SD Dojavi
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Bildanje zombi apokalipse iz izvanrednog uvoda nove “Zore živih mrtvaca” (“Dawn Of The Dead”, 2004.) u startu razlikuje redateljski prvijenac Zacka Snydera od staroga filma Georgea A. Romera. Naime, Snyder zarana otkriva da u njemu čuči budući akcijski redatelj i blockbuster-maher spektakala kao što su “300”, “Čuvari”, “Sucker Punch”, “Čovjek od čelika”, “Batman protiv Supermana”...

Nedugo nakon što se film otvori upečatljivim kadrom rendgena glave, zlokobno zažućenim kao da evocira apokaliptičnu eksploziju atomske bombe, kamera se dinamizira i pogledom traži akciju i pokret u hororu, pronalazeći akcijsku heroinu u nastajanju, bolničarku Anu, koju Sarah Polley glumi kao imenjakinju Connor iz “Terminatora”.

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FILM: Dawn Of The Dead; horor; SAD, 2004. REŽIJA: Zack Snyder ULOGE: Sarah Polley, Ving Rhames OCJENA: ****

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Kad plavokosa klinka, nekoliko minuta ranije viđena kao nevina djevojčica iz susjedstva, uleti u Aninu kuću u ranu zoru (6.36) i napadne njezina dečka, jezivo iskoračivši iz mračnog hodnika zombijevski iskeženih zubi, krvavi napad je orkestriran akcijsko-hororski.

A nakon što Ana u bijegu od zombificiranog momka izleti iz kuće, ona otkriva da vani sviće apokalipsa, pandemija zombija, suptilno nagoviještena u prvim scenama unutar bolnice (“Čemu rendgen glave ako je ugriz na ruci?”) i vijestima na radiju (“... nepotvrđeno izvješće... nije izolirani slučaj...”). Postavljena na Anin automobil, kamera u nevjerici snima okolni kaos dok ona vozi kroz do jučer mirno predgrađe.

Zatim, kamera se podiže u zrak i iz ptičje perspektive nemoćno promatra apokaliptične prizore pakla na Zemlji i svijeta koji je otišao kvragu. Sve kulminira prizorom kamiona kako dojuri niotkud sa sporedne ceste, pomete automobil, preokrene se i zabije u benzinsku crpku uz snažnu eksploziju.

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Zabijanje kamiona u benzinsku crpku bilo je samo verbalizirano u Romerovoj “Noći živih mrtvaca”, prethodniku “Zore”, a Snyder to spektakularno vizualizira na razmeđi sirove dokudrame i stiliziranog blockbustera. Kvazidokumentaristički štih prisutan je u filmu koji je izišao u kina nakon tako postavljenog horora “Projekt: Vještica iz Blaira”, ali i ranojutarnjeg napada na Ameriku 11. rujna 2001., kad je svijet doživio apokaliptično buđenje i otad više nije isti.

Kamerni dokumentarizam uklapa se u uvodnu špicu/montažu televizijskih vijesti na temu apokalipse i propasti čovječanstva, pogođeno ozvučenu pjesmom “The Man Comes Around” Johnnyja Casha, a Snyder ga potencira i na odjavnoj, odlazeći u nadrealizam sa “subliminalnim bljeskovima zombija kako napadaju kameru”.

Glasnogovornikov odgovor “ne znamo” na pitanja “Je li to virus?”, “Jesu li ti ljudi mrtvi?” itd. vizionarski korespondira s odgovorima autoriteta na početku nedavne pandemije. Novi “Dawn Of The Dead” možda nije društveno-politički papren kao stari, ali ispod akcijsko-hororske površine scenarij tada malo poznatog Jamesa Gunna krije poneke subverzije, tako da onaj početni kadar rendgena glave (ljudsko stanje uma) baš i nije slučajan.

