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

   
Špijuni iz S. Koreje - nove zvezde filma
Izvor: Tanjug

Oni su zgodni, smeli, patriote, poliglote i elitni borci koji izbegavaju metke, a istovremeno su lojalni ženama i porodici. Upoznajte nove heroje južnokorejskog filma - severnokorejske špijune.

Predstavljeni u Holivudu kao nemilosrdni teroristi u filmovima poput "Napada na Belu kuću", filmadžije u Južnoj Koreji sve češće severnokorejske agente predstavljaju kao akcione heroje čije lične borbe oslikavaju podeljeno Korejsko poluostrvo.

Takve filmovi koji su pre nekoliko decenija bili nezamislivi, prihvata mlada publika u Južnoj Koreji, koja se ne seća užasa Korejskog rata i ne gaji neprijateljstvo prema komunističkim susedima.

Obe Koreje su tehnički i dalje u ratu iako je sukob pre šest decenija okončan primirjem. Tenzije duž teško utvrđene granice i dalje sporadično izbijaju, a obe strane su slale špijune sa zadacima da ubiju ključne figure ili ukradu državne tajne.

Za južnokorejske fimladžije, Sever je "savršena inspiracija" koja im pruža priliku da kombinuju fantaziju sa realnostima suseda koji često Seulu preti "morem plamena".

"Sever je tako misteriozna, nepoznata nacija, da postoji mnogo mesta da se pušti mašti na volju", kaže filmski kritičar Kim Sun Jub.

Smrt dugogodišnjeg lidera Kim Džon Ila 2011. dodatno je inspirisala filmadžije, kaže Džang Čeol Su, režiser hita "Secretly, Greatly".

Tragikomični akcioni film je od početka emitovanja u junu videlo 6,9 miliona gledalaca i treći je najgledaniji južnokorejski film ove godine. "Niko drugi ne otelotvoruje tako turbulentna i nesigurna vremena od ovog severnokorejskog špijuna", rekao je Džang AFP-u.

Priča o elitnom špijunu, koji je poslat da živi u Seulu sa misijom da ubije glavne političare, pružila je Džangu priliku da mladog ubicu predstavi kao nekoga ko izigrava seoskog idiota kako ne bi privukao pažnju suseda.

Špijun ubrzo shvata da je okružen dobrim susedima ali dolazi do tragedije. Drugi film sa najvećom zaradom je, takođe, špijunski triler koji je videlo 7,1 miliona ljudi.

"The Berlin File" je priča o severnokorejskom tajnom agentu koji pokušava da sa suprugom, prevodiocem u ambasadi, prebegne u Južnu Koreju. Oba filma su fikcije, ali zasnovane na stvarnim događajima.

Zanimljivo je da se stanovništvo Južne Koreje i dalje poziva da, za bogatu nagradu, prijavi špijune, ali je situacija drastično promenjena u odnosu na prošla vremena kada su deca u školi podučavana kako da, prema ponašanju ili akcentu, procene da li je neko špijun.

Prekogranično pomirenje krajem 1990-ih ohrabrilo je filmadžije da susedima iz Severne Koreje daju humano lice budući da su do tada prikazivani kao bezdušni zlikovci. Džang kaže da se glumci sada nadmeću za uloge severnokorejskih agenata bez straha da će im to uništiti imidž.

U prošlosti, humanizovanje Severnokorejanaca plaćalo se zatvorom, kao što je bio slučaj sa čuvenim Li Man Hiom, režiserom koji je uhapšen i osuđen 1965. jer je vojnike iz Severne Koreje predstavio kao "humana i milosrdna ljudska bića" u svom antikomunističkom filmu.

Od 2010. pet velikih špijunskih filmova prikazano je u Južnoj Koreji a još tri se snimanju, uključujući "Red Family" proslavljenog Kim Ki Duka, čija je "Pijeta" prošle godine proglašena za najbolji film u Veneciji.

Filmski kritičar Kim sada upozorava da špijunski filmovi idu u drugu krajnost i preterano "humanizuju" komunističke špijune koji su i dalje zastrašujuće pojave u stvarnom životu.

"Mnogi špijunski filmovi skorije proizvodnje previše idu na suprotan kraj antikomunističkih filmova koje smo gledali 1970-ih", rekao je on i ocenio da je sve to deo pokušaja da se "izbalansiraju stvari iz prošlosti".

Džang, međutim, odbacuje tu kritiku i smatra da je današnja, mlada publika dovoljno pametna da ne brka filmske od stvarnih špijuna.

Save the Movie!The 2005 screenwriting book that's taken over Hollywood—and made every movie feel the same.

Quote
If you've gone to the movies recently, you may have felt a strangely familiar feeling: You've seen this movie before. Not this exact movie, but some of these exact story beats: the hero dressed down by his mentor in the first 15 minutes (Star Trek Into Darkness, Battleship); the villain who gets caught on purpose (The Dark Knight, The Avengers, Skyfall, Star Trek Into Darkness); the moment of hopelessness and disarray a half-hour before the movie ends (Olympus Has Fallen, Oblivion, 21 Jump Street, Fast & Furious 6).
   It's not déjà vu. Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. It's as if a mad scientist has discovered a secret process for making a perfect, or at least perfectly conventional, summer blockbuster.
   The formula didn't come from a mad scientist. Instead it came from a screenplay guidebook, Save the Cat! The Last Book on Screenwriting You'll Ever Need. In the book, author Blake Snyder, a successful spec screenwriter who became an influential screenplay guru, preaches a variant on the basic three-act structure that has dominated blockbuster filmmaking since the late 1970s.
   When Snyder published his book in 2005, it was as if an explosion ripped through Hollywood. The book offered something previous screenplay guru tomes didn't. Instead of a broad overview of how a screen story fits together, his book broke down the three-act structure into a detailed "beat sheet": 15 key story "beats"—pivotal events that have to happen—and then gave each of those beats a name and a screenplay page number. Given that each page of a screenplay is expected to equal a minute of film, this makes Snyder's guide essentially a minute-to-minute movie formula.

Snyder, who died in 2009, would almost certainly dispute this characterization. In Save the Cat!, he stresses that his beat sheet is a structure, not a formula, one based in time-tested screen-story principles. It's a way of making a product that's likely to work—not a fill-in-the-blanks method of screenwriting.
   Maybe that's what Snyder intended. But that's not how it turned out. In practice, Snyder's beat sheet has taken over Hollywood screenwriting. Movies big and small stick closely to his beats and page counts. Intentionally or not, it's become a formula—a formula that threatens the world of original screenwriting as we know it.
   ---
   Screenplay gurus like Syd Field and Robert McKee touted the essential virtues of three-act structure for decades. For Field and McKee, three-act structure is more of an organizing principle—a way of understanding the shape of a story. Field's Story Paradigm, for example, has just a handful of general elements attached to broad page ranges.
   Field and McKee offered the screenwriter's equivalent of cooking tips from your grandmother—general tips and tricks to guide your process. Snyder, on the other hand, offers a detailed recipe with step-by-step instructions.
   Each of the 15 beats is attached to a specific page number or set of pages. And Snyder makes it clear that each of these moments is a must-have in a well-structured screenplay. The page counts don't need to be followed strictly, Snyder says, but it's important to get the proportions fairly close. You can see the complete beat sheet, with page numbers and a summary of each beat, in a sidebar here.

   Let's take a journey through this year's blockbusters and blockbuster wannabes and see the big trailer-ready ways in which Snyder's beat sheet pops up over and over again. Look at January's Gangster Squad. After an opening image that sets up the conflict between Josh Brolin's hard-charging cop, Sgt. John O'Mara, and the criminal forces of mob boss Mickey Cohen (Sean Penn), O'Mara is called in to see his gruff police superior. "We got rules around here, smartass," the chief growls. "Do yourself a favor. Learn 'em." That's Snyder's second beat, theme stated. And it's right at the seven-minute mark, almost exactly when it's supposed to happen in a 110-minute movie. The rest of the Snyder playbook is there, too: a story-starting catalyst midway through the first act, a shootout at the midpoint that ups the ante, an all-is-lost moment—including a death—between the 75- and 80-minute mark, and a concluding final act in which the baddies are dispatched in ranking order, just as Snyder instructs.
   Or look at March's Jack the Giant Slayer. There's an opening image that sets up each of the young protagonists' problems and states the theme at the five-minute mark, a catalyst at the 12-minute mark, an act break between the 25- and 30-minute mark when Jack climbs the beanstalk, and a false victory 90 minutes in, when it looks as if the evil giants have been definitively defeated.
      Oz the Great and Powerful is a fun riff on director Sam Raimi's quirky early horror films. But check your watch a quarter of the way through and you'll find a tornado that whisks Oz, and the movie, into its first act. Once Oz has landed, he meets Theodora, the love interest—and the B-plot. Baz Luhrmann's The Great Gatsby adaptation was reorganized to fit the formula, with a party-filled fun and games second quarter that leads to the decline of the third, in which tragedy looms as the bad guys close in.

