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---
FILM: The Souvenir; drama; Velika Britanija,2019. REŽIJA: Joanna Hogg ULOGE: Honor Swinton-Byrne, Tom Burke OCJENA: ****
---
Top-liste najboljih filmova 2019. prema izboru mnogih stranih kritičara takoreći nisu mogle proći bez "Suvenira" redateljice Joanne Hogg. Britanska romantična drama, nagrađena na Sundanceu i prikazana na Berlinaleu, ispala je u konačnici jedan od najhvaljenijih filmova prošle godine.
Do hrvatskih kina "The Souvenir" nije došao dok su bila otvorena, no sad kad je postao dostupan u "online" videoteci "A1" možemo potvrditi da njegova reputacija – najvećim dijelom zaslužena – nimalo ne čudi. "Suvenir" je film za filmske kritičare i zahtjevnije filmofile, ali i (mlade) filmaše poput njegove protagonistice Julie, inače alter ega redateljice.
To je film za gledatelje koji znaju tko su Michael Powell, Emeric Pressburger i Jacques Rivette, spomenuti prilikom Hoggičina "name-droppinga" nekih od najavangardnijih filmaša u povijesti kinematografije. Naveden je i Luc Besson, no izvukao je deblji kraj u usporedbi s Rivetteom.
"Sjeti se onoga što je radio Rivette i usporedi to s onim što radi Besson danas", kaže netko u razgovoru u kojem sudjeluje i ženski lik u tumačenju Ariane Labed, kućne glumice Yorgosa Lanthimosa i zaštitnog lica grčkog "čudnog vala" ("Attenberg", "Alpe", "Jastog").
Pod ovim "Besson danas" misli se na Bessona jučer, kad je, kao jedan od prvaka pravca "cinema du look", snimao umjetničkije filmove poput "Podzemlja". "Gledao sam Bessonov 'Subway'", komentira netko i pozicionira u cca 1985./1986. godinu dotad vremenski neodređeni "The Souvenir", ne računajući osamdesete kao širu odrednicu.
Osamdesete su bile (trans)formativne godine za Hogg u filmaškom, romantičnom i svakom smislu. U tim godinama ona je postala redateljica i osoba kakva je danas. Dakle, "Suvenir" funkcionira kao filmski memoar i autoportret budući da je mlada filmašica Julie (Honor Swinton-Byrne) redateljičin supstitut, a priča nešto sasvim osobno, što je Hogg doživjela.
Isprepletanje filma i života protagonistice i redateljice svakako uzdiže ljubavnu priču koja je, bez metafilmičnosti, mogla biti znatno konvencionalnija, neovisno o tome što likovi započinju nekonvencionalnu, toksičnu vezu (on je ovisnik). Profesor filma u jednoj sceni objašnjava Julie da je važno povezati "vlastito iskustvo i iskustvo koje želiš snimiti".
Usputan lik ("cameo" uloga Richarda Ayoadea), pak, iznese "Tolstojevu definiciju umjetnosti" - "ti imaš samo osjećaj i putem vanjskih znakova ga prenosiš nekom drugom". S druge strane, budući Juliein ljubavnik Anthony (Tom Burke), veliki poznavatelj umjetnosti i filma, govori da "ne želimo vidjeti život kako se odigrava nego kako se doživljava" te se poziva na Powella i Pressburgera jer su, otprilike, istiniti (u osobnim emocijama), iako nisu uvijek stvarni.
Korisni metafilmski savjeti, međutim Hogg ih se tek djelomično pridržava budući da je film o osobnom iskustvu i doživljaju režirala s distancije i suzbila svoje osjećaje/osjećaje likova (često kadrirani s rastojanja u odrazima zrcala) da bi ih prenijela na gledatelja, prilikom čega ne pomažu ni pjesme na soundtracku poput "Enola Gay" O.M.D.-a.
Usporedimo li npr. uporabu "Love My Way" Psychedelic Fursa u ovom filmu i "Skrivenoj ljubavi" Luce Guadagnina, razlika je drastična. "Ne znamo ih, nepoznate su nam unutrašnje spletke njihovog uma i srca, to želimo saznati kad gledamo film", Anthony komentira Juliein scenarij o stvarnim ljudima, a njegov komentar se (ne)namjerno može primijeniti i na "The Souvenir".
