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Većina fotografa užasno su dosadni ljudi. I filmovi o fotografima užasno su dosadni. Rekao je najprovokativniji modni fotograf Helmut Newton (1920. – 2004.) o kojemu je također snimljen film. Njegove riječi čujemo odmah na početku tog filma, dokumentarca “Helmut Newton: Perverzija i ljepota” (“Helmut Newton: The Bad and the Beautiful”).

Režiser Gero von Boehm možda je iskoristio Newtonovu izjavu u autoironične, samoobrambene svrhe, u slučaju da i ovaj film o fotografu bude “užasno dosadan”. Ipak, kako Newton nije “užasno dosadan” fotograf, ni film o njegovu liku (manje) i djelu (više) neće biti takav.

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FILM: Helmut Newton: The Bad and the Beautiful; dokumentarac; Njemačka, 2020. REŽIJA: Gero von Boehm DISTRIBUCIJA: Restart OCJENA: *** ½

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Sat i pol vremena prolazi prilično brzo i Von Boehm dinamično izmjenjuje prevladavajuće “talking heads” intervjue s modnom ikonom Annom Wintour, glumicama, manekenkama i pjevačicama koje je Newton fotografirao (Isabella Rossellini, Charlotte Rampling, Grace Jones, Hanna Schygulla, Nadja Auermann, Claudia Schiffer, Marianne Faithfull...) te arhivske poslovne ili privatne snimke fotografa vječno naoružanog Nikonom.

Jasno, uz konstantni podsjetnik na fotke čovjeka koji je počeo širiti granice dopuštenog i slobode izražavanja u pravo vrijeme, u seksualno revolucionarnim šezdesetima. Newton je zaslužio dobiti film kao čovjek čije su fotke filmske i filmične, izgledaju kao kadrovi iz filma, a on sam bio je za modnu fotografiju ono što je provokativni Paul Verhoeven (“Sirove strasti”, “Showgirls”, “Benedetta”) za kinematografiju.

U prvoj sceni Newtona zatječemo na noćnom snimanju na krovu hotela “Chateu Marmont” u Los Angelesu, gdje daje upute nagom ženskom modelu. “Ima dobrote u tvom pogledu, a to je zadnje što želim. Nemoj izgledati osiromašeno, izgledaj nevjerojatno”, govori Newton goloj ljepotici.

U toj se sceni ogleda njegova dualna poetika spram žena, “perverzija i ljepota” iz naslova filma. S jedne strane, seksizam, (s)eksploatacija i tzv. male gaze od strane fotografa koji ispunjava perverzne muške fantazije tražeći od žena da mu pokažu “grudi, noge, sve” dok ih kao seks-objekte snima nage u lascivnim pozama i/li polunage u nekoj fetišističkoj odori, a i iza fotoaparata može “manipulirati njima i kontrolirati svaki mišić u njihovu tijelu”.

S druge strane, ljubav fotografa prema tim istim ženama, koje je provokativnim, subverzivnim i radikalnim fotografijama u isti mah feministički osnaživao i oslobađao, pretvarao ih iz srne u lovca, načinio snažnim “femme fatale” ličnostima i hvatao njihov “pogled svisoka” kakav je mogao prestrašiti “macho” muškarce.

“Ja volim žene, najviše”, kazao je Newton nakon što je umjetnica, spisateljica i aktivistica Susan Sontag njegove fotografije nazvala “mizoginima”. Zajedno su se pojavili u TV emisiji krajem sedamdesetih, kad je ona naglasila da mnogi mizogini muškarci govore takve stvari, ali prikazuju žene na ponižavajući način, te je dodala kako i “gospodari obožavaju svoje robove, a krvnici vole svoje žrtve”.

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Istina je vjerojatno negdje između krajnosti fotografa kojeg su titulirali kao “35-milimetarskog Markiz de Sadea” i “kralja nastranosti”, a on je sebe opisao riječima: “Ja sam profesionalni voajer.” Na njegovim su se slikama (polu)nage žene nalazile u raljama divovskog aligatora i bile ostavljene na krevetu hotelske sobe kao Barbike poslije igre.

To se može sagledati da ih muškarci požudno proždiru i da u njima vide samo seks-lutke, ali i da Newton osuđuje takav muški pogled budući da ih je jednako često fotografirao i kao dominantne. Svakako je zrcalio društvo fotografijama golog (ženskog) tijela koje se doživljava kao “iskušenje, strah i stid” ili fotkama ženske ruke s Bvlgari prstenom i narukvicom kako priprema kokoš za ručak.

Glumicu Rossellini slavni je fotograf snimio tako da joj redatelj i ondašnji partner David Lynch (“Plavi baršun”) drži glavu kao da je njegova lutka, no Isabella je svejedno istaknula da njegove fotke žena izazivaju reakciju tipa “Sviđaš mi se! Prokleta bila! Ne bi mi se trebala sviđati jer ti si oružje.”

