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Peticu od profesora na Sveučilištu Columbia, legendarnog jugoslavenskog filmaša Dušana Makavejeva, dobio je scenarij Josepha Miniona izvorno nazvan “Lies”. Bio je to scenarij koji je poslužio kao temelj za crnu komediju “Idiotska noć” (“After Hours”).

Tražeći projekt nakon što mu je u zadnji čas propalo snimanje “Posljednjeg Kristova iskušenja”, filma planiranog da kronološki naslijedi njegova “Kralja komedije”, Martin Scorsese naišao je na Minionov scenarij i snimio malo remek-djelo, jedan od svojih najneobičnijih, najkraćih i najboljih filmova, pa i najosobnijih.

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FILM: After Hours; crna komedija; SAD, 1985. REŽIJA: Martin Scorsese ULOGE: Griffin Dunne, Rosanna Arquette OCJENA: *****

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Scorsese se prepoznao u lošoj sreći i “kafkijanskim” nevoljama tijekom nokturalne newyorške odiseje glavnog lika, uredskog činovnika i tipičnog američkog “yuppieja” osamdesetih Paula Hacketta (odlični Griffin Dune).

“Idiotska noć” je trebala Scorseseu da izliječi frustracije od birokratskih i inih zavrzlama u pretprodukciji “The Last Temptation Of Christ”, ali i vrati se niskobudžetnim, nezavisnim, eksperimentalnim korijenima s početka sedamdesetih, izvan studijskog sistema osamdesetih kojemu dušom nije pripadao, što se reflektiralo na financijskim krahovima njegovih izvanrednih filmova poput “Razjarenog bika”.

Sličan je potez povukao i godinama kasnije, kad je npr. nakon “Otoka Shutter” snimio “Huga”, a “Šutnju” poslije “Vuka s Wall Streeta”. Vjerojatno je zato “After Hours” prvi Scorseseov film bez zvijezde Roberta de Nira nakon gotovo desetogodišnje uzastopne suradnje.

To je uz “The King of Comedy” i jedina “komedija” u Scorseseovu opusu, ali film bi se ugođajno prije mogao upariti s “Taksistom” i “Između života i smrti”, onako kao što se uparuju gangsterski “Dobri momci”, “Casino” i “Irac” (eventualno “Bande New Yorka” i “Pokojni”).

Naprotiv, “After Hours” dođe kao centralni dio Scorseseove newyorške trilogije, na zlatnoj sredini između “Taxi Drivera” i “Bringing Out The Dead”. Kad Paul uhvati žuti taksi, malo je nedostajalo da za volanom zatekne nešto starijeg Travisa Bicklea. Da je umjesto policije nazvao hitnu pomoć, možda bi sreo Franka Piercea kao mladog bolničara na stažiranju.

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Para iz uličnih šahti je nezaobilazan kadar i u ovom filmu, kao i košmarni noćni prizori mračnog i otuđenog New Yorka, s naglaskom na SoHo, a taksist u “Idiotskoj noći” vozi luđački kao što je Frank vozio bolnička kola, pri čemu Scorsese ubrzava ionako brzu vožnju posežući za “fast motion” tehnikom.

Ovo je jedan od najenergičnije režiranih i najstiliziranijih Scorseseovih filmova čak i za pojmove “Goodfellas” režije, s pokretima kamere kakve je potencirao u “Rtu straha” (približavanje telefonu do krupnijeg plana). Kamernu i inu dinamiku Scorsese najavljuje u uvodu “Idiotske noći”, kad kamera u uredu munjevito dođe do Paula koji potom nezainteresirano gleda unaokolo i ne sluša dok kolega (Bronson Pinchot) otvara dušu o svojim problemima i Scorsese načinje motiv alijenacije.

Kasnije, kad Paul počne pričati svoju priču Kiki (Linda Fiorentino), ona će utonuti u san. Paul je i sam otuđen i usamljen. Nakon posla on dolazi doma i vrti TV kanale te zatim odlazi sam u kafić s knjigom Henryja Millera u ruci (“Rakova obratnica”). Ipak, ondje upravo zbog knjige privuče pažnju misteriozne ljepotice Marcy (Rosanna Arquette, starija sestra Patricije koja je glumila u “Između života i smrti”) i njih dvoje zapodjenu neobvezan razgovor.

