SD Dojavi
OSMRTNICE
PRETPLATA
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“Ovo što ćete gledati nadahnuto je istinitom pričom”, u startu navodi Netflixov film “Dileri boli” (“Pain Hustlers”), inspiriran istoimenom knjigom Evana Hughesa na temu američke opijatske krize, tj. epidemije ovisnosti opioidima, skrivene u njezinom podnaslovu “Crime and Punishment at an Opioid Startup”.

Nastavno na uvodni natpis, “Dileri boli” se otvaraju kao lažni crno-bijeli dokumentarac u kojem akteri govore o onome što nas čeka i sugeriraju fiktivnu verziju istinite priče, kao što je fiktivan lijek protiv bolova uzrokovanih rakom iz filma, lonafen.

Sigurniji od aspirina

“Nismo ‘Purdue Pharma’, nismo ubili Ameriku”, pravda se jedan od njih, Pete Brenner (Chris Evans). Doznat ćemo da je Pete iz prodajnog sektora farmaceutske tvrtke s Floride “Zanna Therapeutics” (u stvarnosti “Insys Therapeutics”), specijalizirane za potplaćivanje liječnika da prepisuju lijek koji izaziva ovisnost ljudima kojima nije ni trebao.

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Netflix
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Uz Petera se u uvodnim doku-intervjuima pojavljuje i doktor Lydell (Brian d’Arcy James), a obojica spominju glavnu aktericu priče Lizu Drake (Emily Blunt). Liza na početku filma sklapa kraj s krajem, živi s majkom Jackie (Catherine O’Hara) u sestrinu podrumu, radi kao egzotična plesačica i skrbi o naizgled epileptičnoj kćeri Phoebe (Chloe Coleman).

U striptiz-klubu Liza upoznaje Petea, on joj kaže “mogu te izvući odavde” i ponudi unosan posao (predobar da bi bio istinit) u pripitom stanju i opčinjen njezinom ljepotom. Pete se nemalo iznenadi kad ga Liza za koji dan doista i nazove (memorirao ju je u mobitelu kao “strip club chick”) te se pojavi na vratima firme željna da joj se pruži prilika.

Da firma u vlasništvu Jacka Neela (veteran Andy Garcia) mulja i ne posluje najlegalnije, jasno je kad Pete u Lizin životopis na(do)piše da je “asistentica u biokemijskom istraživanju, prvostupnica kemije...” kako bi bila primljena da radi s lijekovima, iako je “jedva maturirala”, i to ne u medicinskoj školi.

Ipak, ambiciozna Liza pokazuje se dobra u poslu kad uspije navesti spomenutog dr. Lydella da prepisuje recept za njihov lijek, uvjerena da doista pomaže bolesnim ljudima “revolucionarnim proizvodom”, “najbrže djelujućim anelgetikom” koji je “sigurniji od aspirina”, onako kako bi voljela da se pomogne njezinoj kćeri suočenoj s operacijom.

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Međutim, ubrzo se ispostavi da lijek izaziva ovisnost, a pohlepni farmaceuti povrh toga preuzimaju “bol je bol” devizu i u shemi s doktorima počinju pacijentima (pro)davati lijek za obične glavobolje itd., nakon čega Liza doživi buđenje savjesti i dobije “zviždačke” porive.

Muljanje ‘američkog sna’

Blunt je odlična i magnetična, daleko najinspirativnija u glumačkoj ekipi (Evans je bolje subvertirao superjunački imidž Kapetana Amerike u “Nožu u leđa”), ali njezin lik, razapet između nemorala i morala, prenaglo prolazi put od prevarantske Rosamund Pike iz “Jako mi je stalo” do herojske Julije Roberts iz “Erin Brockovich” ili Russella Crowea iz “Probuđene savjesti”.

Štoviše, blockbusterski redatelj David Yates, poznat po radu na zadnja četiri dijela serijala o Harryju Potteru, “Legendi o Tarzanu” i franšizi “Čudesne zvijeri”, najveći fokus priče stavlja na podmićivanje, obmanjivanje i prijevare, pronalazeći inspiraciju u recentnom trendu satiričnih (antikorporativnih) filmova o muljatorima i muljanju “američkog sna”, kao što su “Vuk s Wall Streeta”, “Američke varalice”, “Oklada stoljeća”, “Psi rata”, “Prevarantice s Wall Streeta”, “Kraljice kupona”, “Emily kriminalka”...

