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[title] => ‘U posljednjoj fazi‘: Što na umu, to na Thurman
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Opet sam sanjala... Prve riječi u trileru "U posljednjoj fazi" ("Final Analysis", 1992.) izgovara pacijentica Diana Baylor, ležeći na kauču kod psihijatra Isaaca Barra i otkrivajući da u tom snu slaže cvijeće za aranžman na stolu, konkretno ljiljane, karanfile i ljubičice. Scenarist Wesley Strick , tada još svjež od scenarija za Scorseseov "Rt straha ", te redatelj Phil Joanou (izvrsno "Stanje milosti ") također su sanjali.
U snu su slagali cvjetni aranžman za moderni hičkokovski film poput "Vrtoglavice " i složili "U posljednjoj fazi", jedan od najpopularnijih trilera s početka devedesetih, iz žanrovski plodne 1992. ("Sirove strasti ", "Oglas donosi smrt ", "Potez lovca "...). Cvijeće nije slučajan motiv.
---
FILM: Final Analysis; triler; SAD, 1992. REŽIJA: Phil Joanou ULOGE: Richard Gere, Uma Thurman OCJENA: *** ½
---
Poznavatelji opusa "majstora napetosti" Alfreda Hitchcocka sjetit će se da je Kim Novak posjetila cvjećarnicu u filmu "Vertigo" i uzela buket cvijeća sastavljen mahom od ruža, ali i – ljubičica. Ništa bez potonjeg cvijeća jer se netko, kao Diana, može zabuniti i umjesto "violets" reći "violence" (nasilje), a i ljubičica se rimuje s "Vrtoglavica". Što je triler bez nasilja, bilo ono psihološko ili fizičko, naročito hičkokovski triler.
Utjecaj klasika "Vertigo" prepoznatljiv je i vjerojatno bi ovaj psihoseksualni triler usnuo i sam Hitchcock da je poživio do 1992. godine, moguće baš s Richardom Gereom ("Božanstveni dani ", "Zgodna žena ") i Umom Thurman ("Opasne veze ") u ulogama psihijatra i njegove pacijentice te, sasvim sigurno, Novakičinom imenjakinjom Kim Basinger kao Dianinom sestrom Heather Evans.
Hitchcock je bio svjetionik za trilere devedesetih koji su, godinama nakon njegovih seksualno konotativnih filmova, psihološkoj komponenti mogli pridodati erotsku s obligatornom razgolićenom i vrućom scenom seksa, u ovom slučaju između Gerea i toplesirane Basinger kao utjelovljenja hičkokovske plavuše.
Taj je svjetionik bacio možda i najveći snop svjetla na "Final Analysis". Upravo svjetlo svjetionika žmirka lijevo i desno u uvodnoj špici filma, kao što su se oči neke žene micale u kolažnom intru "Vrtoglavice". Svjetionik je jedan od motiva uvodne špice uz pištolj, krv i knjige Sigmunda Freuda , zamjenjujući zvonik katoličke misije iz "Vertiga".
Sve da svjetionik nema spiralne stepenice, stvorene da izazovu vrtoglavicu i oslikavaju zavojitost ljudskog uma (i scenarija), frojdovska je simbolika prilično ilustrativna. Nekad je ljubičica samo ljubičica, kako kaže Diana, poklapajući Freudovu podsvijest. I nekad je svjetionik samo svjetionik. Međutim, nekad i nije, posebice ne u hičkokovsko-frojdovskom trileru kakav je "U posljednoj fazi" koji se kune u "Vrtoglavicu".
---
VIDEO
---
Mjesto radnje je San Francisco i fotografija Jordana Cronenwetha ("Blade Runner ", "State Of Grace") i scenografija Deana Tavoularisa ("Kum ", "Prisluškivanje ", "Apokalipsa danas ", "Kum III ") vizualno doprinose njegovu snolikom ugođaju, dok trilerske orkestracije skladatelja Georgea Fentona skidaju zvukovnicu legendarnog Bernarda Herrmanna .
Usto, Basinger kao Heather ulazi u film sa sjajem u plavoj kosi, slično Novakici u ulozi "prave" Madeleine, a Gere će na kraju filma visjeti sa svjetionika i držati se vršcima prstiju da ne padne, poput Jamesa Stewarta s krova na početku Hitchcockova trilera.
