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"Igram ulogu glumca koji se susreće sa zatvorenicima i odluči ih podučiti glumi. Prvi put sam se susreo s takvom okolinom i bio sam svjedokom slobodi koju im je to donijelo. Puno stvari me privuklo ovom scenariju i liku. Film ima ambiciju. Za početak, privukla me komedija. Također je tu i veliki raspon emocija. Uspjeli smo prenijeti dosta emocija. Nije čest slučaj da film kombinira toliko emocija, ali i dramu i komediju...".

Francuski glumac alžirskih korijena Kad Merad, zvijezda "Trijumfa" ("Un Triomphe"/"The Big Hit"), rekao je to zimus u Zoom intervjuu za "Slobodnu". Osim što je u kratkim crticama otkrio o čemu se filmu radi, Merad je istaknuo kombinaciju drame i komedije koja je ovdje znatno bolje izbalansirana u odnosu na "Talijansku priču".

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FILM: Un Triomphe; komična drama; Francuska, 2020. REŽIJA: Emmanuel Courcol ULOGE: Kad Merad, David Ayala DISTRIBUCIJA: Discovery OCJENA: *** ½ (drugi)

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Kad su čiste komedije u pitanju, što je češći slučaj, Francuzi znaju pretjerivati i one su nerijetko dvostruko gore u odnosu na američke ("Hipohondar", "Daleki rođaci: Revolucija", "Škrtica", "Obitelj bez kočnica", "Obiteljska banda", "Ajme, sad sam muško" i "Širom raširenih ruku", "Ibiza", "Špijun lavljeg srca", "Klub sretno razvedenih"...).

Na takvim komedijama je obol dao i Merad nakon što se proslavio megahitom "Dobro došli i Ch’tis" (npr. "Ljubavnik na francuski način").

Međutim, kad je u pitanju rijetki spoj komedije i drame, Francuzi znaju biti gotovo apotekarski precizni. "Trijumf" je ogledni primjer toga, kao još jedna dobra francuska komična drama nakon "Nedodirljivih", "Plivaj muški" i "Predivnog života", iako ga se reklamira kao komediju i dobio je, na koncu, prošle godine nagradu Europske filmske akademije u toj kategoriji.

Ovo je jedan od onih tako spojenih "feel good" filmova u tradiciji "The Full Monty" koji gledate i navijate za "underdog" protagoniste, neovisno o tome je li se "skidaju do kraja", natječu u sinkroniziranom plivanju (spomenuti "Sink Or Swim") ili su zatvorenici koji pripremaju čuvenu predstavu "U očekivanju Godota" Samuela Becketta ("Un Triomphe").

Gluma u zatvoru već je bila pokretač radnje nekih filmova poput hrvatskog dokumentarca "Što sa sobom preko dana" Ivone Juke i "Cezar mora umrijeti" braće Taviani. Na koncu konca, "Trijumf" je snimljen prema istinitoj priči švedskog glumca Jana Jönsona koji je sredinom osamdesetih pomogao zatvorenicima da postave Beckettova "Godota", klasik teatra apsurda.

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Ipak, redatelj Emmanuel Courcol i Merad pronalaze svježinu u pristupu prirodi glume, zatvoru i zatvorenicima, a njihov film je tek povremeno "feel good" komičarski manipulativan, a redovito se čini doku-dramski autentičnim, unatoč tome što zatvorenici nisu "pravi", već ih igraju profesionalni glumci (David Ayala, Sofian Khammes, Wabinlé Nabié, Pierre Lottin, Lamine Cissokho, Alexandre Medvedev), za razliku od "Caesar Must Die".

"Un Triomphe" je film o glumi, bilo da se ona otkriva prvi put (zatvorenici) ili nanovo (Meradov lik Etienne Carboni). To je i film o želji za slobodom, glumačkom ili općenito. Naš vodič kroz "Trijumf" je Etienne, ne pretjerano ostvareni glumac koji će, dakle, sa zatvorenicima uprizoriti "Godota".

