ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Stari Kadar se oprostio od Tonyja...

http://dobanevinosti.blogspot.com/2012/08/tony-scott-1944-2012.html

ja moram da kažem da nisam pratio Tonijev privatni život - šta uopšte natera uspešnog šezdesetosmogodišnjeg holivudskog reditelja da se ubije? I to ovako.

Спомињали су чини ми се неку опроштајну поруку, је ли објелодањено о чему се ради?

Ladno je on režirao Hunger.

Quote from: Father Jape on 20-08-2012, 15:05:33
Ladno je on režirao Hunger.

 

Pa ja ne znam sadržaj oproštajne poruke, ali stavio bih pare na to da je u pitanju dijagnoza koja mu je najavljivala skoru smrt. Ridley i Tony su imali trećeg brata Franka koji je umro od raka.

Pogledao sam vrlo simpatičnu mikrobudžetnu komediju ALTER EGOS Jordana Gallanda koja poput nekog left-field stripa uzima mitologiju superheroja i podvrgava je preispitivanju. Doduše, danas se mnogo veća preispitivanja mitologije superheroja dešavaju u serijalima velikih izdavača, u realizaciji afirmisanih autora, ali na filmu još uvek nema ambicioznijih mejnstrim pokušaja na tu temu izuzev HANCOCKa i donekle INCREDIBLESa ili MYSTERY MENa.

ALTER EGOS je kamerni, mikrobudžetni film, prilično duhovit, smešten u svetu sličnom onom iz BOYSa, u kome dakle postoje superheroji ali odavno nemaju simpatije građana i države. Sam film govori o "maloj priči" jednog "minornog" superheroja koji se tokom rutinskog slučaja i u pauzi raskidanja sa devojkom suočava sa jednim od najmoćnijih supernegativaca.

Galland radi u vrlo skromnim uslovima, film je svedeno postavljen i vrlo dobro funkcioniše kao jedan kamerni vodvilj. Nijedna ideja koju uvodi nije dovoljno jaka da promeni naš pogled na žanr ali je sve dovoljno zanimljivo da nas zabavi 79 minuta koliko sve to traje.

Sean Lennon je napisao vrlo simpatičnu muziku za film i nekoliko finih pesmica i to podiže produkcija korak iznad malog novca kojim su raspolagali.

Da je ovakav film snimljen van Amerike sigurno bi dobio veliku pažnju na festivalima.

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Pogledao sam EXPENDABLES 2. Simon West je odmenio Stallonea i čini mi se da u ovom nastavku akcija ima kudikamo više kreativnosti nego u prvom filmu, iako je i dalje nema dovoljno kako bi gledanje ovih sada već groteskno ocvalih ljudi i strašno glupoj priči postalo iole podnošljivo. Ja sam bio protivnik i prvog filma i sada sam još uvereniji kako je ovo potpuna stranputica za akcione heroje i najbolji put da se potpuno demistifikuju i pretvore u sprdnju. Naravno, mnogi misle da oni i zaslužuju da budu predmet sprdnje, i čini mi se da je EXPENDABLES najbolji način da se tom mišljenju da za pravo.

Kada pogledamo filmografije ovih ljudi, svi oni su snimili neke jako zabavne ali i neke jako dobre filmove, i imali su zaista veliki značaj među fanovima, imali su težinu i uticaj na određene socijalne grupe, i sve to je bilo bazirano pre svega na tome su oni opasni momci i van ekrana. Jedini način da se toleriše "gluma" nekih od njih jeste upravo to što su njihova tela fascinantno oblikovana vanfilmskim dešavanjima - bavljenjem borilačkim veštinama ili sportom, poslom telohranitelja i sl. Svaki akcioni heroj je imao neku svoju "priču" koja mu je davala ulični kredibilitet, a sada u EXPENDABLESu su svedeni na nivo KURSADŽIJA.

Scenario za KURSADŽIJE je doduše znatno duhovitiji. Žalosno je kada junaci EXPENDABLESa izgovaraju isključivo pararaze svojih replika iz ranijih filmova, Chuck Norris ispriča vic o sebi, a Dolph za svoj lik aproprira vlastitu biografiju! Statham se u toj masi izdvaja kao daleko najdostojanstveniji jer srećom još uvek nema prijave iz minulog rada koje se mogu beskrajno citirati.

U najstrašnijem stanju je Arnije koji se jedva kreće i moram da priznam kako mi njegov comeback deluje sve apsurdnije. Očekujem novi film Kim Ji Woona pre svega zbog ovog reditelja ali po onome što se vidi u trejleru Arniejeva tromost je uporediva sa onom koju je John Wayne imao kad je glumio na samrti. A možda je i drastičnija.

Wayne je doduše i napravio THE SHOOTIST Don Siegela koji je do danas ostao primer kako treba raditi takav film u kome zvezda zaokružuje svoj rad u nekom žanru.

Niko ne uspeva da se izvuče iz ovog filma sa naročitim dostojanstvom izuzev Stathama, a i po Willisu se vidi da je za klasu iznad ostalih.

Ipak, moram priznati da je Chuck Norris generalno verovatno najveća žrtva. Naime, ovaj glumac koji se povukao na vreme, koji se nije ogrešio o uspeh koji je napravio, završio je kao predmet Chuck Norris Facts viceva koji su postali fenomen čiji mi smisao, priznajem, izmiče. Sada međutim on dolazi da glumi u filmu sa ljudima koji zapravo zaista zaslužuju takvu zbirku viceva.

Stallone za razliku od Arnieja nije stario "normalno", on iozgleda kao mutant nastao mešavinom steroida, plastične hirurgije i još nekih drugih terapija o kojima se šuškalo, i zbilja, on sada više liči na filmskog monstruma nego na heroja.

Van Damme je uspeo da koliko-toliko ostane dostojanstven kao junak koji se zove VILLAIN što je jedna od retkih zbilja duhovitih stvari u scenariju. Scenario je inače pisao Richard Wenk, čovek koji ima ozbiljnu karijeru i reputaciju i zbunjuje me da su on i Sly iskucali nešto ovakvo.

Simon West je u onome što je mogao, a to je akcija, unapredio stvari, ali sa ovom ekipom ipak nije uspeo da napravi novi CON AIR. Od svih porošnih Bruckheimerovih reditelja, West spada među talentovanije ali u EXPENDABLESima nije to baš uspeo da potvrdi.

Čini mi se da je West kao najpoverljiviji reditelj u ekipi Avija Lernera ipak morao da pruži više a isto važi i za DPa Shelly johnsona koji posle odlično snimljenog CAPTAIN AMERICA radi ovako nešto.

Nažalost, ipak su svoje najznačajnije filmove Sly, Arnie i Van Damme radili u produkciji Mario Kassara (ili nekih drugih eminentnih producenata) a ne Avi Lernera ili njegovih preteča iz Cannona. Dok je Cannon još i bio vođen od strane Menahema Golana koji je ipak reditelj, Nu Image, Millennium i ostale kuće vode Lerneri koji nažalost pre svega gledaju na poslovnu stranu svega i nemaju potrebu da idu korak napred sa svakim filmom kakvu je imao Golan. Činjenica da je film režirao Simon West pokazuje tendenmciju ka poboljšanju, ali i dalje su tu grozni bugarski setovi, i uopšte jezivi ambijenti i nedovoljna producentska kreativnost.

Schwarzenegger je pre svih postao zvezda zahvaljujući tome što je bio integralni deo filmova velikih reditelja kao što su Cameron i Verhoeven, a Stallone je postao zvezda zahvaljujući ozbiljnim pričama koje su dogurale i do oskara. Ovo gde sada igraju su nažalost filmovi koji nemaju ništa od toga, ni velike ideje, ni velike reditelje, ni dobre priče.

Otud THE EXPENDABLES 2 kao i prvi film, od silne naknadne pameti, deluje jako glupo na svim nivoima i umesto reafirmacije svojih zvezda nudi samo još jednu potvrdu da su njihovi protivnici i protivnici akcionog filma oduvek bili u pravu.

