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Nećkanje popularnog Leonarda DiCaprija oko prihvaćanja uloge brokera/”serial killera” Patricka Batemana i njegovo konačno odustajanje od filma “Američki psiho” (2000.) omogućilo je budućem Batmanu Christianu Baleu proboj do hollywoodskih zvijezda.

Da DiCaprio nije uvidio kako bi poremećeni serijski “yuppie” ubojica Bateman ekstremno ugrozio njegov status miljenika tinejdžerica nakon “Titanica” i radije odabrao drukčiji, ali sigurniji “Žal”, tko zna gdje bi točno danas bio Bale, dotad najpoznatiji po glavnoj “dječjoj” ulozi u “Carstvu sunca” te neglavnima u “Malim ženama” i “Zlatnom baršunu”.

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FILM: American Psycho; crnohumorni horor; SAD, 2000. REŽIJA: Mary Harron ULOGE: Christian Bale, Jared Leto OCJENA: *****

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Naravno, Bale je predobar glumac i sigurno bi stekao zvjezdani status prije ili kasnije, no “American Psycho” je ubrzao taj proces. Bale može biti zahvalan Mary Harron.

Nezavisnoj redateljica je od početka vidjela samo njega u tijelu i umu glavnog lika kontroverznog romana Breta Eastona Ellisa koji je planirao ekranizirati i slavni oskarovac Oliver Stone.

Neustrašivi glumac nije se bojao prihvatiti ulogu fiktivnog, umno rastrojenog vršnjaka (Bale je 2000. imao 26 godina, Bateman u romanu 27), makar film ispao kontroverzniji od knjige. Prijetio mu je zloglasni dobni predikat “NC-17”, rezerviran za najžešće hororske i erotske (s)ekscese, ublažen na malčice blaži “R” tek nakon dodatne montaže.

Cenzori su malčice preozbiljno shvatili “Američkog psiha”. U redu, nasilje jest eksplicitno u nekoliko scena ubojstava s asortimanom iz horora, od sjekire do motorke čiju je uporabu najavilo Batemanovo gledanje “Teksaškog masakra motornom pilom” dok je radio tjelovježbu.

Međutim, u filmu “American Psycho” postoji dvostruki odmak od nasilja. Kao prvo, nije isključeno da su neka (ako ne i sva) ubojstva samo prljava mašta pomračenog uma. Pod dva, Harronici je bila intrigantnija satira unutar žanra “serial killer” horor-trilera i filmova kao što su “Henry: Portret serijskog ubojice” ili nedavni “The House That Jack Built”, a koje je redateljica okrenula naopačke.

Indikativni su uvodni kadrovi kapljica naizgledne krvi, ustvari crvenog umaka od borovnica kakav će ukrasiti brižno pripremljeno jelo u elitnom restoranu. “Američki psiho” je prvenstveno crno-crvena komedija sa satiričnim i ciničnim smislom za humor, pa tek onda horor-triler o serijskom ubojici.

No, Harron i Bale plešu naprijed-natrag između žanrova, zbilje i fantazije, na “Hip to Be Square” u izvedbi Huey Lewis and the News, poput Batemana koji je interpretirao pjesmu i bend prije nego što je umorio kolegu Paula Allena (Jared Leto; budući Joker), što će kao fan pop-glazbe kasnije raditi s hitovima Phila Collinsa/Genesisa, Whitney Houston itd.

Dualnost filma u izvrsnoj je sprezi s Batemanovom krizom identiteta i njihove dvije ličnosti tečno se izmjenjuju u kadru zahvaljujući Harroničinoj režiji i Baleovu portretu svojevrsnog Teda Bundyja s Wall Streeta ili, još bolje, brokerskog dr. Jekyla i mr. Hydea.

Christopher Nolan je sigurno dobro prostudirao Balea kao Batemana prije nego što mu je dodijelio ulogu – Batmana. Bateman je ekstremna verzija “dvoličnog” Brucea Waynea/Batmana (mešetar po danu, “killer” kad padne noć), a Bale nam prodaje lik već prilikom njegove precizne dnevne rutine na temu “u zdravom tijelu nezdrav duh”.

