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Lynchovski film ne može biti lynchovskiji od podcijenjene “Izgubljene ceste” (“The Lost Highway”, 1997.). Svojevrsni “izgubljeni” klasik Davida Lyncha njegov je punokrvni autorski uradak, ugođajno ozvučen glazbom stalnog skladatelja Angela Badalamentija. Koliko god da ne tipuje na logiku, osim ako to nije logika lynchovskog sna ili snomorice, “Izgubljena cesta” je logično pozicionirana između filmova “Twin Peaks: Vatro hodaj sa mnom” i “Mulholland Drive”.

Sve što je prethodilo “The Lost Higway” satkano je u filmu, s naglaskom na “Twin Peaks: Fire Walk With Me”, njegovu nadrealnu atmosferu snolike (i)racionalnosti i nezaobilazne crvene zavjese (“Red Room”). Ima tu i “Plavog baršuna”, od psihoseksualnosti i noirovskog ugođaja do negativca Franka Bootha (Dennis Hopper) čiji se tragovi osjećaju u razjarenom gangsteru Eddyju (Robert Loggia; “Lice s ožiljkom”, “Na vrhu”), ako ne i Misterioznom čovjeku (istinski jezoviti Robert Blake).

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FILM: The Lost Highway; horor triler; SAD, 1997. REŽIJA: David Lynch ULOGE: Bill Pullman, Patricia Arquette OCJENA: *****

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No, ovo je Lynch koji se odmaknuo od linearnosti filma “Blue Velvet” ili “Wild At Heart” i odvezao se u gluho doba noći u zemlju nelinearnih, kriptičnih, dezorijentirajućih košmara, jureći izgubljenom cestom prema “Mulholland Driveu” i još većim lynchovskim eksperimentima u nedokučivom nadrealizmu kao što je “Inland Empire”.

Eddy u jednoj sceni, baš na Mulholland Driveu, izgura s ceste tipa koji mu se “zalijepio” za automobil, tj. vozio preblizu njega, nakon čega ga je izudarao pištoljem i nasilje tarantinovski začinio izjavom “Jedina stvar koju ne mogu tolerirati jest kad mi se netko lijepi od iza”.

Točno tu, na Mulholland Driveu, križaju se stari i novi(ji) Lynch. Dakle, “Plavi baršun”, “Twin Peaks” i “Mulholland Drive”, potonji najviše. “The Lost Highway” je savršeno podatan za “double bill” s “Mulholland Driveom” kao njegova preteča, “21-stoljetni noirovski horor triler”, kako ga je titulirao sam Lynch.

Oba filma odvijaju se na tankoj granici noirovske jave i hororskog sna, s misterioznim ubojstvima, opsesivnim muškarcima, bujnim fatalnim ženama, voajerskim seksom, tripoidnim ugođajem, izvantjelesnim iskustvima i pitanjima identiteta. Ako ih gledatelj u potpunosti i ne razumije, može ih (za)voljeti jer bivaju sve bolji i zavodljiviji na svako novo gledanje, nudeći neka nova gledanja i iščitavanja, počevši od “Izgubljene ceste”.

Autoru ovih redaka “The Lost Highway” bio je drukčiji u londonskom “BFI” kinu u jesen 2022. u odnosu na prijašnja gledanja na VHS-u na prijelazu milenija ili najnovije pred pisanje teksta. Ovo je jedan od onih filmova koji kao da se mijenja od jednog do drugog gledanja, tj. kojeg će se svaki pojedini gledatelj sjećati (i osjećati ga) na svoj način. Izjava glavnog lika Freda (Bill Pullman u “against type” ulozi) korespondira s time i ključna je za film i Lynchovu ambivalentnost prema stvarnosti.

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“Volim se sjećati stvari na svoj način, ne nužno onako kako su se dogodile”, kaže Fred nakon što policajci dođu kod njega doma zbog prijetećih VHS kaseta koje je njegova supruga Renee (izvrsna Patricia Arquette; “Prava romansa”) pronašla ispred kuće u žutoj koverti.

Na jednoj od snimaka, koje su moguće nadahnule Michaela Hanekea za “Skriveno”, kuća otuđenih supružnika snimljena je izvana (“Mora da je od agenta za nekretnine”), na drugoj iznutra, kao da je netko provalio i snimio ih dok su spavali, a na trećoj je Renee ubijena. Brrr! Susret Freda s Misterioznim čovjekom na domjenku budi jezu i pojačava hororsku tenziju.