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Quote from: crippled_avenger on 20-08-2012, 16:18:40
Pa ja ne znam sadržaj oproštajne poruke, ali stavio bih pare na to da je u pitanju dijagnoza koja mu je najavljivala skoru smrt. Ridley i Tony su imali trećeg brata Franka koji je umro od raka.

u pravu si. 




Tony Scott's battle with inoperable brain cancer may have driven 'Top Gun,' 'Crimson Tide' director to suicide leap from Los Angeles bridge 

Da...

Tony Scott Had Inoperable Brain Cancer: Report

By Stephen M. Silverman

08/20/2012 at 12:35 PM EDT


As the investigation continues into Sunday's apparent suicide of Top Gun director Tony Scott, an unnamed source has told ABC News that the British-born filmmaker, 68, had been diagnosed with inoperable brain cancer.

No further medical details were available.

Scott, whose box-office hits included Top Gun, Days of Thunder and Beverly Hills Cop II, died Sunday after jumping from a bridge in Los Angeles Harbor. His body was recovered from the water four hours later.

Witnesses told authorities that at around 12:35 p.m., the filmmaker left his parked Toyota Prius on the Vincent Thomas Bridge in the city of San Pedro, scaled an 8- to 10-ft.-high fence and then leapt without hesitation.

RELATED: Top Gun Director Tony Scott Leaps to Death from Bridge


A note with contact information was left in the vehicle, reported the Los Angeles Times, which also said a suicide note was located in Scott's office.

Scott leaves behind twin sons with his wife, actress Donna Scott (formerly Wilson), who appeared in Days of Thunder. Another survivor is his brother, fellow producer-director (Alien, Gladiator) and business partner Ridley Scott, 74.

"The Hangover" and "Old School" director Todd Phillips is in talks to helm the remake of the James Caan-led 1974 crime drama "The Gambler" at Paramount Pictures says The Hollywood Reporter.

Martin Scorsese was once attached to helm the project which follows a UCLA literature professor with a gambling problem who runs afoul of gangsters. William Monahan ("The Departed") penned the screenplay.

Irwin Winkler, who produced the original, is returning in the same capacity. The project is expected to be Phillips' first effort once he wraps "The Hangover Part III" which begins shooting next month.

Pogledao sam švedski triler RAENARNA, svojevrsnu skandinavsku parafrazu HEATa u režeiji Petera Lindmarka koji je na jednom mestu skupio Sagu Noren i dva Hamiltona. Sofia Helin igra traumatizovanu policajku, zapravo ne previše daleku od Sage Noren; Mikael Presbrandt igra ambivalentnog negativca u sleeping with the enemy stilu; a Stefan Sauk igra vođu SWAT tima. Policajka i vođa SWAT tima istražuju seriju razbojništava u kojima su neki verovatno bivši vojnici ili članovi SWAT tima pljačkali banke.

Lindmark se dobro snalazi sa akcionim scenama ako imamo u vidu budžet i rad u kinematografiji koja ima tradiciju krimića ali ne i akcijaša. Nažalost, ono gde pada je upravo vođenje priče, kao i koncipiranje samog zapleta koji je na mnogim nivoima izrazito neuverljiv. Zato RAENARNA jedino može da ima šmek B-filma urađenog na neuobičajen, svež, način naprosto zato što je snimljen u Švedskoj.

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Pogledao sam THE BOURNE LEGACY Tony Gilroya. U ovom filmu, celu priču preuzimaju novi ljudi - scenarista serijala Tony Gilroy preuzima režiju od Greengrassa a Jeremy Renner sa svojim junakom Aaronom preuzima poziciju glavnog junaka. THE BOURNE LEGACY se dešava u isto vreme kada i THE BOURNE ULTIMATUM, tako da bi bilo dobro pre gledanja odnoviti Greengrassov film, premda može da se isprati i bez toga. Jedna od stvari koje su mi najviše smetale u ULTIMATUMu bilo je to što film nije mogao da se razume bez gledanja SUPREMACYja. LEGACY u principu može da se pogleda i bez gledanja ranijih delova jer Gilroy je dosta jasno postavio priču i novi junak je uveden.

I Gilroy i Renner pokazuju da su dorasli zadatku i obojica su različiti u odnosu na Greengrassa i Damona. Gilroy bazira film na snažnim dramskim scenama, ne beži od dijaloga i cerebralnijih razmena, ali kad se lati akcije to je sve na visokom nivou i tradicionalno se završava velikom poterom, ovog puta na ulicama Manile. Gilroyev film je iznenađujuće bliži drami nego akciji, ali sada ima i podelu, negativce koje igraju Edward Norton i Stacy Keach koji to mogu da isprate.

Renner je drugačiji od Damona, njegov junak nije tako hladan i sofisticiran, glumac unosi snažnu blue collar dimenziju, i emituje više nesigurnosti.

Akcija je izvanredna. Pomoćnik je kao i u ranijim filmovima bio Dan Bradley, ali je koncept kadriranja nešto konzervativniji nego kada je film slikao Oliver Wood pošto je DP Robert Elswitt koji je slikao neke dobre akcione trilere ali nije specijalista za taj žanr, u osnovi.

Ako je serijal filmova o Bourneu mogao da se definiše taglineom KO NEMA U GLAVI IMA U NOGAMA, LEGACY je nešto drugačiji, mada je opet dovoljno isti da zadovolji fanove. U sebi sadrži i neka neobična rešenja na nivou strukture kakva su imali SUPREMACY i ULTIMATUM. Ipak, po autonomiji celine bliži je IDENTITYju nego SUPREMACYju. S druge strane, nije onoliko groundbreaking kao što je bio SUPREMACY. Ipak, ohrabruje činjenica da četvrti film u nekom serijalu nudi dosta intrigantnih i svežih elemenata.

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Pogledao sam TV film BADGE OF THE ASSASSIN Mela Damskog, istinitu priču o suđenju nekolicini pripadnika Black Liberation Army koji su početkom sedamdesetih ubijali policajce po ulicama američkih gradova. James Woods igra pomoćnika tužioca koji pokušava da reši ovaj slučaj a Yaphet Kotto igra detektiva koji mu u tome pomaže. Ovaj TV film iz 1985. je u najboljem smislu produkt svog vremena, nudi jasnu, pitku priču, dinamičan je i sa jasnom karakterizacijom. Pre svih Woods a zatim Kotto su nosioci priče u glumačkom smislu, ali ekipa je u celini jako dobra.

Ono što je meni bilo zanimljivo jeste način na koji su prikazani članovi BLA. Ne mislim da je ovaj TV film naročito rasistički, štaviše, čini mi se da je dobro zarobio besciljnost tadašnjih pripadnika crnih terorističkih bandi koje su dotle već bile obezglavljene uklanjanjem najmudrijih lidera. Međutim, isto tako mnogo su veće šanse da se vide filmovi koji bi pre bili na strani optuženih nego na strani tužilaca, naročito kada su ovakvi slučajevi u pitanju.

Štaviše, kada sam recimo gledao Woodsovu završnu reč u slučaju, činilo mi se kao da bi ubrzo mogao da se pojavi on, sa drugačijom frizurom i da je još ubedljivije osporava.

Kad je o crnim likovima reč, Damski nudi solidan lik detektiva pre svega zato što je Yaphet Kotto odlična faca. Ipak, nema sumnje da su likovi počinilaca i njihovih porodica neuporedivo živopisniji. Njihove žene između ostalog igraju Pam GRier i Rae Dawn Chong.

BADGE OF THE ASSASSIN je televizijski rad koji ne zaostaje za bioskopskim policijskim filmovima iz ove decenije i zaslužuje preporuku.

Alexander Ludwig ("The Hunger Games") has landed the role of Navy SEAL Shane Patton in Peter Berg's adaptation of the Marcus Luttrell book "Lone Survivor" at Emmett/Furla Films and Universal Pictures says Deadline.

Lone Survivor tells the harrowing story of how Luttrell and his Navy SEAL team members fought to stay alive after being ambushed in Afghanistan in 2005 by Taliban forces during a covert mission in the Hindu Kush mountain region, where the team went to kill a terrorist leader.

