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Češljugar pa kolibrić. Najprije je u kina 2019. doletjela ekranizacija Pulitzerom nagrađenog romana “Češljugar” ili “Goldfinch” Donne Tartt, a par godina kasnije evo nam i adaptacije “Kolibrića” (“Il colibri”/”The Hummingbird”) Sandra Veronesija, ovjenčanog nagradom Strega.

Netko manje upućen možda bi na prvi pogled mogao pomiješati romane/filmove ili pomisliti da je “Kolibrić” nova, talijanska verzija “Češljugara” s obzirom na povremene proizvoljnosti u naslovima/prijevodima nekih distributera, ali to ovdje nije slučaj.

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FILM: Il colibri; drama; Italija/Francuska, 2022. REŽIJA: Francesca Archibugi ULOGE: Pierfrancesco Favino, Berenice Bejo DISTRIBUCIJA: MCF OCJENA: ** ½

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Pa ipak, “Goldfinch” i “Il colibri” imaju nekih sličnosti u pogledu (pre)ambiciozne dramaturgije koja se proteže na nekoliko vremenskih tijekova i glavnog lika opterećenog bremenom velike drame kakva mu je stavljena na leđa.

Naslov “Kolibrić” odnosi se na glavnog lika, liječnika Marca Carreru u tumačenju jednog od vodećih talijanskih glumaca Pierfrancesca Favina (“Želim nešto više”, “Suburra”, “Izdajnik”, “Najljepše godine”, “Amore”). Marco je kao klinac dobio taj nadimak jer je bio “sitniji od ostalih”, zbog čega su ga šopali hormonom rasta. Kao odraslome Marcova tiha, nesuđena, platonska ljubav Luisa Lattes (uvijek dobra Berenice Bejo; “Umjetnik”, “Prošlost”, “Rez!”) opaža “Ti si taj koji stojiš na mjestu, stvarno si kolibrić”.

Za razliku od “kolibrića” Marca, “Il colibri” redateljice i koscenaristice Francesce Archibugi (poznata po scenariju za “Lude od sreće”) ne stoji na mjestu. Naprotiv, film cijelo vrijeme leprša naprijed-natrag u vremenu i prostoru priče rasprostranjene na tri generacije likova i čak šest dekada, toliko da je ponekad to postaje teško pratiti čak i skoncentriranijem gledatelju.

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Važniji dio narativa tiče se lika Danielea Carradorija (znani talijanski redatelj Nanni Moretti), psihijatra Marcove supruge Marine (Kasia Smutniak; “Potpuni stranci”, “Loro”). Tip će iz nekog samo njemu poznatog razloga banuti u Marcovu ordinaciju i ispitivati ga je li njegov nadimak bio Kolibrić i je li zaljubljen u Luisu, da bi mu potom otkrio kako je Marina “izvan kontrole” i da je prestala dolaziti na termine.

U jednom prošlosnom trenutku otkrivamo kako je Marca i Marinu povezala smrt njihovih sestara koje “nisu uspjeli spasiti”, dok je njega i Luisu “razdvojila tragedija, a “u protivnom bi ostali zajedno cijeli život”. Da, “Kolibrić” je takva grandiozna melodrama na granici sapunice koju srećom ne prelazi zahvaljujući suptilnijoj režiji i glumcima debelo iznad materijala telenovele, a imamo i jedan “Final Destination” momenat s Marcom koji je izašao iz kobnog zrakoplova prije nego što je poletio.

Redateljica Archibugi nerijetko na montažno lijep način povezuje prošlost i sadašnjost, primjerice da mladi Marco izađe kroz vrata i vrati se natrag kao stariji kad ga pozovu/oslove imenom, ali ponekad znade posezati za ustaljenim obrascima, tipa da u jednoj povišenoj sceni zasvira “Just Like Honey”, pjesma koja je obilježila “Izgubljene u prijevodu” i ovdje ne ostvaruje sličan učinak.

Neujednačen kao “Češljugar”, “Kolibrić” je ponešto uspjeliji film, svakako vrijedan pažnje za čitatelje istoimena romana prevedenog na 25 jezika, uključujući i hrvatski, odnosno ljubitelje talijanske kinematografije. No, ambicioznost mu se u konačnici obija o glavu i znade se često pogubiti u vremenu i prostoru, ne izazivajući očekivanu dramsku emociju u spoju epskog i intimnog.

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Šminka i prostetika

Glumci su postarani pomoću šminke i prostetike koja nije najuvjerljivija, ali je svakako bolja u odnosu na film "J. Edgar".

