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Superman od filmaša poletio je na onaj svijet. Umro je Richard Donner, jedan od zaštitnih znakova visokobudžetne američke kinematografije sedamdesetih, osamdesetih i devedesetih koju je obilježio kao režiser i producent.

Donner je zacementirao "boom" strave i užasa s "Pretkazanjem" (1976.), dvaput postavio lansirnu rampu za moderni franšizni superjunački film režirajući "Supermana" (1978.) i producirajući "X-Men" (2000.) te definirao akcijski "buddy" žanr sa "Smrtonosnim oružjem".

Nakon što je skrenuo pažnju na sebe s hororom "Omen", Donner je u spomenutom razdoblju usrećio mnoga filmofilska djetinjstva, dječaštva i mladosti, izmaštao superjunaštvo, avanturu i akciju, stvarao filmsku magiju.

Natjerao nas je da povjerujemo kako čovjek može letjeti ("Superman"), poslao u lov na blago gusara Jednookog Willyja ("The Goonies"), sprijateljio s policijskim duom Mel Gibson-Danny Glover ("Lethal Weapon")...

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Sve je to Donner radio sa srcem i dušom, opipljivom toplinom i ljudskošću. Njegovi blockbusteri spadaju među najhumanije u proteklih 40-ak godina, vjerojatno i zato što su ispod površine govorili o onom ljudskom, obitelji, prijateljstvu, ljubavi.

"Superman" je dijelom i ljubavna priča, kao i "Žena sokol" i "Urota". "Gooniesi" su ponajbolji film o prijateljima iz djetinjstva kojemu je Donner kao producent posvetio i hit "Moj prijatelj Willy", a "Smrtonosno oružje" ponajbolji akcijski "buddy movie" o muškom prijateljstvu koji se do četvrtog dijela razvio u pravu obiteljsku sagu.

"Mi smo obitelj", uglas su zaključili akteri "Lethal Weapon 4" prije zajedničke fotografije. Prizor isprepletenih ruku Gibsona i Glovera u krupnom planu u "Smrtonosnom oružju 2" (šifra: bomba u WC-u) ovom kritičaru prvi ispliva iz sjećanja na spomen Donnera, čak ispred dirljiva očinskog govora Marlona Branda sinu Supermanu.

Tad postaje jasno da su policajci postali više od kolega – najbolji prijatelji, familija. Upravo je u tome Donner bio majstor. S lakoćom bi ubacio ljudsku emociju u akciju i pojačao tenziju jer do njegovih likova nam je redovito bilo stalo. A akciju je režirao s velikim osjećajem za kinetiku i spektakl, ali i humor koji je prenio na komedije ("Božićni duhovi", "Maverick").

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Neke od najboljih potjera u povijesti kinematografije njegovo su djelo, primjerice jurnjava u "Lethal Weapon 3". U jednom trenutku Donner je u totalu potjere uhvatio zrakoplov u slijetanju u zadnjem planu, iza Gibsona za upravljačem policijskog motocikla kako juri za terencem, stvarajući jedan od najimpresivnijih akcijskih kadrova devedesetih i šire, takoreći uz bok onome što su tih godina snimali John McTiernan ("Predator", "Umri muški") i Renny Harlin ("Umri muški 2", "Pakleni poljubac"), također u produkciji Joela Silvera i/li prema scenarijima Shanea Blacka.

Rijetki će kritičari Donnera nazvati (akcijskim) autorom, kao McTiernana, ali ovaj bi to mogao napraviti. Kad se zavrte Donnerovi filmovi, primjetno je da dijele i zajednički motiv starenja i vremena kojeg je Christopher Reeve kao Superman vratio unatrag, a redatelj mu u cijelosti posvetio povijesnu SF avanturu "Timeline".

Sean Astin u "Družbi Goonies" govori prijateljima "Naše je vrijeme ovdje dolje" apelirajući da odlaskom u pustolovinu produžuju djetinjstvo i odgađaju ulazak u svijet odraslih, što se nekako slaže s filozofijom mladih vampira u Donnerovom producetskom projektu "Izgubljeni dječaci".

