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"Sjećanje je barka koja plovi protiv struje, a ja sam kormilar." – "Putovanje kroz sjećanja" (2021.)

Reminiscencije na "noir" i SF bolje prošlosti, od "Vrtoglavice" i "Kineske četvrti" do "Istrebljivača" i "Blade Runnera 2049", karakteriziraju "Putovanje kroz sjećanja", budžetirani filmski prvijenac kreatorice "Westworlda" Lise Joy.

Međužanrovski utjecaji su vidljivi u filmu izvorno naslovljenom "Reminiscence" i fokusiranom na melakoličnog privatnog detektiva uma Nicka Bannistera (Hugh Jackman) koji govori o prošlosti kao "slijedu trenutaka", "perlici na ogrlici vremena", a putem tehologije zaranja u dubine sjećanja svojih klijenata, poput prelijepe pjevačice Mae (Rebecca Ferguson), misteriozno nestale nakon što je s njom ostvario romansu.

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FILM: Reminiscence; SF triler; SAD, 2021. REŽIJA: Lisa Joy ULOGE: Hugh Jackman, Rebecca Ferguson DISTRIBUCIJA: Blitz OCJENA: ***

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Utjecaji se u konačnici sužavaju na dva superiornija visokotehnološka filma – futuristički "neo-noir" biser "Strange Days" i akcijsko-trilerski SF spektakl "Inception". U "Čudnim danima" ljudi su subjektivno proživljavali tuđe doživljaje kao svoje pomoću žičane aparature za virtualnu stvarnost i postali o njima ovisni kao o drogi, a u "Početku" se infiltriralo u tuđu podsvijest i gradilo arhitekturu snova.

Glavni likovi oba filma živjeli su u prošlosti, opetovano proživljavali sjećanje na nekadašnju ljubav (također pjevačica u "Strange Days") i s njom gradili kule snova u pijesku, slično Bannisteru. "Prošlost zna progoniti čovjeka, tako kažu", pripovijeda Bannister i izokreće konstataciju riječima "Mi smo ti koji progone prošlost".

Protagonist "Čudnih dana" imao je najbolju prijateljicu u tijelu tamnopute glumice (ovdje Thandiwe Newton), spremnu da ga po potrebi izbavi iz nevolje, baš kao Bannister(a) koji se, progonjen prošlosti i sjećanjima, tj. proganjajući iste, doslovno nasukao na obalama potopljenog grada, poput junaka-arhitekta snova u "Inceptionu".

Potopljeni grad u "Putovanju kroz sjećanja" je Miami bliske budućnosti, prema svemu sudeći zahvaljujući globalnom zatopljenju pretvoren u London iz "Djelića sekunde" ili, još bolja usporedba, New York iz "Umjetne inteligencije".

Miami je inače presunčan za "noir", ali distopijski Miami iz filma je stvoren za "neo(n)-noir" jer "živi noću" zbog prevelike vrućine, a danju se, kad sunce svane, pretvara u "grad duhova". Sjajna, skupocjena scenografija grada na vodi pravi je praznik za oči i omogućuje pamtljive prizore vlakova kako prometuju po tračnicama na površini mora ili atraktivne podvodne akcijske scene (klavir).

Scenografija potvrđuje "Reminiscence" kao punokrvni kinodoživljaj i nastavlja uvlačiti gledatelja u film čak i kad ga iz priče prijete izvući pretjerana "noirovska" formulaičnost satkana od "voiceover" naracije, fatalnih žena, korumpirane elite i prljavih policajaca, artificijalno (sa)građena atmosfera i ovisnost o klasicima dalje ili bliže prošlosti, odnosno minimalno građenje vlastitog svijeta.

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Primjerice, u "Putovanju kroz sjećanja" spominje se neki "rat", kao i "granica", ali nikad ne doznajemo o čemu se točno radi(lo). Film ambicioznih egzistencijalističkih i žanrovskih apetita imao je potencijala za temeljitiji "world building" i, općenito, da bude više od kolekcije dobrih ideja koje traže većeg autora od Joy.

Ipak, bljeskovi osobnosti povremeno sijevnu, ostavljaju nešto za (pri)sjećanje i čine "Reminiscence" prikladnim za ovaj trenutak, koliko god da se čini kako je pogriješio godišnje doba i da bi mu od blockbusterskog ljeta bolje pristajala jesen kao razdoblje kad egzistencijalna "total recall" melankolija udara na najjače.