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Češljugar pa kolibrić. Najprije je u kina 2019. doletjela ekranizacija Pulitzerom nagrađenog romana “Češljugar” ili “Goldfinch” Donne Tartt, a par godina kasnije evo nam i adaptacije “Kolibrića” (“Il colibri”/”The Hummingbird”) Sandra Veronesija, ovjenčanog nagradom Strega.

Netko manje upućen možda bi na prvi pogled mogao pomiješati romane/filmove ili pomisliti da je “Kolibrić” nova, talijanska verzija “Češljugara” s obzirom na povremene proizvoljnosti u naslovima/prijevodima nekih distributera, ali to ovdje nije slučaj.

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FILM: Il colibri; drama; Italija/Francuska, 2022. REŽIJA: Francesca Archibugi ULOGE: Pierfrancesco Favino, Berenice Bejo DISTRIBUCIJA: MCF OCJENA: ** ½

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Pa ipak, “Goldfinch” i “Il colibri” imaju nekih sličnosti u pogledu (pre)ambiciozne dramaturgije koja se proteže na nekoliko vremenskih tijekova i glavnog lika opterećenog bremenom velike drame kakva mu je stavljena na leđa.

Naslov “Kolibrić” odnosi se na glavnog lika, liječnika Marca Carreru u tumačenju jednog od vodećih talijanskih glumaca Pierfrancesca Favina (“Želim nešto više”, “Suburra”, “Izdajnik”, “Najljepše godine”, “Amore”). Marco je kao klinac dobio taj nadimak jer je bio “sitniji od ostalih”, zbog čega su ga šopali hormonom rasta. Kao odraslome Marcova tiha, nesuđena, platonska ljubav Luisa Lattes (uvijek dobra Berenice Bejo; “Umjetnik”, “Prošlost”, “Rez!”) opaža “Ti si taj koji stojiš na mjestu, stvarno si kolibrić”.

Za razliku od “kolibrića” Marca, “Il colibri” redateljice i koscenaristice Francesce Archibugi (poznata po scenariju za “Lude od sreće”) ne stoji na mjestu. Naprotiv, film cijelo vrijeme leprša naprijed-natrag u vremenu i prostoru priče rasprostranjene na tri generacije likova i čak šest dekada, toliko da je ponekad to postaje teško pratiti čak i skoncentriranijem gledatelju.

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Važniji dio narativa tiče se lika Danielea Carradorija (znani talijanski redatelj Nanni Moretti), psihijatra Marcove supruge Marine (Kasia Smutniak; “Potpuni stranci”, “Loro”). Tip će iz nekog samo njemu poznatog razloga banuti u Marcovu ordinaciju i ispitivati ga je li njegov nadimak bio Kolibrić i je li zaljubljen u Luisu, da bi mu potom otkrio kako je Marina “izvan kontrole” i da je prestala dolaziti na termine.

U jednom prošlosnom trenutku otkrivamo kako je Marca i Marinu povezala smrt njihovih sestara koje “nisu uspjeli spasiti”, dok je njega i Luisu “razdvojila tragedija, a “u protivnom bi ostali zajedno cijeli život”. Da, “Kolibrić” je takva grandiozna melodrama na granici sapunice koju srećom ne prelazi zahvaljujući suptilnijoj režiji i glumcima debelo iznad materijala telenovele, a imamo i jedan “Final Destination” momenat s Marcom koji je izašao iz kobnog zrakoplova prije nego što je poletio.

Redateljica Archibugi nerijetko na montažno lijep način povezuje prošlost i sadašnjost, primjerice da mladi Marco izađe kroz vrata i vrati se natrag kao stariji kad ga pozovu/oslove imenom, ali ponekad znade posezati za ustaljenim obrascima, tipa da u jednoj povišenoj sceni zasvira “Just Like Honey”, pjesma koja je obilježila “Izgubljene u prijevodu” i ovdje ne ostvaruje sličan učinak.

Neujednačen kao “Češljugar”, “Kolibrić” je ponešto uspjeliji film, svakako vrijedan pažnje za čitatelje istoimena romana prevedenog na 25 jezika, uključujući i hrvatski, odnosno ljubitelje talijanske kinematografije. No, ambicioznost mu se u konačnici obija o glavu i znade se često pogubiti u vremenu i prostoru, ne izazivajući očekivanu dramsku emociju u spoju epskog i intimnog.

