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Udar vlaka u automobil na željezničkoj pruzi i proklizavanje vagona s tračnica iz "Najveće predstave na svijetu" usjekli su se malom Stevenu Spielbegu u pamćenje i inspirirali ga da jednom nešto slično i sam snimi, kako smo vidjeli u "Fabelmanovima". Nije čudno da je Spielberga od svega u filmu najviše fascinirala upravo spomenuta scena i da joj je dao značajan prostor autobiografskoj drami "The Fabelmans".

Opčinila ga je kinetika vlaka i napetost od iščekivanja neumitnog sudara s nezaustavljivom lokomotivom kako se približava automobilu. Kad je režirao svoj prvi dugometražni film "Dvoboj" ("Duel", 1971.), Spielberg kao da je tu scenu proširio na cjelovečernjak i zamijenio vlak za kamion koji prijeti pregaziti auto, crveni Plymouth Valiant, a njihov sudar na rubu litice jednako je spektakularan.

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FILM: Duel; akcijski triler; SAD, 1971. REŽIJA: Steven Spielberg ULOGE: Dennis Weaver, Jacqueline Scott OCJENA: *****

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"Dvoboj" je jedna od filmskih definicija kinetike i napetosti. Naravno, Alfred Hitchcock je doktorirao napetost kao majstor "suspensea" ("39 stepenica", "Dama koja nestaje", "Prozor u dvorište", "Vrtoglavica", "Psiho", "Ptice"), no kinetičnost u punom smislu te riječi rijetko je bila dotad dosegnuta u smislu da je cijeli film, kao "Duel", jedna dugačka akcijska scena potjere ("Poštanska kočija"), jer obično bi se kinetika svodila na jednu sekvenciju (npr. "Francuska veza").

Nesumnjivo, Spielberg je učio od Hitchocka i može se reći da je "Dvoboj" potencirao kinetiku napete scene s avionom za oprašivanje usjeva koji hvata Caryja Granta u klasiku "Sjever-sjeverozapad". U tom potenciranju Spielberg je trasirao filmove potjere sedamdesetih zajedno s "Točkom nestajanja" iz iste 1971., one izrazito automobilističke ("Prljava Mary, ludi Lary", "Nestali za 60 sekundi") ili akcijski orijentirane ("Kordon", "Konvoj"), ali i inspirirao mnoštvo filmova preciznom ekonomijom i nepresušnom energijom.

Utjecaji "Duela" mogu se naći ne samo u njegovim "Raljama" i "Jurskom parku", nego i "Pobješnjelom Maxu", "Terminatoru", "Autostoperu", "Slomu", "Otpornom na smrt"..., pa čak i hororima sedamdesetih, od "Oslobađanja" do "Noći vještica". Konačno, "Dvoboj" je izvorišni Spielberg, akcijsko-trilerski "chase movie" koji je stisnuo gas do daske za jednu od najimpresivnijih redateljskih karijera i oslikao obrise spielbergovske režije kao svojevrsna sumacija gotovo svih onih "kratkiša" viđenih u "Fabelmanovima".

Nevjerojatan je osjećaj ponovno pogledati "Duel" nakon gledanja filma "The Fabelmans": Spielbergov dugometražni prvijenac započinje zvukom paljenja motora automobila koji izlazi iz garaže, veoma slične onoj kamo je otac redateljeva "alter ega" parkirao karavan u "Fabelmanovima" dok je sin režirao to parkiranje s kamerom u ruci. 

Uvodni kadrovi snimljeni su iz perspektive automobila, ne vozača. Proći će četiri minute prije nego što vidimo vozača, biznismena simboličnog imena i prezimena Davida Manna (Dennis Weaver), i to u odrazu retrovizora. S druge strane, kamion se pojavljuje u petoj minuti i kamera poklanja više pažnje stroju u odnosu na čovjeka, Davida, prolazeći od stražnjeg dijela masivne cisterne prema prednjem, gdje se pozicionira tako da ne vidimo vozača.

Redatelj najavljuje da će ovo biti film o dvoboju čovjeka i stroja/zvijeri, Davida i mašinerijskog Golijata, progonjenog i progonitelja. Stroj, odnosno kamion izgleda kao antagonist od željeza koji ispušta poluživotinjske zvukove (puhanje pri stiskanju kočnica) i gotovo da ima osobnost zbog načina kako ga Spielberg snima, slično kao kamioni u kasnijoj "Nadnici straha" Williama Friedkina.

