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Slavni hollywoodski par Humphrey Bogart-Lauren Bacall snimio je četiri zajednička noirovska filma tijekom četrdesetih godina prošlog stoljeća. Tri se često ponosno ističu prilikom spomena dua Bogart-Bacall, "Imati i nemati", "Duboki san" i "Otok Largo", a jedan redovito ostaje u sjeni – "Mračni prolaz" ("Dark Passage", 1947.) redatelja i scenarista Delmera Davesa. Sjena je prirodna za noir, ali "Mračni prolaz" ne zaslužuje da ga zasjeni preostala trojka.

Ako "Dark Passage" nije najbolji od četiri Bogart-Bacall filma, svakako je najkreativniji i najsubverzivniji. "Mračni prolaz" je sjajno uposlio subjektivnu perspektivu glavnog lika i gotovo polovicu filma oslikao u prvom licu, odnosno sagledao njegovim očima. Inovativna "subjektivna kamera" tada je bila novina, desetljećima prije nego što smo vidjeli slične kadrove u "Noći vještica", "Petku 13.", "Predatoru", "Čudnim danima", "Ulasku u prazninu", "Hardcore Henryju"...

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FILM: Dark Passaage; triler; SAD, 1947. REŽIJA: Delmer Daves ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: ****

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Na prijelazu 1946. u 1947. "point of view" (POV) tehniku naveliko je predstavio "Lady In The Lake" Roberta Montgomeryja, nakon što je 1931. iskorištena za nekoliko minuta horora "Dr. Jekyll i Mr. Hyde". Međutim, "first-person" pristup sa subjektivnim kadrovima protagonista bio je subverzivniji i smioniji u "Dark Passage".

Montgomery je bio poznat, ali ne megazvijezda kao Bogart, u to doba, nakon uspjeha "Casablance", najtraženiji i najbolje plaćeni glumac. Bogartovo lice ne vidimo sve do 62. minute filma (ukupno trajanje: sat i 46), kad njegov lik skine zavoje s lica i zagleda se u zrcalo. Dotad su sve scene snimljene iz protagonistova gledišta (prvih 37 minuta) ili je Bogartovo lice skriveno ispod zavoja i on glumi očima i govorom tijela.

Da ne čujemo glumčev prepoznatljiv glas, iskorišten i u formi "unutarnje naracije" lika, karakteristične za noir, takoreći ne bismo znali da je on u filmu. Daves se hrabro odlučio za tako radikalan pristup, iako Jacku Warneru iz studija Warner Bros to nije bilo drago i odrazilo se na prođu filma u kinima kod publike nespremne na takve eksperimente.

No, subjektivni kadrovi su briljantni od samog početka, kad pratimo bijeg iz "San Quentin" zatvora Vincenta Parryja, osuđenog na doživotnu kaznu za ubojstvo supruge nakon što je protiv njega svjedočila Madge Rapf (Agnes Moorehead), prijateljica pokojnice. Vincent iskače iz jurećeg kamiona u bačvi i subjektivni kadrovi vrtnje efektno dočaravaju njegovu perspektivu.

Snimatelj Sid Hickox ("To Have and To Have Not", "The Big Sleep", "White Heat") nastavlja impresionirati kad bjegunac iz "San Quentina", nakon što njegov identitet odaju vijesti s radija, izudara vozača (Clifton Young) kojeg je ustopirao na putu prema San Franciscu gdje želi otkriti tko mu je ubio ženu i skinuti ljagu sa svoga imena.

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Šaketanje u prvom licu preteča je svih kasnijih akcijskih scena tog tipa, dok "subjektivna kamera" daje savršen pogled na Bacalličinu naizglednu "femme fatale" Irene Jansen koja odluči pomoći Vincentu i "prošvercati" ga u San Francisco unatoč policijskoj blokadi.

Zahvaljujući (Bogartovom) subjektivnom pogledu Bacall izgleda možda nikad ljepše, a i glumičini pogledi u kameru (Bogarta) otkrivaju i njezinu zaljubljenost, tako da tehnika ima "meta" odlike i nadilazi puki tehnički "gimmick", zbog čega je lakše Davesu progledati kroz prste u vezi slabijeg, konvencionalnog finala. Gledatelj je, svakako, više uvučen u film i bolje se povezuje s Bogartom i njegovim osjećajima prema Bacall (njihova kemija je dodirljivija nego ikad).

