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Popis filmaša koji su najviše obećavali u devedesetima nezamisliv je bez Rogera Avaryja. Za Avaryja se čulo u periodu kad je Quentin Tarantino doživljavao svoj uspon. Njih dvojica su bili prijatelji iz videotečnih dana, a postali su i kreativni partneri - Avary je dao scenarističke ruke Tarantinu na "Psima iz rezervoara" i "Pravoj romansi", kultnim filmovima za koje nije javno kreditiran.

Ipak, na plakatu i špici "Paklenog šunda" zaveden je ravnopravno s Tarantinom kao koscenarist, za što su obojica dobili Oscara za najbolji originalni scenarij. Godinu dana prije toga Avary je i sam dojmljivo debitirao kao redatelj s "Ubojitim životom" ("Killing Zoe").

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FILM: Lucky Day; akcijska krimi komedija; SAD, 2019. REŽIJA: Roger Avary ULOGE: Luke Bracey, Nina Dobrev OCJENA: ***
 

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Taj smo film u hrvatskim kinima gledali nakon uspjeha "Pulp Fictiona" i razlikovao se od žestokih "tarantinovskih" krimića kakvi su do kraja devedesetih nastavili pristizati na kino i videotržište.

Avary je pokazao potencijal, ali ga nažalost nije razvio i nestao je sa scene nakon što se s popularnijim Tarantinom javno razišao oko toga tko je najviše doprinio scenariju "Paklenog šunda".

Tarantinova karijera je krenula uzlaznom putanjom, a Avaryjeva silaznom. Kratki bljesak početkom 2000-ih s "Pravilima privlačnosti" nagovještavao je da je Avary spreman na veliki "comeback", ali u tome ga je omela prometna nesreća u kojoj je smrtno stradao njegov prijatelj i suvozač, zbog čega je odradio i zatvorsku kaznu.

Desetak godina kasnije, Avary je dobio još jednu priliku. Na hrvatsko "online" videotržište upravo je stigao Avaryjev povratnički prošlogodišnji film "Ubojica na poziv" ("Lucky Day") koji na prvi pogled izgleda kao (lošija) kopija zabavne "tarantinovštine" devedesetih na relaciji akcija-krimi-komedija, što većinski i jest, ali ne i isključivo.

Ovakav film je, definitivno, pristaliji za 1999. ne 2019., godinu kad je Tarantino snimio svoj dosad najzreliji uradak "Bilo jednom u... Hollywoodu". Prema "Ubojici na poziv" ispada da je Avary nedozreo i zapeo u devedesetima, a sazreli Tarantino krenuo dalje.

No, to je samo površinski. Ispod površine Avary je zanimljivo metafilmski/tekstualno autoreferencijalan. Glavni lik Red (Luke Bracey) pušten je iz zatvora nakon dvogodišnje kazne zbog pljačke u Parizu i želi se skrasiti sa suprugom, umjetnicom Chloe (Nina Dobrev) koju zove "honey bun(ny)".

Sjetimo li se da se "Ubojiti život" vrtio oko pljačke banke u Parizu, konekcija je očita, zatvorska paralela osobna, kao i (p)osveta Tarantinu budući da Chloe zvuči kao Butchova "honey bunny" Fabiene u "Pulp Fictionu", čime Avary sugerira što je bio njegov obol na filmu nekadašnjeg prijatelja.

Po Reda, pak, iz osvetničkih pobuda stiže Luc (preglumljeni Crispin Glover), karikatura živopisnih negativaca iz "tarantinovskih" filmova, lik s vrha "psihopatske mafijaške hijerarhije". On "odrađuje umirovljenja" i voli krasti atraktivne automobile, ali nije "kradljivac automobila".

"Ja sam gori", kaže tip kojeg se ne može ubiti jer je "kao Terminator", premda se u jednoj sceni ponaša poput Tonyja Montane ("Radio this to your little friends!") u hipernasilnom filmu 2010-ih, recimo s potpisom Tarantinov nasljednika S. Craiga Zahlera ("Obračun u ćeliji 99", "Dva lica zakona").

