SD Dojavi
OSMRTNICE
PRETPLATA
PREMIUM
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Iskrice između Humphreyja Bogarta i Lauren Bacall frcaju i u njihovom četvrtom i posljednjem zajedničkom filmu "Otok Largo" ("Key Largo", 1948.). No, redatelj John Huston testirao je likove u tumačenju slavnog para i njihov odnos više od Howarda Hawksa u "Imati i nemati" i "Dubokom snu", tj. Delmera Davesa u "Mračnom prolazu".

Na testu je naročito dotadašnji imidž legendarnog Bogarta s kojim je Huston prethodno snimio "Malteškog sokola", "Preko Pacifika" i "Blago Sierra Madre", a snimit će i "Afričku kraljicu" i "Udri đavla". Nije čudno da je Bogart u jednoj od prvih scena kadriran u retrovizoru autobusa.

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FILM: Key Largo; krimić; SAD, 1948. REŽIJA: John Huston ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: **** ½

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Bogart je ovdje suptilan i defetistički nastrojen kao major Frank McLoud, razočaran, malodušan i pesimističan veteran Drugog svjetskog rata, toliko da bi ga možda i jedan Rick Blaine iz "Casablance" poželio malo "trgnuti". Naime, Frank je netko tko naizgled prihvaća poraz bez borbe kad dođe na otok Largo, "najveći među koraljnim otocima smještenima pred obalom Floride", te ondje bude suočen s malim ratom u režiji zloglasnog i izgnanog mafijaša Johnnyja Rocca (Edward G. Robinson u "trade mark" ulozi) i njegovih gangstera.

Major je u ratu izgubio dosta toga, najboljeg prijatelja/suborca Georgea Templea, pa i sebe samoga ili barem svoje ideale; on je utjelovljenje postratnog angsta i ogorčenosti svijetom koji se nije puno promijenio i postao bolji nakon WWII. Lutajući Amerikom u potrazi za poslom, Frank je odlučio posjetiti Georgeova oca Jamesa (Lionel Barrymore) i udovicu Noru (Bacall) koji vode hotel "Largo" na Floridi. Rječnikom "Casablance", od svih hotela, u svim gradovima, na cijelome svijetu, on je ušao u hotel gdje se krije jedan gangster, i to baš Johnny.

"Tisuće tipova ima pištolj, ali samo je jedan Rocco", sugerira Frank koliko ovoga bije loš glas. Iako je po dolasku jasno dao do znanja da ne želi/traži nevolju, nevolja je očito pronašla njega. Tenziju do klaustrofobije potencira nadolazeći uragan kad zatoči pod istim krovom sve ljude u hotelu kojim najednom upravlja Johnny. "Bit ćete moji gosti neko vrijeme", govori on. Najveći dio filma odvija se u hotelu i prizorna oskudnost otkriva tetarske korijene scenarija s potpisom Hustona i Richarda Brooksa ("Mačka na vrućem limenom krovu").

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"Otok Largo" je inspiriran istoimenom kazališnom predstavom Maxwella Andersona u kojoj je Huston pronašao arhetipske noirovske elemente, od ogorčenog antijunaka do (fatalne) žene nerazjašnjene prošlosti, što u Nori prepoznaje Rocco, pa je u jednoj sceni titulira s "Ti mala divlja mačko", a u drugoj joj šapće na uho nešto očito seksualno aluzivno kad ga je pljunila u lice.

Međutim, Huston izvrće određene konvencije noira. Radnja se odvija na sunčanoj Floridi, čime je Huston postavio "template" za buduće noir filmove ("Tjelesna strast", "Cat Chaser", "Divlja igra"...), a Frank je toliko razočaran "pokvarenim svijetom" da smatra kako nije vrijedno umrijeti da bi taj isti svijet ostao bez Johnnyja, riskirajući da ispadne slabić i kukavica (u očima Nore) kad mu ovaj tutne pištolj u ruku i izazove ga na dvoboj.

