The Crippled Corner

[DušMan]

Devojka iz Obraza 

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Istorija je zapisana u pop muzici.

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nimaniji znaju.

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Normalno. Nimaniji su najjači.

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HBO has rounded out its cast for its Wall Street meltdown telepic "Too Big to Fail," which features a host of public figures as key characters.

James Woods has been tapped to play Lehman Brothers CEO Dick Fuld. Paul Giamatti will play Federal Reserve chairman Ben Bernanke and Ed Asner will move into a much higher tax bracket in the role of Warren Buffett.

Pic, to be helmed by Curtis Hanson, offers an intimate look at the financial crisis of 2008 and the group of powerbrokers who decided the fate of the world's economy in a matter of a few weeks. Pic mostly revolves around the work of Bush administration Treasury Secretary Henry Paulson, played by William Hurt.

Other additions include Billy Crudup as Obama administration Treasury Secretary Timothy Geithner, Dan Hedaya as Massachusetts congressman Barney Frank, Tony Shalhoub as Morgan Stanley topper John Mack and Kathy Baker as Paulson's wife, Wendy Paulson.

Topher Grace, Cynthia Nixon, Michael O'Keefe and Joey Slotnick also have supporting roles.

Telepic, likely to air in 2011, is set to begin production in New York over the next two weeks.

"Breaking Bad" scribe Peter Gould penned the scripted adapted from Andrew Ross Sorkin's book "Too Big to Fail." Hanson is exec producing with Paula Weinstein and Jeffrey Levine. HBO is producing with Spring Creek Prods.

Ezra Swerdlow is producing with Carol Fenelon set as co-exec producer. Vanity Fair contributing editor Bethany McLean and New York Times columnist Joe Nocera have been tapped as consultants.

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Pogledao sam THE FEARMAKERS Jacquesa Tourneura. Ovaj velikan žanrovskog filma smatrao je ovo ostvarenje svojim minornim radom pre svega zato što zbog loših uslova nije mogao da u potpunosti istraži vrlo potentnu temu i suštinski, imao je pravo, THE FEARMAKERS je po mnogo čemu isped svog vremena.

Reč je o ekranizaciji romana Darwin L. Teilheta u kome veteran Drugog svetskog rata dolazi u svoju firmu i shvata da je prepuna subverzivaca. Ovde je ta priča preneta na veterana Korejskog rata koji dolazi posle dve godine zarobljeništva io zatiče svoju nekadašnju PR firmu preuzetu od srane od nekadašnjeg službenika, saznaje da je suvlasnik i suosnivač mrtav a on kao njegov partner potpuno marginalizovan.

Ubrzo, shvata i da tu nisu čosta posla te da rezultati anketa koje firma sporovodi deluju sumnjivo.

Ovaj film se smatra neprikrivenim Red Scare filmom, iako ja moram priznati da uprkos tome što firma radi IZMEĐU OSTALOG i za jednu agenciju za borbu protiv nuklearnog naoružanja (sic!) negativci zapravo nisu komunisti već pokvarenjaci koji nameštaju rezultate anketa za RAZNE naručioce. Nekoliko sinopsisa na Internetu ih opisuje kao komuniste ali oni to, koliko sam ja razumeo film, ipak nisu. Čak i borci protiv nuklearnog naoružanja koji se 1958. godine mogu smatrati izdajnicima u Americi, nisu po definiciji komunisti.

To ipak ne znači da THE FEARMAKERS u supštini nije pamflet i to pre svega zbopg brojnih scena koje vrlo plakatski iznose ideološke pogled ovog filma. Ipak, ispod te plakatske dimenzije krije se ono po čemu je ovaj film bio zanimljiv i svež a to je odnos prema PR poslu, anektama, svetu marketinga i sl. Sve su to danas opšta mesta ali 1958. godine takva "razotkrivanja" manipulacija imaju žanrovski potencijal horora, nekakve teške nezamislive zavere i Tourneur naravno koristi taj potencijal.

Iako THE FEARMAKERS ne prevazilazi okvire B-filma u produkcionom smislu, Tourneurovo pripovedanje je dovoljno vešto da filmu da look A-filma, pa čak in njegovu idejnost. Nažalost, izvan same teme, priča ne nudi dovoljno na nivou dramaturgije jer samo rudimentarno je razrađena, tako da na nivou celovitosti i intenziteta THE FEARMAKERS na kraju ipak zaostaje za sličnim ostvarenjima Siegela, Fullera ili Aldricha.

Ipak, kao svojevrsna Red Scare preteča MAD MENa, ovaj film ima svoje mesto.

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Pogledao sam Joe Danteov povratnički film THE HOLE. Dante se u ovom filmu opredelio da se pozabavi neo-Amblin estetikom koja je danas jedna od najcenjenijih posle filmova kao što je Gil Kenanovo remek-delo MONSTER HOUSE ili JJ Abramsov predstojeći SUPER 8. Naprosto, Amblin je ono na čemu je odrasla generacija savremenih reditelja koji čine kičmu najambicioznijeg mejnstrima, a Kenanov MONSTER HOUSE je maltene bolji Amblin od samog Amblina - uostalom nastao je u produkciji samih Spielberga i Zemeckisa.

Sam THE HOLE je na pola puta između Amblina i nekog omladinskog horora koji bi tokom osamdesetih radio Tom Holland. Nažalost, sam horor aspekt priče je prilično rudimentaran, ne sasvim prevaziđen ali daleko od svežeg a podela glavnih junaka je mogla biti efektnija.

Uprkos činjenici da je film slikao Theo Van De Sande, Dante ne uspeva da prikrije niži budžet koji se naprosto oseća u slici, kako kroz manji broj pozicija kamere tako i kroz sam dizajn filma koji je u najmanju ruku površan.

Ipak, Danteova rediteljska veština se oseća uprkos ovim sistemskim problemima i na kraju THE HOLE ipak uspeva da se izdvoji kao pristojan horor namenjen mlađoj publici, ali nisam siguran tačno kojoj jer ovo nije horor za decu, ne jer je mnogo strašan već naprosto nije dovoljno atraktivan a tinejdžeri pak vole mnogo tvrđe filmove tog tipa. Rekao bih da THE HOLE ima dosta ozbiljan problem sa tačnim definisanjem svoje ciljne grupe.

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85-year old master crime fiction writer Elmore Leonard will see his 44th novel in about 60 years, published tomorrow. It's titled Djibouti, after the northeastern African country, bordered by Eritrea, Ethiopia, and Somalia, and centers on the pairing of a young, white female award-winning documentary filmmaker and "a studly 6-foot-6-inch black African leading man who, at 72, has lost none of his appeal to pretty young women," as they set sail into the Indian Ocean to make a movie that presents a sympathetic view of the African pirates operating in the region.

Remember all the coverage on piracy off the Somali coast over the last year or two?

Our younger white female protagonist (Dara Barr) is described as blonde, smart, tough and alluring; our towering older black male protagonist (Xavier LeBo) is described as a resolutely skeptical African sailor. Together, the venture into "dangerous, unknown waters, heading into a tempest far worse than any weather," with Leonard's trademark "twists, turns, and wry current affairs commentary." Their greeting upon arrival at the city located on the southern point of the Red Sea "is unfriendly as several foreigners claim CEO status over the piracy..."

One review called it a "Middle East western on water." As fans of Leonard will know, he wrote a lot of westerns early in his career.

All this to say, since a good number of Leonard's books have been made into films (about 20 of them, including recent faves like Rum Punch, adapted as Jackie Brown, and Out Of Sight), I'd say that there's a good chance this will be as well.

In fact, the New York Times says that Mr. Leonard, who claims to have been "very taken with Kathryn Bigelow ("The Hurt Locker")," sent her an early copy of Djibouti, likely hoping that she'd be interested in turning it into a film. No word on whether Bigelow has responded.

So, I'm jumping the gun a little bit here, but there's a 50/50 chance this could be headed to the big screen, especially since there was some interest in "Somali pirate" movies not-so-long ago. Wasn't Samuel L. Jackson supposed to be making one?

I'm going to read the novel, because I like Leonard and I'm curious to read his take on the real-life piracy stories. Maybe I'll do one of Tambay's books-to-film posts. One obvious question here would be what black actor would be right to play the 72-year-old 6ft-6inch black African sailor? Can't immediately think of one. Would have to be an unknown. Also worth asking is how the relationship between the leading characters evolves, and how Leonard treats the piracy situation – whether he exotifies the locale and the people, or really gets underneath it all, putting it in a historical context.

Djibouti, the novel, will be in bookstores tomorrow.

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Pogledao sam EIERDIEBE Roberta Schwentkea, kao deo zagrevanja za njegov RED. Ovo je Schwentkeova crna komedija iz 2003. godine koja govori o čoveku obolelom od raka testisa koji završava u bolnici a tamo nailazi na jedan specifičan crnohumorni svet koji se na potpuno drugačiji način suočava sa smrću.

Schwentke zaslužuje pohvalu što je uspeo da potpuno depatetizuje ovu inače krajnje tearjerkersku postavku (čak i zaplet sa devojčicom sa kojom se junak zavoli nije onoliko patetičan koliko je postavka najavljivala), i da vizuelno osveži prilaz slikanju ambijenta bolnice. Međutim, problem je u tome što na kraju ovaj film nije dovoljno komičan da bi opravdao tu hladnokrvnost, tako da lišen humora i emocije, na kraju zapravo ne nudi ništa.

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Pogledao sam jedan neobičan film Roberta Altmana - COUNTDOWN iz 1968. godine, snimljen po romanu Hank Searlsa. Reč je o filmu koji bi se mogao smatrati pretečom CAPRICORN ONEa i dokazom da Warner ima najbolje filmove na temu puta u kosmos koji imaju svoj vrhunac u Kaufmanovom RIGHT STUFFu, naravno.

COUNTDOWN je preteča CAPRICORN ONE po tome što govori o imaginarnoj, iz današnje vizure tehnički apsurdnoj, misiji organizovanoj u pokušaju da NASA stigne na Mesec pre Sovjeta. Dakle, u ovom filmu Sovjeti kao učestvuju u trci za sletanje na Mesec a misija Apollo kasni  Film je izašao godinu dana pre sletanja na Mesec, tako da se u tehničkom smislu u prilčičnoj meri drži gemini/Apollo priče, s tim što je zaplet vezan za imaginarnu misiju Pilgrim, osmišljenu kako bi se pretekli Sovjeti čiji je cilj da prvo spusti komoru za opstanak na Mesec, a zatim da kad se Apollo osposobi, odu po čoveka kog će spustiti da bi pretekli Sovjete. To doduše jeste bio JEDAN od koncepata koje su načnici poredlagali kada je NASA ušla u trku sa idejom da do 1969. spusti čoveka na Mesec ali se od nje ubrzo odustalo.

Sličnost sa CAPRICORN ONE vezana je i za PR aspekt misije koji je umnogome definiše i usled koga na put kreće manje spreman civil umesto vrhunski obučenog oficira kako bi se pariralo sovjetskom gestu da u kosmos pošalju civila-geologa.

Inače, ovaj film je očigledno sniman i na pravim lokacijama u NASA postrojenjima i kad je već o PRu reč zanimljivo je koliko je NASA obraćala pažnje na dizajn radnih ambijenata, amblema, promotivnih materijala. Čini mi se da nikada u istoriji nije postojala institucija koja je toliko polagala baš na dizajn raznih sitnica, obaveštenja, panoa i sl.

Altman u ovom filmu već unosi deo svog stila po kom će postati prepoznatljiv a to je režija na više tonskih kanala sa junacima koji govore jedni preko drugih, ulaze jedni drugima u reč i sl. Snimanje na utentičnim ili vrlo lepo rekonstruisanim lokacijama svakako doprinosi osećaju autentičnosti. Iako Altman nije radikalan vizuelno koliko i Ritchie u ovom periodu, COUNTDOWN ima malo dokumentarnog feela, što samo doprinosi efektnosti filma naročito ako iammo u vidu da je, na kraju krajeva ipak reč o SFu.

Scene na Mesecu su snimljene sasvim korektno. Efekat bstežinskog stanja nije postignut, ali  toj fazi Altman već prevodi film u jednu drugu, pre svega ideološku ravan i film postavlja na kolosek pitanja hoće li misija uspeti ili ne, ali ne u kalsičnom suspense smislu već najpre ideološki.

Naime, koliko god formalno ovo bio film o "nmogućoj misiji" koja podrazumeva tehničku kompetentnost i junaštvo, sasvim je jasna politička dimenzija establišmenta kome NASA služi za političko potkusurivanje, te čudi da je film dobio toliku pomoć ove organizacije ako imamo u vidu da pokazuje svu njihovu zavisnost od sistema.

