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Ubojiti par s kraja pedesetih godina prošlog stoljeća nadahnuo je Terrencea Malicka za prvijenac “Pustara” (“Badlands”, 1973.). To su Charles “Mad Dog Killer” Starkweather i njegova djevojka Caril Ann Fugata koji su iza sebe ostavili krvavi trag od 11 leševa. Malick nije istinitu priču doslovno preselio na ekran držeći se činjenica.

Filozof kakav jest, pristupio je priči esejistički, sagledavši zloglasni par iz vlastite lirske, meditativne i pjesničke perspektive, kao da piše fakultetski esej prisjećajući se srednjoškolskih sastavaka na određenu temu. “Pustara” je filmična mitologizacija istinite priče, podjednako film ceste, romansa, kriminalistička drama i neovestern.

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FILM: Badlands; krimi drama; SAD, 1973. REŽIJA: Terrence Malick ULOGE: Martin Sheen, Sissy Spacek OCJENA: **** ½

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U Malickovu prvijencu ogledaju se “Do posljednjeg daha”, “Bonnie i Clyde” i “Goli u sedlu”, filmovi o buntovnicima i ljubavnicima u bijegu od svijeta, života, sebe samih. Charles i Caril postali su 25-godišnji Kit Carruthers (dojmljivi Martin Sheen u “warm up” ulozi za “Apokalipsu danas”) i deset godina mlađa Holly Sargis (sjajna Sissy Spacek par godina prije nego što je utjelovila Carrie).

Za početak upoznajemo Kita, i to u smetlarskom kamionu, on izgleda kao James Dean koji baca smeće, a želi postati kauboj. Njegovu prošlost ne znamo, ali slutimo da nije bila lagana i da je njegova egzistencija usamljena, kao i Hollyna. Ona nam se predstavlja kao naratorica, tinejdžerica zaljubljena u buntovnike iz filmova i filmskih časopisa kakve gleda i čita kako bi pobjegla od stvarnosti, zbog čega i pripovijeda priču kao takva, kao da je napisala zadaću na temu “moje ljeto s ubojitim momkom”.

”Ono što je počelo u alejama mirnog grada, završit će u pustari Montane”, najavljuje Holly i potvrđuje da će “dani sreće otići zauvijek”. “Deanovski” Kit za Holly je san snova i ulazi u njezin život kao naručen kad je zatekne na ulici ispred kuće i ona je polaskana njegovom pažnjom, što joj imponira kao djevojci koja nije popularna u školi jer “nema osobnosti i nije lijepa”.

Njega, pak, privlači to što ona “može govoriti kao odrasla žena”. Kad su zajedno, oni su “daleko od svih briga svijeta”. Ipak, Hollyn otac udovac (Warren Oates; “Divlja horda”) brani kćeri da se viđa sa starijim muškarcem, k tome smetlarom, i ubija njezina psa da je uvjeri u ozbiljnost zabrane, ali “ništa se neće ispriječiti među njima”.

Tako, nakon što Kit bane u kući Sargisovih s pištoljem za pojasom, znamo da to ne može ispasti na dobro. Iako djeluje da on nije nužno došao ubiti curina oca, ovaj će, nakon verbalnog natezanja, završiti s metkom u abdomenu, kuća će biti pretvorena u pepeo i mladi par se najednom nađe u bijegu od zakona.

Hollyna romantizirana naracija i zborsko pjevanje u sceni požara postavlja “Badlands” kao preteču malickovskog filma, prozor u “Božanstvene dane”, “Tanku crvenu liniju”, “Novi svijet”, “Drvo života”, “Otok naše ljubavi”, “Viteza pehara”, “Skriveni život”.

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Par će, kad se sklone od progonitelja, stvoriti vlastitu verziju raja gdje bi mogao živjeti lik Jima Caviezela u “The Thin Red Line”, a kuća usred predivno snimljene beskrajne prirode, u kojoj će Kit i Holly nakratko pronaći utočište kod njegova prijatelja, izgleda kao set za “Days Of Heaven”.

Svakako, Holly je nevina, nezrela mladenačka verzija “malickovskih” likova (ponijela je knjige za školu sa sobom), netko tko ima zanimljiva poetsko-egzistencijalna razmišljanja koja se mogu usavršiti. “Svijet je bio kao udaljeni planet na koji se ne mogu nikad vratiti”, pripovijeda Holly.

S crvenom kosom, pjegicama i bijelom puti, eterična Holly izgleda kao da nije s ovog svijeta i planeta, za razliku od prizemljenijeg, prizemnog pa i ispraznog “buntovnika bez razloga” Kita kojeg ni ubijanje ne može ispuniti, ali svejedno to radi. Kit je “most trigger happy person”, on ubija bez puno razmišljanja i njegova ubojstva, primjeri bezumnog nasilja, ne mogu se racionalizirati.

