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Uskrs na filmu manje je popularan od filmskog Božića, ali dovoljno komercijaliziran i poslovično rezerviran za biblijski intonirane uratke poput starog ili novog “Bena Hura”, “Pasije”, “Noe” i “Marije Magdalene”, odnosno “zečje” obiteljske naslove kao što su “Hop” i “Petar Zecimir 1&2”. Moglo bi se reći da Uskrs na filmu slijedi Božić.

Svi znamo za klasična božićna ostvarenja kojih ne nedostaje ni posljednjih sezona (“Tatica se vratio za Božić”, “Last Christmas”, “Sam u kući 5”, “Ništa od Božića ove godine”, “Ljubav u božićno doba”, “Spirited”...). No, Hollywood sve češće izbaci tzv. kontraprogram s nečim drukčijim i mračnijim tipa “Pljačka stoljeća”, “Zločesti Djed Mraz 1&2”, “Fatman” i “Divlja noć”, uključujući i horore kao što su “Krampus”, “Better Watch Out”, “Crni Božić”, “Igračke užasa”...

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FILM: The Pope‘s Exorcist; horor, SAD, 2023. REŽIJA: Julius Avery ULOGE: Russell Crowe, Franco Nero DISTRIBUCIJA: Con Film OCJENA: ***

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Izgleda da je i filmski Uskrs došao do te faze pa ove godine, prikladno tempiran uoči blagdana, u sva svjetska kina kreće horor “Papin egzorcist (“The Pope’s Exorcist”), inspiriran spisima stvarnog svećenika Gabrielea Amortha (1925. – 2016.), glavnog istjerivača vraga iz Vatikana, što ga, uz “Egzorcizam Emily Rose”, čini rijetkim ovakvim filmom nadahnutim istinitom pričom.

Tajming je prilično subverzivan, posebice što je Amorth u filmu “otkrio neke od najmračnijih dana Katoličke crkve”, a tiču se Španjolske inkvizicije. “Papin egzorcist” nije novi “Istjerivač đavola” i “Pretkazanje”, ali to i ne želi biti, svjestan njihove veličine. Kad Amorth stigne do kuće gdje će obaviti egzorcizam, režiser Julius Avery (“Operacija Overlord”, “Samaritan”) neće ga kadrirati umjetnički “sjenovito” kao William Friedkin oca Merrina u “The Exorcistu”.

Film nije ni na razini “Prizivanja”, ali jest bolji od “The Conjuring 3” i uspijeva se zanimljivošću i/ili produkcijskim vrijednostima nadići iznad prosjeka niske nadnaravnih egzorcističkih/sotonskih horora kao što su “Izgubljena duša”, “Posljednji egzorcizam”, “Obred”, “Sotona: Razotkrivanje”, “Opsjednuta”, “Posljednji egzorcizam II”, “Izbavi nas od zla”, “Časna”, “Đavolji plijen”...

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Težinu filmu svakako daje oskarovac Russell Crowe (“Genijalni um”, “Gladijator”, “Probuđena savjest”, “L.A. povjerljivo”) kojemu je ovo prvi horor, a ostvario je filmski “comeback” trilerom “Bijesan”. Tu je i Franco Nero kao Papa. Redatelj Avery se trudi režirati horor na blockbusterski način za 4D kinodoživljaj, pojačane slike i zvuka, što se u zadnje vrijeme polako nameće kao žanrovski “must have” (“Ono”, “Prizivanja 2”, “Ono: Drugo poglavlje”).

Početna zvukovnost filma je takva da se gledatelju čini kako je uletio na projekciju nove “Dine”, pa je dobro da je Avery ubacio Amorthov citat “Kad se rugamo vragu i govorimo da ne postoji, tad je on najsretniji”. Amorth je prilično intrigantan lik, glavni egzorcist Vatikana, svećenik, teolog, odvjetnik, novinar, a bio je i partizan u Drugom svjetskom ratu.

On zna biti duhovit (“Trebaš naučiti koji vic, vrag ne voli šale”), ali i ozbiljan, posebice kad se sukobljava s nekim kardinalima koji dvoje u njegova djela. “Znači, kažete da zlo ne postoji? Koja je onda uloga Crkve?”, pita ih on na saslušanju, te istakne da njima ionako ne treba odgovarati jer “moj biskup je Papa”.

Šteta da se film o Amorthu nije snimio ranije, krajem osamdesetih ili devedesetih, dok horori ovog tipa nisu toliko opsjedali kina kao danas. Najveći problem egzorcističkih horora jest formulaičnost. Pogledali ste jednoga, vidjeli ste gotovo sve. Klasični znakovi opsjednutosti neke mlade osobe i ovdje su u igri.

