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Voljeti “Cabaret” je lako, ali osobno je “Sav taj jazz” (“All That Jazz”, 1979.) najveća ljubav kad je riječ o mjuziklima Boba Fossea i žanru općenito. “Sav taj jazz” je intimni favorit uz “Šerburške kišobrane” od starijih mjuzikala (“La La Land” i “Moulin Rouge” prednjače među novijima).

Inspiriran velikim filmom “Osam i pol” Federica Fellinija, Fosse je snimio najegzistencijalniji mjuzikl u povijesti, ali koreografski poletan i spektakularan, prepun režijskih pirueta. Pronašavši se u liku Fellinijeva filmaškog alter ega u krizi srednjih godina iz “8 ½”, Fosse je njegova metafilmska egzistencijalna i umjetnička preispitivanja preselio na Broadway i načinio svojim u ovoj savršenoj autobiografskoj mješavini arta i entertainmenta.

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FILM: All That Jazz; mjuzikl; SAD, 1979. REŽIJA: Bob Fosse ULOGE: Roy Scheider, Jessica Lange OCJENA: *****

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Njegov alter ego je plesni koreograf i filmski redatelj Joe Gideon (Roy Scheider u ulozi života, zasluženo nominiran za Oscara).

U prvoj sceni vidimo ga kao umjetnika trapeza koji doslovno i metaforički pada u mrežu. “Biti na žici je život, ostalo je čekanje”, slušamo njegovu ispovjed ženi u bijelom velu, anđelu smrti u tijelu odlične Jessice Lange.

Joe otkriva da je “spavao s puno žena” i “varao kad god je imao priliku”, dok se ispovijeda sugovornici i očijuka s njom, započinjući flert sa smrti na plesnoj pozornici života. On je u rasulu, razapet između posla koji perfekcionistički obavlja pripremajući broadwayjsku predstavu i montirajući film o “stand up” komičaru te privatnog života, djevojke Katie (Ann Reinking), ljubavnice Victorije (Deborah Geffner), bivše žene/suradnice Audrey (Leland Palmer) i kćerke Michelle (Erzsébet Földi).

Mogao je Joe biti prikazan i kao žongler, a ne trapezist, s obzirom na to da žonglira sebe i druge, producente, starlete... Sve to uzima danak, narušava Joeovo zdravlje i približava ga srčanom udaru, a ne pomaže ni njegova dnevna rutina. Svakog jutra Joe se budi uz koktel cigareta koje ne vadi iz usta ni kad se tušira, amfetamina, šumećih tableta i kapi za oči. Dobro jutro, jazzeri.

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Ponavljajuća “groundhog day” montaža Joeova buđenja i spremanja za posao, ozvučena Vivaldijem, završava “trade-mark” rečenicom “It’s showtime, folks!” koju on svaki idući put izgovara na način da sve više kao da propituje smisao tih riječi, ali svejedno nastavlja dalje držeći se mantre “the show must go on”. Montaža je sve u “All That Jazz”.

Film je montiran u ritmu koreografirana plesa, a montaža gotovo da postaje koreografija sama po sebi ili njezina produžena ruka. Ritmički rezovi su briljantni u isprepletanju raspjevane pjesme i znojnoga plesnog pokreta. Neke plesne točke spadaju u anale mjuzikla i Fosse ih koreografira i režira s osjećajem za geometriju kadra napučenog tijelima pa nije čudno da je Stanley Kubrick spomenut u filmu (“Misliš da Stanley Kubrick ikad padne u depresiju?”), a i da je volio “Sav taj jazz”.

Ističe se “Air-otica”, tj. “Take Off With Us” kao vjerojatno najerotičnija i najseksepilnija plesna točka u povijesti mjuzikla (“Mislim da smo upravo izgubili obiteljsku publiku”), koja je u punom sjaju predstavila plesačicu/glumicu Sandahl Bergman tri godine prije “Conana Barbarina” i ostvarila utjecaj na filmove osamdesetih poput “Flashdancea”.

Likovi se predstavljaju i izražavaju kroz ples, pa će i Joe zaplesati sa svakom od najvažnijih žena u životu da plesanjem izreče nezrecivo, ono što verbalizira u ispovjedima anđelici smrti u formi apologije. “Vjeruješ li u ljubav?”, pita ona Joea. “Vjerujem u ‘volim te’...”, odgovara napaćeni Joe kojeg proganjaju unutarnji demoni grijeha i žaljenja, opipljiva bojazan od toga da će doživjeti neuspjeh, (p)ostati beznačajan, otuđiti se od samoga sebe i bližnjih, diskonektirati od svijeta s kojim je tako povezan.