Svijet u filmu, Bannisterova sadašnja budućnost, postao je toliko loš da se ljudi vole okretati prošlosti i buditi prošla sjećanja, ovisni o njima kao o drogi, jer "nostalgija ne izlazi iz mode". S time se danas, u našoj sadašnjosti, mnogim nostalgičarima lako poistovijetiti gledajući "Putovanje kroz sjećanja". Nostalgičarima prema svijetu jučerašnjice, pa i jučerašnjim filmovima.

Možda upravo zato Mae izgleda kao diva zlatnog doba Hollywooda i Bannister pita "je li dolična?" kao da pred sobom ima Gildu. Možda je i upravo zato sjećanje u filmu oslikano metafilmski kao kinoprojekcija na razmeđi prošlosti i sadašnjosti, zbilje i iluzije, što posebno dolazi do izražaja u sceni kod s(t)imulacije uspomena iz subjektivne perspektive.

Bannisterovi klijenti legnu u stroj za sjećanje (tank/kada u stilu VR simulatora) s žičanom aparaturom na glavi koja poput projektora projicira njihove uspomene kao filmsku iluziju u obliku holograma na pozornicu nalik trodimenzionalnom kinoplatnu.

"Koliko možete prići blizu prije razbijanja iluzije", Mae pita Bannistera, "čovjeka koji se sjeća sjećanja svih ostalih". Ako film o sjećanju, ironično, nije za dugo pamćenje, nije ni za trenutni zaborav i ne zaslužuje da ga se otpiše kao "vodu ispod (floridskog) mosta". "Reminiscence" je perlica sjećanja na ogrlici vremena.

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Utapanje u akvariju

Bannister je zaronjen u tank vlastitih sjećanja, toliko da čak i kad ga muče, muče ga utapanjem u akvarij u preludiju atraktivnoj akcijskoj sceni koja starta usporenim pokretom.

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"Sjećanje je barka koja plovi protiv struje, a ja sam kormilar." – "Putovanje kroz sjećanja" (2021.)

Reminiscencije na "noir" i SF bolje prošlosti, od "Vrtoglavice" i "Kineske četvrti" do "Istrebljivača" i "Blade Runnera 2049", karakteriziraju "Putovanje kroz sjećanja", budžetirani filmski prvijenac kreatorice "Westworlda" Lise Joy.

Međužanrovski utjecaji su vidljivi u filmu izvorno naslovljenom "Reminiscence" i fokusiranom na melakoličnog privatnog detektiva uma Nicka Bannistera (Hugh Jackman) koji govori o prošlosti kao "slijedu trenutaka", "perlici na ogrlici vremena", a putem tehologije zaranja u dubine sjećanja svojih klijenata, poput prelijepe pjevačice Mae (Rebecca Ferguson), misteriozno nestale nakon što je s njom ostvario romansu.

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FILM: Reminiscence; SF triler; SAD, 2021. REŽIJA: Lisa Joy ULOGE: Hugh Jackman, Rebecca Ferguson DISTRIBUCIJA: Blitz OCJENA: ***

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Utjecaji se u konačnici sužavaju na dva superiornija visokotehnološka filma – futuristički "neo-noir" biser "Strange Days" i akcijsko-trilerski SF spektakl "Inception". U "Čudnim danima" ljudi su subjektivno proživljavali tuđe doživljaje kao svoje pomoću žičane aparature za virtualnu stvarnost i postali o njima ovisni kao o drogi, a u "Početku" se infiltriralo u tuđu podsvijest i gradilo arhitekturu snova.

Glavni likovi oba filma živjeli su u prošlosti, opetovano proživljavali sjećanje na nekadašnju ljubav (također pjevačica u "Strange Days") i s njom gradili kule snova u pijesku, slično Bannisteru. "Prošlost zna progoniti čovjeka, tako kažu", pripovijeda Bannister i izokreće konstataciju riječima "Mi smo ti koji progone prošlost".

Protagonist "Čudnih dana" imao je najbolju prijateljicu u tijelu tamnopute glumice (ovdje Thandiwe Newton), spremnu da ga po potrebi izbavi iz nevolje, baš kao Bannister(a) koji se, progonjen prošlosti i sjećanjima, tj. proganjajući iste, doslovno nasukao na obalama potopljenog grada, poput junaka-arhitekta snova u "Inceptionu".

Potopljeni grad u "Putovanju kroz sjećanja" je Miami bliske budućnosti, prema svemu sudeći zahvaljujući globalnom zatopljenju pretvoren u London iz "Djelića sekunde" ili, još bolja usporedba, New York iz "Umjetne inteligencije".

