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Jahanje atomske bombe poput mehaničkog razjarenog bika i izjava “Gospodo, ne možete se tući ovdje, ovo je ratni kabinet” dva su luda i nezaboravna trenutka iz briljantnog filma “Dr. Strangelove ili: Kako sam naučio prestati brinuti se i zavoljeti bombu” (“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb”, 1964.), ali nisu jedini. “Dr. Strangelove” naprosto obiluje momentima za pamćenje.

Stanley Kubrick je snimio remek-djelo satiričke, apsurdističke komedije, zasigurno najbolju političku satiru svih vremena, a najluđe od svega jest da je film i dan-danas aktualan i relevantan u vrijeme nekih novih nuklearnih prijetnji, dekadama nakon Hladnog rata, možda i aktualniji i relevantniji nego u doba nastanka.

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FILM: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb; komedija; SAD, 1964. REŽIJA: Stanley Kubrick ULOGE: Peter Sellers, George C. Scott OCJENA: *****

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Inspiriran romanom “Red Alert” Petera Georgea i apsurdnim hladnoratovskim paranojama šezdesetih koje su prijetile “tko-će-koga-raznijeti” atomskim ratom između dviju nuklearnih sila, SAD-a i SSSR-a, Kubrick je iznjedrio zimzeleni antiratni i antimilitaristički klasik, treći u njegovoj filmografiji (“Staze slave”, “Full Metal Jacket”).

Zanimljivo, film je isprve, sukladno Georgeovu predlošku, trebao biti hladnoratovski triler o sprječavanju nuklearnog rata, ali ga je Kubrick pretvorio u crnu komediju s puno verbalnog i fizičkog, “slapstick” humora, tj. satiru i – pogodio. U protivnom, “Dr. Strangelove” bi bio jedan u nizu hladnoratovskih trilera tipa “Kritična točka” ili “Fail Safe”, a ovako je ispao jedinstven u vremenu nastanka i Kubrickovoj filmografiji.

Ovo je možda posljednji put da je Kubrick bio “opušten” iza kamere, lišen manijakalne metodičnosti i perfekcionizma po kojem je postao poznat (“Isijavanje”, “Oči širom zatvorene”). Naravno, kadrovi su i sistematični i perfekcionistički i u “Dr. Strangeloveu”, naročito kad je kamera u ratnom kabinetu s velikim okruglim stolom obasjanim kružnim svjetlom nalik kupoli koja ga prati/obavija poput Saturnova prstena.

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Ratni kabinet podsjeća na kružni interijer svemirskog broda, a stol i “svjetlosna” kupola poviše njega oblikovno mogu tvoriti onu svemirsku postaju u “Odiseji u svemiru” da ih se postavi vertikalno. Svakako, film je vinuo Kubricka u prvu ligu redatelja, doveo ga na korak do “A Space Odyssey” (idući projekt) i zacementirao njegove preokupacije u vezi pogleda na ljudski rod (“Barry Lyndon”), a i potvrdio je Petera Sellersa (“Pink Panther”, "Dobrododošli, gospodine Chance") kao vanserijskog komičara u trostrukoj ulozi.

Paralela između “Dr. Strangelovea” i “Odiseje u svemiru” može se lako povući zahvaljujući temi strojeva koji se mogu oteti kontroli (i otimaju se), a izgradila ih je ljudska ruka. Dok je u drugom filmu to kompjuter HAL-9000, u prvom su američki bombarderi B-52, naoružani s po 40 megatona atomskih bombi.

Bombardere je na Rusiju poslao paranoidni i poremećeni američki general Jack D. Ripper (Sterling Hayden) s falusoidnom kubankom u ustima i time se ponosi, na užas zabezeknutog britanskog satnika na razmjeni Lionela Mandrakea (Sellers) koji nema točan iznos sitniša da nazove Bijelu kuću za spas svijeta, a Pentagon ne želi prihvatiti naplatni poziv.

