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stdClass Object ( [id] => 1241189 [title] => ‘Candyman‘: Gorki slatkiš horora [alias] => candyman-gorki-slatkis-horora [catid] => 286 [published] => 1 [introtext] => [fulltext] =>

Dijalog između ubojice Ghostfacea i Tare Carpenter u petom "Vrisku" doticao se najnovijih "elitističkih" trendova u žanru strave i užasa, tzv. "elevated (uzvišenog) horrora", art horora ponajprije festivalsko-umjetničkog pa tek onda repertoarnog tipa. "Koji ti je najdraži film strave?", postavio je Ghostface standardno "screamovsko" pitanje, a Tara odgovorila "The Babadook" – "To je zapanjujuća meditacija o majčinstvu i tuzi".

"Nije li to malo... odveć profinjeno?", pita Ghostface. "Pa, to je ‘elevated‘ horor", odgovori Tara. "Što to znači? ‘Elevated‘ horor?", zanima se Ghostface. "Znaš, to je kao zastrašujuće, ali sa kompleksnim emocionalnim i tematskim podlogama...", objašnjava Tara. "Hmm, to mi zvuči nekako dosadno", kaže Ghostface za tip horora kojeg ne priznaje ni legendarni tvorac "Noći vještica" i "Stvora" John Carpenter, tj. nema pojma što to znači.

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FILM: Candyman; horor, SAD, 1992. REŽIJA: Bernard Rose ULOGE: Virginia Madsen, Tony Todd OCJENA: **** ½

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Daleko od toga da predstavnici "elevated" horora nisu kvalitetni, npr. "Vještica", "Naslijeđeno zlo", "Bježi!", "Festival straha" ili "Mi", ali nisu oni izmislili toplu vodu društveno-politički osviještenog filma strave i užasa, niti prvi njegovali umjetničkiju hororsku režiju. Njihovi redatelji Robert Eggers, Ari Aster i Jordan Peele nisu se ni rodili kad su George A. Romero, Tobe Hooper i Wes Craven snimili "Noć živih mrtvaca", "Teksaški masakr motornom pilom" i "Brda imaju oči".

Odnosno, bili su klinci ili mlađi tinejdžeri kad je prije 30 godina u kinima zaigrao "Candyman" (1992.) Bernarda Rosea kao jedan od najdirektnijih prethodnika "elevated" horora, naročito onih s potpisom Peelea koji je producirao njegov prošlogodišnji "duhovni nastavak".

Inspiriran kratkom pričom kultnog Clivea Barkera, pisca na razmeđi tjelesnog i nadnaravnog horora, "Candyman" je stigao u kina u vrijeme kad su "slasher" horori s ikoničkim negativcima počeli jenjavati na kinoblagajnama: Freddy Kruger je umro, Jason Voorhees otišao u pakao, a Michael Myers bio proklet.

No, bilo je to pogođeno vrijeme za tamnoputog Candymana, premda film u realnom vremenu nije prošao najbolje kod fanova strave i užasa kojima je, riječima Ghostfacea, bio "nekako dosadan", dok je šira publika tada preferirala "Draculu", umjetnički horor Francisa Forda Coppole. Jer, Candyman se ionako razlikovao od Freddyja, posebice Michaela i Jasona, ili Pinheada ("Gospodari pakla") kad smo kod Barkerovih kreacija, kao i njegov film od njihovih, gorki slatkiš horora.

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Svojevrsni "kapetan Kuka horora", preteča Ribara iz "Znam što si radila prošlog ljeta" i "Još uvijek znam što si radila prošlog ljeta", više je tragičan lik, gotovo šekspirijanski negativac ili ga barem tako glumi prilično nadahnuti Tony Todd, a naspram njemu imamo heroinu filma Helen Lyle (Virginia Madsen u usponu nakon uloga u "Dini" i "Hot Spotu") koja nije tinejdžerica kao u "slasherima".

Studentica Helen za doktorat istražuje urbane legende u okolici čikaškog stambenog kompleksa Cabrini-Green i čut će priču o Candymanu na jednoj večeri s kolegama njezina supruga Trevora (Xander Berkeley; pamtljiva sporedna faca iz "Terminatora 2" i "Anđela pravde").

Legenda o Candymanu se prvi put pojavila 1890. godine. On je bio sin roba iz 19. stoljeća, pravim imenom Daniel Robitaille, koji je uspio ući u "pristojno (bijelo) društvo" nakon što se njegov otac obogatio na biznisu s cipelama. Daniel je imao talenta za slikanje, pa ga je angažirao jedan imućni bijelac da "uhvati ljepotu njegove kćeri". Kad što, Daniel se zaljubio u bjelčevu kćerku i ona u njega, nakon čega je njezin otac angažirao huligane i "izvršio groznu osvetu".

