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Pristojna glumačka ekipa i potentna premisa zovu na gledanje filma "Američka noć", premijernog naslova u "online" videotekama.

Talijanski redatelj Alessio Della Valle okupio je Jonathana Rhysa Myersa, Paz Vegu, Emilea Hirscha, Jeremyja Pivena i Michaela Madsena te ih ubacio u "priču iz tri dijela" koja između umjetnosti i života, oslikanih neonom, stavlja "plus" ("art + life").

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FILM: American Night; krimi triler; SAD/Italija, 2021. REŽIJA: Alessio Della Valle ULOGE: Jonathan Rhys Meyers, Emile Hirsch OCJENA: ** ½

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Njihovi likovi su načelno živopisni, redom likovni kritičar i u slobodno vrijeme falsifikator, restauratorica umjetnosti, gangster i umjetnik, kaskader i mafijaški "boss".

Tu su i prodavačice na crnom tržištu koje će biti obojano crvenom bojom, onako kako Hirscheov gangster i umjetnik boja platno, dakle mecima iz strojnica, pištolja ili pušaka. "Ne želim čuti nikoga kako kritizira moju umjetnost", rezolutan je on.

Ipak, njegovu umjetnost nazivaju "pretencioznim Piccaso slikanjem", premda je ustvari bliži Pollocku na način kako baca boju i metke na platno. Ako vam se u glavi polako stvara slika "tarantinovskog" krimića na tankoj granici podzemnog i umjetničkog svijeta, niste daleko od Valleove vizije.

Na koncu, tu je Madsen u "madsenovskoj" ulozi kao direktna glumačka poveznica s Quentinom Tarantinom ("Psi iz rezervoara", "Kill Bill 2"), načelno živopisni likovi, kao i podzapletna zavrzlama vezana za sliku "Ružičasta Marilyn Monroe" Andyja Warhola s nezaobilaznim prevarama i preokretima.

Izvjesni "kurir" treba isporučiti sliku, ali "paket koji vrijedi bogatstvo" će završiti u krivim rukama kad meci počnu sijevati na sve strane.

Međutim, "American Night" je nažalost samo loša kopija Tarantina i njegovih originalnih filmova devedesetih poput "Paklenog šunda" i "Jackie Brown", da ne kažemo falsifikat koji Valle pokušava prodati na crnohumorno-kriminalističko-trilerskom tržištu kao što to radi Meysersov lik John Kaplan.

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Može Hirscheov gangster/umjetnik Michael Rubino govoriti o "razbijanju konvencija", ali "Američka noć" ne uspijeva napraviti nešto novo unutar krimi trilera mračnog humora koji je Tarantino načinio svojim žanrom. Valle nije Tarantino, pa ni kalibar Guya Ritchieja ("Gospoda"), premda bi žarko volio biti.

Najveći problem filma je scenarij: radnja je odveć neuredna i lišena pamtljivih dijaloga ili monologa, što Hirscheova priča o škorpionu i žabi sigurno nije jer smo je već čuli, a i on je ne uspijeva načiniti zanimljivom, dati neki vlastiti "spin", baš kao ni Valle na širem planu.

Likovi nisu razvijeni, interesantni, ni "cool", eventualno Pivenov kaskader Vincent, opsjednut Bruceom Leejem i njegovom filozofijom "Budi voda", odnosno "Ne možeš zaustaviti vodu".

Više talenta Valle pokazuje kao redatelj. Njegov film je neonski stiliziran kao novovjeki festivalski i akcijski kultovi poput "Neonskog demona", "Atomske plavuše" i "Johna Wicka", iako istreniranijem oku teško može promaći da Bugarska glumi New York, i to ne pretjerano dobro.

No, stilizacija je najbolja stavka filma, tj. Valleovo oko za boje i slikarske kompozicije. Šarene boje će se p(r)omiješati na tijelu Kaplana i restauratorice Sarah Flores i oslikati vizualno upečatljivu scenu seksa.

A u jednoj prilično jedinstvenoj sceni, kad Kaplan i Sarah stoje ispred slike u njegovoj galeriji, čini se kao da se nalaze u samoj slici, odnosno kadar postaje slika unutar slike unutar slike.

Zbog ovakvih trenutaka "American Night" se može pogledati, ali kome je do kvazi-Tarantina na razmeđi "gangsta" i "art" svijeta radije neka potraži "Ubojicu na poziv" Rogera Avaryja. Crvena i crna boja tu su nešto bolje promiješane.

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Meyers i Hirsch opet zajedno

Jonathan Rhys Meyers i Emile Hirsch će još jednom glumiti u istom filmu. U pretprodukciji im se nalazi akcijski triler "Run", a društvo će im praviti Olga Kurylenko.

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Pristojna glumačka ekipa i potentna premisa zovu na gledanje filma "Američka noć", premijernog naslova u "online" videotekama.

Talijanski redatelj Alessio Della Valle okupio je Jonathana Rhysa Myersa, Paz Vegu, Emilea Hirscha, Jeremyja Pivena i Michaela Madsena te ih ubacio u "priču iz tri dijela" koja između umjetnosti i života, oslikanih neonom, stavlja "plus" ("art + life").

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FILM: American Night; krimi triler; SAD/Italija, 2021. REŽIJA: Alessio Della Valle ULOGE: Jonathan Rhys Meyers, Emile Hirsch OCJENA: ** ½

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Njihovi likovi su načelno živopisni, redom likovni kritičar i u slobodno vrijeme falsifikator, restauratorica umjetnosti, gangster i umjetnik, kaskader i mafijaški "boss".

