SD Dojavi
OSMRTNICE
PRETPLATA
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Planiran je “Ring opstanka” (“The Survivor”) za hrvatsku kinodistribuciju početkom ljeta, ali je odgođen da se ne poklapa s još jednim boksačkim filmom snimljenim prema istinitoj priči “Boksač: Život Jema Belchera”. Jedno vrijeme se činilo da je “Ring opstanka” trajno odgođen i da neće uopće stići u kina.

Srećom, odgodio se za jesen i evo ga napokon na velikim ekranima, malo više od godinu dana nakon što je imao premijeru na prošlogodišnjem festivalu u Torontu, u sezoni kad se prikazuju oskarovski kandidati. Bila bi prava šteta da smo vidjeli samo inferiorniji od dva recentna boksačka filma; “Prizefighter: The Life Of Jem Belcher” nije ni blizu dobar kao “The Survivor”.

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FILM: The Survivor; drama; SAD, 2021. REŽIJA: Barry Levinson ULOGE: Ben Foster, Vicky Krieps DISTRIBUCIJA: Editus OCJENA: ****

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Pa opet, “Ring opstanka” nije “samo” boksački i biografski film kao “Život Jema Belchera”, već i drama o holokaustu, poput “Schindlerove liste” i “Pijanista”.

Ovakvi filmovi donedavno su bili zicer na Oscarima. Da je snimljen devedesetih (“Schindler’s List”) ili početkom novog milenija (“The Pianist”), “The Survivor” bi se pozlatio barem nominacijama, ako ne i Oscarima, ali posljednjih godina filmovi po nekadašnjoj oskarovskoj recepturi rijetko osvajaju kipiće (“Zelena knjiga”).

Receptura je primjetna na primjeru “Ringa opstanka”: iza kamere se nalazi oskarovac Barry Levinson (“Rain Man”), u pitanju je istinita priča utemeljena na sjećanjima Poljaka Harryja Hafta, “preživjelog iz Auschwitza”, a glavni glumac Ben Foster podvrgao se nevjerojatnoj transformaciji za ulogu.

Od početka karijere uvijek izvrsni Foster (“Talac”, “U 3:10 za Yumu”) ostvario je psihofizički glumački podvig za anale i pridružio se “transformerima” poput Roberta De Nira (“Raging Bull”), Vincenta D’Onofrija (“Full Metal Jacket”), Toma Hanksa (“Castaway”), Christiana Balea (“The Machinist”) i Joaquina Phoenixa (“Joker”).

Naime, Foster je najprije izgubio 28 kilograma za scene u Auschwitzu da bi potom nabacio 22 kila (mišića) za postratni dio priče, napravivši inverziju Hanksovih priprema za “Brodolom života”. Međutim, “The Survivor” nije osvojio nijednu nominaciju, niti onu za glavnu mušku ulogu. Čini se da Foster nema sreće s Oscarima i Akademija ga zaboravlja nominirati za svaku u nizu iznimnih uloga (“Glasnik”, “Ne ostavi traga”...).

No, to je za glumca postala i određena prednost, odnosno stječe se dojam da Foster, tih i suptilan kakav jest pred kamerama i u odnosu s medijima, ne razmišlja o Oscaru, niti prozirno moli Akademiju da mu ga dodijeli, već maksimalno posvećeno odigra svaku ulogu (“Jedini preživjeli”, “Sve ili ništa”, “Galveston”, “Plaćenik”), uključujući i “oskarovske” kao ovdje ili prethodno u drami “The Program” o biciklistu Lanceu Armstrongu.

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Slično pristupa i Levinson, koji Oscara već ima za režiju “Kišnog čovjeka”. “Ring opstanka” izgleda kao da je netko ubacio “Razjarenog bika” (ne “Rockyja”) u “Schindlerovu listu”, a Foster u postratnim scenama podsjeća na De Nira u starijem i debljem izdanju prvospomenutog filma.

Ipak, Levinsonu je najvažnije ispričati priču i predstaviti likove, počevši od najkompleksnijeg od njih, “preživjelog iz Auschwitza”, uz veliku pomoć glavnog glumca i ostale ekipe (Vicky Krieps, Danny De Vito, John Leguizamo...). A priča je nezamisliva, iako ne toliko poznata široj publici. “Svi znaju moju priču, ja sam preživjeli iz Auschwitza”, veli Haft fiktivnom novinaru Emoryju Andersonu (Peter Sarsgaard) koji želi pisati o njemu. “Da, ali nitko nije pitao kako ste preživjeli”, poantira Anderson.

