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Donji dom filmografije Quentina Tarantina redovito je rezerviran za film “Otporan na smrt (“Death Proof”, 2007.), akcijski horor triler s legendarnim Kurtom Russellom u krajnjoj “against type” ulozi manijaka za volanom, kaskadera Mikea.

Većina kritičara i Tarantinovih fanova smatra njegovim najslabijim filmom upravo “Otporan na smrt” koji je izvorno bio zamišljen kao dio “double (kill) bill” projekta “Grindhouse” s “Planetom terora” Roberta Rodrigueza, realiziranog u formi posvete niskobudžetnoj eksploatacijskoj “B” kinematografiji sedamdesetih, jopš konkretnijoj u odnosu na njihov “Od sumraka do zore”.

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FILM: Death Proof; akcijski horor triler; SAD, 2007. REŽIJA: Quentin Tarantino ULOGE: Kurt Russell, Rosario Dawson OCJENA: ****

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Čak je i Tarantino “Death Proof” nazvao “najgorim”, ali i rekao da nije toliko loš za film snimljen “lijevom rukom”.

“Ako je to najgore što ću ikad snimiti, dobar sam”, izjavio je Tarantino s kojim se lako složiti. Jer, “Otporan na smrt” definitivno nije loš i neki redatelj bi (i) za ovako nešto dao ruku ili nogu u sudaru s kaskaderom Mikeom.

Samo, film ima tu nesreću da nije tako dobar kao “Pakleni šund”, “Jackie Brown”, “Psi iz rezervoara”, “Bilo jednom u... Hollywoodu”, “Kill Bill” i “Mrska osmorka”, ako ne i “Odbjegli Django” i “Nemilosrdni gadovi”. Mnogi ga zato ne vole, a neki i “hejtaju”.

S “Death Proof” se, realno, može imati “volim-ne volim” odnos. Film je odlično legao na prvo gledanje u Cannesu 2007. i premijerna kasnovečernja projekcija zauvijek će ostati u lijepom sjećanju. Pogled kaskadera Mikea ravno u kameru prije ulaska u ubojiti automobil “otporan na smrt” i njegovo razbijanje tzv. četvrtog zida namigujućim smiješkom publici bili su dovoljni da u trenu zaboravite na umor i sve teške art drame koje ste prethodno pogledali na festivalu.

Do postmodernog prijelaza iz boje u crno-bijelu sliku i trenutka kad je DJ Tarantino pustio “cool” pjesmu “It’s So Easy” Willyja DeVillea, bilo je lako postati fan filma i ostati do drugog (kino) gledanja u jesen 2007., kad se “Otporan na smrt” dovezao u hrvatsku distribuciju.

Međutim, zanimljivo, otad naovamo potpisnik ovih redaka je možda samo jednom pogledao “Death Proof” do ovog najnovijeg gledanja 15 godina kasnije, a u istom razdoblju je više puta gledao “Pulp Fiction”, “Reservoir Dogs”, “Jackie Brown” i “Once Upon a Time In... Hollywood”.

Potonji film “Bilo jednom u... Hollywoodu” iz 2019. već je prešao u vodstvo ispred “Otporan na smrt” po broju gledanja. Okej, “Death Proof” se u međuvremenu nije retrospektivno prikazao u nekom hrvatskom kinu kao npr. “Pakleni šund”, niti često emitirao na TV-u, ali znakovito je da se za filmom nije posezalo na ovaj ili onaj način. Novo “obljetničarsko” gledanje filma otkrilo je i zašto.

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”Otporan na smrt” jednostavno nema tako nezaboravne karaktere u galeriji likova (izuzev negativca Mikea) i toliko citatne dijaloge unutar njihovih dugih trivijalno-poetično-filozofskih konverzacija kako bi kao “hangout movie”, što dobrih dijelom i jest, privukao gledatelja da “visi” opet i iznova s njima kao s ekipom “Pulp Fictiona”, tj. nagnao ga da ih citira nakon gledanja.

