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Printaj legendu kad legenda postane činjenica, po(r)uka je "Čovjeka koji je ubio Libertyja Valancea". Legenda se često printala na filmu, osobito onom povijesnog žanra, ali s vremenom je Hollywood okrenuo ploču i počeo se više držati činjenica. Povijesni ep "Kralj Arthur ("King Arthur", 2004.) redatelja Antoinea Fuque s Cliveom Owenom u titularnoj ulozi dobio je realistični tretman u istoj godini kad je u kinima izišao revizionistički historijski ep "Troja".

Oba filma u tom smislu su se ugledala na hit "Robin Hood: Princ lopova" i zasigurno pripomogla da James Bond i Batman zarone u realizam. Priča o Kralju Arthuru uvijek je sadržavala elemente fantazije, tj. mača i magije. Čarobnjak Merlin, mitska Gospa od jezera s Excaliburom u ruci...

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FILM: King Arthur; povijesni spektakl; SAD, 2004. REŽIJA: Antoine Fuqua ULOGE: Clive Owen, Keira Knightley OCJENA: ***

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Fantazijski "Mač kralja Arthura" ili "Excalibur" postavio je početkom osamdesetih temelje takvog "sword & sorcery" pristupa arturijanskoj legendi. Pa ipak, ništa od toga nema ovdje, što iznenađuje s obzirom na ime Jerryja Bruckheimera, producenta blockbusterskog akcijskog i fantazijskog eskapizma na potezu od "Top Guna", "Hridi" i "Armagedona" do "Pirata s Kariba" koji su godinu ranije postali megahit i omogućili Keiri Knightley da bude nova Guinevere i zauzme središnji dio plakata.

Spektakl s redateljskim potpisom Fuque je realističniji, ozbiljniji i mračniji od svih prethodnika, ali i nadolazećih filmova poput "Kralja Arthura" Guya Ritchieja iz 2017. godine. Film je uronjen u blato 5. stoljeća poslije Krista i u njemu nema fantazije i magije. Arthur i njegovi plemeniti vitezovi, Lancelot, Gawain, Tristan, Bors i Galahad (Ioan Gruffudd, Joel Edgerton, Mads Mikkelsen, Ray Winstone, Hugh Dancy), jedva da sjedaju za okrugli stol; možda bi i sjeli, ali nemaju vremena za to.

Guinevere je seksi, ali nije nježna romantičarka u ljubavnom trokutu (Arthur, Lancelot), već blatnjava žena-ratnica vješta s lukom i strijelom, dok je Merlin (Stephen Dillane) šaman i vođa Pikta, plemena išarana ratničkim plavim bojama. Jednako tako, Arthur je polu-Rimljanin, polu-Britanac, ratnik u prisilnoj 15-godišnjoj službi Rima, tj. Rimskog Carstva, vođa specijalne postrojbe i zaštitnik Hadrijanova zida od pobunjenih plemena poput Britonaca.

Pred njim i njegovim specijalcima-vitezovima je posljednja spasilačka misija: zaštititi jednu važnu obitelj rimskog svećenika u engleskoj koloniji od horde Saksonaca pod vodstvom Cerdica i njegova sina Cynrica (Stellan Skarsgard, Til Schweiger) koji će se pitati "Tko je taj Arthur?" i doznati da je "veliki ratnik" i da "nije nikad poražen u bitki".

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Međutim, kad Arthur otkrije da svećenik drži zarobljenu Guinevere i još neke Pikte pod optužbom za paganizam, on će početi preispitivati vjernost Rimu. Realistični okvir filma "King Arthur" korespondirao je s političkom situacijom u vrijeme snimanja i kinopremijere (rat na Bliskom istoku) pa se tako mogu povući za jedan veliki blockbuster razmjerno subverzivne paralele između imperijalističkog Rima i Amerike.

Paralele se mogu povući i s prethodnim Fuquinim ostvarenjem, politiziranim akcijskim spektaklom "Suze boga sunca" s Bruceom Willisom. Kad Arthur i njegovi vitezovi povedu izbjeglice u bijeg pred Saksoncima, to je takoreći preslik centralne postavke "Tears of The Sun" od kojeg je Fuqua preuzeo akcijski realizam, suprotno stilizaciji njegova prvijenca "Elitni ubojice" ("Dan obuke" je bio negdje na pola puta).

Nastavno na to, Fuqua rijetko poseže za računalnim efektima i zelenim ekranima, preferirajući fizičku akciju i pravu (irsku) lokaciju. Akcija je uredno snimljena, ali nema audiovizualni "wow" faktor "Conana Barbarina", "Hrabrog srca" ili "Gladijatora" (povezuje ih ime scenarista Davida Franzonija), pa i "Trinaestog ratnika". Isto vrijedi i za film, u cjelini solidan, ne i izvanredan kakav je mogao biti s posijanim tragovima mitskog viteštva i srčanih govora pred bitku.

