SD Dojavi
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PRETPLATA
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Nasljeđem pisca Luigija Pirandella bavi se “Zbogom, Leonora” (“Leonora Addio”), novi projekt veterana talijanske kinematografije Paola Tavianija.  Film je i naslovljen po Pirandellovoj kratkoj priči. No, to nije jedino nasljeđe kojim se bavi “Zbogom, Leonora”.

Tu je i nasljeđe talijanske povijesti i filma 20. stoljeća, kao i nasljeđe Paolova pokojnog starijeg brata. Vittorio Taviani dao je veliki obol talijanskoj historiji putem kinematografije. ”Mom bratu Vittoriju” jasna je posveta u zaglavlju filma, prvog koji je Paolo snimio sam nakon njegove smrti 2018. godine (samostalni “Osobna stvar” datira iz 2017.).

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FILM: Leonora Addio; drama; Italija, 2022. REŽIJA: Paolo Taviani ULOGE: Fabrizio Ferracane, Matteo Pittiruti DISTRIBUCIJA: MCF OCJENA: ***

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Posveta ne čudi: braća Taviani snimala su zajedno filmove od davne 1962., nerijetko klasike (“Noć svetog Lovre”), za koje su osvajali nagrade u Cannesu (“Ja sam bog otac”) i Berlinu (“Cezar mora umrijeti”).

Tako, Pirandellovu smrt Paolo prelama sa smrti Vittorija, ubacujući egzistencijalističke citate tipa “Vrijeme mora proći i odnijeti nas sa svim scenarijima naših života. Ja sam svoj već savio i stavio ga pod ruku...” i stvarajući dubokoumno iskustvo za poklonike slavnog pisca i braće Taviani.

”Leonora Addio” započinje stvarnim dokumentarnim snimkama, kad čuveni pisac Pirandello (“Šest lica traži autora”) prima Nobelovu nagradu za literaturu u Stockholmu 1934., nakon čega za oslikavanje njegova života i smrti Taviani poseže za parafrazom završnice “Odiseje u svemiru”.

Stari Pirandello leži na samrtnoj postelji i prisjeća se života dok ga posjećuju bližnji. “Je li moj život završen? Kako je to moguće?”, pita se Pirandello. “Nevjerojatno da su ta djeca moji potomci... Još jučer sam bio mlad”, govori Pirandello, a nije isključeno i da je to Vittorio, tj. da Paolo u toj sceni vidi i brata, ne samo pisca.

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”Pirandello je umro, talijanska književnost tuguje”, javljaju novine, pri čemu se u naslov može i staviti Vittorio, a “kinematografija” umjesto “književnosti”. Dokumentarne snimke i polueksperimentalna scena u startu sugeriraju da “Zbogom, Leonora” neće biti nešto konvencionalno, čak i za pojmove festivalskog filma.

I stvarno, paralelno s glavnim narativom, prebacivanjem urne “maestra” Pirandella iz privremene grobnice u Rimu na Siciliju, Paolo niže kolaže talijanskih neorealističnih crno-bijelih filmova, poput “Paise” Roberta Rossellinija. Cijeli “Leonora Addio” snimljen je s primislima na neorealizam, a kad se crno-bijela slika pretvori u kolor, negdje oko sat vremena 90-minutna filma, Taviani kao da se vizualno referira na nastavak “Kuma”, dotičući se iskustva talijanskih imigranata u Americi.

Tada “Zbogom, Leonora” postaje adaptacija Pirandellove kratke priče “Čavao”, koju je napisao prije smrti prema vijesti iz Brooklyna da je talijanski dječak ubio crvenokosu djevojčicu s kovinskim predmetom iz naslova. Dječak nije osuđen, ali osjeća krivnju i do kraja života posjećuje grob djevojčice. Početak, sredina i kraj filma nisu posve ravnomjerni, štoviše prve dvije trećine suprotive su posljednjoj stilski pa i tematski.

Nekome se može učiniti kako je “Leonora Addio” sastavljena od najmanje dva različita i ne posve dovršena filma, zbog čega u cjelini ne izaziva očekivane emocije kao “nešto sasvim osobno”, satkano od života i smrti, sjećanja na mladost i oplakivanja pokojnika, sukladno tome i pročitano kao oproštajno pismo za Vittorija. Pa opet, “cjelina” ionako nije potpuna. Filmu i Paolu nedostaje Vittorio Taviani. Zbogom, Vittorio.

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Premijeru na Berlinaleu

"Zbogom Leonora" je imao premijeru na Berlinaleu gdje su se braća Taviani proteklih dekada osjećala kao kod kuće.

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Nasljeđem pisca Luigija Pirandella bavi se “Zbogom, Leonora” (“Leonora Addio”), novi projekt veterana talijanske kinematografije Paola Tavianija.  Film je i naslovljen po Pirandellovoj kratkoj priči. No, to nije jedino nasljeđe kojim se bavi “Zbogom, Leonora”.

Tu je i nasljeđe talijanske povijesti i filma 20. stoljeća, kao i nasljeđe Paolova pokojnog starijeg brata. Vittorio Taviani dao je veliki obol talijanskoj historiji putem kinematografije. ”Mom bratu Vittoriju” jasna je posveta u zaglavlju filma, prvog koji je Paolo snimio sam nakon njegove smrti 2018. godine (samostalni “Osobna stvar” datira iz 2017.).

