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Pali se kinoprojektor. Snop svjetla lebdi iznad glava publike na putu do ekrana. Film može početi – divni “Cinema Paradiso” (1988.). Svjetlo iz projektora je pokretač svakog filma u kinu, ovog pogotovo. “Cinema Paradiso” je jedna od najljepših posveta filmu i kinu, ljubavno pismo kinematografiji, gledanju pokretnih slika na velikom ekranu, muzici svjetlosti u mraku dvorane.

Za režisera Giuseppea Tornatorea svjetlo je sve. Ono svijetli iznad svećenika poput aureole dok ovaj sjedi u kinu i “amenuje” scene iz filmova, zvoneći zvonom na svaki poljubac tako da kinoperater Alfredo (Philippe Noiret) može izrezati nepoćudni prizor i stvoriti ćudorednu verziju.

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FILM: Nuovo Cinema Paradiso; drama; Italija, 1988. REŽIJA: Giuseppe Tornatore ULOGE: Philippe Noiret, Salvatore Cascio OCJENA: *****

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Tornatore je pomalo ironičan u toj sceni, ali iskren kad hvata snop svjetla poviše raznih generacija i profila gledatelja u kinu, od starijih ljudi do dječaka Salvatorea zvanog Toto (Salvatore Cascio). Kino ujedinjuje staro i mlado ispred ekrana, bogate i siromašne ljude, živopisne likove koji mogu napučiti i neki slično žanrirani nostalgični, magično-realistični film Federica Fellinija poput “Amarcorda”.

Nad svima se nadvija svjetlo projektora kao neka uzvišena sila, zvjezdana prašina koja im omogućava transportaciju na neko drugo, bolje, rajsko mjesto. Nije čudno da se Tornatoreovo kino zove “Pardiso” (“Raj”), niti da svjetlo projektora u najboljoj sceni filma pronalazi put dalje od ekrana i izlazi napolje prolazeći preko zidova i prozora do ulice i trga, gdje će reflektirati slike na površini zgrade.

Čudesna scena potencira magiju filma i kina koju ništa ne može nadmašiti. Tornatoreov autobiografski “Cinema Paradiso” je savršen podsjetnik na to, ali i na djetinjstvo koje stariji kino(filmo)fili mogu ponovno proživljavati sa Salvatoreom. Jer, Salvatore je jedan od nas. Mi smo on.

Iako je Salvatore generacijski bliži našim roditeljima (radnja se u flešbekovima odmotava tijekom četrdesetih i pedesetih), lako se, zbog univerzalne kakvoće “Cinema Paradisa”, poistovijetiti s njegovim otkrivanjem čarolije filma i kina, zaljubljivanju na prvi pogled u pokretne slike, posebice što Tornatoreova dvorana odiše atmosferom starih dobrih kina kao što je npr. bio nekadašanji splitski “Central”, “Tesla” ili “Kinoteka” u ranijoj fazi.

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Kino je njegov drugi dom, a filmovi su mu zamjenski roditelji, zajedno s Alfredom. Kad Salvatorea pitaju “Išao si u kino?”, prigovaraju mu “Ti i tvoji filmovi” i konstatiraju “Govori samo o kinu”, to je nešto što je vjerojatno svaki filmofil čuo u nekoj fazi odrastanja, kad se trajno zarazio magijom kinematografije.

Kao mladić (tad ga glumi Marco Leonardi) Salvatore se zaljubljuje u lijepu Elenu (Agnese Nano), ali “Cinema Paradiso” je romantičan film o njegovoj ljubavi s kinom. Zato najbolji dijelovi “Cinema Paradisa” otpadaju na djetinstvo i adolescenciju malog Salvatorea koji je čuvao džeparac za kino i radije pogledao film nego nešto pojeo (zvuči poznato?).

Djetinjstva i adolescencije prisjeća se sredovječni Salvatore (Jacques Perrin), redatelj, nakon što na početku priče dobije vijest da je Alfredo umro. Evokativna Salvatoreova sjećanja na djetinjstvo i adolescenciju, dodatno osnažena sjajnom glazbom Ennija Morriconea, postaju sjećanja filmofila jer proživjeli su nešto slično, neovisno o tome jesu li odrastali uz klasične filmove tridesetih, četrdesetih i pedesetih poput njega (“Poštanska kočija”, “Gilda”...) ili na kinematografiji osamdesetih i devedesetih.

Poveznice su tu i ljubav prema “Cinema Paradisu”, jednom od najfilmofilskijih filmova, može se prepoznati u “Posljednjem akcijskom junaku” u liku zanesenog kinoperatera i njegovog mentorskog, pa i očinskog odnosa s malim kinofilom koji također nema oca, baš kao i Salvatore.

