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Traumatična fantazija iz djetinjstva generacije osamdesetih i devedesetih nanovo je oživjela kako bi izazvala možebitnu traumu kod modernih naraštaja klinaca. "Vještice" su se vratile. Ovaj put iza kamere stoji oskarovac Robert Zemeckis ("Forrest Gump", "Povratak u budućnost", "Brodolom života"), koji je naslijedio pokojnog Nicholasa Roega na ekranizaciji bajkovitog predloška Roalda Dahla.

Ispred kamere "The Witches" defilira oskarovka Anne Hathaway kao zamjena za Anjelicu Huston. Hathaway je zaigrana u ulozi, a ako njezina glavna vještica nije onako užasna, možda bi mogla otjeloviti poneki košmar klinaca i buđenje usred noći.

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FILM: The Witches; fantazija; SAD, 2020. REŽIJA: Robert Zemeckis ULOGE: Anne Hathaway, Octavia Spencer DISTRIBUCIJA: Blitz OCJENA: ***

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Preko Hathaway se mogu prelomiti nove "Vještice", pomalo prozirno prebačene iz Europe s konca osamdesetih na Ameriku s kraja šezdesetih i fokusirane na tamnopute likove, malog Charlieja (Jahzir Bruno) i njegovu baku Agathu (oskarovka Octavia Spencer), ne bi li film kapitalizirao na rasnom trendu.

Načelno nepotreban remake, no "zemeckisovski" kompetetno režiran, dostatno je razigran i na trenutke potencijalno strašan za (naj)mlađu publiku, možda i blago traumatično iskustvo.

Stari film stigao je u kina 1990., na pragu nove dekade, ali njegovao je praktične i prostetične efekte osamdesetih, iz studija Jima Hensona, sumirane u sceni kad Roeg i Huston razotkriju pravo lice vještice. Scena je bila prirodni nastavak svih trauma od "Američkog vukodlaka u Londonu", "Stvora", "Terminatora" i sličnih neapologetskih filmova ili spotova osamdesetih ("Thriller") opipljive tjelesnosti unutar horora ili fizike "special effects" praktike.

Takav pristup postao je prošlost već dvije godine kasnije kad je Zemeckis, na valu prijelomnog "Terminatora 2", snimio "Smrt joj dobro pristaje" i praktične efekte zamijenio kompjutorskima, kojima je ostao vjeran i potencirao ih u računalno-animiranim filmovima ("Polar Express", "Beowulf", "Božićna priča").

"The Witches" preuzima nešto anarhične energije od "Death Becomes Her" i podsjeća na Zemeckisovu genijalnost (post-festum kadar prometne nesreće iz unutrašnjosti automobila), a dolazi u trenutku kad se računalna CGI slika dobrano nastanila u novomilenijskom oku filmske publike.

Iskusnijim gledateljima CGI neće nikad proizvesti jednaku bojazan kao praktični efekti, posebice ako su na njima odras(ta)li. "Body horor" je, jednostavno, manje stravičan (i groteskan) u računalnom obliku, za razliku od tjelesnog. Vidljivo je to u sceni kad vještica "kokošizira" jednu tamnoputu djevojčicu, tj. pretvori je u kokoš.

Pa opet, uporaba CGI-ja u hororsk(ij)e svrhe nije odveć česta u sklopu visokobudžetne "mainstream" fantazije obiteljskog "PG" predikata i blockbusterskog pedigrea. Stoga je dvojbeno da klincima "Vještice" neće biti mrvicu nelagodne, ako ne i traumatične, barem onima kojima bi ovo mogao biti prvi horor u životu, makar omotan u bajkovito-fantazijsko "family friendly" ruho.

Dakle, stariji, "nagledaniji" gledatelji mogli bi prepoznati da elongirani kutovi usta vještica, kad se rastegnu skoro do uha, podsjećaju na CGI efekte horora "Truth Or Dare", ali mlađima koji nisu vidjeli taj film teško da će biti svejedno nakon što se Hathaway "jokerovski" nasmije i demonski iskesi oštre zube, odnosno vještičje maske padnu i one skinu perike, rukavice i cipele (ćelave "kao kuhano jaje", nemaju ljudske ruke i nožne prste, već kandže).

