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Kamion u retrovizoru iz "Dvoboja" biva zamijenjen kolonom (policijskih) vozila u Spielbergovom "Teksas ekspresu" ("Sugarland Express", 1974.). "Teksas ekspres" se fino nastavlja na "Duel" kao još jedan film potjere o vozilima i ljudima, putovanju i Americi, ali za njega znaju samo najveći redateljevi fanovi.

Film je ostao u sjeni "Dvoboja" i "Ralja", između kojih je kronološki pozicioniran, kao i "Bliskih susreta treće vrste" kad je riječ o Spielbergu sedamdesetih. Ustvari, ostao je u sjeni gotovo svih Spielbergovih filmova. Lako za "teškaše", "E.T.-ja", "Indianu Jonesa", "Schindlerovu listu", "Jurski park", "Specijalni izvještaj", "Spašavanje vojnika Ryana", "Umjetnu inteligenciju"...

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FILM: Sugarland Express; akcijska krimi drama; SAD, 1974. REŽIJA: Steven Spielberg ULOGE: Goldie Hawn, William Atherton OCJENA: *** ½

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Kad se zapodjene priča o Spielbergu, prije će se spomenuti i "Kapetan Kuka" i "Izgubljeni svijet", moguće i njegovi noviji filmovi "Lincoln", "Most špijuna", "Novine", "Igrač broj 1", "Priča sa zapadne strane", "Fabelmanovi". Iako je daleko od Spielbergovih vrhunaca, "Sugarland Express" nije zaslužio biti zaboravljen, posebice što je potvrdio jednog filmaša u usponu, a ima i posebno mjesto u redateljevoj karijeri kao prva suradnja s njegovim budućim kućnim skladateljem Johnom Williamsom.

Nije bilo Spielbergu lako nadovezati se na uspjeh "Duela" i režirati svoj prvi film ciljano snimljen za kina. Da ostane na poznatom putu, odabrao je "stvarni događaj" iz 1969. slučaju otmice policijskog vozila (s policajcem unutra) od strane jednog bračnog para.

Lou Jean Poplin (Goldie Hawn) i njezin suprug Clovis (William Atherton; sjećate ga se kao novinara u "Umri muški") krenuli su u tom automobilu preko cijelog Teksasa prema gradiću Sugarlandu kako bi preoteli svoga sinčića nakon što ga je država udomila kod skrbničkih roditelja.

Za početak, Lou Jean je posjetila Clovisa u državnoj kaznionici i izbavila ga odatle bez problema, ali stvari su se zakomplicirale kad ih je zaustavio mladi policajac Maxwell Slide (Michael Sacks), a oni oteli njega i njegov auto.  "Odvedi nas u Sugarland i sve će biti u redu", kaže Lou Jean, nesvjesna da će policija, na čelu s kapetanom Tannerom (Ben Johnson; "Divlja horda", "Posljednja kino predstava"), organizirati potjeru za njima. Potjeri su se pridružili novinari, pa i obični radoznali ljudi.

Opis sugerira urnebes, tj. manje "ozbiljan" film o muško-ženskom paru u bijegu od zakona spram prethodnika poput "Bonnie i Clyde" ili "Pustare". Takav "Teksas ekspres" i jest, odnosno Spielberg ne uspijeva uvijek uskladiti lepršavu akcijsku komediju s masovnim sudarima i cestovnim blokadama te mračnu kriminalističku tragediju, "popcorn" populizam i novohollywoodski fatalizam konačnog odredišta, kraja vožnje, što potiče tonalnu neravnomjernost filma koji neujednačenim čine i partije glavnih glumaca, možda i zbog nedovoljne karakterizacije njihovih likova.

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Hawn i Atherton nisu Faye Dunaway i Warren Beatty ili Sissy Spacek i Martin Sheen, ali Johnson je sjajan kao policajac koji nije nikog ubio otkako radi taj posao i želi da tako i ostane, a moguće da je inspirirao lik Harveyja Keitela u "Thelmi i Louise", kao što se čini i da je sam film Ridleyja Scotta pronašao djelomično nadahnuće u "Sugarland Expressu".

Još više u odnosu na "Dvoboj" Spielberg pokazuje interes za opservacijski pristup "americani" i teksaškim lokalcima, od policajaca do običnih ljudi zaluđenih "celebrity" statusom Clovisa i Lou Jean, toliko da ih dočekuju na ulicama kao predsjedničku povorku.

