Srećan rođendan, Džime!
U to ime u Poletovom bioskopu gledaćemo Slomljeno cveće (Broken Flowers) ostvarenje iz 2005. u čijem je centru trgovac kompjuterima, ostareli neženja i zavodnik Don Džonston (Bil Marej), koga je upravo ostavila devojka.
Kako bi taj trenutak za nekog bio podsticaj nervoze ili začetak depresije, za Džonstona je to samo momenat u kojem se nehajno i nezainteresovano odupire iznenadnom razvoju događaja, pitajući se da li je uopšte sposoban da bilo šta oseti povodom svog novog (starog) ulaska u obamrlost i samoću. Njegovo letargično raspoloženje ubrzo prekida nepotpisano pismo u kojem ga nekadašnja ljubavnica obaveštava kako je pre 19 godina sa njom začeo sina, koji je napokon krenuo u potragu za svojim ocem.
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Još od prvog kadra filma u kojem se pojavljuje Bil Marej, jasno je da je Džarmuš ostao veran svom tako prepoznatljivom izrazu, koji odlikuje neobična, gotovo teskobna atmosfera, pojačana otuđenošću i neuklopljenošću likova. Većina njih, obuzeta potragom za sopstvenim identitetom i osobenostima života koji žive, lutaju od očaja do ravnodušnosti, od uzbuđenja do letargije.
Primetno je da Džarmuš u skoro svim svojim filmovima polazi od običnih, uslovno rečeno banalnih situacija u odnosima među likovima, gradeći na toj osnovi suptilnu humoresku, odnosno satiru preko koje se preispituju i ismevaju postulati na kojima se temelji moderno društvo. Polazeći od letargičnosti i nesnađenosti, Džarmuš u “Slomljenom cveću“ najednom gradi i komediju situacije i svojim promišljanjem kristališe “smeh nad životom“, a taj smeh nameće se kao jedino moguće osećanje nad grotesknošću glavnih junaka i života u kojima se traže, bez orjentacije i mogućnosti da utiču na svoju sudbinu.
Ulaz na projekciju je slobodan!
izvor teksta: b92.netHappy birthday, Jimmy!
In the name of Polet’s cinema, we’ll see Broken Flowers, a 2005 comedian, a starving bachelor, and seducer Don Johnstone (Bill Murray), whom she just left a girl.
For that moment, for someone to be an incitement of nervousness or the onset of depression, for Johnston, it is only a moment in which he is reluctantly and uninterestedly resisting the sudden development of events, wondering whether he is capable of feeling anything at all in the course of his new (old) and solitude. His lethargic mood soon interrupts an unsigned letter in which a former mistress informs him that 19 years ago her son started to start, who finally went to search for his father.
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From the first frame of the film in which Büre Mare appears, it is clear that Jarmush has remained faithful to his so-called recognizable expression, which features an unusual, almost auspicious atmosphere, enhanced by the alienation and incompatibility of the characters. Most of them, busy looking for their own identity and the characteristics of living lives, wander from despair to indifference, from excitement to lethargy.
It is noteworthy that in almost all of his films, Jamramos starts from ordinary, conditionally speaking banal situations in relations between characters, building on that basis a subtle humorous, or satire through which the postulates on which modern society is based are being questioned and laundered. Beginning with lethargy and insubordination, Jarmush suddenly builds a comedy of the situation and, with his reflection, crystallizes „laughter over life“, and this laughter is imposed as the only possible feeling of the grotesque of the main heroes and the lives in which they seek , without orientation and the possibility of influencing their fate.
The entrance to the projection is free!