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"Slušaj moj glas", sugerira operator linije 911 Joe Baylor (izvanredni Jake Gyllenhaal) ženskoj osobi s druge strane telefona u "Krivnji". Joeova sugestija se odnosi na poetiku cijeloga filma, prilično vjernog i dostojnog Netflixova remakea odličnog danskog trilera iz 2018., kod nas premijerno prikazanog na FMFS-u.

Amerikanizirani "The Guilty" je, kao i original, fokusiran na slušanje. Za film je krucijalno ono što dispečer Joe čuje – glasove pozivatelja linije 911 s naglaskom na otetu Emily (fantastična glasovna uloga Riley Keough), ali i policajaca itd., s kojima ima verbalnu interakciju. Nikog od njih ne vidimo, samo čujemo, pa makar ih igrali poznati glumci kao što su Keough, Peter Sarsgaard, Ethan Hawke i Paul Dano.

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FILM: The Guilty; trilerr; SAD, 2021. REŽIJA: Antoine Fuqua ULOGE: Jake Gyllenhaal, Riley Keough OCJENA: ****

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Sve ovo potvđuje da se hollywoodizacija "Krivnje" nije otela kontroli, posebice što je iza kamere bombastični Antoine Fuqua koji se proslavio "Danom obuke" i otad mahom snima akcije ("Suze boga sunca", "Pad Olimpa", "Pravednik"), a nova suradnja s Gyllenhaalom ("Lijevi kroše") vratila ga je u formu nakon "Infinitea".

Fuqua otvara film digitaliziranim totalom požara u Kaliforniji s helikopterima, no budžetirani panoramski kadrovi tog tipa opstojat će samo na ekranima unutar službe 911. Jednom kad kamera uđe u sjedište 911, odatle više ne izlazi i film neće postati triler a la "The Call" s Halle Berry na način da se preseli vani i ovjekovječi potjere i sudare na autocesti i tome slično.

Kalifornijski požari uvedeni su scenarij koji potpisuje Nic Pizzolatto ("True Detective") da aktualiziraju priču, a i zakompliciraju ionako kompliciranu situaciju, tipa da se od dima ne vidi boja kombija gdje se nalazi prestravljena Emily koju Joe želi pošto-poto spasiti jer "sky is on fire".

Novi "The Guilty" je aktualan i svojim minimalizmom, prostornom svedenošću i izoliranošću, kao i malom glumačkom ekipom, djelujući kao idealan triler za doba COVID-a, dio novog koronskog trenda ("Iza zatvorenih vrata", "U lockdownu", "Gost", "Malcolm i Marie"). Trend je, pak, nastao na temeljima visokokonceptualnih filmova dvijetisućedesetih odigranih u realnom vremenu kao što su "Živ zakopan", "Opasnost iz dubine" ili "Locke" koji je bio krajnje inspirativan i za staru "Krivnju".

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Redatelj izvornog filma Gustav Möller spojio je "Poziv" i "Lockea", pretvorivši i potonjeg u iznimno napeti triler, uzoritu žanrovsku vježbu za studente režije, a to radi i Fuqua. Sve što se događa s druge strane linije Joeu i gledatelju je podastrto samo auditivno, ne i vizualno, kao i Tomu Hardyju koji je cijeli "Locke" vozio automobil i razgovarao s ljudima preko mobitela.

Odnosno, Joe i gledatelj stvaraju sliku u glavi prema onome što čuju, (re)interpertirajući situaciju i donoseći zaključke, prave ili krive. Je li Emily stvarno oteo bivši suprug (Sarsgaard) i kod kuće ostavio prestrašenu šestogodišnju kćer samu s mlađim bratom, bebom?

Tenzični krupni planovi Joea, ponekad fokusirani samo na oko i/ili slušalicu, ubacuju gledatelja u njegovu glavu da još više bude investiran u emocije i doživljajnost protagonista kojeg Gyllenhaal glumi sa stopostotnom predanošću i daje jednu od svojih najboljih izvedbi ("Noćne kronike", "Zatočene", "Noćne životinje", "Neprijatelj").