Odlučivši okušati sreću, Paul kontaktira Marcy nedugo poslije rastanka i ona ga poziva da svrati kod nje i njezine prijateljice-umjetnice, spomenute Kiki. “Možda bi mogao doći”, kaže Marcy. A možda i ne. Neki znakovi su govorili u to ime. Kemijska koja ne radi nakon Paulova prvog susreta s Marcy, novčanica od 20 dolara koja mu je, na putu prema njoj, izletjela kroz prozor taksija uslijed brze vožnje i Kikina “paper machier” skulptura pogrbljenog, vrištećeg čovjeka od papira, novina i dolara, nalik trodimenzionalnom Munchovu ”Kriku”.

Iako ponovni susret s Marcy obećava priželjkivano “one night stand” uzbuđenje (“Osjećam se opušteno, nešto nevjerojatno će se dogoditi, nešto uzbudljivo”, veli ona), ljepotica ispada psihički prilično nestabilna, a i otkriva da ima muža koji je “movie freak”, naročito opsjednut “Čarobnjakom iz Oza”, toliko da citira “Surrender Dorothy” svaki put kad svršava.

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Otad nadalje, Paulova večer se odvija prema scenariju Murphyjeva zakona (“Ako nešto može poći naopako, poći će naopako”) koji je nadopisao Kafka, a Scorsese režirao kao da je provodio besane noći na kofeinu i usnuo Hitchcockove paranoidne “wrong man” trilere (“39 stepenica”, “Sjever sjeverozapad”...) kad bi na trenutak zakljucao.

“After Hours” izgleda kao da je Scorsese organizirao susret Hitchcocka i Kafke te tako kumovao stvaranju apsurdističkog “wrong man” trilera. Praktički sve (lude) žene koje Paul sreće su plavuše (Teri Garr, Catherine O’Hara), Scorsese se i sam pojavljuje pred kamerom u trepni-i-propustit ćeš ga “cameu” za reflektorom punk kluba “Berlin”, gdje će protagnist zamalo biti ošišan na “irokezu” dok proživljava najgoru noć u životu i, među ostalim, biva zamijenjen za provalnika i progonjen od bijesne rulje.

Kafka je također duhovno sveprisutan u kadru, najkonkretnije kad Paul pokušava ući u klub i s izbacivačem razmjenjuje dijaloge iz “Procesa” (priča “Pred zakonom”). Nesretni Paul, koji se samo želi vratiti kući i odspavati, ali nema dovoljno novca za podzemnu, pogledat će u jednom trenutku bizarne beskrajne noći prema nebu i na rubu histerije povikati “Što želiš od mene?! Što sam učinio?! Samo sam činovnik, pobogu!”.

Cijeli košmarni crnohumorni film rukovodi se logikom sna, tj. snomorice i može se sagledati kao noćna mora, ali i kao subverzivna kafkijanska kritika kapitalističkog društva koja ima dodirnih točaka s “Brazilom” Terryja Gilliama. 

Mali čovjek-radnik biva kažnjen za to što je pomislio malo se zabaviti izvan radnog vremena umjesto da je samo posvećen poslu od jutra do sutra dok ne napusti ovaj svijet i nestane. Film, sasvim prirodno, počinje i završava u Paulovu uredu, gdje jutro nije ništa pametnije od idiotske noći. Dobro (idiotsko) jutro, Paul.

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Nagrada za režiju u Cannesu

Scorsese je za ovaj film osvojio nagradu u Cannesu za režiju. Neke od sporednih likova utjelovili su tada nepoznati John Heard i Will Patton, a tu je i legendarni sporednjak Dick Miller koji će izreći rečenicu zaslužnu za naslov filma ("Different rules apply when it gets this late. It’s like after hours."). Također, provalnike glumi dvojac Cheech Marin i Tommy Chong.

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Peticu od profesora na Sveučilištu Columbia, legendarnog jugoslavenskog filmaša Dušana Makavejeva, dobio je scenarij Josepha Miniona izvorno nazvan “Lies”. Bio je to scenarij koji je poslužio kao temelj za crnu komediju “Idiotska noć” (“After Hours”).

Tražeći projekt nakon što mu je u zadnji čas propalo snimanje “Posljednjeg Kristova iskušenja”, filma planiranog da kronološki naslijedi njegova “Kralja komedije”, Martin Scorsese naišao je na Minionov scenarij i snimio malo remek-djelo, jedan od svojih najneobičnijih, najkraćih i najboljih filmova, pa i najosobnijih.