Field and McKee were obsessed with the theoretical underpinnings of storytelling. But Snyder's book is far more straightforward. And that's why it's conquered the big screen so thoroughly. Indeed, if you're on the lookout, you can find Snyder's beats, in the order he prescribes, executed more or less as Snyder instructs, in virtually every major release in theaters today. Even the master storytellers at Pixar stick quite close to Snyder's playbook: Watching Monsters University this summer, I loved the way it toyed with underdog sports and college movie conventions. Yet the story hits every one of Snyder's beats, including an opening image that's mirrored in the final scene, an act break when Mike and Sully reluctantly join forces to compete in the Scare Games, a false victory about three-quarters of the way through when (spoiler!) they "win" the final Scare Games challenge, and an all-is-lost moment followed by an emotionally charged dark night of the soul next to a moonlit lake afterward.
   Yet once you know the formula, the seams begin to show. Movies all start to seem the same, and many scenes start to feel forced and arbitrary, like screenplay Mad Libs. Why does Kirk get dressed down for irresponsibility by Admiral Pike early in Star Trek Into Darkness? Because someone had to deliver the theme to the main character. Why does Gina Carano's sidekick character defect to the villain's team for no reason whatsoever almost exactly three-quarters of the way through Fast & Furious 6? Because it's the all-is-lost moment, so everything needs to be in shambles for the heroes. Why does Gerard Butler's character in Olympus Has Fallen suddenly call his wife after a climactic failed White House assault three-quarters of the way through? Because the second act always ends with a quiet moment of reflection—the dark night of the soul.
   And if the villain of the past few years of movies is the adolescent male for whom it seems all big-Hollywood product is engineered, Snyder's guidelines have helped that bad guy close the door to other potential audiences. Save the Cat! doesn't go so far as to require that protagonists be men. But the book does tell aspiring screenwriters to stick to stories about the young, because that's "the crowd that shows up for movies." Following this advice to its logical conclusion means far more stories about young men—since that's who shows up at the multiplex the most. It's not an accident that the chapter on creating a hero is called "It's About A Guy Who ... " not "It's About A Person Who ... " And with a young male protagonist, women are literally relegated to the B-plot—the love interest, or "helper," who assists the male protagonist in overcoming his personal problems. It's not an accident that Raimi's megabudget Oz movie featured not Dorothy but a male protagonist.
   Watching poorly executed movies with Snyder's formula in mind can become a tiresome and repetitive slog. How many times can you watch a young man struggle with his problems, gain new power, then save the world? It's enough to make you wonder: Is overreliance on Snyder's story formula killing movies?
   If so, then all is lost. The major studios increasingly rely on a small number of megabudget blockbusters for their profits. But big budgets mean big risks. And the only way to mitigate those risks is to stick with what's been known to work before. In other words, formula—and the more precise the formula, the better. America's greatest art form is headed straight, as the Snyderized Star Trek sequel notes, Into Darkness.
   ---
   It's not that the formula can't produce good, fun movies: Monsters University is very enjoyable. Star Wars, Die Hard, The Matrix, and The Avengers all follow something like the story path that Snyder laid out. But it does mean that Hollywood produces way too many movies about adolescent men coming to grips with who they are (think John Carter, Battleship, The Bourne Legacy, Tron: Legacy, Abraham Lincoln: Vampire Hunter, virtually every superhero movie, and the entirety of the J.J. Abrams canon).
   It also means that there's far less wiggle room for even minor experimentation. Think of a classic popcorn flick like Jurassic Park. It's a pretty classic three-act story, and it includes virtually all of the elements found in Snyder's beat sheet. But they are out of order and out of proportion. Now compare that to a modern megablockbuster like The Amazing Spider-Man, which follows the Snyder structure beat by beat. There's a reason that even Steven Spielberg is complaining that Hollywood is too reliant on formulaic blockbusters.
   We can appeal to screenwriters to buck the trend. But why would they? The formula is incredibly useful. Indeed, I relied on Snyder's beat sheet to write this piece, using every beat, in the order he lists. (Try reading this piece from the beginning and see if you can spot all the beats. Or click here to see a version of the essay in which they are all labeled.)
   I could see the advantages of the beat sheet.It helped me order my thoughts and figure out what I should say next. But I also found myself writing to fit the needs of the formula rather than the good of the essay—some sections were cut short, others deleted entirely, and other bits included mostly to hit the beat sheet's marks. It made writing easier, in other words, but it also made me less creative.
   That's why you've got that strangely familiar feeling at the movies. Hollywood needs to learn a screenplay style life-lesson of its own: Sure, sometimes you can let the formula guide you. But that shouldn't be the only thing you know how to do.

Neka svemir čuje nemir - Cuaronov GRAVITY

http://dobanevinosti.blogspot.com/2013/07/neka-svemir-cuje-nemir-gravity-trejler.html

Pogledao sam povratnički film Wesleya Snipesa GALLOWWALKERS Andrew Gotha. Ovaj film je snimio pre odlaska u zatvor ali je očigledno izlazak na DVD tržište ostavljen za vreme posle izlaska na slobodu. Andrew Goth je britanski reditelj koji je relatzivno netipičan za okolnosti DTV produkcije u kojoj se Snipes snalazi godinama, premda se za njegove filmove u tom domenu mora naglasiti da spadaju među najbolje predstavnike tog miljea.

Goth je počeo režirajući britanske krimiće i jedno vreme ja važio za hip reditelja, ipak na kraju nije uspeo da se probije u prvu ligu britanskog filma. U tom smislu, GALLOWWALKERS ponavlja formulu BLADEa, spaja Snipesa sa britanskim rediteljem u priči koja kombinuje akciju i horor. Naravno, Goth nije Norringtonov kalibar, BLADE je daleko bolji i ambiciozniji film, ali GALLOWWALKERS takođe nije za potcenjivanje.

Ako se ostavi po strani da je priča izložena blago konfuzno, čak ne toliko u pogledu toga da nije jasna, koliko na nivou same tehnike pripovedanja, GALLOWWALKERS je zapravo dobrodošlo osveženje u Snipesovoj karijeri - za početak nije reč o klasičnom DTV akcijašu već o atmosferičnom vesternu sa prilično uvrnutim okultnim elementom, temom demona, uskrsnuća, verskih kultova i to sve duboko u Dust Bowlu koji je prilično ekspresivno snimljen u Namibiji (nota bene, od svih mesta van SAD gde su fejkovani prizori Divljeg Zapada, Namibija najmanje liči na Ameriku). U određenom smislu, Goth je toliko fasciniran imaginarijumom vestern horora da Wesley ima nešto pasivniju, bezmalo pa ne baš lidersku ulogu, iako je bez sumnje on glavna uloga, nikako nije kičma filma.

U tom pogledu GALLOWWALKERS podseća na BLADE u kome je Norrington fetišizovao naslovnog junaka ali su ga dosta zanimale i stvari oko njega te su i drugi junaci, naročito negativci imali svoje arije.

Goth je snimao film sa prilično malim budžetom, GALLOWWALKERS deluje dosta "prljavo", pored gothic westerna, ima i nešto jeze svojstvene serijalu MAD MAX a i ponešto od šminke iz TEXAS CHAINSAW MASSACRE. U svakom slučaju, na nivou ideja, Goth prevazilazi realizaciju. S druge strane, posle niza filmova sa B i C idejama, ili čak exploitation korenima, realizovanih u A ključu gde je forma mutirala sadržaj, ovde su sadržaj i forma u ravnoteži, GALLOWWALKERS nadoknađuje svoje probleme srcem.

* * 1/2 / * * * *

Pogledao sam THE BERLIN FILE Ryoo Seung-wana, južnokorejski akcioni triler smešten u Nemačku, sniman na licu mesta i u Letoniji, u kome glavni likovi pripadaju severnokorejskoj tajnoj službi. U tom pogledu, THE BERLIN FILE nije prvi film te vrste, imali smo recimo SECRET REUNION u kome odmetnutog severnokorejskog agenta progoni likvidator poslat da ga uklopbni posle neuspelog zadatka. U THE BERLIN FILE međutim severnokorejska služba je tretitana kao CIA u američkom filmu, njeni agenti bivaju izdati od pokvarenih ljudi iznutra, a južnokorejska služba je tretirana podjednako cinično. Otud ovaj film je vrlo neobičan jer odnosima između službi prilazi bez ikakvog ideološkog opterećenja, a razlike su suptilne - naime, među severnokorejskim kadrovima vlada veliko nepoverenje i sumnjičenje dok su južnokorejske kolege nešto opuštenije. U svakom slučaju, iako je prikaz svih službi zaliven cinizmom, on nije dovoljno veliki da prikrije neobično odsustvo esencijalizovanja negativnih kvalifikacija za Severnjake.

Kada u Berlinu pođe naopako tajni sastanak na kome Severnjaci preko Rusa prodaju oružje arapskom pokretu otpora, severnokorejska ambasada u Nemačkoj dolazi pod lupu matičnih službi. Ubrzo kreće međusobno sumnjičenje među ljudima u ambasadi koje dovodi do toga da nevini agent sa suprugom bude optužen za izdaju.

Berlin je staro hldnoratovsko poprište uzbudljivih priča i Ryoo Seung.- wan ga i koristi baš tako, kombinujući atmosferu hladnoratovskih trilera kao što je QUILLER MEMORANDUM i novijih blokbastera kao što je serijal o BOURNEu. U nekoliko navrata Ryoo podleže montažnim sekvencama i flešbekovima i čini mi se da ove prečice pre svega koristi kako bi ubrzao film za zapadnu publiku. Ne bi me čudilo ako je u Koreji prikazan neki ležerniji cut sa dužim trajanjem.

Ryoo se vrlo dobro snalazi u ovoj formi, špijunska intriga mu ide podjednako dobro kao melodrama i akcija, a par set-pieceova su apsolutno na nivou holivudskog spektala BOURNE ili TAKEN profila sa dodatnom dozom južnokorejske maštovitosti.

Uprkos tom što je THE BERLIN FILE bliži zapadnim standardima nego obeležjima korejskog inovativnog žanrovskog filma, bez ikakve sumnje pokazuje da je ova kinematografija spremna da konkuriše u repertoarskim formama čak i kada se ne insistira na lokalnom autorskom pečatu. Najvažnija stvar zapravo jeste to da ovaj film žanrovski može da se nadoveže na SHIRI ali za razliku od njega, ovo je ipak, origibnalan i samouveren film koji ne zaostaje za svojim uzorima.

* * * / * * * * 

Former Warner Bros. studio chief should turn down any offers he receives for a similar position
EVP and Editorial Director
Peter Bart
EVP and Editorial Director @MrPeterBart   


Now that you're out of a job, Jeff, you're probably getting lots of advice about your next career move, so here's mine: If a company offers you a position similar to the one you held at Warner Bros., turn it down.

The title of "studio chief" may be a power trip, and in past generations it was the best job in town. Now it's an invitation to failure. In appointing a three-person committee to assume your former responsibilities at Warner Bros., Kevin Tsujihara is at least dividing up the blame.

In your years on the job, Jeff, I found your behavior to be increasingly grumpy and irascible, underscoring the fact that executives inevitably do a bad job in a non-job. Here's why:

The major studios today have been remodeled into global marketing machines that have basically surrendered control over content and even cost. The aim is to perpetuate an assembly line of franchises with mega-budgets and complex financing structures — projects that seem to dictate their own destinies.

Hence today's production heads never get to make movies that they themselves would like to see. Back in the era of John Calley, Robert Evans or Richard Zanuck, the studio chiefs actually picked scripts and guided the production process. In Irving Thalberg's bygone era, they were as much myth-makers as filmmakers.

