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Rasplesane noge iz uvodne špice “Footloosea” (1984.) postavile su ritam filma koji je pretvorio glumca Kevina Bacona u zvijezdu i doplesao na listu najvećih plesnih hitova osamdesetih. Na toj listi “Footloose” se nalazi na drugom mjestu između “Flashdancea” i “Prljavog plesa”. Bio je uspješniji i od direktnog konkurenta iz 1984. “Breakdance”. Može se slobodno zapisati da je “Footloose” jedan od popkulturnih fenomena osamdesetih.

Zaradio je 80 milijuna dolara samo u američkim kinima i zauzeo sedmo mjesto najgledanijih filmova 1984., iza “Policajca s Beverly Hillsa”, “Istjerivača duhova”, “Indiane Jonesa II”, “Gremlina”, “Karate Kida” i “Policijske akademije”, a ispred zvučnih naslova poput “Lova na zeleni dijamant”, “Terminatora”, “Strave u Ulici brijestova”... Soundtrack “Footloosea” prodavao se kao lud, preuzeo štafetu od “Flashdancea” i predao je “Top Gunu” zajedno s hitmejkerskim skladateljem Kennyjem Logginsom.

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FILM: Footloose; plesna drama; SAD, 1984. REŽIJA: Herbert Ross ULOGE: Kevin Bacon, Lori Singer OCJENA: *** ½

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Neovisno o Logginsovoj zaraznoj naslovnoj pjesmi “Footloose”, nominiranoj za Oscara (pobjedu je odnijela “I Just Called To Say I Love You” iz “Žene u crvenom”), soundtrack je bio prepun hitova koji su efektno ozvučili film i obilježili godinu i/ili dekadu.

“Almost Paradise” Mikea Rena i Ann Wilson, “Holding Out For a Hero” Bonnie Tyler, “Waiting For a Girl Like You” Foreignera, “Metal Health” Quiet Riota, također Logginsova “I’m Free (Heaven Helps the Man)”, “Somebody’s Eyes” Karle Bonoff...

Ono što se naziralo u “Flashdanceu” bilo je vidljivo u “Footlooseu” redatelja Herberta Rossa. MTV je ušao u svijet filma i “Footloose” je u plesnim scenama zrcalio audiovizualnu, ako ne i narativnu, estetiku videospotova popularne glazbene televizije osamdesetih, pospojivši je prilično spretno s klasičnom pričom o tinejdžerskoj pobuni protiv konzervatizma odraslih/male sredine nalik onima iz pedesetih (“Divljak”, “Buntovnik bez razloga”).

U tom smislu “Footloose” je izgledao kao moderna, MTV-jevska inačica “Briljantina” i preteča “Dirty Dancinga”, slaveći snagu glazbe i plesa jednako ili čak više od “teen” buntovništva, što je najavljeno od uvodne špice. Ljubav prema glazbi/plesu i buntovnički duh pomiruje Bacon u ulozi maturanta Rena McCormacka koji s majkom (Frances Lee McCain) dolazi iz velikog Chicaga kod njezine sestre u mali američki grad Bomont u državi Utah.

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Odmah po dolasku Ren ostaje osupnut time što se rock ‘n’ roll glazba i ples smatraju “ilegalnim” i “grješnim” u Bomontu zahvaljujući lokalnom propovjedniku Shawu Mooreu (veteran John Lithgow). Propovjednik drži rock “opscenim” jer izaziva “laku seksualnost i opuštenu moralnost”, tj. vodi do seksa, cuge i droge, sve zato što je njegov sin stradao u prometnoj nesreći prije nekoliko godina.

Čim uleti na parking škole dok mu “Metal Health” grmi iz automobila, jasno je da je autsajder Ren “troublemaker” koji će okrenuti naglavačke ovaj “mali kutak svijeta”, a tu će titulu potencirati kad se zaljubi u propovjednikovu buntovnu kćerku Ariel (jako dobra Lori Singer) i “preotme” je lokalnom “bullyju” Chucku Cranstonu (Jim Youngs) otkako ga je pobijedio u “igri kukavice” traktorima.

Za jednu nominalno lepršavu tinejdžersku plesnu romansu s određenom dozom pripadajuće “naivnosti”, “Footloose” ima dosta drame i solidno profilirane glavne likove Rena, propovjednika i Ariel, a i ukazuje na pogubnost fanatizma i konzervativne ideologije. Ljubavna priča Rena i Ariel isprepleće se s njezinom obiteljskom dramom.

