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PRETPLATA
PREMIUM
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Svibanjski ciklus “Najbolje od Jarmuscha” u splitskoj Kinoteci obuhvaća prvih šest filmova kultnog američkog nezavisnog redatelja koji je sagradio “indie” most između Johna Cassevetesa i braće Coen, Gusa Van Santa, Stevena Soderbergha... To su, redom, “Neprekinuti praznici” (1980.), “Čudnije od raja” (1984.), “Pod udarom zakona” (1986.), “Tajanstveni vlak” (1989.), “Noć na Zemlji” (1991.) i “Mrtav čovjek” (1995.).

Iako bi neki na “best of Jarmusch” listu stavili i novomilenijske filmove pionira američke “indie” kinematografije osamdesetih kao što su “Paterson”, "Slomljeno cvijeće", "Samo ljubavnici preživljavaju" ili "Granice kontrole", nipošto "Mrtvi ne umiru", stara šestorka spada u vrhunce njegova opusa i podsjeća na to kako se taj osoban i osebujan autorski opus razvijao i rastao iz filma u film kao alternativa komercijalnom Hollywoodu.

'Scream for ice cream'

Značajna je, u tom pogledu, izjava i karakterizacija protagonista Jarmuscheva prvijenca “Permanent Vacation”, koji je postavio odrednice “jarmuschevskog” filma iz domene komične drame nerijetko “road movie” tipa – spor, fjakast ritam naracije, neuljepšana estetika svakodnevice, “deadpan” humor, likovi s ruba društva i motiv lutanja, bijega ili putovanja te poteškoća u komunikaciji.

“Ovo je moja priča ili dio nje, no što je uopće priča? Jedan od onih crteža gdje spajanjem točkica dobijete sliku”, rekao je lutalica Allie (Chris Parker). Spajanjem točkica (iz) Jarmuschevih filmova gledatelj dobiva sliku o njegovu liku i djelu, počevši od “Neprekinutih praznika“. Allie se “odbija prilagoditi” baš kao Jarmusch, on je marginalac i zaljubljenik u glazbu Charlieja Parkera, što će biti i drugi redateljevi likovi, naklonjeni glazbi i filmovima, pop-kulturi općenito.

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U jednom trenutku Allie će sresti saksofonista (John Lurie) i posjetiti kino, gdje kamera uokviruje plakat filma “Savage Innocents” Jarmuscheva mentora Nicholasa Raya s Anthonyjem Quinnom kao Eskimom (“Quinn, The Eskimo“), ali i zagledava se u automat za sladoled kao da predviđa scenu “I scream, you scream, we all scream for ice cream” iz “Down By Law”.

Lurie je od epizodista postao glavni glumac i utjelovio Willieja u “Stranger Than Paradise”, u kojem jedan lik predlaže mađarskoj rođakinji protagonista, Evi (Eszter Balin), izlazak u kino na “foreign movie”, da bi na kraju teška srca završio na kung-fu filmu s njom, njezinim rođakom i njegovim prijateljem, a predmet opsesije sad je Screamin’ Jay Hawkins i njegova “muzika za vožnju“. Likovi dobar dio vremena provode u automobilu putujući Amerikom, čime Jarmusch najavljuje taksiranje u “Night On Earth”, a Eva spominje vlak i signalizira “Mystery Train”.

Život u sitnim detaljima

Jarmuschev alter ego u trećem i dotad najvećem filmu “Pod udarom zakona” postaje budući zatvorenik Zack (Tom Waits), kojemu djevojka Laurette (Ellen Barkin) savjetuje da “mora malo podilaziti ljudima” (gledateljima), ali on je neumoljiv. “Nikad nikom ne podilazim”, jasan je Zack, tj. Jarmusch dok “Down By Law” snima kao “jarmuschevsku” verziju zatvorskog filma s neminovnim bijegom iz zatvora, ne nužno kroz prozor u ćeliji koji je nacrtao Roberto (Roberto Benigni), ljubitelj Walta Whitmana, prije nego što je zarazno ponavljao “Ja vrištim, ti vrištiš, svi vrištimo da sladoled slistimo“.

Iako će Roberto reći “Pobjegli smo baš kao u američkim filmovima” i govoriti o jednom “prison movieju” s “puno akcije” (“Escape From Alcatraz”?), a i bijeg se odvija kroz močvaru Louisiane iz “Južnjačke utjehe”, “Pod udarom zakona” sušta je suprotnost svemu tome.

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Otprilike kao što je “Dead Man” drukčiji od svih dotad i otad snimljenih vesterna, Jarmuscheva (in)verzija žanra koji reinterpretira, dekonstruira i demitologizira na njemu svojstven način uz pomoć Johnnyja Deppa u ulozi knjigovođe na proputovanju Amerikom prošlosti/mitskim Divljim zapadom, uključujući i vlak.

