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Korektnost, ona politička, prijeti uškopiti “mainstream” komediju. Takva komedija je u posljednje vrijeme, upravo zbog toga, opterećena da ne uvrijedi nikoga i isporuči filmove u okviru poželjnog dobnog predikata “PG-13”. Ipak, postoje filmaši koji se odbijaju povinuti pravilima igre, a jedan od njih je i Gene Stupnitsky.

Nakon što je napisao scenarij za “Zločestu učiteljicu” s Cameron Diaz, Stupnitsky je 2019. režirao subverzivnu komediju “R” predikata “Dobri dečki”, svojevrsnu “Američku pitu” ili “Superbad” za klince. Uobičajeno su srednjoškolci ili maturanti protagonisti sličnih komedija, a Stupnitsky je za protagoniste uzeo dečke iz šestog razreda osnovne škole.

Četiri godine poslije, Stupnitsky se vraća s novom komičnom subverzijom “Cura za sve” (“No Hard Feelings”) u kojoj, k tome, glavnu ulogu igra oskarovka Jennifer Lawrence. Velika hollywoodska zvijezda glumi 32-godišnju Maddie iz Montauka koja pošto-poto želi spasiti maminu kuću i spremna je na sve da to ostvari, radeći dva posla, kao konobarica i vozačica Ubera.

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FILM: No Hard Feelings; komedija; SAD, 2023. REŽIJA: Gene Stupintsky ULOGE: Jennifer Lawrence, Andrew Barth Feldman DISTRIBUCIJA: Con Film OCJENA: ****

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Nakon što ostane bez auta da bi taksirala, Maddie naiđe na nesvakidašnji oglas za posao, doduše za djevojku u ranim ili srednjim dvadesetima: “Hodajte s našim 19-godišnjim sinom prije njegovog odlaska na studij, stidljiv je, nije nikad imao curu...” Nagrada za osobu koja se javi na posao dolazi u vidu automobila marke Buick.

Naime, overprotektivni roditelji (Matthew Broderick, Laura Benanti) tog 19-godišnjaka, introvertnog Percyja (Andrew Barth Feldman), traže nekoga tko će izlaziti s njime i pomoći mu da izađe “izvan ljušture” jer “ne mogu ga takvoga pustiti na koledž”. “Hodaj s Percyjem i Buick je tvoj”, kaže otac u tumačenju Brodericka koji je nekoć i sam glumio tinejdžere (“Slobodan dan Ferrisa Bullera”).

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Jedina očeva napomena jest da nitko ne smije saznati za ovo, kamoli njegov sin, taman posla da izgubi ionako nikakvo samopoudanje. Maddie pristaje, naglašavajući da nije “seksualna radnica” i računajući da će, iako izgleda kao vršnjakinja, svojom zrelošću riješiti situaciju. Naravno, pokazuje se da šmokljana poput Percyja nije lako zavesti (“Mali je nejebiv!”).

Samo očajničko zavođenje mladića od strane desetak godina starije žene (bilo bi još i gore da je situacija obratna) moglo bi kod nekih čistunaca upaliti ćudoredne alarme, posebice kad Maddie upadne u sklonište za životinje gdje Percy volontira i upita ga “Smijem li ti dirati kobasu... tvog psa?” dok on drži jazavčara (“wiener dog”).

Lawrence je iznimno raspoložena u njezinoj prvoj punokrvnoj komičnoj ulozi (“Ne gledaj gore” to nije, kamoli “Joy”), a i spremna za subverziju u komediji snimljenoj i pod utjecajem “Desetke” s Dudleyjem Mooreom i Bo Derek, djelomično i “Sastanka s nepoznatom” s Bruceom Willisom i Kim Basinger.

U jednoj sceni Maddie nagovara Percyja da odu na golišavo noćno kupanje, na što on jedva pristaje (“Ne počinju li ovako ‘Ralje’?”), a kad im pijani tinejdžeri zaprijete ukrasti robu, ona izlazi iz mora i upušta se u tučnjavu s njima gola kao od majke rođena.

