Recenzija: The Door in the Floor

28.06.2011 ob 16:40

THE DOOR IN THE FLOOR

Če te zjebe realnost, pobegni v pravljico.

Družina Cole. Oče Ted (Jeff Bridges), otroški pisatelj in slikar, ki ga useka kriza srednjih let, tako kot Michaela Douglasa v filmu The Wonder Boys, če potegnem hitro primerjavo. Mama Marion (Kim Basinger), vase zaprta, hladna in zagrenjena dama, ki hoče ločitev. Ki je leta, ko je posnela Nadine, razgibano komedijo, kjer je njenega moža ravno tako igral Jeff Bridges, pustila daleč za sabo. Ki jo lahko prebudi le še glavna vloga filma Diplomiranec, kjer bo zapeljala šestnajstletnega mladeniča Eddiea (Jon Foster), vzornega dijaka, fana romanov njenega moža in devičnika, ki si privošči delovne počitnice v njuni hiši. V hiši, kjer živi tudi njuna nadvse simpatična štiriletna hčerkica Ruth (Elle Fanning). In hiši, kjer njen očka zagreto riše akte Evelyn Vaughn (Mimi Rogers), ki seveda postane tudi njegova ljubica. Jp, The Door in the Floor je film, ki najbolj tragične razloge za potlačena čustva prišpara za konec. Pred tem je tako zelo iskren, naraven, spontan in ravno prav drzen, da gledalec komaj verjame. Prav take so tudi igralske kreacije celotne ekipe, ki se ji lahko samo klanjamo. Ali kot je zapisal Rogert Ebert: “I saw the movie a few days after re-watching one of Bridges’ first performances, in The Last Picture Show. More than 30 years later, he still has the same open face, the same placid smile, the same level voice that never seems to try very hard for emotion and the same ability to suggest the depths and secrets of his character. In this story of a wounded marriage, Kim Basinger is well-chosen as his target in an emotional duel. There can be something hurt and vulnerable about her, a fear around the eyes, a hopeful sweetness that doesn’t seem to expect much. Here she transgresses moral boundaries by deliberately seducing a 16-year-old boy, and yet still seems to be the victim”.

To je zgodba, ki teče počasi, precizno, umirjeno in potihem. Tako potihem, da jo komaj slišimo in da  njeno veličino težko opišemo z besedami. To je zgodba, ki jo mora gledalec tudi čutiti in zavonjati, če jo hoče zares osvojiti.  In ko se nasmehnemo, dobimo občutek, da smo zraven. Da smo v pravljici Jeffa Bridgesa. Da iščemo vrata, skriti kotiček, ki nas reši pred tegobami. Pred nedorečenimi težavami. Pred tragedijo, ki jo je povzročila prometna nesreča. Eden najboljših filmov tistega leta in dokaz, da gledalci včasih res nimajo pojma, ko obrnejo hrbet taki mojstrovini. Ali kot je še enkrat izvrstno povzel Roger Ebert: “The movie is about a marriage between two smart people who are too afraid, or perhaps too cruel, to fight out in the open. They play a deep game of psychological chicken, all the more hurtful because they know so well what buttons to push.” In če že pripenjam citate drugih kritikov, kar ponavadi ne počnem, a mi tokrat več kot pašejo k recenziji, dobro je povedal tudi Peter Traves, ki meni, da je The Door in the Floor: “Extraordinary in every way, from the pitch-perfect performances to the delicate handling of explosive subject matter.” Pa naj končam še z mnenjem Jamesa Barardinellija, ki enkratno ujame bistvo, zakaj tale film ni navdušil gledalcev: “As a character study that examines a pair of reprehensible individuals, The Door in the Floor does an excellent job. The problem with the film is simple: how many people want to spend nearly two hours in the company of such characters. The viewer’s supposed surrogate in the film, a 16-year old boy by the name of Eddie, is so ineffectual as to be almost invisible. What starts out with the earmarks of a coming-of-age story turns into a tale of the disintegration of the marriage between two disagreeable personalities. If that’s your kind of movie (and it is, to a degree, mine), you will find more here than unrelieved bleakness and boredom. It is certainly unlike typical summer fare.” Drži, gospod Barardinelli, The Door in the Floor je preprosto predober, da bi ga raja vzela za svojega. Preprosto preveč dodelan in vrhunski, da bi si zanj povprečen gledalec sploh vzel čas.

Ocena: mojstrovina

 

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