Ludwig plays a soldier alongside a cast that includes Mark Wahlberg, Taylor Kitsch, Ben Foster, Emile Hirsch and Eric Bana.

Sarah Aubrey, Akiva Goldsman, Barry Spikings, Randall Emmett, George Furla, Wahlberg and Stephen Levinson are producing. Shooting kicks off in a month in New Mexico.

Pogledao sam TEN ZAN - THE ULTIMATE MISSION, poslednji film vrlo zanimljivbog italosploitation reditelja Ferdinanda Baldija iz 1988. godine. Ovaj film bi mi sam po sebi bio zanimljiv kao Baldijev rad međutim ono što ga čini unikatnim i ekstremno zanimljuivim jeste činjenica da je sniman u Severnoj Koreji kada je ova zemlja tokom sedamdesetih pokušavala da se uključi u tokome internacionalne B-produkcije. Kada je okupljana ekipza za snimanje man-in-suit monster filma PULGASARI Shin Sang Oka, Japanci su tražili psane garancije da niko iz ekipe neće biti otet i zadržan, pošto su Japanci bili dosta česte žrtve takvih otmica. Ne znam da li je Baldijeva ekipa tražila nešto slično ali je Kim Il Sungov režim mogao da otme Franka Zagarina i ozbiljno osiromaši B-produkciju. Doduše, Zagarino jeste navodno hapšen u Severnoj Koreji jer je voleo da fotografiše pa je otpužen da je američki špijun, ali ta priča deluje više kao neka promotivna izmišljotina.

Severna Koreja glumi neku nepoznati dalekoistočnu državu i pored livada, planina i sl. priikazuje se i Pjongjang, lokacije poput metroa, železničke stanice, luke, hotela, a očigledno je i severnokorejska vojska pozajmila neka od svojih amfibijskih vozila za potrebe negativaca u ovom filmu. Zahvaljujući činjenici da je film sniman u Severnoj Koreji, očigledan je veći trud članova lokalne ekipe, povišeni entuzijazam među statistima i sl. Takav efekat se gotovo uvek postiže na mestima gde inostrane produkcije i pružanje usluga nisu postale rutinska stvar.

Snimanje u Severnoj Koreji naravno predstavlja i izvor prolema, pre svega kad je reč o automobilima koje junaci voze, gde se smenjuju jedan old timer i jedan kadilak iz sedamdesdetih, dok su sve ostalo teretna i vojna vozila.

Kada se ostavi po strani prilično snažan curio element ovog filma snimanog u Severnoj Koreji, sama priča i egzekucija su rutinski i u skladu sa standardima tadašnje B/C-produkcije, filmova sa Sho Koshugijem i sličnih stvari.

Ne znam koliko je tačna priča da je Severna Koreja bila i direktni finansijer/producent ovog filma kako bi ušla na zapadno VHS tržište, ali definitivno ima podataka o tome da je Severna Koreja bila ko-producent a delegirala je i svog ko-reditelja Pak Jong-jua.

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TEN ZAN – Ferdinando Baldi's Ultimate Mission

The story of an Italian/North Korean action movie joint venture.

By Johannes Schönherr.
Ferdinando Baldi, the director
Baldi was an old work-horse of the Italian exploitation scene. Born in 1927, he had made a lot of peblum filmsin the early 1960s, employing Orson Welles as King Saul in his successful David and Goliath (1960), and when that genre lost its popularity, he moved, alongside a lot of other Italian directors, into making Spaghetti Westerns.
Hate Thy Neighbor (Baldi, 1970) His masterpiece in that genre was Texas, Addio (aka The Avenger,1966),starring Franco Nero. Other noteworthy contributions to that genre were Viva Django (aka Django Prepare a Coffin, 1968), starring Terence Hill, Horst Frank and George Eastman, and the rather weird Blindman (1971), in which Baldi directed former Beatle Ringo Starr. But soon, Spaghetti Westerns went out of fashion, too, and giallo movies (slasher/psychopath pictures) became all the rage. Baldi left his mark on that genre, as well: with both the 1976 Nove ospiti per un delitto and the 1979 La ragazza del vagone letto (aka Terror Express, aka Torture Train), the latter starring Werner Pochath as leader of a gang that takes over a section of a night train and rapes and tortures the passengers. With the Western Comin' at ya! (1981) and the adventure movie Il tesoro delle quatro corone (aka Treasure of the Four Crowns, 1983), Baldi even ventured into 3-D filmmaking. But by this time, Italian exploitation cinema was already in free fall. Some directors went on to try their luck in extreme gore, like Ruggero Deodato (Cannibal Holocaust,1979),  and Lucio Fulci (New York Ripper,1982) while others resorted to cheap action pics. Baldi did the latter. Amongst a slew of super low-budget movies, he shot a cheap Vietnam war action pic named War Bus in 1985 in the Philippines, financed with American money. Not exactly a success with the critics but the film did well on the American action video market – and it made some money there.
By the spring of 1988, he had already finished shooting his follow-up picture Un maledetto soldato (aka Just a Damned Soldier) but his picture on display at the Cannes Film Festival that year was still the tried and tested War Bus.
The North Korean delegation attended the show.

The situation in North Korea
The mid-1980s had been a very productive era in North Korean cinema and not only Worker's Party propaganda was produced at that time but also highly entertaining flicks which more often than not involved foreign talent and technicians to ensure top-notch performances. For swordfight flick Hong Kil Dong (1985), martial arts experts from Hong Kong were flown in. And director Shin Sang-ok not only employed a good part of the crew that had created Japan's recent Godzilla movies for his North Korean kaiju (monster) picture Pulgasari (1985) but even put actor Kenpachiro Satsuma into the rubber suit of the movie's monster – the same actor who had devastated a lot of cardboard models of Tokyo wearing the Godzilla outfit.
Pulgasari In 1986, all that suddenly changed: Shin Sang-ok fled to America, Gorbatchev came to power in the Soviet Union and began to open up that "Evil Empire," as Ronald Reagan called it, and China went serious with its changes towards a market-oriented capitalist economy.
The North Korean leadership saw their only way to counter all these threatening developments by retreating into a new "hermit kingdom"-shell. But within this shell, a lot of things had gone rotten. The previous period of openness, combined with severe economic problems, had alienated quite a part of the own population from the preachings of Great Leader Kim Il-sung. All cinematic propaganda efforts went now into addressing these new problems.
But whereas entertaining martial arts films like Hong Kil Dong and Order No. 027, produced in the previous years, could be sold all over the markets of the Eastern Bloc, those new domestic hero epics like A Bellfower (1987) remained on the shelves of the shabby North Korean booths at international film markets like Cannes, MIFED (Milan) and Berlin. Nobody wanted them – not even the closest allies. Those allies were all too busy to get rid of exactly that Communist backwardness in their own countries that the new North Korean films propagated as "heroism of the day."
Cash-strapped as the North Korean film industry was, there had to be a way out of this situation. So, why not pursue a really revolutionary and innovative way – make a "Western action movie" using North Korean locations which could be sold more or less clandestinely on Western markets for a good profit, disguised as a Western movie and thus circumventing the American embargo against North Korean products of all kinds. A movie like that would certainly find its audience on the newly emerging video market in the U.S. and other countries.
The Korea International Film Production Agency went out scouting for a project that might deliver just that. At the Cannes Film Festival in 1988 they met... Ferdinando Baldi.
Italy! A country with a grand old movie tradition totally down on its heels. A country where a lot of film people pretended to be American and put English-sounding pseudonyms into the credits! Baldi, a veteran director of that cinema desperately scouring the Cannes Film Market to sell off his latest war movie script. The North Koreans had found their man! And Baldi embarked on the last big screen production of his career.

