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Čitav (post-pandemijski) svijet današnjice reflektira se u filmu iz daleke jučerašnjice. Opominjuća “Zora živih mrtvaca” (“Dawn Of The Dead”, 1978.) Georgea A. Romera jedan je od najvizionarskijih i najrelevantnijih horora i ne samo horora u povijesti kinematografije.

Deset godina ranije Romero je snimio “Noć živih mrtvaca” kao alegoričnu refleksiju kraja šezdesetih, Vijetnama i pokreta za ljudska prava da bi u “Zori” otišao nekoliko koraka naprijed i iznjedrio veći film od prethodnika kojemu svaki drugi zombi horor duguje postojanje, svi “Resident Evil” dijelovi, “REC-ovi”, “Svjetski ratovi Z”, “Vlakovi za Busan”...

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FILM: Dawn Of The Dead; horor; SAD, 1978. REŽIJA: George A. Romero ULOGE: David Emge, Ken Foree OCJENA: *****

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“Night Of The Living Dead” je bio crno-bijeli. “Dawn Of The Dead” je u koloru, tako da krvavi horor, najkrvaviji dotad, više dolazi do izražaja, zahvaljujući prijelomnim “splatter” efektima Toma Savinija. U prvom filmu likovi su se u bijegu od zombija zabarikadirali na farmi, u drugom se sklanjaju u veliki trgovački centar.

Romero je umješan u balansiranju između realnog i nadrealnog horora, postizanju akcije, strave i tenzije (napeta scena na napuštenoj benzinskoj crpki, lagano podizanje plahte koje sugerira da mrtvac ustaje iz postelje), ali i crne komedije i naročito satire. Redatelj je satirički najviše nanišanio potrošačko društvo, kapitalizam, tj. konzumerizam, ali na njegovom nišanu nalaze se i mediji, vojska, cijelo čovječanstvo koje ide ili je već otišlo kvragu, posebice u finalu kad živi ratuju protiv živih i mrtvih. “Kad više ne bude mjesta u paklu, mrtvi će hodati zemljom”, kaže jedan lik u “Zori živih mrtvaca”.

Trgovački centri u vrijeme snimanja filma nisu bili ni blizu onome što su danas. Sinonim za kapitalizam i pohlepnu konzumerističku kulturu. Mjesto gdje ljudi hodočaste iz potrebe, ali i ljute dosade, pa nerijetko besciljno, da ne kažemo bezumno, tumaraju gore-dolje, podsjećajući na konzumerističke zombije.

Zanimljiv je dijalog među likovima u filmu kad se pitaju kako to da se zombiji nalaze u šoping centru, što ih tu privlači i zašto se uporno vraćaju, okupljajući se u sve većem broju. Govore da je to instiktivno: ne znaju zašto, ali pamte da žele biti ovdje, kao sjećanje na ono što su radili jer ovo mjesto je bilo važno u njihovim prijašnjim životima. Glavnina radnje odvija se u trgovačkom centru, no Romero otvara film u TV studiju odakle se šire i krive informacije u vezi misteriozne virusne (zombi) pandemije. Jasno je da se društvo apokaliptički urušava kad čujemo “mrtvi se vraćaju i napadaju žive”.

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Slijedi prepad policijskih specijalaca/vojske na zgrade u getu, gdje dominiraju crni ili latino zombiji. Fokus se zatim prebacuje na televizijskog reportera Stephena i njegovu trudnu djevojku, TV producenticu Francine (David Emge, Gaylen Ross), odnosno specijalce/vojnike Petera i Rogera (Ken Foree, Scott H. Reiniger) koji možda nisu odveć intrigantni kao likovi, ali intrigantan je način kako Romero kroz njih promatra društvo. Stephen, Francine, Peter i Roger uspijevaju pobjeći helikopterom od horde zombija i slijeću na krov trgovačkog centra napučenog živim mrtvacima.

Zombiji izgledaju kao oživjele manekenske lutke iz izloga, teturaju po centru i pokušavaju se voziti pokretnim stepenicama u scenama crne komedije, ali ni ljudi nisu ništa bolji. Koga briga što se svijet raspada, ajmo najprije u šoping. Malo će vremena proći prije nego što i četvero “survivora” opere konzumeristička groznica pa, u pauzi od ubijanja zombija, počnu isprobavati robu, igrati videoigre itd., sad kad im je besplatno dostupno sve što su ikad poželjeli kupiti.

“Ne trebamo žuriti odavde, ovdje imamo sve što nam treba”, veli Stephen. Ipak, Francine opaža da su postali “hipnotizirani” ovim mjestom koje polako postaje i njihov “zatvor”, ne samo utočište i utvrda, a i ubijanje zombija dehumanizira ono malo humanog što je ostalo u njima, vidljivo po scenama kad skupljaju leševe kolicima i prebacuju ih u hladnjače.

