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 Post subject: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Tue May 20, 2008 7:33 pm 
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EDGE OF DARKNESS je BBCjeva mini-serija koja je bila Martin Campbellov calling card za potonji odlazak u Holivud. Iz ove ekipe put Amerike je pošao i scenarista Troy Kennedy-Martin koji je kasnije potpisao stvari poput RED HEAT, a zatim se vratio u Britaniju. Ipak, on je i ranije imao veza sa Holivudom preko projekata poput KELLY'S HEROES ili ITALIAN JOB.

EDGE OF DARKNESS je ogledalo angsta koji je postojao u Britaniji vezano za nuklearno naoružanje koje je u njoj bilo stacionirano, tako da bi se EDGE OF DARKNESS mogao dovesti u vezu sa naslovima poput Mackenziejevog FOUTH PROTOCOL.

Campbell uspešno stvara atmosferu misterije, tajnovitih noćnih poziva i susreta sa nepoznatim ljudima po garažama uz pucketanje Gajgerovog brojača, govore Margaret Thatcher i ceo fazon.

Poseban kuriozitet je da su muziku zajedno radili Eric Clapton i Michael Kamen koji su kasnije bili importovani od strane Joel Silvera u Holivud.


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Sun May 25, 2008 4:24 pm 
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EDGE OF DARKNESS je inače po mnogo čemu preteča STATE OF PLAY. Ne samo da obe serije imaju isti format od šest jednočasovnih epizoda, i da obe govore o intrigama vezanim za energetiku, već će obe biti rimejkovane. Doduše, filmski rimejk STATE OF PLAY je in the can a Mel Gibson će se vratiti iz penzije kako bi sa Campbellom uradio holivudsku verziju EDGE OF DARKNESSa.


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Fri May 01, 2009 11:42 pm 
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Evo i prve AICN preview recenzije rimejka EDGE OF DARKNESS!

Hi Harry, just got back from a test screening down in Thousand Oaks of Martin Campbell's new thriller 'Edge of Darkness', starring Mel Gibson. We were told it was a work in progress and all the usual stuff, though except for credits and a score it looked pretty much finished as far as I could tell. I know the film is a remake of Campbell's original British mini-series, but I haven't seen it so can't offer any comparisons. Martin Campbell was there in person, I did not see The Gib himself. Anyway, modest whats-it-about spoilers (no biggies) to follow :

Mel plays a Boston cop, with a decent understated accent (i.e. no Baaaahston-talk), devoted to his daughter, who has arrived in town for a visit. Almost immediately she starts vomiting uncontrollably and bleeds from the nose. As they leave his house to take her to the hospital, a car pulls up, someone in a ski mask gets out and unloads a shotgun on her, and speeds off. This is one of those SURPRISE MASSIVE JOLT killings that just comes out of nowhere, and the shotgun blast is ear-splittingly shocking (and if you like those, you'll love, or hate, this movie, as this kind of thing happens several times).

So we get Mel grieving for his daughter, wondering if he, a cop, was the real target and they missed, basically getting nowhere in the investigation, when he starts going through his daughters personal belongings and comes across...a geiger counter, that just so happens to start crackling when he runs it over a lock of her hair. So he investigates her work, which he knew little about - she was an employee at a nuclear plant. From there, we get into a conspiracy/coverup kind of thing as Mel follows the corruption, which goes All The Way To The Top (TM). Ray Winstone a.k.a. not Robert Deniro shows up as a shady middleman who may or may not be helping Mel get to the bottom of everything, and Danny Huston is the daughter's boss, another suspicious character (well, pretty much everyone is).

So, any good? Yes! This is a well constructed thriller, for adults. Very plot heavy with plenty of twists and turns, so if you tune out for a few minutes you might miss something vital. I actually overheard someone say they were bored (expecting Lethal Weapon V?). It is mostly low-key, and is not an action movie, though there is action, and when it happens, it's short, brutal, and R-rated. Gibson does great work in one of his best dramatic performances in years (well, yeah I know its his ONLY performance in years, but seriously he brings the goods here), and has some fun/intense scenes with Winstone, who manages to be friendly and menacing at the same time (and he is indeed seen hitting a golf ball out of a sand trap).