Sjetimo se, izvorni Romerov film bio je i hororska satira na račun konzumerizma, tj. konzumerističke kulture, većinski ambijentirana u trgovački centar, gdje je redatelj povlačio paralele između živih mrtvaca i potrošača/kupaca kojima, mrtvima iznutra, nikad dosta kupovanja i žderanja. Protagonisti filma smjestili su se u trgovački centar i uživali u tome da pred nosom imaju izobilje svega o čemu su ikad maštali.

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Konzumeristička alegorija nije forte nove verzije, ali jednu takvu montažu orkestrira i Snyder kad se njegovi znatno bolje glumljeni i profilirani likovi u odnosu na izvorne, poput Ane, policajca Kennetha (Ving Rhames) itd., stacioniraju na istome mjestu. “Zori živih mrtvaca” Synder daje i moderan “spin” ne samo po tome što su zombiji sprinteri kao u filmu “28 dana kasnije” Dannyja Boylea, nakon kojeg nije bilo povratka na staro spore nemrtve.

Znakovita je scena kad zaštitar trgovačkog centra CJ (Michael Kelly) sjedi u sobi ispred multiplih televizijskih ekrana i gleda svojevrsni “Trumanov show” s krepanim kanibalima (“Kada u paklu ne bude više mjesta, zemljom će hodati mrtvi”, “Bog blagoslovio Ameriku”), onako kao što se u novom mileniju konzumira reality TV.

CJ-jeva izjava “Amerika rješava svoja sranja” sugerira da Snydera i Gunna interesira satira barem upola koliko i Romera, ironija također. Tako, u (ne)zgodnom trenutku uposlena je pjesma “Don’t Worry, Be Happy”, jedan lik (Ty Burrell) na pitanje “Zar su svi tamo mrtvi?” odgovara “Mrtvljikavi” ili “Dead-ish”, a protagonisti ubijaju dosadu pucajući s krova šoping-centra na zombije nalik “celebrityjima” poput Jaya Lena, Burta Reynoldsa ili Rosie O’ Donnell.

Britki crni humor uparen je s crvenim hororom s motornim pilama i upotpunjuje akciju s eksplodirajućim plinskim bocama i spremnicima kako ispadaju iz pištolja u usporenom pokretu tijekom završnice koja je zombijevski odgovor na Eastwoodov akcijski klasik “Kordon”. Snyderov ubojiti zombi film iznenađujuće je uspjela (re)interpretacija originala i jedan od najboljih horor remakeova novog milenija, ako ne i šire.

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Bildanje zombi apokalipse iz izvanrednog uvoda nove “Zore živih mrtvaca” (“Dawn Of The Dead”, 2004.) u startu razlikuje redateljski prvijenac Zacka Snydera od staroga filma Georgea A. Romera. Naime, Snyder zarana otkriva da u njemu čuči budući akcijski redatelj i blockbuster-maher spektakala kao što su “300”, “Čuvari”, “Sucker Punch”, “Čovjek od čelika”, “Batman protiv Supermana”...

Nedugo nakon što se film otvori upečatljivim kadrom rendgena glave, zlokobno zažućenim kao da evocira apokaliptičnu eksploziju atomske bombe, kamera se dinamizira i pogledom traži akciju i pokret u hororu, pronalazeći akcijsku heroinu u nastajanju, bolničarku Anu, koju Sarah Polley glumi kao imenjakinju Connor iz “Terminatora”.

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FILM: Dawn Of The Dead; horor; SAD, 2004. REŽIJA: Zack Snyder ULOGE: Sarah Polley, Ving Rhames OCJENA: ****

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Kad plavokosa klinka, nekoliko minuta ranije viđena kao nevina djevojčica iz susjedstva, uleti u Aninu kuću u ranu zoru (6.36) i napadne njezina dečka, jezivo iskoračivši iz mračnog hodnika zombijevski iskeženih zubi, krvavi napad je orkestriran akcijsko-hororski.