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Jasno, u paketu sa scenama kad demon progovara iz opsjednutog tijela i plaši svećenika/e riječima “Tvoje molitve su ovdje bezvrijedne”, “Ja sam tvoj najgori strah, tvoja propast”, “Moje ime je bogohuljenje, noćna mora...”, tj. pokušava (is)koristiti grijehe egzorcista protiv njih samih, a koji uključuju i razgolićene djevojke (golotinja je rijetka u sličnim filmovima).

Ovaj put opsjednut je dječak Henry (Peter DeSouza-Feighoney), traumatiziran nedavnom smrću oca, koji je s mamom (Alex Essoe; “Doktor Sleep”) i sestrom (Laurel Marsden; nalik mladoj Eriki Eleniak) došao iz Amerike u Španjolsku 1987. ne bi li obnovili i prodali opatiju naslijeđenu od pokojnika.

Interesantno je da je “veoma moćan demon”, “kralj pakla” Asmodej koji se “hrani egzorcistima”, opsjeo dječaka na “posvećenom mjestu” (opatija) umjesto u standardnoj obiteljskoj kući, kao i to da su na snazi multipla opsjednuća da hororski spektakl bude veći.

Završnica je blockbusterska, nafilovana efektima, premda su intimnije scene strave dojmljivije, kad krevet proguta Henryjevu mamu ili Avery krupno kadrira dječakove podebljane kapilare nalik crvenim tragovima pakla u oku. Avery razmišlja blockbusterski i franšizno. “The Pope’s Exorcist” bi mogao biti prvi u nizu Amorthovih egzorcizama na filmu.

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The Cult na soundtracku

Da se nalazimo u osamdesetima ilustrira i soundtrack na kojem svira The Cult s hard rock klasikom "She Sells Sanctuary".

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Uskrs na filmu manje je popularan od filmskog Božića, ali dovoljno komercijaliziran i poslovično rezerviran za biblijski intonirane uratke poput starog ili novog “Bena Hura”, “Pasije”, “Noe” i “Marije Magdalene”, odnosno “zečje” obiteljske naslove kao što su “Hop” i “Petar Zecimir 1&2”. Moglo bi se reći da Uskrs na filmu slijedi Božić.

Svi znamo za klasična božićna ostvarenja kojih ne nedostaje ni posljednjih sezona (“Tatica se vratio za Božić”, “Last Christmas”, “Sam u kući 5”, “Ništa od Božića ove godine”, “Ljubav u božićno doba”, “Spirited”...). No, Hollywood sve češće izbaci tzv. kontraprogram s nečim drukčijim i mračnijim tipa “Pljačka stoljeća”, “Zločesti Djed Mraz 1&2”, “Fatman” i “Divlja noć”, uključujući i horore kao što su “Krampus”, “Better Watch Out”, “Crni Božić”, “Igračke užasa”...

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FILM: The Pope‘s Exorcist; horor, SAD, 2023. REŽIJA: Julius Avery ULOGE: Russell Crowe, Franco Nero DISTRIBUCIJA: Con Film OCJENA: ***

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Izgleda da je i filmski Uskrs došao do te faze pa ove godine, prikladno tempiran uoči blagdana, u sva svjetska kina kreće horor “Papin egzorcist (“The Pope’s Exorcist”), inspiriran spisima stvarnog svećenika Gabrielea Amortha (1925. – 2016.), glavnog istjerivača vraga iz Vatikana, što ga, uz “Egzorcizam Emily Rose”, čini rijetkim ovakvim filmom nadahnutim istinitom pričom.

Tajming je prilično subverzivan, posebice što je Amorth u filmu “otkrio neke od najmračnijih dana Katoličke crkve”, a tiču se Španjolske inkvizicije. “Papin egzorcist” nije novi “Istjerivač đavola” i “Pretkazanje”, ali to i ne želi biti, svjestan njihove veličine. Kad Amorth stigne do kuće gdje će obaviti egzorcizam, režiser Julius Avery (“Operacija Overlord”, “Samaritan”) neće ga kadrirati umjetnički “sjenovito” kao William Friedkin oca Merrina u “The Exorcistu”.

Film nije ni na razini “Prizivanja”, ali jest bolji od “The Conjuring 3” i uspijeva se zanimljivošću i/ili produkcijskim vrijednostima nadići iznad prosjeka niske nadnaravnih egzorcističkih/sotonskih horora kao što su “Izgubljena duša”, “Posljednji egzorcizam”, “Obred”, “Sotona: Razotkrivanje”, “Opsjednuta”, “Posljednji egzorcizam II”, “Izbavi nas od zla”, “Časna”, “Đavolji plijen”...