Poslat će metak i u prijatelja kad im pruži zaklon, misleći da će pozvati policiju. Kamera se zagledava u život koji nestaje iz nesretnika u najneugodnijoj sceni filma koju slijedi možda i još šokantnije ubojstvo njegovih poznanika, krivih ljudi na krivom mjestu u krivo vrijeme.

Mladić i djevojka bivaju odvedeni preko polja do podruma i Malick pritom ne stvara nikakve tenzije. Čini se kako bi ih Kit mogao ostaviti na životu, posebice kad im kaže da siđu unutra, zaključa ih i savjetuje da miruju na sat vremena, da bi najednom ispalio par metaka kroz pukotine u vratima.

Nakon toga ni Hollyna naracija više nije romantizirana. “Donijela sam odluku da se više nikada neću družiti s nikakvim paklenim tipovima”, govori ona za Kita koji je i sam “znao da kraj dolazi”. Njihov kraj je bio početak za Malicka, ali i za druge filmske parove u bijegu od zakona. “Pustara” je porodila “Pravu romansu” i “Rođene ubojice”.

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Uskoro Malickov film o Isusu Kristu

Terrence Malick upravo snima film o Isusu Kristu naslovljen "The Way of the Wind". Isusa glumi malo poznati Adam Nagaitis, Sotonu oskarovac Mark Rylance, a u ostalim ulogama nalaze se i Ben Kingsley, Matthias Schoenaerts, Joseph Fiennes...

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Ubojiti par s kraja pedesetih godina prošlog stoljeća nadahnuo je Terrencea Malicka za prvijenac “Pustara” (“Badlands”, 1973.). To su Charles “Mad Dog Killer” Starkweather i njegova djevojka Caril Ann Fugata koji su iza sebe ostavili krvavi trag od 11 leševa. Malick nije istinitu priču doslovno preselio na ekran držeći se činjenica.

Filozof kakav jest, pristupio je priči esejistički, sagledavši zloglasni par iz vlastite lirske, meditativne i pjesničke perspektive, kao da piše fakultetski esej prisjećajući se srednjoškolskih sastavaka na određenu temu. “Pustara” je filmična mitologizacija istinite priče, podjednako film ceste, romansa, kriminalistička drama i neovestern.

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FILM: Badlands; krimi drama; SAD, 1973. REŽIJA: Terrence Malick ULOGE: Martin Sheen, Sissy Spacek OCJENA: **** ½

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U Malickovu prvijencu ogledaju se “Do posljednjeg daha”, “Bonnie i Clyde” i “Goli u sedlu”, filmovi o buntovnicima i ljubavnicima u bijegu od svijeta, života, sebe samih. Charles i Caril postali su 25-godišnji Kit Carruthers (dojmljivi Martin Sheen u “warm up” ulozi za “Apokalipsu danas”) i deset godina mlađa Holly Sargis (sjajna Sissy Spacek par godina prije nego što je utjelovila Carrie).

Za početak upoznajemo Kita, i to u smetlarskom kamionu, on izgleda kao James Dean koji baca smeće, a želi postati kauboj. Njegovu prošlost ne znamo, ali slutimo da nije bila lagana i da je njegova egzistencija usamljena, kao i Hollyna. Ona nam se predstavlja kao naratorica, tinejdžerica zaljubljena u buntovnike iz filmova i filmskih časopisa kakve gleda i čita kako bi pobjegla od stvarnosti, zbog čega i pripovijeda priču kao takva, kao da je napisala zadaću na temu “moje ljeto s ubojitim momkom”.

”Ono što je počelo u alejama mirnog grada, završit će u pustari Montane”, najavljuje Holly i potvrđuje da će “dani sreće otići zauvijek”. “Deanovski” Kit za Holly je san snova i ulazi u njezin život kao naručen kad je zatekne na ulici ispred kuće i ona je polaskana njegovom pažnjom, što joj imponira kao djevojci koja nije popularna u školi jer “nema osobnosti i nije lijepa”.

Njega, pak, privlači to što ona “može govoriti kao odrasla žena”. Kad su zajedno, oni su “daleko od svih briga svijeta”. Ipak, Hollyn otac udovac (Warren Oates; “Divlja horda”) brani kćeri da se viđa sa starijim muškarcem, k tome smetlarom, i ubija njezina psa da je uvjeri u ozbiljnost zabrane, ali “ništa se neće ispriječiti među njima”.

