| Rijetko se susrece film koji posjeduje takvu mirnocu kao The Cider House Rules,
ali istovremeno zadrzava strast za zivotom i jacinu socijalne kritike. To je jedan od onih
tihih filmova koje nose pazljivo odabrani glumci i ujednacen scenario. Tokom gledanja
filma, gotovo se i ne primijeti jacina s kojom vas film obuzima i ne popusta, vec tek
nakon zavrsetka projekcije postanemo svjesni da smo prisustvovali necemu zaista velikom.
Kao sto vec rekoh, razlozi za to leze u glavnim ulogama, a ovdje ih ima na pretek. Michael
Caine koji vec skoro pola vijeka igra najortodoksnije cockney britance, ovaj put je
navjezbao naglasak sa sjeveroistoka SAD. Tu je i Charlize Theron, koju znamo po
senzualnim, ali emotivno jakim likovima (Two days in the valley, Mighty Joe Young,
Astronaut's wife), kao i po naslovnoj stranici Playboya. Manju ulogu takodjer ima i
pjevacica Erikah Badu, ali je teret najvaznije uloge u filmu pao na mladjahna pleca Tobeya
Maguirea. Ovaj 25godisnjak sa licem tinejdzera imao je sjajne uloge u kriticki vrlo
hvaljenim filmovima poput Pleasentville i Ice Storm, a od prije nekoliko dana igra i u
filmu Wonder Boys, rame uz rame sa oskarovcima Michaelom Douglasom i Frances MacDormand, u
reziji Curtisa Hansona (LA Confidential). On ovdje igra Homera Wellsa, siroceta koje je
bezuspjesno usvajano dva puta i kojeg Caine, upravnik sirotista i klinike za abortuse,
prihvata kao svog ucenika. Maguire glumi gotovo bez izraza, ali je to zapravo bez napora,
i gledalac ne moze da mu ne povjeruje u njegovoj osupnutosti svijetom koji pocinje da
otkriva. Vrlo suptilno, gotovo u trecem planu, Lasse Hallstrom provlaci pitanje rasne
netrpeljivosti, klasnih razlika, abortusa, a uvijek je prisutna i ratna prijetnja. Ovaj
film nema mozda orkansku snagu za pobjedu protiv American Beauty ili The Hurricane, ali
svakako zasluzuje da se ravnopravno nadmece s njima za najvecu filmsku nagradu. |
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Rarely we
see a movie that has such calmness as The Cider House Rules, but at the same time retains
the passion for life and the power of the social critique. It's one of those quiet movies,
carried by very careful casting and a precisely paced screenplay. During the screening,
the power with which the movie overpowers you and doesn't let go is almost unnoticable,
but only after the movie ends we become aware that we have witnessed something very
important. As I said, the reasons for that are mainly in the starring roles, which are a
plenty here. Michael Caine, who plays cockney Brits for almost half a century, has had
himself coached in the New England accent. There's also Charlize Theron, known for her
sensual, but strong characters (Two Days In The Valley, Mighty Joe Young, Astronaut's
Wife), as well as for her Playboy cover and pictorial. Smaller role is played by a singer
Erikah Badu, but the burden of the most important role in the movie lies solely on the
young shoulders of Tobey Maguire. This 25 year old man with a face of the teenager has had
roles in the critically acclaimed films such as Pleasentville and Ice Storm, and since a
few days ago, he can be seen in Wonder Boys, alongside Oscar winners Michael Douglas and
Frances MacDormand, directed by Curtis "LA Confidential" Hanson. Here, he plays
Homer Wells, an orphan that's unsuccessfully adopted twice and which Caine, head doctor of
the orphanage and abortion clinic, accepts as his protege and apprentice. Maguire's acting
seems expressionless, but it's in fact effortless, and the viewer cannot help but believe
his overwhelming feeling of discovering the new world. Very subtly, Lasse Hallstrom makes
some fine points about racial hatred, social differences, abortion and there is a constant
war threat. This movie may not have the hurricane strength of The Hurricane or the beauty
of American Beauty, but by all means deserves to compete with them for the top cinematic
prize. |