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Nije Paolo Sorrentino ("The Hand Of God") bio presretan kad je u kategoriji najbolje režije na dodjeli EU Oscara izgovoreno ime Jasmile Žbanić ("Quo Vadis, Aida?"). Zapljeskao je Sorrentino, ali ne prije nego što je lice razvukao u pomalo kiseli osmijeh.

Njegovo je razočarenje razumljivo: "The Hand of God" je najosobniji film talijanskog redatelja dosad, i jedan od najboljih. Ipak, utjehu mu predstavlja da je EU Oscare već osvojio unatrag deset godina za "Veliku ljepotu" i "Mladost".

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FILM: The Hand of God; drama; Italija, 2021. REŽIJA: Paolo Sorrentino ULOGE: Filippo Scotti, Toni Servillo OCJENA: **** ½

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Također, za "The Hand Of God" je prethodno dobio jedno prestižno priznanje, Srebrnog lava na Venecijanskom festivalu, a i nominiran je za Zlatni globus u kategoriji filma izvan engleskog govornog područja svega dva dana nakon dodjele nagrada Europske filmske akademije, što je prilično siguran pokazatelj da će ući i u oskarovsku utrku, još jednom nakon "The Great Beauty" s kojim je i potvrdio nominaciju.

Nominacija za Zlatni globus dobar je vjetar u leđa premijeri filma na Netflixu koji je počeo otkupljivati kvalitetne neameričke naslove i film(ofil)ski educirati streaming publiku. Novi Sorrentinov projekt je nostalgična autobiografska posveta njegovu dječaštvu i mladosti u Napulju 80-ih, obilježenom filmovima, erotskim fantazijama i Maradonom, koji je za Napolitance bio Bog čak i kad je dao gol rukom.

Film je nastao pod izrazitim utjecajem Federica Fellinija, Sorrentinova najvećeg formativnog uzora. Ako je "Velika ljepota" bila Sorrentinov "Slatki život", "The Hand Of God" je njegov "Amarcord". Sorrentino je prigušio ekscesnost svojih prijašnjih nekoliko ostvarenja (uključujući i seriju "Mladi papa") s naglaskom na "Loro" i utišao glazbu koja jedva da se čuje u "The Hand of God".

Mladi protagonist sluša muziku na "walkmanu" koju mi ne čujemo sve do nezaboravne zadnje scene režirane na tragu "Skrivene ljubavi", iako bi određena pjesma osamdesetih u određenom trenutku postigla očekivani audiovizualni "sense of wonder" koji nedostaje filmu da bude istinsko remek-djelo.

Sedamnaestogodišnji Fabietto Schiesi (Filippo Scotti, talijanski Timothee Chalamet) naš je vodič, kao redateljev alter ego, kroz sinematično sjećanje na njegovo odrastanje u Napulju osamdesetih, panoramski savršeno oslikanom uvodnim helikopterskim kadrovima.

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Talijanski grad je napučen živopisnim, katkad i karikaturalnim likovima, počevši od članova njegove velike familije, od oca Saverija (nezaobilazni Toni Servillo) nadalje. Dakle, imamo malo groteske i burleske, ali i erotike, utjelovljene u bujnoj teti Patriziji (Luisa Ranieri), izvoru njegove seksualne žudnje.

Patrizia u "The Hand Of God" ulijeće u prozirnoj haljini koja će joj, tijekom koškanja s mužem, kliznuti s ramena i otkriti dojku, taman da Fabiettu, od pogleda, ispadne vilica do poda, jednako kao i kad se kasnije, sva požudna, sunča gola na brodu te baš njega zamoli da joj doda ručnik i dodatno ga nadraži riječima "narastao si".

Ona je negdje na pola puta između Gradisce ili prodavačice duhana iz "Amarcorda" i miss Universe iz Sorrentinova filma "Youth". Cijeli "The Hand Of God", ili barem njegova prva polovica, nalazi se između Fellinija i Sorrentina, odnosno pokazuje koliko je pokojni redateljski "maestro" značio, i još uvijek znači, trenutno najvećem živućem talijanskom filmašu i otkriva tajnu vezu između filma i života koji se živi(o) filmski, "fellinijevski".

Fellini se i spominje imenom, kad Fabiettov stariji brat Marchino (Marlon Joubert) odlazi na audiciju za njegov film kao statist, a divna je "fellinijevska" scena skakanja u more za trajektom koji isplovljava, Sorrentinov odgovor na onaj "titanicovski" brod, ritualno dočekivan mahanjem iz barki. Tu negdje Sorrentino kao da se pozdravlja s Fellinijem i približava tragičnoj melankoliji Leoneova "Bilo jednom u Americi", neovisno o tome što Fabietto nije gangster.