James Caan briljira u glavnoj ulozi, ali Robert Duvall je ipak kičma filma jer igra sada već prepoznatljiv karakter astronauta koji nije bio prvi na nekoj misiji iako je trebalo, što je već prepoznatljiv deo njihovih biografija i u to vreme je već bilo takvih astronauta iako su najpoznatiji oni sa leta na Mesec. U tom smislu Duvallov lik anticipira kasnije događaje sa Apollo II.

Altman je kasnije u nekoliko navrata rdio reinterpretacije klasičnih žanrova, ali COUNTDOWN spada u njegovi retke uspele dodire sa aktuelnom žanrovskog produkcijom svog vremena, u koju unosi svežinu po kojoj će kasnije postati prepoznatljiv. 

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[Meho Krljic]

Uuu, to nisam gledao but you had me at Capricorn One. Dobro, i Altman obećava prilično siguran pogodak.

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Film je quite a catch. Ako su ti potrebni likovi, javi, poslaću ti.

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Nisam uspeo da odolim curenju DVD screenera i pogledao sam RED pre dolaska u bioskope koji jste uskoro (na Cinemaniji) ali opet ne dovoljno blizu da bi se izdržalo breme istorije.

Na svu sreću, film Roberta Schwentkea je takav da ću ga sigurno overiti i u bioskopu.

Fanovi izvornog stripa, kojih na svu sreću, pretpostavljam, nema previše jer ovo je ipak Ellisov minor work, u startu ne treba ništa da očekuju. Od Ellisovog REDa ostala je samo izvorna premisa o penzionisanom agentu koga Služba pokušava da ukloni. Sve ostalo je manje-više izmenjeno, i na planu konkretnog zapleta i suštinski. Tako umesto prenaglašenog frankmillerovskog hardboileda dovedenog do granice samoparodije u stripu, i kakav recimo imamo u JONAH HEXu, ovde gledamo akcionu komediju u 80s, pa čak možda i 70s stilu, zašto da ne.

Film ima vrlo laid-back tempo. Priča se razvija bez iakve agresije u rediteljskom postupku i RED je film koji zaista uspeva da razvije svoje likove i kao akcione i kao komične figure. Mary-Louise Parker je apsolutno dorasla partnerima sa kojima je uparena, među kojima nema greške - Bruce Willis je svoj na svome kao hladnokrvni ubica, Helen Mirren, Morgan Freman, John Malkovich i Brian Cox ne propuštaju da se zabave u štivu kakvo ne igraju često ili ne sa ovom intonacijom u krajnjoj liniji.

Schwentke se u ovom filmu ne drži stripa i scenaristi Jon i Erch Hoeber zaista zaslužuju da budu doživljeni kao autori originalnog materijala. Međutim, RED sjajno funkcioniše upravo kao prototip comic book movieja, odnosno rekao bih da bi ovakav ton svakako trebalo da bude preporučljiv comic book filmovima pošto on istovremeno uspeva da izmesti stripovsku priču u stvarnost ali da stvarnost sasvim dovoljno stilizuje kako bi ona u sebi sadržala neke elemente stripovskog na planu dizajna ambijenata, kostima i junaka. Da RED nije snimljen po stripu, svakako bi bio opisivan kao film sa stripovskom stilizacijom.

U tom smislu naročite pohvale zaslužuju stripovska scenografija i još više stripovski kostimi koji su dobro integrisani u "realnost", uz glumačku igru i iunutar budžeta od 60 miliona dolara koji čine da RED bude jeftiniji od filmova ovog tipa, ali da istovremeno ne izgleda jeftinije.

Kad je reč o stripovskoj stilizaciji, RED se najpre može staviti u liniju sa KICK-ASSom. Za razliku od Vaughna, Schwentke nema toliko izraženmu potrebu da bude cool, njegov film je više eskapizam za ljubitelje 80s akcijaša, fanove filmova poput LONG KISS GOODNIGHT i sličnog štiva, i sada ćemo na blagjnama videti koliko ih ima.

Poređenja sa EXPENDABLES su neumitna i ja se nadam da će ga RED prevazići na box-officeu. Što se mene tiče, više bih voleo da je EXPENDABLES ovako izgledao. Naravno, kad kažem "ovako izgledao" ne mislim bukvalno, već da je prosto na isti način i sa istom količinom inspiacije i smisla za humor realizovan.

Drugo poređenje je LONG KISS i u tom poređenju Harlinov film je svakako moćniji kao film, ali ako imamo na umu da je RED ipak throwback a ne film iz originalne ere, za to što jeste stoji izuzetno dobro.

Schwentke je uspeo da napravi dobar balnas između akcije i humora. Akcija je vrlo efektno realizovana, sa dosta dobre koreografije, nema nikakvioh random detalja, sve je osmišljeno, a Bruno ima pravu bravuru, solo ariju, u situaciji kada se šiba sa Karlom Urbanom u kancelariji, i što je najvažnije u ovoj sceni se biju kao iskusni stari kadar i mlađi tip-naslednik, dakle karakteri su očuvani u obračunu.

Marvel jeste postavio neke nove standarde sa filmovima po svojim stripovima, ali rekao bih da je DC u izvesnom smislu sa naslovima poput LOSERSa, JONAH HEXa ili REDa na određeni način očuvao pulp duh stripova na filmu. Koliko god BATMAN Chrisa Nolana išao tim mejnstrim putem Marvel ekranizacije, ovi naslovi su zadržali svoj izvodni šund-zabavljački ton a RED je to sproveo i kroz sasvim konsekventan film.

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Pogledao sam poravu poslasticu iz domena već dekadentnog geekdoma - Bong Joon Hoov studentski film INCOHERENCE iz 1994. godine koji se smatra njegovim prvim pravim iskorakom iz Koreje jer je dobio pozive za neke internacionalne festivale.

Reč je o odličnom stuentskom radu u kome se već pepoznaju neke od Bongovih kako estetskih tako i ideoloških opsesija kao što su kadar-sekvence, crni humor i poliička dimenzija naizgled čistih žanrovskih stvari. Iza studentske realizacije sasvim je izvesno da je prisutan talenat koji će napraviti nešto značajno u "velikim" filmovima.

[Franz Xaver von Baader]

The Fearmakers mi zvuči zanimljivo (to ću svakao skinuti), Red ću pričekati dvdrip
Eierdiebe me ne zanima, ali podsjeća na Barbarske invazije (barem tvoj početni odlomak)
a Bong Joon Hoo, božesačuvaj, ni blizu

ali zapravo sam htio reći, dobro bi došli tvoji osvrti na domaće filmove. ja usamljen gledam stare klasike, a mogla bi se tu razviti solidna priča. što si se odrekao ex-yu, ili samo hrvatskih ili si skroz potonuo u žanrovsko ili...?
znači, moja želja je da proširiš repertoar na spomenutu grupaciju filmova. možda ti sad iskrsne upitnik; pa otkud ovaj, nije li drzak, koji mu je... pa stoji, ali eto, tu smo, na forumu, zezamo se, pričamo, a ja bez pardona izravno interveniram sa svojim željama u tvoj topik. pa ti vidi...

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Tvoje želje su potpuno na mestu, činjenica je da sam potpuno zapustio ex-jugoslovenski film ovih dana. Verovatno iz terapeutskih razloga, što više učestvujem u njegovom nastanku sve mi se više gleda strani. Potrudiću se da ponudim malo mesa za polemiku.

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Pogledao sam SOUTH OF THE BORDER Olivera Stonea. Što se mene tiče, to je THE SOCIAL NETWORK za odrasle, priča o pravom fenomenu talasa bolivarizma u Južnoj Americi, pokreta u kome je nekoliko zemalja reklo istorijsko NE Americi i MMFu.

Oliver Stone može da ode korak dalje od Michael Moorea jer naprosto kao veliki celebrity, čovek sa ogromnim kulturnim kapitalom, može da otkrije sve strane južnoameričkih bolivarista i njihovu političku i privatnu stranu.

Film je dosta napadan zbog akcentovanja privatne dimenzije tih ličnosti ali Stoneova namera je jasna. Naime, američki mediji su harangirali protiv tih političara upravo i na planu privatnog života, njihovih navika, ličnih preferenci, duševnog zdravlja i sl. U tom smislu, Stoneov susret sa njima pokušava da u celosti rehabilituje njihov imidž i da uz to naravno plasira njihovu poltiičku platformu.

Ljudima koje zanima ovaj region i ceo pokret, film ne donosi ništa što već nisu znali, i svakako da to nije definitivan pogled na temu. Stone se svesno opredeljuje da promoviše ovu opciju i da dokumentuje jedan period priličnog beščašća prvashodno sa američke strane. I već to je sasvim doovoljno da ovaj film ima itekakvu funkciju pošto može da otvori polemike i pruži novu dimenziju ove priče upravo u američkoj javnosti ali i širom sveta gde Stone ima veliki značaj i težinu.

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The inclusion of Mike Tyson in The Hangover was a rather impressive and quite funny addition to the story and it's beginning to appear screenwriter Scot Armstrong and director Todd Phillips are using a similar tact for The Hangover 2, which is currently shooting and even a few photos  of Bradley Cooper, Justin Bartha, Zach Galifianakis and Ed Helms from the location shoot at the Ontario Airport in Ontario, California have shown up online.

This time around, instead of Tyson, rumor has it Mel Gibson will be featured in the film as a tattoo artist. Word has it the story follows what happens after a hard night of partying in Bangkok and Stu (Helms) ends up sleeping with a transvestite. Just as in the first film, the guys spend the next day trying to figure out what happened the night before.

Gibson's part is said to be shooting on the Warner Bros. lot, where a Bangkok set has been built, before the production moves to Thailand at the end of October.

This is currently just a rumor since there hasn't been any confirmation, but several reports (and the fact it doesn't sound at all far-fetched) lead me to believe this is true.

The first report was one that detailed the fact Heather Graham wouldn't be returning for the film, but that Ken Jeong would be back as Mr. Chow and Sasha Barrese would be returning as Bartha's wife, Tracy. Barrese told E! Online someone "unbelievable" is making a very unexpected cameo. She added, "It's the best cameo you've ever seen in your entire life... It's a guy, [but] that's all I'm going to say. It's the best."

The Hangover 2 is currently expected to hit theaters on May 26, 2011.

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Pogledao sam WILDER NAPALM Glenn Gordon Carona, jedan od najneobičnijih filmova koje su snimili holivudski studiji. Ovo je debitantski rad Vince Gilligana koji je sada stekao poziciju golden boya zahvaljujući BREAKING BADu, ali mora se priznati da je imao baš dosta slobode na svom debiju. Štaviše, rekao bih da je u ovom filmu, Glenn Gordon Caron iskoristio svoju tadašnju svemoć upravo stečenu na televiziji jer teško je drugačije objasniti stepen iživljavanja koje je ispoljio u ovom filmu.

Srećom, WILDER NAPALM je dobar film, možda ne toliko da bi se opravdala tolika hermetičnost i bizarnost postupka, i svakako nije uspeo da natera kritiku da ga prizna a o Akademiji da i ne govorimo što ipak govori kolika je sprega između samih studija i ovih institucija.

Iživljavanje u ovom filmu ispoljava se kroz sam stilski koncept koji se oslanja na Tatija i Fellinija iz karnevalske faze, spojen sa osnovom u vrlo jednostavnoj melodrami. Znam da ovaj opis sugeriše jedan pepoznatljiv opus, i da, to ne treba kriti. Upravo sam opisao poznog Kusturicu i Caronov film, koliko god to suludo zvučalo jeste jako sličan poznom Kusturici. Iste godine, izašli su ARIZONA DREAM i WILDER NAPALM, oba su doduše snimana nešto ranije, i moglo bi se reći da je u tom trenutku Caron čak možda, i zaista ne preterujem, bio i radikalniji od Kusturice.

U stvari, WILDER NAPALM je na neki način anticipirao dalji razvoj upravo Kusturičinog prosedea, dočim je Caron kasnije snimio još par krajnje strejt filmova i na kraju se vratio na televiziju.

Taj jednostavni melodramski osnov je ljubavni trougao koju čine braća zaljubljena u istu ženu. I taj ljubavni trougao je oneobičen time što su braća pirokinetičari. U jednom trenutku čak jedan drugome referišu na FIRESTARTER i to na roman, ne na film.

