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"Prošlost se ponavlja?" – "Tajne koje čuvamo" (2020.)

Lisbeth Salander ponovno je u akciji u trileru "The Secrets We Keep". Novi lik Noomi Rapace ne zove se Lisbeth, ali sjena Salanderice nadvija se nad filmom, koliko god joj švedska glumica nastojala umaknuti. Ipak, ovo je jedna od najboljih Noominih post-Salander uloga.

Rapace je dojmljiva kao "salanderovska" osvetnica Maja koja traži odmazdu za muško nasilje, tj. silovanje, ovaj put u post-ratnoj Americi. Maja je Romkinja iz Rumunjske koju su nacisti silovali i ubili njezinu sestru u Drugom svjetskom ratu.

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FILM: The Secrets We Keep; triler; SAD, 2020. REŽIJA: Yuval Adler ULOGE: Noomi Rapace, Joel Kinnaman OCJENA: *** ½

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Godinama kasnije, na prijelazu pedesetih u šezdesete, što sugerira kadar kina u kojem igra Hitchcockov "Sjever-sjeverozapad" iz 1959., Maja pokušava ostaviti prošlost iza sebe i živjeti normalan život u malom američkom gradu sa sinom i suprugom, liječnikom Lewisom Reedom (Chris Messina).

No, prošlost se Maji vraća noću u snomoricama i flešbekovima, a košmar je doživjela i usred bijela dana kad joj se od jednog muškarca (Joel Kinnaman) učinilo da je njezin silovatelj i krvnik njezine sestre, nacist Karl. Uvjerena da je to "on", Maja namami muškarca u zamku (auto je, kao fol, crkao), opali ga čekićem po glavi, ubaci u prtljažnik, doveze doma i zatoči u podrumu kao taoca kako bi od njega izvukla priznanje, milom ili silom.

Nije odveć uvjerljivo da majušna Maja može nositi tako velikog muškarca, ali "Tajne koje čuvamo" se, izuzev toga, pozicioniraju kao prilično realistični, premda ne i neviđeni, "mystery" triler. Relativno slično postavljenu priču o ženskoj osveti za muško nedjelo ispričao je sredinom devedesetih Roman Polanski u filmu "Djevojka i smrt".

Međutim, "The Secrets We Keep" nije remake "The Death And The Maiden" i pokazuje dovoljno svoga "ja", koliko god da ponavlja neke već viđene stvari, ne nužno iz tog filma, primjerice antagonizam Rapace i Kinnamana iz osrednjeg ostvarenja "Child 44".

Triler postaje provokativna, moralno dvosmislena, ako ne i dvojbena, igra mačke i miša. Režiser Yuval Adler se specijalizirao za moralne konflikte u "Betlehemu" i "Operativki", a ovdje nastavlja tim tragom okupirajući uznemirujući teritorij (strahote holokausta).

U Majino razračunavanje s prošlosti direktno se uključuje Lewis i postaje suučesnik, ali dvoji u istinitost ženinih tvrdnji igrajući se detektiva u potrazi za odgovorom na pitanje je li njihov zatočenik, koji se predstavlja kao Švicarac Thomas i kune da nije Nijemac, doista Karl ili možda nije.

Postoji, naime, šansa da ga je Maja zamijenila s nekim s obzirom da iz noćnih mora samo vidi "fragmente" i, rječnikom psihologa, kao žrtva traume stvara sjećanje na sjećanje da (joj) je teško razlučiti istinu. Najava Hitchockova "North By Northwest", u kojem lik Caryja Granta zamijene za špijuna, nije tu slučajno.

Svjesna je dijelom i Maja toga, Lewis pogotovo. "Je li moguće da je deluzija", pita se Lewis budući da je kod ovakvih slučajeva "moguće da se ljudi zbune" i sjećanje nije sto posto pouzdano. Iz trilerske misterije prirodno se rađa drama o ne-moralu, (ne)zakopanim traumama i tajnama prošlosti koja sve dublje uranja u Eastwoodovu "Mističnu rijeku".

