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Kum glume Marlon Brando bio je čuven po teškaškim dramskim ulogama u “Tramvaju zvanom čežnja”, “Divljaku”, “Na dokovima New Yorka”, “Posljednjeg tangu u Parizu”, “Apokalipsi danas”... No, pod stare dane Brando se odlučio okušati u komediji, filmu “Brucoš” (“The Freshman”, 1990.) redatelja i scenarista Andrewa Bergmana, parodirajući vlastiti nezaboravni, Oscarom pozlaćeni lik don Vita Corleonea iz “Kuma”.

Interesantno je da je Brando to napravio u godini kad je u kinima zaigrao “The Godfather Part III”, treći i posljednji dio legendarnog mafijaškog serijala Francisa Forda Coppole. Trilogija “Kum” okončana je 1990., kad se i Brando oprostio s don Corleoneom u “Brucošu”, odigravši prvu glavnu ulogu od 1980. (“Formula”) i napravivši veliki “comeback” (iste godine je odigrao sporednu u filmu “A Dry White Season” i bio nominiran za Oscara).

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FILM: The Freshman; komedija; SAD, 1990. REŽIJA: Andrew Bergman ULOGE: Marlon Brando, Matthew Broderick OCJENA: ****

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Ima tu neke simbolike i “The Freshman” je prepun poveznica sa serijalom “The Godfather” ili njegovim glumcima, a Brando je izjavio da “sadrži trenutke visoke komedije koji će se pamtiti u nadolazećim desetljećima” i bio u pravu.

Primjerice, Brandov lik u “Brucošu”, “lokalni poduzetnik i uvoznik” (između redaka mafijaš) Carmine Sabatini, doslovce je metafilmska slika i prilika Vita Corleonea, izgledajući i govoreći kao on; glumac je 1990. imao 66 godina, približno koliko i don na kraju prvog filma.

“On je pravi, kad su ga vidjeli, utemeljili su film (naravno, ‘The Godfather’) prema njemu”, objašnjava Carmineov nećak Victor u izvedbi Bruna Kirbyja (“Donnie Brasco”) koji je u “Kumu II” igrao mladog Clemenzu i često se nalazio u kadru s Robertom De Nirom kao Vitom.

Usput, Carmineovu kćerku Tinu tumači Penelope Ann Miller (“Policajac iz vrtića”), a ona je, osim s Brandom, 1990. glumila s “kumom” De Nirom u “Buđenjima”; tri godine kasnije i s Alom Pacinom u “Carlitovu načinu”. Kirby i Miller ne skrivaju oduševljenje što dijele kadar s Brandom, kao i Matthew Broderick, zvijezda “Slobodnog dana Ferrisa Bullera”, u ulozi Clarka Kellogga.

Clark je stigao u New York na studij filma (metafilmski) i “19 minuta i 11 sekundi” po dolasku bio opljačkan zahvaljujući lopovskom Victoru koji mu za ispriku, kad bude uhvaćen, nudi posao (“idealno za studenta, fleksibilno radno vrijeme, dobra lova) i odvodi ga u “Malu Italiju” kod ujaka Carminea.

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Nakon što Clark ugleda Carminea, on ostane paf koliko je sličan Corleoneu (“Ne mogu vjerovati!”). Doista, čini se kao da je Corleone još živ i da je nabacio par kilograma pa je uistinu štosno da Brando igra lik utemeljen na liku kojemu je prethodno udahnuo život. “Vaša sličnost s kum...”, izusti Clark i bude prekinut prije nego što dovrši riječ “godfather”.

Susret Clarka i Carminea u restoranu prilično je urnebesan. Na zidu visi Mussolinijev portret (“To je kao da vi imate sliku Beatlesa”), a autoritativni Carmine znakovito zgnječi orahe u ruci dok daje Clarku “ponudu (za posao) koja se ne odbija”. Posao je da Clark “nešto pokupi na aerodromu”, konkretno reptila, komodo zmaja, kojeg bi Carmineov znanac, chef Larry London (Maximilian Schell), trebao servirati za večeru bogatašima.

