SD Dojavi
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Comeback filmovi nekih znamenitih redatelja nakon veće ili manje pauze znaju dolaziti u paketu s foršpanom koji podsjeća zaboravne na njihov lik i djelo. Sjetimo se “Avatara” i natpisa “od Jamesa Camerona, redatelja filmova ‘Terminator’, ‘Aliens’, ‘Terminator 2’, ‘Istinite laži’, ‘Titanic’...”.

Slično je bilo i kad je u kina stizao “Otok Shutter” Martina Scorsesea, a domaći foršpan je plasirao “od redatelja filmova ‘Taksist’, ‘Dobri momci’, ‘Casino’, ‘Pokojni’...”. Teškaška niska se očekivala i u foršpanu za vestern “Dead For a Dollar”, povratničku režiju Waltera Hilla nakon filma “The Assignment” iz 2016. godine.

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FILM: Dead For a Dollar; vestern; SAD, 2022. REŽIJA: Walter Hill ULOGE: Christoph Waltz, Willem Dafoe  OCJENA: ** ½

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Srce bi kao i u prijašnjim slučajevima zatitralo na natpis “od redatelja ‘Ratnika podzemlja’, ‘Južnjačke utjehe’, ‘48 sati’, ‘Vatrenih ulica’, ‘Teksaškog graničara’, ‘Crvenog usijanja’, ‘Posljednjeg preživjelog’...”.

Međutim, u jednom foršpanu Hillovo se ime uopće ne navodi, a u drugom je naveden samo kao “legendary filmmaker”. Hill to i jest, “legendaran filmaš”, jedan od najlegendarnijih akcijskih redatelja, ako ne i uopće, ali upitno je koliko današnja filmska publika zna za njega, tj. bi li ga povezala s navedenim filmovima i još nekim ranim klasicima (“Hard Times”, “The Driver”, “The Long Riders”).

Jer, Hill je u novom mileniju snimio svega tri filma prije spomenutog “Assignmenta” – podjednako solidnog “Nepobjedivog” s Wesleyjem Snipesom iz “davne” 2002. i “Metak u glavu” sa Sylvesterom Stalloneom iz 2013. godine. Teško da je Hill s njima stekao nove obožavatelje, ako nije odbio sve stare, što je definitivno mogao s “Assignmentom”, zasigurno najslabijim ostvarenjem karijere, a može i s “Dead For a Dollar”.

Koliko god je šteta ne vidjeti nisku Hillovih klasika na foršpanu novog filma, toliko je u jednu ruku možda i bolje budući da “Dead For a Dollar” spada u donji dom redateljeve filmografije i nije ni sjena gorespomenutih naslova, niti njegovih podcijenjenih vesterna iz devedesetih kao što su “Geronimo” i “Wild Bill”. U odnosu na “The Assingment”, “Dead For a Dollar” je korak naprijed, ali nazad za takoreći sve Hillovo što mu prethodi ili najveću većinu.

Naravno, treba biti sretan što Hill uopće snima sa sada već navršenih 80 godina i nije čudno da je, s time u vidu, “Dead For a Dollar” imao premijeru na jednom Venecijanskom festivalu, gdje je režiser zasluženo dobio nagradu “Glory to the Filmmaker” koju su prethodno osvajali Takeshi Kitano, Abbas Kiarostami, Agnes Varda, Stallone, Al Pacino, Spike Lee, Brian De Palma, Stephen Frears, Zhang Yimou, Costa Gavras, Abel Ferrara i Ridley Scott.

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”Dead For a Dollar” je, na koncu, gledljiv, no očekivalo se ipak više od Hillovog comeback filma, k tome i povratničkog vesterna. Nominalno, Hill je akcijski redatelj, ali s posebnim nagnućem vesternima. Gotovo svaki uradak ovog redatelja je u duši vesternski, čak i ako nije vestern “per se” kao “Jahači na duge staze”, “Geronimo” i “Divlji Bill”.

A neki su brisali granicu između kaubojca i akcijskog filma, kao “Extreme Prejudice” i “Last Man Standing”. Ima tako smisla da je novi Hillov film vestern s obzirom da on predstavlja jednu od posljednjih crta obrane žanra. Svakako, na papiru je, reklo bi se, sve štimalo.