Pojavom članova “mad maxovske” motorizirane bande (Savini je među njima), koji prodiru u šoping centar i njihovim bjesomučnim masakrom živih mrtvaca iz čiste zabave kreće akcijsko-hororska anarhija, biva jasno kako su ljudi jednaki zombijima ili još gori.

Kao što se zombiji bore za ljudsko meso, tako se i ljudi bore za trgovački centar i sve u njemu, budeći niske porive u sebi. Iako “Dawn Of The Dead” nije nihilistički nastrojen kao “Night”, Romero baš i nije gledao optimistično u budućnost čovječanstva. “Koliko goriva imamo? Ne puno...”

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Tarantinova posveta Romeru

Film je imao premijeru u rujnu 1978. godine. Tarantino je napravio posvetu Romeru kad je "oživio" Savinijeva bajkera u "Od sumraka do zore" i nazvao ga Sex Machine. Godine 2004. snimljen je i iznenađujuće dobar remake u debitantskoj režiji Zacka Snydera. Romero je snimio još nekoliko zombi filmova, od "Dan živih mrtvaca" iz sredine osamdesetih do novomilenijskih "Dnevnika živih mrtvaca" i "Opstanka živih mrtvaca".

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Čitav (post-pandemijski) svijet današnjice reflektira se u filmu iz daleke jučerašnjice. Opominjuća “Zora živih mrtvaca” (“Dawn Of The Dead”, 1978.) Georgea A. Romera jedan je od najvizionarskijih i najrelevantnijih horora i ne samo horora u povijesti kinematografije.

Deset godina ranije Romero je snimio “Noć živih mrtvaca” kao alegoričnu refleksiju kraja šezdesetih, Vijetnama i pokreta za ljudska prava da bi u “Zori” otišao nekoliko koraka naprijed i iznjedrio veći film od prethodnika kojemu svaki drugi zombi horor duguje postojanje, svi “Resident Evil” dijelovi, “REC-ovi”, “Svjetski ratovi Z”, “Vlakovi za Busan”...

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FILM: Dawn Of The Dead; horor; SAD, 1978. REŽIJA: George A. Romero ULOGE: David Emge, Ken Foree OCJENA: *****

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“Night Of The Living Dead” je bio crno-bijeli. “Dawn Of The Dead” je u koloru, tako da krvavi horor, najkrvaviji dotad, više dolazi do izražaja, zahvaljujući prijelomnim “splatter” efektima Toma Savinija. U prvom filmu likovi su se u bijegu od zombija zabarikadirali na farmi, u drugom se sklanjaju u veliki trgovački centar.

Romero je umješan u balansiranju između realnog i nadrealnog horora, postizanju akcije, strave i tenzije (napeta scena na napuštenoj benzinskoj crpki, lagano podizanje plahte koje sugerira da mrtvac ustaje iz postelje), ali i crne komedije i naročito satire. Redatelj je satirički najviše nanišanio potrošačko društvo, kapitalizam, tj. konzumerizam, ali na njegovom nišanu nalaze se i mediji, vojska, cijelo čovječanstvo koje ide ili je već otišlo kvragu, posebice u finalu kad živi ratuju protiv živih i mrtvih. “Kad više ne bude mjesta u paklu, mrtvi će hodati zemljom”, kaže jedan lik u “Zori živih mrtvaca”.

Trgovački centri u vrijeme snimanja filma nisu bili ni blizu onome što su danas. Sinonim za kapitalizam i pohlepnu konzumerističku kulturu. Mjesto gdje ljudi hodočaste iz potrebe, ali i ljute dosade, pa nerijetko besciljno, da ne kažemo bezumno, tumaraju gore-dolje, podsjećajući na konzumerističke zombije.

Zanimljiv je dijalog među likovima u filmu kad se pitaju kako to da se zombiji nalaze u šoping centru, što ih tu privlači i zašto se uporno vraćaju, okupljajući se u sve većem broju. Govore da je to instiktivno: ne znaju zašto, ali pamte da žele biti ovdje, kao sjećanje na ono što su radili jer ovo mjesto je bilo važno u njihovim prijašnjim životima. Glavnina radnje odvija se u trgovačkom centru, no Romero otvara film u TV studiju odakle se šire i krive informacije u vezi misteriozne virusne (zombi) pandemije. Jasno je da se društvo apokaliptički urušava kad čujemo “mrtvi se vraćaju i napadaju žive”.