Centralna scena demaskiranja vještica i otkrivanja njihova plana o "miširanju"/pretvaranju sve djece svijeta u miševe, ispraćena okicama skrivenog Charlieja, vrhunac je filma. Kad Hathaway neprirodno raširi nozdrve njušeći dječaka i ispruži ruke kako bi ga ščepala pretvorenog u miša, to je prizor koji grotesknošću najviše parira nenadmašnom Roegovu hororskom cirkusu.

Ništa što slijedi do odjavne špice ne može se mjeriti s tom sekvencijom i Zemeckis ne uspijeva zadržati ili nanovo postići približnu tenziju, osim možda u sceni na balkonu. Tome zasigurno kumuje transfer filma iz svojevrsne "Suspirije" za djecu u crtić s pričajućim miševima kao što je "Ratatouille".

Kako "The Witches" ide dalje, tako se Zemeckis i Hathaway sve više udaljavaju od Roega i Huston, u konačnici stvarajući od glavne vještice akcentiranu Cruellu de Vil u tijelu Grete Garbo i modne urednice Meryl Streep iz "Vrag nosi pradu", a od filma vještičji "fashion (freak) show". Hororsku fantaziju na modnoj reviji.

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Del Toro i Cuaron producenti

Jedan od koscenarista filma je Guillermo Del Toro, koji je film i producirao, baš kao i Alfonso Cuaron.

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Traumatična fantazija iz djetinjstva generacije osamdesetih i devedesetih nanovo je oživjela kako bi izazvala možebitnu traumu kod modernih naraštaja klinaca. "Vještice" su se vratile. Ovaj put iza kamere stoji oskarovac Robert Zemeckis ("Forrest Gump", "Povratak u budućnost", "Brodolom života"), koji je naslijedio pokojnog Nicholasa Roega na ekranizaciji bajkovitog predloška Roalda Dahla.

Ispred kamere "The Witches" defilira oskarovka Anne Hathaway kao zamjena za Anjelicu Huston. Hathaway je zaigrana u ulozi, a ako njezina glavna vještica nije onako užasna, možda bi mogla otjeloviti poneki košmar klinaca i buđenje usred noći.

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FILM: The Witches; fantazija; SAD, 2020. REŽIJA: Robert Zemeckis ULOGE: Anne Hathaway, Octavia Spencer DISTRIBUCIJA: Blitz OCJENA: ***

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Preko Hathaway se mogu prelomiti nove "Vještice", pomalo prozirno prebačene iz Europe s konca osamdesetih na Ameriku s kraja šezdesetih i fokusirane na tamnopute likove, malog Charlieja (Jahzir Bruno) i njegovu baku Agathu (oskarovka Octavia Spencer), ne bi li film kapitalizirao na rasnom trendu.

Načelno nepotreban remake, no "zemeckisovski" kompetetno režiran, dostatno je razigran i na trenutke potencijalno strašan za (naj)mlađu publiku, možda i blago traumatično iskustvo.

Stari film stigao je u kina 1990., na pragu nove dekade, ali njegovao je praktične i prostetične efekte osamdesetih, iz studija Jima Hensona, sumirane u sceni kad Roeg i Huston razotkriju pravo lice vještice. Scena je bila prirodni nastavak svih trauma od "Američkog vukodlaka u Londonu", "Stvora", "Terminatora" i sličnih neapologetskih filmova ili spotova osamdesetih ("Thriller") opipljive tjelesnosti unutar horora ili fizike "special effects" praktike.

Takav pristup postao je prošlost već dvije godine kasnije kad je Zemeckis, na valu prijelomnog "Terminatora 2", snimio "Smrt joj dobro pristaje" i praktične efekte zamijenio kompjutorskima, kojima je ostao vjeran i potencirao ih u računalno-animiranim filmovima ("Polar Express", "Beowulf", "Božićna priča").

"The Witches" preuzima nešto anarhične energije od "Death Becomes Her" i podsjeća na Zemeckisovu genijalnost (post-festum kadar prometne nesreće iz unutrašnjosti automobila), a dolazi u trenutku kad se računalna CGI slika dobrano nastanila u novomilenijskom oku filmske publike.