Miami je inače presunčan za "noir", ali distopijski Miami iz filma je stvoren za "neo(n)-noir" jer "živi noću" zbog prevelike vrućine, a danju se, kad sunce svane, pretvara u "grad duhova". Sjajna, skupocjena scenografija grada na vodi pravi je praznik za oči i omogućuje pamtljive prizore vlakova kako prometuju po tračnicama na površini mora ili atraktivne podvodne akcijske scene (klavir).

Scenografija potvrđuje "Reminiscence" kao punokrvni kinodoživljaj i nastavlja uvlačiti gledatelja u film čak i kad ga iz priče prijete izvući pretjerana "noirovska" formulaičnost satkana od "voiceover" naracije, fatalnih žena, korumpirane elite i prljavih policajaca, artificijalno (sa)građena atmosfera i ovisnost o klasicima dalje ili bliže prošlosti, odnosno minimalno građenje vlastitog svijeta.

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Primjerice, u "Putovanju kroz sjećanja" spominje se neki "rat", kao i "granica", ali nikad ne doznajemo o čemu se točno radi(lo). Film ambicioznih egzistencijalističkih i žanrovskih apetita imao je potencijala za temeljitiji "world building" i, općenito, da bude više od kolekcije dobrih ideja koje traže većeg autora od Joy.

Ipak, bljeskovi osobnosti povremeno sijevnu, ostavljaju nešto za (pri)sjećanje i čine "Reminiscence" prikladnim za ovaj trenutak, koliko god da se čini kako je pogriješio godišnje doba i da bi mu od blockbusterskog ljeta bolje pristajala jesen kao razdoblje kad egzistencijalna "total recall" melankolija udara na najjače.

Svijet u filmu, Bannisterova sadašnja budućnost, postao je toliko loš da se ljudi vole okretati prošlosti i buditi prošla sjećanja, ovisni o njima kao o drogi, jer "nostalgija ne izlazi iz mode". S time se danas, u našoj sadašnjosti, mnogim nostalgičarima lako poistovijetiti gledajući "Putovanje kroz sjećanja". Nostalgičarima prema svijetu jučerašnjice, pa i jučerašnjim filmovima.

Možda upravo zato Mae izgleda kao diva zlatnog doba Hollywooda i Bannister pita "je li dolična?" kao da pred sobom ima Gildu. Možda je i upravo zato sjećanje u filmu oslikano metafilmski kao kinoprojekcija na razmeđi prošlosti i sadašnjosti, zbilje i iluzije, što posebno dolazi do izražaja u sceni kod s(t)imulacije uspomena iz subjektivne perspektive.

Bannisterovi klijenti legnu u stroj za sjećanje (tank/kada u stilu VR simulatora) s žičanom aparaturom na glavi koja poput projektora projicira njihove uspomene kao filmsku iluziju u obliku holograma na pozornicu nalik trodimenzionalnom kinoplatnu.

"Koliko možete prići blizu prije razbijanja iluzije", Mae pita Bannistera, "čovjeka koji se sjeća sjećanja svih ostalih". Ako film o sjećanju, ironično, nije za dugo pamćenje, nije ni za trenutni zaborav i ne zaslužuje da ga se otpiše kao "vodu ispod (floridskog) mosta". "Reminiscence" je perlica sjećanja na ogrlici vremena.

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Utapanje u akvariju

Bannister je zaronjen u tank vlastitih sjećanja, toliko da čak i kad ga muče, muče ga utapanjem u akvarij u preludiju atraktivnoj akcijskoj sceni koja starta usporenim pokretom.

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Ben Rothstein Ben Rothstein Ben Rothstein





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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Putovanje kroz sjećanja‘: Reminiscencija na ogrlici vremena

26. kolovoza 2021. - 12:37

"Sjećanje je barka koja plovi protiv struje, a ja sam kormilar." – "Putovanje kroz sjećanja" (2021.)

Reminiscencije na "noir" i SF bolje prošlosti, od "Vrtoglavice" i "Kineske četvrti" do "Istrebljivača" i "Blade Runnera 2049", karakteriziraju "Putovanje kroz sjećanja", budžetirani filmski prvijenac kreatorice "Westworlda" Lise Joy.

Međužanrovski utjecaji su vidljivi u filmu izvorno naslovljenom "Reminiscence" i fokusiranom na melakoličnog privatnog detektiva uma Nicka Bannistera (Hugh Jackman) koji govori o prošlosti kao "slijedu trenutaka", "perlici na ogrlici vremena", a putem tehologije zaranja u dubine sjećanja svojih klijenata, poput prelijepe pjevačice Mae (Rebecca Ferguson), misteriozno nestale nakon što je s njom ostvario romansu.

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16. svibanj 2024 01:11