Those times are long past, Jeff. That's why I think your best bet is to cash your severance check and find a seat on the sidelines. The committee that takes control under Tsujihara must figure out how to coax blockbusters out of DC Comics characters and videogames. The studio's existing franchises like "Harry Potter" and "The Hangover" trilogy have faded into the night. "Man of Steel" is doing business, but the overall market is exhibiting signs of superhero fatigue.

For a glimpse of the problems at hand, Jeff, look at the issues facing your ex-boss, Alan Horn, who became movie chief at Disney. The good news is that Horn oversees entities like Pixar, Marvel and the "Star Wars" sequels to supply product — and they represent someone else's production headache. The bad news is that he inherited "The Lone Ranger," a brilliant, bizarre runaway train of a movie that would seem inimical to Disney's corporate model.

No studio head in today's market would want to commit to a Western — no less a comedy Western (usually box office poison) — especially a $250-million live-action movie that plays somewhat like "Lone Ranger" helmer Gore Verbinski attempted a remake of his satiric animated Western, "Rango " — or tried to mix "Rambo" with "Pirates of the Caribbean."

Has the young audience worldwide ever heard of "Hi-yo Silver?" Or care whether Tonto's people were cheated out of their land by money-grubbing railroad men? (Johnny Depp worked that theme to no avail in "The Brave," the disastrous 1997 fi lm he directed, co-wrote and starred in.)

Horn struggled to lower the budget of "The Lone Ranger," which edged up anyway, and to cut its 2 hour 25 minute running time, which also edged up. Would you have coveted that mission, Jeff? Then comes the task of selling the mythic masked man overseas.

The key responsibility of today's studio boss is to keep up the tentpole batting average, but this has been a tough summer to accomplish that. Even the canny veteran Amy Pascal has run into tentpole turbulence with "After Earth" and "White House Down," both problem projects coming at a time when marauders from Wall Street are prodding Sony Corp. to make drastic structural changes.

That's why it's a good time to sit things out, Jeff. Go to the beach and take some summer reading — screenplays not included.

Ovo je ona vrsta egzotike koju vole John i Mehmet, Stari Kadar o svom prethodniku na čelu RTSa, prenosi NUNS!

http://www.nuns.rs/info/news/19744/aleksandar-tijanic.html

    Sjajno. Zaista je teško jednim pogledom obuhvatiti veličinu kao što je Tijanić.

Прочитао још јуче у "Недељнику", хтедох и мејл-честитку да пошаљем. Међутим, ово за "Штази" је занимљиво, чини ми се да сам већ овде писао колико ми се то поређење допада, али рачунам да је поштеније да изнесем мишљење пошто Тијанић оде. Не зато што ће током преосталих месеци учинити нешто по том питању, напротив, већ чисто да се подвуче црта. Није да немам шта да кажем о размонтиравању, недостатку домино ефекта и које су домине фалиле. Можда једног дана... у Маринковој Бари, што каже Син.

Bojim se da će Cripple posle gledanja Wolverinea samo da dobije još municije za svoje pljuvanje po Marvelu. Film pokušava da bude akcioni film sa, jelte, dušom i odraslim likovima ali ga u tome sprečava vrlo slab skript. Dijalozi su uspavljujuće dosadni a određena siva boja u karakterizaciji, gde se ne da lako razlučiti ko je negativac a ko heroj je više posledica smušenog pripovedanja i više motiva i likova nego što Mangold ume da kontroliše, nego neke zrelosti filma. Akcione scene su ako ništa drugo, vrlo dobre ali tim više se ističe da Mangold nema pojma šta da radi sa likom dva sata pa je Wolverine sveden na mrštenje i u sopstvenom filmu se šlepuje na tuđoj priči bez aktivne uloge u narativu.

Ali bar su ženski likovi kolko-tolko prominentni što je za Holivud ipak nekakva progresiva.

THE WOLVERINE je toliko smiješan film da ja nemam riječi. Logan sa gnjevom jednog NVO aktiviste. To je film. A akcione scene su toliko nemušte, toliko iskasapljene zarad PG-13 rejtinga, da sa film na kraju svodi... ni na šta. Scenarija nema. Šarma nema. Zapleta nema. Akcije nema. Na kraju krajeva, u filmu nema ni Vulverina. Plač! 

Nema sumnje da bi sve bilo bolje da je Marvel izbacio Fox iz kombinacije i sve radio sam. Avi Arad bi ovo bolje odradio.

22.000 reči, pa ko želi, ima da se nauživa:

2001: A Space Odyssey - Discerning Themes through Score and Imagery

Quote from: Meho Krljic on 28-07-2013, 01:05:26
Nema sumnje da bi sve bilo bolje da je Marvel izbacio Fox iz kombinacije i sve radio sam. Avi Arad bi ovo bolje odradio.

Wolverineov prvi vikend je oficijalno flop. Doduše, zaradio je 55 milijuna, ali očekivalo se 70...

Ljudiiii,
meni jos u glavi scena gde Supermenov tata umire od tornada spasavajuci dzukelu, EEEj!
Znaci, Dzukela je vrednija od ljuckog zivota?
(....i posle teoreticari zavere su svi moroni..Ok. vazi, ahaaa...)

Moze li ista biti gore u Wulverinu od te nadri-patetike?

6 actors who passed up legendary roles

WOLVERINE je izgleda uspeo da se izvuče zahvaljujući ostatku sveta. A u Americi je prošao lošije nego što je projektovano čak i dan pre premijere, tada se očekivalo da će biti prvi skup film koji nije flop posle niza od tri-četiri. Ali očigledno publika je zasićena, superheroji su je zamorili...

Hvala za Tijanića, BTW, iz teksta su mi izbacili dve bitne rečenice, od kojih je jedna ostala u štampanom izdanju ali izdvojena van teksta, a druga je nestala u oba. Ta izbačena rečenica je glasila da je od irelevantnog medija napravio televiziju koju volimo da mrzimo i malo je to razradila...

A sada samo za Johna, ali svakako i Meha, jedna stara dobra tema, kakva se očekuje na ovom topiku >

http://novinenovosadske.rs/u-potrazi-za-komunistickim-diznilendom/

Posle čitanja ovog teksta pada mi na pamet i da je Wolverine bio solidan overseas uspeh na ime svojeg dalekoistočnog setinga 

IRON MAN 3 je imao posebnu verziju za Kinu, primera radi.

Da, mada je prilično hilerijs da se kineska publika žalila kako je tih dodatnih pet minuta futidža glupo i besmisleno.

Pogledao sam RED 2 Deana Parisota. Za početak, lepo je što se Dean parisot vratio posle teške porodične tragedije i snimio film koji pokazuje da spada u red vizuelno pismenijih reditelja komedija koji nemaju problem sa tim da se late i fizičke akcije ako zatreba. Glumačka ekipa je takođe na okupu, lokacije su vrlo zanimljive i ton filma je sasvim u redu.

Nažalost, ono što nedostaju ovom nastavku je istinski dramski sukob i priča se ubrzo svede na seriju komičnih i akcionih sekvenci koje su povezane vrlo labavim narativom bez ikakvog dramskog zamajca. To je čest problem u filmovima ovog tipa ali bi se reklo da je u RED 2 taj problem prisutniji nego inače i da samim tim spektakularnost i duhovitost pojedinih scena ne uspevaju da prikriju tu ekstremnu olabavljenost strukture.

Otud, na kraju, to sve deluje kao istovremena krivica i Deana Parisota i scenarista Braće Hoeber. Iako je formalno problem scenaristički, rekao bih da Parisot nije dobro savladao celinu već da je trud mahom pokazao u detaljima. RED ima potencijala da se nastavi kao franšiza, ali bi od ključnog značaja bila zamena scenarističkog tima koji očigledno nema dovoljno veštine da ulije dovoljno energije u ove šematizovane forme.

* * 1/2 / * * * *

Pogledao sam THE COLONY Jeffa Renfroea, kanadski postapokaliptični film smešten u novo ledeno doba, kada su klimatski događaji doveli do smaka sveta sa malim grupama preživelih koje žive u nekakvim podzemnim kotlarnicama koje se nazivaju kolonijama. Kada u jednoj koloniji dobiju SOS poziv iz susedne, vođstvo šalje ekipu da im pomogne i oni tamo zatiču masakr koji je napravila grupa postapokaliptičnih kanibala koja potom kreće za njima, prema njihovoj koloniji.

THE COLONY je nepretenciozan, jednostavan, dinamičan akcijaš, na tragu takvih filmova iz osamdesetih. U sebi nosi karpenterovsku jednostavnost, nešto millerovske visceralnosti, iako je prikaz postapokaliptičnog sveta i društva manje groteskan nego u MAD MAXu. Kanibalske bande su solidna pretnja, iako u sebi nemaju ništa natprirodno, imaju nešto ludila proisteklog iz "jake" ishrane i izvesnu fizičku nadmoć u odnosu na ispošćene pozitivce.

THE COLONY ne nudi ništa više od ovoga, ali ovo nudi u jednoj vrlo pristojnoj old school realizaciji i zato zaslužuje simpatije.

* * * / * * * *

Red Band trejler za ABOUT TIME

http://dobanevinosti.blogspot.com/2013/07/about-time-novi-trejler.html

QuoteNaravno, ovakve projekcije deluju krajnje neuverljivo, ako imamo u vidu da je Kimov režim fokusirajući se na ono što mu je primarno a to je izgradja kapaciteta za odvraćanje protivnika, kao i većina tvrdih represivnih režima poprilično izgubio kontrolu nad crnom berzom, švercerima i funkcionerima na nižim nivoima i da bi se vrlo teško mobilisao na totalni rat.

Хм. Сумњива тврдња за црну берзу, у несагласју с оним што смо утврдили, да се о свакодневном животу зна веома мало. Чак бих поставио питање шта је за њих црна берза? Чињеница је да после колапса система расподеле почиње да се развија некакво тржиште, али пошто је практично све тамо "сива зона" - претпостављам да се не плаћа порез и томе слично - онда се практично свака пијаца може подвести под оно што ми зовемо "црном берзом". Занимљив текст о томе из (додуше сумњивог извора) "Волстрит џурнала": http://www.nkeconwatch.com/2010/04/16/pyongyangs-women-wear-the-pants/ .