B-52 su poletjeli nakon što je Ripper naredio neautorizirani zrakoplovni napad na SSSR i više se ne mogu opozvati, odnosno samo on, nedostupni general, ima šifru za opoziv. Nasuprot B-52 je sovjetski “uređaj Sudnjeg dana”, programiran da u slučaju nuklearnog napada izvede protunapad i uništi sav život na Zemlji, a još ga se manje može zaustaviti.

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Konačno, tu je i mehanička ruka titularnog dr. Strangelovea (opet Sellers), znanstvenika, bivšeg nacista i savjetnika američkog predsjednika Merkina Muffleyja (također Sellers) koji je često na telefonu sa sovjetskim premijerom (“Dimitri, imamo mali problem...”). Ruka kao da razvija vlastiti um, pokušava formirati naci pozdrav, pa i zadaviti Dr. Strangelovea.

Suludo, ali takav je film koji efektno isprepleće zbivanja između Ripperove vojne baze u stanju “crvene uzbune” (“ovo nije vježba”), ratnog kabineta i interijera B-52 gdje vlada patriotski major T.J. “King” Kong (Slim Pickens) i upravo će on zajahati falusoidnu atomsku bombu.

Sigmund Freud bi imao materijala za analizu gledajući “Dr. Strangelove” zahvaljujući Kubrickovoj sprdačini na račun američkog vojnog “kurčenja”. Jedini ženski lik u filmu je Miss Scott (Tracy Reed), ljubavnica ratobornog mačo generala “Bucka” Turgidsona u izvanrednom tumačenju Georgea C. Scotta koji se zagrijavao za ulogu Pattona u istoimenu filmu.

Turgidson žvače žvaku, očijuka s Miss Scott preko telefona usred svjetske nuklearne krize, svugdje vidi “crvene”, smatra da je brojka od 10-20 milijuna američkih žrtava prihvatljiva i tuče se sa sovjetskim ambasadorom Aleksyjem de Sadeskyjem (Peter Bull) u ratnom kabinetu.

“Gospodo, ne možete se tući ovdje, ovo je ratni kabinet”, upozorava ih američki predsjednik Muffley i savršeno sumira (anti)nuklearnu satiru. Gledatelju ne preostaje ništa drugo nego da se (na)smije ususret Kubrickovu smaku svijeta.

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Četiri nominacije za Oscara

"Dr. Strangelove" je doživio premijeru 29. siječnja 1964. godine. Bio je nominiran za četiri Oscara u kategorijama najboljeg filma, režije, scenarija i glavne muške uloge (Sellers), ali nije potvrdio nijednu.

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Jahanje atomske bombe poput mehaničkog razjarenog bika i izjava “Gospodo, ne možete se tući ovdje, ovo je ratni kabinet” dva su luda i nezaboravna trenutka iz briljantnog filma “Dr. Strangelove ili: Kako sam naučio prestati brinuti se i zavoljeti bombu” (“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb”, 1964.), ali nisu jedini. “Dr. Strangelove” naprosto obiluje momentima za pamćenje.

Stanley Kubrick je snimio remek-djelo satiričke, apsurdističke komedije, zasigurno najbolju političku satiru svih vremena, a najluđe od svega jest da je film i dan-danas aktualan i relevantan u vrijeme nekih novih nuklearnih prijetnji, dekadama nakon Hladnog rata, možda i aktualniji i relevantniji nego u doba nastanka.

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FILM: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb; komedija; SAD, 1964. REŽIJA: Stanley Kubrick ULOGE: Peter Sellers, George C. Scott OCJENA: *****

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Inspiriran romanom “Red Alert” Petera Georgea i apsurdnim hladnoratovskim paranojama šezdesetih koje su prijetile “tko-će-koga-raznijeti” atomskim ratom između dviju nuklearnih sila, SAD-a i SSSR-a, Kubrick je iznjedrio zimzeleni antiratni i antimilitaristički klasik, treći u njegovoj filmografiji (“Staze slave”, “Full Metal Jacket”).

