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Stellaaaaaa!!! Jedan krik bio je dovoljan da lansira Marlona Branda u zvijezde. Takav krik baš se i nije se čuo na filmu prije Oscarom nagrađenog “Tramvaja zvanog čežnja” (“A Streetcar Named Desire”, 1951.). Nitko prije Branda nije utjelovio jedan tako vulkanski neobuzdan i fizički dominatan lik kao što je divlji Stanley Kowalski iz pera pisca/dramatičara Tennesseeja Williamsa, preseljen na film iz istoimenog kazališnog komada.

Odbijajući se povinuti dotadašnjim krutim glumačkim pravilima, Brando je glumio Kowalskog kao tramvaj bez voznog reda. Bio je glasan kao parnjača iz kaubojskih filmova i mogao izazvati efekt na ondašnjeg gledatelja gotovo poput lokomotive u “Dolasku vlaka u stanicu” braće Lumiere, kad su gledatelji uzmaknuli natrag na stolicama u kinu.

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FILM: A Streetcar Named Desire; drama; SAD 1951. REŽIJA: Elia Kazan ULOGE: Marlon Brando, Vivien Leigh OCJENA: *****

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Očajničko dozivanje Stelle (Kim Hunter) u rasparanoj majici po kiši perfektno svodi lik Kowalskog i Brandovu prijelomnu ulogu koja je podigla glumu na (naj)višu razinu i više ništa nakon toga nije bilo isto. Kao Kowalski, Brando ispušta sirovi urlik animalnog čovjeka, kromanjonca.

“On je kao životinja, ima životinjske navike. Ima čak i nečeg podljudskog u vezi njega. Tisuće godina su prošle pored njega i evo ga, Stanley Kowalski, preživio kameno doba”, opisuje ga Blanche DuBois (izvanredna Vivien Leigh; “Prohujalo s vihorom”), sredovječna učiteljica engleskog jezika i Stellina sestra.

Mentalno fragilna Blanche dolazi u New Orleans kod Stelle i njezinog zgodnog, ali agresivnog muža Stanleyja s kojim ubrzo ulazi u konflikt i među njima se rađa sve veći antagonistički odnos. Agresivni mačizam “Apolona radničke klase” pali kod Stelle koja zna da Stanley može biti i “dobar kao janje”, ali ne i sofisticiranije Blanche.

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Kowalski je predstavljen tijekom kavge na kuglanju. “Koji je on od njih?”, pita Blanche. “Onaj koji radi gungulu, zar ne izgleda prekrasno?”, odgovara Stella i kasnije otkrije sestri “Stanley je uvijek razbijao stvari. Prve bračne noći, čim smo ušli ovamo, zgrabio mi je jednu papuču i razbijao njome žarulje. To mi je na neki način bilo uzbudljivo”.

Iako je Kowalski odbojan Blanche, on potajice seksualno privlači ocvalu “femme fatale”, onako markantan i mišićav, posebice u odnosu na prijatelja Harolda “Mitcha” Mitchella (Karl Malden) s kojim će ona doživjeti kratku romansu. Trenutak nakon što se upoznaju (“Ti si Stanley? Ja sam Blanche”), on pred njom skida znojnu majicu i presvuče se, a kasnije defilira i u potkošulji.

Tenzija između pripadnika dvaju različitih svjetova, aristokratkinje i grubijana, raste iz minute u minutu, što osim psihološki uslojenih i emotivno intenzivnih glumačkih partija potencira i režija Elija Kazana koji je režirao i kazališnu predstavu s Brandom, Hunter i Maldenom (Leigh je zamijenila Jessicu Tandy).

Kazan je smanjivao filmski set da sve više nalikuje kazališnome i povećavao uporabu krupnih planova, potencirajući intimnu dramsku tjeskobu i klaustrofobiju tijekom borbe klasa i spolova, feminizma i partijarhata u zavodljivoj crno-bijeloj fotografiji s puno karakternih nijansi sive.

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“Svaki muškarac je kralj, a ja sam kralj ovdje”, zagrmi Kowalski kojeg ni Stella ni Blanche neće uspjeti ukrotiti kao što je Kathy ukrotila Brandova Johnnyja Strablera u “Divljaku”. Dinamika između Leigh i Branda je fenomenalna: jedna uloga nadopunjuje drugu i nije izvediva bez nje. Dok je Leigh (zasluženo) osvojila Oscara, kao i Malden i Hunter, Brando je nepravedno ostao bez zlatnog kipića.

Oscara je osvojio Humprey Bogart za “Afričku kraljicu” nakon što mu je zlatni kipić nezasluženo promaknuo za legendarnu “Casablancu” (dobio ga je Paul Lukas za “Watch On The Rhine”), odigravši nedvojbeno odličnu ulogu, ali ne i “brandovski” prijelomnu.

