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Zvijezda šahovske hit-serije "Queen's Gambit" Anya-Taylor Joy nije se još ni rodila kad je u hrvatskim kinima i videotekama šah igrao film "Knight Moves" (1992.) Carla Schenkela. Popularnost koju je danas pomalo opskurni i zaboravljeni "Potez lovca" uživao početkom devedesetih usporediva je s trenutnom popularnošću "Damina gambita".

"Knight Moves" punio je domaća kina, u Splitu "Marjan", a još je veći hit bio u videotekama. Kazeta "Poteza lovca" vrijedila je gotovo kao suho zlato i trebalo se predbilježiti danima/tjednima unaprijed na jednu od stotinu kopija u nekoj od splitskih videoteka, naoružati strpljenjem i vrijeme (s)kratiti igranjem šaha.

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FILM: Knight Moves; triler, SAD/Njemačka/Kanada, 1992. REŽIJA: Carl Schenkel ULOGE: Christopher Lambert, Diane Lane OCJENA: ****

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Da, tako je to nekad bilo, premda danas zasigurno zvuči nevjerojatno pripadnicima gotovanske "streaming generacije" koji na jedan klik dobiju novi film ili seriju po želji, a nažalost nerijetko ignoriraju sve što datira prije 2000. godine. Za njih, ali i starije filmofile, evo podsjetnika na "Knight Moves" i potvrde da šah u pokretnim slikama nije počeo s "Queen's Gambit". Sad ste vi na potezu (lovca).

Teleportira(j)mo se, dakle, na početak devedesetih. Poguran filmovima s kraja osamdesetih, poput "Kobne privlačnosti", "Mora ljubavi" i "Opasnog mora", žanr trilera bio je tad na vrhuncu, najdominantniji u kinima i videotekama uz akcijske blockbustere ili iza njih.

"Potez lovca" je izvorna trilerska kreacija tog razdoblja, a ne pokušaj rekreacije kao npr. također friška i gledana serija "Slom"/"The Undoing". Snimljen je 1992., kao i "Sirove strasti", "Oglas donosi smrt", "U posljednjoj fazi", "Ruka koja njiše kolijevku", "Jennifer 8"..., tj. godinu kasnije u odnosu na "Pod sumnjom", "Raspad", "Iza ponoći", "Prevarenu"...

Svim ovim trilerima, kao i onima koji su uslijedili ("Sliver", "Guilty As Sin"...), zajednički je prefiks "erotski", "psihološki" ili "serijsko-ubilački", a nerijetko su prožimali jedno, drugo i treće, tjelesno, mentalno i morbidno, uz dosta karnalnosti, erosa i thanatosa.

Punokrvni "90's" triler "Knight Moves" izdvajao se u gomili baš zbog šahovske komponente koja sugerira psihologizaciju i umne igre, neovisno o tome što je sadržavao i elemente erotskog trilera sa "soft porn" vizualizacijom seksa. Nekoliko scena se takoreći moglo naći u erotskim trilerima Sharon Stone ("Basic Instinct", "Sliver"), kao i onima videotečnima Shannon Tweed ("Indecent Behaviour", "Illicit Dreams").

Recimo, scena kad šahovski velemajstor Peter Sanders (Christopher Lambert) vodi ljubav sa zgodnom plavušom koja će postati prva žrtva serijskog ubojice ili kad se nađe u zagrljaju bujne psihologinje Kathy Sheppard (superseksi Diane Lane). Deset godina prije "Nevjerne", Lane je pokazala da može nositi erotski triler i "Potez lovca" je bio priprema za taj film, svojevrsni "Dianein gambit".

Ipak, priča se vrti oko Petera i "Knight Moves" je ponajprije "Lambertov gambit". Termin "gambit" nije spomenut u filmu, samo "Tarakoss otvaranje", ali serijski ubojica definitivno žrtvuje "slabije figure" (žrtve su pripadnice slabijeg spola) za "viši cilj" (matiranje Petera).

