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FILM: Spider In The Web; špijunski triler; Izrael/Danska/Velika Britanija, 2019. REŽIJA: Eran Riklis ULOGE: Ben Kingsley, Monica Bellucci OCJENA: ** ½

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Nismo brojali, ali teško da je više od deset(ak) hitaca ispaljeno u špijunskom trileru "Pauk u mreži". Vidjeli smo i jednu kratku potjeru, jedinu u filmu. I to je bilo to od akcije. Naime, "Spider In The Web", novitet u "A1 Videoteci", nije "akcijski" špijunski triler poput "Bondova", "Bourneova" i "Nemogućih misija".

Akcija je luksuz koji ova izraelsko-belgijsko-britanska koprodukcija ne može, a možda i ne želi priuštiti. U glavnoj ulozi se, za početak, nalazi 77-godišnji oskarovac i neakcijski, dramski glumac Ben Kingsley. Nadalje, "Pauk u mreži" je više festivalski, manje žanrovski i repertoarni film.

Potpisuje ga poznati izraelski festivalski redatelj Eran Riklis ("Stablo limuna", "Sirijska mladenka") kao svoj prvijenac na engleskom jeziku, tj. u zapadnjačkoj produkciji. Prethodni, tri godine stariji Riklisov film "Shelter" također je koketirao s međunarodnom špijunažom i "anglofoniziranim" žanrom, provučenim kroz erotikom nabijenu priču o agentici Mossada na "undercover" zadatku zaštite libanonske doušnice, a "Spider In The Web" s njima otvorenije ljubuje.

Samo što, dakle, ne izjavljuje ljubav Ianu Flemingu, nego Johnu LeCarreu, odnosno kune se u "špijuniranja" Seana Conneryja, ali iz "Ruske kuće", nipošto "Goldfingera", "Operacije Grom" ili "Samo dvaput se živi". Kingsleyjev protagonist, veteranski Mossadov agent Adereth, u jednoj sceni čak i čita/komentira LeCarreov (ekranizirani) roman "Brižni vrtlar" putujući lakom za Antwerpen.

Referiranje na LeCarrea djeluje isprve zgodno, pa i potrebno Riklisovu filmu kako bi gledatelj upućen u piščev bestselerski opus znao što može očekivati. Dakle, sporogoreći ritam naracije, dinamikom nalik igri šaha, s malo i nimalo akcije agen(a)ta na terenu, ali puno (š)pijunske karakterizacije i egzistencije.

"Čovjek je kao dah, dani njegovi samo su sjena u prolazu", citat je iz uvoda filma. Špijuni kod Carrea prije ili kasnije shvaćaju da su (bili) samo pijuni, a Adereth je u poslu već 40 godina i "više ne traži smisao" pred evidentni kraj špijunske karijere. "Sve proleti, okreneš se i svi su nestali, potpuno si sam", Adereth govori mladom agentu Danielu (Itay Tiran), inače sinu njegova pokojna prijatelja, koji ga nadgleda na zadatku i glumi mu dadilju.

Tračak smisla Adereth, ipak, naizgled pronalazi u friškoj ljubavnoj vezi s Angelom Caroni (Monica Bellucci) kojoj je zaštita okoliša "slaba točka", a on treba steći njezino povjerenje i preko nje posredno doći do odgovora prodaje li jedna belgijska kompanija ilegalne kemijske i biološke otrove sirijskom režimu.

Osim izgleda, Angela privlači Aderetha i time što zna kako je kad želiš nezavisnost i koja se cijena plaća za to – usamljenost. Scene između Kingsleyja i Bellucci mogu podsjetiti na njegov odnos s Penelope Cruz u "Elegy" i, još više, Conneryja i "ozbiljno lijepe" Michelle Pfeiffer u "Russian House", jer ispod romantike krije se pitanje je li sve gluma pod krinkom industrijske (kontra)špijunaže, tj. igranje "undercover" uloge.

U ovom dijelu "Pauka u mreži" referencije na LeCarrea i njegove ekranizacije rade kontraefekt filmu budući da nije ni solidan poput "Ruske kuće", nekmoli odličan kao "Dečko, dama, kralj, špijun". Film je pretežno režiran i glumljen odsutno (Kingsley je uglavnom izimka), s rijetkim bljeskovima barem dramske, ako ne akcijske energije.