No real complaints about this one, a couple of scenes here and there dragged, but nothing major, the film was about 2 hours 15 minutes.There's a device where Mel keeps seeing his dead daughter in child and adult form, and he talks to her. I don't know if this added anything, its there and its OK, but the film would have worked fine as is without it. All in all, very watchable stuff, a good solid suspense thriller, with his Gibness on top form.

-Max California


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Mon Jan 25, 2010 12:30 pm 
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Edge of Darkness
(U.S.-U.K.)
By BRIAN LOWRY

A Warner Bros. (in U.S.) release presented in association with GK Films of a GK Films (U.S.)/BBC Films (U.K.)/Icon Prods. (U.S.) production. Produced by Graham King, Tim Headington, Michael Wearing. Executive producers, Dan Rissner, David M. Thompson, Suzanne Warren, Gail Lyon, E. Bennett Walsh. Co-executive producer, Jamie Laurenson. Co-producers, Lucienne Papon, Kwame L. Parker. Directed by Martin Campbell. Screenplay, William Monahan, Andrew Bovell, based on the television series written by Troy Kennedy Martin.

Thomas Craven - Mel Gibson
Darius Jedburgh - Ray Winstone
Jack Bennett - Danny Huston
Emma Craven - Bojana Novakovic
Burnham - Shawn Roberts
Millroy - David Aaron Baker
Whitehouse - Jay O. Sanders
Moore - Denis O'Hare

The backstory might be the most interesting part of "Edge of Darkness," and no, that doesn't refer to star Mel Gibson's somewhat checkered history. "Casino Royale" and "Mask of Zorro" helmsman Martin Campbell remakes a BAFTA award-bejeweled six-hour BBC miniseries he directed 25 years ago. Yet as with the recent "State of Play," the miniseries-to-movie transfor standing, relatively limited action should also dampen box office prospects.

Given his association with revenge plots both as a director and an actor, Gibson's first star turn since "Signs" and "We Were Soldiers" in 2002 is well suited and finds him in fine form. He's Thomas Craven, a tough Boston cop, who sees his only daughter, Emma (Bojana Novakovic), gunned down in front of him early on.

At first, the assumption is that some enemy of Craven's must be responsible. Yet Emma's fidgety demeanor and bouts of nausea soon point to another, more insidious culprit and a dense web of corruption -- one that involves the major government-connected corporation for which she worked, headed by the imperious Jack Bennett (Danny Huston) from a sprawling hillside facility.

Craven's search for answers also brings him into contact with a shadowy fixer named Jedburgh, wryly played by Ray Winstone, who seems content to let the cop pursue his mission so long as it doesn't interfere with his own. Haunted by visions of his daughter, Craven assures him, "I'm not gonna arrest anyone," but that doesn't mean there won't be considerable collateral damage as he begins overturning rocks.

Writers William Monahan ("The Departed") and Andrew Bovell have done their best to update the Thatcher-era politics of the original, but they're hampered by the glut of similarly themed fare conceived during the intervening quarter-century. They also devote considerable time to conveying Craven's psychological torment, which resonates emotionally but frankly bogs down amid the clue-sifting and revenge-seeking aspects of the plot. In terms of consistent visceral thrills, "Taken" this isn't -- despite Campbell's demonstrable flair for shooting action.

Darkness" is better served by its cast -- with Winstone's world-weary, conflicted character especially intriguing; it's too bad there isn't time for more of him. Then again, that's true of other supporting players as well, whose motivations -- including Emma's -- would surely benefit from more detail. (One amusing footnote: A senator in the movie is identified as a Republican from Massachusetts, which might have sounded laughable were it not for the unexpected results in the recent election there.)

Campbell's topnotch production team yields predictably polished results, but the director's decision to revisit the late Troy Kennedy Martin's teleplay, finally, feels lacking. And while this is hardly the only mid-'80s artifact being reanimated a generation later -- from the upcoming "The A-Team" to ABC's "V" revival -- "Darkness" returns with only its outlines intact, while lacking much of its edge.

Camera (Technicolor, Panavision widescreen), Phil Meheux; editor, Stuart Baird; music, Howard Shore; production designer, Tom Sanders; supervising art director, Gregory A. Berry; art director, Suzan Wexler; set decorator, Jay Hart; costume designer, Lindy Hemming; sound (Dolby Digital/SDDS/DTS), Pud Cusack; supervising sound editors, Alan Robert Murray, Bub Asman; assistant director, Jamie Marshall; second unit director, John Mahaffie; casting, Pam Dixon. Reviewed at Warner Bros. screening room, Burbank, Jan. 20, 2010. MPAA Rating: R. Running time: 117 MIN.


