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Anarhičan nerv Johna Landisa iz komedija “Zvjerinjak” i “Braća Blues” primjetan je i u njegovu transžanrovskom filmu “Američki vukodlak u Londonu” (“An American Werewolf In London”, 1981.). Naime, Landis prilično nepredvidljivo spaja horor i humor, što dotad nije bio odveć čest spoj, posebice ne u popularnom podžanru filmova o vukodlacima; “Vukodlak među nama” dogodio se 30 godina kasnije.

“Američkom vukodlaku u Londonu” neposredno su prethodili “Zavijanje” Joea Dantea (“Gremlini”) i “Vukovi” Michaela Wadleigha (“Woodstock”), no nijedan od njih nije se drznuo skrenuti u komediju i satiru. A Landis je napravio upravo to, ali na način da humor nije otupio oštre očnjake strave, koliko god da mješavina horora i komedije nije baš uvijek ujednačena.

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FILM: An American Werewolf In London; horor komedija; SAD, 1981. REŽIJA: John Landis ULOGE: David Naughton, Jenny Agutter OCJENA: ****

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S “An American Werewolf In London” Landis je snimio nešto drukčiji vukodlački film i izveo postmoderno-samosvjesni “update” 40 godina starijeg klasika “The Wolfman Man” Georgea Waggnera s Lonom Chaneyjem u glavnoj ulozi. Waggnerov film se čak i spominje u “Američkom vukodlaku u Londonu”.

”Jesi li ikad gledala ‘Vukodlaka’? Bela Lugosi ugrize Lona Chaneyja i pretvori ga u vukodlaka”, američki student David Kessler (David Naughton) podsjeća londonsku medicinsku sestru Alex Price (Jenny Agutter) nakon što je slična zvijer zaskočila njega i prijatelja Jacka Goodmana (Griffin Dunne) negdje u sjevernoengleskoj divljini usred ničega.

Prije bliskog susreta vukodlačke vrste David i Jack su na “backpackerskom” izletu naletjeli na malo selo i ušli u pub ominozna naziva “Slaughtered Lamb” (“Zaklano janje”). Lokalci su ih ošinuli pogledom kao prilikom sličnih ulazaka stranaca u “saloon” u vesternima, posebice kad se Jack nespretno našalio glede Alama i upitao šankericu u vezi pentagramske zvijezde na zidu, znaka vukodlaka prema Lonu Chaneyju, kako su se njih dvojica prethodno sjetili u prvoj referenciji na klasik iz 1941. godine.

Tenzije sugeriraju nasilje, ali do toga ne dolazi, niti će Amerikanci odsjesti u selu, ugrijati se pored vatre i onda postati žrtve domaćina kao u filmovima o Drakuli. Ne, “Američki vukodlak u Londonu” izvrće taj vampirsko-hororski klišej i prijatelji su izbačeni iz puba i uopće sela uz upozorenje “Držite se ceste” i “Čuvajte se Mjeseca”.

Sveprisutno zavijanje u daljini i pun Mjesec iznad njih zlokobni su znakovi koji se i ostvaruju u napadu vukodlaka kad se one tenzije iz puba nastave zatezati i konačno dođu na naplatu. Iako se čini da će obojica nekako preživjeti napad (kvragu, tek je početak filma i oni su profilirani kao glavni likovi), Jack je brutalno izmasakriran, a Davida je zvijer ugrizla i propustila kroz kandže, što shvaćamo kad se probudi u londonskoj bolnici sav u ogrebotinama, jer vukodlak pojavno boravi izvan kadra da strah od nepoznatog bude veći.

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Nije to nova taktika strašenja, viđena nekoliko godina ranije u “Raljama” i “Alienu”, no Landisov film je čak i za njihove pojmove otkrivanja monstruma strpljivo čekao da gotovo punih sat vremena 97-minutna filma otkuca do Davidove transformacije u vukodlaka.

Ključna scena se prolongira da gledatelj može upoznati Davida i ponadati se (romansa s Alex kao tračak nade) kako će možda uspjeti izbjeći neizbježnu sudbinu pojavom idućeg punog Mjeseca, na što ga upozorava pokojni prijatelj, ukazujući se pred njegovim očima u zombificiranom izdanju kao “hodajuća mesna štruca” i predlažući mu da oduzme sebi život prije nego što to počne raditi drugima. Naravno, David mu ne vjeruje, jednako kao što njegovim pričama o vukodlaku ne vjeruju ni drugi (“Da postoji čudovište, vidjeli bismo ga na TV-u”).