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Slijedi prepad policijskih specijalaca/vojske na zgrade u getu, gdje dominiraju crni ili latino zombiji. Fokus se zatim prebacuje na televizijskog reportera Stephena i njegovu trudnu djevojku, TV producenticu Francine (David Emge, Gaylen Ross), odnosno specijalce/vojnike Petera i Rogera (Ken Foree, Scott H. Reiniger) koji možda nisu odveć intrigantni kao likovi, ali intrigantan je način kako Romero kroz njih promatra društvo. Stephen, Francine, Peter i Roger uspijevaju pobjeći helikopterom od horde zombija i slijeću na krov trgovačkog centra napučenog živim mrtvacima.

Zombiji izgledaju kao oživjele manekenske lutke iz izloga, teturaju po centru i pokušavaju se voziti pokretnim stepenicama u scenama crne komedije, ali ni ljudi nisu ništa bolji. Koga briga što se svijet raspada, ajmo najprije u šoping. Malo će vremena proći prije nego što i četvero “survivora” opere konzumeristička groznica pa, u pauzi od ubijanja zombija, počnu isprobavati robu, igrati videoigre itd., sad kad im je besplatno dostupno sve što su ikad poželjeli kupiti.

“Ne trebamo žuriti odavde, ovdje imamo sve što nam treba”, veli Stephen. Ipak, Francine opaža da su postali “hipnotizirani” ovim mjestom koje polako postaje i njihov “zatvor”, ne samo utočište i utvrda, a i ubijanje zombija dehumanizira ono malo humanog što je ostalo u njima, vidljivo po scenama kad skupljaju leševe kolicima i prebacuju ih u hladnjače.

Pojavom članova “mad maxovske” motorizirane bande (Savini je među njima), koji prodiru u šoping centar i njihovim bjesomučnim masakrom živih mrtvaca iz čiste zabave kreće akcijsko-hororska anarhija, biva jasno kako su ljudi jednaki zombijima ili još gori.

Kao što se zombiji bore za ljudsko meso, tako se i ljudi bore za trgovački centar i sve u njemu, budeći niske porive u sebi. Iako “Dawn Of The Dead” nije nihilistički nastrojen kao “Night”, Romero baš i nije gledao optimistično u budućnost čovječanstva. “Koliko goriva imamo? Ne puno...”

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Tarantinova posveta Romeru

Film je imao premijeru u rujnu 1978. godine. Tarantino je napravio posvetu Romeru kad je "oživio" Savinijeva bajkera u "Od sumraka do zore" i nazvao ga Sex Machine. Godine 2004. snimljen je i iznenađujuće dobar remake u debitantskoj režiji Zacka Snydera. Romero je snimio još nekoliko zombi filmova, od "Dan živih mrtvaca" iz sredine osamdesetih do novomilenijskih "Dnevnika živih mrtvaca" i "Opstanka živih mrtvaca".

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Zora živih mrtvaca‘: Zombiji iz šoping centra

Piše Marko Njegić
22. rujna 2023. - 23:28
25661063
Galerija
/Photo12 Via Afp

Čitav (post-pandemijski) svijet današnjice reflektira se u filmu iz daleke jučerašnjice. Opominjuća “Zora živih mrtvaca” (“Dawn Of The Dead”, 1978.) Georgea A. Romera jedan je od najvizionarskijih i najrelevantnijih horora i ne samo horora u povijesti kinematografije.

Deset godina ranije Romero je snimio “Noć živih mrtvaca” kao alegoričnu refleksiju kraja šezdesetih, Vijetnama i pokreta za ljudska prava da bi u “Zori” otišao nekoliko koraka naprijed i iznjedrio veći film od prethodnika kojemu svaki drugi zombi horor duguje postojanje, svi “Resident Evil” dijelovi, “REC-ovi”, “Svjetski ratovi Z”, “Vlakovi za Busan”...

FILM: Dawn Of The Dead; horor; SAD, 1978. REŽIJA: George A. Romero ULOGE: David Emge, Ken Foree OCJENA: *****

“Night Of The Living Dead” je bio crno-bijeli. “Dawn Of The Dead” je u koloru, tako da krvavi horor, najkrvaviji dotad, više dolazi do izražaja, zahvaljujući prijelomnim “splatter” efektima Toma Savinija. U prvom filmu likovi su se u bijegu od zombija zabarikadirali na farmi, u drugom se sklanjaju u veliki trgovački centar.

Romero je umješan u balansiranju između realnog i nadrealnog horora, postizanju akcije, strave i tenzije (napeta scena na napuštenoj benzinskoj crpki, lagano podizanje plahte koje sugerira da mrtvac ustaje iz postelje), ali i crne komedije i naročito satire. Redatelj je satirički najviše nanišanio potrošačko društvo, kapitalizam, tj. konzumerizam, ali na njegovom nišanu nalaze se i mediji, vojska, cijelo čovječanstvo koje ide ili je već otišlo kvragu, posebice u finalu kad živi ratuju protiv živih i mrtvih. “Kad više ne bude mjesta u paklu, mrtvi će hodati zemljom”, kaže jedan lik u “Zori živih mrtvaca”.