Pošto jedan radi u cirkusu a drugi na jednom besmislenom poslu u groteskno maloj kabini, jasno je šta je tu Tati a šta Felini, i ko je tu tati a ko Anthony Quinn. Cirkuzanta, brata negativca, quinnovsku figuru igra Dennis Quaid, tati je Arliss Howard a Debra Winger je Giulietta Masina.

Caronova režija je barokna, sa dosta pokreta kamere, muzičkim numerama, ambiciozno koreoghrafisanim kretnjama i pažljivo izabranim detaljima što svedoči o velikom žaru sa kojim je projekat realizovan. U tom smislu, WILDER NAPALM uveliko pevazilazi tipičnu komediju sa obiljem destrukcije koju je studio verovatno očekivao.

Caronov film je vrlo zanimljiv, ali je on odlučio da pravi takav film na apsolutno pogrešnom mestu i sasvim je promašio temu, na kraju ostavši sa vrlo dobrim filmom koji u okolnostima svog nastanka, nažalost gotovo da uopšte nije imao smisla.

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[crippled_avenger]

Koga zanima, Weezerova nova stvar

http://api.ning.com/files/DfgjoeVqk78Vt3PqbTNiU5xuJaEUAFnm6mLCzf8amY*Vo-eea0cBISvOXnp2hLZ1PNKuNgTOu5rnTRxEUE5na0BnzOSKnSDE/03BlowinMyStack.mp3

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Pogledao sam 3:15 Larry Grossa, jednog od bitnih činilaca američke kinematografije osamdesetih, najpoznatijeg po saradnjama sa Hillom na naslovima poput 48 HRS i STREETS OF FIRE. On je u par navrata pokušavao i da režira, a 3:15 je jedini bioskopski pokušaj iako ne verujem da je ovaj film ikada zaista i dospeo do bioskopa.

3:15 je poznat i pod alternativnim naslovom CLASS OF 87 i reklo bi se da je reč o rip-offu CLASS OF 84 Mark L. Lestera za koji se ne bi moglo reći da je sam po sebi bio mnogo više od pristojnog exploitationa.

3:15 nažalost čak nije ni to i izuzev prilike da se na ekranu ugledaju poneke poznate face, nije ni exploitation iole pristojnog nivoa.

[crippled_avenger]

Ova vest zaslužuje pažnju

http://www.independent.co.uk/news/uk/crime/gay-prince-found-guilty-of-sadistic-murder-2110935.html

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Pogledao sam NEKE DRUGE PRIČE i moram priznati da sam se mnogo bolje proveo nego što sam očekivao.

Najbolja priča je, nije što je naša, ali svakako ona koju je snimila Ana Maria Rossi. Ova priča se nadovezuje na neke stvari koje smo videli u filmovima poput HITNA POMOĆ ili LEPA SELA, ali to su sve dobre tradicije i mene pre svega raduje što je Ana vrlo dobro procenila sa čime raspolaže i kakav film može da snimi. U celokupnom omnibusu, njen film uspeva da podigne tempo i razgali publiku baš na onaj način na koji su to radiji srpski filmovi u staroj Jugoslaviji.

Pre svega, film je vrlo precizno i nenametljivo režiran, priča je jasno ispričana, glumci su jasno u prvom planu, razdvojeno je važno od nevažnog, a angažovanje Sregeja Trifunovića za glavnu ulogu je dobra upotreba personality actora kod reditelja debitanta. S jedne strane, Sergej ipak ne hijackuje film i njegovo džeziranje do kraja priče ostaje u domenu rediteljske ideje i ne postaje lično iživljavanje. S druge strane, nije pošla stranputicom uzimanja neproverenih i u većini slučajeva opravdano neafitmisanih ljudi.

Moram priznati da je meni film i ideološki legao jer ima poentu da se čovek u potpunosti formira tek kad oseti čari osvete štoi je vrlo exploitation fazon.

Po nivou realizacije, i modernom vizuelnom konceptu izdvojio se film Ivone Juke, hrvatski predstavnik. Međutim, ovaj film je narativno mnogo slabiji, konfuzan je i neuspešno pokušava da simulira izlomljenu, fragmentarnu dramaturgiju koju praktikuju Arriaga i Innaritu. Smešten u malograđansko viđenje viših klasa, priča o ženi naludoj pretencioznoj slikarki, koju autorka pritom tretira kao prijatno idiosinkratičnu individualku i njenom nerazumvanju oko trudnoće sa mužem biznismenom, uspeva da ne samo bude uslovi eye candy bez ikakvog narativnog hooka, već i da svoju suštinski dobru dilemu postavljenu pred karaktere potropi u dve rečenice verbalnog razrešenja i sve spakuje u jeftinu simboliku. Šteta, Juka je očigledno imala saradnike koji su mogli da joj pruže mnogo i da joj naprave vrlo moderan i atraktivan film.

Slovenački film Hanne Slak, čije sam radove gledao i ranije, počinje dobro, duhovito, ima u sebi disciplinu i svedenost savremenih kratkih filmova koji dobro prolaze po festivalima i reklo bi se da Hanna Slak najzrelije misli u tom smislu kako spakovati film koji po svojim izražajnim sredstvima spada u taj vrlo specifični korpus. Međuitim, njen film odlazi u neku preekstremnu stilizaciju koja ga čini aposlutno internacionalno prijemčivim, u toj meri da na kraju maltene može da bude i islandski film, a s druge strane, kroz tu stilizaciju obesmišljava prethodnu investiciju koju gledalac ima u junake.

Bosanski film Ines Tanović je standardno odvratan, sa sve pominjanem rata gde mu vreme nije i poentom koja je jasna posle drugog reza u filmu.

I makedonski je aposlutno dno u ovoj ponudi, najslabije ispričan i najslabije relaizovan film sa puno nedoslednosti i neveština. Znatno ispod inače visokog makedonskog standarda,

Ako imamo u vidu koju vrstu PC ambicija je imao ovaj film, mogu reći da ih je ispunio i da je to mogao da uradi i mnogo gori način. Možda sam ja ipak i subjektivan jr je ovaj film uprkos svemu po ko zna koji put pokazao superiornost srpske kinematografije, naročito u domenu tzv. "normalnog" filma koju smo u jednom trenutku počeli da gubimo.

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[crippled_avenger]

Mel Gibson Cameo in The Hangover 2 Canceled

By Mike Fleeman

Thursday October 21, 2010 06:50 PM EDT
Mel Gibson Cameo in The Hangover 2 Canceled

Mel Gibson

Dominique Charriau/WireImage

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Mel Gibson's cameo in The Hangover 2 turned into a big headache.

Despite approval from the studio, plans to feature the actor in the sequel to the comedy hit have been scuttled, director Todd Phillips says.

"I thought Mel would have been great in the movie," Phillips said Thursday. "But I realize filmmaking is a collaborative effort, and this decision ultimately did not have the full support of my entire cast and crew."

Phillips didn't say who objected to including Gibson, who has weathered a storm of bad publicity over his personal life. The sequel will reunite stars Bradley Cooper, Zach Galifianakis and Ed Helms.

[crippled_avenger]

SAINT ANGE Pascala Laugiera mi je već godinama na listi za gledanje zbog Virginie Ledoyen. Kada se pojavio MARTYRS, svakako je dobio još jednu manju povišicu ali nikako nije stizao na red. U svakom slučaju, konačno je našao svoje mesto na repertoaru i moram priznati da mi nije jasno zbog čega je ovaj film dobio tako negativne kritike  u vreme kada se pojavio.

SAINT ANGE je vrlo efektan, otmeno realizovan film u kome se horor postavka tretira pre svega u ključu klaustrofobične melodrame, u toj meri da ovaj film najpre i jeste melodrama pa tek onda triler ili horor. U tom smislu, možda je zapravo problem ovog filma bila njegova sama eksploatacija koja je insistirala na žanrovskom elementu koga zapravo nema u dovoljnoj meri da bi ovaj film zabavio publiku koja će kasnije biti oborena s nogu MARTYRSom, međutim, ima raznih drugih stvari u njemu.

SAINT ANGE je pre svega film o krivici i tajni, sakrivenim u jednom sirotištu u Švajcarskoj 1958. godine, u vreme kada je Drugi svetski rat prošao ali nije zaboravljen. u određenom smislu, priča o mračnim stvarima sakrivenim čak i bukvalno iza zidina starog sirotišta vrlo direkno simbolizuje enigmatičnu i po mnogima dijaboličnu ulogu Švajcarske u periodu Drugog svetskog rata, neutralne zemlje u toku dešavanja prema kojima je, kasnije će se ispostaviti, bilo nemoguće biti neutralan. Do kraja filma ta mračna tajna, čak i kad se rasvetli ne dobija ideološki predznak (ne može se formalno poistovetiti sa nacizmom) i upravo zbog odsustva takve etikete postaje suštinski ideologizovana jer otkriva univerzalnost mračnih strategija koje se tek povremeno brendiraju i ispoljavaju otvoreno.

Kroz uvođenje psihološke labilnosti svih junakinja - nove zbog trudnoće, zatočene devojke zbog lekova koje uzima i upravnice doma jer se određena izopačenost očekuje od nekoga ko vodi tako rigidnu i po atmosferi krajnje bizarnu instituciju, Laugier postiže sličan efekat kao SHUTTER ISLAND, odnosno ostavlja mogućnost da je poneki detalj pogrešno percipiran, da su izvesni elementi nadogradnja jedne zajedničke psihoze, premda neke od njih čini "nesumnjivim" određenim rediteljskim rešenjima.

SHUTTER ISLANDu je SAINT ANGE blizak i po svom rediteljskom postupku, aproprijacijom rešenja svojstvenih Michaelu Powellu, Romanu Polanskom, Hitchcocku, a po raskoši stila, film evocira uspomenu i na Cuaronov GREAT EXPECTATIONS. U tom smislu, horor i to tako tvrda linija, treba da bude polaskan time što se reditelj koji je lako mogao iskoračiti u ozbiljan mejnstrim opredelio da kasnije snimi MARTYRS pošto je Laugier sa ovako rafiniranim stilom u namanju ruku mogao režirati neke skupe kostimirane bajke ako ne i nešto prodornije.

Virginie Ledoyen je naravno u centru pažnje i predvodi odličnu glumačku podelu. Zanimljivo je da zapravo već u SAINT ANGE imamo taj odnos racionalna-(na)luda devojka kao u MARTYRSu, a ako svemu dodamo i rasplet, kao i ambijente u kojima se dešava, MARTYRS se može smatrati drastičnim rimejkom SAINT ANGEa sa kojim deli određene adute ali isto tako priči prilazi na potpuno drugačiji način.

ANGE i MARTYRS su upadljivo različiti a opet slični filmovi. Štaviše, moglo bi se reći da je to isti film snimljen na dva potpuno različita načina. Ako bi se ta različitost ukratko definisala onda bi se moglo reći da je SAINT ANGE film sa više sitnih grešaka a MARTYRS film sa jednom velikom. Otud ni ne čudi da je MARTYRS bolje prošao, ali po mnogo čemu SAINT ANGE je zanimljiviji i zreliji film.

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[Tex Murphy]

Uh, ja mislim da je Martyrs jedna velika greška od filma, a isto tako i ovo čudo. Ne računajući full frontal pod tušem.

[crippled_avenger]

Za MARTYRS se ne slažem ali razumem tvoj stav, a za ANGE baš i ne.

[Tex Murphy]

Ne sviđa ti se full frontal scena pod tušem?

[crippled_avenger]

Ja sam ti i rekao da mi ovaj film već godinama stoji na listi za gledanje baš zbog Virginie.

[crippled_avenger]

Norrington baš ima probleme u komunikaciji:

"Blade" and "The League of Extraordinary Gentlemen" director Stephen Norrington tells Mania.com that he has dropped out of "The Crow" reboot he had previously been attached to.

Asked about the report earlier this week that Mark Wahlberg had become attached, Norrington says "I don't know about that story but I can tell you I'm no longer involved with The Crow." Norrington co-wrote the most recent draft with musician Nick Cave based on an earlier script by another writer.

Norrington went on to say he left due to a new actor coming onboard and demanding a re-write. "As I had gotten involved explicitly as a writer-director my exit was inevitable. I was bummed. I had developed a genuinely authentic take that respected the source material while moving beyond it, and Nick Cave came in and added more depth. I think the fans would have been pleasantly surprised" he says.

Said actor isn't likely to be Wahlberg as Norrington added "I will say I think Wahlberg could be cool if they take a gritty blue-collar approach. He's a truthful actor. I think he could really ground the supernatural stuff."

