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”Grindhouse” segment Roberta Rodrigueza “Planet terora” (“Planet Terror”, 2007.) spada u sami vrh njegove filmografije uz “Sin City 1&2”, “Desperada” i “Od sumraka do zore”. “Planet terora” je nemjerljivo zabavniji film u odnosu na Tarantinov “Death Proof”, odnosno punokrvniji komad “grindhouse” kinematografije koji je lako voljeti od prvog gledanja na otvaranju splitskog multipleksa “Broadway” u jesen 2007. do najnovijeg 15 godina kasnije.

Termin se, podsjetimo, koristio za kina u SAD-u koja su sedamdesetih godina prošlog stoljeća najčešće prikazivala krvave američke i talijanske eksploatacijske niskobudžetne akcijske horore, nerijetko i u maratonu, tzv. “double bill” paketu. Riječ “grind” znači samljeti, a “house” je kuća, tj. kino.

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FILM: Planet Terror; akcijski horor; SAD, 2007. REŽIJA: Robert Rodriguez ULOGE: Rose McGowan, Mary Shelton OCJENA: **** ½

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Na takvim filmovima je (i) Rodriguez odrastao, što je naznačio u “From Dusk Till Dawn” da bi potencirao s “Planet Terror”. Ovo je prava “grindhouseovska” mljevaonica od filma kakva se rijetko viđa, akcijski horor s jednonogom striptizetom, pardon “go go” plesačicom Cherry Darling (Rose McGowan) u borbi protiv zombija.

“Vidio sam sve, ali ne i jednonogu striptizetu”, govori Tarantino u ulozi jednog od vojnika-negativaca, glavnih krivaca što je biokemijsko oružje počelo pretvarati ljude u krvožedne zombije, nakon što, filmofilski, pita Cherry voli li Avu Gardner jer “pomalo podsjeća na nju”.

Osnovni hororski zaplet je izlizan poput filmske vrpce iz “grindhouse” kina, ali u tome i jest kvaka. Rodriguez rekreira sliku “Planeta terora” na priliku “grindhouse” filmova kao što su “Zombie” Lucija Fulcija ili “Nightmare City” Umberta Lenzija, budeći u sebi hororsko-akcijski duh ranog Georgea Romera (“Zora živih mrtvaca”), Johna Carpentera (“Napad na policijsku stanicu”) i Jamesa Camerona (“Terminator”) od kojeg je posudio Michaela Biehna i dao mu ulogu šerifa Haguea.

Neovisno u uporabi mobitela kao izričaju modernosti, “Planet Terror” izgleda kao izgubljeni, nikad prikazani “grindhouse movie” sedamdesetih čije je role Rodriguez pronašao u podrumu nekog razrušenog kina i skrpao. Nakon lažnih “trailera” za nadolazeće atrakcije (npr. “Machete”), uvodna špica sugerira da slijedi glavni film večeri, uz napomenu kako nije za mlađe od 18.

Slika je zrnata i pucketa, vrpca oštećena, izgrebana, ispucana, puna “točkica”, kao da se “Planet terora” već par tisuća puta zavrtio u kinoprojektoru. Samo čekamo da se u kadru pojavi kino-operater Tyler Durden iz “Kluba boraca”, upre prstom u “točkice” u desnom kutu kadra i kaže “zovemo to trag cigarete”.

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Oštećenja na vrpci su čak i frekventnija naspram “Otporan na smrt” kako bi se još ekstremnije emulirala i rekreirala jedna kinematografska epoha u postmodernom ključu, uključujući povremeno slabo osvjetljenje i sinkronizaciju, topljenje filma i nestale filmske role.

”Nedostaje rola, ispričavamo se zbog neugodnosti”, poručuje gledateljima uprava kina kad se vrpca “Planeta terora” rastopi baš usred scene seksa i Rodriguez stavi drugu rolu koja se ne nastavlja direktno na prethodnu sekvenciju i čini se da fali komad filma. Sve Rodriguezove postmodernističke intervencije su prilično izvanredne i eksploatacijski film gotovo pretvaraju u umjetnički, pri čemu “Planet Terror” biva varijacija na “grindhouse”, ali i reinvencija.

Za razliku od Tarantina (“Kill Bill”), Rodriguez je i nakon svog prvijenca “El Mariachi”, teškog svega 7000 dolara, nastavio pretežno operirati unutar niskog budžeta praktički sve do blockbustera “Alita: Anđeo borbe” pa “Planet terora” umješnije njeguje “low budget” izričaj, iako je koštao kao nekoliko desetaka “grindhouse” filmova.

Jednako tako, dok su Tarantinovi filmovi ponajprije konverzacijski orijentirani, Rodriguezovi su prvenstveno akcijski/hororski, time i vjerniji “grindhouse” tipologiji “no-brainer” vrste sa scenama u kojima se zombiji kose helikopterskom elisom kao klasje pod naletom kombajna.