Kako je Haft preživio Auschwitz? Boksajući, tj. boreći se s ostalim zatvorenicima u okrutnim gladijatorskim boksačkim borbama do smrti za zabavu i okladu SS-ovaca. Angažirao ga je oficir Dietrich Schneider (Billy Magnussen), vidjevši kako je izdevetao njemačkog vojnika kad je ovaj napao jednog zatvorenika.

Umjesto smrti kao kazne za napad, Schneider je odlučio zaraditi na Haftu u borbama u kojima pobjednici nastavljaju živjeti, a gubitnici umiru, ako ne u ringu, onda od nacističkog metka. Levinsonov osjećaj za slojevite likove vidljiv je na primjeru Schneidera: on nije tipični “zločesti nacist”, ali ni “good nazi”, već oportunist.

”Ja ne mrzim Židove, ta vrsta strasti je za jednostavne umove”, Schneider govori Haftu i ističe da su “sva velika carstva izgrađena na uništenju drugog naroda”, a njegov narod nije “uzvratio udarac” i “odbio se spasiti” nakon što bi “svaka logična osoba vidjela što dolazi kad je Hitler preuzeo vlast (oduzimanje vaših prava, poniženja)”.

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Prošlost se odmotava u flešbekovima, a crno-bijela tehnika im pogoduje, kao što je pogodovala “Schindleru” i “Dnevniku Diane Budisavljević”. Flešbekovi se odvijaju kao košmarni boksački horor u crno-bijeloj tehnici, oslikavajući život i smrt u konc-logoru, a pojavljuju se onako kako se Haftu javljaju nemili prizori pred očima i proganjaju ga na svakodnevnoj bazi, prije, poslije ili čak usred nekog meča, razdirući boksačev um i svaku poru njegove duše.

Haft je pristao ispričati novinaru svoju priču ne bi li dobio publicitet za borbu s prvakom Rockyjem Marcianom (Anthony Molinari) i zatim dospio u sve novine u nadi da će za njega čuti njegova nestala djevojka, uvjeren da je još živa otkako ih je rat razdvojio, riskirajući pritom postati izdajica u očima židovske zajednice.

Suočen s izborom da bude “čekić ili nakovanj”, Haft je nevoljko mlatio protivnike u ringu kako bi preživio, a jednog je i ubio, prijatelja koji ga je zamolio da radije strada od njegove ruke (ili noge) nego od nacista. “Izreci za mene jedan kadiš”, kaže prijatelj Haftu u vjerojatno najbolnijoj sceni filma, prepuštajući se stisku smrti.

Prošlost proganja Hafta koji se nalazi u stanju permanentne agonije, traume i tzv. krivnje preživjelog (“survivor guilt”), što šutljivi Foster odlično predočava u očima i govoru tijela. On nastavlja boksati poslije rata i tako se bori protiv samoga sebe i unutarnjih demona, tražeći iskupljenje.

Borba protiv Marciana je teška za gledanje. Isprva Haft iznenađujuće dobro stoji u ogledu s prvakom, ali kasnije kao da se prepušta Marcianovim udarcima jer ne može više nositi težinu povijesti na svojim leđima. Težinu koju s njim od početka do kraja filma nosi i Foster.

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Iz Drugog svjetskog rata u srednji vijek

Bena Fostera ubrzo bi u kinima trebali gledati i u srednjovjekovnom povijesnom spektaklu "Medieval".

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Planiran je “Ring opstanka” (“The Survivor”) za hrvatsku kinodistribuciju početkom ljeta, ali je odgođen da se ne poklapa s još jednim boksačkim filmom snimljenim prema istinitoj priči “Boksač: Život Jema Belchera”. Jedno vrijeme se činilo da je “Ring opstanka” trajno odgođen i da neće uopće stići u kina.

Srećom, odgodio se za jesen i evo ga napokon na velikim ekranima, malo više od godinu dana nakon što je imao premijeru na prošlogodišnjem festivalu u Torontu, u sezoni kad se prikazuju oskarovski kandidati. Bila bi prava šteta da smo vidjeli samo inferiorniji od dva recentna boksačka filma; “Prizefighter: The Life Of Jem Belcher” nije ni blizu dobar kao “The Survivor”.