Do krucijalne scene, pored pupanja romanse ljepotice i zvijeri, Jackovih ukazanja na razmeđi crnog humora i horora (Dunneova priprema za Scorseseovu “Idiotsku noć”) i ironične uporabe pjesama (“Blue Moon”, “Bad Moon Rising”...), Landis orkestrira nekoliko dojmljivih nadrealnih trenutaka Davidova buđenja unutarnjeg vukodlaka u sebi, prema kojima slični momenti s Jackom Nicholsonom u 13 godina mlađem “Vuku” Mikea Nicholsa djeluju kao teški realizam.

Naročito su impresivne košmarne scene kad David usne akcijsko-hororski san s nekakvim naci-monstrumima naoružanim uzijima koji ubijaju neku obitelj tijekom gledanja “Muppet Showa”. U jednom času izgleda da se David probudio iz sna, ali ispada da je još uvijek zarobljen unutar noćne more.

Koncept san unutar sna, tj. snomorica unutar snomorice, bio je tada nešto novo u hollywoodskoj žanrovskoj produkciji koju će potencirati “Strava u Ulici brijestova”, “Potpuno sjećanje” i “Inception”, a ovdje se fino slaže sa žanrovskom i inom dualnosti filma (eksterno-interno, čovjek-zvijer...). No, to nije jedina novina koju je uveo “An American Werewolf In London”.

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Film je u sceni Davidove transformacije u vukodlaka postavio “template” za kombinaciju maske/prostetike i praktičnih specijalnih efekata, za što je Rick Baker zasluženo osvojio prijelomnog Oscara i otvorio put za slične vizualne trikove u “Stvoru”, “Legendi”, “Muhi”, “RoboCopu”, “Willowu”..., pa i videospotu “Thriller” Michaela Jacksona.

Scena je uznemirujući “body horror” prve vrste i bila je jedna od najvećih noćnih mora generaciji osamdesetih, a još uvijek umije postići traženi učinak opipljivo grotesknom tjelesnošću, suprotno računalno generiranim efektima u vukodlačkom serijalu “Underworld”. Metamorfoza je prikazana bolno detaljno: mijenja se svaki Davidov dio tijela, izdužuju mu se se prsti i stopala, rapidno rastu zubi, kandže i dlake, deformira lice i glava, sve uz jezive krikove i zvukove krckanja kostiju.

Takav, u vukodlačkom obličju, David će iza sebe ostaviti krvavi trag po londonskim ulicama, doslovno u završnici s “bluesbrotherovskim” prometnim kaosom na Piccadilly Circusu s nizom sudara i tijelima koja prolijeću kroz vjetrobranska stakla autobusa na kat i automobila, bivaju pregažena itd.

Zanimljivo, u hororski najimpresivnijoj sceni Davidovih “mesožderskih lunarnih aktivnosti”, lova na biznismena kroz koridore podzemne na stanici Tottenham Court Road, nema ni kapi krvi, ali ima mrva humora. Humor je suptilno uveden u biznismenovim reakcijama na režanje iz tunela (“Nismo zabavljeni”, “Zvat ću policiju”), kao i u post-festum sceni kad se nagi David probudi u ZOO-u poput životinje, taman da šokira “civilizirane” Britance, istovremeno konzervativne i pasivno agresivne spram stranaca.

Možda baš zato Landis smješta subverzivan klimaks postmodernih senzibiliteta i frojdovskog podteksta u (porno) kino na Piccadillyju, kao preteču metafilmskih horora u “Demonima” i “Vrisku 2”. Povezujući pornić i horor, David se pretvara u vukodlaka dok se na ekranu vrti “film za odrasle”. Freud bi volio “Američkog vukodlaka u Londonu”.

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Landis režirao i porno film unutar filma

Pornić u filmu naslovljen "See You Next Wednesday" snimio je Landis osobno, a redatelj je razmatrao i da završnica bude ambijentirana u kino puno djece.

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Anarhičan nerv Johna Landisa iz komedija “Zvjerinjak” i “Braća Blues” primjetan je i u njegovu transžanrovskom filmu “Američki vukodlak u Londonu” (“An American Werewolf In London”, 1981.). Naime, Landis prilično nepredvidljivo spaja horor i humor, što dotad nije bio odveć čest spoj, posebice ne u popularnom podžanru filmova o vukodlacima; “Vukodlak među nama” dogodio se 30 godina kasnije.

“Američkom vukodlaku u Londonu” neposredno su prethodili “Zavijanje” Joea Dantea (“Gremlini”) i “Vukovi” Michaela Wadleigha (“Woodstock”), no nijedan od njih nije se drznuo skrenuti u komediju i satiru. A Landis je napravio upravo to, ali na način da humor nije otupio oštre očnjake strave, koliko god da mješavina horora i komedije nije baš uvijek ujednačena.