“It looks like a no-brainer”, ispali netko dvoznačno suočen s lešom bez mozga (nitko drugi doli pjevačica Fergie; pojeli su joj ga zombiji), ciljajući na bezmozgašku eksploataciju kakvoj “Planet Terror” pripada njegujući “krv, gnoj i suze/guze” poetiku. To je jedna u nizu rečenica filma koje se ne zaboravljaju i lakše citiraju od bujice riječi u “Death Proof”.

Junakinja “Planeta terora” Cherry inzistira da je zovu “go go” plesačica umjesto striptizeta jer “postoji razlika”. “Ja sam Cherry”, predstavlja se ona lezbijskoj doktorici Dakoti Block (Mary Shelton). “Baš jesi”, kaže dr. Block. Prije toga junakinju pitaju “Jesi li OK?, a ona odgovara “Ja sam samo Cherry”.

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Pamti se i pitanje šerifova brata J.T.-a (Jeff Fahey) upućeno zombijevskim pojavama u mraku ispred njegove roštiljarnice “Mislite li samo gledati ili ćete jesti?”. Tu je i špreha lt. Muldoona (Bruce Willis) o tome kako je ubio Osamu Bin Ladena, tj. pospremio “dva metka u njegovo srce i jedan u njegov kompjuter (glavu)”, nakon čega se poručnikov tim zarazio kemikalijom u Pakistanu koja ih je pretvorila u zombije, ali su suzbili potpunu transformaciju konstantnim inhaliranjem plina.

Šlag na vrhu torte (“Cherry on top”) svih rečenica filma jest “Beskoristan je kao pimpek na papi”. Humor je postojan u “Planetu terora”, crn i crven, a nije samo dijaloški. Kad je ljubomorni suprug dr. William Block (Josh Brolin) umrtvi njezinim injekcijama, Dakota pokušava otvoriti vrata automobila s ukočenim rukama.

Kasnije, kao “femme fatale”, Dakota je uzela jednu injekciju koju drži u halterima i ispalila je u Tarantinovo oko, kao da nije dosta što mu se penis počeo topiti za kaznu jer je pokušao silovati Cherry u mogućem Rodriguezovom odgovoru na weinstenovsku alegoriju “Otpornog na smrt” (McGowan je jedna od žrtava Weinsteinova seksualnog zlostavljanja).

Zamjenik šerifa Tolo u tumačenju Toma Savinija, majstora specijalnih efekata, pokušava pod svaku cijenu staviti vjenčani prsten na prst nakon što su mu ga odgrizali zombiji (kasnije će ga raščetvoriti ud po ud), kao što su i sažvakali Cherrynu nogu. Cherryn bivši momak Wray (Freddy Rodriguez) stavlja drvenu nogu od stola u njezin batrljak da glumi umjetni ud jer “nema smisla plakati nad prolivenim mlijekom” u filmu u kojem se prolijeva krv, i to u hektolitrima.

Prekinuta scena seksa Wraya i Cherry s njezinom drvenom nogom uperenom u strop krajnje je suluda. Još je luđe kad Wray namjesti strojnicu sa tromblonom na Cherrynu nogu da sa njom može ne samo šetati, nego pucati metke i plotune, sjedeći iza njega na motociklu i općenito.

Pojava Cherry sa strojnicom na nozi je ikonička, posebice prizori njezine paraplegičarske akrobatike kad se odbaci tromblonom u vis da preskoči zid i pokosi zombije ili napravi “most” da izbjegne raketu. Ona je bomba “grindhouse” kinematografije. Cherry bomb.

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Rose zamalo Crvena Sonja

Nakon "Planeta terora" Rodriguez je s McGowan planirao snimiti novu "Crvenu Sonju", ali to se nije dogodilo. McGowan je glumila u remakeu "Conana", a nova "Red Sonia" se počela snimati 15 godina kasnije i u glavnoj ulozi je Mathilda Lutz ("Osveta").

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”Grindhouse” segment Roberta Rodrigueza “Planet terora” (“Planet Terror”, 2007.) spada u sami vrh njegove filmografije uz “Sin City 1&2”, “Desperada” i “Od sumraka do zore”. “Planet terora” je nemjerljivo zabavniji film u odnosu na Tarantinov “Death Proof”, odnosno punokrvniji komad “grindhouse” kinematografije koji je lako voljeti od prvog gledanja na otvaranju splitskog multipleksa “Broadway” u jesen 2007. do najnovijeg 15 godina kasnije.

Termin se, podsjetimo, koristio za kina u SAD-u koja su sedamdesetih godina prošlog stoljeća najčešće prikazivala krvave američke i talijanske eksploatacijske niskobudžetne akcijske horore, nerijetko i u maratonu, tzv. “double bill” paketu. Riječ “grind” znači samljeti, a “house” je kuća, tj. kino.