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FILM: The Survivor; drama; SAD, 2021. REŽIJA: Barry Levinson ULOGE: Ben Foster, Vicky Krieps DISTRIBUCIJA: Editus OCJENA: ****

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Pa opet, “Ring opstanka” nije “samo” boksački i biografski film kao “Život Jema Belchera”, već i drama o holokaustu, poput “Schindlerove liste” i “Pijanista”.

Ovakvi filmovi donedavno su bili zicer na Oscarima. Da je snimljen devedesetih (“Schindler’s List”) ili početkom novog milenija (“The Pianist”), “The Survivor” bi se pozlatio barem nominacijama, ako ne i Oscarima, ali posljednjih godina filmovi po nekadašnjoj oskarovskoj recepturi rijetko osvajaju kipiće (“Zelena knjiga”).

Receptura je primjetna na primjeru “Ringa opstanka”: iza kamere se nalazi oskarovac Barry Levinson (“Rain Man”), u pitanju je istinita priča utemeljena na sjećanjima Poljaka Harryja Hafta, “preživjelog iz Auschwitza”, a glavni glumac Ben Foster podvrgao se nevjerojatnoj transformaciji za ulogu.

Od početka karijere uvijek izvrsni Foster (“Talac”, “U 3:10 za Yumu”) ostvario je psihofizički glumački podvig za anale i pridružio se “transformerima” poput Roberta De Nira (“Raging Bull”), Vincenta D’Onofrija (“Full Metal Jacket”), Toma Hanksa (“Castaway”), Christiana Balea (“The Machinist”) i Joaquina Phoenixa (“Joker”).

Naime, Foster je najprije izgubio 28 kilograma za scene u Auschwitzu da bi potom nabacio 22 kila (mišića) za postratni dio priče, napravivši inverziju Hanksovih priprema za “Brodolom života”. Međutim, “The Survivor” nije osvojio nijednu nominaciju, niti onu za glavnu mušku ulogu. Čini se da Foster nema sreće s Oscarima i Akademija ga zaboravlja nominirati za svaku u nizu iznimnih uloga (“Glasnik”, “Ne ostavi traga”...).

No, to je za glumca postala i određena prednost, odnosno stječe se dojam da Foster, tih i suptilan kakav jest pred kamerama i u odnosu s medijima, ne razmišlja o Oscaru, niti prozirno moli Akademiju da mu ga dodijeli, već maksimalno posvećeno odigra svaku ulogu (“Jedini preživjeli”, “Sve ili ništa”, “Galveston”, “Plaćenik”), uključujući i “oskarovske” kao ovdje ili prethodno u drami “The Program” o biciklistu Lanceu Armstrongu.

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Slično pristupa i Levinson, koji Oscara već ima za režiju “Kišnog čovjeka”. “Ring opstanka” izgleda kao da je netko ubacio “Razjarenog bika” (ne “Rockyja”) u “Schindlerovu listu”, a Foster u postratnim scenama podsjeća na De Nira u starijem i debljem izdanju prvospomenutog filma.

Ipak, Levinsonu je najvažnije ispričati priču i predstaviti likove, počevši od najkompleksnijeg od njih, “preživjelog iz Auschwitza”, uz veliku pomoć glavnog glumca i ostale ekipe (Vicky Krieps, Danny De Vito, John Leguizamo...). A priča je nezamisliva, iako ne toliko poznata široj publici. “Svi znaju moju priču, ja sam preživjeli iz Auschwitza”, veli Haft fiktivnom novinaru Emoryju Andersonu (Peter Sarsgaard) koji želi pisati o njemu. “Da, ali nitko nije pitao kako ste preživjeli”, poantira Anderson.

Kako je Haft preživio Auschwitz? Boksajući, tj. boreći se s ostalim zatvorenicima u okrutnim gladijatorskim boksačkim borbama do smrti za zabavu i okladu SS-ovaca. Angažirao ga je oficir Dietrich Schneider (Billy Magnussen), vidjevši kako je izdevetao njemačkog vojnika kad je ovaj napao jednog zatvorenika.

Umjesto smrti kao kazne za napad, Schneider je odlučio zaraditi na Haftu u borbama u kojima pobjednici nastavljaju živjeti, a gubitnici umiru, ako ne u ringu, onda od nacističkog metka. Levinsonov osjećaj za slojevite likove vidljiv je na primjeru Schneidera: on nije tipični “zločesti nacist”, ali ni “good nazi”, već oportunist.