Huligani su otpilali Danielovu desnu (slikarsku) ruku sa zahrđalom oštricom i polili med po njegovom nagom tijelu. Kad nitko Danielu nije priskočio u pomoć, pustili su pčele da ga izbodu do smrti, zapalili nesretnika na lomači i prosuli njegov pepeo na mjestu gdje će godinama kasnije niknuti Cabrini-Green.

Duh Candymana, žrtve rasizma, proganja Cabrini-Green, strašnog čovjeka s kukom zabijenom u batrljak, rojem pčela u grudima i bombonima u rukama. Legenda kaže da ako pogledaš u zrcalo i izgovoriš njegovo ime pet puta, pojavit će se iza tebe, disati ti za vratom i ubiti te. Rijetko tko ode dalje od četiri, ali jedna bejbisiterka je izgovorila "Candyman" i peti put i bila rasporena, dok je svjedok užasa posijedio od straha.

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Takav, Candyman je antagonist "suvremenog usmenog folklora", strašnih priča za pričanje oko logorske vatre ili pred spavanje koje "nesvjesno odražavaju strahove urbanog društva". "Reći će da sam prolijevao nevinu krv, ali za što krv postoji ako ne za prolijevanje...", pripovijeda Candyman u pamtljivom uvodu filma, s kadrovima grada i njegovih ravnih linija, snimljenih iz gornjih rakursa i pojačanih proganjajućom glazbom Philipa Glassa.

On je pčelar horora, usađen u ljudske strahove, šapate i snove o kojima ovisi njegova egzistencija. "Ja sam natpis (ili mural) na zidu, šapat u razredu. To je blagoslovljeno stanje, vjerujte mi. Da se o tebi šapuće na uglovima ulica. Živjeti u tuđim snovima, ali ne morati biti", govori mitska figura kao simbol rasizma od prošlosti do sadašnjosti kojoj "cijela zajednica pripisuje svakodnevne strahote svojih života".

Tajming za "Candymana" bio je pravodoban i mimo horor žanra. Rasne tenzije su početkom devedesetih ključale u Americi zahvaljujući policijskoj brutalnosti (Rodney King), a "Candyman" je podsjećao na horore povijesti, od ropstva do "Jim Crow" ere. Trideset godina kasnije, "Candyman" korespondira i s pokretom "Black Lives Matter", a tu je i izgovor imena titularnog lika ("Say Their Name").

Rose je igrao na društveno-političku kartu i time što je uveo element međurasne romanse između Candymana i Helen ("Budi moja žrtva", "Vjeruj u mene. Vjeruješ li u mene?") koji u njoj vidi zamjenu za nekadašnju ljubav. Redatelj je otišao korak dalje od odnosa Denzela Washingtona i Julije Roberts u "Slučaju Pelikan" sa scenom poljupca od kojeg gledatelju zuji u ušima i očima. "Došao sam po tebe, pođi sa mnom i budi besmrtna", veli Candyman.

No, neovisno o "kompleksnim tematskim podlogama", Rose je isporučio i dobar horor, režiran na tankoj granici sna i jave, urbane legende i stvarnosti, nadnaravne i naravne strave, umjetničkog i repertoarnog filma, s titularnim likom koji nije nužno samo plod mašte. Urbana legenda je rijetko kad tako dobro oživjela i postala stvarnost kao u "Candymanu".

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Scene s pravim pčelama

Pčele su bile prave u svim scenama filma. Do kraja devedesetih snimljena su još dva nastavka, 1995. "Candyman: Farewell To The Flesh" i 1999 "Candyman: Day Of The Dead", nijedan ni blizu originala.

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Dijalog između ubojice Ghostfacea i Tare Carpenter u petom "Vrisku" doticao se najnovijih "elitističkih" trendova u žanru strave i užasa, tzv. "elevated (uzvišenog) horrora", art horora ponajprije festivalsko-umjetničkog pa tek onda repertoarnog tipa. "Koji ti je najdraži film strave?", postavio je Ghostface standardno "screamovsko" pitanje, a Tara odgovorila "The Babadook" – "To je zapanjujuća meditacija o majčinstvu i tuzi".

