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Ljubili su se noir i horor od davnih dana kinematografije. Oba žanra pristaju jedan drugome i međusobno se nadopunjuju. Potječu od njemačkog ekspresionističkog filma dvadesetih, prate moralno dvojbene likove na putu u propast i počivaju na mračnoj atmosferi, napetosti i misteriju, tj. cinizmu i/li pesimizmu kao ehu Prvog i Drugog svjetskog rata.

Noir i horor ljubio se u filmovima poput nedavno rimejkane “Ulice noćnih mora”, pa i “Psiha”, koji je započeo kao noirovski krimi-triler i pretvorio se u preteču hororskog “slashera”. Međutim, nikad taj transžanrovski poljubac nije bio strastan kao u “Anđeoskom srcu” (“Angel Heart, 1987.).

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FILM: Angel Heart; horor triler; SAD, 1987. REŽIJA: Alan Parker ULOGE: Mickey Rourke, Robert De Niro OCJENA: *****

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Izvrstan noir horor još je uvijek pomalo opskuran u očima šire publike i u kolektivnom sjećanju najviše zapamćen po tome da je Robert De Niro glumio vraga glavom i bradom Martina Scorsesea, deset godina prije konkurenta Ala Pacina u popularnijem “Đavoljem odvjetniku”. “Anđeosko srce” je zamaglilo granicu noira i horora toliko da su žanrovi jedno i gotovo ih je nemoguće razlikovati. Film je vrhunac (neo)noir horora ili hororskog (neo)noira. U srcu njegova noira kuca horor i obrnuto.

Ekranizirajući roman Williama Hjortsberga “Falling Angel”, žanrovski svestrani filmaš Alan Parker (“Ponoćni ekspres”, “Mississippi u plamenu”, “Rokeri iz prkosa”) “ubio” je dva-tri žanra jednim udarcem. Parker spaja Chandlera i Fausta, tvrdokuhani detektivski noir sa psihološko-nadnaravnim, okultnim hororom đavolje vrste.

“Hardboiled” noir i okultni horor su kao prst i sotonski nokat u sceni kad se privatni detektiv Harry Angel (fenomenalni Mickey Rourke u vjerojatnoj ulozi karijere do “Hrvača”) sastane s vražjim aristrokratskim klijentom Louisom Cyphreom (De Niro) u nekom newyorškom restoranu.

U toj sceni Sam Spade sreće Sotonu u prijeteće suptilnom tumačenju De Nira, koji se za svoju ulogu bez povišenih tonova, krajnje suprotnu Pacinu, onoliko koliko su bile suprotne njihove izvedbe u “Vrućini”, nadahnuo imidžom svog omiljenog redatelja Scorsesea. Ispred Cyphrea nalazi se zdjela s tvrdokuhanim jajima.

Cyphre uzima jedno jaje i počne polako i iznimno precizno guliti njegovu ljusku prstima s dugim, oštrim noktima, usput razgovarajući s Angelom. ”Neke religije smatraju da je jaje simbol duše”, Cyphre kaže Angelu. “Želite li jaje?” pita Cyphre. Kad Angel odbije, alergičan na kokoši, Cyphre zagrize jaje i počne ga jesti kao da jede dušu detektiva.

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Duša je središnja tema filma nastala u produkciji legendarne kompanije Carolco. “Angel Heart” je horor-triler o prodavanju i preispitivanju svoje duše, pokušaju traženja samoga sebe nakon što se izgubiš. Slučaj nestale osobe pokreće priču filma ambijentiranog u 1955. godinu.

Detektiv je angažiran na tom slučaju i angažirao ga je upravo misteriozni Cyphre (“To je strano ime?”) da za 5000 dolara pronađe nestalog pjevača Johnnyja Fontainea, popularnog prije rata, kojemu je on “pomogao na početku karijere”, ali ovaj nije ispoštovao sklopljeni ugovor. Kokretno, Cyphrea zanima je li Johnny živ ili mrtav nakon što je bio ozlijeđen u Drugom svjetskom ratu i hospitaliziran.

Istraga se isprva čini standardna detektivska/noirovska po mjeri Chandlera, a kad njuškanje odvede Angela iz New Yorka u New Orleans, chandlerovski detektiv shvaća da ima posla s vuduom kao James Bond u “Živi i pusti umrijeti”. Tijekom košmarne odiseje u potrazi za Fontaineom, nestalim prije 12 godina, detektiv plaćen da njuška svaki je korak bliže paklu prilikom susreta s vudistima, vračarama, “hokus-pokus kučkama”, čaranjima, bacanjem uroka i čini, crnom magijom.