Odnos odraslih i djece važna je stavka filma koji je bio inspiriran novinskim člankom o malom gradu gdje je ples bio zabranjen gotovo stotinu godina (navodno toga ima i danas), a aktualan je i dekadama kasnije s obzirom na suvremene primjere konzervatizma u Americi i šire sa zabranama nepoćudnih filmova, glazbe i knjiga.

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U jednoj sceni “Footloosea” konzervatizam toliko uzima maha da se opasne knjige spaljuju ispred crkve (!), nakon čega propovjednik shvaća što je napravio i doživljava buđenje, posebice kad ga na to podsjete kćerkini buntovnički ispadi i Ren istakne da je ples zaveden i u Bibliji.

Glavni ženski lik je neočekivano jak i nezavisan, više od tipičnog “ljubavnog interesa” protagonista, njegova ekvivalentica koja također osjeća da je “stvorena za više od ovoga maloga grada”, a propovjednik i Ren imaju zajedničko to što je svatko doživio obiteljsku tragediju (potonjeg je napustio otac).

Ren kao predstavnik mladih izražava osjećaje plesom, njime slavi tinejdžersku pobunu i sam život, kao kad (za)pleše u skladištu, baru i na maturalnoj večeri za koju se uspio izboriti. Mladi bez obzira na generaciju samo žele plesati i zato “Footloose” pleše sve ove godine, nastavljajući biti odraz njihove želje.

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Rasplesane noge iz uvodne špice “Footloosea” (1984.) postavile su ritam filma koji je pretvorio glumca Kevina Bacona u zvijezdu i doplesao na listu najvećih plesnih hitova osamdesetih. Na toj listi “Footloose” se nalazi na drugom mjestu između “Flashdancea” i “Prljavog plesa”. Bio je uspješniji i od direktnog konkurenta iz 1984. “Breakdance”. Može se slobodno zapisati da je “Footloose” jedan od popkulturnih fenomena osamdesetih.

Zaradio je 80 milijuna dolara samo u američkim kinima i zauzeo sedmo mjesto najgledanijih filmova 1984., iza “Policajca s Beverly Hillsa”, “Istjerivača duhova”, “Indiane Jonesa II”, “Gremlina”, “Karate Kida” i “Policijske akademije”, a ispred zvučnih naslova poput “Lova na zeleni dijamant”, “Terminatora”, “Strave u Ulici brijestova”... Soundtrack “Footloosea” prodavao se kao lud, preuzeo štafetu od “Flashdancea” i predao je “Top Gunu” zajedno s hitmejkerskim skladateljem Kennyjem Logginsom.

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FILM: Footloose; plesna drama; SAD, 1984. REŽIJA: Herbert Ross ULOGE: Kevin Bacon, Lori Singer OCJENA: *** ½

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Neovisno o Logginsovoj zaraznoj naslovnoj pjesmi “Footloose”, nominiranoj za Oscara (pobjedu je odnijela “I Just Called To Say I Love You” iz “Žene u crvenom”), soundtrack je bio prepun hitova koji su efektno ozvučili film i obilježili godinu i/ili dekadu.

“Almost Paradise” Mikea Rena i Ann Wilson, “Holding Out For a Hero” Bonnie Tyler, “Waiting For a Girl Like You” Foreignera, “Metal Health” Quiet Riota, također Logginsova “I’m Free (Heaven Helps the Man)”, “Somebody’s Eyes” Karle Bonoff...

Ono što se naziralo u “Flashdanceu” bilo je vidljivo u “Footlooseu” redatelja Herberta Rossa. MTV je ušao u svijet filma i “Footloose” je u plesnim scenama zrcalio audiovizualnu, ako ne i narativnu, estetiku videospotova popularne glazbene televizije osamdesetih, pospojivši je prilično spretno s klasičnom pričom o tinejdžerskoj pobuni protiv konzervatizma odraslih/male sredine nalik onima iz pedesetih (“Divljak”, “Buntovnik bez razloga”).

U tom smislu “Footloose” je izgledao kao moderna, MTV-jevska inačica “Briljantina” i preteča “Dirty Dancinga”, slaveći snagu glazbe i plesa jednako ili čak više od “teen” buntovništva, što je najavljeno od uvodne špice. Ljubav prema glazbi/plesu i buntovnički duh pomiruje Bacon u ulozi maturanta Rena McCormacka koji s majkom (Frances Lee McCain) dolazi iz velikog Chicaga kod njezine sestre u mali američki grad Bomont u državi Utah.

