti smetale kapljice, jer te podsjetilo da gledas film. E, meni je Tideland takav film (samo bez kapljica krvi u dugoj sceni). Dakle, reziser se ne izdize iznad filma. U poredjenju sa drugima, to je neko ko je potpuno suprotan od Kjubrika, kome svaka scena vristi 'Ovo je KULT, seljaci, KULT, a reziser sam ja - Kjubrik! Jak i najjaci!' (obaska sto mi je i pored ovega Stenli jedan od omiljenih).
Slican utisak mi je ostavio i 'No country for old men', i odatle asocijacija na 'Tideland'. E sad, mozda je rijec 'nenametljiv' bolja od rijeci 'nepretenciozan', jer sam mislio na to da reziser ne stavlja sebe ispred filma. Ovo je vrlo tanka linija, jer se uzasno lako sklizne ili u dosadu (savrsen i cesto dosadan Fincerov 'Zodijak') ili u gubitak fokusa (vecina filmova Vima Vendersa, sa naglaskom na 'Do kraja svijeta'). E po toj liniji hrabro setaju braca Koen (isto uradili u 'Fargu'), kao i Teri Gilijem.
Nadam se da sam odgovorom uspjesno prikrio i to da o 'No country' ne znam sta da napisem, jer je sve vec napisano na prethodnoj strani. Nikad od mene blog kriticar :). Pozdrav.
Sve je ovo jako lepo rečeno... Mada, moguće da je 'nanemetljivo' bolji izraz, pošto ja nekako imam utisak da su svi veliki reditelji bar malo 'pretenciozni' (u pozitivnom smislu) i da bez toga ne bi bili to što jesu. Naravno, neki odu u krajnost, ali ja ne mislim ni da je to imalo loše kad neko "zna kako" da bude pretenciozan, poput Kjubrika.
Cekajte, ovaj film jasno i direktno postavlja pitanje dokle je dosao ovaj svet (odnosno onaj teksaski americki) i gde sve to vodi.
Da ne bih spojlovao poslednja scena kada Tomi li prepricava san o svom ocu koji ga je stitio, i o tom osecaju zasticenosti i sigurnosti, koji se ocigledno izgubio, i onda nagli kraj, sve to jasno postavlja pitanje i insistira na osecaju zabrinutosti i zapitanosti. onako zivotne.
I on to radi vrlo ocigledno.
Ako se oko toga slazemo, recite mi, da li je to bilo kome banalno i preterano, ili ako ocete jeftino.
Quote from: "lenny"Cekajte, ovaj film jasno i direktno postavlja pitanje dokle je dosao ovaj svet (odnosno onaj teksaski americki) i gde sve to vodi.
2 stvari:
1. kao prvo, sve te žvake u stilu 'jao što se iskvarila ova omladina, jao kuda ide ovaj svet, ovo u moje vreme nije bilo ovako, ništa nije kao prije, ode mas u propas...' itsl su isprazne i šuplje staračke priče koje bezubi starci prosipaju jedni drugima dok nagrevaju svoje reume na šturom suncu otkad je sveta i veka. prodavati TO za neku kao filozofiju i mudrost vrlo je jeftino i bezvezno.
2. čak i da kažemo da je to kao neka filozofija i mudros, da je time nešto mnogo duboko saopšteno – pravi filmovi to ne rade kroz duge solilokvije junaka, ne dijalogom, nego filmskim jezikom. OLD MEN previše pribegava tom bla-bla naklapanju, naročito pred kraj, i tu me pomalo gubi, i sadržinom i formom.
to je ono što zameram OLD MENovima, a ne odsustvo katarzičnog okršaja sa čiurgom itsl.
Quote from: "Ghoul"
1. kao prvo, sve te žvake u stilu 'jao što se iskvarila ova omladina, jao kuda ide ovaj svet, ovo u moje vreme nije bilo ovako, ništa nije kao prije, ode mas u propas...' itsl su isprazne i šuplje staračke priče koje bezubi starci prosipaju jedni drugima dok nagrevaju svoje reume na šturom suncu otkad je sveta i veka. prodavati TO za neku kao filozofiju i mudrost vrlo je jeftino i bezvezno.