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Mon Jan 25, 2010 12:32 pm 
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Film Reviews
Edge of Darkness -- Film Review
By Michael Rechtshaffen, January 24, 2010 10:00 ET
Cast and Crew
Executive Producer: Gail Lyon
Executive Producer: E. Bennett Walsh
Executive Producer: Tim Headington
Executive Producer: Danton Rissner
Executive Producer: Suzanne Warren
Executive Producer: David Thompson
Producer: Graham King
Producer: Michael Wearing
Associate producer: Lucienne Papon
Director: Martin Campbell
Screen Writer: William Monahan
Screen Writer: Andrew Bovell
Director of Photography: Phil Meheux
Line Producer: E. Bennett Walsh
Unit Prod. Manager: E. Bennett Walsh
First Assistant Director: Jamie Marshall
Prod. Designer: Tom Sanders
Art Director: Susan Wexler
Set Decorator: Jay R. Hart
Costume Designer: Lindy Hemming
Special Effects: Bruce Sternheimer
Visual Effects Supervisor: Kent Houston
Sound mixer: Pud Cusack
Casting director: Pam Dixon
Unit Publicist: Blaise Noto
Cast: Mel Gibson (Thomas Craven), Danny Huston (Bennett), Bojana Novakovic (Emma Craven), Shawn Roberts (Burnham), Ray Winstone (Darius Jedburgh), Gbenga Akinnagbe (Actor)
Bottom Line: An intense Mel Gibson performance anchors this brutally effective crime thriller.
Taking on his first lead role since 2002's "Signs," Mel Gibson returns to form in "Edge of Darkness" as an agonized homicide detective determined to avenge the murder of his only daughter, uncovering corporate corruption and political conspiracy in the process.

If the subject matter seems familiar, it's likely because director Martin Campbell has returned to the scene of his highly regarded 1985 British miniseries of the same name, to largely explosive effect.

Whether the performance will deliver Gibson boxoffice redemption in the wake of his well-known personal issues will have more to do with audience response to the violent film's dark subject matter.

But at this juncture, the choice of vehicle would seen to be a smarter fit than, say, a frothy romantic comedy.

Relocating from the original Yorkshire to Boston, the film's focus remains essentially the same, centering on Gibson's Thomas Craven, a career cop whose adult daughter, Emma (Bojana Novakovic), is gunned down on the front steps of his home.

Driven by grief and guilt, believing that he was the intended target, Craven stops at nothing to track down her killer, but along the way he uncovers disturbing truths about her job at a top security-research compound with shadowy ties to the government.

Condensing a six-hour TV serial and turning it into a contemporary two-hour feature can be a tricky bit of business, as the makers of last year's "State of Play" discovered.
Screenwriters William Monahan ("The Departed") and Andrew Bovell ("Lantana") come close to pulling it off.

Although it has retained much of its grit and intrigue, bringing the original Troy Kennedy Martin script up to speed from its original mid-'80s nuclear-arms race context is another matter. Their attempts to update the political agenda result in a scenario that comes off a tad far-fetched where its villains are concerned.

But in between the two "Edge of Darkness" assignments, director Campbell did a couple of Bond pictures -- most notably "Casino Royale" -- and that raw, sinewy energy comes very much into play here.

He also has the ideal protagonist in Gibson's equally raw portrayal of a man with nothing left to lose, though his startlingly craggy appearance admittedly requires a few minutes of adjustment.

Also sturdy are the supporting players, particularly Ray Winstone as a quietly threatening government op with a license to clean up potential messes and Danny Huston as a nefarious corporate head honcho.

Technical assist is first class all the way, from Phil Meheux's evocatively murky cinematography to Stuart Baird's cut-to-the-chase editing and Howard Shore's edgy score.

Opens: Friday, Jan. 29 (Warner Bros.)


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Mon Jan 25, 2010 3:07 pm 
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Edge Of Darkness

24 January, 2010 | By Mike Goodridge

Dir: Martin Campbell. US. 2009. 117 mins.