[crippled_avenger]

Pogledao sam film SUS Roberta heatha, vrlo teatralnu adaptaciju pozorišnog komada Barrie Keefea koji nije puno radio na filmu ali je pisao LONG GOOD FRIDAY što je dovoljno da se potpiše i povuče, barem što se mene tiče. SUS je baziran na njegovom angažovanom komadu koji se koncentriše na kritikovanje zakona koji omogućuju policiji da privodi ljude na osnovu sumnje, i ukazuje na eventualne zloupotrebe takvog zakona kroz priču o dva tenednciozna policajca i uhapšenom Jamajkancu u noči kada Gvozdena Lejdi pobeđuje na izborima (ne mislim na Biljanu Plavšić, Harvi) i panduri osećaju da će reforma zakonodavstva ići u pravcu uvođenja čvrste ruke.

Koliko god Keefeov argument bio valjan i zaista ukazivao na potencijalne zloupotrebe zakona, njegovi likovi policajaca imaju prilično esencijalizovane mane, oni su fašisti, rasisti, ljigavci, prostaci i sve najgore odjednom tako da na kraju, reklo bi se da nije problem u zakonu već u njima. Naravno, jasno je da Keefe vrlo dobro poznaje predrasude svoje publike i nudi im likove policajaca kakve oni žele ali isto tako potpuno otupljuje oštricu svoje socijalne kritike.

Keefeov scenario ne nudi mnogo izmena u odnosu na komed a što je najgore, ni glumci ne prave veliki odmak u odnosu na pozorišni stil igre a to se naročito odnosi na Ralph Browna, pouzdaniog epizodistu, u ulozi glavnog islednika. Clint Dyer i Rafe Spall su malo filmičniji u svojoj igri, ali gneralno sva trojica ostavljaju utisak prilične teatralnosti.

SUS zbog svega ovoga na kraju ponajviše deluje kao ekranizacija za fanove i istomišljenike.

* 1/2 / * * * *

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E, Liame bedniče:

Liam Neeson has stepped in to replace Mel Gibson in Warner Bros.' "The Hangover Part II," following a revolt by the cast and crew against Gibson's involvement in the movie.

Neeson says he was invited to take the cameo role via his "A-Team" co-star Bradley Cooper, who stars in "The Hangover Part II" along with Zack Galifianakis.

"I just got a call to do a one day shoot on 'Hangover 2' as a tattooist in Thailand, and that's all I know about it," Neeson told Daily Variety. "I just laughed my leg off when I saw 'The Hangover, I was shooting in Berlin earlier this year and rented it on the hotel TV."

Neeson flew out to the set Thursday from his home in New York.

In a statement released Thursday, director Todd Phillips said, "I thought Mel would have been great in the movie and I had the full backing of Jeff Robinov and his team. But I realize filmmaking is a collaborative effort, and this decision ultimately did not have the full support of my entire cast and crew."

The studio has scheduled "The Hangover 2" for release on May 26.

"The Unknown" (previously titled "Unknown White Male"), the Dark Castle thriller that Neeson shot in Berlin earlier this year, is set for release by Warners in January.

Neeson most recently played another cameo as the Admiral in Universal/Hasbro's "Battleship." He will start filming Joe Carnahan's "The Gray" in January, followed by further shooting on "Battleship" and "Clash of the Titans 2." Then he's lined up for Ji-woon Kim's "The Last Stand," and after that he hopes to play the lead in Brad Silberling's "An Ordinary Man," a low-budget drama about a fugitive war criminal in the former Yugoslavia.

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News of Gibson's casting triggered an internal backlash at the studio and on the film.
Page 1

UPDATED 7:25 p.m. Thursday, Oct. 21


In a highly unusual public rebuke of a former A-list movie star, Warner Bros. has dropped Mel Gibson from the cast of The Hangover Part II.

Gibson, whose anti-Semitic, racist and misogynist rants have made him radioactive in some Hollywood circles, was to have a cameo as a tattoo artist in the sequel to the 2009 hit.

But the stunt casting, which was picked up by the media this week, triggered an internal backlash at the studio and on the film set. And the studio, where Gibson reigned as a major star during the '80s and '90s with such movies as the Lethal Weapon series, decided to go public with a statement that the actor was no longer involved in the project. Gibson's spokesman declined comment.

Zach Galifianakis -- who is reteaming for the sequel with Bradley Cooper, Ed Helms and Justin Bertha and director Todd Phillips -- appears to be among those who objected to Gibson.

In a Comedy Death-Ray podcast released last week, Galifianakis alluded to trouble on the set of Hangover II, without naming the film. Interviewed by host Scott Aukerman, he said he was in "deep protest" and "up in arms" about a film he's working on.

Without naming names, he said: "A movie you're acting in, you don't have a lot of control; you just show up and vomit your lines out. I'm not the boss. I'm in deep protest right now about a movie I'm working on, up in arms about something. But I can't get the guys to [listen]. ... I'm not making any leeway."

Pressed for details, Galifianakis said: "It has something to do with a movie I'm working on, yeah. I'll tell you about it later. It's very frustrating."

Reps for the actor declined comment.

Other members of the movie's cast and crew also are said to have opposed Gibson's casting, and insiders said high-level execs at the studio also objected.

One studio worker in his 20s suggested that there was a generational divide between older execs and the audience at which the Hangover movies are aimed.

"Our generation doesn't really care about most of what [Gibson] said," said the worker. "To the people going to the movie, he's just another wacky celebrity."

One source close to the script had called Gibson's casting "genius." "He's a mean, crazy guy you're afraid to ask questions of," said the source.

While the original movie revolved around a Las Vegas bachelor party that devolves into drunken lost weekend, the follow-up tracks the same quartet on a misbegotten trip to Bangkok, Thailand.

A source familiar with the production said the character of the tattoo artist is "pivotal" to the plot, in which one of the stars gets a tattoo during a night of debauchery.

The movie began shooting Sept. 30 on the Warners lot, but Gibson's cameo had yet to be filmed.

[Tex Murphy]

Loše im je to skroz. Ali sami će da snose posljedice.

[crippled_avenger]

Pogledao sam SUPERMAN & BATMAN APOCALYPSE Lauren Montgomery po stripu Jeph Loeba. Reč je o jednom od najboljih u nizu DC animacija pošto je Lauren Montgomery do sada najbolje rešila kako akcione tako i mirnije, dramske delove. Loebova priča doduše vrca opd raznih konotacija, od incestuoznih između Supermana i Supergirl do lezbijskih u fazi kada Wonder Woman trenira Kal Elovu rođaku da bude superheroj, i to se ne može prikriti, koliko god ovaj film bio namenjen mlađoj, da ne kažem dečjoj publici.

Politika ekranizacija raznih storylineova iz DC univerzuma, među kojima će sve više biti i onih poznatih, i najpriznatijih, poput radova Grant Morrisona ili Frank Millera, pravi je potez i verovatno se jedino i može realizovati u ovoj formi DTV animiranog filma. Šteta je samo što u principu animi5rani filmovi ne preuzimaju u potpunosti i crtež iz stripova već se tek delimično oslanjaju na grafička rešenja stripova koje ekranizuju. Smatram da bi rekonstrukcija crteža iz pojedinačnih stripova dala ovim animiranim radovima jednu dodatnu dimenziju. No, i ovako DC i Warner su na dobrom putu i uprkos tome što je DC i ove godine bio low key i u igranom i u animiranom domenu, stojim pri tome da sam zadovoljniji DC ekranizacijama.

* * * / * * * *

[crippled_avenger]

Olivier Assayas takes on the life of Carlos the Jackal
Olivier Assayas takes on the life of Carlos the Jackal
Olivier Assayas talks about making his epic 'Carlos', a five-hour biopic of the first international terrorist, Carlos the Jackal

Maverick French director Olivier Assayas made a name for himself in the mid -1990s with the film 'Irma Vep', a wry indictment of the French film industry which – with its references to Louis Feuillade's 'Les Vampires' – also illustrated his love of classic cinema. He presented a different side to his filmmaking in 1998 with the hushed ensemble drama 'Late August, Early September', and then again in 2000 with the lavish period piece, 'Les Destinées Sentimentales'. He took another U-turn in making the divisive Manga-porn techno thriller, 'Demonlover', and has continued to surprise with his directorial choices. 2008 saw him deliver one of his finest  achievements with 'Summer Hours', which followed the mould of his earlier character-driven dramas. His most recent film is 'Carlos', a gargantuan biopic of international terrorist Carlos the Jackal.

Do you recall the first time Carlos came onto your radar? Were you aware of him as a teenager?
'Well, yes, in France, of course, because that's where he killed three French cops and it was big news. There was a famous headline in Liberation, which said "Carlos: 3, DST: 0" which was pretty striking and it was the first time he appeared on anybody's radar as before that he was just another militant. And then he kills these cops in the centre of the Latin Quarter – which is the student area in Paris which was basically where I would be walking everyday – so all of a sudden there's this notion of some kind of this war going on far away. It's just terrorism in a form that had never really surfaced in that way in France. But he more or less disappeared soon after.'

Did you see the recent Vincent Cassel film 'Mesrine' about the French gangster? There's this sense that despite his criminal actions, he became an anti- authoritarian poster boy. Did a similar thing happen to Carlos?
'I think the politics of "Mesrine" is something that has been more or less fabricated after the fact; I don't buy it, because Mesrine was a gangster: that's what he was about. Carlos is a different character. He's an idealist who is recruited by the Palestinian militants who becomes a soldier with the Palestinians in the mountains of Jordan. This is all as a very young man: he's like nineteen. So there is a sense of involvement, there's a sense of conviction and there's a sense of putting your life on the line for your ideals at the beginning. He's pretty much part of the whole leftist mythology and that's what the film is more or less about: the places that these politics can take you.'

There were disputes in the press, especially around the time of the film's premiere at Cannes, about whether 'Carlos' is a film or a television series.
'Honestly, I have a very simple take on this; I only know one way of making films. It's not like I switch on a TV mode or something. For me, this was a film from the start – it was a very long film, but it was absolutely a film and I made it exactly the same way as I did my other films. The paradox is that eventually I had a larger budget than usual, so somehow I just had more space to be creative. And the reason why this ended up being this hybrid is because you just can't get away with a five-and-a-half hour film for the cinema, especially if you don't have a French leading part. Most of the film is shot in foreign languages and so on and so forth, so the only way to give rationale to the project was to use the money from TV and the structure from film.'

As biography, where did you draw the line between capturing the essence of the subject and entertaining the audience?
'It's a difficult line, but it's the one we've been walking. In terms of the historical side, in terms of the factual elements, it was all about being as accurate as possible. I'm not saying that we get it right every single time, but we get it right as much as possible, using all the evidence available. Maybe something will surface in a year or two, something that will contradict what we've done. But I tried to focus the film on the most documented events, meaning the facts leading to the Latin Quarter shootout, the Vienna OPEC operation and the arrest of Carlos in Sudan.

'Obviously not everything is accessible, so there were a lot of areas where sometimes I have to make up for missing elements and also sometimes I have to make things more compact, because time passes and there's just too much stuff happening. During the 1980s Carlos did a million things and became this kind of businessman in the world of international terrorism. The biggest question for me was how to deal with the "non-stop" element.'

Carlos.jpg

The character of Carlos is extraordinary complex. Did you have a clear idea of him before you started making the film?
'He grew from the film. I did not have a clear idea of Carlos. I had flashes of Carlos, moments of Carlos, but I had no idea how they connected and they seemed extremely different from each other. There is very little in common between the man from Paris and the guy who is arrested by the French in Sudan. Somehow all my research and all my work on the film was about making sense of the connection between those snapshots.'

This film continues your fascination with language and communication: this idea of connecting people from cultures who shouldn't really connect.
'Well it's something that fascinates me in the sense that it's our world, you know. It's not a theme in my films, it turns up in my films because that's what the world is like.'

In reviews of your films, the word that often crops up is 'global'.
'Yes, I mean, if you deal with today's world, you will use that word a lot. What surprises me is that so few filmmakers are interested in this subject. I think it's the most striking thing about how the world has been evolving and I think it's one of the most fascinating aspects of modernity.

'I'm interested in how cultures interact, how people who were not supposed to meet come together, how information, money, commodity travel incredibly fast, faster than at any other time. And all those people are using some kind of weird English as a common language. So to me it's a very interesting cinematic reality and even more so because, basically, no one else seems to be interested: I have the space to myself!
'I'm joking, I'm sure there are a lot of filmmakers who use it in one way or another. Just not in France.'

The soundtrack is very interesting and diverse. There's a lot of Wire, but I was very surprised to hear 'Pure' by The Lightning Seeds at one point.
'Well, I was a fan of that specific track. I haven't listened to much of their other stuff. Well, I have, but I don't think it's as good. I had no idea what kind of music I was going to use, so I tried this and tried that.