Potpisujem.Ljudi su degenerisani od pamtiveka.
http://www.popboks.com/tekst.php?ID=6247
film STARCIMA NE DAJU ZEMLJU uskoro izlazi na dvdu, a na disku – ovo:
Working with the Coens: Reflections of Cast and Crew
Learn more about Joel and Ethan Coen from the perspective of their collaborators, cast and crew.
The Making of No Country For Old Men
Take a journey through the Coen Brothers' process and back to their roots as storytellers with a unique voice and vision.
Diary of a Country Sheriff
Explore the relationship between the compassion of Sheriff Bell and the brutality of Anton Chigurh.
No Country for Old Men on DVD has a suggested retail price of $29.99 in the U.S. The Blu-ray Disc is priced at $34.99 in the U.S.
STREET DATE: March 11, 2008
Suggested retail price: $29.99 DVD; 34.99 Blu-ray Disc
Feature run time: 122 minutes
Rated: R (Strong Graphic Violence and Some Language. Bonus material not rated
Technical specifications may only apply to feature
Aspect ratio: 2.35:1Widescreen adapted for 16×9 televisions
Sound: 5.1 Dolby Digital Surround Sound
Languages
Imam HD varijantu (4.4Gb, taman za DVD) ako nekome zatreba. Takođe, srpski titl.
HD varijanta ovog filma ima rezoluciju 1280x544... Dakle, daleko bolje od DVD-a...
Screenshot:
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi30.tinypic.com%2F2lk3eia.png&hash=c39c24afd97733127acdef06ab3b0acc56ce8e6c)
Iskreno, nisam imao nameru da gledam ovaj film u lošijem formatu... Takođe, genijalna kritika Todd McCarthy-a (Variety), genijalan deo (underlined):
QuoteDeath walks hand in hand with Chigurh wherever he goes, unless he decides otherwise ... if everything you've done in your life has led you to him, he may explain to his about-to-be victims, your time might just have come. 'You don't have to do this,' the innocent invariably insist to a man whose murderous code dictates otherwise. Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor.
Quote from: "crippled_avenger"NO COUNTRY FOR OLD MEN je kao FARGO samo bez tog cinizma, bez smisla za humor,
____
ha ne znam, praktički imamo potpuno oprečne poglede: naime, ovo je jedan od rijetkih novih filmova koje sam krenuo gledati sa očekivanjima, već unaprijed znao/osjećao da će biti dobro i - bilo je dobro.
pa onda, fargo mi je njihov daleko najbolji itd
ovo je blizu
ali samo replika na ne-humor
kada si gledao film, sigurno si vidio Antona Chigurha. vidio si i kakvu frizuru ima - e pa ja sam, gotovo cijeli film, crkavao od smijeha kad bi se pojavio Anton sa tom začudnom frizurom. tako da: vrlo suptilni humor, utkan u samu pojavnost lika (teško je to postići; obično se humor mora graditi kroz neke naracije, ispaljivati neke tobože fore; meni je Chigurh smiješan čim uđe u kadar, a uzimajući u obzir prethodne uratke braće: stvar nije slučajna, braća znaju isporučiti istinski humor)
Quote from: "Ghoul"2 stvari:
1. kao prvo, sve te žvake u stilu 'jao što se iskvarila ova omladina, jao kuda ide ovaj svet, ovo u moje vreme nije bilo ovako, ništa nije kao prije, ode mas u propas...' itsl su isprazne i šuplje staračke priče koje bezubi starci prosipaju jedni drugima dok nagrevaju svoje reume na šturom suncu otkad je sveta i veka. prodavati TO za neku kao filozofiju i mudrost vrlo je jeftino i bezvezno.