Director Martin Campbell updates his classic six-part 1985 UK miniseries to a two-hour, US-set feature, and, even with plot and structure pared down, manages to remain faithful to the somber mood and dense conspiracy of the original some 25 years down the line.

It’s a deadly serious film, lacking some of the wit and droll characterisations which made the original miniseries more palatable

Although its paranoid trappings about nuclear weapons and radiation are more fitting to the eighties than today, Campbell’s new Edge Of Darkness is a taut adult thriller which should be a mid-size early-year performer for Warner Bros in the domestic market when it opens on Feb 29 and for independent distributors who bought it outside the US who are releasing in the first quarter.

The film has been styled as a starring vehicle for 54-year-old Mel Gibson and will be a test for his star power as he looks to restore some luster to his market value after several well-publicised incidents in his personal life. He’s still got charisma in spades, and plays the lead character, a tough Boston cop investigating the murder of his daughter, with haunted conviction. It’s up to the audience to decide whether they believe in him.

As co-written by William Monahan, who won an Oscar for adapting Infernal Affairs into The Departed, Edge Of Darkness is a masculine affair bearing some similarities in tone to the Scorsese picture for its all-pervasive violence and high body count. But Campbell and Gibson work hard to sustain the emotional core of a parent grieving for a child even as the bullets fly.

Homicide detective Thomas Craven (Gibson) welcomes his daughter Emma (Novakovic) home to Boston for a vist; although she appears unwell, he prepares dinner. Just as they are about to sit down, however, the doorbell rings and she is gunned down on the steps of the house.

While Craven’s police colleagues assume he was the intended target of the killing and she got in the way, Craven himself becomes suspicious when he finds a gun amongst Emma’s possessions. He visits her boyfriend, who appears to fear for his life, and her employer Jack Bennett (Huston), the head of a private research facility called Northmoor which has various government weapons contracts.

As Craven investigates further, it becomes clear that Emma discovered shady goings-on at Northmoor and was trying to expose them. But Bennet and his associates – including high-ranking government officials and a mysterious fixer called Jedburgh (Winstone) – will do everything in their power to stop Craven from uncovering the truth.

It’s a deadly serious film, lacking some of the wit and droll characterisations which made the original miniseries more palatable. Winstone’s character especially – an Englishman in the US – has been darkened from Joe Don Baker’s colourful Yank in London. And Gibson rarely cracks a smile as Craven, whereas Bob Peck managed some mordant humour that leavened the mood in 1985.

The writers have contemporised the conspiracy recipe to include a dash of Halliburton and a soupcon of terrorist warfare, but the villains from the eighties are the same – crooked government officials and private weapons manufacturers peddling mass destruction for profit. Plus ca change…


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Mon Jan 25, 2010 3:09 pm 
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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Mon Jan 25, 2010 3:28 pm 
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Malo je reči: jedva ćekam.

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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Wed Feb 17, 2010 2:55 am 
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Pogledao sam EDGE OF DARKNESS Martina Campbella, što se mene tiče, jedan od najočekivanijih filmova 2010. godine. Na ključnim nivoima, uprkos jednom velikom nedostatku, ovaj film je isporučio i mogu reći da sam zadivoljan a onim što je slabo sam prevashodno iznenađen i zbunjen.

Mel Gibson se vratio with a vengeance. Mel je i dalje force to be reckoned with i u ovom filmu on pokazuje da je mnogo više od akcionog heroja. Zaista dominira ekranom i bez problema nosi jako tešku ulogu kroz ceo film, bez maltene ijedne scene u kojoj se odmara. A uloga je vrlo lako mogla skliznuti u neuverljivost i neukus, ipak je ubistvo kćerke u pitanju, i ipak je to ona situacija u kojoj se čovek već nalazio još na početku karijere. Međutim, ovde nema ponavljanja, Mel Gibson isporučuje i to je sve na nivou.

Isto se može reći i za sve ključne supporting igrače, pre svih Ray Winstonea i Danny Hustona koji su sjajni "špreheri" i dobro sparinguju sa Melom.

Drugi bitan element je scenario Williama Monahana i Andrew Bovella koji je odličan i iako je lišio film tog iracionalnog, definišućeg aspekta totalne iracionalnosti koji bio osnov serije Troy Kennedy Martina, uspeva da pruži novi spin conspiracy filmu time što na novi način prikazuje workings negativaca.