Od velike pomoći mu je u tom pogledu bio vrhunski snimatelj Vilmos Zsigmond ("Oslobađanje", "Vrata raja", "Pucanj nije brisan"), zaslužan za izvrsne reportažne i panoramske kadrove. Mnogi kadrovi filma ostaju u sjećanju i odlično se nadovezuju na "Duel" poput nepregledne kolone automobila s upaljenim rotirkama, sve duže i duže kako putovanje ide dalje dok ne dosegne 200+ automobila, simbolizirajući gomilanje većih i većih nedaća za Clovisa i Lou Jean.

"Vidim svjetla... cijelu hrpu njih", opaža Lou Jean. Kolona svjetala je trideset puta duža od cisterne iz "Dvoboja", podsjeća na divovsku zmiju s žmirkavim crvenim očima i ona uporno slijedi policijsko vozilo s bjeguncima koji se najveći dio filma nalaze u autu, gdje se osjećaju zaštićenijima.

Spielberg i Zsigmond kreativno koriste unutrašnjost auta za pozicioniranje kamere između vjetrobranskog stakla i retrovizora, što rezultira nizom briljantnih kadrova s licima likova ili svjetala reflektiranih u staklenim plohama (preteča onoga što je Michael Mann postigao u "Lopovu").

Ključna scena u tom smislu dolazi u trenutku kad se Tanner i Lou Jean zagledaju jedno u drugo s pogledom punim uzajamnog razumijevanja: istovremeno vidimo odraz policajčevih očiju u retrovizoru njegova auta i lice bjegunke na stražnjem vjetrobranu otetog vozila. Kadar je čudesan, spielbergovska "sense of wonder" magija u povojima.

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Preludij megahitu

"Teksas ekspres" nije bio hit u američkim kinima, ali zato je Spielbergov idući film postao megahit i započeo eru blockbustera. Naravno, bile su to "Ralje".

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Kamion u retrovizoru iz "Dvoboja" biva zamijenjen kolonom (policijskih) vozila u Spielbergovom "Teksas ekspresu" ("Sugarland Express", 1974.). "Teksas ekspres" se fino nastavlja na "Duel" kao još jedan film potjere o vozilima i ljudima, putovanju i Americi, ali za njega znaju samo najveći redateljevi fanovi.

Film je ostao u sjeni "Dvoboja" i "Ralja", između kojih je kronološki pozicioniran, kao i "Bliskih susreta treće vrste" kad je riječ o Spielbergu sedamdesetih. Ustvari, ostao je u sjeni gotovo svih Spielbergovih filmova. Lako za "teškaše", "E.T.-ja", "Indianu Jonesa", "Schindlerovu listu", "Jurski park", "Specijalni izvještaj", "Spašavanje vojnika Ryana", "Umjetnu inteligenciju"...

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FILM: Sugarland Express; akcijska krimi drama; SAD, 1974. REŽIJA: Steven Spielberg ULOGE: Goldie Hawn, William Atherton OCJENA: *** ½

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Kad se zapodjene priča o Spielbergu, prije će se spomenuti i "Kapetan Kuka" i "Izgubljeni svijet", moguće i njegovi noviji filmovi "Lincoln", "Most špijuna", "Novine", "Igrač broj 1", "Priča sa zapadne strane", "Fabelmanovi". Iako je daleko od Spielbergovih vrhunaca, "Sugarland Express" nije zaslužio biti zaboravljen, posebice što je potvrdio jednog filmaša u usponu, a ima i posebno mjesto u redateljevoj karijeri kao prva suradnja s njegovim budućim kućnim skladateljem Johnom Williamsom.

Nije bilo Spielbergu lako nadovezati se na uspjeh "Duela" i režirati svoj prvi film ciljano snimljen za kina. Da ostane na poznatom putu, odabrao je "stvarni događaj" iz 1969. slučaju otmice policijskog vozila (s policajcem unutra) od strane jednog bračnog para.

Lou Jean Poplin (Goldie Hawn) i njezin suprug Clovis (William Atherton; sjećate ga se kao novinara u "Umri muški") krenuli su u tom automobilu preko cijelog Teksasa prema gradiću Sugarlandu kako bi preoteli svoga sinčića nakon što ga je država udomila kod skrbničkih roditelja.

Za početak, Lou Jean je posjetila Clovisa u državnoj kaznionici i izbavila ga odatle bez problema, ali stvari su se zakomplicirale kad ih je zaustavio mladi policajac Maxwell Slide (Michael Sacks), a oni oteli njega i njegov auto.  "Odvedi nas u Sugarland i sve će biti u redu", kaže Lou Jean, nesvjesna da će policija, na čelu s kapetanom Tannerom (Ben Johnson; "Divlja horda", "Posljednja kino predstava"), organizirati potjeru za njima. Potjeri su se pridružili novinari, pa i obični radoznali ljudi.