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Glumica se hrabro razgolitila u “Crvenom vrapcu”, ali ovo je još i hrabrije. Jer, ako ne računamo Derek, u komedijama ovog tipa obično se razgoliti neka sporedna glumica (sjetimo se, recimo, Shannon Elizabeth ili Ali Cobrin u serijalu “American Pie”), ali ne i hollywoodska zvijezda “A” liste, kamoli da pritom naga prebija nekoga poput hrvačice.

Razgolićavanje je simbolično: Lawrence se na neki način ponovno rađa kao glumica i predstavlja kao vrhunska komičarka kojoj tjelesna komedija odlično pristaje u nerijetko urnebesnim scenama kad blesavo pleše zavodeći Percyja kojeg dobro glumi Feldman i umije oduševiti spontanošću (reakcija na razbijanje kugli na biljarskom stolu).

Osim komedije, povremeno i vulgarne (zamka za prste), film ima i srca i može izazvati emociju kao tijekom Percyjeve izvedbe pjesme “Maneater” na klaviru u restoranu, a između redaka govori o odrastanju i sazrijevanju oboje likova. “Cura za sve” vraća vjeru u žanr nakon filmova poput “Praznika na talijanski”, “Vaših i naših”, “Nasljedstva”... Teško da ćemo vidjeti bolju komediju do kraja ljeta, možda i godine.

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Korektnost, ona politička, prijeti uškopiti “mainstream” komediju. Takva komedija je u posljednje vrijeme, upravo zbog toga, opterećena da ne uvrijedi nikoga i isporuči filmove u okviru poželjnog dobnog predikata “PG-13”. Ipak, postoje filmaši koji se odbijaju povinuti pravilima igre, a jedan od njih je i Gene Stupnitsky.

Nakon što je napisao scenarij za “Zločestu učiteljicu” s Cameron Diaz, Stupnitsky je 2019. režirao subverzivnu komediju “R” predikata “Dobri dečki”, svojevrsnu “Američku pitu” ili “Superbad” za klince. Uobičajeno su srednjoškolci ili maturanti protagonisti sličnih komedija, a Stupnitsky je za protagoniste uzeo dečke iz šestog razreda osnovne škole.

Četiri godine poslije, Stupnitsky se vraća s novom komičnom subverzijom “Cura za sve” (“No Hard Feelings”) u kojoj, k tome, glavnu ulogu igra oskarovka Jennifer Lawrence. Velika hollywoodska zvijezda glumi 32-godišnju Maddie iz Montauka koja pošto-poto želi spasiti maminu kuću i spremna je na sve da to ostvari, radeći dva posla, kao konobarica i vozačica Ubera.

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FILM: No Hard Feelings; komedija; SAD, 2023. REŽIJA: Gene Stupintsky ULOGE: Jennifer Lawrence, Andrew Barth Feldman DISTRIBUCIJA: Con Film OCJENA: ****

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Nakon što ostane bez auta da bi taksirala, Maddie naiđe na nesvakidašnji oglas za posao, doduše za djevojku u ranim ili srednjim dvadesetima: “Hodajte s našim 19-godišnjim sinom prije njegovog odlaska na studij, stidljiv je, nije nikad imao curu...” Nagrada za osobu koja se javi na posao dolazi u vidu automobila marke Buick.

Naime, overprotektivni roditelji (Matthew Broderick, Laura Benanti) tog 19-godišnjaka, introvertnog Percyja (Andrew Barth Feldman), traže nekoga tko će izlaziti s njime i pomoći mu da izađe “izvan ljušture” jer “ne mogu ga takvoga pustiti na koledž”. “Hodaj s Percyjem i Buick je tvoj”, kaže otac u tumačenju Brodericka koji je nekoć i sam glumio tinejdžere (“Slobodan dan Ferrisa Bullera”).

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Jedina očeva napomena jest da nitko ne smije saznati za ovo, kamoli njegov sin, taman posla da izgubi ionako nikakvo samopoudanje. Maddie pristaje, naglašavajući da nije “seksualna radnica” i računajući da će, iako izgleda kao vršnjakinja, svojom zrelošću riješiti situaciju. Naravno, pokazuje se da šmokljana poput Percyja nije lako zavesti (“Mali je nejebiv!”).