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FILM: An American Werewolf In London; horor komedija; SAD, 1981. REŽIJA: John Landis ULOGE: David Naughton, Jenny Agutter OCJENA: ****

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S “An American Werewolf In London” Landis je snimio nešto drukčiji vukodlački film i izveo postmoderno-samosvjesni “update” 40 godina starijeg klasika “The Wolfman Man” Georgea Waggnera s Lonom Chaneyjem u glavnoj ulozi. Waggnerov film se čak i spominje u “Američkom vukodlaku u Londonu”.

”Jesi li ikad gledala ‘Vukodlaka’? Bela Lugosi ugrize Lona Chaneyja i pretvori ga u vukodlaka”, američki student David Kessler (David Naughton) podsjeća londonsku medicinsku sestru Alex Price (Jenny Agutter) nakon što je slična zvijer zaskočila njega i prijatelja Jacka Goodmana (Griffin Dunne) negdje u sjevernoengleskoj divljini usred ničega.

Prije bliskog susreta vukodlačke vrste David i Jack su na “backpackerskom” izletu naletjeli na malo selo i ušli u pub ominozna naziva “Slaughtered Lamb” (“Zaklano janje”). Lokalci su ih ošinuli pogledom kao prilikom sličnih ulazaka stranaca u “saloon” u vesternima, posebice kad se Jack nespretno našalio glede Alama i upitao šankericu u vezi pentagramske zvijezde na zidu, znaka vukodlaka prema Lonu Chaneyju, kako su se njih dvojica prethodno sjetili u prvoj referenciji na klasik iz 1941. godine.

Tenzije sugeriraju nasilje, ali do toga ne dolazi, niti će Amerikanci odsjesti u selu, ugrijati se pored vatre i onda postati žrtve domaćina kao u filmovima o Drakuli. Ne, “Američki vukodlak u Londonu” izvrće taj vampirsko-hororski klišej i prijatelji su izbačeni iz puba i uopće sela uz upozorenje “Držite se ceste” i “Čuvajte se Mjeseca”.

Sveprisutno zavijanje u daljini i pun Mjesec iznad njih zlokobni su znakovi koji se i ostvaruju u napadu vukodlaka kad se one tenzije iz puba nastave zatezati i konačno dođu na naplatu. Iako se čini da će obojica nekako preživjeti napad (kvragu, tek je početak filma i oni su profilirani kao glavni likovi), Jack je brutalno izmasakriran, a Davida je zvijer ugrizla i propustila kroz kandže, što shvaćamo kad se probudi u londonskoj bolnici sav u ogrebotinama, jer vukodlak pojavno boravi izvan kadra da strah od nepoznatog bude veći.

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Nije to nova taktika strašenja, viđena nekoliko godina ranije u “Raljama” i “Alienu”, no Landisov film je čak i za njihove pojmove otkrivanja monstruma strpljivo čekao da gotovo punih sat vremena 97-minutna filma otkuca do Davidove transformacije u vukodlaka.

Ključna scena se prolongira da gledatelj može upoznati Davida i ponadati se (romansa s Alex kao tračak nade) kako će možda uspjeti izbjeći neizbježnu sudbinu pojavom idućeg punog Mjeseca, na što ga upozorava pokojni prijatelj, ukazujući se pred njegovim očima u zombificiranom izdanju kao “hodajuća mesna štruca” i predlažući mu da oduzme sebi život prije nego što to počne raditi drugima. Naravno, David mu ne vjeruje, jednako kao što njegovim pričama o vukodlaku ne vjeruju ni drugi (“Da postoji čudovište, vidjeli bismo ga na TV-u”).

Do krucijalne scene, pored pupanja romanse ljepotice i zvijeri, Jackovih ukazanja na razmeđi crnog humora i horora (Dunneova priprema za Scorseseovu “Idiotsku noć”) i ironične uporabe pjesama (“Blue Moon”, “Bad Moon Rising”...), Landis orkestrira nekoliko dojmljivih nadrealnih trenutaka Davidova buđenja unutarnjeg vukodlaka u sebi, prema kojima slični momenti s Jackom Nicholsonom u 13 godina mlađem “Vuku” Mikea Nicholsa djeluju kao teški realizam.

Naročito su impresivne košmarne scene kad David usne akcijsko-hororski san s nekakvim naci-monstrumima naoružanim uzijima koji ubijaju neku obitelj tijekom gledanja “Muppet Showa”. U jednom času izgleda da se David probudio iz sna, ali ispada da je još uvijek zarobljen unutar noćne more.

