SD Dojavi
OSMRTNICE
PRETPLATA
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Razmjerno zaboravljeni posljednjih desetak godina sa svega dva filma neravnomjerne kvalitete (solidan postapokaliptički akcić “Knjiga iskupljenja”, slabašan kriminalistički triler “Slomljeni grad”), Albert i Allen Hughes bili su jedni od najvećih filmaških “wunderkinda” devedesetih.

Spominjali su se, i to s pravom, u istoj rečenici s Johnom Singletonom, pa i s Quentinom Tarantinom. Bilo je tada jasno da su na filmsku scenu stupila dva nova darovita brata nakon braće Coen, a prije Farrellyja, Wachowskih i Dardenneovih.

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FILM: Dead Presidents; akcijska krimi drama; SAD, 1995. REŽIJA: Braća Hughes ULOGE: Larenz Tate, Chris Tucker OCJENA: *** ½

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Albert i Allen pojavili su se u pravo vrijeme, nakon što je Spike Lee prokrčio put mladim afroameričkim redateljima poput Singletona (“Žestoki momci”), Marija Van Peeblesa (“New Jack City”) i Boaza Yakina (“Fresh”).

Izvrsni prvijenac braće Hughes “Opasni po društvo” spada među najbolje debije devedesetih zajedno sa, na primjer, Tarantinovim “Psima iz rezervoara”, “Malom Odessom” Jamesa Greya, “Teškom osmicom” P. T. Andersona i “Vrtlogom života” Sama Mendesa, a Albert i Allen snimili su ga u ranim dvadesetima i uklopili se u aktualna kretanja.

“Menace II Society” je 1993. predstavio braću kao društveno angažirane filmaše s okom za snažnu filmsku sliku i nervom za brutalni, dramski intonirani žanrovski film. Sve to krasi i njihov podcijenjeni drugijenac “Mrtvi predsjednici” (“Dead Presidents”, 1995.), koji nije ujednačen poput prvijenca, ali potvrdio je socijalni angažman i režijsku vještinu Hughesovih, kao i njihovu filmofilsku načitanost.

Posrijedi je jedan veoma ambiciozan projekt, možda čak i preambiciozan za tadašnje 23-godišnjake, znatno umješnije u ulogama redatelja nego scenarista. “Mrtvi predsjednici” započinju kao drama o odrastanju na rubu krim-miljea, pretvaraju se u ratni film i završavaju kao akcijski krimić “heist” vrste.

Dakle, Albert i Allen prolaze put od “Dobrih momaka” preko ratnog ludila “Apokalipse danas” do akcijskog pljačkašenja “Vrućine” i revolverašenja Johna Wooa a la “Žestoki policajac” i “Teška meta”. Tri segmenta nisu posve scenaristički ujednačena i organski uklopljena u cjelinu, ali Hughesovima se mora priznati da znaju uvući gledatelja u film i voditi priču, kao i da njihova režija nerijetko pršti od energije, stila i (meta)filmičnosti (briljantan krupni kadar pripaljivanja cigarete koja gori kao snop projektora u kinu).

Prolog prožet zvukom repetiranja pištolja i bijelom pantomimskom maskom na licu crne osobe vrlo je simbolički upečatljiv, kao i vatrena uvodna špica sa zapaljenim dolarskim novčanicama s likovima mrtvih američkih predsjednika Washingtona, Lincolna...

Potom upoznajemo protagonista, mladog Anthonyja (Larenz Tate). Kraj je šezdesetih, Anthony se druži s prijateljima iz Bronxa, Skipom i Joseom (Chris Tucker, Freddy Rodriguez), te visi u bilijarskom klubu koji vodi Kirby (Keith David; “Stvor”, “Oni žive”) i angažira mladića za neke sitne posliće.

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Prije nego što se pomalo ishitreno, bez nekog posebnog razloga, prijavi za “motherfucking” Vijetnam, umjesto da kao stariji brat krene na koledž, Anthony će izgubiti nevinost s Juanitom (Rose Jackson) u iznenađujuće nježnoj i životnoj sceni, nakon čega ona ostaje trudna, ali on svejedno odrađuje par tura.

Motivacija i postupci glavnog lika nisu posve jasni, no montažni prijelaz “u trku” iz urbane sredine na ratni pakao je izvanredan. Ratni je segment košmaran i PTSP-ovski kao u najboljim filmovima o Vijetnamu, poput “Voda smrti”, “Full Metal Jacketa”, “Hamburger Hilla”...

Marinci Anthony i Skip našli su se do guše u krvi, blatu, raznesenim udovima i unutarnjim organima u ratu koji nije “njihov”. Vijetnam je “white man’s war”, što i domaćini daju do znanja. “Crnci, idite kući, ovo nije vaš rat”, poručuju Vijetnamci dok Anthony svjedoči užasu s njihove, ali i s američke strane; marinac Cleon (Bokeem Woodbine) nosi dekapitiranu glavu stradalog lokalca kao suvenir.