Remake je glumački i karakterno jači: Gyllenhaal je bolji glumac od Jakoba Cedergrena, a lik Joea emotivno nijansiraniji od njegova prethodnika Asgera Holma. Obojica se hrvaju s krivnjom zbog počinjene fatalne greške na prijašnjem policijskom poslu (koštala ih radnog mjesta i rasula u privatnom životu), uslijed čega žele spasiti otetu ženu da spase sami sebe, tj. iskupe se i budu ponovno dobri/bolji ljudi.

Međutim, Gyllenhaal impresivnije dočarava unutrašnja trvenja slomljenog čovjeka, njegovu osobnu dramu i osjećaj nasušne potrebe za iskupljenjem, a to što je lik postao astmatičar dobar je preslik trilera na publiku. Gledateljima će trebati inhalator za disanje kad svako toliko ostanu bez daha od posvemašnje napetosti filma. Pojedine situacije mogu dovesti do neizdržive tenzije i nekoga tko je već vidio danski film. Tko, pak, nije vidio original, čeka ga trilersko iskustvo na rubu infarkta.

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Gust raspored Jakea Gyllenhaala

Jake Gyllenhaal ima gust raspored za naredne dvije godine. Glumit će u dva akcijska filma ("The Division", "Ambulance"), od čega potonji režira Michael Bay, kao i dvije drame. U prvoj, još nenaslovljenoj, igrat će američkog vojnika Johna Chapmana ostavljenog u Afganistanu nakon borbe s Talibanima, a u drugoj "Francis and the Godfather" glumit će producenta Roberta Evansa s kojim se Coppola kačio na snimanju "Kuma".

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"Slušaj moj glas", sugerira operator linije 911 Joe Baylor (izvanredni Jake Gyllenhaal) ženskoj osobi s druge strane telefona u "Krivnji". Joeova sugestija se odnosi na poetiku cijeloga filma, prilično vjernog i dostojnog Netflixova remakea odličnog danskog trilera iz 2018., kod nas premijerno prikazanog na FMFS-u.

Amerikanizirani "The Guilty" je, kao i original, fokusiran na slušanje. Za film je krucijalno ono što dispečer Joe čuje – glasove pozivatelja linije 911 s naglaskom na otetu Emily (fantastična glasovna uloga Riley Keough), ali i policajaca itd., s kojima ima verbalnu interakciju. Nikog od njih ne vidimo, samo čujemo, pa makar ih igrali poznati glumci kao što su Keough, Peter Sarsgaard, Ethan Hawke i Paul Dano.

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FILM: The Guilty; trilerr; SAD, 2021. REŽIJA: Antoine Fuqua ULOGE: Jake Gyllenhaal, Riley Keough OCJENA: ****

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Sve ovo potvđuje da se hollywoodizacija "Krivnje" nije otela kontroli, posebice što je iza kamere bombastični Antoine Fuqua koji se proslavio "Danom obuke" i otad mahom snima akcije ("Suze boga sunca", "Pad Olimpa", "Pravednik"), a nova suradnja s Gyllenhaalom ("Lijevi kroše") vratila ga je u formu nakon "Infinitea".

Fuqua otvara film digitaliziranim totalom požara u Kaliforniji s helikopterima, no budžetirani panoramski kadrovi tog tipa opstojat će samo na ekranima unutar službe 911. Jednom kad kamera uđe u sjedište 911, odatle više ne izlazi i film neće postati triler a la "The Call" s Halle Berry na način da se preseli vani i ovjekovječi potjere i sudare na autocesti i tome slično.

Kalifornijski požari uvedeni su scenarij koji potpisuje Nic Pizzolatto ("True Detective") da aktualiziraju priču, a i zakompliciraju ionako kompliciranu situaciju, tipa da se od dima ne vidi boja kombija gdje se nalazi prestravljena Emily koju Joe želi pošto-poto spasiti jer "sky is on fire".

Novi "The Guilty" je aktualan i svojim minimalizmom, prostornom svedenošću i izoliranošću, kao i malom glumačkom ekipom, djelujući kao idealan triler za doba COVID-a, dio novog koronskog trenda ("Iza zatvorenih vrata", "U lockdownu", "Gost", "Malcolm i Marie"). Trend je, pak, nastao na temeljima visokokonceptualnih filmova dvijetisućedesetih odigranih u realnom vremenu kao što su "Živ zakopan", "Opasnost iz dubine" ili "Locke" koji je bio krajnje inspirativan i za staru "Krivnju".

