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[title] => ŽUDNJA ZA ŽIVOTOM Slikarom na sliku
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IIn memoriam Kirku Douglasu uz projekciju filma "Žudnja za životom" (1956.) Vincentea Minnellija služi kao vraški dobar podsjetnik na njega kao dramskoga glumca u punom smislu riječi, a ne zvjezdanog junaka. Douglas se najčešće dovodio u vezu s (filmskim) likovima većim od života u povijesnim spektaklima poput "Spartaka".
Velikan "zlatnog doba Hollywooda" širem auditoriju je ponajprije gladijator Spartak, ali mogao bi postati i slikar Vincent Van Gogh nakon ponovnog (ili prvog) gledanja "Lust For Life". "Postati" je nezaobilazna riječ za jednu od najboljih uloga njegove karijere, pozlaćenu i nominacijom za Oscara, njegovom trećom nakon boksačkog "Šampiona" i Minnellijeve drame "Loši i lijepi".
---
FILM: Lust For Life; drama; SAD, 1956. REŽIJA: Vincente Minnelli ULOGE: Kirk Douglas, Anthony Quinn OCJENA: **** ½
---
Jer, Douglas nije glumio Van Gogha, već bio, postao on. Da Douglasov Van Gogh siđe s platna "Kinoteke" u parter, u stilu aktera "Purpurne ruže Kaira" i "Posljednjeg akcijskog junaka", pomislili bismo da nam je pravi slikar uskrsnuo pred očima. Kad ga u filmu vidimo prvi put, kako sjedi u hodniku, u stražnjem planu, iza otvorenih vrata ureda, čini se da gledamo (u) Van Gogha na kojeg Douglas ionako poprilično sliči.
Sličnost je mjestimice frapantna, kao da je glumac izgubljeni brat blizanac slikara. Ni nedavni animirani film "Loving Vincent", nagrađen EU Oscarom, nije (re)animirao Van Gogha bolje od Douglasa. Intenzivna uloga Van Gogha vrhunac je glumačkog naturalizma i ekspresionizma, metodske glume koju je Marlon Brando početkom pedesetih podigao na (naj)veću razinu.
"Toliko sam uronio u njegovu izmučenu dušu da mi se bilo teško izvući natrag; imao sam godina koliko i on kad se ubio, našminkan sam mu toliko sličio da sam morao rukom dotaknuti uho da se uvjerim da je još tu", izjavio je Douglas. Upravo je nevjerojatno da je Oscara te godine dobio Yul Brynner za ulogu u filmu "Kralj i ja", a ne Douglas ili da je Akademija prednost dala Anthonyju Quinnu u sporednoj ulozi Paula Gauguina kojeg na momente glumi kao Mozartova Salierija.
Iznimno uživljen, ponekad malčice čak i preuživljen, Douglas je preslikao Van Gogha izvana, ali i iznutra u prizorima istovremene glumačke eksplozije i implozije boja "ludog slikara". Implozija odzvanja jednako snažno budući da je glumac oslikao unutarnja emotivna i egzistencijalna previranja lika i iznio vani slikarovu usamljenost, nesigurnost, sve što se protivilo dotadašnjim snažnim, mačo nastupima zvijezda njegova kalibra, zbog čega ga je kritizirao John Wayne i osjetio se "izdanim".
Na trenutke se ne zna gdje počinje Douglas, gdje završava Van Gogh i obratno. Subvertirajući svoj zvjezdani imidž, Douglas se posvetio liku do krajnjih granica kao Van Gogh slikanju, pod cijenu da i sam "poludi" prilikom uranjanja pod kožu čovjeka koji je znao živjeti na dvije kave i tri apsinta, odnosno postizanja umjetničkog savršenstva.
To se osjeti i njegovu ulogu čini ne samo metodskom, nego gotovo i metafilmskom na razmeđi glume i slikarstva, kamo boravi sam film u režiji redatelja dotad mahom specijalizirana za mjuzikle ("Amerikanac u Parizu", "Diži zastor") ili romantične komedije ("Otac moje nevjeste").
Minnelli je koreografiju mjuzikla prenio na Van Goghove živopisne boje koje su se s njegovih paleta i slika prelile u melodramski "technicolor" filma i glazbene partiture Miklósa Rózse. "Žudnju za životom" Minnelli je režirao u "cinemascope" kompozicijama, kao da slika pejzaže i kad snima portrete.
Eksterijerno se boja s interijernim na slikarskom i kino platnu dok Van Gogh "probija željezni zid između onoga što osjeća i onoga što može izraziti" kako bi slikama "dirnuo ljude" hvatajući poeziju skrivenu u komadu pijeska, mora ili neba, tj. na licu čovjeka, "žena i muškaraca koji znaju što je težak rad".
Kao što je Van Gogh stvarao "nešto što će mirisati na šunku" i proizvodio sinesteziju osjećaja u promatraču, tako je Minnelli režirao film, reproducirajući slike i njihove motive da publika osjeti svjetlo zlatnog sunca koje miluje polje žita ("Pšenična polja s vranama"), što je i slikar htio postići svojim genijalnim potezima kistom.
Slike se znaju stapati s kadrovima, a kamera je kao kist, ali i više od toga. Kamera se približava slikama i uranja u njih kao (Douglas) u Van Goghov um koji vedri i oblači ("Suncokreti", "Zvjezdana noć"). "Lust For Life" miješa Van Goghove boje i osjećaje u oku promatrača.
---
Zahvala muzejima i kolekcionarima
Scenarij je napisao Norman Corwin adaptirajući roman Irvinga Stonea. Autori "Žudnje za životomna početku se zahvaljuju muzejima i privatnim kolekcionarima bez kojih ovaj film ne bi mogao biti snimljen.