Hughesovi osuđuju Vijetnam kao takav, posebice sudjelovanje mladih crnaca u “bjelačkom ratu” i posljedice ratovanja na njihovu psihu i zdravlje, odnosno izloženosti nasilju i bojnim otrovima, o čemu je govorio i “Rambo”. Skip se vratio iz Vijetnama načet efektima “agenta Orange”, a Anthony sanja pokolje, što sigurno potencira i njegov posao mesara, koji će izgubiti kad vlasnik bude prisiljen zatvoriti mesnicu.

Bez novog posla i novčanih primanja, Anthony se ne može skrbiti za kćerkicu Juanitu i još jednu bebu na putu, pa se okreće piću, frustriran kad dozna da ih je uzdržavao lokalni svodnik Cutty (Clifton Powell) i da se još uvijek mota oko njegove male obitelji. Frustracija dovodi do nepromišljene odluke da sa Skipom, Joseom, Kirbyjem, Cleonom i Juanitinom sestrom, revolucionarkom Delilah (N’Bushe Wright), opljačka oklopni transporter s neoznačenim novčanicama/”mrtvim predsjednicima”.

“Dead Presidents” u zadnjem činu vraća ponešto izgubljeni momentum i postaje politički papren i akcijsko-trilerski intenzivan s tenzičnom, odlično uprizorenom pljačkom kad stvari pođu po zlu i dovedu do eksplozivne pucačine između zaštitara/policajaca i crnih pljačkaša s bijelom pantomimskom maskom na licu. “Bjelački rat” crnci sele iz Vijetnama u bijelu Ameriku, koja im nije dala ništa zauzvrat, a osuđuje i kažnjava prolijevanje krvi, iako je to odobravala kad je bilo u interesu “ujaka Sama”.

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Hughesovi i Wick

Braća Hughes upravo snimaju seriju "The Continental" s Melom Gibsonom koja je "spin-off" akcijskog serijala "John Wick".

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Razmjerno zaboravljeni posljednjih desetak godina sa svega dva filma neravnomjerne kvalitete (solidan postapokaliptički akcić “Knjiga iskupljenja”, slabašan kriminalistički triler “Slomljeni grad”), Albert i Allen Hughes bili su jedni od najvećih filmaških “wunderkinda” devedesetih.

Spominjali su se, i to s pravom, u istoj rečenici s Johnom Singletonom, pa i s Quentinom Tarantinom. Bilo je tada jasno da su na filmsku scenu stupila dva nova darovita brata nakon braće Coen, a prije Farrellyja, Wachowskih i Dardenneovih.

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FILM: Dead Presidents; akcijska krimi drama; SAD, 1995. REŽIJA: Braća Hughes ULOGE: Larenz Tate, Chris Tucker OCJENA: *** ½

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Albert i Allen pojavili su se u pravo vrijeme, nakon što je Spike Lee prokrčio put mladim afroameričkim redateljima poput Singletona (“Žestoki momci”), Marija Van Peeblesa (“New Jack City”) i Boaza Yakina (“Fresh”).

Izvrsni prvijenac braće Hughes “Opasni po društvo” spada među najbolje debije devedesetih zajedno sa, na primjer, Tarantinovim “Psima iz rezervoara”, “Malom Odessom” Jamesa Greya, “Teškom osmicom” P. T. Andersona i “Vrtlogom života” Sama Mendesa, a Albert i Allen snimili su ga u ranim dvadesetima i uklopili se u aktualna kretanja.

“Menace II Society” je 1993. predstavio braću kao društveno angažirane filmaše s okom za snažnu filmsku sliku i nervom za brutalni, dramski intonirani žanrovski film. Sve to krasi i njihov podcijenjeni drugijenac “Mrtvi predsjednici” (“Dead Presidents”, 1995.), koji nije ujednačen poput prvijenca, ali potvrdio je socijalni angažman i režijsku vještinu Hughesovih, kao i njihovu filmofilsku načitanost.

Posrijedi je jedan veoma ambiciozan projekt, možda čak i preambiciozan za tadašnje 23-godišnjake, znatno umješnije u ulogama redatelja nego scenarista. “Mrtvi predsjednici” započinju kao drama o odrastanju na rubu krim-miljea, pretvaraju se u ratni film i završavaju kao akcijski krimić “heist” vrste.

Dakle, Albert i Allen prolaze put od “Dobrih momaka” preko ratnog ludila “Apokalipse danas” do akcijskog pljačkašenja “Vrućine” i revolverašenja Johna Wooa a la “Žestoki policajac” i “Teška meta”. Tri segmenta nisu posve scenaristički ujednačena i organski uklopljena u cjelinu, ali Hughesovima se mora priznati da znaju uvući gledatelja u film i voditi priču, kao i da njihova režija nerijetko pršti od energije, stila i (meta)filmičnosti (briljantan krupni kadar pripaljivanja cigarete koja gori kao snop projektora u kinu).

Prolog prožet zvukom repetiranja pištolja i bijelom pantomimskom maskom na licu crne osobe vrlo je simbolički upečatljiv, kao i vatrena uvodna špica sa zapaljenim dolarskim novčanicama s likovima mrtvih američkih predsjednika Washingtona, Lincolna...