Klasična vestern priča i dobri glumci u ulogama arhetipskih likova: Hill iza kamere, oskarovac Christoph Waltz kao “bounty man” Max Borlund i Willem Dafoe kao njegov neprijatelj kockar i odmetnik Joe Cribbens. Waltz je već glumio u vesternu (“Odbjegli Django”), a Dafoeu je ovo prvi kaubojac, ali je sa svojim prepoznatljivim licem rođen za negativca žanra, “opasnog čovjeka” Joea.

Max i Joe se sreću u jednoj od prvih scena, kada je jasno da njihov antagonizam neće dosegnuti razinu “Vrućine” i frcati tenzične iskre, premda Hill upravo tipuje na to kad prvi posjećuje drugoga u zatvoru (kamo ovaj boravi njegovom zaslugom) i govori mu da neće oklijevati da ga napuca ako im se putovi sretnu kad bude pušten na slobodu.

Dakle, nije samo do Hilla, nego i do glumaca, ne odveć inspiriranih da podignu film na nešto veću razinu, koliko god Dafoe bio dovoljno raspoložen, dok je Waltza je lijepo vidjeti u ulozi pozitivca, a ne negativca s manirima, no uloga arhetipskog lovca na glave baš mu i ne pristaje jer on nije Randolph Scott, junak vesterna pedesetih Budda Boettichera.

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Jednostavno, glumci nisu “kliknuli” kao antagonisti. Prije njihovog neminovog novog susreta, Max biva angažiran, uz pomoć tamnoputog strijelca Poea (Warren Burke), da pronađe Rachel (Rachel Brosnahan), suprugu imućnog Martina Kidda (Hamish Linklater), nakon što ju je, skandalozno zbog njegove boje kože, navodno oteo “obojeni” vojni dezerter Elijah Jones (Brandon Scott) i traži 10.000 dolara da je vrati.

Iako je Maxu rečeno da je Rachel oteta, istina je nešto drukčija i to je prilika da se Hill nasloni na modernu rasno orijentiranu tematiku u staromodnom filmu posvećenom kultnom vestern redatelju Boetticheru, ali ni Rachel ni Elijah nisu posebno dojmljivi likovi, kao ni Meksikanci poput Tiberija (Benjamin Bratt) koji ima svoju privatnu vojsku, kao da je lik iz “Divlje horde” Sama Peckinpaha ili “Teksaškog graničara”.

Spomen privatne vojske sugerira revolverašku akciju i puškaranje, no treba proći vremena da Hill isporuči ono što se od njega traži, ne računajući tu i tamo pokoji nepamtljivi revolveraški obračun. Film je razvučen i ima dosta praznog hoda, kaska umjesto da galopira.

Ne bi to bio problem da u tom kaskanju ima revizionističkog žanrovskog promišljanja a la Sergio Leone (“Bilo jednom na Divljem zapadu”) i Clint Eastwood (“Nepomirljivi”) ili “Wild Bill”, ali nema. Do klimaksa u meksičkom gradiću pamti se tek poneki “widescreen” kadar prostranog “Wild West” horizonta.

Srećom, bar je finale fino orkestrirano i povremeno podsjeća na Hillova nekadašnja majstorstva. Tad se počinje osjećati pravi Hill: likovi potežu koltove jedni na druge i ne sklanjaju se pred uzajamnim mecima (“48 Hrs”, “Red Heat”) ili prolijeću na konju kroz staklena vrata (“The Long Riders”). Dovoljno za jednokratno gledanje. Nedovoljno da “Dead For a Dollar” postane “jahač na duge staze”.

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Producent ‘Aliena‘

Hill je jak igrač i kao producent. Podsjetimo, producirao je serijal "Alien", uključujući i podcijenjeni treći i četvrti film, ali i "Prometeja" i "Alien: Savez".

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Comeback filmovi nekih znamenitih redatelja nakon veće ili manje pauze znaju dolaziti u paketu s foršpanom koji podsjeća zaboravne na njihov lik i djelo. Sjetimo se “Avatara” i natpisa “od Jamesa Camerona, redatelja filmova ‘Terminator’, ‘Aliens’, ‘Terminator 2’, ‘Istinite laži’, ‘Titanic’...”.

Slično je bilo i kad je u kina stizao “Otok Shutter” Martina Scorsesea, a domaći foršpan je plasirao “od redatelja filmova ‘Taksist’, ‘Dobri momci’, ‘Casino’, ‘Pokojni’...”. Teškaška niska se očekivala i u foršpanu za vestern “Dead For a Dollar”, povratničku režiju Waltera Hilla nakon filma “The Assignment” iz 2016. godine.