"Želim igrati igru", kaže ubojica s modulatorom glasa na drugoj strani telefonske žice, netko tko će postati "važan dio" Peterova života ili možda već jest, tj. nekoć je bio. Nesvakidašnje je i to da je naš naizgledni junak, Peter, glavni osumnjičeni za zločin(e), barem ako pitate policajce Franka Sedmana i napose Andyja Wagnera (Tom Skerritt, Daniel Baldwin).

Je li junak ubojica ili nije, pitanje visi u zraku najmanje prve dvije trećine filma, a prethodno se postavljalo rijetko unutar žanra, u "Jagged Edge"/"Maskiranom ubojici" s Jeffom Bridgesom i spomenutom "Past Midnight" s Rutgerom Hauerom.

Taman kad pomislite da nije, jer ubojica zove Petera preko telefona i daje mu tragove idućih ubojstava u zagonetkama, Schenkel se potrudi da sumnja bude osnovana (dvoznačna karakterizacija, dvosmisleni pogledi), što djeluje subverzivno, posebice ako računamo da bi poslovično introvertni lik kao što je šahist mogao biti "serial killer", makar ovaj "chess player" bio "playboyevski" seksualno ekstrovertan.

Gledatelj je involviran u misterij i svakako nastavlja dvojiti tko je od dvojice dječaka s početka filma Peter, a a tko ubojica koji očito ima "issues", dakako ako oni nisu jedna osoba. Schenkel znade riskirati u režiji jer "ne pobjeđuješ igrajući (na) sigurno": početak je snimio stilizirano artistički, ekspresionistički, u "noirovskoj" crno-bijeloj tehnici, sukladno boji šahovske ploče.

Špica se prelijeva preko šahovnice kao uvodom u mračnu scenu partije dvojice "boy genius" šahista s nasilnim krajem nakon poraza jednog od njih. Šah najednom djeluje ominozno i šahovska ploča je postavljena za triler, čak i doslovno s obzirom da se kamera, nakon nasilnog čina, odmaknula iza šahovnice i sakrila iza figura u krupnom planu.

Poraženi klinac završava na psihološkom promatranju ("Ne smije prići blizu šahu"), njegova majka se okreće piću, a otac ih napušta. To dovodi do samoubojstva uplakane majke koja je prerezala vene. Godinama kasnije, eto nas na turniru velemajstora na kojem srećemo Petera i ubrzo se žrtve počinju gomilati.

Žrtve su redom prezgodne žene prerezana zapešća, razmazane maskare i šminke na licu izgledajući kao da dječakova suicidalna majka oponaša Jokera, ali i bez kapi krvi u tijelu koju je ubojica isušio i njome piše poruke/zagonetke.

Ubojstva su često snimljena iz ubojičine subjektivne perspektive, da čujemo njegovo disanje i zvuk polaroida kojim zaskače žrtve u mraku, prije nego ih sjecne britvom, ali "Potez lovca" je više "giallo" triler na tragu Argentovih kultova ("Tenebre", "Opera"), nego "slasher" horor tipa "Noć vještica".

Ubojica nije bezumni koljač kao Michael Myers, niti njegova životinjska preteča, velika bijela psina iz "Ralja", iako gradonačelnica otoka na kojem se odvija radnja strahuje od pada broja turista zbog ubojstava. Ne, ubojica igra šah s Peterom i policijom koristeći žrtve kao figure na imaginarnoj šahovskoj ploči, odnosno karti otoka.

U igri se nižu i neki predvidljivi trilerski potezi, s podmetanjima krivih tragova da ubojica, među inima, načas može biti i Peterov stari, misteriozni slijepi mentor (Ferdy Mayne, "Bal vampira"), a rasplet je, kao i u mnogim "whodunit" trilerima, slabiji od zapleta, premda ima smisla.