"Nije li to malo... odveć profinjeno?", pita Ghostface. "Pa, to je ‘elevated‘ horor", odgovori Tara. "Što to znači? ‘Elevated‘ horor?", zanima se Ghostface. "Znaš, to je kao zastrašujuće, ali sa kompleksnim emocionalnim i tematskim podlogama...", objašnjava Tara. "Hmm, to mi zvuči nekako dosadno", kaže Ghostface za tip horora kojeg ne priznaje ni legendarni tvorac "Noći vještica" i "Stvora" John Carpenter, tj. nema pojma što to znači.

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FILM: Candyman; horor, SAD, 1992. REŽIJA: Bernard Rose ULOGE: Virginia Madsen, Tony Todd OCJENA: **** ½

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Daleko od toga da predstavnici "elevated" horora nisu kvalitetni, npr. "Vještica", "Naslijeđeno zlo", "Bježi!", "Festival straha" ili "Mi", ali nisu oni izmislili toplu vodu društveno-politički osviještenog filma strave i užasa, niti prvi njegovali umjetničkiju hororsku režiju. Njihovi redatelji Robert Eggers, Ari Aster i Jordan Peele nisu se ni rodili kad su George A. Romero, Tobe Hooper i Wes Craven snimili "Noć živih mrtvaca", "Teksaški masakr motornom pilom" i "Brda imaju oči".

Odnosno, bili su klinci ili mlađi tinejdžeri kad je prije 30 godina u kinima zaigrao "Candyman" (1992.) Bernarda Rosea kao jedan od najdirektnijih prethodnika "elevated" horora, naročito onih s potpisom Peelea koji je producirao njegov prošlogodišnji "duhovni nastavak".

Inspiriran kratkom pričom kultnog Clivea Barkera, pisca na razmeđi tjelesnog i nadnaravnog horora, "Candyman" je stigao u kina u vrijeme kad su "slasher" horori s ikoničkim negativcima počeli jenjavati na kinoblagajnama: Freddy Kruger je umro, Jason Voorhees otišao u pakao, a Michael Myers bio proklet.

No, bilo je to pogođeno vrijeme za tamnoputog Candymana, premda film u realnom vremenu nije prošao najbolje kod fanova strave i užasa kojima je, riječima Ghostfacea, bio "nekako dosadan", dok je šira publika tada preferirala "Draculu", umjetnički horor Francisa Forda Coppole. Jer, Candyman se ionako razlikovao od Freddyja, posebice Michaela i Jasona, ili Pinheada ("Gospodari pakla") kad smo kod Barkerovih kreacija, kao i njegov film od njihovih, gorki slatkiš horora.

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Svojevrsni "kapetan Kuka horora", preteča Ribara iz "Znam što si radila prošlog ljeta" i "Još uvijek znam što si radila prošlog ljeta", više je tragičan lik, gotovo šekspirijanski negativac ili ga barem tako glumi prilično nadahnuti Tony Todd, a naspram njemu imamo heroinu filma Helen Lyle (Virginia Madsen u usponu nakon uloga u "Dini" i "Hot Spotu") koja nije tinejdžerica kao u "slasherima".

Studentica Helen za doktorat istražuje urbane legende u okolici čikaškog stambenog kompleksa Cabrini-Green i čut će priču o Candymanu na jednoj večeri s kolegama njezina supruga Trevora (Xander Berkeley; pamtljiva sporedna faca iz "Terminatora 2" i "Anđela pravde").

Legenda o Candymanu se prvi put pojavila 1890. godine. On je bio sin roba iz 19. stoljeća, pravim imenom Daniel Robitaille, koji je uspio ući u "pristojno (bijelo) društvo" nakon što se njegov otac obogatio na biznisu s cipelama. Daniel je imao talenta za slikanje, pa ga je angažirao jedan imućni bijelac da "uhvati ljepotu njegove kćeri". Kad što, Daniel se zaljubio u bjelčevu kćerku i ona u njega, nakon čega je njezin otac angažirao huligane i "izvršio groznu osvetu".

Huligani su otpilali Danielovu desnu (slikarsku) ruku sa zahrđalom oštricom i polili med po njegovom nagom tijelu. Kad nitko Danielu nije priskočio u pomoć, pustili su pčele da ga izbodu do smrti, zapalili nesretnika na lomači i prosuli njegov pepeo na mjestu gdje će godinama kasnije niknuti Cabrini-Green.

Duh Candymana, žrtve rasizma, proganja Cabrini-Green, strašnog čovjeka s kukom zabijenom u batrljak, rojem pčela u grudima i bombonima u rukama. Legenda kaže da ako pogledaš u zrcalo i izgovoriš njegovo ime pet puta, pojavit će se iza tebe, disati ti za vratom i ubiti te. Rijetko tko ode dalje od četiri, ali jedna bejbisiterka je izgovorila "Candyman" i peti put i bila rasporena, dok je svjedok užasa posijedio od straha.

