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Vraški gušt je opet pogledati “Đavoljeg odvjetnika” (“The Devil’s Advocate”, 1997.) redatelja Taylora Hackforda s Keanuom Reevesom i Alom Pacinom u glavnim ulogama. Bilo je to prvo gledanje nakon dobrih 20-ak godina, kad se film u kinima i na VHS tržištu gledao pod naslovom “Odvjetnik zla”, smišljenim vjerojatno da se ne koška s tri godine mlađim “Đavoljim odvjetnikom” Sidneyja Lumeta, kako je kod nas preveden “Guilty As Sin”.

“The Devil’s Advocate” izdržao je test vremena i još uvijek je konceptualno zanimljiv i kompulzivno gledljiv, vizualno stiliziran i dojmljivo režiran, premda ne i izniman poput “Anđeoskog srca” da bismo ga slavili kao remek-djelo đavoljeg horor-trilera. Koncept je bio trendovski... s “twistom”.

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FILM: The Devil‘s Advocate; horor triler; SAD, 1997. REŽIJA: Taylor Hackford ULOGE: Keanu Reeves, Al Pacino OCJENA: ****

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Devedesete su slovile kao godine velike popularnosti ekranizacija odvjetničkih trilera Johna Grishama (“Slučaj Pelikan”, “Klijent”, “Vrijeme ubijanja”), u kojima su se mladi odvjetnici borili da ne izgube parnice, ali i dušu stavljenu na prodaju vragu kad uslijedi ponuda kakva se ne odbija (“Tvrtka”).

Iako je nastao prema romanu Andrewa Neidermana, adaptiranom u scenarij Jonathana Lemkina (“Crveni planet”) i Tonyja Gilroyja (“Michael Clayton”, Bourne-serijal), “Đavolji odvjetnik” ima nešto grishamovsko u sebi, počevši od lika mladog odvjetnika Kevina Lomaxa u tumačenju Reevesa, koji je odbio nastavak “Brzine” da može snimiti ovaj film i pristao na manji honorar da producenti mogu platiti Pacina.

No, ovo je Grisham koji vrši egzorcizam i porađa “Rosemarynu bebu” gledajući “Istjerivača đavola” i “Vještice iz Eastwicka” i satirizira odvjetničku profesiju sudarajući (ne)časnu narav advokata i Nečastivog (“Odvjetnici su u službi vraga”, bez pardona veli Pacinov lik).

Odvjetnički triler, a ne noir kao u “Angel Heart”, isprepleće se s nadnaravnim hororom u filmu “The Devil’s Advocate”, transcendirajući zadane žanrove i oblikujući novi sotonsko-hororski trend krajem devedesetih (“End Of Days”, “The Ninth Gate”, “Stigmata”, “Bless The Child”, “Lost Souls”), dvadesetak godina nakon onog starog iz sedamdesetih (“The Exorcist”, “Omen”). Reevesov odvjetnik dobiva “ponudu kakva se ne odbija” od “kuma” osobno, Pacinova Johna Miltona.

Naime, Lomax i njegova prelijepa supruga Mary Ann (Charlize Theron, dobra i pri početku karijere) sele se iz Floride u New York zbog ponude da on počne raditi za najjaču odvjetničku tvrtku u New Yorku i šire, ne sluteći da je tvrtka pod predsjedanjem čovjeka koji se zove kao autor “Izgubljenog raja”, a ustvari nije čovjek, već inkarnacija samog zla – inkarnacija đavla koji se voli voziti podzemnom i govoriti “Taština je moj omiljeni grijeh”.

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Ponuda je primamljiva: luksuzni stan u centru New Yorka, velika plaća... S ponudom dolazi i kušnja u Miltonovu svijetu požude i nemorala, među ostalim i u vidu sočnog “zabranjenog voća”, tj. bujne kolegice Christabelle Andreoli (Connie Nielson; “Vojnik”, “Gladijator”, “Ubojite namjere”).

Lomax je zaljubljen u sebe i opsjednut pobjeđivanjem u sudnici pod svaku cijenu, čak i ako je njegov klijent evidentno kriv, kao tip iz uvodne scene. Shvativši da zastupa krivca, Lomax zatraži stanku i ode oprati ruke i umiti se u toalet, simbolički sprati grijehe. Ondje se, grešno tašt kakav jest, zagleda u svoj odraz u zrcalu i nasmije.