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Težinu filmu svakako daje oskarovac Russell Crowe (“Genijalni um”, “Gladijator”, “Probuđena savjest”, “L.A. povjerljivo”) kojemu je ovo prvi horor, a ostvario je filmski “comeback” trilerom “Bijesan”. Tu je i Franco Nero kao Papa. Redatelj Avery se trudi režirati horor na blockbusterski način za 4D kinodoživljaj, pojačane slike i zvuka, što se u zadnje vrijeme polako nameće kao žanrovski “must have” (“Ono”, “Prizivanja 2”, “Ono: Drugo poglavlje”).

Početna zvukovnost filma je takva da se gledatelju čini kako je uletio na projekciju nove “Dine”, pa je dobro da je Avery ubacio Amorthov citat “Kad se rugamo vragu i govorimo da ne postoji, tad je on najsretniji”. Amorth je prilično intrigantan lik, glavni egzorcist Vatikana, svećenik, teolog, odvjetnik, novinar, a bio je i partizan u Drugom svjetskom ratu.

On zna biti duhovit (“Trebaš naučiti koji vic, vrag ne voli šale”), ali i ozbiljan, posebice kad se sukobljava s nekim kardinalima koji dvoje u njegova djela. “Znači, kažete da zlo ne postoji? Koja je onda uloga Crkve?”, pita ih on na saslušanju, te istakne da njima ionako ne treba odgovarati jer “moj biskup je Papa”.

Šteta da se film o Amorthu nije snimio ranije, krajem osamdesetih ili devedesetih, dok horori ovog tipa nisu toliko opsjedali kina kao danas. Najveći problem egzorcističkih horora jest formulaičnost. Pogledali ste jednoga, vidjeli ste gotovo sve. Klasični znakovi opsjednutosti neke mlade osobe i ovdje su u igri.

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Jasno, u paketu sa scenama kad demon progovara iz opsjednutog tijela i plaši svećenika/e riječima “Tvoje molitve su ovdje bezvrijedne”, “Ja sam tvoj najgori strah, tvoja propast”, “Moje ime je bogohuljenje, noćna mora...”, tj. pokušava (is)koristiti grijehe egzorcista protiv njih samih, a koji uključuju i razgolićene djevojke (golotinja je rijetka u sličnim filmovima).

Ovaj put opsjednut je dječak Henry (Peter DeSouza-Feighoney), traumatiziran nedavnom smrću oca, koji je s mamom (Alex Essoe; “Doktor Sleep”) i sestrom (Laurel Marsden; nalik mladoj Eriki Eleniak) došao iz Amerike u Španjolsku 1987. ne bi li obnovili i prodali opatiju naslijeđenu od pokojnika.

Interesantno je da je “veoma moćan demon”, “kralj pakla” Asmodej koji se “hrani egzorcistima”, opsjeo dječaka na “posvećenom mjestu” (opatija) umjesto u standardnoj obiteljskoj kući, kao i to da su na snazi multipla opsjednuća da hororski spektakl bude veći.

Završnica je blockbusterska, nafilovana efektima, premda su intimnije scene strave dojmljivije, kad krevet proguta Henryjevu mamu ili Avery krupno kadrira dječakove podebljane kapilare nalik crvenim tragovima pakla u oku. Avery razmišlja blockbusterski i franšizno. “The Pope’s Exorcist” bi mogao biti prvi u nizu Amorthovih egzorcizama na filmu.

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The Cult na soundtracku

Da se nalazimo u osamdesetima ilustrira i soundtrack na kojem svira The Cult s hard rock klasikom "She Sells Sanctuary".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Papin egzorcist‘: Istjerivač vraga iz Vatikana

Piše Marko Njegić
4. travnja 2023. - 14:28

Uskrs na filmu manje je popularan od filmskog Božića, ali dovoljno komercijaliziran i poslovično rezerviran za biblijski intonirane uratke poput starog ili novog “Bena Hura”, “Pasije”, “Noe” i “Marije Magdalene”, odnosno “zečje” obiteljske naslove kao što su “Hop” i “Petar Zecimir 1&2”. Moglo bi se reći da Uskrs na filmu slijedi Božić.

Svi znamo za klasična božićna ostvarenja kojih ne nedostaje ni posljednjih sezona (“Tatica se vratio za Božić”, “Last Christmas”, “Sam u kući 5”, “Ništa od Božića ove godine”, “Ljubav u božićno doba”, “Spirited”...). No, Hollywood sve češće izbaci tzv. kontraprogram s nečim drukčijim i mračnijim tipa “Pljačka stoljeća”, “Zločesti Djed Mraz 1&2”, “Fatman” i “Divlja...

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11. svibanj 2024 15:35