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Sjena “Batmana” nadvila se prije tri dekade na “Dicka Tracyja” (1990.) i još uvijek se nadvija. Uspjeh “Batmana” bio je pregolem da ga “Dick Tracy” nadmaši svega godinu dana kasnije, a podcijenjeni film redatelja Warrena Beatyja danas malo tko spominje kad su u pitanju (ranije) ekranizacije stripova, za razliku od megahita Tima Burtona. Za mnoge je “Dick Tracy” bio i ostao puka kopija “Batmana”. Sličnosti doista postoje, počevši od stripovskog porijekla filmova.

Naime, Beatty je za ulogu glavnog negativca s grotesknom maskom (ovdje Big Boy, tamo Joker) angažirao Ala Pacina, glumački jednako razmetljivog poput Jacka Nicholsona, a njihovi dominantni likovi su stradali na sličan način. Pop-zvijezda Madonna naslijedila je Kim Basinger kao plavokosi “ljubavni interes” junaka (Breathless Mahoney-Vicky Vale) i dala pjevački obol na soundtracku, slijedeći vokalne tragove kolege Princea.

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FILM: Dick Tracy; akcijska krimi komedija; SAD, 1990. REŽIJA: Warren Beatty ULOGE: Warren Beatty, Madonna OCJENA: ****

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Konačno, Beatty je od Burtona preuzeo skladatelja Dannyja Elfmana i njegova glazba može podsjetiti na “Batmana”. No, neovisno o tome, “Dick Tracy” ima vlastiti identitet i stripovskiji je od “Batmana”, zapravo možda i najstripovskiji uopće uz "Darkmana", čak i ako ga se usporedi sa “Sin Cityjem” i “300” koji su od njega preuzeli hrabru vizualnost nadomak eksperimentalnom filmu.

”Dick Tracy” je čudo stripovske vizualnosti i estetike, trijumf fotografije, maske i prostetike, kostimografije, optičkih efekata i scenografije. Adaptacija istoimena stripa iz pera Chestera Goulda, koju scenaristički potpisuje dvojac Jim Cash-Jack Epps Jr. (“Top Gun”), izgleda kao da je Beatty nježno istrgnuo stranice stripa i izlistao ih u kinoprojektoru, a to je nešto što uglavnom ne postižu moderni blockbusteri Marvela i DC-ja osim ako se ne zovu “Spider-Man”.

Dovoljan je uvodni kadar kamerne panorame imaginarnog grada da gledatelja uvuče u stripovski film: Beatty je iz temelja izgradio unikatan svijet uz presudnu asistenciju legendarnog direktora fotografije Vittorija Storara (“Posljednji tango u Parizu”, “Apokalipsa danas”, “Posljednji kineski car”), “make up” majstora Johna Caglionea Jr-a i Douga Drexlera te scenografa Richarda Sylberta (“Diplomac”, “Kineska četvrt”, “Carlitov način”).

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Vizualni senzibilitet stripa rijetko je ovako vibrantno oživio na ekranu. Svaki kadar (ob)likovno odgovara kvadrantu stripa. Kadrovi filma mogli bi se prostrijeti na stranice stripa, a i uramiti za postmodernu izložbu u nekom muzeju. Imponira način kako Beatty koristi mahom primarne boje koje se prelijevaju s ekrana (prevladavaju crvena, zelena, žuta, plava) i suprostavlja ih mraku tipičnom za stripovsku igru kontrasta, svjetla i sjene, karakterističnu i za film noir.

Ustvari, “Dick Tracy” i jest noir u multikoloru, pomiješan s gangsterskim filmom u duginim bojama, kao stvoren za gledanje u maratonu s “Nedodirljivima” i “Tko je smjestio Zeki Rogeru”. Beatty utjelovljuje stripovski lik s žutim šeširom u žutom baloneru kao kombinaciju noirovskog antijunaka i herojskog Elliota Nessa s ponavljajućom poštapalicom “I’m on my way”, šmajserom u ruci i “maverick police detective” stavom.