“Vjerujem u brigu o tijelu, uravnoteženu dijetu i strogu tjelovježbu”, pripovijeda nabildani, atletski građeni Bateman i stavlja “ledenu masku” i onu od biljnih sastojaka koja ublažava starenje očiju, radi trbušnjake... “To je slika Patricka Batemana, apstrakcija, to nisam ja”, govori on, a iz njega, tj. iza njegove skladne “yuppie” fasade, savršenog tena od krema, losiona i tome slično, proviruje sam Bale.

Metodski glumac stavlja Batemanovu masku, postaje lik koji tumači i nestaje u ulozi čovjeka koji “ima sve karakteristike ljudskog bića, ali nijedan potvrđen osjećaj, osim pohlepe i gnušanja”. Zbog pohlepe, pa i zavisti, Bateman bi mogao pasti kao žrtva serijskog ubojice Johna Doea iz “Sedmice”.

Šala mala, no pohlepa i zavist savršeno su satirizirani u sceni kad se tašti, narcisoidni Bateman i njemu slični kolege brče svojim posjetnicama od bjelokosti (!) i ljusaka jaja (!!) kao da mjere “čiji je veći” i pucaju od ljubomore te u sebi proklinju onog drugog ako ima bolju od njihove.

Pravi sajam taštine potenciran i ljutom potrebom za boljim tenom, većim stanom sa spektakularnijim pogledom, pristalijim odijelom i kravatom, skupljim naočalama..., ili – kraće – gradnjom imidža “prema van”. Iako se radnja filma odvija u doba videokaseta, a i izašao je u vrijeme kad su se one još uvijek gledale (Batemanova ponavljajuća rečenica “I have to return some videotapes!”), “American Psycho” je prorekao kapitalistički/materijalistički svijet današnjice.

Današnji Bateman bi, da je živ/stvaran lik, bio opsjednut posjedovanjem najnovijeg mobitela, laptopa, DVD-a, brendiranih marki odjeće. Bildao bi, dakako, imidž na društvenim mrežama čiji korisnici, opsjednuti društvenim i FB statusom, ljubomorno virkaju preko tuđih “zidova” uspoređujući što i sami imaju/nemaju.

Možda bi, pored glazbe, davao i svoje viđenje kinematografije, recimo DiCaprijeva “Vuka s Wall Streeta” i “Oklade stoljeća”, gdje su brokeri poput njega doveli do krize 2008., moguće i vlastitog filma u “meta” ključu (to bi bilo zanimljivo čuti). A možda bi se našao i u utrci za predsjednika Amerike.

Izjavio je to Bale u povodu proslave 20. obljetnice “Američkog psiha”, ciljajući na Donalda Trumpa, nekadašnjeg biznismena i najvećeg “yuppieja” osamdesetih kojeg je Bateman u romanu idolizirao i imitirao. “Je li ono Ivana Trump?” pitao se Bateman ugledavši plavokosu gospođu sličnu Trumpovoj ženi u jednoj sceni filma koji je 20 godina kasnije postao još aktualniji i impresivniji. Yuppie ki yay, motherfucker!

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Trening kod kuće i maska na licu

"Američkog psiha" bilo je zanimljivo gledati u koronsko doba budući da Bateman vježba kod kuće, kao da je i sam u karanteni, a u jednoj sceni stavlja i prepoznatljivu masku na lice. Ups!

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Nećkanje popularnog Leonarda DiCaprija oko prihvaćanja uloge brokera/”serial killera” Patricka Batemana i njegovo konačno odustajanje od filma “Američki psiho” (2000.) omogućilo je budućem Batmanu Christianu Baleu proboj do hollywoodskih zvijezda.

Da DiCaprio nije uvidio kako bi poremećeni serijski “yuppie” ubojica Bateman ekstremno ugrozio njegov status miljenika tinejdžerica nakon “Titanica” i radije odabrao drukčiji, ali sigurniji “Žal”, tko zna gdje bi točno danas bio Bale, dotad najpoznatiji po glavnoj “dječjoj” ulozi u “Carstvu sunca” te neglavnima u “Malim ženama” i “Zlatnom baršunu”.