Ono što iznenađuje to je prilično tanka egzekucija Martina Campbella. Dakako, ima tu lepih detalja, ali film je potpuno neubedljiv na nivou production designa, na ulicama nema prolaznika, sva kola su jednolična i ganc nova, ljudi borave u ambijentima koji ne odaju utisak da u njima iko živi, a u pojedinim scenama mizanscen je na nivou srpskog filma tipa lik ustane, dođe, stane, govori, nema onih varijanti tipa ljudi hodaju i glume i sl. Martin Campbell je stari profi koji zna šta radi i rekao bih da je ovo neka vrsta cronebergovskog iskliznuća u nešto što on pogrešno doživljava kao ozbiljnost, ili je pak znak neumitnog starenja. Imajmo na umu, Campbell je jedan od najstarijih među high profile rediteljima kojima studiji prepuštaju blokbastere. zahvaljujući slabom production designu, EDGE OF DARKNESS u pojedinim momentima izgleda kao ČETVRTI ČOVEK a ponekad i kao DTV. Na svu sreću, Mel i scenario su dovoljno jaki da celu priču održe na površini. Ipak, koliko me istinski čudi unisono hvaljenje Campbellovog profesionalizma u vizuelnom smislu, toliko me ne čudi slab odziv publike na film. Mislim da su izuzev Mela aduti ovog filma presofisticirani i zamaskirani apatičnošću Campbellove egzekucije.

Bojana Novaković ima bitnu ulogu u filmu. Čovek koji režira APOCALYPTO i žena koja glumi u ŠIŠANJU imaju dovoljno neuračunljivosti u sebi da prođu kao otac i kćerka.

U svakom slučaju, EDGE OF DARKNESS je povratak Mela glumi sa jednom od potentnijih uoga u njegovom opusu. Šteta je što sam film nije na nivou njegovih najboljih po nivou egzekucije. Međutim, na svu sreću EDGE je primer kako zvezda može da podigne slabiji production i techical values na viši nivo.

* * * / * * * *


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Wed Feb 17, 2010 6:55 am 
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Da li fim pripada gerijatrijsko-osvetničkom krugu?

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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Wed Feb 17, 2010 9:18 am 
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Apsolutno. Mel je nezgodan čiča u ovom filmu. Jedan od onih junaka kojima radijacija nije pomogla da postanu superheroji.


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Wed Apr 28, 2010 12:43 pm 
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Novi Kadar Miloš Cvetković živopiše EDGE OF DARKNESS na Popboksu

http://www.popboks.com/tekst.php?ID=8017


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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Wed Apr 28, 2010 2:01 pm 
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Dobro ga je živopisao.

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 Post subject: Re: Edge of Darkness (Kennedy/Martin, 1985)
PostPosted: Sun Jul 18, 2010 6:13 pm 
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RUB TAME

Izgubljeno hladnoratovsko jevanđelje


Danas nije teško pričati o kvalitetnom TV programu, i to ne zato što smo iz uzorka isključili onaj na crnogorskim stanicama. Nije teško jer se najbolja televizijska ponuda više ne nalazi na istoj adresi ni u ostatku svijeta. Preselila se na police vaše sobe, gdje ste sami svoj urednik. Vremena kada se nestrpljivo čekao „pravi“ odnos kazaljki, razočarenje mjerilo dužinom odloženog programa, a vikend psovao zbog odlaganja odgovora na ključno pitanje s kojim se omiljena serija nekako uvijek završavala petkom davno je prošlo. Ukratko, serija je postala film – moguće je posjedovati i gledati bez reklama, čak je i ozbiljno proučavati.

A kad god se govori o kvalitetnom televizijskog programu, nekako se prvo okrenemo Ostrvljanima. Uvijek su važili za ljude od stila u toj sferi. Ako zanemarimo muziku, čini se da su televizijskim serijama prišli sa najviše studioznosti, ljubavi i posvećenosti. I ta „jednom mjeri, dva puta sjeci; ispeci, pa reci“ poslovna politika je učinila da u sferi izrazito komercijalnog medija kakav je televizija naprave impozantan broj remek-djela. Ipak, u njihovom vrednovanju teško je izvdojiti onu koja je sve započela, koja se izdvaja i među najboljima. U tom slučaju, aršin je uticaj: jer da se godinu dana ranije pojavila – bila bi neshvaćena (možda i ismijavana), a da je prikazana koju godinu kasnije – bila bi jedna od mnogih...


