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Bela Lugosi je mrtav, pjevaju novovalni gotički postpunk-rokeri Bauhaus u početnim taktovima dugometražnog kinoprvijenca Tonyja Scotta "Glad za krvlju" ("The Hunger", 1983.). Inspiriran istoimenim romanom Whitleyja Striebera, Scott objavljuje smrt legendarnog tumača Drakule, ali i klasičnog vampirskog filma.

"Glad za krvlju" predstavlja nove-stare vampire za osamdesete i modernizira vampirski film kao takav pa nije čudno da smo do kraja dekade na njegovu valu dobili "Izgubljene dječake" i "Blizu tame". Zaboravite Drakulu Bele Lugosija i Christophera Leeja, čak i Franka Langelle s kraja sedamdesetih.

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FILM: The Hunger; horor drama; SAD/Velika Britanija, 1983. REŽIJA: Tony Scott ULOGE: Catherine Deneuve, David Bowie OCJENA: ****

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U Scottovu revizionističkom filmu nema vampira ogrnutih u plašteve koji stoluju u dvorcima. Nema tradicionalnih raspela, niti očnjaka. Kvragu, ni riječ "vampir" se ne izgovara. Jedinstveni "The Hunger" baca tradiciju vampirskog filma kroz zatvoreni prozor zadnjeg kata Drakulina dvorca i nameće vlastitu estetiku podžanra kao jedan od prvih primjeraka "uzvišenog", dramski intoniranog modernog horora, tridesetak godina prije nego što se kovanica "elevated horror" počela rabiti.

Vampiri u impresivnoj prvoj sceni, neakcijskoj preteči uvoda "Bladea", love ljude u newyorškom gotičkom diskoklubu. Oni su Miriam (elegantna Catherine Deneuve kao preslika filma) i John Blaylock (David Bowie), a njihova meta postaju dvoje punk-rokera.

Način kako Scott režira uvodnu scenu razlikuje "Glad za krvlju" od svega vampirskog što mu je prethodilo i približava žanr vizualnim "cinema du look" kretanjima u francuskoj kinematografiji, kao i "Istrebljivaču" njegova brata Ridleyja, pa i vršnjačkom "Flashdanceu" Adriana Lynea koji je u tom stilu snimio i "Devet i pol tjedana".

Blještava stilizacija prednjači i artistički nastrojeni Scott postavlja scenu kao da radi spot za Bauhaus ili pojedini "new wave" sastav osamdesetih ili da snima reklamu za neku "high fashion" modnu marku, usput postavljajući temelje svog redateljskog senzibiliteta ("Top Gun", "Policajac s Beverly Hillsa II", "Dani groma", "Prljavi igraju prljavo", "Prava romansa", "Grimizna plima", "Tjelesna straža").

Zanosni, orgijastički neonski filteri prožimaju kadrove s odrazima zbivanja uhvaćenim u sunčanim naočalama vampira koji će zavesti žrtve, dovesti ih u svoju raskošnu gotičku kuću i ondje im pustiti krv u scenskom vjesniku za film dominantnog suodnosa erosa i thanatosa. Izgled hororske drame "The Hunger" sjajan je od početka do kraja, na razmeđi stroboskopske neogotike i kjaroskuro neonoira u pogledu snolike fotografije Stephena Goldblatta ("Planet prokletih"), odnosno osvjetljenja.

No, kritičari su većinski favorizirali, i nastavljaju favorizirati, prvake francuskog "cinema du look" pokreta (Jean-Jacques Beineix, Luc Besson, Leos Carax) zato što nisu dio visokobudžetnog Hollywooda kao braća Scott i Lyne, premda su njegovali sličnu estetiku i davali prednost stilu nad sadržajem ("Betty Blue" je najveća iznimka).

Stil ostvaruje pobjedu u "Gladi za krvlju" i vampiri vjerojatno nisu izgledali nikad bolje zahvaljujući Scottu, ali sadržaj nije zanemariv i realistična drama opstoji, (ne)skrivena ispod ispolirane površine vampirskog filma. Jer, "The Hunger" je prilično dramski realističan komad vampirizma s minimalnim uplivima nadrealnog, samo što se to ne bi na prvi pogled reklo zbog Scottova režijskog "nadrealizma".