A nakon što Ana u bijegu od zombificiranog momka izleti iz kuće, ona otkriva da vani sviće apokalipsa, pandemija zombija, suptilno nagoviještena u prvim scenama unutar bolnice (“Čemu rendgen glave ako je ugriz na ruci?”) i vijestima na radiju (“... nepotvrđeno izvješće... nije izolirani slučaj...”). Postavljena na Anin automobil, kamera u nevjerici snima okolni kaos dok ona vozi kroz do jučer mirno predgrađe.

Zatim, kamera se podiže u zrak i iz ptičje perspektive nemoćno promatra apokaliptične prizore pakla na Zemlji i svijeta koji je otišao kvragu. Sve kulminira prizorom kamiona kako dojuri niotkud sa sporedne ceste, pomete automobil, preokrene se i zabije u benzinsku crpku uz snažnu eksploziju.

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Zabijanje kamiona u benzinsku crpku bilo je samo verbalizirano u Romerovoj “Noći živih mrtvaca”, prethodniku “Zore”, a Snyder to spektakularno vizualizira na razmeđi sirove dokudrame i stiliziranog blockbustera. Kvazidokumentaristički štih prisutan je u filmu koji je izišao u kina nakon tako postavljenog horora “Projekt: Vještica iz Blaira”, ali i ranojutarnjeg napada na Ameriku 11. rujna 2001., kad je svijet doživio apokaliptično buđenje i otad više nije isti.

Kamerni dokumentarizam uklapa se u uvodnu špicu/montažu televizijskih vijesti na temu apokalipse i propasti čovječanstva, pogođeno ozvučenu pjesmom “The Man Comes Around” Johnnyja Casha, a Snyder ga potencira i na odjavnoj, odlazeći u nadrealizam sa “subliminalnim bljeskovima zombija kako napadaju kameru”.

Glasnogovornikov odgovor “ne znamo” na pitanja “Je li to virus?”, “Jesu li ti ljudi mrtvi?” itd. vizionarski korespondira s odgovorima autoriteta na početku nedavne pandemije. Novi “Dawn Of The Dead” možda nije društveno-politički papren kao stari, ali ispod akcijsko-hororske površine scenarij tada malo poznatog Jamesa Gunna krije poneke subverzije, tako da onaj početni kadar rendgena glave (ljudsko stanje uma) baš i nije slučajan.

Sjetimo se, izvorni Romerov film bio je i hororska satira na račun konzumerizma, tj. konzumerističke kulture, većinski ambijentirana u trgovački centar, gdje je redatelj povlačio paralele između živih mrtvaca i potrošača/kupaca kojima, mrtvima iznutra, nikad dosta kupovanja i žderanja. Protagonisti filma smjestili su se u trgovački centar i uživali u tome da pred nosom imaju izobilje svega o čemu su ikad maštali.

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Konzumeristička alegorija nije forte nove verzije, ali jednu takvu montažu orkestrira i Snyder kad se njegovi znatno bolje glumljeni i profilirani likovi u odnosu na izvorne, poput Ane, policajca Kennetha (Ving Rhames) itd., stacioniraju na istome mjestu. “Zori živih mrtvaca” Synder daje i moderan “spin” ne samo po tome što su zombiji sprinteri kao u filmu “28 dana kasnije” Dannyja Boylea, nakon kojeg nije bilo povratka na staro spore nemrtve.

Znakovita je scena kad zaštitar trgovačkog centra CJ (Michael Kelly) sjedi u sobi ispred multiplih televizijskih ekrana i gleda svojevrsni “Trumanov show” s krepanim kanibalima (“Kada u paklu ne bude više mjesta, zemljom će hodati mrtvi”, “Bog blagoslovio Ameriku”), onako kao što se u novom mileniju konzumira reality TV.