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FILM: Planet Terror; akcijski horor; SAD, 2007. REŽIJA: Robert Rodriguez ULOGE: Rose McGowan, Mary Shelton OCJENA: **** ½

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Na takvim filmovima je (i) Rodriguez odrastao, što je naznačio u “From Dusk Till Dawn” da bi potencirao s “Planet Terror”. Ovo je prava “grindhouseovska” mljevaonica od filma kakva se rijetko viđa, akcijski horor s jednonogom striptizetom, pardon “go go” plesačicom Cherry Darling (Rose McGowan) u borbi protiv zombija.

“Vidio sam sve, ali ne i jednonogu striptizetu”, govori Tarantino u ulozi jednog od vojnika-negativaca, glavnih krivaca što je biokemijsko oružje počelo pretvarati ljude u krvožedne zombije, nakon što, filmofilski, pita Cherry voli li Avu Gardner jer “pomalo podsjeća na nju”.

Osnovni hororski zaplet je izlizan poput filmske vrpce iz “grindhouse” kina, ali u tome i jest kvaka. Rodriguez rekreira sliku “Planeta terora” na priliku “grindhouse” filmova kao što su “Zombie” Lucija Fulcija ili “Nightmare City” Umberta Lenzija, budeći u sebi hororsko-akcijski duh ranog Georgea Romera (“Zora živih mrtvaca”), Johna Carpentera (“Napad na policijsku stanicu”) i Jamesa Camerona (“Terminator”) od kojeg je posudio Michaela Biehna i dao mu ulogu šerifa Haguea.

Neovisno u uporabi mobitela kao izričaju modernosti, “Planet Terror” izgleda kao izgubljeni, nikad prikazani “grindhouse movie” sedamdesetih čije je role Rodriguez pronašao u podrumu nekog razrušenog kina i skrpao. Nakon lažnih “trailera” za nadolazeće atrakcije (npr. “Machete”), uvodna špica sugerira da slijedi glavni film večeri, uz napomenu kako nije za mlađe od 18.

Slika je zrnata i pucketa, vrpca oštećena, izgrebana, ispucana, puna “točkica”, kao da se “Planet terora” već par tisuća puta zavrtio u kinoprojektoru. Samo čekamo da se u kadru pojavi kino-operater Tyler Durden iz “Kluba boraca”, upre prstom u “točkice” u desnom kutu kadra i kaže “zovemo to trag cigarete”.

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Oštećenja na vrpci su čak i frekventnija naspram “Otporan na smrt” kako bi se još ekstremnije emulirala i rekreirala jedna kinematografska epoha u postmodernom ključu, uključujući povremeno slabo osvjetljenje i sinkronizaciju, topljenje filma i nestale filmske role.

”Nedostaje rola, ispričavamo se zbog neugodnosti”, poručuje gledateljima uprava kina kad se vrpca “Planeta terora” rastopi baš usred scene seksa i Rodriguez stavi drugu rolu koja se ne nastavlja direktno na prethodnu sekvenciju i čini se da fali komad filma. Sve Rodriguezove postmodernističke intervencije su prilično izvanredne i eksploatacijski film gotovo pretvaraju u umjetnički, pri čemu “Planet Terror” biva varijacija na “grindhouse”, ali i reinvencija.

Za razliku od Tarantina (“Kill Bill”), Rodriguez je i nakon svog prvijenca “El Mariachi”, teškog svega 7000 dolara, nastavio pretežno operirati unutar niskog budžeta praktički sve do blockbustera “Alita: Anđeo borbe” pa “Planet terora” umješnije njeguje “low budget” izričaj, iako je koštao kao nekoliko desetaka “grindhouse” filmova.

Jednako tako, dok su Tarantinovi filmovi ponajprije konverzacijski orijentirani, Rodriguezovi su prvenstveno akcijski/hororski, time i vjerniji “grindhouse” tipologiji “no-brainer” vrste sa scenama u kojima se zombiji kose helikopterskom elisom kao klasje pod naletom kombajna.

“It looks like a no-brainer”, ispali netko dvoznačno suočen s lešom bez mozga (nitko drugi doli pjevačica Fergie; pojeli su joj ga zombiji), ciljajući na bezmozgašku eksploataciju kakvoj “Planet Terror” pripada njegujući “krv, gnoj i suze/guze” poetiku. To je jedna u nizu rečenica filma koje se ne zaboravljaju i lakše citiraju od bujice riječi u “Death Proof”.