Potom upoznajemo protagonista, mladog Anthonyja (Larenz Tate). Kraj je šezdesetih, Anthony se druži s prijateljima iz Bronxa, Skipom i Joseom (Chris Tucker, Freddy Rodriguez), te visi u bilijarskom klubu koji vodi Kirby (Keith David; “Stvor”, “Oni žive”) i angažira mladića za neke sitne posliće.

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Prije nego što se pomalo ishitreno, bez nekog posebnog razloga, prijavi za “motherfucking” Vijetnam, umjesto da kao stariji brat krene na koledž, Anthony će izgubiti nevinost s Juanitom (Rose Jackson) u iznenađujuće nježnoj i životnoj sceni, nakon čega ona ostaje trudna, ali on svejedno odrađuje par tura.

Motivacija i postupci glavnog lika nisu posve jasni, no montažni prijelaz “u trku” iz urbane sredine na ratni pakao je izvanredan. Ratni je segment košmaran i PTSP-ovski kao u najboljim filmovima o Vijetnamu, poput “Voda smrti”, “Full Metal Jacketa”, “Hamburger Hilla”...

Marinci Anthony i Skip našli su se do guše u krvi, blatu, raznesenim udovima i unutarnjim organima u ratu koji nije “njihov”. Vijetnam je “white man’s war”, što i domaćini daju do znanja. “Crnci, idite kući, ovo nije vaš rat”, poručuju Vijetnamci dok Anthony svjedoči užasu s njihove, ali i s američke strane; marinac Cleon (Bokeem Woodbine) nosi dekapitiranu glavu stradalog lokalca kao suvenir.

Hughesovi osuđuju Vijetnam kao takav, posebice sudjelovanje mladih crnaca u “bjelačkom ratu” i posljedice ratovanja na njihovu psihu i zdravlje, odnosno izloženosti nasilju i bojnim otrovima, o čemu je govorio i “Rambo”. Skip se vratio iz Vijetnama načet efektima “agenta Orange”, a Anthony sanja pokolje, što sigurno potencira i njegov posao mesara, koji će izgubiti kad vlasnik bude prisiljen zatvoriti mesnicu.

Bez novog posla i novčanih primanja, Anthony se ne može skrbiti za kćerkicu Juanitu i još jednu bebu na putu, pa se okreće piću, frustriran kad dozna da ih je uzdržavao lokalni svodnik Cutty (Clifton Powell) i da se još uvijek mota oko njegove male obitelji. Frustracija dovodi do nepromišljene odluke da sa Skipom, Joseom, Kirbyjem, Cleonom i Juanitinom sestrom, revolucionarkom Delilah (N’Bushe Wright), opljačka oklopni transporter s neoznačenim novčanicama/”mrtvim predsjednicima”.

“Dead Presidents” u zadnjem činu vraća ponešto izgubljeni momentum i postaje politički papren i akcijsko-trilerski intenzivan s tenzičnom, odlično uprizorenom pljačkom kad stvari pođu po zlu i dovedu do eksplozivne pucačine između zaštitara/policajaca i crnih pljačkaša s bijelom pantomimskom maskom na licu. “Bjelački rat” crnci sele iz Vijetnama u bijelu Ameriku, koja im nije dala ništa zauzvrat, a osuđuje i kažnjava prolijevanje krvi, iako je to odobravala kad je bilo u interesu “ujaka Sama”.

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Hughesovi i Wick

Braća Hughes upravo snimaju seriju "The Continental" s Melom Gibsonom koja je "spin-off" akcijskog serijala "John Wick".

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Mrtvi predsjednici‘: Bijeli rat crnog čovjeka

Piše Marko Njegić
14. ožujka 2023. - 23:55
24453200
PREMIUM
Galerija

Razmjerno zaboravljeni posljednjih desetak godina sa svega dva filma neravnomjerne kvalitete (solidan postapokaliptički akcić “Knjiga iskupljenja”, slabašan kriminalistički triler “Slomljeni grad”), Albert i Allen Hughes bili su jedni od najvećih filmaških “wunderkinda” devedesetih.

Spominjali su se, i to s pravom, u istoj rečenici s Johnom Singletonom, pa i s Quentinom Tarantinom. Bilo je tada jasno da su na filmsku scenu stupila dva nova darovita brata nakon braće Coen, a prije Farrellyja, Wachowskih i Dardenneovih.

Albert i Allen pojavili su se u pravo vrijeme, nakon što je Spike Lee prokrčio put mladim afroameričkim redateljima poput Singletona (“Žestoki momci”), Marija Van Peeblesa (“New Jack City”) i Boaza Yakina (“Fresh”).

Izvrsni prvijenac braće ...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 90-IH#KRIMI DRAME#AKCIJSKI KRIMIĆI#RATNI FILMOVI#BRAĆA HUGHES#LARENZ TATE#CHRIS TUCKER#FREDDY RODRIGUEZ#KEITH DAVID#BOKEEM WOODBINE
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