Opis sugerira urnebes, tj. manje "ozbiljan" film o muško-ženskom paru u bijegu od zakona spram prethodnika poput "Bonnie i Clyde" ili "Pustare". Takav "Teksas ekspres" i jest, odnosno Spielberg ne uspijeva uvijek uskladiti lepršavu akcijsku komediju s masovnim sudarima i cestovnim blokadama te mračnu kriminalističku tragediju, "popcorn" populizam i novohollywoodski fatalizam konačnog odredišta, kraja vožnje, što potiče tonalnu neravnomjernost filma koji neujednačenim čine i partije glavnih glumaca, možda i zbog nedovoljne karakterizacije njihovih likova.

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Hawn i Atherton nisu Faye Dunaway i Warren Beatty ili Sissy Spacek i Martin Sheen, ali Johnson je sjajan kao policajac koji nije nikog ubio otkako radi taj posao i želi da tako i ostane, a moguće da je inspirirao lik Harveyja Keitela u "Thelmi i Louise", kao što se čini i da je sam film Ridleyja Scotta pronašao djelomično nadahnuće u "Sugarland Expressu".

Još više u odnosu na "Dvoboj" Spielberg pokazuje interes za opservacijski pristup "americani" i teksaškim lokalcima, od policajaca do običnih ljudi zaluđenih "celebrity" statusom Clovisa i Lou Jean, toliko da ih dočekuju na ulicama kao predsjedničku povorku.

Od velike pomoći mu je u tom pogledu bio vrhunski snimatelj Vilmos Zsigmond ("Oslobađanje", "Vrata raja", "Pucanj nije brisan"), zaslužan za izvrsne reportažne i panoramske kadrove. Mnogi kadrovi filma ostaju u sjećanju i odlično se nadovezuju na "Duel" poput nepregledne kolone automobila s upaljenim rotirkama, sve duže i duže kako putovanje ide dalje dok ne dosegne 200+ automobila, simbolizirajući gomilanje većih i većih nedaća za Clovisa i Lou Jean.

"Vidim svjetla... cijelu hrpu njih", opaža Lou Jean. Kolona svjetala je trideset puta duža od cisterne iz "Dvoboja", podsjeća na divovsku zmiju s žmirkavim crvenim očima i ona uporno slijedi policijsko vozilo s bjeguncima koji se najveći dio filma nalaze u autu, gdje se osjećaju zaštićenijima.

Spielberg i Zsigmond kreativno koriste unutrašnjost auta za pozicioniranje kamere između vjetrobranskog stakla i retrovizora, što rezultira nizom briljantnih kadrova s licima likova ili svjetala reflektiranih u staklenim plohama (preteča onoga što je Michael Mann postigao u "Lopovu").

Ključna scena u tom smislu dolazi u trenutku kad se Tanner i Lou Jean zagledaju jedno u drugo s pogledom punim uzajamnog razumijevanja: istovremeno vidimo odraz policajčevih očiju u retrovizoru njegova auta i lice bjegunke na stražnjem vjetrobranu otetog vozila. Kadar je čudesan, spielbergovska "sense of wonder" magija u povojima.

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Preludij megahitu

"Teksas ekspres" nije bio hit u američkim kinima, ali zato je Spielbergov idući film postao megahit i započeo eru blockbustera. Naravno, bile su to "Ralje".

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Teksas ekspres‘: Spielbergov gas do daske

Piše Marko Njegić
21. ožujka 2023. - 23:32

Kamion u retrovizoru iz "Dvoboja" biva zamijenjen kolonom (policijskih) vozila u Spielbergovom "Teksas ekspresu" ("Sugarland Express", 1974.). "Teksas ekspres" se fino nastavlja na "Duel" kao još jedan film potjere o vozilima i ljudima, putovanju i Americi, ali za njega znaju samo najveći redateljevi fanovi.

Film je ostao u sjeni "Dvoboja" i "Ralja", između kojih je kronološki pozicioniran, kao i "Bliskih susreta treće vrste" kad je riječ o Spielbergu sedamdesetih. Ustvari, ostao je u sjeni gotovo svih Spielbergovih filmova. Lako za "teškaše", "E.T.-ja", "Indianu Jonesa", "Schindlerovu listu", "Jurski park", "Specijalni izvještaj", "Spašavanje vojnika Ryana", "Umjetnu inteligenciju"...

Kad se zapodjene priča o Spielbergu, prije će se spomenuti i "Kapetan Kuka" i "Izgubljeni...

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12. svibanj 2024 11:02