'When I started working on the music, for some reason I found that what worked for this film, at least for me, was either the darker post-punk stuff like Wire, because it kind of gave the story this drive, or lighter pop stuff. And for some reason I started looking in that direction, and just remembered that song and tried it and it worked. It's very intuitive.'

Have you seen Steven Soderbergh's 'Che', and if so, what do you think of it?
'I like it a lot. I saw it in Cannes. I saw the two parts back to back, and I was impressed by how he could get away with doing a film like that, meaning filmmaking on this scale, entirely in Spanish, with Benicio del Toro as the big star and no other "names".
'But also what struck me is how he used a mythical figure to deal with something that's much more complex than a biopic. It's basically  two moments in the life of Che Guevara and he gets into a lot of detail in describing those two moments. I think the film is about guerrilla warfare, it's about how a guerrilla wins and how a guerrilla fails and it's a case study for both aspects. I really see it as a movie about strategies, and it occurred to me that if you had the space, you could deal with things that few movies can deal with because they need time to describe.

'So when I was thinking about "Carlos" and trying to figure it out, "Che" was an inspiration, absolutely.'

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Pogledao sam WALL STREET: MONEY NEVER SLEEPS Olivera Stonea, jedan od najočekivanijih filmova godine što se mene tiče.

Ako bi se morao u jednoj rečenici porediti sa prvim filmom, razlika je koliko i ona zabaležena na soundtracku - u prvom su se čule pesme Davida Byrnea i Briana Enoa sa albuma MY LIFE IN THE BUSH OF GHOSTS a u novom se čuju pesme sa EVERYTHING THAT HAPPENS WILL HAPPEN TODAY. Koliko se ova dva albuma razlikuju, toliko se razlikuju i ovi filmovi.

BUSH OF GHOSTS je bio po mnogo čemu pevratnički album koji je redefinisao ono što što se može smatrati pop muzikom, a EVERYTHING je album na kome Byrne i Eno vrlo zrelo obilaze već utabane žanrovske staze.

Kao i ovaj album, i MONEY NEVER SLEEPS ima izuzetno visok nivo izrade. U saradnji sa direktorom fotografije Rodrigom Prietom, Stone možda gubi eksperimentalnost i oštrinu svojih kolabiracija sa Robertom Richardsonom ali zato potpisuje film izuzetne energije i vizuelne preciznosti kakava se retko sreće u ovakvoj strukturi. U trajanju od 133 minuta, Stone postiže da svaki kadar proističe iz prethodnog a što se montaže tiče, iako je intenzitet smanjen u odnosu na dane kada je radio pod uticajem Novog talasa, film nudi masu suštinski avangardnih rešenja sa tabelama, monitorima i statistikama koje ulaze u kadar i postaju integralni deo radnje.

Što se same priče tiče, MONEY NEVER SLEEPS je zapravo vrlo sličan izvonom WALL STREETu koji je bio priča o očevima kako u bukvalnim tako i u simboličkom smislu. I nastavak je više film o očevima, ali ovog puta više u bukvalnom nego u simboličkom domenu, što ne znači da je reč o manje ideologizovanom filmu.

Naime, čini se da je količina melodrame u MONEY NEVER SLEEPS zapravo ključ subverzije ovog filma. Naime, dok je prvi WALL STREET bio priča o pobuni mladog pobornika realne ekonomije protiv finansijskog sektora u kom zapravo njegova blue collar porodica igra ulogu katalizatora i omogućuje Budu Foxu da se odupre materijalnom bogatsvu i glamuru Wall Streeta, odnosno da između fihgure svog klasnog i biološkog oca nasuprot figure svog mentora-oca, izabere ovog prvog; ovde se radi o priči toliko svojstvenoj savremenim kapitalistima-novim komunistima kako ih definiše Žižek (Gates, Jobs) među kojima je ključni aspekt glamura "kupovina" porodičnog spokoja.

Gekko izlazi iz zatvora i prvo što želi je uspostavljanje porodične harmonije. Isto važi i za mladog japija, i njemu je primarna porodična harmonija u trouglu mentor-otac i devojka. Dakle, porodična harmonija je nova moneta i novi, rekao bih, trofej među mačoima sa Wall Streeta. Otud, za razliku od prvog filma, nema naročite fetišizacije bogatstva, komfora, sitnica i krupnih stvari koje se mogu kupiti novcem. Porodični spokoj je postao moneta.

Otud je vrlo zanimljivo da se porodična harmonija zapravo vrti oko sto miliona dolara Gekkove ostavštine. Porodična harmonija nestaje kada se tih sto miliona otuđe i vraća se kada se tih sto miliona vrati.

U ovom filmu, motivi za bavljenje berzom su isključivo psihološki. Na pitanje koliko novca želi da zaradi da bi se povukao, "negativac" Bretton james kog igra Josh Brolin odgovovara "More" a Gekko se pšonovo oseća kao čovek & bori protiv klimaksa tako što se vraća na berzu. Dakle, sada više nema sumnje, nije berza pitanje pohlepe nije pohlepa ono što pokreće ekonomij8u, pokreće je mačističko takmičenje. Bretton James i Jake Moore su spremni da se nadmeću na berzi a ako neće tu nema razloga da se ne trkaju motorima, praveći rizične manevre koji bih mogli koštati glave.

Dakle, berza je psihološki motivisana igraonica za izabranu grupu mačoa - problem je u tome što je američka ekonomija postala previše zavisna od  finansijskog sektora i kao što je u filmu W. Stone prikazao kako izgleda  kada zemlju vodi napaljeni populista tako je u ovom filmu pokazao kako je kada je njena sudbina prepuštena momcima sa razvijenim kockarskim instinktima.

Možda i najveće kukavičje jaje ovog filma je "idealizam" Jake Moorea vezan za fabriku čiste energije. Ovo je ekvivalent Bud Foxove odanosti "realnoj ekonomiji", ali isto tako, ne treba imati iluzije da je to Jakeov pokušaj da pronađe svoj "bubble", svoju "novu industriju". Da li je on u toj priči momak koji želi da se vrati realnoj ekonomiji, odnosno investitor koji ZNA zapravo u šta investira, ili je on samo kockar sa Wall Streeta koji smatra da ima potencijala da se izdvoji i ostvari landmark u istoriji berze, Stone ostavlja otvorenim.

Konačno, činjenica da Gekkova kćer ima uticajan blog ima dublju simboliku od puke apdejtovanosti priče. Činjenica je da je Internet ne samo bio poslednji bubble već i da slučaj Facebooka pokazuje kako je danas mogućnost uticaja na kulturu jedan izuzetno cenjen kapital i Gekkova kćer je igrač upravo na tom terenu.

S druge strane, za MONEY NEVER SLEEPS se krajnje paušalno može reći da je sapunica i ostati na toj definiciji, međutim, ovaj film je svakako nešto više od toga. Uprkos tome što ponavlja antičke postavke prvog filma na nivou konstrukcije priče, rekao bih da je nastavak manje komunikativan, jednim delom i zato što je strukturiran tako da zapravo ne prati uspon junaka.

Slabiju komunikaciju sa publikom delom mogu objasniti i time što je Bretton James kao antagonista zapravo započet pa onda ispušten u samoj završnici filma. To je sasvim logično jer se ispostavlja da su junaci sami sebi najveći protivnici, no onda se postavlja pitanje da li je izuzev političke dimenzije Brettona Jamesa kao "novog raidera" uopšte trebalo uvoditi ovaj lik?

U svakom slučaju, MONEY NEVER SLEEPS je dostojan naslednik prvog WALL STREETa, film koji ima ozbiljnost filma osamdesetih i hardver savremenog Holivuda, delom oličen i kroz Shiu koji meni ne spada među favotite, ali on je realnost savremenog filma i na neki način on je naša sudbina, pa je i njegovo kastovanje zapravo znakovitije nego da je tražena "odgovarajuća podela".

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Pogledao sam THE TALL TARGET Anthony Manna. Reč je o trileru iz 1951. godine koji govori o detektivu koji pokušava da spreči pokušaj atentata na Abrahama Lincolna tokom njegovog putovanja na inaoguraciju. Film ima dosta arhaičan stil, od koga je kroz upotrebu raznih krajnje deziluzionističkih trikova, Mann kasnije napravio deo svog stila, a ponajviše podseća na Hitchcocka sa njegovih početaka.

Kada govorimo o arhaičnosti, važno je napomenuti da je Mannov film po mnogo čemu bio arhaičan i za trentak u kom se pojavio. U tom trenutku su se, čini mi se, javljali intenzivniji krimi naslovi od ovoga sa modernijim rediteljskim rešenjima.

Međutim, ako imamo u vidu da ovde Mann pravi zanimljiv spoj kostimirane drame i suspense krimića, kakav se retko sreće i da svaki dodir sa epohom na filmu po definiciji nosi sa sobom neku vrstu krutosti u rediteljskom postupku i/ili glumi, takav postupak je razumljiv. Drugo, ne treba zanemmariti i činjenicu da je THE TALL TARGET naslov koji moramo sagledavati kao delo iz asortimana B-filma, i da u tom domenu izuzetno dobro stoji kao jedna dobro skrojena supsense priča.

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UK director Bernard Rose talks to Screen about the making of his recent Howard Marks biopic Mr Nice, and his latest Tolstoy adaptation.

London-born Bernard Rose made films from an early age. In 1982 he graduated from the NFTS and went on to direct music videos for MTV. In 1988 he got his feature breakthrough with Paperhouse and in 1992 scored a major cult hit with horror Candyman. He has subsequently written and directed Beethoven biopic Immortal Beloved, Ivans XTC, about the last day in the life of LA agent Ivan Beckman, and an adaptation of the Tolstoy novel, The Kreutzer Sonata. His latest feature, Mr Nice, a biopic of notorious drug smuggler Howard Marks starring Rhys Ifans, world premiered at SXSW in March and is currently on release in the UK via eOne.

How did Mr Nice come together?

I didn't know anything about Howard before I read his autobiography but thought it was really good material. I developed it initially with Liza Marshall and BBC Films. That was 2003, when I first met Howard. There were all sorts of names being bandied about for the main role, but as far as I was concerned there was only one person to play the part. I called Rhys and he said that he knew Howard. Then Luc Roeg (at Independent) got involved because it stalled at the BBC and they turned it over to us.

The film recently won the Best Cinematography Award in Dinard. What kind of visual palette you were trying to achieve?

I was trying to show the passage of time and place through the photography rather than with title cards, which has become a cliché. It's a lot more interesting to let people know where they were by what they were looking at. I did a tremendous amount of research into the places at the time. We found rear projection plates from Karachi from the '70s, researched German motorways, Piccadilly Circus and other places and then greenscreened Rhys in.

The film has an impressive soundtrack. You teamed up with composer Philip Glass for the first time since Candyman. How did that come about and were there difficulties in getting the big tracks?

I hadn't spoken to Philip since Candyman. His manager called me up and said that Philip was really interested in Mr Nice. I knew that Philip was a man of the '60s as he was Ravi Shankar's assistant! We got some really great tracks like Lennon's God and Pink Floyd songs, but it was very hard to get them. I'd planned the film's central sequence around the John Lennon track and I'd cut all the archive footage to it before we even shot the greenscreen. It was so intrinsic. It was almost like a voice over about how the '70s end and the '80s begin. We expended a lot of effort and a fair bit of money getting that song but we got it.

Rhys's character, as with protagonists in some of your previous films, seems simultaneously attracted to and repulsed by excess. Is this something that is important to you?

I never thought of it that way but I'm glad you say that, because people are always telling me how diverse and different my films are and to me it always feels like the same movie. I am attracted to characters who are excessive, who push themselves and endanger themselves.

Mr Nice is the third feature you have written, directed, edited and shot. You also compose. Why do you multitask on your films?

As a teenager in the '70s I did everything because there was no one else around. Everything that you can now do on your Macbook Pro was a real challenge back then. I went to film school in the '80s and they taught me all about departments, something I had no experience of. My experience was of doing it myself. When someone first explained to me what a professional director did I was like: "You mean they don't do anything? They don't shoot the film? Well, what are they doing, just standing around?" I remember being appalled.

I work very short days when I'm shooting. I'm fast, I'm ready. There's no indecision. The hardest part of the process for me is writing. I'm not a fast writer. The DOP and the editing part of it I'm happy to do.

When I'm on the floor, especially if I'm hand holding, I'm doing a dance with the actors. If you screw up while shooting it makes you more vulnerable and you have a closer relationship with the actors. There's been a tendency to remove directors to this controlled video village away from the action but I feel it makes you more a part of what's going on if you are shooting it yourself and that it's good for the actors, too.

