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Kolaž krupnih planova usana i očiju otvara film "Noćni recepcionar". Prepoznajemo da usne i oči pripadaju zvijezdi u usponu, neodoljivoj Ani de Armas ("Blade Runner 2049", "Nož u leđa", "Doušnik"). Istovremeno se, s obzirom na ime režisera Michaela Cristofera, prisjećamo krupnjaka usana i očiju Angeline Jolie u "Prvom grijehu".

Bio je to Cristoferov drugijenac nakon kojeg se činilo da su mu vrata Hollywooda otvorena. Međutim, Cristofer otad, dakle od davne 2001., nije režirao ništa sve do filma pred nama, noviteta na hrvatskom "online" videotržištu. Punih 19 godina čovjek je postio od režije. Tko čeka, taj i dočeka.

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FILM: The Night Clerk; triler; SAD, 2020. REŽIJA: Michael Cristofer ULOGE: Tye Sheridan, Ana de Armas OCJENA: **
 

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No, pokazalo se kako "The Night Clerk" baš i nije vrijedan čekanja, iako je na prvu djelovao da bi mogao isporučiti erotsko-trilersku "noirovštinu" s De Armas kao (dostojnom) nasljednicom femme-fatalne Angeline. Sada se Cristofer, izgleda, inspirirao Hitchcockom, parafrazirajući "Prozor u dvorište" i "Psiha", ali i "Noćnog čuvara" Olea Bornedala, triler s kraja devedesetih u kojem je Ewan McGregor igrao studenta na radnom mjestu "recepcionara" mrtvačnice.

U prvom planu je titularni noćni recepcionar hotela, mladi Bart (Tye Sheridan, novi "X-Men" filmovi, "Ready Player One"), čudak poput Normana Batesa, srećom ne i psiho, s voajerskim sklonostima lika Jamesa Stewarta iz Hitchova klasika "Rear Window". Bart ima oblik autizma znan kao Aspergerov sindrom i špijunira goste hotela ne bi li, promatrajući ljude, poboljšavao socijalnu interakciju i bio manje čudan ili "društveno nespretan", kako on kaže.

Svejedno, prilično je čudan i "creepy" budući da je postavio kamere i kod sebe doma, živeći u podrumu kuće nedaleko hotela i (nad)gledajući majku (neskorištena Helen Hunt) kako prilazi njegovoj sobi da mu (d)ostavi hranu. Zarana u filmu gledamo kako Bart pilji u multiple ekrane kao inačica Stewartova lika ili onoga Shije LaBeoufa u modernom "Prozoru u dvorište" zvanom "Paranoja".

Svaka hotelska soba je ekvivalent stanovima susjedne zgrade u "Rear Window", a poveznicu potvrđuje i ubojstvo. Jedne noći stradat će gošća Karen (Jacque Gray), lijepa žena koja, nedugo nakon što napravi "check in", prima muškarca u sobu, a njihova svađa rezultira pucnjevima i smrću.

Sve to je vidio Bart i zatrčao se prema hotelu ne bi li spasio Karen, da bi ipak stigao kasno i pronašao je beživotnu. Dolaskom policije i detektiva (još neiskorišteniji John Leguizamo), koji pronalazi jednu njegovu skrivenu kameru, Bart postaje potencijalni osumnjičeni za ubojstvo, baš kao McGregorov lik u "Nightwatch", a šef ga premješta u drugi hotel istog lanca, opet u noćnu smjenu.

Tamo "check in" radi zgodna Andrea (De Armas), spoj fatalne žene i djevojke iz susjedstva, s kojom Bart smjesta ostvaruje konekciju. "Zbog samoće radimo koješta", veli ona u trenutku iskrenosti. Andrea ima brata s Aspergovim sindromom i čini se kao da joj se Bart sviđa, a povezana je, da to možda i ne zna, sa slučajem ubojstva Karen.

Središnja trilerska misterija, tko je ubojica i zašto, čiji lako sastavljivi "puzzle" ("tetovaža") gledatelj sastavlja s Bartom, pokazuje se u konačnici nezanimljivom, neuzbudljivom pa i banalnom za fanove pravih ("hičkokovskih") trilera. Misterija je više za publiku sapunjara i reality showova koje Cristofer kao da podsvjesno parodira režijskim pristupom statičnih kadrova u ilustraciji pomodne televizijske invazije na privatnost.

