| Of course it's not a soft porn, even though we are blessed with the
sight of Nicole's somewhat thin behind in the opening seconds of the movie. But, to tell
the truth, I wasn't sure myself what this movie was until the unexpected turn it took in
the middle part. It was too weird to believe, but whoever thought old Stan went crazy,
soon was proven wrong. Nothing happened by accident in any of his movies, and EWS is not
an exception. Yes, the scene in the mansion is weird enough, even with computer generated
deceivers of our sex-lusted eyes. But what was it actually? Was it Tom's reality, or just
Nicole's dream? You want answers from Kubrick? Not likely. He's neither your moralistic
Spielberg nor entertaining Sonnenfeld. Not even your relaxed but crisp Scorsese. Stan
wants to make you think, come up with your own answers. And if at first you don't succeed,
you are probably asking the wrong questions. There is no point in telling the
story of the movie here, but I have to give kudos to the actors, especially Kidman, whose
role is second in importance, but first in intensity. The real gem is the performance of
Sydney Pollack as ridiculously rich and amoral friend of Cruise's. He's not in the movie
for long, but he leaves a strong impression, as well as Rade Serbedzija. He plays the
weird immigrant owner of the costume shop, and I felt kind of proud to have known his
brilliant work for 20 years before he was discovered by American audience (he also played
in "Saint" and "Mighty Joe Young"). And, of course, there is Tom
Cruise, who was not able to impress me in "The Firm", "Rain Man" or
"Born On the Fourth Of July". But under steady guiding hand of Stanley Kubrick,
he came so close. The transformation and the development of his character is very detailed
and accurate, and he was able to carry the movie till the surprising end.
And last but not least,
this movie speaks volumes about the talents and visions of Stanley Kubrick himself. The
grainy quality of the celluloid tape, gold and red color filters like in "The
Shining", endless sequences without dialogue, as in "2001", bizarre
settings like in "Clockwork Orange", everything bears a visible Kubrick mark.
Whether the anemic Oscars acknowledge EWS as a true masterpiece, it will remain as a
worthy ending to a brilliant career of one of the best directors in Hollywood history.
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Naravno da ovo
nije meki pornic, iako smo u prilici uzivati u prizoru Nicoline potanke pozadine u uvodnim
sekundama filma. Istini za volju, nisam ni sam bio siguran sta je ovaj film sve do
neocekivanog zaokreta u sredisnjem dijelu. Bilo je to previse cudno za povjerovati, ali ko
god je mislio da je stari dobri Stan poludio, uskoro se pokazalo da nije u pravu. Nista se
ni u jednom njegovom filmu ne desava slucajno, i Eyes Wide Shut nije izuzetak. Da, scena u
zamku je zaista cudna, cak i sa kompjuterski generisanim obmanjivacima nasih seksom
opsjednutih ociju. Ali, sta je ona zapravo? Tomova stvarnost ili samo Nicolin san? Trazite
odgovore od Kubricka? Sa srecom. On vam nije ni moralizatorski Spielberg, ni zabavni
Sonnenfeld, cak ni napeti Scorsese. Stan hoce da vas natjera da mislite svojom glavom, da
dodjete sami do vlastitih odgovora. I ako vam ne podje za rukom od prve, vjerovatno
postavljate pogresna pitanja. Nema svrhe ovdje prepricavati fabulu filma, ali moram
odati priznanje glumcima, posebno Nicole Kidman. Njena uloga je mozda druga po vaznosti,
ali je prva po intenzitetu. Stvarni dragulj je Sydney Pollack (poznatiji kao reziser
filmova "Out of Africa" i "Tootsie"), kao bezobrazno bogati i amoralni
Tomov prijatelj. Iako se u filmu ne pojavljuje cesto, ostavlja jak utisak, bas kao i Rade
Serbedzija. Rade igra uvrnutog vlasnika prodavnice kostima sa bizarnim smislom za
odgajanje tinejdzera. Bio sam prilicno ponosan sto sam poznavao njegov talent vec dvadeset
godina, mnogo prije nego sto ga je otkrila americka publika (igrao je i u
"Saint" i "Mighty Joe Young"). I naravno, tu je i Tom Cruise, koji me
nije uspio impresionirati ni u "The Firm", "Rain Man" ni u "Born
On the Fourth Of July". Pod sigurnom rukom Stanleya Kubricka, dosao je blizu.
Transformacije i razvoj njegovog lika su vrlo detaljni i precizni, a on je bio u stanju da
nosi film sve do iznenadjujuceg kraja.
Na kraju, ali ne i najmanje vazno, ovo
je film koji govori mnogo o talentu i vizijama samog Stanleya Kubricka. Zrnasti kvalitet
kadrova, upotreba zlatne i crvene boje kao u "The Shining", beskrajne sekvence
bez dijaloga, kao u "2001", bizarne lokacije, poput "Clockwork
Orange", sve u ovom filmu nosi vidljiv Kubrickov zig. Bez obzira na to da li ce
anemicni Oscari prkositi mnogim kriticarima i prepoznati "Eyes Wide Shut" kao
pravo remek-djelo, ovaj film je dostojan kraj briljantne karijere jednog od najboljih
reditelja u istoriji filma. |