Lewis je svjedočio Majinim noćnim morama, međutim nije znao da je silovana, ni da je Romkinja, k tome. Muž je istovremeno prisiljen ne samo percepirati ženinu užasnu prošlost koju mu je skrivala, već i nositi se sa sadašnjom situacijom – njezinim potencijalnim umorstvom potencijalno nevinog čovjeka.

Adler potiče klasični trilerski "suspense" u scenama kad na vrata Reedovih banu radoznali susjed privučen bukom u pratnji policajca (Jeff Pope, David Maldonado), ali film je najintrigantniji kad se temelji na dinamici supružnika u krajnje neobičnoj situaciji i uslojava delikatne moralne peripetije postupno otkrivajući karakterizaciju drugog bračng para, Thomasa i Rachel (Amy Seimetz), njegove američke supruge – Židovke.

Jer, Maja se sprijateljuje sa zabrinutom ženom njezinog taoca, a ovaj, bio nacist ili ne, također krije prošlost od bračnog druga, što ga, kao naizglednog antagonista, dijelom izjednačava s izglednom protagonisticom. Ispravnost morala je neispravna u vrlo solidnom filmu o zločinu i kazni, krivnji i kivnji, pokušaju iskupljenja, tajnama koje čuvamo od bližnjih i koje ćemo čuvati zajedno s njima.

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Rapace voli trilere

Noomi Rapace će se i u narednim filmovima nalaziti na teritoriju trilera, a njihovi naslovi su "The Thicket", "Lamb" i "The Trip".

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"Prošlost se ponavlja?" – "Tajne koje čuvamo" (2020.)

Lisbeth Salander ponovno je u akciji u trileru "The Secrets We Keep". Novi lik Noomi Rapace ne zove se Lisbeth, ali sjena Salanderice nadvija se nad filmom, koliko god joj švedska glumica nastojala umaknuti. Ipak, ovo je jedna od najboljih Noominih post-Salander uloga.

Rapace je dojmljiva kao "salanderovska" osvetnica Maja koja traži odmazdu za muško nasilje, tj. silovanje, ovaj put u post-ratnoj Americi. Maja je Romkinja iz Rumunjske koju su nacisti silovali i ubili njezinu sestru u Drugom svjetskom ratu.

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FILM: The Secrets We Keep; triler; SAD, 2020. REŽIJA: Yuval Adler ULOGE: Noomi Rapace, Joel Kinnaman OCJENA: *** ½

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Godinama kasnije, na prijelazu pedesetih u šezdesete, što sugerira kadar kina u kojem igra Hitchcockov "Sjever-sjeverozapad" iz 1959., Maja pokušava ostaviti prošlost iza sebe i živjeti normalan život u malom američkom gradu sa sinom i suprugom, liječnikom Lewisom Reedom (Chris Messina).

No, prošlost se Maji vraća noću u snomoricama i flešbekovima, a košmar je doživjela i usred bijela dana kad joj se od jednog muškarca (Joel Kinnaman) učinilo da je njezin silovatelj i krvnik njezine sestre, nacist Karl. Uvjerena da je to "on", Maja namami muškarca u zamku (auto je, kao fol, crkao), opali ga čekićem po glavi, ubaci u prtljažnik, doveze doma i zatoči u podrumu kao taoca kako bi od njega izvukla priznanje, milom ili silom.

Nije odveć uvjerljivo da majušna Maja može nositi tako velikog muškarca, ali "Tajne koje čuvamo" se, izuzev toga, pozicioniraju kao prilično realistični, premda ne i neviđeni, "mystery" triler. Relativno slično postavljenu priču o ženskoj osveti za muško nedjelo ispričao je sredinom devedesetih Roman Polanski u filmu "Djevojka i smrt".

Međutim, "The Secrets We Keep" nije remake "The Death And The Maiden" i pokazuje dovoljno svoga "ja", koliko god da ponavlja neke već viđene stvari, ne nužno iz tog filma, primjerice antagonizam Rapace i Kinnamana iz osrednjeg ostvarenja "Child 44".

Triler postaje provokativna, moralno dvosmislena, ako ne i dvojbena, igra mačke i miša. Režiser Yuval Adler se specijalizirao za moralne konflikte u "Betlehemu" i "Operativki", a ovdje nastavlja tim tragom okupirajući uznemirujući teritorij (strahote holokausta).