Preglumljeni Pacino je svojevrsni Scarface iz crtića koji citira Nietzschea (“Čovjek bez plana nije čovjek”), dok ostali živopisni negativci djeluju kao da bi se mogli pojaviti i u nastavku Genesisova videospota “Land Of Confusion” (Dustin Hoffman kao Mumbles, William Forsythe kao Flattop, Ed O’Ross kao Itchy, Henry Silva kao Influence...). Svatko od njih bi mogao proći kao zlikovac iz noira s mračnom nutrinom preslikanom iznutra prema van koju nosi na deformiranom licu kao masku od lateksa.

A Madonna je fatalna žena pogođenog imena Breathless i u najmadonnastijem izdanju pokriva najveće seks-bombe kinematografije, od Marilyn Monroe do Jessice Rabbit, zavodljivo puzeći po Tracyjevu stolu te izgovarajući tvrdokuhane rečenice tipa “Znojim se puno bolje u mraku” i “Znam kako se osjećaš. Ne znaš hoćeš li me udariti ili poljubiti”. Kao platinasta plavuša u crnom negližeu Madonna ostavlja junaka bez daha i izvrsno oslikava stripovsko-noirovski svijet “Dicka Tracyja”.

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James Caan i Paul Sorvino

Tracy je razapet između Breathless i vjerne Tess Trueheart (Glenne Headly), a i brine o siročiću zvanom Kid (Charlie Korsmo). U sporednim ulogama nalaze se glumci koji su već igrali mafijaše, poput Jamesa Caana (“Kum”) i Paula Sorvina (“Dobri momci”).

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Sjena “Batmana” nadvila se prije tri dekade na “Dicka Tracyja” (1990.) i još uvijek se nadvija. Uspjeh “Batmana” bio je pregolem da ga “Dick Tracy” nadmaši svega godinu dana kasnije, a podcijenjeni film redatelja Warrena Beatyja danas malo tko spominje kad su u pitanju (ranije) ekranizacije stripova, za razliku od megahita Tima Burtona. Za mnoge je “Dick Tracy” bio i ostao puka kopija “Batmana”. Sličnosti doista postoje, počevši od stripovskog porijekla filmova.

Naime, Beatty je za ulogu glavnog negativca s grotesknom maskom (ovdje Big Boy, tamo Joker) angažirao Ala Pacina, glumački jednako razmetljivog poput Jacka Nicholsona, a njihovi dominantni likovi su stradali na sličan način. Pop-zvijezda Madonna naslijedila je Kim Basinger kao plavokosi “ljubavni interes” junaka (Breathless Mahoney-Vicky Vale) i dala pjevački obol na soundtracku, slijedeći vokalne tragove kolege Princea.

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FILM: Dick Tracy; akcijska krimi komedija; SAD, 1990. REŽIJA: Warren Beatty ULOGE: Warren Beatty, Madonna OCJENA: ****

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Konačno, Beatty je od Burtona preuzeo skladatelja Dannyja Elfmana i njegova glazba može podsjetiti na “Batmana”. No, neovisno o tome, “Dick Tracy” ima vlastiti identitet i stripovskiji je od “Batmana”, zapravo možda i najstripovskiji uopće uz "Darkmana", čak i ako ga se usporedi sa “Sin Cityjem” i “300” koji su od njega preuzeli hrabru vizualnost nadomak eksperimentalnom filmu.

”Dick Tracy” je čudo stripovske vizualnosti i estetike, trijumf fotografije, maske i prostetike, kostimografije, optičkih efekata i scenografije. Adaptacija istoimena stripa iz pera Chestera Goulda, koju scenaristički potpisuje dvojac Jim Cash-Jack Epps Jr. (“Top Gun”), izgleda kao da je Beatty nježno istrgnuo stranice stripa i izlistao ih u kinoprojektoru, a to je nešto što uglavnom ne postižu moderni blockbusteri Marvela i DC-ja osim ako se ne zovu “Spider-Man”.

Dovoljan je uvodni kadar kamerne panorame imaginarnog grada da gledatelja uvuče u stripovski film: Beatty je iz temelja izgradio unikatan svijet uz presudnu asistenciju legendarnog direktora fotografije Vittorija Storara (“Posljednji tango u Parizu”, “Apokalipsa danas”, “Posljednji kineski car”), “make up” majstora Johna Caglionea Jr-a i Douga Drexlera te scenografa Richarda Sylberta (“Diplomac”, “Kineska četvrt”, “Carlitov način”).