Subjektivni kadrovi poklapaju se i s temom identiteta, krucijalnom za "Mračni prolaz" i savršeno kontrastiranom u atmosferičnoj crno-bijeloj tehnici. Kad Vincent kaže "Ne mogu putovati s ovim licem, moram ga promijeniti", posjeti plastičnog kirurga (Housely Stevenson) i dobije novi identitet, Daves upošljava virtuoznu, tripoidnu eksperimentalnu montažu za prikaz njegove operacije i transformacije.

"Izgledaš starije, ali osjećaš se deset godina mlađe", govori doktor Vincentu, što se može reći i za "Dark Passage". Propitivanje prirode identiteta i promjene izgleda glavnog lika Daves prelama preko samog filma, eksperimentirajući s žanrom noira, počevši od "subjektivne kamere".

Sa zavojima na glavi protagonist djeluje kao da je lik iz horora tipa "Mumija" i "Nevidljivi čovjek" (netko bi ga se mogao prepasti kad iskorači iz mraka), a Irene je sve samo ne tipična fatalna žena s dubokim glasom i pravim osjećajima koje gaji prema glavnom liku. Nije samo Vincent dobio "novi život s novim licem". Dobio ga je i film noir.

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Slavni hollywoodski par Humphrey Bogart-Lauren Bacall snimio je četiri zajednička noirovska filma tijekom četrdesetih godina prošlog stoljeća. Tri se često ponosno ističu prilikom spomena dua Bogart-Bacall, "Imati i nemati", "Duboki san" i "Otok Largo", a jedan redovito ostaje u sjeni – "Mračni prolaz" ("Dark Passage", 1947.) redatelja i scenarista Delmera Davesa. Sjena je prirodna za noir, ali "Mračni prolaz" ne zaslužuje da ga zasjeni preostala trojka.

Ako "Dark Passage" nije najbolji od četiri Bogart-Bacall filma, svakako je najkreativniji i najsubverzivniji. "Mračni prolaz" je sjajno uposlio subjektivnu perspektivu glavnog lika i gotovo polovicu filma oslikao u prvom licu, odnosno sagledao njegovim očima. Inovativna "subjektivna kamera" tada je bila novina, desetljećima prije nego što smo vidjeli slične kadrove u "Noći vještica", "Petku 13.", "Predatoru", "Čudnim danima", "Ulasku u prazninu", "Hardcore Henryju"...

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FILM: Dark Passaage; triler; SAD, 1947. REŽIJA: Delmer Daves ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: ****

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Na prijelazu 1946. u 1947. "point of view" (POV) tehniku naveliko je predstavio "Lady In The Lake" Roberta Montgomeryja, nakon što je 1931. iskorištena za nekoliko minuta horora "Dr. Jekyll i Mr. Hyde". Međutim, "first-person" pristup sa subjektivnim kadrovima protagonista bio je subverzivniji i smioniji u "Dark Passage".

Montgomery je bio poznat, ali ne megazvijezda kao Bogart, u to doba, nakon uspjeha "Casablance", najtraženiji i najbolje plaćeni glumac. Bogartovo lice ne vidimo sve do 62. minute filma (ukupno trajanje: sat i 46), kad njegov lik skine zavoje s lica i zagleda se u zrcalo. Dotad su sve scene snimljene iz protagonistova gledišta (prvih 37 minuta) ili je Bogartovo lice skriveno ispod zavoja i on glumi očima i govorom tijela.

Da ne čujemo glumčev prepoznatljiv glas, iskorišten i u formi "unutarnje naracije" lika, karakteristične za noir, takoreći ne bismo znali da je on u filmu. Daves se hrabro odlučio za tako radikalan pristup, iako Jacku Warneru iz studija Warner Bros to nije bilo drago i odrazilo se na prođu filma u kinima kod publike nespremne na takve eksperimente.

No, subjektivni kadrovi su briljantni od samog početka, kad pratimo bijeg iz "San Quentin" zatvora Vincenta Parryja, osuđenog na doživotnu kaznu za ubojstvo supruge nakon što je protiv njega svjedočila Madge Rapf (Agnes Moorehead), prijateljica pokojnice. Vincent iskače iz jurećeg kamiona u bačvi i subjektivni kadrovi vrtnje efektno dočaravaju njegovu perspektivu.