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FILM: Dead For a Dollar; vestern; SAD, 2022. REŽIJA: Walter Hill ULOGE: Christoph Waltz, Willem Dafoe  OCJENA: ** ½

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Srce bi kao i u prijašnjim slučajevima zatitralo na natpis “od redatelja ‘Ratnika podzemlja’, ‘Južnjačke utjehe’, ‘48 sati’, ‘Vatrenih ulica’, ‘Teksaškog graničara’, ‘Crvenog usijanja’, ‘Posljednjeg preživjelog’...”.

Međutim, u jednom foršpanu Hillovo se ime uopće ne navodi, a u drugom je naveden samo kao “legendary filmmaker”. Hill to i jest, “legendaran filmaš”, jedan od najlegendarnijih akcijskih redatelja, ako ne i uopće, ali upitno je koliko današnja filmska publika zna za njega, tj. bi li ga povezala s navedenim filmovima i još nekim ranim klasicima (“Hard Times”, “The Driver”, “The Long Riders”).

Jer, Hill je u novom mileniju snimio svega tri filma prije spomenutog “Assignmenta” – podjednako solidnog “Nepobjedivog” s Wesleyjem Snipesom iz “davne” 2002. i “Metak u glavu” sa Sylvesterom Stalloneom iz 2013. godine. Teško da je Hill s njima stekao nove obožavatelje, ako nije odbio sve stare, što je definitivno mogao s “Assignmentom”, zasigurno najslabijim ostvarenjem karijere, a može i s “Dead For a Dollar”.

Koliko god je šteta ne vidjeti nisku Hillovih klasika na foršpanu novog filma, toliko je u jednu ruku možda i bolje budući da “Dead For a Dollar” spada u donji dom redateljeve filmografije i nije ni sjena gorespomenutih naslova, niti njegovih podcijenjenih vesterna iz devedesetih kao što su “Geronimo” i “Wild Bill”. U odnosu na “The Assingment”, “Dead For a Dollar” je korak naprijed, ali nazad za takoreći sve Hillovo što mu prethodi ili najveću većinu.

Naravno, treba biti sretan što Hill uopće snima sa sada već navršenih 80 godina i nije čudno da je, s time u vidu, “Dead For a Dollar” imao premijeru na jednom Venecijanskom festivalu, gdje je režiser zasluženo dobio nagradu “Glory to the Filmmaker” koju su prethodno osvajali Takeshi Kitano, Abbas Kiarostami, Agnes Varda, Stallone, Al Pacino, Spike Lee, Brian De Palma, Stephen Frears, Zhang Yimou, Costa Gavras, Abel Ferrara i Ridley Scott.

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”Dead For a Dollar” je, na koncu, gledljiv, no očekivalo se ipak više od Hillovog comeback filma, k tome i povratničkog vesterna. Nominalno, Hill je akcijski redatelj, ali s posebnim nagnućem vesternima. Gotovo svaki uradak ovog redatelja je u duši vesternski, čak i ako nije vestern “per se” kao “Jahači na duge staze”, “Geronimo” i “Divlji Bill”.

A neki su brisali granicu između kaubojca i akcijskog filma, kao “Extreme Prejudice” i “Last Man Standing”. Ima tako smisla da je novi Hillov film vestern s obzirom da on predstavlja jednu od posljednjih crta obrane žanra. Svakako, na papiru je, reklo bi se, sve štimalo.

Klasična vestern priča i dobri glumci u ulogama arhetipskih likova: Hill iza kamere, oskarovac Christoph Waltz kao “bounty man” Max Borlund i Willem Dafoe kao njegov neprijatelj kockar i odmetnik Joe Cribbens. Waltz je već glumio u vesternu (“Odbjegli Django”), a Dafoeu je ovo prvi kaubojac, ali je sa svojim prepoznatljivim licem rođen za negativca žanra, “opasnog čovjeka” Joea.

Max i Joe se sreću u jednoj od prvih scena, kada je jasno da njihov antagonizam neće dosegnuti razinu “Vrućine” i frcati tenzične iskre, premda Hill upravo tipuje na to kad prvi posjećuje drugoga u zatvoru (kamo ovaj boravi njegovom zaslugom) i govori mu da neće oklijevati da ga napuca ako im se putovi sretnu kad bude pušten na slobodu.

