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[title] => Od Hitchcocka do Kechichea: u anketi časopisa ‘Sight and Sound‘ o najboljim filmovima svih vremena sudjelovao je i naš kritičar, a ovo je njegova top-lista
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Kao filmski kritičar i ljubitelj filmova, filmofil, praktički se suočavam s nemogućom misijom pri sastavljanju liste najboljih filmova godine, otkad sam “službeno” započeo s time, još 2004., kamoli liste deset najboljih filmova dekade, a osobito svih vremena. Pripremajući se za “Greatest Films Of All Time” anketu “Sight & Sounda” propitivao sam se više nego ikad kako (iz)balansirati filmofiliju i filmsku kritiku.
Kako sastaviti popis koji je osoban, a da pri tome uključuje filmove koji također mogu biti, i jesu, “najbolji filmovi svih vremena”? Kako izbjeći iste redatelje, glumce ili žanrove kad bi, na primjer, barem pet Hitchcockovih i De Nirovih filmova moglo stajati na top-deset listi, a isto vrijedi za vesterne, trilere, drame, SF-ove, akcijske, gangsterske i ratne filmove...?
Na kraju krajeva, smijete li se usuditi propitati afirmirani filmski kanon i uključiti filmove koji nisu često, po nekoj “rutini”, stavljeni na listi najboljih svih vremena, poglavito oni od devedesetih naovamo?
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Pokušao sam pronaći ravnotežu između svih ovih faktora i pri tome na sve strane dodavao i micao filmove ne bi li suzio svoj izbor s njih stotinjak na “samo” deset, uz mnogo žaljenja. Svi ti filmovi koji su na koncu ispali mogu više nego zasluženo tvoriti na desetke sličnih lista, i hoće, jednoga dana kad anketa nadajmo se opet dođe na red.
U međuvremenu, ova “finalna” lista, s filmovima složenim kronološkim redom, dočarava sliku kinematografije kao takve koja može biti, i obično jest, emotivna, predivna, izazovna, intelektualna i metafizička na svakoj razini, u svakom kadru.
Svaki od ovih filmova probudio je u meni dugu emocija i ostavio trajan dojam na prvo i svako iduće gledanje. Ovi su mi filmovi širom otvorili oči i oblikovali me kao filmofila, filmskog kritičara i ljudsko biće. Zauvijek su promijenili način na koji gledam filmove, svijet oko sebe i sam život.
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PROZOR U DVORIŠTE (Rear Window, Alfred Hitchcock, 1954.)
Ne može postojati anketa najboljih filmova svih vremena bez barem jednog Hitchcocka. Bez problema sam mogao staviti “Vrtoglavicu”, “Sjever-Sjeverozapad”..., ali odabrao sam “Prozor u dvorište”. Hitchcockov triler je fascinantna studija filmskog voajerizma i, posljedično, meta film o gledanju (i tumačenju) filmova gdje je James Stewart jedan od nas – filmofil. Njegove oči su “prozor u dvorište” filmofilske duše.
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PERSONA (Persona, Ingmar Bergman, 1966.)
U filmu “Bergmanov otok” jedan filmaš kaže filmašici “Nitko ne očekuje ‘Personu’...”. Nitko ne očekuje “Personu” jer se takav film pojavi jednom u životu, čak i za jednog Bergmana. Briljantna psihološka drama je promijenila lice “art-house” kinematografije doslovno zauvijek u onom veličanstvenom kadru lica dviju žena koja se u krupnom planu isprepliću u jedno, tvoreći bezvremensko postmoderno remek-djelo.
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2001: ODISEJA U SVEMIRU (2001: A Space Odyssey, Stanley Kubrick, 1968.)
Jedan mali korak za film, jedan veliki korak za kinematografiju. Znanstveno-fantastični žanr i kinematografija doživjeli su svoj vrhunac u Kubrickovoj "Odiseji" koja, u filmskom smislu, parira pa čak i nadmašuje Armstrongovo životno postignuće iz stvarnog života. Kubrick je snimio svemir kao ni jedan redatelj prije ili poslije njega u ovom ovom misaonom, zapanjujućem SF-u koji i dalje nadilazi prostor i vrijeme u jednom skokovitom rezu.
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BILO JEDNOM NA DIVLJEM ZAPADU (Once Upon a Time In The West, Sergio Leone, 1968.)