Meeting Mr. Baldi
I had seen Ten Zan for the first time at the screening facilities of the Korea Film Export & Import Corporation in Pyongyang in 1999 when I was preparing a North Korean film series to be shown at various European film festivals. I found it strange enough to include it into my movie series. Along with the rest of my series, the film premiered at the Gothenburg Film Festival in January 2000. But the festival where it found the biggest appreciation was the Far East Film Festival in Udine, Italy. For obvious reasons – the Italians were thrilled to see what one of their fellow countrymen had done in that sealed country. The festival catalogue hyped the movie as "a true example of globetrotting Italian filmmaker's daredevil vitality." The festival organizers invited Baldi and he agreed to come and introduce his film but fell ill a few days before and the movie ran without his presence.
I had always wanted to hear the stories behind that film. Finally, on a rainy Friday evening in late February 2002, my Japanese friend Tomoko Katayama and I took the night express from Munich to Rome. The old Italian train looked every bit like the one in Terror Express. But no Werner Pochath gang was attacking this time and the conductor did not run a brothel in the sleeper car section as the conductor in Terror Express had done. Tomoko prevented me from walking up to the cool young conductor, a nice guy sporting a shaved head, having everything under his control and probably reading existentialist books on his long nightly shifts, and telling him that he should show that movie as an extra service every night on that train.
Rome, Sunday morning. Bar Vanni, near Piazza Mazzini and the RAI state television studios. Baldi had told me on the phone that it would be very easy to recognize him because he is "an old man." Well, as Tomoko and I sat there in the glaring morning sun on the outdoor chairs of Vanni and looked at the customers filing into the cafe, it seemed that only old men were around.
One was standing close to us, staring down the street as if he expected somebody. I somehow doubted he would be my interview partner but asked him anyway: "Excuse me, are you Mr. Baldi?" "Ohh yes, I am!" he replied with a deep raspy voice in heavily Italian-accented English. We hurried inside – "the old man" seemed very energetic –, ordered our first cappuccini and I told Baldi: "You know, we just took the night express from Germany here. I watched your film Terror Express right before I went to the train station..." "You did? That's crazy!" he replied, "I never heard of anybody doing that! Weren't you afraid riding that train then?" "Oh no, I told Tomoko all the details about the movie while we were on that train." "You are crazy, young man." he said and shook his head.
The capuccini came. I gave Mr. Baldi the latest issue of the English-language South Korean fanzine Bug for which I had written a lengthy account of my visits to North Korea and a catalogue of the 2000 Gothenburg Film Festival. I asked him: "Do you have a video of Ten Zan"? He sadly shook his head. "I have nothing of that film anymore." "Well, I made you a copy." I said, "Please take it." I gave him the tape and he seemed very happy. "I will watch it as soon as I can and let you know what I think about the film now,14 years after making it."
I got my tape recorder in position and started with the questions.