CJ-jeva izjava “Amerika rješava svoja sranja” sugerira da Snydera i Gunna interesira satira barem upola koliko i Romera, ironija također. Tako, u (ne)zgodnom trenutku uposlena je pjesma “Don’t Worry, Be Happy”, jedan lik (Ty Burrell) na pitanje “Zar su svi tamo mrtvi?” odgovara “Mrtvljikavi” ili “Dead-ish”, a protagonisti ubijaju dosadu pucajući s krova šoping-centra na zombije nalik “celebrityjima” poput Jaya Lena, Burta Reynoldsa ili Rosie O’ Donnell.

Britki crni humor uparen je s crvenim hororom s motornim pilama i upotpunjuje akciju s eksplodirajućim plinskim bocama i spremnicima kako ispadaju iz pištolja u usporenom pokretu tijekom završnice koja je zombijevski odgovor na Eastwoodov akcijski klasik “Kordon”. Snyderov ubojiti zombi film iznenađujuće je uspjela (re)interpretacija originala i jedan od najboljih horor remakeova novog milenija, ako ne i šire.

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Zora živih mrtvaca‘: Zora novog terora

Piše Marko Njegić
9. ožujka 2024. - 21:34
26660635
Galerija
/Photo12 Via Afp

Bildanje zombi apokalipse iz izvanrednog uvoda nove “Zore živih mrtvaca” (“Dawn Of The Dead”, 2004.) u startu razlikuje redateljski prvijenac Zacka Snydera od staroga filma Georgea A. Romera. Naime, Snyder zarana otkriva da u njemu čuči budući akcijski redatelj i blockbuster-maher spektakala kao što su “300”, “Čuvari”, “Sucker Punch”, “Čovjek od čelika”, “Batman protiv Supermana”...

Nedugo nakon što se film otvori upečatljivim kadrom rendgena glave, zlokobno zažućenim kao da evocira apokaliptičnu eksploziju atomske bombe, kamera se dinamizira i pogledom traži akciju i pokret u hororu, pronalazeći akcijsku heroinu u nastajanju, bolničarku Anu, koju Sarah Polley glumi kao imenjakinju Connor iz “Terminatora”.

FILM: Dawn Of The Dead; horor; SAD, 2004. REŽIJA: Zack Snyder ULOGE: Sarah Polley, Ving Rhames OCJENA: ****

Kad plavokosa klinka, nekoliko minuta ranije viđena kao nevina djevojčica iz susjedstva, uleti u Aninu kuću u ranu zoru (6.36) i napadne njezina dečka, jezivo iskoračivši iz mračnog hodnika zombijevski iskeženih zubi, krvavi napad je orkestriran akcijsko-hororski.

A nakon što Ana u bijegu od zombificiranog momka izleti iz kuće, ona otkriva da vani sviće apokalipsa, pandemija zombija, suptilno nagoviještena u prvim scenama unutar bolnice (“Čemu rendgen glave ako je ugriz na ruci?”) i vijestima na radiju (“... nepotvrđeno izvješće... nije izolirani slučaj...”). Postavljena na Anin automobil, kamera u nevjerici snima okolni kaos dok ona vozi kroz do jučer mirno predgrađe.

Zatim, kamera se podiže u zrak i iz ptičje perspektive nemoćno promatra apokaliptične prizore pakla na Zemlji i svijeta koji je otišao kvragu. Sve kulminira prizorom kamiona kako dojuri niotkud sa sporedne ceste, pomete automobil, preokrene se i zabije u benzinsku crpku uz snažnu eksploziju.

Zabijanje kamiona u benzinsku crpku bilo je samo verbalizirano u Romerovoj “Noći živih mrtvaca”, prethodniku “Zore”, a Snyder to spektakularno vizualizira na razmeđi sirove dokudrame i stiliziranog blockbustera. Kvazidokumentaristički štih prisutan je u filmu koji je izišao u kina nakon tako postavljenog horora “Projekt: Vještica iz Blaira”, ali i ranojutarnjeg napada na Ameriku 11. rujna 2001., kad je svijet doživio apokaliptično buđenje i otad više nije isti.

