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Odgledavaši film "Prolasci" ("Passing") nedugo nakon "Modrica", čovjek se mora zapitati kako bi "Bruised" izgledao da ga je režirala Britanka Rebecca Hall. I, još više, kako bi "Prolasci" izgledali u režiji Halle Berry. "Passing", drugi friški prvijenac jedne glumice s logom Netflixa, djelo je delikatnije filmašice koja umije načiniti dramu znatno suptilnijom, tajnovitijom i intimnijom.

Sudeći po režijskom pristupu u "Modricama", Berry bi potencirala društveno-političku problematiku "Prolazaka" i eksplicirala blagu erotsku napetost između Irene Redfield i Clare Kendry (Tessa Thompson, Ruth Negga). Film se odvija dvadesetih godina prošlog stoljeća u New Yorku, kad su rasne tenzije i predrasude u Americi još uvijek bile aktualne, a crnci svijetlije puti se izdavali za bijelce kako bi imali veću slobodu u bijelom svijetu, što se nazivalo "prolaženje" ili "passing".

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FILM: Passing; drama; SAD, 2021. REŽIJA: Rebecca Hall ULOGE: Tessa Thompson, Ruth Negga OCJENA: ****

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Već godinama Clare prolazi pod bjelkinju. Doznat će to Irene kad se jednog dana i sama odluči pretvarati da je bijelkinja kako bi se sklonila od vrućine u hotel gdje crncima ulaz nije dopušten.

Tamo neopuštena, pomalo nervozna Irene, uvučena u sebe i skrivena ispod spuštenog šešira, zatječe plavokosu Clare i ova je prepoznaje; zajedno su išle u školu.

"Jesi ikad razmišljala o prolaženju", kad počnu čavrljati uslijedi pitanje za Irene koja je svjesna da bi to olakšalo neke stvari, kao što olakšava Clare. Ona je toliko uvjerljiva da je udana za bijelca, rasista Johna (Alexander Skarsgård). "Bila je bijela kao ljiljan, sad je sve tamnija, jednom će se pretvoriti u crnkinju", govori John kad iznenada bane i prekine ih u razgovoru.

Scena je dojmljivo režirana i glumljena, pa i tenzična: Hall se fokusira na govor tijela dviju žena u neugodnoj situaciji koji bi ih mogao odati, posebice kad John spomene kako mrzi crnce i da je sve tamnijoj supruzi dao nadimak Nig (od "nigger"). Nakon što Clare upita Johna "zar bi bilo važno kad bi otkrio da sam jedan ili dva posto crnkinja?", on odgovori "znam da nisi obojena", ali gledatelj, kao i Irene, dvoji da zapravo misli kad kaže "slobodno pocrni koliko hoćeš".

Zato razumije Clareinu potrebu da opet želi biti među crncima poslije susreta s Irene, a razumije i zašto je Hall poželjela scenaristički adaptirati istoimeni roman Nelle Larsen iz 1929. i režirati ovaj film. Njezin djed s majčine američke strane bio je crnac svjetlije puti koji je prolazio kao bijelac.

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Pa ipak, Hall režira kako i glumi ("Grad lopova", "Ponovno ljubav"; nedavno viđena u hororu "Kuća noćnih mora"). Režija je elegantna, s puno finesa, a bez povišenih tonova, njezini su pokreti kamere spokojni i ona se ne boji pasaža tišine kao u nijemim filmovima epohe, izvlačeći najbolje od glumica i kad njihovi likovi govore pogledima.

Odnos i karakterizacija likova je u prvom planu drame o rasi, klasi, identitetu i seksualnosti, pa tek onda rasni problem, tipa da Irenein suprug (Andre Holland) upozorava sinove na rasizam na primjeru linčovanja nekog nesretnika, što bi neki filmaš sigurno više istaknuo.

Tako, Irene se i sama izdaje da je netko drugi, pripadnica "upper class" društva, ima tamnoputu služavku, muva se po bjelačkim umjetničkim krugovima... "Svi prolazimo kao nešto drugo, zar ne", kaže Irene. Stoga, Irene u Clareinoj mask(arad)i vidi svoju, a i čini se da je "plavokosa ljepotica iz bajke" nekako privlači, odnosno kao da ona potiskuje svoju seksualnost, skrivajući se u braku s dvoje djece i suprugom koji, da stvar bude gora, nije imun na njezinu novu-staru prijateljicu.