After shooting Ivans XTC in digital I had more confidence. Mr Nice was a much bigger challenge because it had a lot of greenscreen and was shot on 35mm. But I really enjoy getting my hands on the equipment. I recently shot a test in 3D and am really looking forward to that challenge.

What's coming up?

As soon as it starts snowing in Colorado I'll be there shooting Boxing Day, an adaptation of the Tolstoy short story Master and Man, starring Danny Huston and Mathew Jacobs, who wrote Paperhouse. It's about a limo driver and his passenger getting stuck in the mountains. It's due to start shooting the first week of December. I'm writer, director, DOP and editor. Luc Roeg and Naomi Despres are producing, with finance coming from Independent, UKFC and private equity.

What else are you working on?

I'm also working on an adaptation of a Will Self novel called The Book Of Dave. Half of it is set in the present day, half in the future after London has been drowned by rising sea levels. It's about a cab driver who writes a book to his estranged son and buries it in his garden. A thousand years later Londoners dig up the book, think it's the work of God and build a society on its rantings. I want to make it as a big, sci-fi adventure. It's a really powerful story.

Have you spoken to Will Self about it?

Yes. I'm just trying to find a home for it.

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Michael Mann's project with HBO

By Matthew Garrahan

Published: October 22 2010 23:03 | Last updated: October 22 2010 23:03

Michael MannYou can take the boy out of Chicago but you cannot take Chicago out of the boy; 40 years since he left the Windy City, Michael Mann still speaks with the hard-edged accent of his youth.

The director of films that include Heat and The Insider has lived in Los Angeles for most of that time. The windows of his airy office face the sun-kissed Santa Monica mountains, and the complex he works in is home to other notable directors – including Oliver Stone, whose production offices are in the building. Despite the Hollywood trappings, though, Mann has not forgotten his roots. Much of his work in a career spanning more than 30 years has been shaped by his experiences as a boy in the urban Midwest.

Chicago in the 1950s still bore the scars of the Depression, he tells me when I am shown into his office. The city was in thrall to the Mafia and gangsters such as Tony Accardo and Sam Giancana were powerful national figures. "There wasn't anyone who didn't know their names," he says, leaning back in his chair, clad in black shirt and trousers, hair snowy white and cropped short.
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The relationship between criminals and the police who tried to thwart them fascinated him then and has, over the years, been a recurring theme in many of his films, such as last year's Public Enemies. Yet while Mann is known for his crime films, he is not defined by them. His latest project, Luck, is a 10-hour series for the cable channel HBO, set in the murky world of Los Angeles horseracing and due to air in late 2011 or early 2012.

Over the years, Mann has, jumped from film to television and back again. He produced the epoch-defining TV series Miami Vice, for example, but says the medium is less important than the quality of the writing. Luck was written by David Milch, the creator of HBO's Deadwood. "It's one of the best pieces of writing anyone has ever passed to me," says Mann matter of factly, when I ask what drew him to the project. It has a motley crew of characters, including a quartet of degenerate gamblers who could have walked straight off the pages of a Charles Bukowski novel.

Luck is the latest example of talent from the big screen crossing over to TV and boasts a cast that includes Dustin Hoffman, playing a seasoned gambler, Nick Nolte and Dennis Farina, a former cop Mann first worked with 22 years ago on his TV series Crime Story.

HBO, Mann says, "isn't really like any place else. It's not really analogous to television, which is why they've attracted the people they've attracted in the last couple of years to do this work. It's why Marty [Scorsese] would do Boardwalk Empire, why Tom Hanks and Steven Spielberg have worked there [producing The Pacific]. You have a total free hand."

Mann has directed the pilot episode of Luck; other directors will take over for the run of the series. It's a similar arrangement to that of Boardwalk Empire, which led off with an episode directed by Scorsese, who remains as executive producer.

Mann wants to show me part of the pilot episode of Luck so we walk down a hall to an editing room, passing paintings of Muhammad Ali by children in Mozambique that he used in his 2001 biopic of the boxer, which starred Will Smith, and a large picture of Johnny Depp as John Dillinger, gripping a machine gun and looking menacing, from 2009's Public Enemies. We open a door to say hello to his daughter, Ami, who is editing her film The Fields, which stars Avatar's Sam Worthington, and enter another editing suite.

In the pilot episode of Luck, Dustin Hoffman's character, Ace Bernstein, is freshly released from prison and revered by his friends who greet him on his return to the outside world. But he is stiff, rigid and so tightly wound he looks ready to explode. On the other hand, Nolte's character Walter Smith is alone, sad and fixated on a racehorse that looks like it has champion potential. "Nolte exudes a sense of isolation, shame, some scandal in his past without you knowing anything about it," says Mann afterwards.

Mann's ability to crank up the tension is evident even in the few minutes of the Luck episode that I see. The viewer is thrown into the middle of a horserace at the Santa Anita track, horses panting, hooves pounding the dirt. Tension has always been one of this director's strong suits, whether it is the inner turmoil that grips Russell Crowe's tobacco whistleblower in Mann's The Insider, or the FBI's relentless pursuit of Dillinger in Public Enemies.

But there is arguably no scene that better illustrates his deft touch than several heart-pounding minutes from his 1995 heist movie Heat. The film made headlines because it was the first time Robert De Niro and Al Pacino had shared a scene together, part of a delicately drawn-out game of cat and mouse between Pacino's cop and De Niro's bank-robber. The more gut-wrenching scene happens a few minutes later when a meticulously planned bank job in downtown Los Angeles goes horribly wrong.

There is no background music, just the deafening sound of machine gun fire, cars being ripped to shreds and glass shattering as De Niro's gang tries to shoot its way out. Every character in the film has been propelled towards the sequence, Mann explains. "It is a hand grenade that's going to go off in the life stories of all of these people."

Heat has become a classic of the genre and Mann recounts how the movie was assembled. Often a studio will acquire a script and cast around for a star or a director but with Heat it was the director who packaged the project. "My model is usually to make my own development. When I did Heat I wrote the screenplay and I bought Art Linson, my producing partner, into it. Then I got Al [Pacino], I got Bob [De Niro]. At that moment, with a project that was ready, I decided that Warner Brothers was the place to go." The studio had a long tradition of gangster films. "I was able to go in and say, 'We would love to have you do this.'"

It doesn't always work like that, though, and only rarely is a brilliant script placed in his hands. "It's taken me time in the past to find that thing I want to do." This has been frustrating at times, because while he has an impressive body of work he says he would have liked to have made more films. "The only one that worked out fast was Collateral [starring Tom Cruise], which I loved doing, and was exactly what I wanted to do after Ali. The gestation of something like Heat takes a long time."

Luck was like Collateral in that it was the right project that landed at the right time. But while Mann fine-tunes the first episode he has other films in development. He has bought the rights to the story of Robert Capa, the war photographer who, together with Henri Cartier-Bresson, founded Magnum Photos. Jez Butterworth, the author of plays including Jerusalem and Mojo, has been enlisted to write the script. "It's about a tumultuous love affair Capa has with Gerda Taro," Mann explains. Born Endre Friedmann, Capa was a Hungarian who came to Paris. "He and Gerda invented a different persona, that he was a romantic American photojournalist. They meet in Paris as refugees – despised and alone in a period of European history which is a cascade of conflicts."

Mann also has his eye on an epic tale set in medieval Europe, about the build-up to the 15th-century battle of Agincourt between England and France. The inspiration for the film came in Paris when Mann went to visit La Sainte-Chapelle, a gothic chapel, on the advice of his friend Richard Rogers, the architect.

"We went to see it and it blew me away. From that, it becomes: 'Can I locate myself, an audience, in a medieval perspective?'"

He is also developing a mafia tale that will return him to his Chicago roots. Big Tuna is the story of Tony Accardo and the younger man who succeeded him, Sam Giancana. "Here's an older man who was the undisputed boss at a time when the Chicago outfit was the most powerful crime element in America. It becomes a classic tragedy of megalomania and hubris," Mann says.

It is an eclectic mix of projects and he also has Luck to keep him busy. The production will keep him in Los Angeles, the backdrop for so much of his work. "I love Los Angeles," he says when I ask him about his relationship with the city. "Eighty per cent of it is unexplored. People who make films [here] don't go out into the city ... they think they do but they don't.

"You just drive down the right streets and you'll see images of alienation. But they are beautiful images of alienation. They become paradoxical but they present themselves to you."

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Dustin Hoffman on TV: 'I had to rethink the way I've been working for the last 40 years'

In a career that has brought two Oscars and global critical acclaim for his performances in such films as Midnight Cowboy, Tootsie and The Graduate, Dustin Hoffman has never given much thought to appearing in a television series. After all, why would he? Television has, for most of the past 40 years, been cinema's poor relation.

But in recent years the pendulum has swung towards television, Hoffman told me, as we discussed his involvement in Luck, the new series from Michael Mann and David Milch that is likely to air at the end of next year on HBO.

More writers and directors are flocking to television in search of greater independence and creative freedom – freedom that they are often denied when making big films for Hollywood studios.

"The word 'drama' is anathema to the studios," Hoffman says. "When I started acting ... if the studio got its money back, they were satisfied." That changed when budgets began to spiral, fuelled in part by higher marketing and advertising costs. "Once movie budgets went into lunacy, the studios had to hit home-runs [with each film] because they double the cost [of the movie] with advertising."

This has made the studios less willing to take risks, he adds: "Suddenly, the writers are going to television because they have power there – and not only creative power. They can write scripts that the studios won't go near any more ... some of the most exciting writing now is being done for television."

Luck is Hoffman's first foray into television drama. He plays the central character, Ace Bernstein, a seasoned gambler fresh out of prison. He explains that the role necessitated a change in the way he approaches character development.

"I had to rethink the way I've been working for the last 40 years. A play is a play, a film is a film – that's all I have done. But the preparation is different [in television].

"When you're doing a play or a film, you have to declare who you are as a character. If it's a play, you can grow from performance to performance. You grow into the part, even though the lines are the same.

"In film, you can't do that. But with television, you can continue to develop and alter the character. Nothing is set in stone ... where you would not make a left turn with a film character, suddenly you can make a right turn."

The Bernstein character will change and grow with the writing as the story progresses week to week and as new obstacles and challenges are placed in his way. Michael Mann wanted Hoffman for the role because he thought it would test a side of the actor he hadn't seen before. "When I had the first meeting with Michael Mann and David Milch, Mann said, 'I looked at your work and you tend to be a counter-puncher.'" Hoffman's characters, the director told the actor, "tend to react to something that's taken place".

But Mann envisaged a different character in Ace Bernstein. "He told me, 'Here, you instigate things ... you are the aggressor.' And I thought that was interesting."

Risks can be taken and characters explored in Luck because the series is on HBO, the home to such quality drama as The Sopranos and Six Feet Under. "HBO welcomes creative people and you don't have to have a committee making decisions, as you do at other television networks, or worry about satisfying all the viewers," says Hoffman. "It means you can be organic with the story that you're telling: they're happy with that."

Copyright The Financial Times Limited 2010.

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Pogledao sam film 72 DANA Danila Šerbedžije. jako je teško ukratko se postaviti prema ovom filmu. Na mahove, reč je o naslovu u kome se susreću Braća Coen i Krsto Papić iz svoje LISICE faze, ali na momente sve kliza u dobok besmisao i klopke ex-jugoslovenskog filmmejkinga. Tom "teškoodredivom" utisku svako doprinosi i to što sam film, po ceni bioskopske karte od 250 dinara, u bioskopu, gledao na užasnoj projekciji sa DVDa koja stvarno izgleda sramotno i počinjem da sumnjam da li autori uopšte znaju da im se film na takav način eksploatuiše i prezentira u Srbiji. Prosto ne mogu da verujem da publika, koja možda nije brojna ali takva je-kakva je, ne može da bude udostojena projekcijom sa filmske trake.

U svakom slučaju, barem se u najbazičnijem smislu mogu opisati neki utisci o ovom filmu. 72 DANA spada u red intrigantnih hvatskih filmova koji se bave životom u surovim ličkim ambijentima poput blokbastera ŠTO JE MUŠKARAC BEZ BRKOVA ili KINO LIKA. Sa oba ova filma ima dosta sličnosti. Premisu koja je direktno komična i žanrovski čitljiva deli sa MUŠKARCEM a deo podele (pre svih Krešimira Mikića) i offbeat-politički naelektrisanu atmosferu deli sa LIKOM.