Kokošja noga u zahodu prvi je znak da će smrt slijediti detektiva u stopu ravno do pakla, a stvari odlaze kvragu kad Angel počne nailaziti na grozomorne leševe ljudi od kojih se netom prije informirao o Johnnyju i za što on sam, da stvar bude gora, postaje glavni osumnjičeni, od Fontaineove ljubavnice Margaret Krusemark (Charlotte Rampling) pronađene izvađenog srca, do blues-glazbenika Tootsa Sweeta (Brownie McGhee) ugušena “dijelom tijela namijenjenim za pišanje”.

Dijalog odgovara “pulp” misteriju iz vremena kad se odvija radnja filma. “Samo policija i loše vijesti ne kucaju”, kaže Angel, punokrvni detektiv iz noira koji znade kresnuti šibicu o pokojnikove cipele da zapali cigaretu. Atmosfera je nepogrešivo noirovska, sumorna, s izblijedjelim, zamagljenim bojama u fotografiji Michaela Seresina (“Opasna šifra”, “Planet majmuna: Rat”).

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“Angel Heart” bi bio mrak i u crno-bijeloj tehnici s obzirom na ekspresionistička poigravanja svjetlima i sjenama u pojedinim scenama nalik “Kabinetu doktora Caligarija” Roberta Wienea. No, u tom slučaju ne bi bila jednako efektna zloglasna sekvencija filma, krvava (seks) kupka zbog koje je film dobio predikat “X” kao npr. “Paklena naranča” i “Kanibalski holokaust”.

Podsjetimo, Angel vodi ljubav sa 17-godišnjom Epiphany Proudfoot (Lisa Bonet), Fontaineovom kćerkom, par dana nakon što ju je vidio kako izvodi vudu ritual, ubija pijetla i podiže ga visoko u zrak dok joj krv pernate životinje kapa po licu i grudima. Erotski intenzivna i hororski uznemirujuća scena odvija se u Angelovoj trošnoj hotelskoj sobi za vrijeme nevere.

Kiša prokišnjava sa stropa i pretvara se u krv, pljušteći crvenu boju po nagim tijelima ljubavnika koji izgledaju poput para vampira. Lako je zamisliti crno-bijeli film s fleševima crvene krvi a la “Sin City” (Rourke kao poveznica), no “Anđeosko srce” je već dovoljno stilizirano u prelascima iz noira u horor i natrag.

Estetika je iznimno ugođajna u srastanju dvojnih žanrova. Ominozni kadrovi zavojitih stuba, zatvaranja željeznih vrata što bacaju noirovsku sjenu na zidove, ventilatora koji se sporo vrte kao da gube zrak, starih liftova na putu prema dolje (silazak u pakao)... isprepleću se s glasnim zvukom kucanja srca na atmosferičnom soundtracku Trevora Jonesa (“Pomahnitali vlak”, “Labirint”, “Posljednji Mohikanac”).

Zlokobnom osjećaju kumuju i vizije ili flešbekovi okupljanja vojnika-povratnika na dočeku Nove 1943. godine. Parker sije (vizualne) tragove sotonskog rebusa filma, ali ako je i bez prethodnog znanja lako shvatiti da je Louis Cyphre zapravo Lucifer, pravu (i užasavajuću) prirodu Angelove istrage prilično je teško detektirati na prvo gledanje do dijaboličnog finala. Šokantno-preokretna završnica odigrana je u predvorju pakla, gdje sjenoviti noir zauvijek postaje jezoviti horor.

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Lisa izazvala kontroverze

Mickey Rourke je u vrijeme "Anđeoskog srca" postao velika zvijezda ("Devet i pol tjedana") i to mu je bio jedan od tri filma iz 1987. ("Barfly", "A Prayer For The Dying"). Lisa Bonet je dotad bila poznata po humorističnoj TV seriji "Cosby Show" i ulozi krajnje suprotnoj ovoj u "Anđeoskom srcu" s kojom je navukla bijes svog serijskog oca Billa Codbyja.

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Ljubili su se noir i horor od davnih dana kinematografije. Oba žanra pristaju jedan drugome i međusobno se nadopunjuju. Potječu od njemačkog ekspresionističkog filma dvadesetih, prate moralno dvojbene likove na putu u propast i počivaju na mračnoj atmosferi, napetosti i misteriju, tj. cinizmu i/li pesimizmu kao ehu Prvog i Drugog svjetskog rata.

Noir i horor ljubio se u filmovima poput nedavno rimejkane “Ulice noćnih mora”, pa i “Psiha”, koji je započeo kao noirovski krimi-triler i pretvorio se u preteču hororskog “slashera”. Međutim, nikad taj transžanrovski poljubac nije bio strastan kao u “Anđeoskom srcu” (“Angel Heart, 1987.).