Tako, nakon što Kit bane u kući Sargisovih s pištoljem za pojasom, znamo da to ne može ispasti na dobro. Iako djeluje da on nije nužno došao ubiti curina oca, ovaj će, nakon verbalnog natezanja, završiti s metkom u abdomenu, kuća će biti pretvorena u pepeo i mladi par se najednom nađe u bijegu od zakona.

Hollyna romantizirana naracija i zborsko pjevanje u sceni požara postavlja “Badlands” kao preteču malickovskog filma, prozor u “Božanstvene dane”, “Tanku crvenu liniju”, “Novi svijet”, “Drvo života”, “Otok naše ljubavi”, “Viteza pehara”, “Skriveni život”.

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Par će, kad se sklone od progonitelja, stvoriti vlastitu verziju raja gdje bi mogao živjeti lik Jima Caviezela u “The Thin Red Line”, a kuća usred predivno snimljene beskrajne prirode, u kojoj će Kit i Holly nakratko pronaći utočište kod njegova prijatelja, izgleda kao set za “Days Of Heaven”.

Svakako, Holly je nevina, nezrela mladenačka verzija “malickovskih” likova (ponijela je knjige za školu sa sobom), netko tko ima zanimljiva poetsko-egzistencijalna razmišljanja koja se mogu usavršiti. “Svijet je bio kao udaljeni planet na koji se ne mogu nikad vratiti”, pripovijeda Holly.

S crvenom kosom, pjegicama i bijelom puti, eterična Holly izgleda kao da nije s ovog svijeta i planeta, za razliku od prizemljenijeg, prizemnog pa i ispraznog “buntovnika bez razloga” Kita kojeg ni ubijanje ne može ispuniti, ali svejedno to radi. Kit je “most trigger happy person”, on ubija bez puno razmišljanja i njegova ubojstva, primjeri bezumnog nasilja, ne mogu se racionalizirati.

Poslat će metak i u prijatelja kad im pruži zaklon, misleći da će pozvati policiju. Kamera se zagledava u život koji nestaje iz nesretnika u najneugodnijoj sceni filma koju slijedi možda i još šokantnije ubojstvo njegovih poznanika, krivih ljudi na krivom mjestu u krivo vrijeme.

Mladić i djevojka bivaju odvedeni preko polja do podruma i Malick pritom ne stvara nikakve tenzije. Čini se kako bi ih Kit mogao ostaviti na životu, posebice kad im kaže da siđu unutra, zaključa ih i savjetuje da miruju na sat vremena, da bi najednom ispalio par metaka kroz pukotine u vratima.

Nakon toga ni Hollyna naracija više nije romantizirana. “Donijela sam odluku da se više nikada neću družiti s nikakvim paklenim tipovima”, govori ona za Kita koji je i sam “znao da kraj dolazi”. Njihov kraj je bio početak za Malicka, ali i za druge filmske parove u bijegu od zakona. “Pustara” je porodila “Pravu romansu” i “Rođene ubojice”.

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Uskoro Malickov film o Isusu Kristu

Terrence Malick upravo snima film o Isusu Kristu naslovljen "The Way of the Wind". Isusa glumi malo poznati Adam Nagaitis, Sotonu oskarovac Mark Rylance, a u ostalim ulogama nalaze se i Ben Kingsley, Matthias Schoenaerts, Joseph Fiennes...

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Pustara‘: Kako je Malick postao velik

Piše Marko Njegić
28. siječnja 2023. - 23:14
24188217
PREMIUM
Galerija
Warner Bros/Pressman Williams/Collection Christophel Via Afp

Ubojiti par s kraja pedesetih godina prošlog stoljeća nadahnuo je Terrencea Malicka za prvijenac “Pustara” (“Badlands”, 1973.). To su Charles “Mad Dog Killer” Starkweather i njegova djevojka Caril Ann Fugata koji su iza sebe ostavili krvavi trag od 11 leševa. Malick nije istinitu priču doslovno preselio na ekran držeći se činjenica.

Filozof kakav jest, pristupio je priči esejistički, sagledavši zloglasni par iz vlastite lirske, meditativne i pjesničke perspektive, kao da piše fakultetski esej prisjećajući se srednjoškolskih sastavaka na određenu temu. “Pustara” je filmična mitologizacija istinite priče, podjednako film ceste, romansa, kriminalistička drama i neovestern.

U Malickovu prvijencu ogledaju se “Do posljednjeg daha”, “Bonnie i Clyde” i...

#CINEMARK#CINEMARK OBLJETNICA#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 70-IH#TERRENCE MALICK#KULTNI FILMOVI#SISSY SPACEK#MARTIN SHEEN#KULTNI FILMAŠI#FILMOVI PREMA ISTINITOJ PRIČI
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14. svibanj 2024 09:57