Predstava je za njega posljednja prilika da napravi nešto važno ili važnije u glumačkom životu, a zatvorenici u "Godotu" vide šansu da bar nakratko postanu netko i nešto i izađu iz zatvora, "pobjegnu" simbolično ili čak doslovno u stvarni svijet kad dobiju priliku krenuti na turneju po Francuskoj.

Sličnost, znači, opstoji među njima, jer i on i oni čekaju Godota; Etienne na pravu glumačku priliku, zatvorenici makar uvjetnu slobodu. Malo po malo, Etienne se pretvara u dobrog glumca, a s njim i zatvorenici dok se tijekom šestomjesečnih priprema zajedno "penju na Mount Everest" u filmu čiji humanizam služi kao kontra dehumanizaciji zatvorenika, a podiže spomenik glumi, kreativnosti, ispunjavanju potencijala i imaginacije.

Zbog toga je film zasigurno i postao europski hit sada i ovdje, u koronskoj sadašnjici. Zatvorsko čitanje Becketta je simbolično: mnogi se danas osjećaju kao zatvorenici željni slobode ili akteri teatra apsurda i čekaju Godota kojeg će valjda jednom napokon i dočekati.

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Od ‘Trijumfa‘ do ‘Titana‘

David Ayala se pojavljuje i u filmu "Kaamelott" koji je upravo stigao u hrvatska kina, a Lamine Cissokho se pojavio u "Titanu".

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"Igram ulogu glumca koji se susreće sa zatvorenicima i odluči ih podučiti glumi. Prvi put sam se susreo s takvom okolinom i bio sam svjedokom slobodi koju im je to donijelo. Puno stvari me privuklo ovom scenariju i liku. Film ima ambiciju. Za početak, privukla me komedija. Također je tu i veliki raspon emocija. Uspjeli smo prenijeti dosta emocija. Nije čest slučaj da film kombinira toliko emocija, ali i dramu i komediju...".

Francuski glumac alžirskih korijena Kad Merad, zvijezda "Trijumfa" ("Un Triomphe"/"The Big Hit"), rekao je to zimus u Zoom intervjuu za "Slobodnu". Osim što je u kratkim crticama otkrio o čemu se filmu radi, Merad je istaknuo kombinaciju drame i komedije koja je ovdje znatno bolje izbalansirana u odnosu na "Talijansku priču".

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FILM: Un Triomphe; komična drama; Francuska, 2020. REŽIJA: Emmanuel Courcol ULOGE: Kad Merad, David Ayala DISTRIBUCIJA: Discovery OCJENA: *** ½ (drugi)

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Kad su čiste komedije u pitanju, što je češći slučaj, Francuzi znaju pretjerivati i one su nerijetko dvostruko gore u odnosu na američke ("Hipohondar", "Daleki rođaci: Revolucija", "Škrtica", "Obitelj bez kočnica", "Obiteljska banda", "Ajme, sad sam muško" i "Širom raširenih ruku", "Ibiza", "Špijun lavljeg srca", "Klub sretno razvedenih"...).

Na takvim komedijama je obol dao i Merad nakon što se proslavio megahitom "Dobro došli i Ch’tis" (npr. "Ljubavnik na francuski način").

Međutim, kad je u pitanju rijetki spoj komedije i drame, Francuzi znaju biti gotovo apotekarski precizni. "Trijumf" je ogledni primjer toga, kao još jedna dobra francuska komična drama nakon "Nedodirljivih", "Plivaj muški" i "Predivnog života", iako ga se reklamira kao komediju i dobio je, na koncu, prošle godine nagradu Europske filmske akademije u toj kategoriji.

Ovo je jedan od onih tako spojenih "feel good" filmova u tradiciji "The Full Monty" koji gledate i navijate za "underdog" protagoniste, neovisno o tome je li se "skidaju do kraja", natječu u sinkroniziranom plivanju (spomenuti "Sink Or Swim") ili su zatvorenici koji pripremaju čuvenu predstavu "U očekivanju Godota" Samuela Becketta ("Un Triomphe").