Bolji dok traje, nego nakon što završi, kad zada šah, ne mat, "Knight Moves" je svejedno napeta partija psihološkog trilera i opet se gleda netremice tijekom Schenkelova bildanja napetice u ritmu otkucavajućeg šahovskog sata. Igra mačke i miša, serijskog ubojice i junaka/policije, odigrava se na simboličkoj šahovskoj ploči. Schenkel intrigantno svodi film na šahovsku igru i figure iz trilera postavlja na šahovnicu.

Nikad prije, a ni poslije, šah se nije našao u centru radnje nekog trilera o serijskom ubojici budući da se nije smatrao "uzbudljivim" u klasičnom smislu te riječi. Schenkel je osvježio žanr i iskoristio napetost koju može pružiti taktizacija šahista pred povlačenje neočekivanih i odlučujućih poteza. Poteza lovca.

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Glumac na vrhuncu popularnosti

Christopher Lambert je početkom devedesetih bio na vrhuncu popularnosti nakon dvaju "Highlandera", premda je nakon ovog filma polako krenuo silaznom putanjom. Scenarist "Poteza lovca" Brad Mirman napisao je scenarij za još neke Lambertove filmove, od kojih je najpoznatiji (i najmanje loš) "Ubojica sudnjeg dana".

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Zvijezda šahovske hit-serije "Queen's Gambit" Anya-Taylor Joy nije se još ni rodila kad je u hrvatskim kinima i videotekama šah igrao film "Knight Moves" (1992.) Carla Schenkela. Popularnost koju je danas pomalo opskurni i zaboravljeni "Potez lovca" uživao početkom devedesetih usporediva je s trenutnom popularnošću "Damina gambita".

"Knight Moves" punio je domaća kina, u Splitu "Marjan", a još je veći hit bio u videotekama. Kazeta "Poteza lovca" vrijedila je gotovo kao suho zlato i trebalo se predbilježiti danima/tjednima unaprijed na jednu od stotinu kopija u nekoj od splitskih videoteka, naoružati strpljenjem i vrijeme (s)kratiti igranjem šaha.

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FILM: Knight Moves; triler, SAD/Njemačka/Kanada, 1992. REŽIJA: Carl Schenkel ULOGE: Christopher Lambert, Diane Lane OCJENA: ****

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Da, tako je to nekad bilo, premda danas zasigurno zvuči nevjerojatno pripadnicima gotovanske "streaming generacije" koji na jedan klik dobiju novi film ili seriju po želji, a nažalost nerijetko ignoriraju sve što datira prije 2000. godine. Za njih, ali i starije filmofile, evo podsjetnika na "Knight Moves" i potvrde da šah u pokretnim slikama nije počeo s "Queen's Gambit". Sad ste vi na potezu (lovca).

Teleportira(j)mo se, dakle, na početak devedesetih. Poguran filmovima s kraja osamdesetih, poput "Kobne privlačnosti", "Mora ljubavi" i "Opasnog mora", žanr trilera bio je tad na vrhuncu, najdominantniji u kinima i videotekama uz akcijske blockbustere ili iza njih.

"Potez lovca" je izvorna trilerska kreacija tog razdoblja, a ne pokušaj rekreacije kao npr. također friška i gledana serija "Slom"/"The Undoing". Snimljen je 1992., kao i "Sirove strasti", "Oglas donosi smrt", "U posljednjoj fazi", "Ruka koja njiše kolijevku", "Jennifer 8"..., tj. godinu kasnije u odnosu na "Pod sumnjom", "Raspad", "Iza ponoći", "Prevarenu"...

Svim ovim trilerima, kao i onima koji su uslijedili ("Sliver", "Guilty As Sin"...), zajednički je prefiks "erotski", "psihološki" ili "serijsko-ubilački", a nerijetko su prožimali jedno, drugo i treće, tjelesno, mentalno i morbidno, uz dosta karnalnosti, erosa i thanatosa.