Sudeći po brutalno-grotesknoj sceni u baru, Avary je gledao moderne filmove pa tako Luc sređuje tipove (Mark Dacascos, među inima) na način da jedan od njih nakon bliskog susreta sa sačmaricom nastavlja trčati kao kokoš bez glave, tj. plesati. Sve se to odvija dok lagana pjesma po njegovu izboru svira u juke-boxu.

Dakle, spoj starog i novog, crvenog i crvenog humora, a tu negdje između Avary piše i režira. Dijalozi su "so 90's", kao i otkačena karakterizacija živopisnih likova, primjerice inzistiranje Redova prijatelja Leroyja (Clé Bennett) da ga se zove "Le Roi" ili sklonost art-izložbama njegova službenika za uvjetnu (Clifton Collins Jr.).

Egzekucija nasilja je, međutim, suvremenija, ekstremno-akcijska, i toj egzekuciji Avary je na trenutke briljantan (čahure). Film doživljava kulminaciju na izložbi Chloeinih radova koje većina posjetitelja kritizira da su falše kopije bez umjetničke vrijednosti. Kad Luc uleti sa strojnicom na izložbu, krv njezinih (i Avaryjevih) kritičara obojat će zidove galerije u crveno i radovi će biti proglašeni umjetnošću.

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U sjećanje na Samuela Hadidu

Film je posvećem pokojnom producentu Samuelu Hadidi koji je umro 2018. Hadida je producirao "Killing Zoe".

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Popis filmaša koji su najviše obećavali u devedesetima nezamisliv je bez Rogera Avaryja. Za Avaryja se čulo u periodu kad je Quentin Tarantino doživljavao svoj uspon. Njih dvojica su bili prijatelji iz videotečnih dana, a postali su i kreativni partneri - Avary je dao scenarističke ruke Tarantinu na "Psima iz rezervoara" i "Pravoj romansi", kultnim filmovima za koje nije javno kreditiran.

Ipak, na plakatu i špici "Paklenog šunda" zaveden je ravnopravno s Tarantinom kao koscenarist, za što su obojica dobili Oscara za najbolji originalni scenarij. Godinu dana prije toga Avary je i sam dojmljivo debitirao kao redatelj s "Ubojitim životom" ("Killing Zoe").

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FILM: Lucky Day; akcijska krimi komedija; SAD, 2019. REŽIJA: Roger Avary ULOGE: Luke Bracey, Nina Dobrev OCJENA: ***
 

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Taj smo film u hrvatskim kinima gledali nakon uspjeha "Pulp Fictiona" i razlikovao se od žestokih "tarantinovskih" krimića kakvi su do kraja devedesetih nastavili pristizati na kino i videotržište.

Avary je pokazao potencijal, ali ga nažalost nije razvio i nestao je sa scene nakon što se s popularnijim Tarantinom javno razišao oko toga tko je najviše doprinio scenariju "Paklenog šunda".

Tarantinova karijera je krenula uzlaznom putanjom, a Avaryjeva silaznom. Kratki bljesak početkom 2000-ih s "Pravilima privlačnosti" nagovještavao je da je Avary spreman na veliki "comeback", ali u tome ga je omela prometna nesreća u kojoj je smrtno stradao njegov prijatelj i suvozač, zbog čega je odradio i zatvorsku kaznu.

Desetak godina kasnije, Avary je dobio još jednu priliku. Na hrvatsko "online" videotržište upravo je stigao Avaryjev povratnički prošlogodišnji film "Ubojica na poziv" ("Lucky Day") koji na prvi pogled izgleda kao (lošija) kopija zabavne "tarantinovštine" devedesetih na relaciji akcija-krimi-komedija, što većinski i jest, ali ne i isključivo.

Ovakav film je, definitivno, pristaliji za 1999. ne 2019., godinu kad je Tarantino snimio svoj dosad najzreliji uradak "Bilo jednom u... Hollywoodu". Prema "Ubojici na poziv" ispada da je Avary nedozreo i zapeo u devedesetima, a sazreli Tarantino krenuo dalje.