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Je li njegov rad (bio) dovoljno dobar i dubok, dvoji Joe, plašeći se hoće li išta više kreativno proizići iz njega dok koreografira predstavu i traži katarzu. Koreografija i psihologija takoreći postaju jedno u poetičnom, melankoličnom i katarzičnom filmu izražene karakterne introspekcije s glavnim likom koji bi se mogao naći i u nekoj drami Ingmara Bergmana o opstojnosti.

“All That Jazz” je najbliže što je neki mjuzikl doplesao bergmanovskom filmu. Da je Bergman ikad režirao mjuzikl, moguće je da bi taj mjuzikl bio nešto kao “Sav taj jazz”, samo je dvojbeno bi li bio ovako živahan i (su)osjećajan, plešući između jave i sna na samrtnoj postelji, odnosno života i smrti.

Film je divna posveta umjetnicima i umjetničkim dušama što žive za umjetnost i stvaraju do posljednjeg daha poput Joea i Fossea koji je također umro od srca i film kao da je to predvidio, potvrđujući metafilmsku tajnu vezu između glavnog lika i njegova tvorca. Fosseova oda životu i smrti vizionarski završava oproštajnom pjesmom “Bye Bye Life”, najljepšom osmrtnicom koju je neki redatelj napisao samome sebi.

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Voljeti “Cabaret” je lako, ali osobno je “Sav taj jazz” (“All That Jazz”, 1979.) najveća ljubav kad je riječ o mjuziklima Boba Fossea i žanru općenito. “Sav taj jazz” je intimni favorit uz “Šerburške kišobrane” od starijih mjuzikala (“La La Land” i “Moulin Rouge” prednjače među novijima).

Inspiriran velikim filmom “Osam i pol” Federica Fellinija, Fosse je snimio najegzistencijalniji mjuzikl u povijesti, ali koreografski poletan i spektakularan, prepun režijskih pirueta. Pronašavši se u liku Fellinijeva filmaškog alter ega u krizi srednjih godina iz “8 ½”, Fosse je njegova metafilmska egzistencijalna i umjetnička preispitivanja preselio na Broadway i načinio svojim u ovoj savršenoj autobiografskoj mješavini arta i entertainmenta.

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FILM: All That Jazz; mjuzikl; SAD, 1979. REŽIJA: Bob Fosse ULOGE: Roy Scheider, Jessica Lange OCJENA: *****

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Njegov alter ego je plesni koreograf i filmski redatelj Joe Gideon (Roy Scheider u ulozi života, zasluženo nominiran za Oscara).

U prvoj sceni vidimo ga kao umjetnika trapeza koji doslovno i metaforički pada u mrežu. “Biti na žici je život, ostalo je čekanje”, slušamo njegovu ispovjed ženi u bijelom velu, anđelu smrti u tijelu odlične Jessice Lange.

Joe otkriva da je “spavao s puno žena” i “varao kad god je imao priliku”, dok se ispovijeda sugovornici i očijuka s njom, započinjući flert sa smrti na plesnoj pozornici života. On je u rasulu, razapet između posla koji perfekcionistički obavlja pripremajući broadwayjsku predstavu i montirajući film o “stand up” komičaru te privatnog života, djevojke Katie (Ann Reinking), ljubavnice Victorije (Deborah Geffner), bivše žene/suradnice Audrey (Leland Palmer) i kćerke Michelle (Erzsébet Földi).

Mogao je Joe biti prikazan i kao žongler, a ne trapezist, s obzirom na to da žonglira sebe i druge, producente, starlete... Sve to uzima danak, narušava Joeovo zdravlje i približava ga srčanom udaru, a ne pomaže ni njegova dnevna rutina. Svakog jutra Joe se budi uz koktel cigareta koje ne vadi iz usta ni kad se tušira, amfetamina, šumećih tableta i kapi za oči. Dobro jutro, jazzeri.