Dakle, nije samo do Hilla, nego i do glumaca, ne odveć inspiriranih da podignu film na nešto veću razinu, koliko god Dafoe bio dovoljno raspoložen, dok je Waltza je lijepo vidjeti u ulozi pozitivca, a ne negativca s manirima, no uloga arhetipskog lovca na glave baš mu i ne pristaje jer on nije Randolph Scott, junak vesterna pedesetih Budda Boettichera.

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Jednostavno, glumci nisu “kliknuli” kao antagonisti. Prije njihovog neminovog novog susreta, Max biva angažiran, uz pomoć tamnoputog strijelca Poea (Warren Burke), da pronađe Rachel (Rachel Brosnahan), suprugu imućnog Martina Kidda (Hamish Linklater), nakon što ju je, skandalozno zbog njegove boje kože, navodno oteo “obojeni” vojni dezerter Elijah Jones (Brandon Scott) i traži 10.000 dolara da je vrati.

Iako je Maxu rečeno da je Rachel oteta, istina je nešto drukčija i to je prilika da se Hill nasloni na modernu rasno orijentiranu tematiku u staromodnom filmu posvećenom kultnom vestern redatelju Boetticheru, ali ni Rachel ni Elijah nisu posebno dojmljivi likovi, kao ni Meksikanci poput Tiberija (Benjamin Bratt) koji ima svoju privatnu vojsku, kao da je lik iz “Divlje horde” Sama Peckinpaha ili “Teksaškog graničara”.

Spomen privatne vojske sugerira revolverašku akciju i puškaranje, no treba proći vremena da Hill isporuči ono što se od njega traži, ne računajući tu i tamo pokoji nepamtljivi revolveraški obračun. Film je razvučen i ima dosta praznog hoda, kaska umjesto da galopira.

Ne bi to bio problem da u tom kaskanju ima revizionističkog žanrovskog promišljanja a la Sergio Leone (“Bilo jednom na Divljem zapadu”) i Clint Eastwood (“Nepomirljivi”) ili “Wild Bill”, ali nema. Do klimaksa u meksičkom gradiću pamti se tek poneki “widescreen” kadar prostranog “Wild West” horizonta.

Srećom, bar je finale fino orkestrirano i povremeno podsjeća na Hillova nekadašnja majstorstva. Tad se počinje osjećati pravi Hill: likovi potežu koltove jedni na druge i ne sklanjaju se pred uzajamnim mecima (“48 Hrs”, “Red Heat”) ili prolijeću na konju kroz staklena vrata (“The Long Riders”). Dovoljno za jednokratno gledanje. Nedovoljno da “Dead For a Dollar” postane “jahač na duge staze”.

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Producent ‘Aliena‘

Hill je jak igrač i kao producent. Podsjetimo, producirao je serijal "Alien", uključujući i podcijenjeni treći i četvrti film, ali i "Prometeja" i "Alien: Savez".

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Mrtav za dolar‘: Jahači na kratke staze

Piše Marko Njegić
23. listopada 2022. - 18:08
23614639
PREMIUM
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Comeback filmovi nekih znamenitih redatelja nakon veće ili manje pauze znaju dolaziti u paketu s foršpanom koji podsjeća zaboravne na njihov lik i djelo. Sjetimo se “Avatara” i natpisa “od Jamesa Camerona, redatelja filmova ‘Terminator’, ‘Aliens’, ‘Terminator 2’, ‘Istinite laži’, ‘Titanic’...”.

Slično je bilo i kad je u kina stizao “Otok Shutter” Martina Scorsesea, a domaći foršpan je plasirao “od redatelja filmova ‘Taksist’, ‘Dobri momci’, ‘Casino’, ‘Pokojni’...”. Teškaška niska se očekivala i u foršpanu za vestern “Dead For a Dollar”, povratničku režiju Waltera Hilla nakon filma “The Assignment” iz 2016. godine.

Srce bi kao i u prijašnjim slučajevima zatitralo na natpis “od redatelja ‘Ratnika podzemlja’,...

#CINEMARK#CINEMARK U KUĆNOM KINU#VESTERNI#WALTER HILL#CHRISTOPH WALTZ#WILLEM DAFOE
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