Рецимо да бих у главне црте изнесене у чланку поверовао јер се поклапа с оним што се види на фотографијама. Али опет, чињеница стоји да се у последњих неколико година велике пијаце граде у свим градовима, док оне дивље нестају са сателистких фотографија, а у све то странцима је приступ забрањен. Чини ми се да је "губљење контроле" прејако речено, штавише чини ми се да је развој тржишта контролисанији него што делује, али опет - података је болно мало.

Pesnica američkog okupacionog filma, Peter Berg, posle KINGDOMa, nudi svoj BLACK HAWK DOWN

http://dobanevinosti.blogspot.com/2013/08/lone-survivor-prvi-trejler.html

The Chilling History of How Hollywood Helped Hitler (Exclusive)
8:40 AM PDT 7/31/2013 by Ben Urwand



2013 Issue 27: How Hollywood Helped Hitler
Paul Rogers
In devastating detail, an excerpt from a controversial new book reveals how the big studios, desperate to protect German business, let Nazis censor scripts, remove credits from Jews, get movies stopped and even force one MGM executive to divorce his Jewish wife.

This story first appeared in the Aug. 9 issue of The Hollywood Reporter magazine.
our editor recommends


The 1930s are celebrated as one of Hollywood's golden ages, but in an exclusive excerpt from his controversial new book, The Collaboration: Hollywood's Pact with Hitler (Harvard University Press, on sale Sept. 9), Harvard post-doctoral fellow Ben Urwand uncovers a darker side to Hollywood's past.

Drawing on a wealth of archival documents in the U.S. and Germany, he reveals the shocking extent to which Hollywood cooperated and collaborated with the Nazis during the decade leading up to World War II to protect its business.

Indeed, "collaboration" (and its German translation, Zusammenarbeit) is a word that appears regularly in the correspondence between studio officials and the Nazis. Although the word is fraught with meaning to modern ears, its everyday use at the time underscored the eagerness of both sides to smooth away their differences to preserve commerce.

PHOTOS: Hitler's Hollywood: The Films Nazis Loved and Hated

The Nazis threatened to exclude American movies -- more than 250 played in Germany after Hitler took power in 1933 -- unless the studios cooperated. Before World War I, the German market had been the world's second largest, and even though it had shrunk during the Great Depression, the studios believed it would bounce back and worried that if they left, they would never be able to return.

Beginning with wholesale changes made to Universal's 1930 release All Quiet on the Western Front, Hollywood regularly ran scripts and finished movies by German officials for approval. When they objected to scenes or dialogue they thought made Germany look bad, criticized the Nazis or dwelled on the mistreatment of Jews, the studios would accommodate them -- and make cuts in the American versions as well as those shown elsewhere in the world.

It was not only scenes: Nazi pressure managed to kill whole projects critical of the rise of Adolf Hitler. Indeed, Hollywood would not make an important anti-Nazi film until 1940. Hitler was obsessed with the propaganda power of film, and the Nazis actively promoted American movies like 1937's Captains Courageous that they thought showcased Aryan values.

Historians have long known about American companies such as IBM and General Motors that did business in Germany into the late 1930s, but the cultural power of movies -- their ability to shape what people think -- makes Hollywood's cooperation with the Nazis a particularly important and chilling moment in history. -- Andy Lewis 

'Victory Is Ours'

On Friday, Dec. 5, 1930, a crowd of Nazis in Berlin seized on an unusual target: the Hollywood movie All Quiet on the Western Front. Recognized in most countries as a document of the horrors of the First World War, in Germany it was seen as a painful and offensive reenactment of the German defeat.

The Nazis, who had recently increased their representation in the Reichstag from 12 to 107 seats, took advantage of the national indignation toward All Quiet on the Western Front. They purchased about 300 tickets for the first public screening, and as they watched the German troops retreat from the French, they shouted: "German soldiers had courage. It's a disgrace that such an insulting film was made in America!" Because of the disruptions, the projectionist was forced to switch off the film. Nazi propagandist Joseph Goebbels gave a speech from the front row of the balcony in which he claimed that the film was an attempt to destroy Germany's image. His comrades threw stink bombs and released mice into the crowd. Everyone rushed for the exits, and the theater was placed under guard.

The Nazis' actions met with significant popular approval. The situation came to a climax Dec. 11, when the highest censorship board in Germany convened to determine the fate of the film. After a long discussion, the chairman of the board issued a ban: Whereas the French soldiers went to their deaths quietly and bravely, the German soldiers howled and shrieked with fear. The film was not an honest representation of German defeat -- of course the public had reacted disapprovingly. Regardless of one's political affiliation, the picture offended a whole generation of Germans who had suffered through the War.

And so, six days after the protests in Berlin, All Quiet on the Western Front was removed from screens in Germany. "Victory is ours!" Goebbels' newspaper proclaimed. "We have forced them to their knees!"

In Hollywood, the president of Universal Pictures, Carl Laemmle, was troubled by the controversy surrounding his picture. He was born in Germany, and he wanted All Quiet on the Western Front to be shown there. According to one representative, his company had "lost a fine potential business, for the film would have been a tremendous financial success in Germany if it could have run undisturbed."

In August 1931, Laemmle came up with a heavily edited version of the movie that he was convinced would not offend the German Foreign Office. He made a trip to Europe to promote the new version. The Foreign Office soon agreed to support All Quiet on the Western Front for general screening in Germany, under one condition: Laemmle would have to tell Universal's branches in the rest of the world to make the same cuts to all copies of the film. Late in the summer, Laemmle agreed to cooperate with the request.

As months passed, however, Laemmle, who was Jewish, grew worried about something much more important than the fate of his film. "I am almost certain," he wrote in early 1932, "that [Adolf] Hitler's rise to power ... would be the signal for a general physical onslaught on many thousands of defenseless Jewish men, women and children." He convinced American officials that he could provide for individual Jews, and by the time of his death in 1939, he had helped get at least 300 people out of Germany.

And yet at precisely the moment he was embarking on this crusade, his employees at Universal were following the orders of the German government. In the first few months of 1932, the Foreign Office discovered unedited versions of All Quiet on the Western Front playing in El Salvador and Spain. The company apologized. Afterward, there were no more complaints; Universal had made the requested cuts all around the world.

The following year, Laemmle made another concession to the Foreign Office: He postponed The Road Back, the sequel to All Quiet on the Western Front. His son, Carl Laemmle Jr., also agreed to change many pictures in Germany's favor. "Naturally," the Foreign Office noted, "Universal's interest in collaboration [Zusammenarbeit] is not platonic but is motivated by the company's concern for the well-being of its Berlin branch and for the German market."

Throughout the 1930s, the term "collaboration" was used repeatedly to describe dealings that took place in Hollywood. Even studio heads adopted the term. An executive at RKO promised that whenever he made a film involving Germany, he would work "in close collaboration" with the local consul general. A Fox executive said the same. Even United Artists offered "the closest collaboration" if the German government did not punish the studio for the controversial 1930 air combat movie Hell's Angels. According to the Foreign Office, "Every time that this collaboration was achieved, the parties involved found it to be both helpful and pleasant."

All this was a result of the Nazis' actions against All Quiet on the Western Front. Soon every studio started making deep concessions to the German government, and when Hitler came to power in January 1933, they dealt with his representatives directly.

The most important German representative in the whole arrangement was a diplomat named Georg Gyssling, who had been a Nazi since 1931. He became the German consul in Los Angeles in 1933, and he consciously set out to police the American film industry. His main strategy was to threaten the American studios with a section of the German film regulations known as "Article 15." According to this law, if a company distributed an anti-German picture anywhere in the world, then all its movies could be banned in Germany. Article 15 proved to be a very effective way of regulating the American film industry as the Foreign Office, with its vast network of consulates and embassies, could easily detect whether an offensive picture was in circulation anywhere around the world.

The Mad Dog of Europe

In May 1933, a Hollywood screenwriter named Herman J. Mankiewicz, the man who would later write Citizen Kane, had a promising idea. He was aware of the treatment of the Jews in Germany and he thought, "Why not put it on the screen?" Very quickly, he penned a play entitled The Mad Dog of Europe, which he sent to his friend Sam Jaffe, a producer at RKO. Jaffe was so taken with the idea that he bought the rights and quit his job. Jaffe, who, like Mankiewicz, was Jewish, planned to assemble a great Hollywood cast and devote all his energies to a picture that would shake the entire world.

Of course, various forces had been put in place to prevent a picture like this from ever being made. First and foremost was Gyssling. Up to this point, he had only invoked Article 15 against pictures that disparaged the German army during the World War. The Mad Dog of Europe was infinitely more threatening: It attacked the present German regime.

Gyssling was unable to use Article 15 against The Mad Dog of Europe for the simple reason that the independent company producing the picture did not do business in Germany. He was left with only one option: Inform the Motion Picture Producers and Distributors Association of America (popularly known as the Hays Office), which regulated movie sex and violence for Hollywood, that if the movie were made then the Nazis might ban all American movies in Germany.

The Hays Office reacted quickly. Will Hays, the organization's president, met with Jaffe and Mankiewicz. He accused them of selecting a "scarehead" situation for the picture, which, if made, might return them a tremendous profit while creating heavy losses for the industry. Jaffe and Mankiewicz said they would proceed despite any ban that Hays might attempt.

Hays needed to adopt a different approach. He asked his representative, Joseph Breen, to reach out to the advisory council for the Anti-Defamation League in Los Angeles. The advisory council read the script and felt that the direct references to Hitler and Nazi Germany might provoke an anti-Semitic reaction in the United States. But "if modified so as to apparently have reference to a fictitious country, and if the propaganda elements ... were made more subtle ... the film would be a most effective means of arousing the general public to the major implications of Hitlerism."

Even if the script were toned down, the Anti-Defamation League suspected that the Hays Office would object to the film because the major Hollywood studios were still doing business in Germany. Nobody in the ADL group knew exactly how much business was being done. Some imagined that Germany was banning films starring Jewish actors; others thought that Germany was banning entire "companies supposed to be controlled by Jews." Nobody had the slightest idea that the Nazis were actually facilitating the distribution of American movies in Germany.