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Prokleti ljubavnici Rutger Hauer i Michelle Pfeiffer ne mogu se istovremeno sresti u ljudskom obliku u fantazijskoj avanturi "Lady Hawke" koja se metafilmski projicira u kinu u "Conspiracy Theory", gdje se od plaćenika skrivaju Gibson i Julia Roberts.

Stariji plaćeni ubojica Stallone suočava se s mlađom konkurencijom Antoniom Banderasom u trilerskoj akciji "Assassins", no pritom se ne da, kao i ostarjeli policajac Bruce Willis u posljednjem Donnerovom akcijskom filmu "16 blokova".

Gloverov povik "Prestar sam za ovo sranje" je, pak, naveliko citirani ponavljajući geg serijala "Smrtonosno oružje", u čijem četvrtom dijelu Gibson doseže njegove godine iz prvog filma jer "ne možeš pobijediti sat". Proteklih mjeseci Donner je radio na tome da snimi "Lethal Weapon 5", ali nažalost nije uspio. Sat ga je pobijedio.

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Superman od filmaša poletio je na onaj svijet. Umro je Richard Donner, jedan od zaštitnih znakova visokobudžetne američke kinematografije sedamdesetih, osamdesetih i devedesetih koju je obilježio kao režiser i producent.

Donner je zacementirao "boom" strave i užasa s "Pretkazanjem" (1976.), dvaput postavio lansirnu rampu za moderni franšizni superjunački film režirajući "Supermana" (1978.) i producirajući "X-Men" (2000.) te definirao akcijski "buddy" žanr sa "Smrtonosnim oružjem".

Nakon što je skrenuo pažnju na sebe s hororom "Omen", Donner je u spomenutom razdoblju usrećio mnoga filmofilska djetinjstva, dječaštva i mladosti, izmaštao superjunaštvo, avanturu i akciju, stvarao filmsku magiju.

Natjerao nas je da povjerujemo kako čovjek može letjeti ("Superman"), poslao u lov na blago gusara Jednookog Willyja ("The Goonies"), sprijateljio s policijskim duom Mel Gibson-Danny Glover ("Lethal Weapon")...

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Sve je to Donner radio sa srcem i dušom, opipljivom toplinom i ljudskošću. Njegovi blockbusteri spadaju među najhumanije u proteklih 40-ak godina, vjerojatno i zato što su ispod površine govorili o onom ljudskom, obitelji, prijateljstvu, ljubavi.

"Superman" je dijelom i ljubavna priča, kao i "Žena sokol" i "Urota". "Gooniesi" su ponajbolji film o prijateljima iz djetinjstva kojemu je Donner kao producent posvetio i hit "Moj prijatelj Willy", a "Smrtonosno oružje" ponajbolji akcijski "buddy movie" o muškom prijateljstvu koji se do četvrtog dijela razvio u pravu obiteljsku sagu.

"Mi smo obitelj", uglas su zaključili akteri "Lethal Weapon 4" prije zajedničke fotografije. Prizor isprepletenih ruku Gibsona i Glovera u krupnom planu u "Smrtonosnom oružju 2" (šifra: bomba u WC-u) ovom kritičaru prvi ispliva iz sjećanja na spomen Donnera, čak ispred dirljiva očinskog govora Marlona Branda sinu Supermanu.

Tad postaje jasno da su policajci postali više od kolega – najbolji prijatelji, familija. Upravo je u tome Donner bio majstor. S lakoćom bi ubacio ljudsku emociju u akciju i pojačao tenziju jer do njegovih likova nam je redovito bilo stalo. A akciju je režirao s velikim osjećajem za kinetiku i spektakl, ali i humor koji je prenio na komedije ("Božićni duhovi", "Maverick").

