Film: BLINDNESS; fantastična drama
Režija: Fernando Meirelles
Uloge: Julianne Moore, Mark Ruffalo
Distribucija: Discovery
Ocjena: ***
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Pored tako vrhunskog pedigrea, da ne kažem(o) zdravih očiju, “Blindness“ je ispao razmjerno slijep film. (S)lijep bez duše. No, nije posve nezanimljiv kao alegorija duševne i moralne sljepoće (modernog) čovječanstva, pa makar ona bila ilustrirana više na razini vidnih i čujnih senzacija. Redatelj odmah na početku stilsku prečku postavlja vrlo visoko kada jedan vozač oslijepi usred “rush houra“.
Kako Meirelles nije Michael Bay, njegova sljepoća neće izazvati lančane sudare, niti će se ovaj automobilom zabiti u neku cisternu koja slučajno prolazi tuda - prometne nesreće bit će prikazane nešto kasnije samo sporadično, na televizijskim ekranima dok se ljudi pitaju “je li panika izazvala sljepoću ili obratno“.
Meirelles se mahom fokusira na dezorijentirajuće zvukove koji izvrsno dočaravaju iznenadno stanje pojedinca kojemu je “netko isključio svjetlo“. Premda, zanimljivo, slijepci umjesto crne tmine vide “more bijelog“. Što veći broj slijepaca počne pristizati u improviziranu karantenu, svojevrsni koncentracijski logor, civilizacijske norme sve će više početi “blijediti” pred očima publike u seriji vizualno inventivnih prizora.
A čim Gael Garcia Bernal konačno uzme pištolj u ruke, nakon što prethodno ironično zapjeva hit “I Just Call To Say I Love You“ Stevieja Wondera, na snagu će stupiti barbarizam - slijepci će se okrenuti jedni protiv drugih i postati pećinski ljudi kojima nemilosrdna silovanja i ubojstva nisu strana.
Kad u trećem činu filma izađu napolje, te poput zombija lutaju ulicama neimenovana grada i praznim šoping centrima, “Blindness“ je mogao postati blockbuster a la “Ja sam legenda“, posebice što ima Alice Bragu u jednoj od uloga, ali i Dannyja Glovera koji je rođen slijep što ga čini “superherojem u ovoj situaciji“.
Ipak, Meirellesova apokalipsa nije znanstveno-fantastična. Ona je u sličnoj alegorijskoj ravni s “Djecom čovječanstva“, gdje je također igrala Julianne Moore.
Spominjući “Children of Men“, “Blindness” još više blijedi. Alfonso Cuaron je u tom remek-djelu dao jednako uznemirujuću dijagnozu prezentne situacije čovječanstva, no pritom je pazio na protagoniste jednako kao i na vizualije. Meirelles u svome filmu likove drži na distanci i ostavlja nas ravnodušnima. Daleko od očiju, daleko od srca.
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=> ) [avatar] => /components/com_ocm/images/placeholder/user.png ) [numOfComments] => 0 [mainImage] => https://static.slobodnadalmacija.hr/Archive/images/2009/07/09/reflektor/SLIJEP00.jpg [galleryCount] => 1 [hasImage] => 1 [mainImageAuthor] => [mainImageDesc] => [popup_gallery] => Array ( [0] => stdClass Object ( [src] => https://static.slobodnadalmacija.hr/Archive/images/2009/07/09/reflektor/SLIJEP00.jpg [title] => ) ) [bgPosition] => [text] => {OCMSplitter}Film: BLINDNESS; fantastična drama
Režija: Fernando Meirelles
Uloge: Julianne Moore, Mark Ruffalo
Distribucija: Discovery
Ocjena: ***
|
Pored tako vrhunskog pedigrea, da ne kažem(o) zdravih očiju, “Blindness“ je ispao razmjerno slijep film. (S)lijep bez duše. No, nije posve nezanimljiv kao alegorija duševne i moralne sljepoće (modernog) čovječanstva, pa makar ona bila ilustrirana više na razini vidnih i čujnih senzacija. Redatelj odmah na početku stilsku prečku postavlja vrlo visoko kada jedan vozač oslijepi usred “rush houra“.
Kako Meirelles nije Michael Bay, njegova sljepoća neće izazvati lančane sudare, niti će se ovaj automobilom zabiti u neku cisternu koja slučajno prolazi tuda - prometne nesreće bit će prikazane nešto kasnije samo sporadično, na televizijskim ekranima dok se ljudi pitaju “je li panika izazvala sljepoću ili obratno“.
Meirelles se mahom fokusira na dezorijentirajuće zvukove koji izvrsno dočaravaju iznenadno stanje pojedinca kojemu je “netko isključio svjetlo“. Premda, zanimljivo, slijepci umjesto crne tmine vide “more bijelog“. Što veći broj slijepaca počne pristizati u improviziranu karantenu, svojevrsni koncentracijski logor, civilizacijske norme sve će više početi “blijediti” pred očima publike u seriji vizualno inventivnih prizora.
A čim Gael Garcia Bernal konačno uzme pištolj u ruke, nakon što prethodno ironično zapjeva hit “I Just Call To Say I Love You“ Stevieja Wondera, na snagu će stupiti barbarizam - slijepci će se okrenuti jedni protiv drugih i postati pećinski ljudi kojima nemilosrdna silovanja i ubojstva nisu strana.
Kad u trećem činu filma izađu napolje, te poput zombija lutaju ulicama neimenovana grada i praznim šoping centrima, “Blindness“ je mogao postati blockbuster a la “Ja sam legenda“, posebice što ima Alice Bragu u jednoj od uloga, ali i Dannyja Glovera koji je rođen slijep što ga čini “superherojem u ovoj situaciji“.
Ipak, Meirellesova apokalipsa nije znanstveno-fantastična. Ona je u sličnoj alegorijskoj ravni s “Djecom čovječanstva“, gdje je također igrala Julianne Moore.
Spominjući “Children of Men“, “Blindness” još više blijedi. Alfonso Cuaron je u tom remek-djelu dao jednako uznemirujuću dijagnozu prezentne situacije čovječanstva, no pritom je pazio na protagoniste jednako kao i na vizualije. Meirelles u svome filmu likove drži na distanci i ostavlja nas ravnodušnima. Daleko od očiju, daleko od srca.
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Film: BLINDNESS; fantastična drama
Režija: Fernando Meirelles
Uloge: Julianne Moore, Mark Ruffalo
Distribucija: Discovery
Ocjena: ***
|
Pored tako vrhunskog pedigrea, da ne kažem(o) zdravih očiju, “Blindness“ je ispao razmjerno slijep film. (S)lijep bez duše. No, nije posve nezanimljiv ka...