The Anti-Defamation League decided to carry out a test: It asked a well-known screenwriter to prepare an outline of The Mad Dog of Europe that contained none of the obvious objections. This scriptwriter then submitted the outline to three different agents, and without any hesitation, they all told him the same thing: "It was no use submitting any story along this line as the major studios had put 'thumbs down' on any films of this kind."

Eventually, Jaffe gave up his plans and sold the rights to The Mad Dog of Europe to well-known agent Al Rosen. And when the Hays Office urged Rosen to abandon the picture, Rosen accused the Hays Office of malicious interference and issued a remarkable statement to the Jewish Telegraphic Agency claiming "on good authority" that Nazi officials were trying to stop the picture. He scoffed at the idea that the picture would provoke further anti-Semitism.

Over the next seven months -- from November 1933 to June 1934 -- Rosen continued to work on the film, but he failed to convince Hollywood executives to pour money into the project. Louis B. Mayer told him that no picture would be made: "We have interests in Germany; I represent the picture industry here in Hollywood; we have exchanges there; we have terrific income in Germany and, as far as I am concerned, this picture will never be made."

And so The Mad Dog of Europe was never turned into a motion picture. The episode turned out to be the most important moment in all of Hollywood's dealings with Nazi Germany. It occurred in the first year of Hitler's rise to power, and it defined the limits of American movies for the remainder of the decade.

Zusammenarbeit

In 1936, the studios started to encounter major censorship difficulties in Germany. Nazi censors rejected dozens of American films, sometimes giving vague reasons, sometimes giving no reasons at all. The smaller companies had all left Germany by this point, and only the three largest companies -- MGM, Paramount and 20th Century Fox -- remained. By the middle of the year, these three companies had managed to have a combined total of only eight pictures accepted by the censors, when they really needed 10 or 12 each just to break even.

The studios were faced with a difficult decision: continue doing business in Germany under unfavorable conditions or leave Germany and turn the Nazis into the greatest screen villains of all time. On July 22, MGM announced that it would bow out of Germany if the other two remaining companies, Paramount and 20th Century Fox, would do the same.

Paramount and Fox said no. Even though they were not making any money in Germany (Paramount announced a net loss of $580 for 1936), they still considered the German market to be a valuable investment. They had been there for years. Despite the difficult business conditions, their movies were still extremely popular. If they remained in Germany a while longer, their investment might once again yield excellent profits. If they left they might never be permitted to return.

Over the next few years, the studios actively cultivated personal contacts with prominent Nazis. In 1937, Paramount chose a new manager for its German branch: Paul Thiefes, a member of the Nazi Party. The head of MGM in Germany, Frits Strengholt, divorced his Jewish wife at the request of the Propaganda Ministry. She ended up in a concentration camp.

The studios also adopted new tactics. When Give Us This Night and The General Died at Dawn were banned, Paramount wrote to the Propaganda Ministry and speculated on what was objectionable in each case. Give Us This Night was scored by a Jewish composer, so the studio offered to dub in music by a German composer instead. The General Died at Dawn had been directed by Lewis Milestone, who had also directed All Quiet on the Western Front, so the studio offered to slash his name from the credits.

In January 1938, the Berlin branch of 20th Century Fox sent a letter directly to Hitler's office: "We would be very grateful if you could provide us with a note from the Führer in which he expresses his opinion of the value and effect of American films in Germany. We ask you for your kind support in this matter, and we would be grateful if you could just send us a brief notification of whether our request will be granted by the Führer. Heil Hitler!" Four days later, 20th Century Fox received a reply: "The Führer has heretofore refused in principle to provide these kinds of judgments."

 The Final Cut
In April 1936, Laemmle lost control of Universal Pictures to the American financier and sportsman John Cheever Cowdin, who revived All Quiet on the Western Front sequel The Road Back. "When this story originally came in four or five years ago," a Universal employee explained to the Hays Office, "we were loath to produce ... solely due to the jeopardy in which its production would have placed our German business. ... Since then the situation with regard to the American Film Industry has completely changed and we are now ready and anxious to produce this story."
Despite this proclamation, Universal had not lost interest in Germany. In February 1937, Cowdin traveled to Berlin, and according to U.S. ambassador William E. Dodd, he made an "unusual offer" to the Nazis. "The company in question was previously controlled by Jewish interests but after recent reorganization, it is understood that it is now non-Jewish," wrote Dodd, "[and after] discussions with government officials ... a plan was considered whereby, probably in collaboration with German interests, his company might re-enter the German market."
On April 1, 1937, Gyssling made his boldest move yet. He sent letters to about 60 people involved in The Road Back -- the director, the cast, even the wardrobe man -- and he warned them that any films in which they participated in the future might be banned in Germany. The move created an uproar. Gyssling had directly threatened American film workers for their activities on home soil. He had used the U.S. Postal Service to frighten and intimidate individuals. Universal told everyone to keep the matter a secret, but the news leaked out. Several actors sought out legal advice; complaints were lodged with the State Department. One member of the Hays Office hoped that Gyssling would finally be expelled "on account of his viciousness."
STORY: The Berlin Hotel Where Hollywood Sleeps -- and Hitler Did Too
The matter was considered at the highest level. A representative of the secretary of state met with the counselor of the German embassy and pointed out that such actions did not fall within the proper functions of a consular officer. He did not want to lodge an official complaint; he simply asked the counselor to bring the matter up with the German government.
In the meantime, Universal Pictures made 21 cuts to The Road Back. By this stage, there was hardly anything in the film to which the ambassador could object. So many scenes had been cut out that the plot barely made any sense. The ending, which had criticized the rise of militarism in Germany, now criticized the rise of militarism all around the world. But the Nazis would not allow the company back into Germany.
For Gyssling, the news was less bleak. The German Foreign Office sent a brief, unapologetic letter to the State Department to explain that the consul in Los Angeles had been instructed not to issue future warnings to American citizens. As a result, the State Department considered the matter closed.
In all of these dealings with the Hollywood studios, Gyssling was doing something very strategic. He was objecting to a series of films about the World War when his real target lay elsewhere. Ever since he had heard about The Mad Dog of Europe, he had understood that Hollywood was capable of producing a much more damaging type of film from his perspective: a film that attacked Nazi Germany. His reaction to The Road Back was carefully calculated. He was focusing his energies on the films set in the past in an attempt to prevent the studios from moving into the present.
In April 1937, the final volume of Erich Maria Remarque's trilogy, Three Comrades, which was prime Hollywood material, was published in the United States. Whereas All Quiet on the Western Front had been about the World War and The Road Back had been about its aftermath, Three Comrades was set in the late 1920s, when the Nazis were emerging as a significant political force. The MGM producer Joseph L. Mankiewicz (brother of Herman) hired none other than F. Scott Fitzgerald, who wrote a script that mounted a powerful attack on the rise of Nazism in Germany.
When the Hays Office's Breen read the new script, he panicked. He had just received a fourth warning from Gyssling about Three Comrades, and he knew exactly what the German consul was capable of. He wrote to Mayer in the strongest possible terms: "This screen adaptation suggests to us enormous difficulty from the standpoint of your company's distribution business in Germany. ... [and] may result in considerable difficulty in Europe for other American producing organizations."
Despite Breen's concerns, the shooting of Three Comrades went ahead. Screenwriter Budd Schulberg recalled MGM screened the movie for Gyssling: "There was some films that Louis B. Mayer of MGM would actually run ... with the Nazi German consul and was willing to take out the things that the consul, that the Nazi, objected to." Although Breen did not keep a record of the meeting between Mayer and Gyssling, he was soon in possession of something else: a list of changes that needed to be made to the film. It is very unlikely that Breen came up with the list himself, for he had his own separate set of suggestions (relating to sex, foul language, etc.). In all likelihood this secret document, which contained 10 unusual changes, was the list that Mayer compiled with Gyssling at the end of their screening of Three Comrades.
STORY: Showtime's 'The Vatican' Casts Its Pope: 'Downfall's' Hitler
Breen went through the list in a meeting with several MGM executives. The film needed to be set somewhat earlier, in the two-year period immediately following the end of the World War. "Thus, we will get away from any possible suggestion that we are dealing with Nazi violence or terrorism." He read out the scenes that needed to be cut, and he pointed out that these cuts could be made without interfering with the romantic plot at the center of the picture. The MGM executives agreed. After all the changes had been made, Three Comrades neither attacked the Nazis nor mentioned the Jews. The picture had been completely sanitized.
From Gyssling's perspective, the removal of all the offensive elements of Three Comrades was the true benefit of his behavior from the previous year. He had reacted so dramatically to the second film in the trilogy that he had now managed to get his way on the third. And this was no small feat, for Three Comrades would have been the first explicitly anti-Nazi film by an American studio. At this critical historical moment, when a major Hollywood production could have alerted the world to what was going on in Germany, the director did not have the final cut; the Nazis did.
'Throw Us Out'
The collaboration between Hollywood and the Nazis lasted well into 1940. Though Warner Bros. released Confessions of a Nazi Spy in 1939, this B-picture had no effect on the studios still operating in Germany. MGM, Paramount and 20th Century Fox kept doing business with the Nazis, and MGM even donated 11 of its films to help with the German war relief effort after the Nazis invaded Poland on Sept. 1, 1939.
As the war continued, the studios found it virtually impossible to distribute their pictures in England and France, two of their largest sources of foreign revenue. In this context, they were less concerned with the relatively minor German market. MGM soon embarked on its first anti-Nazi picture The Mortal Storm, and 20th Century Fox began work on Four Sons. The Nazis responded by invoking Article 15 and by September 1940, both had been expelled from German-occupied territory.
In the year that followed, the studios released only a handful of anti-Nazi movies because of another, very different political force: the American isolationists. The isolationists accused Hollywood of making propaganda designed to draw the United States into the European war, and in the fall of 1941, Congress investigated this charge in a series of hearings. The most dramatic moment came when the head of 20th Century Fox, Darryl F. Zanuck, gave a rousing defense of Hollywood: "I look back and recall pictures so strong and powerful that they sold the American way of life, not only to America but to the entire world. They sold it so strongly that when dictators took over Italy and Germany, what did Hitler and his flunky, Mussolini, do? The first thing they did was to ban our pictures, throw us out. They wanted no part of the American way of life."
In the thunderous applause that followed, no one pointed out that Zanuck's own studio had been doing business with the Nazis just the previous year.
Excerpted from The Collaboration: Hollywood's Pact with Hitler by Ben Urwand (Harvard University Press, on sale Sept. 9). Copyright Ben Urwand.