Zanimljivo, film je isprve, sukladno Georgeovu predlošku, trebao biti hladnoratovski triler o sprječavanju nuklearnog rata, ali ga je Kubrick pretvorio u crnu komediju s puno verbalnog i fizičkog, “slapstick” humora, tj. satiru i – pogodio. U protivnom, “Dr. Strangelove” bi bio jedan u nizu hladnoratovskih trilera tipa “Kritična točka” ili “Fail Safe”, a ovako je ispao jedinstven u vremenu nastanka i Kubrickovoj filmografiji.

Ovo je možda posljednji put da je Kubrick bio “opušten” iza kamere, lišen manijakalne metodičnosti i perfekcionizma po kojem je postao poznat (“Isijavanje”, “Oči širom zatvorene”). Naravno, kadrovi su i sistematični i perfekcionistički i u “Dr. Strangeloveu”, naročito kad je kamera u ratnom kabinetu s velikim okruglim stolom obasjanim kružnim svjetlom nalik kupoli koja ga prati/obavija poput Saturnova prstena.

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Ratni kabinet podsjeća na kružni interijer svemirskog broda, a stol i “svjetlosna” kupola poviše njega oblikovno mogu tvoriti onu svemirsku postaju u “Odiseji u svemiru” da ih se postavi vertikalno. Svakako, film je vinuo Kubricka u prvu ligu redatelja, doveo ga na korak do “A Space Odyssey” (idući projekt) i zacementirao njegove preokupacije u vezi pogleda na ljudski rod (“Barry Lyndon”), a i potvrdio je Petera Sellersa (“Pink Panther”, "Dobrododošli, gospodine Chance") kao vanserijskog komičara u trostrukoj ulozi.

Paralela između “Dr. Strangelovea” i “Odiseje u svemiru” može se lako povući zahvaljujući temi strojeva koji se mogu oteti kontroli (i otimaju se), a izgradila ih je ljudska ruka. Dok je u drugom filmu to kompjuter HAL-9000, u prvom su američki bombarderi B-52, naoružani s po 40 megatona atomskih bombi.

Bombardere je na Rusiju poslao paranoidni i poremećeni američki general Jack D. Ripper (Sterling Hayden) s falusoidnom kubankom u ustima i time se ponosi, na užas zabezeknutog britanskog satnika na razmjeni Lionela Mandrakea (Sellers) koji nema točan iznos sitniša da nazove Bijelu kuću za spas svijeta, a Pentagon ne želi prihvatiti naplatni poziv.

B-52 su poletjeli nakon što je Ripper naredio neautorizirani zrakoplovni napad na SSSR i više se ne mogu opozvati, odnosno samo on, nedostupni general, ima šifru za opoziv. Nasuprot B-52 je sovjetski “uređaj Sudnjeg dana”, programiran da u slučaju nuklearnog napada izvede protunapad i uništi sav život na Zemlji, a još ga se manje može zaustaviti.

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Konačno, tu je i mehanička ruka titularnog dr. Strangelovea (opet Sellers), znanstvenika, bivšeg nacista i savjetnika američkog predsjednika Merkina Muffleyja (također Sellers) koji je često na telefonu sa sovjetskim premijerom (“Dimitri, imamo mali problem...”). Ruka kao da razvija vlastiti um, pokušava formirati naci pozdrav, pa i zadaviti Dr. Strangelovea.

Suludo, ali takav je film koji efektno isprepleće zbivanja između Ripperove vojne baze u stanju “crvene uzbune” (“ovo nije vježba”), ratnog kabineta i interijera B-52 gdje vlada patriotski major T.J. “King” Kong (Slim Pickens) i upravo će on zajahati falusoidnu atomsku bombu.

