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Stav režijskog veterana Johna McTiernana o modernim akcijskim filmovima nije baš najpozitivniji. U velikom intervjuu za “Slobodnu” McTiernan je rekao kako ima groznih akcijskih filmova koji su mračni, pokvareni i imaju puno pucnjave i ubijanja bez ikakve svrhe. Ironično, na prvi pogled jedan takav film je i McTiernanov “Rollerball” (2002.).

Bio je to drugi uzastopni McT-jev remake nekog filma Normana Jewisona nakon superiornije “Afere Thomasa Crowna”. Podsjetimo se, izvorni “Rollerball” iz 1975. bio je vizionarski distopijski futuristički akcijski film koji je inspirirao jednog “Trkača”, snimljenog u godini McTiernanova “Predatora”.

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FILM: Rollerball; futuristička akcija; SAD, 2002. REŽIJA: John McTiernan ULOGE: Chris Klein, Rebecca Romijn OCJENA: ** ½

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Smješten u budućnost gdje vladaju korporacije i kontroliraju mase distrakcijom u vidu televizijske zabave, konkretno nasilnog gladijatorskog sporta po imenu “rollerball”, mješavine američkog nogometa, rolanja, hokeja i motociklizma koja korespondira s gladi za krvlju prosječnog gledatelja.

Novi “Rollerball” pokazuje koliko se (žanrovska) kinematografija promijenila od 1975. do 2002. godine, kao i sam svijet. Za početak, dosta je reći kako je glavnu ulogu od mačo muškarčine Jamesa Caana naslijedio metroseksualni Chris Klein (“Američka pita”), sukladno promjeni u akcijskom diskursu krajem devedesetih, kad su junaci postajali glumci dotad neskloni žanru poput Keanua Reevesa (“Brzina”, “Matrix”) i Nicolasa Cagea (“Hrid”, “Čovjek bez lica”).

Reeves je, zanimljivo, bio prvi izbor za ulogu Jonathana u remakeu “Rollerballa”, a Klein se ugleda više u Keanua nego u Caana i pokušava “skinuti” junaka “Paklenog vala”, ali od njega je puno dojmljivija Rebecca Romijn (“Fatalna žena”) kao motorizirana “rollerballerica” Aurora. Dovoljno je pogledati i uvodnu “rollercoaster” scenu u kojoj Klein kao Jonathan juri skejtom na leđima po strmim nizbrdicama San Francisca, što je samo junakovo i McTiernanovo zagrijavanje za utakmice “rollerballa”.

Film postaje preslika “rollerballa” u čiji miks McTiernan dodaje “Američke gladijatore” i “WWF Wrestling” – oku je neugodan, audiovizualno nabrijan, bučan, montažno neotesan i nekoherentan, pun teškometalnih distorzija, brzih rezova i vrtoglavih vrtnji kamere, s jednom noćnom scenom (snimljenom infrazelenom toplinskom kamerom) toliko mutnjikavom da bi i Predator jedva razaznao što se događa.

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McTiernan je režirao “Rollerball” kao da je i sam sudionik “rollerballa” i da se mora nadmetati u igri protiv mlađih spotovskih akcijskih redatelja s kraja devedesetih poput Michaela Baya (“Armagedon”) i Simona Westa (“Con Air”) ako želi “preživjeti” u Hollywoodu.

Gledajući (nanovo) “Rollerball” doista ne izgleda kao da iza kamere stoji isti redatelj koji je na vrhuncu karijere iznjedrio neke od najprofinjenijih i najelegantnije režiranih žanrovskih filmova visoke klase uz “Predatora” – “Umri muški”, “Lova na Crveni oktobar”, “Posljednjeg akcijskog junaka” i “Umri muški 3”. Treba naglasiti da “Rollerball” (režijski) nije ni sjena nekog od njih, kao ni McT-jevih filmova koji su uslijedili, “Trinaestog ratnika” i “Ubojitih namjera”.

Ponovni susret s “Rollerballom” nije ga, dakle, načinio boljim, ali na novo gledanje djeluje da je McTiernan namjerno tako režirao film i hollywoodskom “A” studiju (Columbia Pictures) podvalio satiru poput Paula Verhoevena u “Starship Troopers”, odnosno svoje viđenje Hollywooda i visokobudžetne kinematografije na početku novog milenija, uz dalekosežnu viziju “rokaj i rolaj” spektakala nalik videoigri s likovima kao lopticom u fliperu, nekarizmatičnim glumcima i ružnjikavom vizualizacijom.

