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Palac gore podižemo visoko do neba za neprežaljenog Rutgera Hauera. S palcem podignutim gore prizivamo i njegova nezaboravnog lika Johna Rydera iz "Autostopera" (1986.). "The Hitcher" režisera Roberta Harmona ("Usamljeni zaštitnik") i scenarista Erica Reda ("Blizu tame") netom je obilježio 35. godišnjicu od kinopremijere, a Hauer bi ove subote slavio 77. rođendan.

Sve to nalaže da se prisjetimo dragog nizozemskog glumca i jednog od najkultnijih kultnih filmova osamdesetih uz Redov "Near Dark", svojedobno veoma traženog u domaćim videotekama. Svatko Hauera pamti po divnom filozofskom "suze na kiši" monologu iz "Istrebljivača".

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FILM: The Hitcher; akcijski horor triler; SAD, 1986. REŽIJA: Robert Harmon ULOGE: Rutger Hauer, C. Thomas Howell OCJENA: ****

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No, "Autostoper" je za Hauerove fanove približno slavan kao "Blade Runner", omogućivši njegovu drugu najbolju ulogu u (američkoj) karijeri.

John Ryder je u finoj dihotomiji s Royom Battyjem, negativcem iz "Istrebljivača". Batty je više antagonist nego zlikovac, umjetno stvoreni replikant koji do kraja filma i monologa s bijelom golubicom mira u ruci postaje humaniji od čovjeka.

Ryder je njegova sušta suprotnost, čovjek, ali do odjavne špice sve nečovječniji i držao bi crnu vranu u ruci da se odlučio na neki monolog. On je umjetna tvorevina darovitog scenarista Reda (pisao scenarij slušajući Doorse i "Riders On The Storm"), oživljena zahvaljujući Haueru tako da može biti serijski ubojica od krvi i mesa, pa i i(s)konski mit, buduća urbana legenda, utjelovljenje samog vraga, sile natprirode ili zlikovca iz noćne more, Terminatora koji se ne zaustavlja u proganjanju žrtve.

Kritičari poput Rogera Eberta prigovarali su filmu "The Hitcher" u realnom vremenu zato što Ryder nije, recimo to tako, reprezent nekog egzaktnijeg "serial killera" iz "slasherskog" horor trilera, kao da on takav mora biti. Okej, Ryder je krvario, za razliku od zlikovaca "slashera" osamdesetih Michaela Myersa i Jasona Voorheesa, ali zar nije i Terminator kao njegova kiborška preteča?

Zar filmski negativac ne može biti enigmatičan, neobjašnjiv i apstraktan koliko god djelovao human, tj. kao običan čovjek? Jasno da može sjetimo li se Ryderova nasljednika Antona Chigurha iz "Nema zemlje za starce", ali ispada da njegov lik i (ne)djelo moraju imati kontekst, da nije dovoljan podtekst skriven ispod filma da ga gledatelj otkrije.

Onaj tko očekuje "logični" (horor) triler o serijskom ubojici, neće dići palac gore i krenuti u vožnju s "Autostoperom", naprotiv, dat će filmu "thumb(s) down" kao Ebert. Jer, logiku je "The Hitcher" pregazio na autocesti i vratio se još jednom u rikverc da je dokusuri.

Međutim, tko je spreman da film jurca u ritmu logike sna, odnosno snomorice, ustopirat će "Autostopera" i prepustiti se vožnji. Naime, "The Hitcher" se može shvatiti kao preslika košmara koji je usnuo mladi protagonist Jim Halsey (C. Thomas Howell) isporučujući automobil iz Chicaga u Kaliforniju u potrazi za boljim životom tamo.

Jim se bori sa snom dok vozi u sumrak usred ničega, prolazeći preko Teksasa, kroz mitski američki "frontier", njegove pustinje i planine. Snoliki ugođaj je efektno postavljen u uvodu filma. Šibica se pali i pali cigaretu. Sumrak. Oluja se skuplja na horizontu. Prolom oblaka. Kiša. Jahač(i) na oluji. Ryder(s) On The Storm.

U nekoliko navrata Jimu se sklapaju oči i on zamalo doživljava sudar. Je li zaspao i odsanjao film? Sve je moguće. "Autostoper" se odvija negdje u onda modernom Teksasu, ali djeluje kao da je izmješten iz stvarnog vremena i prostora u svijet košmara koji umorne oči mogu odsanjati vozeći se mračnom otvorenom cestom za nigdje, prolazeći pored opustjelih benzinskih postaja, restorana itd.