The Interview
Ferdinando Baldi Ferdinando Baldi Do you know anybody here at the North Korean embassy in Rome?
Film International No, but I used to know some folks at their embassy in Berlin. But they are all back in North Korea now.
F.B. Yes, they change. Many times.
F.I. Alright, let's start... Lorenzo Codelli of the Udine Far East Film Festival made an interview with you and you told him that you made that film War Bus and that War Bus got you involved with the North Koreans. Can you say something about how you got in contact with them?
F.B. We showed War Bus in Cannes, in France. The North Koreans were there. Looking. They liked the picture. They said: 'Why don't we shoot something in Korea?' Let me confess, I thought the idea of going to the North of Korea very strange but I said: 'Okay, let me think.' We talked to some people at their embassy here in Rome and to the manager of their film company. Anyway, with my producer, they negotiated the terms of business. I said: 'I absolutely want to see what will happen.' So, I arrived in North Korea with a script that had no real relation to reality.
F.I.The script was about the Pacific War?
F.B. Yes. About the battle of Ten Zan. Ten Zan is a classic. It's a mountain on an island in the Pacific where the Americans had a big battle with the Japanese. When I arrived in North Korea, the script was only a starting point... like, where to go with the project and to see if the North Koreans were really interested in the picture. They started to discuss it in Korea again. They don't speak English there, some spoke French. They gave me a young boy and I said: 'Okay, you are my assistant.' They said: 'We have to go over the script again, they made calls... For about one month I tried to save the basics of my script. At the same time, they totally rewrote it. Finally, we agreed on something. But I said 'Before we do the final script, is it possible to see the locations?' 'The locations? Right.' They scratched their heads. 'How can we do that? Well, we can go there only once.'
F.I.You were in Pyongyang all that time?
F.B. In Pyongyang, yes. In one hotel in Pyongyang. You know Pyongyang?
F.I.Yes. I stayed there at the Pyongyang Hotel and at the Koryo Hotel, the big twin-tower hotel.
Koryo Hotel F.B. The Koryo Hotel, that's it. I was staying there... And, finally, we went to see the locations. It was very difficult. It would take a lot of time getting trucks and all that. There were many delays. I think that was good for us. To have some time to create a relation with them. Especially to my assistant – I thought, the gent is very good, so young. They invited us to some places and we could see the situation there. Finally, we started to shoot. For eight weeks, we worked on the picture. Very difficult. Because sometimes, in the morning, some authorities showed up and said: 'At this place, shooting is impossible.' So, we were obliged to change. I asked for trucks, for four or five of them. They sent only two. But finally, we finished shooting. I can tell you, it was an experience, unbelievable. You never forget the contact with the people there. North Korea was the only place where I was shocked and at the same time, I got a very good feeling with the North Koreans I worked with. I invited them to a projection of the film here in Rome. Six of them, the assistant, the directing manager... They came, they were my guests. They were happy. And they went back to North Korea. But you cannot phone them there, you can't write to them, the contact was cut then. The business stopped.
F.I.Going back to the script. It started out as a story about the Pacific War but in the end, the movie is set in current times...
F.B. The North Koreans changed it to what it became.
F.I.There are some parts I could never understand in the script. Like Professor Larson hires the two mercenaries, the Frank Zagarino-character and his sidekick, to destroy his own operation. In the end, everything is destroyed. But why does he hire them to destroy his own operation?
F.B. Listen, there was a problem there. I can't remember exactly. It was a problem of production. We did something wrong. We did not see the rushes. We couldn't see the rushes. Nobody could say: 'What are we doing here?' I don't know what happened – but something happened.
F.I. Because Professor Larson is talking in that car to that Asian collaborator of his in the beginning of the film and they agree that it is necessary to 'take the step' to eliminate some of their operation by hiring the Zagarino-character. But later, in the scene at Pohyong Temple, it turns out that the Sabrina-Siani-character is Larson's daughter. She has always been with the guys operating the camps to be destroyed by Zagarino. How can that be? Larson hiring mercenaries to destroy operations his own daughter runs?
F.B. That must have been a mistake. For sure.  I didn't see that. They must have changed it in progress. Now, when I see it again [knocking on the video tape I gave him which was sitting on the table], maybe, maybe I remember the reason for this. In that case, I will tell you on the phone, if I remember the real reason. Well, something happened back then but after seeing the film again, I will tell you the truth about what happened. Okay?
F.I.In the credits in the beginning, it says 'Amerinda Est. Productions'. Who was that? An Italian company? Was the film a co-production?
F.B. It was an Italian company. The film was a co-production between that company and North Korea. Amerinda was a part of some big company... They funded the co-production.
F.I. But the film was never released in Italy?
F.B. No. Because they started to fight about money. Amerinda and the North Koreans. Like, it's my business-your business, who can do what in Germany, in France, in Italy... I made other movies later on and totally forgot what it was all about.
F.I.What was your first impression when you went to Pyongyang?
F.B. It was fantastic. Very, very clean.
F.I.And no traffic.
F.B. Sure. No smoke. You know, very wide.... Only one thing disturbed me there. Everyday, we went outside of Pyongyang to shoot and every day, there was this long row of people walking in the streets, thousands of people. Walking in the streets.
F.I.I have seen the same.
F.B. Yes. Well, why? I couldn't understand. So, I asked my assistant. He knew the reason and he showed it to me: they were all soldiers on work assignments. They would work on the construction of some road, walking out there every day into the middle of nowhere to do all the construction work by hand! ... But the people there are so pure! Very kind! There was no confusion... and no cars. No cars at all! Everyone walking!
F.I.You always had a guide with you?
F.B. Yes.
F.I. I also always had a guide around me when I went there. Every visitor has. But when I went there, the foreigners always played that game of trying to find a way to run away...
F.B. Yes, of course, but we couldn't do that because they were watching us very, very closely. After a while, they would say, okay, okay, let's go out together. But all in all, they controlled us very strictly.
And of course, where would you go? First of all, there are no stores. We asked to buy something. You know, we ate at the hotel for days and days, always Korean food. So we asked to go out and buy some food in the supermarket. No supermarket. We asked, can we just go out? They said: 'No, no'. But, one day we found a big department store at the square near the train station. But there was only one line, a big line of girls. I looked again – it was only women waiting in that line. Why? We wanted to find out. The people saw that we were foreigners and said: 'Go, go, go, you can't buy anything here!' Suddenly we were in front of the line and we could see what they sold – they sold only two things: one was red lipstick, the other one white lipstick! Two things for sale – that was all.
F.I.Makes sense that it was only girls in the queue...
F.B. Yes, because, the government decided, it's the year of the lips. We thought 'that's funny'! But believe me, it was strange to see a thousand people there just to buy something for the lips. Amazing... but interesting.
F.I.Actually, I was in that department store next to the train station. But there was no customer at that time and the sales ladies just said: 'Go to the hotel, go to the hotel! Not here!' But they were selling nothing anyway.
F.B. You can buy things only in the hotel. Same for us. But we started to ask many things about Pyongyang. Like, we asked the young girls waiting the tables about their life... But they wouldn't answer our questions. And if we asked, 'Are you married?' they would go, 'What, me, married?!' Why? I later found out, that you can marry only when you are 27 years old. I asked my assistant: 'Are you married? He said: 'No'. 'What are you doing then until you are 27? Do you have a fiancee or something?' He goes: 'Yes'. 'And do you live with her?' 'No' 'When can you see her?' 'Not until she is 27.' 'And she can wait all that time? And you really don't meet her some days, some nights?' Maybe he met her every once in a while but he said: 'No'. That was very difficult to understand...
F.I.A question about the actors. I understand you could choose the Western actors but there are also a lot of Asians in the film. Are they North Koreans? Could you choose them?
F.B. Yes, they are North Koreans. There is only one production agency in North Korea. They decided about the Korean actors. They said: 'This one, this one, this one...'
F.I.What about Frank Zagarino? He is American...
F.B. You know, Zagarino, he got in trouble. Because he likes to take photos. You know the Americans: 'Picture! Picture! Picture!' is all they think. One day, they stopped him and led him away. I discussed with the North Koreans and asked: 'Why? This is impossible!' They said: 'He's American! He's a spy!' Finally, the Italian embassy in Beijing got involved and got him released after two days in jail.
F.I.What did Zagarino say about the jail?
F.B. Naturally, he was very angry with the North Koreans.
F.I.Did he tell you any details about the jail?
F.B. Not really. He would just go on and on ranting...
Time to change the tape and to order another capuccino. Rather jokingly, I asked Baldi: "Did you ever meet Kim Jong-il? You know, he's a big movie fan." He made a serious face and I was quick to turn the tape recorder back on.
F.B. One day, the director of the movie business came, the chief, and he said: 'On Sunday, you are invited by our president. To meet him.'
F.I.So that was Kim Il-sung or Kim Jong-il?
F.B. No, no, the old one.
F.I.Kim Il-sung.
F.B. So, on that day, they came with a truck and they showed us where he was born, where he lived when he was young, the school he went to, and a tree, a big tree, where he started to create the political philosophy, you know the ...
F.I.Juche philosophy
F.B. Huhh? Yes... And the little house, farm house, where his parents lived. After all that touring, they sent us to a big museum. In the mountains. Very big.
F.I.At Mount Myohyang? Near Pohyong Temple? The Friendship Museum?
F.B. Yes. They showed us the gifts he got from other presidents. After a couple of hours, they took us to the presidential palace. There, an authority came to us, I don't know, some vice-minister or something, and he said, he had to read a message from Kim Il-sung to us, saying 'Our president welcomes you, he thanks you for coming but he apologizes because he cannot meet us.' Because he had the Chinese ambassador there or something. He said: 'Kim Il-sung likes to send you a picture of himself for everyone one'. [Baldi gesticulated to describe the size of the picture – it seemed to be the same size as the standard Kim Il-sung portraits seen on all office walls in North Korea.] That was it – the only relation I had to Kim Il-sung. But I saw him another time at a big parade on the main square in Pyongyang. Thousands and thousands of people were there and we saw him just from very far away.
F.I.And the young one? Kim Jong-il? Because Kim Jong-il loves movies and he loves to come to the movie sets. Did he show up at your set?
F.B. Yes. Just to get to know the actors. He was very kind. He showed up a few times.
F.I.He just showed up?
F.B. Yes, yes.
F.I.Without announcement?
F.B. No,no, nothing else. That's all...  But he was a young guy then. I'm talking about the 1980s.
F.I.Did you talk to him?
F.B. No, no.
F.I.He just spoke to the actors?
F.B. He spoke to the actors. He says: 'Hello, hello...'
F.I.So, he did not say, 'Shoot the movie this way or that way?
F.B. No, no.
F.I.Because he likes to do that with North Korean films.
F.B. No, no, he didn't. But the assistant director, he said all the time when Kim Jong-il was there: 'Yes... no problem...right...'
F.I.Your assistant director was Pak Jong-ju?
F.B. Don't ask me about Korean names. Back then I was able to say his name correctly... Yes... Pak something? Pok? Pok? ... Pak! That's right!
F.I.Pak Jong-ju. I got his name from the North Koreans. He was your assistant and made sure you did the movie the way the North Koreans wanted it?
F.B. No. First of all, the North Koreans wanted to learn something. At the same time, he was a happy assistant. A very good boy. He had some problem with his family. Living with ten or fifteen persons in one room... Very, very difficult situation. But I couldn't help him.
F.I.How was the language situation on the set?
F.B. I was talking English, usually. And many times, we used translators to speak to the Korean actors. Also, my second assistant spoke French. With Pak, I tried to speak English, but, you know, they don't know much English... So, it was difficult.
F.I.You used a lot of interesting locations in the movie. Like the Koryo Hotel. I could see the reception desk with that world map behind it in the movie...
F.B. Yes, we did that because it was impossible to shoot at another place. We shot at the hotel where we were staying.
F.I.You also shot in the subway...
F.B. The subway was the best. It was like, a gift from the Russian government. Very big. We don't have that in Europe.
F.I.And I recognized the temple, Pohyong Temple. Where Professor Larson shoots Jason. Actually, I saw the movie first and then went to the temple. With a tour group that included some friends who had also seen the movie. The North Koreans wanted to explain to us 'This is this Buddha and that is that Buddha' but I explained to everyone around, ' Look, Professor Larson was standing there and Jason was standing there...
F.B. Laughing very loudly. That's funny...
F.I.Where was that beach the movie starts with?
F.B. In the South. Very close to the border to South Korea.
F.I.Near Kaesong?
F.B. Exactly.
F.I.It's a very beautiful landscape... Did you see any North Korean films while you were in Pyongyang?
F.B. Any?
F.I.North Korean films? Did they show you any of their own productions while you were there?
F.B. No.
F.I.Because their films are totally different from your film. They always have a big hero who has the right revolutionary spirit...
F.B. [Baldi looked a bit perplexed like he didn't know what I was talking about and offered a vague]:That may be another story, perhaps...
F.I.What was your final impression? Were you kinda glad to get out of there? In the end?
F.B. Hah! It was crazy. In the long run, it was very frustrating... it had been a difficult time there...
F.I.Because, those two times I went there, when I walked out of the airport in Beijing after coming from Pyongyang, and I could suddenly walk around freely, with no guide around, it was like 'I'm back in the free world!'
F.B. Yes, that's what it feels like! I shot many movies in many parts of the world but North Korea was a unique experience.
F.I.Then, all the post-production was done here in Rome?
F.B. Yes.
F.I.Then, you did the screening for the North Koreans here, sent them the picture and that was the end of it?
F.B. Yes.
F.I.If you compare Ten Zan to your other films, what's your impression of it?
F.B. It was very difficult. I couldn't do the film the way I wanted...
F.I.Would you go there again to make another movie?
F.B. I used to say 'Yes'. But now, I think, it's impossible. I'm too old now to work under these conditions. Back then, I was much younger, I was able to sort of pull it off...and as I found out later, thousands of people were starving to death in North Korea back then already.
F.I.It went worse. In 1988, the North Koreans still had the support of the Soviet Union and China. That changed soon after.
F.B. That's right.
F.I.Do you still follow the news from there? Many friends of mine who went there, and they, like myself, can never stop following the news from there, reading the official North Korean news for breakfast but also the South Korean news denouncing the situation in the North... We know lots of people are dying in North Korea... but for every visitor having been there, a certain – very troubled – fascination with the place remains somewhere in the mind...
F.B. Right, because it's such a strange, unusual place.
Ferdinando Baldi I turned the tape off. Baldi had an appointment in one of the nearby RAI television centers and was in a hurry to get there. One final photo of the two of us, another pledge by him that he would get back to me after watching the tape, and he left.
I called him a week later. He had seen the tape I had given him and was very confused. He said: "I was shocked when I saw it! The North Koreans must have re-cut the film after we gave it to them. I will find out. I ordered a tape of our original cut from the Italian producer. I can tell you more once I have seen that." "Another question. I did a little research on battles in the Pacific War. I couldn't find anything on a battle near some Ten Zan mountain. Where did you read about it?" "Ten Zan is a classic... I read about it in a book, a Japanese book, I believe... I will look it up."
A few weeks later, I called again. "Could you find out about Ten Zan?" "Well, I ordered a book. From Japan. After I get that, I can tell you for sure." "And did you watch that tape from your producer?" "Uhh, not yet. I have been very ill. The flu. You understand? Just wait, say, five more days and I can tell you everything you want to know." "Wish you good health, Mr. Baldi!"
After waiting another few weeks, I called another time. "I'm very busy right now, young man." Baldi told me, "I've a big retrospective of my work coming up in Japan and I'm in the middle of arranging things. What's up?" "Well, I just wanted to ask you if you found out about the origin of the 'Ten Zan' title..." "Yes, it's a little mountain on Guadalcanal. A little mountain." "Did you have a chance to check out the original version of your film?" "Yes, I watched it. The North Koreans changed a lot. They did some manipulation on the film." "Like, what did they do?" "I can't tell you now. I've no time. But listen, I will send you the tape. The original tape. Then, you can compare yourself. Okay? Just give me some days. Like, five days? One week?" "Yes, sure, great. You got my address. Thanks a lot."
I'm still waiting for that tape to arrive to finally finish my research...
This article/interview was originally published in Film International 18, vol. 3, no. 6, 2005. Ferdinando Baldi died in Rome on November 12, 2007.
Johannes Schönherr is a freelance writer and independent film curator.

