OSMRTNICE
stdClass Object ( [id] => 1323676 [title] => Ubojstvo u Veneciji: Nema sumnje, oštroumnom Poirotu više godi ustajali zrak Serenissime od vreline Nila [alias] => ubojstvo-u-veneciji-nema-sumnje-ostroumnom-poirotu-vise-godi-ustajali-zrak-serenissime-od-vreline-nila [catid] => 374 [published] => 1 [introtext] => [fulltext] =>

Mušičavom Belgijcu Herculeu Poirotu definitivno više odgovara memljiv zrak Serenissime od vreline pijeskom okovanog Nila i snijegom zametenih balkanskih tračnica.

‘Ubojstvo u Veneciji‘(A haunting in Venice), novi prilog serijalu o oštroumnom istražitelju iz pera kraljice krimića Agathe Christie i treće glumačko-redateljsko ostvarenje šekspirijanca Kennetha Branagha ljubiteljima filmskih murder mysterya vraća nadu da nije sve izgubljeno kako se činilo nakon debakla prošlogodišnje ‘Smrti na Nilu‘.

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Michelle Yeoh izvrsna je kao spiritistica

 


 

Collection Christophel Via Afp
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Branagh je očito naučio lekciju i u novom uratku zaobišao najveće zamke u koje je upao u prethodnom. Fabula ‘Ubojstva u Veneciji‘ preglednija je, likovi opet brojni ali smisleniji i bolje motivirani no ranije, ugođaj mnogo više u skladu sa zbivanjima i unutarnjim stanjima aktera.

Atmosferičnosti je bez sumnje pridonijela smjela autorska odluka da se kriminalističku potku začini elementima horrora koji podižu razinu napetosti, ali ni u jednom trenutku ne prelaze granicu parodije. Glavni lik brkonje Poirota karakterizacijski je unaprijeđen, nije tek osebujni detektiv hobist već ozbiljno traumatiziran ratni veteran, otuđen i poljuljane vjere u Boga i ljudskost.

Branaghu takva profilacija dobro pristaje, ublažio je i na momente iritantan izvještačeni francuski naglasak te se nadaje kao pouzdan nositelj radnje.

Uz bok mu ide i većina ostalih protagonista, pa tako freška oskarovka Michelle Yeoh impresionira kao zloguka spiritistica Joyce Reynolds, a Jamie Dornan (50 nijansi sive) ugodno iznenađuje suptilnim pristupom ulozi nesretno zaljubljenog liječnika s PTSP-om. Pravo otkriće je i Jude Hill kao pomalo zastrašujući starmali dječak Leopold, liječnikov filmski sin. Prevladavajući ženski ansambl dobro je odabran i na visini zadatka, unatoč pokojem scenarističkom ograničenju.

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Kenneth Branagh i Tina Fey, Poirot i njegova prijateljica Ariadne

Collection Christophel Via Afp
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Kelly Reilly uvjerljiva je kao posrnula operna diva i majka Rowena Drake, Camille Cottin uživjela se u ulogu zagonetne guvernante Olge Seminoff, a solidne su i Tea Fey kao Poirotova prijateljica spisateljica i Emma Laird u sestrinskom ‘tandemu‘ s Ali Khanom. Ravnopravnu ulogu u Branaghovu ‘Ubojstvu‘, ponajviše zahvaljujući umješnosti snimatelja, Grka Harisa Zambarloukosa, ima i sama Venecija sa svom opskurnim ćudima tonućeg grada jačeg od svake plime.

Iako se Branaghova adaptacija temelji na manje poznatoj pripovijesti Agathe Christie ‘Halloween party‘ iz 1969., pomalo nakaradno djeluje filmski ‘transfer‘ amerikaniziranog trick or treat običaja u Veneciju, diljem svijeta (pre)poznatu po jedinstvenom karnevalu.

Nađe se tu i povremenih lutanja između staromodnog i suvremenog načina prerade žanrovskih motiva, a neke su dekoracije filma strave odavno potrošene (pad kristalnog lustera, škripavi podovi derutne palače na vodi, ukazanja duhova).

Neki detalji se opet nikad ne razviju poput šutljivog kakadua glavne žrtve ili prilično zbrzane završnice s mladim Poirotovim štovateljem. Ukratko, ‘Ubojstvo u Veneciji‘ daleko je od savršenstva whodunita, ali ohrabruje najavom povratka serijala na početne postavke koje je Branagh trasirao ‘Orient Expressom‘ i doskora uprskao ‘Smrću na Nilu‘.