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Ponavljajuća “groundhog day” montaža Joeova buđenja i spremanja za posao, ozvučena Vivaldijem, završava “trade-mark” rečenicom “It’s showtime, folks!” koju on svaki idući put izgovara na način da sve više kao da propituje smisao tih riječi, ali svejedno nastavlja dalje držeći se mantre “the show must go on”. Montaža je sve u “All That Jazz”.

Film je montiran u ritmu koreografirana plesa, a montaža gotovo da postaje koreografija sama po sebi ili njezina produžena ruka. Ritmički rezovi su briljantni u isprepletanju raspjevane pjesme i znojnoga plesnog pokreta. Neke plesne točke spadaju u anale mjuzikla i Fosse ih koreografira i režira s osjećajem za geometriju kadra napučenog tijelima pa nije čudno da je Stanley Kubrick spomenut u filmu (“Misliš da Stanley Kubrick ikad padne u depresiju?”), a i da je volio “Sav taj jazz”.

Ističe se “Air-otica”, tj. “Take Off With Us” kao vjerojatno najerotičnija i najseksepilnija plesna točka u povijesti mjuzikla (“Mislim da smo upravo izgubili obiteljsku publiku”), koja je u punom sjaju predstavila plesačicu/glumicu Sandahl Bergman tri godine prije “Conana Barbarina” i ostvarila utjecaj na filmove osamdesetih poput “Flashdancea”.

Likovi se predstavljaju i izražavaju kroz ples, pa će i Joe zaplesati sa svakom od najvažnijih žena u životu da plesanjem izreče nezrecivo, ono što verbalizira u ispovjedima anđelici smrti u formi apologije. “Vjeruješ li u ljubav?”, pita ona Joea. “Vjerujem u ‘volim te’...”, odgovara napaćeni Joe kojeg proganjaju unutarnji demoni grijeha i žaljenja, opipljiva bojazan od toga da će doživjeti neuspjeh, (p)ostati beznačajan, otuđiti se od samoga sebe i bližnjih, diskonektirati od svijeta s kojim je tako povezan.

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Je li njegov rad (bio) dovoljno dobar i dubok, dvoji Joe, plašeći se hoće li išta više kreativno proizići iz njega dok koreografira predstavu i traži katarzu. Koreografija i psihologija takoreći postaju jedno u poetičnom, melankoličnom i katarzičnom filmu izražene karakterne introspekcije s glavnim likom koji bi se mogao naći i u nekoj drami Ingmara Bergmana o opstojnosti.

“All That Jazz” je najbliže što je neki mjuzikl doplesao bergmanovskom filmu. Da je Bergman ikad režirao mjuzikl, moguće je da bi taj mjuzikl bio nešto kao “Sav taj jazz”, samo je dvojbeno bi li bio ovako živahan i (su)osjećajan, plešući između jave i sna na samrtnoj postelji, odnosno života i smrti.

Film je divna posveta umjetnicima i umjetničkim dušama što žive za umjetnost i stvaraju do posljednjeg daha poput Joea i Fossea koji je također umro od srca i film kao da je to predvidio, potvrđujući metafilmsku tajnu vezu između glavnog lika i njegova tvorca. Fosseova oda životu i smrti vizionarski završava oproštajnom pjesmom “Bye Bye Life”, najljepšom osmrtnicom koju je neki redatelj napisao samome sebi.

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Sav taj jazz‘: Laku noć, jazzeri

Piše Marko Njegić
3. travnja 2023. - 23:32

Voljeti “Cabaret” je lako, ali osobno je “Sav taj jazz” (“All That Jazz”, 1979.) najveća ljubav kad je riječ o mjuziklima Boba Fossea i žanru općenito. “Sav taj jazz” je intimni favorit uz “Šerburške kišobrane” od starijih mjuzikala (“La La Land” i “Moulin Rouge” prednjače među novijima).

Inspiriran velikim filmom “Osam i pol” Federica Fellinija, Fosse je snimio najegzistencijalniji mjuzikl u povijesti, ali koreografski poletan i spektakularan, prepun režijskih pirueta. Pronašavši se u liku Fellinijeva filmaškog alter ega u krizi srednjih godina iz “8 ½”, Fosse je njegova metafilmska egzistencijalna i umjetnička preispitivanja preselio na Broadway i načinio svojim u ovoj savršenoj autobiografskoj mješavini arta i entertainmenta.

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20. svibanj 2024 00:35