Riklis nema nerv za nepotrebno iskompliciranu priču, izgubljenu u špijunskom labirintu, niti puninu likova i viših interesa u natuknutom svijetu geopolitike (rat u Siriji, Zapad se miješa u konflikt), premda je kontemplaciji i psihologizaciji aktera posvećeniji nego akciji.

Izraelski režiser jednostavno ne "osjeća" špijunski triler, čak ni ovakav, dramskiji, kao što bi, na primjer, jedan Tomas Alfredson ("Tinker Tailor Soldier Spy") vjerojatno teško osjećao "Lemon Tree", stoga ne zadobiva povjerenje gledatelja, ključno za ostvarenja ove vrste.

Neovisno o tome što smo slične priče već gledali, tajni identiteti prestaju biti interesantni čak i prije nego postanu "javni", a isto se može reći i za dvostruke uloge/prevare kad padnu maske i još jednom otkriju sav jad i bijedu špijunskog posla u filmu lišenom velebnosti i čvrstine ekranizacija Lecarreovih romana. "Spider In The Web" je LeCarre u džepnom izdanju i (pre)mekom uvezu.

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Lokacije kao osvježenje

Najveće osvježenje filmu daju lokacije. Belgijski Antwerpen rijetko je korišten u ovolikoj mjeri u slično žanriranim ostvarenjima.

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FILM: Spider In The Web; špijunski triler; Izrael/Danska/Velika Britanija, 2019. REŽIJA: Eran Riklis ULOGE: Ben Kingsley, Monica Bellucci OCJENA: ** ½

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Nismo brojali, ali teško da je više od deset(ak) hitaca ispaljeno u špijunskom trileru "Pauk u mreži". Vidjeli smo i jednu kratku potjeru, jedinu u filmu. I to je bilo to od akcije. Naime, "Spider In The Web", novitet u "A1 Videoteci", nije "akcijski" špijunski triler poput "Bondova", "Bourneova" i "Nemogućih misija".

Akcija je luksuz koji ova izraelsko-belgijsko-britanska koprodukcija ne može, a možda i ne želi priuštiti. U glavnoj ulozi se, za početak, nalazi 77-godišnji oskarovac i neakcijski, dramski glumac Ben Kingsley. Nadalje, "Pauk u mreži" je više festivalski, manje žanrovski i repertoarni film.

Potpisuje ga poznati izraelski festivalski redatelj Eran Riklis ("Stablo limuna", "Sirijska mladenka") kao svoj prvijenac na engleskom jeziku, tj. u zapadnjačkoj produkciji. Prethodni, tri godine stariji Riklisov film "Shelter" također je koketirao s međunarodnom špijunažom i "anglofoniziranim" žanrom, provučenim kroz erotikom nabijenu priču o agentici Mossada na "undercover" zadatku zaštite libanonske doušnice, a "Spider In The Web" s njima otvorenije ljubuje.

Samo što, dakle, ne izjavljuje ljubav Ianu Flemingu, nego Johnu LeCarreu, odnosno kune se u "špijuniranja" Seana Conneryja, ali iz "Ruske kuće", nipošto "Goldfingera", "Operacije Grom" ili "Samo dvaput se živi". Kingsleyjev protagonist, veteranski Mossadov agent Adereth, u jednoj sceni čak i čita/komentira LeCarreov (ekranizirani) roman "Brižni vrtlar" putujući lakom za Antwerpen.

Referiranje na LeCarrea djeluje isprve zgodno, pa i potrebno Riklisovu filmu kako bi gledatelj upućen u piščev bestselerski opus znao što može očekivati. Dakle, sporogoreći ritam naracije, dinamikom nalik igri šaha, s malo i nimalo akcije agen(a)ta na terenu, ali puno (š)pijunske karakterizacije i egzistencije.