Kamerni dokumentarizam uklapa se u uvodnu špicu/montažu televizijskih vijesti na temu apokalipse i propasti čovječanstva, pogođeno ozvučenu pjesmom “The Man Comes Around” Johnnyja Casha, a Snyder ga potencira i na odjavnoj, odlazeći u nadrealizam sa “subliminalnim bljeskovima zombija kako napadaju kameru”.

Glasnogovornikov odgovor “ne znamo” na pitanja “Je li to virus?”, “Jesu li ti ljudi mrtvi?” itd. vizionarski korespondira s odgovorima autoriteta na početku nedavne pandemije. Novi “Dawn Of The Dead” možda nije društveno-politički papren kao stari, ali ispod akcijsko-hororske površine scenarij tada malo poznatog Jamesa Gunna krije poneke subverzije, tako da onaj početni kadar rendgena glave (ljudsko stanje uma) baš i nije slučajan.

Sjetimo se, izvorni Romerov film bio je i hororska satira na račun konzumerizma, tj. konzumerističke kulture, većinski ambijentirana u trgovački centar, gdje je redatelj povlačio paralele između živih mrtvaca i potrošača/kupaca kojima, mrtvima iznutra, nikad dosta kupovanja i žderanja. Protagonisti filma smjestili su se u trgovački centar i uživali u tome da pred nosom imaju izobilje svega o čemu su ikad maštali.

Konzumeristička alegorija nije forte nove verzije, ali jednu takvu montažu orkestrira i Snyder kad se njegovi znatno bolje glumljeni i profilirani likovi u odnosu na izvorne, poput Ane, policajca Kennetha (Ving Rhames) itd., stacioniraju na istome mjestu. “Zori živih mrtvaca” Synder daje i moderan “spin” ne samo po tome što su zombiji sprinteri kao u filmu “28 dana kasnije” Dannyja Boylea, nakon kojeg nije bilo povratka na staro spore nemrtve.

Znakovita je scena kad zaštitar trgovačkog centra CJ (Michael Kelly) sjedi u sobi ispred multiplih televizijskih ekrana i gleda svojevrsni “Trumanov show” s krepanim kanibalima (“Kada u paklu ne bude više mjesta, zemljom će hodati mrtvi”, “Bog blagoslovio Ameriku”), onako kao što se u novom mileniju konzumira reality TV.

CJ-jeva izjava “Amerika rješava svoja sranja” sugerira da Snydera i Gunna interesira satira barem upola koliko i Romera, ironija također. Tako, u (ne)zgodnom trenutku uposlena je pjesma “Don’t Worry, Be Happy”, jedan lik (Ty Burrell) na pitanje “Zar su svi tamo mrtvi?” odgovara “Mrtvljikavi” ili “Dead-ish”, a protagonisti ubijaju dosadu pucajući s krova šoping-centra na zombije nalik “celebrityjima” poput Jaya Lena, Burta Reynoldsa ili Rosie O’ Donnell.

Britki crni humor uparen je s crvenim hororom s motornim pilama i upotpunjuje akciju s eksplodirajućim plinskim bocama i spremnicima kako ispadaju iz pištolja u usporenom pokretu tijekom završnice koja je zombijevski odgovor na Eastwoodov akcijski klasik “Kordon”. Snyderov ubojiti zombi film iznenađujuće je uspjela (re)interpretacija originala i jedan od najboljih horor remakeova novog milenija, ako ne i šire.

#CINEMARK#CINEMARK OBLJETNICA#ZORA ŽIVIH MRTVACA#FILMOVI 2000-IH#ZACK SNYDER#HORORI#SARAH POLLEY#REMAKEOVI#VING RHAMES#ZOMBI FILMOVI#MICHAEL KELLY#DAWN OF THE DEAD#TY BURRELL
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18. svibanj 2024 04:53