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IIn memoriam Kirku Douglasu uz projekciju filma "Žudnja za životom" (1956.) Vincentea Minnellija služi kao vraški dobar podsjetnik na njega kao dramskoga glumca u punom smislu riječi, a ne zvjezdanog junaka. Douglas se najčešće dovodio u vezu s (filmskim) likovima većim od života u povijesnim spektaklima poput "Spartaka".
Velikan "zlatnog doba Hollywooda" širem auditoriju je ponajprije gladijator Spartak, ali mogao bi postati i slikar Vincent Van Gogh nakon ponovnog (ili prvog) gledanja "Lust For Life". "Postati" je nezaobilazna riječ za jednu od najboljih uloga njegove karijere, pozlaćenu i nominacijom za Oscara, njegovom trećom nakon boksačkog "Šampiona" i Minnellijeve drame "Loši i lijepi".
---
FILM: Lust For Life; drama; SAD, 1956. REŽIJA: Vincente Minnelli ULOGE: Kirk Douglas, Anthony Quinn OCJENA: **** ½
---
Jer, Douglas nije glumio Van Gogha, već bio, postao on. Da Douglasov Van Gogh siđe s platna "Kinoteke" u parter, u stilu aktera "Purpurne ruže Kaira" i "Posljednjeg akcijskog junaka", pomislili bismo da nam je pravi slikar uskrsnuo pred očima. Kad ga u filmu vidimo prvi put, kako sjedi u hodniku, u stražnjem planu, iza otvorenih vrata ureda, čini se da gledamo (u) Van Gogha na kojeg Douglas ionako poprilično sliči.
Sličnost je mjestimice frapantna, kao da je glumac izgubljeni brat blizanac slikara. Ni nedavni animirani film "Loving Vincent", nagrađen EU Oscarom, nije (re)animirao Van Gogha bolje od Douglasa. Intenzivna uloga Van Gogha vrhunac je glumačkog naturalizma i ekspresionizma, metodske glume koju je Marlon Brando početkom pedesetih podigao na (naj)veću razinu.
"Toliko sam uronio u njegovu izmučenu dušu da mi se bilo teško izvući natrag; imao sam godina koliko i on kad se ubio, našminkan sam mu toliko sličio da sam morao rukom dotaknuti uho da se uvjerim da je još tu", izjavio je Douglas. Upravo je nevjerojatno da je Oscara te godine dobio Yul Brynner za ulogu u filmu "Kralj i ja", a ne Douglas ili da je Akademija prednost dala Anthonyju Quinnu u sporednoj ulozi Paula Gauguina kojeg na momente glumi kao Mozartova Salierija.
Iznimno uživljen, ponekad malčice čak i preuživljen, Douglas je preslikao Van Gogha izvana, ali i iznutra u prizorima istovremene glumačke eksplozije i implozije boja "ludog slikara". Implozija odzvanja jednako snažno budući da je glumac oslikao unutarnja emotivna i egzistencijalna previranja lika i iznio vani slikarovu usamljenost, nesigurnost, sve što se protivilo dotadašnjim snažnim, mačo nastupima zvijezda njegova kalibra, zbog čega ga je kritizirao John Wayne i osjetio se "izdanim".
Na trenutke se ne zna gdje počinje Douglas, gdje završava Van Gogh i obratno. Subvertirajući svoj zvjezdani imidž, Douglas se posvetio liku do krajnjih granica kao Van Gogh slikanju, pod cijenu da i sam "poludi" prilikom uranjanja pod kožu čovjeka koji je znao živjeti na dvije kave i tri apsinta, odnosno postizanja umjetničkog savršenstva.
To se osjeti i njegovu ulogu čini ne samo metodskom, nego gotovo i metafilmskom na razmeđi glume i slikarstva, kamo boravi sam film u režiji redatelja dotad mahom specijalizirana za mjuzikle ("Amerikanac u Parizu", "Diži zastor") ili romantične komedije ("Otac moje nevjeste").
Minnelli je koreografiju mjuzikla prenio na Van Goghove živopisne boje koje su se s njegovih paleta i slika prelile u melodramski "technicolor" filma i glazbene partiture Miklósa Rózse. "Žudnju za životom" Minnelli je režirao u "cinemascope" kompozicijama, kao da slika pejzaže i kad snima portrete.
Eksterijerno se boja s interijernim na slikarskom i kino platnu dok Van Gogh "probija željezni zid između onoga što osjeća i onoga što može izraziti" kako bi slikama "dirnuo ljude" hvatajući poeziju skrivenu u komadu pijeska, mora ili neba, tj. na licu čovjeka, "žena i muškaraca koji znaju što je težak rad".
Kao što je Van Gogh stvarao "nešto što će mirisati na šunku" i proizvodio sinesteziju osjećaja u promatraču, tako je Minnelli režirao film, reproducirajući slike i njihove motive da publika osjeti svjetlo zlatnog sunca koje miluje polje žita ("Pšenična polja s vranama"), što je i slikar htio postići svojim genijalnim potezima kistom.
Slike se znaju stapati s kadrovima, a kamera je kao kist, ali i više od toga. Kamera se približava slikama i uranja u njih kao (Douglas) u Van Goghov um koji vedri i oblači ("Suncokreti", "Zvjezdana noć"). "Lust For Life" miješa Van Goghove boje i osjećaje u oku promatrača.
---
Zahvala muzejima i kolekcionarima
Scenarij je napisao Norman Corwin adaptirajući roman Irvinga Stonea. Autori "Žudnje za životomna početku se zahvaljuju muzejima i privatnim kolekcionarima bez kojih ovaj film ne bi mogao biti snimljen.
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15. svibanj 2024 02:00