Svakako, ono što će Jim doživjeti kad otvori vrata autostoperu Ryderu tijesno graniči s noćnom morom, u stvari prelazi granicu između jave i sna. "Mama mi je rekla da nikad ne primam stopere", naivno će Jim, koji je htio pomoći čovjeku na kiši, a bio je i umoran od vožnje i mislio da će ga razgovor s nekim (o)držati budnim.

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Čovjek, Ryder, tvrdi da je ostao bez goriva, ali Jim ubrzo otkriva da nešto nije u redu kad počne ispitivati suvozača ("To me je pitao i onaj prije tebe"). Pitanja će, dakako, biti, jer Jim ih postavlja i u ime gledatelja, ali ne i jasnih odgovora. Kad Jim upita Rydera: "Zašto mi ovo radiš?", ovaj odgovara: "Pametan si ti, dokučit ćeš", a prethodno mu je rekao: "Hoću da me pokušaš zaustaviti".

Tko je Ryder i zašto slijedi Jima, podvrgavajući ga psihološko-fizičkoj igri morbidno-sadističke mačke i miša, ne zna se točno. I nije ga briga ako će ga (policija) uhvatiti. "Naravno, neka, pa što?", njegova je nihilističko-egzistencijalistička opaska. Kao da Ryder želi biti uhvaćen i zaustavljen u svojim zlodjelima koja su većinski verbalizirana i izostavljena u kadru, ostavljena prljavoj mašti gledatelja (rastezanje kamionom), s malo hororske eksplicitnosti (prst u pomfritu).

Ipak, prije toga, smisao njegova postojanja je zagorčati život Jimu, prateći ga u stopu poput onog kamiona (bez vozača) iz "Duela". Službeni prvijenac Stevena Spielberga je, pored Cameronova "Terminatora", najviše utjecao na "Hitchera". Harmonov film posjeduje njihovu "lean and mean" ekonomiju i energiju, pozicionirajući se transžanrovski kao "road movie" neovesternskog štiha, psihološki triler i akcijski horor u jednome.

Jennifer Jason Leigh je mlada Sarah Connor "Autostopera" u ulozi konobarice Nash; ona povjeruje Jimovoj nevjerojatnoj priči o tipu koji ga je jutros pokušao ubiti i odonda ga prati, podmećući mu njegova umorstva (krvavi nož u džepu), zbog čega nakratko i završava iza rešetaka.

Policajci se nalaze u potjeri za Nash i Jimom kao Connoricom i Kyleom Reeseom u nizu "duelovski" i "terminatorski" intenzivnih akcijskih scena u oku kamere budućeg oskarovca Johna Seala ("Svjedok", "Engleski pacijent"), koje bi se mogle naći i u "Pobješnjelom Maxu".

Briljantna je sekvencija kad dva policijska vozila opkole Jimov automobil i policajci se spremaju zapucati sačmaricama u njegove gume. U ključnom trenutku Jim stisne kočnicu i oni napucaju gume onog drugog, nakon čega auti naprave spektakularne piruete na cesti, a brza vožnja se načas uspori do "slow motiona" da scena bude što atraktivnija.

Malo poslije toga u akciju dolijeće helikopter koji će Ryder srušiti s neba ravno na cestu, tako da eksplodira i u njegovu buktinju se spektakularno zabije još poneko vozilo za kaznu što su policajci posumnjali da se nešto čudno zbiva između njega i Jima.

Povezanost među njima je svakako ambivalentna, rubno homoerotična (scena s pljuvačkom), ali dobrodošlo zagonetna, poput glavnog lika i samog mističnog filma da ne možete uprijeti prstom iz pomfrita i reći "to je to". "Ja ću ovdje sjediti, a ti ćeš voziti", lijepo je Ryder na početku filma rekao Jimu. Vožnja je gotova.

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Novčići na očima

U jednoj sceni Ryder stavlja Jimu novčiće na oči, što je, prema mitu, sredstvo plaćanja za Lađara koji prevozi mrtve duše na "drugu stranu", a potiče dodatna misteriozna čitanja filma.

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Palac gore podižemo visoko do neba za neprežaljenog Rutgera Hauera. S palcem podignutim gore prizivamo i njegova nezaboravnog lika Johna Rydera iz "Autostopera" (1986.). "The Hitcher" režisera Roberta Harmona ("Usamljeni zaštitnik") i scenarista Erica Reda ("Blizu tame") netom je obilježio 35. godišnjicu od kinopremijere, a Hauer bi ove subote slavio 77. rođendan.

Sve to nalaže da se prisjetimo dragog nizozemskog glumca i jednog od najkultnijih kultnih filmova osamdesetih uz Redov "Near Dark", svojedobno veoma traženog u domaćim videotekama. Svatko Hauera pamti po divnom filozofskom "suze na kiši" monologu iz "Istrebljivača".