Mic po mic, Clark se osjeća kao lik Griffina Dunnea u kultnoj komediji “After Hours” Martina Scorsesea, samo što se njegova “idiotska noć” odvija po danu i isprepleće s “Kumom”. Fotografije Scorsesea i Coppole krase zidove učionice na Clarkovu fakultetu, gdje profesor Arthur Fleeber (Paul Benedict) pušta studentima scene iz “The Godfather Part II” (“Kum I” bi valjda bio preočit) i analizira ih do besvijesti. Kad Clark opiše profesoru što mu se događa, ovaj kaže da priča ima “odlike noira”.

U isprepletanju Clarkova života i film(ov)a, s naglaskom na serijal “The Godfather”, bilo je štofa za metafilmsko-satiričko remek-djelo, ali nije tada još došlo vrijeme za kreativni uzlet takvog tipa kinematografije (npr. “Last Action Hero”, “Scream”...) i “The Freshman” je, reklo bi se, izašao par godina prerano. Međutim, Brandova je uloga zato glumački “masterpiece” i “masterclass”. Brando je ostvario šarmantnu, inteligentnu i savršeno odmjerenu “meta” posvetu Corleoneu i “Kumu”, odigranu u komičnom/(auto)parodičnom registru.

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Kum glume Marlon Brando bio je čuven po teškaškim dramskim ulogama u “Tramvaju zvanom čežnja”, “Divljaku”, “Na dokovima New Yorka”, “Posljednjeg tangu u Parizu”, “Apokalipsi danas”... No, pod stare dane Brando se odlučio okušati u komediji, filmu “Brucoš” (“The Freshman”, 1990.) redatelja i scenarista Andrewa Bergmana, parodirajući vlastiti nezaboravni, Oscarom pozlaćeni lik don Vita Corleonea iz “Kuma”.

Interesantno je da je Brando to napravio u godini kad je u kinima zaigrao “The Godfather Part III”, treći i posljednji dio legendarnog mafijaškog serijala Francisa Forda Coppole. Trilogija “Kum” okončana je 1990., kad se i Brando oprostio s don Corleoneom u “Brucošu”, odigravši prvu glavnu ulogu od 1980. (“Formula”) i napravivši veliki “comeback” (iste godine je odigrao sporednu u filmu “A Dry White Season” i bio nominiran za Oscara).

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FILM: The Freshman; komedija; SAD, 1990. REŽIJA: Andrew Bergman ULOGE: Marlon Brando, Matthew Broderick OCJENA: ****

---

Ima tu neke simbolike i “The Freshman” je prepun poveznica sa serijalom “The Godfather” ili njegovim glumcima, a Brando je izjavio da “sadrži trenutke visoke komedije koji će se pamtiti u nadolazećim desetljećima” i bio u pravu.

Primjerice, Brandov lik u “Brucošu”, “lokalni poduzetnik i uvoznik” (između redaka mafijaš) Carmine Sabatini, doslovce je metafilmska slika i prilika Vita Corleonea, izgledajući i govoreći kao on; glumac je 1990. imao 66 godina, približno koliko i don na kraju prvog filma.

“On je pravi, kad su ga vidjeli, utemeljili su film (naravno, ‘The Godfather’) prema njemu”, objašnjava Carmineov nećak Victor u izvedbi Bruna Kirbyja (“Donnie Brasco”) koji je u “Kumu II” igrao mladog Clemenzu i često se nalazio u kadru s Robertom De Nirom kao Vitom.

Usput, Carmineovu kćerku Tinu tumači Penelope Ann Miller (“Policajac iz vrtića”), a ona je, osim s Brandom, 1990. glumila s “kumom” De Nirom u “Buđenjima”; tri godine kasnije i s Alom Pacinom u “Carlitovu načinu”. Kirby i Miller ne skrivaju oduševljenje što dijele kadar s Brandom, kao i Matthew Broderick, zvijezda “Slobodnog dana Ferrisa Bullera”, u ulozi Clarka Kellogga.

Clark je stigao u New York na studij filma (metafilmski) i “19 minuta i 11 sekundi” po dolasku bio opljačkan zahvaljujući lopovskom Victoru koji mu za ispriku, kad bude uhvaćen, nudi posao (“idealno za studenta, fleksibilno radno vrijeme, dobra lova) i odvodi ga u “Malu Italiju” kod ujaka Carminea.

