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Poker recentnih španjolskih filmova u hrvatskim kinima kompletira još je jedan "made in Spain" triler nakon "Pogrešnog koraka", ali ekranizacija prvog dijela bestselerske trilogije španjolske spisateljice Eve Garcije Sáenz de Urturi "Šutnja bijeloga grada" spada u serijsko-ubilački podžanr.

Španjolska kinematografija dala je više nego pošten obol takvom tipu filmova, prisjetimo li se naslova poput "Močvare" i "Neka nas bog spasi", premijerno prikazanih na FMFS-u i ZFF-u. "El Silencio de la Ciudad Blanca" (engleski "Twin Murders: The Silence of the White City") nije tako dobar "serial killer" triler u dosluhu s Fincherovim klasicima "Seven" i "Zodiac" i nekim sjajnim bjelosvjetskim novomilenijskim primjercima žanra ("Memoirs Of Murder"), prije neloš.

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FILM: El silencio de la ciudad blanca; triler; Španjolska, 2019. REŽIJA: Daniel Calparsoro ULOGE: Belén Rueda, Javier Rey DISTRIBUCIJA: Continental OCJENA: ***

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Inferiorniji je i aktualnom američkom kinohitu "Male stvari", više nekakav prosjek u razini nedavnih "Ubojica s razglednice" Danisa Tanovića ili danskog serijala o "odjelu Q". Predvidljiv, no dovoljno zanimljiv za fanove žanra koji je procvat doživio devedesetih godina prošlog stoljeća.

"Šutnja bijeloga grada" je naslijedila genetiku "90's thrillera", ali i generiku modernih filmova snimljenih za streaming servise. Potpis Netflixa mogli bi prepoznati nagledaniji filmofili čak i ako nisu prije ulaska u kino znali da je "Twin Murders: The Silence of the White City" nastao u njegovoj koprodukciji.

Srećom, redatelj Daniel Calparsoro i njegov snimatelj Josu Inchaustegui uspijevaju filmu podariti dašak autentičnog španjolskog mirisa i okusa, ambijentiravši radnju u Vitoria-Gasteiz, prelijepi stari glavni grad provincije Alava, utemljen 1181. godine.

Bogata povijest i slikovita arhitektura grada rade na ugođaju trilera izmještena iz urbanih sredina poput Barcelone i Madrida, nekmoli New Yorka i Los Angelesa, osvježavajući neke ustajale klišeje, s naglaskom na policajca progonjena recentnom tragedijom.

"Profilerski" istražitelj Unai Lopez de Ayala (Javier Rey) hodajući je klišej kao murjak misteriozne prošlosti koja se na koncu pokazuje ne toliko bitnom za slučaj, premda isprve ispada da je od krucijalne važnosti. Od njega je interesantnija njegova šefica Alba, moguće i zato što je Rey blijed i nekarizmatičan u ulozi, a nju kao fatalnu plavušu glumi superiornija Belén Rueda ("Život je more", "Sirotište", "Julijine oči").

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Iako udana za Marija Santosa (Manolo Solo), Alba zavodi Unaija i kad se njih dvoje poseksaju u haustoru čini se načas da bi film mogao postati erotski triler devedesetih, ali režiser Calparsoro ipak ga vraća na "serial killer thriller" teren i uspostavlja potentnu dihotomiju između policajca i serijskog ubojice koji se vraćaju iz mirovine u akciju, prvi zbog drugoga, možda i obratno.

Nažalost, Calparsoro odustaje od toga, no mora mu se priznati da je stvorio "modus operandi" serijskog ubojice kakav dosad nismo vidjeli, pokušavajući pomiriti mitsko i metodičko. Nazvan "ubojica uspavanih", manijak stavlja žrtvama pčele u usta, zatvori ih i polije benzinom, te zatim postavlja u razgolićenu pozu Adama i Eve, slijedeći rituale stare tisuću godina i frapirajući mrtvozornicu Guevaru (Itziar Ituño; policajka Raqel Murillo u seriji "La casa de papel").