2. čak i da kažemo da je to kao neka filozofija i mudros, da je time nešto mnogo duboko saopšteno – pravi filmovi to ne rade kroz duge solilokvije junaka, ne dijalogom, nego filmskim jezikom. OLD MEN previše pribegava tom bla-bla naklapanju, naročito pred kraj, i tu me pomalo gubi, i sadržinom i formom.
to je ono što zameram OLD MENovima, a ne odsustvo katarzičnog okršaja sa čiurgom itsl.
polovično se slažem s tobom
u pravu si kada kažeš da su te priče "otkad je sveta i veka"
no, ne bih rekao da su to "isprazne i šuplje priče", nego upravo - jedna zanimljiva okolnost svijeta, fenomen koji su coeni valjano upotrijebili u filmu; tom fenomenu 'e znaš kako je bilo nekad' nitko ne izmiče, vjerujem da se i ti u nekim trenucima sjetiš 'kako sam nekad uživao (u nečemu)', ovi imaju priču "znaš kako je to bilo osamdesetih, novi val i sretno dijete", oni nešto stariji "ma kakve osamdesete, to je bilo to sa hendrixom, doorsima, djecom cvijeća", još stariji "ma to je sve već propast, radne akcije, omladinske brigade, gradili smo zemlju iz pepela", ali ni to nije to neg "tridesete, ideali, španjolski građanski rat", ali ne "19. stoljeće, austro-ugarska, bečka škola, autoriteti" i tako do "starih grka", a za njih su pak "stari egipćani" i u beskraj
tako da ja to ne zamjeram OldMenima, makar se na trenutke može 'čitati' kao jeftino, ipak je u osnovi - valjano; prije izostanak tog tvog 'katarzičnog okršaja', tj. prevladavanja suvremene inačice nihilizma (čudovišnosti razblažene presmiješnom frizurom); ja sam uvijek za svrstavanje na stranu Dobra, biranje ideološke pozicije koja predstavlja Ideal itd.
samo zbog toga, dajem 9/10
Pustinja u duši
Film: ,,Nema zemlje za starce", scenario i režija: Itan i Džoel Koen, uloge: Džoš Brolin, Havijer Bardem, Tomi Li Džons..., trajanje: 122 min., proizvodnja: SAD, 2007.
Ih, vrlo važno, kao da je ovo prvi put da ,,Oskar" pripadne precenjenom filmu. Duga istorija dodele ovog ,,čikice" od zlata, puna je ovakvih primera, pa što se stvar ne bi ponovila i što ,,Oskar" da ne pripadne i Koenovima i to za film koji ne spada u njihova najbolja dela.
Ljubitelji žanrovskog filma i stvaralačkog opusa Itana i Džoela Koena, mogu biti zadovoljni i sa ,,Nema zemlje za starce", nastalim prema istoimenom bestseleru Kormaka Mekartija, sa Džošom Brolinom, Havijerom Bardemom, Tomijem Li Džonsom i Vudijem Harlesonom u glavnim ulogama, u priči u kojoj nestanak novca pokreće lavinu nasilja, sa hladnokrvnim ubicom (Bardem), trgovcem drogom (Brolin) i ostarelim šerifom (Džons) kao glavnim akterima.
Posle serijala ne mnogo uspešnih komedija, Koenovi se sada vraćaju svojoj ranoj – tamnoj strani i nude simultano razgolićavanje američke kriminalističke drame, proširujući interesovanje za biblijske teme i krvavu svakodnevicu što stalno osvanjuje u novinskim naslovima.
Poigravajući se na ivici apsurda i teške ironije, uz upotrebu cinizma, predoziranog crno-gorkog humora i krvavih scena, Koenovi, inače i sada precizni u režiji, nažalost, poentiraju negde na sredini filma. Početna, primamljiva ideja se tu negde već iscrpla, drama dalje funkcioniše na osnovu niza varijacija na istu temu, stvari se ne pomiču mnogo napred, te film na kraju poprima utisak priličnog besmisla.
To da je ovo film o moralnom sunovratu društva, o zlu koje je zavladalo Amerikom koja je izrasla u zemlju sa više nasilja i bezakonja nego što je to bilo u stara vremena Divljeg zapada, apsolvira se već posle šezdesetak minuta. I, šta dalje? E, pa, u tome i jeste glavni problem – dalje nema, odnosno ima, ali čemu? Da utvrdimo gradivo? Da shvatimo koliko je dobro krhko a zlo čvrsto kao stena i potonemo u pesimizam i nihilizam? Da se uverimo kako je gospodin Sotona, oličen u liku i telu sociopate Antona Šigara (inače izvrstan Havijer Bardem), toliko moćan i neuništiv da može da hoda i sa otvorenim prelomom noge i tako izbegne sopstveni usud?