Ipak, dijalozi su svejedno prilično sočno napisani (“Ti si vidjela moj auto, ja tvoje noge”, “Ne uhodim te, ali nikad nisam rekao da nisam vuk”) i gušt je slušati filmofilske šprehe o automobilističkim akcićima sedamdesetih u kojima nije bilo CGI-ja, već se “pravi auto zabijao u pravi auto”, poput “Dirty Mary, Crazy Lary”, “Vanishing Point” (“jedan od najboljih američkih filmova svih vremena”) i “Gone In 60 Seconds” (“onaj pravi, ne ono sranje s Angelinom Jolie”).

Posrijedi je nedvojbeno tarantinovski film koji je redatelju bio “suđen” otkako su Bridget Fonda i Robert De Niro gledali “Dirty Mary, Crazy Lary” na TV-u u jednoj sceni “Jackie Brown”, stoga Tarantino uživa režirajući auto-akciju, najbolju takvu od “Ronina” i “Bourneova identiteta”, a daleko od digitalije “Brzih i žestokih 4”. Tarantino je (re)kreirao film sedamdesetih na postmodernistički tarantinovski način na razmeđi starog i novog, niskog i visokog budžeta.

Zrnata slika sugerira da smo teleportirani u (kinematografsko-eksploatacijske) sedamdesete, zajedno s izvanrednim rekreacijama/imitacijama mehaničkih oštećenja na filmskoj vrpci u vidu ogrebotina, nestalih rola u odsudnom trenutku (prekinuti “lap dance”) itd., ali likovi imaju mobitele, a na policama benzinskih postaja mogu se naći moderni filmski časopisi kao “Film Comment”.

Za jedan eksploatacijski film “Death Proof” je nekonvencionalno struktuiran, podijeljen na dva dijela s različitim ženskim likovima (Sydney Tamiia Poitier, Vanessa Ferlito, Rose McGowan.../Rosario Dawson, Mary Elizabeth Winstead, Zoë Bell...) koji će postati meta kaskadera Mikea.

Usto, “Otporan na smrt” je žanrovski koktel, nalik koktelima koje Tarantino osobno spravlja u maloj ulozi konobara, režirajući zbivanja na raskrižju automobilističkog akcića i hororskog “slashera”, ikonografski utjelovljenih u Mikeu, kaskaderu i “stalkeru”.

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Mogao je Mike biti lik kao Kowalski (“Vanishing Point”), posebice s obzirom da ga glumi Russell, jedan od vodećih akcijskih junaka osamdesetih i devedesetih (“Bijeg iz New Yorka”, “Stvor”, “Velika gužva u Kineskoj četvrti”, “Tango i Cash”, “Zvjezdana vrata”, “Bijeg iz L.A.”, “Vojnik”), ali Tarantino subvertira očekivanja, kao i glumčevu dopadljivu personu; potonje radi dvostruko računajući promjenu karaktera kaskadera od face do kukavice, od kulera do luzera.

Mike je psihopatski negativac iz psihoseksualnog “slashera” s kaskaderskim “muscle car” automobilom (Chevy Nova), vlastitom inačicom falusoidne motorne pile pomoću koje(g) ubija mlade žene kao u jednoj od najimpresivnijih i najšokantnijih scena Tarantinove karijere.

Kad Mike potjera svoj automobil s dvije tone metala i frontalno se zabije u auto mladih žena, to je masakr i od posljedica (s)udara njihovi udovi lete u “slow motionu” kao da ih je sasjekao motorkom, što Tarantino vraća četiri puta kako bi prikazao pojedinačno stradavanje svake nesretnice.

Umorstva su seksualne prirode, “vjerojatno jedini način na koji taj dijabolični degenerik može ispucati svoje sjeme”, kako šerif Earl McGraw (Michael Parks) zaključuje u vezi Mikea koji u jednoj sceni sjedi na haubi automobila s nogama između metalnog patka pričvršćenog za poklopac motora.