Prava je, pak, misterija kako Cristofer od ovakve premise nije napravio barem solidan triler, ali možda su njegovi planovi bili drukčiji, autoironični spram žanra uzimajući u obzir "aspića" Barta, otprilike kao što je Edward Norton pristupio klasičnom "noiru" preko detektiva s Touretteovim sindromom u filmu "Brooklyn bez majke".

Kako bilo, "Noćni recepcionar" najslabije funkcionira kao triler, ali nešto bolje u formi karakterne studije iz domene američke "indie" kinematografije. Da je odložio trilerski zaplet po strani i fokusirao se na Barta, Cristofer bi imao materijala za nezavisnjačku, možda i oskarovsku humornu dramu na tragu "Kišnog čovjeka". Nažalost nije, a rezultat toga je film koji izgleda kao da je žanrovski "pogriješio sobu". Gledljiv, ali zaboravljiv. Za brzinski "check in" i još brži "check out".

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Ana kao Merlinka

Anu de Armas uskoro bi, osim u novom "Bondu", trebali gledati u trileru "Deep Water" povratnika Adriana Lynea na snimanju kojeg je stupila u vezu s partnerom Benom Affleckom, kao i u filmu "Blonde" gdje je utjelovila Merlinku.

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Kolaž krupnih planova usana i očiju otvara film "Noćni recepcionar". Prepoznajemo da usne i oči pripadaju zvijezdi u usponu, neodoljivoj Ani de Armas ("Blade Runner 2049", "Nož u leđa", "Doušnik"). Istovremeno se, s obzirom na ime režisera Michaela Cristofera, prisjećamo krupnjaka usana i očiju Angeline Jolie u "Prvom grijehu".

Bio je to Cristoferov drugijenac nakon kojeg se činilo da su mu vrata Hollywooda otvorena. Međutim, Cristofer otad, dakle od davne 2001., nije režirao ništa sve do filma pred nama, noviteta na hrvatskom "online" videotržištu. Punih 19 godina čovjek je postio od režije. Tko čeka, taj i dočeka.

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FILM: The Night Clerk; triler; SAD, 2020. REŽIJA: Michael Cristofer ULOGE: Tye Sheridan, Ana de Armas OCJENA: **
 

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No, pokazalo se kako "The Night Clerk" baš i nije vrijedan čekanja, iako je na prvu djelovao da bi mogao isporučiti erotsko-trilersku "noirovštinu" s De Armas kao (dostojnom) nasljednicom femme-fatalne Angeline. Sada se Cristofer, izgleda, inspirirao Hitchcockom, parafrazirajući "Prozor u dvorište" i "Psiha", ali i "Noćnog čuvara" Olea Bornedala, triler s kraja devedesetih u kojem je Ewan McGregor igrao studenta na radnom mjestu "recepcionara" mrtvačnice.

U prvom planu je titularni noćni recepcionar hotela, mladi Bart (Tye Sheridan, novi "X-Men" filmovi, "Ready Player One"), čudak poput Normana Batesa, srećom ne i psiho, s voajerskim sklonostima lika Jamesa Stewarta iz Hitchova klasika "Rear Window". Bart ima oblik autizma znan kao Aspergerov sindrom i špijunira goste hotela ne bi li, promatrajući ljude, poboljšavao socijalnu interakciju i bio manje čudan ili "društveno nespretan", kako on kaže.

Svejedno, prilično je čudan i "creepy" budući da je postavio kamere i kod sebe doma, živeći u podrumu kuće nedaleko hotela i (nad)gledajući majku (neskorištena Helen Hunt) kako prilazi njegovoj sobi da mu (d)ostavi hranu. Zarana u filmu gledamo kako Bart pilji u multiple ekrane kao inačica Stewartova lika ili onoga Shije LaBeoufa u modernom "Prozoru u dvorište" zvanom "Paranoja".