Bio jednom jedan propovjednik...


Rub tame (Edge of Darkness, 1985) je nastao kao produkt frustracija scenariste Troja Kenedija Martina. U to vrijeme su se na BBC-iju prikazivale drama koje su se uglavnom bavile istorijskom ili socijalnom problematikom. Iako je vladavina Margaret Tačer bila inspirativna za vivisekciju državne politike, čini se da hladnokrvne Britance nije zanimala takva priča. Međutim, Martin je posmatrajući trijumf neo-konzervativizma i religijskog fundamentalizma na obje strane Atlantika, ali i sve veću mi(s)tifikaciju nuklearne industrije i uspon nju-ejdž pokreta, odlučio da napiše priču o „detektivu koji se pretvori u drvo“. Iako nekome ovo može da zazvuči kao penzioni plan M. Najta Šjamalana, fakat je da u to vrijeme ovakav predenbraunovski recept na papiru u nikako ne bi smio da funkcioniše. Međutim, kako je preduslov svakog uspjeha pravo vrijeme, Jevanđelje po Troju Martinu Kenediju je do dana današnjeg ostalo najbolji politički triler ikad viđen. Kada je tadašnji urednik, Džonatan Pauel, pročitao prvi nacrt Kenedijevog rukopisa, nije mogao a da ne bude ozračen snagom njegove vizije. Samom projektu je dao neizmjerljiv doprinos kada je za reditelja doveo Martina Kembela, a vodeće uloge podijelio Bobu Peku i Džou Donu Bejkeru.

Da bi se u potpunosti razumjelo i cijenilo Martinovo djelo, treba poći od njegove patološke netrpeljivosti prema naturalizmu – tada dominantnom pristupu u britanskim televizijskim dramama – a potom prihvatiti gotovo pjesničku naraciju ispunjenu simbolikom, metaforičkim igrama i elipsama koje samo dodatno unapređuju značenjsko bogatstvo njegovog rukopisa. On se služi sporim (ujedno i napetim) tempom u građenju zapleta, gdje navođenje na pogrešan trag služi kao prolongiranje naizgled predugačkog uvoda koji se neosjetno pretapa u jednu od najfurioznijih i najupečatljvijih završnica ikad viđenih na malim ekranima. Kvaka je u građenju duge ekspozicije zarad kumulativnog efekta na kraju. Iako je zbog pritiska od strane Kembela i Peka promjenio planirani kraj u kome se protagonista pretvara u drvo, Martin nije napravio kompromis sa sopstvenom vizijom – napisao je još bolji i simboličniji završetak.

Vjera na rubu tame


Rub Tame je priča o detektivu Ronaldu Krejvenu i njegovom ulasku u srce tame tačerijanske Britanije. Kada mu brutalno ubiju ćerku, on započinje istragu koja će mu dati sve one odgovore koje nije htio da čuje: ko mu je zapravo ćerka i zašto su najmoćniji ljudi na planeti zainteresovani za njenu smrt. Martin je sa zapletom savršeno uhvatio Zeitgeist osamdesetih – strah od nuklearne katastrofe, ali je i uspio da ga nadopuni sa sračunatom i suptilnom dozom konspirativne paranoje i nju-ejdž šizofrenije.

Britanija u kojoj se odvija radnja je turobno mjesto, prepuno vlage i sivila, otuđenih i usamljenih ljudi, naseljenih a opet napuštenih zgrada... Odnosi između ljudi su svedeni na poslovnu kurtoaziju, lišeni empatije i prepuni nezainteresovanosti. Jedinu iskru emocija koju možemo da vidimo je ona između Krejvena i njegove ćerke, ali koja ne mijenja činjenicu da su te dvije osobe, i pored svih osjećanja koje gaje jedno prema drugom, zapravo stranci. U takvom svijetu, nemoguće je razlikovati prijatelja od neprijatelja, dobro od zla, sredstvo od cilja... Ovakvo saznajno beznađe je savršeno poslužilo Martinu da razvije prilično kontoverznu tezu o nemogućnosti pobune, promjene, izlaska iz kruga moći. Martin zapravo stvara plodotvornu hermeneutičku situaciju u kojoj sve što se može smatrati dokazom za zavjeru u jednoj situaciji, istovremeno je i slučajan događaj u širem kontekstu. Tako se koncentrični krugovi moći šire u nedogled: ono što je revolucionarno otkriće unutar jednog, sasvim je obična stvar u drugom.

