34/2003 - HFS

Hrvat. film. ljeto, Zagreb / god 9 (2003), br. 34, str. 221 do 228 Sa`eci / Abstractsmatskim krugom pokazuje i omladinski kriminalisti~ki filmDivlji an|eli, iako umnogome neo~ekivano djelo u kontekstuHad`i}eva opusa. Autor u cjelini zaklju~uje da je Had`i}u svojim najuspjelijim filmovima lucidan analiti~ar postrevolucionarnihdru{tava, koji je nizom svojih socijalnih filmovakronikalno opisao povijest titoizma od po~etaka potro{a~kogadru{tva do moralne razgradnje u osamdesetima pa njegovopus govori o porazu revolucionarne generacije i sustava.stands apart from other films that express criticism of society;Lov na jelene (The Deer Hunt) and The Journalist madeafter a seven-year break in Had`i}’s directing career; andAmbasador (The Ambassador), a bourgeois family drama ofa communist elite. A crime story Wild Angels shows connectingelements with this thematic circle, although it is anunexpected film in the context of Had`i}’s work. The authorconcludes that Had`i} is, in his most successful films, alucid analyst of post-revolutionary society, who has in hissocial films illustrated the history of ’Titoism’ from the beginningof consumers’ society to moral destruction of theeighties, so his work depicts the defeat of the revolutionarygeneration and system.Dean [o{aIntervju: Fadil Had`i} — filmovi zapublikuUDK: 791.44.071.1 Had`i}, F. (047.53)Fadil Had`i} najplodniji je hrvatski filma{ kad su u pitanjudugometra`ni igrani filmovi; u razdoblju izme|u 1961, kadaje debitirao ratnim trilerom Abeceda straha, do 2003. i komedijeDoktor ludosti, Had`i} je snimio petnaest igranih filmova,od ~ega u najplodnijem razdoblju do 1972. ~ak dvanaest.Paralelno s filmskom, Had`i} se bavio i knji`evnomdjelatno{}u, napisav{i 57 komedija, dva romana i niz knjigarazli~itih `anrova. Bio je vrlo uspje{an i kao urednik nekolikonovina i ~asopisa, pokrenuo je proizvodnju hrvatskogaanimiranog filma, osnovao nekoliko kazali{ta i sudjelovao uosnivanju Pulskog filmskog festivala, jedne od najva`nijihkulturnih manifestacija biv{e dr`ave. Od filmske kritike ~estoshva}an kao netko komu je film samo usputna djelatnost,Fadil Had`i} dugi je niz godina bio izrazito podcijenjenautor. Autorski orijentirana kritika te{ko se snalazila u njegovu{arolikom opusu, ostavljaju}i njegove filmove, kao ifilmove njegovih generacijskih kolega poput Branka Bauera,Nikole Tanhofera, Obrada Glu{~evi}a ili Kre{e Golika, u sjenimodernisti~kih ostvarenja s kraja {ezdesetih godina. Ume|uvremenu, njegovi kolege Bauer i Golik revaloriziranisu, no Had`i} je sve donedavno bio gotovo zaboravljen kaoautor. Danas, s distance, postaje o~ito kako je rije~ o umjetniku~ije bavljenje filmom nije bilo nimalo usputno: redateljunajmanje sedam uspjelih filmova (Abeceda straha, Slu`benipolo`aj, Druga strana medalje, Protest, Tri sata za ljubav,Lov na jelene, Novinar), koji kako na tematskoj tako i stilskojrazini svjedo~e o Had`i}u kao relevantnom filmskomautoru, osobito izra`ena smisla za klasi~no filmsko pripovijedanje,rad s glumcima (brojni glumci jedine su nagradeosvojili upravo u njegovim filmovima), slikovni aspekt filmate nenametljivu dru{tvenu kritiku, ostvarenu podtekstompri~e. Izbjegavanjem bilo kakva studioznijeg bavljenja svojimili tu|im filmovima u razgovoru, Had`i}, poput neko} Bauerau sli~nom razgovoru, vi{e podsje}a na klasi~ne ’sirove’holivudske redatelje negoli doma}e filma{e, no kao i u slu-~aju ameri~kih redatelja starije generacije, njegovo razumijevanjefilmskoga medija svjedo~i i bez fimofilske i teoretskenadgradnje o Had`i}u kao autenti~nom filmskom talentu.222Dean [o{aInterview: Fadil Had`i} — Filmsfor the audienceUDK: 791.44.071.1 Had`i}, F. (047.53)Fadil Had`i} is the most prolific Croatian director of featurefilms; from 1961 when he directed his first film, a warthriller The Alphabet of Fear up to 2003 and the comedyDoktor ludosti (The Doctor of Craziness), Had`i} made 15feature films, 12 of which in his most productive period upto 1972. Along with making films, Had`i} also wrote 57 comedies,two novels and a number of books of various genres.He was a successful editor of several newspapers andmagazines, he started the making of Croatian animated film,he founded several theatres and took part in founding PulaFilm Festival, one of the most important cultural events inex-Yugoslavia. Film critics often regarded him as someone towhom directing films was not the most important thing hedid, and he has been underestimated for years. The criticsfound it hard to understand his versatile work, leaving hisfilms, together with the films of directors of his generationsuch as Branko Bauer, Nikola Tanhofer, Obrad Glu{~evi} orKre{o Golik, in the shadow of modernist films from the latesixties. In the meantime, his colleagues Bauer and Golikhave been re-evaluated, but Had`i} has been a forgotten authoruntil recently. Today, when we look from a distance, itis obvious that it is an artist who did not make films ’by theway’. It’s a director who made at least seven very successfulfilms (The Alphabet of Fear, Official Position, The Reverse ofthe Medal, The Protest, Three Hours for Love, The DeerHunt, The Journalist) which testify that Had`i} is a relevantdirector on both thematic and stylistic levels, that he has adefinite talent for story telling, working with actors (numerousactors won prizes only for his films), the imagery of afilm and unobtrusive criticism of society, through the subtextof the story. By avoiding any deeper conversation abouthis films or about anybody else’s films, Had`i}, like Bauerin a similar interview, resembles classical ’raw’ Hollywooddirectors, rather than Croatian film makers, but as it wasthe case with American directors of older generation, his understandingof the film as a media testifies that he has anauthentic film talent, even without the cinematographic andtheoretical superstructure.H R V A T S K I F I L M S K I L J E T O P I S 33/2003.