"Čovjek je kao dah, dani njegovi samo su sjena u prolazu", citat je iz uvoda filma. Špijuni kod Carrea prije ili kasnije shvaćaju da su (bili) samo pijuni, a Adereth je u poslu već 40 godina i "više ne traži smisao" pred evidentni kraj špijunske karijere. "Sve proleti, okreneš se i svi su nestali, potpuno si sam", Adereth govori mladom agentu Danielu (Itay Tiran), inače sinu njegova pokojna prijatelja, koji ga nadgleda na zadatku i glumi mu dadilju.

Tračak smisla Adereth, ipak, naizgled pronalazi u friškoj ljubavnoj vezi s Angelom Caroni (Monica Bellucci) kojoj je zaštita okoliša "slaba točka", a on treba steći njezino povjerenje i preko nje posredno doći do odgovora prodaje li jedna belgijska kompanija ilegalne kemijske i biološke otrove sirijskom režimu.

Osim izgleda, Angela privlači Aderetha i time što zna kako je kad želiš nezavisnost i koja se cijena plaća za to – usamljenost. Scene između Kingsleyja i Bellucci mogu podsjetiti na njegov odnos s Penelope Cruz u "Elegy" i, još više, Conneryja i "ozbiljno lijepe" Michelle Pfeiffer u "Russian House", jer ispod romantike krije se pitanje je li sve gluma pod krinkom industrijske (kontra)špijunaže, tj. igranje "undercover" uloge.

U ovom dijelu "Pauka u mreži" referencije na LeCarrea i njegove ekranizacije rade kontraefekt filmu budući da nije ni solidan poput "Ruske kuće", nekmoli odličan kao "Dečko, dama, kralj, špijun". Film je pretežno režiran i glumljen odsutno (Kingsley je uglavnom izimka), s rijetkim bljeskovima barem dramske, ako ne akcijske energije.

Riklis nema nerv za nepotrebno iskompliciranu priču, izgubljenu u špijunskom labirintu, niti puninu likova i viših interesa u natuknutom svijetu geopolitike (rat u Siriji, Zapad se miješa u konflikt), premda je kontemplaciji i psihologizaciji aktera posvećeniji nego akciji.

Izraelski režiser jednostavno ne "osjeća" špijunski triler, čak ni ovakav, dramskiji, kao što bi, na primjer, jedan Tomas Alfredson ("Tinker Tailor Soldier Spy") vjerojatno teško osjećao "Lemon Tree", stoga ne zadobiva povjerenje gledatelja, ključno za ostvarenja ove vrste.

Neovisno o tome što smo slične priče već gledali, tajni identiteti prestaju biti interesantni čak i prije nego postanu "javni", a isto se može reći i za dvostruke uloge/prevare kad padnu maske i još jednom otkriju sav jad i bijedu špijunskog posla u filmu lišenom velebnosti i čvrstine ekranizacija Lecarreovih romana. "Spider In The Web" je LeCarre u džepnom izdanju i (pre)mekom uvezu.

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Lokacije kao osvježenje

Najveće osvježenje filmu daju lokacije. Belgijski Antwerpen rijetko je korišten u ovolikoj mjeri u slično žanriranim ostvarenjima.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

PAUK U MREŽI (Pre)meki uvez za Johna LeCarrea

12. travnja 2020. - 21:51

Nismo brojali, ali teško da je više od deset(ak) hitaca ispaljeno u špijunskom trileru "Pauk u mreži". Vidjeli smo i jednu kratku potjeru, jedinu u filmu. I to je bilo to od akcije. Naime, "Spider In The Web", novitet u "A1 Videoteci", nije "akcijski" špijunski triler poput "Bondova", "Bourneova" i "Nemogućih misija".

Akcija je luksuz koji ova izraelsko-belgijsko-britanska koprodukcija ne može, a možda i ne želi priuštiti. U glavnoj ulozi se, za početak, nalazi 77-godišnji oskarovac i neakcijski, dramski glumac Ben Kingsley. Nadalje, "Pauk u mreži" je više festivalski, manje žanrovski i repertoarni film.

Potpisuje ga poznati izraelski festivalski redatelj Eran Riklis ("Stablo limuna", "Sirijska mladenka") kao svoj prvijenac na engleskom jeziku, tj. u zapadnjačkoj...

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11. svibanj 2024 09:06