Tamnoputu pjevačicu i glumicu Jones (“Pogled na ubojstvo”) snimio je Newton više puta, kao na kontroverznoj fotki kad je “odjevena” samo u lance ili kad sjena zatvorskih rešetaka pada točno preko određenog dijela njezina tijela. ”Bio je malo perverzan, ali i ja sam”, izjavila je Grace, koja na fotografijama nije osjetila nikakav seksizam ili rasizam, naprotiv, dodala je kako je i sama “vezivala muškarce prije”.

“Bijele muškarce. Velike bijele muškarce”, nasmijala se Jones, aludirajući zasigurno na tadašnjeg partnera Dolpha Lundgrena (“Rocky IV”), a možda i na Schwarzeneggera, s kojim je glumila u nastavku “Conana”, tko zna. Rampling je, pak, snimao nagu u hotelskim sobama i ona njegove fotke smatra dobrodošlo provokativnima.

“Provokacija potiče misli, potiče ideje i potiče sve vrste razgovora”, rekla je Charlotte za fotografskog provokatora koji je svijet gledao očima fotoaparata. Slike su bile sve što je Newton vidio. Sve što je mogao osjetiti, kako pjeva The Cure u pjesmi “Pictures Of You” na soundtracku filma.

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Leni Riefenstahl kao inspiracija

Newton je rođen u Berlinu 1920. kao Židov, a njegova je obitelj pobjegla iz nacističke Njemačke 1938. godine. Jedan od njegovih inspiracija bio je film “Olympia” Leni Riefenstahl. U jednoj sceni dokumentarca on se vraća u Berlin i prisjeća se djetinjstva. Helmutova supruga June Newton u filmu priznaje da je bila ljubomorna na žene ispred njegova fotoaparata, ali je znala da je radio posao koji mu je bio “više od posla, strast, opsesija”.

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Većina fotografa užasno su dosadni ljudi. I filmovi o fotografima užasno su dosadni. Rekao je najprovokativniji modni fotograf Helmut Newton (1920. – 2004.) o kojemu je također snimljen film. Njegove riječi čujemo odmah na početku tog filma, dokumentarca “Helmut Newton: Perverzija i ljepota” (“Helmut Newton: The Bad and the Beautiful”).

Režiser Gero von Boehm možda je iskoristio Newtonovu izjavu u autoironične, samoobrambene svrhe, u slučaju da i ovaj film o fotografu bude “užasno dosadan”. Ipak, kako Newton nije “užasno dosadan” fotograf, ni film o njegovu liku (manje) i djelu (više) neće biti takav.

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FILM: Helmut Newton: The Bad and the Beautiful; dokumentarac; Njemačka, 2020. REŽIJA: Gero von Boehm DISTRIBUCIJA: Restart OCJENA: *** ½

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Sat i pol vremena prolazi prilično brzo i Von Boehm dinamično izmjenjuje prevladavajuće “talking heads” intervjue s modnom ikonom Annom Wintour, glumicama, manekenkama i pjevačicama koje je Newton fotografirao (Isabella Rossellini, Charlotte Rampling, Grace Jones, Hanna Schygulla, Nadja Auermann, Claudia Schiffer, Marianne Faithfull...) te arhivske poslovne ili privatne snimke fotografa vječno naoružanog Nikonom.

Jasno, uz konstantni podsjetnik na fotke čovjeka koji je počeo širiti granice dopuštenog i slobode izražavanja u pravo vrijeme, u seksualno revolucionarnim šezdesetima. Newton je zaslužio dobiti film kao čovjek čije su fotke filmske i filmične, izgledaju kao kadrovi iz filma, a on sam bio je za modnu fotografiju ono što je provokativni Paul Verhoeven (“Sirove strasti”, “Showgirls”, “Benedetta”) za kinematografiju.

U prvoj sceni Newtona zatječemo na noćnom snimanju na krovu hotela “Chateu Marmont” u Los Angelesu, gdje daje upute nagom ženskom modelu. “Ima dobrote u tvom pogledu, a to je zadnje što želim. Nemoj izgledati osiromašeno, izgledaj nevjerojatno”, govori Newton goloj ljepotici.

U toj se sceni ogleda njegova dualna poetika spram žena, “perverzija i ljepota” iz naslova filma. S jedne strane, seksizam, (s)eksploatacija i tzv. male gaze od strane fotografa koji ispunjava perverzne muške fantazije tražeći od žena da mu pokažu “grudi, noge, sve” dok ih kao seks-objekte snima nage u lascivnim pozama i/li polunage u nekoj fetišističkoj odori, a i iza fotoaparata može “manipulirati njima i kontrolirati svaki mišić u njihovu tijelu”.

S druge strane, ljubav fotografa prema tim istim ženama, koje je provokativnim, subverzivnim i radikalnim fotografijama u isti mah feministički osnaživao i oslobađao, pretvarao ih iz srne u lovca, načinio snažnim “femme fatale” ličnostima i hvatao njihov “pogled svisoka” kakav je mogao prestrašiti “macho” muškarce.