---

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Nakon što Clark ugleda Carminea, on ostane paf koliko je sličan Corleoneu (“Ne mogu vjerovati!”). Doista, čini se kao da je Corleone još živ i da je nabacio par kilograma pa je uistinu štosno da Brando igra lik utemeljen na liku kojemu je prethodno udahnuo život. “Vaša sličnost s kum...”, izusti Clark i bude prekinut prije nego što dovrši riječ “godfather”.

Susret Clarka i Carminea u restoranu prilično je urnebesan. Na zidu visi Mussolinijev portret (“To je kao da vi imate sliku Beatlesa”), a autoritativni Carmine znakovito zgnječi orahe u ruci dok daje Clarku “ponudu (za posao) koja se ne odbija”. Posao je da Clark “nešto pokupi na aerodromu”, konkretno reptila, komodo zmaja, kojeg bi Carmineov znanac, chef Larry London (Maximilian Schell), trebao servirati za večeru bogatašima.

Mic po mic, Clark se osjeća kao lik Griffina Dunnea u kultnoj komediji “After Hours” Martina Scorsesea, samo što se njegova “idiotska noć” odvija po danu i isprepleće s “Kumom”. Fotografije Scorsesea i Coppole krase zidove učionice na Clarkovu fakultetu, gdje profesor Arthur Fleeber (Paul Benedict) pušta studentima scene iz “The Godfather Part II” (“Kum I” bi valjda bio preočit) i analizira ih do besvijesti. Kad Clark opiše profesoru što mu se događa, ovaj kaže da priča ima “odlike noira”.

U isprepletanju Clarkova života i film(ov)a, s naglaskom na serijal “The Godfather”, bilo je štofa za metafilmsko-satiričko remek-djelo, ali nije tada još došlo vrijeme za kreativni uzlet takvog tipa kinematografije (npr. “Last Action Hero”, “Scream”...) i “The Freshman” je, reklo bi se, izašao par godina prerano. Međutim, Brandova je uloga zato glumački “masterpiece” i “masterclass”. Brando je ostvario šarmantnu, inteligentnu i savršeno odmjerenu “meta” posvetu Corleoneu i “Kumu”, odigranu u komičnom/(auto)parodičnom registru.

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Brucoš‘: Kum se smije

Piše Marko Njegić
1. travnja 2024. - 10:21
26850889
Galerija
/Photo12 Via Afp

Kum glume Marlon Brando bio je čuven po teškaškim dramskim ulogama u “Tramvaju zvanom čežnja”, “Divljaku”, “Na dokovima New Yorka”, “Posljednjeg tangu u Parizu”, “Apokalipsi danas”... No, pod stare dane Brando se odlučio okušati u komediji, filmu “Brucoš” (“The Freshman”, 1990.) redatelja i scenarista Andrewa Bergmana, parodirajući vlastiti nezaboravni, Oscarom pozlaćeni lik don Vita Corleonea iz “Kuma”.

Interesantno je da je Brando to napravio u godini kad je u kinima zaigrao “The Godfather Part III”, treći i posljednji dio legendarnog mafijaškog serijala Francisa Forda Coppole. Trilogija “Kum” okončana je 1990., kad se i Brando oprostio s don Corleoneom u “Brucošu”, odigravši prvu glavnu ulogu od 1980. (“Formula”) i napravivši veliki “comeback” (iste godine je odigrao sporednu u filmu “A Dry White Season” i bio nominiran za Oscara).

FILM: The Freshman; komedija; SAD, 1990. REŽIJA: Andrew Bergman ULOGE: Marlon Brando, Matthew Broderick OCJENA: ****

Ima tu neke simbolike i “The Freshman” je prepun poveznica sa serijalom “The Godfather” ili njegovim glumcima, a Brando je izjavio da “sadrži trenutke visoke komedije koji će se pamtiti u nadolazećim desetljećima” i bio u pravu.