”Tajanstveni vlak” okuplja “jarmuschevske” likove sa svih strana svijeta, izgubljene putnike, u film ceste, da ne kažemo pruge, s paralelnom omnibusovskom naracijom i Screamin’ Jay Hawkinsom u jednoj od uloga, podcrtavajući Jarsmuschevu izjavu da je “ljepota života u sitnim detaljima, ne velikim događajima”, odnosno citat iz “Down By Law“ o “tužnom i prekrasnom svijetu“.

Sve to potencira omnibus “Noć na Zemlji” kao ponajbolji rani Jarmuschev film koji epitet “jarmuschevski” podiže na globalnu razinu, prateći nekolicinu živopisnih vozača i vozačica taksija (Winona Ryder, Benigni...) i njihovih jednako živopisnih putnika (npr. Beatrice "Betty Blue" Dalle) od Los Angelesa i New Yorka preko Pariza i Rima do Helsinkija.

“Night On Earth” objedinjuje prošlost i budućnost nezavisne američke i svjetske kinematografije Jarmuschevim angažmanom Cassavetesove supruge Gene Rowlands u prvoj priči i ambijentiranjem posljednje u Helsinki u čast njegovu nasljedniku Akiju Kaurismakiju.

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Od kinoteke do kućnog kina

Jarmuschovi fanovi kojima je Split predaleko mogu rentati pet od ovih šest filmova u "online" videoteci "A1" (u kolekciji nedostaje samo "Čudnije od raja"). 

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Svibanjski ciklus “Najbolje od Jarmuscha” u splitskoj Kinoteci obuhvaća prvih šest filmova kultnog američkog nezavisnog redatelja koji je sagradio “indie” most između Johna Cassevetesa i braće Coen, Gusa Van Santa, Stevena Soderbergha... To su, redom, “Neprekinuti praznici” (1980.), “Čudnije od raja” (1984.), “Pod udarom zakona” (1986.), “Tajanstveni vlak” (1989.), “Noć na Zemlji” (1991.) i “Mrtav čovjek” (1995.).

Iako bi neki na “best of Jarmusch” listu stavili i novomilenijske filmove pionira američke “indie” kinematografije osamdesetih kao što su “Paterson”, "Slomljeno cvijeće", "Samo ljubavnici preživljavaju" ili "Granice kontrole", nipošto "Mrtvi ne umiru", stara šestorka spada u vrhunce njegova opusa i podsjeća na to kako se taj osoban i osebujan autorski opus razvijao i rastao iz filma u film kao alternativa komercijalnom Hollywoodu.

'Scream for ice cream'

Značajna je, u tom pogledu, izjava i karakterizacija protagonista Jarmuscheva prvijenca “Permanent Vacation”, koji je postavio odrednice “jarmuschevskog” filma iz domene komične drame nerijetko “road movie” tipa – spor, fjakast ritam naracije, neuljepšana estetika svakodnevice, “deadpan” humor, likovi s ruba društva i motiv lutanja, bijega ili putovanja te poteškoća u komunikaciji.

“Ovo je moja priča ili dio nje, no što je uopće priča? Jedan od onih crteža gdje spajanjem točkica dobijete sliku”, rekao je lutalica Allie (Chris Parker). Spajanjem točkica (iz) Jarmuschevih filmova gledatelj dobiva sliku o njegovu liku i djelu, počevši od “Neprekinutih praznika“. Allie se “odbija prilagoditi” baš kao Jarmusch, on je marginalac i zaljubljenik u glazbu Charlieja Parkera, što će biti i drugi redateljevi likovi, naklonjeni glazbi i filmovima, pop-kulturi općenito.

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U jednom trenutku Allie će sresti saksofonista (John Lurie) i posjetiti kino, gdje kamera uokviruje plakat filma “Savage Innocents” Jarmuscheva mentora Nicholasa Raya s Anthonyjem Quinnom kao Eskimom (“Quinn, The Eskimo“), ali i zagledava se u automat za sladoled kao da predviđa scenu “I scream, you scream, we all scream for ice cream” iz “Down By Law”.

Lurie je od epizodista postao glavni glumac i utjelovio Willieja u “Stranger Than Paradise”, u kojem jedan lik predlaže mađarskoj rođakinji protagonista, Evi (Eszter Balin), izlazak u kino na “foreign movie”, da bi na kraju teška srca završio na kung-fu filmu s njom, njezinim rođakom i njegovim prijateljem, a predmet opsesije sad je Screamin’ Jay Hawkins i njegova “muzika za vožnju“. Likovi dobar dio vremena provode u automobilu putujući Amerikom, čime Jarmusch najavljuje taksiranje u “Night On Earth”, a Eva spominje vlak i signalizira “Mystery Train”.