Dale, za razliku od Hribarevog pokušaja da preplete BRIDGET JONES i BRAĆU PO MATERI, Šerbedžihja ne preza od direktnije freak podele u kojoj najnormalnijeg junaka igra Krešimir Mikić, inače ekscentrik iz KINO LIKE.

Postavka je neorelistična, čak je i korišćena ista premisa u filmovima iz neorealizma a to je priča o porodici kouja živi od porodične penzije koju prima ba i njenim problemima kada baba umre. Šerbedžija tu premisu dalje tretira u koenovskom neo-noir ključu i tu atmosferu pojaćava odlukom porodice da otme drugu babu kako bi zamenili staru, a zatim i sa potrebom da polako uklone svedoke koji predstavljaju pretnju po njihovu prevaru.

Ono što su neuralgične tačke pre svega možemo vezati za sam uvod i za određene viškove koji se javljaju u tom delu filma. Isto tako postoje motivi i likovi koji nude potencijal ali su nedovoljno ili dosta proizvoljno postavljeni. Isto tako, čitav segment sa bendom glavnog junaka je suvišan i zapravo ne zaigra na nivou celine izuzev što daje izvesni punk rock cred samom reditelju.

Sama muzika, pa i naslovna pesma koja stoji kao lajtmotiv celog filma, zapravo je vrlo dobro rešena kroz poigravanje jednostavnim lokalnim melodijama.

Ono što je zanimljivo međutim jeste to što su glavni junaci Srbi. Film se s jedne strane dotiče pitanja Srba proteranih iz Hrvatske i to radi usput, ali upravo to što je sve dato usput je i najbolje pošto ne asocira na bilo koju vrstu političke korektnosti. Naprosto, proterivanje se desilo i to je sad tako kako je. Međutim, kada je jedina porodica koja se stavlja pod lupu u filmu i tretirana je dosta groteskno, sa elementom zločina, vezana za naciju čije si pripadnike proterivao prilikom izgradnje svoje države - nacionalne države većine onda ne čudi da poneko može doživeti 72 DANA i kao osavremenjeni hrvatski JUD SUS.

Da se razumemo, ne mislim da je šerbedžijina namera bila da snimi hrvatski JUD SUS. Štaviše, uveren sam da je potpuno suprotno. Međutim, isto tako rekao bih da vezivanje freakshowa za jednu manjinu koja je "čišćena" iz Hrvatske može legitimisati takva politička otpisivanja filma pre svega sa srpske strane - jer, realno, ako imamo porodicu duboko amoralnih ljudi, od kojih i oni koji nisu amoralni jesu slabići a jedan je i duševno bolestan (možda čak i blago retardiran), zar to nije esencijalizovanje negativnih osobina u pripadnike jedne populacije. Naravno, u filmu ima i Hrvata, koji su manje-više frikovi iz istog žanra, ali oni su znatno benevolentniji i sama činjenica da nisu umešani u tako teška dela, izdvaja ih od glavnih junaka.

Naročito zanimljiv politički aspekt cele priče jeste lik veterana Domovinskog rata koji je Srbima, glavnim junacima, "spasao kuću" i koji im je generalno pomogao da ne budu odstranjeni a danas oni žive u klasičnoj komšijskoj love/hate dinamici. Lik komšije Mileta koji i dalje ide u maskirnoj uniformi sa kapom HV je nedovoljno razrađen da bi ubedljivo funkcionisao kao "izuzetak" u jednoj situaciji čiji nam je ishod dobro poznat.

S druge strane, taj politički aspekt nudi i motiv povratnika izbeglica iz Srbije a dotiče se i odnosa prema državi-matici (u jednoj sceni Šerbedžijin lik kritikuje "oslobodioce" koji su došli a posle kad sprema bekstvo kaže kako ima "i naš i hrvatski pasoš").

Mislim da 72 DANA nudi mogućnost za razna čitanja u politčkom smislu, mnoga od njih zbilja provokativna i zapravo pokazuje koliko film može biti politički intrigrantan upravo kada je nenametljivo političan.

Prava je šteta što Danilo Šerbedžija na svom debiju nije ostvario bolji balans između raznih uticaja i što nije malo pažljivije razdvajao važno od nevažnog. 72 DANA zaista ima blistavo duhovitih momenata, i čak je i sa ovom postavkom mogao eliminisati neke viškove u montaži.

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Mel Gibson took some time away from his legal woes with Oksana Grigoreva this afternoon to have lunch with his BFF, Bruce Willis at the Beverly Hills Hotel.

Our spy on the scene tells us " Mel looked like he was in a happy mood, laughing and joking with Bruce throughout the entire lunch, he looked confidant as if he didn't have a worry in the world."

The action stars sat inside the Polo Lounge at a table in the corner but everyone in the entire place had their eyes on Mel.

It was just revealed earlier today that Mel will face the judge early next week over his child custody and child support battle with Oksana.

Maybe he and Bruce were meeting up to talk about a new film, since Mel was recently dropped from The Hangover 2 and all.

That's what friends are for!


Read more: http://www.starzlife.com/20101026/exclusive-mel-gibson-lunches-with-bruce-willis-in-beverly-hills/#ixzz13VsYXVR5

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Pogledao sam SMASH HIS CAMERA Leona gasta, jednog od svakako najznačajnijih mejnstrim reditelja dokumentarnih filmova koga znamo po WHEN WE WERE KINGS. SMASH HIS CAMERA je njegov dokuemntarac o Ronu Galelli, čuvenom paparacu koji je doveo tu veštinu do savršenstva ali je isto tako imao i brojne sukobe sa svojim "modelima" a naročito sa Jackie O. koju je bespoštedno progonio.

Gast ne bi bio tako uspešan reditelj da nije uspeo da izvuče jasnu nit priče u Galellinom životu i radu i da od njegovih doživljaja napravi celinu. U tom smislu, reč je o briljantnom zanatskom rešavanju zadatka.

Ono gde sam ja imao određeni problem sa filmom jeste zapravo što su mi neke linije pre svega u ideološkom i psihološkom smisslu bile preforsirane. Pre svega nekim stvarima je dat prevelik politički značaj, naročito temi Prvog amandmana i prava naroda da zna sve. To je bitno pitanje, ali svakako Ron Galella nije čovek na čijem primeru se uopšte može polemisati o tome a s druge strane, njegov odnos sa Jackie O. je dobio jednu gotovo mitsku, romantičnu dimenziju, iako bi se pre reklo da je galella bio drznik nego stalker koji je bio potajno zaljubljen u nju.

Ja ne sporim da se takva opsesija jednom osobom može tumačiti u romantičnom ključu, ali kada je Gast izbacio to u prvi plan i osvestio na takav način, ta dimenzija je suštinski obezvređena.

Ipak, sve te primedbe su vezane za samu nadogradnju priče. U svim ostalim aspektima, SMASH HIS CAMERA je ozbiljan film.

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U vreme Ejzenštajna, Charles Dickens je smatran ocem filmske dramaturgije. Njegovi romani su smatrani delima koja su zapravo anticipirala načlin filmskog pripovedanja i izlaganja priče mnogo više od dramske literature. U tom smislu, čini se da nije nezanimljivo kako je upravo Dickens bio inspiracija za film A CHRISTMAS CAROL Roberta Zemeckisa i to ne kao literarni predložak koji prolazi kroz dramaturšku obradu već upravo kao podsticaj da se pokuša što direktnije prenošenje grozničavosti Dickensove proze na ekran.

Zemeckis je sam pisao scenario. Pišući za sebe ali i za druge, u bezbroj navrata dokazao je kako je upravo on velemajstor holivudske dramaturgije. U ovom filmu, međutim, zemeckis se pre svega bavi time da Dickensovu priču misli u slikama i A CHRISTMAS CAROL nije nimalo tipičan primer animiranog božićnog blokbstera.

Koliko god animirani filmovi bili karakteristični upravo po vrlo razrađenim scenariji, A CHRISTMAS CAROL je krajnje buntovnički nastrojen prema tim usvojenim koncepcijama. Ovo je animirani film koji se ne oslanja na tipičnu dramaturgiju, dramske sukobe, preokrete i sl. i štoje još važnije, ovo je animirani film za celu porodicu koji se u većem delu svog trajanja bavi mračnim snoviđenjima koja su poznatog tvrdicu i mizantropa naučila da zavoli Božić.

U tom smislu već prikaz dickensovskog Londona koji ima svu ekspresivnost Carol reeda, pokazuje da će Zemeckis insistirati na mračnijoj strani ove priče, a kada snoviđenja krenu, film kreće put horora, mračnih, uznemirujućih vizija koje ne deluju nimalo simpatično i vrlo retko detinjasto.

Zemeckis u svom ovim situacijama misli u slikama i upravo na terenu sa tako apstraktno postavljenom pričom, bez suštinskog dramskog sukoba pokazuje o kakvom se filmskom majstoru radi. Njegovo vladanje fundamentima filmskog izraza je besprekorno, a u ovom filmu, iako se služi vrhunskom tehnologijom zapravo evocira uspomene na neke od bazičnih stilova poput ekspresionizma ili slapsticka.

Isto tako A CHRISTMAS CAROL je produkt vrlo hrabre autorske politike jer rezultat je krajnje hermetičan i autorski obojen film čiji je polu-pristojan ali nedovoljan komericjalni skor pravo uznenađenje - ovako radikalan film bi na box-officeo morao da zaradi još manje nego što jeste.

Ekstremnost filma A CHRISTMAS CAROL verovatno je odgovorna za ukidanje zemeckisovog Image Movers studija za animaciju. Međutim, iza tog studija ostali su neki sjajni filmovi, među kojima je i ovaj specifični eksces koji zaslužuje puno poštovanje.

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Pogledao sam Edgar Wrightovog SCOTT PILGRIMa i potpuno je jasno zašto je ovaj divan film flopovao tako surovo na američkim blagajnama. Edgar Wright je jedan od onih reditelja koji su otišli u Holivud da uče Amerikance kako se prave američki filmovi a to u principu nikada ne izađe na dobro. Za koju godinu, ovaj naslov će imati status klasika a za koju deceniju biće još cenjeniji, međutim, sada se našao u bioskopima kada naprosto nije bilo dovoljno velikog broja ljudi koji bi cenili tu vrstu maštovitosti.

Pre svega SCOTT PILGRIM nije film koji se može lako žanrovski definisati i potrebno je dosta strpljenja i gledalačke otvorenosti da bi se ovaj film od bezmalo dva sata pogledao sa uživanjem. U tom smislu potpuno mi je jasno što nije mogao da zadovolji publiku željnu jasnog, konkretnog, žanrovski definisanog ugođaja. SCOTT PILGRIM ima emociju indie filma, smešten je među quirky, da ne kažem queerky junake, u Kanadi, ali nije u potpunosti indie film. U njemu ima komedije, kako mejnstrim ili slapstick tipa tako i one indie senzibiliteta ali film nije u užem smislu komedija sa jasnim stilskim fokusom - naprosto smešan je na niz različitih načina; zatim u filmu ima akcije, ali ona nije u žanrovskom kontekstu akcionog filma već više jednom melodramskog tipa, u funkciji građenja karaktera; i sve to izloženo je u formi kompjuterske igre, sa sve nivoima, moćima, pogibijama i upotrevbljavanjem zaliha života, ali u jednom maniru koji je vrlo retro i nema puno veze sa onim što je danas standard gejmerskih filmova. Sve ovo čini SCOTT PILGRIM jednim čudesnim iskustvom, ali isto tako i nečim što će gledaoce koji vole samo jedan od ovih elemenata učiniti hladnim.

Edgar Wright čini sintezu svih ovih elemenata vrlo spontano i SCOTT PILGRIM deluje kao film u kome sve ove stvari praktično proističu jdna iz druge i možda je njegova najveća rediteljska sposbnost u tome da jako dobro nameće konvenciju svoje priče i da sve to čini uverljivim, unutar svog univerzuma. Wright je sa ovim film dokazao da spada u onaj red autora koji mogu da ubedljivo kreiraju i osmisle drugačije svetove i da ih konsekventno sprovedu do kraja. Nažalost, svet SCOTT PILGRIMa naprosto nije uspeo da iskomunicira u sadašnjim tržišnim okolnostima.

Jedna od najčešćih primedbi bila je da film ostavlja gledaoce hladnim. Sa mnom moram priznati to nije bio slučaj. Savršeno sam razumeo film i komunicirao sa pričom a izvsna antipatičnost glavnog junaka upravo mu je dala dobrodošlu crtu produbljenosti karaktera koja čini film znatno ozbiljnijim. SCOTT PILGRIM se nesumnjivo na jedan neozbiljan način bavi ponekim ozbiljnim temama, ali to funkcioniše i zapravo kada se uklone svi stilski slojevi koji čine ovaj film reč je o delu sa prilično ozbiljnom psihološkom okosnicom koje kroz razne vidove omladinske i pop kulture zapravo tematizuje probleme sazrevanja.