Snimljen 2002. i ambijentiran u Srednju Aziju 2005., “Rollerball” izgleda kao tipičan blockbusterski streaming film današnjice i ekvivalent reality showa, što ima smisla, budući da neskriveno govori o grčevitoj potrazi za globalnom gledanosti i brojkama koje rastu nakon što se netko ozlijedi i strada, tj. kad se krv prolije na stazi i nasilje u igri se poveća.

Skužio je to ruski poduzetnik Petrovič (Jean Reno), koji kontrolira “Rollerball” i prodaje ono što drugi žele kupiti/gledati, stoga namješta/režira stradavanja igrača da bi u finalnoj igri ukinuo sva pravila, prekršaje i kazne. Petrovič u filmu priželjkuje ugovor za sjevernoameričku kabelsku televiziju. Želja mu se ostvarila izvan filma, od kabelske televizije do streaminga.

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Trendovska vrlo bliska budućnost

Novi "Rollerball" je pozicioniran u vrlo blisku budućnost, nekoliko godina unaprijed, kao mnogi filmovi devedesetih, poput "Predatora 2", "Harley Davidsona i Marlboro Mana" ili "Čudnih dana".

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Stav režijskog veterana Johna McTiernana o modernim akcijskim filmovima nije baš najpozitivniji. U velikom intervjuu za “Slobodnu” McTiernan je rekao kako ima groznih akcijskih filmova koji su mračni, pokvareni i imaju puno pucnjave i ubijanja bez ikakve svrhe. Ironično, na prvi pogled jedan takav film je i McTiernanov “Rollerball” (2002.).

Bio je to drugi uzastopni McT-jev remake nekog filma Normana Jewisona nakon superiornije “Afere Thomasa Crowna”. Podsjetimo se, izvorni “Rollerball” iz 1975. bio je vizionarski distopijski futuristički akcijski film koji je inspirirao jednog “Trkača”, snimljenog u godini McTiernanova “Predatora”.

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FILM: Rollerball; futuristička akcija; SAD, 2002. REŽIJA: John McTiernan ULOGE: Chris Klein, Rebecca Romijn OCJENA: ** ½

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Smješten u budućnost gdje vladaju korporacije i kontroliraju mase distrakcijom u vidu televizijske zabave, konkretno nasilnog gladijatorskog sporta po imenu “rollerball”, mješavine američkog nogometa, rolanja, hokeja i motociklizma koja korespondira s gladi za krvlju prosječnog gledatelja.

Novi “Rollerball” pokazuje koliko se (žanrovska) kinematografija promijenila od 1975. do 2002. godine, kao i sam svijet. Za početak, dosta je reći kako je glavnu ulogu od mačo muškarčine Jamesa Caana naslijedio metroseksualni Chris Klein (“Američka pita”), sukladno promjeni u akcijskom diskursu krajem devedesetih, kad su junaci postajali glumci dotad neskloni žanru poput Keanua Reevesa (“Brzina”, “Matrix”) i Nicolasa Cagea (“Hrid”, “Čovjek bez lica”).

Reeves je, zanimljivo, bio prvi izbor za ulogu Jonathana u remakeu “Rollerballa”, a Klein se ugleda više u Keanua nego u Caana i pokušava “skinuti” junaka “Paklenog vala”, ali od njega je puno dojmljivija Rebecca Romijn (“Fatalna žena”) kao motorizirana “rollerballerica” Aurora. Dovoljno je pogledati i uvodnu “rollercoaster” scenu u kojoj Klein kao Jonathan juri skejtom na leđima po strmim nizbrdicama San Francisca, što je samo junakovo i McTiernanovo zagrijavanje za utakmice “rollerballa”.

Film postaje preslika “rollerballa” u čiji miks McTiernan dodaje “Američke gladijatore” i “WWF Wrestling” – oku je neugodan, audiovizualno nabrijan, bučan, montažno neotesan i nekoherentan, pun teškometalnih distorzija, brzih rezova i vrtoglavih vrtnji kamere, s jednom noćnom scenom (snimljenom infrazelenom toplinskom kamerom) toliko mutnjikavom da bi i Predator jedva razaznao što se događa.