Čini se kao da kamion vozi sam i ima vlastitu svijest, a razbjesnio se kad ga je David prestigao hitajući na poslovni sastanak, odlučan da mu ugrožava život i izgura ga s ceste u smrt. Najprije kamion stiže i prestiže Davida i zatim vozi "osmice" ispred njega, priječeći daljnje prestizanje.

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Kad ga David opet prestigne, kamion će ga goniti diljem kalifornijske pustinje gdje bi se mogao snimiti i vestern s kojim Spielberg koketira. Situacija je košmarna, a Spielbergova režija svedena na minimalni zaplet i karakterizaciju, te verbalno reducirana (povremeni Davidovi unutarnji monolozi).

Dijalog je vizualan zahvaljujući efektnoj međuigri kamere i montaže u pogledu toga što (ne) prikazati. Vozaču kamiona nikad ne vidimo lice, samo tu i tamo ruke. Gledatelj očekuje da će doznati tko je on kad se David zaustavi u zalogajnici uz cestu i, opazivši napolju parkiran kamion, pokušava otkriti identitet svoga progonitelja. Scena je majstorski režirana, hičkokovski tenzična i dobro dođe kao kratki predah od potjere, premda gledatelj svejedno drži dah.

Film ne gubi momentum u sličnim neakcijskim trenucima zato što ih Spielberg koristi i da orkestrira sudar svjetova (civilizirani, urbani protagonist u košulji s kravatom/"red neck" lokalci), tj. suodnos čovjeka i stroja, od telefona (Davidov poziv supruzi da joj se ispriča "za sinoć") do automobila koji će zamalo otkazati poslušnost kad je najpotrebnije (pregrijavanje motora na uzbrdici).

Megdan "Dvoboja" Spielberg postavlja na mitsku, metafizičku razinu i pretvara kamion u nezaustavljivu silu, nekakvu primordijalnu zvijer, mehaničkog željeznog monstruma, ubojito oružje za ubijanje po cestama, terminatora na četiri kotača, divovskog slasherskog ubojicu koji polako, ali sigurno sustiže svoje žrtve poput Michela Myersa.

Taj megdan se odvija daleko od velegradova, na rubu civilizacije i mita, suprostavljajući civiliziranog čovjeka nečem divljem, nerazumnom ili neobjašnjivom, što je postao "template" za horore sedamdesetih poput "Teksaškog masakra motornom pilom", "Brda imaju oči"...

"Duel" je postavio i "template" za Spielberga, od Davida kao oca na službenom putu ("E.T.") i klinaca u potencijalnoj ugrozi u sceni sa školskim busom ("Goonies"), preko zmija i pauka ("Indiana Jones") do kamiona kao preteče morskog psa i T-Rexa koji izaziva strah od (ne)poznatog.

Spielbergovi filmovi ušli su u kolektivnu svijest, nagnali gledatelje da ne plivaju daleko od obale i da gledaju u nebo posuto zvijezdama u očekivanju "Bliskog susreta treće vrste". No, prije morskih pasa i izvanzemaljaca postojao je jedan kamion. Nakon "Dvoboja" mnogi su dobro promislili hoće li prestići prijeteći kamion na cesti i kako će se osjećati ako ga nastave viđati u retrovizoru.

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Scenarij Richarda Mathesona

Prije "Dvoboja" Spielberg je režirao epizode nekih serija poput "Columba". Scenarij je napisao poznati Richard Matheson. "Duel" je utjecao i na filmove "Roadgames" i "Joyride", a Spielberg mu je odao počast koristeći slične zvučne efekte u "Jaws" i angažiravši bračni par iz filma u "Close Encounters Of The Third Kind".

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Udar vlaka u automobil na željezničkoj pruzi i proklizavanje vagona s tračnica iz "Najveće predstave na svijetu" usjekli su se malom Stevenu Spielbegu u pamćenje i inspirirali ga da jednom nešto slično i sam snimi, kako smo vidjeli u "Fabelmanovima". Nije čudno da je Spielberga od svega u filmu najviše fascinirala upravo spomenuta scena i da joj je dao značajan prostor autobiografskoj drami "The Fabelmans".

Opčinila ga je kinetika vlaka i napetost od iščekivanja neumitnog sudara s nezaustavljivom lokomotivom kako se približava automobilu. Kad je režirao svoj prvi dugometražni film "Dvoboj" ("Duel", 1971.), Spielberg kao da je tu scenu proširio na cjelovečernjak i zamijenio vlak za kamion koji prijeti pregaziti auto, crveni Plymouth Valiant, a njihov sudar na rubu litice jednako je spektakularan.