U tom je zrcalu cijeli film, košmarna inverzija “Divnog života” o dobru i zlu, tj. internoj i eksternoj borbi tih dviju krajnosti u Lomaxu i njegovu prodavanju duše vragu svome/Miltonovome. Zrcala i refleksije ponavljajući su motiv “Đavoljeg odvjetnika”, skrivajući i otkrivajući iluziju povišene stvarnosti u kojoj i mramorni reljefi mogu oživjeti.

Kevinova religiozna majka Alice (Judith Ivey) upozorava sina o odlasku u New York, kojeg biblijski naziva “palim Babilonom i prebivalištem demona”. Mary Ann, pak, prva shvaća da nešto nije kako treba kad počne (pri)viđati demone i oni joj se materijaliziraju u izobličenim licima ljudi oko sebe.

Vizije, košmari i halucinacije proganjaju usamljenu Mary Ann dok je Kevin na poslu. “Nije san ako je istina”, Mary Ann kaže Kevinu, ali on je uvjerava: “To je bila noćna mora, nije se dogodilo.” Nesretnica tone u ludilo, a nije luda. Neke od tih scena su prilično jezive (npr. priviđenje djeteta).

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Općenito, pamtljivih scena ne nedostaje, od razgovora Miltona i Lomaxa na krovu nebodera, do Kevinova paralelnog vođenja ljubavi s Mary Ann i Christabelle na granici zbilje i fantazije. Redatelj Hackford (“Oficir i džentlmen”) preferira takve scene verbalnog konfrontiranja i tjelesnog zavođenja umjesto žanrovskog strašenja, koliko god gradio ugođaj jeze.

Netko bi očekivao da će finale filma biti fizički, hororski eksplicitni sukob Lomaxa i Miltona, ali Hackford se odlučuje na njihov razgovorni duel. Suptilno? Bilo bi da je Pacino dijabolički suptilan kao Robert De Niro u ulozi vraga, ali je pacinovski bučan i razmetljiv, pušten s lanca poput demonskog psa.

Milton u završnici na trenutke podsjeća na Tonyja Montanu (“Scarface”) kao da je svojevrsni Lucifer s ožiljkom. Ipak, Pacino je zavodljivo razmetljiv u ulozi Nečastivog, zavodeći gledatelja kao odvjetnik porotu dok pred nama/njom rešeta boga kao svjedoka u sudnici.

Pacino izgovara i odlično napisane monologe (“Ja sam ruka ispod Mona Lisine suknje, ja sam iznenađenje...”, “Sotona? Zovi me tata”), naročito one o bogu i vragu. “Bog voli gledati. Zafrkant je. Dade čovjeku nagone, taj nevjerojatan dar. I što onda čini? Za vlastitu zabavu, svoju osobnu svemirsku predstavu sastavljenu od neuspjelih scena nekog filma, on postavi suprotna pravila”, pripovijeda Milton i nastavlja.

”To je najveća šala svih vremena. Gledaj, ali ne diraj. Diraj, ali nemoj okusiti. Okusi, ali ne progutaj. I dok ti skačeš s jedne noge na drugu, što on radi? Umire od smijeha. On je sadist, odsutni vlasnik. Obožavati to? Nikad”, govori Milton koji sebe naziva “humanistom, možda posljednjim” i na samom kraju podsjeća zašto je “taština svakako moj omiljeni grijeh”, prije nego što Rolling Stonesi oboje ekran u crno. “Paint It Black”.

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‘Pomlađeni‘ Pacino

Pacino je iste godine glumio s Johnnyjem Deppom i u "Donnieju Brascu" te se počeo "pomlađivati" uz mlade glumce. Uslijedili su "Svježa krv" s Colinom Farrellom i "Sve za lovu" s Mattheom McConaugheyjem.

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Vraški gušt je opet pogledati “Đavoljeg odvjetnika” (“The Devil’s Advocate”, 1997.) redatelja Taylora Hackforda s Keanuom Reevesom i Alom Pacinom u glavnim ulogama. Bilo je to prvo gledanje nakon dobrih 20-ak godina, kad se film u kinima i na VHS tržištu gledao pod naslovom “Odvjetnik zla”, smišljenim vjerojatno da se ne koška s tri godine mlađim “Đavoljim odvjetnikom” Sidneyja Lumeta, kako je kod nas preveden “Guilty As Sin”.