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McTiernan je režirao “Rollerball” kao da je i sam sudionik “rollerballa” i da se mora nadmetati u igri protiv mlađih spotovskih akcijskih redatelja s kraja devedesetih poput Michaela Baya (“Armagedon”) i Simona Westa (“Con Air”) ako želi “preživjeti” u Hollywoodu.

Gledajući (nanovo) “Rollerball” doista ne izgleda kao da iza kamere stoji isti redatelj koji je na vrhuncu karijere iznjedrio neke od najprofinjenijih i najelegantnije režiranih žanrovskih filmova visoke klase uz “Predatora” – “Umri muški”, “Lova na Crveni oktobar”, “Posljednjeg akcijskog junaka” i “Umri muški 3”. Treba naglasiti da “Rollerball” (režijski) nije ni sjena nekog od njih, kao ni McT-jevih filmova koji su uslijedili, “Trinaestog ratnika” i “Ubojitih namjera”.

Ponovni susret s “Rollerballom” nije ga, dakle, načinio boljim, ali na novo gledanje djeluje da je McTiernan namjerno tako režirao film i hollywoodskom “A” studiju (Columbia Pictures) podvalio satiru poput Paula Verhoevena u “Starship Troopers”, odnosno svoje viđenje Hollywooda i visokobudžetne kinematografije na početku novog milenija, uz dalekosežnu viziju “rokaj i rolaj” spektakala nalik videoigri s likovima kao lopticom u fliperu, nekarizmatičnim glumcima i ružnjikavom vizualizacijom.

Snimljen 2002. i ambijentiran u Srednju Aziju 2005., “Rollerball” izgleda kao tipičan blockbusterski streaming film današnjice i ekvivalent reality showa, što ima smisla, budući da neskriveno govori o grčevitoj potrazi za globalnom gledanosti i brojkama koje rastu nakon što se netko ozlijedi i strada, tj. kad se krv prolije na stazi i nasilje u igri se poveća.

Skužio je to ruski poduzetnik Petrovič (Jean Reno), koji kontrolira “Rollerball” i prodaje ono što drugi žele kupiti/gledati, stoga namješta/režira stradavanja igrača da bi u finalnoj igri ukinuo sva pravila, prekršaje i kazne. Petrovič u filmu priželjkuje ugovor za sjevernoameričku kabelsku televiziju. Želja mu se ostvarila izvan filma, od kabelske televizije do streaminga.

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Trendovska vrlo bliska budućnost

Novi "Rollerball" je pozicioniran u vrlo blisku budućnost, nekoliko godina unaprijed, kao mnogi filmovi devedesetih, poput "Predatora 2", "Harley Davidsona i Marlboro Mana" ili "Čudnih dana".

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Rollerball‘: Rokanje i rolanje

Piše Marko Njegić
6. rujna 2023. - 18:03
25484561
Galerija
/Photo12 Via Afp

Stav režijskog veterana Johna McTiernana o modernim akcijskim filmovima nije baš najpozitivniji. U velikom intervjuu za “Slobodnu” McTiernan je rekao kako ima groznih akcijskih filmova koji su mračni, pokvareni i imaju puno pucnjave i ubijanja bez ikakve svrhe. Ironično, na prvi pogled jedan takav film je i McTiernanov “Rollerball” (2002.).

Bio je to drugi uzastopni McT-jev remake nekog filma Normana Jewisona nakon superiornije “Afere Thomasa Crowna”. Podsjetimo se, izvorni “Rollerball” iz 1975. bio je vizionarski distopijski futuristički akcijski film koji je inspirirao jednog “Trkača”, snimljenog u godini McTiernanova “Predatora”.

FILM: Rollerball; futuristička akcija; SAD, 2002. REŽIJA: John McTiernan ULOGE: Chris Klein, Rebecca Romijn OCJENA: ** ½

Smješten u budućnost gdje vladaju korporacije i kontroliraju mase distrakcijom u vidu televizijske zabave, konkretno nasilnog gladijatorskog sporta po imenu “rollerball”, mješavine američkog nogometa, rolanja, hokeja i motociklizma koja korespondira s gladi za krvlju prosječnog gledatelja.