No, to je samo površinski. Ispod površine Avary je zanimljivo metafilmski/tekstualno autoreferencijalan. Glavni lik Red (Luke Bracey) pušten je iz zatvora nakon dvogodišnje kazne zbog pljačke u Parizu i želi se skrasiti sa suprugom, umjetnicom Chloe (Nina Dobrev) koju zove "honey bun(ny)".

Sjetimo li se da se "Ubojiti život" vrtio oko pljačke banke u Parizu, konekcija je očita, zatvorska paralela osobna, kao i (p)osveta Tarantinu budući da Chloe zvuči kao Butchova "honey bunny" Fabiene u "Pulp Fictionu", čime Avary sugerira što je bio njegov obol na filmu nekadašnjeg prijatelja.

Po Reda, pak, iz osvetničkih pobuda stiže Luc (preglumljeni Crispin Glover), karikatura živopisnih negativaca iz "tarantinovskih" filmova, lik s vrha "psihopatske mafijaške hijerarhije". On "odrađuje umirovljenja" i voli krasti atraktivne automobile, ali nije "kradljivac automobila".

"Ja sam gori", kaže tip kojeg se ne može ubiti jer je "kao Terminator", premda se u jednoj sceni ponaša poput Tonyja Montane ("Radio this to your little friends!") u hipernasilnom filmu 2010-ih, recimo s potpisom Tarantinov nasljednika S. Craiga Zahlera ("Obračun u ćeliji 99", "Dva lica zakona").

Sudeći po brutalno-grotesknoj sceni u baru, Avary je gledao moderne filmove pa tako Luc sređuje tipove (Mark Dacascos, među inima) na način da jedan od njih nakon bliskog susreta sa sačmaricom nastavlja trčati kao kokoš bez glave, tj. plesati. Sve se to odvija dok lagana pjesma po njegovu izboru svira u juke-boxu.

Dakle, spoj starog i novog, crvenog i crvenog humora, a tu negdje između Avary piše i režira. Dijalozi su "so 90's", kao i otkačena karakterizacija živopisnih likova, primjerice inzistiranje Redova prijatelja Leroyja (Clé Bennett) da ga se zove "Le Roi" ili sklonost art-izložbama njegova službenika za uvjetnu (Clifton Collins Jr.).

Egzekucija nasilja je, međutim, suvremenija, ekstremno-akcijska, i toj egzekuciji Avary je na trenutke briljantan (čahure). Film doživljava kulminaciju na izložbi Chloeinih radova koje većina posjetitelja kritizira da su falše kopije bez umjetničke vrijednosti. Kad Luc uleti sa strojnicom na izložbu, krv njezinih (i Avaryjevih) kritičara obojat će zidove galerije u crveno i radovi će biti proglašeni umjetnošću.

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U sjećanje na Samuela Hadidu

Film je posvećem pokojnom producentu Samuelu Hadidi koji je umro 2018. Hadida je producirao "Killing Zoe".

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Film & TVCINEMARK U KUĆNOM KINU

‘Ubojica na poziv‘: Avaryjeva (p)osveta Tarantinu

Piše Marko Njegić
22. prosinca 2020. - 21:42
15554210
PREMIUM
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Popis filmaša koji su najviše obećavali u devedesetima nezamisliv je bez Rogera Avaryja. Za Avaryja se čulo u periodu kad je Quentin Tarantino doživljavao svoj uspon. Njih dvojica su bili prijatelji iz videotečnih dana, a postali su i kreativni partneri - Avary je dao scenarističke ruke Tarantinu na "Psima iz rezervoara" i "Pravoj romansi", kultnim filmovima za koje nije javno kreditiran.

Ipak, na plakatu i špici "Paklenog šunda" zaveden je ravnopravno s Tarantinom kao koscenarist, za što su obojica dobili Oscara za najbolji originalni scenarij. Godinu dana prije toga Avary je i sam dojmljivo debitirao kao redatelj s "Ubojitim životom" ("Killing Zoe").

Taj smo film u hrvatskim kinima gledali nakon uspjeha "Pulp Fictiona" i razlikovao se od žestokih "tarantinovskih" krimića...

#CINEMARK#CINEMARK U KUĆNOM KINU#ROGER AVARY#KULTNI FILMAŠI
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20. svibanj 2024 19:17