Iskusnijim gledateljima CGI neće nikad proizvesti jednaku bojazan kao praktični efekti, posebice ako su na njima odras(ta)li. "Body horor" je, jednostavno, manje stravičan (i groteskan) u računalnom obliku, za razliku od tjelesnog. Vidljivo je to u sceni kad vještica "kokošizira" jednu tamnoputu djevojčicu, tj. pretvori je u kokoš.

Pa opet, uporaba CGI-ja u hororsk(ij)e svrhe nije odveć česta u sklopu visokobudžetne "mainstream" fantazije obiteljskog "PG" predikata i blockbusterskog pedigrea. Stoga je dvojbeno da klincima "Vještice" neće biti mrvicu nelagodne, ako ne i traumatične, barem onima kojima bi ovo mogao biti prvi horor u životu, makar omotan u bajkovito-fantazijsko "family friendly" ruho.

Dakle, stariji, "nagledaniji" gledatelji mogli bi prepoznati da elongirani kutovi usta vještica, kad se rastegnu skoro do uha, podsjećaju na CGI efekte horora "Truth Or Dare", ali mlađima koji nisu vidjeli taj film teško da će biti svejedno nakon što se Hathaway "jokerovski" nasmije i demonski iskesi oštre zube, odnosno vještičje maske padnu i one skinu perike, rukavice i cipele (ćelave "kao kuhano jaje", nemaju ljudske ruke i nožne prste, već kandže).

Centralna scena demaskiranja vještica i otkrivanja njihova plana o "miširanju"/pretvaranju sve djece svijeta u miševe, ispraćena okicama skrivenog Charlieja, vrhunac je filma. Kad Hathaway neprirodno raširi nozdrve njušeći dječaka i ispruži ruke kako bi ga ščepala pretvorenog u miša, to je prizor koji grotesknošću najviše parira nenadmašnom Roegovu hororskom cirkusu.

Ništa što slijedi do odjavne špice ne može se mjeriti s tom sekvencijom i Zemeckis ne uspijeva zadržati ili nanovo postići približnu tenziju, osim možda u sceni na balkonu. Tome zasigurno kumuje transfer filma iz svojevrsne "Suspirije" za djecu u crtić s pričajućim miševima kao što je "Ratatouille".

Kako "The Witches" ide dalje, tako se Zemeckis i Hathaway sve više udaljavaju od Roega i Huston, u konačnici stvarajući od glavne vještice akcentiranu Cruellu de Vil u tijelu Grete Garbo i modne urednice Meryl Streep iz "Vrag nosi pradu", a od filma vještičji "fashion (freak) show". Hororsku fantaziju na modnoj reviji.

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Del Toro i Cuaron producenti

Jedan od koscenarista filma je Guillermo Del Toro, koji je film i producirao, baš kao i Alfonso Cuaron.

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StoryEditorOCM
Film & TVCINEMARK U KINU

VJEŠTICE Hathaway im dobro pristaje

25. studenog 2020. - 23:55

Traumatična fantazija iz djetinjstva generacije osamdesetih i devedesetih nanovo je oživjela kako bi izazvala možebitnu traumu kod modernih naraštaja klinaca. "Vještice" su se vratile. Ovaj put iza kamere stoji oskarovac Robert Zemeckis ("Forrest Gump", "Povratak u budućnost", "Brodolom života"), koji je naslijedio pokojnog Nicholasa Roega na ekranizaciji bajkovitog predloška Roalda Dahla.

Ispred kamere "The Witches" defilira oskarovka Anne Hathaway kao zamjena za Anjelicu Huston. Hathaway je zaigrana u ulozi, a ako njezina glavna vještica nije onako užasna, možda bi mogla otjeloviti poneki košmar klinaca i buđenje usred noći.

Preko Hathaway se mogu prelomiti nove "Vještice", pomalo prozirno prebačene iz Europe s konca osamdesetih na Ameriku s kraja šezdesetih i fokusirane n...

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22. svibanj 2024 07:57