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Predmilenijski Bond-film "Svijet nije dovoljan" (1999.), treći s Pierceom Brosnanom nakon "Zlatnog oka" i "Sutra nikad ne umire", a ukupno devetnaesti, imao je težak, dvostruki zadatak: da preispita višegodišnju ostavštinu najpoznatijeg tajnog agenta u 20. stoljeću i uvede ga u 21. vijek.

Odabir režisera za akcijsku avanturu Jamesa Bonda na razmeđu dviju epoha pao je na nedavno preminulog Britanca Michaela Apteda. Više čovjek drame ("Rudareva kći", "Gorile u magli") i dokumentaraca (revolucionarni serijal "Iznad", inspirativan za Linklaterovu "Prije svitanja/sumraka/ponoći" trilogiju i "Odrastanje") nego špijunskog akcijskog trilera ("Park Gorki"), Apted je dorastao izazovu i prilagodio se Bondu, jednako kao što ga je prilagodio sebi, tj. svom filmaštvu.

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FILM: The World Is Not Enough; akcija; SAD/Velika Britanija, 1999. REŽIJA: Michael Apted ULOGE: Pierce Brosnan, Sophie Marceau OCJENA: *** ½

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"The World Is Not Enough" otvara se jednom od najduljih i najspektakularnijih uvodnih akcijskih scena u serijalu, koja započinje u Bilbau, gdje se Bond šali na račun švicarskih bankara i sipa dvosmislene duhovite pošalice o brojkama koje su, siguran je, "savršeno zaokružene", baš poput grudi Marije Grazije Cucinotte.

Potom Bond izvodi "bungee jumping" s prozora zgrade tako što se privezao za negativca kojeg je prethodno onesvijestio da iskoristi njegovu težinu i elegantno se prizemlji. Reklo bi se, Bond has left the building. Nedostajalo je samo da krov zgrade eksplodira kao u "Umri muški", ali dobro, Brosnan ipak nije Bruce Willis.

Iz Španjolske se akcija prebacuje u London. Eksplozija u MI6 pokreće potjeru po Temzi s Bondom u supergliseru, zadnjem kriku Q-ovih izuma, za petama atentatorici (Cucinotta) u gliserčini. Londonske lokacije su izvrsno iskorištene, nikad uzbudljivije u serijalu, tijekom jurnjave koja objedinjuje sve elemente (voda, zemlja, vatra, zrak) i s rijeke se seli na kopno, a odatle u zrak (balon koji će eksplodirati poput brodova i dokova).

Shvaćamo zašto je Bond prije potjere rekao da "građenje nije njegova specijalnost", jer to je rušenje. Isto tako, shvaćamo da je Brosnan sad već ušao duboko pod kožu lika i osjeća se s Bondom kao kod kuće, toliko da može improvizirati i nonšalantno popraviti kravatu pod vodom, a da to i dalje bude punokrvni "bondovski" moment, jednako kao akcija i eksplozija kojom završava uvodna scena.

Bond s praskom ulazi u film koji sije tragove za budućnost serijala s Danielom Craigom u vidu direktnog napada na sjedište MI6 i Judi Denchinu M te simbolične majka-kćerka veze između nje i Elektre King (Sophie Marceau) kao temelja za njezin "mother-son(s)" odnos s Bondom i negativcem Silvom u "Skyfallu". Simultano "Svijet nije dovoljan" evocira i njegovu prošlost.

Budućnost je bila iza ugla, a "The World Is Not Enough", objavljen u godini "Matrixa", posljednji je Bond-film lišen digitalizirane akcije i fokusiran isključivo na kaskadersku. Ta budućnost nije se odražavala samo u Bondovim rendgenskim naočalama, već i u predstavljanju glavnog negativca, terorista Renarda (Robert Carlyle), koji ima metak u glavi što ga čini snažnijim dok ne umre jer ne osjeća bol.

Renarda, odnosno njegovu glavu, najprije vidimo preko SF-ovskog holograma, da bismo ga tek blizu polovice filma upoznali uživo. Ipak, "bondovska" prošlost je bitna stavka u "Svijet nije dovoljan". Sam naslov filma je referencija na Bondov obiteljski moto iz "U službi Njezinog veličanstva" s Georgeom Lazenbyjem.

U jednoj sceni Bond ima sličan odnos s doktoricom kao u "Operaciji Grom" sa Seanom Conneryjem. On je sklon seksualnim "one-linerima" poput Rogera Moorea čije "Bondove", kao i "On Her Majesty's Secret Service", ovaj Brosnanov priziva snježnim akcijskim scenama uz moderan "update" (paraglajderi-saonice) i negativcem specifičnih zubi (Bull kao mini Jaws).