Primjerice, Brandov lik u “Brucošu”, “lokalni poduzetnik i uvoznik” (između redaka mafijaš) Carmine Sabatini, doslovce je metafilmska slika i prilika Vita Corleonea, izgledajući i govoreći kao on; glumac je 1990. imao 66 godina, približno koliko i don na kraju prvog filma.

“On je pravi, kad su ga vidjeli, utemeljili su film (naravno, ‘The Godfather’) prema njemu”, objašnjava Carmineov nećak Victor u izvedbi Bruna Kirbyja (“Donnie Brasco”) koji je u “Kumu II” igrao mladog Clemenzu i često se nalazio u kadru s Robertom De Nirom kao Vitom.

Usput, Carmineovu kćerku Tinu tumači Penelope Ann Miller (“Policajac iz vrtića”), a ona je, osim s Brandom, 1990. glumila s “kumom” De Nirom u “Buđenjima”; tri godine kasnije i s Alom Pacinom u “Carlitovu načinu”. Kirby i Miller ne skrivaju oduševljenje što dijele kadar s Brandom, kao i Matthew Broderick, zvijezda “Slobodnog dana Ferrisa Bullera”, u ulozi Clarka Kellogga.

Clark je stigao u New York na studij filma (metafilmski) i “19 minuta i 11 sekundi” po dolasku bio opljačkan zahvaljujući lopovskom Victoru koji mu za ispriku, kad bude uhvaćen, nudi posao (“idealno za studenta, fleksibilno radno vrijeme, dobra lova) i odvodi ga u “Malu Italiju” kod ujaka Carminea.

Nakon što Clark ugleda Carminea, on ostane paf koliko je sličan Corleoneu (“Ne mogu vjerovati!”). Doista, čini se kao da je Corleone još živ i da je nabacio par kilograma pa je uistinu štosno da Brando igra lik utemeljen na liku kojemu je prethodno udahnuo život. “Vaša sličnost s kum...”, izusti Clark i bude prekinut prije nego što dovrši riječ “godfather”.

Susret Clarka i Carminea u restoranu prilično je urnebesan. Na zidu visi Mussolinijev portret (“To je kao da vi imate sliku Beatlesa”), a autoritativni Carmine znakovito zgnječi orahe u ruci dok daje Clarku “ponudu (za posao) koja se ne odbija”. Posao je da Clark “nešto pokupi na aerodromu”, konkretno reptila, komodo zmaja, kojeg bi Carmineov znanac, chef Larry London (Maximilian Schell), trebao servirati za večeru bogatašima.

Mic po mic, Clark se osjeća kao lik Griffina Dunnea u kultnoj komediji “After Hours” Martina Scorsesea, samo što se njegova “idiotska noć” odvija po danu i isprepleće s “Kumom”. Fotografije Scorsesea i Coppole krase zidove učionice na Clarkovu fakultetu, gdje profesor Arthur Fleeber (Paul Benedict) pušta studentima scene iz “The Godfather Part II” (“Kum I” bi valjda bio preočit) i analizira ih do besvijesti. Kad Clark opiše profesoru što mu se događa, ovaj kaže da priča ima “odlike noira”.

U isprepletanju Clarkova života i film(ov)a, s naglaskom na serijal “The Godfather”, bilo je štofa za metafilmsko-satiričko remek-djelo, ali nije tada još došlo vrijeme za kreativni uzlet takvog tipa kinematografije (npr. “Last Action Hero”, “Scream”...) i “The Freshman” je, reklo bi se, izašao par godina prerano. Međutim, Brandova je uloga zato glumački “masterpiece” i “masterclass”. Brando je ostvario šarmantnu, inteligentnu i savršeno odmjerenu “meta” posvetu Corleoneu i “Kumu”, odigranu u komičnom/(auto)parodičnom registru.

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#MARLON BRANDO#FILMOVI 90-IH#BRUCOŠ#MATTHEW BRODERICK#KOMEDIJE#PENELOPE ANN MILLER#KRIMI KOMEDIJE#ANDREW BERGMAN#PARODIJE#BRUNO KIRBY#THE FRESHMAN#MAXIMILIAN SCHELL
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20. svibanj 2024 01:03