Gdje počinje "Vertigo", završava "Final Analysis"? Može se reći. Trileri su podosta isprepleteni, ali ambiciozni, još uvijek dojmljivi "U posljednjoj fazi" nije samo film posvete, kamoli puka fotokopija "Vrtoglavice", nego konstruira vlastitu priču na čvrstim Hitchcockovim temeljima. Konstruira i dekonstruira s mnogim dvosmislenostima i preokretima unutar preokreta, ako ne "vertigovskim" snom unutar sna, odsanjanim između zbilje i iluzije/fantazije, mada ni to nije isključeno.
Priča je labirintna, moguće i do ruba (ne)uvjerljivosti ako previše razmišljate o njoj nakon gledanja, no gledatelj pristaje izgubiti se (nanovo) u tom labirintu zajedno s Isaacom dokle god ga kroz labirint vodi sigurna redateljska ruka. Zaplet započinje kad traumatizirana Diana, potiskujući obiteljsku tajnu prošlosti, sugerira Isaacu da porazgovara s njezinom sestrom, koja "zna neke stvari o mami i tati".
"Nećete požaliti, ona je vrlo interesantna djevojka", uvjerava Diana psihijatra. Budući da nju glumi Basinger na vrhuncu seksepila, još seksepilnija nego u "Devet i pol tjedana " i "Batmanu ", Isaac pristaje, posebice zbog toga što lako može "čitati" ljude koji ga s vremenom "prestaju iznenađivati", a on samo "želi biti iznenađen".
Isaac će biti iznenađen, najprije time da je Heather udana, i to za sadističkog, patološki ljubomornog gangstera Jimmyja Evansa (Eric Roberts ), potom i njezinim mentalnim poremećajem. Heather pati od patološke intoksikacije, u prijevodu alkohol može biti okidač za psihotičnu epizodu koje se poslije ne sjeća.
---
VIDEO
---
Basinger nije smjela piti već u "Sastanku s nepoznatom ", što je u tom filmu bilo iskorišteno u komične svrhe, a ovdje se koristi u psihotrilerske. Ni muž s kakvim se nije zezati ("švrljati s njegovom ženom je kao da dražiš King Konga"), niti Heatherin poremećaj ne obeshrabruju Isaaca da prekine kontakt s njom jer ona "nije djevojka koju prestaješ viđati", iako bi možda razmislio prije nego što joj naruči vino.
Razboriti prijatelj, odvjetnik Mike O'Brien (prepoznatljiva sporedna faca Paul Guilfoyle ; "L.A. povjerljivo ", "Air Force One ") izdaje upozorenja Isaacu, on je Gus Moran (George Dzundza , partner Michaela Douglasa u "Basic Instinct") ovog filma, ali avaj, Heather privlači psihijatra poput magneta.
"Nije li prelijepa", pita ga Diana i za sebe kaže da je gusjenica, a za Heather da je leptir, (do)noseći pištolj na seanse s Isaacom koji joj je navodno dala sestra. Da vidimo: svjetionik, pištolj, Freudove knjige... nedostaje samo krv iz uvodne špice. Krvi će biti, dakako, kad Heather opali supruga zlostavljača utegom po glavi u prvoj trećini filma koji vodu u kadi oboji u crveno. Utegom čija je metalna šipka ispala iz njezine torbe tijekom posjeta svjetioniku s Isaacom.
Je li Heather planirala umorstvo supruga s namjerom da smjesti Isaacu, što bi jedva dočekao detektiv Huggins (Keith David ; "Stvor ", "Oni žive ")? Zašto Diana nosi pištolj u torbi? Jesu li sestre u nekakvom "dogovoru" ili samo jedna poteže konce ubojite igre i kompleksnog zapleta? Hoće li gusjenica postati leptir, a leptir gusjenica? Što na umu (i Umu), to na Thurman?
Gledatelj pokušava proniknuti u um sestara, kao i Isaac, kojeg Joanou u jednom kadru hvata "anfas", a Dianu iz profila kao da joj doslovce čita misli. Igre uma (i pogađanja) pokreću "Final Analysis", koji koketira s erotskim trilerom, ali je zainteresiraniji za psihu nego za tijelo dok u glavi slaže cvijeće za aranžman na stolu u čast Hitchcocka, ljiljane, karanfile i ljubičice. Opet sam sanjala...
---
Gere i Basinger ‘Bez milosti‘
Richard Gere i Kim Basinger glumili su zajedno i u akcijskom trileru "No Mercy" koji je izašao u kinima šest godina ranije. Gere je igrao psihijatra i 1996. u "Iskonskom strahu", a Thurman je 1992. glumila i u trileru "Jennifer 8".