On dobro poznaje pčelarstvo, botaniku, povijest i anatomiju, a svake njegove iduće žrtve starije su pet godina od prethodnih. "Nije bitno tko su (žrtve), nego što predstavljaju – klince bogataše", sugerira netko za ubojičin "modus operandi". Tko je ubojica ako je čovjek osuđen za prijašnja umorstva u zatvoru i tek treba biti pušten na slobodu, odnosno sve upućuje na to da je u akciji njegov "copycat"?

Ključno pitanje, pak, prebrzo dobiva odgovor, kvareći zagonetku i remeteći osnovnu neizvjesnost: identitet ubojice otkriven je već na kraju prve trećine, tako da gledatelj zna više od Unaija i Albe koji tapkaju u mraku do zadnjih 20-ak minuta. Međutim, misterija njegovih ubojstava dovoljno je misteriozna, više natuknuta, nego elaborirana, da izaziva interes do kraja filma koji ostavlja dojam trilerskog romana Dana Browna. Čita se lako i sa zanimanjem, još lakše izvjetri iz sjećanja.

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Trilerska veza s ‘Močvarom‘

Manolo Solo je glumio u "Močvari", a zanimljivo je da je jednu od ključnih uloga trebao imati poznati Jordi Molla kojeg je zamijenio Alex Brendemühl.

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Poker recentnih španjolskih filmova u hrvatskim kinima kompletira još je jedan "made in Spain" triler nakon "Pogrešnog koraka", ali ekranizacija prvog dijela bestselerske trilogije španjolske spisateljice Eve Garcije Sáenz de Urturi "Šutnja bijeloga grada" spada u serijsko-ubilački podžanr.

Španjolska kinematografija dala je više nego pošten obol takvom tipu filmova, prisjetimo li se naslova poput "Močvare" i "Neka nas bog spasi", premijerno prikazanih na FMFS-u i ZFF-u. "El Silencio de la Ciudad Blanca" (engleski "Twin Murders: The Silence of the White City") nije tako dobar "serial killer" triler u dosluhu s Fincherovim klasicima "Seven" i "Zodiac" i nekim sjajnim bjelosvjetskim novomilenijskim primjercima žanra ("Memoirs Of Murder"), prije neloš.

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FILM: El silencio de la ciudad blanca; triler; Španjolska, 2019. REŽIJA: Daniel Calparsoro ULOGE: Belén Rueda, Javier Rey DISTRIBUCIJA: Continental OCJENA: ***

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Inferiorniji je i aktualnom američkom kinohitu "Male stvari", više nekakav prosjek u razini nedavnih "Ubojica s razglednice" Danisa Tanovića ili danskog serijala o "odjelu Q". Predvidljiv, no dovoljno zanimljiv za fanove žanra koji je procvat doživio devedesetih godina prošlog stoljeća.

"Šutnja bijeloga grada" je naslijedila genetiku "90's thrillera", ali i generiku modernih filmova snimljenih za streaming servise. Potpis Netflixa mogli bi prepoznati nagledaniji filmofili čak i ako nisu prije ulaska u kino znali da je "Twin Murders: The Silence of the White City" nastao u njegovoj koprodukciji.

Srećom, redatelj Daniel Calparsoro i njegov snimatelj Josu Inchaustegui uspijevaju filmu podariti dašak autentičnog španjolskog mirisa i okusa, ambijentiravši radnju u Vitoria-Gasteiz, prelijepi stari glavni grad provincije Alava, utemljen 1181. godine.

Bogata povijest i slikovita arhitektura grada rade na ugođaju trilera izmještena iz urbanih sredina poput Barcelone i Madrida, nekmoli New Yorka i Los Angelesa, osvježavajući neke ustajale klišeje, s naglaskom na policajca progonjena recentnom tragedijom.

