34/2003 - HFS

Hrvat. film. ljeto, Zagreb / god 9 (2003), br. 34, str. 221 do 228 Sa`eci / AbstractsVjeran Pavlini}ProtestUDK: 791.44.071.1 Had`i}, F.Protest ve} od drugoga kadra i pogleda na Bekima Fehmiuau zgu`vanom baloneru, kako uokviren razbijenim podrumskimprozorom i pra}en glazbom kakva se danas obi-~ava nazivati crime jazz odlazi na put samoubojstva, ugo|ajemneodoljivo podsje}a na svijet klasi~noga ameri~kog filmnoirea, ili pak na Beckerove, Clouzotove ili Melvilleove {etnjefrancuskim podzemljem, pri ~emu komunisti~ki rukovoditeljisa svojim zalizanim frizurama i ko{~atim licima asocirajuna mafija{ke vo|e, a predstavnici radni~ke klase u zadimljenojkuglani na sitne ribe iz pari{kog kriminalnog miljea.Kada bi hrvatski filmofil prijatelju iz tu|ine po`elio do~aratikakva je to okusa i mirisa bio `ivot u predzi|u `eljeznezavjese drugom polovicom 20. stolje}a, posegnuo bi upravoza ovim ili nekim drugim Had`i}evim filmom ’suvremenetematike’. U svjetlu trenutne revalorizacije Had`i}a kaofilmskog autora, usmjerene kako na ponovno i{~itavanje pojedinihfilmova, tako i na tra`enje ponovljenih motiva u njegovuna prvi pogled vrlo nekoherentnom opusu, Protest sekristalizira kao autorovo sredi{nje djelo. Od reflektiranjadru{tvenih kretanja kroz prizmu neprilago|enog pojedinca,preko ukorijenjenosti radnje u doga|ajima iz pro{losti junaka(Druga strana medalje, 1965; Lov na jelene, 1972; Ambasador,1984), do `anrovskih premaza (Abeceda straha,1961; Divlji an|eli, 1969), pa ~ak i Lov na jelene koji pri-~om o junaku koji se vra}a u mali grad kako bi ra{~istio nerije{enera~une s lokalnim mo}nikom neodoljivo podsje}ana neke klasi~ne vestern-predlo{ke), Protest objedinjuje autorskekonstante va`ne za sve eventualne budu}e studije oHad`i}u, predstavljaju}i se time i kao idealna polazi{na to~kaza bolje razumijevanje njegova filmotvorstva uop}e.Vjeran Pavlini}The ProtestUDK: 791.44.071.1 Had`i}, F.From the second scene and the view of Bekim Fehmiu in awrinkled raincoat as he, framed by a broken basement windowand accompanied by the music that is nowadays referredto as crime jazz, goes towards the suicide, reminds us ofthe world of classical American film noir, or of Becker’s,Clouzotov’s or Melville’s walk through French crime scene,while communist officials with their conservative hair stylesand bony faces remind us of mafia bosses, and those representingworking class in a bowling alley filled with cigarettesmoke, remind us of small fish of criminal milieu of Paris. Ifa Croatian film lover would like to show a friend from abroadthe taste and smell of life in the neighbourhood of theiron curtain in the second part of the twentieth century, itcould be perfectly done by showing this or some other ’contemporary’film made by Had`i}. In the light of the ongoingre-evaluation of Had`i} as a director, focused on both re-readingof individual films, as well as search for recurring motifsin his, at first sight very incoherent, work, The Protest isestablishing itself as the key film. From reflecting socialtrends through the prism of maladjusted individuals, to theevents deeply rooted in the history of characters (The Reverseof the Medal, 1965; The Deer Hunt, 1972; The Ambassador,1984), and genre impastos (The Alphabet of Fear, 1961;Wild Angels, 1969), and even The Deer Hunt, whose story ofa hero who returns to a small town in order to take care ofthe unresolved issues with a local bully reminds us of someclassic western patterns, The Protest combines author’s constantswhich are important for all possible future studies onHad`i}, representing a perfect starting point for better understandingof his work in the field of film in general.LJETOPISOV LJETOPISMarcella Jeli}KronikaAutorica opisuje klju~ne doga|aje u hrvatskoj kinematografijiu razdoblju od izlaska pro{loga broja Ljetopisa.CHROLNICLE’S CHRONICLEMarcella Jeli}ChronicleThe author depicts the key events in Croatian cinematographysince the last issue of Croatian Cinema Chronicle (aperiod of about three months).FESTIVALIKatarina Mari}Na granicama `anrovaUDK: 791.44.(497.5)”2002”061.7(497.5 Zagreb):791.43”2003”Kvalitativno solidne, standardne filmske kategorije — igrana,dokumentarna, namjenski film i videospotovi te eksperimentalnakategorija i animirani film ni na dvanaestim Dani-FESTIVALSKatarina Mari}On the borderlines of genre: Daysof Croatian FilmsUDK: 791.44.(497.5)”2002”061.7(497.5 Zagreb):791.43”2003”Qualitatively solid, standard short film categories — feature,documentary, special-purpose films (usually commercials)and video clips, experimental and animated film, ha-223H R V A T S K I F I L M S K I L J E T O P I S 33/2003.