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Japan nije dobio Oscara od 2009. i "Odlazaka", ali mogao bi ga opet dobiti za jednako dobar, pa i bolji, "Drive My Car", još jedan human i humanistički film koji na emocionalno delikatan i profinjen način govori o životu i smrti, nošenju s tugom i gubitkom, procesu iscjeljenja duše.

Iznimni "Drive My Car", koji hrvatsku premijeru ima na 19. Human Rights Film Festivalu, već je osvojio tri nagrade u Cannesu i izabran je za japanskog kandidata za zlatni kipić. Nominacija za Oscara ne bi mu trebala ginuti, ako ne i sam Oscar. Trosatna, ali protočna i nikad dosadna drama u promišljeno strpljivoj režiji Ryusukea Hamaguchija snimljena je prema kratkoj priči legendarnog Harukija Murakamija iz njegove kolekcije "Muškarci bez žena" ("Men Without Women").

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FILM: Drive My Car; drama; Japan, 2021. REŽIJA: Ryusuke Hamaguchi ULOGE: Hidetoshi Nishijima, Toko Miura OCJENA: *****

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Muškarac bez žene je kazališni redatelj i glumac Yûsuke Kafuku u tumačenju Hidetoshija Nishijime. Njegova žena, scenaristica Oto (Reika Kirishima), umire oko 35. minute filma.

Prvih pola sata Hamaguchi prezentira Yûsukea gledatelju kroz bračni i kreativni odnos s Oto, čvrst i pun podrške, unatoč tome što će muž ženu zateći u erotskom zagrljaju drugog muškarca, mlađeg glumca Kôjija Takatsukija (Masaki Okada), koji će se kasnije javiti na audiciju za njegovu predstavu i proći.

Zajedno su Yûsuke i Oto jači i udvoje lakše podnose smrt kćerke. Oto dobiva inspiraciju za priče nakon vođenja ljubavi i ispriča ih Yûsukeu prije nego što ih zaboravi. Njezin glas je njegova zvijezda vodilja. Vozeći svoj crveni SAAB 900 Turbo ulicama i autocestama, Yûsuke sluša audiokasete sa ženinim recitiranjem svih uloga predstave osim njegove. To je Yûsukeova rutina i tako on prolazi kroz dijalog predstave, recimo Čehovljeva "Ujaka Vanje".

Kad Oto umre, njezin glas na audiokasetama ga prati poput duha i sve je što mu od nje ostaje, uz neka neodgovorena pitanja, primjerice o čemu je mislila razgovarati nakon njegova povratka s posla koji nije doživjela, ali i osjećaj krivnje (da se vratio ranije, bi li je spasio?).

Koliko Yûsukeu žena i njezin glas znači, otkriva prvi nezaboravan kadar Hamaguchijeve drame – sjajna montažna tranzicija s kola automobila u vožnji na rotirajuće kolutove audiovrpce koji nalikuju filmu u projektoru. Kola i kolutovi će ga odvesti do Hirošime, gdje se nakon nekog vremena seli da na tamošnju pozornicu postavi "Ujaka Vanju".

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Yûsuke od tuge bježi u rad i skriva je stoički, iako to što mu je dijagnosticiran glaukom navodi na pitanje je li zaplakao ili kapi za oči plaču umjesto njega kad mu u jednoj sceni kap iz oka klizne niz obraz. Zbog glaukoma, a i politike kazališta, Yûsuke dobiva osobnog vozača, preciznije vozačicu Misaki (Toko Miura) koja će sjesti za upravljač njegova SAAB-a i voziti ga na audicije i probe diljem grada koji i sam skriva tragediju ispod uglađene površine.

Zanimljivo je da glumci, pripremajući rusku predstavu, glume na japanskom, mandarinskom kineskom i korejskom znakovnom jeziku, uspijevajući se kreativno povezati kao kazališna trupa i stvoriti uzajamno povjerenje, nerijetko i prema zajedničkom osjećaju. O tome film i govori – o ljudskoj povezanosti, povjerenju i razumijevanju. Povezanosti koja je univerzalna čak i ako je neverbalna, a može spojiti ljude preko glume (glumci) ili smrti (Yûsuke i Misaki), tj. osjećaja žaljenja i krivnje.