"Profilerski" istražitelj Unai Lopez de Ayala (Javier Rey) hodajući je klišej kao murjak misteriozne prošlosti koja se na koncu pokazuje ne toliko bitnom za slučaj, premda isprve ispada da je od krucijalne važnosti. Od njega je interesantnija njegova šefica Alba, moguće i zato što je Rey blijed i nekarizmatičan u ulozi, a nju kao fatalnu plavušu glumi superiornija Belén Rueda ("Život je more", "Sirotište", "Julijine oči").

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Iako udana za Marija Santosa (Manolo Solo), Alba zavodi Unaija i kad se njih dvoje poseksaju u haustoru čini se načas da bi film mogao postati erotski triler devedesetih, ali režiser Calparsoro ipak ga vraća na "serial killer thriller" teren i uspostavlja potentnu dihotomiju između policajca i serijskog ubojice koji se vraćaju iz mirovine u akciju, prvi zbog drugoga, možda i obratno.

Nažalost, Calparsoro odustaje od toga, no mora mu se priznati da je stvorio "modus operandi" serijskog ubojice kakav dosad nismo vidjeli, pokušavajući pomiriti mitsko i metodičko. Nazvan "ubojica uspavanih", manijak stavlja žrtvama pčele u usta, zatvori ih i polije benzinom, te zatim postavlja u razgolićenu pozu Adama i Eve, slijedeći rituale stare tisuću godina i frapirajući mrtvozornicu Guevaru (Itziar Ituño; policajka Raqel Murillo u seriji "La casa de papel").

On dobro poznaje pčelarstvo, botaniku, povijest i anatomiju, a svake njegove iduće žrtve starije su pet godina od prethodnih. "Nije bitno tko su (žrtve), nego što predstavljaju – klince bogataše", sugerira netko za ubojičin "modus operandi". Tko je ubojica ako je čovjek osuđen za prijašnja umorstva u zatvoru i tek treba biti pušten na slobodu, odnosno sve upućuje na to da je u akciji njegov "copycat"?

Ključno pitanje, pak, prebrzo dobiva odgovor, kvareći zagonetku i remeteći osnovnu neizvjesnost: identitet ubojice otkriven je već na kraju prve trećine, tako da gledatelj zna više od Unaija i Albe koji tapkaju u mraku do zadnjih 20-ak minuta. Međutim, misterija njegovih ubojstava dovoljno je misteriozna, više natuknuta, nego elaborirana, da izaziva interes do kraja filma koji ostavlja dojam trilerskog romana Dana Browna. Čita se lako i sa zanimanjem, još lakše izvjetri iz sjećanja.

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Trilerska veza s ‘Močvarom‘

Manolo Solo je glumio u "Močvari", a zanimljivo je da je jednu od ključnih uloga trebao imati poznati Jordi Molla kojeg je zamijenio Alex Brendemühl.

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Film & TVCINEMARK U KINU

‘Šutnja bijeloga grada‘: Serijski ubojica (ne)poznatog lica

Piše Marko Njegić
6. veljače 2021. - 20:23
15962834
PREMIUM
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Poker recentnih španjolskih filmova u hrvatskim kinima kompletira još je jedan "made in Spain" triler nakon "Pogrešnog koraka", ali ekranizacija prvog dijela bestselerske trilogije španjolske spisateljice Eve Garcije Sáenz de Urturi "Šutnja bijeloga grada" spada u serijsko-ubilački podžanr.

Španjolska kinematografija dala je više nego pošten obol takvom tipu filmova, prisjetimo li se naslova poput "Močvare" i "Neka nas bog spasi", premijerno prikazanih na FMFS-u i ZFF-u. "El Silencio de la Ciudad Blanca" (engleski "Twin Murders: The Silence of the White City") nije tako dobar "serial killer" triler u dosluhu s Fincherovim klasicima "Seven" i "Zodiac" i nekim sjajnim bjelosvjetskim novomilenijskim primjercima žanra ("Memoirs Of Murder"), prije neloš.

Inferiorniji je i aktualn...

#CINEMARK#CINEMARK U KINU #TRILERI#TRILERI O SERIJSKIM UBOJICAMA#ŠPANJOLSKI FILMOVI
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20. svibanj 2024 11:58