Gluma na filmu dijeli se na vrijeme prije i poslije Branda u “Tramvaju zvanom čežnja”. Metodski stil glume ušao je na velika vrata u svijet kinematografije zahvaljujući Brandu kao marljivom učeniku “metode” Konstantina Stanislavskog, odnosno Leeja Strasberga koji je podučavao njegov tip naturalističke glume u “Actors Studiju”.

Stopostotna emotivna identifikacija s likom, tj. postajanje uloge i ostajanje u ulozi, rezultirali su dotad najvećim glumačkim realizmom i zauvijek promijenili glumu. Brando je utro put za Jamesa Deana, Jacka Nicholsona, Ala Pacina, Roberta De Nira, Seana Penna, Daniela Day–Lewisa, Christiana Balea... Stellaaaaaa!

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Prva od osam nominacija za Oscara

Ove godine se navršava 100 godina od Brandova rođenja. Za "Tramvaj zvan čežnja" Brando je bio prvi put nominiran za Oscara. Otad je osvojio još sedam nominacija ("Viva Zapata", "Julije Cezar", "Sayonara", "Posljednji tango u Parizu", "A Dry White Season"), a dvije su mu se pozlatile ("Na dokovima New Yorka", "Kum").

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Stellaaaaaa!!! Jedan krik bio je dovoljan da lansira Marlona Branda u zvijezde. Takav krik baš se i nije se čuo na filmu prije Oscarom nagrađenog “Tramvaja zvanog čežnja” (“A Streetcar Named Desire”, 1951.). Nitko prije Branda nije utjelovio jedan tako vulkanski neobuzdan i fizički dominatan lik kao što je divlji Stanley Kowalski iz pera pisca/dramatičara Tennesseeja Williamsa, preseljen na film iz istoimenog kazališnog komada.

Odbijajući se povinuti dotadašnjim krutim glumačkim pravilima, Brando je glumio Kowalskog kao tramvaj bez voznog reda. Bio je glasan kao parnjača iz kaubojskih filmova i mogao izazvati efekt na ondašnjeg gledatelja gotovo poput lokomotive u “Dolasku vlaka u stanicu” braće Lumiere, kad su gledatelji uzmaknuli natrag na stolicama u kinu.

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FILM: A Streetcar Named Desire; drama; SAD 1951. REŽIJA: Elia Kazan ULOGE: Marlon Brando, Vivien Leigh OCJENA: *****

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Očajničko dozivanje Stelle (Kim Hunter) u rasparanoj majici po kiši perfektno svodi lik Kowalskog i Brandovu prijelomnu ulogu koja je podigla glumu na (naj)višu razinu i više ništa nakon toga nije bilo isto. Kao Kowalski, Brando ispušta sirovi urlik animalnog čovjeka, kromanjonca.

“On je kao životinja, ima životinjske navike. Ima čak i nečeg podljudskog u vezi njega. Tisuće godina su prošle pored njega i evo ga, Stanley Kowalski, preživio kameno doba”, opisuje ga Blanche DuBois (izvanredna Vivien Leigh; “Prohujalo s vihorom”), sredovječna učiteljica engleskog jezika i Stellina sestra.

Mentalno fragilna Blanche dolazi u New Orleans kod Stelle i njezinog zgodnog, ali agresivnog muža Stanleyja s kojim ubrzo ulazi u konflikt i među njima se rađa sve veći antagonistički odnos. Agresivni mačizam “Apolona radničke klase” pali kod Stelle koja zna da Stanley može biti i “dobar kao janje”, ali ne i sofisticiranije Blanche.

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Kowalski je predstavljen tijekom kavge na kuglanju. “Koji je on od njih?”, pita Blanche. “Onaj koji radi gungulu, zar ne izgleda prekrasno?”, odgovara Stella i kasnije otkrije sestri “Stanley je uvijek razbijao stvari. Prve bračne noći, čim smo ušli ovamo, zgrabio mi je jednu papuču i razbijao njome žarulje. To mi je na neki način bilo uzbudljivo”.

Iako je Kowalski odbojan Blanche, on potajice seksualno privlači ocvalu “femme fatale”, onako markantan i mišićav, posebice u odnosu na prijatelja Harolda “Mitcha” Mitchella (Karl Malden) s kojim će ona doživjeti kratku romansu. Trenutak nakon što se upoznaju (“Ti si Stanley? Ja sam Blanche”), on pred njom skida znojnu majicu i presvuče se, a kasnije defilira i u potkošulji.