“Ja volim žene, najviše”, kazao je Newton nakon što je umjetnica, spisateljica i aktivistica Susan Sontag njegove fotografije nazvala “mizoginima”. Zajedno su se pojavili u TV emisiji krajem sedamdesetih, kad je ona naglasila da mnogi mizogini muškarci govore takve stvari, ali prikazuju žene na ponižavajući način, te je dodala kako i “gospodari obožavaju svoje robove, a krvnici vole svoje žrtve”.

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Istina je vjerojatno negdje između krajnosti fotografa kojeg su titulirali kao “35-milimetarskog Markiz de Sadea” i “kralja nastranosti”, a on je sebe opisao riječima: “Ja sam profesionalni voajer.” Na njegovim su se slikama (polu)nage žene nalazile u raljama divovskog aligatora i bile ostavljene na krevetu hotelske sobe kao Barbike poslije igre.

To se može sagledati da ih muškarci požudno proždiru i da u njima vide samo seks-lutke, ali i da Newton osuđuje takav muški pogled budući da ih je jednako često fotografirao i kao dominantne. Svakako je zrcalio društvo fotografijama golog (ženskog) tijela koje se doživljava kao “iskušenje, strah i stid” ili fotkama ženske ruke s Bvlgari prstenom i narukvicom kako priprema kokoš za ručak.

Glumicu Rossellini slavni je fotograf snimio tako da joj redatelj i ondašnji partner David Lynch (“Plavi baršun”) drži glavu kao da je njegova lutka, no Isabella je svejedno istaknula da njegove fotke žena izazivaju reakciju tipa “Sviđaš mi se! Prokleta bila! Ne bi mi se trebala sviđati jer ti si oružje.”

Tamnoputu pjevačicu i glumicu Jones (“Pogled na ubojstvo”) snimio je Newton više puta, kao na kontroverznoj fotki kad je “odjevena” samo u lance ili kad sjena zatvorskih rešetaka pada točno preko određenog dijela njezina tijela. ”Bio je malo perverzan, ali i ja sam”, izjavila je Grace, koja na fotografijama nije osjetila nikakav seksizam ili rasizam, naprotiv, dodala je kako je i sama “vezivala muškarce prije”.

“Bijele muškarce. Velike bijele muškarce”, nasmijala se Jones, aludirajući zasigurno na tadašnjeg partnera Dolpha Lundgrena (“Rocky IV”), a možda i na Schwarzeneggera, s kojim je glumila u nastavku “Conana”, tko zna. Rampling je, pak, snimao nagu u hotelskim sobama i ona njegove fotke smatra dobrodošlo provokativnima.

“Provokacija potiče misli, potiče ideje i potiče sve vrste razgovora”, rekla je Charlotte za fotografskog provokatora koji je svijet gledao očima fotoaparata. Slike su bile sve što je Newton vidio. Sve što je mogao osjetiti, kako pjeva The Cure u pjesmi “Pictures Of You” na soundtracku filma.

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Leni Riefenstahl kao inspiracija

Newton je rođen u Berlinu 1920. kao Židov, a njegova je obitelj pobjegla iz nacističke Njemačke 1938. godine. Jedan od njegovih inspiracija bio je film “Olympia” Leni Riefenstahl. U jednoj sceni dokumentarca on se vraća u Berlin i prisjeća se djetinjstva. Helmutova supruga June Newton u filmu priznaje da je bila ljubomorna na žene ispred njegova fotoaparata, ali je znala da je radio posao koji mu je bio “više od posla, strast, opsesija”.

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Film & TVCINEMARK U KINU

‘Helmut Newton: Perverzija i ljepota‘: Sirove strasti fotografskog provokatora

Piše Marko Njegić
13. studenog 2022. - 13:43
23762206
PREMIUM
Galerija
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Većina fotografa užasno su dosadni ljudi. I filmovi o fotografima užasno su dosadni. Rekao je najprovokativniji modni fotograf Helmut Newton (1920. – 2004.) o kojemu je također snimljen film. Njegove riječi čujemo odmah na početku tog filma, dokumentarca “Helmut Newton: Perverzija i ljepota” (“Helmut Newton: The Bad and the Beautiful”).

Režiser Gero von Boehm možda je iskoristio Newtonovu izjavu u autoironične, samoobrambene svrhe, u slučaju da i ovaj film o fotografu bude “užasno dosadan”. Ipak, kako Newton nije “užasno dosadan” fotograf, ni film o njegovu liku (manje) i djelu (više) neće biti takav.

Sat i pol vremena prolazi prilično brzo i Von Boehm dinamično izmjenjuje prevladavajuće “talking heads” intervjue s modnom ikonom Annom Wintour, glumi...

#CINEMARK#CINEMARK U KINU #DOKUMENTARNI FILMOVI#HELMUT NEWTON#GRACE JONES#ISABELLA ROSSELLINI#NADJA AUERMANN#CLAUDIA SCHIFFER#ANNA WINTOUR#HANNA SCHYGULLA
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