Unutrašnje spletke Julieina i Anthonyjeva srca, ako ne i uma, ostaju nam prilična nepoznanica, osobito njezina opsesivna ljubav, simbolično prelomljena preko slike "Suvenir" Jean-Honorea Fragonarda s motivom mlade žene koja urezuje inicijale ljubavnika u koru stabla.
Naravno, ne trebamo o likovima doznati baš sve, ali u ovakvom filmu je poželjno da se njihova ljubav (više) osjeti i bude manje klinička, što jest mahom samo u lijepoj sceni kad Anthony na krevetu pravi zid od plišanih igračaka između sebe i Julie po uzoru na Claude Colbert i Clarka Gablea u "onom filmu" ("Dogodilo se jedne noći"). Moguće da je Hogg odabrala distancirani, otuđeni pristup da joj prisjećanje bude manje bolno, no pritom nas je udaljila od svojih likova, ali ne i svoga filma.
Jer, u tom pristupu Hogg pokazuje filmofilsku ljubav prema filmu kao takvom da otvorena vrata hangara u završnici mogu izgledati nalik kinoplatnu. Pokazuje i manijakalni redateljski perfekcionizam P.T. Andersona po uzoru na njegovu "Fantomsku nit", pa i određenu subverziju.
Režiserka je fan Hitchcockovih klasika, od "Vrtoglavice" (Anthonyjeva potreba da sugerira/kontrolira kako će se Julie odjenuti) do "Psiha" o kojem se raspravlja na satu filma, s naglaskom na tuš-scenu. Hitchcock je snimao scene ubojstava kao ljubavne i "vice versa", a Hogg preuzima nešto od te obratnosti. Hogg režira "Suvenir" kao tuš-scenu "Psiha" skrivajući emocije likova kao Hitchcock rane od noža.
---
Kakva majka, takva kćerka
Honor Swinton-Byrne, kćerka oskarovke Tilde Swinton, ostvarila je dobar glumački debi i čini se da jabuka nije pala daleko od stabla. Prirodno, Tilda Swinton se nalazi u ulozi Julieine majke i ostvaruje još jednu jako finu epizodu. Tilda i njezina kćerka glumit će i u nastavku "Suvenira" koji se sprema za ovu godinu.
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---
FILM: The Souvenir; drama; Velika Britanija,2019. REŽIJA: Joanna Hogg ULOGE: Honor Swinton-Byrne, Tom Burke OCJENA: ****
---
Top-liste najboljih filmova 2019. prema izboru mnogih stranih kritičara takoreći nisu mogle proći bez "Suvenira" redateljice Joanne Hogg. Britanska romantična drama, nagrađena na Sundanceu i prikazana na Berlinaleu, ispala je u konačnici jedan od najhvaljenijih filmova prošle godine.
Do hrvatskih kina "The Souvenir" nije došao dok su bila otvorena, no sad kad je postao dostupan u "online" videoteci "A1" možemo potvrditi da njegova reputacija – najvećim dijelom zaslužena – nimalo ne čudi. "Suvenir" je film za filmske kritičare i zahtjevnije filmofile, ali i (mlade) filmaše poput njegove protagonistice Julie, inače alter ega redateljice.
To je film za gledatelje koji znaju tko su Michael Powell, Emeric Pressburger i Jacques Rivette, spomenuti prilikom Hoggičina "name-droppinga" nekih od najavangardnijih filmaša u povijesti kinematografije. Naveden je i Luc Besson, no izvukao je deblji kraj u usporedbi s Rivetteom.
"Sjeti se onoga što je radio Rivette i usporedi to s onim što radi Besson danas", kaže netko u razgovoru u kojem sudjeluje i ženski lik u tumačenju Ariane Labed, kućne glumice Yorgosa Lanthimosa i zaštitnog lica grčkog "čudnog vala" ("Attenberg", "Alpe", "Jastog").
Pod ovim "Besson danas" misli se na Bessona jučer, kad je, kao jedan od prvaka pravca "cinema du look", snimao umjetničkije filmove poput "Podzemlja". "Gledao sam Bessonov 'Subway'", komentira netko i pozicionira u cca 1985./1986. godinu dotad vremenski neodređeni "The Souvenir", ne računajući osamdesete kao širu odrednicu.