Počujte ovaj dijalog: “Sreli smo se prije, zar ne? Ne bih rekao, gdje? U tvojoj kući. Zapravo sam tamo upravo sada. To je jebeno ludo, čovječe. Nazovi me...” Pozivom Fred shvaća da se Misteriozni čovjek doista nalazi u isto vrijeme na dva mjesta, pred njim i u njegovoj kući, a kasnije te večeri ukazat će mu se i u krevetu dok vodi ljubav s Renee u košmarnoj sceni koja uspravlja sve dlake na tijelu. “Sinoć sam te sanjao, bila si unutar kuće, dozivala moje ime, izgledala si kao ti, ali nisi bila ti”, Fred govori Renee.

Kad Renee doista bude ubijena, Fred je uhićen (supružnici su vidno otuđeni i on, ljubomoran, sumnja u njezinu nevjeru), no jednog dana on nestaje iz ćelije i čuvari na njegovom mjestu pronalaze mladog automehaničara Petea (Balthazar Getty) koji će se po izlasku iz zatvora zaljubiti u Eddyjevu ljubavnicu, plavokosu Alice (također Arquette), nakon što uđe u njegovu garažu u “slow motionu” uz pjesmu “This Magic Moment” Loua Reeda.

Jesu li Alice i brineta Renee iste osobe u različitim tijelima? A Fred i Pete? Alice je svakako pohotna (neo)noirovska “femme fatale” voluminoznih grudi i senzualnih usana u krupnom planu u kombinaciji s “dualnom” Kim Novak iz “Vrtoglavice”, dok “Izgubljena cesta” u tom dijelu odvozi Lyncha natrag u pedesete, od noira do “Buntovnika bez razloga” s obzirom da Getty doziva Jamesa Deana, a Peteovu curu Sheilu glumi Natasha Gregson Wagner, kćerka Natalie Wood.

Naravno, Lynch vozi po svome i snima svojevrsni “Vertigo” iz alternativne lynchovske stvarnosti, na raskrižju realističnog neonoira i nadrealnog horora. Teško, tako, da je Fred samo usnuo zbivanja s Peteom, prije da se “The Lost Highway” može sagledati poput njegove podsvijesti ili imaginacije alternativne stvarnosti u kojoj nije ubio nevjernu Renee nego kao nevini mladić spašava njoj sličnu Alice, sve dok boravi u zatvoru, a moguće i netom pred smrt na električnoj stolici, nakon što je krenuo na vožnju mračnom, izgubljenom cestom. “To je jebeno ludo, čovječe?” Ne, to je Lynch.

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Lynchovski film ne može biti lynchovskiji od podcijenjene “Izgubljene ceste” (“The Lost Highway”, 1997.). Svojevrsni “izgubljeni” klasik Davida Lyncha njegov je punokrvni autorski uradak, ugođajno ozvučen glazbom stalnog skladatelja Angela Badalamentija. Koliko god da ne tipuje na logiku, osim ako to nije logika lynchovskog sna ili snomorice, “Izgubljena cesta” je logično pozicionirana između filmova “Twin Peaks: Vatro hodaj sa mnom” i “Mulholland Drive”.

Sve što je prethodilo “The Lost Higway” satkano je u filmu, s naglaskom na “Twin Peaks: Fire Walk With Me”, njegovu nadrealnu atmosferu snolike (i)racionalnosti i nezaobilazne crvene zavjese (“Red Room”). Ima tu i “Plavog baršuna”, od psihoseksualnosti i noirovskog ugođaja do negativca Franka Bootha (Dennis Hopper) čiji se tragovi osjećaju u razjarenom gangsteru Eddyju (Robert Loggia; “Lice s ožiljkom”, “Na vrhu”), ako ne i Misterioznom čovjeku (istinski jezoviti Robert Blake).

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FILM: The Lost Highway; horor triler; SAD, 1997. REŽIJA: David Lynch ULOGE: Bill Pullman, Patricia Arquette OCJENA: *****

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No, ovo je Lynch koji se odmaknuo od linearnosti filma “Blue Velvet” ili “Wild At Heart” i odvezao se u gluho doba noći u zemlju nelinearnih, kriptičnih, dezorijentirajućih košmara, jureći izgubljenom cestom prema “Mulholland Driveu” i još većim lynchovskim eksperimentima u nedokučivom nadrealizmu kao što je “Inland Empire”.