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FILM: American Psycho; crnohumorni horor; SAD, 2000. REŽIJA: Mary Harron ULOGE: Christian Bale, Jared Leto OCJENA: *****

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Naravno, Bale je predobar glumac i sigurno bi stekao zvjezdani status prije ili kasnije, no “American Psycho” je ubrzao taj proces. Bale može biti zahvalan Mary Harron.

Nezavisnoj redateljica je od početka vidjela samo njega u tijelu i umu glavnog lika kontroverznog romana Breta Eastona Ellisa koji je planirao ekranizirati i slavni oskarovac Oliver Stone.

Neustrašivi glumac nije se bojao prihvatiti ulogu fiktivnog, umno rastrojenog vršnjaka (Bale je 2000. imao 26 godina, Bateman u romanu 27), makar film ispao kontroverzniji od knjige. Prijetio mu je zloglasni dobni predikat “NC-17”, rezerviran za najžešće hororske i erotske (s)ekscese, ublažen na malčice blaži “R” tek nakon dodatne montaže.

Cenzori su malčice preozbiljno shvatili “Američkog psiha”. U redu, nasilje jest eksplicitno u nekoliko scena ubojstava s asortimanom iz horora, od sjekire do motorke čiju je uporabu najavilo Batemanovo gledanje “Teksaškog masakra motornom pilom” dok je radio tjelovježbu.

Međutim, u filmu “American Psycho” postoji dvostruki odmak od nasilja. Kao prvo, nije isključeno da su neka (ako ne i sva) ubojstva samo prljava mašta pomračenog uma. Pod dva, Harronici je bila intrigantnija satira unutar žanra “serial killer” horor-trilera i filmova kao što su “Henry: Portret serijskog ubojice” ili nedavni “The House That Jack Built”, a koje je redateljica okrenula naopačke.

Indikativni su uvodni kadrovi kapljica naizgledne krvi, ustvari crvenog umaka od borovnica kakav će ukrasiti brižno pripremljeno jelo u elitnom restoranu. “Američki psiho” je prvenstveno crno-crvena komedija sa satiričnim i ciničnim smislom za humor, pa tek onda horor-triler o serijskom ubojici.

No, Harron i Bale plešu naprijed-natrag između žanrova, zbilje i fantazije, na “Hip to Be Square” u izvedbi Huey Lewis and the News, poput Batemana koji je interpretirao pjesmu i bend prije nego što je umorio kolegu Paula Allena (Jared Leto; budući Joker), što će kao fan pop-glazbe kasnije raditi s hitovima Phila Collinsa/Genesisa, Whitney Houston itd.

Dualnost filma u izvrsnoj je sprezi s Batemanovom krizom identiteta i njihove dvije ličnosti tečno se izmjenjuju u kadru zahvaljujući Harroničinoj režiji i Baleovu portretu svojevrsnog Teda Bundyja s Wall Streeta ili, još bolje, brokerskog dr. Jekyla i mr. Hydea.

Christopher Nolan je sigurno dobro prostudirao Balea kao Batemana prije nego što mu je dodijelio ulogu – Batmana. Bateman je ekstremna verzija “dvoličnog” Brucea Waynea/Batmana (mešetar po danu, “killer” kad padne noć), a Bale nam prodaje lik već prilikom njegove precizne dnevne rutine na temu “u zdravom tijelu nezdrav duh”.

“Vjerujem u brigu o tijelu, uravnoteženu dijetu i strogu tjelovježbu”, pripovijeda nabildani, atletski građeni Bateman i stavlja “ledenu masku” i onu od biljnih sastojaka koja ublažava starenje očiju, radi trbušnjake... “To je slika Patricka Batemana, apstrakcija, to nisam ja”, govori on, a iz njega, tj. iza njegove skladne “yuppie” fasade, savršenog tena od krema, losiona i tome slično, proviruje sam Bale.