Vizuelno, Rub tame je simfonija sudnjeg dana. Kembelove duge, stilizovane oniričke sekvence (obojene predivno jezivom muzikom Majkla Kejmena i Erika Kleptona) samo naslućuju i nagovještavaju nešto nedokučivo, mračno i zlokobno, potpuno prepuštajući mašti gledaoca da to spozna. U tom smislu, Kembelova režija je najbolji primjer ako već ne transformacije forme u supstancu, onda semantičke nadogradnje tekstualnog predloška. I to je ono što se na televiziji rijetko viđa i poslednjih godina kada je serija kvalitativno nadmašila film: Rub tame je i formalno i sadržinski kompaktno, koherentno remek-djelo, gdje režija nadomješćuje sve nelogičnosti u scenariju.

Dramaturški, Martin je zadao nerješiv domaći zadatak svojim kolegama. Dok događaji iscrtavaju konture likova, njihovi međusobni odnosi im daju kolorit. Recimo, upoznavanje Krejvena sa harizmatičnim CIA agentom Dariusom Džedburgom – tokom koga, umjesto razgovora, naizmjenično recituju stihove Vili Nelsonove pjesme „Time of the Preacher“ – je nešto najpribližnije staromodnom epsko-sudbonosnom susretu što ćete imati prilike da vidite na malom ekranu. On ne samo da ih definiše kao dva različita čovjeka, već i kao dva suprotna principa, svjetonazora. Kada priča počne da se grana u nekoliko rukavaca, Martin ih u poslednjoj epizodi vraća u glavni tok, momenat prije nego što gledalac shvati da je ispred njega ambis. I, priča se upravo završava kao vratoloman spust niz vodopad nakon savršenog raftinga: možda ste prije pada imali najljepše iskustvo u životu, ali ono najstrašnije nekako je upečatljivije, jer dok prvo daje jednostavne odgovore, drugo postavlja ona pitanja... Zato se i Martin okreće metafizičkom pesimizmu, krojeći savršen kraj za savršenu priču, dok gledaoca ostavlja sa punom rukom ničega. Ali, i ostavlja tračak nade, možda ne za čovječanstvo, ali svakako za planetu.


When you think it’s all over, it has only begun...


Vrednovat starije serije iz današnje perspektive je nezahvalan posao. Jer, nakon novog zlatnog doba američke serije koje je počelo negdje s kraja devedesetih, sve starije izgledaju ako ne dovoljno ambiciozno, onda odveć jeftino, nedorečeno i neozbiljno. I, zar je moguće nakon gledanja veličanstvene serije Prisluškivanje (The Wire, 2002-2008) uzeti išta za ozbiljno? Ipak, bez obzira na tehnološki napredak, rast kreativnih sloboda i ambicija, osjetno povećanje budžeta, i revalorizaciju i unapređenje samog medija, neke vrijednosti ipak ostaju vječne. Rub tame je najbolji primjer za to: talenat, vizija, ideja, priča i beskompromisnost su stvari koje ne zavise od spoljnih faktora. Kvalitativnoj konzistentnosti Martinovog djela nesumnjivo je kumovao format (šestočasovne) mini-serije, zaokruženog narativa bez pretenzija za nastavkom. Međutim, biti umjeren i odmjeren je gotovo nemoguća misija u televizijskom biznisu. I tu je zapravo prednost ove serije: originalna ideja je samom BBC-iju prodata kao neokrnjivo i nerabljivo umjetničko djelo, neplodotvorno za dalju eksploataciju.

Ali kad ne može nastavak, uvijek može rimejk. I, dok čekamo da se Kembel visokobudžetno samoreciklira u post-holivudskom ambijentu (sa Mel Gibsonom u glavnoj roli), teško je a ne razmišljati o ambijentu u kom je nastala serija, a u kom će sada nastati film. Ostaje samo pitanje dokle ćemo balansirati na rubu tame i konačno ga preći... ako već nismo.


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2007 Novi kadrovi, projekat podržali Open Society Institute New York i Swiss Cultural Programme Pro Helvetia Beograd, sajt Luka Činč

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