Hrvatski filmski ljetopis, broj 56 (2008) - Hrvatski filmski savez

hfl_56-q6.qxp 2008-12-18 15:22 Page 171
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 56, str. 167 do 174 Sa`eci / Summaries
Dejan D. Markovi}
Ameri~ki road movie — opet na putu
UDK: 791.237(73)
Esej srpskog kriti~ara o kultnim ostvarenjima iz struje road movie, na ~iji je
naziv i sadr`aj vjerojatno utjecao roman Jacka Kerouaca On the Road iz
1957. godine. Na primjerima novijim filmova ceste (Thelma and Louise,
Gregg Araki, My Own Private Idaho) komentira se nestanak idealizma i romantizma
izvornih road filmova, tj. preostali ogor~eni antikonformizam,
~esto i komercijalno prora~unat. U zasebnim poglavljima tekst zatim opisuje
i komentira road filmove Easy Rider, Repo Man, filmove Wima Wendersa,
Lost Highway, My Own Private Idaho i Crash Davida Cronenberga.
IZ POVIJESTI HRVATSKOGA FILMA
Leon Rizmaul
Financije velikog vojvode F. W. Murnaua
(1923) — najstariji sa~uvani film snimljen
u Hrvatskoj
UDK: 791.622(497.5)(091)
[ezdesetih godina 20. stolje}a, u vrijeme dok je najve}i »murnauolog«, njema~ka
autorica Lotte Eisner, pisala svoje knjige, Murnauov opus do`ivljavao
je ponovno otkrivanje. Njegovi filmovi Nosferatu (1921), Posljednji ~ovjek
(Der letzte Mann, 1924), Faust (1926) i Zora (Sunrise, 1927) podignuti
su na pijedestal ne samo njema~ke me|uratne kinematografije. Eisner je
svojim knjigama dodatno gradila mit o Murnauu — »sjetnom melankoli~aru«
— ali njegovu komediju Financije velikog vojvode (1923) nije smatrala
vrijednim ostvarenjem. Tvrdila je da je gluma lo{a, kadrovi preosvijetljeni i
da se stje~e dojam da slavnog redatelja uop}e nije bilo briga kakav }e biti
krajnji rezultat. Kasniji povjesni~ari filma redovito su preuzimali njezinu
ocjenu kako je rije~ o neuspjelom poku{aju da se Murnau oku{a u komediji,
bez novih istra`ivanja filma. Ovaj tekst prilog je istra`ivanju ovoga filma,
u ovom trenutku najstarijega u cijelosti sa~uvanog igranog filma snimljenoga
u Hrvatskoj. tekst u slijedu opisuje produkciju filma, lokacijska snimanja
u Dalmaciji i Splitu, novinske izvje{taje te inozemnu recepciju filma, da bi
na kraju ponudio revalorizaciju ove Murnauove podcijenjene »lake komedije«,
posebno istaknuv{i da je lo{ dojam Lotte Eisner o vizualnoj strani filma
bio o~ito uvjetovan lo{om snimkom, budu}i da je danas dostupna restaurirana
kopija filma ~iji je snimatelj bio slavni Karl Freund, scenaristica
Thea von Harbou (prema istoimenom romanu Franka Hellera), a producent
Erich Pommer.
Danijel Rafaeli}
NDH na filmskom festivalu u Veneciji
1942. godine
UDK: 791(497.5)"1942"
Sudjelovanje filmova Nezavisne Dr`ave Hrvatske na filmskom festivalu u
Veneciji ~esto je u doma}oj filmskoj historiografiji razli~ito tuma~ena. Ovaj
prilog, na temelju novinskih napisa, arhivske gra|e, sa~uvanih filmova i
svjedo~anstava, rekonstruira sudjelovanje NDH na fa{isti~kom festival u
Veneciji 1942. godine, te donosi to~ne podatke o navodnoj nagradi dokumentarnom
filmu Branka Marjanovi}a Stra`a na Drini. NDH je pravo sudjelovanja
na X. Mostra Internazionale D'Arte Cinematografica stekla prijemom
u stalno ~lanstvo u Me|unarodnoj slikopisnoj komori u Berlinu u
o`ujku 1942, ~ime je stekla prava u filmskoj industriji koja sui male i druge
zemlje — sateliti Reicha. Venecijanskim festivalom u okviru Biennalea
predsjedao je Giovanni Volpi di Misurata, a ravnatelj je bio Ottavio Croze.