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FILM: Angel Heart; horor triler; SAD, 1987. REŽIJA: Alan Parker ULOGE: Mickey Rourke, Robert De Niro OCJENA: *****

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Izvrstan noir horor još je uvijek pomalo opskuran u očima šire publike i u kolektivnom sjećanju najviše zapamćen po tome da je Robert De Niro glumio vraga glavom i bradom Martina Scorsesea, deset godina prije konkurenta Ala Pacina u popularnijem “Đavoljem odvjetniku”. “Anđeosko srce” je zamaglilo granicu noira i horora toliko da su žanrovi jedno i gotovo ih je nemoguće razlikovati. Film je vrhunac (neo)noir horora ili hororskog (neo)noira. U srcu njegova noira kuca horor i obrnuto.

Ekranizirajući roman Williama Hjortsberga “Falling Angel”, žanrovski svestrani filmaš Alan Parker (“Ponoćni ekspres”, “Mississippi u plamenu”, “Rokeri iz prkosa”) “ubio” je dva-tri žanra jednim udarcem. Parker spaja Chandlera i Fausta, tvrdokuhani detektivski noir sa psihološko-nadnaravnim, okultnim hororom đavolje vrste.

“Hardboiled” noir i okultni horor su kao prst i sotonski nokat u sceni kad se privatni detektiv Harry Angel (fenomenalni Mickey Rourke u vjerojatnoj ulozi karijere do “Hrvača”) sastane s vražjim aristrokratskim klijentom Louisom Cyphreom (De Niro) u nekom newyorškom restoranu.

U toj sceni Sam Spade sreće Sotonu u prijeteće suptilnom tumačenju De Nira, koji se za svoju ulogu bez povišenih tonova, krajnje suprotnu Pacinu, onoliko koliko su bile suprotne njihove izvedbe u “Vrućini”, nadahnuo imidžom svog omiljenog redatelja Scorsesea. Ispred Cyphrea nalazi se zdjela s tvrdokuhanim jajima.

Cyphre uzima jedno jaje i počne polako i iznimno precizno guliti njegovu ljusku prstima s dugim, oštrim noktima, usput razgovarajući s Angelom. ”Neke religije smatraju da je jaje simbol duše”, Cyphre kaže Angelu. “Želite li jaje?” pita Cyphre. Kad Angel odbije, alergičan na kokoši, Cyphre zagrize jaje i počne ga jesti kao da jede dušu detektiva.

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Duša je središnja tema filma nastala u produkciji legendarne kompanije Carolco. “Angel Heart” je horor-triler o prodavanju i preispitivanju svoje duše, pokušaju traženja samoga sebe nakon što se izgubiš. Slučaj nestale osobe pokreće priču filma ambijentiranog u 1955. godinu.

Detektiv je angažiran na tom slučaju i angažirao ga je upravo misteriozni Cyphre (“To je strano ime?”) da za 5000 dolara pronađe nestalog pjevača Johnnyja Fontainea, popularnog prije rata, kojemu je on “pomogao na početku karijere”, ali ovaj nije ispoštovao sklopljeni ugovor. Kokretno, Cyphrea zanima je li Johnny živ ili mrtav nakon što je bio ozlijeđen u Drugom svjetskom ratu i hospitaliziran.

Istraga se isprva čini standardna detektivska/noirovska po mjeri Chandlera, a kad njuškanje odvede Angela iz New Yorka u New Orleans, chandlerovski detektiv shvaća da ima posla s vuduom kao James Bond u “Živi i pusti umrijeti”. Tijekom košmarne odiseje u potrazi za Fontaineom, nestalim prije 12 godina, detektiv plaćen da njuška svaki je korak bliže paklu prilikom susreta s vudistima, vračarama, “hokus-pokus kučkama”, čaranjima, bacanjem uroka i čini, crnom magijom.

Kokošja noga u zahodu prvi je znak da će smrt slijediti detektiva u stopu ravno do pakla, a stvari odlaze kvragu kad Angel počne nailaziti na grozomorne leševe ljudi od kojih se netom prije informirao o Johnnyju i za što on sam, da stvar bude gora, postaje glavni osumnjičeni, od Fontaineove ljubavnice Margaret Krusemark (Charlotte Rampling) pronađene izvađenog srca, do blues-glazbenika Tootsa Sweeta (Brownie McGhee) ugušena “dijelom tijela namijenjenim za pišanje”.