Za Mekartijevu knjigu kažu da je snažan, napet i humorom protkan triler, što, kao celina, film Koenovih nije. U njemu su nasumičnost i ravnodušnost jedine posledice postojećeg ustrojstva stvari. Na svetskoj premijeri ,,Nema zemlje za starce" na prošlogodišnjem Kanskom festivalu, Koenovi su bili ,,kažnjeni" permanentnim i prilično masovnim izlascima tokom projekcije. Njihov nasilni retro-krimić i u bioskopskoj distribuciji je prošao osrednje. No, čuda se dešavaju, kolo sreće se okrenulo, te su filmu od osam nominacija pripala čak četiri ,,Oskara" (najbolji film, režija, adaptirani scenario(!) i sporedna muška uloga)!
Tako su nekadašnje lučonoše američkog nezavisnog filma, postmodernisti koji su svoja dela stvarali hraneći se više drugim filmovima nego realnim životom, konačno dobili i punu, pravu potvrdu i od strane Holivuda (do sada im je, iako su više puta bili nominovani, ,,Oskar" pripao jedino za scenario filma ,,Fargo").
Svoje putovanje Amerikom započeto još 1984. godine filmom ,,Krvavo prosto" (,,Blood Simple") u zagušljivoj i prašnjavoj teksaškoj provinciji punoj gramzivosti i strašnih tajni, Koenovi su sada završili i zaokružili na istom mestu – u Teksasu sa pustinjama i u duši.
Već su završili i novi film, crnu komediju ,,Posle čitanja spali" (,,Burn After Reading") sa Bredom Pitom i Tildom Svinton, a ne bi bilo za čuđenje kada bi ovaj film videli u maju na predstojećem 61. Kanskom festivalu. Upravo su zahvaljujući osvojenoj kanskoj ,,Zlatnoj palmi" 1991. godine za film ,,Barton Fink", Koenovi ušli u prvu filmsku ligu. Tek tada je za njih saznao ceo svet, a kafkijanski ,,Barton Fink" je bio već njihov četvrti film.
Dubravka Lakić
Quote from: "Dubravka Lakić"U njemu su nasumičnost i ravnodušnost jedine posledice postojećeg ustrojstva stvari.
Hm, ili je Dubravka pročitala moju kritiku ili je u pitanju tek zanimljiva koincidencija. :)
Quote from: "Milosh"Hm, ili je Dubravka pročitala moju kritiku ili je u pitanju tek zanimljiva koincidencija. :)
great minds think alike! :lol:
Quote from: "Milosh"Quote from: "Dubravka Lakić"U njemu su nasumičnost i ravnodušnost jedine posledice postojećeg ustrojstva stvari.
Hm, ili je Dubravka pročitala moju kritiku ili je u pitanju tek zanimljiva koincidencija. :)
Ja kad zelim da saznam sopstveno misljenje o necemu, npr. o filmu, ja odem na net nadjem najbolji/najduhovitiji tekst, malo ga preradim i predstavim kao svoj. Na taj nacin stvaram privid strucnosti u stvarima filmskim.Je l' da, da sam djubre?
Quote from: "Alexdelarge"...krvavu svakodnevicu što stalno osvanjuje u novinskim naslovima...
...To da je ovo film o moralnom sunovratu društva, o zlu koje je zavladalo Amerikom koja je izrasla u zemlju sa više nasilja i bezakonja nego što je to bilo u stara vremena Divljeg zapada, apsolvira se već posle šezdesetak minuta. I, šta dalje? E, pa, u tome i jeste glavni problem – dalje nema, odnosno ima, ali čemu? Da utvrdimo gradivo? Da shvatimo koliko je dobro krhko a zlo čvrsto kao stena i potonemo u pesimizam i nihilizam? Da se uverimo kako je gospodin Sotona, oličen u liku i telu sociopate Antona Šigara (inače izvrstan Havijer Bardem), toliko moćan i neuništiv da može da hoda i sa otvorenim prelomom noge i tako izbegne sopstveni usud?...