“The Devil’s Advocate” izdržao je test vremena i još uvijek je konceptualno zanimljiv i kompulzivno gledljiv, vizualno stiliziran i dojmljivo režiran, premda ne i izniman poput “Anđeoskog srca” da bismo ga slavili kao remek-djelo đavoljeg horor-trilera. Koncept je bio trendovski... s “twistom”.

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FILM: The Devil‘s Advocate; horor triler; SAD, 1997. REŽIJA: Taylor Hackford ULOGE: Keanu Reeves, Al Pacino OCJENA: ****

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Devedesete su slovile kao godine velike popularnosti ekranizacija odvjetničkih trilera Johna Grishama (“Slučaj Pelikan”, “Klijent”, “Vrijeme ubijanja”), u kojima su se mladi odvjetnici borili da ne izgube parnice, ali i dušu stavljenu na prodaju vragu kad uslijedi ponuda kakva se ne odbija (“Tvrtka”).

Iako je nastao prema romanu Andrewa Neidermana, adaptiranom u scenarij Jonathana Lemkina (“Crveni planet”) i Tonyja Gilroyja (“Michael Clayton”, Bourne-serijal), “Đavolji odvjetnik” ima nešto grishamovsko u sebi, počevši od lika mladog odvjetnika Kevina Lomaxa u tumačenju Reevesa, koji je odbio nastavak “Brzine” da može snimiti ovaj film i pristao na manji honorar da producenti mogu platiti Pacina.

No, ovo je Grisham koji vrši egzorcizam i porađa “Rosemarynu bebu” gledajući “Istjerivača đavola” i “Vještice iz Eastwicka” i satirizira odvjetničku profesiju sudarajući (ne)časnu narav advokata i Nečastivog (“Odvjetnici su u službi vraga”, bez pardona veli Pacinov lik).

Odvjetnički triler, a ne noir kao u “Angel Heart”, isprepleće se s nadnaravnim hororom u filmu “The Devil’s Advocate”, transcendirajući zadane žanrove i oblikujući novi sotonsko-hororski trend krajem devedesetih (“End Of Days”, “The Ninth Gate”, “Stigmata”, “Bless The Child”, “Lost Souls”), dvadesetak godina nakon onog starog iz sedamdesetih (“The Exorcist”, “Omen”). Reevesov odvjetnik dobiva “ponudu kakva se ne odbija” od “kuma” osobno, Pacinova Johna Miltona.

Naime, Lomax i njegova prelijepa supruga Mary Ann (Charlize Theron, dobra i pri početku karijere) sele se iz Floride u New York zbog ponude da on počne raditi za najjaču odvjetničku tvrtku u New Yorku i šire, ne sluteći da je tvrtka pod predsjedanjem čovjeka koji se zove kao autor “Izgubljenog raja”, a ustvari nije čovjek, već inkarnacija samog zla – inkarnacija đavla koji se voli voziti podzemnom i govoriti “Taština je moj omiljeni grijeh”.

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Ponuda je primamljiva: luksuzni stan u centru New Yorka, velika plaća... S ponudom dolazi i kušnja u Miltonovu svijetu požude i nemorala, među ostalim i u vidu sočnog “zabranjenog voća”, tj. bujne kolegice Christabelle Andreoli (Connie Nielson; “Vojnik”, “Gladijator”, “Ubojite namjere”).

Lomax je zaljubljen u sebe i opsjednut pobjeđivanjem u sudnici pod svaku cijenu, čak i ako je njegov klijent evidentno kriv, kao tip iz uvodne scene. Shvativši da zastupa krivca, Lomax zatraži stanku i ode oprati ruke i umiti se u toalet, simbolički sprati grijehe. Ondje se, grešno tašt kakav jest, zagleda u svoj odraz u zrcalu i nasmije.

U tom je zrcalu cijeli film, košmarna inverzija “Divnog života” o dobru i zlu, tj. internoj i eksternoj borbi tih dviju krajnosti u Lomaxu i njegovu prodavanju duše vragu svome/Miltonovome. Zrcala i refleksije ponavljajući su motiv “Đavoljeg odvjetnika”, skrivajući i otkrivajući iluziju povišene stvarnosti u kojoj i mramorni reljefi mogu oživjeti.

Kevinova religiozna majka Alice (Judith Ivey) upozorava sina o odlasku u New York, kojeg biblijski naziva “palim Babilonom i prebivalištem demona”. Mary Ann, pak, prva shvaća da nešto nije kako treba kad počne (pri)viđati demone i oni joj se materijaliziraju u izobličenim licima ljudi oko sebe.