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Odmah po dolasku Ren ostaje osupnut time što se rock ‘n’ roll glazba i ples smatraju “ilegalnim” i “grješnim” u Bomontu zahvaljujući lokalnom propovjedniku Shawu Mooreu (veteran John Lithgow). Propovjednik drži rock “opscenim” jer izaziva “laku seksualnost i opuštenu moralnost”, tj. vodi do seksa, cuge i droge, sve zato što je njegov sin stradao u prometnoj nesreći prije nekoliko godina.

Čim uleti na parking škole dok mu “Metal Health” grmi iz automobila, jasno je da je autsajder Ren “troublemaker” koji će okrenuti naglavačke ovaj “mali kutak svijeta”, a tu će titulu potencirati kad se zaljubi u propovjednikovu buntovnu kćerku Ariel (jako dobra Lori Singer) i “preotme” je lokalnom “bullyju” Chucku Cranstonu (Jim Youngs) otkako ga je pobijedio u “igri kukavice” traktorima.

Za jednu nominalno lepršavu tinejdžersku plesnu romansu s određenom dozom pripadajuće “naivnosti”, “Footloose” ima dosta drame i solidno profilirane glavne likove Rena, propovjednika i Ariel, a i ukazuje na pogubnost fanatizma i konzervativne ideologije. Ljubavna priča Rena i Ariel isprepleće se s njezinom obiteljskom dramom.

Odnos odraslih i djece važna je stavka filma koji je bio inspiriran novinskim člankom o malom gradu gdje je ples bio zabranjen gotovo stotinu godina (navodno toga ima i danas), a aktualan je i dekadama kasnije s obzirom na suvremene primjere konzervatizma u Americi i šire sa zabranama nepoćudnih filmova, glazbe i knjiga.

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U jednoj sceni “Footloosea” konzervatizam toliko uzima maha da se opasne knjige spaljuju ispred crkve (!), nakon čega propovjednik shvaća što je napravio i doživljava buđenje, posebice kad ga na to podsjete kćerkini buntovnički ispadi i Ren istakne da je ples zaveden i u Bibliji.

Glavni ženski lik je neočekivano jak i nezavisan, više od tipičnog “ljubavnog interesa” protagonista, njegova ekvivalentica koja također osjeća da je “stvorena za više od ovoga maloga grada”, a propovjednik i Ren imaju zajedničko to što je svatko doživio obiteljsku tragediju (potonjeg je napustio otac).

Ren kao predstavnik mladih izražava osjećaje plesom, njime slavi tinejdžersku pobunu i sam život, kao kad (za)pleše u skladištu, baru i na maturalnoj večeri za koju se uspio izboriti. Mladi bez obzira na generaciju samo žele plesati i zato “Footloose” pleše sve ove godine, nastavljajući biti odraz njihove želje.

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Film & TVCINEMARK OBLJETNICA

‘Footloose‘: Buntovnik s plesnog podija

Piše Marko Njegić
16. veljače 2024. - 23:25
26594110
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/Photo12 Via Afp

Rasplesane noge iz uvodne špice “Footloosea” (1984.) postavile su ritam filma koji je pretvorio glumca Kevina Bacona u zvijezdu i doplesao na listu najvećih plesnih hitova osamdesetih. Na toj listi “Footloose” se nalazi na drugom mjestu između “Flashdancea” i “Prljavog plesa”. Bio je uspješniji i od direktnog konkurenta iz 1984. “Breakdance”. Može se slobodno zapisati da je “Footloose” jedan od popkulturnih fenomena osamdesetih.

Zaradio je 80 milijuna dolara samo u američkim kinima i zauzeo sedmo mjesto najgledanijih filmova 1984., iza “Policajca s Beverly Hillsa”, “Istjerivača duhova”, “Indiane Jonesa II”, “Gremlina”, “Karate Kida” i “Policijske akademije”, a ispred zvučnih naslova poput “Lova na zeleni dijamant”, “Terminatora”, “Strave u Ulici brijestova”... Soundtrack “Footloosea” prodavao se kao lud, preuzeo štafetu od “Flashdancea” i predao je “Top Gunu” zajedno s hitmejkerskim skladateljem Kennyjem Logginsom.

FILM: Footloose; plesna drama; SAD, 1984. REŽIJA: Herbert Ross ULOGE: Kevin Bacon, Lori Singer OCJENA: *** ½

Neovisno o Logginsovoj zaraznoj naslovnoj pjesmi “Footloose”, nominiranoj za Oscara (pobjedu je odnijela “I Just Called To Say I Love You” iz “Žene u crvenom”), soundtrack je bio prepun hitova koji su efektno ozvučili film i obilježili godinu i/ili dekadu.