Slične planove Mike je imao i s novom grupom žena, od kojih su neke također “djevojke s plakata” (glumice), ali one će mu pomrsiti planove i (seksualnog) predatora pretvoriti u lovinu u dalekosežnoj automobilističko-akcijskoj završnici (Chevy vs. Dodge Challenger i obratno) kad “Death Proof” morfira u ženski osvetnički akcić evidentne alegorijske prirode na retrospektivno gledanje, što ga čini intrigantnim i vizionarskim.

Anđelicama osvete Tarantino je između redaka dopustio da isprebijaju na mrtvo ime seksualnog predatora i zlostavljača po mjeri producenta njegovih filmova, moćnog Harveyja Weinsteina, protiv kojeg se tada nije smjelo javno govoriti. Idući Tarantinovi revizionistički, alternativno-historijski filmovi (“Inglorious Basterds”, “Django Unchained”, “Once Upon a Time In... Hollywood”) nanovo su ispisavali povijest i ispravljali njezine krivde. “Otporan na smrt” je ispisao i budućnost.

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Nezasluženi krah na kinoblagajnama

"Grindhouse" projekt je nezasluženo krahirao na kinoblagajnama i ispao jedan od najvećih komercijalnih promašaja 2007. godine.

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Donji dom filmografije Quentina Tarantina redovito je rezerviran za film “Otporan na smrt (“Death Proof”, 2007.), akcijski horor triler s legendarnim Kurtom Russellom u krajnjoj “against type” ulozi manijaka za volanom, kaskadera Mikea.

Većina kritičara i Tarantinovih fanova smatra njegovim najslabijim filmom upravo “Otporan na smrt” koji je izvorno bio zamišljen kao dio “double (kill) bill” projekta “Grindhouse” s “Planetom terora” Roberta Rodrigueza, realiziranog u formi posvete niskobudžetnoj eksploatacijskoj “B” kinematografiji sedamdesetih, jopš konkretnijoj u odnosu na njihov “Od sumraka do zore”.

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FILM: Death Proof; akcijski horor triler; SAD, 2007. REŽIJA: Quentin Tarantino ULOGE: Kurt Russell, Rosario Dawson OCJENA: ****

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Čak je i Tarantino “Death Proof” nazvao “najgorim”, ali i rekao da nije toliko loš za film snimljen “lijevom rukom”.

“Ako je to najgore što ću ikad snimiti, dobar sam”, izjavio je Tarantino s kojim se lako složiti. Jer, “Otporan na smrt” definitivno nije loš i neki redatelj bi (i) za ovako nešto dao ruku ili nogu u sudaru s kaskaderom Mikeom.

Samo, film ima tu nesreću da nije tako dobar kao “Pakleni šund”, “Jackie Brown”, “Psi iz rezervoara”, “Bilo jednom u... Hollywoodu”, “Kill Bill” i “Mrska osmorka”, ako ne i “Odbjegli Django” i “Nemilosrdni gadovi”. Mnogi ga zato ne vole, a neki i “hejtaju”.

S “Death Proof” se, realno, može imati “volim-ne volim” odnos. Film je odlično legao na prvo gledanje u Cannesu 2007. i premijerna kasnovečernja projekcija zauvijek će ostati u lijepom sjećanju. Pogled kaskadera Mikea ravno u kameru prije ulaska u ubojiti automobil “otporan na smrt” i njegovo razbijanje tzv. četvrtog zida namigujućim smiješkom publici bili su dovoljni da u trenu zaboravite na umor i sve teške art drame koje ste prethodno pogledali na festivalu.

Do postmodernog prijelaza iz boje u crno-bijelu sliku i trenutka kad je DJ Tarantino pustio “cool” pjesmu “It’s So Easy” Willyja DeVillea, bilo je lako postati fan filma i ostati do drugog (kino) gledanja u jesen 2007., kad se “Otporan na smrt” dovezao u hrvatsku distribuciju.