“Divlja Horda”, “Točno u podne” i “Tragači” su redom veliki vesterni, ali ovaj je najveći, najgrandiozniji i najviše melankoličan. “Bilo jednom na Divljem zapadu” obuhvaća prošlost i budućnost žanra i kinematografije, od klasičnih do revizionističkih vesterna, od nijemog filma do akcijskog. Leone slavi i oplakuje mitologiju Staroga Zapada, možda i mitski sjaj Starog Hollywooda.
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TAKSIST (Taxi Driver, Martin Scorsese, 1975.)
Scorsese i De Niro imaju više filmova kao stvorenih za ovu listu (“Razjareni bik”, “Dobri momci”... meni osobno i “Casino”), ali odabrao sam “Taksista” u kojem su obojica postavili najviši standard. Ovo je “masterclass” glume i režije, bezvremenski portret još uvijek poistovjetljive moderne urbane izolacije i usamljenosti u velikom, neonski okupanom gradu, vizualno sanjiv i psihološki košmaran.
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APOKALIPSA DANAS (Apocalypse Now, Francis Ford Coppola, 1979.)
“Kum I” i “Kum II” su fenomenalni, kao i “Lovac na jelene” i “Tanka crvena linija”, ali kad su u pitanju Coppola i ratni filmovi, “Apokalipsa danas” je nepobjediva. Da parafraziram Ramba, Coppola je postao rat da preživi snimanje ratnog filma. “Apokalipsa danas” je utjelovljenje rata i njegovog tragičnog ludila, film koji izgleda kao ratni film koji može dokrajčiti sve ratne filmove i ratove, ali to što i dalje možete osjetiti miris napalma ujutro samo ga čini još snažnijim.
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ISTREBLJIVAČ (Blade Runner, Ridley Scott, 1982.)
Vidio sam i čuo stvari koje vi ljudi ne možete zamisliti. Leteće aute na rubu Hollywooda. Gledao sam neonske reklame kako svjetlucaju u mraku blizu Hauerovih vrata i slušao Vangelisove “priče o budućnosti”. Svi ti audiovizualni momenti neće ostati izgubljeni u vremenu kao suze na kiši. Vrijeme je da se bezvremenski znanstveno-fantastični film “Blade Runner” Ridleya Scotta pogleda još jednom i (od)sanjaju električne ovce.
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TERMINATOR 2: SUDNJI DAN (Terminator 2: Judgement Day, James Cameron, 1991.)
“Conan Barbarin”, “Predator”, “Alien(s)”, “RoboCop”, “Umri muški”... također su se mogli naći na listi, ali teško je nadmašiti način na koji je Cameron režirao još većeg nasljednika velikog prvog “Terminatora”. Suze se tope na užarenu čeliku u “Terminatoru 2”, najvizionarskijem i najboljem SF akcijskom filmu svih vremena gdje su ljudske emocije jednako važne kao akcije kiborga. “Sada znam zašto plačete...”
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MULHOLLAND DRIVE (Mulholland Drive, David Lynch, 2001.)
Najbolji film 2000-ih je filmski košmar pretvoren u javu. Najljepši košmar u povijesti kinematografije. Lynch je usnuo film o hollywoodskoj “tvornici snova” koji korača po tankoj liniji između snova i snomorica, zbilje i iluzije. Ono što započne kao klasični misteriozni noir, završi kao noirovski san unutar sna. “Mullholand Drive” je više od filma – to je snoliko iskustvo.
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ADELIN ŽIVOT (La vie d’Adele, Abdellatif Kechiche, 2013.)
Smatram da barem jedan film iz 2010-ih zaslužuje biti na listi najboljih. Bilo je nekoliko kandidata (“Odrastanje”, “Bilo jednom u Anatoliji”, “Ona”...), ali u finalni izbor je ušla Kechicheova nezaboravna priča o ljubavi s najboljim ženskim glumačkim izvedbama protekle dekade. Istovremeno epski i intiman, životan i filmičan, “Adelin život” je emocionalno toliko intenzivan, iskren i sirov da lako možete zaboraviti da gledate film.
