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Podudarnost je nevjerojatna da je baš hongkonški film Johnnieja Toa “Prognani” (“Fong juk”/”Exiled”, 2006.) igrao za kraj kina “Tesla”. Ambijentacija “Prognanih” u portugalsku koloniju Makao koncem 1998., netom prije nego što je prepušten Kini, prilično je simbolična u ovom kontekstu kraja jedne ere i smjene vlasti (mala gradska kina – veliki multipleksi). “Vremena se mijenjaju”, netko kaže u filmu.

Pored toga, “Exiled” je jedan od najmelankoličnijih i najnostalgičnijih novomilenijskih akcijskih filmova koji zarana iscrtava neizbježni fatum njegovih likova i najavljuje nesretan završetak, a i zagledan je u žanrovsku bolju prošlost (iz zlatnih dana “Tesle”) dok se nalazi na razmeđi sadašnjosti i budućnosti, Istoka i Zapada.

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FILM: Fong juk/Exiled; akcija; Hong Kong, 2006. REŽIJA: Johnnie To ULOGE: Anthony Wong, Nick Cheung OCJENA: **** ½

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Umjesto krvavih špageta To u “Prognanima” kuha olovne rezance i kune se u muške vesternske, neovesternske i kriminalističke akcije Sergija Leonea, Sama Peckinpaha, Waltera Hilla i Michaela Manna te “gun fu” akciće Johna Wooa iz vrste tzv. herojskog krvoprolića, snimajući akcijski eastern “slow motion” intenziteta. ”Za šaku dolara”, “Dobar, loš zao”, “Bilo jednom na Divljem zapadu”, “Divlja horda”, “Teksaški graničar”, “Posljednji preživjeli”, “Vrućina”, “Žestoki policajac” i “Teška meta” referentne su točke za hongkonškog redatelja koji se dotad (“Misija”, “Vijest dana”, “Izbori 1&2”) i otad (“Osveta”) s punim pravom smatrao nasljednikom Wooa.

Godine 2007. čak se i “Umri muški 4.0” kao pripadnik stare škole akcije oslanjao na modernost u priči o hakerskim “cyber” teroristima i vizualnim efektima s tračkom računalne kozmetike. “Exiled” je bio maksimalno staromodan u akcijskom iskazu i jedina njegova modernost jest CGI krv (umjesto rasprskavajućih kesica) koju je ostavio u nasljeđe akcijama dvijetisuće i desetih, od “Plaćenika” do “Johna Wicka”.

Likovi su arhetipski, kao i postavka. Gangsteri Blaze i Fat (Anthony Wong, Lam Suet) poslani su da ubiju bivšega gangstera, nekadašnjeg prijatelja Woa (Nick Cheung), zato što se drznuo potegnuti pištolj na bossa Faya (Simon Yam), povući iz posla i pobjeći iz Hong Konga u Makao, gdje se skrasio s ženom (Josie Ho) i ima malo dijete, dok ih kolege Cat i Tai (Roy Cheung, Francis Ng) pokušavaju nagovoriti da mu poštede život.

Svu četvoricu, kao i Woa, upoznajemo u sporogoreće eksplozivnom uvodu filma s morriconeovskom glazbom i leoneovskim nervom za iščekivanjem “pure cinema” akcije a la “Once Upon a Time in the West” (napeto ključanje kuhala na štednjaku, poetično vijorenje zelenih zavjesa) prije nego što će početi prebirati metke u pištoljima i pucati jedni na druge kao kod Peckinpaha i Wooa u “The Wild Bunch” i “Hard Boiled”.

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To demonstrira raspištoljenu akcijsko-koreografsku virtuoznost kad gangsteri mecima pokreću limenku i vrata, da bi potom proglasili primirje i odlučili sjesti i popričati uz rezance kao ljudi “odrasli zajedno” te dogovorili posljednji zajednički posao (pljačka tone zlata) koji će ih, dakako, dovesti u revolveraški sukob s Fayem.

Prvi bliski susret s Fayem događa se u restoranu gdje su svi gosti naoružani (“Svatko danas nosi pištolj”) i boss i Wo će u sveopćoj pucnjavi popiti metak. Nakon što drugari odvedu Woa kod kirurga specijaliziranog za pacijente iz podzemlja, tamo će na “krpanje” doći i ozlijeđeni Fay sa svojim pajdašima. Kad skuže jedni druge, prethodna pucačina dobiva još žešći nastavak.