Dvosmislenost je utkana u "Passing" kojemu umjetnička c/b tehnika pristaje savršeno i simbolična je za film o crnoj i bijeloj boji kože. Uz pomoć direktora fotografije Eduarda Graua ("Samac", "Živ zakopan", "Izvan igre"), koji ju je kao glumicu snimao u "Buđenju" i "Daru", Hall upravo to i reflektira u "Prolascima".

Clareina boja kože ima drukčije nijanse, izgledajući crno i bijelo, ovisno s kim se nalazi u društvu. Kako se više druži s crncima Clare je sve tamnija, ali kad je s bijelcima mogla bi se gotovo utopiti u bijelome snijegu koji prekriva završne kadrove c/b filma. Crna boja nestaje. Bjelina.

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Tessa, Ruth i Andre

Tessa Thompson je iznimno aktivna i gledali smo je u "Creedu", trećem "Thoru", "Creedu II", "Uništenju", seriji "Westworld"..., Ruth Negga je najzapaženija po ulozi u filmu "Loving" i viđena je i u npr. "Ad Astri", a Andre Holland je skrenuo pažnju na sebe izvedbom u Oscarom nagrađenoj drami "Moonlight".

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Odgledavaši film "Prolasci" ("Passing") nedugo nakon "Modrica", čovjek se mora zapitati kako bi "Bruised" izgledao da ga je režirala Britanka Rebecca Hall. I, još više, kako bi "Prolasci" izgledali u režiji Halle Berry. "Passing", drugi friški prvijenac jedne glumice s logom Netflixa, djelo je delikatnije filmašice koja umije načiniti dramu znatno suptilnijom, tajnovitijom i intimnijom.

Sudeći po režijskom pristupu u "Modricama", Berry bi potencirala društveno-političku problematiku "Prolazaka" i eksplicirala blagu erotsku napetost između Irene Redfield i Clare Kendry (Tessa Thompson, Ruth Negga). Film se odvija dvadesetih godina prošlog stoljeća u New Yorku, kad su rasne tenzije i predrasude u Americi još uvijek bile aktualne, a crnci svijetlije puti se izdavali za bijelce kako bi imali veću slobodu u bijelom svijetu, što se nazivalo "prolaženje" ili "passing".

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FILM: Passing; drama; SAD, 2021. REŽIJA: Rebecca Hall ULOGE: Tessa Thompson, Ruth Negga OCJENA: ****

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Već godinama Clare prolazi pod bjelkinju. Doznat će to Irene kad se jednog dana i sama odluči pretvarati da je bijelkinja kako bi se sklonila od vrućine u hotel gdje crncima ulaz nije dopušten.

Tamo neopuštena, pomalo nervozna Irene, uvučena u sebe i skrivena ispod spuštenog šešira, zatječe plavokosu Clare i ova je prepoznaje; zajedno su išle u školu.

"Jesi ikad razmišljala o prolaženju", kad počnu čavrljati uslijedi pitanje za Irene koja je svjesna da bi to olakšalo neke stvari, kao što olakšava Clare. Ona je toliko uvjerljiva da je udana za bijelca, rasista Johna (Alexander Skarsgård). "Bila je bijela kao ljiljan, sad je sve tamnija, jednom će se pretvoriti u crnkinju", govori John kad iznenada bane i prekine ih u razgovoru.

Scena je dojmljivo režirana i glumljena, pa i tenzična: Hall se fokusira na govor tijela dviju žena u neugodnoj situaciji koji bi ih mogao odati, posebice kad John spomene kako mrzi crnce i da je sve tamnijoj supruzi dao nadimak Nig (od "nigger"). Nakon što Clare upita Johna "zar bi bilo važno kad bi otkrio da sam jedan ili dva posto crnkinja?", on odgovori "znam da nisi obojena", ali gledatelj, kao i Irene, dvoji da zapravo misli kad kaže "slobodno pocrni koliko hoćeš".