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title=Od Hitchcocka do Kechichea: u anketi časopisa 'Sight and Sound' o najboljim filmovima svih vremena sudjelovao je i naš kritičar, a ovo je njegova top-ten lista
[metakey] => Sight and Sound, najbolji filmovi svih vremena, Prozor u dvorište, Alfred Hitchcock, Persona, Ingmar Bergman, Odiseja u svemiru, stanley kubrick, Bilo jednom na Divljem zapadu, SERGIO LEONE, Taksist film, Martin Scorsese, Apokalipsa danas, Francis Fo
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Kao filmski kritičar i ljubitelj filmova, filmofil, praktički se suočavam s nemogućom misijom pri sastavljanju liste najboljih filmova godine, otkad sam “službeno” započeo s time, još 2004., kamoli liste deset najboljih filmova dekade, a osobito svih vremena. Pripremajući se za “Greatest Films Of All Time” anketu “Sight & Sounda” propitivao sam se više nego ikad kako (iz)balansirati filmofiliju i filmsku kritiku.
Kako sastaviti popis koji je osoban, a da pri tome uključuje filmove koji također mogu biti, i jesu, “najbolji filmovi svih vremena”? Kako izbjeći iste redatelje, glumce ili žanrove kad bi, na primjer, barem pet Hitchcockovih i De Nirovih filmova moglo stajati na top-deset listi, a isto vrijedi za vesterne, trilere, drame, SF-ove, akcijske, gangsterske i ratne filmove...?
Na kraju krajeva, smijete li se usuditi propitati afirmirani filmski kanon i uključiti filmove koji nisu često, po nekoj “rutini”, stavljeni na listi najboljih svih vremena, poglavito oni od devedesetih naovamo?
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Pokušao sam pronaći ravnotežu između svih ovih faktora i pri tome na sve strane dodavao i micao filmove ne bi li suzio svoj izbor s njih stotinjak na “samo” deset, uz mnogo žaljenja. Svi ti filmovi koji su na koncu ispali mogu više nego zasluženo tvoriti na desetke sličnih lista, i hoće, jednoga dana kad anketa nadajmo se opet dođe na red.
U međuvremenu, ova “finalna” lista, s filmovima složenim kronološkim redom, dočarava sliku kinematografije kao takve koja može biti, i obično jest, emotivna, predivna, izazovna, intelektualna i metafizička na svakoj razini, u svakom kadru.
Svaki od ovih filmova probudio je u meni dugu emocija i ostavio trajan dojam na prvo i svako iduće gledanje. Ovi su mi filmovi širom otvorili oči i oblikovali me kao filmofila, filmskog kritičara i ljudsko biće. Zauvijek su promijenili način na koji gledam filmove, svijet oko sebe i sam život.
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PROZOR U DVORIŠTE (Rear Window, Alfred Hitchcock, 1954.)
Ne može postojati anketa najboljih filmova svih vremena bez barem jednog Hitchcocka. Bez problema sam mogao staviti “Vrtoglavicu”, “Sjever-Sjeverozapad”..., ali odabrao sam “Prozor u dvorište”. Hitchcockov triler je fascinantna studija filmskog voajerizma i, posljedično, meta film o gledanju (i tumačenju) filmova gdje je James Stewart jedan od nas – filmofil. Njegove oči su “prozor u dvorište” filmofilske duše.
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PERSONA (Persona, Ingmar Bergman, 1966.)
U filmu “Bergmanov otok” jedan filmaš kaže filmašici “Nitko ne očekuje ‘Personu’...”. Nitko ne očekuje “Personu” jer se takav film pojavi jednom u životu, čak i za jednog Bergmana. Briljantna psihološka drama je promijenila lice “art-house” kinematografije doslovno zauvijek u onom veličanstvenom kadru lica dviju žena koja se u krupnom planu isprepliću u jedno, tvoreći bezvremensko postmoderno remek-djelo.
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2001: ODISEJA U SVEMIRU (2001: A Space Odyssey, Stanley Kubrick, 1968.)
Jedan mali korak za film, jedan veliki korak za kinematografiju. Znanstveno-fantastični žanr i kinematografija doživjeli su svoj vrhunac u Kubrickovoj "Odiseji" koja, u filmskom smislu, parira pa čak i nadmašuje Armstrongovo životno postignuće iz stvarnog života. Kubrick je snimio svemir kao ni jedan redatelj prije ili poslije njega u ovom ovom misaonom, zapanjujućem SF-u koji i dalje nadilazi prostor i vrijeme u jednom skokovitom rezu.