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FILM: The Hitcher; akcijski horor triler; SAD, 1986. REŽIJA: Robert Harmon ULOGE: Rutger Hauer, C. Thomas Howell OCJENA: ****

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No, "Autostoper" je za Hauerove fanove približno slavan kao "Blade Runner", omogućivši njegovu drugu najbolju ulogu u (američkoj) karijeri.

John Ryder je u finoj dihotomiji s Royom Battyjem, negativcem iz "Istrebljivača". Batty je više antagonist nego zlikovac, umjetno stvoreni replikant koji do kraja filma i monologa s bijelom golubicom mira u ruci postaje humaniji od čovjeka.

Ryder je njegova sušta suprotnost, čovjek, ali do odjavne špice sve nečovječniji i držao bi crnu vranu u ruci da se odlučio na neki monolog. On je umjetna tvorevina darovitog scenarista Reda (pisao scenarij slušajući Doorse i "Riders On The Storm"), oživljena zahvaljujući Haueru tako da može biti serijski ubojica od krvi i mesa, pa i i(s)konski mit, buduća urbana legenda, utjelovljenje samog vraga, sile natprirode ili zlikovca iz noćne more, Terminatora koji se ne zaustavlja u proganjanju žrtve.

Kritičari poput Rogera Eberta prigovarali su filmu "The Hitcher" u realnom vremenu zato što Ryder nije, recimo to tako, reprezent nekog egzaktnijeg "serial killera" iz "slasherskog" horor trilera, kao da on takav mora biti. Okej, Ryder je krvario, za razliku od zlikovaca "slashera" osamdesetih Michaela Myersa i Jasona Voorheesa, ali zar nije i Terminator kao njegova kiborška preteča?

Zar filmski negativac ne može biti enigmatičan, neobjašnjiv i apstraktan koliko god djelovao human, tj. kao običan čovjek? Jasno da može sjetimo li se Ryderova nasljednika Antona Chigurha iz "Nema zemlje za starce", ali ispada da njegov lik i (ne)djelo moraju imati kontekst, da nije dovoljan podtekst skriven ispod filma da ga gledatelj otkrije.

Onaj tko očekuje "logični" (horor) triler o serijskom ubojici, neće dići palac gore i krenuti u vožnju s "Autostoperom", naprotiv, dat će filmu "thumb(s) down" kao Ebert. Jer, logiku je "The Hitcher" pregazio na autocesti i vratio se još jednom u rikverc da je dokusuri.

Međutim, tko je spreman da film jurca u ritmu logike sna, odnosno snomorice, ustopirat će "Autostopera" i prepustiti se vožnji. Naime, "The Hitcher" se može shvatiti kao preslika košmara koji je usnuo mladi protagonist Jim Halsey (C. Thomas Howell) isporučujući automobil iz Chicaga u Kaliforniju u potrazi za boljim životom tamo.

Jim se bori sa snom dok vozi u sumrak usred ničega, prolazeći preko Teksasa, kroz mitski američki "frontier", njegove pustinje i planine. Snoliki ugođaj je efektno postavljen u uvodu filma. Šibica se pali i pali cigaretu. Sumrak. Oluja se skuplja na horizontu. Prolom oblaka. Kiša. Jahač(i) na oluji. Ryder(s) On The Storm.

U nekoliko navrata Jimu se sklapaju oči i on zamalo doživljava sudar. Je li zaspao i odsanjao film? Sve je moguće. "Autostoper" se odvija negdje u onda modernom Teksasu, ali djeluje kao da je izmješten iz stvarnog vremena i prostora u svijet košmara koji umorne oči mogu odsanjati vozeći se mračnom otvorenom cestom za nigdje, prolazeći pored opustjelih benzinskih postaja, restorana itd.

Svakako, ono što će Jim doživjeti kad otvori vrata autostoperu Ryderu tijesno graniči s noćnom morom, u stvari prelazi granicu između jave i sna. "Mama mi je rekla da nikad ne primam stopere", naivno će Jim, koji je htio pomoći čovjeku na kiši, a bio je i umoran od vožnje i mislio da će ga razgovor s nekim (o)držati budnim.

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Čovjek, Ryder, tvrdi da je ostao bez goriva, ali Jim ubrzo otkriva da nešto nije u redu kad počne ispitivati suvozača ("To me je pitao i onaj prije tebe"). Pitanja će, dakako, biti, jer Jim ih postavlja i u ime gledatelja, ali ne i jasnih odgovora. Kad Jim upita Rydera: "Zašto mi ovo radiš?", ovaj odgovara: "Pametan si ti, dokučit ćeš", a prethodno mu je rekao: "Hoću da me pokušaš zaustaviti".