Junakinja “Planeta terora” Cherry inzistira da je zovu “go go” plesačica umjesto striptizeta jer “postoji razlika”. “Ja sam Cherry”, predstavlja se ona lezbijskoj doktorici Dakoti Block (Mary Shelton). “Baš jesi”, kaže dr. Block. Prije toga junakinju pitaju “Jesi li OK?, a ona odgovara “Ja sam samo Cherry”.

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Pamti se i pitanje šerifova brata J.T.-a (Jeff Fahey) upućeno zombijevskim pojavama u mraku ispred njegove roštiljarnice “Mislite li samo gledati ili ćete jesti?”. Tu je i špreha lt. Muldoona (Bruce Willis) o tome kako je ubio Osamu Bin Ladena, tj. pospremio “dva metka u njegovo srce i jedan u njegov kompjuter (glavu)”, nakon čega se poručnikov tim zarazio kemikalijom u Pakistanu koja ih je pretvorila u zombije, ali su suzbili potpunu transformaciju konstantnim inhaliranjem plina.

Šlag na vrhu torte (“Cherry on top”) svih rečenica filma jest “Beskoristan je kao pimpek na papi”. Humor je postojan u “Planetu terora”, crn i crven, a nije samo dijaloški. Kad je ljubomorni suprug dr. William Block (Josh Brolin) umrtvi njezinim injekcijama, Dakota pokušava otvoriti vrata automobila s ukočenim rukama.

Kasnije, kao “femme fatale”, Dakota je uzela jednu injekciju koju drži u halterima i ispalila je u Tarantinovo oko, kao da nije dosta što mu se penis počeo topiti za kaznu jer je pokušao silovati Cherry u mogućem Rodriguezovom odgovoru na weinstenovsku alegoriju “Otpornog na smrt” (McGowan je jedna od žrtava Weinsteinova seksualnog zlostavljanja).

Zamjenik šerifa Tolo u tumačenju Toma Savinija, majstora specijalnih efekata, pokušava pod svaku cijenu staviti vjenčani prsten na prst nakon što su mu ga odgrizali zombiji (kasnije će ga raščetvoriti ud po ud), kao što su i sažvakali Cherrynu nogu. Cherryn bivši momak Wray (Freddy Rodriguez) stavlja drvenu nogu od stola u njezin batrljak da glumi umjetni ud jer “nema smisla plakati nad prolivenim mlijekom” u filmu u kojem se prolijeva krv, i to u hektolitrima.

Prekinuta scena seksa Wraya i Cherry s njezinom drvenom nogom uperenom u strop krajnje je suluda. Još je luđe kad Wray namjesti strojnicu sa tromblonom na Cherrynu nogu da sa njom može ne samo šetati, nego pucati metke i plotune, sjedeći iza njega na motociklu i općenito.

Pojava Cherry sa strojnicom na nozi je ikonička, posebice prizori njezine paraplegičarske akrobatike kad se odbaci tromblonom u vis da preskoči zid i pokosi zombije ili napravi “most” da izbjegne raketu. Ona je bomba “grindhouse” kinematografije. Cherry bomb.

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Rose zamalo Crvena Sonja

Nakon "Planeta terora" Rodriguez je s McGowan planirao snimiti novu "Crvenu Sonju", ali to se nije dogodilo. McGowan je glumila u remakeu "Conana", a nova "Red Sonia" se počela snimati 15 godina kasnije i u glavnoj ulozi je Mathilda Lutz ("Osveta").

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Film & TVCINEMARK OBLJETNICA

‘Planet terora‘: Od sumraka do zore živih mrtvaca

Piše Marko Njegić
30. listopada 2022. - 20:59
23644639
PREMIUM
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Dimension Films/Troublemaker S/Collection Christophel Via Afp

”Grindhouse” segment Roberta Rodrigueza “Planet terora” (“Planet Terror”, 2007.) spada u sami vrh njegove filmografije uz “Sin City 1&2”, “Desperada” i “Od sumraka do zore”. “Planet terora” je nemjerljivo zabavniji film u odnosu na Tarantinov “Death Proof”, odnosno punokrvniji komad “grindhouse” kinematografije koji je lako voljeti od prvog gledanja na otvaranju splitskog multipleksa “Broadway” u jesen 2007. do najnovijeg 15 godina kasnije.

Termin se, podsjetimo, koristio za kina u SAD-u koja su sedamdesetih godina prošlog stoljeća najčešće prikazivala krvave američke i talijanske eksploatacijske niskobudžetne akcijske horore, nerijetko i u maratonu, tzv. “double bill” paketu. Riječ “grind” znači samljeti, a “house” je kuća, tj. kino....

#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 2000-IH#GRINDHOUSE#KULTNI FILMOVI#ROBERT RODRIGUEZ#ROSE MC GOWAN#MARY SHELTON#FERGIE#BRUCE WILLIS#JOSH BROLIN#MICHAEL BIEHN#JEFF FAHEY
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13. svibanj 2024 04:06