Gluma u zatvoru već je bila pokretač radnje nekih filmova poput hrvatskog dokumentarca "Što sa sobom preko dana" Ivone Juke i "Cezar mora umrijeti" braće Taviani. Na koncu konca, "Trijumf" je snimljen prema istinitoj priči švedskog glumca Jana Jönsona koji je sredinom osamdesetih pomogao zatvorenicima da postave Beckettova "Godota", klasik teatra apsurda.

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Ipak, redatelj Emmanuel Courcol i Merad pronalaze svježinu u pristupu prirodi glume, zatvoru i zatvorenicima, a njihov film je tek povremeno "feel good" komičarski manipulativan, a redovito se čini doku-dramski autentičnim, unatoč tome što zatvorenici nisu "pravi", već ih igraju profesionalni glumci (David Ayala, Sofian Khammes, Wabinlé Nabié, Pierre Lottin, Lamine Cissokho, Alexandre Medvedev), za razliku od "Caesar Must Die".

"Un Triomphe" je film o glumi, bilo da se ona otkriva prvi put (zatvorenici) ili nanovo (Meradov lik Etienne Carboni). To je i film o želji za slobodom, glumačkom ili općenito. Naš vodič kroz "Trijumf" je Etienne, ne pretjerano ostvareni glumac koji će, dakle, sa zatvorenicima uprizoriti "Godota".

Predstava je za njega posljednja prilika da napravi nešto važno ili važnije u glumačkom životu, a zatvorenici u "Godotu" vide šansu da bar nakratko postanu netko i nešto i izađu iz zatvora, "pobjegnu" simbolično ili čak doslovno u stvarni svijet kad dobiju priliku krenuti na turneju po Francuskoj.

Sličnost, znači, opstoji među njima, jer i on i oni čekaju Godota; Etienne na pravu glumačku priliku, zatvorenici makar uvjetnu slobodu. Malo po malo, Etienne se pretvara u dobrog glumca, a s njim i zatvorenici dok se tijekom šestomjesečnih priprema zajedno "penju na Mount Everest" u filmu čiji humanizam služi kao kontra dehumanizaciji zatvorenika, a podiže spomenik glumi, kreativnosti, ispunjavanju potencijala i imaginacije.

Zbog toga je film zasigurno i postao europski hit sada i ovdje, u koronskoj sadašnjici. Zatvorsko čitanje Becketta je simbolično: mnogi se danas osjećaju kao zatvorenici željni slobode ili akteri teatra apsurda i čekaju Godota kojeg će valjda jednom napokon i dočekati.

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Od ‘Trijumfa‘ do ‘Titana‘

David Ayala se pojavljuje i u filmu "Kaamelott" koji je upravo stigao u hrvatska kina, a Lamine Cissokho se pojavio u "Titanu".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Trijumf‘: Čekajući Godota u zatvoru

Piše Marko Njegić
12. prosinca 2021. - 15:47
20247644
PREMIUM
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"Igram ulogu glumca koji se susreće sa zatvorenicima i odluči ih podučiti glumi. Prvi put sam se susreo s takvom okolinom i bio sam svjedokom slobodi koju im je to donijelo. Puno stvari me privuklo ovom scenariju i liku. Film ima ambiciju. Za početak, privukla me komedija. Također je tu i veliki raspon emocija. Uspjeli smo prenijeti dosta emocija. Nije čest slučaj da film kombinira toliko emocija, ali i dramu i komediju...".

Francuski glumac alžirskih korijena Kad Merad, zvijezda "Trijumfa" ("Un Triomphe"/"The Big Hit"), rekao je to zimus u Zoom intervjuu za "Slobodnu". Osim što je u kratkim crticama otkrio o čemu se filmu radi, Merad je istaknuo kombinaciju drame i komedije koja je ovdje znatno bolje izbalansirana u odnosu na "Talijansku priču".

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