Tko je Ryder i zašto slijedi Jima, podvrgavajući ga psihološko-fizičkoj igri morbidno-sadističke mačke i miša, ne zna se točno. I nije ga briga ako će ga (policija) uhvatiti. "Naravno, neka, pa što?", njegova je nihilističko-egzistencijalistička opaska. Kao da Ryder želi biti uhvaćen i zaustavljen u svojim zlodjelima koja su većinski verbalizirana i izostavljena u kadru, ostavljena prljavoj mašti gledatelja (rastezanje kamionom), s malo hororske eksplicitnosti (prst u pomfritu).

Ipak, prije toga, smisao njegova postojanja je zagorčati život Jimu, prateći ga u stopu poput onog kamiona (bez vozača) iz "Duela". Službeni prvijenac Stevena Spielberga je, pored Cameronova "Terminatora", najviše utjecao na "Hitchera". Harmonov film posjeduje njihovu "lean and mean" ekonomiju i energiju, pozicionirajući se transžanrovski kao "road movie" neovesternskog štiha, psihološki triler i akcijski horor u jednome.

Jennifer Jason Leigh je mlada Sarah Connor "Autostopera" u ulozi konobarice Nash; ona povjeruje Jimovoj nevjerojatnoj priči o tipu koji ga je jutros pokušao ubiti i odonda ga prati, podmećući mu njegova umorstva (krvavi nož u džepu), zbog čega nakratko i završava iza rešetaka.

Policajci se nalaze u potjeri za Nash i Jimom kao Connoricom i Kyleom Reeseom u nizu "duelovski" i "terminatorski" intenzivnih akcijskih scena u oku kamere budućeg oskarovca Johna Seala ("Svjedok", "Engleski pacijent"), koje bi se mogle naći i u "Pobješnjelom Maxu".

Briljantna je sekvencija kad dva policijska vozila opkole Jimov automobil i policajci se spremaju zapucati sačmaricama u njegove gume. U ključnom trenutku Jim stisne kočnicu i oni napucaju gume onog drugog, nakon čega auti naprave spektakularne piruete na cesti, a brza vožnja se načas uspori do "slow motiona" da scena bude što atraktivnija.

Malo poslije toga u akciju dolijeće helikopter koji će Ryder srušiti s neba ravno na cestu, tako da eksplodira i u njegovu buktinju se spektakularno zabije još poneko vozilo za kaznu što su policajci posumnjali da se nešto čudno zbiva između njega i Jima.

Povezanost među njima je svakako ambivalentna, rubno homoerotična (scena s pljuvačkom), ali dobrodošlo zagonetna, poput glavnog lika i samog mističnog filma da ne možete uprijeti prstom iz pomfrita i reći "to je to". "Ja ću ovdje sjediti, a ti ćeš voziti", lijepo je Ryder na početku filma rekao Jimu. Vožnja je gotova.

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Novčići na očima

U jednoj sceni Ryder stavlja Jimu novčiće na oči, što je, prema mitu, sredstvo plaćanja za Lađara koji prevozi mrtve duše na "drugu stranu", a potiče dodatna misteriozna čitanja filma.

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Autostoper‘: Palac gore za Rutgera Hauera

Piše Marko Njegić
23. siječnja 2021. - 13:30
15826028
PREMIUM
Galerija

Palac gore podižemo visoko do neba za neprežaljenog Rutgera Hauera. S palcem podignutim gore prizivamo i njegova nezaboravnog lika Johna Rydera iz "Autostopera" (1986.). "The Hitcher" režisera Roberta Harmona ("Usamljeni zaštitnik") i scenarista Erica Reda ("Blizu tame") netom je obilježio 35. godišnjicu od kinopremijere, a Hauer bi ove subote slavio 77. rođendan.

Sve to nalaže da se prisjetimo dragog nizozemskog glumca i jednog od najkultnijih kultnih filmova osamdesetih uz Redov "Near Dark", svojedobno veoma traženog u domaćim videotekama. Svatko Hauera pamti po divnom filozofskom "suze na kiši" monologu iz "Istrebljivača".

No, "Autostoper" je za Hauerove fanove približno slavan kao "Blade Runner", omogućivši njegovu drugu najbolju ulogu u (američkoj) karijeri.

John Ryder...

#CINEMARK#CINEMARK OBLJETNICA#RUTGER HAUER#KULTNI FILMOVI#HOROR TRILERI#AKCIJSKIFILMOVI
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