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Drama se tiče (vječnog) života i smrti, življenja, starenja, (be)smrtnosti. "Govorimo o tajni života i smrti ovdje", reći će liječnica Sarah Roberts (Susan Sarandon), autorica knjige "Spavanje i dugovječnost". Dr. Roberts govori o "flertu čovječanstva s besmrtnošću", proučava ubrzano starenje i radi na tome da uspori "unutarnji sat", smatrajući da je "starost bolest koja se može izliječiti".

Na taj način ona privlači pozornost Johna nakon što je iznenada počeo rapidno stariti da mu ni tuđa krv ne pomaže. Primjećuje bore oko oka, kosa mu ispada... "Rekla si zauvijek, sjećaš se? Nikada ne ostarjeti, zauvijek mlad...", John spočitava Miriam koja mu je obećala "forever and ever" kad ga je pretvorila u vampira.

"Jučer sam imao 30, ja sam mlad čovjek", otkriva John kad dođe kod dr. Roberts, ali ga ona ostavi u čekaonici da, malo crnog humora, ostari od čekanja poput Metuzalema. Kad Dr. Roberts, ponukana grižnjom savjesti što ga je ostavila da čeka, dođe kod Miriam, John je već ostario do smrti, no između njih dvije se rađa privlačnost.

Enigmatična i biseksualna Miriam, naizgled posljednja od vrste drevnih egipatskih vampira, zavodi Sarah uz čašicu cherryja i isječak opere "Lakme" Lea Delibesa odsviran na klaviru. Kad cherry kapne na bijelu Sarahinu majicu i zacrveni je taman po mjeri da ona postane "miss wet T-shirt" vampirskog filma, to je okidač za vrlo senzualnu i erotičnu scenu lezbijskog seksa.

Kritičari i gledatelji zaslijepljeni ljepotom legende francuskoga glumišta Deneuve ("Šerburški kišobrani") i nanovo toplesiranom Sarandon ("Atlantic City") nisu išli za tim da je scena metaforički iznimno radikalna za vrijeme nastanka. Film "Glad za krvlju" izišao je u razdoblju rastuće AIDS krize i gay konzervatizma, a Miriam će tijekom (istospolnog!) seksa pomiješati svoju krv sa Sarahinom i pretvoriti je u vampirku.

Mnogima je promaklo, i još promiče, sličnost između filmova "The Hunger" i "Blade Runner", kao da je Tony želio odati počast bratovu SF-u. Strah od starenja i smrti pokreće neljudske likove oba filma željne dugovječnosti (vampiri, replikanti). John je vampirski Roy Batty i također ima ograničeni vijek trajanja, samo što je uspio poživjeti 300 godina umjesto samo četiri kao replikant.

Obojica paze od ubrzanog starenja i pokušavaju zaustaviti smrt kad joj se naglo približe. "Daj mi malo više (vremena)", John kaže Miriam, a Roy je od svoga tvorca želio isto to, tj. "više života". Povrh toga, "Glad za krvlju" i "Istrebljivač" dijele značajnu uporabu polaroid-fotografije (ovdje fotka mladog Johna u odrazu naočala na njegovom starom licu), simboliku bijelih golubova, sklonost neonu i zadimljenim kadrovima. "The Hunger" i "Blade Runner" dva su filma u bratskom odnosu.

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I kraljica erotike je htjela biti vampirka

Sylvia Kristel se, zanimljivo, neuspješno kandidirala za ulogu Miriam, a "cameo" nastupe ostvarili su Willem Dafoe i John Pankow (scena kraj telefonske govornice)) koji su dvije godine poslije glumili u "Živjeti i umrijeti u L.A.-u".

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Bela Lugosi je mrtav, pjevaju novovalni gotički postpunk-rokeri Bauhaus u početnim taktovima dugometražnog kinoprvijenca Tonyja Scotta "Glad za krvlju" ("The Hunger", 1983.). Inspiriran istoimenim romanom Whitleyja Striebera, Scott objavljuje smrt legendarnog tumača Drakule, ali i klasičnog vampirskog filma.

"Glad za krvlju" predstavlja nove-stare vampire za osamdesete i modernizira vampirski film kao takav pa nije čudno da smo do kraja dekade na njegovu valu dobili "Izgubljene dječake" i "Blizu tame". Zaboravite Drakulu Bele Lugosija i Christophera Leeja, čak i Franka Langelle s kraja sedamdesetih.