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Redatelj izvornog filma Gustav Möller spojio je "Poziv" i "Lockea", pretvorivši i potonjeg u iznimno napeti triler, uzoritu žanrovsku vježbu za studente režije, a to radi i Fuqua. Sve što se događa s druge strane linije Joeu i gledatelju je podastrto samo auditivno, ne i vizualno, kao i Tomu Hardyju koji je cijeli "Locke" vozio automobil i razgovarao s ljudima preko mobitela.

Odnosno, Joe i gledatelj stvaraju sliku u glavi prema onome što čuju, (re)interpertirajući situaciju i donoseći zaključke, prave ili krive. Je li Emily stvarno oteo bivši suprug (Sarsgaard) i kod kuće ostavio prestrašenu šestogodišnju kćer samu s mlađim bratom, bebom?

Tenzični krupni planovi Joea, ponekad fokusirani samo na oko i/ili slušalicu, ubacuju gledatelja u njegovu glavu da još više bude investiran u emocije i doživljajnost protagonista kojeg Gyllenhaal glumi sa stopostotnom predanošću i daje jednu od svojih najboljih izvedbi ("Noćne kronike", "Zatočene", "Noćne životinje", "Neprijatelj").

Remake je glumački i karakterno jači: Gyllenhaal je bolji glumac od Jakoba Cedergrena, a lik Joea emotivno nijansiraniji od njegova prethodnika Asgera Holma. Obojica se hrvaju s krivnjom zbog počinjene fatalne greške na prijašnjem policijskom poslu (koštala ih radnog mjesta i rasula u privatnom životu), uslijed čega žele spasiti otetu ženu da spase sami sebe, tj. iskupe se i budu ponovno dobri/bolji ljudi.

Međutim, Gyllenhaal impresivnije dočarava unutrašnja trvenja slomljenog čovjeka, njegovu osobnu dramu i osjećaj nasušne potrebe za iskupljenjem, a to što je lik postao astmatičar dobar je preslik trilera na publiku. Gledateljima će trebati inhalator za disanje kad svako toliko ostanu bez daha od posvemašnje napetosti filma. Pojedine situacije mogu dovesti do neizdržive tenzije i nekoga tko je već vidio danski film. Tko, pak, nije vidio original, čeka ga trilersko iskustvo na rubu infarkta.

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Gust raspored Jakea Gyllenhaala

Jake Gyllenhaal ima gust raspored za naredne dvije godine. Glumit će u dva akcijska filma ("The Division", "Ambulance"), od čega potonji režira Michael Bay, kao i dvije drame. U prvoj, još nenaslovljenoj, igrat će američkog vojnika Johna Chapmana ostavljenog u Afganistanu nakon borbe s Talibanima, a u drugoj "Francis and the Godfather" glumit će producenta Roberta Evansa s kojim se Coppola kačio na snimanju "Kuma".

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Film & TVCINEMARK U KUĆNOM KINU

‘Krivnja‘: Triler na rubu infarkta

Piše Marko Njegić
4. listopada 2021. - 19:18
19529590
PREMIUM
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"Slušaj moj glas", sugerira operator linije 911 Joe Baylor (izvanredni Jake Gyllenhaal) ženskoj osobi s druge strane telefona u "Krivnji". Joeova sugestija se odnosi na poetiku cijeloga filma, prilično vjernog i dostojnog Netflixova remakea odličnog danskog trilera iz 2018., kod nas premijerno prikazanog na FMFS-u.

Amerikanizirani "The Guilty" je, kao i original, fokusiran na slušanje. Za film je krucijalno ono što dispečer Joe čuje – glasove pozivatelja linije 911 s naglaskom na otetu Emily (fantastična glasovna uloga Riley Keough), ali i policajaca itd., s kojima ima verbalnu interakciju. Nikog od njih ne vidimo, samo čujemo, pa makar ih igrali poznati glumci kao što su Keough, Peter Sarsgaard, Ethan Hawke i Paul Dano.

Sve ovo potvđuje da se hollywoodizacija "Krivnje" nije ...

#CINEMARK#CINEMARK U KUĆNOM KINU#NETFLIX FILMOVI#TRILERI#REMAKEOVI#JAKE GYLLENHAAL#ANTOINE FUQUA#RILEY KEOUGH#ETHAN HAWKE
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