Osamdesete su bile (trans)formativne godine za Hogg u filmaškom, romantičnom i svakom smislu. U tim godinama ona je postala redateljica i osoba kakva je danas. Dakle, "Suvenir" funkcionira kao filmski memoar i autoportret budući da je mlada filmašica Julie (Honor Swinton-Byrne) redateljičin supstitut, a priča nešto sasvim osobno, što je Hogg doživjela.
Isprepletanje filma i života protagonistice i redateljice svakako uzdiže ljubavnu priču koja je, bez metafilmičnosti, mogla biti znatno konvencionalnija, neovisno o tome što likovi započinju nekonvencionalnu, toksičnu vezu (on je ovisnik). Profesor filma u jednoj sceni objašnjava Julie da je važno povezati "vlastito iskustvo i iskustvo koje želiš snimiti".
Usputan lik ("cameo" uloga Richarda Ayoadea), pak, iznese "Tolstojevu definiciju umjetnosti" - "ti imaš samo osjećaj i putem vanjskih znakova ga prenosiš nekom drugom". S druge strane, budući Juliein ljubavnik Anthony (Tom Burke), veliki poznavatelj umjetnosti i filma, govori da "ne želimo vidjeti život kako se odigrava nego kako se doživljava" te se poziva na Powella i Pressburgera jer su, otprilike, istiniti (u osobnim emocijama), iako nisu uvijek stvarni.
Korisni metafilmski savjeti, međutim Hogg ih se tek djelomično pridržava budući da je film o osobnom iskustvu i doživljaju režirala s distancije i suzbila svoje osjećaje/osjećaje likova (često kadrirani s rastojanja u odrazima zrcala) da bi ih prenijela na gledatelja, prilikom čega ne pomažu ni pjesme na soundtracku poput "Enola Gay" O.M.D.-a.
Usporedimo li npr. uporabu "Love My Way" Psychedelic Fursa u ovom filmu i "Skrivenoj ljubavi" Luce Guadagnina, razlika je drastična. "Ne znamo ih, nepoznate su nam unutrašnje spletke njihovog uma i srca, to želimo saznati kad gledamo film", Anthony komentira Juliein scenarij o stvarnim ljudima, a njegov komentar se (ne)namjerno može primijeniti i na "The Souvenir".
Unutrašnje spletke Julieina i Anthonyjeva srca, ako ne i uma, ostaju nam prilična nepoznanica, osobito njezina opsesivna ljubav, simbolično prelomljena preko slike "Suvenir" Jean-Honorea Fragonarda s motivom mlade žene koja urezuje inicijale ljubavnika u koru stabla.
Naravno, ne trebamo o likovima doznati baš sve, ali u ovakvom filmu je poželjno da se njihova ljubav (više) osjeti i bude manje klinička, što jest mahom samo u lijepoj sceni kad Anthony na krevetu pravi zid od plišanih igračaka između sebe i Julie po uzoru na Claude Colbert i Clarka Gablea u "onom filmu" ("Dogodilo se jedne noći"). Moguće da je Hogg odabrala distancirani, otuđeni pristup da joj prisjećanje bude manje bolno, no pritom nas je udaljila od svojih likova, ali ne i svoga filma.
Jer, u tom pristupu Hogg pokazuje filmofilsku ljubav prema filmu kao takvom da otvorena vrata hangara u završnici mogu izgledati nalik kinoplatnu. Pokazuje i manijakalni redateljski perfekcionizam P.T. Andersona po uzoru na njegovu "Fantomsku nit", pa i određenu subverziju.
Režiserka je fan Hitchcockovih klasika, od "Vrtoglavice" (Anthonyjeva potreba da sugerira/kontrolira kako će se Julie odjenuti) do "Psiha" o kojem se raspravlja na satu filma, s naglaskom na tuš-scenu. Hitchcock je snimao scene ubojstava kao ljubavne i "vice versa", a Hogg preuzima nešto od te obratnosti. Hogg režira "Suvenir" kao tuš-scenu "Psiha" skrivajući emocije likova kao Hitchcock rane od noža.
---
Kakva majka, takva kćerka
Honor Swinton-Byrne, kćerka oskarovke Tilde Swinton, ostvarila je dobar glumački debi i čini se da jabuka nije pala daleko od stabla. Prirodno, Tilda Swinton se nalazi u ulozi Julieine majke i ostvaruje još jednu jako finu epizodu. Tilda i njezina kćerka glumit će i u nastavku "Suvenira" koji se sprema za ovu godinu.
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15. svibanj 2024 03:23