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FILM: Duel; akcijski triler; SAD, 1971. REŽIJA: Steven Spielberg ULOGE: Dennis Weaver, Jacqueline Scott OCJENA: *****

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"Dvoboj" je jedna od filmskih definicija kinetike i napetosti. Naravno, Alfred Hitchcock je doktorirao napetost kao majstor "suspensea" ("39 stepenica", "Dama koja nestaje", "Prozor u dvorište", "Vrtoglavica", "Psiho", "Ptice"), no kinetičnost u punom smislu te riječi rijetko je bila dotad dosegnuta u smislu da je cijeli film, kao "Duel", jedna dugačka akcijska scena potjere ("Poštanska kočija"), jer obično bi se kinetika svodila na jednu sekvenciju (npr. "Francuska veza").

Nesumnjivo, Spielberg je učio od Hitchocka i može se reći da je "Dvoboj" potencirao kinetiku napete scene s avionom za oprašivanje usjeva koji hvata Caryja Granta u klasiku "Sjever-sjeverozapad". U tom potenciranju Spielberg je trasirao filmove potjere sedamdesetih zajedno s "Točkom nestajanja" iz iste 1971., one izrazito automobilističke ("Prljava Mary, ludi Lary", "Nestali za 60 sekundi") ili akcijski orijentirane ("Kordon", "Konvoj"), ali i inspirirao mnoštvo filmova preciznom ekonomijom i nepresušnom energijom.

Utjecaji "Duela" mogu se naći ne samo u njegovim "Raljama" i "Jurskom parku", nego i "Pobješnjelom Maxu", "Terminatoru", "Autostoperu", "Slomu", "Otpornom na smrt"..., pa čak i hororima sedamdesetih, od "Oslobađanja" do "Noći vještica". Konačno, "Dvoboj" je izvorišni Spielberg, akcijsko-trilerski "chase movie" koji je stisnuo gas do daske za jednu od najimpresivnijih redateljskih karijera i oslikao obrise spielbergovske režije kao svojevrsna sumacija gotovo svih onih "kratkiša" viđenih u "Fabelmanovima".

Nevjerojatan je osjećaj ponovno pogledati "Duel" nakon gledanja filma "The Fabelmans": Spielbergov dugometražni prvijenac započinje zvukom paljenja motora automobila koji izlazi iz garaže, veoma slične onoj kamo je otac redateljeva "alter ega" parkirao karavan u "Fabelmanovima" dok je sin režirao to parkiranje s kamerom u ruci. 

Uvodni kadrovi snimljeni su iz perspektive automobila, ne vozača. Proći će četiri minute prije nego što vidimo vozača, biznismena simboličnog imena i prezimena Davida Manna (Dennis Weaver), i to u odrazu retrovizora. S druge strane, kamion se pojavljuje u petoj minuti i kamera poklanja više pažnje stroju u odnosu na čovjeka, Davida, prolazeći od stražnjeg dijela masivne cisterne prema prednjem, gdje se pozicionira tako da ne vidimo vozača.

Redatelj najavljuje da će ovo biti film o dvoboju čovjeka i stroja/zvijeri, Davida i mašinerijskog Golijata, progonjenog i progonitelja. Stroj, odnosno kamion izgleda kao antagonist od željeza koji ispušta poluživotinjske zvukove (puhanje pri stiskanju kočnica) i gotovo da ima osobnost zbog načina kako ga Spielberg snima, slično kao kamioni u kasnijoj "Nadnici straha" Williama Friedkina.

Čini se kao da kamion vozi sam i ima vlastitu svijest, a razbjesnio se kad ga je David prestigao hitajući na poslovni sastanak, odlučan da mu ugrožava život i izgura ga s ceste u smrt. Najprije kamion stiže i prestiže Davida i zatim vozi "osmice" ispred njega, priječeći daljnje prestizanje.

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Kad ga David opet prestigne, kamion će ga goniti diljem kalifornijske pustinje gdje bi se mogao snimiti i vestern s kojim Spielberg koketira. Situacija je košmarna, a Spielbergova režija svedena na minimalni zaplet i karakterizaciju, te verbalno reducirana (povremeni Davidovi unutarnji monolozi).