”Ja ne mrzim Židove, ta vrsta strasti je za jednostavne umove”, Schneider govori Haftu i ističe da su “sva velika carstva izgrađena na uništenju drugog naroda”, a njegov narod nije “uzvratio udarac” i “odbio se spasiti” nakon što bi “svaka logična osoba vidjela što dolazi kad je Hitler preuzeo vlast (oduzimanje vaših prava, poniženja)”.

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Prošlost se odmotava u flešbekovima, a crno-bijela tehnika im pogoduje, kao što je pogodovala “Schindleru” i “Dnevniku Diane Budisavljević”. Flešbekovi se odvijaju kao košmarni boksački horor u crno-bijeloj tehnici, oslikavajući život i smrt u konc-logoru, a pojavljuju se onako kako se Haftu javljaju nemili prizori pred očima i proganjaju ga na svakodnevnoj bazi, prije, poslije ili čak usred nekog meča, razdirući boksačev um i svaku poru njegove duše.

Haft je pristao ispričati novinaru svoju priču ne bi li dobio publicitet za borbu s prvakom Rockyjem Marcianom (Anthony Molinari) i zatim dospio u sve novine u nadi da će za njega čuti njegova nestala djevojka, uvjeren da je još živa otkako ih je rat razdvojio, riskirajući pritom postati izdajica u očima židovske zajednice.

Suočen s izborom da bude “čekić ili nakovanj”, Haft je nevoljko mlatio protivnike u ringu kako bi preživio, a jednog je i ubio, prijatelja koji ga je zamolio da radije strada od njegove ruke (ili noge) nego od nacista. “Izreci za mene jedan kadiš”, kaže prijatelj Haftu u vjerojatno najbolnijoj sceni filma, prepuštajući se stisku smrti.

Prošlost proganja Hafta koji se nalazi u stanju permanentne agonije, traume i tzv. krivnje preživjelog (“survivor guilt”), što šutljivi Foster odlično predočava u očima i govoru tijela. On nastavlja boksati poslije rata i tako se bori protiv samoga sebe i unutarnjih demona, tražeći iskupljenje.

Borba protiv Marciana je teška za gledanje. Isprva Haft iznenađujuće dobro stoji u ogledu s prvakom, ali kasnije kao da se prepušta Marcianovim udarcima jer ne može više nositi težinu povijesti na svojim leđima. Težinu koju s njim od početka do kraja filma nosi i Foster.

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Iz Drugog svjetskog rata u srednji vijek

Bena Fostera ubrzo bi u kinima trebali gledati i u srednjovjekovnom povijesnom spektaklu "Medieval".

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Leo Pinter/ Leo Pinter/ Leo Pinter/ Leo Pinter/ Leo Pinter/ Leo Pinter/ Leo Pinter/ Jessica Kourkounis/

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Ring opstanka‘: Borac iz konclogora

Piše Marko Njegić
20. listopada 2022. - 15:40
23619056
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Planiran je “Ring opstanka” (“The Survivor”) za hrvatsku kinodistribuciju početkom ljeta, ali je odgođen da se ne poklapa s još jednim boksačkim filmom snimljenim prema istinitoj priči “Boksač: Život Jema Belchera”. Jedno vrijeme se činilo da je “Ring opstanka” trajno odgođen i da neće uopće stići u kina.

Srećom, odgodio se za jesen i evo ga napokon na velikim ekranima, malo više od godinu dana nakon što je imao premijeru na prošlogodišnjem festivalu u Torontu, u sezoni kad se prikazuju oskarovski kandidati. Bila bi prava šteta da smo vidjeli samo inferiorniji od dva recentna boksačka filma; “Prizefighter: The Life Of Jem Belcher” nije ni blizu dobar kao “The Survivor”.

Pa opet, “Ring opstanka” nije “samo” boksački i biografski film kao “Život Jem...

#CINEMARK#CINEMARK U KINU #DRAME#BOKSAČKI FILMOVI#BIOGRAFSKI FILMOVI#FILMOVI O HOLOKAUSTU#BEN FOSTER#BARRY LEVINSON#HARRY HAFT#FILMOVI PREMA ISTINITOJ PRIČI#VICKY KRIEPS#DANNY DE VITO
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12. svibanj 2024 21:43