Međutim, ključni paradoks filma leži u tome što je SCOTT PILGRIM iako govori o savremenoj mladeži zapravo ekstremno retro. On ima problem svakog omladinskog filma koji tretira omladinu svog vremena a to je da zapravo govori o problemima koji su stvar prošlosti, koliko god bliske ali zapravo prošlosti. Nemoguće je snimiti film koji pretenduje da govori o aktuelnom trenutku jer taj trenutak prođe bukvalno za onoliko vemena koliko je potrebno snimiti film i čini se da je upravo ta blaga arhaiziranost SCOTT PILGRIMa pored žanrovske ekvilibristike bila možda i fatalni udarac rezultatu ovog filma na blagajnama.

Iako se čini da ovakav stilski agresivan film po definiciji komunicira sa mlađom publikom, reč je zaporavo o filmu koji tematizuje mladost Edgara Wrighta, i koji ne preza da svoje uzore nađe u naslovima poput radova Franka Tashlina, Coxovog REPO MANa i De Palminog PHANTOMa a to su sve stvari koje danas imaju pre svega vrednost na tržištu nostalgije.

Otud je sa svojim retro senzibilitetom, SCOTT PILGRIM kao STREETS OF FIRE za indie klince, to jest one koji su nekoliko godina pre bili indie klinci a sada su ko zna šta, i unosi dobrodošlu dozu konfrontacije i naslja u ovu inače dobrohotnu scenu, milje & imidž. Za mnoge nekadašnje indie klince, ovaj film je došao prekasno, kada su već poklekli pred nasiljem bullyja kao što je Meho. I zato nosi sa sobom naročitu dozu sentimentalnosti.

Ipak, u godinama koje dolaze, on će biti slika jednog neostvarenog indie sveta kojim će biti indoktrinirane generacije koje dolaze. Edgar Wright možda nije stvorio propagandni film kad je trebalo, ali u večnosti je osigurao medijsku pobedu u ratu između rokenrol žanrova.

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[Meho Krljic]

Sve ovo čini SCOTT PILGRIM jednim čudesnim iskustvom, ali isto tako i nečim što će gledaoce koji vole samo jedan od ovih elemenata učiniti hladnim.

Verovatnije je da će mene razgneviti, kao što je učinio i strip.

a izvsna antipatičnost glavnog junaka

Iz svega što si napisao, a pogotovo iz ovoga da se zaključiti da je Wright zbilja dobro pogodio sentiment i ton stripa. Naravno, mene će to dovesti do izbezumljenja. Ali dobro, pristavljen je jutros pa ćemo videti...

[crippled_avenger]

Neće te izbezumiti. Biće ti samo žao ljudi kojima se sviđa. Kao i inače.

[crippled_avenger]

Dir: Todd Phillips. US. 2010. 95mins

Todd Phillips, director of summer '09 smash The Hangover, delivers a slightly gentler kind of R-rated comedy in Due Date, an odd couple road trip yarn that teams Hangover co-star Zach Galifianakis with Robert Downey Jr. The laughs aren't as big or frequent as they were in Phillips's breakout hit, but with Downey on board this new outing should still do plenty of business at the box office.

    The film also has a lot of subtler moments – some weirdly funny, some genuinely emotional, some quite edgy.

Warner – which, as on The Hangover and its currently shooting sequel, produced with Legendary – opens Due Date in the US and a number of international markets on the weekend of November 5. The studio should be able to lever Downey's recent global success with Iron Man 2 and Sherlock Holmes (Galifianakis' recent track record is more mixed) to produce equally big domestic and international takes. 

The loosely structured script sets up the antagonism between Downey's uptight father-to-be Peter and Galifianakis' dopey wannabe actor Ethan by having the pair ejected from their Atlanta-to-Los Angeles flight and put on the anti-terrorist no-fly list. Desperate to get home for the birth of his first child, Peter reluctantly agrees to share a rental car with Ethan and his pampered French bulldog.

The misadventures that follow call for several of the kind of gross-out and over-the-top set pieces for which Phillips is known, among them a couple of spectacular car crashes and a double masturbation scene.

A handful of cameo performances add to the fun. Most notable are Juliette Lewis' turn as a medical marijuana dispenser and Danny McBride's scene as a mean tempered Western Union clerk.

But the film also has a lot of subtler moments – some weirdly funny, some genuinely emotional, some quite edgy – that rely on the stars' nicely calibrated portrayals of the tightly wound, passive-aggressive Peter and the disaster prone but ever optimistic Ethan.

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New U.S. Release
Due Date
By PETER DEBRUGE
A Warner Bros. release presented in association with Legendary Pictures of a Green Hat Films production. Produced by Todd Phillips, Dan Goldberg. Executive producers, Thomas Tull, Susan Downey, Scott Budnick. Co-producers, David Witz, Jeffrey Wetzel. Directed by Todd Phillips. Screenplay, Alan R. Cohen, Alan Freedland, Adam Sztykiel, Phillips; story, Cohen, Freedland.

Peter Highman - Robert Downey Jr.
Ethan Tremblay - Zach Galifianakis
Sarah Highman - Michelle Monaghan
Darryl - Jamie Foxx
Heidi - Juliette Lewis
Lonnie - Danny McBride
Airport Screener - RZA
TSA Agent - Matt Walsh

Hot off "The Hangover," director Todd Phillips and Zach Galifianakis reteam for more R-rated mayhem in "Due Date," delivering a "Planes, Trains and Automobiles"-style cross-country odd-couple comedy that's less raunchy than their last collaboration but every bit as outrageous. With a sequel to 2009's hit bachelor-party romp greenlit even before it opened, Phillips clearly saw "Due Date" as a necessary change of pace -- albeit one that circles back to his rowdy "Road Trip" roots. As such, Warners will be lucky to attract a fraction of the "Hangover" crowd to watch two grounded travelers driving each other crazy.

Only an architect like Peter Highman, the tightly wound character Robert Downey Jr. portrays desperately trying to get home in time for his first child's birth, could appreciate a comic foil so perfectly constructed to annoy as Galifianakis' Ethan Tremblay. In fact, so infuriating is Ethan that "Due Date" very nearly loses us, too, at the outset, but over time, the bearded boor manages to win everyone over, audience included.

The two opposites collide outside the Atlanta airport, where Ethan's beat-up station wagon knocks the door off Peter's chauffeured town car. It's quite an entrance, capped by a slow-motion reveal of Ethan's character. Apart from the over-the-shoulder dog-carrying case, the rest of his ensemble suggests the sort of person who committed to his look sometime in the mid-'80s and hasn't done much to alter it since.

Early on, Phillips shows things mostly from the more fashion-conscious Peter's point of view, and it's easy to understand why the GQ-ready dad-to-be might not appreciate being seated next to someone so gauche on his long flight back to Los Angeles. Things only get worse when the two are booted off the plane together and added to the no-fly list. Skipping a few glaring logical steps, Peter agrees to carpool to California with his bad-luck companion. And so the torture begins.

It took Phillips five features to land on the style he established in "The Hangover," and "Due Date" looks and feels awfully similar, subbing a steely blue-gray tint for "The Hangover's" golden baked-Vegas glow (courtesy of returning d.p. Lawrence Sher). Phillips, a hands-on helmer who went uncredited for his rewrite contributions on the 2009 summer smash, shares screenplay billing here with "King of the Hill" vets Alan R. Cohen and Alan Freedland, as well as Adam Sztykiel, and though his instinct for original, over-the-top setpieces comes through -- best evidenced by a haywire detour across the Mexican border -- the plot feels drearily linear and predictably episodic by comparison.

Since Peter's expectant wife (Michelle Monaghan) is planning to give birth by C-section, she has control over when the baby's going to come, which means there's only limited urgency to Peter and Ethan's road trip. So the film becomes an exercise in playing the two mismatched personalities against each other: Ethan prods Peter with constant questions, makes a dodgy detour to acquire "medical marijuana" and insists on pleasuring himself to sleep (an activity amusingly mirrored by his dog), while his anger-prone companion does his best to avoid murdering the overgrown man-child.

Surely an early draft of the script must have considered this a trial by fire for fatherhood, even though the final cut conspicuously lacks the "is this guy really ready to be a dad" introspection that invariably accompanies such scenarios. It's worth noting that Phillips has once again mixed dramatic and comedic performers: While picking Monaghan over a funnier actress marks a missed opportunity, Downey brings just the right combination of wry humor and brink-of-losing-it unpredictability.

Eventually, Peter comes to realize that while Ethan may be uncouth -- and downright dangerous -- he's not without sympathetic qualities. For example, Ethan is mourning the recent death of his own dad and looking for the right spot to spread his father's remains along the way. So there it is: birth and death, the whole darn circle of life evoked in service of a few hearty knee-slappers and a doozy of a spit-take, with the ashes-filled coffee tin supplying the most poignant and outrageous moments in the film.

As the pair make their way West, the only surprises not sampled in the trailer are the drug-related ones, which means auds know to expect cameos from Danny McBride and Jamie Foxx, but don't know which actress will turn up as Ethan's pot dealer -- another strategy learned on his last film, that familiar faces in small roles can go a long way. However different this pic, it'll have to do until Phillips delivers his "Hangover" sequel.

Camera (Deluxe color, widescreen, Technicolor prints), Lawrence Sher; editor, Debra Neil-Fisher; music, Christophe Beck; music supervisors; Randall Poster, George Drakoulias; production designer, Bill Brzeski; supervising art director, Shepherd Frankel; art director, Desma Murphy; set decorator, Danielle Berman; costume designer, Louise Mingenbach; sound (Dolby Digital/DTS/SDDS), Jose Antonio Garcia; sound designer/supervising sound editor, Cameron Frankley; re-recording mixers, Ron Bartlett, D.M. Hemphill; stunt coordinator, Allan Graf; visual effects supervisor, Marc Kolbe; visual effects, Digiscope, Method, Kolbeco; associate producer, Joseph Garner; assistant director, Jeffrey J.P. Wetzel; second unit director, Graf; second unit camera, Robert Labonge; casting, Juel Bestrop, Seth Yanklewitz. Reviewed at Warner Bros. Studios, Burbank, Oct. 22, 2010. MPAA Rating: R. Running time: 95 MIN.

[crippled_avenger]

Pogledao sam debitantski film Alexandre Aje FURIA koji je najzad lociran sa titlovima. Aja je bio klinac kada je snimio ovaj film, imao je samo 21 godinu, pa se zaista ni ne mogu izvlačiti neki zaključci. Ipak, svakako da je prvi utisak da je dobro što Aja dolazi iz dobre kuće te mu ova KROJAČEVA TAJNA nije ugrozila kasnije bavljenje filmom.

FURIA se razlikuje od kasnijih naslova koji su Aju uvrstili u splat-apck. Reč je o ekranizaciji Cortazara (ni manje ni više : ) ) a film bi se po žanru mogao opisati kao alegorični triler o nepoznatom represivnom društvu protiv čije se autoritarnosti mladi ljudi bave time što crtaju po zidovima. Ubrzo naravno dolaze u sukob sa "sistemom" i tu se otkriva, kao i uvek, da su svi zapravo manje ili više cinkaroši, slabići i sl.

Film je sniman u Maroku, ili negde u Magrebu, i smešten je u pustinjsku varošicu koja nažalost n deluje ubedljivo kao prostor neke represije ili paranoje. Više deluje kao treći svet u kome se nalaze vesternizovani likovi iz nekog nepoznatog razloga. Nedovoljno ubedljiva lokacja asocira na niz mogućih represivnih režima, naročito južnoameričkog tipa, ali nažalost ne pomaž pričanju priče.

Od glumapčkih kreacija svakako izdvaja se frekventno gola Marion Cotillard u blam-roli sa početka karijere dok su svi ostali manje ili više u domenu proseka.

Ne može se osporiti da film sporadično oživi u nekim scenama potere ili torture i da je, u određenom smislu, Aja i sam shvatio da su mu to aduti.

Međutim, FURIA uprkos svojoj nespornoj pripovedačkoj efikasnosti i ekonomično plasiranoj pretencioznosti zaista nije nagoveštavala reditelja koji će snimiti HAUTE TENSION. Reklo bi se da ni filmovi posle HT nisu nagoveštavali da se radi o istom reditelju.

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