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FILMSKE ZVIJEZDE
Bruno Kragi}
Tipologija `enskih zvijezda ameri~kog
filma
UDK: 791.635-055.2 (73) (091)
Autor razmatra tipologiju `enskih filmskih zvijezda, preuzetu od njema~kog
povjesni~ara filma Enna Patalasa koju je potom revidirao i nadopunio
uzimaju}i u obzir i modele tipologija Edgara Morina, Richarda Dyera i
Molly Haskell, Kao prvi izdvaja tip »djevice«, veziv uz Mary Pickford, Lillian
i Dorothy Gish, u razvojnoj liniji prema Shirley Temple i Doris Day, ali
i prema po`rtvovnim i »~istim« junakinjama socijalisti~kih kinematografija,
koje tako, na specifi~an na~in, perpetuiraju taj tip izvan ameri~ke kinematografije.
Slijedi analiza tipa »fatalne `ene«, u razvojnoj liniji od tipa zavodnice
iz kazali{nih melodrama u knji`evnosti devetnaestoga stolje}a preko
Aste Nielsen i Thede Bare do nekih uloga Rite Hayworth, Lane Turner i Veronice
Lake. Tip najvezaniji uz ameri~ku kinematografiju i `anrovski odre-
|en komedijom jest »flapper« — tip povr{ne, neinhibirane djevojke ~iji prikaz
ra~una na potiskivanje prikaza spolnoga i rodnoga identiteta u smjeru
androginije; predstavnice su Clara Bow, Colleen Moore, Louise Brooks
(prije suradnje s G.W.Pabstom) te Joan Crawford, koja markira razvoj toga
tipa prema »dobroj prijateljici« i »mondenki«. Potom se analizira »vamp«,
kao najspecifi~niji tip u Patalasovoj tipologiji; kao predstavnice toga tipa
analiziraju se Greta Garbo, Marlene Dietrich, Mae West i Jean Harlow. U
analizi tipa »mondenke«, ponovno se nagla{ava `anrovska uvjetovanost tipova:
dok se »vamp«, odnosno »fatalna `ena«, proizvodi isklju~ivo unutar
melodrame, »mondenka« destabilizira granicu izme|u melodrame i sofisticirane
komedije, a od 1940-ih istaknuti je tip i unutar trilera. Kao reprezentante
toga tipa autor analizira Gloriju Swanson, te Bette Davis, ali isti~e nestabilne
granice samoga tipa, budu}i da se »mondenka« aktivno preple}e s
tipom »dobre prijateljice« u ulogama reprezentativnih glumica kakve su Lauren
Bacall, Greer Garson i Deborah Kerr, a napose kod zvijezda trilera Alfreda
Hitchcocka — Ingrid Bergman, Grace Kelly i Eve Marie Saint. Sli~na
nestabilnost obilje`ava i tip »dobre prijateljice« I ovaj je tip `anrovski uvjetovan,
budu}i da je karakteristi~an ponajprije za screwball-komedije 1930ih,
a reprezentanti su mu Claudette Colbert, Myrna Loy, Jean Arthur, Carole
Lombard, Katharine Hepburn i Ginger Rogers. Potom se prati raslojavanje
tipa od kraja 1960-ih, koje koincidira s raslojavanjem samoga sustava
zvijezda, ali »dobra prijateljica« bilje`i kontinuitet u 1970-ima u ulogama
Diane Keaton u filmovima Woodyja Allena, te u romanti~nim komedijama
1990-ih. Slijedi analiza tipa vezivoga uz mjuzikle i glazbene komedije
iz 1940-ih i 1950-ih — tzv. »pin-up« — ~iji su reprezentanti Marilyn Monroe,
Betty Grable i Esther Williams. Za »pin-up« je, me|utim, posebno zna-
~ajna Rita Hayworth, kod koje pin-up korespondira s fatalnom `enom. I
posljednji tip, »nimfeta« preispituje granice tipa unutar kojih se konstituira,
budu}i da se mo`e tuma~iti kao izdanak »flappera«, a `anrovski je veziva i
uz melodramu i uz komediju; njezini su reprezentanti Leslie Caron, Audrey
Hepburn i Shirley MacLaine.
FILM STARS
Bruno Kragi}
The Tipology of Female Stars in
American Cinema
UDK: 791.635-055.2 (73) (091)
The author discusses the typology of female film stars taken from German
film historian Enno Patalas, which he has revised and supplemented taking
into consideration typology models constructed by Edgar Morin, Richard
Dyer and Molly Haskell. The first type considered is the »virgin«, linked
with Mary Pickford, Lillian and Dorothy Gish, developing towards Shirley
Temple and Doris Day, but also progressing in the direction of the unselfish
and »pure« heroines of socialist cinema, which perpetuated this type, in
their specific manner. Following is the analysis of the »femme fatale« type,
its line of development starting from the seductress from theatre melodramas
of the 19th century literature, through Asta Nielsen and Theda Bare,
to some of the roles played by Rita Hayworth, Lana Turner and Veronica
Lake. Type that is most particular for the American cinema and generically
determined by comedy is »flapper« — a superficial, fearless girl whose presentation
counts on suppression of sexual and generic identity for the sake
of androgyny; representatives of this type are Clara Bow, Colleen Moore,
Louise Brooks (before she had worked with G. W. Pabst), and Joan
Crawford, who marks the evolution of this type towards a »good friend«
and »independent woman«. Next, the author analyses »vamp« type as the
most particular in Patalas’ typology; representatives of this type are Greta
Garbo, Marlene Dietrich, Mae West and Jean Harlow. In the analysis of the
»independent woman« type, the author again stresses the generic conditioning
of different types: while »vamp«, or the »fatal woman«, lives exclusively
in melodramas, »independent woman« destabilizes the border
between melodrama and sophisticated comedy, and from 1940s becomes a
prominent type in thrillers. The author analyses Gloria Swanson and Bette
Davis as representatives of this type, but stresses the unstable borderlines of
the type, since »independent woman« actively intertwines with the »good
friend« type in the roles of representatives actresses such as Lauren Bacall,
Greer Garson and Deborah Kerr, and particularly in the stars of Alfred
Hitchcock’s thrillers — Ingrid Bergman, Grace Kelly and Eva Marie Saint.
Similar instability marks the »good friend« type, and this type is also generically
conditioned because it is primarily characteristic of screwball comedies
of the 1930s, its representatives being Claudette Colbert, Myrna Loy,
Jean Arthur, Carole Lombard, Katharine Hepburn and Ginger Rogers. The
author than proceeds to the process of layering of the type at the end of
1960s, which coincided with layering of the star system itself, but the
»good friend« continues in the 1970s in Diane Keaton’s roles in Woody
Allen’s films, and romantic comedies of the 1990s. Next is the type linked
with musicals and musical comedies from 1940s and 1950s — the so-called
»pin-up« — whose representatives are Marilyn Monroe, Betty Grable and
Esther Williams. However, Rita Hayworth is particularly significant for the
»pin-up« type because she corresponds with the fatal woman. And the last
type, the »nymphette« questions the borders of the type within which it was
constructed, since it could be seen as the offspring of »flapper«, and generically
could be linked to both melodrama and comedy; its representatives
are Leslie Caron, Audrey Hepburn and Shirley MacLaine.
H R V A T S K I F I L M S K I L J E T O P I S 42/2005.
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