John McNaughton je jedan od reditelja čija se karijera u najmanju ruku može nazvati enigmatičnom. S jedne strane, u njegovoj karijeri je sve manje-više jasno, snimio je nekoliko odličnih filmova i gotovo nijedan sasvim nezanimljiv, reputaciju koju je stekao moćnim debijem HENRY: PORTRAIT OF A SERIAL KILLER nije uspeo da konvertira u konzistentniji rad, rezultat na blagajnama mu je izmakao i eto... Međutim, McNaughton je ipak bez ikakve sumnje priznat reditelj, na festivalima ima retrospektive, HENRY se i danas proučava kao bitan naslov u istoriji nezavisnog filma, a on poslednjih desetak godina uprkos svemu nema neki relevantniji angažman?

GIRLS IN PRISON je McNaughtonov televizijski film iz serijala REBEL HIGHWAY u kome je Showtime rimejkovao AIP filmove iz Eisehowerove epohe. Reditelji poput Rodrigueza, Dantea, Arkusha, Friedkina i sl. su bili angažovani ali mislim da je od svih njih upravo Mcnaughton napravio najbolji film.

GIRLS IN PRISON je rimejk AIP filma samo po naslovu - reč je o originalnom scenariju koji su napisali SAMUEL FULLER i njegova supruga Christa Lang. Fullerov scenario je izvanredan, odnosno savršeno odgovara McNaughtonovom rediteljskom postupku koji se bazira istovremeno na rekonstrukciji postupaka kojima su snimani filmovi u pedesetim i prodiranju u iracionalnu, višeslojnu dimenziju koju znamo iz analiza tih filmova. Ako imamo u vidu da je sam Fuller operisao u vreme kada je ovaj film smešten, i da je ovo radio pred sam kraj karijere i života, nema sumnje da su mu navrla sećanja na period.

Otud, Fuller i McNaughton eksplicitno izvlače Red Scare kao faktor koji je dve od tri glavne junakinje doveo u zatvor dočim je prva uhapšena zbog ortodoksnog noir zapleta. McNaughton ne beži od konvencija B-filma AIP produkcije - sve je tu, nasilje u zatvoru, razvoj lezbijskih sklonosti, gruba uprava zatvora, noir zavere koje stoje iza svega.

McNaughton u kadriranju i radu sa glumcima vrlo vešto rekonstruiše B-filmove, ali ono što je u njima bilo naivno on koristi kao vid estetizacije i GIRLS IN PRISON uspeva da od jednostavnih rešenja proizvede vrlo složene i sofisticirane utiske.

U seriji REBEL HIGHWAY je bilo nekoliko zanimljivih filmova ali GIRLS IN PRISON je daleko najsloženiji i najkvalitetniji.

Pogledao sam CHUNGANGGONGGYOKSU Kil-In Kima i Chong-song Paka, severnokorejski sportski film iz 1978. godine. U prevodu naslov ovog filma znači CENTARFOR i reč je o sportskoj melodrami o mladom severnokorejskom fudbaleru koji kroz naporne treninge uspeva da sazri kao igrač i ispuni svoj san da zaigra i postigne gol na značajnoj utakmici.

Prva potpuno neverovatna stvar je da CENTARFOR zapravo izgleda kao jedan dosta solidno realizovan film iz 1948. godine a da je snimljen trideset godina posle epohe na koju podseća. Ovakva arhaičnost filma je potpuno neverovatna i moram priznati da reditelj stvarno mora da bude majstor kako bi postigao tako nešto. Mnogi ne uspevaju da naprave takav retro efekat čak i kad se trude.

Dakle, CENTARFOR je film bizarne tehničke egzekucije, ali s druge strane, u filmu se ne vidi nijedan automobil a od sprava se vide samo televizori koji takođe izgledaju kao da su iz 1948. pa sam smatrao da je ovo film koji je u vrh glave snimljen oko 1966. posle velikog uspeha Severne Koreje na Svetskom prvenstvu u Engleskoj.

Grč u kome se izlaže priča je potpuno neverovatan i to je drugi, očekivano zanimljiv aspekt ovog filma. Replike koje se izgovaraju u filmu i ponašanje likova nude čistu ideologiju i gotovo da nema dramskog sukoba jer se svi slažu u tome kako vide autoritet i obim truda koji treba da ulože kako bi ispunili zahteve koje Partija i Narod stavljaju pred njih kao sportiste. Naravno, u fudbalskom pogledu, ono što je osnovni zaplet filma a to je prilgođavanje na novi režim treninga nema nikakvog smisla. Otud i kad se pojavi neka mala iskra neslaganja ili dramskog sukoba, on je krajnje artificijelan, ne samo zato jer je jasno da će biti razrešen i na koji način već i zato što sami autori ne mogu da ga realizuju sa punim ubeđenjem.

Reditelj Kil-in Kim je nekoliko godina kasnije režirao internacionjalno poznati severnokorejski borilački film HONG KIL DONG.