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Alfredo je važan lik u Salvatoreovu odrastanju, netko tko ga je, uz filmove, naučio životu. “Život nije kao što viđaš u filmovima, težak je”, konstatira Alfredo. Jest, ali je malo lakši uz kino u trenucima kad se ne odvija kao na filmu. Projekcijska kabina je usamljeno mjesto, ali Alfredo je bio manje usamljen uz plakate filmova poput “Casablance” i “Prohujalo s vihorom”, te publiku u kinu.

”Kad je kino puno, čuješ ljude kako se smiju i to te ispunjava srećom”, govori Alfredo koji citira Johna Waynea i ostale glumce iz filmova, a doživjet će traginu sudbinu kad u požaru ostane bez vida, što je prokletstvo za kinoperatera i nekoga tko voli gledati filmove.

Ipak, filmove za Alfreda gleda Salvatore, njegov nasljednik. “Što god radio, voli to kao što si volio projekcijsku kabinu”, Alfredo savjetuje malog filmofila, ali i filmofile s ove strane ekrana koji osobno proživljavaju “Cinema Paradiso” i zajedno sa Salvatoreom vrte život pred očima poput filma.

U emotivno ekstatičnoj završnici “Cinema Paradisa”, film se vrti poput života na ekranu kina. Stariji Salvatore sa suzama u očima gleda vrpcu s izbačenim poljupcima svih filmova prikazanih u kinu i u mislima premotava minule godine. Život je film i film je život u “Cinema Paradisu”.

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Oscar, Cannes, BAFTA...

Film je, osim Oscara, osvojio nagradu žirija u Cannesu i pet BAFTA nagrada. Tornatore nije ponovio ovakav uspjeh, ali nastavio je režirati dobre filmove poput npr. "Malene" i "Najbolje ponude".

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Pali se kinoprojektor. Snop svjetla lebdi iznad glava publike na putu do ekrana. Film može početi – divni “Cinema Paradiso” (1988.). Svjetlo iz projektora je pokretač svakog filma u kinu, ovog pogotovo. “Cinema Paradiso” je jedna od najljepših posveta filmu i kinu, ljubavno pismo kinematografiji, gledanju pokretnih slika na velikom ekranu, muzici svjetlosti u mraku dvorane.

Za režisera Giuseppea Tornatorea svjetlo je sve. Ono svijetli iznad svećenika poput aureole dok ovaj sjedi u kinu i “amenuje” scene iz filmova, zvoneći zvonom na svaki poljubac tako da kinoperater Alfredo (Philippe Noiret) može izrezati nepoćudni prizor i stvoriti ćudorednu verziju.

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FILM: Nuovo Cinema Paradiso; drama; Italija, 1988. REŽIJA: Giuseppe Tornatore ULOGE: Philippe Noiret, Salvatore Cascio OCJENA: *****

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Tornatore je pomalo ironičan u toj sceni, ali iskren kad hvata snop svjetla poviše raznih generacija i profila gledatelja u kinu, od starijih ljudi do dječaka Salvatorea zvanog Toto (Salvatore Cascio). Kino ujedinjuje staro i mlado ispred ekrana, bogate i siromašne ljude, živopisne likove koji mogu napučiti i neki slično žanrirani nostalgični, magično-realistični film Federica Fellinija poput “Amarcorda”.

Nad svima se nadvija svjetlo projektora kao neka uzvišena sila, zvjezdana prašina koja im omogućava transportaciju na neko drugo, bolje, rajsko mjesto. Nije čudno da se Tornatoreovo kino zove “Pardiso” (“Raj”), niti da svjetlo projektora u najboljoj sceni filma pronalazi put dalje od ekrana i izlazi napolje prolazeći preko zidova i prozora do ulice i trga, gdje će reflektirati slike na površini zgrade.

Čudesna scena potencira magiju filma i kina koju ništa ne može nadmašiti. Tornatoreov autobiografski “Cinema Paradiso” je savršen podsjetnik na to, ali i na djetinjstvo koje stariji kino(filmo)fili mogu ponovno proživljavati sa Salvatoreom. Jer, Salvatore je jedan od nas. Mi smo on.

Iako je Salvatore generacijski bliži našim roditeljima (radnja se u flešbekovima odmotava tijekom četrdesetih i pedesetih), lako se, zbog univerzalne kakvoće “Cinema Paradisa”, poistovijetiti s njegovim otkrivanjem čarolije filma i kina, zaljubljivanju na prvi pogled u pokretne slike, posebice što Tornatoreova dvorana odiše atmosferom starih dobrih kina kao što je npr. bio nekadašanji splitski “Central”, “Tesla” ili “Kinoteka” u ranijoj fazi.