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Neke od najboljih potjera u povijesti kinematografije njegovo su djelo, primjerice jurnjava u "Lethal Weapon 3". U jednom trenutku Donner je u totalu potjere uhvatio zrakoplov u slijetanju u zadnjem planu, iza Gibsona za upravljačem policijskog motocikla kako juri za terencem, stvarajući jedan od najimpresivnijih akcijskih kadrova devedesetih i šire, takoreći uz bok onome što su tih godina snimali John McTiernan ("Predator", "Umri muški") i Renny Harlin ("Umri muški 2", "Pakleni poljubac"), također u produkciji Joela Silvera i/li prema scenarijima Shanea Blacka.

Rijetki će kritičari Donnera nazvati (akcijskim) autorom, kao McTiernana, ali ovaj bi to mogao napraviti. Kad se zavrte Donnerovi filmovi, primjetno je da dijele i zajednički motiv starenja i vremena kojeg je Christopher Reeve kao Superman vratio unatrag, a redatelj mu u cijelosti posvetio povijesnu SF avanturu "Timeline".

Sean Astin u "Družbi Goonies" govori prijateljima "Naše je vrijeme ovdje dolje" apelirajući da odlaskom u pustolovinu produžuju djetinjstvo i odgađaju ulazak u svijet odraslih, što se nekako slaže s filozofijom mladih vampira u Donnerovom producetskom projektu "Izgubljeni dječaci".

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Prokleti ljubavnici Rutger Hauer i Michelle Pfeiffer ne mogu se istovremeno sresti u ljudskom obliku u fantazijskoj avanturi "Lady Hawke" koja se metafilmski projicira u kinu u "Conspiracy Theory", gdje se od plaćenika skrivaju Gibson i Julia Roberts.

Stariji plaćeni ubojica Stallone suočava se s mlađom konkurencijom Antoniom Banderasom u trilerskoj akciji "Assassins", no pritom se ne da, kao i ostarjeli policajac Bruce Willis u posljednjem Donnerovom akcijskom filmu "16 blokova".

Gloverov povik "Prestar sam za ovo sranje" je, pak, naveliko citirani ponavljajući geg serijala "Smrtonosno oružje", u čijem četvrtom dijelu Gibson doseže njegove godine iz prvog filma jer "ne možeš pobijediti sat". Proteklih mjeseci Donner je radio na tome da snimi "Lethal Weapon 5", ali nažalost nije uspio. Sat ga je pobijedio.

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Valerie Macon/AFP

'Smrtonosno oružje 2'

'Superman'

'Družba Goonies'
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StoryEditorOCM
Film & TVIN MEMORIAM: RICHARD DONNER

Superman od filmaša poletio je na onaj svijet: naš kritičar o redatelju koji je usrećio mnoga djetinjstva, izmaštao superjunaštvo, avanturu i akciju, stvarao filmsku magiju

Piše Marko Njegić
6. srpnja 2021. - 10:14
18474268
PREMIUM
Galerija
Valerie Macon/AFP

Superman od filmaša poletio je na onaj svijet. Umro je Richard Donner, jedan od zaštitnih znakova visokobudžetne američke kinematografije sedamdesetih, osamdesetih i devedesetih koju je obilježio kao režiser i producent.

Donner je zacementirao "boom" strave i užasa s "Pretkazanjem" (1976.), dvaput postavio lansirnu rampu za moderni franšizni superjunački film režirajući "Supermana" (1978.) i producirajući "X-Men" (2000.) te definirao akcijski "buddy" žanr sa "Smrtonosnim oružjem".

Nakon što je skrenuo pažnju na sebe s hororom "Omen", Donner je u spomenutom razdoblju usrećio mnoga filmofilska djetinjstva, dječaštva i mladosti, izmaštao superjunaštvo, avanturu i akciju, stvarao filmsku magiju.

Natjerao nas je da povjerujemo kako čovjek može letjeti ("Superman"),...

#INMEMORIAM#RICHARD DONNER#SUPERMAN#SMRTONOSNO ORUŽJE#GOONIES
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