Snimatelj Sid Hickox ("To Have and To Have Not", "The Big Sleep", "White Heat") nastavlja impresionirati kad bjegunac iz "San Quentina", nakon što njegov identitet odaju vijesti s radija, izudara vozača (Clifton Young) kojeg je ustopirao na putu prema San Franciscu gdje želi otkriti tko mu je ubio ženu i skinuti ljagu sa svoga imena.

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Šaketanje u prvom licu preteča je svih kasnijih akcijskih scena tog tipa, dok "subjektivna kamera" daje savršen pogled na Bacalličinu naizglednu "femme fatale" Irene Jansen koja odluči pomoći Vincentu i "prošvercati" ga u San Francisco unatoč policijskoj blokadi.

Zahvaljujući (Bogartovom) subjektivnom pogledu Bacall izgleda možda nikad ljepše, a i glumičini pogledi u kameru (Bogarta) otkrivaju i njezinu zaljubljenost, tako da tehnika ima "meta" odlike i nadilazi puki tehnički "gimmick", zbog čega je lakše Davesu progledati kroz prste u vezi slabijeg, konvencionalnog finala. Gledatelj je, svakako, više uvučen u film i bolje se povezuje s Bogartom i njegovim osjećajima prema Bacall (njihova kemija je dodirljivija nego ikad).

Subjektivni kadrovi poklapaju se i s temom identiteta, krucijalnom za "Mračni prolaz" i savršeno kontrastiranom u atmosferičnoj crno-bijeloj tehnici. Kad Vincent kaže "Ne mogu putovati s ovim licem, moram ga promijeniti", posjeti plastičnog kirurga (Housely Stevenson) i dobije novi identitet, Daves upošljava virtuoznu, tripoidnu eksperimentalnu montažu za prikaz njegove operacije i transformacije.

"Izgledaš starije, ali osjećaš se deset godina mlađe", govori doktor Vincentu, što se može reći i za "Dark Passage". Propitivanje prirode identiteta i promjene izgleda glavnog lika Daves prelama preko samog filma, eksperimentirajući s žanrom noira, počevši od "subjektivne kamere".

Sa zavojima na glavi protagonist djeluje kao da je lik iz horora tipa "Mumija" i "Nevidljivi čovjek" (netko bi ga se mogao prepasti kad iskorači iz mraka), a Irene je sve samo ne tipična fatalna žena s dubokim glasom i pravim osjećajima koje gaji prema glavnom liku. Nije samo Vincent dobio "novi život s novim licem". Dobio ga je i film noir.

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Mračni prolaz‘: Noir u prvom licu

Piše Marko Njegić
21. travnja 2024. - 23:47
26969743
Galerija
/Photo12 Via Afp

Slavni hollywoodski par Humphrey Bogart-Lauren Bacall snimio je četiri zajednička noirovska filma tijekom četrdesetih godina prošlog stoljeća. Tri se često ponosno ističu prilikom spomena dua Bogart-Bacall, "Imati i nemati", "Duboki san" i "Otok Largo", a jedan redovito ostaje u sjeni – "Mračni prolaz" ("Dark Passage", 1947.) redatelja i scenarista Delmera Davesa. Sjena je prirodna za noir, ali "Mračni prolaz" ne zaslužuje da ga zasjeni preostala trojka.

Ako "Dark Passage" nije najbolji od četiri Bogart-Bacall filma, svakako je najkreativniji i najsubverzivniji. "Mračni prolaz" je sjajno uposlio subjektivnu perspektivu glavnog lika i gotovo polovicu filma oslikao u prvom licu, odnosno sagledao njegovim očima. Inovativna "subjektivna kamera" tada je bila novina, desetljećima prije nego što smo vidjeli slične kadrove u "Noći vještica", "Petku 13.", "Predatoru", "Čudnim danima", "Ulasku u prazninu", "Hardcore Henryju"...

FILM: Dark Passaage; triler; SAD, 1947. REŽIJA: Delmer Daves ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: ****

Na prijelazu 1946. u 1947. "point of view" (POV) tehniku naveliko je predstavio "Lady In The Lake" Roberta Montgomeryja, nakon što je 1931. iskorištena za nekoliko minuta horora "Dr. Jekyll i Mr. Hyde". Međutim, "first-person" pristup sa subjektivnim kadrovima protagonista bio je subverzivniji i smioniji u "Dark Passage".