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BILO JEDNOM NA DIVLJEM ZAPADU (Once Upon a Time In The West, Sergio Leone, 1968.)
“Divlja Horda”, “Točno u podne” i “Tragači” su redom veliki vesterni, ali ovaj je najveći, najgrandiozniji i najviše melankoličan. “Bilo jednom na Divljem zapadu” obuhvaća prošlost i budućnost žanra i kinematografije, od klasičnih do revizionističkih vesterna, od nijemog filma do akcijskog. Leone slavi i oplakuje mitologiju Staroga Zapada, možda i mitski sjaj Starog Hollywooda.
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TAKSIST (Taxi Driver, Martin Scorsese, 1975.)
Scorsese i De Niro imaju više filmova kao stvorenih za ovu listu (“Razjareni bik”, “Dobri momci”... meni osobno i “Casino”), ali odabrao sam “Taksista” u kojem su obojica postavili najviši standard. Ovo je “masterclass” glume i režije, bezvremenski portret još uvijek poistovjetljive moderne urbane izolacije i usamljenosti u velikom, neonski okupanom gradu, vizualno sanjiv i psihološki košmaran.
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APOKALIPSA DANAS (Apocalypse Now, Francis Ford Coppola, 1979.)
“Kum I” i “Kum II” su fenomenalni, kao i “Lovac na jelene” i “Tanka crvena linija”, ali kad su u pitanju Coppola i ratni filmovi, “Apokalipsa danas” je nepobjediva. Da parafraziram Ramba, Coppola je postao rat da preživi snimanje ratnog filma. “Apokalipsa danas” je utjelovljenje rata i njegovog tragičnog ludila, film koji izgleda kao ratni film koji može dokrajčiti sve ratne filmove i ratove, ali to što i dalje možete osjetiti miris napalma ujutro samo ga čini još snažnijim.
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ISTREBLJIVAČ (Blade Runner, Ridley Scott, 1982.)
Vidio sam i čuo stvari koje vi ljudi ne možete zamisliti. Leteće aute na rubu Hollywooda. Gledao sam neonske reklame kako svjetlucaju u mraku blizu Hauerovih vrata i slušao Vangelisove “priče o budućnosti”. Svi ti audiovizualni momenti neće ostati izgubljeni u vremenu kao suze na kiši. Vrijeme je da se bezvremenski znanstveno-fantastični film “Blade Runner” Ridleya Scotta pogleda još jednom i (od)sanjaju električne ovce.
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TERMINATOR 2: SUDNJI DAN (Terminator 2: Judgement Day, James Cameron, 1991.)
“Conan Barbarin”, “Predator”, “Alien(s)”, “RoboCop”, “Umri muški”... također su se mogli naći na listi, ali teško je nadmašiti način na koji je Cameron režirao još većeg nasljednika velikog prvog “Terminatora”. Suze se tope na užarenu čeliku u “Terminatoru 2”, najvizionarskijem i najboljem SF akcijskom filmu svih vremena gdje su ljudske emocije jednako važne kao akcije kiborga. “Sada znam zašto plačete...”
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MULHOLLAND DRIVE (Mulholland Drive, David Lynch, 2001.)
Najbolji film 2000-ih je filmski košmar pretvoren u javu. Najljepši košmar u povijesti kinematografije. Lynch je usnuo film o hollywoodskoj “tvornici snova” koji korača po tankoj liniji između snova i snomorica, zbilje i iluzije. Ono što započne kao klasični misteriozni noir, završi kao noirovski san unutar sna. “Mullholand Drive” je više od filma – to je snoliko iskustvo.
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ADELIN ŽIVOT (La vie d’Adele, Abdellatif Kechiche, 2013.)
Smatram da barem jedan film iz 2010-ih zaslužuje biti na listi najboljih. Bilo je nekoliko kandidata (“Odrastanje”, “Bilo jednom u Anatoliji”, “Ona”...), ali u finalni izbor je ušla Kechicheova nezaboravna priča o ljubavi s najboljim ženskim glumačkim izvedbama protekle dekade. Istovremeno epski i intiman, životan i filmičan, “Adelin život” je emocionalno toliko intenzivan, iskren i sirov da lako možete zaboraviti da gledate film.
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16. svibanj 2024 13:55