Jedina uistinu uzbudljiva scena bitke odvija se na smrznutom jezeru s ledom koji počinje pucati pod nogama ratnika dok kamera zaranja ispod njegove kore za potrebe efektnijih kadrova. Dosta toga se izgubilo i u postizanju komercijalnijeg "PG-13" predikata za kinodistribuciju. Čak ni redateljska verzija nije brutalnija kako se očekivalo, premda ima primjerenije epsko trajanje (dva i pol sata naspram 126 minuta).

"Kralju Arthuru" nedostaje više srca u usporedbi sa spomenutim povijesnim spektaklima, bolje akcije i slojevitije karakterizacije, a Owen djeluje da mu uloga nije najbolje sjela i film mu pred nosom kradu Knightley i sporednjaci poput Mikkelsena. Kad legenda postane činjenica, printaj legendu?

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Veći hit u svijetu nego u Americi

Film se u ljeto 2004. nije baš proslavio u američkim kinima, gdje je zaradio 50 milijuna dolara, ali postao je solidan hit u ostatku svijeta i njegov ukupni utržak je iznosio 203. Svakako, Fuquin "King Arthur" je ispao komercijalniji od Ritchiejevog.

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Printaj legendu kad legenda postane činjenica, po(r)uka je "Čovjeka koji je ubio Libertyja Valancea". Legenda se često printala na filmu, osobito onom povijesnog žanra, ali s vremenom je Hollywood okrenuo ploču i počeo se više držati činjenica. Povijesni ep "Kralj Arthur ("King Arthur", 2004.) redatelja Antoinea Fuque s Cliveom Owenom u titularnoj ulozi dobio je realistični tretman u istoj godini kad je u kinima izišao revizionistički historijski ep "Troja".

Oba filma u tom smislu su se ugledala na hit "Robin Hood: Princ lopova" i zasigurno pripomogla da James Bond i Batman zarone u realizam. Priča o Kralju Arthuru uvijek je sadržavala elemente fantazije, tj. mača i magije. Čarobnjak Merlin, mitska Gospa od jezera s Excaliburom u ruci...

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FILM: King Arthur; povijesni spektakl; SAD, 2004. REŽIJA: Antoine Fuqua ULOGE: Clive Owen, Keira Knightley OCJENA: ***

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Fantazijski "Mač kralja Arthura" ili "Excalibur" postavio je početkom osamdesetih temelje takvog "sword & sorcery" pristupa arturijanskoj legendi. Pa ipak, ništa od toga nema ovdje, što iznenađuje s obzirom na ime Jerryja Bruckheimera, producenta blockbusterskog akcijskog i fantazijskog eskapizma na potezu od "Top Guna", "Hridi" i "Armagedona" do "Pirata s Kariba" koji su godinu ranije postali megahit i omogućili Keiri Knightley da bude nova Guinevere i zauzme središnji dio plakata.

Spektakl s redateljskim potpisom Fuque je realističniji, ozbiljniji i mračniji od svih prethodnika, ali i nadolazećih filmova poput "Kralja Arthura" Guya Ritchieja iz 2017. godine. Film je uronjen u blato 5. stoljeća poslije Krista i u njemu nema fantazije i magije. Arthur i njegovi plemeniti vitezovi, Lancelot, Gawain, Tristan, Bors i Galahad (Ioan Gruffudd, Joel Edgerton, Mads Mikkelsen, Ray Winstone, Hugh Dancy), jedva da sjedaju za okrugli stol; možda bi i sjeli, ali nemaju vremena za to.

Guinevere je seksi, ali nije nježna romantičarka u ljubavnom trokutu (Arthur, Lancelot), već blatnjava žena-ratnica vješta s lukom i strijelom, dok je Merlin (Stephen Dillane) šaman i vođa Pikta, plemena išarana ratničkim plavim bojama. Jednako tako, Arthur je polu-Rimljanin, polu-Britanac, ratnik u prisilnoj 15-godišnjoj službi Rima, tj. Rimskog Carstva, vođa specijalne postrojbe i zaštitnik Hadrijanova zida od pobunjenih plemena poput Britonaca.

Pred njim i njegovim specijalcima-vitezovima je posljednja spasilačka misija: zaštititi jednu važnu obitelj rimskog svećenika u engleskoj koloniji od horde Saksonaca pod vodstvom Cerdica i njegova sina Cynrica (Stellan Skarsgard, Til Schweiger) koji će se pitati "Tko je taj Arthur?" i doznati da je "veliki ratnik" i da "nije nikad poražen u bitki".

