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stdClass Object ( [id] => 1087637 [title] => ‘Tragač‘: Lundgren od nemila do neDraga [alias] => tragac-lundgren-od-nemila-do-nedraga [catid] => 286 [published] => 1 [introtext] => [fulltext] =>

Bliski susret s Dolphom Lungrenom dogodio se u Cannesu 2007. godine, kad je reporterima "Slobodne" pobjednički mahnuo izlazeći iz kluba i sjedajući u limuzinu. Drugi bliski susret dogodio se sedam godina kasnije, također u Cannesu, gdje je Lundgren uletio s još većim stilom u kadar i sišao s oklopnog vozila na ekskluzivnu presicu "Plaćenika 3".

Izgledao je moćno, snažno, vitalno, samopouzdano. I još uvijek tako izgleda, može reći svatko tko prati njegove Facebook i slične društveno-mrežne stranice. Ostario je, naravno, ali drži se odlično za svoje (64) godine i nedavno je postao nositelj tzv. 4. dana u kyokunshin karateu.

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FILM: The Tracker; akcijski triler; SAD/Italija, 2019. REŽIJA: Giorgio Serafini
ULOGE: Dolph Ludgren, Cosimo Fusco OCJENA: *

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Međutim, u recentnim filmovima Dolph djeluje beživotno, oronulo, bez samopouzdanja, umorno. Siroti akcijski junak je zapeo u beskrajnom danu direktno-na-video akcije i, nažalost, ne nazire se njegov trajniji izlaz iz tog začaranog kruga koji rijetko uspije razbiti ("Creed II", "Aquaman").

Svaki put kad potpisnik ovih redaka vidi novi Lundgrenov film na hrvatskom "online" videotržištu, nikne nova (lažna) nada da je snimio nešto poštenije, ali avaj, on i dalje luta od nemila do neDraga.

Sudeći po uvodnoj sceni, činilo se da bi "The Tracker" ili "Tragač" redatelja niskobudžetih akcijskih filmova Giorgija Serafinija (već surađivao s Lundgrenom; "Ambushed", "Blood Of Redemption") mogao biti malčice suvisliji/bolji akcić od njegovih recentnih uradaka izrazite razine lošosti i amaterizma poput "Ubrzanja" i "Preživjeti noć".

Lundgrenov lik Aiden Hakansson vraća se u djetinstvo i otkriva kako ga je otac učio razlici između lovca i tragača, istovremeno ga s lovom učeći kako biti muškarac. "Lovac ubija plijen, tragač ga razumije", govori Aiden. Čovjek bi se mogao prevariti i, ponukan krilaticom filma "Osveta nikad ne prestaje", očekivati introspektivno-filozofski komad osvetničkog akcijskog trilera s Lundgrenom kao tragačem (može i lovcem, svejedno) u lovu na tipove koji su mu prije 15 godina oteli i ubili suprugu i kćerku.

S obzirom na naslov "The Tracker", moglo se očekivati kako će inicijalna mistika tragača biti iskorištena na način da Aiden lovi negativce po šumovitim i brdovitim predjelima, otprilike kao što je bivši lovac Nikolaj Coster-Waldau igrao igru "lovice" sa serijskim ubojicom u friškom trileru "Ušutkivanje".

Ništa od toga, a filmu ne pomažu ni talijanske lokacije kao zamjena za istočnoeuropske bugarske ili mađarske. Da se ne zna mjesto snimanja filma (Italija), bili bismo uvjereni da je posrijedi Bugarska ili Mađarska. Toliko, naime, film izgleda jednako vizualno neatraktivno i bezbojno, slično kao i "Hard Night Falling", također snimljen u Italiji.

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Kakve lokacije, takva i realizacija akcije – bez boje, mirisa i okusa. Upravo je nevjerojatno da Serafini (režirao i "Igru smrti" s Wesleyjem Snipesom) nije orkestrirao/koreografirao ama baš nijednu koliko-toliko nelošu scenu. Sve se doima amaterski, izvedeno iz prvog pokušaja, bez repeticija i peglanja akcijašenja.

Nekoć sjajan u akciji, Lundgren samo čeka da scena završi i redatelj zove "rez", a u nekim scenama nije ni prisutan, već kaskader obavlja posao umjesto njega. Stječe se impresija da mu se više ne da junačiti, nego što ne bi mogao i to je otužno za gledati kad se sjetite njegovih herojstava u vrlo dobrim ("Univerzalni vojnik") ili barem solidnim akcijskim filmovima osamdesetih i devedesetih ("Crveni škorpion", "Punisher", "Obračun u Malom Tokiju"...).