Montgomery je bio poznat, ali ne megazvijezda kao Bogart, u to doba, nakon uspjeha "Casablance", najtraženiji i najbolje plaćeni glumac. Bogartovo lice ne vidimo sve do 62. minute filma (ukupno trajanje: sat i 46), kad njegov lik skine zavoje s lica i zagleda se u zrcalo. Dotad su sve scene snimljene iz protagonistova gledišta (prvih 37 minuta) ili je Bogartovo lice skriveno ispod zavoja i on glumi očima i govorom tijela.

Da ne čujemo glumčev prepoznatljiv glas, iskorišten i u formi "unutarnje naracije" lika, karakteristične za noir, takoreći ne bismo znali da je on u filmu. Daves se hrabro odlučio za tako radikalan pristup, iako Jacku Warneru iz studija Warner Bros to nije bilo drago i odrazilo se na prođu filma u kinima kod publike nespremne na takve eksperimente.

No, subjektivni kadrovi su briljantni od samog početka, kad pratimo bijeg iz "San Quentin" zatvora Vincenta Parryja, osuđenog na doživotnu kaznu za ubojstvo supruge nakon što je protiv njega svjedočila Madge Rapf (Agnes Moorehead), prijateljica pokojnice. Vincent iskače iz jurećeg kamiona u bačvi i subjektivni kadrovi vrtnje efektno dočaravaju njegovu perspektivu.

Snimatelj Sid Hickox ("To Have and To Have Not", "The Big Sleep", "White Heat") nastavlja impresionirati kad bjegunac iz "San Quentina", nakon što njegov identitet odaju vijesti s radija, izudara vozača (Clifton Young) kojeg je ustopirao na putu prema San Franciscu gdje želi otkriti tko mu je ubio ženu i skinuti ljagu sa svoga imena.

Šaketanje u prvom licu preteča je svih kasnijih akcijskih scena tog tipa, dok "subjektivna kamera" daje savršen pogled na Bacalličinu naizglednu "femme fatale" Irene Jansen koja odluči pomoći Vincentu i "prošvercati" ga u San Francisco unatoč policijskoj blokadi.

Zahvaljujući (Bogartovom) subjektivnom pogledu Bacall izgleda možda nikad ljepše, a i glumičini pogledi u kameru (Bogarta) otkrivaju i njezinu zaljubljenost, tako da tehnika ima "meta" odlike i nadilazi puki tehnički "gimmick", zbog čega je lakše Davesu progledati kroz prste u vezi slabijeg, konvencionalnog finala. Gledatelj je, svakako, više uvučen u film i bolje se povezuje s Bogartom i njegovim osjećajima prema Bacall (njihova kemija je dodirljivija nego ikad).

Subjektivni kadrovi poklapaju se i s temom identiteta, krucijalnom za "Mračni prolaz" i savršeno kontrastiranom u atmosferičnoj crno-bijeloj tehnici. Kad Vincent kaže "Ne mogu putovati s ovim licem, moram ga promijeniti", posjeti plastičnog kirurga (Housely Stevenson) i dobije novi identitet, Daves upošljava virtuoznu, tripoidnu eksperimentalnu montažu za prikaz njegove operacije i transformacije.

"Izgledaš starije, ali osjećaš se deset godina mlađe", govori doktor Vincentu, što se može reći i za "Dark Passage". Propitivanje prirode identiteta i promjene izgleda glavnog lika Daves prelama preko samog filma, eksperimentirajući s žanrom noira, počevši od "subjektivne kamere".

Sa zavojima na glavi protagonist djeluje kao da je lik iz horora tipa "Mumija" i "Nevidljivi čovjek" (netko bi ga se mogao prepasti kad iskorači iz mraka), a Irene je sve samo ne tipična fatalna žena s dubokim glasom i pravim osjećajima koje gaji prema glavnom liku. Nije samo Vincent dobio "novi život s novim licem". Dobio ga je i film noir.

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 40-IH#HUMPHREY BOGART#KLASICI#LAUREN BACALL#NOIR FILMOVI#DELMER DAVES#KINOTEKA
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14. svibanj 2024 02:40