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FILM: After Hours; crna komedija; SAD, 1985. REŽIJA: Martin Scorsese ULOGE: Griffin Dunne, Rosanna Arquette OCJENA: *****

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Scorsese se prepoznao u lošoj sreći i “kafkijanskim” nevoljama tijekom nokturalne newyorške odiseje glavnog lika, uredskog činovnika i tipičnog američkog “yuppieja” osamdesetih Paula Hacketta (odlični Griffin Dune).

“Idiotska noć” je trebala Scorseseu da izliječi frustracije od birokratskih i inih zavrzlama u pretprodukciji “The Last Temptation Of Christ”, ali i vrati se niskobudžetnim, nezavisnim, eksperimentalnim korijenima s početka sedamdesetih, izvan studijskog sistema osamdesetih kojemu dušom nije pripadao, što se reflektiralo na financijskim krahovima njegovih izvanrednih filmova poput “Razjarenog bika”.

Sličan je potez povukao i godinama kasnije, kad je npr. nakon “Otoka Shutter” snimio “Huga”, a “Šutnju” poslije “Vuka s Wall Streeta”. Vjerojatno je zato “After Hours” prvi Scorseseov film bez zvijezde Roberta de Nira nakon gotovo desetogodišnje uzastopne suradnje.

To je uz “The King of Comedy” i jedina “komedija” u Scorseseovu opusu, ali film bi se ugođajno prije mogao upariti s “Taksistom” i “Između života i smrti”, onako kao što se uparuju gangsterski “Dobri momci”, “Casino” i “Irac” (eventualno “Bande New Yorka” i “Pokojni”).

Naprotiv, “After Hours” dođe kao centralni dio Scorseseove newyorške trilogije, na zlatnoj sredini između “Taxi Drivera” i “Bringing Out The Dead”. Kad Paul uhvati žuti taksi, malo je nedostajalo da za volanom zatekne nešto starijeg Travisa Bicklea. Da je umjesto policije nazvao hitnu pomoć, možda bi sreo Franka Piercea kao mladog bolničara na stažiranju.

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Para iz uličnih šahti je nezaobilazan kadar i u ovom filmu, kao i košmarni noćni prizori mračnog i otuđenog New Yorka, s naglaskom na SoHo, a taksist u “Idiotskoj noći” vozi luđački kao što je Frank vozio bolnička kola, pri čemu Scorsese ubrzava ionako brzu vožnju posežući za “fast motion” tehnikom.

Ovo je jedan od najenergičnije režiranih i najstiliziranijih Scorseseovih filmova čak i za pojmove “Goodfellas” režije, s pokretima kamere kakve je potencirao u “Rtu straha” (približavanje telefonu do krupnijeg plana). Kamernu i inu dinamiku Scorsese najavljuje u uvodu “Idiotske noći”, kad kamera u uredu munjevito dođe do Paula koji potom nezainteresirano gleda unaokolo i ne sluša dok kolega (Bronson Pinchot) otvara dušu o svojim problemima i Scorsese načinje motiv alijenacije.

Kasnije, kad Paul počne pričati svoju priču Kiki (Linda Fiorentino), ona će utonuti u san. Paul je i sam otuđen i usamljen. Nakon posla on dolazi doma i vrti TV kanale te zatim odlazi sam u kafić s knjigom Henryja Millera u ruci (“Rakova obratnica”). Ipak, ondje upravo zbog knjige privuče pažnju misteriozne ljepotice Marcy (Rosanna Arquette, starija sestra Patricije koja je glumila u “Između života i smrti”) i njih dvoje zapodjenu neobvezan razgovor.

Odlučivši okušati sreću, Paul kontaktira Marcy nedugo poslije rastanka i ona ga poziva da svrati kod nje i njezine prijateljice-umjetnice, spomenute Kiki. “Možda bi mogao doći”, kaže Marcy. A možda i ne. Neki znakovi su govorili u to ime. Kemijska koja ne radi nakon Paulova prvog susreta s Marcy, novčanica od 20 dolara koja mu je, na putu prema njoj, izletjela kroz prozor taksija uslijed brze vožnje i Kikina “paper machier” skulptura pogrbljenog, vrištećeg čovjeka od papira, novina i dolara, nalik trodimenzionalnom Munchovu ”Kriku”.

Iako ponovni susret s Marcy obećava priželjkivano “one night stand” uzbuđenje (“Osjećam se opušteno, nešto nevjerojatno će se dogoditi, nešto uzbudljivo”, veli ona), ljepotica ispada psihički prilično nestabilna, a i otkriva da ima muža koji je “movie freak”, naročito opsjednut “Čarobnjakom iz Oza”, toliko da citira “Surrender Dorothy” svaki put kad svršava.