Zato razumije Clareinu potrebu da opet želi biti među crncima poslije susreta s Irene, a razumije i zašto je Hall poželjela scenaristički adaptirati istoimeni roman Nelle Larsen iz 1929. i režirati ovaj film. Njezin djed s majčine američke strane bio je crnac svjetlije puti koji je prolazio kao bijelac.

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Pa ipak, Hall režira kako i glumi ("Grad lopova", "Ponovno ljubav"; nedavno viđena u hororu "Kuća noćnih mora"). Režija je elegantna, s puno finesa, a bez povišenih tonova, njezini su pokreti kamere spokojni i ona se ne boji pasaža tišine kao u nijemim filmovima epohe, izvlačeći najbolje od glumica i kad njihovi likovi govore pogledima.

Odnos i karakterizacija likova je u prvom planu drame o rasi, klasi, identitetu i seksualnosti, pa tek onda rasni problem, tipa da Irenein suprug (Andre Holland) upozorava sinove na rasizam na primjeru linčovanja nekog nesretnika, što bi neki filmaš sigurno više istaknuo.

Tako, Irene se i sama izdaje da je netko drugi, pripadnica "upper class" društva, ima tamnoputu služavku, muva se po bjelačkim umjetničkim krugovima... "Svi prolazimo kao nešto drugo, zar ne", kaže Irene. Stoga, Irene u Clareinoj mask(arad)i vidi svoju, a i čini se da je "plavokosa ljepotica iz bajke" nekako privlači, odnosno kao da ona potiskuje svoju seksualnost, skrivajući se u braku s dvoje djece i suprugom koji, da stvar bude gora, nije imun na njezinu novu-staru prijateljicu.

Dvosmislenost je utkana u "Passing" kojemu umjetnička c/b tehnika pristaje savršeno i simbolična je za film o crnoj i bijeloj boji kože. Uz pomoć direktora fotografije Eduarda Graua ("Samac", "Živ zakopan", "Izvan igre"), koji ju je kao glumicu snimao u "Buđenju" i "Daru", Hall upravo to i reflektira u "Prolascima".

Clareina boja kože ima drukčije nijanse, izgledajući crno i bijelo, ovisno s kim se nalazi u društvu. Kako se više druži s crncima Clare je sve tamnija, ali kad je s bijelcima mogla bi se gotovo utopiti u bijelome snijegu koji prekriva završne kadrove c/b filma. Crna boja nestaje. Bjelina.

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Tessa, Ruth i Andre

Tessa Thompson je iznimno aktivna i gledali smo je u "Creedu", trećem "Thoru", "Creedu II", "Uništenju", seriji "Westworld"..., Ruth Negga je najzapaženija po ulozi u filmu "Loving" i viđena je i u npr. "Ad Astri", a Andre Holland je skrenuo pažnju na sebe izvedbom u Oscarom nagrađenoj drami "Moonlight".

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Prolasci‘: Boje crno-bijelog svijeta

Piše Marko Njegić
10. prosinca 2021. - 19:18
20238760
PREMIUM
Galerija

Odgledavaši film "Prolasci" ("Passing") nedugo nakon "Modrica", čovjek se mora zapitati kako bi "Bruised" izgledao da ga je režirala Britanka Rebecca Hall. I, još više, kako bi "Prolasci" izgledali u režiji Halle Berry. "Passing", drugi friški prvijenac jedne glumice s logom Netflixa, djelo je delikatnije filmašice koja umije načiniti dramu znatno suptilnijom, tajnovitijom i intimnijom.

Sudeći po režijskom pristupu u "Modricama", Berry bi potencirala društveno-političku problematiku "Prolazaka" i eksplicirala blagu erotsku napetost između Irene Redfield i Clare Kendry (Tessa Thompson, Ruth Negga). Film se odvija dvadesetih godina prošlog stoljeća u New Yorku, kad su rasne tenzije i predrasude u Americi još uvijek bile aktualne, a crnci svijetlije puti se izdavali za...

#CINEMARK#CINEMARK U KUĆNOM KINU#NETFLIX FILMOVI#DRAME#REBECCA HALL#TESSA THOMPSON#RUTH NEGGA#ALEXANDER SKARSGARD#GLUMICE-REDATELJICE
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