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Opet sam sanjala... Prve riječi u trileru "U posljednjoj fazi" ("Final Analysis", 1992.) izgovara pacijentica Diana Baylor, ležeći na kauču kod psihijatra Isaaca Barra i otkrivajući da u tom snu slaže cvijeće za aranžman na stolu, konkretno ljiljane, karanfile i ljubičice. Scenarist Wesley Strick , tada još svjež od scenarija za Scorseseov "Rt straha ", te redatelj Phil Joanou (izvrsno "Stanje milosti ") također su sanjali.
U snu su slagali cvjetni aranžman za moderni hičkokovski film poput "Vrtoglavice " i složili "U posljednjoj fazi", jedan od najpopularnijih trilera s početka devedesetih, iz žanrovski plodne 1992. ("Sirove strasti ", "Oglas donosi smrt ", "Potez lovca "...). Cvijeće nije slučajan motiv.
---
FILM: Final Analysis; triler; SAD, 1992. REŽIJA: Phil Joanou ULOGE: Richard Gere, Uma Thurman OCJENA: *** ½
---
Poznavatelji opusa "majstora napetosti" Alfreda Hitchcocka sjetit će se da je Kim Novak posjetila cvjećarnicu u filmu "Vertigo" i uzela buket cvijeća sastavljen mahom od ruža, ali i – ljubičica. Ništa bez potonjeg cvijeća jer se netko, kao Diana, može zabuniti i umjesto "violets" reći "violence" (nasilje), a i ljubičica se rimuje s "Vrtoglavica". Što je triler bez nasilja, bilo ono psihološko ili fizičko, naročito hičkokovski triler.
Utjecaj klasika "Vertigo" prepoznatljiv je i vjerojatno bi ovaj psihoseksualni triler usnuo i sam Hitchcock da je poživio do 1992. godine, moguće baš s Richardom Gereom ("Božanstveni dani ", "Zgodna žena ") i Umom Thurman ("Opasne veze ") u ulogama psihijatra i njegove pacijentice te, sasvim sigurno, Novakičinom imenjakinjom Kim Basinger kao Dianinom sestrom Heather Evans.
Hitchcock je bio svjetionik za trilere devedesetih koji su, godinama nakon njegovih seksualno konotativnih filmova, psihološkoj komponenti mogli pridodati erotsku s obligatornom razgolićenom i vrućom scenom seksa, u ovom slučaju između Gerea i toplesirane Basinger kao utjelovljenja hičkokovske plavuše.
Taj je svjetionik bacio možda i najveći snop svjetla na "Final Analysis". Upravo svjetlo svjetionika žmirka lijevo i desno u uvodnoj špici filma, kao što su se oči neke žene micale u kolažnom intru "Vrtoglavice". Svjetionik je jedan od motiva uvodne špice uz pištolj, krv i knjige Sigmunda Freuda , zamjenjujući zvonik katoličke misije iz "Vertiga".
Sve da svjetionik nema spiralne stepenice, stvorene da izazovu vrtoglavicu i oslikavaju zavojitost ljudskog uma (i scenarija), frojdovska je simbolika prilično ilustrativna. Nekad je ljubičica samo ljubičica, kako kaže Diana, poklapajući Freudovu podsvijest. I nekad je svjetionik samo svjetionik. Međutim, nekad i nije, posebice ne u hičkokovsko-frojdovskom trileru kakav je "U posljednoj fazi" koji se kune u "Vrtoglavicu".
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VIDEO
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Mjesto radnje je San Francisco i fotografija Jordana Cronenwetha ("Blade Runner ", "State Of Grace") i scenografija Deana Tavoularisa ("Kum ", "Prisluškivanje ", "Apokalipsa danas ", "Kum III ") vizualno doprinose njegovu snolikom ugođaju, dok trilerske orkestracije skladatelja Georgea Fentona skidaju zvukovnicu legendarnog Bernarda Herrmanna .
Usto, Basinger kao Heather ulazi u film sa sjajem u plavoj kosi, slično Novakici u ulozi "prave" Madeleine, a Gere će na kraju filma visjeti sa svjetionika i držati se vršcima prstiju da ne padne, poput Jamesa Stewarta s krova na početku Hitchcockova trilera.