U svakoj sceni, snimljenoj za šaku akcije i melankolije, To sjajno profilira likove kroz imidž i govor tijela, počevši od Blazea koji se “skriva iza naočala”, odnosno skriva krivnju da je uopće prihvatio zadatak ubiti prijatelja. Motive lojalnosti, prijateljstva, kodeksa i časti pod svaku cijenu, To je izvrsno uklopio u priču i stvorio jedan od najboljih filmova o bratstvu lopova i braći po oružju, ne samo ponajbolju novomilenijsku azijsku akciju uz “Raciju”, “Tajlandskog ratnika” i “Žuto more”.

Mitologija vesterna također je dojmljivo sprovedena, s nekim zgodnim inverzijama poput bebine narukvice nalik zvečki kao zamjene za mamuze i moderniziranjem akcijske kaubojštine ili kaubojskog akcijašenja u “zagrizi metak” završnici, sjetnoj i fatalističkoj koja označava svršetak jedne epohe kao u “Bilo jednom na Divljem zapadu” i “Divljoj hordi”.

Revolverašenje u usporenom pokretu do posljednjeg metka traje točno onoliko koliko treba da limenka “Red Bulla”, ispucana u zrak poput nogometne lopte, padne na pod. “Prognani” (i “Tesla”) su s praskom otišli u povijest. To je To.

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Politički podzaplet zove u sjećanje pozadinu slično žanriranog "Paklenog udara" s akcijom koja se odvija tijekom predaje Hong Konga kineskoj vlasti 1997. godine.

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Podudarnost je nevjerojatna da je baš hongkonški film Johnnieja Toa “Prognani” (“Fong juk”/”Exiled”, 2006.) igrao za kraj kina “Tesla”. Ambijentacija “Prognanih” u portugalsku koloniju Makao koncem 1998., netom prije nego što je prepušten Kini, prilično je simbolična u ovom kontekstu kraja jedne ere i smjene vlasti (mala gradska kina – veliki multipleksi). “Vremena se mijenjaju”, netko kaže u filmu.

Pored toga, “Exiled” je jedan od najmelankoličnijih i najnostalgičnijih novomilenijskih akcijskih filmova koji zarana iscrtava neizbježni fatum njegovih likova i najavljuje nesretan završetak, a i zagledan je u žanrovsku bolju prošlost (iz zlatnih dana “Tesle”) dok se nalazi na razmeđi sadašnjosti i budućnosti, Istoka i Zapada.

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FILM: Fong juk/Exiled; akcija; Hong Kong, 2006. REŽIJA: Johnnie To ULOGE: Anthony Wong, Nick Cheung OCJENA: **** ½

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Umjesto krvavih špageta To u “Prognanima” kuha olovne rezance i kune se u muške vesternske, neovesternske i kriminalističke akcije Sergija Leonea, Sama Peckinpaha, Waltera Hilla i Michaela Manna te “gun fu” akciće Johna Wooa iz vrste tzv. herojskog krvoprolića, snimajući akcijski eastern “slow motion” intenziteta. ”Za šaku dolara”, “Dobar, loš zao”, “Bilo jednom na Divljem zapadu”, “Divlja horda”, “Teksaški graničar”, “Posljednji preživjeli”, “Vrućina”, “Žestoki policajac” i “Teška meta” referentne su točke za hongkonškog redatelja koji se dotad (“Misija”, “Vijest dana”, “Izbori 1&2”) i otad (“Osveta”) s punim pravom smatrao nasljednikom Wooa.

Godine 2007. čak se i “Umri muški 4.0” kao pripadnik stare škole akcije oslanjao na modernost u priči o hakerskim “cyber” teroristima i vizualnim efektima s tračkom računalne kozmetike. “Exiled” je bio maksimalno staromodan u akcijskom iskazu i jedina njegova modernost jest CGI krv (umjesto rasprskavajućih kesica) koju je ostavio u nasljeđe akcijama dvijetisuće i desetih, od “Plaćenika” do “Johna Wicka”.

Likovi su arhetipski, kao i postavka. Gangsteri Blaze i Fat (Anthony Wong, Lam Suet) poslani su da ubiju bivšega gangstera, nekadašnjeg prijatelja Woa (Nick Cheung), zato što se drznuo potegnuti pištolj na bossa Faya (Simon Yam), povući iz posla i pobjeći iz Hong Konga u Makao, gdje se skrasio s ženom (Josie Ho) i ima malo dijete, dok ih kolege Cat i Tai (Roy Cheung, Francis Ng) pokušavaju nagovoriti da mu poštede život.