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Međutim, kad Arthur otkrije da svećenik drži zarobljenu Guinevere i još neke Pikte pod optužbom za paganizam, on će početi preispitivati vjernost Rimu. Realistični okvir filma "King Arthur" korespondirao je s političkom situacijom u vrijeme snimanja i kinopremijere (rat na Bliskom istoku) pa se tako mogu povući za jedan veliki blockbuster razmjerno subverzivne paralele između imperijalističkog Rima i Amerike.

Paralele se mogu povući i s prethodnim Fuquinim ostvarenjem, politiziranim akcijskim spektaklom "Suze boga sunca" s Bruceom Willisom. Kad Arthur i njegovi vitezovi povedu izbjeglice u bijeg pred Saksoncima, to je takoreći preslik centralne postavke "Tears of The Sun" od kojeg je Fuqua preuzeo akcijski realizam, suprotno stilizaciji njegova prvijenca "Elitni ubojice" ("Dan obuke" je bio negdje na pola puta).

Nastavno na to, Fuqua rijetko poseže za računalnim efektima i zelenim ekranima, preferirajući fizičku akciju i pravu (irsku) lokaciju. Akcija je uredno snimljena, ali nema audiovizualni "wow" faktor "Conana Barbarina", "Hrabrog srca" ili "Gladijatora" (povezuje ih ime scenarista Davida Franzonija), pa i "Trinaestog ratnika". Isto vrijedi i za film, u cjelini solidan, ne i izvanredan kakav je mogao biti s posijanim tragovima mitskog viteštva i srčanih govora pred bitku.

Jedina uistinu uzbudljiva scena bitke odvija se na smrznutom jezeru s ledom koji počinje pucati pod nogama ratnika dok kamera zaranja ispod njegove kore za potrebe efektnijih kadrova. Dosta toga se izgubilo i u postizanju komercijalnijeg "PG-13" predikata za kinodistribuciju. Čak ni redateljska verzija nije brutalnija kako se očekivalo, premda ima primjerenije epsko trajanje (dva i pol sata naspram 126 minuta).

"Kralju Arthuru" nedostaje više srca u usporedbi sa spomenutim povijesnim spektaklima, bolje akcije i slojevitije karakterizacije, a Owen djeluje da mu uloga nije najbolje sjela i film mu pred nosom kradu Knightley i sporednjaci poput Mikkelsena. Kad legenda postane činjenica, printaj legendu?

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Veći hit u svijetu nego u Americi

Film se u ljeto 2004. nije baš proslavio u američkim kinima, gdje je zaradio 50 milijuna dolara, ali postao je solidan hit u ostatku svijeta i njegov ukupni utržak je iznosio 203. Svakako, Fuquin "King Arthur" je ispao komercijalniji od Ritchiejevog.

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Film & TVRETRO(PER)SPEKTIVA

‘Kralj Arthur‘: Mač i magija u kamenu

Piše Marko Njegić
6. srpnja 2023. - 15:26
25209441
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Printaj legendu kad legenda postane činjenica, po(r)uka je "Čovjeka koji je ubio Libertyja Valancea". Legenda se često printala na filmu, osobito onom povijesnog žanra, ali s vremenom je Hollywood okrenuo ploču i počeo se više držati činjenica. Povijesni ep "Kralj Arthur ("King Arthur", 2004.) redatelja Antoinea Fuque s Cliveom Owenom u titularnoj ulozi dobio je realistični tretman u istoj godini kad je u kinima izišao revizionistički historijski ep "Troja".

Oba filma u tom smislu su se ugledala na hit "Robin Hood: Princ lopova" i zasigurno pripomogla da James Bond i Batman zarone u realizam. Priča o Kralju Arthuru uvijek je sadržavala elemente fantazije, tj. mača i magije. Čarobnjak Merlin, mitska Gospa od jezera s Excaliburom u ruci...

FILM: King Arthur; povijesni spektakl; SAD, 2004. REŽIJA: Antoine Fuqua ULOGE: Clive Owen, Keira Knightley OCJENA: ***

Fantazijski "Mač kralja Arthura" ili "Excalibur" postavio je početkom osamdesetih temelje takvog "sword & sorcery" pristupa arturijanskoj legendi. Pa ipak, ništa od toga nema ovdje, što iznenađuje s obzirom na ime Jerryja Bruckheimera, producenta blockbusterskog akcijskog i fantazijskog eskapizma na potezu od "Top Guna", "Hridi" i "Armagedona" do "Pirata s Kariba" koji su godinu ranije postali megahit i omogućili Keiri Knightley da bude nova Guinevere i zauzme središnji dio plakata.