Koncept san unutar sna, tj. snomorica unutar snomorice, bio je tada nešto novo u hollywoodskoj žanrovskoj produkciji koju će potencirati “Strava u Ulici brijestova”, “Potpuno sjećanje” i “Inception”, a ovdje se fino slaže sa žanrovskom i inom dualnosti filma (eksterno-interno, čovjek-zvijer...). No, to nije jedina novina koju je uveo “An American Werewolf In London”.

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Film je u sceni Davidove transformacije u vukodlaka postavio “template” za kombinaciju maske/prostetike i praktičnih specijalnih efekata, za što je Rick Baker zasluženo osvojio prijelomnog Oscara i otvorio put za slične vizualne trikove u “Stvoru”, “Legendi”, “Muhi”, “RoboCopu”, “Willowu”..., pa i videospotu “Thriller” Michaela Jacksona.

Scena je uznemirujući “body horror” prve vrste i bila je jedna od najvećih noćnih mora generaciji osamdesetih, a još uvijek umije postići traženi učinak opipljivo grotesknom tjelesnošću, suprotno računalno generiranim efektima u vukodlačkom serijalu “Underworld”. Metamorfoza je prikazana bolno detaljno: mijenja se svaki Davidov dio tijela, izdužuju mu se se prsti i stopala, rapidno rastu zubi, kandže i dlake, deformira lice i glava, sve uz jezive krikove i zvukove krckanja kostiju.

Takav, u vukodlačkom obličju, David će iza sebe ostaviti krvavi trag po londonskim ulicama, doslovno u završnici s “bluesbrotherovskim” prometnim kaosom na Piccadilly Circusu s nizom sudara i tijelima koja prolijeću kroz vjetrobranska stakla autobusa na kat i automobila, bivaju pregažena itd.

Zanimljivo, u hororski najimpresivnijoj sceni Davidovih “mesožderskih lunarnih aktivnosti”, lova na biznismena kroz koridore podzemne na stanici Tottenham Court Road, nema ni kapi krvi, ali ima mrva humora. Humor je suptilno uveden u biznismenovim reakcijama na režanje iz tunela (“Nismo zabavljeni”, “Zvat ću policiju”), kao i u post-festum sceni kad se nagi David probudi u ZOO-u poput životinje, taman da šokira “civilizirane” Britance, istovremeno konzervativne i pasivno agresivne spram stranaca.

Možda baš zato Landis smješta subverzivan klimaks postmodernih senzibiliteta i frojdovskog podteksta u (porno) kino na Piccadillyju, kao preteču metafilmskih horora u “Demonima” i “Vrisku 2”. Povezujući pornić i horor, David se pretvara u vukodlaka dok se na ekranu vrti “film za odrasle”. Freud bi volio “Američkog vukodlaka u Londonu”.

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Landis režirao i porno film unutar filma

Pornić u filmu naslovljen "See You Next Wednesday" snimio je Landis osobno, a redatelj je razmatrao i da završnica bude ambijentirana u kino puno djece.

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Nz/Collection Christophel Via Afp Lyncanthrope Films/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Lyncanthrope Films/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Lyncanthrope Films/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp Polygram Pictures - Lyncanthrope/Collection Christophel Via Afp
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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Američki vukodlak u Londonu‘: Vuk dlaku mijenja, ali i ćud nekada

Piše Marko Njegić
19. siječnja 2023. - 23:45
24149427
PREMIUM
Galerija
Nz/Collection Christophel Via Afp

Anarhičan nerv Johna Landisa iz komedija “Zvjerinjak” i “Braća Blues” primjetan je i u njegovu transžanrovskom filmu “Američki vukodlak u Londonu” (“An American Werewolf In London”, 1981.). Naime, Landis prilično nepredvidljivo spaja horor i humor, što dotad nije bio odveć čest spoj, posebice ne u popularnom podžanru filmova o vukodlacima; “Vukodlak među nama” dogodio se 30 godina kasnije.

“Američkom vukodlaku u Londonu” neposredno su prethodili “Zavijanje” Joea Dantea (“Gremlini”) i “Vukovi” Michaela Wadleigha (“Woodstock”), no nijedan od njih nije se drznuo skrenuti u komediju i satiru. A Landis je napravio upravo to, ali na način da humor nije otupio oštre očnjake strave, koliko god da mješavina horora i komedije nije baš uvijek ujednače...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#HOROR KOMEDIJE#FILMOVI 80-IH#JOHN LANDIS#FILMOVI O VUKODLACIMA#GRIFFIN DUNE#DAVID NAUGHTON#JENNY AGUTTER#HORORI
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16. svibanj 2024 08:53