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Pogledao sam severnokorejski akcioni film MYUNG RYOUNG-027 HO što bi trebalo da znači NAREĐENJE 27. Reditelji su Ki Mo Jung i Eun Suk Kim. Reč je o severnokorejskom guys on a mission filmu u kome se grupa severnokorejskih komandosa infiltrira na jug kako bi uništila američku bazu iz koje se organizuju južnjačke diverzije u Severnoj Koreji.

Ovo je prilično klasičan guys on a mission akcioni film, snimljen je 1986. godine kada je standard za tu vrstu filma već bio RAMBO ali je po pokazanom znajju i zanatu mnogo bliži ratnim filmovima iz šezdesetih i sedamdesetih. Osnovni problem je što među severnokorejskim vojnicima nema izraženog individualizma i dramskih sukoba kroz koje bi se profilisali tako da zapravo negativci deluju znatno upečatljivije. Severnokorejski likovi se stoga prevashodno izdvajaju i definišu kroz žrtvovanje.

Ima svih vrsta akcije, pucnjave, eksplozija i tuče a tuča je ipak naročito akcentovana i realizovana je prilično solidno, sa dosta ranog wireworka, dosta brutalnog udaranja u japanskom stilu, ali pošto junaci koji se biju nisu dovoljno profilisani, tuče ima dosta ali nema stila niti ikoničnosti.

Propagandni grč je dosta manji nego inače, ovde postoji imperativ borbe protiv kapitalista i ideal žrtvovanja za Juche, nema tako kompelksnih elaboracija kao u PULGASARIju ili u CENTRE FORWARDu. Nemam informacije o tome kako je NAREĐENJE 27 prošlo kao izvozni film u Istočnom Bloku ali ako imamo u vidu da su Rusi u to vreme forsirali svog Ramba, mislim da je moglo da nađ svoje mesto.

NAREĐENJE 27 je još jedan zanimljiv primer kako je Severna Koreja želela da odgovori Zapadu žanrovskim formama koje su njima svojstvene. Međutim, ima nekih folklornih deonica sa nekim pesmama koje dovode emociju ovog filma do paroksizma i to sve ubija efekat ovog filma kao entertainmenta. Naravno, naročito u Hong Kongu znamo da ima takvih digresija pa to sve nije potpuno nesvojstveno azijskom pogledu na film.

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Крипе, шта све имаш од севернокорејских филмова? Имају ли сви енглеске титлове? И имаш ли или имаш начина да набавиш серију "Неопевани хероји" у којој, као што сигурно знаш, игра Џејмс Резнок? Имаш ли ишта још од филмова с америчким побегуљама?

Imam klasiku, PULGASARI, ovaj borilački HONG KIL DONG, ove o kojima sam do sada pisao, i u procesu sam skidanja još nekoliko među kojima je DIARY OF A SCHOOLGIRL na kome je kao ko-scenarista radio Kim Jong Il. O Dresnocku sam gledao britanski dokumentarac ali na tu seriju nisam nailazio...

Ovi imaju titlove, to su mahom ripovi zvaničnih izdanja. Razmišljam da bi možda trebalo konrtakrirati to njihovo izvozno preduzeće i tražiti da nam pošalju filmove?

Има их овде:

http://www.north-korea-books.com/servlet/the-NORTH-KOREA-DVD-cln-MOVIES/Categories

Али као што видиш, цене су помало ударачке.

Mislio sam da nam pošalju kao ljudima koji izučavaju Juche.

haha, jel ovo postoji?

Ambasada Demokratske Republike Koreje
Dr Milutina Ivkovića 9, 11040 Beograd, Savski Venac
Telefon: 011/266-8739

Mislim da ne. Sada ih zastupa ambasada u Sofiji li tako nešto...

Ponekad filmovi govore o potpuno nezamislivim događajima kao u slučaju OPERATION DAYBREAK Lewisa Gilberta, priče o tome kako su se Česi opirali Hitleru. Čehoslovački otpor nacistima je gotovo apsurdno mali, ali desilo se tako da je možda najznačajnija gerilska akcija Drugog svetskog rata ostvarena upravo u Pragu i to od strane njihove "slobodne vojske" koju su podržavali Englezi. U Pragu je ubijen Reinhard Heydrich, arhitekta Holokausta, Hitlerova desna ruka i čovek koji je prošao sve nivoe nacističke hijerarhije i bio specijalista za problematične situacije. Ovaj film se ne bavi samim Heydrichom, prikazuje ga samo kao figuru u tumačenju Antona Diffringa, iskusnog "filmskog naciste". Dakle, svakako da se iz ovog filma ne može saznati puno o ovoj krajnje bizarnoj ličnosti. Nažalost, čini mi se da se ni o samom atentatu ne može saznati dovoljno.

Vrlo suvoparan scenario za film napisao je čuveni dramski pisac Ronald Harwood po romanu Alana Burgessa. Od Harwooda sam ipak očekivao znatno više, uostalom on će kasnije dobiti oskara za PIANIST Romana Polanskog. U osnovi, film je neobično ali pametno strukturiran. Atentat se desi već negde oko polovine a drugi deo filma prati lov na počinioce. Umesto kompleksnih okolnosti koje su pratile poteru za ilegalcima i njihovu herojsku smrt, odnosno bizarnu situaciju sa lečenjem Heydricha u kojoj Himmlerov lekar nije želeo da koristi antibiotike, Harwood nudi jednu pojednostavljenu sliku tog slučaja a najzanimljivijih detalja se tek dotiče. Tako recimo od odmazdi se pominju samo Lidice ali ne i serija eksperimenata u koncentracionim logorima kroz koje je Himmlerov lekar pokušavao da dokaže kako nije pogrešio u lečenju Heydricha.

Završnica sa pucnjavom u praškoj crkvi je impresivna, naročito deo sa herojskom smrću ilegalaca u kripti, ali je sudeći po bodycountu Gilbert, inače iskusni reditelj koji se okušao i na Bondovima, želeo da svemu da i dimenziju čisto akcionog filma što je verovatno bilo nepotrebno.

OPERATION DAYBREAK ne samo da nije istorijski precizan već bih rekao da nije iskoristio sav potencijal koji je ova priča nudila. S druge strane ubistvo Heydricha je dosta puta realizovano na filmu već u toku rata pa i kasnije, ali nijedan film po budžetu i vremenu nastanka (i dostupnim saznanjima) nije imao ovako veliku priliku da prikaže tu stvar.

OPERATION DAYBREAK je dostupan i u verziji od 102 minuta. Ja sam gledao verziju od 122 minuta i ona je zbilja preduga.

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Quote from: crippled_avenger on 26-08-2012, 12:39:42
Mislio sam da nam pošalju kao ljudima koji izučavaju Juche.

Озбиљно сам размишљао да направимо удружење грађана за изучавање Џучеа, па да организујемо неку екскурзију до НДРК и будемо званично примљени, избунаримо неке филмове и ископамо неке заиста слабо познате податке, рецимо каква је тамо стрип сцена (ако постоји), свира ли се ишта осим поп песмица, оркестарске и војне музике, итд. С политиком постепеног отварања, мислим да се ту многе ствари могу открити, можда и више од тога. Нпр, на нету постоји она понуда за израду анимираних филмова код њих, знаш ли нешто више о томе, какав је квалитет, како се склапају дилови, итд? На први поглед делује исто као остали далекоисточни цртаћи, али како то заиста изгледа... ко зна.

Znam par ljudi koji su bili tamo i u principu kažu da je vrlo čudno i vrlo napeto, da si pod stalnom prismotrom, i da nimalo nije prijatno...

Quote from: Джон Рейнольдс on 26-08-2012, 20:01:45каква је тамо стрип сцена

je li moguće
http://www.slate.com/articles/news_and_politics/foreigners/2011/06/you_are_followers_of_the_juche_philosophy_so_i_can_put_my_trust_in_you.html

Мртав сам уморан сад, а и гомила материјала и линкова су ми на београдском компјутеру. Али окачићу ти једном неке потпуно луде карикатуре. Као што написа један човек који их је анализирао, иначе експерт за наоружање, модерне у изведби али средњевековне у својој грубости.

