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[title] => NERAZIGRANI KONJI VRANI Balaševićev film u stilu i sadržaju bliskiji sapunicama
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[fulltext] => Ima jedna vrlo interesantna scena negdje pri polovici gotovo trosatne filmske balade “Kao rani mraz”,
Balaševićeve demistifikacije sjajne tri-i-nešto minute duge pjesme o Vasi Ladačkom “u koju su ga stavili tamburaši”. Mala Vidra (
Jovana Balašević) i Nikola (
Marko Makivić) u “bioskopu” gledaju nijemu komediju. Suprotno suzdržanijem Nikoli, Mala Vidra se smije na baš svaki prizor i evidentno uživa u slikama poduprtima glazbenom podlogom orkestra.
Poslije projekcije priznaje da joj je došlo da “razmakne platno i pobrka se s njima”. Balaševićevi fanovi, koji burnim ovacijama dočekuju sve što njihov miljenik otpjeva na albumima ili koncertima, mogu se prepoznati u liku Male Vidre. I oni su vjerojatno poželjeli “razmaknuti platno” Đoletova filma, zajahati “konje vrane, po livadi razigrane”, ljubiti “lijepe, a sirote”.
Zavedene violinama koje u podlozi cvile ime starih, nesretnih ljubavi (“Jebeš ljubav kad nije nesretna...”) i Balaševićevom romantično-melankoličnom lirikom, s bujnim koloritom životnih mudrosti (“Krv nije voda. Šteta što nije, lakše bi se miješala...”) i krasnih aforizama (“Pjesmama se može oprostiti kad lažu...”), “male vidre” u publici uživat će u “Ranome mrazu” i pustiti suzu neku iskrenu.
S druge strane, “Nikole”, dakle umjereniji Balaševićevi poklonici i ponešto trezveniji gledatelji, filmu će priznati razmjernu toplinu i načelnu plemenitost, ali i uočiti njegove brojne nedostatke.
Recimo, glumačku teatralnost i režijsku statičnost po mjeri hrvatskog filma 90-ih, s kamerom koja, nepokretna, šutke gleda aktere dok se dodavaju nabacivanim riječima u predugim dijalozima, a tu je i manjak fokusa u šumi likova.
|
Potonje se može opravdati rečenicom da ovo nije priča (samo) o Ladačkom (
Daniel Kovačević, Rade Šerbedžija) i (njegovoj) nesretnoj ljubavi, odnosno da “Vasa nije ime čovjeka”, nego “sudbine”.
No, “Kao rani mraz” je najmanje dojmljiv kao razvedena društvena kronika “jako zaguljenog naroda” koja pokriva “opaka vremena” - radnja se odvija uoči, tijekom i poslije Prvoga svjetskog rata - jer “sve oko nesretne ljubavi bilo je nesretno”. Balaševićev kruti izričaj u stilu i sadržaju zapravo je puno bliskiji malom ekranu, sapunicama, pardon (melo)dramskim serijama tipa “Najbolje godine”.
Promatran kroz takvu optiku, “Kao rani mraz” je sasvim solidan uradak, međutim, filma kao filma tu baš i nema. Može li se filmovima oprostiti kad lažu?
marko njegić
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[text] => {OCMSplitter}Ima jedna vrlo interesantna scena negdje pri polovici gotovo trosatne filmske balade “Kao rani mraz”,
Balaševićeve demistifikacije sjajne tri-i-nešto minute duge pjesme o Vasi Ladačkom “u koju su ga stavili tamburaši”. Mala Vidra (
Jovana Balašević) i Nikola (
Marko Makivić) u “bioskopu” gledaju nijemu komediju. Suprotno suzdržanijem Nikoli, Mala Vidra se smije na baš svaki prizor i evidentno uživa u slikama poduprtima glazbenom podlogom orkestra.
Poslije projekcije priznaje da joj je došlo da “razmakne platno i pobrka se s njima”. Balaševićevi fanovi, koji burnim ovacijama dočekuju sve što njihov miljenik otpjeva na albumima ili koncertima, mogu se prepoznati u liku Male Vidre. I oni su vjerojatno poželjeli “razmaknuti platno” Đoletova filma, zajahati “konje vrane, po livadi razigrane”, ljubiti “lijepe, a sirote”.
Zavedene violinama koje u podlozi cvile ime starih, nesretnih ljubavi (“Jebeš ljubav kad nije nesretna...”) i Balaševićevom romantično-melankoličnom lirikom, s bujnim koloritom životnih mudrosti (“Krv nije voda. Šteta što nije, lakše bi se miješala...”) i krasnih aforizama (“Pjesmama se može oprostiti kad lažu...”), “male vidre” u publici uživat će u “Ranome mrazu” i pustiti suzu neku iskrenu.
S druge strane, “Nikole”, dakle umjereniji Balaševićevi poklonici i ponešto trezveniji gledatelji, filmu će priznati razmjernu toplinu i načelnu plemenitost, ali i uočiti njegove brojne nedostatke.
Recimo, glumačku teatralnost i režijsku statičnost po mjeri hrvatskog filma 90-ih, s kamerom koja, nepokretna, šutke gleda aktere dok se dodavaju nabacivanim riječima u predugim dijalozima, a tu je i manjak fokusa u šumi likova.
|
Potonje se može opravdati rečenicom da ovo nije priča (samo) o Ladačkom (
Daniel Kovačević, Rade Šerbedžija) i (njegovoj) nesretnoj ljubavi, odnosno da “Vasa nije ime čovjeka”, nego “sudbine”.
No, “Kao rani mraz” je najmanje dojmljiv kao razvedena društvena kronika “jako zaguljenog naroda” koja pokriva “opaka vremena” - radnja se odvija uoči, tijekom i poslije Prvoga svjetskog rata - jer “sve oko nesretne ljubavi bilo je nesretno”. Balaševićev kruti izričaj u stilu i sadržaju zapravo je puno bliskiji malom ekranu, sapunicama, pardon (melo)dramskim serijama tipa “Najbolje godine”.
Promatran kroz takvu optiku, “Kao rani mraz” je sasvim solidan uradak, međutim, filma kao filma tu baš i nema. Može li se filmovima oprostiti kad lažu?
marko njegić
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12. svibanj 2024 13:18