Život u sitnim detaljima

Jarmuschev alter ego u trećem i dotad najvećem filmu “Pod udarom zakona” postaje budući zatvorenik Zack (Tom Waits), kojemu djevojka Laurette (Ellen Barkin) savjetuje da “mora malo podilaziti ljudima” (gledateljima), ali on je neumoljiv. “Nikad nikom ne podilazim”, jasan je Zack, tj. Jarmusch dok “Down By Law” snima kao “jarmuschevsku” verziju zatvorskog filma s neminovnim bijegom iz zatvora, ne nužno kroz prozor u ćeliji koji je nacrtao Roberto (Roberto Benigni), ljubitelj Walta Whitmana, prije nego što je zarazno ponavljao “Ja vrištim, ti vrištiš, svi vrištimo da sladoled slistimo“.

Iako će Roberto reći “Pobjegli smo baš kao u američkim filmovima” i govoriti o jednom “prison movieju” s “puno akcije” (“Escape From Alcatraz”?), a i bijeg se odvija kroz močvaru Louisiane iz “Južnjačke utjehe”, “Pod udarom zakona” sušta je suprotnost svemu tome.

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Otprilike kao što je “Dead Man” drukčiji od svih dotad i otad snimljenih vesterna, Jarmuscheva (in)verzija žanra koji reinterpretira, dekonstruira i demitologizira na njemu svojstven način uz pomoć Johnnyja Deppa u ulozi knjigovođe na proputovanju Amerikom prošlosti/mitskim Divljim zapadom, uključujući i vlak.

”Tajanstveni vlak” okuplja “jarmuschevske” likove sa svih strana svijeta, izgubljene putnike, u film ceste, da ne kažemo pruge, s paralelnom omnibusovskom naracijom i Screamin’ Jay Hawkinsom u jednoj od uloga, podcrtavajući Jarsmuschevu izjavu da je “ljepota života u sitnim detaljima, ne velikim događajima”, odnosno citat iz “Down By Law“ o “tužnom i prekrasnom svijetu“.

Sve to potencira omnibus “Noć na Zemlji” kao ponajbolji rani Jarmuschev film koji epitet “jarmuschevski” podiže na globalnu razinu, prateći nekolicinu živopisnih vozača i vozačica taksija (Winona Ryder, Benigni...) i njihovih jednako živopisnih putnika (npr. Beatrice "Betty Blue" Dalle) od Los Angelesa i New Yorka preko Pariza i Rima do Helsinkija.

“Night On Earth” objedinjuje prošlost i budućnost nezavisne američke i svjetske kinematografije Jarmuschevim angažmanom Cassavetesove supruge Gene Rowlands u prvoj priči i ambijentiranjem posljednje u Helsinki u čast njegovu nasljedniku Akiju Kaurismakiju.

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Od kinoteke do kućnog kina

Jarmuschovi fanovi kojima je Split predaleko mogu rentati pet od ovih šest filmova u "online" videoteci "A1" (u kolekciji nedostaje samo "Čudnije od raja"). 

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Christophe Simon/AFP






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Film & TVALTERNATIVA HOLLYWOODU

Gdje ima Jima, ima i Jarmuscha: ‘Kinoteka‘ je pripremila pravu poslasticu za splitske filmofile i prikazuje prvih šest filmova kultnog ‘indie‘ redatelja

Piše Marko Njegić
14. svibnja 2022. - 14:49
21961942
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Christophe Simon/AFP

Svibanjski ciklus “Najbolje od Jarmuscha” u splitskoj Kinoteci obuhvaća prvih šest filmova kultnog američkog nezavisnog redatelja koji je sagradio “indie” most između Johna Cassevetesa i braće Coen, Gusa Van Santa, Stevena Soderbergha... To su, redom, “Neprekinuti praznici” (1980.), “Čudnije od raja” (1984.), “Pod udarom zakona” (1986.), “Tajanstveni vlak” (1989.), “Noć na Zemlji” (1991.) i “Mrtav čovjek” (1995.).

Iako bi neki na “best of Jarmusch” listu stavili i novomilenijske filmove pionira američke “indie” kinematografije osamdesetih kao što su “Paterson”, "Slomljeno cvijeće", "Samo ljubavnici preživljavaju" ili "Granice kontrole", nipošto "Mrtvi ne umiru", stara šestorka spada u vrhunce njegova opusa i podsjeća na to kako se ...

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15. svibanj 2024 00:31