'District 9' writer-director Neill Blomkamp delivers a less dazzling but absorbing and intelligent bit of futurism.
Scott Foundas

So close and yet so far, the colony of Elysium hovers just outside Earth's atmosphere, a mere 19-minute shuttle ride away but figurative light years for the downtrodden proletarian masses of the 22nd century. So begins the much-anticipated second feature from South African writer-director Neill Blomkamp, whose 2009 "District 9" was one of the few recent sci-fi/fantasy pics (along with "Inception" and "Children of Men") that deserved to be called visionary. Here, Blomkamp delivers a less dazzling but nonetheless highly absorbing and intelligent, socially conscious bit of futurism, made on a much larger scale than its $30 million predecessor, but with lots of the same scrappy ingenuity. Result confirms the helmer as much more than a one-hit wunderkind and should easily surpass "District 9's" $210 million worldwide haul, if not its massive profit margin.

Expectations can weigh heavily on a young director (Blomkamp is all of 33) who comes out of nowhere with an unexpected critical and commercial smash. But Blomkamp seems fully at ease and in control from the earliest scenes of "Elysium," which introduce us to a futuristic Los Angeles (circa 2154) that has, in one of the film's canniest conceits, effectively become Mexico City (where most of the pic was shot). The only apocalypse that happened here was an environmental and economic one, the rich having long ago decamped for their gated community in the sky, leaving the underclasses behind to breathe the polluted air and clamor over the scarce remaining resources. (The overhead shots of the filthy, teeming city, with billowing smoke drifting into a hazy pink sky, recall the opening images of "Blade Runner," but with the overpopulated centers of the developing world as a template instead of Tokyo.)

Simmering or open class warfare has been a rich trope for sci-fi futurecasting as far back as Fritz Lang's 1927 "Metropolis" and as recently as "In Time," "Total Recall" and Michael Winterbottom's fine, underseen "Code 46." Lang's influence is particularly evident in "Elysium's" army of industrious worker bees slaving away on the factory floor of the Armadyne corporation, whose slithery CEO, Carlyle (William Fichtner), developed Elysium and all the technology that makes it run. One of those workers is Max (Matt Damon), a former car thief who used to dream that he might someday buy his own ticket to a better life, but now just keeps his head down and his nose to the grindstone.

Probably because he had a much larger budget and more studio oversight this time around, Blomkamp must have felt he had to craft a more traditionally heroic protagonist than "District 9's" incompetent corporate lackey Wikus Van De Merwe, who owed his job to nepotism and found little sympathy on the homefront after being transformed into a mutant alien. Damon's Max undergoes his own life-altering transformation early on in "Elysium," doused at work with a toxic dose of radiation that leaves him with only a few days to live. But even before then, Max has a glint in his eyes that tells he's the one who will somehow lead his people out of darkness.

Max also gets a fairly standard-issue love interest in the form of Frey (Alice Braga), a beneficent nurse who's been sweet on him ever since their childhood days together in a Catholic orphanage. After years apart, she re-enters his life with a leukemia stricken daughter in tow. Together, they all seek passage to Elysium, where every home comes equipped with a state-of-the-art healing bay that quite literally cures whatever ails you.

Even working within a more conventional framework, Blomkamp again proves to be a superb storyteller. He has a master's sense of pacing, slowly immersing us into his future world rather than assailing us with nonstop action, and envisioning that world with an architect's eye for the smallest details. Everything on Blomkamp and production designer Philip Ivey's Earth seems built for functionality rather than aesthetics and looks slightly out-of-date, at best 21st-century technology still slogging along decades later, while Elysium is all curvilinear modernism, a triumph of form over function.

Blomkamp writes juicy characters, too, and then gives them grand, florid entrances. As Elysium's bellicose defense secretary, Delacourt, Jodie Foster is first seen strutting through a poolside cocktail party speaking her perfect French and sporting a ramrod-straight posture that suggests her stiff white jacket was sent to the dry cleaners with her still inside. (Blomkamp and Foster seem to have envisaged the character as a Frankenstein version of Hillary Clinton.) Best of all is "District 9" alumnus Sharlto Copley as Delacourt's Earthbound mercenary, Kruger, who speaks with a South African accent as thick as the fog on Table Mountain and carries himself with the hardy resolve of a cockroach after the Armageddon. He's a psycho, but a psycho who seems to operate by his own inner logic, which makes him all the more terrifying and darkly funny.

As for Elysium itself, it remains largely an abstraction, glimpsed only fleetingly and from afar for much of the pic's running time, during which it seems like a Kubrickian country club with an ineffectual puppet president (Faran Tahir) fully under Delacourt's thumb. Instead, we spend most of our time on earth where Max, promised a ticket to Elysium by the Che-like revolutionary Spider (Brazilian thesp Wagner Moura, who has the fiery grandiloquence of the late Raul Julia), takes part in a botched kidnapping of Carlyle and ends up on the run from Kruger, one time bomb — the radiation — counting down in his bloodstream while another — classified data downloaded from Carlyle's brain — ticks away in his skull. A more daring film might have risked putting a human (if not necessarily humane) face on the promised land's privileged populace, but here they remain a vague, cocktail-partying blur — and, of course, that much easier to despise.

Easier, too, for "Elysium" to advance one of the more openly socialist political agendas of any Hollywood movie in memory, beating the drum loudly not just for universal healthcare, but for open borders, unconditional amnesty and the abolition of class distinctions as well. But Blomkamp never makes it clear how, if overpopulation and pollution are what got us into this mess in the first place, moving everyone up to Elysium would make for a sustainable solution; he just wants us to take it on faith that it would.

Yet if "Elysium" falls short as social commentary, as entertainment it rarely falters. The final act, a breathless cat-and-mouse game inside Elysium's industrial core, Max and Kruger outfitted in mechanical suits that make them look like human Transformers, is at once the most straightforward stuff in the movie and the most exciting, mixing gritty hand-to-hand combat with touches of wuxia-style aerobatics. As in "District 9," Blomkamp shows a wizardly eye for visual effects, making sure CG images have the proper movement and texture to blend seamlessly with live-action and practical elements. Other craft work is similarly first-rate, including tyro composer Ryan Amon's judiciously used basso profondo score.

 Matt Damon and Jodie Foster star in "District 9" director Neill Blomkamp's latest politically tinged sci-fi feature, about a factory worker's attempt to highjack his way onto a space station inhabited by the elite.

A politically charged flight of speculative fiction makes an exciting launch, only to tailspin into an ungainly crash landing in Elysium. Coming in the wake of After Earth and White House Down, this marks Sony's third big-budget disappointment of the summer, the problems this time stemming from very deflating final act script problems that one would think could have been easily identified. Like Neill Blomkamp's out-of-nowhere sci-fi triumph with District 9 four years back, this one puts rugged action and convincing visual effects at the service of a sociologically-pointed haves-and-have-nots storyline, but when the air goes out of this balloon, it goes fast. There will no doubt be partisans, but an embrace by the masses will elude it.
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Blomkamp sets the dystopian juices flowing with images of future sprawling slums and urban ruin that one might initially take to be Mexico City or Sao Paulo but that are soon identified as belonging to Los Angeles in 2154. Most of the beleaguered inhabitants seem to speak Spanish and do menial labor if they do anything at all, while good health care is very difficult to come by.

PHOTOS: 30 Groundbreaking Sci-Fi Films

By contrast, hovering far above Earth and appearing like a five-spoked wheel in the sky is Elysium, an enormous space station where the rich live in a stress-free country club environment enhanced by marvelous technology that can cure any ailment, meaning that life can theoretically go on indefinitely. A kind of United National council of international fat cats runs the place and riff-raff from the overpopulated and polluted planet visible beneath them is rigorously kept out, no matter how many desperate refugees dare the 19-minute dash in makeshift spacecrafts in order to get their illnesses treated. Liberals may embrace and conservatives might attack the film strictly on the reductive basis of its obvious plea for universal health care.

All the same, the growing contemporary disparity between the privileged classes and the poor in many parts of the world is plausibly extended for dramatic effect in Blomkamp's script, which has the wretched Earth dwellers kept in line by robocops and where anyone who actually has a job is counted as lucky. Among these is former convict Max (Matt Damon), now holding down a lowly factory gig but maintaining ties with the criminal/revolutionary underworld, part of which is devoted to running "illegals" up to the spinning celestial orb.

Much in the manner of District 9, but without the aliens, this early stretch creates a potently physical impression of a dangerous and destitute urban environment, one where immediate threats could lurk anywhere and a sense of one's physical and societal inferiority can never be escaped; all you have to do it look up. With all this, Blomkamp sets several narrative pots to simmering, promising much in the way of eventual direct conflict and potential intellectual complexity.

PHOTOS: 26 of Summer's Most Anticipated Movies

Instead, the film narrows into a series of standard gun battles, explosions, mad dashes, close-calls, tough-guy fisticuffs, ridiculously fast downloading of massive computer files under maximum duress and, in the end, mawkish sentimentality. All the interest and good will built up by the sharply conceived preliminaries is washed away in a succession of scenes that feel crushingly routine and generic, not to mentioned guided by ideological urges.

Contaminated in the workplace by radioactivity that leaves him with five days to live, Max is convinced by his insurrectionist gangland pal Spider (Wagner Moura) to be painfully fitted with a metal exoskeleton that will turn him into a veritable roborebel, an abundantly armed knight of the righteous. In an unusually contemporaneous twist, they intend to capture Elysian pioneer (William Fichner) and transfer the central organizational file from his head into Max's, which they believe will open up the Elysian gates to the masses.

Trying to orchestrate a coup for her own interests is Armani-clad regime iron lady Delacourt (Jodie Foster), who has an Earthbound stealth agent, Kruger (Sharlto Copley), to do her dirty work. Unfortunately, Kruger all but hijacks the film in the late-going, his irrational behavior and cackling, sword-twirling villainy coming off as something that would have been more appropriate for a live-action cartoon bad guy or an enemy in a 300-like bloodbath. Not helping is Copley's unsoftened South African accent, which makes much of his dialog very difficult to decipher, even if the character's intent remains unmistakable.