 

 

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Mušičavom Belgijcu Herculeu Poirotu definitivno više odgovara memljiv zrak Serenissime od vreline pijeskom okovanog Nila i snijegom zametenih balkanskih tračnica.

‘Ubojstvo u Veneciji‘(A haunting in Venice), novi prilog serijalu o oštroumnom istražitelju iz pera kraljice krimića Agathe Christie i treće glumačko-redateljsko ostvarenje šekspirijanca Kennetha Branagha ljubiteljima filmskih murder mysterya vraća nadu da nije sve izgubljeno kako se činilo nakon debakla prošlogodišnje ‘Smrti na Nilu‘.

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image

Michelle Yeoh izvrsna je kao spiritistica

 


 

Collection Christophel Via Afp
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Branagh je očito naučio lekciju i u novom uratku zaobišao najveće zamke u koje je upao u prethodnom. Fabula ‘Ubojstva u Veneciji‘ preglednija je, likovi opet brojni ali smisleniji i bolje motivirani no ranije, ugođaj mnogo više u skladu sa zbivanjima i unutarnjim stanjima aktera.

Atmosferičnosti je bez sumnje pridonijela smjela autorska odluka da se kriminalističku potku začini elementima horrora koji podižu razinu napetosti, ali ni u jednom trenutku ne prelaze granicu parodije. Glavni lik brkonje Poirota karakterizacijski je unaprijeđen, nije tek osebujni detektiv hobist već ozbiljno traumatiziran ratni veteran, otuđen i poljuljane vjere u Boga i ljudskost.

Branaghu takva profilacija dobro pristaje, ublažio je i na momente iritantan izvještačeni francuski naglasak te se nadaje kao pouzdan nositelj radnje.

Uz bok mu ide i većina ostalih protagonista, pa tako freška oskarovka Michelle Yeoh impresionira kao zloguka spiritistica Joyce Reynolds, a Jamie Dornan (50 nijansi sive) ugodno iznenađuje suptilnim pristupom ulozi nesretno zaljubljenog liječnika s PTSP-om. Pravo otkriće je i Jude Hill kao pomalo zastrašujući starmali dječak Leopold, liječnikov filmski sin. Prevladavajući ženski ansambl dobro je odabran i na visini zadatka, unatoč pokojem scenarističkom ograničenju.

---

image

Kenneth Branagh i Tina Fey, Poirot i njegova prijateljica Ariadne

Collection Christophel Via Afp
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Kelly Reilly uvjerljiva je kao posrnula operna diva i majka Rowena Drake, Camille Cottin uživjela se u ulogu zagonetne guvernante Olge Seminoff, a solidne su i Tea Fey kao Poirotova prijateljica spisateljica i Emma Laird u sestrinskom ‘tandemu‘ s Ali Khanom. Ravnopravnu ulogu u Branaghovu ‘Ubojstvu‘, ponajviše zahvaljujući umješnosti snimatelja, Grka Harisa Zambarloukosa, ima i sama Venecija sa svom opskurnim ćudima tonućeg grada jačeg od svake plime.

Iako se Branaghova adaptacija temelji na manje poznatoj pripovijesti Agathe Christie ‘Halloween party‘ iz 1969., pomalo nakaradno djeluje filmski ‘transfer‘ amerikaniziranog trick or treat običaja u Veneciju, diljem svijeta (pre)poznatu po jedinstvenom karnevalu.

Nađe se tu i povremenih lutanja između staromodnog i suvremenog načina prerade žanrovskih motiva, a neke su dekoracije filma strave odavno potrošene (pad kristalnog lustera, škripavi podovi derutne palače na vodi, ukazanja duhova).

Neki detalji se opet nikad ne razviju poput šutljivog kakadua glavne žrtve ili prilično zbrzane završnice s mladim Poirotovim štovateljem. Ukratko, ‘Ubojstvo u Veneciji‘ daleko je od savršenstva whodunita, ali ohrabruje najavom povratka serijala na početne postavke koje je Branagh trasirao ‘Orient Expressom‘ i doskora uprskao ‘Smrću na Nilu‘.