Punokrvni "90's" triler "Knight Moves" izdvajao se u gomili baš zbog šahovske komponente koja sugerira psihologizaciju i umne igre, neovisno o tome što je sadržavao i elemente erotskog trilera sa "soft porn" vizualizacijom seksa. Nekoliko scena se takoreći moglo naći u erotskim trilerima Sharon Stone ("Basic Instinct", "Sliver"), kao i onima videotečnima Shannon Tweed ("Indecent Behaviour", "Illicit Dreams").

Recimo, scena kad šahovski velemajstor Peter Sanders (Christopher Lambert) vodi ljubav sa zgodnom plavušom koja će postati prva žrtva serijskog ubojice ili kad se nađe u zagrljaju bujne psihologinje Kathy Sheppard (superseksi Diane Lane). Deset godina prije "Nevjerne", Lane je pokazala da može nositi erotski triler i "Potez lovca" je bio priprema za taj film, svojevrsni "Dianein gambit".

Ipak, priča se vrti oko Petera i "Knight Moves" je ponajprije "Lambertov gambit". Termin "gambit" nije spomenut u filmu, samo "Tarakoss otvaranje", ali serijski ubojica definitivno žrtvuje "slabije figure" (žrtve su pripadnice slabijeg spola) za "viši cilj" (matiranje Petera).

"Želim igrati igru", kaže ubojica s modulatorom glasa na drugoj strani telefonske žice, netko tko će postati "važan dio" Peterova života ili možda već jest, tj. nekoć je bio. Nesvakidašnje je i to da je naš naizgledni junak, Peter, glavni osumnjičeni za zločin(e), barem ako pitate policajce Franka Sedmana i napose Andyja Wagnera (Tom Skerritt, Daniel Baldwin).

Je li junak ubojica ili nije, pitanje visi u zraku najmanje prve dvije trećine filma, a prethodno se postavljalo rijetko unutar žanra, u "Jagged Edge"/"Maskiranom ubojici" s Jeffom Bridgesom i spomenutom "Past Midnight" s Rutgerom Hauerom.

Taman kad pomislite da nije, jer ubojica zove Petera preko telefona i daje mu tragove idućih ubojstava u zagonetkama, Schenkel se potrudi da sumnja bude osnovana (dvoznačna karakterizacija, dvosmisleni pogledi), što djeluje subverzivno, posebice ako računamo da bi poslovično introvertni lik kao što je šahist mogao biti "serial killer", makar ovaj "chess player" bio "playboyevski" seksualno ekstrovertan.

Gledatelj je involviran u misterij i svakako nastavlja dvojiti tko je od dvojice dječaka s početka filma Peter, a a tko ubojica koji očito ima "issues", dakako ako oni nisu jedna osoba. Schenkel znade riskirati u režiji jer "ne pobjeđuješ igrajući (na) sigurno": početak je snimio stilizirano artistički, ekspresionistički, u "noirovskoj" crno-bijeloj tehnici, sukladno boji šahovske ploče.

Špica se prelijeva preko šahovnice kao uvodom u mračnu scenu partije dvojice "boy genius" šahista s nasilnim krajem nakon poraza jednog od njih. Šah najednom djeluje ominozno i šahovska ploča je postavljena za triler, čak i doslovno s obzirom da se kamera, nakon nasilnog čina, odmaknula iza šahovnice i sakrila iza figura u krupnom planu.

Poraženi klinac završava na psihološkom promatranju ("Ne smije prići blizu šahu"), njegova majka se okreće piću, a otac ih napušta. To dovodi do samoubojstva uplakane majke koja je prerezala vene. Godinama kasnije, eto nas na turniru velemajstora na kojem srećemo Petera i ubrzo se žrtve počinju gomilati.

Žrtve su redom prezgodne žene prerezana zapešća, razmazane maskare i šminke na licu izgledajući kao da dječakova suicidalna majka oponaša Jokera, ali i bez kapi krvi u tijelu koju je ubojica isušio i njome piše poruke/zagonetke.