VIDEO: Watch the 'Elysium' Trailer

Max's transformation into a part-metal fighting machine may have been conceived as a noble act of self-sacrifice, an existential act or both, but dramatically it has a highly constricting effect on his behavior, as well as on the viewer's ability or desire to relate to him. Bereft of full mobility and reduced, in effect, to a simple fighting machine, the character loses his unpredictability along with much of his appeal. Had the climactic action been pitched in a less ordinary way, Max could have emerged as a genuine tragic hero, but the character's full potential is missed by a long way.

Conceptually as well, Blomkamp has failed to take the extra step with both the ruling class and the denizens of the lower depths; despite the fact that the action is set 131 years hence, both look exactly as they do now. The fancy mansions of Elysium and their inhabitants' wardrobes are exactly what you'd find in Malibu or Miami today, while the rough-hewn down-and-outers sport tats and attitude and would look right at home in a Fast and Furious film.

His noggin shaved, Damon comes off credibly as a ticking time bomb in the early-going but becomes unduly constrained by his metal apparatus later on. Often speaking French to her colleagues and then English in a firm international accent of sorts, Foster is all official business and ambition as the devious politician. Alice Braga plays for empathy as a single mother with a leukemia-stricken little daughter for whom a trip to Elysium represents the final hope.

As in District 9, the excellent effects and location work (Mexico City stood in for Los Angeles, while Vancouver represents aspects of Elysium) make for a vivid, convincing backdrop.

Opens: August 9 (Sony)

Production: TriStar, QED International, Alphacore, Kinberg Genre
Cast: Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga, Diego Luna, Wagner Moura, William Fichtner, Brandon Auret, Josh Blacker, Emma Tremblay, Jose Pablo Castillo, Maxwell Perry Colton, Faran Tahir
Director: Neill Blomkamp
Screenwriter: Neill Blomkamp
Producers: Bill Block, Neill Blomkamp, Simon Kinberg
Executive producer: Sue Baden-Powell
Director of photography: Trent Opaloch
Production designer: Philip Ivey
Costume designer: April Ferry
Editors: Julian Clarke, Lee Smith
Music: Ryan Amon
Visual effects supervisor: Peter Muyzers
R rating, 110 minutes

Ipak, mora da se zna koji server odgovara kom tekstu...

http://www.standard.rs/dimitrije-vojnov-u-potrazi-za-komunistickim-diznilendom.html

Bez želje da zvučim kao cinični antimarvelovac, meni je THE WOLVERINE Jamesa Mangolda prilično dopao. Bez ikakvog ustezanja mogu čak da kažem da, ako izuzmemo FIRST CLASS koji je naprosto na svim nivoima superiorniji i ozbiljniji film, ovo je meni daleko najbolja priča iz X-MEN univerzuma. Mangold je u ovom filmu postigao nešto što je Vaughnu takođe pošlo za rukom, s tim što on prosto nije dovoljno dobar reditelj, a to je da kroz egzotični seting priče nađe "realnost" u kojoj će superheroji funkcionisati. I zbilja, THE WOLVERINE je superherojski BLACK RAIN, priča o susretu arhetipskog američkog junaka (besmrtnog lutalice koji čak i bukvalno stiže iz epohe kada su se kovali takvi junaci) i japanskog miljea u kome se na iracionalan način prepliću moderno i tradicionalno i u kome je potpuno logično da neko napravi egzoskelet u formi adamantijumskog samuraja.

Scenario koji je sročio već ozbiljno problematični Mark Bomback i očigledno radi popravke dovedeni Scott Frank, nije ništa naročito, mogao je biti bolji, ali nudi dosta prostora da se prikažu likovi, pre svih naslovni lik, i da se na određeni način objasni zašto uopšte on ima solo-film pošto je prethodno, iznenađujuće B-osvarenje u tome podbacilo. Millerov storyline iz stripa nudi taman adekvatnu dozu one-shota u ovoj priči i čini da THE WOLVERINE zaista bude film i daleko nadmaši ovaj princip "slagalice" koji forisraju Feige i Disneyev Marvel.

Mangold je reditelj mediokritet i njegova egzekucija je više elegantna nego što je energična ili ubedljiva, ali bez ikakve sumnje on se ipak izražava dobro jer misli filmski i celokupnu priču oblikuje prema filmskim uzorima, od kojih je BLACK RAIN samo početak a osećaju se razni drugi uticaji od arty samurajskog do exploitation mačevalačkog filma. Japan je sjajna lokacija, gde god uperiš kameru deluje zanimljivo i na taj način Mangold nadoknađuje svoja ograničenja i odusustvo ličnog pečata.

Hugh Jackman nosi ceo film i odličan je, pokušava da kanališe Mela Gibsona i popuni prazan prostor koji je ostao posle njegovog umirovljenja. Konačno je uspeo da oko sebe u ovoj franšizi okupi ekipu koja je uzdigla materijal do njegovog nivoa.

Van Disneyevog Marvela sada nastaju bolji filmovi po njihovim junacima a Fox je od FIRST CLASSa očigledno poveo stvari u pravom smeru. Nažalost, plašim se da će generalno zasićenje publike dovsti do krize superherojskog filma na blagajnama i da će njihovi dalji radovi imati manji komercijalni odjek od onog koji zaslužuju...

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Quote from: crippled_avenger on 01-08-2013, 23:18:53


Instead, the film narrows into a series of standard gun battles, explosions, mad dashes, close-calls, tough-guy fisticuffs, ridiculously fast downloading of massive computer files under maximum duress and, in the end, mawkish sentimentality. All the interest and good will built up by the sharply conceived preliminaries is washed away in a succession of scenes that feel crushingly routine and generic, not to mentioned guided by ideological urges.

Sad me je malo poplašio. Ali opet, da li je trebao očekivati da će Blomkamp dvaput za redom ubosti?

Što se Wolverinea tiče... očigledno je da ćemo morati da raspravimo nesuglasice uživo. Meni je jedna od najvećih zamerki upravo to što Hugh Jackman samo figuriše u filmu umesto da bude agens akcije, a nije čak ni kvalitetno hendlovan arhetipski gaiđin u Japanu kome ništa nije jasno sem da mu tu nije mesto i da mora što časnije da obavi svoju nepoznatu ulogu. Mislim, jasno je da je to bila ideja (što ti podvlačiš poređenjem sa Black Rain) ali Mangolod to nije dobro odradio.

Takođe, većina stvari koje hvališ u filmu (realističnost postavke, filmičnost Japana kao setinga) su zaista tu ali nisu iskorišćene sem da se čekiraju stavke na spisku.  Ono što treba da bude motor filma, Wolverineova asertivnost, (anti)herojska energija da se razbije monumentalni diktat tradicije i nasuprot predodređenim socijalnim ulogama probudi život i spase duša nekolikih protagonista prisutno je samo na nivou ideje a u egzekuciji Mangold se nada da će publika biti dovoljno uspavana da ne prati šta se dešava između dva set pisa. Plus, tu je višak likova (Haradin lik recimo ne služi ničemu), a da ne pričam o očiglednim plot holovima itd....

Uzgred, "Millerov storyline iz stripa" je zapravo Claremontov storyline. Miller je na tom miniserijalu bio samo crtač, mada je sigurno i doprineo elementima zapleta, štaviše prilično sam siguran da je smeštanje velikog dela priče u Japan bila pre svega njegova ideja. Ipak, ne valja da njemu pripisujemo sav kredit tamo gde je skript hendlovao jedan od najvažnijih i zapravo najvažniji scenarista X-men stripova ikad.

Sve što si konstatovao stoji, ali je meni ovaj film uprkos svemu što kažeš, bio izuzetno koherentan što ne bih mogao da kažem za poslednjih nekoliko Marvelovih adaptacija, i zaista je imao Propertiese filma, što ne mogu da kažem za većinu. Moguće je da me je zavela ta činjenica da posle duže vremena gledamo standalone delo koje naprosto funkcioniše kao filmska priča.

Da, pa dobro, uvažavam da ga je moguće gledati kao standalone ukoliko makar razumeš ko je i šta je Wolverine, mada ga to meni ne spasava.

Pogledao sam LOS ULTIMOS DIAS Braće Pastor. Posle izvanrednog američkog debija CARRIERS koji je imao zapaženo mesto na indie žanrovskoj sceni, oni se vraćaju u Španiju i snimaju vrlo ambiciozan postapokaliptičćni film LOS ULTIMOS DIAS. Posle CARRIERSa su imali priličnu pauzu i ovih dana se vraćaju sa svojim filmom ali i sa nekoliko scenarija i zanimoljivo je da su ušli duboko u high concept. Ruku na srce, i CARRIERS je bio high concept ali čini mi se da su sada njih dvojica grčevito u high concepta i da pokušavaju da implenmentiraju nekakav "nauk" iz Amerike. Iako Pastori i dalje imaju neku "težinu" u Holivudu, vratili su se u Španiju ali čini se da ne odustaju od principa koji su tamo prepoznali kao put do uspeha.

U tome i jeste jedan od osnovnih problema LOS ULTIMOS DIAS. Naime, LOS ULTIMOS DIAS je zanimljiv high concept film koji je međutim zanimljiviji kao scenaristička zamisao, ili čak kao scenario koji bi se lako prodao, možda čak i nekom holivudskom studiju, nego kao film. Pastori pritom su itekako kompetentni u realizaciji što su uostalom pokazali u CARRIERSu međutim, LOS ULTIMOS DIAS ima nekoliko srtrukturalnih problema.

Osnovni strukturalni problem je u tome što Pastori "kriju" šta je uzrok apokalipse, i publika to otkriva uporedo sa razvojem postapokaliptične priče. Sam razlog za smak sveta je interesantan ali priča kroz koju ga otkrivamo baš i nije. Čini se da tim otkrivanjem razloga apokalipse film dobija pripovedačku dimenziju više i time prikriva ozbiljne teškoće u svom osnovnom zapletu i priličnu jednodimenzionalnost karaktera koje i Pastori i glumci tretiraju kao mnogo produbljenije nego što oni zaista jesu.