Međutim, zanimljivo, otad naovamo potpisnik ovih redaka je možda samo jednom pogledao “Death Proof” do ovog najnovijeg gledanja 15 godina kasnije, a u istom razdoblju je više puta gledao “Pulp Fiction”, “Reservoir Dogs”, “Jackie Brown” i “Once Upon a Time In... Hollywood”.

Potonji film “Bilo jednom u... Hollywoodu” iz 2019. već je prešao u vodstvo ispred “Otporan na smrt” po broju gledanja. Okej, “Death Proof” se u međuvremenu nije retrospektivno prikazao u nekom hrvatskom kinu kao npr. “Pakleni šund”, niti često emitirao na TV-u, ali znakovito je da se za filmom nije posezalo na ovaj ili onaj način. Novo “obljetničarsko” gledanje filma otkrilo je i zašto.

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”Otporan na smrt” jednostavno nema tako nezaboravne karaktere u galeriji likova (izuzev negativca Mikea) i toliko citatne dijaloge unutar njihovih dugih trivijalno-poetično-filozofskih konverzacija kako bi kao “hangout movie”, što dobrih dijelom i jest, privukao gledatelja da “visi” opet i iznova s njima kao s ekipom “Pulp Fictiona”, tj. nagnao ga da ih citira nakon gledanja.

Ipak, dijalozi su svejedno prilično sočno napisani (“Ti si vidjela moj auto, ja tvoje noge”, “Ne uhodim te, ali nikad nisam rekao da nisam vuk”) i gušt je slušati filmofilske šprehe o automobilističkim akcićima sedamdesetih u kojima nije bilo CGI-ja, već se “pravi auto zabijao u pravi auto”, poput “Dirty Mary, Crazy Lary”, “Vanishing Point” (“jedan od najboljih američkih filmova svih vremena”) i “Gone In 60 Seconds” (“onaj pravi, ne ono sranje s Angelinom Jolie”).

Posrijedi je nedvojbeno tarantinovski film koji je redatelju bio “suđen” otkako su Bridget Fonda i Robert De Niro gledali “Dirty Mary, Crazy Lary” na TV-u u jednoj sceni “Jackie Brown”, stoga Tarantino uživa režirajući auto-akciju, najbolju takvu od “Ronina” i “Bourneova identiteta”, a daleko od digitalije “Brzih i žestokih 4”. Tarantino je (re)kreirao film sedamdesetih na postmodernistički tarantinovski način na razmeđi starog i novog, niskog i visokog budžeta.

Zrnata slika sugerira da smo teleportirani u (kinematografsko-eksploatacijske) sedamdesete, zajedno s izvanrednim rekreacijama/imitacijama mehaničkih oštećenja na filmskoj vrpci u vidu ogrebotina, nestalih rola u odsudnom trenutku (prekinuti “lap dance”) itd., ali likovi imaju mobitele, a na policama benzinskih postaja mogu se naći moderni filmski časopisi kao “Film Comment”.

Za jedan eksploatacijski film “Death Proof” je nekonvencionalno struktuiran, podijeljen na dva dijela s različitim ženskim likovima (Sydney Tamiia Poitier, Vanessa Ferlito, Rose McGowan.../Rosario Dawson, Mary Elizabeth Winstead, Zoë Bell...) koji će postati meta kaskadera Mikea.

Usto, “Otporan na smrt” je žanrovski koktel, nalik koktelima koje Tarantino osobno spravlja u maloj ulozi konobara, režirajući zbivanja na raskrižju automobilističkog akcića i hororskog “slashera”, ikonografski utjelovljenih u Mikeu, kaskaderu i “stalkeru”.