Brosnanov portret Bonda je tvrđi, hladniji, emotivniji i osobniji u "no more mr. Nice Guy" stilu, preuzimajući nešto od Timothyja Daltona kao Craigove preteče. Jedna Bondova egzekucija, i to žene koju je mislio da je voli ili da bi je mogao zavoljeti, možda je i najhladnokrvnija unutar cijelog serijala.

Nije Aptedu bilo lako balansirati između neozbiljnog i ozbiljnog, lepršavog humornog akcijskog spektakla s helikopterima naoružanim divovskim pilama i mračnijeg dramatičnog trilera, zbog čega se ponekad čini kako dva filma opstoje unutra jednoga i međusobno ratuju – Mooreov i Daltonov na Brosnanov način.

Film se, ustvari, može prelomiti preko dviju Bond-djevojaka, spomenute Elektre King i dr. Christmas Jones (Denise Richards, sve samo ne uvjerljiva kao nuklearna znanstvenica). Djevojka blesavog imena svojevrsni je "callback" prema "nomen est omen" Bond-curama iz Coneryjeve i Mooreove ere šezdesetih i sedamdesetih, kad bi potonji zasigurno parafrazirao erotskoga "Vraga u gospođici Jones".

"Bez viceva, sve sam ih čula", kaže Christmas Jones koja opstoji samo da Richards ("Divlja igra") može postati "miss wet T-shirt" u antikulminativnom finalu s nuklearnom podmornicom i da joj Bond nakon seksa može zagugutati "Mislio sam da Božić 'dolazi' samo jednom godišnje".

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Međutim, Elektra King je kraljica i jedna od najintrigantnijih, pa i najboljih Bond-djevojaka ikad. Žrtva otmice koja je razvila stockholmski sindrom na prvi pogled je krhka dama u nevolji, pijun u šahovskoj igri negativca, da bi se ispostavilo – oprez: "spoiler" – kako Elektra nije žena za kojom se izdaje.

Elektra je glavna negativka filma, jedna od najimpresivnijih i najkompleksnijih u cjelokupnom serijalu neovisno o spolu (dakle, mimo Fione Volpe, Octopussy...), arhetipska i jedina koja je prošla obrnut put od (naizgledne) pozitivke do zlikovke, suprotno Pussy Gallore.

Zavodljiva, inteligentna "makijavelistička" manipulatorica pod krinkom kćerke naftnog tajkuna, negativka skrivena ispod maske Bond-djevojke, žena koja koristi tijelo kao oružje kontra Renarda i agenta 007, ledeći njegovo srce i testirajući "bondovsko" razmišljanje gornjom i donjom glavom. I na primjeru njezina lika, tj. tretmanu žene, primjetan je Aptedov obol u serijalu.

Redatelj se specijalizirao za snažne ženske likove ("Coal Miner's Daughter", "Gorillas in the Mist", "Nell"...) i takvom je načinio Elektru, dubljom i slojevitijom, reflektirajući prošle i buduće Bond-djevojke poput Vesper Lynd, jasno uz pomoć Marceau, još svježe od uspjeha "Hrabrog srca".

S Aptedom za kormilom "The World Is Not Enough" je dobio antropologa koji je pokušao napraviti ono što je radio s dokumentarnim serijalom "Up", započetim 1964., godine "Goldfingera". Apted je periodički pratio odrastanje i sazrijevanje likova od dječje dobi do puberteta, zreli(ji)h godina, sredovječja i starosti, tj. ovjekovječio promjene njihovih karaktera i svijeta oko njih. Nešto slično, samo u manjoj mjeri, za Bonda radi "Svijet nije dovoljan".

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Oproštaj s Q-om

Ovo je posljednji Bond-film u kojem se pojavljuje Desmond Llewelyn kao Q. Glumac je umro nedugo nakon premijere. U jednoj sceni je predstavio nasljednika u vidu Johna Cleesea. "Jeste li vi R", pitao ga je Bond. Cleese se pojavio i tri godine kasnije u četvrtom i zadnjem Brosnanovom filmu "Umri drugi dan".

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Predmilenijski Bond-film "Svijet nije dovoljan" (1999.), treći s Pierceom Brosnanom nakon "Zlatnog oka" i "Sutra nikad ne umire", a ukupno devetnaesti, imao je težak, dvostruki zadatak: da preispita višegodišnju ostavštinu najpoznatijeg tajnog agenta u 20. stoljeću i uvede ga u 21. vijek.

Odabir režisera za akcijsku avanturu Jamesa Bonda na razmeđu dviju epoha pao je na nedavno preminulog Britanca Michaela Apteda. Više čovjek drame ("Rudareva kći", "Gorile u magli") i dokumentaraca (revolucionarni serijal "Iznad", inspirativan za Linklaterovu "Prije svitanja/sumraka/ponoći" trilogiju i "Odrastanje") nego špijunskog akcijskog trilera ("Park Gorki"), Apted je dorastao izazovu i prilagodio se Bondu, jednako kao što ga je prilagodio sebi, tj. svom filmaštvu.