Eddy u jednoj sceni, baš na Mulholland Driveu, izgura s ceste tipa koji mu se “zalijepio” za automobil, tj. vozio preblizu njega, nakon čega ga je izudarao pištoljem i nasilje tarantinovski začinio izjavom “Jedina stvar koju ne mogu tolerirati jest kad mi se netko lijepi od iza”.

Točno tu, na Mulholland Driveu, križaju se stari i novi(ji) Lynch. Dakle, “Plavi baršun”, “Twin Peaks” i “Mulholland Drive”, potonji najviše. “The Lost Highway” je savršeno podatan za “double bill” s “Mulholland Driveom” kao njegova preteča, “21-stoljetni noirovski horor triler”, kako ga je titulirao sam Lynch.

Oba filma odvijaju se na tankoj granici noirovske jave i hororskog sna, s misterioznim ubojstvima, opsesivnim muškarcima, bujnim fatalnim ženama, voajerskim seksom, tripoidnim ugođajem, izvantjelesnim iskustvima i pitanjima identiteta. Ako ih gledatelj u potpunosti i ne razumije, može ih (za)voljeti jer bivaju sve bolji i zavodljiviji na svako novo gledanje, nudeći neka nova gledanja i iščitavanja, počevši od “Izgubljene ceste”.

Autoru ovih redaka “The Lost Highway” bio je drukčiji u londonskom “BFI” kinu u jesen 2022. u odnosu na prijašnja gledanja na VHS-u na prijelazu milenija ili najnovije pred pisanje teksta. Ovo je jedan od onih filmova koji kao da se mijenja od jednog do drugog gledanja, tj. kojeg će se svaki pojedini gledatelj sjećati (i osjećati ga) na svoj način. Izjava glavnog lika Freda (Bill Pullman u “against type” ulozi) korespondira s time i ključna je za film i Lynchovu ambivalentnost prema stvarnosti.

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“Volim se sjećati stvari na svoj način, ne nužno onako kako su se dogodile”, kaže Fred nakon što policajci dođu kod njega doma zbog prijetećih VHS kaseta koje je njegova supruga Renee (izvrsna Patricia Arquette; “Prava romansa”) pronašla ispred kuće u žutoj koverti.

Na jednoj od snimaka, koje su moguće nadahnule Michaela Hanekea za “Skriveno”, kuća otuđenih supružnika snimljena je izvana (“Mora da je od agenta za nekretnine”), na drugoj iznutra, kao da je netko provalio i snimio ih dok su spavali, a na trećoj je Renee ubijena. Brrr! Susret Freda s Misterioznim čovjekom na domjenku budi jezu i pojačava hororsku tenziju.

Počujte ovaj dijalog: “Sreli smo se prije, zar ne? Ne bih rekao, gdje? U tvojoj kući. Zapravo sam tamo upravo sada. To je jebeno ludo, čovječe. Nazovi me...” Pozivom Fred shvaća da se Misteriozni čovjek doista nalazi u isto vrijeme na dva mjesta, pred njim i u njegovoj kući, a kasnije te večeri ukazat će mu se i u krevetu dok vodi ljubav s Renee u košmarnoj sceni koja uspravlja sve dlake na tijelu. “Sinoć sam te sanjao, bila si unutar kuće, dozivala moje ime, izgledala si kao ti, ali nisi bila ti”, Fred govori Renee.

Kad Renee doista bude ubijena, Fred je uhićen (supružnici su vidno otuđeni i on, ljubomoran, sumnja u njezinu nevjeru), no jednog dana on nestaje iz ćelije i čuvari na njegovom mjestu pronalaze mladog automehaničara Petea (Balthazar Getty) koji će se po izlasku iz zatvora zaljubiti u Eddyjevu ljubavnicu, plavokosu Alice (također Arquette), nakon što uđe u njegovu garažu u “slow motionu” uz pjesmu “This Magic Moment” Loua Reeda.