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image
Netflix
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Iako nije Martin Scorsese (“The Wolf Of Wall Street”), Yates posjeduje određenog stila, s naglaskom na crno-bijele dokumentarističke intruzije. No, stil mu često zasjenjuje sadržaj, valjda da skrene pozornost s konvencionalne naracije klasične priče o usponu i padu, formulaično preslikane iz navedenih filmova u kombinaciji s “dokumentarizmom” iz “Ja, Tonya”.

Osim što je istinita priča već ispričana u dokumentarnom filmu “Ljepota i krvoproliće” te serijama “Dopesick” i “Painkiller”, ona je odveć ozbiljna za zvjezdani, “glossy” pristup u stilu “Vuka s Wall Streeta” na granici glorifikacije glamuroznog životnog stila, s prečestim montažama raskalašenog hedonizma i uživanja u novcu nemoralnih kapitalista.

Kad gledatelj vidi atraktivne zvijezde poput Evansa, Blunt i Garcije, u trenu iščezava kvazi-dokumentarizam filma koji najprije nagoni gledatelja da razvije empatiju i navija za Lizu, tj. njezin uspjeh u firmi i životu od sobička do luksuzna stana s pogledom na more.

Tek potom, malčice (pre)kasno, Yates okreće ploču za dramski devastirajuć efekt i osudu izopačenosti kapitalizma i farmaceutske industrije, pohlepe koja je nanijela zlo mnogim malim ljudima i uništila im život ili ih čak koštala istog. S umješnijim balansom “Pain Hustlers” je mogao biti vrlo dobar film, a ovako je ispao neloš, ali neujednačen. Na recept se može prepisati umjerena preporuka za gledanje.

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FILM: Pain Hustlers; drama; SAD, 2023. REŽIJA: David Yates ULOGE: Emily Blunt, Chris Evans OCJENA: ***

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“Ovo što ćete gledati nadahnuto je istinitom pričom”, u startu navodi Netflixov film “Dileri boli” (“Pain Hustlers”), inspiriran istoimenom knjigom Evana Hughesa na temu američke opijatske krize, tj. epidemije ovisnosti opioidima, skrivene u njezinom podnaslovu “Crime and Punishment at an Opioid Startup”.

Nastavno na uvodni natpis, “Dileri boli” se otvaraju kao lažni crno-bijeli dokumentarac u kojem akteri govore o onome što nas čeka i sugeriraju fiktivnu verziju istinite priče, kao što je fiktivan lijek protiv bolova uzrokovanih rakom iz filma, lonafen.

Sigurniji od aspirina

“Nismo ‘Purdue Pharma’, nismo ubili Ameriku”, pravda se jedan od njih, Pete Brenner (Chris Evans). Doznat ćemo da je Pete iz prodajnog sektora farmaceutske tvrtke s Floride “Zanna Therapeutics” (u stvarnosti “Insys Therapeutics”), specijalizirane za potplaćivanje liječnika da prepisuju lijek koji izaziva ovisnost ljudima kojima nije ni trebao.

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Uz Petera se u uvodnim doku-intervjuima pojavljuje i doktor Lydell (Brian d’Arcy James), a obojica spominju glavnu aktericu priče Lizu Drake (Emily Blunt). Liza na početku filma sklapa kraj s krajem, živi s majkom Jackie (Catherine O’Hara) u sestrinu podrumu, radi kao egzotična plesačica i skrbi o naizgled epileptičnoj kćeri Phoebe (Chloe Coleman).

U striptiz-klubu Liza upoznaje Petea, on joj kaže “mogu te izvući odavde” i ponudi unosan posao (predobar da bi bio istinit) u pripitom stanju i opčinjen njezinom ljepotom. Pete se nemalo iznenadi kad ga Liza za koji dan doista i nazove (memorirao ju je u mobitelu kao “strip club chick”) te se pojavi na vratima firme željna da joj se pruži prilika.

Da firma u vlasništvu Jacka Neela (veteran Andy Garcia) mulja i ne posluje najlegalnije, jasno je kad Pete u Lizin životopis na(do)piše da je “asistentica u biokemijskom istraživanju, prvostupnica kemije...” kako bi bila primljena da radi s lijekovima, iako je “jedva maturirala”, i to ne u medicinskoj školi.

Ipak, ambiciozna Liza pokazuje se dobra u poslu kad uspije navesti spomenutog dr. Lydella da prepisuje recept za njihov lijek, uvjerena da doista pomaže bolesnim ljudima “revolucionarnim proizvodom”, “najbrže djelujućim anelgetikom” koji je “sigurniji od aspirina”, onako kako bi voljela da se pomogne njezinoj kćeri suočenoj s operacijom.