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Kino je njegov drugi dom, a filmovi su mu zamjenski roditelji, zajedno s Alfredom. Kad Salvatorea pitaju “Išao si u kino?”, prigovaraju mu “Ti i tvoji filmovi” i konstatiraju “Govori samo o kinu”, to je nešto što je vjerojatno svaki filmofil čuo u nekoj fazi odrastanja, kad se trajno zarazio magijom kinematografije.

Kao mladić (tad ga glumi Marco Leonardi) Salvatore se zaljubljuje u lijepu Elenu (Agnese Nano), ali “Cinema Paradiso” je romantičan film o njegovoj ljubavi s kinom. Zato najbolji dijelovi “Cinema Paradisa” otpadaju na djetinstvo i adolescenciju malog Salvatorea koji je čuvao džeparac za kino i radije pogledao film nego nešto pojeo (zvuči poznato?).

Djetinjstva i adolescencije prisjeća se sredovječni Salvatore (Jacques Perrin), redatelj, nakon što na početku priče dobije vijest da je Alfredo umro. Evokativna Salvatoreova sjećanja na djetinjstvo i adolescenciju, dodatno osnažena sjajnom glazbom Ennija Morriconea, postaju sjećanja filmofila jer proživjeli su nešto slično, neovisno o tome jesu li odrastali uz klasične filmove tridesetih, četrdesetih i pedesetih poput njega (“Poštanska kočija”, “Gilda”...) ili na kinematografiji osamdesetih i devedesetih.

Poveznice su tu i ljubav prema “Cinema Paradisu”, jednom od najfilmofilskijih filmova, može se prepoznati u “Posljednjem akcijskom junaku” u liku zanesenog kinoperatera i njegovog mentorskog, pa i očinskog odnosa s malim kinofilom koji također nema oca, baš kao i Salvatore.

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Alfredo je važan lik u Salvatoreovu odrastanju, netko tko ga je, uz filmove, naučio životu. “Život nije kao što viđaš u filmovima, težak je”, konstatira Alfredo. Jest, ali je malo lakši uz kino u trenucima kad se ne odvija kao na filmu. Projekcijska kabina je usamljeno mjesto, ali Alfredo je bio manje usamljen uz plakate filmova poput “Casablance” i “Prohujalo s vihorom”, te publiku u kinu.

”Kad je kino puno, čuješ ljude kako se smiju i to te ispunjava srećom”, govori Alfredo koji citira Johna Waynea i ostale glumce iz filmova, a doživjet će traginu sudbinu kad u požaru ostane bez vida, što je prokletstvo za kinoperatera i nekoga tko voli gledati filmove.

Ipak, filmove za Alfreda gleda Salvatore, njegov nasljednik. “Što god radio, voli to kao što si volio projekcijsku kabinu”, Alfredo savjetuje malog filmofila, ali i filmofile s ove strane ekrana koji osobno proživljavaju “Cinema Paradiso” i zajedno sa Salvatoreom vrte život pred očima poput filma.

U emotivno ekstatičnoj završnici “Cinema Paradisa”, film se vrti poput života na ekranu kina. Stariji Salvatore sa suzama u očima gleda vrpcu s izbačenim poljupcima svih filmova prikazanih u kinu i u mislima premotava minule godine. Život je film i film je život u “Cinema Paradisu”.

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Oscar, Cannes, BAFTA...

Film je, osim Oscara, osvojio nagradu žirija u Cannesu i pet BAFTA nagrada. Tornatore nije ponovio ovakav uspjeh, ali nastavio je režirati dobre filmove poput npr. "Malene" i "Najbolje ponude".

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Film & TVCINEMARK RETRO(PER)SPEKTIVA

‘Cinema Paradiso‘: Filmofilija i nostalgija kina ‘Raj‘

Piše Marko Njegić
22. prosinca 2022. - 19:59
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Tf1 Films Production - Films Ari/Collection Christophel Via Afp

Pali se kinoprojektor. Snop svjetla lebdi iznad glava publike na putu do ekrana. Film može početi – divni “Cinema Paradiso” (1988.). Svjetlo iz projektora je pokretač svakog filma u kinu, ovog pogotovo. “Cinema Paradiso” je jedna od najljepših posveta filmu i kinu, ljubavno pismo kinematografiji, gledanju pokretnih slika na velikom ekranu, muzici svjetlosti u mraku dvorane.

Za režisera Giuseppea Tornatorea svjetlo je sve. Ono svijetli iznad svećenika poput aureole dok ovaj sjedi u kinu i “amenuje” scene iz filmova, zvoneći zvonom na svaki poljubac tako da kinoperater Alfredo (Philippe Noiret) može izrezati nepoćudni prizor i stvoriti ćudorednu verziju.

Tornatore je pomalo ironičan u toj sceni, ali iskren kad hvata snop svjetla poviše raznih generacija i profila...

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11. svibanj 2024 20:21