U Majino razračunavanje s prošlosti direktno se uključuje Lewis i postaje suučesnik, ali dvoji u istinitost ženinih tvrdnji igrajući se detektiva u potrazi za odgovorom na pitanje je li njihov zatočenik, koji se predstavlja kao Švicarac Thomas i kune da nije Nijemac, doista Karl ili možda nije.

Postoji, naime, šansa da ga je Maja zamijenila s nekim s obzirom da iz noćnih mora samo vidi "fragmente" i, rječnikom psihologa, kao žrtva traume stvara sjećanje na sjećanje da (joj) je teško razlučiti istinu. Najava Hitchockova "North By Northwest", u kojem lik Caryja Granta zamijene za špijuna, nije tu slučajno.

Svjesna je dijelom i Maja toga, Lewis pogotovo. "Je li moguće da je deluzija", pita se Lewis budući da je kod ovakvih slučajeva "moguće da se ljudi zbune" i sjećanje nije sto posto pouzdano. Iz trilerske misterije prirodno se rađa drama o ne-moralu, (ne)zakopanim traumama i tajnama prošlosti koja sve dublje uranja u Eastwoodovu "Mističnu rijeku".

Lewis je svjedočio Majinim noćnim morama, međutim nije znao da je silovana, ni da je Romkinja, k tome. Muž je istovremeno prisiljen ne samo percepirati ženinu užasnu prošlost koju mu je skrivala, već i nositi se sa sadašnjom situacijom – njezinim potencijalnim umorstvom potencijalno nevinog čovjeka.

Adler potiče klasični trilerski "suspense" u scenama kad na vrata Reedovih banu radoznali susjed privučen bukom u pratnji policajca (Jeff Pope, David Maldonado), ali film je najintrigantniji kad se temelji na dinamici supružnika u krajnje neobičnoj situaciji i uslojava delikatne moralne peripetije postupno otkrivajući karakterizaciju drugog bračng para, Thomasa i Rachel (Amy Seimetz), njegove američke supruge – Židovke.

Jer, Maja se sprijateljuje sa zabrinutom ženom njezinog taoca, a ovaj, bio nacist ili ne, također krije prošlost od bračnog druga, što ga, kao naizglednog antagonista, dijelom izjednačava s izglednom protagonisticom. Ispravnost morala je neispravna u vrlo solidnom filmu o zločinu i kazni, krivnji i kivnji, pokušaju iskupljenja, tajnama koje čuvamo od bližnjih i koje ćemo čuvati zajedno s njima.

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Rapace voli trilere

Noomi Rapace će se i u narednim filmovima nalaziti na teritoriju trilera, a njihovi naslovi su "The Thicket", "Lamb" i "The Trip".

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Film & TVCINEMARK U KINU

TAJNE KOJE ČUVAMO Moral ima dva lica post-Salander trilera

Piše Marko Njegić
11. prosinca 2020. - 16:05
15481298
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"Prošlost se ponavlja?" – "Tajne koje čuvamo" (2020.)

Lisbeth Salander ponovno je u akciji u trileru "The Secrets We Keep". Novi lik Noomi Rapace ne zove se Lisbeth, ali sjena Salanderice nadvija se nad filmom, koliko god joj švedska glumica nastojala umaknuti. Ipak, ovo je jedna od najboljih Noominih post-Salander uloga.

Rapace je dojmljiva kao "salanderovska" osvetnica Maja koja traži odmazdu za muško nasilje, tj. silovanje, ovaj put u post-ratnoj Americi. Maja je Romkinja iz Rumunjske koju su nacisti silovali i ubili njezinu sestru u Drugom svjetskom ratu.

Godinama kasnije, na prijelazu pedesetih u šezdesete, što sugerira kadar kina u kojem igra Hitchcockov "Sjever-sjeverozapad" iz 1959., Maja pokušava ostaviti prošlost iza sebe i živjeti normalan život u malom američkom gradu ...

#CINEMARK#CINEMARK U KINU #TRILERI#NOOMI RAPACE
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