Tenzija između pripadnika dvaju različitih svjetova, aristokratkinje i grubijana, raste iz minute u minutu, što osim psihološki uslojenih i emotivno intenzivnih glumačkih partija potencira i režija Elija Kazana koji je režirao i kazališnu predstavu s Brandom, Hunter i Maldenom (Leigh je zamijenila Jessicu Tandy).

Kazan je smanjivao filmski set da sve više nalikuje kazališnome i povećavao uporabu krupnih planova, potencirajući intimnu dramsku tjeskobu i klaustrofobiju tijekom borbe klasa i spolova, feminizma i partijarhata u zavodljivoj crno-bijeloj fotografiji s puno karakternih nijansi sive.

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“Svaki muškarac je kralj, a ja sam kralj ovdje”, zagrmi Kowalski kojeg ni Stella ni Blanche neće uspjeti ukrotiti kao što je Kathy ukrotila Brandova Johnnyja Strablera u “Divljaku”. Dinamika između Leigh i Branda je fenomenalna: jedna uloga nadopunjuje drugu i nije izvediva bez nje. Dok je Leigh (zasluženo) osvojila Oscara, kao i Malden i Hunter, Brando je nepravedno ostao bez zlatnog kipića.

Oscara je osvojio Humprey Bogart za “Afričku kraljicu” nakon što mu je zlatni kipić nezasluženo promaknuo za legendarnu “Casablancu” (dobio ga je Paul Lukas za “Watch On The Rhine”), odigravši nedvojbeno odličnu ulogu, ali ne i “brandovski” prijelomnu.

Gluma na filmu dijeli se na vrijeme prije i poslije Branda u “Tramvaju zvanom čežnja”. Metodski stil glume ušao je na velika vrata u svijet kinematografije zahvaljujući Brandu kao marljivom učeniku “metode” Konstantina Stanislavskog, odnosno Leeja Strasberga koji je podučavao njegov tip naturalističke glume u “Actors Studiju”.

Stopostotna emotivna identifikacija s likom, tj. postajanje uloge i ostajanje u ulozi, rezultirali su dotad najvećim glumačkim realizmom i zauvijek promijenili glumu. Brando je utro put za Jamesa Deana, Jacka Nicholsona, Ala Pacina, Roberta De Nira, Seana Penna, Daniela Day–Lewisa, Christiana Balea... Stellaaaaaa!

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Prva od osam nominacija za Oscara

Ove godine se navršava 100 godina od Brandova rođenja. Za "Tramvaj zvan čežnja" Brando je bio prvi put nominiran za Oscara. Otad je osvojio još sedam nominacija ("Viva Zapata", "Julije Cezar", "Sayonara", "Posljednji tango u Parizu", "A Dry White Season"), a dvije su mu se pozlatile ("Na dokovima New Yorka", "Kum").

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Tramvaj zvan čežnja‘: Kako je Marlon postao Brando

Piše Marko Njegić
15. siječnja 2024. - 11:50
26353857
Galerija
Warner Bros/Collection Christophel Via Afp

Stellaaaaaa!!! Jedan krik bio je dovoljan da lansira Marlona Branda u zvijezde. Takav krik baš se i nije se čuo na filmu prije Oscarom nagrađenog “Tramvaja zvanog čežnja” (“A Streetcar Named Desire”, 1951.). Nitko prije Branda nije utjelovio jedan tako vulkanski neobuzdan i fizički dominatan lik kao što je divlji Stanley Kowalski iz pera pisca/dramatičara Tennesseeja Williamsa, preseljen na film iz istoimenog kazališnog komada.

Odbijajući se povinuti dotadašnjim krutim glumačkim pravilima, Brando je glumio Kowalskog kao tramvaj bez voznog reda. Bio je glasan kao parnjača iz kaubojskih filmova i mogao izazvati efekt na ondašnjeg gledatelja gotovo poput lokomotive u “Dolasku vlaka u stanicu” braće Lumiere, kad su gledatelji uzmaknuli natrag na stolicama u kinu.

FILM: A Streetcar Named Desire; drama; SAD 1951. REŽIJA: Elia Kazan ULOGE: Marlon Brando, Vivien Leigh OCJENA: *****

Očajničko dozivanje Stelle (Kim Hunter) u rasparanoj majici po kiši perfektno svodi lik Kowalskog i Brandovu prijelomnu ulogu koja je podigla glumu na (naj)višu razinu i više ništa nakon toga nije bilo isto. Kao Kowalski, Brando ispušta sirovi urlik animalnog čovjeka, kromanjonca.