Tek kad se Frank, po cijenu vlastitog života, drzne natočiti piće poniženoj Roccovoj curi, ispićuturi Gaye (Claire Trevor; dobila Oscara za sporednu ulogu), za što dobije šamar pod prijetnjom pištolja, jasno je da je pronašao iščezlu hrabrost, ideale i humanost, tj. da nije preživio Drugi svjetski rat da bi stradao na Floridi, samo je pitanje trenutka kad će preokrenuti stvari na svoju stranu i od antiheroja postati heroj. "Kad glava govori jedno, a cijeli život drugo, glava uvijek gubi", smatra Frank.

Zanimljivo, Johnny nakon toga pokazuje kukavičluk u strahu od uragana kojeg ne može napucati pištoljem. Huston suprostavlja njihove likove i simbolički: izgubljeni Frank želi pronaći sebe u novom vremenu, dok bi Rocco volio da se vrijeme vrati na staro, poslije prohibicije i prije rata, a to što Robinson zadnji put nastupa kao gangster daje veću egzistencijalističku težinu liku i filmu.

Kontrast među njima naglašen je i umjetnički sjajnom crno-bijelom fotografijom Karla Freunda ("Metropolis", "Drakula"). Kamera pronalazi svjetlo i mrak u interijerima hotela, formirajući noirovski jin-jang u prizorima poput sjene šerifova šešira na bijelom mantilu gangstera.

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Iskrice između Humphreyja Bogarta i Lauren Bacall frcaju i u njihovom četvrtom i posljednjem zajedničkom filmu "Otok Largo" ("Key Largo", 1948.). No, redatelj John Huston testirao je likove u tumačenju slavnog para i njihov odnos više od Howarda Hawksa u "Imati i nemati" i "Dubokom snu", tj. Delmera Davesa u "Mračnom prolazu".

Na testu je naročito dotadašnji imidž legendarnog Bogarta s kojim je Huston prethodno snimio "Malteškog sokola", "Preko Pacifika" i "Blago Sierra Madre", a snimit će i "Afričku kraljicu" i "Udri đavla". Nije čudno da je Bogart u jednoj od prvih scena kadriran u retrovizoru autobusa.

---

FILM: Key Largo; krimić; SAD, 1948. REŽIJA: John Huston ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: **** ½

---

Bogart je ovdje suptilan i defetistički nastrojen kao major Frank McLoud, razočaran, malodušan i pesimističan veteran Drugog svjetskog rata, toliko da bi ga možda i jedan Rick Blaine iz "Casablance" poželio malo "trgnuti". Naime, Frank je netko tko naizgled prihvaća poraz bez borbe kad dođe na otok Largo, "najveći među koraljnim otocima smještenima pred obalom Floride", te ondje bude suočen s malim ratom u režiji zloglasnog i izgnanog mafijaša Johnnyja Rocca (Edward G. Robinson u "trade mark" ulozi) i njegovih gangstera.

Major je u ratu izgubio dosta toga, najboljeg prijatelja/suborca Georgea Templea, pa i sebe samoga ili barem svoje ideale; on je utjelovljenje postratnog angsta i ogorčenosti svijetom koji se nije puno promijenio i postao bolji nakon WWII. Lutajući Amerikom u potrazi za poslom, Frank je odlučio posjetiti Georgeova oca Jamesa (Lionel Barrymore) i udovicu Noru (Bacall) koji vode hotel "Largo" na Floridi. Rječnikom "Casablance", od svih hotela, u svim gradovima, na cijelome svijetu, on je ušao u hotel gdje se krije jedan gangster, i to baš Johnny.

"Tisuće tipova ima pištolj, ali samo je jedan Rocco", sugerira Frank koliko ovoga bije loš glas. Iako je po dolasku jasno dao do znanja da ne želi/traži nevolju, nevolja je očito pronašla njega. Tenziju do klaustrofobije potencira nadolazeći uragan kad zatoči pod istim krovom sve ljude u hotelu kojim najednom upravlja Johnny. "Bit ćete moji gosti neko vrijeme", govori on. Najveći dio filma odvija se u hotelu i prizorna oskudnost otkriva tetarske korijene scenarija s potpisom Hustona i Richarda Brooksa ("Mačka na vrućem limenom krovu").