Samo očajničko zavođenje mladića od strane desetak godina starije žene (bilo bi još i gore da je situacija obratna) moglo bi kod nekih čistunaca upaliti ćudoredne alarme, posebice kad Maddie upadne u sklonište za životinje gdje Percy volontira i upita ga “Smijem li ti dirati kobasu... tvog psa?” dok on drži jazavčara (“wiener dog”).

Lawrence je iznimno raspoložena u njezinoj prvoj punokrvnoj komičnoj ulozi (“Ne gledaj gore” to nije, kamoli “Joy”), a i spremna za subverziju u komediji snimljenoj i pod utjecajem “Desetke” s Dudleyjem Mooreom i Bo Derek, djelomično i “Sastanka s nepoznatom” s Bruceom Willisom i Kim Basinger.

U jednoj sceni Maddie nagovara Percyja da odu na golišavo noćno kupanje, na što on jedva pristaje (“Ne počinju li ovako ‘Ralje’?”), a kad im pijani tinejdžeri zaprijete ukrasti robu, ona izlazi iz mora i upušta se u tučnjavu s njima gola kao od majke rođena.

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Glumica se hrabro razgolitila u “Crvenom vrapcu”, ali ovo je još i hrabrije. Jer, ako ne računamo Derek, u komedijama ovog tipa obično se razgoliti neka sporedna glumica (sjetimo se, recimo, Shannon Elizabeth ili Ali Cobrin u serijalu “American Pie”), ali ne i hollywoodska zvijezda “A” liste, kamoli da pritom naga prebija nekoga poput hrvačice.

Razgolićavanje je simbolično: Lawrence se na neki način ponovno rađa kao glumica i predstavlja kao vrhunska komičarka kojoj tjelesna komedija odlično pristaje u nerijetko urnebesnim scenama kad blesavo pleše zavodeći Percyja kojeg dobro glumi Feldman i umije oduševiti spontanošću (reakcija na razbijanje kugli na biljarskom stolu).

Osim komedije, povremeno i vulgarne (zamka za prste), film ima i srca i može izazvati emociju kao tijekom Percyjeve izvedbe pjesme “Maneater” na klaviru u restoranu, a između redaka govori o odrastanju i sazrijevanju oboje likova. “Cura za sve” vraća vjeru u žanr nakon filmova poput “Praznika na talijanski”, “Vaših i naših”, “Nasljedstva”... Teško da ćemo vidjeti bolju komediju do kraja ljeta, možda i godine.

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StoryEditorOCM
Film & TVkreće u kina

‘Cura za sve‘ vraća vjeru u žanr, teško da ćemo vidjeti bolju komediju do kraja ljeta, a možda i godine

Piše Marko Njegić
22. lipnja 2023. - 15:20
&lt;p&gt; &lt;/p&gt; &lt;p&gt; &lt;/p&gt;
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   Macall Polay/Macall Polay

Korektnost, ona politička, prijeti uškopiti “mainstream” komediju. Takva komedija je u posljednje vrijeme, upravo zbog toga, opterećena da ne uvrijedi nikoga i isporuči filmove u okviru poželjnog dobnog predikata “PG-13”. Ipak, postoje filmaši koji se odbijaju povinuti pravilima igre, a jedan od njih je i Gene Stupnitsky.

Nakon što je napisao scenarij za “Zločestu učiteljicu” s Cameron Diaz, Stupnitsky je 2019. režirao subverzivnu komediju “R” predikata “Dobri dečki”, svojevrsnu “Američku pitu” ili “Superbad” za klince. Uobičajeno su srednjoškolci ili maturanti protagonisti sličnih komedija, a Stupnitsky je za protagoniste uzeo dečke iz šestog razreda osnovne škole.

Četiri godine poslije, Stupnitsky se vraća s novom komičnom subverzijom “Cura ...

#CINEMARK#CINEMARK U KINU #KOMEDIJE#JENNIFER LAWRENCE#ANDREW BARTH FELDMAN#GENE STUPINTSKY#MATTHEW BRODERICK
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