Novi “Rollerball” pokazuje koliko se (žanrovska) kinematografija promijenila od 1975. do 2002. godine, kao i sam svijet. Za početak, dosta je reći kako je glavnu ulogu od mačo muškarčine Jamesa Caana naslijedio metroseksualni Chris Klein (“Američka pita”), sukladno promjeni u akcijskom diskursu krajem devedesetih, kad su junaci postajali glumci dotad neskloni žanru poput Keanua Reevesa (“Brzina”, “Matrix”) i Nicolasa Cagea (“Hrid”, “Čovjek bez lica”).

Reeves je, zanimljivo, bio prvi izbor za ulogu Jonathana u remakeu “Rollerballa”, a Klein se ugleda više u Keanua nego u Caana i pokušava “skinuti” junaka “Paklenog vala”, ali od njega je puno dojmljivija Rebecca Romijn (“Fatalna žena”) kao motorizirana “rollerballerica” Aurora. Dovoljno je pogledati i uvodnu “rollercoaster” scenu u kojoj Klein kao Jonathan juri skejtom na leđima po strmim nizbrdicama San Francisca, što je samo junakovo i McTiernanovo zagrijavanje za utakmice “rollerballa”.

Film postaje preslika “rollerballa” u čiji miks McTiernan dodaje “Američke gladijatore” i “WWF Wrestling” – oku je neugodan, audiovizualno nabrijan, bučan, montažno neotesan i nekoherentan, pun teškometalnih distorzija, brzih rezova i vrtoglavih vrtnji kamere, s jednom noćnom scenom (snimljenom infrazelenom toplinskom kamerom) toliko mutnjikavom da bi i Predator jedva razaznao što se događa.

McTiernan je režirao “Rollerball” kao da je i sam sudionik “rollerballa” i da se mora nadmetati u igri protiv mlađih spotovskih akcijskih redatelja s kraja devedesetih poput Michaela Baya (“Armagedon”) i Simona Westa (“Con Air”) ako želi “preživjeti” u Hollywoodu.

Gledajući (nanovo) “Rollerball” doista ne izgleda kao da iza kamere stoji isti redatelj koji je na vrhuncu karijere iznjedrio neke od najprofinjenijih i najelegantnije režiranih žanrovskih filmova visoke klase uz “Predatora” – “Umri muški”, “Lova na Crveni oktobar”, “Posljednjeg akcijskog junaka” i “Umri muški 3”. Treba naglasiti da “Rollerball” (režijski) nije ni sjena nekog od njih, kao ni McT-jevih filmova koji su uslijedili, “Trinaestog ratnika” i “Ubojitih namjera”.

Ponovni susret s “Rollerballom” nije ga, dakle, načinio boljim, ali na novo gledanje djeluje da je McTiernan namjerno tako režirao film i hollywoodskom “A” studiju (Columbia Pictures) podvalio satiru poput Paula Verhoevena u “Starship Troopers”, odnosno svoje viđenje Hollywooda i visokobudžetne kinematografije na početku novog milenija, uz dalekosežnu viziju “rokaj i rolaj” spektakala nalik videoigri s likovima kao lopticom u fliperu, nekarizmatičnim glumcima i ružnjikavom vizualizacijom.

Snimljen 2002. i ambijentiran u Srednju Aziju 2005., “Rollerball” izgleda kao tipičan blockbusterski streaming film današnjice i ekvivalent reality showa, što ima smisla, budući da neskriveno govori o grčevitoj potrazi za globalnom gledanosti i brojkama koje rastu nakon što se netko ozlijedi i strada, tj. kad se krv prolije na stazi i nasilje u igri se poveća.

Skužio je to ruski poduzetnik Petrovič (Jean Reno), koji kontrolira “Rollerball” i prodaje ono što drugi žele kupiti/gledati, stoga namješta/režira stradavanja igrača da bi u finalnoj igri ukinuo sva pravila, prekršaje i kazne. Petrovič u filmu priželjkuje ugovor za sjevernoameričku kabelsku televiziju. Želja mu se ostvarila izvan filma, od kabelske televizije do streaminga.

Trendovska vrlo bliska budućnost

Novi "Rollerball" je pozicioniran u vrlo blisku budućnost, nekoliko godina unaprijed, kao mnogi filmovi devedesetih, poput "Predatora 2", "Harley Davidsona i Marlboro Mana" ili "Čudnih dana".

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 2000-IH#REMAKEOVI#JOHN MCTIERNAN#ROLLERBALL#CHRIS KLEIN#FUTURISTIČKI AKCIJSKI FILMOVI#JEAN RENO#REBECCA ROMIJN
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