Svu četvoricu, kao i Woa, upoznajemo u sporogoreće eksplozivnom uvodu filma s morriconeovskom glazbom i leoneovskim nervom za iščekivanjem “pure cinema” akcije a la “Once Upon a Time in the West” (napeto ključanje kuhala na štednjaku, poetično vijorenje zelenih zavjesa) prije nego što će početi prebirati metke u pištoljima i pucati jedni na druge kao kod Peckinpaha i Wooa u “The Wild Bunch” i “Hard Boiled”.

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To demonstrira raspištoljenu akcijsko-koreografsku virtuoznost kad gangsteri mecima pokreću limenku i vrata, da bi potom proglasili primirje i odlučili sjesti i popričati uz rezance kao ljudi “odrasli zajedno” te dogovorili posljednji zajednički posao (pljačka tone zlata) koji će ih, dakako, dovesti u revolveraški sukob s Fayem.

Prvi bliski susret s Fayem događa se u restoranu gdje su svi gosti naoružani (“Svatko danas nosi pištolj”) i boss i Wo će u sveopćoj pucnjavi popiti metak. Nakon što drugari odvedu Woa kod kirurga specijaliziranog za pacijente iz podzemlja, tamo će na “krpanje” doći i ozlijeđeni Fay sa svojim pajdašima. Kad skuže jedni druge, prethodna pucačina dobiva još žešći nastavak.

U svakoj sceni, snimljenoj za šaku akcije i melankolije, To sjajno profilira likove kroz imidž i govor tijela, počevši od Blazea koji se “skriva iza naočala”, odnosno skriva krivnju da je uopće prihvatio zadatak ubiti prijatelja. Motive lojalnosti, prijateljstva, kodeksa i časti pod svaku cijenu, To je izvrsno uklopio u priču i stvorio jedan od najboljih filmova o bratstvu lopova i braći po oružju, ne samo ponajbolju novomilenijsku azijsku akciju uz “Raciju”, “Tajlandskog ratnika” i “Žuto more”.

Mitologija vesterna također je dojmljivo sprovedena, s nekim zgodnim inverzijama poput bebine narukvice nalik zvečki kao zamjene za mamuze i moderniziranjem akcijske kaubojštine ili kaubojskog akcijašenja u “zagrizi metak” završnici, sjetnoj i fatalističkoj koja označava svršetak jedne epohe kao u “Bilo jednom na Divljem zapadu” i “Divljoj hordi”.

Revolverašenje u usporenom pokretu do posljednjeg metka traje točno onoliko koliko treba da limenka “Red Bulla”, ispucana u zrak poput nogometne lopte, padne na pod. “Prognani” (i “Tesla”) su s praskom otišli u povijest. To je To.

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Politički podzaplet zove u sjećanje pozadinu slično žanriranog "Paklenog udara" s akcijom koja se odvija tijekom predaje Hong Konga kineskoj vlasti 1997. godine.

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StoryEditorOCM
Film & TVCINEMARK RETRO(PER)SPEKTIVA

‘Prognani‘: Za šaku akcije i melankolije

Piše Marko Njegić
24. studenog 2022. - 17:53
23834195
PREMIUM
Galerija

Podudarnost je nevjerojatna da je baš hongkonški film Johnnieja Toa “Prognani” (“Fong juk”/”Exiled”, 2006.) igrao za kraj kina “Tesla”. Ambijentacija “Prognanih” u portugalsku koloniju Makao koncem 1998., netom prije nego što je prepušten Kini, prilično je simbolična u ovom kontekstu kraja jedne ere i smjene vlasti (mala gradska kina – veliki multipleksi). “Vremena se mijenjaju”, netko kaže u filmu.

Pored toga, “Exiled” je jedan od najmelankoličnijih i najnostalgičnijih novomilenijskih akcijskih filmova koji zarana iscrtava neizbježni fatum njegovih likova i najavljuje nesretan završetak, a i zagledan je u žanrovsku bolju prošlost (iz zlatnih dana “Tesle”) dok se nalazi na razmeđi sadašnjosti i budućnosti, Istoka i Zapada.

Umjesto krvavih ...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#AKCIJSKIFILMOVI#HONGKONŠKI FILMOVI#JOHNNIE TO#KINO TESLA#AZIJSKI FILMOVI
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