Trgovački centri u vrijeme snimanja filma nisu bili ni blizu onome što su danas. Sinonim za kapitalizam i pohlepnu konzumerističku kulturu. Mjesto gdje ljudi hodočaste iz potrebe, ali i ljute dosade, pa nerijetko besciljno, da ne kažemo bezumno, tumaraju gore-dolje, podsjećajući na konzumerističke zombije.

Zanimljiv je dijalog među likovima u filmu kad se pitaju kako to da se zombiji nalaze u šoping centru, što ih tu privlači i zašto se uporno vraćaju, okupljajući se u sve većem broju. Govore da je to instiktivno: ne znaju zašto, ali pamte da žele biti ovdje, kao sjećanje na ono što su radili jer ovo mjesto je bilo važno u njihovim prijašnjim životima. Glavnina radnje odvija se u trgovačkom centru, no Romero otvara film u TV studiju odakle se šire i krive informacije u vezi misteriozne virusne (zombi) pandemije. Jasno je da se društvo apokaliptički urušava kad čujemo “mrtvi se vraćaju i napadaju žive”.

Slijedi prepad policijskih specijalaca/vojske na zgrade u getu, gdje dominiraju crni ili latino zombiji. Fokus se zatim prebacuje na televizijskog reportera Stephena i njegovu trudnu djevojku, TV producenticu Francine (David Emge, Gaylen Ross), odnosno specijalce/vojnike Petera i Rogera (Ken Foree, Scott H. Reiniger) koji možda nisu odveć intrigantni kao likovi, ali intrigantan je način kako Romero kroz njih promatra društvo. Stephen, Francine, Peter i Roger uspijevaju pobjeći helikopterom od horde zombija i slijeću na krov trgovačkog centra napučenog živim mrtvacima.

Zombiji izgledaju kao oživjele manekenske lutke iz izloga, teturaju po centru i pokušavaju se voziti pokretnim stepenicama u scenama crne komedije, ali ni ljudi nisu ništa bolji. Koga briga što se svijet raspada, ajmo najprije u šoping. Malo će vremena proći prije nego što i četvero “survivora” opere konzumeristička groznica pa, u pauzi od ubijanja zombija, počnu isprobavati robu, igrati videoigre itd., sad kad im je besplatno dostupno sve što su ikad poželjeli kupiti.

“Ne trebamo žuriti odavde, ovdje imamo sve što nam treba”, veli Stephen. Ipak, Francine opaža da su postali “hipnotizirani” ovim mjestom koje polako postaje i njihov “zatvor”, ne samo utočište i utvrda, a i ubijanje zombija dehumanizira ono malo humanog što je ostalo u njima, vidljivo po scenama kad skupljaju leševe kolicima i prebacuju ih u hladnjače.

Pojavom članova “mad maxovske” motorizirane bande (Savini je među njima), koji prodiru u šoping centar i njihovim bjesomučnim masakrom živih mrtvaca iz čiste zabave kreće akcijsko-hororska anarhija, biva jasno kako su ljudi jednaki zombijima ili još gori.

Kao što se zombiji bore za ljudsko meso, tako se i ljudi bore za trgovački centar i sve u njemu, budeći niske porive u sebi. Iako “Dawn Of The Dead” nije nihilistički nastrojen kao “Night”, Romero baš i nije gledao optimistično u budućnost čovječanstva. “Koliko goriva imamo? Ne puno...”

Tarantinova posveta Romeru

Film je imao premijeru u rujnu 1978. godine. Tarantino je napravio posvetu Romeru kad je "oživio" Savinijeva bajkera u "Od sumraka do zore" i nazvao ga Sex Machine. Godine 2004. snimljen je i iznenađujuće dobar remake u debitantskoj režiji Zacka Snydera. Romero je snimio još nekoliko zombi filmova, od "Dan živih mrtvaca" iz sredine osamdesetih do novomilenijskih "Dnevnika živih mrtvaca" i "Opstanka živih mrtvaca".

#CINEMARK#CINEMARK OBLJETNICA#HORORI#FILMOVI 70-IH#GEORGE A. ROMERO#ZOMBIJI#FILMOVI O ZOMBIJIMA#SATIRE#NASTAVCI#DAVID EMGE#GAYLEN ROSS#KEN FOREE#SCOTT H. REINIGER#TOM SAVINI
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14. svibanj 2024 08:18