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FILM: The Hunger; horor drama; SAD/Velika Britanija, 1983. REŽIJA: Tony Scott ULOGE: Catherine Deneuve, David Bowie OCJENA: ****

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U Scottovu revizionističkom filmu nema vampira ogrnutih u plašteve koji stoluju u dvorcima. Nema tradicionalnih raspela, niti očnjaka. Kvragu, ni riječ "vampir" se ne izgovara. Jedinstveni "The Hunger" baca tradiciju vampirskog filma kroz zatvoreni prozor zadnjeg kata Drakulina dvorca i nameće vlastitu estetiku podžanra kao jedan od prvih primjeraka "uzvišenog", dramski intoniranog modernog horora, tridesetak godina prije nego što se kovanica "elevated horror" počela rabiti.

Vampiri u impresivnoj prvoj sceni, neakcijskoj preteči uvoda "Bladea", love ljude u newyorškom gotičkom diskoklubu. Oni su Miriam (elegantna Catherine Deneuve kao preslika filma) i John Blaylock (David Bowie), a njihova meta postaju dvoje punk-rokera.

Način kako Scott režira uvodnu scenu razlikuje "Glad za krvlju" od svega vampirskog što mu je prethodilo i približava žanr vizualnim "cinema du look" kretanjima u francuskoj kinematografiji, kao i "Istrebljivaču" njegova brata Ridleyja, pa i vršnjačkom "Flashdanceu" Adriana Lynea koji je u tom stilu snimio i "Devet i pol tjedana".

Blještava stilizacija prednjači i artistički nastrojeni Scott postavlja scenu kao da radi spot za Bauhaus ili pojedini "new wave" sastav osamdesetih ili da snima reklamu za neku "high fashion" modnu marku, usput postavljajući temelje svog redateljskog senzibiliteta ("Top Gun", "Policajac s Beverly Hillsa II", "Dani groma", "Prljavi igraju prljavo", "Prava romansa", "Grimizna plima", "Tjelesna straža").

Zanosni, orgijastički neonski filteri prožimaju kadrove s odrazima zbivanja uhvaćenim u sunčanim naočalama vampira koji će zavesti žrtve, dovesti ih u svoju raskošnu gotičku kuću i ondje im pustiti krv u scenskom vjesniku za film dominantnog suodnosa erosa i thanatosa. Izgled hororske drame "The Hunger" sjajan je od početka do kraja, na razmeđi stroboskopske neogotike i kjaroskuro neonoira u pogledu snolike fotografije Stephena Goldblatta ("Planet prokletih"), odnosno osvjetljenja.

No, kritičari su većinski favorizirali, i nastavljaju favorizirati, prvake francuskog "cinema du look" pokreta (Jean-Jacques Beineix, Luc Besson, Leos Carax) zato što nisu dio visokobudžetnog Hollywooda kao braća Scott i Lyne, premda su njegovali sličnu estetiku i davali prednost stilu nad sadržajem ("Betty Blue" je najveća iznimka).

Stil ostvaruje pobjedu u "Gladi za krvlju" i vampiri vjerojatno nisu izgledali nikad bolje zahvaljujući Scottu, ali sadržaj nije zanemariv i realistična drama opstoji, (ne)skrivena ispod ispolirane površine vampirskog filma. Jer, "The Hunger" je prilično dramski realističan komad vampirizma s minimalnim uplivima nadrealnog, samo što se to ne bi na prvi pogled reklo zbog Scottova režijskog "nadrealizma".

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Drama se tiče (vječnog) života i smrti, življenja, starenja, (be)smrtnosti. "Govorimo o tajni života i smrti ovdje", reći će liječnica Sarah Roberts (Susan Sarandon), autorica knjige "Spavanje i dugovječnost". Dr. Roberts govori o "flertu čovječanstva s besmrtnošću", proučava ubrzano starenje i radi na tome da uspori "unutarnji sat", smatrajući da je "starost bolest koja se može izliječiti".

Na taj način ona privlači pozornost Johna nakon što je iznenada počeo rapidno stariti da mu ni tuđa krv ne pomaže. Primjećuje bore oko oka, kosa mu ispada... "Rekla si zauvijek, sjećaš se? Nikada ne ostarjeti, zauvijek mlad...", John spočitava Miriam koja mu je obećala "forever and ever" kad ga je pretvorila u vampira.