Mlada Misaki je isprve rezervirana i distancirana poput Yûsukea i radije će, dok ga vozi, upaliti audiokasetu s rečenicama iz predstave koje ponekad nevjerojatno precizno odgovaraju njegovu stanju, nego razgovarati i podijeliti vlastitu emotivnu težinu, oslikanu u ožiljku na licu, sve do trenutka kad on pohvali njezinu "ugodnu" vožnju.

"Ponekad zaboravljam da sam u autu", kaže Yûsuke. I gledatelj ponekad zaboravlja da gleda film. Jer, film se odvija ordinarno poput života, uz neke ekstraordinarne filmske scene, kao kad Yûsuke i Misaki tijekom noćne vožnje otvore krovni prozor na automobilu, izbace ruke koje drže cigarete i uživaju u trenutku bez izgovorene riječi, shvaćajući pojedinačno da trebaju nastaviti voziti, živjeti. "Drive My Car" polako se uvlači u srce i do kraja emotivne vožnje postaje jedan od najboljih filmova godine.

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Hamaguchijev drugi film ove godine

Posljednji put kad je netko ekranizirao Murakamija dogodilo se izvrsno južnokorejsko "Izgaranje". Ovo je, inače, Hamaguchijev drugi film ove godine nakon "Wheel Of Fortune and Fantasy" koji je imao premijeru na Berlinaleu.

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Japan nije dobio Oscara od 2009. i "Odlazaka", ali mogao bi ga opet dobiti za jednako dobar, pa i bolji, "Drive My Car", još jedan human i humanistički film koji na emocionalno delikatan i profinjen način govori o životu i smrti, nošenju s tugom i gubitkom, procesu iscjeljenja duše.

Iznimni "Drive My Car", koji hrvatsku premijeru ima na 19. Human Rights Film Festivalu, već je osvojio tri nagrade u Cannesu i izabran je za japanskog kandidata za zlatni kipić. Nominacija za Oscara ne bi mu trebala ginuti, ako ne i sam Oscar. Trosatna, ali protočna i nikad dosadna drama u promišljeno strpljivoj režiji Ryusukea Hamaguchija snimljena je prema kratkoj priči legendarnog Harukija Murakamija iz njegove kolekcije "Muškarci bez žena" ("Men Without Women").

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FILM: Drive My Car; drama; Japan, 2021. REŽIJA: Ryusuke Hamaguchi ULOGE: Hidetoshi Nishijima, Toko Miura OCJENA: *****

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Muškarac bez žene je kazališni redatelj i glumac Yûsuke Kafuku u tumačenju Hidetoshija Nishijime. Njegova žena, scenaristica Oto (Reika Kirishima), umire oko 35. minute filma.

Prvih pola sata Hamaguchi prezentira Yûsukea gledatelju kroz bračni i kreativni odnos s Oto, čvrst i pun podrške, unatoč tome što će muž ženu zateći u erotskom zagrljaju drugog muškarca, mlađeg glumca Kôjija Takatsukija (Masaki Okada), koji će se kasnije javiti na audiciju za njegovu predstavu i proći.

Zajedno su Yûsuke i Oto jači i udvoje lakše podnose smrt kćerke. Oto dobiva inspiraciju za priče nakon vođenja ljubavi i ispriča ih Yûsukeu prije nego što ih zaboravi. Njezin glas je njegova zvijezda vodilja. Vozeći svoj crveni SAAB 900 Turbo ulicama i autocestama, Yûsuke sluša audiokasete sa ženinim recitiranjem svih uloga predstave osim njegove. To je Yûsukeova rutina i tako on prolazi kroz dijalog predstave, recimo Čehovljeva "Ujaka Vanje".

Kad Oto umre, njezin glas na audiokasetama ga prati poput duha i sve je što mu od nje ostaje, uz neka neodgovorena pitanja, primjerice o čemu je mislila razgovarati nakon njegova povratka s posla koji nije doživjela, ali i osjećaj krivnje (da se vratio ranije, bi li je spasio?).