Jesu li Alice i brineta Renee iste osobe u različitim tijelima? A Fred i Pete? Alice je svakako pohotna (neo)noirovska “femme fatale” voluminoznih grudi i senzualnih usana u krupnom planu u kombinaciji s “dualnom” Kim Novak iz “Vrtoglavice”, dok “Izgubljena cesta” u tom dijelu odvozi Lyncha natrag u pedesete, od noira do “Buntovnika bez razloga” s obzirom da Getty doziva Jamesa Deana, a Peteovu curu Sheilu glumi Natasha Gregson Wagner, kćerka Natalie Wood.

Naravno, Lynch vozi po svome i snima svojevrsni “Vertigo” iz alternativne lynchovske stvarnosti, na raskrižju realističnog neonoira i nadrealnog horora. Teško, tako, da je Fred samo usnuo zbivanja s Peteom, prije da se “The Lost Highway” može sagledati poput njegove podsvijesti ili imaginacije alternativne stvarnosti u kojoj nije ubio nevjernu Renee nego kao nevini mladić spašava njoj sličnu Alice, sve dok boravi u zatvoru, a moguće i netom pred smrt na električnoj stolici, nakon što je krenuo na vožnju mračnom, izgubljenom cestom. “To je jebeno ludo, čovječe?” Ne, to je Lynch.

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Film & TVRETRO(PER)SPEKTIVA

‘Izgubljena cesta‘: Vožnja između jave i sna

Piše Marko Njegić
29. veljače 2024. - 23:20
26660445
Galerija
Ciby 2000 - October Films/Collection Christophel Via Afp

Lynchovski film ne može biti lynchovskiji od podcijenjene “Izgubljene ceste” (“The Lost Highway”, 1997.). Svojevrsni “izgubljeni” klasik Davida Lyncha njegov je punokrvni autorski uradak, ugođajno ozvučen glazbom stalnog skladatelja Angela Badalamentija. Koliko god da ne tipuje na logiku, osim ako to nije logika lynchovskog sna ili snomorice, “Izgubljena cesta” je logično pozicionirana između filmova “Twin Peaks: Vatro hodaj sa mnom” i “Mulholland Drive”.

Sve što je prethodilo “The Lost Higway” satkano je u filmu, s naglaskom na “Twin Peaks: Fire Walk With Me”, njegovu nadrealnu atmosferu snolike (i)racionalnosti i nezaobilazne crvene zavjese (“Red Room”). Ima tu i “Plavog baršuna”, od psihoseksualnosti i noirovskog ugođaja do negativca Franka Bootha (Dennis Hopper) čiji se tragovi osjećaju u razjarenom gangsteru Eddyju (Robert Loggia; “Lice s ožiljkom”, “Na vrhu”), ako ne i Misterioznom čovjeku (istinski jezoviti Robert Blake).

FILM: The Lost Highway; horor triler; SAD, 1997. REŽIJA: David Lynch ULOGE: Bill Pullman, Patricia Arquette OCJENA: *****

No, ovo je Lynch koji se odmaknuo od linearnosti filma “Blue Velvet” ili “Wild At Heart” i odvezao se u gluho doba noći u zemlju nelinearnih, kriptičnih, dezorijentirajućih košmara, jureći izgubljenom cestom prema “Mulholland Driveu” i još većim lynchovskim eksperimentima u nedokučivom nadrealizmu kao što je “Inland Empire”.

Eddy u jednoj sceni, baš na Mulholland Driveu, izgura s ceste tipa koji mu se “zalijepio” za automobil, tj. vozio preblizu njega, nakon čega ga je izudarao pištoljem i nasilje tarantinovski začinio izjavom “Jedina stvar koju ne mogu tolerirati jest kad mi se netko lijepi od iza”.

Točno tu, na Mulholland Driveu, križaju se stari i novi(ji) Lynch. Dakle, “Plavi baršun”, “Twin Peaks” i “Mulholland Drive”, potonji najviše. “The Lost Highway” je savršeno podatan za “double bill” s “Mulholland Driveom” kao njegova preteča, “21-stoljetni noirovski horor triler”, kako ga je titulirao sam Lynch.

Oba filma odvijaju se na tankoj granici noirovske jave i hororskog sna, s misterioznim ubojstvima, opsesivnim muškarcima, bujnim fatalnim ženama, voajerskim seksom, tripoidnim ugođajem, izvantjelesnim iskustvima i pitanjima identiteta. Ako ih gledatelj u potpunosti i ne razumije, može ih (za)voljeti jer bivaju sve bolji i zavodljiviji na svako novo gledanje, nudeći neka nova gledanja i iščitavanja, počevši od “Izgubljene ceste”.