Пардон, било је лако. Ево: http://lewis.armscontrolwonk.com/archive/5171/5171

doduše, nije to daleko od raznih proglasa protiv Pašića i terminologije koja je tada korišćena

čak me i ne čudi to što je predstavljen kao pacov koliko to što ima deset različitih varijacija postera 

Неко се у коментарима испод огласио и поводом пацова:

Where were these published, i.e. who is the target audience? The Lee=Rat theme seems to have originated among the South Korean opposition in the past couple of years, and the "2MB" reference in the first image is similarly sourced; if this is the Nork leadership's clumsy attempt to incite or exploit domestic unrest in South Korea, that's somewhere between hilarious and terrifying.

КЦНА редовно Лија Мјунг-бака назива пацовом, а владу ЈК издајничком.

Pogledao sam THE PINK JUNGLE Delberta Manna, avanturističku komediju sa James Garnerom u glavnoj ulozi i Evom Renzi i George Kennedyjem kao podrškom. Ovaj film je minoran Garnerov rad, dignut na viši nivo time što je on zvezda i zanimljiv lokacijama na kojima je sniman. Delbert Mann nažalost u ovom filmu ne samo da nije uspeo da napravi bilo kakvo istinsko uzbuđenje, ili osećaj da sve to ima svrhe već je zahvaljujući navedenim kvalitetnim elementima uspeo da se izvuče, što samo pokazuje koliko je potencijala za dobar film tu bilo.

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David Webb Peoples je u okviru "mračne" faze svog rada na opskurnijim filmovima pisao scenario za film FATAL SKY poznat još i kao PROJECT: ALIEN i potpisao ga pseudonimom Anthony Able. Peoples nije radio na mnogo nezavisnih filmova, čak su i B-produkcije koje je pisao ipak imale poznate finansijere i distributere. Međutim, PROJECT: ALIEN je opskurna produkcija čiju opskurnost produbljuje to što je u celosti sniman u Jugoslaviji iako se dešava u Norveškoj i nekako bih rekao da je upravo snimanje u SFRJ kako u bukvalnom tako i u figurativnom značenju jedan od razloga što se Peoples nije potpisao.

S jedne strane, SFRJ omogućuje da njeno Ratno vazduhoplovstvo pruži zaista dosta usluga producentima, tako da ekranom proleću Orlovi, Mi-8 i policijski helikopteri, u nekim čak priličnom komplikovanim, mada ne i dobro snimljenim stuntovima, dočim ostatak usluge nažalost nimalo ne pruža utisak Norveške, i ne liči na bogznašta, ali naročito ne na Norvešku.

Reditelj Frank Shields ne uspeva da napravi koherentnu celinu u tom jednom pabirčenju, a scenario je pojednostavljen do te mere da je Peoplesova vizija kompromitovana verovatno na svim nivoima - on ovako nešto sigurno ne bi napisao.

Deo misterije kako se Peoples povezao sa ovom ekipom možda leži u tome što je na filmu potpisan australian Film Commission a on je baš u to vreme u Australiji pripremao SALUTE OF THE JUGGER. Dakle, moguće je da se nešto što je planirano za Australiju prelilo u ovu dosta žalosnu pustolovinu snimanu u SFRJ.

U filmu pored pet-šest Amerikanaca glume mahom hrvatski glumci a Ena Begović i Frano Lasić imaju čak i prilično krupne uloge, od kojih je Enina priličan blam. Semka Sokolović Bertok se pojavljuje kao statista sa zadatkom u jednoj sceni.

PROJECT: ALIEN je inače zanimljiv po tome što je reč o exploitation filmu, krajnje pojednostavljenom radu u kome ti nije jasno kom žanru pripada sem da je premisa sa vanzemaljcima SF. Ali, sve ostalo je dosta mutno, horor je ponajmanje, ali nije baš ni triler ni akcija.

Dimitrije Vojnov CRIP-SHOW (1): We have cinemas

http://ljudska_splacina.com/2012/08/dimitrije-vojnov-crip-show-1-we-have.html

Er...

Sve drugo na stranu, al' ovo niti je smešno niti zanimljivo, niti edukativno... Zaista najpre deluje zlobno i to na jedan dosta trivijalan način??? Ne da ja sad treba da ti govorim šta da radiš u svoje slobodno vreme, ali očekivao bih nešto pametnije.

pa dobro meho, to je specifičan deadpan humor (ko razume, shvatiće); osim toga, biće i smehotresnijih momenata za one koji vole grohot, samo polako, nećemo sve skečeve odjednom...

Kako je ovo deadpan? 

Videćemo koliko će se komisija sa tim složiti.

Quote from: Father Jape on 29-08-2012, 12:42:41
Kako je ovo deadpan? 

pa kad neko mrtav ozbiljan (?) nazove DORĆOL MENHETN "a very funny comedy" - to je vic, zar ne?

ili "primarily made for the audience of sophomores and people who are older than that" - znate li vi KOLIKA je to publika za jedan ovolicki 'film'? 

Koliko ja shvatam principe humora (što ne mora da je mnogo!!!), deadpan bi bilo kada neko sa namerom daje apsurdnu izjavu održavajući pritom ozbiljan ton kako bi diskrepanca između tona i sadržaja izjave bila izvor smešnog. Ali ako neko tu izjavu daje ne smatrajući da je apsurdna onda to nije humor (u nameri) pa je tako citiranje tog nekog onda ne pokušaj kanalisanja deadpan humora nego ismevanje tog nekog po principu ne smejemo se sa njim nego njemu. E, sad, nekad je i to smešno, meni ovo sad i ovde nije i ja to ne bih radio.

hvala, meho, na ovom objašnjenju deadpana.
možda bi mi objasnio i pojam ironije?

uostalom, ne pucajte u mesendžera: uzmite ovaj text kao štagod oćete (ili nećete) - meni je on smešan; to što je njegova smešnost nenamerna nema mnogo veze sa entertainment valueom, a ni sa poučnim potencijalima...

Gule, da li ovo znači da ćemo dobiti i privilegiju da čitamo tvoje tekstove koje si pisao 1992. godine? Mislim, pošteno bi bilo da ih uporedimo.

Pa, ironija je u ovom slučaju što ti eksplicitno tvrdiš da nema zlobne namere u ovom što radiš a reklo bi se da je zlobna namera (smejte se njemu, ne sa njim!!!!!!!!!) zaslepljujuće jasna. A pouka je valjda da su klinci od dvadeset godina - klinci???

ja zaista nemam nameru da nekome namećem šta treba da mu bude smešno (mada sam farbom obeležio neke delove, za čitaoce sa jefitnijim ulaznicama) niti da ekspliciram pouke iz texta, iako je upravo distanca od 10 godina vrlo rečita - onome ko hoće da vidi (i ko ima distancu prema ovome).

ko neće, ne mora. 

    Ma da, sad se ti praviš nevešt.    Ko da se svi ovde ne znamo!!!!!!!!

Al dobro, svima će nam Alah suditi a on je milostiv.

prije svega, tekst je dosadan. Jasne motivacije, pogotovo humorističke, za postavljanje teksta na blog ovdje nema, stvarno je potrebna volja sasvim drugog kova da bi se neko ovako bavio dosadnim tekstovima, a većini je i jasno kakva je volja u pitanju.

Tekst i zvuči kao da ga je pisao adolescent, i sam autor će vjerovatno sa tim da se složi, ali šta ima zanimljivo u iskopavanju ovog teksta to je takva ''misterija''.

"Safe House" helmer Daniel Espinosa is in early talks to direct an adaptation of Tom Rob Smith's novel "Child 44" at Summit/Lionsgate and Scott Free reports Deadline.

The first of a trilogy and set in the Stalin-era Soviet Union, the story follows disgraced lawman Leo Demidov who is assigned to investigate a series of gruesome child murders.

The story is based on the real life tale of Ukrainian serial killer Andrei Chikatilo (the Rostov Ripper) who was executed for 52 murders.

Richard Price adapted the script and shooting aims to kick off early next year should Summit give it the green light.