U tehničkom pogledu, LOS ULTIMOS DIAS prilično dobro izgleda, potvrđujući lidersku poziciju španske kinematografije u domenu žanrovskog filma. Podzemna, enterijerska Barselona je dobra zamisao, mogla je biti i kreativnije postavljena, mada možda je i dobro što je veći akcenat na destrukciji nego na konstrukciji autohtonih formi jer bi film lako mogao da skrene u grotesku.

Za razliku od CARRIERS gde je postojao high concept, doduše ne toliko originalan kao u ULTIMOS DIAS, ali je akcenat bio na likovima i njihovim odnosima, ovde su likovi i odnosi istaknuti ali prazni. Otud, iako je budžetski ambiciozniji, ULTIMOS DIAS predstavlja stagnaciju u odnosu na CARRIERS.

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Pogledao sam THE CANYONS Paula Schradera, crowdfundovani film po scenariju Bret Easton Ellisa čiji rad i dalje, pored upornosti nema značajne rezultate na filmu izuzev Avaryjevog RULES OF ATTRACTION i LESS THAN ZERO koji ima samo nostalgičnu vrednost. Schraderov film ne izgleda toliko crowdfundovano na polju budžeta koliko deluje da su ga snimali neki random građani na polju egzekucije. Sa estetizacijom koja je na nivou studentskog filma i glumom koja je takva da se James Deen kao stuntcastovani porno glumac bolje snalazi od "profesionalaca", rezultat je prilično nepodnošljiv jer nema pripovedačkog umeća koje bi amortizovalo tendenciozni Ellisov sadržaj u kome je svako pohlepni izopačenik vođen krajnje predvidivim najnižim namerama.

Schrader nikada nije bio veliki reditelj ali je svojvremeno ponekad umeo da kanališe svoje ideje. Iako još od izvanrednog AUTO FOCUSa nije snimio relevantan film, THE CANYONS je samo pokazatelj njegovih slabosti koje ga izmeštaju iz kruga iole relevantnih reditelja.

Ako imamo u vidu koliko je ovaj film opterećen seksom, same scene seksa su krajnje pitome no valjda je i bioa namera da se više priča nego što se radi.

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Grrr, to moram da pogledam zbog Jamesa. Čovek nije veliki glumac (mada se vidi napor koga ulaže u novijim filmovima) ali ima screen presence i ikoničnost.

Quote from: crippled_avenger on 05-08-2013, 02:54:30
Ako imamo u vidu koliko je ovaj film opterećen seksom, same scene seksa su krajnje pitome no valjda je i bioa namera da se više priča nego što se radi.

Steta.
Imamo mladjanog James Deena i holivudski hot mess No1, a kazes scene seksa pitome ...izgleda da joj bolje pase divljak Trejo.

Mislim da Deen verovatno ima neki ugovor koji mu daje slobodu da snima sve sem pornića mimo matične producntske kuće. S drug strane, malo je pravih bećara kao što je Rocco koji ni u mejnstrimu ne štede svoj alat...

Pogledao sam BELII TIGR Karena Šahnazarova, zanimljiv ruski ratni film nastao po romanu Ilije Bojašova. Šahnazarovljev opus je čudan, nekonzistentan, sa velikim pretenzijama, osrednjim dometima i pokušajima da se iskaže u raznim žanrovima. U jednom trenutku je koketirao čak i sa English-speaking filmom a na kraju je postao direktor čuvenog Mosfilma i režirao sa te pozicije.

TIGR je film iz 2012. godine koji u sebi sadrži sve ono što bi se očekivalo od ruskog ratnog filma starog kova. Za početak Šahnazarov ima arhaiziran ali snažan rediteljski rukopis sa zanimljivim jančovsko-klimovljevskim kadar sekvencama ali i sa vrlo tvrdim, jasnim, pripovedačkim okvirom u kome odlazi u digresiju u samo dva navrata, jednom u uvodu trećeg čina bez većeg opravdanja a drugi put u samom finišu kada iznosi zapravo svoju političku poentu koja čini film angažovanim delom.

TIGR je priča o tenkistima u Drugom svetskom ratu. Tenkovi i bitke sa koje su vodili spadaju u najvažnije inovacije na polju ratovanja koje je doneo ovaj sukob, ali su srazmerno malo prisutni filmovi o ovom vidu borbe. Uostalom, jedna od najboljih tenkovskih bitaka na filmu snimljena je u Hesslerovom THE MISFIT BRIGADE baš na našim prostorima sa fotografijom Đorđa Nikolića.

Šahnazarov otud snima jedan od kako retkih tako i boljih predstavnika ratnog filma u ovoj podgrupi. Pored same tenkovske akcije koja je realizovana na vrlo efektan način i uz vešto unošenje svojevrsne "personalnosti" u mašine koje se sukobe, film se dotiče i ratne psihoze. Glavni junak je jurodivi vozač tenka koji posle teških opekotina koje niko ne bi mogao da preživi postaje ubeđen da može da govori sa tenkovima i da mu to omogućuje da anticipira kadfa će biti pogođeni i ko ih je uništio. Kada se na frontu pojavi naizgled neuništivi nemački tenk, vozačeva uobrazilja počinje da se širi i na deo oficira koji su zaduženi za lov za nepobedivnog protivnika.

Ovo ne bi bio ruski film sa sovjetskom dušom kada se sve ne bi zaokružilo jednom velikom metaforom u kojoj se nepobedivi tenk zapravo poistovećuje sa nacizmom.

Upravo su ta rusko/sovjetska obeležja iz asortimana zastarelih estetskih postulata nešto što generiše najveće probleme na pripovedačkom planu, ali sa druge strane svemu daje određeni retro-štimung. Šahnazarov je državni reditelj i u određenom smislu nudi očekivani državni mejnstrim, no ovoj temi takav pristup baš odgovara. TIGR je stoga zanimljiv primer filma kakav se više ne pravi koji paradoksalno uspeva da donese dosta toga svežeg ili retkog u ratni film.

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Lagala bih, kada bih rekla da nisam uzivala u KANJONIMA.
Sa ovako niskim budzetom film je zapravo prilicno atraktivan.
Da,ovo jeste trebalo da bude neka vrsta izopacenog erotskog trilera,ali na zalost nema tu sad nekih uzbudjenja i seks scene nisu ni priblizno tako sokantne kako misle autori.
Krip je u pravu,zaista, scene seksa su konvencionalne i pitome,te poprilicno dosadne,pritom lose snimljene i osvetljene.
Sam scenario i nije tako rdjav,da ne trpi zbog ovolike kolicicine amaterstine,te je krajnji ishod komican.
Imam utisak da nije slucajno ni izbor Holivuda  pozadina za ovaj ekran egzistencionalne praznine.
Tako da...ako ocekujete nekakva psiho-seksualna nadmudrivanja-ZAOBIDJITE.

Quote from: crippled_avenger on 07-08-2013, 21:30:30
Uostalom, jedna od najboljih tenkovskih bitaka na filmu snimljena je u Hesslerovom THE MISFIT BRIGADE baš na našim prostorima sa fotografijom Đorđa Nikolića.

Ovo je bas hrabra izjava.

Gde si ti to, ovaj, khm... procitao? 

A kao nije?

Ne da nije, vec... 

Mislim da ne bi bilo lose da pogledas tu scenu kad vec pricas o njoj, a posle, ako te ne mrzi, nadji mi GORU scenu tenkovske "bitke". (ako se to uopste moze nazvati bitkom posto ucestvuju dva t-34-85 tenka VS dva nemacka AT vozila, ne mogu da se setim modela trenutno.) 

Nadam se da ćeš mi dati spisak boljih tenkovskih bitaka na filmu...

Pogledao sam TOUCHY FEELY Lynn Shelton, njen prelazak iz mumblecore ortodoksije u nešto konvencionalniji vid pripovedanja. Improvizacija je i dalje tu, ali isto tako postzoji i izgrađenija priča, zaplet u konvencionalnom smislu, i ritam koji podseća na film glavnog toka. Shelton međutim ni sa ovim filmom nije apsolutno ukoračila u mejnstrim, samo mu se po određenim izražajnim sredstvima približila. O tome svedoči pre svega njeno odbijanje da zaplet koji je postavila u potpunosti razreši na način koji bi bio svojstven mejnstrimu.

Otud TOUCHY FEELY ostaje pre svega izuzetno atmosferičan rad u kome su glumačke bravure pre svega potčinjene stvaranju te atmosfere, i za razliku od drugih filmova Lynn Shelton čini se da su ovde likovi manje u prvom planu.

TOUCHY FEELY ne iskoračuje previše iz indie okvira ali unutar njih pokazuje da Lynn Shelton proširuje svoje vidike.

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Quote from: crippled_avenger on 09-08-2013, 12:13:26
Nadam se da ćeš mi dati spisak boljih tenkovskih bitaka na filmu...

Bah. Priznajem, mozda sam pokusao da te navucem na tanak led u ovom slucaju.  Generalno problem sa tenkovskim bitkama u svetskoj kinematografiji je sto ih ili nema, ili su iz nekog razloga ocajno uradjene (stvarno, pogledaj tu scenu borbe koju "hvalis". mozda si gledao kao klinac pa ti je ostalo u secanju kao nesto super? Inace je  smejurija neopisiva.). Npr, u The Battle of the Bulge Nemci napadaju Amere sa M4 Sherman(!) tenkovima, dok se slicna situacija desava u Neretvi gde Svabo koristi ruske T-34 modele (sto moze cak da bude i opravdano posto postoje izvesni izvestaji o zarobljavanju i koriscenju istih od strane Nemaca). Univerzalno opravdanje vajnih rezisera je da, avaj, nema preterano mnogo prezivelih nemackih tenkova u voznom stanju; sto dovodi do zakljucka da je prava sreca sto je Dzordz Lukas naleteo na makar poluzavrsenu Zvezdu Smrti, inace ko zna sta bi gledali...

U svakom slucaju da ne oftopicarim, Beli tigar moze biti pravo osvezenje na tom polju.

Ova, recemo, nije "losa":

Kursk Tank Battle in USSR Movie

Najbolja tenkovska bitka na filmu je Indijana Dzons VS Tenk u trecem delu ovog serijala.

Da'l je najbolja ne znam ali mi je ostala u secanju tenkovska bitka u ruskom filmu "Bitka za Moskvu"


http://en.wikipedia.org/wiki/Battle_of_Moscow_(film)


a ima i ceo na youtube


Битва за Москву 1985