Spektakl s redateljskim potpisom Fuque je realističniji, ozbiljniji i mračniji od svih prethodnika, ali i nadolazećih filmova poput "Kralja Arthura" Guya Ritchieja iz 2017. godine. Film je uronjen u blato 5. stoljeća poslije Krista i u njemu nema fantazije i magije. Arthur i njegovi plemeniti vitezovi, Lancelot, Gawain, Tristan, Bors i Galahad (Ioan Gruffudd, Joel Edgerton, Mads Mikkelsen, Ray Winstone, Hugh Dancy), jedva da sjedaju za okrugli stol; možda bi i sjeli, ali nemaju vremena za to.

Guinevere je seksi, ali nije nježna romantičarka u ljubavnom trokutu (Arthur, Lancelot), već blatnjava žena-ratnica vješta s lukom i strijelom, dok je Merlin (Stephen Dillane) šaman i vođa Pikta, plemena išarana ratničkim plavim bojama. Jednako tako, Arthur je polu-Rimljanin, polu-Britanac, ratnik u prisilnoj 15-godišnjoj službi Rima, tj. Rimskog Carstva, vođa specijalne postrojbe i zaštitnik Hadrijanova zida od pobunjenih plemena poput Britonaca.

Pred njim i njegovim specijalcima-vitezovima je posljednja spasilačka misija: zaštititi jednu važnu obitelj rimskog svećenika u engleskoj koloniji od horde Saksonaca pod vodstvom Cerdica i njegova sina Cynrica (Stellan Skarsgard, Til Schweiger) koji će se pitati "Tko je taj Arthur?" i doznati da je "veliki ratnik" i da "nije nikad poražen u bitki".

Međutim, kad Arthur otkrije da svećenik drži zarobljenu Guinevere i još neke Pikte pod optužbom za paganizam, on će početi preispitivati vjernost Rimu. Realistični okvir filma "King Arthur" korespondirao je s političkom situacijom u vrijeme snimanja i kinopremijere (rat na Bliskom istoku) pa se tako mogu povući za jedan veliki blockbuster razmjerno subverzivne paralele između imperijalističkog Rima i Amerike.

Paralele se mogu povući i s prethodnim Fuquinim ostvarenjem, politiziranim akcijskim spektaklom "Suze boga sunca" s Bruceom Willisom. Kad Arthur i njegovi vitezovi povedu izbjeglice u bijeg pred Saksoncima, to je takoreći preslik centralne postavke "Tears of The Sun" od kojeg je Fuqua preuzeo akcijski realizam, suprotno stilizaciji njegova prvijenca "Elitni ubojice" ("Dan obuke" je bio negdje na pola puta).

Nastavno na to, Fuqua rijetko poseže za računalnim efektima i zelenim ekranima, preferirajući fizičku akciju i pravu (irsku) lokaciju. Akcija je uredno snimljena, ali nema audiovizualni "wow" faktor "Conana Barbarina", "Hrabrog srca" ili "Gladijatora" (povezuje ih ime scenarista Davida Franzonija), pa i "Trinaestog ratnika". Isto vrijedi i za film, u cjelini solidan, ne i izvanredan kakav je mogao biti s posijanim tragovima mitskog viteštva i srčanih govora pred bitku.

Jedina uistinu uzbudljiva scena bitke odvija se na smrznutom jezeru s ledom koji počinje pucati pod nogama ratnika dok kamera zaranja ispod njegove kore za potrebe efektnijih kadrova. Dosta toga se izgubilo i u postizanju komercijalnijeg "PG-13" predikata za kinodistribuciju. Čak ni redateljska verzija nije brutalnija kako se očekivalo, premda ima primjerenije epsko trajanje (dva i pol sata naspram 126 minuta).

"Kralju Arthuru" nedostaje više srca u usporedbi sa spomenutim povijesnim spektaklima, bolje akcije i slojevitije karakterizacije, a Owen djeluje da mu uloga nije najbolje sjela i film mu pred nosom kradu Knightley i sporednjaci poput Mikkelsena. Kad legenda postane činjenica, printaj legendu?

Veći hit u svijetu nego u Americi

Film se u ljeto 2004. nije baš proslavio u američkim kinima, gdje je zaradio 50 milijuna dolara, ali postao je solidan hit u ostatku svijeta i njegov ukupni utržak je iznosio 203. Svakako, Fuquin "King Arthur" je ispao komercijalniji od Ritchiejevog.

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#POVIJESNI FILMOVI#KRALJ ARTHUR#FILMOVI 2000-IH#CLIVE OWEN#KEIRA KNIGHTLEY#ANTOINE FUQUA#JERRY BRUCKHEIMER#MADS MIKKELSEN#STELLAN SKARSGARD#JOEL EDGERTON#RAY WINSTONE#IOAN GRUFFUDD#STEPHEN DILLANE#TIL SCHWEIGER#DAVID FRANZONI
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19. svibanj 2024 02:25