Sigmund Freud bi imao materijala za analizu gledajući “Dr. Strangelove” zahvaljujući Kubrickovoj sprdačini na račun američkog vojnog “kurčenja”. Jedini ženski lik u filmu je Miss Scott (Tracy Reed), ljubavnica ratobornog mačo generala “Bucka” Turgidsona u izvanrednom tumačenju Georgea C. Scotta koji se zagrijavao za ulogu Pattona u istoimenu filmu.

Turgidson žvače žvaku, očijuka s Miss Scott preko telefona usred svjetske nuklearne krize, svugdje vidi “crvene”, smatra da je brojka od 10-20 milijuna američkih žrtava prihvatljiva i tuče se sa sovjetskim ambasadorom Aleksyjem de Sadeskyjem (Peter Bull) u ratnom kabinetu.

“Gospodo, ne možete se tući ovdje, ovo je ratni kabinet”, upozorava ih američki predsjednik Muffley i savršeno sumira (anti)nuklearnu satiru. Gledatelju ne preostaje ništa drugo nego da se (na)smije ususret Kubrickovu smaku svijeta.

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Četiri nominacije za Oscara

"Dr. Strangelove" je doživio premijeru 29. siječnja 1964. godine. Bio je nominiran za četiri Oscara u kategorijama najboljeg filma, režije, scenarija i glavne muške uloge (Sellers), ali nije potvrdio nijednu.

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Film & TVCINEMARK OBLJETNICA

‘Dr. Strangelove‘: Jahač atomske bombe

Piše Marko Njegić
27. siječnja 2024. - 14:00

Jahanje atomske bombe poput mehaničkog razjarenog bika i izjava “Gospodo, ne možete se tući ovdje, ovo je ratni kabinet” dva su luda i nezaboravna trenutka iz briljantnog filma “Dr. Strangelove ili: Kako sam naučio prestati brinuti se i zavoljeti bombu” (“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb”, 1964.), ali nisu jedini. “Dr. Strangelove” naprosto obiluje momentima za pamćenje.

Stanley Kubrick je snimio remek-djelo satiričke, apsurdističke komedije, zasigurno najbolju političku satiru svih vremena, a najluđe od svega jest da je film i dan-danas aktualan i relevantan u vrijeme nekih novih nuklearnih prijetnji, dekadama nakon Hladnog rata, možda i aktualniji i relevantniji nego u doba nastanka.

FILM: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb; komedija; SAD, 1964. REŽIJA: Stanley Kubrick ULOGE: Peter Sellers, George C. Scott OCJENA: *****

Inspiriran romanom “Red Alert” Petera Georgea i apsurdnim hladnoratovskim paranojama šezdesetih koje su prijetile “tko-će-koga-raznijeti” atomskim ratom između dviju nuklearnih sila, SAD-a i SSSR-a, Kubrick je iznjedrio zimzeleni antiratni i antimilitaristički klasik, treći u njegovoj filmografiji (“Staze slave”, “Full Metal Jacket”).

Zanimljivo, film je isprve, sukladno Georgeovu predlošku, trebao biti hladnoratovski triler o sprječavanju nuklearnog rata, ali ga je Kubrick pretvorio u crnu komediju s puno verbalnog i fizičkog, “slapstick” humora, tj. satiru i – pogodio. U protivnom, “Dr. Strangelove” bi bio jedan u nizu hladnoratovskih trilera tipa “Kritična točka” ili “Fail Safe”, a ovako je ispao jedinstven u vremenu nastanka i Kubrickovoj filmografiji.

Ovo je možda posljednji put da je Kubrick bio “opušten” iza kamere, lišen manijakalne metodičnosti i perfekcionizma po kojem je postao poznat (“Isijavanje”, “Oči širom zatvorene”). Naravno, kadrovi su i sistematični i perfekcionistički i u “Dr. Strangeloveu”, naročito kad je kamera u ratnom kabinetu s velikim okruglim stolom obasjanim kružnim svjetlom nalik kupoli koja ga prati/obavija poput Saturnova prstena.