Tu su i prodavačice na crnom tržištu koje će biti obojano crvenom bojom, onako kako Hirscheov gangster i umjetnik boja platno, dakle mecima iz strojnica, pištolja ili pušaka. "Ne želim čuti nikoga kako kritizira moju umjetnost", rezolutan je on.

Ipak, njegovu umjetnost nazivaju "pretencioznim Piccaso slikanjem", premda je ustvari bliži Pollocku na način kako baca boju i metke na platno. Ako vam se u glavi polako stvara slika "tarantinovskog" krimića na tankoj granici podzemnog i umjetničkog svijeta, niste daleko od Valleove vizije.

Na koncu, tu je Madsen u "madsenovskoj" ulozi kao direktna glumačka poveznica s Quentinom Tarantinom ("Psi iz rezervoara", "Kill Bill 2"), načelno živopisni likovi, kao i podzapletna zavrzlama vezana za sliku "Ružičasta Marilyn Monroe" Andyja Warhola s nezaobilaznim prevarama i preokretima.

Izvjesni "kurir" treba isporučiti sliku, ali "paket koji vrijedi bogatstvo" će završiti u krivim rukama kad meci počnu sijevati na sve strane.

Međutim, "American Night" je nažalost samo loša kopija Tarantina i njegovih originalnih filmova devedesetih poput "Paklenog šunda" i "Jackie Brown", da ne kažemo falsifikat koji Valle pokušava prodati na crnohumorno-kriminalističko-trilerskom tržištu kao što to radi Meysersov lik John Kaplan.

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Može Hirscheov gangster/umjetnik Michael Rubino govoriti o "razbijanju konvencija", ali "Američka noć" ne uspijeva napraviti nešto novo unutar krimi trilera mračnog humora koji je Tarantino načinio svojim žanrom. Valle nije Tarantino, pa ni kalibar Guya Ritchieja ("Gospoda"), premda bi žarko volio biti.

Najveći problem filma je scenarij: radnja je odveć neuredna i lišena pamtljivih dijaloga ili monologa, što Hirscheova priča o škorpionu i žabi sigurno nije jer smo je već čuli, a i on je ne uspijeva načiniti zanimljivom, dati neki vlastiti "spin", baš kao ni Valle na širem planu.

Likovi nisu razvijeni, interesantni, ni "cool", eventualno Pivenov kaskader Vincent, opsjednut Bruceom Leejem i njegovom filozofijom "Budi voda", odnosno "Ne možeš zaustaviti vodu".

Više talenta Valle pokazuje kao redatelj. Njegov film je neonski stiliziran kao novovjeki festivalski i akcijski kultovi poput "Neonskog demona", "Atomske plavuše" i "Johna Wicka", iako istreniranijem oku teško može promaći da Bugarska glumi New York, i to ne pretjerano dobro.

No, stilizacija je najbolja stavka filma, tj. Valleovo oko za boje i slikarske kompozicije. Šarene boje će se p(r)omiješati na tijelu Kaplana i restauratorice Sarah Flores i oslikati vizualno upečatljivu scenu seksa.

A u jednoj prilično jedinstvenoj sceni, kad Kaplan i Sarah stoje ispred slike u njegovoj galeriji, čini se kao da se nalaze u samoj slici, odnosno kadar postaje slika unutar slike unutar slike.

Zbog ovakvih trenutaka "American Night" se može pogledati, ali kome je do kvazi-Tarantina na razmeđi "gangsta" i "art" svijeta radije neka potraži "Ubojicu na poziv" Rogera Avaryja. Crvena i crna boja tu su nešto bolje promiješane.

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Meyers i Hirsch opet zajedno

Jonathan Rhys Meyers i Emile Hirsch će još jednom glumiti u istom filmu. U pretprodukciji im se nalazi akcijski triler "Run", a društvo će im praviti Olga Kurylenko.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Američka noć‘: Kvazi-Tarantino između ‘gangsta‘ i ‘art‘ svijeta

Piše Marko Njegić
18. siječnja 2022. - 22:58
20540040
PREMIUM
Galerija

Pristojna glumačka ekipa i potentna premisa zovu na gledanje filma "Američka noć", premijernog naslova u "online" videotekama.

Talijanski redatelj Alessio Della Valle okupio je Jonathana Rhysa Myersa, Paz Vegu, Emilea Hirscha, Jeremyja Pivena i Michaela Madsena te ih ubacio u "priču iz tri dijela" koja između umjetnosti i života, oslikanih neonom, stavlja "plus" ("art + life").

Njihovi likovi su načelno živopisni, redom likovni kritičar i u slobodno vrijeme falsifikator, restauratorica umjetnosti, gangster i umjetnik, kaskader i mafijaški "boss".

Tu su i prodavačice na crnom tržištu koje će biti obojano crvenom bojom, onako kako Hirscheov gangster i umjetnik boja platno, dakle mecima iz strojnica, pištolja ili pušaka. "Ne želim čuti nikoga kako kritizira moju umjetnost",...

#CINEMARK#CINEMARK U KUĆNOM KINU#CRNOHUMORNI TRILERI#KRIMIĆI#JONATHAN RHYS MEYERS#EMILE HIRSCH#PAZ VEGA#MICHAEL MADSEN#JEREMY PIVEN#ALESSIO DELLA VALLE
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12. svibanj 2024 13:02