| Kao
sto i sami vec znate, Sixth Sense je vrlo pametan film. Pocnete ga gledati kao najobicniji
horror, ali na kraju se zapitate ko je ovdje lud. Film ima solidnu pricu koja se
razradjuje postepeno i pazljivo. Likovi su dobri, trodimenzionalni, a Willis i mali Osment
igraju odlicno. Svidja mi se nacin na koji film napravi od mene budalu na kraju, ali kraj
funkcionise i kao vrlo emotivno rjesenje braka izmedju Willisa i njegove zene (Olivia
Williams). Vrlo je uspjela ideja da se prividno srediste filma pomjeri od odnosa izmedju
Willisa i malog na odnos Willisa i Williamsove. Tek onda smo u stanju razumjeti ne samo
njen lik, nego i njegov. Naravno, u Wilisovoj izvedbi se primjecuje sjena njegovog
nedavnog bolnog razvoda sa Demi Moore, cije tragove nalazimo i u filmu Story of Us, koji
jos podrobnije istrazuje pitanje poljuljanog braka. Mali Osment zaista vidi mrtve ljude
koji ne zele prihvatiti da su mrtvi, ali nase odbijanje da to prihvatimo ne dozvoljava nam
da primijetimo i najociglednije stvari, koje je ovdje opasno opisivati, zbog mnogih
citalaca koji jos nisu pogledali film. Scena u kojoj Osment komunicira sa umrlom
djevojcicom na njenom vlastitom opijelu je strasna u svakom smislu, ali takve scene
uglavnom pocivaju samo na njegovoj istinskoj glumackoj sposobnosti. U filmu ima i
simbolizma sa bojama, pa Willisa nervira sve sto je crveno, ukljucujuci i steku na vratima
od podruma, za koja kasnije saznajemo.... oops... Medjutim, gdje god da krenem u
opisivanju svih elemenata i nivoa na kojima film funkcionise, uvijek se vratim na njih
dvoje i na tragicnost i istinitost njihove ljubavi. Misteriozni mladi posjetilac koji se
nada ljubavnoj iskri, nedostatak komunikacije na veceri prilikom godisnjice braka i jos
mnogi detalji, predstavljaju nagovjestaje konacnog rjesenja koje na kraju postaje tako
bolno ocigledno, ali i vrlo efektivno i originalno. A originalnost je nesto sto treba
pozdraviti, u svakoj umjetnosti. |
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As you already may know, Sixth Sense is a very smart movie. You
start watching it like your regular blockbuster horror, but by the end, you wonder who's
crazy around here. Film has a very solid story line, that develops gradually and
carefully. Characters are good, three-dimensional, and Willis and little Osment are great.
I, for one, like the way the movie makes a fool of me at the end, but the ending works as
a very emotional resolution of the marriage between Willis and her wife, played by Olivia
Williams. The idea to move the apparent focus of the movie from the relationship between
the two guys to the one between the spouses is very successful. Only after the ending of
the movie are we able to understand not only her character, but his as well. Of course, in
Willis' performance the shadow of his painful divorce from Demi Moore is evident, the
shadow that can be seen in the movie Story Of Us, that even more closely explores the
issue of the troubled marriage. Little Osment really does see dead people that don't want
to accept their own death, but our refusal to accept something so absurd prevents us from
noticing even the most obvious details, that don't need to be mentioned here, for the
danger that most readers have not seen the movie yet. The scene where a kid communicates
with the dead girl at her own wake is terriffic and terrifying, but such scenes mostly
rely only on his own true acting ability. There's a lot of symbolism about colors as well,
so Willis is irritated with everything red, including the knob on the door to the
basement, which were.... oops... Anyway, wherever I go in describing all the elements and
levels on which the movie communicates, I always go back to the tragic and true love
story. There is the mysterious young visitor, hoping for a spark of love, lack of
conversation on the anniversary dinner and many other details, that represent the hints of
the final solution that becomes so painfully obvious, but also very effective and
original. And originality is something that needs to be supported, in any art. |