Vizije, košmari i halucinacije proganjaju usamljenu Mary Ann dok je Kevin na poslu. “Nije san ako je istina”, Mary Ann kaže Kevinu, ali on je uvjerava: “To je bila noćna mora, nije se dogodilo.” Nesretnica tone u ludilo, a nije luda. Neke od tih scena su prilično jezive (npr. priviđenje djeteta).

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Općenito, pamtljivih scena ne nedostaje, od razgovora Miltona i Lomaxa na krovu nebodera, do Kevinova paralelnog vođenja ljubavi s Mary Ann i Christabelle na granici zbilje i fantazije. Redatelj Hackford (“Oficir i džentlmen”) preferira takve scene verbalnog konfrontiranja i tjelesnog zavođenja umjesto žanrovskog strašenja, koliko god gradio ugođaj jeze.

Netko bi očekivao da će finale filma biti fizički, hororski eksplicitni sukob Lomaxa i Miltona, ali Hackford se odlučuje na njihov razgovorni duel. Suptilno? Bilo bi da je Pacino dijabolički suptilan kao Robert De Niro u ulozi vraga, ali je pacinovski bučan i razmetljiv, pušten s lanca poput demonskog psa.

Milton u završnici na trenutke podsjeća na Tonyja Montanu (“Scarface”) kao da je svojevrsni Lucifer s ožiljkom. Ipak, Pacino je zavodljivo razmetljiv u ulozi Nečastivog, zavodeći gledatelja kao odvjetnik porotu dok pred nama/njom rešeta boga kao svjedoka u sudnici.

Pacino izgovara i odlično napisane monologe (“Ja sam ruka ispod Mona Lisine suknje, ja sam iznenađenje...”, “Sotona? Zovi me tata”), naročito one o bogu i vragu. “Bog voli gledati. Zafrkant je. Dade čovjeku nagone, taj nevjerojatan dar. I što onda čini? Za vlastitu zabavu, svoju osobnu svemirsku predstavu sastavljenu od neuspjelih scena nekog filma, on postavi suprotna pravila”, pripovijeda Milton i nastavlja.

”To je najveća šala svih vremena. Gledaj, ali ne diraj. Diraj, ali nemoj okusiti. Okusi, ali ne progutaj. I dok ti skačeš s jedne noge na drugu, što on radi? Umire od smijeha. On je sadist, odsutni vlasnik. Obožavati to? Nikad”, govori Milton koji sebe naziva “humanistom, možda posljednjim” i na samom kraju podsjeća zašto je “taština svakako moj omiljeni grijeh”, prije nego što Rolling Stonesi oboje ekran u crno. “Paint It Black”.

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‘Pomlađeni‘ Pacino

Pacino je iste godine glumio s Johnnyjem Deppom i u "Donnieju Brascu" te se počeo "pomlađivati" uz mlade glumce. Uslijedili su "Svježa krv" s Colinom Farrellom i "Sve za lovu" s Mattheom McConaugheyjem.

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Film & TVCINEMARK OBLJETNICA

‘Đavolji odvjetnik‘: Lucifer s ožiljkom

Piše Marko Njegić
16. listopada 2022. - 22:54
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Vraški gušt je opet pogledati “Đavoljeg odvjetnika” (“The Devil’s Advocate”, 1997.) redatelja Taylora Hackforda s Keanuom Reevesom i Alom Pacinom u glavnim ulogama. Bilo je to prvo gledanje nakon dobrih 20-ak godina, kad se film u kinima i na VHS tržištu gledao pod naslovom “Odvjetnik zla”, smišljenim vjerojatno da se ne koška s tri godine mlađim “Đavoljim odvjetnikom” Sidneyja Lumeta, kako je kod nas preveden “Guilty As Sin”.

“The Devil’s Advocate” izdržao je test vremena i još uvijek je konceptualno zanimljiv i kompulzivno gledljiv, vizualno stiliziran i dojmljivo režiran, premda ne i izniman poput “Anđeoskog srca” da bismo ga slavili kao remek-djelo đavoljeg horor-trilera. Koncept je bio trendovski... s “twistom”.

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#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 90-IH#HOROR TRILERI#AL PACINO#KEANU REEVES#CHARLIZE THERON#CONNIE NIELSEN#TAYLOR HACKFORD#ODVJETNIČKI FILMOVI
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11. svibanj 2024 12:44