Dijalog odgovara “pulp” misteriju iz vremena kad se odvija radnja filma. “Samo policija i loše vijesti ne kucaju”, kaže Angel, punokrvni detektiv iz noira koji znade kresnuti šibicu o pokojnikove cipele da zapali cigaretu. Atmosfera je nepogrešivo noirovska, sumorna, s izblijedjelim, zamagljenim bojama u fotografiji Michaela Seresina (“Opasna šifra”, “Planet majmuna: Rat”).

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“Angel Heart” bi bio mrak i u crno-bijeloj tehnici s obzirom na ekspresionistička poigravanja svjetlima i sjenama u pojedinim scenama nalik “Kabinetu doktora Caligarija” Roberta Wienea. No, u tom slučaju ne bi bila jednako efektna zloglasna sekvencija filma, krvava (seks) kupka zbog koje je film dobio predikat “X” kao npr. “Paklena naranča” i “Kanibalski holokaust”.

Podsjetimo, Angel vodi ljubav sa 17-godišnjom Epiphany Proudfoot (Lisa Bonet), Fontaineovom kćerkom, par dana nakon što ju je vidio kako izvodi vudu ritual, ubija pijetla i podiže ga visoko u zrak dok joj krv pernate životinje kapa po licu i grudima. Erotski intenzivna i hororski uznemirujuća scena odvija se u Angelovoj trošnoj hotelskoj sobi za vrijeme nevere.

Kiša prokišnjava sa stropa i pretvara se u krv, pljušteći crvenu boju po nagim tijelima ljubavnika koji izgledaju poput para vampira. Lako je zamisliti crno-bijeli film s fleševima crvene krvi a la “Sin City” (Rourke kao poveznica), no “Anđeosko srce” je već dovoljno stilizirano u prelascima iz noira u horor i natrag.

Estetika je iznimno ugođajna u srastanju dvojnih žanrova. Ominozni kadrovi zavojitih stuba, zatvaranja željeznih vrata što bacaju noirovsku sjenu na zidove, ventilatora koji se sporo vrte kao da gube zrak, starih liftova na putu prema dolje (silazak u pakao)... isprepleću se s glasnim zvukom kucanja srca na atmosferičnom soundtracku Trevora Jonesa (“Pomahnitali vlak”, “Labirint”, “Posljednji Mohikanac”).

Zlokobnom osjećaju kumuju i vizije ili flešbekovi okupljanja vojnika-povratnika na dočeku Nove 1943. godine. Parker sije (vizualne) tragove sotonskog rebusa filma, ali ako je i bez prethodnog znanja lako shvatiti da je Louis Cyphre zapravo Lucifer, pravu (i užasavajuću) prirodu Angelove istrage prilično je teško detektirati na prvo gledanje do dijaboličnog finala. Šokantno-preokretna završnica odigrana je u predvorju pakla, gdje sjenoviti noir zauvijek postaje jezoviti horor.

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Lisa izazvala kontroverze

Mickey Rourke je u vrijeme "Anđeoskog srca" postao velika zvijezda ("Devet i pol tjedana") i to mu je bio jedan od tri filma iz 1987. ("Barfly", "A Prayer For The Dying"). Lisa Bonet je dotad bila poznata po humorističnoj TV seriji "Cosby Show" i ulozi krajnje suprotnoj ovoj u "Anđeoskom srcu" s kojom je navukla bijes svog serijskog oca Billa Codbyja.

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Film & TVCINEMARK OBLJETNICA

‘Anđeosko srce‘: Vrag nosi bradu Martina Scorsesea

Piše Marko Njegić
16. listopada 2022. - 19:56
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Ljubili su se noir i horor od davnih dana kinematografije. Oba žanra pristaju jedan drugome i međusobno se nadopunjuju. Potječu od njemačkog ekspresionističkog filma dvadesetih, prate moralno dvojbene likove na putu u propast i počivaju na mračnoj atmosferi, napetosti i misteriju, tj. cinizmu i/li pesimizmu kao ehu Prvog i Drugog svjetskog rata.

Noir i horor ljubio se u filmovima poput nedavno rimejkane “Ulice noćnih mora”, pa i “Psiha”, koji je započeo kao noirovski krimi-triler i pretvorio se u preteču hororskog “slashera”. Međutim, nikad taj transžanrovski poljubac nije bio strastan kao u “Anđeoskom srcu” (“Angel Heart, 1987.).

Izvrstan noir horor još je uvijek pomalo opskuran u očima šire publike i u kolektivnom sjećanju najviše zapamćen po tome da je ...

#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 80-IH#HOROR TRILERI#NOIR FILMOVI#HORORI#KULTNI FILMOVI#MICKEY ROURKE#ROBERT DE NIRO#ALAN PARKER#LISA BONET#CHARLOTTE RAMPLING
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12. svibanj 2024 12:54