Da je ovo film i "sunovratu" društva, zlu koje je "zavladalo" Amerikom (štagod u ovom slučaju Amerika bila...)... Apsolutno se ne bih složio.
Priča je anahrona, Univerzalna i Beskonačna...
Quote from: "Alexdelarge"...Za Mekartijevu knjigu kažu da je snažan, napet i humorom protkan triler, što, kao celina, film Koenovih nije...
Dijalog u maloj prodavnici, čitava situacija sa novčićem, je toliko
pun duha i nelinearan da razara ovu misao Dubravkinu... I još gomila drugih dijaloga...
Tako da, uz dužno poštovanje Dubravki Lakić, ovaj review je veoma redukovao čitav film i kompletan osećaj istog.
Quote from: "Alexdelarge"Quote from: "Milosh"Quote from: "Dubravka Lakić"U njemu su nasumičnost i ravnodušnost jedine posledice postojećeg ustrojstva stvari.
Hm, ili je Dubravka pročitala moju kritiku ili je u pitanju tek zanimljiva koincidencija. :)
Ja kad zelim da saznam sopstveno misljenje o necemu, npr. o filmu, ja odem na net nadjem najbolji/najduhovitiji tekst, malo ga preradim i predstavim kao svoj. Na taj nacin stvaram privid strucnosti u stvarima filmskim.Je l' da, da sam djubre?
a moj je moto
sve je već napisano i izmišljeno zašto da se trudim
ili nikad neću biti Nikola Tesla čemu trud :lol:
uzmem gomile raznih tuđih misli i stvorim frankeštajna :idea:
Direktorka Banjaluka internacionalnog film festivala (BLIFF) Irena Taskovski najavila je da će prvi festival biti održan od 2. do 9. maja.
"Festival će imati tri takmičarska programa - za igrani, dokumentarni i studentski film - a na festivalu će biti prikazano više od 100 filmova, od čega 43 dugometražna", rekla je Taskovska na konferenciji za novinare u Međunarodnom pres centru Tanjuga u Banjaluci.
Ona je istakla da će festival biti otvoren filmom "Zavet" Emira Kusturice, dodajući da će specijalni gost biti srpska glumačka legenda Bata Živojinović, a da će popularna glumica Mirjana Karanović u okviru festivala održati predavanje.
Urednik programa festivala je Danijela Boban, a pokrovitelj glumac Lazar Ristovski, koji je ocenio da organizovanje festivala ima veliki značaj za Banjaluku i Republiku Srpsku.
Danijela Boban je rekla da će na festivalu biti prikazan i film "Nema zemlje za starce", braće Koen, a projekciji će prisustvovati i režiseri filma.
Organizatori BLIFF-a su Filmski institut Banjaluka i producentska kuća "Taskovski films" iz Londona, u saradnji sa Vladom RS i vlastima Banjaluke.
Svaki put kad čujem "Nema zemlje za starce" osjećam se kao da mi neko struže mozak :x
čisto da se zna, niki ne pominje, a valja da se pomene...
Sailing to Byzantium
by William Butler Yeats
That is no country for old men. The young
In one another's arms, birds in the trees
- Those dying generations - at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.
An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.
O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.
Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.
kao da je ljudima tek tako lako da priznaju u društvu da čitaju poeziju! :(
dobro, ovaj se družio s kroulijem, pa može da prođe :(
Izasla i knjiga "Nema zemlje za starce". U Platou je 595 dinara.
Filmski zaostao, tek prekjuče sam uspeo na nekom od satelitskih kanala da pogledam ovaj film. Meni je ovo stvarno dobro.
Čisto teorijski: ponekad se pitam da li previše gledanja, čitanja, slušanja nečega može negativno da utiče na percepciju umetničkog dela.
"A little learning is a dangerous thing;
drink deep, or taste not the Pierian spring:
there shallow draughts intoxicate the brain,
and drinking largely sobers us again."
Ma, pusti Engleze... Ništa im ne verujem.