Isto se može reći i za njegov pristup dramskim scenama u kojima je bio tako neočekivano dobar i nijansiran u "Creedu II", gotovo vrijedan Oscar nominacije za sporednu ulogu zbog uspješnog odražavanja tridesetak teških godina u životu Ivana Drage na svom licu i oslikavanja svih njegovih unutarnjih nezadovoljstava "prema van".

Lundgrenov lik je podjednako istrošen, ali on ga igra bez ikakvih nijansi, krajnje neuvjerljivo, za Zlatnu malinu. Jednostavno je evidentno kako Dolph ne mari i nema volje da se troši za ništa, mlati praznu slamu. "The Tracker" je upravo to, akcijsko-filmski ekvivalent mlaćenju prazne slame. "Tragač" treba ostati nepronađen čak i za najtvrdokornije Lundgrenove fanove.

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Još ima nade

Ako je suditi po njegovim nadolazećim projektima, možda za Dolpha još ima nade. Ove godine trebali bi ga gledati u filmu sa Scottom Adkinsom "Castle Falls", obiteljskoj božićnoj komediji "Pups Alone" s Jennifer Love Hewitt, sportskoj drami "Malevolence" koju i režira, a dao je glas i u crtiću "Minions: The Rise of Gru" prebačenom za kinopremijeru 2022. godine. Na čeki mu je i serija "The International" s producentskim potpisom Stallonea.

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Bliski susret s Dolphom Lungrenom dogodio se u Cannesu 2007. godine, kad je reporterima "Slobodne" pobjednički mahnuo izlazeći iz kluba i sjedajući u limuzinu. Drugi bliski susret dogodio se sedam godina kasnije, također u Cannesu, gdje je Lundgren uletio s još većim stilom u kadar i sišao s oklopnog vozila na ekskluzivnu presicu "Plaćenika 3".

Izgledao je moćno, snažno, vitalno, samopouzdano. I još uvijek tako izgleda, može reći svatko tko prati njegove Facebook i slične društveno-mrežne stranice. Ostario je, naravno, ali drži se odlično za svoje (64) godine i nedavno je postao nositelj tzv. 4. dana u kyokunshin karateu.

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FILM: The Tracker; akcijski triler; SAD/Italija, 2019. REŽIJA: Giorgio Serafini
ULOGE: Dolph Ludgren, Cosimo Fusco OCJENA: *

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Međutim, u recentnim filmovima Dolph djeluje beživotno, oronulo, bez samopouzdanja, umorno. Siroti akcijski junak je zapeo u beskrajnom danu direktno-na-video akcije i, nažalost, ne nazire se njegov trajniji izlaz iz tog začaranog kruga koji rijetko uspije razbiti ("Creed II", "Aquaman").

Svaki put kad potpisnik ovih redaka vidi novi Lundgrenov film na hrvatskom "online" videotržištu, nikne nova (lažna) nada da je snimio nešto poštenije, ali avaj, on i dalje luta od nemila do neDraga.

Sudeći po uvodnoj sceni, činilo se da bi "The Tracker" ili "Tragač" redatelja niskobudžetih akcijskih filmova Giorgija Serafinija (već surađivao s Lundgrenom; "Ambushed", "Blood Of Redemption") mogao biti malčice suvisliji/bolji akcić od njegovih recentnih uradaka izrazite razine lošosti i amaterizma poput "Ubrzanja" i "Preživjeti noć".

Lundgrenov lik Aiden Hakansson vraća se u djetinstvo i otkriva kako ga je otac učio razlici između lovca i tragača, istovremeno ga s lovom učeći kako biti muškarac. "Lovac ubija plijen, tragač ga razumije", govori Aiden. Čovjek bi se mogao prevariti i, ponukan krilaticom filma "Osveta nikad ne prestaje", očekivati introspektivno-filozofski komad osvetničkog akcijskog trilera s Lundgrenom kao tragačem (može i lovcem, svejedno) u lovu na tipove koji su mu prije 15 godina oteli i ubili suprugu i kćerku.