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Otad nadalje, Paulova večer se odvija prema scenariju Murphyjeva zakona (“Ako nešto može poći naopako, poći će naopako”) koji je nadopisao Kafka, a Scorsese režirao kao da je provodio besane noći na kofeinu i usnuo Hitchcockove paranoidne “wrong man” trilere (“39 stepenica”, “Sjever sjeverozapad”...) kad bi na trenutak zakljucao.

“After Hours” izgleda kao da je Scorsese organizirao susret Hitchcocka i Kafke te tako kumovao stvaranju apsurdističkog “wrong man” trilera. Praktički sve (lude) žene koje Paul sreće su plavuše (Teri Garr, Catherine O’Hara), Scorsese se i sam pojavljuje pred kamerom u trepni-i-propustit ćeš ga “cameu” za reflektorom punk kluba “Berlin”, gdje će protagnist zamalo biti ošišan na “irokezu” dok proživljava najgoru noć u životu i, među ostalim, biva zamijenjen za provalnika i progonjen od bijesne rulje.

Kafka je također duhovno sveprisutan u kadru, najkonkretnije kad Paul pokušava ući u klub i s izbacivačem razmjenjuje dijaloge iz “Procesa” (priča “Pred zakonom”). Nesretni Paul, koji se samo želi vratiti kući i odspavati, ali nema dovoljno novca za podzemnu, pogledat će u jednom trenutku bizarne beskrajne noći prema nebu i na rubu histerije povikati “Što želiš od mene?! Što sam učinio?! Samo sam činovnik, pobogu!”.

Cijeli košmarni crnohumorni film rukovodi se logikom sna, tj. snomorice i može se sagledati kao noćna mora, ali i kao subverzivna kafkijanska kritika kapitalističkog društva koja ima dodirnih točaka s “Brazilom” Terryja Gilliama. 

Mali čovjek-radnik biva kažnjen za to što je pomislio malo se zabaviti izvan radnog vremena umjesto da je samo posvećen poslu od jutra do sutra dok ne napusti ovaj svijet i nestane. Film, sasvim prirodno, počinje i završava u Paulovu uredu, gdje jutro nije ništa pametnije od idiotske noći. Dobro (idiotsko) jutro, Paul.

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Nagrada za režiju u Cannesu

Scorsese je za ovaj film osvojio nagradu u Cannesu za režiju. Neke od sporednih likova utjelovili su tada nepoznati John Heard i Will Patton, a tu je i legendarni sporednjak Dick Miller koji će izreći rečenicu zaslužnu za naslov filma ("Different rules apply when it gets this late. It’s like after hours."). Također, provalnike glumi dvojac Cheech Marin i Tommy Chong.

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StoryEditorOCM
Film & TVCINEMARK RETRO(PER)SPEKTIVA

‘Idiotska noć‘: Kafka u sitne sate

Piše Marko Njegić
17. studenog 2022. - 23:14
23793605
PREMIUM
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Archives du 7eme Art/Photo12 via AFP

Peticu od profesora na Sveučilištu Columbia, legendarnog jugoslavenskog filmaša Dušana Makavejeva, dobio je scenarij Josepha Miniona izvorno nazvan “Lies”. Bio je to scenarij koji je poslužio kao temelj za crnu komediju “Idiotska noć” (“After Hours”).

Tražeći projekt nakon što mu je u zadnji čas propalo snimanje “Posljednjeg Kristova iskušenja”, filma planiranog da kronološki naslijedi njegova “Kralja komedije”, Martin Scorsese naišao je na Minionov scenarij i snimio malo remek-djelo, jedan od svojih najneobičnijih, najkraćih i najboljih filmova, pa i najosobnijih.

Scorsese se prepoznao u lošoj sreći i “kafkijanskim” nevoljama tijekom nokturalne newyorške odiseje glavnog lika, uredskog činovnika i tipičnog američkog “yuppieja” osamdesetih...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#MARTIN SCORSESE#FILMOVI 80-IH#KULTNI FILMOVI#CRNE KOMEDIJE#CRNOHUMORNI TRILERI#GRIFFIN DUNE#ROSANNA ARQUETTE#LINDA FIORENTINO#TERI GARR#BRONSON PINCHOT
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14. svibanj 2024 13:52