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FILM: The World Is Not Enough; akcija; SAD/Velika Britanija, 1999. REŽIJA: Michael Apted ULOGE: Pierce Brosnan, Sophie Marceau OCJENA: *** ½

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"The World Is Not Enough" otvara se jednom od najduljih i najspektakularnijih uvodnih akcijskih scena u serijalu, koja započinje u Bilbau, gdje se Bond šali na račun švicarskih bankara i sipa dvosmislene duhovite pošalice o brojkama koje su, siguran je, "savršeno zaokružene", baš poput grudi Marije Grazije Cucinotte.

Potom Bond izvodi "bungee jumping" s prozora zgrade tako što se privezao za negativca kojeg je prethodno onesvijestio da iskoristi njegovu težinu i elegantno se prizemlji. Reklo bi se, Bond has left the building. Nedostajalo je samo da krov zgrade eksplodira kao u "Umri muški", ali dobro, Brosnan ipak nije Bruce Willis.

Iz Španjolske se akcija prebacuje u London. Eksplozija u MI6 pokreće potjeru po Temzi s Bondom u supergliseru, zadnjem kriku Q-ovih izuma, za petama atentatorici (Cucinotta) u gliserčini. Londonske lokacije su izvrsno iskorištene, nikad uzbudljivije u serijalu, tijekom jurnjave koja objedinjuje sve elemente (voda, zemlja, vatra, zrak) i s rijeke se seli na kopno, a odatle u zrak (balon koji će eksplodirati poput brodova i dokova).

Shvaćamo zašto je Bond prije potjere rekao da "građenje nije njegova specijalnost", jer to je rušenje. Isto tako, shvaćamo da je Brosnan sad već ušao duboko pod kožu lika i osjeća se s Bondom kao kod kuće, toliko da može improvizirati i nonšalantno popraviti kravatu pod vodom, a da to i dalje bude punokrvni "bondovski" moment, jednako kao akcija i eksplozija kojom završava uvodna scena.

Bond s praskom ulazi u film koji sije tragove za budućnost serijala s Danielom Craigom u vidu direktnog napada na sjedište MI6 i Judi Denchinu M te simbolične majka-kćerka veze između nje i Elektre King (Sophie Marceau) kao temelja za njezin "mother-son(s)" odnos s Bondom i negativcem Silvom u "Skyfallu". Simultano "Svijet nije dovoljan" evocira i njegovu prošlost.

Budućnost je bila iza ugla, a "The World Is Not Enough", objavljen u godini "Matrixa", posljednji je Bond-film lišen digitalizirane akcije i fokusiran isključivo na kaskadersku. Ta budućnost nije se odražavala samo u Bondovim rendgenskim naočalama, već i u predstavljanju glavnog negativca, terorista Renarda (Robert Carlyle), koji ima metak u glavi što ga čini snažnijim dok ne umre jer ne osjeća bol.

Renarda, odnosno njegovu glavu, najprije vidimo preko SF-ovskog holograma, da bismo ga tek blizu polovice filma upoznali uživo. Ipak, "bondovska" prošlost je bitna stavka u "Svijet nije dovoljan". Sam naslov filma je referencija na Bondov obiteljski moto iz "U službi Njezinog veličanstva" s Georgeom Lazenbyjem.

U jednoj sceni Bond ima sličan odnos s doktoricom kao u "Operaciji Grom" sa Seanom Conneryjem. On je sklon seksualnim "one-linerima" poput Rogera Moorea čije "Bondove", kao i "On Her Majesty's Secret Service", ovaj Brosnanov priziva snježnim akcijskim scenama uz moderan "update" (paraglajderi-saonice) i negativcem specifičnih zubi (Bull kao mini Jaws).

Brosnanov portret Bonda je tvrđi, hladniji, emotivniji i osobniji u "no more mr. Nice Guy" stilu, preuzimajući nešto od Timothyja Daltona kao Craigove preteče. Jedna Bondova egzekucija, i to žene koju je mislio da je voli ili da bi je mogao zavoljeti, možda je i najhladnokrvnija unutar cijelog serijala.

Nije Aptedu bilo lako balansirati između neozbiljnog i ozbiljnog, lepršavog humornog akcijskog spektakla s helikopterima naoružanim divovskim pilama i mračnijeg dramatičnog trilera, zbog čega se ponekad čini kako dva filma opstoje unutra jednoga i međusobno ratuju – Mooreov i Daltonov na Brosnanov način.