---

---

"Otok Largo" je inspiriran istoimenom kazališnom predstavom Maxwella Andersona u kojoj je Huston pronašao arhetipske noirovske elemente, od ogorčenog antijunaka do (fatalne) žene nerazjašnjene prošlosti, što u Nori prepoznaje Rocco, pa je u jednoj sceni titulira s "Ti mala divlja mačko", a u drugoj joj šapće na uho nešto očito seksualno aluzivno kad ga je pljunila u lice.

Međutim, Huston izvrće određene konvencije noira. Radnja se odvija na sunčanoj Floridi, čime je Huston postavio "template" za buduće noir filmove ("Tjelesna strast", "Cat Chaser", "Divlja igra"...), a Frank je toliko razočaran "pokvarenim svijetom" da smatra kako nije vrijedno umrijeti da bi taj isti svijet ostao bez Johnnyja, riskirajući da ispadne slabić i kukavica (u očima Nore) kad mu ovaj tutne pištolj u ruku i izazove ga na dvoboj.

Tek kad se Frank, po cijenu vlastitog života, drzne natočiti piće poniženoj Roccovoj curi, ispićuturi Gaye (Claire Trevor; dobila Oscara za sporednu ulogu), za što dobije šamar pod prijetnjom pištolja, jasno je da je pronašao iščezlu hrabrost, ideale i humanost, tj. da nije preživio Drugi svjetski rat da bi stradao na Floridi, samo je pitanje trenutka kad će preokrenuti stvari na svoju stranu i od antiheroja postati heroj. "Kad glava govori jedno, a cijeli život drugo, glava uvijek gubi", smatra Frank.

Zanimljivo, Johnny nakon toga pokazuje kukavičluk u strahu od uragana kojeg ne može napucati pištoljem. Huston suprostavlja njihove likove i simbolički: izgubljeni Frank želi pronaći sebe u novom vremenu, dok bi Rocco volio da se vrijeme vrati na staro, poslije prohibicije i prije rata, a to što Robinson zadnji put nastupa kao gangster daje veću egzistencijalističku težinu liku i filmu.

Kontrast među njima naglašen je i umjetnički sjajnom crno-bijelom fotografijom Karla Freunda ("Metropolis", "Drakula"). Kamera pronalazi svjetlo i mrak u interijerima hotela, formirajući noirovski jin-jang u prizorima poput sjene šerifova šešira na bijelom mantilu gangstera.

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StoryEditorOCM
Film & TVSRIJEDA U ‘KINOTECI‘

‘Otok Largo‘: Noir usred uragana

Piše Marko Njegić
9. travnja 2024. - 23:40
26894822
Galerija
/Photo12 Via Afp

Iskrice između Humphreyja Bogarta i Lauren Bacall frcaju i u njihovom četvrtom i posljednjem zajedničkom filmu "Otok Largo" ("Key Largo", 1948.). No, redatelj John Huston testirao je likove u tumačenju slavnog para i njihov odnos više od Howarda Hawksa u "Imati i nemati" i "Dubokom snu", tj. Delmera Davesa u "Mračnom prolazu".

Na testu je naročito dotadašnji imidž legendarnog Bogarta s kojim je Huston prethodno snimio "Malteškog sokola", "Preko Pacifika" i "Blago Sierra Madre", a snimit će i "Afričku kraljicu" i "Udri đavla". Nije čudno da je Bogart u jednoj od prvih scena kadriran u retrovizoru autobusa.

FILM: Key Largo; krimić; SAD, 1948. REŽIJA: John Huston ULOGE: Humphrey Bogart, Lauren Bacall OCJENA: **** ½

Bogart je ovdje suptilan i defetistički nastrojen kao major Frank McLoud, razočaran, malodušan i pesimističan veteran Drugog svjetskog rata, toliko da bi ga možda i jedan Rick Blaine iz "Casablance" poželio malo "trgnuti". Naime, Frank je netko tko naizgled prihvaća poraz bez borbe kad dođe na otok Largo, "najveći među koraljnim otocima smještenima pred obalom Floride", te ondje bude suočen s malim ratom u režiji zloglasnog i izgnanog mafijaša Johnnyja Rocca (Edward G. Robinson u "trade mark" ulozi) i njegovih gangstera.

