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

hfl_56-q6.qxp 2008-12-18 15:22 Page 174
174
Hrvat. film. ljeto, Zagreb / god 14 (2008), br. 56, str. 167 do 174 Sa`eci / Summaries
tvo nije stilski strogo definirano, ve} se mijenja i razvija od filma do filma,
od suradnje s razli~itim redateljima. Kao posebna kvaliteta njegovog rada
nagla{ava se kompozicija kadra i rad sa svjetlom, kad nastoji maksimalno
po{tivati objekt snimanja, a istovremeno kompozicijskim rasporedom i prividnom
jednostavno{}u sa~uvati dojam neposrednosti pogleda i nenametljivosti
kamere.
Tomislav Pinter
Blijeda sje}anja (ulomci autobiografije)
UDK: 778.53-051Pinter, T.
Ulomak iz autobiografskoga rukopisa nedavno preminulog hrvatskog snimatelja.
prvo poglavlje opisuje njegov dolazak u Jadran film krajem 1940ih;
drugo poglavlje rad na filmu Ponedjeljak ili utorak Vatroslava Mimice
(1966); tre}e suradnju s Orsonom Wellesom u Veneciji, na filmu The Merchant
of Venice (1969) te svoja samostalna snimanja u Napulju i Rimu, prema
Wellesovim uputama (kadrovi na temu »kako Talijani gledaju `ene«), {to
je iskori{teno za emisiju Around the World with Orson Welles, a nekoliko
kadrova s Ojom Kodar za film F for Fake (1974); ~etvrti ulomak opisuje rad
na filmu Samo jednom se ljubi Rajka Grli}a (1981), a peti suradnju s Du{anom
Makavejevim na filmu Mister Monenegro (1981).
that photographers may have on cinematographers. He points to the similarity
of locations and motifs but at the same time to the static quality of a
photograph as opposed to a frame which is always part of a flow. In conclusion
the author stresses out that Müller's work is not strictly defined in
terms of style but that it changes and develops through films, through his
cooperation with different directors. Frame composition and lighting are
pointed out as special qualities in Müller's work. In his work, Müller tries
to respect the object being shot as much as possible and at the same time
preserve the impression of immediacy of the view and discretion of the
camera by means of composition and apparent simplicity.
Tomislav Pinter
Faded memories (fragments of an
autobiography)
UDK: 778.53-051Pinter, T.
A fragment from an autobiographical manuscript by the recently deceased
Croatian cinematographer. The first chapter describes his arrival at Jadran
film in late 1940s; the second chapter his work on Vatroslav Mimica's film
Monday or Tuesday (Ponedjeljak ili utorak, 1966); the third his cooperation
with Orson Welles in Venice on The Merchant of Venice (1969) and his
independent shootings in Naples and Rome, made in accordance with
Welles's instructions (takes on »how the Italians observe women«), which
was used in Around the World with Orson Welles, while some shots with
Oja Kodar were used for the film F for Fake (1974); the fourth fragment
describes his work on Rajko Grli}'s film Melody Haunts My Reverie (Samo
jednom se ljubi, 1981), and the fifth the cooperation with Du{an
Makavejev on the film Mister Monenegro (1981).
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.