Ubojstva su često snimljena iz ubojičine subjektivne perspektive, da čujemo njegovo disanje i zvuk polaroida kojim zaskače žrtve u mraku, prije nego ih sjecne britvom, ali "Potez lovca" je više "giallo" triler na tragu Argentovih kultova ("Tenebre", "Opera"), nego "slasher" horor tipa "Noć vještica".

Ubojica nije bezumni koljač kao Michael Myers, niti njegova životinjska preteča, velika bijela psina iz "Ralja", iako gradonačelnica otoka na kojem se odvija radnja strahuje od pada broja turista zbog ubojstava. Ne, ubojica igra šah s Peterom i policijom koristeći žrtve kao figure na imaginarnoj šahovskoj ploči, odnosno karti otoka.

U igri se nižu i neki predvidljivi trilerski potezi, s podmetanjima krivih tragova da ubojica, među inima, načas može biti i Peterov stari, misteriozni slijepi mentor (Ferdy Mayne, "Bal vampira"), a rasplet je, kao i u mnogim "whodunit" trilerima, slabiji od zapleta, premda ima smisla.

Bolji dok traje, nego nakon što završi, kad zada šah, ne mat, "Knight Moves" je svejedno napeta partija psihološkog trilera i opet se gleda netremice tijekom Schenkelova bildanja napetice u ritmu otkucavajućeg šahovskog sata. Igra mačke i miša, serijskog ubojice i junaka/policije, odigrava se na simboličkoj šahovskoj ploči. Schenkel intrigantno svodi film na šahovsku igru i figure iz trilera postavlja na šahovnicu.

Nikad prije, a ni poslije, šah se nije našao u centru radnje nekog trilera o serijskom ubojici budući da se nije smatrao "uzbudljivim" u klasičnom smislu te riječi. Schenkel je osvježio žanr i iskoristio napetost koju može pružiti taktizacija šahista pred povlačenje neočekivanih i odlučujućih poteza. Poteza lovca.

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Glumac na vrhuncu popularnosti

Christopher Lambert je početkom devedesetih bio na vrhuncu popularnosti nakon dvaju "Highlandera", premda je nakon ovog filma polako krenuo silaznom putanjom. Scenarist "Poteza lovca" Brad Mirman napisao je scenarij za još neke Lambertove filmove, od kojih je najpoznatiji (i najmanje loš) "Ubojica sudnjeg dana".

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StoryEditorOCM
Film & TVCINEMARK RETRO(PER)SPEKTIVA

POTEZ LOVCA Lambertov gambit

Piše Marko Njegić
6. prosinca 2020. - 16:00
15419306
PREMIUM
Galerija

Zvijezda šahovske hit-serije "Queen's Gambit" Anya-Taylor Joy nije se još ni rodila kad je u hrvatskim kinima i videotekama šah igrao film "Knight Moves" (1992.) Carla Schenkela. Popularnost koju je danas pomalo opskurni i zaboravljeni "Potez lovca" uživao početkom devedesetih usporediva je s trenutnom popularnošću "Damina gambita".

"Knight Moves" punio je domaća kina, u Splitu "Marjan", a još je veći hit bio u videotekama. Kazeta "Poteza lovca" vrijedila je gotovo kao suho zlato i trebalo se predbilježiti danima/tjednima unaprijed na jednu od stotinu kopija u nekoj od splitskih videoteka, naoružati strpljenjem i vrijeme (s)kratiti igranjem šaha.

Da, tako je to nekad bilo, premda danas zasigurno zvuči nevjerojatno pripadnicima gotovanske "streaming generacije" koji na jedan...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#TRILERI#CHRISTOPHER LAMBERT#DIANE LANE#EROTSKI TRILERI#DAMIN GAMBIT
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11. svibanj 2024 22:04