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FILM: Leonora Addio; drama; Italija, 2022. REŽIJA: Paolo Taviani ULOGE: Fabrizio Ferracane, Matteo Pittiruti DISTRIBUCIJA: MCF OCJENA: ***

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Posveta ne čudi: braća Taviani snimala su zajedno filmove od davne 1962., nerijetko klasike (“Noć svetog Lovre”), za koje su osvajali nagrade u Cannesu (“Ja sam bog otac”) i Berlinu (“Cezar mora umrijeti”).

Tako, Pirandellovu smrt Paolo prelama sa smrti Vittorija, ubacujući egzistencijalističke citate tipa “Vrijeme mora proći i odnijeti nas sa svim scenarijima naših života. Ja sam svoj već savio i stavio ga pod ruku...” i stvarajući dubokoumno iskustvo za poklonike slavnog pisca i braće Taviani.

”Leonora Addio” započinje stvarnim dokumentarnim snimkama, kad čuveni pisac Pirandello (“Šest lica traži autora”) prima Nobelovu nagradu za literaturu u Stockholmu 1934., nakon čega za oslikavanje njegova života i smrti Taviani poseže za parafrazom završnice “Odiseje u svemiru”.

Stari Pirandello leži na samrtnoj postelji i prisjeća se života dok ga posjećuju bližnji. “Je li moj život završen? Kako je to moguće?”, pita se Pirandello. “Nevjerojatno da su ta djeca moji potomci... Još jučer sam bio mlad”, govori Pirandello, a nije isključeno i da je to Vittorio, tj. da Paolo u toj sceni vidi i brata, ne samo pisca.

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”Pirandello je umro, talijanska književnost tuguje”, javljaju novine, pri čemu se u naslov može i staviti Vittorio, a “kinematografija” umjesto “književnosti”. Dokumentarne snimke i polueksperimentalna scena u startu sugeriraju da “Zbogom, Leonora” neće biti nešto konvencionalno, čak i za pojmove festivalskog filma.

I stvarno, paralelno s glavnim narativom, prebacivanjem urne “maestra” Pirandella iz privremene grobnice u Rimu na Siciliju, Paolo niže kolaže talijanskih neorealističnih crno-bijelih filmova, poput “Paise” Roberta Rossellinija. Cijeli “Leonora Addio” snimljen je s primislima na neorealizam, a kad se crno-bijela slika pretvori u kolor, negdje oko sat vremena 90-minutna filma, Taviani kao da se vizualno referira na nastavak “Kuma”, dotičući se iskustva talijanskih imigranata u Americi.

Tada “Zbogom, Leonora” postaje adaptacija Pirandellove kratke priče “Čavao”, koju je napisao prije smrti prema vijesti iz Brooklyna da je talijanski dječak ubio crvenokosu djevojčicu s kovinskim predmetom iz naslova. Dječak nije osuđen, ali osjeća krivnju i do kraja života posjećuje grob djevojčice. Početak, sredina i kraj filma nisu posve ravnomjerni, štoviše prve dvije trećine suprotive su posljednjoj stilski pa i tematski.

Nekome se može učiniti kako je “Leonora Addio” sastavljena od najmanje dva različita i ne posve dovršena filma, zbog čega u cjelini ne izaziva očekivane emocije kao “nešto sasvim osobno”, satkano od života i smrti, sjećanja na mladost i oplakivanja pokojnika, sukladno tome i pročitano kao oproštajno pismo za Vittorija. Pa opet, “cjelina” ionako nije potpuna. Filmu i Paolu nedostaje Vittorio Taviani. Zbogom, Vittorio.

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Premijeru na Berlinaleu

"Zbogom Leonora" je imao premijeru na Berlinaleu gdje su se braća Taviani proteklih dekada osjećala kao kod kuće.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Zbogom, Leonora‘: Šest lica traži brata i pisca

Piše Marko Njegić
16. siječnja 2023. - 21:28
24131127
PREMIUM
Galerija
MCF

Nasljeđem pisca Luigija Pirandella bavi se “Zbogom, Leonora” (“Leonora Addio”), novi projekt veterana talijanske kinematografije Paola Tavianija.  Film je i naslovljen po Pirandellovoj kratkoj priči. No, to nije jedino nasljeđe kojim se bavi “Zbogom, Leonora”.

Tu je i nasljeđe talijanske povijesti i filma 20. stoljeća, kao i nasljeđe Paolova pokojnog starijeg brata. Vittorio Taviani dao je veliki obol talijanskoj historiji putem kinematografije. ”Mom bratu Vittoriju” jasna je posveta u zaglavlju filma, prvog koji je Paolo snimio sam nakon njegove smrti 2018. godine (samostalni “Osobna stvar” datira iz 2017.).

Posveta ne čudi: braća Taviani snimala su zajedno filmove od davne 1962., nerijetko klasike (“Noć svetog Lovre”), za koje su osvajali nagrade u...

#CINEMARK#CINEMARK U KINU #TALIJANSKI FILMOVI#BRAĆA TAVIANI#LUIGI PIRANDELLO#FESTIVALSKI FILMOVI#PAOLO TAVIANI#DRAME#VITTORIO TAVIANI
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16. svibanj 2024 02:30