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Međutim, ubrzo se ispostavi da lijek izaziva ovisnost, a pohlepni farmaceuti povrh toga preuzimaju “bol je bol” devizu i u shemi s doktorima počinju pacijentima (pro)davati lijek za obične glavobolje itd., nakon čega Liza doživi buđenje savjesti i dobije “zviždačke” porive.

Muljanje ‘američkog sna’

Blunt je odlična i magnetična, daleko najinspirativnija u glumačkoj ekipi (Evans je bolje subvertirao superjunački imidž Kapetana Amerike u “Nožu u leđa”), ali njezin lik, razapet između nemorala i morala, prenaglo prolazi put od prevarantske Rosamund Pike iz “Jako mi je stalo” do herojske Julije Roberts iz “Erin Brockovich” ili Russella Crowea iz “Probuđene savjesti”.

Štoviše, blockbusterski redatelj David Yates, poznat po radu na zadnja četiri dijela serijala o Harryju Potteru, “Legendi o Tarzanu” i franšizi “Čudesne zvijeri”, najveći fokus priče stavlja na podmićivanje, obmanjivanje i prijevare, pronalazeći inspiraciju u recentnom trendu satiričnih (antikorporativnih) filmova o muljatorima i muljanju “američkog sna”, kao što su “Vuk s Wall Streeta”, “Američke varalice”, “Oklada stoljeća”, “Psi rata”, “Prevarantice s Wall Streeta”, “Kraljice kupona”, “Emily kriminalka”...

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Iako nije Martin Scorsese (“The Wolf Of Wall Street”), Yates posjeduje određenog stila, s naglaskom na crno-bijele dokumentarističke intruzije. No, stil mu često zasjenjuje sadržaj, valjda da skrene pozornost s konvencionalne naracije klasične priče o usponu i padu, formulaično preslikane iz navedenih filmova u kombinaciji s “dokumentarizmom” iz “Ja, Tonya”.

Osim što je istinita priča već ispričana u dokumentarnom filmu “Ljepota i krvoproliće” te serijama “Dopesick” i “Painkiller”, ona je odveć ozbiljna za zvjezdani, “glossy” pristup u stilu “Vuka s Wall Streeta” na granici glorifikacije glamuroznog životnog stila, s prečestim montažama raskalašenog hedonizma i uživanja u novcu nemoralnih kapitalista.

Kad gledatelj vidi atraktivne zvijezde poput Evansa, Blunt i Garcije, u trenu iščezava kvazi-dokumentarizam filma koji najprije nagoni gledatelja da razvije empatiju i navija za Lizu, tj. njezin uspjeh u firmi i životu od sobička do luksuzna stana s pogledom na more.

Tek potom, malčice (pre)kasno, Yates okreće ploču za dramski devastirajuć efekt i osudu izopačenosti kapitalizma i farmaceutske industrije, pohlepe koja je nanijela zlo mnogim malim ljudima i uništila im život ili ih čak koštala istog. S umješnijim balansom “Pain Hustlers” je mogao biti vrlo dobar film, a ovako je ispao neloš, ali neujednačen. Na recept se može prepisati umjerena preporuka za gledanje.

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FILM: Pain Hustlers; drama; SAD, 2023. REŽIJA: David Yates ULOGE: Emily Blunt, Chris Evans OCJENA: ***

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Netflix Netflix Netflix Netflix
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Film & TV‘PAIN HUSTLERS‘

Bol je bol: anelgetik ‘sigurniji od aspirina‘ izaziva epidemiju ovisnosti u Netflixovu filmu prema istinitoj priči

Piše Marko Njegić
2. studenog 2023. - 11:33
25957800
PREMIUM
Galerija
Netflix

“Ovo što ćete gledati nadahnuto je istinitom pričom”, u startu navodi Netflixov film “Dileri boli” (“Pain Hustlers”), inspiriran istoimenom knjigom Evana Hughesa na temu američke opijatske krize, tj. epidemije ovisnosti opioidima, skrivene u njezinom podnaslovu “Crime and Punishment at an Opioid Startup”.

Nastavno na uvodni natpis, “Dileri boli” se otvaraju kao lažni crno-bijeli dokumentarac u kojem akteri govore o onome što nas čeka i sugeriraju fiktivnu verziju istinite priče, kao što je fiktivan lijek protiv bolova uzrokovanih rakom iz filma, lonafen.

Sigurniji od aspirina

“Nismo ‘Purdue Pharma’, nismo ubili Ameriku”, pravda se jedan od njih, Pete Brenner (Chris Evans). Doznat ćemo da je Pete iz prodajnog sektora farmaceutske tvrtke s Floride “Zanna ...

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21. svibanj 2024 13:27