“Almost Paradise” Mikea Rena i Ann Wilson, “Holding Out For a Hero” Bonnie Tyler, “Waiting For a Girl Like You” Foreignera, “Metal Health” Quiet Riota, također Logginsova “I’m Free (Heaven Helps the Man)”, “Somebody’s Eyes” Karle Bonoff...

Ono što se naziralo u “Flashdanceu” bilo je vidljivo u “Footlooseu” redatelja Herberta Rossa. MTV je ušao u svijet filma i “Footloose” je u plesnim scenama zrcalio audiovizualnu, ako ne i narativnu, estetiku videospotova popularne glazbene televizije osamdesetih, pospojivši je prilično spretno s klasičnom pričom o tinejdžerskoj pobuni protiv konzervatizma odraslih/male sredine nalik onima iz pedesetih (“Divljak”, “Buntovnik bez razloga”).

U tom smislu “Footloose” je izgledao kao moderna, MTV-jevska inačica “Briljantina” i preteča “Dirty Dancinga”, slaveći snagu glazbe i plesa jednako ili čak više od “teen” buntovništva, što je najavljeno od uvodne špice. Ljubav prema glazbi/plesu i buntovnički duh pomiruje Bacon u ulozi maturanta Rena McCormacka koji s majkom (Frances Lee McCain) dolazi iz velikog Chicaga kod njezine sestre u mali američki grad Bomont u državi Utah.

Odmah po dolasku Ren ostaje osupnut time što se rock ‘n’ roll glazba i ples smatraju “ilegalnim” i “grješnim” u Bomontu zahvaljujući lokalnom propovjedniku Shawu Mooreu (veteran John Lithgow). Propovjednik drži rock “opscenim” jer izaziva “laku seksualnost i opuštenu moralnost”, tj. vodi do seksa, cuge i droge, sve zato što je njegov sin stradao u prometnoj nesreći prije nekoliko godina.

Čim uleti na parking škole dok mu “Metal Health” grmi iz automobila, jasno je da je autsajder Ren “troublemaker” koji će okrenuti naglavačke ovaj “mali kutak svijeta”, a tu će titulu potencirati kad se zaljubi u propovjednikovu buntovnu kćerku Ariel (jako dobra Lori Singer) i “preotme” je lokalnom “bullyju” Chucku Cranstonu (Jim Youngs) otkako ga je pobijedio u “igri kukavice” traktorima.

Za jednu nominalno lepršavu tinejdžersku plesnu romansu s određenom dozom pripadajuće “naivnosti”, “Footloose” ima dosta drame i solidno profilirane glavne likove Rena, propovjednika i Ariel, a i ukazuje na pogubnost fanatizma i konzervativne ideologije. Ljubavna priča Rena i Ariel isprepleće se s njezinom obiteljskom dramom.

Odnos odraslih i djece važna je stavka filma koji je bio inspiriran novinskim člankom o malom gradu gdje je ples bio zabranjen gotovo stotinu godina (navodno toga ima i danas), a aktualan je i dekadama kasnije s obzirom na suvremene primjere konzervatizma u Americi i šire sa zabranama nepoćudnih filmova, glazbe i knjiga.

U jednoj sceni “Footloosea” konzervatizam toliko uzima maha da se opasne knjige spaljuju ispred crkve (!), nakon čega propovjednik shvaća što je napravio i doživljava buđenje, posebice kad ga na to podsjete kćerkini buntovnički ispadi i Ren istakne da je ples zaveden i u Bibliji.

Glavni ženski lik je neočekivano jak i nezavisan, više od tipičnog “ljubavnog interesa” protagonista, njegova ekvivalentica koja također osjeća da je “stvorena za više od ovoga maloga grada”, a propovjednik i Ren imaju zajedničko to što je svatko doživio obiteljsku tragediju (potonjeg je napustio otac).

Ren kao predstavnik mladih izražava osjećaje plesom, njime slavi tinejdžersku pobunu i sam život, kao kad (za)pleše u skladištu, baru i na maturalnoj večeri za koju se uspio izboriti. Mladi bez obzira na generaciju samo žele plesati i zato “Footloose” pleše sve ove godine, nastavljajući biti odraz njihove želje.

#CINEMARK#CINEMARK OBLJETNICA#FOOTLOOSE#KEVIN BACON#FILMOVI 80-IH#JOHN LITHGOW#PLESNI FILMOVI#LORI SINGER#DRAME#CHRIS PENN#FILMOVI IZ 1984.#KENNY LOGGINS
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19. svibanj 2024 21:49