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Takav, Candyman je antagonist "suvremenog usmenog folklora", strašnih priča za pričanje oko logorske vatre ili pred spavanje koje "nesvjesno odražavaju strahove urbanog društva". "Reći će da sam prolijevao nevinu krv, ali za što krv postoji ako ne za prolijevanje...", pripovijeda Candyman u pamtljivom uvodu filma, s kadrovima grada i njegovih ravnih linija, snimljenih iz gornjih rakursa i pojačanih proganjajućom glazbom Philipa Glassa.

On je pčelar horora, usađen u ljudske strahove, šapate i snove o kojima ovisi njegova egzistencija. "Ja sam natpis (ili mural) na zidu, šapat u razredu. To je blagoslovljeno stanje, vjerujte mi. Da se o tebi šapuće na uglovima ulica. Živjeti u tuđim snovima, ali ne morati biti", govori mitska figura kao simbol rasizma od prošlosti do sadašnjosti kojoj "cijela zajednica pripisuje svakodnevne strahote svojih života".

Tajming za "Candymana" bio je pravodoban i mimo horor žanra. Rasne tenzije su početkom devedesetih ključale u Americi zahvaljujući policijskoj brutalnosti (Rodney King), a "Candyman" je podsjećao na horore povijesti, od ropstva do "Jim Crow" ere. Trideset godina kasnije, "Candyman" korespondira i s pokretom "Black Lives Matter", a tu je i izgovor imena titularnog lika ("Say Their Name").

Rose je igrao na društveno-političku kartu i time što je uveo element međurasne romanse između Candymana i Helen ("Budi moja žrtva", "Vjeruj u mene. Vjeruješ li u mene?") koji u njoj vidi zamjenu za nekadašnju ljubav. Redatelj je otišao korak dalje od odnosa Denzela Washingtona i Julije Roberts u "Slučaju Pelikan" sa scenom poljupca od kojeg gledatelju zuji u ušima i očima. "Došao sam po tebe, pođi sa mnom i budi besmrtna", veli Candyman.

No, neovisno o "kompleksnim tematskim podlogama", Rose je isporučio i dobar horor, režiran na tankoj granici sna i jave, urbane legende i stvarnosti, nadnaravne i naravne strave, umjetničkog i repertoarnog filma, s titularnim likom koji nije nužno samo plod mašte. Urbana legenda je rijetko kad tako dobro oživjela i postala stvarnost kao u "Candymanu".

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Scene s pravim pčelama

Pčele su bile prave u svim scenama filma. Do kraja devedesetih snimljena su još dva nastavka, 1995. "Candyman: Farewell To The Flesh" i 1999 "Candyman: Day Of The Dead", nijedan ni blizu originala.

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Archives du 7eme Art/Photo12 via AFP Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Propaganda Films - Polygram Film/Collection Christophel Via Afp Archives du 7eme Art/Photo12 via AFP
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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Candyman‘: Gorki slatkiš horora

Piše Marko Njegić
16. studenog 2022. - 12:58
23748999
PREMIUM
Galerija
Archives du 7eme Art/Photo12 via AFP

Dijalog između ubojice Ghostfacea i Tare Carpenter u petom "Vrisku" doticao se najnovijih "elitističkih" trendova u žanru strave i užasa, tzv. "elevated (uzvišenog) horrora", art horora ponajprije festivalsko-umjetničkog pa tek onda repertoarnog tipa. "Koji ti je najdraži film strave?", postavio je Ghostface standardno "screamovsko" pitanje, a Tara odgovorila "The Babadook" – "To je zapanjujuća meditacija o majčinstvu i tuzi".

"Nije li to malo... odveć profinjeno?", pita Ghostface. "Pa, to je ‘elevated‘ horor", odgovori Tara. "Što to znači? ‘Elevated‘ horor?", zanima se Ghostface. "Znaš, to je kao zastrašujuće, ali sa kompleksnim emocionalnim i tematskim podlogama...", objašnjava Tara. "Hmm, to mi zvuči nekako dosadno", kaže Ghostface za tip horora kojeg ne priznaje ni legenda...

#CINEMARK#CINEMARK OBLJETNICA#CANDYMAN#FILMOVI 90-IH#HORORI#KULTNI FILMOVI#BERNARD ROSE#VIRGINIA MADSEN#TONY TODD#CLIVE BARKER
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