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Vizualni senzibilitet stripa rijetko je ovako vibrantno oživio na ekranu. Svaki kadar (ob)likovno odgovara kvadrantu stripa. Kadrovi filma mogli bi se prostrijeti na stranice stripa, a i uramiti za postmodernu izložbu u nekom muzeju. Imponira način kako Beatty koristi mahom primarne boje koje se prelijevaju s ekrana (prevladavaju crvena, zelena, žuta, plava) i suprostavlja ih mraku tipičnom za stripovsku igru kontrasta, svjetla i sjene, karakterističnu i za film noir.

Ustvari, “Dick Tracy” i jest noir u multikoloru, pomiješan s gangsterskim filmom u duginim bojama, kao stvoren za gledanje u maratonu s “Nedodirljivima” i “Tko je smjestio Zeki Rogeru”. Beatty utjelovljuje stripovski lik s žutim šeširom u žutom baloneru kao kombinaciju noirovskog antijunaka i herojskog Elliota Nessa s ponavljajućom poštapalicom “I’m on my way”, šmajserom u ruci i “maverick police detective” stavom.

Preglumljeni Pacino je svojevrsni Scarface iz crtića koji citira Nietzschea (“Čovjek bez plana nije čovjek”), dok ostali živopisni negativci djeluju kao da bi se mogli pojaviti i u nastavku Genesisova videospota “Land Of Confusion” (Dustin Hoffman kao Mumbles, William Forsythe kao Flattop, Ed O’Ross kao Itchy, Henry Silva kao Influence...). Svatko od njih bi mogao proći kao zlikovac iz noira s mračnom nutrinom preslikanom iznutra prema van koju nosi na deformiranom licu kao masku od lateksa.

A Madonna je fatalna žena pogođenog imena Breathless i u najmadonnastijem izdanju pokriva najveće seks-bombe kinematografije, od Marilyn Monroe do Jessice Rabbit, zavodljivo puzeći po Tracyjevu stolu te izgovarajući tvrdokuhane rečenice tipa “Znojim se puno bolje u mraku” i “Znam kako se osjećaš. Ne znaš hoćeš li me udariti ili poljubiti”. Kao platinasta plavuša u crnom negližeu Madonna ostavlja junaka bez daha i izvrsno oslikava stripovsko-noirovski svijet “Dicka Tracyja”.

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James Caan i Paul Sorvino

Tracy je razapet između Breathless i vjerne Tess Trueheart (Glenne Headly), a i brine o siročiću zvanom Kid (Charlie Korsmo). U sporednim ulogama nalaze se glumci koji su već igrali mafijaše, poput Jamesa Caana (“Kum”) i Paula Sorvina (“Dobri momci”).

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Dick Tracy‘: Noir u stripovskim bojama

Piše Marko Njegić
5. ožujka 2023. - 15:32
24405063
PREMIUM
Galerija
Touchstone Pictures/Collection Christophel Via Afp

Sjena “Batmana” nadvila se prije tri dekade na “Dicka Tracyja” (1990.) i još uvijek se nadvija. Uspjeh “Batmana” bio je pregolem da ga “Dick Tracy” nadmaši svega godinu dana kasnije, a podcijenjeni film redatelja Warrena Beatyja danas malo tko spominje kad su u pitanju (ranije) ekranizacije stripova, za razliku od megahita Tima Burtona. Za mnoge je “Dick Tracy” bio i ostao puka kopija “Batmana”. Sličnosti doista postoje, počevši od stripovskog porijekla filmova.

Naime, Beatty je za ulogu glavnog negativca s grotesknom maskom (ovdje Big Boy, tamo Joker) angažirao Ala Pacina, glumački jednako razmetljivog poput Jacka Nicholsona, a njihovi dominantni likovi su stradali na sličan način. Pop-zvijezda Madonna naslijedila je Kim Basinger kao plavokosi “ljubavni ...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 90-IH#WARREN BEATTY#STRIPOVSKI FILMOVI#DICK TRACY#MADONNA#AL PACINO
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11. svibanj 2024 16:10