Svaka hotelska soba je ekvivalent stanovima susjedne zgrade u "Rear Window", a poveznicu potvrđuje i ubojstvo. Jedne noći stradat će gošća Karen (Jacque Gray), lijepa žena koja, nedugo nakon što napravi "check in", prima muškarca u sobu, a njihova svađa rezultira pucnjevima i smrću.

Sve to je vidio Bart i zatrčao se prema hotelu ne bi li spasio Karen, da bi ipak stigao kasno i pronašao je beživotnu. Dolaskom policije i detektiva (još neiskorišteniji John Leguizamo), koji pronalazi jednu njegovu skrivenu kameru, Bart postaje potencijalni osumnjičeni za ubojstvo, baš kao McGregorov lik u "Nightwatch", a šef ga premješta u drugi hotel istog lanca, opet u noćnu smjenu.

Tamo "check in" radi zgodna Andrea (De Armas), spoj fatalne žene i djevojke iz susjedstva, s kojom Bart smjesta ostvaruje konekciju. "Zbog samoće radimo koješta", veli ona u trenutku iskrenosti. Andrea ima brata s Aspergovim sindromom i čini se kao da joj se Bart sviđa, a povezana je, da to možda i ne zna, sa slučajem ubojstva Karen.

Središnja trilerska misterija, tko je ubojica i zašto, čiji lako sastavljivi "puzzle" ("tetovaža") gledatelj sastavlja s Bartom, pokazuje se u konačnici nezanimljivom, neuzbudljivom pa i banalnom za fanove pravih ("hičkokovskih") trilera. Misterija je više za publiku sapunjara i reality showova koje Cristofer kao da podsvjesno parodira režijskim pristupom statičnih kadrova u ilustraciji pomodne televizijske invazije na privatnost.

Prava je, pak, misterija kako Cristofer od ovakve premise nije napravio barem solidan triler, ali možda su njegovi planovi bili drukčiji, autoironični spram žanra uzimajući u obzir "aspića" Barta, otprilike kao što je Edward Norton pristupio klasičnom "noiru" preko detektiva s Touretteovim sindromom u filmu "Brooklyn bez majke".

Kako bilo, "Noćni recepcionar" najslabije funkcionira kao triler, ali nešto bolje u formi karakterne studije iz domene američke "indie" kinematografije. Da je odložio trilerski zaplet po strani i fokusirao se na Barta, Cristofer bi imao materijala za nezavisnjačku, možda i oskarovsku humornu dramu na tragu "Kišnog čovjeka". Nažalost nije, a rezultat toga je film koji izgleda kao da je žanrovski "pogriješio sobu". Gledljiv, ali zaboravljiv. Za brzinski "check in" i još brži "check out".

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Ana kao Merlinka

Anu de Armas uskoro bi, osim u novom "Bondu", trebali gledati u trileru "Deep Water" povratnika Adriana Lynea na snimanju kojeg je stupila u vezu s partnerom Benom Affleckom, kao i u filmu "Blonde" gdje je utjelovila Merlinku.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

NOĆNI REPEPCIONAR Voajerski triler koji je pogriješio sobu

Piše Marko Njegić
7. listopada 2020. - 22:20
14909520
PREMIUM
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Kolaž krupnih planova usana i očiju otvara film "Noćni recepcionar". Prepoznajemo da usne i oči pripadaju zvijezdi u usponu, neodoljivoj Ani de Armas ("Blade Runner 2049", "Nož u leđa", "Doušnik"). Istovremeno se, s obzirom na ime režisera Michaela Cristofera, prisjećamo krupnjaka usana i očiju Angeline Jolie u "Prvom grijehu".

Bio je to Cristoferov drugijenac nakon kojeg se činilo da su mu vrata Hollywooda otvorena. Međutim, Cristofer otad, dakle od davne 2001., nije režirao ništa sve do filma pred nama, noviteta na hrvatskom "online" videotržištu. Punih 19 godina čovjek je postio od režije. Tko čeka, taj i dočeka.

No, pokazalo se kako "The Night Clerk" baš i nije vrijedan čekanja, iako je na prvu djelovao da bi mogao isporučiti erotsko-trilersku "noirovštinu" s...

#CINEMARK#CINEMARK U KUĆNOM KINU#TRILERI#ANA DE ARMAS
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11. svibanj 2024 16:32