NDH su na filmskom festivalu u Veneciji predstavljali srednjometra`ni dokumentarni
film Stra`a na Drini, Kultur-film Barok u Hrvatskoj, dokumentarni
film Mladost Hrvatske / Radna slu`ba Usta{ke mlade`i (povu~en zbog
Dejan D. Markovi}
American road movie — On the road
again
The participation of the films of the Independent State of Croatia at the
Venice Film Festival has been interpreted in different ways in the national
film historiography. Based on newspaper articles, materials from the
archive, preserved films and testimonies, this text reconstructs the participation
of NDH at the fascist 1942 Venice Film Festival and brings accurate
information regarding the alleged award to Branko Marjanovi}'s documentary
Watch on the Drina (Stra`a na Drini). NDH acquired the right to participate
at the X. Mostra Internazionale D'Arte Cinematografica by admittance
to permanent membership of the International Film Chamber in
Berlin in March 1942. This entitled it to film industry rights that other
Reich satellites enjoyed. The Venice Film Festival in the Biennale framework
was presided over by Giovanni Volpi di Misurata, with Ottavio Croze
acting as its director.
171
H R V A T S K I F I L M S K I L J E T O P I S 56/2008.
UDK: 791.237(73)
An essay by a Serbian critic about famous achievements in the road movie
genre, the title and contents of which have most probably been influenced
by Jack Kerouac's 1957 novel On the Road Again. The author uses the
examples of more recent road movies (Thelma and Louise, Gregg Araki,
My Own Private Idaho) to comment on the disappearance of idealism and
romanticism, characteristic of original road movies, i.e. on the remaining
desperate anti-conformism, many times commercially motivated. In separate
chapters the text goes on to describe and comment on the road movies
Easy Rider, Repo Man, films by Wim Wenders, Lost Highway, My Own
Private Idaho and Crash by David Cronenberg.
FROM THE HISTORY OF CROATIAN
CINEMA
Leon Rizmaul
The Finances of the Grand Duke by F. W.
Murnau (1923) — the oldest preserved
film made in Croatia
UDK: 791.622(497.5)(091)
It was during the 1960s, the period over which the greatest »murnauologist«,
German writer Lotte Eisner, wrote her books, that Murnau's work
went through the process of rediscovery. His films Nosferatu (1921), Der
letzte Mann (1924), Faust (1926) and Sunrise (1927) were set on the
pedestal of German and other inter-war cinematography. In her books
Eisner further contributed to the myth of Murnau — »the wistful melancholic«
— but she never thought of his comedy The Finances of the Grand
Duke (1923) as of a valuable piece of work. She claimed that acting was
bad, frames had too much light and that one got the impression that the
famous director did not even care about what the final result would be.
Without further analyses of the film itself, later film historians regularly
took on her view that the film was an unsuccessful attempt of Murnau's to
shoot a comedy. This text is a contribution to the study of what is today the
oldest entirely preserved feature film made in Croatia. The text chronologically
describes film production, location shootings in Split and
Dalmatia, news reports and how the film was received abroad, followed by
a re-evaluation of this underestimated »light comedy« of Murnau's. It is
pointed out that the reason for Lotte Eisner's bad impression on the visual
character of the film was obviously bad tape, since there exists today a
restored copy of this film, whose cinematographer was the famous Karl
Freund, scriptwriter Thea von Harbou (based on a novel by Frank Heller
of the same name) and producer Erich Pommer.
Danijel Rafaeli}
Daniel Rafaeli}: Independent State of
Croatia (NDH) at the 1942 Venice Film
Festival
UDK: 791(497.5)"1942"