Film se, ustvari, može prelomiti preko dviju Bond-djevojaka, spomenute Elektre King i dr. Christmas Jones (Denise Richards, sve samo ne uvjerljiva kao nuklearna znanstvenica). Djevojka blesavog imena svojevrsni je "callback" prema "nomen est omen" Bond-curama iz Coneryjeve i Mooreove ere šezdesetih i sedamdesetih, kad bi potonji zasigurno parafrazirao erotskoga "Vraga u gospođici Jones".

"Bez viceva, sve sam ih čula", kaže Christmas Jones koja opstoji samo da Richards ("Divlja igra") može postati "miss wet T-shirt" u antikulminativnom finalu s nuklearnom podmornicom i da joj Bond nakon seksa može zagugutati "Mislio sam da Božić 'dolazi' samo jednom godišnje".

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Međutim, Elektra King je kraljica i jedna od najintrigantnijih, pa i najboljih Bond-djevojaka ikad. Žrtva otmice koja je razvila stockholmski sindrom na prvi pogled je krhka dama u nevolji, pijun u šahovskoj igri negativca, da bi se ispostavilo – oprez: "spoiler" – kako Elektra nije žena za kojom se izdaje.

Elektra je glavna negativka filma, jedna od najimpresivnijih i najkompleksnijih u cjelokupnom serijalu neovisno o spolu (dakle, mimo Fione Volpe, Octopussy...), arhetipska i jedina koja je prošla obrnut put od (naizgledne) pozitivke do zlikovke, suprotno Pussy Gallore.

Zavodljiva, inteligentna "makijavelistička" manipulatorica pod krinkom kćerke naftnog tajkuna, negativka skrivena ispod maske Bond-djevojke, žena koja koristi tijelo kao oružje kontra Renarda i agenta 007, ledeći njegovo srce i testirajući "bondovsko" razmišljanje gornjom i donjom glavom. I na primjeru njezina lika, tj. tretmanu žene, primjetan je Aptedov obol u serijalu.

Redatelj se specijalizirao za snažne ženske likove ("Coal Miner's Daughter", "Gorillas in the Mist", "Nell"...) i takvom je načinio Elektru, dubljom i slojevitijom, reflektirajući prošle i buduće Bond-djevojke poput Vesper Lynd, jasno uz pomoć Marceau, još svježe od uspjeha "Hrabrog srca".

S Aptedom za kormilom "The World Is Not Enough" je dobio antropologa koji je pokušao napraviti ono što je radio s dokumentarnim serijalom "Up", započetim 1964., godine "Goldfingera". Apted je periodički pratio odrastanje i sazrijevanje likova od dječje dobi do puberteta, zreli(ji)h godina, sredovječja i starosti, tj. ovjekovječio promjene njihovih karaktera i svijeta oko njih. Nešto slično, samo u manjoj mjeri, za Bonda radi "Svijet nije dovoljan".

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Oproštaj s Q-om

Ovo je posljednji Bond-film u kojem se pojavljuje Desmond Llewelyn kao Q. Glumac je umro nedugo nakon premijere. U jednoj sceni je predstavio nasljednika u vidu Johna Cleesea. "Jeste li vi R", pitao ga je Bond. Cleese se pojavio i tri godine kasnije u četvrtom i zadnjem Brosnanovom filmu "Umri drugi dan".

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Keith Hamshere Keith Hamshere Keith Hamshere Keith Hamshere Keith Hamshere Keith Hamshere Keith Hamshere Keith Hamshere



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StoryEditorOCM
Film & TVCINEMARK RETRO(PER)SPEKTIVA

‘Svijet nije dovoljan‘: Bond na razmeđu epoha

Piše Marko Njegić
22. siječnja 2021. - 19:50
15825918
PREMIUM
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Keith Hamshere

Predmilenijski Bond-film "Svijet nije dovoljan" (1999.), treći s Pierceom Brosnanom nakon "Zlatnog oka" i "Sutra nikad ne umire", a ukupno devetnaesti, imao je težak, dvostruki zadatak: da preispita višegodišnju ostavštinu najpoznatijeg tajnog agenta u 20. stoljeću i uvede ga u 21. vijek.

Odabir režisera za akcijsku avanturu Jamesa Bonda na razmeđu dviju epoha pao je na nedavno preminulog Britanca Michaela Apteda. Više čovjek drame ("Rudareva kći", "Gorile u magli") i dokumentaraca (revolucionarni serijal "Iznad", inspirativan za Linklaterovu "Prije svitanja/sumraka/ponoći" trilogiju i "Odrastanje") nego špijunskog akcijskog trilera ("Park Gorki"), Apted je dorastao izazovu i prilagodio se Bondu, jednako kao što ga je prilagodio sebi, tj. svom filmaštvu.

"The World Is Not E...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#AKCIJSKIFILMOVI#BOND-FILMOVI#PIERCE BROSNAN#SOPHIE MARCEAU#DENISE RICHARDS#MICHAEL APTED
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13. svibanj 2024 07:34