Ratni kabinet podsjeća na kružni interijer svemirskog broda, a stol i “svjetlosna” kupola poviše njega oblikovno mogu tvoriti onu svemirsku postaju u “Odiseji u svemiru” da ih se postavi vertikalno. Svakako, film je vinuo Kubricka u prvu ligu redatelja, doveo ga na korak do “A Space Odyssey” (idući projekt) i zacementirao njegove preokupacije u vezi pogleda na ljudski rod (“Barry Lyndon”), a i potvrdio je Petera Sellersa (“Pink Panther”, "Dobrododošli, gospodine Chance") kao vanserijskog komičara u trostrukoj ulozi.

Paralela između “Dr. Strangelovea” i “Odiseje u svemiru” može se lako povući zahvaljujući temi strojeva koji se mogu oteti kontroli (i otimaju se), a izgradila ih je ljudska ruka. Dok je u drugom filmu to kompjuter HAL-9000, u prvom su američki bombarderi B-52, naoružani s po 40 megatona atomskih bombi.

Bombardere je na Rusiju poslao paranoidni i poremećeni američki general Jack D. Ripper (Sterling Hayden) s falusoidnom kubankom u ustima i time se ponosi, na užas zabezeknutog britanskog satnika na razmjeni Lionela Mandrakea (Sellers) koji nema točan iznos sitniša da nazove Bijelu kuću za spas svijeta, a Pentagon ne želi prihvatiti naplatni poziv.

B-52 su poletjeli nakon što je Ripper naredio neautorizirani zrakoplovni napad na SSSR i više se ne mogu opozvati, odnosno samo on, nedostupni general, ima šifru za opoziv. Nasuprot B-52 je sovjetski “uređaj Sudnjeg dana”, programiran da u slučaju nuklearnog napada izvede protunapad i uništi sav život na Zemlji, a još ga se manje može zaustaviti.

Konačno, tu je i mehanička ruka titularnog dr. Strangelovea (opet Sellers), znanstvenika, bivšeg nacista i savjetnika američkog predsjednika Merkina Muffleyja (također Sellers) koji je često na telefonu sa sovjetskim premijerom (“Dimitri, imamo mali problem...”). Ruka kao da razvija vlastiti um, pokušava formirati naci pozdrav, pa i zadaviti Dr. Strangelovea.

Suludo, ali takav je film koji efektno isprepleće zbivanja između Ripperove vojne baze u stanju “crvene uzbune” (“ovo nije vježba”), ratnog kabineta i interijera B-52 gdje vlada patriotski major T.J. “King” Kong (Slim Pickens) i upravo će on zajahati falusoidnu atomsku bombu.

Sigmund Freud bi imao materijala za analizu gledajući “Dr. Strangelove” zahvaljujući Kubrickovoj sprdačini na račun američkog vojnog “kurčenja”. Jedini ženski lik u filmu je Miss Scott (Tracy Reed), ljubavnica ratobornog mačo generala “Bucka” Turgidsona u izvanrednom tumačenju Georgea C. Scotta koji se zagrijavao za ulogu Pattona u istoimenu filmu.

Turgidson žvače žvaku, očijuka s Miss Scott preko telefona usred svjetske nuklearne krize, svugdje vidi “crvene”, smatra da je brojka od 10-20 milijuna američkih žrtava prihvatljiva i tuče se sa sovjetskim ambasadorom Aleksyjem de Sadeskyjem (Peter Bull) u ratnom kabinetu.

“Gospodo, ne možete se tući ovdje, ovo je ratni kabinet”, upozorava ih američki predsjednik Muffley i savršeno sumira (anti)nuklearnu satiru. Gledatelju ne preostaje ništa drugo nego da se (na)smije ususret Kubrickovu smaku svijeta.

Četiri nominacije za Oscara

"Dr. Strangelove" je doživio premijeru 29. siječnja 1964. godine. Bio je nominiran za četiri Oscara u kategorijama najboljeg filma, režije, scenarija i glavne muške uloge (Sellers), ali nije potvrdio nijednu.

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19. svibanj 2024 13:01