Autoru ovih redaka “The Lost Highway” bio je drukčiji u londonskom “BFI” kinu u jesen 2022. u odnosu na prijašnja gledanja na VHS-u na prijelazu milenija ili najnovije pred pisanje teksta. Ovo je jedan od onih filmova koji kao da se mijenja od jednog do drugog gledanja, tj. kojeg će se svaki pojedini gledatelj sjećati (i osjećati ga) na svoj način. Izjava glavnog lika Freda (Bill Pullman u “against type” ulozi) korespondira s time i ključna je za film i Lynchovu ambivalentnost prema stvarnosti.

“Volim se sjećati stvari na svoj način, ne nužno onako kako su se dogodile”, kaže Fred nakon što policajci dođu kod njega doma zbog prijetećih VHS kaseta koje je njegova supruga Renee (izvrsna Patricia Arquette; “Prava romansa”) pronašla ispred kuće u žutoj koverti.

Na jednoj od snimaka, koje su moguće nadahnule Michaela Hanekea za “Skriveno”, kuća otuđenih supružnika snimljena je izvana (“Mora da je od agenta za nekretnine”), na drugoj iznutra, kao da je netko provalio i snimio ih dok su spavali, a na trećoj je Renee ubijena. Brrr! Susret Freda s Misterioznim čovjekom na domjenku budi jezu i pojačava hororsku tenziju.

Počujte ovaj dijalog: “Sreli smo se prije, zar ne? Ne bih rekao, gdje? U tvojoj kući. Zapravo sam tamo upravo sada. To je jebeno ludo, čovječe. Nazovi me...” Pozivom Fred shvaća da se Misteriozni čovjek doista nalazi u isto vrijeme na dva mjesta, pred njim i u njegovoj kući, a kasnije te večeri ukazat će mu se i u krevetu dok vodi ljubav s Renee u košmarnoj sceni koja uspravlja sve dlake na tijelu. “Sinoć sam te sanjao, bila si unutar kuće, dozivala moje ime, izgledala si kao ti, ali nisi bila ti”, Fred govori Renee.

Kad Renee doista bude ubijena, Fred je uhićen (supružnici su vidno otuđeni i on, ljubomoran, sumnja u njezinu nevjeru), no jednog dana on nestaje iz ćelije i čuvari na njegovom mjestu pronalaze mladog automehaničara Petea (Balthazar Getty) koji će se po izlasku iz zatvora zaljubiti u Eddyjevu ljubavnicu, plavokosu Alice (također Arquette), nakon što uđe u njegovu garažu u “slow motionu” uz pjesmu “This Magic Moment” Loua Reeda.

Jesu li Alice i brineta Renee iste osobe u različitim tijelima? A Fred i Pete? Alice je svakako pohotna (neo)noirovska “femme fatale” voluminoznih grudi i senzualnih usana u krupnom planu u kombinaciji s “dualnom” Kim Novak iz “Vrtoglavice”, dok “Izgubljena cesta” u tom dijelu odvozi Lyncha natrag u pedesete, od noira do “Buntovnika bez razloga” s obzirom da Getty doziva Jamesa Deana, a Peteovu curu Sheilu glumi Natasha Gregson Wagner, kćerka Natalie Wood.

Naravno, Lynch vozi po svome i snima svojevrsni “Vertigo” iz alternativne lynchovske stvarnosti, na raskrižju realističnog neonoira i nadrealnog horora. Teško, tako, da je Fred samo usnuo zbivanja s Peteom, prije da se “The Lost Highway” može sagledati poput njegove podsvijesti ili imaginacije alternativne stvarnosti u kojoj nije ubio nevjernu Renee nego kao nevini mladić spašava njoj sličnu Alice, sve dok boravi u zatvoru, a moguće i netom pred smrt na električnoj stolici, nakon što je krenuo na vožnju mračnom, izgubljenom cestom. “To je jebeno ludo, čovječe?” Ne, to je Lynch.

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#DAVID LYNCH #FILMOVI 90-IH#BILL PULLMAN#IZGUBLJENA CESTA#PATRICIA ARQUETTE#HOROR TRILERI#ROBERT LOGGIA#PSIHOLOŠKI HOROR TRILER#BALTHAZAR GETTY#NATASHA GREGSON WAGNER#ROBERT BLAKE
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