Pažljiviji gledatelji opazit će videokasetu "Once Upon a Time In America" u filmu koji u drugoj polovici biva sjetniji u autobiografskom pogledu na mladost i sudbinu. Fabiettovi roditelji umiru od gušenja plinom na odmoru izvan grada, a s njima je trebao biti i on, ali je ostao kući da gleda utakmicu Napolija.

(Maradonina) "božja ruka" iz naslova filma tu se sudbinski uplela i spasila ga, kao i samog Sorrentina. No, tko zna gdje bi Sorrentino bio da ga nije dotaknula Fellinijeva "božja ruka", da spas nije potražio u režiji i bol pretvorio u umjetnost. "The Hand Of God" ostavlja Fabietta na pragu Sorrentinove budućnosti – u vlaku za Rim gdje odlazi snimati filmove.

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Driblinzi i golovi

O Maradoni se u filmu govori i povremeno gledamo njegove driblinge i golove, uključujući onaj rukom koji Fabiettov ujak naziva političkim činom i revolucijom protiv imperijalističkih Engleza koje je tako ponizio. U filmu se spominje i pojavljuje redatelj Antonio Capuano, stvarni Sorrentinov mentor. Fanovima Sorrentina treba skrenuti pozornost i na njegov malo zamijećeni film "Ovo mora biti pravo mjesto" sa Seanom Pennom u glavnoj ulozi.

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Nije Paolo Sorrentino ("The Hand Of God") bio presretan kad je u kategoriji najbolje režije na dodjeli EU Oscara izgovoreno ime Jasmile Žbanić ("Quo Vadis, Aida?"). Zapljeskao je Sorrentino, ali ne prije nego što je lice razvukao u pomalo kiseli osmijeh.

Njegovo je razočarenje razumljivo: "The Hand of God" je najosobniji film talijanskog redatelja dosad, i jedan od najboljih. Ipak, utjehu mu predstavlja da je EU Oscare već osvojio unatrag deset godina za "Veliku ljepotu" i "Mladost".

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FILM: The Hand of God; drama; Italija, 2021. REŽIJA: Paolo Sorrentino ULOGE: Filippo Scotti, Toni Servillo OCJENA: **** ½

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Također, za "The Hand Of God" je prethodno dobio jedno prestižno priznanje, Srebrnog lava na Venecijanskom festivalu, a i nominiran je za Zlatni globus u kategoriji filma izvan engleskog govornog područja svega dva dana nakon dodjele nagrada Europske filmske akademije, što je prilično siguran pokazatelj da će ući i u oskarovsku utrku, još jednom nakon "The Great Beauty" s kojim je i potvrdio nominaciju.

Nominacija za Zlatni globus dobar je vjetar u leđa premijeri filma na Netflixu koji je počeo otkupljivati kvalitetne neameričke naslove i film(ofil)ski educirati streaming publiku. Novi Sorrentinov projekt je nostalgična autobiografska posveta njegovu dječaštvu i mladosti u Napulju 80-ih, obilježenom filmovima, erotskim fantazijama i Maradonom, koji je za Napolitance bio Bog čak i kad je dao gol rukom.

Film je nastao pod izrazitim utjecajem Federica Fellinija, Sorrentinova najvećeg formativnog uzora. Ako je "Velika ljepota" bila Sorrentinov "Slatki život", "The Hand Of God" je njegov "Amarcord". Sorrentino je prigušio ekscesnost svojih prijašnjih nekoliko ostvarenja (uključujući i seriju "Mladi papa") s naglaskom na "Loro" i utišao glazbu koja jedva da se čuje u "The Hand of God".

Mladi protagonist sluša muziku na "walkmanu" koju mi ne čujemo sve do nezaboravne zadnje scene režirane na tragu "Skrivene ljubavi", iako bi određena pjesma osamdesetih u određenom trenutku postigla očekivani audiovizualni "sense of wonder" koji nedostaje filmu da bude istinsko remek-djelo.

Sedamnaestogodišnji Fabietto Schiesi (Filippo Scotti, talijanski Timothee Chalamet) naš je vodič, kao redateljev alter ego, kroz sinematično sjećanje na njegovo odrastanje u Napulju osamdesetih, panoramski savršeno oslikanom uvodnim helikopterskim kadrovima.