“On je kao životinja, ima životinjske navike. Ima čak i nečeg podljudskog u vezi njega. Tisuće godina su prošle pored njega i evo ga, Stanley Kowalski, preživio kameno doba”, opisuje ga Blanche DuBois (izvanredna Vivien Leigh; “Prohujalo s vihorom”), sredovječna učiteljica engleskog jezika i Stellina sestra.

Mentalno fragilna Blanche dolazi u New Orleans kod Stelle i njezinog zgodnog, ali agresivnog muža Stanleyja s kojim ubrzo ulazi u konflikt i među njima se rađa sve veći antagonistički odnos. Agresivni mačizam “Apolona radničke klase” pali kod Stelle koja zna da Stanley može biti i “dobar kao janje”, ali ne i sofisticiranije Blanche.

Kowalski je predstavljen tijekom kavge na kuglanju. “Koji je on od njih?”, pita Blanche. “Onaj koji radi gungulu, zar ne izgleda prekrasno?”, odgovara Stella i kasnije otkrije sestri “Stanley je uvijek razbijao stvari. Prve bračne noći, čim smo ušli ovamo, zgrabio mi je jednu papuču i razbijao njome žarulje. To mi je na neki način bilo uzbudljivo”.

Iako je Kowalski odbojan Blanche, on potajice seksualno privlači ocvalu “femme fatale”, onako markantan i mišićav, posebice u odnosu na prijatelja Harolda “Mitcha” Mitchella (Karl Malden) s kojim će ona doživjeti kratku romansu. Trenutak nakon što se upoznaju (“Ti si Stanley? Ja sam Blanche”), on pred njom skida znojnu majicu i presvuče se, a kasnije defilira i u potkošulji.

Tenzija između pripadnika dvaju različitih svjetova, aristokratkinje i grubijana, raste iz minute u minutu, što osim psihološki uslojenih i emotivno intenzivnih glumačkih partija potencira i režija Elija Kazana koji je režirao i kazališnu predstavu s Brandom, Hunter i Maldenom (Leigh je zamijenila Jessicu Tandy).

Kazan je smanjivao filmski set da sve više nalikuje kazališnome i povećavao uporabu krupnih planova, potencirajući intimnu dramsku tjeskobu i klaustrofobiju tijekom borbe klasa i spolova, feminizma i partijarhata u zavodljivoj crno-bijeloj fotografiji s puno karakternih nijansi sive.

“Svaki muškarac je kralj, a ja sam kralj ovdje”, zagrmi Kowalski kojeg ni Stella ni Blanche neće uspjeti ukrotiti kao što je Kathy ukrotila Brandova Johnnyja Strablera u “Divljaku”. Dinamika između Leigh i Branda je fenomenalna: jedna uloga nadopunjuje drugu i nije izvediva bez nje. Dok je Leigh (zasluženo) osvojila Oscara, kao i Malden i Hunter, Brando je nepravedno ostao bez zlatnog kipića.

Oscara je osvojio Humprey Bogart za “Afričku kraljicu” nakon što mu je zlatni kipić nezasluženo promaknuo za legendarnu “Casablancu” (dobio ga je Paul Lukas za “Watch On The Rhine”), odigravši nedvojbeno odličnu ulogu, ali ne i “brandovski” prijelomnu.

Gluma na filmu dijeli se na vrijeme prije i poslije Branda u “Tramvaju zvanom čežnja”. Metodski stil glume ušao je na velika vrata u svijet kinematografije zahvaljujući Brandu kao marljivom učeniku “metode” Konstantina Stanislavskog, odnosno Leeja Strasberga koji je podučavao njegov tip naturalističke glume u “Actors Studiju”.

Stopostotna emotivna identifikacija s likom, tj. postajanje uloge i ostajanje u ulozi, rezultirali su dotad najvećim glumačkim realizmom i zauvijek promijenili glumu. Brando je utro put za Jamesa Deana, Jacka Nicholsona, Ala Pacina, Roberta De Nira, Seana Penna, Daniela Day–Lewisa, Christiana Balea... Stellaaaaaa!

Prva od osam nominacija za Oscara

Ove godine se navršava 100 godina od Brandova rođenja. Za "Tramvaj zvan čežnja" Brando je bio prvi put nominiran za Oscara. Otad je osvojio još sedam nominacija ("Viva Zapata", "Julije Cezar", "Sayonara", "Posljednji tango u Parizu", "A Dry White Season"), a dvije su mu se pozlatile ("Na dokovima New Yorka", "Kum").

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#KLASICI#MARLON BRANDO#TRAMVAJ ZVAN ČEŽNJA#VIVIEN LEIGH#FILMOVI 50-IH#ELIA KAZAN#DRAME#TENNESSEE WILLIAMS#OSKAROVSKI FILMOVI#KIM HUNTER#KARL MALDEN
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19. svibanj 2024 00:40