Gdje počinje "Vertigo", završava "Final Analysis"? Može se reći. Trileri su podosta isprepleteni, ali ambiciozni, još uvijek dojmljivi "U posljednjoj fazi" nije samo film posvete, kamoli puka fotokopija "Vrtoglavice", nego konstruira vlastitu priču na čvrstim Hitchcockovim temeljima. Konstruira i dekonstruira s mnogim dvosmislenostima i preokretima unutar preokreta, ako ne "vertigovskim" snom unutar sna, odsanjanim između zbilje i iluzije/fantazije, mada ni to nije isključeno.
Priča je labirintna, moguće i do ruba (ne)uvjerljivosti ako previše razmišljate o njoj nakon gledanja, no gledatelj pristaje izgubiti se (nanovo) u tom labirintu zajedno s Isaacom dokle god ga kroz labirint vodi sigurna redateljska ruka. Zaplet započinje kad traumatizirana Diana, potiskujući obiteljsku tajnu prošlosti, sugerira Isaacu da porazgovara s njezinom sestrom, koja "zna neke stvari o mami i tati".
"Nećete požaliti, ona je vrlo interesantna djevojka", uvjerava Diana psihijatra. Budući da nju glumi Basinger na vrhuncu seksepila, još seksepilnija nego u "Devet i pol tjedana " i "Batmanu ", Isaac pristaje, posebice zbog toga što lako može "čitati" ljude koji ga s vremenom "prestaju iznenađivati", a on samo "želi biti iznenađen".
Isaac će biti iznenađen, najprije time da je Heather udana, i to za sadističkog, patološki ljubomornog gangstera Jimmyja Evansa (Eric Roberts ), potom i njezinim mentalnim poremećajem. Heather pati od patološke intoksikacije, u prijevodu alkohol može biti okidač za psihotičnu epizodu koje se poslije ne sjeća.
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VIDEO
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Basinger nije smjela piti već u "Sastanku s nepoznatom ", što je u tom filmu bilo iskorišteno u komične svrhe, a ovdje se koristi u psihotrilerske. Ni muž s kakvim se nije zezati ("švrljati s njegovom ženom je kao da dražiš King Konga"), niti Heatherin poremećaj ne obeshrabruju Isaaca da prekine kontakt s njom jer ona "nije djevojka koju prestaješ viđati", iako bi možda razmislio prije nego što joj naruči vino.
Razboriti prijatelj, odvjetnik Mike O'Brien (prepoznatljiva sporedna faca Paul Guilfoyle ; "L.A. povjerljivo ", "Air Force One ") izdaje upozorenja Isaacu, on je Gus Moran (George Dzundza , partner Michaela Douglasa u "Basic Instinct") ovog filma, ali avaj, Heather privlači psihijatra poput magneta.
"Nije li prelijepa", pita ga Diana i za sebe kaže da je gusjenica, a za Heather da je leptir, (do)noseći pištolj na seanse s Isaacom koji joj je navodno dala sestra. Da vidimo: svjetionik, pištolj, Freudove knjige... nedostaje samo krv iz uvodne špice. Krvi će biti, dakako, kad Heather opali supruga zlostavljača utegom po glavi u prvoj trećini filma koji vodu u kadi oboji u crveno. Utegom čija je metalna šipka ispala iz njezine torbe tijekom posjeta svjetioniku s Isaacom.
Je li Heather planirala umorstvo supruga s namjerom da smjesti Isaacu, što bi jedva dočekao detektiv Huggins (Keith David ; "Stvor ", "Oni žive ")? Zašto Diana nosi pištolj u torbi? Jesu li sestre u nekakvom "dogovoru" ili samo jedna poteže konce ubojite igre i kompleksnog zapleta? Hoće li gusjenica postati leptir, a leptir gusjenica? Što na umu (i Umu), to na Thurman?
Gledatelj pokušava proniknuti u um sestara, kao i Isaac, kojeg Joanou u jednom kadru hvata "anfas", a Dianu iz profila kao da joj doslovce čita misli. Igre uma (i pogađanja) pokreću "Final Analysis", koji koketira s erotskim trilerom, ali je zainteresiraniji za psihu nego za tijelo dok u glavi slaže cvijeće za aranžman na stolu u čast Hitchcocka, ljiljane, karanfile i ljubičice. Opet sam sanjala...
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Gere i Basinger ‘Bez milosti‘
Richard Gere i Kim Basinger glumili su zajedno i u akcijskom trileru "No Mercy" koji je izašao u kinima šest godina ranije. Gere je igrao psihijatra i 1996. u "Iskonskom strahu", a Thurman je 1992. glumila i u trileru "Jennifer 8".
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13. svibanj 2024 20:38