---

Šminka i prostetika

Glumci su postarani pomoću šminke i prostetike koja nije najuvjerljivija, ali je svakako bolja u odnosu na film "J. Edgar".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Kolibrić‘: Kolibri u vremenu i prostoru

Piše Marko Njegić
22. rujna 2023. - 23:23

Češljugar pa kolibrić. Najprije je u kina 2019. doletjela ekranizacija Pulitzerom nagrađenog romana “Češljugar” ili “Goldfinch” Donne Tartt, a par godina kasnije evo nam i adaptacije “Kolibrića” (“Il colibri”/”The Hummingbird”) Sandra Veronesija, ovjenčanog nagradom Strega.

Netko manje upućen možda bi na prvi pogled mogao pomiješati romane/filmove ili pomisliti da je “Kolibrić” nova, talijanska verzija “Češljugara” s obzirom na povremene proizvoljnosti u naslovima/prijevodima nekih distributera, ali to ovdje nije slučaj.

FILM: Il colibri; drama; Italija/Francuska, 2022. REŽIJA: Francesca Archibugi ULOGE: Pierfrancesco Favino, Berenice Bejo DISTRIBUCIJA: MCF OCJENA: ** ½

Pa ipak, “Goldfinch” i “Il colibri” imaju nekih sličnosti u pogledu (pre)ambiciozne dramaturgije koja se proteže na nekoliko vremenskih tijekova i glavnog lika opterećenog bremenom velike drame kakva mu je stavljena na leđa.

Naslov “Kolibrić” odnosi se na glavnog lika, liječnika Marca Carreru u tumačenju jednog od vodećih talijanskih glumaca Pierfrancesca Favina (“Želim nešto više”, “Suburra”, “Izdajnik”, “Najljepše godine”, “Amore”). Marco je kao klinac dobio taj nadimak jer je bio “sitniji od ostalih”, zbog čega su ga šopali hormonom rasta. Kao odraslome Marcova tiha, nesuđena, platonska ljubav Luisa Lattes (uvijek dobra Berenice Bejo; “Umjetnik”, “Prošlost”, “Rez!”) opaža “Ti si taj koji stojiš na mjestu, stvarno si kolibrić”.

Za razliku od “kolibrića” Marca, “Il colibri” redateljice i koscenaristice Francesce Archibugi (poznata po scenariju za “Lude od sreće”) ne stoji na mjestu. Naprotiv, film cijelo vrijeme leprša naprijed-natrag u vremenu i prostoru priče rasprostranjene na tri generacije likova i čak šest dekada, toliko da je ponekad to postaje teško pratiti čak i skoncentriranijem gledatelju.

Važniji dio narativa tiče se lika Danielea Carradorija (znani talijanski redatelj Nanni Moretti), psihijatra Marcove supruge Marine (Kasia Smutniak; “Potpuni stranci”, “Loro”). Tip će iz nekog samo njemu poznatog razloga banuti u Marcovu ordinaciju i ispitivati ga je li njegov nadimak bio Kolibrić i je li zaljubljen u Luisu, da bi mu potom otkrio kako je Marina “izvan kontrole” i da je prestala dolaziti na termine.

U jednom prošlosnom trenutku otkrivamo kako je Marca i Marinu povezala smrt njihovih sestara koje “nisu uspjeli spasiti”, dok je njega i Luisu “razdvojila tragedija, a “u protivnom bi ostali zajedno cijeli život”. Da, “Kolibrić” je takva grandiozna melodrama na granici sapunice koju srećom ne prelazi zahvaljujući suptilnijoj režiji i glumcima debelo iznad materijala telenovele, a imamo i jedan “Final Destination” momenat s Marcom koji je izašao iz kobnog zrakoplova prije nego što je poletio.

Redateljica Archibugi nerijetko na montažno lijep način povezuje prošlost i sadašnjost, primjerice da mladi Marco izađe kroz vrata i vrati se natrag kao stariji kad ga pozovu/oslove imenom, ali ponekad znade posezati za ustaljenim obrascima, tipa da u jednoj povišenoj sceni zasvira “Just Like Honey”, pjesma koja je obilježila “Izgubljene u prijevodu” i ovdje ne ostvaruje sličan učinak.

Neujednačen kao “Češljugar”, “Kolibrić” je ponešto uspjeliji film, svakako vrijedan pažnje za čitatelje istoimena romana prevedenog na 25 jezika, uključujući i hrvatski, odnosno ljubitelje talijanske kinematografije. No, ambicioznost mu se u konačnici obija o glavu i znade se često pogubiti u vremenu i prostoru, ne izazivajući očekivanu dramsku emociju u spoju epskog i intimnog.

Šminka i prostetika

Glumci su postarani pomoću šminke i prostetike koja nije najuvjerljivija, ali je svakako bolja u odnosu na film "J. Edgar".

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17. svibanj 2024 03:07