"Jučer sam imao 30, ja sam mlad čovjek", otkriva John kad dođe kod dr. Roberts, ali ga ona ostavi u čekaonici da, malo crnog humora, ostari od čekanja poput Metuzalema. Kad Dr. Roberts, ponukana grižnjom savjesti što ga je ostavila da čeka, dođe kod Miriam, John je već ostario do smrti, no između njih dvije se rađa privlačnost.

Enigmatična i biseksualna Miriam, naizgled posljednja od vrste drevnih egipatskih vampira, zavodi Sarah uz čašicu cherryja i isječak opere "Lakme" Lea Delibesa odsviran na klaviru. Kad cherry kapne na bijelu Sarahinu majicu i zacrveni je taman po mjeri da ona postane "miss wet T-shirt" vampirskog filma, to je okidač za vrlo senzualnu i erotičnu scenu lezbijskog seksa.

Kritičari i gledatelji zaslijepljeni ljepotom legende francuskoga glumišta Deneuve ("Šerburški kišobrani") i nanovo toplesiranom Sarandon ("Atlantic City") nisu išli za tim da je scena metaforički iznimno radikalna za vrijeme nastanka. Film "Glad za krvlju" izišao je u razdoblju rastuće AIDS krize i gay konzervatizma, a Miriam će tijekom (istospolnog!) seksa pomiješati svoju krv sa Sarahinom i pretvoriti je u vampirku.

Mnogima je promaklo, i još promiče, sličnost između filmova "The Hunger" i "Blade Runner", kao da je Tony želio odati počast bratovu SF-u. Strah od starenja i smrti pokreće neljudske likove oba filma željne dugovječnosti (vampiri, replikanti). John je vampirski Roy Batty i također ima ograničeni vijek trajanja, samo što je uspio poživjeti 300 godina umjesto samo četiri kao replikant.

Obojica paze od ubrzanog starenja i pokušavaju zaustaviti smrt kad joj se naglo približe. "Daj mi malo više (vremena)", John kaže Miriam, a Roy je od svoga tvorca želio isto to, tj. "više života". Povrh toga, "Glad za krvlju" i "Istrebljivač" dijele značajnu uporabu polaroid-fotografije (ovdje fotka mladog Johna u odrazu naočala na njegovom starom licu), simboliku bijelih golubova, sklonost neonu i zadimljenim kadrovima. "The Hunger" i "Blade Runner" dva su filma u bratskom odnosu.

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I kraljica erotike je htjela biti vampirka

Sylvia Kristel se, zanimljivo, neuspješno kandidirala za ulogu Miriam, a "cameo" nastupe ostvarili su Willem Dafoe i John Pankow (scena kraj telefonske govornice)) koji su dvije godine poslije glumili u "Živjeti i umrijeti u L.A.-u".

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Glad za krvlju‘: Drakula neona

Piše Marko Njegić
28. travnja 2023. - 21:23
24759835
PREMIUM
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Metro-goldwyn-mayer Pictures/Collection Christophel Via Afp

Bela Lugosi je mrtav, pjevaju novovalni gotički postpunk-rokeri Bauhaus u početnim taktovima dugometražnog kinoprvijenca Tonyja Scotta "Glad za krvlju" ("The Hunger", 1983.). Inspiriran istoimenim romanom Whitleyja Striebera, Scott objavljuje smrt legendarnog tumača Drakule, ali i klasičnog vampirskog filma.

"Glad za krvlju" predstavlja nove-stare vampire za osamdesete i modernizira vampirski film kao takav pa nije čudno da smo do kraja dekade na njegovu valu dobili "Izgubljene dječake" i "Blizu tame". Zaboravite Drakulu Bele Lugosija i Christophera Leeja, čak i Franka Langelle s kraja sedamdesetih.

U Scottovu revizionističkom filmu nema vampira ogrnutih u plašteve koji stoluju u dvorcima. Nema tradicionalnih raspela, niti očnjaka. Kvragu, ni riječ "vampir" se ne izgovara. Jedinst...

#CINEMARK#CINEMARK OBLJETNICA#VAMPIRSKI FILMOVI#TONY SCOTT#FILMOVI 80-IH#CATHERINE DENEUVE#HORORI#DAVID BOWIE#KULTNI FILMOVI#SUSAN SARANDON
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