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Mogao je Mike biti lik kao Kowalski (“Vanishing Point”), posebice s obzirom da ga glumi Russell, jedan od vodećih akcijskih junaka osamdesetih i devedesetih (“Bijeg iz New Yorka”, “Stvor”, “Velika gužva u Kineskoj četvrti”, “Tango i Cash”, “Zvjezdana vrata”, “Bijeg iz L.A.”, “Vojnik”), ali Tarantino subvertira očekivanja, kao i glumčevu dopadljivu personu; potonje radi dvostruko računajući promjenu karaktera kaskadera od face do kukavice, od kulera do luzera.

Mike je psihopatski negativac iz psihoseksualnog “slashera” s kaskaderskim “muscle car” automobilom (Chevy Nova), vlastitom inačicom falusoidne motorne pile pomoću koje(g) ubija mlade žene kao u jednoj od najimpresivnijih i najšokantnijih scena Tarantinove karijere.

Kad Mike potjera svoj automobil s dvije tone metala i frontalno se zabije u auto mladih žena, to je masakr i od posljedica (s)udara njihovi udovi lete u “slow motionu” kao da ih je sasjekao motorkom, što Tarantino vraća četiri puta kako bi prikazao pojedinačno stradavanje svake nesretnice.

Umorstva su seksualne prirode, “vjerojatno jedini način na koji taj dijabolični degenerik može ispucati svoje sjeme”, kako šerif Earl McGraw (Michael Parks) zaključuje u vezi Mikea koji u jednoj sceni sjedi na haubi automobila s nogama između metalnog patka pričvršćenog za poklopac motora.

Slične planove Mike je imao i s novom grupom žena, od kojih su neke također “djevojke s plakata” (glumice), ali one će mu pomrsiti planove i (seksualnog) predatora pretvoriti u lovinu u dalekosežnoj automobilističko-akcijskoj završnici (Chevy vs. Dodge Challenger i obratno) kad “Death Proof” morfira u ženski osvetnički akcić evidentne alegorijske prirode na retrospektivno gledanje, što ga čini intrigantnim i vizionarskim.

Anđelicama osvete Tarantino je između redaka dopustio da isprebijaju na mrtvo ime seksualnog predatora i zlostavljača po mjeri producenta njegovih filmova, moćnog Harveyja Weinsteina, protiv kojeg se tada nije smjelo javno govoriti. Idući Tarantinovi revizionistički, alternativno-historijski filmovi (“Inglorious Basterds”, “Django Unchained”, “Once Upon a Time In... Hollywood”) nanovo su ispisavali povijest i ispravljali njezine krivde. “Otporan na smrt” je ispisao i budućnost.

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Nezasluženi krah na kinoblagajnama

"Grindhouse" projekt je nezasluženo krahirao na kinoblagajnama i ispao jedan od najvećih komercijalnih promašaja 2007. godine.

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Otporan na smrt‘: Sudar s kaskaderom Mikeom

Piše Marko Njegić
30. listopada 2022. - 20:07
23644648
PREMIUM
Galerija
/Photo12 Via Afp

Donji dom filmografije Quentina Tarantina redovito je rezerviran za film “Otporan na smrt (“Death Proof”, 2007.), akcijski horor triler s legendarnim Kurtom Russellom u krajnjoj “against type” ulozi manijaka za volanom, kaskadera Mikea.

Većina kritičara i Tarantinovih fanova smatra njegovim najslabijim filmom upravo “Otporan na smrt” koji je izvorno bio zamišljen kao dio “double (kill) bill” projekta “Grindhouse” s “Planetom terora” Roberta Rodrigueza, realiziranog u formi posvete niskobudžetnoj eksploatacijskoj “B” kinematografiji sedamdesetih, jopš konkretnijoj u odnosu na njihov “Od sumraka do zore”.

Čak je i Tarantino “Death Proof” nazvao “najgorim”, ali i rekao da nije toliko loš za film snimljen “lijevom rukom”.

“Ako je to najgore ...

#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 2000-IH#QUENTIN TARANTINO#KULTNI FILMOVI#KURT RUSSELL#MARY ELIZABETH WINSTEAD#ROSARIO DAWSON
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