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Talijanski grad je napučen živopisnim, katkad i karikaturalnim likovima, počevši od članova njegove velike familije, od oca Saverija (nezaobilazni Toni Servillo) nadalje. Dakle, imamo malo groteske i burleske, ali i erotike, utjelovljene u bujnoj teti Patriziji (Luisa Ranieri), izvoru njegove seksualne žudnje.

Patrizia u "The Hand Of God" ulijeće u prozirnoj haljini koja će joj, tijekom koškanja s mužem, kliznuti s ramena i otkriti dojku, taman da Fabiettu, od pogleda, ispadne vilica do poda, jednako kao i kad se kasnije, sva požudna, sunča gola na brodu te baš njega zamoli da joj doda ručnik i dodatno ga nadraži riječima "narastao si".

Ona je negdje na pola puta između Gradisce ili prodavačice duhana iz "Amarcorda" i miss Universe iz Sorrentinova filma "Youth". Cijeli "The Hand Of God", ili barem njegova prva polovica, nalazi se između Fellinija i Sorrentina, odnosno pokazuje koliko je pokojni redateljski "maestro" značio, i još uvijek znači, trenutno najvećem živućem talijanskom filmašu i otkriva tajnu vezu između filma i života koji se živi(o) filmski, "fellinijevski".

Fellini se i spominje imenom, kad Fabiettov stariji brat Marchino (Marlon Joubert) odlazi na audiciju za njegov film kao statist, a divna je "fellinijevska" scena skakanja u more za trajektom koji isplovljava, Sorrentinov odgovor na onaj "titanicovski" brod, ritualno dočekivan mahanjem iz barki. Tu negdje Sorrentino kao da se pozdravlja s Fellinijem i približava tragičnoj melankoliji Leoneova "Bilo jednom u Americi", neovisno o tome što Fabietto nije gangster.

Pažljiviji gledatelji opazit će videokasetu "Once Upon a Time In America" u filmu koji u drugoj polovici biva sjetniji u autobiografskom pogledu na mladost i sudbinu. Fabiettovi roditelji umiru od gušenja plinom na odmoru izvan grada, a s njima je trebao biti i on, ali je ostao kući da gleda utakmicu Napolija.

(Maradonina) "božja ruka" iz naslova filma tu se sudbinski uplela i spasila ga, kao i samog Sorrentina. No, tko zna gdje bi Sorrentino bio da ga nije dotaknula Fellinijeva "božja ruka", da spas nije potražio u režiji i bol pretvorio u umjetnost. "The Hand Of God" ostavlja Fabietta na pragu Sorrentinove budućnosti – u vlaku za Rim gdje odlazi snimati filmove.

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Driblinzi i golovi

O Maradoni se u filmu govori i povremeno gledamo njegove driblinge i golove, uključujući onaj rukom koji Fabiettov ujak naziva političkim činom i revolucijom protiv imperijalističkih Engleza koje je tako ponizio. U filmu se spominje i pojavljuje redatelj Antonio Capuano, stvarni Sorrentinov mentor. Fanovima Sorrentina treba skrenuti pozornost i na njegov malo zamijećeni film "Ovo mora biti pravo mjesto" sa Seanom Pennom u glavnoj ulozi.

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Film & TVCINEMARK U KUĆNOM KINU

‘The Hand Of God‘: Film dotaknut božjom rukom Maradone, Fellinija i Leonea

Piše Marko Njegić
16. prosinca 2021. - 15:17
20332086
PREMIUM
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Nije Paolo Sorrentino ("The Hand Of God") bio presretan kad je u kategoriji najbolje režije na dodjeli EU Oscara izgovoreno ime Jasmile Žbanić ("Quo Vadis, Aida?"). Zapljeskao je Sorrentino, ali ne prije nego što je lice razvukao u pomalo kiseli osmijeh.

Njegovo je razočarenje razumljivo: "The Hand of God" je najosobniji film talijanskog redatelja dosad, i jedan od najboljih. Ipak, utjehu mu predstavlja da je EU Oscare već osvojio unatrag deset godina za "Veliku ljepotu" i "Mladost".

Također, za "The Hand Of God" je prethodno dobio jedno prestižno priznanje, Srebrnog lava na Venecijanskom festivalu, a i nominiran je za Zlatni globus u kategoriji filma izvan engleskog govornog područja svega dva dana nakon dodjele nagrada Europske filmske akademije, što je prilično siguran...

#CINEMARK#CINEMARK U KUĆNOM KINU#NETFLIX FILMOVI#PAOLO SORRENTINO#EUOSCAR#FESTIVALSKI FILMOVI#LUISA RANIERI#TONI SERVILLO#FILIPPO SCOTTI#MARADONA
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12. svibanj 2024 18:03