Dijalog je vizualan zahvaljujući efektnoj međuigri kamere i montaže u pogledu toga što (ne) prikazati. Vozaču kamiona nikad ne vidimo lice, samo tu i tamo ruke. Gledatelj očekuje da će doznati tko je on kad se David zaustavi u zalogajnici uz cestu i, opazivši napolju parkiran kamion, pokušava otkriti identitet svoga progonitelja. Scena je majstorski režirana, hičkokovski tenzična i dobro dođe kao kratki predah od potjere, premda gledatelj svejedno drži dah.

Film ne gubi momentum u sličnim neakcijskim trenucima zato što ih Spielberg koristi i da orkestrira sudar svjetova (civilizirani, urbani protagonist u košulji s kravatom/"red neck" lokalci), tj. suodnos čovjeka i stroja, od telefona (Davidov poziv supruzi da joj se ispriča "za sinoć") do automobila koji će zamalo otkazati poslušnost kad je najpotrebnije (pregrijavanje motora na uzbrdici).

Megdan "Dvoboja" Spielberg postavlja na mitsku, metafizičku razinu i pretvara kamion u nezaustavljivu silu, nekakvu primordijalnu zvijer, mehaničkog željeznog monstruma, ubojito oružje za ubijanje po cestama, terminatora na četiri kotača, divovskog slasherskog ubojicu koji polako, ali sigurno sustiže svoje žrtve poput Michela Myersa.

Taj megdan se odvija daleko od velegradova, na rubu civilizacije i mita, suprostavljajući civiliziranog čovjeka nečem divljem, nerazumnom ili neobjašnjivom, što je postao "template" za horore sedamdesetih poput "Teksaškog masakra motornom pilom", "Brda imaju oči"...

"Duel" je postavio i "template" za Spielberga, od Davida kao oca na službenom putu ("E.T.") i klinaca u potencijalnoj ugrozi u sceni sa školskim busom ("Goonies"), preko zmija i pauka ("Indiana Jones") do kamiona kao preteče morskog psa i T-Rexa koji izaziva strah od (ne)poznatog.

Spielbergovi filmovi ušli su u kolektivnu svijest, nagnali gledatelje da ne plivaju daleko od obale i da gledaju u nebo posuto zvijezdama u očekivanju "Bliskog susreta treće vrste". No, prije morskih pasa i izvanzemaljaca postojao je jedan kamion. Nakon "Dvoboja" mnogi su dobro promislili hoće li prestići prijeteći kamion na cesti i kako će se osjećati ako ga nastave viđati u retrovizoru.

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Scenarij Richarda Mathesona

Prije "Dvoboja" Spielberg je režirao epizode nekih serija poput "Columba". Scenarij je napisao poznati Richard Matheson. "Duel" je utjecao i na filmove "Roadgames" i "Joyride", a Spielberg mu je odao počast koristeći slične zvučne efekte u "Jaws" i angažiravši bračni par iz filma u "Close Encounters Of The Third Kind".

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StoryEditorOCM
Film & TVRETRO(PER)SPEKTIVA

‘Dvoboj‘: Terminator na četiri kotača

Piše Marko Njegić
18. ožujka 2023. - 22:40
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Udar vlaka u automobil na željezničkoj pruzi i proklizavanje vagona s tračnica iz "Najveće predstave na svijetu" usjekli su se malom Stevenu Spielbegu u pamćenje i inspirirali ga da jednom nešto slično i sam snimi, kako smo vidjeli u "Fabelmanovima". Nije čudno da je Spielberga od svega u filmu najviše fascinirala upravo spomenuta scena i da joj je dao značajan prostor autobiografskoj drami "The Fabelmans".

Opčinila ga je kinetika vlaka i napetost od iščekivanja neumitnog sudara s nezaustavljivom lokomotivom kako se približava automobilu. Kad je režirao svoj prvi dugometražni film "Dvoboj" ("Duel", 1971.), Spielberg kao da je tu scenu proširio na cjelovečernjak i zamijenio vlak za kamion koji prijeti pregaziti auto, crveni Plymouth Valiant, a njihov sudar na rubu litice jednako...

#CINEMARK#CINEMARK RETRO(PER)SPEKTIVA#FILMOVI 70-IH#STEVEN SPIELBERG#KULTNI FILMOVI#AKCIJSKI TRILERI#FILMOVI POTJERE#DENNIS WEAVER
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21. svibanj 2024 16:44