Koliko Yûsukeu žena i njezin glas znači, otkriva prvi nezaboravan kadar Hamaguchijeve drame – sjajna montažna tranzicija s kola automobila u vožnji na rotirajuće kolutove audiovrpce koji nalikuju filmu u projektoru. Kola i kolutovi će ga odvesti do Hirošime, gdje se nakon nekog vremena seli da na tamošnju pozornicu postavi "Ujaka Vanju".

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Yûsuke od tuge bježi u rad i skriva je stoički, iako to što mu je dijagnosticiran glaukom navodi na pitanje je li zaplakao ili kapi za oči plaču umjesto njega kad mu u jednoj sceni kap iz oka klizne niz obraz. Zbog glaukoma, a i politike kazališta, Yûsuke dobiva osobnog vozača, preciznije vozačicu Misaki (Toko Miura) koja će sjesti za upravljač njegova SAAB-a i voziti ga na audicije i probe diljem grada koji i sam skriva tragediju ispod uglađene površine.

Zanimljivo je da glumci, pripremajući rusku predstavu, glume na japanskom, mandarinskom kineskom i korejskom znakovnom jeziku, uspijevajući se kreativno povezati kao kazališna trupa i stvoriti uzajamno povjerenje, nerijetko i prema zajedničkom osjećaju. O tome film i govori – o ljudskoj povezanosti, povjerenju i razumijevanju. Povezanosti koja je univerzalna čak i ako je neverbalna, a može spojiti ljude preko glume (glumci) ili smrti (Yûsuke i Misaki), tj. osjećaja žaljenja i krivnje.

Mlada Misaki je isprve rezervirana i distancirana poput Yûsukea i radije će, dok ga vozi, upaliti audiokasetu s rečenicama iz predstave koje ponekad nevjerojatno precizno odgovaraju njegovu stanju, nego razgovarati i podijeliti vlastitu emotivnu težinu, oslikanu u ožiljku na licu, sve do trenutka kad on pohvali njezinu "ugodnu" vožnju.

"Ponekad zaboravljam da sam u autu", kaže Yûsuke. I gledatelj ponekad zaboravlja da gleda film. Jer, film se odvija ordinarno poput života, uz neke ekstraordinarne filmske scene, kao kad Yûsuke i Misaki tijekom noćne vožnje otvore krovni prozor na automobilu, izbace ruke koje drže cigarete i uživaju u trenutku bez izgovorene riječi, shvaćajući pojedinačno da trebaju nastaviti voziti, živjeti. "Drive My Car" polako se uvlači u srce i do kraja emotivne vožnje postaje jedan od najboljih filmova godine.

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Hamaguchijev drugi film ove godine

Posljednji put kad je netko ekranizirao Murakamija dogodilo se izvrsno južnokorejsko "Izgaranje". Ovo je, inače, Hamaguchijev drugi film ove godine nakon "Wheel Of Fortune and Fantasy" koji je imao premijeru na Berlinaleu.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Drive My Car‘: Emotivna vožnja po taktu Murakamija vodi do Oscara

Piše Marko Njegić
11. prosinca 2021. - 23:50
20262614
PREMIUM
Galerija

Japan nije dobio Oscara od 2009. i "Odlazaka", ali mogao bi ga opet dobiti za jednako dobar, pa i bolji, "Drive My Car", još jedan human i humanistički film koji na emocionalno delikatan i profinjen način govori o životu i smrti, nošenju s tugom i gubitkom, procesu iscjeljenja duše.

Iznimni "Drive My Car", koji hrvatsku premijeru ima na 19. Human Rights Film Festivalu, već je osvojio tri nagrade u Cannesu i izabran je za japanskog kandidata za zlatni kipić. Nominacija za Oscara ne bi mu trebala ginuti, ako ne i sam Oscar. Trosatna, ali protočna i nikad dosadna drama u promišljeno strpljivoj režiji Ryusukea Hamaguchija snimljena je prema kratkoj priči legendarnog Harukija Murakamija iz njegove kolekcije "Muškarci bez žena" ("Men Without Women").

Muškarac bez žene je kazališni...

#CINEMARK#CINEMARK NA FESTIVALU#FESTIVALSKI FILMOVI#HARUKI MURAKAMI#RYUSUKE HAMAGUCHI#DRAME#JAPANSKI FILMOVI
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19. svibanj 2024 02:51