Metodski glumac stavlja Batemanovu masku, postaje lik koji tumači i nestaje u ulozi čovjeka koji “ima sve karakteristike ljudskog bića, ali nijedan potvrđen osjećaj, osim pohlepe i gnušanja”. Zbog pohlepe, pa i zavisti, Bateman bi mogao pasti kao žrtva serijskog ubojice Johna Doea iz “Sedmice”.

Šala mala, no pohlepa i zavist savršeno su satirizirani u sceni kad se tašti, narcisoidni Bateman i njemu slični kolege brče svojim posjetnicama od bjelokosti (!) i ljusaka jaja (!!) kao da mjere “čiji je veći” i pucaju od ljubomore te u sebi proklinju onog drugog ako ima bolju od njihove.

Pravi sajam taštine potenciran i ljutom potrebom za boljim tenom, većim stanom sa spektakularnijim pogledom, pristalijim odijelom i kravatom, skupljim naočalama..., ili – kraće – gradnjom imidža “prema van”. Iako se radnja filma odvija u doba videokaseta, a i izašao je u vrijeme kad su se one još uvijek gledale (Batemanova ponavljajuća rečenica “I have to return some videotapes!”), “American Psycho” je prorekao kapitalistički/materijalistički svijet današnjice.

Današnji Bateman bi, da je živ/stvaran lik, bio opsjednut posjedovanjem najnovijeg mobitela, laptopa, DVD-a, brendiranih marki odjeće. Bildao bi, dakako, imidž na društvenim mrežama čiji korisnici, opsjednuti društvenim i FB statusom, ljubomorno virkaju preko tuđih “zidova” uspoređujući što i sami imaju/nemaju.

Možda bi, pored glazbe, davao i svoje viđenje kinematografije, recimo DiCaprijeva “Vuka s Wall Streeta” i “Oklade stoljeća”, gdje su brokeri poput njega doveli do krize 2008., moguće i vlastitog filma u “meta” ključu (to bi bilo zanimljivo čuti). A možda bi se našao i u utrci za predsjednika Amerike.

Izjavio je to Bale u povodu proslave 20. obljetnice “Američkog psiha”, ciljajući na Donalda Trumpa, nekadašnjeg biznismena i najvećeg “yuppieja” osamdesetih kojeg je Bateman u romanu idolizirao i imitirao. “Je li ono Ivana Trump?” pitao se Bateman ugledavši plavokosu gospođu sličnu Trumpovoj ženi u jednoj sceni filma koji je 20 godina kasnije postao još aktualniji i impresivniji. Yuppie ki yay, motherfucker!

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Trening kod kuće i maska na licu

"Američkog psiha" bilo je zanimljivo gledati u koronsko doba budući da Bateman vježba kod kuće, kao da je i sam u karanteni, a u jednoj sceni stavlja i prepoznatljivu masku na lice. Ups!

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Film & TVCINEMARK OBLJETNICA

AMERIČKI PSIHO Bateman se vraća

Piše Marko Njegić
10. svibnja 2020. - 21:22
13625902
PREMIUM
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Nećkanje popularnog Leonarda DiCaprija oko prihvaćanja uloge brokera/”serial killera” Patricka Batemana i njegovo konačno odustajanje od filma “Američki psiho” (2000.) omogućilo je budućem Batmanu Christianu Baleu proboj do hollywoodskih zvijezda.

Da DiCaprio nije uvidio kako bi poremećeni serijski “yuppie” ubojica Bateman ekstremno ugrozio njegov status miljenika tinejdžerica nakon “Titanica” i radije odabrao drukčiji, ali sigurniji “Žal”, tko zna gdje bi točno danas bio Bale, dotad najpoznatiji po glavnoj “dječjoj” ulozi u “Carstvu sunca” te neglavnima u “Malim ženama” i “Zlatnom baršunu”.

Naravno, Bale je predobar glumac i sigurno bi stekao zvjezdani status prije ili kasnije, no “American Psycho” je ubrzao taj proces. Bale može biti zah...

#CINEMARK#CINEMARK OBLJETNICA#PSIHOLOŠKI FILMOVI#HORORFILMOVI#CRNE KOMEDIJE
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