 

 

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Collection Christophel Via Afp Collection Christophel Via Afp

‘Haunting In Venice‘
Collection Christophel Via Afp

Michelle Yeoh izvrsna je kao spiritistica

 


 
Collection Christophel Via Afp

Kenneth Branagh i Tina Fey, Poirot i njegova prijateljica Ariadne
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ZabavaFILM TJEDNA

Ubojstvo u Veneciji: Nema sumnje, oštroumnom Poirotu više godi ustajali zrak Serenissime od vreline Nila

Piše Gabrijela Bijelić
18. rujna 2023. - 15:20
&lt;p&gt;‘Haunting In Venice‘&lt;/p&gt;
Galerija
‘Haunting In Venice‘

Mušičavom Belgijcu Herculeu Poirotu definitivno više odgovara memljiv zrak Serenissime od vreline pijeskom okovanog Nila i snijegom zametenih balkanskih tračnica.

‘Ubojstvo u Veneciji‘(A haunting in Venice), novi prilog serijalu o oštroumnom istražitelju iz pera kraljice krimića Agathe Christie i treće glumačko-redateljsko ostvarenje šekspirijanca Kennetha Branagha ljubiteljima filmskih murder mysterya vraća nadu da nije sve izgubljeno kako se činilo nakon debakla prošlogodišnje ‘Smrti na Nilu‘.

image

Michelle Yeoh izvrsna je kao spiritistica

 


 

Collection Christophel Via Afp

Branagh je očito naučio lekciju i u novom uratku zaobišao najveće zamke u koje je upao u prethodnom. Fabula ‘Ubojstva u Veneciji‘ preglednija je, likovi opet brojni ali smisleniji i bolje motivirani no ranije, ugođaj mnogo više u skladu sa zbivanjima i unutarnjim stanjima aktera.

Atmosferičnosti je bez sumnje pridonijela smjela autorska odluka da se kriminalističku potku začini elementima horrora koji podižu razinu napetosti, ali ni u jednom trenutku ne prelaze granicu parodije. Glavni lik brkonje Poirota karakterizacijski je unaprijeđen, nije tek osebujni detektiv hobist već ozbiljno traumatiziran ratni veteran, otuđen i poljuljane vjere u Boga i ljudskost.

Branaghu takva profilacija dobro pristaje, ublažio je i na momente iritantan izvještačeni francuski naglasak te se nadaje kao pouzdan nositelj radnje.

Uz bok mu ide i većina ostalih protagonista, pa tako freška oskarovka Michelle Yeoh impresionira kao zloguka spiritistica Joyce Reynolds, a Jamie Dornan (50 nijansi sive) ugodno iznenađuje suptilnim pristupom ulozi nesretno zaljubljenog liječnika s PTSP-om. Pravo otkriće je i Jude Hill kao pomalo zastrašujući starmali dječak Leopold, liječnikov filmski sin. Prevladavajući ženski ansambl dobro je odabran i na visini zadatka, unatoč pokojem scenarističkom ograničenju.

image

Kenneth Branagh i Tina Fey, Poirot i njegova prijateljica Ariadne

Collection Christophel Via Afp

Kelly Reilly uvjerljiva je kao posrnula operna diva i majka Rowena Drake, Camille Cottin uživjela se u ulogu zagonetne guvernante Olge Seminoff, a solidne su i Tea Fey kao Poirotova prijateljica spisateljica i Emma Laird u sestrinskom ‘tandemu‘ s Ali Khanom. Ravnopravnu ulogu u Branaghovu ‘Ubojstvu‘, ponajviše zahvaljujući umješnosti snimatelja, Grka Harisa Zambarloukosa, ima i sama Venecija sa svom opskurnim ćudima tonućeg grada jačeg od svake plime.

Iako se Branaghova adaptacija temelji na manje poznatoj pripovijesti Agathe Christie ‘Halloween party‘ iz 1969., pomalo nakaradno djeluje filmski ‘transfer‘ amerikaniziranog trick or treat običaja u Veneciju, diljem svijeta (pre)poznatu po jedinstvenom karnevalu.

Nađe se tu i povremenih lutanja između staromodnog i suvremenog načina prerade žanrovskih motiva, a neke su dekoracije filma strave odavno potrošene (pad kristalnog lustera, škripavi podovi derutne palače na vodi, ukazanja duhova).

Neki detalji se opet nikad ne razviju poput šutljivog kakadua glavne žrtve ili prilično zbrzane završnice s mladim Poirotovim štovateljem. Ukratko, ‘Ubojstvo u Veneciji‘ daleko je od savršenstva whodunita, ali ohrabruje najavom povratka serijala na početne postavke koje je Branagh trasirao ‘Orient Expressom‘ i doskora uprskao ‘Smrću na Nilu‘.

 

 

#FILM TJEDNA#UBOJSTVO U VENECIJI#KENNETH BRANAGH#KINEMATOGRAFI DUBROVNIK
17. svibanj 2024 07:37