S obzirom na naslov "The Tracker", moglo se očekivati kako će inicijalna mistika tragača biti iskorištena na način da Aiden lovi negativce po šumovitim i brdovitim predjelima, otprilike kao što je bivši lovac Nikolaj Coster-Waldau igrao igru "lovice" sa serijskim ubojicom u friškom trileru "Ušutkivanje".

Ništa od toga, a filmu ne pomažu ni talijanske lokacije kao zamjena za istočnoeuropske bugarske ili mađarske. Da se ne zna mjesto snimanja filma (Italija), bili bismo uvjereni da je posrijedi Bugarska ili Mađarska. Toliko, naime, film izgleda jednako vizualno neatraktivno i bezbojno, slično kao i "Hard Night Falling", također snimljen u Italiji.

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Kakve lokacije, takva i realizacija akcije – bez boje, mirisa i okusa. Upravo je nevjerojatno da Serafini (režirao i "Igru smrti" s Wesleyjem Snipesom) nije orkestrirao/koreografirao ama baš nijednu koliko-toliko nelošu scenu. Sve se doima amaterski, izvedeno iz prvog pokušaja, bez repeticija i peglanja akcijašenja.

Nekoć sjajan u akciji, Lundgren samo čeka da scena završi i redatelj zove "rez", a u nekim scenama nije ni prisutan, već kaskader obavlja posao umjesto njega. Stječe se impresija da mu se više ne da junačiti, nego što ne bi mogao i to je otužno za gledati kad se sjetite njegovih herojstava u vrlo dobrim ("Univerzalni vojnik") ili barem solidnim akcijskim filmovima osamdesetih i devedesetih ("Crveni škorpion", "Punisher", "Obračun u Malom Tokiju"...).

Isto se može reći i za njegov pristup dramskim scenama u kojima je bio tako neočekivano dobar i nijansiran u "Creedu II", gotovo vrijedan Oscar nominacije za sporednu ulogu zbog uspješnog odražavanja tridesetak teških godina u životu Ivana Drage na svom licu i oslikavanja svih njegovih unutarnjih nezadovoljstava "prema van".

Lundgrenov lik je podjednako istrošen, ali on ga igra bez ikakvih nijansi, krajnje neuvjerljivo, za Zlatnu malinu. Jednostavno je evidentno kako Dolph ne mari i nema volje da se troši za ništa, mlati praznu slamu. "The Tracker" je upravo to, akcijsko-filmski ekvivalent mlaćenju prazne slame. "Tragač" treba ostati nepronađen čak i za najtvrdokornije Lundgrenove fanove.

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Još ima nade

Ako je suditi po njegovim nadolazećim projektima, možda za Dolpha još ima nade. Ove godine trebali bi ga gledati u filmu sa Scottom Adkinsom "Castle Falls", obiteljskoj božićnoj komediji "Pups Alone" s Jennifer Love Hewitt, sportskoj drami "Malevolence" koju i režira, a dao je glas i u crtiću "Minions: The Rise of Gru" prebačenom za kinopremijeru 2022. godine. Na čeki mu je i serija "The International" s producentskim potpisom Stallonea.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Tragač‘: Lundgren od nemila do neDraga

Piše Marko Njegić
29. ožujka 2021. - 22:14
17179678
PREMIUM
Galerija

Bliski susret s Dolphom Lungrenom dogodio se u Cannesu 2007. godine, kad je reporterima "Slobodne" pobjednički mahnuo izlazeći iz kluba i sjedajući u limuzinu. Drugi bliski susret dogodio se sedam godina kasnije, također u Cannesu, gdje je Lundgren uletio s još većim stilom u kadar i sišao s oklopnog vozila na ekskluzivnu presicu "Plaćenika 3".

Izgledao je moćno, snažno, vitalno, samopouzdano. I još uvijek tako izgleda, može reći svatko tko prati njegove Facebook i slične društveno-mrežne stranice. Ostario je, naravno, ali drži se odlično za svoje (64) godine i nedavno je postao nositelj tzv. 4. dana u kyokunshin karateu.

Međutim, u recentnim filmovima Dolph djeluje beživotno, oronulo, bez samopouzdanja, umorno. Siroti akcijski junak je zapeo u beskrajnom danu direktno-n...

#CINEMARK#CINEMARK U KUĆNOM KINU#DOLPH LUNDGREN#AKCIJSKI JUNACI#AKCIJSKIFILMOVI
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