Major je u ratu izgubio dosta toga, najboljeg prijatelja/suborca Georgea Templea, pa i sebe samoga ili barem svoje ideale; on je utjelovljenje postratnog angsta i ogorčenosti svijetom koji se nije puno promijenio i postao bolji nakon WWII. Lutajući Amerikom u potrazi za poslom, Frank je odlučio posjetiti Georgeova oca Jamesa (Lionel Barrymore) i udovicu Noru (Bacall) koji vode hotel "Largo" na Floridi. Rječnikom "Casablance", od svih hotela, u svim gradovima, na cijelome svijetu, on je ušao u hotel gdje se krije jedan gangster, i to baš Johnny.

"Tisuće tipova ima pištolj, ali samo je jedan Rocco", sugerira Frank koliko ovoga bije loš glas. Iako je po dolasku jasno dao do znanja da ne želi/traži nevolju, nevolja je očito pronašla njega. Tenziju do klaustrofobije potencira nadolazeći uragan kad zatoči pod istim krovom sve ljude u hotelu kojim najednom upravlja Johnny. "Bit ćete moji gosti neko vrijeme", govori on. Najveći dio filma odvija se u hotelu i prizorna oskudnost otkriva tetarske korijene scenarija s potpisom Hustona i Richarda Brooksa ("Mačka na vrućem limenom krovu").

"Otok Largo" je inspiriran istoimenom kazališnom predstavom Maxwella Andersona u kojoj je Huston pronašao arhetipske noirovske elemente, od ogorčenog antijunaka do (fatalne) žene nerazjašnjene prošlosti, što u Nori prepoznaje Rocco, pa je u jednoj sceni titulira s "Ti mala divlja mačko", a u drugoj joj šapće na uho nešto očito seksualno aluzivno kad ga je pljunila u lice.

Međutim, Huston izvrće određene konvencije noira. Radnja se odvija na sunčanoj Floridi, čime je Huston postavio "template" za buduće noir filmove ("Tjelesna strast", "Cat Chaser", "Divlja igra"...), a Frank je toliko razočaran "pokvarenim svijetom" da smatra kako nije vrijedno umrijeti da bi taj isti svijet ostao bez Johnnyja, riskirajući da ispadne slabić i kukavica (u očima Nore) kad mu ovaj tutne pištolj u ruku i izazove ga na dvoboj.

Tek kad se Frank, po cijenu vlastitog života, drzne natočiti piće poniženoj Roccovoj curi, ispićuturi Gaye (Claire Trevor; dobila Oscara za sporednu ulogu), za što dobije šamar pod prijetnjom pištolja, jasno je da je pronašao iščezlu hrabrost, ideale i humanost, tj. da nije preživio Drugi svjetski rat da bi stradao na Floridi, samo je pitanje trenutka kad će preokrenuti stvari na svoju stranu i od antiheroja postati heroj. "Kad glava govori jedno, a cijeli život drugo, glava uvijek gubi", smatra Frank.

Zanimljivo, Johnny nakon toga pokazuje kukavičluk u strahu od uragana kojeg ne može napucati pištoljem. Huston suprostavlja njihove likove i simbolički: izgubljeni Frank želi pronaći sebe u novom vremenu, dok bi Rocco volio da se vrijeme vrati na staro, poslije prohibicije i prije rata, a to što Robinson zadnji put nastupa kao gangster daje veću egzistencijalističku težinu liku i filmu.

Kontrast među njima naglašen je i umjetnički sjajnom crno-bijelom fotografijom Karla Freunda ("Metropolis", "Drakula"). Kamera pronalazi svjetlo i mrak u interijerima hotela, formirajući noirovski jin-jang u prizorima poput sjene šerifova šešira na bijelom mantilu gangstera.

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#KLASICI#HUMPHREY BOGART#FILMOVI 40-IH#LAUREN BACALL#NOIR FILMOVI#JOHN HUSTON#KINOTEKA#EDWARD G. ROBINSON#KRIMIĆI#CLAIRE TREVOR#FILMOVI PREMA KAZALIŠNIM PREDSTAVAMA#LIONEL BARRYMORE
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